Canadian Brass - Book of Favorite Quintets

contents Clarke Purcell

l. TrumpetVoluntar-v... 2. 1

Trumpet Tune and Ayre Canon

Pachelbel. .

Mouret Handel

4. Rondeau

Largo 6. ,7

8. 9. 10. 11.

.

HallelujahChorusrromMessiah .. Handel... Heart Ever Faithful rrom cantata No.68 Contrapunctus I r-. ThcArtof theFuguc . Andante from Tiumpet concerto Cor Royal . . Sakura & Kimigayo . M-V

-"-,12. FafandOle r-rn L'Arlestenne Suite No. z . . -"**13. Toreador Song irom carmen 14. Hava Nagila 15. Just a Closer Walk

.

Bach Bach Haydn

13

.....18 .....22

E D

M M

E ..24 D 30 D 34 D

.....39

NicolaiiCornelius

M . . 43 M

traditional Japanese. . . . 46 E Bizet 50 M Bizet 53 M traditionallsraeli . .57 M traditional American

arr.Gillis.

16. Amazing Grace .

......S .....8

...61

traditional American arr. Henderson

63

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

E

M

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, creating an entÍrely new

sound' This must be diligently practiced by the two instrumentalists so that the styló anct interpretation.(including tonguing, lempo, 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, it is not always the solo. We want you to thinÈoÍ the manner in which you perÍorm your part; dynamics' lone colour, length oÍ notes, weight, accents, 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.with yourfirst dáep breath. 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, suggesti;g that it becpmes your "musical

Íingerprint."

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

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ADVANCED OUINTETS

bOOKS, 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, have óoàJ órace. 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, insofar as possible, what you hear. once you can Íairly welldupticate what you are hearing, you can begin to create yourown, new approach to the music. Good tuck. Your friends,

The CANADIAN BRASS

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

at the farnous St. Paul's Cathedral in

London. He composed

two opeÍas, several hymns, and anthems, 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-

-t1cA(yinmuchofourownrepertoire. 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. David

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. (And don't neglect bar 52! It's tricky; try the 'F in 6th position.) Gene

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, rhythm and style. 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, always detached and bright. Keep controlof the 'hythm in the running patterns in bars 24, 28, 48, and 52. 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.

Chuck

.5

1. TRUMPET VOLUNTARY

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Trumpet Tune and Ayre HENRY PURCELL (16s9-169s) Henn' Purceil was England's greatest ccmposer ci lhe 1;th-i3ih centuí'r'. ile receiveo rrs ear{:y i-r.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, imported styles. However, some oí hisearliár pieces reÍlect the style of his predecêssor at the Abbey, orlando Gibbons. The TRUMPET TUNE and AyRE was originally written ior keyboard, and is thought to have come írom a harpsichord sonata. in which Purcell wrote most

Trumpet l:

!/1ynce TUNE and

Horn (continued):

is a big chailenge when ptaying the TRIJMpET

AYRE. Although we havek'epíthà ístTrumpetpan inlact, you may wish to play the 2nd Trumpet parl íor the ,Ayre,,

.--aq,inO your paftner the first part. We often alternate Trumpet ls in the Canadian Brass, finding that it keeps tutn oi us

"':rtí'sher.

Try and breathe without chopping up the melody; four bar phrases are better than two. perform the,Tune,crisply, keeping the dotted rhythm very strict (in least a S:í ratio). Co;trastingly, the 'Ayre' needs a singing, ftowing approach that is seamless between phrases. ge sure to move the temp right ?"*.up to the opening tempo upon returning the,Tune.' Good

d

luck!

Ron

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 . 2rnate parts for the 'Ayre, in order to give your Íriend a little re:!. Wh?th?r playing l st or 2nd, do so in a singing, ftowing styte, 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. Fred

Horn: There are two primary performance roles in abrass quintet: solo and suppofting. ln this selection, you seNe in tr.th capacities. In bars | -B and 17-24 you are suppofting the l st trumpet. 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, and brought to ihe fare. 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, in a singing, flowing style. 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. David

Trombone: pointed outthe íottowing in the Horn book: ,There are a brass quíntet: solo or suryofting. ln this selection, you serue in both capacities., The same is true for the Trombone. ln bars | -B and l7-24 you are supporting the l st Trumpet, while in bars g-16 and 25-32 you are

David

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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, with brilliance.

Gene

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, unrestricted exhalation. At f irst, try to match the sound on the recording ol this piece, and then develop your own. uniaue approach.

Chuck

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Canon JOHANN PACHELBEL (16s3-1706)

JohannPachelbelwasoneoÍlhe"spiritualanceslors'oÍJohannSebastianBach. Pachelbelwasespeciallyrenowned Íor his lugues, variations (chaconnes and passacaglias), and canons. 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, each two bars in length. This particular transcription uses only 20 oÍ those melodies.

"The CANON is perhaps the most íamous classical composition ever writlen, as evidenced by record sales. UnÍortunately, Mr. Pachelbelis no longer around to collec{ the incredible royalties that are poudng Írom these sales;

bn the other hand, Mrs. Pachelbel is delighted about it!" [Chuck Daellenbach, Írom CANADIAN BRASS LIVE] Trumpets I and ll, Horn, 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, but no one instrument plays

themall. Selectpointsinthemusiewheredifferentvoiceshavethesamemelodyatdifferenttimes,thenrehearsethem at the same time. For example, the first Trumpet can play bars 29 & 30, while the second Trumpet plays bars 31 & 32, and so íorth. Whether the melody is played legato, detached, bright, or f lowing, 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, it will be

playedinamatchingstyle. Mostimportantly,beclearaboutthetempobeforethepeíormancebegins.

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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. the

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Tuba: What can lsayto convince youthatthís isthe mostdifficult piece inthe bookforconcentration, rhythm, choice of tempo, and melodic line? 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. lf you think it is boring, think again! 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.

Chuck

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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, as we have, that it is an excellent addition to the brass repertoire.

The RONDEAU was originally a movement from "Faníares pour des trompettes, timbales, violons, et hautbois' ("Fanfares Íor Ïrumpsts' Kettledrums, Violins, and Oboes"). Rondo íorm is quite obvious: an 'A" theme is presented in luxtaposiiion with other melodic themes. SpeciÍically: A, A1, B, A1, C, D, A, A1.

Trumpets land ll: The two Trumpets share the

mebdy in theRONDEAtJ. The 2nd Trumpet pan can be períormed on a Piccolo Trumpet. (you night

rentaPieobtotryít; itwill addalotof spicetothequintetsound. TheYamahaíaisagoodmodel tostarton). AsinTRUM{ET VOLUNTARY, and CANON, the RONDEA|I melody ís passed bad< and forth between you. You must stive for matched styles,

tones, articulations, and note lengths. lf the audience was not able to see you, they shóuld thínk that onty one trumpet is pl;ying. When a Píeolo is used, there will necessarily be a tone change, but the new color adds to the overal! texture oí the piece.' 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), and solo (the B, C and D themes). you must use the same ailiculation at 8, C and O as the two Trumpets use in the A theme; namely, bright and detxhed. 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, written afnimics. 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.' You see, tonic means the r@t 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, active pan as much as pssible. lt you own a'pedal Ep, put'it on the final note so that your quintet has the added beneíit of an extra ociave ín the fínal chord.

Chuck

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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.' (Baker,s Biographicat

Dictionary oÍ Musicians)

Wearesureyouwill enfrusiasticallyagreewifithisstatementaftêrplayingthetwoHandelcompositionsinhisbook.

Thet-ARGO(homtheopera

{erxg1, lz}al disptays one oÍ tre most sustained, singing melodies imjginable. This melody is always supportêd by a simple harmonic bass. The HALLELUJAH cHoRUs (kom Ére oratorio Messian,luq is best dáscribed by Hanèl Áimself. iJpon'completion oÍ the .Chorus. he said, 'l did fiink I did see all Heaven before me-and he grsat God himselí|. Trumpate I snd ll:

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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, tonà,'nnguing, 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. 8e alen íor good intonalon when doubling at the unison in .bars 39-43. Try to make the ending gentle with a gradual, sustained êllentando.

The HALLELUJAH CHORUS oífers ompletety different challenges. wo distinct stytas of playing inwtied in this piece: íong ?ult?ined phrases (íor exampte, bars 354í and 58_69), and shoi, btight, and sharply tongued phrases (such as in bars 1g-21). When playing the long, sustained phrases, 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.

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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, yoi will fuh need to know ho.w the other is going to ptay the solo so weit that you must even thínk

alike. Then concepts such as tuning, hythm, 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_

tlcati?n.

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, you maie the .arc again ptaying the beautjíut melody fry enotng qentle with a gradual, sustained rallentando. David and Gane

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Tha HAUELUJAH CHOHUS ot{ers ampletely difíerent dtallenges. There are two dislnct styles oí ptayíng inwlved in this piece: tong sustained phÊses (for exantple, bars | 2-í4, 25-27, 34-4:J ), and short, bright, andsharplytongudphnses (such as in bars 1-l l,l5-16,2&21, 28-32). When playing he hng, sustained phrases, il is important to give full time value to every note. 8e sure to take heqtent, hrga breaths so that Íhe stength ames írom tha air and not from forcing. Gene

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, without rushing the tempo. 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, depending on your capacity, 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, bars 12-14, l7-19, 94-41, 69-71) and shoft, bríght, and sharply tongued phrases (such as in bars l -t I , | 50-65). When playing the long, sustained phrases, 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.

íl6,

Chuck

The HALLELUJAH CHORUS offers completely difíerent chailenges. They.are. rwo disinct styles of playing inwlved in :l/lis piece: iong sustained phtases (for example, bars t2-tn, 25_27, 34_41, a3-ae aná :.h^o!:\ríght, and sharply tongued phrases (such as in bars t-t1,ts_ 16.20-24 )., playing the long, sustained phrases, ir is important .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. David

!2

5. LARGO from Xerxes

George Frideric Handel

(1685-17s9) arranged bv Walter Barnes

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6. HALLELUJAH CHORUS from Messiah

George Frideric Handel

(r685-1759) arranged by Walter Barnes

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My Heart, Ever Faithful and

Contrapunctus

I

from The Art of the Fugue

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. 68. 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, light and detachd. on the other iand, the two Trumpets are peíorming the legato voca! line, 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, do not beame overly heavy. 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, and 25-28, the Horn is the soloist, presenting the main theme. 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, or in a supporting role.

David

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, though, 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, g, 12, 16' 20, 24, 28, 32' 37 and 40. Six oí those bars are simpfi tne scale, and five are variatÍons. Slow-slow practice wil get you over the obstacles. Good luck!

Tuba: MY HEABT EVER FAITHFUL gives us an excellent opportunity for bight, detached playing. Again, 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, bouncy Tuba sound. Chuck

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7. MY I{EART, EVER FAITHFIIL from Cantata No. ó8

J.S. Bach

0685-1750)

arranged by tilalter Barnes lst Br Trumncr

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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, and do so without a hitch.'

Davld: 'Listen to the tape that we have made

for you, and try to learn all the other parts

of the music.'

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

alert. Listen for

the continuation

Chuck: 'Take frequent deep breaths, play long full phrases, and tisten to the tape with this book.'

"-,*;;ii-;ï;.+;ïi.rÈo;,a'i;+,,éÈ{#È.g#;;6;ï6[uqffid& 34

8. CONTRAPUNCTUS I ïrom The Art of the Fugue

J.S. Bach

0685-1750) arranged by Walter Barnes ls(

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Andant€ from the Trumpet

Concerto

I.'RANZ JOSEPH HAYDN (

1732.1809)

Haydn wrote 3 í concsrtos during his prolific career, with Éro 'Trumpet concerto' ( .l796) being fre only one trat is still regularly perÍormed. The ANDANTE is the gende, melodÈ second morrem"nt b.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, íorm, 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.you. But,inoune"orJin!ófni.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.

ii;i;:'ï"

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. iowever, ! suggest hat you start .with this simpler tprsion, iuking gradua;tty

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.

\..toward '

the

oiginal

ANDANTE as Haydn wrote iL

Conceive.ol ywr soto tine with tong, smooth singing phrases, 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. l&16, Zl-24, and 374e, obsárve rhe dynnic scrupulously, and, most importantiy, ptay the solo *eafifuilyl^arkirgs Ron

Trumpet lÍ:

I haw suggested, again, drr,t you príorm thís ANDANTE using a Euphonium. i, 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"??ll,barc t-8, t7-te, 2S-8, and 4142. 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.

Gene

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.

l!Í1y:!!".to:rypanying tn ne metody. 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!) and Eb.s must be tuned with your tuning slide(s). The D's aN C#,s in ba/s SOgt nust be w_e.trsupponed wtth air, 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

be considered. For example, the tow B's in bars 3, 1 1 , and &5 wilt alwavs oe,very.shary @n-a BP wba) unless you can pull a tuning slide or have

Fred

a.lourth valve. Maka sure yau ptay bars 22 and 2g-á2 with a rich. stngng sound. Then, fu areful of your octave jump in measure 32_ tansfer the rich sound down as you make the' jump; increase the

Horn:

air

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 ?lr.1dy: T"..o:mpanying tn the melody. Rehearse the accompanying instrumens alone without the I st Trumpet, striving lor total coordinaíion and aoperation. hagments oí metody or counter_metody tor the !^":.::: :!t" td::,verat no:1^t!a: be brought to he fore : namely, bars 4, I - I à, g24, -sh2u and 35-36. 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

in bat

1

23.

ílow, and listen to the pitch- As atways, keep promoiing foruard motjon in the rhythm.

Chuck

9. ANDANTE from the Trumpet Concerto

Franz Joseph Haydr

arrangd lst Bi Trumpct

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Tionbone

Tuba

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Miltr;sÍJ

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by trValter Barner

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Cor Royal PHILTPP NICOLAI (1556.1608) PETER CORNELIUS (1824.1874) COR ROYAL (the Royal Horn) is an unusualcompositíon in that it was co-written by composers living some 300 years apart. 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, without the solo Horn part. 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. Fred, Ron, 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, project to the faÍthest

wall and the tallest arches. Build drama. This simple melody, with dramatic and best received piece for Horn. Good tuck.

its

even simpler accompaniment, can be the most

David

I I

t

IO. COR ROYAL

I

chorate by philipp Nicolai (1556-160g)

obbtigato metody I

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

st Br Trumprt

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i(rm In F

Trombone

fubr

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I

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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

chinawall! 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

music' lt is not unusual

to fínd modern music being ptayed on traditional Ínstruments, and conversely,

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 A!4.SlLry@f: Tht^s i9 the key element in atl brass playing. When you get a chance, refer to our BooK.OF BEGINNINQ oUtNTETi (the Green book) in wnicln tne rirst two pages tatk of air supprt. playing, lo'.".|t^!!Pt .targe breaths'and frequent breaths are essentiat for good tone and tuning. 2' LISTENING: we have tatked about listening throughout this book. we urge constant, careful Iistening to your fettow ptayers for dynamics, btánd, tuiing, temw. putse, and doubtings. 3' TIMING: Timingof notesandiests,especlattythenígero,nes'. 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. 4' ToNE: Your tone is your'musicalfingerprini';onty you possess that sound, onty you can improve ít,andonlyyoucanproiectthattonetoyouraudience.- Praciiceinfrontof amirrorwhereyoucanwatch yourself breathing. Also, find an extremely reverberant room in which to practice from time to time (such as a concert hall, gymnasium, churcít, or even targe bathroom) so that you can enjoy the realy arge sound you can make. TlN!l!9: tn every text in this book, we ha.ve tatked about tuning. you might have greatest the tone' but the moment you b99in lerforming with another musician,'tet atone four others, intonation

?

becomes most important. Gáod tntonatioÁ.or tuning is onty possíble when you are

support and carefully listeninQ to your colteagues.

we want you to be the

best you can,

using good g!1

and these five points witt surery herp. Canadlan Brass

-:'iSa:*"sÉiiá_n'

46

11. SAKURA (Cherr-v Blossoms)

traditional Japanese

arranged by Walter Barnes Isr Bb

Itumfrr