4/20/2020

First Suite in E-Flat (Beg - B)

Look at the instructions for each phrase. I have included which instrument plays each phrase and where each phrase is in the video to the right. The regular tempo is 88 bpm. To slow the tempo down, click the settings icon (looks like a gear) in the bottom right hand corner of the video. Using ".75" speed will make the video play at 66 bpm. Using ".5" speed will make the video play at 44 bpm. When starting using the times posted for each section below, you will want to start a few second before the beginning of the phrase to make sure you have established a tempo and can play the anacrusis (aka Pickup note) correctly. Make sure that you complete the assignment on Canvas once you have learned your parts for this section.

Phrase One: m. 1-8 (0:00 - 0:25)

• Baritones and Tubas
• Shape the Phrase Correctly (crescendo 2, decrescendo 2, repeat)

Phrase Two: m. 9-16 (0:25 - 0:45)

• Trumpets and Trombones
• Shape the phrase Correctly (crescendo 2, decrescendo 2, repeat)
• Trumpets have a countermelody that should be played out.

Phrase Three: m. 17-24 (0:45 - 1:03)

• Clarinets, Bass Clarinets, Alto Saxophone, Tenor Saxophone
• Shape the phrase Correctly (crescendo 2, decrescendo 2, repeat)
• Bass Clarinet and Tenor Sax have the melody. All other voices have a counter melody. Counter melodies should bring out moving parts, especially when the melody holds a constant pitch.

Phrase Four: BOX A 1-8 (1:03 - 1:19)

• Flute, Clarinet, Bass Clarinet, Alto Sax, Tenor Sax, Bari Sax, Solo Trumpet, Solo Trombone, Baritone, Tuba
• Shape the phrase Correctly (crescendo 2, decrescendo 2, repeat). On the second four measure statement, there will be no decrescendo in this phrase.
• Flutes, Clarinet, Alto Sax, Tenor Sax have a repeated rhythmic figure. The image on the right will show you how to count this rhythm. Make sure that you hold beat three of this rhythm for a full beat. The eighth and sixteenth notes in this rhythm should be light and separated.
• Solo Trumpet and Trombone come in on beat three of each measure. Make sure that your rhythm aligns with the other rhythmic figure in the Woodwinds.

Phrase Five: BOX A 9-16 (1:19 - 1:35)

• Everyone Plays
• Two Contrasting musical motifs occur in this phrase. Low voices play the movement's primary melody. While high voices play a rhythmic figure similar to the one played in the last phrase. View the image on the left for counting help for this rhythm.
• Both the Melody and Counter Melody should be equally balanced

Suite Pernambucana de Bolso-Caboclinho

For this section, I want you to break down where you have the melody and where you do not. There is only one melody in this movement. The more complicated part of this section will be lining up the accompaniment parts. In the recording, this movement begins at 1:03. The tempo of this movement is 120 bpm. However, I would suggest practicing along with the recording at ".75" speed until you have mastered the parts.

The Melody

• m. 19-30: Piccolos, Flutes, Bass Clarinet
• m. 31-40: Piccolos, Alto Sax, Tenor Sax, Trumpet, Baritones, Bells
• This melody is fairly straight forward rhythmically. The most complicated rhythmic figure is the syncopated sixteenth rhythm, for which an counting example is provided to the right. Make sure that all parts of this melody are separated and bouncy.

Combined Ending Figure

• This is a figure that everyone (except horns and saxes plays in the last three measures) has to end this movement.
• You will learn this rhythm the fastest by listening to the recording and mimicking what you hear, but I have diagrammed the counting in the pane to the right as well. Make sure you separate each entrance. I would suggest that you start slow and line this up carefully. We will save the bulk of our slowing down here for the eighth notes leading into the fermata.

Accompaniment Figure #1

• m. 31-40: Flutes & Clarinets
• This is the most difficult figure in this section. I would suggest that you take the following approach to learning the part:
  • First, learn the rhythm on a static pitch at a slow tempo (choose whichever pitch you would like). I would start at either ".5" or ".75" tempo and play along with the recording. The rhythm starts on the "&" and lands on beat two.
  • Second, review each arpeggio figure without worrying about rhythm. I would suggest going one measure at a time. Make sure all the notes are correct.
  • Third, at a very slow tempo, put the rhythm and pitches together. It will do you no good to try and combine these parts quickly right away. Perhaps you could play the section correctly 5 times before speeding it up. Continue this proccess until you reach your desired tempo.
• I do not expect that you will have learned this material at the speed that is written today. In your playing assignment, demonstrate that you can cleanly play the rhythms and pitches together at whatever tempo you need to be successful. You can speed up the section in your own practice time.

Other Accompaniment Figures

• Bass voices (Tuba, Bari Sax, Bass Clarinet after solo section) have simple downbeats the entire section. Your part is incredibly easy, but you will help us lock in tempo if you carefully place your downbeats correctly.
• Trombone and horns throughout the movement must make sure that your parts enter on the "uh" of the beat (See counting above). The tendency will either be to play on the "&" or to play on beat two. I would suggest playing with the recording above slowly and then working up the tempo. The trombone players in the recording are great! The easiest way to line up this part it to listen carefully to the snare drum part as he always plays your entrance with you. Don't wait too late to breathe or you will not anticipate your entrance. Hold the quarter note all the way to the next downbeat.
• Percussionists also have a simple part through this movement. Carefully line up the down beats in all of the parts. Percussion One has snare written for the stems facing up and a tom for stems facing down. Percussion Two has a cymbal for stems facing up and bass drum for stems facing down. The snare drum part must be incredibly precise as we will align the low brass accompaniment with it.