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

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 and revised the volume multiple times.
The music selection is the best I could find for each level progressing in tiny well prepared steps, enjoyable to play. Exercises compact and only when needed.
Volume 1 contains No 1-50 on 57 pages - first position, bow and reading skills, each piece 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 Beethoven, Bach, Purcell, Sor, Carcassi, Gretchaninov, Gruber and Neidhardt.
Probably the most researched and tested way to start learning the cello!
To each number are Video cello lessons linked 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 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.

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.

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 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.

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 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 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.

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.

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.