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Balance issues are usually two fold – either the melody can’t slow lyrical music are great tools to create blend, intonation,
be heard over the accompaniment or chords are out of breath support, and musicality. Blend and intonation is an
balance. For melody vs. accompaniment problems isolate the issue that must be continually reinforced.
melody so the ensemble knows to what they should balance.
Balancing chords begins with each player playing with a Dynamic issues seem to be the easiest to identify. The
characteristic sound and ensemble intonation (see blend). problems are that players are too loud, too soft, or don’t have
enough dynamic variation. The ensemble must understand
Isolate each chord within and between sections. Usually that often a composer will write ff on each part, but if each
principles of “pyramid balance” apply – lower parts should player plays ff the balance and blend will be destroyed.
play louder to achieve the desired balance. Other ideas for Ensemble dynamics and individual dynamics are each
achieving chordal balance include changing the seating of different and only the conductor has the full score to know
the ensemble and “stacking the sections.” Instruments on how loud each voice should be. Work with the ensemble on
the outside of the set or raised on risers will be heard better isolated chords to create five distinct volumes (pp, p, m, f, ff).
than those hidden inside the ensemble. Using better players After the balance and blend in each volume is established
on lower parts or adding players to lower parts will help to the conductor can then use a numbering system 1 through 5
ensure those parts will balance with upper tessitura parts. to signal changes in volume. Work on balance, blend, tuning,
and dynamics during the warm-up period. Always work to
Problems with blend are simply voices sticking out. improve your conducting to show gradations in dynamics
Intonation, characteristic sounds, and blend all go hand in and intensity.
hand. Work on both individual and ensemble sound and
intonation every rehearsal. All players must play with a Stylistic problems seem to be obvious, yet many ensembles
characteristic sound (a combination of equipment, play notes that make no musical sense. Style usually is
embouchure, air, and “ear”). All players should own and associated with articulation and note length. Singing is a
use a tuner. Good practice for establishing intonation and great shortcut to establishing style. The conductor and the
ensemble sound is to have the ensemble (including the ensemble should sing the music in the correct style. When
percussion section) sing. Always include one selection on the conductor is explaining the problem they should speak in
each concert and rehearsal where the ensemble can the correct style.
concentrate on sound rather than technique – chorales or

The conductor and the ensemble

should sing the music in the correct style.

When the conductor is explaining the

problem they should speak in the correct style.

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