Wright’s Music “Winter Conductive Intensive”   together with Graham Lloyd Music Education


Tuesday 23rd September to Friday 26th September 2014

Achieve your desired Musical outcomes with Confidence - With Graham Lloyd  - MMus (Melb), ARCM, LTCL, AMus A

Join us for 4 Intense days of Music training designed for you, the Ensemble Director and Music Teacher. Learn the secrets to a great rehearsal. Save hours of your precious rehearsal time. Learn how to easily lift the sound of your ensemble. Gain more confidence.

At the end of the training you will have identified your strengths and, in most cases, filled in the small gaps of your knowledge that have been making your life harder than it needed to be.

The days will be fun and light-hearted and you will come away with a bag full of secrets so good you will wonder how you have lived without them up until now.

Day 1- Morning/afternoon tea and lunch provided

8.30 – 12.30 pm Seminar Conducting – (All Participants) fine tune your skills identify areas for improvement and fix them quickly and easily to give greater clarity when you lead the musicians. Back in your own rehearsal room, be more confident and relaxed with immediate, positive results from your ensemble.

1.30 – 5.30 pm   Seminar Rehearsal techniques – (all Participants) with these ‘simple to implement techniques’ your rehearsals can become more effective every time. Your musicians will want to be there because they will be able to see faster improvement and you will get a more satisfying sound.          

This session will conclude with scores being handed to those participants who will be conducting the band and initial discussions on their score study requirements for the following day.

Day 2 – Morning/ afternoon Tea and lunch provided

8.30 – 12.30 pm    Seminar Understanding Intonation (all Participants): The secrets to understanding how intonation ‘works’ and how to apply the knowledge to assist your ensemble in playing more tunefully. Save hours of wasted rehearsal time and frustration.

1.30 – 5.30 pm Score Study Intensive.  This session will take those participants who will conduct the band deeper into their score study requirements in preparation for the band rehearsals over the next two days – (observers may also attend)

Day 3 - Morning tea- provided

8.00 -10.00 am - Conducting practice in front of the Band – all participants are required to play

10.30-12.30 am - Conducting practice in front of the Band – all participants are required to play

Lunch – provided full participants only

1.30 – 3.30 Feedback sessions on your recorded conducting session–

 (With Graham Lloyd) full participants only

Afternoon tea - provided

4 – 6.00 pm - Feedback sessions on your recorded conducting –

(With Graham Lloyd) full participants only

Day 4 - Morning tea - provided

8-10 am - 2nd Conducting practice in front of the Band – all participants are required to play

10.30-12.30 am - 2nd Conducting practice in front of the Band- all participants are required to play

Lunch – provided full participants only

1.30 pm – 3.30 pm - Feedback sessions on your recorded conducting –

(With Graham Lloyd) full participants only

Afternoon tea - provided

4.00 pm – 6.00 pm - Feedback sessions on your recorded conducting –

(With Graham Lloyd) full participants only

What you get

Full Participants

-        4 lectures designed to give you the knowledge you need to be an effective conductor

-        All course notes

-        2 x sessions in front of the band with one-on-one instruction and feedback on your time in front of the band with the same instructor.  Conducting time will be recorded and available for you to take away.

-        An effective approach to score study on the actual scores you will be conducting.

-        Time in the band observing the instruction given to other participants

-        Morning/Afternoon tea and lunches provided

Observers

-        4 lectures designed to give you the knowledge you need to be an effective conductor

-        All course notes

-        An understanding of effective score study.

-        Time in the band observing the instruction given to other participants

-        Morning/Afternoon tea and lunches (day 1 and 2) Morning tea only (day 3 and 4)
Costs                            early bird by August 19th               Standard registration
Full participant                               $420                               $520                                
Student                                           $370                              $470  
Observer participant                       $220                               $280                 

Venue – Macleod College

Bookings Wrights Music
 Justin Roguska M.0419 564 864

jroguska@hotmail.com

366 St. Georges Rd, Nth Fitzroy.Vic. 3068 , Australia.  Phone,
 (03) 9489 0809,  Fax (03) 9489 0066                     

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Angie Lloyd Office Manager

 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

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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
  

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