·       Movement 2: I Gnomus
This movement is exceptionally difficult for the software operator to perform. Please allow extra rehearsal time for the film performer to become acquainted with the conductor’s interpretation of this movement. Most troublesome are the fermata and tempo changes in the first section. Making an audio or video recording of the rehearsal can be quite helpful to permit the video performer to practice with the conductor’s tempi outside of rehearsal. SUGGESTION: Don't worry about staying syncd note-by-note in the first section. Instead, allow the film to get out ahead of the ensemble. Then hit PAUSE at each SAFETY. If the conductor is taking a different tempo in each segment, adjust the Tempo Slider during the pause. Then hit PLAY at the next downbeat. Know where the critical sync points are (like when the character smashes into the wall) and focus on getting those syncs correct. The rest does not need to be perfectly syncd.

·      Movement 10: VI Goldenberg and Schmuyle
In this movement, the film begins four (4) counts before the music begins. The video performer has the four counts in his/her display and will count them off for the conductor.

·      Movement 13: IX The Hut on Fowl’s Legs (Baba Yaga)
At the fermata in bar 124 (measure before rehearsal 94), the film plays for the equivalent of five full measures. During this time, the orchestra is holding the fermata. Rather than counting five bars of rest, the conductor is asked to watch the video performer who has these bars written out in his/her interface and can give the final count(s) to cue the conductor. The film is highly sync’d coming out of this fermata making it essential that the film and music enter together on the downbeat. NOTE: For the film’s premiere in Miami, conductor Michael Tilson Thomas chose to add a wind machine during this fermata.

·      Movement 14: Great Gate of Kiev
This movement is difficult to follow at first. It helps to know that the score is written in cut time and the reduced score inside the software DOES NOT utilize ties to connect held whole notes together. After a few tries it will become easier to see the shape of the melody as it scrolls by. At the 3/2 section (Rehearsal 118) focus on the rhythm bars in the scrolling score (third stave). The music is moving VERY fast and it is easiest to just sync the downbeats. A helpful tip: rehearsal 119 is where the chord changes and upper winds join. That last section flies. Hang on tight, focus on just the downbeats, and check your position at Rehearsal 119 by listening for the chord change / winds entrance.