SKU: XC.SB2103

ISBN 9781644020678. UPC: 812598038545. 9 x 12 inches.

Adaptable Trios for Christmas contains 27 newly arranged trios written at grades 1.5 to 3. Since it’s creation in 2019, Tyler Arcari and Matthew R. Putnam’s Adaptable Ensemble series has emerged as a leading resource in flexible instrumentation and this new addition to the series for Christmastime is no exception. Designed to be used with any combination of three string instruments, the possible combinations are endless! Play these trios as traditional three instrument chamber works, or expand your instrumentation to include the entire ensemble. Tyler and Matthew use their experience as music educators to craft trios that are fun to play, and musically stimulating.

SKU: BR.EB-9074

ISBN 9790004179499. 9 x 12 inches.

World premieres:I version for flute: Wiesbaden, 1972II version for piano: Nyon, 1972III version for var. insts.: Cologne, May 29, 1976VI version for accordeon: Fribourg, June 25, 1987VIII version for violoncello Tokyo: October 14, 1989X version for organ: Stuttgart, March 28, 2018This work (A Breath of the Untimely) was first written for solo Flute and dedicated to Aurele Nicolet. Its bears the subtitle Lament on the Loss of Musical Thought - some Madrigals for Solo Flute or Flute with any other Instruments. This serves as a playing instruction but doubles at the same time as an outmoded programme: it refers back to the musical origin of the opening lamenting motif, a tradition which was once of its time but is not of our time - namely the Lamento genre which gave the title to the Chaconne in Purcell's opera Dido and Aeneas. Almost simultaneously I wrote a second version for Piano (for Piano one-and-a-half hands), which already formulates possible approaches for the performer, in some detail, to the indicated, quasi-canonic version of the piece in the programme. The multiple version Ein Hauch von Unzeit III realizes a concrete version of a formal state which floats between strict canon and aleatoric principles: each of the musicians who are spread throughout the hall introduces their own idiomatic translation of the flute part. And so the music exists, omnipresent, not only spatially throughout the hall, but also formally in a sort of fluctuating simultaneity. For that reason, it was my express wish to any potential interpreter that they should construct entirely their own version of the piece. A healthy number of musicians have responded to my suggestion - versions of the piece have now been made for guitar (Cornelius Schwehr, Gunther Schneider), accordion (Hugo Noth), double bass (Fernando Grillo), violin (Hansheinz Schneeberger), viola, violoncello, and double bass (trio basso, Koln), violoncello (Michael Bach), trombone (Andrew Digby) and, created by myself, a sung version for voice (to words by Georg Wilhelm Friedrich Hegel und Max Bense), and for viola.The most important requirement for the whole piece is absolute stillness, which should as far as possible emanate from the performer. The pauses are occasionally in this respect the most important element. These may, if one can find the necessary stillness, become very long.Ein Hauch von Unzeit (A Breath of the Untimely) - time almost dissolves!(Klaus Huber, 1989/2014 - translation: David Alberman)CD:Jean-Luc Menet (Bass flute)CD Traversieres 120.270Jean-Luc Menet (fl)CD STR 37039Bibliography:Zimmermann, Heidy: Zeitgestaltung im Kompositionsprozess bei Klaus Huber - dargestellt anhand von Skizzen, in: Mnemosyne. Zeit und Gedachtnis in der europaischen Musik des ausgehenden 20. Jahrhunderts, hrsg. von Dorothea Redepenning und Joachim Steinheuer, Saarbrucken: Pfau 2006, S. 90-109

World premiere: VIII version for violoncello Tokyo: October 14, 1989.

SKU: FH.VCS2

ISBN 978-1-55440-546-6.

This inaugural edition of the Cello Series offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring cellist. With an expansive representation of musical styles from all eras, this series addresses the need for a single collection of quality educational materials to foster musical development and instill appreciation of the richness and diversity of music written for cello. An extensive offering of Etudes ranging from traditional to contemporary literature is organized into two progressively-leveled volumes (Preparatory-4 and 5-8). These musical selections present an inspiring approach to the reinforcement and development of technique.
Pieces in a Slower Tempo:
Viola d'amore - Jones, Edward Huws
On Tiptoe - Archer, Violet
Berceuse - Blachford, Frank
The Old Woman and the Peddler - English folk song arr. Akiko Kinney
All Alone - Duke, David
Poeme - Keyser, Paul de
Buffalo Gals - American folk song arr. Forrest Kinney
In Ancient Times - Birston, Harold
March - Rose, Michael
Pieces in a Faster Tempo:
When Stella Smiles - RT, Zav
Rigadoon, Z 653 - Purcell, Henry arr. Jason Noble
Pop Goes the Weasel - Traditional English arr. Katharine Rapoport
Tap Dance - Jones, Edward Huws
Pony Trot - Krasev, A.
The Pirate - Donkin, Christine
The Ash Grove (Llynn Onn) - Welsh folk song arr. Forrest Kinney
That Sounds So Glorious (Das klinget so herrlich), from The Magic Flute - Mozard, Wolfgang Amadeus arr. Christine Donkin
Saint Paul's Steeple - English folk song arr. Jason Gray.

SKU: AP.20145UK

ISBN 9780739096840. English.

We all agree that scales are a basis for learning cello technique, which is why we include scales in our teaching. The trick of course, is how to integrate scales into the learning process so that at the moment the repertoire demands the technique, the fingers are able to respond. All too often scales are divorced from their musical environment or teachers are compelled to cut and paste from traditional scale books to try to match technique and learning.
Here, in this new series, Scale Builder Orfilia Saiz Vega meticulously matches scale development to the appropriate level of technique. Through this, the patterns and rhythms expected of the student at their level of musical competence are precisely those practised. Moreover, the skilful integration of bowing and other techniques specific to the instrument mean that acquiring the scales across a whole range of technical devices means that when they appear in the music they are expected to play, teachers can concentrate on the musical elements safe in the knowledge that the technique is secure.
Great musicians are formed from early age. We finally have this gradual, attractive and adapted system of scales to start building student's technique, which will be at the service of their artistry in the future. I strongly recommend it!
ASIER POLO Cello player, soloist and Artistic director at the Faculty of Music and Performing Arts of the University'Alfonso X el Sabio' (Madrid).