Volume 3 is perfect for jazz ensemble directors looking for one book to keep their students engaged and progressing all year long, as well as any musician interested in Sher Music's series of world-famous fake books. At over 200 pages, THE REAL EASY BOOK - VOL.3 comes in C, Bb, Eb and bass clef versions. It features 5-10 tunes from each historical era of jazz: Trad Jazz, The Swing Era, Classic Bebop, West Coast Jazz, The Blue Note Era, Contemporary Jazz, ''Groove'' Jazz, Brazilian Jazz and Afro-Cuban Jazz. The wide variety of styles included means that every jazz combo will be able to find exactly the material that fits their needs.Difficulty ranges from very simple blues, like Charlie Parker's ''Now's The Time'' to deep, but still playable, contemporary tunes, like Mike Stern's ''These Times.'' Also featured are some great beginning trad jazz arrangements of ''Bill Bailey'' and ''Alexander's Ragtime Band'', including separate clarinet and trombone obligato parts to get that authentic Dixieland feeling!In addition to the tunes and educational material, there are also fun and informative introductory texts for each section. These short histories of each era of jazz introduce both the flavor of the era, and a discussion of the musical innovations that each one brought to the evolution of jazz.The end result is a multi-dimensional teaching tool that will keep band directors and their students smiling all year long! / Instruments En Do

The long-awaited third volume of the much-loved and often used fake book series. Includes choice standards, motown and pop classics, Blue Note and jazz classics, and even contemporary tunes with no duplication of tunes from Volumes 1 or 2. / Instruments En Do

Fragments K. 442. Par MOZART WOLFGANG AMADEUS. Mozart often began work on a composition only to put it aside, unfinished. Some of these fragments contain wonderful music, as is proved by these three Piano trio fragments. Mozart composed them at different times as individual movements, though the posthumous first edition brought them together as a supposedly new and unknown Piano trio by the composer, and on this basis they were given the number “442” in Köchel’s catalogue. The first edition used completions by Mozart ’s friend Abbé Maximilian Stadler that were stylistically correct but possessed little originality. This Henle Urtext edition offers both these versions andnewly-composed, highly rewarding completions by Robert D. Levin. / Seiffert, Wolf-Dieter / Répertoire / Violon, Violoncelle et Piano

Par ADELMANN ANDREAS. Palaces, castles and chateaus – we associate music with all these buildings, whether for exhilarating celebrations, high holidays and tournaments: these are all occasions that would have been unthinkable without music and for which there were dances in many different rhythms. This is exactly the kind of music we find in this newly written composition./ Répertoire / 5 Instruments à Vent

Par RAVEL MAURICE. Created during the First World War, Maurice Ravel's composition 'Le Tombeau de Couperin' casts a longing look at the past while at the same time being full to the brim with traces of modern music. Each of the six movements is dedicated to friends who died in battle. In 1919 Ravel arranged four of these movements for large orchestra by skilfully borrowing melodic lines and colours from the piano setting. In the present new arrangement written for the Stella Piano Trio, these elements were adjusted to the instrumentation and their relationship within the ensemble. As in Ravel's orchestration, each note is taken into account, even if the cello is sometimes given a melody which is an octave lower than the original./ Répertoire / Trio avec Piano

Par . String duets tend to be somewhat upstaged by other instrumentations for string chamber music?especially string quartets, yet the string duet is an ideal introduction to the world of chamber music for anyone who is learning an instrument. Fabian Payr and Ruth Bamberger have selected 15 suitable harpsichord works from the Baroque period and have arranged them for two string instruments. These easily playable duet pieces are especially appropriate as material for instrumental lessons but also as repertoire for student performances. They encourage the study of Baroque performance practice and promote the somewhat overlooked subject of chamber music ensemble playing. / Date parution : 2022-07-20/ Recueil / Violon et Violoncelle

Par SCHOENBERG ARNOLD. Here the fourths, springing from an entirely different expressive urge, shape themselves into a defi nite horn theme, spread themselves out architectonically over the whole piece, and place their stamp on everything that happens. Thus it turns out that they do not appear here merely as melody or as a purely impressionistic chord effect; their character permeates the total harmonic structure, and they are chords like all others.' (Arnold Schoenberg, Theory of Harmony, 1911) The Chamber Symphony Op.9 heralded a breakthrough in Schoenberg's compositional style. While the work did not go hand in hand with the complete destruction of the old tonal system it does show an extension in chordal and melodic constructions. It's focus on the interval of the fourth rather than the third is stated right at the start with the horn fanfare and this leads into the use of the whole tone scale soon after. These two elements open up a new sound space which he would explore further in the works to follow. Certainly not a work to be missing from any library where contemporary music is one of the main focuses./ Répertoire / Ensemble de Musique de Chambre

Score Parties. Par BEETHOVEN LUDWIG VAN. When Beethoven wrote these three quartets he was 15 years old and a composition student of Christian Gottlob Neefe in Bonn. They reveal a strong Mozartian influence while the brilliant piano writing already gives a sense of the mature Beethoven. He may conceivably have written the works for the wealthy Mastiaux family in Bonn, as he gave piano lessons to one of the daughters and the other three siblings played violin, viola and violoncello. The sole source for the quartets is the autograph score which contains many overwritings that shed light on the works' original conception and possible alternative readings. Although Beethoven never published the pieces in his lifetime and is not known to have performed them, he reused their melodic and thematic material in later compositions. Beethoven preserved the autograph score to the end of his days ? perhaps an indication that the quartets meant a great deal to him. The first edition was published by Artaria in Vienna one year after his death, albeit with the pieces in a different order and with many errors in the musical text. Bärenreiter's scholarly performing edition of the Piano Quartets WoO 36 is edited by the Italian pianist Leonardo Miucci, a specialist in the performance practice of keyboard music from this period. The edition not only presents the correct readings, it also sheds light on the young Beethoven's expressive notation and provides a plausible explanation for the distinction he made between dots and strokes to indicate staccato./ Répertoire / Quatuor pour Piano, Violon, Alto et Violoncelle

Arrangeur: Robert Rainford. Par BRUCH MAZ. 7 short, melodic pieces with chances for both soloists to shine. Max Bruch (1838-1920) was a German Romantic composer, conductor and teacher. A child prodigy, he composed his first pieces at the age of nine, and went on to hold musical posts in Mannheim, Berlin and Bonn. He also spent three seasons as conductor of the Liverpool Philharmonic Society. In his lifetime he was known mostly as a choral composer, but it is for his first violin concerto that he is chiefly remembered now. These dances were first published in 1892 for violin and piano, although Bruch later arranged them for solo piano, and also for orchestra. The slow, stately introduction leads in to seven dances in volume one, each a charming character study. Individual movements aredramatic, then tranquil: dance-like then reflective. The third, fifth and seventh movements have the feeling of folk-dances, while the others are more lyrical and expressive. Structurally the pieces are fairly simple, with melody sections flowing in to each other. Some ideas are developed into links and codas. In this arrangement, both solo players share the melodic material fairly evenly. Each has a solo movement to play, with the other movements featuring call and answer moments, harmony sections and contrapuntal elements to enjoy. Technically quite advanced, with the music covering the whole range of the instrument, these gems of pieces are well worth working on. / Niveau : Intermédiaire à Avancé / Répertoire / Flûte Traversière, Hautbois et Piano

With the Playalong 20/20 Violin sheet music songbook, you get an incomparable collection of 20 of the best pop songs topping the charts of today, as well as demonstrations and backing tracks for each song for you to download. All 20 tunes are expertly arranged in melody line format for the Violin.Featuring some of the best pop hits from the current charts, this pop sheet music selection makes these catchy and upbeat songs accessible for the Violin. Including tunes like 22 by Taylor Swift, Right Place Right Time by Olly Murs and One Direction\'s What Makes You Beautiful, this book proves that the Violin is not just for classical music, but can also be a brilliant way to get a unique sound out of popular music. The Playalong 20/20 Violin book will help violinists of all ages and abilities play some truly perfect pop songs.Not only are there many uptempo and fun pop songs included in this collection, but you\'ll also get the slower ballads whose melodies will will sound just as beautiful on the Violin. Tunes like Frozen\'s Let It Go, Adele\'s wonderful Someone Like You, Wrecking Ball by Miley Cyrus as well as John Legend\'s huge heartfelt song All Of Me. Whether you\'re a pop-loving violinist or you\'re just looking to reinvigorate and freshen up your repertoire, Playalong 20/20 Violin sheet music is the collection for you. Not only do you get these 20 pieces of pop Violin sheet music, you\'ll also receive an enclosed download card, giving you instant online access to demonstration and backing tracks of every single song. Using the demonstration tracks, with Violin played by Alexandra Wood, you can hear exactly how songs like Jar Of Hearts and Make You Feel My Love should sound. Then, using the backing tracks, you can take the lead role, playing such gloriously poppy melodies over professionally-recorded backing tracks, ensuring that, during any performance or practice, you sound great.If you\'re looking to reinvigorate your repertoire with some pure pop perfection, why not check out the Playalong 20/20 Violin songbook, and start learning these fantastically fun tunes for the Violin. Use the accompanying download card to hear help you learn each song, then put on your very own performance with the backing tracks. / Violon

Arrangeur: Samuel Applebaum. Par APPLEBAUM SAMUEL. String Tunes was compiled from melodies Samuel Applebaum used to teach his string students. Michael Katz has produced the accompaniment CD (in traditional, jazz and rock styles) to motivate students to practice and perform for friends and family. The melodies are arranged in progressive order from the first three notes students learn to hte end of level one in most method books. These well-known (and some not-as-well-known) melodies may be played as a solo or in unison with other string instruments (violin, viola, cello, bass). If you have a balance control on your compact disc player, you may eliminate the recorded melody by turning the balance all the wayto the right. The number of the melody in the book is the same as the CD track number. Each recorded accompaniment has a count off to get you started. When you perform, announce the name of the song of your audience. / Rép Classique / Recueil / Violon

Edited By Renato Zanettovich. Par KAYSER HEINRICH ERNST. All 36 studies for violin from H. E. Kayser combined in one volume. This revision of the Studies by Kayser will help beginners get used to adopting rational fingerings right from the start. However complicated they may seem at first sight, rational fi ngerings actually provide more reliable solutions, even to the minor technical problems encountered in these elementary studies. Some passages use the second position (sometimes to avoidunnecessary extensions) on the assumption that anyone using these studies will already have begun to practise the positions. The fi ngerings placed in brackets are either more demanding or given as an alternative; the teacher will be able to guide thestudent as to which option to choose. Finally, I have prefaced almost all the studies with preparatory exercises and variants ( from the preface by Renato Zanettovich). / Niveau : Facile à Intermédiaire / Etudes et exercices / Date parution : 1905-07-05/ Etude / Violon

Douze Cahiers D'Etudes Revues, Annotées et Doigtées Par Mathieu Crickboom. Par CRICKBOOM MATHIEU. The masters of the violin have left us an inheritance of numerous books of remarkable studies and caprices. But the very abundance of this precious inheritance makes that an important part of it remains without profit, because it is impossible for the pupils to acquire or study these few thousands studies scattered in fifty big volumes. Very frequently, however, these studies are not classified in a progressive manner. Result of an inspiration which the pedagogical spirit could not always dominate or guide as it liked to, the first studies address themselves sometimes to the pupils who conjugate yet their first shifts with the most easy bow strokes, while the last are always of transcendent difficulty. Whatever be the chosen studies, once the first step is sourmounted, the pupils must do great efforts to realize imperfectly and in divided movements, difficulties which are beyond them. The result of this is: a considerable loss of time and sometimes even much discouragement. It follows at all events, that instead of practising fifty or sixty caprice studies in one year's time, the pupils can hardly study thirty. It is the desire to remedy these multiple inconveniences, that has incited us to realize the present work and in order to accomplish it to search in the greatest works of the masters, the elements the most apt to insure rapidly to the young violinists, the most complete mecanism of the left hand and bow. These exceedingly numerous and diverse elements chosen in the old editions, have been re-examined, fingered and sometimes the nuances (shades) set by us, with the most care and then classified by degrees from the second to the eight year of study in a progressive manner. These books of studies will not bear their fruits however, unless the work is regulated from the second to the fifth year of teaching, by a good method and appropriated exercises. The studies cannot in reality during this period, replace neither a method nor the exercises, they have to be considered rather as an amplified rehearsal of elements learned elsewhere but still badly assimilated./ Méthode / Violon