English version
Parcourir Free-scores.com
Partitions Gratuites
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
Page d'accueil
Instrumentations
Top Téléchargements
Compositeurs
Nouveautés
Partitions de Noël
Genres Musicaux
Genres Musicaux
Autres Services
Autres Services
Top 100
Portées musicales
Metronome
Achats pour Musiciens
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
A propos de free-scores.com
Partitions
Gratuites
1
Partitions
Numériques
11
Librairie
Musicale
37
Matériel
de Musique
106
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
TRI ET FILTRES
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
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Non classifié
310
PIANO & CLAVIERS
Piano seul
298
Piano, Voix et Guitare
225
Piano, Voix
131
Piano Facile
90
Instruments en Do
30
Piano grosses notes
15
Orgue
13
1 Piano, 4 mains
12
Accompagnement Piano
9
Piano Trio: piano, violon, violoncelle
5
Accordéon
5
Piano Quatuor: piano, 2 violons, violoncelle
3
Ligne De Mélodie, Piano
2
Accordéon, Voix
1
Piano (partie séparée)
1
Instrumentations suivantes
Retracter
GUITARES
Guitare notes et tablatures
109
Ligne De Mélodie, (Paroles) et Accords
61
Paroles et Accords
50
Ukulele
40
Guitare
27
Basse electrique
12
Dulcimer
4
Banjo
3
Ensemble de guitares
2
Mandoline
2
2 Guitares (duo)
1
3 Guitares (trio)
1
Mandoline, Piano (duo)
1
Basse électrique (partie séparée)
1
Instrumentations suivantes
Retracter
VOIX
Chorale SATB
167
Chorale 3 parties
67
Chorale TTBB
33
Chorale 2 parties
33
Pack Instrumental pour Chorale
22
Chorale
18
Chorale SSAA
15
Chorale Unison
15
Voix duo, Piano
9
Voix haute
7
Voix duo
4
Voix seule
4
Voix Baryton, Piano
3
Voix basse, Piano
3
Voix Soprano, Piano
2
Voix Tenor, Piano
2
Voix Alto, Piano
1
Chorale SSATB
1
Chorale SSAATTBB
1
Instrumentations suivantes
Retracter
VENTS
Flûte traversière
19
Clarinette
18
Flûte traversière et Piano
18
Saxophone Tenor et Piano
17
Hautbois, Piano (duo)
16
2 Saxophones (duo)
15
Saxophone Alto
15
Clarinette et Piano
14
Quatuor de Saxophones: 4 saxophones
13
Saxophone Alto et Piano
13
Saxophone
12
Saxophone (partie séparée)
12
2 Flûtes traversières (duo)
10
Saxophone Tenor
9
Quatuor de Clarinettes: 4 clarinettes
9
Cor anglais, Piano
8
Saxophone Soprano et Piano
8
2 Clarinettes (duo)
8
Saxophone, Clarinette (duo)
6
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
6
Flûte, Hautbois, Clarinette, Basson
6
Flute (partie séparée)
6
Clarinette (partie séparée)
5
Saxophone Baryton, Piano
5
Clarinette, Trompette (duo)
4
Clarinette, Violon (duo)
4
Quatuor de Flûtes : 4 flûtes
4
Flûte, Clarinette (duo)
4
Instruments en Mib
3
Harmonica
3
2 Hautbois (duo)
3
Ensemble de Flûtes
3
Hautbois, Clarinette (duo)
3
Ensemble de Clarinettes
3
Hautbois, Basson (duo)
3
Quintette de Saxophone: 5 saxophones
3
Quintette de Flûte : 5 flûtes
2
Flûte, Alto (duo)
2
Flûte à bec Alto
2
Clarinette Basse, Piano
2
Flûte, Trompette (duo)
2
2 Hautbois, Piano
2
Trio de Flûtes: 3 flûtes
2
Flûte à Bec
2
Flûte, Saxophone (duo)
2
3 Saxophones (trio)
2
Flûte à bec Soprano
2
Clarinette et Alto
2
Quintette de Clarinettes: 5 clarinettes
2
Hautbois (partie séparée)
2
Clarinette, Basson (duo)
1
2 Flûte à bec (duo)
1
Clarinette, Trombone (duo)
1
Flûte à bec Alto, Piano
1
Ensemble de saxophones
1
2 Saxophones, Piano
1
Flûte, Hautbois, Basson
1
2 Flûtes à bec, Piano
1
Flûte à bec Soprano, Piano
1
Flûte, Violoncelle
1
Hautbois, Violoncelle
1
Hautbois, Clarinette et Piano (Trio)
1
Clarinette Basse
1
Ocarina
1
Flûte, Clarinette, Piano (trio)
1
Flûte à Bec, Piano
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
Flûte, Trombone (duo)
1
Instrumentations suivantes
Retracter
CUIVRES
Trompette, Piano
16
Trombone et Piano
15
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
13
Trompette (partie séparée)
12
Trompette
11
Cor anglais, Piano
8
Euphonium, Piano (duo)
7
Trombone (partie séparée)
6
Trombone
6
Cor et Piano
6
Quatuor de Cuivres : 2 trompettes, trombone, tuba
6
2 Trompettes (duo)
5
Trompette, Trombone (duo)
4
Quatuor de cuivres: 4 trompettes
3
Cor (partie séparée)
3
Instruments en Sib
3
Quatuor de Cuivres: 2 trompettes, Cor, trombone
3
Bass Clef Instruments
3
Tuba (partie séparée)
2
2 Euphoniums et 2 Tubas
2
2 Trombones (duo)
2
2 Trompettes, Clavier (piano ou orgue)
2
Tuba et Piano
2
Cor
2
2 Cors (duo)
1
Trio de Cuivres
1
Ensemble de Cors
1
Instruments en Fa
1
2 Tubas (duo)
1
4 Tubas
1
Trompette, Saxophone (duo)
1
Quatuor de cuivres: 4 trombones
1
Instrumentations suivantes
Retracter
CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
45
Violon et Piano
20
Violon
17
Harpe
17
Alto, Piano
13
Violoncelle, Piano
12
Alto seul
7
Violon (partie séparée)
7
Violon, Violoncelle (duo)
7
Trio à Cordes: violon, alto, violoncelle
6
Violoncelle
6
Trio à cordes: 3 violins
6
2 Violons (duo)
5
2 Altos (duo)
4
Piano Trio: Violon, Alto, Piano
4
2 Violoncelles (duo)
3
Violon, Alto (duo)
3
Contrebasse (partie séparée)
3
Violoncelle (partie séparée)
2
2 Contrebasses (duo)
2
Alto (partie séparée)
2
Violoncelle, Contrebasse (duo)
2
4 Violoncelles
2
3 Contrebasses
1
Trio à Cordes: 2 violons, violoncelle
1
Violon, Clarinette, Piano (trio)
1
Harpe, Voix
1
Violon, Basson (duo)
1
Alto, Violoncelle (duo)
1
2 Violons, Piano
1
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
Instrumentations suivantes
Retracter
PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
101
Orchestre
33
Orchestre à Cordes
22
Cloches
8
Batterie
8
Percussion
7
Ensemble de cuivres
7
Ensemble Jazz
6
Percussion (partie séparée)
5
Batterie (partie séparée)
3
Jazz combo
3
Fanfare
3
Ensemble de Percussions
2
Orchestre de chambre
2
Xylophone
2
Vibraphone
1
Quintette de Cuivres: autres combinaisons
1
Instrumentations suivantes
Retracter
AUTRES
Vous avez sélectionné:
Trouble
Trompette
Partitions à imprimer
11 partitions trouvées
<
1
Good Trouble
Trompette
Trumpet Solo - Level 5 - Digital Download SKU: A0.969862 Composed by Amy Dunker. Co…
(+)
Trumpet Solo - Level 5 - Digital Download SKU: A0.969862 Composed by Amy Dunker. Concert,Contemporary. Individual part. 6 pages. Amy Dunker #6083251. Published by Amy Dunker (A0.969862). Good Trouble was written in memoriam to the great civil rights leader and congressman, John Lewis (1940-2020). Lewis was one of the Big Six leaders who organized the 1963 March on Washington, and he fulfilled many key roles in the civil rights movement and its actions to end legalized racial segregation in the United States. Lewis became nationally known during his prominent role in the Selma to Montgomery marches when, on March 7, 1965 – a day that would become known as Bloody Sunday – Lewis and fellow activist Hosea Williams led over 600 marchers across the Edmund Pettus Bridge in Selma, Alabama. At the end of the bridge, they were met by Alabama State Troopers who ordered them to disperse. When the marchers stopped to pray, the police discharged tear gas and mounted troopers charged the demonstrators, beating them with night sticks. Lewis's skull was fractured, but he escaped across the bridge to Brown Chapel, a church in Selma which also served as the movement's headquarters. Lewis bore scars on his head from the incident for the rest of his life.Duration: 6:00
$8.00
7.34 €
#
Trompette
#
Amy Dunker
#
6:00
#
Good Trouble
#
Amy Dunker
#
SheetMusicPlus
Simon & Garfunkel : Bridge Over Troubled Water (niveau facile/intermédiaire)
Trompette
Téléchargez la partition Trompette Bridge Over Troubled Water (niveau facile…
(+)
Téléchargez la partition Trompette Bridge Over Troubled Water (niveau facile/intermédiaire) de Simon & Garfunkel. Partition pour Trompette avec accomp. orchestre -- Pop/rock,Musique religieuse
5.99 €
#
Trompette
#
Simon & Garfunkel
#
Bridge Over Troubled Water
#
Tomplay
Simon & Garfunkel : Bridge Over Troubled Water (niveau difficile)
Trompette
Téléchargez la partition Trompette Bridge Over Troubled Water (niveau diffic…
(+)
Téléchargez la partition Trompette Bridge Over Troubled Water (niveau difficile) de Simon & Garfunkel. Partition pour Trompette avec accomp. orchestre -- Pop/rock,Musique religieuse
5.99 €
#
Trompette
#
Simon & Garfunkel
#
Bridge Over Troubled Water
#
Tomplay
Simon & Garfunkel : Bridge Over Troubled Water (niveau facile)
Trompette
Téléchargez la partition Trompette Bridge Over Troubled Water (niveau facile…
(+)
Téléchargez la partition Trompette Bridge Over Troubled Water (niveau facile) de Simon & Garfunkel. Partition pour Trompette avec accomp. orchestre -- Pop/rock,Musique religieuse
5.99 €
#
Trompette
#
Simon & Garfunkel
#
Bridge Over Troubled Water
#
Tomplay
Simon & Garfunkel : Bridge Over Troubled Water (niveau débutant)
Trompette
Téléchargez la partition Trompette Bridge Over Troubled Water (niveau d&eacu…
(+)
Téléchargez la partition Trompette Bridge Over Troubled Water (niveau débutant) de Simon & Garfunkel. Partition pour Trompette avec accomp. orchestre -- Pop/rock,Musique religieuse
5.99 €
#
Trompette
#
Simon & Garfunkel
#
Bridge Over Troubled Water
#
Tomplay
Double Trouble by The Trumpet Man - Trumpet Solo
Trompette
Sheet Music for Double Trouble from Harry Potter and the Prisoner of Azkaban arranged for …
(+)
Sheet Music for Double Trouble from Harry Potter and the Prisoner of Azkaban arranged for Instrumental Solo in E Minor. Digital sheet music from Musicnotes. --
$3.99
3.66 €
#
Trompette
#
Trumpet Solo
#
Musicnotes
The Be-Bop Range Book
Trompette
Trumpet Solo - Level 5 - Digital Download SKU: A0.829071 Composed by Eric Bolvin. I…
(+)
Trumpet Solo - Level 5 - Digital Download SKU: A0.829071 Composed by Eric Bolvin. Instructional,Jazz. Individual part. 64 pages. ERIC V BOLVIN #3579875. Published by ERIC V BOLVIN (A0.829071). The Be-Bop Range Book is a creative approach to developing range, technique and improvisational be-bop skills for trumpet.IntroductionTrumpet range and developing it is one of the most common and controversial subjects among trumpet players, teachers and authors. Without delving too far into the physical and scientific aspects of trumpet playing, allow me to paraphrase the great Yogi Berra;The upper register of the trumpet is the same as the middle and lower registers, just different.All trumpet playing is a coordination or balance of three things: air, tongue level and embouchure. It is through sensible, intelligent and consistent practice that we develop the skills necessary to play throughout the entire range of our instrument.Purpose Of This BookAlthough hitting the high note may be the quest for many trumpet players, a more useful and musical goal is developing a large playable range. This means being able to articulate and play musically and dynamically throughout the entire range of the instrument. This is accomplished through the use of Range Arcs, which are musical phrases that cover a large range. In addition to building our playable range, we are working on technique and adding to our jazz vocabulary.I originally developed the concept of Range Arcs in The Modern Jazz Trumpet Method. Many players have commented on how useful these studies are, so I decided to expand on it here. For more rudimentary range, flexibility and endurance study, seeTongue Level & Air.The Approach NoteI have found that how we approach the highest note of a musical phrase is critical to range development. This aspect of range development is presented here in a progressive, creative format.Exercises 1-5 use the Chromatic Approach. This means that the highest note of the arc is approached from a 1â„2 step below. The exercises continue, adding a 1â„2 step to the approach note every five exercises.Articulation & PhrasingAll exercises in this book are to be played in a swing style. However, if you are having trouble with an exercise, sometimes playing it straight may help. Jazz articulation should also be employed throughout. What does that mean exactly? Jazz trumpet articulation is as spontaneous and individual as an improvised solo. Honestly, if I have to think about it, I can’t do it. The best advice is to listen to the trumpet players quoted in this book and to as much jazz trumpet as you can. Transcribe and play solos while emulating their style and articulation.Immersing yourself in this will result in your own personal style of articulation. Jazz articulation on trumpet is also born out of necessity. Some slurs in a line may just not be possible so you must tongue. This will be revealed when you start some of the exercises that contain wider intervals.How To Use This BookEach exercise group consists of a Range Arc, Range Builder and Range Builder Extended. Each group should be practiced for at least one week before moving ahead to the next one.Range ArcsThe Range Arc is the original lick. Many of these have been borrowed from some of the great jazz trumpeters of all time; Freddie Hubbard, Clifford Brown, Lee Morgan, Chet Baker, Tom Harrell, Randy Brecker, Fats Navarro and Blue Mitchell.You should begin with the key that is marked with an asterisk * ; it is an easy key and range and will help you familiarize yourself with the lick. Practice slowly at first and then work for speed. Once you are familiar with the * lick, start at the beginning of the Range Arc. Work on each key until you get it smoothly. Repeat as needed and rest between each key. Take the D.C. and play 8va through the indicated key (see the box at the end of the Range Arc) that takes you to High C. Rest for 15 minutes.Range BuildersAfter resting, you are ready for the Range Builder. These are short.
$16.95
15.55 €
#
Trompette
#
Eric Bolvin
#
Air
#
The Be-Bop Range Book
#
ERIC V BOLVIN
#
SheetMusicPlus
Louis Armstrong: Nobody Knows The Trouble I've Seen - trumpet solo
Trompette
Instantly printable sheet music by Louis Armstrong for trumpet solo of MEDIUM skill level.…
(+)
Instantly printable sheet music by Louis Armstrong for trumpet solo of MEDIUM skill level. / inspirational,jazz
$4.97
4.56 €
#
Trompette
#
Louis Armstrong
#
Virtualsheetmusic
The Arban Manual (Pre 2013)
Trompette
Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Down…
(+)
Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Repertoire, General Instructional, Technique Training. 75 pages. Published by Faded Duck Music
The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the older Carl Fischer Arban Method.<br> <br> Description<br> The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice.<br> Why<br> Arban’s Complete Conservatory Method for Trumpet andArban’s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology.<br> <br> How<br> A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can.<br> <br> Range Considerations<br> Students who are ready to play from Arban should have a “usable range” up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today’s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129.<br> If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don’t rush your progress.<br> <br> Warming Up<br> One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson.<br> <br> Performance Etudes<br> I’ve designated some of the more melodic and well balanced etudes as “performance etudes”. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance.<br> <br> All of the characteristic studies and celebrated fantaisies are considered performance pieces.<br> <br> Models<br> Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban’suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons.<br> <br> The Hard Stuff<br> At some point in your study of Arban you may come across something that you just can’t play, or play at tempo. This often involves triple or double tonguing. Don’t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world’s top players can’t play everything in the Arban book.<br> <br> Multiple Tonguing<br> Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends “tu ku”, many have had success using “tuh kuh”, “duh guh”, “tee kee” and many others. Finding your best syllables may take some experimentation.<br> <br> Extending Exercises<br> Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models.<br> <br> Transposition<br> Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice.<br> The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part.<br> <br> Songs and duets<br> Some teachers love these and others don’t. I suggest you try them and if you’d like to supplement other pieces that you need to work on, please feel free to do so.<br> <br> For bass clef instruments<br> Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments.<br> <br> The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone.The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the older Carl Fischer Arban Method.<br> <br> Description<br> The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice.<br> Why<br> Arban’s Complete Conservatory Method for Trumpet andArban’s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology.<br> <br> How<br> A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can.<br> <br> Range Considerations<br> Students who are ready to play from Arban should have a “usable range” up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today’s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129.<br> If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don’t rush your progress.<br> <br> Warming Up<br> One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson.<br> <br> Performance Etudes<br> I’ve designated some of the more melodic and well balanced etudes as “performance etudes”. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance.<br> <br> All of the characteristic studies and celebrated fantaisies are considered performance pieces.<br> <br> Models<br> Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban’suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons.<br> <br> The Hard Stuff<br> At some point in your study of Arban you may come across something that you just can’t play, or play at tempo. This often involves triple or double tonguing. Don’t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world’s top players can’t play everything in the Arban book.<br> <br> Multiple Tonguing<br> Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends “tu ku”, many have had success using “tuh kuh”, “duh guh”, “tee kee” and many others. Finding your best syllables may take some experimentation.<br> <br> Extending Exercises<br> Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models.<br> <br> Transposition<br> Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice.<br> The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part.<br> <br> Songs and duets<br> Some teachers love these and others don’t. I suggest you try them and if you’d like to supplement other pieces that you need to work on, please feel free to do so.<br> <br> For bass clef instruments<br> Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments.<br> <br> The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone.
$16.95
15.55 €
#
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
15.55 €
#
Trompette
#
Eric Bolvin
#
The Arban Manual - Hooten Edition
#
SheetMusicPlus
Simon & Garfunkel: Bridge Over Troubled Water - trumpet solo
Trompette
Instantly printable sheet music by Simon & Garfunkel for trumpet solo of MEDIUM skill …
(+)
Instantly printable sheet music by Simon & Garfunkel for trumpet solo of MEDIUM skill level. / folk,oldies,pop,wedding,festival,love
$2.97
2.72 €
#
Trompette
#
Simon & Garfunkel
#
Virtualsheetmusic
<
1
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale