SKU: BT.DHP-1185908-404
ISBN 9789043154680. English.
Look, Listen and Learn has set the standard for contemporary brass and woodwind teaching. These exciting method book/CD packs for beginners engage students and develop their understanding of music and their instrument through songs, puzzles, games and lots of fun pieces to play. Three progressive method books form the basis of the series, enhanced by several corresponding supplementary volumes.
With Play The Beatles, students will embark on a journey through time to the 1960s to get to know one of the most important bands in the history of rock. This pack includes fifteen of the best-known songs by The Beatles, arranged in increasing order of difficulty in such a waythat they can be used in conjunction with all three volumes of Look, Listen and Learn. Authentic-sounding accompaniment tracks are also provided online to download or stream directly.
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: HL.870075
ISBN 9781705150245. UPC: 196288016984. 9.0x12.0x0.064 inches.
30 popular melodies at an easy level in solo books for all the instruments in the Essential Elements Band Method. Perfect motivational music for students to play and practice featuring songs by Billie Eilish, Queen, Shawn Mendes, Taylor Swift, Star Wars, The Avengers, and more! Titles include: Believer • Blinding Lights • Don't Stop Believin' • Dynamite • Hallelujah • The Imperial March (Darth Vader's Theme) • Let It Go • Señorita • Seven Nation Army • Sucker • This Is Me • We Are the Champions • Wildest Dreams • You Will Be Found • and more.
SKU: HL.49033036
ISBN 9790001130585. UPC: 884088567552. 9.0x12.0x0.114 inches.
Mit Begleit-CD fur ein perfektes Playback - das richtige Band- und Orchester-Feeling ist so auch ohne eigenes Klavier moglich. Alle Noten der Klavierbegleitung sind ausserdem als PDF-Files auf der CD - in professioneller Qualitat ausdruckbar.
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: A3.9781848499744
ISBN 9781848499744.
The Prep Test is an ideal introduction to the ABRSM exam experience: it gives students a goal to work towards and a certificate on the day - something to be really proud of. The test covers many elements that beginners will be working on, including pitch, time, tone and performance.
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).
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