ALLELUIA is a challenging, one movement compositions of 121 measures. Alleluia may optionally be performed on the piccolo trumpet, though the original intention was to use the long B Flat.
It was composed and premiered by Hunt, in 1983, for the retirement of Fr. Meisel, Rector of the
Church of The Ascension and St. Agnes, in Washington D.C.
Range: D1 to G3 - difficult. The sheet music is written "where it sounds" for the long B-Flat.
It is assumed that players capable of playing this piece will have no difficulty with the picc.
fingering. Alleluia, Trumpet and Church Organ sheet music.
THE FIVE MYTHS OF TRUMPET PLAYING
extracted from SAIL THE SEVEN C's
MYTH #1 Only special freaks can play in the high register. Don't waste precious time trying to duplicate their efforts. There are plenty of notes below high C upon which to devote your time and effort.
FACT: Nearly any player can dramatically improve his or her high register. What is needed is the desire to do so, and a dedicated, systematic approach. The high register will not succumb to the casual player.
MYTH #2 If I could find just the right mouthpiece, I too could be a high note artist.
FACT: There are mouthpieces which facilitate brilliance and intensity of sound. These mouthpieces, sometimes labeled high velocity, are more "V" shaped as opposed to bowl shaped. Sometimes, usually at the music store when we are trying mouthpieces, almost any mouthpiece appears to be superior to the one we are now playing - hence the answer to all our prayers. But pitch is determined by frequency of vibration of your lip. If you can play a C4 on a Schilke 5a4a, you can also do so on a Bach #1. Don't get into the drawer full of mouthpieces syndrome. Choose a rim that is comfortable and learn to play it. I am convinced that a larger cup diameter and a more open throat, which permits a larger airstream, actually facilitates the development of the high register.
MYTH #3 I need a special trumpet.
FACT: Mouthpiece tapers, varying bores, different bell sizes, and various alloys will alter the timbre and playing characteristics of an instrument. But the instrument, in fact, has even less to do with lip vibration, which determines pitch, than does the mouthpiece.
MYTH #4 Playing and practicing in the high (G2 to C5) register will ruin the middle and low registers, and make my tone brittle and laser-like.
FACT: Not practicing all registers equally will allow one-sidedness to take place. Practicing the pedal register, especially, will serve to counteract the extreme compression required to perform the high register. More than likely, a piercing, laser-like sound and a too blatty low register is really the fault of a too small, too shallow mouthpiece. This combination leads to jambing the mouthpiece for the high tones, which is sure to elicit the above mentioned complaints.
MYTH #5 You must play in all registers without changing your embouchure, or play in all registers without re-setting your lips.
FACT: I don't disagree in principle with the above statement. But I believe it has been widely misinterpreted because of semantics and/or insufficient explanation. The opening quote, taken literally, is nonsense! No two tones are played with precisely the same lip setting, let alone an entire register. What is required is a constantly adjusting embouchure, capable of moving from the bottom register through to the top register without the necessity of stopping along the way to regroup your chops. Re-read the last sentence and memorize it! It is of the utmost urgency that you understand what is meant. The understanding which you believe that you have right now will probably be altered as you progress toward the Constant Adjustment Embouchure.*s Clyde Hunt Extracted from SAIL THE SEVEN C'S (C) Copyright B Flat Music Production
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