a pedagogy and performance analysis of the 1971- …

A PEDAGOGY AND PERFORMANCE ANALYSIS OF THE 1971-

1974 UNIVERSITY INTERSCHOLASTIC LEAGUE

CONTEST LIST FOR BARITONE HORN

by

MARK BOWMAN CROUCH, B.M.Ed.

A THE? S

IN

MUSIC EDUCATION

Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for

the Degree of

MASTER OF MUSIC EDUCATION

Approved

Accepted

August, 1972

i / 1 ^

ACKNOWLEDGMENTS

Sincere appreciation is expressed to Dr. Mary Jeanne van

Appledorn, Mr. Robert W. Deahl, and Mrs. Ruth Griffith, of Texas

Tech University, and Mr. Donald Baird of West Texas State Univer

sity, for their assistance in preparing this thesis.

I would also like to thank Mr. Dean Killion, Mr. David

Payne, Mr. Robert W. Deahl, Mr. Leonard Falcone, and the Earl Ray

Music Company, for lending me much of the music used for this

paper.

ii

m

CONTENTS

ACKNOWLEDGMENTS ii

CHAPTER ,

I. INTRODUCTION 1

II. REVIEW OF COMPOSITIONS ON THE U.I.L. CONTEST

LIST FOR BARITONE HORN - CLASS I 5

The Solos 5

Additional Comments 61

III. REVIEW OF COMPOSITIONS ON THE U.I.L. CONTEST

LIST FOR BARITONE HORN - CLASS II 63

The Solos 63


IV. REVIEW OF COMPOSITIONS ON THE U.I.L. CONTEST

LIST FOR BARITONE HORN - CLASS III 123

The Solos 123


V. CONCLUSION 167

LIST OF RESOURCES 169

APPENDIX 170

A. LIST OF PUBLISHING COMPANIES 171

B. TAPE RECORDING 173

ill

m -issaSi^.

Baird was on his own. He began by sending letters to every publisher

he knew of explaining what he was doing and requesting music to inspect,

and subsequently began the monumental task of selecting and discarding

music for the new lists. Many of the better solos on the old list were

retained. In searching for good literature, musical value and variety

were the main considerations used by Baird in determining whether a solo

was placed on the list and in which category it was placed.

All of the compositions on the prescribed music lists are

classed according to degree of difficulty from Class I, the most diffi

cult, to Class III, the easiest. Class I solo competition may be entered

by any student above the sixth grade. Selections to be performed must be

taken from the lists prescribed for Class I competition. No other selec

tions are permitted. Class II competition may be entered by any student

in grades nine through twelve who has not previously earned a Division I

rating in Class I or Class II competition. Selections being performed

must be taken from the Class II prescribed list. Students in grades

seven through nine may enter Class III competition at any time regardless

of any previously earned rating. Selections must be taken from the Class

III prescribed list. (For clarification, soloists are assigned ratings

designating excellence of performance from Division I, superior perform

ance, to Division V, poor performance. A gold solo medal is presented

for a Division I rating in Class I, a silver solo medal for a Division

I rating in Class II, and a bronze solo medal for a Division I rating

In Class III.)

New rulings permit baritone players to perform selections

from the trombone and comet-trumpet lists as well as from the bar

itone list. In addition, a new category called the "duo-sonata"

category enables both the soloist and the accompanist to compete for

medals; The "duo-sonata" category is Class I only and is listed in

the Prescribed Music List under Instrumental Ensembles. Only the

baritone list is considered in this study.

The purpose of this compilation is to analyze briefly and

comment on the compositions included in the U.I.L. contest list.

Background work for the study included listening to solo contests at

Monterey High School in Lubbock and at West Texas State University

in Canyon. Comments by the adjudicators, Mr. Jim Priest of Hereford

and Mr. J. T. Gilligan of Kermit, were extremely helpful and are

included along with further comments by Mr. Baird and from many

published reviews. One of the purposes of this study is to comment

on the quality of the music included on the baritone contest list.

While the writer and the other reviewers did not agree necessarily

on the subjective musical value of any specific composition, there

seemed to be total agreement concerning which pieces should or should

not be on the contest list.

Each composition was performed with an accompanist and was

recorded on tape so that the reader may follow the analysis and com

ments as he hears the solo performance. The recordings were conducted

in a working atmosphere and not all are polished performances. They

are included primarily for reference purposes.

There are thirty-three compositions on the Class I list, forty-

four on the Class II list, and twenty-nine on the Class III list. The

music reviewed will be in alphabetical order according to the composer's

last name, just as it is listed in the U.I.L. Prescribed Music List.

The following is the general format to be followed in the

review of each composition:

I. Composer and arranger

II. Title

III. Publisher

IV. Cost

V. Performance duration

VI. General form

VII. Mood

VIII. Problems

1. Range

2. Technique

3. Key

4. Phrasing

5. Adaptability to the instrument

IX. Accompaniment (except for Bach, Cello Studies I_, II, and III)

1. Range of difficulty

2. Type

X. Summary

CHAPTER II

REVIEW OF COMPOSITIONS ON THE U. I. L. CONTEST

LIST FOR BARITONE HORN - CLASS I

The Solos

COMPOSER: Jean Baptiste Arban ARRANGER: Erik W. G. Leidzen

TITLE: "Carnival of Venice"

PUBLISHER: Belwin, Inc.

COST: $2.00

PERFORMANCE DURATION: Eight minutes and forty-five seconds

GENERAL FORM: Theme and variations

WOD: Gay and carefree; a carnival atmosphere.

PROBLEMS:

Range: F - g'

Key: E^ Major

Technique: This can be a musical technician's dream or night

mare, depending on the performer's own ability. This compo

sition includes grace notes, turns, sixteenth-note slur-

tongue alteration, triplet sixteenths, double tonguing,

triple tonguing, accents in a series of triplet tongued

notes, accented beats in series of thirty-second notes, plus

Variation VIII is constructed to give the listener the feel

ing of hearing two different horns playing at the same time.

Fortunately, the range is not too wide and the key is the

same throughout.

ffHa^--

Phrasing: Regular phrases within each variation

Adaptability to the Instrument: Actually, the composition

fits quite well into the normal characteristics of the

instrument. Most of the fingerings are scalar, stepwise,

or chromatic, and the intervals are not unusual although

some of them are extremely wide.

ACCOMPANIMENT:

Range of Difficulty: Moderately easy

Type: Mostly chordal afterbeats in a six-eight configuration.

SUMMARY: This is one of the most difficult solos on the list, mainly

because of its length. It becomes an endurance contest for

the performer unless the soloist is in excellent condition.

Facility in double and triple tonguing is necessary for per

forming this work.

COMPOSER: J. B. Arban ARRANGERS: Clifford Lillya and Merle Isaac

TITLE: "Etude No. 11"

PUBLISHER: Carl Fischer Inc.

COST: $0.75

PERFORMANCE DURATION: Two minutes, thirty seconds

GENERAL FORM: A B A

MOOD: A section: light; free moving

B section: slower, more melodic, almost mournful

A section: faster with a driving pulse

PROBLEMS:

Range: F// - g'

Key: B Major - G Major - B Major

Technique: Dotted eighth-sixteenth note patterns; slurred and

tongued sixteenth notes; intervals beginning in measure 13

require considerable work to be played cleanly; first eighth

note when followed by triplet sixteenth notes should be full

value, not cut short. Slurred octaves need to have quite a

bit of air behind them or the top note will sound pinched;

triplet sixteenths four measures from the end should be

triple tongued if possible.

Phrasing: Regular but a lot of breath is required to make it

from one end to the other.

Adaptability to the Instrument: Fingerings are mostly stepwise

or chromatic. The only unusual places are the leaps which

8

b b are basically within the B or G Major scales. The

entire piece lies well on the horn.

ACCOMPANIMENT:

Range of Difficulty: Moderately easy considering the diffi

culty of the solo part. A good high school pianist should

have no problems with this piece. It has a strange modula

tion into the B section which might cause minor problems.

Type: Primarily chordal afterbeat patterns throughout. The

B section is more flowing but still chordal. Arpeggios

after the last rehearsal letter might create the only

problems for an inexperienced pianist.

SUMMARY: This composition was originally intended as an exercise and

was first included in a method book for solo cornet by J. B.

Arban. Many of the etudes at the end of his book have accom

paniments. This is still primarily an exercise for the

advanced performer although it is probably the easiest solo

on the Class I list.

COMPOSER: Johann Sebastian Bach ADAPTED BY: Andre LaFosse

TITLE: "Cello Suite I"

PUBLISHER: Alphonse Leduc

COST: $3.00 (Set of four suites)

PERFORMANCE DURATION: U.I.L. requirement is for the performance of

any two movements. Duration of each movement:

Prelude: one minute, forty seconds

Allemande: one minute, twenty seconds

Courante: one minute, fifteen seconds

Sarabande: two minutes

Menuetto I: one minute, ten seconds

Menuetto II: one minute, fifteen seconds

Gigue: one minute, thirty seconds

GENERAL FORM: Each movement is a part of the composition as a whole

and will not be considered for its individual form. The suite

is constructed on a prelude, allemande, courante, sarabande,

minuet, and gigue pattern. Idealized dance suite.

MOOD: Eighteenth century Bach style.

PROBLEMS:

Range: F - c "

Key: C Major except for Menuetto which is in E Major.

Technique: These movements are highly technical and cover a

wide pitch range. Individual interpretation is of con

siderable importance since the entire composition is

10

unaccompanied, and correct Bach style must be observed.

The solo is written almost entirely in tenor clef.

Phrasing: Phrasing throughout the work is quite regular,

but the standard length of the phrases varies from

movement to movement.

Adaptability to the Instrument: These pieces were written

originally for cello and adapted for tenor trombone.

There are many places where the trombone can handle the

music better than a valved instrument. Wide leaps and

sudden key changes make this composition difficult for

the baritone.

ACCOMPANIMENT: None

SUMMARY: The Bach "Cello Suites" are the most difficult compositions

on the baritone horn contest list. That they are unaccompanied

makes them even more difficult. Few high school baritone

players will be able to perform this music in the required

style.

11


TITLE: "Cello Suite II"




any two movements. Duration of individual movements are:

Prelude: two minutes, twenty seconds

Allemande: one minute, twenty seconds

Courante: one minute, ten seconds

Sarabande: two minutes, fifteen seconds

Menuetto I: forty seconds

Menuetto II: forty seconds

Gigue: one minute, twenty seconds

GENERAL FORM: Idealized dance suite. Each movement is a part of the

composition as a whole and will not be considered for its

individual form. The suite is constructed on a prelude, alle

mande, courante, sarabande, minuet, and gigue pattern

MOOD: Eighteenth century Bach style

PROBLEMS:

Range: E - b

Key: f minor except for the sarabande in A Major and the

second section of the minuet which is in F Major.

Technique: The movements of this composition are highly tech

nical and cover a wide pitch range. Individual interpreta

tion is of considerable importance since the entire piece

t'

12

is unaccompanied, and correct Bach style must be observed.

The solo is written almost entirely in tenor clef.


but the standard length of phrases varies from movement

to movement.

Adaptability to the Instrument: These pieces were originally

written for cello and adapted for tenor trombone. There

are many places where the trombone can handle the music

better than a valved instrument. Wide leaps and sudden

key changes make this composition difficult to perform

on the baritone horn.

ACCOMPANIMENT: None


on the baritone horn contest list. That they are unaccom

panied makes them even more difficult. Few high school bari

tone horn players will be able to perform this music in the

required style.

13


TITLE: "Cello Suite III"




any two movements. Duration of individual movements are:

Prelude: two minutes

Sarabande: one minute, forty-five seconds

Courante: one minute, forty seconds

Sarabande: three minutes, thirty seconds

Bourree I: one minute, twenty seconds

Gigue: one minute, ten seconds

GENERAL FORM: Idealized dance suite. Each movement is part of the

composition as a whole and will not be considered for its

individual form. The suite is constructed on a prelude,

allemande, courante, sarabande, bourse, and gigue pattern.

MOOD: Eighteenth century Bach style.

PROBLEMS:

Range: F - c'*

Key: F Major except for second section of the bourse which

is in f minor.

Technique: The movements of this compositionsare highly

technical and cover a wide pitch range. Individual inter

pretation is of considerable importance since the entire

14

piece is unaccompanied, and correct Bach style must be

observed. The solo is written almost entirely in tenor

clef.


but the standard length of phrases varies from movement

to movement.

Adaptability to the Instrument: These pieces were written

originally for cello and adapted for tenor trombone.

There are many places were the trombone can handle the

music better than a valved instrument. Wide leaps and

sudden key changes make this composition difficult to

perform on the baritone horn.

ACCOMPANIMENT: None


on the baritone horn contest list and this particular one is

the most difficult of the three on the list. That they are

unaccompanied makes them even harder. Few high school bari

tone players will be able to perform this music in the

required style.

15

COMPOSER: J. Ed Barat

TITLE: "Andante et Allegro"

PUBLISHER: Southern Music Company

COST: $1.00

PERFORMANCE DURATION: Eight minutes, twenty seconds

GENERAL FORM: Andante: A B A

Allegro: A B (developmental) A

MOOD: Andante: haunting; mournful; full of somber expression.

Allegro: martial fanfare wtyle with mysterious, haunting

background

PROBLEMS:

Range: F - b *

Key: Andante: b minor - d minor

Allegro: B^ Major - G^ Major - B^ Major

Technique: Andante: lots of accidentals. Dynamics and tempo

changes should be closely observed; some awkward progressions

to high notes.

Allegro: Unusual intervals in triplet patterns; notes need

to be held to full value. Sudden dynamic changes should be

strictly observed.

Phrasing: Phrases are fairly regular in both sections.

Phrases should be carried to full value and not broken

by unintentional breaths. Breathing needs to be carefully

worked out.

J tkamrn^'-

16

Adaptability to the Instrument: A difficult aspect of this

composition is that it does not lie well on the instrument.

Unusual leaps and unnatural scale patterns can cause prob

lems for an inexperienced player.

ACCOMPANIMENT:

Range of Difficulty: Moderately difficult. Many accidentals

and wide reaches might cause considerable difficulty to a

younger, less experienced pianist.

Type: Andante: Chordal in beginning, changing to arpeggios.

Allegro: Chordal changing to scale patterns and to

arpeggios. Measure 27 changes to Alberti pattern until

return of opening Allegro material where the chordal

accompaniment resumes.

SUMMARY: The Andante section is a fascinating section. The oppor

tunity for expression is endless. The Allegro section is

fast moving and martial yet chord relations give it a mys

terious air. The entire piece is difficult but not impossible.

The range is within the capabilities of a good high school

performer, and technical problems are limited to reading the

right accidentals and getting the right notes to come out.

^gima«K»

17

COMPOSER: Herman Bellstedt COLLATED BY: Frank Simon

TITLE: "Napoli"


COST: $2.00

PERFORMANCE DURATION: Six minutes


MOOD: Light, singing

PROBLEMS:

Range: F - b .

b b Key: E Major - with brief changes to g minor, B Major,

and back to E Major in Variation I.

Technique: This solo needs to be light and free moving.

Tonguing should be clean but not heavy. Eighth notes

need to be even. Accented notes should be given

emphasis and held to full value, not blasted. Some

patterns of seven sixteenth notes to the beat need to

be carefully worked out. Wide sixteenth note leaps

can cause problems.

Phrasing: Regular phrases of either four or eight measures

in length.

Adaptability to the Instrument: Lies well on the horn within

the beginning scale. Wide leaps, from b ' to e, for example,

are the only unusual characteristics of this composition.

Most of the composition is either stepwise or within the

chord triad.

18

ACCOMPANIMENT:

Range of Difficulty: Moderately easy. Should not be too

staccato. Arpeggios might be a problem.

Type: Mostly chordal with some arpeggiation.

SUMMARY: This is a good composition. It is technically difficult,

but it is a lot of fun to play. The variations exercise

different types of technique and give the young performer

something to work toward.

A

19

COMPOSER: Ed Boccalari

TITLE: "Fantasia di Concerto"

PUBLISHER: Carl Fischer, Inc.

COST: $1.25

PERFORMANCE DURATION: nine minutes, twenty seconds

GENERAL FORM: Rondo of keys: g minor - B Major - g minor -

c minor ( A B A C )

MOOD: Lyrical; operatic

PROBLEMS:

Range: D - c *'

Key: g minor - B Major - g minor - c minor

Technique: Extreme range variation. Variety of technical

problems include awkward leaps; frequent use of accidentals,

especially in thirty-second note patterns; rapid slurred

arpeggios; double tonguing; and ending on c'*. This solo

is an endurance contest between the music and the performer.

Phrasing: Phrases are basically regular.

Adaptability to the Instrument: Wide leaps, awkward arpeggios

from quite low to unusually high, and extraordinary number

of accidentals make this composition difficult to prepare

and perform.

ACCOMPANIMENT:

Range of Difficulty: Moderately difficult. Full sixteenth

note chords in the right hand are rather awkward. Some of

the bolero rhythms are difficult to keep together with the

solo.

i^ JL.

20

Type: Mostly chordal, with variations in the bolero section.

SUMMARY: This is an extremely difficult piece to perform. It

requires long preparation time to sound well with the accom

paniment, and the cadenzas are quite technical and difficult.

Properly prepared and presented, this is a nice composition.

t, /

21

COMPOSER: Henri Biisser

TITLE: "Variations in D^, Opus 53"

PUBLISHER: Cundy-Bettoney Co., Inc.

COST: $1.25

PERFORMANCE DURATION: Five minutes, fifty seconds


MOOD: Martial at the beginning. More lively in Variation I.

Variation II is slow and somber. Variation III has a

rapid, dashing feeling. Variation IV is a little slower

with a return of the martial feeling. The last variation

is fast and lively with an even faster closing section of

about twelve measures.

PROBLEMS:

Range: F - g '

Key: Theme: D Major. Var. I: D Major. Var. II: D

Major - b minor. Var. Ill: D Major. Var. IV:

D^ Major. Var. V: D^ Major

Technique: As in most of the theme and variations solos on

the contest list, this one explores virtually every tech

nical aspect of the instrument. Fundamentals to be

remembered are not to play staccato notes too short and

accented notes should not become explosive.

Phrasing: Mostly regular four-measure phrasing, but irregular

meters tend to dislodge the feeling of period structure.

22

Adaptability to the Instrument: This is in a difficult key

with a lot of accidentals. It is not beyond the realm of

the instrument, but it contains many unusual progressions,

leaps, and tonguing patterns.

ACCOMPANIMENT:

Range of Difficulty: Moderately difficult. Tempo is the big

problem with this accompaniment. The key and the large

amount of altered chord progressions and brief references

to other keys can cause some confusion. Putting it

together with the soloist is also a problem.

Type: Basically chordal with a lot of imitation. Some of the

interludes become almost furious with arpeggiated sequences.

SUMMARY: This is a very difficult piece of music to perform properly.

It has some beautiful sections used in contrast to some of the

purely technical variations. This solo is definitely not for

the average player. To perform this work, the player needs

better than average facility with the instrument and excellent

finger coordination. As a technique training solo, this is

one of the best compositions on the Class I list.

# m.

23

COMPOSER: Herbert L. Clarke

TITLE: "Stars in a Velvety Sky"


COST: $1.00

PERFORMANCE DURATION: Five minutes, twenty seconds

GENERAL FORM: A B A

MOOD: Light and expressive.

PROBLEMS:

Range: d - a^*

Key: A^ Major - E^ Major - A^ Major - D^ Major - A^ Major

Technique: Light, clean tonguing style with some opportuni

ties for double-tonguing. Range is not too wide.

Phrasing: Regular four-measure phrases.

Adaptability to the Instrument: Lies quite well on the

instrument except for a few wide leaps,

ACCOMPANIMENT:

Range of Difficulty: Moderately difficult; key signatures

change frequently.

Type: Chordal

SUMMARY: This is a colorful composition. It offers exciting

tempos and expressive interludes.

i

24

COMPOSER: Herbert L. Clarke ARRANGER: Arthur Brandenburg

TITLE: "The Southern Cross"

PUBLISHER: Music Publishers Holding Corporation

COST: $1.25

PERFORMANCE DURATION: Four minutes, ten seconds

GENERAL FORM: A B C B D This composition is designed around a

rondo of tempos: Furioso, Allegretto, Pomposo, Allegretto,

Amoroso, Pomposo, Vivo.

MOOD: Lyrical, expressive.

PROBLEMS:

Range: E - d *'

Key: f minor - A Major - f minor - A Major - D Major -

f minor.

Technique: This composition has a much wider range than most

of the solos on the list. Tonguing must be clean and pre

cise. Breath support is an important factor since most of

the higher notes are reached by scale patterns. Unusual

fingering situations might cause some problems.

Phrasing: Phrases are irregular but periodic structure

resembles eight-measure construction.

Adaptability to the Instrument: D-flats in the key signature

make some of the more rapid passages unwieldy, but other

wise the solo lies well on the horn.

#

25

ACCOMPANIMENT:

Range of Difficulty: Moderately difficult. Three against

two at the beginning and rapid octave passages can cause

problems.

Type: Chordal with moving octaves in the bass line,

changing to Alberti bass in some sections.

SUMMARY: This is an interesting and challenging solo. In a few

respects it is not as appealing as others on the list, but

it offers much in the way of technique development and

personal satisfaction. Its slower sections give the soloist

considerable opportunity for individual expression.

ifm:

26

COMPOSER: Eugene Cools

TITLE: "Allegro de Concert"

PUBLISHER: Alfred Music Company, Inc.

COST: Cannot be purchased. This solo is permanently out of print.

PERFORMANCE DURATION: Four minutes, forty-five seconds.

GENERAL FORM: Concerto form.

MOOD: Resolute; determined.

PROBLEMS:

Range: E - c'*

Key: G Major - f minor - B^ Major - g minor - E Major -

f minor - g minor

Technique: Wide range; dynamics should be carefully observed.

Tonguing should not be harsh. Good breath support is essen

tial to reaching all of the high notes as well as the low

notes.

Phrasing: Irregular phrases.

Adaptability to the Instrument: Lies within the capabilities

of the instrument although wide leaps and frequent acci

dentals create a few awkward situations.

ACCOMPANIMENT:

Range of Difficulty: Moderately easy. Moving tremolos with

descending octaves in the bass line can be quite trouble

some.

Type: Chordal with frequent moving octaves.

ifm

27

SUMMARY: This is a difficult composition. It utilizes the full

practical range of the baritone horn and shows off many of

the things the baritone can do well. Unfortunately it has

been out of print for ten years. Either the publisher

should be asked to reprint this solo, or it should be

removed from the contest list to make room for something

that is in circulation.

28

COMPOSER: Albert Oliver Davis

TITLE: "Desert Star"

PUBLISHER: Ludwig Music Publishing Company

COST: $1.25

PERFORMANCE DURATION: Five minutes, thirty seconds

GENERAL FORM: Through composed.

MOOD: Slow and thoughtful, building to a frenzy.

PROBLEMS:

Range: F - c''

Key: F Major - A^ Major - C Major - F Major

Technique: Expressive in beginning section. Good breath

support required to sustain high phrases. Light tonguing

is a necessity in the sixteenth note sections.


Adaptability to the Instrument: Lies quite well on the instru

ment. High notes are approached with stepwise motion or

with good preparatory passages.

ACCOMPANIMENT:

Range of Difficulty: Moderately easy. Sixteenth note octaves

at rehearsal number 45 can be a problem if the accompanist

is not experienced in playing octaves at that tempo.

Type: Chordal except for the passage at rehearsal number 45.

SUMMARY: This is an excellent solo for training the above-average high

school performer to increase his range, improve his breath sup

port, and develop his tonguing style.

29

COMPOSER: Joseph De Luca

TITLE: "Beautiful Colorado"

PUBLISHER: Carl Fischer Inc.

COST: $1.00

PERFORMANCE DURATION: four minutes, thirty seconds

GENERAL FORM: A B A Coda

MOOD: Viennese waltz style.

PROBLEMS:

Range: A - b '

Key: F Major - B^ Major - F Major

Technique: Tonguing in this composition needs to be as light

as possible. Most sections are rapid and expressive.

Tempos are not strict and considerable liberty should be

taken with phrase beginnings. Waltz feeling should be

maintained throughout. Scale passages in the closing sec

tion are difficult.

Phrasing: Phrases are regular but broken by rests and tempo

variants. Eight measure periods usually serve as phrase

ideas.

Adaptability to the Instrument: Lies well on the horn except

for the closing scale passage and the g' - f trill.

ACCOMPANIMENT:

Range of Difficulty: Moderately difficult.

Type: Chordal with some moving octaves in interlude sections.

-i^HIm^

30

SUMMARY: This is a beautiful solo when performed correctly and

expressively. It is a good teaching device for a player

with poor tonguing technique and it can be used as a show

piece with band accompaniment.

31

COMPOSER: Johann Ernst Galliard FIGURED BASS BY: Edith Weiss-Mann

TITLE: "Sonata I"

PUBLISHER: International Music Company

COST: $2.50 (Volume I contains three sonatas)

PERFORMANCE DURATION: U.I.L. requirements is for one slow movement

and one fast movement to be performed. Duration of each

movement is:

Cantabile: one minute, thirty seconds

Spiritoso: one minute, twenty seconds

Largo: two minutes, twenty-five seconds

Allegro: two minutes

Vivace: two minutes, five seconds


and will not be considered for its individual form, but most

are binary. The Sonata is constructed on a Slow Fast Slow

Fast movement pattern. This particular work contains an

additional Fast section.

MOOD: Middle-late baroque style.

PROBLEMS:

Range: C - g'

Key: a minor - C Major - C Major - a minor - a minor

Technique: Mostly singing style. Staccato sections should

be articulated so that the notes are separated but not

chopped. Wide leaps could cause problems but most occur

32

in slow movements and are relatively easy. Ornamentation

requires careful work.

Phrasing: Regular.

Adaptability to the Instrument: Lies well on the instrument

except for wide leaps and extremely low range. These

sonatas are designed for bassoon. Performer must have a

four-valved instrument.

ACCOMPANIMENT:

Range of Difficulty: Moderate.

Type: Cantabile: chordal with contrapuntal movement through

out the section.

Spiritoso: motivic with some chordal patterns.

Largo: Chordal

Allegro: Chordal chorale style

Vivace: Chordal

SUMMARY: The entire sonata is charming, and easy enough for most high

school players. It is interesting stylistically, and moves

naturally on the horn.

33


TITLE: "Sonata II"



PERFORMANCE DURATION: U.I.L. requirement is for one slow movement

and one fast movement to be performed. Duration of each

movement is: Andante: three minutes; Vivace: two minutes,

thirty seconds; Cantabile: one minute, ten seconds;

Spiritoso: one minute




Fast movement pattern.

MOOD: Middle-late Baroque style.

PROBLEMS:

Range: D - g'

Key: G Major in all movements.

Technique: Lyrical singing style in the two slow movements

and light, spirited style in the two fast movements. Low

range may cause difficulties and a few wide leaps exist

in the slower movements. Trills and ornamentation must

be carefully rehearsed.

Phrasing: Regular in all movements.


except for wide leaps and low range. Performer must have

a four-valve instrument.

34

ACCOMPANIMENT:

Range of Difficulty: Moderately easy.

Type: Andante: Walking quarter notes with chords in

right hand.

Vivace: Chordal

Cantabile: Chordal

Spiritoso: Chordal

SUMMARY: This is an interesting composition, easy enough for

most high school players. It moves well on the instrument.

35


TITLE: "Sonata III"



PERFORMANCE DURATION: U.I.L. requirement is for performance of one

slow movement and one fast movement. Duration of each move

ment is:

Largo: two minutes, fifty-five seconds

Allegro: one minute, twenty seconds

Adagio: thirty seconds

Spiritoso: one minute, ten seconds




Fast movement pattern.

MOOD: Middle-late Baroque style.

PROBLEMS:

Range: C - g'

Key: F Major in all movements

Technique: Slow movements are lyrical. Fast movements are

light and spirited. Irregular thirty-second note pattern

requires working out. Low range requires good breath

support. Trills in the Spiritoso movement need extra

attention.

Phrasing: Regular in all movements.

36


except for a few wide leaps and low range. Student must

have a four-valve instrument to play the low notes.

ACCOMPANIMENT:

Range of Difficulty: Easy - moderately easy. Spiritoso sec

tion is difficult to put together with the soloist.

Type: Largo: Moving eighth notes; contrapuntal

Allegro: Chordal with eighth note octave leaps in

bass line

Adagio: Chordal

Spiritoso: Contrapuntal texture in left hand with

chords in right hand

SUMMARY: This is somewhat less interesting than the first two

sonatas but it is still a good composition for the high

school performer. It moves well on the instrument.

37

COMPOSER: Johann Ernst Galliard

TITLE: "Sonata IV"


COST: $2.50 (Volume II contains three sonatas)

PERFORMANCE DURATION: U.I.L. requirement is for one slow movement and

one fast movement to be performed. Duration of each movement

is: Adagio-Allegro-Adagio: Three minutes, fifteen seconds

Allemanda: One minute, forty seconds

Corrente: One minute, forty seconds

Menuet: One minute, thirty seconds



are binary. Construction is on a slow-fast-slow-fast movement

pattern.

MOOD: Characteristic Baroque style.

PROBLEMS:

Range: BB - g'

Key: Movements I and II: G Major

Movements III and IV: e minor

Technique: Slow movements are expressive and legato. Fast

movements are light and spirited. Tonguing should be soft

and precise. Low range requirements necessitate good

breathing and proper breath support.

Phrasing: Regular four-measure phrases in all movements.

38

Adaptability to the Instrument: These sonatas were origi

nally intended for bassoon or cello. While the baritone

horn can produce tones in the extreme low range, they are

impractical. The low notes in this composition are below

the natural range of the instrument, and a four valve

horn must be used.

ACCOMPANIMENT:

Range of Difficulty: Easy; no technical problems in any of

the movements.

Type: Chordal through the entire composition.

SUMMARY: This is a good, medium-difficult composition for high school

students to work on. It teaches much in the way of tonguing

and breath support.

39

COMPOSER: Johann Ernst Galliard

TITLE: "Sonata V"





is: Adagio: One minute, thirty seconds

Allegro: One minute, ten seconds

Alia Siciliano: Fifty-five seconds

Allegro: One minute, forty seconds

GENERAL FORM: Each movement is a part of the composition as a whole and

will not be considered for its individual form, but most are

binary. Construction is on a slow-fast-slow-fast movement pat

tern.


PROBLEMS:

Range: D - g*

Key: Movements I, II, and III: d minor

Movement IV: D Major

Technique: Slow movements are expressive and legato. Fast

movements are light and spirited. Tonguing should be soft

and precise. Low range requirements necessitate good



40


TITLE: "Sonata VI"





is: Larghetto: One minute, thirty seconds

Alia Breve: Two minutes, twenty seconds

Sarabanda: One minute, thirty-five seconds

Menuet: One minute, forty seconds



are binary. Construction is on a slow-fast-slow-fast movement

pattern.


PROBLEMS:

Range: C - g'

Key: Movements I, II, and IV: C Major

Movement III: c minor

Technique: Slow movements are typically expressive and legato.

Fast movements are light and spirited. Tonguing should be

soft and precise. Low range requirements necessitate good



41

Adaptability to the Instrument: These sonatas were origi

nally intended for bassoon or cello. While the baritone

horn can produce tones in the extreme low range, they are

impractical. Low notes in this composition are beyond the

natural range of the instrument, and a four valve horn

must be used.

ACCOMPANIMENT:


Type: Primarily chordal with some sections utilizing a moving

bass line with chords in the right hand.

SUMMARY: This is a good, medium-difficult composition for high school

students to work on. It teaches much in the way of tonguing

and breath support.

42

COMPOSER: George Frederick Handel TRANSCRIBED BY: Robert L.

Marsteller

TITLE: "Concerto in f minor"


COST: $2.50

PERFORMANCE DURATION: Grave: Three minutes, ten seconds

Allegro: Two minutes, ten seconds

Sarabande: Two minutes, five seconds

Finale: Two minutes, ten seconds

GENERAL FORM: Grave: Free construction on a rhythmic motive

Allegro: Rondo of key centers on motives rather than themes

Sarabande: A A B A

Finale: Monothematic on a Rondo of keys

MOOD: Grave: Slow and expressive

Allegro: Rigid, straightforward

Sarabande: Free, expressive

Finale: Steady, very musical

PROBLEMS:

Range: B^ - b^

Key: Grave: f minor - b minor - F Major - c minor -

f minor; Allegro: f minor - A Major - c minor -

A^ Major - E^ Major - f minor - E Major - f minor;

Sarabande: A^ Major; Finale: f minor - A Major -

E^ Major - c minor - f minor.

43

Technique: Slow movements require full phrases and legato

tonguing. Fast movements require light tonguing and

facility on the horn. The solo line stays in the high

register for extended passages, requiring good support

and good breathing.


Adaptability to the Instrument: Lies well on the instrument.

ACCOMPANIMENT:

Range of Difficulty: Grave: easy; Allegro: moderately

difficult, fast moving sixteenths against counterpoint;

Sarabande: moderately easy; Double: moderately easy;

Finale: moderately easy.

Type: Mostly chordal except in the second movement where a

strong counterpoint prevails.

SUMMARY: This is a nice solo. Most baritone players will avoid it

since it is almost entirely in the tenor clef.

44

COMPOSER: Warner Hutchison

TITLE: "Sonatina"


COST: $2.50

PERFORMANCE DURATION: Movement I: One minute, fifteen seconds

Movement II: Four minutes, thirty-five seconds

Movement III: Two minutes

GENERAL FORM: Movement I: A B A B (sonatina with no development

section); Movement II: A B A ; Movement III: A B A

MOOD: Contemporary; full of dissonances and non-tertian chord

functions.

PROBLEMS:

•L. I

Range: E - b°

Key: No real key centers. Movement I centers on A Dorian

with many quartal functions. Movement II has points of

attraction rather than key centers. Points of attraction

are A, E, and A. Quintal sounds and polychords do not

function within those keys. Movement III is centered on

C and on E after the transition in the B section.

Technique: This solo requires light tonguing, constant atten

tion to rhythms and counting, and careful work with the

accompanist in putting the parts together.

Phrasing: Irregular and in many cases, nonexistent.

Adaptability to the Instrument: A few unusual leaps appear

but the composition basically lies well on the instrument.

45

ACCOMPANIMENT:

Range of Difficulty: Movement I: Difficult; dissonant coun

terpoint at a rapid tempo; Movement II: Moderately

difficult; lots of accidentals; Movement III: Moderately

difficult; unusual leaps and frequent accidentals.

Type: Movement I: contrapuntal

Movement II: quintal textures and polychords

Movement III: contrapuntal

SUMMARY: This is a difficult composition to bring to a performance

level. Its contemporary harmonies are interesting and present

a challenge for interpretation.

46

COMPOSER: Thomas Keighly

TITLE: "Romance in f minor"

PUBLISHER: Boosey and Hawkes, Inc.

COST: Cannot be purchased. This solo is permanently out of print.

PERFORMANCE DURATION: Seven minutes, thirty seconds

GENERAL FORM: A B C B A (Arch form)

MOOD: Sentimental; lyrical.

PROBLEMS:

Range: F - b^*

Key: f minor - F Major - C Major - F Major - f minor

Technique: Sustained phrases require good support and soft

legato tongue. Rapid passages in high range require

considerable support and crisp, clean tonguing style.


Adaptability to the Instrument: Fits the horn well. Wide

leaps are slow enough to be handled without difficulty.

Scale patterns are either diatonic or chromatic.

ACCOMPANIMENT:

Range of Difficulty: Moderately easy - moderately difficult

Type: Chordal

SUMMARY: This is a nice solo with educational value for the high

school student. It is out of print and should be reprinted

or removed from the contest list.

47

COMPOSER: Julius Klengel ARRANGER: Leonard Falcone

TITLE: "First Movement: Concertino No. 1 in B^ Major, Op. 7"


COST: $1.00

PERFORMANCE DURATION: Six minutes, fifty seconds

GENERAL FORM: Sonata allegro form

MOOD: Brilliant; cheerful.

PROBLEMS:

Range: F - c f t

Key: B^ Major

Technique: Considerable facility with high range required.

Very first solo entrance is b" . Rapid tonguing is not

too much of a problem but rapid fingering passages are

frequent. Tonguing should be light but not explosive.

Breath support required for high range.



except for wide leaps and entrances in high range.

ACCOMPANIMENT:

Range of Difficulty: Moderate; no real technical problems.

Type: Chordal with a few moving octave patterns and a few

broken chord sections.

SUMMARY: This is a good solo. It lacks variety but makes up for it

in colorful florid passages. It is a good developmental study

for the high range.

48

COMPOSER: Jean Marie LeClair ARRANGER: Larry Teal

TITLE: "Saraband and Allegro"

PUBLISHER: Theodore Presser Company

COST: $2.00 (from the collection: Program Solos for Alto Saxo

phone , by Larry Teal)

PERFORMANCE DURATION: Four minutes, ten seconds.

GENERAL FORM: Largo: A A B

Allegro: A B A C A (rondo)

MOOD: Largo: dignified

Allegro: quick; cheerful

PROBLEMS:

Range: E - g'

Key: Largo: E Major

Technique: Frequent trills and ornamentation. Phrases must

be given full value. Allegro section requires light

tonguing and good finger manipulation. Some of the six

teenth note slurs will be difficult until worked out.

Low notes must have support and be played full value.

Phrasing: Regular.

Adaptability to the Instrument: This solo is awkward in many

places because of frequent accidentals and unusual leaps.

Originally written for alto saxophone, this composition

does not sound well on the baritone horn.

49

ACCOMPANIMENT:

Range of Difficulty: Moderately difficult. Speed is a

consideration in this accompaniment. It is partly easy,

but the Allegro section has many eighth note and six

teenth note patterns that are difficult to execute at

the required tempo.

Type: Chordal with walking bass line

SUMMARY: This is a difficult solo for the baritone horn. It does

not lie well on the instrument and it is hard to fit with

the accompaniment. This composition needs to be re-edited

for the baritone horn.

50

COMPOSER: Edward Llewellyn EDITED BY: Clifford P. Lillya

TITLE: "My Regards"

PUBLISHER: Music Publishers Holding Corporation

COST: $1.25

PERFORMANCE DURATION: Five minutes

GENERAL FORM: A B A (Waltz - Trio - Waltz)

MOOD: Light, carefree dance feeling.

PROBLEMS:

Range: G - b^'

Key: A Major - E Major - A^ Major

Technique: Light tonguing and even note values are

important. Facility in the high register is also

needed. Cadenzas are short and not too difficult.

Most high notes are reached by step.

Phrasing: Regular eight-measure phrases.

Adaptability to the Instrument: The solo lies well on the

instrument with a few exceptions. One or two fingerings

in the first trio strain are awkward at the speed they

must be taken.

ACCOMPANIMENT:


Type: Chordal.

SUMMARY: This is one of the easier solos on the Class I list. It

is quite enjoyable to play and offers the slightly better-

than average player a chance to put on a good performance.

51

COMPOSER: Benedetto Marcello ARRANGER: Allen Ostrander

TITLE: "Sonata in a minor"


COST: $1.75


GENERAL FORM: Adagio introduction to Allegro movement. Allegro

movement is in sonata form. Largo movement is brief with

no formal function other than as an interlude emphasizing

the a minor key center. Final Allegro section.

MOOD: Slow sections are somber and pensive. Fast sections are

carefree and playful.

PROBLEMS:

Range: A - a*

Key: a minor

Technique: Range is not too high or low. Recurring six

teenth note passages can cause difficulty. Sixteenth

notes must be even.

Phrasing: Regular four-measure phrases in fast movements.


ACCOMPANIMENT:

Range of Difficulty: The first three movements are relatively

easy. The final movement has rapid sixteenth note patterns

in the left hand that could be quite difficult.

52

Type: Adagio: Chordal

Allegro: Primarily chordal with some moving six

teenth note patterns.

Largo: Chordal

Allegro: Chordal figures in right hand with rapidly

moving sixteenth notes in left hand throughout most

of the movement.

SUMMARY: This is an excellent solo. It has variety and charm for

the high school performer.

53

COMPOSER: Lucient Niverd

TITLE: "Legende"


COST: $1.25

PERFORMANCE DURATION: Four minutes, thirty seconds

GENERAL FORM: Long Fantasia-type introduction: Main body of the

composition is through composed with thematic metamorphosis.

MOOD: Melancholy and expressive in slow sections changing to

majestic in fast sections.

PROBLEMS:

Range: E - b^

Key: Fantasy of keys, primarily using b minor and B Major

Technique: Nice legato style in sustained sections. Dynamic

changes and speed changes should be carefully observed.

Notes in fast sections should be slightly detached. One

or two sections have shifts to tenor clef.

Phrasing: Fairly regular four-measure phrases.


ACCOMPANIMENT:

Range of Difficulty: Moderately difficult

Type: Melodic with progressing octaves throughout most of

the composition. From rehearsal letter I to the end is

chordal.

SUMMARY: An interesting solo with some nice harmonies and a flowing

melody in the early sections. Later sections become choppy.

54

COMPOSER: C. Saint-Sa^ns

TITLE: "Cavatine"

PUBLISHER: Elkan-Vogel Company, Inc.

COST: $2.50

PERFORMANCE DURATION: Five minutes, twenty-five seconds


MOOD: Lyrical, singing style

PROBLEMS:

Range: AA^ - d^"

Key: D^ Major - E Major - D^ Major

Technique: Extreme range variations, keys, and tenor clef

comprise most of the problems with this composition. Good

breath control and support, facility with uncommon keys,

and knowledge of tenor clef are all necessary for the

performance of this work.

Phrasing: Irregular phrases four to eight measures long.

Adaptability to the Instrument: Lies well on the horn except

for the extremes of range.

ACCOMPANIMENT:


Type: Alternation between chordal and octave patterns.

SUMMARY: This is a beautiful solo. It is not too difficult except

for the extremes of range. The solo is very romantic, full

of rich chord sonorities and can be quite expressive.

55

COMPOSER: John Baptiste Senaille ARRANGER: Leonard Falcone

TITLE: "Allegro Spiritoso"


COST: $1.50

PERFORMANCE DURATION: Two minutes

GENERAL FORM: Rondo: A B A B C A

MOOD: Light and spirited.

PROBLEMS:

b b' Range: B - a

Key: c minor - E Major - c minor - E Major - g minor -

c minor (brief C Major)

Technique: Light tonguing style is necessary. Use of

Schnellers may cause problems. These should be played

on the beat although in the attached recording they are

played before the beat. Trills also require considerable

attention. Double tonguing can be used depending upon the

performer's facility with it.

Phrasing: Regular eight measure phrases.

Adaptability to the Instrument: Lies quite well on the horn.

Fingering patterns fall into place with little difficulty.

ACCOMPANIMENT:

Range of Difficulty: Moderately difficult. Rapid fingering

passages could confuse an inexperienced accompanist and

cause the soloist to become confused also.

56

Type: Chordal with complex rapid material in one section.

SUMMARY: This is a highly enjoyable piece to perform. It would

sound even better if performed with a harpsichord. It is

relatively short and does not give the soloist many

opportunities to rest or to recapture his breath. The

arranging by Mr. Falcone is superb.

57

COMPOSER: Willard I. Shepherd

TITLE: "Nocturne and Rondolette"


COST: $1.50

PERFORMANCE DURATION: Five minutes, fifty seconds

GENERAL FORM: Lento: A transition A; Allegro: A B A C A Rondo

MOOD: Lento: Dreamy; Allegro: Not static; many different moods—

light and happy, mysterious, thoughtful, and confident.

PROBLEMS:

Range: c - d''

Key: C Major - b^ minor - D^ Major - f minor - D^ Major -

b^ minor - D^ Major - b^ minor

Technique: Predominantly sixteenth note runs and phrases.

Player must be able to play rapidly in the high register.

Slow sections offer difficulty in sustaining long phrases.

Phrasing: Regular four-measure phrases

Adaptability to the Instrument: Does not lie well on the horn

at the speed required. The key makes some of the rapid

fingerings almost impossible.

ACCOMPANIMENT:

Range of Difficulty: Moderately difficult

Type: Chordal with a few arpeggiated sequences

SUMMARY: This is a beautiful, exciting composition. It is quite diffi

cult to perform because of the high range and fast sixteenth

note passages.

58

COMPOSER: Georg Philipp Telemann ARRANGER: Allen Ostrander

TITLE: "Sonata in f minor"


COST: $2.00

PERFORMANCE DURATION: U.I.L. requirement is to perform Movements

III and IV. Movement III: One minute, twenty-five seconds;

Movement IV: One minute, twenty seconds

GENERAL FORM: Movement III: A B A ; Movement IV: A A B A


PROBLEMS:

Range: G - g'

Key: Movement III: C Major - c minor; Movement IV: f minor

- c minor - A^ Major - f minor

Technique: Movement III: counting rhythms is the only real

problem with this movement. Movement IV: Light, clean

tonguing style with frequent lip slurs. Should be felt

in one.



except for some thirty-second note slurred figures in the

last movement. These are difficult to make sound clearly

and precisely.

ACCOMPANIMENT:

Range of Difficulty: Movement III: Moderately difficult;

Movement IV: Moderately difficult.

59

Type: Movement III: Motivic

Movement IV: Chordal with frequent sixteenth note

and thirty-second note variations.

SUMMARY: This is an attractive solo to the young player who has

heard someone else perform it first. It has considerable

variety of sound and of technique. It is also fun to play.

60

COMPOSER: N. Troje-Miller

TITLE: "Heroic Episode"


COST: $1.00

PERFORMANCE DURATION: Five minutes, ten seconds

GENERAL FORM: A B A C A B A (Rondo)

MOOD: Proud, majestic

PROBLEMS:

Range: c - b"

Key: c minor - D Major - c minor - C Major - c minor -

D* Major - c minor

Technique: This is a rondo of tempos. Tempo transitions are

difficult. Tonguing style needs to be light and somewhat

detached.



except for slurred at the end of the A sections.

ACCOMPANIMENT:


Type: Chordal

SUMMARY: This is a very nice piece of music. It is fun to rehearse

after the tempo changes are worked out. It is stylistically

challenging for the high school baritone player.

61

Additional Comments

The Class I contest list contains many difficult, challeng

ing compositions for the high school baritone horn player. A per

former attempting one of the solos on this list must have great

facility with his instrument. In many cases, he must be using a

four-valve baritone horn because of the low range beyond the capa

bilities of the normal three-valve instrument.

The present list was designed in a manner which would

include compositions from several different musical periods. Pre

vious lists contain few pieces from the Baroque period and contain

few contemporary solos. Mr. Baird, in compiling this list, attempted

to include as great a variety as possible. Most of the literature

was not written expressly for the baritone horn since the baritone

horn has only recently been considered a solo instrument. Most of

the music is written for trombone, bassoon, or cello, or it has

been transcribed for use on the baritone horn.

Two of the better solos, "Allegro de Concert," by Eugene

Cools, and "Romance in f minor," by Thomas Keighly, unfortunately

are out of print and no plans have been made to attempt to republish

them. The LeClair "Sarabande and Allegro from Sonata No. 10" is

published solely for alto saxophone. It can be read for baritone

horn by changing the treble clef to bass clef and adding three

flats to the key signatures. Even then, some of the ranges and

textures are not as comfortable on the baritone horn as they might

62

have been on alto saxophone. A B-flat edition of this solo is needed

or it should be removed from the list.

A more scholarly approach to the compilation of the current

list has resulted in the removal of several of the older, "show-type"

pieces and some of the theme and variations compositions. A few of

the best of these were left on the list to add to the variety of

selections available to the high school baritone horn player. Also,

many solos were left off this list to make room for other composi

tions but were retained on either the trombone or cornet lists.

CHAPTER III


LIST FOR BARITONE HORN - CLASS II

The Solos

COMPOSER: Johann Sebastian Bach ARRANGER: Richard Fote

TITLE: "'Air' from Suite No. 3 in D"

PUBLISHER: Kendor Music, Inc.

COST: $1.00


GENERAL FORM: Song: A A B C

MOOD: Melodic

PROBLEMS:

b b' Range: e - g

Key: A Major

Technique: Melodic, flowing phrases require good breath

support and careful observation of dynamic contrasts.

Some rhythms may cause minor difficulty.


Adaptability to the Instrument: A little awkward in

places, slurred leaps and accidentals will cause

most of the difficulty.

63

64

ACCOMPANIMENT:

Range of D i f f i c u l t y : Easy

Type: Chorda l

SUMMARY: T h i s i s a b e a u t i f u l me lod ic c o m p o s i t i o n , a r r anged t o

r e t a i n fundamenta l s t y l e . Lengthy s u s t a i n e d p h r a s e s

w i l l deve lop b r e a t h s u p p o r t and c o n t r o l .

65

COMPOSER: Johann Sebastian Bach ARRANGER: H. R. Kent

TITLE: "Arioso"


COST: $0.75

PERFORMANCE DURATION: Two minutes, forty-five seconds

GENERAL FORM: A A B A B A (Bar form)

MOOD: Confident

PROBLEMS:

b' Range: c - a

Key: E Major - f minor - E^ Major

Technique: Soft, legato tongue throughout the composition.

Leaps to high notes are unusual and will cause problems.

Triplet feeling is hard to establish after playing eighth

notes for a long time.

Phrasing: Irregular phrases.


except for one leap of a minor tenth.

ACCOMPANIMENT:

Range of Difficulty: Moderately easy. Octaves are not step

wise in left hand and might pose problems for an inexper

ienced accompanist.

Type: Chordal with walking bass patterns in left hand.

SUMMARY: Feeling of confidence expressed in the solo should encourage

the performer to be more confident in his playing. This is an

excellent solo for that purpose. Pedagogically it gets the per

former into the high range by leap rather than by step.

66

COMPOSER: Johann Sebastian Bach ARRANGER: Leonard Falcone

TITLE: "Ave Maria" from "Two Pieces" (Note: Listed under Falcone:

"Two Pieces" in the U.I.L. contest list.)


COST: $2.00 (Includes both pieces)


GENERAL FORM: Simple transcription of the original A B A form except

that the first section does not return.

MOOD: Reverent

PROBLEMS:

Range: G - b

Key: F Major

Technique: Smooth, flowing style. Good support necessary in

the high passages.


Adaptability to the Instrument: Lies comfortably on the instru

ment. High range could be a problem but optional notes are

included for the lower octave if the player desires to stay

away from high passages.

ACCOMPANIMENT:

Range of Difficulty: Moderately easy. Division between the two

hands makes it difficult for the accompanist to hear where

the beat falls. Easy to use too much pedal.

Type: Arpeggiated accompaniment.

67

SUMMARY: This is a beautiful, melodic composition although a little

has been lost through the transcription. It enables the

baritone horn to sing out and become quite expressive. The

contest list includes the "Two Pieces" and the "Sicilienne"

from the "Two Pieces." The "Sicilienne" is described under

a separate entry.

68

COMPOSER: Guillaume Balay

TITLE: "Petite Piece Concertante"

PUBLISHER: Rubank, Inc.

COST: $1.00

PERFORMANCE DURATION: Three minutes, fifty seconds

GENERAL FORM: Binary (A B)

MOOD: Moderato: elegant; lyrical. Marche: martial, dignified.

PROBLEMS:

Range: pJ^ - f

Key: G Major - E Major

Technique: Moderato: singing; expressive; use of legato tongue.

Accidentals might cause some initial difficulty. Marche:

detached but not too short. Sixteenth note patterns are

difficult for the inexperienced player.



except for some accidentals and a few wide leaps.

ACCOMPANIMENT:

Range of Difficulty: Moderately easy. Biggest difficulty is

putting together with the solo. Key does not pose any

problems.

Type: Chordal.

SUMMARY: This is a difficult solo for its rating. The amount of work

required to prepare this composition for performance would be

comparable to that necessary for one of the easier Class I

solos.

69

COMPOSER: Clifford P. Barnes

TITLE: "Arioso and Caprice"

PUBLISHER: Robbins Music Corporation

COST: $1.00

PERFORMANCE DURATION: Two minutes, thirty-five seconds

GENERAL FORM: Andante ("Arioso"): A A

Allegretto ("Caprice"): A B A

MOOD: Andante: confident; Allegretto: Light and humorous.

PROBLEMS:

Range: B - f

V> T-4 V»

Key: B Major - E Major - B Major

Technique: Dynamic changes should be carefully observed.

Andante section requires legato tonguing and Allegretto

section is primarily light tonguing. Sixteenth note

patterns are hard to prepare.



ACCOMPANIMENT: Range of Difficulty: Easy

Type: Chordal

SUMMARY: This is a colorful, interesting solo. It is fun to play and

offers a challenge for the less mature player.

70

COMPOSER: Clifford P. Barnes

TITLE: "Valse Impromptu"

PUBLISHER: Robbins Music Corporation

COST: $1.00

PERFORMANCE DURATION: Two minutes, twenty seconds

GENERAL FORM: A B A

MOOD: Medium waltz feeling.

PROBLEMS:

Range: c - f

Key: B Major - E Major - B^ Major

Technique: Light clean tonguing required throughout the

composition. Tempos do not need to be too strict.

Notes should be held to full value.



instrument. Most passages are stepwise.

ACCOMPANIMENT:

Range of Difficulty: Easy

Type: Chordal

SUMMARY: This is one of the easier solos on the Class II list. It

moves well and is suitable for the less mature high school

player.

71

COMPOSER: Bela Bartok ARRANGER: Floyd 0. Harris

TITLE: "Evening in the Country"


COST: $0.75

PERFORMANCE DURATION: Two minutes, fifty seconds

GENERAL FORM: Rondo: A B A B A

MOOD: Serene, peaceful; interrupted by rapid musical intrusions.

PROBLEMS:

Range: d - e'

Key: e minor - C Major - e minor

Technique: Slow sections should be smooth and legato. Fast

sections moderately heavy and detached slightly. Slurred

sixteenth note patterns may create some difficulties with

preparation.

Phrasing: Regular two-measure phrases within eight-measure

period form.


ACCOMPANIMENT:

Range of Difficulty: Easy. Style imitation is important.

Type: Chordal

SUMMARY: This is a nice varied composition. The difference in styles

is good for students to work with. Harmonies with the accom

paniment are interesting, especially the final chord progres

sion.

72

COMPOSER: Michael Blaret ARRANGER: Larry Teal

TITLE: "Adagio and Gigue"


COST: $2.00 (In the collection Program Solos for Alto Saxophone

by Larry Teal.)

PERFORMANCE DURATION: Four minutes

GENERAL FORM: Adagio: A B; Gigue: A B A (inverted)

MOOD: Adagio: quiet, relaxed; Gigue: Happy, rapid dance style

PROBLEMS:

Range: G - g'

Key: g minor

Technique: Adagio: full and sustained. Awkward rhythms but

slow enough to handle. Gigue: light; staccato notes should

be slightly detached but not accented. High range might be

difficult since the first high note of each series is

approached by leap.



ment. Key attractions are slightly awkward until worked out.

ACCOMPANIMENT:

Range of Difficulty: Moderately easy. Ledger lines above bass

clef are difficult to read and voice leading in some cases

is unusual.

Type: Contrapuntal with some brief chordal sections.

73

SUMMARY: This is a moderately difficult solo with awkward rhythm

patterns and rapid passages requiring a high degree of

facility with the instrument. This solo is written for

alto saxophone and is not published in a B edition.

74

COMPOSER: Forrest L. Buchtel

TITLE: "II Penserosa e L'Allegro


COST: $1.25


GENERAL FORM: Andante: A B A ; Allegro: Introduction A A B B

Developmental Section A (Sonata form)

MOOD: Andante: Singing; operatic style; Allegro: Cheerful

PROBLEMS:

Range: B - f

Key: d minor - f minor - F Major - f minor

Technique: Andante: Legato style with full phrases and

careful observance of dynamic changes. Allegro:

Slightly detached with soft tongue. Triplets must be

even.



ins t rumen t.

ACCOMPANIMENT:

Range of Difficulty: Moderately difficult. Hard to keep

together with the soloist. Triple meter and Alberti

accompaniment feel awkward. Frequent progressions from

f minor to A Major and back add to a feeling of

instability.

75

Type: Andante: Alberti type accompaniment

Allegro: Continued Alberti in triple meter until

rehearsal number 49; then becomes chordal.

SUMMARY: This is not an easy composition. It is difficult to

keep with the accompaniment and unusual rhythm patterns

tend to dislodge the steady beat feeling. This is a good

solo as far as training to read rhythms is concerned,

but it could be replaced by something a little more

interesting and rewarding.

76

COMPOSER: Philippe Chedeville ARRANGER: Frank Clark

TITLE: "Scherzo"

PUBLISHER: Edition Musicus New York

COST: $1.25

PERFORMANCE DURATION: One minute

GENERAL FORM: A A B

MOOD: Playful; joking.

PROBLEMS:

Range: G - d'

Key: C Major

Technique: Light, staccato patterns. Ornamentations need

to be carefully planned. Slurs in the B section will

require extra practice.


Adaptability to the Instrument: Lies fairly well on the

instrument. Leaps are unusual and a little unnatural

for baritone horn. This solo was written for alto

saxophone.

ACCOMPANIMENT:

Range of Difficulty: Easy.

Type: Mostly chordal with some moving octaves in left hand.

SUMMARY: This is a good, short solo. It is enjoyable to work on and

could be of considerable educational value if it were published

for B-flat instruments.

77

COMPOSER: Jaroslav Cimera

TITLE: "Polka Caprice"


COST: $0.75

PERFORMANCE DURATION: Three minutes, twenty seconds

GENERAL FORM: A B A

MOOD: Moderate dance style; light and carefree.

PROBLEMS:

Range: A - f

Key: B Major - A^ Major - B^ Major - A^ Major

Technique: Smooth legato style at beginning and return of

the A section. Middle section is light but not staccato.

Notes must retain their full value. Some unusual tied

notes in the B section might create difficulty in prepar

ing this solo, but there should be no problem in working

them out.


Adaptability to the Instrument: Lies quite naturally on

the instrument. Few accidentals and mostly stepwise

or arpeggio patterns make the solo relatively easy.

ACCOMPANIMENT:

Range of Difficulty: Moderately easy. Layout is poor.

Page turns come at awkward transitions.

Type: Inverted chord style.

78

SUMMARY: This is a nice solo. It is easy to put together and not

too difficult to play. The piano part requires a page

turner, but could be re-edited and printed so that one

is not required. (Contest conditions may preclude having

a page turner.)

79

COMPOSER: Herbert L. Clarke

TITLE: "Twilight Dreams"

PUBLISHER: Warner Bros.-Seven Arts, Inc.

COST: $1.50

PERFORMANCE DURATION: Three minutes, forty-five seconds

GENERAL FORM: A A B B A A

MOOD: Spirited at the beginning, changing to a light medium waltz.

PROBLEMS:

Range: B^ - a^'

Key: E^ Major

Technique: Phrases must be sustained to their full value.

No technical tonguing problems. Everything is slurred

or given a breath accent. Cadenza should be emotional.



horn.

ACCOMPANIMENT:


Type: Chordal with occasional countermelody in left hand.

SUMMARY: This is a good Class II solo. It is easy to put with the

accompaniment and it is fun to play. It is excellent for

teaching phrasing and tone control.

80

COMPOSER: Sol B. Cohen

TITLE: "Gypsy Romance"

PUBLISHER: Jack Spratt Music Company

COST: $1.00


GENERAL FORM: A B A

MOOD: Light and expressive.

PROBLEMS:

Range: d - a'

Key: F Major

Technique: Not too difficult. Some syncopation, but mostly

slurred sixteenth notes. Dynamic changes should be

observed carefully and the entire piece should be played

as expressively as possible.

Phrasing: Regular two-measure phrases.


instrument. Accidentals are mostly chromatic.

ACCOMPANIMENT:

Range of Difficulty: Moderately easy. Tempo variations are

somewhat difficult to put together.

Type: Chordal

SUMMARY: This is one of the better compositions on the Class II list".

It is moderately difficult and offers a challenge to the

energetic young performer.

81

COMPOSER: G. Cords

TITLE: "Romanze"

PUBLISHER: Cundy-Bettoney Company, Inc.

COST: $0.75

PERFORMANCE DURATION: Five minutes, twenty seconds

GENERAL FORM: A B A song form

MOOD: Sentimental; expressive.

PROBLEMS:

Range: c - a

Key: A Major

Technique: Smooth legato tonguing of the full phrases is

the primary problem here. Expands into the high range.


Adaptability to the Instrument: Fits well with the instru

ment. Most high notes are reached by stepwise movement.

Few accidentals or key changes occur.

ACCOMPANIMENT:


Type: Alternation of ostinato pattern and chordal accompani

ment.

SUMMARY: This is a pretty, freely singing composition which

emphasizes the baritone horn's ability to sing out in the

high register.

82

COMPOSER: Arcangelo Corelli ARRANGER: Richard E. Powell

TITLE: "Preludes and Minuet"


COST: $1.50

PERFORMANCE DURATION: Four minutes, twenty seconds

GENERAL FORM: Prelude: A A B B; Minuet: A B A

MOOD: Prelude: Serene, lyrical; Minuet: light and gay

PROBLEMS:

Range: c - f

Key: Prelude: a minor; Minuet: C Major

Technique: Prelude should be expressive with legato tonguing

and smooth slurs. Minuet must be light. Dynamic changes

should be carefully observed. Tempo is steady except for

final ritard.

Phrasing: Prelude: Regular four-measure phrases

Minuet: Regular eight-measure phrases


instrument.

ACCOMPANIMENT:


Type: Mostly contrapuntal with a few chordal sections.

SUMMARY: This is a stylistic piece for the intermediate performer.

It moves well and is quite melodic.

83

COMPOSER: Max F. Denmark

TITLE: "Scene de Concert"


COST: $1.25


GENERAL FORM: Through composed with references to Introduction

material.

MOOD: Varying between soft and tranquil, and the fast, serious

sections.

PROBLEMS:

Range: F - b

Key: B Major - b minor - B Major

Technique: Accents should be firm but not separated.

Slower sections should sing out freely. Tempos are not

strict and should be handled as the individual performer

wishes. Light tonguing is necessary in the rapid six

teenth note patterns.

Phrasing: When phrases can be discerned, they are of the

regular four-measure type.

Adaptability to the Instrument: The intervals within the

triplet passages are sometimes awkward, but the composi

tion basically fits the horn well.

ACCOMPANIMENT:

Range of Difficulty: Moderately difficult. Three against

two sections and time changes make this accompaniment

84

difficult to work out with the solo part. Tremolos

create a rumbling effect that is quite unpleasant.

Type: Chordal with alterations.

SUMMARY: This is an interesting piece, but it never seems to

arrive at any particular focal point until the end.

Most of the melodic sections tend to wander until a

cadence is reached. This lack of continuity may dis

courage younger players.

85

COMPOSER: Antonin Dvorak ARRANGER: Larry Teal

TITLE: "Larghetto"

PUBLISHER: G. Schirmer, Inc.

COST: $2.50 (Included in olog^ fo r the Alto Saxophone Player,

edited by Larry Teal)

PERFORMANCE DURATION: Three minutes, ten seconds

GENERAL FORM: A B A

MOOD: Lyrical

PROBLEMS:

Range: F - g'

Key: f minor

Technique: Legato tonguing must be smooth. Slurs are some

times awkward and must be carefully rehearsed. Wide range

but rhythms are conventional. Some harmonies sound wrong

but later resolve. Final low F must be sustained as long

and as soft as possible.



A few wide slurs create some difficulties.

ACCOMPANIMENT:

Range of Difficulty: Moderately easy. Key is easy and most

of the patterns are relatively easy. A problem is that

when the solo is playing high, the piano is playing high.

86

and when the solo is playing low, the piano is playing

low. The pianist has to be constantly alert to prevent

covering up the solo.

Type: Chordal, changing to arpeggiated patterns in the

middle section.

SUMMARY: This is a pretty composition and the endurance and control

required make it much more difficult that it appears to be.

87

COMPOSER: Andre Gretry ARRANGER: Henri Marteau

TITLE: "Arietta"


COST: $1.50

PERFORMANCE DURATION: Three minutes

GENERAL FORM: A B A

MOOD: Light, singing style

PROBLEMS:

Range: C - f

Key: C Major - B Major - C Major

Technique: Smooth, soft attacks even in the staccato areas.

Accents should be felt rather than heard. No harsh

tonguing is necessary anywhere in the composition.

Ornaments should be worked out between soloist and

accompanist to ensure uniformity. Final six quarter

notes should be hard and separated.



The very last note could be played c' since three-valve

instruments cannot reach the low C.

ACCOMPANIMENT:

Range of Difficulty: Moderately easy. Scales might cause

some difficulty. Shift in meters is difficult to feel.

Type: Alberti alternating with chordal patterns.

SUMMARY: An enjoyable solo for the performer and the listener, with

much stylistic, technical training and phrase comprehension.

88

COMPOSER: Edmund Gumpert EDITED BY: H. Voxman

TITLE: "Romanze"


COST: $1.00

PERFORMANCE DURATION: Five minutes, forty seconds

GENERAL FORM: A A B A

MOOD: Romantic

PROBLEMS:

Range: d - b

b b

Key: A Najor - f minor - A Major

Technique: Flowing phrases must be given their full value.

Dynamic contrasts need to be carefully observed. Interval

slurs may be tromblesome until worked out. Sustained high

pitches at the end require good support.


Adaptability to the Instrument: Lies very well on the instru

ment. Intervals fit well under the fingers; not too many

lip slurs; few accidentals occur.

ACCOMPANIMENT:

Range of Difficulty: Difficult. Main problems are in the

poor editing of the composition. Measures are unnecessar

ily squeezed together, many short cuts are difficult to

interpret. Three against two is difficult to feel. Fre

quent tempo changes hard to keep track of.

89

Type: Chordal.

SUMMARY: This is a charming solo for the above-average high school

performer. It moves well and is challenging enough to main

tain interest. The high range can be treacherous. Slurred

passages and accidentals will educate the player quickly

to the material in this composition.

90

COMPOSER: George Frederick Handel ARRANGER: Clifford P. Barnes

TITLE: "Sound an Alarm from 'Judas Maccabeaus'"


COST: $1.50

PERFORMANCE DURATION: Two minutes, ten seconds

GENERAL FORM: A B A

MOOD: Exciting, martial

PROBLEMS:

Range: B - f

Key: B Major

Technique: Good support, moderate tonguing style, and proper

phrasing are prime considerations in performing this piece;

otherwise it is not very difficult.


Adaptability to the Instrument: Lies very confortably on the

instrument.

ACCOMPANIMENT:


Type: Mostly arpeggiated figures.

SUMMARY: This is an enjoyable composition to work on. It is varied

and challenging enough to stimulate interest and character

istically stylistic enough to be of educational value to the

student while he rehearses it.

91

COMPOSER: George Frederick Handel ARRANGER: Allen Ostrander

TITLE: "Honor and Arms from 'Sampson'"


COST: $0.90

PERFORMANCE DURATION: Five minutes, fifteen seconds

GENERAL FORM: A B A

MOOD: Majestic

PROBLEMS:

Range: G - e

T,b „ . . b Key: B Major - g minor - B Major

Technique: Lip slurs will present several problems. They go

by quickly with little preparation. Sixteenth note pat

terns are primarily slurred and not too difficult except

for lip slurs. Some intervals require much work and

basically good facility with the instrument.

Adaptability to the Instrument: Lies fairly well on the horn.

Lip slurs and some awkward intervals create the only problem.

ACCOMPANIMENT:

Range of Difficulty: Moderately easy. Both page turns are in

bad spots.

Type: Arpeggios and scale material.

SUMMARY: This is a good easy Class II solo. It is quite enjoyable to

play and to listen to, and helpful in teaching slurring and

intervals.

92

COMPOSER: George Frederick Handel TRANSCRIBED BY: Richard E.

Powell

TITLE: "Sonata No. 3" (Movements I and II only)


COST: $2.25

PERFORMANCE DURATION: Adagio: one minute, thirty seconds;

Allegro: one minute, forty-five seconds

GENERAL FORM: Adagio: A B

Allegro: A B A C A Rondo

MOOD: Adagio: reverent, serene

Allegro: martial, majestic

PROBLEMS:

Range: F - f

Key: Adagio: B Major - g minor; Allegro: B Major -

f minor - B Major - g minor - F Major - B Major

Technique: Adagio: sustained phrases, off-the-beat attacks

and entrances may be difficult for some players. Interpre

tation of "-7-" is not clear but probably should be played

as close to full value as possible without slurring.

Allegro: Light tonguing, articulation is the most impor

tant technical aspect of this movement.



instrument.

93

ACCOMPANIMENT:

Range of Difficulty: Movement I: Easy

Movement II: Moderately easy; some canonic entrances and

rapid sixteenth note patterns in the left hand.

Type: Movement I: Melodic; a dialogue with the solo.

Movement II: Canonic in places; otherwise chordal with

extensive bass line movement.

SUMMARY: This solo was originally written for flute. It is an ideal

piece for solo performance, being varied enough to fully

demonstrate the player's ability, lengthy enough to be a major

work, yet not so difficult to be out of reach of the average

high school baritone horn player. Some of the movements are

easy enough for junior high school players. Using a four-

valve horn will help with certain passages.

94

COMPOSER: Floyd 0. Harris

TITLE: "Brass Bangles"


COST: $0.75


GENERAL FORM: A B A

MOOD: Gay, spirited

PROBLEMS:

Range: B - f

Key: B Major - E^ Major - B^ Major

Technique: Nice light tongue required on sixteenth note

patterns. Some interval exercises might present difficulty.

Most passages are stepwise.



ment.

ACCOMPANIMENT:


Type: Chordal

SUMMARY: This is an easy solo for the intermediate player. It has

good variety and demonstrates the player's technique.

95


TITLE: "Charming Ballerina"

PUBLISHER: C. L. Barnhouse Company

COST: $1.00

PERFORMANCE DURATION: Four minutes, twenty seconds


MOOD: Waltz-like, lively

PROBLEMS:

Range: B - f

Key: F Major - B Major - F Major

Technique: Not too difficult. Waltz feeling should dominate.

Notes should be full value. What tonguing necessary should

be light and clean.



Few unusual leaps or rhythms occur.

ACCOMPANIMENT:

Range of Difficulty: Moderately difficult. Repeats are some

what confusing, especially the repeat to the Coda.

Type: Typical waltz style chordal accompaniment.

SUMMARY: This is an effective solo in the waltz style. It offers one

brief cadenza to vary the waltz pattern.

96


TITLE: "Valse - Marilee"

PUBLISHER: C. L. Barnhouse Company

COST: $1.00



MOOD: Lively waltz

PROBLEMS:

Range: d - b • L i ,


Technique: There are a few high notes to worry about from

the standpoint of intonation and support. Requires light

tonguing and some facility in fingering.



instrument.

ACCOMPANIMENT:

Range of Difficulty: Moderately easy, easy key. Repeats

are confusing.

Type: Typical waltz style chordal accompaniment.

SUMMARY: This waltz-type piece has considerable educational value

inasmuch as it offers an opportunity for expression and to

demonstrate technical ability.

97

COMPOSER: Joseph Haydn TRANSCRIBED BY: Davis Shuman

TITLE: "Adagio"

PUBLISHER: Music Publisher's Holding Corporation

COST: $1.00 *

PERFORMANCE DURATION: Five minutes, fifty-five seconds

GENERAL FORM: A B A

MOOD: Serene, peaceful

PROBLEMS:

Range: B - a'

Key: F Major

Technique: Requires good control and breath support. Some

rhythms are different and require thorough rehearsing.

Some fingerings on accidentals do not fit well with the

rest of the passage.



except for a few awkward passages with accidentals.

ACCOMPANIMENT:

Range of Difficulty: Moderately difficult. Tendency to over

power the soloist in some passages.

Type: Chordal with frequent melodic movement in the right

hand.

SUMMARY: This is a beautiful transcription of the cello version. It

moves well and gives the horn player the opportunity to make

his instrument sing.

98

COMPOSER: Joseph Haydn TRANSCRIBED BY: H. Voxman

TITLE: "Aria and Allegro"


COST: $1.00

PERFORMANCE DURATION: Aria: Two minutes, forty seconds

Allegro: Four minutes, thirty seconds

GENERAL FORM: Aria: A B; Allegro: A A B B

MOOD: Aria: Expressive; Allegro: Light martial style

PROBLEMS:

Range: AA - f

Key: F Major - B^ Major

Technique: Sustained phrases in "Aria" are the only problems

in that movement. "Allegro" section requires light tonguing

and considerable support in the upper range.

Phrasing: Regular in both sections


ment. Most leaps are an octave or less and are quite normal.

ACCOMPANIMENT:

Range of Difficulty: Difficult; for advanced pianists only.

Type: Aria: primarily chordal. Sixteenth note passages in

the right hand are tricky. Allegro: Chords alternate

between the right and left hand. The hand not playing chords

is involved in a fugal dialogue with the solo.

SUMMARY: One of the better solos on the Class II list, this composition

has good variety and gets the student into all areas of his horn.

It is also good stylistically and enjoyable to perform.

99

COMPOSER: Earl D. Irons

TITLE: "Cedar Vale"


COST: $0.75


GENERAL FORM: Intro A B A

MOOD: Polka

PROBLEMS:

Range: G - e

Key: B^ Major - E^ Major - B^ Major

Technique: Requires light tonguing with feeling of even six

teenth notes. Range is no problem and most rapid passages

are scalewise. Accented notes should be full value.



ment.

ACCOMPANIMENT:

Range of Difficulty: Moderately easy. Interludes are more like

rest periods for the soloist. They do not accomplish very

much. In one interlude is an exceptional key change.

Type: Chordal

SUMMARY: This is an excellent tonguing exercise. The long andante

Introduction seems too long to set up the actual beginning of

the polka.

100

COMPOSER: Earl D. Irons

TITLE: "Fleur de Lis"


COST: $1.25

PERFORMANCE DURATION: Five minutes, forty seconds


MOOD: Lyrical Intro followed by a light polka

PROBLEMS:

Range: F - f

Key: F Major - B Major - F Major

Technique: Light tonguing required in rapid passages.

Andante section requires considerable control but does

not get into high or low ranges. Intonation on the last

note should be planned for.



instrument. Cadenza contains a few awkward intervals but

most of the composition is quite conventional.

ACCOMPANIMENT:

Range of Difficulty: Moderately easy; piano initiates most

tempo changes.

Type: Chordal

SUMMARY: This is a light, "showy" solo. Its small range variation

makes it relatively easy for the average player.

101

COMPOSER: Will H. Kiefer

TITLE: "Elena Polka"

PUBLISHER: C. L. Barnhouse, Inc.

COST: $1.00

PERFORMANCE DURATION: Three minutes, twenty-five seconds


MOOD: Light-hearted polka

PROBLEMS:

Range: B - f •L. t ,

Key: E Major - A Major - E Major

Technique: Light tonguing required on sixteenth note

patterns and on repeated notes. Range is not difficult

and most rhythms are regular.



instrument. No unusual intervals and most accidentals

are chromatic.

ACCOMPANIMENT:

Range of Difficulty: Moderately difficult because of the

tempo changes. Synchronizing the ending with the soloist

is quite a problem.

Type: Traditional polka-type chordal accompaniment.

SUMMARY: This is another easy solo for the average high school or

advanced junior high school player. It moves well and gives

an opportunity to show off a little technique.

102

COMPOSER: Jean Marie LeClair ARRANGER: Larry Teal

TITLE: "Aria"


COST: $2.00 (In the collection Program Solos for the Alto Saxophone *

by Larry Teal)


GENERAL FORM: A A B A C A (Rondo)

MOOD: Light, singing style.

PROBLEMS:

Range: F - g'

Key: F Major

Technique: Legato tonguing in soft connected phrases; light

clean tonguing in rapid eighth note and sixteenth note

passages. Phrases must be full value. Dynamics must be

observed and as much expression as possible put into the

performance.


Adaptability to the Instrument: This solo lies better on

the instrument than some of the other compositions on the

Class II list originally written for alto saxophone. A

better edition written expressly for baritone horn would

eliminate some of the problems.

ACCOMPANIMENT:

Range of Difficulty: Moderate. Left hand shifts frequently

to treble clef without warning.

103

Type: Chordal with frequent walking patterns in the

left hand.

SUMMARY: This is a good solo, that would be more effective if

re-edited.

104

COMPOSER: F. H. Losey

TITLE: "At the Dawn"

PUBLISHER: C. L. Barnhouse, Inc.

COST: $1.00


GENERAL FORM: A B A

MOOD: Romantic, expressive

PROBLEMS:

Range: c - c t f

Key: A^ Major

Technique: Good support required to control high range in

this composition. A few arpeggios are difficult in the

high range and intonation is a problem. Alternate notes

are included if the player cannot negotiate the high

passages.


Adaptability to the Instrument: Except for unusually high

range, it lies well on the instrument.

ACCOMPANIMENT:

Range of Difficulty: Moderately easy. Tempo and meter

changes are difficult to feel.

Type: Chordal with some moving octave passages.

SUMMARY: The high range requirements make this composition one of the

most difficult on the Class II list. Only the absence of tech

nical problems precludes this composition from the Class I list

Very few of the Class I solos go as high as this one.

105

COMPOSER: George Masso

TITLE: "Suite for Louise" (play first two movements)


COST: $1.50


GENERAL FORM: Bouree: A A B B; Adagio: A B A

MOOD: Bourse: light and lively; jazz-like

Adagio: soft and expressive

PROBLEMS:

Range: A - f

Key: Bourse: a minor; Adagio: tonal center is around G,

but actual key feeling does not exist.

Technique: Bouree: light, carefree style. Some rhythms are

quite jazz-like. Range is not a big problem, but sustain

ing the last held low note requires good breath control.

Adagio: Mostly legato tonguing; a few unusual entrances.

Ends on the same low note as the first movement.

Phrasing: Regular phrasing in both movements.

Adaptability to the Instrument: Lies well within the capa

bilities of the instrument.

ACCOMPANIMENT:

Range of Difficulty: Bourse: Moderately difficult. Quite

dissonant and hard to keep together. Adagio: Moderately

difficult. Unusual reaches and entrances on the off-beat.

Type: Chordal

106

SUMMARY: These movements are attractive because of the more con

temporary jazz-like accompaniments and rhythms used.

Range and technical problems are few and the performer

is at liberty to interpret most of the composition to »

suit his own taste.

107

COMPOSER: Felix Mendelssohn EDITED BY: Gregory Castleton

TITLE: "It is Enough" from "Elijah"


COST: $1.50 (Included in the collection. Nine Program Solos for

Trombone, selected by Gregory Castleton)


GENERAL FORM: A B A

Mood: Adagio: mournful; Allegro: happy, spirited; Adagio: again

mournful

PROBLEMS:

Range: B - f

Key: g minor

Technique: Breath support and control required to sustain

full note values and phrases, "sf" attacks should be

with breath not the tongue. A few intervals in the

Allegro section may cause difficulty until worked out.

Phrasing: Regular but on a six-measure scheme


except for a few awkward intervals in the Allegro section.

ACCOMPANIMENT:

Range of Difficulty: Difficult; hard to establish tempos.

Type: Chordal throughout the composition,

SUMMARY: This beautiful composition makes the horn sing out, and is

useful in teaching breathing and breath control. Technical

problems are few, and with the purchase of one solo, the

student receives eight others.

108

COMPOSER: Wolfgang Amadeus Mozart ARRANGER: Larry Teal

TITLE: "Minuet from Divertimento in D, K. 334"

PUBLISHER: G. Schirmer, Inc.

COST: $2.50 (included in Solos for the Alto Saxophone Player, by

Larry Teal)

PERFORMANCE DURATION: Four minutes, fifty seconds

GENERAL FORM: Large A B A form

MOOD: Deliberate dance style

PROBLEMS:

Range: E^ - a^

Key: E Major - A Major - E Major

Technique: Light tonguing style. Sixteenth note patterns

are slow enough to eliminate most problems. Some wide

leaps will cause difficulty. Playing with the proper

style is also important.


Adaptability to the Instrument: This solo was not written

for a brass instrument and contains many awkward finger

ings and intervals.

ACCOMPANIMENT:


Type: Octave in left hand, chord inversions in right hand.

Chordal.

SUMMARY: This would be a much better solo if it were re-edited with

the baritone horn in mind.

109

COMPOSER: Wolfgang Amadeus Mozart ARRANGER: H. Voxman

TITLE: "Concert Aria"


COST: $1.50

PERFORMANCE DURATION: Six minutes, thirty seconds

GENERAL FORM: Sonata form

MOOD: Lively, with feeling

PROBLEMS:

b b' Range: B - c

b Key: E Major

Technique: Held notes require considerable breath control

since they often move right into an eighth note sequence

without a break. Most sixteenth note patterns are either

slurred or alternated between two slurred and two tongued

notes. Proper style is extremely important.



ACCOMPANIMENT:

Range of Difficulty: Moderately difficult - depending upon

tempo. Some tremolos are not stylistic.

Type: Chordal.

SUMMARY: This solo moves well and is pleasant to listen to. It

stresses control and the expressive capabilities of the

instrument. Rhythms are not always standard and require

thought.

110

COMPOSER: Maria Theresa von Paradis ARRANGER: Leonard Falcone

TITLE: "Sicilienne"


COST: $2.00


GENERAL FORM: A A B B

MOOD: Moderately slow, Italian dance

PROBLEMS:

Range: G - b

Key: C Major

Technique: Legato tonguing; mostly slurred passages. Proper

breathing and good breath control are necessary to play into

the high range of this piece.



High notes occur normally.

ACCOMPANIMENT:

Range of Difficulty: Moderately easy. ^ pattern never changes,

Type: Chordal with single note bass line.

SUMMARY: This is an excellent solo for developing the high range. It

is slow enough to give adequate forethought to high passages

ahead.

Ill

COMPOSER: G. B. Pergolesi ARRANGER: Clifford P. Barnes

TITLE: "Canzona"


COST: $1.50

PERFORMANCE DURATION: Two minutes, forty seconds

GENERAL FORM: A B A

MOOD: Light, singing style

PROBLEMS:

b' Range: G - a

Key: A Major

Technique: Dynamic markings must be observed carefully.

Barred notes should be played as full as possible. Most

sixteenth note patterns are slurred and should cause prob

lems only if fingering facility is poor.



instrument.

ACCOMPANIMENT:

Range of Difficulty: Moderately difficult; large leaps,

angular sixteenth iiote patterns difficult at the

Allegretto tempo.

Type: Broken chord accompaniment with some dialogue

material.

SUMMARY: Excellent for developing rhythmic understanding and finger

ing facility, the solo moves well and is enjoyable to listen to,

112

COMPOSER: Arthur Pryor ARRANGER: Forrest L. Buchtel

TITLE: "Blue Bells of Scotland" (simplified)

PUBLISHER: Mills Music, Inc.

COST: $1.00



MOOD: Lyrical and expressive

PROBLEMS:

Range: d - e

Key: E^ Major

Technique: Theme should sing out confidently. Range is no

problem for the intermediate player. Accented notes in the

variations should be emphasized a little more than the normal

accent. Syncopated rhythms may cause some difficulty for a

while.


Adaptability to the Instrument: Lies quite comfortably on the

instrument.

ACCOMPANIMENT:

Range of Difficulty: -Moderately easy.

Type: Afterbeat chord accompaniment changing to brief Alberti

section then back to chordal style.

SUMMARY: This is a good solo for the enthusiastic junior high school

player. It is a little easy for most high school players but

it should not be completely discounted. It is excellent for

teaching phrasing, tonguing, and unusual rhythms.

113

COMPOSER: Henry Purcell ARRANGER: Allen Ostrander

TITLE: "Arise Ye Subterranean Winds"


COST: $0.80


GENERAL FORM: A B A

MOOD: Lively, majestic

PROBLEMS:

Range: G - f

Key: E Major

Technique: Sixteenth note patterns are slurred but require

good fingering facility. Some of the intervals in the

sixteenth note passages are unusual and will require extra

practice. The only trill comes at an awkward location and

is approached by leap.


Adaptability to the Instrument: Does not lie too well on the

instrument. Trill figure is not well introduced. There

are also many unusual intervals.

ACCOMPANIMENT:

Range of Difficulty: Moderately difficult; sixteenth note

passages not always scalewise.

Type: Chordal with frequent sixteenth note movement in the

right hand.

114

SUMMARY: This is not one of the better compositions on the

Class II list. It presents too many awkward situations

to appeal to a junior high school or a young high school

student. The accompaniment does not always fit well with

I

.

the solo part.

115

COMPOSER: Nicholas Rimsky-Korsakov ARRANGER: Forrest L. Buchtel

TITLE: "Song of India"

PUBLISHER: Neil A. Kjos Music Company

COST: $0.75


GENERAL FORM: A B C B A (arch form)

MOOD: Sentimental, lyrical

PROBLEMS:

T.b b' Range: B - e

Key: E^ Major

Technique: Legato tonguing required throughout most of the

solo. Most sixteenth note patterns are chromatic and

slurred. Second eighth note of each slurred set of

eighth notes should not be cut short.



instrument.

ACCOMPANIMENT:


Type: Rhythmic chord-style throughout. Drone E in the

left hand.

SUMMARY: This is an interesting solo, as are most of Rimsky-Korsakov's

compositions. The drone bass line gets a little monotonous but

it is an attempt on the part of the composer to produce an

Indian atmosphere. This solo is good for teaching chromatic

patterns.

116

COMPOSER: Gioacchino Rossini ARRANGER: Allen Ostrander

TITLE: "Lord Preserve Me"


COST: $0.80

PERFORMANCE DURATION: Three minutes, fifty seconds

GENERAL FORM: A B (Single motivic idea throughout)

MOOD: Majestically reverent

PROBLEMS:

Range: A - e'

Key: a minor - A Major

Technique: Dotted eighth-sixteenth note patterns must be pre

cise. Range is not difficult. Dynamic changes should be

carefully observed. Alternation of triplet and dotted

eighth-sixteenth note patterns is difficult to establish.


Adaptability to the Instrument: Lies very well on the instru

ment.

ACCOMPANIMENT:

Range of Difficulty: Moderately difficult. Rhythms stay the

same throughout most of the piece. Sixteenth note patterns

in the left hand near the end are quite awkward.

Type: Arpeggiated chords.

SUMMARY: This solo looks easy, but it is one of the most challenging

on the Class II list. Its uncommon key and rhythm patterns

make it an excellent teaching composition.

117

COMPOSER: Albert Stoutamire

TITLE: "Prelude and Fugue"


COST: $1.50

PERFORMANCE DURATION: Three minutes, thirty-five seconds

GENERAL FORM: Introduction - Cadenza - Prelude ( A B A ) - Fugue -

(A B A)

MOOD: Introduction: lyrical recitative; Prelude: majestic;

Fugue: lively

PROBLEMS:

Range: F - c t I

Key: A Major - F Major - f minor - C Major - f minor

Technique: Introduction has octaves that might cause some

difficulty. Range is quite wide and could be a major

hurdle for the intermediate level performer. Fugal sec

tion is difficult to put together with piano. Performer

must be able to hold a steady beat.

Phrasing: Regular four-measure phrases. Phrases are regular

in the fugal section but entrances vary.

Adaptability to the Instrument: Some difficulties occur in

range and unusual intervals in some sections. Most high

notes are approached by step.

ACCOMPANIMENT:

Range of Difficulty: Moderately difficult. Imitation is

important. Fugal treatment in octaves is quite difficult.

118

Type: Chordal in the Andante section. Fugal in the second

section. Hj

SUMMARY: This is the most difficult solo on the Class II contest

list primarily because of its range. Playing the lower

octave would be completely unstylistic. The fugal section

is a real challenge for both soloist and accompanist.

119

COMPOSER: Stanley F. Thomas

TITLE: "El Torero"

PUBLISHER: Schmitt, Hall and McCreary Company

COST: $1.25


GENERAL FORM: A B C A

MOOD: Majestic, bravura feeling

PROBLEMS: •L.

Range: B - f

Key: g minor - B Major - g minor

Technique: Light, clean tonguing is required. A little

separation is needed throughout the composition to

maintain the majestic atmosphere. Staccato notes should

be played detached but with full tone. Slurred sixteenth

note patterns are awkward and will require considerable

practice.



instrument except for a few awkward slurs.

ACCOMPANIMENT:


Type: Chordal with one arpeggiated section.

120

SUMMARY: This is a "fun" piece for the young performer. It is

excellent for teaching tonguing. The brief slow section

is programmatic in suggesting the period of the bullfight

when the matador is stalking the bull in preparation for

the final sword thrust. The last Allegretto represents

the matador's victory-walk around the arena.

121

Additional Comments

The U.I.L. Class II contest list for baritone horn was

greatly improved in the recent revision. Many Baroque pieces

were added and a few contemporary selections were included.

There are several difficult selections which might actually be

considered for Class I. Selections with a range up to c'' should

not be included on the Class II list. The first thing a young

player looks at in selecting a solo is how high it goes. Many

young players will reject these few selections simply because of

tne high notes they would have to play. These solos are Class II

level in all respects except the ranges. If an edition could be

compiled which listed alternate notes which still sound well within

the context of the solo, these compositions could be effectively

used by high school and junior high school performers. If not,

they should be removed from the contest list.

This current Class II list contains five compositions pub

lished strictly for alto saxophone. In most cases, these alto

saxophone editions contain passages which are not well-suited for

the baritone horn. Either a movement should be undertaken to com

pile a brass edition of these solos, or they should be removed

from the list to make room for something more appropriate.

Most of the compositions on this list provide valuable

teaching material if approached properly. The Class II list is

designed to provide literature for the intermediate level student

122

who is too far advanced to play the easy solos on the Class III

list and not quite mature enough for the difficult Class I liter

ature. From this standpoint, Mr. Baird has done an excellent job

of selecting the compositions for the U.I.L. Class II contest list.

I »4

CHAPTER IV


LIST FOR BARITONE HORN - CLASS III

The Solos


TITLE: "Jupiter"

PUBLISHER: N e i l A. Kjos Music Company

COST: $1 .00


GENERAL FORM: Free form with repetition in the form of a Da Capo

section. Considerable period construction

MOOD: The Andante section: serene and melodious. Allegretto sec

tion: gay and light and very much like a polka. Measure 62

tempo slows to a majestic feeling. D.S. returns to the

Allegretto section.

PROBLEMS:

Range: e - f

Key: E^ Major - A^ Major - D Major - E Major

Technique: Free, singing style in Andante section requires

smooth, legato tongue. Allegretto needs to be light and

detached. Measure 62 to D.S. smooth but not as legato

as the Andante section. Some syncopation in last section,

Phrasing: Regular, four-measure phrases

123

124

Adaptability to the Instrument: Lies well on the horn.

No bad intervals or difficult technical problems.

ACCOMPANIMENT:

Range of Difficulty: Easy; keys might present some

problems to an inexperienced accompanist.

Type: Mostly chordal and afterbeat rhythms.

SUMMARY: This is an enjoyable solo with good variety and an

excellent training tool. It works well into the upper

range and gives the performer an opportunity to make

the horn sing. This is one of the better compositions

on the Class III contest list.

125


TITLE: "Meditation" fron Sonatina in F


COST: $0.60

PERFORMANCE DURATION: Two minutes, forty seconds

GENERAL FORM: A B A with large closing section

MOOD: Deliberate; thoughtful.

PROBLEMS:

Range: e - g'

Key: F Major

Technique: Legato tonguing, slurs, some syncopation.

Phrasing: Regular, four-measure phrases. Phrase ending

should be full value.

Adaptability to the Instrument: Very good. Mostly step

wise or leaps of a third.

ACCOMPANIMENT:

Range of Difficulty: Moderately easy. Wide leaps might be

difficult for a young pianist, but the slow tempo gives

plenty of time to move the fingers.

Type: Melodic with some appoggiatura figures and some

syncopated afterbeats.

SUMMARY: This is a good solo, but it could tend to get a little

boring. There is not much variety, but the melody line holds

the piece together very well. If well played, it could be a

beautiful work.

126


TITLE: "Pied Piper"


COST: $0.75 *

PERFORMANCE DURATION: One minute, thirty seconds

GENERAL FORM: Andante (AA') : slow bridge : Allegro (BB') repeated.

MOOD: Andante: slow, melodic; Allegro: spirited

PROBLEMS:

Range: B^ - b^

Key: B Major

Technique: Andante; slow with du tongue. Mostly stepwise.

Very easy. Allegro: Faster, but not staccato. Notes need

to be full value. Again mostly stepwise.

Phrasing: Simple four-measure phrases

Adaptability to the Instrument: In middle range and lies well

on the horn.

ACCOMPANIMENT:

Range of Difficulty: Extremely easy

Type: Andante: Chordal

Allegro: Chordal with walking bass line

SUMMARY: This is probably the "corniest" solo on the list. Even

though it might be good training in school for the basic begin

ner, it is not challenging enough to be included on the contest

list. This is one of the compositions left on the list simply

because there was nothing better to replace it.

127

COMPOSER: Forrest L. Buchtel'

TITLE: "Young Jackanapes"


COST: $0.60

PERFORMANCE DURATION: Two minutes, fifteen seconds

GENERAL FORM: Intro: A B bridge A

MOOD: Moderato: singing, carefree

Allegretto: Light, gay

Measure 41: Soft, majestic

PROBLEMS:

Range: B - e ' V V 1.


Technique: Mostly stepwise. Most problems would be in count

ing rhythms in Allegretto section. Range does not go too

high for a young player.

Phrasing: Regular, four-measure phrases.

Adaptability to the Instrument: Lies very well on the horn.

No unusual accidentals or intervals.

ACCOMPANIMENT:

Range of Difficulty: .Easy except for Measures 37-41. Six

teenth notes might be problems for inexperienced accompanist.

Type: Chordal afterbeats except for Measures 37-41. Left hand

retains chordal feeling but right hand has sequential

sixteenth notes.

128

COMPOSER: Ernest Clarke

TITLE: "Devotion"

COST: $0.75


GENERAL FORM: A B (developmental) A

MOOD: Smooth, serene; hymn-like.

PROBLEMS:

Range: e - d'

Key: E^ Major

Technique: Abundance of held notes and long, slow

crescendos and decrescendos. Notes should be held

to their full-time value, and as little tongue as

possible should be used to start the tone. Instruc

tive comments are included at the top of the solo

page by the composer.

Phrasing: The feeling is for four-measure phrases but

breath marks are placed every two measures. These

extra breath marks should be eliminated if possible

to ensure a continuous, flowing melodic line.

Adaptability to the Instrument: Lies very well on the

instrument. Mostly step-wise with some chromaticism.

ACCOMPANIMENT:

Range of Difficulty: Moderately easy. Octaves might

present some problems, but most are step-wise.

129

Type: Mostly chordal with a lot of moving octaves. Some

notation short-cuts might be confusing, such as the

barred note stems indicating divided beats.

SUMMARY:^ Phrasing is all-important in this composition. If

properly phrased, or not phrased at all, the solo can be

boring and unattractive. It is a good exercise on filling

the horn and sustaining notes to full-value. It is not

much of a technical challenge, but its melodic line moves

well and creates a nice solo work.

130

COMPOSER: Ernest Clarke

TITLE: "Evening Shadows"


COST: $Q.75


GENERAL FORM: A B (developmental) A

MOOD: Singing, lullaby style

PROBLEMS:

Range: E^ - b^

Key: E Major - c minor - f minor - E Major

Technique: Broad sustained notes; no accents.

Crescendos, decrescendos, and tempo variations

should be carefully observed. Instructive conments

are included by the composer at the top of the solo

page.

Phrasing: Feeling for four-measure phrases, but some

breath marks are placed every two measures. To keep

the line moving, these extra breaths should be elimi

nated when possible.

Adaptability to the Instrument: Very scalar; almost

completely stepwise movement. Range variation is so

small that an inexperienced player should be able to

handle it.

't4

131

ACCOMPANIMENT:

Range of Difficulty: Easy. Some accidentals are unclear •

due to age of this edition, and method of indicating

accidentals when this piece was written.

Type: Chordal with moving eighth note feeling.

SUMMARY: This piece has very little to offer in the way of musical

content. The accompaniment is the only thing that saves it

from dying completely. This seems to be another of the

solos left on the contest list simply because there was

nothing available with which to replace it.

132

COMPOSER: Herbert L. Clarke "

TITLE: "Norine"


COST: $1.00


GENERAL FORM: Intro A B A (Waltz)

MOOD: Lively dance feeling; a waltz.

PROBLEMS:

Range: A - f'

Key: E Major

Technique: Much expression in dynamic changes.

Soft tongue between slurred phrases. Range

gets a little high for the beginner.

Phrasing: Alternation of four and eight measure

phrases. The B section should use eight-measure

phrasing.

Adaptability to the Instrument: Basically lies well

with the instrument. Cadenza has some unusual

progressions.

ACCOMPANIMENT:


Type: Typical waltz accompaniment with chord on first

beat and inversions on weak beats.

133

SUMMARY: "Norine" is a little more challenging for the beginner

of the junior high school player than other selections on ^

the U.I.L. contest list. It offers a cadenza to be worked

out by the individual, and a smooth flowing melodic line

easily identifiable. The inexperienced player should have

a real sense of accomplishment after performing this work.

134

COMPOSER: Giuseppe Giordani TRANSCRIBED BY: Clyde Felix

TITLE: "An Eighteenth Century Air: Caro mio ben"


COST: $0.75

PERFORMANCE DURATION: Three minutes, forty-five seconds

GENERAL FORM: Ternary song form: A B A

MOOD: Slow, with emotion like a love song.

PROBLEMS:

Range: d - g'

Key: E Major - B^ Major - E^ Major

Technique: Some dotted eighth-sixteenth note patterns.

Range gets rather high for the immature player. Some

of the slurred intervals are difficult even for the

advanced player. Ornaments should be on the beat in

keeping with the Eighteenth century style.

Phrasing: Irregular phrasing has to be worked out with

the accompanist.

Adaptability to the Instrument: Lies reasonably well on

the instrument. Some of the intervals are difficult

and some of the intonation problems in the playing

range make the solo more difficult than it appears.

ACCOMPANIMENT:

Range of Difficulty: Moderately easy; chords are thickly

voiced and could be difficult to handle. Ornamentation

lA

135

should be carefully worked out so that the accompaniment

and soloist use the same style. I

Type: Chordal with some contrary-motion, melodic passages.

SUMMARY: This composition has some pretty passages and its con

sistently high range makes it a good training piece. One

problem noted in the edition of the composition was that

sections of the solo printing were printed up a major ninth

from where they should have been. The author has written

to the publisher requesting that this edition be reviewed

and corrected, if possible. This is a challenging piece

for the inexperienced performer but not an impossible one.

136

COMPOSER: Edwin Franko Goldman

TITLE: "Evening Song"


COST: $0.75

PERFORMANCE DURATION: One minute, forty-five seconds

GENERAL FORM: A bridge A

MOOD: Melodious and singing; much like a lullaby

PROBLEMS:

Range: B - a

Key: B Major - F Major - B Major

Technique: All notes must be full and sustained, particularly

those ending phrases. Dynamics should be carefully observed.

A softer, D tongue should be used. Instructive comments are

included in the printed copy by the composer.


Adaptability to the Instrument: Fits very well on the horn.

It is mostly stepwise with some accidentals.

ACCOMPANIMENT:


Type: Arpeggiated left hand with chordal right hand patterns.

Slow tempo makes it easy to handle.

SUMMARY: This is an easy solo for the inexperienced player. It offers

some challenges in the way of phrasing and sustaining note

values, but it is melodious enough for the beginner to enjoy

playing.

137

COMPOSER: Edwin Franko Goldman

TITLE: "In the Clouds"


COST: $0.75


GENERAL FORM: Two-part waltz (A B)

MOOD: Relaxed, somewhat carefree

PROBLEMS:

Range: B - e

Key: E Major

Technique: Medium-soft tonguing. Some slurs to watch for.

Phrases need to be full. Instructional comments provided

by the composer aid the performer greatly.

Phrasing: Regular four measure phrases


Mostly stepwise with a few slurred leaps of a fifth or

sixth.

ACCOMPANIMENT:

Range of Difficulty: Easy to moderately easy

Type: Chordal with a lot of chromatic movements

SUMMARY: This is one of Mr. Goldman's better solos on the Class III

list. It has variety and enough technical material to pose a

challenge to the young player, yet it is not so difficult that

it would frighten away the average young player.

138

COMPOSER: Charles Gounod ARRANGER: Allen Ostrander

TITLE: "Calf of Gold from 'Faust'"


COST: $1.25

PERFORMANCE DURATION: One minute, twenty seconds

GENERAL FORM: A B A

MOOD: Light and free at the beginning, becoming more somber toward

the end.

PROBLEMS:

Range: c - e '

Key: c minor - E Major - g minor - c minor

Technique: Counting and staying with the accompanist are the

big problems with this solo. Some slurring situations with

unusual progressions and quite a few accidentals present

most of the difficulties.

Phrasing: Irregular in solo part, but combination of solo

and accompaniment tend to follow four-measure pattern.

Adaptability to the Instrument: In spite of all of the

accidentals and slurring situations, this solo lies quite

well on the instrument. Fingering patterns are not unusual

and most intervals are common.

ACCOMPANIMENT:

Range of Difficulty: Moderate. Left hand pattern in

Measure 28 is difficult to sustain because of cluster

139

on the beat. Tremolos could cause problems, as might

the use of polychords in many places.

Type: Mostly chordal with a lot of right hand ornamenta-

' tion. In some spots this is inverted with the left hand

playing the melodic configuration. Very choppy in some

places. Polychords may create some confusion.

SUMMARY: Aside from requiring several run-throughs to figure out

how the tune is supposed to sound, this is a nice piece of

music. Its more contemporary harmonies might make it a

little uninteresting to the beginner, but it can definitely

serve as a challenge for the enterprising young player.

This solo is almost too difficult to be on the Class II

list.

140

COMPOSER: George Frideric Handel ARRANGER: Forrest L. Buchtel

TITLE: "Cantilena"

PUBLISHER: Neil A. Kjos Company

COST: $0.75

PERFORMANCE DURATION: Time printed on the solo is two minutes,

thirty seconds; however, two minutes or less is more

realistic.

GENERAL FORM: A B A

MOOD: Free and moving, characteristically Baroque style.

PROBLEMS:

Range: A - f' (F is optional in measure 6)

Key: B Major

Technique: The biggest problem with this solo seems to be

that of keeping it moving. It has a strong tendency to

slow down and to drift into a monotonous sounding work.

Tempos should be upheld and the young player should

strive to imitate Baroque style and match his style with

that of the pianist.

Phrasing: Regular; usually four or six bar phrases.

Adaptability to the Instrument: Lies well with the instrument

except for some of the stylistic embellishments. One or

two of them are awkward at first.

ACCOMPANIMENT:


141

Type: Octaves in left hand with two-part melodic figuration

in the right hand.

SUMMARY: This is an excellent solo. It is fun to play and it offers

more musical learning than any other solo in this classifica-

tion, especially with regard to phrasing with the accompanist

and learning Baroque style.

142


TITLE: "Little Caesar"


COST: $0.75


GENERAL FORM: March style with first and second strains and a trio.

MOOD: Martial-

PROBLEMS:

Range: B - e

Key: B Major - E^ Major - B^ Major

Technique: Solid attack but not short or choppy. Notes should

be full value with a little accent on each dotted quarter.

Phrases should be full value, not chopped off as is the

tendency when playing in this style.


Adaptability to the Instrument: Lies very well on the horn.

No accidentals or strange leaps to contend with.

ACCOMPANIMENT:

Range of Difficulty: Easy - very repetitive.

Type: Mostly broken chord type accompaniment. Very little

variety until Trio. Trio is more chordal. Tremolo at end

might be difficult for young pianist.

SUMMARY: This is another enjoyable solo if played well. It is in march

style, but not the march style of the football field. Much

attention should be given to phrasing and attacking the notes.

143

COMPOSER: David Hughes and William Pelz

TITLE: "Entrance of the Noblemen"

PUBLISHER: Sam Fox Publishing Company

COST: $1.00

PERFORMANCE DURATION: One minute, thirty seconds

GENERAL FORM: A B A

MOOD: A section: Martial; B section: singing; A section:

Martial; majestic at ending.

PROBLEMS:

Range: G - a'

Key: F Major - G Major - F Major

Technique: Gets the tongue moving. Sixteenth note patterns

separated enough to work out each pattern. Range is high

at the end and intonation problems on the repeated f in

measure 13 and in the third measure from the end need to

be worked out, possibly with alternate fingerings.

Phrasing: Regular four-measure phrases in all sections.

Adaptability to the Instrument: Lies well with the horn

since most of the notes fill in parts of the triad in the

accompaniment. Few passing tones or other nonharmonic

tones except in B section. Accidentals at rehearsal

letter D require considerable practice since they do not

seem to fit the key and sound strange to the performer.

144

ACCOMPANIMENT:

Range of Difficulty: Easy to moderately easy. Strange

modulation into B section.

Type: A section: Chordal with some melodic motion in

right hand.

B section: Broken chord inversions

A section (return): chordal

SUMMARY: This is another enjoyable solo for most young players.

It gives them an opportunity to express themselves tech

nically in the A sections and melodically in the B section.

Working into the higher register as much as this solo does

provides excellent training for the young student. This is

one of the more difficult compositions on the Class III list

145

COMPOSER: Johann P. Krieger TRANSCRIBED BY: R. Bernard Fitzgerald

TITLE: "Allegro"


COST: $;.oo

PERFORMANCE DURATION: Forty-five seconds

GENERAL FORM: Binary (A B)

MOOD: Florid in a Baroque style

PROBLEMS:

Range: c - e*

Key: F Major

Technique: Needs to be light with considerable attention to

dynamic variations. Staccato attacks should be precise

but not percussive.

Phrasing: Irregular, but not unusual for this style.

Adaptability to the Instrument: Some of the slurred six

teenth note patterns progress awkwardly to the next series

of sixteenth notes. Otherwise, it lies within the natural

characteristics of the instrument.

ACCOMPANIMENT:


Type: Chordal in right hand with melodic movement in left hand

most of the way through the composition.

SUMMARY: This solo goes by so quickly it is difficult to really think

much about it. It has some nice qualities and does not appear

to be overly difficult.

146

COMPOSER: Wolfgang Mozart ARRANGER: Allen Ostrander

TITLE: "Serenade from 'Don Giovanni'"


COST: $0.75

PERFORMANCE DURATION: One minute, fifteen seconds

GENERAL FORM: A B A B

MOOD: Light, singing, but not snappy.

PROBLEMS:

Range: d - e'

Key: D Major with brief suggestions of b minor.

Technique: Needs a nice soft tongue. Care should be taken

not to clip phrases too short. Eighth note phrase endings

should be held longer than normal. Key might present some

problems for players not used to sharp key signatures.

Range is no problem.

Phrasing: Regular four-measure phrases in eight-measure

periods.


except for some 1-2 to 2-3 to 2 fingering combinations

which might take some getting used to.

ACCOMPANIMENT:

Range of Difficulty: Moderate. Rapid scale passages in the

right hand and awkward page turn just before a piano

entrance require considerable facility with the keyboard.

147

Very awkward leaps toward the end of the solo can also

pose problems.

Type: Scalar and Alberti accompaniment in the right hand

with broken chord eighth note accompaniment in the left

hand.

SUMMARY: This is a very enjoyable composition if the accompanist is

up to the task. It is very stylistic of Mozart and his era,

although Mr. Ostrander manages to throw in contemporary

harmonies where they are least expected. The solo part is

not difficult and should pose no problems to the young

performer.

148

COMPOSER: William Pelz

TITLE: "Country Dance"


COST: $Q.75


GENERAL FORM: A B A B The second A section is repeated in the

piano with half-note accompaniment in the solo.

MOOD: Moderate dance feeling.

PROBLEMS:

Range: c - d'

Key: F Major

Technique: Sixteenth notes need to be light, especially in

the lower range. Half-notes beginning in measure 29 should

be full value with very little separation. Running six

teenth note patterns should be precise.

Phrasing: Regular four measure phrases within eight measure

periods.

Adaptability to the Instrument: Fits comfortably on the

instrument.

ACCOMPANIMENT:

Range of Difficulty: Moderately easy. Interlude might present

some problems, but fingerings are written in and both inter

ludes are exactly the same.

149

Type: Chordal

SUMMARY: This is a nice little piece. It is fun to play and

difficult enough to present a challenge to the young

player.

150

COMPOSER: William Pelz

TITLE: "Dedication"


COST: $0.75

PERFORMANCE DURATION: Two minutes, forty-five seconds

GENERAL FORM: A B A

MOOD: Like a high school graduation processional.

PROBLEMS:

b Range: B - c'

Key: B^ Major

Technique: Notes must be held full value and phrases must not

be cut short. Tonguing needs to be decisive but not hard.

Dynamics change infrequently, but should be carefully

observed when they do occur.

Phrasing: Regular four measure phrases. Breath marks are

placed every two measures in most instances, but the feel

ing is for four measure phrases within eight measure period

structure.

Adaptability to the Instrument: Fits quite well on the instru

ment. It is almost completely stepwise with a few acci

dentals.

ACCOMPANIMENT:

Range of Difficulty: Easy. The only difficulty might occur

in the clef changes where a chime effect is created.

151

Type: Chordal

SUMMARY: This is a fairly good solo. It tends to become a little

monotonous before the B section, and the B section does

not offer enough variety to create new interest. The com

position is a little too strict and regular to offer much

of a challenge to a student, but it can teach the importance

of maintaining a constant sense of motion.

152

COMPOSER: A. Louis Scarmolin

TITLE: "Recitative and Romance"


COST: $0.75



MOOD: Singing and romantic

PROBLEMS:

Range: c - f'

Key: F Major - d minor - F Major

Technique: Notes and phrases must be held full value. Feel

ing of six should be steady but expressive. Tonguing should

be soft and clean. Attacks are important. Intonation in

the high range should be worked on.

Phrasing: Regular four-measure patterns


except for arpeggiated material in the Coda.

ACCOMPANIMENT:


Type: Mostly arpeggiated chords.

SUMMARY: This is an excellent composition. It offers splendid oppor

tunity for expression and gets the student into areas of the

instrument he might not be used to. Its flowing melody is

attractive and somewhat challenging.

153

COMPOSER: Don Schaeffer

TITLE: "Licorice and Lollipops"

PUBLISHER: Pro-Art Publications, Inc.

COST: $0.85


GENERAL FORM: This composition can be considered as two separate

pieces. The moderato section is a simple repeated strain

following a brief piano Introduction. The Andante is a

fairly straightforward A B A .

MOOD: Moderato: lyrical; Andante: light and carefree

PROBLEMS:

^b b

Range: B - g

Key: d minor - E Major

Technique: Dynamic changes are extremely important and should

be carefully observed. Descriptive markings above the notes

should be strictly observed, also. Care should be taken not

to pinch high notes. Slurring passages should be full and

precise.

Phrasing: Regular four-measure phrases. Some phrase markings

might be confused with slur markings. Last notes of phrases

should not be cut short.

Adaptability to the Instrument: Mostly stepwise. Fits well

with the instrument except for some of the leaps in the

Andante section.

154

ACCOMPANIMENT:


Type: Chordal

SUMMARY: The Andante section is good in some respects since it gets

the performer into the high range and works on intervals.

The entire piece seems less effective than others on the

list. The accompaniment is hollow-sounding and the composer

frequently leaves the third of the chord to be filled in by

the soloist. If something better could be found, this piece

should be taken off the contest list.

155

COMPOSER: Leonard B. Smith

TITLE: "Quirinal"

PUBLISHER: Belwin Mills Publishing Corporation

COST: $1.00

PERFORMANCE DURATION: One minute, forty-five seconds

GENERAL FORM: A B A B

MOOD: Moderate, relaxed singing style

PROBLEMS:

Range: B - c'

Key: B^ Major

Technique: Lots of slurred sequences involving different leaps.

The last note of slurred passages should not be clipped short.

Otherwise it is mostly stepwise. Range is well within the

grasp of the inexperienced performer and rhythms are limited

to quarter notes and half notes.

Phrasing: Regular four measure phrases.

Adaptability to the Instrument: Lies well on the horn. Even

the slurred intervals should not pose too much of a problem.

ACCOMPANIMENT:


Type: Chordal afterbeat and full chord style accompaniment.

SUMMARY: This is a good solo for teaching slurring intervals. Its

melodic content flows well and is readily identifiable by the

performer.

156

COMPOSER: Paul M. Stouffer

TITLE: "Abend Lied"


COST: $0.85

PERFORMANCE DURATION: Two minutes, fifty seconds

GENERAL FORM: Through composed song style.

MOOD: Light; singing; almost waltz-like.

PROBLEMS:

Range: B - g'

Key: E Major - g minor - E Major

Technique: Quarter notes with dots over them should not be

played too short. Slight separation is sufficient. Some

lip slurs might give some problems, but alternate finger

ings will help. Fortissimo high notes toward the end can

pose intonation problems if not supported properly.

Accents should be firm but not explosive.

Phrasing: Regular four-measure phrases throughout the com

position.

Adaptability to the Instrument: This solo lies well within

the capabilities of the instrument. Even the higher notes

are no problem if properly supported.

ACCOMPANIMENT:


Type: Chordal

157

SUMMARY: This is an interesting piece to play. It offers the

younger player an opportunity to perform enjoyable music

and learn at the same time. This composition teaches the

young student how to "fill the horn" and how to play

expressively.

158

COMPOSER: Albert Stoutamire

TITLE: "Roundelay"


COST: $1.00


GENERAL FORM: Round: A B A B A (new key) B

MOOD: Lively

PROBLEMS:

Range: e - f •L -L

Key: A Major - B Major

Technique: Nothing really difficult. Lip slurs of a third

might cause some problems. Should be played lightly with

a little separation.

Phrasing: Regular four-measure phrases all the way through.

Adaptability to the Instrument: Fits very well on the horn.

No accidentals or unusual intervals mar the continuity of

the piece.

ACCOMPANIMENT:


Type: Chordal

SUMMARY: This is a very easy piece. Its repetitiousness is saved from

becoming monotonous by an abrupt key change up a whole step.

This simple key change adds interest to this composition.

159

COMPOSER: Paul Tanner

TITLE: "Song of the Woods"

PUBLISHER: Belwin-Mills Publishing Corporation

COST: $0.75

PERFORMANCE DURATION: One minute, twenty seconds

GENERAL FORM: Through-composed song

MOOD: Lyrical, chorale style

PROBLEMS:

Range: D - e '

Key: d minor

Technique: Long sustained phrases should be held full value.

Accented notes should be attacked firmly without too much

tongue.


Adaptability to the Instrument: Mostly stepwise. Lies well

on the instrument.

ACCOMPANIMENT:


Type: Chordal

SUMMARY: This solo is much more melodic than some of the older composi

tions on the U.I.L. list, and as a result, is more attractive to

the young player.

160

COMPOSER: Peter I. Tschaikovsky ARRANGER: Art Dedrick

TITLE: "Sailing Song"


COST: $1.25

PERFORMANCE DURATION: One minute, ten seconds

GENERAL FORM: A A B B

MOOD: Singing, lyrical style

PROBLEMS:

Range: E - f

Key: E Major - F Major

Technique: Legato tonguing when not slurred. Notes and

phrases must be full value. This composition spends a

lot of time in the higher register.



Key and primarily stepwise movement facilitate performance.

ACCOMPANIMENT:

Range of Difficulty: Easy. Bad page turn to the third page

is the only real problem. The first chord on the next

page is a major chord, while the previous page ended on a

minor chord.

Type: Chordal.

SUMMARY: Most students will be able to recognize this melody. This

familiarity with the melodic line helps the soloist in prepar

ing for performance; develops the high range.

161

COMPOSER: Peter I. Tschaikovsky ARRANGER: Richard Fote

TITLE: "Sweet Dreams"


COST: $1.00

PERFORMANCE DURATION: One minute, forty seconds

GENERAL FORM: A B A

MOOD: Singing, lullaby style.

PROBLEMS:

Range: d - f

Key: A^ Major

Technique: Dotted-eighth sixteenth note rhythms should be

precise, especially in slurred passages. Phrases should

be sustained to full value.



Melodies are primarily stepwise with few accidentals.

ACCOMPANIMENT:


Type: Stepwise octaves in left hand; chordal in right hand.

SUMMARY: An interesting solo •with countermelodies and jazz-style

seventh chords in the accompaniment make the composition

unstylistic but quite attractive. Phrasing and rhythms are

good training exercises. This work is one of the most pleas

ant sounding solos on the Class III list.

162

COMPOSER: Major Herman Vincent

TITLE: "Air for Baritone"

PUBLISHER: Belwin-Mills Publishing Corporation.

COST: $0.75

PERFORMANCE DURATION: One minute, forty seconds

GENERAL FORM: General song form with restatement of original theme

in last ten measures.

MOOD: Light and easy

PROBLEMS:

b b. Range: B - e

Key: E^ Major

Technique: Soft legato tongue except for rehearsal letter D.

Accented notes at D should not be shortened. Slurred pat

terns may give some difficulty until worked out.



Few accidentals or irregular intervals interfere with the

musical line.

ACCOMPANIMENT:


Type: Alberti style accompaniment with few exceptions.

SUMMARY: This is a nice, light composition with few problems for the

progressive beginner. Variety of styles makes it interesting

and fun to perform.

163

COMPOSER: Major Herman Vincent

TITLE: "Polka"

PUBLISHER: Belwin-Mills Publishing Corporation

COST: $1.00

PERFORMANCE DURATION: One minute, twenty-five seconds

GENERAL FORM: A B A

MOOD: Light and gay like a typical polka.

PROBLEMS:

Range: d - f

Key: E Major - A^ Major - E^ Major

Technique: Clean attacks and light tonguing are the most

important aspects of this piece. Sixteenth notes must be

exact and phrase endings full value. Some irregular six

teenth note patterns might cause difficulty at first.


Adaptability to the Instrument: This composition lies well

on the instrument. Only two accidentals occur in the

entire piece and in stepwise context.

ACCOMPANIMENT:

Range of Difficulty: Easy. Some on-the-beat sixteenth notes

might cause problems since the accompanist normally plays

off-the-beat sixteenths.

Type: Chordal afterbeat style.

SUMMARY: An enjoyable solo with considerable technical challenges for

the inexperienced performer. Proper performance of this compo

sition requires concentration on playing lightly and evenly.

164

COMPOSER: Norman Ward

TITLE: "Impressions"


COST: $1.25


GENERAL FORM: Song form: A B A B

MOOD: Smooth, lyrical.

PROBLEMS:

Range: f - g '

Key: B^ Major

Technique: Some awkward intervals in the high range. Melody

prolonged in high range. Tendency of f' to be sharp might

make it sound like g ' unless the player concentrates on

lipping the f down or using an alternate fingering. Some

lip slurs might also create difficulty.

Phrasing: Regular four-measure phrases except that the solo

and accompaniment frequently alternate two measure sequences

within the phrase.

Adaptability to the Instrument: Does not lie as well on the

instrument as other solos on this list, primarily because

of intonation problems in the high register.

ACCOMPANIMENT:

Range of Difficulty: Moderately easy. Frequent use of

accidentals and a few wide leaps must be considered In

rehearsing this composition.

165

Type: Chordal

SUMMARY: This is a very pleasant composition which moves well and

accomplishes much in the way of furthering the student's

abilities on the instrument. Use of seventh chords adds

interest to the accompaniment.

166

Additional Comments

The Class III contest list has for years been crowded with

lesser quality solo literature. The 1971-1974 contest list has

been vastly improved through the efforts of Mr. Don Baird.

A few poorer quality compositions remain on the list because

of the lack of better material with which to replace them. Mr. Baird

was instructed by the University Interscholastic League to maintain

the same number of compositions on each list. In order to remove a

solo from the list, he had to put another in its place, and he did not

receive enough good literature from the various publishing companies

to replace every poor composition on the list with a better one.

Not enough new literature is being written with the younger,

less experienced performer in mind. Only fourteen of the solos in

this class have been written in the last twelve years. Some of them

should be replaced with better material. Newer companies are begin

ning to concentrate on younger performers and young performing groups,

and within a few years the number of compositions for younger players

should increase considerably. By the time the next list is published,

enough good literature should be available for every classification,

including Class III, to contain only top quality solos which provide

good learning material as well as enjoyment for the students.

CHAPTER V

CONCLUSION

"the University Interscholastic League contest list for bari

tone horn faces another revision in 1974 for the period of 1975-1978.

If as many changes can be made in the current list as were made in

the previous one, the new list will be vastly improved. The contest

list should never be permitted to stagnate.

Many considerations must be made in preparing the new contest

list. Ample time was given for the compilation of the current list,

but apparently not enough ground work was done by the U.I.L. officers

in Austin for the overall preparation of the entire collection of

contest lists. The Austin office should assume the responsibility

of notifying publishers, ensuring that all music submitted by the

publishers is currently in publication, and establishing a set of

formal guidelines for the preparation of each list.

Compositions included on the contest list for baritone horn

should all be published exclusively for baritone horn; failing that,

they should at least be borrowed from the trombone or comet litera

ture. The current selections from Solos for; the Alto Saxophone

Player, and Program Solos for Alto Saxophone, both arranged by Larry

Teal, and the "Scherzo" by Philippe Chedeville, do not fit well on

baritone horn and should be removed from the contest list, unless a

re-edition for brass instruments can be produced. In addition, the

167

168

"Allegro de Concert" by Eugene Cools, and the "Romance in f minor,"

by Thomas Keighly, should be removed from the contest list unless

the publishers can be persuaded to re-publish them. They are both

good solos, but it is pointless that they be kept on the contest

list if they are unavailable.

Another consideration should be clefs. Although the baritone

player should be able to read in either treble or bass clef, very few

actually do. Solos printed in only one clef are virtually eliminated

from the repertoire of the player who reads in the other clef. Few

players read tenor clef either, but several of the newer compositions

are in tenor clef. While trombonists frequently encounter tenor clef

in orchestral literature, baritone horn players are rarely included in

high school orchestras and have no need or desire to learn tenor clef.

The teacher and the teaching situation are partially at fault for not

presenting a greater variety of literature'in all clefs for the bari

tone horn player, but the player is also at fault for generally

assuming that he cannot play a piece of music simply because it is

not in the clef with which he is familiar. The better solos, whatever

clef they might be written in, should not be removed from the contest

list. Instead, the answer lies in more individualized instruction in

the various school systems. Contemporary literature utilizes uncommon

clefs, key signatures, time signatures, notation, and other features '

seldom seen by the average player. Students should be subjected to

more of this new literature just as they are subjected daily to new

events and procedures in the outside world.

LIST OF RESOURCES

Baird, Donald. Personal Interview at West Texas State University Canyon, Texas. June 17, 1972. 0

Brass and Woodwind Quarterly. Vol. I (1966-1968).

Brass Quarterly. Vols. I-VII (September 1957 - Summer 1964).

Brass World. Vols. II-IV (1966-1968).

Educational Music Magazine. Vols. XV-XXXVI (September 1935-ADril 1957).

Gilligan, J. T. Personal Interview at West Texas State University, Canyon, Texas. March 4, 1972.

The Instrumentalist. Vols. IX_XXVI (1954-1972).

Music Educators Journal. Vols. L-LVII (1914-1971).

The Music Review. Vols. I-XXXI (1940-1970).

The Musical Times. Vols. LV-CXII (1914-1971).

Notes. Vols. I-XXVII, Second Series (1943-1971).

Priest, James. Personal Interview at Monterey High School, Lubbock, Texas. February 26, 1972.

Rasmussen, Mary. A Teacher's Guide to the Literature of Brass Instruments. Milford, N.H.: The Cabinet Press, 1964.

The School Musician. Vols. XII-XLII (1940-1971).

Southwestern Musician Combined with the Texas Music Educator. Vols. I-XXXIX (1934-1971).

University Interscholastic League. Prescribed Music List. Prepared by the Bureau of Public School Service, University of Texas. Austin, Texas: July 1, 1971.

169

APPENDIX

A. List of Publishing Companies

B. Tape Recording

170

Appendix A. List of Publishing Companies

Alfred Music Company, Inc., 75 Channel Drive, Port Washington, New York 11050

C. L. Barnhouse and Company, Corner High Avenue and L Street, Oskaloosa, Iowa 52577

Belwin, Inc. Distributed by Belwin-Mills Publishing Corporation, Rockville Centre, Long Island, New York 11571

Belwin-Mills Publishing Corporation, Rockville Centre, Long Island, New York 11571

Boosey and Hawkes, Inc., Oceanside, Long Island, New York 11572

Cundy-Bettoney Company, Inc., 96 Bradlee Street, Hyde Park, Boston, Massachusetts 02136

Carl Fischer, Inc., 62 Cooper Square, New York, New York 10003

Edition Musicus New York, 333 West 52nd Street, New York, New York 10019

Elkan-Vogel Company, Inc., 1716 Sansom Street, Philadelphia, Pennsylvania 19103

I

G. Schirmer, Inc., 609 Fifth Avenue, New York, New York 10017

International Music Company, 511 Fifth Avenue, New York, New York 10017

Jack Spratt Music Publishers, 17 West 60th Street, New York, New York 10023

Kendor Music, Inc., Delevan, New Yprk 14042

Alphonse Leduc. Distributed by Elkan-Vogel Company, Inc., 1716 Sansom Street, Philadelphia, Pennsylvania 19103

Ludwig Music Publishing Company, 557-567 East 140th Street, Cleveland, Ohio 44110

Mills Music, Inc. Distributed by Belwin-Mills Publishing Corporation, Rockville Centre, Long Island, New York 11571

. 171

172

Music Publisher's Holding Corporation. Distributed by Warner Bros. Music-Seven Arts, Inc., 488 Madison Avenue, New York, New York 10022

Neil A. Kjos Music Company, 525 Busse, Park Ridge, Illinois 60068

Pro-Art Publications, 469 Union Avenue, Westbury, New York 11590

Robbins Music Corporation, 1540 Broadway, New York, New York 10036

Rubank, Inc., 16215 N. W. 15th Avenue, Miami, Florida 33169

Sam Fox Publishing Company. New York Office: 1540 Broadway, New York, New York 10036

Schmitt, Hall and McCreary Company, 527 Park Avenue, Minneapolis, Minnesota 55415

Southern Music Company, 1100 Broadway, Box 329, San Antonio, Texas 78206

Theodore Presser Company, Presser Place, Bryn Mawr, Pennsylvania 19010

Warner Bros. Music-Seven Arts, Inc., 488 Madison Avenue, New York, New York 10022

Appendix B. Tape Recording

173

a pedagogy and performance analysis of the 1971- …

Documents