SKU: CY.CC3006

ISBN 9790530058268.

Ralph Sauer has beautifully edited Volume 2 of the Milde Concert Studies. They will add much to the Bass Trombone (Tuba) study/etude literature. We look forward to many performers using these valuable studies to improve their technique and musicianship.

Originally written for the bassoon, these studies were favorites of the great trombone teacher, Emory Remington (1891-1971). While perhaps not concert material, they provide much more musical interest than the typical etude book.
I have added dynamics and changed phrasings to be more suitable for the bass trombone (or tuba) while keeping the wide tessitura of the original. The keys have been changed to put each etude in a more suitable range, while the trills from the original bassoon version are included primarily for tuba players.
These enjoyable and challenging studies will provide many hours of pleasurable practice. I have returned to these two volumes often over the years and hope that you will also find them useful and rewarding..

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: BT.DHP-1043739-400

ISBN 9789043121118. International.

This book fills previous void caused by the limited selection of study books to work on sound and technique. This book contains 17 fantastic â??performance studiesâ?, by composers including Martin Ellerby, Allen Vizzutti and Philip Sparke, that develop sound and technique while providing a rich environment for the study of style. The accompanying demo CD provides you with an interpretation of these studies by Patrick Sheridan.

Jarenlang is er voor tubaspelers een beperkt aanbod geweest van studieboeken voor het oefenen van klank en techniek, hoewel de boeken die er waren uitstekend geschikt bleken om deze muzikale elementen te helpen ontwikkelen. Veel vande vroegere boeken misten echter kwaliteit met betrekking tot de muzikale inhoud binnen een scala van stijlen. Performance Studies, een vervolg op Style Studies, biedt de gevorderde tubaspeler muziek in diverse stijlen,speciaal geschreven voor tubaspelers door moderne componisten.

Als Fortsetzung von Style Studies stattet Performance Studies den fortgeschrittenen Tubisten mit Musik in einer Vielzahl an Stilen aus, die von modernen Komponisten, wie Philip Sparke, Jan Van der Roost, Ferrer Ferran, Thomas Doss und viele mehr, speziell für die Tuba geschrieben wurde! Auf der CD gibt Patrick Sheridan ein Interpretationsbeispiel aller Stücke. Anspruchsvolle Studienliteratur, die sich auch bei Auftritten hören lassen kann.

Performance Studies propose au tubiste expérimenté dâ??autres études de styles variés, écrites spécialement pour le tuba par de talentueux compositeurs dâ??aujourdâ??hui. Ce recueil rassemble dix-sept superbes études qui vous permettront dâ??améliorer le son et la technique dans un environnement musical riche, propice lâ??étude des styles.

This new book fills previous void caused by the limited selection of study books to work on sound and technique. This book contains 17 fantastic â??performance studiesâ?, by composers including Martin Ellerby, Allen Vizzutti and Philip Sparke, that develop sound and technique while providing a rich environment for the study of style. The accompanying demo CD provides you with an interpretation of these studies by Patrick Sheridan.

SKU: CY.CC3062

ISBN 9790530110379. 8.5 x 11 in inches.

The Hill Versatility Studies for Trombone for F attachment have been around for a long time, but of out print. We are proud to have brought them back into the light again to stand out as the great studies they are. Here is what Charlie Vernon, a student of William Hill has to say about these studies: When I look back on my time with Mr. Hill, 95% of all lessons that I had with him were spent studying music fundamentals from Arban, Schlossberg and Bordogni. Along with those studies we also spent time working on the basic flexibility exercises, which we now have as the Versatility Studies. I am so thankful for his insistence on the importance of the basics because that way of teaching has become the way I practice and teach all my lessons. He was a great inspiration to all of his students, and with these old books I hope to help many players who will use them and become better players and teachers.