Breath Control Trumpet

SKU: M7.AHW-1012

English.

A collection of method books, exercises, solos, embouchure and breath control studies, and duets directed to players at all levels of their development.

SKU: HL.48181925

UPC: 888680908706. 9.0x12.0x0.052 inches.

“French composer, Pierre Max Dubois (1930-1995) significantly contributed to the wind repertoire. His 12 Various Studies for Trumpet was published in 1959 and remains prominent in the instrument's study repertoire. Dubois' 12 Various Studies addresses elements of articulation, chromaticism, rhythm, scales, intervals, breath control, performance directions, dynamics, range, ornamentation, and variations in time and key signatures, amongst other aspects. 12 Various Studies is essential to the advanced trumpeter to ensure a high standard of technical progression.”.

SKU: HL.48182673

UPC: 888680871390. 10.5x13.25 inches.

“Little known composer, Pierre Clodomir lived during the 19th Century and worked as a brass teacher. His study guides, including Complete Method for Cornet and Saxhorns in treble clef have accompanied many brass player's instrumental technique progression. The first volume of Clodomir's Complete Method for Cornet and Saxhorns in treble clef includes illustrated instruction on how to hold the instruments as well as exercises focusing on scales, arpeggios, intervals, breath control, note values, dynamics, articulation, varying time signatures, rhythm, phrasing, tempo markings, performance directions, and ornamentation. For all aspiring Cornet and Saxhorn players, Clodomir's Complete Method for Cornet and Saxhorns in treble clef will provide you with the necessary, progressive studies to improve technique to a high standard.&rdquo.

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.
IntroductionTips 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: HL.48180081

UPC: 888680954826. 9.0x12.0x0.076 inches.

Guillaume Balay (1871-1943) served in the French military as a prolific cornet player, having won first place in the 1894 Cornet Award competition at the National Academy of Music in Paris. His compositions and studies were popular in the cornet and brass repertoire at the time, including his Fifteen Studies for Cornet. This Balay work remains within the cornet study repertoire to this day and is suitable to advance level players. The Fifteen Studies address features, including accidentals, breath control, intervals, range, ornamentation, chromaticism, complex rhythms, dynamics, performance directions, and variations in time and key signatures, among other aspects. These quirky studies provide the advanced cornet player with exciting exercises to ensure progress to a high level of technique.

SKU: GI.G-9822

UPC: 785147982203. English, Greek. Text Source: Revised Order of Mass 2010, Lectionary for Mass

“We are, inescapably, filled with Ruah, the Holy Spirit, from our first breath to our last. As Paul reminds the early church in Romans 8:9 ‘you are not controlled by your sinful nature. You are controlled by the Spirit if you have the Spirit of God living in you.’ Paul is reminding us that we are filled with the Ruah of God and so should choose to live accordingly.”                                                                   – Ian Callanan (from the Introduction)   Drawing on the rich tradition of composer Ian Callanan’s musical background Ruah: Mass of the Breath of God is filled with Celtic themes and motifs. With the exception of the Our Father, the entire Mass is composed in the key of D, the key in which traditional Irish instruments are tuned, making the setting as accessible as possible. The recording models the sound of full Celtic instrumentation, though the setting is just as effective when simple accompaniment is used.    Ruah utilizes the Eucharistic Prayer for Children, yet the choice is by no means meant to be limiting. This is a setting composed with the entire assembly in mind, encouraging all to take a deep breath, then sing with the Ruah of God.