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Clarinet Studies for Turkish Music I

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180,00
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Öne Çıkan Bilgiler

The clarinet, with its rich timbre, wide range, and expressive flexibility, has secured a prominent place in both Western and Turkish musical traditions. This book is intended to support clarinet players in developing their technical and musical abilities, reinforcing their practice discipline, and preparing for passages frequently
encountered in the performance of Turkish repertoire.
As the first volume in a projected series, it is conceived as a study and exercise book for performers at the beginner level who wish to engage with Turkish music. The material has been arranged so that it may be studied not only on the “G” clarinet but also on the “B?” and “A” clari

Clarinet Studies for Turkish Music I Hakkında Bilgiler
Türü : Müzik Eğitimi
Kapak : Ciltsiz
Sayfa Sayısı : 72
ISBN : 9786255680426
Basım Yılı : 2025
Kağıt Tipi : 2. Hamur

Tükendi

Gelince Haber Ver

The clarinet, with its rich timbre, wide range, and expressive flexibility, has secured a prominent place in both Western and Turkish musical traditions. This book is intended to support clarinet players in developing their technical and musical abilities, reinforcing their practice discipline, and preparing for passages frequently
encountered in the performance of Turkish repertoire.
As the first volume in a projected series, it is conceived as a study and exercise book for performers at the beginner level who wish to engage with Turkish music. The material has been arranged so that it may be studied not only on the “G” clarinet but also on the “B♭” and “A” clarinets. In this way, the book provides a framework that is both adaptable across instruments and closely connected to the idiomatic performance practices of Turkish music.
The etudes are presented in progressive order, encouraging performers to refine finger technique, develop tonal control, and expand expressive capacity. In this respect, the book is designed as a developmental resource suitable for both students and professional clarinettists.
The preparation of this volume has been guided by the wish to contribute to clarinet pedagogy and to share musical experience. I am indebted to colleagues, students, and musicians whose ideas and artistry have enriched the process and deepened my perspective on clarinet performance.

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