Again, sorry for the delayed post. Great improvements made last Tuesday! Thank you for your continued good work and musicianship. We still have a lot of work to do so I’m looking forward to Tuesday knowing we will make things even better.
One of the great things about playing concert music is we don’t need to doctor anything to make the arrangements better. This is great music.
Here is the order for tomorrow, with notes and recordings for you to listen to. Maybe someone with more technology knowledge than I can present these back to back in some format.
GREEK FOLK SONG SUITE mvt 3 & 1
@ No repeat at m. 11
make it dance!
This movement VERY legato
@ 10 no repeat
3rd clarinets bring out your low E’s
always very light
have fun with the accels! Watch and listen
m. 158 ww accent beginning of the trills
In the tutti parts we have to be much lighter and tighter. Control in the strong sections. And always let the trumpet solo through. Upper winds, take a look at the ornamental passages. In an effort to clean these up, feel free to leave out grace notes as needed. This one needs some work.
Here is Fennell again when he was at Eastman:
We all know this is where we need the most work. We’ve highlighted the difficult parts in rehearsal. Take time to work them in your practice. Overall let’s work for balance, never letting it become bombastic.
Take a good listen to this great recording:
Think about why Maslanka wrote this piece, to ‘become awake to the needs of our beloved planet’ with “music (that) allows us to become immediately awake.”
Feel this in ‘1’ but with a spinning, subdivision of 3, always with forward momentum.
Needs to be played very tight, no room for imprecision.
Keep the articulation light.
Go after the accents!
Even though this piece is written at an easier level than most Maslanka pieces, even great college bands perform it as evidenced here. This is a must listen. Listen how light and tight the articulation is! The tempo here is m=108
HANDS ACROSS THE SEA
Adrian did a fantastic job with this last week. He gave us a lot to think about/work on.
Who better to listen to than the Marine Band!
VARIATIONS ON A KOREAN FOLK SONG
This piece is a perfect fit for the CLCB. I’m sure you will have a stunning performance with this. The only issue, cleaning up the 16th note passages and the runs.
This is the piece I asked you to number your measures in. Just hit every other measure, it will help immensely.
Here is just some of the errata I’d like you to mark in your music for tomorrow. I’m sure you will find more!
§ Oboes. meas. 26: A natural should read A-flat.
§ 1st Horn in F. meas. 135: delete the last measure on the second system [Note: listed incorrectly as 4th Horn in the Fennell article]
§ 2nd Horn in F. meas. 139, beat 3: E natural should read E-flat.
§ 4th Horn in F. meas. 103: delete reh. no. "104" ; move it to the next measure.
§ String Bass. meas. 53: change reh. no. "52" to "53."
§ Horn II and IV, trombones, euphonium, and tuba, meas. 234: Flats missing in the score. Parts are correct.
§ Trumpet III, meas. 248: E natural should be E-flat.The score is correct.
§ In the score, it appears that the mallet player switches from vibraphone to xylophone from p. 32 to 33. This is in error. The player remains on vibraphone.
Listen to this fantastic recording of the Tokyo Kosei Wind Ensemble with Maestro Fred Fennell conducting. Wonderful musicianship:
NOT BEING REHEARSED THIS WEEK BUT IN THE PROGRAM:
Make a big deal of little things: bring out the 32nd note (as grace notes). Art told me there is an adaption of this arrangement for brass band that is a staple of their library. You play this very well. We just need to shape it more and be careful of the intonation.
Can a 70 piece concert band sound like a Calypso Band? Let’s have some fun with this crowd pleaser. This is the best I could find: