Mikey Mayer

Conducting 2 Cajun Folk Song II Rehearsal plan movement 2 166-192

April 23, 2020

1. Start the class by having positive energy, this will in turn give them energy as well.

2. Start with the grace note rhythm found at measure 168 and 169, in the flute, oboe,

percussion 1, and 1st clarinet, start slow

3. Have the rest of the band sizzle 8th notes, just put the rhythm on a loop, emphasizing that

the grace note should not be on the downbeat

4. Once the students get the rhythm, have them put the dynamic changes in as well.

5. Next, ask the students to play the 16th triplet anywhere they have it in their parts, this is

for rhythmic accuracy, anyone who is not playing sizzle.

6. For the students to play it together, have them play the triplet rhythm slow, then slowly

get faster as it progresses, this will make it easier to play it as written.

7. If the second trumpet is not coming out of the texture, tell them that they are important

and are the melody

8. At measure 173, have the piccolo, flute, oboe, and 1st clarinet play, everyone else sizzle

marcato 8th notes. This is to get the right articulation on the and of 2.

9. Go back to 166 and play past 174, focusing on rhythm, notes, and tempo

10. Have the clarinets and saxophones play at 174, this is for intonation and rhythms

11. Have the rest of the band sizzle 8th notes again. Emphasize good tone

12. Have the other sections play at 174, focusing on articulations and good tone

13. Have everyone play from 166 to 180 focusing on a light bouncy style, keeping

articulations in mind
14. Fix and repeat any sections that are needed to fix

15. Explain that the percussion has a groove that makes the style seem “hokey” and gives the

Cajun feel with the off-beat 8th notes

16. At measure 180 the 16th note triplet moves around to different sections so isolate the

piccolo, flutes, oboes, 2nd and 3rd clarinets, and saxophones and work on this passing of

the rhythm slowly

17. Have them play it slowly, band sizzle the triplet, and conduct just every 8th note, have

them focus on listening to the part that had it beforehand and match style and articulation.

18. Slowly pick up the tempo, and have the band sizzle the 8th notes now, and repeat above.

19. Put it into context and start from 174 emphasize the moving parts to come out more

20. At 182 isolate the band into two sections, start with the piccolo, flute, oboe, 1st clarinet

and 1st trumpet. They all have the same rhythm, so have them sing the rhythm with a light

and bouncy style. This will get an aural picture of what the articulation and style should

be and can transfer. Sizzle 8th notes for everyone else

21. Have them play while everyone else sizzles the 8th note pulse

22. Then have everyone else play, have them sing their parts, matching the style not only

with the people with similar parts but throughout the ensemble

23. Put it all together from 174 and have everybody play, emphasize balance and not playing

louder than the person next to you, do not be a hero.

24. Because there are a lot of octave leaps in the low brass at 180, isolate that part if needed

and work on getting the right notes and rhythms with a light articulation, band sizzle 8th

notes.
25. To make sure everyone remembers what has happened so far, run the section from 166

again to 189 again, focusing on matching articulations and balance within the ensemble.

26. The tutti 16th run at 188 could most likely use some work have everyone play it slow to

match note length, emphasize the slurs written and matching style. For the instrument

that do not have that part, have them sizzle 8th notes

27. Throughout this section, if a group is getting the right style and articulation, praise them

and let them be an example to follow

28. To put it in context, go to pickups to 182 and play through 192 focusing on balance, and

a light bouncy articulation

29. At 190, the melody gets passed through this 8th note and 16th note phrase, isolate this and

work on this slow, emphasize listening to how other sections played it and matching

articulation and style

30. If time allows run through 166-192 focusing on balance, dynamics, rhythm, and

articulation, fixing any mistakes that happens. Remind them that the grace notes should

not be more emphasized than the note on the downbeat.

31. Tell the class good job and have closing thoughts for the day and for future assignments