Mastering trumpet excerpts for wind band orchestra: practicing, making exercises and testing their pedagogical usefulness
(2021)
author(s): David Perez Sanchez
published in: KC Research Portal
This document presents a research, focused on case studies that aim to explore the repertoire for Wind Band and best preparation strategies for performers. It has two well-defined objectives: the first is to make a good catalogue of trumpet excerpts on original works for wind band, and the second one is to find an easy and simple way to help anyone who wants to prepare these excerpts for an audition.
The process began with a broad search for wind band jobs and repertoiry. I was mentored by many principal trumpets from different countries, mainly because it was not easy to find books about it. This was also one of the biggest motivations, but also a problem. The second step was to choose 9 of these excerpts, in which we were able to find different styles, some of them virtuosic, others with slow movements, and identify the main technical difficulties. The subsequent focus was on these difficulties and I made technical, rhythmic and also mental exercises to help improve the interpretation in a simple way.
Once all the data has been collected, I drew conclusions in order to contribute to the musical educational community and create new ways of preparing the wind band repertoire. I made these exercises with help of knowledge from performing science and the outcome was positive as this achieved almost instantaneous results, improving the student’s playing in just 3 workshops of 30 minutes each. This process was documented through recording workshops and subsequent interviews.
Key words: Music Education, Practicing skills, Wind Band repertoire, Case Studies.
European Female Wind Band Composers and Their Works
(2018)
author(s): Renata Silva Oliveira
published in: KC Research Portal
Name: Renata Oliveira
Main Subject: Wind Band Conducting
Research Supervisors: Anna Scott, André Granjo
Title of Research: European Female Wind Band Composers and Their Works
Research Question: Can shedding new light on women composers’ contributions to the wind band and ensemble repertoire via the creation of a catalogue, the preparation of a critical edition, and the commission of a new work, help to encourage more Portuguese women to compose for this medium?
Summary of Results:
In Portugal, as far as it is possible to assess, only two established women composers have written works for wind band or large wind ensemble: Berta Alves de Sousa, who composed Porto Heróico in 1943, and Maria de Lourdes Martins, who composed Rapsódia de Natal, Rondó and Suite de Danças Tradicionais Portuguesas in 1978. In a country with an important tradition of wind band musical practice, it seems strange that so few women composers have used this medium to convey their musical ideas. In order to put the production of female composers for this medium in perspective, I researched relevant works from as many European female composers as possible. Ultimately, the hope was to better understand their outputs for wind band, to promote their works, and to make way for a new composition for wind band from a female Portuguese composer.
This project has three main outcomes: 1) an online and physical catalogue of virtually all European female composers who have written for wind ensemble, including biographical data, a list of their works, and statistical analyses of their personal data (by age, country, type of ensemble); 2) a critical edition of Berta Alves de Sousa's Porto Heróico manuscript; and 3) my commissioned work for wind band O Soldado da Misarela by Anne Victorino d’Almeida. At the end of this project I can answer yes to the question of whether shedding new light on this field can encourage more female Portuguese composers to write for wind band.
Biography:
Renata Oliveira is a Portuguese conductor. She began her orchestra conducting studies with Jean-Marc Burfin and later with Jean-Sebastien Béreau. In conducting masterclasses Renata has worked with: Jose Pascual-Vilaplana, Kenneth Kiesler, Jean-Sebastien Béreau, Ernst Schelle, Robert Houlihan, Felix Hauswirth, Jan Cober and Douglas Bostock. She holds a Masters in Psychology and a Masters in Orchestra Conducting. She is conductor of two Portuguese wind bands, and is responsible for their associated music schools. Renata simultaneously studies Wind Band Conducting with Alex Schillings at the Royal Conservatoire of The Hague and a Masters in Music Teaching (Wind Band Conducting specialisation) at the University of Aveiro.
George Lloyd - Music for Brass, from symphony to test-piece
(2017)
author(s): Pieter Koster
published in: KC Research Portal
Name: Pieter Koster
Main Subject: Wind band Conducting
Research Supervisor: Paul Scheepers
Title of Research: George Lloyd – Music for brass, from symphony to test-piece
Research Questions:
1. Did George Lloyd change his way of composing from Symphony no. 10 via Royal
Parks to Diversions on a Bass Theme?
a. In what way does George Lloyd treat the following compositional elements in
each piece?
i. Structure
ii.Harmony
iii.Thematic material
iv. Musical Tension
b. In what way does the treatment of these elements differ in each piece?
2. Did George Lloyd succeed in combining his own views with the demands of the test-piece commissions, to write an appropriate test-piece? Summary of Results: Cornish symphonic and opera composer George Lloyd has written several compositions for brass, starting with a symphony for brass ensemble (Symphony no. 10) and then several test-pieces for brass band. The commission of test-pieces for brass band contests appears to be guided only by implicit criteria for these sort of compositions. Lloyd’s first test-piece, Royal Parks, apparently did not meet the criteria and his second test-piece, Diversions on a Bass Theme, did. This thesis investigates if George Lloyd changed his way of composing to write an appropriate test-piece, by a detailed analysis of Symphony no. 10, Royal Parks and Diversions on a Bass Theme. Besides that the thesis will try to answer the question if Lloyd was able to combine his own musical views with the demands of the test-piece commissions. The main findings are that Lloyd remained within his own musical language when writing the test-pieces, however he made some decisive choices regarding structure, form and thematic material that influenced the compositions significantly. He did partially succeed in combining his own views with the demands of the test-piece commissions. Biography: Pieter Koster (1985) completed his Bachelor’s Degrees at the Royal Conservatory in The Hague as a student of Ad van Zon on the trumpet, and Alex Schillings for conducting. In September 2016 he successfully completed his Master-exam concert with the Bundes Polizeiochester München. Pieter has participated in multiple conducting courses with renowned (professional) orchestras and teachers. Today he is professional conductor of the fanfare orchestras ‘Ons Genoegen’ Hattem, ‘Wilhelmina’ Volendam and the Koninklijke Brassband Utrecht. He is also a brass teacher for numerous students. Since 2014 he is secretary and member of the board of the Dutch Association of Wind band Conductors (Bond van Orkestdirigenten en Instructeurs).