Trombone

SKU: AP.1-ADV14704

English/French/German Language Edition. Composed by Fred Lipsius. Brass - Trombone and Baritone Method or Collection; Improvisation; Method/Instruction; Play-Along; Technique Musicianship. Advance Music: Reading Key Jazz Rhythms. Jazz. Book and CD. Advance Music #01-ADV14704. Published by Advance Music (AP.1-ADV14704).

UPC: 805095147049. English.

With Reading Key Jazz Rhythms:Trombone Book & CD set by Fred Lipsius, you will learn essential jazz rhythms first hand from world-class professionals! Reading Key Jazz Rhythms is a collection of 24 easy to medium level jazz etudes, and 24 simplified guide tone versions of the etudes. They are ideal for learning the basic language of jazz, swing phrasing, and articulation. A perfect tool for preparing for the jazz ensemble or for any other ensemble/orchestra which performs jazz related music (pops orchestras, musical, studio, movie scores, concert and marching bands, etc.). Each etude is based on a specific rhythm or a combination of rhythmic figures. Some etudes sound like very lyrical improvised jazz solos, while others are more like a melody to a standard. On the accompanying CD the soloist demonstrates the 24 melodious etudes together with a professional rhythm section. You can also improvise along with the play-along tracks using the chord symbols. The guide tones are the essential or defining notes for each given chord type. So if improvising is new to you and you find yourself getting lost, you can always return to a guide tone and play rhythmically around it. Any etude and its corresponding simplified guide tone version can be played together as a duet (with or without the CD accompaniment) with your teacher or a friend.

Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B, 2 bassoon, bassoon-Co, Hn1, Hn2 , Hn3(chrom.), Hn4(chrom.), 3Trp, 3trombone, timpani, Tr-Gr, Tri, Be, Org, piano-4ms, 2 Violin, Viola, Cello, Double Bass) - Level 5

SKU: BA.BA10303-01

Composed by Camille Saint-Saens. Edited by Michael Stegemann. This edition: Edition of selected works, Urtext edition. Linen. Saint-Saens, Camille. Oevres instrumentales completes I/3. Edition of selected works, Score. Opus 78. Duration 39 minutes. Baerenreiter Verlag #BA10303_01. Published by Baerenreiter Verlag (BA.BA10303-01).

ISBN 9790006559503. 33 x 26 cm inches. Key: C minor. Preface: Michael Stegemann.

The third symphony by Camille Saint-Saens, known as the Organ Symphony, is the first publication in a complete historical-critical edition of the French composer's instrumental works.

I gave everything I was able to give in this work. [...] What I have done here I will never be able to do again.Camille Saint-Saens was rightly proud of his third Symphony in C minor Op.78, dedicated to the memory of Franz Liszt. Called theOrgan Symphonybecause of its novel scoring, the work was a commission from the Philharmonic Society in London, as was Beethoven's Ninth, and was premiered there on 19 May 1886. The first performance in Paris followed on 9 January 1887 and confirmed the composer's reputation asprobably the most significant, and certainly the most independent French symphonistof his time, as Ludwig Finscher wrote in MGG. In fact the work remains the only one in the history of that genre in France to the present day, composed a good half century after the Symphonie fantastique by Hector Berlioz and a good half century before Olivier Messiaen's Turangalila Symphonie.

You would think that such a famous, much-performed and much recorded opus could not hold any more secrets, but far from it: in the first historical-critical edition of the Symphony, numerous inconsistencies and mistakes in the Durand edition in general use until now, have been uncovered and corrected. An examination and evaluation of the sources ranged from two early sketches, now preserved in Paris and Washington (in which the Symphony was still in B minor!) via the autograph manuscript and a set of proofs corrected by Saint-Saens himself, to the first and subsequent editions of the full score and parts. The versions for piano duet (by Leon Roques) and for two pianos (by the composer himself) were also consulted. Further crucial information was finally found in his extensive correspondence, encompassing thousands of previously unpublished letters. The discoveries made in producing this edition include the fact that at its London premiere, the Symphony probably looked quite different from its present appearance ...

No less exciting than the work itself is the history of its composition and reception, which are described in an extensive foreword. With his Symphony, Saint-Saens entered right into the dispute which divided French musical life into pro and contra Wagner in the 1880s and 1890s. At the same time, the work succeeded in preserving the balance between tradition and modernism in masterly fashion, as a contemporary critic stated:The C minor Symphony by Saint-Saens creates a bridge from the past into the future, from immortal richness to progress, from ideas to their implementation.

On 19 March 1886 Saint-Saens wrote to the London Philharmonic Society, which commissioned the work:

Work on the symphony is in full swing. But I warn you, it will be terrible. Here is the precise instrumentation: 3 flutes / 2 oboes / 1 cor anglais / 2 clarinets / 1 bass clarinet / 2 bassoons / 1 contrabassoon / 2 natural horns / [3 trumpets / Saint-Saens had forgotten these in his listing.] 2 chromatic horns / 3 trombones / 1 tuba / 3 timpani / organ / 1 piano duet and the strings, of course. Fortunately, there are no harps. Unfortunately it will be difficult. I am doing what I can to mitigate the difficulties.

As in my 4th Concerto [for piano] and my [1st] Violin Sonata [in D minor Op.75] at first glance there appear to be just two parts: the first Allegro and the Adagio, the Scherzo and the Finale, each attacca. This fiendish symphony has crept up by a semitone; it did not want to stay in B minor, and is now in C minor.

It would be a pleasure for me to conduct this symphony. Whether it would be a pleasure for others to hear it? That is the question. It is you who wanted it, I wash my hands of it. I will bring the orchestral parts carefully corrected with me, and if anyone wants to give me a nice rehearsal for the symphony after the full rehearsal, everything will be fine.

When Saint-Saens hit upon the idea of adding an organ and a piano to the usual orchestral scoring is not known. The idea of adding an organ part to a secular orchestral work intended for the concert hall was thoroughly novel - and not without controversy. On the other hand, Franz Liszt, whose music Saint-Saens' Symphony is so close to, had already demonstrated that the organ could easily be an orchestral instrument in his symphonic poem Hunnenschlacht (1856/57). There was also a model for the piano duet part which Saint-Saens knew and may possibly have used quite consciously as an exemplar: theFantaisie sur la Tempetefrom the lyrical monodrama Lelio, ou le retour a la Vie op. 14bis (1831) by Berlioz. The name of the organist at the premiere ist unknown, as, incidentally, was also the case with many of the later performances; the organ part is indeed not soloistic, but should be understood as part of the orchestral texture.

In fact the subsequent success of the symphony seems to have represented a kind of breakthrough for the composer, who was then over 50 years of age.My dear composer of a famous symphony, wrote Saint-Saens' friend and pupil Gabriel Faure:You will never be able to imagine what a pleasure I had last Sunday [at the second performance on 16 January 1887]! And I had the score and did not miss a single note of this Symphony, which will endure much longer than we two, even if we were to join together our two lifespans!

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

Orchestra Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, Contrabass, Flute, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion, Piccolo, Timpani, Trombone 1, Trombone 2, Trombone 3, Trumpet 1, Trumpet 2, Trumpet 3 and more.

SKU: PR.41641515L

Composed by Behzad Ranjbaran. Premiered by the Philadelphia Orchestra, Yannick Nezet-Seguin, Music Director, Jeffrey Khaner, flute; Verizon Hall, Philadelphia. Contemporary. Large Score. With Standard notation. Composed 2013. Duration 28 minutes. Theodore Presser Company #416-41515L. Published by Theodore Presser Company (PR.41641515L).

UPC: 680160621750.

The melancholic tone of the Ney (the Persian bamboo flute) is known for its alluring sound, emulating the human voice. In Persian literature, the Ney is considered a mystic instrument capable of expressing deep human emotions. In writing my flute concerto, I aimed not only to highlight the modern flautist's ability to play agile and brilliant passages but also to emulate the delicate sound of the Ney, particularly in extended solo flute passages. Two prominent characters permeate the first movement of my concerto. They are marked in the score as lamentoso, and con spirito, expressing grief and loss, and joy of living respectively. The lament is mostly expressed in several extended cadenzas for solo flute while the con spirito consists of robust and energetic fast sections played by all forces of the orchestra. Apart from these two characters there are moments of mystery, comedy and the grotesque, among others. In the second movement, the lyrical and poetic character of the flute is prominently presented in dream-like passages surrounded by shimmering and tender orchestral colors. The solo flute is left out in an agitated middle section that references the first movement. In the third section of the movement the solo flute returns in meditative fashion culminating in a duet with the harp. The third movement is written as one continuous quasi scherzo, challenging the limits of agility and brilliance of the flute. Some of the materials from the earlier movements are presented again with joyous character. The coda elevates the concerto into its brightest and most festive character, driving to the end with relentless energy.
The melancholic tone of the Ney (the Persian bamboo flute) is known for its alluring sound, emulating the human voice.  In Persian literature, the Ney is considered a mystic instrument capable of expressing deep human emotions.In writing my flute concerto, I aimed not only to highlight the modern flautist’s ability to play agile and brilliant passages but also to emulate the delicate sound of the Ney, particularly in extended solo flute passages.Two prominent characters permeate the first movement of my concerto.  They are marked in the score as lamentoso, and con spirito, expressing grief and loss, and joy of living respectively.  The lament is mostly expressed in several extended cadenzas for solo flute while the con spirito consists of robust and energetic fast sections played by all forces of the orchestra.  Apart from these two characters there are moments of mystery, comedy and the grotesque, among others.In the second movement, the lyrical and poetic character of the flute is prominently presented in dream-like passages surrounded by shimmering and tender orchestral colors.  The solo flute is left out in an agitated middle section that references the first movement.  In the third section of the movement the solo flute returns in meditative fashion culminating in a duet with the harp.The third movement is written as one continuous quasi scherzo, challenging the limits of agility and brilliance of the flute.  Some of the materials from the earlier movements are presented again with joyous character.  The coda elevates the concerto into its brightest and most festive character, driving to the end with relentless energy.

Orchestra Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, Contrabass, Flute, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion, Piccolo, Timpani, Trombone 1, Trombone 2, Trombone 3, Trumpet 1, Trumpet 2, Trumpet 3 and more.

SKU: PR.416415150

Composed by Behzad Ranjbaran. Spiral. Premiered by the Philadelphia Orchestra, Yannick Nezet-Seguin, Music Director, Jeffrey Khaner, flute; Verizon Hall, Philadelphia. Contemporary. Study Score. With Standard notation. Composed 2013. 126+126 pages. Duration 28 minutes. Theodore Presser Company #416-41515. Published by Theodore Presser Company (PR.416415150).

ISBN 9781598069020. UPC: 680160621743. 9 x 12 inches.

Inspired by the alluring, human-like sound of the Ney (a Persian bamboo flute), Ranjbaran aims not only to highlight the modern flutist’s ability to play agile and brilliant passages, but also to emulate the delicate sound of the Ney, particularly in extended solo passages. The three-movement 27-minute concerto was commissioned by the Philadelphia Orchestra for its principal flutist Jeffrey Khaner. The piano reduction (published separately) was designed by the composer to be practical in recital performances. CONCERTO for Flute and Orchestra has been recorded for Naxos by Érik Gratton with the Nashville Symphony conducted by Giancarlo Guerrero.
The melancholic tone of the Ney (the Persian bamboo flute) is known for its alluring sound, emulating the human voice.  In Persian literature, the Ney is considered a mystic instrument capable of expressing deep human emotions.In writing my flute concerto, I aimed not only to highlight the modern flautist’s ability to play agile and brilliant passages but also to emulate the delicate sound of the Ney, particularly in extended solo flute passages.Two prominent characters permeate the first movement of my concerto.  They are marked in the score as lamentoso, and con spirito, expressing grief and loss, and joy of living respectively.  The lament is mostly expressed in several extended cadenzas for solo flute while the con spirito consists of robust and energetic fast sections played by all forces of the orchestra.  Apart from these two characters there are moments of mystery, comedy and the grotesque, among others.In the second movement, the lyrical and poetic character of the flute is prominently presented in dream-like passages surrounded by shimmering and tender orchestral colors.  The solo flute is left out in an agitated middle section that references the first movement.  In the third section of the movement the solo flute returns in meditative fashion culminating in a duet with the harp.The third movement is written as one continuous quasi scherzo, challenging the limits of agility and brilliance of the flute.  Some of the materials from the earlier movements are presented again with joyous character.  The coda elevates the concerto into its brightest and most festive character, driving to the end with relentless energy.

Trombone Duet and Trio - Advanced

SKU: CY.CC3155

Composed by Johann Sebastian Bach. Arranged by Mike Hall. Classical. Score and Parts. Cherry Classics #CC3155. Published by Cherry Classics (CY.CC3155).

ISBN 9790530111239. 8.5 x 11 in inches.

The J. S. Bach School for Trombone, expertly arranged and beautifully recorded by Mike Hall, features Bach's 15 two-part Inventions (BWV 772-786) and the 15 three-part Sinfonias (BWV 787-801) as playable duets and trios AND most importantly as play-along chamber music on alto, tenor and bass trombone. In short, a performer may choose any of Mike Hall's 150 superbly recorded tracks as accompaniments to play-along with. Similar to the famous Music Minus One recordings from decades past. What is included in this fantastic project? * 71 pages of the complete Two-part Inventions and Three-part Inventions in score format. * Mike Hall's Introduction and commentary on each of the above 30 pieces of music, including detailed instruction on how to best perform baroque ornaments on each instrument. * 150 tracks (in high quality lossless WAV format) of Mike Hall's great performing on alto, tenor and bass trombone of every possible combination of each of the 30 pieces to Play-along with on either alto, tenor or bass trombone. Each play-along track comes with a click to keep you on track.

Euphonium & piano - intermediate

SKU: CY.CC2602

Composed by Leos Janacek. Arranged by Ralph Sauer. 20th Century Czech. Solo part and piano accompaniment. Published by Cherry Classics (CY.CC2602).

These are fifteen short, but intense works by Leos Janacek. This music is indeed a great gift to the Euphonium solo literature by Mr. Sauer.

These pieces can be performed by intermediate to advanced performers and are about 9 minutes total in length.

Below are a few notes from the arrangement by Ralph Sauer.

Originall y for solo piano, the Fifteen Moravian Folksongs are remarkable for their musicality as well as their brevity - the only notated, repeated passage in the entire work is in Number 5. Because Janacek included the text in his piano score (with no indication that it should be sung), and the fact that there are, in many cases, indications that the text is only a first verse, I have included some additional repeats.

The mp3 sound sample is from a recital at the 2012 Music Academy of the West in Santa Barbara. Performance by Ralph Sauer, trombone and Natasha Kislenko, piano.

Solo voices, choir, orchestra (Soprano Voice Solo, Tenor Voice Solo, Bass Voice Solo, SATB Choir, 2 Fl, 2 Ob, 2 bassoon, bassoon-Co, 2 Hn, 3trombone, Str)

SKU: BA.BA05547

Oratorio: Jesus Christus schwebt am Kreuz. Composed by Franz Schubert. Edited by Manuela Jahrmärker. This edition: complete edition, urtext edition. Linen. New Schubert Edition (Neue Ausgabe samtlicher Werke) Series I, Volume 7. Complete edition, Score. D 383. Baerenreiter Verlag #BA05547_00. Published by Baerenreiter Verlag (BA.BA05547).

ISBN 9790006497089. 33.1 x 25.6 cm inches.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding