Chamber Music trombone SKU: CF.WF231 20 Original Etudes in a Variety o...(+)
Chamber Music trombone
SKU: CF.WF231
20 Original Etudes in
a Variety of Styles.
Composed by Tom Brantley.
Collection - Performance.
With Standard notation.
48 pages. Carl Fischer
Music #WF231. Published
by Carl Fischer Music
(CF.WF231).
ISBN
9781491153314. UPC:
680160910816.
Styli
stic Etudes for Trombone
was written for
intermediateto advanced
level trombonists,
seeking to meet
thedemands of the modern
marketplace for
performers. AsI often
tell my students,
it’s simply not
enough to mastera single
style and fake the rest.
To make a living as
aperformer, trombonists
are expected to play
many, manydifferent
styles authentically.
Classical performers
studyhard and devote
themselves to mastering
the stylisticnuances of
various eras, various
composers, variousforms;
jazz musicians seek to
accurately reflect the
stylesof everything from
bar-room burlesque to
Coltrane; hornbands in
the funk, rock, ska and
hip-hop idioms
mustreflect attention to
the details of their
influences even asthey
create new paths through
popular music.This etude
collection is an attempt
to help studentsand their
teachers work on the
details associated
withmastering each of
these various styles.In
order to perform with the
correct feel,
articulationand sound,
trombonists must first
get these concepts
intheir head through
diligent listening and
then disciplinedpractice
playing in every single
style. The same
wayorchestral players
study the symphonic
literature andexcerpts,
or the way a professional
jazz musician mightwork
on chord changes in
excruciating detail, a
wellroundedtrombone
player must master styles
by listeningto and
playing with great
recordings. Most of the
etudesin this book are
based on styles from
specific
orchestralliterature,
jazz standards and other
styles such as
NewOrleans’ funk
music (Meters) or the
music of JamesBrown and
Tower of Power.One final
note: some of these are
hard. On purpose.
Theseare not warm-ups
that you can play through
mindlesslyto get your
face going. These are
“study
pieces†in the
oldfashionedsense. They
are designed to challenge
you asa player, to make
you a little
uncomfortable. Some
aretougher than others,
of course, but none of
them are easy.If you can
play through each of
these well, with
greatmusicianship and
impeccable technique, you
will be anincredibly
versatile instrumentalist
and be able to
secureperformance
opportunities that are
outside the comfortzone
of many
trombonists.Thanks for
buying this book. I hope
you enjoy workingthrough
these, whether
you’re a teacher,
student,performer, or
weekend warrior. I
learned a lot by
puttingthese together and
I hope you find them
useful and
helpful. Stylistic
Etudes for Trombone was
written for intermediate
to advanced level
trombonists, seeking to
meet the demands of the
modern marketplace for
performers. As I often
tell my students,
it’s simply not
enough to master a single
style and fake the rest.
To make a living as a
performer, trombonists
are expected to play
many, many different
styles authentically.
Classical performers
study hard and devote
themselves to mastering
the stylistic nuances of
various eras, various
composers, various forms;
jazz musicians seek to
accurately reflect the
styles of everything from
bar-room burlesque to
Coltrane; horn bands in
the funk, rock, ska and
hip-hop idioms must
reflect attention to the
details of their
influences even as they
create new paths through
popular music.This etude
collection is an attempt
to help students and
their teachers work on
the details associated
with mastering each of
these various styles.In
order to perform with the
correct feel,
articulation and sound,
trombonists must first
get these concepts in
their head through
diligent listening and
then disciplined practice
playing in every single
style. The same way
orchestral players study
the symphonic literature
and excerpts, or the way
a professional jazz
musician might work on
chord changes in
excruciating detail, a
well-rounded trombone
player must master styles
by listening to and
playing with great
recordings. Most of the
etudes in this book are
based on styles from
specific orchestral
literature, jazz
standards and other
styles such as New
Orleans’ funk
music (Meters) or the
music of James Brown and
Tower of Power.How these
etudes were conceived,
composed and transcribed:
The style or concept of
the etude was thought out
in my head and ear. I
then improvised in that
style and concept on my
trombone, recording my
efforts until I was
satisfied with the etude.
All along, my goal was to
play the range of the
instrument while
emphasizing certain
articulations, rhythms,
range and, fundamentally,
the intended style of the
etude. The resulting
etude was then
transcribed by a terrific
graduate student named
Zach Bornheimer, who also
works with many other
classical and jazz
composers as a
copyist/arranger.Tips for
working on the etudes:
Seek out professional
recordings that match the
style of each etude to
get a good idea of what
the etude should sound
like musically. My
recording of each of
these etudes is available
for download and can be
purchased online for a
modest fee. Search for
“Brantley
Etudes†at either
iTunes or CDBaby.
Practice each etude very
slowly and in segments as
needed, using a
metronome. Record
yourself and listen for
good technique,
musicianship and
authenticity of style
with your sound, feel and
articulations. Compare
your own efforts to the
sounds you’ve
heard on recordings.
Would you fit in that
ensemble or band? If
range is an issue, take
certain notes or passages
down or up an octave.
Work on your fundamentals
every day, including the
techniques and skills
needed for these etudes.
Be patient! Small
improvements every day
result in big success
over time. Always play
with a wide dynamic
range. Always play with
line and direction.
Always play with
impeccable time as well
as rhythm. Use a
metronome to help with
this. Always play in
tune. You can work on
this with a tuner as well
as with drones. Play
these for teachers,
friends, peers and
colleagues not only for
their feedback but also
for the experience of
informal performance. An
audience changes
everything. Make music,
listen to music, record
yourself, play in public
and have fun!One final
note: some of these are
hard. On purpose. These
are not warm-ups that you
can play through
mindlessly to get your
face going. These are
“study
pieces†in the
old-fashioned sense. They
are designed to challenge
you as a player, to make
you a little
uncomfortable. Some are
tougher than others, of
course, but none of them
are easy. If you can play
through each of these
well, with great
musicianship and
impeccable technique, you
will be an incredibly
versatile instrumentalist
and be able to secure
performance opportunities
that are outside the
comfort zone of many
trombonists.Thanks for
buying this book. I hope
you enjoy working through
these, whether
you’re a teacher,
student, performer, or
weekend warrior. I
learned a lot by putting
these together and I hope
you find them useful and
helpful.Best
wishes,—Tom
Brantley.
15 Well-Known Original Pieces in Progressive Order. Composed by Wolfgang ...(+)
15 Well-Known Original
Pieces in Progressive
Order. Composed by
Wolfgang Amadeus Mozart
(1756-1791). Edited by
Sylvia
Hewig-Tr�¶scher. At
the Piano. Softcover. 64
pages. G. Henle #HN1812.
Published by G. Henle
(HL.51481812).
11 Miniaturen. Composed by Claus Kuhnl. Edition Breitkopf. In these eleven s...(+)
11 Miniaturen. Composed
by
Claus Kuhnl. Edition
Breitkopf.
In these eleven short
piano
pieces, the composer
follows
the cue of such
modern-day
masters as Olivier
Messiaen,
Karlheinz Stockhausen,
Helmut
Lachenmann and Nicolaus
A.
Huber.
Pedagogical. Breitkopf
and
Haertel #EB-9175.
Published
by Breitkopf and Haertel
Piano SKU: AP.1-ADV20071 Part 1--2 Traditional Styles + Modern Styles<...(+)
Piano
SKU:
AP.1-ADV20071
Part
1--2 Traditional Styles +
Modern Styles.
Composed by Bill Dobbins.
Jazz DVD;
Method/Instruction;
Reference Textbooks;
Technique Musicianship.
Advance Music. Jazz. DVD.
Advance Music
#01-ADV20071. Published
by Advance Music
(AP.1-ADV20071).
UPC:
805095200713.
English.
The
Evolution of Solo Jazz
Piano is a study of solo
piano styles developed by
24 of the most
influential solo pianists
from 1900 to the present.
In order to clearly
illustrate the specific
contributions of the
various pianists, Bill
Dobbins composed a theme
based on the well-known
standard All of Me. By
applying the stylistic
approaches of the
different pianists to the
same theme, one becomes
aware of the subtle yet
evocative elements of
each individual style.
Common elements between
Waller, Ellington, Tatum,
Monk and Rowles, Tatum,
Hines and Wilson, Smith
and Ellington, Corea and
Beirach etc., should make
it clear that musical
individuality is largely
the result of the
subconscious emphasis of
some musical elements
over others, rather than
the self-conscious
cultivation of
originality for its own
sake. We sincerely hope
that this DVD may serve
as a stimulus toward the
further study of the solo
jazz piano tradition in
particular and for
creative music in
general.
Titles:
Part 1: Traditional
Styles Scott Joplin *
Jelly Roll Morton * James
P. Johnson * Willie The
Lion Smith * Earl Fatha
Hines * Thomas Fats
Waller * Teddy Wilson *
Duke Ellington * Art
Tatum * Meade Lux Lewis *
Pete Johnson * Jimmy
Yancey * Part 2: Modern
Styles Thelonious Monk *
Bud Powell * Oscar
Peterson * Erroll Garner
* Lennie Tristano * Bill
Evans * Clare Fischer *
Jimmy Rowles * Cecil
Taylor * Chick Corea *
Keith Jarrett * Richie
Beirach.
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pa...(+)
Orchestra Piano
SKU:
PR.11641861SP
Composed by William
Kraft. Part. 35 pages.
Duration 21 minutes.
Theodore Presser Company
#116-41861SP. Published
by Theodore Presser
Company (PR.11641861SP).
UPC:
680160685202.
What?
! - my composer
colleagues said - A
concerto for the piano?
It's a 19th century
instrument! Admittedly we
are in an age when
originally created
timbres and/or
musico-technological
formulations are often
the modus operandi of a
piece. Actually, this
Concerto began about two
years ago when, during
one of my creative jogs,
the sound of the
uppermost register of the
piano mingled with wind
chimes penetrated my
inner ear. The challenge
and fascination of
exploring and developing
this idea into an
orchestral situation
determined that some day
soon I would be writing a
work for piano and
orchestra. So it was a
very happy coincidence
when Mona Golabek phoned
to tell me she would like
discuss the Ford
Foundation commission.
After covering areas of
aesthetics and
compositional styles, we
found that we had a good
working rapport, and she
asked if I would accept
the commission. The
answer was obvious. Then
began the intensive
thought process on the
stylistic essence and
organization of the work.
Along with this went a
renewed study of
idiomatic writing for the
piano, of the kind
Stravinsky undertook with
the violin when he began
his Violin Concerto. By a
stroke of great fortune,
the day in February 1972
that I received official
notice from the Ford
Foundation of the
commission, I also
received a letter from
the Guggenheim Foundation
informing me I had been
awarded my second
fellowship. With the good
graces of Zubin Mehta and
Ernest Fleischmann,
masters of my destiny as
a member of the Los
Angeles Philharmonic, I
was relieved of my
orchestral duties during
the Hollywood Bowl
season. Thus I was able
to go to Europe to work
and to view the latest
trends in music
concentrating in London
(the current musical
melting pot and showcase
par excellence), Oslo,
Norway, for the Festival
of Scandinavian Music
called Nordic Days, and
Warsaw, Poland, for its
prestigious Autumn
Festival. Over half the
Concerto was completed in
that summer and most of
the rest during the 72-73
season with the final
touches put on during a
month as Resident Scholar
at the Rockefeller
Foundation's Villa
Serbelloni in Bellagio,
Italy. So much for the
external and
environmental influences,
except perhaps to mention
the birds of Sussex in
the first movement, the
bells of Arhus (Denmark)
in the second movement
and the bells of Bellagio
at the end of the
Concerto. Primary in the
conception was the
personality of Miss
Golabek: she is a
wonderfully vital and
dynamic person and a real
virtuoso. Therefore, the
soloist in the Concerto
is truly the protagonist;
it is she (for once we
can do away with the
generic he) who unfolds
the character and intent
of the piece. The first
section is constructed in
the manner of a
recitative - completely
unmeasured - with letters
and numbers by which the
conductor signals the
orchestra for its
participation. This
allows the soloist the
freedom to interpret the
patterns and control the
flow and development of
the music. The Concerto
is actually in one
continuous movement but
with three large
divisions of sufficiently
contrasting character to
be called movements in
themselves. The first
'movement' is based on a
few timbral elements: 1)
a cluster of very low
pitches which at the
beginning are practically
inaudibly depressed, and
sustained silently by the
sostenuto pedal, which
causes sympathetic
vibrating pitches to ring
when strong notes are
struck; 2) a single
powerful note indicated
by a black note-head with
a line through it
indicating the strongest
possible sforzando; 3)
short figures of various
colors sometimes ominous,
sometimes as splashes of
light or as elements of
transition; 4) trills and
tremolos which are the
actual controlling
organic thread starting
as single axial tremolos
and gradually expanding
to trills of increasingly
larger and more powerful
scope. The 'movement'
begins in quiescent
repose but unceasingly
grows in energy and
tension as the stretching
of a string or rubber
band. When it can no
longer be restrained, it
bursts into the next
section. The second
'movement,' propelled by
the released tension, is
a brilliant virtuosic
display, which begins
with a long solo of wispy
percussion, later joined
in duet with the piano.
Not to be ignored, the
orchestra takes over
shooting the material
throughout all its
sections like a small
agile bird deftly
maneuvering through
nothing but air, while
the piano counterposes
moments of lyricism. The
orchestra reaches a
climax, thrusting us into
the third 'movement'
which begins with a
cadenza-like section for
the piano. This moves
gently into an expressive
section (expressive is
not a negative term to
me) in which duets are
formed with various
instruments. There are
fleeting glimpses of
remembrances past, as a
fragmented
recapitulation. One
glimpse is hazily
expressed by strings and
percussion in a moment of
simultaneous contrasting
levels of activity, a
technique of which I have
been fond and have
utilized in various
fixed-free relationships,
particularly in my
Percussion Concerto,
Contextures and Games:
Collage No. 1. The second
half of the third
'movement; is a large
coda - akin to those in
Beethoven - which brings
about another display of
virtuosity, this time
gutsy and driving,
raising the Concerto to a
final climax, the soloist
completing the fragmented
recapitulation concept as
well as the work with the
single-note sforzando and
low cluster from the very
opening of the first
movement.
By The Super Groovers. By Andrew D. Gordon and Frank Villafranca. For piano solo...(+)
By The Super Groovers. By
Andrew D. Gordon and
Frank Villafranca. For
piano solo/keyboard.
Jazz, Instructional.
Beginner to Advanced.
Book and CD.
Saddle-stitched binding.
54 pages. Duration 65
minutes
Guitar (fingerpicking) SKU: MB.30844M An Autobiography of Nehemiah Ski...(+)
Guitar (fingerpicking)
SKU: MB.30844M
An Autobiography of
Nehemiah Skip James.
Composed by Nehemiah Skip
James. Theory and
Reference, Squareback
saddle stitch. Style.
Book and online audio.
132 pages. Mel Bay
Publications, Inc
#30844M. Published by Mel
Bay Publications, Inc
(MB.30844M).
ISBN
9781513464268. 8.75 x
11.75
inches.
Skip James was one
of the most influential
early Bluesmen, but his
importance as a stylist
remained undiscovered
until he was brought out
of a long retirement by
the Folk/Blues revival of
the early 1960â??s. Born
in 1902 and raised in
Bentonia, Nehemiah Curtis
James was brought up in a
religious family: his
father was a bootlegger
who reformed and became a
Baptist preacher. Skip
learned piano in school
but picked up guitar from
his friend Henry Stuckey.
In 1931 Skip was picked
up by a scout for
Paramount Records and he
cut 26 tracks, of which
18 were released, in a
two day session at their
Grafton, Wisconsin
studios. These recordings
presented a unique and
haunting genius that
influenced legendary
bluesmen as Robert
Johnson, Kansas Joe McCoy
and Johnny Temple. But
the recordings sold
poorly, having been
released during the Great
Depression, and he
drifted into
obscurity.
<
span style=font-family:
Arial;> We have included
as online downloads
Skipâ??s 1931
recordings. The crackling
sound of these rare
recordings cannot obscure
the brilliance of this
seminal Blues
master.
After over 30
yearâ??s retirement from
music, Skip was
rediscovered by Blues
enthusiasts Bill Barth,
John Fahey and Henry
Vestine. They persuaded
Skip to appear at the
Newport Folk Festival in
1964, where his
renditions of his old
songs were still powerful
and moving. His
performances as well as
his old and new
recordings influenced a
generation of new
musicians: Eric Clapton,
Alan Wilson of Canned
Heat, Cream, Deep Purple,
Chris Thomas King, Alvin
Youngblood Hart, Derek
Trucks, Beck, Big Sugar,
John Martyn, Lucinda
Williams and Rory Block
to name a
few.
Books on
legendary Blues musicians
written by white
musicologists tend to
offer a subjective
perspective on how the
artists felt, thought or
reacted. A tainted
picture is captured that
has more to do with the
writerâ??s social and
musical experiences. This
autobiography is
different. The words,
thoughts and feelings
come directly from the
artistâ??s lips. This is
the story of Nehemiah
â??Skipâ? James told
by Nehemiah â??Skipâ?
James.
(Preludes and Fugues from The Well-Tempered Clavier). By Johann Sebastian Bach (...(+)
(Preludes and Fugues from
The Well-Tempered
Clavier). By Johann
Sebastian Bach
(1685-1750). Edited by
Frederic Zigante.
Arranged by Ida Presti
and Alexandre Lagoya. For
two guitars. Score and
parts. Published by
Berben
Spring from the Four Seasons by Antonio Vivaldi (1678-1741). Arranged by Richard...(+)
Spring from the Four
Seasons by Antonio
Vivaldi (1678-1741).
Arranged by Richard
Meyer. Orchestra.
Masterworks; String
Orchestra. Strictly
Strings Series. Form:
Overture. Baroque;
Masterwork Arrangement;
Spring. Grade 1.
Conductor Score and
Parts. 140 pages.
Published by Alfred Music
Publishing
We Are The Champions Quatuor à cordes: 2 violons, alto, violoncelle - Facile De Haske Publications
String Quartet - early intermediate SKU: BT.DHP-1185965-070 As Perform...(+)
String Quartet - early
intermediate
SKU:
BT.DHP-1185965-070
As Performed by
Queen. Composed by
Freddie Mercury. Arranged
by Anthony Gröger. De
Haske Pops for String
Quartet. Pop and Rock.
Set (Score and Parts).
Composed 2018. De Haske
Publications #DHP
1185965-070. Published by
De Haske Publications
(BT.DHP-1185965-070).
ISBN 9789043154505.
English-German-French-Dut
ch.
Queen are known
not only for their
stylistic diversity, but
also for their
over-the-top theatrics
during concerts and in
videos. This helped give
them the staying power to
have hit songs for over
twenty years! One of
their biggest, instantly
recognised hits is the
rock-anthem We Are the
Champions, written by
Freddie Mercury. This
monster hit is now
available in an energetic
string quartet
arrangement by Anthony
Gröger.
Queen
is niet alleen gekend om
hun muziek in diverse
stijlen, maar ook om hun
theatrale uitvoeringen
tijdens concerten en in
videoclips. Een van hun
grootste hits is het
rocknummer We Are the
Champions, geschreven
door Freddie Mercury.
Deze monsterhit is nu
beschikbaar in een
meesleepend arrangement
voor strijkkwartet
bewerkt door Anthony
Gröger.
Neben
der stilistischen
Vielseitigkeit ist das
Theatralische und
Pompöse eines der
Erkennungsmerkmale der
Musik von Queen und zwar
offensichtlich durchaus
im positiven Sinne, wie
der zeitlose Erfolg ihrer
Hits beweist! Ein
Paradebeispiel dafu r ist
die Rockhymne We Are
the Champions aus der
Feder von Freddie
Mercury, die nun in einer
mitreiÃ?enden
Streichquartettbearbeitun
g von Anthony Gröger
vorliegt.
Performed by Chris Smither. Homespun Tapes (Instructional). DVD (Digital Video D...(+)
Performed by Chris
Smither. Homespun Tapes
(Instructional). DVD
(Digital Video Disk).
With notes and tablature.
Size 5.3x7.5 inches.
Published by Homespun.
(The Most Complete Guitar Course Available). Composed by Aaron Stang. For Guitar...(+)
(The Most Complete Guitar
Course Available).
Composed by Aaron Stang.
For Guitar. This edition:
2nd. Book; Guitar Method
or Supplement;
Method/Instruction;
Other. Belwin's 21st
Century Guitar Course.
Beginner. 48 pages.
Published by Belwin Music
Includes access to online audio of full performances. Composed by Carl Czerny (1...(+)
Includes access to online
audio of full
performances. Composed by
Carl Czerny (1791-1857).
Edited by Matthew
Edwards. Schirmer
Performance Editions.
Classical. Softcover
Audio Online. 64 pages.
Published by G. Schirmer
Spies R Us Ensemble Jazz [Conducteur] - Débutant Belwin
Jazz Ensemble - Grade 1 SKU: AP.JEM03042C Arranged by Michael Story and M...(+)
Jazz Ensemble - Grade 1
SKU: AP.JEM03042C
Arranged by Michael Story
and Mike Story. Jazz
Ensemble; Performance
Music Ensemble; Single
Titles. First Year Charts
for Jazz Ensemble. Jazz.
Score. 20 pages. Belwin
Music #00-JEM03042C.
Published by Belwin Music
(AP.JEM03042C).
UPC:
654979057369.
English.
A medley
of four spy themes
featuring Goldfinger,
James Bond, Soul Bossa
Nova (Austin Powers), and
Secret Agent Man. Another
clever, fun-to-play, and
educational chart from
arranger Michael Story,
this chart will help
students learn the
stylistic differences
between Latin, swing and
rock styles and have a
ball doing it. No solos,
easy rhythms, modest
ranges, and plenty of fun
ensemble playing. Yeah,
baby!
3 trombones or other bass-instruments - intermediate SKU: HL.49008213 ...(+)
3 trombones or other
bass-instruments -
intermediate
SKU:
HL.49008213
Also
as Duets playable.
Composed by Manfred
Schenk. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Classical. Playing score.
46 pages. Schott Music
#ED 8911. Published by
Schott Music
(HL.49008213).
ISBN
9790001124324.
9.0x12.0x0.15
inches.
These trios
offer all trombonists the
opportunity to extend
their stylistic range and
to practise playing
together in a group. The
pieces are already
effective as duets (first
and second parts). The
third part extends the
duets to trios and
contributes to a
full-sounding trombone
group. An accompanying
book is available for the
rhythm section with parts
for piano/keyboard,
guitar, bass and
drums.