10 Essential Tips for Music Directors in Musical Theatre
In this blog post, we’re diving into the critical tips every music director in musical theatre needs to know. These insights come from my experience and a recent conversation with a friend about what music directors do well—and what they could do much better. Let’s get started!
1. Teach the Ensemble Cut-Offs
Many music directors feel impulsed to cut off the ensemble at every turn. But if you train your ensemble to cut off and build the timing of phrases into their muscle memory, this could help eliminate unnecessary cut offs. If they’re properly trained, there’s no need to rely on visual cues during a performance. For example, when I worked on Company, the pit was above the stage, making it hard for actors to see me for cut-offs. So, I had to train them during rehearsals to internalize the cut-offs and the counts, eliminating the need for constant visual guidance. Granted, there are times where you need to conduct the ensemble and it’s conditional depending on the situation at hand!
2. Mastering Vamps
A vamp is a repeated section of music, typically one to four bars long, used while waiting for something on stage to happen, a lighting cue, action cue, or dialogue cue. To manage vamps effectively, I use one finger up to signal that we’re in a vamp, and a fist indicates the last time through followed by a clear downbeat on the bar out of the vamp. For large orchestras, I recommend using more visible signals, such as a raised opened-palm hand to indicate we’re in a vamp and a karate-chop motion to cue the downbeat of the next bar out of the vamp. Musicians in the pit are not always looking directly at the conductor and may be relying on their peripheral vision to indicate when to proceed in the music, so large gestures are critical! Additionally, today’s Broadway pits utilize conductor cameras (conductor cams) so large gestures aren’t usually warranted. But even so, making your gestures clean, clear, and deliberate will work wonders with your musicians and cast.
3. Ritardando and Rubato
Slowing down at the end of a measure or fluctuating tempos can be tricky. I prefer to subdivide the beat to guide the ensemble smoothly through these tempo changes. For instance, in the Les Misérables “ABC Café” scene, clear and subtle hand movements help indicate where the tempo changes occur without overwhelming the musicians or actors. A lot of the times, less is more. Don’t make large movements till you absolutely need to make a musical gesture. When in doubt, follow the singer or the instrument that is carrying the melodic phrase.
4. Clear Movements for Tempo Changes
When it comes to tempo changes, clarity is key. I avoid unnecessary movements until it’s time to cue a change. This approach keeps the musicians focused and prevents confusion or missed cues. For example, during Les Misérables’ “Master of the House,” I remain still until a tempo change is necessary, then make a precise movement to indicate the shift. The song starts slow and it gradually increases in tempo throughout till the chorus sections and then pulls back again. This is a great example of not moving at all, or very minimally, till you want to accelerate a bit more. Once the new tempo is established, back off the large conducting patterns. Once the musicians got it, they got it. No need to keep beating time! I great example of this is watching how Leonard Bernstein conducts (or dances) with the music instead of over conducting or over gesturing to the orchestra.
5. Handling Mixed Meters
How do we handle mixed meters—switching from 4/4 to 2/4 to 6/8, for example? Less is more. Focus on providing clear beats to anchor the musicians without overcomplicating things. A great example is the song “Alas for You” from Godspell. Instead of conducting every beat, simplify the process by beating only the half notes until the meter changes. The musicians can also play it without a conductor! All they need is a tempo and they can drive the song themselves, and I also just give clear down beats and leave the rest of the bars to be open for the musicians. This is assuming you have strong players who are well rehearsed and prepared.
6. Pit Arrangement
For modern shows that use a combo (piano, bass, drums, sometimes guitar), group the rhythm section together. Especially when you have orchestral instruments (woodwinds, brass, strings). Position the piano, bass, and drums in close proximity right next to each other to anchor the band, and then fill in the rest of the orchestra around them. This setup enhances communication and cohesion within the pit and locks in tempos.
There have been pits I’ve played in, not music directed, where the music director puts the drummer on the far end of the pit away from the bass and keys and the whole pit was playing in different tempos. Sometimes we were rushing, sometimes the drummer didn’t grab the tempo from the conductor because he was too far to see or his music stand was facing away from the conductor. Put the drums in the center right in front of the conductor, add the bass and keys around him, and then the rest of the orchestra. It grounds the tempo and everything else will fall into place.
7. Preparing Cut Sheets and Notes
Before the first rehearsal, do your homework. Go through the score, outline any notes, decide on safety vamps, and make cuts as needed. Providing musicians with clear cue lines is essential to ensure everyone is on the same page. You can create a cut sheet and put the notes on the music stands of the musicians and let them make the cuts before the rehearsal. It eliminates confusion, communication issues, and wasted time during a rehearsal.
8. Managing Off-Tempo Singers
When singers get off from the pit, it’s crucial to stay adaptable. If the accompaniment is simple (just piano, bass, and drums), the musicians can lay out and find the singer again. Teaching singers where cues are and what to expect helps prevent issues during the performance, and if you can do it, have a proper Sitzprobe. Additionally, giving vocal cues to the musicians helps them stay aligned with the singer, even when things go off-script. It helps the pit to know the score and vocals so we are all working as one to tell the story.
9. Keyboard Programming and Patch Changes
Most shows today come with extensive patch changes—sometimes over a hundred! However, you don’t always need to use every sound. Stick to the basics—piano, harpsichord, organ, vibes, and strings—and adjust where necessary. Tools like MainStage 3 allow you to organize sounds in show order, making it easier to navigate through the performance. I always opt for functionality and practicality over execution. If having the fancy sounds makes it impossible to execute, just change it and make it work for your skill level and ability. Odds are the audience won’t notice!
10. Dramatic Timing
Nothing kills a show’s momentum like poor timing. Understanding when to pause and when to proceed is crucial. For example, in Les Misérables during “A Little Fall of Rain,” there’s a poignant moment when Marius holds Eponine as she dies. The score indicates a fermata over the rest—this is where you, as a music director, must hold the pause and let the drama unfold naturally. Wait until the moment is right before continuing. Don’t rush it and stay in the moment with the actors. The sound and music is just as important as rests and silence! It’s powerful.
Final Thoughts
Being a music director in musical theatre is about more than just keeping time. It’s about understanding the nuances of the show, knowing when to lead and when to let the performers take the reins. By mastering these ten tips, you’ll be well on your way to creating a seamless, compelling performance.
I hope you found these tips helpful! You can watch the full video below explaining these concepts.