A fine selection of Baroque compositions, excellently compiled and edited by the team at EGTA UK. Selected by the Examination Board of the Royal Schools of Music.

The Companion to Baroque Music is an illuminating survey of musical life in Europe and the New World from 1600 to 1750. With informative essays on the social, national, geographical, and cultural contexts of the music and musicians of the period by such internationally known scholars as Peter Holman, Louise Stein, Michael Talbot, Julie Anne Sadie, Stanley Sadie, and David Fuller, the Companion offers a fresh perspective on the musical styles and performance practices of the Baroque era. The Companion to Baroque Music is an illuminating survey of musical life in Europe and the New World from 1600 to 1750. With informative essays on the social, national, geographical, and cultural contexts of the music and musicians of the period by such internationally known scholars as Peter Holman, Louise Stein, Michael Talbot, Julie Anne Sadie, Stanley Sadie, and David Fuller, the Companion offers a fresh perspective on the musical styles and performance practices of the Baroque era.

"A History of Baroque Music is a detailed treatment of the music of the Baroque era, with particular focus on the seventeenth century. The author's approach is a history of musical style with an emphasis on musical scores. The book is divided initially by time period into early and later Baroque (1600-1700 and 1700-1750 respectively), and secondarily by country and composer. An introductory chapter discusses stylistic continuity with the late Renaissance and examines the etymology of the term "Baroque." The concluding chapter on the composer Telemann addresses the stylistic shift that led to the end of the Baroque and the transition into the Classical period."--Jacket.

The book is a treatise that explains the methodological, technical, mechanical, and stylistic foundations for achieving a high-flying, competent performance on the classical guitar. Among the many aspects that are addressed, 12 philosophical foundations are developed from which the entire treatise flows like a cascade, then 22 principles of performance are explained that are applicable to both hands. There are 69 that are specific to the right hand and another 69 to the left. There are various chapters in which important aspects are discussed, such as nail filing, the philosophy that should prevail in the search for the most finished sound, and all the parameters that must be taken into account to achieve a perfect filing are analyzed, such as: type of nail, birth of this, shape of the tip, resistance, coefficient of friction, average growth, hardness, etc. I wrote another section to give the best suggestions on how to study, and how to distribute a work day by properly distributing the volume and the pieces with static training, to avoid injuries, and to achieve a greater benefit, in the same way I explain all the errors that we must avoid. I developed another chapter where I explain overtraining, something that has been well studied and diagnosed in sports, but that in instrumental exercise nothing had been written about. In this section I explain what it consists of, the physical and psychological consequences that it brings to the instrumentalist, how to detect this harmful process of degradation of the faculties of the instrumentalist musician, and how to get out of this anomaly. I teach fingering and explain the basic principles of how to carry out this process that is generally not taught in academies or conservatories. I develop a chapter in which I analyze how the Renaissance is played, from its articulation, phrasing, type of touch, and ornamentation, then I do the same with the Baroque period, the Classical, the Romantic, Impressionism, the first half of the 20th century, and the second half. And there is still much more, which leads me to express that this work marks a milestone in the instrumental literature written to date, not only about the guitar, but because of everything it deals with and covers, it will be a reference and consultation work not only for guitarists, but for anyone who intends to effectively master the art of playing their instrumental discipline.

A collection of 17th and 18th century music transcribed for solo mandolin with selections from Couperin, Handel, Baltzer, Biber, Reusner, Marais, Gallot, Rameau, Weiss, Torelli, Telemann, Pachelbel and Vivaldi; 25 in all. All pieces are in standard notation and TAB. A companion CD for listening is included for ten of the songs.

This is a richly varied assortment of materials for recital and study. It includes compositions suitable for a beginner's first recital, as well as solos and duets for the intermediate grades. There are long-neglected pieces plus jazz and contemporary pieces.

A Key Stage 3 book designed for pupils who find music theory difficult to understand and remember. The content is differentiated at three levels to cater for differing abilities and experience, and a corresponding teacher's resource pack is also available.