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    Trumpet Excerpts 2016

    Uploaded by

    Jacob Morgan
    bvnbn

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd

    Trumpet Excerpts 2016

    Uploaded by

    Jacob Morgan
    224 views12 pages
    bvnbn

    Copyright

    © © All Rights Reserved

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    PDF, TXT or read online from Scribd

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    bvnbn

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    224 views12 pages

    Trumpet Excerpts 2016

    Uploaded by

    Jacob Morgan
    bvnbn

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 12

    KENNESAW

    STATE UNIVERSITY
    2016 TRUMPET PLACEMENT AUDITION EXCERPTS

    Please thoroughly prepare each of the indicated excerpts in
    this document. Many of the excerpts will ask you to transpose,
    so please take note.

    *Whenever possible, please use a C trumpet for the orchestral
    works. Also, if possible, use a muted Piccolo trumpet for the
    second Pictures excerpt.

    There is a large amount of music to learn, and I suggest you
    start your preparation as early as possible. Space in the
    rotation will be very limited.

    Finally, if you wish to audition for the NTC ensemble, please let
    me know over the summer. I will be emailing out separate
    materials (parts) for that audition. Details on this as I finish up
    arranging!

    Please contact me with any questions you may have. Good
    Luck and GO OWLS!!!

    ...

    Charlier #3

    INTERVALLES (Les 'I'ierces l (x)

    :res
    1.2

    Scherzando

    lIlI

    (M.M. 100

    :d)

    ---./

    '---"

    <:

    zt'@

    111;/

    11'1

    ----- I

    --=====

    . --3-"""'''''''
    I

    tJ

    __

    -_

    pstaccato simple
    I

    3.

    --.3-.-.----',' .
    staccato binaire

    X'

    1111 .

    V(,ir G. flALAY: N"_' 1-1!i; A. CHAVANNE: N? 1; R. LAURENT: NC.' 1-!i

    ;/ staeeaio ternaire

    \.1.

    Arban Characteristic Study #6

    Vocalise #1

    Trumpet in B b

    #2 from "Melodious Etudes for Trombone - Book 1"


    by Joannes Rochut

    &b
    &b

    Andantino

    3
    &b 4

    & b .
    f

    & b n

    j .

    a tempo

    .
    f P

    cresc.

    poco rit.

    Marco Bordogni
    (1789 - 1856)

    n
    n

    # n

    &b

    Please transpose this


    DOWN a whole step

    n b

    b J

    &

    b
    b .

    &

    b
    J

    b

    &
    #
    j . #

    n b
    &b

    43
    V
    M O U S S O R G S K Y : Pictures at an E x h i b i t i o n : Promenade & Goldenberg and Schmuyle
    Suggested Equipment: Promenade - C Trumpet
    Goldenberg - Piccolo in A or D, F, or G Trumpet with Straight Mute
    Character: Majestic (Promenade) Agitated (Goldenberg & Schmuyle)
    Special Notes:
    Promenade - The style should be legato but with firm tonguing. Observe the
    breath marks. A slight crescendo through the octave skips is helpful. Be
    certain that in the ascending slurs to the high F that the high note is not louder
    than the note on the beat. Keep a steady air flow through the eighth notes to the
    end of each phrase.
    Goldenberg - Here are three suggested tonguing patterns for the first half of the
    excerpt i f the tempo goes beyond a comfortable single tonguing speed:
    1) k-ttt-t, 2) k-ttk-t, or 3) t-ktt-t "to get to detroit":

    OR, You may also have a tonguing pattern that works best for you!
    Note carefully all accidentals, particularly with the grace notes.
    The ninth bar is occasionally played slower (tempo range marked), but it is
    normally played with the same tempo as before. The rhythm is usually played
    slightly rubato with the dotted notation, but some conductors ask for the rhythm
    without the dot (played as an eighth and 4-thirty-seconds). Prepare the figure both
    ways. Also note the softer dynamics (editor's dynamic marking) after the higher
    figures which serve both the music and the player.
    Important!

    There is one point about the double-sharped notes ( x ). In more recent


    editions, these notes are single sharps. Check with the audition committee as
    to which accidental to use.
    I . Promenade

    A l l e g r o giusto,

    modo

    ft=92-96*

    sostenuto

    tutti

    I.

    /
    solo

    solo
    1.

    tutti

    44

    On Pic if possible
    M O U S S O R G S K Y : P i c t u r e s at a n E x h i b i t i o n - c o n t .
    V I . Samuel Goldenberg and Schmuyle
    Andante

    pp

    I*

    mm

    ff

    (CSC.)

    ff
    (rit.)

    46
    R A V E L : P i a n o C o n c e r t o i n G : 1st Movement (Opening & Ending)
    Suggested Equipment: C, D, or G
    Character: Exuberant, Joyous
    Special Notes:
    The usual requirement for this solo begins at #2, however, it is possible that
    the muted portion preceding would be asked to test the player's ability to
    maintain tempo
    removing the mute. The excerpt usually stops at #3, but
    again, the rhythm which follows may be part of the test as well. The dynamic
    marked is forte, but it is more of a chamber forte than an orchestral forte. A
    lighter approach is more appropriate. Staccatos should
    "dry" (short).
    additional consideration noted in one French recording consulted.
    Beginning on the fifth bar after #2 and continuing for four measures, the first
    two eighths of each set of four
    slurred. It is not usually played this way,
    but there's at least one recording done this way, and it's French.
    The normal tempo requirement is j =
    but the majority of recordings
    checked range from 108-116. In an audition, you should check i f there is a
    strict interest in
    I f not, a slightly slower tempo may work better
    technically and musically. It is advisable lo prepare
    material both single
    and double tongued, especially at tempi which border
    use of double so it
    can be played comfortably either way and at any tempo in the range indicated.
    Allegramente

    senza sord.
    Tromba

    0-

    35

    (1)

    mf
    (4)

    (1)

    (4)

    ff

    - w

    63

    S H O S T A K O V I C H : P i a n o C o n c e r t o (All Movements)
    Suggested Equipment: Bb or C Trumpet
    Character: I : Jolly, Jovial 11: Longing, Loving
    (as I )
    Special Notes: This work has numerous dialogues between piano and
    soloists. Each
    excerpt here should be soloistic.
    the first movement, staccatos should be
    dry. There is an 8-bar rest at #9 that need not be counted in an audition. At
    be careful to not add any unnecessary accents. At
    the decrescendo should
    be fairly rapid to get out of the way of the piano.
    the second movement, the music should be very loving and tender. There is
    a little room for tempo variations, but these should be very subtle.
    the third movement, the style is like that in the first movement. The accents
    should be pronounced. After the ad lib "cadenza", the tempo should resume two
    measures after #64.
    some versions, the final two notes are slurred with the final
    note staccato (as two bars earlier).

    I.
    ft=146-148'
    Solo (dry staccato)

    0-0cresc.

    (senza Sord.)
    10

    mp marc.

    r i

    Aim.

    PP

    S H O S T A K O V I C H : Symphony No. 5: Movements I & IV

    First

    Suggested Equipment: Bb or C Trumpet


    Character: Bombastic
    Special Notes:
    Staccatos should be dry. The fourth movement, sections #108 and #109,
    should be broad and firmly tongued but with a feel of two to the bar. At
    there is an a-tempo but now with a quarter-note feel. Be sure to crescendo through
    the triplets, creating something of a wave effect through the section. The
    accelerando approaching
    should not
    too extreme since
    only
    part only from J = 164 to J = 184.

    Poco sostenuto
    I. in Bb

    '

    II. in Bb

    III. in Bb
    *
    .

    2.

    .,

    '

    ,4:

    66

    SHOSTAKOVICH: Symphony No. 5 - cont.


    97
    A

    Allegro non troppo

    I. in Bb
    A

    II. in Bb

    III. in

    i
    accel.

    poco

    98

    mosso
    Solo

    I. in Bb

    II. in Bb

    III. in Bb
    109

    V.S.

    67

    SHOSTAKOVICH: Symphony No. 5 - cont.

    rit.

    cresc.

    r
    3

    3
    III. in Bb

    cresc.

    rit.

    cresc.

    [no]

    9-

    -9-i

    fe

    (accel.)

    V -

    9
    J

    9
    J

    (accel.)

    19
    BRAHMS:

    N o . 2 : 1st M o v e m e n t

    Suggested Equipment: Bb or C
    Character: Noble, Sustained
    Special Notes:
    The challenge of this excerpt is to not allow the wide skips to affect the
    melodic flow or smoothness of crescendo. The tonguing should be distinct
    enough to define the
    but still
    The
    peak
    first
    passage should be the final note, taking care not to make it too short. The second
    passage is from
    very end of the first

    cresc.

    'J
    np

    C O P L A N D : Outdoor Overture
    Suggested Equipment: Bb or C Trumpet
    Character: Lyrical, Pastoral
    Special Notes:
    Maintain a relaxed feeling throughout this solo. The excerpt can easily rush
    so keep the tempo steady. The accompanying texture is very soft and low in
    register, so you need not play out beyond the marked dynamic. Use dynamic
    shading to match each phrase. A slight crescendo to each lower G should
    occur, but smoothly and naturally with the phrase (not suddenly or accented).
    Begin building to the high C from the sixteenth note figure in measure 24.
    cantabile

    mp freely, with natural expression


    -3

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