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Title - Hunter's Hill
Composer - Jack Wilds
Key - Bb throughout
Time - 4/4 throughout
Andante moderato (approx 100 bpm). Everyone has same rhythm 1st 4 measures. Hardest rhythm in winds is 1&2 3&4. Make sure notes are held full value on this rhythm.
Flute and Trumpet have 1 Rest Rest 4 (Flutes have at least 1 measure of it). Hardest section seems to be low brass trading with high brass and back to low
Meas 1-12 Melody is in Flute/Oboe/Clar 1/Tpt 1. Harmony is in Clar 2/Alto/Tpt 2
Need to pay close attention on not lengths, esp in harmony.
Meas 13-22 - Low to high voices handing off the melody. Effectively a call and response. Trumpets need to be confident in entrance and counting rests accurately
Meas 23-28 - Continue call and response, i.e. hand-offs. Emphasize what dynamic they are coming in on
Meas 29-36 - Simple melody in low voices. High voice with rhythmic harmony.
Meas 37-42 - Recap of melody from meas 9-12. Cresc to ff and the end
Percussion: Snare has a repeating 1 & 2 &a3 & 4 &/ 1 & 2e&a3 & 4e&a; Bass drum is easy. Bells play with flutes. Timpani has some easy isolated parts in meas 8 and 36. Plays with low voices for the most part. Other perc parts are crash cymbals and triangle, which are relatively simple parts
Make sure to play march style through and be confident on coming in after rests. Breathe together! Lots of high voice to low voice call and response
Ends in fortissimo. Make sure to keep tone under control.
About halfway through piece, trumpets have melody with low brass accomp, then ww have melody with low brass accomp. THERE IS A MEASURE OF TPT OR SAX BRIEF INTERLUDE.
There is a spot where the low brass enter after resting and the only issue is that it’s on a page turn on the score. It shouldn’t be an issue but it could be easy for a director miss
*NOTE: TRUMPETS HAVE ODD-NUMBERED MULTI-MEASURE RESTS. MAKE SURE THEY COUNT ACCURATELY
Title - Bold and Breezy
Composer - Jack Wilds
Key - Eb throughout
Time - 4/4 throughout. Andante moderato
Slightly longer than 0.5. No accidentals. Very straightforward. Lots of block writing. Watch brass entrance at m 17 as it doesn't fall smoothly with phrase. Snare part is tricky for this level of SR. Lots of varying eighth-sixteenth patterns. Not usual repetitive patterns. Measures 1-6 is blocked - on the opening melody everyone goes down while the horn/alto sax go up. Square 7 & 13 is flute/oboe/clarinet/tpt melody. Low brass take melody at Meas 16, trumpet and horn join at 20 with a crescendo being at Meas 20. Square 21 - everyone has 1 2&3 4. Some have 1 2&3 rest. Meas 22 Trp/horn/tbone out, then Meas 24 Flute/oboe/clarinet alto out. Meas 25 Low Brass interval jum from top line Ab to 2nd line Bb. Decrescendo at 26 and crescendo at 28. Meas 29 and 30 is percussion only. Square 31 - Low Brass and Low winds play melody with trumpet. Everyone joins at 33. Last 4 measure is block, crescendo to end.
Should be able to rehearse several times through with time left over.
There is a measure where the snare is written stems down and the bass drum is resting. Normally snare is stems ups. The rhythm is clearly for the snare, but some younger kids might get confused.
Title - Summer Glen
Composer - Carol Brittin Chambers
Key - Eb w/no accidentals
Time - 4/4 throughout. No fermatas.
Little bit of call and answer between low brass and high brass/ww towards end. Very playable and straight forward. No accidentals. Main rhythm of 1 2&3 4, 1 2 3&4. Lots of dynamic changes. Subito piano crescendo last four measures. Low brass have the melody one measure which is an arpeggio. Make sure melodic lines are played the same each time in terms of style and note length.
More info: Low brass, Horn, Saxes, and Bass Clarinet have a lot of concert Ab through. There is a section in the middle where trumpets and horns drop out for 4 measures; flutes and clarinet have melody, alto sax is a mix between melody and bass line. Last 8 measure start with a 1 2&3 4 call and response (low brass then everyone else). The subito piano at the end is just marked as piano but there is a crescendo the last two measures. There are several times where there are rhythmically unison 1 2&3 (rest) before a rehearsal mark. I do not recall seeing the 1 2 (rest) 4 1& (rest) (rest) 4 rhythm. I also do not remember seeing a spot where the woodwinds drop out. After the 4 measure break in the trumpet and horn parts, the horns enter on their bottom line Eb.
Even more info - Easiest Level 1 since Pride of the America. If we had a Level 0.5, it would be this song. Short 36 measures. Flute/Oboe/Clarinet/Trumpet range is low concert Bb to concert F. Low Brass/Woodwinds range is Concert Eb to Concert Bb. French horns hover around their D-Eb-F pretty much the entire song. Low Brass need to be comfortable going from Eb to Ab and vice versa.
Title - Citadel
Composer - Jack Wilds
Key - Bb throughout
Time - 4/4 throughout
Very basic rhythms. Lots of 1 2&3 4 rhythms. Some thin textured parts, also staggered entrances between ww and brass in the middle of the piece. Trumpets have a section where they rest 2 measures and then come in after rest of brass. Fanfare-ish. Tympani has quarter notes often.
More info: Rhythmic things 1 2& 3 4 and 1 2 3 4& quarter note followed by dotted half note. Alto sax flute melody with low brass accomp. Low brass will see all 3 ryhthms listed during a 4 measure ensemble crescendo. 16ths on beat 4 in percussion
Piece: Balconies Canyon
Composer: Timothy Rhea
Key: Bb throughout
Time Signature: 4/4
Tempo: Allegro Moderato
Notes: Half note tied to an 8th notes in measure 4 (release on beat 3)
Measure 21 - Trumpets have rest for 7 beats. Be sure and cue entrance
Measure 37 - Percussion break for 4 measures/Timpani pitches Bb and F (low to high)
Snare drum is quarters and 8ths
Lots of slurs on 2 8th notes throughout
Info from the Yellow Board
Starts on third space c for the trumpets.
Low c for 2nd trumpets
First and 2nd clarinet parts both cross the break to C. Low B Nat shows up.
Flutes clarinet pick ups on 234 while band has a rest on beat 4.
Trumpet C-- G-- F a (c b) slurred intro and outro
Main rhythmic idea is 1 2& 3 4
Slurs on eight notes
Percussion is easy but poorly written.
Timpani solo....F is the high note.
High low high
High low low high
Exposed woodwind sections
Non unified low brass part. Tuba is on their own.
Bass clarinet follows trombone and baritone, not barisax tuba.
There is an interlude with woodwinds and the bass line is only low reeds.
1 R R 4 1 R R 4
Tuba has dotted half notes on 1, beat 4 coinciding with trumpet pick ups after 7 counts of rest.
Half notes and long notes tied to eights.
Mature bands shouldn't have many issues, young bands will have trouble.
Introduction is 5 measures and ends on a unison half note tied to an eight note beat 3 cut off.
2nd chunk of song -Clarinet, flute, trumpets and horn carry the melody. Btw I noticed this song has a very difficult horn part for young bands. It stays up in the A, Bb, and C region a majority of the time. Good news is that it doubles trumpet. Bad news is young players will miss partials. Also if kids are using single horns they are gonna have hell with the part.
3rd chunk of song- WW feature. bass clarinet, bassoon and Bari sax cover the only bass line in this section. We didn’t have a bassoon or Bari but a good bass clarinet should do fine.
Brass add back in after Ww feature.
4th chunk of song- right before this chunk is a hard timpani entrance for the kid so give a big cue. Then trumpets rest 7 beats past the rehearsal number and enter with a trumpet independent feature using middle of the staff notes ( a, b natural, c) They rest another 7 beats and then play another independent part with lower notes ( descending pattern starting on G going down).
5th chunk - percussion break 4 measures
Timpani needs to play strong here although there aren’t dynamics at the percussion break which is poor editing IMO.
6th chunk same melody as the 2nd chunk of the song for 8 measures. BTW the melody is very pretty and well written.
Ending chunk- 4 measures very predictable and logical ending except this is the first time in the song of he high voices see a dotted half to quarter note pattern and they might miscount. Song ends on Bb major chord and is preceded by a concert A natural in flutes and 1st Cl, 1st Tpt (B natural)
This songs Trb/Bar line is uncannily similar to last years SR lvl 1 - Flatrock Creek. (Tons of Half notes and quarters) (probably 10 A naturals total)
No Accidentals period.
Piece: Flatrock Creek
Key: Bb throughout
Time Signature: 4/4 throughout
Tempo: Moderate (?)
Notes: Very playable. All instruments in easy ranges.
-Sounded like 2 fermatas - one after a short intro, one about 2/3 of the way through.
-Little to no dotted rhythms in the melody.
-Recurring theme -Onnnne 3 4& 1 2 Threeeee / 1 2 3 4& 1 2 Threee (Spelled out words more than 1 beat)
-Accompanying parts usually playing simple half-quarter-quarter rhythms.
-Melody mostly in trumpets and woodwinds, being passed to just woodwinds for a few measures about halfway through and just low brass after that.
-4 measure percussion break after what sounded like the 2nd fermata - simple rhythms, 1 2& 3 4& 1 2& 3 4
Ending - last 4 measures. 2 measures of Quarter in winds followed by 3 beats of percussion. Whole note crescendo. Quarter note to end.
-No big traps that I could hear. Actually a decent melody and a nice sounding piece
- MORE INFORMATION:
-When low brass have their turn on melody, there is an accompanimental syncopated quarter-half-quarter rhythm in clarinet.
-Watch for dotted half- note quarter rhythms in the alto line (Ooooone 4) while the melody has half-note, two quarter rhythm, moving on three while the other group holds until four.
-Ritardando over two half notes before the second fermata. There are also a few places where one group has Half, quarter quarter, while the other group has the opposite -quarter quarter half.
Piece: Unseen King
Composer: David Herring
Key: Eb throughout
Tempo: Moderato 4/4 throughout
Notes: Fermata/caesura in middle of piece. Horn/sax melody in middleLots of different timed entrances, dotted quarter/eighth rhythms, few dynamic changes, low brass should watch out for Ab cause there are very many.
More notes: n the Level 1 SR, 4-bar intro, then easy 8-bar tpt & fl melody. Low brass are playing 1 rest 3 rest. Horns & altos have easy dotted-quarter note melody starting at m. 13. Fermata/caesura in m. 21. 22 is exposed horn/alto ostinato: 1 2 rest 4 1 2 rest 4, then awkward 10-bar WW melody. mm. 22-33 is what's throwing most people off; it's thinly scored and messes with kids' confidence. m. 34 is return of same easy 8-bar melody from beginning. mm. 42-43 easy 2-bar conclusion.
-From a 2C NV director: My CC NV had a very tough time with the middle section after the fermata. The beginning is very playable and the end is as well. There is about 12 measures in the middle that are pretty easy to get derailed. Straight eighth notes on the rim in the snare drum part (mine rushed). On top of that is an Easy melody in the bassoon, BC, french horn that feels like its in 3/4. my kids crunched the quarter rests and ended up rushing a little not being able to find the pulse with my rushing snare drummer. Then after 4 (unclear) measures of rest the clarinets and flutes come in with a tough melody with a low F in clarinet and low Eb in Flute. The rests were hard to count because the lack of pulse and the feeling of 3/4 time. That hesitation plus the hesitation of those really low notes that our kids don't read often led to an almost breakdown during that section. Enough of my kids recovered to play that last easy section that is pretty playable, although we had stray sounds everywhere because some kids were lost from that awkward middle section and did not recover. My experience is not everyone else's and it may not be yours. I found it quite difficult, awkward, and tough to hold together. Only one NV at my contest got a 1 in SR and I gather that they had their struggles as well. Hope this helps.
More info: Yes, the horns and altos have the melody at m. 13 and many miss few the Ab concert notes there. The bigger "trap" is m. 26 (4 measures after the fermata). The horns and altos (with the low WW's I believe) do start after the fermata, with a count 3 rest which is in the tambourine. It's the flute/clarinet entrance at m. 26 that is the issue. The melody is in the low octaves and they need to ignore the "p" marking. In this section, there are a couple of low Bb's in the clarinets. Even bands who's clarinets got the pinched Bb, missed the low octave Bb. If m. 26 falls apart, the rest of the piece tends to snowball and several brass sections miss their entrances and end up playing a measure late (or more) and then play extra notes at the end which ends with 1 rest 3 rest 1 2 3 rest. Cue and tell the horns, altos, flutes and clarinets to play with confidence.
Piece: Tag, You're It
Percussion: bells, snare, bass, crash
Key: Eb throughout
Tempo: 4/4 throughout
Notes: Unison at beginning Winds Perc trade off 11-27 A natural accidentals Ww/brass trading 1 2&3 4. Title is big key to style of piece. Trades off melody. VERY PLAYABLE
Piece: New Age Anthem
Composer: William Owens
Key Signature: Bb throughout.
Time signature: 4/4 throughout.
1 2&3 4 most prevalent. Low sounds sometimes enter on 3. Triangle, timpani (which has double stops), cymbals, bells, BD, snare. Subito pianos. Dynamics are emphasisMore info: downfall is right before and after m. 28. Didn't hear 1 director point out that the full band has counts 3 and 4 as rest while percussion has 8th notes (m. 27) and then LB has the melody and that's where most bands crashed. Directors concentrated on the woodwinds rhythms which is about the opposite of the LB (don't remember more than 1 part has quarter - half - quarter while the other group has a different grouping of that). Other than that spot, it's pretty straight forward and bands did really well. m. 28 is the downfall but it is playable if your LB doesn't chicken out.