Guitalele belongs to new music instruments. So far very few sheets were written for this instrument. I decided to fill a gap in the market. You will find 15 known songs in the book. Each song is recorded twice, whether you have any more to play with. As the guitalele tuned A2 D3 G3 C4 E4 A4," the guitar with a capo on the fifth fret or Requinto can play from these notes. In the end I added double page with most used chords. Songs: Adeste Fideles; Aura Lee; Brother John; Come And Go With Me; Deck the Hall; Go Tell Aunt Rhody; He Arose; Iroquois Lullaby; Jesus Loves Me; London Bridge; On Top of Old Smokey; Row, Row, Row Your Boat; The First Noel; Vent Frais; Wade in the Water The are in the book songs without text. Check out samples from book: http: //osos.sweb.cz/Sarek-Guitar-and-Guitalele-preview.pdf

String Bass Online String Sampler Bass Sheet Music is a fun and easy way to actively learn, study and play beautiful bass music from a wide variety of styles and eras. 54 pieces are featured, representing music history periods, styles and cultures, including Medieval, Renaissance, Baroque, Classical, Romantic, 20th Century, Fiddle, Klezmer, Gypsy, Chinese, Greek, Carnatic, Arabic, Mariachi, Ragtime and Blues. These arrangements have been simplified for advanced beginners to intermediate players, and provide a representative sampling of most major forms of string music such as concertos, symphonies, sonatas, quartets and trios. As an added bonus, sound files of each piece and a self-guided string class are currently available on a website, String Bass Online: http: //www.stringbassonline.com. The online string class explains the history and musical form of the selected pieces, and includes bass technique tips for each piece of music. In addition to sound files and the free string class, content currently provided on String Bass Online includes a review of bass basics such as instrument care and tuning; bass playing position; fingering assistance; bass technique tips; scales and etudes; and music theory basics (no guarantees are made that these sound files and website will be available indefinitely). Let the music begin

String Quartet no. 1 has strong roots in neo-Romanticism, while pushing the limits of polytonality and extended harmonies. This four movement work displays the expressive quality and aggressive side of the string instruments in the ensemble. The composition is in f minor and uses a harmonic progression of i-vii-V-i, which also extends to the tonal areas of the 4 movements. Although some traditional harmonic elements are used, tonality is pushed to its limits through the use of 2 or more harmonies played simultaneously. This is a highly rhythmic string quartet based off the composer's percussion background. Duration: 19 minutes

Canada’s Prince Edward Island is home to one of the oldest and most vibrant fiddling traditions in North America. First established by Scottish immigrants in the late eighteenth century, it incorporated the influence of a later wave of Irish immigrants as well as the unique rhythmic sensibilities of the Acadian French, the Island’s first European inhabitants. In Couldn’t Have a Wedding without the Fiddler, renowned musician and folklorist Ken Perlman combines oral history, ethnography, and musical insight to present a captivating portrait of Prince Edward Island fiddling and its longstanding importance to community life. Couldn’t Have a Wedding without the Fiddler draws heavily on interviews conducted with 150 fiddlers and other “Islanders”—including singers, dancers, music instructors, community leaders, and event organizers—whose memories span decades. The book thus colorfully brings to life a time not so very long ago when virtually any occasion—a wedding, harvest, house warming, holiday, or the need to raise money for local institutions such as schools and churchs—was sufficient excuse to hold a dance, with the fiddle player at the center of the celebration. Perlman explores how fiddling skills and traditions were learned and passed down through the generations and how individual fiddlers honed their distinctive playing styles. He also examines the Island’s history and material culture, fiddlers’ values and attitudes, the role of radio and recordings, the fiddlers’ repertoire, fiddling contests, and the ebb and flow of the fiddling tradition, including efforts over the last few decades to keep the music alive in the face of modernization and the passing of “old-timers.” Rounding out the book is a rich array of photographs, musical examples, dance diagrams, and a discography. The inaugural volume in the Charles K. Wolfe American Music Series, Couldn’t Have a Wedding without the Fiddler is, in the words of series editor Ted Olson, “clearly among the more significant studies of a local North American music tradition to be published in recent years.”