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	Chamber Music Coaching Notes - a Do-It-Yourself Kit If you can sort out the basics beforehand, the coach can focus on the more detailed aspects that as players you can find more difficult to notice or resolve. If you've not had coaching before, you may find the following list helpful. If you have had coaching before, it can be interesting to speculate about what a particular coach might say about some problem. Score and parts If you are working on a piece it is well worthwhile getting a score. Mark in the bar numbers in the score and parts if they are not there. Try to use an Urtext or performing edition of the music - avoid the old Peters editions particularly of string quartets by Mozart, Haydn and Schubert. Do what it says The best start is to do exactly what the music says. This sounds simple, but it is very easy to miss accents, dynamics, note lengths at the end of phrases etc.; it is the basis for everything that follows. Do it more Generally speaking, most quartets need to exaggerate. Make the loud passages louder, the quiet ones quieter (although beware playing too quietly except for effect), make the accents bigger. Make the phrases more obvious. Think of yourselves as stage actors rather than TV actors - exaggerate so that someone at the back of the theatre can hear exactly what you are doing. Nobody can hear what is going on in your head - make it obvious! Do it the same If several players are playing the same motif, make sure you do so with the same type of bow-stroke and phrasing, and generally with the same bowing. This can cause disagreement within the group! Make sure that you finish notes at the same time as well as starting them. Ensure the volume is matched - it is common for the inner parts to be too reticent. Do it in time Don't be afraid to use a metronome. Just about all professional quartets use a metronome extensively. Make sure that any tempo changes are deliberate! Use the loudest metronome you can find. Even when you think you have the music working well, check occasionally with a metronome. Spot the tune There is generally one theme or motif that the listener should be aware of at a given time. Make sure that you all know who has the focus, who has a counter melody, and who is accompanying, and that it is clear to the listener. Think of a spotlight being shone on the player(s) with the tune at any given time. Having a score can really help. It is as important to get out of the way when you are not the focus as to draw attention when you are. With fugue entries, clearly announce the opening motif then get out of the way as the next player comes in. Avoid playing passages loud because they are easy, and be sensitive to the fact that the player with the focus may be in a difficult part of their instrument. Spot the rhythm If you have the focus, make sure you are aware if others have a rhythmic motif that you should be playing with. Do it in front of others It can be useful to play to others - even if they are not musically trained - they will often spot who is playing too quietly and other aspects of the group as a whole. It can be hard to tell what the balance is from within the group. Sometimes it is useful to hear confirmation from a neutral person! © Ealing Chamber Music Club, 2004-2008. All rights reserved. Any information contained in this web is over-ridden by law and specific contract	More about...  Contact us