SKU: AP.40660
ISBN 9788863880144. French.
French Edition of Edwards-Hovey Method for Cornet or Trumpet, Book 1. Le but des auteurs de ce manuel a été de fournir autant que possible une organisation logique et rigoureuse en ce qui concerne (a) l'évolution rythmique, (b) le développement de la tessiture et (c) la dextérité. Les commentaires ont été réduits au strict minimum d'espace aux morceaux et aux exercices musicaux. Les mélodies ont été choisies pour permettre une adaptation simple au phrasé, et les exercices, tout en restant systématiquement dans le cadre des capacités techniques et de la tessiture des débutants, ont été traités de la manière la plus mélodieuse possible, fuyant systématiquement les motifs répétitifs et monotones.
SKU: BT.DHP-1084568-400
ISBN 9789043130233. 9x12 inches. German.
Hören, lesen and spielen ist die individuelle Bläserschule für dreizehn verschiedene Instrumente, die im Einzel- oder Gruppenunterricht eingesetzt werden kann. Die bewährte Methode ist nach den gegenwärtigen Regeln und Ansprüchen der Musikerziehung zusammengestellt. Sie enthält viele Spiele, Puzzles, Hörübungen, Lieder und Originalkompositionen. Mit der Begleit-CD macht das �ben natürlich doppelt Spa�! Im zweiten Band steht neben der rhythmischen Erweiterung auf Sechzehntel und der Einführung des 6/8- Takts auch die chromatische Erweiterung des Tonumfangs auf dem Programm. Instrumentenspezifische �bungen und Spieltechniken, wie z. B. Aufwärmtrainings,Ansatzübungen, �berblasen, Buzzen, Lippenbindungen u. v. m. machen die jungen Bläser fit.
SKU: HL.49007263
ISBN 9790001078047. German.
Im 2. Band werden mit Kapiteln uber Zungentechnik, Verzierung, Artikulation und Chromatik die in Band 1 erworbenen Grundlagen erweitert. Spezielle Bindeubungen verhelfen zur Steigerung der Ausdauer und Hohe. Wie jazzige Stucke zu blasen sind, wird in einem besonderen Kapitel behandelt. Die Schule ist sowohl fur den Einzel- als auch fur den Gruppenunterricht geeignet.
SKU: HL.48181432
UPC: 888680789916. 9x12 inches.
“Célèbre Méthode Complète de Trumpet, Valved Cornet and Saxhorn has assisted many generations of Trumpet and Cornet players. The compilation by French cornetist, conductor and composer, Jean-Baptiste Arban (1825-1889) successfully addresses requirements of modern technique and contemporary musical writing. Arban studied at the Paris Conservatoire and led a prosperous career as a versatile and accomplished musician. Célèbre Méthode Complète for Trumpet, Valved Cornet and Saxhorn is divided into three parts, which incorporate a vast variety of musical elements. Part 1 includes performance directions, holding the instrument, tuning slides, sound, long notes, staccato, transposition, syncopation, martellato, legato, arpeggios, mutes, extended techniques and vibrato. Containing a large amount of instruction in French, English, German and Spanish, Arban's Célèbre Méthode Complète de Trumpet, Valved Cornet and Saxhorn is not to be missed by any aspiring brass player.&rdquo.
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-1063944-400
ISBN 9789043124461. 9x12 inches. French.
Offrir une approche progressive de lâ??apprentissage de la trompette en procédant étape par étape, voil ce que propose Pas Pas, une méthode complète et efficace qui contient des explications claires, des exercices, des jeux, des mélodies célèbres et plusieurs medleys. Sur les compact discs, vous trouverez les accompagnements de chaque exercice ou morceau, ainsi quâ??une version de démonstration de la plupart des mélodies. Frits Damrow, trompette solo du Concertgebouw dâ??Amsterdam, sâ??est fait un plaisir de les interpréter pour vous. Le DVD est un véritable guide dâ??instruction. Il contient des informations essentielles dans les premières étapes de lâ??apprentissageinstrumental. Débuter la trompette est vraiment un plaisir ! Pas Pas est une méthode pour le cours individuel qui encourage lâ??élève donner une interprétation personnelle des mélodies. Cette méthode contient 2 CDs et 1 DVD.Les parties d'accompagnement de piano des medleys sont disponibles dans un recueil vendu séparément :Pas Pas 1 - Accompagnement de Piano
SKU: BT.DHP-1074265-400
ISBN 9789043127721. 9x12 inches. French.
Offrir une approche progressive de lâ??apprentissage de la trompette en procédant étape par étape, voil ce que propose Pas Pas, une méthode complète et efficace qui contient des explications claires, des exercices, des jeux, des mélodies célèbres et plusieurs medleys. Sur les compact discs, vous trouverez les accompagnements de chaque exercice ou morceau, une manière unique de découvrir la sensation de jouer en compagnie d'un véritable groupe. Pas Pas 2 (2 CDs inclus) est une méthode pour le cours individuel qui encourage lâ??élève donner une interprétation personnelle des mélodies.Les parties d'accompagnement de piano des medleys sont disponibles dans un recueil vendu séparément.
SKU: M7.KECF-5
ISBN 9790502360054. German English.
Diese Neuausgabe eines bereits erfolgreichen Albums für Trompete und Klavier (mit Solostimme in B und C) enthält eine abwechslungsreiche Sammlung von Konzertstücken für Anfänger. Die Klavierbegleitung ist einfach gehalten, um auch jungen Pianisten die Möglichkeit für kammermusikalische Erfahrungen zu geben.
SKU: BT.HITPCWELTR01
French.
La collection Welcome to, c’est de la musique de films, de la musique classique, de la variété, du jazz... le meilleur de la musique, spécialement adapté pour chaque instrument dans une tonalité simple avec des play-back d’une grande musicalité pour s’entraîner et même un tempo de travail ralenti pour plus de confort d’apprentissage.
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