Classic Bronze 2009 www.classicbronze.org Rehearsal List Payn Prism Unless otherwise indicated, C2-E2 should be played on chimes. m. 3-6 treble clef stems up- diminuendo m. 7 treble clef stems down & bass clef stems up enter about mf m. 8 bass clef stems down enter about f Ditto for similar patterns in m. 11-14 m. 19-20 pace the crescendo by thinking a louder dynamic every two beasts (insert mp, mf, and f) m. 22-23 dim m. 30 new parts enter at mp then cresc. to m. 33 m. 33 only ff (I don t believe in fff) m. 34 dim m. 36-37 dim m. 38-39 cresc. m. 42 mp m. 43 mf m. 45- dim m. 46 mp m. 47 mf m. 48 f m. 50 ff m. 48 play C#3 on chime (to balance with F# chime) m. 64 only pp m. 65 p m. 66 mp m. 67 mf m. 68 f m. 69 ff Beethoven Joyful, Joyful m. 1- mp PL G3 (and mallet G2) omit G4
m. 2 B4 should be flat all the time (not just the last note) m. 3 mf m. 4 make mart a mart lift m. 5 f PL G3 (and mallet G2) omit G4 m. 6 the stacc dot should be TD m. 7-8 double bass: A2, G2, F2, G2 m. 9 - PL G3 (and mallet G2) omit G4 m. 10 the stacc dot should be TD m. 11- add A2, G2 m. 12 add C3-first a mallet lift, then malleted on the table m. 13 double C4 on C3 until the FIRST note of m. 14 m. 13 dim m. 14 p then cresc to m. 18 m. 14-17 staccato dots are for PL m. 15 - double C4 on C3 until the FIRST note of m. 16 m. 18 f PL G3 (and mallet G2) omit G4 m. 19 - the stacc dot should be TD m. 20 add C3 on each beat m. 21 - add C3-first a mallet lift, then malleted on the table m. 22=29 if possible add any available C3s (Whitechapel?) for the roll m. 22-24 note that the first C4 of each measure occurs exactly on the downbeat, despite the noation. m. 26 - the stacc dot should be TD m. 28-29 TD m. 32 dim to m. 35 m. 35 p, except melody (uppermost part) mp m. 29 melody p m. 43 & 45 C3 NOT mart lift, but mallet lift m. 46 think duplets, in preparation for m. 47, there will be a poco rit m. 47 p, then cresc, to m. 49 m. 53 quarter notes f m. 56 think triplets on each beat in preparation for m. 57 m. 61-79 are repeats of earlier measures; same markings apply m. 64-72 if someone is available to play D8-G8, let s double up the octave (and let C7/8 know!) m. 80-82 double up an octave and up two octaves, if we doubled in m. 64-72 Kent Festivo in G minor m. 1, 3, 5 double G3 on G2 on beats 1-2 m. 8 dim first two beats, cresc. second two beats m. 9 mf m. 11 mp m. 12 LV (except A4) m. 13 mf
m. 14- D3 should be a whole note m. 20, 22 - double G3 on G2 on beats 1-2 m. 24-25 double bass line down an octave m. 30 add D3 and C3 on the middle two notes m. 34, 36, 38 - double G3 on G2 on beats 1-2 m. 46 this is half tempo, so the speed of the quarter note in m. 45 is the speed of the eighth note in m. 46 m. 62-70 double the half and whole notes in the bass line in the same octave on chimes (including resulting half notes and whole notes given the LV) incl G3 in m. 65 incl F3 in m. 66 incl Eb3 in m. 67 incl Db3 & D3 in m. 68 incl G3 in m. 68 incl A3 in m. 70 m. 75-82 = 1-8 m. 83 - mf m. 86 - LV (except A4) m. 87 add G5 on beat 2 (like in m. 13) m. 88 cresc. beats 3-4 m. 89 f m. 91-114 = m. 17-40 m. 104 add B3 on the & of 1 (like m. 30) m. 115- add D3 mallet lift on beat 2 and mallet on beat 3; add mallet G2 on beat 3 Handel Air and Variations In general, every two measures will have a slight cresc and a slight dim. as part of the melodic phrasing m. 2 add a mordent on B6 (B6-C7 grace notes ON the beat, similar to m. 6) m. 8 beat 3 PL-lift the half note m. 17 add G3, C4, B3 on counts 2-4 m. 18 PL C5 and B4 m. 19-21 (beat 1) double bass down an octave, (including the C5 and B4) m. 22 omit staccato dots in bass clef m. 24 replace quarter rest with a G4 PL and PL lift in the bass m. 25 starting on beat 2 add quarter notes B4-A4-D5 m. 26 quarter notes B4-G4-A4-D5 m. 27 quarter notes B4-E5-F4-D5 m. 28 quarter notes E4-D5-D5 m. 29 the D7 should be a B6 m. 40 add G4 quarter note on beat 3 m. 43-44 double bass line down an octave (except last C5) m. 45- the octave above the half notes should also have half notes m. 47 add A2 half note on count three m. 48 add D3 on count 1
m. 49 replace the dotted quarter rest with an A4 LV the D5 for the full beat Add F3 on count 4 m. 50- double bass line down an octave m. 50 add B4 on beat 1, LV the last D5 for the full beat m. 51 add B4 on beats 1 and 2 add E4 dotted quarter on beat 2 add G3 dotted quarter on beat 3 add D4 and F3 dotted quarter on beat 4 m. 52 add E4 and G3 dotted quarter on beat 1 add A3 dotted quarter on beat 2 add D3 and D5 and D6 dotted quarter on beat 3 (tie the D6 to an eighth note on count 4) add F3 dotted quarter on beat 4 m. 53 add B4 dotted quarter on beat 1 add C5 dotted half on beat 3 m. 54 replace dotted quarter rest with G3 m. 55 add C3, D3 and C3 on beats 2-4 m. 60 70 let s try LVing the first note of each set three eighth notes for one beat. m. 73 16ths in bass clef how fun! m. 80 add B4 half and C5 half m. 81 add D5 half and E5 half m. 82 add B4 half and C5 half m. 83 add D4 half and G4 half m. 84 add B4 & G4 on beat 2, C5 on beat 3 and E4 on beat 4 m. 85 add B4 on beat 2, C5 on beat 3 and E4 on beat 4 m. 87 double last three treble clef notes up an octave (D6-F6-A6) add C5 on last note m. 88 add B4 half note on beat 1 and C4 half note on beat 3 m. 89 add D5 half note on beat 1 and E4 half note on beat 3 m. 90 add B4 half note on beat 1 double the 16 th notes down an octave (D6 all the way down to C4) LV C5 for 2 beats Childers I Want Jesus to Walk With Me m. 13 17 double bass line down on chimes m. 18-33 PL m. 33-49- It would be great to double the chime part down an octave. WE may have one choir do that whilst the other one does the mallet rolls. m. 50, beat 3 m. 61, beat 1 double uppermost part up an octave into the 8s (Yes, I know we don t have an E9 just as well!) m. 65- omit C8 m. 71-72 add C3, B2, A2, F2 half notes (malleting the 2s suspended) m. 73 add C3 whole note tied to another whole note m. 75 second half note mallet suspended bell and tie it to m. 76 m. 76 mallet suspended chime, add C2 chime
Waugh CreationEtere m. 36-39 we will omit circles here, simply ringing and stopping for the pesante effect (I m still awaiting a complete score, so I have nothing after m. 74!) McChesney Gloria m. 2 mp m. 13 p m. 16 cresc. m. 17 mp m. 21 mf m. 24 cresc. m. 25 f m. 27 dim. m. 28 dim. m. 29 mp m. 31 continue cresc. save f for m. 32 add G2 (tied to m. 32) m. 32 f m. 35-36 dim (Anytime the introductory accompaniment pattern is repeated before the entry of the melody, it should be softer.) m. 37 p m. 41 mp m. 45- mf m. 48 cresc. m. 49- f m. 51- dim m. 55 save f for m. 56 add G2 (tied to m. 56) m. 57 p m. 59 mp m. 61 mf m. 64 dim m. 65 mf m. 75 add G2 on beat 3 m. 77- mp, cresc. m. 79 mf (forgoing the statement above!), cresc. m. 81 f m. 90 dim m. 91 p m. 94 cresc. m. 95 mp m. 98 cresc. m. 99 mf m. 102 cresc. m. 103 f m. 105 cresc.
m. 110 add C8D8, add G 2 on beat 2 m. 111 add C8D8F8G8, add G2 on beat 2 m. 112-113 double top notes up an octave; double bottom notes down an octave m. 112 mart C5 abnd B4 m. 113 mart C4 and above, mallet the added C3 on beat 1, then PL C3 and G3 on beat 2. Laurence Lament and Dance m. 8-20 Play the uppermost notes on Whitechapels, reassigning A5, and G5 to G6A6 person remember G5 in m. 14 and 18 m. 21 46 double any bass note with an LV under it down an octave on chimes m. 45 add Bb2 bell m. 46 add Ab2 bell m. 47- add G2 bell and G2 chime m. 105-115 double bass line down an octave as possible. m. 115 beats 2-3 treble clef RT m. 64 f m. 68 mf m. 70 mp m. 71 count 4 cresc, Stephenson Blessed Assurance m. 5 and places like it - play second G6 softer than first one (Repeated notes are never played at the same dynamic!) m. 14 double the five eight notes down an octave (C4-D4-E4-F4-G4) m. 16 - double the five eight notes down an octave (D5-C5-B4-A4-G4) m. 18 double the five eight notes down an octave (C4-D4-E4-F4-G4) m. 28-35 double bass line down an octave m. 35 F5 will need to be played by the A5B5 player F4 will have to mallet roll with two mallets on either side of the bell with one hand and then use a mallet lift on the last note. m. 47 add fermatas on the eighth notes milk it! m. 55-65 double all up an octave m. 56-65 double bass notes on chimes down an octave m. 57, 59, 61 diamond notes are NOT chimes see footnote m. 62 double upper most line in the 8s (D8-E8-F8-G8 to the end last three notes add G8 Moklebust Reflections on the Plains Rename movement I: Alberta Wheat m. 3 the random mallet (suspended) will start slowly from the top note and gradually add other bells about every beat. m. 25-26 and following the arpeggios should dim up and cresc down m. 26 top part dim m. 27 G67 vib m. 28 top part cresc, m, 29 A67 vib
m. 30 top part cresc. m. 31 G67 vib m. 32 top part mf cresc. m. 34 top part mp dim m. 36 toppart pp! (this is accompaniment) m. 37 top part p cresc. m. 42 dim m. 43 cresc, last two beats add Bb2 m. 4 add G2 omit C6 on count 3 add D4 on count 4 m. 47 omit C3 top part dim. m. 48 G67 vib m. 49 top part cresc, m, 50 A67 vib m. 50 add F2 m. 51- top part dim. m. 52 G67 vib m. 54 Bb67 vib m. 56 G67 vib m. 58 Bb67 vib m. 59 double bass line down an octave m. 60 add C2 chime(tied to m. 61) m. 68 change rhythm to a quarter note-eighth note triplet m. 69 change rhythm to two quarter notes Rename movement II: Alberta Beef m. 3 add G3 whole note m. 5 add G3 whole note m. 7 add G2 whole note m. 8 add table malleted eighth notes: D3-G2-D3-G2-D3-O-A2-F2 m. 9 add F2 half and G2 half m. 11 mp add G2 on beat 1 m. 12 add table malleted F2-G2 on the marted notes m. 13- add G2 malleted on beat 1 m. 15 p m. 18 - add table malleted F2-G2 on the & of 3 and beat 4 m. 19 add malleted G2 on beat 1 m. 21 add malleted G2 on beat 1 m. 22 add table malletted B2 and A2 on the & of 3 and beat 4 m. 26 add half notes F2 and G2 m. 30-33- double bass line down an octave (malleted if we must)
m. 34 add malleted G2 on beat 1 m. 36 add malleted G2 on beat 1 m. 37 add table malletted B2 and A2 on the & of 3 and beat 4 m. 38, 38, 40 add G3 whole notes m. 42 add G2 wholte note m. 43 - add table malleted eighth notes: D3-G2-D3-G2-D3-O-A2-F2 m. 44- add F2 half note m. 45 G3 D3 play the rhythm everyone else has malleted on the table double bass clef stems down down an octave (malleted on the table) (We will omit movement III) Anderson Plink Plank Plunk m. 4- double bass clef down an octave m. 12- double bass clef down an octave, incl G2 in m. 13 m. 36 add D3 m. 75 - double bass clef down an octave m. 83- double bass clef down an octave, incl G2 in m. 84 m. 108-113 (second time) omit doubling in both bass and treble clefs m. 116 (beat 2) 120 (second time) omit doubling in bass clef m. 116 beat 2 (second time) -128 (beat 1) omit doubling in treble clef (that means the half notes, too) m. 136-37 add F8 and G8 m. 137- add G2