Canadian Brass - Book of Favorite Quintets

7/11/2019 Canadian Brass - Book of Favorite Quintets

http://slidepdf.com/reader/full/canadian-brass-book-of-favorite-quintets 1/161

contents

6.,7

8.9.

10.11.

14.

15.

D

MMEDDDMME

MMM

l.2.

14.

HallelujahChorusrromMessiah .. Handel... ..24

TrumpetVoluntar-v...Trumpet Tune and Ayre

CanonRondeauLargo

M-V Heart Ever Faithful rrom cantata No.68

Contrapunctus I r-. ThcArtof theFuguc .

Andante from Tiumpet concerto

Cor Royal . .

Sakura & Kimigayo .

FafandOle r-rn L'Arlestenne Suite No. z . . .

Toreador Song irom carmen

Hava NagilaJust a Closer Walk

Clarke ......S EPurcell .....8Pachelbel. . . 13Mouret .....18Handel .....22

Bach 30Bach 34Haydn .....39NicolaiiCornelius . . 43traditional Japanese. . . . 46

Bizet 50Bizet 53traditionallsraeli . .57traditional American

arr.Gillis. ...61traditional American

arr. Henderson 63

16. Amazing Grace .

Within an intermediate level these gradatians of difficulry are indicated: E=eaE, M=medium, D=difrcult

a note to you

The opporlunity to perÍorm in a brass ensemble is perhaps one of the most signiíicant in a musician'sdevelopment. In a small group each individual is completely responsible Íor her or his owncontributÍon to the piece oÍ music being played. Thoughts and concepts come alive in a wonderÍulway when a musician realizes that Íour other musicians are depending on a perÍect Íit of the Íifth part.How many times have we all heard that a great basketballoríootballteam depends on "teamwork,"but to actually experience that íor ourselves through music is thrilling. To be sure we are ready Íor

the experience, we all need to be thoroughly prepared. To help when we work with students, weaharays spend our time on these important points:

BREATHING: the importance oÍ always taking Íuil breathsMourHPlEcE BUzzlNG: every day, practice and ptay on the mouthpiece away

Írom the instrumentTONE: your "musical Íingerprint" is your toneINTONATION: with two or more períormers, intonation is criticalRHYTHM: music based on a strong rhythmic sense will always be more successfulBALANCE: a constant concern oí the ensembte musician is being a team player,

never too loud or too weakBLEND: the beauty oÍ brass instruments is their great blending abitity

E

M



ENSEMBLE PLAYING

The real joy oÍ ensemble peíormance is ÍOund when two or more perÍormers can stylistically andsensitively play together: practicing ís the quickest way to make this happen. Allow yourselÍ to befreewhenyouperíorm. VeryoftenyourfellowperformeriwillíinditmucheasiertoplaywitnyouwhenyoumovewithlhemusicratlteÍthan"Íreezrng"yourbodyinplace. Also,promoteÍrequenteyeccntactbetween all the ptayers in your group.

DOUBLING at the UNISON or OCTAVEIn our book, the French hom and trombone Írequently combine at the unison, creating an entÍrely newsound' This must be diligently practiced by the two instrumentalists so that the styló anct interpreta-tion.(including tonguing, lempo, and intonation) become consistent. The trombone and tuba oftendouble in octaves. When lhese octaves are perfealy in tune and balanced, a powerÍul efÍect results(which is not only very satisÍying for the perÍormers, but also íor the arrangei of this music).

SOLO and SUPPORTING

There are two roles in a brass quintet: solo and supporting. Although your part is always importantto the whole, it is not always the solo. We want you to thinÈoÍ the manner in which you perÍorm yourpart; dynamics' lone colour, length oÍ notes, weight, accents, and projection allplay á role in how yourpart will be perceived by your audience and bylellow players.

BREATHING

Alltoo oÍten, we hear players who try to buzz.on the mouthpiece without filling their lungs with airlSound actually starts.with yourfirst dáep breath. Air ís the basic ÍuetÍorthe brass perÍormer, and theproper use oÍ this Íuel ensures the quality oÍ sound. In our books ee CtNNINIC Ot rrNiÈfs and EASyoulNTETS, we thoroughly discuss the subject of breathing, ani prouioe exercises Íor mouthpiecebuzzing and use oÍ air. we consider lhose díscussionJ to be required readingl ln our bookADVAN'CED OUINTETS' we talk further aboul tone, suggesti;g that it becpmes your "musicalÍingerprint."

PROGRAMMING

we all spend hours andJ|o-u*r..r,.,nn so thatwe can períorm music we love íor other peopte. Tohelpyou díscovergreat musicand to helf you buildyourownconcerts, musicwith whichthe canadianBrass has had great success in public performances has been included in this book. when you puttogether your own program, you will iind here_a great range oÍ musical styles. lt is possible toexperiment with playing the "classical" music of BacÍ ano ttaioet, ríght next to early American jazz!Andmanyotherse|ectionssuitab|eÍorinc|usionareÍoundintheM,EASYgg'ry]FIS ANd ADVANCED OUINTETS bOOKS, AIIPATI OÍ OUr CANADIAN BRASS EDUCATIONALSEHIES' once you start Íeeling comtottante with this music, we encourage you to take everyopportunity to perform: períorm for your Íriends, Íor your Íamilies, Íor religious ceremoníes, Íor your

school' Just about any place you can think of to play is a óoàJ órace. And most importanly, haveÍun with your music.

we have recorded all the selections in this book for your critical listening and study. Very often it isgood practice to copy, insofar as possible, what you hear. once you can Íairly welldupticate whatou are hearing, you can begin to create yourown, new approach to the music. Good tuck.

Your friends,

The CANADIAN BRASS



CLARKE

Clarke was an English composer and organist at the farnous St. Paul's Cathedral in London. He composedopeÍas, several hymns, and anthems, bul the work Íor which he is best known today is the TRUMPET

lt was erroneously ascribed to his Íriend Henry Purcell until 1953, when an English musicologist dis-the true composer. Originally written Íor organ, the grandeur oÍ this music suited the entrance oÍ the choir

the magniÍicent chancel oÍ St. Paul's, and was used exclusively for special royal occasions.

I and ll:

is very important that the first and second Trumpets pertorm stylistically the same. Rehearse together apart fromquintet to develop the same speed of ornaments (always stafting an the note above and ending at the dot). Try

matchsounds,shaingthebrillianttonethatisneededforthisselection. Weconstantlyworktoplayiden-

Forexample,listentothegreatTOCCATAandFUGUEinDminoronourBaroquerding; hear the two Trumpets sounding as one.

Fred and Ron

thequintet. Onthemelodicrepeatthe first 8 bars, the horn has a virtuoso paft that should be brought out dramatically. At bar 20, the descending

must be strong and wellluned. Bar 33-40, we share the melody with the Trombone; there should be a con-oí style between the two of us, both in tonguing and length of notes. Bar 52 poses some difficulty. Isolate thatprivatepractice;pracliceitslowlyandcarefullybeforeattemptingafinishedspeed. Thenper-formfromthere

the end grandly while supporting the two Trumpets.

David

:e are only two ways to perform with your quintet: in a solo or a supportíng role. Both roles are presented in thisYou must support the trumpets in bars 1-8. Bring your voice a little more to the fare in bars 9-16 and bar

At bar 33 you begin a duet with the French Horn. Davíd tells me there should be a consistency of style betweentwo af us, both in tonguing and length of notes. Try to develop a ringing and grand tone, especially from bar 49

the end, to give this selection the richness Íhal it deserues. (And don't neglect bar 52! It's tricky; try the 'F in 6th

Gene

lesson that every Tuba player of every brass quintet must learn is the absolute IMPORTANCE of the Tuba part!VOLUNTARY is an excellent example. Allthe other parts are totally reliant on us for pitch, rhythm

style. The Tuba paft is often compared to a foundation of a building, on which an entire structure is supported.the'Voluntary,'the quarter notes must be buoyant and bouncy, always detached and bright. Keep controlof the

in the running patterns in bars 24, 28, 48, and 52. Bars 33-40 must be played with weight on the first note andclean tongue on the secondnote of each pair. Bring the selection to a fitting grand conclusion with your f inal three

the other players hold their whole note.

Chuck



1. TRUMPET VOLUNTARY .5

JeremiahClarke0673-1707)

amanged by Walter BarnesMaestoso )=L20

t=1t

lJ8 Dr. Brass (BNÍl). Toronto

or puhlic pertirnnancc rs an tnlrin{emcnt ol eopvrrght: undcr thc law



v

Allargando

Í"' -fr(opt.l



Trumpet Tune and AyreHENRY PURCELL(16s9-169s)

Henn' Purceil was England's greatest ccmposer ci lhe 1;th-i3ih centuí'r'. ile receiveo rrs ear{:y i-r.lusicar ecjucation :n ihe cncrrsciioot ot lhe Chapel-Royal' and at the age oÍ 20 was appointed organrsr cr Wesiminsler Abbey, lhe sire of Engiand s Ícyaicoronations. On his burial tablet in the Abbey it is written:

Here lyes Henry Purcell Esqr. Who left this Life, and is gone to that Blessed Place where only his Harmony can be exceeded"

worked íor a secularlized Church which had very recently survived the Puritan Revolution. During the Restoration period,which Purcell wrote most oÍ his music, secular styles oí composition were imported Írom France and ltaly by King Charles ll. Ascourt and church composer, Purcell was obliged to write in these new, imported styles. However, some oí hisearliár pieces reÍlect

style of his predecêssor at the Abbey, orlando Gibbons. The TRUMPET TUNE and AyRE was originally written ior keyboard,is thought to have come írom a harpsichord sonata.

l:is a big chailenge when ptaying the TRIJMpET

and AYRE. Although we havek'epíthà ístTrumpetpanyou may wish to play the 2nd Trumpet parl íor the ,Ayre,,

your paftner the first part. We often alternate Trumpetls in the Canadian Brass, finding that it keeps tutn oi us

and breathe without chopping up the melody; four barare better than two. perform the,Tune,crisply, keeping

dotted rhythm very strict (in d least a S:í ratio). Co;-the 'Ayre' needs a singing, ftowing approach that isbetween phrases. ge sure to move the temp right

to the opening tempo upon returning the,Tune.' Good

Ron

ll:

'Tune'offers an opportunity to support your íellow trumpet(bars 1-8 and l7-24) and a chance tó perform a soloistic

(bars 9-16 and 2S-g2). Keáp ail the dottedvery crisp (at least a S:l ratio). Watch the octave(bars|7 and l B) for intonation: you will need to make

use of your third valve tuning stide.

has suggested in the lst trumpet baok that you might2rnate parts for the 'Ayre, in order to give your Íriend a little

Wh?th?r playing l st or 2nd, do so in a singing, ftowing styte,each phrase blending into the next. Retirn'to the ,Tune,in

bright manner, establishing the ,tempo pimo,,or íirst tempo.not over-power the l st trumpet with your high'C'

atthe

end.Fred

are two primary performance roles in abrass quintet: solosuppofting. ln this selection, you seNe in tr.th capacities.

bars | -B and 17-24 you are suppofting the l st trumpet. Matchintonation to the Tuba, while playing your notes in a

style. Bars g-l6 and 25-32 give you acounter-melodyshould be twinned with the 2nd Trumpet, and brought to

fare. Keep the dotted rhythm very crisp (with at least a 3:ílntonation needs special attention when you play octaves

the lst trumpet (bars g-10 and 13-14).

Horn (continued):

The 'Ayre' is a contrasting section which should be played veryIegato, in a singing, flowing style. Return to the ,Tune,with

adynamic and rhythmic change that clearly establishes the con-

trast. Lastly, fill up the raom with beautiful Franch horn tone onthe final two notes.

David

Trombone:

David has pointed outthe íottowing in the Horn book: ,There aretwo primary peiormance rales in a brass quíntet: solo orsuryofting. ln this selection, you serue in both capacities., Thesame is true for the Trombone. ln bars | -B and l7-24 you aresupporting the l st Trumpet, while in bars g-16 and 25-32 you arethe soloist (playing the counter- metody). Keep the dottedrhythms very crisp (at least a 3:l ratio). The ,Ayre,is a beautiful,singing and flowing melodic contrast to the 'Tune., Try to bring

aut the sonorous character of the Trombone while observing atlQ flats! Experiment with the Trombone/French Horn unisotn inbar 45, ag ain look ing ío r a pe dect b I end. Th e lo ng ph rases in t h ispiece make proper breathing doubty important. Breathe when-ever possible, and maka those breaths count by taking fult-quantity breaths. Return to the repeat of the ,Tune, withbrilliance.

Gene

Tuba:Please re-read the comments made for you in the TRIJMpETVO L U N TARY, s in c e th ey apply to t h e p u rc e lt as w e t l. App ro ac hthis piece from a musical rather than technical pint oí view.Before you play even one note,

soundlesslypractica

the musicin your head. From the very opening oí the 'Tune' ptay thesenotes bouyantly: bouncy-neither too long nar too short. Starteach note with a strong articulation, and then tet the air ptay thenote. Keeping the dotted rhythms in bars 1g-l9 and 26-27 crisp(3:1 ratio) while playing moving notes in the upper registerpresent a challenge to the tubist. Practice this pattern slawly,gradually increasing the tempo as it becomes easier. The'Ayre'is a sonorous contrast to the 'Tune,' requíring an even gentlertouch. Use more air and less strength: lull breaths foltowed byeasy, unrestricted exhalation. At f irst, try to match the sound onthe recording ol this piece, and then develop your own. uniaueapproach.

Chuck



-..- -r ,. ,:,:

2. TRUMPET TUNE and AYRElruNElModerato J =sc

Henry purcell

, 0659-169s)arranged by Walter BerÍr€s

.st iJr llmtrrt

:nd Br ïrumpet

nom ln ts

Trombonc

Tuba

t;'1t)l_l

Tal

r nn^

TÍb.

Tuba

r nn.

Tó.

Tuba

Tml

F Hn.

Tó,

Tuba

C()p\'|-!ht l()ljl.l I)r. Ílrlss r {1,\llr. Tr)r()nr(}\ll rr{hts rc\eÍ\c(j. Itrrnrcd rn [.1.S.,.\.

lrrrn1.:rn!,;rtl;rptrn!, rccordtng,i)r lltrhlrc Jrcrlirrrnatlcc r\.111 inlfingcrncnt ()l (t)p\nllllInlnllr.tcr\ rrc lirhlc rrntlcr thc law.

i

4c

,z---\2 : 2t

['nruthl)rilc(l ((,p\ Inr



Trp.l

F Hn.

TÍt.

Tuba

Íf,

@ lAYRElAndanre



-,,. . .- :,;_.;;r :.: ;: ur ;a = ;,

'l.l.l

Í; Hn.

Trb.

Tuba

t

Hn.

nn.

mfI.l5 |

t-l

Íí2' l-'-\|2. - io : ?t



tl

Hn.



CanonJOHANN PACHELBEL(16s3-1706)

JohannPachelbelwasoneoÍlhe"spiritualanceslors'oÍJohannSebastianBach. PachelbelwasespeciallyrenownedÍor his lugues, variations (chaconnes and passacaglias), and canons. The canon is the most strict form oÍ imitativecomposition. This CANON is a series oÍ melodic variations (speciÍically a passacaglia) over a repealed bass line(ground bass). Pachelbel originally wrote 186 melodies above this ground bass, each two bars in length. Thisparticular transcription uses only 20 oÍ those melodies.

"The CANON is perhaps the most íamous classical composition ever writlen, as evidenced by record sales.

UnÍortunately, Mr. Pachelbelis no longer around to collec{ the incredible royalties that are poudng Írom these sales;bn the other hand, Mrs. Pachelbel is delighted about it!" [Chuck Daellenbach, Írom CANADIAN BRASS LIVE]

Trumpets I and ll, Horn, Trombone:

The comments from each of us are the same: there must be absolute stylistic agreement among us regarding themany two- bar phrases. For an exercise, you an identiíy and number each oí the Wenty subjects in the score;yauwiil then bs able to obserue which instrument haswhich melody. There are indeed twenty, but no one instrument playsthemall. Selectpointsinthemusiewheredifferentvoiceshavethesamemelodyatdifferenttimes,thenrehearsethemat the same time. For example, the first Trumpet can play bars 29 & 30, while the second Trumpet plays bars 31 &32, and so íorth. Whether the melody is played legato, detached, bright, or f lowing, it must be presented in the samestyle in every voice. When each instrument then plays the melody at the appropriate moment in the piece, it will be

playedinamatchingstyle. Mostimportantly,beclearaboutthetempobeforethepeíormancebegins. TheTubasetsthe temp at the beginning oÍ the piece, so try to maintain this tempo throughout. To do so, keep listening to the Tubaas you progrcss through this marvellouÍ canon.

Frêd, Ron, David, Gene

Tuba:

What can lsayto convince youthatthís isthe mostdifficult piece inthe bookforconcentration, rhythm, choice of tempo,and melodic line? When you state the opening bars you have already established alloí the above. I have played thisTuba part

hundreds of times, and I know the impoftance of the Tuba part. lf you think it is boring, think again!Concentration is the key to making this exciting for yourself . Note the different playing styles in the other parts as youprogress through the piece, and match them with your own períormance. lf you take a minute to read the other booksabout this piece, you will see that all íour of the upper instruments are completely dependent on you for the successof this piece. Good luck.

Chuck



3. CANONJohann pachelbel

0óS3-1706rarranged by Walter Barnes

l:t 3' l":r:rpct

l:;rr ll> iiumocr

llom tr F'

Tromoor:c

Tuba

Trp.i

I Hn.

-rb.

Tuba

Trc.I

; Coprrrr:hr i98$ l)r. Brass rBNllt. foron(,r

r naurh.rizctl (r)p'n-!. Jrr:rn!,nj. ,.;)ltl,ïl,ï';":ï;ï;:i-u;,,P;ïljil ,"1,.\.,?,;);".. rs rn inrrrnrerncn(.r .op\.rhrltrlln!cÍ\ .rre lr.tblt urrJcr the itrr



L."z

ni*

nr*í

ftL.tal



Trp.l

F Hn.

lm.

Tuba

l rp.j

F Hn.

Trb.

Tuba

Trp.l

Trp.2

F Hn.

).

Tuba

F Hn.

Trb.

Tuba

í

mf,13.(:)



..- -....'.*;.., :.;-à*.r:á;*í'j*iel.iil* v;tj;á :*e.g %

(t | ( r ) ( r )

( t ) (t )

êÈr

i.?li*t.



RondeauJE.{N JOSEPH MOURETr r6li2-173{t)

MouretwasaverypopularcomposêrinFranceduringhisliÍelime,withmorethan50publishedworks. Today,verylittleoíhismusicis perÍormed, wilh the exception oí this RONDEAU. lt was recently made popular because of its selection as the lheme song Íorthe BBC production Masterpiece Theatre. You will find, as we have, that it is an excellent addition to the brass repertoire.

The RONDEAU was originally a movement from "Faníares pour des trompettes, timbales, violons, et hautbois' ("Fanfares ÍorÏrumpsts' Kettledrums, Violins, and Oboes"). Rondo íorm is quite obvious: an 'A" theme is presented in luxtaposiiion with othermelodic themes. SpeciÍically: A, A1, B, A1, C, D, A, A1.

Trumpets land ll:

The two Trumpets share the mebdy in theRONDEAtJ. The 2nd Trumpet pan can be períormed on a Piccolo Trumpet. (you nightrentaPieobtotryít; itwill addalotof spicetothequintetsound. TheYamahaíaisagoodmodel tostarton). AsinTRUM{ETVOLUNTARY, and CANON, the RONDEA|I melody ís passed bad< and forth between you. You must stive for matched styles,tones, articulations, and note lengths. lf the audience was not able

tosee you,

they shóuld thínk that onty one trumpet is pl;ying.When a Píeolo is used, there will necessarily be a tone change, but the new color adds to the overal! texture oí the piece.' Bewaieof the octave doubling at letter D; you arc subseruient to the lower instruments, something uncommon in the quintet. When thetwo Trumpets are doubled at bar 6í, take great care with intonation and matching styles.

Ron and FredHorn and Trombone:

You are again playing two roles in the R)NDEA| suppofting (the A thene), and solo (the B, C and D themes). you must usethe same ailiculation at 8, C and O as the two Trumpets use in the A theme; namely, bright and detxhed. Keep the pulse movingwhen you are ín the solo role; spend time practicing alone wíth the Horn and Trombone,-as the two of you often share the spotlight.

The Baroque period,from whichthe RONDEAIJ @mes, often callsforstrongly antrasting dynamícchanges. ThisÍspartly achievedby instrumental color

changes in the B, C and D themes, as well by normal, written afnimics. Exploi alt the markinjs: make a'forte'very strong and a'piano,very quiet.

David and Gene

Tuba:

When we say that the Tuba should be 'dominant,' we really should also say 'tonic.' You see, tonic means the r@t of the chord, ornumber one or eight ín the scale progression-the name note of the scale. And domínant is tne finn ol the scato, or the next mostimQnail nate in the scale. ln the BONDEAIJ many of your notes in the'A'theme are tonic or dominant: Ep or F. These must beplayedrightdownthecenteroftheinstrumentsothatthebesttoneandpitchispresent. Rehearsalletter,C'offersantiphonalplayingagainst the French Horn and the Trombone. Bring out the moving, active pan as much as pssible. lt you own a'pedal Ep, put'iton the final note so that your quintet has the added beneíit of an extra ociave ín the fínal chord.

Chuck



4. RONDEAUJean-Joceph Mouret

n682-1738)arranged by Walter Barnes

4, Brightty ) =84Trumpct

rn F

*/P,.[n,u rc!.'-)r)rrona]

nf,

'j Coorrruht I()13lJ Dr. Brass (BI\'llt. Toronttr.lilirqhts rcscn'ed. ['rrntcd in U.S.A.

L'nuuthorrzed c{)p\rn!. JrÍJn!rnr:. JdJptrnr. rccordrn,g ()r public ;x-rlirrmrncc is rn rnlrinscnrent ol coprrrr.lhlInlringers rrrc liuhlc undcr thc Iaw.

"ê..*:f4



é-_. -r.::. . r r , .,.. ,. .,;::r:; :;,- :;;,a: : .:_ - _n;.n :. :r.; .r ,a . v . a . . :Á)'K a.

19



P-,

Try.l

ts Hn.

1rc.

Tuba

Trp.l

F Hn.

Tó.

Tuba

F Hn.

Tó.

Tuba



Trumpate I snd ll:

The LARGO decaptiw in its simpticity. The opening fift*n bars mustb9 very legato and smooth, wh:ite the rnynà nuit b @nstant andclear. At measure l S, the melody passes íron the French Horn to theTrumpets. As in the CANON, tonà,'nnguing, and phrasing must be hesatne among all the playerc. Let the musical lines overlap momentarilyas you pass this beautilul melody back and forth. The notes should LteIong and full valued. 8e alen íor good intonalon when doubling at theunison in .bars 39-43. Try to make the ending gentle with a gradual,sustained êllentando.

The HALLELUJAH CHORUS oífers ompletety different challenges.They.are. wo distinct stytas of playing inwtied in this piece: íong?ult?ined phrases (íor exampte, bars 354í and 58_69), and shoi,btight, and sharply tongued phrases (such as in bars 1g-21). Whenplaying the long, sustained phrases, h is imponant to give lutt ime vatueto evety note. Be sure to take hequent, large breahs so that the

strength ames from the air and not brute force.

Fred and Ron

Horn and Trombone:

The LAIGO opens with a beautifu! French Hom and Trombone soto;try to think of the two instruments as one, creating a dilferent instrumentwith its very own tone. To achieva this eífect, yoi will fuh need to knowho.w the other is going to ptay the solo so weit that you must even thínkalike. Then concepts such as tuning, hythm, and breathing becomeatmost automatic. After you know the notes well, make á ooint ofwatching each other while you ptay to promote better musical commu_tlcati?n. The low oryning phrase is best suited to the range of thetrombone, so let the Trombone carry a liile more ol the weigit. By bar6, the Horn should stan being more prominent sine it clinbs ínto amore comfortable range. From bars l S to 46, you both support the twot tumpets as they pass the melody back and forth. When you reach theending, you

.arc again ptaying the beautjíut melody fry b maie theenotng qentle with a gradual, sustained rallentando.

David and Gane

Horn: Chuck

The HALLELUJAH CHORUS offers completely difíerent chailenges.They.are. rwo disinct styles of playing inwlved in :l/lis piece: iongsustained phtases (for example, bars t2-tn, 25_27, 34_41, a3-ae aná:.h^o!:\ríght, and sharply tongued phrases (such as in bars t-t1,ts_16.20-24 )., .When playing the long, sustained phrases, ir is importantto grve íull ime value to every note. Be sure to take frequent, targebreaths so that the strength comes from the air and not lrom lorcinà.

David

Largoand

Hallelujah ChorusGEORGE FRIDERIC HANDELt1685-r759)

The grandeur and sustained power oÍ Handel's oratorio style, the expressive simpliciry of his melody, and rhe breadth and darityof the harmonic structuÍe Íorm a wonderful anjsUc whole. He is unquestionably one oifre 'great masters.' (Baker,s BiographicatDictionary oÍ Musicians)

Wearesureyouwill enfrusiasticallyagreewifithisstatementaftêrplayingthetwoHandelcompositionsinhisbook. Thet-ARGO(homtheopera{erxg1, lz}al disptays one oÍ tre most sustained, singing melodies imjginable. This melody is always supportêd by a simple harmonic bass.The HALLELUJAH cHoRUs (kom Ére oratorio Messian,luq is best dáscribed by Hanèl Áimself. iJpon'completion oÍ the .Chorus.

he said,'l did fiink I did see all Heaven before me-and he grsat God himselí|.

Trombonc:

Tha HAUELUJAH CHOHUS ot{ers ampletely difíerent dtallenges.There are two dislnct styles oí ptayíng inwlved in this piece: tongsustained phÊses (for exantple, bars | 2-í4, 25-27, 34-4:J ), and short,bright, andsharplytongudphnses (such as in bars 1-l l,l5-16,2&21,28-32). When playing he hng, sustained phrases, il is important to givefull time value to every note. 8e sure to take heqtent, hrga breaths sothat Íhe stength ames írom tha air and not from forcing.

Gene

Tuba:

The URGO is an expressive song, needÍng to be ptayed in a singingstyle. It rcquires Wu to provide the rhythmic motion un&r the extendedsolo line, without rushing the tempo. Each oí your notes must be givenfull time value. The Tuba prt looks quite simple, but your responsibili-

les are many:giving a fotward momentumholding the tempoprovidng a solid basis for the intonation ol the entire grouplending support to the solo line through dynamics

The breath marks are in the music to show you how the soloists aboveyou arc phrasing their lina. Work out your own breathing pattem,depending on your capacity, so as not to breathe when they do.

The HALLELUJAH CHORUS ofíers ompletety diíferent chailenges.There are two distinct styles of playing inwlved in this piee: tongsustained phÊses (for example, bars 12-14, l7-19, 94-41, 69-71) andshoft, bríght, and sharply tongued phrases (such as in bars l -t I , | íl6,50-65). When playing the long, sustained phrases, it is imponail b givefull time value to evety note. Be sure to take frcquenl large breatis sothat the strcngth comes írom the air nther than fore. Barc gg94 give

you a chance to end the HALLELUJAH CHORUS in a grand andmajestic styie: the others are holding their notas while you play adescending panem. Make the rallentan& very deliberate so that therers no question about your musical intentjons.



5. LARGOfrom Xerxes George Frideric Handel

(1685-17s9)arranged bv Walter Barnes

Br Trurnoer

:n F

Hn.

Hn,

'l Cr)n\ri!rht l98lJ Dr. Brass íBl\'llr. Toronttr,\ll'rrg-hts rcrcrred. I)rintcd in U.S.À.

( nruthorrzcrl er)pvlnr. Jrrrnglni.:. rtlrptrrlg. rccordrnt (rr puhlic pcrÍirrmilncc r: rn rnlrrngcntcnt ()l c()p\ri!hlIrrlrrnrcrs.rrc lirhlc (lndcr thc itw.



e,

E

-t

TÍp.l

Trp.3

I FHn.

Trb.

Tuba

F Hn.

f



- t,t.. r.. -, r. -. .. t.,. r ..,..r.r rur."rr:;r.;tn ., =.*i;;;i;,Hffi,

6. HALLELUJAH CHORUSfrom Messiah George Frideric Handel

(r685-1759)arranged by Walter Barnesllegro )=96

:nd 3i Trump€l

Hom in F

Trombonc

Trp.l

f2

F Hn.

Trb.

Tuba

,-*

E

Trp.l

F Hn.

'l Ctrpvrighr 1988 Dr. Brass (BMIt, Torrrnro

tlnaurh,,rizctl c.p,inv,.irran(ins. ,ilË!ïll',lrï'"tïrrt;iliÍ nXrï,?;i.',".",\ ln rnr.nreÍrlcnr ()Í.i)p!rrrhrIntfln-[cr\.lre ltJhle undcr rhc lrw



Trp.l

trc./

FHn

Í

,,@ ea"gio Maestoso



@ Tempo PrimoTrp.l

Trp i

F Hn.

Trb.

Tuba

bars 58 - ó9 íf ruccssary



| .'i,: :à!:r ?i::.;'

27

E

ïrp.l

'if-

r nn.

Tuba



Trp.t

F Hn.

Trb.

Tuba

Trp.l

n**-{íp.2

lm.

Tuba

F Hn.

I-Íb.

Tuba

F Hn.

Trb.

Tuba

P

Slow



My Heart, Ever FaithfulandContrapunctus I from The Art of the FugueJOHANN SEBASTIAN BACH(168s-us0)

We have selected two works oÍ Bach that represent the wide range oÍ this composer's brilliant talent. My HEART EVERFAITHFUL is an aria Íor soprano and continuo Írom the Whitsunday (Pentecost) Cantata No. 68. The French Horn,Trombore, and Tuba prwide the accompaniment Íor the two trumpbtà, who toss their phrases back and Íorth to eachother. This is a deiighíul, light aria that sings oÍ unrestrained joy.

The Aft of the Fugue was written at the end oÍ Bach's life. The complete work is a thorough study oÍ all the contrapuntaltechniques that can be applied to fugal writing. Each died before completing the last (fourteenth) Íugue. The Íirst Íugueis a simple Íugue, a single subject íollowed by its answer. Since this is

"u"h-"monumental work, we wanted to include

the íirst, most straight'Íonivard Íugue Íor you in this collection. We have recorded the complete An of the Fugue on theCBS recording lóel' We hope that you will listen to the entire work, especially after conquering lhis íugue y-ourselÍ.

Trumpets I and ll:

The aria MY HEART EVER FA\THF|JL is a study in antrasting performance styles. The continuo (French Horn,Trombone and Tuba) is buncy, light and detachd. on the other iand, the two Trumpets are peíorming the legato voca!line, and should therefore be smooth and singing. Pass your lines back and íotth, taiing cará to 'nana ótr youitine to thenext. Since the two Trumpets are doubled at the end of aach phrase, be very carefuíwith the tuníng. When the pircechanges style brieíly at bars 37-40, do not beame overly heavy. The originat phrase ancludes the piece, giving it awondertul sense of completion.

Ron and FredHorn:

The French Horn has two rcles to play in MY HEART EVER FATTHFUL ln bars 1-4, 13-í6, and 25-28, the Horn is the soloist,presenting the main theme. For the rest ol the píece, the Horn beqmes part of the antinuo with the Trombne and Tuba. Matchtheir style with detached' bright and quiet accompaniment notes. So we'are back to basics. There are only two ways to peiorm:either soloistically, or in a supporting role.

David

Trombone:

MY HEART ÊVEB FAITHF|JL has some very diííícult bars for the Trombone (that is why I used a Euphonium íor your recording).Seriously, though, it is a very good idea for Trombonists to learn the Euphonium, and iice-versa Each strenghthens your ahitítyon the other' To prepare for this piece, begin by practicing an F scate. Then direct your practíce to the fottowing bars: 4, g, 12,16' 20, 24, 28, 32' 37 and 40. Six oí those bars are simpfi tne scale, and five are variatÍons. Slow-slow practice wil getyou overthe obstacles. Good luck!

Tuba:

MY HEABT EVER FAITHFUL gives us an excellent opportunity for bight, detached playing. Again, it is a matterof maintainingthe rhythm and tonality lor the group' There ís a run at bar 36 that witl ;robably take iome áxtra-slow praclbe. Bring out bars 37-40 along with the Horn and Trombone. This is a wonderlul piece of music tor a characteristic round, bouncy Tuba sound.

Chuck



.-.... ;r..a;;rs--;: ,.-,+r.r.,..-;,. ;;.;z: c: ; ;.. ; ; ,.. , ; r . m ,

? t7 7. MY I{EART, EVER FAITHFIILfrom Cantata No. ó8

J.S. Bach0685-1750)

arranged by tilalter Barnes

lst Br Trumncr

lno lJ> Trunrr

l.{om n I:

Trombone

Tuba

Hn.

r'Coprrirht 1988 Dr. Brass tBivllt. Toronto\ll rr:.:ht: rc:erved. Prrntcd in U.S...\.

t-nruthortzcd eoPln-s. Jrrrnrrng. ,rilïJ]i;:ï:,.1:1,ïï;i:tï?l:;1;ï1:]ï,""..

i\ rn inrrin{cn}enr ,,r e{,p\rishr



: .i. ri ..,: :_.at 3 ii-:

QIUI

Trp.l

Trp.?

F Hn.

Tó.

Tuba

F Hn.

iD.

Tuba

F Hn.



:,, . .- , -u*àj.;;,,-:.

CONTRAPUNCTUS | (írom The Art of the Fugue) is perhaps the most diÍficult selection in

the book. The range is comíortable, the phrases are not too long íor proper breathing, andthe melodic shape is ah',rays clear. But there ís always a danger oÍ mis+ountíng the rests.Consider the Íugue to be an endless string oÍ notes passed Írom one instrument to the next.In this way, CONTRAPUNCUS I is a typical íugue transcribed for Íive brass instruments, sonot all the voices are sounding at the same time. ThereÍore, someone is always waiting tore-enter. While discussing the techniques used in playing Íugues, we realized that the sarnepoints were equally ímportant Íor each performer.

Fred: LisÍen for the @ntinuation of other people's lines, and try to come in smoothly andconfidently.'

Ron: 'Make sure you know when you pick up someone else's line, and do so without ahitch.'

Davld: 'Listen to the tape that we have made for you, and try to learn all the other partsof the music.'

Gene: 'This is one piece in which you have to stay very alert. Listen for the continuationof other people's lines.'

Chuck: 'Take frequent deep breaths, play long full phrases, and tisten to the tape with thisbook.'



"-,*;;ii-;ï;.+;ïi.rÈo;,a'i;+,,éÈ{#È.g#;;6;ï6[uqffid&

J.S. Bach0685-1750)

arranged by Walter Barnes

8. CONTRAPUNCTUS Iïrom The Art of the Fugue

ls( 8i TrumDc(

li:c Ur Tr;nx:

nom tn F

Trombonc

Tuba

F Hn.

TÈ.

Iuba

,Y'-

Hn.

--..

) Copvrir:hr 1988 Dr. Brass rBMJl. ToronroAll rri:hrs rcserrrd. Prinrcd in U.S.A.,'Ur,lll:::.i:.,,:Ji1i,rr nuhlrc perlirrmrnec r\ Jn Inlnn!cmen{ í)r !()p\runlInrnnrfr\ Jrc ltJhle under thc lrw

(. nruthorrzcd eopving. rrrrnrinq



F Hn.

i'--'-- ; \\--lq:---



F Hn.

ïrb.

U tdim. ,---'---7

ryP

U -'-/-= ï i= i

ó,-__J' J

uJtm.

mP?

A--1..-...%I

dim. nf

mf



Trp.t

Trp.2

,FHN,

F Hn.

F Hn.

-.-+



Andant€ from the Trumpet ConcertoI.'RANZ JOSEPH HAYDN( 1732.1809)

Haydn wrote 3 í concsrtos during his prolific career, with Éro 'Trumpet concerto' (.l796)

being fre only one trat is still regularly perÍormed. TheNDANTE is the gende, melodÈ second morrem"nt b.nr""n two very exciting and rechnically demanding mo\€ments.

The last yeqr oÍ Johann s€?lstial Bach's tiÍe is generally accepted as he end oÍ the.Baroque perird. In fre ctassical era that followed, íorm,trucrurê and svmmefical shape became ajl-imporanr Íhis can te ouse.vJ creJy.in orrt"r"Àln-oy ii;i;:'ï" have changed tre key andimpliÍiodthemelodiclineoíth€concenomo\€menttor.you. But,inoune"orJin!ófni.O*Klont,",Jeao.r"othesotorrump€tpaítinirsoriginal embellished íorm You might also want to lisbn ró the complete recoroinf Ëine Hay&r ïnrnpet concerto- so that you can understandhe relationship of the 2nd mo\€ment to the othêr two.

Trumpet l:

As aheady stated, I betiave that you shoutd hear the wiginal sotoTrumpet part, so that is what I hàto recorded li you. iowever, !suggest hat you start .with this simpler tprsion, iuking gradua;tty

\..towardthe oiginal ANDANTE

as Haydn wrote iL' Conceive.ol ywr soto tine with tong, smooth singing phrases, and witha smpt,ctty ot style that leaws any technical pro*ems fuhind. Tuneyour low D's and P'scarefully, breáthe onty on'rests (with heexceptionoí bars. l&16, Zl-24, and 374e, obsárve rhe dynnic

^arkirgscrupulously, and, most importantiy, ptay the solo *eafifuilyl

Trombone:

It is imponail lor the bur lower instuments who are príorming theorchestral' accornpaniment to keep the hyfimic pulse smooth andsteady. The aeompanying eighth notes shoutd maich the eighth notes

n the melody. Behearse the aeompanying instruments alona withoutthe lst Trumpel stiving íu tota! coordina-tion and @opêration.

I haw suggested, again, drr,t you príorm thís ANDANTE using a Eu-phonium.

Tngering i, niy not a problem ; yw will naed an even greaterquantity ol air, but hat is aily going to hetp your tntnbone playing.Besi&s, thetone oí theeuphónlum,bing aóniat instument saemsto me to be better suiBd to this tansdiption. you are enauraged toproduca a singing sound íx those seclions where you have the ieldy:n"??ll,barc t-8, t7-te, 2S-8, and 4142. Cenember to príoims,oloistically, listening very carefutty when doubling tha I st Trumpet intlle last 2 bars. Tha íinal adence shoutd be very disciplined with agentle rallentanh.

Gene

Tuba:

It is impanail for the íour lowet insïuments who are petíorming the'orchestral'aeompaniment to keep the rhythmic pulie smxth andllejdV le.aryrnpaning eíghth notes shoutd maich tha eighth notesn the melody. Rehearse the accompanying instruments alone withoulthe lst Trumpet, striving f* totat cóord'inaíion and cooperalon.

There are.also some spcifrc difficutfes in this composition whictl mustbe considered. For example, the tow B's in bars 3, 1 1 , and &5 wilt alwavsoe,very.shary @n-a BP wba) unless you can pull a tuning slide or havea.lourth valve. Maka sure yau ptay bars 22 and 2g-á2 with a rich.stngng sound. Then, fu areful of your octave jump in measure 32_tansfer the rich sound down as you make the' jump; increase the airílow, and listen to the pitch- As atways, keep promoiing foruard motjonin the rhythm.

Ron

Trumpet lÍ:

It is impoftant for the íour lower instrumants who are piorming the'orchestral'aeonpaniment to keep tt,E rhythmic puÉe smooth and

l!Í1y:!!".to:rypanyingeQhth notes shóutd maich

dte t$shth notestn ne metody. Rehearse the aeompa nyinginstrunents alone withoutthe l st trumpet, striving for total coordinatián ad coqeratjon.

Be aware that you have the metody in bars g-Sá and 47_SO. Thesemeasutes shourd be prayed with the sane w.tf m tone and in rhe sarnesryte as the I st frumpeL Low D,s (you have mary!) and Eb.s must betuned with your tuning slide(s). The D's aN C#,s in ba/s SOgt nust bew_e.trsupponed wtth air, or they wiil tend to be fraL rt is sometrmes morediflicult to play a musicatty supponing role than " roto,ot".

Fred

Horn:

It is impoftant for tho four tower instruments who are prforming the'orchestral' accompaniment to keep tha rhythmic pulse smooth and?lr.1dy: T"..o:mpanying eighth notes shóud maích dte eqntn notestn the melody. Rehearse the accompanying instrumens alone withoutthe I st Trumpet, striving lor total coordinaíion and aoperation.

!^":.::: :!t" ::,verat hagments oí metody or counter_metody tor theno:1^t!a:-sh2u

td be brought to he fore : namely, bars 4, I 1 - I à, 1g- 24,

and 35-36. These bars must be played soloistiáry. lLtíougn it seemsunnecessary, I have marked an optional breath-in bar 20j since youmust play strongly and llowingly from there to ths rest in bat 23.

Chuck



lst Bi Trumpct

irc !ir rrumprl

Hr>m rn i:

Tionbone

Tuba

Trp,2

FHn

Tó.

Tuba

Trp.2

F tln.

Trb.

Tuba

F Hn.

TÈ,

ïuba

l

from the Trumpet Concerto9. ANDANTE

Franz Joseph Haydrn732-1E09

arrangd by trValter Barner

tuP

-

t Copvriqht l9E8 Dr. Brass iBlVÍl). TorontoAll righrs resened. Prrnrcd in U.S.A.

Unauthorrzcd copy-inu.

qF.rï-$ ::.-:: r.ii

urrrnr:rng, rdJ.pttng. recordinq.or public perlirrmance is an infrrngemenr ol er)pvriuht.Inlrinrers are liable under ihc law



Ë;rL3

F Hn.



Cor RoyalPHILTPP NICOLAI (1556.1608)

PETER CORNELIUS (1824.1874)COR ROYAL (the Royal Horn) is an unusualcompositíon in that it was co-written by composers livingsome 300 years apart. This new transcription Íor brass gives it yet another liÍe. The "Chorale" byNicolai (the Westphalian composer oÍ the Íanpus "Wachet auÍ") was written and harmonized as aÍour voice piece in 1599 to celebrate the Three Wise Men's historic journey to lsraelto see the Christchild. The obbligato to the "Chorale" was written by Peter Cornel[us 270 years later. Cornelius, astudent and admirer oÍ Ríchard Wagner, was well-known in his own time as a composer oÍ beautifulmelodies.

Trumpets I and ll, Trombone, Tuba:

At the beginning of the piece, the Trumpets andTrombone present the chorale melody in unison. Thesecond verse turns to the harmony oí Nicolaiwhen the tuba joins the others. The third verse is quitediff erent: harmony in the four brass encircles the obbligato slo, with a syncopated ending in bars 25-26. The four of you are playing a supporting role throughout this piece, and must never overpowelthe solo French Horn. Rehearse the arcompaniment alane, without the solo Horn part. Once again,you are tryíng to achieve unanimity of style. This piece especially presents a realchallenge to theTrumpets; seldom do they play a suppofting role for an entire mmposition.

Fred, Ron, Gene & Chuck

Horn:

COR ROYAL is one of the most simpl,e, but beautifut French Horn solos in the entire brass quintet repenohe. Thiswork was originally written for the voièe, and should therefore be ptayed in a vocal manner. You willlind that musicoriginally conceived as vocal music atmost atwaysíitsthe brass instrument perfectty. The length of phrasesto be sunghave the same air requirements that you have on the horn. Experiment ptaying this solo white standing, making su rethat your right hand is still properly psitioned in the betl. Shape each phrase with dynamics and take time at thecadences; consider them almost'grand pauses' for dramatic effect. tn order to keep your quintet happy, tearn thisselection well before the five of you attempt to ptay it together.

Listen carefulty to our recording of this setection;church acoustics hetped to achieve a verydramatic eff ect. tf you havea cnance to perform this selection in a good acoustical building, such as a church or synagogue, project to the faÍthestwall and the tallest arches. Build drama. This simple melody, with its even simpler accompaniment, can be the mostdramatic

and best receivedpiece

for Horn. Good tuck.

David



IO. COR ROYALchorate by philipp Nicolai (1556-160g)

obbtigato metody bi peteióornàii* tiaii-ïËï+rarranged by \{atter Barnes

I st Br Trumprt

l;;; íi. ir:nra.t

: i(rm In F

Trombone

fubr

F Hn.

Trb.

Tuba

Copvrighr l9lilJ Dr. Brass I Bivíl r. Toronlo.-\ll rights rcscrved. Printcd in U.S.A.

Jdrpt.lng. rccordrng.or puhlic pcrl,rrmrn!c t\ Jn rnlnn!L-ntcnI ol copvrrghtInlrinlcrr lre liahlu und!.r rhr lf,s

I nrulhortZCd !()p\ Ing. JarJn-!rng



)

Hn.

Hn,

tup

6At-'l



'Á -:'iSa:*"sÉiiá_n'

Sakura & KimigayoTraditional Japanese

The Canadian Brass has made many lours lo the íar East, even períorming our music on the Íamouschinawall! ltisinJapan,though,thatweíeelmostathome. weiravemetmanyÍinemusÍciansthere,and have had the opportunity to sample a great dealoÍ Japanese traditional music. What seemsunique to us about Japanese culture is the blending of so-called western music with locattraditionalmusic' lt is not unusual to fínd modern music being ptayed on traditional Ínstruments, and conversely,traditíonal music being played on modem instruments. lt is with the laner in mind that we haveincluded two songs in this book which are very wellknown by ail Japanese. KIMIGAyO is the "prayerto the Emperor," and SAKURA is the Íamous iolk song, "Chárry atóssoms." KtMlcAyo is to be usedmuch as we would use the American or Canadian National Anthem, while SAKURA ís excenentprogram materialto be used in any perÍormances that you gíve.

These two Japanese songs will give you wonderful oppoftunities to investigate what we consider tobe our main, basic performance points for brass players.

L A!4.SlLry@f: Tht^s i9 the key element in atl brass playing. When you get a chance, refer to ourBooK.OF BEGINNINQ oUtNTETi (the Green book) in wnicln tne rirst two pages tatk of airsupprt.lo'.".|t^!!Pt playing,

.targe breaths'and frequent breaths are essentiat for good tone and tuning.2' LISTENING: we have tatked about listening throughout this book. we urge constant, carefulIistening to your fettow ptayers for dynamics, btánd, tuiing, temw. putse, and doubtings.3' TIMING: Timingof notesandiests,especlattythenígero,nes'. Timingof entriesandbrcaths,so that you are at one with your other ensemble players. íiming of thoughts and rehearsat needs,so that you are not at odds with your feilow ptayers.4' ToNE: Your tone is your'musicalfingerprini';onty you possess that sound, onty you can improveít,andonlyyoucanproiectthattonetoyouraudience.- Praciiceinfrontof amirrorwhereyoucanwatchyourself breathing. Also, find an extremely reverberant room in which to practice from time to time(such as a concert hall, gymnasium, churcít, or even targe

bathroom) so thatyou can enjoy the realyarge sound you can make.

? TlN!l!9: tn every text in this book, we ha.ve tatked about tuning. you might have the greatesttone' but the moment you b99in lerforming with another musician,'tet atone four others, intonationbecomes most important. Gáod tntonatioÁ.or tuning is onty possíble when you are using good g!1support and carefully listeninQ to your colteagues.

we want you to be the best you can, and these five points witt surery herp.

Canadlan Brass



11. SAKURA(Cherr-v Blossoms) traditional Japanese


Isr Bb Itumfrr

ln I

<__-_:=-

ryp

tr

.----nnlt-"1

'-- C()plflght I()tJli I)r. ÍJrass rBNllt. T()Í()nl()\ll rruhts rcserr.cd. prrnred rn t,,.S...\.

Jrr;rn\:rnr."J,ill,::: l:.,'lding,or pub.lic perl()rnrrncc r\ rn rnrrrnrenrcnr or e()pvflrhrIntrintdÍ\ rÍe ItJhl('undcr lhc l.rrr

[,inauthorizctl e op_l int



ïrp.l

r: !l::.

Trb.

Tuba

Trp.l

l rp.i

r nn.

Im.

Tuba

-€iel

F Hn.

F Hn.

Tó,

Tuba



KIIVTIGAYO(Prayer to the Emperor) traditional Japanese

arranged by lValter Barnes

Í.1

{-tI'l=oo

Trumoer

lJr irnrcct

in F

mP

T;t 1lr*"1

t C,rplright l98ii Dr. Brlss tBiUIt. Toronlrt,\ll rrghts rc\cr\cd. Printcd rn U.S.'\

[-lilf,uth()nle(l copvrnL]. Jrrrnuinr. rdlptrnt. rccrrrdinr ')r publrc pertirrmrnce l\ Jn rnlnngcmcnt ()l coP]rlghlInlrrnrcrr,rrc lrrblc undcr the lr*



Farandole from L'Arlesiennà Suit. No. 2

and

Toreador Song from Carmen

GEORGES BTZET(1838-1875)

French composer Bizet is particularly remembered today Íor two malor works : LArlesienne suite andfre opera carmen. we have óosen rheostfamoussslectionhomeachotdesemasterpiecesÉryourqlíntet. BothworkswerewnttennoaÍthêendof BizefsllÍeandfeaturethewarmthnd feeling oí soutrem Europe. They are examples oí 'vísual''musi" ro, Ér"ri qulniet, and represent the Rornantc period weg.

Trumpet l:FARANDOLE has two main themes: tha first is your melody (in themnor

.key) at the beginning, aN the second is the-French Hom,i at Oart /. r ne ilrst thema should have a heavy effect. Don,t ailow he donedt!Vthnl.(3:1 ftio) to slip into triptets (i:1 raie. At bar t7 you are in asupporting role. ln bars 2ê.33 and aà<9, yori proviae a bend.,tn theorchestal version, which l_hope you will hear; the violins play agliss.ando.' .by sliding their frngar ip the sting. 'yii wu be able toproduce this eífect by quickly ptaying the tvw ór three notes betow thewnnen note. If you use a piccolo Trumpet íor this piece, so much thebeíer. Bars 5742 must bd in the form óf a.dblogub,b,etween Wu andthe other Trumpet. Frorn 65 to the ena, *eep Xe íny*i iteaay, with noitard'

Fred

TOREADOR SONG íeatures the Tronbonist in your group; you arein a suppming role. The Trumpet part shoutd be ptaíac, shon andstaccato with a prcussive effect, but &nl tat it gàt óverpowering.Isolate aN gaclce bar 4l which features a scati run. This runbrings you, at last, into the the metody for íour b,ars, fottowed by acounter-melody with the Trombone solo: b caraíul not ro ornr-po:v:r,the solo. Play ight to t e end oí the piece withour a ibrd fqadded excitement-

Ron

Horn:

The FARANDOLE &mands a feat oÍ eÁunn@ írom rhe Franch Homplayer! But 1le nore you ptay the pixe, the grcater will b yo,irendurance. You are in a swng supponing rae-tar Ue first t6 6ars,changing

.to he melody around whid evryone else piwts. The lowerbrass re-intoduq the frrst metody-rcw in a nalor key_at bar 94.

Ngtice y.gur dynantic change: it should sound stong buíindepaiaenii,almost like arm wrestling futween two metched opp;nents. At furs 59_64, y::r e!.ter l djatggue with. two ot your triends': tha styte oí ptayingmust be identical- Finish with a llouríshl

The TOREADOF SONG is tha oppsite ot FARANDOLE. Thrwghoulyou,are in a supporting rcte. The shofl rctes shoutd be vety stacêatoand percussive- lsolate and pnaice he run at bar 4t. eay anenlioito the slurs at bars SgS4; tl1€y should be sinitarly ptayea Ay everyone.Bar ffi.is g.ryat fo.r us Hom players: good range,'gàoa not"s, anc, g@da@ents. Have fun.

Davld

Trombone:

Trumpet II:

The FARANDOLE is fuil ol opodunities lor charactedstic Trornboneplaying The.openingtheme shoutd b massive, yet bright. At bar 34,we pres1nt the opening nelolV, but in a major key. This melody |ies

vety well for our instrumenL The staeato noies trón bar s7 to the endshould be bright-sounding, without hminaing the quintet.

Fínally, we have a BIG solo in the TOREADOR SONG. In the opera,the Toreador is romancing the very beautjtul Carmen: we want toponray an energic and irile suitor. gegin with a bright and inspirings-711!,,then easeoff slightty at bars 28_E so that at O-ar SO ftne cÁangáot t<ey) you can play with a warmer (yet still itail) sound. But neiertotg€t that you are also a buil lighter _ the TOREADOR!

The FARANDOLE opens with a very ltong theme in g minor (whichreturns later in the low instruments in G najoi). RemeÀÈer a oasrc rule:in order to balance, the lower Trunpet muit play a tittà nuaer. That ruteholds true in barst-|7. From there to bar ás, yoi Àiií peaorn win av3ry clean, bright unobtrusive sound, or you wiil aver the French Hom.At bar 33, y?u join the Hom on the ;e@nd n"tàljin but &n,toverpower. The two instumen.ts must merg€ into one, creatrng a newtnsttument, a new sound, This is diíficult, so the two of yoi shoutdspend time prlclcing without the rast of íhe qriit"iío rcach stytistic

:!::.7::i: _l! Y, s, y:.u enter a diatosue with the first uumpetresutung n a similat need íor agreement. play right to the end ol theptece without a iltard for ad&d excitement. éoid!

Ron

ln almost the entire TOREAD_OR SONG you are in a supprtng rote_very unusualfor the sxond Trumpet in this bok. The aeompanimentíor the Trombone shoutd be very bright and peicusiiÁ,-àt notbua. geaware ol the doubling at 9. At Bar 19, you have four bais ol solo playing;bnng this out. Bars 2g and

.29 offei a challenge in tuníg because oíthe low D: enend your third v-alve tuning stidà. ne ii i, bar 4t witlneed practice to make it second_nature.

-Becareful with the sturs n 53_54; the entire grcup must sound like one player.

Genc

Tuba:

The frrst 8 bars ol the FARANDALE shoutd be massiva _ and that,s folus.: we're Tuba players! At bar 17, we are responsible íor the dtangeof temp.; move it up a notch. Keep the foilàwing thirty_two'F's váryshort, bright, and in tune. At bar 94, ia (wih ke to-nboíe re-intrducethe Íirct mebdy (now in the meor key).'Bar 57: 'gB,mean's,Big Breath,,use plenty of air. Watclt the tuning ol the founhs in hzrs 65-67; he ,C,

i: liall: to be sharp ií carelessly píayed. There is a big qesendo kombar 65 to the end, so make sure you and your quinta engineet it weil.

The TOREADAB.rc/VG is an exercise in acampaniment_the sup-pofting role. Keep all your notes shor1, bright, and peranssiw. Listenagatn to our recording for a suggested approach. lsolate the run at 4í,an d p racti ce i t ( s lowly ! un ttl i t b eco me s s econd- n afixe. N o n tard at th eend-suaight ahead!

Chuck

" ."'

Fred



12, FARANDOLEfrom L Arlesienne Suite No. 2

I:dlnDct

Trumpcr

in F

) C()p\riilhr 1988 Dr Brass rBMIt. Toronro

1.'|nau{h.rrzcd cl,p'n-'. Jrrrn,,:,n!:. ,.ii:ï!ii!l:;:ïil;,,ïli:l;l,H,l;),." ,\ ln ,nr,,nL,cn,cnr or c{)pv.ghrInlrrntcr\.rrc lr:rhie unJcr thc lrw



51

Picc. ifavailable

Hn.



Trp.l

F Hn.

Tó.

fubr

Trp.2

F HrL

Trb.

Tuba

l rp.l

F Hn.

r rO.

Tuba

F- Hn.

TÈ.

Tuba

tr

Éil



s r-: ;;i.Li.:ii.:,:,i;i;ii?:áir-,;.i-,..-.,-...jr.",-.i..r".".-_..,.,..:.,=,.,r-; r..;.;.;.,;;,*+li?-;!:,h.d:

13. TOREADOR SONGfrom Carmen Georges Bizet

(183&1875iarranged by Walter Barnes

lsl Br Trurnpet

Jnd I3r Trumpcr

HomnF

Tromircnc

Tuba

t't't t t

r nn.

Tó.

Tuba

F HÍL

Trb.

Tuba

Tmr

F Hn.

l:b

Tuba

) Copvrrrht l98ti Dr. Brass r BMÍi. Toronttr.\ll rr!hts rcserrcd. Prrntcd in Ll.S.A..rtl;rpt,rrr-r.:. rcfoÍdtn!,,,r puh.lic perlilrmancc is rn inlnnrcntcnt ol e opvrrthl

rntÍtn{ur\ JrC ltirnlC UnJCf lht lJ*

tempo

a tempo



*ti

4'i.!Ii]



Trp.l

F'Hn.

Trb.

Tuba

F Hn.

Tó.

Tuba

F Hn.

Trb.

Iuba

Trp.I

F lln.

frb.

Tuba

F-'-- -w



Hava NagilaTRADITIONAL ISRAELI

HAVA NAGILA was originally a wordless Chassidic metody dating Írom the end oÍ thenineteenth century. chassidics were extremely orthodox póti"n J&s. This song is mostclosely associated with the new state of lsrael, as well as the natio;at dance oí lsrael, theHora.

Everyone in the quintet gets a share of the metody in this arrangement, and everyone ptays

a suppofting role as well. The arcompaniment must be bright aÁa sno,t. rne scoring in oárs41 through 53 is extremely effeaive if everyone neticutoJsty obserues their entries. Thereis an excettent ruba aunter-metody with the first rru^ieí íógíiiigin o^, s7: this same baristhestaftof afastertemp. tf onàof yourTrumpetplayerscanibtainapiccotoTrumpet,then the excitement oí the dance witlbe even greater in bar 6s. The ending is ny;st effectiveif you rehearse a stight acceterando, but yoi must stay together as ane voice. Enjoyl

Canadlan Brass



14. HAVA NAGILA 57

traditional Israeliaranged by Walter Barn€s

lst Bi Trumpcr

!lom rn F

Trombonc

Tuba

'n Un.

Tó.

Tuba

''Y.-

FHn

*rb

TLoa

I Copl"right l9t{13 Dr. Brass ÍBNlÍr. Torontrr

{ nuurh..zcd il}p'n!. .rrrangin!. .li,;ïi::::;::;!',,,.ïJï1ïlii,Ï,f*"." i\ f,n ,nrrin!e mcnr (,Í Lop\.!nlÍnlrintlcn rrrc lirhlc undcr thc lrw



@

eË.4.rsr:!tt:ii%-àff8@ '



)

Just a Closer Walkarranged by DON GILLIS

This anangementwaswÍitten specificallyÍorus to use at the beginning oÍourperformances.Either listen to our recording Canadian Biass LIVE;orbetterstill, watch ourvideo oÍ the samename.

InJUST ACL?SER WALK ard in AMAZING GRACE, knowing abit aboutthe stytistic historycan be helpful to ensure an apprcpiate performance. In tiági oísavery in the southernUnited States, death to the btack person meant freedom. Death altowed a stave to,cross theRiver Jordan in the sweet chariot, to meet God and.lesus., óuring the long funeratprocessionoutof town (sincebtackswere notallowed buriatwithintiecitltinitslrriinas ntigand played hymns. Foru.ariety, these hymns we-re played with inylrovised accompaniment.ln .this way jazz aN dixierand were-furn.

coisequentty,

ir-ti,prrrrntation

of11;th

selections, you should feel.aíreedom of rhythm in yoir peío*iit. mis time the dottedeighth/sixteenth note combination needs to oe ptayea tixe a triptel-iz:t ratio). The metodymustalwaysbeintheforegroundandtheaccompanimentsupprtive.Stightbendsareaniceeffect in this musicfor att instruments, and can'be appriera tíïiró *trt to make them moreconspicuous. After you have mastered Jusr A cLosER wàk, ry phying it white youmarclr-two steps to each bar. This wilt certainty aid the rhythm, aÀa coutd even seye asan

.e.ntrancepiece for you.r ?y!l cglcerts. (A tonger versioá or.l'usr e cLosER uALK ispublished in our red 1ANAD|AN BRÁss ENSEM:BLESER/Ea iàies-avaitaote from yourmusic dealer.)

The Canadtan Brass



o..'';iir*'* * ::r r; ;r

:rt il, .rtlrnftt

lnu Llr iruntPcl

r'lom ul F

frombone

Tuba

61

15. JUST A CLOSER WALKtraditional American

arrangd by Don Gillisadapted by Walter Barnes

frP

Trp.l

F Hn.

Trb.

Tuba

F Hn.

).

Tuba

r a<t1-" I

Slow Walk )=66

E

More Jazz

,. Slower

.f J7!'? wP

. Copvright l()t'(tl Dr. Brr\s (BNll). T()Íonl{)\ll riqhrs rc:crved. Prinrctl in [,'.S.A.

I nruthoriucrl copvlng. JrrJn-gtn!, Jdrp(rnr. rccrrrding or pufrlie perlorntancc r\ iln rnlnn!cÍntnt {rl !{)p\Ít!hlInlrrnters rrrc lrrhlt' undcr thr lrq

U



-: A'.1;

4

I

Àmazing Grace - Dixie Stylea la CANADIAN BRASS

Please read tho notês íor the preceding selection JUST A CLOSER WALK. The 'dixie' style is imperabve.

Ïhe history oÍ this song is interesting. An American, John Neir,rton, was a slave trader for twenty years, and a regular hequenter of tavems andbars. But, as liÍe is ever-changing, he was convertêd to Evangelical Christianiry, moved to England, and became a Minister of tfre Gospel inl-iverpool. Hs wrotê the words that ha\€ made this melody Íamous, and which brought it kom the beer halls to the gospel halls, and, back hometo the black funeral Droc€ssions oÍ New Orleansl

Trumpet l:

The second Trumpt has an unaccompanied solo fot he frrst 16 barsof AMAZING GRACE-DIXIE STYLE. You &ter, with the rest oí theQuintet, playing a staighïlotwad version oí the melody. At bar 33, thesecond Trumpet has a g!!4!g rnrsion of the melody, agah unacompa-ned. The Quintet enterc again at baÍ 48 in an up-beat nood. You join

with the other Trumpet at 65, echoed by the French llqn and Trom-bone. All íour ol you must play axactly the same style, lapth oí notes,and tonguing. Bar 71-72 should b the strcngest noE in the entireselection! Try to in@Wrcte bends'in bar 73. Bar 81 is probably themost diífrcuh chord to tune in this entire baok - Beware!

Wa know that you and your quintet will enjoy this sinpliíied version ofLuher Henderson's ítrztngement which we have reanded on ouratbum, BASTN STREET BLUES.

Fred

Horn:

AMAZING GRACE-DIXIE SWLE teatures the 2nd Trumpet, with twounaccompanied solos, one oí which opens the piece. You and the restol the Quintet enter in bar 16. The tiplets, which you play through to3l with the Trombone and the Tuba, must be very clipped, bright, butunobtrusive, so that th€ Wo Tíumpets can be dominant Again,

supportive playing. At bar 66, you aN the Trombone echo the twoTrumpets: atl lour oí you must play in the *me style, length of note andwith the same tonguíng. Bars 69-72 is a duet with the Trombone ; again,identical style must be prcsentad. Bar 8l is probably the nost diflicultchotd to tune in this entire book - Eeware!

We know that you and your Quintet will enjoy this simplified version ofLuther Hen&rson's affangement which we have recorded on ouralbum BASTN STREET BLUES.

Trumpel ll:

AMAZING GRACE-DIXIE STYLE really highlights the 2nd TrumpeLYou have a great deal oí work and fun ahead! There are twounaccompanied solos íor you, so I suggest that you stand lor the peF

íormanca (and you'd batter practice that way as well). Phy the openingsolo in '9LUES' style, as iÍ there were no bar lines, and with feeling.Oon't be aíraid to ad-lib: the notes are only a guife,here. Play this entirepiece SOLOISTICAUY, even though occasionally you are doubled bythe lst Trumpet (bars 6í76). Tha changa ol tempo at bar 33 is veryconsiderable. lt is here that you introduce 'SWING'. lsdate the tipletsin bars 52, 58, 60, and d3; practice them slowly, and don't rush themwhen you are back up to speed. Speaking oí triplets, all the donedeighth-sixteenth pattarns should be played in a 2:l ratio - Dixie style.Bar 81 is probably the most diíficult chord to tune in :óis entire book -eware! Your 'SIow - Ad Lib'at bar 82 could be your frrst realexperience at imprcisaton. The six notes are, again, only a guide.

We knaw that you and your Quintet will enjoy this simpliíied version olLuthet Hendersan's affangement which we have racorded on ouralbun, BASIN STREET BLUES. I sincerely hope thatyou can listen to

it. Good Iuck!

Ron

Trombone:

AMAZING GAACE-DIXlE S|/LE features the 2nd Trumoet. with twounaeompanied solos, one ol which opens the piece. You and the rest

ol the Quintet enter in bar 16. The triplets, which you play through to31 with the French Horn and the Tuba, must be very clipped, bight, butunobtrusive, so that the two trumpets can be dominant. Again,supprtive playing. At bar 66, you and the French Horn echo the twoTrumpets: all four oí you must play in the same style, length of note andwhh the same tonguing. Bars 69-72 is a duet with the French Hom:again, identical style must be presented. &ar 81 is probably the mostdilficult chord to tune in this entire book - Beware!

We know that you and yout Quintet will enjoy this simpliííed version olLuther Henderson's arrangement which we hava recorded on ouralbum BASIN STREET BLUES.

Gene

Tuba:

This selxtion íeatures the 2nd Trumoet in two unaccomoanied solos.one of which opens the piece. You entet with the rest oí the Quintetplaying a tiplet paften that is caffied right through to bat 31. The Tuba,the French Hom and Trombona must ba identical in your timing of thenotes. Get as much swing into your playing as possibla. Starting againat 48, you have quarter-note accompaniment which wiil put the 'Swing'into the piece íor everyone's enjoyment. Play soloistcally! Bar 81 isprobably the most difficult chord to tune in this entirc book - Beware!The descending scale at bat 84 brings AMAZING GRACE-DIXIESIYLE to a íining conclusion.

We know that you and your Ouintet will enjoy this simplified vergon oíLuther Henderson's arrangement which we have recorded on ouratbum. EASIN STREET BLUES.

iI:ti

iI

liiÍIi

.t'rïÊ

**

Chuck



16. AMAZING GRACE

Slow'tllucs' Stalement

traditional Americaarrangd by Luther Henderso

adapted by Walter Barne

l--.

. s: 3r ïc-tnroet

in,r Br In:mpct

I{om in F

l.ombonc

I-uba

F Hn.

Trb.

Tuba

2?7

rdn

) C()pvri{ht IglilJ Dr. Brlss il}\Ílt. Tonrntrr,\ll rilhrs rcrcrrcd. Í)rrnrcd rn t_'S.A.

"U",li,:::.1:.,llJ.rl).u ,)r l)un,lr( I'crti'Ínrf,nir r\ Jn Intr!nrcnrenr ,,1 i,)f\rr:-hÍilrÍfln!cr\.rrc IrJhlc rrrr,icr {lrc l:rrr

Llnauthorizctl e1)p\ Int, JTrtn!rrg



Dixie )=96 r',r.

oa

i;;l'1 il:" " I



@

oc

@

E,al|,-|



.-+ l. TRUMPET VOLUNTARY

lst Bb CORNET/TRUMPET

Jeremiah Clarke(1673'r707)


) =120Maestoso |(.-,

f,tr.

Íf;;tIJJI

o Copyright 1988 Dr. Brass (BMI), Toronto

unauthorized copying, ananginr,".tl,l:*iïiïllt,tJJitf'li:S:*nce is an inrringement oÍ copyrightInfringers are liable under ihe law.



. ar u ,.tÁ,


r

Henry Purcell( 1659-r695)


I ruNnl-T-oderato ) = 84

D Copvricht I986 Dr. Brass ( BMI t, Toronto,qil-riints reserycd. Printed in U.S.A.

Unauthorized copying. ananging. aclaptin'g. recor<!ing or public performance is an infringement of copyright.InfrinÊers are liable undeÍ the las.



nuNgl Moderato



t t] n,'}/,"

Lst Bb CORNET/TRUMPET

3. CANON

(: ) (r )

Johann Pachelbel(16s3-1706)


í1

E

nw

f;l"l

+o Copyright 1988 Dr. Brass (BMI). Toronto

All rishts reserved. Printed in U.S.A.

Unau(horized copying, arranging, udipïG, recording.or public performance is an infringement of copyright.Infrinsers are liable under the law.



4. ROh{DtrAUJean-Joseph Mouret

(ló82-1718)arranged by Walter Barnes

lstBb CORNET/TRUMPET

"';iíifl,: i:g'*?l Hï,liHbIlÁï'Unauthorized copying, arranging, aOaptlq!, recording.or public performance is an infringement ofcopyright.

tnÍnngers are rraDle under tne law.



15

5. LARGOfrom Xerxes

Lst Bb CORNET/TRLJMPETC'eorge Frideric Handel

(1685-1759)

arranged try Walter Barnes

pp

@

nbT-

I

o Copyright 1988 Dr. Brass (BMI), TorontoAll rights reserved. Printed in U.S.A.

Unauthorized copying, arranging, adaptin-g. recording or public performance is an infringement of copyright.Infrinsers are liatrle under the law.



6. HALI-,ll,Ltr JÀ*{ UÈt{JKi; sfram Messiah Georse Frideric Handel- (ló85'1759)

arranged bY Walter Barnes

lstBb CORNET/TRUMPET

Tempo Primo

e Copyright 1988 Dr' Brass.(BMI)' Torontoïír"iËti, ó*-*.1. Printed in u'S'A'

unauthorized copying, arranEing. "áiiiiËïËiáËii!.à.fiuriJ Ërió..ance is an infringement of copvrighr

'*1ïil;;;;ËïËbt"'und"'

in" tu*'



alternàe ryts- bars 58 - 69 if necessary



7. MY HEART, EVERfrom Cantata No.68

1st Bb CORNET/TRUMPETJ.S. Bach

(168s-17s0)arranged by Walter Barnes

Moderato J = 9O


unaurhorized copying, arranging.".1i

iiË:i:::Ïi;1.ï.1it'"': i:H:*nce is an inrringement or copyrighrIntnngers are liable under the law.




8. CONTRAPUNCTUS Ifrom The Art of the Fugue J.S. Bach

(1685-1750)


l

II

I

nw cresc.

@ Copyright 1988 Dr. Brass (BMI), TorontoAll rishts reserved. Printed in U.S.A.

Unauthorized copying, ananging, ada-pt11g, recording.or public performance is an infringement ofcopyright.Infrineers are liable under the law.



9. ANDANTEfrom the Trumpet Concerto

- -zó

Franz Joseph Haydn(u32-1809)st Bb CORNET/TRUMPET

Andante ÀnO


(Solo Trumpet)Euphonium cue)

nry

E

pgpo Copyright 1988 Dr. Brass (BMI), Toronto

All rights reserved. Printed in U.S.A.Unauthorized copying, arranging. adaptl19, recording.or public performance is an infringement of copyright

lnlnngers are liable under the law.



25

10. COR ROYALchorale by Philipp Nicolai (1556-f608)

obbligato melody by Peter Cornelius (1824-1874)arranged by Walter Barnes

lst Bb CORNET/TRIIMPET

@ Copyright 1988 Dr. Brass (BMI), TorontoAll riehts resewed. Printed in U.S.A.

Unauthorized copying. arranging. aOlptlÍlg, recording.or public performance is an inlringemenr o[ copyrighrlnlnnÊers are llaDle unoer tne law-



11. SAKURA(Cherry Blossoms)

zt

traditional Japaneseananged by Walter Barnes

LstBb CORNRT/TRIJMPET

) =8+

Slightly Faster


Unauthorized copying, arranging, adap!nS,recording.or pubJic performance is an infringement ofcopyright.lntrinsers are liable under the law.



KIMIGAYO(Prayer to the Emperor)

'; a'

traditional Japanesearranged by Walter Barnes

T$tBb CORNET/TRT]MPET;:: J=6o

..' i.;

it

" ïfii$|l: l::''""i ïm,sïÍ'liIï:""unaurhorized copying, arranging.

"*f,ïX"fi;ffi:*ï,c"f,:t"ïtt:: #,?i*ccis an infringement of copvright'



12. FARAI\DOLEfrom LArlesienne Suite No. 2

Georges Bizet(1838_187s)

arranged by Walter Barnesst Bb CORNET/TRLJMPET

)=llz

Picc. if availablep

@

cresc. J J

@ Copyright 1988 Dr. Brass (BMI), TorontoAll rishts reserued. Printed in U.S.A.

Unauthorized copying, arranging, adapting, recording or public performance is an infringement of copyright.Infrinsers are liable undeÍ the law.



lst Bb CORNET/TRLIMPET

13. TOREADOR SOI\Gfrom Carmen Georges Bizet

(r838-r87s)arranged by \{alter Barnm

J=eo

v4 il , .tl yt{t > .

o Copyright 1988 Dr. Brass (BMD. Torontoeftïe-ha rcserved Prinred in US.A.

Unauthorized copying. arranging, ada.qrl-g, rccordingor public pcrformance is an infringcment of copyright.Infringers are liable under the law.



lst Bb CORNETiTRUMPET

14. HAVA NAGILA35

traditional Israeliarranged by Walter Barnes

I /:

o Copyright t988 Dr. Ërass (tsMt), Toronto

Unaurhorized copying, arrangint,"áï,ttitJï"t"""'"r** iXrY;t*"." is an infringement of copyright.



t5;. {u*l ll Cloy, (Jo/Lt/

7^l ,?'v.



3916. ANIAZING GRACE

traditional Americanarranged by Luther Henderson

adapted by Walter Barnesst Bb CORNET/TRUMPET

SIow "Blues" Statement

t-.:tlrrlA


Unauthorized copying, amanginr,"áï,Ï:iJï.:ïï"#""J;.t;Ïiï: ;X,Y;:,f;nce is an inrringement or copyright

InlnnÊers are llable under the law.



I. TRUMPET VOLUNTARYJeremiah Clarke

(1673-r707)


2nd Bb CORNET/TRUMPET

) =0o

o Copyright'1988 Dr. Brass (BMI), TorontoAll rights reserved. Printed in U.S.A.

Unauthorized copying, arranging. adaptrng. recording.or public performance is an infringement ofcopyrightInlrinsers are liable under the law.



2. TRUMPET TUNE and AYRE':t

Henry Purcell(16s9-169s)


:nd Bb CORNET/TRUMPET

{-rE

o Copyright 1988 Dr. Brass (BMl), TorontoAII rishts reserved. Printed in U.S.A.

Unauthorized copying, arranging, adaptirig, recording or public performance is an infringement ofcopyright.

Infringers are liable under the law.



IAYREI Andante



3. CANON


Johann Pachelbet(r653_1706)


o Copyright 1988 Dr. Brass (BMI), Toronro

unauthorized copying, arrangir

All nghts reserued Printed in U S A'

't, "tlïïilËllïiïlïï,ïoïtï0.'ï l#t",i"""" is an inrringemenr or copyrighr




4. RONDEAUJean-Joseph Mouret

(l 682-l 738)arranged bY Walter Barnes

Brightly ) = 8+

nw

(l

o Copyrieht 1988 Dr. Brass (BMI), TorontoRÍl'ris:hts reserved. Printed in U.S.A.

Unauthorized copying, ananging, adaptlqB, recording.or public performance is an infringement ofcopyrightInfrinsem are liable under the law.



5. LARGOfrom Xerxes

15

C'eorge Frideric Handel(1ó85-1759)

arranged by Walter Barnesnd Bb CORNET/TRUMPET

-:e llj

^í -ïlo Copyright 1988 Dr. Ërass (BMI), Toronto

All rights reserued. Printed in U.S.A.Unauthorized copying, amanging. adapting, recording.or public performance is an infringement ofcopyright

Inlrinsers are liable under the lau.



-JNd Bb CORNET/TRUMPET

6. HALLELUJAH CHORUSfrom Messiah George Frideric Handel

(1685-1759)arranged by Yf'alter Barnes

Tempo Primo

ïlïïl';ï: i*ï"J ï:ï,JllÍ'li3ï:"..Unaurhorized copying, ananging, ada'tinï, t

"oÀinío.public pcrformance is an infringement of copyright.- fnfriigen are láble under ihe law'



: abernate tpts. bars 58 - 69 ifnccessary

A A Slow



7. MY HEART, EVER FAITHFULfrom Cantata No. 68

19

J'S' Bach(r685-r750)



@ Copyright 1988 Dr. Brass (BMI), Toronto

unaurhorized copying, amanging, ,êï,ïitrï:"::':i1""';,tJlïït il"Y;?,f;nce is an inrringement or copyrightlnrnngers

are tlaDle under the law.



8. CONTRAPUNCTUS Ifrom The Art of the Fugue


J.S. Bach068s-17s0

arranged by Walter Barner

J

I

o Copyright 1988 Dr.irass (BMI), TorontoAll rishts reserved. Printed in U.S.A.

Unauthorized copying, arranging, adapting, recording or public performance is an infringement of copyright.lnfringers are liable under the law.

\-/





23

Franz Joseph Ha.ydn

__(1732-1909)

arranged by Watter BarnesAndante )=so

ppo C^oByright 1988 Dr. Brass (BMI), Toronro

unauthorizedcopying,ananginr."fi,ilt_1..::',"J1"?".t;ïilf; :inu.S.A.

lntnngers are liable'undei

performance is an infringement ofcopyright

-

pE



25

IO. COR ROYALchorale by Philipp Nicolai (1556-1608)

obbfigato melody by Peter Cornelius (1824-1874)arranged by Walter Barnes


F-ry

o Copyright 1988 Dr. Brass (BMl). Toronlo

u n a u r hori zed copy i n g. a rra n g i n g., áï,ïlï ï.:""':Ji"ï ;,tJ ïilf; :i n u s'A'

rnrrngers are liable ,"0.; f,r"J,?t#""ceis an infringement of copyright'



z/11. SAKURA

(Cherry Blossoms) traditional Japanesearranged try Walter Barnes


J =s+

o Q6pyrisht 1988 Dr. Brass (BM[), Torontonil-riÀhts reserved. Printed in U.S.A.

Unauthorized copying, arranging. adaptirig, recording or public performance is an infringement ofcopyrightInfringers are liable under the law.



znd Bb CORNET/TRUMPET

J=oo



o Copyright 1988 Dr. Brass (BMI), TorontoAll riehts reserved. Printed in U.S.A.

Unauthorized copying, arranging, ada,ptl1g, recording.o-r public performance is an infringement ofcopyrightInlrinsers are liable under the law.



I2. FARANDOLEfrom LArlesienne Suite No.2

2.sb coRNET/TRUMPET

Georges Bizet(r838-r87s)


t,,^a= Llz

@ Copyright 1988 Dr. Brass (BMI), TorontoAll riehts reserved. Printed in U.S.A.

Unauthorized copying, arranging, adapting, recording or public performance is an infringement of copyright.

Infrinsers are liable under the law.



'Jl





(r838_187s)arranged by Walter Barnes

;t.l----- a

í? =--

o Copyrighr 1988 Dr. Brass {BMI), Toronto

unauthorized copying, arrangirAll ngnts reserved Printed in U'S'A'

"' '"1ïïilfi!iïiïlïï,loï:ïïoo':: performance is an infringement of copyright



T4. HAVA NAGILAtraditional Israeli



| -^a=lz

o Copyright 1988 Dr. Brass tBMlt. TorontoAll riehts reserved. Printed in U.S.A.

Unauthorizcd copying. arranging. ada,ptin-g, recording.or public pcrformance is an infringement of copyÍight

lnfrincers are liable under the law.



ót


arranged by Don Gillisadapted by Walter Barnes


Slow Walk J =66

More Jazz Style

Slower

o Copyright 1988 Dr. Brass (BMI), TorontoAll rights reserued. Printed in U.S.A..

unauthorized copving' arranging'"o',0"ti,1fi;ï:""1ïï,ïf,:t"ïta':: ln'J',""'f """

is an infringement or copvright'



2nd Bb CORNETiTRUMPET

16. ANIAZTNG GRACE

A Dixie ) = 96 ad lib.

39


adapted by Walter Barnes

l-r773-1

Slow "Blues" Statement J = 6O


unauthorized copying, arranginr,

"áïJl:Jï.:""'.il?q.tJlii,ïiË.ï:*;""" is an inrringement or copyrishr

lnrnngers are IlaDle under the law.



1. TRUMPET VOLUNTARYJeremiah Clarke

(L673-L707)arranged try Walter Barnes

F HORN

Maestoso ) =QO

o Copyrisht 1988 Dr. Brass (BMI). TorontoAil-riÀhts reserved. Printed in U.S.A.

Unauthorized copying, arranging. aaa-pt1l"g, recording,or public performance is an infringement of copyright

lnfrinpers are lrable under the law.



2. TRUMPET TUNE and AYREHenry Purcell

(1659-169s)arranged by rvValter Barnes

HORN

-;;flol


Unauthorized copying, arranging, adaptin-g. recording or public performance is an infringement ofcopyrightInfrinpers are Iiable under the law.



lAYREI4n42n1s

Í@

o Copyriqhr 1988 Dr. Brass íBMI), TorontoAil'ris-hts reserued. Printed in U.S.A.

Unauthorized copying, arranging. ad1n1i1S. recording.or public performance is an infringement of copyrightlnfrinsers are liable under the law.



l-.,a-J-

3. CANONJohann Pachelbel

(1653-r706)arranged by Walter Barnes

F HORN

f,| ^- |

lrt I

ffd.t

. , ., . o Copyright 1988 Dr. Brass (BMI), Toronto

unauthorized copying, arranginr. *ti',:ïtritàiï?iï!ts.trl,tt'"'.t;:#i*nce is an inrringement or copyrighrlnfringers are liable under ihe law.



4. RONDEAU13

Jean-Joseph Mouret(1682-1738)

arranged bY Walter Barnes

@ Copvrisht 1988 Dr. Brass (BMI), TorontoAÍl'ris-hts reserved. Printed in U.S.A.

Unauthorized copying. arranging, adaptlrl-g, recording.or public performance is an infringement of copyright'

lntnnsers are llable unoet tne law.



5. LARGOfrom Xerxes

FHORN

15

George Frideric Handel- (168s-17s9)arranged by Walter Barnes

Largo ) =72

' ïfl 'f"'ft 3:ï?J: ïiïï Jo'lÍ' ii :ï*'unauthorized

copying, arranging,

'tt"*J:::;j'#i*l[: A"y;U*ce

is an infringement of copvrisht'



HORN

6. HALLELUJAH CHORUSfrom Messiah

'tt

George Frideric Handel(r68s-r759)

aranged by \{alter BarnesAllegro J = 9O

f,

Tempo Primo

o Coovrisht lgEE Dr. Brass (BMD, TorontonÍlïe-hs reserved PÍint€d itr USJau

Unaurhorized copying, arranging adaptinig, recording or public pcrformance ii an infringemeot of copyrightInfringers are liable undcÍ th€ law.



17

rt rt Slow



7. MY IIEART, EVBR FAITI{FULfrom Cantata No. 68

o Copyright 1988 Dr. Brass (BM[), TorontoAll riehts reseryed. Printed in U.S.A.

Unauthorized copying, arranging, adapting, recording or public performance is an infringement of copyrightInfrineers are liable under the law.

10

J.S. Bach(168s_17s0)

arrangd by Walter Barnes

FHORN



J=oo

zl

8. CONTRAPUNCTUS Ifrom Thc Art of the Fugue

FHORN

J.S. Bach(168s-17s0)

arranged by rffalter Barnes

o Copyright l98E Dr. Brass @MI), TorontoAll rishts r€served. Printed in U.S.A.

Unauthorized copying arrangine,"&t j:!:f_.9ldllgp,t-?:qti: performance is an infringement of copgighr-

Infringers are liable under the law-

. !:.




23

Franz Joseph Haydn(1732-1809)

-ged by Walter Barnes

Andante )= no

o CoDvrisht 1988 Dr. Brass (BMI), TorontoAil'ris-hts reserved. Printed in U.S.A.

Unauthorized copying, aranging, ada_ptin!, recordilgo.r public performance is an infringement of copyright

lntnneers are llable under t.t|e law.



25

10. COR ROYALchorale by Philipp Nicolai (1556-1608)

obbtigato melody by Peter Cornelius (1824-1874)arrangd by r#alter Barnes

FHORN

o Coovrisht 1988 Dr. Brass (BMf), TorontoAÍl ridha reserved Printed in US'A-

Unauthorized copying arnnging, adaj)ql-g, rccordingor public perf.ormance is an infringement of copyrightínfriógers are liable under the law.



27

11. SAKURA(CherryBlossoms) traditional JaPanese


nw

@

mf

E

' ï,ïïi'^i: 13,'"ïo*ï: "#,i1 Jo' lÍ' bIïï'nauthorized copying. arranging, aaa-ptift, recording.or public performance is an infringement ofcopyright.

lntflnpers are lrable under lhe law.



lORN


'ï,>'

traditional Japanes€arranged by Walter Barnes

J =60

' "ffr 'i!'nï 13,1?"?;: ïnïSlÍ'li3ïï..Unauthorized copying, ananging, adapt5l"S, recordir.rg or public perf.ormance is an infringement of copyright.




12. FARANDOLEfrom L'Arlesienne Suite No.2*IORN

l-rrr

Georges Bizet0838-187s)

arranged by lValter Barnes

G Copyright 1988 Dr. Blass (8.!y{I}-!oronto

Unauthorized copying, arranginr, "áli**:"ffiif""rÏrït#Ë##nceis an infringernent orcopyright

Infringers are liable und€Í the law'I : j. rr.. . ,"'"..'.' , t.i

.



F HORN

Vl o,"^po

13. TOREADOR SONGftom Carmen

ri

'i t'

Georees Bizet(1858-187s)

arranged by \{alter Barnes

a tempo

íL

" "'fioi"nH lli"""á H,Sf?i:i"'Unauthodzed copying arranging,

"4il;ïËir"ifig-dpuuticnerformaoce is an infringement of copyright'

"l--fr-f;fi!;"*

lËbleïnder itre law'



14. HAVA NAGILA35

traditional Israeliarranged by Walter Barnes

FreetyJ =72(Ramshorn)

[Tromïone cue] fr,p

E

(Ramshorn-open, with raised tlell)


Unauthorized copying, arranging. adapting. recording or public performance is an infringement of copyright.





arranged by Don Gillisadapted by \{alter Barnes

FHORN

SlowWalk J =66

E to." Jazz Style

"ff Tl'ilïl*l"iHÁ"f ?iÏi"'Unauthorizcd copying, arraogino .*fl"ïlg;ff";$t"r.,:fiï5

#,:ianccis an infingement of copyrighc



16. A]V'.{AZING GRACE39

traditional Americanarranged tly Luther Henderson

adapted by Walter BarnesFHORN


Unauthorized copying, arranging,

".11.,ïtrli:::Ëffi1.t;,:ml;:#ri*nce is an inrringement or copyrightlntnngers are liable under the law.



9"lAh", {rlatt74,d " n r. TRUMPET VOLUNTARY

TROMBONE

Jeremiah Clarke(1673-1707)


Maestoso ) =Q0

rtt.

o Copyright 1988 Dr. Brass (BMI). TorontoAll riehts reserved. Printed in U.S.A.

Unauthorized copying, arranging. aaapq{, recording.or public performance is an infringement of copyright.

lnÍrinsers are liable under the law.



-ROMBONE

*uí 2. TRUMPET TUNE and AYRE

ITUNE-I ,

Moderato ) =84

o Qopyrisht 1988 Dr. Brass (BMl), TorontoAftïsÍrs reserved. Printed in U.S.A.

Unauthorized copying, arranging, adaptirig, recording or public performance is an infringement ofcopyright.

lnfrineers are liable under the law.

';.J' 8

Henry Purcell(16s9-r69s)




fi*/ 11


(16s3-1706)


TROMBONE

mf,

l;t:1

mf

(:)

o Copyrisht 1988 Dr. Brass (BMI), Torontoniirià'trts reserved. Printed in U.S.A.

Unauthorized copying, arranging, ada_pt1-rig. recordir.rgor public performance is an infringement of copyright.Infrineers are liable under the law.



13

4. RONDEAU/ " Jean-Joseph Mouret

TR'MB'NE Sohut((a- n1t a^ps,ctu<-** arrangedrr*Ít-:lïll::]BrightlY )=S ' , '

nt.

'';n'ls,ï,: i3$'*?á H'"i$PtI:i:*'

Unauthorized copying, arranging, adaptin"g, recordingor public performance is an infringement of copyright

- lïfriisers are liáble under the law.

mf,

,



5. LARGOfrom Xerxes

1tr

George Frideric Handel(r68s-l 7s9)


TROMBONE

nf=rtt.

o Copyright 1988 Dr. Brass (BMÍ), TorontoAll rishts reserved. Printed in U.S.A.

Unauthorized copying, arranging, adlpt!r1-e, recordiLg or public perf.ormance is an infringement of copyright.

lnfrinsers areliable

underthe law.



È{OMBONE

6. HALLBLUJAH CHORUSfrom Messiah


Unauthorized copying, arranging, adapting, recording or public performance is an infringement ofcopyright.


'r-.*,

George Frideric Handel(1685-1759)

affangd by Walter Barnes



17



TROMBONE1 Euphonium. \\ préferably ',1

r

Moderato J =90

7. VtY HEART, EYBR FAITITFULfrorn Cantata No. 68

-(r)

19

J'S' Bach(r68s-1750)


''tn'tsl.: i3$ï?á "ËïïiÍlH'ullÁl*"

Unauthorized copying, ananging, adaptin-g, recording or public performance is an infringement of copyright.-Ihfriisers are láble'under

ihe law.



8. CONTRAPUNCTUS Ifrom Thc Art of the Fugue

21

J'S' Bach(1685-r750)


TROMBONE

5

ry@

fí

@ Copyright l9E8 Dr. Brass (BM[), TorontoAll riehts reserved. Printed in U.S.A.

Unauthorized copying. arranging, aaaptjqE, recordir.rgor public performance is an infringement of copyright.

lnlnngers are [aDle unoer tne law.



TROMBONE(,"ï.rlf#iDN

Andante ) )=9O


23

Franz Joseph lfuydn(1732_r809)




".til,ï"ii:::Ëi:1.tfiï:ïlËHl*nceis an inrringement orcopyright

lnmngers are ltable under the law.



25

10. COR ROYALchorale bv Philipp Nicolai (1556-t608)

obbligato melody by Peter Corneliu-s- ( 1824- 1874)

aranged bY \{alter Barnes

TROMBONE

@ Copyright 1988 Dr. Brass (BMI), Torontoniiriihts reserved. Printed in U.S.A.

Unauthorized copying, arranging, ada.pt11-g, recording.or public performance is an infringement of copyright.lnlnnpers are llaDle unoer Ine taw.



11. SAKURA(Cherry Blossoms)

27


Slightly Faster )

@ Copyright l98E Dr. Brass (BMI), Toronto

unauthorized copying, arranging,

"$i',1"trllïiiïii!t;"tl,i1"t"t$.Ï;l*"..is an infringement orcopyrisht.

Infringers are liàble under ihe law.





_TROMBONEt

J=60

nf,

E

'ï',i,lg*i,i3$1"".i'Ëiï,$\$',ilï:"'Unauthorized copying, arranging, adaptin-g, recording or public performance is an infringement of copyright.




-TROMBONE

12. FARANDOLEfrom LArlesienne Suite No. 2

-i_ ,r

Georges Bizet(r$8-1875)


ry

rnf

''ifi 'ÍËL: i:;s"áuËï';,51Ïl',il:À*'


"o ,o#tful?iïlïï,:r.,:r"ït'ï e"J,:ianceis an infringement of copyrighr



31

;f cresc.



TROMBONE

I.3. TOREADOR SONGfrom Carmen

.?.',.

Georges Bizet(r838-187s)


mf,+

tr- +e-l

*

";fi 'IËft i:g*"á'Ëï,ïi[lïi'È::Àï'Unauthorized copying, arranging. adlpt!4g, recordilg.or public performance is an infringement of copyright.




Na$}iIaÈ

r ornir nrr *

'{'' tl'*' i .J'

i:

i.-.,c; il

14.Ha\'ir nagi ln trarJ.ïEraE liórr.lrj.Ëarrr*:

Ëril-l

--.1"

tri r: C| ,: i' ;r t ,;,

dÉ(:rÈgÈ.r,p

,f r1l i,*r

,lt qir:: rari.rp"

,.ffi:

faster

iffii



15. JUST A CLOSER \ryALK

''illiË,|:

"3$'*?á.

"Ëïï',:l\Ï'ó::À*'unauthorized copying, arrangint,

"iilg?;if";r.;l,t"tt"*t:: ff;gance

is an infringement of copvright'

37

traditional Americanarranged bY Don Gillis

adapted 5Y Walter Barnes

TROMBONE

| 181 Mo." JazzSyle

I

SlowWalk J =66



16. AMAZING GRACE

TROMBONE

Slow "Blues" Statement J =60

' tiffï'fL: i:.'.'*?[..'Éïï,:?Yi'È::Àï'

Unauthorized copying, arranging, aaa-pt!r1"e, recordir.r8 or public performanceis an infringement of copyright.

lnlnneers are llable unoer me law.

39

traditional Americanarrangd by Luther Henderson




1. TRUMPET VOLUNTARYJeremiah Clarke

(1673-1707)arranged by Walter Barnes

I

Maestoso ) = l2O


unauthorized copying, amanging,

"áti,lltrlï":;:*Ë"'Ëtrf;: ;1'"rj*;nce is an infringement or copyright.

Infringers are liàble under the law.



2. TRUMPET TUNE and AYRE'l.f

Henry Purcell(1ós9-r69s)

arranged by rffalter Barnes]BA

trENE-l,

Moderato ) = 84

o Copyright 1988 Dr. Brass (BMl), TorontoRiiriàhts reserved. Printed in U.S.A.

Unauthorized copying. arranging, adaptin-g. recording or public performance is an infringement ofcopyrightInfringers are liable under the law.



IAYREI Andante



)=5q

11



(: )

''ifi 'liË,i,: i3$'"31.uËi,ï',:l

Yll'ÈI:À: "."Unauthorized copying, arranging, ada,plq-g, recordingor public performance is an infringement of copyright.

lnfrinsers are liable under the law.



13

4. RONDEAUJean'Joseph Mouret

(r682-1738)arranged by lValter Barnes

TUBA

Brightty ) =8q.


Unauthorized copying, arranging, ada,pqrig, recordir.rg.o.r public performance is an infringement of copyright.

InÍrinpers are liable under the law.



15

5. LARGOfrom Xerxes George Frideric Handel

(168s-r7s9)arranged by Walter Barnes

TUBA

Largo ) =72

ryE

f?ït:11

mf,

E

@ Copyright 1988 Dr. Brass (BMI), TorontoAll riehts reserved. Printed in U.S.A.

Unauthorized copying, arranging, aOa.ntjq-C, recordilg,or public performance is an infringement of copyright.




TUBA6. HALLELUJAH CHORUS

from Messiah

"i )'

George Frideric Handel(r68s-17s9)

arranged by Walter Barnesllegro J = 96

fAdagio

Edt| -' I

Tempo Primo

' tiflJJ,Ë*,',13,'"'*o";: ïiï,:ïH bIï*."

Unauthorized copving. arrangint, .o"ro#,fi;lïiïllï,ff,:r"ït,:: peíormance is an infringement of copyrighr



17



Moderato.l =!Q

19

MY IIEART, EVER FAITIIFULfrom Cantata No. 68

o (opyriqht 1988 Dr. Brass (BMI), Torontonit-riórs reserved. Printed in U.S.A.

Unauthorized copying, arranging, adaptin-g, recording or public performance is an infringement of copyright.Infrinsers are liable under the law.

7.J.S. Bach

(168s-r7s0)arrangd by \{alter Barnes

'nw



21

8. CONTRAPUNCTUS Ifrom The Art of the Fugue J.S. Bach

(1685-r750)arranged by Walter Barnes

'ï'1rËlÀ''::&'áuËïï',:l1l'b:ïï'Unauthorized copying. aranging, ada.ptl!. recording.or public performance is an infringement of copyright.

lnlnnsers are llable under the law.



23

TUBA

9. ANDANTEfrom the Trumpet Concerto Franz Joseph Haydn

(1732_1809)arranged by Walter Barnes

Andante rb=no

Pppo Copyright tggS nJsrass (SMI), Toronto


"tltjÏ-rli:::ï:ffit .tftïtff;:#.1,1;"." is an inrringement or copyrishr

Infringers are liable under ihe law.



2510. COR ROYAL

chorale by Philipp Nicolai (f556-1608)obbligato melody by Peter Cornelius (1824-1874)


p_w



".tl

liË:i:::,ïi!1.trtiti,j;:.H"Hnce is an infringement or copyright.

Infrinsers are liable under the law



2711. SAKURA

(CherryBlossoms) traditional Japanesearranged by Walter Barnes

TUBA

Slightly Faster

nw

@ Copyright 1988 Dr. Brass (BMI), TorontoAll rights reserved. Printed in U.S.A.

Unauthorized copying, arranging, adapting, recording or public performance is an infringement of copyright.Ínfriíeers are lábleïnder ihe law.




'i'.*

traditional JaPanesearranged by Walter Barnes

' tio,,'fiËL: H,t"t*?i:

t;il',51Ïl'.rl:À:"'Unauthorized copying, arranging, ada-pt1q-g, recording,or public performance is an infringement ofcopyright.

Ihfringers are liable under the law.,dn



12. FARANDOLEfrom LArlesienne Suite No.2

"r',Y

Georges Bizet(r838-187s)

) =112

o Copyright 1988 Dr. Brass (BMD, TorontoAll rishts reserved. Printed in U.S.A.

Unauthorized copying, arranging, adaptin-g, recording or public performance is an infringement of copyright.

lnfrinsers are liable under the law.





,)=96

ffi

ffi

a tempo

' ï'ltl"ï l3,Xï3i:uJfi

iïi3lÍ'li Iï:"'Unauthorized copying, arranging. adaptirig, recording or public performance is an infringement of copyright.




35

14. HAVA NAGILAtraditional Israeli


P-f

mft--;ttilj "

ftc


Unauthorized copying, arranging,"o"rn",rlg;lïl?i.oJï,gf,:r#tat::

performance is an infringement of copyright.



15. JUST A CLOSER WALK37

traditional Americanarranged by Don Gillis


SIow Walk )=6a

More Jazz Syle


Unauthorized copying, arranging, aa1nt11e. recordiTg.or public performance is an infringement of copyright.Infringers are liable under ihe law.



T6. AMAZING GRACE39



Slow "Blues" Statement J = 6O

zt Dixie i =96

E

Canadian Brass - Book of Favorite Quintets

Documents

Transcript of Canadian Brass - Book of Favorite Quintets