MUSIC MAESTRO GOLD SCDG HOW TO
When I started conducting, it was necessary for me to learn how to study scores, attend masterclasses with experienced teachers and ultimately to become comfortable letting myself go in front of an ensemble (this is a similar feeling that athletes get when they’re in the zone). This training has helped me to learn the orchestral repertoire and understand what I need and want from a conductor.
MUSIC MAESTRO GOLD SCDG PROFESSIONAL
I have performed with many professional orchestras and small ensembles. All conductors have to start as outstanding players. I have to be passionate about the music I choose to perform and be able to tell people about it. I have to be a spokesperson for classical music. I have to be humble in front of the orchestra and understand how to motivate the orchestra to get the best possible performance. I have to be so comfortable with my technique, that I can listen as I am moving. I have to have the technique (both physically and verbally) to communicate my ideas to the orchestra. Sometimes I help to reassure a musician that has a solo after many measures of not playing that they are coming in at the right time.įirst and foremost, I need to know the music well. As I listen, I may need to anticipate spontaneous corrections. As I’m listening, I may look at one section or person so that the rest of the orchestra knows that they are important…almost like a spotlight. I stand in front of the orchestra in the center because it is the best place to listen. It’s essential to note where the conductor stands. Sometimes I stop and make verbal suggestions. During the rehearsal and performance, I am trying to use my gestures and facial expressions so that the music sounds like the interpretation that I have developed in advance. Many people are astonished to learn that the orchestra only rehearses during the three nights before the concert for 2.5 hours. Sometimes I make additional markings in the music ahead of time so that we can save valuable rehearsal time. For example, if both the trumpet and the violins have the melody, I may ask the violins to listen back to the trumpet because I want that sound to be the dominant voice. The composer notates many things in the score, but there are many choices that I need to make. I sing the music, play it on the piano and sometimes listen to recordings. Two months before the concert, I begin to study. I choose soloists to perform with the orchestra. Often I use a theme to help provide unity. Each term refers to the ability to lead.Īpproximately one year before the orchestra performs a concert, I select the music. Italian (maestro), English (conductor), French (chef d’orchestre) and German (dirigent). Ultimately, each language has a different term.
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