Composition: Carnival Day

Composer: Chang Su Koh

Measure #
Form

10

Introduction A

Phrase
Structure
Tempo
Dynamics
Meter/Rhythm

Tonality
Harmonic
Motion
Orchestration
General
Character
Means for
Expression

Conducting
Concerns

Rehearsal
Consideration

Vivace
(q=154)

Vivace (q=154)

44

jjq o eo eo eo e

chromatic

qa. i qa z qaqi qsqii

E-Flat Major, with chromaticism

halfstep
motion
I
I
I
V
All (no
Low Reeds, High Brass,
All (no mallet percussion
mallet
Tuba, Double Bass,
or Piccolo)
Percussion)
Percussion

IV
IV
IV
V
Low Reeds, High Brass, All (no mallet
Tuba, Double Bass,
percussion or
Percussion
Piccolo)

aggressive,
opening

surprising, exciting

energetic with anticipation

Dynamics,
clear
articulations,
chromatic
movement

Dynamic contrast and growth, stacatto versus

accent,

dynamic growth, stacatto versus slur

versus accent, syncopation

tempo needs
to be set.
Show
stacatto
nature

Cues and dynamic shift. Also show difference

between accent and stacatto.

Tempo consistency and showing the

musical shape of each phrase.

tonguing
style and
tempo.
Dynamic
presence

Independence of parts is integral. Ensure the

make sure the cresendo does not occur
syncopations do not rush. Compression of 16th note too rapidly. Tone quality should always
runs will be an issue to some degree always.
be at its finest.

Page 1

Composition: Carnival Day

Composer: Chang Su Koh
Measure #
Form

11

12

13

14

15

16

17

18

19

20

A (Cont'd)

A (Cont'd)

Vivace (q=154)

Vivace (q=154)

21

22

23

24

25

26

Phrase
Structure
Tempo
Dynamics

Meter/Rhythm

4
4

Tonality
Harmonic
Motion
Orchestration
General
Character

mf

mf

ff

h qsqii
E-Flat Major, with chromaticism

mf

I
Low Reeds, Trumpet,
Low Brass, Bass,
Percussion

E-Flat Major, with chromaticism

IV
IV
V
I
I
chro I
I
I
V
V
V
V
I
Flute, low reeds,
Piccolo, Flute, Bassoon, Clarinet 1, Bass Clarinet, Alto Saxophone,
All (no mallet percussion or
brass, bass,
Trumpets, Euphonium, Mallet Percussion, Snare Rim, Tambourine,
piccolo)
percussion
Triangle
Arriving, but still not the
ultimate arrival

fight between sections

agreement between sections

restart of dynamics at piano, non-specified

articulation, but detached

stacatto versus accent,

forte,

restart of dynamic at mezzoforte, crescendo and

decrescendo

restat of dynamic at mezzo-forte,

fortissimo arrival, decrescendo,
legato versus stacatto versus
accent

do not over conduct. Get out of tempo

giving, by this point they should
understand the pulse of the piece.

show the arrival and give

sight of the next
destination

growing with anticipation

Means for
Expression

Conducting
Concerns

Rehearsal
Consideration
start the dynamics back at piano.
Clearness of double tonguing in the
trumpets should be a priority if needed.

show more of a mezzo-piano or

piano dynamic to get the
make sure pattern does not have
ensemble back down to mezzo- subdivided hitches. Cue releases of
forte. More legato than before.
trills if needed

compression will still be an

do not compress lines. Double
issure. Dynamic contour of make sure the rim can be heard tonguing definitely needed in the
the line is also integral to
because it is the new voice in trumpet part in measure 24 if taken
the succss of this section
the ensemble.
at a reasonably fast tempo

Page 2

Composition: Carnival Day

Composer: Chang Su Koh
Measure #
Form

27

28

29

30

31

32

33

34

A (Cont'd)

35

36

37

38

39

40

41

42

Phrase
Structure
Tempo
Rubato

Vivace (q=154)

Dynamics
Meter/Rhythm

Tonality
Harmonic
Motion
Orchestration
General
Character

mf

ff

A
Tempo

fp

4
4

Vivace (q=154)
crescendo (Poco a poco)

Feels more like cut time

E-Flat Major, with chromaticism

I
I
I
IV
Picc, Flute, Bsn,
All (no Oboe,
Bs.Clar, brass,
A.S, T.S,,Tbn,
percussion
Mallet Perc

Bigger fight is brewing

C Major with Chromatic Movement

tranpositions in chromatic motion

by half step

Flat VI

All (No mallet percussion)

Sparse. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. Full

tension is building more

Tension released with energy and begins to build again.

Means for
Expression
forte crescendo, stacatto, passing unison parts, fortissimo, rubato into
16ths between parts
fermata

Conducting
Concerns
cues for the clarinets. Show the
lilt for the section.

Rehearsal
Consideration

cue the oboe with a gesture of

syncopation in 32. big and light
pattern.

portamento, crescendo, more macro pulse rhythms

portamento after fermata should function like a no-caesura fermata with
a lot of resistance into downbeat one of measure 35. There has to be a
lot of impulse of will to ensure tempo of 35 gets right back to the
original tempo. Supermetric conducting would be appropriate if
ensemble can hold their own

Make sure clarinet part is light as

opposed to heavy. Entire
parts should still be light even
ensemble should be playing this though it is loud. This will help with make sure the ensmemble cresendos through the portamento to give it
section with more lilt and
clarity since there are 3 ideas going as much energy as possible. The forte-piano hould be very aggressive
lightness than before
on with everyone playing fortissimo and the majority of the crescendo should be saved until meausure 41.

Page 3

Composition: Carnival Day

Composer: Chang Su Koh
Measure #
Form

43

44

45

46

47

48

49

50

51

52

53

B (Cont'd)

Transition

Vivace (q=154)

Vivace (q=154)

fp

crescendo (Poco a poco)

f (fp) crescendo

4
4

Feels more like cut time

54

55

56

57

58

Phrase
Structure
Tempo
Dynamics
Meter/Rhythm

Tonality
Harmonic
Motion
Orchestration
General
Character

C Major with Chromatic Movement

V/#IV

Ritardando

sffz p

crescendo

C minor with chromatic movement to transition to Bb major

iii

flatV

Bb

Sparse.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..Full

All (No Picc.)

Tension released with energy and begins to build again.

growing and growing to a false climax

more portamento, Forte-piano crescendo, big growth to semi-peak.

more subdivided rhythms and louder dynamics. Bigger and

faster crescendos than before. Accents and legato articulations

the only difference between this portamento going into 43 and 35 should be
the amount of time. It should still be as aggressive with a cresendo. The forte
piano should mimic that of the one which occurred in 35, except even more
grand. The enterances should be cued and supermetricpattern should be
continued.

Gestures of syncopation should be given in 52 and 54.

Resuming the 4 pattern. Find a way In which to demonstrate
the piano and rapid crescendo of 51, 54, and 55

pulse and legato style should be achieved to contrast the previous section.
The majority of the cresendo should be saved until measure 49.

Ensure only the dynamics are growing through this section and
not the tempo. Some detachment of articulation may be
needed to contrast the last legato section. Grace notes should
come before the beat.

Means for
Expression

Conducting
Concerns

Rehearsal
Consideration

Page 4

Composition: Carnival Day

Composer: Chang Su Koh
Measure #
Form

59

60

61

62

63

64

Transition (Cont'd)

65

66

67

68

69

70

Coda (A'/B')

Phrase
Structure
Tempo
Dynamics

Lento (q=60) Molto Accel.

A tempo

Vivace (q=154)

ff

fff

ff

Meter/Rhythm

4
4

constant
16ths

Tonality
Harmonic
Motion
Orchestration
General
Character

fff

E-Flat Major

Bsn, clar, sax,

brass, perc

all (no picc)

changing, growing

B-Flat major with Chromatic movement

percussion

All

anticipation

Shout chorus!

Chrom

Means for
Expression

Conducting
Concerns

Rehearsal
Consideration

legato and slurred articuations which transition to

accent and stacatto. Increase in dynamics and more
melismatic figures.
theme a returns. Very aggressive and loud.
the portamento should be like that of measure 35, but
this time the intent of will needs to get the tempo to
relax even more. A gesture of syncopation for trumpets
in meausure 59 could be effective along with downbeat
do not ove-rconduct this section.gestures of
1 of 61 for flutes and oboe and E-flat clarinet one final
syncopations scould be utilized to show accent
gesture of syncopation on beat 2 of 63 could ensure
patterns in many of the parts with running 16th notes.
have ensemble work to lead their own accellerando
because that will ultimately be the cleanest if they can
manage to get back close to 154bpm. The articulation
should slightly shift from heavy to dry in this section.

the articulation should be light so that clarity can be

had between all parts at this oud dynamic. 16th notes
will have a tendency to compress

Page 5

Composition: Carnival Day

Composer: Chang Su Koh
Measure #
Form

71

72

73

74

75

76

77

78

79

80

81

82

Coda (Cont'd)

Phrase
Structure
Tempo
Meno Mosso (q=120)

Dynamics
Meter/Rhythm

Allargando

fff crescendo
44

Tonality
Harmonic
Motion
Orchestration
General
Character

A tempo (q=154)

E-Flat major with Chromatic movement

iv

dim

Almost all, no Picc, sparse percussion

All

New, but oddly familiar. Antipation of the climax.

surprise!!!!

portamentos all over, many tremolos, forte realm dynamic contours, accents and legato
articulations.

slur and accent,

fortississimo

big concduing for the meono mosso section in supermetric will help them move air
though the horns enough to support.

only conduct the

down beat of 82
and dont give a
cut offunless
needed.

Air support for this final sprint is needed. The fingerings for tremellos and portamentos
should be studied prior to playing this piece so that the director can answer the
questions which arrise.

the 16th notes

will tend to
compress and
rush.

Means for
Expression

Conducting
Concerns

Rehearsal
Consideration

Page 6