I actually play E flat Bass in the Motor City Youth Brass Band, and our adult band played this for this year's NABBA. It was a wonderful rendition of the piece.
my band and i are playing this for our assessment along with Alladale(2nd movement), it is quite a beast of an arrangement but it is so amazing. so glad i play trumpet for this:D
Best movement of the piece. Sitting in front of the bass Trombone player wasn't so fun though. We played it in symphonic band. Thankfully my eardrums were blown by the lead alto playing the initial solo on bagpipes 😂
The only reason I wrote it that way is because in a British style brass band like YBS, all of the instruments except percussion, bass trombone and a few tenor trombone parts are written in treble clef, Soprano and tenor horn read Eb treble clef and everybody else reads in Bb treble clef (mostly to avoid an insane amount of ledger lines.)
Last reply, I promise! =) So talking in all concert pitch, the opening is in Db and the 12/8 section is in F minor but 3:53 is definitely in f# minor. The solo/soprano cornets are all on F#'s and the low brass are playing the melody where F# is definitely the tonic, so B would be the minor third. 5:34 is Gb major, and everybody is unison on that run except for the trombones who hold the Gb and it ends on a unison Gb, not a triad.
There you go! That seems a little more correct! Although, the repeated triple tongued pattern on F# (Concert) is the 5th of the chord, so wouldn't be in B? As for B being the minor third...that would make the section in Ab minor?
The opening is in Db? Second section in 12/8 is in F minor? The G# natural minor section you speak of is in B minor. The ending is on a big F# major chord. So pretty much completely different to what you said.
Can we at least get the title correct. It's Hymn OF the Highlands. It's even shown on the video itself correctly. If someone is googling or searching youtube for it they won't find it.
Bass bone is just designed to lay out the ensemble with raw power when the composer/arranger wants it. They put us on a handicap by having only one of us in any and all ensemble settings.
Okay, I see what you're saying and I should've thought some things through a little more. I've played this piece five times and most recently when I wrote that last comment, I actually had the solo cornet part in front of me so all of the keys I wrote down are not in concert pitch they're in Bb (I'm going to have to go into a second comment box)
(continued) If you pedalled a F# in the tubas or the bass register, it'd sound all weird, as the leap from a 4th creates quite a dissonance. Whereas if you pedalled a B, it'd create the perfect 5th and thus complete the chord melody (Like the next quite section where B is pedalled in the lower instruments before it modulates to C and then F)
The beginning to 1:53 is in Eb Major; 1:53-3:52 is in or centers around g natural minor, 3:53-4:05 temporarily changes to g# nautral minor, 3:54-4:44 is in G/D major, 4:45-5:30 is in C Major, 5:30 to the end is centered around Ab but ends in Ab Major for the last few bars. Sorry, there's absolutely no way you can put this piece into one key =)
The root of this tonality is definitely b. The five tones that are represented here are e, f#, g#, a, & b. There is no G # in b (natural) minor and there is one in this melody. As it was stated earlier, based on the five notes represented, it is clearly outlining b dorian. The g# is the determining factor. As Matthew correctly pointed out, the solos are playing f#; however, the basses are playing b. Play it again & hum a low b at that point & it will become clearer. Lachlan is the winner!
@@sdwink03 I think you've got your causality reversed. Foster drew heavily on Southern folk music content for his melodies and the American South (especially in the Appalachians) was home to a lot of transplanted Scots and Scots/Irish (from what's now Northern Ireland). When they wetbacked the Atlantic they brought ther music with them.
Nice basstrombone!!! :D
Love the sound of Bass Trombone
As a bass trombonist I like the low Eb’s I’m hearing in this piece. Approved!
バストロンボーンの破壊力！
後ろで吹かれたら耳大丈夫かな？(笑)
そして全員凄すぎ！誰も主張し過ぎる事もなく、バランス取れててそれぞれが抜群の破壊力ある！
AWESOME DYNAMICS!!!
In 2003 YBS were the best band in the world.
I actually play E flat Bass in the Motor City Youth Brass Band, and our adult band played this for this year's NABBA. It was a wonderful rendition of the piece.
my band and i are playing this for our assessment along with Alladale(2nd movement), it is quite a beast of an arrangement but it is so amazing. so glad i play trumpet for this:D
love it :) such a difficult part on clarinet to get right, but sounds brilliant :D
HUGE !!!!!!!!
Best movement of the piece. Sitting in front of the bass Trombone player wasn't so fun though. We played it in symphonic band. Thankfully my eardrums were blown by the lead alto playing the initial solo on bagpipes 😂
The only reason I wrote it that way is because in a British style brass band like YBS, all of the instruments except percussion, bass trombone and a few tenor trombone parts are written in treble clef, Soprano and tenor horn read Eb treble clef and everybody else reads in Bb treble clef (mostly to avoid an insane amount of ledger lines.)
Also 'cause it makes jumping between instruments easier if you're a skilled doubler
Last reply, I promise! =) So talking in all concert pitch, the opening is in Db and the 12/8 section is in F minor but 3:53 is definitely in f# minor. The solo/soprano cornets are all on F#'s and the low brass are playing the melody where F# is definitely the tonic, so B would be the minor third. 5:34 is Gb major, and everybody is unison on that run except for the trombones who hold the Gb and it ends on a unison Gb, not a triad.
Thank you! Was trying to make sense of what was going on...but it wasn't clicking with my ears haha
haha last reply from me....
the melody in question at 3:53 is modal, there's an A natural in there, so it has to be B (Dorian) minor!
There you go! That seems a little more correct! Although, the repeated triple tongued pattern on F# (Concert) is the 5th of the chord, so wouldn't be in B? As for B being the minor third...that would make the section in Ab minor?
The opening is in Db? Second section in 12/8 is in F minor? The G# natural minor section you speak of is in B minor.
The ending is on a big F# major chord.
So pretty much completely different to what you said.
Can we at least get the title correct. It's Hymn OF the Highlands. It's even shown on the video itself correctly. If someone is googling or searching youtube for it they won't find it.
thanx, this video is been on for 4 years an i just noticed it!
Bass bone is just designed to lay out the ensemble with raw power when the composer/arranger wants it. They put us on a handicap by having only one of us in any and all ensemble settings.
Okay, I see what you're saying and I should've thought some things through a little more. I've played this piece five times and most recently when I wrote that last comment, I actually had the solo cornet part in front of me so all of the keys I wrote down are not in concert pitch they're in Bb (I'm going to have to go into a second comment box)
(continued) If you pedalled a F# in the tubas or the bass register, it'd sound all weird, as the leap from a 4th creates quite a dissonance. Whereas if you pedalled a B, it'd create the perfect 5th and thus complete the chord melody (Like the next quite section where B is pedalled in the lower instruments before it modulates to C and then F)
Fair enough then. I respect your opinion. :)
The beginning to 1:53 is in Eb Major; 1:53-3:52 is in or centers around g natural minor, 3:53-4:05 temporarily changes to g# nautral minor, 3:54-4:44 is in G/D major, 4:45-5:30 is in C Major, 5:30 to the end is centered around Ab but ends in Ab Major for the last few bars.
Sorry, there's absolutely no way you can put this piece into one key =)
The root of this tonality is definitely b. The five tones that are represented here are e, f#, g#, a, & b. There is no G # in b (natural) minor and there is one in this melody. As it was stated earlier, based on the five notes represented, it is clearly outlining b dorian. The g# is the determining factor.
As Matthew correctly pointed out, the solos are playing f#; however, the basses are playing b.
Play it again & hum a low b at that point & it will become clearer.
Lachlan is the winner!
What makes you say that?
What key is this in?
Does anyone have the lyrics? I would like to sing this with my kids.
I'm pretty sure this is a spiritual from America in the 1800's. It sounds an awful lot like Stephen Foster's Ol' Black Joe
It is. Foster's music was very popular over in Scotland, especially music on emancipation.
@@sdwink03 I think you've got your causality reversed. Foster drew heavily on Southern folk music content for his melodies and the American South (especially in the Appalachians) was home to a lot of transplanted Scots and Scots/Irish (from what's now Northern Ireland). When they wetbacked the Atlantic they brought ther music with them.