Publisher Rubank / Hal Leonard

Transcription

1 Tenor Trombone Book - Editor Title H. Voxman Selected Studies Selection 1 Page(s): 20 Key: A Minor Etude Title: A Minor - Allegro moderato Tempo: quarter Publisher Rubank / Hal Leonard Edition No. 159 HL This relatively straightforward etude includes some traps for the unwary student as well as several opportunities to showcase refined technique and musicianship. In general, staccato notes should be played only short enough to sound separate and light while retaining some tone and pitch information (avoid tut!). Strive for evenness of sound across registers unless otherwise marked - particularly in mm. 9-11, there are no accents on either the higher or lower set of notes, in contrast with mm where Rossari indicates accents on the offbeats. In general, the lower register will tend to splat out unless well controlled and practiced slowly. Other overall tips: practice the sixteenth note runs slowly and accurately. Be sure every note is in tune when practiced slowly, and work the tempo up. For example, in the descending passage in m. 8, if an F-attachment trombone is used, the B and A will probably be in slightly different second positions. Speed is no replacement for mastery! The Meno section (mm ) should be played more slowly than the surrounding sections. Rossari also includes the marking a voce spiegato, meaning at the top of one s voice - spread and full. Translating this vocal term to trombone playing: focus more on the full part of this marking. This is to be full-voiced and operatic in contrast with the staccato markings that make up most of the piece. Remember, music is about tension, release, contrast, and drama. Really ham it up here in the middle section! Selection 2 Page(s): 50 Key: B Major Etude Title: B Major - Adagio Tempo: Quarter Note = This etude replaces Etude No. 3 posted from 12 pm to 2:30 pm 7/23. (Posted 7/23) The only reason B major is any harder than C major on the trombone is that we play in C major more often. Hiding behind this difficult key, then, is a beautiful little piece of music that should be played beautifully. To gain familiarity with the key, practice B major and G-sharp minor scales and arpeggios. Once you start practicing the piece, be sure not to play any faster than the speed at which you know exactly which note you re about to play! If you re confused, slow it down. The phrase structure of this piece is, for the most part, fairly simple and singable. The continuing

2 musical interest, then, comes from interruptions to this regular structure. For example, the ear should be drawn to the sforzando in m. 7, any examples of hairpin dynamics, the accents found in mm , the fermata in m. 23, the gradual dissolving of the phrase structure from mm , and many other spots. The more contrast you can add to this piece, the better. It wants to be extroverted! Use true piano and forte, not just mezzo-boring. Selection 3 Page(s): 29 Key: E Minor Etude Title: E Minor - Allegro vivace (moderato two) Tempo: Half Note = Do not play the optional notes in bar 5. Breathing is a challenge with this etude. The trick is to include so much musical direction and energy that the breaths are just a part of the music rather than an interruption or a distraction. Differentiate the slurred notes from the staccato notes but don t worry too much about making the staccato notes short. Light and separate does the trick. On the slurs, employing natural slurs where possible and then emulating that sound when a legato tongue must be used will lend the most authenticity to what was originally an exercise for a valved instrument. Remember again to practice SLOWLY. Regarding breathing: do take the optional breath in m. 5. A slight and graceful ritard and lift at the end of m. 8 will allow a little more time to breathe before the pickup to m. 9. It is acceptable to use rubato at the beginning and end of phrases to allow for breaths, but don t overdo it or the audience will become seasick. Be sure to have plenty of air going into mm to allow for control of the low tessitura at the end of m. 22. In the E major section that begins in m. 23, breathing becomes easier and certainly more clearly marked. Take the marked breaths, but not every single one of the optional ones, or else the phrases will sound too short. Separate out this section musically from the first half of the etude with dynamics, beautiful long and shaped notes, and perhaps some vibrato. The underlying tempo shouldn t sag, however. Pay attention to mm. 40 and 48 - there is a gruppetto, or tu, that will take some interpretation. I would recommend employing natural slurs wherever possible inside ornaments to rest the tongue for where it has to be used.

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