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España and Deux Danses espagnoles. These works are particularly suited for the instrument; stunningly idiomatic, they are ideal and effective encore pieces.

You must always keep looking for new musical references. I hope the BRAZILIAN BASS GROOVIE SONGBOOK takes you to another musical level.A ideia de escrever este songbook me ocorreu simplesmente porque teria sido muito bom ter um desses por ai quando eu comecei a tocar musica brasileira. Tocar musicas de ouvido e essencial para qualquer musico ou compositor profissional, e aprender transcriçes de linhas originais e um bom caminho para voce se familiarizar com o estilo.Bom, voce vai tocar todas as musicas imitando cada nota executada na gravaço original? Sim e no. Nem os musicos que gravaram tocam igual toda vez, certo? Existem diferentes verses, tambem. O que importa e que para improvisar ou rearranjar a musica, voce primeiro precisara ter dominio de sua linguagem, e para isso sera fundamental aprender a linha original. Por exemplo, aprender uma musica do Black Rio de cabo a rabo ira ajuda-lo a se desenvolver como baixista de samba-rock em geral.Voce deve tambem sempre buscar referencias novas, novos artistas para absorver a linguagem. Espero que com o BRAZILIAN BASS GROOVIE SONGBOOK, voce caminhe para uma nova etapa de sua jornada musical.Forte abraço.Gabriel Addad Ramiro

The Etudes mignonnes by the Italian flute virtuoso Giuseppe Gariboldi (1833-1905) are among the standard works for flute teaching. Our new edition in the Essential Exercises series provides useful information for lessons, instructions for practising and a summary of technical and musical problems. An important edition for lessons and study.

The Italian flute virtuoso Giuseppe Gariboldi (1833-1905) wrote numerous studies for the flute which are among todays standard teaching literature. Starting with easy melodic tonal studies, the First Exercises gradually expand their range of tones, thus increasing the technical demands. Melodic and harmonic progression, dynamics, articulation and dexterity are developed in short, exercises arranged in varying ways, starting from the basics.The song-like, easily comprehensible melody in connection with elementary motivic work (repetitions of motifs, sequences and variations) trains the inner tonal image which is imperative for the beginner in particular. When a sense of melodic progression and phrasing is developed on this basis, the increasing technical elements added later are incorporated both unobtrusively and organically. This new volume in the well-known Schott series Essential Exercises is complemented by teaching tips and an index of the technical and musical topics.

The Petites Etudes are of similar melodic charm as Gariboldis Études mignonnes Op.131 (Schott, ED 20354). A bit more virtuoso with regard to the fingering technique and articulation (and with the additional keys E major and Ab major), they are, in a sense, a continuation of his mignonnes.In this volume, the use of dynamics and the articulation described in great detail are essential to the interpretation of the etudes. Performed accurately, they freshen the sound and sharpen the listeners perception especially through the constantly varying execution of similar motifs. If practised accordingly, the Petites Etudes can improve technical skills considerably.

This collection of etudes by the virtuoso Sebastian Lee was used as a standard work for cello lessons at the Paris Conservatoire back in the 19th century. For thorough technical training and education, the etudes remain just as relevant today. In this new edition, in two volumes, any departures from the original are clearly marked. In addition useful tips and suggestions for practising have been added.

This collection of etudes by the virtuoso Sebastian Lee was used as a standard work for cello lessons at the Paris Conservatoire back in the 19th century. For thorough technical training and education, the etudes remain just as relevant today. In this new edition, in two volumes, any departures from the original are clearly marked. In addition useful tips and suggestions for practising have been added.

The clarinet method op. 63 by Carl Baermann from 1867 is still a standard work in classical clarinet education today. The thoroughly revised new edition aims at reviewing the educational concept, which is still valid today, for modern lessons, adjusting the music and texts, and sensibly complementing the teaching contents.The editor who draws on many years of experience as a clarinettist in an orchestra and university lecturer of clarinet has succeeded in adapting the valuable teaching material to the requirements of today while maintaining the basic methodology.

The clarinet method op. 63 by Carl Baermann from 1867 is still a standard work in classical clarinet education today. The thoroughly revised new edition aims at reviewing the educational concept, which is still valid today, for modern lessons, adjusting the music and texts, and sensibly complementing the teaching contents.The editor who draws on many years of experience as a clarinettist in an orchestra and university lecturer of clarinet has succeeded in adapting the valuable teaching material to the requirements of today while maintaining the basic methodology.

When the clarinet method was revised and newly published, the Daily Exercises, which were originally a part of the Clarinet Method Op. 63 by Carl Baermann, were published as a separate edition. The essential improvement consists in the arrangement of the individual exercises, which simplifies their use in teaching practice. As with the two volumes of the Clarinet Method, the musical text is based on the first edition of the method, and only few differences concerning articulation as well as several misprints and typographical errors were revised. By deleting the historical fingering instructions for the German fingering system, the clarinet method not only has a clean and, compared to the original, more clearly structured layout, but can also be used universally. By adding exercises with fourths, fifths, sevenths and octaves, the "Daily Exercises" contain everything that is necessary for the thorough technical education of a clarinettist and thus are an independent volume that can be used either as a supplement to the Baermann method or totally independently of it.Thanks to the revision by Robert Erdt, the result is a textbook that is oriented towards the original as regards content and, at the same time, has been adjusted to the current times with regard to language, education and instrumental technique so that this clarinet method by Carl Baermann can maintain its position in modern clarinet lessons as important educational literature for the classical clarinet.

O Jogo tem Início Tríades e Tétrades Intervalo e a sua Classificação Escala Cromática de Dó Primeiro Jogo Segundo Jogo: Contagem dos Semitons e Tons Figuras Musicais Terceiro jogo: Tríades Vamos ao J

The pieces in this volume were written in the years between 1886 and 1900. With the exception of the Petite Ouverture à danser they belong to the composers early period. At this time Satie was concer

With his meditative, sometimes mystical piano cycles "Gymnopédies" and "Gnossiennes" (1889/90), Satie influenced Ravel and Debussy. The pieces are deliberately short and light, have simple forms and a partly humorous character (such as, for example, the Bureaucratic Sonatina drawing on Clementi).

The mazurka was Chopins companion throughout his entire artistic life: He wrote the Mazurka in A minor Op. 68 at the age of seventeen, and even his very last composition was dedicated to this Polish dance form. Chopin unleashed the unknown poetry which was only suggested in the original themes of the true national mazurkas. Maintaining their rhythm, he refined the melody, expanded the proportions and introduced a harmonic contrast that was as new as the objects to which he adjusted it (F. Liszt). Of the total of 58 mazurkas by Chopin, this edition provides a selection of the better known and easier pieces for lessons and music lovers.

Telemann published these pieces in 1737 with the title Galanterie-Fugen und kleine Stucke furs Clavier. [Gallant-fugues and little pieces for the Clavier]. Each fugue is followed by three or four brief dance movements in the same (or a related) key and they are intended to be played like a suite. The volume also contains six little suites particularly suitable for teaching. The present volume is based on a copy of the first edition in the Conservatoire Royale de Musique in Brussels.

The piano fantasias by Telemann compiled in this edition are a small selection of his three times twelve fantasias which have been accessible to a wide audience thanks to a scientific reprint by Max Seiffert for many years. Yet, these musically and pianistically charming pieces have seldom come into the hands of pianists and teachers. This shall be remedied by this small selection.

Este livro trata do artista Paulo Moura no seu contexto histórico, social e artístico, abordando suas atividades artísticas até a produção dos discos Paulo Moura Hepteto (1968) e Paulo Moura e Quarte

This collection of easy pieces by Claude Debussy (1862-1918) contains the works The little negro, La Fille aux cheveux de lin, La Cathédrale engloutie and the collection Childrens Corner. A detailed preface by the editor Wilhelm Ohmen introduces the specific problems arising in connection with the interpretation of Debussys works, such as pedalling. A second volume (ED 9037) with further piano works, such as 2 Arabesques, Clair de lune, Des pas sur la neige, is available as a supplement.

This collection of intermediate pieces by Claude Debussy (1862-1918) contains the 2 Arabesques, Clair de lune, Des pas sur la neige and many more pieces. A detailed preface by the editor Wilhelm Ohmen introduces the specific problems arising in connection with the interpretation of Debussys works, such as pedalling.

These short eight-bar exercises are generally regarded as some of the best, most versatile and comprehensive of Czernys studies. Apart from helping to achieve speed, suppleness and versatility of tone and touch, these exercises concentrate on many essential aspects of piano technique: diatonic and chromatic scales, tone repetition, chords progressions and arpeggios, thirds and octaves, two-part playing in one hand, polyphony, alternating hands, trills and other ornamentation, etc.This new edition is based on the first edition of 1853 and contains Czernys original fingering.