Beethoven lui-même décrivait ces trois ?uvres comme des «petits riens» faisant sans doute en cela référence à leurs exigences techniques et à leur valeur artistique. Les variations sur «Se vuol ballare» tiré du Figaro de Mozart ont sans doute encore été écrites à Bonn le Rondo au plus tard au cours de ses premières années viennoises. Les six Danses allemandes sont une composition de circonstance datant de 1796 destinée aux deux comtesses Thun de Prague afin ? comme le stipule une copie ancienne ? «qu?elles puissent ensuite danser sur la tête des autres gens». Au vu des faibles exigences techniques de ces danses les compétences musicales des deux comtesses ne devaient sans doutepas être très élevées. Globalement les trois morceaux constituent pour les jeunes pianistes et violonistes une préparation bienvenue aux ?uvres ultérieures de Beethoven pour cette formation.

This book presents 18 solos with Piano accompaniment from the early American shaped-note tradition. Includes many well-known favourites: Come Ye Sinners Poor and Needy; O Thou Son of David;Farewell My Dear Brethren; All Hail the Power of Jesus' Name; Jesus I My Cross Have Taken; Ye Sould Are Bound Unto Canaan; Brethren We Have Met to Worship; Glorious Things ofThee are Spoken; Hark! The Jubilee Is Sounding; Amazing Grace; On Jordan's Stormy Banks I Stand; My Shepherd Will Supply My Need; Come Ye Sinners; Rock of Ages; When ICan Read My Title Clear; Farewell Vain World; Come Thou Font of Every Blessing; and What Wondrous Love Is This?72 pages with a convenient 40-page folio for the soloist.

Now more than ever the ability to sight-read fluently is an essential part of the training of musicians on an instrument. This workbook is designed to help overcome the nerves that can cause sight-reading problems by giving sound technical advice and confidence boosting tips. Step-by-step it helps the violinist to build up a complete picture of each piece first through rhythmic and melodic exercises related to specific problems then by the study of prepared piece with associated questions for the student to answer and finally to the real unprepared sight-reading test itself. Check-boxes for each stage allow both teacher and pupil to keep an eye on progress.Thenew editions of this popular series supports the new ABRSM string syllabus requirements from 2012 ensuring success in the sight-reading tests of graded exams.

This version of Partita was orchestrated by the composer in 1988 for Anne-Sophie Mutter. The first performance was given in January 1990 by Anne-Sophie Mutter and the Berlin Philharmonic conducted by the composer. Duration c.16minutes. Full score and orchestral material on hire from the publishers.

This huge collection offers instrumentalists the chance to play 101 of the most popular classical themes including Ave Maria (Bach/Gounod & Schubert) • Bist du bei mir (You Are with Me) (Stözel) • Canon in D (Pachelbel) • Clair de Lune (Debussy) • Dance of the Sugar Plum Fairy (Txhaikovsky) • 1812 Overture (Tchaikovsky) • Eine Kleine Nachtmusik (“Serenade”) First Movement Excerpt (Mozart) • The Flight of the Bumble Bee (Rimsky-Korsakov) • Funeral March of a Marionette (Gounod) • Für Elise (Beethoven) • Gymnopedie No. 1 (Satie) • Jesu Joy of Man's Desiring (Bach) • Lullaby (Brahms)• Minuet in G (Bach) • Ode to Joy (Beethoven) • Piano Sonata in C (Mozart) • Pie Jesu (Fauré) • Rondeau (Mouret) • Swan Lake (Tchaikovsky) • Wedding March (Mendelssohn) • William Tell Overture (Rossini) and many more.

Playing With Scales is a new resource designed to help motivate and encourage young musicians to practice their scales.Playing With Scales presents imaginative backing tracks in avariety of styles to transform scales and arpeggios from dry rudiments into an exciting musical experience. The accompaniments can be played by the teacher in lessons plus all of the tracks are included for studentpractice at home using the supplied Download Card.This volume contains accompaniments for scales and arpeggios required at the first level of playing and is compatible with the syllabus requirements of the majorexamination boards.Watch an introduction to Playing With Scales:

In 1920 Maurice Ravel was asked by his publisher Durand to contribute to an issue of La Revue Musicale dedicated to Claude Debussy. A supplement included the first movement of Ravel?s Sonata as well as works contributed by Debussy?s friends Stravinsky Satie Dukas Bartok and de Falla to name only a few. This 1st movement of Ravel?s Sonata of which the autograph is lost then developed into a large scale four movement chamber music work utilizing a more modern music vocabulary than found in almost any other Ravel composition. Bärenreiter?s scholarly-critical edition the first ever of this masterpiece presents the work in two performing scores. It contains anintroduction on the history of the work reflecting Ravel?s work and rehearsals with violinist Hélène Jourdan-Morhange and cellist Maurice Maréchal. Sources for this new edition include the engraved copy the personal autograph scores (with earlier versions of some passages) which were used to rehearse the work and the first edition scores with emendations by Jourdan-Morhange and Maréchal. Included in the appendix are the original fingerings by the performers which are not found in the first edition. They reflect how Ravel must have heard the work in rehearsals and as such are a document of early 20th century performance practice. First Urtext edition of this workTwo performing scores (format 25 5 x 32 5 cm)The violoncello part does not allow for page turns in the first movement; therefore the edition includes an additional violoncello part in small print presenting the entire first movement on a double page without a page turnInformative introduction to the genesis of the work (Ger/Eng/Fr)Critical commentary with facsimiles and appendices