Score Orienteering

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score.htm

I) Anatomy of a score - map of music or picture

barline - lines which separate the measures

staff/staves - the graphic ledger on which notes are placed

system - a group of staves, usually organized according to instrument type

instrumental family - type of instrument i.e.- woodwind, brass, perc., strings

stafflines - ledger which tells pitch

note values, rests etc.

phrasing - markings for sentences of music, when to breathe

articulation - how to give the notes character, e.g. col legno, con sordino, staccato, etc.

dynamics - loud and softness, volume

At beginning of a score:

Forward/Vorwort - tells about the composer/situation in which piece came about

Title - very important for figuring the intent of a piece, esp. in the Romantic

time signature - rhythmic organization of the piece

instrument - name of instrument in the language of choice

tempo marking - speed of piece

mood - how to play the piece, emotionally e.g. con brio

special considerations (e.g. 3+2, or some other instructions)

II) Things you can tell about a score by simply looking:

• Shape or contour of a melody - the 'up and down' of melodies

• texture - polyphonic, homophonic

• basic energy - active, changing, smooth

• mood - nature of the music, program

• areas of interest - double bars, fugues etc.

• development of ideas - motivic dev.

• form - ABA, binary etc.

• Ensemble Makeup, SATB, chamber ensembles

III) Choreographers needs for score orienteering

- Follow melodies and bass lines to know landmarks. For 'counting' of music/dance.

- Any score can have a ton of information for adaptations.

- We must seek inspiration.

- Scores can tell so much without discussion.

- Complicated scores can solve rhythmic or formal riddles of creativity.

- Balanchine/Stravinsky collaboration is a fine example of knowledge by a choreographer.

- Develop musicality by knowing, not by guessing.