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Author Topic: Beethoven #9  (Read 622 times)
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GetzenBassPlayer

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« on: Sep 07, 2017, 02:43PM »

Question. Is Beethoven #9, second movement, played with repeats?
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« Reply #1 on: Sep 07, 2017, 03:28PM »

I expect that it depends on the conductor. 

Better be prepared to count lots of rests! 
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Burgerbob

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« Reply #2 on: Sep 07, 2017, 03:32PM »

Last time I played this, we took all repeats.

I got quite good at mental addition, trying to add up how many measures you rest before entering.
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BGuttman
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« Reply #3 on: Sep 07, 2017, 07:02PM »

I think it's 571 bars.

The Boston Symphony did it for the closing of the Tanglewood season and they didn't take the repeat.  When I did it, we did take the repeat.

The Principal was totally winded at the end of the concert with all those high notes (on his King 3B).
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Bruce Guttman
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GetzenBassPlayer

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« Reply #4 on: Sep 08, 2017, 09:09AM »

I have performed it twice, both times different. I was wondering if there was a standard.
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Pro level? Pro level!  You make it pro, you make it good You make it loved and play nice Then its a pro level horn
Leif

I can justify my position with a trombone in my hands and that's good enough for me
Beware wise men bearing equations  C. Stearn
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« Reply #5 on: Sep 08, 2017, 09:39AM »

Listen for cues!  Clever
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GetzenBassPlayer

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« Reply #6 on: Sep 08, 2017, 07:47PM »

Listen for cues!  Clever
Yes, there are some definite big ones. The group I play in does two rehearsals and the concert, so I try to come armed with as much information as possible to rehearsals. We are also doing Festive Overture and a concerto on this concert, so we won't be getting a lot of time to figure things out be repetition.
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Pro level? Pro level!  You make it pro, you make it good You make it loved and play nice Then its a pro level horn
Leif

I can justify my position with a trombone in my hands and that's good enough for me
Beware wise men bearing equations  C. Stearn
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« Reply #7 on: Sep 08, 2017, 07:56PM »

There are cues and false cues.  You can learn to distinguish between them.  I spent some time listening to the movement with my part in front of me.

A kindly conductor may give you a cue.
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Bruce Guttman
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« Reply #8 on: Sep 08, 2017, 11:06PM »

There are cues and false cues.  You can learn to distinguish between them.  I spent some time listening to the movement with my part in front of me.

A kindly conductor may give you a cue.
Not sure what false cues are. There are a lot of G.P. and that fermata thing with dotted rhythm that the horns and tpt play.
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Pro level? Pro level!  You make it pro, you make it good You make it loved and play nice Then its a pro level horn
Leif

I can justify my position with a trombone in my hands and that's good enough for me
Beware wise men bearing equations  C. Stearn
BGuttman
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« Reply #9 on: Sep 09, 2017, 07:03AM »

Not sure what false cues are. There are a lot of G.P. and that fermata thing with dotted rhythm that the horns and tpt play.

Listen to the music.  You'll see what I mean.
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Bruce Guttman
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« Reply #10 on: Sep 10, 2017, 12:46AM »

Listen to the music.  You'll see what I mean.

I have listened, score studied and played the music. I guess I just don't understand BGuttman speak.
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Pro level? Pro level!  You make it pro, you make it good You make it loved and play nice Then its a pro level horn
Leif

I can justify my position with a trombone in my hands and that's good enough for me
Beware wise men bearing equations  C. Stearn
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