Return To Avalon is scored for two flutes one doubling Piccolo the other doubling Alto Flute.In the mid-thirteenth century over 200 000 Cathars were murdered in the South of France 'Avalon' by forces of darkness and ignorance. The Cathars were European Buddhists who believed in loving each other that we are all equal in the eyes of God non-revenge vegetarianism and that women could be priests. They also believed in reincarnation.In answer to threats and bullying many of them chose to be burnt alive rather than be forced to follow teachings they believed to be untrue.People say that the Cathars never came back. People saythat they died in vain. But I believe that they are wrong I believe that the Cathars did come back to create a Church of light outside the constricts of religion but through the arts through music poetry and prose.'Return to Avalon' is the story of two great Cathar flute players who rise from the ashes of the Montsegur massacre to return and baptize the world into the truth of the eternal through the beauty of sound and honesty of expression. I imagined these 'Sons of the light ' playing this piece and letting its message of friendship and brotherhood echo out over the mountains.'Return to Avalon' begins with 'The Last Song' a 13th century Cathar melody echoed on alto flute then explores an idea I first used in my 1993 flute concerto the idea of orchestrated digital delay.The second movement 'Human flame' on piccolo and alto is also based on a medieval theme but takes it further and further out until finally it burns up into a huge fireball.In the third movement 'Sons of the light return to Avalon' the two flutes reappear Phoenix-like from the ashes leading and learning from each other. Eventually the flutes become inseparable as they interweave together at speed leading us to a higher truth that we are all brothers and sisters equally loved by God.Phenomenal flautist Samuel

Work for Clarinet solo. The composer writes 'The title refers to several levels in the piece. Partly a method I have used where three lines are weaved so they become one line here the clarinet which can (nearly) only play one tone at the time. Either the three parts disappear and become one waving melodic line as in the beginning of the piece. Or they are put in different registers of the clarinet so they are heard as separate lines weaving into one another. On a different level there is three different sequences which are also weaved into one another; one which rises (for instance in the beginning) and one which falls and one which falls in parallels in severalregisters. These three sequences become faster and faster every time they reappear. The idea of weaving melodic lines was inspired by Bach’s pieces for solo strings where he in a marvellous way established several simultaneous melodic lines without simultaneous sounding notes. This happened by weaving parts which in other works would sound simultaneously into one another so that only one note was heard at the time. This meant that in that long line which was heard as the instrument’s development of the piece other melodies were weaving around each other with different focuses. Woven Lines was commissioned by DUT with support from the Danish Arts’ Council.'

For Chamber Orchestra (Flute Oboe Cor Anglais Basson Horn in F Trumpet in C Strings: [5.4.3.2.1])Composer's Programme Note:Points of View is a work about the different musical elements which arepersonified by soloists from the orchestra all unifying at the end in a passionateclimax.The first section ‘Mysterious’ features a solo horn and also establishes tonality [Bflat] texture and harmony. The harmonies are often chordal 6-note clusters andthey are an important binding articulating and textual element throughout thework.A solo trumpet joins the solo horn and as the chordal clusters disappearintothe stratosphere initiates the rhythm of a light-hearted scherzo ‘Lively’. Thetrumpet’s rhythmic figure is echoed and developed by the winds.The solo oboe and cor anglais now introduce a very lyrical melody in fallingthirds ‘Sensuous’. The chordal clusters as well as the trumpet’s rhythmic figureeventually reappear to accompany this melodic theme and then the violinspassionately respond by taking it over ‘Passionato’. All the elements thusunifying to culminate in the coda.These elements could also perhaps be described in non-musical terms as‘imagination’ [solo horn] ‘action’ [solo trumpet] ‘emotion’ [solo oboe and coranglais] which eventually combine in the climax [violins].

In this lesson John Miller will provide you with the tools you need to develop your ability to tell what position or tuning a Country Blues performance was played out of simply by listening to the recording. Believe it or not this is a learnable skill and John who has taught it for many years will show you what to listen for and help you get started hearing the various auditory clues that identify the distinctive sound of the different playing positions and tunings most commonly used in Country Blues guitar playing. Developing your ability to do this kind of informed listening or listening with knowledge will reap significant rewards for your playing most especiallyimproving your ability to learn by ear and increasing the speed with which you're able to pick up new material.One of the real advantages of having this material presented in this 2DVD format is that it allows John to go over the material in real detail presenting the sound characteristics of the different playing positions and tunings at length and providing you with memory devices to help you remember the sound of alternating bass for the different positions and tunings. The material is not presented in the abstract either - as John goes along he plays a host of examples drawn from Country Blues performances that help illustrate and exemplify the characteristic sound of each playing position. The PDF study guide that accompanies the lesson includes a summary of the sound characteristics that identify each of the playing positions/tunings presented in the lesson as well as the memory devices that will help you remember the sound of the bass in the different positions. Also included on the DVD is a test to take when you have completed the lesson with a selection of recordings of Country Blues played out of different positions and tunings for you to identify using your new skills. Disc One: E position standard tuning • C position standard tuning • D position standard tuning • A position Standard tuningDisc Two: G

Par DE HAAN JACOB. This musical fantasy depicts the history of the Dutch fortified town of Elburg. The work begins with an atmospheric medieval picture of the Convent of St Agnes, the nunnery that was built in the first half of the 15th century. We hear the sound of the convent bells together with an upward motif, which will reappear later in the work. Next, the rest of Elburg is featured, including the fortress - from which the bells of the Sint-Nicolaaskerk (Saint Nicholas Church) are ringing. Then, cheerful sounds can be heard at the Vischpoort (Fish Gate), where a dancing group is performing a 16th century French folk dance (a branle des chevaux). We also hear old wagons rumbling over the town’scobble stones. Trade made this Hanseatic town a lively place. The repetitive upward motif first heard in the introduction now develops into a more distinct feature, reflecting the mercantile spirit of the town residents. Then follows the slow middle movement, in which the clock has been turned back to the time when Elburg was still lying on the Zuiderzee (which was a bay of the North Sea), and was struggling with floods. After the second St. Marcellus Flood (1362) and the water flood of 1367 it was decided that the town would be relocated. We now hear the theme of branle des chevaux in a minor key, followed by a death bell sounding in remembrance of the drowned citizens of the former town. Back in our own time, a slow, expressive theme in Baroque style mirrors Elburg’s tranquil places, such as the Feithenhof (Feithen Court) and the Weduwenhofje (Widow Court). Then the bustle returns with motifs from the introduction, followed by an attractive theme in which present-day Elburg is portrayed with its many tourists. Now, suddenly, there is an echo from the past, depicting the dramatic floods and wars that once plagued the town. This leads to the grand closing theme: branle des chevaux is heard for a final time from the perspective of the historic town centre. / Niveau : 4 / Pièce de concert / Répertoire / Fanfare

Fragment I-IV was composed between 1959 and 1961. I premiered the piece myself on February 12 1962 at a concert where Fragment V for violin and piano and Fragment VI for six orchestra groups were also performed. The four piano pieces contain the first audible results of my preoccupation with the fractal “infinity series” discovered in 1959. “Fractal” designates the property of for example visual form patterns that appear in a process of infinite “microscoping” where the figures reappear for the spectator in constantly enlarged segments of the original fractal form. In much the same way thescore-reader as well as the listener can follow how in for example Fragment III the six notes of the first measure reappear in a much slower figure an octave lower in the left hand (that only manages to get through these six notes in the course of the entire movement) analogous to the zooming-in on a visual fractal form. Each Fragment has its own defining appearance: Fragment I consists of two staccato melodies (with built-in rests) that are tied to a distinct third melody. Fragment II stammers and stutters its way through various shorter note values that are almost identical to boot (for instance they include isolated triplet notes that come immediately before or after notes of another equally short duration). Great demands are thus made on the pianist’s scrupulous attention to the details of this fine-grained universe of rhythms! Of the four pieces Fragment III offers the most directly accessible demonstration of this composition technique – as mentioned above its opening measure fractally projects itself six times as slowly and an octave lower in the left hand through the rest of the movement. Fragment IV is a kind of shadow that reproduces – in a vague “dreaming” manner – all the melodic notes from Fragment III but

Description A variety of different bowings are introduced so that the pupil learns how to use and become familiar with every part of the bow. Every exercise and piece introduced in this book is designed to improve some aspect of technique. Violinists will also enjoy playing these melodies, which with their attractive piano accompaniments and violin duet parts, have been carefully selected to give pleasure at any stage. Songlist A Little Child Alouette Blow Away The Morning Dew Bobby Shaftoe Chorale Cock-a-doodle-doo Cradle Song Dance Of The Blessed Spirits (Orfeo Ed Euridice) [Gluck, Christoph Willibald] Dona Nobis Pacem Early One Morning Eileen Aroon Folk Tune For He's A Jolly Good Fellow French Bugle March God Save The Queen Golden Slumbers I Had A Little Nut Tree Ilkley Moor Jimmy Crack Corn John Brown's Body Johnny Todd Kate Dalrymple King Arthur March (Scipio) Marching Through Georgia Minuet Mountain Song My Little Hen My Love's An Arbutus On Wings Of Love One Man Went To Mow Oranges And Lemons Polly Wolly Doodle Pretty Polly Oliver Rule Britannia Rustic Song Scottish Reel Slumber Song Soldier's March Song Of The Reapers Song Of The Volga Boatman Study Sur Le Pont D'avignon The Bees The Flower Of Country Down The Girl I Left Behind Me The Happy Beggar The Jolly Miller The Keeper The Little Sandman The Merry Peasant The Sailor's Hornpipe The Yellow Rose Of Texas Venetian Waltz

A variety of different bowings are introduced so that the pupil learns how to use and become familiar with every part of the bow. Every exercise and piece introduced in this book is designed to improve some aspect of technique. Violinists will also enjoy playing these melodies, which with their attractive piano accompaniments and violin duet parts, have been carefully selected to give pleasure at any stage. / Violon

DAA is a beautiful tuning for the Mountain Dulcimer. This book contains 19 arrangements of traditional Irish Welsh French Canadian Scottish and American folk tunes and songs that are rich within their melodies complementedby the DAA tuning. Although the DAA tuning results in predominantly linear movement of the fingers along the frets with jumps and runs along the melody or middle string the richness of the DAA tuning more than compensatesfor extra finger movement. These arrangements are written in notation and tablature for the three-string Dulcimer with chord symbols with a mix of strumming and fingerpick/flatpick arrangements. Lyrics are included whereappropriate. Beginning level of difficulty. The companion play-along audio recording features all of the tunes in the same order as the book played by the author. Each tune name is announced and spoken countoffs andcues for repeats and are also provided. The recording will help make the unique style of the Dulcimer clear. Audio download available online.

Par FISER LUBOS. Teaching beginners is a huge responsibility and a challenge, but also reaps enormous rewards, Today there are a host of colourful tutors to choose from, but none tells us how to teach beginners. It can be a hit and miss affair! Energising and inspirational, Teaching Beginners is a 'must have' handbook for all instrumental and singing teachers. Written by the UK's leading music educationalist Paul Harris, it is packed full of comprehensive advice and practical strategies, it offers creative yet accessible solutions to the challenges faced in music education. Written in an approachable style and distilled from years ofpersonal experience and research Paul Harris looks at the issues concerning the teaching of beginners, outlining a series of principals, advice and strategies, discussing: How to approach the first lesson, Practice ideas for beginners, introducing the tutor book and notation, Taking stock and moving forward, Inheriting pupils, Improvisation and composition for beginners. A companion to the best-selling Improve Your Teaching, this book is guaranteed to challenge, affirm and energise your teaching! / Pédagogie / Répertoire / Piano

Revisione Sull'Autografo Di Rina You. Par PILATI MARIO. The artistic production of the Neapolitan composer Mario Pilati (Naples, 1903-1938) has recently been undergoing a reappraisal. Having died at a young age, he never had the opportunity to gain the recognition he deserved, and much of his music has, in fact, fallen into oblivion. Less well-known than his Sonata in La (Sonata in A major) written a few years later for the same formation, his Sonata per violoncello e pianoforte (Sonata in D major for cello and piano) was composed in 1922 when the composer was nineteen years old, in the ninth year of his compositional studies in the class of Maestro Antonio Savasta. The Sonata, based on the opening of a piece by Carl Reinecke, is in sonata form, and develops over a single movement. In the piece, which has got clear post-romantic connotations, the expressive vein, singing lines and lyricism that would also distinguish Pilati’s later works can already be heard. / Niveau : Intermédiaire / Date parution : 1905-07-10/ Répertoire / Violoncelle et Piano

Description Learn how to play Guitar using the songs you know and love from the incredibly popular video game! This all-tab method is designed for anyone just learning to play Acoustic or Electric Guitar. It is based on years of teaching guitar students of all ages, and it's the perfect guide to help make the transition from video game console to a Guitar fun and easy. Songs include: Creep; Don't Fear the Reaper; Mississippi Queen; Say It Ain't So; Wanted Dead or Alive; When You Were Young and more! The CD contains 99 tracks, including full-band tracks for demonstration or play-along. This title is included in the Rock Band Beginning Guitar Pack (HL00650735) along with the Rock Band: Easy Guitar album (HL00702242) for those who wish to also obtain repertoire for when they've finished learning! Songlist Are You Gonna Be My Girl [Jet] Creep [Radiohead] Detroit Rock City [Kiss] Don't Fear The Reaper [Blue Oyster Cult] Highway Star [Deep Purple] In Bloom [Nirvana] Long Time [Boston] Maps [Yeah Yeah Yeahs] Mississippi Queen [Mountain] Paranoid [Black Sabbath] Run To The Hills [Iron Maiden] Say It Ain't So [Weezer] Should I Stay Or Should I Go [Clash, The] Wanted Dead Or Alive [Bon Jovi] When You Were Young [Killers, The]