A Simplified Score Study Checklist

Robert Ponto
University of Oregon

I. Identify themes:
 Write on manuscript paper
 You might want to start with just note heads save time.
 Consider writing inversion as well (possibly retrograde and retrograde-inversion as well)

II. Make a timeline chart:

 Diagram major sections.
 Note recurrences of the themes.
 Note key/pitch centers for each theme/section.
 Analyze length of each phrase.
 Show as arcs on chart

A. “Memorize” structure using score and chart

 Try to sing through a rough approximation of the score using your chart.
 Keep a phrase “count” to aid in learning the form.

B. Add details:
 Note how themes are orchestrated. Try to “hear” them.
 Look up unfamiliar terms used by the composer — they are extremely important!
 Note and track the various “layers” (e.g., melody, countermelody & rhythmic “motor.”
 Determine the character, mood and role of each layer.
 Determine the best balance between layers. Think “3-dimensionally.”

III. Determine tempos

 Work with metronome to internalize tempos

IV. Note dynamics

 Note/mark dramatic climaxes of piece,
 What is the “volume scale” used?
 What is the emotional effect/meaning of dynamics?

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V. Look for interesting harmonic events:
 New keys / returns to “home” key.
 Re-harmonization of themes.
 Chords that might be verticalizations of melodic ideas.
 Interesting or deceptive cadences.
 Chords constructed of 4ths, 5ths.
 Unusual scales or modes.
 Polytonality.

VI. Look for interesting rhythmic events:

 Be sure you can accurately sing every rhythm in piece!
 Determine the kind of stresses and accents needed.
 Note differences between syncopations vs. “notated rubato” or “hidden meters/tempos.”

VII. Taking one section of the piece at a time, sing each line:
 Sing at “concert” (actual) pitch.
 Try to get a feel for how each part fits with the others
 Take particular note of how percussion parts relate to other voices.
 Be aware of doublings and in what octave they fall.
 Watch out for tricky voice crossings, mutes, harmonics and other special instructions.

VIII. Practice conducting the work:

 Work out meter changes, transitions, fermatas and such.
 Conduct each layer of the music so you can easily show details in rehearsal.

IX. Anticipate technical difficulties faced by players

X. “Optional” items:
 Chord by chord analysis:
This CAN be helpful but not always practical. Definitely know key centers, important
harmonic events and potential intonation problems (very important for winds & brass).
Note that conventional Roman numeral analysis might not work with contemporary
music.
 Historical/Biographical information:
This varies greatly from piece to piece. If you are doing a well-known work by a well-
known composer, there may be a great deal of valuable information available. For others,
you may find nothing at all. In any event, DO know historical performance practices, if
applicable. Also, if the piece is based on a text, read the primary source material!
 Program notes
 Recordings:
These are very helpful to get an idea of a piece. Don’t substitute for your own score study
however. Let your own ideas patiently evolve.
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  Published analyses:
I strongly recommend these when available. However, you’ll usually find them more
meaningful if you do some sort of preliminary analysis of your own first.

XI. Other things to keep in mind:

 Always ask “why” things are indicated in the score.
 Strive to internalize the music “away from the score.” (This assists in getting you head
out of the score and develop a “dialog” with the score.
 Use your imagination!

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