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TRI ET FILTRES
Tri et filtres :
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ACCORDEON
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PIANO & CLAVIERS
1 Piano, 4 mains
402
2 Pianos, 4 mains
159
Piano seul
118
Orgue, Piano (duo)
84
Orgue, Trompette (duo)
61
Piano Trio: piano, violon, violoncelle
50
Accompagnement Piano
43
Orgue
37
Piano, Voix
28
Piano, Voix et Guitare
16
2 Pianos, 8 mains
12
Piano Quatuor: piano, 2 violons, violoncelle
11
Instruments en Do
10
2 Accordéons
6
2 Orgues (duo)
5
1 Piano, 6 mains
4
Piano Quatuor: piano, violon, alto, violoncelle
3
Fake Book
2
Clavecin
1
Accordéon
1
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GUITARES
2 Guitares (duo)
297
Piano, Guitare (duo)
132
Guitare notes et tablatures
63
Guitare
41
2 Dulcimers (duo)
11
2 Ukuleles
7
Ukulele
6
Ligne De Mélodie, (Paroles) et Accords
5
Dulcimer
3
4 Guitares (Quatuor)
3
Mandoline, Piano (duo)
2
Mandoline, Guitare (duo)
2
Basse electrique
1
Ensemble de guitares
1
Mandoline
1
3 Guitares (trio)
1
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VOIX
Voix duo, Piano
107
Voix duo
102
Chorale SATB
64
Chorale 2 parties
15
Chorale TTBB
10
Chorale SSAA
7
Chorale 3 parties
5
Voix duo, Orgue
3
Voix haute
3
Voix moyenne, Piano
2
Voix Soprano, Piano
2
Voix Mezzo-Soprano, Piano
2
Voix Tenor, Piano
1
Voix basse, Piano
1
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VENTS
2 Saxophones (duo)
801
Hautbois, Piano (duo)
627
2 Clarinettes (duo)
600
2 Flûtes traversières (duo)
498
Flûte, Clarinette (duo)
170
Saxophone Alto et Piano
166
Saxophone Tenor et Piano
156
2 Hautbois (duo)
141
Hautbois, Basson (duo)
131
Flûte et Guitare
109
Flûte traversière et Piano
105
Saxophone, Clarinette (duo)
94
Hautbois, Flûte
89
Clarinette, Guitare (duo)
73
Clarinette, Basson (duo)
55
Clarinette, Violon (duo)
54
Clarinette et Piano
53
Saxophone Soprano et Piano
51
Flûte, Clarinette, Piano (trio)
50
Flûte, Violon
49
Hautbois, Clarinette (duo)
45
2 Flûtes traversières, Piano
39
Clarinette, Trompette (duo)
38
2 Flûte à bec (duo)
38
Flûte, Alto (duo)
36
Flûte, Violon, Piano
30
Flûte, Violoncelle
30
Clarinette et Alto
28
Flûte, Saxophone (duo)
28
Flûte, Hautbois (duo)
24
Ensemble de Clarinettes
21
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
19
Flûte, Trompette (duo)
19
Flûte traversière
19
Hautbois, Guitare (duo)
16
Clarinette, Violoncelle (duo)
16
Flûte, Violoncelle, Piano (trio)
14
Flûte traversière, Orgue (duo)
13
2 Saxophones, Piano
12
Flûte, Basson et Piano
11
2 Clarinettes, Piano
11
Quatuor de Clarinettes: 4 clarinettes
10
Clarinette, Harpe (duo)
10
Saxophone et Guitare
9
Saxophone et Orgue
8
Flûte, Trombone (duo)
8
2 Cors Anglais Et Pianoforte
8
Quatuor de Saxophones: 4 saxophones
8
Cor anglais, Guitare (duo)
7
Clarinette, Tuba
7
Flûte, Hautbois, Clarinette, Basson
7
Clarinette
7
Cor anglais et Harpe (duo)
6
Clarinette, Trombone (duo)
6
Clarinette Basse, Piano
5
Saxophone et Harpe
5
Hautbois, Violoncelle
4
Saxophone Baryton, Piano
4
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4
Hautbois (partie séparée)
3
Ensemble de Flûtes
3
Clarinette, Violoncelle, Piano (trio)
3
Flûte, Alto et Piano
3
Hautbois, Harpe
3
Flûte, Clarinette et Basson
3
Saxophone Alto
2
Quatuor de Flûtes : 4 flûtes
2
Clarinette, Basson, Piano (trio)
2
3 Saxophones (trio)
2
Piccolo
2
Saxophone Tenor
2
Cor anglais, Piano
2
Flûte à bec, Guitare (duo)
2
3 Clarinettes (trio)
2
Flûte, Violon et Violoncelle
2
Saxophone, Basson (duo)
1
Flûte, Hautbois, Piano (trio)
1
Saxophone, Tuba (duo)
1
Hautbois, Trompette (duo)
1
Hautbois, Violoncelle et Piano
1
Clarinette, Orgue
1
Hautbois, trombone (duo)
1
Saxophone et violoncelle
1
Flûte à bec Soprano
1
Hautbois, violon (duo)
1
Piccolo, Piano
1
Flûte à bec Soprano, Piano
1
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CUIVRES
2 Trompettes (duo)
225
2 Trombones (duo)
185
2 Cors (duo)
151
Trompette, Trombone (duo)
115
Euphonium, Piano (duo)
97
Trompette, Cor (duo)
67
Trompette, Piano
55
Trombone et Piano
53
Trompette, Saxophone (duo)
50
Euphonium, Tuba (duo)
31
2 Tubas (duo)
24
Trompette, Tuba (duo)
24
Cor et Piano
20
2 Euphoniums (duo)
20
Clarinette, Cor (duo)
17
Trombone, Tuba (duo)
16
Tuba et Piano
11
Trompette
10
Trombone, Cor (duo)
9
2 Cors Anglais Et Pianoforte
8
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
8
Cor, Tuba (duo)
8
Cor anglais, Guitare (duo)
7
Cor et Basson (duo)
6
Cor anglais et Harpe (duo)
6
Trombone
5
Cor et Harpe
5
Quatuor de Cuivres: 2 trompettes, Cor, trombone
5
Trombone, Orgue
4
Trompette (partie séparée)
4
Trombone, Violon (duo)
4
Cor et Orgue
4
Quatuor de Cuivres : 2 trompettes, trombone, tuba
4
Trompette, Violoncelle (duo)
4
2 Trompettes, Clavier (piano ou orgue)
3
Quatuor de cuivres: 4 trombones
3
Trompette, Harpe
3
Cor, Violoncelle (duo)
3
Trompette, violon (duo)
2
Cor anglais, Piano
2
2 Euphoniums et 2 Tubas
2
Tuba et Orgue
1
4 Tubas
1
Ensemble de Trompettes
1
Cor
1
Trombone, Alto (duo)
1
Ensemble de Cors
1
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CORDES
Violon, Violoncelle (duo)
1029
2 Violons (duo)
451
2 Violoncelles (duo)
427
Violon, Alto (duo)
309
2 Altos (duo)
249
Violon et Piano
197
Alto, Violoncelle (duo)
195
Violon, Guitare (duo)
108
Violoncelle, Piano
85
Violoncelle , Guitare (duo)
83
Contrebasse, Piano (duo)
75
Alto, Piano
65
2 Harpes (duo)
63
Alto, Guitare (duo)
46
Harpe, Violon (duo)
42
Harpe, Flûte (duo)
38
Quatuor à cordes: 2 violons, alto, violoncelle
34
2 Contrebasses (duo)
29
Violoncelle, Contrebasse (duo)
28
Harpe
19
Harpe, Violoncelle (duo)
19
Alto et Harpe
15
Piano Trio: Violon, Alto, Piano
15
2 Violons, Piano
13
Violon
13
Violoncelle
13
Trio à Cordes: violon, alto, violoncelle
10
Violoncelle, Orgue
8
Violon, Orgue
5
Alto et Basson
4
Alto seul
4
Contre Basse
3
Harpe et Piano
3
4 Violoncelles
3
Trio à Cordes: 2 violons, violoncelle
2
Alto, Orgue
2
Harpe et mandoline
2
Trio à Cordes: 3 violoncelles
2
Harpe, Trombone (duo)
2
Harpe, Voix
1
3 Contrebasses
1
Violon, Clarinette, Piano (trio)
1
Violon, Tuba (duo)
1
2 Altos, Piano
1
Quatuor à cordes: 4 violons
1
Alto (partie séparée)
1
Violon, Basson (duo)
1
Flûte, Contrebasse (duo)
1
Violoncelle (partie séparée)
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre
35
Ensemble de cuivres
22
Orchestre de chambre
22
Ensemble Jazz
21
Orchestre d'harmonie
16
Cloches
15
Orchestre à Cordes
11
2 Xylophones
8
Vibraphone et Marimba
5
Jazz combo
4
Vibraphone
3
2 Marimbas
3
Marimba
3
Ensemble de Percussions
2
Instrumentations suivantes
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AUTRES
Vous avez sélectionné:
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Partitions à imprimer
10 partitions trouvées
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1
CuthbertPraise Trumpet Descants for Hymns, Vol. 2
Trompette
Piano,Trumpet - Level 4 - Digital Download SKU: A0.919585 Composed by Various. Arra…
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Piano,Trumpet - Level 4 - Digital Download SKU: A0.919585 Composed by Various. Arranged by Randy Adams. Christian,Christmas,Easter,Sacred. Score and part. 25 pages. Randy Adams #4352653. Published by Randy Adams (A0.919585). Original hymn descants designed to be used as solo trumpet, duet or trio arrangements with organ or piano, with or without congregational singing. Piano parts and lyrics included along with Bb Trumpet parts. Variety of styles from soaring lyrical melodies to brilliant technical fanfare flourishes. Medium difficulty. Range to high Concert A. Hymns Included: Immortal, Invisible (St. Denio), When Morning Gilds the Skies (Laudes Domini), Lift Up Your Heads (Truro), In the Cross of Christ I Glory (Rathbun), The Christ Who Died and Rose Again (St. Magnus), Oh Love, How Deep (Deus tuorum militim), All Hail the Power of Jesus' Name (Coronation), Alleluia! Sing to Jesus (Hyfrydol), There's a Wideness in God's Mercy (Beecher), When I Survey the Wondrous Cross (Rockingham).
$20.00
18.34 €
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Trompette
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Various
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Randy Adams
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CuthbertPraise Trumpet Descants for Hymns, Vol. 2
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Randy Adams
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SheetMusicPlus
With You I'm Born Again
Trompette
Trumpet Solo - Level 4 - Digital Download SKU: A0.839540 By Billy Preston & Syreeta…
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Trumpet Solo - Level 4 - Digital Download SKU: A0.839540 By Billy Preston & Syreeta. By David Shire. Arranged by Bobby Hesch. Contemporary. Individual part. 3 pages. Bobby Hesch #6332339. Published by Bobby Hesch (A0.839540). WITH YOU I'M BORN AGAIN!!! I WAS HALF NOT WHOLE IN STEP WITH NONE, REACHING THROUGH THIS WORLD IN NEED OF ONE!!!LET'S PLAY SOME JAZZ!!! KEY OF F#/G!!!COURTESY ACCIDENTALS!! MP3 FOR JAZZ STYLE & INTERPRETATION!!!WRITTEN AS A SOLO!!DOES NOT INCLUDE A DUET PART!!! LOW A#/HIGH D#!!!BEAUTIFUL LOVE SONG WITH MANY TENDER MOMENTS & BIG CLIMAXES!CONTACT INFORMATION: bobbyhesch@yahoo.com IG:@bobbyhesch HAVE FUN!!! GREAT TUNE!!!
$4.99
4.58 €
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Trompette
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Billy Preston & Syreeta
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Bobby Hesch
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With You I'm Born Again
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Bobby Hesch
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SheetMusicPlus
We Have Heard the Joyful Sound (Jesus Saves): Trumpet and Piano
Trompette
Piano,Trumpet - Level 4 - Digital Download SKU: A0.524657 Composed by William J. Ki…
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Piano,Trumpet - Level 4 - Digital Download SKU: A0.524657 Composed by William J. Kirkpatrick. Arranged by John A. Dempsey. Celtic,Christian,Irish,Sacred,Spiritual,Traditional. Score and part. 16 pages. John A. Dempsey #6138125. Published by John A. Dempsey (A0.524657). This lively hymn arrangement is designed to inject energy and enthusiasm into your worship service with its jazzy rhythm, upbeat tempo and flavorful melody. Â This is an enduring hymn with eternal truth as its message. Â Musically influenced by both Cajun and Celtic styles, this duet arrangement for Bb trumpet and piano is recommended for traditional church services, praise gatherings, youth rallies and other worship events, as a prelude, postlude, an offertory, interlude and special music. Â Concert Key (Piano): Bb major. Â Trumpet Key: C major. Â 12 pages of music (that includes a separate three-page trumpet part).
$6.99
6.41 €
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Trompette
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William J
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John A
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We Have Heard the Joyful Sound
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John A. Dempsey
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SheetMusicPlus
Blessed Assurance--trumpet solo
Trompette
Piano,Trumpet - Level 4 - Digital Download SKU: A0.786582 Composed by Fanny Crosby,…
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Piano,Trumpet - Level 4 - Digital Download SKU: A0.786582 Composed by Fanny Crosby, Phoebe Palmer Knapp. Arranged by Beka Wilson. Christian,Gospel,Sacred. Score and part. 5 pages. Beka Wilson #6260821. Published by Beka Wilson (A0.786582). One of Fanny Crosby’s most beloved hymns is Blessed Assurance, and this song was given life by composer Phoebe Palmer Knapp. This intermediate instrumental arrangement of Blessed Assurance is perfect as part of a prelude, a short offertory for a smaller church, or any other special music needs for a church service.This arrangement is also available as a solo for flute, oboe, clarinet, bassoon, alto sax, tenor sax, F horn, trombone, violin, viola, and cello, and as a duet for two harps, harp/flute, harp/violin, harp/viola, or harp/cello. A vocal version of this arrangement will be made available soon.Length: approximately 2:40 Key: Concert D (E for B flat instruments, B for E flat instruments, A for F instruments)5 pages (includes score and separate solo part)
$6.99
6.41 €
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Trompette
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Fanny Crosby, Phoebe Palmer Knapp
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Beka Wilson
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Blessed Assurance--trumpet solo
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Beka Wilson
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SheetMusicPlus
Trumpet Jubilee! (Optional trumpet in Bb part)
Trompette
B-Flat Trumpet Solo - Level 4 - Digital Download SKU: A0.1268479 Composed by Martin…
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B-Flat Trumpet Solo - Level 4 - Digital Download SKU: A0.1268479 Composed by Martin Ellis. 21st Century,Classical,Wedding. Individual part. 2 pages. Martin Ellis Music #861020. Published by Martin Ellis Music (A0.1268479). Organ Duet/Organ and TrumpetOptional part for Trumpet in Bb.
$2.00
1.83 €
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Trompette
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Martin Ellis
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Trumpet Jubilee!
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Martin Ellis Music
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SheetMusicPlus
Shimmering River, Starry Night (Trumpet and Piano)
Trompette
Piano,Trumpet - Level 4 - Digital Download SKU: A0.525025 Composed by John A. Demps…
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Piano,Trumpet - Level 4 - Digital Download SKU: A0.525025 Composed by John A. Dempsey. Classical,Holiday,New Age,Pop,Wedding. Score and part. 13 pages. John A. Dempsey #6609301. Published by John A. Dempsey (A0.525025). Music mirroring the flowing beauty of rivers and nighttime canvas of stars found on a magical, midsummer evening, this romantic duet for Bb trumpet and piano is recommended for concerts, recitals, banquets, weddings, holiday celebrations and as a prelude for other multiple events and venues. Â Suggested wedding uses: prelude, unity candle music, bridesmaid processional and wedding recessional. Â 9 pages of music (that includes a separate two-page trumpet part). Â Concert Key (Piano): C major. Â Trumpet Key: D major.
$7.99
7.33 €
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Trompette
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John A
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Shimmering River, Starry Night
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John A. Dempsey
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SheetMusicPlus
The Arban Manual (Pre 2013)
Trompette
Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Down…
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Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Repertoire, General Instructional, Technique Training. 75 pages. Published by Faded Duck Music
The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the older Carl Fischer Arban Method.<br> <br> Description<br> The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice.<br> Why<br> Arban’s Complete Conservatory Method for Trumpet andArban’s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology.<br> <br> How<br> A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can.<br> <br> Range Considerations<br> Students who are ready to play from Arban should have a “usable range” up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today’s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129.<br> If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don’t rush your progress.<br> <br> Warming Up<br> One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson.<br> <br> Performance Etudes<br> I’ve designated some of the more melodic and well balanced etudes as “performance etudes”. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance.<br> <br> All of the characteristic studies and celebrated fantaisies are considered performance pieces.<br> <br> Models<br> Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban’suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons.<br> <br> The Hard Stuff<br> At some point in your study of Arban you may come across something that you just can’t play, or play at tempo. This often involves triple or double tonguing. Don’t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world’s top players can’t play everything in the Arban book.<br> <br> Multiple Tonguing<br> Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends “tu ku”, many have had success using “tuh kuh”, “duh guh”, “tee kee” and many others. Finding your best syllables may take some experimentation.<br> <br> Extending Exercises<br> Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models.<br> <br> Transposition<br> Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice.<br> The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part.<br> <br> Songs and duets<br> Some teachers love these and others don’t. I suggest you try them and if you’d like to supplement other pieces that you need to work on, please feel free to do so.<br> <br> For bass clef instruments<br> Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments.<br> <br> The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone.The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the older Carl Fischer Arban Method.<br> <br> Description<br> The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice.<br> Why<br> Arban’s Complete Conservatory Method for Trumpet andArban’s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology.<br> <br> How<br> A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can.<br> <br> Range Considerations<br> Students who are ready to play from Arban should have a “usable range” up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today’s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129.<br> If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don’t rush your progress.<br> <br> Warming Up<br> One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson.<br> <br> Performance Etudes<br> I’ve designated some of the more melodic and well balanced etudes as “performance etudes”. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance.<br> <br> All of the characteristic studies and celebrated fantaisies are considered performance pieces.<br> <br> Models<br> Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban’suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons.<br> <br> The Hard Stuff<br> At some point in your study of Arban you may come across something that you just can’t play, or play at tempo. This often involves triple or double tonguing. Don’t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world’s top players can’t play everything in the Arban book.<br> <br> Multiple Tonguing<br> Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends “tu ku”, many have had success using “tuh kuh”, “duh guh”, “tee kee” and many others. Finding your best syllables may take some experimentation.<br> <br> Extending Exercises<br> Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models.<br> <br> Transposition<br> Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice.<br> The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part.<br> <br> Songs and duets<br> Some teachers love these and others don’t. I suggest you try them and if you’d like to supplement other pieces that you need to work on, please feel free to do so.<br> <br> For bass clef instruments<br> Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments.<br> <br> The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone.
$16.95
15.55 €
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Trompette
#
Eric Bolvin
#
The Arban Manual
#
SheetMusicPlus
The Arban Manual - Hooten Edition
Trompette
Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Downloa…
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Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Repertoire, General Instructional, Technique Training. 76 pages. Published by Faded Duck Music
The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the newer, Hooten edition published by Fischer. Why Arban?s Complete Conservatory Method for Trumpet andArban?s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology. How A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can. Range Considerations Students who are ready to play from Arban should have a ?usable range? up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today?s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129. If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don?t rush your progress. Warming Up One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson. Performance Etudes I?ve designated some of the more melodic and well balanced etudes as ?performance etudes?. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance. All of the characteristic studies and celebrated fantaisies are considered performance pieces. Models Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban?suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons. The Hard Stuff At some point in your study of Arban you may come across something that you just can?t play, or play at tempo. This often involves triple or double tonguing. Don?t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world?s top players can?t play everything in the Arban book. Multiple Tonguing Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends ?tu ku?, many have had success using ?tuh kuh?, ?duh guh?, ?tee kee? and many others. Finding your best syllables may take some experimentation. Extending Exercises Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models. Transposition Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice. The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part. Songs and duets Some teachers love these and others don?t. I suggest you try them and if you?d like to supplement other pieces that you need to work on, please feel free to do so. For bass clef instruments Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments. The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone. About SMP PressThe Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the newer, Hooten edition published by Fischer.
Why
Arban?s Complete Conservatory Method for Trumpet andArban?s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology.
How
A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can.
Range Considerations
Students who are ready to play from Arban should have a ?usable range? up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today?s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129.
If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don?t rush your progress.
Warming Up
One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson.
Performance Etudes
I?ve designated some of the more melodic and well balanced etudes as ?performance etudes?. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance.
All of the characteristic studies and celebrated fantaisies are considered performance pieces.
Models
Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban?suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons.
The Hard Stuff
At some point in your study of Arban you may come across something that you just can?t play, or play at tempo. This often involves triple or double tonguing. Don?t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world?s top players can?t play everything in the Arban book.
Multiple Tonguing
Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends ?tu ku?, many have had success using ?tuh kuh?, ?duh guh?, ?tee kee? and many others. Finding your best syllables may take some experimentation.
Extending Exercises
Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models.
Transposition
Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice.
The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part.
Songs and duets
Some teachers love these and others don?t. I suggest you try them and if you?d like to supplement other pieces that you need to work on, please feel free to do so.
For bass clef instruments
Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments.
The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone.
About SMP Press
$16.95
15.55 €
#
Trompette
#
Eric Bolvin
#
The Arban Manual - Hooten Edition
#
SheetMusicPlus
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