Saturday Eastside Rehearsals February 4, 11, 18 Camelback High School Piano Lab Conductor: Carolyn Berggren Remember to set up music as per conductor’s instructions Number all measures and highlight all dynamics before the first rehearsal If page setup is three pages across, the page outside the notebook must be white cardstock so it does not fold over when on the music stand. This is a requirement, not an option brought about by years of experience. No regular paper and no manila folders as they look bad from the audience. Page 1 of 3 WISTFUL WALTZ Performance Tempo -­‐ Quarter Note=MM 138 -­‐ 144 Rehearsal Tempos – Quarter Note=MM 120 to 152 Music Set-­‐up: Each student has their own black binder. Primos: Place Pages 3 and 5 across from each other. Turn page at m. 51, 52. You can either memorize measures 53 thru 60 OR cut and paste those measures on the back of page 5 and place page 7 to the right side. Secondos: Place Pages 2 and 4 across from each other. Turn page at m. 53, 54. You can either memorize measures 55 thru 60 OR cut and paste those measures on the back of page 4 and place page 6 to the right side. Primo: Bring out the beautiful melody in RH. Add phrase markings in the following measures: Phrase m. 1 and 2 as one phrase, m. 3 and 4 as one phrase, m. 5 thru 8 as one phrase, m. 81 and 82 as one phrase, m. 83 and 84 as one phrase and m. 85 thru 90. Fingering m. 19 thru 22 keep E flat in RH. At Measure 39, I want the eighth notes to be played in the LH with fingers 5,4,3,2 and then in m. 40 the RH plays the eighth notes with fingers 2,3,4,1,2,3. See finger chart for other fingering. Accent beat 1 in m. 55 thru 57– use finger 3 and lift off and observe the accel. Secondo: NO rit. in measures 7 and 8. Left Hand – be sure to observe the quarter note followed by QUARTER RESTS. Fingering: in m. 9 thru 12 use the fingering marked and m. 11 begin with 5 on the quarter note and change to the 4 for the eighth note chromatic scale phrase which ends with finger 4. Mark this same fingering everywhere these same measures are repeated. Memorize measures 88 thru 90 for ease of following conductor on the rit. Pedaling: Light Pedal only where RH plays a half note chord or dotted half note. No pedaling on the measures where the RH has the chromatic scale. Everywhere else play finger legato using finger numbers from chart below. Overall: This is a beautiful piece with an EASY lilt and wistful melody. Observing the dynamics especially in the chromatic scale passages, will give it that wistful sound. Accelerando in m. 55 to 58. Observe Tenutos in M. 75 to 80. Memorize m. 74 to 81 in order to follow the conductor on the tempo changes. Ritardando at measures 74 to 77 – to about MM 116 – 112 for the slower tempo at measures 77 to 80. THERE ARE LOTS OF ACCIDENTALS! Be diligent in making sure every note is correct. For this piece to be played with finger legato throughout, please write in fingering as soon as the student begins practicing the piece. See chart below. FINGERING CHART Primo: m.1 – 4 and 81 – 84 m.5 -­‐ 7 m.36 – 38 RH: 4,1 / 3 / 3,1 / 2 RH: 3,1 / 4, 3 / 2 RH: (1-­‐5),4,3 / (1-­‐2-­‐5),4,3 / (1-­‐
2),4,(2-­‐3) LH: 2,5 / 3 / 3,5 / 4 LH: 3,5 / 2, 3 / 4 LH: (5-­‐1),2,3 / 1, 2, 3 / (1-­‐2), 4, (3-­‐5) m. 41 (beat 2) m. 58 m. 70 -­‐72 RH: 2 RH: 2,3,4 RH: (1-­‐3-­‐5),4,3 / (1-­‐2-­‐5), 4, 3 / (1-­‐2), 4, (2-­‐ 3) LH: (2-­‐4) LH: (1-­‐5),2, 3 / (1-­‐3), 2, 3 / (2-­‐1), 4, (3-­‐5) m. 73, 74 m. 79, 80 m. 85 -­‐ 87 RH: (1-­‐3), 3,1,2,3/(1-­‐4), 2,3,4,5 RH: (2-­‐ 5), 4, 3 /(1-­‐ 2),(1-­‐ 3), 5 RH: 2, 2 / 3, 2, 4 / (1-­‐2-­‐5) LH: (1-­‐2),3,4 / (2-­‐5), (1-­‐3), 1 LH: 4, 4 / 3, 4, 2 / 1 Secondo: RH: m. 7> (1-­‐3), (2-­‐4) / m. 8> (1-­‐3), (2-­‐4), (3-­‐5) RH: m. 22> (2-­‐3), (1-­‐4) RH: m. 35> 2, 4, 3 / m. 36>4, 2, 1 /m. 37> 2, 1, 3 / m. 38> (2-­‐5), (1-­‐4) / m. 39> 2 RH: m. 40> 1, 2, 4 RH: m. 56> (1-­‐3), 5, 2 / m. 57> (1-­‐3), 5, 2 RH: m. 60, 64, 68 use the following fingers on the 3 chords: (1-­‐4), (3-­‐5), (2-­‐4) RH: m. 70> (2-­‐5), 4, 3 / m. 71> (1-­‐2-­‐4), 1, 3 / m. 72> (2-­‐5), (1-­‐4) RH: m. 73> 2, 2, 1, 2, 3 / m. 74> (2-­‐5), 2, 3, 4, 5 m. 76>RH chord use (1-­‐2-­‐4) m. 77>RH chord use (1-­‐2-­‐3) LH: mark only a few convenient notes: ex. m. 70 finger 2, m. 85 finger 4 HEART AND SOUL Performance Tempo – Quarter Note = MM 138 Rehearsal Tempos – Quarter Note = MM 100 – 138 Music set-­‐up: Primo: place pages 3 and 5 across from each other. Memorize m. 28 so you can turn at m. 27 AFTER repeating measures 5 through 28. Secondo: place pages 4 and 6 across from each other inside the notebook and have page 2 on card stock taped to the left of the notebook. There is no place to turn a page without disrupting the music. Primo: Change dynamic to PP on the staccato chords m. 13 to 18. Phrase m. 21 – 24 and m. 25 -­‐28. Observe the 8th rest at m. 21, 25, 34, 38 Secondo: Measure 2 – come in on beat 4 with the triplet. Observe all staccato markings. Measures 5 – 8 change dynamic to PP on the staccato chords. Measures 13 – 16 -­‐ lift LH on beats 2 and 4. In measures 13 – 20 bring out the melody in the RH. Measure 20-­‐ RH has a quarter note to a half note. Observe two note slurs in measures 21 -­‐28 and the RH rest on beat 1. Measure 28 –beat 4 – observe quarter rest. Use light pedaling where indicated on the last page. We may eliminate the pedaling at rehearsal if it is not a good sound with multiple pianos. Overall: Perform with a bounce as indicated at the top of the music. We will repeat measures 5 through 28. Put a repeat sign at the end of m. 28 and a repeat sign after the double bar at measure 5. Observe all the dynamic markings AND fingering as indicated on the music. Saturday Eastside Rehearsals February 4, 11, 18 Camelback High School Piano Lab Conductor: Sharon Lovell Remember to set up music as per conductor’s instructions Number all measures and highlight all dynamics before the first rehearsal If page setup is three pages across, the page outside the notebook must be white cardstock so it does not fold over when on the music stand. This is a requirement, not an option brought about by years of experience. No regular paper and no manila folders as they look bad from the audience. A Whole New World MM – Quarter Note = 112 Music Set-­‐up: It is best if each player uses his/her own notebook because you will want to make notes in your music during rehearsals. There will be two page turns which are not difficult if you practice them. Remember to bring a pencil. Primo:. Play one octave higher than written throughout Shape all phrases – soft at beginning, build in middle, soft at the end – like a wave. Watch the words for phrasing. Observe dynamics – in general, play more loudly than secondo, because you have the melody. Secondo: Play in bass clef as written. Follow phrasing as played in Primo. Please be very conservative with the pedal – less is better. Allow Primo to dominate. Over all: Please note the rhythm change in m.s 18 and 26. On beats 3 and 4, we will play quarter note triplets. I will conduct the triplet notes individually. My students count it 1 & 2 & cho-­‐co-­‐late. This is the traditional rhythm used for these passages. Begin the ending rit. At m.38. Secondo, please watch closely as I will conduct an even slower rit. At m.s 42 and 43. HAVE FUN PRACTICING – DON’T FORGET TO COUNT ALOUD AS YOU LEARN IT. On My Own MM – Quarter Note = 60 Music Set-­‐up: Each player must have their own notebook with no page turns. Primo: On the first section, please notice the first time is R H only, the second time is both hands with the RH being 8va. At the pick-­‐up to m. 10, we are back to loco. Please highlight the key changes at m.s 10 and 18. Observe rit.s at m.s 17 and 36 Pull back dynamics at m. s 18 – 21 as secondo has the melody here. Secondo: Please start very gently and softly to allow Primo to dominate with the melody. Be very conservative with the pedal. If you can, finger pedal by sustaining half notes and playing very legato. Please play more loudly at m.s 18 – 21 as you have the melody here. Over all: Again, please highlight key changes at m.s 10 and 18. Observe the rit.s at m.s 17 and 36. Please watch for the cut off after the fermata. Observe all dynamic markings. HAVE FUN LEARNING THIS LOVELY PIECE, AND REMEMBER TO COUNT ALOUD AS YOU PRACTICE. Saturday Eastside Rehearsals February 4, 11, 18 Camelback High School Piano Lab Conductor: Susan Shiner Remember to set up music as per conductor’s instructions Number all measures and highlight all dynamics before the first rehearsal If page setup is three pages across, the page outside the notebook must be white cardstock so it does not fold over when on the music stand. This is a requirement, not an option brought about by years of experience. No regular paper and no manila folders as they look bad from the audience. Valse Bleu Adult /Alumni MM Quarter note = 138 Since each part is only 4 pages, set up only your part in your notebook and you will have only one page turn at M. 38-­‐39. As in past years, we are usually able to have each performer have their own piano. Since I cannot guarantee that until after registration, I suggest practicing both ways with a partner sitting next to you and without. Therefore, Primo must should put in all pedal marking in their music to match the marking in the secondo part, incase you are seated alone. Primo Primo has melody M. 1-­‐31/ 41-­‐55/71-­‐end Drop dynamic to p or PP M.32-­‐40 and make sure chords in 59-­‐70 are very light. M.70-­‐end. Observe fingering carefully and practice playing by memory looking up to conductor. This is the only way we will stay together with rit. and fermatas. Please circle in red eighth rests in measure 71 and 58. Secondo You have the melody M. 32-­‐40. 55-­‐end. The melody is tricky to play with the Waltz accompaniment especially when you transition from accompaniment sections to melody. Waltz accompaniment should be played in two dynamic levels. Left hand dotted half note is brought out , right chords are very soft. But whenever the secondo has a group of scale like eighth notes create a musical phrase, either with a slight diminuendo or crescendo depending on whether the phrase is moving on or ending. Memorize M. 70 –end so you can look up at conductor. Overall This is such a beautiful haunting melodic piece. I know you will play it with lovely shaped phrases. Observe all dynamics and especially rit. and fermatas. I will conduct this in one dotted quarter note and will switch to three quarters per measure when we rit. or pause. I look forward to working with this musical group of adults and alumni again this year. Saturday Eastside Rehearsals February 4, 11, 18 Camelback High School Piano Lab Conductor: Francisco Naranjo Remember to set up music as per conductor’s instructions Number all measures and highlight all dynamics before the first rehearsal If page setup is three pages across, the page outside the notebook must be white cardstock so it does not fold over when on the music stand. This is a requirement, not an option brought about by years of experience. No regular paper and no manila folders as they look bad from the audience. Variations on Chopsticks
MM Beginning: Watch the conductor for entrances Measure 7, Dotted Quarter Note = 66 Measure 25, Quarter Note = 120 Measure 35, Quarter Note = 150 Measure 43, Quarter Note = 136 Music Set-­‐up: Each student has their own binder. The set-­‐up for your music will be different when you practice on your own from when you practice with your duet partner. Primo: When practicing with your duet partner, your binder should have all the pages that have “Primo” written at the top, even though you don’t play the last 2 ½ pages. This will facilitate the transition when you move to the left side of the piano, as the music you read for the end of the piece will already be in front of you. Your music should be set up as follows (page numbers are different than the ones written on your music): pg. 1 2 / 3 4 / 5 6 7 (/ = page turn). When you are practicing on your own, your music should have the last three pages of the “Secondo” part. Secondo: When practicing with your duet partner, your binder should have all the pages that have “Secondo” written at the top, even though you don’t play the last 2 ½ pages. This will facilitate the change when you transition to the right side of the piano as you play the octave chromatic scale, the music you read for the end will already be in front of you. You should have three pages set up to start, then 2 pages thereafter. Your first page to the left will actually be your 5th page, so your music should be set up as follows (page numbers are different than the ones written on your music): pg. 5 1 2 / 3 4 / 6 7 (/ = page turn). When you turn page 4, you should open up to pages 6 and 7, as page 5 will already be on the left side of the binder attached to page 1. When you are practicing on your own, your music should have the last three pages of the “Primo” part. Overall: Mark a caesura right before the “and” of beat 2 in measure 42, allowing a slight pause for turning the page (Primo will be given a cue to begin on the “and” of beat 2 in measure 42 after everyone has turned their page). Add another caesura at the end of measure 90 at the end of page 4, allowing a slight pause to turn the page. Take note of the different metronome markings in the piece as stated above, and practice with the metronome. Come to the first rehearsal well prepared so that we can “rehearse” and not “practice”. Follow all dynamics, octave shifts, and tempo markings (as written above). The beginning will not be in time. The conductor will cue every Primo and Secondo entrance in the first 6 measures, so practice looking up! Highlight all sections involving clef changes. Take all the repeats and practice with the duet part with your duet partner or teacher to get the feel for how this piece will work. Primo: Measures 43-­‐52 will most likely become a small group feature (played by only a few Primos), as it may become too sloppy trying to have everyone play that passage together in time. Everyone will play the pick-­‐ups into measure 53. In measure 91, note that the first time you play that section you are in the normal octave, and the second time you play this section you move up an octave to measure 100. After finishing measure 100, you will stand up and walk around the bench to sit where the Secondo player was sitting, while the Secondo player moves up playing the chromatic octaves. If your music is set-­‐up correctly as stated above in the “music set-­‐up” when playing with the duet part, the music you will need to finish this piece will already be in the binder in front of you. Secondo: In measure 34, omit the right hand chord on the second half of beat 2 to prepare to move up. In measure 35, I would recommend having your right hand go over the Primo’s left hand to allow you easier access when you have to turn the page. To simplify the right hand passage at measure 35 at the fast speed, play the sixteenth notes as if they were unmetered tremolos, and lightly so they don’t overpower the melody in the Primo. In measure 101, you will be playing chromatic octaves while moving up on the keyboard, transitioning to where the Primo was seated. You will now be reading the Primo part starting at measure 104. In measure 121, you begin the arpeggiated section. Be aware of what notes fall on the beat to serve as a guide when you play through these passages, and make sure you listen to the metronome to keep you in time. I Love A Piano MM Dotted Quarter Note = 120 Music Set-­‐up: You will need to have all three pages laid out to avoid page turns. You will be switching parts at the end, thus you can cut the bottom half of the last page from the other part and tape it onto your third page where M. 51 is located. (Primos will cut M. 51 -­‐ end from the Secondo page and tape it over their M. 51 -­‐ end; Secondo part will cut M. 51 -­‐ end from the Primo page and tape it over their M. 51 -­‐ end). Overall: Swing the eighth notes throughout the piece. Everyone will be on their own piano, so there won’t be a need for the Primo part to stand up and walk around the bench. You will still switch roles on the last page where stated, M. 53 in the secondo part and pick-­‐ups to M. 53 in the Primo part. Note the delicate and light ending to this piece Primo: Take note of where you have the octave symbols so you are playing in the correct register. Measures 49-­‐52 will all be measures of rest for you, and you will come in on measure 53, when you transition to the Secondo part, and stay a Secondo to the end. This should be a smooth transition if you have pasted the Secondo’s ending to your third page as stated in the “Music Set-­‐up” information above. Secondo: Every time you have 4 ascending or descending 8th notes, play them out. In M. 21 you have a nice melodic dialogue with the Primo, so bring out the right hand. Take note of all clef changes found in this piece. Beginning in measure 49, you have triplets in the right hand that will transition into the Primo part. You will be moving up on the keyboard and begin reading the Primo part at measure 51, and stay a Primo to the end. This should be a smooth transition if you have pasted the Primo ending to your third page as stated in the “Music Set-­‐up” information above. Watch for the fermata in measure 52, and you will end the piece with the melody. Old-­‐Fashioned Polka MM Quarter Note = 104 Music Set-­‐up: Duet partners will share one binder, as both the Primo and Secondo are written on the same page. Have two pages set up at a time (1 2 / 3 4 / 5 6). Primo will turn the pages. Overall: Follow all articulation and dynamic markings as this will help bring out the playfulness of the piece. Practice with a metronome to get the running passages to be played in time. Primo: Listen to the passages in which both hands play consecutive sixteenth notes in both hands to verify that they are playing together. Pay careful attention to the octave markings. You have the melody M. 1-­‐32, 39-­‐74, 78-­‐end. Secondo: You are accompanying the melody at the beginning, so play soft and light, as the primo melody is also soft. Be aware of the clef changes that happen throughout the piece. You have the melody M. 32 -­‐ 39, 74-­‐78, so bring those sections out.