The document provides the objective and procedure for a band rehearsal that includes warming up, then rehearsing the beginning of "Elegy for a Young American" up to box 3, and rehearsing "Midway March." The warm-up includes tension/release and entrance/exit exercises. For "Elegy," they will work on phrasing, blending sounds, and dynamics. For "Midway March" they will work backwards from the end, focusing on accents, dynamics, rhythms, and bringing out the melody. The final performances will assess learning.
The document provides the objective and procedure for a band rehearsal that includes warming up, then rehearsing the beginning of "Elegy for a Young American" up to box 3, and rehearsing "Midway March." The warm-up includes tension/release and entrance/exit exercises. For "Elegy," they will work on phrasing, blending sounds, and dynamics. For "Midway March" they will work backwards from the end, focusing on accents, dynamics, rhythms, and bringing out the melody. The final performances will assess learning.
The document provides the objective and procedure for a band rehearsal that includes warming up, then rehearsing the beginning of "Elegy for a Young American" up to box 3, and rehearsing "Midway March." The warm-up includes tension/release and entrance/exit exercises. For "Elegy," they will work on phrasing, blending sounds, and dynamics. For "Midway March" they will work backwards from the end, focusing on accents, dynamics, rhythms, and bringing out the melody. The final performances will assess learning.
The document provides the objective and procedure for a band rehearsal that includes warming up, then rehearsing the beginning of "Elegy for a Young American" up to box 3, and rehearsing "Midway March." The warm-up includes tension/release and entrance/exit exercises. For "Elegy," they will work on phrasing, blending sounds, and dynamics. For "Midway March" they will work backwards from the end, focusing on accents, dynamics, rhythms, and bringing out the melody. The final performances will assess learning.
Objective: The Students will ● Warm-up ● Rehearse the beginning of Elegy for a Young American to Box 3 ● Rehearse Midway March
Procedure: ● Warm-Up ○ Tension and release exercise ■ Start on Bb major chord ● A ● Ab ● G ● F# ● F ○ Entering and Exiting exercise ■ Play F (Or G) chord ● Get really big, then really soft. HOLD at really soft. ● You have to leave the texture to breathe, and then come back in, right? Should I HEAR those entrances? ● Fade to nothing, sneak back in from nothing. No accents to interrupt the sound. ○ Exercise but with SHUSHing. ● Elegy ○ Beg. to Box 1 ■ Clarinets at beginning ● Write Hairpins in first 4 meas. ● And breath-marks after every phrase- slight pause. ■ Saxes add in- blend into their sound ■ Talk about hairpins, what the breath should sound like. ● Everyone blow through a hairpin ● Everyone else does it from beg. Clars and Altos play ○ Box 1 to 2 ■ Run ■ This part sounds like a lot, and you may feel like you’re wrong, but be solid in your counting and I PROMISE it’s right. ■ BOP IT. ● There should be movement on EVERY BEAT until the last beat before 2 ■ BOP IT AGAIN ■ Run regularly ○ Box 2 to 3 ■ This section is ONE BIG HAIR PIN. Where’s the peak of this hair pin? ● Box 2!!! ○ Same exercise as warm-up, but with YELLING ■ Fade to nothing at the end! ■ TUBAS 2 before 3 ● Midway ○ Work BACKWARD from end! ■ Last measure! ● ACCENTS, Not too long! ■ TWO measures from the end! ● FORTE PIANO! ● ACCENTS on the quarter notes! ● Rearticulate before last measure ■ FOUR from the end. ● Higher winds, at 99. Accent and rhythm ● The melody is in there somewhere, who has it? ○ BRING IT OUT but also listen for it. ■ Put an ff under that, friends. ■ FIVE from the end ● Forte piano’s: Can I hear you? ● Accented dotted quarters rise up from the texture. ■ SIX from the end ● Woodwind trills: Really short and explosive- remember what I compared them to last time? ● Add brass in- what role do you play in this little metaphor? ○ Accented and strong! ■ BOX 95! ● Beat 4 people- accented, blow through those eighths ● Melody people- watch the a of beat 4 ○ Put some weight on the first half of 96 ● Trilly people- Are you the most important thing? At first, yes. ○ Flute and oboe catch on to the melody, clarinets hold till 4 ■ Measure before Box 95 ● Accents and crescendo! ■ Rehearse melody and accomp. At 87 (if time)
Assessment: The final performances/runs of the pieces will serve as an assessment for learning.
