SKU: M7.AHW-414
English.
This transcription book of the best of Lee Morgan marks his first appearance on our store, and I am very excited about that! This book includes tunes from Charisma, Cornbread, The Sidewinder, Delightfulee, The Sermon, The Gigolo, Blue Trane, and Candy. Covering the best of all these records means you get the most solid overview of Lee Morgan's style you could ever find in a single book.
SKU: M7.AHW-1053
In the introduction to 'Corners' Allan Colin writes: 'If you glance through these pages, do not be fooled by the diatonically simple configuration of notes. The challenge here lies in doing these exercises from top to bottom exactly as specified. The goal is to strengthen weak corner muscles which plague many trumpet players. In your effort to accomplish this it is imperative not to overdo it. As with any practice session where you are trying to straighten out a problem, the 'warm-up' and 'warm-down' exercises are essential The warm-up and warm-down exercises here are geared to prepare you for and relax you from this short but strenuous work-out.' This book is broken up into four sections, including articulations, corner 'close-ups', chromatics, and warm downs, each with an explanation of how to proceed to get the strongest embouchure possible.
SKU: M7.AHW-501
Brown's unique contribution to the history of jazz and jazz trumpet playing is lovingly preserved in these artfully executed, meticulously edited transcriptions. The large, easy-to-read format (chord symbols are given) makes this ideal for the performing musician.
SKU: M7.AHW-1012
A collection of method books, exercises, solos, embouchure and breath control studies, and duets directed to players at all levels of their development.
SKU: BT.VOLMB16
ISBN 9788863880144. French.
Book one - The purpose of this manual has been to provide, as much as possible, a logical and rigorous approach to its content. Covering rhythmic evolution, pitch and skill. The commentaries have been reduced to a strictminimum of space written in snippets and musical exercises.
The melodies have been chosen to allow a simple adaption to phrases and exercises whilst remaining within the technical abilities of the learner, and are the mostmelodious possible, shifting away from repetitiveness and monotone.
SKU: BT.DHP-1074283-400
ISBN 9789043127172. 9x12 inches. German.
Een boek voor alle jonge en jong gebleven mensen! Pippi Langkousâ?? spannende avonturen, het eeuwige kat-en-muisspel van Tom en Jerry of het kleurrijke, heerlijk swingende jazzcombo uit de Muppet Show: ze zijn favoriet bij zowel kinderenals volwassenen. Met Wickie and Co komen ze weer tot leven. De cd - met begeleidingen die zo dicht mogelijk bij de originele uitvoeringen zijn gebleven - geeft de speler steeds het gevoel zich midden in de aankondigingvan een serie te bevinden. De akkoorden boven de noten zijn bedoeld voor samenspel met begeleidingsinstrumenten als de piano, gitaar en/of bas. Alleen, met de begeleiding op de cd of in samenspel - Wickie and Co is een feestder herkenning voor jong en oud.Ob Pippi Langstrumpfs spannende Abenteuer, das ewige Katz-und-Maus-Spielâ?? von Tom und Jerry oder die herrlich groovende Jazz-Combo aus der Muppet-Show und viele mehr - Wickie and Co bietet die einmalige Chance, die vertrauten Titelmusiken auf dem eigenen Instrument zu den sehr authentisch klingenden Begleitungen auf der CD mitzuspielen. Die Akkorde über den Noten ermöglichen auch eine Begleitung mit Klavier, Keyboard, Gitarre oder Bass. Ce recueil, conçu et édité par notre maison d'édition allemande De Haske Allemagne, rassemble quelques-uns des plus célèbres thèmes de dessins animés diffusés sur les chaînes de télévision allemandes. Certains airs sont également connus du public francophone (Pinnochio, Maya l'Abeille, Tom et Jerry, La Panthère Rose, Les Schtroumpfs, Fifi Brindacier, The Muppet Show, etc.), d'autres sont découvrir ! Un recueil drôle, plaisant et coloré. Da oggi potrete trovare racchiuse in un unico volume tutte le musiche dei telefilm e cartoni animati amati dai bambini, come Pippi Calzelunghe, Tom and Jerry, The Muppet Show, Pinocchio, Hey Hey Wickie e molte altre. Con l'ausilio del CD incluso potrete suonare queste melodie divertenti ed immortali, che segnano in ogniuno di noi uno dei periodi spensierati della nostra crescita: l'infanzia. Ogni brano è corredato dagli accordi, così da poter permettere ad un amico con la chitarra, col basso o col pianoforte di potervi accompagnare nell'esecuzione.
SKU: BT.DHP-1063927-404
ISBN 9789043161855. French.
Pour tous ceux qui recherchent un nouvel outil pédagogique pour apprendre jouer dâ??un instrument vent, les Ã?ditions De Haske proposent la méthode Ã?couter, lire and jouer. Elle se compose dâ??une méthode richement illustréeen trois volumes avec fichiers audio en ligne et dâ??ouvrages éducatifs et ludiques fondés sur les principes actuels de la théorie musicale. Tout en se conformant aux exigences de lâ??apprentissage classique, cette collection utiliseune approche résolument ouverte, motivante et moderne de lâ??enseignement musical permettant aux élèves de découvrir la pratique instrumentale avec plaisir. De nombreux jeux, exercices dâ??écoute, morceaux et compositions originalespermettent dâ??acquérir un savoir-faire tout en sâ??amusant.
Lâ??Ã?dition complète rassemble les trois volumes de la méthode Ã?couter, lire and jouer. la fin de chaque bloc de vingt leçons, lâ??élève trouvera de nombreusessuggestions de matériel supplémentaire ainsi que des plages bonus. Ces morceaux de styles variés (rock, swing, pop, etc.) suivent la progression de la méthode et correspondent précisément aux connaissances acquises au fil desleçons. Lâ??accompagnement pour chacune de ces pièces est disponible en ligne comme fichier MP3.
SKU: HL.48181957
UPC: 888680849894. 9.0x12.25x0.075 inches.
Piece of contest (1946) by Andre Chailleux was written for the Paris Conservatoir contest. Lasting 5'25 minutes, this piece for Cornet or Bb Trumpet and Piano is difficult to play and quite slow. Starting with the Piano on four measures, this work has two distinctive periods: Slow and Allegro. The Piano plays alone during eight or ten measures to emphasise the coming back of the Cornet / Trumpet. This piece will demonstrate well the skills and technique of the player during a contest, or even a recital..
SKU: M7.AHW-503
SKU: M7.AHW-1021
The title is self-explanatory; the exercises deal with scale studies, scale patterns, pulsations.
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: M7.AHW-1044
This text included transcriptions and arrangements of the virtuosic music from the world's greatest composers. These transcriptions are challenging but approachable for trumpeters at an advanced level who want to explore new realms of musicality.
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