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Digital ID
ent000704-023
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I agree.As his trombone approaches, the clarinetist leans frasr forward ahead of the trombone, and the second time this action repeats. Now the trombonist swings toward the accordionist, who leans away at an extreme angle, then swings at the clarinetist who also dodges by leaning forward. The pace of the swinging and missing accelerates furiously until both the clarinetist and accordionist turn toward him. Then the ttombonist lowers his horn and looks down at the ground. The other two turn forward and a I I three resume 'playing for the last great crescendo of music. The movement capabiIities of each character, as bid, are described as follows: ACCORDIONISTS (downstage right): sways side to side; moves arms indivi- dually; center of concertina can move up or down; head nods forward and back; swivels body halfway around. CLARINETIST (downstage center): two fingers of each hand move on keys; arms and clarinet moves up and down; body swings widely to both sides; leans forward up to an extreme angle. TRUMPETER (downstage left): Brings trumpet to mouth; two fingers move on valves; knees bang together; left hand raises to trumpet and hand swings in and out. His toes tap individually or together, and his epaulets move upward individually or together so they may be programmed to comic response to his toe tapping. TROMBONIST (center stage): Places trombone to his lips and lowers it; two fingers animate on valves, left arm glides forward and back, body swivels right and left, head bends forward.