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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Life Is Short Music
Non classifié
86
Piano & claviers
Piano seul
62
Piano grosses notes
36
Piano, Voix et Guitare
28
Piano Facile
14
Orgue
13
Piano, Voix
10
Piano Trio: piano, violon, violoncelle
1
1 Piano, 4 mains
1
2 Pianos, 4 mains
1
Instruments en Do
1
+ 5 instrumentations
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Guitare
5
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1
Voix
Chorale SATB
26
Chorale 3 parties
15
Voix Alto, Piano
9
Chorale SSAA
4
Chorale Unison
2
Chorale TTBB
2
Voix Soprano, Piano
2
Voix haute
1
Voix moyenne, Piano
1
Chorale 2 parties
1
Chorale
1
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2 Saxophones (duo)
21
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16
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11
2 Clarinettes (duo)
10
Quatuor de Clarinettes: 4 clarinettes
7
Flûte traversière et Piano
7
Quintette de Saxophone: 5 saxophones
6
Clarinette et Piano
6
2 Hautbois (duo)
5
2 Flûtes traversières (duo)
5
Saxophone Alto et Piano
4
Hautbois, Piano (duo)
4
Ensemble de Clarinettes
4
Quatuor de Flûtes : 4 flûtes
3
Flûte, Hautbois, Clarinette, Basson
3
Hautbois, Basson (duo)
3
Saxophone, Clarinette (duo)
3
Clarinette Basse, Piano
2
Clarinette et Alto
2
Clarinette, Violon (duo)
2
Flûte, Clarinette (duo)
2
2 Saxophones, Piano
2
Saxophone Soprano et Piano
2
Saxophone Alto
1
Clarinette, Basson (duo)
1
Flûte, Saxophone (duo)
1
Saxophone Tenor et Piano
1
Hautbois, Clarinette (duo)
1
Flûte à bec, Guitare (duo)
1
Hautbois, Flûte
1
2 Flûtes traversières, Piano
1
Flûte, Violon
1
Flûte traversière
1
Flûte, Trompette (duo)
1
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10
Trompette
8
Quatuor de Cuivres: 2 trompettes, Cor, trombone
6
2 Trombones (duo)
5
2 Trompettes (duo)
5
2 Cors (duo)
4
Trompette, Piano
3
Cor et Piano
3
Quatuor de Cuivres : 2 trompettes, trombone, tuba
3
Trombone et Piano
3
2 Tubas (duo)
2
Trompette, Saxophone (duo)
2
Tuba et Piano
2
Euphonium, Piano (duo)
1
Quatuor de Cuivres
1
Trompette, Trombone (duo)
1
Quatuor de cuivres: 4 cors
1
Cor et Orgue
1
2 Euphoniums et 2 Tubas
1
Ensemble de Trompettes
1
Tuba
1
+ 16 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
21
Quintette à cordes: 2 violons, alto, violoncelle, basse
10
Violon et Piano
10
2 Harpes (duo)
7
Violoncelle, Piano
7
Violon
7
Violon, Violoncelle (duo)
6
2 Violoncelles (duo)
6
2 Violons (duo)
6
2 Altos (duo)
5
Alto, Piano
5
Violon, Guitare (duo)
3
Trio à Cordes: violon, alto, violoncelle
3
Contre Basse
2
Alto et Harpe
2
2 Contrebasses (duo)
2
Harpe, Violon (duo)
2
Violon, Alto (duo)
2
Harpe, Flûte (duo)
2
Violoncelle
2
Alto seul
2
Violon, Clarinette, Piano (trio)
2
Harpe, Violoncelle (duo)
2
Contrebasse, Piano (duo)
1
Trio à Cordes: 2 violons, violoncelle
1
Trio à Cordes: 3 violoncelles
1
4 Violoncelles
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
+ 23 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
33
Orchestre
21
Orchestre à Cordes
12
Orchestre de chambre
5
Ensemble Jazz
4
Ensemble de cuivres
4
Cloches
3
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
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MARIMBA
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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
15.63 €
#
Trompette
#
Eric Bolvin
#
The Arban Manual
#
SheetMusicPlus
The Arban Manual - Hooten Edition
Trompette
Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Downloa…
(+)
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
15.63 €
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Trompette
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Eric Bolvin
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The Arban Manual - Hooten Edition
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SheetMusicPlus
Two Songs for Solo Trumpet
Trompette
Trumpet Solo - Level 5 - Digital Download SKU: A0.1047904 Composed by Alan Matheson…
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Trumpet Solo - Level 5 - Digital Download SKU: A0.1047904 Composed by Alan Matheson. Blues,Jazz. Individual part. 5 pages. Gordon Cherry #652349. Published by Gordon Cherry (A0.1047904). Two Songs for Solo Trumpet by Alan Matheson are tributes to great jazz artists who are inspirations to him; Bix Beiderbecke and Woody Shaw. Here is a summary of the composer's own words about these two outstanding movements: The first song For Bix Beiderbecke is a blues-based, elegiac salute to one of the first lyrical jazz brass players who also created a unique musical language in his short life by combining his love of jazz (especially that of Louis Armstrong) with his interest in the music of the Impressionists such as Debussy and Ravel. The second song For Woody Shaw pays a tribute to one of the masters of modern-jazz playing. In his compositions and improvisations, Shaw was very fond of using large intervals (such as minor and major 7ths) along with melodic lines based on the perfect 4th. I have included this sound in the melodic lines of this movement along with some hybrid scales to reflect Woody Shaw's harmonic adventurousness. These two songs total about 5 minutes in length and are appropriate for advanced performers.
$17.50
16.13 €
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Trompette
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Alan Matheson
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Two Songs for Solo Trumpet
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Gordon Cherry
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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
6.44 €
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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
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
5.52 €
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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
Ave Maria (Schubert) for trumpet in Bb and easy piano
Trompette
Piano,Trumpet - Level 3 - Digital Download SKU: A0.532296 Composed by Franz Schuber…
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Piano,Trumpet - Level 3 - Digital Download SKU: A0.532296 Composed by Franz Schubert. Arranged by Klas Krantz. Christmas,Classical,Romantic Period. Score and part. 6 pages. Amadeus Music #4623181. Published by Amadeus Music (A0.532296). Franz Schubert (1797 – 1828) was an Austrian composer of the late Classical and early Romantic eras. Despite his short lifetime, Schubert left behind a vast oeuvre, including more than 600 secular vocal works (mainly lieder), seven complete symphonies, sacred music, operas, incidental music, and a large body of piano and chamber music. Today, Schubert is ranked among the greatest composers of Western classical music and his music continues to be popular.
$4.95
4.56 €
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Trompette
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Franz Schubert
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Klas Krantz
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Ave Maria
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Amadeus Music
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SheetMusicPlus
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