A second set of Easy Progressive Studies for Viola by Herbert Kinsey. These studies published by the Associated Board of the Royal Schools of Music provide invaluable practice material for the building of bowing technique. It also provides much useful note-reading practice within the positions indicated. Each exercise is clearly marked with the technique or skill that you are practicing.

CDs with fully orchestrated accompaniment tracks are the hallmark of these instrumental collections. Each book contains a carefully edited part that is appropriate for the Level 2-3 instrumentalist. The CDs include a demo track with a live instrumental performance followed by a play-along track. Songs include: Beat It · Billie Jean · Black or White · Don\'t Stop Till You Get Enough · Human Nature · I Just Can\'t Stop Loving You · Man in the Mirror · She\'s Out of My Life · Thriller · The Way You Make Me Feel · You Are Not Alone. The woodwinds and brass books are compatible with each other and can be played together or as solos: the strings books are compatible with each other butnot with the woodwinds and brass instrument editions.

The composer writes:Pilgrim was inspired it will be no surprise to learn by reading Bunyan's Pilgrim's Progress - Vaughan Williams's great opera on the subject had fascinated me from its first performance yet it was a long time before I caught up with this essential item in any well-stocked library of English classics. It made a great impression not least because of its theme of a journey of self-discovery and a rediscovery or renewal of faith. These are ideas which have a strong interest for me not in religious terms but in their application to every aspect of human life (including great journeys) and this piece reflects my response in musical terms to this concern. The tempo of the whole piece which lasts about 18 minutes is basically slow. There are two quick episodes but these act somewhat like the trio sections of a classical scherzo save that the tempo relationships are inverted (the classical trios would have been slower not quicker) and the canvas is much larger being that of a single substantial slow movement. The form of the whole is perhaps fantasia-like rather than having any relationship to classical forms such as sonata or rondo - some motifs and themes are varied as the work develops and the opening chords are of primary importance throughout the work. There has been no attempt to convey any pictorial elements deriving from Bunyan's great book. There is however one feature which upon completion of the score struck me with some force which is that almost all the thematic material is essentially striving upwards - there is a constant upward movement (sometimes over a lengthy period) throughout the work. Pilgrim was commissioned by the Luton Music Club for the Raphael Ensemble with funds provided by the Eastern Arts Board and Bedfordshire County Council and is dedicated to the Luton Music Club. The first performance was given in Luton on February 10th 1997 and followed as part of a joint scheme by performances in the same week at the Music Clubs of Bedford and Leighton Buzzard.

Easy Pickings Acoustic Songs lets you play sixteen rock and pop classics finger picking style, from such legends as Cat Stevens, Oasis and Dire Straits. It's easier than you ever thought possible with Easy Pickings , the exciting new way to master the technique. The music in this book doesn't use standard notation. Instead, a combination of chord boxes and crosses on the strings illustrate the picking pattern. / Guitare

'It is difficult to describe the transformation that took place as this smiling friendly man hunched over his guitar and launched himself bodily it seemed into his music. The blues possessed him like a 'lowdown shaking chill' and the spellbound audience saw the very incarnation of the blues as head thrown back he hollered and groaned the disturbing lyrics and flailed the guitar snapping the strings back against the fingerboard to accentuate the agonized rhythm. Son's music is the centre of the blues experience and when he performs it is a corporeal thing audience and singer become as one.' Bob Groom/Blues World'In the years before World War II Son House created some of the purest most powerful Mississippi Delta blues on record. Playing with partners Charley Patton and Willie Brown he exerted a profound influence on Robert Johnson and Muddy Waters both of whom copied his music and carried it to new generations. House's influence still echoes through the Rolling Stones Eric Clapton and many other musicians and in many respects he is the true father of what's known today as deep blues.' Jas ObrechtIn this lesson Tom Feldmann takes you step by step through 15 classic Son House tunes that span every phase of Son's recorded career. This 4 hour lesson is undoubtedly the most extensive look into the music of Son House and the techniques he developed. DISC ONE highlights 8 songs in Spanish tuning. While DISC TWO focuses on 7 songs using the Vestapol tuning (Open D) Standard and most surprising to students of House's playing Cross-Note tuning with Clarksdale Moan. Also included on DISC TWO is a bonus interview with Stefan Grossman where he talks extensively about meeting Son House and recording with him. Rare performances of Son House following his rediscovery are used throughout the lesson. The

Anyone with a knowledge of basic chords and guitar scale fingerings can dig right in and start learning to play jazz right away. Spanning from the major scale and basic triad theory all the way up to extended chords and the modes, this book features a full-length etude or song to go with every new concept introduced. Beginning Jazz Guitar breaks the age-old tradition of dry, intimidating and confusing jazz books, and provides an actual step-by-step and enjoyable method for learning to play in this style. Clearly organized into easily mastered segments, each chapter is divided into separate lessons on harmony or improvisation. All music is shown in standard notation and TAB, and the CD demonstrates the examples in the book. 96 pages. / Guitare

Par PLOWMAN LYNN. Inspired by J. M. Barrie's Peter Pan, this work for piano duet sees one player seated at the keyboard and the other playing on the strings inside the piano. The otherworldy soundscape emerges from a variety of finger plucking and percussive tools struck on the undamped strings./ Répertoire / Piano 4 Mains

?evcík's complete works cover every area of violin technique, from the elementary level and special exercises on individual technical problems all the way to analytical studies of the standard violin concertos.His 'Preparatory Trill Studies? deal with the placement of the fingers, their pressure on the strings and their action on the fingerboard in elementary positions, proceeding from slow movements to trills.This edition is essentially based on the original print published at the outset of the 20th century, along with other sources from ?evcík's posthumous papers. The editor, Jaroslav Foltýn, is a professor of violin at Prague Conservatory, as was ?evcík himself.- Fundamental pedagogical work by a leading violin teacher- With methodological notes by the editor (Cz/Eng/Ger)- Moderate to advanced level of difficulty / Violon

A work for Soprano Woodwind 2 Horns and Strings.Duration: circa 15 minutesProgramme Note: 'This work was commissioned as a possible companion piece to Mozart?s Exsultate Jubilate and the decision was quickly made to write something as a complete contrast. The poems chosen one anonymous from the early 16th century the other two by the famous Scottish poet William Dunbar [1460? 1513?] describe the promise of salvation after life?s dark passage. Each of the three poems echo this thought: ?In celum ther is joy with Thee? ?A short torment for infinite gladness? and ?Since erdly joy abides never Work for the joy thatlastès ever?. Thus in each poem the poet can overcome the fear of his inevitable death with the certainty of salvation: this work also has its ?dark? moments but the overall mood is one of calmness and peace. As with the words there are several musical motives that link the three songs. The musical motive for the refrain ?Terribilis mors conturbat me? in the first macaronic poem [also a salute to Mozart since the Exsultate is in Latin] returns a little higher and more despairingly in each verse until the last verse where it is played a whole octave higher. This motive reappears [played mostly by the oboes] in the last song but now the pitch of each repeat goes in reverse that is from high to low. The famous motive of the Gregorian chant Dies Irae [representing death] is used to accompany the prayer of the second song. A musical motive for the joy of Paradise appears in the second song ?A free choice given to Paradise or Hell?. There is also a ubiquitous 3-note chordal cluster which is used to illustrate the words: sometimes as a colour and

Solos for Alto Saxophone. Par SNIDERO JIM. This folio contains 8 solo transcriptions from Jim Snidero’s critically acclaimed CD Strings. Study these transcriptions with patience, an open mind, and the understanding that musical notation can only provide a certain amount of near-accurate information in the process of music making. These transcriptions are simply an attempt to represent in reverse order, the process of skilled improvisation on a given set of tunes. / performance book / Recueil / Saxophone Alto

10 Duette im Stil von Romantik, Blues, Bossa Nova, samba, Pop und Folklore. Par JUERGEN KUMLEHN. This book is for all guitarists who are looking for something new to play and who don't want to limit themselves exclusively to the more traditional type of duet music that's available. Stylistically, the pieces range from romantic, blues and bossa nova to samba, pop and folklore. The included CD contains every piece in two different versions as well as a preparatory exercise. First, there's a complete version for listening with an expanded and properly mixed arrangement. In this version, supporting instruments such as percussion, electric piano, strings, or acoustic bass are added in an appropriate manner for the style and mixed in softly without distracting the focus from the two guitars. After every listening version, a 'picking pattern' follows: the rhythm guitar performs and stays with this picking pattern throughout the entire piece and it forms the common thread that represents the actual core of each composition. This pattern is also presented on the CD in a slow version of a representative section of each song which you can analyze and play along with. Finally, you'll find the play-along version. This version has been reduced to only the two guitars, with one guitar on the left channel and the other on the right. Written in notation and tablature. Text in English and German. / Niveau : Débutant à Intermédiaire / All Styles - Duets / Tablatures / Guitare Tablatures

Britten's Two Portraits for strings - the composer himself called them 'Sketches' - were composed in August and September 1930 during the summer holidays preceding the sixteen-year-old composer's first term at the RoyalCollege of Music in London.Both are musical depictions of character the first portraying Britten's school friend David Layton and the second introducing a solo Viola (Britten's own string instrument) a self-portraitof the composer. According to Britten's diary he planned to compose a third portrait again for strings that was to depict another school friend Peter Floyd but this movement was not written. However David Layton was to beportrayed again though very differently in Britten's later quartet suite Alla Quartetto Serioso (1933) itself revised and re-titled in 1936 as Three Divertimenti.The Pencil manuscript score in theBritten-Pears Library at Aldeburgh although hastily written is very detailed ad dynamics and phrasing are carefully notated throughout. However in several places in the first 'Portrait' the notes themselves are either difficultto decipher or due to the highly chromatic nature of the music difficult to interpret - in some cases Britten has clearly made notational 'spelling' mistakes which have been silently corrected in this editon. A list ofthose places where the reading of the manuscript is doubtful may be obtained from the Britten-Pears Library Aldeburgh.As with virtually all orchestral music from his youth Britten did not hear either 'Portrait'performed. The first performance of Two Portraits was given by the Northern Sinfonia conducted by Martyn Brabbins broadcast by BBC Radio 3 on 5th December 1995 as part of a series entitled 'Britten's Apprenticeship'.The first concert performance of Portrait No.1 was given by the Britten Chamber Orchestra conducted by Andreas Mitisek at the Konzerthaus Schubert-Saal Vienna on 10th February 1996. The first concert performance of