In May 2001, just before I graduated high school, I was a member of the National Youth Band of Canada. This was my first real music festival and it was a huge event in my life. Not only was I amazed and inspired by the musicians I met, but I grew as a person and made friends I’m still close with today. I was hooked and came back for the next three years. Continue reading “Arutiunian’s Concerto for Trumpet”
Yesterday we held our annual Brass Day at Western, where I teach trumpet. Every year I offer a clinic, and this year my class was called “The Power of Scales.” Basically I attempted to summarize this series of articles over the course of an hour. No small feat!
Here is a copy of the handout I used for the clinic – I also gave the audience a copy of Sunday Scales 6: Variations Galore to give an example of practice variations. If you’re just discovering this series of articles for the first time, those two links are probably a great place to start.
Today’s exercise has it all: a living history, virtuosity combined with artistry and even a little detective-work thrown into the mix. We’re talking about the famous Abblasen call by Gottfried Reiche.
Gottfried Reiche is best known as Bach’s principal trumpet in Leipzig, whose apparent skill is deduced from the incredibly virtuosity of the trumpet parts Bach wrote for him. Reiche actually composed 122 “Abblasen” fanfares during his lifetime, but unfortunately they’re lost.
What we do have is a famous painting by E.G. Haussmann in which Reiche is depicted holding a scrap of paper – the music on that scrap of paper in the painting is legible enough that we have transcribed it to get the sole surviving “Abblasen” attributed to Reiche (really). That transcribed scrap of paper has been the theme song to CBS Sunday Morning for decades, played as recorded by Don Smithers on a baroque trumpet, then Doc Severinsen on a piccolo trumpet and currently Wynton Marsalis on a piccolo trumpet:
Here’s another recording, this time on baroque trumpet from Nate Mayfield:
We’ll close with the fanfare itself. Transpose it up, down, forward, backward, learn it in every key and by memory, slur it, tongue it, double tongue it… It’s a beautiful, living part of our history as trumpeters and a great challenge to play:
Last week, we discussed translating major exercises to minor. Now we’ll go a step further and look at some exercises in the other modes.
To me, modes were just a bunch of Greek names I memorized during undergraduate music theory. I never practiced them and I never played them (as far as I knew). But modes are a great stepping-stone to jazz and world music and a wonderful challenge in the practice room.
Let’s take a moment to understand the modes. Continue reading “Sunday Scales 19: À la mode”
This week we’re going to talk about minor – I’m sure you know it’s important, but do you actually practice it? In my case, I never practiced it much for two reasons: first, most exercises and etudes are in major keys; and second, the three minor modes make it confusing to translate exercises to minor. So this week, we’re going to look at a few scale patterns from previous article and show what they might look like in various minor modes. Continue reading “Sunday Scales 18: Minor misunderstandings”
Building on our efforts of two weeks ago, we’re back with more Plog (see below) and another attempt at memorization by chunking. This time, we’ll look at an exercise from volume three, built around the major second (M2) interval:
Let’s take a look at another Stamp exercise, this time from the Supplemental Studies: