PDF- -NEWVAVUNIYACOM Ebook and Manual Reference - Canadian Brass - Book of Favorite Quintets

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TrumpetVoluntar-v

Trumpet Tune and Ayre Canon

Pachelbel

Mouret Handel

Rondeau

Largo 6

HallelujahChorusrromMessiah

Heart Ever Faithful rrom cantata No

ThcArtof theFuguc

Andante from Tiumpet concerto Cor Royal

Sakura & Kimigayo

FafandOle r-rn L'Arlestenne Suite No

Toreador Song irom carmen 14

Hava Nagila 15

Just a Closer Walk

Bach Bach Haydn

NicolaiiCornelius

Amazing Grace

Henderson

Within an intermediate level these gradatians of difficulry are indicated: E=eaE,

M=medium,

D=difrcult

a note to you The opporlunity to perÍorm in a brass ensemble is perhaps one of the most signiíicant in a musician's development

In a small group each individual is completely responsible Íor her or his own contributÍon to the piece oÍ music being played

Thoughts and concepts come alive in a wonderÍul way when a musician realizes that Íour other musicians are depending on a perÍect Íit of the Íifth part

How many times have we all heard that a great basketballoríootballteam depends on "teamwork," but to actually experience that íor ourselves through music is thrilling

To be sure we are ready Íor the experience,

we all need to be thoroughly prepared

To help when we work with students,

we aharays spend our time on these important points:

BREATHING: the importance oÍ always taking Íuil breaths MourHPlEcE BUzzlNG: every day,

practice and ptay on the mouthpiece away Írom the instrument TONE: your "musical Íingerprint" is your tone INTONATION: with two or more períormers,

intonation is critical RHYTHM: music based on a strong rhythmic sense will always be more successful BALANCE: a constant concern oí the ensembte musician is being a team player,

never too loud or too weak BLEND: the beauty oÍ brass instruments is their great blending abitity

ENSEMBLE PLAYING The real joy oÍ ensemble peíormance is ÍOund when two or more perÍormers can stylistically and sensitively play together: practicing ís the quickest way to make this happen

Allow yourselÍ to be freewhenyouperíorm

Veryoftenyourfellowperformeriwillíinditmucheasiertoplaywitnyouwhen youmovewithlhemusicratlteÍthan"Íreezrng"yourbodyinplace

Also,promoteÍrequenteyeccntact between all the ptayers in your group

DOUBLING at the UNISON or OCTAVE In our book,

the French hom and trombone Írequently combine at the unison,

sound' This must be diligently practiced by the two instrumentalists so that the styló anct interpretation

and intonation) become consistent

The trombone and tuba often double in octaves

When lhese octaves are perfealy in tune and balanced,

powerÍul a efÍect results (which is not only very satisÍying for the perÍormers,

but also íor the arrangei of this music)

SOLO and SUPPORTING There are two roles in a brass quintet: solo and supporting

Although your part is always important to the whole,

We want you to thinÈoÍ the manner in which you perÍorm your part

and projection allplay á role in how your part will be perceived by your audience and bylellow players

BREATHING Alltoo oÍten,

we hear players who try to buzz

on the mouthpiece without filling their lungs with airl Sound actually starts

Air ís the basic ÍuetÍorthe brass perÍormer,

and the proper use oÍ this Íuel ensures the quality oÍ sound

In our books ee CtNNINIC Ot rrNiÈfs and EASy oulNTETS,

we thoroughly discuss the subject of breathing,

ani prouioe exercises Íor mouthpiece buzzing and use oÍ air

we consider lhose díscussionJ to be required readingl ln our book ADVAN'CED OUINTETS' we talk further aboul tone,

g that it becpmes your "musical

Íingerprint

PROGRAMMING we all spend hours andJ|o-u*r

,nn so thatwe can períorm music we love íor other peopte

To helpyou díscovergreat musicand to helf you buildyourownconcerts,

musicwith whichthe canadian Brass has had great success in public performances has been included in this book

when you put together your own program,

you will iind here_a great range oÍ musical styles

lt is possible to experiment with playing the "classical" music of BacÍ ano ttaioet,

ríght next to early American jazz

Andmanyotherse|ectionssuitab|eÍorinc|usionareÍoundintheM,EASY gg'ry]FIS

ADVANCED OUINTETS

AIIPATI OÍ OUr

CANADIAN BRASS

EDUCATIONAL SEHIES' once you start Íeeling comtottante with this music,

we encourage you to take every opportunity

to perform: períorm for your Íriends,

Íor your Íamilies,

Íor religious ceremoníes,

Íor your school' Just about any place you can think of to play is a And most importanly,

Íun with your music

we have recorded all the selections in this book for your critical listening and study

Very often it is good practice to copy,

once you can Íairly welldupticate what you are hearing,

you can begin to create yourown,

Good tuck

Your friends,

The CANADIAN BRASS

Trumpet Voluntary JERE}IIAH CLARKE (L673-L707) Jeremiah Clarke was an English composer and organist

Paul's Cathedral in

He composed

bul the work Íor which he is best known today is the TRUMPET VOLUNTARY

lt was erroneously ascribed to his Íriend Henry Purcell until 1953,

when an English musicologist discovered the true composer

Originally written Íor organ,

the grandeur oÍ this music suited the entrance oÍ the choir into the magniÍicent chancel oÍ St

Paul's,

and was used exclusively for special royal occasions

Trumpets I and ll: It is very important that the first and second Trumpets pertorm stylistically the same

Rehearse together apart from your quintet to develop the same speed of ornaments (always stafting an the note above and ending at the dot)

Try tocompletelymatchsounds,shaingthebrillianttonethatisneededforthisselection

Weconstantlyworktoplayiden-

Forexample,listentothegreatTOCCATAandFUGUEinDminoronourBaroque rding

hear the two Trumpets sounding as one

Fred and Ron

Horn: Theopening'C'mustnotbeunderplayed,butmustsupportandblendwiththerestof thequintet

Onthemelodicrepeat of the first 8 bars,

the horn has a virtuoso paft that should be brought out dramatically

At bar 20,

the descending arpeggio must be strong and wellluned

Bar 33-40,

we share the melody with the Trombone

there should be a consistency oí style between the two of us,

both in tonguing and length of notes

Bar 52 poses some difficulty

Isolate that barinyourprivatepractice

pracliceitslowlyandcarefullybeforeattemptingafinishedspeed

Thenper-formfromthere to the end grandly while supporting the two Trumpets

Trombone: :e are only two ways to perform with your quintet: in a solo or a supportíng role

Both roles are presented in this seíectíon

You must support the trumpets in bars 1-8

Bring your voice a little more to the fare in bars 9-16 and bar 20

At bar 33 you begin a duet with the French Horn

Davíd tells me there should be a consistency of style between the two af us,

both in tonguing and length of notes

Try to develop a ringing and grand tone,

especially from bar 49 to the end,

to give this selection the richness Íhal it deserues

Tuba: The lesson that every Tuba player of every brass quintet must learn is the absolute IMPORTANCE of the Tuba part

! The TRUMPET VOLUNTARY is an excellent example

Allthe other parts are totally reliant on us for pitch,

The Tuba paft is often compared to a foundation of a building,

on which an entire structure is supported

ln the'Voluntary,'the quarter notes must be buoyant and bouncy,

Keep controlof the 'hythm in the running patterns in bars 24,

Bars 33-40 must be played with weight on the first note and a clean tongue on the secondnote of each pair

Bring the selection to a fitting grand conclusion with your f inal three notes while the other players hold their whole note

TRUMPET VOLUNTARY

JeremiahClarke 0673-1707) amanged by Walter Barnes

Maestoso )=L20

Brass (BNÍl)

Toronto or puhlic pertirnnancc

Allargando

Trumpet Tune and Ayre HENRY PURCELL (16s9-169s) Henn' Purceil was England's greatest ccmposer ci lhe 1

lusicar ecjucation :n ihe cncrr sciioot ot lhe Chapel-Royal' and at the age oÍ 20 was appointed organrsr cr Wesiminsler Abbey,

lhe sire of Engiand s'Ícyai coronations

On his burial tablet in the Abbey it is written: "Here lyes Henry Purcell Esqr

Who left this Life,

and is gone to that Blessed Place where only his Harmony can be exceeded" Purcell worked íor a secularlized Church which had very recently survived the Puritan Revolution

During the Restoration period,

oÍ his music,

secular styles oí composition were imported Írom France and ltaly by King Charles ll

As a court and church composer,

Purcell was obliged to write in these new,

However,

some oí hisearliár pieces reÍlect the style of his predecêssor at the Abbey,

The TRUMPET TUNE and AyRE was originally written ior keyboard,

and is thought to have come írom a harpsichord sonata

Trumpet l:

Horn (continued):

is a big chailenge when ptaying the TRIJMpET

Although we havek'epíthà ístTrumpetpan inlact,

you may wish to play the 2nd Trumpet parl íor the ,Ayre,,

We often alternate Trumpet ls in the Canadian Brass,

finding that it keeps tutn oi us

Try and breathe without chopping up the melody

four bar phrases are better than two

keeping the dotted rhythm very strict (in least a S:í ratio)

ftowing approach that is seamless between phrases

ge sure to move the temp right

up to the opening tempo upon returning the,Tune

Trumpet ll: The 'Tune'offers an opportunity to support your íellow trumpet player (bars 1-8 and l7-24) and a chance tó perform a soloistic counter-mebdy (bars 9-16 and 2S-g2)

Keáp ail the dotted rhythms very crisp (at least a S:l ratio)

Watch the octave doubling (bars|7 and l'B) for intonation: you will need to make good use of your third valve tuning stide

has suggested in the lst trumpet baok that you might

in order to give your Íriend a little re:

with each phrase blending into the next

Retirn'to the ,Tune,in a bright manner,

establishing the ,tempo pimo,,or íirst tempo

Do not over-power the l'st trumpet with your high'C' at the end

Horn: There are two primary performance roles in abrass quintet: solo and suppofting

In bars |

Match your intonation to the Tuba,

while playing your notes in a detached style

Bars g-l6 and 25-32 give you acounter-melody which should be twinned with the 2nd Trumpet,

Keep the dotted rhythm very crisp (with at least a 3:í ratio)

lntonation needs special attention when you play octaves with the lst trumpet (bars g-10 and 13-14)

The 'Ayre' is a contrasting section which should be played very Iegato,

Return to the ,Tune,with a dynamic and rhythmic change that clearly establishes the contrast

Lastly,

fill up the raom with beautiful Franch horn tone on the final two notes

Trombone: pointed outthe íottowing in the Horn book: ,There are a brass quíntet: solo or suryofting

The same is true for the Trombone

while in bars g-16 and 25-32 you are

two primary peiormance rales in

the soloist (playing the counter- metody)

Keep the dotted rhythms very crisp (at least a 3:l ratio)

The ,Ayre,is a beautiful,

singing and flowing melodic contrast to the 'Tune

Try to bring aut the sonorous character of the Trombone while observing atl Q flats

! Experiment with the Trombone/French Horn unisotn in bar 45,

ag ain look i ng ío r a pe dect b I end

Th e lo ng ph ras es in t h i s'piece make proper breathing doubty important

Breathe whenever possible,

and maka those breaths count by taking fultquantity breaths

Return to the repeat of the ,Tune,

Tuba: Please re-read the comments made for you in the TRIJMpET VO L'U N TARY,

s i n c'e t h ey apply to t h e p u rc e lt as w e t l

App ro ac h this piece from a musical rather than technical pint oí view

Before you play even one note,

soundlessly practica the music in your head

From the very opening oí the 'Tune' ptay these notes bouyantly: bouncy-neither too long nar too short

Start each note with a strong articulation,

and then tet the air ptay the note

Keeping the dotted rhythms in bars 1g-l9 and 26-27 crisp (3:1 ratio) while playing moving notes in the upper register present a challenge to the tubist

Practice this pattern slawly,

gradually increasing the tempo as it becomes easier

The'Ayre' is a sonorous contrast to the 'Tune,' requíring an even gentler touch

Use more air and less strength: lull breaths foltowed by easy,

At f irst,

try to match the sound on the recording ol this piece,

TRUMPET TUNE and AYRE Henry purcell

Moderato J =sc

Trombonc

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lAYRElAndanre

:I"àiiÀ

Canon JOHANN PACHELBEL (16s3-1706)

JohannPachelbelwasoneoÍlhe"spiritualanceslors'oÍJohannSebastianBach

Pachelbelwasespeciallyrenowned Íor his lugues,

variations (chaconnes and passacaglias),

The canon is the most strict form oÍ imitative composition

This CANON is a series oÍ melodic variations (speciÍically a passacaglia) over a repealed bass line (ground bass)

Pachelbel originally wrote 186 melodies above this ground bass,

This particular transcription uses only 20 oÍ those melodies

"The CANON is perhaps the most íamous classical composition ever writlen,

UnÍortunately,

Pachelbelis no longer around to collec{ the incredible royalties that are poudng Írom these sales

Pachelbel is delighted about it

Írom CANADIAN BRASS LIVE] Trumpets I and ll,

Trombone: The comments from each of us are the same: there must be absolute stylistic agreement among us regarding the many two- bar phrases

For an exercise,

you an identiíy and number each oí the Wenty subjects in the score

yau wiil then bs able to obserue which instrument haswhich melody

There are indeed twenty,

Selectpointsinthemusiewheredifferentvoiceshavethesamemelodyatdifferenttimes,thenrehearsethem at the same time

For example,

the first Trumpet can play bars 29 & 30,

while the second Trumpet plays bars 31 & 32,

Whether the melody is played legato,

it must be presented in the same style in every voice

When each instrument then plays the melody at the appropriate moment in the piece,

Mostimportantly,beclearaboutthetempobeforethepeíormancebegins

TheTubasets

at the beginning oÍ the piece,

so try to maintain this tempo throughout

To do so,

keep listening to the Tuba as you progrcss through this marvellouÍ canon

Tuba: What can lsayto convince youthatthís isthe mostdifficult piece inthe bookforconcentration,

? When you state the opening bars you have already established alloí the above

I have played this Tuba part hundreds of times,

and I know the impoftance of the Tuba part

! Concentration is the key to making this exciting for yourself

Note the different playing styles in the other parts as you progress through the piece,

and match them with your own períormance

lf you take a minute to read the other books about this piece,

you will see that all íour of the upper instruments are completely dependent on you for the success of this piece

Good luck

CANON Johann pachelbel

0óS3-1706r arranged by Walter Barnes l:t 3' l":r:rpct

Tromoor:c

Coprrrr:hr i98$

ïljil ,"1,

*í'j*iel

áÈ:*e

Rondeau JE

{N JOSEPH MOURET r

MouretwasaverypopularcomposêrinFranceduringhisliÍelime,withmorethan50publishedworks

Today,verylittleoíhismusic is perÍormed,

wilh the exception oí this RONDEAU

lt was recently made popular because of its selection as the lheme song Íor

the BBC production Masterpiece Theatre

You will find,

that it is an excellent addition to the brass repertoire

The RONDEAU was originally a movement from "Faníares pour des trompettes,

et hautbois' ("Fanfares Íor Ïrumpsts' Kettledrums,

Violins,

Rondo íorm is quite obvious: an 'A" theme is presented in luxtaposiiion with other melodic themes

SpeciÍically: A,

Trumpets land ll: The two Trumpets share the

The 2nd Trumpet pan can be períormed on a Piccolo Trumpet

itwill addalotof spicetothequintetsound

TheYamahaíaisagoodmodel tostarton)

AsinTRUM{ET VOLUNTARY,

the RONDEA|I melody ís passed bad< and forth between you

You must stive for matched styles,

lf the audience was not able to see you,

they shóuld thínk that onty one trumpet is pl

When a Píeolo is used,

there will necessarily be a tone change,

but the new color adds to the overal

' Bewaie of the octave doubling at letter D

you arc subseruient to the lower instruments,

something uncommon in the quintet

When the two Trumpets are doubled at bar 6í,

take great care with intonation and matching styles

Ron and Fred

Horn and Trombone: You are again playing two roles in the R)NDEA| suppofting (the A thene),

C and D'themes)

you must use the same ailiculation at 8,

C and O as the two Trumpets use in the A theme

Keep the pulse moving when you are ín the solo role

spend time practicing alone wíth the Horn and Trombone,-as the two you of often share the spotlight

The Baroque period,from whichthe RONDEAIJ @mes,

often callsforstrongly antrasting dynamícchanges

ThisÍs partly achieved well by normal,

Exploi alt the markinjs: make a

by instrumental color changes in the B,

C and D'themes,

as 'forte'very strong and a'piano,very quiet

David and Gene Tuba: When we say that the Tuba should be 'dominant,' we really should also say 'tonic

tonic means the [email protected] of the chord,

or number one or eight ín the scale progression-the name note of the scale

And domínant is tne finn ol the scato,

or the next most imQnail nate in the scale

ln the BONDEAIJ many of your notes in the'A'theme are tonic or dominant: Ep or F

These must be playedrightdownthecenteroftheinstrumentsothatthebesttoneandpitchispresent

Rehearsalletter,C'offersantiphonalplaying against the French Horn and the Trombone

Bring out the moving,

put'it on the final note so that your quintet has the added beneíit of an extra ociave ín the fínal chord

RONDEAU Jean-Joceph Mouret

Brightty ) =84 lst

Bà Trumpct

I()13lJ

Brass (BI\'llt

Toronttr

L'nuuthorrzed c{)p\rn

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Largo and

Hallelujah Chorus GEORGE FRIDERIC HANDEL t1685-r759) The grandeur and sustained power oÍ Handel's oratorio style,

the expressive simpliciry of his melody,

and rhe breadth and darity of the harmonic structuÍe Íorm a wonderful anjsUc whole

He is unquestionably one oifre 'great masters

Dictionary oÍ Musicians)

Wearesureyouwill enfrusiasticallyagreewifithisstatementaftêrplayingthetwoHandelcompositionsinhisbook

Thet-ARGO(homtheopera

lz}al disptays one oÍ tre most sustained,

This melody is always supportêd by a simple harmonic bass

The HALLELUJAH cHoRUs (kom Ére oratorio Messian,luq is best dáscribed by Hanèl Áimself

'l did fiink I did see all Heaven before me-and he grsat God himselí|

Trumpate I snd ll:

Trombonc:

The LARGO decaptiw in its simpticity

The opening fift*n bars must b9 very legato and smooth,

wh:ite the rnynà nuit b @nstant and clear

At measure l'S,

the melody passes íron the French Horn to the

Trumpets

As in the CANON,

and phrasing must be he satne among all the playerc

Let the musical lines overlap momentarily as you pass this beautilul melody back and forth

The notes should Lte Iong and full valued

Try to make the ending gentle with a gradual,

The HALLELUJAH CHORUS oífers ompletety different challenges

wo distinct stytas of playing inwtied in this piece: íong

and sharply tongued phrases (such as in bars 1g-21)

When playing the long,

h is imponant to give lutt ime vatue to evety note

Be sure to take hequent,

large breahs so that the strength ames from the air and not brute force

Fred and Ron Horn and Trombone: The LAIGO opens with a beautifu

! French Hom and Trombone soto

try to think of the two instruments as one,

creating a dilferent instrument with its very own tone

To achieva this eífect,

w the other is going to ptay the solo so weit that you must even thínk

Then concepts such as tuning,

and breathing become atmost automatic

After you know the notes well,

make á ooint of watching each other while you ptay to promote better musical commu_

The low oryning phrase is best suited to the range of the trombone,

so let the Trombone carry a liile more ol the weigit

By bar 6,

the Horn should stan being more prominent sine it clinbs ínto a more comfortable range

From bars l'S to 46,

you both support the two t tumpets as they pass the melody back and forth

When you reach the ending,

arc again ptaying the beautjíut melody fry enotng qentle with a gradual,

David and Gane

Tha HAUELUJAH CHOHUS ot{ers ampletely difíerent dtallenges

There are two dislnct styles oí ptayíng inwlved in this piece: tong sustained phÊses (for exantple,

34-4:J ),

andsharplytongudphnses (such as in bars 1-l l,l5-16,2&21,

When playing he hng,

il is important to give full time value to every note

hrga breaths so that Íhe stength ames írom tha air and not from forcing

Tuba: The URGO is an expressive song,

needÍng to be ptayed in a singing style

It rcquires Wu to provide the rhythmic motion un&r the extended solo line,

Each oí your notes must be given full time value

The Tuba prt looks quite simple,

but your responsibililes are many: giving a fotward momentum holding the tempo providng a solid basis for the intonation ol the entire group lending support to the solo line through dynamics The breath marks are in the music to show you how the soloists above you arc phrasing their lina

Work out your own breathing pattem,

so as not to breathe when they do

The HALLELUJAH CHORUS ofíers ompletety diíferent chailenges

There are two distinct styles of playing inwlved in this piee: tong sustained phÊses (for example,

and sharply tongued phrases (such as in bars l

When playing the long,

it is imponail b give full time value to evety note

Be sure to take frcquenl large breatis so that the strcngth comes írom the air nther than fore

Barc gg94 give you a chance to end the HALLELUJAH CHORUS in a grand and majestic styie: the others are holding their notas while you play a descending panem

Make the rallentan& very deliberate so that there rs no question about your musical intentjons

The HALLELUJAH CHORUS offers completely difíerent chailenges

rwo disinct styles of playing inwlved in :l/lis piece: iong sustained phtases (for example,

and sharply tongued phrases (such as in bars t-t1,ts_ 16

20-24 )

When to grve íull ime value to every note

Be sure to take frequent,

targe breaths so that the strength comes from the air and not lrom lorcinà

LARGO from Xerxes

George Frideric Handel

Hom :n F

Trombone

Brass íBl\'llr

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HALLELUJAH CHORUS from Messiah

George Frideric Handel

(r685-1759) arranged by Walter Barnes

Allegro )=96

Hom in F

Trombonc

f2 F Hn

Brass (BMIt,

Torrrnro

!ïll',lrï'"tïrrt

Intfln-[cr\

Í ,,@ ea"gio

Maestoso

Tempo Primo

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n**-{íp

My Heart,

Ever Faithful and

Contrapunctus

JOHANN SEBASTIAN BACH (168s-us0) We have selected two works oÍ Bach that represent the wide range oÍ this composer's brilliant talent

My HEART EVER FAITHFUL is an aria Íor soprano and continuo Írom the Whitsunday (Pentecost) Cantata No

The French Horn,

Trombore,

and Tuba prwide the accompaniment Íor the two trumpbtà,

who toss their phrases back and Íorth to each other

This is a deiighíul,

light aria that sings oÍ unrestrained joy

The Aft of the Fugue was written at the end oÍ Bach's life

The complete work is a thorough study oÍ all the contrapuntal techniques that can be applied to fugal writing

Each died before completing the last (fourteenth) Íugue

The Íirst Íugue is a simple Íugue,

a single subject íollowed by its answer

Since this is monumental work,

we wanted to include the íirst,

most straight'Íonivard Íugue Íor you in this collection

We have"u"h-" recorded the complete An of the Fugue on the CBS recording lóel' We hope that you will listen to the entire work,

especially after conquering lhis íugue y-ourselÍ

Trumpets I and ll:

MY HEART EVER FA\THF|JL is a study in antrasting performance styles

The continuo (French Horn,

Trombone and Tuba) is buncy,

the two Trumpets are peíorming the legato voca

and should therefore be smooth and singing

Pass your lines back and íotth,

taiing cará to 'nana ótr youitine to the next

Since the two Trumpets are doubled at the end of aach phrase,

be very carefuíwith the tuníng

When the pirce The aria

changes style brieíly at bars 37-40,

The originat phrase ancludes the piece,

giving it a wondertul sense of completion

Ron and Fred

Horn: The French Horn has two rcles to play in MY HEART EVER FATTHFUL ln bars 1-4,

13-í6,

For the rest ol the píece,

the Horn beqmes part of the antinuo with the Trombne and Tuba

Match their style with detached' bright and quiet accompaniment notes

So we'are back to basics

There are only two ways to peiorm: either soloistically,

Trombone: MY HEART ÊVEB FAITHF|JL has some very diííícult bars for the Trombone (that is why I used a Euphonium íor your recording)

Seriously,

it is a very good idea for Trombonists to learn the Euphonium,

and iice-versa Each strenghthens your ahitíty on the other' To prepare for this piece,

begin by practicing an F scate

Then direct your practíce to the fottowing bars: 4,

16' 20,

Six oí those bars are simpfi tne scale,

Slow-slow practice wil get you over the obstacles

Good luck

Tuba: MY HEABT EVER FAITHFUL gives us an excellent opportunity for bight,

it is a matter of maintaining the rhythm and tonality lor the group' There ís a run at bar 36 that witl take iome áxtra-slow praclbe

Bring out bars 37

robably 40 along with the Horn and Trombone

This is a wonderlul piece of music tor a characteristic round,

MY I{EART,

EVER FAITHFIIL from Cantata No

0685-1750)

arranged by tilalter Barnes lst Br Trumncr

Trombone

Brass tBivllt

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CONTRAPUNCTUS | (írom The Art of the Fugue) is perhaps the most diÍficult selection in the book

The range is comíortable,

the phrases are not too long íor proper breathing,

and the melodic shape is ah',rays clear

But there ís always a danger oÍ mis+ountíng the rests

Consider the Íugue to be an endless string oÍ notes passed Írom one instrument to the next

In this way,

CONTRAPUNCUS I is a typical íugue transcribed for Íive brass instruments,

so not all the voices are sounding at the same time

ThereÍore,

someone is always waiting to re-enter

While discussing the techniques used in playing Íugues,

we realized that the sarne points were equally ímportant Íor each performer

Fred: LisÍen for the @ntinuation of other people's lines,

and try to come in smoothly and confidently

Ron: 'Make sure you know when you pick up someone else's line,

Davld: 'Listen to the tape that we have made

and try to learn all the other parts

Gene: 'This is one piece in which you have to stay very of other people's lines

Listen for

Chuck: 'Take frequent deep breaths,

and tisten to the tape with this book

ï6[uqffid& 34

CONTRAPUNCTUS I ïrom The Art of the Fugue

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Andant€ from the Trumpet

Concerto

'RANZ JOSEPH HAYDN (

Haydn wrote 3 í concsrtos during his prolific career,

with Éro 'Trumpet concerto' (

The ANDANTE is the gende,

nr""n two very exciting and rechnically demanding mo\€ments

The last yeqr oÍ Johann s€

?lstial Bach's tiÍe is generally accepted as he end oÍ the

Baroque perird

In fre ctassical era that followed,

strucrurê and svmmefical shape became ajl-imporanr Íhis can te ouse

vJ creJy

in orrt"r"Àln-oy have changed tre key and simpliÍiodthemelodiclineoíth€concenomo\€menttor

But,inoune"orJin

O*Klont,",Jeao

r"othesotorrump€tpaítinirs original embellished íorm You might also want to lisbn ró the complete recoroinf Ëine Hay&r ïnrnpet concertoso that you can understand the relationship of the 2nd mo\€ment to the othêr two

Trumpet l:

Trombone:

As aheady stated,

I betiave that you shoutd hear the wiginal soto Trumpet part,

so that is what I hàto recorded li you

It is imponail lor the bur lower instuments who are príorming the orchestral' accornpaniment to keep the hyfimic pulse smooth and steady

The aeompanying eighth notes shoutd maich the eighth notes n the melody

Behearse the aeompanying instruments alona without the lst Trumpel stiving íu tota

! coordina-tion and @opêration

ANDANTE as Haydn wrote iL

Conceive

and with a smpt,ctty ot style that leaws any technical pro*ems fuhind

Tune your low D's and P'scarefully,

breáthe onty on'rests (with heexception oí bars

obsárve rhe dynnic scrupulously,

ptay the solo *eafifuilyl^arkirgs Ron

Trumpet lÍ:

I haw suggested,

drr,t you príorm thís ANDANTE using a Euphonium

Tngering niy not a problem

yw will naed an even greater quantity ol air,

but hat is aily going to hetp your tntnbone playing

Besi&s,

thetone oí theeuphónlum,bing aóniat instument saems to me to be better suiBd to this tansdiption

you are enauraged to produca a singing sound íx those seclions where you have the ieldy: n"

Cenember to príoim s,oloistically,

listening very carefutty when doubling tha I st Trumpet in tlle last 2 bars

Tha íinal adence shoutd be very disciplined with a gentle rallentanh

It is impoftant for the íour lower instrumants who are piorming the 'orchestral'aeonpaniment to keep tt,E rhythmic puÉe smooth and eQhth notes shóutd maich dte t$shth notes aeompa nyinginstrunents alone without the l'st trumpet,

striving for total coordinatián ad coqeratjon

Rehearse the

Be aware that you have the metody in bars g-Sá and 47_SO

These measutes shourd be prayed with the sane w

tf m tone and in rhe sarne sryte as the I st frumpeL Low D,s (you have mary

s must be tuned with your tuning slide(s)

The D's aN C#,s in ba/s SOgt nust be w_e

or they wiil tend to be fraL rt is sometrmes more diflicult to play a musicatty supponing role than roto,ot"

Tuba: It is impanail for the íour lowet insïuments who are petíorming the 'orchestral'aeompaniment to keep the rhythmic pulie smxth and llejdV le

aryrnpaning eíghth notes shoutd maich tha eighth notes n the melody

Rehearse the accompanying instruments alone withoul the lst Trumpet,

striving f* totat cóord'inaíion and cooperalon

There are

also some spcifrc difficutfes in this composition whictl must

For example,

shary @n-a BP wba) unless you can pull a tuning slide or have

Maka sure yau ptay bars 22 and 2g-á2 with a rich

fu areful of your octave jump in measure 32_ tansfer the rich sound down as you make the' jump

It is impoftant for tho four tower instruments who are prforming the 'orchestral' accompaniment to keep tha rhythmic pulse smooth and eighth notes shóud maích dte eqntn notes

1dy: T"

Rehearse the accompanying instrumens alone without the I st Trumpet,

striving lor total coordinaíion and aoperation

hagments oí metody or counter_metody tor the

!a: be brought to he fore : namely,

- I à,

These bars must be played soloistiáry

lLtíougn it seems unnecessary,

I have marked an optional breath-in bar 20j since you must play strongly and llowingly from there to ths rest 1

and listen to the pitch- As atways,

keep promoiing foruard motjon in the rhythm

ANDANTE from the Trumpet Concerto

Franz Joseph Haydr

Hr>m rn

Tionbone

Copvriqht l9E8 Dr

Brass iBlVÍl)

Toronto All righrs resened

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Inlrinrers are liable under ihc law

rï-$ ::

n732-1E09

Cor Royal PHILTPP NICOLAI (1556

This new transcription Íor brass gives it yet another liÍe

The "Chorale" by Nicolai (the Westphalian composer oÍ the Íanpus "Wachet auÍ") was written and harmonized as a Íour voice piece in 1599 to celebrate the Three Wise Men's historic journey to lsraelto see the Christ child

The obbligato to the "Chorale" was written by Peter Cornel[us 270 years later

Cornelius,

a student and admirer oÍ Ríchard Wagner,

was well-known in his own time as a composer oÍ beautiful melodies

Trumpets I and ll,

Trombone,

Tuba: At the beginning of the piece,

the Trumpets andTrombone present the chorale melody in unison

The second verse turns to the harmony oí Nicolaiwhen the tuba joins the others

The third verse is quite diff erent: harmony in the four brass encircles the obbligato slo,

with a syncopated ending in bars 2526

The four of you are playing a supporting role throughout this piece,

and must never overpowel the solo French Horn

Rehearse the arcompaniment alane,

Once again,

you are tryíng to achieve unanimity of style

This piece especially presents a realchallenge to the

Trumpets

seldom do they play a suppofting role for an entire mmposition

Gene & Chuck

Horn: COR ROYAL is one of the most simpl,e,

but beautifut French Horn solos in the entire brass quintet repenohe

This work was originally written for the voièe,

and should therefore be ptayed in a vocal manner

You willlind that music originally conceived as vocal music atmost atwaysíitsthe brass instrument perfectty

The length of phrasesto be sung have the same air requirements that you have on the horn

Experiment ptaying this solo white standing,

making su re that your right hand is still properly psitioned in the betl

Shape each phrase with dynamics and take time at the cadences

consider them almost'grand pauses' for dramatic effect

tn order to keep your quintet happy,

tearn this selection well before the five of you attempt to ptay it together

Listen carefulty to our recording of this setection

church acoustics hetped to achieve a verydramatic eff ect

tf you have a cnance to perform this selection in a good acoustical building,

such as a church or synagogue,

Build drama

This simple melody,

with dramatic and best received piece for Horn

Good tuck

COR ROYAL

chorate by philipp Nicolai (1556-160g)

bi peteióornàii* tiaii-ïËï+r arranged by \{atter Barnes

Trombone

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Sakura & Kimigayo Traditional Japanese The Canadian Brass has made many lours lo the íar East,

even períorming our music on the Íamous

! ltisinJapan,though,thatweíeelmostathome

weiravemetmanyÍinemusÍciansthere,

and have had the opportunity to sample a great dealoÍ Japanese traditional music

What seems unique to us about Japanese culture is the blending of so-called western music with locattraditional

to fínd modern music being ptayed on traditional Ínstruments,

traditíonal music being played on modem instruments

lt is with the laner in mind that we have included two songs in this book which are very wellknown by ail Japanese

KIMIGAyO is the "prayer to the Emperor," and SAKURA is the Íamous iolk song,

"Chárry atóssoms

" KtMlcAyo is to be used much as we would use the American or Canadian National Anthem,

while SAKURA ís excenent program materialto be used in any perÍormances that you gíve

These two Japanese songs will give you wonderful oppoftunities to investigate what we consider to be our main,

basic performance points for brass players

L [email protected]: Tht^s i9 the key element in atl brass playing

When you get a chance,

OF BEGINNINQ oUtNTETi (the Green book) in wnicln tne rirst two pages tatk of air supprt

targe breaths'and frequent breaths are essentiat for good tone and tuning

careful Iistening to your fettow ptayers for dynamics,

Timingof entriesandbrcaths,

so that you are at one with your other ensemble players

íiming of thoughts and rehearsat needs,

so that you are not at odds with your feilow ptayers

onty you can improve ít,andonlyyoucanproiectthattonetoyouraudience

find an extremely reverberant room in which to practice from time to time (such as a concert hall,

or even targe bathroom) so that you can enjoy the realy arge sound you can make

you might have greatest the tone' but the moment you b99in lerforming with another musician,'tet atone four others,

Gáod tntonatioÁ

or tuning is onty possíble when you are

support and carefully listeninQ to your colteagues

and these five points witt surery herp

Canadlan Brass

SAKURA (Cherr-v Blossoms)

arranged by Walter Barnes Isr Bb

Itumfrr

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