[MUSIC]. [MUSIC]. Now let's just hear the folks that have eighth notes at the Byzante please. Right now our, the style of articulations are all very, very different. Some folks are too long some folks are too short, too heavy, too light. We're going to slow it down very, very slow one time. And do nothing but listen to each other, and let's have a group agreement on what the articulation is going to be. Pizzante obviously means heavy. We are going to play heavy but not not overly heavy, okay? Is, is the may I would describe it. So, marked. Ready? Right on 50. Just the eighth note, folks. One and ready and [MUSIC]. I'd say we got there eventually, let's start it again and see if we can get it to happen right from the beginning. Okay, even a little bit slower, only listening to how you're articulating it. Just articulation. If, if pitch is a little bit of a problem, we're going to let that go for now, just articulation. Two and three and. [MUSIC]. Good, good, good. It got much better, got much better. Let's go take it back up close to tempo, and then we'll put everybody together and do it one more time. Pizzante, just the eighth note folks. Right on it. One and two and three. [MUSIC]. Everybody to 50. Everybody at measure 50. Pick ups. [MUSIC]. Letter F please. [MUSIC]. Good, so in, in this section, there's just a lot of different things going on. There's legatto lines. There's articulated, repeated ostinati. There's little technical, episodes that happen very, very quickly. So what I'd like to do is slow it down so you can not worry about playing your part and listen to the style that the collective group is playing with. Make sure what your playing is matching with that. It should not always be the same, style, it should just fit with what else is going on. So we have, we have the, the low brass playing rhythmic eighth notes. We've got a counter melody in the horns. We've got a beautiful little line in the, in the saxophones and bass clarinets. Little interruption by the clarinets in the, in the fourth bar of this. So all of those things have to fit together even though they're all kinds of different ideas and hi, presented highly contrapuntally. So here's letter F, the l'istesso temp. Very slow so you can hear everything that's going on. Two, three and four and. [MUSIC]. Good. A lot going on, a lot going on. If you can, when you enter, if you, if you're resting, and then enter in with an idea that we've not heard before, just make sure you present it in a way that, that we A hear it and B it has personality. So clarinets for example in the one two three the fourth measure even though its tenuto think about those tenuto as being heavy. Okay, that they're going to punch through the texture. Here's letter f. Same tempo, maybe slightly faster and really trying to match, this, this, the, all this different information going on. Make sure it all falling into a hole, okay? Letter F. Two, three and. [MUSIC]. Great, let's try it up to tempo and see if we can maintain that sense of personality, okay? Letter F, up to tempo. [MUSIC]. [BLANK_AUDIO]. Just as an exercise, let's just isolate even more. Just hold the first note at 70. because our balance isn't quite where we want it to be. Hold your first note. [MUSIC]. Can you sing that note? [MUSIC]. You made instruments obey. You sang with good pitch and good balance. Let's make our, even though we might have different distributions in terms of soprano, alto, tenor, bass in terms of our voice and instruments, compensate for that. 70, hold your note. [MUSIC]. Good, anyone who has the A naturals, can you hold those? A flat, sorry. [MUSIC]. Good, sorry, it's funny I looked and I'm like I think that's right and I missed the key signature. Alright, we'll get it flat. If you have the A flats, can you hold the A flats. [MUSIC]. Can you hold on one sec for adjusting your pitch. I appreciate that can you, adjust it until the beats go away. It's okay if it gets worse first as long as it gets better. Hold the A flat. [MUSIC]. Okay now we have E flats, so A flats and E flats, root and fifth. [MUSIC]. Can you me the A flat, E flat? I'm getting not great balance when you play it. [MUSIC]. Okay, no C naturals for now. So when you play the A flats and E flats, we need a little more E flat. It's the second most important pitch in the chord. The root is the most important. E flat is the fifth, would be the second most important. Let's play. [MUSIC]. Now add the C naturals. So A flat, D flat, C natural. [MUSIC]. Let's go 70 slowly but can, if we can maintain, maintain that balance and that precision in our pitch, we'll be in good shape. Here's 70. One, two. [MUSIC]. Good, good. For now don't worry about if you have boy I think I can hear a voice that should come out. Now let's just maintain the vertical sense of it. So vertically it's perfectly balanced, perfectly in tune, and then we'll worry about bringing out some these canonic figures that overlap on it. So here's seventy, just vertical. [MUSIC]. This time we have a little energy if you have the dom dom dom dom dom. Just a little energy, that same kind of accent we talked about before in terms of kind of a floating or a woosh accent as opposed to a dot accent. Let's try it again, 70, still going vertical. [MUSIC]. Let's try the same thing as performance team. Let's see if we can maintain our focus on those two issues. Good round accents and a good sense of vertical pitch and balance. Here's seven. [MUSIC]. We're losing, if we have our pyramid balanced with our, our top part is fat in the fifth, so we kind of have a trapezoid balance. If we go back to a pyramid balance, where it's thin at the top, fat at the bottom. Now listen to the quality of your accents so they all match. Sometimes we are getting da da da, wom, wom. Whatever, whatever the trumpet gives us we often match that. Here's 70. [MUSIC]. Let's put this all in one chunk. We're going to put all this in context and just consolidate some of the things we rehearsed. So we'll start please at two before 47. And if we just look over your part to just to review a few of things we went over in terms of bringing out the moving lines, having these moving lines always go some place. Trumpets with good style at 54, but not too heavy. And moving eighth notes through those sections coming out, and of course the section we just rehearsed which is a good vertical scenario. Okay here's measure 45 or two before 47. [MUSIC]