SKU: OT.NM00175
9.5 x 13.25 inches.
Eliezer Aharoni New Method for the Modern Bass Trombone 4th expanded edition, 1996 Eliezer Aharoni's method for the bass trombone has been called the most complete, logical and valuable singer source to the understanding and mastering of the instrument (Thomas Everet, Harvard University, President, International Trombone Association, Sept. 1975). Contents: Single valve in F (with E section) Single valve with Sliding E extension Double Valve in bE, Eb and D Independent Double Valve (in line) in g-Eb adn in Gb-D Eliezer Aharoni is the bass trombonist of the Jerusalem Symphony Orchestra Softcover, 180 pages
SKU: HL.48181907
UPC: 888680848385. 9.0x12.0x0.388 inches.
Written by Paul Bernard, Complete Method is a full method for Bass Trombone, Tuba, Bass and Counter-Bass Saxhorn. With comments in French, English, German and Italian, this method provides all the necessary information for beginner musicians to become the greatest players. It features a ?Preliminaries? section explaining the specificities of the instruments, and follows on with chapters on the placing of the sounds, the intervals, the major and minor scales, the articulations as well as some techniques for appoggiatura, trills, grupettos, nuances among many others subjects. This great method also includes some daily exercises, some great, technical or modern studies and introduces to the work in an orchestra. It is a definite must-have to become familiarised with all the techniques and eventually master them..
SKU: BT.EMM116-053
Dutch.
Na het grote succes van de methode Horen, lezen & spelen hebben Michiel Oldenkamp en Jaap Kastelein hun aandacht gericht op lesmateriaal voor blazersklassen. Zij bedachten een compleet nieuwe methode voor jonge blazers en slagwerkers vanaf ongeveer 8jaar oud. De methode is ontwikkeld in nauwe samenwerking met professionals uit de wereld van blazersklassen, muziekscholen en conservatoria in Nederland en Duitsland. Het resultaat is een moderne, op de leerling geschreven methode die aan allehedendaagse eisen van het muziekonderwijs voldoet. Samen leren samenspelen is een methode voor blazersklas en instrumentale les in één. Deze twee leerlijnen sluiten naadloos op elkaar aan. De instrumentale leerlijn biedt stukken van verschillendniveau, zodat er voor iedere leerling voldoende uitdaging in zit. Elke leerlijn is goed te herkennen aan zijn eigen kleur (blauwe kleur = blazersklas en groen is voor de instrumentale leerlijn). De eerste lessen zijn gericht op de specifiekeinstrumenten. Hiermee komen we tegemoet aan de wens uit de praktijk om te beginnen op een manier die logisch is voor elk afzonderlijk instrument. Vanaf les 5 vormen de stukken voor blazersklas de basis van de methode. De logische opbouw enkindvriendelijke lay-out maken de methode aantrekkelijk voor kinderen. De methode kan in verschillende bezettingen worden gebruikt in kleine of grote groepen, harmonie, brassband of fanfare. In de uitgebreide partituur staan nuttige tips enaanvullende oefeningen om de leerlingen ook auditief te scholen en het samenspel te bevorderen.Na het grote succes van de methode Horen, lezen & spelen hebben Michiel Oldenkamp en Jaap Kastelein hun aandacht gericht op lesmateriaal dat gebruikt kan worden in zowel de tromboneles als in de orkestklas (blazersklas). Zij bedachten een compleet nieuwe methode voor jonge blazers en slagwerkers vanaf ongeveer 8 jaar oud. De methode is ontwikkeld in nauwe samenwerking met professionals uit de wereld van blazersklassen, muziekscholen en conservatoria in Nederland en Duitsland.
Samen leren samenspelen is een methode voor tromboneles en orkestklas in één. In de leerlijn voor trombone ligt de nadruk op trombone-technische zakenzoals nieuwe noten en technische oefeningen. Deze lijn ondersteunt de leerlijn voor de orkestklas, waar meer algemene zaken, zoals ritme, melodie, vorm en samenspel aan bod komen.
De methode bestaat uit twee delen. In het eerste deel wordt er vanaf de eerste noten toegewerkt naar het spelen van duetten. In het tweede deel ligt de nadruk op het driestemmig samenspelen. Naast het lesboek biedt de uitgebreide website allerlei aanvullend materiaal zoals demo- en begeleidingstracks van alle stukken, aanvullend speelmateriaal en instructie-video’s . De logische opbouw en kindvriendelijke layout met mooie illustraties zorgen ervoor dat deze methode voor kinderen heel motiverend is.
SKU: BT.DHP-1002353-404
ISBN 9789043161817. French.
Pour tous ceux qui recherchent un nouvel outil pédagogique pour apprendre jouer dâ??un instrument vent, les Ã?ditions De Haske proposent la méthode Ã?couter, lire and jouer. Elle se compose dâ??une méthode richement illustréeen trois volumes avec fichiers audio en ligne et dâ??ouvrages éducatifs et ludiques fondés sur les principes actuels de la théorie musicale. Tout en se conformant aux exigences de lâ??apprentissage classique, cette collection utiliseune approche résolument ouverte, motivante et moderne de lâ??enseignement musical permettant aux élèves de découvrir la pratique instrumentale avec plaisir. De nombreux jeux, exercices dâ??écoute, morceaux et compositions originalespermettent dâ??acquérir un savoir-faire tout en sâ??amusant. Ã?couter - lire jouer : trois éléments incontournables de la pratique musicale, trois concepts réunis dans une collection enrichissante et simple utiliser.
SKU: BT.DHP-0991825-404
ISBN 9789043163651. French.
SKU: M7.AHW-2054
English.
Read below what Roger Smith had to say about completing this momumental work from the manuscripts of Ernest Williams. We are all thankful for his hard work: 'The Ernest S. Williams Modern Method for Trumpet or Cornet is generally recognized by teachers and students alike as the finest and most complete ' School ' for Trumpet and Cornett hat has ever been written. Both the technical and the musical aspects of these volumes reflect the genius of Dr. Williams as a musician, and as a teacher.' 'I was privileged to study both Trombone and Baritone with Dr. Williams, in fact he was my only teacher on either instrument. After graduation from the Ernest Williams School of Music, I became a member of the faculty, and assisted Dr. Williams with the teaching of Brasses, under his direct guidance, and using this material. Dr. Williams commenced the revision of the books at that time for Trombone and Baritone, a task which he was never to complete. This revision, based largely on his manuscripts, is the result of my training as his pupil and assistant, and of my experience as teacher of Trombone at the Juilliard School of Music.' 'The principal problems were two; proper introduction of the positions on the trombone, which are more difficul to learn than the valve combinations on Baritone or Trumpet, and the contrasting techniques of legato and slur on the two instruments. For these reasons some chapters of the book have been revised considerably, and some new material added from time to time.' If you do not know this book, you have to take a look.
SKU: BR.EB-9268
ISBN 9790004185681. 12 x 9 inches.
This piece originated as an introduction to instrumental musique-concrete. In this sort of piece it is common for sound phenomena to be so refined and organised that they are not so much the results of musical experiences as of their own acoustic attributes. Timbres, dynamics and so on arise not of their own volition but as components of a concrete situation characterised by texture, consistency, energy, resistance.This does not come from within but from a liberated compositional technique. At the same time it implies that our customary sharply-honed auditory habit is thwarted. The result is aesthetic provocation: beauty denying habit.(Helmut Lachenmann),,Cette nouvelle edition est une invitation faite aux violoncellistes qui souhaiteraient redecouvrir leur instrument et la maniere de la faire sonner en realisant dessus un nouveau genre de polyphonie: une polyphonie d'actions. (Francois-Xavier Feron, Circuit, Heft 25, Juni 2015)CDs/LPs:Michael Bach CD cpo 999 102-2 Lucas Fels CD Montaigne Auvidis MO 782075 Walter Grimmer CD col legno WWE 31863 Taco Kooistra CD Attacca Babel 9369-1 Pierre Strauch CD Accord 202082 Michael Bach LP ABE ERZ 1003 Werner Taube LP ABE ERZ 1003ensemble phorminxCD WER 6682 2Michael M. KasperCD Michael M. Kasper rounds per minute, Ensemble Modern Medien, EMCD-006Michael Svoboda (trombone)CD Wittener Tage fur neue Kammermusik 2011Bibliography:Deltz, Eberhard: begegnung im grenzbereich. Zwei Werke von Helmut Lachenmann und Hideaki Yamanobe im Spiegel eines Haiku von Matsuo Basho, in: Neue Zeitschrift fur Musik 167 (2006), Heft 1, pp. 36-41.Feron, Francois-Xavier: Enjeux et evolution du systeme de notation dans ,,Pression pour un(e) violoncelliste de Helmut Lachenmann, in: Circuit, Heft 25, 2015, pp. 55-65.GoGwilt, Keir: Templates for Technique in Mantel and Lachenmann. Between Transcendence and Immanence, in: The Dark Precursor: Deleuze and Artistic Research. Band I: The Dark Precursor in Sound and Writing, hrsg. von Paulo de Assis und Paolo Giudici, Leuven: Leuven University Press 2017, pp. 105-113.Griffiths, Paul: ModernMusic and After, 3rd edition, Oxford University Press 2010, pp. 216-219.Handschick, Matthias: Musik als ,,Medium der sich selbst erfahrenden Wahrnehmung. Moglichkeiten der Vermittlung Neuer Musik unter dem Aspekt der Auflosung und Reflexion von Gestalthaftigkeit (= Schriften der Hochschule fur Musik Freiburg 3), Hildesheim u. a.: Olms 2015, dort pp. 161-167.Hiekel, Jorn Peter: Helmut Lachenmann und seine Zeit, Laaber: Laaber 2023, S. 169-172, 231-232.Jahn, Hans-Peter: simultan eine Erinnerung, in: Neue Zeitschrift fur Musik 167 (2006), Heft 1, pp. 12-15.Lessing, Wolfgang: Musizieren als Prozess. Zur didaktischen Dimension von Helmut Lachenmanns Pression, in: Musik inszeniert. Prasentation und Vermittlung zeitgenossischer Musik heute, hrsg. von Jorn Peter Hiekel (= Veroffentlichungen des Instituts fur Neue Musik und Musikerziehung Darmstadt, Band 46), Mainz u. a.: Schott 2006, pp. 73-83.ders.: Verweigerung von Gewohnheit. Instrumentaldidaktische Annaherungen an Pression von Helmut Lachenmann, in: Darstellen und Mitteilen. Ein Handbuch der musikalischen Interpretation, hrsg. von Ursula Brandstatter, Martin Losert, Christoph Richter und Andrea Welte, Mainz: Schott 2010, pp. 111-122.ders.: Interpretation, Verstehen und Vermittlung, in: Ans Licht gebracht. Zur Interpretation Neuer Musik, hrsg. von Jorn Peter Hiekel (= Veroffentlichungen des Instituts fur Neue Musik und Musikerziehung Darmstadt, Band 53), Mainz u. a.: Schott 2013, pp. 24-39.Mosch, Ulrich: Das Unberuhrte beruhren Anmerkungen zur Interpretation von Helmut Lachenmanns Werken Pression und Allegro sostenuto, in: Musik inszeniert. Prasentation und Vermittlung zeitgenossischer Musik heute, hrsg. von Jorn Peter Hiekel (= Veroffentlichungen des Instituts fur Neue Musik und Musikerziehung Darmstadt, Band 46), Mainz u. a.: Schott 2006, pp. 25-46.Musik als Bildkritik Gesprach zwischen Gottfried Boehm, Helmut Lachenmann und Matteo Nanni, in: Helmut Lachenmann: Musik mit Bildern? Hrsg. von Matteo Nanni und Matthias Schmidt (= eikones, hrsg. von Nationalen Forschungsschwerpunkt Bildkritik an der Universitat Basel), Munchen: Wilhelm Fink 2012, pp. 237-269.Neuwirth, Markus: Strukturell vermittelte Magie. Kognitionswissenschaftlic he Annaherungen an Helmut Lachenmanns Pression und Allegro sostenuto, in: Musik als Wahrnehmungskunst. Untersuchungen zu Kompositionsmethodik und Horasthetik bei Helmut Lachenmann, hrsg. von Christian Utz und Clemens Gadenstatter (= musik.theorien der gegenwart 2), Saarbrucken: Pfau 2008, pp. 73-100.Orning, Tanja: The Polyphonic Performer. A Study of Performance Practice in Music for Cello Solo by Morton Feldman, Helmut Lachenmann, Klaus K. Hubler and Simon Steen-Andersen, Diss. Oslo 2014, Oslo: NMH-publikasjoner (mit DVD).Sparrer, Walter-Wolfgang: Wider den geolten Gleichlauf. Von der Notwendigkeit strukturierender Verfahrensweisen bei der Interpretation von Musik. Modell I: Kompositionen fur Violoncello solo von J. S. Bach, Isang Yun und Helmut Lachenmann, in: Musikalische Produktion und Interpretation, hrsg. von Otto Kolleritsch, Wien/Graz 2003 (= Studien zur Wertungsforschung, Band 43), pp. 75-100.Utz, Christian: Erinnerte Gestalt und gebannter Augenblick. Zur Analyse und Interpretation post-tonaler Musik als Wahrnehmungspraxis Klangorganisation und Zeiterfahrung bei Morton Feldman, Helmut Lachenmann und Brian Ferneyhough, in: Ans Licht gebracht. Zur Interpretation Neuer Musik, hrsg. von Jorn Peter Hiekel (= Veroffentlichungen des Instituts fur Neue Musik und Musikerziehung Darmstadt, Band 53), Mainz u. a.: Schott 2013, pp. 40-67.World premiere: Como (Autunno musicale), September 30, 1970.
SKU: HL.49046544
ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches.
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. The markings of the movements are the following: 1. Vivace molto ritmico e preciso 2. Lento e deserto 3. Vivace cantabile 4. Allegro risoluto 5. Presto luminoso.The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale; my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. In the Piano Concerto I realized new concepts of harmony and rhythm. The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time 'rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form; later in the fourth movement it will be considerably developed. The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement; however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly; they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales; in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting; illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated; the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus; indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. (Gyorgy Ligeti).
SKU: WJ.WB2323
ISBN 9781644022009. 9 x 12 inches.
Quincy Hilliard’s Counts of Silence is a sixteen-week program suitable for students in their second year of music or beyond. Covering different rhythmic patterns and concepts in each unit, Counts of Silence is the perfect resource for the modern band room. While the focus of the book is on counting notes and rests, the development of a solid foundation in rhythm is the ultimate goal. Counts of Silence is designed to make teaching and learning easy, with key centers including F, Bâ™, Eâ™, and Aâ™ (& their relative minors). Written by an experienced music educator and composer, Counts of Silence is an essential tool for elevating your musician’s rhythmic accuracy.