(Selected from the Vocalises of Marco Bordogn). By Giovanni Marco Bordogni (1789...(+)
(Selected from the
Vocalises of Marco
Bordogn). By Giovanni
Marco Bordogni
(1789-1856). Edited by
Alan Raph. For trombone.
Method book and CD. 96
pages. Published by Carl
Fischer
For all brass instruments. Composed by Bai Lin. Instructional Method. Full score...(+)
For all brass
instruments. Composed by
Bai Lin. Instructional
Method. Full score
(study). With Standard
notation. 40 pages. Carl
Fischer #BQ00038.
Published by Carl Fischer
For Trombone. Composed by Sigmund Hering. SWS - affix CD on cover 3. Back To Sch...(+)
For Trombone. Composed by
Sigmund Hering. SWS -
affix CD on cover 3. Back
To School. Softcover.
With Standard notation.
Carl Fischer Music
#O4441X. Published by
Carl Fischer Music
Sacred Instrumental Solos for Worship and Performance (Trombone Book - Audio CD ...(+)
Sacred Instrumental Solos
for Worship and
Performance (Trombone
Book - Audio CD
Included). By Charles H.
Gabriel; Chester Allen;
Daniel Towner; Joseph
Barnby; Luther B.
Bridgers; Robert Carter;
Robert Lowry; William B.
Bradbury; William
Gardiner. Arranged by
Gary Hallquist. For
Tenor. Score and Audio
CD. 15 pages. Published
by Carl Fischer.
Selected from The Vocalises of Marco Bordogni. Composed by Joannes Rochut. Arran...(+)
Selected from The
Vocalises of Marco
Bordogni. Composed by
Joannes Rochut. Arranged
by Joannes Rochut.
Softcover. With Standard
notation. 79 pages. Carl
Fischer #O001596.
Published by Carl Fischer
(Selected from the Vocalises of Marco Bordogni). By Giovanni Marco Bordogni (178...(+)
(Selected from the
Vocalises of Marco
Bordogni). By Giovanni
Marco Bordogni
(1789-1856). Edited by
Alan Raph. Arranged by
Joannes Rochut. For
trombone. 68 pages.
Published by Carl Fischer
Technical Studies for Bass Clef Instruments (For Bass Clef Instruments). By Herb...(+)
Technical Studies for
Bass Clef Instruments
(For Bass Clef
Instruments). By Herbert
L. Clarke (1867-1945).
Edited by Claude Gordon.
Arranged by William B.
Knevitt. For Bass Clef
Instruments. Student
book. Standard notation.
53 pages. Published by
Carl Fischer
(Transcribed and Edited by Larry Clark). Composed by Johann Sebastian Bach (...(+)
(Transcribed and Edited
by
Larry Clark). Composed by
Johann Sebastian Bach
(1685-
1750). Edited by Larry
Clark.
Score - performance. 48
pages.
Published by Carl Fischer
(Warmups and Technical Studies for the Developing Performer - Trombone, Book 2)....(+)
(Warmups and Technical
Studies for the
Developing Performer -
Trombone, Book 2). By
Andrew Balent Quincy C.
Hilliard. Arranged by
Andrew Balent Quincy C.
Hilliard. For Tenor.
Sounds Spectacular.
Student book. Standard
notation. 16 pages.
Published by Carl Fischer
Compiled by Andrew Balent. For trombone solo and baritone solo. Format: trombone...(+)
Compiled by Andrew
Balent. For trombone solo
and baritone solo.
Format: trombone/baritone
solo book. With standard
notation. Classical.
Series: Carl Fischer
Festival Performance
Solos. 9x12 inches.
Published by Carl
Fischer.
14 Best-Selling Pieces from the Band Series. By Various. Edited by Andrew Balent...(+)
14 Best-Selling Pieces
from the Band Series. By
Various. Edited by Andrew
Balent. Arranged by
Andrew Balent. For Tenor
I. This edition: 1st
Trombone. Level: Grade 2.
Part. 16 pages. Published
by Carl Fischer.
Chamber Music trombone SKU: CF.W2687 For Trombone. Composed by Jea...(+)
Chamber Music trombone
SKU: CF.W2687
For Trombone.
Composed by Jean-Baptiste
Arban. Edited by Alan
Raph. SWS. Collection -
Performance. With
Standard notation. 32
pages. Carl Fischer Music
#W2687. Published by Carl
Fischer Music (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.