SKU: PR.165001000

ISBN 9781491129241. UPC: 680160669776. 9 x 12 inches.

Commissioned for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,”giving rise to the work’s title.
This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,” butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty” than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?” takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.”Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,”constantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.” This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key” of the hymn seems to shift — until the “Lord of all, toThee we praise” melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tune”heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty” with long spaces between them, but it soonchanges to a series of “Amen” cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth” contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sight”and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected.

SKU: CF.YPS228F

ISBN 9781491157978. UPC: 680160916573. 9 x 12 inches.

Ninja is a Grade 2 piece playable by any young band, due to extensive doublings throughout. The mood of the piece is mysterious, reflecting the image of ninjas being seen one moment and gone the next. Flute 3 is not essential as it doubles the oboes, but is useful in case you have a lot of flutes or due to a limited number of oboes. If you donat have a bass clarinet, baritone saxophone or bassoons, those parts are covered in the low brass. The timpani part is optional, and the piece wonat suffer if you donat have access to that percussion. The optional F-chime and gong only play in the final measure of the piece. While adding a notable effect at the end, those instruments wonat be missed if you donat have them available. The tom-tom part can be played on a snare drum with the snares off or may be played on a tenor drum. Care should be taken that accented notes are emphasized, but never become ponderous. The half notes at the beginning of the piece should not be accented. The theme is introduced in the first twelve measures, and at m. 13 many of the instruments trade the melody for half notes and vice-versa. Be careful that the percussion section never becomes overpowering. At m. 25, care should be taken that there is quite a volume difference between ff and mp. Think of this representing the ninjas being seen one moment and being hidden the next. The double staccato figures at m. 33 should not be accented. Trumpets and trombones at m. 37 should not be overly legato, but certainly shouldnat be treated as staccatos. Being aware of not accenting notes that donat have accents will make the accents at m. 49 more dramatic. Please note that the legato notes at mm. 58 and 60 are not to be accented.
Ninja is a Grade 2 piece playable by any young band, due to extensive doublings throughout. The mood of the piece is mysterious, reflecting the image of ninjas being seen one moment and gone the next. Flute 3 is not essential as it doubles the oboes, but is useful in case you have a lot of flutes or due to a limited number of oboes. If you don't have a bass clarinet, baritone saxophone or bassoons, those parts are covered in the low brass. The timpani part is optional, and the piece won't suffer if you don't have access to that percussion. The optional F-chime and gong only play in the final measure of the piece. While adding a notable effect at the end, those instruments won't be missed if you don't have them available. The tom-tom part can be played on a snare drum with the snares off or may be played on a tenor drum. Care should be taken that accented notes are emphasized, but never become ponderous. The half notes at the beginning of the piece should not be accented. The theme is introduced in the first twelve measures, and at m. 13 many of the instruments trade the melody for half notes and vice-versa. Be careful that the percussion section never becomes overpowering. At m. 25, care should be taken that there is quite a volume difference between ff and mp. Think of this representing the ninjas being seen one moment and being hidden the next. The double staccato figures at m. 33 should not be accented. Trumpets and trombones at m. 37 should not be overly legato, but certainly shouldn't be treated as staccatos. Being aware of not accenting notes that don't have accents will make the accents at m. 49 more dramatic. Please note that the legato notes at mm. 58 and 60 are not to be accented.
Ninja is a Grade 2 piece playable by any young band, due to extensive doublings throughout. The mood of the piece is mysterious, reflecting the image of ninjas being seen one moment and gone the next.Flute 3 is not essential as it doubles the oboes, but is useful in case you have a lot of flutes or due to a limited number of oboes. If you don’t have a bass clarinet, baritone saxophone or bassoons, those parts are covered in the low brass. The timpani part is optional, and the piece won’t suffer if you don’t have access to that percussion. The optional F-chime and gong only play in the final measure of the piece. While adding a notable effect at the end, those instruments won’t be missed if you don’t have them available. The tom-tom part can be played on a snare drum with the snares off or may be played on a tenor drum.Care should be taken that accented notes are emphasized, but never become ponderous. The half notes at the beginning of the piece should not be accented. The theme is introduced in the first twelve measures, and at m. 13 many of the instruments trade the melody for half notes and vice-versa. Be careful that the percussion section never becomes overpowering.At m. 25, care should be taken that there is quite a volume difference between ff and mp. Think of this representing the ninjas being seen one moment and being hidden the next. The double staccato figures at m. 33 should not be accented. Trumpets and trombones at m. 37 should not be overly legato, but certainly shouldn’t be treated as staccatos. Being aware of not accenting notes that don’t have accents will make the accents at m. 49 more dramatic. Please note that the legato notes at mm. 58 and 60 are not to be accented.

SKU: CF.CPS245F

ISBN 9781491158135. UPC: 680160916733. 9 x 12 inches.

ABOUT THE MUSIC Future of Tomorrow (Concert March) was commissioned by the Arts Education Branch, Ministry of Education as the set piece for the Singapore Youth Festival 2016 Arts Presentation for Concert and Brass Bands (Primary Level). This march uses brief excerpts from the well-known Malay folk songs Katak Lompat and Rasa Sayang. Our youths are indeed our future of tomorrow. This joyful-themed march aims to bring out the best in each of your young players. I hope that students, band directors and audiences will enjoy preparing, performing and listening to this work. EDUCATIONAL NOTES Key: Eb Major SECTION BARS EVENT / SCORING / SUGGESTIONS Introduction 1-4 Opens in Eb major with dotted rhythm motif. 1st Strain 5-20 Take note of melodic phrasing above the (light) oom-pah ostinato; melody repeats at m. 13 with the addition of countermelody in the inner lines; although written at mf dynamic, this anew ideaa needs to be heard clearly for contrast with the previous statement. 2nd Strain 21-36 C minor (relative minor); excerpt from Katak Lompat; melody in the lower brass/wind from m. 21 with a contrasting attitude/style from 1st strain; back to a more lyrical treatment from m. 29. Trio 37-56 Stays unmodulated in the same key; opens with a percussion solo feature before the start of the softer Trio theme; keep this section controlled and be sensitive to the balance; the metallic timbre of the muted trumpet/cornet needs to be heard clearly (might suggest to bring the dynamic level up to mf when muted); if cued-notes are played, make sure they are played throughout the melodic phrase as written to avoid awkward leaps. Break Strain 57-62 Excerpt from Rasa Sayang with some play in tonality and instrumental dialogue; quasi grandioso-style before the final strain. Final Strain 63-82 Back to Eb major with the reprise of the Trio theme; festive-like style with fuller orchestration and new countermelodies; dotted rhythm motif from the introduction concludes the march in a codetta-like section from m. 79. NOTE TO THE CONDUCTOR This march has been carefully written with reasonable technicalities and range in mind for younger players. Generally, optional cued notes in parenthesis are given for less experienced players who have yet to develop their range on the instrument. However, they should never be taken as an easy alternative for all players in the section; otherwise, this may result in a less than ideal flow of the musical lines. Marches are good tools to train tempo consistency, articulation and rhythmic precision as well as musical phrasing. I hope that there will be great learning opportunities for your students as they learn this piece. This march is separately orchestrated for both wind and brass bands to maximize the instrumental colors within each ensemble. The parts are therefore not exchangeable between the wind band and brass band sets. I wish you the best in the performance of this work. - Benjamin Yeo.
ABOUT THE MUSIC Future of Tomorrow (Concert March) was commissioned by the Arts Education Branch, Ministry of Education as the set piece for the Singapore Youth Festival 2016 Arts Presentation for Concert and Brass Bands (Primary Level). This march uses brief excerpts from the well-known Malay folk songs Katak Lompat and Rasa Sayang. Our youths are indeed our future of tomorrow. This joyful-themed march aims to bring out the best in each of your young players. I hope that students, band directors and audiences will enjoy preparing, performing and listening to this work. EDUCATIONAL NOTES Key: Eb Major SECTION BARS EVENT / SCORING / SUGGESTIONS Introduction 1-4 Opens in Eb major with dotted rhythm motif. 1st Strain 5-20 Take note of melodic phrasing above the (light) oom-pah ostinato; melody repeats at m. 13 with the addition of countermelody in the inner lines; although written at mf dynamic, this 'new idea' needs to be heard clearly for contrast with the previous statement. 2nd Strain 21-36 C minor (relative minor); excerpt from Katak Lompat; melody in the lower brass/wind from m. 21 with a contrasting attitude/style from 1st strain; back to a more lyrical treatment from m. 29. Trio 37-56 Stays unmodulated in the same key; opens with a percussion solo feature before the start of the softer Trio theme; keep this section controlled and be sensitive to the balance; the metallic timbre of the muted trumpet/cornet needs to be heard clearly (might suggest to bring the dynamic level up to mf when muted); if cued-notes are played, make sure they are played throughout the melodic phrase as written to avoid awkward leaps. Break Strain 57-62 Excerpt from Rasa Sayang with some play in tonality and instrumental dialogue; quasi grandioso-style before the final strain. Final Strain 63-82 Back to Eb major with the reprise of the Trio theme; festive-like style with fuller orchestration and new countermelodies; dotted rhythm motif from the introduction concludes the march in a codetta-like section from m. 79. NOTE TO THE CONDUCTOR This march has been carefully written with reasonable technicalities and range in mind for younger players. Generally, optional cued notes in parenthesis are given for less experienced players who have yet to develop their range on the instrument. However, they should never be taken as an easy alternative for all players in the section; otherwise, this may result in a less than ideal flow of the musical lines. Marches are good tools to train tempo consistency, articulation and rhythmic precision as well as musical phrasing. I hope that there will be great learning opportunities for your students as they learn this piece. This march is separately orchestrated for both wind and brass bands to maximize the instrumental colors within each ensemble. The parts are therefore not exchangeable between the wind band and brass band sets. I wish you the best in the performance of this work. - Benjamin Yeo.
ABOUT THE MUSICFuture of Tomorrow (Concert March) was commissioned by the Arts Education Branch, Ministry of Education as the set piece for the Singapore Youth Festival 2016 Arts Presentation for Concert and Brass Bands (Primary Level). This march uses brief excerpts from the well-known Malay folk songs Katak Lompat and Rasa Sayang.Our youths are indeed our future of tomorrow. This joyful-themed march aims to bring out the best in each of your young players. I hope that students, band directors and audiences will enjoy preparing, performing and listening to this work.EDUCATIONAL NOTESKey: Eb MajorSECTIONBARSEVENT / SCORING / SUGGESTIONSIntroduction1-4Opens in Eb major with dotted rhythm motif.1st Strain5-20Take note of melodic phrasing above the (light) oom-pah ostinato;melody repeats at m. 13 with the addition of countermelody in the inner lines; although written at mf dynamic, this ‘new idea’ needs to be heard clearly for contrast with the previous statement.2nd Strain21-36C minor (relative minor); excerpt from Katak Lompat; melody in the lower brass/wind from m. 21 with a contrasting attitude/style from 1st strain; back to a more lyrical treatment from m. 29.Trio37-56Stays unmodulated in the same key; opens with a percussion solo feature before the start of the softer Trio theme; keep this section controlled and be sensitive to the balance; the metallic timbre of the muted trumpet/cornet needs to be heard clearly (might suggest to bring the dynamic level up to mf when muted); if cued-notes are played, make sure they are played throughout the melodic phrase as written to avoid awkward leaps.Break Strain57-62Excerpt from Rasa Sayang with some play in tonality and instrumental dialogue; quasi grandioso-style before the final strain.Final Strain63-82Back to Eb major with the reprise of the Trio theme; festive-like style with fuller orchestration and new countermelodies; dotted rhythm motif from the introduction concludes the march in a codetta-like section from m. 79.NOTE TO THE CONDUCTORThis march has been carefully written with reasonable technicalities and range in mind for younger players. Generally, optional cued notes in parenthesis are given for less experienced players who have yet to develop their range on the instrument. However, they should never be taken as an easy alternative for all players in the section; otherwise, this may result in a less than ideal flow of the musical lines. Marches are good tools to train tempo consistency, articulation and rhythmic precision as well as musical phrasing. I hope that there will be great learning opportunities for your students as they learn this piece.This march is separately orchestrated for both wind and brass bands to maximize the instrumental colors within each ensemble. The parts are therefore not exchangeable between the wind band and brass band sets.I wish you the best in the performance of this work.- Benjamin Yeo.

SKU: CF.YPS197

ISBN 9781491152171. UPC: 680160909674. Key: Eb major.

Chase the Horizon is a musical journey depicting a lonesome cowboy riding on his horse, chasing the horizon. Composer John Pasternak has delivered a strong and musically rewarding piece for the young band. It begins with a nice legato section before setting off on the journey with a tuneful theme. The piece develops through several contrasting sections finishing in a dramatic conclusion.
This piece is a story of new beginnings. While writing this piece I pictured a lonely cowboy riding on his horse, chasing the horizon. The beginning for this piece should have a very legato feel except for the Xylophone part, which should use a very abrupt, staccato articulation. Measure 9 should take on a staccato and light feel. The feeling should remain light except for the instruments with the melody, who should play their parts with a more legato feel. Dynamics throughout this first section are crucial. All parts at m. 22 should play with a legato style with focus on the dynamics. The trumpet interjection at m. 25 should be played very light. At m. 32 there should be contrast with all the different styles of articulation. Measure 42 should not slow down too quickly as the group should not ever get slower than the tempo marking at m. 49.The slow section at m. 49 should be played soft with a legato style growing gradually through m. 61. The articulation at m. 61 should be short and staccato, and be careful not to rush. The sections with the melody here should contrast the staccato of the ensemble with a legato style. When the ensemble arrives at m. 78 the piece should have a maestoso-style feel. The rit. at m. 88 should not become slower than the tempo at m. 92. At m. 92, let the horns and saxophones really shine through.

SKU: CF.YPS249F

ISBN 9781491161883. UPC: 680160920563.

By Lantern's Light is a medley of Persian folk songs. The songs come from a collection for voice and piano by Clair Fairchild in his Twelve Persian Folk Songs published by Novello and Company, London, 1904. Fairchild's goal was to capture the spirit and ambiance of Persia's music and musicians. Fairchild took special care to preserve their authenticity by limiting western harmony. Such is also the case in this setting for concert band. Special attention should be given to replicate songlike phrasing of the melodic lines and the rhythmic integrity and style of the accompaniment. Conductors are encouraged to take liberties with dynamics and articulations to help performers play expressively. There are many inflections that exist beyond what is printed on the page. For example, the reeds might subtly shape the rhythmic accompaniment in m. 6-7, as might the trumpets with the melody in m. 18. In. m. 23, the wind musicians other than the trumpets are a part of the rhythm section with the percussion. These rhythms should fit together nicely to create a steady cadence. The melodic statements beginning at m. 35 should be carefully balanced to speak evenly throughout the various voices. If an oboist is not available, the solo in m. 57 has been cued in the alto saxophone.
By Lantern's Light is a medley of Persian folk songs. The songs come from a collection for voice and piano by Clair Fairchild in his Twelve Persian Folk Songs published by Novello and Company, London, 1904. Fairchild's goal was to capture the spirit and ambiance of Persia's music and musicians. Fairchild took special care to preserve their authenticity by limiting western harmony. Such is also the case in this setting for concert band. Special attention should be given to replicate songlike phrasing of the melodic lines and the rhythmic integrity and style of the accompaniment. Conductors are encouraged to take liberties with dynamics and articulations to help performers play expressively. There are many inflections that exist beyond what is printed on the page. For example, the reeds might subtly shape the rhythmic accompaniment in m. 6-7, as might the trumpets with the melody in m. 18. In. m. 23, the wind musicians other than the trumpets are a part of the rhythm section with the percussion. These rhythms should fit together nicely to create a steady cadence. The melodic statements beginning at m. 35 should be carefully balanced to speak evenly throughout the various voices. If an oboist is not available, the solo in m. 57 has been cued in the alto saxophone.
By Lantern’s Light is a medley of Persian folk songs. The songs come from a collection for voice and piano by Clair Fairchild in his Twelve Persian Folk Songs published by Novello and Company, London, 1904. Fairchild’s goal was to capture the spirit and ambiance of Persia’s music and musicians. Fairchild took special care to preserve their authenticity by limiting western harmony. Such is also the case in this setting for concert band. Special attention should be given to replicate songlike phrasing of the melodic lines and the rhythmic integrity and style of the accompaniment. Conductors are encouraged to take liberties with dynamics and articulations to help performers play expressively. There are many inflections that exist beyond what is printed on the page. For example, the reeds might subtly shape the rhythmic accompaniment in m. 6-7, as might the trumpets with the melody in m. 18. In. m. 23, the wind musicians other than the trumpets are a part of the rhythm section with the percussion. These rhythms should fit together nicely to create a steady cadence. The melodic statements beginning at m. 35 should be carefully balanced to speak evenly throughout the various voices. If an oboist is not available, the solo in m. 57 has been cued in the alto saxophone.

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: 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: BT.GOB-000508-010

The Odyssee tells the story of Odysseus, the undaunted hero.
In times long ago the blind poet Homer wrote this famous epic.
The Odyssey follows the Iliad, the story of the bloody war between the Greek and the Trojans. This battle endsafter ten years thanks to the Odysseys famous trick. the Trojan Horse.
The Odyssey is not a war epic, but a story about perseverance, loyalty, adventure, and the survival instinct of its ingenious hero.
In The Odyssey, Homer describes howOdysseus, the king of Ithaca, had to endure another ten years of affliction after the ten years of war in Troy before he could finally return to his home land.
During those years, his wife, Penelope, had to try and keep her many admirers away.These men not only wanted het hand but also the kingship. To prove her husbands worth, she played a trick: As soon as I have finished weaving this shroud for my father-in-law, Laertes, I will choose one of you to become my husband, she promisedthem.
But during the night, she secretly loosened what she had woven during the day, prolonging the time until Odysseus would finally return. After twenty long years, when he finally stood at the door, she wondered: Is this really my husband? Ishe an imposter? Cunningly, she asked him to move the bed, because only she and her husband know that the bed was immovable and was build around an old three trunk! Odysseus was deeply moved: this really was his wife, his Penelope!
Nearly threethousands years later, the loyalty and strength of this character, and all the dangerous adventures that Odysseus survived thanks to courage and intelligence, still moves us today.

Odyssee by Jan Bosveld is not just an adventure story, butrather a characteristic piece in which memories of Homers story can be heard.
The composition opens with a firm, stirring theme describing our hero, Odysseus, in detail: This man is not to be taken lightly.
The further development of thisshort introduction completes this character sketch: trustworthy, perseverant, and a genius.
After that we can picture Odysseus on the lonely beach of Ogygia. Do the trumpets depict his memories of the war of Troy? Does he think of his wife, as werecognise the weaving loom of Penelope in the murmuring eighth?
In the solemn, plaintive part that follows, we can imagine Penelope feeling lonely, sitting in the womens room with her servants.One of the girls plays the harp, but that does notclear the sombre atmosphere. Then we can imagine seeing the sorceress Circe, who changed Odysseus men into swine. After she gives a simple magic sign something follows that reminds us of the sound of pigs grunting. Then the Odysseus theme resounds:the hero comes to savi his comrades. Assisted by Hermes, he forces Circe to lift the spell.
The piece ends the same way as it began, with an animated theme: Odysseus is still the same, undefeated and not to be taken lighty!

Het muzikale relaas van de Griekse schrijver Homerus over de held Odyssee in een karakterstuk vol herinneringen.
Een stevig opgewekt thema symboliseert de grootsheid van Odyssee en zijn karaktertrekken - betrouwbaar, volhardenden vernuftig. De tegenslagen welke hij tegenkomt en in het tweede tragische gedeelte dreigen te escaleren, nemen in het derde snelle gedeelte bij zijn verschijning toch weer een positieve wending.
Nijmegenaar Jan Bosveld bewijstin dit originele werk dat hij op de hoogte is van de onmogelijkheden, maar vooral de ongekende mogelijkheden van muzikanten uit de lagere afdelingen.