Foundation Studies

Op 45-74-The second volume of Franz Wohlfahrt's Foundation Studies For The Violin contains 42 studies with modernized fingerings bowings and dynamics by world-famous violinist Rachel Barton Pine. At the same time this updated edition remains faithful to the original maintaining the same pedagogical sequence as Aiqouni’s classic edition. This edition includes a DVD of Rachel Barton Pine playing all 42 etudes with two camera views so students can choose to see either the bow or the left hand technique. The disc also contains MP3 audio tracks.

Based on the well-known studies of Carl Baermann (Op. 63) this collection incorporates daily practice studies of scales chords and intervals.

60 First Position Studies From Opp. 45 54 74-The quintessential violin method just got even better with a new edition expertly updated and edited by world-famous violinist Rachel Barton Pine. It contains modernized fingerings bowings and dynamics by Pine all newly engraved for this edition. At the same time it remains faithful to the original maintaining the same pedagogical sequence as Aiqouni's classic edition. This edition also includes a DVD of Rachel Barton Pine playing all 60 etudes with two camera views so students can choose to see either the bow or the left hand technique. For beginning to intermediate players.

Volume 2. This meticulous collection of 56 études constitutes the second book of a three-volume set curated by Alwin Schroeder, a former cellist with the Boston Symphony Orchestra and accomplished instructor from the Royal Conservatory of Music in Leipzig, Germany. A compilation of 56 exercises presents a progressively challenging sequence of studies, created by Schroeder and effectively interwoven with several others by his esteemed 19th-century European colleagues Karl Schröder, Ferdinand Büchler, Friedrich Dotzauer, Auguste Franchomme, Friedrich Grützmacher, and Sebastian Lee. The result is a well-rounded selection of exercises carefully arranged to enhance your cello-playing proficiency.

Par HARRIS PAUL. More Graded Studies for Saxophone Book 2 brings together saxophone study repertoire spanning the entire spectrum of technique and providing a firm foundation for progress. Featuring core studies alongside specially composed pieces by Paul Harris, these comprehensive collections apply the Simultaneous Learning approach to instrumental technique. Book Two takes the student from intermediate to advanced level (approx. grades 6-8). The studies are arranged in order of increasing difficulty, according to a carefully planned technical progression and each study comes with a list of Simultaneous Learning musical ingredients for players to explore in preparation for the music./ Etude / Saxophone

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.

For Cornet and Trumpet. Par GETCHELL ROBERT W.. This 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. / Date parution : 2022-07-28/ Etude / Trompette ou Cornet

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.

First Grade Studies-This book is intended to lay a foundation in technique for the First Grade piano student. Only elementary pianistic figures have been employed built for the most part on five-finger groups and broken triads. Intended to supplement John Thompson's First Grade Book.

Par SERRANO JUAN. The legendary flamenco guitarist and best-selling Mel Bay Publications author, Juan Serrano, is well-known for his sound recordings, transcriptions of his music, and technical methods for flamenco guitar. Now the music that formed his technical repertory and was the musical foundation given to his by his father, Antonio el del Lunar, (guitarist for all the flamenco singers of his time including Pastora Pavon-Nina de los Peines) is at your fingertips in this book that contains completely unreleased flamenco puro that is the foundation of one of the world's leading guitarists. These falsetas or variations on flamenco forms (toques) are graded so they are valuable for beginners, intermediate, advanced, and professional flamenco guitarists--or for classical guitarists that want to learn flamenco. This book is a repertoire book that is a valuable supplement to other Juan Serrano books on Mel Bay, such as Flamenco Guitar: Basic Techniques, or The Flamenco/Classical Tradition: A Technical Guitar Method and Introduction to music. This new book includes standard notation and guitar tablature. This repertoire allows students to solidify right-hand arpeggios, rasgueados, and picados - and left-hand techniques such as ligados and apagados, while learning valuable repertoire that can be used by the concert artist. / Niveau : Tous Niveaux / Flamenco - Solos / Recueil / Guitare Classique

Par OKAZAKI MILES. This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument, intermediate players can use it for training and theoretical work, and advanced players can explore the sections on advanced theory, extended technique and the exhaustive tables of melodic and rhythmic possibilities. It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins with the properties of string, harmonics, and tuning systems. It then moves methodically through pitch information, beginning with locating all versions of a single pitch, building pentatonic, heptatonic, and all possible symmetrical scales. This is followed by a study of intervals, with all possible locations of every two pitches, and a long study that moves through every possible fingering of three pitches, with a series of exercises to master triadic syntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation. Part 2 (rhythm) begins with a complete course in 'Symmetrical Picking, ' a method based on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation, with a focus on efficiency, accuracy, speed, dynamics, and groove. It is followed by a study of legato playing, working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse against pulse, playing two simultaneous tempos. The book concludes with a study of polyrhythm, playing one rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds of illustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to be inclusive and to promote creative practice. The main idea of the book is described in this passage (page 154): 'Even in this small area there is a lot of material, potentially a lifetime of study. The amount of information can feel overwhelming to students at any level. For this reason, the book is designed for self-directed practice, with an emphasis on what the player 'could' do, rather than what the player 'should' do. The principle is to develop your own learning process, rather than following someone else's. The ability to make choices is essential in finding a personal approach to the instrument. Pick and choose the studies that seem interesting - there should be enough variety to accommodate a wide range of personalities. If any particular concept or exercise has been useful as the starting point for a new creative direction, then the book has done its job. Its purpose is not to push any dogma, method, or style, but to open the door to options for guitarists of any background that are looking for new perspectives. This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument, intermediate players can use it for training and theoretical work, and advanced players can explore the sections on advanced theory, extended technique and the exhaustive tables of melodic and rhythmic possibilities. It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins withthe properties of string, harmonics, and tuning systems. It then moves methodically through pitch information, beginning with locating all versions of a single pitch, building pentatonic, heptatonic, and all possible symmetricalscales. This is followed by a study of intervals, with all possible locations of every two pitches, and a long study that moves through every possible fingering of three pitches, with a series of exercises to master triadicsyntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation. Part 2 (rhythm) begins with a complete course in 'Symmetrical Picking, ' a methodbased on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation, with a focus on efficiency, accuracy, speed, dynamics, and groove. It is followed by a study of legato playing, working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse againstpulse, playing two simultaneous tempos. The book concludes with a study of polyrhythm, playing one rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds ofillustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to be inclusive and to promote creative practice. The main idea of the book is described/ Méthode / Guitare