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: AP.1-ADV14703
UPC: 805095147032. English.
With this book/audio downloads set you will learn essential jazz rhythms first-hand from world-class professionals! With this book and audio set you will learn essential jazz rhythms first-hand from world-class professionals ! Reading Key Jazz Rhythms is a collection of 24 easy to medium level jazz etudes, and 24 simplified guide tone versions of the etudes. They are ideal for learning the basic language of jazz, swing phrasing, and articulation. A perfect tool for preparing for the jazz ensemble or for any other ensemble/orchestra which performs jazz related music (f.i., pops orchestras, musical, studio, movie scores, concert and marching bands, etc.). Each etude is based on a specific rhythm or a combination of rhythmic figures. Some etudes sound like very lyrical improvised jazz solos, while others are more like a melody to a standard. On the accompanying audio downloads the soloist demonstrates the 24 melodious etudes together with a professional rhythm section. You can also improvise along with the play-along tracks using the chord symbols. The guide tones are the essential or defining notes for each given chord type. So if improvising is new to you and you find yourself getting lost, you can always return to a guide tone and play rhythmically around it. Any etude and its corresponding simplified guide tone version can be played together as a duet (with or without the accompaniment) with your teacher or a friend.
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: SP.TS231
ISBN 9781585604630. UPC: 649571102319.
Promises Wedding Classics published by Santorella Publications is the finest collection of wedding classics in print for wind instruments. This majestic assortment of classics for brass and reed instruments is sure to bring joy to any ceremony. Santorella's Promises Wedding Classics for Trumpet is arranged by Jonathon Robbins and edited by Tony Santorella. This beautiful blend of Classics is not only ideal for weddings, but a fantastic assortment of important works written by some of the greatest composers of all time. Although the majority of these titles were originally written for keyboard, we are sensitive towards the range restrictions of all brass and reed players yet true to the original melodies. This exceptional assortment of 12 key wedding titles is sure to set the mood to rejoice in holy matrimony. This best-selling Santorella Publication is written in accommodating keys for trumpet, clarinet, flute, alto sax, violin, and trombone and includes a piano accompaniment CD. Includes: Canon in D, Pachelbel - Two Minuets, Bach - Moonlight Sonata, Beethoven - Trumpet Voluntary, Purcell - Ode to Joy, Beethoven - Jesu, Joy of Man's Desiring, Bach - Bridal Chorus, Wagner - Wedding March, Mendelssohn - Grand March, Verdi - Simple Gifts, Brackett - Ave Maria, Bach - Ave Maria, Schubert.
SKU: SP.TS035
ISBN 9781585603237. UPC: 649571100353.
Spiritual enlightenment is at the heart of this sacred collection from Santorella Publications. Inspirational Hymns for Trumpet arranged by Tony Santorella and Jonathon Robbins features thirty-three well known hymns written specifically for brass and reed instruments and includes a piano accompaniment CD. Each piece is edited and arranged in a comfortable key and range for wind players of any level. A great addition to any church music library, this assortment of sacred titles is sure to bring the congregation to its feet with songs of praise. Written in accommodating keys for Bb, Eb, C treble and C bass clef instruments, now everyone can sing His praise and worship in song. Includes: Nearer My God To Thee - Fairest Lord Jesus - Where He Leads Me - O God, Our Help in Ages Past - Rock of Ages - There is a Happy Land - Holy, Holy, Holy - Lead Kindly Light - Faith of Our Fathers - The Little Brown Church in the Vale - A Mighty Fortress is Our God - Hark! The Vesper Hymn is Stealing - Abide With Me - Now The Day is Over - Praise God From Whom All Blessings Flow - The Lord is My Shepherd - Blest The Tie That Binds - Eternal Father, Strong to Save (The Navy Hymn) - Bringing in The Sheaves - Jesus Loves Me - Evening Prayer - Jesus, Lover of My Soul - Prayer of Thanksgiving - Softly Now The Light of Day - When I Survey The Wond'rous Cross - I Need Thee Every Hour - He Leadeth Me - Jesus, Saviour, Pilot Me - Let The Lower Lights Be Burning - Stand Up For Jesus - God Be With You 'Till We Meet Again - Amazing Grace.
SKU: AD.ADG188
ISBN 9781934163832. UPC: 663389118829. 9 x 12 inches.
Andrew D. Gordon has created 30; 12bar blues play-a-long backing tracks in various Blues styles, keys and tempos such as: Funky Blues, Boogie Blues, Jazz Blues, Minor Blues, Country Blues, Latin Blues, Old Time Jazz Blues, Jazz Swing Blues, Classic Blues Rock, Soulful Blues, Slow Blues and many more. Each of the 30 play-a-long tracks has been recorded with 12 choruses of the 12 bar blues progression giving you the opportunity practice soloing techniques totaling over 3 hours of music. Each of the 30 Blues styles contains a solo improvisational melody line, 12 measures in length, designed for the beginner student in mind as a starting point to create your own improvisational solos. Each of the 30 Blues tracks have been recorded, first with the solo playing along with the rhythm backing tracks of keyboards, guitar, bass and drums and immediately following, is the play-a-long backing track that cycles through the 12 bar blues progression 12 times, generally between 5-8 minutes in length, giving you plenty of time to practice. Blues is the basis of many forms of music and these tracks have been specifically created to include styles such as: Jazz, Funk, Folk, Country, Latin, Rock, Gospel, Pop, Boogie, giving you a well-rounded selection of musical styles based on the Blues.Facebook Twitter Pinterest Google+.
SKU: M7.AHW-413
English.
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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