Professional development Seminars - for Music teachers who understand that Excellence is never an accident

Upcoming Seminars for Music Teachers, students, Orchestra and Band Directors

Seminars are now being scheduled for 2012

If you have an Interest in having Graham Lecture in your area, please contact us using the form below and we will be in touch.

We will be on the Gold Coast and Brisbane April 2012

Group discounts are available - 10 people only $300 per seminar

Gold Coast seminars 12th &13th April 2012
Brisbane seminars 15th, 16th, 17th April 2012

    If you require an Invoice. Please fill in your details and one will be sent. 
    Any group bookings or enquiries may also be sent via this form.

 Testimonials 

Via email from Bruce who attended the Seminars recently
"As I send this e-mail to you I cannot believe that it has been over two weeks since we were together at Ringwood. Thanks to you both for giving me a rev-up over the weekend.
A couple of comments from two of my band members at our rehearsals recently, the first one was from my "ever faithful BBb Bass player", who has been with me since I took over the Band in 1967,  he was the only player I had told that I was going to the Seminar. As he was going out the door after the first rehearsal after the weekend "hey Mate, it was worth it ".
Another long serving member who knew nothing of my attendance said to me on the second rehearsal after,"I don't know what you are ON but I want some of it.."


And Another,
Hi Graham, 
When I attended two of your seminars a couple of months ago, I mentioned that I was going to be the conductor for an annual 3-day band workshop over the school holidays. Well it was held last week and I thought I'd let you know how it went. Thanks to your instruction it couldn't have gone better! 

After attending the Conducting and Rehearsal Nuts and Bolts seminars and studying the accompanying literature I was geared up to put what I had learnt into practice. With the knowledge of both of these seminars I was able to effectively lead from the podium and bring out the best from the kids in the band (35 grade 3-6 students from various primary schools with anything from 6 months to 3 years experience). I chose nine pieces which were a mix of Grade 1.5 & 2 standard (all played at the correct tempos!). Rather than just "playing the notes" I was able to get them to play with feeling that was beyond their years. Even though there were less children in the band than previous years, the band had a bigger sound as I was able to get more out of each player. 

Both the organisers and parents were coming up to me after the concert, saying they were amazed at how well the band sounded. This was the first time I had conducted this workshop as there is a different conductor every year, however due to the success of the rehearsals and the concert I have already been asked back to conduct next year's band. So thanks Graham, I can honestly say the success of the workshop and concert was due in no small part to the knowledge I gained from your seminars.

Thanks again,
Geoff Dawson

Understanding Intonation for Musicians - not Mathematicians


This session covers the principles of intonation, specifically:
  • An explanation of cents and cycles per second & their relation to pitch.
  • The three levels of intonation (beginner, intermediate and professional and the difference between each).
  • Beatings or beats produced in reference to poor intonation and why they form.
  • Upper harmonics, the harmonic series-how it’s produced, its structure (up to the 16th harmonic and beyond) and its impact on intonation.
  • The harmonic series and its relationship to harmony and arranging.
  • Listen to a recording of the first 16 harmonics on a piano string sounded individually.
  • Hear Nature’s Chord (first 16 harmonics of the harmonic series combined as one chord) using the Intonation Keyboard program. Also, hear Natureschord comprising the first 24 harmonics of the harmonic series).
  • The Pythagorean Comma - what it is and its historic impact on intonation.
  • Equal temperament-what it is & the pros and cons.
  • The importance of the tonic, maj 3rd, perf 5th and min 7th(dominant 7th) in relation to good intonation.
  • Using the Intonation Keyboard (especially designed and written for this presentation).
  • Pitch adjustments required for notes within the major, minor, Dom 7th and minor 7th chords.
  • The Tierce de Picardie.
  • The bass note and its influence on intonation.
  • Intonation considerations for chords in inversion.
  • Listen to numerous per-recorded music examples.
  • Understand the need for choristers, wind, string and brass players to be able to ‘bend/adjust’ all/any notes they perform
  • Why it’s good to know, whenever possible, which notes of the chord you are playing (or singing).
  • Understand why only 2 minutes is needed to tune any ensemble. 
  • Electronic tuners-we DO need them. Learn how to use them effectively.
  • The ‘acoustical root’ or ‘difference tone’.
  • Hear difference tones both ‘live’ and recorded

Tune up your conducting for maximum effect

  • Conducting technique as applied to the art of conducting
  • Suitable for any ensemble director, who uses a baton.
  • This session covers the principles and techniques of conducting using a baton. Baton choice. Holding the baton.
  • The four ‘hinge’ points (shoulder, elbow, wrist, fingers) and how they interact.
  • Legato, staccato and ‘neutral’ beats.
  • Understanding time signatures.
  • The basic beat patterns (two, three and four beats per bar).
  • Conducting asymmetric beat patterns.
  • Conducting irregular beat patterns.
  • Subdivisions.
  • Tempo, tempo, tempo–the ‘correct’ tempo is crucial.
  • Pauses. 
  • Considerations for Ralls, rits, accels (including subdividing through ralls, rits or moving from subdivision to regular beats through accels).
  • Impulse of Will–Leadership from the front.
  • Commence playing–preparatory beats/Impulse of Will (set tempo, volume and style with one preparatory beat). Breathe before commencing playing.
  • Cease playing/cut offs (including, cut offs following pauses).
  • Technique for continuing playing following pauses - (both after a cut off and with no cut off).
  • Considerations when conducting ‘lead ins’.
  • Conducting syncopation and anticipations.
  • Gestures.

Arranging- concepts for any ensemble

This session covers the basic principles of arranging.This session is suitable for anyone interested in understanding the principles of arranging and applying these principles to almost any ensemble or group. 
  • Basics of the arrangement–melody, bass line, rhythm, countermelody/fills.Importance of understanding the principles of harmony. 
  • The bass line–it is more important than the melody. Chord construction. 
  • Chord voicing (including understanding the harmonic series and its relation to good chord voicing). 
  • Substitute chords.  
  • Acoustical root in relation to the density of chords and maintaining appropriate density through a given chord progression. 
  • Rhythm (discussion–off beats, dance/Latin/Pop/Swing rhythms, etc). Writing rhythms (not every ensemble has a rhythm section available). 
  • Considerations when voicing chords throughout the full ensemble. 
  • Passing chords (dim 7th and diatonic chords) and how to use them. 
  • Sectional writing (3-part, 4-part, 5-part including sax section writing for show band). 
  • Parallel chord progressions. Substitute Dominant 7th chords. What they are, how they ‘work’ and using them effectively.
  •  ‘Thumb tones’.Instrumental colour, some considerations.
  • Principles for good writing in particular specific considerations in relation to layout of parts and score. 
  • Computer programs (are not faultless)–spacing considerations, note and rest groupings, dynamic placement, etc.
  • The arrangement–considerations when choosing key, instrumentation, ‘psychological’ build up (Golden section). The importance of key orientation before commencing work

Rehearsal "Nuts and Bolts" - what you really need to know for and effective use of your precious rehearsal time


This session covers the techniques of rehearsing an ensemble effectively.
  • Knowing your score–what does that really mean?
  • Learn why you should NEVER EVER SIGHT READ A SCORE ON THE PODIUM
  • Score preparation–what does it consist of?
  • TEMPO, TEMPO, TEMPO - the importance of accurate tempo choice.
  • Choosing/remembering tempo through song recognition 
  • Using the metronome
  • The rehearsal plan
  • The power of the baton 
  • ‘Impulse of Will’ (IOW)–musical leadership from the podium.
  • How to keep rehearsals moving 
  • The ‘clapping’ technique as applied to rehearsing
  • Time signatures–how well do you know your time signatures? 
  • Asymmetric time signature considerations. 
  • The ‘Solid Gold’ rehearsal plan.
  • Good habits when rehearsing.
  • The Tune Up–arguably, the biggest time waster.
  • A brief overview of how intonation ‘works’ (as/if required).
  • Tuning up effectively.
  • Hints to keeping rehearsals moving.
  • Confirm, confirm, confirm. 
  • Avoid the principle rehearsal ‘time wasters’
  • Preparatory beats
  • Active and passive beats–what they are and how to use them effectively.
  • Pauses– just how long is a pause?
  • Conducting syncopation and anticipations.
  • Gestures (learn how to develop gestures)