A book of 15 fun and easy piano duets supplementing the other books in Level 1 of this definitive beginner method by leading piano educator H-G Heumann . This illustrated duet book is ideal for getting pupils together to learn the valuable skill of ensemble playing. What is Piano Junior ? Piano Junior is a superb piano course for beginners. It's creative it's interactive it's colourful it has its own website with additional online material - and most importantly it really works! Its characters PJ the friendly robot and his sidekick Mozart the dog motivate and encourage children throughout eachlevel. The course is available as core strong>Lesson Books along with supplementary Theory Duet and Performance Books at each stage. Who is Piano Junior for? Suitable for children from around the age of 6 Piano Junior takes young students on their first steps and prepares them with a solid foundation for early grades. A method for the digital age Teachers parents and students can visit www.piano-junior.com for demonstration videos and recordings along with a host of other free downloadable resources which really bring practice sessions at home to life! PIANO JUNIOR - press reviews 'The careful introduction of all aspects of music notation is a standout feature of these books and to my mind Heumann has provided one of the best child-friendly introductions to reading music that I have seen... Piano Junior has in many respects raised the bar in some ways perhaps even setting a new standard by which piano courses for children will be judged.' - PIANODAO.COM

An Introduction to Jazz Harmony Technique and Improvisation- This definitive book is designed for the intermediate Trumpet player looking for an introduction to the world of jazz. Renowned jazz musician Ollie Weston introduces key concepts step by step explaining clearly and simply throughout with the minimum of musical jargon. Improvisation is featured from the very beginning with authentic live jazz trio recordings on the accompanying CD for you to play along with. Key subjects covered include: modes swing playing melodic development the 2-5-1 progression jazz blues progressions pentatonic scales jazz chord extentions stylistic development unique Trumpet sounds and many more.

Major Scales in 2 3 and 4 octaves ascending and descending with the same fingering. Melodic Minor Scales in 2 3 and 4 octaves. Harmonic Minor Scales in 2 3 and 4 octaves ascending and descending with the same fingering. Arpeggios of the major and minor common chords in 2 3 and 4 octaves with the same fingering for both major and minor. Arpeggios on the Chor of the Dominant Seventh with their resolutions in 2 3 and 4 octaves after the same fingering as the common chord arpeggio. Arpeggios on the Chord of the Diminished Seventh with their resolutions ascending and descending with the same fngering. Chromatic Scales. Major Scales inSixths in 2 and 3 octaves. Melodic Minor Scales in Sixths in 2 and 3 octaves. Harmonic Minor Scales in Sixths in 2 and 3 octaves. Major Scales in Thirds in 2 and 3 octaves ascending and descending with the same fingering. Melodic Minor Scales in Thirds in 2 and 3 octaves. Harmonic Minor Scales in Thirds in 2 and 3 octaves ascending and descending with the same fingering.

Covers scales trills vibrato and more on articulation

Covers fingers breathing humming and articulation in more detail. Part I The Fingers Part II More about Breathing Part III Humming Part IV Articulation

The best way to learn any instrument is to have lessons from a good experienced teacher. Although happily the number of such teachers is constantly growing the recorder is still frequently taught by enthusiastic but inexperienced teachers and many players start by teaching themselves. This series of books sets out to help learners of all ages in all three situations. Experienced teachers who may choose to disregard much of the text as personal demonstration is always clearer than the written word will find exercises and fine tunes a-plenty to support their own method at each stage. The less experienced will benefit from many valuable teaching hints culled fromlong experience and may rely on the books to lead to a sound playing technique and a mastery of simple notation. Those learning by themselves - and I started in this way - are urged to work carefully and systematically through the books taking plenty of time to assimilate each point before moving on. For them without the personal model provided by a live teacher it is vitally important to listen as often as possible to fine players in person or on record so that they have in their mind's ear a clear notion of the kind of sound they would like to produce. But however they start I can only wish that all who use these books will derive as much pleasure and musical satisfaction and gain as many lasting and valued friendships as I have through this most subtle delightful and sociable of instruments. (Brian Bonsor) ...this work is likely to become a standard work very quickly and is to be recommended to all schools where recorder studies are undertaken (Oliver James Contact Magazine) Descant Tutors provide a sound-playing technique a mastery of simple notation and contain 570 tunes including concert pieces by Bonsor carols attractive rounds and melodies by 'early music' composers. Clear line drawings greatly assist the pupil making them especially suitable for self-instruction.

Awarded the prestigious Music Industries Association Award in 2006 for Best Pop Publication Tim Richards' Exploring Jazz Piano was the long-awaited follow-up to his acclaimed Improvising Blues Piano also published by Schott. The overall level is somewhat higher and would suit pianists of Grade 4 standard and above. The book comes in two volumes comprising no less than 56 original pieces by the author together with special arrangements of 24 standards ranging from Autumn Leaves and Summertime to Straight No Chaser and Coltrane's Impressions.The two volumes also contain over 800 musical examples a veritable treasury of styles and techniques for the aspiring jazzpianist and refers to the work of Erroll Garner Art Tatum Duke Ellington Thelonious Monk Bud Powell Horace Silver Hampton Hawes Red Garland Wynton Kelly Bill Evans George Shearing Oscar Peterson Chick Corea McCoy Tyner and many others. Each volume has its own CD containing between them performances of all 80 pieces played by Tim alone or with his current trio of Dominic Howles (bass) and Matt Home (drums). Play-along tracks are also included in which the piano is panned to one speaker providing rhythm section accompaniment if desired by turning the amplifier's balance control. Copious examples of improvisation are accompanied by numerous assignments with guidance to hand on every page. The package is beautifully illustrated with many full-page photographs of piano masters past and present informative mini biographies and a comprehensive suggested listening section. The practical covered spiral binding protects the books as well as enabling them to lie flat on the music stand.Exploring Jazz Piano fills a vacuum in jazz piano instruction its comprehensive syllabus taking the reader from first principles in Vol. 1 to professional level in Vol. 2. Any student of jazz piano piano teacher or performing musician dipping into either volume will be rewarded with a wealth of ideas and practical information to keep them occupied for many

A special method for beginners. First published by Schott in German in 1990. The translation and adaption into English has been made by Peter Bowman. Three Volumes for the descant recorder which advance in small steps and include many playful elements suitable for both group and individual lessons. Discover the adventure of learning the recorder Make real progress through games: breathing A mixture of lively new and traditional tunes Three supplementary tune books each with a sheet of stickers Teacher's commentary Join Dotty-do-a-lot and her friends in the exciting world of music Fun and Games with the Recorder is a comprehensiverecorder tutor covering all stages from the first notes of the beginner up to the point of professional instruction for budding performers. Although the recorder is often the instrument with which children will make their first musical discoveries it is also an instrument of the highest artistic merit. This series of books tries to link these two extremes providing a carefully planned pathway between first playful contact with the instrument and professional recorder playing.The three Tutor Books are suitable for use both with small groups and for individual tuition. Progress is methodical and is made in small steps placing great value on consistent work with breathing sound production and the development of rhythmic security.In the Tutor books we speak directly to the child and provide carefully planned precisely formulated exercises. We recognise that some children learning the recorder will not yet be able to read but hope that this will provide an opportunity for a parent or teacher to become involved in the learning process. Each step in this process should be fun and accessible to both the parent/teacher and the child.Tutor Book 1 is intended for children from about six years of age. Previous musical experience is not essential but undoubtedly would prove useful. It concentrates on the notes B A g E1 C2 and D2 leaving sufficient time

A fresh approach- * An approach based on self-learning and recognition of rhythmic and melodic patterns * Original tunes rather than abstract sight-reading exercises * 237 carefully graded pieces in a range of musical styles * Nine sections ranging from open strings to extensions and slurs * Each section concludes with a set of duets and accompanied pieces for practice of ensemble sight-reading * Tunes progress to all key signatures up to four sharps and three flats * Preliminary towards grade 4

Saxophone Sight-Reading 1 aims to establish good practice and provide an early introduction to the essential skill of sight-reading. Sight-reading in some form should become a regular part of a student's routine each time they get out the saxophone and this book aims to establish the habit early in a student's learning process. There are 8 sections which in a logical sequence gradually introduce new notes rhythms articulations dynamics and Italian terms - much as you would find in a beginner's saxophone method. The emphasis is on providing idiomatic tunes and structures rather than sterile sight-reading exercises. Each sectioncontains several solo examples beginning with only three notes and concludes with duets and accompanied pieces allowing the student to gain experience of sight-reading within the context of ensemble playing.

Orchestral excerpts by Handel Purcell Bach Britten and others. Part of the training of the instrumentalist consists of the study of extracts from orchestral works - characteristic solos and difficult passages for the isntrument. This edition holds numerous examples for the advanced player.

The best way to learn any instrument is to have lessons from a good experienced teacher. Although happily the number of such teachers is constantly growing the recorder is still frequently taught by enthusiastic but inexperienced teachers and many players start by teaching themselves.This series of books sets out to help learners of all ages in all three situations. Experienced teachers who may choose to disregard much of the text as personal demonstration is always clearer than the written word will find exercises and fine tunes a-plenty to support their own mathod at each stage. The less experienced willbenefit from many valuable teaching hints culled fromlong experience and may rely on the books to lead to a sound playing technique and a mastery of simple notation.Those learning by themseves - and I started in this way - are urged to work carefully and systematically through the books taking plenty of time to assimilate each point before moving on. For them without the personal model provided by a live teacher it is vitally important to listen as often as possible to fine players in person or on record so that they have in their mind's ear a clear notion of the kind of sound they would like to produce.But however they start I can only wish that all who use these books will derive as much pleasure and musical satisfaction and gain as many lasting and valued friendships as I have through this most subtle delightful and sociable of instruments. (Brian Bonsor)...this work is likely to become a standart work very quickly and is to be recommended to all schools where recorder studies are undertaken (Oliver James Contact Magazine)These two tutors with accompanying teacher's books are for newcomers to the instrument who are beginning on the treble and so assume no previous knowledge either of the instrument or of musical notation.

Improvisation - Musicianship - Techniques- Since it was first published in 1992 The Jazz Method for Saxophone has guided thousands of beginners of all ages from producing their first note on the saxophone to the performance of full-blown jazz pieces including pieces by contemporary composers. Based on the tried and tested format of the original method (with step-by-step guidance and a number of pieces specially written for this series) the revised edition is packed with updated content. It also comes complete with exciting new tunes a re-recorded audio CD and over 2 hours of demo tracks available as free MP3 downloads. Now there is also a greater emphasis on the development of improvisational and listening skills.Thanks to additional suggestions for listening and reading as well as an appendix with all chord sequences for the 'live' accompaniment of the melodies the 'Jazz Methods' are ideal for both pupils studying by themselves and for pupils learning with a teacher.

Improvisation - Musicianship - Techniques- These methods provide complete courses for players off all ages guiding students from their first note to 'classics' together with compositions by contemporary writers.Each book is accompanied by high quality rhythm section tracks recorded on compact disc. Right from the start students can enjoy authentic jazz sounds playing in the company of professionals.With step-by-step instruction and a progression of specially written pieces the fundamental elements of good technique are introduced alongside the rhythmic subtleties of jazz. Improvisation is encouraged from an early stage and is given direction through the systematic study of scales and arpeggios and advice onear-training and chord patterns. With supplementary suggestions for listening and reading and an Appendix containing all the chord progressions for 'live' accompaniment of the tunes The Jazz Methods are ideally suited to both students working alone and those learning with a teacher.John O'Neill has a solid understanding of jazz and how it can be taught. I highly recommend his educational jazz materials. (Jamey Aebersold)...a rare opportunity for a new player (or a more experienced one) to develop a really musical facility. A rare addition to the jazz improvising library. (Lee Konitz international jazz saxophone soloist)The Saxophone is for many the instrument of jazz and there is an enormous and exciting repertoire waiting to be explored by newcomers to the instrument. The Jazz Method for Saxophone will guide beginners of all ages from producing their first note on the saxophone to the performance of full-blown jazz pieces including classics by Thelonious Monk Charlie Parker Sonny Rollins and Horace Silver as well as contributions from leading contemporary jazz players and composers. Backing for all the music-specially recorded for this method is provided on the accompanying CD so that right from the start student saxophonists can enjoy an authentic jazz sound playing in the company of a top-class rhythm section (bass guitar drums) used

By popular request these songs and pieces from the 5 volume English edition (by Margaret Murray) of Carl Orff and Gunild Keetman’s ‘Schulwerk’ are now available in CD format. Singers and speakers are from a variety of English Welsh and Germanschools with professional musicians playinginstruments. The Schulwerk idea is one that transplants well founded as it is on the basic elements of language music and dance with which children are encouraged to play and improvise imaginatively so that through the use of simple forms theywill be able to make their own music. The material is not restricted to Britain but also includes songs from Canada and the United States. The instrumental ensemble is directed by Carl Orff and Hermann Regner. All possible instrumental resourcessuited to this elemental style of music making have been used. The barred percussion instruments that carry Orff’s name such as glockenspiels xylophones and metallophones are used as well as simple small percussion instruments and the larger onesfound in the conventional orchestra. The older forms of wind instruments are favoured such as recorders sorduns and crumhorns. Brass instruments such as trumpets and trombones are also used. The guitar cello and double bass have an importantrole and where available the older forms of string instruments such as the viol or viola da gamba blend well into the ensemble. By popular request these songs and pieces from the 5 volume English edition (by Margaret Murray) of Carl Orff and Gunild Keetman’s ‘Schulwerk’ are now available in CD format. Singers and speakers are from a variety of English Welsh and German schools with professional musicians playing instruments. The Schulwerk idea is one that transplants well founded as it is on the basic elements of language music and dance with which children are encouraged to play and improvise imaginatively so that through the use of simple forms they will be able to make their own music. The material is not restricted to Britain but also includes songs from Canada and the United States. Theinstrumental ensemble is directed by Carl Orff and Hermann Regner. All possible instrumental resources suited to this elemental style of music making have been used. The barred percussion instruments that carry Orff’s name such as Glockenspiels Xylophones and Metallophones are used as well as simple small percussion instruments and the larger ones found in the conventional orchestra. The older forms of wind instruments are favoured such as Recorders Sorduns and Crumhorns. Brass instruments such as Trumpets and Trombones are also used. The Guitar Cello and Double Bass have an important role and where available the older forms of string instruments such as the Viol or Viola da Gamba blend well into the ensemble.

The best way to learn any instrument is to have lessons from a good experienced teacher. Although happily the number of such teachers is constantly growing the recorder is still frequently taught by enthusiastic but inexperienced teachers and many players start by teaching themselves.This series of books sets out to help learners of all ages in all three situations. Experienced teachers who may choose to disregard much of the text as personal demonstration is always clearer than the written word will find exercises and fine tunes a-plenty to support their own mathod at each stage. The less experienced willbenefit from many valuable teaching hints culled fromlong experience and may rely on the books to lead to a sound playing technique and a mastery of simple notation.Those learning by themseves - and I started in this way - are urged to work carefully and systematically through the books taking plenty of time to assimilate each point before moving on. For them without the personal model provided by a live teacher it is vitally important to listen as often as possible to fine players in person or on record so that they have in their mind's ear a clear notion of the kind of sound they would like to produce.But however they start I can only wish that all who use these books will derive as much pleasure and musical satisfaction and gain as many lasting and valued friendships as I have through this most subtle delightful and sociable of instruments. (Brian Bonsor)...this work is likely to become a standart work very quickly and is to be recommended to all schools where recorder studies are undertaken (Oliver James Contact Magazine)Descant Tutors provide a sound-playing technique a mastery of simple notation and contain 570 tunes including concert pieces by Bonsor carols attractive rounds and melodies by 'early music' composers. Clear line drawings greatly assist the pupil making them especially suitable for self-instruction.

Internationally-renowned jazz trombone player director/conductor and master teacher Jiggs Whigham shares his experience and expertise with trombone and jazz enthusiasts. For intermediate to advanced players this book offers a fascinating insight into the professional world of trombone playing. Featuring the BBC Big Band there is a set of demonstration and play-along tracks which are available as a free download and provide the opportunity to listen to and play along with some of the finest musicians in the world. In the accompanying videos (found at www.schott-music.com/jiggswhighamtrombone) Jiggs demonstrates various playing techniques and presents an invaluable commentaryto help students develop their own playing. Internationally-renowned jazz trombone player director/conductor and master teacher Jiggs Whigham shares his experience and expertise with trombone and jazz enthusiasts. For intermediate to advanced players this book offers a fascinating insight into the professional world of trombone playing. Featuring the BBC Big Band there is a set of demonstration and play-along tracks which are available as a free download and provide the opportunity to listen to and play along with some of the finest musicians in the world. In the accompanying videos (found at www.schott-music.com/jiggswhighamtrombone) Jiggs demonstrates various playing techniques and presents an invaluable commentaryto help students develop their own playing.

This volume builds on the progress achieved by following the outlines and good practice established in Book 1. This book helps to establish the habit of regular sight-reading generally recognized as a vital skill in all fields of music. To this end the exercises are progressive and structured to increase the pupil's awareness of new rhythms keys and range of notes. Changes of hand position are introduced gradually as is the recognition of and familiarity with chord shapes in both 2- and 3-note groups. - A progressive approach based on self-learning- 150 graduated exercises- Both hands treated equally for melody and chord playing- Hands together used throughout

These methods provide complete courses for players off all ages guiding students from their first note to 'classics' together with compositions by contemporary writers. Each book is accompanied by high quality rhythm section tracks recorded on compact disc. Right from the start students can enjoy authentic jazz sounds playing in the company of professionals. With step-by-step instruction and a progression of specially written pieces the fundamental elements of good technique are introduced alongside the rhythmic subtleties of jazz. Improvisation is encouraged from an early stage and is given direction through the systematic study of scales and arpeggios and advice onear-training and chord patterns. With supplementary suggestions for listening and reading and an Appendix containing all the chord progressions for 'live' accompaniment of the tunes The Jazz Methods are ideally suited to both students working alone and those learning with a teacher. John O'Neill has a solid understanding of jazz and how it can be taught. I highly recommend his educational jazz materials. (Jamey Aebersold) ...a rare opportunity for a new player (or a more experienced one) to develop a really musical facility. A rare addition to the jazz improvising library. (Lee Konitz international jazz saxophone soloist) Following on from the best-selling Jazz Method for Saxophone Developing Jazz Technique for Saxophone will help intermediate players take their jazz skills to a new level. The 22 pieces are written in a variety of jazz styles including reggae jazz waltz bossa nova calypso New Orleans South African salsa samba blues and swing. Special emphasis is given to helping students improvise over chord sequences such as the II-V-I progression. Idiomatic effects such as vibrato subtone glissandi and bending' notes are dealt with and there is a special chapter on overtones. Several new scales are introduced including the whole tone and diminished scales and a special section on patterns contains many ideas for

Method for descant recorder- The Tune book to accompany the popular range of tutor books.