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: M7.KMP-9143

ISBN 9789185791439. German. Anna Zetterlund.

Mit Startklar 1, einer Schule für Anfänger in Bläserklassen und im Gruppenunterricht, macht das Erlernen eines Blasinstrumentes richtig Spaß. Das Besondere: Es sind keine Vorkenntnisse erforderlich, und man kann sofort zusammen mit der beiliegenden hochwertigen CD tolle Stücke musizieren. Am Anfang werden die Schüler von der CD begleitet. Sie sind damit Teil einer professionellen Band und fühlen sich als Musiker. Die CD ist abwechslungsreich, kreativ, modern und poppig. Sie ist ein unerlässlicher Motivationspartner, da sie von Profi-Musikern eingespielt und produziert wurde. Die Melodien sind einprägsam und können auch leicht auswendig vorgetragen werden. Das Unterrichtstempo ist angemessen und kann individuell angepasst werden. Die 50 Musikstücke in dieser Schule zeigen, wie bei Verwendung eines Tonumfangs von lediglich sieben Tönen bereits mit einfachen Mitteln attraktive Melodien entstehen. Die Spielfreude der Musiker ist garantiert! Startklar 1 ist außerdem der ideale Einstieg in das Notenlesen und liefert so beste Voraussetzungen, um mit der weiterführenden Schule Startklar 2 das mehrstimmige Musizieren zu erlernen.

SKU: BT.HU-4328-400

ISBN 9789043132329. 9x12 inches. Dutch.

Tune Up! is een geleidelijke leerweg die dient als gids tot na het A-examen. Leuke volksliedjes en bekende klassieke melodieën worden afgewisseld met gemakkelijk in het gehoor liggende etudes en ander oefenmateriaal. Er wordtgebruikgemaakt van “ritmetaal”, zang (klankgreepassociatie), bindingen en staccato-oefeningen. Verder is er een groot aanbod van verschillende toonsoorten per les. Elke les bevat twee stukken waarvan de begeleidingen - opgenomendoor een professioneel combo - op de cd staan. Deze zijn uitermate geschikt om te spelen op een voorspeeluur of andere gelegenheid. Op de laatste pagina‘s staan de toonladders op een rij, samen met een extra uitleg over ritme (ritmetaal).Tune Up! is getest door leerlingen van verschillende leeftijden - met een zeer positief resultaat. Minstens zo belangrijk is het speelplezier dat als een rode draad door de methode loopt. Een complete leidraad vooriedere koperblazer!