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    Trumpet Class Excerpts

    Uploaded by

    Addie Channon

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    © All Rights Reserved
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    Trumpet Class Excerpts

    Uploaded by

    Addie Channon
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    trumpet class excerpts

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    8 views2 pages

    Trumpet Class Excerpts

    Uploaded by

    Addie Channon

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    © All Rights Reserved
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    of 2

    11:20 am Mon 15 Mar

    23
    Leonore Overture No. 3
    Ludwig van Beethoven, Op. 72b
    (Offstage Fanfare) 0 (1770 - 1827)

    Set the first two bars in the same dramatic, recitative manner as the first two bars of the Leonore No. 2.
    Shaping is critical here as well. From the end of the second bar, accelerate towards the downbeat of bar 4, at
    which point you should be at your top speed in this passage. From there, decelerate progressively until the
    fermata in the final bar. The shaping for this is essentially like a roller coaster starting at the top of a hill,
    gaining speed as it progresses down, reaching the bottom of the hill at top speed, then decelerating as it goes
    back up a mirror image hill to the acceleration, finally arriving back to a point at the end which is equal to the
    start. As you accelerate and decelerate, take care that articulation, dynamics, and tone quality all remain relative
    and consistent. Think of each group of two sixteenths/two eighths belonging to the next downbeat eighth. This
    occurs from bar 1 into the bar 2 half-note, from the end of bar 2 to the downbeat of bar 3, and also to the third
    beat of bar 3 and the downbeat of bar 4. For the last note concert B-flat fermata, I think ofit as seven counts in
    duration, with three beats held strong and then four counts of diminuendo before lifting. Make sure that your
    intonation stays steady and doesn't change as you diminuendo on this last note. When playing this fanfare
    twice, either in performance or in an audition situation, make a distinct difference between the two by playing
    the second fanfare with even more drama. One way to achieve this is by playing the opening half-notes bolder
    and a touch stronger and longer, and by making a quicker acceleration and more dramatic deceleration at the
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    11:20 am Mon 15 Mar

    Strauss Ein Heldenleben 131


    (B~Trumpet 1 and E~Trumpet 1, Reh. 80- 83)
    At Reh. 80, sing in duet with the violins with a lush lyricism. Reach through the first three quarter-notes,
    leading them to the subsequent half-note each time. Think of the sixteenths as belonging to the next eight-note
    and swing them in a quasi-Viennese manner. Avoid sitting on the longer notes, but instead, vibrate and keep an
    expressive dolce quality to them. In the first B-flat part, at the second bar of Reh. 81, there is debate as to
    whether or not the third triplet note is a concert D-flat or D-double flat. Either pitch can actually work, so I
    would suggest asking the conductor's preference on this. At Reh. 81, the first E-flat trumpet and first horn take
    over the melody and phrase with the same expression as before, but in mf At Reh. 82, the first B-flat part again
    takes over the prominent line and should sing out in a beautiful, gloriousforte. Make sure not to slow down

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    when playing stronger here. In the first E-flat part, come up enough dynamically to be equally in duet with the

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    first B-flat player at the end of the second, fourth, and sixth/seventh bars after Reh. 82.

    (Festes Zeitmas, sehr lebhaft)

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