The Score Study Process

Instrumental Musicianship
Music 411

1. What are the primary steps in the score study process?

a. Score Orientation

b. Score Reading

c. Score Analysis

e. Score Interpretation (The Ultimate Goal)

f. Investigate biographical information concurrently with the rest of the

score study process.

2. Process

a. A reading of preliminary information printed in the score.

b. An examination of specific information appearing on the first full page of

music.

c. A cursory glance at each page of music (a leaf through).

3. Cover and Introductory Pages

a. Title

b. Composer’s Name and Dates

c. Author, Librettist, Translator: Works based upon a book, play, document,

or philosophical treatise.

d. Editor, Arranger, Transcriber

e. Dedication/Commission

i. Level of difficulty or sophistication

ii. Source of inspiration

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 iii. Dedication usually means a source should not be treated lightly.

f. Additional Information

i. Publisher/Publication Date

ii. Performance Time

iii. List of Published Parts

g. Introductory/Program Notes

4. Examining the first page of Music

a. Score Transposition

b. Instrumentation or Score Order

i. Orchestral

ii. Wind Band

iii. Percussion

5. Leaf Through

a. Look at each page in sequence from beginning to end, slowly leafing

through the score.

b. Tempo

c. Meter

d. Key Signatures

e. Identify and clarify unfamiliar musical notation

f. Observe density of notation of each page in relation to the tempi (sets up

for score reading)

6. Score Reading

a. Objectives

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 i. To acquire a skeletal knowledge (image) of the music, an overview

of it that can be heard with unbroken continuity in the mind

without referring to the score.

ii. To develop an intuitive music feeling for the expressive content

and form of this image.

b. Choose a tempo and establish a pulse that will allow you to read and hear

the music without stopping.

c. Don’t analyze the music. Avoid being concerned with details.

d. Use your intuition and musical imagination. Let your subjective,

nonanalytical feelings about the music surface naturally.

e. Don’t try to memorize the music. Don’t force the process by trying to

absorb more than what comes naturally to you.

f. Do not use the piano.

g. Do not listen to recordings of the work.

h. Allow playback time to evaluate progress in hearing the music in the

mind. Set aside the score and listen to the inner hearing image.

i. A conductor must allow sufficient time for score reading and music

establish conditions that allow for good concentration. One should only

read a score when the mind is fresh. A high level of concentration will

enhance what is absorbed and remembered.

Battisti, F., & Garofalo, R. (1990). Guide to score study for the wind band conductor. Ft.
Lauderdale, FL: Meredith Music Publications.

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 Score Study Outline
Dr. Amy K. Roisum Foley, Instructor

Each student will research, study, present, and conduct one wind band score.
The project should include, but is not limited to:

1. Biographical Information

a. Composer dates and a short bio

b. Biographical information about the piece

i. Year it was written and where it lies in the composer’s overall

compositional output.

ii. Program Notes

iii. Historical/cultural information that may contribute to the

composition of this piece.

2. Formal Analysis: This may be a traditional form or it may be a mixture of forms.

Create a chart that will be shared with the class that best depicts the overall formal

aspects of the piece.

3. Key/Tonal Centers: This may be included in the formal chart or a separate chart

may be created.

4. Phrasal Analysis (must include)

a. Meter

b. Tempo

c. Style Markings

d. Major Sections

e. Rehearsal Numbers or Letters

5. Melodic Analysis

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 a. What are the primary melodic or motivic sources within the piece?

b. Are there any secondary or counter-melodies?

c. Is the melody or the motive based on any recurring interval?

6. Rehearsal Analysis

a. Create a chart addressing the MACRO—MICRO—MACRO thought

processes.

b. What specific items should be addressed in rehearsal?

c. Are there any trouble areas or special indications that need to be taken into

consideration in the planning process?

7. Performance Analysis

a. Create a bar-by-bar analysis of the performance elements within the piece.

b. How do you envision the balance and blend of the ensemble through your

score study?

c. What articulation styles should the players use?

d. How do you hear the melodic line and overall phrasing?

e. Are there any counter-melodies that should balance with the primary line?