SKU: CF.WF231
ISBN 9781491153314. UPC: 680160910816.
Stylistic 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: HL.49010789
ISBN 9790001096379. UPC: 884088271183. 8.25x11.75x0.019 inches.
SKU: M7.GHE-914
ISBN 9783890449142. English.
The fingering on nearly all 'modern' editions of the Carcassi studies Op. 60, to a very large extent if not almost completely, derives originally from Llobet, who in his Rowies, Paris 1914 edition was the very first to publish RH fingering for them. Many modern editors just put their own names on what was Llobet's fingering, thus silently claiming it as their own. A process being continued even to this day. We are pleased to present a carefully restored facsimile of this edition from Llobet's library with all his fingering and emendations intact.
SKU: HL.50511772
ISBN 9790080144787. UPC: 840126939699. 8.0x11.25x0.268 inches. Hungarian, English, German, French. Andras Soos.
This volume contains short two-part extracts from choral church music of the 15th century (masses and motets), arranged in ascending order of difficulty. The principal aim of this compilation was pedagogical: to provide students with fairly easy etudes of the period, through which they can later gain access to the large-scale, four-part compositions of Renaissance vocal polyphony, which at first sight generally seem very difficult and complex. At the same time, many of these pieces of varying length, each of which forms a complete unit in itself, are very suitable for public performance, and for use in a liturgical framework.
SKU: BT.EMBZ14478
Hungarian-English-German-French.
This volume contains short two-part extracts from choral church music of the 15th century (masses and motets), arranged in ascending order of difficulty. The principal aim of this compilation was pedagogical: to provide students with fairly easy etudes of the period, through which they can later gain access to the large-scale, four-part compositions of Renaissance vocal polyphony, which at first sight generally seem very difficult and complex. At the same time, many of these pieces of varying length, each of which forms a complete unit in itself, are very suitable for public performance, and for use in a liturgical framework.In diesem Band finden sich nach Schwierigkeitsgrad geordnet kurze zweistimmige Ausschnitte aus geistliche Chorwerken (Messen und Motetten) des 15. Jahrhunderts. Diese Sammlung verfolgt vor allem pädagogische Ziele, in dem sie den Schülern leichtere, zeitgenössische ‚Etüden' in die Hand gibt, durch die sie später auch bis hin zu den grossangelegten, vier- oderfünfstimmigen und auf den ersten Blick zumeist recht schwer und kompliziert wirkenden Kompositionen der Polyphonie in der Renaissance gelangen können. Gleichzeitig sind seinezahlreichen, auch in sich selbst eine abgeschlossene Einheit bildenden, mehr oder weniger langen Stücke hervorragen dazu geeignet, öffentlich aufgeführtoder im Rahmen der Liturgie gesungen zu werden.
SKU: HL.49019295
ISBN 9783795703400. UPC: 841886018525. 6.75x9.5x0.292 inches. German - English.
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. Conductor's guide with CD.
SKU: HL.49018994
ISBN 9783795754938. UPC: 888680927073. 9.0x12.0x0.14 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.
SKU: HL.49019296
ISBN 9783795708047. UPC: 888680926113. 9.5x12.25x2.25 inches. German - English.
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. Pack includes 49018994, 49018995 and 49019295 (score, parts and conductor's guide).
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: BT.DOW-03701-400
ISBN 9783905477023. International.
1 Harry Schneemann: Spuren im Schnee - Schülerstimme2 Harry Schneemann: Spuren im Schnee - Lehrerstimme3 Peter Pffffff: Die Luftmatratze - Schülerstimme4 Peter Pffffff: Die Luftmatratze - LehrerstimmeBij de Kompendiums (handboeken) gaat het niet om een traditionele methode, maar om een didactisch verantwoorde verzameling van oefeningen en stukken. Naast korte muziekstukken staan in de handboeken toonladder- en drieklankoefeningenevenals ‘kleineetudes’; bij elk deel horen twee meespeel-cd’s en verschillende stickers herinneren de leerlingen aan belangrijke onderwerpen - en wie voldoende stukken heeft geoefend, ontvangt aan het einde van elk deel als beloningeen oorkonde. De handboekenkunnen als op zichzelf staande lesboeken worden gebruikt, maar zijn ook geschikt als aanvulling op andere methodeboeken voor strijkers. Het bijzondere is dat de leerlingen alle stukken en oefeningendaadwerkelijk doorwerken en zo snel vorderingenmaken. De handboeken zijn door de succesvolle pedagoog Josef Hofer bewerkt en zijn verschenen in het Duits. Kompendium für Cello, Band 1allereerste begin met open snaren• elementaire stokindeling • introductie van de vingers van de linkerhand1 Harry Schneemann: Spuren im Schnee - Schülerstimme2 Harry Schneemann: Spuren im Schnee - Lehrerstimme3 Peter Pffffff: Die Luftmatratze - Schülerstimme4 Peter Pffffff: Die Luftmatratze - LehrerstimmeBei den Kompendien für Cello handelt es sich nicht um eine Schule im herkömmlichen Sinn, sondern um eine didaktisch orientierte Sammlung von Übungen und Stücken. Die Kompendien orientieren sich an den traditionellen Schulen von Küchler,Doflein, Rolland und anderen berühmten Pädagogen, sind aber inhaltlich und von der Aufmachung her an die heutige Zeit angepasst: Neben kleinen Musikstücken findet man Tonleiter- und Dreiklangübungen sowie Etüdchen“, zu jedem Band gibt es zwei CDszum Mitspielen, verschiedene Aufkleber erinnern die Schüler an wichtige Dinge - und wer genügend Stücke geübt hat, erhält am Ende jedes Bandes zur Belohnung ein Zeugnis. Die Kompendien können alseigenes Lehrwerk, aber auch ergänzend zu anderenInstrumentalschulen für Streicher verwendet werden. Das Besondere an den Kompendien ist, dass die Schüler alle Stücke und Übungen tatsächlich durcharbeiten und dadurch sehr schnell Fortschritte machen.Kompendium für Cello, Allererster Anfang mit leeren SaitenElementare BogeneinteilungEinführung der Finger der linken HandEtüdchenFingertabelleTonleiternDreiklangübungen1 Harry Schneemann: Spuren im Schnee - Schülerstimme2 Harry Schneemann: Spuren im Schnee - Lehrerstimme3 Peter Pffffff: Die Luftmatratze - Schülerstimme4 Peter Pffffff: Die Luftmatratze - Lehrerstimme.
SKU: HL.50511847
ISBN 9790080001271. 9.0x12.0x0.141 inches. Hungarian-English-German-French. Peter Bartok.
Bela Bartok's Mikrokosmos series contains 153 progressive piano pieces published across six volumes by Editio Musica Budapest. The series, which was written between 1926 and 1939, starts with very easy beginner etudes and progresses to difficult advanced technical displays, and remains an essential part of modern piano lessons and education.
The word Mikrokosmos may be interpreted as a series of pieces in many different styles, representing a small world. Or it may be interpreted as world of the little ones, the children.Der Mikrokosmos ist ein Zyklus von 153 Stucken fur Klavier, zu didaktischen Zwecken geschrieben (Band 1: Z. 125, Band 2: Z. 126, Band 3: Z. 127, Band 4: Z. 128, Band 5: Z. 129, Band 6: Z. 130). Das bedeutet, dass von Anfang an kleine Klavierstucke g eubt werden konnen, um dann darauf weiter aufzubauen, da die Stucke entsprechend ihrem Schwierigkeitsgrad angeordnet sind. Das Wort Mikrokosmos kann als eine Serie von Stucken in verschiedenen Stilen verstanden werden, die zusammen eine kleine Welt b ilden. Oder man kann es als ,die Welt der Kleinen, der Kinder' verstehen. (Aus einem Interview des WNYC, New York, Anfang 1945, im Rahmen einer Sendung mit dem Titel Fragen Sieden Komponisten.).
SKU: BT.EMBZ126
Béla Bartók's Mikrokosmos series contains 153 progressive piano pieces published across six volumes by Editio Musica Budapest. The series, which was written between 1926 and 1939, starts with very easy beginner etudes and progresses to difficult advanced technical displays, and remains an essential part of modern piano lessons and education. The word Mikrokosmos may be interpreted as a series of pieces in many different styles, representing a small world. Or it may be interpreted as world of the little ones, the children.Der Mikrokosmos ist ein Zyklus von 153 Stücken für Klavier, zu didaktischen Zwecken geschrieben (Band 1: Z. 125, Band 2: Z. 126, Band 3: Z. 127, Band 4: Z. 128, Band 5: Z. 129, Band 6: Z. 130). Das bedeutet, dass von Anfang an kleine Klavierstücke g eübt werden können, um dann darauf weiter aufzubauen, da die Stücke entsprechend ihrem Schwierigkeitsgrad angeordnet sind. Das Wort Mikrokosmos kann als eine Serie von Stücken in verschiedenen Stilen verstanden werden, die zusammen eine kleine Welt b ilden. Oder man kann es als ‚die Welt der Kleinen, der Kinder' verstehen. (Aus einem Interview des WNYC, New York, Anfang 1945, im Rahmen einer Sendung mit dem Titel Fragen Sieden Komponisten.).
SKU: BT.EMBZ125
