_TrumpeT_

Can anyone please explain how the fourth variation is supposed to be played? Someone gave me a plausible explanation, but I want as many opinions as possible. I'm just really curious.

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Music for the Nation

Or try the following for a direct link (but no guarantees it would work). Click on "View this item" and turn to page 15.
sm188200855

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Bach Stradivarius 180/37
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"I built my staccato like the piano; low register with the warmth of the cello; lyrical melodies like the violin; running notes like the clarinet" - Maurice André

trumpetnick

Can you elaborate your question? The music in itself does not seem to be too complicated so it would be useful to askk more detailed question...

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Manny Laureano

Look carefully, Nick. It's the theme in a simple manner but underneath is a low C in tremolo. I wonder if the idea is to play multiphonics? In other words, to sing a low C as a pedal (not pedal tone in the brass sense) while you play the melody. If that's the case it would be tough. It's the only possible reason he would have written such a simple version of the melody on top.

That's my guess.

ML

max3k

that would be pretty tough to do. might have to give it a try just for fun.

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camelbrass

It may be worth sending Dave Hickman an email. Classical cornet repetoire is his 'thing' (and long may it remain so...fantastic stuff).

I'll have a guess that he meant for the low C to be triple toungued as a drone while playing and accenting the melody in 'clipped' form on top. The effect is very like 2 cornets playing and when done well is very impressive. I'm guessing this because I played 'Facalita' years and years ago (also by Hartmann) and the last variation in that had a similar concept, although the nomenclature was different. It seems to be an effect that he liked using (as did Arban).


Just a thought.


Regards,


Trevor

Manny Laureano

Boy, ya learn more around here by accident than you do in four years at school... Bravo, Trevor... that's as well-founded a theory as any.

ML

Pedal C

Hmmm, it seems like you could either play an eigth note low C during every 1/8th rest (not too difficult) OR... play triplets on every 1/8th note so that you either play the melody note plus two low Cs (TTK) or three low Cs on an 1/8th rest (harder!). Looks like fun either way!

Jason.

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_TrumpeT_

Thanks guys! I really appreciate it. The consensus seems to be that low Cs should be played whereever there is a rest in the melody part. The question is, how many Cs? I guess it is possible to play up to four demisemiquavers (32nd notes) for each quaver rest by the looks of other variations. However, there are only three lines through the stem so may be it's supposed to be semiquaver triplets.

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Bach Stradivarius 180/37
Bach 7C

"I built my staccato like the piano; low register with the warmth of the cello; lyrical melodies like the violin; running notes like the clarinet" - Maurice André

_TrumpeT_

Rule Britannia also employs the same concept used by Facilita for the last variation. Not many American cornetists seemed to have recorded this piece though! !

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Bach Stradivarius 180/37
Bach 7C

"I built my staccato like the piano; low register with the warmth of the cello; lyrical melodies like the violin; running notes like the clarinet" - Maurice André