Studies for 8 Trumpets - After the Second Viennese School

Studies for 8 Trumpets - After the Second Viennese School (Thema - Pointillism I-V - Metrical suspension - Timbre - "For concerts only") IntroductionThe Eight Studies for Eight Trumpets were written to provide trumpet players with practical study material relating to the performance practices of the music from the Second Viennese School (ca. 1925).The importance of the School, from the performer’s perspective, is less about the specific music of its “founders” (Schoenberg, Webern, Berg) as it is about the fact that many of their compositional concepts and techniques have been adopted, as least in part, by serious composers throughout the balance of the twentieth century. Moreover, due to the specific nature of the musical material, (i.e.: pointillism) most performance problems are “ensemble” in nature. Therefore, the basic precept of these studies is to present training pieces in an ensemble format.The studiesThe Studies begin with a serial theme, presented as an independent study sheet, which should be learned/played by the entire group, including any observers, before proceeding to the Studies themselves, since the Theme provides the basic material for all of the Studies.I. ThemeII - V. PointillismThese studies include four types of pointillistic treatments of the Theme. Pointillism is a term derived from the art world of the mid-to-late nineteenth century impressionists whose techniques emphasized the fragmentation of structural elements (i.e. color), and thematic material (i.e. objects), into isolated pieces which, when placed/painted and viewed as a whole, represented the complete work.Pointillism I: The Theme is placed in its original position, in a pointillistic texture, each player playing one pitch of the Theme at a time.Pointillism II: The Theme is presented in mirror form (palindrome) in a pointillistic texture, each player playing one pitch of the Theme at a time.Pointillism III, IV: The Theme is placed in its original position in a pointillistic texture, but the players share some of the pitches. There is also the introduction of timbral variation (tone color). In the music of the Second Viennese School, timbre became a structural element along with other traditional considerations like melody, harmony, et.al.VI. Metrical suspensionThis compositional style involves the use of rhythm (meter) to eliminate any feeling of rhythm, meter, or pulse. This can include the use of such techniques as rhythmic configuration, over-the-measure phrasing (beams/ligatures), accents, dynamics, timbre, et.al. The Theme is not heard here; however, the musical language is derived from the original pitch series of the Theme.VII. TimbreThis study features timbre, through the use of varieties of mutes and valve combinations, with some metrical suspension added for musical variety. This study is patterned after Arnold Schoenberg’s “Evening By the Lake.” (5 Pieces, op. 16) The Theme is not heard here, just as in study VI. VIII: “For concerts only”This piece is derived from the material included in the Theme and the first seven studies, and is meant to be played as a “finale” in those instances when the Studies are performed in public performance. The opening musical statement is a transliteration of the first two measures of the previously cited Schoenberg, op. 16.