Developed by master string teacher Dorothy Croft to enhance the teaching of music theory in relation to the violin. A practical approach to teaching.

PAUL WETZGER (1870-1937) was a German flutist composer born in Dahme near Lübeck. At a young age he took violin lessons from the local music director later switching to flute. By 15 years of age Wetzger had played his first concert in the main church of Dahmen and was second flutist of the municipal orchestra. He later became solo flutist with the municipal orchestra of Essen and taught at the Essen conservatory. He wrote numerous pieces for flute and several chamber music works also editing works by the French composer/flutist Jules Demersseman. Wetzger's Am Waldesbach (By the Forest Brook) ideally for flute and orchestra or piano was a staple of celebrated flutistMarcel Moyse recorded by him in 1935 on the French Columbia label. Since then it has become a favorite in the flute teaching repertory perhaps most notably included Toshio Takahashi's famous Suzuki Flute Method. This Southern Music edition faithfully captures this classic piece as performed by living legend of the flute Sir James Galway.

The purpose of this book is to facilitate the learning of scales and arpeggios through a combination of visual and physical memory of the fingerboard. One must memorize scales and arpeggios to become fluent in the very rudimentsof musical performance. Playing scales and arpeggios while seeing the notes with fingerings enables one to quickly learn and memorize by associating the sound of each pitch with the written note. In addition to scales andarpeggios the finger patterns of Emanuel Ondricek are an invaluable tool for playing repeated figures from memory and visualizing the fingerboard in all different keys. It may well be that the Ondricek finger patterns containedin this book are appearing in print for the first time. (from the introduction by Allyson Dawkins)

for String Orchestra Score. This toe-tapping polka is originally for piano solo and transposed to the keys of A and E major. The melody and harmony float between the violins, with a brief appearance for cello and bass. The viola section provides a strongrhythmic drive. This work was written and published in 1860 while Bares was still enslaved. Not only is it a strong example of a composition by a black composer, but also a playable introduction to more complicated key signaturesfor your orchestra.