Clefand Key Studies for Clarinet is intended toprovide a comprehensive grounding in the melodic and harmonic gestures of eachkey center so that ?muscle memory? and automaticity aid in the development ofclef reading and transposition skills. Performers should find themselvesreading transpositions the same way they read treble and bass clefs?with noongoing, intervening calculation; transposing musical gestures, not individualnotes. In addition to over five hundred scales and arpeggios and over two hundredshort technical exercises, Clef and KeyStudies for Clarinet provides a wealth of slow melodic studies aimed atdeveloping tone and intonation. All exercises are placed within the context ofkeys and tonal centers so that the performer develops a vocabulary of musicalstructures that share a common syntax.



Clefand Key Studies for Clarinet isdesigned to be adaptable for a number of pedagogical and professional purposes.Work one key at a time or one key signature (major plus following relativeminor) at a time. Pick and choose which clefs to focus on or ignore the exoticclefs altogether. Use clef studies and transposition drills as warm up tunes.Use the extensive indexing to create personalized practice routines. There aremany ways to apply the drills and exercises in Clef and Key Studies forClarinet to meet each performer?s goals and objectives.

There is plenty of music sheet for classical guitar of various styles, directions and levels of difficulty. There is also enough methodical literature for all tastes. However, every year there are appearing new schools, methodical collections and exercises. That?s why the art of playing classical guitar is not standing still.

During my pedagogical activity rather often I faced the problem of searching or creating small exercises for a particular technique and solution of a particular problem. What didn?t suit me in the existing studies? First of all, the monotony of technical material (the accent only on the left hand technique of a performer, while the concentration of sound control is mostly in the right hand; a limited quantity of technical methods: arpeggios, chords, passagework technique). Secondly, it?s an amount of musical material. As a rule, the main efforts were aimed to memorize the text, which distracted from the very purpose of etudes, the work on a certain type of technical difficulties.
That is how the collection �Unusual Studies� appeared.
What is their �singularity�?
The collection is conditionally divided into several sections in the order of increasing the complexity of material, and it concludes with three �Concert Studies�. They are distinguished by a more developed emotional atmosphere and rather high level of complexity and size. These studies require a certain level of preparation and can diversify a performer?s concert program. Nevertheless, they are only an addition to the basic material, which is focused primarily on the elementary and intermediate levels of training.
When it comes to the ?singularity?, focus is shifted to the right hand, with the detailed fingering of the right hand. The fingers �p� and �a� are introduced more actively, paying attention to the alignment of their sound, attack power. It is necessary to strive for full equality of all fingers of the right hand, using fingers �p� and �a� not only when playing bass and melody, but also in arpeggio, passaggio technique (in the middle of an arpeggio or passaggio).
- learning to use touches in a high contrast while playing: staccato/legato. This, in my opinion, is extremely necessary to already assimilate at the initial stage of training.
- active use of the alternation in the musical material of open and closed strings. Control over the strength of the sound of open strings, timbre ratio.
- using the high positions of the guitar?s fingerboard with open strings without excessive physical effort .
- rather small size of studies. This allows to concentrate directly on the technical difficulties, rather than on memorizing.

I hope that this collection will help you to achieve the desired result faster and more effectively, will bring not only methodical benefit, but also aesthetic pleasure.

ISBN 9781619119857.

Franz Wohlfahrt (1833 1884), a violin teacher in Leipzig Germany, wrote several series of etudes including 60 Studies for Violin, Opus 45 from which this book of mandolin studies was derived. Originally composed for his own teaching purposes, over the past 100 years Wohlfahrts etudes have become standard works for beginning violin study the world over. Adapted for mandolin in standard notation and tablature, some violin techniques had to be altered to make these studies accessible to mandolinists. The resulting book contains progressively arranged compositional gems that include scale, tremolo, arpeggio, and position studies plus grace notes, double-stops and other techniquesall terrific sight-reading material at an intermediate to advanced level.

ISBN 9781619119574.

This book includes a multitude of beginning to intermediate studies, designed to build right-hand picking technique and coordination between both hands. The material includes vertical picking exercises across various string combinations, linear picking studies, tremolo studies, warm-ups, picking etudes, triplet exercises and picking solosaessential material that will supplement any guitar method. Written in standard notation and tablature.

Charles Dancla (1817-1907) is considered to be the last great representative of the French Violin School. He was a composer, solo violinist at the Paris Opera and professor at the Paris Conservatoire and wrote numerous educational works for violin, including his well-known three-volume work Little School of Melody'. He knew, in a unique way, how to implement the principle 'no music without technique, no technique without music' in his teaching material. This is the case in his easy melodic studies Op. 84 which are available here in an arrangement for viola for the first time. These studies are perfectly suited for young beginners after the second year, but also for adult players, false beginners or those switching instruments. Most of them can be effectively used as little performance pieces, providing an excellent foundation for every advanced etude or concert piece.
Each study is preceded by new or revised exercises which either deal with specific problems relating to the playing technique, like change of string, spiccato, martele, chromaticism, change of position, octaves, or double stops, or present the tonal material of the respective study in a condensed, playful form.
Those who prefer Dancla's somewhat easier original preliminary exercises will find them in the appendix.
A little dictionary of the musical and technical terms in this volume shall make their meaning accessible to young players in particular.

Inspired by Toru Takemitsu and Leo Brouwer, Eight Octatonic Studies features eight short studies for classical or electric guitar. Each study explores the expressive potential of a single octatonic collection (also referred to as an octatonic scale or diminished scale).

Studies I, IV and VI feature ostinato patterns that support evocative melodies. Study II is an exercise in octatonic counterpoint and imitation. Studies III and VII feature octatonic scalar motives punctuated by dyads and seventh chords. Study V simulates a tonal context, implying the key of D flat major. Finally, Study VIII explores the intervallic relationships inherent in an octatonic collection. Includes preface, 9 pages sheet music

First Technical Studies for Trumpet presents 127 short exercises organized into seven study patterns that train young trumpeters to develop consistency and confidence in coordinating valve movements while maintaining tone control. The studies establish a foundation of control enabling students to master more advanced technical study materials such as Clarke's Technical Studies for Trumpet with much greater success. Only major keys up to four sharps and flats are presented and the range peaks at the sixth harmonic.

Item Number: S9.Q49597

Costes 25 Etudes de genre opus 38 and 6 studies from the Method de Guitare by Fernando Sor are standard repertoire for solo guitar.

English.

This edition presents all Schulz's known studies, and they demonstrate the composer at his best. Many of the studies are technically demanding, often with focus on specific and sometimes unusual techniques or right-hand fingerings. They also have a rich harmonic language, thus displaying an instrumental and compositional proficiency beyond that of the average guitarist at the time. In quality the Schulz studies may be compared to those by Giulio Regondi.

Charles Dancla (1817-1907) is considered to be the last great representative of the French Violin School. He was a composer, solo violinist at the Paris Opera and professor at the Paris Conservatoire and wrote numerous educational works for violin, including his well-known three-volume work Little School of Melody'. He knew, in a unique way, how to implement the principle 'no music without technique, no technique without music' in his teaching material. This is the case in his easy melodic studies Op. 84 which are available here in an arrangement for viola for the first time. These studies are perfectly suited for young beginners after the second year, but also for adult players, false beginners or those switching instruments. Most of them can be effectively used as little performance pieces, providing an excellent foundation for every advanced etude or concert piece.
Each study is preceded by new or revised exercises which either deal with specific problems relating to the playing technique, like change of string, spiccato, martele, chromaticism, change of position, octaves, or double stops, or present the tonal material of the respective study in a condensed, playful form. Those who prefer Dancla's somewhat easier original preliminary exercises will find them in the appendix.

The Austrian clarinettist and composer Alfred Uhl (1909-92), born and trained in Vienna, has gained an international reputation for his film music scores, orchestral and chamber music works. His works move in a tonal framework, combining a differentiated rhythm and catchy melody. Thus, Uhl developed his own personal humorous style which he also realized in his studies. His study cycle is a standard work of teaching literature for clarinet. Almost every aspect of clarinet playing technique is .covered in Uhl's study work. Apart from the technical educational goal, the musical content gets its fair share too: each study work is a little character piece which helps the clarinettist to effectively express his musical imagination independently of technical obstacles. A new edition in one volume with practising tips by Prof. Reiner Wehle.

Presenting the first volume of the Flat Key Series for guitar: Five Studies in F Major.

I - A short Fernando Sor inspired waltz with a simple melody and sequential interlude.
II - This study features two-voice counterpoint with a brief arpeggiated interlude.
III - This full-on arpeggio study in sextuplets incorporates hammer-ons and pull-offs and includes a brief exploration of the relative minor.
IV - This study fuses a flowing syncopated pattern with extended and altered chords and a smooth melody.
V - Inspired by Astor Piazzolla, this study opens with a chromatic sequence leading into a resolute melody supported by a rich harmony and decorated with quintuplet embellishments.

The Flat Key Series features not often seen keys for guitar to expand the guitarist's harmonic vocabulary and experience. Keep an eye out for additional volumes or contact KPMP for more information.

Die Stucke aus Piano Studies in Pop sollen nicht nur ein Gegenpol zur Klassik sein, vielmehr sollen sie die Bemuhungen Jazz- und Popmusik im Instrumentalunterricht zu integrieren, unterstutzen.
Es war Mike Schoenmehl ein besonderes Anliegen, klavieristische Lerninhalte in Form dieser Arrangements zu prasentieren, damit der Schuler nicht nur Stucke spielt, sondern dazu auch technische und musikalische Schwierigkeiten zu bewaltigen hat.

ISBN 9781619119734.

Applicable to classic, flatpick or fingerstyle guitar, this excellent text relates scales and modes to chord construction, solo playing, and fretboard position a must for the advancing guitarist! Includes many outstanding original guitar studies to teach the guitarist how to apply the theoretical knowledge gained from under-standing, playing, and hearing the scales.

ISBN 9781513455006.

Intermediate-level guitarists will enjoy playing through this varied collection of pieces, all in one volume. A wide gamut of composers from the Renaissance to the nineteenth century is included, along with a few anonymous contributions. Continuing with the techniques and carefully thought-out fingerings and notation employed in Dr. Afshars previous publication (Beginning Pieces for Classical Guitar), selections like Carcassi Study #3 and Sor Studies Nos. 5 and 6 require the execution of rest stroke technique on their melodies in order to distinguish them clearly from the concurrent free-stroke accompaniment. In the same spirit, Study No. 5 by Fernando Sor has been written out in a way that clearly shows the melody as it appears on beats one and three. The nine-movement suites by Gaspar Sanz and Robert de Visee introduce the student guitarist to Baroque dances and ornamentation.

Song List: (Oh, My Darling) Clementine Raymond Overture Melody Reverie Poem Military Salute (Streabbog) Theme (Czibulka) Behold Our Faith Divine Theme (Chopin) Tell Us Of The Night (L.Mason) Theme (Gillet) Faust Ballet Music (Gounod) Invention Viii (Bach) Chorale Moderato (Concone) Intermezzo Russe (Franke) Cradle Song (Hauser M) Barcarolle Holy Is The Lord

Song List: Song List Available Upon Request