CHAPTER 5 SCORE STUDY CLEFS AND TRANSPOSITIONS. SAMPLE SCORES = USEFUL TERMINOLOGY REHEARSALS SCORE STUDY The learning process involved in score study brings into focus all the areas of education and experience encountered thus far. Every note, symbol, and ‘marking on the page must be learned and placed in its appropriate relationship to the composition as a whole. Appropriate conducting gestures grow out of the musical requirements indicated in the score; all you must do is find and identify these: requirements and then apply the right set of gestures. In other words, your gestures should be a physical reflection of the sound being created bythe ense ere is NO problem involving general patterns of conducting, or specific gestures, _that cannot be analyzed_and worked out if you [Link] needs of the performers and the musical clues in the score. The primary route to comfort and security on a podium is knowledge and “command of the'score, and possession of the physical skills necessary to portray the composition visually. Each conductor must develop his or her own individual skills, based on personal capabilities, for score study and conducting. We recommend a three-phase series of study sessions, each accomplishing specific goals until the score is finally learned in every detail. A first look at the score, or a cursory overview of it, begins with page 1, which usually contains a large amount of information. Be sure that you have ‘a thorough grasp of every word and marking on this page. Use reference books such as Baker's Guide 10 Music and Musicians, Grove’s Dictionary of Music and Musicians, and the Harvard Dictionary of Music to find whatever additional information you may need to answer the following questions. 1 Composer. Where and when was this piece written? What do you know about other works by this composer? Who (if anyone) was the editor, the arranger, the transcriber, or the orchestrator? 5152 SECTION ONE + BASIC PRINCIPLES AND TECHNIQUES 2 Title. What can be inferred from the title? What do you know about the genre? Does the opus number indicate whether this is an early, middle, or late work by the composer? Is the date of composition given? 3 Dedication. If there is a dedication, what does it imply? For example, was the piece written for an ensemble or artist, and does that suggest anything about its level of difficulty? 4 Historical context. How does the work fit into the composer's overall output? What do you know about the style of the period and its performance practices? What do you know about the composer’ style? Are you familiar with recorded performances of the work by different ensembles? 5 Instrumentation. Identify the instrumentation, and review transpositions and ranges. Is the piece for a standard grouping of instruments or voices? ‘What is special or different in the listing? (Information on clefs, i transpositions, and foreign terms for instruments will be presented later in this chapter.) 6 Clofs. What clefs are used? It is important to become fluent in reading clefs and transpositions, in order to know how the score should sound at concert pitch (untransposed). A conductor loses credibility quickly if he or she cannot read clefs or transpositions correctly in rehearsal and is unable to determine correct notes for the performers. Practice reading the clefs and transpositions on pages 54-61 7 Is the score in concert pitch (C) or transposed? (Note: The abbreviation Cis frequently used for concert pitch, and a concert-pitch score is called a Cscore.) 8 What are the tempo indications and metronome markings? 9 Do you understand all the expressive markings and all the dynamic ‘markings? 10 Text. If there is a tex, is it in the original language or is it a translation? Who (if anyone) isthe translator?———~- — = 22s there an explanation ordescription-of unusual notation or effects?— Phase 2: Structural Features A second approach—now to the entire score—should examine the following aspects: 1 Formal design. How many sections are there? What are the characteristics of each section? Consider making a chart or table of the sections, listing their distinctive features. 2 Melodic development. Identify the main melodic materials. Think about their characteristics. Look for motives and imitation. What technical problems are there in the melodic material? Are there any awkward intervals or extreme tessituras? Do you find inherent intonation problems in unison and doubled parts? What are the problems of balance in doublings and unison? ¥ 11 Publisher. Does the name of the publisher imply anything about quality? 3(CHAPTERS + SCORESTUDY AND REHEARSALS Harmonic organization. Look at key signatures and the bass line to make preliminary decisions about large tonal areas. Look for pedal points, inverted pedal points, and main cadences. Then examine specific areas in detail to notice the type of chord structures used and the harmonic movement. Does the harmonic background merely support the melodic ‘material, or is it rhythmically aligned? Make a diagram of the tonal outline of the piece. 4 Rhythmic development. What are the distinctive rhythmic qualities of the piece? How do they change throughout each main section? Are there sections or passages that will probably require special rehearsal? 5 Texture. Is the texture polyphonic, homophonic, or monophonic? Does the scoring or instrumentation change within small or large formal areas? If so, what is the effect of each change? How does the density (sparse, thick, heavily doubled, widely spaced, etc.) within small or large formal areas affect the flow of the music? Text. If the music has a text, examine it. Look at the relationship between expressive features of the music and the meaning of the text. Make sure that you know the correct pronunciation of every word and the diction and vocal techniques involved in singing the text. 7 Conducting problems. Analyze each change of meter, of cadence, of ‘tempo, etc, Mark areas of concern in the score for future reference, study, and practice. Practice singing and conducting each major section and finally the entire score. Can you hear the lines and timbres in your mind as you conduct? You should be able to compare details of this work with similar details of other works in your aural memory, ZEB EB S| BEEBE E o Phase 3: interpretation ‘The third approach is to interpret the composition. Examine the following: 1. What distinctive characteristics of the composition should be emphasized? Consider melodic; rhythmic, and harmonic qualities; tension and release; ‘timbres; and structural design. 2 Can you feel and set a correct tempo for each section? Check your concept of tempos with a metronome repeatedly until you can accurately remember the right tempos. How does the structure of the piece evolve? Think in terms of bringing out the new structural features of each section so that the audience will hear them. 4 How do you want your audience to respond to this work? How can you Project your concept to the audience? You and the performers must hear and feel your own interpretation with such intensity and involvement that the audience will also hear and respond to it. This is similar to an actor’s feeling and projecting fear or happiness with such intensity that the audience experiences the same emotion. § Listen to recordings of other compositions by the same composer, or in the same style, or of the same genre. How does your interpretation : ‘compare with the musical thoughts and expression of other conductors and performers? BEE & ° = 2 | 53.| [54 seotionone + [Link] ano TecHGuEs A CLEFS AND TRANSPOSITIONS Alto and Tenor Clefs ‘As music notation and calligraphy developed over the past four centuries, a system of movable clefs evolved that placed C! (middle C) on various lines of the five-line staff. Each of the human voices had its own movable C clef (Goprano clef, mezzo-soprano clef, and so on), which tended to place most of the written notes in the general range of the staff, thus eliminating excessive j use of leger lines. This system has remained in use today, with two primary { C clefs employed in addition to the treble and bass clefs—the tenor and alto i clefs. Conductors must be able to read alto and tenor clefs with ease. Reading | C clefs should not be considered transposition; all notes are at concert pitch, \ The alto and tenor clefs are shown in Figures $-1 and 5-2. FIGURE 5-1 Ato cet. (nidtec) | e . UFlUmeUUOU eee ioune 52 | Tenor eet. (Middle C) Practice the excerpts in Figure 5-3, singing the names of the notes or playing the notes onthe piano. - : eee ‘Additional examples in alto clef can be found in viola parts in orchestral and chamber music; additional examples in tenor clef can be found in cello, trombone, and bassoon parts. FIGURE 5-3 Reading exercises in the alto and tenor clefs: (a) Peter llych Tchaikovsky, March Slay; (b) Eawara Elgar, Enigma Variations; (c) Michael Haydn, Quintet in F Minor, (@) Johannes Brahms, Concerto No. 2 for Piano and Orchestra, third movement. (a) March Slav.HBHEEBEEBEHEE FIGURE 5-3, (Continued) (b) Enigma variations. Andante (€) Quintet in F Minor. f (@) Piano Concerto No. 2 Andante Menuetto allegretto Vocal Transpositions CHAPTERS + SCORESTUDY AND REHEARSALS 55 Vocal music normally uses only one transposed voice, the tenor part, which sounds one octave lower than written, Instrumental Transpositions Transposing instrumental or vocal parts to concert pitch is one of the conductor's constant tasks. The individual performer sees only one or two written lines in a part and frequently needs instant confirmation or correction, of that part from the conductor. Understanding the process of transposition requires understanding the system of intervallic relationships that includes the concert pitch (the pitch that is heard) and the transposed pitch (the pitch that is written at some {interval from the concert pitch). An inexperienced performer will frequently think only in terms of the written pitch in the transposed part, not of the concert pitch relationships with the rest of the ensemble. But each performer can become more aware of these ensemble relationships through constant reference by the conductor to concert pitch during rehearsals.SECTION ONE + BASIC PRINCIPLES AND TECHNIQUES. Theoretical and Historical Background One basis for the transposition process that we use is the harmonic series, a succession of pitches produced when a pipe is blown and overblown or a string is set into vibration by being plucked or struck. The lowest pitch of the harmonic series is called the fundamental, and the subsequent tones are called overtones. Another term for the fundamental is the first partial, with each successive partial numbered consecutively. ‘The harmonic series of a pipe with a fundamental of C below the bass staff would produce the tones shown in Figure 5-4. The two commonly used systems of enumeration are indicated: the one above the staff is the fundamental with subsequent overtones, and the one below the staff lists each tone by partial number. The noteheads in black—partials 7 and 11—are badly out of tune and must be adjusted by performers. FIGURE 5-4 Harmonic series in C. Overtones Ist 2d 3d Ath Sth Gh 7th Bh Gh TO TTeh Before the invention of valves for brass instruments, during the second decade of the 1800s, the horns and trumpets of the orchestra and wind band were mainly restricted to the tones of the harmonic series. Pitches between series tones were possible, however, through hand positioning in the horn bell and through lip manipulation-with -the-mouthpiece,-When a composition required harmonic or melodic resources other than the tones in the C harmonic series, the performer changed the length of tubing on the instrument through ~ the use of crooks or slides, producing a new fundamental and overtone series. (The trombone is an excellent example of this process; its seven positions produce seven harmonic series—B-flat, A, and so on, through E.) Horn players of the late 1700s used a basic instrument of circular tubing with crooks that put the horn into harmonic series based on B, B-flat, A, A-flat, G, F, E, E-flat, D, C basso, and B-flat basso. Thus it became the performer's task to find a way to perform the part as the harmonic language of the classical period assumed more of a chromatic nature. The excerpt in Figure 5-5 illustrates the principle of transposition with the famous “horn fifths,” a set of harmonic-series tones that produced a sixth, a fifth, and a major third between the two voices. This is probably the most ‘common open-horn passage of the prevalve era, other than unisons and octaves. The concert-pitch result is shown in Figure 5-6, .CHAPTERS + SCORESTUDY AND REHEARSALS 57 FIGURE 5-5 Franz Joseph Haydn, Symphony No. 103, fourth movement. Allegro con spirito v3 Flauti Oboi Clarinets in BD Fagotti Commi in E> ‘Trombe in Bb “Timpani in EB} Violino 1 EEE BRBER ERE EE | | | Viola Violoncello Basso FIGURE 5-6 Haydn, Symphony No. 103, C reduction.5B SECTIONONE + BASIC PRINCIPLES AND TECHNIQUES Common Transpositions: C, B-Flat, F, and E-Flat The conductor will occasionally find other transpositions in various keys in baroque, classical, and impressionist music, but the primary transposition requirements for most nineteenth- and twentieth-century music are: * ©. One or more octaves upward or downward * B-flat. Major second, major ninth, major ninth plus one octave lower, minor seventh higher \ * F, Perfect fifth lower (if in bass clef, perfect fourth up or perfect fifth down as specified) * E-flat. Major sixth lower, major sixth plus one octave lower, minor third higher Occasional use of A (minor third lower) and G (perfect fourth lower) will i also be encountered, C transpositions are described in Figure 5-7. FIGURE 5-7 C transpositions, one or more octaves: (a) octave higher; (b) two octaves higher; (€) octave lower in vocal music; (d) octave lower in instrumental music. (a) Octave higher (8va). Instruments using 8va: piccolo; celesta. Written: Sounds: be. 7HS o 3 i (b) Two octaves higher (15va). Instruments using 15va: orchestra bells (glockenspiel). \ Weiter: ‘Sounds: | we gle «be f 2 & =} fe} Octave lower (Bba); vocal music: Used fortenor voiges = Written: Sounds: (6) Octave lower (0, nstramenal musi Instruments wing be gutar, stingban (lous § foruppertesstura;conrabessoon writen: sounds Se i == B-flat transpositions sound a major second (M2), major ninth (M9), or major sixteenth (M16) lower than written and may also transpose upward ‘a minor seventh (m7). The written part uses the key signature a major second above concert pitch; thus, the concert pitch of the example is F and the key signature of the written, transposed part is G. B-flat transpositions are | shown in Figure 5-8.(CHAPTERS + SCORESTUDY AND REHEARSALS 59 FIGURE 5-8 B-flat transpositions: (a) major second lower; (b) major ninth lower; (6) major fifteenth lower. (a) Major 2d lower. Instruments using M2 lower: B-flat clarinet, soprano saxophone, B-fiat trumpet, B-flat cornet, flgelhorn Written: Sounds: eS o (b) Major Sth (octave plus M2) lower. Instruments using M8 lower: bass clarinet, tenor saxophone, treble clef baritone. Written: Sounds Sa (©) Major 16th (two octaves plus M2) lower. Instruments using 16ba lower: 'BB-flat contrabass clarinet; bass saxophone. Written: Sounds: + be F transpositions (see Figure 5-9) sound a perfect fifth (PS) lower than written. The written part uses the key signature a perfect fifth above concert pitch; thus in Figure 5-9 the concert-pitch key signature is F and the key signature of the written, transposed part is C. FIGURE 5-9 transposition: perfect fifth lower — Written: 1 Transpositions in E-flat (see Figure 5-10) sound a major sixth (M6) or an octave plus a major sixth lower than written. The written part uses the key signature a major sixth above concert pitch; thus, in Figure 5-10 the concert pitch is F and the key signature of the written, transposed part is D. E-flat transpositions also occur upward (E-flat clarinet and E-flat trumpet; concert pitch is a minor third higher than the written pitch). FIGURE 5-10 E-flat transposition: major sixth lower. we seunee == a # —F ©60 SECTIONONE + BASIC PRINCIPLES AND TECHNIQUES Quick-Check Transpositions for Orchestras and Wind Bands Today, typical orchestra and band scores include the following instruments and transpositions. All other instruments listed on a score should be assumed to be written and sounding at concert pitch unless a key designation is given. Instrument C piccolo English horn E-flat clarinet, (transposes upward) Beflat clarinet, Acdarinet Alto clarinet Bass clarinet EE-flat contra-alto clarinet BB-flat contrabass clarinet Contrabassoon ‘Sounds Octave higher PS lower m3 higher ‘M2 lower m3 lower M6 lower M6 plus octave lower MI6 lower (two ‘octaves plus M2 ower) Octave lower Written Soundsgn SD Instrument Soprano saxophone Alto saxophone Tenor saxophone Baritone saxophone Fhorn C trumpet B-flat trumpet Ditrumpet (transposes upward) B-flat piccolo trumpet (transposes upward) String bass Celesta Orchestra bells CHAPTERS + SCORE STUDY AND REHEARSALS ‘Sounds M2 lower M6 lower M9 lower M6 plus octave lower PS lower Concert pitch M2 lower ‘M2 higher m7 higher Octave lower Octave higher ‘Two octaves higher (15va) Written ‘Sounds a & & v 6162 SECTIONONE - BASIC PRINCIPLES AND TECHNIQUES SAMPLE SCORES Multistaff Vocal Scores Choral music is normally written as a four-part score with one staff each for the soprano (S), alto (A), tenor (1), and bass (B) parts—referred to as an SATB score. Each part can be divided into separate voices by writing divisi on one staff or by using additional staffs. Each type of vocal ensemble is identified by the number of treble or bass parts: SSA, SSAA, TBB, and so on, Al voices except the tenor part are nontransposing, The tenor part sounds | one octave lower than its treble-clef notation. Piano reductions are often included with vocal scores for rehearsal purposes. Figure 5-11 (opposite page) shows a typical SATB score, with piano accom- paniment for rehearsal only. 4 The Condensed Instrumental Score The condensed (short or reduced) score has been in common use in nonclassical | compositions for more than a century. Although generally an inferior guide | to the intricacies of orchestration, it has served musical theater, ensembles i of the salon orchestra type, military and concert bands, and, more recently, jazz ensembles. The primary disadvantage of the condensed score is that it i has only two or three staffs, so that creative orchestration indications are precluded and octave distributions of tones are not always indicated, Correcting mistakes in rehearsal is often a problem because the conductor cannot be certain about the accuracy of each individual part; many hours must be spent before rehearsal comparing parts with the score and adding additional markings to the score where necessary. On the positive side, condensed scores are easy to read—even though the information is incomplete—and placing more bars of score on cach page greatly reduces page turning during performances. All parts in condensed scores are-writtenin concert pitch; except forsome European ‘wind band scores that are printed in B-flat transposition. a Several publishers have attempted to upgrade the usual two- or three-line ' ‘wind band score by increasing the number of staffs and assigning a treble staff and a bass staff to both the woodwind and the brass families. This four-staff version also has a separate line or group of lines for the percussion. Regardless of what efforts are made, however, condensed scores are usually an impediment to efficient rehearsing. Nevertheless, there are still in existence many works for which only a condensed score is available; therefore, every conductor should learn how to cope with these scores. ‘An example of a Broadway musical score, with a voice line and text plus a piano reduction of the orchestration, is the song “The Company Way” from How to Succeed in Business without Really Trying (Figure 5-12, page 64). In this example, as in those that follow, the conductor must assume that “tutti” does indeed include all the voices available and that doublings will continue until canceled. . The three scores in Figures 5-13 to 5-15 (pages 65-67) illustrate varying amounts of information, Each is a setting for concert band using complete instrumentation.CHAPTER'S + SCORE STUDY AND REHEARSALS FIGURE 5-11 Four-part vocal score: Orlando di Lasso, Matona, mia cara ("Matona, lovely maide (English version by William Alexander Barrett; edited by H. Clogh-Leighter) a Moser ively Lf sono (fete = Ma -to-na, lovely maid-en, 0 listen tom the ALTO TENOR S555 Ween de” og eet. a. oe ass 3 Me-to-m, le -ly mailse-O Utetn a ake ae Melee wd Te Ge ke Moderately lively — SS a a 7 i muavo 4) Ferorreharat ny) i i 1 = tothe song Copyright 1934, .C Serer Matic Co, Boston. Ul by pemison, 1 sg = === = mlm, Othe tog i obese ee fe = I aS a ec om RPL Se I = ‘e ae I ——" mS £.64 SECTIONONE + BASIC PRINCIPLES AND TECHNIQUES FIGURE 5-12 Frank Loesser, How to Succeed in Business without Really Trying, “The Company Way.” @ In2 As before rau: Piano pa- ay pats ome there Til tT a a fr the com = pasny tells Bim, that hel ‘What - ev | y ie may think, 1 think was “The Company Wy" by Frsk Laer from How to Succeed x Buss wihou Realy Trig (215s, 1962 Frank Musi Corp-teeaonal copyright oaree Al is reserved Used byperitsion. : 3 ”CHAPTERS + SCORESTUOYAND REHEARSALS 65 FIGURE 5-13, Georges Bizet, L’Arlésienne ("The Woman of Arles"), Suite No. 1, Prelude. (Arranged by L. P. Laurendeau.) Alleg. ¢ SS = ae on Seppe eS = Se Pre SSS he66 SECTIONONE + BASICPRINCIPLES AND TECHNIQUES FIGURE 5-14 Roger Nixon, Fiesta del Pacifico. Allegro = 128) fereed f* f f= Ccoraets D1 TV (0rd) (Corus Il (ea23 sre.) Corsets MII SS Ff stace. Smee SS es, prem |e s f. 5 j j eer 7 cr a NPosases, Ban Ste Base pizt | ae oP © Copyright 1946 by Booty dc Hake Ine. Copyright renewed, Repitd by prisonCHAPTER'S + SCORE STUDY AND REHEARSALS FIGURE 5-15 Vincent Persichett, © Cool fs the Valley. Dolce ed espressivo (= (exible pace throughout) - 80) mb ToBt ‘mp Taps ne (© 1972 Elkan- Vogl oe Ved by pemition ofthe publisher, ‘The jazz ensemble score (or chart, as it is frequently called) is found in feveral forms. Figure 5-16 (page 68) isa typical jazz score. It shows the notation for every instrument, with each section of the ensemble grouped on one Te alls: Harmonic relationships between sections can be quickly seen, because all pars are in concert pitch. A piano-string bass part with harmon: chord symbols is shown in Figure 5-17 (page 69). 6768 SECTIONONE - BASIC PRINCIPLES AND TECHNIQUES FIGURE 5-16 Don Sebesky, Meet a Cheetah, HUB puaggg, Ba Rede Est Db7 pr Ebr DbTDT by DbT D7 Eb7 —-Db7 DT Saxe Tp D 2nd time only- - = =~ (Ge bellyPia ZRBEERTUEURBUEUT Tepe Piao solo Noe hn crn mar on at The enn wa 914 ae 5 Any A Tmt roto a Copyright © 1967 Thurséey Mai Corporation. Use by prison. light reseedCHAPTER'S + SCORE STUDY AND REHEARSALS FIGURE 5-17 Manny Albam, Pennies for Evan, ehythm section score. PIANO = 132-138 (1) Dm76n5 Gat Am? Gut Gm? Ds9_C+709) G F Dm7Gn5 7 i! Fr Bb Bi9G5) bs 17) Gat Ds965) o_o ib DmiGns ar a7 Armin Gm7 D9 C4769) F Cm? Fr Bemaj? Bb 6970 SECTIONONE + BASIC PRINCIPLES AND TECHNIQUES USEFUL TERMINOLOGY | Foreign Names of Instruments | English Italian German French | Woodwinds piccolo flauto piccolo Kleine Fldte petite fitite ottavino | flute flauto Flite, grosse lite Flite | oboe oboe Oboe or Hoboe _hautbois | English horn Como Inglese Englisch Horn cor anglais | clarinet clarinetto Klarinette clarinette | bass clarinet _—clarinetto basso.-Bassklarinette _—_clarinette basse | bassoon fagotto Fagott basson contrabassoon _contrafagotto. -—-Kontrafagott_ —_contre-basson saxophone sassofoné Saxophon saxophone | Brass horn como Hom cor trumpet tromba Trompete trompette cornet cometto Komnett cornet & piston Fluegelhorn, flicorno Bugle bugle trombone trombone Posaune trombone { euphonium baritone saxhorn Baryton basse & pistons | tuba tubadi basso —_Basstuba tuba basse Percussion timpani or timpani Pauken timbales | kettledrums xylophone silofone Sylophon sylophone marimba marimba ____Marimba. —marimba— i glockenspiel —_-campanelli Glockenspiel _jeu de timbres ! or carillon r Vibraphone ~~ vibratono ‘Vibraphon Vibraphone — bells or chimes campane Glocken cloches | snare drum tamburo Kleine Trommel tambour or caisse claire tamburo Rihrtrommel tambour bass drum (gran) cassa grosse Trommel _ grosse caisse i cymbals piatti Becken eymbales il field drum suspended eymbal | gong or tam-tam triangle tambourine castanets rattle (or ratchet) wood block cowbells [f sleighbells {I slapstick or whip | celesta piatto sospeso tam-tam triangolo tamburino castagnette raganella ccassa di legno campanelli di acca sonaglia frosta celesta hangendes Becken Tam-tam. ‘Triangel Schellentrommel or Tambourin, Kastagnetten Ratsche Holzkaste Heerdenglocken ‘Schellen Peitsche Celesta cymbale suspendé tam-tam triangle tambour (de Basque) castagnettes erécelle bloc de bois agrelots de vaches, grelots fouret célesta = oe ee Oe SS ee lS COCHAPTERS + SCORESTUOYANDREHEARSALS 71 English German French | il ‘Strings ! harp arpa Harfe harpe violin violino Violine violon o viola viola Bratsche alto violoncello or violoncello Violoncell violoncelle cello i double bass contrabasso Kontrabass contrebasse i: ‘String Bowings and Articulations Term Definition i am Steg (German) At the bridge of a stringed instrument, an dem Grifforett (German) Play stringed instruments on the fingerboard. i punto d’arco (Italian) With the point of the bow. archet (French) With the bow. arco (Italian) With the bow. ft Bogen (Bog.) (German) With the bow. : corda (Italian) String. détaché (French) Each note bowed separately, played broadly. i Fr, Frog To be played near the frog. jeté (French) “Thrown” bow (flying staccato). legno (Italian) Wood. y i col legno (Italian) With the stick of the bow. } nn 2 e — Lower half of the bow- i I M Middle of the bow. { Pizzicato (pizz.) (Italian) ._Pluck-stringfs)-with-finger(s): a _— Ponticello (Italian) A light tone, sounding upper partials by i I bowing near the bridge of a stringed ' instrument. \ Pt,, Point To be played near the point of the bow. I saltando (salt.) (Italian) Bounce the bow off the string, using short, quick bow strokes. | scordatura (Italian) Special tuning of a stringed instrument, I spiccato (spice) (Italian) A light, bouncing bow movement. spitze (German) Point of the bow. I sul (Italian) On (as in sul D, on the D string). sulla tastiera (Italian) On the fingerboard. sul tasto (Italian) On the fingerboard. I sur la touche (French) On the fingerboard. sur le chevalet (French) Bow close to the bridge. Sur tine corde (French) Play on one string. (| n Down bow. v Up bow. I72 SECTIONONE + BASIC PRINCIPLES AND TECHNIQUES Term Definition UH. Upper half of the bow. \ WB. Whole bow. bowed tremolo f Very fast separate strokes on the same pitch, near the point for soft dynamies and near the middle for louder dynamics. déaché IT Played with separate bows; in a very rapid détaché, the bow bounces (spiecato) from the string (sautille) fingered tremolo $3E2= Played like a til, for intervals larger than a whole step. Played with left-hand fingers and single bow. harmonic, Lower note is stopped by the frst finger and artificial = upper note by the third or fourth finger. string and producing a natural overtone. glissando es Slide. (gliss.) harmonic, A String is touched lightly atthe point indicated natural SES by the diamond-shaped note, thus dividing the Notes under the slur are played with one bow direction. Bow pressure is released slightly to i make a subtle articulation of each tone. Heavy accent with clear separation between notes. portamento $= A smooth, short slide leading to a note. left-hand pizzicato_3 3 String is plucked with the finger(s) of the left hand. Bow moves in one direction for each slur and ricochet ‘ounces for each note. (Actually two-or more spiceatos with one bow direction.) sur ae Bow moves smoothly in one direction while the left-hand fingers change the notes. slurred staccato 45733 Played in one bow, stopping between notes to articulate spring bow = how bounces across the stings, playing each arpegeio #7? string in sequence, spiccato. 4343 Bouncing bow. Bow leaves the string between notes. A rapid alternation to the half step or whole step above.CHAPTERS + SCORE STUDY AND REHEARSALS REHEARSALS Rehearsal Planning The planning recommendations that follow focus only on understanding the ‘composition and leading the ensemble. Specific aspects of vocal or instrumental technique, such as articulation, tone production, and diction, are not within the scope of this book. Other sources which cover those areas are listed in Appendix 8. You should make these books a part of your personal and professional library. Your study of the score must lead to a clear, detailed mental image of the piece, and ultimately to your own interpretation of it. You should also determine the strengths and weaknesses of the ensemble, anticipate what will need to be done in problem areas, and establish specific objectives, Prioritize the objectives and plan a rehearsal procedure for each. In some cases, the Performers will be able to accomplish an objective simply by being told or shown through musical examples; in other cases, you will need to have a plan for isolating individual problems and using specific rehearsal procedures. Rehearsal Procedures: A Basic Repertoire Successful conductors develop a repertoire of rehearsal procedures for teaching Specific concepts and correcting common problems. This personal repertoire of analytical and rehearsal techniques may be expanded by observing other conductors, by creating new ideas yourself and trying them out in rehearsal, and by reading additional books, such as those listed in Appendix 8. As & conductor, you will decide what needs tobe done and how to do it. Be Prepared with two or three alternative approaches for each potential problem. If the first approach doesn't work, try to achieve the desired result with 2 different approach. This calls upon all your musical experience and knowledge -[Link] one of the most-challenging and gratifying aspects of Conducting. In selecting procedures, itis always necessary to consider the experience and maturity of the performers, The list below includes some ideas that would ‘Work only with professional-level musicians, and others—intended for younger students —which would seem condescending if they were used with good high school or college students, The list is a basic repertoire of procedures. Evaluate these as you see them used in the conducting class and in rehearsal or performances of all types of ensembles. Discard those that don't work for you and try developing other ideas. Expanding this repertoire and refining your skill in using it ‘will be gratifying lifelong pursuit. Style 1 Use concert pitch, not transposed pitch, when demonstrating or discussing melodic and harmonic material, . 2 Sing to demonstrate. Describe the style in musical terms. Avoid using street language to describe an artistic event. 3 Work on one small section of the piece that embodies the essence of its style: Establish a concept of style in this segment by rehearsing it thoroughly and then ask the performers to extend this concept to similar sections of the piece 4 Play recordings to illustrate other approaches to the work, or to works in a similar style. 7374 SECTIONONE + BASIC PRINCIPLES AND TECHNIQUES 5 Ask individual players to demonstrate their concept of the style. When you find someone who does it well, use that as an example to establish the concept for everyone, pointing out why itis a good example. Rhythm i J J 4 Identify each problem and give clear, positive instructions for correcting I it. | 2 Demonstrate the correct rhythm by singing it or tapping it. 3 Teach the rhythm to everyone. Have everyone sing it in unison or play I it at a designated unison concert pitch. 4 Write it on a chalkboard and have everyone sing or play it in unison. I 5 Have everyone say it in rhythm syllables. 6 Have everyone conduct while singing or saying the rhythm in order to i feel the pulse. I 7 Have one or more students play the part melodically while others say the i rhythm in syllables. ] I | I , { Intonation | 1 Always tune to a reliable reference pitch. Use an electronic tuner. 2 Tune to more than one note. 3 Encourage students to work with a visual and audio tuner outside of rehearsal to learn the intonation characteristics of their instruments. In addition to checking the visual tuner, have them listen to beats between their own pitch and that of the tuner. (Beats are pulsations in sound created by two pitches that are very close together.) 4 Make the players and singers feel individually responsible for intonation. impression that it is thé conductor's responsibility to make decisions for every performer. ———— 5 "Wher you hear “ai intonation problem-ask the-performers-to listen-to~ — it and to decide how they can solve it, rather than just telling them how to correct it, This will take longer at first, but it will help them develop independence, which will eventually save time. 6 Tell performers who are out of tune to listen and tune to someone who 4 is in tune. Instead of “Clarinets, you're out of tune,” consider saying | “Clarinets, the trumpets are in tune. Listen to them and tune to them.” 7 Developing a good sense of intonation is an absolute ‘necessity for a successful conductor. Even though errors of precise pitch determination may occur, do not allow these to deter you from working to develop finely tuned aural skills. Balance and Blend 1 Describe problems of balance and blend, saying what needs to be louder i or softer. 2 Ask the performers to listen and identify balance problems. 3 Discuss timbre of the instruments to create a blended sound. 4 Balance a single chord to establish the sound of the correct balance, and then ask them to play or sing the section with that balance.=m -& —Z_ i i ee mm CHAPTER'S + SCORE STUDY AND RENEARSALS § Create the chord from the bottom to top: “Basses. Now tenors, tc)" Reverse the procedure. 8 Ask for parts of the chord: “Let’s hear everyone who has the root. Now add the third. (Etc.)” Make ear training part of every rehearsal Technique 1 Isolate the problem and work on it. Give appropriate instructions, 2 Take a very slow tempo and work for precision and control Immediately repeat the section several times, gradually increasing the tempo, 3 If more than one section of the ensemble is involved, it may be helpful to rehearse the sections separately, 4 Find one or more performers who can perform the problem area correctly and have them demonstrate. Having them model a correct performance enables the others to hear the concept, Warm-Ups 41 The warm-up should produce physical and mental readiness for the rehearsal. 2 Warm-up materials should be related to the music to be rehearsed. § Fspecially for younger performers, the warm-up period is an ideal time to Mork on perfecting fundamentals of tone production, technique, and articulation, 4 Emphasize listening, Emphasize concentration. § Introduce enough variation into the warm-up exercises each day to keep them from becoming a mindless ritual, & Keep track of the time and avoid spending more time than you planned for. Organizing Rehearsal ime "ih general, rehearsals should begin and end with a piece or section which the ensemble is able to perform with a satisfying musical effect and which establishes a refined ensemble sound with good balance and blend. Avoid Starting or ending the rehearsal with a piece or section that leaves many of the performers uninvolved or is unmusical because of technioct deficiencies. 2 Maintain a balance between working on individual parts or detail and srorking with the whole ensemble, Remaining inactive for long. periods is frustrating, even for mature players, and is a major cause of discipline problems for young players, 3 In general, think in terms of working from the large scale to smaller, individual parts and back again to the whole. This could mean reading & Piece through to get @ general concept, working on details, and thes playing the piece or large sections through to relate details to the whole This concept can apply to entire compositions or to large or simall sections, but there may be reasons for making exceptions to it. It a read-through §8 too poor to give @ good impression of the style or flow of the mur Xt may be better to establish a concept by first taking a small section and Thorking on it until it gives a sense of the essence of the piece, and only then reading through the whole work. 75716 SECTIONONE + BASIC PRINCIPLES AND TECHNIQUES | | | | | | 4 Try posting a weekly rehearsal schedule with specific sections of works jdentified for each rehearsal. This will allow performers to set priorities and prepare for each rehearsal. Make a long-term rehearsal plan for several weeks of work to set long-range goals. Each schedule should contain clear, attainable goals for the ensemble and for yourself. Review your long-term rehearsal plans and continually revise and modify them on the basis of the progress of the ensemble. Developing Musicianship and Musical Literacy Too often, students graduating from high school after being in music classes and ensembles for several years know very little about music—even the music that they have performed. Conductors who work with student groups can easily improve this situation by teaching the students at least two or three things about each piece that they perform. A particular composition, for example, might have motives and a change from polyphonic to homophonic texture. Point out these features and ask students to identify them in other pieces, Ask students to point out specific structural features as they learn more. This is a very modest goal, but the results over time will be substantial, and the possibilities for extending this process are endless. Leadership You probably have definite ideas about the kind of rapport that should exist between conductor and performers, based on performing for conductors you have liked and disliked. As a conductor, developing that rapport in a positive way will be one of your major responsibilities. Clarify goals for yourself and discuss them in class. This is an individual, personal matter, but consider the following: 1 Treat your performers with dignity and respect. e anyone; espevially less-developed performers. 3. Do not use intimidation to accomplish your goals. 4 Use first names often, to validate the performers as individuals: — 5 Many music teachers and conductors give mostly negative feedback. Make a point of listening for improvement and giving enthusiastic praise. If the number of problems seems so overwhelming that it is hard to find anything to praise, the music you have selected is probably too difficult, or you haven't used a well-organized approach to teaching and rehearsing it. 6 You should always challenge the group to do better. They should have to work hard to satisfy your standards, but they should see this as a sign ‘of your respect for their ability and potential. 7 Make a point of giving each section of the ensemble positive feedback ‘on a regular basis. Some conductors make a habit of focusing on some sections while ignoring others. 8 Teach the performers to follow your conducting gestures. Sometimes it is better to say “You're not following my indications; please watch more carefully,” than to say “Make more crescendo in measure 4.” 9 Conductors often ask verbally for results that they have failed to indicate through gestures. (An example is the conductor who gives an instruction for an accent or a dynamic change but didn't indicate one.) When you give a verbal instruction, ask yourself if you did your best to communicate it through your physical conducting. 2 Do not embarrass or hum=" 2S SE EE HH ASSIGNMENTS (CHAPTERS + SCORE STUDY AND REHEARSALS Postrehearsal Evaluation Afier the rehearsal, make an evaluation, reflecting on the results of what you did. What worked? What didn't work? What needs to be done at the next rehearsal? How did the players respond? Did you use time effectively? Were you a confident leader? Did you provide useful assistance to the Performers? Did you communicate clearly? Did you give feedback to every section of the ensemble? Were there any conducting problems that made you feel uncomfortable? Did you check all aspects of the performance? ‘You can make and review an audiotape or videotape as a part of this Procedure. If you tape a rehearsal, check the percentage of time you spent talking to the ensemble and compare it with the percentage of time you spent actually performing, We want to emphasize again that this list is only a beginning, a way for You to establish a concept of how to organize your knowledge of rehearsal Procedures. You must continue to add to your knowledge and skill in a systematic way throughout your musical lifetime, 1 Rewrite the short sections of the score in Figure 5-18 (pages 78-80) to make a concert C score from the transposed score, 2 Write out parts for French horn and clarinet for the first two measures of the excerpts in Figure 5-19 (page 81). 3 At the piano, play the concert pitches that will sound for each excerpt in Figure 5-19 as though it were written for each of the following: ‘* English horn ~*~ French hom © Clarinet © Orchestra bells, “4 At the piano, play the concert pitches that will sound foreach of the excerpts in Figure 5-20 (page 81) as though it were a part written for each of the following: * Alto saxophone © Celesta * EE-flat contralto clarinet. © ‘Trumpet * Alto clarinet * Tenor saxophone * Baritone saxophone * Beflat clarinet Optional written assignment: Write out two measures of a transposed part for each of the above instruments, for the excerpts in Figure 5-19. (Assume that itis in C.) 5 Practice the excerpt for Chapter 5 in the Anthology. PERFORMANCE EXCERPT FOR CHAPTER 5 ‘Section Three, pages 215-225 5-1 Holst, Five Folksongs, “Swansea Town” 77B SECTIONONE + BASIC PRINCIPLES AND TECHNIQUES FIGURE 5-18 Léo Delibes, Coppélia. Voice 1, Bb transposition Moderato ice 2 Uo aspoton foice 3, ¥ transposition f Voice 4, C transposition > = ee 13 2eb 3F 4c1 Bb 2nb BF RBEEHEERBRBEHEHES & 40 molto ral. ‘molto ral a atempo pb : én dn > Eb = oF (Continued)80 SECTIONONE + BASIC PRINCIPLES AND TECHNIQUES FIGURE 5-18 (Continued) 1B 2b ar 40 55 rall exprestivo FIGURE 5-19 Excerpts for transposition practice: (a) Carl Maria von Weber, Der Freischitz ("The Freeshooter”); (6) Giovanni Gabrieli, Canzon septimi toni & 8 (“Canzona on the Seventh Tone for Eight Voices"); (6) Antonin Dvo7ak, Symphony No. 9, second movement. (6) Der Freischiitz. Adagio P a EUEREEE RL:on = = CHAPTERS + SCORESTUDY AND REHEARSALS 81 FIGURE 5-19 (Continued) (b) Canzon septimi toni 8. () Symphony No. 9 FIGURE 5.20 Excerpts for practice, E-lat transpositions: (a) Alexander Borodin, Prince /gor, “Polevetsian Dances"; (b) Richard Wagner, Tannhaiser, “Fest March’; (c) Wolfgang Amadous Moar, Eine None Nechimeok CA ite Neh eater a mmonveto to, (a) "Polevetsian Dances. —(b) “Fest March Allegro (J= 120) (c) Eine kieine Nachtmusik. Allegretto (J=60)