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Persis Overture

The song started off with many slurs combined with a very loud start. The dynamic marking was forte with also a fast tempo. The trumpets and horns were the first ones to play followed by the woodwinds playing runs in the upper register. The tempo was multi metered throughout the whole piece. During the song, there was a bassoon solo followed by a clarinet and oboe solo. The soloists were than joined by the whole band, which was in unison with the horns as harmony. During the middle of the piece, the song was smooth with a nice crescendo. In this section, the tempo was largo which is in a slow tempo and dignified in style. When this section passed, the snares came in. While the snare was playing, the upper winds played chromatic runs. The dynamic marking for this end section was loud with a lot of accents.

Fantasy on a Japanese folk song

For Fantasy on a Japanese folk song, there was a flute solo played in the beginning for 14 bars. The flute solo was then joined by a call and response between the first and second flutes for 8 bars. Throughout the piece, the upper winds did not over power the brass section and no pitches were dropped. The lift that was played at bar 44 was quiet. When the oboe joined, it was well played and was able to be heard clearly. The trumpets played with strong accents, which was good because the percussionists were missing a few players, which means few parts were not played. Overall, the best part of the piece was that no pitches were dropped.

Arabian Dances

In the beginning of the piece, the brass section has the harmony for a couple of bars. Later, there was a flute solo. The piece had slow repetitions for some instruments. The dynamic markings changed by having crescendos and decrescendos. The time signature for this piece was multi metered. Throughout the piece, different instruments played many solos such as the oboe. The oboe played a solo, which had a lot of staccatos .The tempo, was slow with decrescendos and noticeable phrasing. The ensemble played with more accents and fast tempos.

Concertino for Flute, Op. 107

The concertino for flute was very beautiful with a smooth start and many slurs. The vibrato was well heard with consistent runs. When the flautist was playing, she played with a lot of emotions, which meant she connected with the piece very well. When the high notes are played, the pitches never drop. All the notes were connected. While the staccatos were played, they were all equally short. The solo for this piece was very lovely because the pitch was perfect with strong accents and clear crescendos.

The Carnival of Venice, Op. 78

This song had a loud start to it by the whole band. After a few bars, the flute comes win with a solo that is extremely well played with Grace notes that were clear. The staccatos were very short with clear articulations. When the band joins the flautist they do not over power her so that she can still be heard clearly. The song was very smooth overall and the tone quality/pitch was flawless.

Amparito Roca (The sheltered Cliff)

Fast and loud beginning with repetition and strong accents. No certain melody played in the melody. Decrescendo and a crescendo played by the trumpets. All instruments were playing the same melody while the trombones were playing the harmony. Runs played by the flutes. Upper winds later on take over the melody with the brass section playing the harmony. Throughout the song like the beginning had repetition with great phrasing. The trumpets and piccolo played strong accents, which ended the song in a fast tempo/

Variations on a Korean Folk Song

Clarinets started off the song playing the melody at a slow tempo with many slurs. Then was joined by the flutes, repeating the previous bars melody. Dynamic changes were made by crescendos. Later on joined by the horns with the same melody. Flute and clarinets playing steady quarter beats as harmony. Middle section started off

with clarinets and flutes playing runs. The form of this part was call and response. Was once again repeated with the trumpets for the call and response. Very clear runs played by the whole band. The brass section near the end played with a slow melody mostly from the trumpets with flutes playing trills as harmony.

Danza Final

Danza final started off with a really fast tempo played by the piccolo and flutes. After a few bars, the trumpets came in. There was dissonance with the upper winds when they had the melody. The brass section had the harmony which was also had a fast tempo with a lot of repetition. Throughout the song, strong accents were always heard.

Five scenes from Melville

Camille Watts narrated the songs. The brass section started slow with bells at the beginning and was joined by the clarinets that came in slowly with slurs. The bass clarinet was very well heard. The flutes repeated the clarinets and were joined by the trombones and horns. Later on, the whole band plays with a loud crescendo. The horns have the harmony with the flutes and upper winds with melody. The song was slow and low which was well pitched. In the Father Mapple, the symphony started singing with the bells as harmony at a slow tempo. In Ahab, there was a loud start with strong accents with the upper winds playing a lot of repetition. The dynamic

contrasts were very loud then followed by a decrescendo. The flutes were playing in one pitch and were very well tuned. The percussionists started White Whale with brass playing strong accents as harmony. There was dissonance played by the upper winds. When the trumpets came in, they played a clear crescendo, which made the symphony sound loud overall. The tempo was consistent but later on became upbeat for the whole band. The song ended with runs and was very loud.