Hi John. I used to be a Sibelius user but no longer. Got fed up of the constant problems and the inability to upgrade without paying a subscription for what I now know is an inferior product to Dorico which I would highly recommend you try. But to answer your question, you can purchase templates for Sibelius to give you the uniformed look of Broadway style layouts. Having said that, in Dorico (once you have gone through the learning curve) you can physically see your template as you create it. Hope this helps. Rob
Thank you so much. I have done a lot of choral conducting and some big band conducting, but now for the first time Ill be conducting a musical. Your tips have helped me a lot.
I confess to being a total neophyte, but this was eye opening and fascinating. I love watching various musicals, in various productions and the various conductors. Thank you. Do you have any videos on musicals where you actually use music to demonstrate? Starting Into The Woods, Mamma Mia and the like; both keyboard and baton conducting?
Hi David, thanks for your kind comments. I don't have any videos on specific musicals as I have to be very careful regarding copyright issues. Having said that, what I have said and demonstrated in a few videos regarding conducting, can be applied to any music no matter what tempo and time signature. Be clear in your conducting, know the music and 'feel it', ...if you have all these clearly in your mind, anyone following you the conductor, will be able to follow your direction.
One experienced MD I work with is extremely helpful by including what he will be counting in for each number on the sheet he sends out with the cuts in advance of bandcall. Also helpful because it's sent in advance so we can mark scores up in advance
There’s one thing I (as a non-professional) would consider very tricky when it comes to conducting a musical. Let me give a specific example first: „Not my father’s son“ from „Kinky Boots“. The scene starts with a dialogue between the two main characters. Then, while they are still talking, the intro of the song starts underscoring the spoken words. It’s exactly four bars of introduction. The thing for me would be the timing! When should I give the cue for the instruments to start, so that for the actors onstage the transition between speaking and singing is seamless. My point is that the actors don’t have a given tempo while they still speak. Sometimes they might speak a little faster, sometimes a bit slower. This might result either in a small pause before they start singing or that there is still dialogue left when they have to start singing. How is it achieved conducting-wise that the transition between speaking and singing is perfectly seamless?
Hi there. This issue isn't really a conducting issue it's a timing issue. Timing that is learnt through rehearsal. Despite what you think, during rehearsal the actors will start to become consistent in the pace they deliver dialogue. As a music director you in turn will come to know when to start the four bar phrase you use as an example......in fact in this example I remember it's only a piano anyway. Similarly, as rehearsals progress the actor will also unconsciously start to time their dialogue to fit the introduction. It's a collaboration that over time will ensure both parties are work towards being at the right pinot to start the lyric. Hope this helps.
You're great, it's amazing the way you clearly explain everything. Thank you so much.
Have you ever used Finale or Sibelius? I’m trying to setup my score to look like the official Broadway uniformed look and am having trouble
Hi John. I used to be a Sibelius user but no longer. Got fed up of the constant problems and the inability to upgrade without paying a subscription for what I now know is an inferior product to Dorico which I would highly recommend you try. But to answer your question, you can purchase templates for Sibelius to give you the uniformed look of Broadway style layouts. Having said that, in Dorico (once you have gone through the learning curve) you can physically see your template as you create it. Hope this helps. Rob
@@MusicDirectorOnline Do you have a Dorico template you use that I could try?
@@johneidson2905 I don't use pre-made templates, I create my own as and when. Don't have any that will fit this criteria at the moment though.
Thank you so much. I have done a lot of choral conducting and some big band conducting, but now for the first time Ill be conducting a musical. Your tips have helped me a lot.
Pleased to hear the tips are useful..... let me know you need any further help.
:)
So very helpful thank you.
Your'e welcome. Im glad you find them useful
I confess to being a total neophyte, but this was eye opening and fascinating. I love watching various musicals, in various productions and the various conductors. Thank you.
Do you have any videos on musicals where you actually use music to demonstrate? Starting Into The Woods, Mamma Mia and the like; both keyboard and baton conducting?
Hi David, thanks for your kind comments. I don't have any videos on specific musicals as I have to be very careful regarding copyright issues. Having said that, what I have said and demonstrated in a few videos regarding conducting, can be applied to any music no matter what tempo and time signature. Be clear in your conducting, know the music and 'feel it', ...if you have all these clearly in your mind, anyone following you the conductor, will be able to follow your direction.
Amazing channel! I’m MD for 2 Am-Dram pantos this Christmas! This channel is a God-Send!! 🤘
Thanks Jasper....spread the word!! haha
One experienced MD I work with is extremely helpful by including what he will be counting in for each number on the sheet he sends out with the cuts in advance of bandcall. Also helpful because it's sent in advance so we can mark scores up in advance
There’s one thing I (as a non-professional) would consider very tricky when it comes to conducting a musical.
Let me give a specific example first: „Not my father’s son“ from „Kinky Boots“. The scene starts with a dialogue between the two main characters. Then, while they are still talking, the intro of the song starts underscoring the spoken words. It’s exactly four bars of introduction.
The thing for me would be the timing! When should I give the cue for the instruments to start, so that for the actors onstage the transition between speaking and singing is seamless.
My point is that the actors don’t have a given tempo while they still speak. Sometimes they might speak a little faster, sometimes a bit slower. This might result either in a small pause before they start singing or that there is still dialogue left when they have to start singing.
How is it achieved conducting-wise that the transition between speaking and singing is perfectly seamless?
Hi there. This issue isn't really a conducting issue it's a timing issue. Timing that is learnt through rehearsal. Despite what you think, during rehearsal the actors will start to become consistent in the pace they deliver dialogue. As a music director you in turn will come to know when to start the four bar phrase you use as an example......in fact in this example I remember it's only a piano anyway. Similarly, as rehearsals progress the actor will also unconsciously start to time their dialogue to fit the introduction. It's a collaboration that over time will ensure both parties are work towards being at the right pinot to start the lyric. Hope this helps.