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The Score, the Orchestra, and the Conductor (Europe and the International Order) In The Score, The Orchestra, And The Conductor, Internationally Renowned Conducting Instructor Gustav Meier Presents His Practical Approach To Preparing An Orchestral Score For Rehearsal And Performance Well Illustrated With Numerous Music Examples, Charts, Figures, And Tables, Meier S Methods, Grounded In The Rich Body Of His Collected Experience As A Music Director And Teacher Of Conducting Students, Are Explained In Great Detail Meier Covers All Aspects Of Conducting From Experimenting Without The Orchestra To Creating Signals That Produce The Desired Sound The Methods He Describes Offer Specific And Readily Applicable Advice For Virtually Every Musical And Technical Decision That Occurs In The Important Phase Between When A Conductor First Decides Upon A Specific Score And The First Rehearsal With An Orchestra And From Ear Training To Working With Musicians To Programming, He Also Offers His Expertise On The Day To Day Aspects Of Conducting And Musical Performance The Score, The Orchestra, And The Conductor Will Be An Indispensable And Often Read Contribution To The Library Of Every Music Director And Conducting Student Un libro imprescindible Uno de los libros sobre direcci n m s tiles que he le do jam s Mientras que otros libros divagan durante p ginas y p ginas sobre la naturaleza y la filosof a de la direcci n o dedican varios cap tulos a analizar los tempos de las grabaciones de varios directores, este libro va al grano se concentra en trucos, en aquellas cosas que el director necesita para representar adecuadamente su visi n de la obra a trav s de de gestos y en la preparaci n previa del director Una buena parte del libro est dedicada a su sistema de preparaci n de partituras, unos s mbolos propios del autor para ayudar al director en t rminos de fraseo, entradas etc Definitivamente son tiles, aunque es un poco engorroso al principio entenderlos Un cap tulo entero est dedicado a la aplicaci n real a movimientos enteros de obras sinf nicas es imprescindible tener las partituras de las obras.Es m s que deseable que el lector tenga unos conocimientos al menos intermedios de direcci n. This book is the best resource on conducting You must have a small knowledge of technique, but thankfully this book is not about that It s about how to interpret, prepare, and rehearse scores like a pro in the most efficient way possible Meier has an extensive system of shorthand notation that occur throughout the book These notations can be applied to any score you are going to conduct, and if you gain familiarity with his notation, you will be able to save hours of time in rehearsal and also in independent practice The amount of time it takes to learn the shorthand is very minimal, and it will save you maximal amounts of time Here are the best sections of the book in my opinion and why Preparatory Beats while anyone who has studied conducting technique will find this trivial, there are example preparatory beats of almost every type, from recitative, to huge orchestral tutti, to solo instruments This book has them all written out in score form, cited, and explained Meier explains why the passages are prepped the way they are, and additional suggestions on certain passages His system of notating how to beat these passages is confusing at first, but if you use your logic, you will begin to understand very quickly that it is a very efficient and helpful notation These notations can even be marked in the score.Score Preparation This is the most important activity a conductor can spend his her time on Meier has an entire method on how to mark scores with regard to phrasings, orchestration, important parts, which instruments should be cued and which ones can function on their own If you follow his advice, you will be able to conduct some of the difficult scores in a fraction of the time you would have spend trying to memorize these things He shows you how to look through the score and pick out what is worthy of marking and how to gain familiarity with any score Score prep saves so much time in rehearsal, and also is the quickest way to memorize the piece.Cues This book is worth buying just from the section on cuing Meier has a system of diagrams that will tell you as the conductor what instrument should be cued at a certain time Once you mark these in the score, you will have no problem cuing instruments at the perfect time Please study his shorthand diagrams, they will help you power through a score and they will make marking new scores so much easier.Rehearsal The section on The Zig Zag Way is also a great chapter, and has Meier shorthand for ease of use This section is the only section that requires external information, as it outlines how pieces should be conducted To get the most out of this chapter, I recommend buying one of the scores from Dover publications Meier covers Beethoven Symphony 2, Beethoven s Eggmont Overture, Debussy s Prelude to the Afternoon of a Faun, Bartok s Concerto for ORchestra, Tchaikovsky s Romeo and Juliet Overture, and Copland s Appalachian Spring Suite Meier shows you how these scores should be marked up, conducted, and rehearsed It s a great section if you have the score to even one of the pieces.All in all this book is great to improve the efficiency of your time spent in front of the orchestra It is NOT a substitue for a private teacher, or any amount of orchestral rehearsal sessions It is a supplement that will allow you to make the most of your home practice and study If you mark up your scores with Meier s shorthand, and learn them by heart with this book, when you step in front of the orchestra, you will feel confident and will have a way efficient rehearsal. Gustav Meier s book has very detailed ideas about baton technique, and he deals with many situations There are plenty of examples from the standard repertoire on how to cue entrances and how to start a composition or movement His style of baton movement notation was new to me, so it will probably best for readers to familiarize themselves with his notation Without doing this step, someone picking up the book in the first 60 pages would get some wrong ideas of what he was recommending I liked some of the visual cues that he suggests putting in one s score, especially those related to cuing the woodwinds and the strings The index in the back points to problems and opportunities in standard repertoire, and this can be handy when one is learning a new piece and just refreshing their approach to a piece one has done before I found four or five gems like this related to a piece that I am preparing for performance after a 10 year hiatus This book is well worth the cost.

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