20180731_Blackshaw_Score_Catango 5_4.2 (2)_new

5. “Cat. Shaken, not stirred.”
The famous character whom we know now as James Bond was created by Ian Fleming. I make this cryptic reference
as I imagine the cat who struts their stuff after a good meal, a successful hunt or perhaps even just a warm cuddle.
They are not afraid to express their confidence and self-assurance, much like agent 007…
Please pay close attention to all articulation patterns to gain the swagger that the melodic material demands.
THE ROLE OF THE QUARTET – PLAYING WITH CHARACTER
I have envisaged the quartet as 4 (outstanding) lead players within the ensemble itself, rather than adopt the usual
Concerto Grosso model. Hence, the quartet is often playing the same lines as those in other sections. We all know the
power of a strong lead player in an ensemble and how much influence that player can have on the rest of the section.
It is my wish that this experience inspires school students in the ensemble to push harder and be more articulate and
refined in their approach to playing music on their instrument. (You don’t know what you don’t know, and sometimes it
takes working with someone who is much better than you, to push you out of your comfort zone and reach a new level
of comprehension and proficiency).
The mentoring role is also designed to address the detail in the work. The goal being to enable student musicians to
understand the fundamental importance of playing with an agreed approach to articulation, with unison slurring
patterns (that have been meticulously included!) and with a matched energy and character. This is a Grade 4 wind band
work - they are ready for this kind of challenge! I have also included references to literary characters (Machiavelli, Alice
(in Wonderland), Nimrod and James Bond – more information above) as I believe the strength of these characters can
be explored musically. The quartet will instinctively play with a great sense of vitality and spirit and it is my desire that
the quartet draws upon characteristics of these literary giants to inspire their playing - and teach students how to do
the same. Music is SO much more than loud and softs, shorts and longs, there needs to be character!
MASTERCLASSES
When rehearsing this piece with the quartet, I envisage dividing the band into four sections:
Group A: Flute, Oboe, Bassoons, Horns, Troms Euph
Group B: Clt 1, Alto 1, Trumpet 1
Group C: Clt 2, Alto 2, Tenor Sax, Trumpet 2
Group D: Bass reeds, Tuba, String Bass & Timpani
Players from the quartet then host a masterclass on playing measures 41-63 with their respective group:
Group A: Soprano Sax
Group B: Alto Sax
Group C: Tenor Sax
Group D: Baritone Sax
(If you intend to use the Drum Kit part, ideally you would involve a percussion tutor/specialist to play this part and use
them to masterclass your percussion section at the same time J).
The focus of this masterclass is on character! Whilst the score is heavily articulated, quartet members are encouraged
to use the vocabulary stencils to invite students to move beyond the detail. The goal of the work is to consider the
character of a cat (in the case of the above, a conniving, slippery, not-to-be-trusted kind of cat), so I ask the soloists to
demonstrate how your approach to the melodic material can suggest this.
The next step is to work out how to play the material collectively to achieve this. It can be lead by the quartet initially
and then students could break into smaller group of 2-3 people and experiment with ideas. They could then bring them