SKU: CY.CC2766
Children the world over love 'playtime'. A welcome break from lessons, a time to burn some energy and have fun. A time to play some games!Playground Games is a collection of etudes for bass trombone portraying these traditional games and reflecting on the childrens' enjoyment. We can picture them jumping, playing Hopscotch, Leapfrog and 'Skipping' (the Double Dutch version of this popular game) and running around in the fast and furious Tag! More peaceful moments are to be found when you sense the concentration during Marbles and Cat's Cradle and an exciting contest is on during Conker Fight.These entertaining pieces are in many genres and styles, keys and meters. Some etudes are funky and rhythmic, others dance-like with waltzes and a merry gigue. They are appropriate for intermediate to advanced performers.The etudes evoke feelings for those on the playground today and for others, bringing back happy memories.
SKU: HL.48181907
UPC: 888680848385. 9.0x12.0x0.388 inches.
Written by Paul Bernard, Complete Method is a full method for Bass Trombone, Tuba, Bass and Counter-Bass Saxhorn. With comments in French, English, German and Italian, this method provides all the necessary information for beginner musicians to become the greatest players. It features a ?Preliminaries? section explaining the specificities of the instruments, and follows on with chapters on the placing of the sounds, the intervals, the major and minor scales, the articulations as well as some techniques for appoggiatura, trills, grupettos, nuances among many others subjects. This great method also includes some daily exercises, some great, technical or modern studies and introduces to the work in an orchestra. It is a definite must-have to become familiarised with all the techniques and eventually master them..
SKU: CY.CC2921
Exegesis is an unaccompanied solo for Bass Trombone written by American composer and Bass Trombonist Philip Brink in 1973. The work of about 4 minutes in length is appropriate for very advanced performers and requires the use of multi-phonics and other technical challenges.Below is a brief instruction to the performer from the composer.The rhythmic notation of Exegesis is fairly free; sections in traditional notation should approximate those rhythmic patterns, while arbitrarily long notes, rests or patterns should be as long as possible. The score hints at but does not make explicit any particular dramatic action or effect, which it is left to the performer to create or not. Most of the instructions are on the score and fairly easy to follow. The Beams that crescendo and diminuendo relate to acceleration or deceleration as indicated. There are odd little notes, like secretive in the first line - in these instances do whatever comes to mind as giving an impression of secrecy - change in volume, tone, or whatever - even a hand gesture!The composer gives detailed instructions in the score for the listener and the performer, helping with the interpretation and appreciation of this work.
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