"Spectrum" beginning

Discussion in 'The Rehearsal Room' started by Sir_Threepwood, Oct 14, 2009.

  1. Hi folks

    Any hints/ideas how to circumvent the technical difficulties of the beginning 4 bars of "Spectrum" by Gilbert Vinter? We are playing this but I suspect we will never be able to get this played tight, in tempo and together after bar 1.

    Second problem (for the cornets): the waltz, starting with the crotchet followed by two quaver triplets whereby the first quaver is bound with the crotchet. How can this be played? We cornets never manage to get this right.
  2. Kjata

    Kjata Member

    Hi, I can't help you with the first 4 bars of the vinter, but the walz rhythm can done correctly, it's exactly the same as the opening fanfare in salute to youth!!
    The answer is the think the crotchets in triplets, ie subdivide in your head. If this doesn't work straight away and the cornets have no patience subdivide out loud and then in your head, both should come to the same result, but unfortunatly guessing the rhythm really, really doesn't work!! ;)
    Hope this helps!
  3. andyp

    andyp Active Member

    We played this earlier on this year for a couple of contests (winning at the Guild Hall so we must have done it OK!), For the beginning it's those old friends practise and rehearsal! Aiming to hit the beat notes (every 4th semi) together is the key, the rest should follow (that's what they tell me anyway......). The people coming in later have the hardest job to get in in time and stay in time (particularly sop who only comes in on the last half bar or something like that, by which time it's shifting a bit.....). Accel (like rall, etc) means "watch conductor" (easy said with all those accidentals.......).

    The waltz bit - take the tie off so it's a crotchet and 2 sets of triplets, play it like that for a bit to gt the timing right, then add the tie back. Tonguing-wise it's whatever works best for you and (importantly) is even, I did tu-ku tu-tu-ku, 1 double one triple, cos I found that worked best (mind you if you can single tongue that fast it would be better!). Also forget the ff and aim for about f+, trying to play it too loud slows you down and leads to the triplets coming out much quieter than the crotchets, cos you can get more air through those. The triplets are slightly less important with not being on the beat anyway so to some extent you can play them with less volume.

    Hope that makes some sort of sense!
  4. Colin.Doran

    Colin.Doran Member


    I am pleased to award you with the brass band geek glasses award wear them with pride in your rehsals and when practicing ;) :D
  5. Thirteen Ball

    Thirteen Ball Active Member

    As regards the opening bars: The only answer is personal practice.

    Anyone with the running chromatic should be able to get it with a little practice. We should all have chromatics up and down in our locker as brass players as it's a basic skill and is just a matter of repitition.

    The counter-melody line to that, which has two consecutive notes that descend, then jumps up could be broken down between two players, like you do when covering breathing - however within the context of the accellerando which is going on at the same time, it may well be more difficult to do this than it is to play all of it! the only thing I can advise is to play it slowly over and over again, gradually getting faster.

    As regards the fanfare figure - try taking the tie away, thinking a triplet over the crotchet, or even playing one a few times to get the length of the note in your head. Subdivision is always the key with any tricky rhythm.

    Have fun rehearsing it - it's a great piece.
  6. andyp

    andyp Active Member

    I am deeply honoured, but surely am unworthy compared to the master!:grnsm
  7. I think our problem might not be the rhythm but the tongueing, given that this part is likely to be to fast for single-tongueing.

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