Supplement

Level: easy / intermediate Format: English / French / German Arranger/Editor: Thomas Stevens This book is a supplement to the original James Stamp Warm-Ups and Studies (Editions Bim, Switzerland), and all of James Stamp's concepts and instructions presented in the original volume should apply to these studies as if they were included in this book. The Stamp Warm-up No.6 from the original book (page 10) constitutes the main body of these studies (II, 1-6, pages 18-35). In his studio teaching, James Stamp had his advanced students play No.6 in the natural minor, harmonic minor, 'jazz' melodic minor, whole-tone, and diminished scales, versions of which are included in this volume. The philosophy of the Supplemental Studies, to which James Stamp agreed many years ago, was to fill in some of the blank pages of his legacy, to wit: to show his advanced scale exercises and some of his pedagogical 'roots.' One cannot do this without mentioning Max Schlossberg (1873-1936), whom many consider to be the father of the American school of trumpet playing, and who had a great influence on James Stamp's work. James Stamp was a student of professor Schlossberg, and he used, especially during his formative years as a teacher, some of Schlossberg's original unpublished materials in his work. Schlossberg's concepts also greatly influenced the development of the now world-famous original published Stamp materials (Editions Bim). The Supplemental Studies include four preparatory scale exercises (I, page 8-16) and five attack-air flow studies (III, page 36-39) used by James Stamp, both sets of which have their origins in the concepts of Max Schlossberg and the members of the so-called Schlossberg School. Thomas Stevens

Der Supplementband zu Lulu enthält im A-Band ein farbiges Faksimile der vollständigen Handschrift von Bergs Particell des III. Akts, der beeindruckenden Hauptquelle für die Musik des unvollendeten Schlußakts der Oper. Im zugehörigen Kommentarband folgen auf Einleitung, Chronologie und Quellenbeschreibung mehrere Kapitel, die bestimmten Aspekten der Handschrift gewidmet sind: Anlage des Manuskripts, Kalligraphie, farbige Eintragungen, Instrumentation, Textstatus. Über weite Strecken handelt es sich dabei um 'Stellenkommentare', die zu verstehender Betrachtung des Particell-Faksimiles, aus unterschiedlicher Perspektive, anleiten möchten. / Conducteur Facsimilé

With Supplement-Over 800 hymns and chants Gelineau psalms Mass settings Benediction settings and the music of the St Louis Jesuits. Extensively indexed including Lectionary.

A violin method for children aged four and older with a Spanish text supplement. Par SASSMANNSHAUS EGON. Note reading is introduced from the beginning, and accidentals are explained in the easiest way in the first volume. By the end of the first book, many English children?s songs using all fingers have been played and note values from whole to eighthnotes have been introduced. Even the easiest exercises are underlaid with text so that melodies can be perceived as a whole. The original German violin method was first published in 1976. The author Egon Sassmannshaus is one of the most experienced and renowned violin pedagogues in Germany . For the new English edition his son Kurt Sassmannshaus worked as co-author and adapted his father?s successful method for English-speaking children./ Méthode / Violon

With Supplement-Over 800 hymns and chants Gelineau psalms Mass settings Benediction settings and the music of the St Louis Jesuits. Extensively indexed including Lectionary.

With Supplement-Over 800 hymns and chants Gelineau psalms Mass settings Benediction settings and the music of the St Louis Jesuits. Extensively indexed including Lectionary.

By popular request this book includes all the songs which first appeared in Book 1 of the original edition. Specially graded to supplement Book 1 of the new edition. / Ligne Mélodique, Paroles Et Accords (Avec Grilles D'Accords)

The purpose of this book is to provide students with an enjoyable fast pace and effective means of learning the third position. Visually enlarged staves and notes make technical difficulties easier. Scale finger patterndiagrams show clear finger placement. The melodies included are simple and easy to remember encouraging learning by ear. Technically shifts are limited repetitive and systematic. Ideal for any violin student. A greatsupplement to Suzuki curriculum.

Spielend for two violins was written during the summer and early autumn of 2003 and is based on the idea of the two instruments not only playing the instruments but also playing in the sense of sport i.e. playing their themes off against each other and playing with the musical material. There are times for instance when they seem to be having a contest to see who can finish the themes first or who can divert the other’s attention to a new texture or rhythm. The title the German word for 'playing' also refers in a way to the composer himself exploring the themes harmonies and rhythms - particularly notable in this respect is the large central slow section which contraststwo altered reminiscences of the Violin Sonata of Poulenc (a composer whose music is very dear to me) with the gradual expansion of a fugue from two parts to eight (four in each violin). Fugue after all is in a sense an example of a composer making sport however seriously with the themes.So the work is a kind of extended musical pun lasting about fifteen minutes in all and being performed without a break. Though the central section is slow the outer ones are quick and energetic emphasizing especially the idea of activity and vigour - the ending however may catch the unwary listener by surprise.The first performance was given by Philippa Mo and Peter Sheppard Skærved in Leighton House London on 7th May 2004.'John McCabe's new 'Spielend' strikes me as a miniature masterpiece: a highly charged 15-minute piece in which the violins chase or echo each other in a thousand different ways including a fugure in which as with Bach two instruments seemed to suggest a dozen voices.'            - Richard Morrison The Times 11/05/2004

A Cross-Cultural Curricular Supplement-A Cross-Cultural Curricular supplement. In just five short years WORLD MUSIC DRUMMING has become the hottest new addition to the school music curriculum in years. In thousands of classrooms (grades 3-12) across the U.S. andCanada teachers have found that this active hands-on approach really works. Through the teamwork approach to learning West African and Caribbean drum ensembles with songs and movement teachers are able to reach all of thestudents - even in middle school! Now comes Will Schmid's new book and playalong CD World Music Drumming: NEW ENSEMBLES AND SONGS that supplements the original World Music Drumming curriculum. These new pieces expand thedrumming spectrum to include new culture areas and contemporary drumming styles. All pieces and songs have been kid-tested by grades 3-12. Available Book/CD Pak.

Bjarne Martin's arrangement of the traditional Norwegian folk tune Per Spilmand scored for SAB.