DOCSLIB.ORG

Four Contemporary Trumpet Sonatas

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Four Contemporary Trumpet Sonatas Four Contemporary Trumpet Sonatas: A Recording Project and Performer’s Guide by Garrett L. Klein A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2019 by the Graduate Supervisory Committee: David R. Hickman, Chair Gary Hill Amy Holbrook ARIZONA STATE UNIVERSITY May 2019 ABSTRACT This document accompanies new recordings of four recent sonatas for trumpet and piano. The project’s objective is to promote these works, while providing a comprehensive resource for potential performers. The four sonatas were selected based on their appeal to modern audiences. Composers Brendan Collins, Luis Engelke, William Rowson, and Christoph Nils Thompson each represents a different country, and they offer significant contributions to the trumpet repertoire. Each sonata expertly features the trumpet by highlighting its lyricism, virtuosity, and ability to cross genres. The accompanying document draws upon interviews with the four composers, which reveal insights into the compositional process and provide details that performers will find useful. This document also offers in-depth musical descriptions, allowing performers to enhance their understanding of each sonata. The principal component of the document is the performer’s guide: Advice is presented directly to the trumpet player that has been garnered from the composers’ interviews, study of the music, and the author’s thoughts on preparing the music. To help other young musicians better comprehend the recording process, the author’s own experience is detailed. Ultimately, this document provides a window into the lifespan of the four sonatas; from their initial composition through the various stages of studying and rehearsing, culminating with the experience of recording these works for the first time. i ACKNOWLEDGMENTS I am extremely grateful to Professor David Hickman, who provided vital assistance on this recording project and accompanying document. Professor Hickman’s willingness to share his knowledge and experience, his countless hours of editing, and four years of invaluable trumpet instruction are all greatly appreciated. A note of thanks also must go to Dr. Miriam Hickman, whose efforts contributed to a delightful process of discussing, rehearsing, and recording the four sonatas. To the other members of my committee, Dr. Amy Holbrook and Professor Gary Hill: Your encouragement and instruction have been pivotal not only in the completion of this project, but also throughout my time at Arizona State University. I will take the lessons I learned from you with me through my entire career. This project centers around the composers themselves, and the significance of their participation cannot be overstated. I owe a huge debt of gratitude to Brendan Collins, Luis Engelke, William Rowson, and Christoph Thompson. They were each extraordinarily gracious by trusting me to be the first to record their works. They also contributed a great gift by taking the time to answer interview questions. Thank you, all! Clarke Rigsby, the recording engineer, also played an indispensable role in this project, and I thank him for his expertise and good humor. Lastly, I would like to thank my family for their support, encouragement, and unconditional love throughout my education. I’d like to specifically acknowledge my wife, Mara Klein, for her patience, kindness, and trust in me as I went through this process. I could not have done this without her support, and I am eternally grateful to her. ii TABLE OF CONTENTS Page LIST OF FIGURES .......................................................................................................... vii CHAPTER I INTRODUCTION ................................................................................................... 1 Selection Process ................................................................................................. 4 Pre-Recording Process ......................................................................................... 5 Musical Description ............................................................................................. 6 Composer Interviews ........................................................................................... 7 II REVIEW OF MAJOR TRUMPET SONATAS ..................................................... 9 Influential Twentieth-Century Trumpet Sonatas ............................................... 11 Karl Pilss .................................................................................................. 11 Paul Hindemith ......................................................................................... 12 Peter Maxwell-Davies .............................................................................. 13 Kent Kennan ............................................................................................ 14 Halsey Stevens ......................................................................................... 16 Norman Dello Joio ................................................................................... 17 Eric Ewazen ............................................................................................. 18 Summary ............................................................................................................ 19 III SONATA FOR TRUMPET AND PIANO BY BRENDAN COLLINS ....................... 21 Biographical Sketch ........................................................................................... 21 Background Information on the Sonata ............................................................. 23 iii CHAPTER Page Performance History .......................................................................................... 24 Description of the Music .................................................................................... 25 Movement One: Chorale-Presto ............................................................... 26 Movements Two and Three: Romp and Ethereal ...................................... 30 Performer’s Guide ............................................................................................. 31 Movement One: Chorale-Presto .............................................................. 32 Movement Two: Romp ............................................................................. 33 Movement Three: Ethereal ...................................................................... 34 IV SONATA FOR TRUMPET AND PIANO BY LUIS ENGELKE .......................... 36 Biographical Sketch .......................................................................................... 36 Background Information on the Sonata ............................................................ 39 Performance History ......................................................................................... 40 Description of the Music ................................................................................... 40 Movement One: Intrada ........................................................................... 41 Movement Two: Elegy ............................................................................. 45 Movement Three: Toccata Festiva ........................................................... 46 Performer’s Guide ............................................................................................. 49 Movement One: Intrada ........................................................................... 49 Movement Two: Elegy ............................................................................. 50 Movement Three: Toccata Festiva ........................................................... 51 V SONATA FOR TRUMPET AND PIANO BY WILLIAM ROWSON ................... 53 Biographical Sketch ........................................................................................... 53 iv CHAPTER Page Background Information on the Sonata ............................................................ 54 Description of the Music ................................................................................... 55 Movement One: Allegro moderato ........................................................... 56 Movement Two: Andante ......................................................................... 59 Movement Three: Allegro spiritoso ......................................................... 61 Performer’s Guide ............................................................................................. 63 Intonation ................................................................................................. 63 Negotiating Large Interval Leaps ............................................................ 64 Endurance ................................................................................................ 65 Trumpet/Piano Balance ........................................................................... 66 VI SONATA FOR E-FLAT TRUMPET AND PIANO BY CHRISTOPH THOMPSON ................................................................................................................ 67 Biographical Sketch .......................................................................................... 67 Background Information on the Sonata ............................................................ 68 Description of the Music ................................................................................... 70 Movement One: Allegro molto ................................................................ 70 Movement Two: Ricercare .....................................................................
Load more

Recommended publications
  • Glossary of Musical Terms PDF - Ricmedia Guitar
    Glossary of musical terms PDF - Ricmedia Guitar Glossary of musical terms PDF Compliments of Ricmedia Guitar guitar.ricmedia.com Copyright © Ricmedia A B C D E F G H I J K L M N O P Q R S T U V W X Y Z A Accent A beat or note that is significantly louder than the others Action The space or distance between the fretboard and strings usually of a guitar Acoustic An instrument that creates it’s own amplification by passive means, not electric Ad Lib (Ad Libitum) Musical directive that gives the musician the ability to improvise or omit a section of music Arpeggio A series of notes derived from a chord, aka: broken chord Augmented Any note that has been raised by a semitone from it’s normal position B Banjo A stringed instrument characterized by a round body and a unique twangy sound Bass Mosty referring to a bass guitar but can be referencing to any instrument in the bass tonal range Bass Clef A musical symbol that indicates the piece should be played in the bass tonal range, or F clef Bass Drum Generally the largest drum in a drummers kit that sits on it’s side and is played via a foot pedal Beat The main pulse of the music, the rhythm of the music Blue Note Generally referring the the sharp fourth/flat fifth in the blues scale, aka: tritone Blues file:///I|/guitar.ricmedia.com/Cat_Miscellaneous/Music-glossary/glossary-of-musical-terms.html[21/07/2013 4:48:07 PM] Glossary of musical terms PDF - Ricmedia Guitar A large genre of music characterized by strong rhythms, improvisation and guitar centric music Brass The name given to a large range
    [Show full text]
  • Affordant Chord Transitions in Selected Guitar-Driven Popular Music
    Affordant Chord Transitions in Selected Guitar-Driven Popular Music Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Gary Yim, B.Mus. Graduate Program in Music The Ohio State University 2011 Thesis Committee: David Huron, Advisor Marc Ainger Graeme Boone Copyright by Gary Yim 2011 Abstract It is proposed that two different harmonic systems govern the sequences of chords in popular music: affordant harmony and functional harmony. Affordant chord transitions favor chords and chord transitions that minimize technical difficulty when performed on the guitar, while functional chord transitions favor chords and chord transitions based on a chord's harmonic function within a key. A corpus analysis is used to compare the two harmonic systems in influencing chord transitions, by encoding each song in two different ways. Songs in the corpus are encoded with their absolute chord names (such as “Cm”) to best represent affordant factors in the chord transitions. These same songs are also encoded with their Roman numerals to represent functional factors in the chord transitions. The total entropy within the corpus for both encodings are calculated, and it is argued that the encoding with the lower entropy value corresponds with a harmonic system that more greatly influences the chord transitions. It is predicted that affordant chord transitions play a greater role than functional harmony, and therefore a lower entropy value for the letter-name encoding is expected. But, contrary to expectations, a lower entropy value for the Roman numeral encoding was found. Thus, the results are not consistent with the hypothesis that affordant chord transitions play a greater role than functional chord transitions.
    [Show full text]
  • Music Theory for Young Students
    Longy School of Music Music Theory for young students designed for use in Creative Music Theory classes in the Preparatory Division by John Morrison Emily Romm Jeremy Van Buskirk Vartan Aghababian Teen Theory I and II second revision fall 2011 © 2011 Longy School of Music of Bard College The creation of this text was supported over a four-year period by the generous donation of Mr. John Carey. Introduction Dear student! You are about to start learning music theory. Music theory is a study of music; it helps to understand how music works. It will teach you to read, write, and compose music. What is music? It is something that can change your mood, make you move faster or slower, it can even change your heartbeat! Music can make you imagine things, sometime nice and sometimes scary, and when it gets stuck in your head, it simply won’t leave! It is everywhere – on the radio, in a concert hall, in church or temple, in school – but it only lives while it sounds. You need a composer to make music, a performer to play it, and a listener to enjoy it. To students, parents, and private instructors: This portion of the theory text, where we explain and demonstrate basic concepts of music theory, is the same in Levels 1, 2, and 3 of the text for Creative Music Theory classes at Longy. As such, it will go further than a student in Level 1 will progress during a year. It will allow those starting their study of music theory at Level 2 or 3 to have all the background information they will need for a solid start in theory.
    [Show full text]
  • 5 String Banjo Chord Chart
    Open Chord Shapes Closed (movable position) Chord Shapes Open chord shapes are those that feature an open string. MAJOR TRIADS MINOR TRIADS MAJOR TRIADS MINOR TRIADS Closed or Movable shapes are those that feature no open strings and can The Big 3 be slid around the fingerboard to produce the same type of chord but F A D Fm Am Dm with a different note value (Dm can G C D E Em Dm Cm be slid up 7 frets to become an Am). O O O O O O O O O O O When building a triad, there are only 3 different closed SHAPES for each type of chord. All Inversions For a F Major Triad What is the difference between the major and minor chord F F F F shapes of the same name? (ex. D vs Dm ) (1st inversion - uses a “D” shape) (2nd inversion - uses an “A” shape) (3rd inversion - uses a “F” shape) (4th inversion - uses a “F” shape) 13 17 DOMINANT 7TH CHORDS 10 5 G7 D7 B7 E7 A7 O O O O O O O O These two inversions are repeating shapes since we have now gone up one octave. When constructing 7th chord shapes (or higher such as 9ths, 11ths, and 13ths) every note in the chord does not need to be featured. The TRITONE (the 3rd and 7th) All Inversions For a F Minor Triad of the chord is the meat of the chord and should be featured. MINOR 7TH CHORDS Fm Fm Fm Fm The root and 5th of the chord are (1st inversion - uses a “Dm” shape) (2nd inversion - uses an “Am” shape) (3rd inversion - uses a “Fm” shape) (4th inversion - uses a “Fm” shape) Gm7 Dm7 Bm7 Em7 Am7 ‘weak’ chord tones and can be left off.
    [Show full text]
  • THE 15 STEPS to CREATING Your Own Music on the Guitar INDEX
    the BEGINNERS GUIDE TO GUITAR MASTERY THE 15 STEPS TO CREATING your own music on the guitar INDEX Page Number Contents 1 About this book and why we made it 2 Our philosophy and community 3 Guitar Construction 4 Strings and string names 5 Open position notes 6 Open chords 7 Strumming 8 Tablature and notation 9 Riffs 10 Barre chords 11 Power chords 12 Pentatonic scales 13 Arpeggios 14 Major scale formula 15 String effects 16 Octaves 17 Alternate tuning 18 What now? 19 About us ABOUT THIS BOOK Hey there reader, and guitar player! We have created this learning resource in an attempt to help people accelerate their journey of understanding the guitar, and inspire them to start creating their own music. A lot of people when wanting to start playing guitar will go straight to Youtube, learn ran- dom songs here and there, but the information you are consuming is really scattered and has no building of structure. This makes it harder for you to remember, much longer to improve, and when you don’t feel like you’re improving you’re going to lose motivation real quick. Think of this book as a blueprint of what you need to learn, and the order you should learn it in, so you can start wailing on the guitar and creating your own music as quickly as possible. WHY WE MADE IT We are committed to teaching people not only the technical aspects of playing this amazing instrument, but also to helping people understand, interpret, and celebrate this phenome- non we call music.
    [Show full text]
  • Open Chord Diagrams”
    Concerning “open chord diagrams” is one of the open chord diagrams. Let’s stick to this. Only two others and are prone to be offset on the fretboard (and of course, their minor and sept variations). For them all further explanation is valid analogously. Mechanically increasing the fret number of the diagram would not change the depiction of the diagram. Only a little digit 2 would appear beneath the first fret stating it now be the second fret – and the thicker leftmost line representing the saddle would change in to a thinner one. The digit 1 never appears beneath the first fret, it is represented by that thicker line, that disappers while shifting. But in reality the three fingers of the open diagram are offset one fret to the right, which can also be put this way – it’s all the same: Further offset leads to = and = That shall be enough. The status quo of musescore is that the name of the chord does not change, even if the diagram gets “shifted”. It keeps to be “E” even after an arbitrary number of moves. That’s obviously wrong. As obviously the idea behind increasing the fret number is, that after “shifting” the diagram the whole structure of the chord is preserved. Why would a guitarist move his fingers from an open E-major chord one fret to the right? He wants to play an F-major chord! He would call that an F-major chord, even if he forgets to place his index finger on the first fret as a barré.
    [Show full text]
  • How to Play Guitar-Chords for Beginners-Bootcamp Helping You Find Your Sound
    YourGuitarGuide.com How to Play Guitar-Chords for Beginners-Bootcamp Helping You Find Your Sound Sharon YourGuitarGuide 19 2 YourGuitarGuide.com Welcome, I’m so excited that you’re here. I know you’re going to have a ball playing the guitar. I want to explain to you what we are going to be covering in this course; “How to Play Guitar Chords for beginners”. I’ve been playing guitar for 30 plus years and along the way have had instruction from some of the top guitar teachers. I figure now it’s time for me to give back and share with you and pass on to you some guitar tips and basic guitar fundamentals. Let me just review what will be covered in this course so you will know where we are going on this journey. First let me just say that not everybody starts at the same place. So if you already know some of the subject matter maybe you will want to watch the lecture anyways as a refresher. The first video will cover the basics as if you have never seen a guitar before. It will cover the basics from holding the pick and guitar. Then move on to the second video where it picks up a little bit and learn Anatomy. Don’t get to nervous it’s not that kind of anatomy it is the anatomy of the guitar. Then we will get into how to read a chord diagram it is simple, but maybe you never have had to read a chord diagram.
    [Show full text]
  • Ecological Models of Musical Structure in Pop-Rock, 1950–2019
    Ecological Models of Musical Structure in Pop-rock, 1950–2019 Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Nicholas J. Shea, M.A., B.Ed. Graduate Program in Music The Ohio State University 2020 Dissertation Committee: Anna Gawboy, Advisor and Dissertation Co-Advisor Nicole Biamonte, Dissertation Co-Advisor Daniel Shanahan David Clampitt Copyright by Nicholas J. Shea 2020 Abstract This dissertation explores the relationship between guitar performance and the functional components of musical organization in popular-music songs from 1954 to 2019. Under an ecological theory of affordances, three distinct interdisciplinary approaches are employed: empirical analyses of two stylistically contrasting databases of popular-music song transcriptions, a motion-capture study of performances by practicing musicians local to Columbus, Ohio, and close readings of works performed and/or composed by popular- music guitarists. Each offers gestural analyses that provide an alternative to the object- oriented approach of standard popular-music analysis, as well as clarification on issues related to style, such as the socially determined differences between “pop” and “rock” music. ii Dedication To Anna Gawboy, who is always in my corner. iii Acknowledgments Here I face the nearly insurmountable task of thanking those who have helped to develop this research. Even as all written and analytical content in this document is my own, I cannot deny the incredible value collaboration has brought to this inherently interdisciplinary study. I am extremely fortunate to have a small team of individuals on which I can rely for mentorship and support and whose research backgrounds contribute greatly to the domains of this document.
    [Show full text]
  • Discussing Harmonization and Chord in the Piano Group Teaching
    © EUROPEAN REVIEW OF ARTISTIC STUDIES 2017, vol. 8, n. 3, pp. 1-12 ISSN 1647-3558 DISCUSSING HARMONIZATION AND CHORD IN THE PIANO GROUP TEACHING BOLLOS, Liliana Harb1; & COSTA, Carlos Henrique2 Abstract This paper discusses the Harmonization as an essential tool in the Group Piano discipline in order to reinforce the importance of harmonic practice in collective piano lessons and presents several harmonizations steps as cadences and chord functions in the song "Sambalelê". It also presents the results of this experiment performed within the action research in three classes and two higher educational institutions in Brazil. Key-words: Functions Chords; Group Piano Teaching; Harmonization. Harmony; Supplementary Piano. Data de submissão: Março de 2016 | Data de publicação: Setembro de 2017. 1 LILIANA HARB BOLLOS - Universidade Federal de Goiás, Goiânia. Pesquisadora PNPD-CAPES na EMAC-UFG - Escola de Música e Artes Cênicas. BRASIL. E-mail: [email protected] 2 CARLOS HENRIQUE COSTA - Universidade Federal de Goiás, Goiânia. Professor de Regência e Piano EMAC/UFG. Coordenador do Mestrado em Música. Escola de Música e Artes Cênicas. BRASIL. E-mail: [email protected] 2 | BOLLOS, Liliana Harb; & COSTA, Carlos Henrique 1. Introduction University Music departments are currently experiencing many debates about instrumental pedagogy, including discussions on methodologies, syllabi and repertoires. These actions aim to rethink the processes of learning an instrument, seeking to reveal the contexts in which these processes take place in order to define better strategies and teaching objectives. In addition, these actions question more conservative models of instrumental teaching, replacing them with others that address the development of diverse musical skills, contributing to the integral training of the musician.
    [Show full text]
  • Ukulele Movable Chord Shapes 1
    Ukulele movable chord shapes 1 Ukulele movable chord shapes by Mike Pope This booklet teaches you how to form hundreds of chords on the ukulele based on just a couple of dozen shapes. If you've spent any time practicing the uke, you already know many of the shapes you can use to create new chords. The booklet is for concert ukulele (not baritone) using the most common tuning (G–C–E–A). This book is free and you may pass it along to anyone who's interested. For details, see the License section. Seattle, Washington July 3, 2019 © 2019 Mike Pope. Creative Common license Version 1.9 Last update: 3-Jul-2019 Ukulele movable chord shapes 2 Introduction: Open and movable chords ....................................................................................................... 3 How to move an open shape ...................................................................................................................................................... 3 Using barre chords to make shapes ......................................................................................................................................... 6 Why learn multiple shapes for each chord? ................................................................................................... 8 Legend ................................................................................................................................................................. 9 The open shapes .............................................................................................................................................................................
    [Show full text]
  • The Study of Selected Twentieth-Century American Piano
    Graduate Theses, Dissertations, and Problem Reports 2006 The study of selected twentieth-century American piano compositions appropriate for use with freshman and sophomore college piano majors: Performance and pedagogical suggestions Li-Jung Lee West Virginia University Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Lee, Li-Jung, "The study of selected twentieth-century American piano compositions appropriate for use with freshman and sophomore college piano majors: Performance and pedagogical suggestions" (2006). Graduate Theses, Dissertations, and Problem Reports. 3457. https://researchrepository.wvu.edu/etd/3457 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. The Study of Selected Twentieth-Century American Piano Compositions Appropriate for Use with Freshman and Sophomore College Piano Majors: Performance and Pedagogical Suggestions Li-Jung Lee A Doctoral Research Project submitted to The College of Creative Arts at West Virginia University In partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Piano Performance James Miltenberger, D.M.A., Chair Connie Arrau Sturm, Ph.D.
    [Show full text]
  • An Analysis of Stravinsky's Symphony of Psalms
    AN ANALYSIS OF STRAVINSKY’S SYMPHONY OF PSALMS FOCUSING ON TONALITY AND HARMONY DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts in the Graduate School of the Ohio State University By Jin Myung Kang, M.M. * * * * * The Ohio State University 2007 Document Committee: Approved by Professor Marc Ainger Professor Donald Harris Adviser Professor Burdette Green Graduate Program in Music ABSTRACT In Symphony of Psalms, Stravinsky commands tonality and harmony in new ways that are different from the dictates of classical concepts. The progressive and unique nature of his musical color may stem from the fundamentally different structure of tonality and harmony that underlies his pieces. This piece reflects a neoclassical preference for C major to the point of being called “white-key music.” This is apparent in the fact that C tonality is expanded and developed after it is established as the central tonality of this piece. Meanwhile, bitonality and polytonality, which frequently appear in this piece, destroy the traditional concept of tonality that relies upon ‘single tonality.’ By adding the principles of bitonality and polytonality to the classical beauty of form, Stravinsky succeeds in making a transition from the one-dimensional world of traditional music to a more multidimensional structure. In addition to tonality, new harmonic materials — retrograde (weak motion) that escapes from traditional harmonic motion, harmonies outside of tonality, poly-chords, chords that exclude the third, harmonies that undergo sudden transition, etc.— are boldly introduced. The end result is Stravinsky’s unique neoclassical sound that is firmly established in the history of music.
    [Show full text]