| The Drummer's Fake Book Drums [Fake Book] Hal Leonard
Easy-to-Use Drum Charts with Kit Legends and Lyric Cues. Composed by Various. ...(+)
Easy-to-Use Drum Charts with
Kit Legends and Lyric Cues.
Composed by Various. Drum
Book. Pop. Softcover. 336
pages. Published by Hal
Leonard
$39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Ultimate Beginner Series - Drum Basics Drums [DVD] - Beginner Alfred Publishing
With Sandy Gennaro. For Drum. Percussion - Drum DVD. The Ultimate Beginner Serie...(+)
With Sandy Gennaro. For Drum. Percussion - Drum DVD. The Ultimate Beginner Series. DVD. 1 pages. Published by Alfred Publishing.
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Block Rockin' Beats Drums [Sheet music] Mel Bay
By Dawn Richardson. For Drum Set. Technic. Rock. Level: Intermediate-Advanced. B...(+)
By Dawn Richardson. For Drum Set. Technic. Rock. Level: Intermediate-Advanced. Book. Size 8.5x11. 80 pages. Published by Mel Bay Publications, Inc.
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Fujiyama-Combining Acoustic and Electronic Drums Drums [Sheet music + CD] Carl Fischer | | |
| The Encyclopedia of Groove Drums [Sheet music + CD] Alfred Publishing
By Bobby Rock. For Drum Set. Percussion - Drum Set Method or Collection. Book an...(+)
By Bobby Rock. For Drum Set. Percussion - Drum Set Method or Collection. Book and CD. 48 pages. Published by Alfred Publishing.
$26.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Phil Maturano - Afro Cuban Drumming for the Drumset - DVD Drums [DVD] Hudson Music | | |
| A Funky Thesaurus For The Rock Drummer Drums [Sheet music] Alfred Publishing
For drumset. Band/Orchestra. Published by Alfred Publishing. Keeping time is the...(+)
For drumset. Band/Orchestra. Published by Alfred Publishing. Keeping time is the most important function of any drummer. This book covers the playing of odd time signatures which is becoming increasingly important fot the drumset player. This book is a continuation of the popular book, A Funky Primer, but is a little more advanced. It contains jazz, Latin-funk and odd-time rock patterns including 12/8, 5/4, 7/4, 9/4, 11/4, 13/4 and 15/4.
$10.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Best of Big and Easy, Volume 2 Individual Part [Sheet music] Alfred Publishing
Arranged by Michael Story. For Bass Drum / Tenor Drum. Marching Band Collection....(+)
Arranged by Michael Story. For Bass Drum / Tenor Drum. Marching Band Collection. Big and Easy. Pop. Level: 2 (Easy). Book. 16 pages. Published by Alfred Publishing.
$4.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Stadium Hit Mix Marching band [Part] Hal Leonard Drum Set. Easy
Contemporary Marching
Band. 20 pages. Published
by Hal Leonard.
$4.50 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Fujiyama - DVD Drums [DVD] Carl Fischer | | |
| Creative Control Drums [Sheet music + CD] Hudson Music
Drum SKU: HL.280361 Book/CD/Online Audio/Online Video. Percussion....(+)
Drum SKU: HL.280361 Book/CD/Online Audio/Online Video. Percussion. Instruction. Softcover Media Online. 84 pages. Published by Hudson Music (HL.280361). ISBN 9781540032539. UPC: 888680783419. 9.0x12.0x0.233 inches. Thomas Lang presents a completely innovative and inspired practice regime, and system for helping you develop incredible drumset technique, that will forever change your approach to drumming. Lang's awesome speed, control, finesse and unparalleled interdependence will inspire you to hone your drumming chops so that you can play more effectively in any musical context. Thomas also offers blazing solos and performances in many different styles, including a definitive version of The Black Page, the Frank Zappa tour de force. Special online video features: All of the solos, fills and exercises available in separate audio files which will allow you to change the tempo without affecting the pitch * Looping function for continuous play, making it easier to absorb and master each one * Bonus live performance footage and live drum solos * PDF files of transcriptions of many of Thomas' exercises and performances, including The Black Page, a photo gallery, and more. Running Time: Over 5 hours! $29.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Best of Big and Easy, Volume 2 Individual Part [Sheet music] Alfred Publishing
Arranged by Michael Story. For Drumset. Marching Band Collection. Big and Easy. ...(+)
Arranged by Michael Story. For Drumset. Marching Band Collection. Big and Easy. Pop. Level: 2 (Easy). Book. 16 pages. Published by Alfred Publishing.
$4.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Best of Big and Easy, Volume 2 Individual Part [Sheet music] Alfred Publishing
Arranged by Michael Story. For Opt. Tonal Bass Drums (4 Pitch). Marching Band Co...(+)
Arranged by Michael Story. For Opt. Tonal Bass Drums (4 Pitch). Marching Band Collection. Big and Easy. Pop. Level: 2 (Easy). Book. 16 pages. Published by Alfred Publishing.
$4.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Stadium Hit Mix Marching band [Part] Hal Leonard
Multiple Bass Drums. Easy Contemporary Marching Band. 20 pages. Published by Hal...(+)
Multiple Bass Drums. Easy Contemporary Marching Band. 20 pages. Published by Hal Leonard.
$4.50 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Essential Elements Holiday Favorites Concert band [Sheet music + Audio access] - Beginner Hal Leonard
Concert Band - beginning SKU: HL.870022 Value Pak (37 Student Books + ...(+)
Concert Band - beginning SKU: HL.870022 Value Pak (37 Student Books + Conductor). Arranged by Johnnie Vinson, Michael Sweeney, Paul Lavender, and Robert Longfield. Essential Elements Band Folios. Christmas, Holiday. Softcover Audio Online. Published by Hal Leonard (HL.870022). ISBN 9781540028044. UPC: 888680748555. 9.0x12.0x5.25 inches. A collection of popular Christmas and holiday tunes arranged to be used either with full band or individual soloists. Each student book includes parts for the full band arrangement as well as separate pages for solo use. Access to free recordings is provided with an online code included with each book. Includes: Auld Lang Syne, Feliz Navidad, Parade of the Wooden Soldiers, Good King Wenceslas, Pat-a-Pan, Silver Bells, Do You Hear What I Hear?, My Favorite Things, White Christmas, Christmas Time Is Here and The Polar Express. Now including PLAYBACK+ A multi-function audio player that allows you to adjust tempo without changing pitch, change keys, and create practice loops - available exclusively from Hal Leonard. Online audio/media is accessed at halleonard.com/mylibrary. $285.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| How to Create Rock Bass Lines Bass guitar [Sheet music + Audio access] Hal Leonard For Bass. Bass
Instruction. Softcover
Audio Online. Published
by Hal Leonard
$16.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Denn wiederkommen String Quartet: 2 violins, viola, cello Breitkopf & Härtel
String Quartet (2vl - va - vc - Sp) SKU: BR.KM-2432 Holderlin lesen II...(+)
String Quartet (2vl - va - vc - Sp) SKU: BR.KM-2432 Holderlin lesen III. Composed by Hans Zender. Chamber music; stapled. Kammermusik-Bibliothek (Chamber Music Library). World premiere: Museum Island Hombroich, May 31, 1992. Music post-1945; New music (post-2000). Performance score. Composed 1991. 36 pages. Duration 24'. Breitkopf and Haertel #KM 2432. Published by Breitkopf and Haertel (BR.KM-2432). ISBN 9790004502020. 10 x 15 inches. In den alten Kulturen war das, was wir heute ,,Musik und ,,Dichtung nennen, eine Einheit. Denken wir nur an die lotrijgn<' [musike] der Griechen, oder an Beschreibungen, die wir in den klassischen chinesischen Schriften finden. Aber naturlich: Kulturgeschichte ist ein Differenzierungsprozess, und so finden wir zur Zeit unserer europaischen Klassiker den Vorstoss der Musik zu ihrer ,,Autonomie - ihrer offiziellen Scheidung von dem Metier der Dichter. (Noch 1739 hatte Mattheson in seinem Vollkommenen Capellmeister von jedem Musiker ,,Gewandtheit in der Dicht-Kunst und genaueste Kenntnis der Verslehre verlangt.)Seit dieser Scheidung sind nun die Musiker sehr eifrig damit beschaftigt, eine autonome Grammatik und Syntax der ,,Tonkunst, wie die Musik jetzt genannt wird, zu entwickeln, wahrend in der Dichtung - besonders naturlich in der experimentellen, von Jean Paul und Mallarme bis zu Joyce und Celan - gerade das ,,Musikalische in der Poesie gesucht wird. Hierunter ist oft der Wunsch verborgen, die Verhartung, welche die Wortsprache durch ihre begriffliche Fixierung - extrem in der Wissenschaft! - erfahrt, wieder aufzuheben und sie in einen ,,musikalischen Zustand von Unbestimmtheit, von Offenheit zuruck zu versetzen.Oberflachlich betrachtet entwickeln sich die beiden Kunste in der Moderne also auseinander; eine Beruhrung zwischen ihnen wird immer schwieriger. Zu gross die Gefahr, dass die muhsam errungene Autonomie der einen wieder der Ubermacht der andern geopfert wird! Entweder wird die Musik, wenn sie schwach ist, zu blosser Illustration und Stimmungskulisse; oder sie verschlingt in ihrer klanglichen und zeitlichen Ausformung den eigenen Klang und Rhythmus der Dichtung.Manche Musiker haben in den letzten Jahrzehnten dieses Problem noch verinnerlicht und eine Art Bilderverbot auch innerhalb der Musik aufgestellt: Gestik, Expressivitat, Assoziationsfahigkeit der musikalischen Strukturen wurden unterdruckt. Ich halte das fur ein neurotisches Verhalten und ausserdem fur irrefuhrend. Es gibt schon seit jeher auch eine musikalische Semantik - das vergessen manche vor lauter Syntax und Grammatik; und es ist kein Grund einzusehen, warum in der Situation der Autonomie nicht musikalische und sprachliche Semantik in eine neue Art von Verhaltnis treten konnten. In der Bach-Kantate, im Schubert-Lied, in der Wagnerischen Leitmotivik waren das 1:1-Losungen; aber schon Wagner hat gezeigt, dass man diese Identitat auch dialektisch aufsprengen kann.Und wie erst in der Vielsprachigkeit der heutigen Moderne! In meiner Oper Stephen Climax habe ich den Hauptpersonen des Ulysses von James Joyce bestimmte - historisch ortbare - Musiksprachen zugeteilt (welche jeweils wieder bestimmte intervallische und rhythmische Struktureigenschaften zeigen, welche ihrerseits wieder seriell oder statistisch geordnet sind - es geht bis ins kleinste Detail ganz ,,autonom zu!!); der Kosmos unserer europaischen Musikgeschichte wird sowohl dem Kosmos der Joyceschen Figuren (ihrerseits ,,geschichtstrachtig!) wie auch dem aktuellen musikalischen Bewusstsein zugeordnet, aber eben oft auch uber Kreuz, paradox, mehrschichtig, mehrdeutig ... Die Tatsache, dass diese spezifische Moglichkeit einer neuartigen Einheit von Sprache und Musik von den berufenen Musikologen noch kaum bemerkt worden ist, zeigt nicht nur deren Langsamkeit, sondern auch die Dominanz des ,,bildlosen Denkens in der - jetzt abgelaufenen - Phase der Neuen Musik.In meinen Holderlin lesen-Stucken ging es mir darum, Wege zu finden, die gewaltigen Sprachstrukturen Holderlins so in die zeitliche Form der Musik zu integrieren, dass sie Funktionen der musikalischen Form ubernehmen, ohne in ihrer Eigenkraft (sowohl akustisch wie auch im Sinne expressiver ,,Deutung) im geringsten geschmalert zu werden. Das hiess zunachst: Sprechen, nicht singen! - Aber das wurde nur bedeuten, dass es nicht um die Musikalisierung von Text geht; ebenso wichtig ist es, dass es auch nicht um melodramatisch ,,erzahlende Musik geht. Sondern: Zwei autonome Kunste durchdringen sich auf diaphane Weise, ohne sich zu uberformen oder auszuloschen; es handelt sich um einen Dialog, nicht um eine Vereinnahmung durch Hierarchisierung.Ein weiteres Thema, das in der musikalischen Diskussion der letzten Jahrzehnte zu kurz gekommen ist und deswegen jetzt neu am Horizont erscheint, ist die Rhetorik. Inwieweit kann musikalische Form nicht nur logisch bzw. syntaktisch, sondern auch rhetorisch verstanden werden? Rhetorik und Satztechnik z.B. hangen zusammen. Ich kann diese Problematik (die ich in meinem vierteiligen, abendfullenden Shir Hashirim ,,auskomponiert habe) hier nur andeuten.Musik steht zwischen Zahl und Wort; sie hat an beidem teil. So konnte sie das Zentrum der ,,Sieben Freien Kunste in alten Zeiten bilden ... (Heinrich Schutz sagte, dass sie zu diesen - also zu den mathematisch-astronomischen und den literarischen Kunsten - wie die ,,Sonne zu den Planeten sich verhalte.) Mir scheint, dass wir die Komposition seit 50 Jahren zu einseitig nur von der Zahl her definieren; sie hat geschichtlich ebenso viel mit Sprachstruktur zu tun. Wir konnen Neuland gewinnen, wenn wir als heutige Musiker dies neu durchdenken.Es handelt sich hier um meinen dritten Versuch einer Annaherung an das Problem einer ,,Verzeitlichung der Holderlinschen Texte d.h. einer Moglichkeit, diese Texte in einer Performance darzustellen: da die Musik das eigentliche Element der zeitlichen Darstellung ist, werden die Holderlinschen Worte mit Tonen konfrontiert.Im Fall von denn wiederkommen geht es um neun Zeilen aus Holderlins Patmos-Hymne. Je eine solche Zeile wird einem Formabschnitt der Musik zugeordnet (das Stuck ist also, wie meine Lo-Shu-Stucke, neunteilig). Die betreffende Zeile erklingt nicht nur einmal, sondern wird, in der gleichen Weise wie auch das musikalische Material, nach einem chaotischen Repetitionsprinzip mehrfach wiederholt.Auffallig ist ferner, dass fur jeden der neun Teile ein von einem der vier Quartettspieler festgehaltener ,,Grundton gewahlt wurde; durch diese orgelpunktartige Wirkung wird jeder der neun Teile zusammengehalten, und der Horer kann die langsame Bewegung der Grossform im unmittelbaren Horprozess mitvollziehen.Die neun Satze von Holderlin lauten:1. Furchtlos gehen die Sohne der Alpen uber den Abgrund weg auf leicht gebaueten Brucken...2. Sie horen ihn und liebend tont es wieder von den Klagen des Manns...3. Im goldenen Rauche bluhte schnell aufgewachsen mit Schritten der Sonne, mit tausend Gipfeln duftend, mir Asia auf, und geblendet...4. Gegangen mit dem Sohne des Hochsten, unzertrennlich, denn es liebte der Gewittertragende die Einfalt des Jungers...5. Wenn aber stirbt alsdenn, an dem am meisten die Schonheit hing...6. Eingetrieben war wie Feuer in Eisen das, und ihnen ging zur Seite der Schatten des Lieben. Drum sandt er ihnen den Geist und freilich bebte das Haus und die Wetter Gottes rollten ferndonnernd...7. Uber die Berge zu gehn allein, wo zwiefach erkannt, war einstimmig und gegenwartig der Geist...8. Und hier ist der Stab des Gesanges, niederwinkend, denn nichts ist gemein. Die Toten wecket er auf...9. Denn wiederkommen sollt es, zu rechter Zeit. Nicht war es gut gewesen, spater, und schroff abbrechend...(Hans Zender)CD:Salome Kammer (voice), Arditti String QuartetCD Montaigne MO 782094Bibliography:Nyffeler, Max: Fluchtpunkt Patmos. Hans Zenders Komposition ,,Denn wiederkommen. Holderlin lesen III, in: Neue Zeitschrift fur Musik 180 (2019), Heft 1, S. 44-47.ders.: Lesen, Schreiben, Horen. Zum Verhaltnis von Musik und Sprache bei Hans Zender, dargestellt an der Komposition ,,,denn wiederkommen`. Holderlin lesen III, in: ,,Ein Zeichen sind wir, deutungslos. Holderlin lesen, Ikkyu Sojun horen, Musik denken, hrsg. von Violetta L. Waibel, Gottingen: Wallstein 2020, S. 299-329Waibel, Violetta L.: Holderlin Lesen, Ikkyu Sojun Horen, Musik Denken, in: Festivalkatalog Wien Modern 29 (2016), Essays, pp. 196-198.Zenck, Martin: Holderlin lesen - seiner ,,Stimme zuhoren. Holderlin-Lekturen von Klaus Michael Gruber, Hans Zender und Bruno Ganz, in: Neue Zeitschrift fur Musik 172 (2011), Heft 6, pp. 25-29.Zender, Hans: Zu meinem Zyklus ,,Holderlin lesen, in: Mnemosyne. Zeit und Gedachtnis in der europaischen Musik des ausgehenden 20. Jahrhunderts, hrsg. von Dorothea Redepenning und Joachim Steinheuer, Saarbrucken: Pfau 2006, pp. 26-40.
World premiere: Museum Island Hombroich, May 31, 1992. $70.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Jazz Rhythm Guitar Guitar [Sheet music + CD] Hal Leonard
(The Complete Guide) Written by Jack Grassel. For guitar. Includes instructional...(+)
(The Complete Guide) Written by Jack Grassel. For guitar. Includes instructional book and examples CD. With chord names, guitar chord diagrams and instructional text. Chords. 76 pages. 9x12 inches. Published by Hal Leonard
$24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Light Weight Hi-hat Stand Hal Leonard
SKU: HL.3725013 Canopus Drum Hardware. Hardware Connectors Fasteners. Hal...(+)
SKU: HL.3725013 Canopus Drum Hardware. Hardware Connectors Fasteners. Hal Leonard #CHS-1. Published by Hal Leonard (HL.3725013). UPC: 888938000152. 4.0x21.5x4.0 inches. Light weight hardware often gives the impression that it is cheap, not functional or durable enough. The Canopus lightweight hardware was engineered to provide effective function and durability for professional use, utilizing space age concepts that enhance performance. $214.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Concerto in E Major Trumpet Carl Fischer
Chamber Music Piano, Trumpet SKU: CF.W2682 For Trumpet in E and Piano,...(+)
Chamber Music Piano, Trumpet SKU: CF.W2682 For Trumpet in E and Piano, S.49. Composed by Johann Hummel. Edited by Elisa Koehler. Set of Score and Parts. With Standard notation. 36+8 pages. Carl Fischer Music #W2682. Published by Carl Fischer Music (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). $34.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Concerto in Eb Major Trumpet, Piano Carl Fischer
For Trumpet in Bb and Piano, S. 49. Composed by Johann Nepomuk Hummel (17...(+)
For Trumpet in Bb and Piano, S. 49. Composed by Johann Nepomuk Hummel (1778-1837). Edited by Elisa Koehler. Arranged by Elisa Koehler. Romantic. Score and part(s). With Standard notation. 36 8 pages. Carl Fischer #W002681. Published by Carl Fischer (CF.W2681).
$14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Rediscovered Ellington Piano solo [Sheet music] - Advanced Alfred Publishing
Performed by Duke Ellington. By Duke Ellington. Edited by Carol Cuellar. Piano a...(+)
Performed by Duke Ellington. By Duke Ellington. Edited by Carol Cuellar. Piano arrangement mixed folio (Advanced piano). Level: advanced piano. 188 pages. Published by Alfred Publishing.
$24.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Bass Basics (2-DVD Set) Bass guitar [DVD] - Beginner EMedia | | |
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