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

ISBN 9781619116535. 8.75 x 11.75 inches.

Fingerstyle master Richard Gilewitz introduces fundamental fingerstyle techniques for ukulele in this handy first lesson book. Clearly written with a system of straightforward fingerpicking patterns, easy-to-read chord charts, tablature and notation with study and historical notes for simple level tunes. First Lessons Fingerstyle for Ukulele is a basic and fail-proof approach for beginner players, plus those who wish to expand their ukulele playing to include fingerstyle. Includes access to online audio.

ISBN 9781619117709.

A simple, user-friendly method, ideal for beginner trumpet students of any age. Emphasis is placed on sound fundamentals, proper embouchure and other basic techniques, using familiar tunes to teach notes and concepts. A wealth of solos is included to provide enjoyable repertoire during the learning process. Trumpet care and maintenance is taught as well. Includes access to online audio.

Most music theory books are written from a piano perspective, but Guitar Theory Modules is written for the guitar player. You'll learn basic music theory in a series 80 bite-sized modules of 1-4 pages each. You'll learn how scales and chords are put together, and there are plenty of playing exercises so you can apply theory to the fretboard. It's best to work through Guitar Theory Modules with a teacher, but in case you are learning on your own, there is an answer section in the back so you can check your work on the written exercises. A deeper understanding of how music is put together can improve your music reading, give you ideas for writing, and help you become a more well-rounded musician. Before beginning Guitar Theory Modules, you should know how to read music in standard notation, be familiar with the concept of sharps and flats, and know (or be learning) the note names on each string up to the 12th fret. Need help? Check out www.godfreyguitarlessons.com for online lesson information.

ISBN 9781619117570.

The Harpsicle Harp method book is an excellent tool for learning to play the Harpsicle Harp or any size harp from the very beginning. No musical knowledge is necessary to use this method. All the music is written in the keys of C Major and A minor, so no sharping levers or pedals are needed. The guitar chords are displayed above the staff, so the students can add to the written music, or other instruments can accompany the harp. The music is graduated from two fingers to playing with both hands. The music is labeled to allow the students to gradually learn the notes and fingering without stress or frustration. The method contains lessons on the parts of the harp, tuning, stringing, and taking care of your instrument. Also included in the method are reading music, time signatures and counting, placing and bracketing, finger drills, and much more. There are also eighteen songs, starting from very easy and continuing to add to the music, as the student progresses. All songs have labeled notes, to help the students learn notes and fingering. Online video compliments the book, and follows up the written instructions, with video footage, so the student can visually see the method. Includes access to online video.

The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the older Carl Fischer Arban Method.

Description
The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice.
Why
Arban’s Complete Conservatory Method for Trumpet andArban’s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology.

How
A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can.

Range Considerations
Students who are ready to play from Arban should have a “usable range” up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today’s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129.
If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don’t rush your progress.

Warming Up
One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson.

Performance Etudes
I’ve designated some of the more melodic and well balanced etudes as “performance etudes”. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance.

All of the characteristic studies and celebrated fantaisies are considered performance pieces.

Models
Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban’suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons.

The Hard Stuff
At some point in your study of Arban you may come across something that you just can’t play, or play at tempo. This often involves triple or double tonguing. Don’t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world’s top players can’t play everything in the Arban book.

Multiple Tonguing
Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends “tu ku”, many have had success using “tuh kuh”, “duh guh”, “tee kee” and many others. Finding your best syllables may take some experimentation.

Extending Exercises
Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models.

Transposition
Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice.
The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part.

Songs and duets
Some teachers love these and others don’t. I suggest you try them and if you’d like to supplement other pieces that you need to work on, please feel free to do so.

For bass clef instruments
Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments.

The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone.

The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the newer, Hooten edition published by Fischer.
Why
Arban?s Complete Conservatory Method for Trumpet andArban?s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology.

How
A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can.

Range Considerations
Students who are ready to play from Arban should have a ?usable range? up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today?s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129.
If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don?t rush your progress.

Warming Up
One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson.

Performance Etudes
I?ve designated some of the more melodic and well balanced etudes as ?performance etudes?. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance.

All of the characteristic studies and celebrated fantaisies are considered performance pieces.

Models
Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban?suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons.

The Hard Stuff
At some point in your study of Arban you may come across something that you just can?t play, or play at tempo. This often involves triple or double tonguing. Don?t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world?s top players can?t play everything in the Arban book.

Multiple Tonguing
Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends ?tu ku?, many have had success using ?tuh kuh?, ?duh guh?, ?tee kee? and many others. Finding your best syllables may take some experimentation.

Extending Exercises
Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models.

Transposition
Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice.
The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part.

Songs and duets
Some teachers love these and others don?t. I suggest you try them and if you?d like to supplement other pieces that you need to work on, please feel free to do so.

For bass clef instruments
Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments.

The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone.

About SMP Press

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.

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.

ISBN 9781619114968. 8.75 x 11.75 inches. The Mel Bay Modern Guitar Method Complete Edition is known worldwide for the incredible array of music presented, the thoroughness of educational music content and ease of understanding. The method contains hundreds of solos, duets, picking studies, chord etudes, position studies, scale and technique etudes, lessons in theory and harmony and much more! Every key and every position on the guitar fingerboard is thoroughly taught. Music is presented by many of the great master composers such as Bach, Chopin, Tchaikovsky, Handel, Grieg and also renown guitar composers such as Sor, Tarrega and Carcassi. The styles of music presented in this exhaustive course range from Early Music to Jazz to Bluegrass and Country to Rock. This method will equip any guitarist to perform the demands of modern music with ease and will transition the guitar student from beginner to virtuoso. This comprehensive method contains all of the music found in the Mel Bay Modern Guitar Method Expanded Edition volumes 1 through 7 and comes with extensive online audio and video.

ISBN 9781610653770. Introduces adults and school-aged beginners to the instrument and provides instruction related to the fundamental skills necessary to play the violin in a technically correct and musically satisfying way.Ideal as a partner book for students in school string programs as it provides a review of initial skills, an introduction to advanced technique ear training exercises and an anthology of repertoire.The enclosed teaching points can also supplement Suzuki Violin repertoire and provide students and parents involved in Suzuki lessons additional ear training activities and music literacy exercises.These tunes are varied stylistically and include folk tunes from various cultures and original and classic melodies chosen for their musical value and accessibility. Audio available for download online.

Flex on the Move is a fun and creative approach to developing flexibility on all brass instruments. Available for trumpet, trombone and tuba. 42 pages and a lifetime of material!
Flex on the Move
There are many great books on flexibility (or “lip flexibility” as it is commonly called) available to today’s brass players. The commonly used books include Irons 27 Groups, Smith Lip Flexibilities and Colin Advanced Lip Flexibilities. Flexibility studies do go all the way back to Arban and St, Jacome, but became a staple of brass pedagogy in the early 20th Century through teachers and authors like Del Staigers, Herbert L. Clarke, Earl D. Irons and Walter M. Smith.

There are different categories of flexibility exercises. There is “Long Flexibility” like those found in Colin’s Vol. I of Advanced Lip Flexibilities. With Long Flexibility you stay on one fingering and play a long line that takes you through a large range. Then, there is “Short Flexibility” similar to what is found in Irons and Smith where you play a repeated pattern on one fingering. Most flexibility falls into the Short Flexibility category. With this book, I would like to add “Moving Flexibility” to the list. With Moving Flexibility you play a short pattern that takes you up and down through all the fingerings, covering a large range on your instrument. The idea of Moving Flexibility was first introduced in Arban p. 45 #16 and later in Charles Colin, 100 Original Warm-Ups.

Why Practice Flexibility?
Chances are, you’re not going to stand in front of an audience and perform flexibility studies. Flexibility studies are a means to an end, not the end. Most trumpet players practice some form of flexibility every day as it improves overall technique and gets you ready to play music. In our lessons, Claude Gordon would tell me how a particular exercise or routine he was writing would “get me feelin’ good.” So, that is my goal with these studies, to get you “feelin’ good”.

Technique
There are many beliefs among players as to what makes a brass instrument “work”. Some believe it’s the lip, some believe it’s the tongue, some believe it’s the air, or some (like me) believe it’s a balance or coordination of all three. I don’t think that your chosen methodology will matter when practicing these exercises. If you practice them religiously and correctly, you’re playing will certainly improve.

ISBN 9781619112759. By Craig Duncan. Este texto presenta la tecnica inicial de violin y los fundamentos basicos de lectura de musica, con enfasis en el uso de melodias y piezas clasicas para ensenar cada nuevo concepto. Las 28 lecciones incluyen tecnicas basicas y habilidades de lectura, escalas en las teclas A, D, G y C, asi como tecnicas de arqueamiento como el contraste dinamico, slurs, acentos de staccato bowing. Hay 47 melodias presentadas, incluyendo obras de Bach, Beethoven, Brahms, Handel, Mozart y otros compositores clasicos. El audio complementario presenta todos los ejercicios y piezas grabadas con violin solo y acompanamiento de piano. Utiliza melodias y piezas para introducir tecnicas y fundamentos. Incluye escalas en A, D, G y C; slurs, acentos, y staccato bowing. 47 melodias, incluyendo obras de Bach, Beethoven, Brahms, Mozart, y mas. Incluye acceso a audio en linea. This text presents beginning violin technique and basic music-reading fundamentals, with an emphasis on the use of melodies and classical pieces to teach each new concept. The 28 lessons include basic technique and reading skills, scales in the keys of A, D, G, and C as well as bowing techniques such as dynamic contrast, slurs, accents, and staccato bowing. There are 47 melodies presented including works by Bach, Beethoven, Brahms, Handel, Mozart and other classical composers. The companion audio features all of the exercises and pieces recorded with solo violin and piano accompaniment. Uses melodies and pieces to introduce technique and fundamentals.Includes scales in A, D, G, and C; slurs, accents, and staccato bowing. 47 melodies, including works by Bach, Beethoven, Brahms, Mozart, and more. Includes access to online audio.

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.

FLATPICKING &FINGERPICKING ON THE MOUNTAIN DULCIMER shareswhat JM Bolton has learned not just from playing the mountain dulcimer but alsofrom some fifty-odd years of studying music and playing in small groups andorchestras. She developed this method of teaching flat-picking for herstudents, and the lessons are intended for the beginner as well as intermediateand advanced dulcimer players.

The best way to learn any instrument is to have lessons from a good, experienced teacher. Although, happily, the number of such teachers is constantly growing, the recorder is still frequently taught by enthusiastic but inexperienced teachers and many players start by teaching themselves.
This series of books sets out to help learners of all ages in all three situations. Experienced teachers, who may choose to disregard much of the text as personal demonstration is always clearer than the written word, will find exercises and fine tunes a-plenty to support their own method at each stage. The less experienced willbenefit from many valuable teaching hints culled from long experience and may rely on the books to lead to a sound playing technique and a mastery of simple notation.
Those learning by themseves - and I started in this way - are urged to work carefully and systematically through the books, taking plenty of time to assimilate each point before moving on. For them, without the personal model provided by a live teacher, it is vitally important to listen as often as possible to fine players, in person or on record, so that they have in their mind's ear a clear notion of the kind of sound they would like to produce.
But however they start, I can only wish that all who use these books will derive as much pleasure and musical satisfaction and gain as many lasting and valued friendships as I have through this most subtle, delightful and sociable of instruments. (Brian Bonsor)

&ldquo....this work is likely to become a standart work very quickly and is to be recommended to all schools where recorder studies are undertaken&ldquo. (Oliver James, Contact Magazine)

These two tutors, with accompanying teacher's books, are for newcomers to the instrument who are beginning on the treble and so assume no previous knowledge either of the instrument or of musical notation.