Voir toutes les partitions de Stephen Sondheim
SKU: CF.WF231
ISBN 9781491153314. UPC: 680160910816.
Styli stic Etudes for Trombone was written for intermediateto advanced level trombonists, seeking to meet thedemands of the modern marketplace for performers. AsI often tell my students, it’s simply not enough to mastera single style and fake the rest. To make a living as aperformer, trombonists are expected to play many, manydifferent styles authentically. Classical performers studyhard and devote themselves to mastering the stylisticnuances of various eras, various composers, variousforms; jazz musicians seek to accurately reflect the stylesof everything from bar-room burlesque to Coltrane; hornbands in the funk, rock, ska and hip-hop idioms mustreflect attention to the details of their influences even asthey create new paths through popular music.This etude collection is an attempt to help studentsand their teachers work on the details associated withmastering each of these various styles.In order to perform with the correct feel, articulationand sound, trombonists must first get these concepts intheir head through diligent listening and then disciplinedpractice playing in every single style. The same wayorchestral players study the symphonic literature andexcerpts, or the way a professional jazz musician mightwork on chord changes in excruciating detail, a wellroundedtrombone player must master styles by listeningto and playing with great recordings. Most of the etudesin this book are based on styles from specific orchestralliterature, jazz standards and other styles such as NewOrleans’ funk music (Meters) or the music of JamesBrown and Tower of Power.One final note: some of these are hard. On purpose. Theseare not warm-ups that you can play through mindlesslyto get your face going. These are “study pieces†in the oldfashionedsense. They are designed to challenge you asa player, to make you a little uncomfortable. Some aretougher than others, of course, but none of them are easy.If you can play through each of these well, with greatmusicianship and impeccable technique, you will be anincredibly versatile instrumentalist and be able to secureperformance opportunities that are outside the comfortzone of many trombonists.Thanks for buying this book. I hope you enjoy workingthrough these, whether you’re a teacher, student,performer, or weekend warrior. I learned a lot by puttingthese together and I hope you find them useful and helpful.Stylistic Etudes for Trombone was written for intermediate to advanced level trombonists, seeking to meet the demands of the modern marketplace for performers. As I often tell my students, it’s simply not enough to master a single style and fake the rest. To make a living as a performer, trombonists are expected to play many, many different styles authentically. Classical performers study hard and devote themselves to mastering the stylistic nuances of various eras, various composers, various forms; jazz musicians seek to accurately reflect the styles of everything from bar-room burlesque to Coltrane; horn bands in the funk, rock, ska and hip-hop idioms must reflect attention to the details of their influences even as they create new paths through popular music.This etude collection is an attempt to help students and their teachers work on the details associated with mastering each of these various styles.In order to perform with the correct feel, articulation and sound, trombonists must first get these concepts in their head through diligent listening and then disciplined practice playing in every single style. The same way orchestral players study the symphonic literature and excerpts, or the way a professional jazz musician might work on chord changes in excruciating detail, a well-rounded trombone player must master styles by listening to and playing with great recordings. Most of the etudes in this book are based on styles from specific orchestral literature, jazz standards and other styles such as New Orleans’ funk music (Meters) or the music of James Brown and Tower of Power.How these etudes were conceived, composed and transcribed: The style or concept of the etude was thought out in my head and ear. I then improvised in that style and concept on my trombone, recording my efforts until I was satisfied with the etude. All along, my goal was to play the range of the instrument while emphasizing certain articulations, rhythms, range and, fundamentally, the intended style of the etude. The resulting etude was then transcribed by a terrific graduate student named Zach Bornheimer, who also works with many other classical and jazz composers as a copyist/arranger.Tips for working on the etudes: Seek out professional recordings that match the style of each etude to get a good idea of what the etude should sound like musically. My recording of each of these etudes is available for download and can be purchased online for a modest fee. Search for “Brantley Etudes†at either iTunes or CDBaby. Practice each etude very slowly and in segments as needed, using a metronome. Record yourself and listen for good technique, musicianship and authenticity of style with your sound, feel and articulations. Compare your own efforts to the sounds you’ve heard on recordings. Would you fit in that ensemble or band? If range is an issue, take certain notes or passages down or up an octave. Work on your fundamentals every day, including the techniques and skills needed for these etudes. Be patient! Small improvements every day result in big success over time. Always play with a wide dynamic range. Always play with line and direction. Always play with impeccable time as well as rhythm. Use a metronome to help with this. Always play in tune. You can work on this with a tuner as well as with drones. Play these for teachers, friends, peers and colleagues not only for their feedback but also for the experience of informal performance. An audience changes everything. Make music, listen to music, record yourself, play in public and have fun!One final note: some of these are hard. On purpose. These are not warm-ups that you can play through mindlessly to get your face going. These are “study pieces†in the old-fashioned sense. They are designed to challenge you as a player, to make you a little uncomfortable. Some are tougher than others, of course, but none of them are easy. If you can play through each of these well, with great musicianship and impeccable technique, you will be an incredibly versatile instrumentalist and be able to secure performance opportunities that are outside the comfort zone of many trombonists.Thanks for buying this book. I hope you enjoy working through these, whether you’re a teacher, student, performer, or weekend warrior. I learned a lot by putting these together and I hope you find them useful and helpful.Best wishes,—Tom Brantley.
SKU: BR.PB-5217
ISBN 9790004209479. 9 x 12 inches.
The preparation was like putting together an exciting puzzle: Rudolf Ewerhart had to piece together the parts (printed in Venice in 1620) from various libraries. Since the continuo almost always follows the lowest vocal part, it is also possible to perform the four motets a cappella.
SKU: BR.CHB-5217-02
ISBN 9790004411384. 7.5 x 10.5 inches.
SKU: AP.33713S
UPC: 038081375120. English.
You and your students will love putting together these charming variations based on Lewis Carroll's classic book. A simple and graceful theme, entitled Alice, is followed by four colorful variations depicting the delightfully odd characters that inhabit Wonderland. Each variation is a stylistic workshop for your students who will learn a myriad of techniques as they bring to life the Cheshire-Cat, a Mad Tea Party, a Caterpillar, and the King and Queen of Hearts. This title is available in MakeMusic Cloud.
SKU: BP.HB484
This energetic arrangement of the familiar carol features spirited interplay between handbell ensemble and keyboard, with melody and accompaniment freely passed back and forth. With no accidentals and limited key changes, handbell ensembles will have little trouble putting together their part, and the keyboard part is easily accessible. A festive choice for any time during the holiday season! Full score, keyboard and 3-5 octave handbell choir, Level 3-.
SKU: BP.HB484A
This energetic arrangement of the familiar carol features spirited interplay between handbell ensemble and keyboard, with melody and accompaniment freely passed back and forth. With no accidentals and limited key changes, handbell ensembles will have little trouble putting together their part, and the keyboard part is easily accessible. A festive choice for any time during the holiday season! Handbell part 3-5 octaves, Level 3-.
SKU: GI.G-10368
ISBN 9781622776276.
This is a fascinating and important book for everybody even remotely interested in the history of American bands. Bryan Proksch has done some painstakingly thorough research in putting together an amazing assemblage of documents… This is a must-have book! —Jon Ceander Mitchell   The Wind Music Research Quarterly: Mitteilungsblatt der IGEB   (March 2022), 14–15 For the scholar, each entry presents an opportunity for expansion. For the teacher, this work provides source readings for courses on wind band history or for complementing Strunk or Weiss-Taruskin in university music history courses. That said, these documents stand as an enriching and entertaining read in their own right for anyone interested in the subject. —Michael O’Connor   Historic Brass Today 1/2 (Spring 2022), 32 The Golden Age of American Bands is ideally suited for courses on the history and literature of bands in America. Indeed, this volume could suffice as a textbook for adventuresome teachers in that it touches on the major musicians, instruments, ensembles, and functions expected of such a course. . . . Both private and classroom band instructors will find compelling glimpses into the history of their craft. [It is] bursting with opportunities to inspire curiosity in their students while effectively supporting their own curricular goals. —Benjamin D. Lawson and James A. Davis   The Journal of Music History Pedagogy Proksch’s new collection of documents is a most welcome step in the direction of getting [the story of bands] under control. The juxtaposition of documents from so many levels and types of ensembles proves to have a cumulative effect: one begins to see the subtle and long-lasting connections among them despite the big differences. It is easy to envision it as a supplemental text in a course on band history and literature, but the book is also just an absorbing read. There is much to learn here, and much to enjoy. —Ken Kreitner   Notes 79/2 (December 2022): 217-218 This is the story of the American wind band, told chronologically by those who experienced it in real time from 1835 to 1935. How did bands become bands? How did they rise in popularity? Which figures had insights and specific impacts on the development of the genre? Through source documents and articles, Bryan Proksch takes us on an extraordinary journey from the time of the first brass bands in the 1830s, through the Civil War and the golden ages of Gilmore and Sousa, to the cusp of the wind ensemble just before World War II. Hear from a young Frederick Fennell about his efforts to create the first band at Eastman. Read the outline of Allessandro Liberati’s unpublished trumpet method book. Eavesdrop on Karl L. King as he muses on the fate of bands after the death of Sousa. See Patrick Conway’s first undergraduate music education curriculum. Gawk as trombonist Fredrick Neil Innes embarrasses “world’s greatest cornetist†Jules Levy at Coney Island. Explore as Alan Dodworth revolutionizes bands. Retreat with a military band in the middle of a Civil War battle. Find out what it felt like to sit in a Sousa Band rehearsal. Ask Herbert L. Clarke why he thinks you should be playing a cornet instead of a trumpet. Find out how P. S. Gilmore managed to pull off the biggest concert events in American history. The book includes numerous rare and unknown illustrations to show you the places where band history happened. The documents include rare periodical excerpts, handwritten letters, and other writings taken from archives throughout the United States. These first-person accounts are certain to further refine and deepen our understanding and appreciation of American band history on a grand scale. Contents: Beginnings (1835–1859) The Civil War (1860–1865) The Jubilees (1866–1879) The Gilded Age (1880–1896) The Band Age (1897–1914) World War I (1915–1919) Transition and Decline (1920–1935)  Click here to download a FREE addenda. Bryan Proksch is a distinguished faculty lecturer and associate professor of music history and literature at Lamar University in Beaumont, Texas. This is his third book. His A Sousa Reader: Essays, Interviews, and Clippings (GIA Publications, 2016) explores the documents relating to the life and career of John Philip Sousa.
SKU: HL.1112592
UPC: 663961050462. 8.0x8.0x5.0 inches.
The Mackie Big Knob has been the go-to monitor controller for studios the world over for well over a decade. And with the Big Knob Passive, you get the purest audio path possible with zero active electronics in the signal path plus incredibly simple and easy source and monitor switching. A trio of buttons for Mute, Mono and Dim provide essential, quick control.ŸBest of all, the Mackie Big Knob Passive is built-like-a-tank, so studios, streamers and engineers can count on solid performance for years to come.ŸIf you are putting together a studio of any size from bedroom to commercial facility, Big Knob should be at the top of your shopping list.
SKU: LO.20-1303L
UPC: 000308095838.
Ringe rs of all ages will have fun putting together this cleverly conceived medley of children's hymn tunes.
SKU: AP.44829S
UPC: 038081518190. English.
It's a fiesta for your basses in this colorful section feature that your students will love putting together. Carefully written to make your bass section sound their best, this piece written by Richard Meyer starts with Chiapanecas (the famous Mexican Clapping Song) and segues into a clever 2/4 version of Cielito Lindo. The two songs are then heard simultaneously, bringing this mini concerto to a rousing conclusion. ¡Olé! (2:30).
SKU: BR.BV-362
Music theory from the Keyboard Crocodile team: a student's book with many assignments and ideas for experimenting, understanding and participating, as well as a teacher's book with 2 CDs.
ISBN 9783765103629. 9 x 12 inches. German.
A music theory method for children that's easy to understand? Who could better accomplish this task than Keyboard Crocodile experts such as Martina Schneider and Elisabeth Haas? They have joined music educator Wolfgang Heissler in putting together this half step project: a student's book with many assignments and ideas for experimenting, understanding and participating, as well as a teacher's book with 2 CDs. These CDs also contain music examples, copying masters as pdf files and a wealth of music examples from all of music history. The student's book is designed to arouse young people's curiosity about what is in the music, to open their ears and lead them in an entertaining manner to a comprehension and concept formation of music theory, and to the written depiction of the fundamental elements of music. The half step is a wonderful symbol, since it is in the middle of musical activity and surrounded by notes and tones, intervals, scales, triads, rhythms and many more elements that are essential to music.
SKU: BR.EB-8675
ISBN 9790004183472. 9 x 12 inches. German.
A music theory method for children that's easy to understand? Who could better accomplish this task than Keyboard Crocodile experts such as Martina Schneider and Elisabeth Haas? They have joined music educator Wolfgang Heissler in putting together this half step project: a student's book with many assignments and ideas for experimenting, understanding and participating, as well as a teacher's book with 2 CDs. These CDs also contain music examples, copying masters as pdf files and a wealth of music examples from all of music history. The student's book is designed to arouse young people's curiosity about what is in the music, to open their ears and lead them in an entertaining manner to a comprehension and concept formation of music theory, and to the written depiction of the fundamental elements of music. The half step is a wonderful symbol, since it is in the middle of musical activity and surrounded by notes and tones, intervals, scales, triads, rhythms and many more elements that are essential to music.Music theory from the Keyboard Crocodile team: a student's book with many assignments and ideas for experimenting, understanding and participating, as well as a teacher's book with 2 CD s.
