SKU: HL.48183336
UPC: 888680786892. 9.0x12.0x0.025 inches.
Eugène Bozza: Lied (Trumpet/Piano).
SKU: DM.DMP-115003
ISBN 9790365321339.
5 pieces, all in a different style, a ballad, waltz, foxtrot,. . . Easy to play with a nice and easy piano accompaniment. Have fun !
SKU: HL.50579325
SKU: HL.48182940
UPC: 888680907860. 9.0x12.0x0.069 inches.
Guillaume Balay (1871-1943) served in the French military as a prolific Cornet player, having won first place in the 1894 Cornet Award competition at the National Academy of Music in Paris. His compositions were popular in the Cornet and brass repertoire at the time, including his Competition Piece for Cornet with Piano accompaniment. This Balay work remains within the brass repertoire to this day and is suitable for advanced level players as an audition or competition piece as indicated by the title, as well as a performance work. Competition Piece contains use of cadenza passages, variation in time signature, semiquaver flourishes, articulations, complex rhythms and chromaticism, amongst other aspects. This quirky piece by Balay provides the advanced Cornet player with a fun, alternative work which will show off their technical ability..
SKU: RM.DEVO02201
ISBN 9790231022018.
SKU: HL.50579503
SKU: HL.133181
UPC: 884088980153.
SKU: RM.COSM04638
ISBN 9790231046380.
SKU: DM.DMP-110095
ISBN 9790365313402.
Composed by one of the finest Belgium female composers. A slow introduction followed by a virtuose tarantella, but the tarantella has seven beats (hepta), then followed by a free cadenza, finishing with the tarantella. A challenge to play.
SKU: CU.EC11936
ISBN 9790215908789.
SKU: HL.48185858
UPC: 888680857455. 9.0x12.0x0.084 inches.
For trumpet (or cornet) and piano.
SKU: HL.49013968
ISBN 9790220101687. UPC: 884088095727. 8.75x11.5x0.04 inches.
SKU: HL.48185467
UPC: 888680836313. 9.25x12 inches.
“originally for trumpet, string orchestra and piano&rdquo.
SKU: BT.DMP110095
SKU: HL.48181441
UPC: 888680841515. 9.0x12.0x0.064 inches.
“Guillaume Balay (1871-1943) served in the French military as a prolific Cornet player, having won first place in the 1894 Cornet Award competition at the National Academy of Music in Paris. His compositions were popular in the Cornet and brass repertoire at the time, including his Prelude and Ballad, adaptable to Cornet or Saxhorn with Piano accompaniment. This Balay work remains within the brass repertoire to this day and is suitable for intermediate to advanced level players. The Prelude is in 4/4 meter and exploits the full range of the instruments. There is also much use of flourishing semiquaver passages. The Ballad is a much more measured than the first movement and is in 2/4 time. The texture is predominantly melody-dominated homophony with the occasional use of call-and-response between the melody instrument and Piano accompaniment. This quirky, two-movement piece by Balay provides the intermediate to advanced Cornet or Saxhorn player with a fun, alternative performance piece.â€.
SKU: HL.48181754
UPC: 888680862848. 9.0x12.0x0.088 inches.
“Piece of contest (1903) is a work for Cornet and Piano by Augustin Savard. Composed for the Paris Conservatoire contest, this piece lasts approximately seven minutes and can be played by upper-intermediate and above level players . Starting solemnly, the first half of the piece is quite slow while the second half is more energetic and more cheerful. This piece would also be great to use in recitals. Augustin Savard (1861-1942) is a French composer who won the Prix de Rome who composed some oratories and some orchestral works.â€.
SKU: HL.48184223
UPC: 888680861308. 9.0x12.0x0.034 inches.
Arlequin Tpt In C Or B And Piano.
SKU: HL.14014417
ISBN 9788774551058. 8.25x11.75x0.047 inches. English.
Arranged for Cornet in B.
SKU: HL.48185303
UPC: 888680858599. 9.0x12.0x0.052 inches.
Lancen Si J'etais No 25 Handel 26 Haydn 27 Wagner Brass & Piano Book.
SKU: BT.EC1088
German.
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: BT.DHP-1053889-400
ISBN 9789043122610. 9x12 inches. Dutch.
In dit boek staan nieuw gecomponeerde muziekstukken die je kunt gebruiken voor je A-examen. Bekende componisten van blaasmuziek zijn hiervoor speciaal achter de componeertafel (eigenlijk de componeercomputer) gaan zitten en bedachtendit nieuwe repertoire: een uitgebreide keuze van geschikte muziek die je tijdens het A-examen en in de voorbereidingstijd daar naartoe kunt spelen. Natuurlijk kun je deze muziek ook spelen bij andere gelegenheden, bijvoorbeeldals je voorspeelt in de muziekschool, bij de muziekvereniging of tijdens een solistenconcours.Er zijn stukken mét en zonder pianobegeleiding. Je kunt jezelf dus solistisch presenteren, maar ook samen met een pianist. Voor je examenstudeer je minstens twee stukken in met begeleiding (samenspel) en twee zonder begeleiding. Misschien kun je bepaalde stukken of gedeelten ervan zelfs uit het hoofd spelen. Probeer het maar eens!Op de bijbehorende cd hoor je hoede muziek klinkt als die vertolkt wordt door een beroemde blazer. Goed voorbeeld doet goed volgen, maar verlies je eigen interpretatie daarbij niet uit het oog.Ook de pianobegeleidingen staan op de cd. Dat is handig als je docentgeen piano speelt. Maar helemaal ‘echt’ wordt het als je docent of een andere pianist de pianobegeleidingen speelt. Daarom hebben we ze in dit boek afgedrukt.Achter in het boek staan een aantal stukjes ‘prima vista melodie’. Daarmeekun je het ‘van blad lezen’ oefenen. Dat is belangrijk, want in je orkest krijg je ook steeds nieuwe muziekstukken en dan komt het ‘van blad lezen’ goed van pas.Wij wensen je veel speelplezier - en succes met de voorbereidingenen het A-examen zelf!
SKU: BT.BMI11050528-400
ISBN 9789043141673. 9x12 inches. International.
With this collection, you can enjoy highlights from the work of Belgian composer Bert Appermont. The pieces have been carefully selected by the composer himself, who has paid special attention to playability, and has looked for melodies that appeal to a large audience. The melodies have been arranged according to levels of difficulty and are suitable for use in music lessons or for concert performances. The pieces Innocence and Song of Hope have been provided with a second part, so that they can be performed as duets with accompaniment. The book comes with a CD containing a demo version as well as a play-long track for each piece. The piano accompaniments have beenprovided on the CD as printable PDFs! De hoogtepunten uit het werk van Bert Appermont, die vanwege de vertrouwd klinkende en mooie melodieën zeer geliefd zijn! De goed speelbare stukken werden voor deze uitgave door de uit België afkomstige componist geselecteerd. Zezijn op moeilijkheidsgraad gerangschikt en vormen een perfecte aanvulling op elke instrumentale methode. De cd bevat demo- en play-alongversies van alle stukken evenals printklare pdf-bestanden van de pianobegeleidingen.Die Höhepunkte aus dem Werk des belgischen Komponisten Bert Appermont, die die aufgrund ihrer vertraut wirkenden Klangsprache und der schönen melodischen Linien sehr beliebt sind! Die Stücke wurden vom Komponisten selbst ausgewählt, der gut spielbare Melodien wählte, die auch ein breites Publikum ansprechen. Sie wurden nach Schwierigkeitsgrad angeordnet und eignen sich ausgezeichnet für den Instrumentalunterricht. Zwei Stücke sind als Duette ausnotiert. Die CD enthält Demo- und Mitspielversionen aller Stücke sowie PDFs der Klavierbegleitungen zum Ausdrucken.Melodic Highlights vous permettra d‘apprécier les plus beaux thèmes des oeuvres de Bert Appermont, dont le style d‘écriture repose sur l‘emploi de lignes mélodiques captivantes et accessibles. Les pièces rassemblées dans ce recueil ont été sélectionnées par le compositeur lui-même, qui aura prêté une attention toute particulière leur degré de difficulté. Le CD joint comporte une version intégrale puis une version ‘accompagnement pour chacune des pièces, une solution fort idéale pour étudier chez soi, mais aussi pour jouer sous les feux de la rampe (la version papier des accompagnements de piano sont gravés sur le CD sous la forme de fichier PDF télécharger).Bert Appermont, compositore belga noto per la scrittura melodica, ha raccolto le sue opere migliori in questa collana per fiati. Si tratta di melodie facili da eseguire e apprezzate dal pubblico. Bert Appermont propone i brani, due dei quali da eseguire in duo (tutti perfetti anche per lo studio), in ordine crescente di difficolt . Il CD contiene una versione demo e una play-along, mentre gli accompagnamenti al piano sono scaricabili in formato PDF.
SKU: SU.80118923
Trumpet Duration: 10 ' Composed: 1986 Published by: Soundspells Productions The Fires of Prometheus (1986) is a dramatic work for solo trumpet and two pianos in echo. It was composed for and recorded by trumpeter Thomas Stevens.
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