The best way to learn any instrument is to have lessons from a good, experienced teacher. Although, happily, the number of such teachers is constantly growing, the recorder is still frequently taught by enthusiastic but inexperienced teachers and many players start by teaching themselves.
This series of books sets out to help learners of all ages in all three situations. Experienced teachers, who may choose to disregard much of the text as personal demonstration is always clearer than the written word, will find exercises and fine tunes a-plenty to support their own method at each stage. The less experienced willbenefit from many valuable teaching hints culled from long experience and may rely on the books to lead to a sound playing technique and a mastery of simple notation.
Those learning by themseves - and I started in this way - are urged to work carefully and systematically through the books, taking plenty of time to assimilate each point before moving on. For them, without the personal model provided by a live teacher, it is vitally important to listen as often as possible to fine players, in person or on record, so that they have in their mind's ear a clear notion of the kind of sound they would like to produce.
But however they start, I can only wish that all who use these books will derive as much pleasure and musical satisfaction and gain as many lasting and valued friendships as I have through this most subtle, delightful and sociable of instruments. (Brian Bonsor)

&ldquo....this work is likely to become a standart work very quickly and is to be recommended to all schools where recorder studies are undertaken&ldquo. (Oliver James, Contact Magazine)

These two tutors, with accompanying teacher's books, are for newcomers to the instrument who are beginning on the treble and so assume no previous knowledge either of the instrument or of musical notation.

The masters of the violin have left us an inheritance of numerous books of remarkable studies and caprices. But the very abundance of this precious inheritance makes that an important part of it remains without profit, because it is impossible for the pupils to acquire or study these few thousands studies scattered in fifty big volumes. Very frequently, however, these studies are not classified in a progressive manner. Result of an inspiration which the pedagogical spirit could not always dominate or guide as it liked to, the first studies address themselves sometimes to the pupils who conjugate yet their first shifts with the most easy bow strokes, while the last are always of transcendent difficulty. Whatever be the chosen studies, once the first step is sourmounted, the pupils must do great efforts to realize imperfectly and in divided movements, difficulties which are beyond them. The result of this is: a considerable loss of time and sometimes even much discouragement. It follows at all events, that instead of practising fifty or sixty caprice studies in one year\'s time, the pupils can hardly study thirty. It is the desire to remedy these multiple inconveniences, that has incited us to realize the present work and in order to accomplish it to search in the greatest works of the masters, the elements the most apt to insure rapidly to the young violinists, the most complete mecanism of the left hand and bow. These exceedingly numerous and diverse elements chosen in the old editions, have been re-examined, fingered and sometimes the nuances (shades) set by us, with the most care and then classified by degrees from the second to the eight year of study in a progressive manner. These books of studies will not bear their fruits however, unless the work is regulated from the second to the fifth year of teaching, by a good method and appropriated exercises. The studies cannot in reality during this period, replace neither a method nor the exercises, they have to be considered rather as an amplified rehearsal of elements learned elsewhere but still badly assimilated.

French.

The masters of the violin have left us an inheritance of numerous books of remarkable studies and caprices. But the very abundance of this precious inheritance makes that an important part of it remains without profit, because it is impossible for the pupils to acquire or study these few thousands studies scattered in fifty big volumes. Very frequently, however, these studies are not classified in a progressive manner. Result of an inspiration which the pedagogical spirit could not always dominate or guide as it liked to, the first studies address themselves sometimes to the pupils who conjugate yet their first shifts with the most easy bow strokes, while the last are always of transcendent difficulty. Whatever be the chosen studies, once the first step is sourmounted, the pupils must do great efforts to realize imperfectly and in divided movements, difficulties which are beyond them. The result of this is: a considerable loss of time and sometimes even much discouragement. It follows at all events, that instead of practising fifty or sixty caprice studies in one year\'s time, the pupils can hardly study thirty. It is the desire to remedy these multiple inconveniences, that has incited us to realize the present work and in order to accomplish it to search in the greatest works of the masters, the elements the most apt to insure rapidly to the young violinists, the most complete mecanism of the left hand and bow. These exceedingly numerous and diverse elements chosen in the old editions, have been re-examined, fingered and sometimes the nuances (shades) set by us, with the most care and then classified by degrees from the second to the eight year of study in a progressive manner. These books of studies will not bear their fruits however, unless the work is regulated from the second to the fifth year of teaching, by a good method and appropriated exercises. The studies cannot in reality during this period, replace neither a method nor the exercises, they have to be considered rather as an amplified rehearsal of elements learned elsewhere but still badly assimilated.

Chording to the Dance Masters is a selection of dance tunes that were collected originally between about 1500 and 1620. Printing made many of these tunes popular throughout Europe during these times, some of them composed by the printer/publishers themselves, but many more of them existed previously as rustic dance tunes or popular chansons. The works were originally published to be played by three to five instrumentalists, with no particular instruments specified. They suited consorts or ?choirs? of instruments that were depicted in the illustrations of Agricola, Mersenne and most notably Praetorius and are now preserved in museums around the world.

Many editions exist in the 3, 4 or 5 parts as originally published, and these are an absolute joy to perform from, where the interweaving parts create interesting harmonies that demonstrate the skills of these renaissance composer/arranger/publishers. Playing with modern reproductions of the early instruments will recreate textures and sounds unique to this period. However, not everyone is lucky enough to either own these instruments or else have contact with others with whom they could form ensembles. This book aims to widen the experience out to those who would like to play these tunes on their own or with the accompaniment of a guitar, keyboard or other available chordal instrument. Fake books abound for those who wish to play Jazz, Folk, Classical and Popular music where the melody is annotated with chords so that players can access these tunes in their own way. As far as I am aware, this has not often been done for the player who wishes to busk their way through music of the Renaissance period.

I have attempted to include all the chords implied by the polyphonic parts of the original publications, simply because it is in the transitions of the harmonies under the melodies where the genius of the original arranger/publisher resides. Those who go on to explore the original versions may look forward to the way in which each line presents the player with intrinsically beautiful counter melodies.

At first, the rapidity of chord changing can be a bit daunting, so I have marked out what I consider to be the essential chords for accompaniment in boxes. Playing just these will provide adequate accompaniment, whilst leaving the more adventurous scope to enhance their performance by referencing some of the other chords. You can hear the chording arrangements together with the original 3, 4 or 5 part versions of all 44 pieces on a YouTube playlist which has been made as a companion to this volume at

https://youtube.com/playlist?list=PLYRWH2nycMkMoIoEYEMVPa_EXY6NVDpNS

As well as the solo or player in a duo, this book would also be of value for someone who is used to reading chords rather than melody lines wishing to join in with a renaissance consort. The selection I have chosen represents quite a few of the ?standards? that have become regularly played since the revival of renaissance music in the late 1960s. It is hoped that should this volume prove popular, companion volumes with all the parts provided for the same pieces could make essential repertoire for the budding renaissance dance consorts of the future.

French.

The masters of the violin have left us an inheritance of numerous books of remarkable studies and caprices. But the very abundance of this precious inheritance makes that an important part of it remains without profit, because it is impossible for the pupils to acquire or study these few thousands studies scattered in fifty big volumes. Very frequently, however, these studies are not classified in a progressive manner. Result of an inspiration which the pedagogical spirit could not always dominate or guide as it liked to, the first studies address themselves sometimes to the pupils who conjugate yet their first shifts with the most easy bow strokes, while the last are always of transcendent difficulty. Whatever be the chosen studies, once the first step is sourmounted, the pupils must do great efforts to realize imperfectly and in divided movements, difficulties which are beyond them. The result of this is: a considerable loss of time and sometimes even much discouragement. It follows at all events, that instead of practising fifty or sixty caprice studies in one year\'s time, the pupils can hardly study thirty. It is the desire to remedy these multiple inconveniences, that has incited us to realize the present work and in order to accomplish it to search in the greatest works of the masters, the elements the most apt to insure rapidly to the young violinists, the most complete mecanism of the left hand and bow. These exceedingly numerous and diverse elements chosen in the old editions, have been re-examined, fingered and sometimes the nuances (shades) set by us, with the most care and then classified by degrees from the second to the eight year of study in a progressive manner. These books of studies will not bear their fruits however, unless the work is regulated from the second to the fifth year of teaching, by a good method and appropriated exercises. The studies cannot in reality during this period, replace neither a method nor the exercises, they have to be considered rather as an amplified rehearsal of elements learned elsewhere but still badly assimilated.

ISBN 9780739096109. Carole Bayer Sager.

Music makers looking for a wide variety of musical styles to play will find unlimited enjoyment in this big collection of sheet music for 45 of the world's most recognizable popular songs and movie themes! The titles in this book are proven favorites that can be enjoyed by players of all ages. From pop hits through the ages to epic movie music by renowned composers like Howard Shore, John Williams, Hans Zimmer, and more, the arrangements in this collection will delight players and audiences alike. Titles: Africa (Toto) * At Last (Etta James) * The Big Bang Theory (Main Title Theme) * Bridge Over Troubled Water (Simon and Garfunkel) * Can You Feel the Love Tonight (The Lion King) * Concerning Hobbits (The Lord of the Rings: The Fellowship of the Ring) * Count on Me (Bruno Mars) * Dancing Queen (Mamma Mia!) * The Dark Knight Overture (The Dark Knight) * Discombobulate (Sherlock Holmes) * Don't Stop Believin' (Journey) * Dynamite (Taio Cruz) * Empire State of Mind (Jay-Z and Alicia Keys) * Falling Slowly (Once) * Forget You (Cee Lo Green) * Girl on Fire (Alicia Keys) * Gonna Fly Now (Rocky) * Greatest Love of All (Whitney Houston) * Harry's Wondrous World (Harry Potter and the Sorcerer's Stone) * Hedwig's Theme (Harry Potter and the Sorcerer's Stone) * I Don't Want to Miss a Thing (Armageddon) * I Saw Her Standing There (The Beatles) * Theme from Ice Castles * If I Die Young (The Band Perry) * Into the West (The Lord of the Rings: The Return of the King) * James Bond Theme (Dr. No) * Kiss from a Rose (Seal) * Lily's Theme (Harry Potter and the Deathly Hallows, Part. 2) * Theme from Love Affair * Make You Feel My Love (Adele) * The Notebook (Main Title) * Out Here on My Own (Fame) * Over the Rainbow (The Wizard of Oz) * The Pink Panther * The Prayer (Celine Dion and Andrea Bocelli) * Song of the Lonely Mountain (The Hobbit: An Unexpected Journey) * Stairway to Heaven.