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A comprehensive resource for the intermediate to advanced percussion students and their teachers. Chapters cover issues of rhythm, meter, rudiments, rolls, and more. Features exercises for individual or group work, and introduces a variety of different instruments. Online media includes play-along tracks, video lessons, and supplemental content.
Keith Stein was already a phenomenal clarinetist when he attended the very first session of the National Music Camp at Interlochen, Michigan. Stein was then accepted into the Chicago Symphony, and became one of its youngest members. He earned a master of music degree at the University of Michigan, and his teaching career began at Michigan State University and Interlochen, where he remained for the next 41 years until he retired. Within this book, the author makes the player aware of all the many faulty habits he may have acquired, then offers constructive suggestions for remedying each one.
Edward Kleinhammer, author of The Art of Trombone Playing, joined the Civic Orchestra, the training orchestra for the Chicago Symphony, in 1940. After two years he was accepted by the Chicago Symphony Orchestra, where he remained for his entire career until he retired in 1985. He has played under every Chicago Symphony Orchestra conductor, covering from Frederick Stock to Sir Georg Solti. In 1986 he received the Distinguished Service Award from the International Trombone Association. While Kleinhammer states that his book "is written for the student who has no teacher available or for the teacher seeking more fundamental knowledge of the field of trombone playing," he emphasizes that it is also "for the trombonist (in any stage of proficiency) who is always a student."
This is the Only Complete Arban for Trombone & Euphonium. There has never been a truly complete Arban for trombone or euphonium until now. Previous editions did not include all of Arban's studies. This benchmark edition is complete and comprehensive for both trombone and euphonium.Joseph Alessi (principal trombone of the New York Philharmonic) has written all the trombone text for this edition. His guidance in applying Arban's (trumpet) techniques to the trombone puts this book into a class by itself.Dr. Brian Bowman wrote the text for euphonium. As a teacher and virtuoso performer, Dr. Bowman is uniquely qualified to transfer Arban's techniques to the euphonium.
John Cacavas has written an extensive book on the techniques of composing, orchestrating and arranging. Includes chapters on each section of the band and orchestra, voicing techniques as well as special chapters on concert band writing, choral writing, electronic applications and writing for film and television.
This book serves the need for an authoritative guide to the euphonium and tuba for students, teachers, and professional performers. The content and presentation as applied to the wind instruments are clearly stated. Detailed discussion by Phillips and Winkle includes many considerations for all levels of performance. The appendix includes study materials recommended for beginning, intermediate and advanced levels. This book also presents a pictorial history of the evolution and development of the tuba/euphonium family with a selected list of outstanding artists who make up its heritage.
A collection of technical studies designed for use with either full band or individual practice. The method is divided into eight units, each focusing on a major key and its relative minor key and includes such studies as chorales, scale studies, arpeggio studies, interval studies, rhythm rounds, articulation studies, speed drills and etudes to help reinforce new concepts. An excellent way to prepare students for advanced grade III and most grade IV material.
A trusted training method for aspiring and serious players, "The Saxophone Bible" covers tuning, tone production, fingering, breath control, playing low and high ranges, scales, intervals, and much more.
A young girl learns how to cope with her noise sensitivity and step outside of her comfort zone in this “thoughtful” (Beth Turley, author of If This Were a Story and The Last Tree Town), heartwarming middle grade novel that’s perfect for fans of Tune It Out by Jamie Sumner and El Deafo by Cece Bell. Ten-year-old Amelia does not like noise. From subway brakes to squeaky sneakers, she is sensitive to sound, just like her dad. Amelia has always worn noise-canceling headphones, but now that she’s going into fifth grade, her parents want her to stop wearing them. To make matters worse, she must learn to play an instrument! Or, as Amelia sees it, make noise on purpose. To help Amelia cope, her father gives her a pair of earmuffs to wear instead. Even with her new earmuffs, Amelia struggles at school…until she gets partnered with Madge in music class. Madge is loud and bold and goofy—everything Amelia is not. And so Amelia is surprised when Madge wants to be friends. Still, it’s not long though before Amelia’s quiet nature clashes with Madge’s loud personality. And when Madge disappears after an argument, Amelia fears Madge might be in trouble. If she’s going to help her friend, she will have to find a way to let in the noisy world she’s muffled for so long.
Keith Johnson retired in 2014 from the University of North Texas, where he was Regents Professor of Trumpet and was honored with the Distinguished Teaching Professor award. Acclaimed for his pedagogy, Johnson wrote more than thirty articles, two pedagogical texts, and two method books. During his career, he presented masterclasses at universities and conservatories throughout the United States, as well as in Europe, Canada, Mexico, Brazil, and South Africa. Johnson’s former students hold positions in universities, orchestras, and military ensembles in over a dozen countries. He would modestly say, “I just pick the right people and they make me look good,” but his students tell a different story. In The Art of Trumpet Teaching, Johnson’s former students from his early years at the University of Northern Iowa to his last student after retirement from the University of North Texas describe his teaching approach and tireless work to help each person succeed. These stories also highlight the warm and humorous side of his nature and provide an insight into what Johnson called “the art of teaching.” Along with Johnson’s biography and studio stories, Leigh Anne Hunsaker presents an extensive collection of pedagogical concepts from Johnson’s six decades of teaching. Also included are some of his later expositions on the value of music in education, motivation, and the idea of “music as metaphor.” Johnson’s hallmark pedagogical tenets, along with much practical advice given to his UNT students, provide a teaching and reference handbook for a new generation of teachers and players.