Classical Beginnings Vol.1

Book 1-Charles Duncan. This multi-volume method was developed to allow students to study the art of classical guitar within a new more contemporary framework. For private class or self-instruction. Book One features an all-new formatthat incorporates chord frames and symbols as well as a record to assist in tuning and to provide accompaniments for at-home practise. Book One also introduces beginning finger-board technique and music theory. Book Two and Threebuild upon the techniques learned in Book One.

Light Classical and Romantic pieces for Piano, edited by Dorothy Bradley. / Piano

Méthode progressive, vol. 1 (franCais / english / español)64 p., Niveau 1Une nouveauté aux Productions d'Oz, forts actives dans le domaine de la pédagogie pour guitare. ConCue pour être utilisée avec un professeur, la Méthode progressive pour guitare de Claudio Camisassa se démarque des autres ouvrages pour guitaristes débutants. De très nombreux morceaux sur les cordes à vides (une quinzaine de pages) permettent à l'élève de se concentrer sur l'acquisition d'un bonne technique de main droite, seul le pincé étant abordé dans ce premier volume. La méthode qui s'appuie sur un répertoire original écrit par Claudio Camisassa, comporte de nombreux duos pour l'éléve et le professeur et, surtout pour l'éléve, un accompagnement optionnel en accord ou en arpèges des mélodies travaillées. Deux pages d'exercices journaliers simples mais réellement efficaces, accompagnées d'indications précises sur Ies techniques de jeu, complètent cette méthode au chemin pédagogique efficace et rigoureux.(FranCois Nicolas, Guitare Classique, 2e trimestre 2002)This well-presented volume takes students from the very beginning with four main objectives of Classical Guitar Magazine developing technique, sight-reading, basic chord accompaniments and duo playing, and assumes the student is working with a teacher. It is very methodical, beginning with photographs of hand positions etc, and gives explanations of both rest and free stroke from the start. The first musical examples are open string melodies with added chord symbols with plenty of varied exampIes, and blank staves are given for note-writing exercises and also for aural tests, both of which are useful ideas for reinforcing general musical understanding. Apart from chord symbols, the left hand is first introduced with natural harmonics at the twelfth fret in an effective two-part exercise Carillon, which requires right fingers and thumb. Combinations of open strings and right-hand arpeggios follow and the opening section is brought to a natural close with Valse des Harmoniques - nicely shaped and quite complex with its use of natural harmonics, but a bit over-long. Camisassa now introduces notes on each string, in turn, in first position, and more complex arpeggio patterns, illustrated by pieces utilising each new group of notes. 2-guitar arrangements of tunes including Frere Jacques and Au Clair de la lune and Alouette, gentille alouette work quite weIl with straightforward accompaniments. I liked Camisassa's Tango, and Recuerdo de mi infanta, a two-part milonga reminiscent of Cardoso. Favourites such as Greensleeves and Malaguena are also included, and there are many pieces by Camisassa included which aim to enforce musical ideas. I found the way this book progresses, and the technical and musical aspects it teaches, very good and very thorough. I found myself using it a lot as supplementary material to demonstrate technical points and for sight-reading. However, the majority of pieces written by Camisassa did not inspire me musically and would need to be supplemented with pieces of more characterful musical interest, particularly for young players, but this volume does have much to offer.(Linda Kelsall Barnett, Classical Guitar Magazine, June 2002) / Guitare

14 famous themes from music history, from Bach to Offenbach, each with its own jazzy interpretation - just as in Vol. 1. This edition shows that 'classical music' and jazz are not that distant from one another after all. Just imagine Grieg's Piano Concerto played on a bandoneon - and you have got the perfect tango! Brahms' Hungarian Dance No. 1 is also ideal as a salsa ('Hungarian Salsa No.1'). Schubert's trout suffers a terrible fate, here it may continue to live in a lively ragtime ('Fish Rag'). With Mozart, the night is merry and friendly. but 'A Black Night Music' shows its dark side. The accompanying CD provides examples and suggestions as to how all of these pieces can be interpreted.

With the new Urtext Primo series, the Wiener Urtext Edition wants to close the gap arising at the point of transition to additional lessons after having studied a piano method. Beginning with a performance level which is outlined by pieces such as Bach's Minuet in G (BWV Anh. 116), Mozart's Minuet in F (KV 5) or Schumann's Wilder Reiter (Op. 68/8), works by three different composers are selected for each volume of the Urtext Primo series, with the aim of offering piano pupils (or even adults who want to resume piano playing) a wide range of repertoire pieces on the basis of which they can enhance their technical and musical skills. The pieces' range of levels of difficulty is relatively narrow so that the volume can be used continuously over a period of about two years. This is what distinguishes the Urtext Primo approach from almost all common anthologies. The selected repertoire takes into account not only pieces of the classic canon of lessons, but also lesser known works which are in no way of less importance for piano lessons. The Urtext Primo volumes are published in the internationally recognised standard of the Wiener Urtext editions. The explanations included in each volume shall help to deepen the knowledge of musical styles, music history and piano playing. A repertoire chart at the end of each volume gives a rough overview of the levels of difficulty of the selected pieces.Volume 4 combines works of the German Romanticism by Schumann, Brahms and Theodor Kirchner. Apart from well known pieces from Schumann's 'Album for the Youth' and the easiest waltzes from opus 39 (in the easier version) by Brahms, the selection contains the attractive set of variations from Schumann's first Youth Sonata Op. 118/1 and Brahms' Saraband in A minor WoO 5/1 as well as a number of pleasant pieces by Theodor Kirchner which continue the tonal air of Schumann and Brahms in easy playable pieces. / Piano

Media Type : Book/CD Set Level : Beginning Musical Genre : All Styles Number of pages : 146 This approach really works. It holds my student's interest. These are typical comments on the effectiveness of William Bay's Guitar Class Method. As no other instrument lends itself to so many moods and styles of music (blues, folk, rock, country, classical, flamenco, jazz, etc.), playing the guitar as a popular mode of expression and the instrument itself have become an integral part of American life. The Guitar Class Method was written with the hope it would expand the range of people of all ages who would be exposed to the guitar through a meaningful, authoritative method that is easy to follow. Volume 1 of this method for individual or group study offers an overview of the various styles of guitars and playing techniques with advice on purchasing and caring for the instrument, selecting guitar strings, and playing positions. Includes special sections devoted specifically to chord strumming, blues structure and style, fingerstyle technique, note reading, and music theory. The individual sections can be used simultaneously in any order to take the class in any direction it wants. Written in standard notation and tablature with chords presented in both diagram and photo format. Lyrics are included for many songs and a few melodies are presented as duet arrangements.

Piano Duets edited by Michael Aston-Piano Duets: Classical Composers presents varied and accessible repertoire for every duet player. The collection includes attractive new arrangements of orchestral and chamber gems alongside new editions of original works written specifically for Piano duet.You'll find sonata movements by less well-known composers of the period Clementi and J.C.F. Bach as well as Beethoven's complete Sonata in D major one of the few original duet sonatas written by the composer. The volume is concluded with a light and attractive Minuet and Trio by Haydn a colourful Theme and Variations by Mozart and a graceful and flowing arrangement of Schubert'sEntr'acte Music from Rosamunde. Ranging from the intimate to the virtuosic these pieces are ideal for duettists looking for new recital material as well as those beginning to explore the medium.Contents:J. C. F. Bach: Allegro con spirito from Sonata in A majorL. van Beethoven: Sonata in D major Op. 6Muzio Clementi: Allegro maestoso from Sonata in E flat major Op. 3 No. 2Joseph Haydn: Minuet and Trio from Symphony No. 100 'Military'W. A. Mozart: Allegro from Serenade K388Franz Schubert: Entr'acte No. 3 from Rosamunde

Par RAE JAMES. This book has been written to familiarise the clarinettist with the various rhythms and phrasings encountered in modern music. Each study deals with a particular aspect of rhythmic playing, ranging from Jazz and Rock to modern Classical interpretation. They are of short to moderate lenght in order to maximise concentration on style. They are compiled in order of difficulty. Early to advanced grades./ Etude / Clarinette