Discussion in 'The Adjudicators' Comments' started by Di, Oct 6, 2009.
Just listened to the recording and love it
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Saint-Saëns VariationsFourth Section Test PieceCoryElliebonequote
I`m not playing it but have heard the recording and thought it was a beautiful piece of music. Our newly formed Band, Verwood B, begins its Contesting career in the West of England Areas which is why I have a particular interest. Actually our MD is signing for Verwood B (he is solo Euph with Jag Coventry at the moment) because this is such a good piece...
Looking forward to this years North West Area this year after being told that there are 24 bands entered in the 4th section.
Some decent playing on the recording but it smacks of what it probably is, sightreading tazzfest. Some of the tempos seem to be out and there are some effects that aren't in the score.
We've been blowing through the piece the last couple of weeks and i'm starting to like it...its going to make for a very interesting contest in Blackpool, bring it on! :biggrin:
As a founder member of Oldham Brass 97, I have to say that I don't recall you either. Could you clarify when you played for them.
And I must say having been there from start I don't recall you? Maybe i'm wrong but please enlighten us?
Why, will it add to everyone's understanding of Mr Sparke's testpiece?
Haven't had chance to hear the piece yet, I'm interested to hear how much of the original is in there, and how deeply buried - must be hard to resist the temptation to just put the last 30 bars in without alteration, because it takes some beating as a finale!
Can I just bring something to the attention of all timpanists? There are three timp rolls in this piece where I managed to forget to add the slashes - in bars 93, 100 and 543. These should all be rolled through to the next note.
Apologies for the errors, but I hope these are the only ones in the score.
Thanks for that, our Timp guy would like to know if its plain Cheese or any filling of his choice
I don't do cheese, I'm afraid.......
Thats so true, but youve put us in a pickle a few times!!
Its time to break the silence! I’ve got my teeth into the solo cornet part now. The harmonies in the band are great. I enjoy it from start to end, especially the last bars where my band in the northwest take it at something like 200!
Even people I know who play in 4th section bands but haven’t contested and
don’t normally have heard it and think it’s an excellent choice for a test piece.
Will they be providing portable oxygen masks for the Bass players for the last three lines.
There is no way on Gods little earth that Bass players can play ALL the music on the last three lines.
By the time you have taken a breath you have missed two bars.
So will everyone else. Its marked at minim = 100.
There are 23 bands actually competeing at Blackpool and it is happening in the Spanish Hall again, starting at 11am.
Only joking! I think they must have been taking quicker then normal for the sake of practicing fast. It’s nice to hear there are to be more bands at the Northwest. There were nine in all competing in the Yorkshire fourth section last year.
An interesting piece. The word is that the adjudicators do not expect any fourth section band to be able to play it.
Well the adjudicators will just have to wait and see which bands can! The word is also that players have a good feeling about pulling the test piece off well, even if it isn’t to some persons taste.
very good point, with any luck the adjudicators will get a shock, I think that bands are enjoying this and there will be some good performances come the day.
Where did you hear that the 4th Section starts at 11-00a.m.I was informed by Peter Bates that it starts at 11-30a.m. Has there been a change in starting times?
Adjudicators have been, and most still are, players of the highest quality who understand what can and cant be achieved in the lower sections, and this is exactly what makes Saint Saens Variations an excellent choice. Whatever the results, whatever the region, players can only improve with the experience of the harmonies and rythmic challenges that the piece sets.
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