MENC: The National Association for Music Education

An Appeal for Solos for Baritone Horn

Author(s): Leonard Falcone
Source: Music Educators Journal, Vol. 26, No. 3 (Dec., 1939), p. 38
Published by: Sage Publications, Inc. on behalf of MENC: The National Association for
Music Education
Stable URL: http://www.jstor.org/stable/3385556
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Singing Time"
Time" by
by Coleman
Coleman and
and Thorn
Thorn are
are well
wellchosen
chosen
the
the child
child to
toclap
clapororstamp,
stamp,
to to
march
march
or or
runrun
or gallop
or gallop
in time
in time
to to"Another Singing
collections of
of songs
songs which
which Mrs.
Mrs. Coit
Coit has
has found
found helpful
helpfulfor
for
the
the music,
music,or
orsometimes
sometimes
just
just
to to
sitsit
andand
listen.
listen.
mothers to use with their children.
Among
Among the
therecords
recordssuggested
suggested
areare
such
such
as "Soldiers'
as "Soldiers'
March"
March"
by
by Schumann;
Schumann;"Run,
"Run,Run,
Run,
Run"
Run"
byby
Concone;
Concone;
"Skating"
"Skating"
(Vic-(Vic- Parents who follow the general plan outlined invariably are
tor
tor 20401);
20401);"The
"TheLittle
LittleHunters"
Hunters"
(Victor
(Victor
20153);
20153);
"The"The
Mirror
Mirrordelighted with the enthusiasm and interest which their children
show and the progress they make. Certain it is that, if the
Dance" (Victor 20399); "Songs for Children," by Neidlinger
music started so easily then is continued through the school
(Victor 20349B). "Small Songs for Small Singers" by Neidlinger (meant to accompany the records); "Mother Goose Pic-years, it will lead to the maximum benefits which music can
afford the individual during youth and adulthood.
ture Book" by Berta and Elmer Hader; "Singing Time" and

forSolos
Solos
forfor
Baritone
Ba Horn
An Appeal for
LEONARD FALCONE
Conductor, Michigan State College Band, East Lansing

instrument.
Therefore,
the
the
masculine
masculine
nature
nature
of the
of the
instrument,
instrument,
ANYONE
ANYONE
interested
interested
in the in
baritone
the baritone
horn has long
horn
wondered
has long
at instrument.
wonderedTherefore,
at
coupled
coupled
with
withits
its
technical
technical
flexibility,
flexibility,
its its
wide
wide
dynamic
dynamic
range,
range,
and and
the
thecomposers'
composers'
almost
almost
inexplicable
inexplicable
neglect of neglect
the baritone
of as
the
baritone
as
its
warm
warm tone,
tone,
offer
offerthe
the
composer
composer
a splendid
a splendid
medium.
medium.
aa solo
solo
instrument.
instrument.
In comparison
In comparison
to the wealth
to the
of material
wealth
that
ofits
material
that
I should
should
like
liketo
toof
digress
digressfrom
from
the
the
subject
subject
at hand
at hand
for for
a moment
a moment
has
hasbeen
been
written
written
for the
for
other
thebrass
other
instruments,
brass instruments,
the number of the
number
and
hope
hope that
thatis
I Imay
maybebepardoned
pardoned
forfor
saying
saying
a few
a few
words
words
con-consolos
solosthat
that
have
have
been been
especially
especially
written for
written
the baritone
for the
is and
baritone

cerning
brass
brass
solosiningeneral.
general.
ToTo
be be
sure,
sure,
there
there
are are
a large
a large
negligible.
negligible.
ThisThis
lack has
lack
always
has existed,
alwaysbut
existed,
the advent
butofthe
thecerning
advent
of solos
the

number
of
ofbrass
brasssolos
soloswhich
which
areare
outstanding,
outstanding,
both
both
as toasmusical
to musical
innumerable
innumerable
solo solo
and ensemble
and ensemble
festivals throughout
festivals throughout
the country number
the country
content
and
andeffective
effective
writing;
writing;
but
but
there
there
is also
is also
a good
a good
deal deal
of of
has
hasbrought
brought
this this
unsatisfactory
unsatisfactory
condition condition
into greater into
relief greater
andcontent
relief
and
material
that
thatisisto
decidedly
decidedly
trivial.
trivial.
The
The
musical
musical
ideas,
ideas,
the the
forms,
forms,
has
hasstimulated
stimulated
the concern
the concern
of those of
whothose
are making
who an
are
effort
making
to material
an effort
and the manner in which the material has been handled leaves
develop
develop
this
this
phase
phase
of musical
of musical
education.education.

much
to be desired. Is there any real reason why brass instruSurely
Surely
thethe
neglect
neglect
accorded
accorded
the baritone
the by
baritone
the composers
by the
composers
be inferior to the solos written for wood-wind
cannot
cannot
be be
duedue
to itstolack
itsoflack
the necessary
of the necessary
qualificationsqualifications
as a soloment solos
asshould
a solo
instruments,
merely because the brasses do not have quite the
instrument.
instrument.
For,For,
indeed,
indeed,
anyone anyone
well acquainted
well with
acquainted
the instruwith
the instrurange and
ment
ment
cannot
cannot
denydeny
that the
that
baritone
the baritone
is one of the
is most,
one of
if not
thethe
most,
if fluency
not theof the wood winds-even if the latter factors
helddisas the excuse? The shortcomings of the brass
most,
most,
expressive
expressive
of the
of
brass
theinstruments.
brass instruments.
Then why this
Then
dis-should
whybe
this
discussion
regard?
regard?
TheThe
onlyonly
plausible
plausible
reason one
reason
can think
one of
can
is that
think
thesolos
of under
is that
the are not in connection with technical flexibility and range, but concern the uninteresting musical ideas and
baritone has not been as fortunate in its heritage as have, for
instance, the cornet and the trombone. The latter instruments lack of ingenuity in presenting the material. In this respect,
have had a larger number of well-known exponents than the bari-some of the better French solos may be cited as examples of
desirable solos for brass instruments. These solos do not make
tone. Herbert L. Clarke, Herman Bellstedt, Joseph Arban,
extraordinary technical demands, but the musical ideas are always
W. M. Eby, Ernest Williams, and a host of other outstanding
interesting. If a solo is to be of an advanced nature, it should
cornetists not only have made the cornet a very popular solo
take account in liberal measure of the technical possibilities of
instrument, but these same men have also been able to make
liberal contributions to the solo literature of their chosen instruthe instrument, but these technical demands should be employed
in such manner as to make their inclusion appear a natural
ment. Likewise, the trombone has had its luminaries in Arthur
development
of the original musical idea. Likewise, a solo of a
Pryor, Gardell Simons, Clay Smith and Serafin Alschausky,
to
less advanced nature should be made as melodically and technimention only a few. It is true, the baritone has had Joseph
cally interesting as possible. In other words, regardless of the
DeLuca, Simone Manita, and Fortunato Sordillo to extol its
degree of difficulty or simplicity of the material, it should always
glories, but these three men have been practically the only contributors of solos written especially for the baritone. If this isbe musical, and not just a display of musical gymnastics.
the reason for the difference in the amount of solo material
We do not lack composers fully capable of writing solos emavailable for these instruments, then it is easily seen thatbodying
the field
such merits as have been described. But I am of the

of creative work for brass instruments has been left entirely

opinion that
to many who have written for the brass instruments
the virtuosi of these instruments. For some reason, composers
(and those composers who have refrained completely from writof established reputation have seen fit not to enter thising
field.
for brasses) have been laboring under the impression that
As a result of this condition, baritone players have tothe
borrow
range of musical expression of these instruments is too
solos written for other brass instruments. They even make
an to permit serious treatment. A careful study of the
limited
occasional "invasion" into the realm of the clarinet and cello solo
"language" of these instruments will reveal, I am sure, that their
literature in search of adequate material. While some gratifying scope of expression is not nearly as limited as it appears to be.
results have been, and are being obtained by transcribing cornet To return now to the matter of solos for the baritone. Natursolos for the baritone, naturally, continuous "borrowing" aloneally, a sincere and inspired musical work does not admit of any
cannot be expected to bring about a real solution of the problem-kind of dictation; but if I were to be given the liberty of making
hence the crying need for solos written especially for the baritone.a humble suggestion, I would say that, in addition to the full
Although a playing knowledge of an instrument is, no doubtutilization of the instrument's technical capabilities, greater use
an asset to a composer who wishes to write for that particularshould be made of the baritone's natural "singing" style of playinstrument, it is not by any means absolutely necessary. Aning. This latter attribute of the instrument is perhaps its most
artist on an instrument does not always possess adequate creativevaluable asset. Stressing this particular quality of the baritone
ability; whereas, on the other hand, there have been many (which has not always been fully utilized) might be the means
instances where really fine composers, not having a playingof evolving a new and distinct type of solo literature for this
knowledge of the instrument, have written music of far greaterinstrument. In fact, it might not be a disadvantage for commerit than that written by virtuosi of that particular instrument.
posers in writing for the baritone to think in terms of the cello.
Of course, in order to write well for an instrument, the comThese few thoughts have been expressed in the hope that
poser must have a good fundamental theoretical understanding
of that instrument's character and technical facilities. He shouldserious composers may devote more of their interest and talents
know what will sound well and what will not. For instance, in to the baritone-thus far almost a neglected medium. Since the
field of solo literature for the baritone is practically in a virgin
writing for the baritone, various things should be avoided, such
as certain whole-tone trills, and too wide intervals in rapid state, the composer who contributes to the development of this
slurred broken chords. Aside from these minor restrictions, thefield will have not only everlasting appreciation and gratitude
baritone offers a wide freedom of treatment. In addition to all from the numerous players and lovers of the baritone horn, but
the technical dexterity of the brass family, the baritone has an also the satisfaction of having made a noteworthy contribution to
expressive tonal range that is not exceeded by any other brassthe musical realm.
Music Educators Journal

Page 38

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