Determine the type of melody—major, minor, modal, or synthetic. After this has been determined, examine the melody closely. Use the following questions as a guide to that examination.
1. Does the melody consist of long or short phrases?
2. Is the melody arch like?
3. Can any sequences be found?
4. What are the intervals of the melody? Are there any intervals that will cause problems for the ensemble?
5. Is the melody conjunct or disjunct?
6. Do the intervals outline triads or special interval groupings? What are the harmonic implications of the melody?
7. What is the range of the melody?
8. Is the melody the most important aspect of the composition?
9. Where is the most important part of every phrase? Of the entire melody?
10. What are the characteristics of the melody that can be used to help teach the work to the ensemble? Does it have any unique characteristics that can be used as teaching aids in the rehearsal?
Conductors must understand the harmonic idiom in which the music is written and be able to grasp its harmonic flow. Although one may do a chord analysis, it is not always necessary. After examining many scores a conductor will be able to name the chords and describe their function without writing this on the score. This is true in traditional works at least. A conductor needs to know the chords and their functions, however, if he is to realize the full harmonic implications. He must be able to recognize nonchordal tones, or doubled notes of chords so each may receive the correct emphasis. One must also be able to identify important notes, such as leading tones, root progressions, etc., so they may receive proper emphasis.
The following questions can serve as a guide to the harmonic study.
1. What period does the harmonic style indicate?
2. If a twentieth-century or contemporary work, what is the harmonic vocabulary—traditional, twelve-tone, modal, aleatory, a combination?
3. Is the harmonic rhythm fast, medium, or slow?
4. Is the harmony the most important element of the work?
5. What part do nonchordal tones play in the harmonic structure? Will they need to receive special attention?
6. Do the chord movements themselves provide any special problems?
7. Harmonic interest is often derived from harmonic tension, which, in turn, is often achieved through dissonance. If this is the case, discover how the dissonance occurs. How can a conductor heighten the points of harmonic tension?
8. Where are the points of dissonance? If the work is highly dissonant what are the points of less tension and how does the work arrive at these points?
9. If the piece modulates, how is the modulation accomplished?
A study of the melodic and harmonic structures will have revealed the large rhythmic dimensions of the work. Further study will show the rhythmic force of the composition and the smaller dimensions of rhythm.
The following questions can be used as a guide to this study.
1. Is there one rhythmic pattern on which much of the rhythmic structure is based? If the study establishes this, consider other rhythmic elements in their relation to this one most important factor. How will this knowledge affect the rehearsal and performance of the work?
2. Are there any rhythmic sequences?
3. What is the tempo? Tempo directly relates to rhythm difficulties. Rhythmic complexity at a slow tempo may be easy, but at a fast tempo it may be difficult.
4. Does the meter present any problems? If the piece contains changing meters, problems of rhythmic continuity almost always occur. The conductor will have to teach the ensemble how to manage the changing meters and the consequent fluctuating rhythmic stress.
5. Remembering that choirs usually have their first difficulties with the rhythm, what can one do to instill an understanding of the rhythm of the piece in question?
6. Which places will cause the most difficulty for the singers? What techniques can be used to most effectively teach the rhythm at these trouble spots?
A conductor must be able to sing each part without accompaniment, and know each part thoroughly. He must also know the relationship of each part to the other parts. The following questions should be answered regarding each voice part.
1. What is its melodic importance? How can this best be brought out?
2. Are there any difficult intervals? Do they coincide with difficult intervals in other parts?
3. What is the range and tessitura of each part?
4. Are there any phrasing considerations that differ from those of the entire ensemble?
5. Are there instances of text repetition or fragmentation that are unique to one or more parts?
6. How does each part relate to the others melodically, harmonically, and rhythmically?
7. Can trouble spots be identified?
8. What techniques can you use to help the singers negotiate any trouble spots?
The text has already passed inspection to a degree or a conductor would not be going into rehearsal with a composition. Another examination is necessary however, to determine how the text will affect rehearsal and performance of the work. In the case of Latin texts, it is more than unlikely that an audience will understand the text, but they can understand the sense of the text because some words have become so well known that they are almost universal. Texts in modern languages other than English deserve correct pronunciation and inflection. It must be remembered that even good composers sometimes sacrifice the text for the music. Questions, like the following, can help in text analysis.
1. Is the text setting syllabic?
2. Is the text fragmented? How will this affect the transmission of the text?
3. How does the text influence rhythm?
4. How is the text inflected?
5. Are there awkward syllables or words? How can they be handled?
6. Can instances of word painting be found? How can a conductor highlight these instances?
7. Is text most important? There are times when a composer is not as concerned with direct transmission of the text as he is with conveying the sense of the text. Are there occasions when the text is blurred by contrapuntal lines or instruments? If so, are there key words that can be emphasized to project the text and the line itself?
8. If the text is a translation, has the inflection been changed so unimportant or unstressed syllables are stressed? Are there better word choices that can prevent this?
Through the study of harmony, melody, rhythm, and text, one will become aware of the texture of the work. The following questions should still be asked to prepare the work for rehearsal.
1. What are the demands of the texture? Is it thick? Transparent? Can the choir meet these demands?
2. How often does the texture change?
3. Does the composer utilize texture as a means of achieving variety?
4. Does texture often seem to be the most important aspect of the score?
Two scores have been chosen as examples of the application of score study. The first, a twentieth-century score Praise Ye The Lord by Paul Fetler, is examined in some detail following the procedures described above. The second, Now Thank We All Our God by Johann Pachelbel is presented in an overview. The overview is necessary for conductors to be certain they do not become so engrossed in the details of the score that they lose sight of the large dimensions of the work. The chapter ends with a discussion of indeterminate scores and the specific problems they present.
Praise Ye the Lord, Paul Fetler
Published by G. Schirmer, Inc.
The short choral phrases in this concert anthem are inserted into the unrelenting fabric created by the staccato piano part. The overall dynamic scheme of pp—fff—pp presents the choir with the full gamut of dynamic possibilities in this distinctive setting.
Figure 1 shows the opening piano accompaniment and the first choral statement. Both are representative of much of the writing throughout the work.
Melodically, the work is comprised of a number of short phrases quite similar to those in figure 1. Intervals of particular importance are the ascending minor third (as seen in the alto and bass of measures 7 and 8) and the perfect fifth (which occurs later in the composition).
The harmony is conservative twentieth-century writing using many chords of open fourths and fifths. Harmonic interest is achieved through frequent major second dissonances that occur as a result of paired fourths and fifths and as melodic occurrences as seen in figure 2, measure 7.
The single most important element of the piece is the rhythmic activity. Syncopation creates interest and excitement as it occurs in the choral parts over the constant eighth note in the piano. This rhythmic activity at the fast tempo is one of the outstanding qualities of the work.
PRAISE YE THE LORD, By Paul Fetler, Copyrigtht 1972 (Renewed) by G. Shirmer, Inc. (ASCAP), Internation Copyright Secured. All Rights Reserved, Reprinted by Permission
Fetler uses brief moments of legato writing as contrast, as seen in figure 4. Except for the one instance of two-part writing, these legato passages occur as unison statements. Figure 5 shows a return to the declarative statements.
One of the first rehearsal, and later performance problems, encountered is the fast tempo. Of course, first rehearsals need not be at tempo, but it later becomes an element of concern. Although the accompaniment is not technically difficult, it is hard for a pianist to maintain the desired tempo, and to do so at the various dynamic levels required in the score. Conductors must also resist the urge to allow the music to become slower. Performances often start at tempo but a slowing occurs (usually within the first thirty measures) that dulls the urgency and excitement the composition should have.
Other than the usual problems of correct notes, intonation, tone, etc., the two major problems caused by the rhythmic activity and the fast tempo are lack of clarity and poor diction.
Because of the speed, clarity becomes a particular problem of this piece. The articulation of the notes must be clean. The choir will have to adopt some of the staccato quality of the piano accompaniment in order to sing these passages cleanly.
Good diction not only allows the audience to understand the text but also contributes substantially to solving the problem of clarity mentioned above. One of the problems of this piece is the fast articulation of "Praise ye." Choirs will often sing "Prashee" instead of the correct "Praz ye." The s in Praise is sounded as a z. Conductors will find it necessary to emphasize to the choir that the z must be carefully sounded and that it should not be too long.
Although Praise Ye the Lord is not a difficult work, conductors will find that it must be well paced; that the choir must be cautioned not to reach a forte too quickly. Close attention to the careful dynamic markings of the composer will aid the conductor's pacing of the piece. The urgent intensity of the very soft passages explodes in the fortissimo center section of the work. The return to pianissimo is not easy to achieve but provides a satisfying ending to the composition.
Now Thank We All Our God (Overview), Johann Pachelbel, (edited by Eggbrechet)
Published by Concordia Press
No 98-1944
This setting of a chorale tune is only one section of a larger work. The chorale is in the soprano, preceded by alto, tenor, and bass parts derived from the tune. This is often referred to as one type of cantus firmus treatment before Bach. A tempo of a quarter note equaling eighty (eighty quarter notes in a minute) is suggested. The alto, tenor, and bass are important until the entry of the chorale tune, at which time they must become subordinate to the melody. One must keep the three lower parts from becoming too heavy. A light, free texture is necessary.
The rhythmic life of the lower parts, coupled with a clearly defined cantus firmus, is the key to success in this piece. Attention must be given to the eighth note; each must be a full eighth note. A slight broadening of the second and third eighth notes in the groups of three will help obtain the rhythmic security so necessary to this work.
Indeterminate music (also referred to as aleatoric or chance music) refers to that which is unpredictable before a performance. Until the performance a conductor will not know exactly how the piece will sound. He will have an understanding of the overall sound of the work but not of its individual sounds. Most works that include indeterminacy are not totally indeterminate. They will contain sections that are completely predictable and carefully notated, and those that are not. They may also contain sections that range anywhere between these extremes.
Indeterminate music requires a new kind of analysis and a different rehearsal approach than traditional repertoire. Conductors are required to use their musical imagination more in the study of these scores because one cannot "play the notes" or visually see the texture, range, harmonic coloring, etc., since the score may consist of only written instructions or nontraditional notation. A conductor will have to read the instructions carefully and, based on his own experimentation and his knowledge of vocal sounds, predict the overall sound.
There is no sure way to predict how each new indeterminate work or section of a work will sound. The most predictable method is simply from experience. After a conductor has conducted several indeterminate scores, he can begin to identify certain characteristics of new works that are similar to those encountered before and more successfully predict the sound of the work.
It is usually impossible to sight-read indeterminate music in the manner of traditional sight-reading. Often, a conductor should prepare a short talk, including his own demonstration, about the music. Nothing will be accomplished by asking the singers to "read" the score unless they have an understanding of it. It is best to find a section of the work that is the most accessible and rehearse it first. The singers will be able to more clearly accomplish the composer's intentions and can better appreciate the sound that will be achieved when the work is fully prepared.
For example, a passage like that in figure 1 would be a good one to extract from a work as a beginning to its rehearsal.
The composer has indicated a unison C, which is then expanded to a range of approximately two and a half octaves. There should be no glissando. If a composer desired a glissando, he would usually use a wavy line between notes to indicate it. Only a straight line is used here. This effect is sharper and has more force than a glissando. Singers are allowed to choose any notes between and including the notated B-flat and E. The conductor will need to assign several voices to the two notated pitches and then ask the other singers to fill in the sounds between those two notes. At first singers will tend to bunch the pitches; that is, not uniformly filling in between the two notes. The conductor may have to select some voices for certain ranges to get a uniform cluster.
Other passages of indeterminate music are not as easily rehearsed. Often, composers use graphics to represent sound goals or sound ideals to the singer. The graphics in figure 2 are taken from Barney Childs's Variations written for chorus, tape, and bells. Obviously, there is considerable room for individual interpretation. Some singers will find it very hard to respond to these symbols, and a conductor will need to lead inexperienced singers carefully into the repertoire. A conductor can demonstrate, providing a model for the singers.
The technique below, in figure 3, is one that is often used. It requires an explanation from the conductor and, as with similar techniques, experimentation from the singers. Singers are to sing any circle and proceed to the next circle connected by a line. Singers should divide and begin so all circles are sung at the same time. Only the singers who begin on the upper left circle may sing the text in syllabic order. The composite sound will still resemble "Kyrie" for the audience, although it will be fragmented.
Only after several attempts will singers begin to feel comfortable with these sections. After many rehearsals, such passages may begin to sound the same every time because the singers will forget to be original in their choices, and simply sing it the same way each time. If this is the case, the spontaneity of the passage is lost. The conductor must not allow this to happen. He must encourage experimentation each time, and must not overrehearse such a passage.
It is most important for the conductor to totally understand indeterminate scores before presenting the work to the choir. He will most likely "talk" the ensemble through the work, explaining the intent and type of sound expected. He can also describe how continuity is achieved in the work and how the parts relate to each other.
It should be emphasized that conductors must study the score carefully, anticipating difficulties that may arise for the singers. Every conductor must remember, however, that even with one's own choir, an attempt to determine which characteristics of a piece will need the most attention is a gamble. The conductor's gamble is based on his experience with voices, with people, and with his own choir. There will be times when anticipated problems do not occur and when others, not anticipated, do occur. The conductor must be able to recognize when he has miscalculated and be flexible enough to change direction, responding to the immediate needs of the choir rather than to his rehearsal plan.