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Thread: A Question about When Jesus Wept

  1. A Question about When Jesus Wept

    I just have a specific question about the "When Jesus Wept" solo. I've been given the opportunity to play it at the Music for All Concert Band Festival this year, and my director has given us the music ahead of time so that we can fully prepare our 40 minute program. I'm also lucky to be playing it with a very competent trumpet soloist.

    Anyways, about the second phrase in the whole piece, the trumpet solo enters while the euphonium has an F tied across 3 bars. How should this particular phrase be applied musically? Is it more supposed to act as pedal point compared to the trumpet solo or is it a line all on its own? Also, should the note be played with a constant vibrato, a tapered vibrato, or no vibrato at all? And should/how should dynamics be applied to it? It's funny how confusing the simplest part of the solo can be, but maybe those who have played the solo or even heard different interpretations of the solo could give their experiences with it?
    Thomann EP 902SL Superior Euphonium

    Eastman Shires ETB432G Trombone

  2. #2
    Here is a recording of my interpretation. I pretty much did it the way I would today as far as interpretation. You have to be a logged in member to get there:

    http://www.dwerden.com/forum/showthr...hen-Jesus-Wept
    Dave Werden (ASCAP)
    Euphonium Soloist, U.S. Coast Guard Band, retired
    Adams Artist (Adams E3)
    Alliance Mouthpiece (DC3)
    YouTube: dwerden
    Facebook: davewerden
    Twitter: davewerden
    Instagram: davewerdeneuphonium

  3. #3
    The held F I think deserves a little "football" crescendo, diminuendo, and then crescendo again leading into the counterpoint with the trumpet. Just to keep it interesting and give it some direction. I'd play it with constant vibrato, but don't distract at all from what the trumpet is doing. You want to get out of the way and let the trumpet have that moment.

    Keep in mind the original Billings choral round piece. A singer would sweeten and emphasize held notes here and there with a little vibrato, but wouldn't drench it in vibrato like it was opera. It's very simple beautiful music.

    Also remember it's an orchestral transcription. Find recordings of the New England Triptych and see what the bassoon player is doing.
    --
    Barry

  4. #4
    Quote Originally Posted by bbocaner View Post
    I'd play it with constant vibrato, but don't distract at all from what the trumpet is doing. You want to get out of the way and let the trumpet have that moment.
    Excellent point, Barry!
    Dave Werden (ASCAP)
    Euphonium Soloist, U.S. Coast Guard Band, retired
    Adams Artist (Adams E3)
    Alliance Mouthpiece (DC3)
    YouTube: dwerden
    Facebook: davewerden
    Twitter: davewerden
    Instagram: davewerdeneuphonium

  5. Thank you both for your input, and thank you for the beautiful example! If I can legally share the video, I'll be sure to put up the final performance of the solo.
    Thomann EP 902SL Superior Euphonium

    Eastman Shires ETB432G Trombone

  6. #6
    My infantile and puerile mind immediately went back to high school, when we all discovered that adding '...in between the sheets' made most hymn titles suggestively, and sometimes overtly, dirty.

    Sorry, I'm a trombonist at heart.

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