Dr. Harold Rosenbaum
South Salem, NY
Ask the Choral Doctor A Free service for a limited time
Dr. Harold Rosenbaum, conductor, editor, recording artist, composer, lecturer, and professor, is pleased to offer a new service designed to assist choral conductors as they prepare music to conduct, and to assist composers as they prepare their scores for publication and/or performance.
HERE IS HOW IT WORKS
Conductors and Composers:
PLEASE SUBMIT A PDF or JPG of one page of a score with which you need guidance to firstname.lastname@example.org.. Include a brief description pinpointing the areas of concern and describing exactly where you would like Harold to focus his attention. If the page sent is not the opening of the piece, include the meter, tempo and dynamics for each voice part at the beginning of the page or in the body of your email.
Harold will respond by email with an answer no later than 72 hours after receipt of your email.
Here are examples of possible conductor concerns and questions:
There are two fermatas – one coming on the first beat for sopranos and altos, the other coming a beat later for the other voices. How do I conduct that?
The tempo is vivace, and the meter is 7/8. I can conduct triangle, vertical, vertical (3+2+2) which suits two of the four parts. But for the other parts, 2+2+3 is better. What should I do here?
How can I give a cue at this spot, when my left hand is busy giving a long crescendo, and I feel it is crucial that the right hand keep the pattern going?
Is it more important to give a cutoff or a cue at this spot? How can I give both?
How do I set the new tempo here when it happens suddenly, and while singing is occurring?
Here are examples of possible composer concerns and questions:
Is the print large enough for the singers?
What is a safe range for each voice part?
In 4/4 time, should I tie a whole note to an eighth note if I want the singers to cut off on the downbeat?
Should I have singers hum, or sing oo or ah? Are there other choices?
Should I put in breath marks or leave that to the conductor? If I do, what is the best way to notate them?
What should I include in the score, and in addition to the score, to make a potential conductor more likely to schedule it for performance?
FEE: Limited time offer: FREE