Notes from October 24th, 2018
Warm up
We started with #56 Chorale. Emphasis was on paying attention to 4 bars phrases limiting breathe intake to one mid-section, on phrasing (crescendos, diminuendos and articulation. Attention needed to give notes their full value (half notes 2 beats, quarter notes – 1 beat and eight note half beats). Also important not to rush ahead, and to listen to all parts of the band for balance of sound, tuning and moving together.
Then we went to #55 also a Chorale but more like a normal band piece as not in unison – different instruments playing different parts. Again, the focus on 4 bar phrases, (breathe marks are clearly inserted), and starting softly (p) and building to the end (although triple forte was perhaps a little too loud). Again focus on ensuring the notes got their full value, and not rushing when a dotted quarter was followed by an eighth notes. When there are different parts, important to listen to the rest of the band. If you have have half notes of dotted half notes, you need to listen for those who have moving parts, and ensure you are supporting them, not overpowering them. We may return to this one next week as well.
We then turned to Solitary Wish – important to read at the link site, the composer’s inspiration for this piece – concerned about how much homeless people are ignored. Even if we give them a donation, we tend not to stop and talk to them, and at Christmas time, he felt this was even more noticeable. Fees for this music are donated by the composer to a homelessness project he has started. In this piece the parts of the Carol of the bells and Greensleeves are intertwined and are passed around among various instruments throughout the piece. Important that those playing harmony or supporting parts do not drown out those with the melody, so knowing who has the melodies, listening and helping achieve the balance in important.
Then we worked on El Camino from bar 80 to 157. At 80, it is romantic with trumpets and tenors having the lead together, and those playing the second and third beats of the bar are keeping the rhythm of the waltz tempo. At 95, Altos and French horn take over, but at 98, the flutes come in with a counter melody and all need to be heard distinctly. At 110 The clarinets and euphonium take over and need to show the emotion. At 130 we are back at the beginning tempo (about 138). Note the key change at 145.
Abide with Me – we worked through bar 42 to the end again with emphasis on legato playing and phrasing and listening for balance.
This week Oct. 31st , 🎃we will not be having clinics, so will have a little more time with the whole band together.
We will be working on Twas in the Moon, A Solitary Wish, El Camino, Abide with me and the WW1 medley..not necessarily in that order.
Just a reminder that Nov. 7th, there will not be a rehearsal as Brookfield stage is not available.
