Teaching

Current course dates:

• RNCM Masters applications for September 2012 entry should be made through CUKAS before 1st October 2011
• RNCM Junior Fellow application deadline is 30th November 2011
• RNCM external courses for 2011/12 are 11th November, 17th February, and 4th - 6th May. Details at www.rncm.ac.uk/conducting
• 2012 Sherborne Summer School of Music is 5th to 11th August
• Private lessons in Manchester or London, including small group piano classes can be arranged as hoc. Email me for details

Currently, I teach conducting -

• at the Royal Northern College of Music (Junior Fellow and Masters conducting programme; courses for non-principal study conductors at undergraduate and postgraduate level; short intensive courses for external participants; courses for trainee teachers on the PGCE course)
• at the University of Manchester (an auditioned class who conduct student orchestras and ensembles; final year principal study students; 2nd year undergraduate course)
• for the Royal Air Force as part of their professional development training for future Directors of Music
• at Sherborne (formerly Canford) Summer School of Music
• privately (principally to a small number talented students who are not currently at the RNCM or Manchester University)
• as a guest at various master classes and courses   

I receive a tremendous number of enquiries from conductors of all ages asking about how to go about studying conducting - not always the easiest question to answer - so I will continue to try to develop this area of the site.

Visit the links below for a bit more detail about these various programmes -

• RNCM Masters Programme & Junior Fellowship
• RNCM external and non-principal study courses
• University of Manchester
• Sherborne
• Private Lessons
• Resources and articles

But what is it to teach conducting?  Leopold Stokowski once said "Conductors are born, not made". So can you teach it, and if so, how? Well, that's not a question easily answered but I firmly believe that (as with other musical disciplines) the appropriate guidance from a skilled teacher can enhance and develop the natural ability and talent required of any conductor.

As with instrumental playing, there are many different levels to consider. A basic technique of direction can most certainly be taught, and for anyone working with ensembles in music education or community music making arguably should be - a bit like driving a car, it can be dangerous to let novices loose before they have learned the consequences of their actions! Beyond that, we are into a wide variety of skills which contribute to make up the complex package that is a successful conductor. These include score study and preparation, rehearsal technique and strategy, leadership skills, knowledge of instrument and vocal techniques, programming and  many others. 

What I do not believe in is the production of clones. One can often spot a student's teacher from the way they conduct: for such an individual and personal activity I cannot see how copying the gestures of a stocky 80 year old man of 5 feet 6 inches height can help a 25 year old who is 6 foot 3 and as thin as a rake. But you'd be surprised...

My teaching is therefore influenced by this fundamental principle: each individual must develop their own language of gesture and the way the teacher can best help this to happen, initially, is by helping the  student to get rid of what does not help, as opposed to imposing solutions that have worked for them.

The next stage is to help  the student to develop their own individual approach and physicality. This is not something which happens overnight, and it is not something which is black and white in terms of "Do this". I constantly remember my studies with the great Finnish conducting teacher Jorma Panula. Often he would say next to nothing, and what he did say appeared to make little sense at the time. Very often though, during a rehearsal weeks or months later, the penny would drop and I would finally understand what he was getting at. That process of self discovery is vital in my opinion.

 

My trip to England for the International Conducting Symposium turned out to be even more than I could have imagined.   The great thing about the faculty was that they all had dfferent, but not opposing views on conducting.  They were able to give constructive criticism to the whole class, from the seasoned conductor to the less experienced.  But no matter who they were working with, the MUSIC was always the most important thing.

 

On a personal level I learnt an awful amount, not only from getting some podium time but also from watching other people conduct.  I felt that the approach of the tutors was great, it was refreshing to find conductors who are not trying to make ‘clones’ but develop the abilities of the individuals instead. 

 

I think the most important thing, apart form further developing my conducting technique, I have taken home is the knowledge of what it means to have a score studied: untill now I have thought that a simple - in musicology often (over)praised - Formanalyse and marked cues suffice. But conducting the 3rd movemnt of Paris Sketches and the Mahler experience successfully proved me wrong. I am also extremely happy to know that in some parts of the World orchestras are not out to get you, waiting for your mistake and then taking much effort in showing you you had made it!

 

Thanks again for a wonderful weekend. Had a rehearsal
yesterday, and several players commented on a great improvement in my conducting since last week, and what I really did was to conduct more by doing less.

Thank you very much for the fascinating insights over the weekend, and yesterday morning; my mind is bursting with ideas and I can see it taking a good few months before I have fully integrated all the excellent teaching over the weekend!

Thanks for a great week, I really feel the tuition from yourself and the team was excellent and feel that it has really set me up for the rest of my course and beyond. Long way to go yet though!