Variations on a Theme of Paganini (12 Pos)

Variations on a Theme of Paganini (12 Pos) (This piece was written for the British Trombone Society Annual Conference 2009 and is dedicated to Kevin Price and the Brass Department at the Royal Welsh College of Music and Drama where the event took place. The theme is the well-known Caprice for violin by Paganini, a theme that has been used very many times as the basis for variations. This set consists of 16 variations: The and 10 variations form the first Allegro section, the next 3 provide a slow section and the remaining 3 a finale. Performance notes: The players are divided into 2 groups which should, preferably, sit symetrically in a semicircle with the high voices on the outsides. Try to ensure that the two choirs are well matched so that there is no noticeable distinction in sound quality or volume when musical lines are exchanged. Parts 3,4,7-12 need straight mutes. Parts 1,2,5,7,8,11 need cup mutes. Parts 1 and 7 are set fairly high so may benefit from a bumper if available. Parts are also provided in alto clef in case the players prefer to play these parts on the alto. Parts 6 and 12 are genuine bass trombone parts. Parts 5 and 11 would be best on bass trombones but can be played by tenors if necessary. Var 5: Use a fast slide movement for the trill effect (if necessary use a light double-tongue to give good rhythm) - make an accent on each group with the trill being a sort of after-effect. The scales and chromatic scales should be lightly double-tongued to ensure accuracy of pitch and rhythm within the slur. Var 11: the glissando effect should not be exaggerated - it is more of a portamento feel to give a cloudy background to the dolce melodic phrases. Var 12: similar smeary but not exaggerated glissandi. Var 14: the triplet figure should be lightly triple-tongued within the slur to define the pitches.)