Little Concert Pieces And Studies From 'Método De Guitarra' - 1825 Vol.2

Charles Dancla (1817-1907) is considered to be the last great representative of the French Violin School. He knew in a special way how to implement the principle 'no music without technique no technique without music' in his teaching material. This is the case in his easy melodic studies. These studies are perfectly suited for young beginners after the second year but also for adult players refreshers or outsiders. Most of them can be effectively used as little performance pieces providing an excellent foundation for every advanced étude or concert piece.Each study is preceded by new or revised exercises which either deal with specific problems relating to the playingtechnique or present the tonal material of the respective study in a condensed playful form.Those who prefer Dancla's somewhat easier original preliminary exercises will find them in the appendix.

An important addition to the ground-breaking Essentials of Musicianship Series from Curnow Music Press! You have probably found that if you rely entirely on your method book and performance pieces for teaching and reinforcement many aspects of musicianship do not receive the focus that they should have. Method books have notoriously little reinforcement material because they try to cover so much with so little book space. The Essentials Series allows you to select the areas that your band needs work on and provides a great deal of reinforcement for those critical skills. If you are not yet familiar with this series you have just discovered a tremendousteaching resource! Look at a score for Sight-Reading Builders and notice the comprehensive instructions for most effective use. Teach your band to read style and well as notes and rhythms! A wonderful resource!

This is the final book in this brand new series by Elissa Milne. Each of the five books are filled with fun jazz pieces that can be used both as pedagogical studies and as repertoire pieces. 'Even More Little Peppers' takes young pianists to around Grade 5 standard. Each of the pieces have been written with the developing musician in mind encouraging them to consider both the technical and musical aspects of playing. The pieces in this volume are perfect programme fillers for the end of term concert as well as sound studies which help prepare for exams.

Commissioned by the BBC for Ashley Wass one of Radio 3's New Generation Artists and first performed at a Proms Chamber Music Concert on 31st August 2009.'The series of concert pieces (ranging from 5 to 16 minutes) that I have called Studies started with the intention of exploring either pianistic or compositional topics but has since No 7 a homage to Dukas also reflected my love of the music of various composers. Tippett?s piano music some of which I have played many times has always fascinated me for its examination of an enormous range of keyboard sonorities and technique and for its lyrical poetry and the energy and dynamism so typical of its composer. Inthis study I have combined my tribute to him (during which I refer to two of his works) with an exploration of sonata form for many years I resisted the idea of writing a Piano Sonata (note the capital letters) thinking sonata form itself was not for me but I suddenly felt I could write a single-movement work thinking of the examples of Hoddinott Scriabin and Tippett himself which would impinge closely on sonata form. Thus the opening vigorous section recurs as a kind of recapitulation to close the work and between those two parts are a slow ?movement? and then a lightly scored scherzo. The actual ending itself vanishes into the distance in a little phrase which gets quicker and quieter until it is hardly heard.'????????????????John McCabe

SOLO TUNING See RM722 for Orchestral Tuning The 'Dragonetti Concerto' was first published in 1925 by Alphonse Leduc in Paris as No.23 of Edouard Nanny's 'Les Classiques de la Contrebasse'. For many years no one questioned its authenticity, but as more research into Dragonetti's original works for double bass was made, concerns began to arise. Many of Dragonetti manuscripts survive in the British Library, thanks to Vincent Novello who donated them in 1849, three years after Dragonetti's death and on Novello's retirement to Italy, but there is no original manuscript for this work. As bassists began to edit and perform a wide range of Dragonetti's works it became clear that this concerto bore little resemblance to any of his other pieces. The work does, however, have many similarities to Nanny's Concerto for double bass, also to his other solo works and even studies from his Method. Eventually most people came to the conclusion that this work is not an original work by the great Venetian bassist but is by Edouard Nanny, and in the style of the late 18th-century. Having said that, this is still a charming and evocative work which has much player and audience appeal and is very easy on the ears. Many of the challenges for the soloist are technical and, almost a century after its first publication, it is still as popular as ever. Published in 1925, the first movement was performed at London's Wigmore Hall on 15 April the following year by Victor Watson (double bass) and Sidney Crooke (piano), and was described a 'Contrabass Concerto by Dragonetti-Nanny. ERRATA: Piano part: page 8 (1st movement), bar 87 - final chord of bar in right hand should be D/E/G# - a dominant 7th chord in A major Edouard Nanny was an important French double bassist and teacher, also composing and transcribing many works for double bass. He was born in Saint-Germain-en-Laye on 24 March 1872 and he studied at the Paris Conservatoire with Professor Verrimst, also teaching there from 1920-1940. He performed often as a soloist, also working as an orchestral bassist with many orchestras such as the Paris Symphony Orchestra, Concerts Lamoureux and the Orchestra de l'Opera Comique, and in 1901 he founded the Henry Casadeus Society of Old Instruments, chaired by Camille Saint-Saens, and intended to revive the works from the past centuries. Nanny's Method for double bass is still in print, over 90 years since its first publication and both volumes contain a wealth of excellent technical studies and exercises which are as relevant today as they were in the 1920s. His other volumes of studies are mostly out of print and Recital Music plan to reprint some of his orginal works for double bass, transcriptions and educational music to keep alive the name of Edouard Nanny into the 21st-century. Edouard Nanny died in Paris in 1942.