GACE MUSIC Performance Compentencies for Music Educators

Describe the basic elements of conducting technique

Conductor: The leader of the musicians. 

Conductor indicates tempo and meter. 

The conductor also prepares preparatory beats, and entrances and releases. 

Fermatas, Changes in tempo, Dynamics  

Describe the following conducting patterns: 2/4 ¾ 4/4 6/8 9/8

2/4 

1st beat: Down

2nd beat: Up

3/4

1st beat: Down

2nd beat: Out

3rd beat: Up

4/4

1st beat: Down

2nd beat: In

3rd beat: Out

4th beat: Up

Compound 6/8

1st beat: Down

2nd beat: In

3rd beat: Out

4th beat: Out

5th beat: Out

6th beat: Up

Compound 9/8

1st beat: Down

2nd beat: In

3rd beat: Out

4th beat: Out

5th beat: Out

6th beat: Out

7th beat: Out

8th beat: Up

9th beat: In

Explain the general principles for conducting beat patterns

The downbeat always indicates the Strongest pulse. Also Indicated by a Downward Stroke.

The last beat is always the Weakest pulse, Indicated by an Upward Stroke. 

Conductors may indicate subdivided pulses such as 8 pulses in a slow 4/4 movement to indicate fewer pulses. 

Describe the position of the baton and the various roles of the free hand while conducting

The arm should be a natural extension of the hand. It serves as a musical tool of expression. 

The Baton may be tightly held with only the first few fingers. And held tightly with passion. The Baton should be raised away from the body to be seen from all angles. 

The Free hand can reinforce dynamics, cues, releases, and modifiers.

Describe the posture conductors should have when conducting

The conductor's feet should be shoulder width with one more forward to maintain balance. 

Straight knees; Tall spine;

Arms should not be too close to the body & held up and outward.

Explain how to determine the number of beats to conduct based on tempo

The pattern should be determined by tempo, style, and meter. 

Excessive movements cause heaviness, which could slow down the ensemble. 

Faster the tempo = Fewer number of beats to indicate

Slower the tempo = Higher number of beats to indicate

Describe how to give a clear attack in conducting

Without a clear indication of the attack, the ensemble will not play together. This causes the ensemble to approximate tempo and rhythms which creates discourse. 

A Clear attack needs a Preparatory beat.

Describe how to indicate a fermata in conducting

Several considerations should be made, tempo, presence of a rit., length of the fermata, presence of a rest, and resuming the tempo.

IF Fermata on last note, the conductor should gesture in a circular motion downward as long as the fermata is. 

If music continues past the Fermata, the conductor should gesture outward to prepare the next beat.

If music continues after a Fermata with a rest, the conductor should indicate a cutoff and resume with a preparatory beat.

Describe how to create a clean release in conducting

A release is just as important as the attack. 

When indicating a release, there should be a preparatory beat to indicate the cut off. 

For a final note, the conductor should hold that position and move slightly outwards.

Describe the preparatory, active, and passive beats in conducting

Preparatory beats: Ready and ensemble before an attack & release to anticipate a cutoff.

Active beats: signal immediate changes. Marcatos, legatos, staccato, accents. 

Passive beats: do not signal immediate change like rests, offbeats, simple pulses. 

Discuss the conductor’s influence on an ensemble’s musical expression in performance

Coordinating rhythmic timing

Establish emotional content and musical expression

Energetic movements requires the conductor to exaggerate movements

Somber movements requires a heavier, slower motions

Describe the techniques used in conducting to convey dynamics and expression in music.

While indicating forte, Big gestures. The conductor also has a free hand to aid in getting more volume.

When indicating piano, smaller gestures.

Body language plays an important role,

Forte: Passionate, big movements

Piano: Heavy, sorrowful, slow movements

Describe the pros and cons of using recordings in studying a score to conduct

A score study can be beneficial and not.

Listening to an unfamiliar piece might help understanding. 

If the conductor has their own interpretation, it can help with tempo but cause a “Parrot” interpretation. (The conductor has not made their own in-depth interpretation)

May lead to musical characteristics not historically accurate. 

Every performance is framed by the Conductor’s interpretation. 

Discuss the challenges related to using recordings in score, study, and techniques to avoid these challenges

When using recordings, it is important to not copy the interpretation. 

The conductor should listen to more than one interpretation. 

Not conduct while the recording is playing

Listen to a variety of recordings for the score

List 5 to 7 musical aspects one should learn when studying a score

A Conductor's responsibility is to have an in-depth understanding of the music.

Instrumentation and Transpositions of the scored instruments. 

The Form 

The Harmonic and Melodic structure

The Balance of the ensemble

List techniques used to learn a score.

The conductor can play all the vocal parts together on the piano to be able to listen to voice leading and harmonic changes

Being able to play the accompaniment part

Reading the poetic text to get the ideal Dramatic Inflection

List 5 to 7 resources useful for score research

Conductors can refer to books, journals, articles to research the background of the work. 

Many works have ties with literature, dance, visual art, and theater.

It all aids the conductor’s understanding.

Describe the musical elements involved in a conductor’s musical interpretation.

Conductors must consider the stylistic & musical elements of the music. 

Their vision should be clear in the performance. 

The beginnings, climaxes, endings should all be understood. 

Knowing the historical background is good as well.

Discuss the various musical elements important in score marking

Marking the score saves time in rehearsals. 

The Conductor should mark entrances, tutti sections, fermatas, cadenzas, free-hand cues.

Define and describe the use of ostinato in accompaniment

Ostinato: a short repeating accompaniment pattern throughout a musical work.

Similar to a drone, The Ostinato provides a stable foundation for the main melody. 

In Improv, it serves as a tool for new melodies. 

In Baroque music, it is termed the Basso Ostinato and can feature both harmonic and melodic properties. 

In Jazz, it's termed as the Riff or Vamp. 

Define and describe the use of arpeggiation in accompaniment

Arpeggio: a chord that is played note by note successively.

Commonly played from the lowest note to the highest. 

In Accompaniment, the musician plays chords as arpeggios. 

It can fill in the texture of the sound to add forward motion.

They tend to soften the delivery of the accompaniment, giving lightness like harp music.

Define and describe the use of blocked chords in accompaniment

Blocked chords: Pitches played simultaneously. 

A player can combine notes written separately or play a chord chart. 

Blocking the chords can help simplify the sight-reading process.

Blocking chords provide a quick method of accompaniment if reading a chord chart.

Describe cost-effective ways of publicizing music programs and events

Music programs have limited budgets. 

Concert publications through social media are cost-effective.

Parent committees can promote the program through fundraising.

Describe the steps involved in preparing program notes for a performance setting

Program notes need historical & contextual research and background.

Good starting point: New Grove Dictionary of Music and Musicians.

Offers up-to-date resources.

Describe the essential elements included in program notes

Program notes should be a guide for the audience while listening.

It should provide key elements to understanding the work; like background and history.

The notes need to enhance the listener’s experience. 

Program notes should not have personal facts.

Describe the role of the music educator in teaching concert etiquette.

Advocate of proper Concert Etiquette. 

Students need to act as a musician and an audience member.

Students should learn how to bow, have good posture, and eye contact.

Good audience technique includes: peer performance, polite listening, withholding clapping between movements, and applause after. 

Compare and contrast appropriate etiquette for 3 different types of performance venues

Different Etiquettes for different venues. 

Classical Concert: no talking, applause at the end of a musical work.

Jazz audiences: clasp, give sounds, to give admiration.

Rock Concert: audience members can talk and give sound approvals

Describe the role of the breathing warm-up, and give examples of breathing warm-ups.

Breathing warm-ups engage the diaphragm for supported singing and help warm the vocal cords.

Breathing mentally centers the singer to be mindful. 

One warm-up has the singer taking a deep breath over as many counts as possible, holding it, then slowly letting it go.

Another warm-up has the singers exhale on a pulse with an open mouth “ha”

Discuss the importance of warming up for an instrumental or choral ensemble

Warming up centers the ensemble to get ready to perform. 

Warm-ups serve as a unifying tool for the ensemble to being listening to each other. 

It promotes blood flow.

Every instrument should be warmed up and its mechanisms should be stretched and lubricated. 

Without a warmup, singers could damage their voice and instruments could suffer.

Describe the correct use of breath for singing

The Breath has a key role, it produces a controlled, robust tone while keeping the vocal cords in good shape. 

Inhale first, should be deep and contract the diaphragm

Singer must taken control of the exhale, because 

The Flow of Air through the Vocal cords results in Sound

The SInger must use great care to not allow the chest to collapse. 

They use their abdominal muscles to get that steady stream of air. 

Discuss the importance of long tones for brass players

Long tones allow the performer to adjust pitch. Timbre, vibrato.

It increases stamina, and strength.

The performer should focus on the quality of the note.

List 4 to 5 physical warm-ups to prepare the chorus for singing

Physical Warm-ups help the body release any tension, it also increases blood flow.

One example is taking a deep breath and releasing it with a lip trill.

Another example is having the mouth wide open while imitating chewing. 

Stretching is important as well.

Describe the ideal posture for singing

The best posture should engage the whole body. 

Feet shoulder width apart, one slightly in front.

Weight slightly forward.

Knees loose.

Hands relaxed and by the side or expressing vocal lines.

Abdomen should be active.

Arms and shoulders relaxed. 

Chest held high. 

Chin level to the floor.

List 3 to 5 vocalization warm-ups for choirs.

The Siren warm-up is where all singers sing to the upper reaches of their range, and slide back down to the lower reaches.

Pentatonic scales upwards and downwards are a good warm-up.

“Mommy Made Me Mash My M&Ms”

Do Sol Do

Sol Mi Do

Open vowels 

Ee eh ah oh oo

Describe the importance of warming up on wind instruments

Warming up centers the mental state. 

Warmup promotes blood flow to the fingers and the embouchure. 

An instrument will be cold if not warmed up, which hurts the tone.

Describe the use of solfege in kinesthetic pitch learning

Solfege originated in 17th century Italy. 

It is a vocal exercise using the syllables for singing the pitches of the scale.

Solfege can help students understand high & low pitch. 

Hand signals are used to indicate which pitch is being sung.

DO RE MI FA SOL LA TI DO

Describe the advantages and disadvantages for conductors to individually tune each student’s instrument

Helping tune students can save time and confusion.

It also teaches them how to tune.

Conductors should tune the instruments in the beginning. 

Tuning can detract from the limited rehearsal time.

Explain the teaching goal of using intonation spot checks of different sections during a rehearsal

The director can spot checks for each section.

Isolating instruments for intonation can get the students to listen to themselves and others.

Students can adjust their pitch

Brass: slides

Woodwinds: mouthpieces

Strings: tuning pegs

Vocalists: adjust the voice

Discuss proper brass embouchure for good tone quality.

Consistent breath, deep inhales, controlled exhales.

Proper embouchure needs to be here. 

Brass: lips are the source of the sound waves. Mouth cavity open, lips together for an “mmm” sound.

Lips should buzz while being relaxed, corners should stay firm.

Describe the various tuning strategies in an instrumental rehearsal

A more experienced ensemble can tune based on the lead oboe or lead clarinet playing the concert “A” pitch.

Conductors can also ask each section to tune by themselves.

Describe the theory behind tuning an ensemble upwards from the bass

One method is the tune from the lowest pitched instrument. 

Brass goes first to tune, then the higher pitched ones go next.

Theory is other instruments can more easily hear their tuning pitches because of the overtones and harmonics from the bass.

Explain the physiology and musical goal of lifting the palate in vocal technique

Soft palate known as the Velum, the soft tissue at the top of the mouth cavity.

Responsible for closing off the nasal cavity.

Singers practice singing with an open throat where the Velum is Lowered and the Larynx is Lowered. 

Allows the sound to be more relaxed while easing the health of the voice.

When singers lift the Velum, more resonance happens, more warm tones.

Describe the vocal technique to achieve vowel uniformity within a chorus

Vowel uniformity is very important in singing. 

The mouth should be open long instead of wide and low jaw.

Open throat while lifting the soft palate.

Should not swallow the sound, Direct the sound forward.

Describe the techniques to improve poor singing posture.

The weight of the body should be even on the feet.

Spine straight, shoulders back and neck held high.

When the singer is sitting, feet flat on the ground, straight spine.

Bodies should be balanced and relaxed. 

Describe the elements of music needed in order to successfully perform a piece of music

Performing a piece isn't just about notes and rhythm. 

Also analyze the melody, harmony, and form.

Climax (The tension & release) is important. 

Harmony helps with cues to the structure.

Historical context can help understand the intention and purpose.

Explain how pitches are defined by the G-clef, C-clef, F-clef

All clefs indicate the position of a particular pitch.

G clef & F clef most common

C clef line on middle C

Tenor clef when its on the fourth line from the bottom

Describe the role of notes, rests, and time signatures as musical symbols for rhythms

Rhythm is the movement of music over time. 

Pitch, duration, silence and meter help translate musical symbols into musical rhythm.

Meters define the organization of stresses and pulses

Whole note

Half note

Quarter note

Eighth note

Sixteenth note

Compare and contrast durational rhythm and tonal rhythm

Rhythm arises through two sources. 

Durational rhythm is tied with meter and consists of patterns, durations, emphases, and groupings.

Tonal Rhythm arises from a single tone, octaves, chordal and linear associations.

Compare and contrast the terms forzando (z), rinforzando (rinf), and sforzando (sfz)

All refer to increased loudness in sound.

All come from the Italian word “forzare” means “to force”

Forzando: Strongly accents the notes over the marks.

Rinforzando: Increase in volume over a group of notes through a phrase.

Sforzando: Two terms can be interchanged to mean a sudden increase in loudness of the note or notes. 

Define the following terms: con amore, con bravura, con brio, con fuoco, con grazia, con tenerezza

Con Amore: “With Love”; legato, rubato, more dramatic dynamics

Con Bravura: “With Bravery”

Con Brio: “With Spirit”

Con Fuoco: “With Fire”

Con Grazia: “With Grace”

Con Tenerezza: “With Tenderness”

Order the following by decreasing length of duration and describe each term: staccato, tenuto, portato, staccatissimo

Tenuto, Portato, Staccato, Staccatissimo. (Longest to shortest)

Tenuto “to hold” - Player must hold the note for its full value (horizontal  line)

Portato “to carry” - Player must smoothly detach notes but shorter in length (both dots & slur)

Staccato “to detach” - Player must detach each note (dot)

Staccatissimo - Extremely shortened note (wedge or pike)

Order the following from slowest to fastest and define each term: presto, larghissimo, andante, largo, vivace, larghetto, moderato, allegro

Slowest to Fastest:

Larghissimo, Largo, Larghetto, Andante, Moderato, Allegro, Vivace, Presto

Larghissimo: “Very broad”

Largo: “Broad”

Larghetto: Slighter faster than largo

Andante: “Walking manner”

Moderato: “Moderately” 

Allegro: “Fast”

Vivace: “Lively”

Presto: “Very Fast”

Define the following terms: affretando, slentando, allargando, calando

Affretando: “To Hurry”

Slentando: “To Slow Down”

Allargando: “To Widen”

Calando: “To Let Down”

List and describe 8 to 10 bowing techniques

Detache: Detach the notes; playing one note per bow

Ondule: Bow plays two adjacent strings

Sautille: Bouncing notes by the middle of the bow; Played fast

Sul Ponticello: Use of the bow close to the bridge; Harsh grating sound

Sul Tasto: Use of bow over the end of fingerboard; Light & Airy

Martele: Abrupt release of a stroke in a forceful manner

Ricochet: Rapid bouncing of the upper third of the bow while dropping the bow down

Loure: Slight detachment of the notes without changing direction

Col Legno: refers to using the stick rather than the hair.

Describe the performance approach of the cadenza in the 18th & 19th centuries

Cadenza: Section in a large concerto in which the soloist plays without any accompanying instruments.

Cadenza may be improvised or written out.

Occurs at the end of a movement. 

Cadenzas in the 18th & 19th centuries had soloists be very virtuosic.

Became very complex and thematic

Describe the importance of vocal timbre in characterizing different emotions

It is important to express emotion through Timbre.

Disgust & Loathing: darker timbre; Rasp; Harsh consonants

Hope & Assurance: brighter timbre; smooth flowing delivery

Sorrow & Gloom: dark timbre; shaky delivery

Anger & Vengeance: dark timbre; rich delivery