Review:

You see it so many things! Sometime, it’s hard for me to explain everything to you with the time constrain. Takes a lot of patience.

Took me a day to type it out in words.

It’s easier to pen it down during band practice when I gave small little comments at times.

Have you all write down the bar numbers yet?

Do the small things well and the big things will just comes along….

As a teacher I can spoon- feed you at the beginning with nutrition you need, but then we encourage you to hold the spoon, play with the jar, mess around with the food, and in doing so, figure the whole thing out. And someday teach you to feed your self with that spoon then with fork and knife, chopstick etc.

“ The pupil who is never required what he cannot do never does what he can do…”

SYF Choice piece

Measures A

• Those playing the main melody/Theme- get to know the phrase structure- 3 +3+4 as one phrase. Sing out the melody to find out where is the most natural place to take a breath. Staggered breathing can be considered too if work out together during sectional practice.
• Although this melody appeared in the score as legato. It’s difficult to get it right as the notes are very high for the trombone and lower register for the euphonium (that’s a challenge in playing a difficult work). High tends to be tight and stiff while the lower notes flat in intonation. An opened throat is needed here to solve this problem. “O”
• Both extreme high or low register are in some way similar to one another.

Lots of hard-works and air support is needed to produce a graceful and sustained tone here. The trick is to practice it without the instrument, just by buzzing the right pitch on the mouthpiece and make sure all notes are connected smoothly. Lips slur exercises given by Mr Ng will also helps. Do it now everyday while time is still on our side. By end Feb it will be too late. I don’t believe in last minute preparation or long hours. Consistent short practice everyday is more effective.

• Find out and have in mind when is the antecedent (Question) phrase and where the consequent (answer) phrase in order to produce a more logical and musical playing in this unit/ thematic material.
• This theme must be in contrast with the syncopated /hemiola- (strong weak weak weak strong weak weak to strong weak strong weak meters) lyrical theme (lowers winds) against the rhythmic accompaniment (upper winds)
• Articulation is important to get the rhythmic phrase correct. More air than the tongue in order to produce a less choked feeling and lighter syncopated mood.
• Tambourine (bright/brilliant) and saxophone section act as an emphasis to the strong beats in the hemiola.

Measures B

• Tuba added to make a thicker/fuller texture. Tuba playing melody: very special! Bring it out. Practice more, hardly you see another tuba long melody line in a band piece unless a solo.

• In contrast with the A. The melody line here is in 3+5 asymmetrical feel while the accompaniment changes to a more stable/steady meter of 4 (1&2&3&4&)
• Smaller interval in the melody given here so that it can maintain the expressive (elastic feel) of the lyrical theme while the rhythmic section in the upper winds is less syncopated here. But 1&2&3&4& phrase are here most likely to be more forward driven in motion. Be careful not to over-rush or get carried away.

3 Measures before C- an extension phrase. Remember the soft to loud before C. (hehe my artistic endorsement. Important!

Measure C

• The some theme in A is now transferred to the woodwinds. Same style as above.
• 
  
• Lower brass took over the syncopated accompaniment here. The danger: lower brass in nature more heavy in sound. Be careful not to slow down or too tubby in articulation style and tone.
• A new decorated material is introduced here: The trumpet and Xylophone scale like melody. The danger: Precision and together.
• Too soft. Trumpet.

Measures D

• The trumpet and xylophone scales are now broken up into fragments. Some staccato is introduced.
• Crescendo more going up and down the fragmented scales. Short flash of sound.

Measure E

· Some thing like an ornament: a turn (resolution downward and upward) is introduce here. Down turn and up turn. The up turn has an augmented phrase: the tie play longer. This follows by a 2 and 4 measure extensions till “E”. First extension (2 measure) is a fragment of the syncopated phrase and 2^nd extension (4 measures sequence materials) is the fragment of the lyrical phrase. (Check with me during full band for slower explanation)

Measure F

· Texture modification: stacking up of sounds.

· 4 bars before “G” trumpet always late or never correct. Breathe at the quaver rest- fast.

· Flute and clarinet moving quaver needs more finger support to play more together and tighter ensemble.

Measures G

• Extremely high note in the first trombone part. Try to get the note and pitch right. More buzzing with mouthpiece helps and of cause more fast air.
• Sequence descending modal scales. Phrase x2

Measure H

· Instead of trumpet 1^st silent beat. Horn, trombone and euphonium enter the 1^st beat with a tension note ‘concert F#”. Snare now plays the same rhythm with the trumpet: precision needed.

· The tension resolving only at measure I when the theme A come in again.

Measure I

• Theme “A” comes in again. Recap
• Scale like movement by the clarinet and flute is introduces. Not fully new material as its taken from the trumpet at measures “C”
• Lower winds again come back/ recap of the Theme A.

3 measures before K- Bridge to the lyrical section needs to be more fluid. While the clarinets and saxophone flowing lyrically, tuba needs to be precise in your accompaniment minims. Difficult. Take a lot of listening to one another.

Measure K

First 4 bars- Brass chorale

Balance and sincere playing style is needed here. Expressive phrase but do not slow down too much. Keep to forward movement of the phrasing. Play across and think across the bar-lines!

Bar 5- Elision sequence phrase

1^st players always listen to the 2^nd and 3^rd.

Do not drag/melt any phrase here; again keep it moving across the bar-lines.

Pick up quavers from the tuba always late or never correct! Be focus! Breath together will play together.

Measure L

Legato tonguing is a thru thru playing.

Repeated notes in a slur needs a lot of work to practice legato tonguing (Thru Thru business)

Do it with mouthpiece 1^st. Buzzing without the instrument. Tongued without break the airflow. Ok sounds difficult; please consult Mr Ng if possible.

• 2^nd phrase of L needs to be more passionate in expression
• 5^th bar of L softer to slower built the crescendo towards the forte note and than dim of hitting the climatic notes. Do this without changing the tempo.
• Do not slow down during a soft passage.
• Don’t rush a louder passage too.
• Although rushing is not allow. Still try to feel the forward movement like you are reaching out for something.
• And indeed the melodic line do reaching out towards the FF note at measure “O”

Measure O

• Cymbal crash – needs a lot of practice. Take a lot of skill just to play it well.
• More 1^st horn and trumpet
• 4^th bars of measure O – saxophone, please get the correct rhythms! Go watch the video of the concert you will know why. Thanks!
• Pick up before P- again tuba never get it correct before. Be focus. Breathe together before the entry

Measure AA-DD

Tutti playing- maintains the energy, forward motion and stamina leading toward the last fermata note. Never slows down.

Triple to duple is the main figures here- pay attention to play it evenly and correctly.

Precision after all the quavers syncopated rests.

Lower instrument must maintain the stamina to hold a good fermata last note of the piece.

Good Timpani roll needed in the last fermata.

Ps : Majors/leaders may consider using measure K as a standard chorale warm up and AA as a tutti articulation warm up at the beginning of every practice before I arrived.

Rds

FOO

Thanks.