Underdone on the Trumpet Call- Needs to Be More Present

Rick Baker

March: Gallant Seventh:

· Underdone on the trumpet call- needs to be more present

· Start softer on the pick ups to A so there is a stronger crescendo

· Biting the rooftop notes pretty short- think more tone

· Everybody needs to crescendo and decrescendo together

· Give accents more definition and under accent the other notes

· Upper clarinets are getting squawky

· Octave in Euphonium and Trombones not matching

· Clarinets are sticking out over the flutes and other upper ensemble instruments

· Focus more on the grace notes

· Pitch on concert D- trumpets

· Trumpets get throat and tongue in a higher position so the notes don’t go flat

· Clarity of the pickup into I- not together

· Low brass- darker and deeper- don’t let it get too short or thin

· Over emphasize the trumpets calls to bring them out

· More of a trumpet lead right before the first ending

· Second time at K- one dynamic level louder and more tone

· Runs are not played together- some people are laying out-thin

· Less of the upper woodwinds repeated notes- more of the melodic line

· More character and style- more brazen

· Wants to hear more of the bottom octave

· Woodwinds on upper notes need to back off and check tuning

Undertow:

· More accented feel- un-accent the other notes that aren’t accented

· Clarinets be careful not to scoop

· Flute pitches

· More of the upbeat accents woodwinds

· Unison pitches in the trumpets not matching

· Match style in the quarter notes measure 41

· Timing of tempo bar before E- didn’t lock in with percussion

· Saxes not together- aren’t anticipating where the beat is- feel the pulse of the eighth notes

· Flute solo keep the pitch its turning on the low side-more edginess and vibrato would be good

· Louder, bigger contrast at J than what we had a few bars before

· Losing the eighth note pulse

· More at L- more contrast

· Measure 119- everyone needs to hit the accents more especially in the woodwinds

· Not together. Don’t distort the pitch at letter N

· Nice percussion feature

· Band sections between the percussion sections needs to be stronger and more articulate- hit the accents and put less on the non accented notes

· More glissando in the trombones

· Piccolo- needs more of the rip into the upbeats

· Different in quarter note articulation in 195 and 197- sections are not matching the rest of the band

· Try to dampen the Timpani at the end

· Rhythms are right, but it doesn’t have the excitement factor because it doesn’t have all of the accents and dynamic contrasts

Finale Symphony No. 8- Dvorak

· More spaces between dotted eight sixteenths

· Tune concert D

· Tuning on C on Timpani

· More of second voice at 27

· Bigger crescendos and decrescendos- over over-do

· Not soft enough at 36 second time

· Low reeds stay in time at 43- don’t rush

· Second flute and second oboe parts are getting lost

· 8th 16th precision

· Ghosting the 16ths- need to be more annunciated

· 16ths in flute solo and in clarinets aren’t matching up

· Measure 112- make the notes longer

· Play softer at pp dynamic

· Sixteenths needs to be brought out instead of the quarter notes

· Stronger and grow together

· Eighth note 16th notes need to be brought out in the trumpets

· 181 note length- longer to contrast 193

· Easy Clarinets- don’t get chirpy in upper octave, don’t tongue so hard

· Check speed on 16ths

· Don’t clip notes- 2nd beat

· Careful sfz in saxes

· Euphonium don’t dominate- work together with the clarinet

· Bigger crescendo, more of a fall

· Everyone needs to rise and fall together

· Watch pitch on the release of held out notes

· Tune concert C in trumpet solo- flat

· Sensitive tuning with horn solo and woodwind parts

· Need to hear descending run in 337

· Lock in octaves low brass 342

· Spreading on the F getting sharper and sharper

· Defining what we want to hear- what parts are not as important and when to back off

· Parts switching from section to section cannot sound different in style and inflection

· Bring out 16ths and have more accuracy- stay in time

· Measure 350 should’ve moved on more instead of being resistant

· Soloists cannot be off pitch- accompaniment cannot be off pitch- effects the sound between the two parts