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)

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]

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.

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!

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

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!

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.

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

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.

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

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

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Mr. Douglas Bostock

Principal Conductor

Aargau Symphony Orchestra, Switzerland

Principal Guest Conductor

Tokyo Kosei Wind Orchestra

Principal Guest Conductor

Czech Chamber Philharmonic

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Mr. Dennis Johnson

Past President/ Parliamentarian

World Association for Symphonic Bands & Ensembles

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Mr. Surapol Thanyawibool

Music Director

Kasetsart University, Thailand

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Mr. Simon Yau

Composer

Hong Kong

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MAJ Philip Tng Liat Peng

Senior Director of Music

Singapore Armed Forces Band

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Mr. Richard Adams

Head of Music

Nanyang Academy of Fine Arts, Singapore

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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:

Gold 90.00% and above Silver 80.00% - 89.99% Bronze 70.00% - 79.99% Certificate Below 70.00%

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

1st Prize: S$10,000 Singapore International Band Festival Trophy 2nd Prize: S$4,000

Division I

1st Prize: S$3,000 Singapore International Band Festival Trophy

Division II

1st Prize: S$2,000 Singapore International Band Festival Trophy

Best Soloist

Best Soloist Trophy

(Applicable for Open Division only)

Marking Scheme The adjudicators will judge the performance based on the following criteria: 1. Sound a. Intonation b. Tone Quality c. Balance 2. Technique a. Technique b. Articulations c. Ensemble Musicianship d. Rhythm 3. Musical Performance a. Phrasing b. Dynamics c. Interpretation

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.

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:

• 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], ok? I'll get back to you once I'm certain." If you really forgot, then answer with, "Oops, I'll get right on it!" :-)

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

Participant List

Click to enlarge.

Please check that your name has been spelt correctly. Inform me if there are any errors.

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!

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!

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

Important Message from Mr Foo

I am quite embarassed because we are playing such a cheesy repertoire for such a big event. But, well, no choice. Hong Kong pieces took up too much of our time. We would just have to do our best to make this easy pieces sound good. Let's work harder. I strongly advise members to pen down all the mistakes I spotted during rehearsals. This will help a bit. (edited by Mr Fahmy: Would the SLs like to meet Mr Foo 15 minutes before band practice to note down all his advice and remarks for EACH bar? Arrange to meet him separately, please, then disseminate to your members. This may help to make band practice more productive and also save a bit of time.)

Remember guys, don't play like the performance during Montage!!! We will get a C.O.P!!! The Montage playing style is for entertainment only, not for a serious band competition. Playing too loud and without a good balance and blend or good perception of the piece structure will only result in a lot of marks being deducted.

Every member must do his or her part well. Even the 3rd clarinet and the 3rd trumpet are important parts. In fact, the 2nd and 3rd players are all the inner voices of the piece. These parts are usually neglected as non-important roles, when in fact, they have equal levels of importance.

Percussion players usually treat their instruments as hitting tools. They should in fact be the group of people that know the music every well and are very sensitive to the phrasing made by the other blowing instruments of the band. Their banging and hitting must fit the music and the style or structure of the music. I'm sure composers don't use percussion to make more noise. It should be more than that. For example, composers use the percussion to achieve the harmonic texture or colours of each phrase. Or cadences.

But now, well, let's not say too much. Hahahaha. You guys must do your best to get the correct rhythms or entries.

2nd and 3rd clarinets and trumpets. Jia you!!!
Triangle and cymbals players. Jia you!!!
Our fate depends on you. God bless.

One last reminder - the 1st trumpet and clarient players, etc. etc. are all the outer voices. Or I can say the perimeters of the picture. I need more inner voices and depth in our music.

Listen for them during the next practice.

Don't judge a book by its cover. Don't play like the Montage performance.
Memorise the percussion notes. You have no pitch notation to read. Go listen to the recordings. Get familiar with the music, my dear percussion players.

Don't always think big. Do the small little things well. Notice the small joys of success everyday during band practice. Put in the small steps of hard work everyday. Little accomplishments are also progresses that lead you to future successes. (=

There is no last minute miracles without these small daily accomplishments.

Getting a bar perfect each practice is an accomplishment in itself!

Thank You!