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: HL.49047003
UPC: 196288095002.
This booklet for trumpet students contains the most beautiful folk and children's songs in very easy arrangements for trumpet, to which a second part can also be played. On the recording, each song is recorded in 2 versions: both with and without trumpets. In both versions, the students can play along themselves.
SKU: HL.49046941
ISBN 9783795722005. UPC: 196288087304. 9.0x12.0x0.163 inches.
The Easy Concert Pieces series presents easy to intermediate pieces for trumpet with piano accompaniment. Pieces typical of their era and suitable for auditions, public performance, competitions or examinations are ordered according to level of difficulty in three volumes. These Easy Concert Pieces also provide appealing additional material for use in trumpet lessons. Each piece has been recorded, both in full and playback versions (piano accompaniment).The audio files can be downloaded with a voucher code (in the book). In addition to the enclosed part for trumpet in Bb, a part for trumpet in C (Schott ED 22555-01) is available for download at www.schott-music.com. Volume 1 (ED 22555) contains very easy to easy pieces with a range up to written c'', with d'' appearing as a short top note in just afew pieces. Simple and memorable rhythms, readily playable note sequences and patterns of articulation that can be mastered quickly and easily make this book ideal for beginners. Volume 2 (ED 22556) contains easy to intermediate pieces with a range no higher than f''. Besides extending rhythmic scope and requiring a little more in terms of phrasing and articulation, these pieces will encourage further exploration of musical contrasts. Volume 3 (ED 22557) is of medium difficulty and intended for players with a well-developed embouchure who can play notes up to written g'', though this note only appears as a short top note. Flexible articulation and legato playing with a well-developed dynamic range are required for pieces that are longer than those in the preceding volumes.
SKU: BT.9781472923639
ISBN 9781472923639. English.
A fantastic collection of 14 classical showstoppers arranged for beginner to intermediate players. Bringing together well-known classics in varied styles from the Baroque period to the twentieth century, this versatile repertoire book includes aninspirational CD and duet parts: everything needed to givea great performance.Anyone can take centre stage and stand in the spotlight with Abracadabra Performance Pieces.This brand new book is the latest addition to the best-selling Abracadabra series, offering approachable longer arrangements with fantastic backing tracks ideal for concert performances or simply for more musical fun. The 14 pieces showcase anarray of classical favourites, from Purcell and Handel to Bizet and Bartok, and are suitable for beginner to intermediate players (Grade 1 3).The CD contains specially recorded performances and supportive backing tracks that are guaranteed to bring extra sparkle to any performance. Four pieces also include a duet part for teachers or fellow players.
SKU: PR.UE036417
UPC: 803452072812.
Listening to an airtight, professional brass band like Marshall Cooper can be daunting for musicians interested in entering the realm of jazz and popular music performance. Manuel Hilleke, band leader/arranger/composer, presents Groove Trumpet in hopes of making that entry a bit easier. My aim is to use simple song and groove forms to introduce players to the basics of pop and jazz trumpet, along with section playing, articulation and phrasing techniques, soloing and improvisation. Eleven intermediate-level pieces in various styles are annotated with tips and tricks, and the audio CD includes live recordings of the Marshall Cooper brass band for play-along. Experimentation and improvisation is encouraged. Groove Trumpet is especially helpful for classical musicians who want to cross over.
SKU: HL.121437
ISBN 9781480352490. UPC: 884088923082. 9x12 inches.
Available for the first time: easy to advanced solo works from the Rubank archives with online performance and accompaniment recordings, printable piano accompaniments, and PLAYBACK audio tools. This new collection of 13 Rubank solos includes many that have long been unavailable. All are suitable for contest and festival performance (grades 2-4). Purchase includes exceptional performance tracks (recorded by pro players), accompaniment tracks for practice, and PDF piano accompaniments for use at contest. Includes: Achilles (Endresen) ? Allegro (Ostransky) ? Alleluja from Exsultate, Jubilate, K. 165 (Mozart) ? American Patrol (includes duet part) (Meacham) ? Andante Cantabile (Tartini) ? Ave Maria (Schubert) ? Beguine and Bop (Walters) ? Concert Aria, K. 382h (Mozart) ? Debonnaire (VanderCook) ? In the Hall of the Mountain King from Peer Gynt (Grieg) ? L'Allegro (Koepke) ? Legend (Shchyolokov) ? Orientale (Barat).
SKU: AD.ADG188
ISBN 9781934163832. UPC: 663389118829. 9 x 12 inches.
Andrew D. Gordon has created 30; 12bar blues play-a-long backing tracks in various Blues styles, keys and tempos such as: Funky Blues, Boogie Blues, Jazz Blues, Minor Blues, Country Blues, Latin Blues, Old Time Jazz Blues, Jazz Swing Blues, Classic Blues Rock, Soulful Blues, Slow Blues and many more. Each of the 30 play-a-long tracks has been recorded with 12 choruses of the 12 bar blues progression giving you the opportunity practice soloing techniques totaling over 3 hours of music. Each of the 30 Blues styles contains a solo improvisational melody line, 12 measures in length, designed for the beginner student in mind as a starting point to create your own improvisational solos. Each of the 30 Blues tracks have been recorded, first with the solo playing along with the rhythm backing tracks of keyboards, guitar, bass and drums and immediately following, is the play-a-long backing track that cycles through the 12 bar blues progression 12 times, generally between 5-8 minutes in length, giving you plenty of time to practice. Blues is the basis of many forms of music and these tracks have been specifically created to include styles such as: Jazz, Funk, Folk, Country, Latin, Rock, Gospel, Pop, Boogie, giving you a well-rounded selection of musical styles based on the Blues.Facebook Twitter Pinterest Google+.
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