Does the thought of sight-reading make you groan?The ability to sight-read fluently is a vital skill enabling you to learn new pieces more quickly and play with other musicians. The best-selling Improve your sigh-reading! series by renowned educationalist Paul Harris is designed to help you overcome all your sight-reading problems especially in the context of graded exams.Step by step you build up a complete picture of each piece firstly through rhythmic and melodic exercises related to a specific technical issues then by studying prepared pieces with associated questions and finally 'going solo' with a series of meticulouslygraded sight-reading pieces.New edition devised to support the revised sight-reading criteria from the ABRSM from 2012.Paul Harris is one of the most respected music educationalist known for his innovative Simultaneous Learning approach. He has over 500 publications to his name including the highly-acclaimed Improve your teaching! Improve your scales! Improve your aural! and Improve your practice! series. Paul writes frequesntly on music education and is in great demand as a workshop and seminar leader around the world.

A workbook for examinations including over 100 practice tests for Associated Board exams, supporting the new syllabus requirements from 2012. The ability to sight-read fluently is a vital skill, enabling you to learn new pieces more quickly and play with other musicians. The best-selling Improve your sight-reading! series, by renowned educationalist Paul Harris, is designed to help you overcome all your sight-reading problems, especially in the context of graded exams. Step by step you build up a complete picture of each piece, firstly through rhythmic and melodic exercises related to a specific technical issues, then by studying prepared pieces with associated questions, and finally 'going solo' with a series of meticulously graded sight-reading pieces. This new edition has been devised to support the revised sight-reading criteria from the ABRSM from 2012. Paul Harris is one of the most respected music educationalists, known for his innovative Simultaneously Learning approach. He has over 500 publications to his name including the highly-acclaimed Improve your teaching!, Improve your scales!, Improve your Aural, and Improve your Practice! series. Paul writes frequently on music education and is in great demand as a workshop and seminar leader around the world. / Violon

Par HARRIS PAUL. A workbook for examinations including over 100 practice tests for Associated Board exams, supporting the new syllabus requirements from 2012. The ability to sight-read fluently is a vital skill, enabling you to learn new pieces more quickly and play with other musicians. The best-selling Improve your sight-reading! series, by renowned educationalist Paul Harris, is designed to help you overcome all your sight-reading problems, especially in the context of graded exams. Step by step you build up a complete picture of each piece, firstly through rhythmic and melodic exercises related to a specific technical issues, then by studying prepared pieces with associated questions, and finally 'going solo' with a series of meticulously graded sight-reading pieces. This new edition has been devised to support the revised sight-reading criteria from the ABRSM from 2012. Paul Harris is one of the most respected music educationalists, known for his innovative Simultaneously Learning approach. He has over 500 publications to his name including the highly-acclaimed Improve your teaching!, Improve your scales!, Improve your Aural, and Improve your Practice! series. Paul writes frequently on music education and is in great demand as a workshop and seminar leader around the world./ Etude / Violon

12 Cajun Fiddle Tunes Transcribed From Michael Doucet'S Cd. Par DOUCET MICHAEL. Beau Solo is a collection of 12 Cajun fiddle tunes transcribed from Michael Doucet's CD of the same name. Selections include Grand Tasso, Valse Acadienne, One-Step d'Amedee, Valse a Pop McGee, Blues Acadiens, Grand Mamou, Chez Varise Connor, La Betaille, Gigue d'Acadie, Two-Step d'Ambrose, La Valse d'Auguste Breaux, and Wade's Waltz. / Niveau : Débutant à Intermédiaire / Cajun-Zydeco - Transcribed Solos / Recueil / Violon

A workbook for examinations including over 60 practice tests for Associated Board exams supporting the new syllabus requirements from 2012.The ability to sight-read fluently is a vital skill enabling you to learn new pieces more quickly and play with other musicians. The best-selling Improve your sight-reading! series by renowned educationalist Paul Harris is designed to help you overcome all your sight-reading problems especially in the context of graded exams.Step by step you build up a complete picture of each piece firstly through rhythmic and melodic exercises related to a specific technical issues then by studying preparedpieces with associated questions and finally 'going solo' with a series of meticulously graded sight-reading pieces.This new edition has been devised to support the revised sight-reading criteria from the ABRSM from 2012.Paul Harris is one of the most respected music educationalists known for his innovative Simultaneously Learning approach. He has over 500 publications to his name including the highly-acclaimed Improve your teaching! Improve your scales! Improve your Aural and Improve your Practice! series. Paul writes frequently on music education and is in great demand as a workshop and seminar leader around the world.

10 Intermediate-Level, Traditional Klezmer Pieces. 'Klezmer Duets” by Deborah Strauss and Alan Bern is an ideal introduction to this traditional music. Although the clarinet is now associated with klezmer music, the violin was actually used centuries before the clarinet was even invented. Over that time, violinists developed special techniques of bowing, articulation, ornamentation, phrasing and timing to express the nuances of the music. These nuances cannot exactly be written down in standard notation and klezmer can be thought of as a kind of semi-improvised music. In their arrangements, Strauss and Bern have offered one way of playing each piece, not a definitive way. An appendix explains the way these variations and ornamentations can be applied to the bare bones of other pieces - another appendix gives help to the accordion player. The authors have also provided free articles and videos online to assist the players further. Treat this book as a stepping off point to explore this evocative music - it's a gateway to the amazing world of klezmer music!/ Recueil / Violon et Accordéon

Guest Spot-Ten classic Abba hits arranged for violin by Paul Honey. Includes a CD so you can step into the spotlight and play along with the superb specially recorded backing tracks.

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

Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et B.C.

Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et B.C.

Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et Basse Continue

Velocity Agility And Concen Drill-This speed-reading book employs the standard techniques of language speed-reading converted to music reading. The key ingredients are mental focus physical eye focus and quick fingers. The virtuoso or the elementary player can benefit from practicing these procedures. In 60 pages one will drill in all possible finger patterns including half steps whole steps augmented seconds and brief repetitions.

Each of the fiddle and folk tunes in this collection is presented in more than one key permitting teachers to introduce the all important concept of tonality early in their students' musical accuracy in terms of findinghalf-steps differences as the keys of change. Almost all the tunes are in first position. All the tunes have been harmonized with chord symbols. If teacher parent or friend can accompany these tunes on the guitar pianoautoharp or other chord-playing instrument the benefit to the student will be readily apparent.

3 Nocturnes and 2 Interludes For Cello and Guitar. Par HEINIO MIKKO. Mikko Heiniö's Mot natten (Towards night), three nocturnes and two interludes for cello and guitar was composed in 2018. This suite found its inspiration and name in Finnish poet Bo Carpelan's (1926-2011) posthumous poetry collection Mot natten (2013), though the movements are not tied to specific poems. The first nocturne, Obscuro (‘twilight'), dominated by pizzicatos, is followed by a more dynamic interlude, Spasimo (‘spasm'). The fragile second nocturne, Sospiro (‘sigh'), is coloured by delicate micro-interval chords plucked on the guitar between the left hand and the nut. The interlude Passi (‘steps') leads with taps on the sound box straight into the third nocturne, Battito (‘beat'), the way having been paved by the heartbeat of strong guitar pizzicatos. The duration is c. 11'30''. The product includes one full score and separate parts for guitar and violoncello./ Répertoire / Violoncelle et Guitare