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: SU.80118923
Trumpet Duration: 10 ' Composed: 1986 Published by: Soundspells Productions The Fires of Prometheus (1986) is a dramatic work for solo trumpet and two pianos in echo. It was composed for and recorded by trumpeter Thomas Stevens.
SKU: MA.EMR-56149
1. Storm In My Soul / 2. Look In The Mirror / 3. Wild Heart / 4. Less Is More / 5. Funny Dream.
SKU: HL.50012030
9.0x12.0x0.325 inches. Italian.
SKU: HL.48181308
UPC: 888680866792. 9.0x12.0x0.094 inches.
“To this day, Eugène Bozza (1905-1991) remains one of the most prolific composers for wind instruments, despite being a violinist himself. His 16 Studies for Trumpet, Bugle or Cornet is no exception to the composer's success. During his studies at the Paris Conservatoire, Bozza won prizes for Violin, conducting and composition, as well as the Grand Prix de Rome. He then conducted the orchestra of the Opéra-Comique and became Head of the Conservatoire in Valenciennes, whilst remaining a prominent composer. Compiled in 1950, Bozza's 16 Studies addresses advanced features of the Trumpet, Bugle and Cornet, including complex rhythms, articulation, chromaticism, variations in time signatures, breath control, phrasing, intervals, scales and arpeggios, amongst other aspects. For all advanced Trumpet, Bugle and Cornet players, Bozza's 16 Studies are essential to develop technique to a high standard.â€.
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: BP.HB219B
Trumpet part
SKU: HL.48023694
SKU: HL.48181790
UPC: 888680906023. 9x12 inches.
“Bohuslav Martinu (1890-1959) was a prolific Czech composer, writing many large scale works. The composer moved to Paris in 1923 where he began experimenting in a variety of composition styles. Sonatine for Trumpet and Piano was composed in 1957 and is adaptable to both the B flat and C Trumpet. Martinu himself was a violinist but he liked to experiment and the mid-1950s saw him move to Nice in France, where he began writing Sonatas for wind and brass. Sonatine for Trumpet exemplifies the composer's influence of Stravinsky, Debussy and jazz music. The piece is excitingly virtuosic in its use of flutter tonguing, complex rhythms, chromaticism, and ensemble between the Trumpet and Piano. As a varied, substantial work for the Trumpet repertoire, Martinu's Sonatine is essential to the advanced trumpeter.&rdquo.
SKU: HL.48181925
UPC: 888680908706. 9.0x12.0x0.052 inches.
“French composer, Pierre Max Dubois (1930-1995) significantly contributed to the wind repertoire. His 12 Various Studies for Trumpet was published in 1959 and remains prominent in the instrument's study repertoire. Dubois' 12 Various Studies addresses elements of articulation, chromaticism, rhythm, scales, intervals, breath control, performance directions, dynamics, range, ornamentation, and variations in time and key signatures, amongst other aspects. 12 Various Studies is essential to the advanced trumpeter to ensure a high standard of technical progression.â€.
SKU: BR.BG-1233
ISBN 9790004122334. 9 x 12 inches.
Composed in 1976 on a suggestion by the in Germany living American trumpet-virtuoso Marrs, who premiered the piece. It is a short piece with relatively high requirements concerning changes of timbre (especially by means of different kinds of mutes). At the end the piece alludes to a Bohemian folksong from the area of recruit songs. (Marek Kopelent)World premiere: 1978.
SKU: HL.48181406
UPC: 888680855512. 9.0x12.0x0.103 inches.
French composer, Georges Delerue (1925-1992) is best remembered as a composer for film and television. However, his other compositions remain popular, Concertino for Trumpet being no exception. Delerue studied at the Paris Conservatoire where he won many prizes. His catalogue is hugely varied, from film scores to large symphonic works. Concertino for Trumpet was published in 1951 and remains a favourite in the advanced trumpeter's repertoire. Comprising two movements, the work exploits tonality and rhythm, as well as extended techniques. As a modern, exciting work, Delerue's Concertino for Trumpet is an essential, varied addition to the Trumpet repertoire..
SKU: HL.48183497
UPC: 888680866006. 9x12 inches.
“To this day, Eugène Bozza (1905-1991) remains one of the most prolific composers for wind instruments, despite being a violinist himself. His Caprice No. 2 for Trumpet with Piano accompaniment is no exception to the composer's success. During his studies at the Paris Conservatoire, Bozza won prizes for Violin, conducting and composition, as well as the Grand Prix de Rome. He then conducted the orchestra of the Opéra-Comique and became Head of the Conservatoire in Valenciennes, whilst remaining a prominent composer. Composed in 1978, Bozza's Caprice No. 2 addresses advanced aspects of the Trumpet, including complex rhythms, exploited tonalilty and articulation. As music educationalist, Paul Griffiths has written of Bozza's compositions, ”“his works reveal melodic fluency, elegance of structure and a consistenly sensitive concern of instrumental capabilities.”“&rdquo.
SKU: HL.48181823
UPC: 888680860653. 9x12 inches.
“To this day, Eugène Bozza (1905-1991) remains one of the most prolific composers for wind instruments, despite being a violinist himself. His Rhapsody for Trumpet with Piano accompaniment is no exception to the composer's success. During his studies at the Paris Conservatoire, Bozza won prizes for Violin, conducting and composition, as well as the Grand Prix de Rome. He then conducted the orchestra of the Opéra-Comique and became Head of the Conservatoire in Valenciennes, whilst remaining a prominent composer. Composed in 1957, Bozza's Rhapsody is adaptable to both B flat and C Trumpet and addresses advanced features, including complex rhythms, quick tempos and articulation. As music educationalist, Paul Griffiths has written of Bozza's compositions, ”“his works reveal melodic fluency, elegance of structure and a consistently sensitive concern of instrumental capabilities.”“&rdquo.
SKU: HF.FH-7036
ISBN 9790203470366. 9 x 12 inches.
1. Barmherziges Herze der ewigen Liebe, BWV 185; 2. Singet dem Herrn ein neues Lied, BWV 190; 3. Dem Gerechten muss das Licht, BWV 195; 4. Gott ist unsre Zuversicht, BWV 197; 5. Geschwinde, geschwinde, ihr wirbelnden Winde, BWV 201; 6. Zerreisset, zersprenget, zertrummert die Gruft, BWV 205; 7. Schleicht, spielende Wellen, BWV 206; 8. Auf, schmetternde Tone, BWV 207a; 9. Preise dein Glucke, gesegnetes Sachsen, BWV 215.
SKU: M7.VOGG-622
ISBN 9783802406225. German.
Rüdiger Baldauf ist einer der bekanntesten Trompeter Deutschlands, nicht zuletzt durch seine Arbeit mit den Heavytones, der Band von Stefan Raab's Tonight show TV Total. Er studierte Musik und hat unter anderem mit James Brown, Liza Minelli, Seal, Michael Bublé, Maceo Parker, Joe Zawinul, Shirley Bassey und Udo Jürgens gespielt. Von 1999 bis 2002 war er Mitglied im United Jazz & Rock Ensemble, und er gehört seit 1992 dem Paul Kuhn Orchester an. Er ist ständiger Gastmusiker in deutschen Rundfunk Big Bands, insbesondere der WDR Big Band Köln. Von 1989 bis 1999 war er Dozent für Jazz-Trompete an der Musikhochschule Köln. Er unterrichtet bei Trompeter- und Big Band-Seminaren und Workshops. Sein erstes Album 'Own Style' erschien 2010 und erhielt international hervorragende Kritiken. Hier ist jetzt endlich das Play-Along! Aber lassen wir ihn selbst zu Wort kommen: 'Nachdem meine CD erschienen war, wuchs in mir der Wunsch, eine Play-Along-taugliche Version meines Albums nur für Trompeter zu konzipieren. Damit auch rein klassisch orientierte Trompeter und die Jazz-unerfahrenen Spieler einen Zugang zur Improvisation finden, habe ich einen exemplarischen Chorus für jedes Stück aufgenommen und aufgeschrieben. Die aufgeschriebenen Soli sollen euch als Anregung zur eigenen Improvisation dienen. Auf der CD ,Own style' befinden sich dieselben Titel zum Teil in anderen Versionen. Ich habe alle Soli für diesen Band neu aufgenommen, ohne Effekte und Dämpfer, damit ihr den puren Trompetensound hören könnt und bessere Vergleichsmöglichkeiten mit eurem eigenen Sound habt. Ich wünsche allen Trompetern viel Spass mit diesem Band und hoffe, dass auch euch dieses Heft dazu verhilft, euren ,Own style' zu finden.' (Zweisprachige Ausgabe in Deutsch und Englisch).
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