Category: Solos Arranger: Ernest Piper Composer / arranger: J.S. Bach
24 studies for solo instrument, based on Bach's Well Tempered Clavier.
Set for ABRSAM grades 6,7, and 8 until 2010.
PREFACE from the book : The late development of the valved brass as chromatic instruments meant that the great Baroque and Classical composers did not write for brass in the same manner and quantity as they did for keyboard, violin, or flute. Pianists in particular have a great range of music of high quality from which to chose. At all stages, from novice to virtuoso, they can study works which may simultaneously advance technique, give a rewarding musical experience, and increase familiarity with the music of the great composers. I hope that the following studies, based on preludes from J. S. Bach’s ‘48’, will bring to brass players the combined rewards which pianists would hope to receive from studying the originals.
THE ‘48’ Two systems of tuning operated in the early 18th century. The older system, in which the 12 semitones were not tuned as equal divisions of the octave, gave perfect tuning in a limited number of keys. Beyond these keys tuning became unsatisfactory and composers tended to restrict their music to keys of no more than four sharps or flats. The newer system of ‘equal temperament’ divided the octave into 12 equal semitones, This gave slight but acceptable distortion in the tuning of some intervals, but meantthat the full range of keys could be used with equally satisfying results. Bach demonstrated his approval of the new system by composing and naming ‘The Well-Tempered Clavier’ in 1722. The work consisted of a prelude and fugue in each or the major and minor keys. 20 years later he produced a second set. Together they represent one of the great achievements in Western music and are universally known as the ‘48’.
PERFORMANCE NOTES Bach gave few specific performance directions in the ‘48’, so interpretations vary greatly. These studies should be played in a way which the student finds most beneficial and satisfying. Directions in the text are only suggestions, and there is great scope for variation of speed, dynamics, tongueing, and slurring.
Some of the preludes have been shortened, and in many places the continuous rhythmic patterns have been broken to allow for breathing. In the more difficult keys, particularly where there are many notes to each bar, the student should be carefull to carry accidentals to the end of the bar. Ernest Piper
Category: Solos Composer / arranger: William Rimmer
Solo for Bb. Cornet / baritone or euphonium.
You can listen to an extract or view the Solo Cornet part as a PDF image of this work on your computer, by clicking on the "MORE DETAILS" button on the right - this will reveal the audio extract & PDF image for you to sample.
Category: SOLOS - Euphonium Composer: Sergei Rachmaninov Arranger: Steven Mead
Click on MORE DETAILS to view the Solo Euphonium part.
Universally recognised as one of the finest euphonium players in the world, Steven Mead has edited the solo part in line with his own interpretation and prefaces each piece in the series with helpful advice on practice and performance.
Steven Mead writes :
This provides what must be one of the most challenging slow melodies set for euphonium and at the same time one of the most suitable for the character of the euphonium tone at its best. Quality of tone, musicianship, breath control and stamina are the key ingredients to really make this work. If you get the chance, please listen to the original for wordless voice, for without understanding the composer’s intentions there is the risk of losing the flow and the musical sense in this wonderful music.
Take great care with intonation, particularly the concert E flat, E and F. Constant sharpness will provide a source of irritation to all those who hear you. Show as much dynamic shading as you think is merited, and be careful never suddenly to jab notes or distort the long lines that Rachmaninov writes. Crescendos and diminuendos aid the flow and should never become a dominant feature in their own right. Try to show subtle changes of nuance in the repeats without sounding as if you are looking for things to do and keep your musical approach focussed on the shape and line of the melodies.
This piece will help you develop stamina, so long as your breathing technique is functioning satisfactorily. The fatigue you may be feeling at the end should not be evident in the quality of the sound in the final bars, so work on using all the air in your lungs before you take in more, don’t overfill and remember to keep the face and neck relaxed when you inhale deeply. This music really is worth the effort.
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