December 11 – Reading Session!

An Orchestra Reading Session by Demand

The winners are

Smetana – Moldau –řich)

Rimsky-Korsakov – Scherherazade –,_Op.35_(Rimsky-Korsakov,_Nikolay)

Berlioz – Symphony Fantastique –,_H_48_(Berlioz,_Hector)

All are welcome, but please RSVP and indicate your instrument and part. This information will help us organize this event and make sure that all parts are covered.


Please bring a snack to share at break

Music will not be provided, please download the music from

For more information, please contact Dawn at

Aug 21 Rehearsal start time 7:30!


Welcome back to Winchester’s 2017-18 Season!

Tonight’s schedule

7:30 – 8:45 Full orchestra for the Carmen Suite
8:45 – 9 Break
9-10 – Opera Orchestra for numbers not included in the suite

1) Please fill out the roster form and indicate your availability for the Season
2) Please register for the class
3) Please consider making a donation to the orchestra. Another way to benefit the orchestra is to apply for your company’s donation or volunteer hour matching a grant.

We have hard copies of Carmen for your use, provided by Bay Shore Lyric Opera. The parts for the Mozart Concertante are coming on line as they get prepared.

May 1st Rehearsal Notes

Schedule Reminder

Rehearsals: May 8 7:30pm @ West Valley College Rehearsal Hall

Performance: Friday, May 12 7:30pm @ St. Joseph’s in San José

Dress rehearsal: Thursday, May 11 7:00pm @ St. Joseph’s in San José



8th notes need to be “constant” at the beginning of the movement

At Rehearsal 11, woodwinds can play out (particularly bassoons).

One bar before Rehearsal 16, more articulation from horns needed



More definitive pitches at Rehearsal 33

Violas take the lead 3 bars before Rehearsal 34

Don’t drag on the duples at Rehearsal 26

Violins, more aggressive two bars before Rehearsal 28

The 3rd bar of Rehearsal 29 is a 4/4 bar–watch closely!

Rehearsal 32 will be slower than “Tempo animato”

Play organ cues at Rehearsal 37



Rehearsal 90-91, brass ‘hit-fade’

Strings, big accent every change in tremolo at Rehearsal 88

“Punchier” at Rehearsal 88, horns

C# is so important three bars after Rehearsal 92

Watch the tuning in the bass line six bars after Rehearsal 92

Two bars after 93 will be in three–then per macrobeat thereafter




Piu Mosso after rehearsal D is in 2

More “bite” on beat 2 starting at Rehearsal F



Last bar, Lou will subdivide on ritardando



No swell in the last bar

Brass, enter ‘piano’

Note: Lou’s tempo is closer to 70 BPM



Slight diminuendo into two bars before Rehearsal E

Tempo primo (last 8 bars), be right in the new tempo immediately



More dynamic contrast 3 bars before Rehearsal C

Last bar, Lou will signal choir to close to “mm” then cuts Orchestra off



Lou will start on beat 3 in bar 1

Hit-fade on accent in bar 6

Don’t anticipate the downbeat two bars before Rehearsal B

Watch articulations 8 bars before Rehearsal H through the end of Rehearsal  H

Watch accents 2 bars after Rehearsal J

A little more sound at the beginning of the movement

Apr 24 Rehearsal Notes


Mvt 1:

Don’t lose the 8th note pulse in the 9/8 bars.

Rehearsal 9 should be ‘piano’.

‘Attaca’ into movement 2.  


Mvt 2:

Flutes, play out at Rehearsal 12.

Keep it ‘piano’ at Rehearsal 13.


Mvt 3:

Celli, take out the slur at Rehearsal 30

Follow the shape of the line at 26, but keep the underlying pulse

Brass, be more precise at 27

Rehearsal 28 should be a ‘big arrival point’.

Flutes, be fortissimo at 32


Mvt 8:

Watch the key change at Rehearsal 87

Brass, ‘hit-fade’ at Rehearsal 90


Mvt 6:

At 67, violins bring out the inner voices

Clarinets, “just a murmur” at 66


Mvt 7:

In the 3rd bar after 76, add a breath at the end of the bar

Violins, no vibrato at 78



Mvt 3:

At the brass entrance, change the dynamic to ‘MF’

Violins, “float” to the end (last 8 bars)

Violas, please devote some extra practice time to the section at Rehearsal B

Violins, bring out the bottom octave 3 bars after Rehearsal C


Mvt 5:

6 bars after Rehearsal C, 1st violins double the violas

“Gentle syncopation” 5 bars before E

The ‘FF’ at G stays through to the fermata

The bar before the Largo won’t be conducted

Rehearsal Notes

Fauré & Duruflé Apr 3 Rehearsal


Movement 2:

At 13, need to move the tempo more

Piano is “relative”–sing out at 13 when your part demands it

Rehearsal 16 should be a “wall of sound”

At Rehearsal 16, bring out moving 8th notes; crescendo over the barline when you have a tie

Lift before the big 3rd beat pickup into Rehearsal 17–should be a “retake of energy”

In general, repeated notes need to have increasing energy

Horns, be MP at Rehearsal 18


Movement 3:

Rehearsal 19, more clarity between pitches is needed

Rallentando two bars before Rehearsal 26

At Rehearsal 26, 2nd violins need to take the lead

At 27, brass don’t tripletize your duples

Watch the accidentals throughout!


Movement 4:  

practice hard for next time!


Movement 8:

At 82, keep triplets moving forward

Between 83-84, follow Michael better on the accelerando

In general, when accompanying, “crescendi come later and diminuendi come sooner”


Movement 6:

At 71, watch the b-naturals!

Violas, sing out at 71

Horn solo, play out at 72


Movement 7:

Needs to “lilt” a little more

8/8 is conducting in 4

7/8 is conducted 3+2+2

9/8 is 4 pattern 3+2+2+2

10/8  3+3+2+2

7/8 two before 76 is conducted 2+3+2



Movement 1:

In bar 1, don’t diminuendo all the way to nothing–stay piano

In bar 6, the crescendo should start on the 4th beat–not before

Stay forte in bar 9.  

Crescendo to the downbeat of bar 19


Movement 3:

D-flat is “so important” at Rehearsal A

Rehearsal Schedule Reminder – 4/10

7:30 Sectionals
   Woodwinds and brass with me in MU14
    Violins and violas with Bill (1st choice – small theater behind MU14, 2nd choice – classroom across from that theater in the middle of the hall; depends on availability)
    Cellos and Bass with Paul across the hall from MU14
9:00 BREAK – To be determined