(A violin method for children age four and older). By Egon Sassmannshaus; Kurt Sassmannshaus. For violin. This edition: Stapled. Barenreiter's Sassmannshaus. With a French text supplement. Instructional. Performance score, Teaching material. Text Language: English/French. 64/11 pages. Published by Baerenreiter Verlag

Piano - Elementary

SKU: FJ.E1115

Composed by Kevin Olson. Piano Duet; Piano Supplemental. The FJH Piano Ensemble Series. Score. The FJH Music Company Inc #98-E1115. Published by The FJH Music Company Inc (FJ.E1115).

UPC: 241444396490. English.

The Primo leads the opening and Secondo copies. Then the Secondo starts the second idea and the Primo copies. In the key of C major, this clever duet is fun to play, fun to hear! Good recital choice!

About FJH Piano Ensemble Series

Creative material especially written to explore aspects of artistic ensemble performance.

Clarinet and CD

SKU: P2.30116

Composed by Cornelius Boots. Solo music, 20th century. Published by Potenza Music (P2.30116).

Invisible Orthodoxy features extremes of density and space: the densities give way to the space. Ideally this piece will be performed in a small to medium sized recital hall where the performer can play acoustically (no microphone on the clarinet) and the playback will need to be in stereo. The timing of the tape and the solo part are very flexible in terms of how they should line up with each other for any given performance. The soloist should rehearse with the recording and establish their own timeline, similar to the one that is provided as an example, but ideally the soloist will build in a good amount of flexibility to their own version of the timeline. The core idea here is don't panic. Audiences are very sensitive to the tension within a performer, and this piece is meant to prioritize the calm, solid core of the performer's attitude and personality, i.e. the performer is calm and in control, both when playing very dense, rapid material and when leaving large gaps of space for the recording and the ambience of the performance space to speak louder than the solo for extended periods. IF you are getting ahead of the recording when practicing with it, just add more space between phrases and statements, particularly in movements II, IV, and V. Specifically, when exiting and re-entering the stage area in movement IV, do not run, rush or hurry. There is plenty of time built into the tape part for you to get back to the stage, even if you went up to a balcony (which is recommended when possible) to play your half-clarinet part. note that you should slowly move between several locations to play these ad lib. statements, and slowly return to the stage during or after the truck sond. Optimally you would have a dress rehearsal in the performance space, rehearsing with the feel of the space and timing within it so you can rehearse not hurrying. Again in mvt. V, leave plenty of space and really take some expressive freedoms in terms of the timing of the solo. You should actually be feeling the energy field of your heart during this movement; audiences are also sensitive to that, so make yourself vast and humble.