THE CANADIAN Book of beginning quintets With exercises and techniques By WALTER H. BARNES Arranged for: 18t (&) Trumpet —> 2nd (&) Trumpet Horn in F Trombone Tuba Conductor HAL*LEONARD’ THE CANADIAN BRASS EDUCATIONAL SERIESContents 1 Music om the Royal Fireworks 2 Ode to Joy 23 Sanctus 4 Sain Anthony 53 Amazin Grace 6 Westminster Abbey 7 Steal bay 8 Echo Carol 9 Ala Claire Fora 10 Processional 41 Crimana 12 Chorale 43 Todor Mote 14 Koligrow's Seite 15 Fanfare fora Male Lea! 16 Bate Hymn of ho Repubic E Easy ™ Hand! Besthoven Schubert Hyon ‘American Puree Spiral Christmas French Gorman Seatish Bach We Canacian CGanacian Amercan =Emmzmemem move Medium 0 Dificut Page v7 at 23 2 a 2 3 3 a7© (BS Concert Patterns Scales for Trumpet Selections: 4,8, 10,15, 16 6 Cone) Selections 2,5, 6,9, 11, 12,14 iv a : . & SS = F scone) selections: 1,3,7,131, Music from the Royal Fireworks. ° Handel (85-755) Majestiaty: 06 ee ; a = aOde to Joy ScirihiniriheFetien nancn snp Neca BEETHOVEN ititisa sting of sounds, stepping rather than leaping, sing a fling, supported by simple But rich harmony Seale of: F ‘The flattened fourth note makes a halftone between the third and fourth. As wel, thore is always 2 Ral-one between the seventh and eighth note, Find the frst note using your inatrument, Then Buzz the exercise, work ingon smooth tonguing the Tip ofthe Tongue) and Tuning wth each ‘thar Now play 09 your instrument ® ous ee paw ise eae This s your fst note. Pay it on your instrument Now, sng it, tuning tothe rest a the group Sing the exercise, breathing at the double bars. TUNE the Harmony, ‘Now, Buzz the line, again tuning caretlly. "Now play listening and tuning the chords Do the same steps tothe line below You wll notice a double barat the end of bar 16. Double bars ae used {o show the end of one sation and the beginning of ancther, just ike paragraphs are used in stores2. Ode to Joy " Beethoven anos Stony: J =108 s2 Sanctus — fiom he iri cnor pe gues oy pat alas tne Snce the Sarees German Mass. Strom Choral Literature. you Wil find that the breath marks give you ScHUnrer the phrasing Scale of F Now, pay the scale in the ehythm below: “This the fist note of iyu wan our eat notin tne your salen} time yeu wre ke ths, Tis é SSE Pray your fis woe Now, sing it ‘Sing te line below, then buzz it, then play it, TUNING CAREFULLY. Listen all around you, especially tothe Tuba Follow the same steps with this tine. The middle chord is ctferent Now try this tine — singing fs, than buzzing, then playing, Hint: When performing the Sanctus, watch the change of harmony in bar 25.6 and the diferent rhythm in bar 27 for 2 parts ‘tor you have worked on Sanctus afew times, try to sing the entire piece in Harmony. Do nol wory if your voice cannot sing in the Ihstrumental range. BREATHE EXACTLY TOGETHER3. Sanctus 3 Schubert (79788) Smoothly: =96 (Tots. only) . > o———— = 1 sone . letois. omy) —— & rut) Fi a t —SSaint Anthony Haydn wrote this simple Chorale originally for Woodwinds. Brahms Used it for his great Vaitions on a Theme of Hay. We have arranged itas ¢ Brass Guinot featuring he French Horn and he Tombone, while the Tuba, a ever, anchors the harmonies. ‘Now buzz the sealen the pattem bolon taking care thatthe Tip ofthe ‘Tongue i up behind tha font teeth onthe gum. Do this as smoothly {3s you possibly ean. Now, pay the scale nthe pattern — up anc down Smoothly and witha rice crescendo up, SS vee “Theres only one Rhythmic ek spot in the Chorale: Bar S. Count © ‘ur elap your myths buce your pa play your part. The Tubs has one rhythm, the French Hotn and Tombane jin in another, and the (Wo ‘Tumpets have a pickup. pa@® 12344+@1234 GE = s goo Hint: Take note of the ‘staggores' breathing that we have used in places. Foow your markings exactly, and the taal effect wil be much smeothor. ‘Question: Have you ever seen a piece with fie-bar phrases before? ‘We have writen the Chorale in four When you have leamed the piece, think of two Beats per measure rather than4. Saint Anthony 8 Haydo il a732:809), Smoothly: 6016 Amazing Grace ‘Orginal, tho tune ofthis Hymn was a tavern song. John Nowton, a ‘slavetrader fr almost 20 years of hs ile, was converted and became {a Minster of the Gospel Liverpool! He wrote the wores that have made ths melody famous, and which brought rom the beer halls to ‘the gospel halls. Scale o: G (writen for playing range) “7 ‘Buzz the scaloin tune tothe pati bolow, No play it smooth Follow te breathing exactly, both times. othe same fo he theee exercises below ‘This hythmic fragment is bar @ to 12. The problem isto get a clean release on tne quarter rst, ancio enter ogether onthe next note. Buzz frst, then play: stop the air — DO NOT CUT IT OFF WITH THE TONGUE, "Now indulge the fist Trumpet part. This time, the ‘a pckup during the quater rests. Buzz and play. “Tiss your last note ofthe piece, Choose a leader i your teacher is. ‘ol present, and have him or her give a sigh nod for he cut of. Come fff together without using the tongue. The eyebrow’ isa FERMATA ‘means to Nold the note unt sae.5. Amazing Grace18 i Westminster Abbey san ancient church in London, England. Most of Westminster eis ave auans nae tern comes in at magntcen ke ‘Abbey. inawnihisistacoss he roa ton ie Prianart Buenas. ony Purcell was Organist at Westminster n 1678 Hels buried ina veut at PURCELL the fot ofthe Great Organ in order to perorm ths piece in its true syle, visualize a great cathedral with is echoes and space. Seale of: G SSS [Arpeagio: Find your fst note on your instrument; Buz, then Ply. SS Lipping Exercise: Fin your note, Buzz, Play Buzz, Pay, Buz, Play 4 ‘There are two Rhythmic dificult: BarS—8 Find your note; Count 1 — 2—3 — ; Count and Cie ‘Buzz the rythm: Play the exerise 3134s 2 1 = ‘Now, Buz, then Play these notes inthe same Rhythm. 1-30 1243 1 2 = In Bar 19 —16. Follow the same steps as above. 46255 ‘Now, Buzz then Play these notes in that rythm ee6. Westminster Abbey 19 Purell (15581655) Majstically; J 296 =20 Steal Away 2ciihetccns ne cus and noo ofthe conmunty. The na a ea a teatom a’ ah Ag See a ansgenyiode Seals So re Myo Hoc eS a wey Seale of F Sd Heres tho scale in an unusual pattem. Take care o make the second hat of each bar thee lu bets. Breathe together and reenter together. Buzz the scale up and dow now, Play up and down. Se SS on * o s In this pattern, te trick sto Keen the air column unbroken with that ile nasty eightn note, Barely touch t. Buzz then Play. Unison: Everyone playing the same note (here, in Octaves) ‘We have isolated one short phrase fr you. Find your frst noe: then Buzz i together, tuning to each ether. THIS 1S DIFFICULT! Now, Play the phrase, eliminating all the vavers between pars “hy iin combinations: All rumpets ‘numpets and tuba trombone and tuba french horn and tuba your choige of combination “The vest ofthe group listen and eicize Eliminate waers! Good Luck!7. Steal Away 2 spiiwat Gently; 4-84Echo Carol sine te arouns of ponte singing the same song: one stun around you, and one group is far away. The echo effect is creaea ty the dynamic changes. If your ensemble has two or more people pet pat ty viding ite to ales wh the fist group playing the rat oa bars, the second group playing the echo: — bar 5 — 8. Fol INS patter to the end, Seale of © Patter: Breathe only where marked — NOT ater the dtted ha rats = = oN Se x4 ‘Dynamics: Dilferet volumes without altering pitch or tone. 7 is ft which is loud, Pi piano which is soft Find your nate. Now, Buzz oval, tuning: Buzz soy, tuning, Keeping ar anc throat open. Pray loudly, turing: Pay softy, tuning and keeping the same bright tone. (Hard, fe 9) z == ¢£¢ fo oP FF ‘Now, repeat the same exeteses for these two notes. 4 FRepeat the entire process over and over, istening careful to youand tha entire group Sometimes, have one member of yur grou ten and ‘epon. Hote fs the fst phrase, isolated for you, Follow the instruction abo es “ og * ‘The ony ether problem you will haves tuning this phrase, going Fam Unison toa Major chorato@ Minor chore, Buzz. thon Play vor So listening very earetuly. Ty singing your pas. eS =8. Echo Carol 3 christmas Brightly: J=7224 Ala Claire Fontaine ‘Though French in origin this song was brought to Canada in 1606 by Champlain's men. It became a symbol othe French Canadian who vowed never o forget his motherland. The simple but haunting melody Isparfect forthe bras payer to davelop a singing and fiwing ne. Not aways are wo to.b0 loud and loretul Seale of: G Pattern: Lean on the half not slightly, while easing back on tho two (quarter notes. Use avery gene tonguing "ip ofthe Tongue" (say thal 10 mes with the tip ofthe tongue jus touching the gum above the front feet). nee: We havo isolated a phraze for you Step + 2nd Trumpet, French Horn, Trombone, Tuba Play the phrase s0 smoathiy, Now, play it soe ach part has a melody of ts own. Make it melodious Step 2 ‘Ade the 1st Ture. withthe other four parts supporting, but not cover ing. The ts Trumpet should no play louder the other four shoul play softer Stop 3 Repeat his phrase, Buzzing, Singing, Buzzing and Playing, uni you have found the magical low and harmonic tuning that you hear en the tape, A ‘Althe ond of bar $7 isa /Grand Pause. Come right of, breathe together and enter togetherSmoothy: J 48 9. Ala Claire Fontaine 2% French26 ; “Thisis a fine hythmic marching tune. We have chosen it specifically Processional j'\2 fe jassnss an 90 an csiew oxrewe tr Unison Harmony playing. Liston fo ou recording of the Toccata in D Minor Following a Unison opening, we bull a complex harmonic chord LUstening and Tuning is the Key fo suecess for both you and fr us Seale of: © SSS ‘This piece is inf. There ar: six beats in one bar ‘one quarter note gets one beat Each ofthe flloning bars gets six beats. Pay the scale in each pattern, @ @ @ @ "Note that fom bar 1— 18, each phrase is presented once and repested ‘once. We have isolate thelist prvase anc remavod the bar lines 10 ‘how you Now, you ieoate the next five pases. From Unison to Harmony: Uso each exerci, tuning the st note har- ‘monizing the second note slowly and caretully Bar 18 aa ‘The final wo bars has a counting problem. Bar 31 is shown below ‘st Tiumpet 2nd Trumpet FrenchHorn Trombone _ Tuba 6 2a 42 24 En ar 24 % . Bar 22 Bar 310. Processional a 2-108 tm Taree SSS SSS ee |28 Crimond scornist From the great wealth of Scotland's psalm tunes, we have selected our favourite, Crmond, The tune s made up of2 savenbar phrases. We feature the Trumpets in verse one, while the other instruments suppert inverse two, the French Hor and Teomtone have the melody. Verse {twee is amos! the same as vereo one, Do your best, you are in 2 Up porting role to help the sola. Listen constant fr tuning and balance, ‘our aucienes wil better appreciate your pertormanece scale of j t Wey oo ae eel Rhythm: Using the pattern below: Clap the rythm find your note and Buzz the ‘jn Play the cyt Now, Trumpets, French Horn and Tombane go fo the notes below, while the Tuba Ciaps the patorn above Buzzes the pattern above Pays the pattern above ee Lipping Exercise: (to help with the Ts entry at bar 1, ‘and the FH. and Tone entry al bar 15) ae Hint: An accidental ina ber lasts for the entie bar Its eancelled bythe bar line (or anathor accidental) ‘Trumpets: check bar 6 French Horn and Trombone: check ar 20,11, Crimond Smoothly; J =96oho chosen anos Coal at Sn cots to ltt Chorale Wngstcer ean icics sain oe teeta labora FF” ines ncn essa her gcknso Mecer ates ee Youve compas he soso crates ee Scale of: 6 ae —— ‘Breathing: Find your note on your instrument Play ihe exorcise belo, mith the entire group breathing together on each rest ‘Now follow the same procedure wit this exercise. The two dos before the double bar means to repeat ha line, ‘Ty thisline ston othe rest of your group breathe, Re-enter togethec eS = Omaments: Omaments av a orm of decoration, lke cing onthe cake. ‘They are not essential to this Chorale Fr ths prece, as forall pieces ove, learn the musi before you atompt ihe ornaments (Omament #1 is for bar 7, 5, 91 the First Tumpet, bar 98, 47,63 inthe FH, ana Tone, ‘Ornament #2 for bar 19 in the First hump, and bar 1 in the FH. and Tone, (Ornament #3 is for bar 23 in the First Tampet and bar 85 in the FH. and Tene. pias 412. Chorale ay ach (695.1750) na singing style; J =90Tudor Motet YE From the choral tratue of 16th C. England, we have chosen this sim ple motet. The range for al instruments s easy; most notes goby step Father than by acificultleap. Sine the music was whiten fo singing, the phrases are short and provide logical breathing spaces. But, since tha musics polyphonic (everyone has an equal melody) rather than homophone {chordal}, the performance of tis pice wil prewde your ‘70up wth challenge We have graphed the music for you. Fall your ‘vn part; colour your own line Notices that your phases have the same ‘shape as othor parts but aro play at ferent tines. Ty to ita the ‘ther pans Inthe syle of playing, You wil ind other examples and much more detail of this polyphonic writing in our Easy Book of Quinets Have fun! Scale of: F Bar 13 4 1s Tot 2nd eo Ton13. Tudor Motet 2 sors) Very smoothly: J =72 Ist Totx igrew’s Soirée 1. ea ,en postr ksongat Novbunlrd wih ache Kel ' Soirée rictiy nse atroe aceee Nerden ah acne (A Newfoundland Jig) at ali times. The music must proceed with a bounce and flair that one Scale of: 6 SSS Rhythm: time: si beats in a bar with an eighth note getting 1 bet. \When you have learned this piace, count ? beats Ratos2: 1 inabart-=2--|t~ = 2 =| Say together: Quarter eighth Quacter eighth 12 tae 4 12 3 485 6 S54 Exercises: Rhythmic Patterns: Clap; Buzz; Play repeatedly onthe fist ‘ote; Play to the Seale patter.1M. Kelligrew’s Soirée 38 (A Newoundland Jip Brightly; J.-96,15. Fanfare for a Maple Leaf a (A Canadian Brass Buzz’) Brightly: J 9616. Battle Hymn of the Republic American