- Title
- Fripperies - Volume 4 (Nos. 13-16)
- Original Title
- Composer
- Shaw, Lowell E.
- Year
- 1971
- Editor
- Arranger
- Year Arranged
- Original Instrumentation
- Type of Arrangement
- Availability
- 1
- Publisher
- Hornists Nest
- Year Published
- 1971
- Catalogue Number
- HN 16
- Sheet Music Format
- A4, Score 8) & parts (4x4=16)
- Horns
- 4
- Additional Equipment
- Straight mutes
- Others
- Other Instruments
- Difficulty
- 2
- Duration
- 6
- Structure / Movements
- 4 pieces: Frippery no.13 - Something old: The old soft shoe Frippery no.14 - Something in two: Vaudeville chaser tempo, very fast Frippery no.15 - Some things borrowed: Une grande fantasia pastorale Frippery no.16 - Something blue: Medium
- Clefs
- Treble, bass
- Meters
- 6/8, 2/2, ¢, C
- Key signatures
- None, 3b, 2b, 1#
- Range
- Horn 1: g - a2 Horn 2: g - e2 Horn 3: g - f#2 Horn 4: G - c2
- Creator's Comments
- There are many things about the that cannot be taken lightly. The Fripperies, on the other hand, absolutely must be taken lightly! All dynamics must be observed more in the spirit of woodwind quintet playing than in the usual horn ensemble approach. Almost everything should be played pop marcato, and, unless otherwise indicated, rather on the short side. As soon as the feeling becomes even slightly ponderous, all is lost. Rhythmic drive and forward motion are very important. Stay right on top of the beat. No.13 should be played in a light an airy fashion, with a fairly tight muted sound, and the whole tune done in a jaunty manner. Imagine the straw hat, the cane, and the sandpaper blocks. No.14 must be done in a very light style or it will stand no chance of staying up to the rather sprightly tempo marking. The quarter notes tied across the bar lines must cut off just after the first beat in order to be ready for the next note. Think “clarinet” when the eight notes come along after letter E. They stand very little chance of happening if one is thinking “horn”. No.15 uses the uneven eight notes throughout, and should be played with exaggerated dynamics “und mit humor” al the way. The biggest problem will be to let “old friends” be recognized as they show up. Most of the way, one horn or another is playing a motif lifted from a melody of rural flavour, and to bring these to prominence, a good dose of schmaltz can, upon occasion, be quite effective. Stephen Foster is the primary victim, but F. Mendelssohn, R. Schumann, L. van Beethoven, and A. non Ymous all are accorded their share of mistreatment. R. Strauss and A. Dvorak, upon whom he has perpetrated various other larcenies in previous Fripperies. For this one, let our motto be: “The Corni-er, The Better” No.16 is based on twelve bar minor blues changes, and despite all the slurs, each eight note should be clearly defined with the breath, to keep the drive going rhythmically. The eights are even except for six measures at C, where they need to swing. Volume 4 seems to has turned out to be a bit more technically difficult than the others, so perhaps some woodshed and some patience might also be suggested.
- Performance Notes
- All said above.
- Credits
- Access to review score: Nancy Joy (NMSU)
- External Link
- http://www.hornistsnest.net/
- Sound
- Score