Bluebells of Scotland

Bluebells of Scotland Bluebells of Scotland is a darn written and collected in the late romantic era around 1899 by Arthur Pryor. The bite 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 instrument that could perform particularly herculean pieces. Compelled by societys negative opinion of the trombone, Pryor composed Bluebells of Scotland in order to display the capabilities of the trombone and to emphasize that it could play truly difficult pieces.This piece is a little more upbeat and physical than other pieces of the very(prenominal) beat period, but what makes this piece particularly unique is that it is the only piece with a high level of difficulty for trombone that was composed in the time of its conception. The piece is intended to be accompanied by an orchestra but merchantman be played with piano accompaniment as well. The characteristics of this piece atomic numbe r 18 very dynamic and free. The expressivity of the piece is left up to the interpretation of the performer which allows for a large tot up of freedom and creativity.There are quite a few measurings that allow the performer to take control of tempo and dynamics. Bluebells of Scotland includes twain very slow and lyrical passages as well as many an(prenominal) very quick and difficult runs, double-tonguing, octave jumps, lips slurs, and a vast amount of high register notes. The introduction 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 shape of the original lyrics, which read Oh where, itemize me where, is your highland laddie bygone?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 spirit I wish him safe at home. The piece then moves into a much more difficult proficient variation of the origi nal line of business and progressively builds in speed until the also very triumphant ending. or so the time the then eighteen or nineteen year disused Arthur Pryor composed Blue Bells of Scotland, he had only been playing the slide trombone for tercet to four years.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 positions and would use false tones and alternate positions for notes in the fifth, sixth, and seventh positions. in spite of this, Blue Bells of Scotland is shut up one of Pryors most memorable pieces and is still widely known today. A few years after make-up Bluebells of Scotland he arrived in New York by invitation of John Philip Sousa.After arriving to be in Sousas new concert band, Pryor was offered by Frank Holton the position of tenet chair trombonist. When Holton left the position, Pryor became the featured soloist of over 10,000 s olos as principle trombonist for Sousas band. Blue Bells of Scotland serves as a constant reminder of the trombones capabilities as a very lyrical instrument and its ability for technical prowess as well. Arthur Pryor inspired interest in the trombone with his virtuoso playing, and Bluebells of Scotland in particular has been a standard of trombone literature for decades and a favorite altercate for advanced players(Kleiner). The piece will always have a exceptional place in the hearts of all trombonists, both past and future. works Cited http//www. celticscores. com/sheet-music/628_Blue_Bells_of_Scotland http//bluebellstrilogy. com/blog/2010/05/arthur-pryor-blue-bells-and-trombone/