SKU: HL.48181770
UPC: 888680862879. 9x12 inches.
“Reginaldo Caffarelli compiles 16 Advanced Studies from a wealth of experience and expertise. With detailed instruction in French, English, Italian, German and Spanish, this study book is highly versatile. 16 Advanced Studies for Trumpet addresses articulation, intervals, style, complex rhythms, ornamentations, unusual time signatures, varied performance directions, phrasing, scales, arpeggios, fingering, chromaticism and triplets, amongst other aspects. For all advanced trumpeters, Caffarelli's 16 Advanced Studies is essential to a perfected technique.&rdquo.
SKU: HL.48181308
UPC: 888680866792. 9.0x12.0x0.094 inches.
“To this day, Eugène Bozza (1905-1991) remains one of the most prolific composers for wind instruments, despite being a violinist himself. His 16 Studies for Trumpet, Bugle or Cornet is no exception to the composer's success. During his studies at the Paris Conservatoire, Bozza won prizes for Violin, conducting and composition, as well as the Grand Prix de Rome. He then conducted the orchestra of the Opéra-Comique and became Head of the Conservatoire in Valenciennes, whilst remaining a prominent composer. Compiled in 1950, Bozza's 16 Studies addresses advanced features of the Trumpet, Bugle and Cornet, including complex rhythms, articulation, chromaticism, variations in time signatures, breath control, phrasing, intervals, scales and arpeggios, amongst other aspects. For all advanced Trumpet, Bugle and Cornet players, Bozza's 16 Studies are essential to develop technique to a high standard.â€.
SKU: YM.GTW01098118
ISBN 9784636981186.
For those who are looking for scores written in the original song keys for wind and brass, here you are! In this series, 40 popular J-POP songs are transposed for each instrument and can be played in the same keys as the original songs. (For example, if the original song is in C major, the score for trumpet in B-flat is re-transposed and written in D major to play in C major.) It is a great selection for a live session with other instruments such as piano or guitar. *Please note: the chord names are indicated in real tone notation for all scores in the series.
SKU: HL.50514647
9.0x12.0x0.165 inches.
SKU: HL.14004590
SKU: BT.EMM116-048
Dutch.
Na het grote succes van de methode Horen, lezen & spelen hebben Michiel Oldenkamp en Jaap Kastelein hun aandacht gericht op lesmateriaal dat gebruikt kan worden in zowel de trompetles als in de orkestklas (blazersklas). Zij bedachten een compleet nieuwe methode voor jonge blazers en slagwerkers vanaf ongeveer 8 jaar oud. De methode is ontwikkeld in nauwe samenwerking met professionals uit de wereld van blazersklassen, muziekscholen en conservatoria in Nederland en Duitsland.
Samen leren samenspelen is een methode voor trompetles en orkestklas in één. In de leerlijn voor trompet ligt de nadruk op trompet-technische zaken zoals nieuwenoten en technische oefeningen. Deze lijn ondersteunt de leerlijn voor de orkestklas, waar meer algemene zaken, zoals ritme, melodie, vorm en samenspel aan bod komen.
De methode bestaat uit twee delen. In het eerste deel wordt er vanaf de eerste noten toegewerkt naar het spelen van duetten. In het tweede deel ligt de nadruk op het driestemmig samenspelen. Naast het lesboek biedt de uitgebreide website allerlei aanvullend materiaal zoals demo- en begeleidingstracks van alle stukken, aanvullend speelmateriaal en instructie-video’s. De logische opbouw en kindvriendelijke layout met mooie illustraties zorgen ervoor dat deze methode voor kinderen heel motiverend is.
SKU: BT.DHP-0991637-400
ISBN 9789043106368. 9x12 inches. English-German-French-Dutch.
This volumes of pop hits with play-along CD is ideal for all buddingpop stars! Contains: Big, Big World, My Girl, Sex on theBeach, Everybody (Backstreetâ??s Back) and more. My Girl â?¢ Big Big World â?¢ Sex On The Beach â?¢ Samba de Janeiro â?¢ Time To Say Goodbye â?¢ Everybody (Backstreetâ??s Back) â?¢ Tune It Up â?¢ Enjoy Your WeekendGroÃ?e, unvergessene Pop-Hits aus mehreren Jahrzehnten, aber auch einige originale, der Popmusik nachempfundene Stücke sind in diesen Heften für Holzbläser, die bekannte Hits spielen wollen, zusammengefasst. Ein Hit - nicht nur für Fans der Popmusik! Il CD contiene la versione integrale di ogni brano, come anche una versione con il solo accompagnamento.
SKU: BT.DHP-1012556-400
ISBN 9789043111690. International.
This is a unique publication which enables you to make music in different ways and using various strengths. With this book you can play solo or duo, with or without accompanying CD. You can play together with someone who plays the same instruments or you can play with other wind and brass instrumentalists. A highly versatile book with original tunes for learning enjoyment. Mix'n Music ist ein Duettbuch, das es für fünf verschiedene Blasinstrumente gibt. Die Bücher können beliebig miteinander kombiniert werden. Viele Möglichkeiten stehen offen: allein mit der CD musizieren, oder zu zweit mit oder ohne CD. Sogar das Spielen in einer Band ist möglich, da jedem Buch ein Akkordsheet beigelegt ist. Auf der CD ist die Begleitung eingespielt.
SKU: BT.DHP-0971073-404
ISBN 9789043165013. English-German-French-Dutch.
SKU: BT.DHP-1064193-404
ISBN 9789043168441. Spanish.
Hoy en d a, Escuchar, leer and tocar es el manual de referencia en la enseñanza de los instrumentos de viento metal y viento madera. Estos magn ficos libros de metodolog a para principiantes, con acceso en l nea a archivos deaudio, contienen canciones, acertijos musicales y juegos para aumentar la comprensión de la música por parte de los alumnos, información sobre los instrumentos y muchas piezas divertidas para tocar. Los tres volúmenes del métodoestán acompañados por otros libros que contienen material complementario acordes al nivel correspondiente. Algunos de los libros no están disponibles en español sino en inglés bajo el t tulo Look, Listen and Learn.
SKU: BT.2090-16-404-DC
ISBN 9789043151245. German.
Da Capo ist als praxisorientierte, leicht zugängliche Musiklehre schon länger auf dem Markt etabliert. Richtig groß wird die Freude am Musiklernen aber erst, wenn man sich damit auf der Bühne präsentieren kann. Daher gibt es unter dem TitelBühnenspaß nun auch passende Spielliteratur, die vor allem auf die Leistungsabzeichen der Ãâsterreichischen Blasmusikjugend zugeschnitten ist, aber auch unabhängig davon das Unterrichts- und Vortragsrepertoire bereichert. Jedes Heft deckt einbreites musikhistorisches wie auch stilistisches Spektrum ab und schließt auch neue Werke renommierter zeitgenössischer Komponisten mit ein. Dieses Heft für Trompeteentspricht der Leistungsstufe Bronze und enthält die Solostimme; ferner stehenAudiotracks mit den Klavierbegleitungen zu allen Stücken, aufgenommen auf einem echten Konzertflügel, auf der Online-Plattform MyLibrary zum Download oder Streaming bereit. Zusätzlich sind die Noten des Klavierparts als separate Ausgabe unterder Bestellnummer 2091-16-401 DC erhältlich.
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-1125079-400
ISBN 9789043141321. 9x12 inches. English-German-French-Dutch.
J.S. Bach (1685-1750) wrote several solo unaccompanied works, such as the six suites for Cello, and many sonatas and partitas. Frits Damrow has worked on 22 such solo works to arrange them for trumpet solo and make Bach accessible to all trumpetplayers. The CD includes demonstrations by Fritz Damrow.J.S. Bach (1685-1750) schreef meerdere solowerken zonder begeleiding. Voorbeelden hiervan zijn zes suites voor cello en diverse partitas en sonates voor fluit en viool. Trompetvirtuoos Frits Damrow bewerkte tweeëntwintig van dezesolowerken voor trompet. Hij maakte daarmee de solomuziek van deze geniale componist toegankelijk voor alle trompettisten. Damrow zélf speelde de bijbehorende cd in.J.S. Bach (1685-1750) schrieb mehrere Solowerke ohne Begleitung, wie z. B. die sechs Suiten für Cello und diverse Partitas und Sonaten für Flöte und Violine. Frits Damrow bearbeitete 22 solcher Solostücke für Trompete und machte damit die Solomusikdieses genialen Komponisten allen Trompetern zugänglich. Auch die CD spielte der Meistertrompeter selbst ein.J. S. Bach (1685-1750) a composé un grand nombre dÅ?uvres pour instrument solo, comme par exemple les Six Suites pour Violoncelle seul, et autres pièces et sonates pour Violon ou Fl te Traversière. 22 dentre elles ont été arrangées par Fritz Damrow,rendant de véritables pépites musicales accessibles aux trompettistes. Sur le CD joint au recueil sont enregistrées toutes les pièces interprétées par Fritz Damrow lui-même.J. S. Bach scrisse molti testi per strumento solo senza accompagnamento, come per esempio le sei suite per violoncello e diverse Partite per violino. Frits Damrow ha arrangiato per tromba 22 soli, rendendo così accessibile ai trombettisti solistiquesta splendida musica. La traccia con la versione demo è eseguita dallo stesso Frits Damrow.
SKU: HL.49046941
ISBN 9783795722005. UPC: 196288087304. 9.0x12.0x0.163 inches.
The Easy Concert Pieces series presents easy to intermediate pieces for trumpet with piano accompaniment. Pieces typical of their era and suitable for auditions, public performance, competitions or examinations are ordered according to level of difficulty in three volumes. These Easy Concert Pieces also provide appealing additional material for use in trumpet lessons. Each piece has been recorded, both in full and playback versions (piano accompaniment).The audio files can be downloaded with a voucher code (in the book). In addition to the enclosed part for trumpet in Bb, a part for trumpet in C (Schott ED 22555-01) is available for download at www.schott-music.com. Volume 1 (ED 22555) contains very easy to easy pieces with a range up to written c'', with d'' appearing as a short top note in just afew pieces. Simple and memorable rhythms, readily playable note sequences and patterns of articulation that can be mastered quickly and easily make this book ideal for beginners. Volume 2 (ED 22556) contains easy to intermediate pieces with a range no higher than f''. Besides extending rhythmic scope and requiring a little more in terms of phrasing and articulation, these pieces will encourage further exploration of musical contrasts. Volume 3 (ED 22557) is of medium difficulty and intended for players with a well-developed embouchure who can play notes up to written g'', though this note only appears as a short top note. Flexible articulation and legato playing with a well-developed dynamic range are required for pieces that are longer than those in the preceding volumes.
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