Originally published in 1966, this was the first book on this subject to be published for over a hundred years. It covers all facets including little-known types of Gaelic song, the bagpipes and their music, including the esoteric subject of pibroch, the Ceol Mor or 'Great Music' of the pipes. It gives a comprehensive review of the fiddle composers and their music, and of the Clarsach and its revival, with an example of all-but-extinct Scottish harp music. A chapter is devoted to the music of Orkney and Shetland and the book contains over 100 examples of music many of which were from the author's own collection and published here for the first time.

In Studio-Based Instrumental Learning, Kim Burwell investigates the nature of lesson interactions in instrumental teaching and learning. Studio lesson activity is represented as a private interaction, dealing with skill acquisition and reflecting a tradition based in apprenticeship, as well as the personal attributes and intentions of participants. The varied and particular nature of such interaction does not always lend itself well to observation or - when observed - to easy interpretation. This presents particular problems for practitioners wishing to share aspects of professional knowledge, and for researchers seeking to explain the practice. Focusing on a single case study of two clarinet lessons, Burwell uses video observations and interviews to analyse collaborative lesson activity, through the 'rich transcription' of performance, verbal and nonverbal behaviours. The foregrounded lesson interactions are also contextualised by the background consideration of social, cultural and institutional frameworks. The research is aimed a helping to create a framework that can support reflection among practitioners as they continually develop their work, not only experientially - through the tradition of 'vertical transmission' from one musician to another - but collaboratively, through the 'horizontal' sharing of good practice.

A collection of Joni Mitchell's finest songs, arranged for piano, voice and guitar.

This is the first book written exclusively for the folk harp that teaches the student how to play the instrument, step by step. Each of the 12 lessons includes instructions, exercises and folk and classical pieces using the new skills and techniques taught in the lesson. This is an excellent book for any student, regardless of previous musical training.

The Viola, How it Works presents information on the technical and historical aspects of the viola in relation to its position in the non-fretted string instrument family. This book is designed to expand a student's music study experience by learning about the parts of the viola and how it works, how to Care for it, how it is made, its history, useful accessories, and how to plan practice sessions. With this knowledge, one will have greater insight into the viola's relationship to other instruments in its family, resulting in a well-rounded musician instead of one who can just play an instrument.

Mary Cyr addresses the needs of researchers, performers, and informed listeners who wish to apply knowledge about historically informed performance to specific pieces. Special emphasis is placed upon the period 1680 to 1760, when the viol, violin, and violoncello grew to prominence as solo instruments in France. Part I deals with the historical background to the debate between the French and Italian styles and the features that defined French style. Part II summarizes the present state of research on bowed string instruments (violin, viola, cello, contrebasse, pardessus de viole, and viol) in France, including such topics as the size and distribution of parts in ensembles and the role of the contrebasse. Part III addresses issues and conventions of interpretation such as articulation, tempo and character, inequality, ornamentation, the basse continue, pitch, temperament, and "special effects" such as tremolo and harmonics. Part IV introduces four composer profiles that examine performance issues in the music of A0/00lisabeth Jacquet de La Guerre, Marin Marais, Jean-Baptiste Barriere, and the Forquerays (father and son). The diversity of compositional styles among this group of composers, and the virtuosity they incorporated in their music, generate a broad field for discussing issues of performance practice and offer opportunities to explore controversial themes within the context of specific pieces.

Two flute parts. Contents: Sonata (Wilhelm Friedemann Bach) * Allegro and Minuet (Beethoven) * Concert (Couperin) * Air du Fat puni (Francois DeVienne) * Duo Concertant (Louis-Francois-Phillipe Drouet) * Sonatina (Kohler) * Sonatine (Kasper Kummer) * Scherzo from A Midsummer Night's Dream (Mendelssohn) * Sonata (Jean-Jacques Naudot) * Theme and Variations (Anton Reicha) * Sonata (Johann Christian Schultze) * Sonata (Telemann).

Easy piano arrangements with song lyrics and chord symbols complete with song background notes and playing hits and tips. Suitable for grades 1 - 3.

(Faber Piano Adventures ). The 2nd Edition Primer Theory Book provides important reinforcement and creative application of basic theory concepts. Students will enjoy note-naming with StoryRhymes, exploring improvisation, and engage with eye-training and ear-training activities all within a fun-filled context tied thematically to the Primer Lesson Book pieces.

A Choice "Best Academic" book in its first edition, The Recorder remains an essential resource for anyone who wants to know about this instrument. This new edition is thoroughly redone, takes account of the publishing activity of the years since its first publication, and still follows the original organization.

for SATB and four-piece ensemble (flute, oboe, harp, organ) Four-piece chamber ensemble accompaniment to Rutter's arrangement in B major. Pack includes full score and set of parts. Not compatible with the John Rutter Anniversary Edition D-flat major arrangement, also found in the carol collection Joy to the World, or the D major upper voices version in Carols for Choirs 4.

This volume explores twentieth-century organ music through in-depth studies of the principal centers of composition, the most significant composers and their works, and the evolving role of the instrument and its music. The twentieth-century was a time of unprecedented change for organ music, not only in its composition and performance but also in the standards of instrument design and building. Organ music was anything but immune to the complex musical, intellectual, and socio-political climate of the time. Twentieth-Century Organ Music examines the organ's repertory from the entire period, contextualizing it against the background of important social and cultural trends. In a collection of twelve essays, experienced scholars survey the dominant geographic centers of organ music (France, the Netherlands, Scandinavia, the United States, and German-speaking countries) and investigate the composers who made important contributions to the repertory (Reger in Germany, Messiaen in France, Ligeti in Eastern and Central Europe, Howells in Great Britain). Twentieth-Century Organ Music provides a fresh vantage point from which to view one of the twentieth century's most diverse and engaging musical spheres.

As Robert Schumann put it, 'Only few works are as clearly stamped with their author's imprint as his'. This book explores Schubert's stylistic traits in a series of chapters each discussing an individual 'fingerprint' with case studies drawn principally from the piano and chamber music. The notion of Schubert's compositional fingerprints has not previously formed the subject of a book-length study. The features of his personal style considered here include musical manifestations of Schubert's 'violent nature', the characteristics of his thematic material, and the signs of his 'classicizing' manner. In the process of the discussion, attention is given to matters of form, texture, harmony and gesture in a range of works, with regard to the various 'fingerprints' identified in each chapter. The repertoire discussed includes the late string quartets, the String Quintet, the E flat Piano Trio and the last three piano sonatas. Developing ideas which she first proposed in a series of journal articles and contributions to symposia on Schubert, Professor Wollenberg takes into account recent literature by other scholars and draws together her own researches to present her view of Schubert's 'compositional personality'. Schubert emerges as someone exerting intellectual control over his musical material and imbuing it with poetic resonance.

for SATB and four-piece ensemble (flute, oboe, harp, piano) Four-piece chamber ensemble accompaniment to Rutter's lively arrangement of the Spanish carol. Pack includes full score and set of parts.

This volume contains valuable practice material for candidates preparing for the ABRSM Grade 6 Piano exams. The book is written in attractive and approachable styles and representative of the technical level expected in the exam.

Richard Egues and Jose Fajardo are universally regarded as the leading exponents of charanga flute playing, an improvisatory style that crystallized in 1950s Cuba with the rise of the mambo and the chachacha. Despite the commercial success of their recordings with Orquesta Aragon and Fajardo y sus Estrellas and their influence not only on Cuban flute players but also on other Latin dance musicians, no in-depth analytical study of their flute solos exists. In Cuban Flute Style: Interpretation and Improvisation, Sue Miller-music historian, charanga flute player, and former student of Richard Egues-examines the early-twentieth-century decorative style of flute playing in the Cuban danzon and its links with the later soloistic style of the 1950s as exemplified by Fajardo and Egues. Transcriptions and analyses of recorded performances demonstrate the characteristic elements of the style as well as the styles of individual players. A combination of musicological analysis and ethnomusicological fieldwork reveals the polyrhythmic and melodic aspects of the Cuban flute style, with commentary from flutists Richard Egues, Joaquin Oliveros, Polo Tamayo, Eddy Zervigon, and other renowned players. Miller also covers techniques for flutists seeking to learn the style-including altissimo fingerings for the Boehm flute and fingerings for the five-key charanga flute-as well as guidance on articulation, phrasing, repertoire, practicing improvisation, and working with recordings. Cuban Flute Style will appeal to those working in the fields of Cuban music, improvisation, music analysis, ethnomusicology, performance and performance practice, popular music, and cultural theory.

William Sweetland was a Bath organ builder who flourished from c.1847 to 1902 during which time he built about 300 organs, mostly for churches and chapels in Somerset, Gloucestershire and Wiltshire, but also for locations scattered south of a line from the Wirral to the Wash. Gordon Curtis places this work of a provincial organ builder in the wider context of English musical life in the latter half of the nineteenth century. An introductory chapter reviews the provincial musical scene and sets the organ in the context of religious worship, public concerts and domestic music-making. The book relates the biographical details of Sweetland's family and business history using material obtained from public and family records. Curtis surveys Sweetland's organ- building work in general and some of his most important organs in detail, with patents and other inventions explored. The musical repertoire of the provinces, particularly with regard to organ recitals, is discussed, as well as noting Sweetland's acquaintances, other organ builders, architects and artists. Part II of the book consists of a Gazetteer of all known organs by Sweetland organized by counties. Each entry contains a short history of the instrument and its present condition. Since there is no definitive published list of his work, and as all the office records were lost in a fire many years ago, this will be the nearest approach to a comprehensive list for this builder.

Danny Elfman's Piano Quartet comprises thematic variations for piano and string trio cast in five movements: Ein Ding, Kinderspott, Duett fur Vier, Ruhig and Die Wolfsjungen. The idea behind the work stems from a familiar children's playground taunt which can be heard in the second movement. The work playfully cycles through a variety of moods and textures, from the agitated intensity of the first movement so reminiscent of the composer's iconic film music, through to the delicate Adagio, all culminating in Elfman's energetic and impassioned finale.

Based on primary sources, many of which have never been published or examined in detail, this book examines the music of the late seventeenth-century composers, Biber, Schmeltzer and Muffat, and the compositions preserved in the extensive Moravian archives in Kromeriz. These works have never before been fully examined in the cultural and conceptual contexts of their time. Charles E. Brewer sets these composers and their music within a framework that first examines the basic Baroque concepts of instrumental style, and then provides a context for the specific works. The dances of Schmeltzer, for example, functioned both as incidental music in Viennese operas and as music for elaborate court pantomimes and balls. These same cultural practices also account for some of Biber's most programmatic music, which accompanied similar entertainments in Kromeriz and Salzburg. The many sonatas by these composers have also been misunderstood by not being placed in a context where it was normal to be entertained in church and edified in court. Many of the works discussed here remain unpublished but have, in recent years, been recorded. This book enhances our understanding and appreciation of these recordings by providing an analysis of the context in which the works were first performed.

Strategies, Tips, and Activities for the Effective Band Director: Targeting Student Engagement and Comprehension is a resourceful collection of highly effective teaching strategies, solutions, and activities for band directors. Chapters are aligned to cover common topics, presenting several practical lesson ideas for each topic. In most cases, each pedagogical suggestion is supported by excerpts from standard concert band literature. Topics covered include: score study shortcuts; curriculum development; percussion section management; group and individual intonation; effective rehearsal strategies; and much more! This collection of specific concepts, ideas, and reproducible pedagogical methods-not unlike short lesson plans-can be used easily and immediately. Ideal for band directors of students at all levels, Strategies, Tips, and Activities for the Effective Band Director is the product of more than three decades of experience, presenting innovative approaches, as well as strategies that have been borrowed, revised, and adapted from scores of successful teachers and clinicians.

North American Fiddle Music: A Research and Information Guide is the first large-scale annotated bibliography and research guide on the fiddle traditions of the United States and Canada. These countries, both of which have large immigrant populations as well as Native populations, have maintained fiddle traditions that, while sometimes faithful to old-world or Native styles, often feature blended elements from various traditions. Therefore, researchers of the fiddle traditions in these two countries can not only explore elements of fiddling practices drawn from various regions of the world, but also look at how different fiddle traditions can interact and change. In addition to including short essays and listings of resources about the full range of fiddle traditions in those two countries, it also discusses selected resources about fiddle traditions in other countries that have influenced the traditions in the United States and Canada.

Amy Beach was celebrated during her lifetime as the foremost female composer of the United States, and her writing was frequently inspired by the folk music of America and Britain. Originally for piano, her Scottish Legend evokes Scotland in its wistful melody, adorned by Scotch snaps and conveying a folk-like atmosphere, but spiced up with a few late-Romantic harmonies. Contrasts between major and minor are also used to telling effect in this gently attractive piece, sympathetically arranged for the organ by Robert Gower.

Sidney Bechet ranks among the greatest of the early masters of jazz, up there with Louis Armstrong, Duke Ellington and Dizzy Gillespie. Born of a Creole family in New Orleans, and very conscious of the evils of slavery, his genius flowered at an early age. He is acknowledged as the greatest ever player of the soprano saxophone and he also played the clarinet. He toured widely in the US and Europe. During his short stay in England in 1919 he played before King George V and Queen Mary. A plaque in his memory is planned for the place where her lived in London. From 1949 until his death in 1959 he lived in France where is still revered. Some of his compositions such as Petite Fleur are jazz classics. Daniel-Sidney Bechet was only five when his father died but his whole life has been spent promoting his father's memory and he became an accomplished jazz musician himself. This book describes his father's life as well ashis own. It provides fascinating glimpses of the world of jazz in the US and in France and of the personalities he encounters: Lena Horne, Edith Piaf, Yves Montand, Kenny Clarke, Moustache and many more. Included with the book a free CD of Bechet's music, "Homage"played by Daniel's own Jazz Quintet with a contribution from the internationally known African Jazz musician and saxophonist, Manu Dibango..