More contest prep ideas (specific measures for cornets)

Had another rehearsal with Jim Davis and The Lindley Band last night.  Still no word on our Draw for 24 October so we don’t know if I’ll be able to play considering the afternoon rehearsal and evening show with B&R the same day.  We should know by early next week.  I’ll also be doing a quartet competition with Lindley folks on 25 October…..hmmmm could be a long weekend.

So on to some ideas Jim talked about last night as they may relate to ABB and the Sparke:

1-No splits

2-No splits

3-No splits.  Leave those for the other bands that don’t want to win.

4-Tubas: Your job is harder so you have to be better.  (notice there is a period at the end of that statement.)

5-Cornets:  Any spot doubled in front row (all 4) and Rep is an opportunity for rewriting.  Let Rep play with 2nds, let rep play and 2 or 3 solos take time off etc.  Look for this throughout the piece

6-When solos 1 and 2 are doubled with Sop, let Sop be loud and bright with just support and color from solos.

7-Cornets:  on big endings never play more than 1 or 2 bars without resting.  An example of “bumping” could be in m333-m345.  In solo 1 and 2 leave out the lower octave.  The Rep plays (right?), and 3 and 4 join in the lower octave 338 (right?).  Just alternate solo 1 and 2 for 1 or 2 bars at a time doubling with the sop.  At 342 all join on the last 2 beats on the semi-quavers where the sop drops out.  Does this make sense?  Sal may have to check the score.  I don’t have the score here just the extra parts from Lindley.

8-Cornets:  In m378 there is really no need for Rep to double sop.  Have Rep spell the front row or help out 2nds or 3rds.

9-Tubas when you have a crescendoing semi-quaver passage, let 1 player start and then add other players to increase volume without having to player louder.  Never accent the entrances as you join.  Sneak in…..

10-Cornets:  at m403-404:  solo 3 need not play the high B (it is covered by the sop).  Have rep and 1 solo do the F# (everyone should hit the Fp note) and add voices in the 2nd measure for the crescendo.  Remember fast light vib.

11-Solo cornets:  when the part says FF you don’t play full out.  Just warm and singing.  Let the sop supply the zip.  Back row should almost always be louder than front row.  In B&R and Lindley I can almost never hear my own voice or the front row over the volume of the back row.  This is a very different feeling than sitting in ABB.

12-Baritones, Euph, and Horns:  Trombones may sound loud and bright to you.  That is because you are not supporting their sound.  You have to play very loud to balance their volume and sound.  They are playing correctly but you guys have to play louder in support.  Last night I couldn’t believe how much sound the 2nd baritone was putting out.  Nick (2nd bari in B&R) plays even louder…….

13-Bass Tbn:  Hi Ernie!  Here the bass trombone functions with the trombones and doesn’t really think of him/herself as coloring the tubas. That is the job of the euphs.  Interesting difference from how we hear it in the states.

Hope these ideas help.  Let me know if you have questions.  I’ll keep these parts at the flat for a while before I give them back to Lindley.

Cheers,
B-

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