Aaron Copland

NOTE TO CONDUCTORS AND INSTRUMENTALISTS

An extensive list of errata in both the printed score and individual parts is contained in Teaching Music Through Performance in Band, Vol. 2, Richard Miles, compiler and editor (Chicago: GIA Publications, Inc., 1998), pp. 410-425. Educators should ensure that all parts are corrected in order to conserve rehearsal time.

PICCOLO

Measures 175-176: Drop an octave on held high F# or switch to special fingering for F# (add middle finger in right hand and lift pinky) to facilitate diminuendo

CLARINET

1st Clarinet

Measures 32-40: Use one player on the Solo Clarinet part and one on the 1st Clarinet part in octaves

Measure 102: Assistant Solo Clarinet should play cues with the Solo Clarinet

Measures 192-195: Beginning on beat 2 of measure 192, only one 1st Clarinet should play where written; all other players should play down 8va until measure 196

3rd Clarinet

Measures 74-75: Should be slurred

TRUMPET

Part Assignments: Transcribed for 4 Cornets and 2 Trumpets; must have 2 players on 1st Cornet because of solos in measures 99-102

Measures 16-35: Pitch and flow of slurs in opening solo are very difficult; this can be made somewhat easier if played on C Trumpet

TROMBONE

Measures 63-70: Watch rhythmic integrity with Tubas, Horns, and Saxophones

Measures 77-88: Melodic line should be only forte

Measures 216-228: Play only at fortissimo; do not overblow

EUPHONIUM

Measure 6: Play Eb down an octave to match melodic line

Measures 14-15: Blending with Tubas is crucial; combined effect should be a heavy, driving force

Measures 22-26: Staccato notes should be played as pizzicato

Measures 60-88: Listening is very important at this point; typically, bass lines are on the downbeat; however, this piece is opposite. This particular line is infamous for potential problems including rushing, dragging, phasing. The key is to listen to both the feel of the down- and up-beat

Measure 261, beat 3: This triplet is usually dictated; to ensure that every note sounds, crescendo to the low F

TUBA

Split the Tuba section so the majority of players are on lower divisi part

Measures 60-69: Play only forte at most

Measures 86-88: Play upper part more marcato

Measures 104-234: Play staccato

Measures 228-250: Begin at lesser dynamic, mezzo forte or less, and poco a poco crescendo to fortissimo

Measures 253-256: Molto marcato on dotted eighth/sixteenth rhythms