(A Workbook for Examinations). By John Davies and Paul Harris. For Trumpet. Book; Brass - B-Flat Cornet (Trumpet) Method or Collection; Method/Instruction; Technique Musicianship. Faber Edition. Published by Faber Music

By Various Composers. Instrumental Folio. Size 9x12 inches. 146 pages. Published by Hal Leonard.

For Trumpet. By Various. Instrumental Folio. Softcover. 160 pages. Published by Hal Leonard

For Trumpet. Classical (orchestral). Includes a high-quality printed music score and a compact disc with stereo accompaniments to each piece minus you, the soloist. Published by Music Minus One.

Solo-Duet-Trio-Quartet with Optional Accompaniment. Arranged by Victor Lopez. For Trumpet/Baritone T.C. Mixed Instruments - Flexible Instrumentation. Flex-Ability Series. Book. 24 pages. Published by Alfred Publishing.

Collection for solo trumpet. With fingering chart. 44 pages. Published by Alfred Publishing.

For Trumpet. By Various. Instrumental Folio. Christmas. Softcover. 96 pages. Published by Hal Leonard

Chamber Music Trumpet

SKU: CF.W2686

For Trumpet in B-flat. Composed by Jean-Baptiste Arban. Edited by Thomas Hooten Jennifer Marotta. SWS. Collection - Performance. With Standard notation. 32 pages. Carl Fischer Music #W2686. Published by Carl Fischer Music (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.

By Johann Sebastian Bach (1685-1750). Arranged by Ralph Sauer. For trumpet solo. Baroque solo. Advanced. Booklet. Published by Cherry Classics

For Trumpet. Classical (with piano accompaniment). Includes a high-quality printed music score and compact disc featuring stereo accompaniments to each piece. Published by Music Minus One.

(Trumpet). For Trumpet. Book; CD; Instrumental Series; Play-Along. Easy Instrumental Solos. Grade 2; Grade 3. 48 pages. Published by Alfred Music

Composed by Various. Arranged by Kenneth D. Friedrich. For trumpet solo. Level 2 to 4. Published by Kenneth D. Friedrich

Trumpet

SKU: M7.AHW-241

Reinterpreted by David Bertie. Composed by Aaron Harris. Arranged by David Bertie. Sheet music. 179 pages. Charles Colin Corp. #AHW 241. Published by Charles Colin Corp. (M7.AHW-241).

English.

From the Foreword, by David Baldwin: Here is a trumpet book that has been waiting 90 years to become a classic in the advanced trumpet etude repertoire. David Bertie has taken on the monumental task of completely re-imagining every aspect of this work. Aaron Harris first published this series of violin studies and technical calisthenics in 1930. While an impressive body of work, it has never become widely used by trumpet players because of its many shortcomings. With David Bertie's superb revision, this 'new' book is easily on the same level as the etudes by Theo Charlier, Walter Smith, or Chris Gekker. These pieces are not just for violin anymore. A trumpet player can now develop his or her skills to be as sophisticated a musician as any violinist on a Stradivarius!

For trumpet. Format: trumpet solo book (no accompaniment). Broadway, pop, folk and romantic period. 95 pages. 9x12 inches. Published by Music Sales.

Trumpet

SKU: M7.AHW-198

Composed by Allan Colin. Edited by Dominic Derasse. Sheet music. 30 pages. Charles Colin Corp. #AHW 198. Published by Charles Colin Corp. (M7.AHW-198).

English.

This book includes an array of 30 studies to futher develop and explore the artistry of articulation. These studies present an interesting challenge in articulation because of their variety. The edited slurs and markings should be viewed as a way to increase the challenges presented in the music. In practicing these, I would recommend first playing them as marked and then explore some 'freedom' of interpretation and modify the articulations as you see fit. This way of practicing should increase your ability to respond to the diversity of music that you will encounter in performance.

Composed by Various. Instrumental Folio. Christian, General Worship, Worship. Softcover. 120 pages. Published by Hal Leonard