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Singing Brass provides developing, amateur, and advanced players with practicing materials that--when played with clear artistic intentions and expressive nuances--facilitate playing with a beautiful tone. The author selected singing-like melodies to encourage players to play with their most refined musicianship. Players should perform these melodies with a round and resonant tone--similar to that of great bel canto singers--while striving to play one perfect note after the other. To achieve this, players can visualize mental images--such as making each note part of a perfect string of pearls or a string of shinning light bulbs. Players should play the melodies in this book with expressive crescendos and decrescendos. Within those crescendos and decrescendos, players ahould maintin a pure tone by supplying a healthy air support--resulting from a vital and continuos air stream. The author arranged the melodies in this book to fit the trumpet register and technique. For example, in some cases, the author subtracted passages that did not seem conducive to improving tone production or would avoid unnecessarily strain. Developing players, amateurs, and professionals are equally encouraged to listen to these melodies in their original form--be it orchestral, chamber, or solo--while seeking the best recorded or live artistic interpretations among the many wonderful options available. Each melody represents a story waiting to come to life. Players should research each melody to learn its history and purpose. While in this process of discovery, players might derive their own interpretation. This book represents a much needed addition to the trumpet literature by offering a series of melodies that range from simple traditional melodies to complex opera arias. Each melody--when played correctly--will increase the player's phrasing skills--as well as increasing his technical abilities in tone production and dynamic control. This book is divided into two sections. In the first section, the author wrote 70 drills and vocalises intended to develop and maintain basic brass playing techniques. The second section includes 71 melodies arranged in a progressive order of difficulty--both technically and artistically.
Broadway star Ethel Merman's voice was a mesmerizing force and her vitality was legendary, yet the popular perception of La Merm as the irrepressible wonder falls far short of all that she was and all that she meant to Americans over so many decades. This marvelously detailed biography is the first to tell the full story of how the stenographer from Queens, New York, became the queen of the Broadway musical in its golden age. Mining official and unofficial sources, including interviews with Merman's family and her personal scrapbooks, Caryl Flinn unearths new details of Merman's life and finds that behind the high-octane personality was a remarkably pragmatic woman who never lost sight of her roots. Brass Diva takes us from Merman's working-class beginnings through the extraordinary career that was launched in 1930 when, playing a secondary role in a Gershwin Brothers' show, she became an overnight sensation singing "I Got Rhythm." From there, we follow Merman's hits on Broadway, her uneven successes in Hollywood, and her afterlife as a beloved camp icon. This definitive work on the phenomenon that was Ethel Merman is also the first to thoroughly explore her robust influence on American popular culture.
A landmark in the study of music and culture, this acclaimed volume documents the remarkable scope of amateur music-making in the English town of Milton Keynes. It presents in vivid detail the contrasting yet overlapping worlds of classical orchestras, church choirs, brass bands, amateur operatic societies, and amateur bands playing jazz, rock, folk, and country. Notable for its contribution to wider theoretical debates and its influential challenge to long-held assumptions about music and how to study it, the book focuses on the practices rather than the texts or theory of music, rejecting the idea that only selected musical traditions, “great names,” or professional musicians are worth studying. This opens the door to the invisible work put in by thousands of local people of diverse backgrounds, and how the pathways creatively trodden by amateur musicians have something to tell us about both urban living and what it is to be human. Now with a new preface by the author, this long-awaited reissue of The Hidden Musicians will bring its insights and innovations to a new generation of students and scholars.
Interchangeable three-part ensembles. (May be used with the Basic Training Course beginning with Lesson 18.)
This book is the long awaited expanded edition of Back to Basics for Trumpeters. As an expanded edition, this book explores the lessons of Vincent Cichowicz more in-depth by presenting the reader with edited transcriptions of some of Cichowicz's lessons, interviews with the author, and selected master classes. In addition, the author included the edited interviews with Frank Kaderabek--Cichowicz's long time colleague and friend--the late William Fielder--well known Professor at Rutgers, The State University of New Jersey--and John Cvejanovich--long time first call trumpeter in Chicago and a former Cichowicz student.