Professional Documents
Culture Documents
11 e 4124
11 e 4124
20 DUETS
BY
RICHARD SHUEBRUK
volume i: No 1 - 12
arranged for
French horn
&
Trombone
BY
frits leffef
BL 211
BL - MUSIC, HOLLAND
BL 211
These 20 duets are first published in1920 by Richard Shuebruk for trumpet and trombone. Born in Bristol, England,
August 23, 1854 he came to the U.S. in 1876. He joined the Boston Symphony trumpet section in the 1885-1886
season and became principal trumpet the next season for one year. In the 1920s and 1930s he was a music teacher in New York City and also played in the Frederick Neil Innes (1854-1926) Band. His advices as a teacher are still
very useful:
Don't blow harder for the high notes; pinch tighter instead. / It is never necessary to play noisily. Anybody can play
loud. Artists only can play soft and well. / As much confidence and attention is required to play with one other performer as with a hundred others. Therefore duet practice is the best substitute for playing in the band. / Duets are
like conversation: you must listen as well as talk.
The duets are written with great imagination in authentic styles. They are very melodious with beautiful harmonic
and polyphonic structures. Here you will find them arranged for French Horn and Trombone hence some changes
had to be made to follow Richards ideas. Because of todays confusion about how to interpret old school music
notation, instructions have been added which are explained here in logical order.
Clarity
- Make the music at most a lively discussion. Play sentences, divide them into logical phrases and
take a rhythmic rest in-between that contributes to the flow. This has also the advantage that you
can take a logical or even unnoticed breath. Be sure that your fastest runs are still understandable.
Double-time - If the beat of a meter is divided by two the first part seems to have more volume; if divided by four
the first and third part seem to be louder, and so on. This impression is independent of the real
volume and originates from our sense of meter and our binary hearing. Along with the accent(s) of
the meter we hear therefore other strong and weak beats also. By giving in to this impression, part
of the original beat can be played as the new beat in such a way that a single bar embraces more
weaker bars with the original meter count. This is called double-time and composers use it to prevent a sentence getting too much loud first beats, to let more tempi be heard simultaneously and
for standing out. Generally one is trusted to recognize it without notification (see also Tempo mark).
Ingale
- This is playing the first half of the beat (in double-time the first half of the new beat) a little bit longer than the second one. Normally the lengthening must be less than if the two parts were a triplet,
hence it is not possible to write that in notes. It makes the beat audible (and is an expression tool).
Syncopation - This is playing or composing a note, originally on a strong beat, earlier or later. Being even shifted
to another strong beat, or the original beat being replaced by a weak note or a rest, it is not always
easy to discover a syncope. The best way to feel it, is playing a syncope or possible one at first a
few times on the beat you expect it came from. A syncope is a surprise and must therefore be
striking: give it at least the accent of the beat it suggests, a subito piano, a gliss or whatever.
Polyphony
- This means the accompaniment is a melody also. An accompaniment can be total polyphonic or
has notes for harmony and polyphonic ones as well. So, apart from obvious polyphonic phrases,
use the rule: If the solo isnt moving, might be still playing, its my turn. Lets talk!
Tempo mark - This is a short text above the staff that indicates the speed impression of the shortest significant
notes. A mark with conflicting terms indicates double-time (Andante moderato, Allegro maestoso).
Although the earliest description of these playing styles refers to baroque music, they are hardly practiced in classical music today. No wonder most performances of music from great masters as Bach, Hotteterre, Mozart, Quantz,
Telemann and more, sound very peculiar. But now you can easily decide wether a three count piece is just that, or
a latin or related jazz walz, or has to be played sostenuto (a style very often used by these masters but only heard
in classical jazz). You are now enlightened and will never misinterpret a piece with beats divided in four as a kind of
psychotic march, an insult to the composer being incapable of writing a proper one at all.
Enjoy playing this heart-warming music from a great composer. Frits Leffef, April 2013.
Contents
1. Processional
2. Minuet
3. The Cadets
4. Emilie
5. Barcarolle
6. Schottische
2
4
6
10
14
16
7.
8.
9.
10.
11.
12.
Hunting Scene
At the Smithy
Redowa
The Sentry
Waltz
The Band Passes
18
20
22
24
26
30
& C
Maestoso {q = 60}
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The addition 'moderato' in the tempo mark means double-time which gives an exuberant effect; so the sixteenth notes are ingale (see Preface).
2. Minuet
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5. Barcarolle
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Copyright 2013 BL-MUSIC Holland
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This is Alla breve so play a bar in principle with a decrescendo. Eighth notes are double double-time so give them more air-speed.
The sixteenth notes, being ingale, are sharfening the rhythm.
6. Schottische
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A six count meter is in fact a three count meter with softened even bars.
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7. Hunting Scene
.
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9. Redowa
Allegretto {q = 120}
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24
Slow March tempo {q = 80}
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