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Title	InTONationsstudien für Blasorchester  out of print   Remaining stock available
Article no.	9365016
Category	Concert/wind/brass band
Subcategory	Orchestra training
Instrumentation	Ha (concert/wind band)
Format	PrtStm (full score and parts)
Country of publication	Austria (at)
Publisher *	click here
Publisher's article no. *	click here
Year of publication	1998
Price	click here
Composer	Essenhofer, Walter
Difficulty level	1
Additional info/contents	Anyone who has ever worked with an amateur orchestra knows how hard it is to produce reasonably clean music. The performance gap in the wind orchestras is still - or especially today - striking: the older orchestra members did not have the possibilities of a school education on their instrument, but many of the younger musicians are well prepared by music schools. Older musicians usually do not need to practice for a variety of reasons. One of the orchestra's most difficult tasks is to bring this discrepancy to a common denominator. If there are often still differences of opinion in the question of literature, however, there can be no differences of opinion in one area of music-making, namely 'mood and intonation'! Either the orchestra is in tune - or not. The musicians can play technically, rhythmically and dynamically no matter how precise, if the tuning is flawed, everything is spoiled. Quite a few orchestra leaders are not making sufficient efforts to improve their tuning. Even if most musicians are amateurs, a rehearsal must begin professionally. And professional musicians start their daily workload with tone-holding exercises and tone shaping! I know from experience that 'our musicians' have no joy with these exercises. If colleagues therefore start their rehearsal with a march, something is certainly going in the wrong direction. I have used the present intonation exercises with my own orchestra for years. I use them at every rehearsal after recording or tuning in. These short exercises begin with unison acts, which usually end with chords. They always change the key, which encourages the musicians to concentrate. Great emphasis is placed on dynamics, because the orchestra must sound both quiet and loud 'beautiful'. Much attention should be paid to the 'gliding' dynamics: Crescendi and diminuendi must increase and decrease together to the last consequence (with amateurs this is usually already completed half way there). Therefore, let the orchestra blow extremely quietly and loudly without changing the tuning! Always point out correct breathing and supporting of the sound. The musicians must be convinced by the timbre that the sound makes the music. Under no circumstances should one get involved in concessions if there are shortcomings in the mood! The use of auxiliary handles must be used when opportunities arise. Success in this direction will therefore only be achieved if this path is followed continuously. Despite all the possibilities available, you will not be able to turn amateurs into professional musicians. However, one must never lose sight of this direction! May these intonation studies be a small contribution and companion on the difficult way there. The set includes 41 parts (one part per instrument) and one director's score. Additional parts can be ordered.
Sample sheet music	click here
Sample score *	click here
External link *	click here

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	Format
	InTONationsstudien für Blasorchester (concert/wind band), full score and parts  out of print   Remaining stock available
	Intonationsstudien für Blasorchester (concert/wind band; fanfare band; brass band), conductor score  out of print
	Intonationsstudien für Blasorchester (concert/wind band), extra instrumental part  out of print

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