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Re: Favourites./Isiah 40

The top A for 16 bars in Isiah 40 is probably the one near the end of the
piece.  As far as I remember it is also FF dynamic.  The trick I used at
the Nationals with Brighouse last year was to hold the note for a couple of
beats at FF then bring down the dynamic to MF ( to prevent busting a blood
vessel, seriously !!) then towards the end crescendo back to FF and hold
it.  That way you do not need a breath in the middle.  The main parts of
the notes are then heard loud and clear.

If you do need to breath, make sure the beginning of the note is there and
the end of the note is there, you could actually then miss a few beats in
the middle, but make sure you don't thump the note when you come back in
(start quieter then crescendo).  You mainly need to make sure the
adjudicator/audience hears the start and end of the note, the middle of the
note is not as interesting.

Martin Irwin.

----------
> From: Steven_Harlow@xxxxxxxxxxxx
> To: brass-band@xxxxxxxxxxxxxxxxxx
> Subject: Re: Favourites./Isiah 40
> Date: 22 October 1997 00:13
> 
> I'm interested to hear, the Soprano has a top A for about sixteen long
> beats in Isiah 40, could any of them hold it?
> 
> Also, I'm sending out a bit of a "feeler" on Lowry's Sketchbook, its on
our
> shortlist for an owncoice at our next nationals, anyone got any opinions?
> 
> Steve Harlow
> Baritone
> St Marys Brass
> 
> 
> 
> 
> 
> mirwin@xxxxxxxxxxxxx
> 10/22/97 01:04 AM
> 
> Please respond to brass-band@xxxxxxxxxxxxxxxxxx
> 
> To:   brass-band@xxxxxxxxxxxxxxxxxx
> cc:    (bcc: Steven Harlow/BCA/AU)
> Subject:  Re: Favourites./Isiah 40
> 
> 
> 
> 
> > Tim Morgan <tim@xxxxxxxxxxxxxxxxx> writes:
> >
> > There's also a now infamous bottom F natural for the 3rd cornets in
this
> > section of IsAiah 40.  I'm sure on the Grimethorpe CD the cornets smack
> > out a perfect F#...anyone else noticed this?
> I haven't heard the recording, but remember the notes in question when I
> played the piece with Brighouse when it was the Cambridge test piece.  As
> far as I remember, our horn players played the note, leaving the 3rd
> cornets to mime!!  I'm not sure whether the horns had the note anyway, or
> whether they were given it.
> These days composers write easy passages within pieces in such a way that
> they are made more difficult, knowing full well that bands are going to
> re-arrange them to make them easy again.  You may (or may not) be
suprised
> to know that all top bands (and I mean all) re-arrange parts of test
pieces
> to make them easier.
> One classic example is Black Dyke at the nationals 2 years ago (Songs for
> BL ?) where there is an F above top C, followed by a D then another F for
> the solo trombone.  Most trombone players got the note, but Dykes solo
horn
> player actually played the notes while the trombone player mimed !!  Will
> this stir up a debate ??
> Funnily enough Dyke didn't win, but neither did we.
> Martin Irwin.
> 
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