Take Home Project Part 1

1. Cirque de la Symphonie

My first question would be: when is the first rehearsal and what is the least
amount of time before that rehearsal that I can make parts available for
practice. I would also ask for clarification from the music director regarding
the selections from Gayane. Are we looking for the Suites or the full ballet
score? Regarding Bolèro, will it be with a Sopranino or with a Soprano
Saxophone? A red flag would be that it seems like there isn’t very much
time available. I would ask for some extra cooperation from the principal
strings in order to start bowing parts as soon as possible. Maybe there are
already copies of bowed parts on file in the library. That would cut down on
the turn around time for receiving bowings from the principals. I would
consider getting some extra library help if enough music comes in late.

I would look to local sources to obtain music that wasn’t already in the
library (UCSD, LAPO, USC, Hollywood Bowl, San Francisco Symphony)
in order to minimize the amount of music being shipped from long distances.
Hal Leonard has the John Williams pieces if no one else does. I would
advise the Orchestra Manager of the need for extra doubles on Piccolo, Oboe
d’amore, English Horn, Bass Clarinet, Contrabassoon, Piccolo Trumpet,
Cornet. Additional personnel needed would be 1 Bassoon, 1 Trumpet
doubling Cornet, 1 Harp, and 2 Saxophones. The Saxophones would be one
Sopranino or Soprano (TBD) and one Tenor doubling on Soprano.

Getting Bolèro Ready:

Take the music off the shelf.

Take an inventory and make repairs if needed.
Does the Conductor use his own score, is it the same edition as the parts.
Has the Conductor added extra rehearsal numbers, if so, obtain them.
Send parts to principal strings for bowing.
Mark bowings and add any extra rehearsal numbers to all parts.
Check for bad page turns, fix as needed.
Photocopy or scan extra parts as a backup in case of loss.
Make tacet sheets as needed.
Put parts in score order to make ready for compiling books.
Once books are compiled, make books available to musicians for practice.
(Bring all backup parts to rehearsal)
2. The Music of James Bond

Scenario 1:

The first thing I would do is contact the Orchestra Manager to learn the
rehearsal schedule. Next, I would start looking for music in the library. My
research shows that all of the Bruce Donnelly arrangements will be coming
from Josie James. I would make contact with Ms. James and nicely ask that
we receive her arrangements as soon as possible. Any music that needs to
be sent for seems to be available from Hal Leonard, Schirmer, or Alfred.
I don’t know where to get Live and Let Die; if it’s not in the library I’ll call
some people that might know where I can get it.

Processing music is my next priority. I would go through each piece,

checking that all parts are there, making a doubles list, making a percussion
list, and noting that Synthesizer, Electric Bass, and Drum Set will be needed.
I would forward as much as I could of this information to the Orchestra
Manager. If I’m lucky, I’ll only have to give one update. Getting scores to
the Conductor is also a priority. During the concert The Best of Bond will be
re-visited so I will make the score and part copies needed to construct the
second usage. Next, I would mark-up the original score and parts for the first
usage. A similar situation exists with Themes from 007. I would construct
one of the usages but I can’t say which one without looking at the score. I
would consult with the Concertmaster to determine which if any pieces need
to be bowed. After doing any needed bowing, I would make tacet sheets as
needed and make sure that the parts for every piece are in the same score
order. I like to have an extra score copy but I don’t know what the policy is
concerning that. I would like to make backup scans of scores and parts if
possible. Compiling books is my next move. I start with the last piece first,
in reverse show order. The book will end up in show order and I would add a
program list just like the one I received only without timings or credits.
Once the books are compiled I would notify the musicians that music
is available. At the rehearsals, I would put any books that I have on the
correct stands and pickup all remaining books afterwards. Also, at the
rehearsals, (especially at the first rehearsal) I would be close by and paying
attention, in order to respond to any requests or issues. In between
rehearsals, I would make any needed adjustments or repairs. After the last
performance, I would retrieve all books and any stray parts or pages and
return them to the library for de-processing.
Scenario 2:

My response would be to ask: during which pieces, and what could

the library do to help. For the clips or images, score copies would be
needed. For live action, a work tape would be helpful, but is not something I
can provide. The most elaborate possibility would be the orchestra playing
with film clips. The easiest option would be showing images while the
orchestra is playing.

3. Music of the Americas

Extra costs for this program would include having a Saxophone for Piñata,
and the rhythm section and separate rehearsal time needed Maple Street Rag.
I would consider a few of the Latin arrangements at Robinsdale Music to
replace Piñata. One of the Leroy Anderson pieces might be considered to
replace Maple Street Rag.

4. Nuvi Mehta Excerpts

I would photo copy and mark up each excerpt. Then, I would compile a tape
bound book for each instrument. Each excerpt would start on a new page.
Of course the excerpts would be in performance order.

I would need to have the beginnings and endings clarified as there are
frequently overlapping musical elements at both points.

In the Prokofiev 5 excerpts, there is a Piccolo Clarinet plus two Bb Clarinets

and a Bass Clarinet, all playing where doubling is not possible. The Scythian
Suite uses 8 Horns and one extra player in the other wind and brass sections
as well as an extra Harp. I would consult with Mr. Mehta to decide what to
leave out.
5. The Temptations

I would obtain the music from these rental libraries:

The Magic of Motown – Robinsdale Music Co.
Beach Boys Medley and Selections from Hair – Luck’s Music
Those Fabulous 50’s – Colonial Road Music Publishing
Back to the Fifties – Robert Wendel Music

I don’t think I would be doing much with the guest artist’s music. Acts like
The Temptations usually have their own books. They may even distribute
and collect it themselves. I would of course offer my help and cooperation.

I would notify the Orchestra Manager that for the first half of the concert a
Saxophone doubler, Contemporary Piano/Synthesizer, Electric Bass, Electric
Guitar (optional), and Drum Set are called for.