| On The Coney Island Boardwalk - Intermédiaire Forton Music
2tpt. Pft - Intermediate SKU: FT.FM529 Composed by Paul Austin Kelly. Two...(+)
2tpt. Pft - Intermediate
SKU: FT.FM529
Composed by Paul Austin
Kelly. Two Trumpets and
Piano. Score and Part.
Forton Music #FM529.
Published by Forton Music
(FT.FM529). ISBN
9790570484287. On
the Coney Island
Boardwalk was inspired by
my years of listening to
trumpeter Herb Alpert.
The melody came to me
when I was reminiscing
about those summer days
when I would take the
subway out to Coney
Island from my flat in
Brooklyn. I'd spend the
day roaming the
boardwalk, hunting down
used vinyl records in the
second- hand shops, and
always riding the old
wooden Cyclone roller
coaster at least once.
What made Herb's trumpet
sound like it was talking
was his way of
articulating each note,
imagining they were
words. If you really want
to get your horn to
speak, follow the
articulation markings
carefully. The Romantic
tune My Girl alternates
between swing and
straight rhythms. The a
capella B section should
be played straight and
with particular attention
to the tuning of the
intervals and the written
articulation markings.
This Cat Bugs Me - a rag
- was inspired by the
compositions of LeRoy
Shield, one of the very
first composers to write
original music for
Hollywood films. You can
hear his music on the
soundtracks for Laurel
and Hardy and Our Gang
comedies. As with all
ragtime, don't try to
play it too fast. Try to
feel it as a march that
swings. I don't recall
where I got the title,
but I suspect I was
watching some old
cartoons at the time.
Grapplin' with the Apple
should be played with
straight quavers, not
swung. In order to get
real flavour out of this
piece, pay close
attention to the
articulation markings,
especially the
combinations of quavers
slurred to staccato
notes. The apple referred
to in the title is New
York City, often referred
to as 'The Big Apple'.
Take it to the Shed -
here's one to help you
sharpen up your chops!
Take it well under tempo
at first to get the
tricky passages as clean
as possible, especially
bars 45-47. Slowly work
it up to speed as your
technique allows. All
quavers are to be swung
and again, in order to
get the most from this
piece pay close attention
to all articulation
markings. The title is a
jazz reference. When you
take something to 'the
shed' you're working on
it to make it as fine as
it can be. $19.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| 50 Essential Bebop Licks You Must Know DVD Guitare [DVD] EMedia
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| Concerto In E Minor Theodore Presser Co.
Chamber Music Flute, Piano, Piccolo SKU: PR.114418820 For Piccolo, Flu...(+)
Chamber Music Flute,
Piano, Piccolo SKU:
PR.114418820 For
Piccolo, Flute, and
Chamber Orchestra (or
Piano), TWV 52:e1.
Composed by Georg Philipp
Telemann. Arranged by
Valerie Shields Zart
Dombourian-Eby. Set of
Score and Parts. With
Standard notation.
32+12+12 pages. Duration
14 minutes. Theodore
Presser Company
#114-41882. Published by
Theodore Presser Company
(PR.114418820). ISBN
9781491113998. UPC:
680160667697. Compo
sed by Telemann as a
double concerto for
recorder and transverse
flute, Zart
Dombourian-Eby’s
new edition is prepared
for piccolo, flute, and
piano — remaining
compatible with available
orchestral editions, and
respectfully faithful to
Telemann’s
detailed nuances. Cast in
the slow-fast, slow-fast
four-movement mold
typical of Baroque
concert works, the
CONCERTO IN E MINOR is at
once among the most
beautiful and
exhilarating works of
Telemann’s
formidable
output.__________________
____________________Text
from the scanned back
cover:ZART DOMBOURIAN-EBY
is the Principal
Piccoloist of the
SeattleSymphony and is
regularly featured as
both a soloist and
clinician in Seattle and
across the world. Her
performances consistently
receive highest praise
from both critics and
audiences. A native of
New Orleans, she received
B.A. and M.M. degrees
from Louisiana State
University. After a year
of study with Albert
Tipton she attended
Northwestern University
earning a Doctor of Music
degree under the tutelage
of Walfrid Kujala. She
has been a member of the
New Orleans Pops, Baton
Rouge Symphony, Colorado
Philharmonic, and the
Civic Orchestra of
Chicago. She has
performed with the
Chicago Symphony and
served on the faculties
of the University of
Washington and Pacific
Lutheran University. She
was the founding editor
of Flute Talk and ison
the Editorial Board for
The Flutist Quarterly.
Zart is the immediate
past president of the
National Flute
Association, and been a
featured soloist and
presenter at numerous NFA
conventions. Zart has
commissioned numerous
works, including two for
piccolo and piano by
Martin Amlin, sonatas by
Gary Schocker and Levente
Gyongyosi, and a chamber
work by Ken Benshoof. She
can be heard in over 100
recordings by the Seattle
Symphony, and her solo
CD, in shadow, light, is
available on Crystal
Records. Her
award-winning edition of
the three Vivaldi piccolo
concertos is published by
Theodore Presser.A native
of Seattle, VALERIE
SHIELDS received her B.M.
summa cum laude in organ
and violin from St. Olaf
College. While completing
her M.M. from
Northwestern University,
she became increasingly
interested and skilled in
the art of improvisation.
She served as Director of
Music at St.
Luke’s Lutheran
Church in Park Ridge,
Illinois, where she
developed a music program
involving over 150
participants in choirs
and chamber music
groups.Upon her return to
Seattle, she served for
12 years as director of
adivision of the
Northwest Girlchoir. She
became organist and
developed a vibrant Youth
Choir at Phinney Ridge
Lutheran Church, where
she served for over 30
years, as well as
enjoying a 20-year tenure
as Music Director and
Composer-in-Residence of
Temple De Hirsch Sinai.
Valerie’s work
with children’s
choirs,churches, and
synagogues has inspired
over 100 published
compositions. When I
was invited to perform a
Vivaldi piccolo concerto
in Italy a few years ago,
my host, Luisa Sello,
wrote that Carol Wincenc
was going to be on the
same concert, and was
there any piece that we
could play together? I
looked and asked around,
and my colleague Joanna
Bassett recommended the
Telemann Concerto in E
Minor for Traverso and
Recorder. I didn’t
know the piece, but as I
listened to a recording
of it, I immediately
loved it and could easily
envision how beautifully
it could work, with a few
“adjustments,â€
for flute and piccolo.
I got to work, and the
current publication is
the result. I have
performed it many times,
and enjoy it even more
every time. It fits a
unique place in our
repertoire, and works
equally well with piano
as with the string
orchestra
setting.According to
Steven D. Zohn,
pre-eminent Telemann
scholar, and author of
Music for a Mixed Taste:
Style, Genre, and Meaning
in Telemann’s
Instrumental Works, much
is unknown about the
concerto itself; it
likely dates from the
1720s, soon after
Telemann moved to
Hamburg. Only an
eighteenth-century
copyist’s set of
parts is extant, that of
Johann Samuel Endler, who
was engaged at the
Darmstadt court as a
singer and violinist,
later becoming
Vice-Kapellmeister and
Kapellmeister, and who
had a large collection of
Telemann’s
works.As in my Vivaldi
concertos edition
(Presser 414-41190), I
have added virtually all
of the articulations and
dynamics that appear
here, and have inserted
quite a bit of
ornamentation. Unlike the
Vivaldi edition, I have
not included any
indication of the
original Telemann in
those passages, nor have
I included any
pedagogical markings,
such as
fingerings.Finally, I
would like to
acknowledge, with
gratitude, Joanna
Bassett, Daniel Dorff,
Benton Gordon, Evan
Pengra-Sult, Sandra
Saathoff, Valerie
Shields, Carol Wincenc,
and Steven Zohn, for the
various roles they played
in the making of this
publication.— Zart
Dombourian-EbyJune
2018. $34.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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