Barcelonian Gaspar Cassado (1897-1966) was one of the greatest cello virtuosi of the twentieth century and a notable composer and arranger, leaving a vast and heterogeneous legacy. In this book, Gabrielle Kaufman provides the first full-length scholarly work dedicated to Cassado, containing the results of seven years of research into his life and legacy, after following the cellist's steps through Spain, France, Italy and Japan. The study presents in-depth descriptions of the three main parts of Cassado's creative output: composition, transcription and performance, especially focusing on Cassado's plural and multi-facetted creativity, which is examined from both cultural and historical perspectives. Cassado's role within the evolution of twentieth-century cello performance is thoroughly examined, including a discussion regarding the musical and technical aspects of performing Cassado's works, aimed directly at performers. The study presents the first attempt at a comprehensive catalogue of Cassado's works, both original and transcribed, as well as his recordings, using a number of new archival sources and testimonies. In addition, the composer's significance within Spanish twentieth-century music is treated in detail through a number of case studies, sustained by examples from recovered score manuscripts. Illuminated by extraordinary source material Gaspar Cassado: Cellist, Composer and Transcriber expands and deepens our knowledge of this complex figure, and will be of crucial importance to students and scholars in the fields of Performance Practice and Spanish Music, as well as to professional cellists and advanced cello students.

Cello Time Joggers is a landmark book in the popular Cello Time series, which is enjoyed by students and teachers all over the world. It contains Kathy and David Blackwell's trademark attractive and engaging compositions that appeal to learners of all ages. This book contains cello accompaniments for the tunes in Cello Time Joggers. These fun, characterful duet parts are suitable for a teacher or more advanced student, and will enhance lessons by providing an alternative accompaniment option for these popular pieces.

Dip into this stockingful of easy Christmas music for cello! Unwrap a traditional carol, dance to the 'Skaters' Waltz' and a 'Christmas Calypso', and pull a cracker full of solos and duets. With words to sing along, chords for guitar or keyboard, and a fantastic play-along CD, Cello Time Christmas is the perfect gift for any young cellist.

Each of us carries a song inside us, the song that makes us human. ZEN GUITAR provides the key to unlocking this song - a series of life lessons presented through the metaphor of music. Philip Sudo offers his own experiences with music to enable us to rediscover the harmony in each of our lives and open ourselves to Zen awareness uniquely suited to the Western Mind. Through fifty-eight lessons that provide focus and a guide, the reader is led through to Zen awareness. This harmony is further illuminated through quotes from sources ranging from Eric Clapton and Jimi Hendrix to Miles Davis. From those who have never strummed a guitar to the more experienced, ZEN GUITAR shows how the path of music offers fulfillment in all aspects of life - a winning idea and an instant classic.

The Two pieces for violin and piano, 'Canzonetta' and 'Scherzetto', were written in the late 1940s. The melody of the first is from a 13th-century troubadour song. This edition is based on the score published in the Walton Edition Chamber Music volume.

The Suzuki MethodA(R) of Talent Education is based on Dr. Shinichi Suzuki's view that every child is born with ability, and that man is the son of his environment. According to Dr. Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the "mother-tongue" approach. Suzuki Cello School materials include: Cello Parts (Vol. 1-10) * Piano Accompaniments (Vol. 1-8) * Cassettes (Vol. 1-3, 7, & 8 performed by Tsuyoshi Tsutsumi, Vol. 4-6 performed by Ron Leonard) * Compact Discs (Vol. 1-3, 7, & 8 performed by Tsuyoshi Tsutsumi, Vol. 4-6 performed by Ron Leonard). Suzuki MethodA(R) Core Materials available for piano, violin, viola, cello, string bass, flute, harp, guitar, and recorder.

Fiddle Time Joggers is a landmark book in the popular Fiddle Time series, which is enjoyed by students and teachers all over the world. It contains Kathy and David Blackwell's trademark attractive and engaging compositions that appeal to learners of all ages. This book contains piano accompaniments for Fiddle Time Joggers. Characterful and easy to play, these piano parts provide stylish accompaniments to all of the pieces in the pupil book. Essential for teachers and musical parents, this book will help motivate all young violinists as they learn to play.

"Acoustic Guitar Styles" introduces the most popular traditional styles for the acoustic guitar. The step-by-step approach, using a small repertoire of well-known songs, enables the student to explore various styles that can be adapted to play personal favorites. Although a basic knowledge of the guitar is assumed, even the beginner will benefit from this progressive approach.

This exciting new series by the authors of Fiddle Time, Viola Time, and Cello Time provides great new ensemble material for all string groups, whatever their size. String Time Joggers is a must-have for all those looking for imaginative and enjoyable ensemble repertoire.

(Fretted). The Hal Leonard Ukulele Method is designed for anyone just learning to play ukulele. This comprehensive and easy-to-use beginner's guide by acclaimed performer and uke master Lil' Rev includes many fun songs of different styles to learn and play. The accompanying CD contains 46 tracks of songs for demonstration and play along. Includes: types of ukuleles, tuning, music reading, melody playing, chords, strumming, scales, tremolo, music notation and tablature, a variety of music styles, ukulele history and much more.

The zheng zither is one of the most popular instruments in contemporary China. It is commonly regarded as a solo instrument with a continuous tradition dating back to ancient times. But in fact, much of its contemporary solo repertory is derived from several different regional folk ensemble repertories of the mid-twentieth century. Since the setting up of China's modern conservatories, the zheng has been transformed within these new contexts of professional music-making. Over the course of the twentieth century, these regional folk repertories were brought into the performance traditions of modern regional zheng schools. From this basis, a large new zheng repertory was created by conservatory musicians, combining aspects of Western classical music with folk music materials. With the 'opening up' of China's economy since the 1980s, the zheng has been brought into the wider stage of international music-making which includes contemporary art music compositions by overseas based Chinese composers and commercial world music works by Western composers. Through a series of case studies, this book explores how the transformation of the Chinese zheng has constantly responded to its changing social context, critiquing the long-standing arguments concerning 'authenticity' in the development of tradition. This work arises out of, and reflects on, the research methodologies known as performance as research. As an insider to the tradition, brought up within China's zheng society, a trained and practising zheng performer, this study is largely drawn from the author's own experiences of practising and performing the music in question; her study also draws on fieldwork, as well as primary and secondary written sources in Chinese and English. This book is accompanied by downloadable resources which contain audio visual materials relating to the author's fieldwork and zheng performances by different zheng musicians.

When aspiring violinist Jessica Chiccehitto Hindman lands a job with a professional ensemble in New York City, she imagines she has achieved her lifelong dream. But the ensemble proves to be a sham. When the group "performs", the microphones are never on. Instead, the music blares from a CD. The mastermind behind this scheme is a peculiar and mysterious figure known as The Composer, who is gaslighting his audiences with music that sounds suspiciously like the Titanic movie soundtrack. On tour with his chaotic ensemble, Hindman spirals into crises of identity and disillusionment as she "plays" for audiences genuinely moved by the performance, unable to differentiate real from fake. Sounds Like Titanic is a surreal, often hilarious coming-of-age story. Hindman writes with precise, candid prose and sharp insight into ambition and gender, especially when it comes to the difficulties young women face in a world that views them as silly, shallow and stupid. As the story swells to a crescendo, it gives voice to the anxieties and illusions of a generation of women, and reveals the failed promises of a nation that takes comfort in false realities.

How did a music instrument transplated to South America by colonial Jesuit missionaries earn the official designation as Paraguay's cultural national symbol? This ethnomusicological and organological study of the Paraguayan diatonic harp in the twentieth century tells its story as an emblematic national musical instrument. First used liturgically by Jesuit missions in colonial times, the transplanted European diatonic harp was transformed and adopted into the folk music vocabulary of Paraguay and the Rio de la Plata region. Following the commercial success of Paraguayan harpist Felix Perez Cardozo in the 1930s in Argentina, the instrument's symbolic value as an icon of social, cultural, and national identity was articulated in local traditions such as popular folk music festivals. It received designation of arpa paraguaya (Paraguayan harp) and, in 2010, official recognition as simbolo de la cultura nacional (cultural national symbol). The author's fieldwork in Paraguay and continuous contact with composers, educators, festival organizers, harp performers, researchers, and festival organizers have provided unique insights into the development of the Paraguayan harp tradition as a cultural icon of the nation.

25 hand-picked standards lushly arranged by jazz ukulele great Lyle Ritz. Each song is arranged for both GCEA (standard tuning) and DGBE (tenor/baritone) tuned ukuleles. Also includes a CD of 12 of the songs performed by Ritz himself. While this songbook is ideal for the experienced player, with practice, these magnificent arrangements can be enjoyed and appreciated by all ukulele enthusiasts. Includes: All the Things You Are * As Time Goes By * Autumn Leaves * Body and Soul * Laura * My Funny Valentine * Spring Is Here * and more, plus a chord solo of "Fly Me to the Moon," and an introduction by and biography of Ritz.

Titles: Twinkle, Twinkle, Little Star Variations (Shinichi Suzuki) * French Folk Song (Folk Song) * Lightly Row (Folk Song) * Song of the Wind (Folk Song) * Go Tell Aunt Rhody (Folk Song) * O Come, Little Children (Folk Song) * May Song (Folk Song) * Long, Long Ago (T.H. Bayly) * Allegro (Shinichi Suzuki) * Perpetual Motion (Shinichi Suzuki) * Allegretto (Shinichi Suzuki) * Andantino (Shinichi Suzuki) * Bohemian Folk Song (Folk Song) * Etude (Shinichi Suzuki) * Minuet No. 1, Minuet III from Suite in G Minor for Klavier, BWV 822 (J.S. Bach) * Minuet No. 2, BWV Anh. 116 (J.S. Bach) * Minuet No. 3, Anh. II 114/Anh. II 183 (J.S. Bach) * The Happy Farmer from Album for the Young, Op. 68, No. 10 (R. Schumann) * Gavotte (F.J. Gossec) * Practice Suggestions (Doris Preucil).
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Violin Basics is a landmark method by two of the leading figures in music education. Comprising pupil's tutor book, teacher's accompaniment book, and online audio, Violin Basics provides everything you need to get playing. This Pupil's Book starts at absolute beginner level and progresses to Grade 1 level. The step-by-step technical progression is supported by fun exercises and warm-ups, a wide range of imaginative repertoire, music theory, and general musicianship activities. Audio of all the accompaniments are available online.

Adagio is a Samuel Barber piece arranged for violin and piano by Jerry Lanning. It contains both score and part. This is a solo work of Barbe r's popular Adagio for Strings.

Leading authorities explore, in direct and accessible language, chamber-music masterpieces by twenty-one prominent composers since 1900. Modern composers as diverse as Bela Bartok, Maurice Ravel, Benjamin Britten, and John Cage have confided some of their most personal and intense thoughts to the medium of the string quartet. The resulting repertoire has won the allegiance of string players-and of listeners in the concert hall and at home. Yet, until now, no book has addressed the language of these remarkable works, their interactions with the masterpieces of Beethoven and others, and theirnew approaches to musical expression. Intimate Voices, organized in rough chronological order, offers the observations and intuitions of twenty leading authorities on quartets by twenty-one composers from eleven countries.Its two volumes-available separately or together-comprise an indispensable guide to amateur and professional chamber musicians, scholars, students, and anyone seeking a deeper acquaintance with the great achievements of twentieth-century music. Edited by Evan Jones, Associate Professor of Music Theory, Florida State University College of Music. Volume 1: Debussy and Ravel [Marianne Wheeldon]; Sibelius [Joseph Kraus]; Bartok [JosephN. Straus]; Hindemith [David Neumeyer]; Schoenberg [Matthew R. Shaftel]; Berg [Dave Headlam]; Webern [David Clampitt]; Villa-Lobos [Eero Tarasti]; Prokofiev [Neil Minturn] Volume 2: Shostakovich [Patrick McCreless]; Britten [Christopher Mark]; Ligeti [Jane Piper Clendinning]; Berio [Richard Hermann]; Xenakis [Evan Jones]; Scelsi [Eric Drott]; Cage (David W. Bernstein]; Babbitt [Andrew Mead]; Carter [Jonathan W. Bernard]; Mel Powell [Jeffrey Perry]; Shulamit Ran [Robert W. Peck]

Titles: Lullaby (Tonalization) (F. Schubert); Lullaby (Tonalization) (J. Brahms); Concerto No. 2 in G Major, Op. 13, 3rd Movement (F. Seitz); Concerto No. 5 in D Major, Op. 22, 1st Movement (F.Seitz); Concerto No. 5 in D Major, Op. 22, 3rd Movement (F. Seitz); Concerto in A Minor, 1st Movement, Op. 3, No. 6 (A. Vivaldi/T. Nachez); Concerto in A Minor, 3rd Movement, Op. 3, No. 6 (A. Vivaldi/T. Nachez); Perpetual Motion, "Little Suite No. 6" (K. Bohm); Concerto for Two Violins in D Minor, BWV 1043, 1st Movement, Violin II (J. S. Bach)
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This unique volume is the only book solely about antebellum American fiddling. It includes more than 250 easy-to-read and clearly notated fiddle tunes alongside biographies of fiddlers and careful analysis of their personal tune collections. The reader learns what the tunes of the day were, what the fiddlers' lives were like, and as much as can be discovered about how fiddling sounded then. Personal histories and tunes' biographies offer an accessible window on a fascinating period, on decades of growth and change, and on rich cultural history made audible. In the decades before the Civil War, American fiddling thrived mostly in oral tradition, but some fiddlers also wrote down versions of their tunes. This overlap between oral and written traditions reveals much about the sounds and social contexts of fiddling at that time. In the early 1800s, aspiring young violinists maintained manuscript collections of tunes they intended to learn. These books contained notations of oral-tradition dance tunes - many of them melodies that predated and would survive this era - plus plenty of song melodies and marches. Chris Goertzen takes us into the lives and repertoires of two such young men, Arthur McArthur and Philander Seward. Later, in the 1830s to 1850s, music publications grew in size and shrunk in cost, so fewer musicians kept personal manuscript collections. But a pair of energetic musicians did. Goertzen tells the stories of two remarkable violinist/fiddlers who wrote down many hundreds of tunes and whose notations of those tunes are wonderfully detailed, Charles M. Cobb and William Sidney Mount. Goertzen closes by examining particularly problematic collections. He takes a fresh look at George Knauff's Virginia Reels and presents and analyzes an amateur musician's own questionable but valuable transcriptions of his grandfather's fiddling, which reaches back to antebellum western Virginia.

This book is designed to complement Harp Music Bibliography: Compositions for Solo Harp and Harp Ensemble (Bloomington: Indiana University Press, 1995). The IU Press title has 3356 entries; the supplement has almost 3000 entries, nearly doubling the total number of listings of works for harp. Following the design of the earlier title, the Supplement contains citations for harp music published between 1800 and 2000 in a classified arrangement: 1) Method books; 2) Orchestral studies; 3) Solos (original works for harp); 4) Solo arrangements (arrangements of works originally for other combinations of instruments); 5) Harp ensembles; and 6) Arranged harp ensembles. Each entry includes information needed to accurately identify a work, including uniform titles when needed, publisher information, pagination when available, and complete contents listings for anthologies. Following the main sections is an index of names and titles. Specifically excluded are manuscript and rental material, student theses and dissertations, and reprints by the same publisher. Finally, there is an index of music playable on non-pedal or "folk" harps.