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Low Horn Etudes and Drills for the Intermediate Player

by Patrick Miles

Method book for the Low Horn player.

SKU: 921011 Categories: , ,

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Description

A much needed method book for the development of the low register. Aimed at the intermediate player who wants to expand their range. Written and compiled by Patrick Miles, a well established and much experienced hornist and educator.

Additional information

Weight 180 g
Dimensions 626546306 cm
Composer

Miles Patrck

Instrumentation

Horn Method

ISBN

9789055521258

Language

English

Pages in Score

24

Publisher

Phoenix Music Publications

Year Published

2024

Forward to Book

In my thirty-plus years of teaching horn at the collegiate level, I almost always found that the most neglected area of an incoming student’s horn playing was their low register. Most young players never see a bass clef in their high school band music and few have encountered it in orchestral or chamber settings. Some may be able to read bass clef because they have played piano or another instrument doubling, but being able to read bass clef and having facility in the low range on the horn are two separate issues.

There are few etude books that specifically address the low range and many of those that do, approach it from the standpoint of an already advanced player.  In discussions with other horn teachers, I found that we mostly tend to do variations of the same thing: have students play out of low brass books, transpose the Kopprasch etudes down an octave, or constantly devise new drills.  I hope that this etude book will serve as part of a disciplined approach to confronting the many problems horn players face when working toward mastery of the low horn.  The drills included are similar to what many players use.  The etudes are not mine, but those of Concone and Endresen, and have been transposed to various keys and bass clef.  All drills and etudes are in new notation, to be read as written. I also recommend Randy Gardner’s excellent “Mastering the Horn’s Low Register.”  

I feel there are several key components for players and teachers to address when playing in the low register:

  1. Make sure to keep the corners of the embouchure firm and focused toward the center of the aperture.  Many young players purse their lips and hope for the best, but, as with any successful embouchure, the muscles around the lips must be firmly engaged.
  2. It is necessary for the lower jaw to come forward a bit when playing in the low register. Experiment with octave slurs and jumps in front of a mirror to see how much your jaw moves.  Remember to keep the corners of your embouchure firm.
  3. Make sure to focus the note in the center of the pitch immediately. Many players attack the note too low then have to lip it into place. Use those firm corners, and clean attacks, to achieve the center of the pitch right at the onset of the note. Using a tuner can help confirm the correct lip setting.
  4. Experiment with fingerings. There may be several fingerings that work but few give optimum tone, intonation and ease of playing. Each horn is a bit different, so play with this. (I have included a fingering chart with what I consider to be the best options on the double horn).
  5. Be very insistent with articulation. Often, players try to begin the note by tonguing through the teeth, but avoid this at all costs. In the middle range, the tongue will attack near the back of the top teeth (think of the spot where you burn your mouth when you bite into a slice of pizza that is too hot).  As the notes proceed lower and your jaw drops, the oral cavity needs to open and the tongue will move down accordingly. 
  6. Play at all dynamic levels. A long tone may sound quite lovely at pp but very wobbly at FF.  Use a metronome when playing long tones and see how long you can hold those notes at every conceivable volume level without a change in pitch or tone. This can be more difficult than it sounds.

I hope this book will fill a niche for those players who are looking to bolster their low horn playing abilities.  As with all aspects of horn playing, a dedicated and diligent approach is the best way forward.

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September Elegy for Natural Horn (Optional Valved Horn) and Piano

by Jeffrey Agrell

A tribute to the events and victims of September 9th 2001 when terrorist attacks brought down the twin towers in New York and killed thousands. Written for Natural horn and Piano. The composer uses the natural horn, a traditional instrument, in a modern idiom of improvisation. The natural horn is singularly expressive in it’s wide range of color, timbre and technique and when presented in a largely improvisational idiom makes each performance deeply personal and unique.

SKU: 211012 Categories: , ,

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September Elegy for Natural Horn and Piano

 

September Elegy for Natural Horn and Piano” arose as an expression of grief from the events of September 11, 2001. It is unusual in that it uses a natural (valveless) horn in Eb. Also that the performer improvises on it. Natural horn has seen something of a revival of use in recent years, but its use has been almost entirely in its original classical setting. Since beginning to work with the natural horn in 2000, I have become very impressed with its powerful expressive capabilities, which can be used to surprising advantage in playing contemporary music. For example, the range of tone colors, the use of stopped and half-stopped hand positions (including portamento effects) is much more vivid than that possible on the modern valved horn. The natural horn is also capable of extraordinary crescendos and decrescendos that can be startling and dramatic.

Improvisation

Add to this extended spectrum of expression the element of improvisation – completely unknown on the horn since Punto adlibbed classical cadenzas in the early 1800s – and you have a very unusual musical adventure, and one that will be different for every performance. Improvisation is usually thought of as being either ‘free’ or jazz in style. The improvisation required here (for both instruments) is neither. Jazz improvisation commonly follows a cyclic harmony. Improvisation in “September Elegy” is primarily guided by the mood of the piece. Where ‘free’ improvisation often incorporates extended techniques (or may consist almost entirely of them) and may sound chaotic, the goal of the performers here is to improvise in the original sense of composing on the spot in the mood of the piece. Improvisation in this sense has both unity and variety, both structure and surprise, activity and repose. 

Compositional Structure

There are four sections to September Elegy: I. Prologue II. Chorale III. Reflection IV. Epilogue. All but the Chorale are improvised (Reflection is a piano solo). Some horn players may shy at the unfamiliar requirement of improvisation. The barrier to performing this piece is not improvisation per se. The improvisation appropriate to the piece is not necessarily technically difficult. On the contrary, a slow and expressive improvisation suits the mood of the piece.

The real barrier is in the mind of the player – daring to improvise, daring to express inner feelings, daring to explore and discover the music inside him or herself. Although the use of the natural horn is much preferable, there is also no reason that the piece could not be realized on a modern horn if that is the only instrument available. The valve horn performer should, however, be aware of how hand horn techniques color the sound. Preparation for performance should involve exploration of various extended techniques (fluttertongue, trills, glissando, extreme ranges, stopped and echo effects, portamento, vibrato, note bends, use of the 7th, 11th, 13th harmonics, and so on), all techniques that the natural horn is capable of.

Performance Length

Length of the movements: this is up to the performers. The first performance (University of Iowa, November 30, 2001) was about 10 minutes long altogether. Rough suggestions: Prologue – up to 2’; Reflection – 1’ 30” to 2’; Epilogue: 20-30”. 

 

I would like to express my deep gratitude to pianist Evan Mazunik, whose remarkable playing and insightful comments were an invaluable source of inspiration in the creation of this work. 

Summary

September Elegy is one of a series of pieces that blend nonidiomatic improvisation with written material. Up until the rise of gigantic Romantic orchestras, horn players were expected to be able to improvise, like all musicians. I hope that this series will help bring back the skill and the joy of improvisation to the players of this instrument.

 

There are two recordings of the piece available on youtube.com:

Recordings

Jeffrey Snedeker, from his CD “The Contemporary Natural Horn” (2011)

https://youtu.be/53mTg8PbWw0

 

And me, from a live performance in 2013. https://youtu.be/iH2R0wyH5hc

My original recording of the piece was on my CD “Repercussions” (2003)

Jeffrey Agrell

Check out the multi-media files we offer with September Elegy by clicking on the Tab: “Multi-Media”

Additional information

Weight 195 g
Dimensions 626546306 × 21 × 29,7 cm
Composer

Jeffrey Agrell

Year Published

2023

ISBN

9789055521074

Format

A4, Parts A3

Publisher

Phoenix Music Publications

Instrumentation

Natural Horn, Valved Horn, Solo Horn and Picano

Instrumentation

Horn and Piano, Natural Horn

Language

English

Pages in Score

8

ISBN

9789055521074

Performances

Multi Media

Since 9/11/2001, there is a whole new generation reaching maturity who were either not alive at the time of this defining moment of the 21st century, or were running around in diapers. Although they are familiar with the event, it is not likely that they realise the immense emotional impact it had on the world.

In order to bring home the emotional intensity of these attacks, we have compiled under Fair Use compliance a series of photos which can be projected during a performance of September Elegy, creating a multi-media experience. This is guaranteed to deeply impact any audience with the devastating immensity of the day, and hopefully indirectly explain the events that followed. Even for generations who lived through the reporting of these events, memories will be refreshed with the horrors of this infamous day.

An example of this multi-media presentation can be seen by following the following link, based on Jeffrey Snedeker’s CD recording of the piece: The cd is available here.

The photos are available as a Power Point Slide Show featuring photos of the attack on the twin towers. We believe that this multi-media approach will immensely enhance the performance and the emotional impact of the piece. The Power Point file is fully editable to adapt to your own vision and needs.

You can watch our version below:

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Five Duets for (Natural) Horns

by Yves Tramon

A collection of duets written in a classical style for natural horns but playable on modern valved horns as well. The duets are also presented such that they can easily be played on a combination of both natural and modern horns. The duets are for intermediate level hornists.

SKU: 212007 Categories: , ,

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Five Duets for (Natural) Horns

These five intermediate-level duets for two natural horns can also be played on modern instruments with the appropriate fingerings. They are all based on only natural harmonics. The modern horn player can thus learn to become familiar with the natural horn without the need to change the position of the right hand in the bell. In this way, these untempered notes create a special atmosphere ideal for the Nocturnes.

You will find the version for natural horn on the left page in the desired tone and on the opposite right page the identical version for modern horn with the appropriate fingerings. It is not necessary to correct the intonation in order to comply with the instructions.

CANON

Consisting of 3 phrases of 8 bars each, it should be played with a full sound. The canon is shifted by a whole bar in the first and third parts, while a shift of only two beats in the second part gives a chase feeling.

NOCTURNE

Mystery, brightness and sweetness through the use of the key of D major. The first, third and fifth lines are extremely calm and sweet while the second and forth lines provoke a surprise through the use of a strong Forte and that of the untempered seventh and eleventh harmonics.

LULLABY FOR ELEONORE

Three simple little phrases with the same repetitive rhythms and also the same quiet dynamic in an easy register in order to put a baby to sleep. The tone of C Major reinforces this feeling of repose.

MODAL CANON

The first and last part are rather heroic and full of pride while the second is more feminine and tender. Must be played rather fast.

DUET IN C

In the character of a hunting band. Beware of the key of C which does not lend itself so much to virtuosity, one can very easily «slip» !

– Yves Tramon

Additional information

Weight 180 g
Dimensions 626546306 × 21 × ,03 cm
Composer

Yves Tramon

Instrumentation

2 Horns

ISBN

9789055521142

Language

English, French

Pages in Score

12

Publisher

Phoenix Music Publications

Year Published

2023

Instrumentation

2 Horns, Natural Horn

Format

A4, Parts A3

ISBN

9789055521142

Forward in French

Ces cinq duos de niveau intermédiaire pour deux cors naturels peuvent aussi être joués sur l’instrument moderne avec le doigté approprié. Ils sont  basés uniquement sur les harmoniques naturels. Le corniste moderne peut ainsi apprendre à se familiariser avec le cor naturel sans avoir besoin de modifier la position de la main droite dans le pavillon. De la sorte, ces notes non tempérées créent une atmosphère particulière idéale pour les Nocturnes.

Vous trouverez sur la page de gauche la version pour cor naturel dans le ton voulu et en vis-à-vis sur la page de droite la version identique pour jouer sur le cor moderne avec le doigté adapté. Il n’est donc pas utile de rectifier la justesse pour respecter le texte.

CANON

Constitué de 3 phrases de 8 mesures chacune, doit être joué avec un son plein. Le canon est décalé d’une mesure entière dans les première et troisième parties alors que dans la seconde partie, le décalage de deux temps seulement donne une sensation de course-poursuite.

NOCTURNE

Mystère, luminosité et douceur par l’usage du ton de Ré M. Les première, troisième et cinquième lignes sont extrêmement calmes et douces alors que les secondes et quatrième provoquent une surprise par l’emploi de la nuance Forte et celui des harmoniques impaires sept et onze non tempérées.

BERCEUSE POUR ELEONORE

Trois petites phrases toutes simples avec les mêmes rythmes répétitifs et aussi à la même nuance douce dans un registre facile pour endormir bébé. Le ton d’Ut renforce ce sentiment de douceur.

CANON MODAL

La première et dernière partie sont plutôt héroïques et pleines de fierté tandis que la seconde est plus féminine et tendre. Doit se jouer plutôt rapidement.

DUO EN UT

Dans le caractère d’une fanfare de chasse. Attention à la tonalité d’Ut qui ne se prête pas tellement à la virtuosité, on peut très facilement « déraper » !

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Gallimaufry Suite for Low Horn and Piano

by Jeffrey Agrell

This piece was written for composer and horn virtuoso Ricardo Matosinhos.

SKU: 211011 Categories: ,

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Description

Gallimaufry Suite for  Low Horn and Piano

This piece was written for the Low Horn. It is meant to expand on a repertoire that lags far behind what exists for the high hornist.

I. Odd March

This march starts off in 7/8 (3+2+2) – Sousa would not approve. The piano assumes the role at first of tuba and snare drum. For the percussive part in the pianist’s left hand, the pianist may tap the piano with the right hand. Or use any other noise maker (wood block, shaker) for the percussive sounds. Holding a stick (wood block) or small percussion instrument may mean altering or abbreviating some measures – go right ahead. Make noise any way you can. Other possible solutions: body percussion (slap your lap) or hand drum (djembe or conga drum). You may even add a percussionist. You could then ask them to improvise for most of the rest of the piece.

Section 1

The first section of the piece is an aggressive, odd meter sort of off-balance march. The horn enters on a very wrong note – a Gb against the F in the bass.  And holds it for a while, even crescendoing on it until it finally resolves down to an F. This opening captures two major recurring elements of the whole piece. The first is movement (both harmonic and melodic) by half steps (called side-stepping in jazz). The second is the use of tension and release.

Section 2

After the first section, this odd march moves in a new direction. It becoming very funky in rhythm and (blues) scale material. Note that those low C3’s start the funk motifs. They may be played one octave higher if necessary or desired. The first two instances are indicated in the notation, but applies to all occurrences. The middle section moves into more of a noble long line adventure for the horn. It is accompanied by the piano. This does double duty as a tuba-esque oom pah bass overlaid with higher flowing flute-like decoration. This march displays its weirdness once again at measure 66, where a written-out cadenza suddenly appears (a cadenza in a march??). This should be played very freely (the player is also free to change or even abandon what’s written and make up their own. Go for it!).

Ending

Note that the last two bars have an alternate ending that moves up to C3 instead of down to C2; take into account how the embouchure is responding down that low today and make your choice accordingly. After that, a recap starts up again at m. 79; it drifts into an odd fade-out at the end. The final anomaly (and mirror image of the beginning of the piece) is a very long wait on the “wrong” low G# in the horn to finally pop up to resolve on low A. Note: if you have enough air, simply keep going on this note until you run out, then signal the pianist when to stop (together). The pianist should make this last note as soft as possible.

II. Quirky Waltz

The principal features of this waltz are extensive use of “natural” horn passages (one fingering) and the whole tone scale and augmented arpeggio. The horn opens with alternation between F (F:0) and Gb (Bb:23) horns, both using the 2-3-5-3 overtone number pattern. The “B” section jumps around between horns: F, A, Ab, Bb, Gb. Then for contrast comes a section using the whole tone scale, but sound like Debussy it does not. The horn player may have his/her say with an optional cadenza. Suggested for this is either the whole tone scale or use of “natural horns” – or both. After the recap comes a short coda that makes use of a rapid change of “horns” (if the player wishes). The pianist finishes with a brief flurry of notes over the soft stopped B4 in the horn.

III. Angular Variations

This consists of an angular, atonal eight-bar theme and a series of five short variations on this material. The horn theme is ominous, almost angry, a bit like the unison low horn line in Shostakovich 5. The pianist helps create the atmosphere by holding the sustain pedal down as the hornist plays into the open piano harp. Two measures rest are given to let the piano ring in sympathetic vibration with the horn but hornist and pianist don’t have to count this. They can simply listen and start up again after the sound has faded. The same is true in the coda at the end.

Variation I

The highly contrasting variations follow one another without pause. The first variation is Impish. It features jagged jerky sporadic leaps by the hornist. This while the piano thumps low bass notes decorated by high tongue-in-cheek punctuations in unpredictable fashion.

Variation II & III

The second variation is marked “Aggressively”. The horn hammers out a wide insistent stream of zigzag eighth notes. It is supported by various smashes and crashes and offbeats in the piano. The movements are short. After eight bars of this pummelling, the bass line melts into a walking bass line. This emulates a jazz pizzicato bass and leads into the atonal swing of Variation 3. This style uses swing eighths, where it is notated in 4/4 but played with triplet 12/8 feel. This part comes to a full stop before starting up again in a faster triple meter section.

Variation IV

Variation 4 features frequent use of the right hand closing the horn bell. Then opening to scoop and swoop up to open notes from a half-step below.This is indicated by the circle/cross half-stop symbol above the note. It yields a rather tipsy character to this variation.

Variation V

The fifth and final variation speeds up even more. It takes its inspiration from the great French cornet virtuoso and composer Arban by harnessing double tonguing technique. This variation ends on a long, low F#2. The hornist has the opportunity at this point to take an atonal cadenza solo if desired. A second option is for the horn and piano to improvise an atonal dialogue at this point. you can add spice to this cadenza by using a lot of extended techniques. These include stopped horn, half valve, fluttertongue, glisses, pitch bends, air sounds, anything goes. Experiment and acquire of easy-tograb extended techniques to get out and show off here.

A recap of the theme follows the cadenza, and goes into short coda with bouncing tritones, a micro-remembrance of the hand-horn bends, and a final short fluent sixteenth note passage in the horn (highly recommended: most of it works beautifully by alternating Bb:2 0 2 0).

IV. Blue Caccia

The old saying is that all horn music is either Long Line or Hunting Music. This movement is the latter. It is in 6/8 rondo form, as many last movements of horn compositions are, but with a tasty twist: it is based around the blues scale, not something in much use back in the eighteenth century, but which is familiar to everyone today.

Fingerings

As mentioned above, the quick passages in this movement in the horn can be most easily negotiated by using fingerings that call on the shorter horns (Bb side). This movement takes frequent advantage of the rhythmic opportunities available in 6/8 time – alternation between and juxtaposition of the feeling of two and of three. The opening theme acts as a ritornello that returns between various episodes. Natural horn overtone glissandos (one fingering each) are called for at measures 53 and 59, wide swoops up and down with one fingering. The trick is to make the glisses as even as possible and not get “stuck” on any of the notes in the series.

Ending

After various twists and turns, the motion comes to a halt (mini-piano flourish – take your time!) at m. 110, and the hornist may, if they choose, take an improvised 6/8 cadenza using the blues scale (1 b3 4 #4 5 b7) at m. 113 (option #2: let the pianist take an improvised bluesy cadenza here, if they are familiar with the style and improv). After that is a final go-round with the opening theme, which segues into a sparse, bouncy, soft codetta, finally drifting down to a low, low, C2. Note that an alternate ending (that ascends to C3) is provided for those days that the embouchure just does not want to cooperate in vibrating that slowly in that extreme range.

Note on all cadenzas:

There are cadenza moments for every movement. Only the first one is written out. As noted, the player may play it as is, or change it as they wish, or compose or improvise their own. All cadenzas are optional – include them or omit one or some or all as you wish. There is also this: there is also the option letting the pianist in on the fun: the pianist may take over any of the entire cadenzas (as agreed upon ahead of time). Any cadenza moment could have both players involved, either alternating (like a conversation) or playing simultaneously.

Imagination

If you want to add more imagination to it (and we hope you do), have the not-playing partner of the moment: play a small percussion instrument or do body percussion. Do a dance. Bring in a percussionist of any sort during the cadenza (and perhaps the rest of the piece). Bring in a dancer. Add lighting (including turning all the lights off). Read a poem. Have the audience make some kind of rhythmic sound (clap, fingersnap, stomp foot, hum a drone, etc.).

Or some combination of the above. Or something else not mentioned here. This is your moment to go wild (at least within the general spirit of the movement) and make each performance unique and fascinating. Notation can only go so far, and it’s pretty boring to play everything exactly the same every time. We are delighted when you can find ways to make the piece brand new every time. Your audience will thank you for this as well.

Tips

A tip on ways to create your cadenza: Look over the horn part of the rest of the movement. Steal! Choose a bit of it, repeat it, change it, make a sequence out of it, play it backwards, keep the rhythm, change the pitches or change the rhythm and keep the pitches. Take little breaks. Make short statements. Start clearly, but with less energy. End with more energy (e.g. faster, higher/lower, louder).

For examples of cadenzas for movements 2, 3, 4, listen to Ricardo Matosinhos’s composed cadenzas in his performance of the piece on  YouTube!. His cadenzas are included in this publication.

Notes on the whole piece:

Since the range of this piece is restricted to the middle and low registers,  I have taken advantage of the ability of the valves using the shorter horns (= Bb side) to aid quick note change. In the upper register the valves do very little (pitch change up there comes mostly from a steely and precise embouchure), but in this range (ca. G4 and down) a change of a Bb side fingering will (very likely) produce a change of note, allowing for some very fast and fluent passages that would be difficult or impossible using the longer horns (F side) in the same region.

The performer may use of course whatever they like; I’m just relating how the horn part came about and what works for me. On the other hand, in places the piece goes the other direction and makes use of “natural” horns, where the player should stay on one “horn” (fingering) to get the desired effect – no valve work at all!

Interpretation

What’s printed here is the result of my experimentation and what sounded interesting to me at the time. You – the performer – should treat this ink as just a beginning, not an end. I implore you to be convincing, not correct. Your job and my job are the same: to bring an interesting and entertaining piece to our listeners. To that end, please (please!) feel free to tweak anything to make the piece match 1) your ideas and sensibilities and/or 2) your technical abilities.

If you find spots where you can change something (a note, a fingering, a register, a dynamic, an articulation, and so on) to make the piece match what you would like to hear or what you are able to do, please go right ahead. This includes adding rests, fermatas, ritards, tempo (play the tempo that works for you). Does it work better for you to go a little faster or slower? Try it and see what happens. Feel free also not to play the whole piece – one or two movements might be just fine for certain occasions.

Personal Meaning

This is not changing for the sake of changing. This is about change that means something to you, and serves our purpose – where composer and performer are partners – to give a meaningful and convincing performance. It’s also more fun and interesting for the player if the piece is a little different every time. The same goes for the piano part. Pianist: if you can improve or adjust the piano part to solve certainly technical difficulties and/or serve the player and/or the piece better, please go ahead. If you would like to adjust (say) the occasional flourishes to suit what you hear and what lies well for you, just do it.

In sum: start with what’s there. Then make changes as needed or desired. I am totally on board with trying out ideas that go even farther, such as adding an improvising percussionist or two (here, there, or everywhere) or perform in a room where you can control the lighting. The main thing is 1) have fun 2) give an entertaining show/performance. (And maybe #3: send me a copy of your revised edition and a recording of your performance so I can appreciate your work as well).

Enjoy!

Jeffrey Agrell

See Ricardo Matosinhos perform this on YouTube!

Additional information

Weight 250 g
Dimensions 626546306 × 21 × 29,7 cm
Publisher

Phoenix Music Publications

Language

English

Composer

Jeffrey Agrell

Length

15 minutes

Format

A4, Parts A3

Pages in Score

32 pages

Instrumentation

Low Horn and Piano

Instrumentation

Low Horn and Piano

ISBN

9789055521074

ISBN

9789055521074

Performances

What Does Gallimaufry Mean?

Gallimaufry: hodgepodge, jumble, random collection, assortment, medley, mix, potpourri, mishmash, salmagundi, ragbag, miscellany, omnium-gatherum. Possibly from the Old French galer (to have fun) and mafrer (to gorge oneself). French cooks in the sixteenth century were known to make a dish called galimafree, which was a kind of meat stew with odds and ends thrown in. For the purposes of this piece, we are going to choose the word to mean “an assortment of movements of very different character,” and sometimes there are considerable contrasts within the movements themselves. Expect the unexpected!

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Fantasia for Two Horns and Piano

by Ricardo Matosinhos

SKU: 212008 Categories: , ,

 24,95 Incl VAT

Description

Fantasia for Two Horns and Piano

Fantasia for Two Horns and Piano was composed for the 2021 Phoenix Music Competition. In 2021, I challenged Phoenix Music Publications to organise a Horn Duo Competition. At a time when half of the world was still under physical distancing and confinement. Accordingly, horn players all over the world were trying to keep in shape and this led to the creation of the Phoenix Music Competition 2021. The winning piece is dedicated to Anthony Parrish and Matt Meadows.

As the name suggests, the fantasia does not follow a strict musical form. Like much of my music, it was born out of a slow-motion improvisation. It begins with a catchy rhythmic note repetition and a heroic theme, gradually becoming more ambiguous and alternating between 3/4 and 6/4 time signatures. Thereafter, the initial theme morphs into different characters before returning to the original idea with extra energy. Fantasia for Two Horns and Piano is the perfect piece to play as part of a split solo recital or to combine with other pieces for two horns and piano.

Ricardo Matosinhos

Ricardo Matosinhos is a major contemporary composer, clinician and educator for French Horn. Here is an interesting example of his educational presence on YouTube.

 

Additional information

Weight 195 g
Dimensions 626546306 cm
Composer

Ricardo Matosinhos

ISBN

9789055521128

Instrumentation

2 Horns and Piano

Language

Portugese, English

Publisher

Phoenix Music Publications

Year Published

2023

Format

A4, Parts A3

Instrumentation

2 Horns

Pages in Score

16

ISBN

9789055521128

Portugese

Em 2021, desafiei Kerry Turner a organizar um Concurso de Duo de Trompas. Metade do mundo ainda estava sob distanciamento físico e confinamento, e os trompistas em todo o mundo tentavam manter-se em forma. Foi assim que nasceu o Concurso da Phoenix Music 2021. Fantasia op.91 é dedicada a Anthony Parrish e Matt Meadows, vencedores deste concurso. Como o nome sugere, a fantasia não segue uma forma musical estrita. Tal como grande parte da minha música, nasceu de uma improvisação em câmara lenta. Começa com uma repetição rítmica de notas cativante e um tema heróico. Gradualmente, o sentimento rítmico torna-se ambíguo e alterna entre 3/4 e 6/4, e o tema inicial transforma-se em carácters diferentes, antes de regressar à ideia inicial com energia extra. Esta é a peça perfeita para tocar num recital solo dividido ou para combinar com outras duas peças para trompas e piano.

– Ricardo Matosinhos

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Prelude in the Style of Johann Sebastian Bach for Solo Horn

by Yves Tramon

This piece was written for solo horn by Yves Tramon in the style of the Cello Suites by Johann Sebastian Bach.

SKU: 211010 Category:

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Description

Prelude in the Style of J.S. Bach for Solo French Horn

The Six Suites for Solo Cello by Johan-Sebastian Bach are a pinnacle of cello literature. So much so that they have been adapted for all instruments, including Solo French Horn. There are at least three different versions for Solo French Horn alone (Daniel Bourge through Éditions Billaudot, Francis Orval through Editions Marc Reift and Wendel Hoss through Southern Music Publishing Company). The popularity of these suites is due as much to the depth and intensity of the musical message as to their sometimes formidable technical difficulties, which constitute a challenge for even seasoned instrumentalists.

Through this free-form prelude, as conceived by Bach, I sought to rediscover the spirit of the Leipzig Cantor’s writing. And to adapt it to our instrument, such as JS Bach himself could have achieved if he had been familiar in his time with our modern horn. To achieve this, I used arpeggios and multiphonics as he employed in his instrumental writing for the cello. But also with the addition of stopped notes specific to the horn, which widens the range of colours.

BREATHING

Breathing is an important aspect for any wind instrumentalist approaching the cello suites whose importance Bach could not have suspected. This is true for brass players more generally since the phrases sometimes follow each other in continuous sixteenth notes over an excessive duration. This is why I wanted to create breathing possibilities between phrases, either by using quarter notes or half notes with fermatas, instead of linking them together as Bach could afford to in his writing. Bach’s writing can still pose problems today if one is not sufficiently familiar with the performance practices in force in the 18th century, which allowed breathing through interrupting the continuity of the melodic flow. To be convinced of this, one need only look at his Solo for transverse flute, and particularly at the second part of the initial Allemande, which consists of 25 bars of sixteenth-notes without the slightest interruption.

HARMONICS:

The technique of playing multiple sounding notes, or harmonics, was known as early as the 18th century. The famous Bohemian virtuoso Giovanni Punto was considered a master in this field. He was admired by his contemporaries for being able to play up to four sounds simultaneously.

The technique applies to all brass players: one pitch is played normally while a second is sung. The third pitch (harmonic) results naturally (if done correctly) from the difference between the other two. Even a fourth harmonic is possible, resulting from the sum of the first two in accordance with an immutable physical law. The order of which pitches one plays and sings has little importance. It depends on the vocal range of the player and the range of the played note, obtaining the third pitch. However, the third note is necessarily a function of the other two.  That is to say: we cannot obtain any third note we want. It is conditional to the other two. For example, play a low “C” and sing the “G” two octaves higher, you will hear the harmonic “E”.

The multiphonics of Carl Maria von Weber’s cadenza in his Concertino are therefore impossible to perform as written. They do not correspond to what can be achieved in acoustical physics. This acoustic phenomenon can be easily verified by playing high-pitched sounds with two high-pitched instruments such as flutes or trumpets. Provided you play perfectly in-tune intervals, you can hear a third pitch quite distinctly through this resonance effect. This can be verified on a piano by playing intervals of thirds, fourths, fifths or sixths in the upper register while depressing the sustain pedal.

SECRET

The secret to making these harmonics audible is to project your voice far enough INTO the instrument. Make sure that it projects clearly out of the horn bell. Make sure that your voice does not remain in your own mouth. Otherwise it will not be balanced with the sound being played and the harmonic will not resonate.

May you have as much pleasure playing and interpreting this prelude as I have had in writing it!

– Yves Tramon

Yves Tramon is Professor of Horn at the Conservatoire de Lille and can be found on  FaceBook.

Additional information

Weight 225 g
Dimensions 626546306 × 21 cm
ISBN

9789055521074

Publisher

Phoenix Music Publications

Language

English, French

Instrumentation

Solo Horn

Composer

Yves Tramon

Format

A4, Parts A3

Instrumentation

Solo Horn

Pages in Score

8

ISBN

9789055521074

Forward in French (Presentation)

PRÉSENTATION

Les six suites pour violoncelle seul de Jean-Sébastien Bach sont un sommet de la littérature du violoncelle, à tel point qu’elles ont été adaptées pour tous les instruments. Il n’existe pas moins de trois éditions différentes rien que pour le cor (Daniel Bourgue chez Billaudot, Francis Orval chez Marc Reift, Wendel Hoss chez Southern Music) ! La popularité de ces suites tient autant à la profondeur et l’intensité du message musical qu’à ses difficultés techniques parfois redoutables qui constituent un défi pour les instrumentistes chevronnés.
A travers ce prélude de forme libre comme le concevait Bach, j’ai cherché à retrouver l’esprit de l’écriture du Cantor de Leipzig adaptées à notre instrument, tel que J.S. Bach lui-même aurait pu réaliser s’il avait connu à son époque notre cor moderne : arpèges et multi phoniques comme il procédait dans son écriture instrumentale pour le violoncelle mais avec adjonction de sons bouchés propres au cor, ce qui élargit la gamme de couleurs.

LES RESPIRATIONS :

Aspect important pour tout instrumentiste à vent qui aborde les suites pour violoncelle seul et dont Bach ne pouvait soupçonner l’importance à nos yeux et plus spécifiquement pour tout instrumentiste de cuivre puisque les phrases s’enchaînent parfois en double-croches continues sur une durée excessive pour un cuivre. Aussi ai-je voulu ménager des temps de respiration entre deux phrases soit par des noires, des blanches avec des points d’orgue au lieu de les enchaîner comme Bach pouvait se le permettre dans son écriture, ce qui peut encore aujourd’hui poser des problèmes si l’on n’est pas suffisamment familiarisé avec la pratique d’interprétation en vigueur au XVIIIe siècle, qui autorisait de respirer en interrompant la continuité du flot mélodique. Il suffit pour s’en convaincre d’observer son Solo pour la flûte traversière et particulièrement la deuxième partie de l’allemande initiale qui enchaîne 25 mesures de double-croches sans la moindre interruption.

LES MULTIPHONIQUES :

La technique des sons multiples ou multi phoniques était connue dès le XVIIIe siècle puisque le célèbre virtuose Bohémien Giovanni Punto passait pour être maître en ce domaine et suscitait l’admiration de ses contemporains en étant capable de jouer jusqu’à quatre sons simultanément. La technique étant la suivante, elle s’applique à tous les instrumentistes de cuivre : un son est joué normalement tandis qu’un deuxième est chanté en même temps. Le troisième son résulte naturellement (à condition d’être juste) de la différence entre les deux autres sons et un quatrième est possible et résulte lui de la somme des deux premiers sons, selon une loi physique immuable. Si l’ordre selon lequel on joue et on chante importe peu, selon la tessiture vocale propre à chacun et la tessiture de la note jouée dans le cor, pour obtenir un troisième son, en revanche la troisième note est fonction des deux autres, c’est à dire qu’on ne peut pas obtenir la troisième note que l’on veut, elle est conditionnée par les deux autres. Par exemple, si l’on joue un DO grave et que l’on chante le SOL deux octaves plus haut, on entendra le MI par résonance naturelle. Les multi phoniques de la cadence de Carl Maria von Weber dans son Concertino sont donc impossibles à exécuter telles qu’elles sont écrites car elles ne correspondent pas à ce que l’on peut obtenir au niveau de la physique acoustique. Ce phénomène acoustique est facilement vérifiable si l’on joue des sons aigus avec deux instruments aigus comme des flûtes ou des trompettes. A condition de jouer des intervalles parfaitement justes, on pourra entendre par effet de résonance un troisième son assez distinctement. On peut aussi vérifier ce phénomène sur un simple piano en jouant des intervalles de tierce, quarte, quinte ou sixte dans le suraigu tout en laissant la pédale de résonance appuyée.
Le secret pour bien faire entendre ces sons et en obtenir un troisième consiste à projeter suffisamment loin sa voix DANS l’intérieur de l’instrument pour que celle-ci ressorte distinctement à la sortie du pavillon du cor. Veillez bien à ce qu’elle ne reste pas dans votre propre bouche, autrement la voix ne sera pas équilibrée et ne pourra pas entrer en résonance avec le son joué.
Puissiez-vous éprouver autant de plaisir à jouer et interpréter ce prélude que j’ai eu de plaisir à l’écrire!

– Yves Tramon

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The Marvelous and Intriguing Adventures of Cabeza de Vaca

by Kerry Turner

SKU: 212005 Categories: ,

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Description

Cabeza de Vaca

This composition is a musical impression of the book “La relación y comentarios”. This translates as “The Account and Commentaries”, written by the famous explorer and anthropologist Alvar Nuñez Cabeza de Vaca. He was one of four survivors of the 1527 Narvaez Expedition, which shipwrecked off the Texas Gulf Coast around Matagorda Bay. In his book, he tells how the local Karankawa and Coahuiltecan Indians kidnapped and enslaved his group for four years. During this time, he discovered that he had a strange gift of healing. He quickly distinguished himself (and thereby saving himself and the others) by healing sick and wounded Native Americans from all over the Texas area. Eventually the healer-explorer found an opportunity to escape. He, with his comrades, fled West into New Spain, which is modern-day Mexico. For more information about this amazing story, click here.

Musical Description

The tone poem begins with a dramatic opening followed by the sounds of the untamed Texas Gulf Coast. Afterwards, the first strains of the work’s main theme appear. Then the unmistakable Spanish sounds of Cabeza de Vaca’s theme segue the piece into the introduction of the Karankawa encounter and the explorers’ enslavement. Soon, Cabeza de Vaca discovers his unworldly gift of healing, and becomes revered as a miracle worker. Seeing a sudden opportunity to escape, he and his compatriots flee and make their way down to Mexico.

Commission

TAMUK Horn Society and the 54th International Horn Symposium in Kingsville, Texas commissioned this work. Additionally, by way of connection, Cabeza de Vaca passed very close to Kingsville, Texas en route to Mexico. Also, to close the connection, Kerry Turner was born in 1960 in Kingsville.

Origins

Cabeza de Vaca was composed in Perdonone, Italy and Brussels, Belgium in November, 2021. Although it is written for only two percussionists, it can also be performed more easily by adding extra players.

Additional information

Weight 520 g
Dimensions 626546306 × 21 × 29,7 cm
Composer

Kerry Turner

Instrumentation

2 Horns, Percussion

Publisher

Phoenix Music Publications

Language

English

ISBN

9780201379624

Format

A4, Parts A3

Instrumentation

2 Horns and 2 Percussionists

Pages in Score

24

ISBN

9780201379624

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Some of our Featured Composers:

Kerry Turner has international fame both as composer and performer. Correspondingly his numerous compositions earned prestigious awards throughout the world. Accordingly they are continuously both performed and recorded by the absolute best musicians everywhere.

Ricardo Matosinhos is a Portugese Hornist, Composer and Educator of international renown. Specifically his series of music for Jazz Horn have earned international attention and reclaim. Consequently Phoenix Music Publications is extremely proud to have him as one of our featured composers.

Phoenix Music Publications is proud to feature Steve Schaughency as one of our featured composers, a leading expert on the subject of Jazz and the French Horn. His expertise on the history of jazz has put him in a unique position to develop our new series of publications, “Jazztets“. He is a frequent guest artist/lecturer at Horn Symposiums throughout Europe and the USA, as well as performer with many of the most internationally renowned jazz artists of the world.

Jeffrey Agrell is an accomplished composer and author, having dozens of published compositions recorded and performed around the world, plus 9 books on improvisation and horn technique.

Yves Tramon is an accomplished pedagogue and performer having been Professor of Horn at the Conservatory of Lille, France since 1982 and having a long career as o.a. a Natural Hornist with many of the leading ensembles in France.

Patrick Miles has had a long and distinguished playing and pedagogic career. He has played as solo horn in over 30 orchestras in England, Europe and the USAand has taught most recently at the University of Wisconsin-Stevens Point.

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