Rudsamblog

We then refreshed our memory of three pieces from recent repertoire:

Fōg elnā khel (Flu kept Arno away, so Nikos did a rather stylish solo)

Bars 51-58 in the slow section: the accompanying parts must be
restrained. Each two-bar phrase must start and finish very p. There's
a strong swell to the beginning of the second bar, fading away in the
second half of the second bar, but at the loudest it must not
overwhelm the soloist.

Cheenar es

"Ny" - sing "nāāi", holding the "ah" sound for most of the length of
the note before ending on "i".
"Yar" - hit the note with "y" and move IMMEDIATELY and cleanly to the
long-held "āā" or "ah". Like "yard" without the "d".

Desh

Avoid hard "t"s.
"Tho-m' Ta Dom" should sound like "Tho-muh Ta Dom".
Bars 110, 112, 116, 136: don't rush the three-dotted-quaver patterns.

Lully 3me entrée de ballet (with Nikos on guitar)

Like so many things that look simple, this needs accuracy and
precision to make its effect. Concentrate on beginning each note
clearly, well-supported, on pitch, with the right vowel and tone, no
wobbles, no "gathering the crowd together". And at the exact instant.
After the last "non star fabbola": start f, and alternate f and p
"pigliar schiabbola"s until the middle of the top system on the last
page. From there on, it's all f. The final "schiabbola" is ff,
shouted.

Zikr

There were a few pronunciation issues. See the guide on the back page!
We were mostly note-bashing. For something that looks quite simple and
hypnotically repetitive, this has some tricky corners. Bars 85, 86,
89, 90, 102-110, 152-159 are worth a look.
The timing in bars 124-143 gave us trouble too.

Dilmano Dilbero

I know nothing. Good luck!

# posted by rudsambass @ 5:41 pm