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“I Talk Euph Play”
Dr. Danny Chapa and Staff Sgt. Hiram Diaz
Intro: Today’s topic - Excerpt Etudes
In the euphonium world, winning a job in a professional music ensemble requires the preparation and mastery of excerpts. The vast majority of all euphonium auditions are for placements in wind bands; thus, excerpts are usually selected from the wind band repertoire (as opposed to orchestral literature). Additionally, during the preparation process, we tend to use method books written for other instruments (such as trombone, tuba, trumpet and horn). Because of this lack of literature, I have chosen to compose etudes that develop the specific skills needed to overcome the individual challenges found in these excerpts.
RESOURCES:
1. Excerpt Books (Explain differences)
2. Articles in the ITEA Journal (research your committee)
3. Electronic Resources
ONLY CURENT EXAMPLE
Jenkins, Mark. “Experts’ Excerpts for Euphonium: The Star and Stripes Forever.”
Primary Example of Excerpt Etude
“To help clarify the ascending eighth-note arpeggios, practice isolating each four-note group by creating a quick etude as seen in fig[ure] 6. As always, a metronome and recording device are useful and necessary tools.”
Reproduction of Figure 6
Orchestral Excerpt Etudes
Sigmund Hering’s 23 Orchestral Etudes (cues)
Joseph Schmoll’s Studies Based on French Horn Passages (OT’s)
Karl Hinterbichler’s 11 Orchestral Etudes for Bass Trombone (PD’s and PV’s)
Show and Tell
“Subdivisions are written out and passages appear both backwards, forwards and in altered rhythms.”
Joseph Schmoll’s Studies Based on French Horn Passages
This serves the same purpose as the heavy, weighted bat which the batter in a base ball game swings just before going to the batter’s box...In much the same way, the horn player playing etudes based on important passages finds that the etude carries him through different keys, unusual rhythms, loud and soft volumes, and low and high registers. By the time the etude is perfected the original passage itself looks easy and allows the flexibility and technique as well as the musical insight needed to play the passage with full musicality, free of technical restrictions.
THE LIST:
Roman Carnival Overture Op. 9 (1962).............Hector Berlioz (1803-1869)
First Suite in E-flat for Military Band, Op. 28, no. 1 (1921)......Gustav Holst (1882-1961)
Barnum and Bailey’s Favorite (1913)..................Karl King (1891-1971)
The Melody Shop (1910).......................................................Karl King (1891-1971)
Aegean Festival Overture (1967)..............................Andreas Markis (1930-2005)
Theme and Variations Opus 43A (1943)......Arnold Schoenberg (1874-1951)
Festive Overture Op. 96 (1978)...........Dmitri Shostakovich (1906-1975)
Festival Variations (1982)...................Claude T. Smith (b. 1982)
The Stars and Stripes Forever (1897)............John Philip Sousa (1854-1932)
Suite from the Ballet: Pineapple Poll (1952)..............Arthur Sullivan (1842-1900)
II. Compositional tools (see sections)
2 Whats and 1 How
1. Establishing Terminology - What are my tools?
2. ID Primary Challenges - What are the problems? (Focus)
3. Create Solutions (through the etudes) - How will the problems be addressed?
Terminology:
Practice Drills (PD1-4) - “Bread and Butter” of practicing.
PD1) isolating key figures
PD2) subdivision exercises
PD3) sequencing
PD4) writing out figures forwards and backwards.
PD1) Isolating Key Figures
The key areas needed for isolation generally appear in the most technically demanding passages of the repertoire and require highly coordinated fingers.
EXAMPLE
Pineapple Poll Etude No. 1 - Practice drills based on mm. 5-12.
PD2) Subdivision - Address Rhythm Problems
Tonguing the subdivision of rhythms such as tied notes will allow the player to sustain the notes for their proper duration. - Transfer physical movement of the tongue to mental subdivision
Example: Schoenberg, Theme and Variations Op. 43A, m. 148
Subdivision Exercise - Schoenberg, Theme and Variations Op. 43A, m. 148
PD3) Sequencing - Technique
For these purposes, the term sequencing consists of adding one note at a time to a passage.
Example: C major Scale
- GREAT WAY TO Improve Technique on the following sections: (slow methodical way of practicing)
PD4) Writing out Figures Forwards and Backwards - goes along the same lines as sequencing (Mark Jenkins)
Festival Variations Etude No. 1 - Practice drills (forwards and backwards) based on mm. 9, 18, 55-56, 101-102.
2. Practice Variations (PV)
Practice Variations
“[Practice] cannot be mindless repetition. Mechanical repetition leads to inefficient, mistake-strewn playing. If the conscious mind is not involved, the precisely controlled execution needed in...playing cannot be achieved. [P]ractice has to be creative and intelligent; otherwise, it is prone to be treated more like a mechanistic routine.”- Shu-Chen Hu
An example of these ideas can be found in Matt Tropman’s article on Dmitri Shostakovich’s Festive Overture Op. 96 where he references the concept of using practice variations. “In addition to slow practice, we all use techniques like...changing the rhythm, key, articulation pattern, and so forth.”
Although Tropman presents very useful suggestions, there are no composed figures or examples that elaborate his ideas in this article. This document presents these unwritten exercises in the form of etudes based on practice variations. Practice variations involve altering the rhythmic patterns, articulation patterns, and changing the musical emphasis.
1. Rhythmic patterns
2. Articulation patterns
3. Changing the musical emphasis
PV1) Rhythmic variations on the C major scale.
PV2) Articulation patterns on the C major scale.
PV3) Changing the musical emphasis with accents on the C major scale.
3. Overtraining
“Weighted bat”
1. Technique
2. Range
3. Length of section
4. Rhythms (T&V)
5. Dynamics
6. Articulation (FV)
Joseph Schmoll’s Studies Based on French Horn Passages
"This serves the same purpose as the heavy, weighted bat which the batter in a base ball game swings just before going to the batter’s box...In much the same way, the horn player playing etudes based on important passages finds that the etude carries him through different keys, unusual rhythms, loud and soft volumes, and low and high registers. By the time the etude is perfected the original passage itself looks easy and allows the flexibility and technique as well as the musical insight needed to play the passage with full musicality, free of technical restrictions."
EXAMPLE: Theme and Variations, Etude No. 11
OT1, 4, 5, 6
III. Primary challenges (average one demonstration per excerpt)
1. Rhythm
2. Articulation
3. Technique
4. Pitch and Intonation
5. Endurance
6. Interpretation of musical style and expression markings
1. Rhythm (Broad topic)
For the sake of clarification, this project addresses the following topics regarding rhythm:
1) Keeping an even rhythmic pulse throughout marches, such as John Philip Sousa’s The Stars and Stripes Forever,
2) Maintaining an even rhythmic pulse in the technical slurred sections
3) Accurately performing complex figures, such as tied and dotted rhythms
4) Transitioning through passages that change meter, such as Claude T. Smith’s Festival Variations and Aegean Festival Overture by Andreas Markis.
R1: Subdivisions
The Stars and Stripes Forever Etude No. 4 - Subdivisions based on 2nd strain.
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Subdivision drills and exercises (Practice Drills) have been included to
- Reinforce even and consistent rhythmic pulse in John Philip Sousa’s The Stars and Stripes Forever.
R2: Subdivisions Ties
Barnum and Bailey’s Favorite Etude No. 5 - Subdivisions, based on mm. 88-90
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- Here we have an example of Tied Rhythms found in Barnum and Bailey’s Trio and in Festive Overture. Also applies to complex rhythms found Theme and Variations.
R3: Subdividing in the Style - Roman Carnival
Roman Carnival Overture Etude No. 2 - Subdivision
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Example of subdividing while keeping a lyrical style/feel
2. Articulation (Broad topic)
1) Clarity of articulation in sections that require multiple tonguing
2) Clarity of articulation in the upper, middle and lower range
3) Clarity of articulation in the technical passages of piecesFigure 2. Barnum and
A1: Bailey’s Favorite Etude No. 2 - Practice variations, based on mm. 21-22. Play mm 1-8 at tempo (no repeats)
Var 1 - demonstrate halftime/double time
Var 2 - demonstrate halftime/double time
Var 6 - demonstrate halftime/double time
PD’s and PV’s
A2. First Suite Etude No. 3 - Practice drills based on mm. 40-58
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Overtraining - Double the notes (also breath through nose)
A3-4 - Festival Variations Etude No. 19 - Practice variations (articulation) based on mm. 93-109 and Smith, Festival Variations, mm. 93-109 (original)
Compare the two sets of articulations
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3. Technique
“Many technically demanding passages found throughout the literature require a quick allegro tempo and typically involve scale and/or arpeggio based figures that are dispersed throughout the range of the instrument. melodies that shift through compound, duple and mixed meter.” - (Read this)
1) Sullivan, Suite from the Ballet: Pineapple Poll - Opening section (4th valve)
2) King, The Melody Shop, - Trio (long slurred passage)
3) Smith, Festival Variations - mm. 47-63 and 79-109 (mixed meter)
(Basically Everything)
1. isolated practice drills (awkward fingerings and changes of direction within scalar lines)
2. Sequencing and Practice Drills that present the material both forwards and backwards.
3. Practice variations incorporate changes of rhythm and placement of musical emphasis.
4. overtraining etudes exaggerate technical challenges
T1. Pineapple Poll Etude No. 2 - Practice drills based on mm. 5-12.
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Based on Isolated patterns
T2. Pineapple Poll Etude No. 3 - Sequences based on mm. 5-7
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Slow Methodical way of evening out tech/ developing consistent sound
T3. Pineapple Poll Etude No. 6 - Practice variations based on mm. 5-12 (Rhythm)
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T4. Pineapple Poll Etude No. 7 - Practice variations based on mm. 5-12. (Articulation)
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T5. Barnum and Bailey’s Favorite Etude No. 3 - Practice drills based on mm. 10, 14, and 18 (Hiram plays original)
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Show patterns (Similar to Clarke study)
T6. The Stars and Stripes Forever Etude No. 2 - Practice drills based on mm. 5-6, 9-10
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Bread and Butter of Practice Drills - Sequenced steps
T7. Festival Variations Etude No. 21 - Overtraining based on mm. 47-63, 79-109
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Original Etudes Based on the style (OT’s = technical demands, range, duration, rhythms, and articulations). Also used “scalar motive” throughout etude
4. Pitch and Intonation
1) TITLE - define for clarification, PITCH = written notation and INTONATION = tuning
Combines PD’s, PV’s, and OT’s
2) CONCEPT - This idea of tuning through intervals addresses pitch discrepancies that are caused by the natural tuning tendencies of the instrument. Using this concept will require the player to place each interval in tune using larger or smaller distances depending on these discrepancies.
3) KNOW YOU HORN, Today’s example: Willson 2900 euphonium. However, this can be applied to any model of euphonium or any instrument
4) EXAMPLE Today we will target the F major arpeggio, which appears at the beginning of the andante section of the Roman Carnival Overture by Hector Berlioz, Holst Second Suite in F, “Believe Me If All Those Endearing Young Charms”, and other solos (Marcello Sonata) and excerpts.
PT1: F Major Arpeggio and Roman Carnival Phrase
GENERAL TUNING TENDENCIES - Solo vs Ensemble playing**
F3 is sharp
A3 is flat
(C4 is sharp)
5) APPLY CONCEPT - As shown, F3 is normally sharp and A3 is generally flat. In order to improve intonation, the distance between F3 and A3 need to be adjusted (F3 needs to be lowered and A3 needs to be raised). The practice drills use enharmonic respellings of notes such as E-sharp and B-double flat to visually change the distance in between the notes. The second measure of the Example respells the first interval (Major 3rd) as an augmented fourth to demonstrate how changing the enharmonic spelling of the notes gives the illusion of a larger interval between F3 and A3. In measure three, F3 is reprinted as an E-sharp three to encourage a lower starting pitch.”
6) “This concept can be applied to additional intervals such as the octaves found in Aegean Festival Overture and the Theme in Holst’s First Suite in E-flat.”
PT2. Transpositions - Hearing true intervals
Play mm. 1-6 (practice tempo)
Play mm. 7-8 (normal tempo)
PT3. App!!! Solo and Duet - Hearing Common tones to develop consistency of pitch. Addition of Drones
5. Endurance
1) High range
2) Breath Control
Markis, Aegean Festival Overture, mm. 149-167.
1) Building High Range - increasing range and duration
Aegean Festival Overture Etude No. 2 - Overtraining based on mm. 149-167.
2) Breath Control - Increasing duration of passages and staring lines on “Ka”
Figure 6. Melody Shop Etude No. 1 - Overtraining based on mm. 2-4, 23, 42-44, and trio
6. Interpretation of musical style and expression markings
Aegean Festival
The interpretation of the accents and quarter-notes found in “Aegean Festival Overture etude” must be played lightly in order to reflect the original euphonium part. “...[L]et the music remain light or dance-like [to] create musical interest, and avoid hammering all the notes with equal emphasis.”
The style of these accents can also provide some relief for playing in the upper register. “...[A] slight lilt in the the multi-meter [sections also]...help[s] prevent embouchure fatigue.”
Toccata Marziale - constantly switches styles
IV. Addition of Bonus Materials (handout)
Matt Tropman’s article on Dmitri Shostakovich’s Festive Overture Op. 96 offers supplemental etudes found in Herbert L. Clarke’s Technical Studies for Bass Clef Instruments, which aids in the overall development of technique.
One special technique I use to make this excerpt fluid is to practice a lot of Clarke Technical Studies #2 diatonically in the key of A[-flat], starting with the A[-flat] at the top of the staff. Play from A[-flat] (Ionian), then from B[-flat] (Dorian), C (Phrygian), D[-flat] (Lydian), and so forth. This will help make the quick turnarounds and changes of direction much easier over time.
Tropman’s article is one of a few examples of where an etude book is referenced in an ITEA article. Appendix F of this document contains similar references to method books for additional study.”
Acknowledgements
(Thank you’s)
1. Hiram and ITEC hosts
2. Publishing Companies: Alfred Publishing, Belmont Music Publishers, Carl Fischer LLC, Galaxy Music Corporation, G. Schirmer Inc., and Wingert-Jones Publication