Ernesto García de León's 20 Studies, Op. 50 is an ingenious collection thataddresses fundamental questions about how to develop and maintain guitar technique. It is designed toserve guitar teachers and students as well as performers and concert audiences. Since it explores notjust the technique of our instrument, but its musicaland expressive aspects as well, it makes daily technical work enjoyable, not tedious?even for someone only beginning to study the guitar.

For guitar teachers and students, 20 Studies canserve as a basic curriculum or it can complementother methods or other sets of studies. For performers, it provides a complete overview and tune-up ofthe guitar technique in one graded set of daily studies that can be played in less than half an hour. Thiswarm-up then provides the player delicious concertrepertoire?as the complete set, or in smaller groups,or in combinations with other music by ErnestoGarcía de León.

These musical exercises are also useful to rectify,reform or rehabilitate the guitar technique.

The materials out of which the twenty studies aredeveloped are first idiomatic patterns of the guitarand then the variety of musical styles so appealing toand characteristic of Ernesto García de León. For example, classic examples of the music of theCaribbean coastal basin in general and thecomposer's native state Veracruz in particular appearunvarnished in #12 (a rumba veracruzana) and #20(a son). The other studies blend elements of Mexicanmusic in general?songs of the revolution, nativedances, boleros, children's songs, and so forth?withelements of European classical music, Beatles, NewAge music, jazz and other musical styles, in a wayintended to appeal to the player and to the listener.

As the summary on pages 34 and 35 illustrates,the first sixteen studies explore basic formulas for theright hand. At the same time, they also address thefull range of left hand techniques?including balanceand positioning, independence of the fingers, longitudinal and transversal movements, shifts by substitution, by displacement, by jump, and by positions,barring, stretches and contractions, damping, pivoting, crossed movements, and movements with fixedfingers. The last four studies concern the slur.

Though each of the basic right- and left-hand formulas explored in the twenty studies is relativelysimple in itself, each is a building block of a solidtechnique. Mastery of the complete set of twentystudies?less than half an hour of music?integratesall the formulas and develops the technique to a levelat which an enormous range of the guitar repertoirebecomes available.

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.

Method for Trumpet or any T.C Instruments
Warm Up ,Studiesin all Keys,Petite Etude,Duets
Suitable for young band musicians, students and comeback players
It includes all the material needed to start studying the Trumpet or T.C valves instruments.

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."

ISBN 9781619118157.

Classical and Contemporary Studies for Bass Guitar combines essential studies from 19th century composer Giovanni Bottesini; the aPaganini of bassa, with contemporary studies by Gilbert Isbin; one of the leading European composers for guitar, lute and bass. These 33 studies will help build not just your technique, but reading abilities and overall musicianship. The material is intended for serious bass students and can be played on a fretted or fretless bass. While Bottesini's works lie firmly in the classical genre, Isbin's studies bring in elements of classical, jazz and world music. All the studies are written in standard bass clef notation as well as tablature. Includes access to online audio recorded by Rob MacKillop for each study.

German.

This volume of studies is intended not only as a supplement to the ".Viola Method". but also, in the coise and varying difficulties of its contents, to be of value to every student of the Viola.
These studies which have been extracted from the multitude of excellent etudes for the Violin for their varying technical problems have been chosen with special regard for their suitability to the Viola. The order in which the student works at these studies is left to his, or his teacher's discretion, and therefore as it is not proposed that the book is worked through from beginning to end but that each technical problem is overcome by the most suitable exercise.
Unklike hitherto existing collections the technique of the instrument is divided under 7 main headings.
As the bowing exercises are in no way exhaustive space has been left for the student or teacher to devise his own.

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.

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

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.

Jean-Baptiste Duvernoy (1800-1880 Paris) was a French pianist, composer and professor of piano at the Conservatoire de Paris. His overall oeuvre comprises more than 300 works. He is known particulary for his studies which include 'Ecole primaire' (25 studies for elementary instruction). These studies were written for beginner's lessons on the piano, consisting of a simple structure. They are supposed to train primarily the dexterity and independence of the fingers. But the special appeal of this collection lies, due to the cantabile character of the individual pieces, in the musical texture of these wonderful and expressive melodies. Their focus is on the experience of sound which is why these studies are very popular in lessons and perfectly suitable as performance pieces.

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.

The fourth volume of the Violinissimo series features the most important studies for the early years of violin lessons. Violin Studies contains selections from the standard works by Kayser, Dont, Wohlfahrt, Kreutzer and many others. This anthology is ideal for use in music lessons or for violinists who wish to develop their technique.

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.

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.

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.

ISBN 9781513470375. 8.75x11.75 inches.

Intended as a sequel to 20 Flamenco Guitar Etudes, the longer, more developed exercises in 16 Studies for Flamenco Guitar further explore characteristic flamenco guitar techniques including: picado, arpeggio, tremolo, horquilla, the chop, ligado, and the thumb/index alzapua among others. These intermediate-level studies are written in standard notation and guitar tablature with online audio and video included for ease of learning.The pieces are designed and fingered pragmatically to enhance the students overall understanding of flamenco technique and encourage the use of a broader range of studies in daily practice. Left and right-hand digitation is provided throughout, along with occasional circled string numbers which clarify passages intended to be played higher on the fretboard, or on certain strings for a specific musical effect.This book is unique not only for its inclusion of the authors stellar online audio and video recordings, but also for insightful practice tips that vary according to the players years of experience and level of development. If youre thinking WOW! that is the appropriate response; this is flamenco instruction at its best.Includes access to online audio and video.

Nancarrow's music for player piano with .acrobatic complexity .that sounds .hardly performable has been known for more than four decades. The traditional notation is replaced by the accurate manual punching of individual holes in player piano roles, thus enabling multi-part sounds and rhythmic counterpoints in irrational relations which could never be played so accurately by human performers.
Fortunately, Nancarrow's less complex studies are again and again arranged for a wide variety of live instrumentation. The arrangement for two pianos by the renowned British composer and conductor Thomas Adè.s (*1971) presents the ideal opportunity for every experienced pianist to not only listen to the studies but to play them as well.

?Little Studies?, for piano solo (1998 ? 2002). 12 Studies,( 1st and 2nd volume) each of different style, character and technical demands using at the beginning a very simple tonic idiom, growing gradually to apply composition with symmetry of intervals, jazz harmony and free serialism. Parts of the work has been performed by Valeria Athanasiadou at ?Athenaeum? Concert Hall?, Athens in 2002.
Ι.
a. ?First Steps?, for the Five Fingers
b. ?Gnome?, for the Staccatto ( to Gyorgy Ligeti)
c. ?Clouds?, for the ?Tenutae?
d. ?Gallop?, for the Crossing Hands
e. ? A Knight?s Fanfare?, for the Chords
f. ?Sentiments?, for the sonority (to Bernard Hermmann)
II.
a. ?Nocturne?, for the Sostenuto Pedal (to Keith Jarret)
b. ?Sorrow?, for Multiple Layers
c. ?Step by Step?, for the Wrist
d. ?Riddle?, for the Subtle Dynamics (to Anton Webern)
e. ?Fire Dance?, for the Large Intervals (to Arnold Scoenberg)
f. ?Jazzy?, for the ?Swing? Feeling (to Thelonius Monk and Cecil Taylor)
https://www.youtube.com/watch?v=qt_UFYkamQA

Five star studies is a collection of 20 short technical pieces for beginner flutists, starting with the very first three notes B, A, G and gradually increasing in difficulty.

The studies introduce new technical terms step by step.
The five star sections at the bottom of every page are dedicated to such components as rhythm, dynamics, notes, posture, articulation, expression, sound, etc. Some of the boxes are already filled in, but the empty ones are left for the teacher to choose the technical difficulty to work on while practicing the study.

The teacher should evaluate how many stars the student has earned based on overall impression during the lesson. The goal for the student is to practice at home paying attention to every single block and manage to add more stars at the next lesson.

The study is considered ?done? when the student has earned all the stars in all five blocks.

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.

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.

ISBN 9781513459516. 8.75x11.75 inches.

This book presents selected studies by masterful 19th-century classical guitar composer Fernando Sor, arranged and edited for bass. Drawn from several of Sors collections of studies, this publication aims to provide electric bass players with material that is both didactic and enjoyable to play but could also be used in recital programs. A set of duets provides more advanced players with further study material. Written in standard notation and tablature.