SKU: HL.49007263
ISBN 9790001078047. German.
Im 2. Band werden mit Kapiteln uber Zungentechnik, Verzierung, Artikulation und Chromatik die in Band 1 erworbenen Grundlagen erweitert. Spezielle Bindeubungen verhelfen zur Steigerung der Ausdauer und Hohe. Wie jazzige Stucke zu blasen sind, wird in einem besonderen Kapitel behandelt. Die Schule ist sowohl fur den Einzel- als auch fur den Gruppenunterricht geeignet.
SKU: HL.14047396
ISBN 9788438711583. Spanish.
SKU: HL.14047165
ISBN 9788850717927. Portugese.
SKU: HL.14047166
ISBN 9788850717934. Portugese.
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: 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: HL.14062588
About A New Tune A Day
Since it first appeared in the 1930s, the concise, clear content of the best-selling A Tune A Day series has revolutionized music-making in the classroom and the home. Now, for the first time, C. Paul Herfurth's original books have been completely rewritten with new music and the latest in instrumental technique for a new generation of musicians. The A New Tune A Day books have the same logical, gentle pace and keen attention to detail, but with a host of innovations: the inclusion of an audio CD-with actual performances and backing tracks-will make practice even more fun and exciting, and the explanatory diagrams and photographs will help the student to achieve the perfect technique and tone. This book contains: easy-to-follow lessons on clear, uncluttered pages; tips for technique; improvising hints; audio CD with a virtuoso performance, backing tracks, and audio examples; great music, including duets and ensemble pieces; useful pull-out fingering chart
SKU: HL.14062595
SKU: HL.44003400
ISBN 9789043106146. UPC: 073999965001. International (more than one language).
This innovative book allows trumpet players the chance to perform with a brass quartet without the need for other players! The remaining three parts are included on the CD together with complete performances to show you how it should be done. Includes works by Mozart, Verdi, Smetana and more. Bewerkingen van klassieke werken en originele composities voor solotrompet en koperensemble. Op de begeleidings-cd staat niet alleen van elk stuk een opname van een voltallig kwintet, maar ook een versie zonder de eerste trompetpartij.Inhoud: March of the Students' Legion (Van der Beek) * Vivat Mozart (Schoonenbeek) * March from Aida (Verdi) * Premier Essay Jazz (Waignein) e.a.Bearbeitungen klassischer Werke und originale Kompositionen fur Solo-Tromptete mit einem Blechblaserensemble. Auf der Begleit-CD ist nicht nur eine Aufnahme des vollstandigen Quintetts eingespielt, sondern auch ein Track ohne die 1. Trompetenstimme.
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.EMM116-048
Dutch.
Na het grote succes van de methode Horen, lezen & spelen hebben Michiel Oldenkamp en Jaap Kastelein hun aandacht gericht op lesmateriaal dat gebruikt kan worden in zowel de trompetles als in de orkestklas (blazersklas). Zij bedachten een compleet nieuwe methode voor jonge blazers en slagwerkers vanaf ongeveer 8 jaar oud. De methode is ontwikkeld in nauwe samenwerking met professionals uit de wereld van blazersklassen, muziekscholen en conservatoria in Nederland en Duitsland.
Samen leren samenspelen is een methode voor trompetles en orkestklas in één. In de leerlijn voor trompet ligt de nadruk op trompet-technische zaken zoals nieuwenoten en technische oefeningen. Deze lijn ondersteunt de leerlijn voor de orkestklas, waar meer algemene zaken, zoals ritme, melodie, vorm en samenspel aan bod komen.
De methode bestaat uit twee delen. In het eerste deel wordt er vanaf de eerste noten toegewerkt naar het spelen van duetten. In het tweede deel ligt de nadruk op het driestemmig samenspelen. Naast het lesboek biedt de uitgebreide website allerlei aanvullend materiaal zoals demo- en begeleidingstracks van alle stukken, aanvullend speelmateriaal en instructie-video’s. De logische opbouw en kindvriendelijke layout met mooie illustraties zorgen ervoor dat deze methode voor kinderen heel motiverend is.
SKU: BT.EMM117-068
SKU: BT.OKP117-128
SKU: BT.BMI11050528-400
ISBN 9789043141673. 9x12 inches. International.
With this collection, you can enjoy highlights from the work of Belgian composer Bert Appermont. The pieces have been carefully selected by the composer himself, who has paid special attention to playability, and has looked for melodies that appeal to a large audience. The melodies have been arranged according to levels of difficulty and are suitable for use in music lessons or for concert performances. The pieces Innocence and Song of Hope have been provided with a second part, so that they can be performed as duets with accompaniment. The book comes with a CD containing a demo version as well as a play-long track for each piece. The piano accompaniments have beenprovided on the CD as printable PDFs! De hoogtepunten uit het werk van Bert Appermont, die vanwege de vertrouwd klinkende en mooie melodieën zeer geliefd zijn! De goed speelbare stukken werden voor deze uitgave door de uit België afkomstige componist geselecteerd. Zezijn op moeilijkheidsgraad gerangschikt en vormen een perfecte aanvulling op elke instrumentale methode. De cd bevat demo- en play-alongversies van alle stukken evenals printklare pdf-bestanden van de pianobegeleidingen.Die Höhepunkte aus dem Werk des belgischen Komponisten Bert Appermont, die die aufgrund ihrer vertraut wirkenden Klangsprache und der schönen melodischen Linien sehr beliebt sind! Die Stücke wurden vom Komponisten selbst ausgewählt, der gut spielbare Melodien wählte, die auch ein breites Publikum ansprechen. Sie wurden nach Schwierigkeitsgrad angeordnet und eignen sich ausgezeichnet für den Instrumentalunterricht. Zwei Stücke sind als Duette ausnotiert. Die CD enthält Demo- und Mitspielversionen aller Stücke sowie PDFs der Klavierbegleitungen zum Ausdrucken.Melodic Highlights vous permettra d‘apprécier les plus beaux thèmes des oeuvres de Bert Appermont, dont le style d‘écriture repose sur l‘emploi de lignes mélodiques captivantes et accessibles. Les pièces rassemblées dans ce recueil ont été sélectionnées par le compositeur lui-même, qui aura prêté une attention toute particulière leur degré de difficulté. Le CD joint comporte une version intégrale puis une version ‘accompagnement pour chacune des pièces, une solution fort idéale pour étudier chez soi, mais aussi pour jouer sous les feux de la rampe (la version papier des accompagnements de piano sont gravés sur le CD sous la forme de fichier PDF télécharger).Bert Appermont, compositore belga noto per la scrittura melodica, ha raccolto le sue opere migliori in questa collana per fiati. Si tratta di melodie facili da eseguire e apprezzate dal pubblico. Bert Appermont propone i brani, due dei quali da eseguire in duo (tutti perfetti anche per lo studio), in ordine crescente di difficolt . Il CD contiene una versione demo e una play-along, mentre gli accompagnamenti al piano sono scaricabili in formato PDF.
SKU: YM.GTW01098118
ISBN 9784636981186.
For those who are looking for scores written in the original song keys for wind and brass, here you are! In this series, 40 popular J-POP songs are transposed for each instrument and can be played in the same keys as the original songs. (For example, if the original song is in C major, the score for trumpet in B-flat is re-transposed and written in D major to play in C major.) It is a great selection for a live session with other instruments such as piano or guitar. *Please note: the chord names are indicated in real tone notation for all scores in the series.
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