Estudos Bem Humorados para Trompete by Fernando Morais.

An Introduction.

Gilmar Cavalcante da Silva

MUSC 7050: Music Research and Bibliography
November 24, 2014

Abstract
This work presents an introduction of pertinent aspects of the studies for trumpet by Fernando
Morais. Such elements include influences from Brazilian folk music, specifically at the melody,
harmony and rhythm. This work serves as in introductory performance guide for trumpet players to
prepare for performance, as well as presents comments about the pedagogical usage of the studies.
The complete collection has twelve studies, and this work will focus in on two of them. The
first one, Estudo N 1, Se Ernesto tocasse trompete, and the seventh one, Estudo N 7, Tempo de
baiao. The main reason for this choice is because these studies present the general characteristics of
the other studies. This work also includes a glossary of the musical expressions contained in the
studies.

ii

CONTENTS
Abstract ..................................................................................................................................... ii
Glossary .................................................................................................................................... iv
Introduction .............................................................................................................................. 5
General Overview of the Studies ............................................................................................. 6
Estudo N 1, Se Ernesto tocasse trompete ................................................................................. 7
Estudo N 7, Tempo de baio .................................................................................................... 8
Pedagogical usage ................................................................................................................... 10
Conclusion ............................................................................................................................... 11
References ............................................................................................................................... 12

iii

Glossary

aboio. A sort of song characteristic from the Brazilian Northeast, usually sung by cowboys while
gathering cattle.
a lua branca de Bach. The white moon of Bach, in reference to the German baroque composer.
a lua branca de Chiquinha. The white moon of Chiquinha, in reference to the
nineteenth/twentieth century Brazilian pianist and composer Francisca Edwirges Neves Gonzaga,
better known as Chiquinha Gonzaga.
Vontade. At pleasure.
cadncia. The same as Cadenza.
calmo. Calm.
choro. A syncopated music style, usually instrumental, well ornamented and with improvisations.
com a mo. With the hand, or using the hand as a substitute for a plunger mute.
com calma. Calmly.
com grande agilidade. With great agility.
com grande saudosismo. With great nostalgia.
grandioso. The same as maestoso or broadly.
livre. Free.
mamulengo. A kind of puppet, usually found at the Brazilian Northeast part.
multifnicos. Overtones.
rpido. Fast.
tema do Lundo caracteristico. Characteristic Lundu theme.
tempo de caboclinho. Fast musical tempo that relies on a caboclinho, which is a Brazilian
Northeastern rhythm.
tranquilo. Quiet.
valsa paulista. Waltz from Sao Paulo which implies a specific style of interpretation.
xaxado. Dance in a fast rhythm characteristic from the Brazilian Northeast.
wua-wua. Or Wah-Wah, which implies the use of harmon mute.

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Introduction
Fernando Morais was born in Santos-SP, Brazil. He received his bachelors degree in Music
at the Mozarteum University in So Paulo. In 1992, he was awarded a scholarship from the Vitae
Foundation to study for two years at the University of Hartford. Once there, he studied under David
Jolley, French horn teacher, and Bert Lucarelli, chamber music teacher. Currently, he serves as a
French horn player at the Orquestra Sinfnica do Teatro Nacional Claudio Santoro and teaches at
the Escola de Musica de Brasilia, Brazil. While in his first year as a composer, he was awarded first
place in the 2003 Claudio Santoro National Composition Contest, organized by the University of
Brasilia. In April of that same year, he won second prize at the Instrumental Composition Contest,
promoted by the SESC-Brasilia. In 2009-10, he received prizes in the Concurso de Arranjos
Bandas de C, Minas Gerais, and the first prize in Latin American Composition for Symphonic
Bands Contest, Colombia, respectively.
He is considered a talent in evolution and his compositional work features a versatile musical
ability. "Ele um grande talento brasileiro que temos que reconhecer"1 (Luciano Junior, 2014
interview). Therefore, his catalog reveals works for a wide variety of instrumentation from solo to
orchestral works. In addition to his growing musical catalog, there is also a pedagogical production
list, including books and methods such as Escalas e Arpejos para Instrumentos na Clave de Sol,
Escalas e Arpejos para Instrumentos na Clave de F, Afinando Acordes- Metodo Para Estudo em
Conjunto, 20 Pequenos Estudos Brasileiros and 20 Estudos Caractersticos Brasileiros para
Trompa. Those are currently among his published works.
An unpublished work is among his recent productions, the 12 Estudos Bem Humorados para
Trompete. The work was completed in February 2013; however, unlike the works for French Horn,
which were organized with increasing difficulty, the studies for trumpet are organized in a random
order.

1

Luciano Junior, Anor: He is a great Brazilian talent that we have to recognize. Internet interview, September
27, 2014. Translated by the author, December 8, 2014.

General Overview of the Studies

In general, studies for trumpet can be classified as technical, melodic, and characteristic;
likewise, there are also the ones that can be used as solo pieces, for example the Eight Profiles by
Fischer Tull. Thus, the Morais studies are most likely performance studies rather than didactic or
technical studies.
Morais trumpet studies presents elements of Brazilian folk music, including valsa, maxixe,
choro, baiao, aboio and xaxado, as well as original material by the composer. He says, " Os estudos
so bem-humorados por que na maioria deles eu uso temas bem conhecidos" 2 (Morais, 2014
interview).
Despite what the author says, "Os estudos foram pensados para o si bemol, instrumento que
todos tm no Brasil" 3 (Morais, 2014 interview), the studies are supposed to be performed in a way
that does not restrict the player to a specific kind of trumpet. Therefore, keeping in mind the many
keys of the horn, these studies can also be played in instruments such as C trumpet, B-flat and C
cornet or flugelhorn.
The studies were not recorded officially; in fact, only two studies were informally recorded
and one of them was uploaded to an internet web site, that study being the seventh. Each study was
dedicated to a different Brazilian trumpeter, and they are organized in the following sequence:
1. Se Ernesto tocasse trompete..., dedicated to Flvio Gabriel.
2. Dilermando e o trompete, dedicated to Gilberto Siqueira.
3. Um trompete callado, dedicated to Reginaldo Farias (in memorian).

Morais, Fernando: The studies are well humored because in most of them I use well known themes. Interview
by author, September 25, 2014. Translated by author, December 8, 2014.
3
Morais, Fernando: The studies were thought for the B-flat trumpet, the instrument that everyone
[Trumpeters] has in Brazil. Interview by author, September 25, 2014. Translated by author, December 8, 2014.

8
4. Os sons ridos do trompete, dedicated to Nailson Simes.
5. Com grande agilidade, dedicated to Fernando Dissenha.
6. Pattapiando no trompete, dedicated to Anor Luciano.
7. Tempo de baio, dedicated to Fbio Brum.
8. A lua branca de Chiquinha, dedicated to Gedeo Lopes.
9. Choro, dedicated to Moises Alves.
10. O trompete de Anacleto, dedicated to Ayrton Benck.
11. Trompetico no fub, dedicated to Joatan Nascimento.
12. Um trompete abrindo alas, dedicated to Maico Lopes.
All of the players who received the dedicatory are professionals who are currently working
either in schools or in orchestras, with the exception of Reginaldo Farias and Gilberto Siqueira.
Reginaldo was a trumpet player and teacher at the Escola Municipal de Msica de So Paulo. He
coached several of the players that received dedicatories in other studies, including Ayrton Benck,
Moises Alves, Joatan Nascimento and Gilberto Siqueira, who has retired from OSESP4 in 2013.
Estudo N 1,
Se Ernesto tocasse trompete
Morais's trumpet studies reference Brazilian folk music elements often. Those references can
be found either in the rhythm, melody, or even by the usage of grammatical expressions intended to
be a guide or help the interpreter define what way to adapt their playing. For example, the Estudo
N 1, which was dedicated to Flvio Gabriel, a soloist and trumpeter at OSESP. The author says, "
eu sempre tive conversas com 'o' Flvio sobre minhas ideias a respeito dos estudos e depois de um

4
Orquestra Sinfnica do Estado de So Paulo- State of Sao Paulo Symphony Orchestra- Translated by the author,
December 8, 2014.

9
certo tempo veio o primeiro, que ele gravou e me mostrou, eu fiquei empolgado e logo veio o
segundo, terceiro, quarto, etc." 5 (Morais, 2014 interview).
The form of the study is a Fantasia or Fantasy; this is a style of writing that allows the
composer to use his feelings and apply familiar themes with possible variations. It brings rhythmic
and melodic excerpts of Brejeiro by Ernesto Nazareth6 that is a maxixe or tango Brasileiro with
some variations.
Confirmation of the reference to Nazareth's work, in addition to the usage of rhythm and
melodic excerpts, is the printed phrase "se Ernesto tocasse trompete7. The study starts in a slow
waltz theme in three four meter, and presents what can be considered the introduction during the
first five measures. After that, it changes the meter and follows in a two four meter, presenting a
soft tempo change from quarter note equals to 66 in a metronomic time to quarter note equals to 72,
after a fermata and an anacrusis to the following measure. Other musical indications organized in a
range between the low A until the high D and some fast and slow passages that require certain
technical skills of the player are part of the study. A beginning trumpeter without a good base of
fundamental skills would not be able to perform that.
Estudo N 7
Tempo de baio
The 7th study was dedicated to Fbio Brum, who serves as a soloist and trumpeter at OSB8. It
presents characteristics in the rhythm, melody and harmony that recall to one of the Northeastern
Brazilian music style, the baio;9 as shown by the printed phrase "Tempo de baio"10. Baio is a

5

Morais , Fernando: I always had conversations with Flvio concerning my ideas of writing the studies, and
after some time there came the first, which he recorded and showed me, so I got excited and soon after came the second,
third, fourth, etc. Interview by author, October 20, 2014. Translated by author, December 8, 2014.
6
Brazilian pianist and composer. Rio de Janeiro 1869 - 1933.
7
If Ernesto played the trumpet. Translated by the author, December 8, 2014.
8

Orquestra Sinfnica Brasileira.
9
Dicionario Cravo Albin da Musica Popular Brasileira, accessed September 2, 2014,
http://www.dicionariompb.com.br/baiao/dados-artisticos. Artes/Musica, accessed September 3, 2014,
http://www.infoescola.com/musica/baiao/. Sua pesquisa, accessed September 3, 2014,
http://www.suapesquisa.com/o_que_e/baiao.htm

8
popular musical gender derivative from the lundu, remaining from the late XIX century; it applies
the melody to the accordion, and the music is traditionally played by a trio that uses bass drum,
triangle, accordion and voice that can be sang by one of the three musicians of the trio. The dance is
typical from the country side of the Brazil's Northeast, and it is usually presented in a relatively fast
tempo.
This study is in a two four measure meter with displaced accents and syncopation, especially
in the sixteenth notes. On the other hand, it does not require the same technical level of the first at
all; the range and the passages are quite comfortable for a non-advanced trumpeter. Despite, the
study does not explore the extremes of the range going to the upper register, but it goes to the low
register. Also, it does not present tempo changes at the same frequency as in the first. However, the
rhythm in this study requires control of tempo, especially when playing the sixteenth notes, and
keep the tone quality and articulation in the mid and low register. In addition, the displaced accents
and the slurs might be tricky when thought together, and it might require some effort from the
interpreter. It also presents a modal melody and harmony based on the lydian and mixolydian
modes, which is common at the Brazilian Northeastern traditional music, such as used by Luiz
Gonzaga, who used the same modes in the music Baio.

10
Ibid.

Pedagogical usage
Trumpet Professors and teachers in Brazil rely on traditional methods and books; including
Arban for technic and characteristic studies, Clark for technical studies, Balay for technical and
characteristic studies, Charlier characteristic studies, among other internationally well known
authors. One reason that can explain that occurrence is related to the mild development of the
Brazilian pedagogical production intended to the studies area inside country; specially about a
material that gives focus to the Brazilian Music.
However, the Morais trumpet studies were recently added to the undergraduate trumpet
program at the University of Brasilia, serving as Brazilian trumpet characteristic studies. There is
also an interest to enclose them to the unaccompanied trumpet repertoire. Hence, one of the trumpet
Professors at the UFPB11 says: "Eu tenho os estudos, eu tenho inteno de us-los em sala e
tambm no palco. Eu tambm pretendo grav-los, j que alguns foram dedicados a mim"12 (Benck
Filho, 2014 interview).
The Morais' studies took him a year to complete the collection, from 2012 to 2013. The
twelve trumpet studies were written and thought for the same purpose of the 20 French horn studies.
Thus, what the author said about the French horn studies can also be applied to the trumpet studies;
"my intentions were to have a book with Brazilian cultural characteristics and contribute to the
development of a Brazilian horn school based on it, and I believe it will happen soon."13

11

Universidade Federal da Paraba- Federal University of Paraiba- Translated by the author, December 8, 2014.
Benck Filho, Ayrton Mzel: I have the studies; I intend to use them in class, and also on stage. In addition, I
have also the interest of recording them, since some were dedicated to me. Interview by author, September 27, 2014.
Translated by author, December 8, 2014.
13
Morais, Fernando. Interview (November 28, 2011) quoted at Rinaldo de Melo Fonseca, Fernando Morais'
20 Estudos Caractersticos Brasileiros Para Trompa: A Performance Guide (Memphis, TN: UMI Dissertation
Publishing, 2012), 14.
12

10


Conclusion
The Morais studies figure an important contribution to the trumpet repertoire, serving as
Brazilian trumpet characteristic studies that can be used in class room and on stage as
unaccompanied pieces. However, the studies were not organized in a progressive difficulty
technical level, they do not have line notes or a performance guide; also, they were not published
yet, and there are not official recordings. In addition, a more detailed analysis of the studies
providing a background knowledge on how to interpret them, will be useful as a performance guide
if attached to the studies.
Despite that, the importance of this work relies on the benefits that those studies can provide
for Brazilians and non-Brazilians. For Brazilians, it highlights the meaning of exploring their own
music, and for non-Brazilians, it provides an in introduction to the Brazilian nationalist style, which
employs classical forms such as fantasia, sonata, suite, and variations. Also, the Brazilian folk
music that is contained in its melodic, harmonic and rhythmic structure.

11

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12


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13