[MUSIC] [INAUDIBLE] Okay, one more. [MUSIC]. [MUSIC]. Well yes, a glorious. Let's break this down and just do a little bit of one-and-one. So brass, saxophones, or tenors on down, and percussion, just take a brief little second here. And let's just try [UNKNOWN] folks only, at one level. Let's try [UNKNOWN], sort of make sure we have a handle [UNKNOWN]. And one, and one, and three, and. [MUSIC]. [MUSIC]. So let me ask you a question. Who can do the reverse of what you want to do normally in a melodic contour. So instead of cresendoing as you go, can you de-crescendo as you get high. [INAUDIBLE] The words will get lost a little bit. And we lose the glorious arch nature because it's too vertical. Let's try at this tempo slowly. One and two, and three and four. [MUSIC]. It's good. Those folks are including. One, two, three, one, two, three. [MUSIC]. [MUSIC]. And one, two, three, one, two, three. [MUSIC] [MUSIC]. So please make sure that your internal subdivision is very secure. [SOUND] When this is going on, we're pretty crisp. When this goes away, we're kind of floating about. [INAUDIBLE] Di bo di bo di bo di bo inside the head and constantly. One more time [INAUDIBLE] one two three, one two three [MUSIC] [MUSIC]. Any ideas why [UNKNOWN] is a little wonky? >> [INAUDIBLE]. >> Yeah, that instrument kind of, yeah exactly. I think once we add more melodic energy, we also. So sometimes add more tempo [UNKNOWN] make sure the [UNKNOWN]. Can we have everybody 101? This is slightly under our mentioned tempo. Let's walk in here, now. Horns, of course you guys are leading us here, and I need you to do not to break the sound between written F's, and the C's, or the concert G's. And trombones too, between the B flats and the C's, really big, good gap. >> Okay, everybody 101. >> 111. >> 111. 111. One, two, and one, two, three. [MUSIC] [MUSIC]. So let's, the, the tricky thing is that our transition from 109 or 110 into 111. So let's set one of them at the regular performance and then we'll get into it. Here's 111 with the percussion and here's two [INAUDIBLE] at your speed. One, two, three, one, two, three. [MUSIC]. [INAUDIBLE] Try again, during the 12th of the press don't be thinking, okay I've got some time flowing, I have some time to play, I'll play. Think deep. Deeper, to to to, to to to. [MUSIC]. [MUSIC]. Great, great. Appears to everybody now. Let's go back two measures before that variation. So one of nine. Now we know where we're going. One of nine. [MUSIC]. [MUSIC]. Let's take a larger chunk and we'll go over back to 86. Sorry [UNKNOWN] just the transition, we'll look up 103 please. Now one last expressive detail hopefully we can add to your [UNKNOWN] of 111. Pick up the gong, gong! Common compositional technique is to do things in threes, where the third is different, and this is no exception. We have gong, gong,. [MUSIC]. That's nice. Gong, gong, gong. The third time is an extension yes. [MUSIC]. We can crescendo a little more through that third one so we feel that it's okay this is different. Otherwise why would we just want to hear the same thing over and over again. One oh three everybody. [BLANK_AUDIO] [MUSIC]. Change, change to the tricky stuff, just changing [INAUDIBLE] one, two, three. [MUSIC] [MUSIC]. Yeah, it's a little tricky in percussion so I'm going to stay in one through here. So, you guys just kind of have a visual image of being in, Greek. [LAUGH] Because, it's gotta be [UNKNOWN] within us. Let's try going 129, and we'll try going [SOUND] [INAUDIBLE] with that. And, one, two [MUSIC] [MUSIC] [INAUDIBLE] In this last six minutes or so. I'm starting 137. [BLANK_AUDIO] >> 42 please. [MUSIC]. [MUSIC]. Good. Let's isolate for just a second the the 16th notes. If you have 16th notes, that brilliant, play for me. Ready? [MUSIC]. Good. Good. You hear right now, it's not lining up? There's a couple of different things going on. One is, the line actually goes down through the woodwind family and then back up. So there's different people playing it. The others were getting a lot of rushing within the beats so each group of 16th note is rushing. And the, the, the third thing is, is there's probably a fair amount of wrong notes right now. So let's slow it down once. We're just going to go very, very slow just so you have a chance to practice the notes. Okay? We'll go at this a couple different ways. So here's brilliant just the folks that have 16th notes for [INAUDIBLE] [MUSIC]. [MUSIC]. All right, can we get, when we play it up to tempo, can we get a little more front on the articulation each time a slur begins. So it's, it's more, it's generally going to be four notes at a time, but occasionally you'll have six notes slurred together. Let's make sure we get the front on wherever your slur begins. That's where we need a pretty heavy articulation there, okay? Let's go, let's do that again, we're going to speed the tempo up. Somewhat and I'm going to ask you to play one beat, one beat of 16th notes, rest for an imaginary beat that is not in your music and then play count two, and then play count three and you'll rest. So it'll be da da da, da da da. Da da da da, okay? So put a one beat of rest between each group of 16th notes, if you've got six notes you'll just have to figure out how yours fit in, okay? Here's brilliant with an imaginary beat between the beats that are written. Ready? [MUSIC]. [MUSIC]. Good, good that's a great way to practice in the process of speeding up a difficult technical passage. To speed it up but instead of putting it all together give your, give yourself time to process each beat. You can concentrate on one beat of difficult technique, rest for a second, reboot the computer, play the second beat of technique. Your, gives your brain a chance to process the four notes that are coming next. So let's do that one more time. This time, we're going to speed up the tempo quite a bit and get us back close to performance tempo, but you still got an extra beat to process the information that comes next. Okay? So, we go this tempo, with an extra beat. Ready? One, ready, and. [MUSIC]. Don't rush. [MUSIC]. This time we're going to play a whole measure, rest for a measure, a whole measure, rest for a measure. Ready, 42 one, ready and. [MUSIC]. One, two, three, second. [MUSIC]. One, two, third measure. [MUSIC]. Hm, fourth measure. [MUSIC]. Hm. [MUSIC]. Good, good. Put the whole, put everything back together, just the woodwinds once, and then we'll put the whole ensemble together. 42, please. One, ready, and. [MUSIC]. [MUSIC]. Everybody 42, one, ready and. [MUSIC] [MUSIC] [BLANK_AUDIO] [MUSIC]. [MUSIC]. Lets go back and see if we can make our articulation a little more staccato right now we're just in mezzo range of articulation. So think everything very crisp, very light lets slow it down a bit so we can really appreciate the space between each note. Here's right on 30 with everybody. One and two and. [MUSIC]. Let's do it again just so our saxes get into our groove and one and two and. [MUSIC]. [MUSIC]. Let's go slightly faster but think even more staccato. Let’s aim towards ultra staccato and we can always fatten it up a little bit. One more time again fourth measure 30. One and two and. [MUSIC]. [MUSIC]. Good, even faster. The faster we go, the lighter you have to think so it doesn't get heavy, it doesn't get heavy. [MUSIC]. See if we can get a better rhythm between our clarinets and saxes. [MUSIC] [MUSIC] [BLANK_AUDIO] 161 Please. [MUSIC]. Good, let's take a look at the measure before 169, and pay particular attention to the 16th note please. Play that measure if you have 16th notes, 169. Two, three, and one. [MUSIC]. Good. This needs to be a run that is brilliant. It brings, it, it's the transitional measure between the old, the faster tempo, and the slower tempo of 169. Can we make sure the beginning of the run is at full volume. The, all the clarinets and saxophones in the low registered need to, need to overcome the registeral problems that, that are associated with this particular example. So play for me if you have 16th notes play just count two. Starting on count two. One note at a time. Ready. One note at a time. [MUSIC]. The next note. [MUSIC]. So that much tone has to happen when the notes happen very, very fast, okay. That much tone happens as the note comes, as the notes come very fast. So let's try it a little bit faster. Lots of tone, particularly on the low notes. Two, three, and one. [MUSIC]. Good, now it's speeding up slightly as we go, and in actuality of this will eventually need to slow down as we [UNKNOWN] doing this measure. So, again same tempo, tongue it. Tongue each note. Two, three, and one. [MUSIC]. Yeah. Opportunity de, opportunity de. Just the fives, ready? And. [MUSIC]. Again, ready? And. [MUSIC]. Great, great. Do whole measure articulated. Ready? And, one. [MUSIC]. Again. More tone. More tone. Rich, rich sounds with the articulation. Okay? Ready? And one. [MUSIC]. Play it as written, please. Play it as written without the ritardando. Ready? And mm. [MUSIC]. Yeah. Hear how it's not together, now? Try it again, try it again. As soon as we take our tongue away from it the, the ensemble gets weaker. Okay, ready, and [MUSIC]. Good. Could you pulse each big beat for me. Each numbered beat, pulse it, okay? So don't tongue it, just pulse it wa wa. Ready, and, one. [MUSIC]. Good, good, good. It's gotten much better. As the line rises, we do have to crescendo. You can't forget about that. We're starting now, really full in the bottom. And as it rises it has to get bigger, but make sure when you play the beginning of the run, lots and lots of tone. Last time. Lots of tone on the bottom, but we still have to get louder as we go up for a brilliant run. Ready? And one. [MUSIC]. That's it. Let's put it in context please if we could. Back at 161. Everybody. [MUSIC] [MUSIC] [BLANK_AUDIO]