Détails Détails	Concerto in Eb Major Trompette, Piano Carl Fischer For Trumpet in Bb and Piano, S. 49. Composed by Johann Nepomuk Hummel (17...(+) For Trumpet in Bb and Piano, S. 49. Composed by Johann Nepomuk Hummel (1778-1837). Edited by Elisa Koehler. Arranged by Elisa Koehler. Romantic. Score and part(s). With Standard notation. 36 8 pages. Carl Fischer #W002681. Published by Carl Fischer (CF.W2681). $14.99 - Voir plus => Acheter Délais: 1 to 2 weeks Articles Similaires

Détails Détails	15 Intermediate Classical Solos Trompette, Piano [Partition + CD] - Intermédiaire Anglo Music Trumpet and Piano - intermediate SKU: BT.AMP-385-400 Trumpet and Piano...(+) Trumpet and Piano - intermediate SKU: BT.AMP-385-400 Trumpet and Piano. Arranged by Philip Sparke. Anglo Music Play-Along Series. Classical. Book with CD. Composed 2014. 16 pages. Anglo Music Press #AMP 385-400. Published by Anglo Music Press (BT.AMP-385-400). ISBN 9789043135832. 9x12 inches. English-German-French-Dut ch. Part of the ANGLO MUSIC PLAY-ALONG Series, Philip Sparkes 15 INTERMEDIATE CLASSICAL SOLOS is aimed at the young instrumentalist who can play about an octave and a half and follows on from Sparkes 15 EASY CLASSICAL SOLOS. Specifically tailored to suitthe individual instrument, this book introduces the developing player to the world of the classics by using simple yet attractive melodies that fit their limited range. The carefully selected pieces include music from the 17th to the 19th century and cover a wide variety of styles, from Handel to Tchaikovsky and from Clementi to Brahms. The book will provide invaluable additional material to complement any teaching method and includes both piano accompaniment and a demo/play-along CD. Philip Sparkeâ??s 15 Intermediate Classical Solos, onderdeel van de Anglo Music Play-Along Series, is bedoeld voor de jonge instrumentalist die ongeveer anderhalf octaaf kan spelen. Het boek is een vervolg op Sparkeâ??s 15 EasyClassical Solos en het sluit qua instrumentaal bereik en gebruikte toonsoorten aan bij het Expert Level van Hal Leonards Essential Elements Â®, maar het kan ook los daarvan worden gebruikt.De zorgvuldig geselecteerde melodieÃ«n, diespecifiek zijn toegesneden op elk instrument, beslaan een breed scala van klassieke stijlen: van Handel tot Tsjaikovski en van Clementi tot Brahms.Het boek bevat waardevol materiaal ter aanvulling op elke lesmethode en wordt geleverd metpianobegeleiding en een cd met demo- en meespeeltracks. 15 INTERMEDIATE CLASSICAL SOLOS ist als ErgÃ¤nzung zur bewÃ¤hrten ANGLO MUSIC PLAY-ALONG Reihe gedacht und richtet sich an SchÃ¼ler, die ungefÃ¤hr einen Tonumfang von eineinhalb Oktaven beherrschen. Es schlieÃ?t an Sparkes 15 EASY CLASSICAL SOLOS an undentspricht dem Niveau des Expert Levels der ESSENTIAL ELEMENTS Methode von Hal Leonard, kann aber auch unabhÃ¤ngig davon verwendet werden. Genau auf jedes Instrument zugeschnitten, ermÃ¶glichen die sorgfÃ¤ltig ausgewÃ¤hlten Melodien noch mehr Spielerfahrung mit klassischer Musik. Die StÃ¼cke umfassen verschiedene Stilrichtungen und Komponisten wie z.B. HÃ¤ndel, Tschaikowsky, Clementi undBrahms. Jeder Band bietet wertvolles ErgÃ¤nzungsmaterial, das zu jeder Instrumentalschule passt und enthÃ¤lt sowohl Klavier- als auch CD-Begleitungen. < br>15 Intermediate Classical Solos, de Philip Sparke, est un ouvrage qui sâ??adresse aux jeunes musiciens, maÃ®trisant un peu plus dâ??une octave et demie. Il fait suite au recueil 15 Easy Classical Solos, et a Ã©tÃ© conÃ§u pour Ãªtre jouÃ© en corrÃ©lation avec la sÃ©rie Expert Level de la collection Essential Elements Â®, publiÃ©e par les Ã©ditions Hal Leonard. Mais il peut Ã©galement Ãªtre utilisÃ© indÃ©pendamment.SpÃ©c ifiquement adaptÃ© chaque instrument, ce volume rassemble quinze mÃ©lodies Ã©crites par des compositeurs aussi variÃ©s que HÃ¦ndel, Tcha kovski, ClÃ©menti et Brahms.Comprenant les parties dâ??accompagnement de piano et une version dâ??accompagnement sur compactdisc, ces ouvrages reprÃ©sentent une source complÃ©mentaire inestimable toute mÃ©thode pÃ©dagogique. Part of the Anglo Music Play-along Series, Philip Sparkeâ??s 15 Intermediate Classical Solos is aimed at the young instrumentalist who can play about an octave and a half and follows on from Sparkeâ??s 15 Easy Classical Solos.Specifically tailored to suit the individual instrument, this book introduces the developing player to the world of the classics by using simple yet attractive melodies that fit their limited range. The carefully selected pieces include music fromthe 17th to the 19th century and cover a wide variety of styles, from Handel to Tchaikovsky and from Clementi to Brahms.The book will provide invaluable additional material to complement any teaching method and includes both piano accompaniment and ademo/play-along CD. $23.95 - Voir plus => Acheter Délais: 2 to 3 weeks Articles Similaires

Détails Détails	Concerto in E Major Trompette Carl Fischer Chamber Music Piano, Trumpet SKU: CF.W2682 For Trumpet in E and Piano,...(+) Chamber Music Piano, Trumpet SKU: CF.W2682 For Trumpet in E and Piano, S.49. Composed by Johann Hummel. Edited by Elisa Koehler. Set of Score and Parts. With Standard notation. 36+8 pages. Carl Fischer Music #W2682. Published by Carl Fischer Music (CF.W2682). ISBN 9781491144954. UPC: 680160902453. 9 x 12 inches. Key: E major. Edited by Elisa Koehler, Associate Professor and Chair of the Music Department at Goucher College, this new edition of Johann Nepomuk Hummel's Concerto in E Major for trumpet in E and piano presented in its original key. The concerto by Johann Nepomuk Hummel (1778â€“1837)holds a unique place in the trumpet repertoire. Like theconcerto by Joseph Haydn (1732â€“1809) it was written forthe Austrian trumpeter Anton Weidinger (1766â€“1852) andhis newly invented keyed trumpet, performed a few timesby Weidinger, and then forgotten for more than 150 yearsuntil it was revived in the twentieth century. But unlikeHaydnâ€™s concerto in Eb major, Hummelâ€™s Concerto a Trombaprincipale (1803) was written in the key of E major for atrumpet pitched in E, not Eâ‰¤. This difference of key proved tobe quite a conundrum for trumpeters and music publishersin the twentieth century. The first modern edition, publishedby Fritz Stein in 1957, transposed the concerto down onehalf step into the key of Eâ‰¤ to make it more playable on atrumpet in Bb, which had become the standard instrumentfor trumpeters by the middle of the twentieth century.Armando Ghitalla made the first recording of the Hummel in1964 in the original key of E (on a C-trumpet) after editinga performing edition in 1959 in the transposed key of Eâ‰¤ (forBb trumpet) published by Robert King Music. Needless tosay, the trumpet had changed dramatically in terms of design,manufacture, and cultural status between 1803 and 1957, andthe notion of classical solo repertoire for the modern trumpetwas still in its formative stages when the Hummel concertowas reborn.These factors conspired to create confusion regarding thenumerous interpretative challenges involved in performingthe Hummel concerto according to the composerâ€™s originalintentions on modern trumpets. For those seeking the bestscholarly information, a facsimile of Hummelâ€™s originalmanuscript score was published in 2011 with a separatevolume of analytical commentary by Edward H. Tarr,1 whoalso published the first modern edition of the concertoin the original key of E major (Universal Edition, 1972).This present editionâ€”available in both keys: Eb and Emajorâ€”strives to build a bridge between scholarship andperformance traditions in order to provide viable options forboth the purist and the practitioner.Following the revival of the Haydn trumpet concerto, acase could be made that some musicians were influencedby a type of normalcy bias that resulted in performancetraditions that attempted to make the Hummel morelike the Haydn by putting it in the same key, insertingunnecessary cadenzas, and adding trills where they mightnot belong.2 Issues concerning tempo and ornamentationposed additional challenges. As scholarship and performancepractice surrounding the concerto have become betterknown, trumpeters have increasingly sought to performthe concerto in the original key of E majorâ€”sometimes onkeyed trumpetsâ€”and to reconsider more recent performancetraditions in the transposed key of Eb.Regardless of the key, several factors need to be addressedwhen performing the Hummel concerto. The most notoriousof these is the interpretation of the wavy line (devoid of aÂ â€œtrâ€ indication), which appears in the second movement(mm. 4â€“5 and 47â€“49) and in the finale (mm. 218â€“221). InHummelâ€™s manuscript score, the wavy line resembles a sinewave with wide, gentle curves, rather than the tight, buzzingappearance of a traditional trill line. Some have argued that itmay indicate intense vibrato or a fluttering tremolo betweenopen and closed fingerings on a keyed trumpet.3 In Hummelâ€™s1828 piano treatise, he wrote that a wavy line without a â€œtrâ€sign indicates uneigentlichen Triller oder den getrillertenNoten [â€œimproperâ€ trills or the notes that are trilled], andrecommends that they be played as main note trills that arenot resolved [ohne Nachschlag].4 Hummelâ€™s piano treatisewas published twenty-five years after he wrote the trumpetconcerto, and his advocacy for main note trills (rather thanupper note trills) was controversial at the time, so trumpetersshould consider all of the available options when formingtheir own interpretation of the wavy line.Unlike Haydn, Hummel did not include any fermatas wherecadenzas could be inserted in his trumpet concerto. The endof the first movement, in particular, includes something likean accompanied cadenza passage (mm. 273â€“298), a featureHummel also included at the end of the first movement ofhis Piano Concerto No. 5 in Ab Major, Op. 113 (1827). Thethird movement includes a quote (starting at m. 168) fromCherubiniâ€™s opera, Les Deux JournÃ©es (1802), that diverts therondo form into a coda replete with idiomatic fanfares andvirtuosic figuration.5 Again, no fermata appears to signal acadenza, but the obbligato gymnastics in the solo trumpetpart function like an accompanied cadenza.Other necessary considerations include tempo choicesand ornamentation. Hummel did not include metronomemarkings to quantify his desired tempi for the movements,but clues may be gleaned through the surface evidence(metric pulse, beat values, figuration) and from the stratifiedtempo table that Hummel included in his 1828 piano treatise,where the first movementâ€™s â€œAllegro con spiritoâ€ is interpretedas faster than the â€œAllegroâ€ (without a modifier) of the finale.6In the realm of ornamentation, Hummel includes severalturns and figures that are open to interpretation. This editionincludes Hummelâ€™s original symbols (turns and figuration)along with suggested realizations to provide musicians withoptions for forming their own interpretation.Finally, trumpeters are encouraged to listen to Mozart pianoconcerti as an interpretive context for Hummelâ€™s trumpetconcerto. Hummel was a noted piano virtuoso at the end ofthe Classical era, and he studied with Mozart in Vienna asa young boy. Hummel also composed his own cadenzas forsome of Mozartâ€™s piano concerti, and the twenty-five-year-oldcompo ser imitated Mozartâ€™s orchestral gestures and melodicfiguration in the trumpet concerto (most notably in the secondmovement, which resembles the famous slow movement ofMozartâ€™s Piano Concerto No. 21 in C Major, K. 467). $34.99 - Voir plus => Acheter Délais: 2 to 3 weeks Articles Similaires

Détails Détails	Suzuki Trumpet School, Volume 1 Trompette Alfred Publishing Trumpet SKU: AP.47778 International Edition. Composed by Caleb Hud...(+) Trumpet SKU: AP.47778 International Edition. Composed by Caleb Hudson. This edition: International. Brass - B-flat Trumpet Method or Collection; Method/Instruction; Suzuki. Suzuki Method; Suzuki Trumpet School. Book and CD. 28 pages. Alfred Music #00-47778. Published by Alfred Music (AP.47778). ISBN 9781470641573. UPC: 038081547770. English. Teach trumpet with the Suzuki Trumpet School. The Suzuki Method of Talent Education is based on Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Shinichi Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the mother-tongue approach. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Trumpet School. Suzuki lessons are generally given in a private studio setting with additional group lessons. The student listens to the recordings and works with their Suzuki violin teacher to develop their potential as a musician and as a person. This Book & Performance/Accompaniment CD is integral for Suzuki trumpet lessons. Volume 1 features: Engravings in a 9 x 12 format * Introduction and general information regarding the trumpet * Preparatory exercises * Tonalizations * Pieces * Musical terms and signs * Musical notation guide * Fingering chart * Photos * CD with recordings by Caleb Hudson accompanied by Michael Schneider, as well as piano accompaniments recorded without the trumpet part. Titles: Let's Begin (Traditional) * French Tune (Traditional) * Stroll Along (Traditional) * Come and Play (Traditional) * Mary Had a Little Lamb (Traditional) * Twinkle, Twinkle, Little Star (Folk Song / Suzuki) * Lightly Row (Folk Song) * Old MacDonald (Traditional) * Go Tell Aunt Rhody (Folk Song) * Are You Sleeping, Brother John? (Traditional) * Long, Long, Ago (Bayly) * May Song (Folk Song) * French Folk Song (Folk Song) * Ode to Joy (Beethoven) * Amazing Grace (Traditional) * Allegretto (Diabelli) * It Jingles So Softly (Mozart) * Minuet (Roman) * O Come, Little Children (Folk Song) * Perpetual Motion (Suzuki) * Prelude (Charpentier) * Clog Da. About Suzuki Method The Suzuki Method is based on the principle that all children possess ability and that this ability can be developed and enhanced through a nurturing environment. All children learn to speak their own language with relative ease and if the same natural learning process is applied in teaching other skills, these can be acquired as successfully. Suzuki referred to the process as the Mother Tongue Method and to the whole system of pedagogy as Talent Education. The important elements of the Suzuki approach to instrumental teaching include the following:an early start (aged 3-4 is normal in most countries); the importance of listening to music; learning to play before learning to read; -the involvement of the parent; a nurturing and positive learning environment; a high standard of teaching by trained teachers; the importance of producing a good sound in a balanced and natural way; core repertoire, used by Suzuki students across the world; social interaction with other children. Suzuki students from all over the world can communicate through the language of music. $24.99 - Voir plus => Acheter Délais: 1 to 2 weeks Articles Similaires

Détails	Suzuki Trumpet School, Volume 1 Trompette Alfred Publishing Trumpet SKU: AP.47780 International Edition. By Michael Schneider....(+) Trumpet SKU: AP.47780 International Edition. By Michael Schneider. This edition: International. Brass - B-flat Cornet (Trumpet) Method or Collection (Suzuki); Method/Instruction; Suzuki. Suzuki Trumpet School. CD. Alfred Music #00-47780. Published by Alfred Music (AP.47780). ISBN 9781470644055. UPC: 038081547763. English. Teach trumpet with the Suzuki Trumpet School. The Suzuki Method of Talent Education is based on Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Shinichi Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the mother-tongue approach. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Trumpet School. Suzuki lessons are generally given in a private studio setting with additional group lessons. The student listens to the recordings and works with their Suzuki teacher to develop their potential as a musician and as a person. This Accompaniment/Performance CD is integral for Suzuki trumpet lessons. Volume 1 features: Recordings by Caleb Hudson accompanied by Michael Schneider, as well as piano accompaniments recorded without the trumpet part. Titles: Let's Begin (Traditional) * French Tune (Traditional) * Stroll Along (Traditional) * Come and Play (Traditional) * Mary Had a Little Lamb (Traditional) * Twinkle, Twinkle, Little Star (Folk Song / Suzuki) * Lightly Row (Folk Song) * Old MacDonald (Traditional) * Go Tell Aunt Rhody (Folk Song) * Are You Sleeping, Brother John? (Traditional) * Long, Long, Ago (Bayly) * May Song (Folk Song) * French Folk Song (Folk Song) * Ode to Joy (Beethoven) * Amazing Grace (Traditional) * Allegretto (Diabelli) * It Jingles So Softly (Mozart) * Minuet (Roman) * O Come, Little Children (Folk Song) * Perpetual Motion (Suzuki) * Prelude (Charpentier) * Clog Dance (Traditional) * Song of the Wind (Folk Song) * Allegro (Suzuki). About Suzuki Method The Suzuki Method is based on the principle that all children possess ability and that this ability can be developed and enhanced through a nurturing environment. All children learn to speak their own language with relative ease and if the same natural learning process is applied in teaching other skills, these can be acquired as successfully. Suzuki referred to the process as the Mother Tongue Method and to the whole system of pedagogy as Talent Education. The important elements of the Suzuki approach to instrumental teaching include the following:an early start (aged 3-4 is normal in most countries); the importance of listening to music; learning to play before learning to read; -the involvement of the parent; a nurturing and positive learning environment; a high standard of teaching by trained teachers; the importance of producing a good sound in a balanced and natural way; core repertoire, used by Suzuki students across the world; social interaction with other children. Suzuki students from all over the world can communicate through the language of music. $15.99 - Voir plus => Acheter Délais: 1 to 2 weeks Articles Similaires

Détails Détails	Claire de Lune (Trumpet and Piano) Trompette, Piano [Set de Parties séparées] - Intermédiaire Santorella Publications By Claude Debussy (1862-1918). Arranged by Jonathan Robbins. For Trumpet solo an...(+) By Claude Debussy (1862-1918). Arranged by Jonathan Robbins. For Trumpet solo and piano accompaniment. Set of parts $8.95 - Voir plus => Acheter Délais: 1 to 2 weeks Articles Similaires

Détails Détails	Piano Duets: The Ultimate Collection (Version 2.0) 1 Piano, 4 mains [CD Sheet Music] Subito Music Piano Duets. For Piano. (Piano Duets). CD Sheet Music (Version 2.0). PDF file on...(+) Piano Duets. For Piano. (Piano Duets). CD Sheet Music (Version 2.0). PDF file on CD. 1000 pages. Published by Subito Music. (3) $19.95 - Voir plus => Acheter Délais: 3 to 5 business days Articles Similaires

Détails Détails	Two is a Team Trompette, Piano [Partition + CD] - Facile De Haske Publications Trumpet and Piano - early intermediate SKU: BT.DHP-1125293-400 Composed b...(+) Trumpet and Piano - early intermediate SKU: BT.DHP-1125293-400 Composed by Ed Wennink and Nettie Vening. Two is a team. Book with CD. Composed 2013. 56 pages. De Haske Publications #DHP 1125293-400. Published by De Haske Publications (BT.DHP-1125293-400). ISBN 9789043141789. 9x12 inches. English-German-French-Dut ch. Performance pieces for piano and trumpet in which the level of difficulty for both players is similar are always in demand. The 20 pieces in this book ? arrangements of well-known tunes as well as original compositions ? are aimed at pupils who have been playing for approximately three years. Both players will learn a great deal and will have double the playing fun. Two is a Team ? after all playing together is almost always at the heart of music! Er blijkt steeds weer behoefte te zijn aan samenspeelstukken voor piano en trompet waarin beide partijen een vergelijkbare moeilijkheidsgraad hebben. De 20 stukken in dit boek ? zowel bewerkingen van bekende liedjes als originele composities ? zijn bedoeld voor leerlingen die ongeveer drie jaar spelen. Beiden zullen er veel van leren en er dubbel plezier aan beleven. Two is a Team ? in de muziek draait het immers vrijwel altijd om samenspel! Es gibt immer Bedarf an Stu?cken fu?r Klavier und Trompete, in denen die Stimmen fu?r beide Spieler Ã¤hnlich schwer sind. Die 20 Stu?cke in diesem Buch ? die sowohl bekannte Melodien als auch originale Kompositionen umfassen ? richten sich an Instrumentalschu?ler, die bereits etwa drei Jahre Unterricht hatten. So kÃ¶nnen beide etwas lernen und haben doppelt SpaÃ?. Two is a Team ? denn schlieÃ?lich geht es beim Musizieren doch fast immer um das gemeinsame Musikerlebnis! La littÃ©rature musicale semblerait Ãªtre dÃ©nuÃ©e de morceaux de concert pour piano et trompette dont le degrÃ© de difficultÃ© soit peu prÃ¨s le mÃªme pour les deux musiciens. Les 20 morceaux de ce recueil ? arrangements dâ??airs connus et compositions originales ? sont destinÃ©s aux Ã©lÃ¨ves qui jouent depuis environ trois ans. Ils profiteront tous deux de ce travail et prendront doublement plaisir interprÃ©ter ces morceaux. AprÃ¨s tout, jouer avec dâ??autres est un des grands plaisirs quâ??apporte la pratique de la musique ! Two is a Team raccoglie composizioni originali e brani del repertorio classico noto al pubblico, indirizzati agli strumentisti con circa tre anni di studio alle spalle. Il livello di difficolt dei brani contenuti nella pubblicazione Ã¨ molto simile per entrambi gli strumentisti, rendendo cosÃ¬ piÃ¹ facile unâ??esecuzione con lâ??accompagnamento del piano. $24.95 - Voir plus => Acheter Délais: 2 to 3 weeks Articles Similaires

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