Research Papers. Authors Jordan E. Christopher Morehouse The purpose of this document is to provide guides for the preparation and performance of three standard works for wind band. Enter search terms:. Help Contacts Morris Library. Digital Commons. SlideShare Explore Search You. Submit Search. Successfully reported this slideshow. We use your LinkedIn profile and activity data to personalize ads and to show you more relevant ads.
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Start on. Show related SlideShares at end. It also makes control harder in detached passages. Have the rebound go the opposite direction of then next pulsepoint referred to in most texts as ictus.
(PDF Download) Guide to Score Study for the Wind Band Conductor Download
In detached style, the conducting rebound will resemble the path of a checkmark thinking "hit" for each pulsepoint. In sustained style, the conductor will use an arch-shape and think of "brushing" the beat. This is so important that the conductor show the correct style as dtermined by the score preparation.
Anticipate problematic transitions, such as getting out of fermata. Will the fermata continue into the next section without a break, will there be a short breath and then continue, or will there be an actually pause. All dictated by marking in the score or by the harmonic or melodic progression. Select good music. Don't make yourself or the ensemble endure spending time on bad music.
Guide to Score Study for the Wind Band Conductor / Edition 1
There is good level 2 music available, but the conductor must take time to find it. My own approach varies with the piece, but generally, I do go macro-micro-macro. I am not ideological about listening to recordings and don't hesitate to listen to multiple recordings of a piece, at any stage of my study. I have often studied a score in detail, done a first reading with the group, and then gone back to hear what other folks have done with it.
On the other hand, the opposite is also true; I will sometimes listen to recordings in advance, then look at the score with no sound, sometimes follow the score with a recording, and then go on to my own detailed preparation. I do tend to use recordings of my own rehearsals quite a bit, often going through the score to make notes of points to check or change in the next rehearsal based on what happened the last time we did the piece. Here is roughly what I do in my score study process.
Note: I generally only listen to recordings as part of the music selection process and not for the study process. I occasionally refer to them if I have tempo issues marked tempo versus what seems to make musical sense.
Articles:Score Study - Wind Repertory Project
This also begins the initial process of identifying phrases and structure. Often I'll end up changing things, but it helps to give me a general idea of "what happens". During this process I really am just aiming for the literal, not so much inner details. Once this is completed I'll trying to identify an overall structure to see how that influences the smaller elements.
Guide to Score Study for the Wind Band Conductor
I've developed a color coded system for my score marking. During the marking process I'll often find more details and add it to my previous analysis. My position at Duquesne puts me in a peculiar position when it comes to score study SS. At any given time, I have about 25 scores per concert cycle that I must know and be ready to conduct.
I don't say this to brag, but rather to illustrate where I'm coming from when it comes to SS. I find that each study session must be "goal" oriented. For me, this means outlining exactly what I want to glean from each sitting with the score in hand. I like to choose my pieces at least 3 months ahead of time.
As I'm sure you know, this isn't always possible, but in my ideal world it works best. If I have a long preparation time, I usually begin by listening to several different recordings. This helps me to affirm or change by repertoire choices at an early stage, rather than a few days into the cycle.
Next, I usually start at the micro-macro level. By this I mean that I spend the first few sessions singing, playing, and analyzing sections of the work in relative detail. Of course you have to begin by understanding the macro form. I might begin by singing each part, then analyzing key areas, cadence points, style characteristics, etc. Afterwards I'll move to other sections, but not usually in order.
I simply find a section that seems the most interesting to me, and try to find out why it interests me. After I have completed this with several or all sections, I usually do the scribe work marking meter changes, dynamics, macro formbasically how am I going to conduct this. I will often leave the piece for a while and do the same with another piece. Each time I go back to the score, I try to delve a little deeper, until I have a detailed analysis of the work.
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Depending on the piece, I may or may not do a complete analysis of the work. If I don't have very much time to prepare for example if I'm serving as a cover conductor , I start by concentrating on how I'm going to conduct the piece so macro-macro. This would include meter changes, dynamics, tempo indications and relationships, etc.
If I have time, I go into detail.
Regarding recordings: I studied with Craig Kirchhoff, and he admitted to me that he listens to recordings just like everyone else! Even Battisti has admitted such.
hendbullkwatag.tk For me, I find that if I don't consign myself to just one recording my interpretation isn't as compromised. I usually try to find at least three recordings. I then mark in my study score the conductor's tempi and how they are alike or different from the score indication. The discovery of the direction of the music, its form and architecture, to see how it unfolds, to arrive at an interpretation. Chart it. Discover how the work fits into the various styles of other works written for this medium at this point in music history.
What other works similar to this have been composed by this composer?
How and why is this work important? Discover all ornamentation. Discover the orchestration, who is playing what as well as the texture monophonic — homophonic - polyphonic. Divide the entire composition into logical phrases, and mark the phrase lengths.