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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."
Modern low brass instruments—trombone, tuba, and euphonium—have legions of ancestors, cousins, and descendants in over five-hundred years of history. Prominent scholar and performer Douglas Yeo provides a unique, accessible reference guide that addresses a broad range of relevant topics and brings these instruments to life with clear explanations and the most up-to-date research. Brief biographies of many path-changing individuals highlight their influence on instrument development and use. The book’s inclusive scope also recognizes the work of diverse, influential artists whose important contributions to trombone and tuba history and development have not previously been acknowledged in other literature. Extensive illustrations by Lennie Peterson provide insight into many of the entries.
Der Gitarrist Seth F. Josel und der Komponist Ming Tsao geben in ihrem gemeinsam geschriebenen Buch einen umfassenden Überblick über zeitgenössische Spieltechniken der klassischen Gitarre. Prägend war hierbei eine neue Generation von Gitarren-Solisten, die durch ihre außerordentlichen technischen und virtuosen Fähigkeiten einem neuen Verständnis von instrumentaler Aufführungspraxis den Weg geebnet haben. Detallierte Erklärungen über das, was technisch auf dem Instrument möglich ist, werden präsentiert und im Hinblick auf die traditionelle Gitarrentechnik in einen historischen Zusammenhang gestellt. Für Komponisten interessant sind die ausführlichen Analysen von zeitgenössischer Gitarrenliteratur, die viele Beispiele aus Kammer- und Ensemblemusik mit einbeziehen. Vier Hauptkapitel beschreiben - Techniken der rechten und der linken Hand - Besondere Harmonien und perkussive Techniken - Die Hauptinstrumente der Gitarrenfamilie und ihre Möglichkeiten - Notationsmöglichkeiten für zeitgenössische Gitarrenliteratur Detaillierte Grafiken zu Multiphonics-, Bitones- und Perkussions-Techniken sowie Audio-Tracks, auf die aus dem Buch heraus verlinkt wird, ergänzen die im Buch beschriebenen Beispiele.
In their playing you hear not only precision, color and balance, but thunder, lightning and the language of the heart. This is what the Boston Globe said about a performance by conductor Benjamin Zander with the Boston Philharmonic Orchestra, but it could apply equally to the Zanders' inspirational book, the product of a synthesis of the diverse worlds of the symphony orchestra and cutting-edge psychology. The Art of Possibility offers a set of breakthrough practices for creativity in all human enterprises. Infused with the energy of their dynamic partnership, the book joins together Ben's extraordinary talent as a mover and shaker, teacher, and communicator, with Rosamund Stone Zander's genius for creating innovative paradigms for personal and professional fulfillment. In lively counterpoint, the authors provide us with a deep sense of the powerful role that the notion of possibility can play in every aspect of our lives. The Zanders' deceptively simple practices are based on two premises: that life is composed as a story ("it's all invented") and that, with new definitions, much more is possible than people ordinarily think. The book shifts our perspective with uplifting stories, parables, and anecdotes from the authors' personal experiences as well as from famous and everyday heroes. From "Giving an A," to the mysterious "Rule Number 6," to "Leading from Any Chair"-the account of Ben's stunning realization that the conductor/leader's power is directly linked to how much greatness he is willing to grant to others-each practice offers an opportunity for personal and organizational transformation. The Art of Possibility provides a life-altering approach to fulfilling dreams large and small. The Zanders invite us all to become passionate communicators, leaders, and performers whose lives radiate possibility into the world. Rosamund Stone Zander is a family therapist and a landscape painter. Benjamin Zander is the conductor of the Boston Philharmonic Orchestra and a professor at the New England Conservatory of Music. Based on the principles developed through the authors' unique partnership, Mr. Zander gives presentations to managers and executives around the world and Ms. Zander conducts workshops for organizations on practicing the art of possibility.
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.
This is the first comprehensive study of the trombone in English. It covers the instrument, its repertoire, the way it has been played, and the social, cultural, and aesthetic contexts within which it has developed. The book explores the origins of the instrument, its invention in the fifteenth century, and its story up to modern times, also revealing hidden aspects of the trombone in different eras and countries. The book looks not only at the trombone within classical music but also at its place in jazz, popular music, popular religion, and light music. Trevor Herbert examines each century of the trombone's development and details the fundamental impact of jazz on the modern trombone. By the late twentieth century, he shows, jazz techniques had filtered into the performance idioms of almost all styles of music and transformed ideas about virtuosity and lyricism in trombone playing.
A History of the Trombone, the first title in the new series American Wind Band, is a comprehensive account of the development of the trombone from its initial form as a 14th-century Medieval trumpet to its alterations in the 15th century; from its marginalized use in a particular Renaissance ensemble to its acceptance in various kinds of artistic and popular music in the 19th and 20th centuries. David M. Guion accesses new and important primary source materials to present the full sweep of the instrument's history, placing particular emphasis on the people who played the instrument, the music they performed, and the relevant cultural contexts. After a general overview, the material is presented in two main sections: the first traces the development of the trombone itself and examines the literature written about it, and the second investigates the history of performance on the instrument--the ensembles it participated in, the occasions in which it took part, the people who played it, and the social, intellectual, political, economic, and technological forces that impinged on that history. Guion analyzes the trombone's place in countries all over the world and in many styles of music, such as art, opera, popular, and world music. An appendix of transcriptions of selected primary source documents, including translations, and a comprehensive bibliography round out this important reference. Fully illustrated with more than 80 images, A History of the Trombone appeals not just to trombonists but to students, scholars, and fans of all musical instruments.
First to be published in the series was The Art of French Horn Playing by Philip Farkas, now Distinguished Professor Emeritus of Music at Indiana University. In 1956, when Summy-Birchard published Farkas's book, he was a solo horn player for the Chicago Symphony and had held similar positions with other orchestras, including the Boston Symphony, Cleveland Orchestra, and Kansas City Conservatory, DePaul University, Northwestern University, and Roosevelt University in Chicago. The Art of French Horn Playing set the pattern, and other books in the series soon followed, offering help to students in learning to master their instruments and achieve their goals.