Based on 12 Welsh Hymn Tunes. These excellent Welsh Hymn tunes are presented to you here as exercises to help develop and improve overall section control and consistently perform at your best. Get your breathing / tuning / balance / articulation correct in the first instance, and remember – “The section that breathes together, plays together”. R.A.
The exercises were originally compiled as tuning, balance, breathing and ensemble studies for my students at the Royal Welsh College of Music and Drama, in Cardiff.
These exercises can be used as general warm-ups, while focusing on listening, tuning, balance, timbre, breathing and combinations of all the above and more.
Each hymn tune is preceded by a chord progression derived from the prominent harmonies of the actual hymn itself.
The chords can be played homophonically (vertically aligned) or broken, in an arpeggio style, externally directed or led by a lead/principal player.
Listen carefully to the tuning and always adjust as quickly as possible.
Breath together after each phrase to help develop good section co-ordination.
Careful to match note lengths and ensure clean articulation.
Always aim for perfectly balanced chords.
Don’t be afraid to contrast different timbre sand textures, by varying your dynamics and articulations throughout.
These exercises can easily be divided up within the brass section itself - try playing the 3 trombone and tuba parts alone.
Another option would be to get the tuba player to put their part up an octave while supporting just the 3 trumpets.
Also included are alternate parts for 4 horns in F, which allows them to join the workout or similarly to work together as a section alone.
When playing the chords do bear in mind some basic harmonic principles.
* Establish a solid, resonant and in-tune tonic / dominant relationship.
(Perfect 5th in root and Perfect 4th in 1stand 2nd Inversion).
* Allow the 3rd of the chord (major or minor)to sit within the overall balance and not be too prominent.
* 7ths and suspensions by their very nature resolve downwards, so do not let them be too flat to start with - keep them up! - allow these to sit within the balance of the overall chord.
