Friends, you’ve come a long way this session! I’m very proud of what you’ve accomplished, and excited to show you off at the concert! There are a few fine-detail notes below on our chorale and concert repertoire, but first, a couple administrative things:
Concert dress: all black, with pastel or bright-coloured accents (scarves, leis, bonnets, capes, etc.)
MOST IMPORTANTLY: PARTY AFTER THE LAST REHEARSAL (next week, April 10). David will make a reservation at a nearby-to-Brookfield club, er, pub.
Chorale No 7:
Hold half notes for their full value before quarter rests, and breathe together. Beautiful ensemble playing tonight on this one! Pencil in the following dynamic markings:
- Measures 1-4, first time – mf
- Measures 1-4, second time – p
- Measures 5-8 – mf and crescendo
- Measures 9-12 – f and crescendo
Oye Como Va:
At measure 25, there is a two-measure call-and-response pattern that repeats four times in the entire band.
- Woodwinds, play a bit louder (lead the group sound) at 25, 27, 29, 31 for the call; brass, play a bit louder (lead the group sound) at 26, 28, 30, 32.
- Alto saxes at measure 33: cut out (don’t play) until measure 39.
WOWZA. The last time through this piece tonight was magical. You are playing beautifully as a group.
Remember that dynamic markings refer both to the individual sound and the group sound – and these won’t necessarily be the same, e.g., to keep the group balanced (and thus stronger-sounding) in an ff segment, one section of the band might be more f than ff. This is the case especially in the section from 75-91, so be sure to listen for each other. Note the diminuendo starting at 91 – we have eight measures to get from ff to p! The phrase-ending quarter note downbeat of measure 98 will be played to its full value, but not longer – watch for my cut-off there.
How to Train Your Dragon:
Exaggerate the stylistic and dynamic contrasts between sections. For example, from measure 80 onward, we are in a March Tempo, but the style changes back and forth from a march (e.g., measures 82-85) to a chorale (e.g., measures 86-93). To make these contrasts effective, pay special attention to beginnings and ends of phrases – make them precise, and play together – and to the feel that is suggested by the lines, dynamics, and other details – e.g., f and marcato (accented, somewhat percussive) at measure 82, and mf with long notes and slurs at measure 86. It can be tricky to make these shifts suddenly, as they happen, but you can do it!
And I Love Her:
This was very musical tonight! The bits where the whole band plays quarter notes together (e.g., at measures 11-12, and again and again later) sounded very clean and uniformly phrased, which is a pedantic way of saying, they sounded great. Good work!