Symphony Orchestra 10/4/11

We are about two weeks away from our concert.  Where do we stand? In class, we recorded each of our concert pieces, without stopping.  This will give us a snapshot of where we are and what we need to do in order to have the best performance possible.

Assignment: Listen to the audio files, then make constructive comments.  This self-assessment can help everyone learn and understand where we need to go from here.

Notes:  Your comments should be SPECIFIC.  General comments like “good” or “bad” are not helpful.  Please mention specific measure numbers when commenting.  For instance, “At measure 35, violins could have played louder,” or “I really think that cellos had excellent intonation on their melody at measure 65.”

  1. Have your sheet music and a pencil handy to reference.
  2. Listen to the audio (see links below)
  3. Make comments for each piece using the “comment” link below.
  4. Be sure to leave your first name when commenting so that you get credit for your answers!
Sample Formatting:
CARPE DIEM – Your comments here…
ALLEGRETTO –  Your comments here…
Audio Files

29 thoughts on “Symphony Orchestra 10/4/11

  1. Carpe:
    Measure 7: We are rushing the quarter notes a bit. Subdivide!
    Measure 14: The cellos are covering the 2nds….cellos lets take our dynamic down to piano.
    Measure 54: Cellos do not rush
    Measure 101: 2nds need to have a stronger entrance.

    Measure 2-27: cellos and violas we need to be more together and be softer and more intense.
    Measure 27-51: All sections should listen to intonation. It can get rough around here.
    Measure 75-98: Cellos listen to intonation

    Measure 29: The whole orchestra needs to play stronger and with more confidence
    Measure 57: The violins need to fix some intonation problems and also the high intonation around 66ish
    Measure 85: All sections be confident on entrances
    Measure 121: Lower strings, don’t slow down.

    Whole song: We all need to play with more intensity the entire time. These pirates were not weak! 🙂
    Measure 1: The “shriek” was not very clear. It sounded like a slide and not a scale.
    Measure 27-48: Lower strings do not rush. If we do it could get tricky later on.
    Measure 62: Violins, play out!

    Overall….we really just need to know our parts like the back of our hands so that it is easier to put together. By knowing our own parts the whole thing will sound a lot better! 🙂 Go Orchestra!

    • Carpe:
      -In measures 1, 3, 5 violins need to make the last eighth note shorter
      -The long note in the 2nd violins beginning on the and of 4 in measure 21 needs to be accented!
      -violins 2’s watch at 61
      – from measures 77-86, the whole orchestra could do more with dynamics. It’s all very one volume, I feel like we could do more with the crescendos and decrescendos
      -Everyone needs to watch at 139!

      -seconds, watch the c naturals and c sharps in 38 and again in measure 46
      -Seconds watch the intonation in measures 56 and 57. Also, we seem to fade out for a second, don’t lose it!
      -In measure 85, first violins intonation

      -In measures 93 and 94, we could all do a bigger crescendo
      -Measure 97 could be a little softer
      -In general, violins could work on intonation when in the higher positions

      -more of a crescendo in measures 12 and 13!
      -second violins could come out a little more in measures 61-68
      -violas could be a little stronger and sharper at measure 82
      -violins should be louder at 91!
      -the first quarter note in measure 102 needs to have more of an accent
      -Overall, I think the eighth notes could be more staccato

  2. Carpe Diem:
    Cellos need to back off at measure starting at measure 10, we were covering the melody.
    Measure 44, cellos need to count so we can be together on those eighth notes
    Everyone needs to watch Mr. Riegel at measure 139, I don’t think we were together.

    Cellos need to be more in tune at measures 59, 63-66 and wherever those repeat
    Cellos, watch G# in measure 76
    Nice diminuendo in measure 95 everyone
    We need to get the first and last notes more in tune

    Cellos need to get the high E’s in tune (both the naturals and flats)
    The pick up to 85 needs to be more together
    Cellos, we need to make the quarter notes on beat one in measures 99-102 together
    -Was better together the second time
    Cellos, in measure 138 and 162, we need to be in tune
    -The C after the D natural also must be in tune
    Nice ritardando at the end everyone

    Legend of the Phantom Pirates:
    Nice intensity at measure 18, violas
    Cellos, at measure 27 we fell apart. We can not rush here
    Violas, you guys need to be together with your eighth notes
    -Better at 75, however
    Good accents measures 99-end

    We need to be more in tune, so practice, practice, practice. I also think that if we would listen across the orchestra it would help with our intonation also. We also need to stay together, so memorize the parts. If we can do this, we won’t need our music and we can watch Mr. Riegel so we’ll be together. We also need to be louder in the forte and fortissimo areas, so we should really work on using more bow and getting closer to the bridge. Remember, we have less than two weeks until our concert to fix all these small mistakes. Good luck to everyone, and I hope this helps. Go orchestra!

  3. Carpe Diem – Violins could make the decrescendo more noticeable at measure 22. And more practice on the 16th notes at the end of measure 45 leading into 46; bigger crescendo. More crescendos from violins at 81 and 83. Also, much more volume overall at measure 88.

    Allegretto – Careful not to rush slurred up-bow eighth notes at 27. Bring the melody out more at 51. Violins watch intonation at 83 and 91.

    Minuetto – Violins watch intonation at 45 and 73. Measures 85 and 103 could use more emotion.

    Legend – Make sure everyone is together on the shriek–begin and end together. Pay more attention to dynamics, especially during the slower parts! At measures 85-the end, make staccatos shorter and more fierce.

  4. Carpe Diem:
    At measure 14-2nd violins should play out more (louder).
    Measure 44- Violins play louder
    Measure 53- 1st violins listen and watch for notes
    Measure 61- 2nd violins listen and watch for notes
    Measure 63- 1st stand of 2nd violins be careful with the notes
    Measure 88- Violins should play louder
    Measure 101- Everyone should be ready to play together at the tutti
    Measure 131- Those with forte should play louder
    The last few measures- We all need to look up and watch so that we are together and end the piece together.

    Those playing first few measures should work on the decrescendo
    Measure 38- 2nd violins should be careful on the C#’s and any C# they have after that measure
    Measure 56- 2nd violins work on intonation
    Measure 67- Anyone with forte should play louder
    Measure 75- Double forte should come out more
    Last measure- We should end a lot quieter for the pianisimo

    2nd violins need to play louder in the beginning
    1st violins sound really good at the beginning
    Measure 51- 2nds need to work on this part up to measure 56
    Since there is a page turn at measure 64, 2nd violins should be more familiar with this part so that we are ready for measure 65
    Measure 85, 103 & 153- violins work on intonation
    We all sound really good and we are together at measure 183

    Legend of the Phantom Pirates:
    The scale in the beginning of the piece and at measure 16 should be more of a “shriek” and we need to watch here
    Measure 27- Lower strings play together more
    Measure 41- We all need to play louder for the double forte here
    I cannot really hear the 2nd violins at measure 61
    We need more of a cresendo at measure 90
    Everyone with double forte at measure 91 should definitely play a lot louder.

    Overall, I think we sound really good! There are still some places that need work and it is important that we all are familiar with our parts!

  5. Carpe; Watch intonation on measure 1 violins
    52 was not together at all
    Nobody was together for the first note of 139
    Other than that intonations and timing sounded good. Dynamics need work everywhere

    Allegretto; Very good. i heard the breath of everyone at the beginning 😀
    end of measure 26, a few violins came early
    27-37 got progessively louder, then everyone caught on and got quiet again at 38. ALL piano!
    Cres. from 51-74 sounded great. Constant and loud!

    Minuetto; Mes. 8-12, Violins (both) were audibly sharp on everything
    29-31 was very, very sharp by the whole orchestra. Baaad
    Great improvement from 42-57 everyone
    57-60, just as bad as 29-31
    85, Violins sounded very unprepared for a key change, tempo change and style change

    Legend; First cello entrance very out of tune
    Violins,18 out of tune very noticable. Yikes.
    Around 61, high note was flat by violins
    69 chromatic scale was much nicer
    80-81, long note wavered alot, either too much vibrato or nobody was set
    Endind sounded very dramatic and well done. Nice!
    On same page as emily, WHOLE song needs to be more intense, minus 2-15.

  6. Carpe-
    The beginning: Violins need to be stronger on the opening. 1st violins watch your intonation.

    measure 10: second violins be sure you’re together.
    measure 16: 1st violins be careful not to rush.
    measure 34: 1st violins be careful on the F natural.
    measure 52: 1st violins need to separate the notes a little better.
    measures 79-84: We all should work on intonation
    measure 88: We all should try to be a little more intense.
    measure 118: 1st violins need to stay together and work on intonation.

    in general: whenever you have the melody, be sure to play out and be careful of intonation.

    measure 51: 1st violins be careful of intonation.
    measure 53-56: we all need to be careful of intonation here.
    measure 60: 1st violins need to watch those sharps.
    measure 91: 1st violins need to be better in tune.
    Last note: needs to be better in tune and together

    the beginning: 1st violins need to be better in tune.
    measures 29-42: 1st violins need to be better in tune.
    measures 46-48: 1st violins need to be better in tune.
    measures 57-63: 1st violins need to be better in tune.
    measures 84-88: 1st and 2nd violins need to be better in tune.

    The beginning: Needs to be more together, intense, and separated.
    measures 3-5: cellos need to be more together.
    measures 9-?: 2nd violins I can’t really hear you. Don’t be afraid to play out 🙂
    measures 31-49: all violins need to watch their intonation.
    throughout: Violins, whenever you have to divide, play out.
    measure 79: 1st violins watch your intonation.

  7. Carpe Diem
    –Stronger beginning firsts
    –Second violin, intonation on measure 10-11
    –On mesure 18, be sure to be intune for III pos. firsts
    –On measure 31 intonation firsts, F naturals and C naturals
    –48-50 needs to be stronger firsts
    –79, careful shifting firsts
    –Second violin solo (I believe it;s measure 99 or somewhere around there) needs separation, stronger, intonation
    –118, be careful on in intonation, firsts
    –Everyone watch for the last two meaures

    –Good beginning cellos, basses, violas 🙂
    –Measure 43 (I believe) second violin intonation
    –83 first violin intonation
    –91 first violin intonation
    –Everyone watch for last two measures

    –Measure 29, first violins intonation
    –46-47 intonation firsts
    –57-59 intoantion firsts
    –83 remember there are B flats
    –127, we need to work on togetherness
    –151, we need to work on togetherness
    –205 to the end we all need to work on togetherness, intonation, and we need to watch

    –Stronger first measure, togetherness
    –9 basses cellos inonation
    –16 we need to work on togetherness and intonation
    –Second violins at measure 17 and 18 needs better intionation
    –Measure 24 second violins, intonation
    –Measure 27 we need to work on togetherness
    –37-41 we are speeding up, we need to count
    –67 first violin intonation
    –We need to count at measures 74-78
    –83 we are speeding up, need to count
    –91 firsts need to be stronger

    I think we are doing pretty good guys, I hope these comments will help though. Keep up the good work and keep practicing those hard parts! 🙂

  8. Carpe:
    Measure1-10: we need to work on the attacks of the notes at the beginning of the piece
    Measure whole piece: we need to work on the tuning of notes some of the major notes are off.
    Measure 30-80: The ensemble is off for the violin section it sounds like one violin and then the rest are following.
    Measure 45-46 and 53: No dynamics change
    Measure 68- on: After the solo was great especially the ensemble.

    Measure begining-30: Lots of notes were off some of the lower strings notes are off and you can hear it with some of the chords.
    Measure whole piece: Tuning of notes is a major problem though out the whole piece. We play a great pianissimo but lots of notes are off.
    Measure Violins notes are out of tune on the e string.

    Measure 10-30: Time signatures are off we slow down during fast parts and speed up during slow parts.
    Measure 50-60: The violins high notes are off.
    Measure 120-150: Intonations for parts are messy we mess up some of the rhythms
    Measure 205: Ending well fell apart.

    Measure 1-10: the intro was good after the intro 16th notes.
    Measure 15-50: Lower strings are out of tune.
    Measure last half of the piece: The beat is dragging. We do not have a consistent beat.
    Measure last half of the piece: Need more inflection. Work on accents.
    Overall: we need practice Yea.

  9. Carpe:
    43 – 1st violins are off beat should definitely keep count.
    50-53,79,132 – Intonation problems in the 1sts
    118- Really needs to be subdivided.

    83&91 – Violins need to work on intonation in the higher positions

    Everyone needs to be careful of the accidentals and key changes, makes a lot of stuff out of tune.
    Higher positions need more work in the 1sts.

    The drumline sounds amazing in the beginning
    Whenever it goes “div.” 1sts need to play louder
    79- The shift in the 1st violins could be smoother

  10. Carpe Diem- At 39 the cellos need to come in stronger.
    at 88 watch out for the key change

    Minuetto-Cellos be careful coming down at 51

    Allegretto- Cellos sounded good at 27
    Everyone needs to be stronger at the end.

    Legend- The scale at the begining is geting better
    The whole Orchestra needs more clarity at the very end

  11. Carpe:
    Seconds at 21/22-make accent more noticeable
    eighth notes at 24-26 and then again at 31, subdivide, it seems scattered
    Seconds tutti at 60- be ready for it, the forte entrance sounded hesitant
    Measure 88-94 are marked FF, we seem to be playing more MF
    Seconds tutti at 101- also hesitant

    Measure 19: needs to be more together
    rhythm at 42 needs more articulation, it all runs together (again at 66)
    Intonation at 56
    Accidentals (especially C#) need to be more in tune
    75-99- we need more articulation it all runs together
    103- watch for tempo

    Intonation at 27
    Entrances at 29- need more confidence!
    Entrance at 85- intonation and togetherness needs work
    Intonation at 157

    Intonation at 9 and 18
    Don’t rush eighths at 28
    seconds at 59- can’t really hear that part at all, speak up!
    85- Make the triplets a little bit more crisp, not everyone is ending the same
    102- crisper ending

  12. Carpe- Overall, I think the orchestra has come a long way with this piece! But of course, there are a couple things that must be worked on. First, everyone must count during measure 6 to make sure we’re all together for the pick-up because it was a little off during the recording. This also applies to the 2nd violins during measure 101. During measure 40-42, the lower octives in the 1st violins were a little hard to hear, so the 5 of us need to play that stronger in order to be recognized.

    Allegretto- This is seriously one of my favorite pieces of all time! A couple comments: measures 51-67, 2nd violins must work on the notes and fingerings, but otherwise that the rhythms sound fine. Also, on measure 92, it sounds like 1st violins aren’t using a lot of bow for the high D#, so that must be worked on, too.

    Minuetto- From the first note, 1st violins can have a stronger attack. Also, don’t be scared violins measures 29 and 30- that high jump sounds a little timid. I also feel that the whole violin section can shape the notes more measures 85-87. In conclusion, everyone must remember to watch the conductor during the last few measures of the piece.

    Legend- Very spooky and haloween-ish, this was fun to listen to. However, during measure 34 and 38, violins weren’t exactly together during the 16th notes, and be sure not to rush when we come out of the them. Lower octaves in 1st violins should play out more measures 57-69.

  13. Carpe Diem
    27 and on starts out messy on tempo but ends up coming together.
    Firsts need to work on the sixteenth notes in places like 46, 50 and 52
    We aren’t together 118 – 121
    Everyone needs to watchat the end it isn’t together either.
    Intonation throughout the piece can get dicey at times
    Need to be more intense around 76 – 91
    The ending needs work here too
    Firsts still need a lot of work 29 – 85 and 183 – 202
    In general, everyone needs to be more confident in their playing
    Again the ending isn’t together
    All of the shrieks need work
    27 on needs to be more articulated but it gets better as it goes
    Keep up the intensity from 91 to the end

  14. Carpe Diem: At measure 14 the 2nd violins could play out more.
    At measure 61 the 2nd violins should try and be more together.
    Measure 72 sounds like it is rushing a bit.
    2nds really need to practice at measure 101.
    Watch in the last 3 bars.

    Measure 4-27 violas/cellos play intense.
    Measures 44-702nd violins need to practice more to get better intonation.
    2nds play louder at 67.

    Measure 21 2nd violins don’t rush.
    Measure 57 violins have some intonation problems.
    Violins need to practice more at measure 85.

    Legend of the phantom pirates
    Practice measue 1.
    Measure 27-48 don’t rush.

    Overall pretty good we need to work mostly on the last 2 songs.

  15. Carpe:
    Measure 14: Seconds should play much louder!
    Around Measure 50-53: We need to sound more together
    Measure 88: Seconds need to play louder!
    Measure 118-120: I think we need to play more together around here.

    At the beginning we need more intensity from the violas and cellos.
    Measure 75-90: Everybody should listen to intonation

    We need to work on intonation around measures 51-85.
    Towards the end we need to watch intonation and end together.
    We need to be more confident and play louder at the beginning.
    Measure 1: The shriek does not sound very good or clear.
    Measure 27: Rushing a little bit around here.
    Violins need to play louder!

  16. Carpe:
    Measure 1: 1st violins need to agree more with intonation, whether in 1st or 3rd position, we all need to agree.
    Measures 14-15: seconds, intonation, and more together.
    Measure 43-45: 1st violins, more clear and more together. The rhythm is tricky so we just need to take an extra 5 min on it when practicing.
    Measure 82: 1st violins need to be more in tune on the bottom part

    Measure 1: The whole orchestra needs to star out just a tad louder and come down a lot more, it goes from forte to piano in two bars.
    Where second violins come in (27?): seconds need to be more in tune and violins and violas need to match tempos. more subdivision needed
    Measure 83: cellos and violins need to have the same tempo in mind, i.e. watch conductor.
    Violin 1’s: better intonation up in high parts
    overall: needs better intonation and tempos need to match between sections more.

    Measure 29: first violins, better intonation and more together, the 4 8th notes coming down in 31, were cloudy and not very together.
    Measures 85- 169: overall just better intonation and we need to be more together.
    overall: style needs to be more the same, shorter, Mozart style.

    Screams needs to be more clear
    Triplets all in all need to be a bit shorter, mostly with the 1st violins.
    style needs to be more the same, possibly shorter instead of longer.
    62: violins need to come out more.

  17. Carpe Diem:
    Measures 1-6 : 2nd Violins need to be louder. More pressure on the bow!
    Measures 14-16: Cello’s need to tone it down a bit, and violins need to be louder.
    Measures 61-63: 2nd Violins need to watch out for those notes. Don’t rush!
    Measures 88-95: LOUDER!
    Measures 130-131: Work on those sixteenth notes!
    Measure 37: 2nd Violins, C#!!!
    Measure 57: 2nd Violins, watch out for intonation.
    Last Measure: Violas and cellos need to be quieter.
    Measures 43, 53,71 and 81: 2nd Violin, E flat!!!!!!!!!
    Measures 93-97and 111-115: 1st and 2nd Violin, fix intonation!!
    Legend of the Phantom Pirates:
    The “shriek” at the beginning needs work.
    Measure 31- Cellos, slow down a bit, you were starting to rush.
    Measures 91 to the end: Needs to be a lot stronger, a lot louder.

  18. Legend-
    M 1 & 16 – be more intense at the entrance and again the second shriek and more together
    M 7, 10 & 14 – the violas could be a little louder
    M 27- at this section the violas could be more together
    M 41- fortissimo!
    M 72 & 75- play more together, and with a softer yet more intense sound.
    M1-15- the lower strings could be louder
    M 29-42 – the 8th note sequences need better intonation and need to be more together, esp M 37-40
    M 88 & 106- viola’s a little louder, can’t really hear them
    M134-145- intonation
    M3-19 – be more together, but a little softer but still articulate.
    M27-51 – watch the 8th/16th rhythm sequences, they’re not always together and this section could be better in tune
    M75 – FF!! can’t hear viola’s until 77
    M91- intonation
    M99-end – more dynamics/decrescendo when marked, watch the conductor at the end (and rhythm)
    M1-4 – violins watch the intonation
    M39-42 – be louder & more articulate on entrances, dynamics on whole notes
    M79-88 – the orchestra could be more dynamic/expressive
    M88- FF!!
    M101- be together when everyone enters
    M113- cellos need to be together

  19. Carpe-
    Measure 27: cellos have good intonation on the high notes.
    measure 36: cellos, do not slow down
    measure 88: could be a bit louder overall at the fortissimo
    measure 118: violins are a lilttle slow
    measure 29 and 57: cellos listen for intonation
    measure 85: we need to be more confident on the entrances
    measure 32: lower strings dont rush on the 8th
    all of the chromatic shrieks could be stronger, it also sounds like an extra note is being added on to it.
    measure 75: lower strings watch intonation
    measure 51: violins listen for intonation
    overall need to listen to other parts and work on being more together

  20. Carpe:
    Measure 16- second violins could be a little bit louder. Also in measure 88 for the double forte.
    Measure 101- the tutti needs to be more together.
    Measure 111- very together and loud and well played.

    Measure 67- seconds need to be louder with the forte.
    Meaure 99- the whole orchestra did a good job at getting soft together.

    Measures 104,106,130,132- easy on the last note of the phrase second violins.
    Measure 169- orchestra had good intensity.

    Measure 35- it was a good dynamic change going to forte.
    Measures 61-69- seconds need to be louder to be heard over the first violins.
    Over all: We have a very good sound, but out of tune sometimes. And we tend to rush on loud parts, so just know our parts better and watch Mr. Riegel a lot more than we are!

  21. Allegretto:
    Measure 12: I think we could all be a little more together here. We’re just a tad off but fixing that little spot can make a difference. The same goes for Measure 29-32.
    37: I believe us Violas can work to make this section flow better.
    77: The sound was very nice! And the dim. at 95 was excellent!

    Meas 2: Be careful not to rush lower strings!
    6: We need to establish a specific cut off for this measure.
    18: I really enjoyedd 18-21. I felt like we were all really feeling the music.
    39-42: I feel like we could be louder here. This goes for Meas. 88 as well.
    When we enter at Meaure 101, I think we can be more together.
    Last but not least, the ending must be LOUD

    On all of the “scream” parts, we need to work on cutting off together.
    27: Do not rush this part! Keep a steady internal beat!
    I really enjoyed Meas. 49-54. I though we all played very well together and with energy.
    I loved the dynamic change from 69 into 70
    91-end: I think we can all play much louder here. As Emily said, “the pirates were not weak!”

    I think overall we all MUST take this home and work on intonation in the entire piece. So many accidentals its crazy! But when we all get our parts down to a ‘T’ it’s going to sound great 🙂
    29: play with confidence!!!!!
    When we first begin at 86, we take a little bit to match style. Let’s work on that!Once we all come together, it’s extrremely nice!
    Nice dynamic change at 169.
    I think we need to make the piano at the end different frfom the previous measures. Make sure everyone is watching at the end!

  22. Carpe Diem:
    Beginning: everyone needs to come in together- breathe!
    Measure 14: violas are rushing the soli
    Measure 44: the notes need to be more precise and have more oomph
    Measure 61 and 97: during the solo parts, the second violin part needs to be louder
    Measure 101: everyone needs to be more in tune, there needs to be a bigger contrast between dynamics in 101 and 103
    End: everyone needs to be more together- watch Mr. Riegel!

    Beginning and End: we need to watch Mr. Riegel, breathe, and stay together!
    Beginning to 27: lower strings need to be more intense and yet quieter
    Measure 27 through 51: there is a distinct upper string part and a distinct lower string part. They are often not together on the down beats! Also, the lower part has to be more together and cleaner.
    Measure 75 to 99: we need more volume, intensity and emotion!

    Measure 29 to 42: the high notes every third bar need to be more in tune
    Measure 85 to 121: violins definitely need to work on notes, it’s really exposed
    Measure 134 to 140: everyone needs to be together/in tune on the slurred notes/chords
    Throughout: everyone has a huge tendency to rush the eighth notes. Violins especially lose most style on these.

    all “shrieks”: need to be more together and more precise!
    Measures 12-15: we decrescendo when there’s a cres., and decres. when there’s a crescendo marked!
    Measure 27: it takes us a while to find our rhythm and get the notes together
    Measure 44: More volume! more intensity! it’s fortissimo!
    Measure 90 to the end: we need to not speed up as we get louder. speaking of which, we need more volume again!

  23. Carpe: Measures 18 – 21 & 46 – 53 – Cellos and basses could stop the bow sooner on quarter notes sooner to add more space between the notes.
    23 – 39 – The melody could be shaped more. Adding in some phrasing would really help this section shine. Right now it’s all just a little plain.
    88 – They dynamic contrast could be a lot bigger.
    118 – Watch out for rhythm violas
    139 – Make sure we’re looking up. Not everyone was with Mr. Reigel

    I like to think of this piece like the game telephone. It starts with a phrase that is laid out very clear and nothing too sinister, but as the game (song) goes on, it starts to be manipulated. It gains intensity as the original idea is still present, but it has been contorted and changed into something else. I see the end of the game at 67 when the final idea is revealed and everyone laughs at how ridiculous it is. Then it calms down and everyone finds something else to do. Just think about this as you’re playing, about how this idea is being passed around and manipulated. It might help you “get” the piece better.

    1 – 51 – It needs to be a lot more staccato, especially on the quarter notes.
    1 – 19 – Almost a soft as possible. Then when we get to 19, it needs to be a whisper.
    43 – Nice dynamic contrast!
    51 – 67 – Despite the shifting basses, please stay in tune.
    67 – Yay crescendo!
    67 – 99 – I can hear the cello triplets, but the basses triplets are kind of in the background. Epically the second note of each one. In comparison, the downbeat sounds WAY too loud when it’s actually a good dynamic. Bring the second note out a little more.
    91 – There needs to be a little bit more diminuendo before the “sempre dim.” in 95. It was a little too drastic.
    103 – 104 – Intonation.


    More emphasis on the downbeats
    29 – 36 & 57 – 64 – Great style, but could be more in tune
    114 – The dynamic contrast on the third beat could be a lot bigger
    169 – Awesome change in style. It fit the piece very well.

    The held low E could be a bit more present. Don’t be afraid basses. (Except at 69)
    16 – Nice “Shriek”. Ended very strong.
    34 – More low E, basses.
    61 – Nice phrasing Violins!
    85 – Really good job at building the intensity!
    103 – Don’t let any notes hang over. I head some harmonics left over from dampening strings in the bass section.

    Over all these are very well played. The things left to fix are very small and easy to fix. I feel like we could all know are parts a little better so we can focus on the little things. We sound great. Yay orchestra!

  24. Carpe:
    m. 1-5: Watch the tempo here, it’s taking us a while to get into the right tempo due to syncopation
    m. 10-13: Violas watch intonation here, and play loud and bright. We have the melody for once, so play it loud and proud!
    m. 14-18: Violin II play louder. You have the melody, but I can barely hear you guys at all.
    m. 18-22: Violin I watch intonation here. I hear a lot of sliding and scrambling for notes.
    m. 46-55: Violin I is being overpowered. It may just be the recording, but I can barely hear the melody.
    m. 61-68: Soloist, watch intonation and don’t play so harshly. It’s a soft and beautifully melody, so don’t play too strongly.
    m. 79-88: Everyone needs to watch intonation here.
    m. 88: KEY CHANGE
    m. 97-100: Violin II soloist needs to play out more. Match the tone of the other soloists.
    m. 101: Intonation on the tutti
    m. 107: Violas need to match style more here
    m. 111: The accents were pathetic. More attack at the beginning of notes.
    m. 118: Violas need to play out more
    m. 135: We’re attacking that first note too strongly, then backing off a lot. It is fortissimo, but we shouldn’t have a sudden burst of sound and then suddenly get softer. Play strong because it’s ff until the end.
    m. 139-140: WATCH

    m. 1-2: More attack on the first note and then back off gradually. We’re not matching in our dynamic levels.
    m. 3-19: We’re playing a bit too strongly here. It’s only piano, and it is possible to keep the intensity even at a softer dynamic level.
    m. 17-43 – I feel like we’re playing a bit too strongly and giving away too much too early. The beginning should be building the suspense and should be kept at a bit of a softer dynamic level.
    m. 35-51: Violas watch C#’s
    m. 51-75: On the three note slurred pattern, the last note should be the softest. We sort of getting a “whack” on that note.
    m. 75: Not too sudden with the fortissimo, according to the music it should be a gradual build. We also need to play stronger, that was barely a forte.
    m. 83-99: Violin I watch intonation.
    m. 104: Intonation on the last note, and exaggerate the decrescendo. No accent on the last note.

    m. 1-15: Good start Violin I, but watch intonation at the end of this phrase.
    m. 17-21: Don’t push the tempo!
    Watch intonation on first page, and don’t accent ends of phrases.
    Second section sounds extremely rough. It’s supposed to be a light and pretty section, but right now it’s sounding hard and heavy.
    Again, don’t accent ends of phrases, especially at m. 86 and any repeats Violins.
    Mozart did not have a very heavy style, but that is what it mostly sounds like now. The entire song should have a more light and bouncy feel to it. Play loud, but make it sound a little more playful and fun instead of dragging like it is now.
    m. 207-210: WATCH
    m. 209-210: Careful on the intonation here, and also don’t accent the ends of phrases. Don’t hold the last note too long; play light and short, but not stacatto.

    m. 1: Someone is lagging behind everyone else, and it really sticks out because we only have basses holding there.
    m. 4-15: Watch intonation here. There’s a lot of accidentals and strange harmonies to watch out for.
    m. 17-26: Make more of a difference between the ff and the p, because I can’t hear much at the moment.
    Staring at m. 27, don’t push the tempo. The sixteenth notes especially tend to rush, so be careful to not push it.
    On the dotted-eighth note sixteenth note rhythm, the sixteenth note should be shorter and come later. The sixteenth note should “belong” to the next note; it acts as a pickup into the next note rather than an extra note we have to play.
    m. 82-91: Be careful not the rush the eighth notes.
    m. 91-97: The sixteenth note still needs to come later. Right now it’s early which is causing us to rush a bit. Try to make it as late as possible, before the next beat comes. Remember it’s supposed to act as a pickup into the next note.
    m. 91-102: Play out more! It’s fortissimo, and right not it’s still barely a forte!
    m. 99-102: Bigger, stronger accents. More attack at first, then let up right away.

  25. Carpe:
    0-3: Though not as together as it could be, I feel as though the entrance was strong, so that’s something good
    6-8: Continuing with a strong sound, we need work with our intonation, as we’ve been told many times in-class
    24-26: Accidentals are causing some problems with intonation
    35-39: Personal note here, I’ve never really noticed the cello part playing underneath the main medley. Just thought it was neat to be noticing that now that I’ve gotten the chance to sit and just listen to us play
    44-46: Out of tune, and needs to be more together
    53ish: Yikes, seems like something’s causing our instruments to squeal and screech; more confidence in the playing or notes may help
    71: Needs a more confident entrance
    79-85: Just doesn’t sound right, probably because of intonation
    88-94ish: Basses especially are out of tune
    101: Need to begin playing at the same time
    113-117: This sounds much better than I thought it would. There’s a strong sound, and for the most part we manage to stay together.
    140: Need to work on remaining in unison for the finish.

    I can tell that there’s a lot of potential for us in this piece, though a lot of work is needed to maintain intonation and a steady pace throughout.
    3: I feel that a quieter entrance would have a more dramatic effect, and that we would do well to ease our way into the music
    8: G-natural intonation – basses
    20ish: Seems as though we got a little off beat; this is just one of many instances where we rushed through a bar for just a bit. Need to maintain a steady pace
    26: Not much needs to be said about the mini-solo here
    35-37: Instruments are just making a bad noise. I don’t know of others, but I feel as though lower strings need to make a clearer sound, while remaining quiet. At the very least, I find it difficult to get my instrument to play a nice sound without digging into the string
    50: Needs to be played with more confidence
    51-the end of time: Better intonation, especially lower strings
    67: The beginning of a nice crescendo. This is where we could really be doing some great stuff if we could get small things such as intonation out of the way
    83-end: The eighth-notes in the bass sections seem to be a little difficult to hear, and may require some more emphasis

    1-3: Stuck together well in this entrance
    15-17: The final note of this section, and at nearly every part where it was repeated, low strings seemed to make the final note sound different from the preceding. The manner in which this was done ranged from intonation to style, but we need to be sure to keep everything consistent throughout the piece, especially one such as this where much of it is simply repeated
    21: Simply a harsh sound, not very pleasing to the ear
    42-51: Intonation problems across the board here.
    85: We were not together
    103: Again, not together, and also noticeable problems with intonation
    135: Again, intonation. This is a major problem throughout the piece
    192ish: Lower strings placed some nice emphasis on the notes and played with some good style
    196-205: Intonation issues in the higher octaves
    We need to play together at the end of the piece

    In general, the “Haunting” low E’s had a cool effect, though as many others have pointed out the “shrieks’ such as at the beginning of the piece and at 16 could use some work
    16: Low E’s need to come in at the same time for a good effect
    21: Very nice crescendo
    23: The crescendo is slightly dampened in effect by the lack of a steady beat and solid rhythm
    34ish: Again a nice crescendo, though high strings must stay in tune
    45-54ish: I like the lower strings’ emphasis on the 1st and 3rd beats of the bars, though the A-flats were often out of tune
    51: This change in rhythm needs work
    57-61: Completely fell apart in terms of tuning
    72, 75: Violins need to ensure that they remain together. Mistakes made here are very noticeable
    89: This should be much louder! What happened to the drastic change in dynamic to a forte we had earlier in the Allegretto?

    I think most of our errors can be taken care of by the time of our concert. We have a strong group, and I look forward to our performance

  26. LEGEND-
    -Violins, work on staying together at the beginning and at some of the first entrances (like m. 11)
    -Go for a cleaner and more together sound at m. 49
    -Watch for intonation and ensemble issues during the slower section, especially while in the higher positions
    -Work at really playin out at m. 88
    -Violins, we’re lagging behind a bit ar m. 118
    -Watch the tempo and stay togethrr as a group at the end

    -Listen for (and work on fixing) the ensemble issues at the beginning; they’re really exposed
    -Watch the intonation at m. 81 – 99
    -Pay attention to the phrasing at the end of the piece and special attention to the intonation of the last note
    -Listen to the fp at the beginning of the piece too; we could get quieter a bit faster after the initial forte
    -Make sure not to rush throughout this piece, and overall, listen to our balance and phrasing
    -Keep the tone sharp and crisp at the beginning of the piece (it gets better later, but start strong) and on all the eighth notes throughout the piece
    -Watch the intonation at m. 29
    -Try not to rush the eighths at m. 21 (and other places with a similar rhythm
    -Everyone should breathe at the beginning of the piece and at entrances so that we come in together
    -Cellos, watch the entrance at m. 27 (Allegro) and stay together when coming in
    -We could be louder at m. 91 (ff!!)

  27. Allegretto – M. 3 ; Cut off together
    C#’s in melody starting at 27
    M. 75 ‘ Melody intonation in violins
    M99 – End ; Need more difference in dynamics

    M. 30 ; Intonation
    M. 35-40 ; Intonation
    M. 58 ; Intonation
    M. 68 ; Intonation

    Carpe Diem
    M. 52 ; Lost all sense of the beat
    M. 56 ; Entrance in violins is harsh, needs to be much smoother
    M. 79-85 ; Intonation
    M. 101 ; Togetherness in violas
    M. 139 ; Much more articulation

    M.28 – Togetherness
    M. 67-68 ; Intonation

  28. Carpe
    – 31 – togetherness in 1st
    – 35 – intonation in 1st
    – 52 – 1st were very messy (count and learn the notes)
    – pick up to 69 – not strong enough
    – 71 – no contrast to 69
    – 113 – some 1st were not ready
    – 118 – begining not together
    – pick up to 126 – not together
    – 129 – intonation in the 1st
    – 133 – not together
    – ending – didn’t not release together

    – 3 – release not together
    – 11- cello rushing
    – 27- 1st need to be quieter
    – 50 – intonation in 1st
    – 51 – intonation in 2nd, 1st less loud
    – 83 & 91 – intonation in 1st
    – Ending – not together

    – 13 – 1st not together
    – 19 – 1st rushing
    – 30 – 1st intonation!
    – 31 & 34 – 1st not together
    – 96 – not piano
    – 127- 1st need to subdivide

    – 1 – not together
    – 27 – not together
    – 63 – did not release together in 1st

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