Partitions Numériques de Lee Mitchell pour Trompette

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Lee Mitchell
Non classifié 57

Piano & claviers
Piano seul 46
Piano Facile 23
Piano, Voix et Guitare 19
Piano, Voix 6
Instruments en Do 2

Orgue 1
1 Piano, 4 mains 1

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Guitare notes et tablatures 40
Ukulele 1
Mandoline 1

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Chorale SSAA 2
Chorale SATB 2
Voix, Guitare 2
Chorale TTBB 2
Voix moyenne, Piano 1

Chorale 2 parties 1

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Vents
Quatuor de Saxophones: 4 saxophones 40
Quatuor de Flûtes : 4 flûtes 2
Harmonica 1
Flûte traversière 1
Flûte à bec Soprano 1

Clarinette 1
Flûte à bec Alto 1
Cor Anglais 1

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Cuivres
Trompette 1

Cor Anglais 1

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Quatuor à cordes: 2 violons, alto, violoncelle 79
Violon 4
Violon, Clarinette, Piano (trio) 1
Violon et Piano 1
Trio à Cordes: violon, alto, violoncelle 1

Quintette à cordes: 2 violons, 2 altos, violoncelle 1

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Orchestre de chambre 2
Orchestre à Cordes 2
Ensemble de cuivres 1
Orchestre d'harmonie 1
Orchestre 1

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Lee Mitchell

Trompette

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The Be-Bop Range Book

The Be-Bop Range Book #Trompette #AVANCÉ #Eric Bolvin #Air #The Be-Bop Range Book #ERIC V BOLVIN #SheetMusicPlus

Trumpet Solo - Level 5 - SKU: A0.829071 Composed by Eric Bolvin. Instructional,Jazz. Individual part. 64 pages. ERIC V BOLVIN #3579875. Published by ERI...(+)

Trumpet Solo - Level 5 - 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 canâ€™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.

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