Over 100 hot country guitar licks. This book provides a 'bird's-eye-view' of the techniques and licks common to playing hot country lead guitar. Explore open-string and double stop licks scales string bending sequences chromatic licks and more. In standard notation and guitar tablature with audio CD of demonstration tracks.

English-This opera is the final section of the entertainment for young people called Lets Make an Opera. The first section of this is in the form of a play and illustrates the preparation and rehearsal of an opera.Professionals or very gifted amateurs are needed to play the grown-up parts and also the part of Juliet (provided of course that she can look convincingly youthful). It is essential that real children should play the children’s parts. The accompaniment is for solo string quartet piano-duet (four hands on one piano) and percussion (one player can manage). The string parts are not very easy. The songs Nos. I IX XIV and XVII are to besung by the whole audience under the direction of the conductor. They must of course be rehearsed beforehand. Allowance is made for such rehearsal in Part One of Let`s Make an Opera.

Sinfonias I-VIII composer: Felix Mendelssohn Bartholdy editor: Boris von Haken Instrumentation : string orchestra Édition : study score Série : Eulenburg Miniature Scores N° d'édition : ETP 1531 Description Mendelssohn, between the ages of 11 and 14 produced over 100 works in a wide variety of musical genres and perhaps the most impressive of these early works are the 12 Sinfonias for string orchestra. The works were performed - almost as soon as they were written - by members of the Prussian Court Orchestra at the Mendelssohn family home in Berlin in an informal series of Sunday morning concerts, the ensemble being directed by the young composer himself.

This Fantasy for Clarinet and String Quartet was written in 1921 only three years before Stanford's death in London in 1924. Stanford's second Fantasy (Q1996-7) and fifth String Quartet (Q1998-1) are also published by SJ Music.

Teach yourself Guitar chords today. Progressive: Beginner Guitar Chords contains all you need to know to become a great Guitarist in one easy-to-follow lesson-by-lesson book. You do not need any priorknowledge of music or the Guitar to learn using this method.Teach yourself:Every important Guitar chord shape and chord formula for playing like a pro.Open bar and Jazz Guitar chords for thousandsof well-known songs.How to read all Guitar sheet music and chord symbols to play in a band.Classic Pop Rock Blues Funk and Country Guitar progressions used by pro Guitarists.Tricks tips and shortcutsto get the most from practice sessions and learn faster.In Progressive: Beginner Guitar Chords the most useful open bar and jazz chord shapes of the most used chord types are covered and chordprogressions to practice and play along with are included.This book CD and DVD set features sections on tuning how to read sheet music transposing and the use of a capo as well as an easy chord table chord formula andchord symbol chart.Features include:Hundreds of Guitar chords.All important chord formulas.30+ examples and all notes on the Guitar fretboard.Easy-to-read Guitar music and chorddiagrams in full color throughout.Suitable for all types of Guitar including Electric Guitar Steel-String Acoustic Guitar and Nylon-String Classical Guitar.

First performance 12 October 2011 at St George's Hall Liverpool by David Pyatt (horn) and the Sacconi String Quartet as part of the Centenary Concert of the Rodewald Concert Series.Composer's NoteThroughout my musical life I have found the horn one of the most evocative and beautiful of all instruments and it is no surprise that I have written a number of works for it including a concerto a trio with violin and piano and a triptych of concert works for horn and piano. Writing a work for horn and string quartet has long been an ambition therefore fuelled not only by my love of the instrument but also by theastonishingly small repertoire of horn quintets.This work was commissioned to celebrate their centenary by the Rodewald Concert Society Liverpool who gave me an invaluable education in the masterpieces of the chamber music repertoire at their concerts which I attended regularly during my schooldays. The quintet is dedicated to Nancy and Douglas Brady two of my oldest and closest friends from Liverpool. It was written in 2010/11 and is continuous. There are however three main ?movements?: an opening quick one which is interrupted twice by brief slow interludes referring to the motto heard at the start a substantial slow movement which also contains two short scherzando sections (much as Brahms?s A major Violin Sonata has two quick trio sections in its slow movement) and a fast finale a descendant of the Beethoven one-in-a-bar scherzo.The scherzando interludes interwoven with the slow movement are frequently muted and have something of an other-worldly atmosphere perhaps Queen Mab came to deliver me of some dreams while I was writing it. At the end of the finale the furious activity gives way to an elegiac conclusion which I feel was greatly influenced by events in the world outside at the time of composition the music descending to a quiet sustained C on horn and cello. The work lasts just over 20 minutes and was first

Brahms completed his Cello Sonata Op.99 during the productive summer of 1886. The first public performance took place in Vienna on 24 November of the same year. Robert Hausmann played the Cello part and the composer himself was his partner at the Piano. Even though the work was generally received positively it took some years until it was fully appreciated and gained its irrevocable place in the Cello repertoire.Of particular value to the editors were the two early performance editions of the Cello Sonata Op.99 by Hugo Becker and Carl Friedberg as well as by Julius Klengel. Both cellists Becker and Klengel had aconnection to Brahms who very much admired and trusted Becker's playing and who performed together with Klengel. This edition not only incorporates Becker's and Klengel's performance markings but also Hausmann's for whom the piece was written. As such the Barenreiter edition comes with a Cello part marked with fingering and bowing by the editors which are based on the practices of Brahms' contemporaries. We also provide an unmarked Urtext part.An important part of this edition is the extensive Preface. Firstly it informs about the work's origin early performances its publication as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors take the premise that already a few decades after Brahms' death a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. In a very concrete and practical way the editors summarize some of the key issues in understanding Brahms' notation with regard to rhythm and timing dynamics and accentuation dots and strokes slurring and non legato Piano pedalling and overholding Piano arpeggiation and dislocation String Instrument fingering String Instrument harmonics and vibrato. In this way the edition offers an exciting and often surprising insight into Romantic musical interpretation.- A pioneering Urtext edition.- With an unmarked Urtext part.- With a second part including fingering and bowing based on the practices of contemporaries of Brahms.- With

Arrangeur: Gudrun Hinze. Par BRANDTS-BUYS JAN. Originally composed for flute and string quartet, the Quintett in D Major, Op. 21 is a work by Dutch composer Jan Brandts-Buys. Each movement, bearing a quotation from the Biblical Christmas story at the top, quickly leads us out of the colorful, vividly painted initial feeling of the respective 'motto” and into an agitated reworking of the motive. It has been adapted by Gudrun Hinze for three C Flutes, Alto Flute and Bass Flute. Originally composed for flute and string quartet, the Quintett in D Major, Op. 21 is a work by Dutch composer Jan Brandts-Buys. Each movement, bearing a quotation from the Biblical Christmas story at the top, quickly leads us out of the colorful, vividly painted initial feeling of the respective 'motto” and into an agitated reworking of the motive. It has been adapted by Gudrun Hinze for three C Flutes, Alto Flute and Bass Flute./ Répertoire / 5 Flûtes Traversières

Take a journey back in time with folk masters Lil' Rev and John Nicholson in this delightful collection of old-time fiddle tunes arranged for Ukulele. Southern string band bluegrass and hillbilly music are covered as well as song forms such as reels jigs blues rags hornpipes polkas and more. Featuring a variety of Ukulele picking styles each exciting instrumental piece in this songbook is carefully arranged for solo ukulele in standard notation and tablature.Chord grids are also included so you can play along with others or with your own String band. The playing level varies from very easy to very advanced so there's something inside for everyone andsomething for everyone to aspire to.This unique collection also includes historical notes rare photos and access to full-band audio backing tracks for play-along fun.

Mit über 1.200 Titeln aus Orchester- und Chorliteratur Kammermusik und Musiktheater ist die Edition Eulenburg die größte Partiturreihe der Welt. Sie deckt einen große Teil der Musikgeschichte vom Barock bis zur klassischen Moderne ab und blickt auf eine lange Tradition zurück.

24 easy waltzes from across the full spectrum of classical composers all arranged for solo Piano.