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Krista M.

Reeder GMUS687


GMUS687:
Advanced Instrumental Score Study & Literature
Douglas C. Orzolek, Ph.D.

University of St. Thomas
Graduate Programs in Music Education
July 28 August 1, 2014, 800 AM - 500 PM






TABLE OF CONTENTS

People/Methods of Mention2

Composer/Conductor Relationship3

Score Analysis: O Magnum Mysterium
Battisti Form..4
Would Would Doug Do?..5

Score Analysis: Lincolnshire Posy
Overview7
Movement 1..8
Movement 2..9
Movement 3..9
Movement 4.10
Movement 5.11
Movement 6.11

Score Analysis: Pathnder of Panama12
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Krista M. Reeder GMUS687
Score Study & Literature Course Notes
People/Methods of Mention
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Process about Music: Larry Livingston
Composer Integrity; the director has to execute the composer's will
At the heart of what we do is the piece; what was the composer trying to convey
5 Step Process
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Battisti
Read the piece and discover it naturally
Melody and other basic things emerge early on
The more things that can be identied early on, the clearer the piece becomes.
Builds a skeletal sound image
Start listening to many recordings - good and bad
Unclear spots? go back and read, study, and listen
Goal is to get through the piece (audiating, singing, humming, solfege, etc) in time
Avoid analyzing too early; creates a distorted overview where the point can be
missed
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Kirchhoff
How do you handle transitions
Structure, shape and phrase
Holistic view but not without integrating the small parts
Score analysis is supposed to recreate the composer's intent
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Our job to unlock the "hidden" meaning
Eric Stokes - mentor
Depth.
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The questions in his score study require a deep knowledge and understanding of
the music in order to be able to answer - no wrong answer, but requires depth.









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Krista M. Reeder GMUS687
People/Methods of Mention, cont.
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LaRue SHMRG(T)
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Sound
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Harmony
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Melody
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Rhythm
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Growth
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Text
Macro - Middle - Micro Analysis on
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Harmony - Timbre - Rhythm - Melody
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Refer to "Growth" for what letters stand for
Phrasal Analysis
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Groupings of measures
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Arrows to delineate peaks

Composer/Conductor Relationship
A few thoughts
There are composers and there are people who compose music
Composers are people, too, and getting to know them helps to better understand their music
Join a consortium - $500 - and you get access to commissioned music
American Composers Forum

Ralph Hultgren
Australian
Very open; rough and tumble
Saved in 1997
Auto-ethnography: 2001 dissertation is about him through his music
Analyzation of your beliefs; comparative analysis of yourself against others
"Personal Therapy
Dissertation -
Compiled EVERYTHING from the process of composing one piece
2012 (10 years later) he nishes
Griffth University in Brisbon - Queensland Conservatory of Music
Received degree from the same university he taught at

Conict of interest so external reviewers were enlisted.


Go watch video!
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Krista M. Reeder GMUS687
Score Study & Literature Course Notes
Score Analysis: O Magnum Mysterium
Morten Lauridsen; arr. H. Robert Reynolds
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Melody:
Lyrical, intertwining, disjunct, and diatonic
4-bar phrase - statement and response
Natural dynamic contour
Thick/dark color
Motive
Horizontal; starts after downbeat
Balanced themes
Alto 2 parts, Clar 2 parts equally as important
First chord sets the environment for which the piece will live
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Harmony:
EbM - maybe some polytonal elements
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Whitacre - pandiatonic
Cadences: plagal with a dangling friend - Bb (IV-I)
2nds may not be written as accidentals
Tertian chord structures
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Form
Pop song
Chords do not create symmetry but the form does.
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Rhythm:
3/2... why not two 3/4 measures?
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Choral music thinks in macro and this is a choral transcription
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B section in 3/2 and it works
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Orchestration:
Makes good use of darker, inside voices
Dominance of those voices to mimic tone of the contralto voice part
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Texture:
Hybrid - polyphonic; homophonic; monodic
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Interpretation: Try not to listen to recordings to let them inuence your choices
Tempo/Dynamics
Characteristics associated with a particular style
Affect/Effect - intent
Lyrics (sing or dance)
Motion - where is it going?
Tone color/balance
Phrases
Breathing
Pulse - macro vs. micro
Student skills (musical maturity & ability)
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Krista M. Reeder GMUS687
Score Study & Literature Course Notes
Score Analysis: O Magnum Mysterium
Morten Lauridsen; arr. H. Robert Reynolds
What Doug Would Do
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Breathy - less articulated -
BECAUSE the rst word in the choral part is an "O"
Stretch rst note (beat 2)
Clarinet in the lead!
Half note m2 does not lose intensity
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Color has to change two bars before A -
Ask the Cl to darken
It's one of two sounds that has motion
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Take a little time on beat 3, M4
suspensions - goes back to the lyrics
Not much of a break between the rst two 4-bar phrases
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Connected!
Motion is horizontal not vertical and the conducting should match
One consistent sound where the articulation lightly interrupts the air ow
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Dent the air stream slightly
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One change at A -
Slur of rst three notes in M6 - no break;
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Horns and clarinets are allowed to breath as much and as frequently as needed
Where can they grab their pitch? Alto Sax
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Rehearse homophonic portions separately
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A is a little bit stronger than opening
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3/2 Bars
What needs to be stressed.... what needs to be changed... consult choral score
Taper beat 3 but don't put a giant space -
Help beat 4 entrances articulate in a way that does not break connectivity
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B gets sat on before it moves along - like the beginning; now about consistency
Pitch issues to deal with -
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Trumpet - Bb will be sharp - lean on ute
Direct the 3rdM of B decrescendo through beat 4 - not staggered as written
Weight on beat 3 and beat 4 of m4 at B
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C: New color, trumpet comes out; new tempo; new dynamic; new
Sitting around 72
Most of the things said before still hold true in this restatement
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Krista M. Reeder GMUS687
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E: Little more time on the fermata end of E to help clear the air to help transition in to F
Denitely feel space between 3 and 4 m34
Start decrescendo beat 3 two before F
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Why? the three notes in the clarinet part should be as soft as possible because it is
transparent and reective at F
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F: A tempo is right.
It should not drag.
Foggy. Connected. No space and no breathing.
4thM - crescendo in pick-ups
Watch out for ute overblowing/playing M43
Timpani helps color and drive crescendo but hold it back for a few beats
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G: Don't over play yet!
It's only forte - and will be fortissimo later
Move the slur in ute and trumpet to end on beat 2 NOT beat 3 - match lyrics with choral
Timpani & suspended cymbal drive cresc again
RH hold while LH directs FH beats 2-3-4 M50
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Pages 8-9 are about how students enter silence
Tapering; drifting
Fermata before I - it's a cm - functions as a question mark almost...
Stretch last beats for a few measures
5 before end - get there and pause -
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Let the harmony settle
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But not a true fermata - before going into the horn ending
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Krista M. Reeder GMUS687
Score Study & Literature Course Notes
Score Analysis: Lincolnshire Posy
Percy Grainger; arr. Frederic Fenell
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Composer Prole: Percy Grainger
Eccentric
Folksy
A lot of composition done at the piano and harmonium
Country Gardens most famous work - Grainger's least favorite!
Percy Playing Percy on Amazon!
Now, Oh Now, I Needs Must Part (John Dowland original for lute and voice)
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Setting for Band by Tom Duffy called Bell Something-or-Other
Colonial Song - an original
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What is Folk Music?
Tells the songs of the people; tells a story
Can be made up or passed down
Not best voices
Meter-ambiguent

Lincolnshire Posy
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Read the appendix and information.
Grainger is very clear in how he wanted this music to be performed.
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At it's heart - it's pop music -
It was the music of the people and was popular among the people
Quote from the top of second column, page 60
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A bit of history and contextual understanding
First performance in 1937 was a disaster
First good performance was by Goldman - New York City
First score was mismarked "Dublin" but it was actually "Lisbon"
Grainger had to nd a few missing melodies because his folksinger had forgotten
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Anything with an * in the score is a Fennell addition










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Krista M. Reeder GMUS687
Score Analysis: Lincolnshire Posy, cont.
Percy Grainger; arr. Frederic Fenell

What Would Doug Do?
Mvt. 1 - Lisbon Bay
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Ab Mixolydian - AABA
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Popcorn - emphasis on 1 and 4
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Start with a stopped gesture - gesture of syncopation (Elizabeth Greene)
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Not interested in a lead part - should be balanced
Play up a 1/2-1 step in horn with stop & never use a trigger on stopped horn
Trumpets will also play sharp with mutes
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No accents written but they are accomplished with the detach style
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Musical Spice m10
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V1 - m1-17
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V2 - m18 - melody now with arpeggiated accompaniment - with lilt!
Make sure arpeggio stays light - not loud and long -
Lean towards staccato
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Small staccato gesture may help
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Goal is to get the melody and accompaniment to interweave!
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Things start to broaden at 26 - accompaniment parts have left
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Much less detached at m26
More songlike - quarter note gets a little more value
Tenutos over the quarter notes in certain voices (melody)
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Musical Spice - m28-29
Trumpet - not tongue supported accent but a breath supported one with an air
release
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Back to detached at m30 to support the original theme
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V3 - m34-50
Softer but with chromatic tension
*CONTRASTING*
Sing-songy
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Fanfare Lick - pu to m36 -
Sax sound ts inside the horn which means no vibrato on the sax
Should be startling - not on the long not but on the rst note
Tend to rush m39
Evenness in register
Add a cresc in m42 to brass parts
No breath in m43 in brass and saxes
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Musical Spice m43-44 2nd/3rd Cl
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Gb Chord m43
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Echo in sax & trumpet m48 - marked
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Krista M. Reeder GMUS687
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V4 M50
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Reedy - meaning gravely, rough like the original singers
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M58 - Starting to back away
BUT interruption with nasal (honk) in m60
Grainger laughing at us?
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M64 - Dolce - cadence to end starts at this point - highly chromatic

Mvt. 2 "Horkstow Grange"
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Originally from a piano score so a little more metrical
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Ironic that this beautiful thing is about a murder, and an axe to the head no less!
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Slowly and owing
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4 Verses - semi-cadences (breath marks, pauses/spaces)
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M9-10- Denitive releases or ties
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Broad harmonic analysis ii-iii-IV-V-I
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Important EHorn part (dbl in ASax) -
Grainger must like EHorn and SopSax for their haunting and rough quality
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M3 grace note
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M10 Connected grace note, not a quick, short one
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Biggest decision is phrasing
NB 3-4; B 11-12
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Meter elongation on 2nd verse gives natural emphasis to the crescendo
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M14 - do the accents with the breath not with the tongue
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M17 - Fb chord.... Snare roll is felt, not heard
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3 before 25 clarinets start adding to build color - breath entrance
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Pedal tone in timpani M30 but played on the highest drum for a timbre/pinched quality
Possibly meant to be a part of the horn chord - creates a tension
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"almost clingingly" indicates articulation style more than rhythm or value
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Tenutos in 8th notes in low voices m31-33
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M34 Db in Piccolo, Sop Sax, Trumpet, and Baritone
Stabilizing voices of the unstable chord all around
Also the moment of the axe swing
Grainger trapped us!
Hold off on decrescendo until after beat 3.
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Long, expressive grace note on last note

Mvt. 3. "Rufford Park Poachers"
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Two Versions - A and B
Grainger would have probably liked B better
Can do A and sub in SopSax for Tpt Solo;
Few other changes
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Krista M. Reeder GMUS687
Solo performer did two different versions for Grainger and he couldn't decide
which one he liked best so he wrote both!
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Canonic Imitation
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Hollowness created by 5 octave spread between the highest and lowest voices
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Dorian - Fminor (Version A) Cminor (Version B)
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All of the 5/8 measures (with the exception of 2, 6, 14, 20, & 98) are 2+3 (those 5 are
3+2)
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In conducting, use the same box space just drag the beat
Lift the wrist
Ictus stays the same
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Structural differences in 8, 11, 12 from A to B
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M47-50 are harmonically different from A to B
Because we started in two different keys but are ending up in the same ending
place
m51 Gm - Verse 3
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M51-70-80ish A little bit of player freedom
Surges ahead
Sliding chromatically downward
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Clear conducting pattern - rehearse similar material
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Percussion is used to accent or extend a crescendo
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M63 is kind of bridge to get us back to the main theme but is fully scored
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Caesura at breath mark M67... PU is in new time of M68
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Syncopation between m63-68 - PRECISION!
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Any of the chromatic stuff gets brought out
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Mistake in parts - m73 should be a double dot with sixteenth (score correct)
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Peak at M79
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Back to canon m85 - no passion - just in time - slight variation with dynamics - but
that's it

Mvt. 4 - "The Brisk Young Sailor"
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Quarter note marked 93 but Dr. Orzolek goes 96 so it feels a little more urgent
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Percy gives us a full measure - use it but DON'T breath on the 2
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16ths have to speak - be prominent
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Articulations are Percys
What's there is there and adhere to them as much as possible
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Original has 7 verses
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Opportunities for cueing
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Relatively straight-forward
Folk song with variations
Dancier than the other mvts so far and reminiscent of Country Gardens
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Everytime there is something new and different it should be brought out
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Change dynamic in low reeds to F (in place of marked mp)
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Krista M. Reeder GMUS687
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All perfect cadences - V-I
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Verse 4 - m25 - should be more detached
Reected in directing
Extra avor in the bari sax
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Help brass and saxes with their entrances in m34-35
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Angriness led by the lowest voices but yet legato
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M42 teach
The slowing in the eighth note parts rst
Then instruct sixteenth parts to put more space between each note
Also helps that they have heard the slowing in the other parts rst
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M43 in time or slightly slower
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M46 clarinet part - only two players on each voice
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Last 2 - Bb & Fb7 to sustained Bb & Db

Mvt. 5 Lord Melbourne
I missed this portion of the class discussion due to the death of a family friend.

Mvt. 6. "The Lost Lady Found"
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Dm (D dorian) -
Dominant is the minor, not the major
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Horn/Euph part at M34 should have accent on beat 3
Stark contrast to the heavily accented 1 in the other voices
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M45? Trombone addition...
It's the gavel falling as the uncle in the story is condemned to death
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Verse 4 - any notehead that isn't lled in tends to slow the piece down
Less rebound at 50 keeps the motion moving forward
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Drone/Pedal at 50-66
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M82 - Verse 6 - balance of A to B melodies
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M92 should be led savagely by the bass tbone
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Final statement -
Lost is Found, Uncle is safe, Everyone is happy in the valley
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Do not start rit at "hammeringly" in m140 but wait until 143-144
Let players move at their own rate in m145
M130-end let sizzle, shimmer, & shine - be bright. #
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Krista M. Reeder GMUS687
Score Study & Literature Course Notes
Score Analysis: Pathfinder of Panama
John Philip Sousa; ed. Frank Byrne
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Typical March Form
Intro
M4-12 - rst strain
M13- second half of rst strain; restatement of rst strain
M21 - repeat of rst strain with a repeat
M37 - third strain
M53 - Trio
M69 - Dog Fight
M85 - Alliteration of the Trio with additional descant
Repeat
End with a stinger
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Form - AABBCC
Trio - Breakstrain - Trio - Breakstrain - Stinger
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Conducting Considerations
Posture
Dynamic & phrasing changes
Accents
Get ahead a little
Balance (directing trafc)
Stylistic (smooth & connected vs. short and detached)
Ends of phrases & cadences
Interpretation
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