Study War No More

Preliminary-An excellent collection of 60 graded studies and exercises for Piano covering a wealth of techniques and skills needed at preliminary level. The exercises are selected from the Piano heritage of Czerny Breslaur Brunner and others and designed to tackle every area of Piano playing including:Hand strength and firmness of touchLeft hand independenceLegato steadinessHand crossingBroken chordsScalic melodies...and much more!

für zwei Hörner zwei Violinen Viola und Bass-It is hardly surprising that Beethoven did not write any more chamber music for winds after 1800. Following the change to middle-class musical culture demand declined for buoyant serenades and divertimenti intended for courtcircles a genre that Beethoven had reservations about as it was. Composed in 1795 with no known occasion in mind his Sextet op. 81b is thus all the more remarkable standing out on account of the unusual virtuosity of the hornparts. This edition is the first to provide the bass part as originally intended by Beethoven: for violoncello supported by a double bass. In addition to the original horn parts in E flat it also contains transposed parts in F.

On the 200th anniversary of Robert Schumann's birth an ambitious project is coming to a close: For the first time since Clara Schumann's Complete Edition of 1879 93 all of the works for Piano solo are appearing as oneeditorial project.Spanning almost ten years of painstaking work all of the Schumann titles published by G. Henle Publishers have undergone a careful revision. The Schumann expert Ernst Herttrich has closely examined eachedition and also dedicated himself to those works that were previously missing from the catalogue.The result is being published in this new collection comprising six volumes as well as study editions in a slipcase. Theyreplace the former four volumes (HN108-HN115). Arranged clearly according to opus numbers it includes not only all of Schumann's Piano works revised to reflect the latest scholarly findings but also informative accompanyingtexts alternative versions and much more besides.Contents:Abegg Variations op. 1Papillons op. 2 Paganini-Studies op. 3 Intermezzi op. 4 Impromptus op. 5 (1833/1850) Davidsbündlertänzeop. 6 Toccata op. 7 (1830/1834)Fantasy Pieces op. 12 (with Appendix: posthumous piece) Paganini-Studies op. 10 Sonata f sharp minor op. 11 Allegro b minor op. 8 Carnaval op. 9Symphonic Etudes op. 13 Piano Sonata with Early Version: Concert sans Orchestre f minor op. 14 Scenes from Childhood op. 15 Kreisleriana op. 16 Fantasy C major op. 17 Arabesque op. 18 Flower Piece (Blumenstück) op. 19Humoresque B flat major op. 20 Novelettes op. 21 Sonata g minor op. 22 Night Pieces op. 23 Carnival of Vienna op. 26 3 Romances op. 28 Scherzo Gigue Romance and Fughetta op. 32 Album for the Youngop. 68 Four Fugues op. 72 Four Marches op. 76 Forest Scenes op. 82 Exercises [Beethoven Studies] Variations on a Theme in E flat major ['Ghost' Variations] E flat major Drei Fantasiestücke op. 111

Dramma giocoso in zwei Akten-In the space of a few months in the autumn and winter of 1789 Mozart filled more than 650 pages of a score that shows practically no signs of mental or physical exertion. The result was one of his most profound operas Così fan tutte which has held listeners spellbound with its blend of bitterness and comedy to the present day.Edited by Faye Ferguson and Wolfgang Rehm for the ?New Mozart Edition? (NMA II/5/18) incorporating the latest scholarly findings from the critical commentary published by Henning Bey and Faye Ferguson in 2003.Incorporates latest scholarly findings from the critical commentary of 2003Studyscore (TP314) full score (BA4606-01) and vocal score (BA4606-90) available for salePerformance material (BA4606-72) for hire

Par BARRETT DAVID. Minor Blues Harmonica includes introductory material for new players on holding the harmonica, achieving a single note, and common techniques that sound great on the instrument. Not-so-new players will enjoy learning new songs at their current skill levels. Intermediate players will benefit from learning to play in 3rd Position to broaden their options while performing. Players at a more advanced level will learn to play in minor keysâ'a challenge for harmonica players, but less difficult in 3rd Position. In this book we'll explore the killer sounds that 3rd Position has to offer, focusing on the following areas: 1) New players will learn to play single notes and movingaround the harmonica with good tone. 2) Learning to improvise in 3rd Position in an intuitive way, even for beginners. 3) Learning 'study” songs to play by yourself and at blues jams. These songs also provide valuable licks to help develop your own improvisational vocabulary. 4) An overview of music theory to help you understand what's technically going on. (This is at the end of the book, so it's not required in order to play the examples.) 5) A chapter for the more advanced players to learn how to play the lower octave of the harmonica in 3rd Position (requires good bending skills). You'll need a C Major Diatonic Harmonica for this book and recording. Recordings of all the examples are played by author David Barrett. Includes access to online audio. / Niveau : Facile / Pédagogie / Etude / Harmonica Diatonique

A one-of-a-kind comprehensive approach to left-hand technique for the double bassist Bass on Top features 50 classic jazz songs with precise fingerings to help you gain mastery of the fingerboard. Songs are presented in order of difficulty creating the perfect workbook for classroom situations or for any individual who wants to develop a solid foundation for soloing and walking basslines.Songs include: All of Me • Bye Bye Blackbird • Don't Get Around Much Anymore • The Girl from Ipanema • Lullaby of Birdland • A Night in Tunisia • Satin Doll •Tail Feathers • and more.

Judith Weir's Good Morning Midnight was commissioned by Wigmore Hall and was first performed on 6th June 2015 at the Wigmore Hall in London. The work is arranged for Mezzo-Soprano and Chamber Ensemble and lasts around 20 minutes. This is a study score. Good Morning Midnight takes its name from a poem by Emily Dickinson whose poetry bookends this work a setting of five different versesin total. The words all centre around the theme of night solitude quiet and the passage of time the beauty of which is matched by Weir's fantastic music. Taking the words as her inspiration Weir createsa satisfying work that's full of emotion and a sheer joy to listen to. At its world premiere it was performed by Sarah Connolly (Mezzo-Soprano) and the Aurora Orchestra conducted by Nicolas Collon.

More Graded Studies For Clarinet brings together Clarinet study repertoire spanning the entire spectrum of technique and providing a firm foundation for progress. Featuring core works from established Clarinet writers alongside specially composed studies by Paul Harris these comprehensive study collections apply the simultaneous Learning approach to instrumental technique. Two study books arranged in order of increasing difficulty according to carefully planned technical progression. The studies develop key aspects of style found in in repertoire from the 19th century onwards. Each study comes with a list ofSimultaneous Learning musical ingredients for players to explore in preperation for the music. Book One begins at elementary level and progresses to intermediate (approx. grades 1-5); Book Two takes the student from intermediate to advanced level (approx. grades 6-8). Paul Harris is one of the UK's most respected music teachers and educationalists known for his innovative Simultaneous Learning approach. He has over 600 publications to his name including the highly acclaimed Improve your teaching! Improve your sight-reading! Improve your aural! and Improve your practice! series. Harris writes frequently on music education and is in great demand as a workshop and seminar leader around the world.

Works by Albeniz, Bach, Dowland, Granados, Scarlatti, Sor and other Great Composers. More than 50 classic guitar pieces from rarities to popular favorites, including works by Albeniz, Bach, Dowland, Granados, Scarlatti, Sor and other great composers. Transcribed, arranged and edited by David Nadal. Guitarists at every level will find this sturdy, attractive, modestly priced collection of enduring works an indispensable addition to their musical libraries./ Recueil / Guitare

This new scholarly-critical edition of String Quartet Op.127 the first of Beethoven’s late quartets follows upon Urtext publications of Opp.18 59 74 and 95.Once more the editor is the renowned Beethoven authority Jonathan Del Mar. All surviving sources have been consulted including sketches to clarify the conflicting readings in the autograph. Not only has Del Mar reconstructed Beethoven’s original beaming phrasing articulation and length of crescendo hairpins he has also corrected wrong notes that have taken hold in editions published over the years and has supplemented missing notes.Urtext edition at the cutting edge ofscholarship with detailed separate Critical Commentary (Eng)Parts ideally laid out for performance purposesParts (BA9029) & study score format 22.5 x 16.5cm (TP929) available for saleAlready published: String Quartets Op.18 BA 9016 parts TP 916 study scoreString Quartets Op.59 BA 9017 parts TP 917 study scoreString Quartets Opp.74 95 BA 9018 parts TP 918 study score

a 6 et a 8-The Serenade in E-flat K.375 exists in two versions one for two clarinets two horns and two bassoons and another for the same forces plus two oboes forming an octet.From Mozart himself we know a fair amount about the occasion that led to the first six-instrument version of this work and about its early performances. Written for the sister-in-law of the court painter Hickl it probably originated toward the end of September or the beginning of October in 1781 and was first performed on 15 October the name-day of St. Theresa.The octet version probably arose in the summer of the following year. It is far more than a mechanical expansion of the sextetwith the oboes merely reinforcing the clarinets colla parte. Not only did Mozart take advantage of the occasion to make changes in the articulation and the dynamics he also altered the work’s melodic substance and formal design. The two additional high-register instruments allowed him to achieve more subtle distinctions and gradations of timbre thereby enabling him for example to vary the timbral homogeneity of the two clarinets. The opportunity arose to divide melodic phrases among the clarinets and oboes or to make them more brilliant and incisive by doubling them at the unison or octave.- Urtext of the New Mozart Edition- Parts sextet version (BA5333) octet version (BA5334) and study score both versions format 22.5 x 16.5cm (TP315) available for sale