Chapter

Preparing the Score

ln This Chapter

" Why score prep is important

. Studythe score
. Mark up the score
I Review other source material
" Prepare to conduct

You wouldn't get up in front of a big meeting to speak without prepping first. You wouldn't srand on
the sidelines to coach a football game without reviewing your plays ahead of time. And you shouldn't
conduct a musical piece without first srudying it.
Before you stand up in front of a group of musicians, then, you need to do a little homework. You need
to learn the score, know where the important bits are and what you need to pay attention to? and gather
some sort of idea about how you rÄrant to approach the piece. It's basic preparation, but very important.

Why You Need to Do Your Homework

There üe many reasons why you need to do your musical homework. First and most obvious is that
you need to know what you're in for before you hit that first downbeat. Even seemingly simple musical
works involve some degree of complexity-tempo changes, key changes, changes in dynamics, accents,
and the like. You need to be ready for the difficult bits as they come up; you dont want to be surprised
by anything while you're conducting. Ewen a student or avocational ensemble will see right through a
conductor who is not prepared and doesn't have a vision for the work at hand.

Similarly, you need to piepare your musicians for the difficult bits in a piece. That might mean practic-
ing challenging passages ahead of time, or just knowing when to signal a changeup from the podium.
You won't be properly prepared if you're sight reading the score on first pass.

Beyond simply knowing the score, you also need to interpret it in your own unique fashion. That means
figuring out how to put your own personal stamp on the upcoming performance, while honoring the
composer's intent. F{ow fast should you take the tempo, how soft should pianissimo be, how big a ritard
do you want at the end, how long should you hold the final note? These are all decisions you ar leasr
need to start thinking about before yo':r musicians gather to practice.
22 Part ?: Behind the Scenes

,[Link] that brings us to rhe final reason you need to work through the score ahead of time-you need to
consider the best approach to learningthis piece as a group. F{ow should yo1l set up your
rehearsals?

Should [Link] through the piece from front to back, or focus on the most difficult passagesl
Do yotl
need to work urith certa-in ,".tio6 of the orchestra separately? Your advance study
of the score 'arili heip
you determine your best approach to rehearsais"
just stay-
Studying the score in advance, then, is something every conductor needs to do' It's more than
"rt"p
irrg oo" ahead of the people you'll be conducting; it's the first step toward putting your personal
stamp on the piece"

O .$ruf;;frt'ru, ' ,, ': '::'";"t:;:' 'i-- ' .,'.. ',,.t.'.- ' i':i:' '1) "f;*d#ffih*ä#i
Not every donductor has the luxury of studying the score in advance. Studio conductors, for example,
might only receive the score the night before a recording session, which doesn't afford much time for
you conduct.
study. nnd if you're subbing for another conductor, you may be sight reading the score as
(Although you should always try to ask for the music beforehand, if possiblel) Still, you shouid take
advantage of any time you have to prepare for a performance-even if it's just a few hours.

Studying the Ssore

you cant bluff a roomful of talented musicians. You need to know the rmrsic inside and out before you
start that first rehearsal'
This means studying the score, in detail, much the same way you'd study a book for a book report. Not
that you have to memorize every single note of every part piayed; that's both impractical and unneces-
sary. However, you do have to know how the music flows, recognize the important melodic
lines, know
the underiying chord structures and harrnonies. You need to know which parts are important, and
focus your attention appropriately"

O wütot E lrgtE
The formal structure of a piece of music is important. Think of a tree. Every tree is different, and there
is some wonderful rrariance between species, but most have roots, a trunk, big limbs, branches,
and
leaves. Every piece of music (with very few exceptions) has a beginning, a middle, and an end-and
ihe form is often more detailed than that. A conductor must understand how the music unfolds.

you also need to be comfortable with the time signature and tempo, and be prepared for all time and
tempo changes. From there you can work through the beat patterns you'lluse to conduct the piece,
with proper focus on navigating difficult rhythms and time/tempo changes.
and your
[Link], though, that the score itself is not the music-it's just a blueprint of the music you
musicians will ultimately create. You need to study rhat blueprint in advance so yoil knoqr what
to build,
and ho-r.

Understanding Musflcaf, Scoras

llIhat does a typical score look liice? It tarLYaty'
A fu11 instri:mental score iccludes str--res for each instr,:meni or section. The score can be in either
concer1 ;oitch (a11 parts äs they sound) or uvith individual parts already üansposed to the instlument's
nativekepFor"rr"*pi*,Figure3.1 sho-rs atypicalorchestralscore; Figuie3.2sho'ars at,vptcalbigband
 Cfiapter 5: Preparing the Score 25

Some scores place an entire instrumental or vocal section on a single staff; others use individual staves for
each instrument. Some conductors find the single-staff approach easier ro read, as you can more quickly
see the entire section at a glance, while the individual-staff approach makes it easier to isolare individual
parts" Be prepared to see both in the course ofyour conducting career.

When reading an instrumental score, you need to familiarize yourself with the instrument's score ord,er.
Täble 3 .1 shows the score order for symphonic orchestras; lable 3 .2 shows the score order for concert
bands; Table 3.3 shows the score order for jazz ensembles. Variations of these basic ensembles, such as pit
orchestras and marching bands, have simiiar score orders

a Score order is the accepted order of instruments, top to bottom, on the written score.

Table 3.1 Symphonic Orchestra Score Order

Major Section ft edividual f nstruments

V/oodwinds Piccolo
Flute (first and second)
Oboe (first and second)
English horn
Bb clarinet (first and second)
Bass clarinet
Bassoon (first and second)
Contrabassoon

Brass French horn (first, second, third, and fourth)

Trumpet (first, second, and third)
tombone (first, second, and third)
Tuba

Percussion Timpani
Bells (giockenspiel)
Xylophone
Vibraphone
Marimba
Chimes
Snare drum
Bass drum
Cymbal
Other percussion

Keyboards Harp
Fiano

Vocal parts (if any) Soloists in voice order (high to low)

Chorus in voice order (high to low)

Strings Violin (first and second)

Vioia
Ceilo
Double bass
2A Part l: Behind the Scenes

Soprano

Alto

Tenor

Bass

t.'-.----

dr
Piano
e €F {>

Figrare 3.4: A full aocal score.

Whether you're looking at ao instrumental or vocal score, major sections within a piece shouid be
notated with section numbers (1,2,3) or letters (A, B, C). Individual measures may be numbered, or
measure numbers may appear only at the start of lines or sections.

o WHOLE NOTE

Perfgrmers also need to number the measures in their parts-at ieast every other measure. This makes
for faster and more efficient rehearsals.

Focus on What's lmportant

When prep time is lirnited, as it Traditional
always is, you need a shorthand approach to score study.
European conservatories recommend a formal method, dubbed Seven Steps Through the Score. This
method walks you through the score seven separate times, each step focusing on a particular element.
This way you can concentrate on the most important items, one pass at a time.
The seven steps are as follows:
L Fonm analysis" trn the first pass, work through the score with the goal of [Link] the overall
shape of the piece, deterrnining the structure (ABA, verse-chorus, etc), and noting any special
or unusual [Link].
2. Eflarnronic stmlcture" In the next pass, päy attention to keysn modulations, points of disso-.
nance, and the like.
 Chapter 3: Preparing the Score Zg

3" tMelodic line. The third pass is all about finding the melody-who has it, and when. Note
repeated motifs, counrer subjects, and particularly awkward leaps.

4' Flu'asal ana{ysis. In this pass, look for patterns large and small, cutoffs, breath rnarks, and the
like.
5' Dynamics, temnlo' ayd rtray,thm. The fifth pass is where you nore loud and soft passages,
tempo markings, rhythmic morifs, and the like. .

6" Instrumeretation atqd transXlositions" Use the penultimate pass ro familiarizeyourself with
the instruments used and their roles in rhe piece.
7" Special effects" In the final pass, focus on any special effects in individual parts-muted
brass, pizztcato strings, weird sounds in the percussion section, and the
1ike. Look for extended
technigues, such as playing the piano with paperclips on the strings, ol vocalists
singing into a
paper bag.

(O WHOLEITOTE
For choral pieces, start with an analysis of the text (lyrics); that's where the composer probably started.
You should then substitute the instrumentation pass with vocal line analysis-phrasing, entrances,
effects, and the like.

Now, there's nothing magical about the number se-ven. What is valuable, however, is
the multiple-pass
approach to working through a score. You work on different things on different
passes, instead of
trying to absorb everything there is about the score in a single pass. It's kind of like overlaying
informa-
tion, one pass at a time.
This traditional approach may or may not work for you, and the focus of each pass may differ,
but it,s a
good place'to start- Focus on one thing at a time, then work it all back together when
;""i; io,r,re

Focus on What's Different

Another equally valid approach starts with the assumption rhat not all the information in a
score is
equally important. Yes, you need to familiafizeyorrr.äH*ith srructure and rempo,
bur you also need to
find and focus on those unusual eiements within the score.
key to this approach is locating those important and distinct elemenrs and marking them
lhe for fur-
ther attention. Be on the lookout for things such as rhe following:

" Tempo changes, with or -n'ithout accompanying accelerandos or ritardandos

' Key changes

' Changes in dynamics, with or without accompanying'crescendos or decrescendos

" Changes in texture, instrumentation, registe4 afücalatron, phrase structure, or harmonic sryle
' (Inexpected accents or syncopated rhythmic patterns

" Individual notes that stretch the boundaries of an instrument's or a voice's .ange
5@ Fart 1: Behind the Scenes

that thTp:t the playing field in a maior way' or that

In other words, be on the trookout for anything'
i" addition th" o-'rerall structure' that will cone-
might be difficult to play. These are the eiem",tts, "
rnand Your attention"

Marking UP the Score it to inform

glean from studying the score? weli' you
use
what do you do with the information you
also use it L ü"fp you conduct the piece-by
helping'
your personal interpretadon, o{courr", Uoiyoo
you rememb", Ä" iUi^g' to which you need to pay particular attention'
1 ' :" r":
o wilotEll|otE
Youmayfinditmoreeffectivetomarkeachtypeofitem_ortheitemsfocusedonineachpass for example'
way you'll know that phrase marks are in blue'
through the score-in different [Link]
and those red marks are accents'

wnys to
you focus on the impt'rrtart bits" There are scveral
The key here is marking up the score to help
attackihir, boa here's a general approach:
and ends of key phrases' If the score does
not have measure numbers or
' Mark the beginnings
section markings, add them"
. Mark tempos and temPo changes'

' Mark dynamics and changes in dyreamics'

o Mark fermatas and other key markings"
or voices enter'
' Mark irnportant gus5-lrtls1e key instruments
,Markmelodiclinesandotherkeyharmonicandsubsidiarytrines'
o Mark key accents and rhythmic patterns"
parts'
" Mark any unusual articulations or effects in individual
the piece'
different or unusual {rom the general flow of
" &Iark anything else

o iVlark aryr section where you anticipate problems in execution"

THE CORSU(TOT sEZ

a different color for each big idea-red
for cues' green
lnvest in a good set of colored pencils. use and your brain will
in your use of color throughout
for dynamic changes, and so forth. Be consistent
always know what you're dealing with'

conducting'
ß/Iarking the score in this fashion focuses
youf attention while you',re both rehearsing and
can be overwhelming; it's better to note
those places
Ttyingro read ,ff afr" p"r* in a-score at tÄis speed to those items
where you need * pr"J" f"[Link]", focus.
rolrrä" marked properiy, your eye will go right
that require Your attentron
 Chapter 5: Preparing the Score 3.!

Beyond marking up the master score, you may also want to create your owrl mini
version of the score.
That is, you wrice up a brief "sketch" of the piece, delineadng major secrions and what happens
in each.
For example, your sketch might indicate thai at rehearsal *"tt g the brass and woodwinds
plry th.
rnain theme, while from measures 48 through 52 the strings play acountermelody.
It,s a rough guide,
but one that could help you get a better feel for the piece.

T*iqQcnüffirtg ,.., :,-'':'., ,,.

Don't be afraid to mark the score! Anything that will help you be more successful is
fair game. I know
conductors who have scores that look like coloring books-and these people are pros.
Üse sticky
notes, highlighters, you name it. The time you invest in prepping the score outside
of rehearsal is
inversely proportionate to how quickly you will relate to it in rehearsal. l've found
that professionals
mark their scores; amateurs say,,l,ll remember that,, and then promptly forget.

Consulting Other Source Material

M/hen prepping a piece for performance, you may find other marerials useful, beyond the
score itself.
While you should always consider the score your primary source, these secondary materials can
help
add background and nuance to a piece.

whatmaterials might be available? There are a few common items.

Recordings and performances

Some conductors frown on listening to other versions of a given work, fearing that
they may color one,s
own interpretation. Others *"lcom! the opporunity ro see how other condulaor, ,pproach
a piece.
Either approach is equally valid.
Here's the thing. Not every conductor has the same inner ear or ability to sight read. If you
have
troubie "hezring" a score in your head, listening to that piece on CD (or evel live, if you
have the
opportunrty) help you sound out whar you see written on papef.
'frnay
To avoid being unduly influenced by a single conductor, listen to multiple performances of a piece.
Instead of listening to a single recording five dmes, listen to five recoriirog, or,. time
each. This
approach also helps you get a feel for the various interpretations possible.

E[t€lonaücFr'|[
When listening to recording s,lry lo ferret out why a given conductor made the changes you are
hear-
ing. Remember, the performance space has a great deal of influence on tempo and dynamic
choices.

Books, Articles, and Other publications

[Link] is a good way to learn rnore about a given piece, its compos et, andthe times in which
it was
composed' It's alvrays good to place a girren piece Uthitr a cultrrral and historical context, and. referenc-
irg the appropriate literarure can help you do this.
62 Pant'[: Behind the Scenes

'To rhat end, seek out books, scholarly articles, magazine articles, music journais, and the like" Look for
items that deal directly with the piece you're studying, the composer of the piece, related pieces from
other conductors, similar pieces from the same conductor, and the general musicaL period.
For that matter, some conductors like to read about other artistic endeavors from that period-literarllre'
theater, art, andthe like-to pro-ride a thorough grounding of the artistic thinking at that point in tirne.
You tlonk need to become an expert on Earoque architecture to play a Bach chorale, but a little back-
ground on the period certainLy catft hurt.

Tl'le Composer
If you're preparing a contempo nry piece,pick up the phone (or fire up your email program) and talk tc
the piece's composer. You can gainvaluable insight by getting inside the head of the person who wrote
it. Of course, if you're premiering a piece, you may get the opportunity to directly interact with the
composer, as rnarry composers attend their premieres-and sometimes help in rehearsal. Inside infor-
mation direct from the horse's mouth? so to speak, can help inform your interpfetation of a piece-and
create an incredible e;<perience for the musicians in the ensembie as wel1"

Preparing to Conduct
After qrorking through the score, you need to practice your conducting. And I mean that literaily"
Start by setting your tempos. Get out a metronome and set it to the desired beats per minute, then get
comfortable conducting to that tempo" Xf you don't like the way it feels, select a siightly different tempo'
Feel free to experiment.

Next, you need to determine your beat patterns, especialiy in complex time signatures and tricky pas-
sages. You also need to work through your expressive gestures, as well as important accents and cues.

You may even want ro practice to a recording of the piece. Again, sotrne experts debate the advisabiiity
of this, as it could nudge you tovrard another conductor's interpretation instead of your own, but tr think
there's value in it, at least in terms of nailing your beat patterns" Still, it's important to hear the piece
in your head you practice conducting; uitimately it's going to be you driving
as a new performance, not
foiiowing an existing performance.

0 WIIOLF NOTE

Consider investing in a full-length mirror or video recorder. You need to somehow watch yourself
conduct"

You also need ro prepare your interpretation of the piece. That means choosing your desired tempos
and- dynamics, of course, but aiso how you handle tempo and dynamic changes. Your personal vision
also determines the energy level of a piece, where you want to pump things up and where yo1l want to
p,r1l them back. The prep periocl is -where you begin to put your individual stamp on the rork; you can't
r

ignore 'rhis part of the process.

Equally importani, you need to pian how you intend to rehearse the piece" l'11 discuss rehearsal tactics
in Chapter 4
 Chapter 3: Preparing the Score gI

flt *2',', .::

. :"'
Here's the challenge a trombone player just takes out his instrument to practice. We conductors can,t
do that! Our instruments are the ensembles with which we [Link] makes practicing our skills quite
challenging.

Planning Your Preparation

t{ow long should this prep work takel \Mell, how long have you got? That might sound a bit flippant,
but ttreret some truth there. If you're conducting a major symphony orchestra, you might h",re a ye"r
to prepare for a big performance. If you're conducting a comrmrniry orchestra,
/our prip time might be
rneasured in weeks. If you're readying a church choir for a performance this Sunday, you might have a
week to prepare, at most. And if you're conducting a movie soundtrack, you'll be lucky to g"l a glimpse
ofthe score the night before the recording session.

lIIffiEroü,lll
The legendary conductor Robert Shaw was once asked how much time he spent with score prep and
study. His answer was, "Every waking momentj'

So take all the time you need, but only as long as you have. And teach yourself hovr to prep quickly,
because sometimes you'll have to.

The Least You Need to Know

r You must be familiar with a piece before you can lead an ensemble to play that piece.
' You should work through the score in several passes, focusing on a different element on each
pass.
. Feel free to mark up the score, to highlight important or problern passages.
' lf other source material is available, such as recordings or books, use them to enhance your knowl-
edge of the piece.
n When all the other prep work is done, get out your metronome and practice
conducting the
piece-develop the proper beat patterns, prepare for phnasing and accents, and the like.
' With the proper preparation, you should be able to start developing yoLtr own personal interpre-
tation of the piece.