A Sterling Suite, B-Dur For Tuba, Trumpet, and Piano CWV 49
Piano Score
Composed by Hwaen Ch'uqi
© 2017
Copyright Š 2017 Hwaen Ch'uqi http://www.incawarrior.com All rights reserved. For all works contained herein: Unauthorized copying, arranging, adapting, recording, Internet posting, public performance, or other distribution of the printed music in this publication is an infringement of copyright. Infringers are liable under the law.
For Jason Ladd, Cherished compatriot in the realms of Music and Life For the Inca people, Rejoice, my soul, for thy deliverance is at hand! To my Father in Heaven, LORD, I believe; help now Thou mine unbelief!
TABLE OF CONTENTS Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
vii
Performers' Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . viii I. Prelude? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1
II. Minuet and Trio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
9
III. Chorale, Variation, and Coda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
16
IV. Song Without Words . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
27
V. Finale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
37
v
vi
PREFACE Those who know anything of my biography are well aware of the many sadnesses that littered the landscape of my early life. The places of refuge and solace - not the least of which was music - have been likewise documented. Perhaps the sunniest of these escapes was and remains the light and brilliant Septet, Op. 65, by Camille Saint-Saëns. Scored for trumpet, string quartet plus double bass, and piano, it evokes with charm and elegance the dances and musical forms of a bygone age. It was only natural then that, when I was approached by the dedicatee of this work about writing something for tuba, trumpet, and piano, I should return for inspiration to said Septet - this because the dedicatee both signaled and came to represent an aspect of that sunshine that would eventually dissolve the tentacles of those early horrors and that would overspread my true and latter life with joy abundant, undeserved, and unspeakable! We were students together at the Eastman School; he was my freshman roommate, and I became his unwitting initiate into the worlds of lower brass and more contemporary classical music. In addition to what I truly believe are five highly-accessible movements, the suite contains a compendium of allusions to our friendship generally and to many a goings-on specifically. I address only the title itself. It is a reference to the legendary John Sterling, the play-by-play radio announcer for the New York Yankees. Each movement bears a subtitle that quotes one of Sterling's home run calls as used in the 2017 MLB season. He and the Yankees are dear to both of us, and this seemed as good a time as any to memorialize them. To the matter of accessibility, my confidence in the universality of my music - that is, within the world of listeners and performers accustomed to the language and structures that I employ - spills necessarily into decisions of notational practice. At once most noticeable, and thus most apt to elicit acute pangs of alarm within would-be interpreters, is the relative "cleanness" of the score, I taking care only to communicate explicitly that which experience has shown warrants clarification. Otherwise, I invite each player to find his own way, remembering along the process to regard his own voice as well as the voices of his partners. (Were it at all possible, I would extend such practice beyond scores for conductorless ensembles!) In other words, my music is not meant so much to be sightread as it is to be "worked out," ensuring a well-crafted and truly unique interpretation. A dear colleague recently remarked that she perceived in my music a constant thread of sadness "which a listener might not realize while listening to it, but it appears afterwards." In principle, I cannot disagree with her, only preferring the characterization "bittersweet." But I submit this work as "exhibit A," hoping to demonstrate to the world - even through moments of deep poignancy - a lighter side. After all, I have often styled myself as "the Saint-Saëns of Perú," and what better way to support so brazen a claim! Hwaen Ch'uqi June, 2018 Rochester, NY
vii
PERFORMERS' NOTES I have ever been open to the possibility of others changing the very notes and rhythms of my music, if it truly seems good to do so. This work is no exception; in fact, the ďŹ rst three movements are particularly suited to all manner of ornamentation, embellishment, even re-writing. So, as they say, "have at it!"
I. Prelude? mm.1 and 48, tuba; 48, trumpet: The staccati are meant to establish a pattern of articulation, to be continued until the nature of the music has changed. mm.83-94, trumpet: Provide a percussive element - clap, stomp, snap, induce the audience to likewise percuss, etc. mm.99-102, all parts: The word "cacophony" indicates an allowance of any noise conceivable, instrumental or otherwise. The ďŹ guration prelude has at last disintegrated into utter chaos! m.102, piano: "whistle" = a referee whistle or any other device that will produce a sustained sound and will cut through the momentary mayhem. No sirens, please!
II. Minuet and Trio mm.50-52, trumpet and tuba: The phrase markings found here and elsewhere simply distinguish compositional units that cannot otherwise be set o by rests. They are not meant to impose a particular articulation or even to suggest a phrasing scheme.
III. Chorale, Variation, and Coda mm.9-16, tuba: The upper part of these and similar measures is to be hummed.
viii
1
I. Prelude? ("Gary is scary!")
Trumpet in B
Tuba
Allegro
Allegro
4 Tb.
7
Tb.
A
A
2 10 Tb.
I. Prélude?
13 Tb.
16 Tb.
19 Tb.
B
( = )
3 4
= )
3 4
3
4 B (
3
I. PrĂŠlude?
25
Tr.
Tb.
C 31 Tr.
Tr.
Tb.
3
= )
3
3
C
straight
swing
= )
(
con sordino; straight
3
37
(
swing
Tb.
swing
growl 3
4 41 Tr.
Tr.
Tb.
vib.
3
49 Tr.
Tb.
3
3
3
D Tempo primo
straight
straight
Tempo primo senza sordino
D
straight
3
3
3
45
swing
Tb.
I. PrĂŠlude?
5
I. Prélude?
52 Tr.
Tb.
Tb.
58
Tb.
E
Tr.
E
Tr.
55
6 61
I. Prélude?
Tr.
Tb.
Tr.
Tb.
67
F
= )
Tr.
Tb.
3
4
3 4 (
43
F (
3 4
3 4
3 4
3 4
= )
3 4
64
7
I. Prélude?
74
Tr.
Tb.
Tb.
Tb.
swing
= )
swing
3
3
3
rhythm
(
G
= )
(
G
85
Tr.
Tr.
80
3
8 90
I. PrĂŠlude?
Tr.
Tb.
95 Tr.
H
G7
E
improv.
Tb.
F7
3
Tr.
F7
100
G7
F7
7
F7
E
6 4
6 4
6 4
whistle
6 4
straight
3
H
cacophony to whistle
cacophony to whistle
improv.
Tb.
7
3
3
cacophony
gliss.
swing
swing
9
II. Minuet and Trio ("Headley is deadly!") 3
4
3
4
Trumpet in B
Tuba
43
3 4
Tr.
Tb.
14 Tr.
Tb.
m.s.
m.d.
A
A
8
10 20 Tr.
Tb.
28
44
8vb
C
B
Tb.
36
Tr.
II. Minuet and Trio
B
11
II. Minuet and Trio
51 Tr.
Tb.
57 Tr.
Tb.
D
D
63 Tr.
E
Tb.
E
8vb
8vb
12
II. Minuet and Trio
Tr.
Tb.
68
8vb
74 Tr.
Tb.
80 Tr.
F
Meno mosso
F
Meno mosso
Tb.
3
87
Tr.
Tb.
93
Tb.
105
J
Tb.
Tb.
119
3
H
Tb.
K
3
3
3
Tr.
3
Tr.
3
Tr.
112
Tb.
3
3
99
3
Tr.
Tr.
3
13
II. Minuet and Trio
G
14 125
II. Minuet and Trio
L
Tr.
Tb.
131 Tr.
M
Tempo primo
N
Tempo primo
3
144
151
137
3
Tb.
Tr.
Tb.
157
163 Tr.
Tb.
170 Tr.
Tb.
8vb
O
15
II. Minuet and Trio
O
16
III. Chorale, Variation, and Coda ("Gardner plants one!") Trumpet in B
Tuba
5
9 Tr.
Tb.
13 Tr.
Tb.
Largo e sotto voce
A
con sordino; Harmon, without stem
Largo e sotto voce
17
III. Chorale, Variation, and Coda
17
23
25 Tr.
Tb.
29
Tb.
B
20
Tr.
C
18 33 Tb.
III. Chorale, Variation, and Coda
D Allegro brillante
3 4 D
Allegro brillante 3
4 3
4
37 Tb.
41 Tb.
E
45 Tb.
8vb
8vb
E
8vb
19
III. Chorale, Variation, and Coda
49 Tr.
F
senza sordino
Tb.
F
53 Tr.
Tb.
57 Tr.
G
Tb.
G
20 61 Tr.
III. Chorale, Variation, and Coda
Tb.
64 Tr.
H
67
Tb.
Tr.
dolce
H
Tb.
70 Tr.
Tb.
73 Tr.
J
Tb.
J
Tr.
76
dolce
Tb.
21
III. Chorale, Variation, and Coda
22 79 Tr.
Tb.
III. Chorale, Variation, and Coda
82
85
91
K
88
K
23
III. Chorale, Variation, and Coda
93 Tr.
Tb.
L
L
96 Tr.
Tb.
sf
99 Tr.
Tb.
sf
24 102 Tr.
Tb.
M
105
Tb.
111
108
Tb.
III. Chorale, Variation, and Coda
M
Eingang
Eingang
8vb
25
III. Chorale, Variation, and Coda
N 115 Tr.
Tb.
Tranquillo con sordino
N Tranquillo maestoso
ppp
117 Tr.
119 Tr.
Tb.
Tb.
26 121 Tr.
III. Chorale, Variation, and Coda
Tb.
123 Tr.
O
Tb.
128 Tr.
Tb.
f
133
p
8vb
pp ppp
27
IV. Song Without Words ("Starlin is darlin'!")
in B
Tuba
3
5 Tb.
Trumpet
Andantino cantabile
Andantino cantabile
A
3
3
A
7 Tb.
28 9 Tb.
IV. Song Without Words
3
3
11 Tb.
13 Tr.
15 Tr.
B
B
29
IV. Song Without Words
17 Tr.
19
Tb.
Tr.
Tb.
C
3
3
C
3
21
Tr.
3
3
Tb.
3
3
3
3
3
30 23 Tr.
Tb.
3
3
Tr.
29
Tb.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3
3
3
3
3
3
3
3
3
8vb
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Tb.
Tr.
3
3
3
26
IV. Song Without Words
3
31
IV. Song Without Words
32
D
Tr.
Tb.
D
Tb.
36
Tb.
Tr.
6
Tr.
3
34
8va
32 38 Tb.
IV. Song Without Words
8va
40 Tb.
5 4
8va
45
5 4
3
8va
5 4
5 4
5 4
8vb
42 Tr.
Tb.
3
3
3
8va
8va
3
3
3
6
3
3
44
Tr.
Tb.
8va
46
3
48 Tr.
Tb.
E
3
8vb
E
Tb.
Tr.
33
IV. Song Without Words
34 50
IV. Song Without Words
Tr.
Tb.
3
3
52
Tb.
54
Tr.
Tb.
Tr.
35
IV. Song Without Words
56 Tr.
Tb.
59 Tr.
Tb.
F
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Meno mosso
3
3
3
3
3
3
3
8vb
Tb.
rit.
Tr.
Meno mosso
3
62
F
rit.
3
36 64
IV. Song Without Words
Tr.
Tb.
66
G
Tr.
Tb.
G
69 Tr.
Tb.
37
V. Finale ("All rise, here comes the Judge!") 5 8
5 8
Allegro grazioso
Trumpet in B
Tuba
5 8
5 8
Allegro grazioso
7 Tr.
A
14
Tr.
Tb.
A
38 21 Tr.
Tb.
V. Finale
6 8
Tb.
36 Tr.
Tb.
5 8
Tr.
28
5 8
B 86 85 68 85 8vb
6 8
B
C
C
V. Finale
43 Tr.
Tb.
50 Tr.
Tb.
57
Tb.
6 8
5 8 5 8
85
68 85 86
6 8
Tr.
39
40 63
V. Finale
D
Tr.
Tb.
D
70 Tr.
Tb.
77
Tb.
E
E
Tr.
41
V. Finale
84 Tr.
Tb.
Tr.
Tb.
99
Tb.
8vb
F
8vb
F
8vb
Tr.
91
42 106 Tr.
Tb.
V. Finale
112 Tr.
Tb.
118 Tr.
Tb.
43
V. Finale
G 124
Cadenza, ad lib.
Tr.
5 4
Tb.
5 4
127 Tr.
Tb.
132 Tr.
Tb.
137 Tr.
Tb.
142
Tb.
5 4
Tr.
Tb.
5 4
H
Tr.
146
5 4
5 4
44
V. Finale
J 149 Tr.
Tb.
Tempo primo 2 5 8 4
2 5 8 4 J
155 Tr.
Tb.
162
Tb.
85 85
Tempo primo
Tr.
€ 2 4 2 4
6 8
6 8
86 86
45
V. Finale
168
6 8
Tr.
Tb.
6 8
85
5 8
6 5 8 8
6 8
175 Tr.
Tb.
Tb.
L
L
K
Tr.
182
85
K
46
V. Finale
Tr.
Tb.
190
196
Tr.
Tb.
8va
8vb
8vb
A Sterling Suite, B-Dur For Tuba, Trumpet, and Piano CWV 49
Trumpet in B
Composed by Hwaen Ch'uqi
© 2017
Copyright Š 2017 Hwaen Ch'uqi http://www.incawarrior.com All rights reserved. For all works contained herein: Unauthorized copying, arranging, adapting, recording, Internet posting, public performance, or other distribution of the printed music in this publication is an infringement of copyright. Infringers are liable under the law.
TABLE OF CONTENTS Performer's Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
v
I. Prelude? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1
II. Minuet and Trio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2
III. Chorale, Variation, and Coda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4
IV. Song Without Words . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
6
V. Finale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
8
iii
iv
PERFORMER'S NOTES I have ever been open to the possibility of others changing the very notes and rhythms of my music, if it truly seems good to do so. This work is no exception; in fact, the ďŹ rst three movements are particularly suited to all manner of ornamentation, embellishment, even re-writing. So, as they say, "have at it!"
I. Prelude? m.48: The staccati are meant to establish a pattern of articulation, to be continued until the nature of the music has changed. mm.83-94: Provide a percussive element - clap, stomp, snap, induce the audience to likewise percuss, etc. mm.99-102: The word "cacophony" indicates an allowance of any noise conceivable, instrumental or otherwise. The ďŹ guration prelude has at last disintegrated into utter chaos!
II. Minuet and Trio mm.50-52: The phrase markings found here and elsewhere simply distinguish compositional units that cannot otherwise be set o by rests. They are not meant to impose a particular articulation or even to suggest a phrasing scheme.
v
vi
1
I. Prelude? ("Gary is scary!")
36
39
43
C ( = )
8
Allegro
swing
straight
11
A
con sordino; straight
( = ) 16
B
3 4
3
3
3
3
growl 3
3
swing
vib.
3 3
3
3
3
D
Tempo primo senza sordino
straight
E 55
49
61
( = )
F
66
97
43
G7
F7
4
cacophony to whistle
15
G
= )
(
12
rhythm
H G7 improv
6 4
gliss.
F7
swing
2
II. Minuet and Trio ("Headley is deadly")
3 4 15
33
56
63
71
C
86
93
12
B
D
17
E
F
80
A
9
Meno mosso
G
3
3
3
3
H
II. Minuet and Trio
100
106
112
119
127
134
160
168
J
3 K
L
3
3
M
10
Tempo primo
N
11
O
3
4
III. Chorale, Variation, and Coda ("Gardner plants one!")
12
16
27
30
A
8
3 4
8
E
Allegro brillante
51
54
57
60
8
C
D
33
B
Largo e sotto voce con sordino; Harmon, without stem
8
F
senza sordino
G
III. Chorale, Variation, and Coda
63 H 74
79
95
99
103
118
123
127
130
M
sf
K
12
L
8
J
dolce
N
11
Tranquillo
con sordino
5
O
5
6
IV. Song Without Words ("Starlin is darlin'!")
16
21
25
29
32
37
45
49
4
A
8
Andantino cantabile
B
3
3
C 3 3 3 3 3 3
3
3
3
3
3
3
3
3
3 3
3 3 3 3 3 3 3 3
D
3
5 4
2
3 E
3
4
3 3
rit.
7
IV. Song Without Words
58
Meno mosso 3
3
3
62
67
F
3
3
3
3
3
3
3
3
3
3
G
8
V. Finale ("All rise, here comes the Judge!")
5
Allegro grazioso
85 13
27
43
52
60
77
99
7
4
A
6 8
5 8
B
5
C
5 6 8 8
3
D
8
E
F
15
115 107
9
V. Finale
G
Cadenza, ad lib.
124
45
130 126
135
157
166
174
H 140
145
5
4 J
Tempo primo 149 5 2 8 4
6 5 8 8 L
4
K
192
185
A Sterling Suite, B-Dur For Tuba, Trumpet, and Piano CWV 49
Tuba
Composed by Hwaen Ch'uqi
© 2017
Copyright Š 2017 Hwaen Ch'uqi http://www.incawarrior.com All rights reserved. For all works contained herein: Unauthorized copying, arranging, adapting, recording, Internet posting, public performance, or other distribution of the printed music in this publication is an infringement of copyright. Infringers are liable under the law.
TABLE OF CONTENTS Performer's Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
v
I. Prelude? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1
II. Minuet and Trio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3
III. Chorale, Variation, and Coda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
5
IV. Song Without Words . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
7
V. Finale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
9
iii
iv
PERFORMER'S NOTES I have ever been open to the possibility of others changing the very notes and rhythms of my music, if it truly seem good to do so. This work is no exception; in fact, the first three movements are particularly suited to all manner of ornamentation, embellishment, even re-writing. So, as they say, "have at it!"
I. Prelude? mm.1 and 48: The staccati are meant to establish a pattern of articulation, to be continued until the nature of the music has changed. mm.99-102: The word "cacophony" indicates an allowance of any noise conceivable, instrumental or otherwise. The figuration prelude has at last disintegrated into utter chaos!
II. Minuet and Trio mm.50-52: The phrase markings found here and elsewhere simply distinguish compositional units that cannot otherwise be set off by rests. They are not meant to impose a particular articulation or even to suggest a phrasing scheme.
III. Chorale, Variation, and Coda mm.9-16: The upper part of these and similar measures is to be hummed.
v
vi
1
I. Prelude? ("Gary is scary!")
Allegro
5
10
15
B 20
28
40
C 35
A
= )
(
swing
D 45
Tempo primo
straight
3
3 4
= )
(
3
4
2 50
55
60
65
71
I. PrĂŠlude?
E
( = )
3
4
84
88
92
3
4
3
3
H F7
E
7
F7
3
E
7
improv
cacophony to whistle 99
= )
3
(
swing
G 78
F
6 4 straight
swing
3
II. Minuet and Trio ("Headley is deadly")
3
4 16
51
D
A
9
B
67
17
C
12
E 59
F
76
84
92
99
3
G
3
Meno mosso
3
H
3
J
4 109
II. Minuet and Trio
118
125
K
3
3
L
M 133
O
159
168
N
10
11
Tempo primo
5
III. Chorale, Variation, and Coda ("Gardner plants one!") A
Largo e sotto voce
15
30
36
41
45
49
8
B
C
8
D
Allegro brillante 3 4
E
F 3
3
H 60
2
dolce
G
2
4
6 73
III. Chorale, Variation, and Coda
J
4
95
sf
101
M
Eingang 121
128
Tranquillo
6
L
12
N 114
K
O
5
7
IV. Song Without Words ("Starlin is darlin'!") A
Andantino cantabile
4
8
12
22
25
28
31
36
42
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3
3
3
3
3
3
5
4
3
3
3
3
3
3
3
3
3
D
3
3
3
3
3
3
3
3
3
6
3
3
B
3
3
C
3
3
E
3
8 49
53
59
IV. Song Without Words
3
3
62
68
3
3
3
3
3
3
Meno mosso
3
3
3
3
3
F
rit.
3
G
3
3
3
3
9
V. Finale ("All rise, here comes the Judge!") A Allegro grazioso
6
5 8 19
29
40
47
54
80
E
98
107
115
8
D
3
F
5 8
6 8
3
5
8
6 8
B
4
C
65
89
7
10
V. Finale
G Cadenza, ad lib.
124
5 4
126
131
137
142
146
150
157
164
176
185
193
5 4 2 4
J Tempo primo
5 8
L
H
5 4 2 4
K
4
5 8
6 8