I've had this piece stuck in my head for 8 years ever since high school symphonic band...and could not for the life of me remember the title. This was one of my favorite pieces we played!
To play the right rhythm at 0:24 and 0:32, I teach my bands to say:"Put out the cat, and Put out the cat, and Put out the cat, and Put out the cat, right now!"
That's a way to get them to play just one passage correctly, and has nothing to do with 'teaching' them to, ya know, just read rhythms in general. Problem solved, no teaching took place.
@@MuseDuCafe I hope you're not a teacher, because your negative attitude is not what students need. You have no idea whether or not zachsplep teaches well because of this one fun story, and you seemed to have missed the point. Zach, I want to play in YOUR band!
We're playing this as sight reading in my highschool symphonic band right now (and possibly as one of our actual songs) and that really just helped me.
@@coloraturaElise some folks have never had to actually prepare a piece for performance. You go to war with the army you've got. Tricky rhythms are tricky!
I got to play the trumpet solo with the flute/piccolo in Scottische, and that was the highlight of my college career. I had one or two others in the suite, but that one was my favorite
Something about this music is just... funny as hell to me. In the best possible way. I remember wanting to laugh out loud the whole time my college band was playing this one.
I joked around with my section that the Wallflower Waltz was the hardest of all. We are the Sax section We played a whole eight measures in that movement
I played mallet percussion on this piece in sophomore year. Even though we only get featured a handful of times, this is probably my favorite piece that i'e ever played. The vibe chord in the end of wallflower makes me smile every time.
im the only freshman in the band filled with sophomores and juniors and seniors. I'm learning this. ive only gotten through half of cake walk right now. I cri evrytim
Omg Anne and Jordan! :) This was so much fun to play with you guys! Makes me want to do band in college! ugh so many good memories for me too being the Only E-flat clarinet in the entire band haha!
I performed this with the Oak Lawn Community Band in Dallas around 1997-98. Never forgot these wondrous melodies. I had just moved to the Dallas area, a much larger area than where I grew up, and this music is a fond memory of those first months there.
oh my gosh….this really brings back the memories!!! how lucky I was to have my all state band director(new jersey) play this in my senior year….i was 1st chair euphonium. there has never been a better part to play!!! went on to major in euphonium at IU - but this was the best piece I've ever played!!!
What is it with Euphonists? We seem to be prolific commenters. Definitely up there in my list. But I’ll take Holst, Shostakovich, and Verdi over Bennett I think. We know which pieces….
Got this for one of the two community bands I'm in, on Trombone. It's fun for sure, but man is it difficult. I thought getting Holst's Second Suite last year was rough - that piece is a cakewalk (no pun intended) compared to this.
Wow! this is so funny. Just yesterday, I whistling the Cake Walk Movement and my client who was as well flutist like I am, said "you know that song??? what was it from ?" as I replied "Suite of Old American Dances", as we called it jokingly "Suite of Old American Trances". LOL! Some music just sticks in your head....
Played this suite with the Heart of Texas Concert Band a few years ago. It always amazes me when a LARGE ensemble (we have 90 members) can master the delicate passages well!
♫♪ #SEMPER FIDELIS #QUA PATET ORBIS #JE MAINTAN DRAI ! ♫♪ great ♫♪♫♪♫♪☺ BRAVISSIMO @/bisbis 🎶🎵🎼 great music! a well tuned ensemble that sounds like an organ ! Fabulous banding! Compliments! #SEMPER FI #QPO #JMD🎵🎼🎼🎶🎵🥁🎺👌👌🙏🎺
I am currently getting the experience to play this in PYP (Portland Youth Philharmonic) in middle school, and let me tell you, this piece will kill my lungs!
My wind ensemble is playing this, and man is this fun! I play first trombone on it and I'm getting parts I usually wouldn't get to play being a trombone. I really like these songs!
The composer really didn't think about being kind to us BBb tubes when he wrote the high split on this, otherwise it's one of the most enjoyable pieces I've ever played on tuba
I thought this was a super boring piece when I played it in band as an oboe, but listening to this recording and how fast it is makes it sound so much more interesting.
+_litzy :D it actually went pretty well. Of course I couldn't play the whole entire piece due to it being only 1 piece out of 13 we where playing and I needed to allocate my time to some other pieces aswell ( most of them where for trombone my main instrument). When I was on tuba I also played Xerxes incantation and dance and conversational with the night. The concert went great though and sounded great.
The struggle is real! I played the oboe part when I was 14 as well. It's rough! Practice, practice, practice ... I used to listen to the song constantly to get it in my head. Jeez - I remember that one solo in the One-Step @8:45 that pretty much sets up the whole scene ... I would play it and after getting through it just stop to let my nerves settle as the rest of the bad played then jump back in.
I played it on oboe/english horn around that age too-- I remember having a hell of a time getting the counting right on the EH solo in Wallflower Waltz.
There is no denying that the playing is very excellent. This work is a staple of the repertoire and should adhere to the composer's original intent. That being said, both the Wallflower Waltz and the Rag deviate too much in the middle sections from the composer's directions. No accelerandi are written and none should be inserted. My concern, as a conductor familiar with this work for over forty years now, is other conductor's will believe this is accurate or acceptable. It is not. Play what the composer wrote and you will do his music justice. Enjoy this wonderful work.
I'm generally in agreement. I'm one of the tubists on this recording and questioned those things and others during the preparation process for this session and during my year of study with Mr. Corporon. But while you and I may disagree artistically with some of the interpretive decisions displayed here and question them, I will defend forever a conductor's right to make them when they are made with purpose, sincerity, and conviction (as these were) and I accept them. I would encourage anyone who depends on recordings for reference purposes to listen to as many quality recordings as possible, comparing interpretations, in order to shape their own interpretive vision that reflects the composer's intent. It isn't necessarily wrong just because it isn't on the page.
Hi, Mr. Corporon, I hope you don't think I'm criticizing you personally. My "questioning" was introspection and referencing it here isn't intended to be a challenge or expression of dislike. This is *great* music-making. These sessions and all the others are high on the list of great experiences I was fortunate to have, and I am eternally grateful for the teaching/learning and opportunities provided and how they have contributed to shaping me as a musician and my ability to share music with my students.
@@TBDBITL7879L1 you're only allowed to do this because you played in the recording but mad respect and i agree conductors have the right to interpret a piece
@@help-im the reasoning behind these interpretative decisions was explained to us during the rehearsals for this selection. They made sense then, and they still do now.
