Category Archives: Rehearsal Reports

2026 Rehearsal Report 6

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Portland Megaband 2026
Rehearsal Report #6
March 1, 2026
Announcements:
History: Over our 30 years, the MB may have made around $45,000 for PCDC grant fund. (This is a wild guess, since some years we netted $100 or so, and other years, it was much more.)
  • After Party: Today is the last day to sign up at rehearsals for the after-party. If after today you decide you want to attend or have guests who want to attend, get ahold of Lori Shaffer directly via email, loris.notes@gmail.com. Cash, check or Venmo accepted—Lori will explain.
T-shirts and Swag: All of the swag and shirts will be at the next rehearsal for you to claim. Payments for swag go to Norman. He has contacted everyone who ordered via email with the pertinent information. T-shirt payments will go to Sue, check or Venmo only. Venmo payments will be available at the rehearsal. More details about the shirt payments will be coming later this week.
Advance Admission: The next rehearsal will be the last chance to purchase advance admission for friends and family. Lanny will be managing this.
Baker’s Favorite / Gondolin / Baker’s Favorite
Variation in Baker’s is the LouieLouie rhythm played in the B part after we switch back into it from Gondolin. When the variation is signaled (probably the second time through the tune), we will build on the Louie Louie riff in this order.
1. Only the miked back up will play the riff. The rest of the band plays normally
2. The horns will join the miked backup playing the riff.
3. The entire band will play the riff.
If you are wondering what the riff is, the notation for it has been included twice as attachments to the rehearsal reports. Also, here is a link to the recording that this idea came from (yes, we shamelessly stole it). You can clearly hear the rhythm of the riff, which starts at 3:51. Slow it down to hear it more clearly.
Please practice this set and the riff to speed (aim for 114 bpm). Leave out as many notes as you need to. There are always people in the band who can play all the notes.
–Ending: Choke after the E quarter note. Just staccato that E and then silence. We’ll look at that next week.
Next week’s rehearsal is at noon and Daylight Savings time starts that Saturday night.
Honeylocust / Bogan’s Reel
Ending of Bogan’s is to change that last bar of the B2 to a B, G# and hold the A.
Next week’s rehearsal is at noon and Daylight Savings time starts that Saturday night.
Kitchen Jig / Scatter the Mud (Am) / One-Horned Sheep
One Horned Sheep has several variations. Strange sounds on the first beat on bars 1, 3, 5 in both the A1 and A2. Backup play quietly on the A part bleats so they can be appropriately appreciated by our audience.
Sue says: Pro and Anti bleat factions have developed in the band. If you don’t want to bleat, you don’t have to. Just take a moment of silence and let the bleaters bleat.
Skippin’ Cat / White River Bottoms / Bell Cow
Last time through Skippin’, fiddles will do hern diddles in the B part. Everyone else plays as usual.
Next week’s rehearsal is at noon and Daylight Savings time starts that Saturday night.
Winchester March / Ménage à Quatre / Caps in the Air
We tried to keep tempo and did fairly well, although Sue had to work pretty hard to keep us at 111 bpm. Get a metronome and practice playing at 114 which is at what we’ll aim.
Next week’s rehearsal is at noon and Daylight Savings time starts that Saturday night.
Waltz des Bois
1. A part—mandolins, flutes, accordions, clarinets, miked backup;B part, whole band.
2. All play. Add low harmony
3. All play—low and high harmonies.
Throughout—crescendo and decrescendo as the melody rises and falls to provide lift and movement.
End: slight ritard and hold the last note and chord.
——————–
Last Light
1. A part, front row of fiddles only; B part, all fiddles. Only miked back up this time.
2. A part, flutes and miked back up; B part, all the nobows.
3. All play
4. All play with high harmony
5. All play with high and low harmonies
End: Hold last note and chord.
If we are short on time, we’ll leave out the 3rd time through.
——————–
Schottis från Lima
We’ll get a two-bar intro from fiddle. Play two times through, first time with low harmony, second time with both harmonies.
——————–
Britches
This will go fast. And we’ll choke the ending.
Next week’s rehearsal is at noon and Daylight Savings time starts that Saturday night. Have I mentioned that?

2026 Rehearsal Report 5

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Portland Megaband 2026
Rehearsal Report #5
February 22, 2026
Announcements:
MB Stats:
Since 1999
  • We’ve played 145 different sets
  • We’ve played for 550 different tunes
  • We’ve played 50 Waltzes
 Swag will be here next week. Norman Farrell is the one to pay. Norman will send details to everyone who indicated interest in swag.
Seating at the gig: If you haven’t yet, and if you care, let Sue know your seating preference and with whom you want to share a music stand.
After Party: Sign up with Lori. loris.notes@gmail.com
Doughboy Rag / Old Joe
Remember to swing this set. And don’t drag the tempo.
The ending out of Old Joe, play a B and a C and choke the C.
Eugène, Reel / Turlute à Lisan Hubert
Two drone variations:
1. On the switch—During the A part, backups and horns will play two-measure drones on an A chord or note. Normal backup rhythm on the B part.
2. Fiddle drones on the low A note or A-E notes. During the A part, fiddles will play two-measure drones. Play melody on the B part. Everyone else play normally. Horns out during fiddle drones.
At the very end of all things, after we put a hole in the end of B6, play to the very last bar, play five D notes/chords and hold the last one.
Fatal Bert / Rumblestrip
Even though there are a lot of notes, give this set a lot of swing.
Variations:
Fatal Bert… Mic’d backup, percussion, and horns only.
A word from Sue about the Rumblestrip variations…
Last year, we only had one variation in this tune. This year, there are two variations, so for consistency between the two variations this year, we have changed last year’s variation a little bit. (I hope that makes sense.) In both variations only percussion will be playing in measures B2, 4, 6, everyone in in B8, then in B2 same pattern—only percussion in B10, 12, 14, and everyone in on B16, the last measure. Notation for the variation is on our website, but I have attached it here so you can’t miss it.
Variations:
1. Horns, miked backup, percussion only following the above pattern.
2. The entire band plays following the above pattern but clips the notes
Rumblestrip: V1 – Mic’d backup, horns and percussion only. In the B part, only percussion play bars 2, 4, 6, 8.
V2 – Everyone play the whole tune except for bars 2, 4, 6, 10, 12, 14 in the B part. In the odd-numbered measures when you are all playing, melody clip off the notes that come after that first low E eighth note (or B note in measure B13—same pattern). Backups, clhop the E chord in that same place.
Back to Erik…
During the variations be sure to keep the tempo up where it belongs. Leave notes out if necessary. Don’t let it drag.
Lounge Bar/ Rakers
To start Lounge Bar, fiddles play A and B parts, no-bows play the C and D parts.
Play the harmonies in Rakers when signaled.
Back ups, a rhythm of 1-3—6|1-3–6|1-3–6.. Works well for smooth jigs. Let me know if you would like some
Out on the Road / The Rising Sun
We dropped tempo going into the reel. Rising Sun may feel faster, but that’s just because there are more notes in each bar. Keep that in mind at the switch so the actual tempo remains danceable.
At the very end, pop off the D quarter note and add a bar of held D note and chord.
 
Pirate Cat / Old Wife Behind the Fire / Dance of the Demon Daffodils
There is a harmony for Daffodils which also includes a coda so that it is parallel with the rest of the tune.
On Daffodils, bars B7-8, we’ll do a variation(s). One will be fiddles doing some sort of screechy thing. Another will be flutes doing an inverted screechy thing up high. Another may be plectra playing on the other side of the bridge. That’s enough. During those bars B7-8, backup is out while the others do their demonic thing.
March 1st: Rehearsal #6
2:00 – 4:00 pm
Baker’s Favorite / Gondolin / Baker’s Favorite
Honeylocust / Bogan’s Reel
Kitchen Jig / Scatter the Mud (Am) / One-Horned Sheep
Skippin’ Cat / White River Bottoms / Bell Cow
Winchester March / Ménage à Quatre / Caps in the Air
Couple Dances: Waltz des Bois, Last Light, Schottis från Lima, Britches

2026 Rehearsal Report 4

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Portland Megaband 2026
Rehearsal Report #4
February 8, 2026
 
Announcements
 
Megaband History
-260 different people have played in MB over the years. 30 of them have passed away since. Sue will put a list of those names on the stage. 
–The farthest a person has traveled to play has been from Europe.
-Some people have played every performance the MB has had.
-The youngest person tin the band has been 5 years old. The oldest person is 92.
-There have been many family-member combinations in the band—husband-wife, grandmother-granddaughter, parent-child. This year, we have 2 mother-daughter combinations along with another daughter and very supportive mother.
 
T-Shirts
The design features demonic dancing daffodils. Final design and sizes are available now with the sample shirts. Ordering will be online; the link will be on the web site and in an email from Sue. Thank you designer Maria Los, lead organizer, Doug Cumming, and web ordering Kathy Holley! Several other people will be involved in t-shirt distribution. The prices of the shirts will be determined after we know how many orders are placed (the more orders, the less the cost of each shirt). 
 
Horn Sectional 
The date not been set yet. But they’ll need melody players to support their practice. Stay tuned… Really, stay tuned; sounds much better that way.
 
Seating Sign-Up
At the next rehearsal, you can indicate preferences regarding where you would like to sit at the dance. We will be in three tiers—the lowest on the floor (almost entirely filled by miked musicians), the second tier is on risers in front of the stage, and the third tier is on the stage itself. We will have barstools (with backs and foot rests) for the last row on stage. You can also stand in the back. Indicate on the signup sheet where you would like to sit on the stage and who you would like to sit by. If you are planning on sharing a music stand with someone, that is essential information. In some cases, especially if you have a mic, there is not a lot of flexibility re where you will sit. Usually, we can come close to seating people where they prefer to be.
 
Mic’s
Within the next week, Sue will be contacting the people who will have a mic at the dance. We have 32 channels for mics. One of those will go to the caller, and 31 will go to musicians. Mics are assigned based on prior experience playing on mic for contra dances, and on the overall balance of sound in the band. There are more musicians who would sound fine on mic than we have available channels.
 
After Party
We will once again be at the Rose City Book Pub in NE Portland where we will be provided with a large variety of hardy snacks. You will need to purchase drinks. The sign-up sheet is on the table in the back–$10/person. You may bring family members and guests from out of town who are staying with you. In the past, PCDC has partly funded the after party, which reduces our cost per person.  Sign up after rehearsals this week and next week. Venmo is acceptable as well as check/cash. Unfortunately, minors are not allowed at this venue. We have several young musicians in the band, and I am so sorry we cannot find a place that can accommodate them while also meeting the needs of the adults in the band. Thank you Lori Shafer for all of your work on this!!
 
Advance Admission 
Starting now, you can purchase advance tickets at the rehearsals from Lanny. Checks are preferred—if paying cash, please bring the exact amount. Advance admission may be purchased online here, and you can get to it by going to https://portlandmegaband.com (the public page of the Megaband). It is heartening to see that dancers are already signing up!
–
Join Portland Country Dance Community
Become a member of PCDC, our sponsoring, nonprofit organization, and members of the contra committee have been at work making sure the non-musical aspects of this event run smoothly. Let’s support them! PCDC members of six-months duration are eligible to receive grants for attending music and dance workshops and events. Membership cards are on the stage.
 
The Polish Hall Stage at Rehearsals
 Band-member products for sale there and you will also find flyers for events of interest. Take a look.
The Music–Finally!
 
Attachments
  • Caps in the Air. There was a discrepancy between the single-tune and medley files in the 6th measures of B2. The medley file is correct (half note A rather than quarter note A and F#). The attached single tune now matches the medley. Thank you, Sharon Allen!
  • Ménage à Quatre. Sharon also noticed that the single-tune file for this tune is missing from the website. Here it is. No changes.
  • Turlute à Lisan Hubert. Fiddle drones notated. Other droners, follow this same pattern.
  • Skippin’ Cat. Herndidles notated. Unfortunately, most other instruments do not have herndidle capability.
 Reel Eugène / Turlute à Lisan Hubert
Eugene; no off-beat in the A second ending. Everyone respect that rest.
First time through Turlute, A part only, backups drone on an A chord. Make it 2-bar drones (hit the A chord at the top of every two bars. Conductor will give indications). When the drones are playing, the backups are not providing a beat. Don’t lose tempo. Melody players are responsible for tempo equally as much as backup players. So stay on top of that.
  • Switch Eugene to Turlute: Pop off the D quarter note in B second ending and leave a clean hole into a solid landing on Turlute. First time through Turlute, see above for info about droning. Do play the pickup eighth note into the B part of Turlute. At the switch, Backups drone, everyone else play normally. A variation will be for the fiddles to drone while everyone else plays as usual.
  • Ending: Bar B6, chop off the dotted E to leave a hole. Dampen strings at the hole. At the end just hold out the D half note.
 
Lounge Bar/ Rakers
Note that Lounge Bar is a double-length tune. Think of the A and B parts as one tune and the C and D parts together a separate tune. Hand on top of the head means the top of the A part. Hand about chest level means top of the C part. The switch to Rakers will take place after the C-D iteration, not the A-B iteration. Pay attention to the syncopation in some of the endings in Lounge Bar.
The first time through Lounge Bar, Fiddles on Melody for A and B parts. For C and D parts the no-bows play the melody line.
  • Switch Lounge to Rakers: This will be a very smooth and oozy switch. Note the coda bar at the end of Lounge; it’s just a D note held through the bar. Hold that D and let it simply become the first note of Rakers. Backups switch to a G chord on that last bar of Lounge, then on to the Dm in Rakers. Despite whatever else is going on, everyone play the D part of Lounge the last time through before the switch.
  • Ending: Add a bar of D and hold it out.
 
Skippin’ Cat / White River Bottoms / Bell Cow
Be sure to emphasize the back beat on Skippin’ Cat. Also, pay attention to the tied notes throughout the tune. The rhythm is duh-dut, daaaa. Not da-da, daaaa.
Bell Cow has that same rhythm in various places. Also, bar A4 features a quarter note tied into the next bar. A good example of jumping the beat.
On Skippin’Cat, a variation in the B part will be fiddles playing  hern diddle on a D (go to a G on the last bar) while everyone else plays melody. We’ll do that just before the switch to White River.
In Bell Cow, we’ll do some call/response variations. One variation could be fiddles play two bars, no-bows play two bars, carry that on through the tune. Leave off the tied notes when doing the call/response.
 
  • Switch Cat to Bottoms: Leave a little hole after the last G quarter note in the second ending and get into White River with alacrity. Fiddles will hern diddle the B parts of Cat before the switch. Percussion out the last Cat.
  • Switch White River to Bell: Fiddles, mic’d guitar and bass only on the last White River. Leave a hole after the D in the second ending of White River. Then the first time through Bell, everyone play, paying attention to the G# in the first bar of Bell.
  • Ending: Pop off the A half note in bar B6 then go to the coda for the last two bars. Hold out the A at the very end. Respect the rest toward the end of the coda.
 
Waltz des Bois
Both waltzes this year are “reflective”. They can become ponderous unless we play with lift and profound beauty, as we always do. One way to get that lift is to lift off the second quarter note in a bar with three of them.   And lift off those dotted quarters where they occur; that’ll help. There’ll also be movement in the backup to keep the oxcart out of the mud. Sue will send notation for this walz with articulation suggestions.
There are harmonies available on the web site. High and low. Watch for signals for high, low and both harmonies.
Leave room for a bit of ritard the last couple bars the last time through.
 
Last Light
We have a couple harmonies which will soon be available. Again, look for a bit of ritard toward the end.
 
Schottis från Lima
This is to be played really dotted. And the dotted rhythm changes in places, one being the ending bars, both first and second endings. There are harmonies as well. The low harmony features E flats.
February 22nd: Rehearsal #5
2:00 – 4:00 pm 
Doughboy Rag / Old Joe
Eugène, Reel / Turlute à Lisan Hubert
Fatal Bert / Rumblestrip
Lounge Bar/ Rakers
Out on the Road / The Rising Sun
Pirate Cat / Old Wife Behind the Fire / Dance of the Demon Daffodils

2026 Rehearsal Report 3

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Portland Megaband 2026
Rehearsal Report #3
February 1, 2026
Announcements:
Facts about Megaband:
  • Venues: Six different venues (Multnomah Arts Center, St Andrews Church, Scottish Rite, Smith Ballroom, Tiffany Center, Oaks Park), plus Folklife and Zoom gig.
  • Dancers: Conservative estimate is 10,000 plus another 6000 if you count Folklife crowds.
Advance Admission is now live on the MB web site. Band members do NOT need to purchase admission. Family, friends, everyone else does. Checks made out to PCDC. You’ll be able to get advance admission for people next week at rehearsal. The MB flier has a QR code you can use to reach the proper website (https://www.portlandmegaband.com .
Swag: Mug and Tote Bag procurement and sales will be managed by Norman, who stood up. Sign-up sheet on stage to order MB swag. Contact Norman at designedforlife@me.com if you would like to order swag and didn’t sign the sheet.
T-Shirt signups next week. Samples and design will be here at next rehearsal.
After Party: Signup for that will begin next week as well. See Lori, who heroically stood up with her very bad knee).
Mike Voss: Home and doing much better. Thanks for all your good wishes.
Doughboy Rag / Old Joe
Doughboy: Played very slowly with swing emphasized. Keep practicing that at home. Bar A8, lift of that first half note, shorten it a bit. In A2 bars 5-6, pay attention to the ties
– Switch Dough to Joe: Pop off that last G half note, leave a hole and land solidly and with alacrity on Joe. Be careful not to drag the tempo at the switch.
– Ending: Add a tag onto the end of the tune. No ritard. In the tag, backups play a G, then C chords. Melody players play a B and a C half notes. Pop off the C in bar B8, then B and C. So it sounds like C!, Beeee-C! (notation is attached.)
Fatal Bert / Rumblestrip
Returning set from last year.
A variation of Fatal Bert was to have only mic’d backup and horns play. May add percussion to that variation.
Rumblestrip sounded great at the slow (84) speed. We’ll pick it up. There’s a variation on Rumblestrip: Mic’d backup play only every-other bar. Play bars 1, 3, 5 and 7. Percussion play through. We also tried having the whole band playing only B 1, 3, 5, 7. When we do that, everyone come in the last two bars of B1 and B2 to keep it from getting too repetitious.(Notation for the variation is attached—both regular and easier versions).
  • Switch Bert to Rumble: Pop off the A half note in B8 and land with confidence on the G# or Rumblestrip.
  • Ending: There’s a coda at the end of the written music. To get there, leave off bar B8 and play the coda instead.
Kitchen Jig / Scatter the Mud / One-Horned Sheep
First two tunes are carry-overs from last year. Keep them crisp and lilty.
There are options for what to do with the staccato high G that starts each phrase of the A part.
  • Everyone leave those out except backup
  • Fiddles, pizzicato those G notes. Everyone else play everything other than those G notes.
  • Percussion play that G, etc
  • Flutes play that G way up high, etc
  • Plectra strum that G note, etc
  • Everyone leave those notes out, including backup
  • Everyone bleat like a sheared sheep on those G notes, etc
How will we ever choose what to do? Don’t know, but we’ll figure it out.
  • Switch Kitchen to Mud: Pop off the second G and leave a hole.
  • Switch Mud to Sheep: Pop off the A and leave a hole.
  • Ending: Add a bar as a tag and hold out a G after a slight ritard in B7-8.
 
Pirate Cat / Old Wife Behind the Fire / Dance of the Demon Daffodils
On Pirate, for everyone but Piano and mic’d guitar, don’t play off-beats in bars A1 and A9. Piano and guitar do play those off-beats at your discretion. Last bar of B1 should be an E chord.
Do play the quarter note pickup to Old Wife.
  • Switch Pirate to Wife: Pop off the last A half note of Pirate and get to the C pickup to Wife in time for it to sound good. Backup out on the last beat of Pirate so that the C pickup is heard well.
  • Switch Wife to Demon: Pop off the G half note, leaving a bit of a breath into Demon.
  • Ending: Note the four-bar coda that we play instead of the last four bars of the tune. Everyone respect the rest in the fourth bar of the coda.

2026 Rehearsal Report 2

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Portland Megaband 2026
Rehearsal Report #2
January 25, 2026

Announcements:
Advance Admissions. Purchases are about to go live online. Let your friends and family know. Purchase at https://portlandmegaband.com. Advance admission helps the folks at the door streamline entrances and guarantees admission, even if the hall gets full.

T-Shirts. Doug Cummings will be heading up the t-shirt crew.
Conductor Signals. Photos of many of the signals are posted on our member page.
Harmonies are posted in the music part of the web site. Play them if you want to, we won’t focus on them until a later rehearsal.
MB swag (tote bags and mugs). If you are interested in purchasing a Megaband mug or tote bag, contact Norman Farrell, designedforlife@me.com , who has volunteered to coordinate these items this year. We will also have a sign-up sheet for swag and the next rehearsal.

Close-up help. At end of rehearsals, please help by closing the window blinds as well as all the other help you provide.
Mike Voss has been pretty ill, and there is a card for anyone so inclined to sign for him. [A recent update from Bonnie has the good news that Mike will be able to return home later this week. If you would like to contact Bonnie, her email is bonniev3@mac.com. She says that Mike may be able to respond to texts soon.]

The Music…

Baker’s Favorite / Gondolin / Baker’s Favorite
There was a question re whether the eighth note A at the end of measure A3 is tied to the eighth note A at the beginning of measure A4. These two notes are not tied.
Variation for when we come back to Baker’s after Gondolin, we will copy the Louie Louie (for lack of better term) riff that is on the recording mentioned earlier. We’ll work out just when and who will play that rhythm. Maybe everyone (except percussion who are needed playing straight to glue the whole thing together).
Switch Baker to Gond: Leave a little breath between the two tunes (respect the rest) and land well on the low A of Gondolin.
Switch Gond to Baker: Last time through Gondolin, the B2 ending, leave off the last three eighth notes to leave a hole. In other words, pop off that fifth eight note (D) to leave a hole in the last bar before returning to Baker’s.
Ending: We’ll work on that next time we visit this set.

Out on the Road / Rising Sun
We sang Out on the Road first to get the lilt and rhythm. Lift off notes to get the proper lift. Try lifting off notes at the top of runs or arpeggios.
Rising sun. We played it slowly as a hornpipe to get the swing installed properly. Use that technique at home practice as well; it’ll really help. Added horn parts. There may be changes to those.
Switch Road to Sun: Last time through Road, play the coda instead of the last line of the tune. That will transition into the cut time meter of Rising Sun. Note that the coda is in cut time rather than jig meter. To get to the coda, in the last bar before the coda, pop off the E quarter note, don’t play the eighth note, then land solidly on the coda for four bars. Backups play off-beats during the coda except for the rest toward the end.
Note…play the coda at the end of Road ONLY at the switch. That’s the one and only time to do the coda.
– Ending: In B2, bar B6 pop off the E eighth leaving the rest of the bar empty. Then on bar 8 land on that D quarter note, leave a breath, and end on a D chord in the imaginary added bar. Backups block chords for the ending.

Honeylocust / Bogan’s Reel
Remember to play the pickup notes to Honeylocust. Those lead in to the tune really nicely if we all play the with confidence and alacrity. And once we get to Bogan’s be ready to play out with similar confidence to start that tune. No wimpy playing. If that arpeggio at the start of Bogan’s is hard, just play an A note, or an E and an A. As long as it’s clear and strong.
Switch Honey to Bogan: Pop off the last D of Honey, then launch into Bogan’s strongly. There should be a little hole between the two tunes. Melody players, on just the first time through Bogan’s, replace the first bar’s first four eighth notes (that first arpeggio) with just an A or E quarter note, and land on it firmly and cleanly. After that, play the first bar as-written.
Ending: Last bar, just play the B and G# as quarter notes (omitting the A and B) then simply hold out that last A until the conductor drops from exhaustion.

Winchester March / Menage a Quatre / Caps in the Air
Play these marches nice and crisp.
Switch Winch to Menage: Pop off that E half note in the second ending of Winch to leave a small hole.
Switch Menage to Caps: Last time through Menage, just fiddles, bass, guitar and percussion play. Everyone else drop out the last time. Then everyone in on Caps and make it strong and luscious.
Ending: Leave a hole after popping off the A half note in B6. Then last bar, just two D notes with block chords.

Next Rehearsal: February 1st: Rehearsal #3
2:00 – 4:00 pm
Doughboy Rag / Old Joe
Fatal Bert / Rumblestrip
Kitchen Jig / Scatter the Mud (Am) / One-Horned Sheep
Pirate Cat / Old Wife Behind the Fire / Dance of the Demon Daffodils

2026 Rehearsal Report 1

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Portland Megaband 2026
Rehearsal Report #1
January 11, 2026
Announcements:
Welcome everyone!
Introductions made of key personnel and new band members.
T-Shirts:  We have a designer. More about T-shirts later.
Parking:  Leave spaces out front for those with heavy equipment.  Use the parking nearby if you can carry your stuff.
Two entrances: Late-comer band members use Interstate Ave. entrance. Observers use Failing St. entrance.
Instrument Cases:  Put them along the back of the rehearsal space.
Seating:  Flutes and plectra, please sit in your sections. Other instruments can also look for their like kind to sit by. Fiddles will be spread out all over, although usually many fiddles are on the right-hand side of the hall as you are facing the stage.
Mic’d backup:  Refers to mic’d guitar, bass and piano
Bathrooms:  Up the stairs on either side of the stage.
Covid: Don’t come if you’re feeling sick or test positive for Covid. Your choice to test or mask.
Products to sell:  Bring stuff you want to sell or fliers for events. Put them on the front of the stage.
Advance Tickets:  Not in place yet.  Band members will be able to buy tickets for family/friends at rehearsal.
PCDC Grants:  Join PCDC and become eligible for grants to attend music/dance events.  Membership cards will be available at later rehearsals
Band roster. You may opt-out by emailing Sue that you don’t want listed on the roster.
Announcements:  No announcements other than Megaband stuff.
Label your belongings so when lost they can be returned to you. Binders, music stands, etc.
Rules:
                Be on time!
                No tuning or noodling while leaders are speaking
                Read your email and check the web site for much information.
                No unsupervised small children
                Observers are ok; no playing along.  Follow covid protocols just as band members do. Seating on the                                         stage.
Play and learn the tunes! Easier versions will be posted on the web site as necessary. Use the practice recordings or even slow them down more by using the Amazing Slow-Downer app.
No rehearsal next week on 1/18. Potluck and Jam at Sue’s. Look for info in emails.
Practice recordings…using the web site, you are able to slow down or speed up the recordings. You can also download the recordings and play them through the application The Amazing Slowdowner and adjust tempos there as well.
Baker’s Favorite / Gondolin / Baker’s Favorite
Baker’s Favorite: Some jumped notes and syncopation. Keep the swing going. Bars A8 and B8, don’t pay attention to those quarter rests.
Gondolin: Make sure you have the latest music. The last note in bar B2 should be a quarter note rather than an eighth note. Watch the syncopation and jumped notes. Don’t forget to swing the tune in addition to paying attention to the rhythmic stuff. One technique to get the rhythms is to play it first leaving out the ties, then add in the ties once that is well in hand.
 Doughboy Rag / Old Joe              
Doughboy: Keep the swing and lift as we did with Honey/Bogan’s. Same concept. After a reminder from Sue, the swing came back. Beginning of the B part, those four quarter notes, give those good punch. Same with each phrase in the B part. Be ready for that E at the start of the last line. Saxes, play off-beats rather than down beats.
Old Joe: Also very swingy. At 88 bpm we kept the swing. Don’t lose it when we get to higher tempos.
Eugène, Reel / Turlute à Lisan Hubert
Eugene (You jen’): The bars that start with a quarter note, lift off those quarter notes to give the tune a lot of lift. And pay close attention to the rest in the A part second ending. Leave a space there.
Turlute: The A part may be good for drones from backups and bowed cello. We’ll work on that more later on. We’ll probably go to drones right at the switch.
Honeylocust / Bogan’s Reel
Honeylocust: We sang Honeylocust with profound alacrity. Play it that way, with swing, dotted feeling. Watch the jumping of the beat in the B part.
Bogan’s: We over-exaggerated the dotted swing as an exercise. This is a great way to get the swing in your music; exaggerate to an absurd level in your home practice, then when you back off and play it in the band or otherwise without exaggeration, it’ll still be there. And some find the tunes easier to play with lots of swing. When we picked it up in tempo at rehearsal, the swing persisted very nicely. Good job!!
 
One-Horned Sheep
Last tune in the Kitchen Jig set which we did last year. The staccato G takes place at the top of the phrase three times in the A part. Those G notes are the reason to play the tune. In fact you could play just those notes and leave out the rest of the tune and it would be awesome (for a very short time). We played with really good lift and dynamic emphasis.
Pirate Cat / Old Wife Behind the Fire / Dance of the Demon Daffodils
Pirate: Whether to put the off-beats on bars A1 and A9…? First time through, play off-beats on A1 and A2. After that,…Hmmm…we’ll work it out. If we leave out the off-beats, everyone has to leave them out. No solos there.
Old Wife: Good to pop off the F in bars B2 and B6 and the G in bars B4. That’ll give the tune lift.
Daffodils: The coda is to be played only the last time through the tune when we’re going out. Bars B 7&8, backups play the Dm and pop off leaving those two measures for the melody players. But put an A chord at the very end of B8 to lead into the Dm at the start of B2.