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EMBLEMS

Aaron Copland

PICCOLO

  • Rehearsal #9, Beat 2: To facilitate the response of the soft high E, lift the right-hand pinky, or lift the right-hand pinky and slightly vent the 2nd trill key
  • Rehearsal #11, from the eighth-note pickup until four measures after #11: Increase the volume of the soli line
  • Rehearsal #5, #17, #42, and pickup to #48: The Piccolo is doubled with Eb Clarinet in the upper register, making intonation a special challenge, especially on high F#s and Gs; if a less-experienced player has difficulty with these notes, drop down one octave

CLARINET

  • 1st Clarinet, Rehearsal #15-16: Use only one player on the top notes

ALTO CLARINET

  • One measure before Rehearsal #2: The dotted eight-note in the part should be an Eb
  • One measure before Rehearsal #4: The high D can be played "open"
  • Four measures after Rehearsal #43: This note is normally sharp when played with the standard Gb fingering; try the Gb with the forked fingering

BASSOON

  • Rehearsal #2-3: This is an awkward passage; take time to carefully work out the fingerings
  • Rehearsal #9-13 and #43-47: Be careful to blend and balance the divided parts

TRUMPET

  • Rehearsal #42-47 and 4 measures before end: It is essential to have two players on 1st Cornet to facilitate mute changes and split solo parts
  • Rehearsal #45-47: Solo lines on Amazing Grace must match flute; consider using a C Trumpet for better intonation

HORN

  • Watch Copland's markings for stopped horn; see general notes on Copland performance
  • Be careful to match the length of notes and articulations with the trombones

TROMBONE

  • Be sure to make an obvious difference between accented notes and unaccented, and between forte vs. fortissimo
  • Rehearsal #12-13: This is the line of melodic interest; play out and watch intonation
  • 2 measures before Rehearsal #17: Watch for rhythmic accuracy; the rests on both sides of these notes are important
  • Rehearsal #34: 1st and 2nd Trombone soli is in octaves; pay strict attention to the placement of accents
  • Back off of long fortissimo notes; listen to other instruments to avoid covering the melody
  • Rehearsal #6-10 and #15-16: If the trombone section is large enough, have one person per part play the muted sections, so that the quick mute changes are more practical

EUPHONIUM

  • From quarter-note pickup to Rehearsal #44 until #45: Use a mute to match the timbre of other muted brass

TUBA

  • Never use more than two players on the 1st Tuba part; in sections of four players or less, one on 1st is sufficient
  • Pay attention to breath marks throughout the work
  • Never peak too early on a fermata crescendo; leave a player or two out until the ultimate chord; this adds an extra forte to the sforzando fortissimo
  • Measures 4-7: Play very sustained at the first entrance to match other instruments
  • 4 measures before Rehearsal #1 and at #5, #8, and 1 measure before #48: Place emphasis on the second sixteenth-note of rhythms marked "broader"
  • Rehearsal #6: Release figures on beat 3
  • 1st Tuba, 3 measures after Rehearsal #8: Beat 2 should be a quarter-note Ab, not Gb (the same intervals as in next measure)
  • 1st Tuba, 4 measures after Rehearsal #13: Play marcato e sostenuto while using a good blending dynamic; fortissimo is not necessary in this range (2nd Tuba can stay at printed dynamics)
  • 1st Tuba, 5 measures after Rehearsal #16: Same as Rehearsal #13 above
  • 1st Tuba, 6 measures after Rehearsal #25: Beat two should be a B-natural
  • Rehearsal #30: Have one or more of the 2nd Tubas play D-natural octava basso
  • Rehearsal #32: It is difficult for a section of tubas to play lightly at forte as indicated; lower the dynamic to conform to the style
  • 6 measures after Rehearsal #34: Crescendo through the quarter-notes to the next downbeat
  • 1st Tuba, 7 and 8 measures after Rehearsal #34: Play the Eb 8vb with the 2nd Tuba
  • 1st Tuba, pickup to Rehearsal #42: Mark dynamic mezzo forte
  • 4 measures after Rehearsal #42: Breathe with the rest of the ensemble between beats two and three
  • 1 measure before Rehearsal #48: Do not overdo the fortissimo
  • 1st Tuba, 3 measures after Rehearsal #48: Play subito mezzo piano with a ridiculous crescendo to fortissississimo on the downbeat of the fourth measure; then both parts can play written dynamics to the end