Restart Clarinet guides returning players through 12 specially selected pieces to bring them successfully back up to speed with the Clarinet at their own enjoyable pace. With additional exercises, tips and theory reminders, lapsed clarinettists will find the learning curve engaging and rewarding yet flexible, with special focus paid to common issues such as tone, voicing techniques and remastering the embouchure. The Restart series of books are written by specialist practising teachers for people rediscovering the joy of playing music again. Each title comes complete with an accompanying CD of popular and classical backing tracks and online support materials. / Clarinette

Alapa-Tarana Op.41 for Mezzo-Soprano and Percussion was composed by Poul Rovsing Olsen in 1959. Programme note: I was encouraged by the singer Jolanda Rodio to write a piece for mezzo-soprano and percus­sion. In my mind the idea immediately awoke associations of Indian or Arab music in which the combination of drums together with either an instrument or voice is very common. In a solo performance (as opposed to choral and ensemble performances) the piece is called a 'raga' or a 'macam'. A 'raga' or 'macam' is a scale and at the same time a number of melodic formulas. Further­ more it is a spiritual concept a specific'raga' or 'macam' expressing a specific emotion. My piece is not based on any traditional Indian 'raga' or Arab 'macam'. The 'raga' in my piece is entirely my own invention. The title is derived from Indian music an ''Alapa' being the first unaccompanied part of a 'raga'. Traditionally in the 'Alapa' the characteristics of the 'raga' are first presented improvisationally without strict metre followed by a section in which the drums set in. The latter can have various forms. I have chosen a variation form called 'Tarana'. (Poul Rovsing Olsen 1960)

This book is the second volume of arrangements for the Celtic harp by MonikaMandelartz. The material encompasses diverse songs and tunes from the British Isles, commonly described as 'Celtic Music'. This type of music is often associated with the English publisher John Playford. In the 17th century, he published The English Dancing Master, which contains traditional music as well as tunes of his day (up to the Renaissance). Author Monika Mandelartz, a specialist in historical performance practice, followsPlayford's tradition by arranging parts of the collection for Celtic harp. Thereby, Mandelartz points out that her arrangements constitute a 'snapshot in time'. Her workemphasizes the idea that lively music always allows for change and variation - it must in order to survive. The book includes tunes such as De`il Take the Wars, Scot Cap (Edinburgh Castle), Upon a Summer's Day, Parson's Farewell, Welcome Home Old Rowland, Dissembling Love (The Lost Heart), An Italian Rant, Porter's Lament, Greenesleeves and Pudding Pies (Greenesleeves and Yellow Lace), Jenny Pluck Pears, Remember Me My Deir, Enfield Common, The Sword Dance, and Drive the Cold Winter Away. This book is the second volume of arrangements for the Celtic Harp by Monika Mandelartz. The material encompasses diverse songs and tunes from the British Isles, commonly described as 'Celtic Music'. This type ofmusic is often associated with the English publisher John Playford. In the 17th century, he published The English Dancing Master, which contains traditional music as well as tunes of his day (up to the Renaissance). Author Monika Mandelartz, a specialist in historical performance practice, follows Playford's tradition by arranging parts of the collection for Celtic Harp. Thereby, Mandelartz points out that her arrangementsconstitute a 'snapshot in time'. Her work emphasizes the idea that lively music always allows for change and variation - it must in order to survive. The book includes tunes such as De`il Take the Wars, ScotCap(Edinburgh Castle), Upon a Summer's Day, Parson's Farewell, Welcome Home Old Rowland, Dissembling Love (The Lost Heart), An Italian Rant, Porter's Lament, Greenesleeves and Pudding Pies (Greenesleeves and Yellow Lace), JennyPluckPears, Remember Me My Deir, Enfield Common, The Sword Dance and Drive the Cold Winter Away./ Recueil / Harpe

This book is a mixture of traditional and contemporary tunes from the Scottish accordionists' repertoire.

It explores the common tune types played in Scotland, i.e. the Jig, reel, strathspey, slow air, waltz, march and polka. Some tunes are arranged in a traditional, dance music style where others have been set with a more contemporary feel as used by the author and many of the ?new age? of Scottish accordionists. Strong emphasis has been placed on the use of the left hand to enhance the style and arrangement.

Ian Lowthian was brought up steeped in the Scottish accordion tradition; he is a graduate of the Royal Academy of Music who, since leaving, has concentrated mainly in traditional music as a performer, teacher and composer. / Musiques du monde / Partition CD / Agrafé /

'The material is a mix of traditional and original the playing superb. Grossman and Renbourn combine their talents and mix of styles here to produce appealing instrumental music of rare beauty and taste.' AllMusic.comOn their duet records John Renbourn and Stefan Grossman meet on the common turf of American blues and Celtic fiddle tunes and airs. Under The Volcano is a collection of seven duets. Including an extended four-part work for which the album is named and one solo by each of the players the album has what has come to be the characteristic sound of the duo. Reflecting what Stefan quite accurately describes as 'aninterweaving of styles ' it is quite difficult and somewhat pointless to tell which of the two is playing the lead in most parts of the album. The original compositions are at once down-home and high-flown brimming with contrapuntal funkiness and the music manages to sound both loose and precise. Grossman and Renbourn contribute equally to the composition and arrangement of the traditional material. They aren't uptight about overdubbing or using the occasional electric guitar texture. But the lingering impression is one of crisp snapping strings and air being moved by wooden-boxed guitars.Track Listing:1. Idaho Potato2. Medley: Sheebeg An Sheemore & Drunken Wagoner3. Under The Volcanoa) Resurrection of Blind Joe Deathb) Four for the Rosesc) Montagu's Pactd) Rights of Man4. Medley: Bonaparte's Retreat & Billy In The Lowgrounds5. Swedish Jig6. Water Gypsy7. All Things Parallel Must Converge8. The Blarney Pilgrim9. Mississippi Blues No. 3(All tunes except for 'Bonaparte's Retreat' have been transcribed and included in a pdf tab/music booklet on the CD)

Fiddle Tunes in DADGAD shows how fingerstyle guitarists can use DADGAD tuning to play traditional tunes including twenty-four complete arrangements of common American Irish and Scottish ballads airs jigs and reels. The bookexplores techniques and patterns for playing melodies across the strings producing a harp-like effect that adds a distinctive and beautiful character to traditional melodies. In addition to building repertoire the materialdemonstrates ways to arrange your own melodies or even write your own tunes based on the techniques provided. This is a perfect follow-up for guitarists who have studied Understanding DADGAD for Fingerstyle Guitar and arelooking for tunes to learn or for those who want to go deeper into harp-style playing. It is also an excellent introduction for those who prefer to just dive head-first into DADGAD by learning some classic tunes.

'My Hazara People is a setting of two texts the title work by Shukria Rezaei a young Afghan poet and Lalai lalai babe bacha shikar rafta (Baby's father went hunting) a traditional Hazari lullaby. Although their characters are entirely different the two poems share much in common. The importance of family and home and beyond that connection with country and heritage are at the centre of both. Shukria's poem is a direct expression of love and despair for Afghanistan with intimate moments of terror - a cup falling from her mother's hand during an explosion her aunt fainting - set against the suffering of Hazaras across the world. In the contextof this devastating contemporary experience Lalai lalai is nostalgic and poignant - open gates straw latches a sleeping child. The tune of the lullaby is heard in two highly contrasted versions. For Shukria's words it is dark and restrained a repeating rhythm illustrating the Hazara's seemingly never-ending pain and for Lalai lalai it is bright and joyful with sounds of the hunt a crackling fire and a gentle chorus as the child is rocked. A further thread runs through the music - a quotation of my favourite traditional Afghan Herati lullaby Allah Hu (God is great) reflecting Shukria's reference to her people's religious heritage. I have adapted the text at the end of Lalai Lalai to bring it into the Shukria's world a reminder that each innocent person caught up in conflict is a mother  a brother a sister a father a daughter .... kids like us. The work exists in two versions for voice and piano and voice and strings. The former was premiered by Charlotte Tetley (mezzo-soprano) and Graeme Bailey (piano) on 20 June 2018 at Somerville College Oxford as part of a panel discussion on women refugees. The work was commissioned by the Orchestra of St. Johns. I am indebted to Shukria for allowing to set her poem and to Cayenna Ponchione for inviting me to be part of this

Learn the nuances of music notation and create professional looking scores. This reference presents a comprehensive look at contemporary music notation. You will learn the meaning and stylistic practices for many types of notation that are currently in common use from traditional staffs to lead sheets to guitar tablature. It discusses hundreds of notation symbols as well as general guidelines for writing music.Berklee College of Music brings together teachers and students from all over the world and we use notation in a great variety of ways. This book presents our perspectives on notation: what we have found to be the most commonly used practices in today'smusic industry and what seems to be serving our community best. It includes a foreword by Matthew Nicholl who was a long-time chair of Berklee's Contemporary Writing and Production Department.Whether you find yourself in a Nashville recording studio Hollywood sound stage grand concert hall worship choir loft or elementary school auditorium this book will help you to create readable professional publication-quality notation. Beyond understanding the standard rules and definitions you will learn to make appropriate choices for your own work and generally how to achieve clarity and consistency in your notation so that it best serves your music.

Learn the nuances of music notation, and create professional looking scores. This reference presents a comprehensive look at contemporary music notation. You will learn the meaning and stylistic practices for many types of notation that are currently in common use, from traditional staffs to lead sheets to guitar tablature. It discusses hundreds of notation symbols, as well as general guidelines for writing music. Berklee College of Music brings together teachers and students from all over the world, and we use notation in a great variety of ways. This book presents our perspectives on notation: what we have found to be the most commonly used practices in today's musicindustry, and what seems to be serving our community best. It includes a foreword by Matthew Nicholl, who was a long-time chair of Berklee's Contemporary Writing and Production Department. Whether you find yourself in a Nashville recording studio, Hollywood sound stage, grand concert hall, worship choir loft, or elementary school auditorium, this book will help you to create readable, professional, publication-quality notation. Beyond understanding the standard rules and definitions, you will learn to make appropriate choices for your own work, and generally how to achieve clarity and consistency in your notation so that it best serves your music. / Partitions jazz&blues / Tous instruments par tonalité / Tous instruments / BERKLEE

Learn the nuances of music notation, and create professional looking scores. This reference presents a comprehensive look at contemporary music notation. You will learn the meaning and stylistic practices for many types of notation that are currently in common use, from traditional staffs to lead sheets to guitar tablature. It discusses hundreds of notation symbols, as well as general guidelines for writing music. Berklee College of Music brings together teachers and students from all over the world, and we use notation in a great variety of ways. This book presents our perspectives on notation: what we have found to be the most commonly used practices in today's musicindustry, and what seems to be serving our community best. It includes a foreword by Matthew Nicholl, who was a long-time chair of Berklee's Contemporary Writing and Production Department. Whether you find yourself in a Nashville recording studio, Hollywood sound stage, grand concert hall, worship choir loft, or elementary school auditorium, this book will help you to create readable, professional, publication-quality notation. Beyond understanding the standard rules and definitions, you will learn to make appropriate choices for your own work, and generally how to achieve clarity and consistency in your notation so that it best serves your music. / Partitions jazz&blues / Tous instruments par tonalité / Tous instruments / BERKLEE

Alliage (Alloy) III for Violin Cello Classical Accordion and two Kokles (2010). Parts are available: WH31231A Programme note The instruments of this quintet are very different in appearance and in the way of playing as well as toneproduction: strings to be bowed strings to be plucked confronted with the airborne tone of the Accordion. The origins and the traditions of the instruments are also very diversified reaching from traditional folkmusic (the Kokle) and popular music (the Accordion) to art music of the classical tradition (the Violin and Cello). Acknoledging these references and connotations I refrainnevertheless from an obvious ‘casting’ of the instruments since I have always been fascinated by the less evident by transitions and gradual displacement by the intangible places between one and the other. I search for this ‘terrain vague’ of fruitfull incertainty andpermanent genesis. To arrive there I have in this piece created a musical expression which makes hidden relations and unexploredsonorous paths come forward between the different sound worlds of the instruments. Bringing together these musical substances I look for something deeper than just common sounds: a fresh musical place. And the lively and bright sound world that emerges form this instrumental and textural ’in-between’ I associate to alloys inparticular the silvery amalgamations of mercury. The work was composed to musicians from the Latvian ensemble Altera Veritas and of Ensemble Aleph (France) was a part of the project European Instrumental Laboratory. Niels Rosing-Schow

Une sélection de 80 chansons incontournables de la guitare folk et pop/rock de tous les temps. Toutes réunies dans ce recueil de poche car elles ne comportent que 3 accords différents, simples chacunes. Textes intégraux et diagrammes d'accords guitare. Titres : (Your Love Keeps On Lifting Me) Higher And Higher [Wilson, Jackie] - A Boy Named Sue [Cash, Johnny] - A Girl Like You [Collins, Edwyn] - Achy Breaky Heart [Cyrus, Billy Ray] - Ain't Too Proud To Beg [Temptations, The] - Animal [Snow, Mike] - Atmosphere [Joy Division] - Best Friend [The Drums] - Best Song Ever [One Direction] - Blue Jeans [Del Ray, Lana] - Breathless [Nick Cave and The Bad Seeds] - Brimful Of Asha [Cornershop] - Calling Elvis [Dire Straits] - Cannonball [Breeders, The] - Can't You Hear My Heartbeat [Faithfull, Marianne] - Caroline [Status Quo] - Common People [Pulp] - Coz I Luv You [Slade] - Crash [Primitives, The] - Dancing With Myself [Idol, Billy] - Daydreamer [Adele] - Desire [U2] - Dog Days Are Over [Florence and The Machine] - Feel Good Hit Of Summer[Queens Of The Stone Age] - Geraldine [Glasvegas] - Get It On [T.Rex] - Gloria [Them] - Happy Jack [Who, The] - Here Comes The Night [Bowie, David] - Hot Hot Hot [Arrow] - I Am A Man Of Constant Sorrow [Soggy Bottom Boys] - I Love Rock 'n' Roll [Joan Jett and The Blackhearts] - I Love The Sound Of Breaking Glass [Lowe, Nick] - If I Were A Carpenter [Darin, Bobby] - In The Air Tonight [Collins, Phil] - Jolene [Parton, Dolly] - Just My Imagination [Temptations, The] - LDN [Allen, Lily] - Lily The Pink [Scaffold] - Little Star [Nordenstam, Stina] - Long Tall Sally [Little Richard] - Love Me Do [Beatles, The] - Lumberjack Song [Monty Python] - Mustang Sally [Pickett, Wilson] - No Depression [Uncle Tupelo] - Not Fade Away [Holly, Buddy] - On The Road Again [Canned Heat] - One Bourbon, One Scotch, One Beer [Hooker, John Lee] - One In Ten [UB40] - Paper Planes [M.I.A] - Pretty Flamingo [Manfred Mann] - Real Wild Child (Wild One) [Iggy Pop] - Rhiannon [Fleetwood Mac] - Rise [Gabrielle] - Rivers Of Babylon [Boney M] - Roscoe [Midlake] - Season Of The Witch [Donovan] - Sex On Fire [Kings Of Lean] - Shakin' All Over [Johnny Kidd and The Pirates] - She Moved Through The Fair [Traditional] - She Said [Plan B] - Shelter From The Storm [Dylan, Bob] - Sit Down [James] - Summertime Blues [Cochran, Eddie] - Surfin' USA [Beach Boys, The] - That's Not My Name [Ting Tings, The] - The First Cut Is The Deepest [Stewart, Rod] - The King Of Carrot Flowers (Part I) [Neutral Milk Hotel] - These Boots Are Made For Walking [Sinatra, Nancy] - This Ole House [Shakin' Stevens] - Three Little Birds [Marley, Bob] - To Ohio [Low Anthem, The] - Two Tickets To Paradise [Money, Eddie] - Underwater Love [Smoke City] - Way Down The Hole [Waits, Tom] - Werewolves Of London [Zevon, Warren] - Whole Lotta Shakin' Goin' On [Lewis, Jerry Lee] - Wire To Wire [Razorlight] - Woke Up This Morning [Alabama] - Yakety Yak [Coasters, The] / Paroles Et Accords

This arrangement of the well-loved hymn stays true to the jubilation and reverence of Easter. Wesley's words and the eighteenth-century melody shine through in a sensitive reharmonization and a recurring instrumental passage smoothly connects the verses. Reflecting common hymn-singing practice the first verse is in unison the second in four-part harmony and the third returns to unison with a soprano descant before closing with a suitably exultant 'Alleluia' and 'Amen'. Christ The Lord Is Risen Today appears on the Mormon Tabernacle Choir and Orchestra at Temple Square's latest CD He is Risen which reached No. 1 in both the 'ClassicalAlbums' and 'Traditional Classical Albums' US charts within two weeks of its release in April 2014.

For Mandolin and Fiddle-If you have tried and failed to learn to read standard music notation for the Mandolin or Fiddle using traditional methods or you have never tried and want to this book is for you.Learn to play from music in theMandolin and Fiddle-friendly major keys of C G D A F and B-flat and their relative minor keys. Also learn to play in various time signatures including 4/4 (common time) 2/2 (cut time) 3/4 (waltz) and 6/8 (jig). You willalso be taught to recognise and play whole notes half notes quarter notes and eighth notes. Includes online audio.