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Vous avez sélectionné:
Ten Progressive Studies for Tuba
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Ten Progressive Studies for Tuba (EEb & BBb Bass)
Tuba
Tuba Solo - Level 1 - Digital Download SKU: A0.780004 Composed by Graham Boag. Inst…
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Tuba Solo - Level 1 - Digital Download SKU: A0.780004 Composed by Graham Boag. Instructional. Individual part. 27 pages. Graham Boag #3876395. Published by Graham Boag (A0.780004). A set of studies for beginner Tuba players that increase in difficulty up to an Early Intermediate level. These Studies are lyrical in style and use various keys and meters to give the young player something fun to play. The attached audio you can hear 'March of the Tuba', 'The Homecoming' and 'You Funk You Did' Included are parts for Tuba (Bass Clef), EEb & BBb Bass in Treble Clef. .
$5.00
4.61 €
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Tuba
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Graham Boag
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BBb Bass in Treble Clef.
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Ten Progressive Studies for Tuba
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Graham Boag
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SheetMusicPlus
The Arban Manual - Hooten Edition
Trompette
Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Downloa…
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Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Repertoire, General Instructional, Technique Training. 76 pages. Published by Faded Duck Music
The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the newer, Hooten edition published by Fischer. Why Arban?s Complete Conservatory Method for Trumpet andArban?s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology. How A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can. Range Considerations Students who are ready to play from Arban should have a ?usable range? up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today?s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129. If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don?t rush your progress. Warming Up One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson. Performance Etudes I?ve designated some of the more melodic and well balanced etudes as ?performance etudes?. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance. All of the characteristic studies and celebrated fantaisies are considered performance pieces. Models Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban?suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons. The Hard Stuff At some point in your study of Arban you may come across something that you just can?t play, or play at tempo. This often involves triple or double tonguing. Don?t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world?s top players can?t play everything in the Arban book. Multiple Tonguing Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends ?tu ku?, many have had success using ?tuh kuh?, ?duh guh?, ?tee kee? and many others. Finding your best syllables may take some experimentation. Extending Exercises Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models. Transposition Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice. The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part. Songs and duets Some teachers love these and others don?t. I suggest you try them and if you?d like to supplement other pieces that you need to work on, please feel free to do so. For bass clef instruments Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments. The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone. About SMP 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
20 Counterparts from Book 1 Rochut Bordogni Duet Accompaniments for Trombones 1-20
Trombone
Trombone Solo - Level 3 - Digital Download SKU: A0.811087 Composed by Tom Ervin. Ar…
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Trombone Solo - Level 3 - Digital Download SKU: A0.811087 Composed by Tom Ervin. Arranged by Marco Bordogni. Classical,Instructional,Opera,Romantic Period. Individual part. 26 pages. Gordon Cherry #5009439. Published by Gordon Cherry (A0.811087). The Rochut editions of Bordogni’s vocalises have become the most widly used etudes in American trombone pedigogy. They are prized for their lyric beauty, and also for their development of endurance, upper range, legato technique, styling and more. Other bass clef instrumentalists use Rochut. These Twenty Counterparts may be practiced and played as etudes alone. They are similar in style to the Bordogni; some are harder and some are easier than the Bordogni originals. But the primary intent was for recreational duet playing and for the trombone studio. Duets are fun and more, contributing to sightreading, intonation, ensemble, style-matching, confidence, independence, etc. As with the piano accompaniments, the duet parts also enhance the original melodies. Read what these famous trombonists have to say about this new contribution to the trombone literature …indisputably one of the most invaluable additions to appear in a very long time. Understanding lyricism is much easier when hearing this second voice. Joseph Alessi, Principal Trombone, New York Philharmonic …fantastic and beautiful. What a great idea! They will give the student a wonderful sense of music-making. Henry Charles Smith, Arizona State University …absolutely ingenious….they capture the essential character of each piece and cleverly expand and enhance the original material. Can be ‘stand alone’ material in its own right. I have already used them successfully on trombone, euphonium, and tuba. Loren Marsteller, Los Angeles An enjoyable new way to play the old favorites. Perform them with friends; record one part and play the other; play them alone…a great idea. Ralph Sauer, Principal Trombone Los Angeles Philharmonic A great book and a great idea! Really valuable; I am using it in my teaching. Jay Friedman, Principal Trombone, Chicago Symphony Orchestra Excellent studies, challenging in all registers, rewarding to play. Ned Meredith, formerly San Francisco Symphony Orchestra A very insightful and fresh approach to the trombone’s most important collection of etudes…destined to become a standard in the trombone literature. An absolute must! Michael Davis, jazz recording artist, New York City The unexpected harmonic progressions are a delight. They work great for euphoniums and for trombone and tuba R. Winston Morris, Tennessee Technological University …similar to the Rochut yet contains challenging rhythmic independence and contrast, increasing the value of ensemble experience. As an aid to duet performance, the measure, staff and page format is arranged the same as Rochut’s Fischer edition. Glenn P. Smith, Professor Emeritus University of Michigan A fine addition to the lyrical literature Charles Vernon, Bass Trombone Chicago Symphony Orchestra They’re not only enjoyable to play, but add some ‘zip’, harmonically, melodically, and rhythmically, to the original melodies. Buddy Baker University of Northern Colorado Compositionally, very interesting, not just a duet in thirds…stylistically appropriate…a great way to begin a lesson. Vern Kagarice, University of North Texas An outstanding idea, very valuable Keith Brown, Indiana University I enjoy the book with my students and then also change parts Carsten Svanberg, Danish National Symphony Orchestra Bravo! They serve a great purpose, very musical and playable. Will become a part of the standard trombone repertoire in a very short time…already part of mine. Jiggs Whigham, Professor of Trombone and Jazz, Cologne Germany
$25.00
23.05 €
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Trombone
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Tom Ervin
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Marco Bordogni
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20 Counterparts from Book 1 Rochut Bordogni Duet Accompaniments for Trombones 1-20
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Gordon Cherry
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SheetMusicPlus
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.
$16.95
15.63 €
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Trompette
#
Eric Bolvin
#
The Arban Manual
#
SheetMusicPlus
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