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There Is a Star - Piano
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Fugue: "Wear Pearls and Smile" (A Pairing with Beethoven's Symphony #2) - Trumpet in C 1
Trumpet
Trumpet Solo - Level 5 - Digital Download SKU: A0.1018933 Composed by Benjamin Harr…
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Trumpet Solo - Level 5 - Digital Download SKU: A0.1018933 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 3 pages. Benjamin Sajo #6072969. Published by Benjamin Sajo (A0.1018933). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.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
3.23 €
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Trumpet
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Benjamin Harry Sajo
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Fugue: "Wear Pearls and Smile"
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Benjamin Sajo
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SheetMusicPlus
Fugue: "Wear Pearls and Smile" (A Pairing with Beethoven's Symphony #2) - Trumpet in C 2
Trumpet
Trumpet Solo - Level 5 - Digital Download SKU: A0.1018934 Composed by Benjamin Harr…
(+)
Trumpet Solo - Level 5 - Digital Download SKU: A0.1018934 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 3 pages. Benjamin Sajo #6072971. Published by Benjamin Sajo (A0.1018934). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.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
3.23 €
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Trumpet
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Benjamin Harry Sajo
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Fugue: "Wear Pearls and Smile"
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Benjamin Sajo
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SheetMusicPlus
Give My Regards to Broadway
Trumpet
Trumpet Solo - Level 2 - Digital Download SKU: A0.951616 Composed by George M. Coha…
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Trumpet Solo - Level 2 - Digital Download SKU: A0.951616 Composed by George M. Cohan. Arranged by Travis Hayman. Broadway,Concert,Folk,Traditional. Individual part. 7 pages. Travis Hayman #6429583. Published by Travis Hayman (A0.951616). Give My Regards to Broadway is a song written by George M. Cohan for his musical play Little Johnny Jones which debuted in 1904 in New York. Cohan, playing the title character, sings this song as his friend is about to sail to America, looking for evidence aboard the ship that will clear his name for allegedly throwing the English Derby. He is sure he'll become a star on Broadway, therefore signing off with: Give my regards to Broadway.
$5.00
4.62 €
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Trumpet
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George M
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Give My Regards to Broadway
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Travis Hayman
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SheetMusicPlus
Tongue Level & Air
Trumpet
Trumpet Solo - Digital Download SKU: A0.829065 Composed by Eric Bolvin. Arranged by…
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Trumpet Solo - Digital Download SKU: A0.829065 Composed by Eric Bolvin. Arranged by Eric Bolvin. Instructional. Individual part. 64 pages. ERIC V BOLVIN #3578777. Published by ERIC V BOLVIN (A0.829065). Tongue Level & Air is a 26 lesson course that starts easy and helps you improve your sound, range, control and endurance. All players at all levels can benefit from this book, including beginners. Check out our FREE lessons and videos below.Efficient trumpet playing is a balance between three elements; air, tongue level, and embouchure. This balance cannot be explained in scientific terms, therefore it must be accomplished by feel through proper practice.The purpose of Tongue Level & Air is to provide trumpet players with a course of study which will enable them to find their balance and become more efficient in their playing.Trying to describe the balance with statements such as The balance is 1/3 air, 1/3 tongue level, and 1/3 embouchure is pointless. The balance is in a constant state of flux, changing from day to day, gig to gig, and note to note. Your balance can change when you change instruments, when the playing environment is unfamiliar, when you are sick or tired, or for many other reasons. It is best not to over analyze your balance, but to develop it naturally over time and by feel.You will discover early in your study of these materials and after viewing the videos below that we have plenty of air to play the trumpet. The secret to efficiency lies in the control of that great reserve of air power. When doing the breathing exercises in Lessons 1-3 Part 3, don’t hold back the first time through. On the repeat control the air and go for the musical result.
$16.95
15.66 €
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Trumpet
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Eric Bolvin
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Tongue Level & Air
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ERIC V BOLVIN
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SheetMusicPlus
The Clarke Variations
Trumpet
Trumpet Solo - Digital Download SKU: A0.829062 Composed by Eric Bolvin. Arranged by…
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Trumpet Solo - Digital Download SKU: A0.829062 Composed by Eric Bolvin. Arranged by Eric Bolvin. Contemporary. Individual part. 56 pages. ERIC V BOLVIN #3578765. Published by ERIC V BOLVIN (A0.829062). Most brass players are familiar with the ubiquitous Clarke’s Technical Studies. Here are some creative variations on Studies I, II, III, V and VII. All the variations are progressive so I guarantee they get harder and will be useful to players at all levels and styles.There are two essential books that just about every trumpet player has studied; Arban’s Conservatory Method and Clarke’s Technical Studies. The Arban is fondly referred to as the trumpet player’s bible. If that is the case, then the Clarke should be the new testament. I consider Herbert L. Clarke to be the George Washington of trumpet, as he was the one of the first Americans to achieve greatness as a performer on the cornet. He was also one of the first notable pedagogues and taught such greats as Rafael Mendez and Claude Gordon, who was my teacher. I am fond of telling my students that they are the great-grandchildren of H. L. Clarke, one of our country’s first great virtuosos.The impetus for this set of variations is based on the idea of an Expanding Scale or Expanding Range. Each set will start with a small range of notes covering an interval such as a 5th and will expand over the course of the study to the whole range of the trumpet. The idea is to imagine you are holding one note and let your fingers do the rest. This concept is, of course, metaphorical but if employed will greatly enhance your technique and efficiency.This is a progressive course, so it is recommended that you practice the studies in the order they are presented. Make note of the intervals in each study. Study 1 is all chromatic, so it is easier to transition from one note to another. The second group is based on Clarke Study 5 and is all diatonic. The third group is based on Clarke Study 2 which is diatonic with some thirds. The fourth group is based on Clarke Study 3 which is arpeggios. So with each group the intervals get a little more challenging. I’ve also included more chromatic work based on Studies 7 & 8.
$16.95
15.66 €
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Trumpet
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Eric Bolvin
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The Clarke Variations
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ERIC V BOLVIN
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SheetMusicPlus
Sonata For Trumpet, Horn and Organ
Trumpet
Trumpet Solo - Level 5 - Digital Download SKU: A0.912495 Composed by Thomas R. Scha…
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Trumpet Solo - Level 5 - Digital Download SKU: A0.912495 Composed by Thomas R. Schadl. Classical,Contemporary. Individual part. 1 pages. Thomas R. Schadl #3877235. Published by Thomas R. Schadl (A0.912495). Written in two movements for trumpet, horn in F and organ, the work starts with a slower introduction that is written in the key of B major, the dominant key of E major. Moreover, the first movement has imitative passages that are present in all the three instruments. Following the first movement that is written in the 4/4 time, the next movement, composed in the 6/8 time and in E major, is performed gracefully in a style of a pastorale. Like the previous movement, the second part is contrapuntal but it differs in its extensive use of the dialogue between the horn and trumpet. In performing the sonata, there should be balance among the brass instruments and the organ in regard to sound intensity and the speed. The trumpet tends to overpower the horn in passages marked f or louder, and the organist may adjust the registrations to keep the sound from overpowering the other two instruments. If this piece were to be performed in large concert halls or churches, the time that takes air to leave the organ chest to the pipes may be longer. Choice of speed should be rehearsed carefully. The organ registration itself is merely a suggestion and should not be taken too literally due to the design of the organ and the acoustics of the hall or church. Sonata For Trumpet, Horn And Organ is suitable for concert use. This work may be performed at any time of the year, especially Christmas, Post-Easter and general use.
$2.99
2.76 €
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Trumpet
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Thomas R
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Sonata For Trumpet, Horn and Organ
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Thomas R. Schadl
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SheetMusicPlus
Carson Cooman - Newton Antiphonies (2008) for two or more trumpets
Trumpet
Trumpet Solo - Level 3 - Digital Download SKU: A0.775966 Composed by Carson Cooman.…
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Trumpet Solo - Level 3 - Digital Download SKU: A0.775966 Composed by Carson Cooman. Contemporary,Standards. Individual part. 3 pages. Musik Fabrik Music Publishing #2034727. Published by Musik Fabrik Music Publishing (A0.775966). Newton Antiphonies (2008) for two or more trumpets was composed for the First Unitarian Society in Newton, Massachusetts on the occasion of its 160th anniversary in November 2008. The score of the work consists of seven cells, each with a different tempo. It is important that the distinct tempo and character of each cell be observed. Other than starting points (as described below), no rhythmic coordination between the performers should be attempted in any way. A performance should begin with the first trumpet playing cell #1. When he reaches the point in the cell marked with an asterisk (*), the second player begins playing cell #1. Once the first player has finished cell #1, after a brief pause, he may choose any one of the other six cells to play next. When the second player has reached the point in cell #1 marked by the asterisk, the third player begins cell #1, continuing after a pause to whichever cell he has chosen next. This thus continues in this same manner for each trumpet. Ideally, the piece will last between 2 and 5 minutes, although if there are an exceptionally large number of trumpets used, it may be longer. Each player thus always begins with cell #1 and after finishing it, plays the remaining cells in any order he chooses, not repeating any and pausing briefly between each one. Once finished with playing all seven, the player stops. When only one player (the last player) is left playing his final cell (and ideally at the point marked with the asterisk in whichever cell he is playing), the first trumpet should begin playing cell #7 again. Thus, the first player will always end the piece alone with cell #7, which is the only repetition of a cell that occurs in the context of performance. The composer recommends between 4 and 6 trumpets for an ideal performance, however any number (two or more) is acceptable. It is also strongly requested that the trumpets surround the audience antiphonally. The work may be performed on any matched trumpets (i.e., do not mix C and Bb instruments).
$12.95
11.96 €
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Trumpet
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Carson Cooman
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Carson Cooman - Newton Antiphonies
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Musik Fabrik Music Publishing
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SheetMusicPlus
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