Philharmonia Listening 10/20/17



Please comment below with 2 positive comments and 3 constructive comments FROM EACH PIECE. (Kassation in D, Reverie, and Legend).  Be sure that your name is on the comment.

Your constructive comments should be specific and include measure numbers. 

Musical elements to think about:  Tone quality, Intonation, Rhythm, Articulations, Ensemble, Balance. Consider the orchestra as a whole and also specific sections (Violin 1, cello, etc.)

Example:  “The section from measures 34-49 is out of tune and not together.”


22 thoughts on “Philharmonia Listening 10/20/17”

  1. Kassation: The opening repeated notes (measures 1-8) in the first violin section are not together and are not played in tune at measure 50. Open E should not be played in any of the sections in any of the measures. The melody from 1:00-1:08 should be more together (ensemble) and played more in tune. The dynamics are played well at measure 41. The rhythm of the whole orchestra was kept steady.

    Reverie: The first violins at measures 1-3 should play more together and should refrain from using open E. Open E should not be played at measures 21-29. The transistion from measure 52 to 53 should be played more in tune and together. The decresendos and crescendos were played well. The cellos and bass played strongly and had a nice tone quality.

    Legend: The whole orchestra should remember to count and come in at the right and same time. When playing open G, the orchestra should stop the G from ringing and make it choppier and shorter. Measures 35 and 36 do not have good tone quality and sound out of tune. The crescendo at measures 18 and 19 was noticeable and played well. The rhythm and tempo throughout the song was steady.

  2. Kassation in D Major
    measure 2: the high c# is out of tune
    measure 17: the high c# is out of tune
    measure 49-50: some people missed the high c
    measure 1-2: we don’t start together
    measure 41-43: the cellos seemed to be not together and the tone quality wasn’t good
    measure 58: there was a screeching noise
    measure 12-15: violin 1 is not together and is playing their part wrong
    measure 37: some people missed the tremolo
    measure 43-45: violin 1 is not together and is playing their part wrong
    measure 62-65: on the rests, some people played
    measure 70-95: not all violins can play that part
    measure 104: not everyone started playing at the right time and we weren’t together
    measure 120-127: the e and g aren’t in tune and people aren’t playing together
    measure 143-145: the pizzicato isn’t together and some people are out of tune

    1. oops i did it wrong
      Kassation in D Major
      measure 81: the notes are in tune and together
      the ending it together

      measure 2: the high c# is out of tune
      measure 17: the high c# is out of tune
      measure 49-50: some people missed the high c
      we didn’t start together but we fixed it and got back together
      the tone quality is good throughout most of the piece except in some parts

      measure 1-2: we don’t start together
      measure 41-43: the cellos seemed to be not together and the tone quality wasn’t good
      measure 58: there was a screeching noise
      The beginning was together and in tune
      The ending was together

      measure 12-15: violin 1 is not together and is playing their part wrong
      measure 37: some people missed the tremolo
      measure 43-45: violin 1 is not together and is playing their part wrong

  3. Kassation: The beginning was rough. A lot of notes out of tune. We DEFINITELY need to work on that some more. I can say we are paying attention to volume though. The ending was alright

    Reverie: The beginning was rough, but we recovered. You could hear the few playing the wrong notes. We were together which is good. We really just need to pay attention to playing together.

    Legend: The beginning was together. Once we got to the slur it was a bit of a mess. We definitely need to count. Third position is very tricky. Most parts on the E string doesn’t sound the best. Once again, counting needs A LOT more work. It does sound better listening to it than it does actually playing it. The ending was alright.

  4. Kassation in D Major – A few positive things we we achieved are starting together and breathing at the beginning of the piece, the first violins played strongly and confidently after measure 65. The Cellos were marvelous and kept a nice steady rhythm that added a nice flavor to the song. The second violins and violas were a great strong support when the first violins play panio at measures 41-49. We ended really well, the last couple measures from 104 to the end sounded great!

    A few constructive comments that would help our orchestra play even better would be playing in tune and not rushing. I felt like these two were big especially for 1st violins, the key is to stay together especially at measures17- 25, it kinda sounded like we were rushing to finish it off quickly. Third position for first violins needs some work at measures 49 through 55. Personally being a 1 st vilion, we have the notes we just have to get it in tune while playing with the class so that we Way we sound more in tune and together.

    Reverie – I must say this is the best we have play with the least amount of mistakes. All the sections do a great job counting and staying together which is highly needed for a slow piece like this, measures 13 to 20 sounded amazing, cellos follwing those measures are sounding terrific. This piece as a whole is very relaxing and I think we have very less things to fix.

    Things that we need to work on in this piece is that we tend to loose the tempo and the togetherness a little and get a bit lazy with the bow so little bit of attentiveness is required as we go into the music especially after measures 29. There were a couple instruments that were out of tune or they could be playing out of tune. We can work on fixing the end a little bit.

    Legend- measures 134 to the end was okay, tutti forza was nice and strong the violins were nice and strong around the beginning from measures 15 to 28. The cellos played in tune and strong from measures 37 to 42. The gliss at measure 130 sounds good. The higher positions needs a little more work, at measures 120, 80, 96.
    A couple things we can work on in this piece would be the beginning, we need to breathe together, the violins we out of tune starting from measures 24 to 34. The slurring at measures 43 wasn’t together. We were struggle to stay together, first violins at 72 to 99 needs to work on third position as well as shifting back and forth. At some points it was a complete mix of notes out of tune. The ending needs a little work the last nite was out of tune.

  5. Kassation
    1. The ending was in tune and together.
    2. There is a noticeable difference between piano and forte (though the piano could be quieter).
    1. The beginning of the piece was scratchy.
    2. One instrument was playing an out of tune A like the one in the first measure for the lower part in the first violin section.
    3. The minor part (measures 41-65) was out of tune).

    1. Most of the piece was together.
    2. The intonation was good throughout the piece.
    1. The transition from measure 52 to measure 53 did not have a noticeable diminuendo.
    2. The volume of the violin sections fluctuated in measures 29 through 37.
    3. The sound quality could be improved at measure 53.

    1. The beginning of the piece was in tune and mostly together.
    2. The dynamics are good, especially forte.
    1. The soli part is out of tune for first violin. Third position needs to be worked on.
    2. Measures 34 to 37 are not together. The long notes are not ending at the same time.
    3. The transition from measure 42 to measure 43 is not smooth and is not together.

  6. Kassation
    Positives: We followed the dynamics especially measures 17-25 and 41. Our ending was clean and we ended the piece together.
    Criticism: The notes from the first violins were out of tune; D and C# were flat. This can be seen in the beginning of the piece (Measure 1). Measure 17 was off tune and the tone quality wasn’t that clean. First violins still need to work on the third C on the E string (Measure 49-52).

    Positives: All of us did crescendo and decrescendo when it was necessary. Cellos and base played with great tone quality and rhythm.
    Criticism: Measure 1 started out shaky. For both violin parts, it would be better if A was played with a fourth finger on the d string. Measure 53 for both violins was not in tune.

    Positives: The beginning was in tune and the rhythm was right. The cello harmony was played with great tone.
    Criticism: First violins need to work on measures 12-14 and 43-44. The solo part for first violin was off in measure 72. In measure 134, the violins need to count in their head to feel to tempo.

  7. Kassation:
    + Measure 41-48 were in tune and had nice articulation. The dynamics are also correct here. This is a good sign as it was in a different key and contained accidentals and piano.
    + The ending (measures 104-111) was very harmonious. Particularly, the group played well as a whole, with nice balance between the sections
    – The beginning (measures 1-8) was uncoordinated and out of tune, particularly for the 1st violins
    – Measures 49-56 had poor tone quality and intonation. First violins especially fell apart with the timid and out of tune high c, along with the b flat that was played as b natural
    – Measures 56-65 were somewhat off-tune and some of the accidentals were ignored. The rhythm and coordination was also slightly off and not played like an ensemble.

    + Bass and cello played a nice, in tune harmonious backdrop that really brought a sense of harmony into the piece. This was particularly apparent in measures 53-60 & 21-29.
    + The intonation was generally on point throughout the entire piece
    – 1st violins played a number of open E’s which causes ringing and differences in sound among the different violins in the section. This could be fixed by playing 4th finger A.
    – First Violins are a little uncoordinated at measure 29-37. The articulation is off and disconnected, while clashing with the other sections.
    – The beginning (measures 1-5) caused the ensemble to start with a bad sense of balance early in the piece. Specifically, Second Violins were slightly ahead of First Violins.

    + The gliss at measure 130 was strong and powerful and really gave that part of the piece meaning. The Tutta Forza! following it was also nice and helped end the piece well.
    + Measure 12-20 sounded great as a ensemble with all the sections of the orchestra working together to create a harmonious lead-in to the next part of the piece.
    – The open G’s played by the sections rings and runs the continuity of the piece. It should also be choppier and shorter to end the note before the rests.
    – At measure 10, a few violins come in at the wrong time. This miscount also occurs in several other places and can be fixed by counting more carefully and listening more intently.
    – The last note had poor intonation and articulation and left the listener without a sense of satisfaction due to the fact that the piece was not ended harmoniously, but rather abruptly.

  8. Kassation In D Major:
    Measures 1-17 were pretty solid throughout. Minor tuning and ensemble issues, but not too prevalent.
    Measure 50: Some high notes were missed.
    Measure 17: Tuning issues which altered the sound a little bit.
    Measures 104-111: The ending was very good; the sound resonated.
    Dynamics were almost perfect.
    Measures 1-8: The Orchestra did not begin together.
    Measure 4: Cellos weren’t together, and some missed the B (practice and move together).
    Measures 21-29: Cellos subdivided well and dynamics were good.
    Measures 52-56: Cello solo was somewhat out of tune (work on finger placement)
    Measures 1-7: Beginning was good; we started together.
    Measures 12: 1st violins were not together; practice your parts more.
    Measures 18-19: Dynamics were correct.
    Measures 37-38: Some people missed the Tremlos
    Measures 43: Some people were out of tune, or didn’t play their part correctly (check tuning or practice more)
    Measures 70-72: Work on transitions, violins
    Measures 71-79: Violins were out of tune both times (work on finger placement).
    Measures 120-127: Tuning issues (especially on the higher notes).
    Measures 128-130: Some people played the wrong melody (pay attention to the notes)
    Measures 143-144: Pizzicatos were not toghether and out of tune.
    Ending was solid; great volume and dynamics.
    Overall, the orchestra did a great job with dynamics and volume. However, everyone could practice a more, so they are able to master their part and play it correctly every time. Tuning was also a big issue. Make sure that instruments are properly tuned, and work on finger placement.

  9. Kassation:
    Constructive Criticism-The transition from measure 16-measure 17 was a bit rough as the first violins weren’t all together and it wasn’t fully piano. Everything from measure 23-24 was all very staggered and we could have done a better job staying in tune. That whole section from measure 48 and on the first violins were out of tune and could be refined with more practice and understanding of the notes.
    Positives-The ending was very solid and everyone played with precise intonation. We also started off very strong at the beginning of the piece, which is probably the most important part alongside with the end of the piece.
    Constructive Criticism-The violas were a little off at the beginning of the song as they played the notes just a little flat. We could also work on trying to incorporate the dynamics at measures 7, 8, 10, etc. (crescendos and decrescendos). On measure 42, I could hear that a violist couldn’t reach that E (and it was probably me as I remember being flat when shifting to the E). Violists could stay more in tune in general.
    Positives-The tenutos were pretty spot on on measures 2, 12, 18, 24, etc. and the melody didn’t get rushed. Measures 17-20 were especially amazing as everyone crescendoed and stayed in tune the entire time to create a goosebumps effect.
    Constructive Criticism-The sixteenth notes on measures 13 and 14 could be smoother and better emphasized as the background instruments drown out the first violins during that part; same with measures 43 and 44. At measure 31, the first violins kind of choke up trying to reach that high C and it all just comes down to muscle memory and hard practice to accomplish that reach. On measure 37, I think the cellos crescendoed a little too early and the violins could crescendo even more on measure 38. The soli at measure 72 could also use a lot of work too (although Rohan did a pretty good job on the soli by himself).
    Positives-The cellos and violas are doing a nice job of keeping the eighth notes steady while maintaining a consistent volume. We were a bit rough at the coda, but from measure 132 on, we did pretty well saying with each other and the chord at the end was great.

  10. Kassation in D
    Criticism- From the first through 17th measure first violins were out of tune (pitches varied). In measure 50 the first violins were out of tune. Open E was often played and gave the tone quality a screechy sound
    -Positive-The ending cutoff was together and it was rhythmic (everyone had the same articulation and bow speed).
    The Dynamics in measure 41 were well played
    -Positive- The cellos played well when they had the melody (they were in tube and were together in tempo and rhythm) in measures 21 to 29
    The dynamics were well played throughout the piece
    Criticism- tone quality (especially in measures 1-5) was screechy for first violins In measure 29 first violins should not play open E In measures 51-53 notes were not in tune and we didn’t transition together
    Positive- The rhythm articulation and sound quality was matched up in the beginning (from measures 1- 20) Everyone followed the dynamics in measures 1-20
    Criticism- In measures 72 to 80 (and many other spots) the tone quality ,intonation, and tempo were off for first violin. Some sections were missing rests and were not counting. The articulation should be choppier and the bow shouldn’t be as legato in general.

  11. Devyn Baker

    1: In the beginning the violins “attacked” the notes pretty well, however during the later measures they played the notes more smoothly.
    2: In measures 81-87 the violins played much better than they had in the past, their notes were (for the most part) in tune, and they played the rhythm right.
    3: The cellos and violas were playing the same rhythm during measures 1-16, however they were not together.
    4: There are many parts of the song where intonation is off, however during measures 17-24 it was particularly noticeable how off-tune the violins were.
    5: During much of the 16th notes (such as in measure 7) the violins were not together and were playing at different speeds.

    1: the tone is very good throughout the piece.
    2: Throughout the piece it was more or less together, and the rhythms seemed to be done well.
    3: during the first 5 measures the intonation is off for just about everyone, but most noticeably the cellos in the beginning of the song.
    4: during the cello soli they were not together, and the counting could’ve been better.
    5: during the second cello soli the intonation on some of the notes wasn’t good, and the cellos used different fingerings which was able to be heard.

    1: Throughout the piece dynamics were used correctly.
    2: The coda was played well. (The dynamics and “attack” of the notes”
    3: During measures 12-14 the violins were not able to play their part due to the speed of it. (Which is understandable because we had just gotten the song a little bit ago)
    4: during measures 18-37 the violins need to put more emphasis on their notes, they are playing them kind of “dull” and too smoothly.
    5: The transition to measure 72 for violins was very bad, as well as 72-80 was simply played incorrectly due to not enough practice for some.

  12. Kassation:
    -Violin 1’s part sounded pretty gnarly. Starting from measure 1 until the repeat, a lot of the notes were out of tune.
    -Violin 1 was also not completely together (ensemble), which made the out of tune notes even more obvious.
    -After the repeat (measure 8) Violin 2’s first 4 measures, even though they’re pretty quiet, still sound out of tune, especially with the high C’s in measure 10 and measure 12.

    -The cello/bases were together, which was nice.

    -The viola had great emphasis on the starting note of each measure throughout the entire piece!


    -The first note of the first measure is so disappointing. The A of Violin 1 is out of tune, so I’m guessing some people were playing open strings and others 4 fingers.

    -Everyone is not together as we shift to the 2nd and 3rd notes of the 1st measure. Plus, a lot of people are still out of tune.

    -Starting from measure 21, the E’s and the F’s are definitely not in tune.

    -Keeping that in mind, it sounds like almost everyone was together for measure 21 to about measure 27.

    -Everyone seems to keep the tempo easily enough throughout the entire piece.


    -For the first 5 measures, not everyone is cutting off at the same time.

    -Violin 1 isnt in tune for a good part of the first page :(. The start was good for a couple of measures but it just kind of went down in tone quality.

    -Measure 72 of violin 1. It was very discordant. No one was in tune, and they also seemed to have trouble with counting.

    -Cello/Bases were pretty solid. They had consistent quality throughout the piece. Im guessing it’s because cello/base music isn’t very complex because they’re playing the harmony most of the time. Or because they practiced their piece at home.

    -Violin 2 had some trouble throughout the piece, specifically counting and paying attention to where they came in but they sounded decent.

  13. Dhanya

    1. I think we followed the dynamics pretty well in this piece.
    2. We had a strong ending to this piece.
    1. Notes were out of tune in measures 1-17.
    2. Some people played open strings at various times during the piece. The beginning measures of this piece needs to have a better tone. Also okay 4thfibger rather than open E.
    3. We definable need to work on measures 41-65, since we are not together.

    1. We had good intonation throughout the piece.
    2. We followed the dunamics in this piece which made it sound a lot better.
    1. Measures 1-10 were in tune, but i feel like each section was not together within itself.
    2. We start the piece off strong, but I feel like we start losing the strength as we move towards the end of the piece.
    3. We need to work on measures 50-55; it could be played more in tune, and together to make it flow better.

    1. We start the piece together, and in tune which sounds great.
    2. I think we were able to balance out the weight of each instrument in the orchestra because each section was separately audible.
    3. We were together during the rests, which Helped us stay together in the next measures throughout the piece.
    1. The slurs played in the measures were not together, and it almost sounded like an echo within each section.
    2. I think that each section within itself could be more uniform or together. We are playing in the same measure, but the transition from beat to beat isn’t clear.
    3. The measures immediately after 72 are not in tune, and we also need to count on those measure. We were definitely having a hard time staying together in the transition there.
    4. The higher positions from measures 72-98 need work since they aren’t in tune.
    5. First violins need to work on the first twenty measures since we aren’t exactly together.

  14. Kassation:
    The beginning of the piece needs to have better intonation and tone quality. The notes aren’t very clear from measures 1-17. The ending is very well played. Measures from 41 need to be practiced more for third position. The section between 17-25 is much better in rhythm.
    The open notes in the beginning measures, and throughout the piece should be fixed depending on whether it sounds better open or closed. Dynamics should be followed more carefully by the violins. The cellos played very well for most of the piece. The tone quality was very good throughout, other than the use of open notes, where a closed note would have sounded better. There are confusing parts where the sections aren’t together, but later on the sections fix it and match in measures.
    The rhythm, was good in the beginning, but as the piece progressed, the sections were together, but as a whole, we were not together. The notes in third position, and the high notes throughout the piece are not in tune. The transition at 72 needs a lot of work, the notes are not in tune, and the rhythm and intonation isn’t very clear. But the ending is better than the rest of the piece since the orchestra is more together and we have practiced it more together than other parts of the piece.

  15. Dhanya

    1. I think we followed the dynamics pretty well in this piece.
    2. We had a strong ending to this piece.
    1. Notes were out of tune in measures 1-17.
    2. Some people played open strings at various times during the piece. Especially in the first several measures (up until 17). Our tone could be improved for this piece. I think the E string needs to be more in tune.
    3. We definitely need to work on measures 41-65, since we are not together.

    1. We had good intonation throughout the piece.
    2. We followed the dunamics in this piece which made it sound a lot better.
    1. Measures 1-10 were in tune, but i feel like each section was not together within itself.
    2. We start the piece off strong, but I feel like we start losing the strength as we move towards the end of the piece.
    3. We need to work on measures 50-55; it could be played more in tune, and together to make it flow better.

    1. I think we started this piece of very well.
    2. We counted the rests, which helped stay together in the beginning.
    1. The violins need to work on playing the higher positions in measures 72+.
    2. We need to work on our transition on measure 72 because we were not able to stay together there.
    3. Measures 20-30ish need to be in tune.
    I think we need to count a lot more for this piece, and also know he higher positions.

  16. Kassation in D Major-
    We need to work on our tone quality and make sure we are in tune because most of the notes were out of tune and made our tone quality sound bad especially in the first violin section. For example, the C#s were not in tune and it sounds like we are rushing to play all the notes in some parts of the song. In addition, we need to work on playing so that our sound is pleasing since most of the first violin section’s E string notes in their measures were not in tune which made it sound displeasing. This concludes that we need to be more of an ensemble and play together and work together to achieve a better sounding ensemble and section.
    We all did very well on ending together and starting together for the piece. In addition, we also did very well in starting measures together like an ensemble in measures 17 and 25.
    Our first measure was not together and it seemed like some of the people in first violin did not know how the beats went and they came in a bit late for the second measure. We should try to not use open E and instead try to go up to 3rd position or use 4th finger on the A string. We also need to work on being in tune for all the sections since it is a slow song and it will sound better if we are all in tune.
    We did try to use vibrato (first violin) which made it sound a little bit better. Also, as a class we played the decrescendos and crescendos well.
    During the song most of the people were not together in coming into the measures for their section. Some of the players were either coming in slower or faster than the beat they were supposed to come in. The first violins were not in tune after the first couple of measures, especially in measures 28 and 72-80. The first violins need to work on knowing how to play the piece and how to play it in tune.
    We were together for the first 3 measures which was very good. The cellos sounded very good and they were all together for the whole song. Measures 20-37 for the cellos sounded very good and their tone quality was excellent.

  17. Kassation:1)The beginning of Kassation started off very TOGETHER and with lots of passion (until about measure 17)
    2)First violins did an excellent job with dynamic FROM measures 41-49

    1)measure 17-25 could have been more TOGETHER and in tune for the first violins, it sounded a bit sloppy
    2)measure 104 to the end sounded a bit rushed
    3)measures 56-65 sounded a bit rushed and out of tune.
    Reverie;1)This is my favorite piece throughout the whole song we did an wE some job with dynamics!
    2)First violins really hit the note at measure 53 it sounded great!

    1)second violins played a little too loudly at measures 21-29
    2)some of the slurred notes blended too much together at measure 37, 39, and 41
    3)112 to the end could have been more in tune.
    Sleeping beauty waltz1) the pitz staccato was just loud enough and sounded very Together
    2) measure 78-81 sounded pretty in tune despite it was in third position!

    1)the sound quality from first violins from 37-52 could use much more improvement-i think it should sound a bit lighter
    2)cellos at 102-112 sound a little overpowering
    3)measure 94-102 seems easy when looked at but I think we were just not listening to eachother here

  18. Kassartion in D major. Violins were not together in measures 1-7. In measure 17, violns weren’t together. Measure 110 was not together by all the instruments. However, overall intonations were good. Especially from measure 89-92. Cellos had good tone quality throughout the whole piece.
    Legend: In measures 40-43 the cellos had good intonation and rhythm. First violins hd bad tone quality in measures 48-49. Measures 59-58 were not together by the first and the second violins. In measures 96-99 all the instruments were together. Cellos had good intonation, rhythm, balance, ensemble was clear in measures 126-127.
    Reverie: First violins were out of tune in measures 1-3 but corrected at measure 4. Measure 13-15, all the instruments were together. In measures 17-19, first violins had better sound quality than 1-3. The essemble was good in measures 37-40. Measure 53, second violins has bad intonation. The last 2 measures ending in essembly and with good intonation.

  19. Sophia Abedi
    Kassation: overall we had ok tone, but we need to work on the high parts of the song as a orchestra as a whole.
    Reverie: we have good intonation we need to work on bowing and making sure they are consistent throughout the piece.
    Legend: I believe we had a strong start with the song and we need to work on making sure the flow is better so that everyone stays in turn and together.

    1. I also think that from measures 1-17 of Kassation we were out of tune. I think that the e string was out of tune especially. Overall our tone can be improved within this piece.

      In reverie we have nice intonation throughout the piece, measures 1-10 could be improved upon if we make sure each section is together.

      In legend I like how we started the price with a bold start. I believe that the violins need to work on playing the higher positions from measure 72. In conclusion we need to work on our transition between measure 71 and 72 in order to stay consistent and together.

  20. Kassation in D:
    1. 1st violin lead seems to be slightly out of tune, especially highlighted in the beginning measures of the piece (1-about 15).
    2. For every violin in Kassation, the high notes suffer. There needs to be a consensus about whether we are playing the right notes or not, because there are a couple people who are off.
    3. The last four measures of the piece are well phrased together, so we do end on a strong note.
    1. Again, the high notes. The open E’s and A’s in the 1st violin “melodies” need to be fourth fingers, and the fourth finger B needs to find the right spot.
    2. Staying together and smooth is key, which we are able to do well in this piece, especially the middle climax and 1st violin lead.
    3. The end could be patched up a little bit by adding in extra position work, as some F-sharps and high A’s and B’s are off.
    1. The bold, electric violin type start is good, and we need to keep the energy.
    2. But along with the energy level, some people are not going hard enough while some people audibly smash their bows into their strings, creating a disturbance in tone. Even abrasive, loud songs need a smooth tone.
    3. The 1st violin soli… needs work. Although it’s hard to keep intonation and well-phrased, well-executed bowing as a solo and at high notes on an E-string, a soli must be perfected.

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