I Can Read Music is a beginning note-reading book for violincello students who have learned to play using an aural approach such as the Suzuki Method, or for those traditionally taught students who need extra note-reading practise. Rhythm and pitch are taught separately, so that the student can work on one thing at a time. When the aspects of reading are established, they can be combined successfu…

Par PUSCOIU COSTEL. Great performers have proven that the viola can be successfully used for playing not only classic music, but also symphonic or chamber music from the classical, romantic or modern 36 period just as well as any other musical instrument. No longer is the contemporary repertoire considered unfit for the viola. This collection contains music which has been adapted and arranged espe…

Par BUNTING CHRISTOPHER. Warming up and keeping one?s basic technique in peak condition, (or working to get to peak condition) is fundamentally important, yet many cellists do not have routine exercises to follow. This book, the second of a two volume set, which complements book 1, provides the exercises that every cellist needs, for both the left and right hands: bow off the string; right arm cho…

Comprised of works from Volumes 1, 2 and 3 of the Suzuki Violin School, which have been arranged for string quartet by violinist/arranger Joseph Knaus. With lower string parts providing melodic and rhythmic counterpoint to set off the simple melodies (which match the Suzuki Method® repertoire), these quartets are nevertheless simple enough for beginning level players ready for their first chamber …

Learn to play finger picking style - fast! Easy Pickings Dylan lets you play some of this legendary artist's greatest songs, finger picking style. It's easier than you ever thought possible with Easy Pickings, the exciting new way to master the technique. The music in this book doesn't use standard notation. Instead, a combination of chord boxes and crosses on the strings illustrate the picking pa…

Par GOODALL HOWARD. A beautiful cycle of six loosely interwoven movements for solo Harp or Piano and Upper Voices, by Howard Goodall. Although the story of the Nativity lies at the core of this work- celebrating Motherhood and the different moods that might be embraced by a lullaby- it also explores associated secular issues of homelessness, displacement and flight, showing the relevance that this…

Vocal coach and choral director Mark De-Lisser, who has edited and arranged the highly acclaimed Sing Out! series, here turns his attention to the a cappella repertoire, with five uplifting songs for SATB choir in this sixth pop repertoire book in the series.As before, these songs have each been selected for their positive lyrics and heart-warming feel, making them ideal to teach to adults and chi…

Trevor Wye's renowned Practice Books For The Flute have been invaluable for flautists for many years. This Omnibus Edition features books 1-6 in one bumper compendium, with a CD included that accompanies the first book.

The 'Hallelujah' Chorus, arguably the most famous choral work of the western classical tradition, is the closing number of the second part of Handel's Messiah. Such is the strength of Handel's word setting that this empathic, triumphal paean retains its appeal in spite of the cultural overexposure and controversy to which it has been subjected, remaining a firm favourite with choirs. The premiere …

Par WILLS ARTHUR / RATCLIFFE DESMOND / JACKSON FRANCIS. In this collection, the composers have attempted to provide pieces that display the individual tone-colours of the modern organ. Works of this nature are scarce, but their value, particularly for the recital, is considerable. This contrasted set could well be played as a group in one programme. / Niveau : INTERMEDIATE / Recueil / Orgue

King Arthur (Arr. Laurie). Par PURCELL HENRY. King Arthur was the only one of Purcell's professionally produced operas to have been designed as a semi-opera - the others were all adaptations of earlier plays. Dryden made a real attempt to integrate the music into the drama, but since he ascribed to the dramatic conventions of the period which virtually confined music to allegorical or supernatural…