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PIANO & KEYBOARDS
Piano solo
2360
Piano, Voice
1995
Piano, Vocal and Guitar
711
Easy Piano
598
Organ
186
C Instruments
147
1 Piano, 4 hands
81
Piano Accompaniment
71
Big Note Piano
49
Piano Trio: piano, violin, cello
38
Piano (band part)
21
2 Pianos, 4 hands
20
Piano Quartet: piano, violin, viola, cello
17
Accordion
14
Organ, Piano (duet)
9
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8
Harpsichord
6
Keyboard
4
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3
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3
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2
1 Piano, 6 hands
1
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1
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1
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1
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GUITARS
Guitar notes and tablatures
307
Melody line, (Lyrics) and Chords
240
Guitar
200
Lyrics and Chords
91
Ukulele
78
Bass guitar
63
Guitar (band part)
39
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20
Dulcimer
12
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11
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8
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7
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7
4 Guitars (Quartet)
5
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3
Baritone Ukulele
2
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2
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1
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1
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1
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1
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1
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1
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VOICE
Choral SATB
1292
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925
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409
Choral TTBB
256
Choral 2-part
218
Choral SSAA
143
Vocal duet, Piano
55
Soprano voice, Piano
47
Vocal duet
20
Voice solo
18
Choral
16
High voice
13
Soli, Mixted choir and accompaniment
5
Choral SSAATTBB
4
Tenor voice
4
Baritone voice, Piano
3
Mezzo-Soprano voice, Piano
3
Choral SSATB
3
Medium voice, Piano
3
Alto voice, Piano
2
Soprano voice
2
Choral SSATTB
2
Tenor voice, Piano
2
Choral SAATB A Cappella
1
Low voice, Piano
1
Choral SATTBB A Cappella
1
Choral SSAB, Piano
1
Baritone voice
1
Instrumentations suivantes
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WOODWIND
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
281
Saxophone (band part)
256
Saxophone Quartet: 4 saxophones
227
Flute and Piano
209
Flute
188
Clarinet
179
Flute, Oboe, Clarinet, Bassoon
170
Saxophone Quintet: 5 Saxophones
167
2 Saxophones (duet)
158
Oboe, Piano (duet)
155
Clarinet and Piano
136
Alto Saxophone and Piano
130
Alto Saxophone
127
Clarinet Quartet: 4 clarinets
102
2 Flutes (duet)
100
Tenor Saxophone and Piano
99
2 Clarinets (duet)
93
Saxophone
89
Saxophone ensemble
86
Clarinet Ensemble
75
Soprano Saxophone and Piano
70
Oboe (band part)
67
Baritone Saxophone, Piano
59
Flute Quartet: 4 flutes
54
Clarinet (band part)
52
Tenor Saxophone
46
Flute ensemble
41
Saxophone, Clarinet (duet)
39
Flute, Clarinet (duet)
38
2 Oboes (duet)
35
3 Saxophones (trio)
34
Oboe, Bassoon (duet)
33
Clarinet, Violin (duet)
31
Soprano Saxophone
30
3 Clarinets (trio)
27
Flute and Guitar
27
Clarinet Quintet: 5 clarinets
27
2 Flutes, Piano
26
Clarinet, Trumpet (duet)
24
Flute Trio: 3 flutes
24
Flute (band part)
23
Oboe, Clarinet (duet)
23
Recorder Ensemble
23
Clarinet, Bassoon (duet)
22
Oboe
22
Flute Quintet : 5 flutes
22
English horn, Piano
21
Baritone Saxophone
19
Flute, Violin
18
Bass Clarinet, Piano
17
Descant (Soprano) Recorder
17
Oboe, Flute
15
Flute, Trumpet (duet)
15
Flute, Saxophone (duet)
14
Clarinet and Viola
14
Recorder Quartet
14
Flute, Oboe, Clarinet (trio)
14
Flute, Viola (duet)
14
Recorder
13
Flute, Violoncello
13
Clarinet, Cello (duet)
13
Oboe, Clarinet, Bassoon (trio)
13
Treble (Alto) Recorder, Piano
11
Treble (Alto) Recorder
11
Flute, Oboe (duet)
10
Flute, Clarinet and Bassoon.
9
Clarinet, Guitar (duet)
8
English Horn
8
Oboe, Cello
8
2 Recorders (duet)
8
Piccolo
6
Tenor Recorder
6
Piccolo, Piano
5
Eb Instruments
5
Saxophone and Guitar
4
Flute, Oboe, Bassoon
4
Recorder, Piano
4
5 Recorders
4
2 Clarinets, Piano
4
Harmonica
4
Flute, harp and violin
3
Flute, Organ (duet)
3
Saxophone and Piano
3
Flute, Violin, Piano
3
English Horn, Guitar (duet)
2
Clarinet Quartet: Clarinet, Violin, Viola, Cello
2
Descent (Soprano) Recorder, Piano
2
Flute, Clarinet, Horn and Bassoon (Quartet)
2
Clarinet, Cello, Piano (trio)
2
Flute, Clarinet, Piano (trio)
2
Flute, Oboe, Piano (trio)
2
2 Clarinets, Bassoon
2
Flute, Bassoon, and Piano
2
2 Saxophones, Piano
2
Bass Clarinet
2
Oboe, Violin (duet)
2
Flute, Trombone (duet)
1
Flute, Clarinet, Violin (trio)
1
Flute, Violin and Violoncello
1
Flute, Cello, Piano (trio)
1
Ocarina
1
Flute, trombone and piano
1
Oboe, Guitar (duet)
1
Flute, Viola and Piano
1
Clarinet, Harp (duet)
1
Flute, Cello, Guitar
1
Clarinet, Organ
1
Instrumentations suivantes
Retracter
WOODBRASS
Brass Quintet: 2 trumpets, horn, trombone, tuba
295
Trumpet
171
Brass quartet : 2 trumpets, trombone, tuba
166
Trombone (band part)
136
Trombone and Piano
135
Trumpet, Piano
125
Trumpet (band part)
122
Trombone
110
French Horn and Piano
95
French horn
94
Brass Quartet: 2 trumpets, horn, trombone
68
Brass Quartet
64
Tuba and Piano
59
Trumpet ensemble
50
Tuba
49
2 Trombones (duet)
49
2 Trumpets (duet)
41
Trombone ensemble
38
French horn (band part)
37
Euphonium, Piano (duet)
32
Tuba (band part)
29
2 French horns (duet)
28
Brass Quartet: 4 trombones
28
Trumpet, Saxophone (duet)
27
Trumpet, Trombone (duet)
26
English horn, Piano
21
Brass Quartet: 4 horns
17
Trumpet, Horn (duert)
13
2 Euphoniums and 2 Tubas
12
Brass Quartet: 4 trumpets
11
2 Tubas (duet)
8
English Horn
8
Brass Trio
8
Horn Ensemble
8
Bb Instruments
7
Horn, Cello (duet)
6
Euphonium
6
Bass Clef Instruments
5
4 Tubas
5
Bass Trombone
5
Trombone, Horn (duet)
4
Bass Trombone and Piano
4
Trumpet and Guitar
3
French horn and Basson (duet)
3
3 Trumpets (trio)
3
Trumpet, Bassoon (duet)
3
English Horn, Guitar (duet)
2
Trombone, Organ
2
2 Trumpets, Keyboard (piano or organ)
2
Horn, Tuba (duet)
2
2 Euphoniums (duet)
2
Brass Quartet: 2 trumpets, 2 trombones
2
Trumpet, Cello (duet)
2
Trombone and Orchestra
2
Euphonium, Tuba (duet)
2
Horn and Organ
1
Tuba and Organ
1
Tuba ensemble
1
Trumpet, Euphonium (duet)
1
Tuba or Euphonium or Saxhorn
1
Trombone, Tuba (duet)
1
Instrumentations suivantes
Retracter
STRINGS
String Quartet: 2 violins, viola, cello
709
Violin and Piano
300
Violin
226
Cello, Piano
189
Harp
178
Viola, Piano
166
String Trio: violin, viola, cello
150
Violin, Cello (duet)
121
Cello (band part)
100
2 Violins (duet)
96
Viola
95
Violin (band part)
62
Viola (band part)
55
Cello
55
Violin, Viola (duet)
53
2 Cellos (duet)
52
String Quintet: 2 violins, viola, cello, bass
51
Doublebass (band part)
50
Double bass, Piano (duet)
39
2 Violas (duet)
38
Double Bass
36
String Trio: 2 violins, cello
32
Viola, Cello (duet)
19
String quartet: 4 violins
15
4 Cellos
14
Violin, Guitar (duet)
13
Violin ensemble
12
Viola ensemble
12
Piano Trio: Violin, Viola, Piano
11
Viola and Bassoon
8
Cello, Guitar (duet)
8
String Trio: 3 violas
7
Harp, Voice
7
String Trio: 2 violins, viola
7
Harp, Flute (duet)
7
Violin, Bassoon (duet)
7
String Quintet: 2 violins, 2 violas, cello
6
String Quartet : 4 violas
6
2 Harps (duet)
5
String Trio: 3 violins
4
String Quintet: 2 violins, viola, 2 cellos
4
2 Double basses (duet)
3
String Trio: 3 cellos
3
Harp, Violin (duet)
3
Cello Ensemble
3
4 Double Basses
2
Cello, Organ
2
Harp, Violin, Violoncello
2
Viola, Guitar (duet)
2
Violin, Organ
2
Cello, String Bass (duet)
2
Harp, Cello (duet)
2
2 Violins, Piano
1
Harp and mandolin
1
Harp, Trombone (duet)
1
Viola, Organ
1
Violin, Clarinet, Piano (trio)
1
String trio
1
Autoharp
1
Instrumentations suivantes
Retracter
PERCUSSION & ORCHESTRA
Concert band
1221
String Orchestra
341
Orchestra
319
Jazz Ensemble
253
Brass ensemble
167
Handbells
127
Drums
108
Chamber Orchestra
71
Marching band
63
Jazz combo
59
Percussion (band part)
38
Drum (band part)
30
Percussion Ensemble
27
Xylophone, Piano
10
Marimba
9
Xylophone
5
Percussion
5
Vibraphone
4
Cajon
2
Snare drums
1
Vibraphone (band part)
1
Marimba, Piano (duet)
1
Instrumentations suivantes
Retracter
OTHERS
Musical course - Solfege
7
Music Theory
1
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Trumpet
Sheetmusic to print
171 sheet music found
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51
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151
Every Breath You Take (Intermediate Level)
Trumpet
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Trumpet
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The Police
#
Tomplay
Take the A Train (Intermediate Level)
Trumpet
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Trumpet
#
Ellington,Ella Fitzgerald
#
Tomplay
Take the A Train (Easy Level)
Trumpet
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Trumpet
#
Ellington,Ella Fitzgerald
#
Tomplay
Every Breath You Take (Advanced Level)
Trumpet
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Trumpet
#
The Police
#
Tomplay
Every Breath You Take (Easy Level)
Trumpet
Download this music sheet with backing tracks recorded by professional musicians. Free Unl…
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5.99 €
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Trumpet
#
The Police
#
Tomplay
Take the A Train (Intermediate/Advanced Level)
Trumpet
Download this music sheet with backing tracks recorded by professional musicians. Free Unl…
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5.99 €
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Trumpet
#
Ellington,Ella Fitzgerald
#
Tomplay
Take the A Train (Easy Level, trumpet in C)
Trumpet
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Trumpet
#
Ellington,Ella Fitzgerald
#
Tomplay
Take the Long Way Home (Intermediate Level)
Trumpet
Download this music sheet with backing tracks recorded by professional musicians. Free Unl…
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Trumpet
#
Supertramp
#
Tomplay
Take the A Train (Advanced Level)
Trumpet
Download this music sheet with backing tracks recorded by professional musicians. Free Unl…
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5.99 €
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Trumpet
#
Ellington,Ella Fitzgerald
#
Tomplay
Every Breath You Take (Beginner Level)
Trumpet
Download this music sheet with backing tracks recorded by professional musicians. Free Unl…
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Download this music sheet with backing tracks recorded by professional musicians. Free Unlimited Access to 80,000 music sheets for 14 days (cancel anytime). Play online and print.
5.99 €
#
Trumpet
#
The Police
#
Tomplay
Take the Long Way Home (Advanced Level)
Trumpet
Download this music sheet with backing tracks recorded by professional musicians. Free Unl…
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Download this music sheet with backing tracks recorded by professional musicians. Free Unlimited Access to 80,000 music sheets for 14 days (cancel anytime). Play online and print.
5.99 €
#
Trumpet
#
Supertramp
#
Tomplay
Take the Long Way Home (Easy Level)
Trumpet
Download this music sheet with backing tracks recorded by professional musicians. Free Unl…
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5.99 €
#
Trumpet
#
Supertramp
#
Tomplay
Take the Long Way Home (Very Easy Level)
Trumpet
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Trumpet
#
Supertramp
#
Tomplay
Take The 'A' Train
Trumpet
By Duke Ellington. Jazz. Tptsol. 3 pages. Published by Hal Leonard - Digital Sheet Music (…
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By Duke Ellington. Jazz. Tptsol. 3 pages. Published by Hal Leonard - Digital Sheet Music (HX.348630). - tptsol - Jazz - Hal Leonard - Digital Sheet Music
$2.99
2.75 €
#
Trumpet
#
Duke Ellington
#
Take The 'A' Train
#
Hal Leonard - Digital Sheet Music
#
SheetMusicPlus
The Be-Bop Range Book
Trumpet
Trumpet Solo - Level 5 - Digital Download SKU: A0.829071 Composed by Eric Bolvin. I…
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Trumpet Solo - Level 5 - Digital Download SKU: A0.829071 Composed by Eric Bolvin. Instructional,Jazz. Individual part. 64 pages. ERIC V BOLVIN #3579875. Published by ERIC V BOLVIN (A0.829071). The Be-Bop Range Book is a creative approach to developing range, technique and improvisational be-bop skills for trumpet.IntroductionTrumpet range and developing it is one of the most common and controversial subjects among trumpet players, teachers and authors. Without delving too far into the physical and scientific aspects of trumpet playing, allow me to paraphrase the great Yogi Berra;The upper register of the trumpet is the same as the middle and lower registers, just different.All trumpet playing is a coordination or balance of three things: air, tongue level and embouchure. It is through sensible, intelligent and consistent practice that we develop the skills necessary to play throughout the entire range of our instrument.Purpose Of This BookAlthough hitting the high note may be the quest for many trumpet players, a more useful and musical goal is developing a large playable range. This means being able to articulate and play musically and dynamically throughout the entire range of the instrument. This is accomplished through the use of Range Arcs, which are musical phrases that cover a large range. In addition to building our playable range, we are working on technique and adding to our jazz vocabulary.I originally developed the concept of Range Arcs in The Modern Jazz Trumpet Method. Many players have commented on how useful these studies are, so I decided to expand on it here. For more rudimentary range, flexibility and endurance study, seeTongue Level & Air.The Approach NoteI have found that how we approach the highest note of a musical phrase is critical to range development. This aspect of range development is presented here in a progressive, creative format.Exercises 1-5 use the Chromatic Approach. This means that the highest note of the arc is approached from a 1â„2 step below. The exercises continue, adding a 1â„2 step to the approach note every five exercises.Articulation & PhrasingAll exercises in this book are to be played in a swing style. However, if you are having trouble with an exercise, sometimes playing it straight may help. Jazz articulation should also be employed throughout. What does that mean exactly? Jazz trumpet articulation is as spontaneous and individual as an improvised solo. Honestly, if I have to think about it, I can’t do it. The best advice is to listen to the trumpet players quoted in this book and to as much jazz trumpet as you can. Transcribe and play solos while emulating their style and articulation.Immersing yourself in this will result in your own personal style of articulation. Jazz articulation on trumpet is also born out of necessity. Some slurs in a line may just not be possible so you must tongue. This will be revealed when you start some of the exercises that contain wider intervals.How To Use This BookEach exercise group consists of a Range Arc, Range Builder and Range Builder Extended. Each group should be practiced for at least one week before moving ahead to the next one.Range ArcsThe Range Arc is the original lick. Many of these have been borrowed from some of the great jazz trumpeters of all time; Freddie Hubbard, Clifford Brown, Lee Morgan, Chet Baker, Tom Harrell, Randy Brecker, Fats Navarro and Blue Mitchell.You should begin with the key that is marked with an asterisk * ; it is an easy key and range and will help you familiarize yourself with the lick. Practice slowly at first and then work for speed. Once you are familiar with the * lick, start at the beginning of the Range Arc. Work on each key until you get it smoothly. Repeat as needed and rest between each key. Take the D.C. and play 8va through the indicated key (see the box at the end of the Range Arc) that takes you to High C. Rest for 15 minutes.Range BuildersAfter resting, you are ready for the Range Builder. These are short.
$16.95
15.56 €
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Trumpet
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Eric Bolvin
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Air
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The Be-Bop Range Book
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ERIC V BOLVIN
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SheetMusicPlus
TAKE THE NAME OF JESUS WITH YOU (for Bb Trumpet and Piano with Score/Part)
Trumpet
Piano,Trumpet - Level 3 - Digital Download SKU: A0.617648 Composed by William H. Do…
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Piano,Trumpet - Level 3 - Digital Download SKU: A0.617648 Composed by William H. Doane. Arranged by Gary Lanier. Christian,Gospel,Praise & Worship,Sacred. Score and part. 12 pages. The Lanier Company #5988993. Published by The Lanier Company (A0.617648). TAKE THE NAME OF JESUS WITH YOU is an arrangement by Gary Lanier for Bb Trumpet and Piano of one of our most cherished hymns. The theme is about the joy, comfort and power found in the Name of Jesus. This arrangement is perfect for Church or any gathering where there is a longing for instrumental hymns about Jesus. The score, including cover and instrumental part is 12 pages long.
$5.99
5.5 €
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Trumpet
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William H
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TAKE THE NAME OF JESUS WITH YOU
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The Lanier Company
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SheetMusicPlus
The Arban Manual (Pre 2013)
Trumpet
Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Down…
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Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Repertoire, General Instructional, Technique Training. 75 pages. Published by Faded Duck Music
The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the older Carl Fischer Arban Method.<br> <br> Description<br> The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice.<br> Why<br> Arban’s Complete Conservatory Method for Trumpet andArban’s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology.<br> <br> How<br> A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can.<br> <br> Range Considerations<br> Students who are ready to play from Arban should have a “usable range” up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today’s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129.<br> If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don’t rush your progress.<br> <br> Warming Up<br> One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson.<br> <br> Performance Etudes<br> I’ve designated some of the more melodic and well balanced etudes as “performance etudes”. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance.<br> <br> All of the characteristic studies and celebrated fantaisies are considered performance pieces.<br> <br> Models<br> Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban’suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons.<br> <br> The Hard Stuff<br> At some point in your study of Arban you may come across something that you just can’t play, or play at tempo. This often involves triple or double tonguing. Don’t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world’s top players can’t play everything in the Arban book.<br> <br> Multiple Tonguing<br> Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends “tu ku”, many have had success using “tuh kuh”, “duh guh”, “tee kee” and many others. Finding your best syllables may take some experimentation.<br> <br> Extending Exercises<br> Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models.<br> <br> Transposition<br> Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice.<br> The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part.<br> <br> Songs and duets<br> Some teachers love these and others don’t. I suggest you try them and if you’d like to supplement other pieces that you need to work on, please feel free to do so.<br> <br> For bass clef instruments<br> Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments.<br> <br> The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone.
$16.95
15.56 €
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Trumpet
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Eric Bolvin
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The Arban Manual
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SheetMusicPlus
The Arban Manual - Hooten Edition
Trumpet
Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Downloa…
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Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Repertoire, General Instructional, Technique Training. 76 pages. Published by Faded Duck Music
The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the newer, Hooten edition published by Fischer. Why Arban?s Complete Conservatory Method for Trumpet andArban?s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology. How A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can. Range Considerations Students who are ready to play from Arban should have a ?usable range? up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today?s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129. If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don?t rush your progress. Warming Up One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson. Performance Etudes I?ve designated some of the more melodic and well balanced etudes as ?performance etudes?. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance. All of the characteristic studies and celebrated fantaisies are considered performance pieces. Models Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban?suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons. The Hard Stuff At some point in your study of Arban you may come across something that you just can?t play, or play at tempo. This often involves triple or double tonguing. Don?t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world?s top players can?t play everything in the Arban book. Multiple Tonguing Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends ?tu ku?, many have had success using ?tuh kuh?, ?duh guh?, ?tee kee? and many others. Finding your best syllables may take some experimentation. Extending Exercises Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models. Transposition Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice. The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part. Songs and duets Some teachers love these and others don?t. I suggest you try them and if you?d like to supplement other pieces that you need to work on, please feel free to do so. For bass clef instruments Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments. The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone. About SMP Press
$16.95
15.56 €
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Trumpet
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Eric Bolvin
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The Arban Manual - Hooten Edition
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SheetMusicPlus
Kommos (Lamentation) / "When the World Moved On" - Trumpet 1 in Bb
Trumpet
Trumpet Solo - Level 4 - Digital Download SKU: A0.1018953 Composed by Benjamin Harr…
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Trumpet Solo - Level 4 - Digital Download SKU: A0.1018953 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 1 pages. Benjamin Sajo #6078693. Published by Benjamin Sajo (A0.1018953). Programme Notes: This composition was written to be considered for pairing alongside Ludwig van Beethoven’s Symphony #3, the Eroica, but can stand on its own virtues as an intense and slow meditation on heroism. The music is like a boiling pot on the stove that’s just began to overflow its bubbles. The first part of the title, kommos, is a Classical Greek term from Attic dramaturgy, literally meaning striking but specifically referring to beating oneself up during lamentation--ripping at the hair, gouging out the eyes--like Oedipus--slapping the forehead, and other acts amid moments of extreme emotional turmoil. For example, from Aeschylus's play Agamemnon, a character bewails: Apollo, Apollo! God of the Ways, my destroyer! For you have destroyed me-and utterly [...]What is this fresh woe [...]what monstrous, monstrous horror, beyond love's enduring, beyond all remedy? And help stands far away! We can easily imagine physical accompaniment to the script; rather than bottling up the pain, the hero lets it all explosively come out.  The second part of the title, When the world moved on, is an epigraph taken from American author Stephen King’s The Dark Tower epic. The primary setting of the novel, a world similar in many ways to our own, is experiencing a dark age where the glorious past is all but a distant memory and all good things are referred to wistfully as occurring, When the world moved on. Yet, the main protagonist, Roland, the last gunslinger, emphasizes that it is not just a figure of speech, but the literal distances between destinations have increased, the positions of the stars have changed, as well as the occurrence of other unnatural phenomena. The world has become a gulf of isolation from all corners. Taken together, this piece is a lamentation for when the world moved on. Truly completed on Yom Kippur during the Covid-19 Pandemic, being unable to fast or go to synagogue, this is my atonement.About the Composer: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50
3.21 €
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Trumpet
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Benjamin Harry Sajo
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Kommos
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Benjamin Sajo
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SheetMusicPlus
Kommos (Lamentation) / "When the World Moved On" - Trumpet 2 in Bb
Trumpet
Trumpet Solo - Level 4 - Digital Download SKU: A0.1018952 Composed by Benjamin Harr…
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Trumpet Solo - Level 4 - Digital Download SKU: A0.1018952 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 1 pages. Benjamin Sajo #6078695. Published by Benjamin Sajo (A0.1018952). Programme Notes: This composition was written to be considered for pairing alongside Ludwig van Beethoven’s Symphony #3, the Eroica, but can stand on its own virtues as an intense and slow meditation on heroism. The music is like a boiling pot on the stove that’s just began to overflow its bubbles. The first part of the title, kommos, is a Classical Greek term from Attic dramaturgy, literally meaning striking but specifically referring to beating oneself up during lamentation--ripping at the hair, gouging out the eyes--like Oedipus--slapping the forehead, and other acts amid moments of extreme emotional turmoil. For example, from Aeschylus's play Agamemnon, a character bewails: Apollo, Apollo! God of the Ways, my destroyer! For you have destroyed me-and utterly [...]What is this fresh woe [...]what monstrous, monstrous horror, beyond love's enduring, beyond all remedy? And help stands far away! We can easily imagine physical accompaniment to the script; rather than bottling up the pain, the hero lets it all explosively come out.  The second part of the title, When the world moved on, is an epigraph taken from American author Stephen King’s The Dark Tower epic. The primary setting of the novel, a world similar in many ways to our own, is experiencing a dark age where the glorious past is all but a distant memory and all good things are referred to wistfully as occurring, When the world moved on. Yet, the main protagonist, Roland, the last gunslinger, emphasizes that it is not just a figure of speech, but the literal distances between destinations have increased, the positions of the stars have changed, as well as the occurrence of other unnatural phenomena. The world has become a gulf of isolation from all corners. Taken together, this piece is a lamentation for when the world moved on. Truly completed on Yom Kippur during the Covid-19 Pandemic, being unable to fast or go to synagogue, this is my atonement.About the Composer: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50
3.21 €
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Trumpet
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Benjamin Harry Sajo
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Kommos
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Benjamin Sajo
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SheetMusicPlus
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