Location via proxy:   [ UP ]  
[Report a bug]   [Manage cookies]                
Scribd Logo
Upload

Welcome to Scribd!

  • 12 views

    2022 Trumpet Audition Excerpts

    Uploaded by

    Collin Ledesma
    This passage from Mahler's 5th Symphony is very dramatic and requires careful attention to dynamics and pacing. The opening triplets should start softly and build in intensity over the first seven bars. Rests are important for mood and feel. The tutti sections need strong tone while maintaining arcs between notes. Triplets later require ensemble precision while maintaining character.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd

    2022 Trumpet Audition Excerpts

    Uploaded by

    Collin Ledesma
    12 views3 pages
    This passage from Mahler's 5th Symphony is very dramatic and requires careful attention to dynamics and pacing. The opening triplets should start softly and build in intensity over the first seven bars. Rests are important for mood and feel. The tutti sections need strong tone while maintaining arcs between notes. Triplets later require ensemble precision while maintaining character.

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF, TXT or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    This passage from Mahler's 5th Symphony is very dramatic and requires careful attention to dynamics and pacing. The opening triplets should start softly and build in intensity over the first seven bars. Rests are important for mood and feel. The tutti sections need strong tone while maintaining arcs between notes. Triplets later require ensemble precision while maintaining character.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    12 views3 pages

    2022 Trumpet Audition Excerpts

    Uploaded by

    Collin Ledesma
    This passage from Mahler's 5th Symphony is very dramatic and requires careful attention to dynamics and pacing. The opening triplets should start softly and build in intensity over the first seven bars. Rests are important for mood and feel. The tutti sections need strong tone while maintaining arcs between notes. Triplets later require ensemble precision while maintaining character.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 3

    DU STYLE(><)

    0 Allegretto (M. M. 84: Jl


    Respighi Pines of Rome 95

    II. Pini presso una Catacomba


    (Offstage Solo) 0
    . Play ~s passage with an espressivo, dolce, cantabile tone throughout, shaping the phrase in a manne_r that
    giv~s the illusion of freedom but remains within a rhythmic framework. Intonation, especially when playmg G
    MaJor arpeggios or keeping the upper Gs from going sharp, is a key concern here. Aim for an even sound, top to
    bottom,_ with an overall concept of pacing and shaping throughout the entire passage that is beautifully
    expressive: As with the Mahler Symphony No. 3 posthom solo, it's important to know when the strings change
    chords. This helps greatly with coordination and timing from offstage.

    Tromba Interna in C
    Pin mosso (il piu Iontano possibile)

    1. 'I
    f
    fir lfflJ
    ma dolce ed espres/

    1
    ' E mr F rrr?t I .Ej F mo I f?fJ. w J A
    3
    r
    67
    Symphony No. 5 Gustav Mahler
    (1860 - 1911)
    I. Trauermarsch.
    (Beginning - 6 bars after Reh. 1) 0
    ~e fir st twenty-four bars of Mahler's Fifth Symphony represent some of the most dramatic writing in the
    ;c e stral ~pet repertoire. Start the opening triplets slightly after the fourth beat each time, falling toward
    . e next ~ar s downbeat with increasing intensity. Support the triplets with proper airflow and let the tongue
    nd~ the arr, always blowing toward the downbeat. Keep the tongue "in" or forward, but not against the teeth.
    ~s cr~ates an economy of motion that makes the triplets speak more easily and evenly. If you can play these
    tr:1plets _m a sotto voce, "solo" piano dynamic, that volume contrast with the stronger portions later will help
    give this a ~onderful dramatic impact. I once had the opportunity to discuss this passage with the legendary
    con~uctor _Sir Georg Solti. I can still hear him singing the beginning ("dee-dee-dee-Dah") with fire, quickness,
    and mtens1ty, yet starting softly. Each time I play this, I have this in mind before I start. Think of these opening
    sequences as one bar stacking upon the next. From the beginning, the first triplets leading to a half-note with sf,
    the next one slightly stronger and leading to the next half-note with sf, then the following one stronger still but
    leading to a whole-note with sf and accent. Back off slightly and do the same thing, this time with mo/to
    crescendo into bar 7. In these opening seven bars, the rests are as important as the notes in creating the right
    mood and feel for this passage. This is particularly true in bar 4 during the two silent beats. Do not be tempted
    to jump in too soon on the next triplet, but allow each rest to settle fully. In bar 9, the accented double-dotted
    quarter-notes need a sustained tone and intensity leading through the sixteenths in a two bar arc, seeking bar
    11. The fluchtig triplet in bar 11 can also be played in a variety of ways. However you choose to perform this,
    you need a sense of forward motion, reaching toward the sf concert E half-note without letting the triplet sound
    vertically measured. Dynamic pacing up to this point is also a key element as we need to save a little to give
    the tutti.ff in bar 12 its appropriate impact. Remain strong throughout the subsequent fortissimo with the same
    arcing, double-dotted quarters/sixteenths as earlier, this time seeking the concert A-flat in bar 19. Keep in mind
    that the triplets in bars 20-22 are with the rest of the orchestra, so while leading these triplets to each respective
    downbeat, play them at a speed that will ensure the right character as well as rhythmically solid ensemble.

    In gemessenem Schritt, Streng. Wie ein Kondukt _ . . .. _


    Solo (die Auftakt-Triolen dieses Themas miissen stets etwas fluchtig-quas1 acc., nach Art der Militiirfanfaren - vorgentragen werden!)

    inB 3 3 3 > 3 3

    1.
    f I l+JJJ I ffJ
    t1p~sf
    1 JJJI ffJ 1 JJJI
    -==== sf =
    1 1 ffJ JJI f j 1 ffJ JJI
    -=== sf

    3 >

    f g lj r I ffrf
    10
    f JiJI molto __
    I (Triole: if= if-C::::::::..
    sf.-= - I ====- jlilchtig)

    sempre ff
    ff ===-
    Pesante

    f ·1 l 13Cff F 3

    be tacet depending on version used.


    3
    ff ========-- p
    - - -
    -&
    >
    I====-
    * Bracketed bars may

    You might also like