SKU: CY.CC3119
ISBN 9790530110973. 8.5 x 11 in inches.
Of all the hundreds of melodies composed by Franz Schubert, Serenade or Standchen stands out as one of the most sublime. It was written in 1826 as a lied or song for solo voice and piano using text from Shakespeare's play Cymbeline. Keith Terrett has beautifully scored the song for Trumpet in B-flat and Piano. It is appropriate for intermediate level performers.
SKU: M7.BP-590
ISBN 9790015059001.
SKU: HL.48182642
UPC: 888680833893. 9x12 inches.
Franz Constant: Minute (Trumpet & Piano).
SKU: FL.FX073263
Instruments: 1 Solo Trumpet; Difficuly Level: Grade 2; Duration: 1 mn 25 s; Musical Style: Classical, Educational; Category: Arrangement, Republished Master Piece; Composer: Franz SCHUBERT; Arranger: Eric VIRETON.
SKU: BT.1385-06-400-S
ISBN 9789043125192. 9x12 inches. French.
Der Schatz an französischen Volksliedern ist endlos! Einfache Strophen, einfache Refrains, einfache Rhythmen - aus einfachen Zutaten ergeben sich unendlich viele Kombinationsmöglichkeiten. Diese 36 französischen Kinderlieder haben schon viele Generationen glücklich gemacht. Einige davon sind auch bei uns bekannt!Mit Klavierbegleitung auf CD. Des mots, quelques strophes, un refrain, une mélodie et un rythme simples. Si peu de choses, au fond, et pourtant, si diverses, toujours actuelles et jamais démodées ! Ainsi, les 36 chansons traditionnelles rassemblées dans ce recueil ont étéchantées par plusieurs générations d´enfants. Que du bonheur ! (Avec compact disc et accompagnement de piano).
SKU: CY.CC2970
ISBN 9790530057896.
Jay Hull has arranged a magical setting of Franz Gruber's Silent Night for Brass Quintet. His arrangement is of moderate difficulty and will add a special mood to your Christmas concert. Length is about 2 minutes and is scored for traditional brass quintet.
SKU: HF.FH-2015
ISBN 9790203420156. 9 x 12 inches.
1. Menuett (aus einem alten Spielbuch, um 1740); 2. Gassenhauer (nach H. Newsidler, 1508-1563); 3. Marsch (J.K.F. Fischer, um 1665-1746); 4. Menuett (aus einem alten Spielbuch, um 1740); 5. Alman (aus dem Fitzwilliam-Viginal-Book, 1625); 6. Menuett (J. Krieger, 1652-1735); 7. Polonaise (anonym); 8. Gavotte (aus einem alten Spielbuch, um 1740); 9. Gavotte (aus einem alten Spielbuch, um 1740); 10. Wechsellied zum Tanze (J.F. Reichardt, 1752-1814); 11. Der Jager (J.F. Reichardt, 1752-1814); 12. Courante (J.J. Froberger, 1616-1667); 13. Gavotte (F. Couperin, 1668-1733); 14. Jagerlied (nach einer franz. Volkweise); 15. Menuett (J. Kuhnau, 1660-1722); 16. Menuett (J. Krieger, 1652-1735); 17. Allegro (G.P. Telemann, 1681-1767); 18. Zwei Kontretanze (W.A. Mozart, 1756-1791).
SKU: HL.50497560
ISBN 9784115490130. 9.0x12.0x0.14 inches.
SKU: HL.48184769
UPC: 888680844097. 9.0x12.0x0.102 inches.
Tournier 4 Chants De Fete Trumpet & Piano Book.
SKU: TM.00803SC
Transposed: horns & trumpets. Solo/no piano in set - comes in both Eb or Bb. Bb Solo/pf sold separately. Score and parts Typeset 2000.
SKU: BR.DV-32027
ISBN 9790200425192. 9 x 12 inches.
Bicinia - unaccompanied duos - have been known to us from the fifteenth century onwards. So quite early on it was customary tu practise this type of musical exercise, which later, especially during the Romantic period, achieved great popularity as the duo or duett. Equal numbers of this sort of instrumental duo were composed for nearly all wind and string instruments. On the other hand, only a small amount of compositions for two trumpets have come down to us. In order to play any music which progresses beyond pure fanfare on a natural (valueless) trumpet, it is necessary to make use of the clarion register (the top third of the natural harmonic). And if such a melody is to be accompanied by a second part, only the few natural notes lying below it are left, or else this high register itself, which calls for great virtuosity on the part of the trumpeter. As well as this, we must remember the fact that trumpet-playing was only allowed for the trumpeters of a royal court, army, staff, or for the field-trumpeter of a prince, plus a few council, city, and church musicians, who were bound by strict guild and corporation rules. Thus in spite of the preference for its festive sound, the spread and handing down of trumpet music was almost reduced to nothing under these circumstances. As well as this, pride of place and profession rivalry and envy amongst musicians contributed in large part. In England the situation was somewhat freer. Here pretty little trumpet duos originated, including, amongst others, those written by Handel for his master-trumpeter Valentin Snow and the Royal Sergeant-trumpeters of the Shore family. An especially happy exception was the diocese of Olmiitz. Here there was a capable group of musicians of the chapel royal with the brilliantly talented group of trumpeters and the field-trumpeter Pavel Vajvanovsky, who also composed himself. These trumpeters in the service of his prince-bishop played many sacred and secular pieces, all for several instruments. It was for them also that Heinrich Ignaz Franz Biber wrote the 12 double trumpet sonatas we present here. On the other hand, the representatives of the authorities in Germany ensured strict observation of all edicts and regulations. Even the celebrated Bach-trumpeter and towm-piper Gottfried Reiche was never allowed to be portrayed with a proper trumpet due to the priveleges of court and field trumpeters. In order to represent him as one of the greatest masters of his time and art, however, the painter placed an instrument similar to a corno-di-caccia in his hand, together with a sheet with a small piece for virtuoso clarion. When we try in spite of these difficulties and adverse circumstances to gather a collection of musically valuable and characteristic examples of popular pieces for two trumpets from the seventeenth and eighteenth centuries, it is in the first, place in order to acquaint modern trumpeters with something of the wealth of music, which can also be well played on a modern trumpet with valves. The originally used trumpets correspond to modern ones in the keys of C and D, but this does not mean that many of the pieces cannot be transposed to a more comfortable register. On top of this, we have tried to give a picture of the baroque court and field trumpeter, as well as of the mysterious clarion trumpeter, with the help of musically popular material. The origin of most of the pieces used is no longer clearly discernable. In most cases we possess second- or third-hand copies which have been handed down, and show signs of frequent use. A few cases where modernization of the second part obviously did not take place until the invention of stops, have been re-shaped into their supposed original form. A series of further dynamic details were left, and marked as optional suggestions in brackets. Kurt Janetzkyz.T. mit Pauken und B.c.