Rehearsal Notes for Michael Glasgow

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Rehearsal Notes for Tin’s Music from Terry Head

The Canoe Song arr. by Fred A. Merrett

This is a fun piece capturing a great Native North American folksong. There is a simplicity in the tune, but please be careful to make sure that the rhythm—especially the syncopated melody—is accurately counted.

Measures 16-19 pay careful attention to the dynamics and the poco rit.

Measure 26, allow the G5 and F5 to come through clearly as part of the melodic line so the upper chord in measure 26 should be a bit softer.

Measure 27, the D5 half note on the bottom of the treble clef chord is the melody note so again, make sure that the notes above that are a little softer.

Measure 32-39, make sure that the tune marked mp comes out more clearly than the notes above. In measures 32, 34, 36, keep the G4 dotted quarters a little softer.

Measures 32-34 and 36-38 use a gentle wrist motion from side to side after ringing the bell to achieve the vibrato effect. Do not use the whole arm.

In the Waltz section (measures 44-61), make sure that the up-stem treble clef notes are the predominant notes in this section. This begins in measure 46 and carries through into measure 59. In measure 59 and 60, the melody notes are G5 and F5, therefore the upper notes should be played as accompaniment notes and be less prominent.

Measures 66 – 73, ring fairly close to the table and do not lift the bells too high for the martellato lift effect.

Watch the fermatas at the end—you never know what I will do!!

Bound for Glory arr. by Tammy Waldrop

This is a fun compilation of two Spirituals. On the opening bass notes, watch the accents and watch for the tempo changing as the G4 position emulates the train getting started. The chords in measures 3-5 create the ‘train whistle.’

I would like take the tempo a little faster than listed. For me, the ideal tempo would be closer to 144/quarter note.

Like The Canoe Song, please be mindful of the melody on the top to make sure it comes out clearly and the accompaniment is a little softer.

Throughout, watch for the accents and bring them out so there is strong rhythmic pulse to this piece. With that being said, from measure 24 on, the chords in the treble clef should be a little softer than the melody in the bass and lower treble clef that is marked f.

Measure 66 to the end, please watch for the molto rit.

Trust and Obey by Michael J. Glasgow

This wonderful setting of the hymn tune first published in 1887 should be played with a slight emphasis on the first beats of the bars, particularly when the hymn tune is present from measure 9 onward. This slight emphasis then helps to match with the words of the hymn. Many of the important words in the text of the hymn are located on the first beats of each bar.

Like the other two pieces, bring out the melody on the top so that there is a clear delineation of melody and accompaniment.

Please bring out the changing dynamics found in measures 32 and 33, as well as 43 through 45. Keep the intensity of the fortissimo going through until measure 55 when the diminuendo begins.

In measures 69 and 70, please use hard mallets with the bells suspended for a lovely ethereal effect, but they must be malleted softly.