Aria Con Variazioni Trumpet Pdf

Posted By admin  On 15.09.21

Title

Trumpet: Trumpet auditions must be performed on trumpet (an additional selection may be played on piccolo trumpet). Balay – Petit Piece Concertante. Barat, J. Andante and Scherzo. Corelli, A./Fitzgerald B. – Sonata VIII. Goedicke, A. Concert Etude. Handel, G./ Fitzgerald, B. Aria con Variazioni. Aria Con Variazioni. By George Frideric Handel / transcr. Bernard Fitzgerald Trumpet Part (s) Grade: (V) Item: 00-FCS01561. George Frideric Handel: Aria Con Variazioni - Trumpet/Piano $7.95 - See more - Buy online Lead time before shipment: 24 hours - In Stock Format: Set of Parts.

Aria con VariazioniFor Bb trumpet/cornet and pianoBy G. F. Handel (trans. Bernard Fitzgerald)

Aria Con Variazioni Trumpet Pdf

Biographical Info

Aria con Variazioni began life as one of Handel’s many works for solo keyboard; specifically his 5th Harpsichord Suite. Bernard Fitzgerald was a pioneer in transcribing music for brass instruments, primarily trumpet. Our repertoire has increased tremendously thanks to his work. This piece is no exception. It appears on Wisconsin’s Solo Ensemble Class A solo list.

Suggested Equipment

The Aria was adapted by Fitzgerald for Bb trumpet or cornet. Both of these work great for this selection. The entire work is in concert F or our G major, with the highest note being our high B. I’m sure this would also be fine on C trumpet.

There are no mutes called for.

Practice/Performance Tips

First off, this is titled Aria, which means song. While Handel did not write this for a vocalist the intention is clearly lyrical. Typical theme and variations tend to have a pretty intro and theme then get “notey” and technical for the variations. This piece should always maintain a song-like quality and never sound technical.

Theme

The first thing you might notice is that there is one big three-measure slur and a bunch of slurs inside that the larger one. The big “slur” is actually a phrase marking. Think of the music like a paragraph and the large phrase marking is telling you where the periods are after the sentences. Try NOT to breathe inside the phrase marking. The next thing you might notice is that there are a lot of dynamic changes. These swells and diminuendos are contrary to how a harpsichord would have played this music but those dynamic shifts make this sound much more vocal. At the very least bring out the contrast in the many echo effects from f – p that occurs throughout the piece.

Aria Con Variazioni Trumpet Pdf Free

Var. I

OK, in my first pass through the opening of Var. I, I played how NOT to play; slightly emphasizing the articulated note of the slur. This is a common occurrence and playing this way makes it difficult to create a flow or longer line. It’s easy to “fall into” the slur. Work to “play through” the slur. For the tennis players out there it’s the difference between slapping at the ball and stroking through the ball.

Flowing through intervallic slurs is not one of the trumpet’s easier tasks. We have to work at following through the bottom note of the slurred passage to make everything sound smooth and even. This probably isn’t so hard on a harpsichord!

Var. II

Work for even articulation. Don’t over emphasize downbeats or large intervallic leaps. Try to catch the contrast in dynamics at 7. The phrase from 7 to the fermata is pretty long. It’s ideal to do it in one breath but if you need to breathe my clip example shows you an option that I like.

Var. III

Sing through this movement as much as you play it. Accentuate the f – p echo effects. In the 3rd and 4th measure after 9 I employ a very soft d-tongue; actually closer to an ‘L’ articulation. So for example, the four sixteenths on beat 3 of 3 after 9, I say, “do-ee-lu-ee-oooo”. The “L” articulation gives me the confidence of articulating on an ascending same-valve slur, while still maintaining a smooth slurred sound. You can hear that I am articulating somewhat but I don’t think it’s too offensive.

Aria con variazioni trumpet pdf file

Handel Aria Con Variazioni Trumpet Pdf

Var. IV

My suggestions for the fourth variation are similar to those for Var. I; don’t emphasize the first note of the slur (like I do in the first part of the clip). Try to make this as smooth and lilting as you can while still maintaining clarity and definition of the articulation.

Var. V

This is a flashy sounding variation and a great way to end the work. Don’t let the rhythm get away from you though. Subdivide to the eighth note and keep a steady pulse throughout. The echo effects are especially tricky at 14 because the passage descends so we normally decrescendo. But that ruins the surprise of the terraced dynamic change. Play the dynamics at 14 and 15 in blocks. Imagine rectangles representing the dynamic enclosing the music of the dynamic. Those rectangles change size for the different dynamic markings. For example, it is very tempting to put hairpin dynamics <> on the two echoes immediately after 15 because of the shape of those 2-beat phrases. (Which, by the way, isn’t necessarily all that bad from a lyrical standpoint.) But to stay true to the terraced harpsichord-like dynamic treatment follow through those phrases with blocks of sound and you’ll get a more instant change of dynamic.

One editorial note: Piano score: Var. IV, 1 measure after 11; all the Cs in the trumpet part for that measure should be C#s.

Suggested Recordings

Contest Solos for Young Trumpeters – Phil Smith

Woodwind Instrumentation Codes

Following many of the titles in our Wind Ensemble catalog, you will see a set of numbers enclosed in square brackets, as in this example:

DescriptionPrice
Rimsky-Korsakov
Quintet in Bb [1011-1 w/piano]
Item: 26746		$28.75

The bracketed numbers tell you the precise instrumentation of the ensemble. The first number stands for Flute, the second for Oboe, the third for Clarinet, the fourth for Bassoon, and the fifth (separated from the woodwinds by a dash) is for Horn. Any additional instruments (Piano in this example) are indicated by 'w/' (meaning 'with') or by using a plus sign.

AriaAria

Aria Con Variazioni Trumpet Pdf Online

Flute Oboe Clarinet Bassoon — Horn

Aria Con Variazioni Trumpet Pdf Download

This woodwind quartet is for 1 Flute, no Oboe, 1 Clarinet, 1 Bassoon, 1 Horn and Piano.

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:

0,2+1,0,1-0

Note the '2+1' portion means '2 oboes plus english horn'

Titles with no bracketed numbers are assumed to use 'Standard Instrumentation.' The following is considered to be Standard Instrumentation:

  • Duo - Flute & Clarinet - or [1010-0]
  • Trio - Flute, Oboe & Clarinet - or [1110-0]
  • Quartet - Flute, Oboe, Clarinet & Bassoon - or [1111-0]
  • Quintet - Flute, Oboe, Clarinet, Bassoon & Horn - [or 1111-1]