SKU: BT.DHP-1043600-400
ISBN 9789043119832. 9x12 inches. International.
This new book from De Haske helps fill the need for melodic unaccompanied solos for the tuba. It contains 16 wonderful concert studies that develop sound and technique while providing a rich environment for the study of style. The accompanying demo CD, performed by Patrick Sheridan, gives you an idea of how it should be done. This book is a must for all developing tuba players. Eindelijk is er een studieboek met muziek in een verscheidenheid van stijlen - speciaal geschreven voor tubaspelers door moderne componisten, onder wie André Waignein, Thomas Doss, Ferrer Ferran, Philip Sparke en Roland Kernen. Dezeconcertetudes zijn bedoeld voor het ontwikkelen van de klank en techniek, met oog voor de kwaliteit van de muzikale inhoud binnen een scala van stijlen.De wereldberoemde tubasolist Patrick Sheridan heeft de stukken op de bijgevoegdecd voorgespeeld.Nun gibt es endlich ein Buch voll Konzertetüden mit Musik in einer Vielzahl von Stilen, von modernen Komponisten speziell für die Tuba geschrieben! Dieses Buch enthält sechzehn groÃ?artige Konzertetüden zur Entwicklung von Ton und Technik und ist darüber hinaus reich an Material für Stilstudien. Auf der Demo-CD ist eine Interpretation der Studien von Patrick Sheridan zu hören. Die Bass-Stimme in B wurde in der für das Instrument optimalen Transposition geschrieben. Das bedeutet jedoch, dass die CD nur als Hörbeispiel verwendet werden kann, Mittspielen zur CD ist nicht möglich.Pendan t longtemps, les tubistes nâ??ont eu quâ??un choix limité de recueils dâ??études leur permettant de travailler le son et la technique. Certes, les précédents recueils constituent un excellent moyen de développer ces deux éléments, mais la qualité du contenu musical de certaines études fait défaut et ce quel que soit le style et en dépit de lâ??intérêt quâ??elles présentent en tant quâ??approche des différentes tonalités et intervalles spécifiques. Câ??est donc avec joie que nous accueillons enfin un recueil dâ??études de concert de styles variés, écrites spécialement pour le tuba par de talentueux compositeurs dâ??aujourdâ??hui.< br>Approfondite le tecniche più avanzate richeste ai suonatori di tuba per essere dei veri solisti all'interno di un gruppo da camera come di una grande orchestra. Intervalli, intonazione e fraseggio sono gli elementi più ricorrenti nelle pagine di questa raccolta di studi. Il CD propone la demo di ogni brano.
SKU: FP.FHC06
ISBN 979-0-57050-124-3.
Cuthbert Harris's albums are loved by teachers and pupils alike for both their playability and the progressive way they challenge and develop the technique of the improving player. Contains short pieces and studies together with questions and answers in the rudiments of music. Suggested grade 3.
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: BT.DHP-1043625-404
ISBN 9789043161763. 9x12 inches. English-German-French-Dut ch.
Study and Play is ideal for developing your playing in an enjoyable and musically sound way. Each edition within this concept features audio recordings to add something extra to your study routine.When you play thisConcertino you will be able to practise at a slower study tempo, as well as the normal tempo, so that you can work on your violin playing in a more concentrated way whilst improving your insight into the music. You cancontinue to study in this goal-orientated way until you have achieved the desired result.
The title of this piece suggests a concert situation: playing a solo partwith accompaniment. There are thousands of such works for theviolin but many of these cannot be tackled until you have been playing for a considerable time. Concertino in Russian Style Opus 35 enables you to gain necessary experience for this type of playing: namely having sufficientmusical and technical control over your instrument whilst having the support of an accompanist during performance. This carefully chosen concertino will enrich your repertoire. Dit fraaie concertino in Russische stijl van Alexei Janschinow is leerzaam én prachtig om te spelen. Kortom, een fraaie aanvulling op uw repertoire. Deze boeken zijn gemaakt binnen het Study and Play-concept, dat de leerlinghelpt om zijn/haar spel op een plezierige en verantwoorde manier te ontwikkelen. Bij elke uitgave onder deze noemer worden begeleidingsopnames meegeleverd die iets extraââ¬â¢s toevoegen aan de studie-methode. Deze opnames bieden demogelijkheid om te studeren in zowel het gewone tempo als een rustig oefentempo. De verzorgde set bestaat verder steeds uit een vioolpartij en pianopartij.St udy and Play ist das ideale Konzept, um auf vergnügliche und sinnvolle Weise ein gutes Spiel zu entwickeln. Jedem Buch mit diesem Konzept sind Begleitaufnahmen beigefügt, welche die tägliche ÃÅbungsroutine individuellergänze n. Mit Hilfe dieser Aufnahmen kann das Concertino im langsameren ÃÅbetempo sowie auch im normalen Tempo gespielt werden, sodass man sich zunächst ganz auf das Violinspiel konzentrieren kann und dabei die Musik kennenlernt. So kann zielgerichtet geübt werden, bis das gewünschte Ergebnis erreicht wird.
Der Titel dieses Stückes beschreibt die Situation in einem Konzert: Es wird ein Solo mit Begleitung gespielt. Solche Werke gibt es zutausenden für Violine, viele können jedoch erst nach vielen Jahren Spielerfahrung gemeistert werden. Mit Concertino in Russian Style Opus 35 kann man wichtige Erfahrungen mit genau dieser Art des Spiels sammeln, nämlichausreichend musikalische und technische Beherrschung über das Instrument zu erlangen und gleichzeitig mit der Unterstützung eines Pianisten spielen zu können. Dieses sorgfältig ausgewählte Concertino ist auf jeden Fall eineBereicherung Ihres Repertoires. Study and Play est le concept idéal pour développer votre jeu dans un environnement plaisant et solidement structuré. Chaque recueil basé sur ce concept est accompagné des enregistrements audio qui apportent un plus votreroutine de travail. Ces enregistrements vous permettent de jouer ce Concertino tant dans le tempo normal que dans un tempo dââ¬â¢Ã© tude plus lent afin que vous puissiez vous concentrer plus amplement sur votre technique de jeutout en ayant un meilleur aperçu de la structure de la pièce. Vous pouvez continuer travailler dans cette optique jusquââ¬â¢ ce que vous ayez atteint le résultat souhaité.
Le titre de la pièce évoque le contexte dââ¬â¢unconcer t : lââ¬â¢interpr ©tation dââ¬â¢une partie soliste avec accompagnement. On compte des milliers dââ¬â¢oeuvres similaires pour violon mais un grand nombre dââ¬â¢entre elles ne peuvent être abordées sans expérience et pratique musicalesconsidéra bles. Concertino in Russian Style Opus 35 vous permet dââ¬â¢acquà ©rir lââ¬â¢expà ©rience nécessaire lââ¬â¢interpr ©tation de ce genre de pièces, cââ¬â¢est- -dire être capable de dominer les aspects techniques et musicaux propres votre instrument tout en ayant le soutien dââ¬â¢un accompagnateur lors de lââ¬â¢interpr ©tation. Choisi avec soin, ce Concertino enrichira votre répertoire. Study and Play è il concetto ideale per sviluppare il vostro modo di suonare in un contesto piacevole e solidamente strutturato. Le registrazione di accompagnamento vi permettono di suonare sia a tempo normale che più lento,al fine di migliorare la concentrazione sullo studio della tecnica e avere un migliore approccio con le varie parti del brano. Le parti dellââ¬â¢accom pagnamento al pianoforte incluse nelle pubblicazioni (versione cartacea) vipermettono di suonare con un pianista accompagnatore.
