An Introduction to Baroque Ornamentation for Solo Trumpet Literature

Adam Sethi
Digitized by the Internet Archive
in
2012 with funding from
LYRASIS Members and Sloan Foundation
http://archive.org/details/introductiontobaOOmitc
Columbus
State University
AN INTRODUCTION TO BAROQUE ORNAMENTATION
FOR SOLO TRUMPET LITERATURE
A preliminary
A Graduate
( 1
638-1 709):
guide for applied trumpet teachers.
Music Project Presented
in Partial
Fulfillment of the Requirements for the
Degree of Master of Music
Adam
in
Music Education
Seth Mitchell
May 2008
The undersigned, appointed by the Schwob School of Music at
Columbus State University, have examined the Graduate Music Project
AN INTRODUCTION TO BAROQUE ORNAMENTATION
FOR SOLO TRUMPET LITERATURE (1638-1709):
A preliminary guide for applied trumpet teachers.
presented by
Adam
S.
a candidate for the degree of Master of
and hereby certify that
in their opinion
Mitchell
Music
it
is
in
Music Education
worthy of acceptance.
titled
Abstract
This graduate music project
school trumpet teachers
who wish
is
designed to be a pedagogical supplement for high
to incorporate
baroque music into their curriculum.
This document addresses the interpretation and execution of select ornaments during the
years 1638-1709.
mordent, and
trill.
The chosen ornaments include
the appoggiatura. mordent, inverted
These notated ornaments were selected based on their relative frequent
use in Italian Baroque music. These ornaments are defined via prose and supplemented
with musical examples that
illustrate their original notation
musical excerpts from composers such as Jan Kfutel
will be cited as
examples
to
show
Jifi
and execution.
In addition,
Neruda and Dominico
Gabrielli
the notation of said ornaments in their original form
and the historically correct way they should be performed.
Table of Contents
I.
Introduction
1
II.
Appoggiatura
1
5
Trill
III.
Mordent
IV.
9
Mordent
V.
Inverted
VI.
Lesson Plans
Lesson
Lesson
Lesson
Lesson
Lesson
Lesson
Lesson
Lesson
Lesson
Lesson
VII.
Conclusion
VIII.
Appendix
10
11
1
13
2
15
3
17
4
20
22
24
26
28
30
32
5
6
7
8
9
10
34
A
Exercise
Exercise
Exercise
Exercise
Exercise
Exercise
35
2c
36
37
38
39
3
40
la,
b
2a
2b
4
41
42
43
Exercise 5a
Exercise 5b
IX.
Appendix B
44
Worksheet
Worksheet 2
45
1
X.
49
Appendix C
51
Ornamented Music
Ornamented Music 2
52
56
1
XL
Bibliography
58
XII. Additional Resources
59
iii
I.
Introduction
The purpose of this
teachers on
to
how
project
is
to
provide a guideline for high school trumpet
Baroque ornaments
to incorporate
into their curriculum.
understand that the ornaments included are only a small selection.
teacher clarifies to the student that there
that the
is
It
It
is
important
is critical
that the
an ample selection of Baroque ornaments and
ornaments presented here were selected based on
their relatively frequent use in
Baroque music. The scope of this paper includes students from ninth grade through
college. Likewise, the techniques discussed can be applied to
necessarily
bound
This paper
all
instruments and are not
solely to trumpet playing.
is
divided into two large sections. The
explains the appoggiatura,
trill,
first
section defines and
mordent and inverted mordent. Each ornament
is
defined
with prose and supplemented with musical examples to illustrate notation and execution.
The second section presents lesson plans designed
school level to said ornaments. Each lesson
is
to
introduce a student
at
the high
followed by an explanatory page to aid the
teacher in presenting the lesson. In addition, musical excerpts from composers such as
Jan Kfutel
Jifi
Neruda and Dominico
Gabrielli are used to exemplify the original notation
of the ornaments and provide the student with a piece of music
to contextualize these
ornaments.
The appoggiatura,
ornaments
II.
in the
Baroque
trill,
style
mordent, and inverted mordent are indispensable
and should be included
in
a high school curriculum.
Appoggiatura
In
Baroque music, the appoggiatura
is
not only ornamental but also essential to
the style. Without this crucial ornament, melodies
would sound
deficient and bare
(Quantz, 1966). The appoggiatura
is
common ornaments
one of the most
music (Altenburg, 1974). The word appoggiatura comes from the
which means "to lean" (Donington, 1989,
By
p. 197).
dissonant note that precedes a consonant note.
Italian
The appoggiatura
OR
is
There are three characteristics
is
a
notated via a small
r
Example
verb appogiare,
1.
OR
*
J>
-o
Baroque
definition, an appoggiatura
note that precedes a principal note (the normal size note). See example
OR
in
/
1
that are necessary to create a leaning effect in
performing appoggiaturas: duration, dynamic and articulation. The dissonance of the
appoggiatura
is
to
be accentuated or "leaned on" by elongating
its
duration.
The duration
of the appoggiatura depends on the value of the principal note. For example,
principal note
is
a
whole note
in
common
time, then the auxiliary note receives
counts as does the principal note. For this reason, the
is,
in
if the
number of flags on
two
the appoggiatura
most cases, irrelevant (Quantz, 1966).
Johann Altenburg provides three basic rules
regard to duration.
parts, the
The
first
to the
execution of appoggiaturas
rule states, if the Principal note
can be divided into two
appoggiatura receives half of the value thereof Example 2
original notation
on the top score and
how
it
is
to
illustrates the
be performed on the bottom.
in
ecpial
«
>
V,
e
Notation.
Application:
'/
Example
2
(Altenburg, 1974,
The second
note
is
rule refers to appoggiaturas
dolled, then the duration
principal note. For example,
common
if
p.
on dotted principal notes: If the principal
of the appoggiatura
an appoggiatura
109)
is
is
two parts of the value of the
attached to a dotted half note in
time then the appoggiatura receives two counts and the principal note
one count. See example
j
B
-j
*-
i
'"'
Appl ication:
'
EgaE
¥
is
i
A
3
(Altenburg, 1974,
last rule
r
;
Example
The
only
3.
4Notation:
last
p.
110)
considers appoggiaturas on tied principal notes: If the principal note
tied to another note
the principal note. See
of the same pitch, then the appoggiatura receives the full value of
example
4.
±
Notation:
ffl
0-0-0
Application:
£
i
2
^Pt
Example 4
(Altenburg, 1974,
Lastl). the
are
dynamic and
p.
110)
remaining two aspects of the appoggiatura that need
articulation.
in order to accentuate the dissonance.
the feeling of tension and release necessary to
would be perceived almost
would not be
If
to the principal note
both notes were articulated the same, the auxiliary note
as an equal to the principal note
and the appoggiatura
effect
as clear. Attention to these crucial performance practices highlight the
auxiliary note and take attention
(Altenburg. 1974,
principal note
This will create
convey an effective appoggiatura.
Regarding articulation, the auxiliary note should be slurred
p. 109).
be addressed
Concerning dynamic, the auxiliary note should be
emphasized over the principal note
(Altenburg, 1974,
to
p. 110). In
away from
other words,
and a louder dynamic,
it
if
the principal note,
the auxiliary note
which
is
is
a
consonance
not slurred to the
could be perceived a specific rhythm instead of an
ornament.
In
summary, the combination of elongated duration, louder dynamic and slurred
articulation culminates to
produce a "leaning" effect
that accentuates the desirable
dissonance of the appoggiatura and creates a tension-release effect that gives
expressiveness to the melodic
line. Strict
adherence
to these
performance practices
will
yield period-correct execution of the appoggiatura.
III. Trill
Trills are
used
characteristic. The
(Altenburg,
They
1
974,
are written
together, the tr
is
many
in
p. 111).
The symbols used
above the
staff
first
are placed over a single note,
example,
if
F contains
note
is
B
an
A is
Baroque music they arc
to notate a
and followed by the
which
trilled in the
trill
in
music are
and can be used individually or together.
is
1wVW\ See example
The
a distinctive
note, dictated
A is
trilled in the
natural because the key of C major has a
,
tones''
and
When
5.
vvvv,,,
''
.
used
These symbols
auxiliary note
is
always
by the key signature. For
key of F then the auxiliary note
a Bb. Conversely, if an
tr
"
the principal note.
whole or half step above the principal
either a
in
defined as "a rapid alternation between two adjacent
trill is
written
types of music, but
is
Bb because
the key of
key of C major, then the auxiliary
B
natural.
ir*
a:
Notation:
SSI
Application:
Example
Example
how the
trill
5
starts
shows how
a
trill is
on the auxiliary
5
notated and
note.
how
it
should be performed. Notice
Even though there
are exceptions, the standard
Baroque method
to
execute a
trill is
to start with the
upper note instead of the principal
note (Donington, 1989).
Trills are
imperative
at
commonly used
to
embellish main cadence points and are practically
ending cadences unless a different ornament
is
written or the
specifically asks for simplicity (Altenburg, 1974). Often, these cadential
written in the music by the composer, but performers at the time
included. Robert Donington (1989) explains
The necessity
it
knew
composer
trills
that they should be
as such:
for the cadential
trill
must be recognized by the
performer regardless of whether any sign or other hint
the notation or not; and if a sign
sign
may
be. since there are
otherwise, but there
is
were not
is
many
is
present in
present, regardless of what that
possible signs misleading or
only one basic species of cadential
trill.
(241)
Similar to the appoggiatura. the fust note of the
elongating
its
trill
should be emphasized by
duration and volume in relation to the rest of the
trill.
These preparatory
notes form an appoggiatura and are often labeled as such. See example
Baroque authorities actually explain the
above" (Donington, 1989,
p.
243).
trill
iL
6.
In fact,
as a series of reiterated appoggiaturas
some
from
Notation:
EZjft
'
:-
^—
L!
L
3fc-^ R HL -:=
-'"
Application:
V
?
-rr-
III
'
=±=±-
Example 6
The closing
part
of the
two
require termination notes. There are
terminations only apply
1989). Joachim
possibilities for termination notes.
if the trill is not a pari
Quantz explains the
The end of each
note of the
trill
trill
the plain note
.
.
.
consists of two
notes,
little
at the
notes are written
.
.
which follow the
same speed.
.
but
when
.
7 illustrates
how
.
.
there
is
only
both the appoggiatura [preparation] and the
termination must be understood (as cited in Donington,
Example
These
type of termination as:
first
little
trills
of a series of ornamentations (Donington,
and which are made
Sometimes these
Baroque
called the termination. All standard
trill is
these two
little
1
989,
p.
247).
termination notes should be
performed.
Notation:
*^
ir
r_T~rr
1
—
4r^~-
f
Application:
issa
Example
7
f^
p«
i
These termination notes, whether written or implied, should be slurred and played
as quickly as the
trill itself,
unless there
is
another indication such as ritardando or
rallentando (Donington, 1989).
The second type of termination
described by Donington as "a
is
little
anticipation inserted just before the note succeeding to that
on which the
(249). In other words, this "little" note of termination
same
comes
after the
trill.
See example
8 below. This type
is
the
note of
trill is
made"
pitch as the note that
of termination was equally as
important as the turned ending described above (Donington, 1989).
Notation:
P
Application:
Example
8
(Donington. 1989,
Observe
in the
example above
of a dotted sixteenth note before
it
p.
244)
that the principal note
of the
trill
[that is the principal
Donington, 1989,
p.
250).
note of the
trill]
trill
be distinctly hear'd
One must remember
principal note and as such, should not
the
with the principal note before
principal note to remain intact.
held the value
ends with the anticipatory termination note. This
holding of the principal note demonstrates the following rule. "Always
Note
is
that the
trill is
the Proper
[sic] at the last" (as cited in
an embellishment of the
overwhelm and obscure the
its
let
principal note.
Ending
termination notes allows the integrity of the
Mordent
IV.
The word mordent comes from
and
is
1989.
the Italian
word "modere," which means
normally associated with a certain amount of ferocity
p.
The symbol used
260).
for the
example
principal note on top of the staff. See
single, double,
called a short
mordent
is
9.
in its
execution (Donington,
++. This symbol
is
placed above the
There are three types of mordents:
and continuous mordent (Donington, 1989). The single mordent
mordent and the double mordent
1974). For the purpose of this paper
is
also called a long
will use the term single
1
"to bite"
is
also
mordent (Altenburg,
and double. The three types
of mordents are defined as such:
(a)
A single
mordent has only one repercussion, and
is
the sharpest of
rhythmic ornaments except for the acciaccatura.
(b)
A double
mordent has two repercussions, and
is
primarily a rhythmic
ornament.
(c)
A continuous mordent may
up
to several bars,
and
have any number of repercussions lasting
like the longest trills, sustains
and
intensifies
the melodic line and adds colour to the texture. (Donington. 1989, p.
260)
A
-k4-
^E
£
Notation
Application
I
XT
)j
i*ri*
'
f*
r i*r
i*
i*ri*rf*ri*r" f*ri*ri*ri*r -ft
Example
9
i*
r
i*
r f
Mordents may be placed
in
any count of the measure, but
beat of the embellished note, not before
Correct
Notation
£r
i
Application
it
(Donington, 1989,
Inverted
261
).
start
See example
r
Z
i
i
m£ SB3
i
m
1
is
simply
a
mordent
that has a
lower auxiliary note instead
of an upper one. The notes have been inverted. The inverted mordent only occurs
form because
if it
were longer
However, the short inverted mordent
label "inverted
the inverted
10.
Mordent
The inverted mordent
short
on the
Incorrect
w
Example
V.
p.
mordents
all
mordent." Below
mordent
is
a
wavy
is
it
would sound
retains
its
like a
trill
and be perceived as such.
"biting" quality, therefore,
it
bears the
an example of an inverted mordent. The symbol for
horizontal line with a vertical line between the
humps.
Inverted Mordent
Mordent
*»
£
r^3E
£ rryf*
*
irg-
i
in its
P^P
ff=fc
10
1
£
two
Due
to the slight difference
'^*'
mordent
(
symbols
to
),
it
is
(
•*) and inverted
important to be cautious when teaching these two concepts and
avoid confusion
ornamented note, not before
The mordent
between the symbols of mordent
is
to the student.
The inverted mordent starts on the beat of the
it.
often used as the ornament of choice
when
the score lacks
ornamentation. However, Robert Donington (1989) warns against the over use of the
inverted mordent.
"The not uncommon modern
practice of relying
mordent as the chief ornament for Baroque music
mordent
is
is
incorrect.
the lower mordent*" (p 262). Regardless of
on the inverted (upper)
The standard Baroque
which mordent
is
used, both must
be executed well.
VI. Lesson Plans
The following lesson plans
routine.
are intended to
The provided plans should be
this reason.
lip slurs,
have omitted
I
common
supplement an established lesson
inserted as additional material to the lesson. For
aspects of standard lesson plans such as warm-ups.
long tones, scale studies, and transposition exercises. However, these
fundamental aspects must be included
provide the student with a well-
in the lesson to
rounded education. These lesson plans are designed for a student
As with any
lesson plan, accommodations need to be
individual's needs.
that coincides
The timeline given
in the
made
lesson plan
with the student's cognitive and playing
is
to
at the
high school
level.
adapt the lesson to the
a suggestion.
Move
at a
pace
ability.
The importance of correct playing examples cannot be
stressed enough. In
many
of the examples the teacher must perform the exercises for the student. The teacher must
take great care to perform the exercises with the correct style.
11
The
style will be
conveyed
appropriately if the musical directions, such as dynamics and articulations, are strictly
observed. If possible, demonstrations by the teacher should be
addresses the passage for the
exercise
is
supposed
to
first
time.
The student needs
made
before the student
a clear, correct idea
that the student listens to these recordings
The appoggiatura,
first
trill,
part
first for
of the
two reasons.
trill.
The
trill is
and strives
to
mimic
It is
imperative
their style.
mordent, and inverted mordent are presented
These ornaments should be taught
presented
how an
sound before attempting the passage. Included are suggested
recordings of professional trumpet players executing these ornaments.
units.
of
1
)
It is
in the
in three
following order. The appoggiatura
the simplest
ornament
presented second and
is
the
to learn. 2)
most
It
difficult
is
makes up
the
ornament of the
four discussed in this project. Therefore, the teacher should allocate sufficient time for
these lessons.
The
third unit addresses the
and techniques used
to
execute the
trill
mordent and inverted mordent. The exercises
will be applied to the
mordent and inverted
mordent. Each lesson plan refers to musical examples that are located
12
in
Appendix A.
.
.
Lesson Plan
Date:
Week
1
1
Objectives: Introduce Appoggiatura
Appoggiatura 1
"Complete Conservatory Method for Trumpet"
Exercise
see Appendix A
Title:
Materials: Arban,
1
,
Instructions:
1
Teacher plays Exercise
1,
close attention must be given to the dynamics so that the
characteristic leaning effect
2.
Student plays exercise
1,
is
letter
created.
A. Repeat as necessary until concept of "leaning"
understood.
3.
Student will sight-read T' 16 measures
4.
Now
5.
Assign homework of exercise
have student play exercise
1
letter
1, letters
(first
two systems) of Arban
A and
Feacher's demonstration of Exercise
Etude/Solo
Arban
p.
1
to the
dynamic so
that the
achieved.
Listen for steady pitch and a smooth diminuendo as student plays
Assessment
exercise
Homework
1
06 # 44, pay close attention
is
106, # 44.
B.
Listening
proper leaning effect
p.
B, exaggerating dynamics.
!
1
Play Exercise
Read
1, letters
A and B
the definition of appoggiatura (p. 2-4)
13
is
Lesson Plan
1
Lesson
1
is
appoggiatura. This
intended to get the student performing the leaning characteristic of the
first
lesson presents preliminary exercises that build the foundation for
a properly executed appoggiatura. Strict adherence to the
Exercise
1,
letter
B comes from Arban
p.
dynamics must be demanded.
106 # 44. Extra articulation and dynamic
markings have been added and must be followed. Only the
presented so that the student
assumes the student
for
development
is
is
not
overwhelmed with
first
this part
sixteen measures are
of the music study. This
given other etudes and technical work that the teacher has assigned
in other areas
of study.
For homework, the student
definition of yppoggiatura (found
is to
practice Exercise,
on pages
2-4).
14
1
letters
A
and B and read the
.
Lesson Plan 2
Date:
Title:
Week
2
Objectives: Introduce Appoggiatura notation
Appoggiatura 2
Perform appoggiatura using
its
corresponding
notation
Materials: Arban's "Complete Conservatory Method for Trumpet"
Exercise 2a, 2b. and 2c. see Appendix
A
Instructions:
1
2.
3.
4.
5.
0.
7.
Discuss the reading
(p.
Student plays Exercise
2-4) and answer any questions from the student.
1,
letter
A
Using exercise 2a, explain how the scale could be written with ornamentation.
Cover the top score of Exercise with a sheet of paper and have the student play
the bottom line with correct ornamentation.
1
Have the student play Exercise 1, letter B.
letter B.
Ask the student where an appoggiatura could be added in Exercise
Show the student Exercise 2b and explain how the notation could be changed to
1
,
include the appoggiatura.
8.
The student should play Exercise
2b. Listen for a leaning
on beat one of measure
4,
6,8. 10. 12. 14 and 16.
9.
Assign student Exercise 2c for homework and
to write the correct
way
to
perform
the appoggiatura.
Listening
Teacher's demonstration
Etude/Solo
Exercise 2c from Arban
Assessment
Realized appoggiatura
p.
is
1
06 # 44.
correct
j
Dynamics on appoggiatura convey
Homework
Play Exercise 2c. write the correct
applicable measure.
15
a sense
way
of leaning on the beat.
to play
ornaments under each
!
Lesson Plan 2
Lesson two introduces the appoggiatura notation. The student
appoggiatura while reading the
homework from
teacher can clear up any misunderstandings that
skills
developed
in lesson
1
the previous week.
may
arise.
first
encounters the
During the lesson the
This lesson builds upon the
namely, creating a leaning effect via dynamic control.
.
sure the student's pitch integrity and tone quality remain constant
when performing
Make
these
appoggiaturas.
Exercise 2a
scale
how
is
a rewriting of Exercise
would be written
the etude
if
it
L
letter
A. Exercise 2a shows
how
the E-flat
used the appoggiatura notation. Likewise, Exercise 2b shows
from Arban could be realized using ornamentation. At
this point in the
sequence, the student has the skills to play both of these passages as a result of the work
done
in
the preceding
week. Therefore, the transition from standard notation
Baroque ornaments should be smooth. The goal
is
to
make
to the
the reading of the
ornamentation as natural and automatic as reading modern music without written
ornaments.
Exercise 2c contains the remaining 16 measures of the Arban etude. In this
excerpt, only the
'realize' the
Baroque ornamentations are given. The student
ornaments
different types
in the
that
to write out or
blank measure below each ornament. There are two
of appoggiaturas
appoggiaturas that obey the
is
first
in this last section.
rule (given
obeys the second rule (given on page
Measures
on page
3). If
2).
1
8,
20. 28
and 30 have
Measure 36 has an appoggiatura
the student needs help realizing the
ornaments, he can reference the ArbaiTs book (page 106, #44) for the answer.
16
.
Lesson Plan
Week
Date:
Title:
3
3
Appoggiatura
Objectives: Introduce Appoggiatura notation
3
Perform appoggiatura using
its
corresponding
notation
A
Materials: Exercise 2c, see Appendix
Worksheet #1, see Appendix B
E
Jan Neruda, "Concerto in
Flat
Major" Movement
I
'Allegro'
Instructions:
The student should play Exercise
1
Teacher will assess progress and deem
2c.
complete or incomplete.
Have
2.
the student visually scan the music to Jan Neruda's
Concerto
in
E
Flat"
Movement
how each
I
'Allegro' and point out the appoggiaturas
appoggiatura
be performed*
3.
Discuss and
4.
Play recording of Neruda( performed by Niklas Eklund) and read music while
5.
Assign student section
to
is
Listening.
1
of Neruda (mm. 49-72).
The student should disregard
and termination
6.
to the
For homework, student will write
Worksheet #1
Listening
Etude/Solo
.(see
the
time.
Only play the appoggiatura
in all
ornaments except for
trills in
section
1
Appendix B)
Recording of Neruda. Niklas Eklund on trumpet
Exercise 2c from Arban
Jan Neruda, "Concerto
Assessment
trills at this
trill.
p.
in
106 # 44.
E
Flat
Major" Movement
I
'Allegro'
Dynamics on appoggiatura convey a sense of leaning on the beat.
Does student correctly identify and define appoggiaturas in Solo
repertoire?
Listen to the
Homework
first
movement of Neruda
recording.
Practice measures 49-76 of Neruda "Concerto in
Movement
I
Worksheet #1, Write
E
Flat
Major"
'Allegro'
all
ornaments
in section
1
(mm. 49-72) except
for trills
*
Make
measures 66 and
follows the third rule (found on page
certain that
1
3
1
are discussed. This
3).
17
measure contains an appoggiatura
that
Lesson 3
At
this point in the
process of developing an understanding of the use of
ornamentation, the student should be able to execute an appoggiatura correctly. Lesson 3
presents the application of the appoggiatura to solo literature. Neruda's "Concerto in
Flat
Major" was chosen based on
this piece
late
during the
Baroque
differ
latter part
its
frequent use of the appoggiaturas. Jan
of the Baroque period. The rules
for
Neruda wrote
ornamentation
apply to this piece. This piece will be taught while the next lessons on
are learned.
At
this time, the student
should omit any
play the appoggiaturas and termination notes to the
trilling,
Lesson
3
in the
from the early Baroque, however, the early Baroque rules presented
this proiect
technique for
E
then the student
may add
and subsequent lessons
trills in
trill.
He
trills
should only
After the student develops the
the complete
call for the
the piece.
in
trill
to the piece.
student to listen to compact disc
recordings of professional trumpet players performing this work. Three different trumpet
players are presented in the following lessons. Listening to three different artist perform
the
same piece provides
The goal
is
dynamic
contrast,
the student with several differing interpretations of the piece.
for the student to assimilate elements such as tone quality, articulation,
and general musicality of the recordings
publishing information for the recordings
The
for each
first
movement of Neruda's
week of practice. The
144 and 173- 228. The teacher
segments depending on the
easiest
is
the student can perform all of the
in
The
"Additional Resources" on page 60.
piece should be divided into three sections, one
way
may choose
ability
found
into their playing.
tempo,
to divide the
to divide the
movement
movement
is
mm.
49-72, 114-
into different
of the student. The teacher should make certain that
first
movement before moving
IS
to lesson 7.
The body of
the
trill
should be omitted
notes of the
trill
movement from
until lesson 7.
However, the appoggiatura and termination
should be practiced immediately. Lesson 7 introduces a new solo
a different piece that will require the student's full attention in practice;
therefore, the student should be finished with Neruda's piece.
first
movement of Neruda's "Concerto
in
E
Flat
Appendix B contains
Major" with the ornaments
the
realized.
The
student and teacher should use this document, as well as the recording, as a reference for
any questions about how the ornaments should be performed.
19
.
Lesson Plan 4
Week
Date:
Title: Trill
4
Objectives: Introduce Bod) of
1
Preliminary exercises for
I
ri
trill
Materials:
Appendix A
Appendix B
Ornamented Music 1, see Appendix C
Exercise
see
3,
Worksheet
1
,
see
Tuner
Metronome
Instructions:
1
Teacher will demonstrate Exercise
2.
Student will play a
G
and F
3, letters
in the staff
A-D
with metronome
and check pitch with
A-D
with metronome
3.
Student will play Exercise 3 letters.
4.
Teacher will demonstrate Exercise
3, letter
5.
Student will play Exercise
E
6.
Teacher will
7.
marking of 95 for the next lesson.
Check Worksheet for ornamentation in the first section*
Student will play first section of Neruda. (mm. 49-72)
8.
9.
10.
set a goal
3, letter
(all in
with the student
to
E
(all in
set at 80.
tuner.
set at 80.
one breath)
one breath)
play
all
parts of Exercise 3 at
metronome
i
Assign second section of Neruda. (mm.l 14-144)
For homework, student will write in all ornaments, except
for
trills,
in section
1
of
Worksheet #1 (see Appendix B)
Teacher's demonstration
Listening
Recording of Neruda, Niklas Eklund on trumpet
Etude/Solo
Exercise 3
1
Neruda "Concerto
in
E
Flat
Major"
Movement
'
I
'Allegro'
i
Assessment
!
Correct pitch using tuner
Student stays with metronome during Exercise 3
I
Homework
I
|
;
*
Listen to
>inl
1
and 2
section of Neruda recording.
Play Exercise 3 with an end goal of quarter note = 95 on metronome
Learn section 2 of Neruda (mm.
Use Ornamented Music
1
(see
Appendix C)
20
as an
1
14-14 4)
answer key
for
Worksheet
1.
Lesson 4
The purpose of this lesson plan
student must practice with the
metronome marking
is
at this
develop controlled finger technique. The
to
metronome every time he plays
this exercise.
The
starting
quarter note equals 80. The tempo should increase approximately
three beats per minute (b.p.m.) a
tempo
is
day during the
first
week of practice. Increasing
pace serves two purposes. The small increment of three b.p.m
the
day ensures
a
the student develops proper finger control and rhythm. Also, since there are seven days in
a
week and only
fifteen b.p.m.
days to perfect the exercise
of increase are required, the student
their
Space
at the
day
will
have two days
bottom of Exercise
metionome markings down throughout
same method of metronome use
It is
important to obey
all
marks while practicing Exercise
use the
3 is
to catch
up
if
they
last
two
who have
top speed for that week. Likewise, students
at the
difficulty increasing three b.p.m. a
in their schedule.
may
fall
behind
provided for the student to record
the week. All subsequent lessons
employ the
as explained above.
musical markings such as crescendos, slurs, and breath
3.
The crescendo
at
the beginning of Letter
B-E should
be interpreted as an appoggiatura, thus, the student should "lean" on count one of the
measure. The measures of Letters
A-D
first
contain two quarter notes on counts three and four.
These quarter notes should be checked with a
clean, consistent
a
tuner.
The goal of the student
is
to
have a
and controlled alteration between the two notes while maintaining
accurate pitch.
21
.
Lesson Plan
Week
Date:
5
5
Objectives: Introduce termination of Trill
Title: Trill 2
Secondary exercises for
trill
Materials:
Exercise
3
and
4,
see
Ornamented Music
1
,
Appendix A
see Appendix C
Tuner
Metronome
Instructions:
A-D
2.
Student will
3.
Teacher will
4.
Student will
metronome marking
play Exercise 3, letter E at metronome marking 95.
play Exercise 4 at metronome marking 85.
play Exercise 4 at metronome marking 85.
5.
Teacher will
set a
6.
Teacher will check Worksheet
1
Student will play Exercise
at
3, letters
at
goal with the student to play
metronome marking of 95
1
all
parts of Exercise 4
for the next lesson.
for correct
ornamentation
in the
7.
Student will play second section of Neuida. (mm.l 14-144)
8.
Assign third section of Neruda (mm. 173-228) for homework
9.
For
homework
student will write out ornaments for third section
Worksheet
Listening
!
95.
mm.
1
14-1
44*
oi'
1
Teacher's demonstration
Recording of Neruda, Crispian Steele-Perkins on trumpet
Etude/Solo
Exercise 3
Exercise 4
Neruda ''Concerto
Assessment
in
E
1
Flat Major'
Movement
•Allegro'
Correct pitch using tuner
Student stays with metronome during Exercise 3 and 4
Homework
s1
movement of Neruda recording.
Play Exercise 3 with an end goal of quarter note = 110 on metronome
Listen to
l
Play Exercise 4 with an end goal of quarter note = 95 on metronome
Learn third section of Neruda.
Read the definition of Trill (p. 5-8)
Use Ornamented Music
1
(see
Appendix C)
22
as an
answer key
for
Worksheet
1,
'
Lesson 5
Exercise 4
is
introduced
termination notes of the
the
body of the
trill
trill
in this lesson.
the student
play the entire exercise.
An
Using the
and
3. the
note
A
is
to
introduce the
to transition
written
in
one breath. At the slower
may need
to
add
a breath in
initial
measure
from
trill).
tempo of
five in order to
be played with the alternate fingering of third valve.
eliminating the use of two fingers.
is
to
extra beat should be added to allow for this breath. In
third valve only, instead
ornamentation
designed
(alternation of the notes) to the termination notes (end of the
metronome marking 85
1
is
and develop the finger technique required
This exercise will eventually be played
measure
This exercise
below the
of valves one and two, will
The
last
facilitate a clean trill
measure of the piece
exercise. This
measure
lesson after the student has read the definition of a
23
trill.
is
a
trill.
by
The Baroque
will be explained in the next
Lesson Plan 6
Date:
Week
6
Objectives: Introduce termination of Trill
Title: Trill 3
|
Secondary exercises for
trill
Materials:
Appendix A
Worksheet 1, see Appendix B
Ornamented Music 1, see Appendix C
Exercise 3 and
4.
see
Tuner
Metronome
Instruction:
1.
2.
3.
4.
5.
6.
E at metronome marking 95.*
Student will play Exercise 4 at metronome marking 10.
Teacher will discuss the reading (p. 5-8) and answer any questions from the student.
Check Worksheet for ornamentation in third section (mm. 173-228) **
Student will play third section of Neruda (mm. 73-228)
For homework, student will complete Worksheet #1 by writing in trill ornamentation.
Student will play Exercise
3, letter
1
1
1
Listening
Recording of Neruda, Crispian Steele-Perkins on trumpet
Etude/Solo
Exercise 3
Exercise 4
Neruda "Concerto
Assessment
in
E
Flat
Major" Movement
'Allegro'
I
Correct pitch using tuner
j
1
Homework
Student stays with metronome during Exercise 3 and 4
st
Listen to
1
movement of Neruda
Play Exercise
3
recording.
with an end goal of quarter note = 120 on
metronome
Play Exercise 4 with an end goal of quarter note
Complete Worksheet
Student
is
expected to practice Exercise
#1 by writing in
trill
3 in its entirety in
=110 on metronome
ornamentation
order to prepare them for
Letter E.
*
*Use Ornamented Music
1
(see
Appendix C)
24
as an
answer key
for
Worksheet
1.
Lesson 6
The goal of this lesson
and
to introduce the
trill.
technical skills for the
"Ornamented Music
to
is
monitor the speed and accuracy of Exercises
is
trill.
This lesson will marry the two concepts together Using
l" the teacher should give an
completed the entire piece
will be
1
example of how
b\ writing in
ornamented. As
in
Baroque
style into his playing.
25
to write trills out.
all o!
the
trills.
previous lessons,
important that the student listen to the recording several times a
assimilate the
and 4
Previous lessons have developed the appoggiatura and the
student will be required to complete Worksheet
step
3
week
in
When
it
is
order to
The
this
Lesson Plan 7
Date:
Week
7
Title: Trill 4
Objectives:
i
Materials:
Exercise
3
and
4, see
A
Appendix
Worksheet #1, see Appendix B
Tuner
Metronome
Instruction:
1.
Student will play Exercise 4 at metronome marking 110.
metronome marking
2.
Student will play Exercise 3
3.
Check Worksheet
4.
Student will play third section of Neruda (mm.
Listening
Etude/Solo
i
at
#1 for correct
trill
125.
ornamentation
i
73-228). Complete with
all
ornaments
Recording of Neruda, Sergei Nakariakov on trumpet
Exercise 3
Exercise 4
Neruda "Concerto
Assessment
in
E
Flat
Major" Movement
Student stays with metronome during Exercise
Homework
I
'Allegro'
3
and 4
Correct pitch using tuner
s
movement of Neruda recording.
I
Play Exercise 3 with an end goal of quarter note = 120 on
Listen to
metronome
Play Exercise 4 with an end goal of quarter note
Practice
Movement
1
with
26
all
ornaments
=110 on metronome
Lesson 7
The goal of this lesson
and
to finish learning the
should be learned with
trill.
all
is
At
to
monitor the speed and accuracy of Exercises
this
time the notes
to the first
3
and 4
movement of Neruda
ornaments included. The student will probably need more
lessons to perfect his performance of the piece, but the fundamentals will be learned.
recommended
Neruda
will
at
that the teacher
an acceptable
need the student's
level.
full
postpone Lesson
c
)
until the
student
The next lessons incorporate
attention in practice.
27
a
new
is
It
is
able to perform the
solo and this
new
solo
,esson Plan 8
Date:
Title:
Week
8
Mordent
Objectives: Introduce Preliminary Exercise
Mordent
Materials:
Exercise 5a, see Appendix
A
Metronome
Instruction:
1.
Teacher will play Exercise 5a with metronome
set at 95.
2.
Student will play Exercise 5a with metronome set at 95.
3.
For homework, student will read the definition of Mordent
4.
Instruct student to increase
tempo of Exercise 5a
to
1
(p.
8-10)
10 for next lesson.
Listening
Teacher's Demonstration
Etude/Solo
Exercise 5a
Assessment
Student stays with metronome during Exercise 5a
Homework
Play Exercise 5a with an end goal of quarter note =
metronome
Read the definition of Mordent
28
(p.
8-10)
1
10 on
for
Lesson 8
The purpose of this lesson
is
to
develop the technique to perform the mordent.
Lxercise 5a introduces the single mordent, double mordent and the inverted mordent
Letters A,
B and C
articulation
that use a
teacher
respectively. Careful attention
of each beat. Aiso, the teacher should
low D: measures
may remind
1,
5, 10,
must be made
to
accuracy of the
first
call the student's attention to the beats
14 and 15. Proper finger dexterity
is
required.
The
student to keep the right hand in a natural, relaxed position as he
plays this exercise.
29
in
Lesson Plan 9
Date:
1
Title:
Week
9
Mordent 2
j
Objectives: Introduce Notation of Mordent
Materials:
Exercise 5a, see Appendix
A
Appendix B
Ornamented
Use
Music 2, see Appendix C
Metronome
Worksheet
2, see
Instruction:
1
.
Student will play Exercise 5a with metronome set
at
1
10.
8-10) and answer any questions from the student.
2.
Discuss the reading
3.
Using Exercise 5b, Teacher will ask:
What measures to single mordents occur (answer: Letter A)
What measures
What measures
(p.
to single
mordents occur (answer: Letter B)
to single
mordents occur (answer: Letter C)
4.
Student will play Exercise 5b
5.
Instruct student to increase
6.
Student will
tempo of Exercise 5b to 125
complete Worksheet 2 for homework.*
for next lesson.
Listening
Teacher's Demonstration
Etude/Solo
Exercise 5 b
Assessment
Student stays with metronome during Exercise 5a
Homework
Complete Worksheet 2
Increase tempo of Exercise 5b
*Use Ornamented Music 2
(see
Appendix C)
as an
30
to
125 for next lesson
answer key
for
Worksheet 2
Lesson 9
This lesson introduces the notation of mordents
5b.
When
student by using Exercise
disusing the reading homework, ask the student to tdentif) the single mordent,
double mordent and and inverted mordent
in
problem with recognizing the different types
Exercise 5b will sound identical
to
Exercise 5b. The student should have no
if
they have completed their homework.
Exercise 5a, however. Exercise 5b
with Baroque ornamentation. The purpose behind
to
to the
recognize the ornament and
its
application.
this exercise
The
transition
it
is
written
to train die student's
eye
from reading Exercise 5a
to
Exercise 5b should be smooth because the two sound identical.
Worksheet 2
is
Dominico
Gabrielli's Sonata
of the ornamented measures. The student
is
No.
to write all
This piece contains mordents, inverted mordents and
measure 9 as an example of how
Appendix C)
is
to
complete
this
the answer key for this worksheet.
31
5
Movement
I,
but
is
of the ornaments for
trills.
missing
all
this piece.
The teacher should give
assignment. Ornamented Music 2 (see
Lesson Plan 10
Week
Date:
Title:
Mordent
10
Objectives: Notation of Mordent
3
Materials:
Exercise 5a, see Appendix
Worksheet
2,
see
A
Appendix B
Metronome
Instruction:
1.
Student will play Exercise 5a with metronome set
at
125.
2.
Teacher will check Worksheet 2 for correct mordents.
3.
For homework. Student will play Worksheet
Listening
Teacher's Demonstration
Etude/Solo
Exercise 5a
2.
Worksheet 2
Assessment
Student stays with metronome during Exercise 5a
Correct ornamentation on Worksheet 2
Homework
Plav Worksheet 2
32
Lesson 10
In lesson 10 the
Any
teacher will check the student's ornamentation of Worksheet
eorrections should be
made
in
2.
the lesson so that the student wilt have a eorreet
version to practice for the next week. At this time the student should have elear idea of
how mordents
look, sound, and are realized. With this knowledge, the student will be able
to learn the first
movement of Gabrielli's Sonata No.
strive to read the original notation as
for learning only, lire
5
with ease. The student should
soon as possible. The realized version
week following
lesson 10
ornaments should be used. Additional meetings
is
the only
will
ornaments presented
in this piece.
33
intended
that the written
be necessary to perfect the
perfonnanee of the Gabrielli Sonata, however, the student
to execute all the
week
is
will
have a firm grasp on how
VII. Conclusion
The inclusion of Baroque music
in private
well-rounded curriculum. The appoggiatura,
fundamental ornaments that are crucial
trill,
lessons
is
an important aspect of a
mordenl and inverted mordent are
to the correct
Careful, structured study of these ornaments
is
performance of this
style
of music.
necessary as a means to provide students
with a solid foundation on which to base future study of the Baroque style. The inclusion
of these lessons into a teacher's curriculum will provide structure and cohesiveness to the
learning of these vital ornaments and hopefully will foster a desire to explore
different ornaments.
Though
originally conceived for trumpet, the techniques and
exercises presented can be used for any of the instruments.
would be
in
in
providing instrument specific solo literature
these lesson plans could be used
that this
new and
1
The prevailing
Iowever, the techniques used
on any suitable Baroque piece.
music project serve as a catalyst
for future study
into the applied lesson.
34
alteration
It
is
the author's wish
of integrating Baroque music
Appendix
A
Musical Exercises
35
Exercise
1
Name
A, B
Date
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44
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Bibliography
Altenburg.
E. (1974).
J.
An Essay on
kettledrum playing
(1
the introduction
795), translated by
of the noble
Edward H.
art
of trumpet one/
Tarr. Nashville:
The Brass
Press.
New
Donington, R. (1989). The interpretation of early music.
York:
W.W. Norton and
company.
Gabrielli, D. (1971).
Sonata No.
5 [Score]. International
Lanning, R. (1955). Bach ornamentation.
Ann
Music Co.
Arbor, Michigan:
J.
W. Edwards,
Publisher, Inc.
Neumann,
(1978). Ornamentation in baroque
F.
and post-baroque
music.
New Jersey:
Princeton University Press.
Neruda,
J.
B. G. (1990).
[Score].
Concerto
in
E
Hat major for horn (trumpet), strings, and continuo
Edward H. Tarr and Joan Retzke
(Ed.).
Bulle, Switzerland: Editions
Bim.
Quantz
J. J.
(
1966).
On playing
the flute. Translation by Reilly, E. R..
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58
New
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Additional Resources
Neruda. Johann Baptist Georg. Trumpet
Steele-Perkins, Tpt,
Regis:
C
'oncerto in Eflat
major (Recorded by Crispian
Anthony Halstead, Cond.) On Six Trumpet Concertos [CD].
RRC1053.
Neruda. Johann Baptist Georg. Trumpet Concerto
in
Eflat major, (Recorded by Niklas
Eklund, Roy Goodman, Conductor and Swedish
Chamber
Orchestra).
On
Haydn/I lummel/Neruda: Trumpet Concertos [CD], Naxos: 8.554806.
Neruda. Johann Baptist Georg. Trumpet Concerto
Nakariakov. Tpt
Elatus:
,
Hugh
Wolff, Cond.)
0927496162.
59
in
Eflat major. (Recorded by Sergei
On Baroque Trumpet
Concertos [CD].