Performed by Alter Bridge. Guitar Recorded Versions (Authentic note-for-note transcriptions). With notes and tablature. Published by Hal Leonard.

By Trivium. For Guitar. Guitar Recorded Version. Softcover. Guitar tablature. 120 pages. Published by Hal Leonard

Chamber Music Cornet

SKU: CF.O88X

Composed by Narcisse Bousquet. Edited by Joey Tartell Edwin Franko Goldman. SWS. Softcover. With Standard notation. 44 pages. Carl Fischer Music #O88X. Published by Carl Fischer Music (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.
IntroductionTi ps 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.

(An Inspiring Method to Playing the Drums, Guided by the Legends). By Rich Lackowski. For Drumset. Artist/Personality; Book; DVD; Method/Instruction; Percussion - Drum Set Method or Collection. On the Beaten Path. Beginner. 136 pages. Published by Alfred Music Publishing

By Keith Snell. (Neil A Kjos Piano Library). Piano. Technic. Level: Level 10. Music Book. Size 232. Published by Neil A. Kjos Music Company.

Big Note Piano. Arranged by Albert Mendoza. This edition: Big Note Piano; Deluxe Annual. Book; Piano - Big Note Collection; Piano Supplemental. Greatest Pop and Movie Hits. Movie; Pop. 108 pages. Published by Alfred Music

Lead Sheets for 200 Jazz Standards. Composed by Various. Guitar Book. Softcover. 382 pages. Published by Hal Leonard

(The Ukulele Decade Series). By Various. For Ukulele. Ukulele. Softcover. 304 pages. Published by Hal Leonard

By Various. Piano Solo Songbook. Pop. Softcover. 112 pages. Published by Hal Leonard

By Various. For Piano/Vocal/Guitar. Piano/Vocal/Guitar Songbook. Softcover. 360 pages. Published by Hal Leonard

Choral (SSA Choir)

SKU: HL.159231

By Adele. By Adele Adkins and Gregory Kurstin. Arranged by Mark A. Brymer. Pop Choral Series. Ballad, Gospel, Pop, Rock. Octavo. 16 pages. Published by Hal Leonard (HL.159231).

UPC: 888680616816. 6.75x10.5 inches.

Global superstar Adele has broken all records with her new album 25 and this single exceeds all expectations with a light island feel over the inviting synth pop groove. Singers will love performing this mesmerizing hit in concert!

C Instruments. Composed by Various. Fake Book. Pop. Softcover. Published by Hal Leonard

Choral (ShowTrax CD)

SKU: HL.159233

Arranged by Mark A. Brymer. Pop Choral Series. CD. Published by Hal Leonard (HL.159233).

UPC: 888680616830. 5.0x5.0x0.155 inches.

Global superstar Adele has broken all records with her new album 25 and this single exceeds all expectations with a light island feel over the inviting synth pop groove. Singers will love performing this mesmerizing hit in concert!

By Rick Gratton with Marco Minnemann. For Drum Set. Percussion - Drum Set Method or Collection. Ultimate Play-Along. Play along. Book & 2 CDs. 100 pages. Published by Alfred Publishing.

By Max Lucado and Randy Frazee. Sacred Folio. Softcover. 128 pages. Word Music #080689546280. Published by Word Music

Best Of Sacred * All Organ Edition with CD composed by Various. Arranged by Craig Stevens. For organ, voice. This edition: Paperback. Collection. Sacred. Book and CD. Text Language: English. 128 pages. Published by Santorella Publications

Grade 2.5

SKU: CL.011-2575-01

Arranged by Huckeby. Young Concert Band. Command Series. Audio recording available separately (items CL.WFR324 & CL.WFR130). Extra full score. Composed 1993. C.L. Barnhouse #011-2575-01. Published by C.L. Barnhouse (CL.011-2575-01).

A very beautiful yet playable arrangement of the old Gaelic folk song most commonly known as Morning Has Broken. A superior piece for teaching intermediate level bands how to play more expressively. Your band’s intonation and tone production are bound to be enhanced by their performance of this quality arrangement.

About C.L. Barnhouse Command Series

The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.

(A Polyrhythmic Journey in 6/8 Time). By Alan Dworsky. For Keyboard (Piano). Methods. Dancing Hand. World Music. Intermediate-Advanced. Book/CD Set. 96 pages. Published by Dancing Hands

A Guide for the Claw-less!. Composed by Dan Levenson. Squareback saddle stitch. Book and online audio. Published by Mel Bay Publications, Inc (MB.20190M).

Grade 2

SKU: CL.011-2575-00

Arranged by Huckeby. Young Concert Band. Command Series. Audio recording available separately (items CL.WFR324 & CL.WFR130). Score and set of parts. Composed 1993. C.L. Barnhouse #011-2575-00. Published by C.L. Barnhouse (CL.011-2575-00).

A very beautiful yet playable arrangement of the old Gaelic folk song most commonly known as Morning Has Broken. A superior piece for teaching intermediate level bands how to play more expressively. Your band’s intonation and tone production are bound to be enhanced by their performance of this quality arrangement.

About C.L. Barnhouse Command Series

The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.