#265. Blend

One of the keystone, foundational concepts we all strive for in our ensembles is that of blend. Check any adjudication form or any journal article and you will see it right toward the top of the list of attributes for any ensemble. We can all agree on its profound impact on the success of our ensembles. It is quintessentially important. But in practice – in reality – there is one little secret we need to be ever-vigilant about. When saying the word “blend” in rehearsals, reminding our students to correct their blend, all too often the result of saying the word is that the volume simply gets softer. When they’re all playing along at a mezzo-forte volume, and we say “blend” with a questioningly powerful voice, almost instantly we are left with a mezzo-piano volume that is no better blended. Why? Because we musicians are somewhat, well, neurotic. Upon hearing that word, darn near every player in the room will think that they are the one sticking out with that less-than-attractive tone quality that is causing the problem, and they will get softer so as not to be heard. The obvious dilemma is when everyone does that, the result is only a softer version of the same unblended sound. The answer to this conundrum is for each player to work on their individual tone quality, and when the ensemble is playing en masse, for us to insist on the corporate volume staying the same as we work to identify and fix the errant sounds. Once we realize this problem, we’ll think more critically, and hopefully listen more critically, to what happens when we say that important, yet devious little word.

Peter Loel Boonshaft, Director of Education
KHS America