SKU: BT.AMP-304-400
ISBN 9789043138116. 9x12 inches. English-German-French-Dutch.
Part of the Anglo Music Play-along Series, Philip Sparkeâ??s 15 Easy Classical Solos is aimed at the young instrumentalist who can play just over an octave. Specifically tailored to suit the individual instrument, this book introduces the beginning player to the world of the classics by using simple yet attractive melodies that fit their limited range. The carefully selected pieces include music from the 16th to the 20th century and cover a wide variety of styles, from Bach to Grieg and from Purcell to Satie. This book will provide invaluable additional material to complement any teaching method and includes both piano accompaniment and a demo/play-along CD.Philip Sparkeâ??s 15 Easy Classical Solos, onderdeel van de Anglo Music Play-Along Series, is bedoeld voor de jonge instrumentalist die iets meer dan een octaaf kan spelen. Het boek sluit qua instrumentaal bereik en gebruikte toonsoortenaan bij het Artist Level van Hal Leonards Essential Elements ®, maar kan ook los daarvan worden gebruikt.De zorgvuldig geselecteerde melodieën, die specifiek zijn toegesneden op elk instrument, beslaan een breed scala van klassieke stijlen:van Bach tot Grieg en van Purcell tot Satie.Het boek bevat waardevol materiaal ter aanvulling op elke lesmethode en wordt geleverd met pianobegeleiding en een cd met demo- en meespeeltracks.15 Easy Classical Solos ist als Ergänzung zur bewährten Anglo Music Play-Along Reihe gedacht und richtet sich an Schüler, die ungefähr einen Tonumfang von einer Oktave beherrschen. Das Niveau entspricht dem des Artist Levels der Essential Elements ® Methode von Hal Leonard, kann aber auch unabhängig davon verwendet werden. Genau auf jedes Instrument zugeschnitten, ermöglicht die wohlüberlegte Stückeauswahl ein erstes Kennenlernen von Melodien aus verschiedenen Epochen der Klassik von Grieg über Purcell bis Satie. Jeder Band bietet wertvolles Ergänzungsmaterial, das zu jeder Instrumentalschule passt und enthält sowohl Klavier- als auch CD-Begleitungen.15 Easy Classical Solos, de Philip Sparke, est un ouvrage qui sâ??adresse aux jeunes musiciens, maîtrisant un peu plus dâ??une octave. 15 Easy Classical Solos a été conçu pour être joué en corrélation avec les séries Artist et/ou Master Level de la collection Essential Elements ®, publiée par les éditions Hal Leonard. Mais il peut également être utilisé indépendamment.Spécifiquement adapté chaque instrument, ce volume rassemble quinze mélodies écrites par des compositeurs aussi variés que Bach, Purcell, Grieg et Satie.Comprenant les parties dâ??accompagnement de piano et une version dâ??accompagnement sur compact disc, ces ouvrages représentent une sourcecomplémentaire inestimable toute méthode pédagogique. Il concetto della collana Anglo Music Play-Along Series è quello di integrare al più presto nel processo di apprendimento dei giovani strumentisti la possibilit di poter suonare accompagnati al piano o con lâ??ausilio di unâ??incisione su CD. Ilchiaro vantaggio di questo metodo è che gli allievi imparano da subito lâ??aspetto fondamentale del suonare insieme, vale a dire tenere il tempo in modo costante. 15 Easy Classical Solos consente agli allievi che hanno una conoscenza limitatadelle note di suonare brani di Bach, Schubert, Purcell, Grieg e altri, grazie alle versioni facilitate. Il livello di 15 Intermediate Classical Solos permette invece agli allievi che padroneggiano lâ??estensione superiore a unâ??ottava dicimentarsi nei â??primi concertiâ? con brani di Haendel, Clementi, Rameau, Glueck, Beethoven e altri. Il CD propone una traccia con lâ??incisione completa e una con il solo accompagnamento.
SKU: BT.AMP-387-400
ISBN 9789043135856. 9x12 inches. English-German-French-Dutch.
Part of the ANGLO MUSIC PLAY-ALONG Series, Philip Sparkes 15 INTERMEDIATE CLASSICAL SOLOS is aimed at the young instrumentalist who can play about an octave and a half and follows on from Sparkes 15 EASY CLASSICAL SOLOS. Specifically tailored to suitthe individual instrument, this book introduces the developing player to the world of the classics by using simple yet attractive melodies that fit their limited range.
The carefully selected pieces include music from the 17th to the 19th century and cover a wide variety of styles, from Handel to Tchaikovsky and from Clementi to Brahms.
The book will provide invaluable additional material to complement any teaching method and includes both piano accompaniment and a demo/play-along CD.
Genau auf jedes Instrument zugeschnitten, ermöglichen die sorgfältig ausgewählten Melodien noch mehr Spielerfahrung mit klassischer Musik. Die Stücke umfassen verschiedene Stilrichtungen und Komponisten wie z.B. Händel, Tschaikowsky, Clementi undBrahms.
Jeder Band bietet wertvolles Ergänzungsmaterial, das zu jeder Instrumentalschule passt und enthält sowohl Klavier- als auch CD-Begleitungen.
SKU: CY.CC3136
ISBN 9790530111055. 8.5 x 11 in inches.
This fine work has sat dormant for many years and has now come to light thanks to the efforts of Charlie Vernon, Bass Trombonist of the Chicago Symphony, who performed this virtuoso work as a young performer. The concerto is in the standard three movement form: Fast, slow, fast. This publication is a reduction from the original orchestral version (to be released at some point in the future). Here is a description of the Concerto by the composer, John W. Ware. I started on the trombone concerto in my junior year studying composition at Indiana University. While working on it, I learned of an opportunity to make it sort of a thesis piece (though students didn't write a thesis in composition while an undergrad). The original version was for trombone with string orchestra, and it was performed by the IU String Orchestra, conducted by Dr. Arthur Corra, with Robert Priez, trombone, as part of my senior composition recital. I thought the performance was quite good (Priez played extraordinarily well), and the piece received a newspaper review in the Indiana Daily Student, in which the reviewer wrote that the work was almost too exciting. I thought at the time that he had given me and my music a fine compliment. I made a piano version of the accompaniment, shortening and tightening the first movement, for performances in 1966; I made a second revision in 1967 for a performance by E. J. Eaton, trombonist at the University of Tennessee at Martin, arriving at the form in which the work exists now. The first movement is in fairly normal sonata-allegro form, in the key of A minor. It alternates between assertive and more thoughtful moods. There is no introduction; the soloist enters immediately and dominates much of the movement. The main theme is--by some manipulation--a source for most of the other themes, and all of the themes are used in close proximity to each other, including contrapuntal combinations, especially near the end. Originally the movement included a lengthy fugato, now much shortened and including a stretto that builds and subsides before a cadenza leading to a coda based on both the principal and secondary themes. Key relations in this movement, as in the other two, are quite free and often chromatic, with frequent third-relations; but returns to the tonic at the end are emphatic. The writing is challenging for both soloist and accompanist; the piece is substantial, requiring technique and stamina. The second movement is in F minor and is also built on both contrast and close relationships between the main and secondary themes. The main theme is heard in the piano part before the soloist enters. The mood is more lyric than in the first movement, but with dramatic episodes also. In this movement are some definite derivations from themes in the first movement. The ending is a sort of lengthened shadow of the opening. The finale returns to A minor, with themes slightly related to polonaise rhythms, but with strong echoes of first-movement themes. Here, too, dramatic and lyric episodes alternate, with dotted rhythms frequently propelling the music forward. The introduction is a brief and simple preparation for the solo entry. Later in the movement, a very brief, slightly slower section is soon overtaken by the original tempo. Toward the end, there is a second cadenza, again leading to a swift and energetic coda. The work is about 20 minutes in length and is appropriate for advanced performers.
SKU: PR.114414450
ISBN 9781598064087. UPC: 680160597635. 9x12 inches.
Inspired by the tale of a legendary folk hero, Adolphus Hailstork’s tour-de-force for trombone and piano is a riveting portrayal of the steely strength and stamina of John Henry, a former slave who helped build the American railroads and ultimately outperformed a steam engine. This composition uses quotes from the spiritual Every Time I Feel the Spirit and the folk song The Ballad of John Henry. For advanced players. Duration: 13’__________________________________________Text on the scanned back cover:JOHN HENRY'S BIG(MAN vs. MACHINE)FOR TROMBONE AND PIANOInspired by the tale of the legendary hero, Adolphus Hailstork’s tour-de-force for trombone and piano is a riveting portrayal of the steely strength and stamina of John Henry, a former slave who helped build the American railroads and ultimately outperformed a steam engine.PROGRAM NOTES by the ComposerJohn Henry was born a slave in the 1840’s or 1850’s. It is important to remember that no one knows for sure if John Henry existed or is a tall tale created by writers. That is one of the things that makes the legend so intriguing.According to the legend, he grew to stand 6 feet tall, 200 pounds – a giant in that day.Though the story of John Henry sounds like the quintessential tall tale, it is certainly based, at least in part, on historical circumstance. There are disputes as to where the legend originates. Some place John Henry in West Virginia, while recent research suggests Alabama. Still, all share a similar back-story.In order to construct the railroads, companies hired thousands of men to smooth out terrain and cut through obstacles that stood in the way of the proposed tracks. One such chore that figures heavily into some of the earliest John Henry ballads is the blasting of the Big Bend Tunnel, more than a mile straight through a mountain in West Virginia.Steel-drivin’ men like John Henry used large hammers and stakes to pound holes into the rock, which were were then filled with explosives that would blast a cavity deeper and deeper into the mountain. In the folk ballads, the central event took place under such conditions. Eager to reduce costs and speed up progress, some tunnel engineers were using steam drills to power their way into the rock. According to the great American tall tales, on hearing of the machine, John Henry challenged the steam drill to a contest. He won, but died of exhaustion, his life cut short by his own superhuman effort.This composition uses quotes from the spiritual Every Time I Feel the Spirit and the folk song The Ballad of John Henry.JOHN HENRY’S BIG was composed for trombonist David Jackson.
SKU: FL.FX073047
We play this music with images of a fun little movie in our head... For a hearing or an exam from 6 years of practice. ; Instruments: 1 Trombone 1 Piano; Difficuly Level: Grade 4.
SKU: BT.AMP-311-401
9x12 inches.
Capriccio for Trombone is geschreven in opdracht van Brett Baker, trombonesolist en lid van de beroemde Black Dyke Band. Het is een eerbetoon aan Mike Moor, de onlangs overleden vriend en collega van zowel Brett als de componist.Capriccio weerspiegelt Mike’s opgewekte karakter, zijn tomeloze energie en liefde voor de brassbandmuziek. Eveneens verkrijgbaar voor trombone en brassband.Capriccio for Trombone wurde von Brett Baker, dem Solo-Posaunisten der berühmten britischen Black Dyke Band, in Auftrag gegeben. Es ist ein Tribut an den kürzlich verstorbenen Mike Moor, ein enger Freund und Kollege von Baker und dem Komponisten. Dieses Werk sollte Moors Gutmütigkeit, seine große Liebe zur Brass-Band-Musik und die unbezähmbare, enthusiastische Energie einfangen, die Mike in allen Dingen, die er tat, an den Tag legte. Ebenfalls erhältlich für Posaune und Brass Band.Capriccio for Trombone est une commande de Brett Baker, tromboniste soliste et membre du célèbre Brass Band Black Dyke Band. Cette oeuvre rend hommage au défunt Mike Moor, un ami commun du compositeur et du tromboniste. Cappricio for Trombone est une pièce de caractère jovial, dont la trame s‘appuie sur une figure de note récurrente et une incroyable multitude de changements d‘atmosphères et de chiffrages de mesure.
SKU: HL.44004347
UPC: 073999043471. English-German-French-Dutch.
Acht mooie solostukken voor trompet (of een ander koperblaasinstrument) met piano- of orgelbegeleiding. Ze zijn geschikt voor zowel kerkelijke gelegenheden als concerten.
SKU: IS.TRP4208EM
ISBN 9790365042081.
Jozef (Jef) Schampaert's 1952 Dramatische Fantaisie (Fantaisie Dramatique) for trombone and piano, dedicated to trombone professor Peter Roupcinsky, was written as a concours piece for the Royal Conservatoire Antwerp in Belgium. While the rest of the Belgian school was experimenting with a return to lush romanticism (Alpaerts, Maes, and the musical progeny of Benoit), or beginning to prod the tonal bounds of listenable 12-tone and serialism (Constant and Verbesselt), Schampaert took towards a different sound: that of the Impressionists, transmuted through his distinctly Flemish touch.
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