Band Time Expert ( Bb Trumpet 2 )

SKU: BT.DHP-1012573-709

ISBN 9789043112512. English-German-French-Dutch.

The BAND TIME series consists of a number of books containing easy pieces suitable for youth band. BAND TIME Starter is intended for the first year of band playing and includes four-part pieces in many different styles. The difficulty of the pieces increases in parallel with the material covered in the first part of the Look, Listen & Learn method. The first three works, however, are three-part pieces in order to accommodate the limited range of notes available at this stage. The BAND TIME series is suitable for various combinations of instruments provided that the parts are divided in a sensible way (for concert band, fanfare band or brass band). The material for altosaxophone, trombone and baritone/euphonium/bass clarinet is divided into parts 1 and 2 in order to cover all voices using the most popular instruments.

De serie Band Time is ontwikkeld om kinderen vroeg kennis te laten maken met het samenspel in een blaasorkest. Band time Starter maakt dit al in het eerste jaar mogelijk. Deze uitgave bevat vierstemmige stukken in diversestijlen- de eerste drie stukken zijn drie stemmig, aangespast aan de vaardigheden van de beginnende leerling. De moeilijkheidsgraad en de muzikale inhoud zijn gebasseerd op Horen, Lezen & Spelen. In de partituur staatuitgelegd hoe u de serie optimaal benut en hoe de instrumentatie in uw specifieke bezetting het best kan worden toegepast. Op de los verkrijgbare cd worden de stukken door een harmonieorkest voorgespeeld, zodat de leerlingen thuiseen goede indruk krijgen van hoe de stukken klinken. Ze kunnen zelf meespelen of ernaar luisteren. Dit zal de motifatie (en het studieresultaat) bevorderen.

Parallel zu den ersten Stunden Instrumentalunterricht werden die jungen Musiker mit den Stücken dieser Sammlung für das Spielen im Anfängerorchester motiviert. BAND TIME Starter eignet sich für das erste Jahr im Blasorchester und enthält vierstimmige Stücke in vielen verschiedenen Stilen. Der allmählich fortschreitende Schwierigkeitsgrad entspricht dem Stoff der Bläserschule Hören, lesen und spielen Band 1, kann aber auch gut unabhängig davon eingesetzt werden. Die ersten drei Stücke passen sich mit ihren lediglich drei Stimmen dem noch begrenzten Tonumfang an, über den die Schüler in diesem Stadium verfügen. Aus dem gleichen Grund weichen manchmaldieselben Stimmen für unterschiedliche Instrumente leicht voneinander ab. Geringfügige Abweichungen erklären sich außerdem aus manchen besonderen Bedingungen bei einem bestimmten Instrument, zum Beispiel schwierige Tonfolgen. Passend zu der Reihe ist eine CD erhältlich, mit deren Unterstützung die Schüler zu Hause mit richtiger Orchesterbegleitung spielen können. Ein schnellerer Erfolg ist damit gesichert!

L'Obiettivo della collana BAND TIME è quello di motivare i giovani musicisti a suonare in una banda principiante o giovanile. BAND TIME Starter e il suo seguito BAND TIME Expert, come anche i brani natalizi raccolti in BAND TIME Christmas propongono brani in vari generi musicali che seguono il livello di difficolt crescente proposto del metodo Ascolta, leggi & suona (possono essere usati anche separatamente). I brani sono eseguibili gi a partire da un organico di tre o quattro elementi. per ogni collana è disponibile separatamente un CD con gli accompagnamenti orchestrali. Per la lista degli strumenti disponibili visitate il nostro sito.

SKU: CF.CPS154F

ISBN 9780825896477. UPC: 798408096472. 9 x 12 inches.

A beautiful ballad for band, At Twilight will help your ensemble address phrasing and melodic nuance, and is sure to bring about an expressive performance. Twilight is a subtle time of day, and composer Harbison has channeled this feeling expertly through this welcome addition to the Carl Fischer Music library.

SKU: PR.44641192L

UPC: 680160610860. 11 x 14 inches.

One of my greatest pleasures in writing a concerto is exploring the new world that opens for me each time I enter the sometimes alien, but always fascinating, world of a solo instrument or instruments. For me, the challenge is to discover the deepest nature of the solo instrument (its karma, if you will) and to allow that essential character to guide the shape and form of the work and the nature of the interaction between soloists and orchestra. In recent years, many of us have become more aware of the musical world outside the Western tradition of musics that follow different procedures and spring from other aesthetics. And contemporary percussionists have opened many of these worlds to us, as they have ventured around the globe, participating in Brazilian Samba schools, studying Gamelan and African drumming with local experts, collecting instruments from Asia and Africa and South America and the South Pacific, widening our horizons in the process. I will never forget our first meeting in Toronto when Nexus invited me into their world of hundreds of exciting percussion instruments. The vast array of instruments in the collection of the Nexus ensemble is truly global in scope as well as offering a thrilling sound-universe. I was inspired by the incredible range of sound and moved by the fact that so many of these instruments were musical reflections of a spiritual dimension. After long consideration, I decided that it would not only be impossible, but even undesirable for this Western-tradition-steeped composer to attempt to use these instruments in a culturally authentic way. My goal was an existential kind of authenticity: searching instead for universal ideas that would be true to both myself and the performers while acknowledging the traditional uses of the instruments. Since many percussion instruments are associated with various kinds of ritual, I decided that I would allow that concept to shape my piece. Rituals is in four movements, each issuing from a ritual associated with percussion, but with the orchestral interaction providing an essential element in the musical form. I. Invocation alludes to the traditions of invoking the spirit of the instruments, or the gods, or the ancestors before performing. II. Ambulation moves from a processional, through march and dance to fantasy based on all three. III. Remembrances alludes to traditions of memorializing. IV. Contests progresses from friendly competition games, contests to a suggestion of a battle of big band drummers, to warlike exchanges. In the 2nd and 4th movements, another percussion tradition, improvisation, is employed. Written into these movements are a number of seeds for improvisation. Indications in the score call for the soloists to improvise in three different ways, marked A for percussion alone; marked B for percussion with and in response to the orchestra; and C where the percussionists are free to add and embellish the written parts. These improvisations should grow out of and embellish previous motives and gestures in the movement.