SKU: GI.G-J305

ISBN 9781579994369. English.

A revision of this beginning band series makes Jump Right In easier to use and more musical than ever before! Includes high-quality CDs of folk songs that: • Comprise many styles, tonalities, and meters • Span many cultures and many centuries • Are ideal for listening and playing along Features performances by some of the world’s greatest performers: • Artist faculty members from Eastman School of Music • Members of Rochester Philharmonic Orchestra • Rhythm and Brass Helps develop musicianship beyond instrumental classroom with: • Progress from sound to sight in logical, common sense sequence • Opportunities for improvisation from early stages of instruction • Tools to help students learn to read and write with better comprehension • Arrangements of familiar songs in each book Sequential and proven materials are: • Designed specifically to attend to individual differences • Based on current experimental and practical research • Based on the music learning theories of Edwin E. Gordon • Relevant to National Standards and include suggestions for measurement and evaluation Extensive Teacher’s Guide: • Contains lesson plans • Includes teaching procedures • May be used independently or in conjunction with Jump Right In: The Music Curriculum and Developing Musicianship through Improvisation.

SKU: CF.W2687

ISBN 9781491150955. UPC: 680160908455. 9x12 inches.

This new edition of Jean Baptiste Arban's Fourteen Characteristic Studies for Trombone, edited by Alan Raph, was specifically written to provide the student with suitable material with which to test his powers of endurance, according to Arban himself.
The following fourteen studies have been specifically written to provide the student withsuitable material with which to test his powers of endurance. In taking up these studies, he willdoubtless be fatigued, especially at the outset, by those numbers requiring an unusual length ofbreath. However, through careful study and experience he will learn to overcome the difficultiesand will acquire the resources which will enable him to master this particular phase of playingwith ease. As a means to this end, attention is drawn to cantabile passages in particular, whichshould be played with the utmost expression, yet at the same time with as much modified toneas possible. On the cornet, as with the voice, clear tones may be obtained by widening thelips and veiled tones by contracting them. This happy circumstance allows the performer anopportunity to rest while still continuing to play, and at the same time enables him to introduceeffective contrasts into the execution. It should be noted that by little artifices of this kind, andby skillfully conserving his resources, the player will reach the end of the longest and mostfatiguing pieces, not only without difficulty, but even with a reserve of strength and power,which, when brought to bear on the final measures of a performance, never fails to impress anaudience.At this point my task as professor (using the written instead of the spoken word) willend. There are things which appear clear enough when stated verbally but which when writtendown on paper cause confusion, seem obscure, and even sometimes appear trivial.There are other things of such an elevated and subtle nature that neither speech norword can clearly explain them. They are felt, they are conceived, but they are not to be explained;and yet these things constitute the elevated style, the grand ecole, which it is my ambition toestablish for the cornet, just as they already exist for singing and for the various kinds of otherinstruments.Those of my readers who are ambitious and who want to attain this high level ofperfection, should above all things, always try to hear good music well interpreted. Theymust seek out, among singers and instrumentalists, the most illustrious models, and by doingthis purify their taste, develop their sentiments, and bring themselves as near as possible tothat which is beautiful. Perhaps then the innate spark which may someday be destined todemonstrate their own talent, will reveal itself and render them worthy of being, in their turn,cited and imitated in the future.

SKU: GF.JPTB

Milwaukee Avenue

Ogden Avenue

Narragansett Avenue

Belden Avenue

Chicago Avenue

Quincy Street

Rockwell Street

Dearborn Street

Franklin Street

Pearson Street

Jazz Phrasing for Trombone features ten melodic pieces which are easy to play, yet convey the essence of mainstream (Swing/Bebop/Bossa) jazz vocabulary. The pieces are catchy and melodic, demonstrating the use of sequence and voice-leading to make a musical statement.

This book includes a play-along CD featuring trombonist Russ Phillips playing each song with a world-class rhythm section. The CD also includes tracks featuring Greg Fishman demonstrating each song on alto saxophone, giving trombone players the option of playing along with Russ Phillips on trombone or with Greg Fishman on alto saxophone.

In addition, there are play-along tracks featuring just the rhythm section. These tracks are great for practicing the songs, chords, scales, voice-leading lines and soloing over the chords progressions.

Jazz Phrasing for Trombone will provide valuable insights into a melodic approach to jazz improvisation. This book is recommended for trombone players of all levels who wish to improve their tone, articulation, phrasing, and understanding of thematic development.

Special Features of Jazz Phrasing for Trombone:

o Suggested Use Section - Provides detailed instructions on a variety of ways to work with the book.
Style & Analysis Section - Provides clear, concise explanations of sequence, variation and voice-leading
Thematic Index - Lets you compare the opening themes of all ten songs in convenient two page at-a-glance format. Also includes detailed information on the opening interval of each song, as well as harmonic context of the opening interval.
Endorsements for Jazz Phrasing for Trombone:
Greg has done it again. Great melodies, interesting rhythms and beautiful chord progressions. This is the perfect foundation for learning jazz. - Jamey Aebersold
This book is a monument to Greg Fishman's superb teaching skills, as well as his clear understanding of the jazz student's early needs. He has purposefully selected accessible tempos, significant melodic rhythms (with their appropriate phrasing) and sensitive note choices, utilizing commonplace chord progressions within the jazz repertory, all impeccably demonstrated on the accompanying compact disc. This book is a must for the early conditioning of jazz students! - Jerry Coker
Greg Fishman has created a book of fun, well-written, catchy tunes in a variety of styles for developing jazz players---highly recommended. - Dr. Gregory W. Yasinitsky, Regents Professor of Music & Coordinator of Jazz Studies, Washington State University
Songs included in Jazz Phrasing for Trombone - Volume 1:
o Milwaukee Avenue
Ogden Avenue
Narragansett Avenue
Belden Avenue
Chicago Avenue
Quincy Street
Rockwell Street
Dearborn Street
Franklin Street
Pearson Street

A few words from the preface of the book:

Applying good phrasing to music is like using good punctuation in written or spoken language. It involves the grouping of ideas to make the meaning of the words clear to the listener. The words are grouped into sentences, and the sentences are then grouped into paragraphs. The same is true when interpreting a piece of music.

Good phrasing requires a musician to interpret the notes he plays, and determine which notes need to be grouped together to form a complete musical idea.

Each song in Jazz Phrasing for Trombone is designed to train your ear to hear the logical grouping of phrases through the use of sequence and thematic development.

While the art of good phrasing involves the interpretation of note groupings and their relationships, it also involves deciding where you're going to take a breath.

Read the following sentences aloud to compare examples of good and bad phrasing.

Good phrasing, spoken in one continuous breath:

Ladies and gentlemen, it gives me great pleasure to introduce the senior class president.

Bad phrasing, spoken with extra breaths, disrupting the flow and grouping of the words:

Ladies and gentlemen, it gives (breath) me great pleasure to introduce the senior class (breath) president.
The difference between these two sentences is very similar to the difference between a professional musician's phrasing and a student's phrasing. Both may be playing the correct notes with the correct rhythm, but the professional musician knows how to group the notes in a smooth, flowing fashion, while the student takes breaths at random, not even aware that he's disrupting the phrasing.

Jazz Phrasing for Trombone has been carefully designed to help you learn to phrase like a professional player.

These are pieces that will be fun for all musicians who love melodic writing with good thematic development..

SKU: CY.CC3110

ISBN 9790530110874. 8.5 x 11 in inches.

Albert Robert Mueller (Muller) was a German trombonist born in 1849. He initially received violin lessons and discovered his talent for trombone playing at the age of twelve. He eventually settled in Leipzig and became a member of the Leipzig Gewandhaus Orchestra as well as a teacher at the Royal Conservatory of Music. He wrote the School for Trombone in 1902. (Wikipedia) The School for Trombone (part of our Vintage Brass Series, not to be confused with the Technical Etudes) is a very detailed and comprehensive book in three volumes totalling 208 pages, the text being divided into German, English and Russian languages. * Volume I includes detailed lessons on music theory including all scales and keys, rhythm, time signatures, rests, accents, accidentals, explanations of tempo markings, dynamics, posture, tone, a table of positions and notes. The lessons go through different keys starting very slowly and methodically with short exercises....not going too fast for the beginning student. Along the way Mueller inserts easy duets to perform with teacher and student, including many Bach chorales, etc. to get tuning and tone solidified. * Volume II for the intermediate level student, begins with the first studies of slurs and legato. He introduces simple songs and famous melodies including more duets. The exercises get progressively more difficult and include the entire collection of ornaments. * Volume III, for the more advanced student, introduces tenor and alto clefs in scales and studies including more duets. Compiled by Gordon Cherry.