- Title
- Quipperies - Volume 1, Nos.1-4
- Original Title
- Composer
- Shaw, Lowell E.
- Year
- 1992
- Editor
- Arranger
- Year Arranged
- Original Instrumentation
- Type of Arrangement
- Availability
- 1
- Publisher
- Hornists Nest
- Year Published
- 1992
- Catalogue Number
- HN 64
- Sheet Music Format
- A4, Score (12) & parts (5x4 = 20, plus alternate horn 5 in C part, 4, total = 24)
- Horns
- 5
- Additional Equipment
- Others
- Other Instruments
- Difficulty
- 1
- Duration
- 8
- Structure / Movements
- 4 pieces: I With a bounce II Slow ballad III Valse IV Light & fast
- Clefs
- Treble, bass
- Meters
- C, 3/4, ¢
- Key signatures
- 2b, 4b, 3#, 1#
- Range
- Horn 1: bb - a2 Horn 2: a - e2 Horn 3: a - f#2 Horn 4: a - eb2 Horn 5: G - g1
- Creator's Comments
- When the Bipperies and Tripperies came along to join the Fripperies, I guess we all should have been forewarned that the Quipperies might be next – like a self-fulfilling prophecy, or perhaps an accident that had just been waiting to happen. The intent here is the same – to come up with some “fun” music in various pops styles, this tie for five horns. As in the other things in the series, the rhythmic impetus is built into the parts, the lead I passed from one voice to another frequently, and the parts are of pretty much equal importance throughout. In this volume, the bass line is assigned exclusively to the fifth part, and an alternate part in concert pitch bass clef is included, to be used in case of dire emergency by tuba, trombone, bassoon, or serpent players (etc.). The (v) accent is a short, sharp one, and frequently appears over notes that need be felt as anticipations of the following beat. The (-) is used to indicate a slightly emphasized note, kind of a “junior-sized” accent. Specifically, No.1 calls for the use of “swing” eight notes, slightly uneven, and leaning toward a lazy triplet feeling. The tonguing should be clearly defined, with good spacing between the notes, and with no feeling of rushing. The whole thing should be rather “laid-back” and a bit sassy. No.2 is a torch song sort of ballad, as smooth and lush as possible. The eights should be even, and the feeling should be that you hate to part with each of them. The lead changes often, and the styles should match as evenly as possible. The top of the phrase in the measures A, B, and D should be stressed, and at C the tempo could become “quasi-appassionato” until the bar before D, where it should settle back down. Sudden contrasts in the dynamics between C and D can be quite effective. No.3 – do it with a lilt. No. 4 is back to the uneven eights, and should be fast and relaxed. It must be played lightly, without rushing, but with a feeling of “”leaning forward” into the beat. The absence of dynamics is intentional, as the nature of the group will take care of such minor details.
- Performance Notes
- All said by the composer.
- Credits
- Access to review score: Nancy Joy (NMSU)
- External Link
- http://www.hornistsnest.net/
- Sound
- Score