'Bluebells of Scotland\r'

' depressedbells of Scotland â€Å"Bluebells of Scotland” is a put up write and composed in the late romantic age around 1899 by Arthur Pryor. The piece was composed from a traditional Scottish folk song for the trombone and orchestral accompaniment. In the late 1800s the trombone was not viewed as an pecker that could perform detailly difficult pieces. Compelled by union’s negative opinion of the trombone, Pryor composed â€Å"Bluebells of Scotland” in order to dis defend the capabilities of the trombone and to emphasize that it could play rattling difficult pieces.This piece is a little more than upbeat and physical than other pieces of the same season period, but what makes this piece particularly unique is that it is the just now piece with a high level of bother for trombone that was composed in the time of its conception. The piece is intend to be accompanied by an orchestra but brush off be played with piano accompaniment as well. The character istics of this piece argon very dynamic and free. The expressivity of the piece is left up to the interpretation of the performer which allows for a large amount of freedom and creativity.There are instead a few cadences that allow the performer to gain control of tempo and dynamics. â€Å"Bluebells of Scotland” includes both very subdued and lyrical passages as well as many another(prenominal) very quick and difficult runs, double-tonguing, octave jumps, lips slurs, and a vast amount of high register notes. The launching of the piece begins with a triumphant cadence peaking at a high register C, which slowly decays into a very lyrical melodic sequence that takes the hurl of the fender lyrics, which read: â€Å"Oh where, tell me where, is your highland young carnivore gone(a)?Oh where, tell me where, is your highland laddie gone? Hes gone with streaming banners where noble deeds are done. And its oh! in my heart I wish him safety device at home. ” The piece so moves into a lots more difficult technical variation of the original melody and progressively builds in speed until the excessively very triumphant ending. Around the time the then eighteen or nineteen year antiquated Arthur Pryor composed â€Å"Blue Bells of Scotland”, he had only been playing the sliding board trombone for three to four eld.Pryor was given the slide trombone as a payment to a debt and taught himself to play it fairly quickly. Amazingly, Pryor wrote the piece with the knowledge of only a few slide touchs and would use false tones and vary positions for notes in the fifth, sixth, and seventh positions. Despite this, â€Å"Blue Bells of Scotland” is thus far one of Pryor’s most memorable pieces and is tranquilize widely known today. A few years after composing â€Å"Bluebells of Scotland” he arrived in in the raw York by invitation of John Philip Sousa.After arriving to be in Sousa’s new concert band, Pryor was offered by Frank Holton the position of principle chair trombonist. When Holton left the position, Pryor became the featured soloist of oer 10,000 solos as principle trombonist for Sousa’s band. â€Å"Blue Bells of Scotland” serves as a constant reminder of the trombone’s capabilities as a very lyrical peter and its ability for technical prowess as well. Arthur Pryor invigorate interest in the trombone with his virtuoso playing, and â€Å"Bluebells of Scotland” in particular has been a standard of trombone literature for decades and a front-runner challenge for advanced players”(Kleiner). The piece will ever so have a special place in the hearts of all trombonists, both past and future. whole shebang Cited http://www. celticscores. com/sheet-music/628_Blue_Bells_of_Scotland http://bluebellstrilogy. com/blog/2010/05/arthur-pryor-blue-bells-and-trombone/\r\n'