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contents

l. TrumpetVoluntar-v...
2.
1

Trumpet Tune and Ayre Canon Largo

Clarke Purcell Mouret Handel


Pachelbel. .

......S .....8 .....18 .....22 .....39


13

E D

4. Rondeau 6.
,7

M M

HallelujahChorusrromMessiah .. Handel...
Heart Ever Faithful rrom cantata No.68 Contrapunctus I r-. ThcArtof theFuguc . Andante from Tiumpet concerto Cor Royal . . Sakura & Kimigayo .
M-V
.

8. 9. 10. 11.

Bach Bach Haydn

E ..24 D 30 D 34 D

NicolaiiCornelius

M . . 43 M

-"-,12. FafandOle r-rn L'Arlestenne Suite No. z . . -"**13. Toreador Song irom carmen 14. Hava Nagila 15. Just a Closer Walk
16. Amazing Grace .

traditional Japanese. . . . 46 E Bizet 50 M Bizet 53 M traditionallsraeli . .57 M traditional American

arr.Gillis.

...61
63

traditional American arr. Henderson

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

a note to you
The opporlunity to perorm in a brass ensemble is perhaps one of the most signiicant in a musician's development. In a small group each individual is completely responsible or her or his own contributon to the piece o music being played. Thoughts and concepts come alive in a wonderul way when a musician realizes that our other musicians are depending on a perect it of the ifth part. How many times have we all heard that a great basketballorootballteam depends on "teamwork," but to actually experience that or ourselves through music is thrilling. To be sure we are ready or the experience, we all need to be thoroughly prepared. To help when we work with students, we aharays spend our time on these important points:

BREATHING: the importance o always taking uil breaths MourHPlEcE BUzzlNG: every day, practice and ptay on the mouthpiece away rom the instrument TONE: your "musical ingerprint" is your tone INTONATION: with two or more perormers, intonation is critical RHYTHM: music based on a strong rhythmic sense will always be more successful BALANCE: a constant concern o the ensembte musician is being a team player, never too loud or too weak BLEND: the beauty o brass instruments is their great blending abitity

ENSEMBLE PLAYING
The real joy o ensemble peormance is Ound when two or more perormers can stylistically and sensitively play together: practicing s the quickest way to make this happen. Allow yoursel to freewhenyouperorm. Veryoftenyourfellowperformeriwillinditmucheasiertoplaywitnyouwhenbe youmovewithlhemusicratltethan"reezrng"yourbodyinplace. Also,promoterequenteyeccntact between all the ptayers in your group.

DOUBLING at the UNISON or OCTAVE


sound' This must be diligently practiced by the two instrumentalists so that the styl anct interpretation.(including tonguing, lempo, and intonation) become consistent. The trombone and tuba often double in octaves. When lhese octaves are perfealy in tune and balanced, powerul a efect results (which is not only very satisying for the perormers, but also or the arrangei of this music).
In our book, the French hom and trombone requently combine at the unison, creating an entrely new

SOLO and SUPPORTING


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

BREATHING
Alltoo oten, we hear players who try to buzz.on the mouthpiece without filling their lungs with airl Sound actually starts.with yourfirst dep breath. Air s the basic uetorthe brass perormer, and the proper use o this uel ensures the quality o sound. In our books ee CtNNINIC Ot rrNifs and EASy oulNTETS, we thoroughly discuss the subject of breathing, ani prouioe exercises or mouthpiece buzzing and use o air. we consider lhose dscussionJ to be required readingl ln our book ADVAN'CED OUINTETS' we talk further aboul tone, suggesti;g that it becpmes your "musical

ingerprint."

PROGRAMMING
we all spend hours andJ|o-u*r..r,.,nn so thatwe can perorm music we love or other peopte. To helpyou dscovergreat musicand to helf you buildyourownconcerts, musicwith whichthe canadian Brass has had great success in public performances has been included in this book. when you put together your own program, you will iind here_a great range o musical styles. lt is possible to experiment with playing the "classical" music of Bac ano ttaioet, rght next to early American jazz!

Andmanyotherse|ectionssuitab|eorinc|usionareoundintheM,EASY
gg'ry]FIS
ANd

to perform: perorm for your riends, or your amilies, or religious ceremones, or your school' Just about any place you can think of to play is a oJ race. And most importanly, have un with your music.

EDUCATIONAL SEHIES' once you start eeling comtottante with this music, we encourage you to take every opportunity

ADVANCED OUINTETS

bOOKS, AIIPATI O OUr

CANADIAN BRASS

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

The CANADIAN BRASS

Trumpet Voluntary
JERE}IIAH CLARKE
(L673-L707)
Jeremiah Clarke was an English composer and organist
at the farnous St. Paul's Cathedral in

London. He composed

two opeas, several hymns, and anthems, bul the work or which he is best known today is the TRUMPET VOLUNTARY. lt was erroneously ascribed to his riend Henry Purcell until 1953, when an English musicologist discovered the true composer. Originally written or organ, the grandeur o this music suited the entrance o the choir into the magniicent chancel o St. Paul's, and was used exclusively for special royal occasions. Trumpets I and ll:
It is very important that the first and second Trumpets pertorm stylistically the same. Rehearse together apart from your quintet to develop the same speed of ornaments (always stafting an the note above and ending at the dot). Try tocompletelymatchsounds,shaingthebrillianttonethatisneededforthisselection. Weconstantlyworktoplayiden-

-t1cA(yinmuchofourownrepertoire. Forexample,listentothegreatTOCCATAandFUGUEinDminoronourBaroque rding; hear the two Trumpets sounding as one. Fred and Ron

Horn: Theopening'C'mustnotbeunderplayed,butmustsupportandblendwiththerestof thequintet. Onthemelodicrepeat of the first 8 bars, the horn has a virtuoso paft that should be brought out dramatically. At bar 20, the descending arpeggio must be strong and wellluned. Bar 33-40, we share the melody with the Trombone; there should be a consistency o style between the two of us, both in tonguing and length of notes. Bar 52 poses some difficulty. Isolate that barinyourprivatepractice;pracliceitslowlyandcarefullybeforeattemptingafinishedspeed. Thenper-formfromthere to the end grandly while supporting the two Trumpets. David

Trombone:
:e are only two ways to perform with your quintet: in a solo or a supportng role. Both roles are presented in this seecton. You must support the trumpets in bars 1-8. Bring your voice a little more to the fare in bars 9-16 and bar 20. At bar 33 you begin a duet with the French Horn. Davd tells me there should be a consistency of style between the two af us, both in tonguing and length of notes. Try to develop a ringing and grand tone, especially from bar 49 to the end, to give this selection the richness hal it deserues. (And don't neglect bar 52! It's tricky; try the 'F in 6th position.) Gene

Tuba:
The lesson that every Tuba player of every brass quintet must learn is the absolute IMPORTANCE of the Tuba part! The TRUMPET VOLUNTARY is an excellent example. Allthe other parts are totally reliant on us for pitch, rhythm and style. The Tuba paft is often compared to a foundation of a building, on which an entire structure is supported. ln the'Voluntary,'the quarter notes must be buoyant and bouncy, always detached and bright. Keep controlof the 'hythm in the running patterns in bars 24, 28, 48, and 52. Bars 33-40 must be played with weight on the first note and a clean tongue on the secondnote of each pair. Bring the selection to a fitting grand conclusion with your f inal three notes while the other players hold their whole note.

Chuck

1. TRUMPET VOLUNTARY
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Trumpet Tune and Ayre


HENRY PURCELL
(16s9-169s)
Henn' Purceil was England's greatest ccmposer ci lhe 1;th-i3ih centu'r'. ile receiveo rrs ear{:y i-r.lusicar ecjucation :n ihe cncrr sciioot ot lhe Chapel-Royal' and at the age o 20 was appointed organrsr cr Wesiminsler Abbey, lhe sire of Engiand s cyai coronations. 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"
Purcell worked or a secularlized Church which had very recently survived the Puritan Revolution. During the Restoration period, o his music, secular styles o composition were imported rom France and ltaly by King Charles ll. As a court and church composer, Purcell was obliged to write in these new, imported styles. However, some o hisearlir pieces relect the style of his predecssor at the Abbey, orlando Gibbons. The TRUMPET TUNE and AyRE was originally written ior keyboard, and is thought to have come rom a harpsichord sonata.
in which Purcell wrote most

Trumpet l:

Horn (continued):

!/1ynce TUNE and


"':rt'sher.

is a big chailenge when ptaying the TRIJMpET

.--aq,inO your paftner the first part. We often alternate Trumpet ls in the Canadian Brass, finding that it keeps tutn oi us

AYRE. Although we havek'epth stTrumpetpan inlact, you may wish to play the 2nd Trumpet parl or the ,Ayre,,

The 'Ayre' is a contrasting section which should be played very Iegato, in a singing, flowing style. Return to the ,Tune,with a dynamic and rhythmic change that clearly establishes the contrast. Lastly, fill up the raom with beautiful Franch horn tone on the final two notes. David

luck!

Try and breathe without chopping up the melody; four bar phrases are better than two. perform the,Tune,crisply, keeping the dotted rhythm very strict (in least a S: ratio). Co;trastingly, the 'Ayre' needs a singing, ftowing approach that is seamless between phrases. ge sure to move the temp right ?"*.up to the opening tempo upon returning the,Tune.' Good

Trombone:
pointed outthe ottowing in the Horn book: ,There are a brass quntet: solo or suryofting. ln this selection, you serue in both capacities., The same is true for the Trombone. ln bars | -B and l7-24 you are supporting the l st Trumpet, while in bars g-16 and 25-32 you are

David

has

two primary peiormance rales in

Ron

Trumpet ll:
The 'Tune'offers an opportunity to support your ellow trumpet player (bars 1-8 and l7-24) and a chance t perform a soloistic counter-mebdy (bars 9-16 and 2S-g2). Kep ail the dotted rhythms very crisp (at least a S:l ratio). Watch the octave doubling (bars|7 and l B) for intonation: you will need to make good use of your third valve tuning stide.

the soloist (playing the counter- metody). Keep the dotted rhythms 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 atl Q flats! Experiment with the Trombone/French Horn unisotn in bar 45, ag ain look i ng o r a pe dect b I end. Th e lo ng ph ras es in t h i s piece make proper breathing doubty important. Breathe whenever possible, and maka those breaths count by taking fultquantity breaths. Return to the repeat of the ,Tune, with
brilliance.

has suggested in the lst trumpet baok that you might . 2rnate parts for the 'Ayre, in order to give your riend a little re:!. Wh?th?r playing l st or 2nd, do so in a singing, ftowing styte, with each phrase blending into the next. Retirn'to the ,Tune,in a bright manner, establishing the ,tempo pimo,,or irst tempo. Do not over-power the l st trumpet with your high'C' at the end.
Fred

Gene

Tuba:
Please re-read the comments made for you in the TRIJMpET VO L U N TARY, s i n c e t h ey apply to t h e p u rc e lt as w e t l. App ro ac h this piece from a musical rather than technical pint o view. Before you play even one note, soundlessly practica the music in your head. From the very opening o the 'Tune' ptay these notes bouyantly: bouncy-neither too long nar too short. Start each note with a strong articulation, and then tet the air ptay the note. Keeping the dotted rhythms in bars 1g-l9 and 26-27 crisp (3:1 ratio) while playing moving notes in the upper register present 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,' requring an even gentler touch. Use more air and less strength: lull breaths foltowed by easy, unrestricted exhalation. At f irst, try to match the sound on the recording ol this piece, and then develop your own. uniaue
approach.

Horn:
There are two primary performance roles in abrass quintet: solo and suppofting. ln this selection, you seNe in tr.th capacities. In bars | -B and 17-24 you are suppofting the l st trumpet. Match your intonation to the Tuba, while playing your notes in a detached style. Bars g-l6 and 25-32 give you acounter-melody which should be twinned with the 2nd Trumpet, and brought to ihe fare. Keep the dotted rhythm very crisp (with at least a 3: ratio). lntonation needs special attention when you play octaves with the lst trumpet (bars g-10 and 13-14).

Chuck

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Canon
JOHANN PACHELBEL
(16s3-1706)

JohannPachelbelwasoneolhe"spiritualanceslors'oJohannSebastianBach. Pachelbelwasespeciallyrenowned
or his lugues, variations (chaconnes and passacaglias), and canons. The canon is the most strict form o imitative composition. This CANON is a series o melodic variations (speciically a passacaglia) over a repealed bass line (ground bass). Pachelbel originally wrote 186 melodies above this ground bass, each two bars in length. This particular transcription uses only 20 o those melodies.

"The CANON is perhaps the most amous classical composition ever writlen, as evidenced by record sales.
Unortunately, Mr. Pachelbelis no longer around to collec{ the incredible royalties that are poudng rom these sales;

bn the other hand, Mrs. Pachelbel is delighted about it!" [Chuck Daellenbach, rom 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 the many two- bar phrases. For an exercise, you an identiy and number each o the Wenty subjects in the score;yau wiil then bs able to obserue which instrument haswhich melody. There are indeed twenty, but no one instrument plays

themall. Selectpointsinthemusiewheredifferentvoiceshavethesamemelodyatdifferenttimes,thenrehearsethem
at the same time. For example, the first Trumpet can play bars 29 & 30, while the second Trumpet plays bars 31 & 32, and so orth. Whether the melody is played legato, detached, bright, or f lowing, it must be presented in the same style in every voice. When each instrument then plays the melody at the appropriate moment in the piece, it will be

playedinamatchingstyle. Mostimportantly,beclearaboutthetempobeforethepeormancebegins.
the

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at the beginning o the piece, so try to maintain this tempo throughout. To do so, keep listening to the Tuba as you progrcss through this marvellou canon.

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Frd, Ron, David, Gene

Tuba:
What can lsayto convince youthatths isthe mostdifficult piece inthe bookforconcentration, rhythm, choice of tempo, and melodic line? When you state the opening bars you have already established allo the above. I have played this Tuba 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 you progress through the piece, and match them with your own perormance. lf you take a minute to read the other books about this piece, you will see that all our of the upper instruments are completely dependent on you for the success of this piece. Good luck.

Chuck

3. CANON
Johann pachelbel

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Rondeau
JE.{N JOSEPH MOURET
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the BBC production Masterpiece Theatre. You will find, as we have, that it is an excellent addition to the brass repertoire.

MouretwasaverypopularcomposrinFranceduringhislielime,withmorethan50publishedworks. Today,verylittleohismusic is perormed, wilh the exception o this RONDEAU. lt was recently made popular because of its selection as the lheme song or

The RONDEAU was originally a movement from "Fanares pour des trompettes, timbales, violons, et hautbois' ("Fanfares or rumpsts' Kettledrums, Violins, and Oboes"). Rondo orm is quite obvious: an 'A" theme is presented in luxtaposiiion with other melodic themes. Speciically: A, A1, B, A1, C, D, A, A1.

Trumpets land ll:


The two Trumpets share the

tones, articulations, and note lengths. lf the audience was not able to see you, they shuld thnk that onty one trumpet is pl;ying. When a Peolo is used, there will necessarily be a tone change, but the new color adds to the overal! texture o the piece.' Bewaie of the octave doubling at letter D; you arc subseruient to the lower instruments, something uncommon in the quintet. When the two Trumpets are doubled at bar 6, take great care with intonation and matching styles. Ron and Fred

rentaPieobtotryt; itwill addalotof spicetothequintetsound. TheYamahaaisagoodmodel tostarton). AsinTRUM{ET VOLUNTARY, and CANON, the RONDEA|I melody s passed bad< and forth between you. You must stive for matched styles,

mebdy in theRONDEAtJ. The 2nd Trumpet pan can be perormed on a Piccolo Trumpet. (you night

Horn 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 use the same ailiculation at 8, C and O as the two Trumpets use in the A theme; namely, bright and detxhed. Keep the pulse moving when you are n the solo role; spend time practicing alone wth the Horn and Trombone,-as the two you of often share the spotlight.

by instrumental color changes in the B, C and D themes, as


'forte'very strong and a'piano,very quiet.

The Baroque period,from whichthe RONDEAIJ @mes, often callsforstrongly antrasting dynamcchanges. Thiss partly achieved well by normal, written afnimics. Exploi alt the markinjs: make a

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, or number one or eight n the scale progression-the name note of the scale. And domnant is tne finn ol the scato, or the next most imQnail nate in the scale. ln the BONDEAIJ many of your notes in the'A'theme are tonic or dominant: Ep or F. These must be playedrightdownthecenteroftheinstrumentsothatthebesttoneandpitchispresent. Rehearsalletter,C'offersantiphonalplaying against the French Horn and the Trombone. Bring out the moving, active pan as much as pssible. lt you own a'pedal Ep, put'it on the final note so that your quintet has the added beneit of an extra ociave n the fnal chord.

Chuck

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Hallelujah Chorus
GEORGE FRIDERIC HANDEL
t1685-r759)
The grandeur and sustained power o Handel's oratorio style, the expressive simpliciry of his melody, and rhe breadth and darity of the harmonic structue orm a wonderful anjsUc whole. He is unquestionably one oifre 'great masters.' (Baker,s Biographicat

Dictionary o Musicians)

{erxg1, lz}al disptays one o tre most sustained, singing melodies imjginable. This melody is always supportd by a simple harmonic bass. The HALLELUJAH cHoRUs (kom re oratorio Messian,luq is best dscribed by Hanl imself. iJpon'completion o the .Chorus. he said, 'l did fiink I did see all Heaven before me-and he grsat God himsel|.
Trumpate I snd ll:
The LARGO decaptiw in its simpticity. The opening fift*n bars must b9 very legato and smooth, wh:ite the rnyn nuit b @nstant and clear. At measure l S, the melody passes ron the French Horn to the

Wearesureyouwill enfrusiasticallyagreewifithisstatementaftrplayingthetwoHandelcompositionsinhisbook.

Thet-ARGO(homtheopera

Trombonc:
Tha HAUELUJAH CHOHUS ot{ers ampletely diferent dtallenges. There are two dislnct styles o ptayng inwlved in this piece: tong sustained phses (for exantple, bars | 2-4, 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 give full time value to every note. 8e sure to take heqtent, hrga breaths so that he stength ames rom tha air and not from forcing. Gene

Trumpets. As in the CANON, ton,'nnguing, and phrasing must be he satne among all the playerc. Let the musical lines overlap momentarily as you pass this beautilul melody back and forth. The notes should Lte Iong and full valued. 8e alen or good intonalon when doubling at the unison in .bars 39-43. Try to make the ending gentle with a gradual, sustained llentando.

The HALLELUJAH CHORUS ofers ompletety different challenges. wo distinct stytas of playing inwtied in this piece: ong ?ult?ined phrases (or exampte, bars 354 and 58_69), and shoi, btight, and sharply tongued phrases (such as in bars 1g-21). When playing the long, sustained phrases, h is imponant to give lutt ime vatue to evety note. Be sure to take hequent, large breahs so that the strength ames from the air and not brute force.

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Tuba:
The URGO is an expressive song, needng to be ptayed in a singing style. It rcquires Wu to provide the rhythmic motion un&r the extended solo line, without rushing the tempo. Each o your notes must be given full time value. The Tuba prt looks quite simple, but your responsibililes are many: giving a fotward momentum holding the tempo providng a solid basis for the intonation ol the entire group lending support to the solo line through dynamics The breath marks are in the music to show you how the soloists above you arc phrasing their lina. Work out your own breathing pattem, depending on your capacity, so as not to breathe when they do.

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 instrument with its very own tone. To achieva this efect, yoi will fuh need to know ho.w the other is going to ptay the solo so weit that you must even thnk

The low oryning phrase is best suited to the range of the trombone, so let the Trombone carry a liile more ol the weigit. By bar 6, the Horn should stan being more prominent sine it clinbs nto a more comfortable range. From bars l S to 46, you both support the two t tumpets as they pass the melody back and forth. When you reach the ending, you maie the .arc again ptaying the beautjut melody fry enotng qentle with a gradual, sustained rallentando. David and Gane

alike. Then concepts such as tuning, hythm, and breathing become atmost automatic. After you know the notes well, make ooint of watching each other while you ptay to promote better musical commu_

tlcati?n.

The HALLELUJAH CHORUS ofers ompletety diferent chailenges. There are two distinct styles of playing inwlved in this piee: tong sustained phses (for example, bars 12-14, l7-19, 94-41, 69-71) and shoft, brght, and sharply tongued phrases (such as in bars l -t I , | 50-65). When playing the long, sustained phrases, it is imponail b give full time value to evety note. Be sure to take frcquenl large breatis so that the strcngth comes rom the air nther than fore. Barc gg94 give you a chance to end the HALLELUJAH CHORUS in a grand and majestic styie: the others are holding their notas while you play a descending panem. Make the rallentan& very deliberate so that there rs no question about your musical intentjons.

l6,

Horn:
The HALLELUJAH CHORUS offers completely diferent chailenges. They.are. rwo disinct styles of playing inwlved in :l/lis piece: iong sustained phtases (for example, bars t2-tn, 25_27, 34_41, a3-ae an :.h^o!:\rght, and sharply tongued phrases (such as in bars t-t1,ts_ 16.20-24 )., playing the long, sustained phrases, ir is important .When to grve ull ime value to every note. Be sure to take frequent, targe breaths so that the strength comes from the air and not lrom lorcin. David

Chuck

!2

5. LARGO
from Xerxes
(1685-17s9) arranged bv Walter Barnes
George Frideric Handel

lnd Br Trurnoer

Hom :n F

Trombone

L*.2

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T.

Tuba

F Hn,

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Tuba

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24

6. HALLELUJAH CHORUS
from Messiah

Allegro )=96

(r685-1759) arranged by Walter Barnes

George Frideric Handel

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:nd 3i Trumpl

Hom in F

Trombonc

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Tempo Primo

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My Heart, Ever Faithful


and

Contrapunctus

from The Art of the Fugue

JOHANN SEBASTIAN BACH (168s-us0)


We have selected two works o Bach that represent the wide range o this composer's brilliant talent. My HEART EVER FAITHFUL is an aria or soprano and continuo rom the Whitsunday (Pentecost) Cantata No. 68. The French Horn, Trombore, and Tuba prwide the accompaniment or the two trumpbt, who toss their phrases back and orth to each other. This is a deiighul, light aria that sings o unrestrained joy.
The Aft of the Fugue was written at the end o Bach's life. The complete work is a thorough study o all the contrapuntal techniques that can be applied to fugal writing. Each died before completing the last (fourteenth) ugue. The irst ugue is a simple ugue, a single subject ollowed by its answer. Since this is monumental work, we wanted to include the irst, most straight'onivard ugue or you in this collection. We have recorded the "u"h-" complete An of the Fugue on the CBS recording lel' We hope that you will listen to the entire work, especially after conquering lhis ugue y-oursel.

Trumpets I and ll:

changes style briely at bars 37-40, do not beame overly heavy. The originat phrase ancludes the piece, giving it a wondertul sense of completion. Ron and Fred

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 peorming the legato voca! line, and should therefore be smooth and singing. Pass your lines back and otth, taiing car to 'nana tr youitine to the next. Since the two Trumpets are doubled at the end of aach phrase, be very carefuwith the tunng. When the pirce
The aria

Horn:
The French Horn has two rcles to play in MY HEART EVER FATTHFUL ln bars 1-4, 13-6, and 25-28, the Horn is the soloist, presenting the main theme. For the rest ol the pece, the Horn beqmes part of the antinuo with the Trombne and Tuba. Match their 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 VEB FAITHF|JL has some very dicult bars for the Trombone (that is why I used a Euphonium or your recording). Seriously, though, it is a very good idea for Trombonists to learn the Euphonium, and iice-versa Each strenghthens your ahitty on the other' To prepare for this piece, begin by practicing an F scate. Then direct your practce to the fottowing bars: 4, g, 12, 16' 20, 24, 28, 32' 37 and 40. Six o those bars are simpfi tne scale, and five are variatons. Slow-slow practice wil get you over the obstacles. Good luck!

Tuba: MY HEABT EVER FAITHFUL gives us an excellent opportunity for bight, detached playing. Again, it is a matter of maintaining the rhythm and tonality lor the group' There s a run at bar 36 that witl ;robably take iome xtra-slow praclbe. Bring out bars 3740 along with the Horn and Trombone. This is a wonderlul piece of music tor a characteristic round, bouncy Tuba sound. Chuck

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30

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7. MY I{EART, EVER FAITHFIIL


from Cantata No. 8
J.S. Bach

arranged by tilalter Barnes


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CONTRAPUNCTUS | (rom The Art of the Fugue) is perhaps the most dificult selection in the book. The range is comortable, the phrases are not too long or proper breathing, and the melodic shape is ah',rays clear. But there s always a danger o mis+ountng the rests. Consider the ugue to be an endless string o notes passed rom one instrument to the next. In this way, CONTRAPUNCUS I is a typical ugue transcribed for ive brass instruments, so not all the voices are sounding at the same time. Thereore, someone is always waiting to re-enter. While discussing the techniques used in playing ugues, we realized that the sarne points were equally mportant or each performer.

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

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

Davld: 'Listen to the tape that we have made


of the music.'

for you, and try to learn all the other parts

Gene: 'This is one piece in which you have to stay very of other people's lines.'

alert. Listen for

the continuation

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

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34

8. CONTRAPUNCTUS I
rom The Art of the Fugue
J.S. Bach

0685-1750) arranged by Walter Barnes


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Andant from the Trumpet


I.'RANZ JOSEPH HAYDN
(

Concerto

1732.1809)

Haydn wrote 3 concsrtos during his prolific career, with ro 'Trumpet concerto' ( .l796) being fre only one trat is still regularly perormed. The ANDANTE is the gende, melod second morrem"nt b.nr""n two very exciting and rechnically demanding mo\ments.

The last yeqr o Johann s?lstial Bach's tie is generally accepted as he end o the.Baroque perird. In fre ctassical era that followed, orm, strucrur and svmmefical shape became ajl-imporanr his can te ouse.vJ creJy.in orrt"r"ln-oy have changed tre key and simpliiodthemelodiclineothconcenomo\menttor.you. But,inoune"orJin!fni.O*Klont,",Jeao.r"othesotorrumptpatinirs original embellished orm You might also want to lisbn r the complete recoroinf ine Hay&r nrnpet concertoso that you can understand the relationship of the 2nd mo\ment to the othr two.

ii;i;:'"

Trumpet l:

Trombone:
It is imponail lor the bur lower instuments who are prorming the orchestral' accornpaniment to keep the hyfimic pulse smooth and steady. The aeompanying eighth notes shoutd maich the eighth notes n the melody. Behearse the aeompanying instruments alona without the lst Trumpel stiving u tota! coordina-tion and @opration.
I haw suggested, again, drr,t you prorm ths ANDANTE using a Euphonium. i, Tngering niy not a problem ; yw will naed an even greater quantity ol air, but hat is aily going to hetp your tntnbone playing. Besi&s, thetone o theeuphnlum,bing aniat instument saems to me to be better suiBd to this tansdiption. you are enauraged to produca a singing sound x those seclions where you have the ieldy: n"??ll,barc t-8, t7-te, 2S-8, and 4142. Cenember to proim s,oloistically, listening very carefutty when doubling tha I st Trumpet in tlle last 2 bars. Tha inal adence shoutd be very disciplined with a gentle rallentanh.

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

\..toward
'

the

oiginal

ANDANTE as Haydn wrote iL

Conceive.ol ywr soto tine with tong, smooth singing phrases, and with a smpt,ctty ot style that leaws any technical pro*ems fuhind. Tune your low D's and P'scarefully, brethe onty on'rests (with heexception o bars. l&16, Zl-24, and 374e, obsrve rhe dynnic scrupulously, and, most importantiy, ptay the solo ^arkirgs *eafifuilyl Ron

Trumpet l: It is impoftant for the our lower instrumants who are piorming the 'orchestral'aeonpaniment to keep tt,E rhythmic pue smooth and

Gene

l!1y:!!".to:rypanying tn ne metody. Rehearse the

eQhth notes shutd maich dte t$shth notes aeompa nyinginstrunents alone without the l st trumpet, striving for total coordinatin ad coqeratjon.

Tuba:
It is impanail for the our lowet insuments who are petorming the 'orchestral'aeompaniment to keep the rhythmic pulie smxth and llejdV le.aryrnpaning eghth notes shoutd maich tha eighth notes n the melody. Rehearse the accompanying instruments alone withoul the lst Trumpet, striving f* totat cord'inaion and cooperalon.
be considered. For example, the tow B's in bars 3, 1 1 , and &5 wilt alwavs oe,very.shary @n-a BP wba) unless you can pull a tuning slide or have

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

"

There are.also some spcifrc difficutfes in this composition whictl must

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 shud mach dte eqntn notes tn the melody. Rehearse the accompanying instrumens alone without the I st Trumpet, striving lor total coordinaion and aoperation.
hagments o metody or counter_metody tor the !^":.::: ::,verat no:1^t!a: :!t" td be brought to he fore : namely, bars 4, I I , g- 24, -sh2u and 35-36. These bars must be played soloistiry. lLtougn it seems unnecessary, I have marked an optional breath-in bar 20j since you must play strongly and llowingly from there to ths rest
1 1

low, and listen to the pitch- As atways, keep promoiing foruard motjon in the rhythm.

a.lourth valve. Maka sure yau ptay bars 22 and 2g-2 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
air

Chuck

in bat

23.

9. ANDANTE
from the Trumpet Concerto
lst Bi Trumpct

Franz Joseph Haydr

arrangd

by trValter Barner

n732-1E09

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Tionbone

Tuba

Trp,2

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FHn

T.

Tuba

Trp.2

tln.

Trb.

Tuba

F Hn.

T,

uba

Copvriqht l9E8 Dr. Brass iBlVl). Toronto All righrs resened. Prrnrcd in U.S.A. Unauthorrzcd copy-inu. urrrnr:rng, rdJ.pttng. recordinq.or public perlirrmance is an infrrngemenr ol er)pvriuht. Inlrinrers are liable under ihc law

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Cor Royal
PHILTPP NICOLAI (1556.1608) PETER CORNELIUS (1824.1874)
COR ROYAL (the Royal Horn) is an unusualcompositon in that it was co-written by composers living some 300 years apart. This new transcription or brass gives it yet another lie. The "Chorale" by Nicolai (the Westphalian composer o the anpus "Wachet au") was written and harmonized as a our voice piece in 1599 to celebrate the Three Wise Men's historic journey to lsraelto see the Christ child. The obbligato to the "Chorale" was written by Peter Cornel[us 270 years later. Cornelius, a student and admirer o Rchard Wagner, was well-known in his own time as a composer o beautiful melodies.

Trumpets I and ll, Trombone, Tuba:


At the beginning of the piece, the Trumpets andTrombone present the chorale melody in unison. The second verse turns to the harmony o Nicolaiwhen the tuba joins the others. The third verse is quite diff erent: harmony in the four brass encircles the obbligato slo, with a syncopated ending in bars 2526. The four of you are playing a supporting role throughout this piece, and must never overpowel the solo French Horn. Rehearse the arcompaniment alane, without the solo Horn part. Once again, you are tryng to achieve unanimity of style. This piece especially presents a realchallenge to the

Trumpets; 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. This work was originally written for the voie, and should therefore be ptayed in a vocal manner. You willlind that music originally conceived as vocal music atmost atwaysitsthe brass instrument perfectty. The length of phrasesto be sung have the same air requirements that you have on the horn. Experiment ptaying this solo white standing, making su re that your right hand is still properly psitioned in the betl. Shape each phrase with dynamics and take time at the cadences; consider them almost'grand pauses' for dramatic effect. tn order to keep your quintet happy, tearn this selection 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 have a cnance to perform this selection in a good acoustical building, such as a church or synagogue, project to the fathest

wall and the tallest arches. Build drama. This simple melody, with dramatic and best received piece for Horn. Good tuck.

its

even simpler accompaniment, can be the most

David

I
t
I
I

IO. COR ROYAL


I

obbtigato metody
st Br Trumprt

chorate by philipp Nicolai (1556-160g)

bi peteiornii* tiaii-+r arranged by \{atter Barnes

l;;; i. ir:nra.t

i(rm In F

Trombone

fubr

F Hn.

Trb.

Tuba

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Sakura & Kimigayo


Traditional Japanese
The Canadian Brass has made many lours lo the ar East, even perorming our music on the amous

music' lt is not unusual

and have had the opportunity to sample a great dealo Japanese traditional music. What seems unique to us about Japanese culture is the blending of so-called western music with locattraditional
to fnd modern music being ptayed on traditional nstruments, and conversely,

chinawall! ltisinJapan,though,thatweeelmostathome. weiravemetmanyinemusciansthere,

traditonal music being played on modem instruments. lt is with the laner in mind that we have included two songs in this book which are very wellknown by ail Japanese. KIMIGAyO is the "prayer to the Emperor," and SAKURA is the amous iolk song, "Chrry atssoms." KtMlcAyo is to be used much as we would use the American or Canadian National Anthem, while SAKURA s excenent program materialto be used in any perormances that you gve.
These two Japanese songs will give you wonderful oppoftunities to investigate what we consider to be our main, basic performance points for brass players.

support and carefully listeninQ to your colteagues.

becomes most important. God tntonatio.or tuning is onty possble when you are

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 improve t,andonlyyoucanproiectthattonetoyouraudience.- Praciiceinfrontof amirrorwhereyoucanwatch yourself breathing. Also, find an extremely reverberant room in which to practice from time to time (such as a concert hall, gymnasium, churct, or even targe bathroom) so that you can enjoy the realy arge sound you can make. TlN!l!9: tn every text in this book, we ha.ve tatked about tuning. you might have greatest the tone' but the moment you b99in lerforming with another musician,'tet atone four others, intonation

L A!4.SlLry@f: Tht^s i9 the key element in atl brass playing. When you get a chance, refer to our BooK.OF BEGINNINQ oUtNTETi (the Green book) in wnicln tne rirst two pages tatk of air supprt. lo'.".|t^!!Pt playing, .targe breaths'and frequent breaths are essentiat 2' LISTENING: we have tatked about listening throughout this book.for good tone and tuning. we urge constant, careful Iistening to your fettow ptayers for dynamics, btnd, tuiing, temw. putse, and doubtings. 3' TIMING: Timingof notesandiests,especlattythengero,nes'. Timingof entriesandbrcaths, so that you are at one with your other ensemble players. iming of thoughts and rehearsat needs,

using good g!1

we want you to be the

best you can,

and these five points witt surery herp. Canadlan Brass

46

11. SAKURA
(Cherr-v Blossoms)
arranged by Walter Barnes
Isr Bb

traditional Japanese

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Trombone

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F Hn.

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Tuba

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KIIVTIGAYO
(Prayer to the Emperor)

.1

J=oo
lst Bi Trumoer

traditional Japanese arranged by lValter Barnes

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Trombone

Tuba

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C,rplright l98ii Dr. Brlss tBiUIt. Toronlrt

Farandole
and

from L'Arlesienn Suit. No. 2

Toreador Song from Carmen


GEORGES BTZET (1838-1875)
today or two malor works : LArlesienne suite andfre opera carmen. we have osen rhe mostfamoussslectionhomeachotdesemasterpiecesryourqlntet. Bothworkswerewnttennoathendof Bizefslleandfeaturethewarmth and feeling o soutrem Europe. They are examples o 'vsual''musi" ro, r"ri qulniet, and represent the Rornantc period weg. French composer Bizet is particularly remembered

Trumpet l:
FARANDOLE has two main themes: tha first is your melody (in the mnor at the beginning, aN the second is the-French Hom,i at Oar .key) t r ne ilrst thema should have a heavy effect. Don,t ailow he doned t!Vthnl.(3:1 ftio) to slip into triptets (i:1 raie. At bar t7 you are in a supporting role. ln bars 2.33 and a<9, yori proviae a bend.,tn the orchestal version, which l_hope you will hear; the violins play a gliss.ando.' sliding their frngar the sting. wu be able to .by produce this efect by quickly ptaying the tvw r three notes betow the wnnen note. If you use a piccolo Trumpet or this piece, so much the beer. Bars 5742 must bd in the form f a.dblogub,b,etween Wu and the other Trumpet. Frorn 65 to the ena, *eep Xe ny*i iteaay, with no

Horn:
Hom player! But 1le nore you ptay the pixe, the grcater will b yo,ir endurance. You are in a swng supponing rae-tar Ue first t6 6ars, changing he melody around whid evryone else piwts. The lower .to brass re-intoduq the frrst metody-rcw in a nalor key_at bar 94.
The FARANDOLE

/.

&mands a feat o eunn@ rom rhe Franch

ip

'yii

Ngtice y.gur dynantic change: it should sound stong buindepaiaenii, almost like arm wrestling futween two metched opp;nents. At furs 59_ 64, y::r e!.ter djatggue with. two ot your triends': tha styte o ptaying must be identical- Finish with a llourshl

itard'

Fred
TOREADOR SONG eatures the Tronbonist in your group; you are in a suppming role. The Trumpet part shoutd be ptaac, shon and staccato with a prcussive effect, but &nl tat it gt verpowering. Isolate aN gaclce bar 4l which features a scati run. This run brings you, at last, into the the metody for our b,ars, fottowed by a counter-melody with the Trombone solo: caraul not ro ornrpo:v:r,the solo. Play ight to t e end o the piece withour a ibrd fq added Ron

The TOREADOF SONG is tha oppsite ot FARANDOLE. Thrwghoul you,are in a supporting rcte. The shofl rctes shoutd be vety stacato and percussive- lsolate and pnaice he run at bar 4t. eay anenlioi to the slurs at bars SgS4; tl1y should be sinitarly ptayea Ay everyone. Bar ffi.is g.ryat fo.r us Hom players: good range,'goa not"s, anc, g@d a@ents. Have fun.

Davld

Trombone: The FARANDOLE is fuil ol opodunities lor charactedstic Trornbone playing The.opening theme 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 trn bar s7 to the end
should be bright-sounding, without
Fnally, we have

excitementII:

Trumpet
The

FARANDOLE opens with a very ltong theme in g minor (which returns later in the low instruments in G najoi). Remeer a oasrc rule: in order to balance, the lower Trunpet muit play a titt nuaer. That rute holds true in barst-|7. From there to bar s, yoi ii peaorn win a overpower. The two instumen.ts must merg into one, tnsttument, a new sound, This is dificult, so the two of yoi shoutd spend time prlclcing without the rast of he qriit"io rcach stytistic enter a diatosue Y, needy:.u agreement. play with the first uumpet resutung n a similat or right to the end ol the ptece without a iltard for ad&d excitement. oid!

hminaing the quintet.

At bar 33, y?u join the Hom on the ;e@nd

v3ry clean, bright unobtrusive sound, or you wiil

n"tljin

aver

a BIG solo in the TOREADOR SONG. In the opera, the Toreador is romancing the very beautjtul Carmen: we want to ponray an energic and irile suitor. gegin with a bright and inspiring

the French Hom.

but &n,t creatrng a new

s-711!,,then easeoff slightty at bars 28_E so that at O-ar SO ftne cang ot t<ey) you can play with a warmer (yet still itail) sound. But neier totgt that you are also a buil lighter the TOREADOR!

:!::.7::i: _l!

s,

Genc Tuba:

Ron ln almost the entire TOREAD_OR SONG you are in a

very unusualfor the sxond Trumpet in this bok. The aeompaniment or the Trombone shoutd be very bright and peicusii,-t not bua. ge aware ol the doubling at 9. At Bar 19, you have four bais ol solo playing; bnng this out. Bars 2g and offei a challenge in tung because o the low D: enend your third.29 v-alve tuning stid. ne bar 4t witl need practice to make it second_nature. -Be careful with the sturs n 53_ 54; the entire grcup must sound like one player.

supprtng rote_

i: liall:

to be sharp i carelessly payed. There is a big qesendo kom bar 65 to the end, so make sure you and your quinta engineet it weil.

the FARANDALE shoutd be massiva and that,s fol we're Tuba players! At bar 17, we are responsible or the dtange of temp.; move it up a notch. Keep the foilwing thirty_two'F's vry short, bright, and in tune. At bar 94, ia (wih ke to-nboe re-intrduce the irct 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,
us.:

The frrst 8 bars ol

ii i,

The TOREADAB.rc/VG is an exercise in acampaniment_the suppofting role. Keep all your notes shor1, bright, and peranssiw. Listen agatn to our recording for a suggested approach. lsolate the run at 4,
an d p racti ce
i t ( s lowly ! un ttl i t b eco ) end-suaight ahead!

me s s econ d- n afixe. N o n tard

at

th

Fred

Chuck

:\rtltEF'.it$!8ti?ririlr:e.'ff+.r-rjpr?d

"

."'

12, FARANDOLE
from L Arlesienne Suite No. 2

'sr

ll,

I:dlnDct

:nd B, Trumpcr

3om in

irombonc

iuba

lr'
: Hn.

'rb.

'uba

ml

Hn.

rt

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


1.'|nau{h.rrzcd

cl,p'n-'. Jrrrn,,:,n!:.

,.ii:!ii!l:;:il;,,li:l;l,H,l;),."
Inlrrntcr\.rrc lr:rhie unJcr thc lrw

,\ ln ,nr,,nL,cn,cnr or c{)pv.ghr

51

Picc. ifavailable

.1.2

F Hn.

T.

Tuba

52

Trp.l

F Hn.

T.

fubr

tr
Trp.2
F HrL

Trb.

Tuba

rp.l

F Hn.

rO.

Tuba

il

F-

Hn.

T.

Tuba

gi$iP$stilr-:

;;i.Li.:ii.:,:,i;i;ii?:ir-,;.i-,..-.,-...jr.",-.i..r".".-_..,.,..:.,=,.,r-;

r..;.;.;.,;;,*+li?-;!:,h.d:

13. TOREADOR SONG


from Carmen
(183&1875i arranged by Walter Barnes
lsl Br Trurnpet

Georges Bizet

Jnd I3r Trumpcr

t't't
HomnF

t t

Tromircnc

Tuba

nn.

T.

Tuba

tempo

F HL

Trb.

Tuba

a tempo
Tmr

F Hn.

l:b

Tuba

) Copvrrrht l98ti Dr. Brass r BMi. Toronttr .\ll rr!hts rcserrcd. Prrntcd in Ll.S.A.
.rtl;rpt,rrr-r.:.

rcfodtn!,,,r puh.lic perlilrmancc is rn inlnnrcntcnt ol e opvrrthl rnttn{ur\ JrC ltirnlC UnJCf lht lJ*

i4

Trb.

Tuba

Trb.

Tuba

*
t
i

'i .! I i]

Trp.l

F'Hn.

F-'-- -w

Trb.

Tuba

F Hn.

T.

Tuba

F Hn.

Trb.

Iuba

Trp.I

lln.

frb.

Tuba

Hava Nagila
TRADITIONAL ISRAELI
HAVA NAGILA was originally a wordless Chassidic metody dating rom the end o the nineteenth century. chassidics were extremely orthodox pti"n J&s. This song is most closely associated with the new state of lsrael, as well as the natio;at dance o lsrael, the
Hora.

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 aa sno,t. rne scoring in ors 41 through 53 is extremely effeaive if everyone neticutoJsty obserues their entries. There is an excettent ruba aunter-metody with the first rru^ie giiigin o^, s7: this same bar isthestaftof afastertemp. tf onof yourTrumpetplayerscanibtainapiccotoTrumpet, then the excitement o the dance witlbe even greater in bar 6s. The ending is ny;st effective if you rehearse a stight acceterando, but yoi must stay together as ane voice.

Enjoyl

Canadlan Brass

14. HAVA NAGILA


lst Bi Trumpcr

57

traditional Israeli aranged by Walter Barns

!lom

rn F

Trombonc

Tuba

'n

Un.

T.

Tuba

''Y.-

FHn

*rb

TLoa

I Copl"right
{ nuurh..zcd il}p'n!. .rrrangin!.

l9t{13 Dr. Brass BNlr. Torontrr

.li,;i::::;::;!',,,.J1lii,,f*"."
nlrintlcn rrrc lirhlc undcr thc lrw

i\ f,n ,nrrin!e mcnr (, Lop\.!nl

;8

e.4.rsr:!tt:ii%-ff8@

'

Just a Closer Walk


arranged by DON GILLIS
This anangementwaswitten specificallyorus to use at the beginning oourperformances. Either listen to our recording Canadian Biass LIVE;orbetterstill, watch ourvideo o the same name.

'.?;!r

Jordan in the sweet chariot, to meet God and.lesus., uring the long funerat processionoutof town (sincebtackswere notallowed buriatwithintiecitltinitslrriinas ntig and played hymns. Foru.ariety, these hymns we-re played with inylrovised accompaniment. ln jazz aN dixierand were -furn. coisequentty, .this way prrrrntation of 11;th selections, you should feel.areedom of rhythm in yoir mis time the dotted eighth/sixteenth note combination needs to oe ptayea tixe a triptel-iz:t ratio). The metody mustalwaysbeintheforegroundandtheaccompanimentsupprtive. Stightbendsareanice effect in this musicfor att instruments, and can'be appriera tir to make them more conspicuous. After you have mastered Jusr A cLosER wk, ry phying it white you marclr-two steps to each bar. This wilt certainty aid the rhythm, aa coutd even seye as an piece for you.r .e.ntrance ?y!l cglcerts. (A tonger versio or.l'usr e cLosER uALK is published in our red 1ANAD|AN BRss ENSEM:BLESER/Ea iies-avaitaote from your

InJUST ACL?SER WALK ard in AMAZING GRACE, knowing abit aboutthe stytistic history can be helpful to ensure an apprcpiate performance. In tigi osavery in the southern United States, death to the btack person meant freedom. Death altowed a stave to,cross the River

ir-ti, peo*iit.

*trt

music dealer.)

The Canadtan Brass

;;*t o..'';iir*'*

* ::r

r;'' ;r

15. JUST A CLOSER WALK


Slow Walk )=66
:rt il,

61

traditional American
adapted by Walter Barnes

arrangd by Don Gillis

.rtlrnftt

frP
lnu Llr iruntPcl

r'lom ul F

frombone

Tuba

E
Trp.l

F Hn.

Trb.

Tuba

More Jazz

F Hn.

).

Tuba

1-"

a<t
I

,.

Slower

.f
I

J7!'?

wP

. Copvright l()t'(tl Dr. Brr\s (BNll). T()onl{) \ll riqhrs rc:crved. Prinrctl in [,'.S.A. nruthoriucrl copvlng. JrrJn-gtn!, Jdrp(rnr. rccrrrding or pufrlie perlorntancc r\ iln rnlnn!cntnt {rl Inlrrnters rrrc lrrhlt' undcr thr lrq

!{)p\t!hl

-:

A '.1;

mazing Grace
a

la CANADIAN BRASS-

Dixie Style

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

he history o this song is interesting. An American, John Neir,rton, was a slave trader for twenty years, and a regular hequenter of tavems and bars. But, as lie is ever-changing, he was convertd to Evangelical Christianiry, moved to England, and became a Minister of tfre Gospel in
l-iverpool. Hs wrot the words that ha\ made this melody amous, and which brought it kom the beer halls to the gospel halls, and, back home to the black funeral Drocssions o New Orleansl

Trumpet l:
The second
of

Horn:

Trumpt

has an unaccompanied solo fot

he frrst 16 bars

AMAZING GRACE-DIXIE STYLE. You &ter, with the rest o the

Quintet, playing a staighlotwad version o the melody. At bar 33, the second Trumpet has a g!!4!g rnrsion of the melody, agah unacompaned. The Quintet enterc again at ba 48 in an up-beat nood. You join with the other Trumpet at 65, echoed by the French llqn and Trombone. All our ol you must play axactly the same style, lapth o notes, and tonguing. Bar 71-72 should the strcngest noE in the entire selection! Try to in@Wrcte bends'in bar 73. Bar 81 is probably the most difrcuh chord to tune in this entire baok Beware!

AMAZING GRACE-DIXIE SWLE teatures the 2nd Trumpet, with two unaccompanied solos, one o which opens the piece. You and the rest ol the Quintet enter in bar 16. The tiplets, which you play through to 3l with the Trombone and the Tuba, must be very clipped, bright, but unobtrusive, so that th Wo Tumpets can be dominant Again, supportive playing. At bar 66, you aN the Trombone echo the two Trumpets: atl lour o you must play in the *me style, length of note and with the same tongung. Bars 69-72 is a duet with the Trombone ; again, identical style must be prcsentad. Bar 8l is probably the nost diflicult chotd to tune in this entire book Eeware!

Wa know that you and your quintet will enjoy this sinpliied version

of

Luher Henderson's trztngement which we have reanded on our


atbum, BASTN STREET BLUES. Fred

We know that you and your Quintet will enjoy this simplified version of

i I
t

Luther Hen&rson's affangement which we have recorded on our album BASTN STREET BLUES.

:
i

i
I

Trumpel ll:
AMAZING GRACE-DIXIE STYLE really highlights the 2nd TrumpeL You have a great deal o work and fun ahead! There are two unaccompanied solos or you, so I suggest that you stand lor the peF ormanca (and you'd batter practice that way as well). Phy the opening solo in '9LUES' style, as i there were no bar lines, and with feeling. Oon't be araid to ad-lib: the notes are only a guife,here. Play this entire piece SOLOISTICAUY, even though occasionally you are doubled by the lst Trumpet (bars 676). Tha changa ol tempo at bar 33 is very considerable. lt is here that you introduce 'SWING'. lsdate the tiplets in bars 52, 58, 60, and d3; practice them slowly, and don't rush them when you are back up to speed. Speaking o triplets, all the doned eighth-sixteenth pattarns should be played in a 2:l ratio - Dixie style. Bar 81 is probably the most dificult chord to tune in :is entire book Beware! Your 'SIow - Ad Lib'at bar 82 could be your frrst real experience at imprcisaton. The six notes are, again, only a guide.

Trombone:
AMAZING GAACE-DIXlE

S|/LE features the 2nd Trumoet.

with two

I
i + r'
.t

i i

unaeompanied solos, one ol which opens the piece. You and the rest ol the Quintet enter in bar 16. The triplets, which you play through to 31 with the French Horn and the Tuba, must be very clipped, bight, but unobtrusive, so that the two trumpets can be dominant. Again, supprtive playing. At bar 66, you and the French Horn echo the two Trumpets: all f our o you must play in the same style, length of note and whh the same tonguing. Bars 69-72 is a duet with the French Hom:
again, identical style must be presented. &ar 81 is probably the most dilficult chord to tune in this entire book Beware!

yout Quintet will enjoy this simplied version ol Luther Henderson's arrangement which we hava recorded on our album BASIN STREET BLUES.
We know that you and

Gene

enjoy this simpliied version ol Luthet Hendersan's affangement which we have racorded on our

We knaw that you and your Quintet will

Tuba:
This selxtion eatures the 2nd Trumoet in two unaccomoanied solos. one of which opens the piece. You entet with the rest o the Quintet playing 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 the notes. Get as much swing into your playing as possibla. Starting again at 48, you have quarter-note accompaniment which wiil put the 'Swing' into the piece or everyone's enjoyment. Play soloistcally! Bar 81 is probably the most difficult chord to tune in this entirc book Beware! The descending scale at bat 84 brings AMAZING GRACE-DIXIE SIYLE to a ining conclusion.

albun, BASIN STREET BLUES. I sincerely hope thatyou can listen to

it.

Good Iuck!

Ron

We know that you and your Ouintet will enjoy this simplified vergon o

Luther Henderson's arrangement which we have recorded on our


atbum. EASIN STREET BLUES.

Chuck

16. AMAZING GRACE

traditional America arrangd by Luther Henderso

adapted by Walter Barne

s: 3r c-tnroet

Slow'tllucs' Stalement
in,r Br In:mpct

l--.

I{om in F

l.ombonc

I-uba

F Hn.

Trb.

Tuba

2?7

rdn

) C()pvri{ht IglilJ Dr. Brlss il}\lt. Tonrntrr ,\ll rilhrs rcrcrrcd. )rrnrcd rn t_'S.A. Llnauthorizctl e1)p\ Int, JTrtn!rrg ,)r l)un,lr( I'crti'nrf,nir r\ Jn Intr!nrcnrenr ,,1 i,)f\rr:-h "U",li,:::.1:.,llJ.rl).u ilrfln!cr\.rrc IrJhlc rrrr,icr {lrc l:rrr

Dixie )=96 r',r.

FHn

lm.

Tuba

F Hn.

Tru.

Tuba

i;;lil '1
:" "
I

i: H:

l:b

T:

oa

oc

@
Trp.l Trp.l

FHr

E,al |,-|

.-+ l. TRUMPET VOLUNTARY


lst
Bb CORNET/TRUMPET

Jeremiah Clarke

(1673'r707)

arranged by Walter Barnes

Maestoso |(.-,

=120

f,
tr.

f;;t IJJI

o Copyright 1988 Dr. Brass (BMI), Toronto


unauthorized copying,

ananginr,".tl,l:*iillt,tJJitf'li:S:*nce
Infringers are liable under ihe law.

is an inrringement o copyright

.t, lst
Bb

2. TRUMfET l'UNb ariu AYK,

Henry Purcell
(

1659-r695)

CORNET/TRUMPET
I

arranged by Walter Barnes

ruNnl -T-oderato )

= 84

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. Infriners are liable unde the las.
D

nuNgl

Moderato

t t] n,'}

/,"

3. CANON

Lst Bb CORNET/TRUMPET

Johann Pachelbel (16s3-1706) arranged by Walter Barnes

E
nw

f; l"l

(: )

(r

+
o Copyright 1988 Dr. Brass (BMI). Toronto All rishts reserved. Printed in U.S.A.
Unau(horized copying, arranging,

udipG, recording.or public

performance is an infringement of copyright.

Infrinsers are liable under the law.

4. ROh{DtrAU
lstBb CORNET/TRUMPET

(l82-1718) arranged by Walter Barnes

Jean-Joseph Mouret

Unauthorized copying, arranging, aOaptlq!, recording.or public performance is an infringement ofcopyright. tnnngers are rraDle under tne law.

"';iifl,: i:g'*?l H,liHbIl'

5. LARGO
from Xerxes
Lst Bb CORNET/TRLJMPET

15

(1685-1759) arranged try Walter Barnes

C'eorge

Frideric Handel

pp

@
nbTo Copyright 1988 Dr.
I

Brass (BMI), Toronto

All 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 J*{ Ut{JKi; s


fram Messiah
lstBb CORNET/TRUMPET

Georse Frideric Handel

arranged

bY

(l85'1759) Walter Barnes

Tempo Primo

e Copyright 1988 Dr' Brass.(BMI)' Toronto r"iti, *-*.1. Printed in u'S'A'


unauthorized copying, arranEing.

'

iiiii!..fiuriJ *1il;;;;bt"'und"'

"ii

ri..ance in" tu*'

is an infringement of copvrighr

alterne

- 69 ryts- bars 58

if necessary

7. MY HEART, EVER FAITHFUL


1st Bb CORNET/TRUMPET

from Cantata No.68

(168s-17s0) arranged by Walter Barnes

J.S. Bach

Moderato

J = 9O

o Copyright 1988 Dr.


unaurhorized copying, arranging.

Brass (BMI), Toronto is an inrringement or copyrighr

".1i Intnngers

ii:i:::i;1..1it'"': i:H:*nce are liable under the law.

8. CONTRAPUNCTUS I
from The Art of the Fugue
lst
Bb CORNET/TRUMPET

(1685-1750) arranged by Walter Barnes

J.S. Bach

nw

cresc.

fl

I
I

Copyright 1988 Dr. Brass (BMI), Toronto All 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. ANDANTE
from the Trumpet Concerto
lst
Bb CORNET/TRUMPET

Franz Joseph Haydn arranged by Walter Barnes

(u32-1809)

Andante

nO

(Euphonium cue)

(Solo Trumpet)

nry

pgp
Unauthorized copying, arranging. adaptl19, recording.or public performance is an infringement of copyright lnlnngers are liable under the law.

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

10. COR ROYAL


lst
Bb CORNET/TRIIMPET

25

chorale by Philipp Nicolai (1556-f608) obbligato melody by Peter Cornelius (1824-1874) arranged by Walter Barnes

Copyright 1988 Dr. Brass (BMI), Toronto All riehts resewed. Printed in U.S.A. Unauthorized copying. arranging. aOlptllg, recording.or public performance is an inlringemenr o[ copyrighr
@

lnlnners are llaDle unoer tne law-

zt

11. SAKURA
(Cherry Blossoms)
traditional Japanese ananged by Walter Barnes

LstBb CORNRT/TRIJMPET

=8+

Slightly Faster

Copyright 1988 Dr. Brass (BMI), Toronto All rishts reserved. Printed in U.S.A. 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 Japanese
arranged by Walter Barnes

T$tBb CORNET/TRT]MPET

;::

J=6o

..'

i
.;

it

unaurhorized copying, arranging.

" fii$|l: l::''""i

m,s'liI:""
#,?i*cc

"*f,X"fi;ffi:*,c"f,:t"tt::

is an infringement of copvright'

12. FARAI\DOLE
from LArlesienne Suite No. 2
lst
Bb CORNET/TRLJMPET
Georges Bizet

(1838_187s)

arranged by Walter Barnes

)=llz

p @

Picc.

if available

cresc.

Copyright 1988 Dr. Brass (BMI), Toronto All rishts reserued. Printed in U.S.A. Unauthorized copying, arranging, adapting, recording or public performance is an infringement of copyright. Infrinsers are liable unde the law.
@

13. TOREADOR SOI\G


from Carmen
lst
Bb CORNET/TRLIMPET Georges Bizet

(r838-r87s)

arranged by \{alter Barnm

J=eo

v4 yt{t il tl

>

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

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

14. HAVA NAGILA


lst
Bb CORNETiTRUMPET

35

traditional Israeli
arranged by Walter Barnes

I /:

o Copyright t988 Dr. rass (tsMt), Toronto


Unaurhorized copying, arrangint,

",ttitJ"t"""'"r**

iXrY;t*"."

is an infringement

of copyright.

t5;.

{u*l ll Cloy, (Jo/L t/

7^l

,?'v.

16. ANIAZING GRACE


lst
Bb CORNET/TRUMPET

39

traditional American arranged by Luther Henderson adapted by Walter Barnes

SIow "Blues" Statement

t-.:t

lrrl A

o Copyright 1988 Dr.


Unauthorized copying, amanginr,

Brass (BMI), Toronto

;X,Y;:,f;nce ",:iJ.:"#""J;.t;i: the law. Inlnners are llable under

is an inrringement or copyright

I. TRUMPET VOLUNTARY
2nd Bb CORNET/TRUMPET

(1673-r707) arranged try Walter Barnes

Jeremiah Clarke

) =0o

o Copyright'1988 Dr. Brass (BMI), Toronto All rights reserved. Printed in U.S.A. Unauthorized copying, arranging. adaptrng. recording.or public performance is an infringement ofcopyright Inlrinsers are liable under the law.

':t

2. TRUMPET TUNE and AYRE


:nd
Bb CORNET/TRUMPET

Henry Purcell (16s9-169s) arranged by Walter Barnes

{-

o Copyright 1988 Dr. Brass (BMl), Toronto AII 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
2nd Bb CORNET/TRUMPET
Johann Pachelbet (r653_1706) arranged by Walter Barnes

o Copyright 1988 Dr.


unauthorized copying,

arrangir
't,

All nghts reserued Printed in U

Brass (BMI), Toronro


S

A'
is an inrringemenr or copyrighr

"tlilllil,ot0.' l#t",i""""

4. RONDEAU
2nd Bb CORNET/TRUMPET

Jean-Joseph Mouret (l 682-l 738) arranged bY Walter Barnes

Brightly

= 8+

nw

(l

Brass (BMI), Toronto Rl'ris:hts reserved. Printed in U.S.A. Unauthorized copying, ananging, adaptlqB, recording.or public performance is an infringement ofcopyright Infrinsem are liable under the law.

o Copyrieht 1988 Dr.

wl
H:
I

5. LARGO
from Xerxes
2nd Bb CORNET/TRUMPET
C'eorge

15

ffr i:r

Frideric Handel

ti,
t:tl
rll

(185-1759) arranged by Walter Barnes

-:e llj
t

^ -l
o Copyright 1988 Dr. rass (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.

6. HALLELUJAH CHORUS
from Messiah
-JNd Bb CORNET/TRUMPET
George Frideric Handel (1685-1759) arranged by Yf'alter Barnes

Tempo Primo

Unaurhorized copying, ananging, ada'tin,

ll';: i*"J :,Jll'li3:".. is an infringement of copyright. pcrformance


public t "oino. fnfriigen are lble under ihe law'

abernate tpts. bars 58 - 69 ifnccessary

Slow

7. MY HEART, EVER FAITHFUL


from Cantata No. 68
2nd Bb CORNET/TRUMPET

19

(r685-r750) arranged by Walter Barnes

J'S' Bach

Copyright 1988 Dr.

Brass (BMI), Toronto

unaurhorized copying, amanging,

,,itr:"::':i1""';,tJlt

lnrnngers are tlaDle under the law.

il"Y;?,f;nce

is an inrringement or copyright

8. CONTRAPUNCTUS I
from The Art of the Fugue
2nd Bb CORNET/TRUMPET
J.S. Bach

068s-17s0 arranged by Walter Barner

\-/

o Copyright 1988 Dr.irass (BMI), Toronto All 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.

9. ANDANTE
2nd Bb CORNET/TRUMPET Andante

23

from the Trumpet Concerto

)=so

Franz Joseph Ha.ydn (1732-1909) __ arranged by Watter Barnes

pp
o C^oByright 1988 Dr.
unauthorizedcopying,ananginr."fi
Brass (BMI), Toronro is an infringement ofcopyright

lntnngers are liable'undei

,ilt_1..::',"J1"?".t;ilf; :inu.S.A. performance

IO. COR ROYAL


2nd Bb CORNET/TRUMPET

25

chorale by Philipp Nicolai (1556-1608) obbfigato melody by Peter Cornelius (1824-1874) arranged by Walter Barnes

F-ry
o Copyright 1988 Dr.
u
nau
r

Brass (BMl). Toronlo


i

hori zed copy

i n g. a rra

ngin

g.,

,l

rnrrngers are liable

.:""':Ji" ;,tJ ilf; :

n u s'A' is an infringement of copyright'

,"0.; f,r"J,?t#""ce

11. SAKURA
(Cherry Blossoms)
traditional Japanese
arranged try Walter Barnes

z/

2nd Bb CORNET/TRUMPET

J =s+

Brass (BM[), Toronto nil-rihts reserved. Printed in U.S.A. Unauthorized copying, arranging. adaptirig, recording or public performance is an infringement ofcopyright Infringers are liable under the law.

o Q6pyrisht 1988 Dr.

KIMIGAYO
(Prayer to the Emperor)
traditional Japanese
arranged by Walter Barnes

znd Bb CORNET/TRUMPET

J=oo

o Copyright 1988 Dr.

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

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

Brass (BMI), Toronto

I2. FARANDOLE
from LArlesienne Suite No.2
Georges Bizet

2.sb coRNET/TRUMPET

(r838-r87s)

arranged by Walter Barnes

t,,^ a= Llz

Copyright 1988 Dr.

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

Brass (BMI), Toronto

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

'Jl

13. TOREADOR SONG


from Carmen
2nd Bb CORNET/TRUMPET
Georges Bizet

(r838_187s)

arranged by Walter Barnes

;t.l a -----

=--

unauthorized copying,

arrangir

o Copyrighr 1988 Dr. Brass {BMI), Toronto All ngnts reserved Printed in U'S'A'
performance is an infringement of copyright

"' '"1ilfi!iil,lo:oo'::

T4. HAVA NAGILA


traditional Israeli
arranged try Walter Barnes 2nd Bb CORNET/TRUMPET

| -^ a=lz

o Copyright 1988 Dr.

Brass

tBMlt. Toronto
U.S.A.

All riehts reserved. Printed in

Unauthorizcd copying. arranging. ada,ptin-g, recording.or public pcrformance is an infringement of copyight lnfrincers are liable under the law.

15. JUST A CLOSER WALK

t traditional American arranged by Don Gillis


adapted by Walter Barnes

2nd Bb CORNET/TRUMPET
Slow

Walk J =66

More Jazz Style

Slower

o Copyright 1988 Dr. Brass (BMI), Toronto All rights reserued. Printed in U.S.A.. unauthorized copving' arranging'

"o',0"ti,1fi;:""1,f,:t"ta':: ln'J',""'f

"""

is an infringement or copvright'

16. ANIAZTNG GRACE


2nd Bb CORNETiTRUMPET

39

traditional American arranged by Luther Henderson


adapted by Walter Barnes

Slow "Blues" Statement

= 6O

l-r7

73-1

A Dixie )

= 96 ad lib.

o Copyright 1988 Dr.


unauthorized copying, arranginr,

Brass (BMI), Toronto

"Jl:J.:""'.il?q.tJlii,i the law. lnrnngers are IlaDle under .:*;"""

is an inrringement or copyrishr

1. TRUMPET VOLUNTARY
F HORN

Jeremiah Clarke (L673-L707) arranged try Walter Barnes

Maestoso

=QO

Brass (BMI). Toronto Ail-rihts 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.

o Copyrisht 1988 Dr.

2. TRUMPET TUNE and AYRE


Henry Purcell
(1659-169s)

arranged by rvValter Barnes

HORN

-;;f lol

Copyright 1988 Dr. Brass (BMI), Toronto All rishts reserved. Printed in U.S.A. Unauthorized copying, arranging, adaptin-g. recording or public performance is an infringement ofcopyright
@

Infrinpers are Iiable under the law.

lAYREI4n42n1s

Ail'ris-hts reserued. Printed in U.S.A. Unauthorized copying, arranging. ad1n1i1S. recording.or public performance is an infringement of copyright lnfrinsers are liable under the law.

o Copyriqhr 1988 Dr.

Brass BMI), Toronto

3. CANON
Johann Pachelbel

(1653-r706)

F HORN
a-J-

arranged by Walter Barnes

l-.,

^lrt
|

f,
|
I

ff d.t
.,

.,

o Copyright 1988 Dr. Brass (BMI), Toronto

unauthorized copying, arranginr.

*ti',:triti?i!ts.trl,tt'"'.t;:#i*nce
lnfringers are liable under ihe law.

is an inrringement or copyrighr

13

4. RONDEAU

Jean-Joseph Mouret (1682-1738) arranged bY Walter Barnes

Copvrisht 1988 Dr. Brass (BMI), Toronto

Al'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.

15

5. LARGO
from Xerxes
F

(168s-17s9) arranged by Walter Barnes

George Frideric Handel

FHORN
Largo

=72

unauthorized copying, arranging,

' fl 'f"'ft 3:?J: i Jo'l' ii 'tt"*J:::;j'#i*l[: A"y;U*ce

:*'

is an infringement of copvrisht'

6. HALLELUJAH CHORUS
HORN

'tt

from Messiah
Allegro J =
9O

(r68s-r759) aranged by \{alter Barnes

George Frideric Handel

f,

Tempo Primo

Unaurhorized copying, arranging adaptinig, recording or public pcrformance Infringers are liable undc th law.

o Coovrisht lgEE Dr. Brass (BMD, Toronto nle-hs reserved Pintd itr USJau

ii

an infringemeot of copyright

,,

j,b

17

rs

"'.$l

:r$
'''H
L
;1:

, r'$l

$ i

,1

rt

rt

Slow

7. MY IIEART, EVBR FAITI{FUL


from Cantata No. 68
arrangd
FHORN
J.S. Bach (168s_17s0) by Walter Barnes

10

o Copyright 1988 Dr.

Brass (BM[), Toronto

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

All riehts reseryed. Printed in U.S.A.

8. CONTRAPUNCTUS I
from Thc Art of the Fugue
FHORN
arranged by rffalter Barnes (168s-17s0)
J.S. Bach

zl

J=oo

Unauthorized copying arrangine,

o Copyright l98E Dr. Brass @MI), Toronto All rishts rserved. Printed in U.S.A.

"&t j:!:f_.9ldllgp,t-?:qti: the lawInfringers are liable under

performance is an infringement of copgighr-

!:'.

9. ANDANTE
from the Trumpet Concerto
-ged by

23 Franz Joseph Haydn (1732-1809)

Walter Barnes

Andante

)=

no

o CoDvrisht 1988 Dr.

Brass (BMI), Toronto

Ail'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 ROYAL


FHORN

chorale by Philipp Nicolai (1556-1608) obbtigato melody by Peter Cornelius (1824-1874)

arrangd

by r#alter Barnes

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

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

ffi'
;

11. SAKURA
(CherryBlossoms)
traditional JaPanese
arranged by Walter Barnes

27

I
d

{ {
x

i
1

nw

mf

Unauthorized copying. arranging, aaa-ptift, recording.or public performance is an infringement ofcopyright. lntflnpers are lrable under lhe law.

' ,i'^i:

13,'"o*: "#,i1

Jo'

l'

I'

KIMIGAYO
(Prayer to the Emperor)
lORN J =60

',>'

traditional Japanes
arranged by Walter Barnes

13,1?"?;: "ffr Unauthorized copying, ananging, adapt5l"S, recordir.rg or public perf.ormance is an infringement of copyright. Infrinsers are liable under the law.

'

'i!'n

nSl'li3..

12. FARANDOLE
-*IORN

from L'Arlesienne Suite No.2


Georges Bizet

l-rrr

arranged by lValter Barnes

0838-187s)

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

Unauthorized copying, arranginr,


I : j. rr.. .

"li**:"ffiif""rrt###nce Infringers are liable und the law' t.i


,"'"..'.' ,

is an infringernent
.

orcopyright

'i t'

13. TOREADOR SONG


F HORN

ftom Carmen

Georees Bizet

(1858-187s)

arranged by \{alter Barnes

ri

a tempo

Vl o,"^po

L
Unauthodzed copying arranging,

" "'fioi"nH lli""" nerformaoce is an infringement "l--fr-f;fi!; lblender itre law' "4il;ir"ifig-dpuutic "*

H,Sf?i:i"'

of copyright'

14. HAVA NAGILA


FreetyJ =72
(Ramshorn)

35

traditional Israeli
arranged by Walter Barnes

[Tromone cue] fr,p

(Ramshorn-open, with raised tlell)

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

15. JUST A CLOSER WALK


FHORN SlowWalk J =66

traditional American arranged by Don Gillis


adapted by

\{alter

Barnes

E to."

Jazz Style

:l

,3 1l

l.

Unauthorizcd copying, arraogino

"ff Tl'ill*l"iH"f ?ii"' .*fl"lg;ff";$t"r.,:fi5


#,:iancc

is an infingement of copyrighc

16.
FHORN

A]V'.{AZING GRACE

39

traditional American
arranged tly Luther Henderson
adapted by Walter Barnes

o Copyright 1988 Dr.


Unauthorized copying, arranging,

Brass (BMI), Toronto

".11.,trli:::ffi1.t;,:ml;:#ri*nce lntnngers are liable under the law.

is an inrringement or copyright

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


TROMBONE
Maestoso

VOLUNTARY
(1673-1707) arranged by \{alter Barnes
Jeremiah Clarke

) =Q0

rtt.

o Copyright 1988 Dr. Brass (BMI). Toronto


All riehts reserved. Printed in U.S.A. Unauthorized copying, arranging. aaapq{, recording.or public performance is an infringement of copyright. lnrinsers are liable under the law.

*u
-ROMBONE

';.J'

2. TRUMPET TUNE and AYRE


)
,

Henry Purcell (16s9-r69s) arranged by Walter Barnes

ITUNE-I
Moderato

=84

o Qopyrisht 1988 Dr.

Brass (BMl), Toronto

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

Aftsrs reserved. Printed in U.S.A.

fi*/
TROMBONE

11

3. CANON

Johann Pachelbel (16s3-1706) arranged by Walter Barnes

mf,

l; t:1

mf

(:)

o Copyrisht 1988 Dr.


Unauthorized copying, arranging,
ada_pt1-rig.

niiri'trts reserved. Printed in

Brass (BMI), Toronto U.S.A.

recordir.rgor public performance is an infringement of copyright. Infrineers are liable under the law.

" TR'MB'NE Sohut((a- n1t a^ps,ctu<-**


BrightlY

4. RONDEAU
Jean-Joseph

13

Mouret

)=S '

, '

arrangedrr*t-:lll::]

mf,
,

nt.

Unauthorized copying, arranging, adaptin"g, recording or public performance is an infringement of copyright lfriisers are lible under the law.

'';n'ls,,:

i3$'*?

H'"i$PtI:i:

*'

1tr

5. LARGO
from Xerxes
TROMBONE
George Frideric Handel (r68s-l 7s9) arranged by Walter Barnes

nf= rtt.
o Copyright 1988 Dr. Brass (BM), Toronto All rishts reserved. Printed in U.S.A. Unauthorized copying, arranging, adlpt!r1-e, recordiLg or public perf.ormance
lnfrinsers are liable under the law.

is an infringement

of copyright.

6. HALLBLUJAH CHORUS
from Messiah
{OMBONE

'r-.*,

George Frideric Handel (1685-1759) affangd by Walter Barnes

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

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

17

19

7. VtY HEART, EYBR FAITITFUL


TROMBONE

Euphonium.',1 \

frorn Cantata No. 68


arranged by
r

J'S' Bach (r68s-1750)

prferably

\{alter

Barnes

Moderato J =90

-(r)

''tn'tsl.:
-

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

i3$? "ilH'ulll

*"

8. CONTRAPUNCTUS
from
TROMBONE
Thc

I
J'S' Bach

21

Art of the Fugue

(1685-r750) arranged by Walter Barnes

ry
@
5

f
@

Copyright l9E8 Dr. Brass (BM[), Toronto All 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.

9. ANDANTE
from the Trumpet Concerto

23 Franz Joseph lfuydn


(1732_r809)

(,".rlf#iD
Andante

TROMBONE

arranged by \{alter Barnes

)=9O

o Copyright 1988 Dr.


Unauthorized copying, arranging,

Brass (BMI), Toronto

".til,"ii:::i:1.tfi:lHl*nce lnmngers are ltable under the law.

is an inrringement orcopyright

25

10. COR ROYAL

chorale bv Philipp Nicolai (1556-t608) obbligato melody by Peter Corneliu-s- ( 1824- 1874) aranged bY \{alter Barnes

TROMBONE

Copyright 1988 Dr. Brass (BMI), Toronto niiriihts 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)
arranged by Walter Barnes

27

traditional Japanese

Slightly Faster

Copyright l98E Dr.

Brass (BMI), Toronto

unauthorized copying, arranging,

"$i',1"trlliiii!t;"tl,i1"t"t$.;l*".. Infringers are lible under ihe law.

is an infringement orcopyrisht.

KIMIGAYO
(Prayer to the Emperor)
traditional Japanese
arranged by Walter Barnes

_TROMBONE
t

J=60

nf,

'',i,lg*i,i3$1"".i'i,$\$',il:"'
Unauthorized copying, arranging, adaptin-g, recording or public performance is an infringement of copyright. Infringers are liable under the law.

-i_

,r

12. FARANDOLE
-TROMBONE

from LArlesienne Suite No. 2

Georges Bizet

(r$8-1875)

arranged by Walter Barnes

ry

rnf

''ifi
unauthorized copying, arranging,

'L:

i:;s"

u';,51l',il:*'
is an infringement of copyrighr

"o

,o#tful?il,:r.,:r"t' e"J,:iance

31

;f

cresc.

.?.',.

I.3. TOREADOR SONG


from Carmen
TROMBONE
Georges Bizet

(r838-187s)

arranged by Walter Barnes

mf,

tr
+e-l

Unauthorized copying, arranging. adlpt!4g, recordilg.or public performance is an infringement of copyright. Infringers are liable under the law.

";fi

'Ift i:g*"',i[li'::'

f{ar* Na$}iIa
r ornir nrr

* i:
i.-., c; il

14.Ha\'ir nagi ln

trarJ.EraE li rr.lrj.arrr*:
ril-l

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

"r,p
"*'..,@."

--.1"
tri r: C| ,: i' ;r t

d(:rg.
,;,

,f

r1l

i,*r

,lt
p"

qir::

rari.r

,.ffi:

faster

iffii

37

15. JUST A CLOSER \ryALK

arranged bY Don Gillis adapted 5Y Walter Barnes

traditional American

TROMBONE
I

SlowWalk J =66

| 181

Mo." JazzSyle

''illi,|:
unauthorized copying, arrangint,

"',:l\'::*' "iilg?;if";r.;l,t"tt"*t:: ff;gance


"3$'*?.

is an infringement of copvright'

16. AMAZING GRACE


arrangd
TROMBONE
Slow "Blues" Statement

39

traditional American
by Luther Henderson adapted by Walter Barnes

J =60

'
Unauthorized copying, arranging,

tiff

aaa-pt!r1"e,

recordir.r8 or public performance is an infringement of copyright. lnlnneers are llable unoer me law.

'fL: i:.'.'*?[..',:?Yi'::'

1. TRUMPET VOLUNTARY
Jeremiah Clarke (1673-1707) arranged by Walter Barnes
I

Maestoso

= l2O

o Copyright 1988 Dr.


unauthorized copying, amanging,

Brass (BMI), Toronto

;1'"rj*;nce is an infringement or copyright. "ti,lltrl":;:*"' trf;: the law. Infringers are lible under

'l.f

2. TRUMPET TUNE and AYRE


]BA

Henry Purcell (1s9-r69s) arranged by rffalter Barnes

trENE-l Moderato

= 84

o Copyright 1988 Dr. Brass (BMl), Toronto Riirihts reserved. Printed in U.S.A.
Unauthorized copying. arranging, adaptin-g. recording or public performance is an infringement ofcopyright Infringers are liable under the law.

IAYREI Andante

11

3. CANON
)=5q
(:
)

Johann Pachelbel
(1653-1706)

arranged by Walter Barnes

''ifi

Unauthorized copying, arranging, ada,plq-g, recordingor public performance is an infringement of copyright. lnfrinsers are liable under the law.

'li,i,: i3$'"31.

ui,',:l Yll'I::

"."

13

4. RONDEAU
TUBA
(r682-1738) arranged by lValter Barnes
Jean'Joseph Mouret

Brightty

=8q.

o Copyright 1988 Dr. Brass (BMI), Toronto All riehts reserved. Printed in U.S.A. Unauthorized copying, arranging, ada,pqrig, recordir.rg.o.r public performance is an infringement of copyright. Inrinpers are liable under the law.

5. LARGO
from Xerxes
TUBA
(168s-r7s9) arranged by Walter Barnes
George Frideric Handel

15

Largo ) =72

ry

f? t:11
mf,

@ Copyright 1988 Dr. Brass (BMI), Toronto All riehts reserved. Printed in U.S.A. Unauthorized copying, arranging, aOa.ntjq-C, recordilg,or public performance is an infringement of copyright. Infringers are liable under the law.

6. HALLELUJAH CHORUS
TUBA
Allegro J
= 96

"i )'

from Messiah

George Frideric Handel

(r68s-17s9)

arranged by Walter Barnes

f
Adagio

| -'

Edt
I

Tempo Primo

'
Unauthorized copving. arrangint,

tiflJJ,*,',
13,'"'*o";:

.o"ro#,fi;lill,ff,:r"t,::

i,:H bI*."

peormance is an infringement of copyrighr

17

7.

MY IIEART, EVER FAITIIFUL


from Cantata No. 68
(168s-r7s0)
J.S. Bach

19

arrangd by \{alter Barnes

Moderato.l =!Q

'nw

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

nit-rirs 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.

8. CONTRAPUNCTUS I
from
The

21

Art of the Fugue

(1685-r750)

J.S. Bach

arranged by Walter Barnes

I
1

''1rl''::&'u',:l1l'b:'
Unauthorized copying. aranging, ada.ptl!. recording.or public performance is an infringement of copyright. lnlnnsers are llable under the law.

9. ANDANTE
from the Trumpet Concerto
TUBA
Franz Joseph Haydn arranged by Walter Barnes
(1732_1809)

23

Andante rb=no

Ppp
o Copyright tggS nJsrass (SMI), Toronto
unauthorized copying, arranging,

j-rli::::ffit .tfttff;:#.1,1;"." Infringers are liable under ihe law. "tlt

is an inrringement or copyrishr

10. COR ROYAL

25

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

p_w
r
i; it
t1

o Copyright 1988 Dr.


Unauthorized copying, arranging,

Brass (BMI), Toronto

".tl li:i:::,i!1.trtiti,j;:.H"Hnce Infrinsers are liable under the law

is an infringement or copyright.

11. SAKURA
(CherryBlossoms)
traditional Japanese
arranged by Walter Barnes

27

TUBA

Slightly Faster

nw

Copyright 1988 Dr. Brass (BMI), Toronto All rights reserved. Printed in U.S.A. Unauthorized copying, arranging, adapting, recording or public performance is an infringement of copyright. nfrieers are lblender ihe law.
@

KIMIGAYO
(Prayer to the Emperor)

'i'.*

traditional JaPanese
arranged by Walter Barnes

'
Unauthorized copying, arranging,

tio,

ada-pt1q-g,

recording,or public performance is an infringement ofcopyright. Ihfringers are liable under the law.

,'fiL: H,t"t*?i:

t;il',51l'.rl::"'
,dn

"r',Y

12. FARANDOLE
from LArlesienne Suite No.2
Georges Bizet

(r838-187s)

=112

o Copyright 1988 Dr. Brass (BMD, Toronto


All 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.

13. TOREADOR SONG


from Carmen
Georges Bizet

(1838-1875)

arranged by Walter Barnes

,)=96

a tempo

ffi
ffi

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

' 'ltl"

l3,X3i:

uJfi

ii3l'li

I:"'

14. HAVA NAGILA


traditional Israeli arranged by Walter Barnes

35

P-f

mf tilj "
t--;t

f
tc

o Copyright 1988 Dr. Brass (BMI), Toronto All riehts reserved. Printed in U.S.A.
Unauthorized copying, arranging,

"o"rn",rlg;ll?i.oJ,gf,:r#tat::

performance is an infringement of copyright.

15. JUST A CLOSER WALK


T{IBA
SIow Walk

37

traditional American arranged by Don Gillis


adapted by Walter Barnes

)=6a

More Jazz Syle

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

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

T6. AMAZING GRACE

39

traditional American arranged by Luther Henderson


adapted by Walter Barnes

Slow "Blues" Statement

J = 6O

zt

Dixie

=96

o Copyright 1988 Di, Brass (BMI), Toronto All rights reserved. Prihted in U.S.A.
Unauthorized copying, arranging, adaptjng, recording.or public performance is an infringement of copyright. lnhngers are liable under the law.