1 CONCERT PROGRAM and PRACTICE NOTES TRUMPETS General Practice Suggestions 1. Listen to the recordings for tempo, articulation, rhythms, style, form, chord progressions and solo ideas while following along with your part. 2. Practice each tune with a metronome slowly at first making sure to play cleanly and then gradually work up to the performance speed. 3. On swing tunes, practice with the metronome clicking only on beats 2 and 4 after practicing the tune with the metronome on each beat. 4. Practice along with the recordings once you have mastered your part. 5. Practice with a tuner making sure to check the pitches of notes, especially those in the upper register. 6. Strive for a centered, full sound on all notes (except ghosted notes) especially those in fast passages. 7. Do not use vibrato in unison melodic lines. 8. Use back accent articulations (lightly tonguing on the “and” of the beat and slurring to the downbeat) on running 8 th note passages, where all notes of a passage are marked to be either tongued or slurred. When an 8 th passage starts on the beat, lightly tongue the first note on the beat, then lightly tongue the next note, which is on the “and” of the beat and then slur to the downbeat. Continue tonguing notes on the “and” and slurring to the downbeat. When the tune is a swing style, swing the notes. When the tune uses straight 8 th notes, also use back accent articulation but do not swing the 8 th notes. 9. Practice observing all dynamics and written articulations, especially articulations regarding accented notes and long/short notes. 10. Improvised solos will be assigned during rehearsal. 11. Make sure to bring all doubles and mutes needed for the concert with you. 12. If you are not sure how to perform a specific technique notated in a tune, please research it on-line to discover how it is performed and/or ask you private teacher for assistance.
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1
CONCERTPROGRAMandPRACTICENOTESTRUMPETS
GeneralPracticeSuggestions
1. Listentotherecordingsfortempo,articulation,rhythms,style,form,chordprogressionsandsoloideaswhilefollowingalongwithyourpart.
2. Practiceeachtunewithametronomeslowlyatfirstmakingsuretoplaycleanlyandthengraduallyworkuptotheperformancespeed.
3. On swing tunes, practice with the metronome clicking only on beats 2 and 4 afterpracticingthetunewiththemetronomeoneachbeat.
4. Practicealongwiththerecordingsonceyouhavemasteredyourpart.5. Practicewithatunermakingsuretocheckthepitchesofnotes,especiallythoseinthe
upperregister.6. Striveforacentered,fullsoundonallnotes(exceptghostednotes)especiallythosein
fastpassages.7. Donotusevibratoinunisonmelodiclines.8. Usebackaccentarticulations(lightlytonguingonthe“and”ofthebeatandslurringto
thedownbeat)onrunning8thnotepassages,whereallnotesofapassagearemarkedtobeeithertonguedorslurred.Whenan8thpassagestartsonthebeat,lightlytonguethefirstnoteonthebeat,thenlightlytonguethenextnote,whichisonthe“and”ofthebeatandthenslurtothedownbeat.Continuetonguingnotesonthe“and”andslurringtothedownbeat.Whenthetuneisaswingstyle,swingthenotes.Whenthetuneusesstraight8thnotes,alsousebackaccentarticulationbutdonotswingthe8thnotes.
9. Practice observing all dynamics and written articulations, especially articulationsregardingaccentednotesandlong/shortnotes.
10. Improvisedsoloswillbeassignedduringrehearsal.11. Makesuretobringalldoublesandmutesneededfortheconcertwithyou.12. Ifyouarenotsurehowtoperformaspecifictechniquenotatedinatune,pleaseresearch
iton-linetodiscoverhowitisperformedand/oraskyouprivateteacherforassistance.
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COUNTBUBBA1. CountBubba:GordonGoodwinRecordingLink
https://www.youtube.com/watch?v=UOjXWKNWQDw2. Metronome:quarternote=1843. Shufflestylewithswing8thnotes.4. Use back accent articulation on running 8th note passages where specific note
articulations are notmarked (all notes of a passagemarked to either are tongued orslurred).Usingbackaccentarticulationwillassistyouestablishaswingfeelbutrememberthatthefasterthetempoofatune,thelessthe8thnoteswillswing.
5. Practiceallglissandos,shortandlongfalls,scoopsandturnsasheardintherecordings.6. Practicefp(m58,108,109,142,147).7. Practiceshake(m195).8. Ontheslurredstaccatoarticulation(m16andotherplaces),slurtothestaccatonotethen
stopthenotewiththetongue.Thinkofthesyllable“OT”.9. Practiceallsolisectionscarefullyforcorrectnotes,rhythmsandarticulation.10. Ihopeallsaxophonistswilltakeasoloon“CountBubba”.Chordchangeswillbesupplied
tothemforthistune.THEREISNOGREATERLOVE
1. ThereisNoGreaterLove:Symes/JonesArrangedbyEricRichardsRecordingLinkhttp://www.alfred-music.com/player/JazzBand2014/41141/player.html?osCsid=e3828963d9080bf0c835987cbb67636d
2. Metronome:quarternote=1843. Swingstylewithswing8thnotes.4. Youwillneedcupmutesforthistuneandthesecondtrumpetwillneedaharmonmute.5. Use back accent articulation on running 8th note passages where specific note
articulations are notmarked (all notes of a passagemarked to either are tongued orslurred).
6. Thistunehasmanydynamiccontrasts.Makesuretopracticeallofthesesothetunewillhavemanypeaksandvalleys.
7. Practiceshortandlongfalls.8. Thereisakeychangeatm158.9. Ihopealltromboneswilltakeasoloon“ThereisNoGreaterLove”.Chordchangeswill
besuppliedtothemforthistune.
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BACKINTIME1. BackinTime:PatMethenyArrangedbyBobCurnowRecordingLink
https://www.jwpepper.com/sheet-music/mediaplayer.jsp?&type=audio&productID=10368493
2. BackinTime:PatMetheny(OriginalVersion)RecordingLinkhttps://www.youtube.com/watch?v=iVSHGE9kfT0
3. Metronome:quarternote=60.4. Balladwithstraight8thnotes.5. Trumpetswillneedtodoubleonflugelhornonthistune.6. Listencarefullytointonation,especiallyinunisonlines,throughoutthepiece.7. Practicealldynamiccontrasts.8. Legatoarticulationthroughoutthepiece.9. Listentobothrecordingstogetabetterideaofwhatthistuneisabout.10. Thistune isatrumpetfeaturebut fromm33to49(thesolosection), Imaywantthe
pianist/vibraphonistorguitarist toplay thesoloduring this timetoaddvariety to thetune.
BACKROWPOLITICS
1. BackrowPolitics:GordonGoodwinRecordingLinkhttps://www.youtube.com/watch?v=-dVCeiaxTZA(LivePerformance)
2. BackrowPolitics:GordonGoodwin(OriginalVersion)RecordingLinkhttps://www.alfred.com/audio-player/00-26893/
3. Metronome:quarternote=184.4. Funkybluesstylewithstraight8thnotes.5. Use back accent articulation on running 8th note passages where specific note
articulations are notmarked (all notes of a passagemarked to either are tongued orslurred)butdonotswingthe8thnotes.
6. Whenplayingthesolibeginningatm9(andotherplacestoo),thetrumpetsmustlistencloselytooneanotherandplayasonevoice.Listencarefullytotherecordingsandtrytomatchthe“doits”(m12),scoops(m21)andfalls(m25)sowhenwerehearsetogethereveryonewillbeplayingthesethesame.
7. This tune features the trumpetsand Ihopeall trumpetswill takea soloon “BackrowPolitics”.Chordchangeswillbesuppliedtothemforthistune.Onepossiblesoloformatwouldbeforeachtrumpettoplayaonechorussoloandthentrade4’sforonechoruswitheverybodyplayingtogetheronthelast4bars(similartothevideoliveperformance).
8. Listentobothrecordingstogetabetterideaofwhatthistuneisabout.
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BLACKORPHEUS1. BlackOrpheus:LuisBonfa,ArrangedbyEricRichardsRecordingLink
http://www.alfred-music.com/player/BelwinJazz2006/24859/player.html2. Metronome:quarternote=120.3. Afro-Cuban/SambaStylewithstraight8thnotes.4. Trumpetswillneedtodoubleonflugelhornonthistune.5. Practicewithyourmetronomeclickingat240soyoucanfeelthesubdivisionofthebeat.6. Thetunebeginsin4/4butgoestocuttimeinm8.Itreturnsto4/4inm280.7. Usebackaccentarticulationinrunning8thnotepassagesbutdonotswingthe8thnotes.8. Practiceglissandos,shortandlongfallsandscoopsasheardintherecordings.9. Make sure to subdivide the fast, syncopated 8th note cut time rhythms in the samba
section.10. Ihopeallrhythmsectionplayerstakeasoloon“BlackOrpheus”.Chordchangeswillbe
suppliedtothemforthistune.ONACLEARDAY
1. OnaClearDay:Lerner/Lane,ArrangedbyDarmonMeaderRecordingLinkhttps://www.jwpepper.com/sheet-music/media-player.jsp?&type=audio&productID=10093219
2. Metronome:quarternote=184.3. JazzWaltzstylewithswing8thnotes.4. TrumpetsIandIIwillneedtodoubleonflugelhornandwillalsoneedaharmonandcup
muterespectively.TrumpetsIIIandIVwillneedaharmonandcupmuterespectively.5. Usebackaccentarticulationthroughoutthepiece.6. Playsyncopated8thnotesthatarefollowedbyareststaccato.7. Therearemanyrestsinthispiecesocountcarefully.8. Timesignaturechangeto4/4inm119.Dottedquarternote=quarternote.9. Timesignaturechangebackto3/4inm129.10. Makesuretoplaydynamiccontrastsinm149-151.11. Tenorsaxsolofromm181-217.12. Timesignaturechangeto4/4inm261.Quarternote=dottedquarternote.13. Timesignaturechangeto3/4inm271.
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