SKU: CF.W2686
ISBN 9781491150948. UPC: 680160908448. 9x12 inches.
This new edition of Jean Baptiste Arban's Fourteen Characteristic Studies for Trumpet in Bb, edited by Thomas Hooten and Jennifer Marotta, was specifically written to provide the student with suitable material with which to test his powers of endurance, according to Arban himself.The following fourteen studies have been specifically written to provide the student withsuitable material with which to test his powers of endurance. In taking up these studies, he willdoubtless be fatigued, especially at the outset, by those numbers requiring an unusual length ofbreath. However, through careful study and experience he will learn to overcome the difficultiesand will acquire the resources which will enable him to master this particular phase of playingwith ease. As a means to this end, attention is drawn to cantabile passages in particular, whichshould be played with the utmost expression, yet at the same time with as much modified toneas possible. On the cornet, as with the voice, clear tones may be obtained by widening thelips and veiled tones by contracting them. This happy circumstance allows the performer anopportunity to rest while still continuing to play, and at the same time enables him to introduceeffective contrasts into the execution. It should be noted that by little artifices of this kind, andby skillfully conserving his resources, the player will reach the end of the longest and mostfatiguing pieces, not only without difficulty, but even with a reserve of strength and power,which, when brought to bear on the final measures of a performance, never fails to impress anaudience.At this point my task as professor (using the written instead of the spoken word) will end.There are things which appear clear enough when stated verbally but which when written downon paper cause confusion, seem obscure, and even sometimes appear trivial.There are other things of such an elevated and subtle nature that neither speech nor wordcan clearly explain them. They are felt, they are conceived, but they are not to be explained;and yet these things constitute the elevated style, the grand ecole, which it is my ambition toestablish for the cornet, just as they already exist for singing and for the various kinds of otherinstruments.Those of my readers who are ambitious and who want to attain this high level of perfection,should above all things, always try to hear good music well interpreted. They must seek out,among singers and instrumentalists, the most illustrious models, and by doing this purifytheir taste, develop their sentiments, and bring themselves as near as possible to that which isbeautiful. Perhaps then the innate spark which may someday be destined to demonstrate theirown talent, will reveal itself and render them worthy of being, in their turn, cited and imitatedin the future.
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 Janetzkyz.T. mit Pauken und B.c.
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: M7.AHW-312
English.
After the hundreds of books that we have published and distributed over the decades, we had yet to include something devoted to the subject of trumpet mutes, which are such important tools for all trumpeters. Thanks to Louise Baranger, who states, 'The importance of owning good mutes cannot be stressed enough', we have produced this booklet which ought to have a place in any trumpet player's library.
SKU: SP.TS021
ISBN 9781585603992. UPC: 649571100216.
Unlike many collections which feature obscure titles, Exceptional Classics for Trumpet, arranged by Tony Santorella and Jonathon Robbins features a broad assortment of well-known classics originally written for piano. This best selling title contains works from a variety of major composers, which by its nature, provides examples of music written from several different eras. This eliminates the need for multiple teaching materials and is a great resource for teaching young horn players early, easy, original classics. Exceptional Classics for Trumpet published by Santorella Publications is a required text for many state audition lists and is suggested by music educators associated with the highly regarded NYSSMA organization. The accompanying CD is an acoustic piano accompaniment and extremely helpful towards learning these important masterpiece themes. Little Cradle Song, Schumann - Russian Folk Song, Beethoven - Tell Me, Fair Ladies from The Marriage of Figaro, Mozart - The Organ Grinder, Tchaikovsky - Allegro, Mozart - Minuet, Bach - Minuet, Haydn - Russian Song, Tchaikovsky - Serenade, Mozart - Gavotte, Bach - German Dances, Haydn - Andante from The Surprise Symphony No. 94, Haydn - Waltz, Beethoven - German Dance, Schubert - Ecossaise, Beethoven - Canon In D, Pachelbel - Ode to Joy from Symphony No. 9, Beethoven - Two Minuets, Bach - Jesu, Joy of Man's Desiring, Bach - Andante, Mozart - Aria, Bach - Serenade from Eine Kleine Nachtmusik, Mozart - Norse Song, Schumann - Old French Song, Tchaikovsky - Turkish March from The Ruins of Athens, Beethoven - The Wild Horseman, Schumann - Two Minuets from The Notebook of Anna Magdalena Bach, Bach.
SKU: HL.48185347
UPC: 888680838133. 9.0x12.0x0.229 inches.
Learn as you play Trumpet & Cornet is part of the award-winning series of tutor books for woodwind and brass instruments by Peter Wastall. Written for beginner to intermediate players to grasp the basics, this book features theory and exercises with some melodic concert pieces. Easy to use, the book is divided into different sections with clear comments and explanations, following every step necessary to acquire the beginner techniques. Peter Wastall is also the author of the series ''Practice Sessions'', which will introduce the player to some improvisations and ensemble pieces, and of ''Session Time'', which is more focused on jazz and rock themes..
SKU: SP.TS460
ISBN 9781585607181.
Mitchell on Trumpet was written to provide the prudent student with the necessary skills to overcome any obstacle that they may encounter. The complete method starts at the very beginning and extends to the extreme limits of the horn through a gradual progression of 82 logically balanced lessons plus a companion set of warm-ups. The Warm-ups volume is a complete compilation of exercises and studies uniquely designed to maintain a strong, flexible embouchure, finger dexterity, sight-reading, range, and endurance at the highest level. The resources for maintaining these essential elements are found within this volume and are designed to be a faithful daily companion to the developing trumpet player and professional musician alike. Mitchell on Trumpet is a proven compilation of lessons that took many years to develop. It was designed to make the study of trumpet an enjoyable experience. You are continuing your study of a method revered by music educators around the globe; a method which stands unequaled by any other published approach for trumpet.
SKU: HL.48181191
UPC: 888680787806. 9.0x12.0x0.104 inches.
The concerto is composed in B-flat Major; the solo part is for Trumpet in C. Finished in 1948, the Concerto for Trumpet and Orchestra was composed by the French composer, conductor and the 1927 winner of the Grand Prix de Rome, Henri Tomasi (1901-1971), and lasts approximately 14 minutes. Dedicated to the trumpeter Ludovic Vaillant, soloist at the National Orchestra, the Concerto for Trumpet and Orchestra was premiered in Paris in 1949. The first part, which lasts 7 minutes, Allegro and Cadenza, begins with a trumpet cadenza and a quiet snare drum background. The Nocturne follows as the second part of this Concerto, and the Finale, the shortest part of the concerto, ends up with a cheerful cartoon-music theme. Henri Tomasi also composed a variety of concerti for alto saxophone and for trombone, as well as some ballades.
SKU: HL.48182365
UPC: 888680829902. 6.0x8.25x0.228 inches.
Finished in 1948, the Concerto for Trumpet and Orchestra was composed by Henri Tomasi (1901-1971) and lasts approximately 15 minutes. Dedicated to the Trumpeter Ludovic Vaillant, soloist at the National Orchestra, the Concerto for Trumpet and Orchestra was premiered in Paris in 1949. The first part, which lasts 7 minutes, Allegro and Cadenza, begins with a Trumpet cadenza and a quiet Snare Drum background. The Nocturne follows as the second part of this Concerto by Tomasi and the Finale, the shortest part of the concerto, ends up with a cheerful cartoon-music theme. This book is the pocket version. Henri Tomasi was a French composer, conductor and winner of the Grand Prix de Rome in 1927. He also composed a variety of concerti for Alto Saxophone and for Trombone, as well as some ballades..
SKU: HL.48181432
UPC: 888680789916. 9x12 inches.
“Célèbre Méthode Complète de Trumpet, Valved Cornet and Saxhorn has assisted many generations of Trumpet and Cornet players. The compilation by French cornetist, conductor and composer, Jean-Baptiste Arban (1825-1889) successfully addresses requirements of modern technique and contemporary musical writing. Arban studied at the Paris Conservatoire and led a prosperous career as a versatile and accomplished musician. Célèbre Méthode Complète for Trumpet, Valved Cornet and Saxhorn is divided into three parts, which incorporate a vast variety of musical elements. Part 1 includes performance directions, holding the instrument, tuning slides, sound, long notes, staccato, transposition, syncopation, martellato, legato, arpeggios, mutes, extended techniques and vibrato. Containing a large amount of instruction in French, English, German and Spanish, Arban's Célèbre Méthode Complète de Trumpet, Valved Cornet and Saxhorn is not to be missed by any aspiring brass player.&rdquo.
SKU: HL.48181434
UPC: 888680907822. 9.0x12.0x0.35 inches.
Celebrated Complete Method of Trumpet, Valved Cornet and Saxhorn has helped to form many generations of Trumpet, Cornet and Saxhorn players. The compilation by French cornetist, conductor and composer, Jean-Baptiste Arban (1825-1889) successfully addresses requirements of modern technique and contemporary musical writing. Arban studied at the Paris Conservatoire and led a prosperous career as a versatile and accomplished musician. Celebrated Complete Method of Trumpet, Valved Cornet and Saxhorn is divided into three parts, which incorporate a vast variety of musical elements. Part 3 includes orchestral musicianship, stylistic characteristics, competition pieces, the higher register, difficult passages and 27 modern studies. Containing a large amount of instruction in French, English, German and Spanish, Arban's Celebrated Complete Method of Trumpet, Valved Cornet and Saxhorn is not to be missed by aspiring brass players..
SKU: MB.WBM27
ISBN 9780998384252. 8.75 x 11.75 inches.
100 Hymns for Trumpet and Guitar is a collection of all-time favorite hymns arranged for trumpet solo with suggested written chordal accompaniment. Fingerstyle guitar and strum styles are indicated on each solo, and capo chords are shown where appropriate. Other chordal instrumentalists can also use the written material. The repertoire spans centuries and represents a wonderful assortment of solos which may be used as preludes or offertories throughout the various seasons in the church year.
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