SKU: SP.TS171
ISBN 9781585604531. UPC: 649571101718.
Music has always been an integral part of the holiday season. As everyone knows, there is no better way to celebrate than with a song. Re-live your childhood memories and share your love of music this holiday season with Santa's Little Helper published by Santorella Publications. Santa's Little Helper for Trumpet is written as solos or duets in accommodating keys for Flute, Clarinet, Alto Sax or Trombone. This complete collection of Christmas songs from Santorella Publications includes an accompaniment CD and lyrics for the whole family to enjoy. The Piano Accompaniment book for Brass and Reed instruments is sold separately. Santorella's String Edition is also available for violin, viola, cello and bass. Angels We Have Heard on High - Away in a Manger - Birthday of a King - Deck the Halls - God Rest Ye, Merry Gentlemen - Good King Wenceslas - Hark! The Herald Angels Sing - I Saw Three Ships - It Came Upon a Midnight Clear - Jingle Bells - Jolly Old Saint Nicholas - Joy to the World - O Christmas Tree - O Come All Ye Faithful - O, Holy Night - O Little Town of Bethlehem - Silent Night - We Wish You A Merry Christmas - Good Christian Men Rejoice - I Heard The Bells On Christmas Day - We Three Kings Of Orient Are - Star Of The East - The First Noel - Here We Come Awassailing.
SKU: HL.374359
ISBN 9781705150122. UPC: 196288016861. 9.0x12.0x0.1 inches.
A baker's dozen of hot hits are included in this collection perfect for new instrumentalists. It features online access to audio demonstration and backing tracks for download or streaming to help you hear how the song should sound then play along and sound like a pro! Songs include: Adore You (Harry Styles) • Bad Habits (Ed Sheeran) • Blinding Lights (The Weeknd) • drivers license (Olivia Rodrigo) • Kings and Queens (Ava Max) • Therefore I Am (Billie Eilish) • Willow (Taylor Swift) • and more.
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: JK.02000
Presenting the newest addition to the popular Hymn-Alongs series: Christmas Hymn-Alongs! The Hymn-Alongs series includes over 20 different instrumental books. They are simple enough for developing musicians to master, yet beautiful and fun for those advancing in music. The accompaniment book features beautiful, yet simple arrangments for piano, guitar (chord symbols), and voice. The many instrumental books can be played together in any combination. All instrument books include a melody part; treble instruments have a duet part, and bass instruments also include a bass part. View all Christmas Hymn-Alongs products HERE. Songs included in Christmas Hymn-Alongs: Angels We Have Heard on High Away in a Manger Hark! The Herald Angels Sing I Heard the Bells on Christmas Day It Came upon the Midnight Clear Joy to the World O Come, O Come, Emmanuel O Little Town of Bethlehem Oh, Come, All Ye Faithful O Holy Night Silent Night The First Noel We Three Kings What Child Is This? Composer: Various Arranger: Brent Jorgensen Difficulty: Easy hymn along, hymnalongs, hymnalong, hymn alongs.
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