The Debutante Trumpet Solo Pdf

[Leanna Perr]

Celebrating25 years, Alfreds recently acquired Carnaval project is an epic collection of eleven solos, crafted by Hunsberger himself for Wynton Marsalis. Carnaval: 11 Solos for Cornet and Piano is a studio staple for solo cornet or trumpet players for use in recital or for the soloist in preparation to perform with the wind band accompaniments. Check out the related album: Carnaval

It gives me great pleasure and satisfaction to see this published set of cornet/trumpet and piano arrangements of the works I recorded with Donald Hunsberger and the Eastman Wind Ensemble on CBS Masterworks. I believe that this literature is an important, integral part of the overall cornet/trumpet repertoire, as well as an important milestone in the historical development of the cornet/trumpet as an instrument.

During the tour, many trumpet players asked me how I felt about the stature and place of solos such as these in the overall trumpet repertoire. Well, first of all, I think these cornet solos are important because they cover all aspects of trumpet/cornet technique regardless of the style of music. If you can play one of the solos well, you have the technique necessary to play the Haydn Concerto, the Bach Brandenburg Concerto No. 2 or the Paul Hindemith Sonata. Most importantly, practicing these pieces helps you to develop a lyrical conception. The principal themes of these solos frequently came from operatic arias, popular songs of the day or beautiful, simple folksongs, which require a singing approach that challenges the tone and helps develop nuance and beauty of phrasing. The variations on these melodies cover techniques such as slurring, single tonguing, double or triple tonguing, trills, grupettos, every aspect of technique, which, combined with tone and timbre development in different registers, really covers all the broad responsibilities of the trumpet/cornet performer.

To develop these techniques and skills, I feel that three books are indispensable for the young performer: the Schlossberg Daily Drills, the Arban Complete Conservatory Method for Trumpet and the Clarke Technical Studies. If you diligently practice the 150 Art of Phrasing melodies in the Arban book and combine this with listening to and analyzing lyrical music performed live or on records, you will begin to develop a lyrical approach. Listen to opera singers and other instrumentalists (violinists, flautists, etc.) and hear how they interpret music from different periods of composition; listen to tapes of Herbert L. Clarke or Arthur Pryor (on the trombone), George Swift, Del Staigers, etc. and analyze their approach to phrasing and to the technical problems of the variations, waltz or caprice.

Sometimes there are instruments in the ensemble other than those shown above. These are linked to their respective principal instruments with either a "d" if the same player doubles the instrument, or a "+" if an extra player is required. Whenever this occurs, we will separate the first four digits with commas for clarity. Thus a double reed quartet of 2 oboes, english horn and bassoon will look like this:

Thus, the Copland Fanfare shown above is for 3 Trumpets, 4 Horns, 3 Trombones, no Euphonium, 1 Tuba and Tympani. There is no separate number for Bass Trombone, but it can generally be assumed that if there are multiple Trombone parts, the lowest part can/should be performed on Bass Trombone.

These numbers tell you how many of each instrument are in the ensemble. The first number stands for Violin, the second for Viola, the third for Cello, and the fourth for Double Bass. Thus, this string quartet is for 2 Violas and 2 Cellos, rather than the usual 2110. Titles with no bracketed numbers are assumed to use "Standard Instrumentation." The following is considered to be Standard Instrumentation:

The bracketed numbers tell you the precise instrumentation of the ensemble. The system used above is standard in the orchestra music field. The first set of numbers (before the dash) represent the Woodwinds. The set of numbers after the dash represent the Brass. Percussion is abbreviated following the brass. Strings are represented with a series of five digits representing the quantity of each part (first violin, second violin, viola, cello, bass). Other Required and Solo parts follow the strings:

Principal auxilary instruments (piccolo, english horn, bass clarinet, contrabassoon, wagner tuba, cornet & euphonium) are linked to their respective instruments with either a "d" if the same player doubles the auxiliary instrument, or a "+" if an extra player is required. Instruments shown in parenthesis are optional and may be omitted.

The second example is common for a concert band or wind ensemble piece. This ficticious work is for 2 flutes (plus piccolo), 1 oboe, 3 clarinets plus alto and bass clarinets, 2 bassoons, 5 saxes (soprano, 2 altos, tenor & bari), 2 trumpets (plus 2 cornets), 3 trombones, euphonium, tuba, tympani, percussion and double bass. Note the inclusion of the saxes after bassoon for this band work. Note also that the separate euphonium part is attached to trombone with a plus sign. For orchestral music, saxes are at the end (see Saxophones below. It is highly typical of band sets to have multiple copies of parts, especially flute, clarinet, sax, trumpet, trombone & percussion. Multiples, if any, are not shown in this system. The numbers represent only distinct parts, not the number of copies of a part.

Note: This system lists Horn before Trumpet. This is standard orchestral nomenclature. Unless otherwise noted, we will use this system for both orchestra and band works (in most band scores, Trumpet precedes Horn, and sometimes Oboe & Bassoon follow Clarinet). Also, it should be noted that Euphonium can be doubled by either Trombone or Tuba. Typically, orchestra scores have the tuba linked to euphonium, but it does happen where Trombone is the principal instead.

Saxophones, when included in orchestral music (they rarely are) will be shown in the "other instrument" location after strings and before the soloist, if any. However for band music, they are commonly present and therefore will be indicated after bassoon as something similar to "SAATB" where S=soprano, A=alto, T=tenor and B=baritone. Letters that are duplicated (as in A in this example) indicate multiple parts.

Gianluca has made multiple guest appearances with the Boston Symphony Orchestra, Boston Pops, The Florida Orchestra, and Nu Deco Ensemble, and has also performed side-by-side with members of the Los Angeles Philharmonic.While studying in Los Angeles, Gianluca has held principal trumpet positions with the American Youth Symphony and the Young Musicians Foundation's Debut Chamber Orchestra. Gianluca has spent his summers performing with the Tanglewood Music Center, the Pacific Music Festival Academy Orchestra under Maestro Valery Gergiev, the National Repertory Orchestra under Carl Topilow, and the National Orchestral Institute and Festival.

Instrument: Bb trumpet - 1947 NY Bach Stradivarius 37 with a #7 leadpipe C trumpet - 2016 Bach Artisan Stradivarius with a Yamaha NY Gen 2 leadpipe and tuning slide Rotary trumpet - Weimann Passion C, gold plated Eb/D trumpet- 2013 Bach Artisan Stradivarius A/Bb piccolo - 2013 Schilke P5-4 "Butler-Geyer" model, with a stock Bb leadpipe, and a Blackburn P2 leadpipe pitched in A My mouthpieces for Bb trumpet and piccolo are original designs from Vennture Mouthpieces, and my Eb, C, and Rotary mouthpieces were handmade in Japan by Toshiaki Kameyama.

Career Highlights: Getting told by the associate conductor of the Mariinsky Theatre that my solo in Prokofiev's Third Piano Concerto was 'very not bad.' Playing principal on Scheherazade under Maestra Xian Zhang with the Colburn Orchestra, and then playing principal on Prokofiev's Sixth Symphony Symphony with her at New World. She remembered me! Ending my time with the New World Symphony by playing principal on Mahler's Fifth Symphony. Believe it or not, getting to meet one of my idols, Phil Smith, after winning my audition here.

To be a Music major, Music minor, or Musical Theatre major at UW-Eau Claire, you will need to successfully complete a music audition and be accepted into an applied studio, which is a group of musicians who study under one professor. Auditions take place in the year or semester prior to your first semester here; most students audition in the spring (January-March) for entrance in the following fall semester. Your program audition addresses three important areas: your admission acceptance as a major or minor, your piano placement exam, and scholarship consideration.

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If you are auditioning for voice studio and/or Musical Theatre and planning to audition in-person, your audition must be accompanied live. You may bring your own accompanist, or our department can also provide one for you, free of charge. If you choose to use our departmental accompanist, we will need your sheet music (submitted through your audition application in Gold for Blugolds) no later than 2 weeks prior to your audition date. Music should be scanned as a pdf (one file per piece) and either uploaded to your Gold for Blugolds audition application or emailed to must...@uwec.edu.

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