Act 1: Practice Week 1

Here I am hanging out again with another really busy score for New Line Theatre: “High Fidelity.”  I’ve been working through Act 1 pretty thoroughly this past week sorting out the usual issues:

  1. Page Turns:  Why did I print two copies of the score?  Because the first one ended up being full of nasty page turns that had me writing the chords of basically the entire next side on the bottom inch of the page to avoid turning mid-crescendo.  I look ahead to see how much more of that to prepare and wouldn’t you know, it’s like that the whole way through.  My FB friends:
  • D. Mike Bauer Two things: best thing is to print it all on single pages, and then use scotch tape and three-hole-punch to figure out the page turns. Secondly, holla at me.
  • Trisha Bakula Kinko schminko. I printed dave’s for free from my work computer. This girlfriend rocks!
  • Scott Miller Wow. My printer does two-sided printing. Doesn’t everybody’s?
  • Aaron Doerr DMike, ya good one! Considering it as we speak…
    Trisha, I love Kinko’s or any office supply store. I browse there all the time. Free rocks though.
    Scot, seems like ours is always out of ink. Plus, it’s a business expense.
  • Scott Schoonover I wish my printer would print my drawings…but alas it doesn’t print pages that are 24″ x 18″…. One of these days though…..

 So the next day I ended up just re-printing the whole thing using a blank page as the first side.  Now I’m sitting pretty, and there’s even a part where I went back and used the first print-off for a tune that was easier that way.  (Although I accidentally punched holes on the wrong side for the first ten pages or so in the process)

DISCLAIMER: I planted thirteen trees yesterday. 

     2. Informal Notation: Question – Are capos for fags too or is it just TAB?  This note on my score from the previous jack-ass who decided that his every last markup should be preserved for future guitarists to come was particularly ironic given the nature of our work in musical theatre:
FYI I am a huge fan of TABs for guitar and cannot sight-read notation on the treble clef.  It always takes me a good while to figure out any lead parts in these scores as a result, and I usually end up squeezing in the part in TAB somewhere above it.  For my teaching and students, why, that’s a good question!  My post about notation and why it doesn’t always help
     3. Chord Voicings – there’s always a new voicing to learn.  There are some cool sounding ones (F#m7add4), some cheesy-sounding ones (Gadd9), and damn, always with the sus4!  How would we ever have a buildup or crescendo without those suspended chords?

Author: aarondoerr

Owner of Fellow Musician LLC, a small music education business specializing in outreach and private study. I'm guitarist for musical theatre and production assistant at St. Louis Public Radio.

One thought on “Act 1: Practice Week 1”

  1. Now I know why I never succeeded practicing, I always thought that I could learn it overnight. What are the rules in making new cords like Gadd9 and the like?

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