11.3 Two rehearsals before the concert  (Page 5/2)

Two rehearsals away

At this point the director should return to rehearsing as much of the music as possible. After spot rehearsing in the previous rehearsals, one should attempt to put these places back into the musical scope of the work or works. The singers need to be more conscious of the entire musical effort of the concert rather than the trouble spots in each piece. This rehearsal should be as much like the concert situation as possible although there is yet a final rehearsal. Depending on the performing maturity of the ensemble any opportunity to depict the concert situation should be used. The acoustics of the performance area are contributing factors to the success of the performance and the conductor should take advantage of every opportunity to rehearse in that environment. Still, there is time to rehearse trouble spots again, and then put them into the larger context of the piece. If several pieces, or several parts of a large score, yet need rehearsing the conductor should not hesitate to spend the necessary time on those places. Other pieces or other parts of the larger score that are at performance level can be left until the final rehearsal. In other words, still at this point, rehearse what needs rehearsing. But, let the rehearsal end on a successful singing of some part of the music.

Before the final rehearsal is discussed it would be good to bring up several points that are relative to the last several rehearsals.

If the ensemble's wearing apparel is easily available, it is often a good idea to use it for one of these last rehearsals, but not necessarily the last one. This is particularly true with younger singers and if choir robes are to be worn. The director can use this as a means of checking to see that each robe is the correct length and that each is clean and free of wrinkles. It also gives the students an opportunity to learn how warm it may get on the stage in full concert dress. This is an important factor when the choir is robed, since the robe is worn over some type of normal street wear, adding another layer of clothing. If there is a time to do this outside rehearsal time that is a better time to do it.

The emphasis to be on risers, or on whatever performance stage on which the choir will sing, is made because the singers will have a slightly different sound on the risers. If the rehearsal room acoustics are not better than average, or do not match the performing hall, the director will note a change in the sound on risers. Often, the rehearsal room does not adequately raise the back rows so the sound of these singers can carry well over the rest of the choir. When the students are placed on the risers, the director will often hear more of the back rows than he did in the rehearsal room. He may also notice a rough edge on their tone, a result of the singers continually singing louder than the rest to provide the director with the balance he desired. Use these opportunities to stabilize the sound and the balance. Obviously, if one can do this earlier in the rehearsal sequence it is excellent to do so.