Description This collection of 20 fingerstyle studies for the ukelele is written for uke players looking to expand their prowess on the instrument. The studies cover a vast array of styles and genres as wide-ranging as blues, jazz, minimalism and serialism, showcasing the versatility of the instrument. Each study is designed to be fundamentally pedagogical while simultaneously written with perf…

New Edition. Par HARRIS PAUL. Firmly rooted in Paul Harris's Simultaneous Learning approach, this new edition of Improve your sight-reading! Bassoon Grades 1-5 is designed to help overcome all the stumbling blocks to successful sight-reading. Step by step you will build up acomplete picture of each piece, firstly through rhythmic, melodic and technical exercises, then by studying prepared pieces a…

A Requiem For Victims Of Power. Par CUOMO DOUGLAS J.. The text for this piece is derived from the Epistle to the Reader of Sir Thomas Browne’s Hydriotaphia, (1658). Subtitled Urn Burial, the essay is a reflection on the discovery of a Roman urn burial site in Norfolk and the practice of disinterment. I compiled the text by redacting (i.e. eliminating) many of the words of the original, leaving beh…

Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part …

Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part …

Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part …

Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part …

Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part …

Par GOODIN JIM. Whether guitarists are new to open-tunings or already working with them, fingerstyle specialist Jim Goodin offers a progressive look at the popular D-based harp-like tuning. Classical, Celtic, blues, folk, gospel and several original compositions are represented in the 15 notation/tablature arrangements each arranged proportionately to offer beginning, intermediate and advanced fin…