Rehearsal Notes and Updates

The members website has been updated with notes for the previous rehearsals and listening links. Please update your roster info, if you haven’t already done that. We can use more strings for the next set, especially in the lower range, invite your friends to play with us. Thanks, Dawn

Rehearsal Notes 3/13

COPLAND

Movement 4:

“Major” ritardando at Rehearsal 90

Only accent what is accented

Big crescendo into Rehearsal 74

No caesura at Rehearsal 75

Don’t rush!

Violins, stay forte at Rehearsal 78

Lighter at Rehearsal 81

4 bars after Rehearsal 85, “big crescendo”

“In tempo” at 8 bars before Rehearsal 90

Need to “clear” for the downbeat at Rehearsal 75

Violins and violas, don’t be afraid of the downbeat at Rehearsal 79

 

Movement 3:

Warmer, less “edge”

Rehearsal 68 should be more tender

Trombones with mute at Rehearsal 68

 

Movement 1:

Warmer at Rehearsal 5

Lighter at Rehearsal 11

Huge creacendo to downbeat of Rehearsal 29

Horns, take charge at Rehearsal 34

Brass, don’t lag behind at Rehearsal 34

 

WEBER

Movement II:

Conducted in 6

Feel it in 2 at bar 29, but don’t rush (still conducted in 6)

Warmer at bar 39

Winds, “smoother” at bar 42

Subito PP at bar 58

Rehearsal Notes 1/30

Remember Rehearsal is at West Valley College at 7:00p

MOZART

‘Pianos’ can be much softer

Cut back on volume even more when the soloist is playing

Let the descending 16th notes make a natural diminuendo at bar 23

Make a full lift before bar 160

 

SYMPHONY

Mvt 3:

Don’t rush at Rehearsal N.

Make the ends of phrases prettier.  

1st Violins, don’t rush the 16th notes at bar 73

6 bars before Rehearsal H, those with 8th notes can be lighter

Bassoons and clarinets, we need a true ‘FF’ at bar 143

‘Molto pesante’ at Rehearsal O

 

Mvt 4:

Brass, don’t overplay at Rehearsal C

Subito piano at bar 504

Chords need to be crisp at bar 504

Not too abrasive at bar 526

More “powerful” on the downbeat at bar 538

At bar 472, a forte is fine–don’t need to push a ‘FF’

At Rehearsal R, longer phrases are needed

Don’t drag at Rehearsal D

Needs to be a “dialogue” at Rehearsal E

 

Mvt 1:

Ensemble needs to be better at Rehearsal A

More melody needed at Rehearsal L

Keep the tempo steady at bar 515

The crescendo 4 bars from the end only goes up to ‘PP’

Don’t lose energy 5 bars after Rehearsal Z

‘Molto piu tranquillo’ can still be more tranquil

More 2nd violins and violas at bar 392

Brass can be “warmer” at Rehearsal U

At bar 301, more bassoon, trombones, and horns needed

Must be together on the downbeat of bar 38

Rehearsal Notes 1/23

SWAN LAKE

#2:

Observe the ritardando getting into bar 15

In bar 36, flutes and clarinets watch the timing

In the 2nd bar of Rehearsal 1, cut-off “with intention”

Strings, at Rehearsal 3, there should be an “impulse” on every note

At Rehearsal 7, 1st violins can play MP, everyone else P

At Rehearsal 14, don’t overplay

 

SYMPHONY

Mvt. I:

Strings, we need a lift between each chord at Rehearsal C

Bar 152 is going to move forward

Hold the ‘FF’ all the way through bars 152/153

Rehearsal K needs to be “playful”

Horns, better rhythmic precision needed at Rehearsal M

Brass, don’t rush at 5 bars after Rehearsal O

Bar 385 should not get progressively slower

In bar 427, should be “tranquil” and “all about beauty”

Release together on the last note of the movement

No ritardando in bar 523

 

Mvt. II:

In bar 43, Michael will dictate the last 8th note of the bar as essentially a fifth conducted beat in the bar

Strings, don’t play aggressively at all in the last 4 bars of the movement

 

Mvt. IV:

Winds, tenuto on downbeats at bar 140; more from 2nd voices needed

Horns, be “bell-like” at Rehearsal H

In bar 174, energy should go to the top of the ascending scale

In bar 236, brass needs to feel the tug-of-war between those on downbeats and those on offbeats

 

MVT III:

Horns, be more graceful at the beginning

Don’t rush the syncopation at bar 68

Clarinet entrance at bar 74 can be MF

Diminuendo to the 2nd note of hemiola at bar 89

At Rehearsal F, woodwinds should emphasize the note groupings

 

MOZART

Should be light and buoyant  

At bar 16, the grace note should be on the beat

In bar 42, don’t be too heavy

Play softer at bar 80

Horns, play less on beat 2 of bar 101

In general, be less aggressive at cadences

There will be a slight lift into bar 160

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