SKU: PR.ZM29760
SKU: BA.BA11242-49
ISBN 9790006563630. 15 x 21 cm inches.
The acclaimed percussionist Christian Dierstein has joined forces with a research group at the Basel Academy of Music to examine the techniques of percussion playing from an innovative perspective. The main focus falls less on the instruments than on their sound producers: beaters, mallets, sticks, bows, specific manual techniques up to and including electronic pulse generators. This book describes all of them in detail and illustrates their range of application in carefully selected and annotated examples from the repertoire. Many essays by guest authors such as Nicolaus A. Huber, Steven Schick, Fritz Hauser and Bernhard Wulff relate the performance descriptions to ongoing aesthetic debates. They reveal that sound production and interaction with sound-generating objects have moved centre stage in contemporary composition and its expanded concepts of material and performance. The result is a comprehensive reference book for composers and performers that will also serve as a source of inspiration for future innovative approaches in percussion playing.The authorsChristian Dierstein completed his musical studies with Bernhard Wulff (Freiburg), Gaston Sylvestre (Paris) and Wassilios Papadopulus (Mannheim). A multiple prize-winner at music competitions, he has played percussion withEnsemble Recherchesince 1988 andTrio Accantosince 1994 together with Nic Hodges and Marcus Weiss. In addition he has been professor of percussion and contemporary chamber music at the Basel Academy of Music since 2001. Michel Roth is professor of composition and music theatre at the Basel Academy of Music and a member of its research department. As a composer he is a regular guest at music festivals, recently with a focus on music theatre. In 2017 Barenreiter published hisTechniques of Trombone Playingco-written with Mike Svoboda. This was awarded theBest Editionprize by the German Music Publishers Association in 2018.Jens Ruland studied percussion with Carlos Tarcha at the Cologne University of Music (2007-12) where he completed his performance and teaching degree with distinction. Since 2012 he has consolidated his studies with Christian Dierstein in Basel. He is a founding member ofhand werk(Cologne),232 percussion(Cologne),Ensemble New4Art(Switzerland) and the music theatre duoAkt-tkA(Spain and Switzerland).
SKU: GI.G-10174
ISBN 9781622774838.
NOW AVAILABLE! Habits of a Successful Beginner Band Musician is a field-tested, vital, and—most important—musical collection of 225 sequenced exercises for the beginning band student. The book’s cutting-edge online component, Habits Universal, features a backend gradebook that allows students to submit video recordings of their performances as a primary source of assessment. This gradebook is compatible with PowerSchool, Canvas, Google Classroom, Brightspace, Edmodo, Schoology, and many other platforms! In addition, Habits Universal features supplemental rhythm vocabulary sheets, accompaniment tracks, video start-up clinics, as well as a professional video coach for each exercise in the book. What makes Habits of a Successful Beginner Band Musician unique? Features include: Teacher tips for each exercise in the book. Diatonic solfege that begins on the first day of instruction. Initial exercises on the mouthpiece, mouthpiece and barrel, reed, bocal and reed, or headjoint prior to playing the first notes in the book. Sequential rhythm charts embedded in the book. These same rhythms are then presented with pitches for a seamless transfer to the music students are performing. Technique and skill-building exercises embedded within the method, which helps to prepare students for future Habits exercises. The introduction of the key of Concert C, which results in students playing the pitches B, E, and A more often (as opposed to the typical emphasis on B-flat, E-flat, and A-flat). The introduction of five keys: Concert B-flat, E-flat, A-flat, C, and F. The Concert G scale is also provided in the back of the book. Left (L) and right (R) indicators for woodwinds along with appropriate chromatic alternate fingering indicators. Shaded boxes around first-time challenges in the student books. A thorough explanation of (T:1) for trombones and rules for when to use it. Rhythm vocabulary that progresses through quarters, eighths, dotted rhythms, sixteenths, and an eighth and two sixteenths. The sequential introduction of the one-handed breakdown of a percussion rudiment before introducing the rudiment itself. The use of the “enharmonic ladder†and the “call-and-response game†to learn enharmonic notes. A thorough explanation of and markings for the “F dilemma†on oboe. An explanation of appropriate flicking on bassoon. Two pages of slow “clarinets only†work that focuses on going over the break and throat tones. .
SKU: HL.49020761
ISBN 9783254000019. German.
'The whole range of percussion instruments can be compared to a magic kitchen. Like a good cook who is in great command of his spices and uses them quite effectively, the resourceful percussionist can create the most wonderful musical treats in his magic kitchen' - This is how Gerd Albrecht introduces his young and old readership to the orchestra in his book 'Musical Instruments and How to Play Them'. He gives a comprehensible and illuminating account of the instruments' history, construction features, sound generation, sound and playing technique. Which is the oldest instrument of the orchestra? Where is the set of timpani positioned on the stage? What is a 'lemon mouth' and what does that mean to a wind player? The answers to such questions are contained in this edition, complemented by graphic explanatory photos and humorous cartoons as well as by the attached CD introducing the sound of the individual orchestral instruments by using original examples from the musical literature.Included in the list of recommended educationally worthy picture books 2004 by the 'Gesellschaft fur Jugend- und Sozialforschung' (GJSF) [Society for Youth and Social Research].
SKU: HL.49018995
ISBN 9783795754945. UPC: 888680927080. 9.5x12.5x2.0 inches.
These exercises and pieces will help wind ensembles focus their concentration on the perception and implementation of refined playing techniques. Practicing music playfully will help students get the hang of contemporary music. Basic Steps will cover the following topics: Warm-up, intonation, chord colours, articulation and rhythm with a particular emphasis on the genre of Swing. This will be accompanied by compact orchestra etudes as well as short pieces. Set of parts - 1 Piccolo, 2 Flute 1, 2 Flute 2, 1 Oboe, 1 F English Horn, 1 Oboe, 1 Eb Clarinet, 3 Bb Clarinet 1, 3 Bb Clarinet 2, 3Bb Clarinet 3, 1 Eb Alto Clarinet, 1 Bb Bass Clarinet, 1 Eb Alto Saxophone 1, 1 Eb Alto Saxophone 2, 1 Bb Tenor Saxophone 1, 1 Bb Tenor Saxophone 2, 1 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 3 Bb Trumpet 4, 1 F Horn 1, 1 F Horn 2, 1 F Horn 3, 1 F Horn 4, 1 Trombone 1, 1 Trombone 2, 1 Trombone 3, 1 Trombone 4 (Bass Trombone), 1 Baritone 1, 1 Baritone 2, 1 Baritone 1 (Bb Tenorhorn 1), 1 Baritone 2 (Bb Tenorhorn 2), 3 Tuba, 1 E-Bass-Tuba, 1 E-Bass, 1 Percussion (Xylophone), 1 Percussion 1 (Bongos, Congas, Pandeiro), 1 Percussion 2 (Tambourine, Cabassa). 1 Percussion 3 (Triangle, Cabassa), 1 Percussion 4 (Shaker), 1 Drums, 1 Harmonic Reference - wind band.
SKU: CF.BPS132
ISBN 9781491158463. UPC: 680160917068. 9 x 12 inches.
Secret Mission is a cinematic depiction of a spy on a mission to defeat a nefarious villain. This was inspired by my love for several spies and superheroes from movies and television series, both serious and humorous. With exciting parts for all players, I hope your imagination is sparked by this accessible and melodic piece. In the opening, the spy receives his mission in grand fashion, as the title sequence rolls across the screen. After a dramatic pause (m. 10), the spy is on the chase! The melody at m. 11 depicts the spy doing reconnaissance on his enemy. The villain reveals his evil plan, and soon, the hero and the villain face off in an epic battle! Who do you think wins? Is it a serious thriller or a hilarious cartoon? Decide for your own as you see the end credits scroll! Itas an epic journey sure to spark your imagination. For smaller ensembles, the power chords in the low brass can be divided such that trombones take the top note, and euphonium the bottom, or divide it as is appropriate for your ensemble. At m. 9, and as it recurs, the students should choose a note that is comfortably in their playing range that they can play beautifully. They should, however, strive to choose a different note than their neighbor, and can change the note as this technique recurs. The melody at measure 11 should sound soft, light, and sneaky! Do not let the students get too loud at m. 17. If anything, this section should be slightly softer. The woodblock and cowbell add a touch of urgency (like the ticking of a clock) and humor (I got a fevah!). Make sure the countermelody at m. 25 can be heard clearly. At m. 33, dynamic contrast is very important. If needed, a crash cymbal from a drum set can be used, and both cymbals can be struck by a drumstick. In either case, suspended cymbal should be played with a drumstick (unless rolling: then, use a pair of yarn mallets). I sincerely hope you and your students enjoy the cinematic journey, and thank you for choosing my music!.Secret Mission is a cinematic depiction of a spy on a mission to defeat a nefarious villain. This was inspired by my love for several spies and superheroes from movies and television series, both serious and humorous. With exciting parts for all players, I hope your imagination is sparked by this accessible and melodic piece. In the opening, the spy receives his mission in grand fashion, as the title sequence rolls across the screen. After a dramatic pause (m. 10), the spy is on the chase! The melody at m. 11 depicts the spy doing reconnaissance on his enemy. The villain reveals his evil plan, and soon, the hero and the villain face off in an epic battle! Who do you think wins? Is it a serious thriller or a hilarious cartoon? Decide for your own as you see the end credits scroll! It's an epic journey sure to spark your imagination. For smaller ensembles, the power chords in the low brass can be divided such that trombones take the top note, and euphonium the bottom, or divide it as is appropriate for your ensemble. At m. 9, and as it recurs, the students should choose a note that is comfortably in their playing range that they can play beautifully. They should, however, strive to choose a different note than their neighbor, and can change the note as this technique recurs. The melody at measure 11 should sound soft, light, and sneaky! Do not let the students get too loud at m. 17. If anything, this section should be slightly softer. The woodblock and cowbell add a touch of urgency (like the ticking of a clock) and humor (I got a fevah!). Make sure the countermelody at m. 25 can be heard clearly. At m. 33, dynamic contrast is very important. If needed, a crash cymbal from a drum set can be used, and both cymbals can be struck by a drumstick. In either case, suspended cymbal should be played with a drumstick (unless rolling: then, use a pair of yarn mallets). I sincerely hope you and your students enjoy the cinematic journey, and thank you for choosing my music!.Secret Mission is a cinematic depiction of a spy on a mission to defeat a nefarious villain. This was inspired by my love for several spies and superheroes from movies and television series, both serious and humorous. With exciting parts for all players, I hope your imagination is sparked by this accessible and melodic piece. In the opening, the spy receives his mission in grand fashion, as the title sequence rolls across the screen. After a dramatic pause (m. 10), the spy is on the chase! The melody at m. 11 depicts the spy doing reconnaissance on his enemy. The villain reveals his evil plan, and soon, the hero and the villain face off in an epic battle! Who do you think wins? Is it a serious thriller or a hilarious cartoon? Decide for your own as you see the end credits scroll! It’s an epic journey sure to spark your imagination.For smaller ensembles, the power chords in the low brass can be divided such that trombones take the top note, and euphonium the bottom, or divide it as is appropriate for your ensemble. At m. 9, and as it recurs, the students should choose a note that is comfortably in their playing range that they can play beautifully. They should, however, strive to choose a different note than their neighbor, and can change the note as this technique recurs. The melody at measure 11 should sound soft, light, and sneaky! Do not let the students get too loud at m. 17. If anything, this section should be slightly softer. The woodblock and cowbell add a touch of urgency (like the ticking of a clock) and humor (I got a fevah!). Make sure the countermelody at m. 25 can be heard clearly. At m. 33, dynamic contrast is very important. If needed, a crash cymbal from a drum set can be used, and both cymbals can be struck by a drumstick. In either case, suspended cymbal should be played with a drumstick (unless rolling: then, use a pair of yarn mallets). I sincerely hope you and your students enjoy the cinematic journey, and thank you for choosing my music!
SKU: CF.BPS132F
ISBN 9781491158470. UPC: 680160917075. 9 x 12 inches.
SKU: CF.WF219
ISBN 9781491149195. UPC: 680160906697. 9 x 12 inches.
Continuing with the success of the popular Compatible series, Compatible Duets for Winds Volume 2 contains 29 duets in a variety of styles that can be played with any combination of two wind instruments. Students can develop their chamber-ensemble skills while playing with their friends, no matter what wind instruments they play. Ranging from grade levels 2-3, Compatible Duets for Winds Volume 2 is perfect for band directors looking for new tools for the classroom, and its flexibility makes it a must-have for any wind player.Having students play in small chamber music groups is a very beneficial exercise to improvethe student’s overall musicianship. The simplest form of chamber music is the duet. It is anopportunity for the student to play with a teacher or to play with another student of similarabilities. Aspects of playing such as tone quality, intonation, technique and ensemble skillscan be developed during the process of studying duets.These duets are different in that they have many different performance options, since all ofthe books in this series are compatible. As a former middle-school band director I alwayshad students that wanted to come to the band room during lunch or after school; studentswho just wanted to play with their friends. That was not possible since there was very littleduet material available that was compatible with all of the wind instruments. This bookand the first volume in the series take care of that. A student can now grab their friend,no matter what instrument they play, and have hours of fun playing duets together. Mostimportantly, they will learn something in the process.The duets have been generally placed in the book in order of difficulty and cover a rangeof keys that are appropriate for this ability level. Special care was given to making surethat both of the duet parts were on a similar ability level and that each line was givenan opportunity to play a lead role at some point during the arrangement. Also, most ofthe musical markings are attached to both systems, and the point size of the music wasconsidered for ease of reading.It is my hope that this collection will help to stimulate and enhance the musicianship of theperformers. It was a pleasure for me to have the opportunity to put together this collection.I hope it is a useful tool for you for years to come.
SKU: HL.50606642
ISBN 9781705198544. UPC: 196288151180.
The baritone (euphonium) is an important basic instrument in brass ensembles. The blowing technique is similar to that for the trombone and tuba, but the grip and handling technique are easier, thus it can be learnt as a preparatory instrument for them, from the age of 8 or 10. From the initial steps, first with breathing exercises, lip and mouthpiece exercises, then in ascending order ofdifficulty and gradually increasing the range of notes used, this volume provides daily exercises, scales, etudes, folk tunes and performance pieces, initiating the learner in the art of playing the baritone. The textual instructions are supplied in three languages: German, English and Hungarian. The trombonist Ferenc Steiner was born in 1931. From 1960 to 1991 he was a member of the Hungarian State Opera and the Philharmonic Society as well as the Hungarian Brass Ensemble. Education played a major role in the life of Ferenc Steiner as an author and editor of numerous pedagogical editions. He began teaching at the School of Music in Pécs, then moved on to the College for Officers of the Hungarian Defense Forces and later continued his teaching activity at the Liszt Academy in Budapest until 2001. He has passed away on the 25th of March in 2011. The piano accompaniment to this volume is published separately (14284P).
SKU: HL.50606644
ISBN 9781705198568. UPC: 196288151203.
Piano accompaniment to the volume 50606642 Baritone ABC. The baritone (euphonium) is an important basic instrument in brass ensembles. The blowing technique is similar to that for the trombone and tuba, but the grip and handling technique are easier, thus it can be learnt as a preparatory instrument for them, from the age of 8 or 10. From the initial steps, first with breathing exercises, lip and mouthpiece exercises, then in ascending order of difficulty and gradually increasing the range of notes used, this volume provides daily exercises, scales, etudes, folk tunes and performance pieces, initiating the learner in the art of playing the baritone. The textual instructions are supplied in three languages: German, English and Hungarian.
SKU: M7.AHW-2090
English.
Unlike most duets, these pieces were designed to serve many purposes. First and foremost, they are intended to be fun to play and listen to, but each of them is challenging and filled with musical problems comparable to those found in professional playing situations. Some of the uses to which these duets might be put are: Developing sight reading skills. To this end the players are encouraged to vary the tempo, dynamics, phrasing as well as switch parts. Learning to recognize and interpret some of the most commonly used jazz figures. Developing a feel for swing. Developing facility and technique. Developing transpositional skills. The performer is encouraged to also use the duets for sight singing, studying the II/V7 and other formulaic patterns and in actual performance situations.
