Opera House - Winter Gardens, Blackpool
TIMINGS FOR THE GRAND SHIELDTIMINGS AS CONFIRMED BY THE BRITISH OPEN COMMITTEE
Please note some of the times may change on the day DRAWS: Location: Floral Suite - Draw 1: 09:30, Draw 2: 11:30 CONTEST: Location: Opera House - Doors: 10:00, First Band: 10:30 RESULTS: Location: Opera House - from 18:00 |
WHO IS IN THE GRAND SHIELD?FINAL LIST OF COMPETING BANDS - GRAND SHIELD
(As confirmed by the British Open Committee) Amersham Band - Paul Fisher Ashton Under Lyne Brass Band - Paul Lovatt-Cooper Camborne Town Band - Gareth Churcher City of Bradford Brass Band - Lee Skipsey Desford Colliery Band - Ian Porthouse The EverReady Band - Stephen Roberts Fishburn Band - Chris Bentham Friary Brass Band - Nigel Taken The GUS Band - David Thornton Hepworth Band - Ryan Watkins NASUWT Riverside Band - Prof Nicholas Childs Northop Silver Band - Ryan Richards Rainford Band - Sarah Groarke-Booth Redbridge Brass - Chris Bearman Rothwell Temperance Band - David Roberts Skelmanthorpe Band - Gareth Brindle St Dennis Band - Cornwall - Darren R. Hawken Stannington Brass Band - Sam Fisher Wantage Silver Band - Chris King Wingates Band - Matthew Ryan |
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DRAWS AND RESULTSGRAND SHIELD - DANCES & ARIAS - EDWARD GREGSON
ADJUDICATORS: LT COL DAVID BARRINGER & STAN LIPPEATT VENUE: OPERA HOUSE DRAWS: 09:30 and 11:30 DOORS OPEN: 10:00 - FIRST BAND: 10:30 RESULTS: From 18:00 (Opera House) |
The draw information will be listed here on the day. Results willl follow the announcement.
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WHAT IS THE TEST PIECEDances and Arias by Edward Gregson
Having listened to the piece a number of times, I offer my views of the piece, it's structure, and potential pitfalls. However, first I will share a bit of background and the views of the composer. |
DANCES & ARIAS - FROM THE COMPOSER
This work was commissioned by Boosey & Hawkes Band Festivals (with funds provided by the Arts Council of Great Britain) for the National Brass Band Championships of Great Britain, held at the Royal Albert Hall, London, on 7th October 1984.
Composer’s Programme Note (paragraph spacing and punctuation added for clarity):
Dances and Arias is in one continuous movement, but as the title suggests is a series of alternating fast and slow sections as follows: Dance – Aria I – Dance (scherzo) – Aria II – Dance.
The opening dance is energetic and introduces a four-note motif (on trombones) which is the basis for much of the melodic material in the work. Throughout, there is a continuous process of thematic cross-reference and transformation.
The first aria unfolds a long melody on solo cornet, eventually continued by all the solo cornets, and dissolving into a shimmering harmonic background (muted cornets, horns and baritones) over which is heard a brief self-quotation on solo tuba.
This leads into the second dance, a frenetic scherzo…
… followed by the second aria, in the style of a lament (solo euphonium, followed by two flugel horns). This builds to a powerful climax which subsides, leaving the percussion to introduce…
… the final toccata-like dance. It transforms material from the opening before a coda brings the music to a triumphant close. The large percussion section is an integral part in the work and uses a wide variety of instruments including timpani, glockenspiel, vibraphone, xylophone, tubular bells, tom-toms, snare drum, bongos and tam-tam.
The work is dedicated to my brother and sister.
Edward Gregson
Composer’s Programme Note (paragraph spacing and punctuation added for clarity):
Dances and Arias is in one continuous movement, but as the title suggests is a series of alternating fast and slow sections as follows: Dance – Aria I – Dance (scherzo) – Aria II – Dance.
The opening dance is energetic and introduces a four-note motif (on trombones) which is the basis for much of the melodic material in the work. Throughout, there is a continuous process of thematic cross-reference and transformation.
The first aria unfolds a long melody on solo cornet, eventually continued by all the solo cornets, and dissolving into a shimmering harmonic background (muted cornets, horns and baritones) over which is heard a brief self-quotation on solo tuba.
This leads into the second dance, a frenetic scherzo…
… followed by the second aria, in the style of a lament (solo euphonium, followed by two flugel horns). This builds to a powerful climax which subsides, leaving the percussion to introduce…
… the final toccata-like dance. It transforms material from the opening before a coda brings the music to a triumphant close. The large percussion section is an integral part in the work and uses a wide variety of instruments including timpani, glockenspiel, vibraphone, xylophone, tubular bells, tom-toms, snare drum, bongos and tam-tam.
The work is dedicated to my brother and sister.
Edward Gregson
DANCES & ARIAS - MY OVERVIEW OF THE PIECE
Penned in 1984, this is the middle piece in terms of age – and one that has stood the test of time. Whilst it has only once been used in the National Championships in 1984 (Winner: Cory), it has been a set test piece in 4 UK contests. It’s making its first appearance at the Spring Festival – its first time as a set contest piece since 2004.
This is a traditional, archetypal test-piece – written to challenge – with tricky rhythms, articulations, shifting tempi, and a huge number of time-signature changes. It’s not necessarily meant to be pleasing to the ear of the general public - it’s all about the band’s performance, and the pedanticism of those in the box. I’ll be honest – I like the piece, but I’m not sure I’d fancy sitting through all 20 performances!
In very simple terms, as the composer noted, the piece is in one movement but has very clear changes between ‘dance’ and ‘aria’ with three dances and two arias ‘built in’. I’d be a little concerned at trying to dance to any of this – particularly with the regular changes of time signature – particularly in the final dance dancing to 7/8, 5/8 and 2/4 in rapid succession, does not make for easy choreography! As for arias…, I do see them, I do understand, and I am aware of the concept – particularly given the rubato-style scoring of the ‘solo voices’.
The first dance is introduced from the beginning with a frantic start – perhaps more suited to a 1970’s US horror film score than a dance (I can also detect the theme tune to the Crystal Maze on the trombone line). With a great many fast passages passing through out the sections, the overwhelming direction is forward, almost in a race to the slower tempo at 3. At this point, the dance is reminiscent of West Side Story. Whilst much of the section is in 3/4 time, it’s certainly in waltz-time - partly due to the regular changes to 4/4, but also due to the regular use of triplet phrasing in the melody against semiquaver accompaniments elsewhere. The magic in this section is clearly represented by the passage of the melody throughout the band from horn, to euphonium, to bass…. Whilst the section is quite heavily scored, it’s certainly not meant to be heavy and the tune should always ring out.
At 8, it is ‘all change’ as we commence the first aria. Primarily scored for one solo cornet, with the remaining solo cornets joining at 9, the melody line is transferred intermittently to Eb Bass. However, of interest is the solo cornet/ glock unison passage at 10. The tune is lyrical and reminiscent – in my mind - of a love poem being sung in an Alpine setting - with plenty of hesitation and movement – as one who is gazing into the mountains, before returning to add a few additional lyrics – almost forgotten by the view. My own view feels even more pertinent with the composer’s use of triplets, quintuplets, and septuplets – emphasising the ‘missed’ lyrics. Whilst melodic, the theme is never the only distraction and the accompaniments are never too far out of reach. At the end of the aria, the build up to the urgency of the dance is almost suspenseful as the glock and tubular bells are replaced with a trombone fanfare into the Scherzo.
The start of the scherzo at 11 is dramatic with percussive solos signalling the change in theme with ascending runs being carried through the band before opening into a fanfare to 13. Unlike the first Dance, the composer has retained 6/8 time throughout meaning we are treated to a very fast jig-like dance with light runs feeling almost incidental to the overall style. As the section moves along, it is reel-like, interjected with sustained sections and quaver/ semiquaver unison rhythms to ensure the dance does not slow, or lose its feel. As the dance matures, it leads to more exposed passages – maybe where the fiddle or accordion player has taken a break – which leap between the sections maybe typical of flute or Irish whistles. By 20, the whole band is back on board in what feels like a nervous, but steady transgression to the final hurrah. As with previous sections, the fanfare 5 bars before 22 signals the change of mood.
From the lead-in to the start of the second aria at 22, the haunting melody – scored on euphonium is so typical of a love song, with a mix of rubato and directed accelerando, that it resonates deeply. It is almost as if the euphonium is a sole young male voice in an island nation (say Tahiti singing to his beau on and adjacent island. Once the tune is taken up, by the flugel, the response to the young man’s pining is cemented, perhaps with a good friend joining in on the second flugel to reinforce her friend’s adoration. If nothing else stands out from this aria… the exposed and beautiful solo lines can only be surpassed by the use of two flugel horns. What is better than one flugel in a band? More than one! As with all previous sections, majestic fanfares symbolise the move to another, and final, dance.
To say the final dance is not in a dance-style would be incorrect. It’s relatively light in places, it definitely has repeating themes typical of dance music, and the beat is (as stated by the composer) ‘Fast and very rhythmic’. However, as a dance, this isn’t going to be one that makes it on the floor of the Blackpool Tower Ballroom! There are no more than 5 consecutive bars in the same time signature as it moves from 4/4, to 5/8, to 2/4, to 7/8… ever 8/8 (which the composer has be very clear to say is to be articulated as 3:3:2). It brings the thought of Derek Bourgeois’s ‘Serenade’ to mind with his mischievous ‘walk down the aisle’. That said, this section is almost certainly a fantastic conclusion, bringing back many previous themes and building to a triumphant ending. Quite literally, the majority of the movement is simply a repetitive phrase passed around the band, building intensity and excitement, right to the last note.
Overall, I do like this… but as I said at the start, maybe not enough to sit through it 20 times! My key takeaways are the second aria – which I love – and the fact there are two flugels (always nice to have). As for the dances… the second one… ‘yes’ I can see that, the first and third… I’m no dancer… BUT…!
This is a traditional, archetypal test-piece – written to challenge – with tricky rhythms, articulations, shifting tempi, and a huge number of time-signature changes. It’s not necessarily meant to be pleasing to the ear of the general public - it’s all about the band’s performance, and the pedanticism of those in the box. I’ll be honest – I like the piece, but I’m not sure I’d fancy sitting through all 20 performances!
In very simple terms, as the composer noted, the piece is in one movement but has very clear changes between ‘dance’ and ‘aria’ with three dances and two arias ‘built in’. I’d be a little concerned at trying to dance to any of this – particularly with the regular changes of time signature – particularly in the final dance dancing to 7/8, 5/8 and 2/4 in rapid succession, does not make for easy choreography! As for arias…, I do see them, I do understand, and I am aware of the concept – particularly given the rubato-style scoring of the ‘solo voices’.
The first dance is introduced from the beginning with a frantic start – perhaps more suited to a 1970’s US horror film score than a dance (I can also detect the theme tune to the Crystal Maze on the trombone line). With a great many fast passages passing through out the sections, the overwhelming direction is forward, almost in a race to the slower tempo at 3. At this point, the dance is reminiscent of West Side Story. Whilst much of the section is in 3/4 time, it’s certainly in waltz-time - partly due to the regular changes to 4/4, but also due to the regular use of triplet phrasing in the melody against semiquaver accompaniments elsewhere. The magic in this section is clearly represented by the passage of the melody throughout the band from horn, to euphonium, to bass…. Whilst the section is quite heavily scored, it’s certainly not meant to be heavy and the tune should always ring out.
At 8, it is ‘all change’ as we commence the first aria. Primarily scored for one solo cornet, with the remaining solo cornets joining at 9, the melody line is transferred intermittently to Eb Bass. However, of interest is the solo cornet/ glock unison passage at 10. The tune is lyrical and reminiscent – in my mind - of a love poem being sung in an Alpine setting - with plenty of hesitation and movement – as one who is gazing into the mountains, before returning to add a few additional lyrics – almost forgotten by the view. My own view feels even more pertinent with the composer’s use of triplets, quintuplets, and septuplets – emphasising the ‘missed’ lyrics. Whilst melodic, the theme is never the only distraction and the accompaniments are never too far out of reach. At the end of the aria, the build up to the urgency of the dance is almost suspenseful as the glock and tubular bells are replaced with a trombone fanfare into the Scherzo.
The start of the scherzo at 11 is dramatic with percussive solos signalling the change in theme with ascending runs being carried through the band before opening into a fanfare to 13. Unlike the first Dance, the composer has retained 6/8 time throughout meaning we are treated to a very fast jig-like dance with light runs feeling almost incidental to the overall style. As the section moves along, it is reel-like, interjected with sustained sections and quaver/ semiquaver unison rhythms to ensure the dance does not slow, or lose its feel. As the dance matures, it leads to more exposed passages – maybe where the fiddle or accordion player has taken a break – which leap between the sections maybe typical of flute or Irish whistles. By 20, the whole band is back on board in what feels like a nervous, but steady transgression to the final hurrah. As with previous sections, the fanfare 5 bars before 22 signals the change of mood.
From the lead-in to the start of the second aria at 22, the haunting melody – scored on euphonium is so typical of a love song, with a mix of rubato and directed accelerando, that it resonates deeply. It is almost as if the euphonium is a sole young male voice in an island nation (say Tahiti singing to his beau on and adjacent island. Once the tune is taken up, by the flugel, the response to the young man’s pining is cemented, perhaps with a good friend joining in on the second flugel to reinforce her friend’s adoration. If nothing else stands out from this aria… the exposed and beautiful solo lines can only be surpassed by the use of two flugel horns. What is better than one flugel in a band? More than one! As with all previous sections, majestic fanfares symbolise the move to another, and final, dance.
To say the final dance is not in a dance-style would be incorrect. It’s relatively light in places, it definitely has repeating themes typical of dance music, and the beat is (as stated by the composer) ‘Fast and very rhythmic’. However, as a dance, this isn’t going to be one that makes it on the floor of the Blackpool Tower Ballroom! There are no more than 5 consecutive bars in the same time signature as it moves from 4/4, to 5/8, to 2/4, to 7/8… ever 8/8 (which the composer has be very clear to say is to be articulated as 3:3:2). It brings the thought of Derek Bourgeois’s ‘Serenade’ to mind with his mischievous ‘walk down the aisle’. That said, this section is almost certainly a fantastic conclusion, bringing back many previous themes and building to a triumphant ending. Quite literally, the majority of the movement is simply a repetitive phrase passed around the band, building intensity and excitement, right to the last note.
Overall, I do like this… but as I said at the start, maybe not enough to sit through it 20 times! My key takeaways are the second aria – which I love – and the fact there are two flugels (always nice to have). As for the dances… the second one… ‘yes’ I can see that, the first and third… I’m no dancer… BUT…!
DANCES & ARIAS - MY UNEDUCATED COMMENTS AND PERSONAL THOUGHTS
In my opinion, Dances and Arias is a typical test-piece from the 80s. With its fast passages, either written in unison, or moving up or down the band in a consecutive nature, pinpoint accuracy is a must. The various and numerous changes in time signature demand immense concentration (particularly in the final ‘dance’). Furthermore, the lyrical sections of the arias must – quite correctly – be sung, with the instrument simply being an extension of the player’s vocal cords. Moreover, this piece is reliant on a strong percussion section which, unlike many earlier pieces where it is scored as an accompaniment, is an integral part – even to the extent it could be described as the principal soloist.
In contrast to the ‘dances’ – which require strict adherence to tempo (as any dance group will attest) – the arias are much more fluid, particularly in the second aria. However, implementing too much artistic licence, and applying the ‘freely’ markings too generously, risks losing the contours of the entire piece. Remember, the piece should take 14 minutes to play… extending beyond that, or indeed falling below, would suggest a complete disregard for the composer’s intentions. Furthermore, too much rubato risks losing the lyrical concept – an aria is, after all, a song, and most songs have a defined structure.
The composer’s markings for articulation are somewhat scant, leaving the band and MD to determine what they feel sounds correct. I have found no marcato markings (I may have missed a few), very limited use of staccato and legato instructions, and the use of accents is pretty much reserved for the recurring fanfares. I do not believe the composer wishes for all semiquavers to be ‘full length’, or that the band should refrain from using legato phrasing in the aria sections. However, and with reference to similar ‘minimalist’ articulation markings in different genres of music, where a marking is written, that is what must be played – particularly if this is ‘out of sync’ with what would normally be expected. In other words, in the absence of markings, the composer is allowing for some licence in the interpretation of articulation, but if a marking is there it must be played.
In a great many places, this piece is dynamically bipolar. In the first dance, the dynamic shifts almost continuously from ff to mf to mp to ff. Indeed, whilst slightly less dramatic in the remaining two dances, that bipolarity is ever-present. The arias are much more forgiving, and despite the swells and fades, the dynamic shift is much ‘calmer’. Of particular note is the use of mfp, fp and ffp, where it is so important (given the length of the piece) to ensure consistency – the composer wants the band to make the difference clear. In addition, consistency across the band is key as there are numerous areas where dynamics across the sections are different. Furthermore, particular concentration is required for the dynamic of the muted instruments which may differ from ‘open’ – I refer particularly to where the use of mutes by a section is rare (i.e., not cornets).
Accuracy is paramount – particularly in the dances. On listening to the unison section, it should be possible to take a slice across the band and find each player on exactly the same beat of the bar. It shouldn’t be difficult at this level, but a slightly mistimed entry can ruin a phrase. However, perhaps more important is that the progression of phrases throughout the band needs consistency and fluency, be it the semiquaver motives in the first dance, or the slurred runs in the second passing from one instrument to another… final notes on one instrument becoming the first notes on another, and flowing – without ‘statements’.
It is safe to say this piece is a true mix of exposed sections and full band sound. Whilst accuracy is clearly important in the full band sections – as referred to previously – this must also carry through into the exposed sections, with even greater attention to detail and clarity. Adherence to syncopation throughout the band – particularly in the arias – must include complete accuracy over dotted notes, and absolutely no push on the following note. Whilst the whole band sections require tight unison, the exposed sections are deserving of the same… including consistency of volume and style where passages are translated throughout the instrumentation range.
Solos are primarily seen on the Cornet, Flugels (2), Euphonium, and Eb Bass, and are generally restricted to the arias. Unlike some composers who will write all ‘exposed’ or ‘singular’ voices as ‘soloists’, the composer here has been relatively restrained in writing the word ‘solo’. In my view, all of the solos (perhaps with the addition of the Flugel solo/duet in the transition into – and throughout figure 24) are true expressive ‘songs’. Whilst expressive playing is encouraged by the composer, it should not detract from the overall landscape of the piece. This is especially important in the tuplets, which should always be even – regardless of any wish to turn a quintuplet into a duplet-triplet combination! Furthermore, particularly with the euphonium solo at figure 22 – strict clarity on range is essential, not an easy task when the pitch stretches from a top D♭ to a pedal F♯ over 2½ bars!
In terms of intonation, the majority of this piece should be well within the range of players at this level (with very few exceptions). It should no longer be a case of merely ‘achieving’ the notes, but ensuring every note has clarity, pitch security, and fits perfectly in the harmonic framework. Where a section or full band is in unison, it should sound like one – with no tuning clashes.
Finally, returning briefly to the solos: this piece is littered with tuplets of all shapes, sizes, and lengths. Be it a septuplet, a quintuplet, or a 6/8 quadruplet, these are designed to test. Whilst these may be hidden slightly within the frantic energy of the dances, their inclusion in the exposed arias is a clear trip hazard – and something the adjudicators will be watching extremely carefully.
To Round Off. I do not believe any band in the Grand Shield will be unable to play this. The scoring is kind on pitch, and where it challenges in time changes, it provides security in the many recurring themes and passages. The percussion section will be key, and will certainly need to be three (possibly four) strong. Excellent soloists are essential to provide the arias – tone, texture, compassion, and dare I say – love – will need to shine through. A strong first cornet flugel player, who can play like a true flugel, will be one of the key attributes I would look for. In brief, I would hope for some clean, tight, and light playing (not light in dynamic) in the dances, with some passionate solos, and sympathetic backings in the arias.
Where Will It Be Won?
Realistically, this piece is not to be played – it is to be worn. I doubt there is a band in the Grand Shield that can’t play it (with sufficient practice). I further doubt there is a band that can’t portray the dances in a clean, tight and accurate manner. To me, this will be won in the arias – not by playing what’s on the page, but by passionately singing the music, whilst the accompaniments remain tight and sympathetic.
In contrast to the ‘dances’ – which require strict adherence to tempo (as any dance group will attest) – the arias are much more fluid, particularly in the second aria. However, implementing too much artistic licence, and applying the ‘freely’ markings too generously, risks losing the contours of the entire piece. Remember, the piece should take 14 minutes to play… extending beyond that, or indeed falling below, would suggest a complete disregard for the composer’s intentions. Furthermore, too much rubato risks losing the lyrical concept – an aria is, after all, a song, and most songs have a defined structure.
The composer’s markings for articulation are somewhat scant, leaving the band and MD to determine what they feel sounds correct. I have found no marcato markings (I may have missed a few), very limited use of staccato and legato instructions, and the use of accents is pretty much reserved for the recurring fanfares. I do not believe the composer wishes for all semiquavers to be ‘full length’, or that the band should refrain from using legato phrasing in the aria sections. However, and with reference to similar ‘minimalist’ articulation markings in different genres of music, where a marking is written, that is what must be played – particularly if this is ‘out of sync’ with what would normally be expected. In other words, in the absence of markings, the composer is allowing for some licence in the interpretation of articulation, but if a marking is there it must be played.
In a great many places, this piece is dynamically bipolar. In the first dance, the dynamic shifts almost continuously from ff to mf to mp to ff. Indeed, whilst slightly less dramatic in the remaining two dances, that bipolarity is ever-present. The arias are much more forgiving, and despite the swells and fades, the dynamic shift is much ‘calmer’. Of particular note is the use of mfp, fp and ffp, where it is so important (given the length of the piece) to ensure consistency – the composer wants the band to make the difference clear. In addition, consistency across the band is key as there are numerous areas where dynamics across the sections are different. Furthermore, particular concentration is required for the dynamic of the muted instruments which may differ from ‘open’ – I refer particularly to where the use of mutes by a section is rare (i.e., not cornets).
Accuracy is paramount – particularly in the dances. On listening to the unison section, it should be possible to take a slice across the band and find each player on exactly the same beat of the bar. It shouldn’t be difficult at this level, but a slightly mistimed entry can ruin a phrase. However, perhaps more important is that the progression of phrases throughout the band needs consistency and fluency, be it the semiquaver motives in the first dance, or the slurred runs in the second passing from one instrument to another… final notes on one instrument becoming the first notes on another, and flowing – without ‘statements’.
It is safe to say this piece is a true mix of exposed sections and full band sound. Whilst accuracy is clearly important in the full band sections – as referred to previously – this must also carry through into the exposed sections, with even greater attention to detail and clarity. Adherence to syncopation throughout the band – particularly in the arias – must include complete accuracy over dotted notes, and absolutely no push on the following note. Whilst the whole band sections require tight unison, the exposed sections are deserving of the same… including consistency of volume and style where passages are translated throughout the instrumentation range.
Solos are primarily seen on the Cornet, Flugels (2), Euphonium, and Eb Bass, and are generally restricted to the arias. Unlike some composers who will write all ‘exposed’ or ‘singular’ voices as ‘soloists’, the composer here has been relatively restrained in writing the word ‘solo’. In my view, all of the solos (perhaps with the addition of the Flugel solo/duet in the transition into – and throughout figure 24) are true expressive ‘songs’. Whilst expressive playing is encouraged by the composer, it should not detract from the overall landscape of the piece. This is especially important in the tuplets, which should always be even – regardless of any wish to turn a quintuplet into a duplet-triplet combination! Furthermore, particularly with the euphonium solo at figure 22 – strict clarity on range is essential, not an easy task when the pitch stretches from a top D♭ to a pedal F♯ over 2½ bars!
In terms of intonation, the majority of this piece should be well within the range of players at this level (with very few exceptions). It should no longer be a case of merely ‘achieving’ the notes, but ensuring every note has clarity, pitch security, and fits perfectly in the harmonic framework. Where a section or full band is in unison, it should sound like one – with no tuning clashes.
Finally, returning briefly to the solos: this piece is littered with tuplets of all shapes, sizes, and lengths. Be it a septuplet, a quintuplet, or a 6/8 quadruplet, these are designed to test. Whilst these may be hidden slightly within the frantic energy of the dances, their inclusion in the exposed arias is a clear trip hazard – and something the adjudicators will be watching extremely carefully.
To Round Off. I do not believe any band in the Grand Shield will be unable to play this. The scoring is kind on pitch, and where it challenges in time changes, it provides security in the many recurring themes and passages. The percussion section will be key, and will certainly need to be three (possibly four) strong. Excellent soloists are essential to provide the arias – tone, texture, compassion, and dare I say – love – will need to shine through. A strong first cornet flugel player, who can play like a true flugel, will be one of the key attributes I would look for. In brief, I would hope for some clean, tight, and light playing (not light in dynamic) in the dances, with some passionate solos, and sympathetic backings in the arias.
Where Will It Be Won?
Realistically, this piece is not to be played – it is to be worn. I doubt there is a band in the Grand Shield that can’t play it (with sufficient practice). I further doubt there is a band that can’t portray the dances in a clean, tight and accurate manner. To me, this will be won in the arias – not by playing what’s on the page, but by passionately singing the music, whilst the accompaniments remain tight and sympathetic.