In some ways, choirs and orchestras are natural collaborators - but we can sometimes have trouble speaking each other's language. This clinic offers

suggestions for choir directors dealing with issues such as contracting, part ordering and preparation, rehearsal planning, ensemble seating, and the

conducting gestures and directives most useful for both ensembles.

You came down from your throne and stood at my cottage door.

I was singing all alone in a corner, and the melody caught your ear. You came down and stood at my cottage door.

Masters are many in your hall, and songs are sung there at all hours. But the simple carol of this novice struck at your love. One plaintive little strain mingled with the great music of the world, and with a flower for a prize you came down and stopped at my cottage door.

Full Score Instrumentation

3:1 Ratio of singers:instrumentalists, strings:winds In the strings, 1 is better than 2 Budget and space concerns

Availability and cost of music Check the score [orchestralmusic.com]

Rental issues Number of performances Size of venue Admission Nature of the performing ensemble Performance of the full work, or partial Rental period String Count: 1st violins, 2nd violins, violas, cellos, double basses

Plan to rehearse with the orchestra separately Bowing changes, transitions, etc. can be worked out

If not possible, be sure your first comments are to the orchestra

Include time in the venue prior to rehearsals and performances for the orchestra to warm-up

Part preparation Meet with concertmaster one month in advance of first

rehearsal

Distribute parts to players at least two weeks prior to first rehearsal

Get a contractor Contracting is a very time consuming task

Let them handle problems at the worst times

Get a concertmaster Field Marshal of the orchestra

Bowings

Establishes common bow stroke for the strings

Exact dates and times

Venue

Attire

Compensation

Complimentary tickets

Recordings

Mileage

Portage

Listing in the program

Performance order - instrumentation

Listing In score order (mostly); band is different Woodwinds – brass – percussion & keyboard – strings

2 2 2 4 – 4 2 3 1 – tmp+1 – str 2 flutes 2 oboes 2 clarinets 4 bassoons 4 horns 2 trumpets 3 trombones 1 tuba Timpani plus one additional player Strings

Extended families 2+1 = 3 players [i.e. 2 flutes, one piccolo]

2* = 2 players, 1 doubling [2 flutes, one doubles piccolo]

Secondary instruments Flute – Piccolo

Oboe – English horn

Clarinet – Bass clarinet

Bassoon – Contra bassoon

2+1 2 2 2 – 4 2 3 1 – tmp – str

2+1 2 2 4 – 4 4 3 1 – tmp – str

Transpositions Clarinet in Bb, A

Horn in anything Changes within the work

Changes within the section

Trumpet in Bb, A, C, F

Piccolo and double bass 8ves

Assistants for brass principals

Obtaining the parts Borrow

Rent

IMSLP.org (instrumental equivalent of CPDL)

Free Library of Philadelphia (www.freelibrary.org)

Purchase

Commission

Match editions and numbering system between full score, vocal scores, and orchestra parts

Seating Hierarchy – principal players

Traditional seating – Example 1

Logical groups Instrument families – Example 2 and 3

The battery – Example 4 and excerpt

Strings

2 to a stand (except basses)

Alternative seating

Pit playing, musicals, operas – Example 5

Example 1

Bowings establish consistent articulation/diction for the string musicians

Placed in parts before distribution

Pre-existing bowings (Starting clean is time-consuming)

Meet with concertmaster in advance

Bowed parts passed down through the string principals highest to lowest

Can/will change in rehearsal

Work from the full score Define every term in the score

(http://www.dolmetsch.com/index.htm) Chart multi-movement works Acknowledge instrument changes in your score Plan first rehearsals using instrumentation from largest

to smallest Post/distribute call times for multi-work rehearsals Dress rehearsal runs from top to bottom without a stop:

percussion, instrument changes, brass endurance Include breaks: 15 minutes for 2.5 hours; 20 minutes for 3

hours

Speak first to the orchestra

Speak towards a musical concept Darker/lighter, separate/connected, Vibrato/straight

tone, full tone/thin sound, etc.

Sing! Use your voice to demonstrate

Don’t major in the minors – they can fix obvious mistakes

Connect the musicians by identifying their role; who are they in league with, are they primary or secondary material, etc. Direct their listening.

Leave the technical decisions to the specialists Welcome requests, ask for demonstration if necessary

Bow stroke; on the string/off the string continuum

Bow distribution, bow rotation, bow speed, bow weight

Sound point/lanes: sul ponticello/sul tasto

Shifts, mutes, etc.

Ask questions of your own Be as specific as possible

Use your voice or other models

Rhythmic alignment Start bows on the string

Pizzicato Most immediate sound, tends to rush

Tone matters; play melodically, with vibrato

Balance issue: lower strings ring more freely/loudly

Gestures Breath and bow connection

Acknowledge every beat: minimize but don’t stop

Conduct to the back of the string sections

Cue entrances after long periods of rest (chart)

Small gestures for small bows

Warm-up time before rehearsal and performance

Concertmaster Separate entrance and bow

Tuning Standing signal, silence

Takes the ‘A’ from principal oboe, cellist, or keyboard

‘A’ for winds (woodwinds, then brass), then strings

Shake hands

Acknowledging soloists, standing the orchestra

Compensation at performance

West Texas A&M University mbartley@wtamu.edu

806-651-2830

Amarillo Symphony mark@amarillosymphony.org