The phrase score-study takes me right back to music history at 8 a.m. on Wednesdays (you, too?). Grout anthology in one hand, class notes in another, marking cadences and phrase structure and German augmented sixth chords.
Don’t worry—I’m not suggesting you analyze your ensemble music quite to that degree. However, the practice of studying a score—before teaching, rehearsing, or performing the piece has its merits.
First of all, as the director, you won’t be caught off-guard when you turn the page and find divisi or an abrupt modulation to G-flat major.
You’ll also have time to prepare answers for all the questions you’ll get from your ensemble members:
“Where do we breathe?”
“Do you want us to play piano there?”
“Can I sing the lower part on p. 6? You know I can’t sing above a C.”
“How many beats are in a dotted quarter note again?”
Like those early morning music history classes, the time you spend getting to know a new piece and studying the score, looking at the details, sight-reading, singing, playing, predicting, analyzing, and looking for patterns is not just good preparation for teaching—it helps you become a better musician.
Think of this as a handbook for preparing to teach (and/or accompany) a new piece and develop your musicianship skills at the same time.
You don’t need to practice every piece in all the ways outlined below, but remember: the more ways you practice, the better your coordination skills will be, the better prepared you'll be to lead the piece (whether conducting or accompanying), and the more you'll continue developing your musicianship.
Let's get started!
Structure
No. 1 - Texture
Look at the texture and part-writing. Is there a lot of divisi? Are there any unison sections? Is the texture consistent throughout or does it change? Are new parts (descants, new instrumental line, etc.) added partway through?
No. 2 - Form
Outline the form. Are there any repeated sections? Is there a recurring chorus? Are there parts that are similar but different? Add measure numbers and mark large sections, beginnings of verses, etc. for easy rehearsal or lesson planning later.
Notes & Rhythms
No. 3 - Individual parts
For choral pieces, play through the accompaniment and each part individually (including instrumental parts, if applicable). For instrumental pieces, play each part. Listen to how they interact with or complement each other.
No. 4 - Parts in combination
Practice playing parts in different combinations, or singing one part and playing another: SA, TB, AB, ST, ATB, SAB, etc. For instrumental pieces, play 2-4 lines at a time (depending on how good your open score reading skills are!).
No. 5 - singing and playing
For choral pieces, practice singing each part while playing the accompaniment. If you direct from the console (organ or piano), this is an invaluable skill! You can also practice conducting and singing each part (choose a few key phrases or musical lines where this might be helpful).
No. 6 - obbligato line
If there is an instrumental part, practice playing the obbligato with the accompaniment (if feasible). Alternatively, practice singing the obbligato while conducting.
Musical Elements
No. 7 - dynamics & Balance
Pay attention to dynamic markings. Highlight in the score if needed. Think about the overall dynamic plan for the piece and what balance will sound like across the ensemble. Is there a clear melody and accompaniment? Who has the melody when?
No. 8 - Phrase markings
Observe phrase markings. Sing through the lines, and anticipate where you want your ensemble members to breathe and when you want them to carry over. Think about cut-offs and how you will cue these.
No. 9 - articulation markings
Review any articulation markings, especially accents, sfz, fp, tenutos, two-note slurs, and staccato markings.
No. 10 - Tempo
Check metronome markings and think about an ideal tempo. Look carefully at tempo changes and places that speed up or slow down and think about how to prepare this in the accompaniment or with conducting gestures.
No. 11 - Musical style
Consider the style of the piece, the character, and appropriate performance practice. Is it a dance? A spiritual? Is it a classical piece, pop style, or contemporary?
Vocal Production
No. 12 - Vowels
For choral groups, think about vowel sounds. Predict challenging words and placement and think about places that might require vowel modification.
No. 13 - Consonants
Look at starting and ending consonants and think about spots that might need extra attention. Pay close attention to words that end with “s” but sound like “z,” such as “closes” or “ends."
No. 14 - Breaths
Think about breaths in between phrases and when you want the choir to start breathing to come in (instead of gasping at the last second).
No. 15 - Text
Read through the text and think about the overall tone. How did the composer choose to set this to music? What were they trying to communicate? How can you convey this to your choir the first time you introduce the piece?
For more helpful tips, examples, planning worksheets, and more, see Katherine Tiefel's Great Choral Rehearsals.
I’d love to hear from you:
How do you prepare a new piece? What do you look for when studying a score?
