It really does feel so eerie to be in a gallery without any paintings... It sure is one way to heighten the halloween spirit... I did however, got to check out the secret room where paintings that are about to be hung on the walls are stored, after the rehearsal. I think we have something to look forward to next week! From what I saw, the next batch looks pretty darn good!
Anyway, I noticed today that some of you, esp. in the winds section, are tapping your foot. I do realize that many teachers and even some conductors encourage that, but I don't. To be clear, I'm not saying those people who do are wrong. In fact they are correct, to an extent.
The way I'd put it, it is an excellent place to start (to solidify your own rhythmic stability), but a terrible place to be. When you rely on your own foot, you are only trying to sync your notes with your toes, that may or may not have anything to do with what is actually going on in the ensemble. I want you to listen, and not just being able to do two different things at once.
Yes, foot tapping is easier, so why am I telling you to do things that are harder? The same reason why halloween candies seem much more appetizing than sticks of celery. But celeries are better for you.
In order to graduate from M&M's to celery, I would suggest moving your toe movements to where your ear is, namely your head. You don't need to head-bang like the punk rockers from the 90's - you can just very lightly bob your head up and down. That way you are ensuring that you are reacting to what you are hearing.
And I hate to tell you of this trick (because I really want you to not rely on your feet) but, if you find that you MUST use your feet in certain sections of the piece, then what you can do is, instead of raising your entire foot and slamming it back down on the floor, making loud tapping noises, you can just wiggle your toes up and down inside your shoe. Then no one will know :)
Have a happy halloween, everyone!
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