38 CHAPTER 6 Marking the Score ‘The markings made inthe score are primarily forthe purpose of learning the score. ELIZABETH A. H. GREEN AND NICOLA! MALKO. ‘Scote-markirig procedures vary among conductors. Some mark everything (entrances, dynamics, articulation, exe), while others mark very litle. Some even claim they mark nothing. For me this is hard to believe. Conductors often use two copies of a score when studying apiece. Everything deemed important is marked in one copy. The second is reserved for podium conducting and only contains markings needed for conducting purposes (i.e, difficule-to-remember entrances, surprise dynamics, unusual/rapid tempo changes, ec.) All markings should be made in a manner that makes them stand out from the printed page and placed in locations where the conductor's eyes tend to gravitate. If markings are made with a sofe pencil (as opposed to a pen), itis easier to make changes when necessary Below are guidelines for placing markings in scores. COMMON ABBREVIATIONS FOR INSTRUMENTSCHAPTER 6 — Marking the Score COMMON ABBREVIATIONS FOR INSTRUMENTS (continued) Bass Clarinet BC ‘Tympani Contrabass Clarinet CBCL) Snare drum soon a esale Bass drum Crash Cymbals r Suspended Cymbal ‘Ténor Saxophone Xylophone Baritone Saxophone _ Trumper Comet French horn 1. Tempo—IF rempo/metronome markings in a score are small and cannot be seen easily, add larger ones in red pencil. Whenever a tempo changes, write in the old tempo (in parentheses) and then the new one. e144 (4 (t Ly de den / 2, Entrances—Place the abbreviated name of the entering instrument and/or section in front of the entrance in large letters. > nf 3. Difficult-to-remember entrances—Place an exclamation mark or an arrow in front of diffcul-to-remember entrances. A"NB" marking (nota bene = note ie well) ‘can also be used for this purpose. > 7 0 affect a so40 Becoming a Wind Band/Ensemble Conductor + Meter signatures—Place enlarged meter signatures over any that are small/hard ‘0 read and in passages with rapid meter changes. 5. Quick page eurn—Place avs" (volt subito) on the right margin of a page here there isa need for fp a quick page cum. tp 6. First measure of the next page (the one that cant be seen)—Wrire cot the first measures of the next page in the right margin of each page. Note: This isa very time consuming procedure.CHADTER 6 — Marking the Sore Rehearsal numbers or leteers—If omitted in the score, place rehearsal numbers at ‘en-measure intervals and/or rehearsal leters at appropriate locations in the score and parts (eg. at beginning of phrases, changes of tempo, et). @ | o 20, 30 Multiple score systems—IF« page has more than one system on it, place a thick, wavy, ted, or yellow line becween them. SYSTEM1 ewe ttt SYSTEM2 Phrasing/breathing—Use commas to indicate phrasing and/or necessary breath- ing spots in phrases too long for woodwind/brass players to play in one breath. Continuation of a phrase—Ac places where players might break a phrase or where ‘woodwind or brass players might take a breath, place an upward and downward curved, half-moon figure with an arrowhead at its right end, to indicate that no breath is to be taken, “™ 4142 Becoming a Wind Band/Ensemble Conductor 11, Parts in unison/octaves—Use a slightly curved vertical line (with arrow heads at «ach end) co connect inscruments playing the same part in unison /octaves, Sf 12, Dynamies—Mark dynamics in different colors (eg, red for forte, blue for piano, ¢t) or identify each dynamic by enclosing iin a diferen igure (eg, square for mf, ‘iangle for mp, circle for pp, et.). > > ’ — oe 13, Grescendos and diminuendos—Convere all printed crescendo and diminuendo instructions into symbols.CHAPTER 6 Marking the Score 43 14. Sudden change in dynamics—Place a broken diagonal line between the first and second dynamic (Le, sp ofp). 15. Divisi parts—Circle or highlight all divisi instructions. aa ee 16. Clef changes—Circle all clef changes in score (and parts) (e.g, where a trombone ot bassoon part changes from being notated in the bass (F) to a tenor clef, etc.) Bassoons44 Becoming a Wind Band/Ensemble Conductor +4 Form Mark the various pars ofa piece form either with lancing lines or brace ets atthe top of the score, | measure phiase 3 measure phrase | o rt Prt 39. Notes in a chord —Use symbols, letters, or numbers to identify each note in a chord (6s the leterR° ora square forthe rooe, number“s" or a cre forthe aed,°s" or a ‘langle for the sth” or a diamond for the th,“ or aX forthe oth, et). 4 4 measure phrase 2x FL Alo Sax Trombone Taba 20. Asymmetrical méters—Mark the note groupings as follows: a triangle for note ‘groupings of threes and two vertical lines for note groupings of twos. AlUHAN AWuaCHAPTER 6. Marking the Score 45 a1. Climax (high point)—In a long phrase (especially phrases that continue over a page turn), place an ascending arrow at the start of a phrase that leads to its high point (climax). ‘aa. Phrase structure—Identify the phrase structure by placing numbers at the top of the page and at the beginning of a phrase, [4+4+2-10] [5+5-1 23, Dynamics in long crescendos and diminuendos—When not notated, place the desired dynamic (in parentheses) atthe beginning, high point, and ending of long crescendos and diminuendos. Se ee 24, Asticulation—When a specific articulation style is not notated in the score (and/ fr parts), mark in the style desired (eg, dots and/or vertical lines between notes for staccato, short horizontal line above or below notes for renuto, arrow head pointing to the right or upward or downward for accents et.).46 Becoming a Wind Band/Ensemble Conductor 25, Tempos at the beginning and ending of long accelerandos and ritardandos— Place metronome markings (in parentheses) at the beginning and end of acceleran- dos and ritardandos. F re maene 26. Number of measures in a long accelerando and/or ritardando—Place the num- ‘ber of measures (in parentheses) in a long accelerandos and/or ricardandos at their starting point. This will help the conductor gage the rae of accel. or rt. —_-7 ce lan de Gf ec pane 27. Descriptive words—Ada descriptive words to clarify the expressive character of various parts of the music such as"make it sound like ribbons of scales“ should sound (and feel like huge powerful waves hitting rocks along the Maine coast” etc. 28. Unusual instructions/musical terms and notation—Translate/larfy the mean- ing of any unknown or unusual instructions/terms. 1 place many markings in my scores. It helps me remember. If time permitted, 1 would hand-copy al the scores T studied. This would ensure that I saw and considered every detail in them.