Playing the recorder made easy right from the start! No previous knowledge required! Everything you need to know about the basics of music is explained in a child-friendly way, thus ensuring lasting playing fun. Rapid success will keep your child motivated. / Niveau : Débutant / Children\'s - Methods / Méthode / Flûte à Bec Soprano
SKU: BT.EMBZ14090
English-German-Hungari an.
This systematically constructed tutor was written for the soprano recorder with so-called English (Baroque) fingering. It contains material for the first two or three years of study, offering a selection from 600 years of music literature. It also teaches the basics of articulation technique. The volume includes pieces with piano or cembalo accompaniment, and in addition a musical mini-lexicon. The textual instructions are supplied in three languages: German, English and Hungarian.
SKU: HL.49047397
ISBN 9781847615718. UPC: 196288213697.
Autho r of the Baroque Recorder Anthology series, Peter Bowman presents the first in a series of four volumes dedicated to recorder music from the Renaissance period. Featuring a variety of interesting pieces scored for recorder and keyboard accompaniment, this collection includes works by well-known figures as well as lesser known and rarely available pieces from a range of other composers. Suitable for students of ca. 2-3 years?of playing experience, this book includes composer biographies and teaching notes on each piece, together with audio recordings of all works performed by Kathryn Bennetts.
SKU: HL.49003825
ISBN 9790001038317. UPC: 073999253450. 9.0x12.0x0.084 inches.
These little pieces for the most part come from Handel's Aylesforder Pieces which were published for the first time a few years ago. As almost all of them are written in two-voice versions, i.e. as melody with bass, they are ideal for performances with recorder and basso continuo (piano, harpsichord, spinet). In the original form, the pieces can also be performed as duets.
SKU: GI.G-9033
ISBN 9781622775606.
With its commitment to creating independent musical thinkers through the use of folk songs, Conversational Recorder is a visionary approach to recorder that builds music literacy and independence. This highly anticipated component of John M. Feierabend’s Conversational Solfege is a dynamic and engaging method that seamlessly coordinates with Levels 1 and 2 of the curriculum, an innovative 12-step “ear-before-eye” approach to teaching music literacy. Central to Conversational Recorder are two hundred online audio tracks with coordinating Guided Practice Activities at the beginning of each unit. The online tracks walk students step by step through decoding patterns and songs and are perfectly suited for at-home assignments and virtual instruction. Each of the thirteen units in this resource presents a new rhythm or melody challenge that is reinforced using a series of short musical patterns and songs. To ensure aural mastery before instrumental application, students follow a three-step procedure: (1) sing first, (2) sing while fingering on recorder, and (3) play on recorder. The teacher’s manual includes dozens of recorder activities (techniques) along with an overview of the method, instructions for how to use the online tracks, and tips for teaching fingering, tonguing, and breathing. The appendices also contain sample lesson plans, resources for assessment, fingering charts, and information for teaching recorder to students with disabilities. Conversational Recorder is an ideal program for incorporating recorder instruction into the elementary music classroom. John M. Feierabend, PhD, has spent decades compiling songs and rhymes from the memories of the American people in hopes that these treasures will be preserved for future generations. He is a leading authority on child development in music and movement and served as Professor and Chair of the Music Education Department of the Hartt School of the University of Hartford. Rachel Grimsby is an Assistant Professor of Music Education at Illinois State University and has over fifteen years of experience teaching elementary general music. She is a co-author of First Steps in Music with Orff Schulwerk and Feierabend Fundamentals, and her research interests include professional development for in-service teachers and paraprofessionals as well as teaching music to students with disabilities.
SKU: GI.G-9033T
ISBN 9781622773954.
SKU: GI.G-9033S
ISBN 9781622773947.
SKU: 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 (1778–1837)holds a unique place in the trumpet repertoire. Like theconcerto by Joseph Haydn (1732–1809) it was written forthe Austrian trumpeter Anton Weidinger (1766–1852) 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 unlikeHaydn’s concerto in Eb major, Hummel’s Concerto a Trombaprincipale (1803) was written in the key of E major for atrumpet pitched in E, not E≤. 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 E≤ 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 E≤ (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 composer’s originalintentions on modern trumpets. For those seeking the bestscholarly information, a facsimile of Hummel’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 edition—available in both keys: Eb and Emajor—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 major—sometimes onkeyed trumpets—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 a “tr” indication), which appears in the second movement(mm. 4–5 and 47–49) and in the finale (mm. 218–221). InHummel’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 Hummel’s1828 piano treatise, he wrote that a wavy line without a “tr”sign indicates uneigentlichen Triller oder den getrillertenNoten [“improper” trills or the notes that are trilled], andrecommends that they be played as main note trills that arenot resolved [ohne Nachschlag].4 Hummel’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. 273–298), 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) fromCherubini’s opera, Les Deux Journées (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 movement’s “Allegro con spirito” is interpretedas faster than the “Allegro” (without a modifier) of the finale.6In the realm of ornamentation, Hummel includes severalturns and figures that are open to interpretation. This editionincludes Hummel’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 Hummel’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 Mozart’s piano concerti, and the twenty-five-year-oldcompo ser imitated Mozart’s orchestral gestures and melodicfiguration in the trumpet concerto (most notably in the secondmovement, which resembles the famous slow movement ofMozart’s Piano Concerto No. 21 in C Major, K. 467).
SKU: HL.49044499
ISBN 9790001195874. 9.0x12.0x0.218 inches.
With his 'Omaggio a Vivaldi' Enjott Schneider drew a musical portrait of the Italian Baroque master. Whereas the first movement illuminates the topic of Vivaldi's scandalous relationship with the prima donna Anna who was his junior by 25 years, the second movement focuses on the composer of magical dream worlds who was far ahead of his time. The final virtuoso picture characterizes Vivaldi in the way that many of his contemporaries saw him: as a manically composing eccentric.The Concerto for recorder, strings and harpsichord is dedicated to the virtuoso flutist Stefan Temmingh. Created by the composer himself, the piano score now makes this interesting piece accessible for chamber music purposes.
SKU: FP.FPT02
ISBN 979-0-57050-253-0.
Selected songs spanning 50 years demonstrating Pitfield's distinctive voice, to be cherished for its precision of technique and delicacy of effect. John McCabe writes if Pitfield had written only the first song in the book, Cuckoo and Chestnut Time, he would have earned our gratitude for that perfect little gem alone! Also contains the composer's own illustrations. Thomas Pitfield had the gift for memorable tunes, often couched in somewhat French-sounding harmonic and decorative idiom. He admired Vaughan Williams, Grainger and Delius and their influence can be felt in his works.
SKU: CA.246600
ISBN 9790007253158.
What would Christmas time be without music-making together? Advent, Christmas, and winter songs play an important role for all beginners on a melody instrument, because with these they can show off their progress on the instrument during the first year. And nothing is better suited to this than well-loved and popular pieces such as Christmas classics. The six volumes in our new series for instrumental teaching, developed in collaboration with the Landesakademie fur die musizierende Jugend in Baden-Wurttemberg, all contain 20 easy carols arranged in progressive level of difficulty. Experienced instrumental teachers have made a selection of carols for each instrument according to specific criteria. These can be mastered as part of music school lessons after just a few weeks and months. All the carols have been chosen and transposed so that the range and fingering combinations do not exceed the level of difficulty for the first three years of learning. The piano accompaniment is of moderate difficulty. For many of the carols, an ad lib upper or lower part is included which can also be played by instrumental pupils. The volumes are therefore suitable for individual as well as group tuition. The arrangements are based on the piano and instrumental books from the CHRISTMAS CAROLS project (Carus 2.403/03 und 2.404/03) which is part of the LIEDERPROJEKT, the charitable project to further singing with children. The books contain singing texts for all the carols, providing a full range of options for singing and playing together at Christmas. All the books include the printed music of the piano accompaniment. Digital playalong tracks are available for all the books. Further editions for flute, recorder, clarinet, alto saxophone, trumpet.
