Please number your bars.

Tchaikovsky #5

Mvt. I:

Stringendo in bar 131 is ‘subito tempo primo’

Downbeat of bar 152 will be the prep into the new tempo

Be softer at Rehearsal H

Keep rhythmic integrity at Rehearsal N

Strings, back off at bar 277

Violins, less rhythmic at bar 427

Be sure to observe the ‘FF’ down to ‘P’ at Rehearsal Y

Play ‘MF’ at Rehearsal B

A little less strings at Rehearsal C, but play out 3 bars after Rehearsal C

Brass, be very crisp at Rehearsal D

Trombones, crescendo in 2nd bar after Rehearsal D (to the next downbeat)

Mvt III

Be sure to diminuendo at the ends of phrases throughout

1st violins, don’t accent Beats 1 and 3 at bar 73

Clarinets “go to the slurred notes” at bar 113

At Rehearsal I, clarinets and bassoons play lighter

Solo oboe/bassoon, play ‘MP’ at bar 161

More 2nd violin at Rehearsal K

At bar 197, diminuendo from beat 1 to beat 2

Clarinets and bassoons, a true ‘FF’ is needed at bar 231

No ritardando into Rehearsal P

Play softer at Rehearsal P

Slight ritardando at the end of the movement (in the penultimate bar)

Movement IV

In bar 1, basses, violas, clarinets, and bassoons should ‘lift’ with the melody

Downbeat of bar 6 should be ‘pianissimo’

Downbeat of bar 14 should be ‘piano’

Softer tonguing needed at bar 20

Play dolcissimo at Rehearsal B

At bar 57, beat 4 will be a prep into the new tempo

Strings, more crescendo needed into Rehearsal H

Keep tempo steady at Rehearsal O

Ease tempo slightly at ‘tempo primo’ in bar 312

Instant mood change needed at Rehearsal R

At Rehearsal U, leave some space between syncopated notes

At bar 469, 8th note will be dictated by Michael

 

SWAN LAKE

#7:

Poco rit in the bar before ‘molto piu mosso’

‘Molto piu mosso’ is not ‘subito’ (we will ease into it)

#8:

Slight lift before the downbeat at Rehearsal 4

Rehearsal 12 is ‘subito piu mosso’