ISBN 9781619114456. First Lessons Flamenco Guitar introduces the absolute basics of flamenco guitar. The book covers the fundamentals of reading music, including note and rest values, reading guitar tablature, finger names for the left and right hands, the names of guitar parts, and basic flamenco techniques and rhythms. This book and accompanying audio are meant for beginners who would like to familiarize themselves with the world of flamenco. Each lesson is accompanied by an audio track so students can hear what they are learning. Some online audio examples include different tempos for the same technique. First Lessonsr Flamenco Guitar will provide the base from which students can advance in their flamenco studies.

As a student 40 years ago I wrote a thesis about all existing cello methods. Then I started writing my own method by putting all positive aspects of all methods together.
The music selection is the best I could find for each level progressing in well prepared steps, enjoyable to play.
Exercises are compact and to the point, only used when needed.
Volume 3 contains No 64-100 on 60 pages - Learning to shift from Half position over first, second, third to 4th position. All pieces are written in form of a cello duo to be able to play with a friend or teacher together - includes traditional songs, fiddle tunes and compositions by Offenbach, Bach, Carcassi, Tchaikovsky, Moore, , Boccerini, Boris Fomin and Kummer.
To each number are video cello lessons published on Patreon. The links click through when viewed on phone, tablet or computer.
There are also Youtube recordings of all pieces as Cello Duos with fingerings and bowings as in the Cello Method, see https://www.youtube.com/playlist?list=PLa4x_CVYDVRXAnJJ_6HeRujngwTZ8cMEd

The clarinet method op. 63 by Carl Baermann from 1867 is still a standard work in classical clarinet education today. The thoroughly revised new edition aims at reviewing the educational concept, which is still valid today, for modern lessons, adjusting the music and texts, and sensibly complementing the teaching contents.
The editor who draws on many years of experience as a clarinettist in an orchestra and university lecturer of clarinet has succeeded in adapting the valuable teaching material to the requirements of today while maintaining the basic methodology. The result is a total of 7 volumes:

Clarinet Method Vol. 1 and Vol. 2 (ED 21761, ED 21762)Clarinet Method Vol. 1 and Vol. 2, with 2 CDs each (ED 21761-50, ED 21762-50): The CDs contain the piano accompaniment for the performance pieces, with and without clarinetTune Book 1 and 2 (ED 21763, ED 21764): piano score of the method's performance pieces, with additional inserted clarinet partDaily Exercises (ED 21765): systematic scale, interval and chord exercises in all keys, complemented and published separately from the original method
Due to trilingual nature of all editions (German, English, French), they can be used universally.

The clarinet method op. 63 by Carl Baermann from 1867 is still a standard work in classical clarinet education today. The thoroughly revised new edition aims at reviewing the educational concept, which is still valid today, for modern lessons, adjusting the music and texts, and sensibly complementing the teaching contents.
The editor who draws on many years of experience as a clarinettist in an orchestra and university lecturer of clarinet has succeeded in adapting the valuable teaching material to the requirements of today while maintaining the basic methodology. The result is a total of 7 volumes:

Clarinet Method Vol. 1 and Vol. 2 (ED 21761, ED 21762)Clarinet Method Vol. 1 and Vol. 2, with 2 CDs each (ED 21761-50, ED 21762-50): The CDs contain the piano accompaniment for the performance pieces, with and without clarinetTune Book 1 and 2 (ED 21763, ED 21764): piano score of the method's performance pieces, with additional inserted clarinet partDaily Exercises (ED 21765): systematic scale, interval and chord exercises in all keys, complemented and published separately from the original method
Due to trilingual nature of all editions (German, English, French), they can be used universally.

English.

A special method for beginners. First published by Schott in German in 1990. The translation and adaption into English has been made by Peter Bowman.

Three volumes for the descant recorder which advance in small steps and include many playful elements suitable for both group and individual lessons.
&bull. Discover the adventure of learning the recorder
&bull. Make real progress through games: breathing
&bull. A mixture of lively new and traditional tunes
&bull. Three supplementary tune books each with a sheet of stickers
&bull. Teacher's commentary
&bull. Join Dotty-do-a-lot and her friends in the exciting world of music

".Fun and Games with the Recorder". is a comprehensive recorder tutor covering all stages from the first notes of the beginner up to the point of professional instruction for budding performers. Although the recorder is often the instrument with which children will make their first musical discoveries, it is also an instrument of the highest artistic merit. This series of books tries to link these two extremes, providing a carefully planned pathway between first, playful contact with the instrument and professional recorder playing.

The three Tutor Books are suitable for use both with small groups and for individual tuition. Progress is methodical and is made in small steps placing great value on consistent work with breathing, sound production and the development of rhythmic security.

In the Tutor books we speak directly to the child and provide carefully planned, precisely formulated exercises. We recognise that some children learning the recorder will not yet be able to read, but hope that this will provide an opportunity for a parent or teacher to become involved in the learning process. Each step in this process should be fun and accessible to both the parent/teacher and the child.

Tutor Book 1 is intended for children from about six years of age. Previous musical experience is not essential but undoubtedly would prove useful. It concentrates on the notes B, A, G, E1, C2 and D2, leaving sufficient time and space for the development of articulation, rhythmic security and breathing techniques. Tutor Book 2 adds the notes C1, D2, E2, F2 and B flat, whilst Tutor Book 3 completes the range up to C3 - at which point the treble recorder can be introduced.

Tutor Books 1, 2 and 3 are complemented by Tune Books 1, 2 and 3. The Tune Books are matched to the stages of learning process of the Tutor Books and provide additional practice pieces and exercises, sometimes with accompaniment.

In the Teacher's Commentary we explain the teaching methodology behind the tutor and provide stimulation for ideas for lessons.

It will be helpful if the child has a manuscript book of her or his own, or some manuscript book. ".Dotty's Note Book". (ED 12641) is specially designed for the purpose, with large staves suitable for children as well as plain pages for words and pictures.

We wish users of this tutor book every success and happiness with their recorder playing.

English.

A special method for beginners. First published by Schott in German in 1990. The translation and adaption into English has been made by Peter Bowman.

three Volumes for the descant recorder which advance in small steps and include many playful elements suitable for both group and individual lessons.
* Discover the adventure of learning the recorder
* Make real progress through games: breathing
* A mixture of lively new and traditional tunes
* Three supplementery tune books each with a sheet of stickers
* Teacher's commentary
* Join Dotty-do-a-lot and her friends in the exciting orld of music

Fun and Games with the Recorder is a comprehensive recorder tutor covering all stages from the first notes of the beginner up to the point of preofessional instruction for budding performers. Although the recorder is often the instrument with wich children will make their first musical discoveries, it is also an instrument of the highest artistic merit. This series of books tries to link these two extremes, providing a carefully planned pathway between first, playful contact with the instrument and professional recorder playing.

The three Tutor Books are suitable for use both with small groups and for individual tuition. Progress is methodical and is made in small steps placing great value on consistent work with breathing, sound production and the development of rhythmic security.

In the Tutor books we speak directly to the child and provide carefully planned, precisely formulated exercises. We recognise that some children learning the recorder will not yet be able to read, but hope that this will provide an opportunity for a parent or teacher to become involved in the learning process. Each step in this process should be fun and accessable to both the parent/teacher and the child.

Tutor Book 1 is intended for children from about six years of age. Previous musical experience is not essential but undoubtedly would prove useful. It concentrates on the notes B, A, g, E1, C2 and D2, leaving sufficient time and space for the development of articulation, rhythmic security and breathing techniques. Tutor Book 2 adds the notes C1, D2, F2, E2, F2 and B flat, whilst Tutor Book 3 completes the range up to C3 - at which point the treble recorder can be introduced.

Tutor Books 1, 2 and 3 are complemented by Tune Books 1, 2 and 3. The tune Books are matched to the stages of learning process of the Tutor Books and provide additional practice pieces and exercises, sometimes with accompainment.

In the Teacher's Commentary we explain the teaching methodology behind the tutor and provide stimulation for ideas for lessons.

It will be helpful if the child has a manuscript book of her or his own, or some manuscript book. Dotty's Note Book (ED 12641) is specially designed for the purpose, with large staves suitable for children as well as plain pages for words and pictures.

We wish users of this tutor every success and happiness with their recorder playing.

English - German.

Probably the first non-European guitar method and today an ideal and natural primer for the classical guitar with international acceptance. As popular now as ever.

ISBN 9781619114319. First Lessons Folk Harp is designed for the beginner harp student who has no prior music training. In this book they will learn to read music notation, count rhythm, implement important fingering techniques, organize practice, tune a harp, play common bass patterns and make a decision about which kind of harp to play. Tips are included to help students get the most out of practicing. The songs serve as examples of harp basics, allowing the student to learn while playingvibrant melodies instead of repetitive or trite exercises. This book features traditional Irish, Scottish, Welsh, Canadian, American and Renaissance music. These songs will transport and delight audiences with their simplicity and profound clarity. They invite us to ancient landscapes steeped in mystery, and to experience the traditions of harping throughout the ages.This book presents two new note reading methods based on logical, predictable music patterns that employ cutting edge techniques. They were developed to move studentsbeyond reading notes as single isolated symbols. The rhythm table compares thedifferent note values and rests to each other and visually shows how they are related through counting out rhythm increments. Helpful photos define how important hand positions are on the harp. These are an immense resource for students, allowing them to avoid tension in their hands and prevent injury. Accompanying online audio allows them to play along as they learn.

When the clarinet method was revised and newly published, the Daily Exercises, which were originally a part of the Clarinet Method Op. 63 by Carl Baermann, were published as a separate edition. The essential improvement consists in the arrangement of the individual exercises, which simplifies their use in teaching practice. As with the two volumes of the Clarinet Method, the musical text is based on the first edition of the method, and only few differences concerning articulation as well as several misprints and typographical errors were revised. By deleting the historical fingering instructions for the German fingering system, the clarinet method not only has a clean and, compared to the original, more clearly structured layout, but can also be used universally. By adding exercises with fourths, fifths, sevenths and octaves, the Daily Exercises contain everything that is necessary for the thorough technical education of a clarinettist and thus are an independent volume that can be used either as a supplement to the Baermann method or totally independently of it.

Thanks to the revision by Robert Erdt, the result is a textbook that is oriented towards the original as regards content and, at the same time, has been adjusted to the current times with regard to language, education and instrumental technique so that this clarinet method by Carl Baermann can maintain its position in modern clarinet lessons as important educational literature for the classical clarinet.

To supplement his 'European Piano Method', Fritz Emonts has published a number of accompanying tune books deepening the lessons and providing literature for all important epochs in music history. The present book with pieces from the classical period can be used simultaneously with vols. 2 and 3 of the method, also containing rare pieces from the rococo, pre-classical and classical eras. Among them are works by the Bach sons and Hook, Diabelli, Galuppi, Hässler, Kirnberger, Reichardt and many more. The new edition enlarged to 48 pages now also contains some of the well-known early Mozart pieces K 1 - K 3, the Rondo in D major K 15d as well as Beethoven's Sonatinas in F major and G major and the classic 'For Elise'. A perfect anthology for piano lessons on the 'classical music' topic.

Nineteen Skeletal Duets for Trombones is a set of duets of easy to moderately difficult specifically for teachers and students in private lessons. The first 15 duets are arranged from Fifteen Safari Duets for Tubas which was composed in 1989 for playing with my tuba students at Berklee College of Music. They are at different levels of difficulty and in various styles so that we always had duets to play no matter what was the ability of the student. The additional four duets were added in 2020 for trombones for this set. The title of each duet is also a name for a bone in the human body, hence the name Skeletal Duets. There is something in each duet for students to learn: the basics of tone production, rhythms, melodic phrasing, jazz, graphic notation, etc. Most are sight readable and some have been performed in concerts. Nineteen Skeletal Duets for Euphoniums are the same duets but in treble clef. Twenty-two Skeletal Duets for Hornsuses the first 19 of the trombone set with three additional duets added. Some of the trombone and horn duets are in the same key so they can be played together.

1. Cranium
This duet presents the cantabile “singing” style as studied for playing the trombone. I find that this duet helps the student much like the melodies of Borgodni (Rochet) etudes.

2. Stirrup
This duet provides an opportunity to read basic rhythms and articulations. I find that the more advanced students can read in a faster tempo while the less skilled students work best in the slower tempos – a common choice for all of the duets.
3. Humerus
This waltz helps the student match phrasing in a cantabile setting. There are a few instances where the teacher (playing the first part) plays a phrase then the student plays a similar phrase.
4. Vertebra
This is in a “rock” style with syncopated rhythms with cantabile melodies. Articulations are especially important in this duet.
5. Axis
Legato scales and syncopated rhythms are the features of this duet. This is a good exercise for legato playing on trombone, especially when the legato tongue is needed versus when the trombonist does not need to tongue when moving across partials.
6. Tibia
This duet alternates in rock style and swing. Articulations and manipulation of “swing” rhythms are important.
7. Clavicle
The key of A for this duet provides variation for the students.
8. Fibula nd
This duet uses the easiest of rhythms and range, especially for the 2
9. Scapula
This duet is non-metric and uses graphic notation. This was a favorite duet of my students as many had never experienced this notation before.
10. Atlas ndThis is an Invention in the Bach style. This is probably the best duet to play when the 2 part is played by bass trombone.

(student) part.

11. Radius
This duet is in a “Medium Swing” jazz style. Each part has a chance to play a little bit of a “walking” bass line. Articulations and manipulation of “swing” rhythms are important in this duet.
12. Femur
This duet works on double time and half time tempo changes.
13. Patella
This is another duet that includes graphic notation. In this duet “Free rapid legato lines” are used.
14. Anvil
This gallop displays different types of articulation.
15. Hammer
This duet is in the style of a fanfare.
16. Rib
This duet is a melody, “Magallon Blues”, that I originally composed when I taught at a summer music camp in Magallon, Spain. In that camp each of the students would practice playing a jazz solo. This duet also has jazz chord changes so you can add piano or guitar. The use of drums is also an added option.
17. Sacrum
This duet is a short arrangement of Mozart’s “Eine Kleine Nachtmusic”.
18. Ulna
This duet is a short arrangement of the traditional Irish folk song “Londonderry Air”, more commonly known as “Danny Boy”.
19. Ilium
This duet is a short arrangement of the Beethoven’s song “Ode to Joy” which represents the triumph of universal brotherhood against war and desperation.

Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer. He recently retired from Berklee College of Music where he was Tuba Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over one hundred compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally including First Prize in the 1991 TUBA Etude Contest for Twenty Characteristic Etudes for Tuba, an award from The American Prize for his Petite Suite for Brass Quintet and others. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world. Many of his compositions are available on ITunes, Youtube and Soundcloud.
His compositions are recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.

Progressive study of the theory and practice of music.
At the end of the course (10 lessons) you will be able to sing a medium difficulty score simply following the step by step videos and practicing to associate "notes you sing" to "notes you listen" on the audio file.