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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
Rush
Non classifié
279
Piano & claviers
Piano, Voix et Guitare
362
Piano seul
340
Piano, Voix
105
Piano Facile
86
Orgue
18
1 Piano, 4 mains
17
Instruments en Do
15
Piano grosses notes
6
2 Pianos, 4 mains
4
Piano Quatuor: piano, violon, alto, violoncelle
3
Piano (partie séparée)
3
Piano Trio: piano, violon, violoncelle
2
Ligne De Mélodie, Piano
2
Accordéon
1
Accompagnement Piano
1
+ 10 instrumentations
Retracter
Guitares
Guitare notes et tablatures
342
Basse electrique
147
Ligne De Mélodie, (Paroles) et Accords
109
Guitare
77
Guitare Tab, Voix, Basse, Batterie
40
Paroles et Accords
38
Ukulele
22
2 Guitares (duo)
10
4 Guitares (Quatuor)
6
Mandoline
5
Guitare (partie séparée)
4
Dulcimer
2
+ 7 instrumentations
Retracter
Voix
Chorale SATB
94
Chorale 3 parties
32
Chorale SSAA
16
Chorale TTBB
10
Chorale 2 parties
9
Voix Soprano, Piano
5
Chorale Unison
4
Voix seule
4
Voix haute
3
Voix duo, Piano
3
Chorale SSATB
2
Chorale SSAATTBB
1
Chorale
1
Voix Baryton, Piano
1
Voix Mezzo-Soprano, Piano
1
Pack Instrumental pour Chorale
1
Voix moyenne, Piano
1
+ 12 instrumentations
Retracter
Vents
Saxophone (partie séparée)
26
Clarinette (partie séparée)
20
Flûte, Hautbois, Clarinette, Basson
20
Quatuor de Saxophones: 4 saxophones
18
Quatuor de Flûtes à bec
17
3 Flûtes à bec (trio)
15
2 Flûte à bec (duo)
15
Ensemble De Flûte à bec
13
Flûte traversière et Piano
9
Flûte traversière
9
Clarinette et Piano
8
Quatuor de Clarinettes: 4 clarinettes
7
Hautbois (partie séparée)
7
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
7
Flute (partie séparée)
7
Clarinette
6
5 Flûtes à bec
6
Saxophone Alto
5
Quatuor de Flûtes : 4 flûtes
5
Saxophone Alto et Piano
5
Saxophone Tenor
4
Saxophone Soprano
2
Hautbois, Piano (duo)
2
Trio de Flûtes: 3 flûtes
2
2 Saxophones (duo)
2
2 Flûtes traversières (duo)
2
Saxophone Tenor et Piano
2
Hautbois
2
Quintette de Clarinettes: 5 clarinettes
2
Harmonica
2
Clarinette Basse, Piano
2
Quintette de Flûte : 5 flûtes
1
Clarinette, Violoncelle, Piano (trio)
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Saxophone Baryton, Piano
1
3 Saxophones (trio)
1
Ensemble de saxophones
1
Ensemble de Flûtes
1
Clarinette, Guitare (duo)
1
3 Clarinettes (trio)
1
Flûte et Guitare
1
Cornemuse
1
Flûte à bec Alto
1
Flûte, Clarinette et Basson
1
2 Saxophones, Piano
1
Hautbois, Guitare (duo)
1
+ 41 instrumentations
Retracter
Cuivres
Trompette (partie séparée)
20
Trombone (partie séparée)
20
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
14
Quatuor de Cuivres : 2 trompettes, trombone, tuba
11
Cor (partie séparée)
10
Trompette
8
Quatuor de Cuivres
8
Tuba (partie séparée)
4
Trombone et Piano
3
Trompette, Piano
3
Cor
3
Tuba
2
Tuba et Piano
2
Cor et Piano
2
Trombone
2
Trio de Cuivres
1
Euphonium, Piano (duo)
1
3 Trombones (trio)
1
Euphonium
1
Ensemble de Trombones
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
+ 16 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
40
Harpe
16
Violon et Piano
13
Violon (partie séparée)
11
Violon
11
Violoncelle
7
Trio à Cordes: violon, alto, violoncelle
6
2 Harpes (duo)
5
Violoncelle, Piano
4
Contrebasse (partie séparée)
4
Alto, Piano
3
Alto seul
3
2 Violons (duo)
3
Alto (partie séparée)
3
Violoncelle , Guitare (duo)
2
Violoncelle (partie séparée)
2
Contre Basse
2
Violon, Alto (duo)
2
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
Violon, Guitare (duo)
1
2 Violoncelles (duo)
1
Contrebasse, Piano (duo)
1
Violon, Violoncelle (duo)
1
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
+ 19 instrumentations
Retracter
Orchestre & Percussions
Batterie
152
Orchestre d'harmonie
112
Orchestre de chambre
45
Orchestre
38
Orchestre à Cordes
37
Ensemble Jazz
18
Percussion (partie séparée)
17
Cloches
13
Fanfare
13
Ensemble de cuivres
10
Jazz combo
7
Ensemble de Percussions
4
Batterie (partie séparée)
3
Timbales (partie séparée)
2
Percussion
2
Xylophone, Piano
1
+ 11 instrumentations
Retracter
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COR ANGLAIS
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FLUTE A BEC
FLUTE A DIX…
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TRI ET FILTRES
Tri et filtres :
--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
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METHODE : ETUDES
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NOËL
OLD TIME - EARLY ROC…
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PATRIOTIQUE
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POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
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Vous avez sélectionné:
Rush
Trompette
Partitions à imprimer
8 partitions trouvées
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1
Blackbirds and Thrushes
Trompette
Piano,Trumpet - Level 1 - Digital Download SKU: A0.836913 Composed by English Folk …
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Piano,Trumpet - Level 1 - Digital Download SKU: A0.836913 Composed by English Folk Song. Arranged by Jane Frasier. Folk. Score and part. 5 pages. Jane Frasier #3396395. Published by Jane Frasier (A0.836913). Blackbirds and Thrushes was popular in the West of England. Printed versions appear in a songbook by Cecil Sharp (1903). Duration: 2 minutes.
$5.00
4.61 €
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Trompette
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English Folk Song
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Jane Frasier
#
Blackbirds and Thrushes
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Jane Frasier
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SheetMusicPlus
I've Got a Crush on You by George Gershwin - Trumpet Solo
Trompette
George Gershwin - I've Got a Crush on You Digital Sheetmusic - instantly downloadable…
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George Gershwin - I've Got a Crush on You Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement does not contain lyrics), scoring: Instrumental Solo;Instrumental Duet;Instrumental Trio, instruments: Trumpet 1;Trumpet 2;Trumpet 3; 2 pages -- Jazz~~Jazz Standards~~Show/Broadway
$3.99
3.68 €
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Trompette
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Trumpet Solo
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Musicnotes
L'autre Finistere
Trompette
Trumpet Solo - Level 3 - Digital Download SKU: A0.1005294 Composed by Jean-Christop…
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Trumpet Solo - Level 3 - Digital Download SKU: A0.1005294 Composed by Jean-Christophe Urbain, Jean-Philippe Nataf, Michael Rushton, and Richard Ganivet. Arranged by Stephane ELSINY. Contemporary. Individual part. 2 pages. Stephane Elsiny #5720093. Published by Stephane Elsiny (A0.1005294). I am not a singer. When I love a pop rock song, I would like to play it with my instrument. And you ? The original tone is respected. So add karaoke online and go ! Example for this title: https://youtu.be/7eYdwuD7hTM Professors, these titles are ideal for motivating your students. Students, bring these titles to your teacher and have fun. Soon other French songs, pop, variety and also international songs… Do you have a question about your purchase? You can contact me by e-mail: musicaccess.se@gmail.com Be informed of new products by subscribing to my YouTube channel: https://www.youtube.com/user/musicaccessse
$4.99
4.6 €
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Trompette
#
Jean-Christophe Urbain, Jean-Philippe Nataf, Michael Rushton, and Richard Ganivet
#
Stephane ELSINY
#
L'autre Finistere
#
Stephane Elsiny
#
SheetMusicPlus
L'autre Finistere
Trompette
Trumpet Solo - Level 3 - Digital Download SKU: A0.1005293 Composed by Jean-Christop…
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Trumpet Solo - Level 3 - Digital Download SKU: A0.1005293 Composed by Jean-Christophe Urbain, Jean-Philippe Nataf, Michael Rushton, and Richard Ganivet. Arranged by Stephane ELSINY. Contemporary. Individual part. 2 pages. Stephane Elsiny #5720091. Published by Stephane Elsiny (A0.1005293). I am not a singer. When I love a pop rock song, I would like to play it with my instrument. And you ? The original tone is respected. So add karaoke online and go ! Example for this title: https://youtu.be/7eYdwuD7hTM Professors, these titles are ideal for motivating your students. Students, bring these titles to your teacher and have fun. Soon other French songs, pop, variety and also international songs… Do you have a question about your purchase? You can contact me by e-mail: musicaccess.se@gmail.com Be informed of new products by subscribing to my YouTube channel: https://www.youtube.com/user/musicaccessse
$4.99
4.6 €
#
Trompette
#
Jean-Christophe Urbain, Jean-Philippe Nataf, Michael Rushton, and Richard Ganivet
#
Stephane ELSINY
#
L'autre Finistere
#
Stephane Elsiny
#
SheetMusicPlus
Looking For You
Trompette
B-Flat Trumpet Solo - Level 5 - Digital Download SKU: A0.488655 By Kirk Franklin. B…
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B-Flat Trumpet Solo - Level 5 - Digital Download SKU: A0.488655 By Kirk Franklin. By Charles Mims, Fred Washington, Kirk Franklin, Patrice Rushen, and Sheree Brown. Arranged by David Lartey. Disco,R & B. Individual part. 2 pages. David Lartey #105432. Published by David Lartey (A0.488655).
$14.50
13.37 €
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Trompette
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Kirk Franklin
#
David Lartey
#
Looking For You
#
David Lartey
#
SheetMusicPlus
Carson Cooman: Spring Songs (2005) for Bb or C trumpet and piano
Trompette
Piano,Trumpet - Digital Download SKU: A0.533671 Composed by Carson Cooman. Concert,…
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Piano,Trumpet - Digital Download SKU: A0.533671 Composed by Carson Cooman. Concert,Contemporary,Standards. Score and part. 36 pages. Musik Fabrik Music Publishing #3037095. Published by Musik Fabrik Music Publishing (A0.533671). Spring Songs (2005) for trumpet and piano is dedicated to trumpeter Chris Gekker and wasspecifically inspired by his playing and trumpet sound. The work consists of six lyrical songswithout words.Although conceived as an entire set, the movements may also be played individually or in anycombinations.Parts for both Bb and C trumpets are included with the set.I. Morning ElegyII. Open SkyIII. Thrush MusicIV. Noon DanceV. Solstice CanticleVI. Evening Prayer
$22.10
20.37 €
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Trompette
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Carson Cooman
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Carson Cooman: Spring Songs
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Musik Fabrik Music Publishing
#
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
15.63 €
#
Trompette
#
Eric Bolvin
#
The Arban Manual
#
SheetMusicPlus
The Arban Manual - Hooten Edition
Trompette
Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Downloa…
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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
15.63 €
#
Trompette
#
Eric Bolvin
#
The Arban Manual - Hooten Edition
#
SheetMusicPlus
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