(1) page, (2) score (or brace if you prefer), (3) measure, (4) beat. Thus e.g., "Page 47, second score, fourth measure, beginning with the second beat." Give the direction slowly and very distinctly, and then do not repeat it; i.e., get your musicians into the habit of listening to you the first time you say a thing instead of the second or third. Carrying out this plan may result in confusing unpreparedness on the part of your singers or players for a time or two, but if the plan is adhered to consistently they will very soon learn to listen to your first announcement—and you will save a large amount of both time and energy.
REHEARSAL LETTERS AND NUMBERSEnsemble music is frequently supplied with rehearsal letters or numbers, these enabling the performers to locate a passage very quickly. When not printed in the score, it will often be a saving of time for the conductor to insert such letters or numbers in his own copy of the music in advance of the first rehearsal, asking the members to insert the marks in their music as he dictates their location by page a.nd score, or by counting measures in the case of orchestra music. These letters or numbers are best inserted with soft red or blue pencil.
THE "WHOLE METHOD" OF LEARNINGWhen a new composition is to be taken up, go through it as a whole a few times, so as to give everyone a general idea of its content and of the connection and relation of its parts. After this, begin to work at the difficult spots that you have found, then when it begins to go fairly well, work definitely for expressive rendition. You will of course not expect ordinary performers to go through the composition the first time in a very artistic fashion. If they keep going and do not make too many mistakes, they will have done all that non-professionals should be expected to do.
