Basic Steps

BASIC STEPS
SCORE PREPARATION
By STEVEN GRIMO
I Aural Concept/ Inner Hearing – Structural and expressive

a. Instruments required
b. Learn transposition and clefs involved
c. Define foreign and technical terms. Check tempos
d. Formal analysis to include: phrases, cadences, formal design, melodic and
thematic material, harmonic structure, dynamic plan, texture and timbre for
expression and balance.
e. Historical context
f. Sing through each part/ arpeggiate chords from the bottom up.
g. Reduce the score at the piano (as much as possible)
Remember that expressive conducting depends on moving the ongoing line through to
cadences as dictated by the structure or shape of the composition. Determine how
tension and motion are structurally shaped in the music.
II Problems of Conducting
a. Beat through the score to locate trouble spots for conducting.
b. Develop a system of marking the score that works for you.
c. Indicate such problems as: meter changes, tempo changes, cues, fermatas,
dynamics and style, accents, caesuras, fractional pick-up notes, subito changes
of dynamics and style, and definitions of musical terms.
Choose problems carefully, because over-marking the score may confuse rather than
clarify.
III Problems to Expect in Rehearsal

a. Wrong notes and rhythms
b. Incorrect balance and style
c. Articulations, bowings, attacks, and releases
d. Tempo, phrasing, and dynamics
Use a full score for rehearsal efficiency and a condensed score during your initial analysis
of structure.
Marking the Score – Develop your own system
Each conductor should develop a system of entering meaningful indications in the score.
These markings should add to his understanding of the music and be an asset to him
during performance.
The process of marking a score will occur during three stages.

a. score learning
b. editorial – score & parts
c. performance your needs as a conductor)
• rehearsal performance –(before and after)
Score learning must be a multi-layer process whereas the conductor will make notes on
additional information: Facts which are a result of an additive process. During your
study you will make correlations between different facets of composition and
performance practices.
By using the study checklist set a goal for which facet you will work on during a given
time period. Take time and explore only that one facet in the score, then select another
facet and go through the score again from the beginning.
If you make your journey through the score from beginning to end for each concept, you
will in time go through the score many times over.
Keep a list and note paper for each aspect you are working on in the score and keep this
information in a folder with the score. You can also keep other information concerning
the piece such as articles, composer bio and compositional listing, programs when you
have performed this particular work, rehearsal plans from past performances along with
anything that may be of resource to your progressive preparation.
REMEMBER, your ultimate pre-rehearsal/ performance goal is to feel secure and

accountable for every note and marking on the score page.
One must develop and maintain an aural memory – a retention of sounds you have heard
or performed coupled with the visual comfort of a score page. All your skills as a
performing musician will come together during score study and performance.
SCORE PREPARATION CHECKLIST
1. Study scores with parts (mark important things in parts as you discover them in your
study of the score).
2. Start from the “general” + “focus” + “expand”.
3. With music in traditional forms – look for specific things in expected spots.
4. With music not in traditional forms – find the “doorways”.
5. Isolate and identify various instrumental choirs with your system of markings. (If
there is not good clarity in the score)
6. Percussion – they do not appear in the same place in all scores. With percussion
instruments there is no “soprano to bass” format.
(mark all percussion parts with care)
7. When there are many changing meters, mark at the top of the score in large numeral
designation.
8. Mark metronome markings at the top of the score.
9. When marking instrument entrances – do so in bold lettering and in advance of the
entrance.
10. Mark all important entrances.
11. Reassign new dynamics when you perceive this is needed to achieve good balance.
(resonance)
12. Decide on articulation style where composer does not indicate this in the score.
13. Identify all doublings.
14. Give good attention to measures with fermatas.
15. Be able to solfege all parts. (at least rhythmically)
16. Seating placement arrived at as result of score study.
17. Study with a metronome.
18. Use the concept of silent conducting when preparing a score.
A quick and dirty checklist
I Historical and analytical Information
a. Composer
b. Composition
c. Historical
d. Stylistic and interpretive aspects of the piece
e. Analytical notes
1. Melody
2. Harmony
3. Rhythm
4. Orchestration
5. Dynamics
6. Texture
7. Form
II Knowledge of Musical Terms
III Knowledge of compositional Concepts used in the piece.

(Making a chart including different aspects of each piece you are studying.)
Thoughts on Seating Arrangements

1. Balance is the element of performance most affected by seating.
2. Softer instruments need help.
3. Consider the directional properties of sound.
4. Intensity of sound varies in proportion to the distance traveled.
5. Sounds may be partially reflected or absorbed by other players.
6. No seating arrangement is a sure-fire formula or cure-all for problems of balance.
7. It is probably impossible to devise a perfect seating plan.
8. Consider orders of parts (1, 2, 3, etc.) within each section.
Score Study Checklist
Melodic Orchestration
a. tertian harmonic scale a. strings

b. modal scales b. winds & brass
c. pentatonic scales c. percussion
d. whole tone scales d. keyboards
e. synthetic scales e. wind ensemble
f. dodecaphonic f. symphonic band
g. free tonality g. exotic timbral
h. serial h. other??
Rhythm/Meter Harmonic
a. traditional (duple/triple) a. tertian (triatic)

b. asymmetric meters b. polytriatic
c. changing signatures c. quartal
d. unusual meters d. quintal
e. displaced accents e. modal
f. change of meter f. polychordal
g. alea-proportional g. prallelisim
h. other? h. tonal center
i. serial
j. ostinato
k cluster
l. other?
Form Interpretation
a. single movement a. stylistic indicators

b. multiple movement *tempo indications
c. binary (AB) *dynamic scheme
d. ternary (ABA) *phrasing
e. arch (ABCBA:ABCDCBA *tension and release
f. rondo (ABACABA) *accent scheme
g. variation of #a through #f *character
h. sonata *line flow
i. fugue b. major expressive qualities
j. passacaglia; chaconne c. foreign terms
k. theme &variation d. historical performance or stylistic
l. other?? considerations

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I Aural Concept/ Inner Hearing – Structural and expressive

III Problems to Expect in Rehearsal

The process of marking a score will occur during three stages.

REMEMBER, your ultimate pre-rehearsal/ performance goal is to feel secure and

A quick and dirty checklist

I Historical and analytical Information

II Knowledge of Musical Terms

III Knowledge of compositional Concepts used in the piece.

Thoughts on Seating Arrangements

Score Study Checklist

a. tertian harmonic scale a. strings

a. traditional (duple/triple) a. tertian (triatic)

a. single movement a. stylistic indicators

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