26/02/15

Dear band,

Main band

2:30-2:45 set up instruments
2:50-3:10 warm up in FM
3:10-4:00 sectionals on Hermes (3rd Clarinets will work with Mr Chua)
4:00-5:50 Combines on Hermes
6:00-6:15 Pack up and debrief

Sec ones

2:30-2:45 set up instruments
2:45-3:00 Set up chairs in band room and be ready when Mr Lee comes
3:00-5:00 Mr Lee would be going through the fundamentals
5:00-5:30 pack up and debrief

Please move quickly (especially the sec ones) as Mr lee would be coming down and it would not be nice to make him wait

Sec ones work on your embrochure while waiting for Mr Lee to come

Also all the sec ones who have yet to hand in your particular form please hand it in tomorrow

SLs make sure your sec ones have a copy of the standard of excellence book to refer to

Love,
Exco

24/02/15

Dear band,

2:30-2:50 set up instruments
2:50-3:10 warm up
3:10-5:00 sectionals on syf and limelight pieces
5:00-5:30 pack up

Please do not slack during practice or worse still, use your phones. Focus on:
-articulation
-dynamics
-intonation

Sec 4s won't be there as they have Learning Journey, but we do not want any of you to be taking each other even it is just to help them keep tempo, USE A METRONOME INSTEAD.

Love,
Exco

Comments for 9th Feb 2015

Everyone, especially woodwinds, must listen to 9 Feb 2015 as it is combines with Mrs Chua and we rarely can have combines with her.

Link to recording:
9 Feb 2015: https://www.dropbox.com/s/ioa1y57zm9qxibr/9%20Feb%202015.mp4?dl=0

9 Feb 2015 Combines with Mrs Chua

Hermes:
- Full run through of Hermes @ 3 sec
- Bar 87: Do not play the crotchet so short and play with an accent
- Pitching and Phrasing are major problems
- How you start a note is ok, but how you end is terrible
- Bar 10: no break between dotted crotchet and the next quaver (Clarinets, Saxophones and Euphonium); if need a break, very very very quick breath and no diminuendo on the dotted crotchet; Listen to 8min 57sec
- Bar 4: 3rd beat quaver no support; Listen to 5min 25sec
- Please don’t drag the first 3 notes
- 2nd Trumpet don’t hold the last quaver in Bar 4 too long
- Theme A: everything is one phrase! Listen to 7min
- Bar 5: Clarinets play together!
- Yun Qu and Gloria listen to 10min 10sec; both your sounds MUST blend together so that when you breathe, it’s not so obvious
- Bassline playing quavers at Bar 5 listen to 10min 55sec
- Bar 5 onwards: Bassline please pay attention to your accented notes
- Bar 5 onwards: Baritone Sax please don’t play your notes so heavily, and you have a tendency to rush
- Bar 17-18: Bassoon, T. Sax, 1st and 2nd Horn, Eupho please hold your Concert Bb minim tied to a crotchet in Bar 17 for its FULL VALUE as well as the next Concert Bb minim in Bar 18
- Bar 20: 2nd Clarinet, 1st Alto Sax, and 2nd Trp hold out the phrase properly like Bar 4
- Bar 16 - 17: In Bar 16, 3rd Clarinet those playing an octave lower don’t play the E dotted minim, play the next E crotchet; in Bar 17, play as written on the score at written pitch A and C quavers onwards
- Bar 20: 2nd Trumpet don’t hold your written pitch E crotchet too long, never longer than anyone else in the band, especially Tuba!
- DYNAMIC DIFFERENCE BETWEEN THEME A AND B MUST BE HEARD
- Bar 25: Saxophones shorter notes to match sound of the brass
- Bar 21: Bassline don’t be so heavy and loud, very clumsy!
- Bar 21: Accompaniment in Fluboes, Clarinets, Saxophones, and Trumpets PIANO SOFT VERY SOFT SOFT
- Bar 28: Saxophones strong accent on the semibreve
- Bar 29: Saxophones accent on the dotted minim
- Bar 28: Concert Ab must still sustain because it is part of the melody
- Tubass listen to 21min 55sec; you can play out the moving quavers at Bar 28 – 29
- Bar 30: Melody in Fluboes, Clarinets, Trumpets SOFTER SOFTER SOFTERRRR
- Bar 30: MUST be softer than Theme B please, don’t be so excited
- Bar 30: 3rd Clarinet do same thing as before in Bar 16 and 1st Flute play SOFTER
- Bar 36: remember the crescendo!
- Bar 37: LWWS, 3rd Trombone and Tubass crescendo please
- Bar 38: 4th beat, percussion crash cymbal, bass drum triangle louder
- THINK: Bar 38 you play so loud for forte, what you going to play at Bar 66 for fortissimo
- TRIO: all melody practise together and make sure you don’t breathe at the same place
- Bar 65: percussion very big crescendo into Bar 66
- Bar 66: Crash Cymbal can ring more
- Bar 70: Percussion softer!
- Bar 70: pick up to Bar 70 clarinets and flutes please soft down, especially clarinet
- Bar 69: Clarinet and Flute breathe together after the dotted minim and come in on the pick up together - Whole band listen to 41min 55sec, your phrasing is wrong
- Crotchet before Bar 80 should be treated as a pick up
- Bar 81: Flute Concert Ab FLAT, go tune

And Then The Ocean Glows @ 47min 34sec:
- Bar 71: syncopated rhythm (T. Sax, LWWS, Horns, Tubass) DON’T SLOW DOWN; your tendency is to drag everything in Bar 72
- Bar 101: syncopated rhythm AGAIN don’t slow down, don’t drag the first crotchet onwards in Bar 102
- Timpani: please refer to the conductor’s score and check your volume levels because now you’re too much louder than the band; Yi Ting listen to 49min 58sec until 50min 50sec
- Practise at 138BPM
- Tuba practice projecting your sound for ATTOG, play outside and play to the beautiful sky above you
- Bar 35: Bassoon and Bass Clarinet add in the first set of sextuplets for 1st Beat (Concert Ab G Gb F Fb Eb); Baritone Sax MUST hold the long note at Bar 34 while Bassoon and Bass Clarinet can take a break during Flute trill; Bari Sax. MUST also hold the long note (written pitch A) at Bar 36
- ALL running notes at Bar 35 must be ABSOLUTELY together
- WOODWINDS SECTIONALS @ 50min 57sec LISTEN TO EVERYTHING
- 8 demisemiquavers before Bar 36 MUST have crescendo
- Bar 35: Be LOUD and be FIERCE
- Bar 33: Tuning in Bass Clarinet and Baritone Sax. starts to go off; one of you is going flat
- Bar 25: Clarinets written pitch Eb is flat; please note that F to Eb is a comfortable major 2nd interval
- Bar 29: Clarinets please tune 3rd beat the written pitch D and F do not sound like a minor 3rd interval
- Bar 34 to Bar 35: LWWS you must hold the note until the 1st beat of Bar 35 otherwise it sounds very abrupt; blend your sound together with other holding notes (Eupho and Tubass) so that they can cover your missing link when you breathe
- Bar 36: 3rd Clarinet only trill on the SECOND beat, not immediately when you play written pitch G#
- Bar 38: 3rd Clarinet DON’T RUSH especially on the 3rd beat crotchet in Bar 39
- Bar 36: LWWS only piano on the SECOND beat
- Bar 36: 1st beat G# is sffz (very loud), but 2nd beat trill is p (soft)
- Clarinets listen to 59min until 1hr 2min 24sec
- Bar 36 to Bar 40: 1st 2nd and 3rd Clarinet, all of you trill a G# note but all your G# have different pitches; please work towards blending your sound because now it’s quite obvious which clarinet part is playing which trill
- 3rd Clarinet and 2nd Alto Sax. practise Bar 38 to Bar 46 together; Bar 41 2nd beat, 42 1st beat, 44 3rd beat crotchet notes should be longer and sustained
- 2nd Clarinet and Tenor Sax practice Bar 40 to Bar 46 together; same thing about the crotchet value mentioned in the previous point applies to you
- Bar 46: LWWS please remember to crescendo into ff
- 1st Flute, Oboe, 1st Clarinet, 1st Alto practice Bar 42 to Bar 46 together

Comments for 2nd Feb 2015

Links to recordings:
2 Feb 2015 Part 1: https://www.dropbox.com/s/odjegl32x5z950x/2%20Feb%202015%20Part%201.mp4?dl=0
2 Feb 2015 Part 2: https://www.dropbox.com/s/yp47l4k0gfmrb6q/2%20Feb%202015%20Part%202.mp4?dl=0

Please note that there are no comments for 2 Feb 2015 Part 2 because it is only 19 minutes long and everyone is expected to listen to the whole video.

2 Feb 2015 Part 1

And Then the Ocean Glows:
- Bar 3: Clarinets and Saxophones your melody must be played smoother and with more flow; no tonguing anywhere in the middle of the phrase
- Bar 10: the crescendo builds up to Bar 11’s melody of Horns, Clarinets and Sax
- Bar 11: Melody please play out, especially timbre of the horn
- Bar 11: Muted 1st Trumpet Concert C can be louder
- Bar 11: Muted Trumpets must taper off the Concert C and Concert Ab, don’t suddenly disappear
- Bar 11: Flutes, accuracy of the sextuplet notes can be improved in terms of making all 6 notes equal and within one beat (no stopping short of the beat and no overshooting the beat); work with a metronome; Listen to 2min 14sec
- Bar 18: don’t break so abruptly between the 2nd beat and the 3rd beat
- Bar 19: flutes, trumpets, clarinets, T Sax can afford to be softer
- Bar 22: slowly build up the climax at Bar 23
- Bar 22: mezzo-forte
- Bar 23: the first beat of Bar 23 is the loudest note, not the anywhere in the crescendo leading up to it at Bar 22
- Bar 29: Timbre of trombones should be more than timbre of the clarinets
- Bar 31: Trombones and Clarinets don’t suddenly disappear
- Bar 32: Reminder to LWWS, Tubass and Eupho that it is only mezzo-piano
- Bar 38: 3rd Clarinet and 2nd Alto Sax DON’T start slowing down. Reminder: Tempo is at 138BPM
- Bar 47: Running notes practice more rhythmically
- Bar 51: LWWS, Trombone Euphonium, Tubass don’t drag. Reminder: Tempo is at 138BPM
- Bar 53 onwards: running notes slackening, especially 2nd Clarinet quavers very obviously slowing down
- Bar 55: Trombones don’t slacken
- Full run through of Tempest portion @ 13min
- Bar 38: melody (3rd Clarinet and 2nd Alto Sax) don’t rush your quavers and then rush the entire phrase; same goes for the other people playing the melody that is passed on
- Bar 50: Holding notes please decrescendo more
- Bar 51 onwards: Trombones, Eupho, Tubass, LWWS please hold your minims to the full value; you sound as though your are very breathless because you cut short all the note values
- Bar 59: Please tune your Concert Ab, don’t go flat
- Bar 76: please make the crescendo more obvious
- Bar 80: please make the crescendo more obvious
- Bar 81 to Bar 85: woodwinds, no matter, all running notes must end together (Clarinets and Saxophones) promptly on the first beat of Bar 85
- Bar 85: Trombones, LWWS and Euphonium MEZZO PIANO please play softer
- Bar 93: melody (French horn especially) please play out
- Bar 103: Timbre of horn should be heard more than timbre of trumpet
- Bar 111: Trombones please clearly articulate the semiquaver and dotted quaver rhythm in the 3rd beat
- Bar 111: woodwinds please articulate the notes very clearly and as you go down to the lower notes, you must still make them audible; don’t “eat up” your last notes (Concert Eb for Clarinets and Saxophones); Listen to 15min 40sec until 19min
- Bar 111: T Sax, Horns and Eupho don’t rush
- Bar 115: Bassoon, Bass Clarinet and String Bass, please tune Eb and make sure you don’t go flat
- Bar 119: 1st horns please watch the conductor and come in on the beat together with the flutes and string bass
- Bar 127 to Bar 128 around there: 2nd Alto Sax please check your notes
- Pick up to Bar 133: 2nd Alto Sax please make your pick up more prominent because you’re the only playing quavers while everyone else is playing crotchet
- Bar 133: Don’t tongue the first Concert Ab, it is slurred from the pick up before
- Bar 133: Clarinets don’t blare out the Concert Ab
- Full run through of Bar 133 to The End @ 21min 50sec
- Bar 155: it’s only FORTE, please conserve some sound for FORTISSIMO
- Last note must have beautiful sound, not scary loud but warm loud; tubas give a rounder sound
- Those who cannot play the chromatic scale properly, listen to 24min 27sec on how to work on it

James Bond (25min 02sec)
- Beginning must be stronger; first notes must be emphasized; don’t drag
- Bar 5: horns please do the crescendo and decrescendo more obviously
- Bar 9: Trombones emphasise the accents and staccato on the semiquavers; Listen 26min 18 sec
- Bar 21: TOTALLY SWING – all quavers must be swung (Clarinets and Trumpets)
- Bar 29: Saxophones play with more swing
- Bar 32: Crescendo more
- Bar 35: slow down already
- Flutes listen to 32min 45sec and a little after on how to transit properly
- Bar 37: Tempo at 104BPM; Goldfinger is not as slow as you think
- Oboe solo in Goldfinger please follow the tempo
- Before “Nobody Does it Better”, please watch the conductor for the accelerando! 6 bar before Bar 81 is when it starts getting faster
- 2 Bars before Bar 81 flutes please watch your entrance, follow clarinets
- Full run through of Nobody Does it Better @ 38min 37sec
- Bar 107: Horns and Eupho(?) melody please play louder and don’t slow down
- Full run through of Skyfall @ 42min 10sec
- Bar 131: Trumpet solo don’t rush the last semiquavers
- After “Live and Let Die” Trumpet solo, band be prepared for double time
- Bar 137: more explosive
- Bar 143: accelerando in ¾, so please anticipate and watch
- Last few bars of the song is quite messed up; please clear up the rhythms, notes and tempo hear
- Everyone listen to 46min 12 sec until the end

23/01/15

Dear band,

Main band

2:30-2:45 set up instruments
2:45-3:10 warm up
3:10-4:00 sectionals on And then the ocean glows (Sec fours mentor your sec ones)
4:00-6:00 Combines in FM
6:00-6:30 Pack up and debrief

Sec ones

2:30-2:45 wait in band room for your seniors
2:45-3:10 follow seniors to FM for warmups
3:10-3:45 sec fours mentor
3:45-4:15 Mrs chua and Mr Lee talk
4:15-5:00 Sec four mentor
5:00-5:30 debrief

Please note that the following people have yet to complete the JL survey:

1. Pearline
2. Claudia
3. Patricia
4. Hema
5. Eva
6. Izzati
7. Sze Min

Love,
Exco

17/02/15

Dear band,

2:30-2:45 set up instruments
2:45-5:00 sectionals on Hermes and Ocean Glows and other Limeligbt pieces that you are not so familiar with (unless there is time) (do combine with other sections if needed for Hermes and Ocean Glows)
5:00-5:30 pack up and debrief

Love,
Exco

16/02/15

Dear band,

2:30-2:45 set up instruments
2:45-6:00 sectionals on Hermes, Ocean Glows and other Limeligbt pieces that you are not so familiar with (unless there is time) (do combine with other sections if needed for Hermes and Ocean Glows) (the CMs will go round to take different sections)
3:00-4:30 Sec 1s to follow SLs to section area to try out instruments
4:30-5:00 Sec 1s to be in band room on time to be briefed by QMs
5:00-5:30 Sec 1s debrief
6:00-6:30 pack up and debrief

Those who are going for Angelican High School Symphonic Band concert at Esplanade tmr, you will be allowed to leave at the earliest 5:45pm to go to eat dinner before the concert.

For Sec 2s, the JL voting link is here. If you are unable to access that link, please try this: https://www.surveymonkey.com/s/8G38CJS
The dealine will be 23 Feb 2015 Monday.

Every Section please be reminded to submit your band tee designs my 23 Feb 2015 Monday as well, to the band coordinators via email to ALL of the emails listed below: 120465@live.crescent.edu.sg, 120326@live.crescent.edu.sg, 120562@live.crescent.edu.sg, 120297@live.crescent.edu.sg.

Love,
Exco

Comments for 29th Jan

Link to Recording: https://www.dropbox.com/s/eprlmxnccvrg2my/29%20Jan%202015.mp4?dl=0​

Hermes:
- Beginning (first 3 notes especially): don’t be so harsh in your tonguing of the notes
- Less tongue more sound!
- Bar 4: Please tune your notes because the chord is very out of tune
- First 4 Bars: You guys are already slowing down and the piece hasn’t even started yet
- PULSE, TONE, ARTICULATION
- Bassline first 4 bars don’t be so sluggish and don’t slow down; give a clear and crisp sound (listen to 3min and 36sec as well as a little before that)
- Eupho, Horns and Trombone: First 4 bars your notes are too glued together; Bar 2 your syncopation is not together
- Trumpets: Articulation, Tone and Brightness of the instrument’s sound is not the same!
- Dignified + Lively = 1st four bars
- Woodwinds: 1st four bars the first note must be very clear and come in right on the beat (Listen to 6min 35sec)
- Bar 3: DON’T SLOW DOWN
- Bar 5: Those playing Theme A don’t play so loud, especially Saxophones
- First note of the piece must be played stronger
- Theme A must be played with a PULSE
- Those playing Theme A, remember the contour (music shaping with crescendos and decrescendos) that Mr Chua mentioned
- For Bar 5, accompaniment will always play the same throughout, so the shaping of music MUST be done by the melody
- Tip: When you play soft, you must be able to hear your neighbor, but when you’re loud, you should hear yourself
- Bar 13: Don’t slow down!
- Tuning + Contours + Pulse + Dynamic = Good Music
- Listen to 13min to Mr Chua’s explanation on contours
- Pick up to 21 must be together with the 108BPM pulse; play with courage!
- 2 Bars before Bar 30: don’t soft down until you disappear; it’s just a little softer
- 2 bars before Bar 30: Horns need to tune that note; Listen to 16min 55sec
- 2 bars before Bar 30: Saxophones, tune that note please because it is very out of tune, especially tenor; Listen to 18min 35sec
- Bar 30: it’s only mezzo forte
- 2 bars before Bar 30: Trumpets don’t play too loud
- Accompaniment at Bar 21: Flutes and Clarinets especially do the dynamics that Mrs Chua wants
- Bar 30: DON’T SLOW DOWN
- Your notes are not clear as band though in the FM, they should be; this is because ya’ll aren’t tuning to each other
- Pick up to Bar 30: not so loud, except 3rd Clarinet can afford to play louder
- 2 bars before Bar 40: DON’T SLOW DOWN (this one is very obvious!)
- Trio: DON’T SLOW DOWN (melody and snare drum especially)
- Pick up to Trio must be more confident and on time
- 2-3 bars before Bar 48: melody don’t slow down
- Bar 48: woodwinds playing melody must articulate your notes better
- Clarinets listen to 26min 35sec; Saxophones listen to 27min 05sec; Flutes listen to 27min 33sec
- 2 bars before Bar 56: DON’T SLOW DOWN
- Bar 66: Keep moving forward and DON’T SLOW DOWN; tone colour is brighter here
- Bar 66 is FORTISSIMO but Bar 70 is FORTE; make the contrast please
- You all have a bad habit that when you go soft, you slow down and when you go loud, you speed up. Please break this habit
- Last note: Tuba please get a rounder and nicer note

Pirate of the Caribbean:
- Eupho ‘solo’ at the beginning not so gentle; be more gruff like a pirate
- Bar 24: Clarinets don’t slow down! Listen to 35min
- Bar 24: Clarinets the triplets must have more tone, so don’t play them so short; 2nd row of Clarinets must learn the notes so you don’t fumble over one another
- Bar 24: everyone is like very loud; don’t compete with one another – know your place
- Bar 51: When the next batch of players come in, ya’ll slow down
- Bar 45: 1st Alto Sax and Timpani, your triplets must be equal because you’re like a metronome for the band
- Bar 72: Melody don’t drag your notes, especially flutes
- Bar 76: Tuba must be very distinctive about your articulation; first note strong second note weaker or whatever; and DON’T SLOW DOWN
- Bar 76: Melody play longer and with more expression like you’re in a struggle
- Bar 80: the triplets accent every beat leading up to the climax at Bar 83
- Saxophone and Bass Clarinet listen to 47min 19sec
- Bar 84: “running” notes down (the triplets) must be heard
- Bar 89 onwards: all the triplet notes don’t slur!
- Bar 113: It’s faster! Be prepared…
- Bar 116: No slowing down
- Bar 118: Basses push the notes; Listen to 52min 55sec
- Bar 118: Snare drum must be heard throughout this portion introducing “The Kraken”
- Bar 129: Very loud; 1st Clarinet octave higher
- The melody at “Davy Jones” must be one long flowing phrases with no breakages
- Pick up to Bar 168 must be loud and strong, especially lower Clarinets
- Listen to 1hr onwards (whole band) because ending is important

12/02/15

Dear band,

2:30-2:45 set up instruments
2:45-3:10 warm up in your own sections
3:10-6:00 sectionals on hermes and And then the Ocean glows (once you are done practicing them you can practice the other pieces)
6:00-6:30 pack up and debrief

Please note that the sec ones are coming to band tomorrow so if you see them be nice to them and kindly direct them to the band room

Love,
Exco

10/02/15

Dear band,

6:45-6:50 set up instruments (those who come earlier can set up earlier and help others to set up as well)
6:50-6:55 set up benches and chairs
6:55-7:10 warm ups in parade square
7:10-7:20 wait in parade square QUIETLY
7:20-7:30 performance
7:30-7:50 stay in parade square to listen to Mrs Tan's speech
7:50-8:00 pack up and hurry back to class

As we are running on a tight schedule tmr, please take the initiative to help anyone else who needs help.

2:30-2:45 set up instruments
2:45-5:00 sectionals on Ocean and Hermes (practice in the different parts for Ocean)
5:00-5:30 pack up and debrief

Love,
Exco

Comments for combines on 5 Feb

Link to recording: https://www.dropbox.com/s/r53zavtzhur7o8z/5%20Feb%202015.mp4?dl=0

How to Train Your Dragon: 

- Bar 6: Those playing

play louder

- Bar 13 to Bar 17: Those playing the triplet melody have 4 bar phrasing. Listen to 35sec for how to do so
- Bar 9: Tuba play at mf is enough; add more bounce and don’t play so detached
- Bar 9: LWWS don’t slow down
- Bar 17: Play more rhythmically. Listen to 2min 20sec
- TEMPO – Bar 9 = 112BPM
- Bar 21: Trumpets don’t slacken and fall behind the tempo!
- Bar 17: Trombones and Tenor Sax play louder; those playing triplets don’t need to be so loud
- Bar 21: Trumpets and Saxophones play with four bar phrasing last crotchets of Bars 21 to 24 should be sustained longer
- Bar 26: music should have some shape, especially melody (crescendo and decrescendo); Listen to 6min 50sec
- Bar 26: Clarinet and Horns play louder; snare drum softer
- Melody at Bar 26: Tongue your notes properly
- Bar 30 to Bar 34: note your phrasing. Listen to 8min 57sec

- Bar 30: Tubass, LWWS, Trombone and friends playing the same thing, play out more; Listen to 9min 30sec
- Bar 31: Trumpets don’t slow down
- Bar 36: TEMPO is still 112BPM, so don’t slow down
- Bar 36: Don’t play so loud; melody should be sustained more
- Bar 43 or somewhere around there: don’t go softer too soon; sustain for a while
- TEMPO – Bar 47 = 132BPM - Bar 47: Bassline don’t lag behind, your on-beats a delayed
- Bar 47: Accompaniment softer; horn don’t need to play so loud
- Bar 59 to Bar 62: whenever you have the same note the second note play louder; Listen to 13min 20sec
- Bar 63: when flutes enter, DON’T slow down
- Bar 63: 1st Clarinets can play louder
- Bar 71 onwards: For trumpets, it is a very slow progressive crescendo; Listen to 15min 30sec
- Bar 77: Watch the conductor because we have to slow down there due to rit…
- TEMPO – Bar 80 = 112BPM
- Bar 80: Trombones and friends playing something like

 listen to 17min 15sec
- Bar 80: Percussion play with more furiosity like a entering a war
- Bar 80: Timpani slowing down - Bar 82 around there: those playing quavers (e.g. Clarinets) play louder
- Bar 86: Soft down but don’t slow down!!
- Timpani player listen to 19 min 12sec and 19min 53sec until 21min (pick up is too slow)
- Woodwinds listen to 21min 20sec and listen to Mr Chua’s comments about the breathing after he cuts the band
- Timpani player listen to 22min 43sec; Mr Chua explains why you slow down; also tune that note
- Bar 111 to 113: Crash cymbal is late
- Percussion listen to 24min 25sec; you’re slowing down at the last 2 bars - 24min 45min – “Full” Run Through
- Bar 16: that last crotchet from those playing melody must be held longer
- Bar 17: Bassline double the volume
- Bar 17: Trombones don’t rush! - Melody at Bar 63 (Flutes and Clarinet?) listen to 27min 50 sec ond after that when Mr Chua explains how to phrase properly
- Melody at Bar 86: play everything with tenuto, have some shaping with crescendo and decrescendo, and sustain
- Bar 86: Percussion try to move a little faster because you are dragging the tempo down
- Bar 94: Quaver notes don’t rush
- Bar 107 onwards: Horns must play much louder

 Lion King (32min) 

- Pick up note into the beginning of Lion King should be longer
- Flute listen to 32min and work on your tuning
- Bar 18 around there, the syncopated rhythm by horns, clarinets and friends should not be rushed
- Bar 30: Flutes must have separation between all your notes; you play as though it’s like one long note
- Bar 38 much louder: especially 3rd Clarinets
- Flutes and Clarinets listen to 35min 22sec - 2 bars before “To Die For” or so, flutes don’t go flat
- Flute soli in “To Die For” must be tuned please
- Flute solo in “To Die For” listen to 37min 33sec
- Bar 64: Flutes and friends please crescendo; Listen to 38min 53sec and Mr Chua’s explanation after that
- Bar 72 play softer; towards the end of Bar 73 and into Bar 74 CRESCENDO
- “Be Prepared” is tempo-ed faster, so…. BE PREPARED TO GO FASTER 
- 41min 38sec – dynamic explanation for Bar 72, those playing there please listen - Bar 79: Tubass, Horns and friends playing the syncopated notes, please play together
- “Be Prepared” mallets (Marimba?) don’t slow down - Bar 114: Horn play louder - Bar 119 is faster than Bar 114 76BPM > 66BPM - Bar 119: 2nd Clarinet can afford to play louder
- Flutes entrance after the can you feel the love tonight phrase play louder

- Listen to 50min 55sec
- 1 st Alto Sax. (aka Yun Qu) listen to 52min 54sec
- Bar 146: very loud as this is the climax of the song; syncopated rhythm have to articulate more strongly
- Flute solo/soli beginning of “Hakuna Matata” must be played more relaxed and happy; Listen to 56min 03sec - “Hakuna Matata” at Bar 170 is much faster; keep the tempo
- Flute starting off “I Just Can’t Wait to Be King” must play more jazzy and freely - Don’t slow down for “I Just Cant Wait to Be King”
- Bar 245: Saxophone must watch out for Syncopated rhythm
- Last few bars tuba is lagging behind

Hermes (1hr 4min) 

- The value of notes for the first few bars should be slightly longer (full value), but not too long until you lag behind; notes should be piercing (aka tongued harshly)
- Bar 4: LWWS, 3rd Trombone, Tubass the last quaver note (Concert F) is not clear/audible; the quavers should be brought out as they are the moving notes during the stagnant holding note
- Bar 1 to Bar 4: Bassline don’t make your notes too short
- Bar 13: when flutes and trumpets enter, DON’T BE SO LOUD - Theme A should played peacefully - Bar 21: Baritone Saxophone please be mindful of the crotchets because you are not coming in exactly on the on beat; your note starts earlier than the on beat
- Bar 21: Tubass your crotchet is TOO SHORT; please play the full value; Listen to 1hr 7min 55sec until 1hr 10min 10sec
- Bar 21: LWWS Listen to 1hr 9min 34sec when you join in the Tubass; Baritone Sax have a darker sound
- Bar 37: LWWS, 3rd Trombone and Tubass have to crescendo the last 3 quavers into Bar 38 louder
- TRIO: Trombones, Horns and Euphoniums listen to 1hr 13min 05sec;

- Bar 65: DANGEROUS; you slow down here but it’s not this slow tempo for Bar 66; Bar 66 you go back to 108BPM
- Bar 85: where did all your crescendos go??? Please do the crescendo
- Bar 21to Bar 29 and Bar 56 to Bar 63: Trumpets, Fluboes, Saxophones, Clarinets DO YOUR DYNAMICS;

woodwinds if you’re not sure ask Trumpet Section - Last note of Hermes must be SUPER SUPER LOUD

National Anthem (1hr 17min 20sec)

- Last note everyone don’t go flat
- Beginning: Percussion start softer and then crescendo louder to have greater dynamic contrast
- Bar 2: Fanfare melody should be more articulated
- Bar 3: Bassline descending quavers must be more articulated (tongued and separated)
- National Anthem needs to be taken faster
- 1 st Trumpet: All lower notes of the fanfare must be played louder
- French Horns, the parts where you play the fanfare with 1st Trumpet, you must play louder - For melody, please play more smoothly
- Tubass, please cut off when Vivien cuts off the band; Vivien please cut off the band more firmly
- Bar 17: Trombones and 1st Trumpet please remember to do the crescendo
- Bar 13: 2nd Cornet don’t blare out your note; remain under the melody line
- Those playing high notes, please don’t scream out the notes
- Cymbals please crash louder and come in more confidently and on time
- Tubass and LWWS, don’t lag behind the band with your crotchets
- 1 st time bar: make the crescendo into the repeat more obvious
- Pick up into A by Flutes, Clarinet and Saxophones(?), please don’t lag behind
- Bar 3: Bassline quavers please play together and be on time
- REMEMBER TO PUT UP YOUR INSTRUMENTS TOGETHER

09/02/15

Dear band,

2:30-2:45 set up instruments
2:45-3:10 warm ups
3:10-5:00 combines in FM with Mrs Chua on Hermes and And then the Ocean glows
5:00-6:00 Combines on national anthem with Vivien
6:00-6:30 pack up and debrief

Love,
Exco

Comments for 3rd Feb national anthem

Combines with Vivien:

- In general, band must follow whoever is conducting
- Parts that are meant to be played together are not sounding very together
- Listen to your own section, but also listen to other sections playing the same part as you
- Woodwinds, DON’T play the running notes in the first bar
- Bar 2: after the percussion enters, the on beat of Bar 2 is not together (Band and Percussion not together)
- Bar 2: Crash Cymbal and Timpani come in together with band
- Bar before A: do the decrescendo!
- Beginning is very grand, introducing your anthem, but A is a gentler and softer melody. So, show the dynamic as well as textural contrasts
- Letter A: melody play imitating strings, melody should flow smoothly without any breakages in the phrases
- Letter A: accompaniment-play equal triplets or crotchets, bassline slowing down
- Bar 8: go softer and then bring out the crescendo into Bar 9 (mp to f must be heard)
- Bar before B: bring out the crescendo - Bar 9 = f, Bar 10 = mf, Bar before B = f again
- Letter B: melody don’t slow down
- Bar 17: Triplets must be play equally together with a crescendo
- Bar 18: Semiquaver must be played quicker and the other quaver after that must be not as fast
- Bar 19: off beat of 2nd beat triplet semiquavers must be accurate
- Bar 21: DON’T SLOW DOWN. There is no ritardando
- 2 nd time bar: watch the conductor and slow down together with her
- Last bar: last 3 notes must be together (bassline and timpani)
- Those playing melody, if your notes are high, don’t scream them out – make them lyrical

Link to our playing: https://www.dropbox.com/s/098n5ispmqry25s/3%20Feb%202015.mp4?dl=0

Combined Sectionals with Jovitta:
- 6th Bar of B: Tuba don’t slow down
- Horns at B: triplets CANNOT slow down; emphasise the first beat of the triplets; don’t break in between the notes (listen to 11min)
- Letter B: crash cymbal don’t come in late
- Pick up to 4th bar of B: Snare don’t slow down
- Bass Drum: after your roll, you MUST hit the next on beat on time!
- 6th Bar of B: the snare roll into 7th Bar of B overshoots sometimes; the onbeat of the 7th bar must be struck on time!
- 2 Bars before B: make the dynamic difference!
- ALL dynamics must be well taken care off and obvious! - Bar 17: Trombones push more air through the instrument so the sound won’t be delayed
- Bar 20: Semiquavers of the bassline not together!! Listen to 18min 30sec
- Bar 20: accent but don’t blast; and separate your notes - Bar 20: bass tendency to slow down and whole band slow down at Bar 21
- Bar 7: Remember it’s TENUTO notes, so bring out that articulation
- Trombones: entrance of the anthem can be played louder
- Sometimes after B: Bass drum will rush; don’t rush!
- Bar 17: the quaver notes are accented, so bring out that articulation
- Bar 17: Trombones + 1st Trumpet shouldn’t overpower the descending accented bassline
- Bar 21: Horns the semiquaver must be quicker; single tongue faster
- Bar 2: Melody rushing with the semiquaver
- Listen to 29min run through of the anthem; that’s how y’all keep pulse with only the metronome; note where slowed down or sped up
- Bar 18: slowed down a lot; and you give the feeling that the 3 quavers before the crotchets you’re like trying to catch up with the metronome
- Don’t tap your feet!
- Bar 18: Percussion (Snare, Bass, Crash) not together with the band and the first beat of Bar 18 is not together
- Bar 3: Horns tuning on the minim (or dotted minim?) must be taken care of. Higher note was flat; don’t change the tuning as you end the long note
- At Letter B: don’t rush even though you crescendo and become louder (especially Snare and Bass drum)
- Horns, you need more variation in your dynamics. There are certain parts where you are the melody (fanfare) and those places you can play louder
- Last note of the entire piece is essential, so must make sure it is in tune

05/02/15

Dear Band,
2:30-2:45 set up instruments
2:45-3:00 warm ups in FM
3:00-6:00 Combines with Mr Chua on Hermes, HTTYD and Lion King
6:00-6:30 pack up and debrief

SLs, please bring your Sec 1 Audition list tmr and pass to anyone of the Exco members.

Love,
Exco

03/02/15

Dear Band,
2:30-2:45 set up instruments
2:45-3:40 sectionals
3:40-4:00 combines in FM on National Anthem
4:00-4:40 sectionals
4:40-5:00 combines in FM on National Anthem with selected people
5:00-5:30 pack up and debrief

SLs and position holders (which means all sec 4s), please remember to stay back for about 30 min after band because we have to discuss some things.

Love,
Exco

02/02/15

Dear Band,
2:30-2:45 set up
2:45-3:00 warm up in FM
3:00-6:00 combines on Ocean Glows and James Bond with Mr Chua
6:00-6:30 pack up and debrief

Love,
Exco