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: WD.080689465574
UPC: 080689465574.
SKU: HL.49045790
ISBN 9790001176255. UPC: 888680748135. 9.0x12.0x0.295 inches. German - English - French.
The Listening Hand is a collection of exercises intended for all pianists who wish to develop their skills through 20th and 21st century music. Volume 3 focuses on rhythmic studies with examples selected from a wide range of repertoire.
SKU: MB.20300M
ISBN 9780786690350. 8.75 x 11.75 inches.
Volume II is aimed at two distinct categories of readers: 1 Intermediate players who are ready for a wider range of rhythms to study and use in live playing situations; and 2 Experienced congueros who have digested Volume I and now seek to understand the roots of the modern Cuban conga style. Having assimilated the material in Volume I, the student should be able to play basic Son Montuno, Salsa, Chachacha, and Bolero.Volume II moves on to Guaguanco, Iyesa, 6/8, Changui, Afro, Mozambique, Pilon, Songo, Merengue, Bomba, Cumbia and other rhythms that a professional conguero will be expected to know. Each rhythm is accompanied by an article reflecting on its history and role in the big picture of Latin music and offering listening recommendations. Like Volume I, it uses the Step by Step online video Method. A special 8-page appendix explains the often infuriatingly complex subject of clave with an unprecedented level of clarity and insight. Includes access to online video.
SKU: GI.G-2593R100
English.
Two aptitude tests designed to diagnose and measure music potential:* The only brief, longitudinally valid music aptitude tests for Grades K-6. * Crucial in helping music teachers adapt instruction to the individual musical needs of their students. * Requires no reading or music skills. The administration time is at most two 20-minute periods. Both tests have a similar design. The “Primary†test is recommended for use with younger children (K-3). The “Intermediate†test is recommended for older children or younger children who find the “Primary†test too simple. Test materials and how they work: 1. Children take the test by simply listening to a tonal cassette and a rhythm cassette. Each tape is only 12 minutes long. 2. Questions on the tape are identified on the answer sheet by pictures, not numbers or words. The children must decide whether pairs of tonal or rhythm patterns they hear sound the same or different. They indicate their choice by simply drawing a circle around the picture on the answer sheet. These tests require no reading skills. 3. The answer sheets can be corrected quickly by using scoring masks. Raw scores are directly converted to percentile ranks in the manual. 4. A profile card is used for each child for individual documentation and the interpretation of scores. The tonal and rhythm results are graphically compared for each child. 5. A class record sheet helps interpret the test scores for the entire class. 6. The manual gives complete information for administering, scoring, and interpreting test results. The manual also makes suggestions for formal and informal music instruction, and includes a discussion on the nature and description of music aptitude, as well as a comprehensive bibliography. Complete kit includes: 100 rhythm answer sheets, 100 tonal answer sheets, CD with tonal and rhythm tests, introduction to testing booklet and two research monographs, one set of scoring masks, manual, 100 student profile cards, and four class record sheets. Items also available separately.
