Accelerated Score Study Processing Pathways Logical Sequential Linear Rational Reality Based Prepare your mind and Space Random Meloy Inution Patterns Holistic Non-verbatMARCRO ~ Analysis Meter @ Tempi Overall style Primary rhythmic motives Duration of large sections Interrelationships among movements Cc, T. factors Organic unity Growth, form General melodic style, broad pitch profile, scalar materials frequently used intervals recurrence of melodic ideas, rhythmic traits cT, 9, S, Form " MIDDLE - Analysis Metric & rhythmic structure of phrases and other formal units and their interrelationships. Growth R,D,V,N C,T, (Composure/Tension Arrivals/Departures) MELODY Melodic shape in phrases and other formal units, emotional qualities pitch profile, cadences, density, cT &, MICRO - Ana lysis Details of rhythm at the motivic level. Harmonic rhythm density relationship of rhythm to text of vocal Melodic intervals, Conjunct/disjunct motion tessitura. Tange. —~ pitch profile, cadences, density, relationship of text to melodyFixes Plecolo - Up 1 octave + minor 2nd CPiccolo - Up 1 octave Clute - As writen G Alto Flute - Down perfect 4th C Bass Flute - Down | octave Oboes Oboe - Ar written Oboe Amore - Down minor ded English Horn Dovtn perfect 5th Hecklephone (bass oboe in C) - Down 1 octave Eb Soprano) - Up minor 3rd D (Scprano)- Up major 2nd ,(Seprano) AS written ‘BP Soprano] - Down major 2nd ‘A Geprano)- Down minor 3rd F Bauet Horn» Down perfect Sih Eb Ako - Down major 6th BP Bass - Down major 9th Bas “Down I octave + minor ed Eb Contraalo Down I octave + majo 6th Bb Contrarbass - Down 2 octaves + major 2nd Bassoon - As written Contrabasioon - Down 1 octave Sprophones Bb Soprano - Down major 2nd ED Alto - Down major 6th 1Bb Tenor - Down major 9th Eb Baritone -Dowin 1 occave + major 6eh Bb Baus -Down 2 octaver + major 2nd fh Hoes BP (Ako} - Down major 2nd Table of Wind Band Instruments and Transpositions (Sounds from Weiler pite) ‘A Down minor 3rd G- Down perfect 4th F Down perfect Sth E,- Down minor 6eh Eb. Down major oth D-Down minor 7th C-Down I octave Bb (Bess0) - Down major Oth ‘Trungets + Up perfect th, E.- Up major 3rd ED. Up minor Sed D-Up major 2nd GAs written BP -Down major 2nd A Down minot Std Law Brass Bb Trombone (tenor or bass) «As written 'B> Euphonium/Baritone Horn (teble clef) - Down, tor Sth 1B) Euphonium /Baritone Horn (bass clef) As written ‘Tubs/Souraphone (B>, C, E>, F)- As written String Iseraments Double bass - Down 1 octave Pereasion Timpani - As writen, Marimba - As weiceen Vibraphone » As written Xslophone - Up | octave Chimes Up 1 octave or as writen Chimes - Up 1 octave CCalessa- Up 1 ocrave Orchestral Bells - Up 2 octaves Crotales - Up 2 octaves pyres Mt ‘Think 1 ocwsee w) Ebner ione Sexophene (2b Contant Carine) A PY rine toe v i Fremek arn (tes 6" hora "runt 1 eo 0) ca inierer ns neiuerrmneeraunt 25The Three Basic Steps 1. Acquite a conception Your first step should be to develop an aural concept of the score through a structural and expressive analysis of the music. This analysis must include much more than the typical assignment for a chss in form and analysis. For conducting purposes, score analysis should also encempass phrase movement, nuance, harmonic tension, dimax, and the evolving, dynamic aspects of the musical line. It must investigate practical matters such as instrumentation, transposition, terminology, and historical context. Use the following outline as a guide for preparing scores: 1. Ascertain which instruments are required and study the score order. 2. Lean all transpositions and clefs involved, 3. Define all foreign and technical terms (keep a music dictionary handy). Check tempos. 4. Make a thorough formal analysis, ‘a, Locate phrases and sections by indicating cadence points and cadence types. Look particularly for important divisive cadences (eg., at double bars) that separate the major sections of the work. Mark the score’s design, What material within the score is similar? What is contrasted? In large forms indicate the use of development and variation, ‘€. Note motivic manipulation and evolution. How does the com- position progress and grow from within? What is the method of thematic continuation, e.g, sequence, imitation? Check me- lodic shapes for theme transformation. Mark the harmonic structure, ie. the major key areas of the tonal plan, Check modulations, coloristic harmony, dissonance, harmonic tension, and climax ¢. Determine if the composition belongs to a standard, formal type, ie, binary, ternary, rondo, arch form, fugue, sonata- 4. ‘Anayss and Score Preparation 65 allegro, passacaglis, ete, and plan how to cla of the work, 5. Study the dynamic plan. Check phrase climaxes and sectional climaxes, Note coloristic use of dynamics as sf; sfiy and fp. 6. Consider texture and timbre for expression and balance of ify the architecture parts, Locate important melodies, countermelodies, and contra. puntal lines. Take note of important doublings, 7. Determine phrase types, phrase lengths, and phrase movement for rubato and accentuation. 8. Place the composition in its historical context for valid inter- pretation. 9. Sing through each part considering transpositions and clefs Then arpeggiate chords from bottom to top. 10, Reduce the score at the piano. If you are not a pianist, do as much 2s possible; for instance, play one, two, or three kines or use your major instrument. Listen to recordings of valid inter= pretations to attain an overall conception Sssoopprprrererererere —_THE SEVEN TRIPS THROUGH THE SCORE Source: Conductor's Guild Conference, 2001 (The following outline for score study is approximately that used in the classes in the Brussels Conservatory. A similar outline is used in Paris. It means seven trips through the score, with the knowledge and understanding increasing each time.) (Adaltions from Leslie Stewart and Wes Kennedy) 1. Instrumentation and transpositions 2. Tempos (including relationships between sections and movements) 3. Form analysis (large form) 4. Harmonic structure (especially analyzed where complicated) 5. Melodic line throughout and its instrumentation 6. Phrasal analysis (small phrases, minor structure, includes breathing) 7. Dynamics (dramatic climaxes, etc.) 8. Articulation (Legato, marcato, staccato, sforzando, etc.) 9. Special effects in the score and manner of execution on the instruments (ponticello, muted passages, harmonics, etc.) For choral pieces add the following: 10. Vocal Range 11. Vocal Line Contour (scales, awkward leaps) 12. Text/Diction/Vowels 13. Voice doublings/solos 14, CutoffsSix Stages to Multi-Sensory Score Learning ‘The following outline is presented as an overview of the various components of Multi-Sensory Score Learning. Each area will be elaborated on during the elinic session. 1. Create A Resourceful State of Mind ‘A, Physically relax (10 minutes) 1. deep breathing 2. shoulder shrugs, neck circles, 3, put aside negative thoughts B. Be clear on the benefits of the learning task. C. Be motivated. Have positive expectations, D, Sct realistic goals. E, Relive past successes, F. Take regular breaks. 2. Multi-Sensory Over-View of the Score A, Get the facts the way your brain likes them. (A Sensory Preference Profile is available for multi-hour clinics) 1, see the big picture 2. take small chunks 3. ask expert questions B. Visual Review 1, draw or dia 2. score reductions: 3. learning maps 4, mark you phrases score C. Aural Review 1. sing all you ean 2. tap or sing the rhythms 3. ask expert questions D. Physical Review 1. conduct the meters 2. mark the score 3. dance the score 4. think through the score in real time3. Explore the score via multiple ways of knowing (A Multi- Intelligence Profile is available for multi-hour clini ‘A. Linguistic: Put itin your own words. Dialog it with a friend. B, Visual: Make a mental movie of the score, Use lots of action. C, Musical: Create a rhyme, rhythm or jingle to aid memory. D, Interpersonal: Relate it to other scores you already know, Practice teaching it E, Math/Logical: List and number the measures and do a pitch analysis of major melodic, harmonic and formal elements. F, Intrapersonal: Reflect on the meaning of the piece. G. Kinesthetic: video tape yourself conducting and review the tape. 4, Memorize Major Elements A. Sensory memory B. Kinesthetic n C. Verbal memory D. Picture memory. E. Review after one hour, one day, one week. 5. Test Your Knowledge ‘A. Repetition makes permanence. B. Video tape yourself conducting. C. Re-create your score reduction. D. Mental rehearsal. 6. Evaluate your Success ‘A. What went well? Which of the Six Stages were most productive for you? B. What could have gone better? C. Sct clear goals, take responsibility and begin again!SYNTHESIS ND CONCLUSION 1, Selection of important data (noe all data gathered is necessarily relevant to your study, be selective) Relation to background of the work When and where it was composed Musical and cultural climate For whom was it written When performed How was it received Comparison of similar works by same or other composers, Chronologically in composers output What makes this piece unique? Unique among works of its time in history, How? Where does it fall historically-musically? When and how does ic fie int Wow is the piece held togecher? How does the piece function ? How successful is the composer and the piece? P, What analogies can you make about the piece, similaries, differences? 2. Based upon your study and knowledge of the piece, composer and style, make appropriate interpretive decisions 1, Length of notes : 2. Attacks and releases 3. Staccato/legate 4. Shape direction and contour,of phrase 5. Direction (drive) 6. Articulation/Sowings 7. Ensenble blend and balance 8. Dynamics, intensity 9. Vibrato 10. Color, textures/balances and blend LL. Climaxes. 12. Phrases (Contour) 13, Important lines and motives 14. Rhythmic clarity 15, Pacing-tempo changes 18. Physical conducting to enhance the music and communicate to the players 17, Rehearsal plan < 18, How do you want this piece to sound (inner concept)? 19. Techniques players need co use to produce the sound. 20. Tempo ~ and interrelationships between movements and sections 21, Editing parts and marking the score (do parts agree with the score) 1, Bowings articulations . 2. Cues 3. Entrances 4. Rehearsal letters or numbers 5. Dynamics 6.) Importance lines 7. Phrasings 8 Legato, staccato,tenuto, rttards accel 9. Misprints, wrong notes 10, Intonation 11, Blend and balances 12. Attacks, releasesanalysis V Sing through each part a. Hortzontally b. Vertically VI Musical Elements 1, Rhythm a, Duration b. Accent cc. Tempo d. Meter e. Complexiey 2. Melody a. Range * >. Pitch relationships 3. Harmony a. chordal b. Counterpoine ¢. Tertian, quartal, polyconal 4. Timbre a. Orchestration b. Dynamics c. Texture d. Density e. Tessicura a. Shape of music b. Moving of music through time cc. ReRepetition Dadeve lopment V-variacion Nenew material C-composure or repo: T-cension, forvard motion, animation, dissonance 6. Organte unity a. Interrelationship among all parts of a composition, by All pares contribute to the whole. 7. Motives a. Smallest scructure unic b. Melodic c. Rhythmic a. s Smallest unic which conveys a musical thought a. Two consecutive phrases, antecedent (question) Consequent (answer) b, Double period, four or more phrases with the first two as the antecedent, 10. Form + Binary + Three part Ronde + Sonata Fugue : VariationIII Macro Analysis - first encounters, cursory read through I. Title Page hh. a. Composer; opus number b. Progranmacic, descriptive title c. Transposed or ¢ score d. Instrumentation, medium; unusual instruments e+ Notation, key signatures, clefs, transpositions, terms, foreign nanes £. When and where was it written g+ For whom was it written, why? he Text 1. Style (form) : Meter and Rhythmic Complexity a. Double bar b. Fermata €. Separation of major sections 4. Rehearsal letters e. Meter changes £. cempi g- Overall rhythmic scyle Length a. Large form b. Movenents ae Large Events Texture as Scoring b. Doublings e+ Tutet d. Solo, soli e. Use of percussion Overall melodic style + Recurrence of melodic ide General harmonic style a, Consonance/dissonance b. Tonal, polyconal c. Serial Contrasts a. Timbre b. Dynamics c. Texture ~. ds Spectal effects (mutes, flutter, quater tones, Sf2) Phrasal consciousness Compositional devices as, Augmentation b. Dininueion c. Seretto 4. Honophony e. Polyphony £. Motivic development Emotional impact 12. Technical problems a. Conductor b. Player 1V General Form a. Phrasal analysisSCORE STUDY AND ANALYSTS I Purpose of Analysis 1, Problem solving and discovery activity to approach questions of musical style. 2, Ability co recreate composer's intent. 3. Provides a better understanding of the composer and composition. 4, Development of interpretive ideas a. Is there hidden meaning in each phrase? b. What is the composer trying to say? 5. Development of an "inner sound" concept. a. How should che music sound? b. Balances/blend/color/texture ¢. Articulations d. Atcacks, releases 6. What holds che piece together? "a. How does the music move bs Where is it going? 7. Comprehension of stylistic differences, How is this piece unique? b. How is this piece like/unlike others by this composer? by contemporaries of this composer? by other conposers? ¢. Distinguish norms of the style period, what is the departure from the norm? 8. Establishment of a Rehearsal and Performance plan. Pacing (for each rehearsal and towards performance). b. Technical. and musical problems for conductor and performer. Il Preliminary Background 1, Title page. 2. Biographical information 3. Where does it fall chronologically in the composer's work. 4. Wnere was it composed? a. For whom? b. Why? Cultural and historic perspective (musically, socially and culturally). a. Events surrounding the composition. 6. First performance a When b. How was it received (reviews if possible). c. Was it ever revised? 4, Which edition is most reliable @. Transcription, how does it compare to the original? 7. How does it compare to similar vorks by the same composer? a. By other composers 8. Text 9. Knowledge of common practice a, Departure fron stylistic norns b. How is this piece like others? How is it different? 10, Knowledge of composer and musical style. 11, Compostzional devices. a, Augmentation b. Diminue ion c. Inversion d. Strecto