11

Aisatsu

CentriFugue
Work on Duets
- Interplay between voices is important
- Consider when to play together vs. when to play separate parts
- Try to use some themes from the piece
- Repetition is good!
- Try to come up with a clear structure for simple and strong ideas
Run-through
Break down each section to try to add character, distinction, and overall flow through the piece as a whole
Discuss walking on, bows, walking off
Full run-through (with on/off transitions)

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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
Add circle at the end of A, movement starts fast, then floats down to hit at the top of B
- Try to make the difference between fast and slow for this movement very obvious

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
Try stepping!
- Super (duper x5) danceable. Let your body express how you feel the rhythms here
- Anticipate start of stepping (same time as mute)

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
Cut out on last don of D & E
Dynamics increase for both D2 & E2

G
Similar musical theme to C, so also step here
Stop stepping at top of bar 126
Long kiai at top of bar 126 (cymbal crash/confetti type of feeling!); various kiai continue to the end
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Aisatsu