Notation Pet Peeves

I tend to be (or at least try to be) very meticulous with how my scores look, but will invariably end up finding a mistake here or there, so the "honest" mistakes are not just excusable, but expected.

But...

...one of my biggest pet peeves in a score, when it's obviously not an innocent mistake or oversight, and especially when I'm conducting the piece is when the composer doesn't consistently, properly, and clearly group rests or notes in accordance to the meter. This is most egregious in either 7/8 or 5/8.

I'm not suggesting that you can't have a syncopation within an irregular meter, but at least make it easy to see if it's 2+2+3 or 3+2+2 or 2+3+2, etc. Don't make the players guess and don't let it waste rehearsal time by having to stop and clarify something that doesn't already need to be clear.


Now that that's out of the way, here are a few more (if I may be so bold to suggest) notation issues that although seemingly slight, can slow down a rehearsal, in no particular order:

Beam things.
Beams are great and it can clarify so many things. Saves time in rehearsal.

Rehearsal Marks. Use them. OFTEN.
It doesn't matter if you use letters, numbers, or bar numbers (though bar numbers tend to be very practical for obvious reasons), but any important chunk of music should be bookended by rehearsal marks. Saves time in rehearsal. As a general rule, I won't let more than 16-20 measures go by without a rehearsal mark.

Parts should be identical to the score. 
Now that you have rehearsal marks, make sure everyone has them in the their parts, along with pretty much anything the conductor sees (such as subtitles dividing sections).

Cues.
Players can definitely count, but anything more than 8 measures, I tend to give cues. It makes it easier on the players. Also, cues can also save a piece in case someone plays at the wrong time (this has happened to me more than once).

Don't use 11x17 if you can avoid it (regardless of orientation).
11x17 scores are great if you're conducting orchestral or band works, but 11x14 is more than ideal for most anything else. Bigger (font) doesn't necessarily mean better.

Use metronome markings whenever appropriate.
Usually what will happen in a rehearsal with a composer is that the section they simply marked piu mosso will either be too mosso or not piu enough. Give 'em a number and then they know what you want.  

Winthrop University Residency

What a great three days in South Carolina! Catharine Bushman was kind enough to commission a new piece for her Symphonic Band and Winthrop University and was able to arrange to have me come in as Composer-in-Residence for the trip.

I met with some some talented, young composers at Winthrop, each showing me something unique from each other.

I got to work with the Symphonic Band in rehearsals of Madden.

I got to meet some really interesting faculty not only in the composition department, but in several of the other departments, including conducting and performance.

Finally, I got try some of the local cuisine, including authentic southern grits and some famous Carolina-style BBQ.

Starting Your Own Ensemble

A couple of mental notes toward the end of the first season of Sonorous Ensemble:

DO work with your friends.

DO work with your friends who love playing new music.

DO NOT underestimate how busy friends are because they are excellent players with a lot of gigs.

Always bring cookies for after the rehearsal.

The conductor should always have a beer before the rehearsal.