Par MILLER JOHN. Two by Two is a collection of mixed-ability duets for 2 trumpets. Including well known pieces such as Handel's Music for the Royal Fireworks and the traditional song Sumer is icumen in alongside fun original pieces by John Miller, this book is ideal repertoire for practice and concerts.  / Instrumental Music / Recueil / 2 Trompettes

For Banjo. Par TRISCHKA TONY. A comprehensive repertoire book of Fiddle tunes adapted for Banjo, in easy to read tablature, by the renowned player and teacher of the 5-String Banjo, Tony Trischka. For the early picker to the advanced player, this book and its online audio will enable the player to learn by example and broaden their technical range. Fiddle tunes have been adapted for Banjo since the early 1850's. The explorations contained here include a large collection of popular American Fiddle tunes and a section of Celtic tunes played in the three major Bluegrass Banjo styles. These Bluegrass, Old Time and Celtic Banjo traditions will expand the players' knowledge of the instrument, and deepen their understanding of bluegrass and traditional music. The techniques employed will build the players technical prowess and broaden their enjoyment of playing. And the tunes, both popular and lesser known, will add new variety to the next jam session! Tablature only. Repertoire of Fiddle tunes for the early to the advanced Banjo player. In easy to read tablature with downloadable online audio. Expands the players' knowledge of Bluegrass Banjo styles and Banjo music. Builds playing skills and adds variety to their playing. Online Audio download available. / Niveau : Intermédiaire / Recueil / Banjo

Brahms had already announced his ?retirement' from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter apparently renewed his enthusiasm for Mühlfeld's much admired playing and inspired him to write two clarinet sonatas in the summer of the same year. Brahms conceived an alternate version of the works for viola from the beginning and already before the publication of these two versions he intended to do another one for violin, a version which was to require changes and was to result in an independent edition. While the clarinet and viola versions have developed a rich performance tradition, the violin version is almost unknown. Yet for the violin version the composer revised the original clarinet part much more extensively than he did for the viola version and also rewrote the piano part to achieve a thoroughly convincing violin and piano idiom. This Bärenreiter edition aims to bring the neglected violin sonatas op. 120 back into players' hands.An important part of this edition is the extensive preface. Firstly it informs about the sonatas' origins, their compositional process, pre-publication performances, their publication history as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors start from the premise that already a few decades after Brahms' death, a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. On the basis of manifold sources which include memoirs by pupils and chamber music partners, treatises and essays, early instructive editions and historical recordings, the editors deal with key issues in understanding Brahms' notation. By a section-by-section analysis of rhythm and timing, dynamics and accentuation, dots and strokes, slurring and non legato, piano pedalling and overholding, piano arpeggiation and dislocation, string instrument fingering, string instrument harmonics and vibrato, the editors provide an indispensable assistance for a historically informed interpretation of the works.At the same time, the edition offers an exciting and often surprising insight into musical interpretation of the German Romantic Era in general.- A pioneering Urtext edition- With an unmarked Urtext part- With a second part including fingering and bowing based on the practices of contemporaries of Brahms- With an extensive Performance Practice Commentary- For further information on Romantic performance practice we recommend the text booklet: 'Performance Practices in Johannes Brahms' Chamber Music?, BA 9600 / Violon Et Piano

This new collection of folk songs - 'Laula kultani' (Finnish for 'Sing, my sweetheart') - offers choirs attractive literature to expand their repertoires and to perform concerts for many different occasions. The creative choral director has many possibilities for performing this music: thus instruments can be added, or - if there are difficulties due to pronouncing a foreign language - a small ensemble can sing the song, while the remainder of the choir hums the music in the background. The selected songs about themes of love and love's sorrow, dance, festival and celebration, are traditional folksongs which are well-known and popular in the countries of their origin. In puttingtogether this collection special emphasis has been placed on the musical quality of the settings. In addition to traditional settings, many songs in new arrangments by contemporary composers have been included. The settings range in difficulty from easy to moderately difficult. / Musique traditionnelle / Répertoire / Choeur

The 21 little performance pieces in The Really Easy Cello Book have been written and selected with beginners in mind. Despite the technical limitations this imposes, there is plenty of scope for musical interest! The pieces are arranged progressively and the piano accompaniments have been kept as simple as possible.  / Instrumental Music / Recueil / Violoncelle et Piano

The French composer and bassoonist François René Gebauer (1773-1845) and his three brothers was closely tied to the history of French military music and the beginnings of the Conservatoire de Musique. As was customary at that time, the woodwind players also had complete command over other woodwind instruments, and therefore it comes as no surprise that Gebauer wrote a flute method- perhaps for his younger brother- which was soon followed by duos as well.60 Methodical Lessons, first published in 1798, are entirely in the tradition of the French methods (Devienne, Hugot, etc.). Gebauer chose the form of duet and formulated headings for each exercise which make his idea of methodical steps clear: After elementary exercises in the beginning, the second half focusses on the development of the playing skills and an increasing understanding of music. The exercises cover a wide range from sound exercises via articulation and rhythm exercises to ornaments. A varied addition to the beginner's repertoire.

A proven source of graded duets for both the student and teacher of brass and woodwind instruments. Each volume contains works from the Renaissance, Baroque and Classical periods, folk songs and traditional tunes, and a selection of original compositions by Keith Snell in a variety of styles. A useful source of repertoire. Contains: Balletto (Vinci) * Courant from the Third Suite (Alcock) * Danish Country Dance (Traditional) * Down By the Riverside (American Traditional) * Duetto (Handel) * Fanfare (Purcell) * Fugue (Heron) * Kentucky Folk Song (Traditional) * Ronde (Susato) * Scherzo (Heller) * Shepherd's Dance (Susato) * Slip 'n' Slip Polka (Snell) * Three Concert Duets (Snell) * Voluntary in F (Heron).

Improvise Microjazz for Alto Saxophone est conçu pour apprendre à improviser à partir des éléments contenus dans la collection des Microjazz. Des notes et des rythmes sont suggérés dans le contexte de pièces faciles de blues et de jazz. On peut choisir les morceaux d'Improvise Microjazz for Alto Saxophone au hasard, ou bien on peut les jouer dans l'ordre dans lequel ils sont présentés.Ce livre a pour objet de vaincre l'obstacle du je ne sais pas improviser et de faire progresser les joueurs presque sans qu'ils s'en redent compte ! Il y a des références à divers types de gammes et de modes, mais ce livre fait appel aux réactions instinctives plutôt qu'à la connaissance technique. Des explications sont fournies au sujet de certains accords et de certaines harmonies, mais le musicien est encouragé à se rapporter d'autres textes.