Manny Laureano

Okay,

We all have our Arban cadenzas (page 152) at hand because we've made copies of the page.

Now open up the Art of Phrasing. Find one of the longer arias that include fermate anywhere in the song. For example, go to p.213 and find #76, Romeo. Look at the third line, third measure. See the fermata over the C resolving to the F? Okay, now go to your copy of cadenze that you have at the ready.

You can now choose one of those to use in the aria so long as it's in F major. The piece happens to be in Bb major but the point at which the cadence occurs is in the Dominant, so, F major.

So, play the aria from Romeo and when you get to the cadence play the cadenza that you like best that starts on C and ends on F and you have a dandy, brief piece to play for Uncle Ed when he comes to visit. You also have a nice piece to play as part of an audition you might take.

Remember that Arban, at the beginning of the section, advises us to transpose any of these cadenzas to use wherever we like. It's fun to match up these songs with cadenzas and makes them still more interesting. Arban advises us to memorize them, as well. How impressive would it be to play one of these arias or any other, get to a cadence, and pull out a cadenza you've memorized to finish it off? That's what Arban intended when he put the book together. He wanted cornetists to be able to be as facile as any singer or fine instrumentalist of the day by having stuff like this they could pull out of a hat.

Now, for the more advanced players: do all of that but using an Eb trumpet! That'll build a little chop if you do three or four of those puppies in a practice session.

Okay, get to work!

ML