Coaching Mozart's Quartets K. 458, K. 464, and K. 465

A music student at the collegiate level should be fairly proficient on his or her instrument, hence the student's acceptance into the music program. Although many string students have the experience of performing on his or her instrument, the student may not have had any or much experience working in a chamber music ensemble setting. Because each student has varying levels of experience, this treatise will discuss beneficial skills to help develop a string student's ensemble experience. These skills will be categorized in three different sections: listening, communicating, and synchronizing. Listening is the most vital component to successful chamber music, let alone music itself. Communicating is essential for the ensemble to function, including both verbal and non-verbal forms of communication. Synchronizing goes along with listening and communicating because even if the first two skills are achieved, the ensemble still must be in sync mentally and physically. Synchronizing also includes the technical attributes of chamber music playing, such as starting at the same part of the bow with the same articulation and bow stroke, and having the same tempo. The examples that will be used are from Wolfgang Amadeus Mozart's "Haydn" String Quartets K. 458, K. 464, and K. 465. Examples will be taken from each quartet, but the emphasis will be on each skill, not on a particular quartet. The discussion of these three skills is beneficial for any chamber music coach or teacher who hopes to maximize the potential of an undergraduate music ensemble consisting of string students with varying degrees of experience.