J.

S Bach:

Cello Suites

Baroque Period

Bach was born on March 21st, 1685 in Eisenach Germany. Bach was an outstanding organ, violinist and singer. In 1717 was when his composing career began. He moved to Kapellmeister at the court of Prince Leopold in Cthen. During these years Bach was in the service of the courts, he was obliged to compose a great deal of instrumental music for example: Hundreds of pieces for solo keyboard orchestral dance suites trio sonatas for various instruments concertos for various instruments and orchestra.

Some other works by Bach: Sonatas and Partitas for solo violin Suites for violoncello Passacaglia and Fugue in C minor. Toccata And Fugue In D Minor Jesu, Joy Of Man's Desiring Air On A G String

In 1749, a traveling English surgeon operated on Bachs failing eyesight, this operation was unsuccessful and caused Bach complete blindness. Despite this, Bach continued to compose. He finally died from a stroke on July 28, 1750. He was buried in an unmarked grave at St. Thomas' Church.

So Bach didnt actually write for trombone, or in my case euphonium. Which is why the cello suites for violoncello alone have been transcribed to suit the trombone or baritone and bassoon. Robert L Marsteller transcribed the Suites for trombone (baritone or bassoon). Bach wrote the cello suites approximately in 17171723.

Violoncello Suites: A suite is a collection of dances for one or more

instruments. The suites are in six movements each, and have the following structure and order of movements. Prelude: A piece or movement that serves as an introduction to another section or composition and establishes the key, such as one that precedes a fugue, opens a suite, or precedes a church service. Allemande: The origins of the allemande can be traced back to the Renaissance of the 16th century. The name of the allemande is actually based on the French word for "German," and points to the fact that the dance is based partly on elements of popular Germany dances. Featuring a moderated tempo along with a double meter, the allemande was a lively representation and quickly caught the attention of dancers as well as composers. Courante: A 17th-century French dance characterized by running and
gliding steps to an accompaniment in triple time and is the second movement of the baroque suite, typically following the allemande.

Sarabande: Slow Spanish dance Galanteries- (Minuets for suites 1 and 2, Bourees for 3 and 4, gavottes for 5 and 6) Gigue: a dance movement often forming the conclusion of Minuet: A social dance meant for two people usually in time. Bouree: Stately French dance in double time Gavotte: French dance in 4/4 or 2/2 time Musical Terms: Allegro Moderato Con Moto: Slower than allegro with movement. Cresc poco a poco: crescendo little by little, gradually get louder little by little. Sostenuto: To play a passage in a sustained prolonged manner. Pochissimo: very little, at the bare minimum. Rallentando: gradully slowing down Poco rit: little slow down. Tutta Forza: very loud, as loud as possible, with a lot of force. Senza dim: without getting softer.
the Baroque suite.

Senza rall: without slowing down. Meno mosso: slower, less rapid, less movement. Poco rubato: rubato Literally means "Robbed"- a lingering on some notes and hurrying of others; free from strict tempo, but preserving the value of the rhythmic notation. Poco rubato means with a little rubato. Piu(more) mosso: with more movement Lento: slowly Subito: suddenly Assez vite: rather quickly. Allegro: fast and lively Tenuto: held for its full value, hold, sustain.

Characteristics of Baroque music: (1600-1750) A baroque piece is famous for its doctrine of mood. What is happy will be happy throughout and what is sad continues to the end. Composers moulded the musical language to fit moods and affections. Some definite rhythms and melodic patterns are used to define certain moods and expressions. Unity of mood in baroque is first conveyed by the continuity of rhythm. Rhythmic patterns heard at the beginning of the piece are reiterated many times throughout the piece. This relentless drive compelled the music to push forward. This forward motion is hardly ever interrupted. The beat is also far more distinct in baroque music normally first beat of each bar is emphasized. Paralleling the continuity of mood, the dynamics of the piece also stay constant for some period of time before it shifts to another level. When the dynamics shift, it is sudden like physically stepping of a step. Therefore, terraced dynamics are a distinctive quality of baroque music. - Many different forms are used - Many types of music, e.g. The Chorale, Opera, the Dance Suite.

Gordon Jacob

Fantasia for Euphonium

Modern

Gordon Jacob: Jacob was born in London on 5 July 1895 and died there on 8 June 1984. He became a student at the Royal College of Music in London after completing his schooling at Dulwich College. Gordon Jacob was a composer and arranger of music both light hearted and serious pieces. Some of his works for symphonic band include: An Original Suite (1928), Music for a Festival (1951), Flag of Stars (1956), The Concerto for Band (1970), Double Concerto (1976) Celebration Overture (1984).

He wrote for many different kinds of instruments, ensembles, orchestras and different ensemble sizes. Eg. - String Quartet (1928) - Double Concerto for Clarinet and Trumpet (1929) - Clarinet Quintet (1940) - Scherzo for Two Trumpets, Horn, and Trombone (1952) - Concerto for Violin and Strings (1954) - Concerto for Cello and Strings (1955) - Fantasia for Euphonium and Wind Band (1974) - Concerto for Timpani and Wind Band (1984) - An Original Suite for Military Band (1928) As you can tell from the examples above Gordon had a large range of instruments, and ensemble sizes that he composed for. They range from solo instruments with piano, quartets, duets, trios, orchestras, wind bands and Military bands etc.

Characteristics of modern music: - Use of more than one varied time signature through out the piece. For example, 4/4 , , 6/8, 2/4 etc. - Use of syncopation - Off beat accented notes - Asymetrical Grouping - This is a grouping of notes within a measure to yield new rhythmic effects. - Addition of cadenzas, allow the performer to show off - Melodies and harmonies based on scales - Huge dynamic ranges - Music composed to represent moods, feelings, stories, memories etc. - In modern music, change of tempos, time signatures, and changes in style through out a piece isnt out of the ordinary. These changes often represent different moods and feelings etc. - Use of expressive markings for example: crescendos, diminuendos, staccato, tenuto, rits, ralls and accents. Eric Gross Euphonism I

Eric gross: Eric Gross was born in Vienna in 1926. From the age of fourteen, Gross worked as a pianist in bands and orchestras, and as a studio accompanist for the BBC. He moved to Sydney in 1958. He taught at the Sydney Conservatorium. Later he joined the staff of the Department of Music at the University of Sydney in 1960 and remained there until retiring in 1991 as Associate Professor of Music. Apart from teaching, Gross was active as composer, arranger and conductor. Gross's worldwide travels and cultural experiences gave his music a cosmopolitan flavour, with traces of Austrian, Scottish, Asian and South American influences emerging from time to time.

Other works: Cadenza XI, op. 272 for solo trombone Cathedral of the soul, op. 304 for solo piano Brian David Hess. Op. 131 for solo guitar Brassophony, op. 146 for brass band Concertino for wind quintets Dusekiana I for cello with piano Fantasia, op 213 for trumpet and piano Austral months op. 50 baritone horn and piano

Eric composed for a vast range of bands, instruments and voices.

Development of the Euphonium!

The euphonium traces its ancestry to the ophicleide and ultimately back to the serpent. While the serpent was used for over two centuries dating back to the late Renaissance, it was known to be difficult to control its pitch and tone quality due to its disproportionately small open finger holes. The ophicleide-, which was used in bands and orchestras for a few decades in the early- to mid-nineteenth century-, used a system of keys and was an improvement over the serpent but was still unreliable, especially in the high register. With the invention of the piston valve system c. 1818, the construction of brass instruments with an even sound and facility of playing in all registers became possible. Ferdinand Sommer of Weimar invented the euphonium in 1843, though Carl Moritz in 1838 and Adolphe Sax in 1843 have also been credited. While Sax's family of saxhorns were invented at almost the same time and the bass saxhorn looks very similar to a euphonium, they are constructed differently. Saxhorns have a nearly cylindrical bore and do not allow the fundamental to be produced; thus, the bass saxhorn is more closely related to the baritone than the euphonium. The "British-style" compensating euphonium was developed by David Blaikley in 1874, and has been in use in Britain ever since; since this time, the basic construction of the euphonium in Britain has changed little. The ophicleide was invented in 1817 and started being manufactured in 1821 by French instrument maker Jean Hilaire Ast Canon Edm Guillaume invented the serpent in 1590