Scribd
Upload
2K views66 pages

Orchestral Excerpts (Ken Shifrin)

Uploaded by

Nils
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF or read online on Scribd
2K views66 pages

Orchestral Excerpts (Ken Shifrin)

Uploaded by

Nils
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF or read online on Scribd
You are on page 1/ 66
ORCHESTRAL EXCERPTS Compiled and Annotated by Ken Shifrin Edited by Ken Hanlon iphonium f'§ess rumpel VG (P Including the complete, transposed parts to k Don Quixote and Ein Heldenleben Ne! NUSIC “F- VO87 GREAT BRITAIN» UNITED STATES Barber Bartok Harris Harris Holst Tanacek Janacek Janacek Mahler Mussorgsky Respighi Schuman, W. Shostakovich Shostakovich Shostakovich Strauss Strauss Traditional Bartok Berlioz Henze Janacek Janacek Janacek Ligeti Reimann Schoenberg Strauss Strauss Strauss Stravinsky Stravinsky Takemitsu Wagner Webern Table of Contents Preface .. Introduction General Remarks . Transposition Key... Section 1: Euphonium ‘Third Essay for Orchestra Kossuth (2 tenor tubas) Symphony No. 1 Symphony No. 7 The Planets ... Sinfonietta (2 tenor tubas) Totenhaus Suite Violin Concerio Symphony No. 7...... Pictures at an Exhibition (edited by Ken Shifrin) Pini di Roma (2 baritone hors and 2 euphoniums) Credendum Lage d’or The Bolt (2 baritone borns)....... ‘The Tale of the Priest and His Blockhead Servant... Don Quixote (complete and transposed) Ein Heldenleben (complete and transposed) ‘The Saucy Arethusa (edited by Ken Shifrin. Section 2: Bass Trumpet Kossuth Requiem (4 bass trumpets) Requiem @ bass trumpets)... Sinfonietta (2 bass trumpets) Totenhaus Suite Violin Concerto Le grand Macabre. Troades Gurre-Lieder. Elektra... Guntram.. MacBeth..... Canticum Sacrum . Le Sacre du Primtemps...... Visions for Orchestra Der Ring des Nibelungen Das Rheingold ... Die Walkiire Siegfried . Gotterdammerung.. Orchestral Pieces (1913) .. Lisi of Common German Musical Terms Preface The Professional's Handbook of Orchestral Excerpts for Euphonium and Bass Trumpet go Music is pieased to present the third publication* in its series of orchestral study books for specialists 4 doublers. Within the limits of availability and based upon frequency of performance, we have included in a gle volume all the key passages from the orchestral and operatic repertoire—especially many excerpts ks for euphonium and bass trampet. 1¢ Professional’s Handbook of Orchestral Excerpts for Euphonium and Bass Trumpet will be a tremendous ‘on {0 all trombonisis iooking to “beef up” their vaive skills (not to mention looking to “beef up” their dou- ing fees). For band euphonium players considering a crossover to the orchestral world it will serve as an dispensable guide to the repertoire. For trumpet players taking up the bass trumpet—no longer considered the clusive domain of the bass clef brass—it will be an excellent means to build “low chops.” \s orchestral rehearsal time is often minimal, advance prepartion is even more crucial, Also, due to the intense ompetition, no one can afford to be unprepared—especially when so much of this important repertoire is Moistic. “hether used by students learning to double or professionals who must have these doublings at their fingertips, “te Professional's Handbook of Orchestral Excerpts for Euphonium and Bass Trumpet will prove to be a “ost welcome reference. The Alto Trombone (V002); Piccolo Trumpets (V049) Introduction The Euphonium? te timbral requirements of the eupho- tied that ideally a cuphonium player -ge and a small bore, However, if you obably better. Since the technical re- re—they certainly will pose few prob- conation and sound are the two most orchestral euphonium, Generally, one ward extension of the bass tuba range— YS, @ “powerful and all-pervasive qual- oreover, it is somewhat easier to ap- and with a large-bore euphonium by » air column accordingly than it is to ma nium orchestral repertoire are sufficiently should have at least two instruments—a have access to only one instrument, big is quirements of the repertoire are not exces- Jems for the band euphonium player— important considerations when choosing views the orchestral euphonium as the the tuba tenore —with, as Denis Wick ity of sound,” which is still rich and warm. proximate a smaller, lighter baritone hom using a smaller mouthpiece and adjusting make a baritone hom sound like a tenor Four-valved oval-shape euphonium (by Alexander, early 1900), The name euphonium was apparently coined by a German musician named Sommer, in 1843, for his own converted opbecleide. After some improvements by Viennese instrument maker were incorporsted, Sommer exhibited the instrument QL73-121 ‘throughout Europe. Het om the Greck euphonos, meaning sweet-voiced and musical = | Cross-referencing for pitch with the si sage tromionisis doubii p to humouring notes into tune without the aid of the trombone slide. A very practical intonational aid is attigger fitted to the main tuning slide of the euphonium which allows minute intonational adjustments while playing, Itis hoped that this feature will soon become factory-standard on all makes. ‘An unfortunate complication that arises with orchestral euphonium parts is confusing nomenciature. Different composers meant different things when they scored for tenorhom, tenor tyba or baritone. For example, when Bruckner wrote for two tenor tubas in his seventh and ninth symphonies, he referred to that very different "beast", the Wagner tuba, which Wagner states in the score of Siegfried "corresponds best to horns in F and therefore should be played by ... the 3rd and 4th horns". Likewise, in Le Sacre du Printemps, Stravinsky intended Wagner tubas when he called for two tenor tubas. (AS late as 1954, Grove's Dictionary of Music and Musicians’ claimed that Stravinsky scored for euphonium. As no other such ‘work appears in the Federation of Music Societies’ renee Tuba(pre-1910 Catalogue of Orchestral Works, I can only surmise Ovalsbape Tenorhora by Alexander, thesoloinstrsmentindicated by Mahler in the beginning of his Seventh Sym phony. Similar to a baritone hor, it Should not be confused with the tenortorn ofthe Bits brass band ‘TheB Wagner by Moritz) should not be coafused that Grove’s was mistakenly referring to the tenor with the Tenor Tubs (.e. euphonium) i cats omtand aid compos. ‘BA parts in Le Sacre du Printemps), On the other hand, Holst (Planets) and Janacek (Sinfonietta and Totenhaus Suite) certainly meanteuphonium when they scored for tenor tuba, Richard Strauss definitely meant euphonium when he scored for tenor tuba—sometimes! In the tone poems Don Quixote and Ein Heldenleben, Strauss wrote a tenor tuba part which is performed on a euphonium, butin the Alpine Symphony, he wrote two tenor tuba parts which enabled the Sth and 7th hornists to pick up doubling fees on Wagner tubas. According to Cliff Bevan, Strauss originally intended this part to be played on Wagner Tenor Tuba, When the piece was premiered in 1898 this was the instrument that was used, and most likely ‘also was used for the first performance of Heldenleben. In December 1899 conductor Ernst von Schuch was rehearsing Don Quixote in Dresden when he wrote Strauss, “my tenor tuba [Wagner Tuba] player cannot play the part well soThave therefore arranged for a Baryton [euphonium] tomorrow.” Subsequently Strauss wrote in his 1905 Revision of Berlioz’s Treatise on Modern Instrumentation and Orchestration: I myself have frequently written a single tenor tuba in B-flat as the higher octave of the bass tuba; but performances have shown that as a melodic instrument the euphonium is much better suited for this than the rough and clumsy Wagner Tubas with their demonic tone. ‘The heroic solo that Mahler entrusted to the tenorhorn in the opening of his seventh symphony has nothing to do with the British brass band tenorhorn (which the Amercans and Germans call the alto horn). Tire Bb tenorhorn, a member of the baritone family, has a narrow, less broad timbre than the large-bore euphonium. However, Mahler called for “ein grosser Ton” (a big sound). Since instruments, as well as orchestral sound (particularly in the brass section), have grown proportionately since Mahler's time, the euphonium is probably the more appropriate instrument for this solo today. One could be tempted to speculate that Mahler might have been influenced in his designation of tenorhorn rather than tenor tuba because of the high tessitura of the solo and the capabilities (or lack thereof) of the players available to him in Vienna at that time. However, this high tessitura is certainly not considered overly demanding by the standards of today's professional euphonium players. What did Shostakovich scored an extended solo in the “Adagio” movemey of the suite from the Lage d'or for a "Baritono in B?" Is baritono an Italianization of the German word baryton (a large-bore euphonium) or the Italian word for a small-bore baritone horn? An orchestral manager once insisted that Shostakovich must have meant a French horn since “a euphonium can’t play as high as a d" (!). As Shostakovich indicates the pitch in the German fashion (“in B" is German for "in B-flat"), confusion arises as to what language “baritono” is in, Ravel surely had in mind the high C French tuba, the standard tuba in France during his time, for the "Bydlo" solo from Pictures at an Exhibition. Is it ever appropriate to Db Baritone Hom (Couesnon). This Petform this solo on anything but euphonium when insromentsboldbewsedin worisby the French instrament is not available? Shostakovich 19th-century flicomo tenore, by W. Stowassers Shne: similar tothe bari- Respighi, in the off-stage band of Pini di Roma, calls. tone hor, Use in Respghis Pini di forsixlicomi in Bb, including wo flicornitenori and Rene jrerarowberfeliottpay- two flicomi bassi. Authorities Clifford Bevan and Norman Del Mar concur on the following: the tenor voices should be played by either baritone homs or three-vaived euphoniums; the bass voices are to be played on four-valved euphoniums. (According to Bevan, the sopranoyflicorni Parts are best performed on fluegelhorns.) Confusion exists on how the tenor flicorni parts, which are written in “treble clef in Sib,” are transposed. According to Bevan, the baritone horns that play these parts should transpose down a major second from what is written, Bevan cites Alesandro Vessella, music director of the Banda Comunale de Roma beginning in 1895, who wrote this about the flicorno tenore: “The batitone (flicorno tenore) is atits most characteristic in the middle and high registers.” That is where Respighi uses it in the Pini di Roma. Vessella gives the range as: concert pitch S—— One must also keep in mind that a century ago, baritone horns had narrower bores than today’s models, Edward R. Bahr, in the pages of the 7.U.B.A. Journal, advocates the use of the large-bore euphonium as a superior replacement for the Wagner tuba. He also suggest that the euphonium be used to perform ophecleide parts as well as the tuba parts that are written in the extended upper register, citing a recording of Petroushka, conducted by the composer, in which a euphonium was used in this manner. However, this seems to be a minority point of view, particularly with orchestral managements, presumably because this would result in doubling fees. In cases where there are no clear-cut answers, the player must rely on his ‘own musical taste and orchestral "smarts" to determine what sound would be most appropriate for a given work, (Having done that, the conductor will more than likely tell you to play it differently anyhow!) As the tuba and tenor tuba usvally work in tandem, they normally sit together, with the tenor tuba logically to the right of its bass partner. However, as you will now be playing directly into the left ear of the bass trombonist, prepare yourself for an overwhelming number of reasons why he has to be sitting next to the bass tuba. (Tread carefully, especially if the bass trombonist is larger than you). But have no fear, retribution is yours! During the "duet" between you and the bass trombone in Mahler's Eighth Symphony you can blow him off the stage. (Even better: get him to ask you to play softer). Seriously, there are works in which it makes sense for the tenor tuba to sit elsewhere, For example, in Strauss’s Don Quixote, as so much playing is with the bass clarinet, the ensemble can benefit from these two musicians sitting together. The Bass Trumpet ‘The invention of the bass trumpet is often incorrectly attributed to Richard Wagner. However, by 1815 Joseph Kiifiner was already writing cavairy Anziige (or fanfares) that included parts for two bass trumpets in Bb, as well as for a 13-foot bass trumpet in Eb, In 1821, the famous Berlin trombone virtuoso Friedrich Belke gave a recital on ihe Stdizel vaived-bass trumpet, cailed a Tenor-tromperenbass, in Bb. An Allgemeine Musikalische Zeitung reporter described it as more horn-like than a trombone, with HW a fuller sound, smoother in the tenor register and stronger in the bass. Elongated models in EL and F, dhe wea paris of which dhe players had io place under their right arms, were introduced by the German manufacturer in 1828, The Germans apparently alled ita Corno basso chromatico; the French named it the ophicléide monstre. By the 1840's, the Austrian and German military bands were using a wide-belled Basstrompete in Bb and the Italians were using a pair of rrombe bassi in their military bands, a tradition which survives today, Pen era in F cova 18°. certain ambiguity surrounds the intended pitch of the bass trumpets Wagner airy bands, this was the French name Tequired for his operatic cycle Der Ring des Nibelungen. Most probably influenced for a species of bass trurapet by the bass trumpets he observed in military bands, Wagner’ initial specification, according to some, was a gargantuan model pitched an octave below the customary F-valved trumpet (or in Eb). This was done, according to Jeremy Montegue’s The World of Romantic and Modern Musical Instruments, “in order to attain something like the trumpet tone quality in the trombone register,” with a compass which would extend from the bottom notes of the tenor trombone to the upper register of the French Horn. However, a narrow-bored instrument, with more tubing than a bass trombone, would have been of poor quality in the lower register and, as stated by Cecil Forsythe, “unplayable by human lips” in the upper register. As a result, agner modified his idea and accepted a modei from instrument maker C,W. Moritz constructed in low C with crooks for Bb and A. This bass trumpet was a tone higher than the tenor trombone and a fifth (or sixth) higher than ‘Wagner originally wanted. Nowadays, since orchestral trumpet players use instruments in Bb and C as their mainstays, the bass trumpet can be in the octave relationship that Wagner may have intended. Not only was Wagner not responsible for the invention of the bass trumpet, he wasn’t even the first composer to employ itin an orchestral score. Berlioz wrote for four bass trumpets in his Requiem in 1837, although the parts may have been composed for natural instruments despite the existence of the valved model. What cannot be disputed, however, is that Wagner wrote some of the most demanding and musically rewarding passages in the bass trumpet repertoire. Therefore, much attention should be directed to Wagner’s works, since familiarity with his music is no Jongerimportantonly to the operatic bass trumpet player, butalso to his orchestral counterpart, Symphony orchestras now frequently programme scenes and acts from the Ring in concert version. Left: C Bass Trumpet by Moritz (pre-1910). Some autborites claim that the wide-belled bass trumpet, which produced a dark and ‘melancholy sound, similar to the (Right!) Bellfont Althora (Moritz), was the proper instrument for Wagner's bass trumpet parts, 6 1 euphonium, the technical demands of the repertoire are not exceptional ion and sound are the most important considerations in selecting a bass trumpet. A bass trumpet that plays in tune in all registers is a real find, as most have at least a few problematic notes, sorne perhaps even severely so. Check carefully the so- called “alternate” fingerings as they may play better in tune than the “normal” fingerings. A four-valved instrument can be very helpful in this regard. It is essential that your choice of bass trumpet provides enough margin to make effective lipped-pitch adjustments, Enormously helpful intonational aids are spring-action tuning slides (usually for the first and third vatves), which some players have constructed for their instruments, Tuning your bass trumpet with trombonists and trumpeters will give you a good idea of your instrument's intonational caprices. Also, checking 1, Modei WT-i6 (capable of emitting a very ioud tone}, is nigiiy ‘ore, intoy pitches with a tuner, especially the Korg Tui recommended, Just as the euphonium is viewed as the upper extension of the tuba range, the bass trumpet should be thought of as the lower extension of the trumpet section, rather than a bridge between the trumpets and trombones. The latter conception has a tendency to lead toward a valve-trombone sound rather than the necessary brilliant sound, For a tombonist to produce this narrower trumpet sound, especially when using the relatively “Lat” Bb bass trumpet, it is advisable to use the smallest, shallowest mouthpiece possible (even an alto trombone mouthpiece) that does not Gistort the tuning, The bass trumpet customarily sits to the right of the first trombone or at the end of the trumpet section. However, depending on the specific work, there can be considerations that favour other seating configu- rations. Brand names aside, there still remains the question of what pitch bass trumpet to use, as bass trumpets are made in Bb, C, Ep, and even D and F. The obvious advantage of the Bb is that the fingerings are the same as for the euphonium (an instru- ‘ment with which most trombonists usually have some farnil iarity), Some contend the Cass trumpet sounds more brilliant and less like a valve trombone. However, Wagner’ s transpo- sitions can be devilishly more awkward when ‘using the C than they are when using the Bb. The Eb bass trumpet, a double for some trumpet players, carries well without “blatting” and is ee rpep a ty Alexander (aso pre1910)issimilarto he four- ea} for those stratospheric “licks” as in Das Rheingold and ™ earacceaeee the Henze Requiem, There are, however, complaints about the Ppuniness of the overall sound of the Eb. Currently, the four-valved C bass trumpet is the most popular choice in the United Kingdom and on the continent, while the Bb is favoured in North America (where itis harder to get one’s hands on a C). Bass trumpets pitched in D and Fare so rately seen these days that they seem to be either custom-made, geriatric-hybrid-collector's items or jvst rumours. Ken Shifrin Principal Trombone, City of Birmingham Symphony Orchestra Great Britain, September 1994 A Postscript for the Band Euphonium Player ‘The cuphonium player who feels tempted to skip over the bass trumpet section of this book and leave the field to tombonists should think again, for not to take advantage of certain things going for you would be unwise, Unlike trombonists, you already have finger technique (apologies for the approaching pun) at your fingertips, Additionally, making lipped-pitch adjustments is second nature to you, Finally, the problem of producing an unwanted valve- trombone sound is probably minimized by not being a trombonist in the first place. General Remarks While every effort has been made to produce a volume of orchestral excerpts for euphonium and bass trumpet as comprehensive as possible, a few works have been omitted due to reasons of copyright and the fact that they lie outside what is commonly regarded as standard or semi-standard repertoire. Moreover, small chamber works which are not orchestral repertoire per se, as well as parts originally intended for ophicleide and Wagner tuba, have not been included, However, the reader should be aware of these other works for euphonium and bass trumpet. Therefore, they are listed below: Barber, Samuel Bax, Amold Birtwhistle, Harrison Ginastera, Alberto Gottschalk, Louis Moreaw/Gaylord Hatton Grainger, Perey Havergal, William Harris, Roy Janacek, Leos Kay, Hershey Meyerbeer,Giacomo Strauss, Sr., Johann *Strauss, Richard Turnage,Mark-Anthony ‘Yardumian, Richard Symphony No. 2 (tenor tuba ad lib) Overture to Picaresque Comedy Symphony No. 2 in E minor and C minor Gowain Chorale 150 Symphony “A Night in the Tropics” Several wind ensemble works Several symphonies Give Me the Splendid Silent Sun Ode to Friendship Symphony No. 2 Symphony No. 3 Symphony No. 5 Symphony No. 9 When Johnny Comes Marching Home Capriccio Stars and Stripes, after Sousa Western Symphony Le Prophite Radetzky March Ein Heldenleben (bass trumpet*) Three Screaming Popes Passacaglia, Recitative and Fugue Symphony No. 2 With the exception of Ein Heldenteben all works on the int. Eight bars from the end, a pro! nt offer a possible solution. Strauss writes a very oxposed entrance for the tst Eb trumpet, apiano low Eb (concert). Customarily played on aBb trumpet tuned to A, the tone is often not as pristine as one would desire, due to the extreme low register of this note. However, on a bass trumpet, Eb would be a very comfortable and secure note and the tone colour quite acceptable. It is suggested that the bass trumpet play the first two tones with the Ist Bp trumpet entering in bar 2 und the 2nd pet joining in bar 3. This passage could be performed as follows: atic passage oer sounding: Festes Zeitmas (mibig langsam) Fostes Zeitmas (miiBig tangsam) Deen ‘etwas markiert < tbe: wept be 2 Tpts. in Eb Bass Tp, = P == mf Ist Bb ape, Ist & and Eb tps, only A publication such as this would not be possible without the assistance and encouragement of many individuals to whom sincere heartfelt thanks is owed. Special recognition must be given to Per Brevig (Conductor; Principal ‘Trombone, New York Metropolitan Opera Orchestra [former], and Professor of Trombone, The Juilliard School), John Marcellus (Principal Trombone, National Symphony Orchestra {former} and Emory Remington Professor of Trombone, Eastman School of Music), M. Dee Stewart (Trombone/Euphonium/Bass Trumpet, Philadelphia Orchestra [former] and Professor of Trombone, Indiana University) and Denis Wick (Principal Trombone, London Symphony Orchestra {former} and conductor), whose insight and vast knowledge of the repertoire made an invaluable contribution to the preparation of this volume. Important input in the way of supplying information, scores and assistance with publication detail was provided by Adam Harvey (Hire Library, Boosey & Hawkes, U.K.), Dr. Andreas Krause (Editor, Schott, Germany), Richard Robinson (Euphonium and Journalist, U.K.), John Poweli (Euphonium Soloist, U.K.), Ralph Sauer (Principal Trombone, Los Angeles Philharmonic), Stephen Mead (ternational Euphonium Artist, U.K.), Zoraya Mendez-DeCosmis (G. Schirmer Inc., U.S.A.), Tim Rodgers (Schirmer, U-K.), Martina Horbach (Schott, Germany), Chris Norris (Faber Music, U.K.), Richard Payne (Bérenreiter, U.K.), Sally Groves (Schott, U.K.), Andrew Knowles (Alfred A. Kalmus/Universal Editions, U.K.), Bruce Nockels (Trumpel/Bass Trumpet, U.K.), Dennis Ferry (Principal Trumpet, Swiss Romaine Orchestra), Paul Busuttil (Principal Trumpet, Manoel Theatre Orchestra, Malta), Brian Raby (Bass Trumpet; London Philharmonic Orchestra), Silvia Seibert (Ensemble Modeme, Germany), Virko Baley (Composer/Music Director and Conductor, Nevada Symphony Orchestra), Eric Fordor (Alfred A. Kalmus/Universal Editions, U.K.), Ben Newing (Alfred A. Kalmus/Universal Editions, U.K.), Edward Bahr (Trombone Professor, Delta State University, Mississippi), Sheridan Schroeter (Head, Stanford University Music Library, Califomia), Beverly Wright (Kaiser Foundation, Palo Alto, California) and Richard Pelkey (Trombonist and Proofreader, Las Vegas, Nevada). Tim Bonenfant must be recognized and deeply thanked for his patience and ingenuity in preparing this entire manuscript, whose musical knowledge and computer skills were indispensible to this project. Virgo Music Publishers © ‘Transposition 1. in Do; in C; in treble clef; in C basso Bass Trumpet Waiten: SS Sous; FES] 2. in Bb = in “B” in German = in Sib 3, Treble clef in Sib for Respighi; Pini di Roma Treble clef in B for Strauss; Don Quixote and Ein Heldenleben 4, inD The bass trumpet customarily reads down an octave, whether marked marked basso or not. The euphonium, however, reads treble clef (in C) where it is written. Euphonium Unless otherwise marked, read a major ninth down Some players mentally add two flats to the key signature and read as in tenor clef. Waites GS eS Sounds: ‘The flicorno tenore (batitone horn) reads a major second lower than written, The transposition for the tenor tuba is the same. Written: Sounds: Unless otherwise marked, read a minor seventh down, Some players mentally add two sharps to the key signature and read as in alto clef, Written: f ef Sounds: oF ————— 5. in Eb = in “Es” in German Read a major sixth down, Some players mentally add three flats to the | key signature and read as in bass clef up an octave. | Written: 6. Bass clef in Bb (Bartok: Kossuth; Janacek: Euphonium Violin Concerto; Strauss: Don Quixote, Ein Heldenleben) | Wite, SEES | Sounds; =p | 7. ‘Venor clef in Bb (c.g., Bartok: Kossuth) Read a major second lower than written, Written: —#— Sounds: few of our esteemed colleagues have enquired about the possibility of providing complete parts transposed into ‘itombone-friendly" keys. Assuming the copyright owners of the works in question were to agree to allow us to do his, the license fees alone would have made the cost ofthis publication prohibitive. Moreover, one of the intentions af this volume is to assist the player in attaining transposition facility. However, with regard to Richard Strauss’s Jon Quixote and Ein Heldenleben, which are in the extremely awkward key of Bb bass clef and are two of the most ‘mportant compositions in the euphonium symphonic repertoire, we are pleased to present the complete parts in ransposed keys. Double Bars: Annotations: Organization of Volume: Rehearsal numbers: ‘Transposition indicators: al Key To mark the end of one excerpt and the beginning of the following excerpt, two sets of successive double bars are employed (with no intervening notes). Single sets of double bars are as they occur in the actual part. Alll remarks not those of the composer are placed in square brackets to differenti 1m the markings in the original score, thom This volume is divided into two sections and is organized in alphabetical order by composer and then by title, Please note that in the Wagner Der Ring des Nibelungen, the four operas are in Ring order (i.e. order of composition), and not alphabetical order. Following many of the rehearsal numbers in this volume are numbers (¢.g., [1] +5 or [7] -2). Plus numbers indicate an excerpt beginning after the rehearsal number, and minus numbers indicate an excerpt that begins before the rehearsal number. Thus, “45” means the excerpt begins the fifth bar after rehearsal number [T] and “2” ‘means the excerpt begins the second bar before rehearsal number [1]. At the beginning of each work, the reader will find a cue-sized note head on a separate staff that indicates the concert pitch in bass clef of the first note of each work. This indicates the interval and direction of each transposition. Some of the works have multiple transpositions (e.g., the Wagner Ring), of which only the first i indicated, However, each of these tranpositions is covered either in the transpo- sition section of this volume or by one of the indicators at the beginning of one or more of the works in this volume. Ken Hanlon, Editor Left: Euphonium, Boosey & Co, Right: French orchestral tuba i 8ft.C, Besson. Note the similarities between the euphonium and the French orchestral tubain C, the instrument that Ravel mos probably bad in min for his orchestration of Mussorgsky’s Pictures at an Exhibition, i2 Section 1: Euphonium Excerpts Euphonium _ Samuel Barber Third Essay For Orchestra 1910-1981 Slightly broader J=66 4 in C+ sounds where written Soto! amd where writen) ‘mp espr- 24] Stringendo sino alla fine ef epg © 1978 yeh t.(ASCAP eatin Copy Sc A ip eee Reith Pin ‘Tenor Tubas J & I in Bb Bela Bartek Kossuth 1883-1945 IL. The Fatherland sin danger” hough arosors for for tenr basin th Miraculous Mandarin ch are clear Wage Tas, he designate wo tenor taba in Koh ‘er significantly in usage, range, clef and placement in the score that leads one to believe Bartok intended euphonium for this work. The bass umpes excerpt ofthis work i on page 33, Vivace ten, 3 - ~ P 3 3 c a St {© 1995 Virgo Musi Publishers 9018 Walden Road, Sitver Spring, MD 20901 USA vos7 Allright reserved. The photocopying of any of is materia isla 1 Jwith Bass Trumpet} he fom fetinay) 20 IX. “Bverything is quiet, very quiet...” . — = [in octaves with Bass Tuba] Adagio molto i] . Pe > rt ee te " pdolce nf ad 3. 3 ¢ [with Trombones} i oH —y : = Ta TTd Jb etc. eee Baritone Roy Harris 4 Symphony No. 1 1898-1979 Myvt. ith Woodwinds] J-84-88 (Ai sonore ~tenuto f ‘© Reprinted hy Permission of G.Seismes, In. _e ‘vost Baritone aoe No Roy Hi Symphony No. 7 1898-1979 a bo—p-~ AF (Harris writes “Do not use Trombone as substitute” here.) Cf f Fin C; sounds where writen) be > Poco pid) mosso. = = de38 Copyright © 1956 (Renewed) by Associated Music Publishers, In. (BM. Interoaional Cpytiht Secured All Righs Reserved, Repeinted by Permission, vos? ‘Tenor Tuba in Bb + Gustav Holst ihe Planets 1874-1934 Suite for Large Orchestra [Mars the Bringer of War “Sons playing. lie a whole section. Denis Wick af ‘Allegro +18 Solo (vit Bass Tuba ~ ire ¥ = fate =} oe mf cresc. = ct St Bas fuison with Bass Tuba} twas Jangsamer te 1 if {Soli with Bass Tube in Sth) P oli with Bass Tuba in Sts. {Sol with Bass Taba in Shs] zuriickhaltend Wieder etwas langsamer with Bass Tab in Sh accelerando bis---~ P Etwas langsamer accel.~ [Flute/Pice,} [Soli with Bass Tuba in Sth.) pao Po fest im gewonnen, accelerando Enstes Zeitmab lebhaften ZeitmaS Cebhaftbewes) — [22 oft | Sf beinahe doppelt_wieder sehr ruhig viel ruhiger lebhaft viel ohiger > so schnell Tq oe 2 so schnell [Solo Violin [Horns] [Solo Vielind [Solo Violin] [1si measure silent) wieder sehr ruhig; — 26 28 29 voll Sehnsucht 30) 44. Matig 6" Vat Jangsam| __8__ Jobe I] {Harp glissandi} [Solo Violin] Woline 1 & Hi] VO8T-H 2 "[Clariner etwas byser[ 44] wien lebhaf | lebatt 42 43 6 ([Trampets] obs Ttornsy (Trampers] (Win & Cali mf. P= P= Festes ZeitmaS (seht lebhaft) f crese. IF Sf {s3] [54] ann coe {15% Dra out] PP! Verese. [51 Drum enters} equal vote) I mit Dampter | a cresc. Fy equal volun] en ena fe lame} seit [BB] eitnon 5 fig is PELE Ls ie eee el a be Da SSeS x oe pt bit ET] SF (with Trombone If he Dampfer weg Sf wit Trombones; staggered breathing is suggested} "i iI 8 1 6 = yy 3 Dampier wes) 78] dim, allmahlich im ZeitmaB sehr ruhig 86] [87] [89] etwas steigem [Solo Celio) [ObaeMBass CL] fHorns/ Celi] {Bassoon} ; bs = —_——. _ fit Violas) f; b tes 2p P fest im gewonnen, lebhaften Zeitma8 ziemlich lebhatt PP sebe getragen im ZeitmaB FA [Soli with Bass Tuba in Sis.) Pose 94 Heftig veweat[93] (FiwesT ~allmahlich immer beinahe doppelt so langsam 5 9 6. a BE [a a | fest | jamal HE > Ting HiBoto Vn] ‘Wlins TT Tor foo ng Hor solo} Langsam =J des [with Trumpes tt) mit Dimpfer vorigen Zeitmas viel bewegter fing) {BsniCeliy pe dim. mf titard Langsam __ Boco ritard dim, Dampfer weg (Horn Tj [Selo Violin] [Bassoonns] Soo Wala) immer langsamer Festes Zeitmal (miigig langsam) (form T {Timpani} The ree ‘Vraditional The Saucy Aretiusa edited by Ken Shitvin, 1995 onium, “is sea chanty is played by the solo euphonium tn Henry Wood's "Fantasia on British Sea Songs. ‘suite of patriot sea songs traditionally performed ox the “Last Night of the Proms” in Great Britain, Cantabile, con bravura 4=63-72 Solo SS a singingly . broadly. — === meno f ral, cadenza * a o einen A [ostito presto!) >> atte) (P * Not for radiionalists! “Tis edition is © copyright 1995 Virgo Masle Publishers. yos7 Section 2: Bass Trumpet Excerpts ‘Trombe basso in C Bela Bartok Kossuth 1881-1945 Jie tenor tuba excerpt ofthis work i on page 12 [with Tenor Tuba; be carefid Allegro moderato to keep octaves in une. SF marcato f => = IX. "Everything is quiet, very quiet...” Adagio Molto with Timpani} 33 33 33 PP [with Trombones and Tenor Tubes] we SF 3 3 4 Trombe basse in Sib Requiem Hector Berlioz Ul, Dies irae 1803-1869 {sseems tobe the earliest appearance ofthe bass trumpetin the orchestral repertoire (1837). Although the valve had been already invented, this “may very well have Been designed tbe played on a vaveless bass rump tice all ofthe pitches are par of the instrument's overtone series. +6 poco a poco animato Ry yg ye Dye e Re {wo players on each port} 34 eten in C Hans Werner Henze (8va basso) Requiem 1926- VEL. Tuba mirum ‘movements ofthe Requiem can be played separately or in any desired combinations, The nwo Bass trumpets are needed in “Tuba rirum” only. ‘dowals apply to one note only and te symbol ———— is used instead of aie mark by Henze. An Eb bass trumpets suggested forthe fst part f vos? Se © 1998 SCHOTT MUSIK INTERNATIONAL, Mainz 2 Trombe basse in Sib ar Leos Janacek sempre unisono Sinfonietta 1854-1928 The to bass trungpets play inthe outside movements only. Movement one is scored for six trumpets, two bass trumpets, vo tenor tubas and tinpari This materia recurs in the last movement. The tenar tuba excerpt ofthis work s on page 1. Allegretto 63-72 2 Tenor Tubas in Bb sempre a2 1 = <= 5 : 6 stoso snist plays om downbeats. Dont be late!) 3 moo 3 Toes dele a a ‘hiversal Editions (Reproduced by permission of Aled A. Kalas Lid. (Universal Baton A. G. Wien) Leos Janacek -ombe basso in Sib . Totenhaus Suite 1854-1928 sorcelle fra tenor tubs doubling on bas trumpet Bring on the doubling ee! The tenor wba excerpt of ths work ison page 18. Allegro. 6] AE nonin [7] 40 f f woduced by permission of Aled A. Kalmus Lid (Univers Eon AG, Wies) . Leos Janacek Violin Concerto 1854-1928 “Putovanf dusicky” solo is the only passage the bass trumpet plays during the concerto. As the trombones are cet atthe ime, 1s to score a doubling fee. The tenor tuba portion of this excerpt ison page 18. ‘Trombe basso in C possible (and advisable!) for one o f CCopyeight 1988 BlsensiterVerlag Kasse (Eto Suprapon Paha. | | | | Gyorgy Ligeti Bare eumber nc Szenen und Zwischenspiele aus der Oper Le grand Macabre The editor wishes to thank Mr, Dennis Wick or providing these excerpts Binsatz des ,Geisterhorals” (Entrance of the “Ghost's Chorale") i ‘Terpo envasschneller als das Hauptempo J=120 ee (Somewhat fster than the msi tempo 4-120) ‘Tempo J=120 oop appro 120) +4 sigur, screed senend sanding 79 | ee = = Tatiana LS PE Es feuivré] Dieppe Eas, 7% sean cies st ntl confer leis (es “gives the next cue.) fF ‘Tompo etwas schnelor le J=120, (Tempo somewhat faster 4120) Tutta la forza stehend a Pans wie vorher > ES (Rest as before) virtuosissimo Der BaStrompeter ist vorne placiert (ev erhitz. B. auf einem Podest) und bliststehend (pladigl. (The bass trumpet player is placed infront [for example on a small podium] andis standing while ke plays fpladigl. in aria).) Die Einsitze der Baftrompeteerflogen sets gema8 dem Taktschlag des Ditigenten; der weitere Verlauf jedoch it frei im Tempo. Es sollen dadruch im Ganzen drei voneinander uaabbiingige Temposchichtea entstchen. (The bass trumpet entrances are given by the conductor and follow his bea; aftr that, however, the tempo is fre. ‘This means that there are three independent tempo layers.) Molto vivace, energico Come prima; J=168-176 168-1 a ae schmetternd stehend a # a = Paes “pyr brome oe Sip brale Come prima; J=168-176 schmetiernd schmetternd stehend > z a brale Come prima; 168-176 stehend a ‘Sf brutale Come prima; J=168-176 stehend +2 _ ‘Tacet al Fine fer Prvtale Reproduced by permission of Scot & Co, Led ‘vos? 8B . t Reimann Troades 1936- ‘This opera was convnissioned and premiered by the Munich State Opera on July 7, 1986. “The editor wishes to thank Mr. John Marcellus for providing this excerpt inc Trontbe = —— Ee p =e = 5 34 SS {© 1986 SCHOTT MUSIK INTERNATIONAL, Mainz Ba8 Trompete in Es . Arnold Schoenberg | Gurre-Lieder 1874-1951 | 1 Teil, Nach und nach ein wenig bewegter . Jac. 80) Mabig bewegt Twit Alo Trombone) hervortretend a PP. hervortretend y_hervortretend ‘Tempo I tp Rascher als das I. Zeitmass gedémp! Damper al “poco it ——— — > ms owes f | ke jnolto rit. f——== ded Jed ee ne oe St vos? 41 Klaus Narr 3 51 ciwas langsamer mit Dimpfer esp accel mit Dampfer_ tit. Die J etwas breiter Des Sommerwinds wilde Jagd Bowas breiter of SS =F =—_—_ hervortretend ervortrete SSS Ff —_= Repose by Pemiton of Ad A. Kaas Li (Belmont Mase Pablo) Baf Trompete Richard Strauss Elektra 1864-1949 — “Tragic Opera in one act . [solo in octaves with Trombone) Mabie langsam jebhafier 4-88 45 * miissig bewegt J=80 = w P — a nee 45 [Phis moi appears in several keys.) wieder breiter werden inc | allmtihlich wieder etwas flieBender mf marcato see ale ?) inp ae inc a ie 5 a tempo mit Dampfer 3 B [ison berks on the CBass fF arcato Trenpet nds ey exposed} a sehr bewegt J=69 Iwith ita & Celi ai 46 lexpored clo} 00 calando tempo primo F dim 7 +10 29) tr schaellJ-88 FF marcato as poe == A fo Jo] so schnell und {ot with Popes 1 deutlich als miglich I and ein Soprano) nwo = eras = ee ie + - f f sehr schnell J=120 55] = mit Dampfer po a f DF bee Dumpfer woe Prestissimo o=100 [solo with Elektra (Soprano}) +4 immer gesteigerter WBA pe BOTY +4 [with Homs 5 & 7) £ 18a +6 important solo} Fe ihe = 88a en ee Tht {impertn slo} ” Pp ’ (wh Trp 1 tromboocn gg a F w or lieSender et Jeg Becelerando sehr schnell J=108 i ¥ 7 BaSTrompete Richard Strauss (Bva basso) Guntram 1864-1949 ‘Act I Scene t schleppend und etwas schneller —_breiter breiter werdend in = Ea f accelerando s ‘Act IScene It ¢ inD schatf rhythmisch (quickly and rhythmically) mf — ‘Vorspiel zum Zwelter Aufzug Sehr lebhaft (bv Home} de as ee e 3 ea ‘ves? Vain as — Ben Sf marcati ‘Act HSeene inc schnell und heftig {ail Tronpets) HF marcatissimo Sehr bewegt accelerando vos? . Igor Stravinsky Canticum Sacrum 1882-1971 ‘Ad Honorem Sancti Marc! Nominis, I. Euntes in mundum ‘Rraunshy wrote this work for tenor and baritone sll, chorus and an orchesiraconsitig offlte, two oboes, cor anglais, two bassoons, double bassoon three trumpets in C. bass trumpet in C two tenor trombones, bass rombone, double bas trombone, harp, organ, ola and dale net, ‘and dedicated it “tothe city of Venice, in praise ofits Patron Saint, the Blessed Mark Aposie.” Bass Trumpet in C (Bva basso) stace.- leggero [all Trumpets? stacc.- leggero [alt Tropes} f {elt Trumpets} stace. vos? 46 TIT. Ad Tres Virtutes Hortationes 17] 2-72 ,, {solo with Altos and Tenors} pics pocosfp pocosf ae FIDES 24] -80 [solo w/Chorus} etc af 1a marcato Y. Illi autem profecti [307] ong tray sce ee f == © Copyright 1956 by Boosey & Haves, Inc. Reproduced by permission Boosey & Hawhes Music Publishers Ltd) Bass Trumpet in Es . Igor Stravinsky Le Sacre du Printemps 1882-1971 1913) Aton Rtulle des Ancitres {This section is played by all rumpes. Problems of intonation and balance Jc.52 can be minimized by using a mute similar to the other trumpets and siting 30 SOT. with the trumpet section (but sill close to the trombones.)} es mo {soto} con sord. con sord.* prt [A metal mute is recommended fore cuivré sound rl SP (anccim ! MeL sitento how he Eglo om plays this solo before your entrance. Some players prefer @ wood or fbre ‘mute for a misterioso tone color} Danse Sacrate SF marcato senza sord, marcato Fesivré song ELT Fp Timpani Bass Trumpet in C os Toru Takemitsu (8va basso) Visions for Orchestra 1930- Mystere Slightly fast ‘Tempo d=c68 dolce a 0.50 3 ae P00 fp < ff ——4f———_ ff’ —— poco espt. p Slightly slower d= deere porn rae Very stow and calm =40 play offstage poco PSP yay PP == fap — papa 0 e= FP Tmolto Pee eNO pdcted in th notes} 223) 1240) move a litle farther from the stage} poco accel.=40 all. ee <> Poco = 2 pocoms = p= pp —— Fine Reproduced by permision of Schott & Co, Lid ‘vos? BaStrompete Richard Waguer Der Ring des Nibelungen 1813-1883 I. Das Rheingold Vorspiel u. 1. Szene inEs Ruhig heitere Bewegnung (sehr zart) Allméhlich etwas langsamer ete. P == P =— Ruhiges Zeitmas ___feolo p= cP Pe ——= pp Schneller <— Etwas beweptr doch sehr ruhig P (ary ep” \? {0 with Tempe 1) f Sehr schnell [solo f : fF 3.Szene Etwas langsamer {Soli with English Hom, Carne nd Tonpet tt) 2p =} f —— = Sehr schnell Se BaBtrompete Richard Wagner II. Die Waikiire 1813-1883 KET. Vorspiel inks Stlirmisch ju/trombones I & I; don't drag) GE me 4.Srene Ruhig (Solo) SES eae ; p lee Pe i bee pip bestimmi bestimmt Sehr lebhaft soto in Es | ee SSK ft Ee x! eae S255 — wale po = inD Of pin f ie eld Allmahlig . bewegter aber bestimmt poco cresc. (S00) pp Sehr schnell hestimmt \ [Solo] mf Mabig schnell ‘pt =p — ———==_ } _—— pp pp 2 Immer schneller Mitt Wagner Tubas; conducted in 2] —= = pp if Heftig Akt IT. Vorspiel und 1, Szene Tin octaves with Trompe I] a vos7 Iv he ¢ ka DaBelbe Zeitmaa8 Solo = SF P @1C. | fwith Trombones} P nf pitt Etwas langsamer Pp i pip Immer belebter inD inEs es aaa ra PP —=P Immer belebter in Es Soio us p P f= Noch langsamer “Trombone 3 2 gop op inD os Ein wenig bewegter pie FP Py ‘ P Etwas belebter pip (Solo) pp Sebr breit Hin} — Eowas bewegter o i {Solo} [with Bassoons} molto cresc. PA” op 5 Langsamer sehr ausdrucksvol ef all wi ‘Timpani od LS a 3.Suene in Bs Belebend Wieder lebhaft cf. 4,Srene Sel feierlich und fe FS ar zat = ewan oe S 5 ‘Mafig langsam {oth Trombones} Pp——— pp hes, inD P e <== molto erese. f° F 3 3 get Belebend Langsam if PP pp AKtIIEL. Szene [Solo N ~—— f accel. pit’ inEs Schnell 34 inp f : ae Lebhaft ges = = : ‘ SF pint va meno” so {Soto} SSS mf =———p 3.Szene inEs Beleead fs oon ; —— ity Méafig und zuriickhaltend Etwas Jangsamer Pf >p aN p=if>p pop f=—P P= Pp pip PP talent. PP Wotan: “dich” Sehr bewegt PP f = = m3 | ma In 34 f Tph1&2 pint Etwas langsamer a = yy SS ‘vost Tangsam, [Solo} PP —= pp —— pp pip PPP Baptrompete IIL. Siegfried ae a inEs ° MaBig bewegt inp Solo Solo + f 7 * Pin Es [Soli with Horn IV} Ff Reel. Heftig beschleunigend . ae pitt af Lebhatt wih Tmpes 1 ip f 2, Suene MaBig und etwas feierlich Wieder mabig weich weich. P Sehr makig PS 3 PP poco a poco crese. =~ Unmeritih etwas bewegter A Sf f Belebt_ Solo, [Solo with Bass Voice} (22a ee ae e Put eee a Sehr schnell Etwas belebend A t—— Solo < mp # FE — ping ef 3.Szene Noch etwas mehr zu beschleunigen Kraig, dogh nicht 20 schnell {mit Dimpfer stark anzublasen} = Sehr gemesen, fast Jangsam 3 > - f pif PP inD Schwer und kraftig, nicht zu schnell, f ——————S = Immer bewegter 7 ae: A P Sehr schnell und noch mehr beschleunigend ‘vos7 we AKETL Vorsptel und 1, Szene in Es Etwas belebend See (ts Trampet 1 Maig ausdrucksvoll _———<—_= f rallent, = ‘Wieder belebier Schnell == es Eee eed oS eta 2 SSeS = PP

I sehr gehalten i immer stirker f wr ef 7 un poco rit. rp o— ff =p! wp <> p—— rr > Bafitrompete in Es . Anton Webern Orchestral Pieces (1913) 1885-1945, mm. Sehr bewegte Viertel oe? ®? a? 2® = f p< - 1 ,>——= ss/v#wF mit Dampfer 3 ria Sf mit Dampfer 34 P—= — (a {A fibre mate migh be helpful for hs postage) ena ne continous flute tongue} Copysight © 1985 by Cart Fischer, In, Now York International Cpyeight Secured vos7 List of Common Germ: aber tid {Bi} jangsam, Allmaich atin ‘poco a poco (gradually) lebhiaft als . che (shan) icidenshatich Anfang. inicio (beginning) lustig aulgeregt scene gitato (agitated missi.. ausdrucksvoll. eapressivo {expressive} mehr bodeutend “voouimportante (important) smerklich belebend, belebs.. -.animando, vivo (lively rngglich bereits sid [already] nach und nach . beschleunigentd ......nnnnnndecelerando (accelerating) OCH bestimmt. decisa [definite] offen bewegt, hewegung.s.s.s-0.masso [moving] tine BIS ae sino a (wnt) rasch) — breil... largo {broad shythmisch Dampfer: dino (mute) ruhig Dampier ab smnnen6OM Sordi [with mute) SCHIE Dimpfer weg or aut........senza sordino {open} schleppend daBelbe stesso [same] SCHIISS se deutlich distinto {distinct} schnell nn OCH ma [but] schwer.. doppett oppo [double] sehnsucht dringend avanti pressing forward} sehr cilen.. afjretarsi {hurry} 30 Einteitung ntroducione (itroduction} stark... etwas tut poco {a little} SIRE. on feierlich.. solenne {solemn} i fest, festes --.solido (firm) flieBend.... fuente [flowing] froheres Zeitmas, ‘tempo primo (previous tempo] ‘insero [completely] legato [connected] vn6on sordino [with mute] ‘gedehnt accento [stressed : gehalten -prolungare [prolong] vorher, vorigen .. gemiichlich.. commodo [leisurely] WERE evar ‘gemeBen .. Lun poco pesante sostenuto weich [somewhat sustained and heavy) werden gemabigt moderato (moderately) wie. gesteigem crescendo gradually louder] wieder ‘getragen vnom Solenne [broadly] ZAll so ewichtig, pesante (heavy) Zeitmad (Zeitmaad) sr0l.. ‘grande [big] ziemlich Heaopzeitmad ‘tempo primo [main tempo] heftig. -impetuoso [impetuous) gerd heiter

You might also like

pFad - Phonifier reborn

Pfad - The Proxy pFad of © 2024 Garber Painting. All rights reserved.

Note: This service is not intended for secure transactions such as banking, social media, email, or purchasing. Use at your own risk. We assume no liability whatsoever for broken pages.


Alternative Proxies:

Alternative Proxy

pFad Proxy

pFad v3 Proxy

pFad v4 Proxy