SKU: M7.AHW-1005
English.
From Irving Bush: 'This series of range and technique studies was written to assist the serious trumpet player to meet the demands and requirements placed upon him in this modern day and age. Results are attained through intelligent, consistent, and countless hours of practice. Spasmodic or erratic practice will only result in mediocre performance. Correct thinking and adequate practice are entirely dependent upon one another. The thinking period should precede the actual playing of the instrument. The proper approach is to think of how it is to be played and what elements are involved to play it successfully. Comments are made at the beginning of each series to serve as a reminder of proper procedures and playing techniques. Correct procedure is essential to good performance. The notes on the page are meaningless unless the performer knows how to perform them correctly.'.
SKU: CF.W2686
ISBN 9781491150948. UPC: 680160908448. 9x12 inches.
This new edition of Jean Baptiste Arban's Fourteen Characteristic Studies for Trumpet in Bb, edited by Thomas Hooten and Jennifer Marotta, 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) will end.There are things which appear clear enough when stated verbally but which when written downon paper cause confusion, seem obscure, and even sometimes appear trivial.There are other things of such an elevated and subtle nature that neither speech nor wordcan 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 of perfection,should above all things, always try to hear good music well interpreted. They must seek out,among singers and instrumentalists, the most illustrious models, and by doing this purifytheir taste, develop their sentiments, and bring themselves as near as possible to that which isbeautiful. Perhaps then the innate spark which may someday be destined to demonstrate theirown talent, will reveal itself and render them worthy of being, in their turn, cited and imitatedin the future.
SKU: M7.AHW-1051
Art Farmer, one of the most admired - and imitated - jazz trumpet/flugelhorn players of his day, brings the full weight of his experience to bear on these carefully crafted excercises designed to develop technical mastery of diatonic, augmented, and diminished scale patterns. Drills for mouthpice practice, warm-ups, lip and tongue slurs, and pedal tones are also included. The value of this book is enhanced by the inclusion of transcriptions of four of Farmer's solos: 'Manha do Carnaval', 'Alone Together', 'It Don't Mean A Thing', and 'Love you Madly', as well as a complete discography of Farmer's recordings.
SKU: BR.DV-32027
ISBN 9790200425192. 9 x 12 inches.
Bicinia - unaccompanied duos - have been known to us from the fifteenth century onwards. So quite early on it was customary tu practise this type of musical exercise, which later, especially during the Romantic period, achieved great popularity as the duo or duett. Equal numbers of this sort of instrumental duo were composed for nearly all wind and string instruments. On the other hand, only a small amount of compositions for two trumpets have come down to us. In order to play any music which progresses beyond pure fanfare on a natural (valueless) trumpet, it is necessary to make use of the clarion register (the top third of the natural harmonic). And if such a melody is to be accompanied by a second part, only the few natural notes lying below it are left, or else this high register itself, which calls for great virtuosity on the part of the trumpeter. As well as this, we must remember the fact that trumpet-playing was only allowed for the trumpeters of a royal court, army, staff, or for the field-trumpeter of a prince, plus a few council, city, and church musicians, who were bound by strict guild and corporation rules. Thus in spite of the preference for its festive sound, the spread and handing down of trumpet music was almost reduced to nothing under these circumstances. As well as this, pride of place and profession rivalry and envy amongst musicians contributed in large part. In England the situation was somewhat freer. Here pretty little trumpet duos originated, including, amongst others, those written by Handel for his master-trumpeter Valentin Snow and the Royal Sergeant-trumpeters of the Shore family. An especially happy exception was the diocese of Olmiitz. Here there was a capable group of musicians of the chapel royal with the brilliantly talented group of trumpeters and the field-trumpeter Pavel Vajvanovsky, who also composed himself. These trumpeters in the service of his prince-bishop played many sacred and secular pieces, all for several instruments. It was for them also that Heinrich Ignaz Franz Biber wrote the 12 double trumpet sonatas we present here. On the other hand, the representatives of the authorities in Germany ensured strict observation of all edicts and regulations. Even the celebrated Bach-trumpeter and towm-piper Gottfried Reiche was never allowed to be portrayed with a proper trumpet due to the priveleges of court and field trumpeters. In order to represent him as one of the greatest masters of his time and art, however, the painter placed an instrument similar to a corno-di-caccia in his hand, together with a sheet with a small piece for virtuoso clarion. When we try in spite of these difficulties and adverse circumstances to gather a collection of musically valuable and characteristic examples of popular pieces for two trumpets from the seventeenth and eighteenth centuries, it is in the first, place in order to acquaint modern trumpeters with something of the wealth of music, which can also be well played on a modern trumpet with valves. The originally used trumpets correspond to modern ones in the keys of C and D, but this does not mean that many of the pieces cannot be transposed to a more comfortable register. On top of this, we have tried to give a picture of the baroque court and field trumpeter, as well as of the mysterious clarion trumpeter, with the help of musically popular material. The origin of most of the pieces used is no longer clearly discernable. In most cases we possess second- or third-hand copies which have been handed down, and show signs of frequent use. A few cases where modernization of the second part obviously did not take place until the invention of stops, have been re-shaped into their supposed original form. A series of further dynamic details were left, and marked as optional suggestions in brackets. Kurt Janetzkyz.T. mit Pauken und B.c.
SKU: FG.55011-772-3
ISBN 9790550117723.
The name of Lara Poe’s solo trumpet work Triton (2019) alludes both the sea god Triton and the shell named after him. The 6’30’’ long piece is constructed of two types of material: the combination of a fanfare like trumpet call with a meandering line, and more undulating material. Have a look inside by clicking sample. This product is a folder with sheet music as loose pages. Lara Poe is a Finnish-American composer who is currently based in London. Her works have been performed across a wide range of venues throughout the US, Europe, and Asia. Her piece Kaamos, which she wrote for the Lahti Symphony Orchestra, was recently nominated for a Ivors Composer Award in the Large Scale Composition category. Kaamos also was selected by YLE Radio Finland to represent Finland at the International Rostrum of Composers 2021 in Belgrade, Serbia. Poe was the 2019 Tanglewood Music Patricia Plum Wilde Fellow and represented Finland at Ung Nordisk Musik 2019 in Piteå. She was also a 2018-2019 participant in the London Symphony Orchestra’s Panufnik Scheme, where she worked under the guidance of Colin Matthews and Christian Mason.
SKU: M7.AHW-413
Chris Gekker's 24 Etudes for Trumpet are meant to cover a wide range of trumpet playing areas. Everything from low register playing, multiple tonguing, legato intervals, supple and flexible articulation, and difficult key signatures. Chris is one of the finest trumpeters of his generation, and by combining his technical ability with his compositional aptitude we are left with a set of trumpet studies that are so fantastically idiomatic that trumpeters all over the world are raving.
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