7/29/2023 0 Comments Standar trumpet repertoire![]() Musicians dedicate their lives to honing the art of performing. Sonata for Trumpet and Piano – Kent Kennan 2 Introduction Concerto a Tromba Principale – Johann Nepomuk Hummel 1 Each component of this project has bettered my own understanding of standard trumpet repertoire as well as the process of performance preparation. Most, if not all, of the information researched is to be shared in a lecture format as an additional component to my Senior Recital. The written component of this project discusses the background and context of each piece while providing the reader with information unique to each piece. These pieces were selected based on several factors: difficulty, historical context, and contrast within the repertoire are among the greatest factors. The selections studied in this project consist of Concerto a Tromba principale by Johann Nepomuk Hummel, Sonata for Trumpet and Piano by Kent Kennan, Légende by Georges Enesco, and Brèves Rencontres by Jacques Castérède. I utilized this opportunity to go beyond the basic requirements of a Senior Recital by incorporating a research and lecture component focused on the pieces of the recital. The performance serves as an opportunity to showcase the musical studies that the student has diligently completed through lessons, practice, research, and performance throughout their college career. Undergoing the process of preparing a Senior Recital is a requirement of all music students at East Carolina University. These transcriptions were created in order to make these non-trumpet works accessible to the non-professional trumpet player, and to give a guide on how to create these types of transcriptions.A Study of Standard Trumpet Repertoire Through Recital Preparation and PerformanceĬORE Metadata, citation and similar papers at core.ac.ukĪ STUDY OF STANDARD TRUMPET REPERTOIRE THROUGH RECITAL PREPARATION AND PERFORMANCEĭepartment of Instrumental Music, College of Fine Arts and Communication ABSTRACT In addition, I used the techniques described in my analysis of these approaches to create direct transcriptions for trumpet and piano of two Hugo Wolf lieder (“Verschwiegene Liebe” from Eichendorff-Lieder, and “Nimmersatte Liebe” from Mörike-Lieder) and a semi-direct transcription of a William Byrd virginal (“Will Yow Walke the Woods Soe Wylde” from My Ladye Nevells Booke of Virginal Music). Dishinger and one by Thierry Caens Allen Chen’s semi-direct transcription of Bach’s Concerto in D Major, BWV 972 and Rafael Méndez’s loose transcription of Verdi’s aria “Caro nome,” from Rigoletto. These approaches are examined through three pieces that are now a part of the standard trumpet repertoire: two different direct transcriptions of Ravel’s Pièce en forme de habanera, one by Neal Ramsay and Ronald C. The three approaches to transcription examined are: direct transcription of the solo part with minor changes semi-direct transcription of the solo part with more extensive changes and loose transcriptions, where many aspects of the solo are preserved but the transcription goes in its own direction. ![]() ![]() In short, transcriptions fill in gaps in the trumpet repertoire, create a new outlet for repertoire composed for other instruments, and make repertoire more accessible to the average trumpet player. This document discusses the role of transcriptions in the trumpet literature and examines three different approaches to transcription for the trumpet.
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