Rehearsal Notes 1/23



Observe the ritardando getting into bar 15

In bar 36, flutes and clarinets watch the timing

In the 2nd bar of Rehearsal 1, cut-off “with intention”

Strings, at Rehearsal 3, there should be an “impulse” on every note

At Rehearsal 7, 1st violins can play MP, everyone else P

At Rehearsal 14, don’t overplay



Mvt. I:

Strings, we need a lift between each chord at Rehearsal C

Bar 152 is going to move forward

Hold the ‘FF’ all the way through bars 152/153

Rehearsal K needs to be “playful”

Horns, better rhythmic precision needed at Rehearsal M

Brass, don’t rush at 5 bars after Rehearsal O

Bar 385 should not get progressively slower

In bar 427, should be “tranquil” and “all about beauty”

Release together on the last note of the movement

No ritardando in bar 523


Mvt. II:

In bar 43, Michael will dictate the last 8th note of the bar as essentially a fifth conducted beat in the bar

Strings, don’t play aggressively at all in the last 4 bars of the movement


Mvt. IV:

Winds, tenuto on downbeats at bar 140; more from 2nd voices needed

Horns, be “bell-like” at Rehearsal H

In bar 174, energy should go to the top of the ascending scale

In bar 236, brass needs to feel the tug-of-war between those on downbeats and those on offbeats



Horns, be more graceful at the beginning

Don’t rush the syncopation at bar 68

Clarinet entrance at bar 74 can be MF

Diminuendo to the 2nd note of hemiola at bar 89

At Rehearsal F, woodwinds should emphasize the note groupings



Should be light and buoyant  

At bar 16, the grace note should be on the beat

In bar 42, don’t be too heavy

Play softer at bar 80

Horns, play less on beat 2 of bar 101

In general, be less aggressive at cadences

There will be a slight lift into bar 160


Swan Lake:


Rehearsal 12 is “too mechanical”.

15 bars from the end, “hit fade” on tied half notes.

Three bars after Rehearsal 6, drop down to mezzo-forte.  



Watch the tuning on ‘E#’s.  

The last two chords will be dictated.  

Needs to be lighter and more playful overall.  

In the last five bars, “lift” on the syncopation a little more.  



Make the grace note a little “heavier” at bar 5.

Watch the key change at ‘Vivace’.  



The 16th-note timing needs be more strict at the beginning.  

At the ‘presto’, we need bigger phrases; “feel it in 1”.  

We will accelerando nearly all the way into the presto tempo, however still jumping up a few notches when we arrive at ‘presto’.





More viola needed at bar 34.  

Brass, play out at bar 301.  

Winds, back off at Rehearsal N.  

At Rehearsal T, brass are playing too loud–“hit-fade” is what we need.  

At Rehearsal U, play softer!

Less winds at bar 427.

Keep the tempo steady at bar 523.  



Softer at bar 66.

Make 16th notes staccato at bar 142.

Crescendo over the bar line into bar 166.  

In the last 6 bars, bassoons and horns taper slightly on beats 1 and 3.  

At bar 170, clarinets and bassoons need to be very precise rhythmically.

At 6 bars from the end, no gap between exchanging phrases in strings.  



Michael will give 1 bar “for free” at the beginning.  

In bar 9, string phrases need to “link-up” better.  

“Lay back” at bar 68 (those with syncopation).  

Overall, this movement should have a really “easy” feel.  




More stylized articulation is needed, in general.

Diminuendo at the ends of phrases.  

Less volume on long sustained (accompaniment) notes.

Bigger dynamic contrast is needed overall.  

Lighter at bars 32-34.

Crescendos into cadences should get bigger faster toward the end of the crescendo.