Bridges: A Comprehensive Guitar Series serves as the official resource for guitar assessments of the Royal Conservatory Music Development Program. Innovative in its structure, Bridges supports students from the beginner to advanced levels with carefully sequenced repertoire, etudes, and technique. Each of the Repertoire and Etudes books in the series spans all major style periods and a variety of genres, presenting an organized compilation of pieces appropriate for that level of technical development. Nine progressive levels of Repertoire and Etudes scaffold student learning at every stage of musical development. Each book contains a balanced and representative selection of works from the Renaissance, Baroque, Classical, Romantic, and contemporary style periods. From the classics of Aguado to the modern compositions of Zenamon, Bridges connects students to both essential literature and enticing masterpieces never before found together. The Etudes have been carefully selected to support the repertoire and isolate specific technical and musical challenges, making Bridges an ideal collection and a comprehensive teaching resource. / Guitare

The New Real Book 2 - Eb Version. The long-awaited sequel to The New Real Book Volume 1, this spiral-bound songbook for Eb instruments includes (where applicable) separate Bass parts; Keyboard parts; harmony parts; sample Bass parts and Drum figures, with accurate melody and chord changes throughout. The New Real Book Volume 2 features 216 songs, including 80 jazz classics, 65 Contemporary Jazz and Jazz-Fusion favourites, 14 Brazilian pieces and 57 Standards.

Par . A collection of 350 Italian and International songs in lyrics and chords format. The tracklist includes evergreens by the most important artists who have made the history of pop world music and the most famous songs by contemporary artists. / Date parution : 2022-07-20/ Recueil / Paroles et Accords

Piano Pieces op. 118 Editor: Katrin Eich Fingering: Andreas Boyde Urtext Edition, paperbound revised edition replaces HN 122 Pages: 35 (VII, 28), Size 23,5 x 31,0 cm Order no. HN 1215 · ISMN M-2018-1215-1 When his contemporaries heard the works that Johannes Brahms had composed during his summer holiday in Ischl in 1893 – the Piano Pieces op. 118 –, they were delighted. Clara Schumann was one of the first to be allowed to get to know the new pieces, and she attested that they contained “a wealth of sentiment in the smallest of dimensions”. Philipp Spitta fittingly said that the works were “perfect for slowly absorbing in solitude and tranquillity”. Opus 118 contains two of the composer’s bestknown miniatures – the Intermezzo in A major and the Romanze in F major. We particularly recommend this volume, based on the musical text in the New Brahms Complete Edition, to all those who wish to immerse themselves in the world of Brahms’ late works. Contenu : Ballad g minor op. 118,3 Intermezzo A major op. 118,2 Intermezzo a minor op. 118,1 Intermezzo e flat minor op. 118,6 Intermezzo f minor op. 118,4 Romance F major op. 118,5

36 Original Piano Pieces Instrument : piano Nombre de Pages : 72 The music teacher and pianist Monika Twelsiek adds a new selection of piano works around the subject of Night and Dreams to the Piano Classics series. At any time, the night was a theme in literature, art and music. 'Night' and 'Dream' are emotional images which evoke vastly different emotions in different people. The night is a place of peace and security, of longing and love, of secrets, imagination and dreams. But night also means strangeness, loneliness, fear, danger and crime. The collection 'Night and Dreams' with works from the Romantic piano literature to new contemporary sounds tries to capture all of these nightly emotions. Apart from a plethora of folk-song-like lullabies, numerous fantastic dream pieces and descriptions of dangerous night scenes have been added to the collection. An alluring mixture of imagination and reality, for advanced piano pupils and lovers of piano music. Content : P. Zilcher: Lullaby, op. 93/4 - G. Nevada: A Little Dreamy - A. Gretchaninoff: Lullaby, op. 98 - C. Gurlitt: 4 Reverie, op. 210 - R. Volkmann: Night Song, op. 17 - R. Schumann: Lullaby, op. 124 - J. Senfter: Lullaby - F. Burgmüller: Lullaby, op. 109 - P. Tschaikowsky: Sweet Reverie, op. 39 - R. Fuchs: Lullaby, op. 32 - E. Satie: Lullaby - K.-H. Pick: Sleeping Beauty is Sleeping - H. Regner: Phantasmagoria - B. Heller: Evening Flower - G. Nevada: When Paris Dreams - J. Turina: The Village Sleeps - E. Pütz: Sleep Well Blues - J. Kember: Midnight Blue - G. Nevada: Starry Dome - E. Grieg: Lullaby, op. 38 - A. Gretchaninoff: Bed Time, op. 109 - Nightly Event, op. 115 - K. Slavicky: The Evil Dream - B. Martinu: The Cats' Procession in the Solstice Night - R. Schumann: Reverie, op. 15 - Child Falling Asleep, op. 20 - A. Rubinstein: The Night, op. 44/1 - L. He: Lullaby - E. Pütz: Night of Love - J. Field: Nocturne B major, op. 9/2 - Nocturne E major, op. 72/1 - E. Grieg: Notturno, op. 54 - C. Debussy: Reverie - W. Killmayer: Nocturne III - P. Hindemith: Fantastic Duet of Two Trees at the Window, op. 15

This is one of four Preparatory-level books in the American Popular Piano series - the educational piano course by Christopher Norton and Scott McBride Smith.The series has 11 difficulty Levels and each Level contains: Repertoire album with CD; Etudes album (including Improvisation); Skills book; Technic (technique) book.Preparatory Level: For students in their first year of study- Middle C position treble and bass clef grand staff- Whole note half note quarter note dotted half note- pp p mp mf f- 3/4 and 4/4 time signatures- Key signatures up to one sharp- Repeat 8ve tie fermata ritardando accentAbout the American Popular Piano series:?Why can?t I play more musiclike this?? asked a fourteen-year-old piano student. ?My friends like to hear me play cool music.? Why not indeed. J.S. Bach taught his sons using the music of his time popular dances preludes and exercises by living composers. It would never have occurred to him to seek out pieces in styles and rhythms one hundred years old. He expected his boys to thrive in the musical world of their time.American Popular Piano has been developed on the same principles. Students working in this series will? · develop traditional pianistic and musical skills through music in contemporary popular styles;· be motivated to practice by working on music that is familiar fun and that they can?t wait to play; · nurture their creativity and spontaneity through a user-friendly modular approach to improvisation; · enjoy regular ensemble playing; ? and find pleasure in a lifelong relationship with music!Written entirely by Christopher Norton and Scott McBride Smith American Popular Piano is an educational piano course which comprises 44 books clearly divided into 11 difficulty levels. With 4 resources in each level from which people can pick and choose the series provides a fuller curriculum including important skills such as improvisation.The integrated comprehensive course of study provided by American Popular

This is one of four level-two books in the American Popular Piano series - the educational piano course by Christopher Norton and Scott McBride Smith.The series has 11 difficulty Levels and each Level contains: Repertoire album with CD; Etudes album (including Improvisation); Skills book; Technic (technique) book. Level Two For students in their early years of study- Full triads and pedal- Whole note half note quarter note dotted half note- Whole rest half rest quarter rest dotted-half rest- pp p mp mf f ff crescendo and diminuendo- Slur legato staccato accent tenuto grace notes- 3/4 4/4 and 5/4 time signatures- Key signatures up to two sharps and one flat-Repeat 8va 8vb tie fermata ritardando a tempo- Fine DC al Fine Coda DS al CodaAbout the American Popular Piano series:?Why can?t I play more music like this?? asked a fourteen-year-old piano student. ?My friends like to hear me play cool music.? Why not indeed. J.S. Bach taught his sons using the music of his time popular dances preludes and exercises by living composers. It would never have occurred to him to seek out pieces in styles and rhythms one hundred years old. He expected his boys to thrive in the musical world of their time.American Popular Piano has been developed on the same principles. Students working in this series will? ? develop traditional pianistic and musical skills through music in contemporary popular styles;? be motivated to practice by working on music that is familiar fun and that they can?t wait to play; ? nurture their creativity and spontaneity through a user-friendly modular approach to improvisation; ? enjoy regular ensemble playing; ? and find pleasure in a lifelong relationship with music!Written entirely by Christopher Norton and Scott McBride Smith American Popular Piano is an educational piano course which comprises 44 books clearly divided into 11 difficulty levels. With 4 resources in each level from which people can pick and choose the series

This is one of four Preparatory-level books in the American Popular Piano series - the educational piano course by Christopher Norton and Scott McBride Smith.The series has 11 difficulty Levels and each Level contains: Repertoire album with CD; Etudes album (including Improvisation); Skills book; Technic (technique) book.Preparatory Level: For students in their first year of study- Middle C position treble and bass clef grand staff- Whole note half note quarter note dotted half note- pp p mp mf f- 3/4 and 4/4 time signatures- Key signatures up to one sharp- Repeat 8ve tie fermata ritardando accentSkills Books:round out the comprehensive course of study. Paced toenhance progress in the corresponding Repertoire and Etudes Albums the module structure ensures a smooth integration of Ear-Training Sight-Reading and Technic. ? Ear-training: reinforces the auraldevelopment already achieved through the repertoire and improvisation etudes; ? Sight-reading: time-effective module structure leads to regular practice the single most important contributing factor to success;? Technic: provides a structured and measured approach; prepares for the challenges ahead.About the American Popular Piano series:?Why can?t I play more music like this?? asked a fourteen-year-old piano student. ?My friends like to hear me play cool music.? Why not indeed. J.S. Bach taught his sons using the music of his time popular dances preludes and exercises by living composers. It would never have occurred to him to seek out pieces in styles and rhythms one hundred years old. He expected his boys to thrive in the musical world of their time.American Popular Piano has been developed on the same principles. Students working in this series will? ? develop traditional pianistic and musical skills through music in contemporary popular styles;? be motivated to practice by working on music that is familiar fun and that they can?t wait to play; ?

This is one of four level-four books in the American Popular Piano series - the educational piano course by Christopher Norton and Scott McBride Smith.The series has 11 difficulty Levels and each Level contains: Repertoire album with CD; Etudes album (including Improvisation); Skills book; Technic (technique) book. Level Four For intermediate students- Frequent jumps and spans of more than a 5th- Whole half quarter note dotted half note dotted quarter note eighth note triplet eighth triplet sixteenth- Whole rest half rest quarter rest dotted-half rest eighth rest- pp p mp mf f ff crescendo and diminuendo- Slur legato staccato accent tenuto grace notes- 3/4 4/4 and 6/8 time signatures- Key signatures up to three sharps and two flats- Repeat 8va 8vb tie fermata ritardando a tempo- Fine DC al Fine Coda DS al CodaAbout the American Popular Piano series:?Why can?t I play more music like this?? asked a fourteen-year-old piano student. ?My friends like to hear me play cool music.? Why not indeed. J.S. Bach taught his sons using the music of his time popular dances preludes and exercises by living composers. It would never have occurred to him to seek out pieces in styles and rhythms one hundred years old. He expected his boys to thrive in the musical world of their time.American Popular Piano has been developed on the same principles. Students working in this series will? ? develop traditional pianistic and musical skills through music in contemporary popular styles;? be motivated to practice by working on music that is familiar fun and that they can?t wait to play; ? nurture their creativity and spontaneity through a user-friendly modular approach to improvisation; ? enjoy regular ensemble playing; ? and find pleasure in a lifelong relationship with music!Written entirely by Christopher Norton and Scott McBride Smith American Popular Piano is an educational piano course which comprises 44 books clearly divided into 11 difficulty levels. With

2me Polonaise brillante pour violon avec acompagnement de piano op.21 Henryk Wieniawski wrote only two polonaises. The first one, op. 4 in D minor, is one of his youthful works; the other, op. 21 in A major, is one of the last works he composed. Moreover, H. Wieniawski is the co-author of another polonaise, op. 8, for violin and piano, which he wrote with his brother Józef Wieniawski, a pianist. The latter polonaise, like the Polonaise in D minor op. 4, is also a youthful composition (1852). The polonaise as a genre, therefore, does not occupy much space in Wieniawskis heritage. Nonetheless, both polonaises, in D minor and A major, constitute an essential part of his artistic inheritance. Likewise, both polonaises had been composed in two versions: for violin and orchestra, and for violin and piano. The Polonaise in A major was completed in 1870. It is not known precisely which of the versions, the one with the piano, or the one with the orchestra first came into being. It was the version with orchestra that the composer performed for the first time on 17 March 1870, in the Grand Theatre in St. Petersburg. But merely two months later he performed the Polonaise in Warsaw, accompanied by his brother Józef at the piano. It is quite possible that Wieniawski had already performed this version of the Polonaise. It is certain, nonetheless, that both versions either appeared simultaneously, or one was composed shortly after the other. From its first public performance until the end of his concert career, Wieniawski often included this Polonaise in his concert repertoire, playing one version or another, the choice depending on the needs and circumstances. Just to mention one occasion, he played the orchestral version during a concert tour of Sweden in 1870, when he dedicated and presented a manuscript of this piece to King Charles XV of Sweden. The dedication, however, was changed in print, and both versions were eventually dedicated to François van Hal. Both versions were published simultaneously, by Schott Publishers in Mainz, with the same plate number, though the orchestral version appeared only in parts, which was a common practice in those days. The piece was most probably not published earlier than 18751. The Polonaise was praised by the critics. The reviews reported that it was a magnificent piece2, and this opinion was shared by later critical reviews, both Russian and West European. The Polonaise remained popular after the composer had died, which is evident from the number of later editions of the piece (more than ten) issued by different publishers, mostly German, and prepared by different editors. In Poland, the Polonaise was published twice after the Second World War. All the editions introduced some more or less significant changes into the text, mostly concerning performance indications, but in a sense blurring the composers intentions. All those changes were pertinent to the violin and piano version, and it was mostly in this form that the piece appeared in concert and teaching repertoires. The performances with an orchestra were much more seldom which was, among other factors, due to limited availability of the orchestral version, as it had never been published again after the first edition, until now. The Polonaise in A major was composed approximately at the same time as the Violin Concerto No. 2 in D minor3. This convergence in time had influenced a certain similarity with regard to both composition and technical means, and also to the themes. In particular, the similarity becomes quite obvious in the second theme of the Allegro in the Concerto, and in the theme of the Polonaise. The Polonaise in A major is also in a certain way similar to the first Polonaise (in D minor), the motifs of the themes in both polonaises are alike. However, both pieces differ in style. The Polonaise in D minor shows the composers fascination with technical writing. Wieniawski makes the most of double-stops, chords, and all other sophisticated virtuoso techniques. The Polonaise in A major, written 18 years later, is much more mature. Although it is a virtuosic piece as well, the techniques used are somewhat more limited and subordinated to the expression. The virtuoso character of this piece is more fragile, much closer to the brillant style. At the same time, the Polonaise is typical of Wieniawskis violin playing technique. Here the composer uses the means regarded by his contemporaries to be typical of him, e.g., long staccato fragments played with one bow. The Polonaise is a concert piece in one movement extended form with a considerably abbreviated return of the first section at the end. The middle section is contrasting in character, due to the modulation to F major, change of tempo (meno mosso) and the reduction in the number of instruments (in the orchestral version). All the sections show thematic similarity. The first section, too, consists of three subsections, including a contrasting middle subsection (in E major). Zofia Chechlińska Footnotes 1. See The Critical Commentary, p. ? and onward. 2. See V. Grigoriev, Henryk Wieniawski. Życie i twórczość. [Life and Work] Warszawa - Poznań 1986, p. 184. 3. The first version of the Concerto No. 2 in D minor was completed in 1862, but in 1870, i.e., not until the Polonaise in A major was completed, Wieniawski had been working on the Concerto and implemented quite a few changes. Publisher: PWM/Towarzystwo Muzyczne im. Henryka Wieniawskiego w Poznaniu Series: Henryk Wieniawski - Complete Works Cover: softback Nr ISMN: 979-0-2740-0753-9 Number of pages: 34+8 Format: N4 stoj. 235x305 Language version of text: pol., Eng.