Here are Six Pavanes and Four Fantasias by Luis Milan transcribed for the baritone ukulele. Most are also playable on the tenor and soprano ukulele and, of course, may be played on the guitar. The pieces are fairly easy and were composed to help you improve your skills as a performer and take you to the next level.

The tale of young Hannah, who loves above all else to sing. What worse curse could have been visited upon her than this: she has been sent to live with her aunt and uncle in a sorrowful town where music itself is banned from its grim and cobbled streets. What woe has befallen this town? Why are there no children? Why are there no rats? Hannah will discover the answers to these dread questions in the wilderness wastes, under a mountain. There she discovers a secret orchestra, held captive by an ancient conductor, who remembers his glorious youth – when no-one could resist the beauty he could make with his flute. Could our Hannah be the bridge between two ancient enemies? Might the ghosts of the rats come to her aid? And, most importantly, will she sing once again?

Eighteen of the most popular classical melodies arranged for ukulele in notation and TAB. And the tracks on the included CD demonstrate how each ukulele arrangement should sound. Titles: * Ave Maria (Schubert) * Bourree (Bach) * Bourree (from Water Music) (Handel) * Dance of the Sugar Plum Fairy (Tchaikovsky) * Eine Kleine Nachtmusik (Main Themes) (Mozart) * Fur Elise (Beethoven) * Gymnopedie No. 1 (Satie) * The Harmonious Blacksmith (Handel) * Jesu, Joy of Man's Desiring (Bach) * Lullaby (Brahms) * Minuet in G (Bach's Minuet in G) (Petzold) * Ode to Joy (Beethoven) * Pavane (Faure) * Pomp and Circumstance (Elgar) * Prelude (from Cello Suite No. 1) (Bach) * Rondo Alla Turca (Mozart) * Sleepers, Awake (Bach) * Sonata in C (Main Themes) (Mozart).

Volume III is the first educational product to tackle the complex subject of Timba, the new musical genre which has been played in Cuba since 1989. Timba represents a quantum leap for all the instruments of the rhythm section and especially the congas. The recordings of Toms Cruz are considered the most advanced examples of Timba conga-playing and so fascinated the three coauthors that they sought out Toms Cruz and spent a year and a half studying his style and meticulously documenting it before even considering the idea of publishing it. After many hundreds of hours of passionate research, this "labor of love" eventually reached fruition as Volume III. Volumes II & I were then written to trace the roots of the style and to understand the path Toms took to arrive at his phenomenal level of technical mastery and rhythmic creativity. Much more than a collection of patterns or exercises, Volume III analyzes Timba arrangements from beginning to end, explaining the role of the congas in each section, the relationship to the "clave," and Tomasito's creative process, including an exercise which teaches the reader to invent his own Timba conga parts. It was the intricacies of the material of Volume III which inspired the creation of the Step by Step DVD Method, which enables the reader to learn these exciting new rhythms in a fraction of the time it would take working with only written music and audio recordings.

Volume III is the first educational product to tackle the complex subject of Timba, the new musical genre which has been played in Cuba since 1989. Timba represents a quantum leap for all the instruments of the rhythm section andespecially the congas. The recordings of Tomas Cruz are considered the mostadvanced examples of Timba conga-playing and so fascinated the three coauthors that they sought out Tomas Cruz and spent a year and a half studying his style and meticulously documenting it before even considering the idea of publishing it. After many hundreds of hours of passionate research, thislabor of love eventually reached fruition as Volume III. Volumes II & I were then written to trace the roots of the style and to understand the path Tomas took toarrive at his phenomenal level of technical mastery and rhythmic creativity. Much more than a collection of patterns or exercises, Volume III analyzes Timba arrangements from beginning to end, explaining the role of the congas in each section, the relationship to the clave, and Tomasito's creative process, including an exercise which teaches the reader to invent his own Timba conga parts. It was the intricacies of the material of Volume III which inspired the creation of the Step by Step online video Method, which enables the reader to learn these exciting new rhythms in a fraction of the time it would take workingwith only written music and audio recordings

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