Keys! How to Set Up a Keyboard Group

by Kath Todd

Introduction

I have had the pleasure of running a considerable number of foundation level keyboard ensembles at the various schools where I teach but it has long been an ambition of mine to organise a weekly, borough ensemble where more advanced players can perform on a concert platform alongside borough wind-bands, orchestras and so on. A visit to Andrew Eales' inspiring ‘Premier Keyband' in Milton Keynes and my enjoyable experience as a tutor on Nancy Litten's Summer School in 2007 gave me the final confidence that I needed and with the encouragement of my Head of Service, October 2007 was set as the start date.

Choosing Members

Commitment and logistics were my first concern so I decided on a maximum of 10 pupils. Invitation letters were sent to enthusiastic borough pupils who had passed between Grade 1 to 3 piano or keyboard, enjoyed improvising and who were prepared to commit to weekly rehearsals and individual practice. It was interesting that some pupils were not at all interested in playing in a group. Is this because piano/keyboard players are often insular or because there are not enough ensembles around for them to see it as a natural thing? At any rate I ended up with a total of 8 willing participants.

Practical Matters

We needed good quality keyboards, keyboard stands, power supplies (remember to have them inspected!) and music. Much of this was kindly supplied by SYMSA, our local parents' support association. I also provided them all with plastic pocket folders to keep their music in.

First Meeting

This was purely social. As members ranged in age from 9 to 15 and most did not know each other beforehand it was important to break the ice with a few games and quizzes. I also organised a competition to design a logo which was subsequently printed on polo shirts. (I had already thought of the name).

First Rehearsal

This was pretty well a disaster! Our keyboard stands had not yet arrived so we ended up using a classroom with fixed keyboards facing the wall. Then we used Yamaha multi purpose adaptors which could not cope with the load so kept cutting out. Finally my sight-reading expectations had been set too high so I learnt a fast lesson about setting appropriate material and developing skills rather than expecting them to appear by magic. It goes without saying that careful and detailed rehearsal planning with both short and long term targets is essential.

Issues arising from the First Concert

As we started in October half term we only had 5 rehearsals before our first concert and with only 45 minutes per rehearsal it was amazing the group did as well as they did. Their confidence was not huge so it was evident that things needed to be improved. We did this by negotiating a longer rehearsal time and changing the evening to one where other borough groups were practising so the group could enjoy a tuck shop half way through the rehearsal and feel part of other music making. This helped them to relax more together as did a day trip to visit the Milton Keynes Keyboard Fair. That feeling of team bonding is very important and has had a very positive impact on all areas.

Amplification

This is something that we are still working on. We do need to be amplified in concert spaces. On the other hand the group need to hear themselves and have some control over the volumes. At present I am trying a mixer with sliders to operate channels next to me. We tried floor amplifiers but that was harder for me to adjust as well as play and conduct. We will also need fallback monitors. This means someone else has to be available to help! It also means that rehearsal time can be spent ‘messing around' with amplification as well as learning music and that there is an awful lot of ‘spaghetti' around. There is always a need for gaffer tape and an awareness of tripping hazards.

My role

I arrange nearly all the music for the group using both piano and keyboard notation and hopefully including parts suitable for all levels. The number of parts can range from 2 to 6 although 4 is an average. I try and share the parts out so that everyone can take different roles in various songs. It would be very boring if the lower level players always had to play the bass line. I also hope to use the Keyboards Together Books published by the ABRSM and I have bought some pieces from the NEKC website. In some pieces I play the chords but in others I ask pupils to take this role. In some I conduct (a skill I have never tried before so some improvement here is still necessary!) and in some I sit and let the group do it all themselves. I also record parts into their own keyboards for practice purposes. This is time consuming and a better solution would be if they all had keyboards with memory sticks but obviously keyboards with those are more expensive.

Positioning and Layout

Usually we rehearse sitting down but stand for concerts. We have decided to sit for the next concert as we are using a piano part with a sustaining pedal. It also solves the problem of having keyboard stands at different heights when people move around for different pieces. This means that everyone shares their keyboards and so becomes used to the vagaries of each instrument including registration memories and transposing. Incidentally we have found that the sound is more consistent if ‘touch sensitivity' is turned off. I started with 2 lines facing me but have since moved to a semi-circle approach which helps eye contact although there is still a problem with the shorter players finding it difficult to see over their stands.

Stage Skills

I ensure that pupils write in all registrations for each piece before the concert. I also have seating plans for each piece, which they make a note of. They bow at the end of each ‘set' of pieces. They wear Keys polo shirts, dark trousers or skirts and smart shoes. They have become extremely adept at setting up and putting away very quickly and safely.

Help!

Being part of a Music Service I have been very fortunate in enlisting the help of colleagues wherever possible. It would be easy for an electronic keyboard group to feel like the Cinderella group when compared to more established orchestral instruments but I have found colleagues, local and nationally, are only to pleased to help and offer advice. Don't be afraid to ask!

Finally

Leading this group has become one of the highlights of my week. The development of team bonding and good quality playing together is a common aspiration of all ensembles but with ours there is the feeling of breaking new ground as we are the first borough keyboard ensemble, and still experimenting with the sounds we can make. The children are punctual and committed (this is rewarded by 100% attendance certificates) and their playing is improving all the time. We have now increased to 10 with the new members slotting in very quickly. When circumstances allow I would like to set up a feeder group for younger members to join – but that will be another story.