Klangstav Sonor KS-30, Sopran, Chime Bar bb/a#2

THOME - FANTAISIE - CORNET SIB OU TROMPETTE SIB ET PIANO   Francis Thomé: Fantaisie (Cornet / Trumpet And Piano) Catalogue Number: AL22754ISBN: 9790046227547Media: Sheet MusicLanguage: EnglishArrangement: Trumpet, Piano Accompaniment (TPT/PFA)Composer: François Joseph Thomé  Description For Bb Cornet or Bb Trumpet with Piano accompaniment, Fantaisie was composed by Francis Thomé. Written for the Paris Conservatoire contest in 1902, this piece is very musical and quite challenging and would fit upper intermediate players. This piece can sound quite dramatic but is very melodious too and can be considered as an important addition to the repertoire for Trumpet and Cornet. Francis Thomé (1850-1909) was a French pianist and a composer. He wrote some operas, some ballets, some operettas and some pantomimes.

Andante et ScherzoAfter studying composition at the Conservatoire de Paris, Joseph-Édouard Barat (18821963) devoted his career to the symphonic wind orchestra, conducting military bands in Lyon and Paris as well as composing numerous pieces written specifically for these ensembles.He also wrote many examination pieces for wind instruments, most destined for the Conservatoire de Paris. Certain titles (like Orientale, À Tunis, Danse soudanaise, or Barcarolle de lOubanghi) reflect a yearning for exoticism or orientalism inherited from the end of the 19th century and still present at the beginning of the 20th in Europe. In his Andante et Scherzo (1926), Barat conjures up an extraordinary synthesis of an era when French music was open to its European neighbours while also dreaming of faraway lands.SpecificationsSubtitle pour trompette en Ut ou en Si bémol et pianoComposer Joseph Edouard BaratInstrument Group Trumpet, Cornet or FlugelhornInstrumentation Trumpet and PianoProduct Type Book and Part(s)Series Alphonse Leduc Collection Performing EditionsGrade of Difficulty IntermediateText language English/FrenchPublisher Alphonse LeducGenre Description ClassicalYear of Publication 2025No. Pages 24ISMN 9790046310072Edition Number AL31007

Instrumentation: Trumpet/KeyboardRange: b flat  b'' flatDifficulty (I-VI): IVParts for Trumpet in E flat or B flatSeries: Facets of BrassEditor: Max SommerhalderThe present concerto for horn, which has become known throughout the world as a trumpet concerto, is generally ascribed to Johann Baptist Georg Neruda. His authorship is extremely likely, although not conclusively proven, as the horn concerto is not contained in the listings of his works and the manuscript does not mention the composer's first name. Theoretically, the work could have been written by one Jan Chrysostomus Neruda (17051763), violinist, monk and church musician in Prague; no other works of his have survived, however, whereas Johann Baptist Georg wrote "a huge number of symphonies, violin concertos, trios etc.", including a Salve Regina and even an opera Les Troqueurs. His six sonatas for two violins appeared in print in 1764, published by Breitkopf and Härtel in Leipzig. Johann Baptist Neruda's biography is still largely a matter of speculation  no records of his birth or death have been found. According to Moritz Fürstenau, the chronicler of the Dresden Court Orchestra, Neruda was born in 1710 in Prague; the lexicon of Gottfried Johann Dlabacz states that the composer died about 1780 aged 74, thus giving rise to the oft read statement that Neruda was born ca. 1707. Dlabacz mentions "Rossicz in Böhmen" as Neruda's birthplace, but for the years 1706 to 1710, no mention is found of his name in the parish records of the two villages (near Pardubice) in question. The records in Rossitz (Rosice) in Moravia have not yet been researched. The only certainties in Neruda's curriculum vitae are that he was engaged for the Electoral Orchestra in Dresden in 1750 as a violinist and retired from his post there in 1772. According to Fürstenau's chronicle, Neruda was never leader of the orchestra in Dresden, as is alleged by Richard Engländer, but rather CammerMusicus (chamber musician), who earned additional money as an hardworking and valued composer of church music. Dlabacz states that Neruda trained as a violinist in Prague and that he was employed there in the theatre orchestra for a time before he moved to Dresden. The Source The only source of Neruda's horn concerto is a contemporary set of parts with the title: CONCERTO / à / Corno Primo / 2 Violini / Alto Viola / Con Basso / Del Sig: Neruda, found in the library of the Cistercian monastery in Ossegg (Osek) near TeplitzSchönau (Teplice) in northern Bohemia and now in the Czechoslovakian National Museum in Prague under the signature XXXII A52. The manuscript, presumably the work of a copyist, contains so many mistakes that it is doubtful whether the work was ever  or more than once performed from this material. The Music  The style of Neruda's horn concerto places it in the middle of the 18th century, rather earlier that later. The work follows the Vivaldi concerto form faithfully. Neruda's extreme homophony is typical of the "gallant" style the violins are often in unison and the violas play frequently "col basso", giving a transparent, perhaps even meagre tonal colour. The many incomplete chords often lead to ambiguous harmony, leaving considerable latitude in interpretation when it comes to realizing the basso continuo. The coming renunciation of the continuo is discernible in Neruda's style, so that a performance without is justifiable; the practice in Neruda's time, however, was very probably with keyboard. Also typical of Neruda's style are the frequent cross relations and semitone dashes. which are on no account to be "tempered", as has been done in some earlier editions. The solo part represents the zenith of horn playing in the clarino register. The fact that this work was found in the border area between Saxony and Bohemia is certainly not a coincidence, as Bohemia is thought to be the cradle of artistic horn playing, and the Dresden school of horn playing produced several legendary horn virtuosi, such as Anton Joseph Hampel and Jan Vaclav Stich-Punto. Whether Neruda wrote the present concerto before or during his employment in Dresden is not clear, although the location of the manuscript indicates that the work was written for the Ossegg monastery. This important Bohemian musical centre had its own orchestra, whose inventory included two Litui vulgo Waldhörner as early as 1706.  The Solo Instrument Neruda wrote this concerto for the valveless natural horn (corno da caccia) in low Eflat and used only the high register (the so called clarino register) of the instrument, from the 8th to the 24th partial (sounding E flat' to B flat"). The range required is astonishing, although not unique; works by Johann Sebastian Bach, Jan Dismas Zelenka or Johann Matthias Sperger go just as high. Even trumpet concertos of the time reached the 24th partial, e.g. by Michael Haydn or Georg von Reutter II (whose two concertos for solo trumpet are also published bymcnaughtan). Surprisingly, playing accuracy in the 5th octave is relatively good. Incidentally, there are indications that the early horn players were also trained as trumpeters. As late as 1778, a memorandum reports that the Dresden hom player Hummel had to "play the trumpet for the Guard". Horn players can use instruments in B-flat/high B flat or high F/high B fiat for modem performances on valved instruments. Trumpet players have also used Flugelhoms or Fürst-Pless horns in B flat, in addition to the normal trumpet Absurdly, a 4valve version of the Fürst-Pless-Horn has recently become known as a corno da caccia or a clarino horn. The Pless Horn, a hunting instrument belonging to the bugle family, is a developement of the l9th century and is just as far removed from the real corno da caccia and clarino playing as the piccolo trumpet is from the natural trumpet. The composer sets four fermatas at different points in the work, apparently to give the performer the opportunity to include cadenzalike figures over a dominant pedal point The fermatas are n.b. always over a unison dominant in the strings, never over rests or 6/4 inversions, suggesting that lengthy cadenzas in the style of classical concertos were not intended. As late as 1752, "Cadenzas for wind instruments ... must be playable in one breath", according to Johann Joachim Quantz. Nonetheless, long cadenzas have become customary in performances of the work, so that I have included both long and short examples (For reasons of space, the long cadenzas are printed on a separate sheet). Only the notes obtainable on the original E flat natural hom should be used in the cadenzas. The Present Edition We have attempted to prepare this edition with an absolute minimum of modifications to the original manuscript All alterations are given in the list of corrections below. With the exception of the continuo part, our suggestions for the performance of the grace notes, the cadenzas and the metronome markings, we have made no additions. The articulation, the dynamic markings and the decorations have only been extended where this is justified by similar passages elsewhere in the work. All extensions are marked by dotted lines, square brackets or small print both in the score and in the solo part. We have based the piano part as closely as possible upon the original score.

One of the best-loved trumpet concertos today is actually a horn concerto: Neruda composed it in about 1750 at the Dresden Court, where he met the greatest horn virtuosos of the day. As a result, the solo part is immensely demanding and is kept in the upper clarino register throughout (up to g'''), which means that only a few horn players today can master it, even on the modern valve horn. But on the trumpet, however, these difficulties do not apply. This new edition by G. Henle Publishers is based on the only extant manuscript source, which is held in Prague. It takes modern performance practice into account and thus also contains parts for trumpet in E flat and in Bflat. As an Urtext edition and in contrast to earlier editions it forgoes the articulation and dynamic markings that have otherwise been added so freely, and thereby enables us to have an unbiased view of the original notation.

Sonate for Trumpet, Jean HubeauMusique française is a series designed for students and teachers as well as professionals. These editions offer masterworks in French music, with performance suggestions and historical and stylistic commentary by noted scholars.The Sonata for trumpet and piano, composed in 1944, is a well-known piece for both students and professionals. This edition presents a new engraving of the musical text, performing notes by French trumpeter Raphaël Dechoux, and an introduction by Edmond Lemaître (editorial supervisor for the critical editions of the Debussys works published by Durand) in 4 languages (French, English, German, Italian).

Share My YokeSimply a wonderful melody, beautifully arranged for cornet and band by Ivor Bosanko. Already universally popular, and featured on many recordings. It's also available with Brass Band.Composer: Joy WebbArranger: BosankoDuration: 4 Prayer Of ChildhoodLeslie Condon originally wrote this alternative tune for the Charles Wesley hymn, 'Gentle Jesus, meek and mild' in 1963. He later scored it for cornet solo and it's also available with brass band accompaniment.Composer: Leslie CondonDuration: 2.45 

Spill Altsaxofon 1Lærebok - Ragnhild Holm-Kaja Holm Rogstad - Elisabeth VanneboPRODUKTBESKRIVELSETil læreren«Spill saxofon» er en nybegynnerbok som er beregnet på undervisning i musikk- og kulturskoler, skolekorps eller for de som tar saxofontimer privat.Denne boken er én av mange bøker i serien «Spill» som er utarbeidet for de fleste instrumentene som representeres i et korps. Flere av melodiene og toneartene er valgt slik at ulike instrumenter kan spille sammen. Vi har likevel lagt vekt på å få til en god progresjon for de som vil lærer å spille saxofon. Av den grunn kan ikke alle melodiene i Bb-boken (sopran- og tenorsaxofon) og Eb-boken (alt- og barytonsaxofon) spilles parallelt.Så snart eleven mestrer et større toneomfang kan melodiene transponeres, slik at elever med Bb- og Eb-instrumenter kan spille sammen. Flere av melodiene i boken er spilt inn med melodistemme og komp som kan lastes ned eller streames fra iTunes, Wimp, Spotify eller liknende. De fleste melodiene i «Spill saxofon» har også besifring i C.I denne boken har vi lagt vekt på at elevene gjennomfører «Daglige øvelser (D.Ø.)» for å oppnå en god klang. For å få god fingerteknikk legges vekt på å spille skalaer, tersbevegelser og brutte akkorder. Gehørspill er en viktig del av opplæringen. De foreslåtte tonene i D.Ø.1 og i gehørmelodiene er valgt i forhold til skalaene. Elev og lærer kan også finne andre melodier som eleven har lyst til å spille. Elevene bør også spille melodier fra boken utenat og lage små komposisjoner selv. Vi anbefaler å kombinere denne boken med supplerende bøker, for eksempel L alphabet du Saxophoniste av Hubert Prati (Gerard Billadot) og etter hvert 23 Minipuzzles av samme forfatter. Når elevene arbeider med flere elementer samtidig, vil progresjonen gå raskere og elevene vil mestre instrumentet på en god måte på et tidlig tidspunkt. Dette vises i «Leksebok» på neste side der vi har satt opp forslag til en hjemmelekse.«Spilletest» finner du mot slutten av boken. Den består av skala, gehørspill og fire melodier, der læreren kan godkjenne hvert nivå. Dette kan gi ekstra motivasjon for elevene til å øve.«På skolen» inneholder melodier knyttet til fag i skolen. Melodiene i denne delen har samme toneart i alle bøker, slik at elevene kan spille sammen. Dette gjelder også de tre siste melodiene i boken som vi har kalt «Samspill med andre».Siste del av boken inneholder notelære, noteark, oppgaver i arrangering og terningspill.Greptabellen på siste side inneholder toner ut over de som elevene lærer i denne boken.Øvefisken er ment som motivasjon for øving og står på side 6 i boken. Lag kopier av denne.I EMNEHEFTE 10 som tidligere ble utgitt av NMF: Berntzen, Mette, Ragnhild Holm og Harald Bergersen (revidert 2002) Om det å spille klarinett/saxofon. Norsk noteservice / notebutikken.no, finnes utdypende informasjon som gjelder saxofonundervisning. Her kan sidene om «historikk, munnstykker og rør, pust, munnstilling og holdning, hvordan øve opp en god klang og bra embouchure, fingerteknikk, artikulasjon og tungeteknikk, om øving» være relevant lesning.Lykke til med arbeidet!Ragnhild Holm og Kaja Holm RogstadInnhold:TeoriMin sideøvefiskMedvirkendeOM INSTRUMENTETDETTE TRENGER DUSTELL OG VEDLIKEHOLDSTÅ, SITTE og MUNNSTILLInGPUSTENØVELSER for FingreneSKALASPILLANSATSER med TUNGENTUNGEØVELSERDine første tonerLegatobueHalvnoter og halvpauserFiredels noter og firedelspauserHelnoter og helpauserRepetisjonstegnÅttendels noter og pauserKryss hever tonen et halvt trinn2/4Pustetegnsenker tonen et halvt trinnD.S . al FineOppløsningstegn / opphevelses tegnD.C. al FineFermateOpptakt3/4BindebuePunkterte firedels noterOKTAVKLAFFLØSE FORTEGNFIRE TAKTER PAUSEKOMPOSISJ0NHUSImprovisereDynamikkIntervallerGJETTELEKAlla BreveMOLLOppgaveCrescendoJUlesangerBursdagerSpilletreningPå skolenGamle kulturer, EgyptGamle kulturer, HellasVikingtidenOppdagelsen av AmerikaNotelæreLag dine egne arrangementerNotearkGreptabellSanger / noter:Ah Ya ZainALL MY LOVINGANSATSØVELSEARABISK SKALAÅttendelsØVELSEAura LeeBalladen om Davy CrockettBARCAROLEBirgits nye hotellBjelleklangbjørnen soverBlåveis pikenBLOMSTER SMÅBLUES SKALABOBOBolla Pinns vinBrandenburger TorCan CanCAN CAN I ALLA BREVECISSØVELSECountry WalkDari dariDeilig er jordenDET VAR EN GANG ET TROLLDu kjære lille snekkerbuDUR OG MOLL TREKLANGERDYNAMIKKØVELSEFISSØVELSEFløy en liten blåfuglFordFredagskosGammal fäbodssalmeGavotteGilde i ValhalGISS ØVELSEGodnatt-rimHans og Grete!Happy BirthdayHEI HÅHELNOTEØVELSE som DUETTHey hoe, digga joeHistorien om de tre små fiskHokus og PokusHujeda megHurra for degHvileviseIndisk silkeIntervallsangJag gör så att blommorna blommarJeg er så glad hver julekveldJEG HAR FANGET MEG EN MYGGJEG KAN SPILLE SAXOFONJULEKVELDsVISAKalinkaKamomilla spillerKarius og BaktusKiss me, Honey, HoneyKOM OG BLI MEDKVELDSSANG FOR BLAKKENLILLE FUGL MED VARIASJONERLille kattLille kattLirekassenLofottorskenLook at me I m Sandra DeeMange trær i skogen stårMatpakkespiseviseMatpakkespiseviseMIAMIN EGEN MELODIMin konsertdebutMin nye saxofonMorgenstemningMunnstykkeduettMustalainenNå tennes tusen julelysOde to JoyOKTAVKLAFFØVELSE D2oktavøvelseOrmen LangePølser herPuff den lille dragenRaiders MarchReodors Ballade fra FlåklypaROCKRondo a la turkaRYTMEØVELSESavannevisaSAXOFONEN MINSee you later, AlligatorsireneSkala 1, 2 og 3SNØFNUGGSpaniaSta PsilastigenSuper TrouperTEKNIKKØVELSETema fra GudfarenThe Silly Songtil parisTINGELINGTi små cowboyertrollmorTwelfth street ragVåren er kommetVed veien lå et husVi er allesammen vildeVI SPILLER NED TIL E OG Dzito Innhold CD/lyd: 1-2 Vi spiller ned til E og D3-4 Super Trouper5-6 Brandenburger Tor7-8 Ved veien lå et hus9-10 Mia11-12 Hokus og pokus13-14 Lirekassen15-16 Birgits nye hotell17-18 Historien om de tre små fisk19-20 Vi er allesammen vilde21-22 Savannevisa23-24 Ford25-26 All my loving27-28 Look at me I m Sandra Dee29-30 The silly song31-32 Country Walk (del to øvetempo)33-34 Country Walk35-36 Tema fra Gudfaren37-38 Bolla Pinnsvin39-40 Bjelleklang41-42 Jeg er så glad hver julekveld43-44 Mange trær i skogen står (variasjon 2 i øvetempo)45-46 Mange trær i skogen står47-48 Twelfth street rag (øvetempo)49-50 Twelfth street rag51-52 Indisk silkeCD/lyd spilles av: Voksne Herrers Orkester (VHO)Harald Dahlstrøm: keyboardSteinar Krokstad: trommerYngve Moe: bassThomas Dahl: gitarIda Linn Nonseid: vokalUnn Smelvær Høgelid: vokalRuth Nonseid: taleElisabeth Vannebo: tubaSolist: Kaja Holm RogstadSpilt inn i Grieghallen Studio. Lydtekniker: Davide Bertolini. Produsert av Davide Bertolini og Elisabeth VanneboKaja Holm RogstadBegynte å spille fiolin etter Suzukimetoden som 3 1/2 åring, men byttet etter hvert ut fiolinen med fløyte og deretter saxofon. Piano begynte hun å spille som 7-åring. Kaja har studert musikkpedagogikk og utøvende saksofon ved Norges Musikkhøyskole. Elevene hennes har deltatt i konkurranser og nådd høyt opp i sine klasser både som solister og i ensembleklassene. Kaja har selv deltatt i flere konkurranser og fått topp plasseringer. Hun har spilt i flere saxofonkvartetter og hatt en rekke spilleoppdrag både som solist og kammermusiker.Ragnhild Holm er en ledende saxofonpedagog som har oppnådd svært gode resultater med sine elever. De har markert seg med topp plasseringer i ulike konkurranser både som solister og i ensembleklassene. Mange elever har studert videre både innen klassisk saxofonspill eller jazz. Gjennom sitt virke som timelærer i saxofondidaktikk ved Norges musikkhøgskole siden 1987, har hun vært med på å utdanne mange saxofonpedagoger. Ragnhild er utdannet med saxofon og piano som hovedinstrument og spiller aktivt. Hun har arbeidet 25 år i musikkskole og underviser fremdeles i saxofon- og ensemblespill på Rud videregående skole.Elisabeth VanneboElisabeth Vannebo bor i Bergen og jobber som frilans musiker med tuba som hovedinstrument.Hun har turnert bl.a. for Rikskonsertene, Norsk Musikantbruk, Bæremeisen og Skolesekken. Hun har også jobbet som teatermusiker og studiomusiker og spiller fast i Duonova , Trekkspill tuba og TippeThue , Messingkvintetten Bris , Tupper med tuba og Teatertruppen . Elisabeth jobber mye med musikkformidling for barn, både som utøver og komponist. Hun arrangerer og komponerer musikk, og har bl.a. skrevet musikalen Fyrtøyet for korps. Hun var med å lage lærebokserien Midt i blinken , Slåttespill for blåsere og Primera . Hun er deltidsansatt i Bergen Kulturskole og har engasjement ved Ole Bull Akademiet og Griegakademiet.

Vi Spiller Piano 1, Carl Bertil Agnestig 

Fritz KROEPSCH: 416 ETUDES PROGRESSIVES - Volume 1 - 167 daily ExcercisesStudies for B-flat clarinet - ClarinetCotage: GB1812 ISMN or ISBN: M-043-01812-4Arranger:Jacques LANCELOT

Fifteen Duets for Tenor Horn Eb and Euphonium (Baritone) - Treble ClefA collection of 15 Duets  Composer : Derick KaneA great collecton of duets for Tenorhorn and Euphonium.Tuneful melodies and exciting parts create a wonderful book of duets for either concerts or just home practise.Each Duet is given a number : Duet 1, Duet 2, etc 

Yamaha synthetic tuning slide oil is a proprietary blend that's ideal for any slides that need to move quickly and easily, such as the 1st and 3rd slides on a trumpet. An added corrosion inhibitor gives extra protection to the instrument's metal. Tuning Slide Oil Yamaha - Trigger20mL bottle. 

Choir folder PU blackArticle no. F 1047Key Features:elastic hand holder, tailored comfort to different sizes of hands. elegant and clean looking in front of audiance when performingtwo transparent covers inside to hold the sheet music and can read through25,5*3*35,5 cm