5th Anniversary Concert Logistics:
https://docs.google.com/spreadsheets/d/1cRueleXk25trcaFICjn4uXqP3jDi57Wy...
nagado bachi (usually larger diameter, harder "kashi" wood)
earplugs
Aisatsu
Centrifugue
David does his best to interpret Eric's goals without breaking too much of the piece =)
Run-through
Break down each section to try to add character, distinction, and overall flow through the piece as a whole
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Notes from practicing each section
A&B
Let's feel this as an overture -- played strongly, but not overpoweringly, introducing the voices and concepts that we'll explore later in the piece
We'll mute after the last accents in B to allow for a clearer arrival of section C
C
Allow the music to open up, played a bit more sensitively with an ear to allowing the voices to come through
C1 chudaikos will mute their last hit
D&E
Explore how we can make the relationships between different voicings clear to the audience
In D1/E1 -- let's use kiai in consistent spaces. When we can do it confidently, this will become a unique/memorable part of this section.
In D2/E2 -- let's use movement (Kind of Osuwa-style upward kamae). When we can do it confidently, this will become a unique/memorable part of this section.
Goal: The relationship between D and E sections becomes quickly/easily/enjoyably "readable" to our audience
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After practicing in sections, run-through until E x3
Aisatsu