hornblatt

Hi all!

My school is attempting to do Stravinsky's A Soldier's Tale (Histoire du Soldat) this year. I've heard the piece many times and I think its going to be a lot of fun (and a lot of work). I don't yet know if its going to be narrated but I assume so--I go to an arts school so we have plenty of actors who could do it. I've been trying to learn what I can out of the Hickman excerpt books because I don't have the part yet. Does anyone has any tips about playing/performing this work?

Also, my teacher said that he thought there was a transposed part for trumpet in C floating around. Anyone know about this? It would make my life a lot easier....

Thanks!

Annie

Jimi Michiel

Annie,

I've never done it with narrator, but I did a couple of times without. It's less about the specific part and more about just having a good sense of pulse and rhythm. There are a couple of licks you're really going to need to practice, but if you put in the time and go in with a clear sense of rhythm and pulse, you'll do fine.

As for the part in C, here ya go:

http://trumpet.joemegan.com/Soldiers_Tale.pdf

-Jimi

hornblatt

THANK YOU!!!!!!!! I can stop stressing about transposition now! But if anyone has tips I would still love to hear them.

Annie

Jimi Michiel

No problem. One other thing: in the last movement, whenever you have the fully diminished sextuplets (measure 7, etc), kick out the third slide and play the D using 23. It will improve the quality of your life immensely!

-Jimi

PS. I'm jealous. You're going to have a lot of fun playing this piece!

loudog

Hey Annie,

I've done this twice myself...it's a great piece, and a wonderful opportunity to make music!

I would say the biggest things to figure out RIGHT away are:

1. The arppegios in the first movement. Play them slowly. I think you'd probably better double tongue them...I've got a flippin FAST single tongue, and prepared them that way, but when I got into rehearsals I always felt a bit behind, so I DT'd them and it was much better (although I had to practice it a bit). I think that STYLE-WISE, it sounds better double tongued

2. The tonguing pattern in the Royal March. I used Stravinsky's own recommendation TKTKT TKTKT TKTKT. Some people do TKTKT KTKTK TKTKT, and others even do KTKTK TKTKT KTKTK. A lot of people like that last one, because it's like double tonguing through the entire phrase, and you end up on T for the next spot...but I thought I sounded funny that way. Different strokes for different folks, so you'll need to figure out what works best for you!

3. The little concert. DON'T FORGET TO BREATHE! This one is tricky, practice it very relaxed, and be sure you have enough breath...it's easy to breathe TOO much, or NOT enough. Figure out PRECISELY where you are going to breath, and how much, and do it the same way each time. This consistency will help!

4. The Devil's Song. For some reason, I found this movement the most difficult of the entire piece, and it's only two licks. I still suck at it ;) PRACTICE!

5. Triumphant March of the Devil. I actually used D trumpet on this movement, the tricky lick lays VERY well on it. If you have a D trumpet that sounds like a big horn (like a Blackburn) then it's perfect. I can do it on C trumpet, extending my third valve slide and playing the low D 23, but think it sounds better on my D.

GOOD LUCK! I'm envious that you get to play this...have FUN doing it! One of my very favorite pieces!

Louie

Jimi Michiel

Louie-

I just played through the last movement in my head on D trumpet and realized how well that works! The last time I performed it I was using my teacher's C cornet which worked really well, but the next time I get a chance, I think I'm definitely going to bust out my D trumpet.

-Jimi

Vulgano Brother

Despite the time changes, dust off your metronome! Odds are that most in the ensemble will "feel" the time signature changes rather than count them (including the conductor if you have one), and they'll be grateful for someone who can lay down rhythm with authority. I got to play it in an old German Army barracks with actors/dancers--quite a production, but the lighting sucked!

rowuk

I have an old cornet that works very well in A. The rest was just SLOW, CONCENTRATED practice so that the patterns were memorized cleanly. The urge to start fast is most dangerous!!!

mazzrick

Annie,

This piece is very different with a conductor versus without a conductor. If you're using one, then you don't really have too much of an obligation to learning the score and having the lines learned. But because there are so many different versions of the "script," (I played this with the french narration) you should have the group make sure you've picked out exactly which passages will precede the musical numbers and have the cues written in your parts. We had the narrators read the stage directions in the 2nd half as well to frame the plot behind the dances. Also, if you have actors at your school, why not use two dancers for the dance numbers. Costumes are really easy, princess and devil are frequent halloween outfits.
Also, if you don't have a conductor, you might want to mentally rebar some measures if that helps you stay better in rhythm. And if you're using a cornet, always be openminded to alternate fingerings in the upper register (A as 3, or 2 as the instrument permits).

matt

hornblatt

Thanks so much for all the comments!

Louie--I do have a D trumpet that sounds very similar to my C. I'll definatly try that.

mazzrick-- I'm pretty sure we'll be doing it with a conductor. We haven't started rehearsal though so I don't know if we'll have the narration or the dance parts included. My school has a dance department as well as theater and I think it would be really cool to include everyone but that's not my decision....

Thanks again!

Annie