ULLA IN ARICA The opening hymn-tune (ars 1 5) is very eautiul and sonorous It demands a good, lended sound rom each memer o the section as well as a connected, legato articulation and the aility to move rom note to note with good ensemle Make sure the release in ar (second hal o eat ) is uniied so the trumpet pick-ups into ar 5 are heard In any type o chorale, listen to the lead voice or phrasing and style The ottom voices should provide a supportive cushion or the entire and This tune demands a keen sense o sixteenth-note su-division throughout Bars 10 17 is a section soli, just tromones and rhythm section Make sure the last sixteenth o eat 1 is short and that the eighth-notes on eat 3 are legato, always leading to the next downeat This section demands some independence rom the ass tromonist as he/she plays y themselves on the second hal o eat in ars 10, 1, and 1 Play that with conidence! The tromone soli at letter C needs good rhythmic staility as a section Listen to the way the lead player interprets the tenuto markings and try not to let the sixteenth rests reak the low o the musical line In the ensemle tuttis at letters E and G, each voice can play a little soter ecause these are largely unison passages When the line reaks into harmony (the ends o ars 51 and 53, or example) play a it stronger Watch the key changes at letters I and J In this rass section tutti, make sure to get o all the tied notes in a timely manner Keep the energy level going during the hal notes in ar 10 8
Medium slow, ruato Ulla in Arica Comp: Heiner Wierny Arr: Peter Herolzheimer 6 c # J 3 A Tempo (q = 98 106) 3 > > - - > > - - 1 - - - - - - - 15 R - - - - - - - A 18? # - 3 # oth times > > > - - - 3 > > > - - - > > > - - - - - - 6 B 9
Ulla in Arica 30 > > > - - - - - - - - - C Soli 3? # - - - > # > - - - - - ^ ^ - - - > > - - - 37 - - > - ^ - - D - - - > > - - - - - ^ ^ 0 - -? # - > # > - - - - - > - ^ - - - - - > > - - - 3 -? # # - ^ ^ - - - > > - - - - - > - ^ - - 6? # - - - > # > - - - - - ^ ^ - - - > > - - - 9 - - > - ^ - - E R> n > > > > > > > > > > > > > > 5 n > > Open 10
Ulla in Arica Cue 58? # - > # > - - - - > > - - - - > > - - - 61? # - > # > - - - - > > - - - - > > - - - 6? # - > # > - - - - > > - - - G R > n > > > > > > > > 67 > > > > > > n > > G Open 70 Cue - - - > > - - - 79 -? # # - ^ ^ - - - > > - - - - - > - ^ - - H 7 n n 8 11
Ulla in Arica I 90 > > > ^ > > - - > > - > 93 - - - - > > > ^ > > - 96 n - > > - - - - - J n > > > > 99 - - > > - > > - - - > - - > - - - 10? n n > > # n # 106 K 8 L 8 1 M > > > - - - > > > - - - 18 >? # > # > - - - > > > - - - N 13 - - - ^ 138 O > > > - - - rit # n ^ 1
DU, DU, LIEGST MIR IM HERZEN This entire chart is a study in playing ast rhythmic igures in a Latin eel It s important to eel comortale and conident with these igures so they can ecome part o your rhythmic vocaulary, regardless o tempo The ackground igures in ars 56 60 are a good example o these challenging rhythms At letter A, the tromones are asked to play with cup mute When playing with mutes, rememer the pitch o the instrument sharpens a it I there is time, pull the tuning slide out slightly when playing with a mute, rememering to push the slide ack to its original position when playing on the open horn Dierent rands o mutes produce dierent timres I possile, the section should try to use the same type o mute to ensure a compatile sound The reath marks or releases in ars 35, 36, 39, and 0 are written so the ensemle ends notes together One way to uniy these releases is to think o each whole note as a dotted hal note ollowed y a quarter rest This coordinates and codiies the arranger s desire to put some space etween the notes The entrance at ar 90 should e a loud, enveloping sound (not necessarily a penetrating type o loud sound) The quarter notes in this passage (ars 95, 96, 103, and 10) should e played long, with a singing approach This applies to the eat quarter notes ound at letters I and K, as well The tutti syncopations ound in ars 19 13 can e very challenging These rhythms tend to e rushed Try to e very steady without crowding the time Rememer the notes in ars 19, 131, and 13 enter ater strong eats 6
? 3 Ruato 31 Du, Du liegst mir im Herzen U Traditional, ased on a version y Clare ischer Orchestrated y Dave Rivello h = 10 Latin Times 1 C Cup Mute 35 w A, w, J 39 1 w, w, w, n 5 w w w w 50 w w > J > > J B Open 3 J 57 n w J J J Ó 6 w n w 5 C Times 71 D 1 77 7
Du, Du liegst mir im Herzen 83 7 > J > J > E Ó 93? n 98? w Ó 103 w w Piano Solo - 1 times or open G Times 109 Times Gradual uild each time Play 3rd and th time only H 3 J I 117 13? n - J? ^ J n J 1 Ó 17 w 13 J - K n n n 8
137 n w w Du, Du liegst mir im Herzen 11 w suito w w w L Times 1 M 17 157 7 > J J > > N Ó 167 n 171? w 175 Ó 179? w w w -^ 9