Life Studies 1 - 3

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.
IntroductionTi ps 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: HL.14029179

ISBN 9788774551904. 8.25x11.75x0.072 inches.

Ludw ig Schytte (1848-1909) was a Danish composer and pianist, who spent most of his life living and working in Germany and Austria. Born in Jutland, he studied with Franz Liszt before settling in Vienna, where he taught for twenty years. He wrote around 175 works with opus numbers, most of which were published in his lifetime, including two operas and a Piano concerto. Most of his compositions were shorter works for the Piano, and many of his pedagogical studies are still used today.

25 Studies For Piano (25 Leichte Etuden Fur Pianoforte; Op. 160) was published in 1908, making it one of the composer's last works. It has remained popular withPiano teachers and students for over a century.

SKU: UT.APS-6

ISBN 9788881094790. 6.5 x 9.5 inches.

Essays by Gregory Barnett, Barra Boydell, Enrico Careri, Cheryll Duncan, Christopher Hogwood, Peter Holman, Clare Hornsby, Mark Kroll, Sandra Mangsen, Andrew Pink, Rudolf Rasch, Robin Stowell, Michael Talbot, Wiebke Thormahlen, Peter Walls, Neal Zaslaw

Sixteen essays by international scholars celebrate the 250th anniversary of Francesco Geminiani (1687-1762), star pupil of Corelli and composer, performer and teacher in Paris, London and Dublin, who for many years was ranked as the equal of Handel.
His compositions moved far beyond Corelli's model (to include theatre music, sonatas for cello and keyboard works) and later in his life he supported his aesthetic style with treatises on violin and guitar playing, good taste, accompaniment and composition. He published all his output in the most elegant style via engravers and music sellers in Paris, Amsterdam and London, and constantly revised and rewrote earlier works in new and often expanded formats. This legacy is analysed and placed in context within the various national styles current in Europe, and the enormous influence of his treatise The Art of Playing on the Violin is positioned in a continuum which extends to Ivan Galamian.
Outside music these studies examine the effect of Freemasonry on Geminiani's career, and his frequent recourse to law to defend his rights. On his own admission, Geminiani preferred dealing in fine art to playing the violin -- a claim always derided by earlier writers, but in fact easily defended by newly available evidence of his highly successful sales.
The reception of Geminiani's music is also re-assessed and his apparent decline in public favour is explained; many new sources contradict the accepted and dismissive opinions of Charles Burney and John Hawkins, and the supportive enthusiasm of his main British advocate, Charles Avison, is given its rightful position. Questions of present-day performance values are also contrasted with Geminiani's philosophy, and many leads presented for the future investigation of this enigmatic but individual genius.

SKU: C4.9790902260329

ISBN 9790902260329. 8.27 x 11.7 inches.

Though known nowadays for his considerable corpus of church music, Harold Darke's earlier years saw a proliferation of compositions for many and varied forces, a result of his fruitful study at the Royal College of Music.

Written towards the end of 1908, these virtuosic Three Concert Studies stand as happy advocates of the Post-Romanticism then in vogue.

This edition marks their first publication and contains a brief background on the work's composition as well as a full list of editorial changes. These Three Concert Studies certainly deserve to be more widely known and enjoyed.