SKU: FG.55011-640-5
ISBN 9790550116405.
The Book of Questions for mezzo-soprano and chamber orchestra (2006) is part of an entire concert, which Kalevi Aho (b. 1949) composed for the Chamber Orchestra of Lapland to be premiered in 2007. In the spring of 2006, he came across the posthumously published collection The Book of Questions (1974) by Pablo Neruda (1904-1973), the Chilean poet and winner of a Nobel Prize. The Book of Questions is Neruda's last work, an unconventional testament to his work as a poet. The collection consists exclusively of questions, many of which are strange or unusual in character: they force the reader to look at things in an entirely new perspective. Aho selected the texts for the song cycle from Neruda's questions and combined them into eleven new sets, each containing between two and seven different questions. The Book of Questions thus became a meditative, philosophical song cycle. All eleven sets of questions are performed without a break, and the duration is c. 24 minutes. The orchestral material is available for hire from the publisher. The orchestration is 1(+afl)1(+ca)11-1000-01-st.
SKU: GI.G-1049
UPC: 785147004929.
James Jordan and The Same Stream should be commended for this album. The Same Stream succeeds in presenting this collection of twenty-first century choral music with a high degree of technical accuracy. Their sectional balance is nearly perfect, and contains impeccable intonation. The performances on this recording should have a wide appeal to twenty-first century choral music enthusiasts. — Gerrit S.C. Scheepers, Indiana, PA    Choral Journal (September 2020) These tracks represent the first full CD of a new American choral ensemble: The Same Stream. The choir’s very existence is the living result of questions regarding what it means to sing together within a deeply “knitted†community, a community that shares answers to commonly held questions and beliefs about what creates a truly human resonance within and among singers. For me, this ensemble is a continuation of beliefs that have been my North Star all of my career. To hear those questions answered and dreams become a reality with the establishment of The Same Stream choir is deeply humbling, gratifying and life affirming. It is our hope that these recordings enrich those who hear them—as much as making them has made our lives deeper and more meaningful. — James Jordan, Artistic Director and Conductor of The Same Stream    www.thesamestreamchoir.com Recorded in the unparalleled Cathedral Basilica of Saints Peter and Paul in Philadelphia, The Same Stream's debut full-length recording, Songs of the Questioner, features music by outstanding living composers with a personal connection to the ensemble. Music by Thomas LaVoy, Paul Mealor, Peter Relph, and Dan Forrest help the listener to explore those deep and important questions that follow us throughout our entire lives.
SKU: AP.0571B
ISBN 9780757980145. UPC: 654979023098. English.
All games in the Artie Almeida Music Games series were created by Artie Almeida for fun reinforcement and assessment of basic music concepts in general music classes. Games are geared to various elementary grade levels. In this exciting musical trivia game, students compete for colossal cash by answering questions about musical instruments, music vocabulary, and music symbols. Terrific for an end-of-year review of knowledge! Contents of game (packaged in a 9 x 12 plastic ziplock hanging bag): 30 colorful Daffy Duck Bills (11 x 5) with music questions in six different denominations (the higher the denomination, the harder the question), plus directions/answer key.
SKU: GI.G-017325
An updated version of the original discussion-starter book Questions for Catholics. With questions dealing with faith, life, love, and responsibility this travel-sized book is ideal for youth groups, family, friends, even while dating! A thought-provoking resource that will leave a lasting impression.
SKU: HL.14011420
ISBN 9780853604945. English.
Suitable for young beginners, this book by S. J. Townshend, provides short exercises in the elementary rudiments of music including questions on clefs and staves, notes and values, accidentals, rests, tones and semitones, introduction to major scales, key signatures, tonic triads, time-signatures and musical terms.
SKU: CF.YPS217F
ISBN 9781491156551. UPC: 680160915095. 9 x 12 inches.
Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn't exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora. As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn't attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus's brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, jar seems to be a more accurate translation for what we commonly call Pandora's box) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope. The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn't it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place? I'm not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I've tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed. Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope's beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin's work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key. Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece's slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn't resist.).Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn’t exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora.As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn’t attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus’s brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, “jar†seems to be a more accurate translation for what we commonly call “Pandora’s boxâ€) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope.The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn’t it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place?I’m not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I’ve tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed.Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope’s beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin’s work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key.Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece’s slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn’t resist.).
SKU: CF.YPS217
ISBN 9781491156544. UPC: 680160915088. 9 x 12 inches.
SKU: GI.G-10760
ISBN 9781622776979.
Questions abound about diversity in music education. How can we engage with diverse populations, repertoire, and identities while upholding integrity and achieving equity? What are cultural appropriation, othering, tokenizing, and essentializing? How can we avoid bias in our teaching and repertoire selection? How do we create a more socially just music education? These are critical questions with accessible answers. But if we are to become better music educators, we must reflect on these questions, our own identities, and our relationships with the music and people of the world. Realizing Diversity by Karen Howard is a groundbreaking and practical resource for crafting diverse and anti-bias music education in classrooms, ensembles, and studios at all levels—from preschool to university and community settings. At the book’s core is an Anti-Bias Framework intended to help music educators gain confidence and comfort in designing music curricula that are just, equitable, and make participants feel safe and welcome. Structured around the four social justice domains of identity, diversity, justice, and action, this framework explores topics of anti-racism, gender and sexual identity, power and privilege, disabilities, economic realities, empathy, and critical consciousness. Dr. Howard also includes discussion of educational movements in United States history, the challenging “world music†label and related authenticity, the hyper-prevalence of Western Eurocentric music, inclusive repertoire selection, as well as appendices with critical practices for educators and a sample curriculum. An indispensable book for pre-service, beginning, and veteran music teachers of toddlers through adults, Realizing Diversity considers the many separate but deeply interrelated questions related to creating a more socially just music education. Karen Howard is a frequent presenter working with teachers and presenting research related to creating a more socially just world of music education. She is Associate Professor of Music at the University of St. Thomas in St. Paul, Minnesota. She teaches undergraduate and graduate courses related to children’s music, sociology of education, research methods, ethnomusicology, and matters of diversity.
SKU: MB.99931BCDSP
ISBN 9780786683932. 8.75 x 11.75 inches.
Esta introduccion facil de entender, paso a paso a la lectura musical y guitarra solista presenta notas basicas en la primera posicion. Incluye un CD de acompanamiento y una seccion especial de tipos de guitarras, preguntas frecuentes, como encordar la guitarra y terminos guitarristicos y musicales.This very easy to understand, step by step introduction to note reading and guitar solo performance presents basic notes in first position. It features a companion play-along CD and special sections on types of guitars, frequently asked questions, how to string a guitar, musical and guitar terms.This easy-to-understand introduction, step by step to music reading and solo guitar presents basic notes in the first position. Includes a CD of accompaniment and a special section of guitar types, frequently asked questions, such as stringing the guitar and musical and musical terms.This very easy to understand, step by step introduction to note reading and guitar only performance presents basic notes in first position . It features a companion play-along CD and special sections on guitars, frequently asked questions, how to string guitar, musical and guitar terms. Written in Spanish only.
SKU: BR.PB-5354
Bach's manuscript leaves several questions unanswered.
ISBN 9790004211533. 9 x 12 inches.
When an editorial formula proves to be as compelling as in the case of the E-major Concerto BWV 1042, then its obvious that it is going to be applied again: this time to Klaus Hofmanns new Urtext edition of the A-minor Concerto. Bachs manuscript leaves several questions unanswered. The slurring, particularly in the solo part, is once again equivocal and inconsistent. Bach himself expected his performers to be creative, which is why the interpretative suggestions of Baroque expert Sigiswald Kuijken are particularly welcome. The edition for violin and keyboard instrument (with continuo ad lib.) once again contains three violin parts (the first unmarked, the second with markings and comments by Sigiswald Kuijken, the third as a facsimile). This provides well-grounded stimuli for ones own personal interpretation based on historically informed performance practice. The keyboard arrangement by Siegfried Petrenz is transparent and easy to play. A violoncello part has been added for chamber-music.Bach's manuscript leaves several questions unanswered.
SKU: BT.RHG141
ISBN 9781785581564. English.
Written by experienced teachers, these tests will help to prepare you for the Appraising Music component of your AS or A Level course. This book contains:
SKU: GI.G-002697
UPC: 641151026978. English.
In this five-volume series of reflections, Fr. Foley stretches a common understanding of mystagogy beyond the narrow interpretation from the Rite of Christian Initiation of Adults, which sees mystagogy essentially as a period of post-baptismal catechesis. Mystagogy, in its fuller sense, is a treasured way in which Christians have examined their faith over many centuries. It is an embodied, affective, community-based style of reflection that juxtaposes the action of the liturgy with our own experience of that action, and asks a series of often pointed and always essential questions. It demands that we wake up in worship, shake off the passivity that has enveloped us after years of repetition, and look afresh at the sacramental events that define us. Become What You Pray (an illuminating breaking open of the Eucharistic Prayer) The talks integrate familiar music with profound insights, and are perfect for use in the RCIA post-Vigil mystagogical process, for a parish staff retreat, or for personal spiritual reflection on the Mass and the Eucharist. Parish liturgy committees and other small groups will benefit from the accompanying booklet, which contains a process for reflection that includes questions to help delve deeper into the Eucharist as mystagogy. Also available as part of a 5-CD set (002695).
SKU: PR.31241902S
UPC: 680160690589. English.
Commissioned by the San Francisco Choral Society and the Piedmont East Bay Children’s Choir, Terra Nostra is a 70-minute oratorio on the relationship between our planet and humankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. Part I: Creation of the World explores various creation myths from different cultures, culminating in a joyous celebration of the beauty of our planet. Part II: The Rise of Humanity examines human achievements, particularly since the dawn of our Industrial Age, and how these achievements have impacted the planet. Part III: Searching for Balance questions how to create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. In addition to the complete oratorio, stand-alone movements for mixed chorus, and for solo voice with piano, are also available separately.Terra Nostra focuses on the relationship between our planet and mankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. The oratorio is divided into three parts:Part I: Creation of the World celebrates the birth and beauty of our planet. The oratorio begins with creation myths from India, North America, and Egypt that are integrated into the opening lines of Genesis from the Old Testament. The music surges forth from these creation stories into “God’s World†by Edna St. Vincent Millay, which describes the world in exuberant and vivid detail. Percy Bysshe Shelley’s “On thine own child†praises Mother Earth for her role bringing forth all life, while Walt Whitman sings a love song to the planet in “Smile O voluptuous cool-breathed earth!†Part I ends with “A Blade of Grass†in which Whitman muses how our planet has been spinning in the heavens for a very long time.Part II: The Rise of Humanity examines the achievements of mankind, particularly since the dawn of the Industrial Age. Lord Alfred Tennyson’s “Locksley Hall†sets an auspicious tone that mankind is on the verge of great discoveries. This is followed in short order by Charles Mackay’s “Railways 1846,†William Ernest Henley’s “A Song of Speed,†and John Gillespie Magee, Jr.’s “High Flight,†each of which celebrates a new milestone in technological achievement. In “Binsey Poplars,†Gerard Manley Hopkins takes note of the effect that these advances are having on the planet, with trees being brought down and landscapes forever changed. Percy Bysshe Shelley’s “A Dirge†concludes Part II with a warning that the planet is beginning to sound a grave alarm.Part III: Searching for Balance questions how we can create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. Three texts continue the earth’s plea that ended the previous section: Lord Byron’s “Darkness†speaks of a natural disaster (a volcano) that has blotted out the sun from humanity and the panic that ensues; contemporary poet Esther Iverem’s “Earth Screaming†gives voice to the modern issues of our changing climate; and William Wordsworth’s “The World Is Too Much With Us†warns us that we are almost out of time to change our course. Contemporary/agrarian poet Wendell Berry’s “The Want of Peace†speaks to us at the climax of the oratorio, reminding us that we can find harmony with the planet if we choose to live more simply, and to recall that we ourselves came from the earth. Two Walt Whitman texts (“A Child said, What is the grass?†and “There was a child went forth every dayâ€) echo Berry’s thoughts, reminding us that we are of the earth, as is everything that we see on our planet. The oratorio concludes with a reprise of Whitman’s “A Blade of Grass†from Part I, this time interspersed with an additional Whitman text that sublimely states, “I bequeath myself to the dirt to grow from the grass I love…â€My hope in writing this oratorio is to invite audience members to consider how we interact with our planet, and what we can each personally do to keep the planet going for future generations. We are the only stewards Earth has; what can we each do to leave her in better shape than we found her?
SKU: GI.G-10120
ISBN 9781622774388.
NEW DISTANCE LEARNING OPTION: For teachers using Pathway to Success, GIA Publications has created a Google Form that allows students to electronically submit their answers to all questions in the Pathway to Success Student Workbook. To download your own copy of the Google Form, use the following link: https://docs.google.com/forms/d/1JaU8fAOfaIMz0jSdgQPuuuJyDhIzn8T5U78QaxGRnsU/copy. In music programs across the country, student leadership is often thought of in terms of titles, authority status, section leader positions, and being in charge of others—a responsibility assumed by only a select few. But what if we reframed and broadened the idea of leadership to include all students as leaders of their own pathway in life? Band director Scott Rush and leadership legend Tim Lautzenheiser join forces to create Pathway to Success, a dynamic and engaging resource that fosters the leadership qualities of every student, not just the chosen few. This workbook guides students through ten sequential levels as they journey up the metaphorical mountain of self-leadership. Along the way, students will encounter lessons, activities, stories, quotes, and questions that address the key qualities of any effective leader: communication, attitude, honesty, trust, integrity, self-discipline, emotional health, goal setting, relationships, cooperation, loyalty, selflessness. Upon reaching the summit, students are challenged to create a moonshot—to set a goal and achieve something that has never been done before! True leadership begins with self-reflection in each and every student. All students can benefit when they see themselves as their own best leaders, and therein lies the foundation of a culture of excellence. Pathway to Success is a groundbreaking leadership program designed to inspire student growth and enhance any band, choir, or orchestra program—and beyond. To borrow a phrase: All children have talents, however, not all children have opportunity and encouragement. Pathway to Success by Tim Lautzenheiser and Scott Rush describes in detail the how and provides that encouragement young people need to overcome any reservations and reluctance they may have to step forward and become a leader! History is full of examples of shy and timid youngsters who responded to a challenge and rose to greatness as a leader. This book is invaluable for any age! Leadership by example. Pathway to Success. I wish it was available when I was a student. Tim and Scott nailed it! — Richard Crain, President of The Midwest Band and Orchestra Clinic.
SKU: CF.CM9707
ISBN 9781491160121. UPC: 680160918720. Key: Db major. John Gillespie Magee. Poem by John Gillespie Magee, Jr.
Just weeks after his nineteenth birthday, John Gillespie Magee, Jr. wrote the poem High Flight while serving in the Royal Canadian Air Force. The year was 1941, and World War II was culminating toward its darkest chapters. Magee had just completed his seventh flight in the iconic Spitfire Mk I fighter plane, soaring to heights well above 30,000 feet. These high altitude exercises supplied his inspiration for the poem, which describes the long, delirious, burning blue and having touched the face of God. Tragically, Magee died in a training exercise just months after writing High Flight. His words, however, live on to lift our hearts and stir the imagination. After you have learned High Flight, ask yourself the following questions: Are you singing the text clearly and articulately? Are you properly stressing the important syllables and backing off of non-stressed syllables? Is there a sense of energy throughout the piece, in both the lyrical, flowing sections and the up-tempo, faster sections? Are you also singing with a sense of energy no matter what the dynamic marking? Are you singing phrases with proper breath support and a sense of rise and fall to the phrase?.Just weeks after his nineteenth birthday, John Gillespie Magee, Jr. wrote the poem High Flight while serving in the Royal Canadian Air Force. The year was 1941, and World War II was culminating toward its darkest chapters. Magee had just completed his seventh flight in the iconic Spitfire Mk I fighter plane, soaring to heights well above 30,000 feet. These high altitude exercises supplied his inspiration for the poem, which describes “the long, delirious, burning blue†and having “touched the face of God.â€Tragically, Magee died in a training exercise just months after writing High Flight. His words, however, live on to lift our hearts and stir the imagination. After you have learned High Flight, ask yourself the following questions: Are you singing the text clearly and articulately? Are you properly stressing the important syllables and backing off of non-stressed syllables? Is there a sense of energy throughout the piece, in both the lyrical, flowing sections and the up-tempo, faster sections? Are you also singing with a sense of energy no matter what the dynamic marking? Are you singing phrases with proper breath support and a sense of rise and fall to the phrase?
SKU: BR.OB-5355-12
Bach's E major concerto still presents interpretative questions that have yet to be answered.
ISBN 9790004337127. 9 x 12 inches.
With Sigiswald Kuijken, the Baroque-violin expert, another celebrated performer puts his valuable experience at the disposal of Breitkopf & Hartel and its new editions. Bach's E major concerto still presents interpretative questions that have yet to be answered. The slurring of the solo part is sometimes quite incredible in the main source. And it is even doubtful that it stems from Bach himself. All the more important are the experienced soloist's suggestions for a stylistically accurate interpretation.In his edition for violin and keyboard instrument, Klaus Hofmann goes so far as to supply three violin parts (the first from the new score, the second with markings and notes by SigiswaldKuijken and the third as a facsimile of the main source). The performer is thus thoroughly informed and able to make his own competent decisions. Siegfried Petrenz has realized the continuo part sparingly and idiomatically.
SKU: HL.49047093
UPC: 196288120704.
The advent of electronics opened up new potentials for concepts concerning musical instruments, changing long-established perspectives and revolutionizing some centuries-old traditions. Over the last decades, those instruments gained in importance in science and turned into sought-after objects of museum collections. This volume takes up current research topics and deals with the following questions: What musical and creative capabilities were opened up and in which new ways were these made accessible to artists? How did composers and musicians react to newly emerging questions of instrumentality and virtuosity? Next to those aspects,this volume especially addresses perspectives and challenges of collection related tasks concerning this group of musical instruments. New and rather ephemeral materials of industrially shaped ways of production demand customised prerequisites for long-term preservation as well as presentation in exhibitions. Klang und Begriff is a publication series commissioned by the Staatliches Institut fur Musikforschung PK, Berlin. The topics of this series are oriented towards the tonal-auditory manifestation of composed music, which is explored analytically by today's available means of music theory, organology and music technology.
SKU: SP.TS558
ISBN 9781585609185.
Due to the success of our Instrumental Fingering Posters, we thought it would be helpful to create a smaller version that could be tucked comfortably into any method book as a reference guide. Unbeknownst to us after days of research, we were left with countless questions, much confusion, and a slew of poorly crafted images from contradicting publications. That being said, we realized that there weren't truly any trustworthy resources in print and decided to address the void. We consulted experts in every category asking questions until both we and they and we were satisfied. Finally, a guide to fingering for beginners that even the experienced players will find beneficial. Santorella's Basic Fingering Charts are essential for anyone that picks up an instrument. Initially intended for beginners but after understanding the importance of false fingerings or more appropriately called, alternate fingerings their necessity is vital for playing certain musical passages on a particular instrument. In addition, after observing the difficulties that students had in identifying key signatures, we decided to include the Circle of Fifths diagram and every major scale in two octaves in every key including their enharmonic counterparts. After all was said in done, we now know, we now have the best educational products available for fingering in the industry. Our Basic Fingering Charts are perfect for private students, classroom study, or simply for a quick and easy reference guide while practicing at home. These graphic reference guides for assorted brass, reeds, woodwinds, and orchestral strings are specifically available for Clarinet, Bass Clarinet, Trumpet, Flute, Piccolo, Recorder, Baritone Horn, Trombone, Bass Trombone, Alto Sax, Soprano Sax, Tenor Sax, Baritone Sax, French Horn, Euphonium, Tuba, Oboe, Bassoon, Violin, Viola, Cello, and Bass. Every chart displays the entire range of each instrument by clearly depicting the fingering for each note including all their enharmonic substitutions. Each chart includes a diagram identifying the levers, valves, keys, slides, frets and more of each and every instrument. Learn where, when, and why to place your fingers. Now is the time to truly start playing with assured confidence.