Eighth Note Publications

Eighth Note Publications Pictures at an Exhibition Orchestral Excerts or the rass Section Modeste Mussorgsky Perormance Suggestions by Fraser Linklater HISTORICAL ACKGROND Mussorgsky as one o a grou o 19th century Russian nationalist comosers dubbed the mighty ive. They endeavored to imbue their music ith a sirit o Russian history and olk music tradition. Mussorgsky rote to oeras (Khovanshchina and oris Godunov), the symhonic antasy A Night on ald Mountain, and three song cycles (Without Sun, The Nursery, and Songs and Dances o Death). When one o Mussorgsky s closest riends, the artist Viktor Hartmann, died suddenly in 1873 a memorial exhibition o his aintings as organized the olloing year. Vieing the orks o his dearted riend, Mussorgsky as moved to rite a tribute: a series o musical interretations o the aintings, hence Pictures at an Exhibition. Originally ritten or iano solo, the music has been transcribed and arranged or all manner o instruments. Hoever, by ar the most amous is the orchestral transcrition comleted by the French comoser Maurice Ravel. This version o Pictures as remiered on October 19, 19 in Paris ith Serge Koussevitzky conducting. A master o brilliant orchestral colour, Ravel scored his version o Mussorgsky s music or trile oodinds, har and the standard strings, as ell as the olloing: INSTRMENTATION horns in F 3 trumets in C 3 trombones ( tenor trombones, 1 bass trombone) 1 bass tuba timani ( drums needed) ONLY ercussion - bass drum, crash cymbals, tam-tam, triangle, chimes PERFORMANCE SGGESTIONS PROMENADE Temo: quarter note = aroximately 88 to 9 bar 3 This is all about matching the style o the irst trumet layer. Most o this excert is unison rhythms so the note lengths and articulations must agree. rehearsal 5 Continue to match articulations and make sure that everyone uniies the shit rom tenuto to marcato art ay through the nd bar. e sure that the octaves in the irst trumet and irst trombone line u exactly. There should also be a character o inality to the last e notes o the romenade. THE CATACOMS Temo: quarter note = aroximately 0 to 7 This is very solemn, dark music. To achieve this eect, try using a sot DOO articulation but ith lots o eight o air behind every note. e sure that the octaves in the irst three bars line u and go or exaggerated dynamic contrasts. reathing together as a section and atching one another ill hel ensure recise beginnings o notes. The eighth note resolutions on the donbeats should be very tenuto and ull. 1 bar beore 73 As needed, have the horns try balancing and tuning the oen 5ths at this bar and the inal diminished chord o this movement on the oen instrument beore laying it stoed. Also be aare that horns ill likely have to increase their volume one dynamic level to comensate hen laying stoed. Finally, notice at the bar beore 73 that the th horn is ritten muted rather than stoed; this is because the note is too lo to be eective layed stoed. A stoing mute could be considered as an alternative here or the lo horn. 7th bar o 73 The solo trumet should have an almost mournul quality; exeriment laying this both ith and ithout vibrato. Also try to emerge rom ithin the horn sound and then sink back into it at the end. 1 bar beore 7 The dynamic contrast here should be startling. Listen and match the length o the quarter note leading into rehearsal 7, hich should have a donbeat eel to it, even though it s on beat three. Remember that the quarter note is in octaves hile the donbeat is a triad udge your dynamics accordingly. 3rd bar o 7 The horn section should careully ace this decrescendo maintain good section balance and don t get too sot too soon ISN: 97815573379 CATALOG NMER: C8 COST: $30.00 DRATION: 3:0 DIFFICLTY RATING:Medium-Diicult rass Choir (3..3.0.1.Perc).enmusic.com

Eighth Note Publications Pictures at an Exhibition Orchestral Excerts or the rass Section Modeste Mussorgsky Perormance Suggestions by Fraser Linklater THE GREAT GATE OF KIEV Temo: hal note = aroximately 9 to 7 103 lend, balance and maestic quality o sound are aramount here. Suort the irst trumet melody, do not comete ith it. Strive or richness o tone rather than volume. It is only one orte, and there is a long ay to go Also, think about hrase shae even though all the notes are long, try to lay lines o music rather than individual itches. 5 bars beore 105 Remember that crescendo generally means to start soter so the dynamic change is more dramatic. bars beore 105 can almost be a subito iano eect. 105 The eect here needs to be a rich, vibrant all o sound. A team eort ill roduce greater musical results than individual heroes. Remember Jay Friedman s dictum: When everyone tries to be heard, no one is heard; hen no one tries to be heard, everyone is heard. Notice also that there are grace notes in the timani starting at rehearsal 105. These should be layed beore the beat and should be clearly heard, not salloed u ithin the overall texture. 119 Match the length o the staccato hal notes in the horns; the music should eel one beat er bar here don t drag 10 The bass trombone and tuba must ork together as a team to match intonation, articulation and style on these hal notes, hich should be layed ith a very ull sound. 3rd bar o 10 Feel the hal note subdivision through this bar in order to lace the dotted hal notes accurately in time. 1 bar beore 11 There is oten a ulling back o the time here in order to enhance the massive, maestic quality o the last statement o the theme at rehearsal 11. 11 alance the antihonal ercussion eects here beteen the triangle, bass drum and crash cymbals at 11 and chimes and tam-tam a bar later. Do not obliterate the triangle or chime sounds Also ercussionists, remember to be kind to the brass section ho are orking very hard at this oint nd bar o 11 Maximum sonority and sostenuto is required rom the brass ONLY here. Work out the breathing and releases o notes together. 5 bars beore the end The ercussion can increase through the roll here, almost to the oint o dominating the brass by bar 18. inal bar Listen to uniy the length o the inal note, hich should ring in the hall. Remember, e are ater beautiul sounds throughout there should be nothing orced or ugly about any o this music. GENERAL PRACTICE SGGESTIONS Articulations: niy articulations by seaking some o the assages ith a uniied syllable, such as DOE or TOE. Tone Quality: Try bloing air atterns ithout the instruments to establish the eel o correct air lo. Then aly this air lo eel to the instruments. Intonation: Sing selected assages ith accurate itch, either to a neutral syllable or to solege. Also, build troublesome chords starting ith the instruments that lay the root o the chord, then adding the ith and inally the third. Precision: Listen to breathe together on initial entrances. Claing ortions o the excert is oten a very telling ay to establish recision, since a slight variation in time eel or exactness roduces rain on the roo instead o a recise smack. alance: Listen or moving lines and be certain they can be easily heard. Generally seaking, timani rolls should be slightly subdued, hile single timani strokes should be slightly emhasized. In octave assages, balance and tune to the loer octave. Style: As alays, there is no substitute or having the sound in your head. It ould be good ractice to listen and comare several dierent recordings o this excert ith resect to style. Dr. Fraser Linklater is resently an Assistant Proessor in the Marcel A. Desautels Faculty o Music at the niversity o Manitoba in Winnieg, Manitoba, Canada. ISN: 97815573379 CATALOG NMER: C8 COST: $30.00 DRATION: 3:0 DIFFICLTY RATING:Medium-Diicult rass Choir (3..3.0.1.Perc).enmusic.com

Horn 1 in F 5 PICTRES AT AN EXHIITION Orchestral Excerts or the rass Section Modeste Mussorgsky (1839-1881) Orchestrated by Maurice Ravel PROMENADE - eginning Perormance Suggestions by Fraser Linklater Allegro giusto, nel modo russico; senza allegrezza, ma oco sostenuto 5 - - - - - Horn in F 5 5 - - - - - Horn 3 in F 5 5 - - - - - Horn in F 5 5 - - - - - Trumet 1 in C b art rovided 5 - - b - - - - - b - - - - 5 - b - - - - 5 ONLY 5 - - - - - Trumet in C b art rovided Trumet 3 in C b art rovided 5 5 b - - - - - Trombone 1 ass cle art rovided 5 5 Trombone ass cle art rovided 5 5 ass Trombone 5 5 - - - - - 5 5 - - - - - 008 Eighth Note Publications.enmusic.com

- - - - - - 1 5 - - - - 5 - - - - - - 5 - - - - 5 - - - - - - 5 5 Hn - - - - - - 5 5 Tt 1 - - b - - - - 5 - - - - - - - - - b - - 5 Tt Tt 3 - b 5 - - - - - ONLY - - - - 5 - - - - - - 5 5 5 5 5 5 Trbn - - - - n - - 5 - - - - 5 - - - n - - - 5 - - - - 5 PICTRES AT AN EXHIITION g.

5 b - - - - 5 b - b- - - 5 Hn 5 Tt 1 5 - - - - b - b - b- b - - b - b - Tt Tt 3 5 b- - ONLY - - 5 5 5 Trbn 5 b - b - - - 5 b - b - - - PICTRES AT AN EXHIITION g. 3

PROMENADE - Ending - - 5 - - - - - - - - - - - - - - - - - - - - b - - - - - - - - n - - - b Hn - - - - - - - - - - - Tt 1 - - b - - - - - - - - - b b b Tt Tt 3 b - - - - b - - - - - n - ONLY - b b - - - - - - - - n - - - - - - - - - - - - - - Trbn - - - - - - - - - n - - - - - - - - - - - n - - PICTRES AT AN EXHIITION g.

Hn Tt 1 7 THE CATACOMS Largo 3 3 3 3 3....... # J #.. #. #. J # n #.. #.. # Tt Tt 3 3 ONLY 3 3.. J. J Trbn 3 3... J J #.. J J T.T. 3 3... n PICTRES AT AN EXHIITION g. 5

Hn Tt 1.. #. n. J # # + + # + # muted # 73 #. #.. oen. n. n... J Tt Tt 3 ONLY Trbn......... J # J # J #... b.. b. b J J b J T.T. b... #.. PICTRES AT AN EXHIITION g.

....... J.. #.. n.... #...... Hn Tt 1.... F... #. n. b J Tt Tt 3 ONLY Trbn T.T. PICTRES AT AN EXHIITION g. 7

Hn Tt 1 Tt Tt 3 Trbn T.T. 7.. b... b. b.... n.. b... ONLY b. n.. n. # J #.. n.. PICTRES AT AN EXHIITION g. 8. #.. # # J n #. #...... #.. #. #. #.. #... + + # + # + # J Tam-tam

103 c THE GREAT GATE OF KIEV - eginning Allegro alla breve. Maestoso. Con grandezza. c b b b b c b b b Hn Tt 1 c c b b b b b b b b b Tt c b b b b b b b b Tt 3 Trbn c b ONLY b b b b b c c c c Tim c.d. c PICTRES AT AN EXHIITION g. 9

10 b b b b b b b b b Hn b b b Tt 1 b b b b b b b Tt b b b b b b Tt 3 b ONLY b Trbn Tim.D. PICTRES AT AN EXHIITION g. 10

b F b b 105 b b F b b b b F b b b b Hn b F b b Tt 1 b. b b b b b b Tt b b b b. b b Tt 3 ONLY.. Trbn. Tim C.C..D. PICTRES AT AN EXHIITION g. 11

b b b b b b Hn b b Tt 1 b b b b b b b b Tt b b b b b b b b Tt 3 b b ONLY b b b b b b Trbn Tim C.C..D. PICTRES AT AN EXHIITION g. 1

119 THE GREAT GATE OF KIEV - Ending 3. b.. b.... b.. b.... b.. b.... b.. F cresc. 3.. F cresc... b...... b...... n..... 3 b... b. b.. b... b. b.. b... n. b.. b... F cresc. Hn 3 Tt 1 3. b.. F cresc. b.... b.. Tt Tt 3 3 b. b.. b. b... b.. ONLY F cresc. 3.... b.... bḟ cresc. 3. F cresc....... 3. F cresc....... Trbn 3. F cresc... b.. n.. 3. F cresc. b.... n.. Tim 3. F cresc... PICTRES AT AN EXHIITION g. 13

b... 10 oco a oco rallentando ^.. b.. n. ^.... ^.. b.. ^ n... b.. ^.. b. b. n. ^. b Hn b. ^. b.. b. ^. Tt 1 b... ^. b. b. n. n n Tt. b.. b. ^ b b. b. b. b b Tt 3... ^. b. b. n. ONLY b.. b b. b. n. n n Trbn... b... b.. n n Tim n.. b. b. n n C.C..D. PICTRES AT AN EXHIITION g. 1 cresc. cresc.

11 b b b b Hn Tt 1 b b Tt b b b Tt 3 b ONLY b b Trbn Tim Chimes b b b Tri. C.C..D. T.T. PICTRES AT AN EXHIITION g. 15 vibrato

^ b b b b ^ b b b b ^ b b b b Hn ^ b b b b Tt 1 b ^ b b b Tt b ^ b b Tt 3 ^ b b b ONLY b ^ ^ Trbn ^ ^ Tim Chimes b b b b Tri. C.C..D. T.T. PICTRES AT AN EXHIITION g. 1

b b b b b b Hn b l Tt 1 b Tt b b b Tt 3 b b b b ONLY Trbn Tim Chimes b b b Tri. C.C..D. T.T. (ith sticks) PICTRES AT AN EXHIITION g. 17

ONLY

ONLY

ONLY Exclusively distributed in the nited States by: C8 $30.00.alred.com