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
