In the midst of practising hard for the concert, selling tickets, and completing your homework, check out our banner, to be displayed on the actual night.
Monday, December 1, 2008
Friday, November 14, 2008
Posters and Tickets
Click on the images to download the high-resolution versions.
Tickets and posters will be distributed next week so that we can launch sales immediately. Please keep track of the tickets you're supposed to sell and assist the teachers. Avoid creating unnecessary stress and problems for people involved in monitoring and managing ticket sales.
Leaders, please roster duties to visit other bands for ticket sales during their band practice. Meet me next week to practise what to say. Sms me, please, to arrange for appointment.
Thursday, November 13, 2008
Tuesday, November 11, 2008
latest concert program update
MJR
Music-Carmina Burana
Orff drew the inspiration for his grand vocal and orchestral work from 24 poems of the 200 found in the 13th century monastery of Benediktbeuern, near Munich in Bavaria and published in 1847 under the title of Carmina Burana. Carmina is the plural of the Latin word carmen and in early time, carried the implication of student songs. Burana was the Latin name for the area we know today as Bavaria. Both sacred and secular, the texts are frank avowals of earthly pleasure: eating, dancing, drinking, gambling, and lovemaking. They proclaim the beauty of life and the glory of springtime. The music is simple in harmony and range, consistent with 13th century music, with a driving rhythm to which the listener instinctively responds. John Krance has incorporated the vocal melodies into an arrangement entirely instrumental in structure.
Composer-Carl Orff
Born in Munich, Germany, into an old Bavarian military family, Carl Orff (1895 - 1982) began piano studies at the age of five, under the tutelage of his mother. His interests in language and poetry were fostered in school. He received his formal musical training at the Munich Academy. In 1925, he helped to found the Gunter Schule, which aimed to educate the lay public in creative musicianship. Orff's techniques have been adopted by elementary school educators throughout the world. He began his career as a composer in 1925 with realizations of Monteverdi's early 17th century works. His first stage work, Carmina Burana, was composed in 1935-6 and premiered at the Frankfurt Opera in 1937; it became an outstanding success. After the War, Orff was asked by the Bavarian Broadcasting Company to develop a series of broadcasts for and with children; the pedagogical concepts of that work were captured in the five volume Music for Children.
MJR
Music-Chant and Jubilo
This piece was commissioned by the Four States Bandmasters Convention in Texarkana, Texas, and was first performed by the Four States Bandmasters Band in January of 1962. It is a work in two connected contrasting movements. The Chant is a modal movement reminiscent of the early church organum and should be done in a very sensitive manner, with the Jubilo contrasting with its explosive lower brass and percussion.
Composer-W. Francis McBeth
William Francis McBeth was born March 9, 1933 in Ropesville, Texas (near Lubbock). He attended Hardin-Simmons University in Abilene, Texas. McBeth is a prolific composer, whose musical repertoire has become a universal standard in wind band literature. He is also one of the most respected conductors of the present day.
McBeth has received the ASCAP Special Award every year since 1965. In 1988, he was awarded Phi Mu Alpha Sinfonia's Charles E. Lutton Man of Music Award for his achievement and continued contribution to American music.
From 1957 until his retirement in 1996, McBeth taught at Ouachita Baptist University in Arkadelphia, Arkansas. In 1975, he was named Composer Laureate of Arkansas, the first Composer Laureate named in the United States.
MJR
Music-Ireland: of legend and lore
It is an original composition for wind band, which draw upon the vast riches of traditional Irish melodies. The composer has chosen three castles and /or colorful characters from Irish history and folklore and put their legendary deeds to music. The piece was commissioned by the East Tennessee state university wind ensemble under the direction of Mr. Paul hinman for performance during their tour of Ireland in March of 1996. The composer was fortunate to travel with the band during their tour and conduct this fine ensemble during their St Patrick’s Day festivity performances.
The work is divided into three sections. Following a majestic introduction, the familiar 6/8 bounce of an Irish march surfaces from the ensemble. The composer has chosen Brian Boru’s march as the source material for this section of the work. As the work begins, we hear the army of brain Boru marching to battle, prepared to give their very lives for their beliefs. Following the light-hearted mach, with no battle scars to show for their journey, we hear them march off into distance secure in the preservation of their moral convictions.
The second section of the piece is based upon aromatic legend, which ended with quite a “ Twist”. The setting is Carrickhowley castle, a waterside fortification standing on a broad flat rock in wildly rocky sea inlet.
The final section of the work is based upon the multiple attacks on Cahir castle, which stands on rocky islet in the midst of the Suir, cahir castle was built probably by Conor O’ brien.
Composer-Robert W. Smith
one of the most popular and prolific composers of concert band and orchestral literature in America today. He has over 600 publications in print with the majority composed and arranged through his long association with Warner Bros. He is the principal conductor of the American Symphonic Winds and the American Festival Philharmonic Orchestra, professional recording ensembles based in Washington D.C. Mr. Smith is currently teaching in the Music Industry program at Troy University in Troy, AL
Flutes and Irish drums ensemble- Penny-flute whistle
MJR
Music-Chanteys
An original work that recalls the music of the sea and its sailors. A jaunty opening sparkles with character and style before yielding to a pensive "Andante." The piece closes with a spirited juxtaposition of thematic material. This piece was selected by the Yamaha Music Media Corporation of Japan as one of the "100 Best Pieces for Band" for 2001.
Composer-Robert Sheldon
One of the most performed composers of wind band music today. A recipient of numerous awards from the American School Band Director's Association, Phi Beta Mu and the American Society of Composers, Authors and Publishers, his compositions embody a level of expression that resonates with ensembles and audiences alike. His music is performed around the world and appears on many international concert and contest lists.
Chai chee
St. Petersburg March by Johnnie Vinson
St.Petersburg, Russia was founded by Tsar Peter the Great in 1703. Despite its relatively short life, St. Petersburg has a rich and exciting history. From the early days of Peter the Great’s “Venice of the North” to the modern events of the 1991 coup d’etat, the city has always bustled with life and intrigue, revolution and mystery. More evocative of Russia’s past than any place except perhaps the Moscow Kremlin, St. Petersburg is today considered the cultural heart of modern day Russia.
St. Petersburg March attempts to capture the spirit of this great city and its storied history. The minor keys and melodies harmonized in sixths combine to paint a musical picture of frigid winters, magnificent castles and great cathedrals. Although most of the melodic material in the march is original, parts of two Russian folk songs, Tzar Nicoli and Gori are quoted in the trio section.
Written and scored during February 2005, St. Petersburg March is dedicated to the Auburn(AL) Junior High School Honors Band and its band director, Larry Cornelius.
Chai chee
Dedication, March and Celebration by James Swearingen
Aspects of fanfare, expressivo and celebration moods are express in this wonderful piece of music written for developing band. It has full of Swearingen's delightful melodies, tasteful harmonies and spirited rhythmic percussion parts.
Commissioned by Hawken Upper School (Gates Mills, Ohio, USA) to commemorate the opening of the newly built Holtry Pool Complex.
GESS
Overture Jubiloso
A work that is thrilling for listeners and players. Bold flourishes of color are reinforced with brilliantly flowing melodic lines.
Composer-Frank Erickson
Frank received his Mus.B. in 1950 and his Mus.M. in 1951, both from the University of Southern California. He was a composer, conductor, arranger, and author. He also lectured at the University of California at Los Angeles (1958) and was professor of music at San Jose State University. In 1995 he established Frank Erickson Publications. Over the last 50+ years his compositions have become standards of the school band repertoire, and his book Arranging for the Concert Band had served as a guide for many college music majors.
GESS
Music- Eiger ( A Journey to the Summit )
Heroic themes abound as noted composer James Swearingen weaves a tapestry of musical styles to depict the emotional story of John Harlin. At the age of nine, John lost his father when he tragically fell 4000 ft. to his death while attempting to climb the mountain known as Eiger (pronounced “eye-ger”). The Eiger North Face is considered to be the most treacherous climb in all of Europe. Yet, forty years later John, with a burning desire to reconnect with his father, began the perilous journey of climbing the mountain with the nearly impossible goal of reaching the summit. Brilliantly scored, this exciting work is best described as being both stunning and beautifully breathtaking.
Composer-James Swearingen
As a performer, composer/arranger and educator include a background of extensive training and experience. He has earned degrees from Bowling Green State University and The Ohio State University. Mr. Swearingen is currently Professor of Music, Department Chair of Music Education and one of several resident composers at Capital University located in Columbus, Ohio. He also serves as a staff arranger for the famed Ohio State University Marching Band. Prior to his appointment at Capital in 1987, he spent eighteen years teaching instrumental music in the public schools of central Ohio. His first teaching assignment took him to the community of Sunbury, Ohio. He then spent fourteen years as Director of Instrumental Music at Grove City High School where his marching, concert and jazz bands all received acclaim for their high standards of performing excellence.
VS
Music-Postcard from Singapore – Suite of Singaporean Folk Songs
“Postcard from Singapore” was commissioned for a concert featuring Philip Sparke’s Music when he conducted the Singapore Armed Forces Central Band.
The first movement is based on Gelang Sipaku Gelang, a well-loved folksong which has become associated with the Geylang area and which is a song about community spirit, about living together in harmony.
The slower second movement uses Di-Tanjung Katong, a song which is popular with children’s choirs. Tanjung Katong is a district on the south eastern coast of Singapore.
The third movement uses two traditional melodies: Lenggang Kangkung tells of the graceful swaying of watercress in the rice paddy fields and this is eventually combined with Munnaery Vaalibaa.
Composer-Philip Sparke
He was born in London and studied composition, trumpet and piano at the Royal College of Music, where he gained an ARCM.
It was at the College that his interest in bands arose. He played in the College wind orchestra and also formed a brass band among the students, writing several works for both ensembles.
At that time, his first published works appeared - Concert Prelude (brass band) and Gaudium (wind band). A growing interest in his music led to several commissions, his first major one being for the Centennial Brass Band Championships in New Zealand – The Land of the Long White Cloud.
He has written for brass band championships in New Zealand, Switzerland, Holland, Australia and the UK, including three times for the National Finals at the Royal Albert Hall, and his test pieces are constantly in use wherever brass bands can be found.
VS
Music-Symphonic Movement
Symphonic Movement is musically constructed in the form of an arch, with C as the tonal center for most of the piece. It is often said that this work, while comparatively brief, is one of the most musically intense compositions for this medium.
Composer-Václav Nelhýbel
He was a Czech-American composer, mainly of works for student performers. He is considered one of the most prolific composers of the 20th century.
He was born the youngest of five children in Polanka, Czechoslovakia. He received his early musical training in Prague, going to both Charles University in Prague and Prague Conservatory. In 1942 he went to Switzerland, where he studied at University of Fribourg; after 1947 he taught there. In 1957 he came to the United States, where he taught at several schools, including the University of Massachusetts Lowell. He served as Composer-in-Residence at University of Scranton for several years, until his death.
Most of his music is for wind instruments or concert band, and most is designed for student performers. He used non-functional modal writing, pandiatonicism, and motor rhythms extensively.
MJR
Music-Sinfonia Nobilissima
This overture is a work in the neo-romantic style and is in three sections. After a short introduction, a dramatic and syncopated fast section begins. After several false climaxes, as well as a brief fugue, the slow, more emo–tional middle section begins. In the final section of the work, a fast, synco–pated style abruptly returns and the overture ends with several deceptive, then complete chords.
Composer-Robert Jager
He was born in Binghamton, New York in 1939 and received his education at The University of Michigan. For four years, he served as the Staff Arranger at the Armed Forces School of Music while a member of the United States Navy. Currently, he is Professor of Music and Director of Theory and Composition at Tennessee Technological University in Cookeville, Tennessee. Jager has over 65 published compositions for band, orchestra and various chamber groupings, with more than thirty-five commissions including the United States Marine Band and the Tokyo Kosei Wind Orchestra. He has won a number of awards for his music, being the only three-time winner of the American Bandmasters Association's “Ostwald Award.”
MJR
Music-First Suite in E-flat for Military Band
Written in 1909, the Suite in E-Flat is generally regarded as a cornerstone work for concert band and is one of the few band originals that have been transcribed for symphony orchestra. Various instruments repeat the opening theme of the Chaconne as others weave varied filigrees about the ground theme. In the middle of the first movement, the principal theme is inverted for several repetitions.
The Intermezzo is based on a variation of the Chaconne theme, presented first in an agitated style, then in a cantabile mood, the two styles alternating throughout the movement with remarkable and deceivingly simple-sounding counterpoint that is as charming as it is masterful.
The March is introduced by a British band quick-march pulse from the brass and followed by Holst's Land of Hope and Glory version of the Chaconne theme in the great sostenuto tradition of the singing chorus. Eventually, the two themes are combined in a thrilling counterpoint leading to the coda with a dynamic marking of ffff !
Composer-Gustav Holst
Gustav Holst (1874 - 1934), one of England's most prominent composers, was also a professional trombonist and a teacher of composition and organ. His music includes operas, ballets, symphonies, chamber music, and songs. During the First World War, he was placed in command of all English Army Bands, organizing music among the troops under the Y.M.C.A. Army and Education program. He continued his teaching as musical director at the St. Paul's Girls' School in the Hammersmith borough of London. His First Suite in E-Flat, Second Suite in F, and Hammersmith are hallmarks in the repertoire for wind ensemble; his orchestral suite, The Planets, is highly popular.
Music-Carmina Burana
Orff drew the inspiration for his grand vocal and orchestral work from 24 poems of the 200 found in the 13th century monastery of Benediktbeuern, near Munich in Bavaria and published in 1847 under the title of Carmina Burana. Carmina is the plural of the Latin word carmen and in early time, carried the implication of student songs. Burana was the Latin name for the area we know today as Bavaria. Both sacred and secular, the texts are frank avowals of earthly pleasure: eating, dancing, drinking, gambling, and lovemaking. They proclaim the beauty of life and the glory of springtime. The music is simple in harmony and range, consistent with 13th century music, with a driving rhythm to which the listener instinctively responds. John Krance has incorporated the vocal melodies into an arrangement entirely instrumental in structure.
Composer-Carl Orff
Born in Munich, Germany, into an old Bavarian military family, Carl Orff (1895 - 1982) began piano studies at the age of five, under the tutelage of his mother. His interests in language and poetry were fostered in school. He received his formal musical training at the Munich Academy. In 1925, he helped to found the Gunter Schule, which aimed to educate the lay public in creative musicianship. Orff's techniques have been adopted by elementary school educators throughout the world. He began his career as a composer in 1925 with realizations of Monteverdi's early 17th century works. His first stage work, Carmina Burana, was composed in 1935-6 and premiered at the Frankfurt Opera in 1937; it became an outstanding success. After the War, Orff was asked by the Bavarian Broadcasting Company to develop a series of broadcasts for and with children; the pedagogical concepts of that work were captured in the five volume Music for Children.
MJR
Music-Chant and Jubilo
This piece was commissioned by the Four States Bandmasters Convention in Texarkana, Texas, and was first performed by the Four States Bandmasters Band in January of 1962. It is a work in two connected contrasting movements. The Chant is a modal movement reminiscent of the early church organum and should be done in a very sensitive manner, with the Jubilo contrasting with its explosive lower brass and percussion.
Composer-W. Francis McBeth
William Francis McBeth was born March 9, 1933 in Ropesville, Texas (near Lubbock). He attended Hardin-Simmons University in Abilene, Texas. McBeth is a prolific composer, whose musical repertoire has become a universal standard in wind band literature. He is also one of the most respected conductors of the present day.
McBeth has received the ASCAP Special Award every year since 1965. In 1988, he was awarded Phi Mu Alpha Sinfonia's Charles E. Lutton Man of Music Award for his achievement and continued contribution to American music.
From 1957 until his retirement in 1996, McBeth taught at Ouachita Baptist University in Arkadelphia, Arkansas. In 1975, he was named Composer Laureate of Arkansas, the first Composer Laureate named in the United States.
MJR
Music-Ireland: of legend and lore
It is an original composition for wind band, which draw upon the vast riches of traditional Irish melodies. The composer has chosen three castles and /or colorful characters from Irish history and folklore and put their legendary deeds to music. The piece was commissioned by the East Tennessee state university wind ensemble under the direction of Mr. Paul hinman for performance during their tour of Ireland in March of 1996. The composer was fortunate to travel with the band during their tour and conduct this fine ensemble during their St Patrick’s Day festivity performances.
The work is divided into three sections. Following a majestic introduction, the familiar 6/8 bounce of an Irish march surfaces from the ensemble. The composer has chosen Brian Boru’s march as the source material for this section of the work. As the work begins, we hear the army of brain Boru marching to battle, prepared to give their very lives for their beliefs. Following the light-hearted mach, with no battle scars to show for their journey, we hear them march off into distance secure in the preservation of their moral convictions.
The second section of the piece is based upon aromatic legend, which ended with quite a “ Twist”. The setting is Carrickhowley castle, a waterside fortification standing on a broad flat rock in wildly rocky sea inlet.
The final section of the work is based upon the multiple attacks on Cahir castle, which stands on rocky islet in the midst of the Suir, cahir castle was built probably by Conor O’ brien.
Composer-Robert W. Smith
one of the most popular and prolific composers of concert band and orchestral literature in America today. He has over 600 publications in print with the majority composed and arranged through his long association with Warner Bros. He is the principal conductor of the American Symphonic Winds and the American Festival Philharmonic Orchestra, professional recording ensembles based in Washington D.C. Mr. Smith is currently teaching in the Music Industry program at Troy University in Troy, AL
Flutes and Irish drums ensemble- Penny-flute whistle
MJR
Music-Chanteys
An original work that recalls the music of the sea and its sailors. A jaunty opening sparkles with character and style before yielding to a pensive "Andante." The piece closes with a spirited juxtaposition of thematic material. This piece was selected by the Yamaha Music Media Corporation of Japan as one of the "100 Best Pieces for Band" for 2001.
Composer-Robert Sheldon
One of the most performed composers of wind band music today. A recipient of numerous awards from the American School Band Director's Association, Phi Beta Mu and the American Society of Composers, Authors and Publishers, his compositions embody a level of expression that resonates with ensembles and audiences alike. His music is performed around the world and appears on many international concert and contest lists.
Chai chee
St. Petersburg March by Johnnie Vinson
St.Petersburg, Russia was founded by Tsar Peter the Great in 1703. Despite its relatively short life, St. Petersburg has a rich and exciting history. From the early days of Peter the Great’s “Venice of the North” to the modern events of the 1991 coup d’etat, the city has always bustled with life and intrigue, revolution and mystery. More evocative of Russia’s past than any place except perhaps the Moscow Kremlin, St. Petersburg is today considered the cultural heart of modern day Russia.
St. Petersburg March attempts to capture the spirit of this great city and its storied history. The minor keys and melodies harmonized in sixths combine to paint a musical picture of frigid winters, magnificent castles and great cathedrals. Although most of the melodic material in the march is original, parts of two Russian folk songs, Tzar Nicoli and Gori are quoted in the trio section.
Written and scored during February 2005, St. Petersburg March is dedicated to the Auburn(AL) Junior High School Honors Band and its band director, Larry Cornelius.
Chai chee
Dedication, March and Celebration by James Swearingen
Aspects of fanfare, expressivo and celebration moods are express in this wonderful piece of music written for developing band. It has full of Swearingen's delightful melodies, tasteful harmonies and spirited rhythmic percussion parts.
Commissioned by Hawken Upper School (Gates Mills, Ohio, USA) to commemorate the opening of the newly built Holtry Pool Complex.
GESS
Overture Jubiloso
A work that is thrilling for listeners and players. Bold flourishes of color are reinforced with brilliantly flowing melodic lines.
Composer-Frank Erickson
Frank received his Mus.B. in 1950 and his Mus.M. in 1951, both from the University of Southern California. He was a composer, conductor, arranger, and author. He also lectured at the University of California at Los Angeles (1958) and was professor of music at San Jose State University. In 1995 he established Frank Erickson Publications. Over the last 50+ years his compositions have become standards of the school band repertoire, and his book Arranging for the Concert Band had served as a guide for many college music majors.
GESS
Music- Eiger ( A Journey to the Summit )
Heroic themes abound as noted composer James Swearingen weaves a tapestry of musical styles to depict the emotional story of John Harlin. At the age of nine, John lost his father when he tragically fell 4000 ft. to his death while attempting to climb the mountain known as Eiger (pronounced “eye-ger”). The Eiger North Face is considered to be the most treacherous climb in all of Europe. Yet, forty years later John, with a burning desire to reconnect with his father, began the perilous journey of climbing the mountain with the nearly impossible goal of reaching the summit. Brilliantly scored, this exciting work is best described as being both stunning and beautifully breathtaking.
Composer-James Swearingen
As a performer, composer/arranger and educator include a background of extensive training and experience. He has earned degrees from Bowling Green State University and The Ohio State University. Mr. Swearingen is currently Professor of Music, Department Chair of Music Education and one of several resident composers at Capital University located in Columbus, Ohio. He also serves as a staff arranger for the famed Ohio State University Marching Band. Prior to his appointment at Capital in 1987, he spent eighteen years teaching instrumental music in the public schools of central Ohio. His first teaching assignment took him to the community of Sunbury, Ohio. He then spent fourteen years as Director of Instrumental Music at Grove City High School where his marching, concert and jazz bands all received acclaim for their high standards of performing excellence.
VS
Music-Postcard from Singapore – Suite of Singaporean Folk Songs
“Postcard from Singapore” was commissioned for a concert featuring Philip Sparke’s Music when he conducted the Singapore Armed Forces Central Band.
The first movement is based on Gelang Sipaku Gelang, a well-loved folksong which has become associated with the Geylang area and which is a song about community spirit, about living together in harmony.
The slower second movement uses Di-Tanjung Katong, a song which is popular with children’s choirs. Tanjung Katong is a district on the south eastern coast of Singapore.
The third movement uses two traditional melodies: Lenggang Kangkung tells of the graceful swaying of watercress in the rice paddy fields and this is eventually combined with Munnaery Vaalibaa.
Composer-Philip Sparke
He was born in London and studied composition, trumpet and piano at the Royal College of Music, where he gained an ARCM.
It was at the College that his interest in bands arose. He played in the College wind orchestra and also formed a brass band among the students, writing several works for both ensembles.
At that time, his first published works appeared - Concert Prelude (brass band) and Gaudium (wind band). A growing interest in his music led to several commissions, his first major one being for the Centennial Brass Band Championships in New Zealand – The Land of the Long White Cloud.
He has written for brass band championships in New Zealand, Switzerland, Holland, Australia and the UK, including three times for the National Finals at the Royal Albert Hall, and his test pieces are constantly in use wherever brass bands can be found.
VS
Music-Symphonic Movement
Symphonic Movement is musically constructed in the form of an arch, with C as the tonal center for most of the piece. It is often said that this work, while comparatively brief, is one of the most musically intense compositions for this medium.
Composer-Václav Nelhýbel
He was a Czech-American composer, mainly of works for student performers. He is considered one of the most prolific composers of the 20th century.
He was born the youngest of five children in Polanka, Czechoslovakia. He received his early musical training in Prague, going to both Charles University in Prague and Prague Conservatory. In 1942 he went to Switzerland, where he studied at University of Fribourg; after 1947 he taught there. In 1957 he came to the United States, where he taught at several schools, including the University of Massachusetts Lowell. He served as Composer-in-Residence at University of Scranton for several years, until his death.
Most of his music is for wind instruments or concert band, and most is designed for student performers. He used non-functional modal writing, pandiatonicism, and motor rhythms extensively.
MJR
Music-Sinfonia Nobilissima
This overture is a work in the neo-romantic style and is in three sections. After a short introduction, a dramatic and syncopated fast section begins. After several false climaxes, as well as a brief fugue, the slow, more emo–tional middle section begins. In the final section of the work, a fast, synco–pated style abruptly returns and the overture ends with several deceptive, then complete chords.
Composer-Robert Jager
He was born in Binghamton, New York in 1939 and received his education at The University of Michigan. For four years, he served as the Staff Arranger at the Armed Forces School of Music while a member of the United States Navy. Currently, he is Professor of Music and Director of Theory and Composition at Tennessee Technological University in Cookeville, Tennessee. Jager has over 65 published compositions for band, orchestra and various chamber groupings, with more than thirty-five commissions including the United States Marine Band and the Tokyo Kosei Wind Orchestra. He has won a number of awards for his music, being the only three-time winner of the American Bandmasters Association's “Ostwald Award.”
MJR
Music-First Suite in E-flat for Military Band
Written in 1909, the Suite in E-Flat is generally regarded as a cornerstone work for concert band and is one of the few band originals that have been transcribed for symphony orchestra. Various instruments repeat the opening theme of the Chaconne as others weave varied filigrees about the ground theme. In the middle of the first movement, the principal theme is inverted for several repetitions.
The Intermezzo is based on a variation of the Chaconne theme, presented first in an agitated style, then in a cantabile mood, the two styles alternating throughout the movement with remarkable and deceivingly simple-sounding counterpoint that is as charming as it is masterful.
The March is introduced by a British band quick-march pulse from the brass and followed by Holst's Land of Hope and Glory version of the Chaconne theme in the great sostenuto tradition of the singing chorus. Eventually, the two themes are combined in a thrilling counterpoint leading to the coda with a dynamic marking of ffff !
Composer-Gustav Holst
Gustav Holst (1874 - 1934), one of England's most prominent composers, was also a professional trombonist and a teacher of composition and organ. His music includes operas, ballets, symphonies, chamber music, and songs. During the First World War, he was placed in command of all English Army Bands, organizing music among the troops under the Y.M.C.A. Army and Education program. He continued his teaching as musical director at the St. Paul's Girls' School in the Hammersmith borough of London. His First Suite in E-Flat, Second Suite in F, and Hammersmith are hallmarks in the repertoire for wind ensemble; his orchestral suite, The Planets, is highly popular.
Monday, November 10, 2008
Sneak Preview of m|brosia MMIX Poster
Click to enlargePlease check for spelling and information errors if any, and sms me immediately. Urgent! Need to send for printing ASAP!
Muhammad Fahmy Babjee
Sunday, October 26, 2008
Monday, October 20, 2008
Dear Majors, Sin Hua ,George, Sheng Jun, Apprentice Majors, and Section leaders
As discussed in today's meeting, we have discovered that we have a lot of issues in the band currently. So, roughly to summarise the entire meeting, below is a the list of the things discussed, and for those highlighted in red, it needs your urgent attention and action immediately.
1 (i)ATTENDANCE
- Members are either late or absent for band practices. Please try to be punctual for every practice, and take care of yourselves to prevent getting sick (ESPECIALLY during the Concert and SYF period!). ALL Majors will be in charge here, to ensure the punctuality of members. Section leaders please report to the Majors who is absent and the reasons. Punishments will be given to absentees or latecomers who do not have any vaild reasons.
1 (ii)Sectional Leaders
It would really be good if you all will take charge of your Sections's members' attendance, welfare, morale, and playing wise. They are to report the strength of their respective sections to the Attendance Taker (AT), and then that AT will report it to Mr Foo before band starts.
2)Toilet breaks
-members tend to visit the toilet very often and thus disruptive to the band practice. Sha, Sharil, Yan Da, Rahman will take charge to ensure that not more than 5 members can go at any one time and, its would be really good if members could go toilet 15mins BEFORE band starts.
3) Ground rules ( all majors,SLs please take charge)
- no playing of PSP during band practice
-Please listen to the conductor
-Always respect your seniors, etc
-I do not want to hear members talking loudly during full band.
4) SYF marching video (Sharil and Rahman take charge of this.)
5) Please report to the majors if you find there is any problems in your respective sections. If anyone is quitting or have some serious problems, please inform the Teacher-In-Charge. Or, if you think you can solve it by yourself personally, by all means.
6) I will be needing a few name-lists so that majors will know who is absent, and the reasons, and give the punishments if necessary. The Name list SHOULD have the members's handphone numbers and email (For Contacting purposes.) Section leaders please update your member hp numbers and pass it to me latest by next week's band practice, Wednesdae The 22nd of October.
7)Attendance takers (On Whichever practice days), please inform Mr Foo about the number of people who is present, absent, or late, after getting the Strength information of each sections from the SLs. (Refer to 1(ii) )
Write inside a book if necessary. (It's Present in the library.)
8) Extra sectional practice if necessary.
( SLs, you can used the band room for additional practice, if there's a need to, for your section members, if you feel necessary to do so.)
Please inform 1 of the committee members 1 day beforehand, if the band room will be open for self-practice, like Sheng Jun, and the The Majors.
9)Section leaders, I want you all to help your juniors if they need help, and i do not want to see anybody slacking.
10)The Songs for the concert, All of them, can be obtained from Sheng Jun. Sheng Jun, Please ensure that everyone, can somehow have a recording of all the songs.
11) We need a Hi-fi set or a CD player for the practice. It would be really appreciated if someone would loan it to us. =)
12) Please make sure that markers are available by the whiteboard, so that Mr Foo or the other committee members or majors can write the latest news on the board.
(Sha and Gu Juan, please take charge.)
13) Seniors please guide your junior during band practices, motivate them, and encourage them if they have problems, and make sure they are actively participating in band.
14)As for the punishment wise matters, it will be discussed on the next meeting.(Date not confirmed, but most likely next wednesday.)
15)As for the informarion on the duties of the committee members, I will confirm with you all ASAP. Latest by next week's Friday, 24/10/08.
All these rules will take effect from 17 October Onwards.
Majors please stay back after the end of Each and EVERY band practice. We will together review the performance of that day's practice, and see what else can be done to improve things and etc...
*PS
Please forward this e mail to the committee. I will be e-mailing you all again after the next meeting.
If there is any enquires, please e-mail me, or contact me .
Best Regards
Yan Da
Privacy Policy
As discussed in today's meeting, we have discovered that we have a lot of issues in the band currently. So, roughly to summarise the entire meeting, below is a the list of the things discussed, and for those highlighted in red, it needs your urgent attention and action immediately.
1 (i)ATTENDANCE
- Members are either late or absent for band practices. Please try to be punctual for every practice, and take care of yourselves to prevent getting sick (ESPECIALLY during the Concert and SYF period!). ALL Majors will be in charge here, to ensure the punctuality of members. Section leaders please report to the Majors who is absent and the reasons. Punishments will be given to absentees or latecomers who do not have any vaild reasons.
1 (ii)Sectional Leaders
It would really be good if you all will take charge of your Sections's members' attendance, welfare, morale, and playing wise. They are to report the strength of their respective sections to the Attendance Taker (AT), and then that AT will report it to Mr Foo before band starts.
2)Toilet breaks
-members tend to visit the toilet very often and thus disruptive to the band practice. Sha, Sharil, Yan Da, Rahman will take charge to ensure that not more than 5 members can go at any one time and, its would be really good if members could go toilet 15mins BEFORE band starts.
3) Ground rules ( all majors,SLs please take charge)
- no playing of PSP during band practice
-Please listen to the conductor
-Always respect your seniors, etc
-I do not want to hear members talking loudly during full band.
4) SYF marching video (Sharil and Rahman take charge of this.)
5) Please report to the majors if you find there is any problems in your respective sections. If anyone is quitting or have some serious problems, please inform the Teacher-In-Charge. Or, if you think you can solve it by yourself personally, by all means.
6) I will be needing a few name-lists so that majors will know who is absent, and the reasons, and give the punishments if necessary. The Name list SHOULD have the members's handphone numbers and email (For Contacting purposes.) Section leaders please update your member hp numbers and pass it to me latest by next week's band practice, Wednesdae The 22nd of October.
7)Attendance takers (On Whichever practice days), please inform Mr Foo about the number of people who is present, absent, or late, after getting the Strength information of each sections from the SLs. (Refer to 1(ii) )
Write inside a book if necessary. (It's Present in the library.)
8) Extra sectional practice if necessary.
( SLs, you can used the band room for additional practice, if there's a need to, for your section members, if you feel necessary to do so.)
Please inform 1 of the committee members 1 day beforehand, if the band room will be open for self-practice, like Sheng Jun, and the The Majors.
9)Section leaders, I want you all to help your juniors if they need help, and i do not want to see anybody slacking.
10)The Songs for the concert, All of them, can be obtained from Sheng Jun. Sheng Jun, Please ensure that everyone, can somehow have a recording of all the songs.
11) We need a Hi-fi set or a CD player for the practice. It would be really appreciated if someone would loan it to us. =)
12) Please make sure that markers are available by the whiteboard, so that Mr Foo or the other committee members or majors can write the latest news on the board.
(Sha and Gu Juan, please take charge.)
13) Seniors please guide your junior during band practices, motivate them, and encourage them if they have problems, and make sure they are actively participating in band.
14)As for the punishment wise matters, it will be discussed on the next meeting.(Date not confirmed, but most likely next wednesday.)
15)As for the informarion on the duties of the committee members, I will confirm with you all ASAP. Latest by next week's Friday, 24/10/08.
All these rules will take effect from 17 October Onwards.
Majors please stay back after the end of Each and EVERY band practice. We will together review the performance of that day's practice, and see what else can be done to improve things and etc...
*PS
Please forward this e mail to the committee. I will be e-mailing you all again after the next meeting.
If there is any enquires, please e-mail me, or contact me .
Best Regards
Yan Da
Saturday, October 18, 2008
Hiies All.. =)
Sheng Jun here. I am just done uploading the repertoire of Mbrosia MMIX into the band blog.
(Look Above the Tagbox, it might take sometime to load finish, so please be patient.)
Most Of The Songs Are in that playlist i have created, but some are not loaded in yet, cause i still haven't find those songs, but i will upload them ASAP once i have them.
The Songs in the playlist, IF you do not hav it with you, in your phone or mp3 player or any other devices, PLEASE DO COME ASK FROM ME.
I have most of the recordings and i will be more than happy to send to you if you need them.
So...That Covered the Playlist Thing.
The 2nd thing i want to say is regarding the packing of instruments for the moving to the new school campus.
The Band Room will be open on Mondae, (Most Probably), to help clean/pack up, and throw those old scores away from the band room before we move to there. (Victor Please take note, and his appointed helpers, please do the same toos. :) tys...)
That covers everything i want to sayye regarding the packing of stuffs.
Band members, I really hope that you all can see the importance, urgency, and how many more days are left till the concert itself.
Time to stop all the slacking (IF you all are still anyways.) , and start treating every single practice that is left till the concert seriously.
The Concert is At the 10th Of January next year, meaning that we actually have exactly 84 DAYS MORE left till the concert from NOW. (2 and 3/4 months).
I maybe will put some tools into this blog, maybe a countdown timer to show the seriousness of the situation.
I will update this blog if there are news of other things. Thanks. =)
Sheng Jun here. I am just done uploading the repertoire of Mbrosia MMIX into the band blog.
(Look Above the Tagbox, it might take sometime to load finish, so please be patient.)
Most Of The Songs Are in that playlist i have created, but some are not loaded in yet, cause i still haven't find those songs, but i will upload them ASAP once i have them.
The Songs in the playlist, IF you do not hav it with you, in your phone or mp3 player or any other devices, PLEASE DO COME ASK FROM ME.
I have most of the recordings and i will be more than happy to send to you if you need them.
So...That Covered the Playlist Thing.
The 2nd thing i want to say is regarding the packing of instruments for the moving to the new school campus.
The Band Room will be open on Mondae, (Most Probably), to help clean/pack up, and throw those old scores away from the band room before we move to there. (Victor Please take note, and his appointed helpers, please do the same toos. :) tys...)
That covers everything i want to sayye regarding the packing of stuffs.
Band members, I really hope that you all can see the importance, urgency, and how many more days are left till the concert itself.
Time to stop all the slacking (IF you all are still anyways.) , and start treating every single practice that is left till the concert seriously.
The Concert is At the 10th Of January next year, meaning that we actually have exactly 84 DAYS MORE left till the concert from NOW. (2 and 3/4 months).
I maybe will put some tools into this blog, maybe a countdown timer to show the seriousness of the situation.
I will update this blog if there are news of other things. Thanks. =)
Friday, October 17, 2008
Dear members,
Please be reminded that there will be Saturday band practices before the holidays. The band practices will start from 9am to 12pm. Also, all members must have a copy of the recording, Chant and Jubilo and chanteys. Last but not least, please make yourself available as far as possible for all the practices as all the practices are very crucial for our next year concert. It is up to our decision on whether to make the concert a success or a failure.
Please be reminded that there will be Saturday band practices before the holidays. The band practices will start from 9am to 12pm. Also, all members must have a copy of the recording, Chant and Jubilo and chanteys. Last but not least, please make yourself available as far as possible for all the practices as all the practices are very crucial for our next year concert. It is up to our decision on whether to make the concert a success or a failure.
Wednesday, October 8, 2008
No practice on 17th Oct friday...next practice will be on 18th Oct sat
Please try your best to turn up.
Meeting for all leaders will be this sat at 8am, meet at kallang mrt.
29th Oct we will be shifting to the new school.
Looking at the attendance on the 1st practice and also plus no practice on 29thoct and 31st oct, we might need a few sat practices during school holidays.Do understand the urgency.I appreciate your commitment to the band.
Thanks.
Opening music- Carmina Burana - 4mins
1. Chant and Jubilo - 6mins
2. Ireland -Of Legend and Lore - Robert W. Smith - 7mins
Flutes and Irish drums ensemble( Penny whistle Jig by Henry mancini)-5mins
3. Sinfonia Nobilissima - Robert Jager - 7mins
4. A vision of majesty - James swearingin or chanteys ( sea song) by Robert sheldon-6mins
5.The sailor's hornpipe- Philip Sparke -( tentative) sight-reading soon- 3mins
total - 1 hour (approx)
---Interval------------------(add chairs +Gess band do tuning on stage)
Gan Eng Seng Military Band
1. Overture Jubiloso - Frank Erickson - 7mins
2. Eiger - James Swearingen - 7mins
Victoria School Concert Band - (Do tuning in the holding room)
1. Symphonic Movement - Vaclav Nelhybel - 7mins
2. Chester Overture - William Schumann - 7mins
Chai Chee military Band- 10mins ( To be confirmed)
Manjusri Concert Band
1. First Suite in Eb by Gustav Holst - 12mins
Presentation for tokens of appreciation-3mins
Band playing- Thank you for the music by ABBA (as background music)
Encore- Go west! ( pop song w/ gimmicks)-5mins ( will also be the sec 1 orientation piece)
Total- 1 hour (approx)
**Tentative arrangements
**Must be confirmed by 1st of Nov 2008 ( Mdm elna pls take note tks.)
Please try your best to turn up.
Meeting for all leaders will be this sat at 8am, meet at kallang mrt.
29th Oct we will be shifting to the new school.
Looking at the attendance on the 1st practice and also plus no practice on 29thoct and 31st oct, we might need a few sat practices during school holidays.Do understand the urgency.I appreciate your commitment to the band.
Thanks.
Jan Concert Repertoire
Manjusri Concert BandOpening music- Carmina Burana - 4mins
1. Chant and Jubilo - 6mins
2. Ireland -Of Legend and Lore - Robert W. Smith - 7mins
Flutes and Irish drums ensemble( Penny whistle Jig by Henry mancini)-5mins
3. Sinfonia Nobilissima - Robert Jager - 7mins
4. A vision of majesty - James swearingin or chanteys ( sea song) by Robert sheldon-6mins
5.The sailor's hornpipe- Philip Sparke -( tentative) sight-reading soon- 3mins
total - 1 hour (approx)
---Interval------------------(add chairs +Gess band do tuning on stage)
Gan Eng Seng Military Band
1. Overture Jubiloso - Frank Erickson - 7mins
2. Eiger - James Swearingen - 7mins
Victoria School Concert Band - (Do tuning in the holding room)
1. Symphonic Movement - Vaclav Nelhybel - 7mins
2. Chester Overture - William Schumann - 7mins
Chai Chee military Band- 10mins ( To be confirmed)
Manjusri Concert Band
1. First Suite in Eb by Gustav Holst - 12mins
Presentation for tokens of appreciation-3mins
Band playing- Thank you for the music by ABBA (as background music)
Encore- Go west! ( pop song w/ gimmicks)-5mins ( will also be the sec 1 orientation piece)
Total- 1 hour (approx)
**Tentative arrangements
**Must be confirmed by 1st of Nov 2008 ( Mdm elna pls take note tks.)
Dear members
Band practice will resume on the 15th oct wed 3pm . Hope to see u soon.
We should be moving to the new school by 3rd week of oct.
Leaders do start to tidy up the library..latest by 18th oct sat. Thanks.
Rehearsal for the school song will be on 28nov,5th dec and 12 dec (fri)- 2pm to 5pm.
Do start to publish up the school song before the rehearsal(senior band members).
Shas please try to choose the good players only for this recording session.
5 clarinets,4 flutes,2 alto sax, 1 tenor 1 bari,1 bass clar,3 trumpets,2 horns,1 eup,3 tromb,2 tuba,2 percussions. sharil plays tenor sax.
Majors please help to work on the band camp schedule ...please take note that i will not be available from 6th - 9th Dec...and 19th- 20th Nov (gess band camp).Most other days i'm very busy with my teaching ( SYF period).I suggest band camp to be either on 21th- 23rd nov, 28th - 30th nov, or 12th- 15th Dec. Thanks.
librarian please get the carmina,chant and jubilo scores and school song ready by tis wed.Also make sure all members have all the HK pieces ready at anytime.Thanks.
Hopefully there will not be any sat practices or long practices during school holiday if we put in enough effort in oct-mid nov. lets try our best...Thanks.
sec 1 recruits..keep up the good work.:>
Check up for the latest changed in our concert repertoire.
:>
simon foo
Band practice will resume on the 15th oct wed 3pm . Hope to see u soon.
We should be moving to the new school by 3rd week of oct.
Leaders do start to tidy up the library..latest by 18th oct sat. Thanks.
Rehearsal for the school song will be on 28nov,5th dec and 12 dec (fri)- 2pm to 5pm.
Do start to publish up the school song before the rehearsal(senior band members).
Shas please try to choose the good players only for this recording session.
5 clarinets,4 flutes,2 alto sax, 1 tenor 1 bari,1 bass clar,3 trumpets,2 horns,1 eup,3 tromb,2 tuba,2 percussions. sharil plays tenor sax.
Majors please help to work on the band camp schedule ...please take note that i will not be available from 6th - 9th Dec...and 19th- 20th Nov (gess band camp).Most other days i'm very busy with my teaching ( SYF period).I suggest band camp to be either on 21th- 23rd nov, 28th - 30th nov, or 12th- 15th Dec. Thanks.
librarian please get the carmina,chant and jubilo scores and school song ready by tis wed.Also make sure all members have all the HK pieces ready at anytime.Thanks.
Hopefully there will not be any sat practices or long practices during school holiday if we put in enough effort in oct-mid nov. lets try our best...Thanks.
sec 1 recruits..keep up the good work.:>
Check up for the latest changed in our concert repertoire.
:>
simon foo
Friday, September 5, 2008
Student Leaders' Workshop by Dr Tim Lautzenheiser
Dr Tim Lautzenheiser has emailed a message for all participants of the workshop, but the rest of you should read it too, especially if you are interested in leadership positions within MJR Band.
I've posted his message under Co-Curricular Activities/Concert Band at MIDAS. You will need to login with your MIDAS account in order to read his message. Once you are done, engage in the discussion forum to address the points he raised.
Muhammad Fahmy Babjee
Teacher Advisor
Manjusri Concert Band
Thursday, August 21, 2008
Area of focus for the last 3 crucial weeks
Dear majors,kindly encourage the leaders to view the blog and also print this out for all members....tks.
Eup players - Mind me saying this loud...ur effort is not enough!!!tks!! sori to be rude.Pls seek more help from SHA.
August
22th fri- 2pm- 4pm no ( sectional only) Shorter pract hrs due to teacher's day dinner.
Sinfonia A-K(60mins) suite Eb 1st n 2nd movt(60mins)
23rd Sat- 9am-1050pm sectional- Sinfonia A-K (50mins) Suite Eb 1st n 2nd movt( 60 mins).
11pm-12pm combined
27th wed- Very extremely important!!!!
3-5pm sectional - Sinfonia A-K(60mins) suite Eb 3rd movt ( 60mins)
29th fri- no pract teacher's day
30th sat- Very extremely important!!!!
9am-1050pm sectional- Sinfonia A-K (50mins) Suite Eb 3rd movt( 60 mins).
11pm-12pm combined
Sept school holiday
3rd- Sectional practice- 9-1230pm - Sinfonia A-K ( 60mins) Suite Eb complete ( 2hrs n 30mins)
2-5pm combined- Sinfonia ( 80mins) Suite Eb ( 80mins) break ( 15mins)
5th- Sectional practice- 9-1230pm - Sinfonia A-K ( 60mins) folk song 1st movt( 60mins)2nd movt ( 60mins)
2-5pm combined - Sinfonia ( 60mins) Folk song( 60mins) Suite Eb (60mins)
Sat 6th- Self practice at home-ireland ( 60mins)
Sun 7th- Self practice at home- Sinfonia( 60mins)
10th sept (wed)- Test/ concert audition
(Ireland)
woodwinds- Bar 68to 76 and 160 - 184
Brasses- Bar 160- 184
Percusssion- complete piece
( Sinfonia)
All same- Bar A-I
***Euphonium junior-Bar A-F
Eup players - Mind me saying this loud...ur effort is not enough!!!tks!! sori to be rude.Pls seek more help from SHA.
August
22th fri- 2pm- 4pm no ( sectional only) Shorter pract hrs due to teacher's day dinner.
Sinfonia A-K(60mins) suite Eb 1st n 2nd movt(60mins)
23rd Sat- 9am-1050pm sectional- Sinfonia A-K (50mins) Suite Eb 1st n 2nd movt( 60 mins).
11pm-12pm combined
27th wed- Very extremely important!!!!
3-5pm sectional - Sinfonia A-K(60mins) suite Eb 3rd movt ( 60mins)
29th fri- no pract teacher's day
30th sat- Very extremely important!!!!
9am-1050pm sectional- Sinfonia A-K (50mins) Suite Eb 3rd movt( 60 mins).
11pm-12pm combined
Sept school holiday
3rd- Sectional practice- 9-1230pm - Sinfonia A-K ( 60mins) Suite Eb complete ( 2hrs n 30mins)
2-5pm combined- Sinfonia ( 80mins) Suite Eb ( 80mins) break ( 15mins)
5th- Sectional practice- 9-1230pm - Sinfonia A-K ( 60mins) folk song 1st movt( 60mins)2nd movt ( 60mins)
2-5pm combined - Sinfonia ( 60mins) Folk song( 60mins) Suite Eb (60mins)
Sat 6th- Self practice at home-ireland ( 60mins)
Sun 7th- Self practice at home- Sinfonia( 60mins)
10th sept (wed)- Test/ concert audition
(Ireland)
woodwinds- Bar 68to 76 and 160 - 184
Brasses- Bar 160- 184
Percusssion- complete piece
( Sinfonia)
All same- Bar A-I
***Euphonium junior-Bar A-F
Thursday, August 14, 2008
Practices
Dear all members,
Please be reminded that there will be band practices on this friday and saturday. The practices are compulsory, please attend. It will be from 2.30pm to 6pm for the friday's practice and 9am to 12pm for the saturday's practice. All this practices are very important and crucial so as to prepare us for our concert next year.
Thank You!
Please be reminded that there will be band practices on this friday and saturday. The practices are compulsory, please attend. It will be from 2.30pm to 6pm for the friday's practice and 9am to 12pm for the saturday's practice. All this practices are very important and crucial so as to prepare us for our concert next year.
Thank You!
Monday, August 11, 2008
Of legend and lore
Ireland: of legend and lore is an original composition for wind band, which draw upon the vast riches of traditional Irish melodies. The composer has chosen three castles and /or colorful characters from Irish history and folklore and put their legendary deeds to music. The piece was commissioned by the East Tennessee state university wind ensemble under the direction of Mr. Paul hinman for performance during their tour of Ireland in March of 1996. The composer was fortunate to travel with the band during their tour and conduct this fine ensemble during their St Patrick’s Day festivity performances.
The work is divided into three sections. Following a majestic introduction, the familiar 6/8 bounce of an Irish march surfaces from the ensemble. The composer has chosen Brian Boru’s march as the source material for this section of the work. Brian Boru, in the year 1001 or 1002, is responsible for the most notable instance of battle chivalry in Irish history. According to historians, Brian Boru, engaged, in a classic crusade, demanded form the then Ard Righ, Malachi, submission and hostages. Malachi responded by saying that if brain would grant him a respite of one month in order that he might have time to summon around him the army of leth Cuin, he would at tend of the period, either give battle or send hostages to the king of leth mogha. Brian granted the request. But when Aod O Neill, king of Ailech, refused to support him, Malachi journeyed back to Brian and told him frankly that he was not able to get the backing he wished, and consequently, regretted he would have give hostages and submit. Brain, however, instead of at once accepting, entreat Malachi to take a respite of one year to see if in that time he might not do better. Malachi refused, declaring that he would not fight against him after any such display of chivalry.
As the work begins, we hear the army of brain Boru marching to battle, prepared to give their very lives for their beliefs. Following the light-hearted mach, with no battle scars to show for their journey, we hear them march off into distance secure in the preservation of their moral convictions.
The second section of the piece is based upon aromatic legend, which ended with quite a “ Twist”. The setting is Carrickhowley castle, a waterside fortification standing on a broad flat rock in wildly rocky sea inlet. Grace O Malley, a woman of legendary strength and dominant qualities, had selected the castle as a strategic location for her rather successful trade and piracy operation. Richard Burke, also called Mac William oughter, had inherited the castle form his family who built and owned Carrickhowley Tower. Grace, it seems went on a romantic crusade with Mr. burke and his castle as the ultimate goal. The unfortunate fellow, it is believed, actually married her for love, and grace accepted him on condition that either party could terminate the marriage after one year.
During that year, she garrisoned this and all Mac William Oughter’s other fortresses with her own loyal soldiers, refused to let the man near her, and at the end of the year installed herself at carrickhowley and declared the marriage over by shouting “ I dismiss you” at him from it’s upper window. Of course. She had no intention of giving back his fortification and it was impossible to take them from her.
The final section of the work is based upon the multiple attacks on Cahir castle, which stands on rocky islet in the midst of the Suir, cahir castle was built probably by Conor O’ brien, In about 1142 and was enlarged in 1500. The ground plan follows the shape of the island on which it stands. And the defenses are cleverly designed, being divided into separately fortified section. The castle withstood frequent attacks until the advent of connon, for which it was not quite so well equipped. In the 16th-17th century as English rivals competed for control over theregion. Cahir castle ground itself more vulnerable. Robert devereux, 2nd Earl of Essex, confronted and conquered it within three days in 15599. In 1641, the notorious Lord inchiquin (who destroyed many towns and fortifications in Ireland) achieved the same task within just a matter of hours. In 1650, Cromwell arrived at cahir castle in person.
He, being unwilling t o engage in what he thought might prove a long struggle to subdue the stronghold, and it’s occupants, believing that he would ultimately be successful in such battle proposed and agreed upon terms which allowed the castle garrison to leave unharmed with all their flags and weapons.
The composer has chosen the percussion section to form the center of this musical battle. Two percussive armies battle for the castle with support from the surrounding winds. As the battle reaches its peak, the composer has woven together two traditional Irish melodies. The young Woman’s lament provides the melodic material with Sgt. Earl’s jig providing a driving counter melodic line in the woodwinds. As the work draws to close. We hear the two opposing armies call to each other through the percussion. As with Cromwell at cahrin castle, they choose to draw down their weapons and walk away with their heads held high, resolving to meet again under better circumstances.
The work is divided into three sections. Following a majestic introduction, the familiar 6/8 bounce of an Irish march surfaces from the ensemble. The composer has chosen Brian Boru’s march as the source material for this section of the work. Brian Boru, in the year 1001 or 1002, is responsible for the most notable instance of battle chivalry in Irish history. According to historians, Brian Boru, engaged, in a classic crusade, demanded form the then Ard Righ, Malachi, submission and hostages. Malachi responded by saying that if brain would grant him a respite of one month in order that he might have time to summon around him the army of leth Cuin, he would at tend of the period, either give battle or send hostages to the king of leth mogha. Brian granted the request. But when Aod O Neill, king of Ailech, refused to support him, Malachi journeyed back to Brian and told him frankly that he was not able to get the backing he wished, and consequently, regretted he would have give hostages and submit. Brain, however, instead of at once accepting, entreat Malachi to take a respite of one year to see if in that time he might not do better. Malachi refused, declaring that he would not fight against him after any such display of chivalry.
As the work begins, we hear the army of brain Boru marching to battle, prepared to give their very lives for their beliefs. Following the light-hearted mach, with no battle scars to show for their journey, we hear them march off into distance secure in the preservation of their moral convictions.
The second section of the piece is based upon aromatic legend, which ended with quite a “ Twist”. The setting is Carrickhowley castle, a waterside fortification standing on a broad flat rock in wildly rocky sea inlet. Grace O Malley, a woman of legendary strength and dominant qualities, had selected the castle as a strategic location for her rather successful trade and piracy operation. Richard Burke, also called Mac William oughter, had inherited the castle form his family who built and owned Carrickhowley Tower. Grace, it seems went on a romantic crusade with Mr. burke and his castle as the ultimate goal. The unfortunate fellow, it is believed, actually married her for love, and grace accepted him on condition that either party could terminate the marriage after one year.
During that year, she garrisoned this and all Mac William Oughter’s other fortresses with her own loyal soldiers, refused to let the man near her, and at the end of the year installed herself at carrickhowley and declared the marriage over by shouting “ I dismiss you” at him from it’s upper window. Of course. She had no intention of giving back his fortification and it was impossible to take them from her.
The final section of the work is based upon the multiple attacks on Cahir castle, which stands on rocky islet in the midst of the Suir, cahir castle was built probably by Conor O’ brien, In about 1142 and was enlarged in 1500. The ground plan follows the shape of the island on which it stands. And the defenses are cleverly designed, being divided into separately fortified section. The castle withstood frequent attacks until the advent of connon, for which it was not quite so well equipped. In the 16th-17th century as English rivals competed for control over theregion. Cahir castle ground itself more vulnerable. Robert devereux, 2nd Earl of Essex, confronted and conquered it within three days in 15599. In 1641, the notorious Lord inchiquin (who destroyed many towns and fortifications in Ireland) achieved the same task within just a matter of hours. In 1650, Cromwell arrived at cahir castle in person.
He, being unwilling t o engage in what he thought might prove a long struggle to subdue the stronghold, and it’s occupants, believing that he would ultimately be successful in such battle proposed and agreed upon terms which allowed the castle garrison to leave unharmed with all their flags and weapons.
The composer has chosen the percussion section to form the center of this musical battle. Two percussive armies battle for the castle with support from the surrounding winds. As the battle reaches its peak, the composer has woven together two traditional Irish melodies. The young Woman’s lament provides the melodic material with Sgt. Earl’s jig providing a driving counter melodic line in the woodwinds. As the work draws to close. We hear the two opposing armies call to each other through the percussion. As with Cromwell at cahrin castle, they choose to draw down their weapons and walk away with their heads held high, resolving to meet again under better circumstances.
Friday, August 8, 2008
Jan Concert Repertoire
Manjusri Concert Band
Opening music- Carmina Burana - 5mins
1. Chant and jubilo - 6mins
2. Of Legend and Lore - Robert W. Smith - 7mins
Percussion ensemble-5mins
3. Sinfonia Nobilissima - Robert Jager - 7mins
4. A vision of majesty - James swearingin- 8mins
---Interval---
Gan Eng Seng Military Band
1. Overture Jubiloso - Frank Erickson - 7mins
2. Eiger - James Swearingen - 7mins
Victoria School Concert Band
1. Symphonic Movement - Vaclav Nelhybel - 7mins
2. Chester Overture - William Schuman - 7mins
Manjusri Concert Band
1. English Folk song suite (1st movt)- 5mins **tentative or might be out
2. First Suite in Eb by Gustav Holst - 12mins
Presentation for tokens of appreciation-5mins
Encore-5mins
**Tentative arrangements
**Must be confirmed by 1st of Nov 2008 ( Mdm elna pls take note tks.)
Opening music- Carmina Burana - 5mins
1. Chant and jubilo - 6mins
2. Of Legend and Lore - Robert W. Smith - 7mins
Percussion ensemble-5mins
3. Sinfonia Nobilissima - Robert Jager - 7mins
4. A vision of majesty - James swearingin- 8mins
---Interval---
Gan Eng Seng Military Band
1. Overture Jubiloso - Frank Erickson - 7mins
2. Eiger - James Swearingen - 7mins
Victoria School Concert Band
1. Symphonic Movement - Vaclav Nelhybel - 7mins
2. Chester Overture - William Schuman - 7mins
Manjusri Concert Band
1. English Folk song suite (1st movt)- 5mins **tentative or might be out
2. First Suite in Eb by Gustav Holst - 12mins
Presentation for tokens of appreciation-5mins
Encore-5mins
**Tentative arrangements
**Must be confirmed by 1st of Nov 2008 ( Mdm elna pls take note tks.)
Sunday, August 3, 2008
National Anthem
Dear all members,
This is gentle reminder for all of you with regards to our performance for the morning national anthem on next week. Please be reminded that all members from both band A and B are involve in this event.
All of you are required to report to the band room at 6.45am for the whole of next week. The attire would be our band t-shirt and for those who do not have the band t-shirt are allowed to wear any black colour shirt. As for next friday, the attire would be the full band uniform.
Thank You!
This is gentle reminder for all of you with regards to our performance for the morning national anthem on next week. Please be reminded that all members from both band A and B are involve in this event.
All of you are required to report to the band room at 6.45am for the whole of next week. The attire would be our band t-shirt and for those who do not have the band t-shirt are allowed to wear any black colour shirt. As for next friday, the attire would be the full band uniform.
Thank You!
Friday, August 1, 2008
Practice
There will be a band practice tomorrow from 9am to 12.30pm. It is compulsory for all band members to attend. Thank You!
Monday, July 28, 2008
English Folk Song Suite
Written in 1923, the English Folk Song Suite is one of English composer Ralph Vaughan Williams's most famous works for military band. The piece has also been arranged for full orchestra and brass band by Vaughan Williams' student Gordon Jacob. The suite consists of three movements: March, Intermezzo and another March, all of which are subtitled with English folk song names. The first march is based upon Seventeen Come Sunday, the Intermezzo upon My Bonny Boy and the final movement on Folk Songs from Somerset.
1: March - "Seventeen Come Sunday"
Seventeen Come Sunday opens after a four bar introduction with the principal melody - the folk song Seventeen Come Sunday[1] - played by the woodwind section (flutes in orchestrated version). This melody is repeated, and the woodwind is joined by the brass (violins in orchestrated version). The phrasing is irregular - the melody lasts for thirteen bars. This melody is followed by Pretty Caroline[2] as a quiet melody for solo clarinet and solo cornet (clarinet only in orchestrated version), which is also repeated. A third tune, Dives and Lazarus then enters in the lower instruments. This third tune is notorious for having a grueling 6/8 rhythm played by the upper woodwinds, against the straight 2/4 rhythm of the saxophones and brasses. This third theme is repeated, then leads straight back to the second theme. Finally, the first theme is repeated in a Da capo al Fine. The form of this movement can be represented by A-B-C-B-A (Arch form).
2: Intermezzo - "My Bonny Boy"
My Bonny Boy opens with a solo for the oboe (sometimes doubled or played by solo cornet) on the tune of the folk song My Bonny Boy[3], which is repeated by the low-register instruments. Halfway through the movement, a Poco Allegro begins on Green Bushes[4], a typically English waltz, first sounded by a piccolo, E-flat clarinet, and oboe first in the minor context, then repeated in the major with the lower-brass. The first melody is played again in fragmented form before the close of the movement. The appeal of this piece derives from its sheer simplicity.
3: March - "Folk Songs from Somerset"
Folk Songs from Somerset
Folk Songs from Somerset opens with a light introduction of four measures before the first melody, the folk song Blow Away the Morning Dew or The Baffled Knight[5], played by the solo cornet (clarinet in orchestration). This melody is then dovetailed around the band/orchestra before finishing with a fortissimo reprise. A second melody (High Germany[6]) then takes over, being played by the tenor and lower register instruments, while the remainder takes over the on beat chordal structure. As this second melody dies away the original melody is heard once again with the tutti reprise. This then leads into the key change, time change (6/8) and the trio. The trio introduces a more delicate melody played by the woodwind with a light accompaniment. This continues until the time signature changes again, back to the original 2/4. Along with this time change a final heavy melody (John Barleycorn) enters in the lower instruments (trombones and double basses in orchestrated version) while the cornets play decorative features above. This trio is then repeated in full before a D.C. is reached. The form of this movement can be represented by A-B-A. (ternary form)
1: March - "Seventeen Come Sunday"
Seventeen Come Sunday opens after a four bar introduction with the principal melody - the folk song Seventeen Come Sunday[1] - played by the woodwind section (flutes in orchestrated version). This melody is repeated, and the woodwind is joined by the brass (violins in orchestrated version). The phrasing is irregular - the melody lasts for thirteen bars. This melody is followed by Pretty Caroline[2] as a quiet melody for solo clarinet and solo cornet (clarinet only in orchestrated version), which is also repeated. A third tune, Dives and Lazarus then enters in the lower instruments. This third tune is notorious for having a grueling 6/8 rhythm played by the upper woodwinds, against the straight 2/4 rhythm of the saxophones and brasses. This third theme is repeated, then leads straight back to the second theme. Finally, the first theme is repeated in a Da capo al Fine. The form of this movement can be represented by A-B-C-B-A (Arch form).
2: Intermezzo - "My Bonny Boy"
My Bonny Boy opens with a solo for the oboe (sometimes doubled or played by solo cornet) on the tune of the folk song My Bonny Boy[3], which is repeated by the low-register instruments. Halfway through the movement, a Poco Allegro begins on Green Bushes[4], a typically English waltz, first sounded by a piccolo, E-flat clarinet, and oboe first in the minor context, then repeated in the major with the lower-brass. The first melody is played again in fragmented form before the close of the movement. The appeal of this piece derives from its sheer simplicity.
3: March - "Folk Songs from Somerset"
Folk Songs from Somerset
Folk Songs from Somerset opens with a light introduction of four measures before the first melody, the folk song Blow Away the Morning Dew or The Baffled Knight[5], played by the solo cornet (clarinet in orchestration). This melody is then dovetailed around the band/orchestra before finishing with a fortissimo reprise. A second melody (High Germany[6]) then takes over, being played by the tenor and lower register instruments, while the remainder takes over the on beat chordal structure. As this second melody dies away the original melody is heard once again with the tutti reprise. This then leads into the key change, time change (6/8) and the trio. The trio introduces a more delicate melody played by the woodwind with a light accompaniment. This continues until the time signature changes again, back to the original 2/4. Along with this time change a final heavy melody (John Barleycorn) enters in the lower instruments (trombones and double basses in orchestrated version) while the cornets play decorative features above. This trio is then repeated in full before a D.C. is reached. The form of this movement can be represented by A-B-A. (ternary form)
First Suite in E-flat major for Military Band
The "First Suite in E-flat major for Military Band" (Op. 28, No. 1) is a cornerstone in the concert band repertoire. This piece, along with its sister piece, "Second Suite in F for Military Band", was written by the prominent British composer Gustav Holst. Aside from these two suites, Hammersmith and A Moorside Suite were his only band works. The First Suite, as it is informally called, was written for a full military band in 1909. During this time of band music, the repertoire was almost exclusively transcriptions from orchestral works. Holst's First and Second Suites are two of the very few works for concert bands that have been transcribed for orchestra.
The First Suite has three movements, each with its own character and form. The complete composition is based upon a 8-measure melody reminiscent of English folk song; however, the tune is original to Holst.
Most notably, the theme statement that initiates the first movement is developed throughout each movement. Its variations range in style from lyrical to playfully rhythmic to ornamentally embellished.
[edit] Movement 1: "Chaconne"
This movement, in 3/4 time, is based upon an 8-measure melody initiated by the low brass which repeats sixteen times throughout the piece. This form is synonymous with a passacaglia, however both terms are often used interchangeably. The rhythm of the theme with its half note-quarter note and quarter note-half note rhythm is believed to be based upon medieval English carols; the "Agincourt Song" from 1415 in particular bears a strong resemblance.
Holst uses many colorful effects to vary the chaconne theme. These include "band hits" (synonymous with the popular term "orchestra hits") in the brass and percussion outlining the notes of the theme while the woodwinds play virtuosic sixteenth-note runs. The whole passage is marked brilliante or "brilliantly." Exactly following this is a famous low brass excerpt where they play an eighth-note line based again on the notes of the theme. This section is marked pesante or "heavily" which sharply contrasts with the material directly before.
Following this are more interesting variations using mostly combinations of solo instruments including a solo horn, duet between flute and oboe, and solo alto saxophone. This section eventually develops into a minor key.
Two of the repetitions, the tenth and eleventh, are an inversion of the theme. Here the mood changes drastically with a funeral march like feel with the dynamics exceptionally soft. The bass drum and tuba emphasize a hemiola rhythm while a solo euphonium plays the inversion in a minor key. The twelfth, the theme played a third higher, is a famous trombone soli that hints at Holst's earlier years as a trombone player. Then a crescendo poco a poco extends over two more repetitions of the theme. At the height of the crescendo, more hemiola in the brass and saxophones is used to heighten the harmonic interest.
The climax is at the top of the crescendo with the theme being stated in almost all of the low instruments. The higher instruments play soaring counterpoint lines, all of which is marked ff. The final repetition, stated in the trombones and low trumpets/cornets (an unusual combination for its day) is transposed up a fifth, chromatically altered, and extended. The movement ends with the trombones and trumpets/cornets playing against the rest of the band playing on beats one and two while the rest of the band is striking sustained chords on the third of each measure. Holst, in the final chord, interestingly drops out all of the bass voices from the band leaving a very brilliant sounding chord with high concert B-flats in the flutes, piccolos, and trumpets/cornets. This powerful coda is difficult to play well, but has very high emotional impact when it is.
[edit] Movement 2: "Intermezzo"
Nearly all of this movement is devoted to a rhythmic and well-articulated oboe, clarinet and cornet soli. The exploitation of wind band tone colour combinations flavor this movement. While the movement is predominanly light in character, the lyrical euphonium solo—another variation on the main theme from Mvmt. 1—provides contrast with sustained and rich tone.
[edit] Movement 3: "March"
The march is usually played at a march tempo, although many recordings play it quite fast. It opens with the famous bass drum solo, one of the few in the band literature. It features two primary melodies both very contrasting in style. The first is featured in brass section in the opening strain in a very marcato manner. The trio features the mid-low woodwinds with the second theme in a lyrical and legato manner with the euphonium providing a counterpoint melody. The finale of the march uses both melodies layered on top of one another and with variation in the woodwinds. The last few bars are very powerful (marked ffff) and have one of the most famous trombone solis in the band repertoire.
[edit]
Sunday, July 27, 2008
Review on Sentosa Outreach
Today's performance was a disappointment. From the comments made, we actually sounded worse than the disneyland's performance. We should in fact sound better than the disneyland's performance since we had played the pieces for so many times already. Our complacency have landed us to this state as we always think that we are up to the standard already, but the truth is, we are not.
Today's performance was a lesson learnt for us. It is time to wake up and to face the truth that we are a COP band. Thus from now onwards, we must devote our hearts and minds into band and work towards our next year concert and SYF. Sinfonia is possible to be done by september only if we work hard. No pain no gain. There is definitely no free lunch in this world, we need to suffer first before getting the results that we aim for. If we do not put in the effort, we would not reach out to anything. None of us would hope that we would remain as a COP band forever, hence we need to prove to others that we can make it for a silver or gold. So from now onwards, we must work together as a band and put in the effort to strive for greater heights.
Today's performance was a lesson learnt for us. It is time to wake up and to face the truth that we are a COP band. Thus from now onwards, we must devote our hearts and minds into band and work towards our next year concert and SYF. Sinfonia is possible to be done by september only if we work hard. No pain no gain. There is definitely no free lunch in this world, we need to suffer first before getting the results that we aim for. If we do not put in the effort, we would not reach out to anything. None of us would hope that we would remain as a COP band forever, hence we need to prove to others that we can make it for a silver or gold. So from now onwards, we must work together as a band and put in the effort to strive for greater heights.
Saturday, July 26, 2008
Sentosa Outreach Performance
To all members:
Please be reminded that you all are to report to school tomorrow at 1300. The attire for the performance will be our full band uniform. And please remember to bring whistles tomorrow.
Thank You!
Please be reminded that you all are to report to school tomorrow at 1300. The attire for the performance will be our full band uniform. And please remember to bring whistles tomorrow.
Thank You!
Thursday, July 24, 2008
Failure is opportunity turned upside-down
Failure is success if we learn something from it. Indeed, The joy of making mistakes is in learning from them, growing as a result of information gain from the mistakes.
It's ok that we did badly in the SIBF.
Now we have 4 months before our concert and next year April is the SYF2009.Start to practice hard and push your playing skill to another level. My goal is to complete the sinfonia and first suite by 2nd week of sept or we will be behind the schedule.Time don't wait.Every practice from now to April is extremely important.Be discipline..
First i want to see a clean band room and neat school attire.
This failure will not pull me or you down...
Admit that we are all not up to the standard..Don't give your self excuses why you didn't do well...we have to work much harder and that includes me and Mr Ng and you all, the musicians, the leaders and the teachers...Workharder!!You will enjoy the joy of success next round. Practice makes perfect.I will set a very high standard next week onwards.Don't expect a very tactful criticism...good i will say good..bad i will say bad.No trying to be nice guy thingy, i don't have time for such game......Be realistic!
" What Great thing would you attempt if you knew you could not fail?"
Your next challenge is to work hard toward the next concert and also to help to push the sec one members to another level. Do put some effort in guiding and helping them during sectional.
There will be some changes in your instrumentation and schedule. Some senior will be put to play the 3rd part to support the lower voices.Good players will be put to more major roles.Weaker one try harder and work on your basic fundamental in the junior band.
Sectional leaders,Majors and apprentices i want meeting( briefing)with me before every practices.All 5 apprentices and majors must go dinner with me once a month on any friday.
Future schedule ( New plan)
Wed- Band A full band
Band B Sectional
Friday- Band B Full band
Band A Sectional
Band A-Junior band ( Sec 1 and weaker players)
Band B- Senior band
For now,relax,reflect,take a view from the mountaintop and allow yourself to see the next even higher place.
god bless
Rds
Simon foo
It's ok that we did badly in the SIBF.
Now we have 4 months before our concert and next year April is the SYF2009.Start to practice hard and push your playing skill to another level. My goal is to complete the sinfonia and first suite by 2nd week of sept or we will be behind the schedule.Time don't wait.Every practice from now to April is extremely important.Be discipline..
First i want to see a clean band room and neat school attire.
This failure will not pull me or you down...
Admit that we are all not up to the standard..Don't give your self excuses why you didn't do well...we have to work much harder and that includes me and Mr Ng and you all, the musicians, the leaders and the teachers...Workharder!!You will enjoy the joy of success next round. Practice makes perfect.I will set a very high standard next week onwards.Don't expect a very tactful criticism...good i will say good..bad i will say bad.No trying to be nice guy thingy, i don't have time for such game......Be realistic!
" What Great thing would you attempt if you knew you could not fail?"
Your next challenge is to work hard toward the next concert and also to help to push the sec one members to another level. Do put some effort in guiding and helping them during sectional.
There will be some changes in your instrumentation and schedule. Some senior will be put to play the 3rd part to support the lower voices.Good players will be put to more major roles.Weaker one try harder and work on your basic fundamental in the junior band.
Sectional leaders,Majors and apprentices i want meeting( briefing)with me before every practices.All 5 apprentices and majors must go dinner with me once a month on any friday.
Future schedule ( New plan)
Wed- Band A full band
Band B Sectional
Friday- Band B Full band
Band A Sectional
Band A-Junior band ( Sec 1 and weaker players)
Band B- Senior band
For now,relax,reflect,take a view from the mountaintop and allow yourself to see the next even higher place.
god bless
Rds
Simon foo
Tuesday, July 22, 2008
TimeTable for Wednesday 23/7.
Dear all band members,
Please read the timetable below on what will be happening on wednesday 23/7. Also, please take note of the timings on when to report etc and follow the timetable closely.
1225> Release of members that involve in SIBF
1225-1315> Lunch+change into band uniform
1315> Report to band room with everything prepared
1400-1700> Tuning with Mr Foo
1700> Arrival of bus( leave at 5 plus)
1815>Arrival at competition venue
1830>Tuning at tuning room and run through piece A
1900> Band's performance
1920> End of performance
1920-2130> Stay and watch other band perform
2130> Announcement of results
2230> Back at school
Snacks and Dinner<- (most probably) might be provided on wednesday 23/7.
Thank You!
Please read the timetable below on what will be happening on wednesday 23/7. Also, please take note of the timings on when to report etc and follow the timetable closely.
1225> Release of members that involve in SIBF
1225-1315> Lunch+change into band uniform
1315> Report to band room with everything prepared
1400-1700> Tuning with Mr Foo
1700> Arrival of bus( leave at 5 plus)
1815>Arrival at competition venue
1830>Tuning at tuning room and run through piece A
1900> Band's performance
1920> End of performance
1920-2130> Stay and watch other band perform
2130> Announcement of results
2230> Back at school
Snacks and Dinner<- (most probably) might be provided on wednesday 23/7.
Thank You!
WALTER BEELER, one of the great band trainers of the last century said:
Restraint is especially important in fast music; the spirit begins to suffer if played too loud. The audience tires, the players tire and it becomes a very determined piece. It's hard for a band to play with restraint because speed and excitement always tend to increase the volume. But if we rely on articulations, accents and rhythm (rather than volume) to bring about a condition of brightness, it will definitely be more musical.
Restraint is especially important in fast music; the spirit begins to suffer if played too loud. The audience tires, the players tire and it becomes a very determined piece. It's hard for a band to play with restraint because speed and excitement always tend to increase the volume. But if we rely on articulations, accents and rhythm (rather than volume) to bring about a condition of brightness, it will definitely be more musical.
Music to prepare for sentosa performance ( Sunday)
1. Disco lives
2. ocean selection
3. High school musical
4. Beauty and the beast
5. Instant swing
6. colors of the wind
7. Stand up for Singapore
There will be band practice this Sat if possible..i think we need..you decide...let me know on wed..or unless you all come for band at 1pm on friday.Please check with Mr Famy.
Thanks.
--------------------------------------------------wed---------------------------------------------------------
All clarinet players please come earlier this wed. bought some good ligatures, you will take an hour or so to get use before the evening competition...
A bit rush, suppose to do it on Monday be most of you went off early that day.
Monday is so crucial, i not sure wed i can conduct well like that.I'm felt very disappointed. I could have done some last min miracle with you...now we just have to pray hard.god bless..
Thanks
Wed please warm up your self 15mins before band and then quickly tune yourself to 442...only tuba to 440...flute 443. I will do the general tuning and matching around 3pm....
Intonation and balance/blend are extremely important for a competition...
Thanks
2. ocean selection
3. High school musical
4. Beauty and the beast
5. Instant swing
6. colors of the wind
7. Stand up for Singapore
There will be band practice this Sat if possible..i think we need..you decide...let me know on wed..or unless you all come for band at 1pm on friday.Please check with Mr Famy.
Thanks.
--------------------------------------------------wed---------------------------------------------------------
All clarinet players please come earlier this wed. bought some good ligatures, you will take an hour or so to get use before the evening competition...
A bit rush, suppose to do it on Monday be most of you went off early that day.
Monday is so crucial, i not sure wed i can conduct well like that.I'm felt very disappointed. I could have done some last min miracle with you...now we just have to pray hard.god bless..
Thanks
Wed please warm up your self 15mins before band and then quickly tune yourself to 442...only tuba to 440...flute 443. I will do the general tuning and matching around 3pm....
Intonation and balance/blend are extremely important for a competition...
Thanks
Saturday, July 19, 2008
Important Info on SIBF
I've transferred almost all our band stuff from the old MIDAS to the new one. Visit http://manjusri.learnfusion.com/midas and click on guest access. There's a section on SIBF that explain almost all the details for next week.
Wednesday, July 16, 2008
On tuning and practice by simon foo
The below step- by- step approach is developed for students so that they know how to practice correctly both at home or during sectionals.
This step- by- step method consist of five stages:
Stage 1 getting the notes right!
This is the most basic but time consuming. This stage is usual done individually before coming for rehearsal. Some time it is helpful to have the senior to guide them along during the sectional practices. They should follow the steps below, making sure each step is mastered before moving on to the next.
1.1 Read the notes right
1.2 Knowing the correct fingering
1.3 Pitching the notes right
1.4 Playing the correct note’s values.
1.5 Playing the correct rest value
Stage 2: Breathing at the correct place and marking down where to breathe after consulting the director or sectional leader.
After getting all the notes, phrasing is the next stage similar to the first stage, this is usually done individually but like wise a section should come together to an agreement as to where to breath together.
Hint on how the student can figure out the breath marks:
2.1 Look for the long slur lines
2.2 Comma
2.3 Usually 2, 4 or 8 bars depending on the music
2.4 Sing out the melody or note and make sure it sounds natural
Stagger breathing
Sometime the music is written in such a way that there should be no breaks at all. This is where stagger breathing comes about. Each player must breath at the different points of the phrase so as to ensure that the music does not break at all. The section leader must plan where each player breathes and it must be practice as a section.
Stage 3: Make a difference in the music by adding articulation
Articulation marks are symbols like slur, staccato, tenuto and accent etc. They indicate how the notes should be played. They add the style to the music.
Getting this correct can help in a lot of blending or precision problems during he rehearsal.
Stage 5: Adding the correct dynamic
This also helps in the balance during the full band.
Stage 6: Tempo
6.1 Never compromise notes for the tempo. Always practice at a slower tempo especially the running notes) only increase the speed when they are familiar with the notes.
6.2 Put marking on the measure that requires a change of tempo, example RIT, RALL etc.
-Tuning individual instrument for better intonation
“The tuning process is different for each instrument family, and there are important tuning differences for certain instrument within families.”
Many band I come across tuned to concert Bb note for the whole band. Although tuning one note doesn’t mean the intonation of the instrument will be good but at it makes it easier for us to adjust our tuning. One method that makes sense to everyone is to tune to an open note or a stable tone on the instrument. A common practice by many professional ensembles is to tune the woodwinds to concert “A” and Brass their open note the concert “ Bb”. The Horns to Concert “F”, which is the key that they are built in.
Clarinet is very different from the other woodwinds instrument by being the only one that overblown a 12th (instead of an octave). All professional clarinetists I come across will tune the clarinet to two notes the concert A to adjust the bell and Open “G” which is the concert F to adjust the barrel compensate.
-Teaching tuning and listening procedure for better intonation
In the recent years, the tradition of tuning from the soprano instruments- the clarinet or oboe has change. Through a better understanding of overtones, many band directors I came across have switch to tuning from the bass instrument either the tuba, bass clarinet or baritone saxophone. The lowest fundamental note affect all the other higher tones above, the lower instrument of the band affect the tuning of the higher instrument. Most of the band will tune their bass instruments with the tuner then match the sound from the lowest to the higher instruments.
There is no special short cut on tuning after I try all the three methods; it all depends on personal preference and the student able to listen. “ The teaching techniques used from students earliest musical experiences frequently create confusion and problem. When students are instructed to listen for sharpness and flatness in pitch, the attention focused to discerning the highness or lowness, instead of the actual beats or misaligned frequencies of two or more sounds.”
Therefore we need to teach the students step by step, an effective way to do it is to use two experience players to demonstrate. One player will tune at standard A=442 and the others at A= 445,the varying frequency will collide creating a buzz. At this moment we will not ask the student to recognize flat or sharp, they just need to listen to the speed of the buzz (Beats) .We must then explained to them that the faster the beat the more out of tuned and the slower the more in tuned. To get rid of the buzz, the student has to experiment by put adjusting the slide in or out by try and error until it is beat less (buzz disappeared) and they are perfectly in tuned. Procedure “A” or “B” is good to train student to listen for the beat to match their sound, but this process tends to take up more time. Procedure “C” takes a shorter time but needs a more experience band, for less school band it is good to let the student sing the oboe tuning pitch correctly before they play. We must not spend too much time on this process once the students are clear how to identify and correct pitch errors. Do a group tuning when time is limited.
New tuning procedure (A)
Lower woodwinds-→ Tuba-→ Euphonium→ Trombone-→ Trumpet-→A/T saxophone-→ Horns --→ clarinet--→ Flute-→ oboe
New tuning procedure (B)
Tuba→Euphonium→ Trombone→Trumpet
Euphonium→Baritone saxophone → Bass clarinet
Trumpet → Alto sax
Alto saxophone→ Clarinet
Clarinet→ Flute
Flute → Oboe
Traditional tuning procedure (C)
Oboe sounds “Bb” all brass tune to this note.
Oboe Sounds “ A” all woodwinds to this note.
*Band without oboe tune with clarinet or even Alto Saxophone
This step- by- step method consist of five stages:
Stage 1 getting the notes right!
This is the most basic but time consuming. This stage is usual done individually before coming for rehearsal. Some time it is helpful to have the senior to guide them along during the sectional practices. They should follow the steps below, making sure each step is mastered before moving on to the next.
1.1 Read the notes right
1.2 Knowing the correct fingering
1.3 Pitching the notes right
1.4 Playing the correct note’s values.
1.5 Playing the correct rest value
Stage 2: Breathing at the correct place and marking down where to breathe after consulting the director or sectional leader.
After getting all the notes, phrasing is the next stage similar to the first stage, this is usually done individually but like wise a section should come together to an agreement as to where to breath together.
Hint on how the student can figure out the breath marks:
2.1 Look for the long slur lines
2.2 Comma
2.3 Usually 2, 4 or 8 bars depending on the music
2.4 Sing out the melody or note and make sure it sounds natural
Stagger breathing
Sometime the music is written in such a way that there should be no breaks at all. This is where stagger breathing comes about. Each player must breath at the different points of the phrase so as to ensure that the music does not break at all. The section leader must plan where each player breathes and it must be practice as a section.
Stage 3: Make a difference in the music by adding articulation
Articulation marks are symbols like slur, staccato, tenuto and accent etc. They indicate how the notes should be played. They add the style to the music.
Getting this correct can help in a lot of blending or precision problems during he rehearsal.
Stage 5: Adding the correct dynamic
This also helps in the balance during the full band.
Stage 6: Tempo
6.1 Never compromise notes for the tempo. Always practice at a slower tempo especially the running notes) only increase the speed when they are familiar with the notes.
6.2 Put marking on the measure that requires a change of tempo, example RIT, RALL etc.
-Tuning individual instrument for better intonation
“The tuning process is different for each instrument family, and there are important tuning differences for certain instrument within families.”
Many band I come across tuned to concert Bb note for the whole band. Although tuning one note doesn’t mean the intonation of the instrument will be good but at it makes it easier for us to adjust our tuning. One method that makes sense to everyone is to tune to an open note or a stable tone on the instrument. A common practice by many professional ensembles is to tune the woodwinds to concert “A” and Brass their open note the concert “ Bb”. The Horns to Concert “F”, which is the key that they are built in.
Clarinet is very different from the other woodwinds instrument by being the only one that overblown a 12th (instead of an octave). All professional clarinetists I come across will tune the clarinet to two notes the concert A to adjust the bell and Open “G” which is the concert F to adjust the barrel compensate.
-Teaching tuning and listening procedure for better intonation
In the recent years, the tradition of tuning from the soprano instruments- the clarinet or oboe has change. Through a better understanding of overtones, many band directors I came across have switch to tuning from the bass instrument either the tuba, bass clarinet or baritone saxophone. The lowest fundamental note affect all the other higher tones above, the lower instrument of the band affect the tuning of the higher instrument. Most of the band will tune their bass instruments with the tuner then match the sound from the lowest to the higher instruments.
There is no special short cut on tuning after I try all the three methods; it all depends on personal preference and the student able to listen. “ The teaching techniques used from students earliest musical experiences frequently create confusion and problem. When students are instructed to listen for sharpness and flatness in pitch, the attention focused to discerning the highness or lowness, instead of the actual beats or misaligned frequencies of two or more sounds.”
Therefore we need to teach the students step by step, an effective way to do it is to use two experience players to demonstrate. One player will tune at standard A=442 and the others at A= 445,the varying frequency will collide creating a buzz. At this moment we will not ask the student to recognize flat or sharp, they just need to listen to the speed of the buzz (Beats) .We must then explained to them that the faster the beat the more out of tuned and the slower the more in tuned. To get rid of the buzz, the student has to experiment by put adjusting the slide in or out by try and error until it is beat less (buzz disappeared) and they are perfectly in tuned. Procedure “A” or “B” is good to train student to listen for the beat to match their sound, but this process tends to take up more time. Procedure “C” takes a shorter time but needs a more experience band, for less school band it is good to let the student sing the oboe tuning pitch correctly before they play. We must not spend too much time on this process once the students are clear how to identify and correct pitch errors. Do a group tuning when time is limited.
New tuning procedure (A)
Lower woodwinds-→ Tuba-→ Euphonium→ Trombone-→ Trumpet-→A/T saxophone-→ Horns --→ clarinet--→ Flute-→ oboe
New tuning procedure (B)
Tuba→Euphonium→ Trombone→Trumpet
Euphonium→Baritone saxophone → Bass clarinet
Trumpet → Alto sax
Alto saxophone→ Clarinet
Clarinet→ Flute
Flute → Oboe
Traditional tuning procedure (C)
Oboe sounds “Bb” all brass tune to this note.
Oboe Sounds “ A” all woodwinds to this note.
*Band without oboe tune with clarinet or even Alto Saxophone
Tuesday, July 15, 2008
Adjudicator for the SIBF
Mr. Toshio Akiyama.......oh my god.!!..the author of the total training book that we are using..
Honorary President
Asia Pacific Band Director Association
Mr. Douglas Bostock
Principal Conductor
Aargau Symphony Orchestra, Switzerland
Principal Guest Conductor
Tokyo Kosei Wind Orchestra
Principal Guest Conductor
Czech Chamber Philharmonic
Mr. Dennis Johnson
Past President/ Parliamentarian
World Association for Symphonic Bands & Ensembles
Mr. Surapol Thanyawibool
Music Director
Kasetsart University, Thailand
Mr. Simon Yau
Composer
Hong Kong
MAJ Philip Tng Liat Peng
Senior Director of Music
Singapore Armed Forces Band
Mr. Richard Adams
Head of Music
Nanyang Academy of Fine Arts, Singapore
h band will receive a written appraisal from our panel of international adjudicators and Diploma in Band Performance (Open Division/I/II) based on the following merit:
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There will also be a "Best Soloist" prize (applicable for Open Division only) which will be announced at the end of the contest. | ||||||||||||||||||||||||||||||||||||
Prizes | ||||||||||||||||||||||||||||||||||||
Open Division | ||||||||||||||||||||||||||||||||||||
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Division I | ||||||||||||||||||||||||||||||||||||
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Division II | ||||||||||||||||||||||||||||||||||||
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Best Soloist | ||||||||||||||||||||||||||||||||||||
Best Soloist Trophy | ||||||||||||||||||||||||||||||||||||
(Applicable for Open Division only) | ||||||||||||||||||||||||||||||||||||
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Analysis in simple and understandable point forms
Piece A
(INTRO) Instead of using the usual timpani roll to lead to a majestic introduction opening, the composer choose a suspended cymbal to appropriately bring in a more lyrical brass chorale tune with a block chord accompaniment by the lower brasses. The 3rd trumpet here plays an important role to support the other trumpets that are having the main melody. The phrase structure here is in simple periodic form- 2 bars of antecedent (Ascending feel) and follow by 2 bars of consequent (descending feel). At measure 5 this tune moves on to be a more tutti texture using the higher sounding flutes and clarinets on the melody and some elision melody from the trumpets. He then intelligently brings in the timpani to lead to this forte passage. Still legato style although the dynamic increase by increasing the texture only.
(A) Measure 9: Suspended chord leading to the presto section helps to emphasize the arrival of a more exciting tempo and contrasting articulated tune. Melody here starts with the trumpet using scale like variation to create the tune, all in stepwise ascending and descending motion. The antecedent and consequent here is link by the block chord movement of the lower brasses in contrary motions. Trumpet tune is in staccato with a little slur somewhere to spice up the descending phrase. The lower brass link is again written in a creative way, using first link in a straight/ stable crotchets and second link using syncopations to create a contrasting mood. Measure 19 is the same thing but now the trombones and euphonium play the melody, accompanied by woodwinds. The use of higher sounding instrument, as an accompaniment is quite creative here (hahahaha ok lah I mean in term of educational point of view). The only sustained note here in the section is the chime semibreve note hidden inside this orchestration.
(B) Measure 27: Driving decorative ostinato (repetition and succession of equal sounds) like tune of the flutes in staccato mark the arrival of theme B.Triangle add on the texture and follow by claves rhythmic texture - Expressive clarinet tune in contrast, a full clarinet sounding tone is needed here in order to sounds good. The saxophone ensemble accompanies melody with a driving syncopated phrase
Trombone adds on to the texture before Measure 42 as a slight hint to the trombone melody coming ahead. Measure 42 with a brass questioning and the woodwind answering with slight elision.
Measure 50: A full tutti, similar technique use again in the brass melody (contrast in straight and syncopated phrases) so in order to make this repetition style sounds interesting, a new slur 1 and tongued 2 kind of elision counter melody is added here. Snare drum part has similar rhythms with the woodwind to enhance the clarity in articulation. Basses, cymbal and chimes have sustained notes to support the tune. (Please try to show your sustain notes)- How? Don’t ask me liao. I have shown you many time how to do it...:P
(A2) Measure 52: A recap of the presto section -diminutions in length with some simple alterations.
Repetitive figures in the trumpet creates suspend on what coming next. The motif of this section then breaks into fragment of chime-liked effect (Sfz notes) leading to the next chapter.
(C) Measure 72 – Adagio expressivo!!!!!! 0_0Slower tempo but don’t melt very single notes and slow down the tempo. Be sure of the Phrase structure here and knowing where to take put breath marks. Express the phrase not the notes and have direction in your playing. Inner voices ascending notes make slight crescendo where necessary. I will be conducting the phrasing and the internal dynamic and its important to look at me during each entry.
Players have the dynamic bare bone, but you all don’t know where the music is going to or coming from, and you might not understand your particular roles or job at the time. Either playing the main melody, the counter melody, the harmonic backing, giving a rhythmic or harmonic twist. (Trade secret…hahahha) please look at me.
This section is very tricky in term of breath marks and phrase structure.But the harmonic progression if you listen carefully its the exact chromatic movement/progression as the chorale section at the introduction. One must understand that it’s different from the simple periodic form as before. Here the flute melody is introduced in a double periodic phrase structure-consists of 2 simple periods. (Ok difficult; please ask me to explain this during practice) or easy, don’t breathe in between the slur….hehe that will make it simple. In the inner voice we have the euphonium. Measure 75- Clarinet enters as an elision consequent melody follows by a horn counter melody. Horn player please make an effort to show the different in tone colors between the A and A flat note here. Ok difficult again. Please ask me to explain.
I might invite trombone or tuba here example to crescendo an inner part, not because intellectually it is such and such a harmonic progression, but because emotionally the chromatic movement demands that.
Measure 80- has the most beautifully written melodies (trumpet and clarinet with a added on texture from the flute entry.) Horn and saxophone as the inner voice (counter melody) Listen and make colors with the Flat and natural notes here. Takes a lot of sensitive playing and imagination to do that well.
Go listen to the recording.
(B2) measure 90 same as before. Full tone in the melody and connect the slur notes well to make good legato playing.
(A3) same…. with some changes in tempo at the last chime effect part…a molto rit.breathe after the crescendo femata. Very dangerous place. Die die must look at the conductor.I scare too this part.damn..conducted wrongly in montage.
Measure 130
Coda- largo (very slow) to a sudden fast tempo. All melodies and motif of the piece are pull together consecutively here. Thick texture, but I would like to bring out the horn and saxophone.
A little harmonic twist- 142 in the lower brasses.
Please show a well play and organize Subito (Sudden) forte piano in the last chord. Band majors do work on this with the band during your warm up session.
Simon foo
Thanks. All the best and God bless.
Remember:
Subito piano is more effective if preceded by a crescendo
subito forte is more effective if preceded by diminuendo
the first fortissimo is the smallest, the last is the biggest
The purpose of dynamic change is to sustain interest on the part of the listener, as well as to create a mood. Obviously, the wider the dynamic range of the band, the better prepared they are to do both.
“One of the biggest problems with the wind band is one of its greatest strengths, its brilliance, produced by all of these dominant colours. There are some pastel shades, low flutes, bassoons, some saxophone, horn and euphonium scoring, but on the whole we are lucky to have a glittering range of bright colours, which can and often does get very tiring to the ear. We have two jobs in my view, whether with the orchestra, band or choir. Believe that our biggest job is CONTROL of this brilliance.”
By Tim reyish.
WALTER BEELER, one of the great band trainers of the last century said:
Restraint is especially important in fast music; the spirit begins to suffer if played too loud. The audience tires, the players tire and it becomes a very determined piece. It's hard for a band to play with restraint because speed and excitement always tend to increase the volume. But if we rely on articulations, accents and rhythm (rather than volume) to bring about a condition of brightness, it will definitely be more musical.
(INTRO) Instead of using the usual timpani roll to lead to a majestic introduction opening, the composer choose a suspended cymbal to appropriately bring in a more lyrical brass chorale tune with a block chord accompaniment by the lower brasses. The 3rd trumpet here plays an important role to support the other trumpets that are having the main melody. The phrase structure here is in simple periodic form- 2 bars of antecedent (Ascending feel) and follow by 2 bars of consequent (descending feel). At measure 5 this tune moves on to be a more tutti texture using the higher sounding flutes and clarinets on the melody and some elision melody from the trumpets. He then intelligently brings in the timpani to lead to this forte passage. Still legato style although the dynamic increase by increasing the texture only.
(A) Measure 9: Suspended chord leading to the presto section helps to emphasize the arrival of a more exciting tempo and contrasting articulated tune. Melody here starts with the trumpet using scale like variation to create the tune, all in stepwise ascending and descending motion. The antecedent and consequent here is link by the block chord movement of the lower brasses in contrary motions. Trumpet tune is in staccato with a little slur somewhere to spice up the descending phrase. The lower brass link is again written in a creative way, using first link in a straight/ stable crotchets and second link using syncopations to create a contrasting mood. Measure 19 is the same thing but now the trombones and euphonium play the melody, accompanied by woodwinds. The use of higher sounding instrument, as an accompaniment is quite creative here (hahahaha ok lah I mean in term of educational point of view). The only sustained note here in the section is the chime semibreve note hidden inside this orchestration.
(B) Measure 27: Driving decorative ostinato (repetition and succession of equal sounds) like tune of the flutes in staccato mark the arrival of theme B.Triangle add on the texture and follow by claves rhythmic texture - Expressive clarinet tune in contrast, a full clarinet sounding tone is needed here in order to sounds good. The saxophone ensemble accompanies melody with a driving syncopated phrase
Trombone adds on to the texture before Measure 42 as a slight hint to the trombone melody coming ahead. Measure 42 with a brass questioning and the woodwind answering with slight elision.
Measure 50: A full tutti, similar technique use again in the brass melody (contrast in straight and syncopated phrases) so in order to make this repetition style sounds interesting, a new slur 1 and tongued 2 kind of elision counter melody is added here. Snare drum part has similar rhythms with the woodwind to enhance the clarity in articulation. Basses, cymbal and chimes have sustained notes to support the tune. (Please try to show your sustain notes)- How? Don’t ask me liao. I have shown you many time how to do it...:P
(A2) Measure 52: A recap of the presto section -diminutions in length with some simple alterations.
Repetitive figures in the trumpet creates suspend on what coming next. The motif of this section then breaks into fragment of chime-liked effect (Sfz notes) leading to the next chapter.
(C) Measure 72 – Adagio expressivo!!!!!! 0_0Slower tempo but don’t melt very single notes and slow down the tempo. Be sure of the Phrase structure here and knowing where to take put breath marks. Express the phrase not the notes and have direction in your playing. Inner voices ascending notes make slight crescendo where necessary. I will be conducting the phrasing and the internal dynamic and its important to look at me during each entry.
Players have the dynamic bare bone, but you all don’t know where the music is going to or coming from, and you might not understand your particular roles or job at the time. Either playing the main melody, the counter melody, the harmonic backing, giving a rhythmic or harmonic twist. (Trade secret…hahahha) please look at me.
This section is very tricky in term of breath marks and phrase structure.But the harmonic progression if you listen carefully its the exact chromatic movement/progression as the chorale section at the introduction. One must understand that it’s different from the simple periodic form as before. Here the flute melody is introduced in a double periodic phrase structure-consists of 2 simple periods. (Ok difficult; please ask me to explain this during practice) or easy, don’t breathe in between the slur….hehe that will make it simple. In the inner voice we have the euphonium. Measure 75- Clarinet enters as an elision consequent melody follows by a horn counter melody. Horn player please make an effort to show the different in tone colors between the A and A flat note here. Ok difficult again. Please ask me to explain.
I might invite trombone or tuba here example to crescendo an inner part, not because intellectually it is such and such a harmonic progression, but because emotionally the chromatic movement demands that.
Measure 80- has the most beautifully written melodies (trumpet and clarinet with a added on texture from the flute entry.) Horn and saxophone as the inner voice (counter melody) Listen and make colors with the Flat and natural notes here. Takes a lot of sensitive playing and imagination to do that well.
Go listen to the recording.
(B2) measure 90 same as before. Full tone in the melody and connect the slur notes well to make good legato playing.
(A3) same…. with some changes in tempo at the last chime effect part…a molto rit.breathe after the crescendo femata. Very dangerous place. Die die must look at the conductor.I scare too this part.damn..conducted wrongly in montage.
Measure 130
Coda- largo (very slow) to a sudden fast tempo. All melodies and motif of the piece are pull together consecutively here. Thick texture, but I would like to bring out the horn and saxophone.
A little harmonic twist- 142 in the lower brasses.
Please show a well play and organize Subito (Sudden) forte piano in the last chord. Band majors do work on this with the band during your warm up session.
Simon foo
Thanks. All the best and God bless.
Remember:
Subito piano is more effective if preceded by a crescendo
subito forte is more effective if preceded by diminuendo
the first fortissimo is the smallest, the last is the biggest
The purpose of dynamic change is to sustain interest on the part of the listener, as well as to create a mood. Obviously, the wider the dynamic range of the band, the better prepared they are to do both.
“One of the biggest problems with the wind band is one of its greatest strengths, its brilliance, produced by all of these dominant colours. There are some pastel shades, low flutes, bassoons, some saxophone, horn and euphonium scoring, but on the whole we are lucky to have a glittering range of bright colours, which can and often does get very tiring to the ear. We have two jobs in my view, whether with the orchestra, band or choir. Believe that our biggest job is CONTROL of this brilliance.”
By Tim reyish.
WALTER BEELER, one of the great band trainers of the last century said:
Restraint is especially important in fast music; the spirit begins to suffer if played too loud. The audience tires, the players tire and it becomes a very determined piece. It's hard for a band to play with restraint because speed and excitement always tend to increase the volume. But if we rely on articulations, accents and rhythm (rather than volume) to bring about a condition of brightness, it will definitely be more musical.
Monday, July 14, 2008
Important Message to EXCO 2008/2009
Congratulations to all newly appointed student leaders. Let's work hard together to bring the band to greater heights.
Your official letter of appointment will soon be ready. You can also refer to the job scope on the band noticeboard in the band room.
Demonstrate initiative and take action where necessary. There is no need to wait for Mr Foo, myself, Sha' or Sharil to give instructions. Of course, keep us informed.
If you are unsure, check with your predecessor, or simply check with us. We will be glad to give assistance whenever necessary.
Observe and look at the current situation, especially when senior leaders or the band alumni is around. They are a great source of inspiration and advice. You can also ask our honorary band member, Sin Hua for help, too. :-)
There is much preparation to be done now that we are near the competition. Think of the preparation needed for mbrosia or MONTAGE. There is a checklist of activities available from the previous Apprentices. You can use that document as a guide.
To start off:
Your official letter of appointment will soon be ready. You can also refer to the job scope on the band noticeboard in the band room.
Demonstrate initiative and take action where necessary. There is no need to wait for Mr Foo, myself, Sha' or Sharil to give instructions. Of course, keep us informed.
If you are unsure, check with your predecessor, or simply check with us. We will be glad to give assistance whenever necessary.
Observe and look at the current situation, especially when senior leaders or the band alumni is around. They are a great source of inspiration and advice. You can also ask our honorary band member, Sin Hua for help, too. :-)
There is much preparation to be done now that we are near the competition. Think of the preparation needed for mbrosia or MONTAGE. There is a checklist of activities available from the previous Apprentices. You can use that document as a guide.
To start off:
- Secretary, please note down any important remarks or reminders from Mr Foo. Carry a notebook if necessary. Better yet, save your notes in your handphone and set automatic reminders. Work with the Majors closely. Take down the minutes of any meetings the committee conducts. Find out how to take and disseminate minutes.
- Quartermasters: As usual, check whether there's enough reeds, mouthpieces, lubricants, etc. Check if any instruments need repair. Bring along extra accessories on the competition day. Work closely with the SLs to find out what the section needs.
- Treasurer: Check accounts and log book. Standardise procedures for band fund collection and claims (e.g. signatures and receipts). Start collecting band fund.
- Librarians: Check to see if members or sections have appropriate scores. We'll need the Disney pieces too since we'll be performing the Disney pieces in Sentosa. Memorise the number of sheet music needed for each section. Maintain close communication with each other. Keep extra copies of scores.
- Uniform Managers: Please check that the Sec Ones have their vests, etc. You may need to see them on a separate day to coordinate uniform fitting. Bring extra buttons, needle and thread on the competition day.
- Welfare/Public Relations: Get ready to host our exchange band, e.g. preparation of gifts, refreshments, etc. Also, look after the welfare of the band members. If you see any members particularly stressed out, do talk to them and check if they need help. Bring extra handiplast, hair spray, hair clip, etc. on the competition day.
- Web Admin: We need to start your training on managing the band blog on the e-learning portal. Please arrange for appointment with me. Work closely with the Majors and the Secretary.
- Apprentice Majors: Work closely with one another and with the Band/Drum Major. Your actions should be for the good of the band, not for your own glory (sorry if this sounds harsh or patronising). However I believe that all five of you have a good heart and only want the best for the band.
- Section Leaders: There's too many things to do for me to write here. Haha! Basically, in addition to teaching the members under your charge, you will need to work closely with the EXCO for scores, accessories, uniforms, etc. etc.
One last reminder to ALL: If any of the teachers or instructors ask you a question, please do not reply with "I dunnooooooo...." or "I forgoooooooot......". If you really do not know, just say, "I'm not sure, let me check with [Xyz]
Congratulations, once again. Like Mr Foo, I'm really proud of our accomplishments so far. When I think back, I really, really think the turning point was our first mbrosia concert. There were so many good things that came out after the concert. Let's maintain our good work.
Muhammad Fahmy Babjee
Overall Teacher-in-Charge
Manjusri Concert Band
Sunday, July 13, 2008
Participant List
Click to enlarge.Please check that your name has been spelt correctly. Inform me if there are any errors.
Saturday, July 12, 2008
Change of Practice Schedule for Next Week
To all band members:
There will be a change of band practice next week. Mr Foo is unavailable on Wednesday, and since we can't afford to miss any practice sessions so close to the competition, instead of Wednesday and Friday, it has been changed to TUESDAY 15/7 and Friday 18/7. The timings will remain the same, i.e. 3.00 pm on Tuesday and 2.30 pm on Friday. To all newly appointed SLs, please inform all your members.
Sec. 1s, if you have to attend CIP on Tuesday, go for CIP unless you're actually taking part in the SIBF, in which case, Mr Muhd Fahmy will issue an official letter of excuse.
THANK YOU!
There will be a change of band practice next week. Mr Foo is unavailable on Wednesday, and since we can't afford to miss any practice sessions so close to the competition, instead of Wednesday and Friday, it has been changed to TUESDAY 15/7 and Friday 18/7. The timings will remain the same, i.e. 3.00 pm on Tuesday and 2.30 pm on Friday. To all newly appointed SLs, please inform all your members.
Sec. 1s, if you have to attend CIP on Tuesday, go for CIP unless you're actually taking part in the SIBF, in which case, Mr Muhd Fahmy will issue an official letter of excuse.
THANK YOU!
Friday, July 11, 2008
Manjusri Concert Band EXCO 2008/2009
Band Major: Sha'abaniah Anis
Drum Major: Sharil Annuar
Secretary: Chan Weng Yee
Quarter Master (Brass): Ng Sheng Jun
Quarter Mistress (Woodwinds): Chew Wen Qi
Treasurer: Chia Xin Ying
Head Librarian: Victor Kuan
Assistant Librarian: Christopher Koh
Uniform Manager (Males): Muhd Fahmi Md Don
Uniform Manager (Females): Joey Yu
Welfare/Public Relations Officer: Natally Ng
Assistant Welfare/Public Relations: Melvin Keh
Web Administrator: Chang Wei Xing
Apprentice Majors (in alphabetical order)
Abdul Rahman Nasir Baessa
Elaine Soh
Law Yin Kai
Soh Yan Da
Zeng Gu Juan
Section Leaders
Clarinet: Adeline Liow , Assistant : Clarin
Flute: Soh Yan Da
Saxophone/Oboe: Sharil Annuar
Saxophone Assistant: Fang Fang
French Horn: Chang Wei Xing
Euphonium: Sha'abaniah Anis
Trombone: Darren Ho
Trumpet: Levon Lim , Assistant :Abdul Rahman Nasir Baessa
Elaine Soh
Tuba: Shahrul Ammar
Percussion: Zeng Gu Juan
Percussion Assistant: Seng Yan Bin
Congratulations to all various new appointment holders!
Drum Major: Sharil Annuar
Secretary: Chan Weng Yee
Quarter Master (Brass): Ng Sheng Jun
Quarter Mistress (Woodwinds): Chew Wen Qi
Treasurer: Chia Xin Ying
Head Librarian: Victor Kuan
Assistant Librarian: Christopher Koh
Uniform Manager (Males): Muhd Fahmi Md Don
Uniform Manager (Females): Joey Yu
Welfare/Public Relations Officer: Natally Ng
Assistant Welfare/Public Relations: Melvin Keh
Web Administrator: Chang Wei Xing
Apprentice Majors (in alphabetical order)
Abdul Rahman Nasir Baessa
Elaine Soh
Law Yin Kai
Soh Yan Da
Zeng Gu Juan
Section Leaders
Clarinet: Adeline Liow , Assistant : Clarin
Flute: Soh Yan Da
Saxophone/Oboe: Sharil Annuar
Saxophone Assistant: Fang Fang
French Horn: Chang Wei Xing
Euphonium: Sha'abaniah Anis
Trombone: Darren Ho
Trumpet: Levon Lim , Assistant :Abdul Rahman Nasir Baessa
Elaine Soh
Tuba: Shahrul Ammar
Percussion: Zeng Gu Juan
Percussion Assistant: Seng Yan Bin
Congratulations to all various new appointment holders!
Dear MJR Band
The first half of 2008 has certainly seemed to have zipped by at lightning speed and I am confident to say that this is the best year I have ever had in Manjusri. :> It is indeed a very fruitful year for me and you were very much a part of that.
I would like to use this opportunity to thank you for your diligence and hard work in preparing for the upcoming competition and performances. I hope that even if we were to do badly for the competition - touch wood hahahaha - we must take this as a learning journey as life itself is a journey too or even an adventure! Results must never be measured just by competition alone. As far as I am concerned, what counts most is your own personal growth, satisfaction, enjoyment and even fullfilment in life or music. In my heart you are always my gold band!
If we want to succeed, there is no short cut. Every step still possesses its own rewards. I am sure you have already learned this TRUTH in this very special CCA -- Band.
Thanks.
SIMON FOO
I would like to use this opportunity to thank you for your diligence and hard work in preparing for the upcoming competition and performances. I hope that even if we were to do badly for the competition - touch wood hahahaha - we must take this as a learning journey as life itself is a journey too or even an adventure! Results must never be measured just by competition alone. As far as I am concerned, what counts most is your own personal growth, satisfaction, enjoyment and even fullfilment in life or music. In my heart you are always my gold band!
If we want to succeed, there is no short cut. Every step still possesses its own rewards. I am sure you have already learned this TRUTH in this very special CCA -- Band.
Thanks.
SIMON FOO
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