Dear Sir, I don't how long it took you to transcribe this. I guess quite a while. Thank you. Thank you for the laugh with the anotations "jump side to side" and "prepare to engage honk". I cried laughing. You are my new hero.
Interpreting this piece seems quite hard, technically and musically. If you have the level, doing that without an explosive laugh is impossible. These guys are freaks, I love them!
Oh man this unlocked a deep memory for me. Six years ago I was fortunate enough to be able to perform with this group, got a lesson from their tubist too. Was an incredible experience.
The part PDFs are in the correct pitches, I just put this video into concert pitch for sake of simplicity. Corrections: Bars 7/8, the A in the voice line should be a middle C. Around bar 180 I'm pretty sure the trumpets were playing the descending passages with the trombone, it was just very quiet. Or maybe I was in fact just imagining it.
ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Kt8_u_i-anQ.html you don't know how happy you would make me if you did a transcription of this piece :)
I'm a clarinetist and when my symphonic orchestra played William Tell, I did the glissando start at the fast part. Only one trombonist got it but he enjoyed it immensely :D
Can't stop rewatching this everytime it shows up in my feed. 🤣 Ever since, I couldn't unhear William Tell and Heidi's theme song together. It's such a cursed combination that oddly fits.
It's called Enharmonics, and most composers love it, despite it being one of the most god-awful things in music theory. But hey, at least it's not a double flat.
@@connorcmusician most often it’s done for no real reason other than it can be done. Too many accidentals and just covering the lines with them (like Washington post March), without good cause.
@@jamesblare475 Sooo, this is wrong. They are most often done for a few specific reasons. If the piece is traveling to a sharp key it will spell some notes as sharps instead of flats (for traveling to a flat key from a sharp key, vice versa). Also, it is used for chromatic lines as well, up is sharp down is flat. If you are traveling to a brighter key with an ascending line, you probably want to use sharps.
@@anakinskywalker70 That's fair. Mainly when I have to deal with enharmonics, it's in Sousa marches, where it's done for no particular reason and doesn't add much.
Thanks for posting this video. I had this group pop up in my Spotify recommended feed last year and I forgot to save them. After watching this video I searched up Mnozil Brass and recognized the songs I listened to last year!
@@kuru9157 Depends. In symphony orchestras, trumpet players will typically use the trumpet in C. In concert bands and jazz bands, and when one initially learns the trumpet, we use the standard trumpet in Bb, which is a transposing instrument (not in concert pitch). In this video, all 3 trumpeters are playing Bb trumpets, and trumpet players don't always like transposing on sight (not that we can't), so it's usually nice to put the pitches of the trumpet staves in their respective keys to make for an easier reading/playing experience. This happens a lot with transcriptions for trumpet, so it's only mildly irritating :)
I have a fondness for this song. I arranged this piece for a 6 man marching bass drum line for percussion ensemble class in high school and got high marks for it.
If you have a bflat trumpet and wondering why it’s sounds wrong when you try to play along, it’s because at least for the trumpets the notes are two intervals lower then there supposed to be. So d# would be f natural and so on. Though assume the players might be using horns that are not b flat but I maybe wrong, a great transcription otherwise
My dumbass sitting here wondering why the second trombone keeps getting highlighted in the sheet music. It was the fifth time it happened that I realized it was the stage in the background shot and the sheet music was slightly transparent.
