Page 73 - Mar_Apr23

I. Intröit et Kyrie - - - - - - - - - - - Chorus the voices as well as any unusual rests or entrances that
might catch the singers off guard in rehearsals. Dynamic
II. Offertory - Baritone Solo and Chorus changes should be marked in the conductor’s score as

III. Sanctus - - - - - - - - - - - - Chorus well, to allow the conductor to show contrast in gesture.
Score marking habits already established as a singer
IV. Pie Jesu - - - - - Soprano Solo or player create a good foundation for marking scores as
a conductor. As this journey in score study evolves, the
V. Agnus Dei - - - - - - - - - - Chorus
use of color in score marking helps immensely. Being
VI. Libera Me -Baritone Solo and Chorus able to glance at a page and immediately interpret the
colors helps to convey instruction quickly and effectively
VII. In Paradisum - - - - - - - - - - - - - Chorus through conducting. Every color means there is some-
thing the conductor needs to do to show the orchestra
Once the overall structure of the work is clear, the how to play. Each marking has a different meaning,
next step is to go through the score page by page and including ways to show dynamic, articulation, tempo,
circle every key change, every time signature, and every phrasing, time or key signature changes, and cues.
clef change. Every breath mark should be circled for

CHORAL JOURNAL March/April 2023 Volume 63 Number 7 71