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84 Cards in this Set
- Front
- Back
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4 Factors to Consider for programming
1 |
Musical literature
is it comprehensive and up to date |
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4 Factors to Consider for programming
2 |
Personnel
does it challenge them are they capable |
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4 Factors to Consider for programming
3 |
Audience
does it raise the musical consciousness of the audience can they grasp it |
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4 Factors to Consider for programming
4 |
Conductor
does it challenge the conductor |
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6 Points for Seasonal planning
1 |
summarize the current season
what worked well make notes and keep them |
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6 Points for Seasonal planning
2 |
list possible sources of conflict for concert dates
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6 Points for Seasonal planning
3 |
what strengths of the ensemble should be highlighted
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6 Points for Seasonal planning
4 |
consider special features
soloists, guest conductors, composer's birthdays etc |
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6 Points for Seasonal planning
5 |
make a tentative concert calendar
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6 Points for Seasonal planning
6 |
establish a balance of instrumentation requirements
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7 Program types
1 |
Historical perspective
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7 Program types
2 |
nationalistic styles, period styles, one composer
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7 Program types
3 |
Soloists
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7 Program types
4 |
major compositions
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7 Program types
5 |
calendar events
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7 Program types
6 |
Boston pops style
2 intermissions |
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7 Program types
7 |
prism concert
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5 timing things to consider for concert length
1 |
pauses between movements
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5 timing things to consider for concert length
2 |
tuning
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5 timing things to consider for concert length
3 |
intermissions
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5 timing things to consider for concert length
4 |
changes in staging
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5 timing things to consider for concert length
5 |
applause
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6 considerations for order of program
1 |
create a positive first impression
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6 considerations for order of program
2 |
intellectually challenging stuff on first half
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6 considerations for order of program
3 |
last thing before intermission should make audience want to return
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6 considerations for order of program
4 |
consider endurance problems
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6 considerations for order of program
5 |
alternate by volume tempo mode and style
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6 considerations for order of program
6 |
end with a work that will give the audience and ensemble a positive feeling
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Logistical preparation
1 |
musical materials
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Logistical preparation
2 |
score preparation
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Logistical preparation
3 |
parts preparation
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Logistical preparation
4 |
personnel assignments
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Logistical preparation
5 |
seating charts and additional forms
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14 points / rehearsal philosophy and procedures
1 |
establish a long-term rehearsal plan
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14 points / rehearsal philosophy and procedures
2 |
plan the intro of each new work.
don't be pedantic |
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14 points / rehearsal philosophy and procedures
3 |
plan a realistic goal for each rehearsal
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14 points / rehearsal philosophy and procedures
4 |
balance tutti versus section rehearsing
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14 points / rehearsal philosophy and procedures
5 |
plan for unusual circumstances
holidays soloists extra musical elements |
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14 points / rehearsal philosophy and procedures
6 |
balance tension and release
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14 points / rehearsal philosophy and procedures
7 |
establish tuning procedures
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14 points / rehearsal philosophy and procedures
8 |
vary format of the rehearsal
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14 points / rehearsal philosophy and procedures
9 |
keep instructions short and to the point
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14 points / rehearsal philosophy and procedures
10 |
post a schedule for several days
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14 points / rehearsal philosophy and procedures
11 |
balance the rehearsal with musical variety
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14 points / rehearsal philosophy and procedures
12 |
avoide use of speech mannerisms
"like" ok, you know, |
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14 points / rehearsal philosophy and procedures
13 |
develop a freindly rehearsal style
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14 points / rehearsal philosophy and procedures
14 |
be positive on the podium, project strong leadership
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10 rehearsal evaluation points
1 |
verbal instructions concise and clear
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10 rehearsal evaluation points
2 |
distracting speech mannerisms
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10 rehearsal evaluation points
3 |
too much talking
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10 rehearsal evaluation points
4 |
are you saying what you should be showing
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10 rehearsal evaluation points
5 |
are you ignoring tuning, balance or phrasing?
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10 rehearsal evaluation points
6 |
are you ignoring sections
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10 rehearsal evaluation points
7 |
does rehearsal progress in a logical manner
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10 rehearsal evaluation points
8 |
are you degrading performers when giving instructions
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10 rehearsal evaluation points
9 |
praising when warranted?
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10 rehearsal evaluation points
10 |
follow the schedule?
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9 balance points
1 |
long solo crescendo with narrowing balance gap
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9 balance points
2 |
long solo crescendo with constant balance
not as effective |
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9 balance points
3 |
long crescendo with soloist covered briefly
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9 balance points
4 |
long crescendo without adequate support
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9 balance points
5 |
long crescendo with ensemble out of control
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9 balance points
6 |
long decrescendo with widening balance gap
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9 balance points
7 |
long decrescendo with constant balance
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9 balance points
8 |
long decrescendo with slow or late accompaniment
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9 balance points
9 |
dynamic flucations by soloist with contour in accompaniment
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crisis situations
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conductor must be ready to make instant adjustments
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7 aleatoric performance techniques
1 |
instrumentalists and vocalists are seldom required to perform in a manner foreign to training
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7 aleatoric performance techniques
2 |
study the score the same as you would for traditional music
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7 aleatoric performance techniques
3 |
coordination often depends entirely on the conductor
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7 aleatoric performance techniques
4 |
fear of the unknown
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7 aleatoric performance techniques
5 |
may need to encourage more projection of sound
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7 aleatoric performance techniques
6 |
must constantly convey positive thinking during rehearsal
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7 aleatoric performance techniques
7 |
invite the composer to attend rehearsal
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10 conducting techniques
1 |
use the right hand for all bar-line downbeats or major subdivisions
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10 conducting techniques
2 |
use left hand for secondary entrances
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10 conducting techniques
3 |
use a watch or maintain 60 bpm
pulse |
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10 conducting techniques
4 |
number each entrance / check score against parts
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10 conducting techniques
5 |
number entrances 1-5 / if there are more than 5 subdivide and start a 1 again
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10 conducting techniques
6 |
do whatever you need when the composer's directions are unclear
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10 conducting techniques
7 |
maintain a feeling of support for rhythmic flow
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10 conducting techniques
8 |
reflect subito or extreme changes of dynamics, tensions, accents, etc with appropriate physical gestures
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10 conducting techniques
9 |
encourage the performers to make the most of each event
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10 conducting techniques
10 |
show the performers you are well prepared and committed to the performance
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