Par MILLER JOHN. Two by Two is a collection of mixed-ability duets for 2 trumpets. Including well known pieces such as Handel's Music for the Royal Fireworks and the traditional song Sumer is icumen in alongside fun original pieces by John Miller, this book is ideal repertoire for practice and concerts.  / Instrumental Music / Recueil / 2 Trompettes

Brass Treble Clef E Flat-As I sit myself down to write this brief foreword I ask myself can there be music more stirring than these old Cornish folk melodies? Though not Cornish myself (I confess to being born a little further up the road in Bristol) I feel I have spent sufficient time in these 'ere parts to resonate with the sturdy brass band tradition that continues to permeate this incomparably beautiful rugged county. One can almost detect a French 'accent' when listening to the piano music of Debussy and likewise speaking as a lapsed brass player there is undoubtedly something of the Cornish twang about Trelawny when played on a cornet or euphonium. Then again one gets a different yetentirely convincing effect upon hearing these melodies rendered on woodwind instruments; hence with a little gamesmanship on my part I am pleased to see my collection of these fifteen delectable ditties come to fruition in the form of arrangements for treble clef brass instruments (in B flat and E flat) trombone and tuba (bass clef) horn in F flute clarinet and bassoon.While many will find themselves humming the likes of Going up Camborne Hill Lamorna or The Helston Furry Dance even before they have turned to the first page - for these are indelibly intertwined with Cornish culture I wonder if I might draw your attention to The Cornish Squire The Pool of Pilate and Cold Blows the Wind Today Sweetheart which are quite simply sublime melodies perhaps needing that extra bit of help in bringing them to mind nowadays. In the best tradition of musical hand-me-downs Cornish folk music works equally sung or played and only by doing so on a regular basis can such traditions hope to continue forward with vigour and authority. A legitimate way of achieving this is to revitalise the harmonic scheme of these ancient tunes and bring them up to date for a modern audience; after all it was such an approach that fuelled the imagination of Benjamin Britten and Ralph Vaughan Williams in decades past while skilfully paying homage to the underlying charm

If Bach Was A Cellist-The purpose of the series if Bach was a cellist is to live the fantasy that everything Bach wrote he wrote for the cello.The concerto in D minor (BWV 1043) for two violins string orchestra and continuo by Johann Sebastian Bach (1685-1750) is one of his most loved works. Indeed the slow movement may be one of the most popular and loved pieces in the instrumental literature. Traditionally it is believed to have been written in Köthen where he held the position of 'fürstlischer Kapellmeister' from 1717-1723 a town that saw the birth of the Brandenburg concertos and the solo works for violin and cello. The Dorian church mode (the absent Bflat in the key of Dminor) would also speak for the younger Bach. Recent research however has shown that the orchestral parts carefully written out by Bach himself and found among the papers of his son Carl Philip Emanuel date from around 1730. The sophistication of the composition also speaks for a later date than Köthen. The original score has been lost.Always in need of concert material for his 'Collegium Musicus' in Leipzig Bach made a version of the present concerto for two harpsichords (BWV 1062). The original key was transposed to C minor so that the top note would not exceed a D but remain within the range of a standard harpsichord. Another C minor concerto (BWV 1060) for two harpsi-chords often heard in an arrangement from the 1920's for violin and oboe by Max Schneider and Max Seiffert speaks for two concertos in D minor for two violins by Bach.When arranging an orchestral score for the pianoforte one has to remember that a double-bass sounds an octave lower than notated. This is a welcomed fact when dealing with two instruments that play the original solo parts an octave down. At the same time for a transcription of this kind the ambition must be to avoid the cello soloists playing in octaves with the violin tutti parts - which is what would happen were they to share the same material. This ambition made a piano reduction

Another artistically beautiful and popular solo collection for flute! Selections include 'Ave Maria' by J. S. Bach/Gounod 'Sonata in F' by B. Marcello 'Chorale from Cantata No. 140' (Wachet Auf) by J. S. Bach a medley of sixtraditional Christmas carols and more. All works are arranged for flute (or violin) with piano and organ accompaniment. A 16-page pull-out part is included for the soloist. Includes access to online audio that contains both organand piano accompaniments for all pieces in the book. Introductions have been added where necessary to establish tempo and allow the soloist to enter with the recorded accompaniment at the proper time.

Mastering Hawaiian Slack Key Guitar. The Hawaiian word for slack key guitar, k? h??alu, means to ?loosen the key? or retune some of the strings to create a harmonious sound with an open or alternate tuning. Slack key is a fingerpicking style characterized by strong alternating bass lines played with the thumb. While slack key can be played on any guitar, most players prefer a nylon- or steel-stringed acoustic instrument. This book presents 25 intermediate to advanced traditional and original tunes in the Hawaiian slack key style. Melodies are often harmonized in sixths or thirds played with or without double stops. Techniques like syncopated bass lines, hammer-ons, pull-offs, slides, and harmonics are tastefully employed to evoke the images of ocean breezes, swaying palms, hula dancers and white sandy beaches. The author writes, ?Unless you grew up playing slack key, it?s hard to get from the material presented in most books and DVDs to a fluid, play-it-your-own-way style.? This book seeks to reveal the insights the author has gleaned from studying and jamming with some of the giants of the slack key style, and help you develop a style all your own. Includes access to online audio tracks of all 25 relaxing but challenging Hawaiian slack key tunes.

Two beautiful pieces of Irish influence. Recorded by Gary Ryan on his CD 'Visions and Vistas'.The composer writes:'Out of Clonmel' - Over the past few years I have explored different tunings on the guitar. The instrument sounds fresh with a new tuning and harmonies or patterns that have become stale or are difficult to play with the traditional tuning can suddenly become reinvigorated idiomatic and resonant in different ways. You are also forced as a player to explore the fingerboard differently and the different tension of the strings produces a subtly different timbre.Out of Clonmel is tuned so that all of the open strings form a D major chord (D A D F# A D). This can be confusing at first but you get used to it pretty quickly and tablature helps when notating the score. Both of these pieces were originally commissioned by Rebecca Baulch a very fine player who I used to teach at the Royal College of Music. She was very good at reading tablature hence the idea to retune the guitar.Clonmel was the place my grandfather came from in Co. Tipperary Ireland and the piece has an energetic Irish flavour which reflects Irish folk music something I have always loved. The melody is decorated with ornaments which imitate those often played on the pipe or whistle. I dedicated this piece to my second daughter Caitlin so full of life who has of course in part come out of Clonmel.'Lough Caragh (Glenbeigh)' - Lough Caragh is influenced by the traditional Irish ballad and expresses for me something of the incredible beauty of the South West of Ireland. When my eldest daughter Jenny was only one year old in the summer of 2004 we stayed on the shores of Lough Caragh a beautifully tranquil lake west of Killarney visiting Glenbeigh where Jenny first played in the sea. I was trying to convey through the music the memory of those early magical childhood days which can never be recaptured. I had the melody going round in my head for a very long time before writing it down. When I compose I like to think that if what I have written is good I will remember it several weeks or months later in my head. My aural memory therefore acts as a filter retaining the best ideas before I put pen to paper. Lough Caragh uses a

For Banjo. Par TRISCHKA TONY. A comprehensive repertoire book of Fiddle tunes adapted for Banjo, in easy to read tablature, by the renowned player and teacher of the 5-String Banjo, Tony Trischka. For the early picker to the advanced player, this book and its online audio will enable the player to learn by example and broaden their technical range. Fiddle tunes have been adapted for Banjo since the early 1850's. The explorations contained here include a large collection of popular American Fiddle tunes and a section of Celtic tunes played in the three major Bluegrass Banjo styles. These Bluegrass, Old Time and Celtic Banjo traditions will expand the players' knowledge of the instrument, and deepen their understanding of bluegrass and traditional music. The techniques employed will build the players technical prowess and broaden their enjoyment of playing. And the tunes, both popular and lesser known, will add new variety to the next jam session! Tablature only. Repertoire of Fiddle tunes for the early to the advanced Banjo player. In easy to read tablature with downloadable online audio. Expands the players' knowledge of Bluegrass Banjo styles and Banjo music. Builds playing skills and adds variety to their playing. Online Audio download available. / Niveau : Intermédiaire / Recueil / Banjo

Quite possibly the largest collection of fiddle music for viola ever published! Contains a wealth of material for fiddlers seeking a transition to the viola and/or violists in search of a collection of traditional fiddle music.Designed to meet the rising popularity of the viola's role in folk music the tunes in this book are grouped into C G D F B-flat and E-flat major fingering. The music in this book is printed on parallel staffs. The top istraditional viola notation in the alto clef while the bottom is the same music in transposing violin notation allowing fiddlers who read the G or treble clef to play the viola by fingering it as if it were a fiddle.

This is one of four level-five 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 FiveFor late intermediate students- Difficulty and musicianship issues similar to classical sonatinas- Whole half quarter eighth sixteenth note dotted-half dotted-quarter and dotted-sixteenth 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- 2/4 3/4 4/4 and 6/8 time signatures- Key signatures up to two sharps and two flats- Repeat 8va 8vb tie fermata ritardando a tempo- Fine DC al Fine Coda DS al CodaEtudes Albums:complement the corresponding Repertoire Album with traditional technical etudes in both classical and popular styles and through a revolutionary module-based approach to improvisation.· Technical Etudes: builds solid fundamentals by focusing on specifictechnical and musical elements; offers an enjoyable approach to improving facility;· Improvisation Etudes: delivers a practical framework for learning improvisation; integrates effortlessly into traditional piano lessons; module structure provides intuitive progressive development from the very first level; encourages creativity and spontaneity; trains critical active listening skills.The CD which comes only with the Repertoire Album contains accompanying instrumental backings both for the Repertoire Album's ensemble pieces and the Etudes Album's Improvisation modules: · provides convenient practice and performance tempos for realistic support of the learning process; · stimulates daily ensemble playing; · creates a full band improvisation experience; · makes reaching a polished performance just plain

This is one of four level-five 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 FiveFor late intermediate students- Difficulty and musicianship issues similar to classical sonatinas- Whole half quarter eighth sixteenth note dotted-half dotted-quarter and dotted-sixteenth 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- 2/4 3/4 4/4 and 6/8 time signatures- Key signatures up to two sharps and two flats- Repeat 8va 8vb tie fermata ritardando a tempo- Fine DC al Fine Coda DS al CodaEtudes Albums:complement the corresponding Repertoire Album with traditional technical etudes in both classical and popular styles and through a revolutionary module-based approach to improvisation.· Technical Etudes: builds solid fundamentals by focusing on specifictechnical and musical elements; offers an enjoyable approach to improving facility;· Improvisation Etudes: delivers a practical framework for learning improvisation; integrates effortlessly into traditional piano lessons; module structure provides intuitive progressive development from the very first level; encourages creativity and spontaneity; trains critical active listening skills.The CD which comes only with the Repertoire Album contains accompanying instrumental backings both for the Repertoire Album's ensemble pieces and the Etudes Album's Improvisation modules: · provides convenient practice and performance tempos for realistic support of the learning process; · stimulates daily ensemble playing; · creates a full band improvisation experience; · makes reaching a polished performance just plain

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 CodaEtudes Albums:complement the corresponding Repertoire Album with traditional technical etudes in both classical and popular styles and through a revolutionary module-based approach to improvisation.· Technical Etudes: builds solid fundamentals by focusing on specifictechnical and musical elements; offers an enjoyable approach to improving facility;· Improvisation Etudes: delivers a practical framework for learning improvisation; integrates effortlessly into traditional piano lessons; module structure provides intuitive progressive development from the very first level; encourages creativity and spontaneity; trains critical active listening skills.The CD which comes only with the Repertoire Album contains accompanying instrumental backings both for the Repertoire Album's ensemble pieces and the Etudes Album's Improvisation modules: · provides convenient practice and performance tempos for realistic support of the learning process; · stimulates daily ensemble playing; · creates a full band improvisation experience; · makes reaching a polished performance just plain fun!About the American Popular Piano series:'Why can't I

This is one of four level-five 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 FiveFor late intermediate students- Difficulty and musicianship issues similar to classical sonatinas- Whole half quarter eighth sixteenth note dotted-half dotted-quarter and dotted-sixteenth 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- 2/4 3/4 4/4 and 6/8 time signatures- Key signatures up to two sharps and two flats- Repeat 8va 8vb tie fermata ritardando a tempo- Fine DC al Fine Coda DS al CodaEtudes Albums:complement the corresponding Repertoire Album with traditional technical etudes in both classical and popular styles and through a revolutionary module-based approach to improvisation.· Technical Etudes: builds solid fundamentals by focusing on specifictechnical and musical elements; offers an enjoyable approach to improving facility;· Improvisation Etudes: delivers a practical framework for learning improvisation; integrates effortlessly into traditional piano lessons; module structure provides intuitive progressive development from the very first level; encourages creativity and spontaneity; trains critical active listening skills.The CD which comes only with the Repertoire Album contains accompanying instrumental backings both for the Repertoire Album's ensemble pieces and the Etudes Album's Improvisation modules: · provides convenient practice and performance tempos for realistic support of the learning process; · stimulates daily ensemble playing; · creates a full band improvisation experience; · makes reaching a polished performance just plain

Brahms had already announced his ?retirement' from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter apparently renewed his enthusiasm for Mühlfeld's much admired playing and inspired him to write two clarinet sonatas in the summer of the same year. Brahms conceived an alternate version of the works for viola from the beginning and already before the publication of these two versions he intended to do another one for violin, a version which was to require changes and was to result in an independent edition. While the clarinet and viola versions have developed a rich performance tradition, the violin version is almost unknown. Yet for the violin version the composer revised the original clarinet part much more extensively than he did for the viola version and also rewrote the piano part to achieve a thoroughly convincing violin and piano idiom. This Bärenreiter edition aims to bring the neglected violin sonatas op. 120 back into players' hands.An important part of this edition is the extensive preface. Firstly it informs about the sonatas' origins, their compositional process, pre-publication performances, their publication history as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors start from 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. On the basis of manifold sources which include memoirs by pupils and chamber music partners, treatises and essays, early instructive editions and historical recordings, the editors deal with key issues in understanding Brahms' notation. By a section-by-section analysis of 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, the editors provide an indispensable assistance for a historically informed interpretation of the works.At the same time, the edition offers an exciting and often surprising insight into musical interpretation of the German Romantic Era in general.- 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 an extensive Performance Practice Commentary- For further information on Romantic performance practice we recommend the text booklet: 'Performance Practices in Johannes Brahms' Chamber Music?, BA 9600 / Violon Et Piano