CLAUDE BOLLING TOOT SUITE PDF

Technical Demands for the Trumpet Endurance Endurance seems to be the biggest challenge for the performer. The work requires five different trumpets for the six movements within Toot Suite. Unlike countless other solo works written for trumpet, Toot Suite does not give the typical performer enough rest throughout the suite. Ample preparation is needed to build up the stamina to be able to get through the work comfortably. The preparation time for Toot Suite of the interviewees that responded varied between one month and a year.

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Technical Demands for the Trumpet Endurance Endurance seems to be the biggest challenge for the performer. The work requires five different trumpets for the six movements within Toot Suite. Unlike countless other solo works written for trumpet, Toot Suite does not give the typical performer enough rest throughout the suite. Ample preparation is needed to build up the stamina to be able to get through the work comfortably. The preparation time for Toot Suite of the interviewees that responded varied between one month and a year.

Smith made to Toot Suite when he performed the work live. Not only were cuts done within the music, but Mr. Smith also left out two entire movements Mystique and Marche when he performed the work. The recording with Joe Burgstaller mentioned in the previous chapter also 16 contains numerous cuts and leaves out the Marche on the album.

These cuts could be assumed to be artistic choices to enhance the performance, but it is also makes Toot Suite easier to execute. The biggest endurance challenge in Toot Suite is the Bb piccolo trumpet movements, Marche and Spirituelle. Marche and Spirituelle have a combined average time of approximately 12 minutes with few chances for the performer to rest in between entrances.

That was a game and a challenge for that exceptional artist, but I did not realize that it would be a difficult challenge for other trumpet players. Practicing Marche and Spirituelle on Bb trumpet first will help the performer solidify the technical passages 55 Bolling, email interview by author, [August 26, ].

After the potential performer has grown accustomed to playing Marche and Spirituelle on Bb piccolo trumpet, it is time to put it in the context of the entire work. Practice starting on RagPolka and playing the rest of the movements to the end. Range Toot Suite has extreme range demands throughout the work. While the Bb piccolo trumpet movements Marche and Spirituelle exploit the high register of the horn frequently, Bolling utilizes the Bb flugelhorn in Vesperale to play generally the opposite range than the immediately surrounding high Bb piccolo trumpet pieces Marche and Spirituelle.

The lowest sounding pitch in Vesperale and the entire work is a concert F and the highest sounding pitch is three octaves above the previously mentioned pitch in the fourth piece, Marche. Example Vesperale for Bb flugelhorn. Marche for Bb piccolo trumpet. The only movement that does not utilize multiple tonguing is the 5th movement, Vesperale.

When preparing for performance, Herbert L. The hardest movements to execute multiple tonguing are on the Bb piccolo trumpet movements Marche and Spirituelle.

The performer already has to deal with the extremely high tessitura that these two movements demand and endurance, but adding triple and double tonguing to the requirements make these pieces extremely challenging.

Again, practicing these two movements first on Bb trumpet will vastly improve the chances for being able to execute Marche and Spirituelle on Bb piccolo trumpet during performance. Also, tonguing lightly will help facilitate clean, quick, and crisp articulation. No other movement in Toot Suite contains this many meter changes.

Even though Spirituelle is the last piece in Toot Suite, it is recommended to be rehearsed first. Not always easy to make it go with the group. Aubier, email interview by author, [September 18, ]. In order for trumpeters to be able to rehearse Spirituelle numerous times continuously, they should use a Bb cornet or trumpet and play this movement an octave lower than written for the Bb piccolo trumpet to prevent early fatigue in the rehearsal.

Having a jazz trio versed in classical and jazz idioms supporting the solo performer is highly recommended. The most important player besides the trumpeter is the pianist, who should have a considerable amount of jazz experience to be able to facilitate the improvisational sections and contribute to and lead the swing sections that feature the jazz trio throughout Toot Suite. Unfortunately, the accompanist had never played jazz, and although she is a phenomenal piano player - she was the weakest player on the entire toot suite especially playing with the rhythm section mainly the piano playing stylistically and rhythmically.

Hiring a really good jazz bassist and drummer who also play classical and a piano player who has played both jazz and classical really makes a difference. Five out of the six movements within Toot Suite are performed on a different instrument. Endurance, extreme register changes, articulation and playing multiple instruments in a single work are some of the technical challenges that are a part of performing this composition.

Bolling was extremely cooperative throughout my correspondence with him. What recording s might have helped you prepare for a performance of the Toot Suite? Did you consult with anyone about the piece before performing it?

Mainly the Maurice Andre. There are a couple you tube videos out there, but not many people have recorded it that I have found. I would play the Maurice Andre recording, then record myself everyday and compare the two. That helped tremendously! The rhythm section really is lacking. I like the second guy better. I actually put a post on facebook asking for help because I was having a difficult time with spirituelle [sic].

Ryan Anthony and Phil Smith helped a lot though. In your opinion, what are the primary challenges of performing the Toot Suite? Spirituelle definitely. I only performed the Allegre, Rag Polka I thought this was the easiest and most fun! Really easy to memorize , Vesperale[sic] and Spirituelle I was really lucky to have a REALLY good rhythm section I highly recommend getting a jazz rhythm section for this piece [sic] Unfortunately, the accompanist had never played jazz, and although she is a phenomenal piano player - she was the weakest player on the entire toot suite especially playing with the rhythm section.

Mainly the piano playing stylistically and rhythmically. It also took me a while to figure out how to program these pieces so that I could perform them successfully. I do not recommend playing spirituelle [sic] last. And definitely do not recommend playing all of it or Allegre.

I ended up playing a pic trumpet duet with John first then playing spirituelle then Vesperale. We traded off throughout the recital and I played Allegre then Rag Polka together on the second half. This helped a lot. What equipment instruments, mouthpieces, etc. I used a schilke pic, cuesnon flugelhorn, bach cornet and bach C trumpet. Does switching from different trumpets in each section of the Suite create any difficulties? Yes — especially if I tried to play them in order.

The spirituelle [sic] was brutal, especially after playing flugelhorn. How long did it take you to prepare this piece? About a week I think - just kidding! I started working on it about a year in advance — but the 3 months leading up to the recital was when I put in most of the preparation. Memorizing, recording, etc. I spent the most time on Spirituelle and I still feel like I need about another year on that.

Throughout the Toot Suite, do you have specific preferences in tempo? I took the Allegre a little slower because my single tongue is slow. Could you give an overall impression of the work? Also, if there is anything that you feel is important that has not been asked, please feel free to add to that information here.

I have always loved this music. It was really fun to perform and to put together with the rhythm section. I also put some improv in vesperale [sic]. She scowled through the whole thing which really cracked me up. I also did an improv solo at J for 8 measures. I used some of the notes, but basically just played the chord changes.

This is a really beautiful piece. When I performed Spirituelle I played the entire piece without the repeat at A and only left out one measure before X.

On the Rag Polka I played the entire thing with repeats. It is fairly short. With Vesperale — playing it a little faster than 69 I think made it shorter. I think I played it around and fluctuated the tempo throughout. I did have a little trouble with the high D at the end, but not too much.

On the Allegre my tempo was around Here is the email from Phil Smith. When I first performed the Spirituelle, I did the entire work and he thought I was crazy for doing this! I think I was too! He told me that he would bet Maurice Andre took a few days to record this and had some things spliced in for the recording.

Smith plays on Najoom mouthpieces. Keep up the good work! I hope you have a great time in NY As to the cuts in Toot Suite, I have performed it this way playing only these 4 movements: I.

OR just play once down complete with out the DC V. Versperale cut from G to J and cut from L to last 7 bars.

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Claude Bolling’s Toot Suite for Trumpet and Jazz Piano: a Performance Guide

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