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Brass Ensemble - Level 5 - Digital Download

SKU: A0.810733

Composed by Herbert L. Clarke. Arranged by Geoffrey Bergler. 20th Century,Folk. Score and parts. 19 pages. Gordon Cherry #1986139. Published by Gordon Cherry (A0.810733).

Cornet solos are an important part of the American Brass tradition. The Southern Cross is one of Clarke's most well known Cornet solos and was written in 1911, dedicated to the Australians and first recorded by the composer with OrchestraÂ the next year Â for Victor Records. During 1911, Clarke was the solo Cornetist of the Sousa Band while the band was on a world tour that included visits to South Africa, Tazmania and Australia from March through to August. BelowÂ is a photo of the Sousa band from their 1911 tour. Clarke is sitting in the front row 5th in from the right with his moustache and his Cornet on his lap. He assuredly composed this solo to perform on that tour.Â The Southern Cross is a constellation that is only seen from the southern hemisphere and features the five stars of the Cross from the 1901 design of the Australian flag. This 5-minute virtuosic arrangement by Geoffrey Bergler features not only the Cornet, but a bit of all the other four members of the Brass Quintet. Instrumentation is for: 2 Trumpets in B-flat (Trumpet 1 solo, Trumpet 2 also plays Piccolo) Horn, Trombone Tuba/Bass Trombone The sound track features Mr. Bergler from his student days as Cornet soloist.

Herbert L. Clarke - The Southern Cross for Solo Cornet with Brass Quintet Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba

$20.00 18.94 € Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba PDF SheetMusicPlus

Trumpet Solo - Digital Download

SKU: A0.829062

Composed by Eric Bolvin. Arranged by Eric Bolvin. Contemporary. Individual part. 56 pages. ERIC V BOLVIN #3578765. Published by ERIC V BOLVIN (A0.829062).

Most brass players are familiar with the ubiquitous Clarkeâ€™s Technical Studies. Here are some creative variations on Studies I, II, III, V and VII. All the variations are progressive so I guarantee they get harder and will be useful to players at all levels and styles.

There are two essential books that just about every trumpet player has studied; Arbanâ€™s Conservatory Method and Clarkeâ€™s Technical Studies. The Arban is fondly referred to as the trumpet playerâ€™s bible. If that is the case, then the Clarke should be the new testament. I consider Herbert L. Clarke to be the George Washington of trumpet, as he was the one of the first Americans to achieve greatness as a performer on the cornet. He was also one of the first notable pedagogues and taught such greats as Rafael Mendez and Claude Gordon, who was my teacher. I am fond of telling my students that they are the great-grandchildren of H. L. Clarke, one of our countryâ€™s first great virtuosos.

The impetus for this set of variations is based on the idea of an Expanding Scale or Expanding Range. Each set will start with a small range of notes covering an interval such as a 5th and will expand over the course of the study to the whole range of the trumpet. The idea is to imagine you are holding one note and let your fingers do the rest. This concept is, of course, metaphorical but if employed will greatly enhance your technique and efficiency.

This is a progressive course, so it is recommended that you practice the studies in the order they are presented. Make note of the intervals in each study. Study 1 is all chromatic, so it is easier to transition from one note to another. The second group is based on Clarke Study 5 and is all diatonic. The third group is based on Clarke Study 2 which is diatonic with some thirds. The fourth group is based on Clarke Study 3 which is arpeggios. So with each group the intervals get a little more challenging. Iâ€™ve also included more chromatic work based on Studies 7 & 8.