Matériel : Partition
10 bekannte Stücke von Bach bis Duke Ellington-The wide range of musical styles presented in this edition ranges from the Baroque the Classical and Romantic periods to the modern age. Arrangements of compositions such as Schubert's An Sylvia Bizet's Aragonaise (Carmen) Rachmaninoff's Vocalise or Wagner's Prize Song present the trumpet player with a number of technical challenges and as well as the need to consider musical style.A brilliant collection which is both educational an thoroughly enjoyable.Biography:As a freelance trombonist composer and arranger and as bachelor of music education Rod Hudson taught jazz history and jazz arrangement and he directed jazz ensemblesat the University of New Hampshire the University of Connecticut and the Eastman School of Music. His compositions and arrangements have been performed and recorded among others by the Tommy Dorsey Orchestra and the Harvard Jazz Band.Contents:Antonio Vivaldi: Allegro (from 'Cello Sonata No. 1')Billy Strayhorn: Lotus BlossomFranz Schubert: An SylviaSergei Sergejewitsch Prokofieff: March (from 'The Love for Three Oranges')Robert Schumann: Im wunderschönen Monat MaiSergej Wassiljewitsch Rachmaninow: Vocalise Op. 34 No.14Georges Bizet: Aragonaise (from 'Carmen')Edvard Grieg: Album Leaf (from 'Lyric Pieces Op. 12')Richard Wagner: Prize Song (from 'Die Meistersinger von Nürnberg')Joseph Haydn: My Mother bids me Bind my Hair
SKU: CF.CPS256F
ISBN 9781491159729. UPC: 680160918317.
As the title suggests, there should be a tongue-in-cheek aspect to the performance of this piece with the idea that it doesn't take itself too seriously. Close attention should be paid to staccato notes, making sure not to play them too short and clipped, keeping in mind that a staccato quarter note should have the length of an eighth note and not the length of a sixteenth note. Although the piece is a march, it needn't conform to any strict interpretation of what a march should be. Some of the tongued eighth-note passages may need to be double-tongued, depending on tempo, using the Dig-A-Duck method. For instance at m. 34 the repeated eighth notes might be tongued dig-a-da-duck, dig-a-duck, da dot dot. Slurred eighth-note passages should follow the curve of the line, getting slightly louder as notes ascend and slightly softer as they descend. Measure 39 through m. 51 will have a somewhat chaotic feel, so go with the flow! The sparsely orchestrated passage at m. 68 is understated--perhaps a little spacey in keeping with our theme--and not to be overplayed until the crescendo at m. 88, when we return to business as usual. Trumpets show off again (rarely a problem for trumpet players) on the D. S. back to m. 6. On the Coda, another disjointed-sounding theme, again departing from any strict interpretation of a march--again, making sure that the staccatos are not too clipped--is followed by a repeat of the main theme, this time layered. Care should be taken to balance the entrances of the layered instrument groups as they enter. An exuberant final four measures puts the cherry on top. Percussion can play out for the most part, very little subtlety required. Overall, this piece is meant to be FUN, for both the performers and the audience!.As the title suggests, there should be a tongue-in-cheek aspect to the performance of this piece with the idea that it doesn't take itself too seriously. Close attention should be paid to staccato notes, making surenot to play them too short and clipped, keeping in mind that a staccato quarter note should have the length of an eighth note and not the length of a sixteenth note. Although the piece is a march, it needn't conform toany strict interpretation of what a march should be. Some of the tongued eighth-note passages may need to be double-tongued, depending on tempo, using the Dig-A-Duck method. For instance at m. 34the repeated eighth notes might be tongued dig-a-da-duck, dig-a-duck, da dot dot. Slurred eighth-note passages should follow the curve of the line, getting slightly louder as notes ascend and slightly softeras they descend. Measure 39 through m. 51 will have a somewhat chaotic feel, so go with the flow!The sparsely orchestrated passage at m. 68 is understated—perhaps a little spacey in keeping with our theme—and not to be overplayed until the crescendo at m. 88, when we return to business as usual. Trumpets show off again (rarely a problem for trumpet players) on the D. S. back to m. 6. On the Coda, another disjointed-sounding theme, again departing from any strict interpretation of a march—again, making sure that the staccatos are not too clipped—is followed by a repeat of the main theme, this time layered. Care should be taken to balance the entrances of the layered instrument groups as they enter.An exuberant final four measures puts the cherry on top. Percussion can play out for the most part, very little subtlety required. Overall, this piece is meant to be FUN, for both the performers and the audience!
