Here are the parts for the Double Reed Band. Please print off your own copy and bring to the Double Reed Weekend.
***Make sure you read
the performance notes below from Anthony Young.***
Suite for Double Reed Band
by Anthony Young
Performance notes for First Draft (13/2/14)
Please be aware that there maybe a few alterations and changes on the 1st March in rehearsals. This has been a challenging ensemble to write for, and I cannot be sure of being certain of every detail of the mechanics of double reed instruments. If something seems too difficult or unidiomatic, please don’t fret: it may very well be changed during the rehearsal.
2ND MOVEMENT
There is a solo for oboe d’amore at the start. The following instructions mean:
• Colour trill – creating the a trill without pitch change by trilling with a finger that doesn’t change the pitch, though possibly shifting it microtonally.
• Key clicks – after a diminuendo to as quietly as possible, cease pitch altogether to allow only the sound of
the keys continuing to click. This may require other keys to be used that weren’t needed for the tremolo.
• Vibrato – notes marked with vib. and the wavy line require extra strong vibrato.
• Lip bend - (bar 58) using the embouchure, flatten the pitch of the A natural as far down to the next note as possible to create the impression of a glissando.
First and second oboe parts have densely written ornamentation. This is not intended to sound in perfect unison. Notes written as hemidemisemiquavers should be played confidently to each player’s best ability as an ornament. Note that the ornamental notes are printed with smaller noteheads. Players should aim to be in unison on notes with regular‐sized noteheads, the overall effect being that of heterophonic chaos suddenly unifying on certain notes. If not all the notes are played, or there is an error in the order of the pitches, this is not a problem.
3RD MOVEMENT
Some parts include a few notes surrounded by a box with an arrow pointing to the end of the bar. This indicates to the player to play those pitches in the written order repeatedly and rapidly, as far as indicated by the arrow. These are not meant to sound in unison and each player should play them as fast as is possible.