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AUTRES
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What You Need
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The Fool On The Hill
Trompette
B-Flat Trumpet Solo - Level 2 - Digital Download SKU: A0.1188794 By Sergio Mendes &…
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B-Flat Trumpet Solo - Level 2 - Digital Download SKU: A0.1188794 By Sergio Mendes & Brasil '66. By John Lennon and Paul McCartney. Arranged by Leo Silva. New Age,Pop,Spiritual. Individual part. 2 pages. MP Sheet Music #788410. Published by MP Sheet Music (A0.1188794). The Fool on the Hill was released by The Beatles in 1967 as part of the Magical Mystery Tour album, which also included All You Need Is Love and Penny Lane. The song was written and composed by Paul McCartney and is sung by him and John Lennon on the studio version. The song is about a solitary, eccentric character who stands and watches the activity of the people around him. He does not feel part of the activity that is taking place, since no one notices him or cares about what he says or does. Although people view him as a fool, the narrator says that he knows more than he speaks. It was well received by critics and was hailed as one of the best songs by The Beatles. The Fool on the Hill was praised for its message of acceptance of different people and for its unique music. It was recognized as a symbol of acceptance and tolerance, and is still remembered today as one of the band's most iconic songs.
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Sergio Mendes & Brasil '66
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Leo Silva
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The Fool On The Hill
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MP Sheet Music
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SheetMusicPlus
The Be-Bop Range Book
Trompette
Trumpet Solo - Level 5 - Digital Download SKU: A0.829071 Composed by Eric Bolvin. I…
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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.
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Trompette
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Eric Bolvin
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Air
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The Be-Bop Range Book
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ERIC V BOLVIN
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SheetMusicPlus
Fugue: "Wear Pearls and Smile" (A Pairing with Beethoven's Symphony #2) - Trumpet in C 1
Trompette
Trumpet Solo - Level 5 - Digital Download SKU: A0.1018933 Composed by Benjamin Harr…
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Trumpet Solo - Level 5 - Digital Download SKU: A0.1018933 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 3 pages. Benjamin Sajo #6072969. Published by Benjamin Sajo (A0.1018933). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.ABOUT THE COMPOSER: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings , with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50
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Trompette
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Benjamin Harry Sajo
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Fugue: "Wear Pearls and Smile"
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Benjamin Sajo
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SheetMusicPlus
Fugue: "Wear Pearls and Smile" (A Pairing with Beethoven's Symphony #2) - Trumpet in C 2
Trompette
Trumpet Solo - Level 5 - Digital Download SKU: A0.1018934 Composed by Benjamin Harr…
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Trumpet Solo - Level 5 - Digital Download SKU: A0.1018934 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 3 pages. Benjamin Sajo #6072971. Published by Benjamin Sajo (A0.1018934). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.ABOUT THE COMPOSER: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings , with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50
3.18 €
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Trompette
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Benjamin Harry Sajo
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Fugue: "Wear Pearls and Smile"
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Benjamin Sajo
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SheetMusicPlus
The Progressive Warm Up-Trumpet Edition
Trompette
Trumpet, Horn in F - Advanced Intermediate - Digital Download Composed by Eric Bolvin…
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Trumpet, Horn in F - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Classroom, General Instructional, Technique Training. 42 pages. Published by Faded Duck Music
A creative and thorough way to warm-up and keep your chops in shape in less than 30 minutes daily!<br> <br> Description<br> The Warm Up is an integral component of every brass player’s daily practice. Brass teachers have always been at odds as to what a good warm-up should consist of. My teacher Claude Gordon believed that there should be no prescribed warm-up, as the first notes of the day would fill that need. Others believe in a set warm-up that is done the same every day and never changes. And then there are those teachers who believe a warm-up should cover every aspect of playing, sometimes lasting two hours or more. I end up in the middle of all this with The Progressive Warm-Up.
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Trompette
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Eric Bolvin
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The Progressive Warm Up-Trumpet Edition
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SheetMusicPlus
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