Transcribing for the Trombone Ensemble

Transcription

1 Unversty of Tennessee, Knoxvlle Trace: Tennessee Research and Creatve Exchange Unversty of Tennessee Honors Thess Projects Unversty of Tennessee Honors Program Transcrbng for the Trombone Ensemble Joshua Robnson Walker Unversty of Tennessee Knoxvlle Follow ths and addtonal works at: Recommended Ctaton Walker, Joshua Robnson, Transcrbng for the Trombone Ensemble (1998). Unversty of Tennessee Honors Thess Projects. Ths s brought to you for free and open access by the Unversty of Tennessee Honors Program at Trace: Tennessee Research and Creatve Exchange. t has been accepted for ncluson n Unversty of Tennessee Honors Thess Projects by an authorzed admnstrator of Trace: Tennessee Research and Creatve Exchange. For more nformaton, please contact trace@utk.edu.

2 Name: UNVERSTY HONORS PROGRAM SENOR PROJECT APPROVAL _:)_?_y)lk College: 6_Ll.f Department: _ Faculty entor:!l PROJECT TTLE: 1rNk5_.!:_±.h.'h_!1, f,_j ]roj CO, have revewed ths completed senor honors thess wth ths student and certfy that t s a me ate wth honors level undergraduate research n ths feld. Sgned:, _L 1 Faculty Mentor Date: ll[!ll'lr Comments (Optonal):

3 Transcrbng for the Trombone Ensemble by Josh Walker

4 Transcrbng for the Trombone Ensemble The lack of lterature for the trombone and the trombone ensemble has long been a concern of trombonsts everywhere, myself ncluded. Despte the fact that the trombone s the oldest fully chromatc brass nstrument (t could play all twelve notes of Western harmony long before the trumpets and French horns acheved ths through use of the valve), t fell out of frequent use towards the end of the Renassance and dd not return untl the latter part of the nneteenth century. Whle there are few exceptons, the trombone was mostly overlooked by the great composers of the Baroque, Classcal, and early Romantc perods. t made ts way nto the modern orchestra n Mozart's Don Govann and Beethoven's Symphony No.5, but solo and chamber works were vrtually nonexstent untl the Twenteth Century. The reasons why composers overlooked ths oldest and most versatle of brass nstruments s a mystery to all of us. Ths problem s the reason that chose ths project. wanted to transcrbe for trombone ensemble dfferent types of peces from dfferent tme perods. selected the followng peces: Govann Perlug da Palestrna's Stabat Mater, the second movement of Ludwg van Beethoven's Symphony No.7, Johannes Brahms' ntermezzo, and Henry Fllmore's Rollng Thunder. These peces offer four contrastng styles rangng from the tranqul relgous work to the blazng showpece. Palestrna's Stabat Mater was wrtten for large chorus n two antphonal chors, each chor dvded nto four parts. t was composed durng the Renassance, towards the end of the Sxteenth Century. arranged the trombone ensemble n the same way. There are two antphonal chors, each consstng of three tenor trombones and one bass trombone. Due to the dfference n sound of the dfferent voce parts, the frst part n each chor could be played on alto trombone for a more authentc sound, but scored t for tenor because alto trombone s not that wdely played. lowered the pece

5 Walker 2 a major sxth from ts orgnal key of C to the key of Eb to keep the upper parts from beng too taxng. The lower parts are not a problem because the bass trombone s capable of playng much lower than the human voce can sng. Because ths was orgnally wrtten for two antphonal chors, could use the dynamc and phrase marks that the composer provded. Ths type of musc s especally effectve f the two chors can be on opposte sdes of a large church and play back and forth wth the audence n between. Ths s the way that sacred works, both choral and nstrumental, were performed n the Renassance and early Baroque. Beethoven's Symphony NO.7 was wrtten for a full szed Classcal orchestra n the early part of the Nneteenth Century. t s one of Beethoven's symphones that helped to develop the new wrtng style of the Romantc Perod. The second movement s a funeral march. n the frst part of ths movement, whch s what arranged, the strngs playa hauntngly beautful theme that s later joned by an rhythmcal accompanment n the woodwnds, trumpets, horns, and tmpan. arranged ths for two chors, each consstng of four tenor trombones and one bass trortlbone, representng the strngs and the accompanment. rased ths pece a major fourth from ts orgnal key of A n1nor to 0 mnor. Ths was to enable the bass trombones to play the low parts wth as much fnesse as possble. also had to lower the upper strng parts one or two octaves n places to accommodate the range of the trombone. stopped at the mddle secton of ths movement because the expanse of the musc becomes too great for one famly of nstruments to play all of t. The mddle secton would requre a full brass ensemble wth hgher and lower voces to work wth. Ths s probably the most accessble of the four arrangements. Johannes Brahms' ntermezzo was wrtten for pano n the latter half of the Nneteenth Century. Ths s a very Romantc composton wth soarng melodes and use of almost the entre keyboard. Ths pece was the most dffcult to arrange. had to

6 Walker 3 constantly be careful not to exceed the range of the trombone n ether drecton whle retanng the emoton that must be present n ths musc. also had to keep n mnd that a pano can sustan arpeggated chords wth the pedal so t sometmes does not complete a chord untl two or three beats have passed. had to determne whch chords could start at the begnnng of the measure and whch ones should form gradually for the effect. arranged ths for a trombone sextet consstng of two alto, tenor, and bass trombones. Ths s to cover the extreme range of the pano and to create a sound that gets smaller as t gets hgher, just lke the strngs of a pano do. lowered ths pece a major ffth from ts orgnal key of A major to D major, and stll t pushes the range lmts on the top and the bottom. used some of the orgnal phrase marks, but some were not practcal and had to be changed. had to use my own deas for dynamcs so that the melody s not covered by the other trombones. Ths s my favorte of the four arrangements; the one would lke to most see performed n a formal settng. The forth and fnal arrangement s a band pece, Fllmore's crcus march Rollng Thunder. Ths was wrtten n the early Twenteth Century to be exctng musc for hghflyng acts n the crcus. The only word to descrbe crcus marches s fast. The trombone part n the band arrangement s hard enough, and addng the rest of the band parts makes t extremely dffcult. arranged ths for a trombone quntet consstng of a bass trombone, two tenor trombones, and two alto trombones. The bass and tenor trombones represent the tuba and trombone parts, and the alto trombones are the upper woodwnd and trumpet parts. retaned the orgnal key of F mnor because the slde choreography s the best n ths key. also kept most of the hgh parts n the orgnal octave, makng them very taxng. There are two altos n order to trade off the hgh parts so the pece s not mpossble. was able to keep all the orgnal phrasng, dynamcs, and artculatons because ths pece was composed

7 Walker 4 solely for wnd and brass nstruments. Although extremely dffcult, t s playable and would be an unbelevable encore for a trombone ensemble. n arrangng these four peces, was hopng to produce a varety of new musc for the trombone ensemble that s fun for both the performers and the audence. Snce ths was my frst major arrangng attempt, got the added beneft of learnng a lot about what works and what does not work. also learned that transcrbng musc s a lot lke translatng a language. Just as would translate the meanng of a sentence n talan, had to translate the composer's meanng for a certan sound nstead copyng the score note for note. have enjoyed the arrangng process and have especally enjoyed the few sessons where a few of us read through the arrangements to see whether or not they would work. certanly hope that some other people can get the some enjoyment from playng ths musc.

8 \ 1 Alto 1..., '1' o.r v Alto 2 Tenor 1 Tenor 2 Bass. Furoso.ff f!., ::> r,,.ff.ff.ff ::> f: ::> e ::>. ' ::>., f' b. f' >.ff.,b. k...j...j 5 f'.:: F k_ ', 0 h.l. 11' h fmf 1'... 0 h.. ct.: ' h v &. o h v 0 mf ll b. f' 6. 1UJ './ h v,. 0, h f' f',. v J.. J q. J.. r.,. o h #. T 0 J J mf 9 f' r f'... ' f'.or!.;;: c::::::::= ::> ::> c::::::::= ::> ::>. c::::::::= ::> ::> c::::::::= 7'J ::> #... f....l. Henry Fllmore arr. Walker..; f,. 1 f. b. f'. f',; l...j...!.l. mf!...j J J qt! jj..,.l. [, j.l. ==1 jj ::.,. r.l. jjr. ::>..,... f '! J. '..... jjp f.ff

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12

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14 j! 1 L _ h. j) b. fl..!1 h r fe f!..['t.:r7h :;;.../.U,1 :. :::\, 17 _11'11:1 l. _ L L.. ':. h _h. 7.,.. Fne f' f f f j) f f! :::;0 Fne f f: j!.. Fne,: ',../ h..n JJ r 11. rf f' Fne, :::;0 j 77 _L. kn jl) 1. t t! r; # L. j) f.. ' L h ;:. j) f t #.;' y... :;;;: r1,,.. (;,f L ',.. :::;0 j J:,o 11..LU _.'..V.. L b..; r ;:;.. ;::> v ;::>. L. j)., :::: P r :;. #'... t9 ', * ;; 1 l. + L /' k ',.. t 4f 1!./,:; :::: ::::... 7

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16 ntermezzo Ope 118, No.2 for Trombone Sextet Johannes Brahms arr. Walker Andante teneramente Alto 1 r llp Andante teneramente Alto 2.l..LV '!T.T_ llp Andante teneramente Tenor 1, Tenor 2 Bass 1 Bass 2 5 UJ '!Tll Andante teneramente p Andante teneramente.,. MJl..T T 1 Andante teneramente 'l...! p n ;. 17,J...J :.. f! 19 r.. P ' 17 r. cresco...::::: ' cresco cresco :;;: r cresco cresco.. decresc. decresc. decresc. ::::::.. decresc decresc. * ll' rr', cresco decresc. 'f 1 l.1 ll == 71' /l f. cresco cresco 1...,., decresc. o...j *./ ;. _ :rj #,; 4,; cfesl; r/pt'rpfl:t' *

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23 ! 57 stesso tempo, ::::r rt. p L :2',. 1/1: :::r:: r, = Jl + rt. stesso tempo =...,1 7 f 1L f/t. V,t. '!1,... p lstesso tem po..!1. *..... f T t..l + == ; 'f,.. r = == t<' 61 l.,t.,t. rt.,t. 8

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26 . (\ 1\ cresco decresc., 85.ll J.l..ll. mp cresco poco a poco, 1 ''l' P cresco poco a poco : : cresco poco a poco...,,! :..., '11 / j q.. y *< cresco ''..L q 9 y cresc. poco a poco, 11

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28 ...! JW C... \j! 1\,.!.. 1\ ::::. =r [ ],... decresc. poco a poco =... =. t:. f a poco! f,... r f, J' _ f '\...!!! L 'f' 'f' decresc. poco a poco ::J.. f.. 'l f? poco noro 1 J 7 mp :......:. L 1 flu. P /,r f f f ( /1, P....:: ' :: r P,.,.;,. 1.lo. ;...l! P 101 ' : p... 13

29 L J.l. r'\.1' ' r......n ! ' ' cresc. poco a poco ll. /' t, rr,...j a.. a n,...,. '..! cresco poco a poco ' ere!:... cresco poco /.l1c #.. _7.l f '!'\. 1 J.' ff,.,..u..., 1 'f,. 16.J.!.....,..ff 109 cresc. poco a poco.. 1'.... 1! j..., '. ' '.f' t... r...!,... :J _1..! ;).... ;) '.6..J '!...,7.l... 7J :J _ ]J J_ 14

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31 Allegretto from Beethoven's Symphony No.7 Op.92 L. van Beethoven arr. Walker Trombone la 1 All egre tt Trombone 2A 1... :L Allegretto 76! Chor 1 Trombone3A Trombone4A Trombone 5A Trombone B Trombone 2B Chor 2 Trombone 3B. 1 Allretto 76 L.&t.. v 1 Allegretto 76, Allegretto 76 9: J 1 Allo 76! 1 f Allegr 10 f 1 Allegretto f J..., P r r..;. P P. pp r. PF pp :;;; l :;;... d. Trombone4B 1 Allegretto 76 f pp Trombone 5B 1 Allegretto 76 L.... f J/L pp JL

32 2

33 10 : 10,../ h... f!: f!:. j 10 /! : r.,, l,.,.,...../ h.../ h ,.,.,., #l,;,; 10 E. 3

34 4

35 : 20,../ h.! 20 J.b 20.!l f*..... tj. _,.. 'b./ b #./ h../ h../ h. 20./ b. 5

36 25 ',../ h j. b';' f'. J'P... P a J'P '.1' J'P,.../ h V' 25 ',../ h lo..,;.,;.,; #J..../ h V' j... '../ h 25 6

37 ! smle b..,..,..,..,..,.., ,. r' r' r' r'./ h ll ' L. r r' r'......}..!.... J.! J '<1t J 7

38 ,. 35 L J1 O!!./ L..!' J! C /' h.l:. l'..!u: 35..,. Lb.>: j 35. /' L r..,,; r.;.; Q j 35.!!.../ L 35. /' 35 L.l. L 1 = L..h J 8

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41 J L b fl n r.../ h.:. 50,. 1 :'./ h J'.:....;.; At;! t!; t r smle f * f' Cresc. poco a poco 50 smle.,;. '.../ h....:..:..:..,,,; poco a poco #,;./ h 50../ Lfl 11

42 L b 11'..' smle b.. =; fl.tt. f. fl fl fl (2 fj A r Ol. fl,.,.. 1./ 1/1: r 55. 'c,. L......;.,., tj 55 '..]L4 * '1>.../ b,.,.. Lb 12

43 l. / k r r b.!,!l ll 60!ln 1* ft.., f' 1*._ b. n 1,. h. \.;., '':. J J r r A!!, J..,,,.. T T.... J J # Jl ,

44 !l... L. J' L... b. j f... LJ v 'll :::.. L b L... fl r 0. j poco a U t? J! b r.l '..... f r r &;;..L.L L h...:l &;;..,../ v poco a poco.j a poco! J '... L.... r b. 1lp L.1.' Cresc.poco 65.'. /'..h J 1lp.' '!>.... Cresco poco a poco 65 &;;.,,,. b. /'..h 't. '!>. A 65...,,, ': mp Cresco poco a poco j 14

45 .. t Cl.:. f' / ln. b. 0!'. ' ' j.... {7\!'. '.J fl fl!'.j,. 70,., ' v,

46 ff lstesso tern po f 75 smle 75 f 16

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48 h. 85 f' f' f' f'..l _. 85 ;F., r '.,.. 18

49 poco a poco Dmn poco a poco fl f' f f! b..!!: 1' Dmn. poco a poco f' ( f f b. f' f' \.... Dmn.poco,..., jo.,.../ h :u. l' 90 r r. 'Do 0 lmm. poco a poco... r...,.,...,;... Dmn. poco a poco,j 19

50 110 ; 1'. 11., 7';; 95 mf sempre dmn. pp /' 1\ \ e.t..,. r f 11. fl f t fl fl.... t mp sempre dmn. t ft fl T j,. 95.,; #J.,; mp sempre dlmm..,; 1p sempre dmn. pp pp mp sempre dmn. 95 pp mp sempre dmn. pp 20

51 Stabat Matr Palestrna arr. Walker Trombone A. f7 u l P Trombone 2A Chor 1 Trombone3A l... 11M.rU 1.,.. 7' l p Adago Adago 'l

52 2

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54 ..., ' L v v L U..,. L1 ' L '0. (7 n n n n (7(7 1# 0 ' r1 ;,.;, '11' r _ f t:::::: P f ln L LJ... = r....'... r... 0 P ' ' h 1 T! ::::;::::::.. 0 ':) ' f:. ;,.;,..... p 4

55 ln l... v e o P 0,... r [m lq l.., h. r:. 1..l:': 20 p m l_,... n,..l:o m p. ln l 0 nl e... n '6 n 0...., v... v... ln l.1:,_ m.L'o..., [1 r p r ' l roo L. ;11 '111 n! /' h...!' r,c..,.. 1m..l P p J': P u e ;n:t U 0 ;:U n e.1! m 5

56 ! 0 ' '''''' '., v ln L P P t7.. ln L '_./ h t::::::=,., t7 f? n.. ',. 41:11 n. r.,r...,,... a.., L>....no.../ h. v! pp ln L... n ln..., L... '.....ff :\ p./ h '../.ff (;) 6

57 , 1n. L f) (2 & '' nn n...::::::::::: l! f. L,,. r: p t::::::= P,j= ntn e n...ro. '' '' p...:::::::::: t::::::== l 30..,: 0:;;:... 7];,;, P'.ff p.n. l F.n l 1...! 30 7 k 30. &.ff..,;:;; :;;:;: ' 0 7

58 35..Jl.n L (').0 or. f T.0 J'j,....lH 1 L.uJ JU' mf mf (') 0 ====== (').& ======== p c::::::: f1' TO...J::: '... '.. fh'! l L.. c. v. '1 P f.0.,.0 mf..11ft l,....11''\...j.l 0 r.... =' lftj ======= ==== 35 _.,. o..k. L...a...lL,..L h l c:::::::.0 0 'mf,.o n?... p' 'r'! P ====.0 ** p 8

59 ,n l _Q? a LJ:L? J.., ln L.. f f,.. 40 Y ll v ll.l??? G U'.0 40 lnl... 0? &... r' f f f.l f.ln 1. ':;t., a e p,... J? 1&.& P f f '. u u G 9

60 ln l n.. n.,.. U v.n L 45 0r. ff./ h. a...,..... P & P 45 'l l & f9 ')... ;... UJ' ' t' r t'... U.. ln l =:::::: UJ..... r,,., L;... U v...,../ b. =:::::: 0 0 0,.t...!. =::::::,../ h. p ':. 10

61 11

62 ln l n n. V' f.;;... U mf ln. l =======.,...,' L h ======= Q Q 110 l n a 0 a 0'.0 L...,..aL'!t.. U P! 55 L...,. r.....,. L lLf L ' P J') f n ::.;r... u p f f 12

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