Pulsing the beat and playing rhythmically accurately in a slow tempo

Subdivision – Dividing the large beat into the smaller beats within it.

Playing the pulse with no subdivision

Now hear the eighth note but still only play quarter notes

Now hear the 16th note subdivision but still only play quarter notes

Finally, hear only the quarter notes and subdivide eighth notes in your head

56-61 ExaltedThe strong, proud measures of Shenandoah

Rising and Falling

5657

5859

60

61

56-58: forte, accented statement of Theme B And a new “GLORIOUS” motif! 59: SWELL on beats 3 and 4 to fortissimo. This is a no-breathing zone!60: Play with your best sound!61: DECRESCENDO to mp.

Flutes and OboesMeasures 31-34

The phrasing of this passage is just as important as the rhythm. Just playing the rhythm correctly will sound boring. The fourth beat is the note that should be emphasized, then the tension is released on the downbeat of the next measure.

- Try playing the passage by first emphasizing the end of beat 3 first.- Next transfer the emphasis to the fourth beat.- Lastly add the next note and release the “tension” of the previous note.

The phrasing is just as important in this part. The emphasis should also fall on the downbeat, in this case beat 2.

- Play first by emphasizing the end of beat 1.- Then transfer the emphasis to the second beat.

Shenandoah – Measures 12 – 21Melody played by 1st Alto Saxophones 1st

Trumpets

•Blending can be be an issue, especially between brass and woodwind

instruments. It’s a physics thing. •It is even more important in this piece and

at this point to blend well because it is such a delicate moment with a delicate

melody.

Let’s listen to three ways to blend this melody:

Which do you prefer? Why? Let’s try it ourselves!

Theme A in canon form of Shenandoah for Concert Band:

Let’s have all of the flutes play the melody together:

Next, we will listen to Flutes 1 and 2:

Finally we add all 3 parts: