The book Método de Mandolina begins at the very beginning of learning to play the mandolin starting with the basic tuning of the instrument how to sit position one?s head and hold one?s hands. There are many pages of exercises that lead to easy pieces and more difficult short works all in Spanish style.In this age of the Guitar it is remarkable to know that the mandolin was the most popular instrument throughout the Western world at the turn of the last century at the time of the publication of this book. For the most part at that time the virtuosi were considered to be Italian and the best instruments from Italian makers though many other companies were involvedin the production of many forms of the mandolin. This is ironic however as it is frequently asserted that the earliest form of lute or mandolin entered Europe with the Moors onto the Iberian peninsula in the shape of the oud. In the late 19th and early 20th centuries serious composers included lute parts in their major works and wrote pieces expressly for mandolinists and for the thousands of mandolin Orchestras that sprang up throughout Europe and in the New World. That Método de Mandolina remains available is a testament to its usefulness and the expertise of its author in giving teachers and students a volume from which to teach and learn.

With Guitar Accompaniment-Duet arrangements of three well-known Vivaldi Concertos arranged for mandolin and guitar: Concerto in A (RV82) Concerto in C (RV425) and Concerto in D (RV93). Each arrangement in this collection has been reduced from soloistwith string orchestra to a duet for mandolin and guitar. The mandolin performs the solo part and the guitar part is a reduction of the strings. In the guitar part chords have been added above the staff to allow forembellishment-a common practice of the Baroque era. Another C instrument such as flute violin or another guitar can be easily substituted for the mandolin. Musicians will find these accessible arrangements excellent forperformance in any setting from the recital hall to the local café. The score (guitar/mandolin) and mandolin solo part are available in hard copy while the guitar accompaniment part is available as a free internet download.The mandolin and guitar parts are presented in notation.

Karl Heinz Keinemann - Concerto In G-Karl Heinz Keinemann's Concerto In G for Mandolin Orchestra. Part for Mandolin no.1.

Four Pieces For Orchestra was composed by Hans Abrahamsen in 2000-2003. Programme note: In 1983 Hans Abrahamsen wrote the first seven of his Ten Studies for Piano. In the early eighties most composers who wrote for the piano were still making strenuous efforts to distance themselves from the instrument?s romantic past for example treating it as a percussion instrument rather than exploiting its expressive ?singing? potential. The piano?s modern identity as a mechanical rational emotionally cool instrument is reflected in Abrahamsen?s studies 5 7; but in the first four studies Abrahamsen allows the piano to?recollect? its past: especially what the composer calls ?the golden German romantic time full of expression night timelessness dream and the irrational?. Accordingly these first four studies were given German one might specifically say Schumanesque - titles: Traumlied (?Dreamsong?) Sturm (?Storm?) Arabeske (?Arabesque?) and Ende (?End?). While Abrahamsen was in no way dissatisfied with the first four Studies as piano music he soon felt the urge to expand them in both time and space. In their new identity as Four Pieces for Orchestra created between 2000-2003 the original studies nearly doubled in length while the forces required expanded from one soloist to an orchestra of Mahlerian/Straussian dimensions including instruments beloved by the late-romantics: Wagner tubas bass trumpet guitar mandolin and the hammer used so memorably in Mahler?s Sixth Symphony and Alban Berg?s Three Pieces for Orchestra. The results are not so much ?arrangements? of the four piano studies more recompositions. A helpful comparison might be made with certain painters: Cézanne portraying the same mountain from different angles; or Monet obsessively returning to Rouen Cathedral in different lights and weather conditions. Abrahamsen himself remembers an important visit to the Munch Museum in Oslo where he saw how Munch painted the same subject

From the composer of Festival of Carols and The Winter Rose comes a cantata that celebrates the legacy of early American carols and hymnody. Composed in the spirit of folk music the cantata combines traditionalsounds with more rustic elements creating a blend that is fresh and pleasing. Popular American carols like Away In a Manger and O Little Town of Bethlehem dance with traditional spirituals such as Children GoWhere I Send Thee and Go Tell It on the Mountain. Sacred Harp tunes are re-tooled for Advent and stand alongside new versions of Shaker hymns and Appalachian melodies. Thoughtful narration weaves the movements togetherin a meaningful tapestry of song and Scripture. Two orchestral options are available allowing maximum flexibility in performance. A full line of support products is also available. Available separately: SATB CD-ROM FullOrchestration (Score and Parts for Flute 1 and 2 alto recorder Oboe/English Horn Clarinet 1 and 2 Bassoon Horn 1 and 2 Trumpet 1-3 Trombone 1 and 2 Bass Trombone/Tuba Timpani Percussion Acoustic Guitar Banjo Harp Piano Synth Solo fiddle Violin 1 and 2 Viola Cello Double Bass) Printed Full Orchestration Appalachian Consort Orchestration (Score and parts for Flute Violin Cello Mandolin Guitar Percussion and Piano) StudioTrax CD (accompanimentonly) SplitTrax CD Listening CD 10-Pack Listening CDs Preview Pack (Book/CD combo) RehearsalTrax CDs (part predominant reproducible) Digital Resource Kit (PowerPoint Choir Devotionals Poster Program Flyers Children'sProgram PDFs). Duration: approx. 40 min.

'An atmospheric and subtly orchestrated piece it compels attention from the opening wisps of sound on xylophone and mandolin threading its way through forceful baritone phrases (William Dazeley excellent) and Daphnis-like choral spirits into a perfectly-paced crescendo before dying away in a trance.'Financial Times (Andrew Clark) 16 September 1996

La Cucaracha-The traditional Mexican folk song arranged for Mandolin Orchestra. Part for Mandola.

Despite his having moved to the United States with his family when he was 11 years old Robert Nathaniel Dett (1882-1943) was born in Canada where glimpses of his talent had already begun to manifest themselves at an early age. Among Dett's earliest titles was his Characteristic March Two-Step After the Cakewalk. Perhaps written when Dett was just a teenager this current edition is wholly based upon its original 1901 band publication that was arranged by Lee Orean Smith. Smith was also responsible for preparing Dett's piano solo version for publication as well as its form for theatre orchestra and mandolin club. Owing to the fact that Smith's highly idiomatic scoring wasprepared for a band of that period this edition adapts edits and extends Smith's instrumentation in order to make it possible for Dett's music to become available to a new generation of musicians and listeners alike. (Grade 4)

Fermo Dante Marchetti - Fascination-Fermo Dante Marchetti's Fascination for Mandolin Orchestra. Part for Mandolin no.1.

Enric Madriguera - Adios-Enric Madriguera's Adios for Mandolin Orchestra. Part for Mandola.