It Takes Four to Tango

Schmitz: Mini-Tango Heft 2 for Piano for six hands With These Minis, It Takes Three to Tango For a long time, there was a little gap in Manfred Schmitz?s ?mini? piano series (Mini Jazz, Mini Rock, Mini Tango). Now it?s been closed. The ?Mini Tango? now welcomes its six-hand book, which contains a mix of newly written pieces and highlights from the basic book for two and four hands, which were arranged and sometimes considerably expanded. As usual, Schmitz fashions each of the three parts as technically equal in value. Keeping six hands busy, the ?Mini Tango? now brings a new sound quality to group recitals organized by piano teachers. Table des matières 1 Parrot Tango 2 Penguin Tango 3 Morning Tango 4 Evening Tango 5 Sad Tango 6 Fiery Dance 7 Feel-good Tango 8 Little Sorrow 9 Lonely dancing Girl 10 Dance till Sunrise 11 Snuggly Tango 12 Tango Elegy 13 Tango for Manuela 14 Memory Tango 15 Sentimental Tango 16 Goodbye, Argentina 17 Black Rose 18 Tango virtuoso

22 Easy Concert Pieces from 5 Centuries. The edition 'Mein erstes Konzert' [My First Concert] contains 22 easy pieces for lessons, first recitals or pupils' competitions. This volume takes the player on a musical journey through five epochs ? from the Renaissance era via the Baroque, Classical and Romantic eras to contemporary music. A special highlight is the large number of pieces of popular music, including motivating pieces from the areas of pop music, jazz, spiritual, bossa nova and tango most of which have been specially composed for this volume. Most works can be played after two years of lessons already; all pieces are in the first position and can be played in the four fingering patterns. To two compositions requiring position playing, an easier alternative has been added. Fingerings for position playing can of course be entered in the pieces by the teacher to improve the tonal result.

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

22 leichte Vortragsstücke aus 5 Jahrhunderten-The edition 'Mein erstes Konzert' [My First Concert] contains 22 easy pieces for lessons first recitals or pupils' competitions. This volume takes the player on a musical journey through five epochs – from the Renaissance era via the Baroque Classical and Romantic eras to contemporary music. A special highlight is the large number of pieces of popular music including motivating pieces from the areas of pop music jazz spiritual bossa nova and tango most of which have been specially composed for this volume. Most works can be played after two years of lessons already; all pieces are in the first position and can be played in the four fingeringpatterns. To two compositions requiring position playing an easier alternative has been added. Fingerings for position playing can of course be entered in the pieces by the teacher to improve the tonal result. Learning to master the pieces is made easier by the accompanying CD which on the one hand provides the opportunity to listen to and get familiar with the pieces beforehand and on the other hand offers the opportunity to gain first experiences of ensemble playing with the help of the separately recorded Piano accompaniments.