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dominicano224 Heavyweight Member
Joined: 24 May 2004 Posts: 673
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Posted: Sat Dec 10, 2005 7:31 pm Post subject: audition excerpts |
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I am currently working on the following excerpts,
leonore no3
pictures at the exhibition
mahler 5
petrouchka
I want to get a better understanding of the style and proper way to perform this excerpts. I have listened to various recordings of each but i want to understand the excerpts more. is there any reading i could do at the library that can aid my understanding?
What does the Trumpet herald think is the proper way (in terms of style) to perform them? Thanks _________________ ***If you don't try there's a 100% chance you'll fail*** |
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wvtrumpet Heavyweight Member
Joined: 15 Sep 2004 Posts: 3131 Location: West Virginia
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Posted: Sat Dec 10, 2005 7:34 pm Post subject: |
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Those are great excerpts and the fact that you are listening is so important. I would make certain to just listen to your teacher and to learn as much about the works as possible through reading some music history books: Grout, etc..... Keep listening and learning from your teacher and your recordings!!!!! _________________ Freelance Performer/Teacher WV, PA, MD, and OH http://www.neil-king.com
Yamaha NY Bb, Adams F1 Flugelhorn, Schilke P5-4, Stomvi Eb/D Elite, Bach C 229 bell 25A, York Monarch cornet. |
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wvtrumpet Heavyweight Member
Joined: 15 Sep 2004 Posts: 3131 Location: West Virginia
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Posted: Sat Dec 10, 2005 7:35 pm Post subject: |
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PS.
Also pick up the Phil Smith excerpt cd.....Its a very valuable resource. _________________ Freelance Performer/Teacher WV, PA, MD, and OH http://www.neil-king.com
Yamaha NY Bb, Adams F1 Flugelhorn, Schilke P5-4, Stomvi Eb/D Elite, Bach C 229 bell 25A, York Monarch cornet. |
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dominicano224 Heavyweight Member
Joined: 24 May 2004 Posts: 673
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Posted: Sat Dec 10, 2005 7:48 pm Post subject: |
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I got the Phil smith CD, it's one of the things im listening to. _________________ ***If you don't try there's a 100% chance you'll fail*** |
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Bartok Veteran Member
Joined: 11 Nov 2002 Posts: 456
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Posted: Sat Dec 10, 2005 9:10 pm Post subject: |
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Get the scores to supplement the recordings....
This way you see exactly how the excerpt fits in. |
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swingintrpt Heavyweight Member
Joined: 20 Apr 2003 Posts: 1889 Location: Orange County
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Posted: Sat Dec 10, 2005 9:20 pm Post subject: |
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If you can, get a copy of the whole part, and perform along with various recordings of different orchestras under different conductors. Then take away the recording and make it YOUR excerpt. _________________ RJM
Examining the difference between
music and Music. |
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Peter Bond Heavyweight Member
Joined: 08 Feb 2004 Posts: 1455 Location: Metropolitan Opera
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Posted: Sat Dec 10, 2005 10:35 pm Post subject: Re: audition excerpts |
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dominicano224 wrote: | I am currently working on the following excerpts,
leonore no3
pictures at the exhibition
mahler 5
petrouchka
I want to get a better understanding of the style and proper way to perform this excerpts. I have listened to various recordings of each but i want to understand the excerpts more. is there any reading i could do at the library that can aid my understanding?
What does the Trumpet herald think is the proper way (in terms of style) to perform them? Thanks |
Along with listening to assorted recordings or performances of the pieces (which is invaluable), a little study of the pieces and their place in history will be helpful. Luckily for you, each piece you list is programmatic to one degree or another. That is, each piece (and the trumpet excerpt) describes some dramatic action, character or event.
Leonore 3is a plot device in an opera (Fidelio) - an off stage trumpet call signaling an event which will change everyone's fate.
Pictures is, well, a series of musical miniatures evoked by Hartmann's pictures; although the Promenade is somewhat neutral and open to various treatments (it supposedly represents the composer moving through the gallery, and serves as a connecting device).
Mahler #5 opening is a funeral cortege, and later 1st movt excerpts are usually interpreted as hysterical grief, and nostalgic longing.
Petrouchka, being a balletic treatment of an old story, is a virtual pre-movie/TV soundtrack which can help guide interpretation. For example, the "Ballerina's Dance" accompanies a ballerina, and is not helped by long, Bruckner-like eighth notes.
Peter Bond |
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trombapaul2 Heavyweight Member
Joined: 24 Oct 2002 Posts: 1889 Location: Detroit, MI
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Posted: Sat Dec 10, 2005 10:46 pm Post subject: Re: audition excerpts |
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Peter Bond wrote: | Along with listening to assorted recordings or performances of the pieces (which is invaluable), a little study of the pieces and their place in history will be helpful. Luckily for you, each piece you list is programmatic to one degree or another. That is, each piece (and the trumpet excerpt) describes some dramatic action, character or event.
Leonore 3is a plot device in an opera (Fidelio) - an off stage trumpet call signaling an event which will change everyone's fate.
Pictures is, well, a series of musical miniatures evoked by Hartmann's pictures; although the Promenade is somewhat neutral and open to various treatments (it supposedly represents the composer moving through the gallery, and serves as a connecting device).
Mahler #5 opening is a funeral cortege, and later 1st movt excerpts are usually interpreted as hysterical grief, and nostalgic longing.
Petrouchka, being a balletic treatment of an old story, is a virtual pre-movie/TV soundtrack which can help guide interpretation. For example, the "Ballerina's Dance" accompanies a ballerina, and is not helped by long, Bruckner-like eighth notes.
Peter Bond |
I believe we each owe Peter about $40.00 for that very valuable
"private" lesson.
Thanks!
Paul _________________ "NEVER practice...ALWAYS perform" (Bud)
"NEVER look at the trombones...it only encourages them" (R. Strauss)
"What the hell does sound have to do with music?" (Charles Ives) |
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Peter Bond Heavyweight Member
Joined: 08 Feb 2004 Posts: 1455 Location: Metropolitan Opera
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Posted: Sun Dec 11, 2005 7:17 am Post subject: Re: audition excerpts |
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[quote="trombapaul2
....I believe we each owe Peter about $40.00 for that very valuable
"private" lesson.
Thanks!
Paul[/quote]
For a moment here, I entertained visions of paying off my mortgage. Then I realized that I'd just have to forward the money to all the people from whom I've received free tips and advice over the years.
Thanks anyway, Paul.
Peter Bond |
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Umyoguy Heavyweight Member
Joined: 05 Jan 2004 Posts: 1726 Location: Baltimore
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Posted: Sun Dec 11, 2005 9:49 am Post subject: Re: audition excerpts |
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Peter Bond wrote: |
For a moment here, I entertained visions of paying off my mortgage. Then I realized that I'd just have to forward the money to all the people from whom I've received free tips and advice over the years.
Thanks anyway, Paul.
Peter Bond |
A real class act. Thanks for hanging around here, Mr. Bond.
Jon |
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dominicano224 Heavyweight Member
Joined: 24 May 2004 Posts: 673
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Posted: Sun Dec 11, 2005 1:12 pm Post subject: |
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hey peter,
where can i find more information about the setting of each piece? _________________ ***If you don't try there's a 100% chance you'll fail*** |
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Peter Bond Heavyweight Member
Joined: 08 Feb 2004 Posts: 1455 Location: Metropolitan Opera
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Posted: Mon Dec 12, 2005 8:40 am Post subject: |
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dominicano224 wrote: | hey peter,
where can i find more information about the setting of each piece? |
I learned lot by reading album liner notes and music reviews in papers and magazines. There are also innumerable books. Finally, let me draw your attention to a powerful tool right under your fingers right now.....
Peter Bond |
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Bill Dishman Heavyweight Member
Joined: 06 Feb 2003 Posts: 1174
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Posted: Wed Dec 14, 2005 4:20 pm Post subject: Excerpt interpretations |
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Excellent advice so far. Do keep these tips in mind. Additional option would possibly be Rob McGregor's Audition and Performance Preparation books. Not only good for practicing the excerpts but etudes based on them to develop style and interpretation. Also good commentary on style considerations. Bottom line is listening and using fine recordings as a guide with the idea of being flexible according to any given conductor's instructions.
Bill Dishman
Gainesville, Florida |
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