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Title
This 'n that (for now 'n then)
Original Title
Composer
Various
Year
Editor
Arranger
Shaw, Lowell E.
Year Arranged
1996
Original Instrumentation
Publisher
Hornists Nest
Year Published
1996
Catalogue Number
HN 76
Sheet Music Format
A4, Score (8) & parts (4x4=16)
Horns
4
Additional Equipment
Others
Other Instruments
Duration
14
Structure / Movements
8 pieces: I Netherlands folk melody - Hymn of Thanksgiving: Sostenuto II Gasparini, Quirino - Adoramus te, Christe – Motet: Adagio III16th century English – Greensleeves – What child is this: Andante IV Wade, John F. – Adeste fidelis (O come all ye faithful): Andnate V Gruber, Franz – Stille Nacht (Silent night): Calmly VI Handel, Georg Friedrich – Joy to the world: Con spirito VII Irish – Londonderry air (Danny boy) VIII Scotch – Auld lang syne
Clefs
Treble, bass
Meters
3/4, C, 6/4, ¢
Key signatures
None, 1b, 1#
Range
Horn 1: c - g2 Horn 2: c - f2 Horn 3: c - f2 Horn 4: G - c2
Creator's Comments
Always on the lookout for an excuse to try my hand at re-harmonizing a tune, now ‘n then a “gig” has resulted in an arrangement. This collection might have come out under the title “Leftovers”, as they have been done over a period of years for various occasions, and for such diverse groups as marching band, woodwind quintet, vocal quartet, and mixed brass ensemble. As I looked though some old notebooks, it seemed that some of them might be useful for horns. They should be considered individual pieces, not a unit. The style of most of them is quite similar, a sort of “solemn opening to the grand finale” approach, and as such, they are mainly straight forward versions of the tunes. The general approach should be a gentle, rather contemplative one, more “woodwind” than “brass” in concept. This applies particularly to the eighth note passages accompanying the melodies of “Hymn of Thanksgiving”, “Greensleeves”, and “Stille Nacht”. There is not much rest in any parts, so the melodic chores are spread, mainly among the top three horns. Individually, the following suggestions are offered— In the “Hymn of Thanksgiving” Horns 1 & 2 should be aware that the lead is in the third part from letter B to measure 20. Try not to cover the tune. At C, the eighths should be legato an subordinate to the melody. “Adoramus te, Christe” has long been a favorite of mine. Attributed for many years to Mozart, it is actually the work of Quirino Gasparini, a friend of the Mozart family. The thoughtful mood and marvelous suspensions make it an ideal prelude. I am glad to finally have a logical spot to make it available. “Greensleeves” gives Horn 4 the lead from A to B. The others need to stay out of the way. Don’t make it hard work for the soloist! In checking sources, I found two versions of the refrain and used both, one at B and one at D. If the minor more is more to your liking, cross out the natural signs on the written “B”s in parts 2 & 4 at measures 13 and 17. “Adeste Fidelis” should begin with a distant, lonely feeling. Tenuto sempre. I did not want to assign the pedal point on the first chorus of “Stille Nacht” to only the fourth player, so both that and the melody ended up being passed around to all parts. The tune is never in one part for long, so be aware of the melody. The eighths at B should be like a murmur in the background, rather than parts to be brought out. Keep it a calm, cooperative venture throughout. “Joy to the World” is the only one that really cuts loose. The refrain from “Angels We Have Heard on High” was added as a coda to close a Christmas Eve ceremony. “Londonderry Air” and “Auld Lang Syne” rather speak for themselves. Don’t let either of them get too slow and sentimental. My aim at B in “Auld Lang Syne” was to set the style of the majestic British march, the quarters slightly marcato and spaced. I hope that you enjoy them. LES
Performance Notes
All said above.
Credits
Access to review score: Nancy Joy (NMSU)
Sound
Score