SKU: M7.AHW-308
As recounted by our dad, Charles Colin, he was first introduced to Miles in the mid '50's by Charlie Parker. Pop had already published Charlie Parker's, 'Yardbird Originals' under our other publishing company, 'New Sounds in Modern Music'. Miles had been away for a period and, now that he was back on the scene, Parker thought it would be worthwhile for Miles to meet his new publisher, with the hope of working out a similar arrangement. Parker brought Miles to the office, then on 48th Street to meet Pop. Pop was very happy to give it a go, whereupon he gave Miles a trumpet, a mouthpiece and tape recorder and asked him to lay down solos over some standard tunes. The original transcriptions which, I believe were done by Hank Edmonds, were given the 'cool' knick-names, Miles Away, Miles Cools Off, etc. rather than the names of actual standards. So, here we are decades later, and have decided to ask renowned arranger, David Berger, to identify the tunes and clarify some of the chord changes - for posterity!
SKU: HL.14020976
UPC: 888680020262. 8.25x11.75x0.106 inches.
Challenging work for solo trumpet, which was commissioned by the International Trumpet Guild. It was first performed on the 23rd of June, 1999 at St. Magnus Cathedral, Kirkwall, Orkney at the St. Magnus Festival by John Wallace. Engravings are spread across double sheets so the player does not have to turn the page frequently. Duration: 11 minutes.
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SKU: BT.DHP-1196100-404
ISBN 9789043156806. German.
Musicals sind im Grunde genommen das, was früher Operetten waren: eine spannende Bühnenshow mit viel Musik, die bei Gro� und Klein für beste Unterhaltung sorgt! Viele Melodien aus den beliebtesten Musicals unserer Tage sindbereits selbst zu Klassikern geworden. In BläserKlasse Solo Musical lernen Schüler einige davon kennen: 14 der schönsten Titel aus internationalen Musical-Erfolgen sind hier versammelt.
Die Ausgabe ist alsSolo-Mitspielheft konzipiert und steht für mehrere BläserKlassen-Instrumente in eigens dafür eingerichteten Arrangements zur Verfügung. Schüler, die nach der bewährten BläserKlassen-Methode Essential Elements lernen, werdenauch hiermit bestens zurechtkommen, da zu jedem einzelnen Song genau angegeben ist, ab welcher Lektion der Methode er sich eignet. Die stilechten Begleitungen, die online im MP3-Format abgerufen werden können, lassen so richtigSpielspa� aufkommen.
SKU: HL.374359
ISBN 9781705150122. UPC: 196288016861. 9.0x12.0x0.1 inches.
A baker's dozen of hot hits are included in this collection perfect for new instrumentalists. It features online access to audio demonstration and backing tracks for download or streaming to help you hear how the song should sound then play along and sound like a pro! Songs include: Adore You (Harry Styles) • Bad Habits (Ed Sheeran) • Blinding Lights (The Weeknd) • drivers license (Olivia Rodrigo) • Kings and Queens (Ava Max) • Therefore I Am (Billie Eilish) • Willow (Taylor Swift) • and more.
SKU: BT.DHP-1196094-404
ISBN 9789043156745. German.
Die Unterhaltungsfilme aus der Produktion von Walt Disney Pictures, insbesondere die Zeichentrickfilme, prägen bis heute ganze Generationen von Kindern und Jugendlichen. Nicht wegzudenken ist dabei die Musik, die nicht nur in den Filmen selbst zu hören ist, sondern unter anderem auch den Grundstein für mehrere gro�e Musical-Erfolge gelegt hat. In BläserKlasse Disney sind 14 der berühmtesten Melodien aus Walt-Disney-Filmen versammelt. Die Ausgabe ist als ergänzendes Spielmaterial für Trompetenschüler konzipiert, die ihr Instrument in Bläserklassen erlernen. Die Solo-Arrangements sind genau auf den Lernfortschritt in der BläserKlassen-Methode Essential Elements abgestimmt, da zu jedem einzelnen Song angegeben ist, ab welcher Lektion der Methode er sich eignet. Für das authentische Disney-Feeling sorgen die stilechten Begleitungen, die online im MP3-Format abgerufen werden können.
SKU: CF.W2682
ISBN 9781491144954. UPC: 680160902453. 9 x 12 inches. Key: E major.
Edited by Elisa Koehler, Associate Professor and Chair of the Music Department at Goucher College, this new edition of Johann Nepomuk Hummel's Concerto in E Major for trumpet in E and piano presented in its original key.The concerto by Johann Nepomuk Hummel (1778–1837)holds a unique place in the trumpet repertoire. Like theconcerto by Joseph Haydn (1732–1809) it was written forthe Austrian trumpeter Anton Weidinger (1766–1852) andhis newly invented keyed trumpet, performed a few timesby Weidinger, and then forgotten for more than 150 yearsuntil it was revived in the twentieth century. But unlikeHaydn’s concerto in Eb major, Hummel’s Concerto a Trombaprincipale (1803) was written in the key of E major for atrumpet pitched in E, not E≤. This difference of key proved tobe quite a conundrum for trumpeters and music publishersin the twentieth century. The first modern edition, publishedby Fritz Stein in 1957, transposed the concerto down onehalf step into the key of E≤ to make it more playable on atrumpet in Bb, which had become the standard instrumentfor trumpeters by the middle of the twentieth century.Armando Ghitalla made the first recording of the Hummel in1964 in the original key of E (on a C-trumpet) after editinga performing edition in 1959 in the transposed key of E≤ (forBb trumpet) published by Robert King Music. Needless tosay, the trumpet had changed dramatically in terms of design,manufacture, and cultural status between 1803 and 1957, andthe notion of classical solo repertoire for the modern trumpetwas still in its formative stages when the Hummel concertowas reborn.These factors conspired to create confusion regarding thenumerous interpretative challenges involved in performingthe Hummel concerto according to the composer’s originalintentions on modern trumpets. For those seeking the bestscholarly information, a facsimile of Hummel’s originalmanuscript score was published in 2011 with a separatevolume of analytical commentary by Edward H. Tarr,1 whoalso published the first modern edition of the concertoin the original key of E major (Universal Edition, 1972).This present edition—available in both keys: Eb and Emajor—strives to build a bridge between scholarship andperformance traditions in order to provide viable options forboth the purist and the practitioner.Following the revival of the Haydn trumpet concerto, acase could be made that some musicians were influencedby a type of normalcy bias that resulted in performancetraditions that attempted to make the Hummel morelike the Haydn by putting it in the same key, insertingunnecessary cadenzas, and adding trills where they mightnot belong.2 Issues concerning tempo and ornamentationposed additional challenges. As scholarship and performancepractice surrounding the concerto have become betterknown, trumpeters have increasingly sought to performthe concerto in the original key of E major—sometimes onkeyed trumpets—and to reconsider more recent performancetraditions in the transposed key of Eb.Regardless of the key, several factors need to be addressedwhen performing the Hummel concerto. The most notoriousof these is the interpretation of the wavy line (devoid of a “tr†indication), which appears in the second movement(mm. 4–5 and 47–49) and in the finale (mm. 218–221). InHummel’s manuscript score, the wavy line resembles a sinewave with wide, gentle curves, rather than the tight, buzzingappearance of a traditional trill line. Some have argued that itmay indicate intense vibrato or a fluttering tremolo betweenopen and closed fingerings on a keyed trumpet.3 In Hummel’s1828 piano treatise, he wrote that a wavy line without a “trâ€sign indicates uneigentlichen Triller oder den getrillertenNoten [“improper†trills or the notes that are trilled], andrecommends that they be played as main note trills that arenot resolved [ohne Nachschlag].4 Hummel’s piano treatisewas published twenty-five years after he wrote the trumpetconcerto, and his advocacy for main note trills (rather thanupper note trills) was controversial at the time, so trumpetersshould consider all of the available options when formingtheir own interpretation of the wavy line.Unlike Haydn, Hummel did not include any fermatas wherecadenzas could be inserted in his trumpet concerto. The endof the first movement, in particular, includes something likean accompanied cadenza passage (mm. 273–298), a featureHummel also included at the end of the first movement ofhis Piano Concerto No. 5 in Ab Major, Op. 113 (1827). Thethird movement includes a quote (starting at m. 168) fromCherubini’s opera, Les Deux Journées (1802), that diverts therondo form into a coda replete with idiomatic fanfares andvirtuosic figuration.5 Again, no fermata appears to signal acadenza, but the obbligato gymnastics in the solo trumpetpart function like an accompanied cadenza.Other necessary considerations include tempo choicesand ornamentation. Hummel did not include metronomemarkings to quantify his desired tempi for the movements,but clues may be gleaned through the surface evidence(metric pulse, beat values, figuration) and from the stratifiedtempo table that Hummel included in his 1828 piano treatise,where the first movement’s “Allegro con spirito†is interpretedas faster than the “Allegro†(without a modifier) of the finale.6In the realm of ornamentation, Hummel includes severalturns and figures that are open to interpretation. This editionincludes Hummel’s original symbols (turns and figuration)along with suggested realizations to provide musicians withoptions for forming their own interpretation.Finally, trumpeters are encouraged to listen to Mozart pianoconcerti as an interpretive context for Hummel’s trumpetconcerto. Hummel was a noted piano virtuoso at the end ofthe Classical era, and he studied with Mozart in Vienna asa young boy. Hummel also composed his own cadenzas forsome of Mozart’s piano concerti, and the twenty-five-year-oldcomposer imitated Mozart’s orchestral gestures and melodicfiguration in the trumpet concerto (most notably in the secondmovement, which resembles the famous slow movement ofMozart’s Piano Concerto No. 21 in C Major, K. 467).
SKU: YM.GTW01098118
ISBN 9784636981186.
For those who are looking for scores written in the original song keys for wind and brass, here you are! In this series, 40 popular J-POP songs are transposed for each instrument and can be played in the same keys as the original songs. (For example, if the original song is in C major, the score for trumpet in B-flat is re-transposed and written in D major to play in C major.) It is a great selection for a live session with other instruments such as piano or guitar. *Please note: the chord names are indicated in real tone notation for all scores in the series.
SKU: HL.44007157
ISBN 9789043127639. UPC: 884088193997. 9.0x12.0x0.145 inches. English-German-French-Dutch.
These play-along packs feature the music of Edvard Grieg (1843-1907), Norway's most famous composer. Play Grieg features a selection of fourteen well-known and lesser-known works or themes. These have been adapted with respect for the original, while adapting to the requirements of the instrument. The CD includes a demo version and a play-along version of each piece. Includes: Air * Elegy * In the Hall of the Mountain King * Morning * Norwegian Dance * and more.
SKU: BT.DHP-1186052-404
ISBN 9789043156325. French.
La série Ã?couter, lire et jouer constitue aujourdâ??hui une référence pour lâ??enseignement des cuivres et des bois. Tous accompagnés dâ??un CD, ces ouvrages passionnants destinés aux débutants contiennent des chansons, des casse-tête musicaux et des jeux pour mieux comprendre la musique, des informations sur lâ??instrument concerné, et de nombreuses pièces agréables jouer. Les trois volumes de la méthode qui forme la base de cette série sont complétés par plusieurs volumes de matériel complémentaire correspondant aux diverses étapes de cette méthode.
Avec Les Beatles, les élèves remontent le temps jusquâ??aux années soixante pour rencontrer lâ??un des groupesles plus importants de lâ??histoire du rock : les Beatles. Quinze de leurs chansons les plus connues sont présentées en ordre croissant de difficulté et peuvent être travaillées conjointement avec les trois volumes de la méthode Ã?couter, lire et jouer. Des pistes dâ??accompagnement aux sonorités authentiques sont également disponibles sous forme de fichiers en ligne télécharger ou écouter directement en streaming.
SKU: BT.MUSAM999251
ISBN 9781849383530. English.
Take centre stage and play along with a live rhythm section featuring Bass, Drums and PianoThis collection features 24 great songs, from Jazz and Blues standards through Soul and Gospel favourites and lively Swing andLatinnumbers.The authentic CD backing tracks will help you achieve a more professional performance.What's included:
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