The Clef Studies by Vladislav Blazhevich, composed in 1925 are a staple of the Trombone repertoire. Their quality is superb, not only for teaching the clefs, but solid technique and musical style as well.

Karl Lyden has brilliantly arranged Three Studies for Trombone Quartet inspired by the Blazhevich Clef Studies for Trombone based on numbers 56, 54 and 65 (subtitled Five Etude having a funk feel to it). They are very musically interesting, rhythmically challenging and fun to perform.

Here is a description of the Three Studies by arranger Karl Lynden:

"The seed for the Blazhevich Three Studies for Trombone Quartet came from my desire to write for my trombone quartet during undergraduate studies at Nebraska-Lincoln. I was tinkering with study No. 64 from Blazhevich?s Clef Studies for Trombone book and began to imagine pulsating trombone chords and ostinatos. The original was in 5/8 so I dubbed that arrangement ?Five Etude?.

Several years later, I had similar experiences with two other works from the book (No. 54 and 56). For the latter No. 56, I originally imagined it as a mournful duo between trombone and cello. I then flushed out the implied harmony to allow for four trombones.

No. 54 is more harmonically dense with an active bass line. It should be played majestically but come to rest in a subsided manner.For all three studies, I deviate slightly from the written form. However, the melody always remains constant as a means of generating new textures, harmonies, and rhythms. My hope is that trombonists in quartets will experience these familiar etudes in a new light."

The Bordogni vocalises have been used by generations of low brass performers to learn legato technique, phrasing, endurance, bel canto style, expression, and breath control. They sound beautiful and are fun to play!

Ran Whitley has beautifully arranged another ten of the Melodious Etudes, numbers 41-50 for Trombone Quartet. All in bass clef, these are appropriate for intermediate to advanced performers. The entire melody line is in part 1 with parts 2, 3, and 4 accompanying.

Ralph Sauer's landmark new work, Practice With Bach, will challenge your technique and musicality with demanding new études. Based on the keyboard works of J. S. Bach, each of the Three Volumes is available in five different versions--Alto Trombone, Tenor Trombone, Bass Trombone, Euphonium, and Tuba. Each version is customized for the individual instrument (choice of key, range, ornaments, etc.).



Tenor trombonists will find that the Alto version is excellent for high register practice and alto clef reading. Likewise, Tenor trombonists can use the Bass version for low register work.



Bass trombonists will find excellent material in the Tenor version for work in the upper register and tenor clef reading. The Euphonium version is in the same key as the Tenor version, but all in bass clef, with many more trills added. The Tuba version is in the same key as the Bass version, also with more trills.



Volume One contains Twenty-four études in all keys, based upon preludes from The Well-Tempered Clavier.and#65279;

ISBN 9781609745769. Brand new for the saxophone teacher! This volume includes a progressive sequence of materials for the saxophone player with no "lesson boundaries." Students will determine their rates of advancement. Instead of using familiar tunes, original, well-thought out musical compositions by the author are included. The student must think through the melodies instead of relying on memory of standard tunes. Proper technical development is insured for the beginning saxophonist.

The 120 Melodious Etudes of Marco Bordogni were introduced in a three-volume set in 1928 by Trombonist Joannes Rochut and have been used for almost 100 years as pedagogical tools primarily in the low brass world. Their bel canto style, using beautiful tone and precise legato are their hallmark.

Bass Trombonist Nir Fishkin has artfully arranged 10 Melodious Etudes for Brass Quintet which are suitable for moderately advanced performers. The arrangements spread the melody around between the five parts.

The Trumpet parts are in B-flat.

German - English.

Marcel Moyse has become one of the legendary great flautists of the 20th century. As a pupil of Tannanel and successor to Gaubert at the Conservatoire National de Paris, he stands in the direct tradition of the 'French School'. How I Stayed in Shape is his last book of studies (1974), presented here for the first time in a trilingual edition (French, German, English). His pedagogic and artistic experiences are set out in their entirety with the aim of helping professional flute players who have little time to practise, and also &lsquo.everyone who loves the flute, while not forgetting the music&rsquo.. This volume aims to improve the basic aspects of flute playing (formation of tone, intonation, articulation, phrasing) using examples from the repertoire and Moyse's own detailed comments.

Tone Study for the Lifelong Flutist grew out of Leonard E. Lopatin\'s experiences over a nearly fifty-year career, building on what he found useful from standard pedagogy books and coaching he received in high school, the Manhattan School of Music, and the Juilliard School. Lopatin, best known as the innovative designer of the SquareONE family of flutes, concentrated on making his daily practice time as effective as possible for maintaining the skills that first earned him a seat in the Metropolitan Opera Orchestra. What would be the point of crafting the kind of flutes he wanted to play if he neglected his professional flute playing skills? Divided into 48 large sections, each with twelve sub-sections, these tonal exercises are designed to facilitate the practice of moving smoothly from each note to every other note in the flute\'s range while building (or maintaining) the endurance needed to play for an extended period of time. These exercises are designed to continually challenge players in their lifelong efforts to advance their playing abilities. Flute players will undoubtedly find Tone Study for the Lifelong Flutist a must-have for their pedagogical library. Indeed, players of all woodwind and brass instruments will find that the patterns which fall into their range are great for building the strength and flexibility needed for mastery.

ISBN 9781609740979. The studies of Mauro Giuliani (1781-1829) stand alongside those of Fernando Sor, Matteo Carcassi, Dionisio Aguado and Ferinando Carulli as the staples of the didactic pieces by the "first generation" of classical guitarists. Giuliani was one of the most celebrated guitarists of his age, a brilliant performer and prolific composer. He left a legacy of compositions, and many of his works are heard regularly in recitals and concerts today. His student pieces are considered indispensable by generations of guitarists. The studies and exercises contained in the six opus numbers here provide some of the most effective material in the entire guitar literature for building and refining a superior technical command of the guitar. In this edition, David Grimes has modernized some of the notation and corrected a number of misprints from Giuliani's original publications.

Pilgrimage of Practice is a faith-integrating class piano curriculum based on stories of St. Columba of Iona. While envisioned for college level non-pianist music majors, it can be used in private instruction or as a source of recital materials. Volume I introduces improvisation, intervallic reading, major scales, playing by ear, and music in modes.

Pilgrimage of Practice is a faith-integrating class piano curriculum based on stories of St. Columba of Iona. While envisioned for college level non-pianist music majors, it can be used in private instruction or as a source of recital materials. Volume III introduces jazz-related styles from ragtime to blues to gospel. It also provides review materials for a comprehensive exam on skills from Volumes I-III including transposition and harmonization.

German - English - French.

In the compilation of this collection of studies, the author was moved principally by the desire to produce a work which would introduce the student gradually to all the problems of the piano technique, give him confidence and technical facilities, develop his pianistic gifts, and thus provide him with the technical and musical background to enable him to master the purely musical material without too great an effort. Studies are also useful in developing a musical sense, if played with taste and charm and not practiced in a dull and mechanical manner. The more gradually the technical difficulties are introduced, the more will be gained from these studies from the purely musical side. The majority of the studies in the first volume have been chosen purposely in the triad form, along with those in diatonic scales. Proceeding from the triad, the student is afforded to the opportunity of combining these exercises with his other musical studies. Ear training is given practical application by singing the triad to the syllables la or do mi sol (or bi gu la), and then playing it in different positions. Short verses of folk or children's songs within a range of five tones can also be played in the same way so that the transposition of the first exercises into other keys will no longer offer any great difficulties for an ordinary musical ear. In this way, the student is gradually introduced to the chromatic signs, tonally and technically, which makes it possible to use other keys than C major much earlier than usual, as is suggested in the present work. Attention should also be paid to dynamics. first awaken a sense of the contrast between loud and soft tones by practical illustration, which the student should then imitate on the instrument. He himself must decide if his tone corresponds to his musical intentions, which accustoms him from the start to listen critically to his own playing. In the first exercises, the right hand part in the original has been divided between both hands for pedagogic reasons, without altering the melodic line of the original. A number of studies have been transposed into other keys.

German - English.

This volume is a compilation of exercises of various authors which have already been tried and tested in practice. The editor has added some new pieces of his own to the selection. The exercises are mainly aimed at the advanced player or beginner. Great importance has been attached to tonal quality, ties and slurs, rhythm and technique. In order to counteract the - unjustly - poor image of studies, the editor selected or wrote mainly studies which have a certain musical quality and encourage the player to improvise.

Étude Rhythm is the second study of the album "12 studies for piano" by Simone Pionieri. 6 pages .

As a student 40 years ago I wrote a thesis about all existing cello methods. Then I started writing my own method by putting all positive aspects of all methods together and revised the volume multiple times.
The music selection is the best I could find for each level progressing in tiny well prepared steps, enjoyable to play. Exercises compact and only when needed.
Volume 1 contains No 1-50 on 57 pages - first position, bow and reading skills, each piece in form of a cello duo to be able to play with a friend or teacher together - includes traditional songs, fiddle tunes and compositions by Beethoven, Bach, Purcell, Sor, Carcassi, Gretchaninov, Gruber and Neidhardt.
Probably the most researched and tested way to start learning the cello!
To each number are Video cello lessons linked published on Patreon. The links click through when viewed on phone, tablet or computer.
There are also Youtube recordings of all pieces as Cello Duos with fingerings and bowings as in the Cello Method, see https://www.youtube.com/playlist?list=PLa4x_CVYDVRXAnJJ_6HeRujngwTZ8cMEd

This third solo album for piano, Go Your Own Way, is dedicated to the eternal question of which path to take in life. Twelve very emotional New Age pieces for piano take the pianist and the audience on a musical journey during which each of them follows his heart and his inner voice. The road of life is often rocky and paved with tears. And yet, everybody should take it as a fighter and leave his own mark. This requires courage and confidence in order not to despair or be broken. The bottom line of all this is that the way is the goal and that everybody has to go it. These expressive compositions are highly nuanced like piano playing, exciting, rich in contrast and exploring boundaries like life: melancholy and lamenting, comforting, affectionately soothing, motivating, confident, breath-taking, and passionate.