SaturdayEastsideRehearsalsJanuary19,26February2CamelbackHighSchoolPianoLabConductor:SharonLovellRemembertosetupmusicasperconductor’sinstructionsNumberallmeasuresandhighlightalldynamicsbeforethefirstrehearsalIfpagesetupisthreepagesacross,thepageoutsidethenotebookmustbewhitecardstocksoitdoesnotfoldoverwhenonthemusicstand.Thisisarequirement,notanoptionbroughtaboutbyyearsofexperience.Noregularpaperandnomanilafoldersastheylookbadfromtheaudience.

JOHNHENRY

MM-Halfnote=106

Thisisaveryfamiliarfolktunethatpeoplereallyenjoyhearing.Musicset-up:

Primoandsecondoeachhavetheirownnotebookwith5pages,therefore2pageturns.Practicetheturnstoplaysmoothly.Youmayputthreepagesacrossateitherthefirstorlastpageifyouprefer.Therearenorepeats-themusicgoesstraightthroughfrombeginningtoend.

Primo:Youcomeinwiththemelodyatmeasure4beat2.Comeinwithconfidenceplayingmfwithsmoothlegatophrasing,followingallthephrasemarkingsandrests.Pleaseshapeeachphrase(soft,swelltolouder,soft).Whensecondobeginsthemelodyatm.24,softendownsotheycanbeheardaboveyou.Themelodywillreturntoyouatm.31.Youwillbebacktoaccompanimentatm.51,melody@m.60.Afterthatwatchthedynamicstotheend.

Secondo:Youhavethesupportingaccompanimentatthebeginningthatestablishesthebeat,sowatchcarefully.Nopedal,butholdthebassnotesforfullvalue.Youpickupthemelodyatm.23,50,and79soletitbeheard.BeawaretoplaysofterthanPrimowhentheyhavethemelody.Bepreparedtoleadintothekeychangeatm.59.

Overall:Watchtheconductorforthetempo–itwillbeconductedin“2”.Watchtheconductorontherit.moltoatm.95totheend.Observeallrestsandnotevalues.Especiallywatchthebassline.Besureyourhandsareinthecorrectoctave.Watchforthelocomarkingswhereyougotowhereitiswritten.Bepreparedforthekeychangeatm.59.

RACEtothePEAK MM–Halfnote=96-100

Thisisagreatpiecebyoneofourfavoritecomposers,MelodyBober.Musicset-up: PrimoandSecondoeachhavetheirownnotebookwithtwopageseach,nopageturns. Thismakestherepeatfromm.26backtom.19reallyeasy.

Primo:Youcomeinwiththemelodyatm.3thentotheend.Watch8veatm.11throughbeat1ofm.41.Backofftompdynamics@m.19toletsecondosshineastheyplayacounter-melodywithyou.Repeat@m.26backtom.19.M.35is“subitop”andthenfollowthedynamicscarefully.

Secondo:Yousettherhythminthefirsttwomeasures.Playsoftlywithalightstaccatotouchuntilm.17,leadingintoyourmelodiclineatm.19.Wedonotneedpedal.Playalldynamicsasmarked.m.35is“subitoP”,sobedefiniteaboutthatalwayslisteningforthemelody.Repeat@m.26backtom.19.

Overall:Pleasekeepwristsrelaxedandshapeallphrasesp/mf/pconsistentwiththedynamiclevel.Observeallstaccatos,phrasingsanddynamics.Wewillobservecrescendo@m36andendaswritten–loudlywithnoritardando.Remembertherepeatfromm.26backtom.19.

HAPPYWORKINGSONG

MM–Q=112 ThisisacharmingpiecefromENCHANTED.Itisfuntoplayandfunfortheaudiencetohear.MusicSet-up:

PrimoandSecondomayreadoffthesamecopysincethepartsareonthesamepagethroughout.Eachpersonstillmusthavehis/herownnotebookwithonesharedpieceofmusicsincetheyarefromthesamefamily.Setupthepageswith1and2acrossfromeachother,3backing2andacrossfrom4,and5foldedoutfrom4totherightonwhitecardstock.

Primo:Youenterthepiecewiththemelody,playingthemelodythroughout,soyouneedtobeslightlylouderthansecondo.Youremaininafivefingerposition,sometimesextendingL.H.finger5downtoG.Besuretoplayoneoctavehigherthanwrittenthroughout.Pleasecountaloudasyoupractice,saying1&2&3&4&.

Secondo:KeepyourdynamiclevelsofterthanthePrimothroughout.Thedirectioninthemusictoplay“perkyandlight”isexcellentandshouldbefollowed.Pleasecountaloudwiththeprimosasyoubothplay,sayingallthe&s.

Overall:Keepthedynamiclevelconsistentthroughout.Iwilltrytoconductyoutoshapethephrasesaccordingtothewords,sopleasewatch.Wewilldoaslightritard.atm.50totheend.

AFRENCHWALTZMM-Q=112

Thispieceisadelightful,melodicwaltzforwhichIsuggestalightandrhythmicfeel.Thatmeans,nopounding,playwithsensitivityandarticulation,andcountaloudwhenpracticingsothattherhythmisperfect.

Musicset-up:PrimoandSecondomayreadoffthesamenotebookasthepartsareoneabovetheother.Eachpersonmuststillhavehis/herownnotebookandmusic.Pleasesetupthemusicwithpagesprintedfrontandbackwithasinglefirstpageandlastpage.Thiswillresultinfourpageswithtwopageturns.

Primo:Theonlyplacewhereyougooutsidethe“aswritten”handpositionism.61totheendwiththeR.H.Beawarethatyouhavethemelodyandbringitout.Youhavelotsoflongphrasestoshapelyricallyandbeautifully.

Secondo:Besuretoestablishtherhythmfirmly,butsoftlyonthefirstline.Countaloudasyoupractice.Pleasephrasecorrectlywiththewaltz“lilt”.WewanttofeeltheOne,two,threebeats–heavieronOne,lighterontwoandupontheendofthree.Beveryconservativewithpedal.

Overall:

Watchtheconductorfortherit.andatempoatm.17&18.Asyoupracticetolearnthispiece,playslowlywhilecountingaloud,findingallthecorrectnotesandphrasinginthewaltzstyleasnotedabove.Bytakingyourtimeatthebeginningtolearnitcorrectly,youwillhaveituptotempolaterveryeasily.Thankyouandenjoy!

SaturdayEastsideRehearsalsJanuary20,27February3CamelbackHighSchoolPianoLabConductor:SusanShinerRemembertosetupmusicasperconductor’sinstructionsNumberallmeasuresandhighlightalldynamicsbeforethefirstrehearsalIfpagesetupisthreepagesacross,thepageoutsidethenotebookmustbewhitecardstocksoitdoesnotfoldoverwhenonthemusicstand.Thisisarequirement,notanoptionbroughtaboutbyyearsofexperience.Noregularpaperandnomanilafoldersastheylookbadfromtheaudience.

RhapsodyGrandiosoAdult/AlumniTempo:M.1-47MMQ=92/M.47Q=104/M.80watchRit.andtemposlowdownto96.M.98-WatchRit.Andndthentempospeedup.Makesureyoucanatleastplayat108.Wewilldeterminefinaltempoatfirstrehearsal.NotethechangesImadeintheeachparttofacilitatethefastertempoMusicSet-up: Primo:page1-2turnM.28dropLHchordonbeat3.Page3-4turnatM.56duringrest.P.5-6-7in arowofthreetoeliminatelastpageturn(seeaboveforcopyrequirements) Secondo:page1-2turnM.28dropLHbeat3and4.Page3-4turnatM.56duringLHrest.P.5-6-7 Inarowofthreetoeliminatelastpageturn(seeaboveforcopyrequirements)Primo M.1-16,youarethemelody.Playaslegatoaspossible,shapingeachphraseandobservethe dynamics.AtM.17-31,youareaccompaniment,pleasemakethissectionverysoftandplayall RHrepeatedchordswithnoaccentsandverylegato.M.31-32playfirstnoteofgroupsof16th withtheLH,nextthreenoteswithRH.Accentthefirstnoteofeachgrouptohelpkeepthebeat steady.YoutakeoverthemelodyatM.33-47.Againplayverylyrically,tryingtobringoutthetop

noteofeachchordsothemelodysoars(Iknowyoucandoit!!).Sameinstructiononthelastpage M.93-99whenthemelodyreturns.IfyouarestrugglingwithplayingthefullchordintheRH, changeittoanoctavewithoutthemiddlenotes.M.99and101,drillthissectionHA,wewillsplit thisatrehearsals,soeachpersonisonlyplayingaonehandedscale,butbepreparedtoplayit witheitherhand.Startglissandoonbeat1andenditonbeat3. M.47-93-Thissectionchangeskeyandmeter.Watchallarticaltion,makesurewehear staccatoswheretheyarewritten.Countaloudduringallthewholerests.Notethefingering changeinM.57-62.

Secondo M.1-17,youaretheaccompaniment;pleasechangeyourdynamictoMFsoyoudonotover powerthemelody.StartingatM.15,drilltheLHfingeringsoyoucanfindthecrossovernote withoutlookingatyourLH.LHmustbesofterthanRHandshapetheRHmelodytocreatea beautifulmelodicline.EventhoughthePrimohasthemainmelodyatM.33-47,youareplayinga lyricalaccompanimentsokeepfocusingonshapingthemelodicphraseandbalanceofmelody andaccompaniment.M.93-99,counttripletscarefully.M.99-104,practicethisHA.Wewillsplit thisatrehearsalssoeachperformerwillonlybeplayingthetreblecleforbassclef.SoinM.100 and102,splittheoctavesinto2hands. M.47-92-ThisBsectionchangeskeysandmeter.Watchallarticulationcarefully.Overall Ihopeyouenjoythispiecewechosethisyear,itisamoretraditionalpiece,lessjazzyasin previousyears.Don’tbeintimidatedbythebigsound,itisverychordalandhasaneasily rememberedmelody.Ifyouhaveanytroubleplayingcontinuousoctaves,youcanplayasingle noteineachhand,makeitthehighestandlowestofthenotes.Wewon’tknowuntilregistration iscompletewhetherornotyouwillbeplayingaloneatthepianoorwithapartner,sopracticeit asifapartnerwereseatednexttoyou,butPrimosshouldmarkthepedalingintheirpartandf followitaswrittenincaseyouareseatedalone.

SaturdayEastsideRehearsalsJanuary21,28February4CamelbackHighSchoolPianoLabConductor:FranciscoNaranjoRemembertosetupmusicasperconductor’sinstructionsNumberallmeasuresandhighlightalldynamicsbeforethefirstrehearsalIfpagesetupisthreepagesacross,thepageoutsidethenotebookmustbewhitecardstocksoitdoesnotfoldoverwhenonthemusicstand.Thisisarequirement,notanoptionbroughtaboutbyyearsofexperience.Noregularpaperandnomanilafoldersastheylookbadfromtheaudience.

The Scarlet Cape PerformanceTempo:MMQuarternote=144,m.40=96,m.73=166RehearsalTempo:MMQuarternote=138MusicSet-up:

Everyonewillhavetheirownbinder.Yourfirsttwopagesshouldbelaidoutacross,andwhenyouturnthesecondpage,youshouldhavetheremainingthreepageslaidoutopen.

Overall:Oneofthemainspotstofocusoninthispieceiswhereveryouhavetripletsixteenthnotes.Listenforclarityinthosenotes,especiallywhenplayingatthefasterspeed.Playallarticulationsanddynamicsaswritten,andreallyplayouttheaccentstohelpinbringingoutthecharacterofthispiece.Thetempoatm.40willbe96bpm.Wheneveryouhaverepeatednotes,addaslightcrescendotogivethemdirection,especiallyintheTempodiTangosection.Addanaccelerandothatstartsatm.59andendsatm.71.Thetempowillchangeatm.73to166bpm.

Primo: Atm.22,noticethattherighthandhasanFnaturalonbeat3,matchingthelefthand.Atm.72, watchtheconductorforeveryeighthnote,asthosewillbeplayedasiftheyhadafermataabove eachnote,leadingtothefasterspeedatm.73. Secondo:

Inmm.7-9,reallybringoutyourlefthand,whilekeepingyourrighthandonthelighterside.Noticethesuddenchangeindynamicsinmm.11and12,besureyoubringdownthesoundafterbeat1,andthenbringouttheaccentonbeat3.Inmm.84and85,dropbeat3(AandE)ofthelefthanddownanoctave,soitsoundsinthesamerangeastheAandEinm.87.DonotdropdowntheAandEinthefirstpage.Atm.104,therighthandshouldhaveaG#onbeat2,notanF.

The Sorcerer’s Apprentice PerformanceTempo:MMDottedQuarterNote=56RehearsalTempo:MMDottedQuarterNote=50MusicSet-up: BoththePrimoandSecondowillshareonebinderduringrehearsals,buteveryoneneedstheir ownbindertowritedownanynotesgiven.Overall: Takenoteofyourkeysignaturechangesthattakeplacethroughoutthepiece(m.9,25,and45). Noticethatthetimesignaturechangesinm.21to3/4,buttheeighthnotepulsestaysthesame. Ifneedbe,practicewithametronomeonat168bpmfortheeighthnotetogetthefeelfor transitioningfrom6/8to3/4,andbackto6/8.Thereareseveraldynamics,articulations,and ritardandomarkings,somakesureyouplaythemallaswritten.Watchtheconductorduring eachritardandoandinm.44toseethecutoff.Primo: Youstartthemelodyinthefirstfourmeasuresofthepiece.You’llnoticeacoupleoftenutos abovenotes.Givethosenotesalittleemphasis.Keepyourstaccatoeighthnoteslightfrommm. 13–16.Bringoutyourlefthandinmm.21–24.Makeyourmelodysingoutfrommm.33–44. Overall,youwillberesponsibleforturningpages,sopracticedroppingahandeitheronthe secondtolastmeasure,orlastmeasureofthepagetoturnpages.ThegoalwillbetohavePrimos turnthepageatdifferenttimes(someonthesecondtolastmeasureofthepage,andsomeonthe lastmeasure)sothatthereisalwaysaPrimoplayingthenotesthatanotherPrimodropped whileturningpages.Secondo: Youbeginbyaccompanyingtheprimomelody,sostayunderneaththeirsound.Bringoutyour righthandmelodystartingatm.5.Observethatthelefthandrhythmisdifferentatthestartof m.6whencomparedtothestartofm.5.Makesureyouhearthedifferenceinthesetworhythms. Keepthestaccatoeighthnotesinm.9-12light.Youhavethemelodyagainfrom25-32,sobring itoutandmakeitsing!

A Carmen Celebration PerformanceTempo:MMQuarterNote=112(Beginning),140(m.94-end)RehearsalTempo:MMQuarterNote=104(Beginning),132(m.94-end)MusicSet-up: Everyonewillhavehisorherownbinder.Pleasereadbelowunderyourrespectivepartfor notesonsettingupyourpagestofacilitatepageturns.

Overall: Thisisanexcitingmedleyofmusicalselectionsfromtheopera,Carmen.Thethreeselections foundinthispieceare“March”,“Habanera”,and“GypsySong”.Makesuretoobserveallmusical markingsinthepiece.Thereare4differentkeysignaturesthroughoutthismedley,sotakenote ofwhentheychange(m.41,70,and90).Addatwomeasureritardandostartinginmeasure68. Atm.70,addan“atempo”,aswewillreturnbacktothestartingtempoof112bpm.Watchthe conductoratm.89tocutofftogetherbeforestartingm.90.Startatapianodynamiclevelatm. 134toallowforagrandcrescendointom.136.Watchoutforalltheaccidentals!

Primo: Inyourbinder,yourpagelayoutshouldbe“12/34/567.”The“/“representsapageturn. Thenumbersdonotcorrespondtotheactualnumbersyouhaveprintedonyourmusic,rather, theyrefertotheorderthatyourpagesappearinthescore.Beforeyoubeginplaying,haveyour lastpage(pg.7)opensothatwhenyouturntopg.5whileplaying,allthreepages(pgs.5,6and 7)willbelaidoutacross. Listenforclarityinallthesixteenthnotes.Alltrillsshouldlastfortheentiremeasure,oruntilthe gracenotesappear(asinmm.12and16).Noticethestaccatosstartinginm.32.Donotplaythis sectionlegatounlessyouseeaslur(mm.35and39).Allacciaccaturasshouldbeplayed quicklyrightbeforebeatone(ex.m.45,94,98,etc).Secondo: Inyourbinder,yourpagelayoutshouldbe“123/45/67.”The“/“representsapageturn. Thenumbersdonotcorrespondtotheactualnumbersyouhaveprintedonyourmusic;rather, theyrefertotheorderthatyourpagesappearinthescore.Asyoucansee,yourfirstthreepages shouldbelaidoutacrosssothatyourfirstpageturntakesplacebetweenpg.3and4.Onpg.5, thereisn’tagoodplacetowardstheendtoturnthepagewithoutdroppingoneofthehands, therefore,here’swhatyouwilldo:inm.89addapedalmarktobeatoneandbeat3,eachlasting forahalfnote.Whileholdingthechordonbeat3withthepedal,youwillturntopg.6.This meansmm.90-100willneedtobememorized(thesemeasuresfollowapattern,soitshouldn’t betoodifficulttomemorize).Therewillnotbeabigpausebetweenmm.89and90,whichis whythepageturnwilltakeplacewhilethelastchordofm.89isbeingheldbythepedal. Listenforanevencrescendowithanaccuracyofnotesinallthemajortriadsbetweenmm.5and 8.Keepthechordsfromm.41-50lightsotheydon’toverpowerthemelodyinthePrimo.Watch theconductorstartingatm.68fortheritardando,andmakesuretoreturntotheoriginaltempo of112bpmatm.70.Asyouareplayingmm.90-93memorized,watchtheconductorforthe accelerandointom.94.Listenforclarityinthe4-sixteenthnotepassagesinmm.113,115,etc.