SKU: HL.48185468
UPC: 888680837679. 9.0x12.0x0.156 inches.
Born in Tunisia in 1952, Christian Lauba has been a prominent contemporary composer, winning many prizes since his graduation from the Conservatory of Bordeaux during the mid-1980s. Lauba is particularly noted for his compositions and teaching guides for the Saxophone, such as Nine Studies for Saxophones. Composed betweem 1992 and 1994, Nine Studies for Saxophones won Lauba the SACEM prize in composition. The second volume, for Soprano and Tenor Saxophones contains the fifth, sixth and seventh studies; 1) Tadj, 2) Gyn, and 3) Vir. Nine Studies for Saxophones is very modern in style, exploiting extended techniques of the Saxophone to the maximum. These include articulation, modes, complex rhythms, ornamentation, tonality, harmonics, vibrato, resonance and flutter tonguing, among other aspects. With modern classical music becoming more and more prominent within the genre, Lauba's Nine Studies for Saxophones is essential to all saxophonists..
SKU: HL.48182341
Etudes d'intervalles, dix-huit lecons de solfege by Jeanine Rueff is a set of eighteen studies of intervals with Piano accompaniment. This theory book is written in G and F key. From seconds, thirds, to diminished sixths, sevenths and to octavias, these eighteen studies cover a wide range of intervals. It is a great book for musicians who wish to learn the necessary basics on the subject. Jeanine Rueff composed numerous pieces for Saxophones often used in contests, as well as many pieces for Saxhorn, Clarinet, Horn and Cornet..
SKU: FH.FLS01
ISBN 978-1-55440-297-7.
Unparalleled in scope, Overtones offers all the music flutists want in one complete series! This progressive collection includes fundamental repertoire and supporting materials such as Studies, Compact Discs, Orchestral Excerpts, and Technique. The richness of music carefully selected for this compilation will resonate with teachers and students at every level of study.This compilation of standard orchestral passages for flute is an indispensable resource for the developing years and beyond. Teachers and students will find this unrivalled volume essential for examination or audition preparation.Study in F Major Robert WinnLearning to Skate Dianne AitkenStudy in C Major Giuseppe GariboldiThe Yeti Waltz Jamie ThompsonSiren Kathryn CernauskasMany and Few Wil OffermansStudy in C Major Giuseppe GariboldiStudy in C Major Robert WinnStudy in F Major Wilhelm PoppStudy in G Major Christian Cheret Itchy Feet Oliver LedburyStudy in G Major Russell StokesStudy in C Major Hans KoehlerStudy in G Major Ernesto KoehlerStudy in F Major Giuseppe GariboldiStudy in C Major Charles NicholsonRomany Song Philip SparkeFlute Salad Oliver LedburyCloud Nine James RaeStudy in C Minor Hans KoehlerStudy in D Minor Heinrich SoussmannStudy in F sharp Minor Francois Devienne Hungarian Dance Philip SparkeWaltzer Oliver LedburyOne-Line Story Wil OffermansGroove It! James RaeStudy in E Minor Hans KoehlerStudy in B Minor Wilhelm PoppStudy in F Minor Johann Georg TromliltzParty Piece Philip SparkeThe Wrong Button! James RaeInterlude Allen Vizzutti.
About Overtones
Unparalleled in scope, Overtones offers all the music flutists want in one complete series! This progressive collection includes fundamental Repertoire and supporting materials such as Etudes, Compact Discs, Orchestral Excerpts, and Technique. The richness of music carefully selected for this compilation will resonate with teachers and students at every level of study and is the official series for those using The Royal Conservatory Music Development program.
SKU: HL.14023418
ISBN 9788759864036. English.
Work for Piano dating from 1959.
SKU: FG.55009-748-3
ISBN 979-0-55009-748-3.
SKU: HL.48180512
Bohuslav Martin (1890-1959) was a prolific Czech composer, writing many large scale works. The composer moved to Paris in 1923 where he began experimenting in a variety of composition styles. Easy Studies for Two Violins was published in 1932 and is made up of nine duets. Martin himself was a violinist and the beginning of his experiments in composing for solo instruments and small ensembles saw him write for his own instrument. The first volume of Easy Studies for Two Violins provides intermediate violinists with alternative and enjoyable studies, addressing a variety of musical features. As a varied compilation, Martin's Easy Studies for Two Violins is essential to aspiring violinists.
SKU: HL.48181914
UPC: 888680848545. 9.0x12.0x0.174 inches.
Like a technical encyclopedia for the Clarinet, 25 Technical and Melodic Studies provides a detailed guide to establishing high standard technique on the instrument. Jeanjean's second volume in the compilation covers all aspects, from complex rhythms to articulation, making the book a must buy for all clarinetists. As a noted virtuoso Clarinet player himself, Jeanjean's understanding of the practice of technical elements is second to none. The 25 Technical and Melodic Studies<strong/> supply steady development in the context of nine solo studies and three studies for three Clarinets. This Paul Jeanjean<i/> study book cannot be missed by aspiring clarinetists..
SKU: HL.48180283
UPC: 888680947705. 9.0x12.0x0.146 inches.
Published in 1927, 20 Studies for Viola is the most famous work by Maurice Vieux (1884-1951), a French violist. Composed for upper intermediate / advanced players, these twenty studies of two pages each will help to improve bow technique. Most of the studies are dedicated to famous violists who won the First Prize of the Paris Conservatoire: Jean Gay, Etienne Ginot, André Jouvensal, Jacques Desestre, Denise Thoret, Pierre Pasquier, Robert Boulay, François Broos, Louis Artières, Mrs Crunelle-Martinet, Louis Chaaton, Alice Goninet, Jean Lefebvre, Albert Bernard, Jean Cauhapé, René Cézard, Suzanne Robin, Marcel Quattrochi, Emile Amette and Alice Merckel. Marcel Vieux was also a professor at the Paris Conservatoire and a soloist at the Paris Opera. The Maurice Vieux International Viola Competition was established in 1983.
SKU: HL.48182353
Jeanine Rueff (1922-1999) was a French composer and music educator. Her two combined specialisms have created accomplished studies, including Interval Studies. These Rueff studies focus on a variety of intervals including minor, major, diminished, augmented, perfect and chromatic. With exercises written in both the treble and bass clefs, Interval Studies is very accessible and ideal for all instrumentalists!.
SKU: CF.BF131
ISBN 9781491153765. UPC: 680160911264. 9 x 12 inches.
Inspired by Clarence Cameron White’s book The Violinist’s Daily Dozen, The Violinist’s Daily Sixteen is a collection of daily exercises compiled by Roland Vamos. Intended for student and professional violinists, the collection provides the performer with a variety of exercises for daily warm-ups. Mr. Vamos also focuses on developing dexterity and flexibility in the fingers and joints, the first and fourth fingers in particular. Each of the sixteen exercises is notated for each of the four strings, and Vamos recommends that the exercises be practiced as warm-ups, choosing a different string for each day of practice.Also included with the Daily Sixteen is a comprehensive set of studies for developing fluency with scales and arpeggios. Mr. Vamos’ unique methodology is to begin with major scales and arpeggios, followed by minor scales and arpeggios, all of which are notated in two, three and four octaves. Alternate fingers are provided, as well as a variety of slurred and mixed bowings using the three parts of the bow whenever feasible. It is a remarkably systematic approach to performing scales and arpeggios on the violin and will surely benefit students and professionals alike.ForewordThis short hand-setting set of exercises was inspired by a book entitled The Violinist’s Daily Dozen, conceived by Clarence Cameron White, a prominent African-American violinist, composer and arranger who enjoyed the bulk of his career in the first half of the twentieth century.I have practiced this set of exercises since I was twelve years old. It has served me as a superb warm-up and hand setting tool. Over the years, I have found that there are some aspects of this warm-up routine that were not given sufficient attention or not addressed at all. Consequently, I have expanded the Daily Dozen to create a new work entitled The Violinist’s Daily Sixteen.I have also paid particular attention in this work as to how these exercises are to be practiced. In exercises one and two, I have indicated some notes to be played before the actual written exercises. This is to ensure that the fourth finger will be over the string in a position ready to strike even though it is not being used. Before playing exercises three, four, nine, ten, eleven and twelve, I have indicated silent fingers to be placed on the notes they would be playing if they were being used.I have replaced Mr. White’s grace notes with notes of specific value and have slowed down the exercises so that the first joint (the joint nearest the string) of each finger can move with flexibility and strength. At no time should the first joint buckle.In Mr. White’s version, the last exercise gave the first finger some very valuable backward extensions. In this exercise (number 14 in this book), I caution the student not to move the hand along with the first finger. The hand should remain in position while the first finger independently moves back and forth.It became obvious to me that if the first finger were given the opportunity to develop the dexterity that Mr. White’s twelfth exercise emphasizes, the fourth finger could benefit from an exercise that gives it a forward extension. Consequently, I added another exercise to create a Baker’s Dozen (thirteen).Several years later, I felt that the second and third fingers should also have an exercise to further develop their dexterity…hence exercise fourteen was added to create a “Vamos Dozen.â€Because the first finger did not have sufficient practice in the development of the first joint in the original version, I have added two exercises to precede White’s fifth exercise. After re-working and re-numbering these exercises, I have come up with a total of sixteen exercises. It is my suggestion that these be practiced as a warm-up, choosing a different string each day.—Roland VamosEvanston, Illinois 2017 PrefaceScales are a means of teaching a person the fingerboard on his or her instrument. The fingers move across the strings and are required to make shifts, all in highly organized patterns. Scales and arpeggios are the foundation upon which our repertoire is built. Many scale books have been written; each one being organized in its own specific way. The Flesch Scale System has been a standard for many decades. It is very comprehensive and systematic. From the point of view of establishing similar patterns, it has one drawback: it is organized by starting with a major key, followed by its relative minor, going through the circle of fifths. I believe that it is more profitable to do only major scales with their arpeggios first, going up chromatically, and then follow them in a similar way with the minor scales. In using this approach, the similarities in fingerings between the various scales are more apparent. It is also profitable to have alternate fingerings whenever possible. My approach to scales and arpeggios includes a variety of slurred and mixed bowings using the three parts of the bow whenever feasible. These bowings are not all-inclusive. Whenever a particularly awkward bowing pattern is encountered in the repertoire, it can be practiced as an additional bowing variation in the scales and arpeggios.   I have chosen to introduce the three and four octave scales by teaching two octave scales across the strings in one position going up chromatically through seven positions; starting on the first, second, third, and finally fourth fingers in major and melodic minor.—Roland VamosEvanston, Illinois 2017.