Matériel : Partition + CD
SKU: BT.9781408192788
ISBN 9781408192788.
D esigned to complement Get Set! Piano Tutor Book 2, Get Set! Piano Pieces Book 2 contains an exciting collection of pieces by Heather Hammond and Karen Marshall, arranged and written specially for thetwenty-first century child.
Get Set! Piano Pieces Book 2 follows and supplements the tried and tested progressive teaching method of Get Set! Piano Tutor Book 2 (9781408193075), guiding the learner fromPrep test to Grade 1. It includes favourites like La Bamba, Frère Jacques and This Old Man as well as engaging new solo and ensemble pieces in a variety of styles.
The perfect repertoire bookforgetting to Grade 1, Get Set! Piano Pieces Book 2 is attractively laid out and fully illustrated, with quizzes and crosswords to reinforce learning.
SKU: AP.47779
ISBN 9781470641580. UPC: 038081547756. 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 book is integral for Suzuki trumpet lessons. Volume 1 features: Engravings in a 9 x 12 format * Introduction and general information regarding the trumpet * First exercises on the trumpet * Pieces and tonalizations * Glossary of terms and signs * Musical notation guide * Fingering chart * Photos. 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). This title is available in MakeMusic Cloud.
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.
SKU: BT.DHP-0991501-400
ISBN 9789043103206. English.
This book contains the lead wind and brass parts for 16 popular pieces from the concert band repertoire. The play-along CD contains concertband performances with the clarinet part missing from the recording.Includes: Earth Song (Michael Jackson), The Second Waltz(Shostakovich), Gabriel??s Oboe (Ennio Morricone). Abba Gold, CanYou Feel the Love Tonight (Elton John) and many more.
SKU: TL.TCL018236
ISBN 978-0-85736-774-7.
For the first time, Trinity College London Press releases a series of graded repertoire books for trumpet, cornet and flugelhorn for exams in 2019-2022. Each book has been compiled and edited by a panel of experts and contains a selection of repertoire from across a range of styles and genres, including accompanied and unaccompanied pieces. Demonstration recordings (Andrew Crowley, trumpet) and piano playalongs can be downloaded free.
SKU: TL.TCL018182
ISBN 978-0-85736-769-3.
SKU: TL.TCL018205
ISBN 978-0-85736-771-6.
SKU: TL.TCL018922
ISBN 978-0-85736-804-1.
SKU: TL.TCL018212
ISBN 978-0-85736-772-3.
SKU: TL.TCL018946
ISBN 978-0-85736-806-5.
SKU: TL.TCL018229
ISBN 978-0-85736-773-0.
SKU: TL.TCL018199
ISBN 978-0-85736-770-9.
SKU: AP.47783
ISBN 9781470641597. UPC: 038081547787. 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 piano accompaniment book is recommended for Suzuki trumpet lessons. Volume 1 features: Engravings in a 9 x 12 format * First exercises on the trumpet * Pieces and tonalizations. 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).
SKU: M7.AHW-241
English.
From the Foreword, by David Baldwin: Here is a trumpet book that has been waiting 90 years to become a classic in the advanced trumpet etude repertoire. David Bertie has taken on the monumental task of completely re-imagining every aspect of this work. Aaron Harris first published this series of violin studies and technical calisthenics in 1930. While an impressive body of work, it has never become widely used by trumpet players because of its many shortcomings. With David Bertie's superb revision, this 'new' book is easily on the same level as the etudes by Theo Charlier, Walter Smith, or Chris Gekker. These pieces are not just for violin anymore. A trumpet player can now develop his or her skills to be as sophisticated a musician as any violinist on a Stradivarius!
SKU: CF.O88X
ISBN 9781491153406. UPC: 680160910908. 9 X 12 inches.
These studies are a staple of the advanced trumpet method repertoire. Each etude is an exploration of a wide variety of registers, articulations and tonalities. While going through these 36 etudes the trumpeter will develop an even sound in all registers while tackling the musical and melodic challenges that lie within.IntroductionTi ps on Musical PracticeStarting a new study can be overwhelming. Using Etude No. 1, here’s an example of how to approach working on these etudes with both musicality and technique in mind.Bousquet’s first study can be broken down into three large musical sections:Section 1: from the beginning to the downbeat of m. 26.Section 2: from the upbeat of 2 in m. 26 to the downbeat of m. 51.Section 3: from the downbeat of m. 51 to the end.Each one of those sections can be broken down into two smaller sections:Section 1a: from the beginning to the downbeat of m. 16.Section 1b: from the downbeat of m. 16 to the downbeat of m. 26.Section 2a: from the upbeat of 2 in m. 26 to the end of m. 35.Section 2b: from m. 36 to the downbeat of m. 51.Section 3a: from the downbeat of m. 51 to the downbeat of m. 59.Section 3b: from the downbeat of m. 59 to the end.To get started playing, choose a slow tempo that allows you to play Section 1 all the way through without stopping. If that is problematic, just play through 1a.Remember to focus on the music. Section 1a is light, moving in four-measure phrases to the ninth measure, where it cadences in G. From there, retain the lightness through the arpeggiation that concludes with the trill that brings an arrival point at Section 1b. Here the style changes completely, alternating two measures of fluid, connected sixteenth notes with two measures of scalar staccato sixteenths before finally cadencing on the downbeat of m. 26.Section 2 begins with a melodic line of eighth notes, punctuated by sixteenths in the third full measure before returning to the original line for only a measure before driving forward with a flourish to finish Section 2a. Section 2b starts back in C with four-measure phrases in which the line moves up for two measures, then down for two measures, ending in G. The last seven measures of Section 2 stay light as they work their way back to C.Section 3 is very exciting, starting with a fiery cornet solo-like passage in 3a. 3b brings the piece to a dramatic conclusion outlining C major for the first four measures before arpeggiating C major and G dominant for two measures, finally finishing with the C-major scale.The next step is to isolate any of the parts that proved troublesome. Examples could include missed notes or figuring out where to breathe. Once you have practiced the troublesome sections in isolation, play the section all the way through without stopping again. Even if there are still problems, you are now practicing in a way that is preparing you to perform musically.The next day, play through Section 1 again, at a tempo that allows you to do this without stopping. Now go on to Section 2, and follow the same three steps:Play all the way through, at a tempo that allows you to do so without stopping,Isolate and practice the troublesome passages, thenPlay all the way through, at a tempo that allows you to do so without stopping.Now play from the beginning to the end of Section 2.The next day, play Section 1. Now play Section 2. Then play Section 3 and apply the same three steps outlined above.Now play the whole study. At this point you have spent time on each section, making musical decisions and correcting mistakes. Increase the tempo as you gain confidence and control of the material. As you work towards performing the entire study as a piece of music, record yourself playing the entire study as a performance each day. Review the recordings to reveal what still needs work. Be honest with yourself! When you are happy with the recording of your performance, it’s time to move on to the next study.About the Goldman PrefaceThese studies will be an excellent practice, especially for the lower register of the Cornet, which is somewhat neglected in other instruction books. It is recommended that the pupil should practice one of this series of Studies now and then to repose his lips, and acquire facility in difficult fingering.— Edwin Franko GoldmanIn his original preface, Edwin Franko Goldman is absolutely correct that these studies are excellent practice and will help with the dexterity demanded of today’s player. Although the low register is certainly explored throughout the book, it does not appear to be the focus of these studies. There are many books available now that concentrate on the low register. The suggested fingerings have been removed. Using alternate fingerings was more common to cornet players to aid in the fluidity of a passage. This practice is not nearly as common today, especially with trumpet players, as the difference in timbre caused by the alternate fingerings is disruptive to the musical line. Published for cornet, as it was the solo instrument of choice in the 1920s, these etudes are just as useful to today’s trumpet player. When playing these studies on trumpet, the performer should strive for a fluid line while maintaining a full and clear sound. Because of the musicianship and technique demanded, this book remains as useful today as it has ever been.— Joey TartellAbout Narcisse Bousquet and the 36 EtudesNarcisse Bousquet (c. 1800–1869) was French by birth, active as a composer, editor and arranger in both France and England in the early nineteenth century. Bousquet was respected as an accomplished performer of the French flageolet, a high-pitched woodwind instrument much like a recorder, although later outfitted with the Boehm key system like the modern flute. Although obsolete in modern times, the instrument once enjoyed great popularity with a variety of composers and performers, both amateur and professional. Purcell and Handel composed for the instrument, and Berlioz was purportedly an accomplished amateur performer of the flageolet. The Scottish author Robert Louis Stevenson, likewise, was a proficient performer of the instrument and composed a number of pieces for it.Little is known today of Bousquet’s life. He composed a large variety of music, including works specifically for the flageolet, which were widely appreciated in their day. The 36 Etudes for flageolet are undoubtedly the most well known of his works. Published in 1851, the Etudes explore a variety of techniques, such as scales, arpeggios, ornamentation, breath control and expressive playing, and their technically demanding writing confirms Bousquet’s prowess as a flageolet performer. However, the date of the arrangement of the etudes for cornet and their arranger remain speculative. Edwin Franko Goldman is credited as the arranger of the 1890 publication by Carl Fischer, although Goldman would have been only twelve years old at the time; his work on these pieces surely came at a later time. Bousquet himself may have arranged these pieces for cornet at the request of an accomplished cornet player at some point after their publication.
SKU: OU.9780193368675
ISBN 9780193368675. 12 x 8 inches.
For SATB (with divisions) and trumpet The Spacious Firmament 2: Yet we who neither burn nor shine is a sequel to The Spacious Firmament. Both pieces may be performed separately, but The Spacious Firmament should always come first if they are programmed together (perhaps either side of an interval).
About Oxford New Horizons
N ew Horizons showcases the wealth of exciting, innovative, and occasionally challenging choral music being written today. It encompasses the whole gamut of small-scale choral genres, both secular and sacred, and includes pieces for upper-voice and mixed choirs. With titles by some of the most accomplished choral composers active in Great Britain and abroad, the series introduces new repertoire and fresh talent to a broad spectrum of choirs. New Horizons features composers with growing reputations for quality composition reflecting a strong individual voice. The series is continually expanding and should be the first place to look for attractive and performable contemporary choral music.
SKU: GI.G-8618
UPC: 785147861805. English. Text Source: Revelation 19:6, 11:15, 19:16. Scripture: Revelation 11:15, Revelation 19:6, 16.
The “Hallelujah” chorus is the final movement of part two of Handel’s Messiah, the part that comments on Christ’s crucifixion, resurrection, and ascension. The text of the chorus, assembled from Biblical passages by the oratorio’s librettist, Charles Jennens, is from Revelation 19:6, 11:15, and 19:16: “Hallelujah, for the Lord God omnipotent reigneth. The kingdom of this world is become the kingdom of our Lord and of his Christ, and he shall reign for ever and ever. KING OF KINGS, AND LORD OF LORDS.” This edition has been prepared from the first published score in 1767, with comparisons to Handel’s autograph manuscript now housed in the British Museum. The text has been reproduced here without alterations. However, the beamings of the vocal parts have been modernized for ease of reading (the original material has flags instead of beams for every separate syllable). The piano accompaniment is a reduction of the orchestral material: the first and second violin parts are represented in the upper staff, with only occasional inclusion of the viola, trumpet, and timpani parts, the basso continuo, in its original form, is in the bottom staff. The GIA Historical Music Series edited by Dennis Shrock, presents repertoire suitable for performance by public school, college and university, church, and community ensembles, with the purpose of making available to today’s conductors lesser-known and previously difficult-to-procure historical masterpieces. The music, drawn from the Renaissance through the Romantic eras, is in performance editions based on the most current and rigorous scholarly research. The musical scores reflect original intent of notation, with all editorial markings and emendations clearly identified as such. In addition, preface material accompanying the music contains literal translations of foreign language texts and information regarding the lives of the composers, genres, and relevant performance practices. Dennis Shrock is Director of Choral Activities at Texas Christian University. He has been called one of the top choral scholars in the United States and has received a number of awards for his work. He received a bachelor's degree in music education from Westminster Choir College and both master's and doctoral degrees in choral conducting from Indiana University.
SKU: FJ.JE4116S
This easy swing ballad pays homage to the great Neal Hefti and his classic Li'l Darlin', which was written for the Count Basie Orchestra and is now standard repertoire in the big band genre. There is plenty of ensemble work, along with a great written tenor sax solo (also with chord symbols). For greater performance flexibility, an optional solo sheet is included for other instruments as well. A great vehicle for teaching the most basic elements of jazz in a musical setting!
About FJH Beginning Jazz Ensemble
A ppropriate for first-year jazz ensembles. Playable with as few as 3 saxes, 2 trumpets, 1 trombone, and rhythm section. Pieces consist mostly of ensemble writing. Written solos are provided along with suggested parts for rhythm section and drum set. Guitar chord guide included. Grades 1 - 1.5
