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 Janetzky

z.T. mit Pauken und B.c.

SKU: AP.1-ADV14722

UPC: 805095147223. English.

Jazz Conception is a new and exciting way for players at all levels to learn the language of jazz! Each book set features 21 solo etudes based on chord changes to standards and blues.
Play along with one of today's finest, swinging New York rhythm sections: Mike LeDonne on piano, Dennis Irwin on bass, and Kenny Washington on drums.
Start out fairly easy, then get progressively more difficult.
Use the etudes as a bridge to solos of the masters that are usually more complicated and involved.
Learn melodies and lines that will give you a solid jazz vocabulary and musicality.
Use the book sets for private lessons, for self-study, or in any combination up to a full jazz ensemble, including flute and clarinet.
If you are more advanced you may want to use the book to develop your sight reading abilities, for transcribing the etudes (then check against the book) or for just having fun playing along with a great jazz rhythm section.
Use as an improvisation study, learning how to construct a swinging, logical solo - works especially well in combination with the Study Guide.
The Jazz Conception Series is also perfectly suited for the class room. It can be used to develop younger students jazz style in a big band or small group. In an improvisation class the teacher can use the etudes as studies in improvisation. The Study Guide provides an analysis of each etude, along with practice assignments for each etude.

SKU: M7.AHW-1021

English.

The title is self-explanatory; the exercises deal with scale studies, scale patterns, pulsations.

SKU: AP.1-ADV1102

ISBN 9783892211198. UPC: 805095011029. English.

To succeed as a trumpet player you must perform your section part impeccably, in rapport with the lead player. Think with the lead player's brain. Play it with him or her. Blow up to, not over his or her volume and intensity. Don't wait to hear what the lead player does or you'll be late. Vibrato comes from the lead player. If he's not using it, you're not using it.

Dan Collette's book on lead and section trumpet playing is a very well thought out and extremely useful tool for all aspiring and professional trumpet players. In a common sense approach and playing in a variety of styles, Dan demonstrates and clearly explains his perspective of lead and section playing. The trumpet sectional quartets by Steve Guttman are excellent and the execution of these etudes on the CD as played by Dan Collette playing all 4 parts is flawless and nothing short of inspiring. This work should prove itself to be required listening and reading for all serious trumpet players.