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!