Hwaen Ch'uqi - A Sterling Suite for Tuba, Trumpet, and Piano

A Sterling Suite, B-Dur For Tuba, Trumpet, and Piano CWV 49

Piano Score

Composed by Hwaen Ch'uqi

© 2017

Copyright Š 2017 Hwaen Ch'uqi http://www.incawarrior.com All rights reserved.

For all works contained herein: Unauthorized copying, arranging, adapting, recording, Internet posting, public performance, or other distribution of the printed music in this publication is an infringement of copyright.

Infringers are liable under the law.

For Jason Ladd, Cherished compatriot in the realms of Music and Life For the Inca people, Rejoice, my soul, for thy deliverance is at hand!

To my Father in Heaven, LORD, I believe; help now Thou mine unbelief!

TABLE OF CONTENTS Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

vii

Performers' Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . viii I. Prelude? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

1

II. Minuet and Trio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

9

III. Chorale, Variation, and Coda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

16

IV. Song Without Words . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

27

V. Finale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

37

v

vi

PREFACE Those who know anything of my biography are well aware of the many sadnesses that littered the landscape of my early life. The places of refuge and solace - not the least of which was music - have been likewise documented. Perhaps the sunniest of these escapes was and remains the light and brilliant Septet, Op. 65, by Camille Saint-Saëns. Scored for trumpet, string quartet plus double bass, and piano, it evokes with charm and elegance the dances and musical forms of a bygone age.

It was only natural then that, when I was approached by the dedicatee of this work about writing something for tuba, trumpet, and piano, I should return for inspiration to said Septet - this because the dedicatee both signaled and came to represent an aspect of that sunshine that would eventually dissolve the tentacles of those early horrors and that would overspread my true and latter life with joy abundant, undeserved, and unspeakable! We were students together at the Eastman School; he was my freshman roommate, and I became his unwitting initiate into the worlds of lower brass and more contemporary classical music.

In addition to what I truly believe are five highly-accessible movements, the suite contains a compendium of allusions to our friendship generally and to many a goings-on specifically. I address only the title itself. It is a reference to the legendary John Sterling, the play-by-play radio announcer for the New York Yankees. Each movement bears a subtitle that quotes one of Sterling's home run calls as used in the 2017 MLB season. He and the Yankees are dear to both of us, and this seemed as good a time as any to memorialize them.

To the matter of accessibility, my confidence in the universality of my music - that is, within the world of listeners and performers accustomed to the language and structures that I employ - spills necessarily into decisions of notational practice. At once most noticeable, and thus most apt to elicit acute pangs of alarm within would-be interpreters, is the relative "cleanness" of the score, I taking care only to communicate explicitly that which experience has shown warrants clarification.

Otherwise, I invite each player to find his own way, remembering along the process to regard his own voice as well as the voices of his partners. (Were it at all possible, I would extend such practice beyond scores for conductorless ensembles!) In other words, my music is not meant so much to be sightread as it is to be "worked out," ensuring a well-crafted and truly unique interpretation.

A dear colleague recently remarked that she perceived in my music a constant thread of sadness "which a listener might not realize while listening to it, but it appears afterwards." In principle, I cannot disagree with her, only preferring the characterization "bittersweet." But I submit this work as "exhibit A," hoping to demonstrate to the world - even through moments of deep poignancy - a lighter side. After all, I have often styled myself as "the Saint-Saëns of Perú," and what better way to support so brazen a claim!

Hwaen Ch'uqi June, 2018 Rochester, NY

vii

PERFORMERS' NOTES I have ever been open to the possibility of others changing the very notes and rhythms of my music, if it truly seems good to do so. This work is no exception; in fact, the ďŹ rst three movements are particularly suited to all manner of ornamentation, embellishment, even re-writing. So, as they say, "have at it!"

I. Prelude? mm.1 and 48, tuba; 48, trumpet: The staccati are meant to establish a pattern of articulation, to be continued until the nature of the music has changed. mm.83-94, trumpet: Provide a percussive element - clap, stomp, snap, induce the audience to likewise percuss, etc. mm.99-102, all parts: The word "cacophony" indicates an allowance of any noise conceivable, instrumental or otherwise. The ďŹ guration prelude has at last disintegrated into utter chaos! m.102, piano: "whistle" = a referee whistle or any other device that will produce a sustained sound and will cut through the momentary mayhem. No sirens, please!

II. Minuet and Trio mm.50-52, trumpet and tuba: The phrase markings found here and elsewhere simply distinguish compositional units that cannot otherwise be set o by rests. They are not meant to impose a particular articulation or even to suggest a phrasing scheme.

III. Chorale, Variation, and Coda mm.9-16, tuba: The upper part of these and similar measures is to be hummed.

viii

1

I. Prelude? ("Gary is scary!")

Trumpet in B

Tuba

Allegro

Allegro

4 Tb.

7

Tb.

A

A

2 10 Tb.

I. Prélude?

13 Tb.

16 Tb.

19 Tb.

B

( = )

3 4

= )

3 4

3

4 B (

3

I. PrĂŠlude?

25

Tr.

Tb.

C 31 Tr.

Tr.

Tb.

3

= )

3

3

C

straight

swing

= )

(

con sordino; straight

3

37

(

swing

Tb.

swing

growl 3

4 41 Tr.

Tr.

Tb.

vib.

3

49 Tr.

Tb.

3

3

3

D Tempo primo

straight

straight

Tempo primo senza sordino

D

straight

3

3

3

45

swing

Tb.

I. PrĂŠlude?

5

I. Prélude?

52 Tr.

Tb.

Tb.

58

Tb.

E

Tr.

E

Tr.

55

6 61

I. Prélude?

Tr.

Tb.

Tr.

Tb.

67

F

= )

Tr.

Tb.

3

4

3 4 (

43

F (

3 4

3 4

3 4

3 4

= )

3 4

64

7

I. Prélude?

74

Tr.

Tb.

Tb.

Tb.

swing

= )

swing

3

3

3

rhythm

(

G

= )

(

G

85

Tr.

Tr.

80

3

8 90

I. PrĂŠlude?

Tr.

Tb.

95 Tr.

H

G7

E

improv.

Tb.

F7

3

Tr.

F7

100

G7

F7

7

F7

E

6 4

6 4

6 4

whistle

6 4

straight

3

H

cacophony to whistle

cacophony to whistle

improv.

Tb.

7

3

3

cacophony

gliss.

swing

swing

9

II. Minuet and Trio ("Headley is deadly!")

3

4

3

4

Trumpet in B

Tuba

43

3 4

Tr.

Tb.

14 Tr.

Tb.

m.s.

m.d.

A

A

8

10 20 Tr.

Tb.

28

44

8vb

C

B

Tb.

36

Tr.

II. Minuet and Trio

B

11

II. Minuet and Trio

51 Tr.

Tb.

57 Tr.

Tb.

D

D

63 Tr.

E

Tb.

E

8vb

8vb

12

II. Minuet and Trio

Tr.

Tb.

68

8vb

74 Tr.

Tb.

80 Tr.

F

Meno mosso

F

Meno mosso

Tb.

3

87

Tr.

Tb.

93

Tb.

105

J

Tb.

Tb.

119

3

H

Tb.

K

3

3

3

Tr.

3

Tr.

3

Tr.

112

Tb.

3

3

99

3

Tr.

Tr.

3

13

II. Minuet and Trio

G

14 125

II. Minuet and Trio

L

Tr.

Tb.

131 Tr.

M

Tempo primo

N

Tempo primo

3

144

151

137

3

Tb.

Tr.

Tb.

157

163 Tr.

Tb.

170 Tr.

Tb.

8vb

O

15

II. Minuet and Trio

O

16

III. Chorale, Variation, and Coda ("Gardner plants one!")

Trumpet in B

Tuba

5

9 Tr.

Tb.

13 Tr.

Tb.

Largo e sotto voce

A

con sordino; Harmon, without stem

Largo e sotto voce

17

III. Chorale, Variation, and Coda

17

23

25 Tr.

Tb.

29

Tb.

B

20

Tr.

C

18 33 Tb.

III. Chorale, Variation, and Coda

D Allegro brillante

3 4 D

Allegro brillante 3

4

3

4

37 Tb.

41 Tb.

E

45 Tb.

8vb

8vb

E

8vb

19

III. Chorale, Variation, and Coda

49 Tr.

F

senza sordino

Tb.

F

53 Tr.

Tb.

57 Tr.

G

Tb.

G

20 61 Tr.

III. Chorale, Variation, and Coda

Tb.

64 Tr.

H

67

Tb.

Tr.

dolce

H

Tb.

70 Tr.

Tb.

73 Tr.

J

Tb.

J

Tr.

76

dolce

Tb.

21

III. Chorale, Variation, and Coda

22 79 Tr.

Tb.

III. Chorale, Variation, and Coda

82

85

91

K

88

K

23

III. Chorale, Variation, and Coda

93 Tr.

Tb.

L

L

96 Tr.

Tb.

sf

99 Tr.

Tb.

sf

24 102 Tr.

Tb.

M

105

Tb.

111

108

Tb.

III. Chorale, Variation, and Coda

M

Eingang

Eingang

8vb

25

III. Chorale, Variation, and Coda

N 115 Tr.

Tb.

Tranquillo con sordino

N Tranquillo maestoso

ppp

117 Tr.

119 Tr.

Tb.

Tb.

26 121 Tr.

III. Chorale, Variation, and Coda

Tb.

123 Tr.

O

Tb.

128 Tr.

Tb.

f

133

p

8vb

pp ppp

27

IV. Song Without Words ("Starlin is darlin'!")

in B

Tuba

3

5 Tb.

Trumpet

Andantino cantabile

Andantino cantabile

A

3

3

A

7 Tb.

28 9 Tb.

IV. Song Without Words

3

3

11 Tb.

13 Tr.

15 Tr.

B

B

29

IV. Song Without Words

17 Tr.

19

Tb.

Tr.

Tb.

C

3

3

C

3

21

Tr.

3

3

Tb.

3

3

3

3

3

30 23 Tr.

Tb.

3

3

Tr.

29

Tb.

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3 3

3

3

3

3

3

3

3

3

8vb

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

Tb.

Tr.

3

3

3

26

IV. Song Without Words

3

31

IV. Song Without Words

32

D

Tr.

Tb.

D

Tb.

36

Tb.

Tr.

6

Tr.

3

34

8va

32 38 Tb.

IV. Song Without Words

8va

40 Tb.

5 4

8va

45

5 4

3

8va

5 4

5 4

5 4

8vb

42 Tr.

Tb.

3

3

3

8va

8va

3

3

3

6

3

3

44

Tr.

Tb.

8va

46

3

48 Tr.

Tb.

E

3

8vb

E

Tb.

Tr.

33

IV. Song Without Words

34 50

IV. Song Without Words

Tr.

Tb.

3

3

52

Tb.

54

Tr.

Tb.

Tr.

35

IV. Song Without Words

56 Tr.

Tb.

59 Tr.

Tb.

F

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

Meno mosso

3

3

3

3

3

3

3

8vb

Tb.

rit.

Tr.

Meno mosso

3

62

F

rit.

3

36 64

IV. Song Without Words

Tr.

Tb.

66

G

Tr.

Tb.

G

69 Tr.

Tb.

37

V. Finale ("All rise, here comes the Judge!")

5 8

5 8

Allegro grazioso

Trumpet in B

Tuba

5

8

5 8

Allegro grazioso

7 Tr.

A

14

Tr.

Tb.

A

38 21 Tr.

Tb.

V. Finale

6 8

Tb.

36 Tr.

Tb.

5 8

Tr.

28

5 8

B

86 85

68 85

8vb

6 8

B

C

C

V. Finale

43 Tr.

Tb.

50 Tr.

Tb.

57

Tb.

6 8

5 8 5 8

85

68 85 86

6 8

Tr.

39

40 63

V. Finale

D

Tr.

Tb.

D

70 Tr.

Tb.

77

Tb.

E

E

Tr.

41

V. Finale

84 Tr.

Tb.

Tr.

Tb.

99

Tb.

8vb

F

8vb

F

8vb

Tr.

91

42 106 Tr.

Tb.

V. Finale

112 Tr.

Tb.

118 Tr.

Tb.

43

V. Finale

G 124

Cadenza, ad lib.

Tr.

5 4

Tb.

5 4

127 Tr.

Tb.

132 Tr.

Tb.

137 Tr.

Tb.

142

Tb.

5 4

Tr.

Tb.

5 4

H

Tr.

146

5 4

5 4

44

V. Finale

J 149 Tr.

Tb.

Tempo primo

2 5 8 4

2 5 8 4 J

155 Tr.

Tb.

162

Tb.

85 85

Tempo primo

Tr.

€

2 4

2 4

6 8

6 8

86 86

45

V. Finale

168

6 8

Tr.

Tb.

6 8

85

5 8

6 5

8 8

6 8

175 Tr.

Tb.

Tb.

L

L

K

Tr.

182

85

K

46

V. Finale

Tr.

Tb.

190

196

Tr.

Tb.

8va

8vb

8vb

A Sterling Suite, B-Dur For Tuba, Trumpet, and Piano CWV 49

Trumpet in B

Composed by Hwaen Ch'uqi

© 2017

Copyright Š 2017 Hwaen Ch'uqi http://www.incawarrior.com All rights reserved.

For all works contained herein: Unauthorized copying, arranging, adapting, recording, Internet posting, public performance, or other distribution of the printed music in this publication is an infringement of copyright.

Infringers are liable under the law.

TABLE OF CONTENTS Performer's Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

v

I. Prelude? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

1

II. Minuet and Trio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

2

III. Chorale, Variation, and Coda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

4

IV. Song Without Words . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

6

V. Finale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

8

iii

iv

PERFORMER'S NOTES I have ever been open to the possibility of others changing the very notes and rhythms of my music, if it truly seems good to do so. This work is no exception; in fact, the ďŹ rst three movements are particularly suited to all manner of ornamentation, embellishment, even re-writing. So, as they say, "have at it!"

I. Prelude? m.48: The staccati are meant to establish a pattern of articulation, to be continued until the nature of the music has changed. mm.83-94: Provide a percussive element - clap, stomp, snap, induce the audience to likewise percuss, etc. mm.99-102: The word "cacophony" indicates an allowance of any noise conceivable, instrumental or otherwise. The ďŹ guration prelude has at last disintegrated into utter chaos!

II. Minuet and Trio mm.50-52: The phrase markings found here and elsewhere simply distinguish compositional units that cannot otherwise be set o by rests. They are not meant to impose a particular articulation or even to suggest a phrasing scheme.

v

vi

1

I. Prelude? ("Gary is scary!")

36

39

43

C ( = )

8

Allegro

swing

straight

11

A

con sordino; straight

( = ) 16

B

3 4

3

3

3

3

growl

3

3

swing

vib.

3

3

3

3

3

D

Tempo primo senza sordino

straight

E 55

49

61

( = )

F

66

97

43

G7

F7

4

cacophony to whistle

15

G

= )

(

12

rhythm

H G7 improv

6 4

gliss.

F7

swing

2

II. Minuet and Trio ("Headley is deadly")

3 4 15

33

56

63

71

C

86

93

12

B

D

17

E

F

80

A

9

Meno mosso

G

3

3

3

3

H

II. Minuet and Trio

100

106

112

119

127

134

160

168

J

3 K

L

3

3

M

10

Tempo primo

N

11

O

3

4

III. Chorale, Variation, and Coda ("Gardner plants one!")

12

16

27

30

A

8

3 4

8

E

Allegro brillante

51

54

57

60

8

C

D

33

B

Largo e sotto voce con sordino; Harmon, without stem

8

F

senza sordino

G

III. Chorale, Variation, and Coda

63

H

74

79

95

99

103

118

123

127

130

M

sf

K

12

L

8

J

dolce

N

11

Tranquillo

con sordino

5

O

5

6

IV. Song Without Words ("Starlin is darlin'!")

16

21

25

29

32

37

45

49

4

A

8

Andantino cantabile

B

3

3

C 3 3 3 3

3 3

3

3

3

3

3

3

3

3

3

3

3 3

3 3 3 3 3 3

D

3

5 4

2

3 E

3

4

3 3

rit.

7

IV. Song Without Words

58

Meno mosso 3

3

3

62

67

F

3

3

3

3

3

3

3

3

3

3

G

8

V. Finale ("All rise, here comes the Judge!")

5

Allegro grazioso

85 13

27

43

52

60

77

99

7

4

A

6 8

5 8

B

5

C

5

6

8

8

3

D

8

E

F

15

115

107

9

V. Finale

G

Cadenza, ad lib.

124

45

130

126

135

157

166

174

H

140

145

5

4

J

Tempo primo 149

5 2

8 4

6 5

8 8

L

4

K

192

185

A Sterling Suite, B-Dur For Tuba, Trumpet, and Piano CWV 49

Tuba

Composed by Hwaen Ch'uqi

© 2017

Copyright Š 2017 Hwaen Ch'uqi http://www.incawarrior.com All rights reserved.

For all works contained herein: Unauthorized copying, arranging, adapting, recording, Internet posting, public performance, or other distribution of the printed music in this publication is an infringement of copyright.

Infringers are liable under the law.

TABLE OF CONTENTS Performer's Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

v

I. Prelude? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

1

II. Minuet and Trio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

3

III. Chorale, Variation, and Coda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

5

IV. Song Without Words . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

7

V. Finale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

9

iii

iv

PERFORMER'S NOTES I have ever been open to the possibility of others changing the very notes and rhythms of my music, if it truly seem good to do so. This work is no exception; in fact, the first three movements are particularly suited to all manner of ornamentation, embellishment, even re-writing. So, as they say, "have at it!"

I. Prelude? mm.1 and 48: The staccati are meant to establish a pattern of articulation, to be continued until the nature of the music has changed. mm.99-102: The word "cacophony" indicates an allowance of any noise conceivable, instrumental or otherwise. The figuration prelude has at last disintegrated into utter chaos!

II. Minuet and Trio mm.50-52: The phrase markings found here and elsewhere simply distinguish compositional units that cannot otherwise be set off by rests. They are not meant to impose a particular articulation or even to suggest a phrasing scheme.

III. Chorale, Variation, and Coda mm.9-16: The upper part of these and similar measures is to be hummed.

v

vi

1

I. Prelude? ("Gary is scary!")

Allegro

5

10

15

B 20

28

40

C 35

A

= )

(

swing

D 45

Tempo primo

straight

3

3 4

= )

(

3

4

2 50

55

60

65

71

I. PrĂŠlude?

E

( = )

3

4

84

88

92

3

4

3

3

H F7

E

7

F7

3

E

7

improv

cacophony to whistle 99

= )

3

(

swing

G 78

F

6 4 straight

swing

3

II. Minuet and Trio ("Headley is deadly")

3

4 16

51

D

A

9

B

67

17

C

12

E 59

F

76

84

92

99

3

G

3

Meno mosso

3

H

3

J

4 109

II. Minuet and Trio

118

125

K

3

3

L

M 133

O

159

168

N

10

11

Tempo primo

5

III. Chorale, Variation, and Coda ("Gardner plants one!")

A

Largo e sotto voce

15

30

36

41

45

49

8

B

C

8

D

Allegro brillante

3

4

E

F 3

3

H 60

2

dolce

G

2

4

6 73

III. Chorale, Variation, and Coda

J

4

95

sf

101

M

Eingang 121

128

Tranquillo

6

L

12

N 114

K

O

5

7

IV. Song Without Words ("Starlin is darlin'!")

A

Andantino cantabile

4

8

12

22

25

28

31

36

42

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

5

4

3

3

3

3

3

3

3

3

3

D

3

3

3

3

3

3

3

3

3

6

3

3

B

3

3

C

3

3

E

3

8 49

53

59

IV. Song Without Words

3

3

62

68

3

3

3

3

3

3

Meno mosso

3

3

3

3

3

F

rit.

3

G

3

3

3

3

9

V. Finale ("All rise, here comes the Judge!")

A Allegro grazioso

6

5 8 19

29

40

47

54

80

E

98

107

115

8

D

3

F

5 8

6 8

3

5

8

6 8

B

4

C

65

89

7

10

V. Finale

G Cadenza, ad lib.

124

5 4

126

131

137

142

146

150

157

164

176

185

193

5 4

2 4

J Tempo primo

5 8

L

H

5 4 2 4

K

4

5 8

6 8