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Multiples, if any, are not shown in this system.
Honegger Intrada, H.193 (1947)
The first number stands for Trumpetthe second for Hornthe third for Trombonethe fourth separated from the first three by a dot for Euphonium and the fifth for Tuba. The present work opens with a cadenza for the trumpet, as though summoning the listener to the bullring. There is a website that has an exhaustive biography of Arthur Honegger. In this next clip I offer two breathing suggestions. Other Required and Solo parts follow the strings: Arthur Honeggerwho like a number of other French composers in the late nineteenth and early twentieth centuries took an interest in Spanish music, adopted and adapted the intrada into an independent chamber form.
Whenever this occurs, we will separate the first four digits with commas for clarity. Jazz Latin New Age. Streams Videos All Posts. Share on facebook twitter tumblr.
Measures Set the Allegro section tempo at whatever rate you can triple-tongue the passage beginning at Transition to firmer articulation and rhythm at rehearsal 3 to begin the set up for the Allegro at Honegger – Intrada January 7, I strongly encourage you to get acquainted with a few and develop your own opinion to the interpretation.
Did Honegger write both of them? He continued to study through the sbefore writing the ballet Le dit des jeux du monde ingenerally considered to be his first characteristic work.
Intrada, for trumpet & piano in C major, H. 193
Honegger was obviously a string player! There is no low brass.
String Instrumentation Codes Following many of the titles in our String Ensemble catalog, you will see a set of four numbers enclosed in square brackets, as in this example: Sexy Trippy All Moods. Strings are a standard configuration 4 first violin, 4 second violin, 3 viola, 2 cello, 2 bass. A short reprise of the solemn middle section brings the work to a dignified conclusion. I justify breathing after beats 2 in and to maintain the same shape the phrase begins with in Copland Fanfare for the Common Man [ AllMusic Featured Composition Noteworthy.
The first number stands for Flutethe second for Oboethe third for Clarinetthe fourth for Bassoonand the fifth separated from the woodwinds by a dash is for Horn.
Note also that the separate euphonium part is attached to trombone with a plus sign.
This is standard orchestral nomenclature. In this case, the winds are all doubled 2 flutes, 2 oboes, 2 clarinets and 2 bassoonsand there are two each horns and trumpets.
The tendency at rehearsal 4 is to turn everything into half-notes and create a hemiola effect 2 over 3. Anyhow, a lot of players like to intrqda the material between rehearsals 2 and 3 four and sometimes five phrases by breathing after the long notes in the middle of the two big phrases. Fog finally, here is one more way to visualize the above code sequence: Other Required and Solo parts follow the strings:.
Measures One of the big issues in this piece is figuring out where to breathe.
Thus, this string quartet is for 2 Violas and 2 Intraada, rather than the usual This is a special instrumentation adopted and perfected by the Philip Jones Brass Ensemble. For orchestral music, saxes are at the end see Saxophones below. In the second pass I breathe after beat 3 of the same measures so that beats 4 can serve as a pickup to the following measures. Thus infrada double reed quartet of 2 oboes, english horn and bassoon will look like this:.
Saxophoneswhen included in orchestral music they rarely are will be shown in the “other instrument” location after strings and before the soloist, if any.
Following many of the titles in our Brass Ensemble catalog, you will see a set of five numbers enclosed in square brackets, as in this example:. One of the big issues in this piece is figuring out where to breathe. Sometimes there are instruments in the ensemble other than those shown above.
Intrada, for trumpet & piano in C… | Details | AllMusic
Following many of the titles in our String Ensemble catalog, you will see a set of four numbers enclosed in square brackets, as in this example:. The first pass makes the most sense to me musically but the second pass sets off the contrast between the intervallic stilted grumpet material with the more flowing scalier material better. The entrance pickup before rehearsal 2 is a tough one; coming in on a soft, low G after moments earlier wailing on a high C and B.