Bb Trumpet Sheet Music for "A Hallelujah Christmas". Performed by The Trumpet Man. SHEET MUSIC: www.musicnotes... Facebook page: bit.ly/30HismP Twitter: bit.ly/2veA1gH #tutorialtuesday
Man those sharps. But beauty comes at a price. I heard this on the violin a couple weeks ago and I didn’t it could get much prettier, but I was clearly wrong
at about 4:00 you start emphasizing the notes and raising your volume a lot which I like but I think the volume alone is enough for the most part. Maybe keep the length on some of those notes and not accent as much. everything else I love!
To be fair, this piece is most suited for horn in F due to the register as well as the overall style, but the dynamic range shown here started a bit too loud. Rather this is one of the few cases where mf should probably be written mp. Also, that key signature is technically incorrect, in that we notate the key as the key of Gb, unless we have a melody that forces a double-flat sign we wish to avoid.
Fair enough. But I'm never one just to stick to what a piece is most suited for :) Yea, I probably could've started a bit softer. I got soft in just the ebb and flow of the piece, but started off a bit loud. This sheet music is put together after the recording has already been done. I did listen to my recording several times to determine what dynamics I used, and I went ahead with mf. I don't always get the dynamics completely right when notating what I heard. For the key signature, I've just always gravitated to F# instead of Gb. I would say it's rare whenever I consciously play in Gb. Also many times I take my cue from what I'm transposing it from. So if the vocal part is in a key with sharps, I typically transpose it a step up to also include sharps.
@@thetrumpetman This is one of the few unique compositions I'm aware of where it gets easy to get carried off in a crescendo without realizing exactly how loud it really is (especially when you end up dealing with whole sections as opposed to solo voicing) Liszt's Hungarian Rhapsody #2 and Beethoven's 5th symphony in C minor are about the only other two that share the same unique problem of sorts. As a basic rule of thumb to create a rather easy and simplistic approach in order to get good initial balance, the string section's mf will be the brass section's mp (the exception of the horn in F- which needs a little louder markings if it is playing anything melodic in nature), and the woodwind section's mf or f - (minus the saxophones which should be treated as a brass instrument for purposes of dynamics). As for the key of F#/Gb doing your own transposition is an issue of sorts and it makes sense that one would use F# transposing from a sharp key to begin with. However, on the same token, it is good advice to learn to read the key of Gb - because the chances of seeing F#/Gb being notated in sharps in semi-professional level or professional-level ensembles is not all that great as the general rule, as the key of F# is one of exception to most of the instruments in the Orchestra due to flat tuning and the need to notate the entire score in either a flat or sharp key. (most of the winds are either F, Bb, or Eb instruments, the exception being the Clarinet in either Eb or A which is becoming hard to find these days, and the flute which comes in C and rarely Bb or A). Because the string section and most of the remaining instruments are in C, these can do pretty much anything they want in the sense of sharing one of the unique abilities of the Piano.
