SKU: GI.G-10675
ISBN 9781574635508.
Begi nning Duets for Snare Drum provides a highly organized systematic approach to reading and understanding rhythm for the beginning drummer/percussionist. The duets contained in this publication will aid in developing the rhythmic discipline necessary for band, orchestra and ensemble playing. The progression of rhythms aligns closely with most band methods. Music educators and private instructors will find this collection to be a comprehensive approach to rhythm reading and ensemble playing. Audio tracks included Rhythms align closely with most band methods A perfect supplement to any band method Progression of rhythms follows Rhythm Reading for Drums, Book 1 Playing duets aids in developing sight-reading skills Systematic approach designed for the very beginning student For class instruction or private lessons Click Here to Download MP3 Files  I would recommend this book for any middle-school educators looking to boost their choices of repertoire for class sight-reading examples or lesson material. —Matthew Geiger   Review in Percussive Notes (Oct. 2022)  .
SKU: BA.BA10688
ISBN 9790006566051. 30 x 23 cm inches. Preface: Sassmannshaus, Egon / Sassmannshaus, Kurt.
The Sassmannshaus “Early Start†string methods cultivate playing together as early as possible, initially in duets. However playing in larger mixed ensembles is also encouraged and this tried-and-trusted edition for strings provides the perfect start for this. The first songs can all be performed in canon; each piece is notated in violin, viola and bass clef so that all three string instruments can play together in any number and combination. The collection then continues with through-composed pieces by such composers as Johann Valentin Rathgeber and Johann Joseph Fux. Here the middle part may optionally be performed by a viola or second violin.
About Baerenreiter's Sassmannshaus
Children playfully learn reliable technique at the earliest age. For more than three decades the Sassmannshaus Tradition has been the household name for excellence in beginner methods in German-speaking countries. More than half a million students have successfully learned to play using this publication.Thi s tried and tested German method is now available in English! The best-selling method that gave generations of European musicians their foundation is now available in English, with content and songs newly adapted for today's English speaking children.What makes this method so special? The child-friendly and age-appropriate text underlying the music enables children to perceive melodies as a whole and to understand their singable qualities.Songs and scales in different positions are easily explained and mastered within the first year. This is an important advantage over methods that confine children to the first position for many years.Note reading is emphasized from the first lesson - children are brought up to become proficient sight-readers and play in chamber music ensembles as early as possible.In contrast to other beginner methods, The Sassmannshaus Tradition progresses swiftly by introducing advanced techniques in rudimentary form, such as shifting and varied bow strokes.Ensemble playing is encouraged from the very beginning.The method is suitable for single instruction as well as for group and class lessons.The large print notes and text as well as many colorful illustrations are particularly child-friendly and very attractive to pre-school children and school children alike.The substantial volumes contain comprehensive material and carefully calibrated learning curves. They keep children curious and interested for many months and years.
SKU: MB.20796M
ISBN 9780786698714. 8.75 x 11.75 inches.
This fun and easy bluegrass fiddle book and companion audio takes you from the very beginning. Starting with an introduction to the instrument, the book teaches you basic fiddle technique such as holding the bow, and provides scales and exercises setting the foundation for the repertoire found in the book. Featuring classics such as Boil Em Cabbage Down, Cripple Creek and Old Joe Clark. This book will get you playing in no time. Includes access to online audio.
SKU: BR.EB-8639
Michael's duets are conceived for young as well as older beginning students and can be played in the first position.
ISBN 9790004182857. 9 x 12 inches.
2 x 4 little duets on 8 strings Frank Michael's duets are conceived for young as well as older beginning students. Both cycles are designed with contrasting sounds and can essentially be played in the first position. The pieces specifically call for techniques that are uncommon among beginners, such as pizzicato, glissando, col legno battuto and harmonics. The String Games are very easy and perfectly suited to children. The closing cycle On 8 Strings was written shortly before the other pieces and is intended to give students the experience of having fun with acrobatics, enjoying all kinds of sonorities, including 'forbidden' ones, making a more unusual use of the instrument, and to combine this with clear forms, melodies and rhythms. All eight little pieces are ideal for recitals. The book also contains special suggestions for practice and improvisation; working them out will enhance the interpretation of the pieces. The enclosed CD is intended as an aid for practicing at home.Michael's duets are conceived for young as well as older beginning students and can be played in the first position.
SKU: CY.CC3110
ISBN 9790530110874. 8.5 x 11 in inches.
Albert Robert Mueller (Muller) was a German trombonist born in 1849. He initially received violin lessons and discovered his talent for trombone playing at the age of twelve. He eventually settled in Leipzig and became a member of the Leipzig Gewandhaus Orchestra as well as a teacher at the Royal Conservatory of Music. He wrote the School for Trombone in 1902. (Wikipedia) The School for Trombone (part of our Vintage Brass Series, not to be confused with the Technical Etudes) is a very detailed and comprehensive book in three volumes totalling 208 pages, the text being divided into German, English and Russian languages. * Volume I includes detailed lessons on music theory including all scales and keys, rhythm, time signatures, rests, accents, accidentals, explanations of tempo markings, dynamics, posture, tone, a table of positions and notes. The lessons go through different keys starting very slowly and methodically with short exercises....not going too fast for the beginning student. Along the way Mueller inserts easy duets to perform with teacher and student, including many Bach chorales, etc. to get tuning and tone solidified. * Volume II for the intermediate level student, begins with the first studies of slurs and legato. He introduces simple songs and famous melodies including more duets. The exercises get progressively more difficult and include the entire collection of ornaments. * Volume III, for the more advanced student, introduces tenor and alto clefs in scales and studies including more duets. Compiled by Gordon Cherry.
SKU: PR.11641861SP
UPC: 680160685202.
What? ! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement.
SKU: HL.49047116
UPC: 196288124887.
About this book - Duet Collection 1: Duet Collection 1 provides 26 fun duets explicitly linked to the levels of progression (starting with beginners) found in Method Book 1. It comes with recordings on which you can listen to all the pieces performed on a grand piano by professional concert pianists. The audio material also contains the accompaniments alone, so that you can play your part along as a duet with the recordings! This book is a great supplement to Method Book 1, giving you further enjoyable pieces which will help your learning at each stage ofyour development. In line with The Classical Piano Method, these duets are drawn mainly from the classical repertoire, and also include a number of modern pieces in interesting and varied arrangements, with straightforward accompaniments ideal for a teacher or friend. This book is, of course, also a very useful standalone collection of progressively-graded duet repertoire in its own right, providing relevant repertoire as the pianists playing develops. Suitable for pianists in the early stages of learning to play. About The Classical Piano Method: This is ideal for adults and young people looking to learn the piano from scratch, or for those returning to the piano after a substantial break from playing. As the learner, you will gain a traditional, classic technique, and will be introduced to interesting, varied and well-known classical pieces right from the outset. The method is friendly and is carefully designed to progress in small manageable steps, beginning with simple fingering patterns andexercises, moving onto some of the most beautiful melodies and pieces from the baroque, classical and romantic eras: such as the Ode to Joy, Fur Elise and the Blue Danube Waltz. The Method Books lead you through a range of exercises, repertoire pieces to learn, theory checks, clear instruction & diagrams on playing and technique, tips on practising, and composer biographies. They also enclose recordings on which you can listen to all the pieces performed on a grand piano by a concert pianist, as well as some additional accompanying parts which you can use as play-along tracks. Learning is made interesting, informed and fun. Method Book 1 includes lessons on posture, hand positions, staves, clefs, chords... Method Book 2 includes lessons on intervals, changing hand positions, cadences, inversions, triplets, syncopation, 6/8 time...
SKU: MB.20819M
ISBN 9780786687039. 8.75 x 11.75 inches.
Finally, a great method which will show you how to play the acoustic jazz guitar in the style of players like Django Reinhardt, Oscar Alleman and Eddie Lang - their style is characterized by a powerful rhythm guitar and a vital swinging single-note solo line. Due to the fact that it can be very hard to master the original transcriptions, this book simplifies this style without losing the essence of the original sound. Written in standard notation and TAB, the material can be played by students and players that master the easy to intermediate level on plectrum style jazz guitar. All titles are included on the audio download available online, as well as some play along tracks which offer a great possibility to improvise on typical gypsy chord changes and rhythms.
SKU: MB.21246M
ISBN 9780786688104. UPC: 786688106. 8.75 x 11.75 inches.
This book is for all beginning and early intermediate mandolin players. No prior playing experience or note reading ability is required. The solos are written in both standard notation and tablature. While writing the arrangements, the author considered the small hands of children. Each tune is in the first position and there are no stretches that present inordinate technical difficulties. Includes access to online audio containing every song in the book. The tunes are recorded at a moderate speed, and include count-off notes and rhythm guitar accompaniment.
SKU: GI.G-M532
ISBN 9781579992392.
At long last, the innovations and musicality that make the Do It! Play In Band series so successful are available to string players. This wonderful series features audio recordings (see below) with artist-level performances that set musical standards and models that are perfect for young players. Modeling by David Salness (University of Maryland). The student book contains all the music a beginning player needs: songs, duets, trios, and rounds, plus a piece for string orchestra and a solo with piano accompaniment. The Teacher's Resource Guide (M535) is packed with hundreds of enrichment activities and supplementary material to make your classroom function at peak levels. Plus, the included audio recordings in the Teacher's Resource Guide will enhance every aspect of your teaching. Bret P. Smith is Assistant Professor of Music Education at Central Washington University, in Ellensburg, Washington. Download the audio recordings at: giamusic.com/doitstrings.
SKU: GI.G-M535
ISBN 9781579992798. English.
At long last, the innovations and musicality that make the Do It! Play In Band series so successful are available to string players. This wonderful series features audio recordings (see below) with artist-level performances that set musical standards and models that are perfect for young players. The student book contains all the music a beginning player needs: songs, duets, trios, and rounds, plus a piece for string orchestra and a solo with piano accompaniment. The Teacher's Resource Guide is packed with hundreds of enrichment activities and supplementary material to make your classroom function at peak levels. Plus, the included audio recordings in the Teacher's Resource Guide will enhance every aspect of your teaching. Bret P. Smith is Assistant Professor of Music Education at Central Washington University, in Ellensburg, Washington. Download the audio recordings at: giamusic.com/doitstrings.
SKU: HL.4004646
UPC: 888680604578. 9x12 inches.
Undercur rents provides an electrifying, virtuosic showcase for the whole ensemble – featuring a series of solos, duets and trios, as well as highlighting the various chamber sections within the band. The music was inspired by watching schools of fish and flocks of birds perpetually moving with the ocean currents and air currents. Every once in a while a single solo shape will appear – or two or three – they dance apart for a moment and then are drawn back into the ensemble. Commissioned by the Naden Band of the Royal Canadian Navy, Victoria, BC, this is a powerful tour-de-force from beginning to end. Duration: c. 6:30.
