SKU: CF.W2687

ISBN 9781491150955. UPC: 680160908455. 9x12 inches.

This new edition of Jean Baptiste Arban's Fourteen Characteristic Studies for Trombone, edited by Alan Raph, was specifically written to provide the student with suitable material with which to test his powers of endurance, according to Arban himself.
The following fourteen studies have been specifically written to provide the student withsuitable material with which to test his powers of endurance. In taking up these studies, he willdoubtless be fatigued, especially at the outset, by those numbers requiring an unusual length ofbreath. However, through careful study and experience he will learn to overcome the difficultiesand will acquire the resources which will enable him to master this particular phase of playingwith ease. As a means to this end, attention is drawn to cantabile passages in particular, whichshould be played with the utmost expression, yet at the same time with as much modified toneas possible. On the cornet, as with the voice, clear tones may be obtained by widening thelips and veiled tones by contracting them. This happy circumstance allows the performer anopportunity to rest while still continuing to play, and at the same time enables him to introduceeffective contrasts into the execution. It should be noted that by little artifices of this kind, andby skillfully conserving his resources, the player will reach the end of the longest and mostfatiguing pieces, not only without difficulty, but even with a reserve of strength and power,which, when brought to bear on the final measures of a performance, never fails to impress anaudience.At this point my task as professor (using the written instead of the spoken word) willend. There are things which appear clear enough when stated verbally but which when writtendown on paper cause confusion, seem obscure, and even sometimes appear trivial.There are other things of such an elevated and subtle nature that neither speech norword can clearly explain them. They are felt, they are conceived, but they are not to be explained;and yet these things constitute the elevated style, the grand ecole, which it is my ambition toestablish for the cornet, just as they already exist for singing and for the various kinds of otherinstruments.Those of my readers who are ambitious and who want to attain this high level ofperfection, should above all things, always try to hear good music well interpreted. Theymust seek out, among singers and instrumentalists, the most illustrious models, and by doingthis purify their taste, develop their sentiments, and bring themselves as near as possible tothat which is beautiful. Perhaps then the innate spark which may someday be destined todemonstrate their own talent, will reveal itself and render them worthy of being, in their turn,cited and imitated in the future.

SKU: HL.364939

SKU: AU.9781506456911

ISBN 9781506456911. 7x10.25 inches.

A sensitive, lyrical setting of the well-known 15th-cent English carol. This music is accessible to most choirs and provides lots of opporunity to practice legato singing, phrasing, word stress, and tuning.

SKU: BT.YE0030

An easy virtuoso work published here for the first time and now much performed. Recorded Slatford/Academy of St Martin-in-the-Fields (EMI). AMEB (Australian Syllabus) 2004. Orchestral material on hire from Yorke Edition (notSpartan).

Pr ogramme Note:

As a young professional player in the 1960s, my work as a double bassist with chamber ensembles and small orchestras took me all over the world. This presented an unparalleledopportunity to scour libraries and archives wherever I went. Long before the advent of the photocopier and e-mail, research was far more challenging than it is today. Eastern Europe was particularly difficult to access, withmanycollections kept under lock and key for all but a few hours a week. One quickly found colleagues who were keen to share information gleaned in passing, even though they had no specific interest in one's own particularspecialism (it is so often the peripheral topics that fascinate as much as the main subject under investigation, and one can quickly be side-tracked into political and social issues that have only slender bearing on the job inhand!).

In the early 1970s James Brown, the then sub-principal oboist of the English Chamber Orchestra with whom I was working at the time, stumbled across a small collection of double bass manuscripts at the RoyalDanish State Library in Copenhagen. They were by Franz Anton Leopold Keÿper (b. c.1756, d. Copenhagen 7 June 1815), a double bassist of Dutch origin who worked as principal of the Royal Chapel Orchestra in Copenhagen.Keÿper's son was the bassoonist Franz Jacob August Keÿper (1792-1859). The collection included a number of concertos, some chamber music, and various naïve fragments. Although hardly the work of a Mozart or Haydn,the style is characteristic of the period. For an instrument such as the double bass, whose 18th century solo repertoire is largely written for tunings that are no longer in everyday use, Keÿper's music is easily approachablein its.

SKU: CF.W2686

ISBN 9781491150948. UPC: 680160908448. 9x12 inches.

This new edition of Jean Baptiste Arban's Fourteen Characteristic Studies for Trumpet in Bb, edited by Thomas Hooten and Jennifer Marotta, was specifically written to provide the student with suitable material with which to test his powers of endurance, according to Arban himself.
The following fourteen studies have been specifically written to provide the student withsuitable material with which to test his powers of endurance. In taking up these studies, he willdoubtless be fatigued, especially at the outset, by those numbers requiring an unusual length ofbreath. However, through careful study and experience he will learn to overcome the difficultiesand will acquire the resources which will enable him to master this particular phase of playingwith ease. As a means to this end, attention is drawn to cantabile passages in particular, whichshould be played with the utmost expression, yet at the same time with as much modified toneas possible. On the cornet, as with the voice, clear tones may be obtained by widening thelips and veiled tones by contracting them. This happy circumstance allows the performer anopportunity to rest while still continuing to play, and at the same time enables him to introduceeffective contrasts into the execution. It should be noted that by little artifices of this kind, andby skillfully conserving his resources, the player will reach the end of the longest and mostfatiguing pieces, not only without difficulty, but even with a reserve of strength and power,which, when brought to bear on the final measures of a performance, never fails to impress anaudience.At this point my task as professor (using the written instead of the spoken word) will end.There are things which appear clear enough when stated verbally but which when written downon paper cause confusion, seem obscure, and even sometimes appear trivial.There are other things of such an elevated and subtle nature that neither speech nor wordcan clearly explain them. They are felt, they are conceived, but they are not to be explained;and yet these things constitute the elevated style, the grand ecole, which it is my ambition toestablish for the cornet, just as they already exist for singing and for the various kinds of otherinstruments.Those of my readers who are ambitious and who want to attain this high level of perfection,should above all things, always try to hear good music well interpreted. They must seek out,among singers and instrumentalists, the most illustrious models, and by doing this purifytheir taste, develop their sentiments, and bring themselves as near as possible to that which isbeautiful. Perhaps then the innate spark which may someday be destined to demonstrate theirown talent, will reveal itself and render them worthy of being, in their turn, cited and imitatedin the future.