SKU: ST.Y288
ISBN 9790220223204.
1. Mechanical Study I 2. In the Air 3. Mechanical Study II 4. Falling Star 5. Mechanical Study III The three 'mechanical' studies of this set of five all employ a clear structural technique based on regularity. The first presents a stream of fast semiquavers in duple metre which constantly interplays with short motivic figures; the second offers a 14-bar ostinato (melody) that begins at the top of the keyboard and gradually descends to the bottom; around this ostinato a sustained counter-melody weaves. The third presents a igorous, stomping 9/8 dance rhythm which interacts with lengthening patterns in the second voice. The two 'fantastical' studies which intersperse the 'mechanical' contrast greatly with them: much freer in expression, tempo and rhythm, they evoke the outdoors and the calming presence of nature. The first moves like wafts of the breeze; the second, more complex, is the heart of the work. Its deep contemplations are several times interrupted by a modest refrain, drawing it back in the 'real world' - that of the three 'mechanical' studies which surround it. This refrain is also a mediator, its last appearance as gentle as the breeze evoked in the second study.
SKU: CF.O88X
ISBN 9781491153406. UPC: 680160910908. 9 X 12 inches.
These studies are a staple of the advanced trumpet method repertoire. Each etude is an exploration of a wide variety of registers, articulations and tonalities. While going through these 36 etudes the trumpeter will develop an even sound in all registers while tackling the musical and melodic challenges that lie within.IntroductionTips on Musical PracticeStarting a new study can be overwhelming. Using Etude No. 1, here’s an example of how to approach working on these etudes with both musicality and technique in mind.Bousquet’s first study can be broken down into three large musical sections:Section 1: from the beginning to the downbeat of m. 26.Section 2: from the upbeat of 2 in m. 26 to the downbeat of m. 51.Section 3: from the downbeat of m. 51 to the end.Each one of those sections can be broken down into two smaller sections:Section 1a: from the beginning to the downbeat of m. 16.Section 1b: from the downbeat of m. 16 to the downbeat of m. 26.Section 2a: from the upbeat of 2 in m. 26 to the end of m. 35.Section 2b: from m. 36 to the downbeat of m. 51.Section 3a: from the downbeat of m. 51 to the downbeat of m. 59.Section 3b: from the downbeat of m. 59 to the end.To get started playing, choose a slow tempo that allows you to play Section 1 all the way through without stopping. If that is problematic, just play through 1a.Remember to focus on the music. Section 1a is light, moving in four-measure phrases to the ninth measure, where it cadences in G. From there, retain the lightness through the arpeggiation that concludes with the trill that brings an arrival point at Section 1b. Here the style changes completely, alternating two measures of fluid, connected sixteenth notes with two measures of scalar staccato sixteenths before finally cadencing on the downbeat of m. 26.Section 2 begins with a melodic line of eighth notes, punctuated by sixteenths in the third full measure before returning to the original line for only a measure before driving forward with a flourish to finish Section 2a. Section 2b starts back in C with four-measure phrases in which the line moves up for two measures, then down for two measures, ending in G. The last seven measures of Section 2 stay light as they work their way back to C.Section 3 is very exciting, starting with a fiery cornet solo-like passage in 3a. 3b brings the piece to a dramatic conclusion outlining C major for the first four measures before arpeggiating C major and G dominant for two measures, finally finishing with the C-major scale.The next step is to isolate any of the parts that proved troublesome. Examples could include missed notes or figuring out where to breathe. Once you have practiced the troublesome sections in isolation, play the section all the way through without stopping again. Even if there are still problems, you are now practicing in a way that is preparing you to perform musically.The next day, play through Section 1 again, at a tempo that allows you to do this without stopping. Now go on to Section 2, and follow the same three steps:Play all the way through, at a tempo that allows you to do so without stopping,Isolate and practice the troublesome passages, thenPlay all the way through, at a tempo that allows you to do so without stopping.Now play from the beginning to the end of Section 2.The next day, play Section 1. Now play Section 2. Then play Section 3 and apply the same three steps outlined above.Now play the whole study. At this point you have spent time on each section, making musical decisions and correcting mistakes. Increase the tempo as you gain confidence and control of the material. As you work towards performing the entire study as a piece of music, record yourself playing the entire study as a performance each day. Review the recordings to reveal what still needs work. Be honest with yourself! When you are happy with the recording of your performance, it’s time to move on to the next study.About the Goldman PrefaceThese studies will be an excellent practice, especially for the lower register of the Cornet, which is somewhat neglected in other instruction books. It is recommended that the pupil should practice one of this series of Studies now and then to repose his lips, and acquire facility in difficult fingering.— Edwin Franko GoldmanIn his original preface, Edwin Franko Goldman is absolutely correct that these studies are excellent practice and will help with the dexterity demanded of today’s player. Although the low register is certainly explored throughout the book, it does not appear to be the focus of these studies. There are many books available now that concentrate on the low register. The suggested fingerings have been removed. Using alternate fingerings was more common to cornet players to aid in the fluidity of a passage. This practice is not nearly as common today, especially with trumpet players, as the difference in timbre caused by the alternate fingerings is disruptive to the musical line. Published for cornet, as it was the solo instrument of choice in the 1920s, these etudes are just as useful to today’s trumpet player. When playing these studies on trumpet, the performer should strive for a fluid line while maintaining a full and clear sound. Because of the musicianship and technique demanded, this book remains as useful today as it has ever been.— Joey TartellAbout Narcisse Bousquet and the 36 EtudesNarcisse Bousquet (c. 1800–1869) was French by birth, active as a composer, editor and arranger in both France and England in the early nineteenth century. Bousquet was respected as an accomplished performer of the French flageolet, a high-pitched woodwind instrument much like a recorder, although later outfitted with the Boehm key system like the modern flute. Although obsolete in modern times, the instrument once enjoyed great popularity with a variety of composers and performers, both amateur and professional. Purcell and Handel composed for the instrument, and Berlioz was purportedly an accomplished amateur performer of the flageolet. The Scottish author Robert Louis Stevenson, likewise, was a proficient performer of the instrument and composed a number of pieces for it.Little is known today of Bousquet’s life. He composed a large variety of music, including works specifically for the flageolet, which were widely appreciated in their day. The 36 Etudes for flageolet are undoubtedly the most well known of his works. Published in 1851, the Etudes explore a variety of techniques, such as scales, arpeggios, ornamentation, breath control and expressive playing, and their technically demanding writing confirms Bousquet’s prowess as a flageolet performer. However, the date of the arrangement of the etudes for cornet and their arranger remain speculative. Edwin Franko Goldman is credited as the arranger of the 1890 publication by Carl Fischer, although Goldman would have been only twelve years old at the time; his work on these pieces surely came at a later time. Bousquet himself may have arranged these pieces for cornet at the request of an accomplished cornet player at some point after their publication.
SKU: MB.31154
ISBN 9781513473888. 8.75X11.75 inches.
Practicing scales is essential to building and maintaining strength, technique, tone, and agility on the viola, but it is easy to slip into the habit of playing scales automatically, without paying attention to tonality or sound production. The 29 single-page studies in this book focus the attention of violists on the beauty of sound, with a particular concern for the way different keys resonate on the viola.The first 24 studies address all minor and relative major keys and proceed through the circle of fifths; the last 5 pieces are individually conceived, i.e., apart from the circle of fifths. No metronome indications are given, so the etudes can be played at individually comfortable tempos.The names of the etudes refer to various animals that have scales, including insects, fish, birds, reptiles, and a few species of mammals. The author hopes that in addition to experiencing more enjoyable scale practice, students will be inspired to learn more about these amazing creatures and write scale studies of their own.
SKU: HL.48186509
Progressive studies is the second volume of the series Sixty Studies for Violin, written by Auguste Samie and edited by G. Catherine. Containing twenty studies, this volume should help upper beginners / intermediate violinists to play with the first and third positions more naturally. An increasing difficulty can be perceived in term of rhythm and tempo. This volume is completed by 'Dainty Studies' (Volume 1) and 'Melodic Studies' (Volume 3)..
SKU: HL.48182624
UPC: 888680834548. 9.0x12.0x0.08 inches.
Born in 1928, French composer and teacher, Jean Aubain studied with Olivier Messiaen at the Paris Conservatoire. In 1955, he won the Premier Prix de Rome and his since composed many other prolific works, including Three Studies for Percussion and Piano. Composed in 1968, Three Studies for Percussion and Piano is made up of three movements; 1) Variations, 2) Scherzo, and 3) Final. With a typical performance lasting around seven minutes, Aubain's piece includes use of Timpani, Xylophone, Temple-Block, Tom-Toms, Vibraphone and Cymbals, as well as other Percussion instruments. For all advanced percussionists seeking solo performance repertoire, Aubain's Three Studies for Percussion and Piano is essential..
SKU: BT.DHP-1064024-400
ISBN 9789043124621. 9x12 inches. English-German-French-Dutch.
Studies can be boring - you usually play them alone and the lack of rhythm and harmony can be dispiriting. This very practical collection contains the best studies written throughout two centuries of violin education. The studies - all in the first position - have been provided with completely new piano accompaniments which give a harmonic and rhythmic helping hand, so that practicing becomes more instructive and more fun. Each edition within this concept features two CDs. For each study there are three tracks on the CDs: a demo version, a play-along version in normal tempo and one in a slower, study tempo. The following technical skills are included in the Selected Studiesprogramme: Book 2: For the right hand: string shifts, staccato, legato, spiccato; For the left hand: position work in the second and third position; position shifts, trills. Study and Play is het ideale concept om je spel op een plezierige en verantwoorde manier te ontwikkelen. Bij elke uitgave onder deze noemer worden een of twee cdâ??s meegeleverd die iets extraâ??s toevoegen aan je studiemethode.Met het tweede deel van Selected Studies ontdek je weer nieuwe studeermogelijkheden in combinatie met een handige pianobegeleiding. Er staan voor elke etude drie tracks op de cdâ??s: een voorbeeldversie, een meespeelversie innormaal tempo en één in oefentempo. Het gaat om uitstekende etudes van bekende vioolpedagogen (onder wie F. Wohlfahrt, H. Sitt en G. Wichtl) uit de afgelopen twee eeuwen. Een veelzijdig boek voor de verdere ontwikkeling van je spel- nu in de eerste drie posities!Die beiden Bände Selected Studies 1 und 2, jeweils erhältlich für Violine und Viola, sind nach dem Konzept Study and Play aufgebaut, das in sinnvoller und vergnüglicher Weise zu einem guten Spiel verhilft. Jedem Buch mit diesem Konzept ist eine CD beigefügt, welche die tägliche Ã?bungsroutine individuell ergänzt. Auf der CD zu Selected Studies bietet das Klavier eine rhythmische und harmonische Unterstützung und sorgt zugleich für einen schönen Klang. Jedes Stück wurde zwei Mal eingespielt: einmal langsam zum Ã?ben und einmal im normalen Tempo. Zusätzlich sind die Klavierbegleitungen im Buch enthalten. Die Etüden stammen alle von anerkannten Spezialisten auf demGebiet des Streicherunterrichts. In ansteigendem Schwierigkeitsgrad lernen Anfänger in Band 1 Techniken in der ersten Lage wie z.B. Detaché, Legato, Portato, Doppelsaiten während die linke Hand sich in Fingerfertigkeit und leichten Doppelgriffen übt. Im zweiten Band trainiert die rechte Hand Lagenwechsel innerhalb der ersten drei Lagen sowie Triller, die rechte Hand übt Saitenwechsel, Staccato, Legato und Spiccato. So trainiert jede Ã?bung eine andere Technik und mit der CD macht das sogar richtig SpaÃ?! Study and Play est le concept idéal pour développer votre jeu dans un environnement plaisant et solidement structuré. Ce second volume de la collection Selected Studies propose des accompagnements de piano qui présentent une nouvelle approche de la pratique instrumentale. Chaque étude est enregistrée dans trois versions : une version intégrale, et deux versions dâ??accompagnement (au tempo normal dâ??abord, au tempo dâ??étude ensuite). Selected Studies 2 rassemble les meilleures études écrites par de grands pédagogues du violon des deux siècles passés tels que Franz Wohlfahrt, Hans Sitt et Georg Wichtl, entre autres. Main droite : changements de cordes,staccato, legato, spiccato. Main gauche : exercices pour le jeu en deuxième et troisième positions, démanchés, trilles. Pubblicati nella collana Study and Play, i metodi Selected Studies racchiudono i migliori studi estratti dalle opere scritte dai più grandi pedagoghi dei due secoli passati quali Franz Wohlfahrt, Hans Sitt, Heinrich Ernst Kayser, e altri. Troverete esercizi per facilitare la tecnica dell'archetto e delle doppie corde. Ciascuna pubblicazione include 2 CD di accompagnamento. Ogni studio è registrato in tre versioni: una integrale (violino piano) e due versioni col solo accompagnamento (una a tempo normale e una col tempo ridotto da studio). Selected Studies 2 : Studi di Franz Wohlfahrt, Hans Sitt, Jacques Féréol Mazas, Charles de Bériot et Georg Wichtl, e altri. Manodestra: cambi di corda, staccato, legato, spiccato. Mano sinistra: esercizi per suonare in seconda e terza posizione, trilli.
SKU: HL.49014890
ISBN 9790220115622. English.
Preface * Why Rhythm Changes? * Diatonic Studies * Scale Studies * Pentatonic Scales * Diminished Scale/Semitone * Whole-tone Scale * Rhythm Changes * Diatonic Approach to Rhythm Changes * A-phrase Variations * The Bridge * Inside Harmonies * Scales and Tips for Improvising and Practising * Postscript.
SKU: BT.EMBZ6502
English-German.
The Two Concert Studies, which Liszt composed in 1863 for Grand Theoretical and Practical Piano School by Sigmund Lebert and Ludwig Stark, became rather popular already in his lifetime. Today they are among the most often played works by Liszt. Morceau de salon is also a publication for piano education and was written for the Méthode des méthodes de piano of François-Joseph Fétis and Ignaz Moscheles and published in 1840. The virtuoso concert study was revised by Liszt under the title Ab irato a decade later. This edition contains the score of and critical notes to the above works as published in the New Liszt Edition, as well as prefaces in English and German, which provideinformation about all the important issues concerning the genesis and performance rendering. This publication is printed on high quality, durable paper made from renewable raw materials in an environmentally friendly way. Separate editions from the New Liszt Complete Critical Edition with preface and critical notes.
The Two Concert Studies, which Liszt composed in 1863 for Grand Theoretical and Practical Piano School by Sigmund Lebert and Ludwig Stark, became rather popular already in his lifetime.Today they are among the most often played works by Liszt.Morceau de salon is also a publication for piano education and was written for the Méthode des méthodes de piano of François-Joseph Fétis and Ignaz Moscheles and published in 1840. The virtuoso concert study was revised by Liszt under thetitle Ab irato a decade later. This edition contains the score of and critical notes to the above works as published in the New Liszt Edition, as well as prefaces in English and German, which provide information about all the important issuesconcerning the genesis and performance rendering.Einzelausgabe aus der Neuen Kritischen Liszt-Gesamtausgabe mit Vorwort und kritischem Bericht.
Die Zwei Konzertetüden (1. Waldesrauschen, 2. Gnomenreigen), die Liszt 1963 für die Grosse Theoretische-praktische Klavierschule von Sigmunt Lebert und Ludwig Stark schrieb, wurden schon zu seinen Lebzeiten bekannt. Heute gehören sie zuseinen am häufigsten gespielten Stücken. Morceau de salon ist ebenfalls eine pädagogische Etüde, die Liszt für die Méthode des méthodes de piano (1840) von François-Joseph Fétis und Ignaz Moscheles schrieb. Die virtuose Etüde wurde von Liszt unter dem Titel Ab irato einJahrzehnt später als Konzertetüde veröffentlicht. Die hier vorliegende Einzelausgabe enthält die Partitur und den kritischen Kommentar aus der New Liszt Edition, sowie Vorworte in Englisch und Deutsch, mit wertvollen Hinweisen zur Entstehung undSpielweise der Stücke.
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