Arkady Shilkloper gewidmet
Written for the advanced student to professional, these etudes feature
different techniques that are essential to horn playing. In a fun, fanciful
and whimsical style, Mr Matosinhos focuses each etude on a different
technique, always within a style heavily invluenced by Jazz. 24 Pages.
Dedicated to Arkady Shilkloper.
You can listen to Mr Matosinhos playing some of these etuds on U-Tube. Follow
the links below:
12 Jazzy Etudes for Horn No. 10
12 Jazzy Etudes for Horn No. 12
These etudes were written with the aim of filling a gap in the Horn
repertoire. Usually advanced etudes for horn are too difficult in many
different aspects at once. In these etudes I used different scales and modes
with some extended techniques, but always in an easy and funny way; if an
etude is difficult or even very difficult in one aspect, it will be easy or
even very easy in others. I dedicate these etudes to the Russian horn player
Arkady Shilkloper and his music, whose influence will be easily identifiable
in some of these etudes.
Etude nº1 This Etude is intended to work with different rhythms of valeur
ajouté (added value) similar to Olivier Messiaen's writing in that, contrary
to other methods, I've decided to make the rhythm difficult but make every
other aspect easy. For instance, the range is about one and a half octaves
(B2-F#4) and, technically speaking, if this Etude is played entirely in Bb
horn, only the first 2 fingers will be used. The chosen mode is lydian
dominant (4th mode of the ascended minor melodic scale).
Etude nº2 This Etude intends to juxtapose 3 rhythms that may be confusing
(Bars 1, 3 and 7). In the transitions between 3/8 and 5/16 the length of 1
bar remains the same. As indicated, one should swing on 3/8 and 5/8 bars and
play straight on the 5/16 bars.
The idea is to interrupt the end - the player should not move for 2 or 3
seconds leaving the listener to guess the inevitable unplayed D.
Etude nº3 - This Etude is based on the D major pentatonic scale. It should be
played at the tempo q = 120 or more, since this is usually the speed barrier
between single and double tongued staccato. In order to be more effective,
this etude should be played in both single and double tongued staccato. If
played on Bb horn the 2nd finger remains pressed down and only the 1st finger
Etude nº4 The same way some medicines have a funny taste and need to be
taken with orange juice, quarter tones are also difficult to digest in our
occidental half tone trained ears. I've created this etude in a form of a
blues with the aim of making it easier to practice this technical resource
for the horn. The indicated positions are for the 7th, 11th and 13th
harmonics of the double horn that are already naturally sharp/flat. Within
this etude all the quarter tones between F3 and G4 will be processed. For
more information about the microtonal potential of the Horn please read:
Douglas Hill's Extended techniques for the horn: A practical handbook for
students, performers and composers from Warner Bros. Publications, 1996
(ASIN B00072T6B0) and David Robert Whaley's The Microtonal Capability of the
Horn(Illinois Univ., 1975).
Etude nº5 This etude is based on the whole tone half tone D diminished
scale. It should be played as fast as possible while making sure that all
notes and articulations are clearly played.
Etude nº6 The Lydian mode appears in this Etude ornamented with energetic
jumps and trills that should sound like a joke.
Etude nº7 This is written in the form of a dance with variations on an F#
whole tone scale. Most of the time, the Etude is played in the medium-low
register of the horn. Each 8 bar phrase brings us new intervals (major 3rd,
augmented 4th, augmented 5th, minor 7th, 8th and major 10th).
Etude nº8 In this Etude intervals are played that come from the equal
division of one octave (minor 2nd, major 2nd, minor 3rd, major 3rd and
augmented 4th). The aim is to maintain control of a good legato, despite the
speed or the intervals. There is also an echo effect created by the chords in