TOH or TOH for saxophones
Many thanks to all who made this evening possible. I'm sure I can speak for the whole band in saying it was a very memorable experience.
Dale (Dr. Lonis) was fun, enthusiastic and extremely clear on many important pointers.
We warmed up with a new take on the Concert B scale. The pyramid of sound was divided into three groups A (1st), B (3rd), and C (5th). When playing harmonics we were able to hear the difference when the middle of the pyramid dropped out. We could also hear what happened when not as many instruments played the 1st, 3rd or 5th harmonic of the scale.
On our first piece, not only did Dr. Lonis identify but then he granted the woodwinds permission to sound like killer-bees after the crescendo in Fanfare and Flourishes: lets' call it killer G's for the clarinets, and killer songbirds for the flutes.
The definition of fp takes on a whole new meaning when thinking of metered fp. Play the f and then the p. Not hoot and then quiet. Intensify the change. Fanfare and Flourishes will never be the same for the woodwinds.
And the trumpets? The trumpets were compared to an airplane rising above the clouds at bar 56. Rise above the clouds and soar. How's that for a Trumpet Fanfare!?
Volume should never affect style. Quiet is not wimpy....
Personally I'll never listen to a sustained note on a tuba in quite the same way. Even a sustained note can be jazzy in your mind. That goes for all of us.
The final note I'll make is on the Symphonic Release and this goes back to the almighty pyramid of sound. For the very last note in a piece: The higher the note requires a quicker release. The lower notes should sustain just a bit longer to complete the richness of sound quality.
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What a great thing we have going! I'm so gratified to part of this Second Chances Band.