The Italian flute virtuoso Giuseppe Gariboldi (1833-1905) wrote numerous studies for the flute which are among today's standard teaching literature. Starting with easy melodic tonal studies, the 'First Exercises' gradually expand their range of tones, thus increasing the technical demands. Melodic and harmonic progression, dynamics, articulation and dexterity are developed in short, .exercises arranged in varying ways, starting from the basics.
The song-like, easily comprehensible melody in connection with elementary motivic work (repetitions of motifs, sequences and variations) trains the inner tonal image which is imperative for the beginner in particular. When a sense of melodic progression and phrasing is developed on this basis, the increasing technical elements added later are incorporated both unobtrusively and organically. This new volume in the well-known Schott series 'Essential Exercises' is complemented by teaching tips and an index of the technical and musical topics.

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.

- Technical Teasers is an A-Z of fun mini-studies for cello, created by Judith Fleet to give beginner to early intermediate cellists a set of short engaging technical exercises focusing on fundamental techniques.

- The A-Z format allows for different combinations of exercises to be played based on spelling out a word.

- The mini-studies include bow distribution awareness, string crossings, pizzicato, trills, col legno, shifting, an introduction to tenor clef and a few cello special effects!

German - English - French.

Czerny has been underestimated as a composer of studies for a long time. In the meantime, however, his studies are used more and more in lessons because he is a real master in .tackling technical and musical problems in concise exercises. Against the background of the discussion about practising ('How to practise in an efficient and targeted manner'), Czerny's studies have gained in importance. As a consequence, Schott has included the well-known cycle 100 leichte Ubungsstucke op. 139 in its study series 'Essential Exercises', with fingerings and didactic information by Wilhelm Ohmen.

Dotzauer etudes have been part of the standard repertoire in cello lessons for generations. Johann Friedrich Dotzauer (1783-1860) was among the major cellists and cello pedagogues of the 19th century and knew what makes a good etude: it should deal specifically with a certain technical problem and at the same time not be monotonous, but musically appealing. The cellist of the Leipzig Gewandhaus and the Dresden Hofkapelle managed to do that in an exemplary manner. Our new edition of the 18 progressive etudes Op. 120 follows the original sources and contains the original text. While the Dotzauer etudes are usually only available in selected editions today, opus 120 is edited here in its entirety, as conceived by the composer himself. Notes on studying and on the performance practice (dynamics, vibrato, change of position, ornamentation, bowings) make the new edition an ideal reference edition for music lessons.

Dotzauer etudes have been part of the standard cello repertoire for generations. Friedrich Dotzauer (1783-1860) was one of the most important cellists and cello padagogues in the 19th century and knew what constitutes a good etude: it should deal with a specific technical task in a targeted manner and at the same time be not monotonous, but musically appealing. The cellist of the Leipzig Gewandhaus and the Dresden court orchestra succeeded in doing this in an exemplary manner. Our new edition of the 12 Etudes Op. 107 follows the original sources and offers the original text. While the Dotzauer Etudes are mostly only available in selected editions today, Opus 107 is here completely edited, just as the composer himself conceived it. Notes on rehearsing and performing (dynamics, vibrato, position changes, decorations,

German - English.

Most trumpet players blow downward a bit too much. as a consequence, the pressure point lies on the lower lip. The result: .a thick, dull tone without treble and smoothness. The present technical exercises help to shift the pressure point to the upper lip. Thus, a much better treble, a finer tone and generally a better embouchure is gradually achieved. This also helps to keep the lung more open when blowing and to develop better lung volume and strength. Not least, it helps to avoid postural impairment, e.g. damaged discs or atrophied lungs.
Contains all-important information on trumpet techniques, a 'check-up' for advanced players and professional trumpet players.

The edition is part of the ABRSM syllabus (grade 2,4).

ISBN 9781619117877.

This is a comprehensive presentation of hundreds of snare drum studies addressing such technical issues as single and double stroke combinations; sixteenth and triplet combinations; open and closed roll progressions; combinations in 3/4 time; closed rolls; flams and triplets; and much more. This book contains practice etudes and studies which will enhance the technical flexibility and hand coordination of any drummer.

The studies by Charles Dancla (1817-1907) are more than mere technical exercises. They demand a special sense of tone, an elegant, softly flowing and swinging way of playing. They challenge the violinist in all associated disciplines, such as staccato on an up- and downbow, arpeggios, double stop passages and rapid passages. Apart from that, Dancla again and again seeks the soft, singing sound areas and the refined sound.
It is fun for both teacher and pupil to develop the violin playing technique in such a way. Furthermore, the delight in music-making is increased as every piece has its own characteristic, appearing not like a study but rather like a performance capriccio which could be played as an encore, for example.
The present edition is based on the (presumed) first edition of the Parisian publisher S. Richault (plate number 12974.B.) from c. 1856. Added fingerings have been marked accordingly. Information on technical characteristics, playing suggestions, etc. are contained in the notes at the end of the volume.