John's Notes

BRO Notes for 4/11/ 2021

It is wonderful that we have been able to continue rehearsing during this strange time - we have accomplished a great deal! 

With all the tuning work that we are doing, we hope that you are enjoying more all the time the joys and benefits of playing long notes and slow melodies with drones. Onder de Linde groene (attached) is a very good piece for this; most of the notes are C E G.  Try with a drone on C or G. Also transpose to other keys. 

Especially, please continue the pitch exercises which are described in BRO Notes for 3/7/21. These will help you feel improved breath control and that you are more able to discriminate and remember pitches.  

With all this, 20-30 minutes is not a long practice session. 

 

If you are doing the above practice and if you know your parts, from now on our rehearsals should be real performance practice.

 

Of course it is too early to know but we are dreaming of the possibility of actually doing a live concert this Summer!  

 

 

For our next rehearsal we will try to get to:

 

Si par souffrir - Chanson & Pavan - Be secure with your fingerings/shadings on the pianissimo sections. 

A Monad Become Mantra Blooms Mandalas -  Practice with the metronome on the eighth note for the 9/8 and on the quarter note for the 5/4. There is a recording on the BRO site under Scores for 2019-2021 Program.

Planxit autem David - The more words you know the more you will enjoy the beauty of this piece.

 

Revoici venir du printemps - Know the articulations and characters of the beginning of each Chant section and the articulations and colors of the many words we marked.

 

Sieg - Wakati njema - We know this piece at tempo. Yeah!  As you know, you can play any measure of this piece easily at tempo by simply glancing at it and hearing what you see before you play.

 

Sur le pont d’Avignon, chanson and messe - Know the words and see the phrases before you play.  

 

Hola he - We’ll play this moderato and allegro. 

 

Gavottes - Play any voice you wish.  

 

 

Thanks and compliments to you All!

BRO Notes for 3/20/21

This rehearsal we will work especially on:

 

A Monad Become Mantra Blooms Mandalas - Know the counting of each meter and the symbols for articulations, key clicks, inhales and slap tongue.   

Pavan - Susato    -  Alternate fingerings for the pianissimo phrases 

As time permits, we will play the pieces we have been rehearsing:

 

Planxit autem David - Josquin   - Know and express the text 

 

Revoici venir du printemps - leJeune  - Know the characters and important words/articulations of each Verse-Chant.  

 

Wakati njema - Sieg    - Read well so that tempo is no problem.

 

Hola he   - Read well so that we can practice this faster.

 

Sur le pont d’Avignon - chanson and messe

 

Gavottes - Caroubel 

BRO Notes for 3/7/21

 

Hi Everyone,

 

We hope your are all well and we look forward to playing together Sunday.

 

We hope that you are continuing the practice for tone, breath control and tuning which we have been doing:  

 

1.  Play a Long Tone with a Drone, begin absolutely in tune (2-3 seconds) then, on the same breath, blow a little more (2-3 seconds) and hear that you are sharp, then, on the same breath, go back to the original pitch.  Make the end of the note the most relaxed and resonant part.  

Then, Play a Long Tone with a Drone, begin absolutely in tune (2-3 seconds) then, on the same breath, but this time blow a little less (2-3 seconds) and hear that you are flat, then, on the same breath, go back to the original pitch. 

This is wonderful practice for breath control and listening.  Do this on high and low notes.

 

2.  Play around with Alternate Fingerings.  Be sure that you know and use the Alternate Fingering for 0 2 (C on C instruments, G on G instruments, F on F instruments). Every instrument is different so experiment with the fingerings:   0346 and/or 03467, 0346, 0345, 0345.  Find a fingering that is just a little higher in pitch than the standard fingering.  

Then, on one unchanging breath, alternate between the two fingerings.  You’ll hear that the pitches are different—good listening practice.

Finally, alternate between the two fingerings on one breath but this time blow a little softer when you go to the alternate fingering.  In tune Dynamics are easy!  

This Sunday Melika will join us and we will work on her composition A Monad Become Mantra Blooms Mandalas.  Please look over your parts and have them for the rehearsal.

We will try to get to these pieces also:

-  Susato Pavan Si par souffrir with the pianissimo echo in the second and third sections.  A score of this piece with the dynamic markings is on the BRO website.

-  Sur le pont d’Avignon chanson and messe

-  Revoici venir du printemps

-  Sieg - at tempo

 

-  Hola he

 

-  Galliard

BRO Notes for 2/21/21

 

Keep enjoying  Exercises 1 & 2 from the BRO Notes for 2/7/21.  We will practice these (and we look forward to more in tune playing and more possibilities of dynamics in our performances).

 

This Sunday we may be able to get to these pieces: 

 

Si par souffrir - Chanson & Pavan

Revoici venir du printemps

Sur le Pont d’Avignon — chanson and at least some of the Messe

Sieg (be sure to be able to Hear What You See)

 

and possibly:

Hola he

Planxit autem David 

Gaillarde CCLXXXVII (Caroubel) 

 

We are delighted that Aldo Abreu will join us around 4:30-5:30 for a coaching session and to discuss his NEC class offerings.  

BRO Notes for 2/7/21

This Sunday we will work more on Tuning and Alternate Fingerings (see the Exercises below) and on polishing up the pieces on which we have been focusing:

 

Si par souffrir — chanson and  Pavan IV (Susato) 

 

Hola he

 

Sur le Pont d’Avignon — chanson and Messe   -  Be sure that you see and hear the melismas!

 

Planxit autem David   - Really know the words and enjoy the drama. 

 

Sieg - all movements. 
We will continue developing our concentration in Sieg so that we See-Hear and Know what is coming.  If you do this you can play ever easier and faster. Simply know the piece so well that you can glance at any measure and then play it by ear.  When you can do this it is very easy to increase the tempo little by little.  

 

Gaillarde CCLXXXVII (Caroubel)   

 

Gavottes (Caroubel)  - play any voice you wish on any instrument

Continue enjoying playing Long Tones and Melodies with drones.  Include these Exercises:  

 

1.  Play a Long Tone with a Drone, begin absolutely in tune (2-3 seconds) then, on the same breath, blow a little more (2-3 seconds) and hear that you are sharp, then, on the same breath, go back to the original pitch.   

Then, Play a Long Tone with a Drone, begin absolutely in tune (2-3 seconds) then, on the same breath, but this time blow a little less (2-3 seconds) and hear that you are flat, then, on the same breath, go back to the original pitch. 

This is wonderful practice for breath control and listening.  Do this on high and low notes.

 

2.  Play around with Alternate Fingerings.  Be sure that you know and use the Alternate Fingering for 0 2 (C on C instruments, G on G instruments, F on F instruments). Every instrument is different so experiment with the fingerings:   0346 and/or 03467, 0346, 0345, 0345.  Find a fingering that is just a little higher in pitch than the standard fingering.  

Then, on one unchanging breath, alternate between the two fingerings.  You’ll hear that the pitches are different—good listening practice.

Finally, alternate between the two fingerings on one breath but this time blow a little softer when you go to the alternate fingering.  In tune Dynamics are easy!  

Be sure to check out my Technique Tip on the American Recorder Society site under the heading Resources.  Also check out Jan Elliot’s.       http://americanrecorder.org.  

BRO repertoire for 1/23/21 rehearsal

 

 

This Sunday we will try to get to all of these pieces:


 

Si par souffrir — chanson and  Pavan IV (Susato)

 

Ronde IX (Susato) 

 

Hola he

 

Sur le Pont d’Avignon — chanson and messe

 

Planxit autem David   [know the words!]

 

Sieg - all movements. 
We will work on getting up to tempo.  We already know the notes and rhythms.  Now our main practice is reading.  Look over each movement before you play and be able to Hear what you See.  Simply know the piece so well that you can glance at any measure and then play it by ear.  When you can do this it is very easy to increase the tempo little by little.  

 

Gaillarde CCLXXXVII (Caroubel)   

 

Gavottes (Caroubel)  - play any voice you wish on any instrument

NOTES FROM JAN 10 REHEARSAL

Hey BRO,

It was wonderful to begin a new year together!  We enter this season with hopes that vaccines will be available soon and with dreams about actually playing together live by the Spring or Summer!!!

So, to prepare, here are two easy practice suggestions for everyone.  

 

Of course, one of the most important things we all need to do is to keep developing our ears so that we can play with ever better tuning.  Continue enjoying playing Long Tones and Melodies with drones.  Include these exercises:  

 

1.  Play a Long Tone with a Drone, begin absolutely in tune (2-3 seconds) then, on the same breath, blow a little more (2-3 seconds) and hear that you are sharp, then, on the same breath, go back to the original pitch.   

Then, Play a Long Tone with a Drone, begin absolutely in tune (2-3 seconds) then, on the same breath, but this time blow a little less (2-3 seconds) and hear that you are flat, then, on the same breath, go back to the original pitch. 

This is wonderful practice for breath control and listening.  Do this on high and low notes.

 

2.  Play around with Alternate Fingerings.  Be sure that you know and use the Alternate Fingering for 0 2 (C on C instruments, G on G instruments, F on F instruments). Every instrument is different so experiment with the fingerings:   0346 and/or 03467, 0346, 0345, 0345.  Find a fingering that is just a little higher in pitch than the standard fingering.  

Then, on one unchanging breath, alternate between the two fingerings.  You’ll hear that the pitches are different—good listening practice.

Finally, alternate between the two fingerings on one breath but this time blow a little softer when you go to the alternate fingering.  In tune Dynamics are easy!  

Be sure to check out my Technique Tip on the American Recorder Society site under the heading Resources.  Also check out Jan Elliot’s.       http://americanrecorder.org.  

 

 

More BRO Notes on the pieces we are playing will follow soon.

 

Happy Playing!

 

Notes from Nov 15 2020 Rehearsal:

Hi Everyone,

It was so good to get back together and to see you all!

 

Next rehearsal we hope to play all of these pieces:

 

Certon—chanson Sur le pont d’Avignon and Messe Sus le pont d’Avignon - Kyrie and all the Gloria (through page 13)

Josquin—Planxit autem David

Seig--Wakati njema

Courtois—Si par souffrir, Susato—Pavan Si par souffrir and Ronde IX

 

 

Please read the translation, and understand the story, of Josquin’s Planxit autem David.  Included also are some words that are particularly helpful for understanding the story of this piece.  If you are not fluent in Latin you may find it helpful to mark some of these words in your part.

 

Planxit autem David

 

Prima Pars

And David lamented with this lamentation over Saul and over Jonathan his son: 'Think, O Israel, upon those who have died, wounded on your hills. Your illustrious men, O Israel, were slain on your mountains: how are the mighty fallen in battle! Tell it not in Gath, proclaim it not at the crossroads of Askelon, lest the daughters of the Philistines rejoice, lest the daughters of the uncircumcised triumph. 

 

Secunda Pars

You mountains of Gilboa, let no dew nor rain come upon you, and may there be no fields of firstfruits, for it was there that the shield of the mighty was thrown away and the shield of Saul, as if it had not been anointed with oil. From the blood of the slain, from the fat of the strong… …[this is continued in  Tertia pars(which we are not playin):   ...the arrow of Jonathan never turned back , and the sword of Saul never returned empty.]

 

 

Especially important words:

Prima pars 

vulnerati wounded

inclyti the illustrious

interfecti killed 

quomodo ceciderunt fortes praelio How the mighty have fallen 

Nolite annuntiare Do not announce 

ne forte so that

ne exsultent not exult 

Philistiim  Philistines

incircumcisorum uncircumcised

 

Secunda pars 

Montes Mountains 

abjectus cast down

clypus fortium might shield 

fortium strong

Notes from Q2 2020 

Hi Everyone,

We hope that you are all well and finding creative ways to have fun in this bizarre time.  (More practice time!!!).

 

We have been putting off contacting you in hopes that the situation would improve soon.  Obviously that is not going to happen.  So, like almost everyone, we are obliged to cancel the rest of our season.  Sigh.  You have all done so much and such impressive work this year.  When we can finally play together again I feel that we will have such energy bubbling up that we will start the best season we’ve ever had!

 

Miyuki and I are exploring the possibilities of online lessons and classes and will be in touch again when we decide what is possible.

 

Please take real good care of yourselves.  We hope you and all your families and friends are well and that we will pass through this shared experience soon and emerge with an enriched sense of community and of what we can accomplish.

 

Peace and Love and Beautiful Music to you All,

John & Miyuki

Notes from February 23rd Rehearsal

Marenzio’s Scaldava will not be on the concert.

For ongoing practice on our wonderful Renaissance instruments, keep doing these easy warmups: 

Enjoy doing a few minutes of Long Tones and Slow Melodies (improvised/Amazing Grace, Onder der Linde groene, etc.) over Drones.

Also with a Drone, play the lowest note on your instrument many times using a variety of articulations and the Half Hole note in the second register--high F on on C instruments, high Bb on F instruments, high C on G instruments (the fingering 0 1 2 3 4  6)

Throughout the day do some long sequences of Exhales with a very open, relaxed jaw.

 

 

Please come to rehearsals knowing your parts!  We must spend our remaining time rehearsing the pieces musically—we cannot spend rehearsal time learning notes or rhythms.  Let me know if you have any questions or if you need to meet to work on something.  

 

 

Canto, Canto 

Practice using Mike’s recording of the F and C harmonies.  When this is comfortable, practice with a metronome at a comfortably fast tempo.  

 

Sweet Suffolk Owl 

            Listen to the recording and know this piece so well that you always see and hear what is coming.  This includes all orchestrations and breath marks.

 

Mother I will have a husband

Listen to the recording.  In Measure 21 we are adding one beat of silence between the first and second half note beats in this measure.  Know this measure so that you can watch the conductor.  

 

Planxit autem David

Watch your part while listening to the recording.

        For feeling Josquin’s grand phrases I will conduct in Whole Notes.  Be sure that you practice feeling the subdivision of the whole note (1 & 2 &).  Sing a few phrases of Planxit autem David while tapping your foot on the Whole notes and tapping your hand on the Half notes. 

 

 

Si par souffrir - chanson

Correction:  In the Tenor 1 voice, measure 7, the last two notes should be CC (not DD) 

Ronde IX 

Superius voice—Tacet on the first time of A and B sections (play second A and B).  

All voices—measure 2, slur the quarter note on the 3rd quarter note beat to the next note (the eighth note of the 4th beat).  

Listen the the Royal Wind Music - https://youtu.be/2U2y6dpQK40 - playing a similar piece.  We will do similar, super staccato notes and accelerando/ritardando.  

Set up your notebook so that you can do a quick page turn between the two setting of Si par souffrir.  We will go segue from the Pavan to Ronde IX (without page turn). 

 

 

Wakati njema 

            We basically have this piece!  Compliments on the good practice!  For the next rehearsal be sure to work out all note problems as slowly as needed.  Keep playing with the recording.  

 

A Monad, Become Mantra, Blooms Mandalas 

            Thank you, Mel, for the privilege and joy of playing your new piece!  

            Everyone needs to read Mel’s introduction-instructions.  When you see and feel the rhythm you realize that this is not a difficult piece.  Your first few practice sessions on this piece are the most important.  Solve all note problems quickly by saying the note names a few times and them saying the note names while fingering (not blowing) your instruments.  When you get comfortable knowing the notes, speed will not be a problem!

 

Hinei ma tov 

            Be able to sing the Top Voice from memory along with the recording.

 

At the Hop

Listen to this recording:  https://youtu.be/F3SrtN6tMyg

Know the repeat scheme!

Notes from February 3rd Rehearsal

Hey BRO,

 

            Compliments on the focused work.  It is very satisfying to hear the improvements we are making this season.  Here are a few practice suggestions and Notes on our rehearsal.

 

            An easy and hugely beneficial practice you can do throughout the day is simply to enjoy doing lots of Exhales.  Often do this with your jaw very dropped and your mouth wide open in order to feel how open you can be in your throat and chest. Feel how much control you have —long, short, sometimes lots of very fast exhales, etc. 

            Our tuning is getting better and more instinctive all the time.  So, be sure to keep benefitting from playing  Long tomes and melodies over drones every time you play.  Spend at least(!) 5 minutes every day singing and playing over a drone.  Doing this will help you enjoy both your tone and tuning.  Be sure to include the Half Hole notes in the second register--high F on on C instruments, high Bb on F instruments, high C on G instruments. Amazing Grace works wonderfully over a drone.  Another fun and helpful piece to play with a drone is Onder de Linde groene:

Try this in a few keys. 

            It is also very important to play Long Tones on the lowest note on your instruments.  Do this note for at least 30”. Include a variety of articulations while holding out this note.

 

 

 

Notes On The Pieces

 

Canto Canto

            Huge thanks to Mike for the marvelous work in creating a Just Intonation recording of the F and C harmonies in Canto, Canto!  After doing your Long Tones and Melodies over drones, play your part of Canto Canto along with this recording.  The goal is to do this often enough so that the correct tuning becomes automatic and you can hear the pitch of the notes before playing them.

            Of course, the performance tempo will be faster than the tuning recording.

 

Dormendo un giorno  

            Be sure that you have written cues and memorized your entrances at “Ond’a quei bagni... “.   The Quinto begins this phrase, one half note later the Tenor and Bass voices enter together, one half note after that the Cantus and Altus voices enter together.    

            Listen to and play along with this recording.    https://youtu.be/lk3W0VDPQ8g.  (n.b. We will be somewhat more flexible in tempo and characterizations than this recording)

 

Planxit autem David

            For feeling Josquin’s grand phrases I will conduct in Whole Notes.  Be sure that you practice feeling the subdivision of the whole note (1 & 2 &).  Sing a few phrases of Planxit autem David while tapping your foot on the Whole notes and tapping your hand on the Half notes. 

 

Sweet Suffolk Owl 

            Listen to the recording and know this piece so well that you always see and hear what is coming.  This includes all orchestrations and breath marks.

 

Mother I will have a husband

            The best way to learn this piece is simply to say/sing your part in the tempo of the piece.

 

Wakati njema - Sieg

            We basically have this piece!  Compliments on the good practice!  For the next rehearsal be sure to work out all note problems as slowly as needed.  Keep playing with the recording.  

 

A Monad, Become Mantra, Blooms Mandalas - Fitzhugh

            Thank you, Mel, for the privilege and joy of playing your new piece!  I love it!  Thanks also for the great introductory lesson.  

            Everyone needs to read Mel’s introduction-instructions.  When you see and feel the rhythm you realize that this is not a difficult piece.  Your first few practice sessions on this piece are the most important.  Solve all note problems quickly by saying the note names a few times and them saying the note names while fingering (not blowing) your instruments.  When you get comfortable knowing the notes, speed will not be a problem!

            The instrumentation will be posted soon.  

 

Hinei ma tov 

            Be able to sing the Top Voice along with the recording.

 

Si par souffrir

          We read this new piece, the chanson SI par souffrir.  This is a lovely, easy piece which will segue to Susato’s Pavan Si par souffrir which will segue to Susato’s Ronde IX.  

            Set up your notebook so that you can do a quick page turn between the two setting of Si par souffrir.  We will go segue from the Pavan to Ronde IX (without page turn). 

            Parts are not yet assigned.  Have fun trying any voice you wish.  The piece will be posted on our website soon. 

Ronde IX 

            For fun and profit, listen the the Royal Wind Music playing a similar piece (a Branle in one of Phalese’s dance collections).  We will do similar, super staccato notes and accelerando/ritardando.  https://youtu.be/2U2y6dpQK40

 

 

 

 

-----------------------------------------------------------------------------------------------

 

 

Canto Canto   https://youtu.be/DZoiLI5rBZo

Dormendo un giorno   https://youtu.be/lk3W0VDPQ8g

Mother I will have a husband   https://youtu.be/4MPunRTegpI

Planxit autem David    https://youtu.be/9W0UtIja-OU

Notes from January Rehearsal

We hope that you are enjoying, like us, the great work we’ve been doing.  Compliments especially on having achieved a much higher level of consciousness in tuning!  Your progress in being able to hear what part of a major chord you are playing (fundamental, 3rd or 5th) is really improving our tuning.  

Please do some Long Tones—unisons, octaves, 5ths and 3rds—and melodies over drones every day!  We just get better!

Another very important Warm Up:

Play Long Tones (many times) on the lowest note of your instrument(s) while walking around loosely.  Include doing a variety of articulations on this note.

 

 

 

This Sunday, 2/2/2020 we will try to play all these pieces!  Be prepared for the fun--know your parts! 

 

Canto Canto - Be able to sing your part — for rhythm and phrasing.  

 

Dormendo un giorno 

Please watch your part while listening to the recording. 

Make a gentle, murmuring tone on the words “Dove’ l murmur de fonti” 

On the words “Corser” and “Subitament” play strong articulations and push the tempo.

Memorize /write cues for your entrances on  “Ond’ a quei bagni” .  Please know your entrances of these phrases!

Quinto and Basso: your last 5 notes are the same rhythm in both voices--Communicate and play together.  

Alto:  Memorize, Hear and Play with the Quinto and Basso voices on the last phrase.  

Sweet Suffolk Owl - be sure that you have studied the breaths and other markings

Mother I will have a husband 

Planxit aurem David - please follow your part while listening to the recording.

Pavan: Si pas souffrir,  Ronde IX - Susato

Wakati njema - Sieg - Sing your Rhythms and Play with the recording.  Really learn this piece this week.  Let’s be able to run this entire piece on Sunday!  

Hinei ma tov -  be able to sing the Top Voice along with the recording!  

 

We are thrilled and honored to have a new piece from Melika:  A Monad, Become Mantra, Blooms Mandalas

I think she is great at creating fascinating, engaging sounds and rhythms for recorders!  

Here is a first draft suggested orchestration.  Let’s try this on Sunday and talk later as needed.  Please print and bring your parts.  

Sopranino:  Miyuki (Aldo)

Soprano:  Nouri (Cathy)

Alto:  Karen, Kim, Priscilla

Tenor:  Alix, Carolyn, Stuart     

Bassetto:  Ed, David, Peggy, Mike

C Bass:  Chantal, Shannon

F Bass:  John, Emily, Brian

 

 

All this is exciting, but please remember that rehearsals from now on are for getting to know the pieces together and polishing things up musically.  We do not have time in rehearsals to work on notes or rhythms.  Let us know if you have any questions or need any help.  

 

Huge thanks and compliments to you All!  This Sunday will be a very satisfying playing session!

Notes from October 27th Rehearsal

Thanks again to Aldo for another excellent, focused Tuning session.  I hope you all will incorporate Aldo’s exercises into your basic warm up practice.  I love doing this!  I’m playing a lot of unisons, octaves, 5ths and major 3rds as Long Tones and melodies over drones every day.  Enjoy the improvement in your tuning, in your hearing and a more consistent tone that comes from this practice.

 

Be sure to include playing the lowest note on your instrument many times as both short and very long tones.  Tongue this note clearly every time.  Sometimes play lots of different articulations on this note during a very Long Tone.

Our big SPRING CONCERT will be Friday, May 22 at First Church in Cambridge.  We will rehearse at 5:00pm and the performance will begin at 7:30pm.

 

In our next rehearsal on Sunday, November 17, we will rehearse:

 

- Canto, Canto (including the handwritten tuning sheet)  

- Dormendo un giorno —  practice by listening to the recording and singing your voice.  

- Sweet Suffolk Owl —  know the words!  We will play from the annotated parts.

- Mother I will have a husband —  be able to speak/sing the words in rhythm at tempo.

- Scaldava il sol  (Marenzio) —  please know the text & translation —  We will play this from Annotated parts, which will be posted soon on our website. 

- Wakati njema (Sieg), all three movements — Good work last !  Next rehearsal we will try all three moments at tempo!   Be sure that you have listened to your part enough so that you know the rhythms by sight!

- Galliarde (Praetorius)

 

  Thank you All!

 

Sincerely,

John

Notes from October 5th Rehearsal

Hey BRO,

    

    We had a great session with Aldo Abreu at our last rehearsal.  We spent a wonderful hour and a half listening with excellent focus to everyone’s tuning.  It was great to hear so many comments on how illuminating it was to take the time to listen together with such clarity.  We all benefited from this!  

    We are looking forward to another session with Aldo at our next rehearsal on October 27 and to an especially satisfying season!

    We hope you are all enjoying practicing Aldo’s system of matching each note of a major scale three times with a unison note (Drone).  Of course you know that this practice will also make your tone more centered and even.  

 

    For our October 27 rehearsal:   

        -  Do long tones especially on the lowest note of your instrument. LiVirghi voices his Renaissance instruments so that the lowest note can be played with a very full tone. To stay loose and to breathe well, walk around playing your lowest note many times.  Also play your lowest note using a variety of articulations.  

 

        -  We will rehearse these pieces.  Read these practice suggestions so that we will be able to run through these pieces quickly.  

 

-  Canto Canto Festa Festa - be sure to know the phrasing and breaths.

 

-  Dormendo un giorno  - After you know the words and translation(!) check out this recording.  Sing your part along with the recording.

     https://youtu.be/lk3W0VDPQ8g

 

-  Sieg  -  Listen to and practice your part with the recording on our website.

 

-  Mother I will have a husband - This is not a difficult piece but it requires that we really know the text and rhythms.  

    Please practice this way:

    1. Read the words as normal, spoken language.

    2. Listen to this recording while watching your part.   https://youtu.be/4MPunRTegpI

    3. Sing/Speak your part with the recording. 

    4. Play your part hearing the words as you play.

      

    Compliments to you all on your excellent work.  We are looking forward to listening and playing together next time!

 

Cheers,

John & Miyuki

 

Notes from September 15th Rehearsal

Hi Everyone,

    It was wonderful to begin the new season together!  

    At our first rehearsal we started these three quick warm up exercises. We hope you will enjoy these!  

 

1.  As a simple and very helpful warmup do some panting without the recorder (fast, slow, lots of air or little air).  This is a very natural way to improve your breath control.  Enjoy especially how this makes it easy to be aware of and therefore relax your throat.  Do this for a minute or so from time to time during the day.  

 

2.  Tuning

    Play long notes and simple phrases over a Drone note.  Be sure that the Drone is louder than your recorder volume so that you can easily hear when you are perfectly in tune with the Drone.  First play unisons then octaves.  Check a tuner visually to confirm what you’re hearing but don’t watch the tuner when you are playing-you’ll hear when you are in tune.  It’s a good idea to listen to the Drone with earphones.  When you’re good with unisons and octaves add perfect 5th and 3rds.  

    Always feel relaxed but often play very long notes.  This helps you hear the steadiness of your tone and tuning.  Often play the same long tone 4 or 5 times in a row.

 

3.  An easy way to become more sensitive to tuning is to hear the difference between a standard fingering and an alternate fingering on the same note.

    Play the fingering 02 (the note C on C-instruments, the note F on F-instruments, the note G on G-instruments).  Then play the same note with the fingering 0346.  You may need to adjust this fingering for every instrument. Try 034 or 0346  or 03467, etc.

    Find an alternate fingering that is very slightly sharper than the standard fingering.  

    First blow the same for both fingerings. You will hear a slight but very perceptible higher pitch on the alternate fingering.  

Finally, alternate the two fingerings playing the same pitch on each.  Enjoy the different color and volume of each fingering.  

 

    Please practice all the pieces on our website.  There will be more Music and Orchestrations on the website before long. 

       We will also be in touch with more specifics about the Winter and Spring Schedule.

 

       Remember, at our next two rehearsals we will have the pleasure of doing a Tuning Workshop with Aldo Abreu!  (in addition to  rehearsing our pieces) 

 

    Thank you all!  It’s going to be a great year!

 

Sincerely,

John & Miyuki

BRO Notes for 1/27/19 rehearsal

 

Hi Everyone,

Looking forward to getting together this Sunday in Medford.

Rehearsals have been going very well and we are really a much more sensitive and polished ensemble than we were in September. Compliments!  

 

 

Last rehearsal we talked more about working on tone and tuning.  Try these suggestions for fun ways to improve your playing:

 

- Enjoy playing over a loud drone note.  Concentrate on the tuning of the perfect intervals-Unisons, Major 3rds, Perfect 5ths and Octaves but play anything you want.

- Walk around calmly playing melodies by ear.  This is truly the best musical and technical practice I know!  It is easy to hear and control your tone, tuning, dynamics/shading, etc.

- Also, walk around playing long tones.  Enjoy your tones, sense of movement, expression and tuning.  If you let yourself feel calm, it is easier to maintain a steady tone and tuning.

 

This Sunday we will try to run these pieces.  Please look over these and know your parts.  Be sure to know the words of the Marenzio and Bennet madrigals.  I hope we are familiar enough with these to be able to run these at tempo!  Please practice your parts, especially Celebration.

 

Amor Vittorioso

La Bellezza

Caccia d’Amore

Puta Nera Ballo Furlano

Ohime - Marenzio

All creatures - Bennet

Celebration - Sieg

Adon Olam

 

We will also post one new piece (our encore) on the website.  Please bring this with you Sunday.  

 

At the end of Sunday’s rehearsal we will take about the last 45 minutes to rehearse the upcoming School Concerts.  If you are playing in any of the School Concerts please bring all the instruments and music you need for those concerts.

Thank you All!

 

Cheers,

John

Dear All:

Regarding the upcoming concert to the International School of Boston on Monday January 28th

 

Time:

- Please come for 9:30 AM on Monday, January 28th, at the main entrance 

- Concert will start at 10:30AM

Address: 45 Matignon Road, Cambridge MA 02140. The Main Entrance is in the "Middle & Upper Schools" building, behind the round area with the large tree (see picture). 

 

 

 

 


The Concert will take place in the Gymnasium.

Please bring:

- your instrument and instrument stands
- your music and music stands (and stand lights)

Dress code: black bottom, colorful top - casual but colorful/party clothes
 

Please review:

- the concert program is included. All the music for the concert is on the website.

 

Please feel free to contact with any questions or concerns. 

NOTES IN PREPARATION FOR SUNDAY JANUARY 13TH REHEARSAL

Hi Everyone,

Very Happy New Year!  We hope you had joyous holidays and are refreshed and energized for a new year of BRO!

We’re looking forward to getting together this Sunday the 13th in Medford.

Last rehearsal we tallied about some technical practice.  These are all fun and don’t take much time but will make a real difference in the ease and facility with which you play.

 

-  Be sure to play lots of easy, beautiful long tones on the lowest note of your   instrument, also with various articulations.

-  As always, simply enjoy playing lovely, easy melodies by ear—record yourselves.      Walk around casually when you do this.

-  Try singing and playing at the same time.  Let this be a fun game.  You’ll make wonderfully weird sounds and discover some very cool effects.  You’ll also take a big step in being able to blow with a very open throat and therefore a more resonant, supported sound.

 

 

This Sunday we will try to play all these pieces concentrating on:

 

-  Gastoldi  - tuning and keeping the tempo

-  Mainerio  - keeping the tempo.  Practice Puta Nera Ballo Furlano with the metronome. 

-  Marenzio  - Of course the first work is to know the text and translation.

-  Bennet,  All creatures now. - Words.

-  Sieg, Celebration   - Your best practice for Celebration is to simply sing/speak the tricky passages of your part with the articulations you will use when playing.  This should be easy within a day or two so then speak/sing with the metronome.  Of course the point is to hear the rhythms and be able to play completely comfortably so vary the metronome speed as helpful.  Don’t hesitate to play as slowly as needed!  Speed will not be a problem if you really know/hear the rhythms and have always played them with ease.

-  Italian, Donna Lombarda & Young Girl Who Comes to the Fountain  -   For ease and   being fluent with the notes.

-  Rossi, Adom Olam

-  Gabrieli, Canzon Septimi Toni

 

   It will be wonderful to get started again!

 

Cheers,

John

NOTES FROM NOVEMBER 11 REHEARSAL

Dear BRO Members
Here is the review of 11/11 rehearsal.

 

Amor vittorioso
m.17 sweeter, less detached

 

Tu pauperum
m.53, m.55 Enjoy the dramatic silences precisely together.
After the triple section, the first phrase, “in te spero”, should be legato.
m.92 We take a big breath together.

 

Putta Nera Ballo Furlano
Ignore the bar lines and feel the first 6 notes like a pick up to the half note.
   Practice this easy, pretty piece with metronome. half note=120+

 

Celebration
Play with clean T tonguing on the accented notes.
Before letter I, everyone has 2 measures of silence.  John will cue letter I. 

 

All creatures
“At Oriannas presence” majestic, flowing, lots of vowels.
The second time “Musicke the time beguileth” is played, Cantus, Altus and Tenor begin together.
Entrance of “Queene of all”, Quintus, Altus and Bassus start together. After a Dotted Quarter note and an Eighth note (“Queen of”) the Superius enters. After a Dotted quarter note and an Eighth note (“Queen of”) theTenor enters.
   After the last G.P. play “Then sang the Shepherds” with a very round, full tone.  

Our next rehearsal is scheduled for 11/25.  We might expect small attendance again since this is Thanksgiving weekend.
Please let us know whether you can make it or not.


Thank you very much!
Happy Thanksgiving!

John & Miyuki
 

EMAIL FROM OCTOBER 28, 2018

General Considerations:

 

-           Please be sure that you know what instrument and what voice you are playing for all pieces.  There is more repertoire to come.

 

-           We hope you find the tuning work we are doing as simply enjoying hearing more beautiful sounds all the time.  Playing lovely notes over a drone, playing scales with the recording, enjoying the purity of your tuning, all of this is musically satisfying.  
 

-           As you know, an important part of your practice is listening to the recordings.

 

-           It is vitally important that you keep the LiVirghi instruments humidified!  They are very sensitive to the dryness when you turn on your heat!  If you have a room humidifier that’s great.  Barring that, you can keep the instruments in a well-humidified closed space like a closet, chest, drawer, etc.  You will have to be sure that a lot of humidity is getting into the air.  In a very small space like a box or drawer or plastic bag, you may be able to get enough evaporation from wet sponges, rags, etc.  Keep the instruments close to but not in direct contact to the moisture source.  I’ll gladly lend my humidity gauge for you to check!

 

-           Please let us know if you can attend the November 11 rehearsal.  Depending on how many can attend we may do the rehearsal at our place in Cambridge.

 

-           Next rehearsal we will try to run the three Gastoldi pieces so have them concert ready in a binder/folder.  The order is: Amor Vittorioso—La Bellezza—La Caccia.

            We will also play (depending on who can come):

                        Tu paperum refugium

                        Mainerio-Puta Nera and Passamezzo 

                        All creatures now are merry minded

                        Marenzio-Ohime dov’e il mio ben— know the translation!

                        Sieg

                        Donna Leggiardra, Young Girl who goes to the fountain

                        Gabrieli-Canzon Septimi Toni 

 

La bellezza - Gastoldi

            The voice names are 1-Cantus, 2-Quintus, 3-Altus, 4-Tenor, 5-Bassus, high to low.

n.b.  At the first second ending (m.5) the Tenor voice begins before the other voices.


 

Tu pauperum refugium

            We will post the text and translation of the Josquin motet Tu pauperum refugium.   Have fun getting to know this.  It really makes the playing much more interesting.  He is so brilliant at natural but wonderful text setting.  

              Play the word spes (hope) like an “ah”, sadder on exulum (exiles), strong on fortitudo (strength)—but be sure to hear the pitch on every note!  On the word adoro (I adoro) make a long, singing phrase.  Make each entrance of the word anima (soul) clear.     


 

Putta nera

After you are comfortable with the reading (see each phrase as a unit), then play with the metronome—at several comfortable speeds.


 

All creatures now are merry minded

-         The voice names are 1-Cantus, 2-Quintus, 3-Altus, 4-Tenor, 5-Bassus, high to low.  

-         The voice names (Cantus, Quintus, Altus, Tenor, Bassus) are correct.  Ignore the circled numbers, they are incorrect. 

 

Big breath before “Yond” and “At Oriana”

 

We will work on the entrance timings at “Queen”.


Thanks and compliments to you all on your dedication and lovely playing!  This is going to be our most impressive season!


 

Cheers,

John & Miyuki

EMAIL FROM SEPTEMBER 30, 2018

Hi Everyone,

We had a lovely first rehearsal on September 16 in Medford.  We were especially pleased with everyone’s focus.

 

Our Tuning Goal this season is to be aware of your tuning so regularly that you start to hear the correct pitches before you play them.  

You will accomplish this if you simply take a few minutes every day to play notes, scales and easy melodies by ear and listen confidently to your tone and tuning.  

 

 

An important assignment for everyone:  Listen to at least one of the Tuning Scales every day (on the BRO website). Even when you don’t have a recorder with you, it is helpful to listen to a scale and sing with it.  

When you play, the first time through the scale listen to the note and then play your note in the silence—don’t overlap.  The second time through, listen to the recorded note and then join it.

Be sure to tongue every note very clearly.  

 

 

Next rehearsal, October 7, will be in Medford (as you know from the website). We will try to play all the pieces on the website:


Gastoldi - Amor Vittorioso, La bellezza, Caccia d’Amore

Mainerio - Puta Nera Ballo Fulano, Ballo Milanese and Passamezzo 

Josquin - Adieu mes amours and Tu pauperum refugium (n.b. The file has two motets.   The first is Magnus es tu. We will not play this motet, we will play only Tu pauperum refugium.)

Gabrieli - Canzon Septimi Toni 

 

We will also play  Sieg - Celebration.  Those of you who were not at the last rehearsal and do not have your parts yet please listen to this piece on YouTube.  

https://youtu.be/XLd4d4voz-c 

We will bring parts on the 7th.

 

We hope to have more repertoire on the website soon!

Looking forward to playing together on the 7th!

Cheers,

Miyuki & John

EMAIL FROM SEPTEMBER 9, 2018

Hi All,

Thanks to Nouri we have at least a preliminary rehearsal schedule for Sunday afternoons, 3-6pm at the UU Church in Medford.  We hope all these dates work and will confirm asap.  

 

September 16

October 7, 21

November 11, 25

December 2, 16

January 13, 27

February 10, 24

March 10, 17, 31

April 7, 28

May 5, 19

 

We are scheduling more rehearsals this season for several reasons.  Every season we have made great strides and this season we’re looking forward to lots of work and even more wonderful music!  Of course we understand that not everyone can make every rehearsal.  Also, we’d just love to play together more!

We will probably do some smaller rehearsal on Monday evenings.  We’ll talk about this as the season progresses.  

 

Thinking about our Spring Concert, we could perform in the lovely, big sanctuary of First Church in Cambridge on any of these evenings:

 

Monday, May 20

Tuesday, May 21 

Thursday, May 23

Friday, May 24

Friday, May 31

 

Thank you all so much!  Please let us know your availabilities for this concert dates ASAP.   We’d also love to talk with any of you who cannot do regular rehearsals; we would love to involve as many as possible for at least a few sets in the concert!

We will also be doing at least the American Recorder Society event at BEMF the week of June 9-16.  There is the possibility that Francesco LiVirghi may come to BEMF and give a talk about his instruments—of course BRO will play for him!!!

 

Looking forward to getting together Sunday, September 16!

 

Cheers,

John & Miyuki