Frédéric Chopin / Jean M. Laurenz

Woodwind.
This transcription of Chopin’s "Nocturne in Bb minor" for Trumpet and Piano is intended to help the trumpeter develop interpretational autonomy, with musical markings that support freedom of expression. There are also practice etudes for assistance in mastering the solo part, delegated to the trumpet, while the piano has the original left hand part.
IntroductionThe Chopin has an extremely flexible A-section. Its large, long tuplets create an improvisatory feeling that invites rhythmic and directional discretion. Use the Practice Etudes, found on pp. 4 and 5, as an exploration of groupings, rhythmic suspension, and flow when performing the solo part.It is intended to develop your interpretational autonomy. We encourage you to listen to great pianists and copy their ideas, but also to explore your own flow as no two players have played it the same. Perhaps you can even think of grouping ideas before you spend time listening to others, and then compare and contrast. What we offer here is just the beginning. Feel free to use your own staff paper and mark up a variety of options for yourself. We even left the stems out of the performance score to allow space for your favorite interpretation.Notes on Our Markings The markings on the Practice Etudes designate the following:Brackets: Note Groupings. These brackets indicate loose-feeling sub-tuplets within a larger run. These groupings are what allow each run to have an inflection cadence.(Tenuto]: This tenuto marking not only represents a genuine tenuto, but also an agogic accent that ever so slightly elongates the note. Be careful that the resulting sound has more of a “lean” than “press” effect.I use a gravity metaphor to describe the following markings. Imagine a ball rolling up an incline or down a hill.(→) This arrow indicates an effortless forward falling group. Try to create a “downhill” approach that has a clear landing target. Stay on the very front side of the pulse, and accelerate as you wish.(←) This arrow indicates a group of slowing notes. They should feel like they are working against gravity as if you rolled a ball uphill and it is about to reverse direction as the potential energy builds. Stay on the ever-more back side of the pulse.(↑) This arrow indicates a “leading lift.” I often put it on notes that have a pick-up-note feel but there is lifted space before the phrase moves. To continue with the gravity analogy, this signals the weightlessness that occurs when you throw a ball up in the air and there is that moment of suspension before the ball comes back down. I imagine a roller-coaster car clicking up an incline, and these notes highlight the moment of suspense just before the fall. 

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