12 Jazzy Etudes for Horn 12 Estudos Jazzisticos para Trompa | ROY XaFa-k by Ricardo Matosinhos VAIVR +e hyaa AF aww ricardomatosinhos.com Dedicated to Arkady Shilkloper Dedicados a Arkady Shilkloper TRBFA + V7 A N—-[HES ALL RIGHTS RESERVED © Copyright 2010 by Phoenix Music Publications www.phoenixmusic.l Ne. 921003 Cover Illustration by Danyio Gertsev ISBN: 7.890-5852.061-9 ‘Title Page Illustrated by Joke Kwekkeboomn venene = Prefacio Estes estudos foram eseritos com 0 intuito de preencher um espago em branco no repertério da trompa. Geralmente os estudos avangados para trompa sio demasiado dificeis em virios aspectos. Nestes estudos procurei utilizar diferentes modos © esealas com algumas téenieas e efeitos especiais, mas sempre de uma forma facile divertida, em que se um estudo for dificil ou mesmo muito dificil num aspecto, sexi ficil ox mesmo muito ficil noutros. Dedico estes estudos 20 tuompista russo Arkady Shilkloper © & sua misica. Em alguns destes estudos sera fil identificaras influéncias. Estudo n°l - Neste estudo pretende-se ‘que sejam tabslhados diversos ritmos de valeur ajouté (valor acrescentado) a semelhangado tipo de escrite ée Olivier ‘Messiaen. Para tal 90 contrério de outros métodos, optei por dificultar 0 ritmo mas facilitar todos os outros aspectos: a tessitura & de cerca de uma citava e meia (Si2-Fa#4) © tecnicamente, se este estudo for tocado integralmente em trompa Si, apenas serio ufilizadas 2 dedos em todo 0 cstude, Relativamente ao modo ercolhido, trata-se do modo lidio dominante (modo do 4° grau da escala menor melédics ascendente) Estudo n° - Este estudo pretende ccontrapor 3 ritmos que podem gerar confusdo (c.1, 3 ¢ 7). Nas transigées entre compassos 8 5/16, 0 tempo de | compass permanece o inesmo, Tal como indicado, é pretendido swing nos compassos 3/8 ¢ 5/8 © srraight nos compassos de5/16. A dela € que o final fique interrompido fe que © intérprete permaneca imével por 23 segundos assim que temminar o estudo deixando adivinher a nota Ré que inevitavelmente seseguiria Estudo n°3 - Este estudo esté baseado na escala pentatdnice maior de RE. Deveri ser executado numa velocidade de seminima igual ov superior a 120 bpm, ume vez que esta velocidade costurne ser a fronteira entre staccato simples ¢ duplo, Para ser mcis eficez, este estudo deverd ser tocado em staccato simples ¢ duplo. Se toeado em ‘ompa Si, 0 2° dedo permanece imSvel eapenaso I° dedo se movimente. Estudo n’4~ Da mesma forma que hi alguas medicamentos com um sabor desagradével e tém que ser dissolvidos Preface ‘These ctudes were written with the im, of filling a gap in the Hor repertoire. Usually advanced etudes for hom are too difficult in many different aspects at once. in these etudes used different scales and modes vith some extended techniques, but always in an ezsy and fanny way; if an etude is difficult or even very difficult inone aspect, it will bbe easy or even very easy in others. I dedicate these enudes to the Russian hom player Arkady Shilkloper and his music, whose influence will be easily identifiablein some of theseetudes. Etude n°l — This Btude is intended to work with different rhythms of valeur sjouté (added value) similar to Olivier Messiaen's writing in that, contrary to ether methods, Ive decided to make the rhythm difficult but make every ‘ther aspect easy. For instance, the ange is about one and a half octaves (B2-F¥4) ang, technically speaking, if this Enudeis pleyed entirely in By horn, only the first 2 fingers will be used. ‘The chosen mods is lydian dominant (4° mode of the ascended minor selodiescale). Etude n°2 ~ This Emde intends to juxtapose 3 shythms that may be confusing (Bars 1, 3 and 7). In the transitions between 3/8 and 5/16 the length of 1 bar remains the same. As indicated, one should swing on 3/8 and. 45/8 bars and play straight on the 5/16 bars ‘The idea is to interrupt the end - the player should not move for 2 or 3 seconds leaving the listener to guess the inevitable unplayed “D”, Etude n'3- This Ende is based onthe D major peaatoni scale. It should be played atthe tempo J~ 120 or more, since this is usually the speed barrier between single and double tongued Staccato. nord toe more efostve, this cade should be played in bot single and double tongued staceat. If played on By hom the 2 finger {enmaias pressed dawn and only the 1” fingermoves. Etude n'4 - The same way some ‘medicines have a funny taste and need to be taken with orange juice, quarter tones are also “difficult to digest” in ‘our occidental half tone trained ears. Tye created this etude in a form of PROC CASOTF =— FORE RY OVA bY ON ZTE MOSIOLICHIST, WE K LY ORDD BER F 2K BSESERMAPSLTSE F. -OTF 2 KEBLE 5 DORRIT 7 = 7 7 SHRER HAESERATAIR. EE ZALTRETE, HEGRE BEATS S Savi wothEt. 2k DSF o—FH HOH LISS LI BAT (DG TED Leva, RICH CROTRBEWI SECEDE Hy LO F5—FKER OT OR NYRR, TUNT 4 LORE CRIES, Bik DROS Fa—F E, ROBBRRRAN CHES EREREREGNET, LO2Fa—¥ AVY 4s AT vote ETA valeur ajouré (At DOB fi) ObR SESE RY AA EU) < re s co 8 4 AS ay 8 ths 4 Pewkn Hist) 9—7 G2. FA) C, HMMA, Coz (CBOE CHE Sav BBR, RIOLROBET EE ALES. BRANK=— Kid YFaT Ye: ERTS Eb LAS AFRO F 4 YY RT WBE =-N) th EFa— hneZ—LO=Fa—K BRAS (13RLETMG) CAESAR LNETAB, 300 DALEWAM SEDO CEREL THEFT, 3/895 5/161 Oa KB CHL ORE LTORE CH, FUCMAR ESIC, 3/88 EUS/BIBOL ERA TT. S/6IGOL ELA RL—ECH, LOTALT EF ORDERS EC, MESCLERRENTE MO ADEFMELSED. Tl EESLIOMAETSEDICL a Fa—Kn3—=OzFa—¥ BDAY SF hSy7 RMEEE) 27-2 ikS OURET, MRL Y ZV BE UFIN BURT = 2B phe Him OweE BRI 20E CITA ERD, BH g-10EREIL DicRBS nH DEE fy ED PRIET SED. FO ZFS REY TVB LUST WBYEDE BRR BH hOR 921003também so “de dificil digestio” para 10s noss0s cuvides ocidenlais, treinades a Yétom. Criei este estudo sob a forma de um blues com 0 intuito de facilitar 0 cestudo deste recarso téenico da trompa. [AS posicdes indicadas baseiam-se nos UI" e 13" harménicos de trompa Fa/Six que naturalmente ja se cncontram baixos/altos. Com este cestudo slo trabalhados todos os quartos de tom existentes eatre o F4 indice 3 ¢ Sol indice 4. Para mais informagSes sobre o potencial microtonal da trompa consulte: “Extended techniques for the hom: A practical handbook for studeats, performers and composers” de Douglas Hill, Warner Bros Publications, 1996 (ASIN BO0O72T6BO) © “The Microtonal Capability of the Hom” Tese de doutoramento de David Robert Whaley (Univ. Ilinoss, 1975) Estudo n°S - Este estudo € baseado na escala diminuta (tom-% tom) ‘comegando em Ré. Devers sertocadoo mais rapido possivel mas de fouma a que todas as notes ¢ articulagio sejam claramente perceptivets Estudo n°6 — O modo lidio aparece neste estude omamentado com varios trilosenérgicose salts que deverio ter um caricter de brineadeira, Kstudo n°7 - Trata-se de uma dana com variagSes sobre uma escala de tons inteiros comegando em Fat Predominantemente 0 estudo encontra- se no registo médio-grave da tompa. Cada fiase tem cite compasses ¢ inaugura novos itmos on intervalos 3" Maior, 4 Aumentada, 5* Aumentada,7* menor, &* 10° Maior). Estudo n'8 - Neste estudo sic abordados intervals derivados dz ivisie igual de uma oitava (2 menor, 2 maior, 3* menor, 3* maior e quarta aumentada), 0 objective écontrolar um bom legato, independentemente da velocidade ou do intervalo, Existe Igualmente neste estudo um ofeito de eco causedo pelos sons multifonicos ‘em unissono e citava. No final do estudo, aparecem novamente multifonices, sendo que desta vez é a voz inferior que é canteda. Uma outra dificuldade € 2 subdivisio, 4-32 a qual se tem que subdividir em outros valores quechegam a 16semifuses. Estudo n°9 - Tocar “sons fechados” na ttompa apresenta diversasdificuldades. Como se nao bastasse ser dificil afinar, 6 sinda precise tocar com uma posiso 21003 to practice this tecinical resource for the horn. The indicated positions are forthe ih, 11th and 13th harmonics of the double hom that are already naturally sharp/flat. Within this etude all the quarter tones between F3 and G4 will be processed. For more information about the microtonal potential of the Hom please rend: Douglas Hill's “Extended techniques for the hom: A practical handbook for students, performers and composers” from Warner Bros. Publications, 1996 (ASIN B00072T6B0) and David Robert Whaleys “The Microtonal ‘Capability of the Hom"(tincis Univ, 1975). Etuden"S — This etude is based onthe ‘whole tone ~ half tone D diminished scale. It should be played as fast as possible while making sure that all notes and articulations are clearly played. Etude n*6— The Lydian mode appears in this Etude omamented with ‘energetic jumps and trills that should soundlike ajoke. Etuden°7~ This is written in the form of a dance with variations on an F# whole tone scale. Most of the time, the Bude is played in the medium-low repister of the hom. Each 8 bar phrase ‘brings us new intervals (major 3°, augmented 4°, augmented 5*, minor 7, 8handmajor | tude n°8 inthis Eruce intervalsace ayed that come fom the equal division of one octave (minor 2", major 2“, minor 3", major 3" and Sogmented 4"). The alm is to maintain control of a goed lego, despite the Speed or ths intervals, There iv also a eho effect created by the chords in ison and octave Atte end there are nso chords, but this time the lowest note should be sung wile the upper note should be played Another figiculty in this Eade is the tubdivision of the quarter notes into 6ehnotesat the wenpo I-32. Etude n° — Playing stopped notes on the horn has several difficulties. Asifit wasn't hard enough to play these in tune, we also need to play these in different positions and to be able 10 change the hand quickly. The sim of this etude is to work on only one of these difficulties: the speed ofthe right hand. [tis based on one stopped note at “ae TOBS, ZERO LT REET MBOREO THER a3 =F a— Fa BDLAROTS Retry yvyo— ROMS SSI. PERC ERICE, WL BOeT. Fal keLoRbETRSAE TIR= 77 RBBITRRDOR Ge, T7A— 2) BRIA L ELK, PRENKSER. To RIS TIF yb ChS FINALY ORT, U1, BEE BRETT, TOF a EeIt FBG SCOT XT OMB EE ROLT SA TWEt, ESBS WIV Y DBR ED PT AELE KC 2 a Ong SAF 7 FR Gites 97 A- tro Exended techniques for the horn: practical handbook for students, performers and composers” (74/2 OE DOIEKTZ 9: SEL BRED LO EDI ORF BAYETY 7) 1996 (ASIN BOOO7ZTSBO)S LUBE be 9 = —) =—O The Microtonal Capability of the Horn (7% Jb DGK APE HTT EAE) (llinois Unit ¥ PARE, 1975) 2 LERCH EV, =F a —knS— LOT Fa Ke, SE- ¥HDT 1 Saya az FEREBIWTORT, FAL ORBET 7453 CHES amc! SE SERS RETSIILET, ZF 2— Kn6—-=IDSFa— KC PROT UTR bY wig MEN. BLHTOS ESIC RBVAT ATS €— KRER CET, ZF a— Fot7-CnRHOLEA FoVC, BRO DB TY ACK OBE LTH TOES, CO =F an REE AY Ob RUDOLF GF La ER CRE ANE, SE/MORHRIL, HL WA a9 rw ER) EK SLE (RMR, a SE. GB, se CUE WO Bo =F 2—Kate-92Fs—KC BL 1t2F-FOMEF LE Vay (GME. R2E, Se 3B, RMSE KoaAB) 2% < 842487 RMR EN ET meee Bib SERB Pe ee rt & BREED