SKU: SP.TS466
ISBN 9781585607242.
L etude et la pratique ne suffisent generalement pas pour qu un musicien autodidacte atteigne un niveau professionnel. L importance du professeur est primordiale pour conseiller, corriger et faire en sorte que l etude de l instrument se fasse naturellement et le plus agreablement possible, en fonction de la personnalite de l eleve. Le but de cette methode est de procurer a l eleve ambitieux, les elements indispensables pour acquerir les connaissances de base de la theorie et obtenir une embouchure souple et puissante. Les levres doivent etre souples et sensibles pour que l expiration les pousse rapidement a vibrer contre l embouchure de l instrument avec un minimum de pression. Commencez toujours la lecon doucement pour ne pas blesser les levres. Un echauffement est necessaire pour supporter les efforts. La force d embouchure etant differente d un individu a l autre, il est impossible de definir un temps ideal de pratique. Ne jamais insister quand les levres sont fatiguees. Il faut avoir une discipline de travail et de repos pour atteindre un bon niveau afin de progresser sans pour autant se blesser et souffrir inutilement. Ne gaspillez pas de temps avec des etudes qui depassent vos capacites mais ne le perdez pas non plus sur des choses trop faciles. Sachez que la qualite du son et la vitesse viendront sans effort si vous avez ete efficace et precis dans votre travail. N oubliez jamais qu il faut avoir du plaisir a jouer.
SKU: HL.48181406
UPC: 888680855512. 9.0x12.0x0.103 inches.
French composer, Georges Delerue (1925-1992) is best remembered as a composer for film and television. However, his other compositions remain popular, Concertino for Trumpet being no exception. Delerue studied at the Paris Conservatoire where he won many prizes. His catalogue is hugely varied, from film scores to large symphonic works. Concertino for Trumpet was published in 1951 and remains a favourite in the advanced trumpeter's repertoire. Comprising two movements, the work exploits tonality and rhythm, as well as extended techniques. As a modern, exciting work, Delerue's Concertino for Trumpet is an essential, varied addition to the Trumpet repertoire..
SKU: HL.48181308
UPC: 888680866792. 9.0x12.0x0.094 inches.
“To this day, Eugène Bozza (1905-1991) remains one of the most prolific composers for wind instruments, despite being a violinist himself. His 16 Studies for Trumpet, Bugle or Cornet is no exception to the composer's success. During his studies at the Paris Conservatoire, Bozza won prizes for Violin, conducting and composition, as well as the Grand Prix de Rome. He then conducted the orchestra of the Opéra-Comique and became Head of the Conservatoire in Valenciennes, whilst remaining a prominent composer. Compiled in 1950, Bozza's 16 Studies addresses advanced features of the Trumpet, Bugle and Cornet, including complex rhythms, articulation, chromaticism, variations in time signatures, breath control, phrasing, intervals, scales and arpeggios, amongst other aspects. For all advanced Trumpet, Bugle and Cornet players, Bozza's 16 Studies are essential to develop technique to a high standard.â€.
SKU: HL.48183497
UPC: 888680866006. 9x12 inches.
“To this day, Eugène Bozza (1905-1991) remains one of the most prolific composers for wind instruments, despite being a violinist himself. His Caprice No. 2 for Trumpet with Piano accompaniment is no exception to the composer's success. During his studies at the Paris Conservatoire, Bozza won prizes for Violin, conducting and composition, as well as the Grand Prix de Rome. He then conducted the orchestra of the Opéra-Comique and became Head of the Conservatoire in Valenciennes, whilst remaining a prominent composer. Composed in 1978, Bozza's Caprice No. 2 addresses advanced aspects of the Trumpet, including complex rhythms, exploited tonalilty and articulation. As music educationalist, Paul Griffiths has written of Bozza's compositions, ”“his works reveal melodic fluency, elegance of structure and a consistenly sensitive concern of instrumental capabilities.”“&rdquo.
SKU: HL.48181823
UPC: 888680860653. 9x12 inches.
“To this day, Eugène Bozza (1905-1991) remains one of the most prolific composers for wind instruments, despite being a violinist himself. His Rhapsody for Trumpet with Piano accompaniment is no exception to the composer's success. During his studies at the Paris Conservatoire, Bozza won prizes for Violin, conducting and composition, as well as the Grand Prix de Rome. He then conducted the orchestra of the Opéra-Comique and became Head of the Conservatoire in Valenciennes, whilst remaining a prominent composer. Composed in 1957, Bozza's Rhapsody is adaptable to both B flat and C Trumpet and addresses advanced features, including complex rhythms, quick tempos and articulation. As music educationalist, Paul Griffiths has written of Bozza's compositions, ”“his works reveal melodic fluency, elegance of structure and a consistently sensitive concern of instrumental capabilities.”“&rdquo.
SKU: M7.DOHR-88601
ISBN 9790202096017.
SKU: M7.AHW-202
English.
Whenever possible, practice these exercises and etudes with a wide variety of dynamics and styles of articulation. These styles might include: I. Smooth legato tonguing also known as portato . . . . II. Staccato, very clear and crisp. Also practice a kind of staccato that is less clearly articulated, more of a 'puffy' shape. III. Marcato, very strongly articulated with every note maintained at full value, very intense. Excerpt from Introduction by Chris Gekker.
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: SP.TS460
ISBN 9781585607181.
Mitchell on Trumpet was written to provide the prudent student with the necessary skills to overcome any obstacle that they may encounter. The complete method starts at the very beginning and extends to the extreme limits of the horn through a gradual progression of 82 logically balanced lessons plus a companion set of warm-ups. The Warm-ups volume is a complete compilation of exercises and studies uniquely designed to maintain a strong, flexible embouchure, finger dexterity, sight-reading, range, and endurance at the highest level. The resources for maintaining these essential elements are found within this volume and are designed to be a faithful daily companion to the developing trumpet player and professional musician alike. Mitchell on Trumpet is a proven compilation of lessons that took many years to develop. It was designed to make the study of trumpet an enjoyable experience. You are continuing your study of a method revered by music educators around the globe; a method which stands unequaled by any other published approach for trumpet.
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