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Suggested Reading

1. Rehearsal Rooms

Struggling to improve the acoustics in your band room? Check out how the Medan Band did it.

2. Concerned about playing swing music properly?

Check out my guidelines

3. Ear training exercises for bands

Unlike piano players, ear training is essential for wind band performers. But how many band directors bother to give their bands suitable exercises?

4. Intonation problems

While tuning is simple act of adjusting a length of tubing on a wind instrument (often by reference to a single note), intonation is an ongoing process in which a player strives to match the pitch of others in the ensemble during performance. 

5. “Blowing” a wind instrument

A common misconception among wind players is to believe that the air moves through the instrument in order to produce the sound. This is simply not true. 

6. Conducting – suggestions for home practice

The best way for a conductor to improve is in front of a live ensemble. The unfortunate reality, however, is that this is not always possible. Aspiring conductors therefore have little choice but to find other ways of honing their skills.

 

Coda (Sections 40-41)

Sections 40-41 echo the material found in the introduction.  There are some important differences, however.  For one thing, section 40 is longer (eight bars instead of six) and there are powerful pedal tones in the bass.  Like the introduction, section 41 is built upon an Em7b5 chord resolving on A.  Rather than being in A minor however, the fact that the Bb is also present in the last bar suggests that the music ends in the Phrygian mode.  This impression is reinforced by the absence of an F# or G# in the upward scalic passage in the woodwinds (last bar). 

The sustained chord in the brasses (section 41) needs to be watched carefully to ensure that the crescendo does not come too early. This would ruin the effect

 

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