Piano Solo-Programme noteConte op. 27 was commissioned by the Sibelius Academy of Helsinki to be one of two interchangeable obligatory contemporary numbers in Maj Lind Piano Competition for young talented Finnish pianists. I wrote the piece in the beginning of the year 1985; the competition took place a year later.?Conte? is the French word for ?a story? or ?a fairy tale?. This does not mean that I am trying to tell any specific story with the music. The title refers to two things mainly. On the one hand both the harmonic and the textural colouring ofthe piece are connected with the world of fairies and trolls. On the other hand musical ideas in this piece are treated in a way which inevitably brings to my mind the oral tradition of story-telling ? formally speaking. Conte has ties with the ways in which rambling fantastic stories are told. The small musical cells are like persons in a story more or less important and every story has its own fate. These individual fates collide with each other in a more or less random capricious way and cause continuously new situations for the principal figures. The net is always moving ? after all no one can be the same before and after an important meeting.On the level of the sounding surface I guess that the most important feature of Conte is a certain nervousness a kind of electric swarming which is due to the characteristics of the chosen material itself. Nor do the stories of a good story-teller get stuck.Jouni Kaipainen 

Two fantastic pieces; J.S. Bach's Jesu Joy Of Man's Desiring and Vivaldi's Allegro from Double Trumpet Concerto. In both of these Baroque Gems it is essential that an appropriate tempo is set immediately and maintained without effort. The arranger suggests metronome values around 84 for the Bach piece and 116 for the Vivaldi.In the Bach always have awareness of where the melody lies and give careful consideration to whether the dotted quaver - semiquaver rhythm is played with a triplet feel or in strict time. In the Vivaldi the solo parts could be played on just about any pitch of Trumpet though it would be best if the twosoloists could use the same pitch of Trumpet whatever that may be. Players that own natural Trumpets and never play them might see this as an ideal opportunity to let them off!The Latin section needs to be played with good rhythm and a sense of fun. The shock notes is Trumpets Horn and Trombone bars 73-74 are best omitted unless absolutely tight.

(Out Here) On My Own (Nikka Costa) - 1973 (James Blunt) - 7 Seconds (Youssou ‘N Dour) - ‘74 ‘75 (The Connells) - A Groovy Kind Of Love (Phil Collins) - A Horse With No Name (America) - A Kind Of Magic (Queen) - A New Flame (Simply Red) - A Woman's Worth (Alicia Keys) - About A Girl (Nirvana) - Again (Lenny Kravitz) - Against All Odds (Take A Look At Me Now) (Phil Collins) - Ain't Misbehavin' (Louis Armstrong) - All Apologies (Nirvana) - All Night Long (Lionel Richie) - All That You Have Is Your Soul (Tracy Chapman) - Always On My Mind (Michael Buble ) - Amazing (George Michael) - Angels (Robbie Williams) - Apache (The Shadows) - Aquarius (The 5th Dimension) - Arthur's Theme (Best That You Can Do) (Christopher Cross) - As Time Goes By (Herman Hupfeld) - Babooshka (Kate Bush) - Baby Can I Hold You (Tracy Chapman) - Back For Good (Take That) - Back To Black (Amy Winehouse) - Barbara Ann (Beach Boys) - Basin Street Blues (Ella Fitzgerald ) - Be Free With Your Love (Spandau Ballet) - Because You Loved Me (Céline Dion) - Been A Son (Nirvana) - Blue Moon - Blue Suede Shoes (Elvis Presley) - Bohemian Rhapsody (Queen) - Breakthru (Queen) - Can't Take My Eyes Off You (Gloria Gaynor ) - Caravan (From Sophisticated Ladies) - Careless Whisper ( (Wham ! / George Michael) - Celebration (Kool & The Gang) - Chattanooga Choo Choo (Glenn Miller) - Cheek To Cheek - Come As You Are (Nirvana) - Come Away With Me (Norah Jones) - Come To My Head (Simply Red) - Communication (Spandau Ballet) - Corazón Espinado (Santana) - Cosmic Girl (Jamiroquai) - Crazy For You (Madonna) - Crazy Little Thing Called Love (Queen) - Crossroads (Tracy Chapman) - Dancing In The Dark (Bruce Springsteen) - Dancing In The Street (Van Halen) - Deep Purple (Bing Crosby) - Delilah (Tom Jones / Paul Anka) - Do You Know Where You Are Going To? (Diana Ross) - Don't Leave Me This Way (Thelma Houston) - Don't Let Me Be Misunderstood (Santa Esmeralda) - Down Under (Men At Work) - Dream A Little Dream Of Me (Louis Armstrong / The Mamas And The Papas) - Easy (Lionel Richie) - Ebb Tide (Frank Sinatra) - Ebony And Ivory (Paul Mccartney Feat. Stevie Wonder) - Endless Love (Lionel Richie ) - Enola Gay (Orchestral Manouvres In The Dark) - Enough (Simply Red) - Everybody Loves Somebody - Everybody Wants To Rule The World (Tears For Fears) - Everytime You Go Away (Paul Young) - Fallin' (Alicia Keys) - Fame (Irene Cara) - Fast Car (Tracy Chapman) - Feel (Robbie Williams) - Fight For Ourselves (Spandau Ballet) - Flash (Queen) - Flashdance... What A Feeling (Irene Cara) - For Once In My Life (Michael Bublé) - Friends Will Be Friends (Queen) - Genie In A Bottle (Cristina Aguilera) - Get Down On It (Kool & The Gang) - Ghostbusters (Ray Parker Jr.) - Give Me One Reason (Tracy Chapman) - Gold (Spandau Ballet) - Goldfinger (Shirley Bassey) - Goodbye My Lover (James Blunt) - Goodbye Philadelphia (Peter Cincotti) - Goodnight Moon (Shivaree) - Goodnight Tonight (Paul McCartney ) - Grease (from Grease) - Happy Together (The Turtles) - Harden My Heart (Quarterflash) - Hello (Lionel Richie) - High (James Blunt) - Hips Don't Lie (Shakira) - Holding Back The Years (Simply Red) - Hot Stuff (Donna Summer) - Hotel California (Eagles) - How Deep Is The Ocean? (Irving Berlin) - How Many Lies? (Spandau Ballet) - How Sweet It Is (To Be Loved By You) (Michael Bublé) - I Don't Want To Miss A Thing (Aerosmith) - I Heard It Through The Grapevine (Creedence Clearwater Revival / Wilson Pickett / Marvin Gaye) - I Just Called To Say I Love You (Stevie Wonder) - I Wan't Feel Bad (Simply Red) - I Want It All (Queen) - I Want To Break Free (Queen) - I Want You To Need Me (Celine Dion) - I Will Always Love You (Whitney Houston / Dolly Parton) - If I Could Turn Back Time (Cher) - I'll Be There For You (The Rembrandts) - I'll Fly For You (Spandau Ballet) - I'll Stand By You (The Pretenders) - I'm In The Mood For Love - In The Midnight Hour (The Midnight Hour) (Wilson Pickett) - Infidelity (Simply Red) - Innuendo (Queen) - Is This Love (Whitesnake) - Isn't She Lovely (Stevie Wonder) - It Must Have Been Love (Roxette) - It's A Hard Life (Queen) - Jericho (Simply Red) - Karma Chameleon (Culture Club) - Killer Queen (Queen) - La Bamba (Ritchie Valens) - Lady Marmalade (Patty Labelle / Christina Aguilera) - Lambada (Llorando Se Fue) (Kaoma) - Lara's Theme (from Doctor Zhivago) Somewhere I Love - Laura - Let The Sunshine In - Lifeline (Spandau Ballet) - Lift Me Up (Moby) - Lithium (Nirvana) - Living On My Own (Freddie Mercury) - Look At You Now (Simply Red) - Love Don't Cost A Thing (Jennifer Lopez) - Love Is A Many Splendored Thing) - Love Is In The Air (John Paul Young) - Lucky Man (The Verve) - Luka (Suzanne Vega) - Lullaby Of Birdland - Macarena (Los Del Rio) - Mad About You (Hooverphonic) - Made In Heaven (Queen) - Master Blaster (Jammin') (Stevie Wonder) - Mercy (Duffy) - Minnie The Moocher (Cab Calloway) - Money's Too Tight To Mention (Simply Red) - Moonlight Shadow (Mike Oldfield) - More Than This (Roxy Music) - Move On Out (Simply Red) - My Baby Just Cares For Me (Nina Simone) - My Love (Paul McCartney) - My Perfect Love (Simply Red) - My Sweet Lord (George Harrison) - Need Your Loving Tonight (Queen) - Never Can Say Goodbye (Gloria Gaynor) - Never Forget (Take That) - Night And Day (Cole Porter) - No Tengo Dinero (Los Umbrellos) - Notorious (Duran Duran) - Obsesion (Aventura) - On The Sunny Side Of The Street) - One Vision (Queen) - Only When You Leave (Spandau Ballet) - Out Of Time (Blur) - Over The Rainbow (from The Wizard Of Oz) (Judy Garland) - Oye Como Va (Santana ) - Part-Time Lover (Stevie Wonder) - Patience (Take That) - Please Don't Go (Double You) - Precious (Depeche Mode) - Put Your Head On My Shoulder (Paul Anka) - Puttin' On The Ritz - Radio Ga Ga (Queen) - Rain And Tears (The Aphrodite's Child) - Rehab (Amy Winehouse) - Relight My Fire (Dan Hurtman) - Round And Round (Spandau Ballet) - Runaway Train (Soul Asylum) - Running Up That Hill (Kate Bush) - Same Mistake (James Blunt) - Say It Once (Ultra) - Say You Say Me (Lionel Richie) - Say You'll Be There (Spice Girls) - September (Earth Wind & Fire) - She Caught The Katy And Left Me A Mule To Ride (The Blues Brothers) - Shout (Tears For Fears) - Singin' In The Rain (Gene Kelly) - Sitting Down Here (Lene Marlin) - Sleeping Satellite (Tasmin Archer) - Smells Like Teen Spirit (Nirvana) - Smoke Gets In Your Eyes (The Platters) - Smoke On The Water (Deep Purple) - Smooth (Santana) - Somebody To Love (Queen) - Someone To Watch Over Me (Nikka Costa) - Something Got Me Started (Simply Red) - Sonnet (The Verve) - Stardust (Hoagy Carmichael) - Stormy Weather (Frank Sinatra) - Summer Nights (from Grease) (Olivia Newton John & John Travolta) - Summertime (from Porgy and Bess) (George Gershwin) - Superstition (Stevie Wonder) - Sure (Take That) - Talkin' About A Revolution (Tracy Chapman) - That's The Way (I Like It) (KC & The Sunshine Band) - That's What Friends Are For (Dionne Warwick) - The Drugs Don't Work (The Verve) - The Final Countdown (Europe) - The Game Of Love (Santana Feat. Michelle Branch) - The Greatest Love Of All (Whitney Houston) - The House Of The Rising Sun (The Animals) - The Invisible Man (Queen) - The Miracle (Queen) - The Power Of Love (Céline Dion) - The Promise (Tracy Chapman) - The Right Thing (Simply Red) - The Shadow Of Your Smile (Shirley Bassey) - The Show Must Go On (Queen) - The Taste Of Your Tears (King) - The Way We Were (Barbra Streisand) - Theme From New York, New York (Liza Minelli / Frank Sinatra) - Think (Aretha Franklin) - Thinking About You (Norah Jones) - Through The Barricades (Spandau Ballet) - Tonight's The Night (Rod Stewart) - True (Spandau Ballet) - Turn It Up (Simply Red) - Un-Break My Heart (Tony Braxton) - Unchained Melody (Righthouse Brothers) - Under Pressure (Queen) - Unforgivable Sinner (Lene Marlin) - Viva Forever (Spice Girls) - Wake Me Up When September Ends (Green Day) - Walking On Sunshine (Katrina And The Waves) - We Are The Champions (Queen) - We Are The World (USA For Africa) - We Have All The Time In The World (Louis Armstrong) - We Will Rock You (Queen) - Whatever You Want (Status Quo) - When A Man Loves A Woman (Percy Sledge / Michael Bolton) - When You Say Nothing At All (Ronan Keating) - When You Walk In The Room (Rokes) - Who Wants To Live Forever (Queen) - Woman In Chains (Tears For Fears) - Wuthering Heights (Kate Bush) - You And I (Michael Bublé / Stevie Wonder) - You Are The Sunshine Of My Life (Stevie Wonder) - You're Beautiful (James Blunt) - You're Mirror (Simply Red)

Jean Sibelius completed this work in February 1923 and conducted the premiere in Helsinki on February 19 of that same year. His first reference to the work in 1918 described it as 'wild and passionate in character. Dark with pastoral contrasts. Probably in 4 movements...intensifying in a dark orchestral swell [until] the main theme is drowned.' At the same time he cautioned that his plan could change — and how it did! — 'depending on the way my musical thinking develops. I am always a slave to my themes and obey their demands.'

For Soprano and Chamber Ensemble (Clarinet in A Viola Cello and Double Bass).This extended version of a knot of time was commissioned by Faith Wilson. First performance on 10th OCtober at the CBSO Centre Birmingham by Sarah Leonard (Soprano) and the Birmingham Contemporary Music Group conducted by Richard Baker.''a knot of time' began its life in 1992 as a piece for the Composer's Ensemble for Clarinet Viola Celloand Bass with Mezzo Soprano. It was originally the title of only one setting using the poem 'Cada cancion' by Lorca. The tessitura of the vocal line always seemed generally too low for the music and there were also problems withthe clarinet writing so I changed the mezzo-soprano to soprano. I also felt that I should add more settings for the piece to have more of a life and so was thrilled when Faith Wilson asked me for some music to celebrate her 60thbirthday in 2008. I decided immediately to add two more Lorca settings to this first setting. I wrote 'El grito' and 'El silencio' quite quickly in June 2008. I added 'Aire de Nocturno' in October of the same year but stilldidn't feel that it was complete and so added a brief and rather explosive setting to close in April 2010; 'El puñal en el corazon'. The whole piece will be premiered in October 2010 with the soprano Sarah Leonard and membersof the BCMG eighteen years after the initial response to Lorca's texts.'     - Simon Holt

Soloing is an important part of your playing, but practicing on your own doesn't always get the creative juices flowing---there is nothing like the experience of sitting in with a full band. Though playing with a group isn't possible every time you want to jam, Sitting In: Jazz Piano brings the band to you anytime so you can practice comping patterns and soloing with the same energy as playing live. The book offers tips and techniques from veteran jazz educators Noah Baerman and Jen Allen to give life to your practice sessions and inspire you to add new sounds to your jazz vocabulary. Features: * High-quality studio play-along recordings performed by a live band * Progressions in the most important jazz styles including standards, modern jazz, bebop, Latin jazz, ballads, and more * Recordings include sample solos, and the progressions are repeated so you can jam freely * Soloing tips feature scales, modes, comping patterns, and other ideas to develop your jazz vocabulary * Each tune includes an overview and listening suggestions About the Authors Noah Baerman earned his bachelor's and master's degrees in jazz studies from Rutgers University, studying under Kenny Barron. To date, Noah has released nine jazz albums under his own name. Noah is active as an educator, directing the Jazz Ensemble at Wesleyan University and teaching at numerous other institutions. He has written nine other instructional books for Alfred Music, including the three-volume Complete Jazz Keyboard Method and The Big Book of Jazz Piano Improvisation. Jen Allen received her bachelor's degree in 2000 from The Jackie McLean Institute of Jazz at the Hartt School, where she studied under McLean and other jazz luminaries, including Steve Davis, Nat Reeves, Andy Laverne, and Harold Danko. She regularly appears as a bandleader and sideman at major jazz venues throughout New York City and the Northeastern United States. Jen is a visiting lecturer at Trinity College and is also on the faculty of the University of Hartford. / Piano

The pieces in this book have been specially designed to help you find certain important notes (I call them 'targets') on the cello fingerboard. The notes that I think of as targets have the same names as the open strings. That way I can always be sure I have hit the 'bull's eye' by testing the fingered notes with an open string. These pieces will also help you to learn how certain other notes are easy to play once you have hit the target.

The Absolute Beginners Irish Tenor Banjo book tells you everything you need to know about playing this unique instrument from the very first moment you pick it up. Featuring helpful and practical guides toeverything from holding your Tenor Banjo to playing your first tunes this book and accompanying download card will take you through your beginning stages and beyond. Beginning with a short history of theinstrument the book takes you through the anatomy of a Tenor Banjo how it's tuned and how to hold it before getting you playing and picking. The book continues by teaching you the D Major scale and basic rhythm then moves onto your first tunes. The inclusion of real songs (in notation and tablature) from the very beginning helps you to put what the theoretical concepts that you've learned into context developing your musicality as well as yourknowledge. As you are introduced to more strings more scales and more tunes you will see how Tenor Banjo players use ornamentation to embellish their playing and make it more musical and more fun. Withhelpful detailed explanations of each concept clear pictures throughout and short musical passages transcribed in standard notation and tablature the Absolute Beginners Irish Tenor Banjo tutorial book willteach you the basics and get you playing some really fun tunes at the same time. The unique download card that accompanies this book features over 60 demonstrations of each tune recorded by the author to help you pick and pluckyour way through every note. It's simple to use all you have to do is download each track to your computer and listen as you go through. If you have always wanted to learn Irish Tenor Banjobut have never been able to find a comprehensive method or you've just discovered its fantastically distinctive sound this edition of the Absolute Beginners series is for you. With authoritative

NEW AND IMPROVED! Recently re-engraved and updated, John Thompson's Adult Piano Course was compiled with the mature student in mind. Adults have the same musical road to travel as the younger student, but the study material for a mature student will differ slightly in content. Since these beloved books were written and arranged especially for adults, they contain a wonderful mix of classical arrangements, well-known folk-tunes and outstanding originals that many will find a pleasure to learn and play. Most importantly, the student is always encouraged to play as artistically and with as much musical understanding as possible. This book includes access to orchestrated accompaniments online that can be downloaded or streamed. There are two tracks for each piece: a demo track with the piano part and one with just the accompaniment. / Piano

2 Exemplare zur Auffuhrung notig. Par ZIMMERMANN BERND ALOIS. In January 1964 Bernd Alois Zimmermann interrupted the completion of his opera Die Soldaten [The Soldiers] in order to rearrange his orchestral work Dialoge for two pianos. Monologe resulting therefrom takes up the original material but develops it towards a different direction: Zimmermann‘s collage technique based on quotations extends over the entire musical setting so that it is not only Mozart (Piano Concerto in C major KV 467) who has his say but Beethoven, Messiaen and Bach as well. 'Monologe – this is a piece for two pianists; real monologues of these pianists who, though simultaneously,[…] do not always play at the same 'time'; […] losing themselves in their 'own thoughts', as it were.' (Zimmermann)/ Répertoire / 2 Pianos

Sit in with the band and bring your playing to life! Soloing is an important part of your playing, but practicing on your own doesn't always get the creative juices flowing because there is nothing quite like the experience of sitting in with a full band. Since jamming with other musicians is not always possible, Sitting In: Rock Guitar brings the band to you! Practice comping patterns and soloing with the same energy you get with a real, live band. Expert guitarist Jared Meeker leads you through all the tips and techniques you need to give life to your practice sessions, inspiring you to add new sounds to your growing rock vocabulary. The DVD-ROM includes MP3 audio for every song mixed with and without solo guitar. The included TNT 2 software is a perfect practice tool since it lets you customize audio tracks for practice. Use it to slow down tracks, isolate and loop parts, and change tempos and keys. / Guitare

Piano solo part for Paganini Variations - Piano Concerto No.3 by Poul Ruders (2014). Score available: WH32201 Programme note: In 1999 my friend American guitar virtuoso David Starobin wanted me to write a concerto for guitar and orchestra. It quickly dawned on me that this commission presented a golden opportunity to contribute to the time-honoured tradition of composing a series of variations on Nicolo Paganini´s famous 24th Caprice for violin solo a work which itself is a set of variations. The 16 bar (with the first 4 bars repeated) theme is not particularly sophisticated orintricate but its inherent simplicity and logic just grow on you almost to the point of distraction - and the secret behind it being hauled through 'the wringer' by composers as disparate as Liszt Brahms Rachmaninoff and Lutoslawski is perhaps found in its - what I´ll call with a quick nervous look over my shoulder: brilliant banality. You can do anything with that tune it´ll always be recognizable and just there however much you maul it. The piece (subtitled Guitar Concerto no 2) was written pretty quickly premiered and subsequently recorded for Bridge Records with David and the Odense Symphony Orchestra conducted by Jan Wagner and everybody was happy. But the story didn´t end there and it must be the ultimate proof of the durability of the theme not to mention the flexibility and far-sightedness of David Starobin when he 14 years latersuggested 'why not transcribe the solo part for piano?'. The idea appealed to me immediately. One thing was clear from the beginning: the new version could in no way sound like a transcription. My aim was to end up with a solo-part sounding like were it 'the one-and-only' the 'real thing' if you like.The orchestral score remains exactly the same in both cases. Both versions the two Paganini Variations are comparable to a