Arranged and Performed by Jerry Willard. Book and CD(s). Published by Music Sales. Since their introduction, Bach's Two-Part Inventions have been an essential resource for developing hand independence and ornamentation technique. Keyboard players have enjoyed these etudes for centuries and for the first time ever this body of work is available to guitarists. Presented in standard music notation and tablature with two specially-designed CDs: Disc One presents Bach's Inventions arranged for two guitars with Guitar One panned left and Guitar Two panned right, and Disc Two presents each Invention performed by one guitar at a time (with a count in). This provides the player with the opportunity to play along with the CD track or study each part individually. Bach Inventions for Guitar Duet is a must for every guitarist.

Published by Alfred Publishing. / The music lover who has never even held a guitar will begin playing easy chords and songs immediately, focusing on the most important basics of the style, from strumming to playing melody. The CD demonstrates the examples in the book and provides play-along opportunities. 48 pages.

Published by Alfred Publishing. (22878) The music lover who has never even held a guitar will begin playing easy chords and songs immediately, focusing on the most important basics of the style, from strumming to playing melody. The CD demonstrates the examples in the book and provides play-along opportunities. 48 pages.

Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 0.5

SKU: CF.PAS22F

Composed by Larry Clark. Primer String Orchestra (PAS). Full score. With Standard notation. 8 pages. Carl Fischer Music #PAS22F. Published by Carl Fischer Music (CF.PAS22F).

ISBN 9781491151570. UPC: 680160909070. 9 x 12 inches.

Written for beginning string students, Larry Clark's Contemplation?contains basic compositional techniques that students will be able to identify and learn from. It begins with a rich, melodic opening which highlights students' musicianship. This is then contrasted by the frolicking, uptempo section, which is a variation on the original musical material.

Contemplation: the action to look thoughtfully at something for a long time.

When composing music that will be used with younger students, I want to stimulate in them thoughtfulness. In this particular piece I want the students to be be able to stretch their musicianship beyond their experience on their instruments to play in a contemplative manner. To me this is the essence of music: playing in an emotional and thoughtful way. It is something that cannot be stressed enough, even in students that have just begun to play. As soon as possible they should be asked to put themselves into the music and make it more than the notes and rhythms on the page.

This piece is my attempt to provide very young students who are just beginning their musical journey with something they can reach technically, but have to stretch for musically. The notes and rhythms are limited, but students should strive for beauty of tone, good phrasing and emotional involvement.

After a short introduction, the heartfelt main theme begins at a lyrical and slow tempo. This is developed with the addition of a secondary theme featuring the lower voices, before the piece leads to an Allegro section that is based on the same musical material with a difference in tempo and a variation in rhythm patterns. The piece can serve to show students that the same basic music can have an entirely different emotional connection with difference in tempo, rhythm and style, with the first section of the piece being sentimental and the faster section being more joyous in nature. As with all of my pieces for younger students, it is completely acceptable to adjust the tempo to fit the educational needs of your students.

It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program.

Larry Clark

Lakeland, FL 2018

.

Contemplation: the action to look thoughtfully at something for a long time.

When composing music that will be used with younger students, I want to stimulate in them thoughtfulness. In this particular piece I want the students to be be able to stretch their musicianship beyond their experience on their instruments to play in a contemplative manner.A To me this is the essence of music: playing in an emotional and thoughtful way. It is something that cannot be stressed enough, even in students that have just begun to play.A As soon as possible they should be asked to put themselves into the music and make it more than the notes and rhythms on the page.

This piece is my attempt to provide very young students who are just beginning their musical journey with something they can reach technically, but have to stretch for musically.A The notes and rhythms are limited, but students should strive for beauty of tone, good phrasing and emotional involvement.

After a short introduction, the heartfelt main theme begins at a lyrical and slow tempo. This is developed with the addition of a secondary theme featuring the lower voices, before the piece leads to an Allegro section that is based on the same musical material with a difference in tempo and a variation in rhythm patterns.A The piece can serve to show students that the same basic music can have an entirely different emotional connection with difference in tempo, rhythm and style, with the first section of the piece being sentimental and the faster section being more joyous in nature.A As with all of my pieces for younger students, it is completely acceptable to adjust the tempo to fit the educational needs of your students.

It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program.

aLarry Clark

Lakeland, FL 2018

.

Contemplation: the action to look thoughtfully at something for a long time.

When composing music that will be used with younger students, I want to stimulate in them thoughtfulness. In this particular piece I want the students to be be able to stretch their musicianship beyond their experience on their instruments to play in a contemplative manner.A To me this is the essence of music: playing in an emotional and thoughtful way. It is something that cannot be stressed enough, even in students that have just begun to play.A As soon as possible they should be asked to put themselves into the music and make it more than the notes and rhythms on the page.

This piece is my attempt to provide very young students who are just beginning their musical journey with something they can reach technically, but have to stretch for musically.A The notes and rhythms are limited, but students should strive for beauty of tone, good phrasing and emotional involvement.

After a short introduction, the heartfelt main theme begins at a lyrical and slow tempo. This is developed with the addition of a secondary theme featuring the lower voices, before the piece leads to an Allegro section that is based on the same musical material with a difference in tempo and a variation in rhythm patterns.A The piece can serve to show students that the same basic music can have an entirely different emotional connection with difference in tempo, rhythm and style, with the first section of the piece being sentimental and the faster section being more joyous in nature.A As with all of my pieces for younger students, it is completely acceptable to adjust the tempo to fit the educational needs of your students.

It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program.

aLarry Clark

Lakeland, FL 2018

.

Contemplation: the action to look thoughtfully at something for a long time.

When composing music that will be used with younger students, I want to stimulate in them thoughtfulness. In this particular piece I want the students to be be able to stretch their musicianship beyond their experience on their instruments to play in a contemplative manner. To me this is the essence of music: playing in an emotional and thoughtful way. It is something that cannot be stressed enough, even in students that have just begun to play. As soon as possible they should be asked to put themselves into the music and make it more than the notes and rhythms on the page.

This piece is my attempt to provide very young students who are just beginning their musical journey with something they can reach technically, but have to stretch for musically. The notes and rhythms are limited, but students should strive for beauty of tone, good phrasing and emotional involvement.

After a short introduction, the heartfelt main theme begins at a lyrical and slow tempo. This is developed with the addition of a secondary theme featuring the lower voices, before the piece leads to an Allegro section that is based on the same musical material with a difference in tempo and a variation in rhythm patterns. The piece can serve to show students that the same basic music can have an entirely different emotional connection with difference in tempo, rhythm and style, with the first section of the piece being sentimental and the faster section being more joyous in nature. As with all of my pieces for younger students, it is completely acceptable to adjust the tempo to fit the educational needs of your students.

It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program.

--Larry Clark

Lakeland, FL 2018

.
Conte mplation: the action to look thoughtfully at something for a long time. When composing music that will be used with younger students, I want to stimulate in them thoughtfulness. In this particular piece I want the students to be be able to stretch their musicianship beyond their experience on their instruments to play in a contemplative manner. To me this is the essence of music: playing in an emotional and thoughtful way. It is something that cannot be stressed enough, even in students that have just begun to play. As soon as possible they should be asked to put themselves into the music and make it more than the notes and rhythms on the page. This piece is my attempt to provide very young students who are just beginning their musical journey with something they can reach technically, but have to stretch for musically. The notes and rhythms are limited, but students should strive for beauty of tone, good phrasing and emotional involvement. After a short introduction, the heartfelt main theme begins at a lyrical and slow tempo. This is developed with the addition of a secondary theme featuring the lower voices, before the piece leads to an Allegro section that is based on the same musical material with a difference in tempo and a variation in rhythm patterns. The piece can serve to show students that the same basic music can have an entirely different emotional connection with difference in tempo, rhythm and style, with the first section of the piece being sentimental and the faster section being more joyous in nature. As with all of my pieces for younger students, it is completely acceptable to adjust the tempo to fit the educational needs of your students. It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program. --Larry Clark Lakeland, FL 2018.
Contemplation: the action to look thoughtfully at something for a long time.When composing music that will be used with younger students, I want to stimulate in them thoughtfulness. In this particular piece I want the students to be be able to stretch their musicianship beyond their experience on their instruments to play in a contemplative manner.  To me this is the essence of music: playing in an emotional and thoughtful way. It is something that cannot be stressed enough, even in students that have just begun to play. As soon as possible they should be asked to put themselves into the music and make it more than the notes and rhythms on the page.This piece is my attempt to provide very young students who are just beginning their musical journey with something they can reach technically, but have to stretch for musically. The notes and rhythms are limited, but students should strive for beauty of tone, good phrasing and emotional involvement.After a short introduction, the heartfelt main theme begins at a lyrical and slow tempo. This is developed with the addition of a secondary theme featuring the lower voices, before the piece leads to an Allegro section that is based on the same musical material with a difference in tempo and a variation in rhythm patterns. The piece can serve to show students that the same basic music can have an entirely different emotional connection with difference in tempo, rhythm and style, with the first section of the piece being sentimental and the faster section being more joyous in nature. As with all of my pieces for younger students, it is completely acceptable to adjust the tempo to fit the educational needs of your students.It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program.—Larry ClarkLakeland, FL 2018.

Choral SSA choir, piano

SKU: CF.CM9585

Composed by Debra Morton. Fold. Performance Score. 12 pages. Duration 2 minutes, 59 seconds. Carl Fischer Music #CM9585. Published by Carl Fischer Music (CF.CM9585).

ISBN 9781491154076. UPC: 680160912575. 6.875 x 10.5 inches. Key: G major. English. Original.

Good friends see the best in us. They tend to downplay our faults while applauding our strengths. In short, they encourage us to be the best we can be, maybe even a little more. The text of Paint Me was born out of the desire to be that person my best friend thinks I am. To Mary Jo, my sister and best friend. May I really be that person you see and love. In setting the text of Paint Me to music, I tried to let the cadence of the words dictate the rhythm of the music. Use rubato, word stress and syllabic stress to enhance this. Remember, no two eighth notes are alike, so dont be afraid to let the interior part of a phrase move along, while relaxing the beginning and ending. I would recommend a straight tone as opposed to vibrato for the held notes, since the accompaniment plays around with other harmonies while choral chords are being held. Diction is so important in this song. You have a great opportunity to paint the words, as well as making every idea understood. Enjoy adding the color and shading to make this piece of art your own.
Good friends see the best in us. They tend to downplay our faults while applauding our strengths. In short, they encourage us to be the best we can be, maybe even a little more. The text of Paint MeA was born out of the desire to be that person my best friend thinks I am. To Mary Jo, my sister and best friend. May I really be that person you see and love. In setting the text of Paint Me to music, I tried to let the cadence of the words dictate the rhythm of the music. Use rubato, word stress and syllabic stress to enhance this. Remember, no two eighth notes are alike, so donat be afraid to let the interior part of a phrase move along, while relaxing the beginning and ending. I would recommend a straight tone as opposed to vibrato for the held notes, since the accompaniment plays around with other harmonies while choral chords are being held. Diction is so important in this song. You have a great opportunity to apainta the words, as well as making every idea understood. Enjoy adding the color and shading to make this piece of art your own.
Good friends see the best in us. They tend to downplay our faults while applauding our strengths. In short, they encourage us to be the best we can be, maybe even a little more. The text of Paint Me was born out of the desire to be that person my best friend thinks I am. To Mary Jo, my sister and best friend. May I really be that person you see and love. In setting the text of Paint Me to music, I tried to let the cadence of the words dictate the rhythm of the music. Use rubato, word stress and syllabic stress to enhance this. Remember, no two eighth notes are alike, so don't be afraid to let the interior part of a phrase move along, while relaxing the beginning and ending. I would recommend a straight tone as opposed to vibrato for the held notes, since the accompaniment plays around with other harmonies while choral chords are being held. Diction is so important in this song. You have a great opportunity to paint the words, as well as making every idea understood. Enjoy adding the color and shading to make this piece of art your own.
Good friends see the best in us. They tend to downplay our faults while applauding our strengths. In short, they encourage us to be the best we can be, maybe even a little more. The text of Paint Me was born out of the desire to be that person my best friend thinks I am. To Mary Jo, my sister and best friend. May I really be that person you see and love. In setting the text of Paint Me to music, I tried to let the cadence of the words dictate the rhythm of the music. Use rubato, word stress and syllabic stress to enhance this. Remember, no two eighth notes are alike, so don't be afraid to let the interior part of a phrase move along, while relaxing the beginning and ending. I would recommend a straight tone as opposed to vibrato for the held notes, since the accompaniment plays around with other harmonies while choral chords are being held. Diction is so important in this song. You have a great opportunity to paint the words, as well as making every idea understood. Enjoy adding the color and shading to make this piece of art your own.
Good friends see the best in us. They tend to downplay our faults while applauding our strengths. In short, they encourage us to be the best we can be, maybe even a little more. The text of Paint Me was born out of the desire to be that person my best friend thinks I am.To Mary Jo, my sister and best friend. May I really be that person you see and love.In setting the text of Paint Me to music, I tried to let the cadence of the words dictate the rhythm of the music. Use rubato, word stress and syllabic stress to enhance this. Remember, no two eighth notes are alike, so don’t be afraid to let the interior part of a phrase move along, while relaxing the beginning and ending. I would recommend a straight tone as opposed to vibrato for the held notes, since the accompaniment plays around with other harmonies while choral chords are being held. Diction is so important in this song. You have a great opportunity to “paint” the words, as well as making every idea understood.Enjoy adding the color and shading to make this piece of art your own.

Band concert band - Grade 1

SKU: CF.BPS127

Composed by Peter Sciaino. Folio. Bps. Set of Score and Parts. 8+2+8+2+5+2+2+8+3+6+2+3+1 +1+2+2+12 pages. Duration 2 minutes, 39 seconds. Carl Fischer Music #BPS127. Published by Carl Fischer Music (CF.BPS127).

ISBN 9781491156209. UPC: 680160914746. 9 x 12 inches.

Program Notes Elephant is, of course, inspired by the incredible mammals of the same name. Their column-like legs, long trunks, and massive presence will never cease to amaze; however, it's their trumpeting that makes them stand out as the instrumentalists of the animal kingdom! In this selection, an elephant's slow gate and general demeanor are represented by a methodical tempo and lumbering texture. Woodwinds will enjoy the opportunity to perform grace notes while Elephant also offers exposure to flams for young percussionists.   At m. 33 the trumpets and horns recreate an elephant call after slipping brown paper bags, or lunch-bag mutes, over their bells (in their bells for horn players). For the trumpet players, the mutes can be enhanced with an additional balled-up piece of paper placed at the bottom of the bag prior to slipping it over the bell. Horns should ball up the bag itself and experiment with placement to create the most realistic tones without stopping the instrument. While specific pitches are noted, making the best elephant sounds should prioritized. Young students always look forward to experimenting with mutes, and this selection offers an inexpensive and creative way to do so at a young age. Note to the Conductor This piece can be used to introduce or reinforce the finer points of staccato playing. While many students know to play these notes short in length, they may need reminding that they should also be played lightly. This also may allow for opportunities in emphasizing contrasting articulation styles that are in this piece. Younger students will likely need a reasonable amount of practice in successfully using the lunch-bag mutes. Allowing additional rehearsal time for this is recommended.
Program Notes Elephant is, of course, inspired by the incredible mammals of the same name. Their column-like legs, long trunks, and massive presence will never cease to amaze; however, it's their trumpeting that makes them stand out as the instrumentalists of the animal kingdom! In this selection, an elephant's slow gait and general demeanor are represented by a methodical tempo and lumbering texture. Woodwinds will enjoy the opportunity to perform grace notes while Elephant also offers exposure to flams for young percussionists.   At m. 33 the trumpets and horns recreate an elephant call after slipping brown paper bags, or lunch-bag mutes, over their bells (in their bells for horn players). For the trumpet players, the mutes can be enhanced with an additional balled-up piece of paper placed at the bottom of the bag prior to slipping it over the bell. Horns should ball up the bag itself and experiment with placement to create the most realistic tones without stopping the instrument. While specific pitches are noted, making the best elephant sounds should prioritized. Young students always look forward to experimenting with mutes, and this selection offers an inexpensive and creative way to do so at a young age. Note to the Conductor This piece can be used to introduce or reinforce the finer points of staccato playing. While many students know to play these notes short in length, they may need reminding that they should also be played lightly. This also may allow for opportunities in emphasizing contrasting articulation styles that are in this piece. Younger students will likely need a reasonable amount of practice in successfully using the lunch-bag mutes. Allowing additional rehearsal time for this is recommended.
Program NotesElephant is, of course, inspired by the incredible mammals of the same name. Their column-like legs, long trunks, and massive presence will never cease to amaze; however, it’s their trumpeting that makes them stand out as the instrumentalists of the animal kingdom! In this selection, an elephant’s slow gait and general demeanor are represented by a methodical tempo and lumbering texture. Woodwinds will enjoy the opportunity to perform grace notes while Elephant also offers exposure to flams for young percussionists. At m. 33 the trumpets and horns recreate an elephant call after slipping brown paper bags, or “lunch-bag mutes,” over their bells (in their bells for horn players). For the trumpet players, the mutes can be enhanced with an additional balled-up piece of paper placed at the bottom of the bag prior to slipping it over the bell. Horns should ball up the bag itself and experiment with placement to create the most realistic tones without stopping the instrument. While specific pitches are noted, making the best elephant sounds should prioritized. Young students always look forward to experimenting with mutes, and this selection offers an inexpensive and creative way to do so at a young age.Note to the ConductorThis piece can be used to introduce or reinforce the finer points of staccato playing. While many students know to play these notes short in length, they may need reminding that they should also be played lightly. This also may allow for opportunities in emphasizing contrasting articulation styles that are in this piece.Younger students will likely need a reasonable amount of practice in successfully using the “lunch-bag mutes.” Allowing additional rehearsal time for this is recommended.

Band concert band - Grade 1

SKU: CF.BPS135

March. Composed by Joseph Compello. Folio. Bps. Set of Score and Parts. 8+2+8+2+5+2+2+8+3+6+2+3+1 +1+2+1+12 pages. Duration 1 minute, 56 seconds. Carl Fischer Music #BPS135. Published by Carl Fischer Music (CF.BPS135).

ISBN 9781491158074. UPC: 680160916672. 9 x 12 inches.

Cuckoo for Quarter Notes is intended for first-year band students. The pun on the familiar phrase Cuckoo for Cocoa Puffs will convey the lighthearted nature of the music. The familiar cuckoo bird call consisting of a descending third is the basis for the melodies. The percussion interludes are intended to give young wind players an opportunity to rest. These interludes may be omitted or repeated as the director sees fit. Additionally, directors may wish to add eighth notes to the percussion interludes. Eighth notes have not been included in order to keep the meaning of the title intact. At m. 47 students will have an excellent opportunity to begin the study of dynamics. Thank you for choosing this composition. Joseph Compello.
Cuckoo for Quarter Notes is intended for first-year band students. The pun on the familiar phrase Cuckoo for Cocoa Puffs will convey the lighthearted nature of the music. The familiar cuckoo bird call consisting  of a descending third is the basis for the melodies. The percussion interludes are intended to give young wind players an opportunity to rest. These interludes may be omitted or repeated as the director sees fit. Additionally, directors may wish to add eighth notes to the percussion interludes. Eighth notes have not been included in order to keep the meaning of the title intact. At m. 47 students will have an excellent opportunity to begin the study of dynamics.Thank you for choosing this composition.Joseph Compello.

(31 Duets That Can Be Played by Any Combination of String Instruments). By Larry Clark. Arranged by Larry Clark. For bass. Part book (softcover). Published by Carl Fischer

(31 Duets That Can Be Played by Any Combination of Wind Instruments). By Larry Clark. For Trombone, Euphonium Bc, Bassoon. Published by Carl Fischer

(31 Duets That Can Be Played by Any Combination of Wind Instruments). By Larry Clark. For Tuba. 48 pages. Published by Carl Fischer

(31 Duets That Can Be Played by Any Combination of Wind Instruments). By Larry Clark. For Flute, Oboe. 48 pages. Published by Carl Fischer

Orchestra String Orchestra - Grade 1.5-2

SKU: CF.FAS27

Composed by Larry Clark. Carl Fischer First Plus String Orchestra Series. Score and Parts. With Standard notation. 8+8+5+5+5+2+8 pages. Carl Fischer Music #FAS27. Published by Carl Fischer Music (CF.FAS27).

ISBN 9780825854835. UPC: 798408054830. 8.5 X 11 inches. Key: D major.

The title depicts the uplifting nature of the piece that inspires young players to have confidence and respect while living with character and integrity. The music is characterized by strong melodic intervals of fourths and fifths and dynamic contrasts, a Larry Clark signature that has made his music so popular. In addition, every player is an important part of the music. This is a perfect showpiece for developing groups for concerts or festivals.
As a former teacher I always tried to use the experience of playing in an ensemble to teach students about being good people first b having confidence, being respectful, living with character and integrity. I choose to write music with titles that will stimulate students to strive for this high standard and I have tried to write pieces that will somehow musically depict these values. Integrity is one such piece. I hope you will find the main theme to be uplifting and with musical integrity, but within the reach of developing students. My themes usually are characterized by strong melodic intervals of fourths and fifths and this piece is no exception. It is also my goal when writing music for younger students to provide every section in the ensemble a chance to play important melodic material at some point in the piece. In my humble opinion, if students are given music they like to play they will want to practice it over and over again. The tempo markings and bowings indicated are only there as a guide and should be adjusted to the needs of your students. It has been my pleasure to have the opportunity to write this piece. I hope that you and your students find it useful for your program. LARRY CLARK Lakeland, Florida 2004.
As a former teacher I always tried to use the experience of playing in an ensemble to teach students about being good people first b having confidence, being respectful, living with character and integrity. I choose to write music with titles that will stimulate students to strive for this high standard and I have tried to write pieces that will somehow musically depict these values.A Integrity is one such piece. I hope you will find the main theme to be uplifting and with musical integrity, but within the reach of developing students. My themes usually are characterized by strong melodic intervals of fourths and fifths and this piece is no exception. It is also my goal when writing music for younger students to provide every section in the ensemble a chance to play important melodic material at some point in the piece. In my humble opinion, if students are given music they like to play they will want to practice it over and over again. The tempo markings and bowings indicated are only there as a guide and should be adjusted to the needs of your students. It has been my pleasure to have the opportunity to write this piece. I hope that you and your students find it useful for your program. LARRY CLARK Lakeland, Florida 2004.
As a former teacher I always tried to use the experience of playing in an ensemble to teach students about being good people first b having confidence, being respectful, living with character and integrity. I choose to write music with titles that will stimulate students to strive for this high standard and I have tried to write pieces that will somehow musically depict these values. Integrity is one such piece. I hope you will find the main theme to be uplifting and with musical integrity, but within the reach of developing students. My themes usually are characterized by strong melodic intervals of fourths and fifths and this piece is no exception. It is also my goal when writing music for younger students to provide every section in the ensemble a chance to play important melodic material at some point in the piece. In my humble opinion, if students are given music they like to play they will want to practice it over and over again. The tempo markings and bowings indicated are only there as a guide and should be adjusted to the needs of your students. It has been my pleasure to have the opportunity to write this piece. I hope that you and your students find it useful for your program. LARRY CLARK Lakeland, Florida 2004.
As a former teacher I always tried to use the experience of playing in an ensemble to teach students about being good people first b having confidence, being respectful, living with character and integrity. I choose to write music with titles that will stimulate students to strive for this high standard and I have tried to write pieces that will somehow musically depict these values. Integrity is one such piece.I hope you will find the main theme to be uplifting and with musical integrity, but within the reach of developing students. My themes usually are characterized by strong melodic intervals of fourths and fifths and this piece is no exception. It is also my goal when writing music for younger students to provide every section in the ensemble a chance to play important melodic material at some point in the piece. In my humble opinion, if students are given music they like to play they will want to practice it over and over again.The tempo markings and bowings indicated are only there as a guide and should be adjusted to the needs of your students.It has been my pleasure to have the opportunity to write this piece. I hope that you and your students find it useful for your program.LARRY CLARKLakeland, Florida 2004.

(31 Duets That Can Be Played by Any Combination of String Instruments). By Larry Clark. Edited by Doris Gazda. Arranged by Larry Clark. For viola. Compatible Duets for Strings. Part book (softcover). 48 pages. Published by Carl Fischer