The mastery of scales and scale patterns has long been established as the best way to improve technical abilities on all instruments. The Complete Scale Compendium focuses on what is most common in the study of classical music: core major and minor scales, as well as chromatic, pentatonic, whole-tone, and blues scales. Students will learn the construction of these scales while practicing unique patterns, enriching their technique. Specific slurs and articulations have been left off of the exercises so that a multitude of different articulation and slur patterns can be used. The exercises are presented in two ways: by scale pattern and by key. Contenu du texte: Preface Scale Theory Each Scale Exercise in All Keys Major Scales Exercise No. 1: Long Tone Scale Minor Scales Exercise No. 1: Long Tone Scale (Melodic Minor) Major Scales Exercise No. 2: Scale and Arpeggio Minor Scales Exercise No. 2: Scale and Arpeggio (Melodic Minor) Major Scales Exercise No 3: Tetrachords Ascending Minor Scales Exercise No 3: Tetrachords Ascending Major Scales Exercise No 4: Tetrachords Descending Minor Scales Exercise No 4: Tetrachords Descending Major Scales Exercise No 5: Modes Minor Scales Exercise No 5: Modes Major Scales Exercise No 6: Thirds Minor Scales Exercise No 6: Thirds Major Scales Exercise No 7: Arpeggiated Diatonic Chords Minor Scales Exercise No 7: Arpeggiated Diatonic Chords Chromatics No 1 Chromatics No 2 Major Blues Scale Exercise No 1 Major Blues Scale Exercise No 2 Minor Blues Scale Exercise No 1 Minor Blues Scale Exercise No 2 Major Pentatonic Scale Exercise No 1 Major Pentatonic Scale Exercise No 2 Minor Pentatonic Scale Exercise No 1 Minor Pentatonic Scale Exercise No 2 Whole Tone Scale Exercise No 1 Whole Tone Scale Exercise No 2 All Scale Exercises by Key C Major A minor F Major D minor Bb Major G minor Eb Major C minor Ab Major F minor Db Major Bb minor Gb Major Eb minor B Major G# minor E Major C# minor A Major F# minor D Major B minor G Major E minor Circle of Fourths Chart Articulation Patterns ISBN: 978-0-8258-9689-7 Maison d'édition: Carl Fischer Music Nombre de pages: 64

With 'The Techniques of Trombone Playing', Mike Svoboda has written a book conceived as a valuable guide for composers and trombonists. It familiarises composers with contemporary trombone techniques and shows how to put them to creative use. Furthermore it helps trombonists to view and employ their versatile instrument as a multi-functional sound generator. Together with composer Michel Roth, Mike Svoboda explores what might today be called 'the unlimited expansion of new performance possibilities': micro-intervals, multiphonics and the combination of the trombone sound with the human voice ' all accurately described and illustrated with many annotated music examples. ' Includes many tables and music examples on the basics and expanded techniques of trombone playing ' Practical information on mutes, repertoire, etc. ' With 92 sound files and 5 newly composed études which can be downloaded from the Bärenreiter website The authors Since September 2007 Mike Svoboda has been professor of trombone and contemporary chamber music at the Basel Academy of Music (Switzerland). Of formative importance to his artistic development was his nearly 11-year collaboration with Karlheinz Stockhausen in the 1980s and 1990s. His exchanges with Stockhausen and other composers, such as Peter Eötvös, Beat Furrer, Helmut Lachenmann, Wolfgang Rihm and Frank Zappa, allowed him to premiere more than 400 works over the last 30 years. Michel Roth is professor of composition and music theory at the Basel Academy of Music and a member of their research department. As a composer, he has been a regular guest at various international music festivals and more recently particularly in the area of music theatre. Numerous radio and CD productions document his compositional output for which he has also been awarded the composition prize by Music Viva, Munich. In addition Roth also researches and publishes on subjects concerned with music and art theory.

composer/Author (EN) : Kember, John / Tate-Lovery, Simon Subtitle (EN) : A Fresh Approach

Après l'énorme succès de TrombOlympic voici, un an après, sa petite soeur : TrombOlympic Junior. Accessible dès 2 ans de trombone, cette méthode self service propose de nombreux exercices de chauffe, de souplesse, et tout ce qui est nécessaire pour organiser son travail technique.

Series: Student Instrumental CourseCategory: Brass - Trombone and Baritone Method or CollectionFormat: BookInstrument: TromboneLevel: IntermediateThe Belwin Student Instrumental Course is a course for individual instruction and class instruction of like instruments, at three levels, for all band instruments. Each book is complete in itself, but all books are correlated with each other. Although each book can be used separately, all supplementary books should be used as companion books with the method.

Les auteurs ont conçu - avec l'aide de professeurs d'instruments - une méthode permettant d'avoir un outil à la fois ludique et vivant pour l'enfant, et le plus précis possible pour le professeur, tout en permettant à celui-ci d'enseigner suivant sa propre sensibilité musicale.Les avantages, non exhaustifs, de la formation musicale par l'orchestre :- un rapport beaucoup plus direct et moins abstrait entre le solfège et la pratique instrumentale (tout l'apprentissage solfégique étant directement lié à l'instrument que l'élève a choisi)- passer par l'oral avant l'écrit- une formation auditive plus développée, due aux partitions interprétées par différents instrumentistes- une meilleure compréhension/analyse des oeuvres proposées grâce à la pratique instrumentale- développer l'autonomie de l'élève- la pratique instrumentale collective au sein de ce cours donnera l'envie (dès que l'élève aura le niveau suffisant) de rejoindre un des ensembles instrumentaux du conservatoire ou de l'école de musiqueChaque volume de Symphonic FM se présente sous la forme d'un livre de l'élève (choisi en fonction de l'instrument pratiqué) et d'un livre du professeur.A partir du volume 5, nous avons changé la présentation des livres des élèves pour des raisons pratiques (densité de l'ouvrage).Il y a désormais :un cahier principal comportant ce qui est commun à tous les instruments une partie séparée spécifique à chaque instrumentcomportant les duos instrumentaux, les versions instrumentales des chants et les pratiques instrumentales.Ainsi, chaque élève achètera non plus le correspondant à la famille de son instrument mais le cahier de son propre instrument.