Things to take extra care and notice

hi all, due to some attendance issue, we arent able to combine or make do with a full band sound for every practice... but nonetheless we should be able to do some self training at home with or without instrument... i urge all to bring home your scores and do up some your own rhythm issues and technical errors that you are facing.

also all to practice your air speed, if you dont have your instrument, its fine. you can still make do with hissing with intensified air speed, how do you do it ...
these are the steps ...

1- while you are walking, use your walking speed as your tempo
2- set your timing 4/4 or 2/4
3- hiss the melodic lines your way through to your destination

it helps .. really...

another method is by singing. alot of musician hum their melody before playing the exact melodic lines on their instrument. infact, when you are able to sing properly, you are able to play properly... trust me ... it really works.

now all to take down notes onto your music, here it comes, also please all to bring home your scores for scores study, SING YOUR PART EVERYDAY !!!!

RISE OF THE FIREBIRD

Trumpet Horns and 1st Trombone - work on your fanfare together from the beginning to bar 18. make sure all have equal volume and follows the lead trumpet throughout the entire fanfare. Practice together standing in a row outside the music room, get a guy to stand outside the science lab corridor to asses your sound, make sure the sound is POWERFUL and lastly, its the opening fanfare of the concert.

All the rest who is in accompaniment to the fanfares hold a forte-piano, we only crescendo on bar 5 3rd and 4th beat. make good crescendo towards bar 6 so that the percussion would end the first section of the fanfare well.

Saxes and Euph to practice bar 10 together, make sure all have the same articulation.

Saxes and the French Horn, the gliss note is the continuation of a modulation towards the end of the fanfare, gliss itwell, gliss it together.

when the full band enter bar 16 and 17, we only crescendo on bar 17 2nd, 3rd and loudest on the 4th and cut on the 4th..

saxes trmbone euph and tuba sfz on the 18 should maintain, dim down only at bar 21, tuba baritone sax and bass clarinet should all maintain your volume because alot of instrument will take a rest after bar 21.

horns and euph should practice with a metronome from 26 to 33 !!! make your self as smooth as possible.

1st clarinet to come in like a grand entrance, make your first G so significant that people will wow on your first note.

euph to play the cue notes from 34 to 37. make it sounds like a cello, if you could vibrato on the bar 35 Ab and the bar 36 Bb, you would sound marvellous.

tenor Sax to play the que notes from bar 34 to 35 to make the whole ensemble sounds full because we are lack of bassoon.

trumpets and trombone to take note of the 2x semiquaver and the 2x crotchet, though its written mp, can we all do it a f because all of the other sections are holding notes and only the both section is moving, it should come out.

trumpets horns 1st trombone to work on bar 43 to bar 50, use the same method for your fanfare.

baritone sax on bar 44 and bar 46 to sound like a timpani, because only you and the timpani have the same part. make it dong dong dong... not bom bom bom.

horns again to practice your 53 to 58 with a metronome!!! tempo very weak ar ...

flutes clarinet 1st sax to do your running notes together on bar 59 to 60, its very critical that you guys run together on this very portion of this piece of music.

trombones bar 87 very very very important... make sure you guys come out as a section.

horns glissando on bar 88 is as much important as the trombone...you have to blast gracefully !! its just like scolding vulgarities in a tai tai manner.

thats all for this Piece !!!!