Beruflich Dokumente
Kultur Dokumente
10
Introduction A
Phrase
Structure
Tempo
Dynamics
Meter/Rhythm
Tonality
Harmonic
Motion
Orchestration
General
Character
Means for
Expression
Conducting
Concerns
Rehearsal
Consideration
Vivace
(q=154)
Vivace (q=154)
44
jjq o eo eo eo e
chromatic
halfstep
motion
I
I
I
V
All (no
Low Reeds, High Brass,
All (no mallet percussion
mallet
Tuba, Double Bass,
or Piccolo)
Percussion)
Percussion
IV
IV
IV
V
Low Reeds, High Brass, All (no mallet
Tuba, Double Bass,
percussion or
Percussion
Piccolo)
aggressive,
opening
surprising, exciting
Dynamics,
clear
articulations,
chromatic
movement
tempo needs
to be set.
Show
stacatto
nature
tonguing
style and
tempo.
Dynamic
presence
Page 1
11
12
13
14
15
16
17
18
19
20
A (Cont'd)
A (Cont'd)
Vivace (q=154)
Vivace (q=154)
21
22
23
24
25
26
Phrase
Structure
Tempo
Dynamics
Meter/Rhythm
4
4
Tonality
Harmonic
Motion
Orchestration
General
Character
mf
mf
ff
h qsqii
E-Flat Major, with chromaticism
mf
I
Low Reeds, Trumpet,
Low Brass, Bass,
Percussion
IV
IV
V
I
I
chro I
I
I
V
V
V
V
I
Flute, low reeds,
Piccolo, Flute, Bassoon, Clarinet 1, Bass Clarinet, Alto Saxophone,
All (no mallet percussion or
brass, bass,
Trumpets, Euphonium, Mallet Percussion, Snare Rim, Tambourine,
piccolo)
percussion
Triangle
Arriving, but still not the
ultimate arrival
Means for
Expression
Conducting
Concerns
Rehearsal
Consideration
start the dynamics back at piano.
Clearness of double tonguing in the
trumpets should be a priority if needed.
Page 2
27
28
29
30
31
32
33
34
A (Cont'd)
35
36
37
38
39
40
41
42
Phrase
Structure
Tempo
Rubato
Vivace (q=154)
Dynamics
Meter/Rhythm
Tonality
Harmonic
Motion
Orchestration
General
Character
mf
ff
A
Tempo
fp
4
4
Vivace (q=154)
crescendo (Poco a poco)
I
I
I
IV
Picc, Flute, Bsn,
All (no Oboe,
Bs.Clar, brass,
A.S, T.S,,Tbn,
percussion
Mallet Perc
Flat VI
Sparse. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. Full
Means for
Expression
forte crescendo, stacatto, passing unison parts, fortissimo, rubato into
16ths between parts
fermata
Conducting
Concerns
cues for the clarinets. Show the
lilt for the section.
Rehearsal
Consideration
Page 3
43
44
45
46
47
48
49
50
51
52
53
B (Cont'd)
Transition
Vivace (q=154)
Vivace (q=154)
fp
f (fp) crescendo
4
4
54
55
56
57
58
Phrase
Structure
Tempo
Dynamics
Meter/Rhythm
Tonality
Harmonic
Motion
Orchestration
General
Character
V/#IV
Ritardando
sffz p
crescendo
iii
flatV
Bb
Sparse.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..Full
the only difference between this portamento going into 43 and 35 should be
the amount of time. It should still be as aggressive with a cresendo. The forte
piano should mimic that of the one which occurred in 35, except even more
grand. The enterances should be cued and supermetricpattern should be
continued.
pulse and legato style should be achieved to contrast the previous section.
The majority of the cresendo should be saved until measure 49.
Ensure only the dynamics are growing through this section and
not the tempo. Some detachment of articulation may be
needed to contrast the last legato section. Grace notes should
come before the beat.
Means for
Expression
Conducting
Concerns
Rehearsal
Consideration
Page 4
59
60
61
62
63
64
Transition (Cont'd)
65
66
67
68
69
70
Coda (A'/B')
Phrase
Structure
Tempo
Dynamics
A tempo
Vivace (q=154)
ff
fff
ff
Meter/Rhythm
4
4
constant
16ths
Tonality
Harmonic
Motion
Orchestration
General
Character
fff
E-Flat Major
changing, growing
percussion
All
anticipation
Shout chorus!
Chrom
Means for
Expression
Conducting
Concerns
Rehearsal
Consideration
Page 5
71
72
73
74
75
76
77
78
79
80
81
82
Coda (Cont'd)
Phrase
Structure
Tempo
Meno Mosso (q=120)
Dynamics
Meter/Rhythm
Allargando
fff crescendo
44
Tonality
Harmonic
Motion
Orchestration
General
Character
A tempo (q=154)
iv
dim
All
surprise!!!!
portamentos all over, many tremolos, forte realm dynamic contours, accents and legato
articulations.
big concduing for the meono mosso section in supermetric will help them move air
though the horns enough to support.
Air support for this final sprint is needed. The fingerings for tremellos and portamentos
should be studied prior to playing this piece so that the director can answer the
questions which arrise.
Means for
Expression
Conducting
Concerns
Rehearsal
Consideration
Page 6