All the essential and required studies for Classical Guitar are collected here in one handsome volume for Classical Guitar students and instructors. The studies appear on nearly every syllabus from any respected university Classical Guitar program. Newly engraved from early editions, with centuries-old errors now corrected and with minimal editorial annotations, this clear, uncluttered, easy-to-read reference book will be used every day for a lifetime of study. A 'one-stop shopping' repertoire book for every classical guitarist. Includes selected studies by Sor (Opp. 6, 29, 31, 35, 44, 60), Giuliani (Opp. 48, 51, 139),Aguado (from his Nuevo Método para Guitarra) and Carulli (Op. 333), as well as complete editions of Carulli's 24 Preludes, op. 114 - Giuliani's 120 Studies for Right-Hand Development, op. 1a - Carcassi's 25 Melodic and Progressive Etudes, op. 60 - and Coste's 25 Etudes de Genre, op. 38 . Of special interest to the student is the inclusion of carefully chosen audition and recital pieces from Bach, Milán, Tárrega, and Albéniz. / Rép Classique / Recueil / Guitare

Par ZIMMERMANN HEINZ WERNER. Das Te Deum Deutsch 'Herr Gott, Dich loben wir' for 12-part mixed Chorus a cappella (SSMezMezAATTBarBarBB). The Te Deum in the translation of Martin Luther 1529. Heinz Werner Zimmermann (born 11 August 1930 in Freiburg im Breisgau) is a German composer. Zimmermann had his first composition instruction from 1946 to 1948 with Julius Weismann and studied from 1950 to 1954 in Heidelberg with Wolfgang Fortner as well as at the Kirchenmusikalisches Institut Heidelberg (Institute for Church Music) there. After passing his examinations at the Freiburg Conservatory under Harald Genzmer, he became Fortner's successorin Heidelberg. Here he maintained close contacts with the musicologist Thrasyboulos Georgiades, whose rhythm and language studies influenced him the most, along with his occupation with American spirituals and jazz. From 1963 to 1976 Heinz Werner Zimmermann was director of the Spandauer Kirchenmusikschule (Spandau school of church-music) in Spandau, and then from 1975 to 1996 as successor to Kurt Hessenberg as composition teacher at the Frankfurt University of Music and Performing Arts (Brusniak 2001). Zimmermann 's best-known works are his sacred motets with plucked Double Bass, his Organ psalms, and his 'Prosalieder'. Among his chief works are his Missa profana, the sacred oratorio The Bible of Spirituals as well as his Symphonia sacra. Amongst other honors, Zimmermann has been awarded the Music Prizes of the cities of Stuttgart and Berlin, a Villa Massimo Stipend in 1965/66, and received in 1982 the Johann Sebastian Bach Prize. The American Wittenberg University in Springfield bestowed upon him an honorary doctorate, Zimmermann wrote three American theses, including one at the Stanford University in California. (Source: Wikipedia)/ Répertoire / 12 Parties de Choeur a Cappella

Par SAL SALVADOR. This is an excellent technique study text. It is divided into two sections. The first, 'The Art of Single String Soloing,' presents concepts and ideas for improvisation. Chord relationships are explored in each key, phrasing and progressions are discussed and a wealth of single string studies are given. Part two, 'Jazz Single String Studies,' presents a thorough grounding in jazz scales and related technique studies. Written in notation with appropriate chord symbols. The aspiring jazz guitarist will gain a wealth of picking technique and linear improvisational ideas by working through and mastering this text. / Niveau : Intermédiaire / Jazz - Technic / Recueil / Guitare

Etudes - mais avec une différence !Mike Cornick, 20 StudiesFew Piano de piano d'aujourd'hui enseignants choisiraient de restreindre leur répertoire de pupils´ à la strictement ' classiques ' et cela l'élargissement de l'approche - pour inclure les morceaux dans un éventail de styles, se reflète clairement dans les sélections de syllabus de la plupart des conseils de l'examen. Dans cet esprit, Mike Cornick´s de nouveau définie de piano 'feel' ainsi que les exercices de style classique attendues. Elèves de grade moyen standard trouverez ces pièces attrayant un stimulant - chaque pièce en mettant l'accent sur un aspect particulier de la technique ou d'interprétation du jeu de piano. Pour la sélection des enseignants une étude appropriée, table a été fourni donnant les détails de la clé, de style, de signature temps et de rythme.Contenu : Latin - JazzBallad - Romatnic ballade - Rock Blues - Ragtime - Rock - Swing - Baroque / Piano

For the left Hand. Par FERTE ARMAND. The scarcity of practice collections devoted to a speciality defined problem of technique has often been deplored by both teachers and pupils. However, Masters of piano playing have written such collections whose number is countless and which deal with difficulties of all kinds. Unfortunately, they are spread over a very large number of music books. The volumes referred to above countain a sufficiently great number to allow counteracting this dispersion. Each collection embraces only the studies intended solely for one of the manifold particularities of piano technique. Carefully revised and judiciously chosen, they will help the pupil to correct efficiently, certain weaknesses in his technique and thus improve systematically, his piano playing as a whole. / Études et exercices / Etude / Piano

47 pieces by CPE Bach, JS Bach, Beethoven, Burgmüller, Chopin, Grieg, Gurlitt, Heller, Kuhlau, Kullak, Liszt, MacDowell, Mendelssohn, Schubert, Schumann, and Tchaikovsky. All are at the intermediate level in a slim, affordable volume. Includes - JS BACH: Invention #8 in F Major, BWV 779 - Prelude in C Major from The Well-Tempered Clavier, Book 1, BWV 846 - BEETHOVEN: Six Variations on a Swiss Song, WoO 64 - BURGMÜLLER: L'adieu from 25 Easy and Progressive Studies, Op. 100, #12 - CHOPIN: Prélude in E minor, Op. 28, #4 - GRIEG: Arietta from Lyric Pieces, Op. 12, #1 - HELLER: The Avalanche from 25 Melodious Etudes, Op. 45, #2 - LISZT: Gray Clouds - MACDOWELL: To A Wild Rose from Woodland Sketches, Op. 51, #1 - MENDELSSOHN: Song Without Words in A Major, Op. 19, #4 - SCHUMANN: About Strange Land and People from Scenes from Childhood, Op. 15, #1 - TCHAIKOVSKY: Sweet Dreams from Album for the Young, Op. 39, #21 / Piano

These studies have been written to provide the ambitious student with material with which to carry on beyond the point where most methods and study books leave off, after which point the player is either compelled to continue on his own or is left with the idea that, having conquered all of the material at hand, he is well equipped to enter the ranks of professional players. However, these days the demands made upon brass players are beyond anything contained in the older methods, material which, however necessary for the student to conquer during the first years of study, was certainly never intended to develop the player to the point of present-day demands upon his lip, tongue, and breath. The pieces in this book were written as studies, not as musical compositions, that include, in more or less profusion, such figures as the student will be apt to meet with during the course of an active career. The studies are generally tuneful and pleasant in character. This book is not intended for beginners or students who have not already developed a good technique and strong embouchure by their work in the methods such as Arban´s and St. Jacome´s. It is intended for advanced players who have gone beyond the ordinary material and who are looking for exercises with which to develop higher register, extra technique and extra familiarity with the keys.

Par CURNOW JAMES. Tone Studies for concert band consists of nine studies designed to aid the development of good individual and ensemble tone production and intonation. Add Tone Studies to your library and you will find it quickly becomes an indispensible part of your band’s rehearsal routine. / Niveau : 2 / Répertoire / Concert Band ou Harmonie

The Second Book of Practical Studies is designed to logically extend the techniques already presented in the First Book and also to introduce and develop new techniques and rhythms that will offer a challenge to the intermediate student. Through the use of slightly more difficult and more extended studies, it is hoped that the material included in this book may more fully develop general musicianship and more feeling for style and interpretation and thus act as a foundation for solo literature.