SKU: AP.47779

ISBN 9781470641580. UPC: 038081547756. English.

Teach trumpet with the Suzuki Trumpet School. The Suzuki Method of Talent Education is based on Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Shinichi Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the mother-tongue approach. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Trumpet School. Suzuki lessons are generally given in a private studio setting with additional group lessons. The student listens to the recordings and works with their Suzuki teacher to develop their potential as a musician and as a person.

This book is integral for Suzuki trumpet lessons. Volume 1 features: Engravings in a 9 x 12 format * Introduction and general information regarding the trumpet * First exercises on the trumpet * Pieces and tonalizations * Glossary of terms and signs * Musical notation guide * Fingering chart * Photos.

Titles: Let's Begin (Traditional) * French Tune (Traditional) * Stroll Along (Traditional) * Come and Play (Traditional) * Mary Had a Little Lamb (Traditional) * Twinkle, Twinkle, Little Star (Folk Song / Suzuki) * Lightly Row (Folk Song) * Old MacDonald (Traditional) * Go Tell Aunt Rhody (Folk Song) * Are You Sleeping, Brother John? (Traditional) * Long, Long, Ago (Bayly) * May Song (Folk Song) * French Folk Song (Folk Song) * Ode to Joy (Beethoven) * Amazing Grace (Traditional) * Allegretto (Diabelli) * It Jingles So Softly (Mozart) * Minuet (Roman) * O Come, Little Children (Folk Song) * Perpetual Motion (Suzuki) * Prelude (Charpentier) * Clog Dance (Traditional) * Song of the Wind (Folk Song) * Allegro (Suzuki). This title is available in MakeMusic Cloud.

About Suzuki Method

The Suzuki Method is based on the principle that all children possess ability and that this ability can be developed and enhanced through a nurturing environment. All children learn to speak their own language with relative ease and if the same natural learning process is applied in teaching other skills, these can be acquired as successfully. Suzuki referred to the process as the Mother Tongue Method and to the whole system of pedagogy as Talent Education. The important elements of the Suzuki approach to instrumental teaching include the following:an early start (aged 3-4 is normal in most countries); the importance of listening to music; learning to play before learning to read; -the involvement of the parent; a nurturing and positive learning environment; a high standard of teaching by trained teachers; the importance of producing a good sound in a balanced and natural way; core repertoire, used by Suzuki students across the world; social interaction with other children. Suzuki students from all over the world can communicate through the language of music.

SKU: AP.47780

ISBN 9781470644055. UPC: 038081547763. English.

Teach trumpet with the Suzuki Trumpet School. The Suzuki Method of Talent Education is based on Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Shinichi Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the mother-tongue approach. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Trumpet School. Suzuki lessons are generally given in a private studio setting with additional group lessons. The student listens to the recordings and works with their Suzuki teacher to develop their potential as a musician and as a person.

This Accompaniment/Performance CD is integral for Suzuki trumpet lessons. Volume 1 features: Recordings by Caleb Hudson accompanied by Michael Schneider, as well as piano accompaniments recorded without the trumpet part.

Titles: Let's Begin (Traditional) * French Tune (Traditional) * Stroll Along (Traditional) * Come and Play (Traditional) * Mary Had a Little Lamb (Traditional) * Twinkle, Twinkle, Little Star (Folk Song / Suzuki) * Lightly Row (Folk Song) * Old MacDonald (Traditional) * Go Tell Aunt Rhody (Folk Song) * Are You Sleeping, Brother John? (Traditional) * Long, Long, Ago (Bayly) * May Song (Folk Song) * French Folk Song (Folk Song) * Ode to Joy (Beethoven) * Amazing Grace (Traditional) * Allegretto (Diabelli) * It Jingles So Softly (Mozart) * Minuet (Roman) * O Come, Little Children (Folk Song) * Perpetual Motion (Suzuki) * Prelude (Charpentier) * Clog Dance (Traditional) * Song of the Wind (Folk Song) * Allegro (Suzuki).

About Suzuki Method

The Suzuki Method is based on the principle that all children possess ability and that this ability can be developed and enhanced through a nurturing environment. All children learn to speak their own language with relative ease and if the same natural learning process is applied in teaching other skills, these can be acquired as successfully. Suzuki referred to the process as the Mother Tongue Method and to the whole system of pedagogy as Talent Education. The important elements of the Suzuki approach to instrumental teaching include the following:an early start (aged 3-4 is normal in most countries); the importance of listening to music; learning to play before learning to read; -the involvement of the parent; a nurturing and positive learning environment; a high standard of teaching by trained teachers; the importance of producing a good sound in a balanced and natural way; core repertoire, used by Suzuki students across the world; social interaction with other children. Suzuki students from all over the world can communicate through the language of music.

SKU: BT.WH30797

ISBN 9788759815915. Danish.

Listen to Scandinavia er et samarbejdsprojekt mellem tre nordiske konservatorielærere, Brita Bremberg (Stockholm), Gro Shetelig Kruse (Oslo) og Mette Stig Nielsen (Odense), som underviser i hørelære,auditiv analyse og musikpædagogik.

Den nordiske musik fører i al almindelighed et usynligt og uhørligt liv i musikundervisningen - såvel i lærebøgerne som i klasseværelserne.Endvidere mangler der pædagogiske værktøjer og metoder til undervisning i partiturmusik fra det 20. århundrede, næsten al klassisk musikpædagogik er bygget op omkring vesteuropæiskmusikfra 1700- og 1800-tallet.

I denne bog har vi derfor udarbejdet et undervisningsmateriale, der kan bruges på gymnasier, seminarier, MGK- kurser, musikkonservatorier, universiteter og andre steder, hvor derundervises i musik, musikteori, musikhistorie og musikpædagogik. Vi håber, at den nyere og nye nordiske musik vil blive brugt til intensiv lytning, hørelære, formlære, musikanalyse bl.a. gennem detforeliggende materiale, og at musiklærere og studerende vil kunne blive inspireret af vores spørgsmål i opgaverne og vores forskellige ideer til grafisk partitur, fri tegning og improvisation..

Detmusikalske materiale er et rigt udvalg af musik fra Danmark, Norge, Sverige, Finland, Færøerne og Island, og repræsenterer musik fra årene 1900-1919, 1920-1939, 1940-1959, 1960-1979 og 1980-2003.

Det ligger udenfor mulighederne i denne bog at omtale alle de betydningsfulde komponister som de nordiske lande har fostret. Musikeksemplerne er udvalgt, så de tilsammen giver et bredt indtryk af den nordiske musik efterår 1900 og ud fra deres kunstneriske og pædagogiske potentiale.

BOGENS METODE
Bogen er baseret på den idé, at man ved at lytte mange gange med skiftende fokus på et musikstykke kanudvikle evnen til at.

SKU: CF.CPS245

ISBN 9781491158128. UPC: 680160916726. 9 x 12 inches.

ABOUT THE MUSIC Future of Tomorrow (Concert March) was commissioned by the Arts Education Branch, Ministry of Education as the set piece for the Singapore Youth Festival 2016 Arts Presentation for Concert and Brass Bands (Primary Level). This march uses brief excerpts from the well-known Malay folk songs Katak Lompat and Rasa Sayang. Our youths are indeed our future of tomorrow. This joyful-themed march aims to bring out the best in each of your young players. I hope that students, band directors and audiences will enjoy preparing, performing and listening to this work. EDUCATIONAL NOTES Key: Eb Major SECTION BARS EVENT / SCORING / SUGGESTIONS Introduction 1-4 Opens in Eb major with dotted rhythm motif. 1st Strain 5-20 Take note of melodic phrasing above the (light) oom-pah ostinato; melody repeats at m. 13 with the addition of countermelody in the inner lines; although written at mf dynamic, this anew ideaa needs to be heard clearly for contrast with the previous statement. 2nd Strain 21-36 C minor (relative minor); excerpt from Katak Lompat; melody in the lower brass/wind from m. 21 with a contrasting attitude/style from 1st strain; back to a more lyrical treatment from m. 29. Trio 37-56 Stays unmodulated in the same key; opens with a percussion solo feature before the start of the softer Trio theme; keep this section controlled and be sensitive to the balance; the metallic timbre of the muted trumpet/cornet needs to be heard clearly (might suggest to bring the dynamic level up to mf when muted); if cued-notes are played, make sure they are played throughout the melodic phrase as written to avoid awkward leaps. Break Strain 57-62 Excerpt from Rasa Sayang with some play in tonality and instrumental dialogue; quasi grandioso-style before the final strain. Final Strain 63-82 Back to Eb major with the reprise of the Trio theme; festive-like style with fuller orchestration and new countermelodies; dotted rhythm motif from the introduction concludes the march in a codetta-like section from m. 79. NOTE TO THE CONDUCTOR This march has been carefully written with reasonable technicalities and range in mind for younger players. Generally, optional cued notes in parenthesis are given for less experienced players who have yet to develop their range on the instrument. However, they should never be taken as an easy alternative for all players in the section; otherwise, this may result in a less than ideal flow of the musical lines. Marches are good tools to train tempo consistency, articulation and rhythmic precision as well as musical phrasing. I hope that there will be great learning opportunities for your students as they learn this piece. This march is separately orchestrated for both wind and brass bands to maximize the instrumental colors within each ensemble. The parts are therefore not exchangeable between the wind band and brass band sets. I wish you the best in the performance of this work. - Benjamin Yeo.
ABOUT THE MUSIC Future of Tomorrow (Concert March) was commissioned by the Arts Education Branch, Ministry of Education as the set piece for the Singapore Youth Festival 2016 Arts Presentation for Concert and Brass Bands (Primary Level). This march uses brief excerpts from the well-known Malay folk songs Katak Lompat and Rasa Sayang. Our youths are indeed our future of tomorrow. This joyful-themed march aims to bring out the best in each of your young players. I hope that students, band directors and audiences will enjoy preparing, performing and listening to this work. EDUCATIONAL NOTES Key: Eb Major SECTION BARS EVENT / SCORING / SUGGESTIONS Introduction 1-4 Opens in Eb major with dotted rhythm motif. 1st Strain 5-20 Take note of melodic phrasing above the (light) oom-pah ostinato; melody repeats at m. 13 with the addition of countermelody in the inner lines; although written at mf dynamic, this 'new idea' needs to be heard clearly for contrast with the previous statement. 2nd Strain 21-36 C minor (relative minor); excerpt from Katak Lompat; melody in the lower brass/wind from m. 21 with a contrasting attitude/style from 1st strain; back to a more lyrical treatment from m. 29. Trio 37-56 Stays unmodulated in the same key; opens with a percussion solo feature before the start of the softer Trio theme; keep this section controlled and be sensitive to the balance; the metallic timbre of the muted trumpet/cornet needs to be heard clearly (might suggest to bring the dynamic level up to mf when muted); if cued-notes are played, make sure they are played throughout the melodic phrase as written to avoid awkward leaps. Break Strain 57-62 Excerpt from Rasa Sayang with some play in tonality and instrumental dialogue; quasi grandioso-style before the final strain. Final Strain 63-82 Back to Eb major with the reprise of the Trio theme; festive-like style with fuller orchestration and new countermelodies; dotted rhythm motif from the introduction concludes the march in a codetta-like section from m. 79. NOTE TO THE CONDUCTOR This march has been carefully written with reasonable technicalities and range in mind for younger players. Generally, optional cued notes in parenthesis are given for less experienced players who have yet to develop their range on the instrument. However, they should never be taken as an easy alternative for all players in the section; otherwise, this may result in a less than ideal flow of the musical lines. Marches are good tools to train tempo consistency, articulation and rhythmic precision as well as musical phrasing. I hope that there will be great learning opportunities for your students as they learn this piece. This march is separately orchestrated for both wind and brass bands to maximize the instrumental colors within each ensemble. The parts are therefore not exchangeable between the wind band and brass band sets. I wish you the best in the performance of this work. - Benjamin Yeo.
ABOUT THE MUSICFuture of Tomorrow (Concert March) was commissioned by the Arts Education Branch, Ministry of Education as the set piece for the Singapore Youth Festival 2016 Arts Presentation for Concert and Brass Bands (Primary Level). This march uses brief excerpts from the well-known Malay folk songs Katak Lompat and Rasa Sayang.Our youths are indeed our future of tomorrow. This joyful-themed march aims to bring out the best in each of your young players. I hope that students, band directors and audiences will enjoy preparing, performing and listening to this work.EDUCATIONAL NOTESKey: Eb MajorSECTIONBARSEVENT / SCORING / SUGGESTIONSIntroduction1-4Opens in Eb major with dotted rhythm motif.1st Strain5-20Take note of melodic phrasing above the (light) oom-pah ostinato;melody repeats at m. 13 with the addition of countermelody in the inner lines; although written at mf dynamic, this ‘new idea’ needs to be heard clearly for contrast with the previous statement.2nd Strain21-36C minor (relative minor); excerpt from Katak Lompat; melody in the lower brass/wind from m. 21 with a contrasting attitude/style from 1st strain; back to a more lyrical treatment from m. 29.Trio37-56Stays unmodulated in the same key; opens with a percussion solo feature before the start of the softer Trio theme; keep this section controlled and be sensitive to the balance; the metallic timbre of the muted trumpet/cornet needs to be heard clearly (might suggest to bring the dynamic level up to mf when muted); if cued-notes are played, make sure they are played throughout the melodic phrase as written to avoid awkward leaps.Break Strain57-62Excerpt from Rasa Sayang with some play in tonality and instrumental dialogue; quasi grandioso-style before the final strain.Final Strain63-82Back to Eb major with the reprise of the Trio theme; festive-like style with fuller orchestration and new countermelodies; dotted rhythm motif from the introduction concludes the march in a codetta-like section from m. 79.NOTE TO THE CONDUCTORThis march has been carefully written with reasonable technicalities and range in mind for younger players. Generally, optional cued notes in parenthesis are given for less experienced players who have yet to develop their range on the instrument. However, they should never be taken as an easy alternative for all players in the section; otherwise, this may result in a less than ideal flow of the musical lines. Marches are good tools to train tempo consistency, articulation and rhythmic precision as well as musical phrasing. I hope that there will be great learning opportunities for your students as they learn this piece.This march is separately orchestrated for both wind and brass bands to maximize the instrumental colors within each ensemble. The parts are therefore not exchangeable between the wind band and brass band sets.I wish you the best in the performance of this work.- Benjamin Yeo.

SKU: WJ.WB2320

ISBN 9781644021972. 9 x 12 inches.

Quincy Hilliard’s Counts of Silence is a sixteen-week program suitable for students in their second year of music or beyond. Covering different rhythmic patterns and concepts in each unit, Counts of Silence is the perfect resource for the modern band room. While the focus of the book is on counting notes and rests, the development of a solid foundation in rhythm is the ultimate goal. Counts of Silence is designed to make teaching and learning easy, with key centers including F, B♭, E♭, and A♭ (& their relative minors). Written by an experienced music educator and composer, Counts of Silence is an essential tool for elevating your musician’s rhythmic accuracy.

SKU: CF.FPS165F

ISBN 9781491163917. UPC: 680160922703.

Enter, Anew is an exciting and accessible addition to beginning band repertoire, offering plenty of opportunities for the ensemble to develop their skills in a fun and engaging manner.The piece's triumphant character evokes the excitement, uncertainty, anticipation, determination, and resilience of embarking on new chapters in life. It inspires listeners to clear their minds, refresh themselves, and enter with confidence.The piece includes both triumphant tutti moments and more tender, expressive sections, allowing the ensemble to explore a range of textures and styles. Every section is showcased and given a moment to shine in a comfortable register. The clarinets stay under the break, while some adventurous flutes and trumpets can extend up the octave. The percussion drive the piece, providing a solid rhythmic foundation, while the rest of the ensemble gets to explore contrasting dynamics and articulations.Directors can easily incorporate Enter, Anew into their programs as a strong opener, inviting and welcoming to the audience; as an inspiring closer, sending them off with a memorable concert experience; or anywhere in between. The piece should be relatively easy to learn, but it certainly doesn’t sound like it, making it a fun and rewarding experience for the band.