THE CANADIAN Book of beginning quintets With exercises and techniques By WALTER H. BARNES Aranged ot = 191 2) Trumpet 2nd (Be) Trumpet Hom inF Trombone THE CANADIAN BRASS EDUCATIONAL SERIESContents 1 Music fom the Royal Froworks 2 Ode toy 3 Sancius. 4 Sains Arsnony 5 Amazing Grace 6 Wostminctr Abbey 7 Steal Pay 8 Echo Caro 9 Ala Clara Fontaine 10 Provossional 41 Grimona 12 Chose 19 Tudor Motet. 14 Keligr's Soro 15 Fanfare fora Maple Loat 16 Bato Hymn of the Republic E Easy = M Medium Han e. Beethoven. M Senubert JE Haydn M famarcanE Puroal M Spiritual e Ghestmas. French M Geman M Seotish M Ben D We. D. Canadian" D Canadian =e: Ameccan 0 D iticutScales for Trumpet 7 © (Bs Concert) Selections: 4, 8, 10,18, 16 G Concert) Selections 2,5, 6,9, 11, 12,14 F Eb Concert) Selections: 1,3, 7,13,5 In 78, the wey of Ale Chapotl was signed 0 crete peace in Music from the fycpe cspecally bewsen England. Holand, Ausra, and tele Royal Fireworks 22retpconpice ne Roe Prewrsto ctr wn eal ws) Sule ‘Scale of G (The 2 Octave scale is shown for reference to all notes} af} ee 4. Buz fist and then play with detached tonguing 2. Clap and Snap, courting 1 2.3 Then, Buzz. Now, Play clap snap 3 Arpeggio: Buz together fist. Play together 4. Rythm games: Clap fist, counting out loud. Then, Buzz. Now, Play =] SS SSS 5. Ths your first note willbe a chord. Tune yur note othe Tuba Play ts to ge pte, then Buzz IN TUNE. LISTEN! Now, Play IN TUNE. eS1. Music from the Royal Fireworks ° Handel 0688-739) Majsticaly: 4 =96Cr ——”— Ode to Joy Segnoven tore Finals tinh Symphony Natethe simple of EETHOWEN Enteconoeennae semngtahe’ tes ga Tones EE lhe psd Seale of F ‘The flattened fourth note makes a halftone between the third and fourth. As wall, tare is always 2 halt-one between the seventh and eighth note Find the fst note using yourinsttument. Then Buzz the exercise, work ing on smoctn tonguing (the Tip ofthe Tongue) and Tuning with each ‘ther Now, pay on your instument Ge sass perio es This is your fst note. Play it on your instrument es Now, sing it, tuning to the ret ofthe group. Sing the exerise, breathing atthe double bars. TUNE the Harmony. & dipdfer pris epitees to Now, Buzz the line, again tuning carly Now play it, listening and tuning the chords. 1 the same steps to the line below ‘You wil notice a double barat the end ot ber 1. Double bars ae used to show the end of one section and the beginning of another, just ike paragraphs are used in sores.2. Ode to Joy - eethoven a7moas27)2 Sanctus — from we ‘German Mass SCHUBERT ‘Schubert was one of the grestast melody writers. In this very simple ‘work for choi he gives every par 2 melodic line. Sine the Sanctus ‘stom Chora Literature. you wil fing thatthe breath marks give you the phrasing Scale of: F ——— Now play the scale in the rythm below. St This is the first note of ‘you want a four beat note in- time, your seston fire youwetrtetve Tsien Now sing it Sing the line below, then buzz it, then play it, TUNING CAREFULLY. Listen all around you. especially tothe Tuba, Follow the same steps wih this line. The middle chor i itterent. Now, ary this fine — singing rst, then buzzing, then Playing. Hint: When performing the Sanctus, watch the change of harmony in ‘ar258 andthe different rhythm in bar 27 for 2 parts. ‘Alter you have worked on Sanctus afew times tr 1 sing the entire piece’in Harmony. DO not worty if your voice cannat sing in the Rotemomal range, BREATHE EXACTLY TOGETHER,3. Sanctus 13 Schubert worn2s)“ — ==-- _ _——h—— Brahms {Used Lochs great Vaiions ona Thame of Haydn. We have arranged avon asa Brass Gune faluing he French Hom andthe Tone, wile the Tuba, as aver anchors ine harmonies Seale of C — Now buzethe scale inthe patter below taking care that the Tip of the “Tongue is Up behing the front teeth onthe gum. Do this as smoothiy {3 yu possibly can, Nw, ply the scale in the pattern — up and down = Smoothy and with a nice crescendo Up Se “There is only one Ahynmic tick-spet inthe Chorale: Bar 5, Count to Teor lap your tytn, buzz your part play Your pan. The Tubalhas one fhytim, te French Fiom and Trombone jin jp another and the two “Tumpals have a pickuo, Ba@® 12344 ¢@1234 | Hint: Take note ofthe ‘staggered breathing that we have used in paces, Follow your markings exacly. and tne ttal effect will be much smoother. enon nor eect reps bt? gegmunmemerce nme trees we hn a ce *BB=Big Breath — bar 14, Saint Anthony 15 Haydn (732-1809),6 Amazing Grace EARLY AMERICAN ‘Originally, the tune of this Hymn was & tavern song. John Newton, 3 Save trader for almost 20 years of his if, was converied and became 8 Minisor ofthe Gospel in Liverpool! He ote the words that have fade this melody famous, and which Breught tom the beer halls to the gospet halls. ‘Soa of G (written for playing range) = ‘Buzz the scale in tune tothe patorn bolow Naw, pay sot. Flin the breathing exact, both times othe same for the three exercises below “This ythmic fragment is bar 9to 12, The problom isto get a clean release onthe quarter rt and o enter together onthe next noe, Buzz fist then play, stop the air — 00 NOT CUT IT OFF WITH THE ‘TONGUE. Now indulge the fist rumpat pan. This timo, there isan extra note as ‘pickup during the quarter resis. Buzz and play. a “This is your lst note ofthe pisce. Chose a leader if your teacher is fot present, and have him or har give a sigh nod forthe cut of. Come ff together without using the tongue. The eyebrow’ is a FERMATA tt ean to nold the note Until stisieg. 665 eSeseses5. Amazing Grace ” Early American Singing style;d =96‘Westminster Wesimine: Abbeys an ancient cure in London England Most the Kings and Queens nave been crowned in that magniicent builé- Abbey. ovticnsjstacose thera romihePartanon ings. Hany Purcell was Organist at Westminster in 1679, He ls buried ina vault t PURCELL the foot ofthe Great Organ. In order to perform this place In ts true sive, visualize a great cathedral wth is echoes and space. Seale of: SSS Se [Arpegato: Fin your fst note on your instrument; Buz, then Play. Lipping Exereise: Find your not, Buzz Pay, Buzz, Play. Buzz, Pay. ‘There are two Ayihmie difcutes Bar 5—8, Find your nol; Count 1 —2— 9 —; Count and Gian: Buzz the Fythm; Play the exerose pee eres ete eee ‘Naw, uz, then Play these nots in the same Rhythm. 1-3 1243 4b 2 = In- Bar 13-16. Follow the same stops as above ‘Now, Buzz, then Play these nots in that Riyihm, L-3 1243 1426. Westminster Abbey 0 Purcell 4658-1695) Majesiclly,/ 296 —20 Steal Away Seis ae rue toms ot ok music: unknown composer o croup tested, reflecting the thoughts and needs of the community, The SPIRITUAL American Black in slavery sang about freedom after death, A strong religious conviction in tho text was supported by simple harmony ‘choruses and unison verses. Steal Anz’ fne example ofthis form, land ofthe power and glory found in Spiritual. "Staal away to Jesus; | it gatlongte slay here. My Lord, He cals ime; the Trumpet sounds within my soul” Scale of F Here isthe scale in an unusual patter. Tako care ta make the sacond ote of each bar thee full beats. Breatho together and reenter together Buzz the scale up and down now, Play up and down, 1 5, a _ In this pattern, the trick is Keep the air column unbroken with that Ile nasty eighth note. Barely touch it, Buzz, then Play Unison: Everyone playing the same note (here, in Octaves) ‘We have isolated ane short phrase fr you Find your first note; then BU22 it together, tuning to each athe. ‘THis IS DIFFICULT! Now, Play the phrase, eliminating al the wavers between pars ‘Ty tin combinations: All trumpets trumpets and tuba trombone and tuba french hon and tuba your ches of combination “The eat ofthe group listen and eri. Eliminate wavers! Good Luck!7. Steal Away a Spiritual2 imagine wo group people singing the sme sng: one O48 Echo Carol Io. Stone aroun ana. The echo aiectis created by Sr ean ages your ensomble hes voor more people et tn ra nea es wan tego oyna he ar yan pln hears = ber 58 Fonts paso tte ne Scale of: © e& ES Pattern: Breathe only where marked — NOT afer the dated hal note, ae ‘Dynamics: Ditlerent volumes without altering pitch of tone. 7 is fore whichis loud, ? is piano whichis soft Find your note. Now, ‘Buzz loudly, tunings Buzz softy tuning, Keeping ar and throat open. Dont pinen the ait Pay loudly, tuning Play softy, turing and Keeping the same brit tone. (Hard, ist 1) co Now, peat the same exercises fr these two notes. Tatost ne env process ovr and omy, istoning carefully to you and Tiavontre group, Sometimes, hve one member al your group sien anc report. Hore isthe rst phrase isolated or you Follow te instructions above. f “oP Lr ——es———L Treats Major chord to a Minor chord. Buzz then Play vay iow, Toning very careuly. Ty singing your oats. SSS —— eae8. Echo Carol 2 Chvistmas2 | Ala Claire mongmangannesnemsimatcretsn sto Frei rePeran it became symbol he French Canadian Who ae naa lrgaths moran, Te smpe out hauréng melody Fontaine |Sperecter ine brass playerto develop a singing ans flowing ine. Not FRENCH sway re Wo fo lo an tcl Seale of 6 Pattern: Lean on the hal nate sight, while easing back onthe two fuarter notes. Use @ very gene tonguing 2 ot te Tongue (say that 10 times with the tip ofthe tongue just fouching the gum above the front tet. Balance: We have isolated a phrase for you Stop 1 2nd Trumpet, French Hoin, Tiombone, Tuba Play the pivase so smoothly. Now, play it softer. Each part has a melody offs own, Make it meodous. Step 2 Retin tot Fumpet, with the oer four parts supporting, but not cower {ng The ft Trumpat sould not play louder the other four should play soter Stop 3 Flopeat this phrase, 8u2zing, Singing, Buzzing and Playing, unt you Tove found fe magical flow and harmonic tuning that you hear on the tae. ee= Note: At the end of bar 57 is a//Grand Pause. Come rit of, breathe together, and enter together.9. A la Claire Fontaine 2 French Smoothly: at 2nd Tot Ise Tot r “Tone “oy é = P ie2% Processional x'te scale pceages end ay an excelent see tor Unison ‘aerman Harmany playing. Listen to our recording ofthe Toccata in D Minox Following @ Unison opening, we bulld @ complex harmonic chor Listening and Tuning i the key to success for both you ana for us. Seale of C ‘This piece isin. Thore are: sx beats in one bar ‘one quarter note gets one boat Each ofthe flowing bars gets sx beats. Pay the scale in each pattern ® ® ® @ "Note that tom bar 1 — 16 each phrase is presenta ance and repoatod ‘nce We have Isolate the first phrase and removed the ba ines to ‘show you, Now, you isolate the next five phrases. From Unison te Harmony: Use each exercise, tuning the fist note har- ‘monizing the second note slowly and carey Bar 16 bar 22 Bar 24 Ss = fs “The final two bars has a counting problem. Bar 91 is shown below: ‘stTumpet 2ndTumpet_ French Horn Wombone Tuba 4 42 “Ra oa10. Processional 2 German Majesty; 4-108 tn Taree2 i From he great wealth of Stands psalm unes, we have slid our Crimond {revi Ermona. The tne smase up oF2 avon bar iva. We inverse wate french Horn and Teroave have ie Wey. eae eco ama! ne some esvtoo one Doyur be ryousrom 2p poring a bt slo Listen conta ting snd balance {our auclone wi beter aprecie your perormance Seale of 6 Ahythm: Using the patio below: Clap the rhyth fing your note and Buzz the rhythm Pay the ehythm Now, Tumpets, French Horn and Trombone go o the notes ‘below hile tha Tuba Ciaps the pattorn above ‘uzzes the pattern above Plays the pattern above. Liping Exercise: (to help with the Ts enty at bar 1 land the FH. and Tne entry at bar 15). + 2 2 See Hint: An accidental ina bar last for the entire bar itis cancsllac bythe bar lin (or another accidental Trumpets: check bar 6 French Horn and Trombone: check ar 20,11. Crimond 2 Scottish0 Choral pac \We have chosen the famous Chorale that Bach choso to elaborate for his magnificent Chorale Prelude, Joe, Joy of Man's Desiring. Ths is ‘mare dificult piece than any preceding. The breathing must be as ‘arked, which forces a rather quick tempo, The dynamics must bo as ‘marked, which pute an even harder demand onthe performer. (When {you ave completed this selection, order out Book of Easy Quinto Youle ready fr some selections at that plateau.) Scale of: ‘Breathing: Find your note on your insiument. Pay the exercise below, withthe entre group breathing together on each ret. € =e! ‘Now flow the same procedure with this exercise, The two dots belore the double bar means to repeat he line “yh ina, Listen tothe rest of your group breathe, Re-enter together. COmmaments: Ornaments are form of docortion, ik cng on the cake. ‘They ae not essential to this Chorale. For this piece a8 {ovalipieces ever earn the music before you attempt the ‘Ornament # i for bar 7, 15,31 in tho First Tumpet, ber 2, 47,63 nthe FH. and Tone. (Ornament #2 for bar 19'n the First Trumpet, and bar 51 inthe FH. and Tone, ‘Omament #3 i for Bar 23 in he First Tumpet, and bar 55 inthe FH. and Tone.12. Chorale a 4.5. Bach (85.1780) Ima singing tye: J -90 “(@ =f —— @ * (SB) oy #2 A) ®(1 £) > Ee *" (JB)2 Tudor Motet TE From the choral iterate of 16th C. England, we have chosen this sim ple motet. The range for al instruments is easy; most notes go by stop Father than bya dificult leap. Since the music was writen fx singing, {he phrases aro short and provide logical breathing spaces. But, since the musics polyphonic everyone has an equal melody) rather than homophone (chorda), the performance of this plece will provide your {group tha challonge. Wa have graphed the music fr you. Follow your ‘im part colour your ovine. Notice that your phases have the same ‘Shape as other pats but are played at diferent mes. Try to imitate the ‘Shor pare inthe syle of playing. YOU wil ind other examples and much’ more detail of this polyphonic writing in our Easy Book of Ouinters Have fun! Seale of F13. Tudor Motet 3 he (297157, ‘Very smoothly: J=724g Sojnte ete haven pana oksongt Naweundane wih ach 's Soirée ishcay ren torus tho 21 tl ofthe rythm mast predominete ‘Newfoundland Jig) rat eneo The msc mus proaed wit boures en aa ne rough wid shoves of Nowtunana Scale of: Rhythm: time: sx beats ina bar wth an eighth note geting "beat ‘When you have learned this piace, count 2 beats Rato:21 mabant=-2--[1- =2- —| Say together: Quarter aight Quarter eighth 12 1424 pees eo Exercises: Rhythmic Pattens: Clap: Buzz; Ply repeated on the tst rote; Play tothe Seale pattern. eye ert eas (el trait) DB 123456 12345614. Kelligrew’s Soirée 35 (A Newfoundland ig) canadian Brightly; 4=9615, Fanfare for a Maple Leaf a (A Canadian Brass “Buze) Canadian Brightly; J 9638 Battle Hymn of the Republic AMDRICAN “Toe Battle Hymns the bost known of all American songs. ‘sung and payedin stools, churches, atcamoties and ing Songs iis ue part of the American henage tis known “houghout he word as arn, a Chil War songané march {unm Hove ts efor Brass intl. The arrangement tarts tsitinishes: quay, dstary and dramatically. The Tombone ‘aris the melody, wth te Fronch Hom on a cure melo. SFumpete: oop your ini anfares short and clean, Watch the change of te at bar 82 — 4. Have fu! Scale of: © _ Math Lesson: to accomplish the correct playing of a J for Bate Hymn. 10 ° 1 * = = == — pxthese are three to one ratio. Therefore, make sure your 4 sound is a three: one ratio. Count and clap on 1 and 4 FF Beataaei2541 29412941284 12841204 Scale Patems:16. Battle Hymn of the Republic ae American Marching; d =108 & Shue