BACH & TELEMANN Twenty-Six Etudes for Trumpet Art of the Phrase Edited by Michael Ewald Professor of Trumpet University of Illinois Exclusively Distributed by Carl Fischers 65 Bleeker St, New York NY 10012 httpv/www.carlfischer.com Balquhidder MusicBach & Telemann ~ Art of the Phrase Edited by Michael Ewald, Professor of Trumpet, University of Illinois Since 1990, Michael Ewald has been trumpet professor at the University of Ilinois in Urbana- Champaign. He serves as the head of the brass division and the advisor to all brass graduate students. Before his tenure at Illinois, he taught at McNeese State University in Lake Charles, Louisiana and Delta State University in Mississippi. He performs as Principal Trumpet in the Sinfonia da Camera and the Champaign-Urbana Symphony Orchestras and has recorded with both groups. He has also performed with the Chicago Chamber Brass and the Chicago Brass quintets as well as the Millar Brass and the Tower Brass of Chicago. For eight seasons he was Principal Trumpet with the llinois Symphony and Chamber Orchestras. He and his students have been frequent participants and performers in many of the International Trumpet Guild events, including the Festival of Trumpets and the various student solo and orchestral ‘competitions. His former students hold positions in many colleges and universities in the United States and many orchestral and commercial groups performing throughout the U.S. and Europe Ewald holds the Baccalaureate and Master degrees in trumpet performance from California State University at Northridge and the Doctorate of Musical Arts from the University of Southern California, His former teachers were Mr. John Clyman and Mr. Jimmy Stamp. BQ-058, ISBN 0-8258-3563-4 $11.95 USA © Copyright 1999 by Michael Ewald Printed in the United States of America Published by Balquhidder Music PO Box 856 Montrose CA 91021 USA Tel/Fax: 618-957-1726 E-mail: balqmusic@earthlink.net http://home.earthlink.net/ ~ balqmusicPreface/Ornaments 5 Ryde Menuetto | 7 Sonata | for Flute and Continuo Menuet 8 Six Suites for Clavier Menuetto 9 Six Suites for Clavier Menuet 10 Six Suites for Clavier Allegro | 12 Sonata I! for Flute and Continuo Allegro It 14 Sonata I for Flute and Continuo Allegro Il 16 Six Suites for Clavier Allemande 18 Suite IV of Six Suites for Clavier Anglaise 19 Six Suites for Clavier Aria, moderato 20 Aeolus, Dramma Per Musica Bouree | 22 Six Suites for Clavier Bouree Il 23 Six Suites for Clavier Fantasia 24 Five Inventions for Clavier Gavotte 25 — Six Suites for Clavier Gigue | 26 Six Suites for Cello Gigue I 28 Six Suites for Cello Largo 30 Four Inventions for Violin Sarabande 31 Six Suites for Clavier Presto 32 Cantata in G minor Aria, vivace 34° Cantata! ed Vivace 36 Sonata in A Minor Spiritoso 37 Sonata in A Minor Grave 38 12 Fantasias for Flute Largo 40 12 Fantasias for Flute Vivace 42.12 Fantasias for Flute Bouree 44 12 Fantasias for FlutePreface “To begin a study in the "art ofthe phrase", the student has to integrate the many areas of music (history, theory, education and cones own instrument) as one subject. When you look at works like those contained in this book, do not think about the trumpet and its components (fingerings, lps, slides, mouthpiece pressure, mechanics), but rather of all the things that make a piece of musi stylistically corect and above all beautiful ‘Ask yourself questions like, what key is the work written in, where are the cadences and phrase endings? Remember your study of non-chord tones keeping in mind whether they are strong beat (appoggiatura, escape tone etc.) or weak beat (passing tone, etc). Each type dictates an approach to the music. Consider the dates of the composer and study the performance practice of the times. How is a tll properly begun and terminated during this period? What is the difference between a mordant and an inverted mordant?: Then begin to interpret the works with a sense of making beautiful music, changing styles with each pieces as the title suggests, Gigue, Sarabande, Gavotte, etc, The goal is for you to perform each piece with a sense of freedom within a structure conducive to the performance practice of the period and to make beautiful music. Note to the teacher: My hope is that this book will provide a starting point for discussion between you and your students about the art of phrasing and performance practice of the times. To this end, I have kept close to the original and left out phrasing indications. ‘Additional sources to study would include: A. Carse: The Orchestra in the Eighteenth Century (Cambridge, 1940}; T. Dart: The Interpretation of Music (New York, 1963); Grove's Dictionary of Music and Musicians, (New Edition) articles on Baroque Interpretation, Expression, Omamentation; Rosalyn Turek: An Introduction to the Performance of Bach, Volume 1, (Oxford University Press (SBN 19-373876-7), p. 5, *Phrasing®. Table of Ornaments Trills ‘The til is performed withthe emphasis onthe fist beat. It begins on the upper note om the beat. ‘eonsss ofthe vorschlag (the fst note of the il), the til self and the nachschag he termination ‘ofthe wil) Emphasis should be on beauty ofthe musical line not onthe speed ofthe wl a ‘Appoggiatura ‘These grace notes should be thought of as strong beat aon-chord tones. In Bach they usually ‘occur ata cadence point and the emphasis shouldbe on the fist note with the longer note receiving less. Inverted Mordent written oy performed, with emphasis on the first beat Mordent written performed or‘The menot or menueto was associated withthe dance ofthe 17h Cntr. The tempo was very moderate “ake cae in executing he ils op down) s the musical lines smo even an sate. Menuetto I ta I for Fl i : Sonata I for Flute and Continuo Johann Sebastian Bach edited by Michael Ewald ‘Menuetto Il FINE Menuetto |. Da Capo * Copyet 1999 Michel ald aMenuet from Six Suites for ClavierMenuetto from Six Suites for Clavier 9 sq0s8Menuet _from Six Suites for Clavier 10 5.058" 058eb vay te te fora Baroque Allegis of im secon Allegro I Zipsnade spent Sm na sing an ae {Gch nth beter ea: ong Sonata II for Flute and Continuo afte since note arpeggios, a mesures 12 80.05813 0.038Allegro II Sonata I for Flute and Continuo Teeget eee ceerrerccorr ere 4 5058so.088 15'npefooing tis Allepo, it my be dite © maintain an even, smth sound Allegro III credo tpsalye notes neta nda abet pe eee _from Six Suites for Clavier " cae 16 sQ.058sassAllemande “he Allerande was a sized dance ofthe 178 Cet. lo psorming his work, ste bea or arden sleeps an con hs th beats - two and four Take caret maintains muselbresth smear eg where the Suite IV from Six Suites for Clavier Bhreends an ete ae ean one ae oe Peo al ners End inverted mardnts in moot, singing anne 18 aqossAnglaise from Six Suites for Clavier BQ058Aria from Der Zufriedendestellte Aeolus, Dramma Per Musica Moderato 20 saosee onan aS I i | fy i . fy ges Ky » a ohn Ec 3 21Bourree I from Six Suites for Clavier “he douree was a dnce in quick meter wth ingle upbeat. Pevorm them without feling of ushing, especially i tbe cadences. Alwaye mana 2 mus! Now © Copyiht 1998 Michael Ewald 22 0.058Bouree IT from Six Suites for Clavier 23 eq.0s8Fantasia The Fantasia was a composition where eedom preva rather thin ast om, Berm the work wir inte pas one seat sed rn pd _from Five Inventions for Clavier Siete hecacence tha sip crane tough nese 38 24 BQ0s8The Gave wat dance wich eis wih an pesto wo uae, Gavotte ‘de pz enn nee te mes Boa em aceptains cag sat manner from Six Suites for Clavier ‘ph 4 : san dfe = Pap ee mf —— +m 25 so.058th Cenury Dance Suite rae al noes even aid Gigue I from Six Suites for Cello 26 500587 BooseGigue IT _from Six Suites for Clavier 28 2q.0ss29 80.058Largo "Wises ay on singed mtament nd fet one vane sar (he ech Creu wih nce apy tn Paths from Four Inventions for Violin Sone feeling of tempo and emphasize beats one and ce 30 200553I Sarabande from Six Suites for Clavier B05Presto from cantata in G minor 32 BQ058Aria Verstumme, Hollenheer, from Cantata I Vivace 34 2005835 sQ0s8Vivace from Sonata in a minor ‘The following Telemann Vivace 2nd Spinto are fom the Sonata for Oboe nA minor. Play both piece as youd the ach Algo Georgy Philip Telemann 36 0.058Spiritoso from Sonata in a minor 37 aq0seSrom 12 Fantasias for Flute mmarated ech ccienand fora he ae nn cee ih Grave 38 BQ05839 sQ058Largo from 12 Fantasias for Flute Largo Vivace Vivace 40 8.05841 0.056Vivace ‘fiom 12 Fantasias for Flute Vivace 4 SS > & a ee s 42 sqossAllegro 43 5058Bouree from 12 Fantasias for Flute 44 0.058