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Steps to Score Mastery

Onsby C. Rose | August 2017


    Inexperienced teachers and conductors may be tempted to learn the score along with the ensemble, but this is an ineffective way to acquire the knowledge that is needed to lead a group in preparing for a performance, does not allow time to make vital decisions before we begin working with the musicians, and limits the amount of pedagogical teaching that we can accomplish. It is important to know each note, articulation, orchestration, dynamic, and tempo, before the first reading. Russel Mikkelson, Director of Bands at The Ohio State University, says, “Never withhold information from the musicians.” To give our musicians all of the essential information, we must have all of the written music and our interpretation of it mastered before the first rehearsal.
    This is the aim of score study. As you proceed through this process it will be tempting to take shortcuts, but it is essential to devote the time it will take to master each step. This article will use the second movement of Three Ayers from Gloucester by Hugh Stuart (Shawnee Press/Hal Leonard, 1969) for visual examples.

Familiarization
    The first step in score study is gaining a basic idea of the layout of the work, which can be accomplished by flipping through the score a few times. Although this step is most important if the piece being studied is one that is completely new to you, it is still important when returning to a familiar work. Each time you study a piece you will find new things. During this process, I lightly circle things that come to my attention while perusing the score. Make quick notes in the margins of the score about anything that will require further thought later in the process. I always circle all the tempo markings and make notes concerning major changes in the orchestration, including thinly or thickly orchestrated sections or specific instrumental colors that should be prevalent. Examples are the thickly orchestrated section at m. 99 of the piece, the opening tempo marking of quarter note = 63, and the marking of “slower” at m. 119. This is not a comprehensive list, but these are some of the things that should jump out at you as you browse through a piece.
    During this step, research the composer and the work itself. Good information to find includes the composer’s background, if the work was a commission, and what, if anything, the title says about the piece. Use a dictionary to look up unfamiliar words in the title.

Precision Study and Absorbing the Music
    The next step is learning each portion of the score. Begin at the top of the score and take one instrument at a time. As you go through each part, mark everything that is of significance. I recommend using only three primary colors, red for crescendos and dynamics mf and louder, blue for decrescendos and dynamics mp and softer, and green for everything else. I will also use a pencil to mark cues, entrances, tonal analysis, and any important conducting cues. As you mark each part individually, sing the part while sitting at the piano. Use the piano to help you find the beginning pitch, and while singing to stay in the correct key center. When first learning this method, you may find yourself playing every few notes to stay on the correct pitch. It will be slow going at first, with practice you will be able to achieve longer and longer phrases with only singing. At the same time, you should be marking the part as mentioned above. The example on the next page contains markings I have made to first page of the score.

The first score markings should include changes in orchestration (top) and tempos (bottom).

    Continue down the score through each of the instruments. If you make pitch mistakes, go through the part again until you have an accurate rendition. This will help commit each part to memory and thus make hearing pitch errors during rehearsals much easier.

Multiple-Part Vocalization
    As you finish the individual marking of a family of instruments, it is then time to put the sounds together. There are many ways to do this. The first step is singing and playing any two of a family of instruments together, such as singing the flute part while playing the first clarinet part, or playing the bassoon part while singing the alto saxophone part. Cover as many different combinations as time allows. The amount of time available to learn the score before the first rehearsal will dictate how much of this is possible.
    Another method that can be used is to record yourself and then overlay with additional tracks. Multiple parts can be recorded and played back while you sing or play a different part. Although this takes time and effort, you will reap the benefit of hearing the score with no interpretation but the one you are developing.

Instrument Family Audiation

    The next step is to audiate an entire section of the score. This step can take place after singing and playing through every part in the score, or it can also be done when finishing each instrument family. I prefer to do this after finishing each family while each part is still fresh in my mind. It takes practice to hear numerous instruments in the mind at the same time, but if you have strictly followed through singing and playing each part, as well as singing and playing two or more parts together, you will find that the inner ear will become unable to turn off the sounds of the other instruments.
At this point, set a metronome to the given tempo and mentally listen to the instruments you have studied so far. This is the time to start forming an interpretation and make key decisions about phrasing, tempo, articulation, and all the small things that come up in rehearsal.

Full Score Audiation

    Hearing the entire score in your mind can be difficult and time consuming at first. If you use a piano to help with pitch centers, chords, and non-chord tones, you can then rely on the work you have done in the previous steps to hear the score internally. Avoid listening to recordings during these steps. It is tempting – and quicker – to go to a recording to get the score in your ear, but what is learned is someone else’s interpretation, and the chance to form your own is lost. If you have done the proper research and background study on the work you are learning, you will be able to make an educated and viable interpretation of the work without listening to a recording.

    Take as much time as possible to go through the work diligently and thoroughly. Use a metronome to help with tempo decisions and to stay as true to the score as possible. This crucial phase is your time to create the perfect recording of how the work should sound in your mind. When you begin rehearsals this is what will help you shape the music as desired through educated and through score study.

Score Timeline

    At this point you have internalized the score and are familiar with the themes, key centers, and development sections. It is time to restate this knowledge concisely as a timeline useful for seeing the big picture. This can be done while audiating the full score or afterward. Everything you circled or noted in pencil in the score should go here, as should anything noticed during the precision study phase. A timeline can be as detailed or as sparse as necessary but should include enough information that notes can be found quickly during rehearsal. Below is a basic timeline for Ayre for Eventide.

Begin Preparation

    Although there are many variables for what might happen, you should now be able to sculpt the ensemble’s sounds to match what you have created in your mind during study. However, score study does not end at this point. As rehearsals progress you may find that some initial decisions are not viable or do not convey the essence of what you believe the work is supposed to be. This is fine. Although initial thoughts may be revised, what matters is that you are prepared to make the best decisions about the music.
    This is the time to listen to recordings and compare other interpretations. Check as many recordings as possible to avoid being influenced by any one interpretation. Take what you enjoy and add it to your interpretation. Part of what makes music wonderful is the ability to perform it multiple ways and still be correct and true to the composer.

Perform

    It is easy to say that the time needed to prepare every score in this manner is unrealistic, but this is why it is best to focus on what only you can do and recruit others to handle as much of the rest as possible. Although much time and effort should be invested in the preparation, the satisfaction of hearing your students present a wonderful performance and departing as better musicians than they were when you started should be a source of pride.