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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
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Piano grosses notes
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Piano Quatuor: piano, violon, alto, violoncelle
6
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3
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2
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19
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16
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15
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1
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2 Hautbois (duo)
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Flûte, Clarinette, Piano (trio)
1
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CUIVRES
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41
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17
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11
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Cor
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Tuba
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Trio de Cuivres
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2 Trompettes (duo)
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2 Trombones (duo)
3
Cor anglais, Guitare (duo)
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2 Cors (duo)
2
Trompette, Euphonium (duo)
1
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1
Tuba (partie séparée)
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
Quatuor de cuivres: 4 trombones
1
4 Tubas
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Quatuor de cuivres: 4 trompettes
1
2 Euphoniums (duo)
1
Euphonium, Piano (duo)
1
3 Trombones (trio)
1
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2 Tubas (duo)
1
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
471
Violon, Violoncelle (duo)
333
Trio à Cordes: violon, alto, violoncelle
304
Violon
249
Quintette à cordes: 2 violons, alto, violoncelle, basse
145
Alto seul
51
Violoncelle
46
2 Violons (duo)
37
Violon et Piano
36
Violon, Alto (duo)
24
Alto, Piano
23
Alto, Violoncelle (duo)
22
Harpe
22
2 Violoncelles (duo)
17
Violoncelle, Piano
14
Alto (partie séparée)
13
2 Altos (duo)
9
4 Violoncelles
8
Trio à Cordes: 2 violons, violoncelle
6
Violon, Guitare (duo)
5
Quatuor à cordes: 4 violons
5
Violon (partie séparée)
5
Quintette à cordes: 2 violons, 2 altos, violoncelle
5
Trio à Cordes: 2 violons, alto
4
Trio à Cordes: 3 violoncelles
4
2 Harpes (duo)
4
Harpe, Voix
3
Harpe, Violon, Violoncelle
3
Ensemble de Violons
3
Trio à cordes: 3 violins
3
Trio à cordes: 3 altos
3
Contrebasse (partie séparée)
3
4 Contrebasses
2
Ensemble d'Altos
2
Contre Basse
2
Alto et Harpe
2
Violoncelle (partie séparée)
1
Contrebasse, Piano (duo)
1
Violoncelle, Orchestre
1
Quatuor à cordes : 4 altos
1
Violoncelle, Contrebasse (duo)
1
Harpe, Flûte (duo)
1
Trio à cordes
1
Violon, Basson (duo)
1
Piano Trio: Violon, Alto, Piano
1
Violoncelle , Guitare (duo)
1
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PERCUSSIONS & ORCHESTRES
Orchestre à Cordes
171
Orchestre d'harmonie
95
Orchestre
55
Cloches
54
Orchestre de chambre
38
Ensemble Jazz
31
Ensemble de cuivres
28
Jazz combo
13
Batterie
10
Fanfare
8
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
4
Ensemble de Percussions
4
Vibraphone
3
Marimba
3
Batterie (partie séparée)
2
Xylophone, Piano
1
Piano et Orchestre
1
Percussion (partie séparée)
1
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AUTRES
Vous avez sélectionné:
I Give
Trompette
Partitions à imprimer
17 partitions trouvées
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1
I Won't Give Up
Trompette
Trumpet, piano - Level 3 - Digital Download SKU: A0.633842 By Jason Mraz. By Jason …
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Trumpet, piano - Level 3 - Digital Download SKU: A0.633842 By Jason Mraz. By Jason Mraz and Michael Natter. Arranged by Fishel Pustilnik. Pop,Rock. Score and part. 10 pages. F & N Enterprise #3466750. Published by F & N Enterprise (A0.633842). An excellent arrangement of famous Song I Won't Give Up for Trumpet and Piano (Jazz/Pop Version). The composition is easy to read, fun to play and sound professional when performed. Arranged by Fishel Pustilnik, very well known as Composer/Publisher. His books Jazz & Pop Piano Paradise (Volumes 1-5) have become a commercial success and a hit with music teachers and students in Canada. (Thousands books already sold in Canada). They are also starting to enter the US, Brazil, Norway, Russia, Holland, Israel, Belgium, Sweden, Finland, Greece, Latvia and UK markets. This is a wonderful new publication. These pieces offer much appeal for the young pianist and excellent choice for a supplementary book for students from Grade 3 to 8. Lore Ruschiensky, Editor, (from review in The Canadian Music Teacher) Yesterday I spent at least two pleasure filled hours playing through your imaginatively inventive compositions. Congratulations! I trust students will decide to program your well crafted and entertaining works on recitals and examinations. Review from Dr. Jack Behrens, B.Sc. (Julliard), PH.D (Harvard), Director of Academic Studies, The Glenn Gould School I liked this book the best so far. Great work! You have a gift for melody and your arrangements are very playable. Congratulations on the 3rd Volume. Mark Carlstein, Hal Leonard, Keyboard Publications.Additional Information regarding my arrangements at SheetMusicPlus: https://www.facebook.com/arrangementsofsheetmusic/
$4.99
4.56 €
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Trompette
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Jason Mraz
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Fishel Pustilnik
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I Won't Give Up
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F & N Enterprise
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SheetMusicPlus
I Won't Give Up
Trompette
Trumpet Solo - Level 2 - Digital Download SKU: A0.609142 By Jason Mraz. By Jason Mr…
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Trumpet Solo - Level 2 - Digital Download SKU: A0.609142 By Jason Mraz. By Jason Mraz and Michael Natter. Arranged by Kevin Busse. Pop,Rock. Individual part. 2 pages. Kevin Busse #5337317. Published by Kevin Busse (A0.609142). This is an exact transcription of I Won't Give Up in a good range for Trumpet.
$4.99
4.56 €
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Trompette
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Jason Mraz
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Kevin Busse
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I Won't Give Up
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Kevin Busse
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SheetMusicPlus
I Won't Give Up
Trompette
Trumpet Solo - Level 3 - Digital Download SKU: A0.609125 By Jason Mraz. By Jason Mr…
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Trumpet Solo - Level 3 - Digital Download SKU: A0.609125 By Jason Mraz. By Jason Mraz and Michael Natter. Arranged by Kevin Busse. Pop,Rock. Individual part. 2 pages. Kevin Busse #5337239. Published by Kevin Busse (A0.609125). This is an exact transcription of I Won't Give Up in the original key for Trumpet.
$4.99
4.56 €
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Trompette
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Jason Mraz
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Kevin Busse
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I Won't Give Up
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Kevin Busse
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SheetMusicPlus
I Won't Give Up
Trompette
Trumpet Solo - Level 4 - Digital Download SKU: A0.686686 By Jason Mraz. By Jason Mr…
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Trumpet Solo - Level 4 - Digital Download SKU: A0.686686 By Jason Mraz. By Jason Mraz and Michael Natter. Arranged by Fernando Britto. Contemporary,Pop,Rock,Wedding. Individual part. 1 pages. Minhas Partituras #6458983. Published by Minhas Partituras (A0.686686). Arrangement of the song I Won't Give Up (Jason Mraz) for Trumpet in Bb Solo.
$4.99
4.56 €
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Trompette
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Jason Mraz
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Fernando Britto
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I Won't Give Up
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Minhas Partituras
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SheetMusicPlus
I Can't Give You Anything But Love
Trompette
Digital Download SKU: HX.404363 By Dorothy Fields and Louis Armstrong. Jazz,Standar…
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Digital Download SKU: HX.404363 By Dorothy Fields and Louis Armstrong. Jazz,Standards. Trumpet Transcription. 2 pages. Published by Hal Leonard - Digital (HX.404363).
$3.99
3.65 €
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Trompette
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Dorothy Fields and Louis Armstrong
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I Can't Give You Anything But Love
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Hal Leonard - Digital
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SheetMusicPlus
Only Hope
Trompette
Trumpet Solo - Level 4 - Digital Download SKU: A0.839356 By Mandy Moore. By Jonatha…
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Trumpet Solo - Level 4 - Digital Download SKU: A0.839356 By Mandy Moore. By Jonathan Foreman. Arranged by Bobby Hesch. Dance,Pop. Individual part. 3 pages. Bobby Hesch #5731689. Published by Bobby Hesch (A0.839356). ***ONLY HOPE***!!! I GIVE YOU MY DESTINY, I'M GIVING YOU ALL OF ME, I WANT YOUR SYMPHONY!!! LET'S PLAY SOME JAZZ!!! A GREAT SONG BY MANDY MOORE FROM THE MOVIE A WALK TO REMEMBER !!! KEY OF Db!!!LOW Gb - HIGH Bb!!! LOTS OF FLATS!!! COURTESY ACCIDENTALS & ARTICULATION MARKS!!! CHECK OUT THE MP3 FOR STYLE & INTERPRETATION!!! READ THE LYRICS TO HELP EXPRESSION!!! HAVE FUN!!!CONTACT INFORMATION:bobbyhesch@yahoo.com
$4.99
4.56 €
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Trompette
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Mandy Moore
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Bobby Hesch
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Only Hope
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Bobby Hesch
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SheetMusicPlus
I Give You My Heart by Reuben Morgan - Trumpet Solo
Trompette
Reuben Morgan - I Give You My Heart Digital Sheetmusic - instantly downloadable sheet musi…
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Reuben Morgan - I Give You My Heart Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement does not contain lyrics), scoring: Instrumental Solo, instruments: Trumpet; 1 pages -- CCM~~Christian~~Praise & Worship
$2.95
2.7 €
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Trompette
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Trumpet Solo
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Musicnotes
Ping-Pong for Trumpet Solo
Trompette
Trumpet Solo - Level 4 - Digital Download SKU: A0.876677 Composed by Dosia McKay. C…
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Trumpet Solo - Level 4 - Digital Download SKU: A0.876677 Composed by Dosia McKay. Contemporary. Individual part. 5 pages. Gavia Music #6325337. Published by Gavia Music (A0.876677). I originally composed Ping-Pong for tuba solo. The following is a trumpet transcription. Although the program note relates to the tuba version, trumpet players might find the explanation of the genesis of the music helpful.When I first spoke with Sande MacMorran, the tuba player for whom I composed the piece, we discussed the technicalities of the instrument; its optimal range, timbre, and articulation. Sande mentioned, in passing, that the rhythm of swing music is a natural fit for the instrument and even sang a few lines to give examples.In the following days, when I began to plan the new composition, I was surprised that the idea of playing ping-pong unexpectedly took hold of my mind and I couldn’t shake it off. At first, it seemed random and unrelated, but then, as I thought about the rhythmic patterns of the game, it all became clear.In ping-pong, the paddle hits the ball and then the ball hits the table in a pattern reminiscent of the rhythm of swing. While beginners tend to play slower, in triplets, the professionals, much faster, with the table note dotted or even double-dotted. Once I realized what my subconscious was trying to tell me, I listened to (not merely watched) several videos of ping-pong matches and discovered a wealth of entertaining rhythmic patterns. Thus the idea for this miniature tuba piece was born.While the tuba may seem a clumsy and awkward instrument, it is actually quite agile and flexible. It can perform many challenging melodic figures or quick jumps between registers, and it can certainly play ping-pong.Total duration: 1'25, for advanced players.
$20.00
18.28 €
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Trompette
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Dosia McKay
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Ping-Pong for Trumpet Solo
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Gavia Music
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SheetMusicPlus
Echo Taps for Solo Trumpet
Trompette
B-Flat Trumpet Solo - Level 3 - Digital Download SKU: A0.894419 Composed by Daniel …
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B-Flat Trumpet Solo - Level 3 - Digital Download SKU: A0.894419 Composed by Daniel Butterfield. Arranged by Zack Richards. Contemporary,Folk,Holiday,Patriotic. Individual part. 4 pages. Zack Richards #6426687. Published by Zack Richards (A0.894419). Taps has always been near and dear to me for almost as long as I've played the Trumpet. I have played it more times than I can count. I was the Bugler for our local Boy Scout troop, playing Taps at many campouts and events to signal the end of the day. I also played it with our High School Marching Band for Memorial Day services, including an incredibly special one at my grandfather's gravesite shortly after his passing. He had served in the Army during World War II. I also played it for several funerals, including my Uncle's, who had served in the Marines. For some time, I had volunteered for our local VFW to play for Veteran's funerals. My High School Trumpet teacher and numerous other people in my life are Veterans and have made a huge impact on me. I decided to write this arrangement to give tribute to all Veterans and Service Members and to help the Echo Taps Worldwide cause. Echo Taps Worldwide was first done on May 19, 2007, in recognition of Armed Forces Day at National Cemeteries, State Veterans Cemeteries and American Battle Monuments Cemeteries overseas. The idea is that at gatherings across the world on Armed Forces Day, Buglers play Taps in succession, with one beginning as the previous ends, to honor those who have sacrificed so much. The intention is also to bring attention to the dire need for buglers to play for Veteran's funerals across the world. If you can, please look into volunteering for your local organizations to play Taps. From Thomas Day, a Marine veteran who founded Bugles Across America in 2000, A live bugler performing Taps is an expression of the Nation’s appreciation for the service of each veteran...With more than 600,000 veterans dying each year, we are always looking for new volunteers to perform this valuable service. Performance and Rehearsal mp3 Tracks available!S0.1059653 Echo Taps Rehearsal TrackS0.1059683 Echo Taps Performance Track All of these works are available individually or all together in my United We Stand Collection. S0.1059689 United We Stand Collection Zack Richards Music Minus One Series Each of these works for Solo Trumpet with mp3 accompaniment track also have a corresponding arrangement for Trumpet Ensemble.S0.792173 Echo Taps for Trumpet EnsembleS0.1059707 United We Stand Collection for Trumpet Ensemble Solo B-flat Trumpet Intermediate- Advanced Intermediate Approx. 2:30  Visit zackrichards.com for more from this composer!
$5.99
5.48 €
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Trompette
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Daniel Butterfield
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Zack Richards
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Echo Taps for Solo Trumpet
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Zack Richards
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SheetMusicPlus
Deck The Halls Ye Merry Gentlemen!
Trompette
Trumpet - Level 2 - Digital Download SKU: A0.1301553 By Catherine Quinlan. By Cathe…
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Trumpet - Level 2 - Digital Download SKU: A0.1301553 By Catherine Quinlan. By Catherine Quinlan. Arranged by Catherine Quinlan. Chamber,Christmas,Folk,Traditional. 6 pages. Catherine Quinlan #891182. Published by Catherine Quinlan (A0.1301553). A bit of festive fun for 3 trumpets! Starting with a conversation between the instruments - shall we play fa la la? Jingle Bells? Silent Night? They agree on Deck the Halls, which then merges into God Rest Ye Merry Gentlemen. I always try to give everyone something interesting to play and share the tune around. This should be fun to both play and listen to.
$1.99
1.82 €
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Trompette
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Catherine Quinlan
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Catherine Quinlan
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Deck The Halls Ye Merry Gentlemen!
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Catherine Quinlan
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SheetMusicPlus
Unaccompanied Suites for Trumpet
Trompette
Trumpet Solo - Level 5 - Digital Download SKU: A0.810842 Composed by Johann Sebasti…
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Trumpet Solo - Level 5 - Digital Download SKU: A0.810842 Composed by Johann Sebastian Bach. Arranged by Ralph Sauer. Baroque. Individual part. 49 pages. Gordon Cherry #3464533. Published by Gordon Cherry (A0.810842). Bach's Unaccompanied Suites beautifully and meticulously edited for Trumpet by Ralph Sauer as a 48 page textbook. Mr. Sauer's thoughtful version of the Six Suites gives the performer room to breathe musically. To quote Mr. Sauer and Pablo Casals,I refrained from using fanciful descriptive terms such as con brio, or quasi una fantasia because they may suggest a particular style...This transcription is not intended to be a blueprint to be followed exactly, but rather, it is the raw material from which a personal interpretation can be built.To quote Pablo Casals, Where interpreting Bach's music is concerned, there are no hard and fast rules...The best thing to do is to discard all preconceived ideas and try to approach in our performances whatever the music conveys to us...
$20.00
18.28 €
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Trompette
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Johann Sebastian Bach
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Ralph Sauer
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Unaccompanied Suites for Trumpet
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Gordon Cherry
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SheetMusicPlus
The First Noel for Trumpet & Piano
Trompette
B-Flat Trumpet,Piano - Level 1 - Digital Download SKU: A0.548502 Composed by Tradit…
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B-Flat Trumpet,Piano - Level 1 - Digital Download SKU: A0.548502 Composed by Traditional. Arranged by James M. Guthrie, ASCAP. Christian,Christmas. Score and part. 4 pages. Jmsgu3 #3387385. Published by jmsgu3 (A0.548502). The First Noel arranged for Trumpet in Bb & Piano with new harmony for the final verse.Origins The First Noel is an English Christmas carol. Even more, it was probably written in the late Cornish Renaissance period. While other versions spell the title as Nowell, this is just a colloquial variation. Furthermore, Noel is an older word meaning Christmas. Therefore the First Noel translates as the First Christmas. First of all, Gilbert and Sandy published the earliest version. As a result, this version appears in the Carols Ancient and Modern songbook of 1823. William Sandy edited and arranged the book. Similarly, his partner Davies Gilbert edited and added the familiar extra verses. The First Noel: Trumpet Version comes with new harmony in final verse for more energy and drive. Stainer Organist and composer Sir John Stainer published the most noteworthy customary arrangement in the 1870’s. Stainer is above all famous for his songbook entitled: Christmas Carols New and Old (1871). This volume served as an important catalyst for reviving the English Christmas carol. Other famous Stainer arrangements from this book are such titles as What Child Is This, God Rest Ye Merry Gentlemen, Good King Wenceslas, and I Saw Three Ships. Diatonic Function The melodic structure in the First Noel is uncommon among English folk tunes. It simply repeats one phrase twice then follows a variation refrain. All three phrases of the song end on the mediant scale degree. This is unusual because the diatonic function of the mediant is non-final compared to the more usual tonic or even dominant degrees. Consequently, this gives the song as kind of open-ended feeling – like maybe it never really ends. Political Context The Catholic clergy sang carols outside of the church in Latin. After the Protestant Reformation, the reformers thought it would be better for everyone to sing carols. They decided to bring music back to the common folk. So, they translated the lyrics from Latin into common language. Moreover, the Protestants wanted more control over the music in church than what the Vatican allowed. Protestant composers such as William Byrd composed complex polyphonic Christmas music that they called carols. Nonetheless, some famous folk carols were composed in this era. Eminent composers in the nineteenth century began to revise and adapt them. Consequently, they revived the English carol. Register for free lifetime updates and revisions at www.jamesguthrie.com
$24.95
22.81 €
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Trompette
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Traditional
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James M
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The First Noel for Trumpet & Piano
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jmsgu3
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SheetMusicPlus
Hillsong Worship: I Give You My Heart - trumpet solo
Trompette
Instantly printable sheet music by Hillsong Worship for trumpet solo of MEDIUM skill level…
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Instantly printable sheet music by Hillsong Worship for trumpet solo of MEDIUM skill level. / christian,gospel,sacred
$2.97
2.72 €
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Trompette
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Hillsong Worship
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Virtualsheetmusic
Louis Armstrong: I Can't Give You Anything But Love - trumpet solo (transcription)
Trompette
Instantly printable sheet music by Louis Armstrong for trumpet solo (transcription) of MED…
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Instantly printable sheet music by Louis Armstrong for trumpet solo (transcription) of MEDIUM skill level. / jazz,standards
$4.97
4.54 €
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Trompette
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Louis Armstrong
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Virtualsheetmusic
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
15.5 €
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Trompette
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Eric Bolvin
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The Arban Manual
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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
15.5 €
#
Trompette
#
Eric Bolvin
#
The Arban Manual - Hooten Edition
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SheetMusicPlus
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