SKU: BT.DHP-1084638-400
ISBN 9789043130998. 9x12 inches. German.
This new volume helps fill the need for functional trumpet and organ music that can be used in a church service or mass. The pieces follow the format of the traditional mass and are suitable for use in churches of any denomination. This publication comes with a play-along CD featuring complete performances together with organ accompaniments and an organ accompaniment part. Er is veel vraag naar functionele muziek voor trompet en orgel als invulling van kerkdienst of mis - deze geslaagde compositie van Jacob de Haan is het antwoord op die vraag. Missa Brevis is uitermate geschikt voor uitvoeringin zowel katholieke als protestantse kerkdiensten. De uitgave wordt geleverd met een piano/orgelpartij en een meespeel- en voorbeeld-cd, waarop Frits Damrow de trompetpartij speelt.Missa Brevis, eine Messe für Blasorchester und Chor ad libitum, kann in diversen variablen Spielstärken aufgeführt werden. Zahlreiche mögliche Instrumentenkombinationen und darüber hinaus diverse mögliche Kombinationen mit groÃ?en oder kleineren Chören, lassen eine Vielzahl von verschiedenen Aufführungen zu. Darüber hinaus ergeben sich durch die Orgelbegleitung weitere Aufführungsvarianten. Eine Aufstellung aller verschiedenen Besetzungsmöglichkeiten wird vom Komponisten mitgeliefert. Die Entscheidung für eine reine Instrumental- oder eine der kombinierten Varianten liegt ganz im künstlerischen oder praktischen Ermessen des Dirigenten. Die wunderschöne Musik aus der Feder vonJacob de Haan garantiert in jedem Fall einen gelungenen Auftritt! Les oeuvres sacrées pour trompette et orgue pouvant être interprétées, la fois lors dâ??un culte ou dâ??une messe, font réellement défaut. Les différentes parties de Missa Brevis (Kyrie, Gloria, Credo, Sanctus, Benedictus et Agnus Die) conviennent autant la liturgie catholique quâ?? la liturgie protestante. Une excellente source dâ??inspiration. I pezzi sacri per strumento e organo possono essere suonati durante il rito religioso o la messa. Le differenti parti di Missa Brevis (Kyrie, Gloria, Credo, Sanctus, Benedictus, Agnus Dei) si adattano sia alla liturgia cattolica che protestante. Il CD incluso propone la registrazione dellâ??accompagnamento allâ??organo come anche una versione dimostrativa di ogni brano, per dar modo allâ??interprete di coglierne la giusta interpretazione. Missa Brevis è unâ??eccellente fonte dâ??ispirazione. Le parti dellâ??organo sono incluse nella pubblicazione.
SKU: KU.EES-448
for Bb trumpet without accompaniment (1968)
SKU: AP.BWI00455
UPC: 029156141368. 9x12 inches. English.
Solo for Bb trumpet with piano accompaniment. Written by Henry Purcell and arranged by Major Herman Vincent.
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.
SKU: BT.BMI11050528-400
ISBN 9789043141673. 9x12 inches. International.
With this collection, you can enjoy highlights from the work of Belgian composer Bert Appermont. The pieces have been carefully selected by the composer himself, who has paid special attention to playability, and has looked for melodies that appeal to a large audience. The melodies have been arranged according to levels of difficulty and are suitable for use in music lessons or for concert performances. The pieces Innocence and Song of Hope have been provided with a second part, so that they can be performed as duets with accompaniment. The book comes with a CD containing a demo version as well as a play-long track for each piece. The piano accompaniments have beenprovided on the CD as printable PDFs! De hoogtepunten uit het werk van Bert Appermont, die vanwege de vertrouwd klinkende en mooie melodieën zeer geliefd zijn! De goed speelbare stukken werden voor deze uitgave door de uit België afkomstige componist geselecteerd. Zezijn op moeilijkheidsgraad gerangschikt en vormen een perfecte aanvulling op elke instrumentale methode. De cd bevat demo- en play-alongversies van alle stukken evenals printklare pdf-bestanden van de pianobegeleidingen.Die Höhepunkte aus dem Werk des belgischen Komponisten Bert Appermont, die die aufgrund ihrer vertraut wirkenden Klangsprache und der schönen melodischen Linien sehr beliebt sind! Die Stücke wurden vom Komponisten selbst ausgewählt, der gut spielbare Melodien wählte, die auch ein breites Publikum ansprechen. Sie wurden nach Schwierigkeitsgrad angeordnet und eignen sich ausgezeichnet für den Instrumentalunterricht. Zwei Stücke sind als Duette ausnotiert. Die CD enthält Demo- und Mitspielversionen aller Stücke sowie PDFs der Klavierbegleitungen zum Ausdrucken.Melodic Highlights vous permettra d‘apprécier les plus beaux thèmes des oeuvres de Bert Appermont, dont le style d‘écriture repose sur l‘emploi de lignes mélodiques captivantes et accessibles. Les pièces rassemblées dans ce recueil ont été sélectionnées par le compositeur lui-même, qui aura prêté une attention toute particulière leur degré de difficulté. Le CD joint comporte une version intégrale puis une version ‘accompagnement pour chacune des pièces, une solution fort idéale pour étudier chez soi, mais aussi pour jouer sous les feux de la rampe (la version papier des accompagnements de piano sont gravés sur le CD sous la forme de fichier PDF télécharger).Bert Appermont, compositore belga noto per la scrittura melodica, ha raccolto le sue opere migliori in questa collana per fiati. Si tratta di melodie facili da eseguire e apprezzate dal pubblico. Bert Appermont propone i brani, due dei quali da eseguire in duo (tutti perfetti anche per lo studio), in ordine crescente di difficolt . Il CD contiene una versione demo e una play-along, mentre gli accompagnamenti al piano sono scaricabili in formato PDF.
SKU: HL.48181191
UPC: 888680787806. 9.0x12.0x0.104 inches.
The concerto is composed in B-flat Major; the solo part is for Trumpet in C. Finished in 1948, the Concerto for Trumpet and Orchestra was composed by the French composer, conductor and the 1927 winner of the Grand Prix de Rome, Henri Tomasi (1901-1971), and lasts approximately 14 minutes. Dedicated to the trumpeter Ludovic Vaillant, soloist at the National Orchestra, the Concerto for Trumpet and Orchestra was premiered in Paris in 1949. The first part, which lasts 7 minutes, Allegro and Cadenza, begins with a trumpet cadenza and a quiet snare drum background. The Nocturne follows as the second part of this Concerto, and the Finale, the shortest part of the concerto, ends up with a cheerful cartoon-music theme. Henri Tomasi also composed a variety of concerti for alto saxophone and for trombone, as well as some ballades.
SKU: HL.49012938
ISBN 9781847612069. UPC: 841886000506. 9.0x12.0x0.215 inches.
These 13 pieces are intended for live performances. They are varied in style and enjoyable to play. The pianist is an equal partner to the trumpet player, sharing responsibility for musical completeness. Titles include: White Water Rafting; Steam Train; Parachuting; Gliding; Dodgems; Rock Jumping. The accompanying CD gives full performances of the pieces to listen to as well as accompaniments alone so that students can play along. White Water Rafting * Sailing * Parachuting * Steam Train * Gliding * Dodgems * In a Rowing Boat * Motor Cycle and Side-car * On Roller Blades * Rock Jumping * Country Cycle Ride * March Behind the Band * An Evening Stroll.
SKU: CY.CC2908
Rejoice Greatly, movement 18 featuring coloratura soprano soloist is one of the most popular movements from Handel's Messiah oratorio, expressing great joy. The movement is in A-B-A form in the key of B-flat. Ray Kirkham has arranged this great music for Trumpet solo and Piano accompaniment. This 5-minute arrangement is appropriate for advanced performers and perfect on a Christmas program. Parts are supplied for E-flat and B-flat trumpets.
SKU: AP.47778
ISBN 9781470641573. UPC: 038081547770. English.
Teach trumpet with the Suzuki Trumpet School. The Suzuki Method of Talent Education is based on Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Shinichi Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the mother-tongue approach. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Trumpet School. Suzuki lessons are generally given in a private studio setting with additional group lessons. The student listens to the recordings and works with their Suzuki violin teacher to develop their potential as a musician and as a person. This Book and Performance/Accompaniment CD is integral for Suzuki trumpet lessons. Volume 1 features: Engravings in a 9 x 12 format * Introduction and general information regarding the trumpet * Preparatory exercises * Tonalizations * Pieces * Musical terms and signs * Musical notation guide * Fingering chart * Photos * CD with recordings by Caleb Hudson accompanied by Michael Schneider, as well as piano accompaniments recorded without the trumpet part. Titles: Let's Begin (Traditional) * French Tune (Traditional) * Stroll Along (Traditional) * Come and Play (Traditional) * Mary Had a Little Lamb (Traditional) * Twinkle, Twinkle, Little Star (Folk Song / Suzuki) * Lightly Row (Folk Song) * Old MacDonald (Traditional) * Go Tell Aunt Rhody (Folk Song) * Are You Sleeping, Brother John? (Traditional) * Long, Long, Ago (Bayly) * May Song (Folk Song) * French Folk Song (Folk Song) * Ode to Joy (Beethoven) * Amazing Grace (Traditional) * Allegretto (Diabelli) * It Jingles So Softly (Mozart) * Minuet (Roman) * O Come, Little Children (Folk Song) * Perpetual Motion (Suzuki) * Prelude (Charpentier) * Clog Da.
About Suzuki Method
The Suzuki Method is based on the principle that all children possess ability and that this ability can be developed and enhanced through a nurturing environment. All children learn to speak their own language with relative ease and if the same natural learning process is applied in teaching other skills, these can be acquired as successfully. Suzuki referred to the process as the Mother Tongue Method and to the whole system of pedagogy as Talent Education. The important elements of the Suzuki approach to instrumental teaching include the following:an early start (aged 3-4 is normal in most countries); the importance of listening to music; learning to play before learning to read; -the involvement of the parent; a nurturing and positive learning environment; a high standard of teaching by trained teachers; the importance of producing a good sound in a balanced and natural way; core repertoire, used by Suzuki students across the world; social interaction with other children. Suzuki students from all over the world can communicate through the language of music.
SKU: AP.47780
ISBN 9781470644055. UPC: 038081547763. English.
Teach trumpet with the Suzuki Trumpet School. The Suzuki Method of Talent Education is based on Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Shinichi Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the mother-tongue approach. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Trumpet School. Suzuki lessons are generally given in a private studio setting with additional group lessons. The student listens to the recordings and works with their Suzuki teacher to develop their potential as a musician and as a person. This Accompaniment/Performance CD is integral for Suzuki trumpet lessons. Volume 1 features: Recordings by Caleb Hudson accompanied by Michael Schneider, as well as piano accompaniments recorded without the trumpet part. Titles: Let's Begin (Traditional) * French Tune (Traditional) * Stroll Along (Traditional) * Come and Play (Traditional) * Mary Had a Little Lamb (Traditional) * Twinkle, Twinkle, Little Star (Folk Song / Suzuki) * Lightly Row (Folk Song) * Old MacDonald (Traditional) * Go Tell Aunt Rhody (Folk Song) * Are You Sleeping, Brother John? (Traditional) * Long, Long, Ago (Bayly) * May Song (Folk Song) * French Folk Song (Folk Song) * Ode to Joy (Beethoven) * Amazing Grace (Traditional) * Allegretto (Diabelli) * It Jingles So Softly (Mozart) * Minuet (Roman) * O Come, Little Children (Folk Song) * Perpetual Motion (Suzuki) * Prelude (Charpentier) * Clog Dance (Traditional) * Song of the Wind (Folk Song) * Allegro (Suzuki).
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: 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: BT.OKP118-208
English.
Following the huge success of their instrumental method Look, Listen & Learn, Michiel Oldenkamp and Jaap Kastelein have focussed their attention on school bands and devised a completely new method that can be used in both instrumental lessons and class bands or wind ensembles.
Learning Music Together is the new method for young wind players and percussionists, aged eight and above.
Learning Music Together has been developed in close collaboration with professionals from the class band world, music schools, and academies in the Netherlands and Germany.
Learning Music Together combines instrumental lessons with a course for class band. The trumpet lessons offer trumpet -specific items such as new notes and technical exercises while at the same time supporting the learning of the class band, with a focus on rhythm, melodic structure and playing music together. The method consists of two volumes. Volume One introduces the first instrumental notes in unison and then develops part-playing with duets. Volume Two builds on the skills taught in the first volume and introduces pieces in three parts.In addition, supplementary material is available on the extensive website, e.g. demo- and accompaniment tracks for all pieces, additional pieces of music (well-known songs) and video tutorials. Learning Music Together is logically structured and illustrated in a child-friendly way - a perfect combination for young musicians!
The method consists of two volumes. Volume One introduces the first instrumental notes in unison and then develops part-playing with duets. Volume Two builds on the skills taught in the first volume and introduces pieces in three parts.In addition, supplementary material is available on the extensive website, e.g. demo- and accompaniment tracks for all pieces, additional pieces of music (well-known songs) and video tutorials. Learning Music Together is logically structured and illustrated in a child-friendly way - a perfect combination for young musicians!
