| Concerto in Eb Major Trumpet, Piano Carl Fischer
For Trumpet in Bb and Piano, S. 49. Composed by Johann Nepomuk Hummel (17...(+)
For Trumpet in Bb and Piano, S. 49. Composed by Johann Nepomuk Hummel (1778-1837). Edited by Elisa Koehler. Arranged by Elisa Koehler. Romantic. Score and part(s). With Standard notation. 36 8 pages. Carl Fischer #W002681. Published by Carl Fischer (CF.W2681).
$14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Concerto in E Major Trumpet Carl Fischer
Chamber Music Piano, Trumpet SKU: CF.W2682 For Trumpet in E and Piano,...(+)
Chamber Music Piano, Trumpet SKU: CF.W2682 For Trumpet in E and Piano, S.49. Composed by Johann Hummel. Edited by Elisa Koehler. Set of Score and Parts. With Standard notation. 36+8 pages. Carl Fischer Music #W2682. Published by Carl Fischer Music (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). $34.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Royal Coronation Dances Concert band [Score and Parts] - Easy Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Suitable for advanced middle school, high school, community and college bands. Conductor score and set of parts. Duration 4:45. Published by Manhattan Beach Music (MH.1-59913-054-8). ISBN 9781599130545. Royal Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half-step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion. $95.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| The Warrior's Path - Beginner Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet, Euphonium, Euphonium T....(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tambourine, Triangle, Trombone, Trumpet, Tuba and more. - Grade 1 SKU: CF.BPS147 Composed by Travis Weller. Set of Score and Parts. Carl Fischer Music #BPS147. Published by Carl Fischer Music (CF.BPS147). ISBN 9781491163436. UPC: 680160922222. What does the life of a lone warrior look like? What stories does he or she have to tell? This piece for beginning band depicts a lone warrior beginning a journey across an ancient land. This solitary warrior is joined by others on the way, and together they defend those who cannot defend themselves. Each warrior might have a different story and experience, and I would encourage young musicians to create their own through sharing verbally, writing a short story, or even creating a work of art (a picture depicting their warrior or creating a mask their warrior wears might aid in the telling of their warrior’s story).The Warrior’s Path is about one minute and twenty seconds in length, and the technical range (first six notes of the Bb concert scale) should be very comfortable for a student in their second semester of instrumental music instruction. There are some articulations indicated, but overall musicians should strive for a unified even articulation. Throughout the work, the snares should be turned off or directors can choose to substitute with a low concert tom. The piece can be performed with as few as five winds (e.g. Flute, Clarinet, Alto Saxophone, Trumpet and Trombone) and just four percussion (suggested Bells, Snare, Cymbal and Tambourine).The piece began as a flexible chamber piece during the summer of 2020 but has been reorchestrated for use by a full band in a traditional setting. It is my hope the piece provides a meaningful opportunity for students to tell a story through music and other creative outlets. The piece is dedicated to elementary band directors who have fought for their students and their programs each and every day. In their own way, they have been warriors of a different kind using a baton as their sword and their passion for music education and their students as a shield. Thank you in advance for your support of this music, and I wish you and your ensemble well as you take The Warrior’s Path. $53.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Warrior's Path [Score] Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet, Euphonium, Euphonium T....(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tambourine, Triangle, Trombone, Trumpet, Tuba and more. SKU: CF.BPS147F Composed by Travis Weller. Full score. 12 pages. Carl Fischer Music #BPS147F. Published by Carl Fischer Music (CF.BPS147F). ISBN 9781491163832. UPC: 680160922628. What does the life of a lone warrior look like? What stories does he or she have to tell? This piece for beginning band depicts a lone warrior beginning a journey across an ancient land. This solitary warrior is joined by others on the way, and together they defend those who cannot defend themselves. Each warrior might have a different story and experience, and I would encourage young musicians to create their own through sharing verbally, writing a short story, or even creating a work of art (a picture depicting their warrior or creating a mask their warrior wears might aid in the telling of their warrior’s story).The Warrior’s Path is about one minute and twenty seconds in length, and the technical range (first six notes of the Bb concert scale) should be very comfortable for a student in their second semester of instrumental music instruction. There are some articulations indicated, but overall musicians should strive for a unified even articulation. Throughout the work, the snares should be turned off or directors can choose to substitute with a low concert tom. The piece can be performed with as few as five winds (e.g. Flute, Clarinet, Alto Saxophone, Trumpet and Trombone) and just four percussion (suggested Bells, Snare, Cymbal and Tambourine).The piece began as a flexible chamber piece during the summer of 2020 but has been reorchestrated for use by a full band in a traditional setting. It is my hope the piece provides a meaningful opportunity for students to tell a story through music and other creative outlets. The piece is dedicated to elementary band directors who have fought for their students and their programs each and every day. In their own way, they have been warriors of a different kind using a baton as their sword and their passion for music education and their students as a shield. Thank you in advance for your support of this music, and I wish you and your ensemble well as you take The Warrior’s Path. $7.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Spirit of the Warrior [Score] Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet, Euphonium, Euphonium T....(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet, Euphonium, Euphonium T.C., Flute, Gong, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Trombone, Trumpet, Tuba, Vibraslap, alto Saxophone and more. SKU: CF.PPS60F Composed by Zachary Poulter. Full score. 8 pages. Carl Fischer Music #PPS60F. Published by Carl Fischer Music (CF.PPS60F). ISBN 9781491163825. UPC: 680160922611. An ancient world calls… Spirit of the Warrior explores both the beauty and the power of a forgotten civilization; man’s mighty force amidst nature’s gentle majesty. It is dedicated to all soldiers and warriors, past and present, who give their all to protect home and nation. The warrior shows courage in the face of danger, and loyalty to a cause beyond self-interest. The warrior sees life’s fragile beauty with eyes few others can understand. Long after warriors fall in battle, their spirit lives on in the people and lands they have protected.  Using only the first six notes of the concert Bb scale, Spirit of the Warrior begins boldly. Separated notes in the low brass and winds represent the warrior’s power. Nature’s inspiring beauty is represented by the high woodwinds and bells, which play in counterpoint to the lower instruments.  Fully separate the staccatos, and shape the accents throughout to help the music feel powerful without being overly heavy or loud. At m. 29, be sure that the countermelody played by the clarinets and alto saxophone can be clearly heard.If you have additional percussionists, consider doubling the snare drum part on a low tom-tom. Experiment with the gong to find the sound you prefer: strike closer to the edge for a brash “crash†sound, or closer to the center for a more mysterious tone. The piece ends with the sound of the sustaining gong . Enjoy the drama and let the sound fade without (much) dampening.  . $7.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| A Maritime Overture Concert band [Score and Parts] G and M Brand Music Publishers
Concert band (Piccolo, 1st Flute, 2nd Flute, 1st Oboe, 2nd Oboe, 1st Bassoon, 2n...(+)
Concert band (Piccolo, 1st Flute, 2nd Flute, 1st Oboe, 2nd Oboe, 1st Bassoon, 2nd Bassoon, Solo Bb Clarinet, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet, Bb Bass Clarinet, Bb Contra Bass Clarinet, Eb Alto Saxophone, Bb Tenor Saxophone, Eb Barito) - grade 5 SKU: CN.R10011 Composed by John Ireland. Band Music. Score and parts. Duration 10:00. Published by G & M Brand Music Publishers (CN.R10011). Cast your self into a storm at sea with this fantastic piece from John Ireland. Turbulent rhythmic motives launch the work to blend into a more lyrical melody contrasting the opening. Don't be fooled though; the first rhythmic motive provides the underlay, a reminder that the calm surface of the sea is only masking the swirling water underneath!
A Maritime Overture was written in 1944 and published in 1946. This edition was published in 1988. The score was prepared from the composer's full draft by Norman Richardson, and uses the same material as Tritons - a Symphonic Prelude for orchestra dating from the early 1900s. The development of the material however is different in each piece. The work is conceived in F major - but it is 24 bars before Ireland establishes this tonality. Fortissimo chords of B-flat major open the work, and the Overture hovers between G minor and B-flat as a restless rhythmic motif is introduced. As soon as F major is finally established it is contradicted as the music fragments, but the key is allowed a further 4 bars to consolidate before more lyrical interplay leads to a second idea, introduced by flutes and oboes in C major. Marked 'espressivo e ben cantando' this is a complete contrast to the opening, although the first rhythmic motif provides the underlay - a reminder after the opening storms that the calm surface of the sea is only masking the swirling water underneath. A Maritime Overture has a freer approach to form than say the first movement of a symphony might allow, enabling Ireland to introduce a totally new central section marked 'poco meno mosso' in F minor. A bold cornet (not trumpet) heralds this new idea, in a passage marked 'with freedom' and perhaps for the only time there is a true tranquility in the sextuplet accompaniment. Thus the restlessness is suspended, but not for long, as the opening storm returns and a recapitulation allows the F major theme and the second theme - this time in the sub-dominant (B-flat) - to reassert themselves. $115.00 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Spirit of the Warrior - Beginner Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet, Euphonium, Euphonium T....(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet, Euphonium, Euphonium T.C., Flute, Gong, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Trombone, Trumpet, Tuba, Vibraslap, alto Saxophone and more. - Grade 0.5 SKU: CF.PPS60 Composed by Zachary Poulter. Set of Score and Parts. Carl Fischer Music #PPS60. Published by Carl Fischer Music (CF.PPS60). ISBN 9781491163429. UPC: 680160922215. An ancient world calls… Spirit of the Warrior explores both the beauty and the power of a forgotten civilization; man’s mighty force amidst nature’s gentle majesty. It is dedicated to all soldiers and warriors, past and present, who give their all to protect home and nation. The warrior shows courage in the face of danger, and loyalty to a cause beyond self-interest. The warrior sees life’s fragile beauty with eyes few others can understand. Long after warriors fall in battle, their spirit lives on in the people and lands they have protected.  Using only the first six notes of the concert Bb scale, Spirit of the Warrior begins boldly. Separated notes in the low brass and winds represent the warrior’s power. Nature’s inspiring beauty is represented by the high woodwinds and bells, which play in counterpoint to the lower instruments.  Fully separate the staccatos, and shape the accents throughout to help the music feel powerful without being overly heavy or loud. At m. 29, be sure that the countermelody played by the clarinets and alto saxophone can be clearly heard.If you have additional percussionists, consider doubling the snare drum part on a low tom-tom. Experiment with the gong to find the sound you prefer: strike closer to the edge for a brash “crash†sound, or closer to the center for a more mysterious tone. The piece ends with the sound of the sustaining gong . Enjoy the drama and let the sound fade without (much) dampening.  . $50.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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