SKU: HL.44002208
UPC: 073999133349.
The concert band and brass band music of Philip Sparke is played and loved by musicians throughout the world, with most of his compositions being standard concert repertoire. In this book he has selected seven of his best-known works and presented the complete, unedited 1st part for each of the main instrument groups with a play-along CD concert band backing. Now everyone can play with some of the world's leading concert bands in the privacy of their own homes. Includes seven pieces: Hanover Festival * To a New Dawn * Portrait of a City * Time Remembered - Elegy for Band * Kaleidoscope - 5 Variations on the Brugg Song * The White Rose * and The Year of the Dragon.
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: CF.W2698
ISBN 9781491160305. UPC: 680160918881.
Soaring is a work commissioned by the G. Ray Bodley High School Bands under the direction of Terrance Caviness in Syracuse, New York. The work is dedicated to my dear friend David Bamonte, who is currently the Assistant Principal Trumpet of the Oregon Symphony in Portland, Oregon. David, Terry and I have been friends and colleagues for many years and were looking for a project to collaborate with each other. This work was originally written for Trumpet and Concert Band, but I quickly realized that it would work really well with a piano accompaniment as well. The result is the work you see here. As a trumpet player myself, I grew up studying the works of Arban, Clarke, Hindemith, Arutunian, Hummel, Haydn and the more modern sonatas by Kent Kennan and Halsey Stevens. This music is an homage to these great masters while keeping my original voice intact. At times, the piece is lush and lyrical while other moments showcase the power and majesty of the trumpet sound. The music is even a touch athletic while having a musical conversation with the piano. Enjoy the journey of discovering this exciting new work for you and your students. --Sean O'Loughlin.Soaring is a work commissioned by the G. Ray Bodley High School Bands under the direction of Terrance Caviness in Syracuse, New York. The work is dedicated to my dear friend David Bamonte, who is currently the Assistant Principal Trumpet of the Oregon Symphony in Portland, Oregon. David, Terry and I have been friends and colleagues for many years and were looking for a project to collaborate with each other. This work was originally written for Trumpet and Concert Band, but I quickly realized that it would work really well with a piano accompaniment as well. The result is the work you see here.As a trumpet player myself, I grew up studying the works of Arban, Clarke, Hindemith, Arutunian, Hummel, Haydn and the more modern sonatas by Kent Kennan and Halsey Stevens. This music is an homage to these great masters while keeping my original voice intact. At times, the piece is lush and lyrical while other moments showcase the power and majesty of the trumpet sound. The music is even a touch athletic while having a musical conversation with the piano.Enjoy the journey of discovering this exciting new work for you and your students.—Sean O'Loughlin.
SKU: BT.DHP-1043720-400
ISBN 9789043120746. International.
Pop It Up contains various well-known pop songs from the past decades together with very recent hits. Play them along with the swinging accompaniments on the CD!Contains: Everything I Do (I Do It for You) - Memories are Made of This - Telstar - Step Right Up - Whatâ??s Another Year? - There Must Be an Angel - Banana Boat Song - Matilda - Jealous Guy - Fallinâ?? - The Worldâ??s Greatest - Canâ??t Fight the Moonlight In Pop It Up! staan diverse bekende popnummers uit de afgelopen tientallen jaren, maar ook recente hits. Inhoud: Whatâ??s Another Year? â?¢ Everything I Do (I Do It for You) â?¢ There Must Be an Angel â?¢ Jealous Guy â?¢ Fallinâ?? â?¢Banana Boat Song â?¢ Memories Are Made of This â?¢ Telstar â?¢ The Worldâ??s Greatest â?¢ Matilda â?¢ Step Right Up â?¢ Canâ??t Fight the MoonlightPop It Up enthält eine Auswahl bekannter Popsongs aus den vergangenen Jahrzehnten und auch Hits aus der jüngsten Vergangenheit. Spiel sie zusammen mit der schwungvollen Begleitung auf der CD! Il CD contiene la versione integrale di ogni brano, come anche una versione con il solo accompagnamento.
SKU: GI.G-MTR
English.
For the teacher of instrumental music classes, individual differences among students are inevitable. Unfortunately, the lack of flexible materials frequently forces teachers to adopt a quasi-instructional procedure best described as lockstep, where all students in the class rehearse each exercise until the slow members of the class succeed or until the teacher gives up. The Individualized Instructor was designed with the expectation that students are different. With this method, high-, average-, and low-achieving students in a class are able to progress simultaneously at their own rate according to their interest and ability. In addition, the flexibility of the instructional format often allows twelve or more students to perform different musical material simultaneously, thereby eliminating the “follow the leader†approach to music learning. All study materials in the series are musical. Nonmusical exercises are excluded in favor of folk song literature, musical rounds, and musical ensembles. Furthermore, The Individualized Instructor encourages students to think about their music: to analyze unfamiliar material, generalize previously learned concepts and skills, and synthesize all elements into a musically proficient performance. In addition, this series develops many fundamentals (tonality, phrasing, tempo, and musical style) through the use of the singing voice. Singing best provides the “musical†experience that, subsequently, can be applied to the development of musically sensitive instrumental performance. Books 1, 2, and 3 and the supplementary books ensure that these fundamental ideas are carried well beyond the first year of instruction.
SKU: GI.G-MS1TR
SKU: BT.AMP-074-400
9x12 inches. English-German-French-Dutch.
This series aims to present the significant concert band works of Philip Sparke in a format that enables any player to study their music whether or not they get the chance to play these pieces with their own band. Voor dit boek heeft Philip Sparke zeven van zijn stukken voor harmonieorkest geselecteerd om muzikanten in staat te stellen ze te oefenen met behulp van professionele opnamen. Ideaal om eens wat nieuws te spelen of om indruk op dedirigent te maken door stukken in te studeren voordat de partijen zijn uitgedeeld! Inhoud: Hanover Festival • To a New Dawn • Portrait of a City • The Year of the Dragon • Kaleidoscope • The White Rose • Time RememberedPhilip Sparke wählte aus seinen Werken sieben Stücke aus, die Sie mit Unterstützung von professionellen Aufnahmen auf der CD zu Hause einstudieren können. Eine ideale Gelegenheit, einmal etwas Neues einzustudieren, oder Ihren Dirigenten mit den selbst erworbenen Künsten zu überraschen. Sept oeuvres du brillant compositeur anglais Philip Sparke avec accompagnement d’Orchestre d’Harmonie.
SKU: M7.AHW-241
From the Foreword, by David Baldwin: Here is a trumpet book that has been waiting 90 years to become a classic in the advanced trumpet etude repertoire. David Bertie has taken on the monumental task of completely re-imagining every aspect of this work. Aaron Harris first published this series of violin studies and technical calisthenics in 1930. While an impressive body of work, it has never become widely used by trumpet players because of its many shortcomings. With David Bertie's superb revision, this 'new' book is easily on the same level as the etudes by Theo Charlier, Walter Smith, or Chris Gekker. These pieces are not just for violin anymore. A trumpet player can now develop his or her skills to be as sophisticated a musician as any violinist on a Stradivarius!
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