NLS Music Notes

Reader Spotlight On: Casey Harper

Brian McCurdy — Thu, 15 Oct 2026 17:00:27 +0000

This post features NLS patron and musician Casey Harper. Casey lives in West Point, Virginia, and has been a patron of the Music Section since 2002. She has attended her undergraduate studies at Shenandoah University and is interested in piano, guitar, and music therapy.

Can you briefly introduce yourself?

My name is Casey Harper. I’m from Virginia, and I grew up in Virginia. I’ve been totally blind my whole life.

What would you say is the most meaningful or memorable musical experience you’ve had so far in your life?

I was inducted into Tri-M Music Honor Society in high school, and I think that was one of the biggest moments that I’ve had. It was a big honor for my high school to induct me. I was in several choirs and music appreciation classes, and I did well in them. It was one of the highest honors that I could have earned.

How have you used technology to assist with your musical career?

I have used a software for music writing called “Cakewalk.” Even though it was considered old or antiquated, I thought it is a pretty good piece of software. I was able to notate the melody and rhythms for some compositions that I had written.

I used my computer to get through music school. I actually used “S” for 16^th notes, “E” for 8^th notes, “2” for quarter notes, and “H” for half notes, all to dictate rhythm for my college classes. It was helpful just to be able to use the keyboard letters for notation.

How have you utilized the NLS music collection and what is your favorite book or resource?

I basically use the NLS music section to check out lessons for piano and guitar from Bill Brown. He’s a very good teacher, and I’ve used many of his lessons. I’ve also checked out the “History of Classical Music” by Richard Fawkes. That’s a very good book. Additionally, I’ve used some braille music reading books. My favorite resources are the three Hadley courses and the BANA music code book because they give a lot of information about braille music code for various instruments and vocals. Those are my four favorite resources.

Additionally, the “Mountain Dulcimer” book that I read was pretty good as well. Another favorite is the Natalie Lamken “3-D Guitar Chords” book. It has graphics representing the circle of fifths, the guitar, and the fingerboard. I borrowed that book several times and really enjoyed its tactile representations of the strings and fingering positions.

What is one piece of advice in learning music you would give to your younger self or to a print disabled student?

My main advice is don’t rush it and talk to mentors who are familiar with both vocal and instrumental braille music–particularly in the instrument or voice that interests you. The three Hadley courses and the BANA book are essential if you really want to advance in braille music reading for vocal and instrumental music.

Focus on what you’re interested in. There are sections in the Hadley books for guitar players, vocalists, and keyboard players. Take it easy and learn the rhythmic chart in the book “How to Read Braille Music.” Practice it slowly and that will give you the main basis for what you want to do in braille music reading. The other advice I would give is to make sure you understand the rules of reading the dynamics. Ask mentors about that because it’s simple but complex at the same time. You want to make sure to understand dynamics if you want to read melodic phrasing.

Why is music important to you and how has it influenced your life?

Music is important to me because it’s a leisure skill and it’s also a professional skill. Because I was in choir, music appreciation, and jazz courses in high school, music gave me some social connection. I was shy about going on trips, so I believe music helped me to get out. Along with swimming and sports, music helped me have more experiences when I was growing up.

I also went to a music school, and I have professional experience teaching and performing. Like I said, music has always given me social connections, whether playing in several ensembles or singing in a choir. Studying music therapy gave me some insight into the needs of others. It had an important influence on me.

In closing, is there anything else that you would want patrons to know about you?

I definitely recommend patrons taking those four books I mentioned and going through them if they want to learn instrumental and vocal braille music. Definitely look for mentors through the NLS music section and others who have read braille music for a while, because they can really help you if you have questions.

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We hope you enjoyed learning more about our patron, Casey Harper. As a reminder, the NLS Music Section will be hosting a webinar featuring a live interview with another patron, vocalist on Noah Tobias Carver on Thursday, October 22, at 7:00 p.m. eastern time.

If you are curious about any of the resources that are mentioned in this interview, they are listed below. Please note that all materials listed below are also available to borrow by mail, not only through BARD. If you would like to borrow any of our talking books on digital cartridge or hard copies of braille music, please contact the Music Section at 1-800-424-8567, ext. 2, or e-mail us at nlsm@loc.gov.

Audio

Brown, Bill. Intro to the Guitar for the Visually Impaired: 3^rd Edition. 3rd edition of Bill Brown’s Intro to the Guitar course for beginners. “While doing this you will learn the songs “Amazing Grace,” “In the Garden,” “Silver Bells,” “I’ll Fly Away,” “Mountain Dew,” “Rocky Top,” “America the Beautiful,” “Buffalo Gals,” “Oh Danny Boy” and “G Boogie.” There are over 20 recorded tracks for you to listen to and play along with. Included with the course is a toll free guitar tuning hot-line. Now anyone can learn to play the guitar; even if they are blind or visually impaired!” –Publisher’s website. (DBM04410)

____ Intro to the Piano for the Visually Impaired: 3^rd Edition. 3rd edition of Bill Brown’s Intro to the Piano course for beginners. “Intro to the Piano for the Visually Impaired is a…course that teaches the basics of playing the piano without using any written or Braille notation. In the course the student will learn the keys of C and G, the songs Minuet in G by Bach and the Rose, and the theme from Love Story. Even those who are totally blind can now learn to play the piano at their own pace.” –Publisher’s website (DBM04411)

Fawkes, Richard. The History of Classical Music. From Gregorian Chant to Henryk Gorecki, here is the fascinating story of over a thousand years of Western classical music and composers. Polyphony, sonata form, serial music and other terms are explained with 150 accompanying music excerpts. (DBM02881)

Hadley School for the Blind. Braille Music Reading: Audio Tracks for Exercises. This talking book is intended for use with Hadley’s “Braille Music Reading” course. The braille edition of this course is available at BRM37002. The large-print edition of the course is LPM00901. (DBM04340)

Ritchie, Jean. Traditional Mountain Dulcimer. Jean Ritchie gives a short history of the dulcimer, presents tunings for different modes, and gives a song for each tuning. Information about how to properly hold the dulcimer is also included for beginners. (DBM01324)

Braille

BANA Music Technical Committee, Braille Authority of North America. Braille Music Code, 2015. This is the most recent edition of the Music Braille Code from the Braille Authority of North America (BANA). (BRM36384)

Lamken, Natalie. 3-D Guitar Chords. Raised-line drawings and tactile graphics. (BRM20424)

Larkin, Bryant. Larkin’s Dulcimer Book. For beginning and intermediate players. Line by line and bar over bar formats. (BRM34553)

Rozen, Ruth. Braille Music Basics. Textbook for the course “Braille Music Basics” developed by Hadley. The course was intended for adults who are sighted and wish to learn the basics of braille music in order to support braille music learners and possibly pursue further training in teaching braille music or transcribing print music into braille. The course consists of five chapters: Beginning Braille Music, Expressions and Other Procedures, Vocal Music, Keyboard Music, and Teaching and Transcribing Braille Music. Answer key for exercises included in volume 2. The large-print edition of this book is available at LPM00900. (BRM37001)

____ Braille Music Reading. Textbook for the course “Braille Music Reading” developed by Hadley. Whether a student once read print music or never read music before, whether the student is a beginner or an experienced musician, this course teaches how to read single-line melodies in the braille music code. It introduces music fundamentals while explaining how to read rhythms, pitches, and other elements in braille music. Abundant exercises allow students to practice their skills, and audio illustrations (DBM04340) for almost all of the exercise tracks help them check their progress. Answer key for exercises is in volume 5. Volume 4 is a quick reference guide. The large-print edition of this course is available at LPM00901. (BRM37002)

____ Braille Music Reading: Keyboard Music. A continuation to the course “Braille Music Reading” (BRM37002), this course enables students to read keyboard music in braille. For those who play piano or another keyboard instrument, reading braille keyboard music will expand their musical experiences. The ability to read braille music allows players to study and practice independently. The course provides abundant exercises excerpted and transcribed from print piano and organ music, which allow students to practice their skills. Answer key for exercises is in volume 4. A print companion edition of the course book and music is available for sighted teachers and assistants (LPM00902). Volume 3 includes a supplementary discussion for readers of braille keyboard music by Karen Gearreald, designed for current encouragement and future reference. (BRM37002)

____ Braille Music Reading: Vocal Music. A continuation to the course “Braille Music Reading” (BRM37002), this course enables students to read vocal music in braille. For those who sing in a choir or sing solo with or without accompaniment, reading braille vocal music will expand their musical experiences. The ability to read braille music allows singers to study and practice independently. The course provides abundant examples excerpted and transcribed from classical and popular solo and choral vocal music. These examples allow students to practice their vocal music reading skills. You can use what you learn here to write down songs you hear or compose on your own. A print companion edition (LPM00903) of the course book and music is available for sighted teachers and assistants. (BRM37004)

New BARD Additions: September 2026

Timothy Jones — Thu, 24 Sep 2026 18:00:16 +0000

For this month, NLS is pleased to present a wide variety of offerings for our braille readers. Whether you are a pianist, organist, string player or music major, there is bound to be something for you.

Please note that all materials listed below are also available to borrow by mail, not only through BARD. If you would like to borrow any of our talking books on digital cartridge or hard copies of braille music, please contact the Music Section at 1-800-424-8567, ext. 2, or e-mail us at nlsm@loc.gov.

Braille

Music Theory

Siegmeister, Elie. Harmony and Melody, volume 2. Takes the musician from concepts like secondary dominants to modern techniques such as contemporary melodic writing (BRM29190).

Organ

Dufourcq, Norbert, ed. Orgue et Liturgie IV, Noël. For organ in paragraph format (BRM36301).

Pleus, H. Jesu, meine Freude, Choralvorspiel für die Orgel. For organ in paragraph format (BRM25863).

Piano

____ Collection of Piano Music. Various selections featuring a wide variety of composers in bar over bar format (BRM36294).

Piano Duets

Dvořák, Antonín. Nr. 7 (15) aus Slawische Tänze, Op. 72, Piano 4 Ms (Slavonic Dance no. 7). In section by section format (BRM34737).

Moszkowski, Moritz. From Foreign Parts (Aus Aller Herren Länder), Suite of Six Characteristic Pianoforte Duets, Op. 23. In bar by bar format. (BRM01405).

String Instruments

Black, Catherine ed. Time Pieces for Cello, Volume 2, Music Through the Ages. Various pieces for cello in single line format (BRM38171)

Forbes, Watson. Easy Classics for Cello, Book 1. 13 pieces from the Classical Period in single line format (BRM38168).

Violin

Beethoven, Ludwig van. Sonata for Violin and Piano, Op. 12, no. 1. In single line and bar over bar format (BRT38165)

____ Sonata for Violin and Piano, Op. 23, no. 4. In single line and bar over bar formats (BRT38166)

____ Sonata no. 7 for Violin and Piano in C minor, Op. 30, no. 2. In single line and bar over bar format (BRT38169).

Bunting, Philippa ed. Violin Exam Pieces, ABRSM Grade 3 , Selected from the 2016-2019 Syllabus. In single line format (BRM38170).

Rieding, O. Concertino in G Major: Op. 24 , Violino. Violin part in single line format (BRM38164).

Vocal

Hadow, W. H. ed. Rule, Britannia and the National Anthems of the Allies, World War I. For voice and piano in section by section and paragraph formats (BRM07013).

Schubert, Franz. Four Schubert Songs for High Voice. In line by line and bar over bar formats (BRM36293).

Wind Instruments

Hand, Colin. Come and Play, Book 2, Fourteen Easy Pieces for Descant Recorder and Piano. In single line and bar over bar format (BRM38167).

Reader Spotlight On: Noah Tobias Carver

Katie Rodda — Thu, 17 Sep 2026 20:30:12 +0000

This post features NLS patron and vocalist Noah Tobias Carver. Noah Tobias Carver (he/him) is a tenor soloist and disability rights advocate creating impactful musical experiences and working to protect and expand disability rights and awareness for disabled musicians and the public. He is currently in his fourth year at the Eastman School of Music of the University of Rochester, where he is pursuing a Bachelor of Music in Vocal Performance and studying with Professor Robert Swensen.

Our next NLS Music Notes webinar in October will feature Noah, so we hope you can join us for that discussion with him!

Noah Tobias Carver. Photograph used with permission.

What’s the most meaningful or memorable musical experience you have had so far in your life?

One of the most memorable musical experiences of my life thus far was a performance during a Vespers service at Cathédrale Notre-Dame de Paris while on a tour of France with the Washington County Children’s Chorus in 2014. I still remember the breathtaking acoustics, the smell of incense, and the awe-inspiring recognition that I was singing on hallowed ground. I’ve held that memory close and think of it often. Following the tragic 2019 fire, that memory became even more poignant, reminding me of the sacredness and impermanence of the spaces where we make music. I am grateful that, today, it stands rebuilt and resplendent, a symbol of human resilience and spiritual rebirth.

How have you used technology to assist with your musical career?

Technology is an indispensable part of my work and studies. With regard to braille, I am reliant on my embosser as I much prefer reading hardcopy braille, especially when dealing with scores. With that being said, I adore my NLS Braille eReader and use it daily for everything that requires instant braille. Over the past week, I’ve used mine to take notes in multiple classes, read several assigned texts, write and proofread numerous messages and emails to colleagues and professors, and proofread this blog post. I also use the eReader to preview digital scores from the NLS Music Section before embossing them or requesting hard copies from the music librarians. The ability for any NLS patron to request a braille display at no charge (comparable displays cost nearly $2,000 when purchased new) is quite frankly revolutionary for braille literacy and access, and I fervently hope that more people utilize this resource. Finally, I use MuseScore Studio 4 whenever it is necessary to write my own musical notation; I used it heavily when I was taking music theory and aural skills courses at Eastman. I also use additional technology to translate files from scorewriters such as MuseScore into music braille.

How have you utilized the NLS Music Section collection, and what is your favorite book or resource?

The NLS Music Section is the first place I look for scores and instructional resources. It is a godsend for blind musicians, and I am infinitely grateful for its existence and continued growth. Over my academic and musical life, I’ve used scores, textbooks, and Nico Castel diction aids from the collection. By far my favorite and most used resource has been the Dictionary of Braille Music Signs: Revised Edition by Bettye Krolick (BRM36087). As an example of its every-day usefulness, I am preparing On Wenlock Edge by Ralph Vaughan Williams, a gorgeous, heartrending cycle of six songs for tenor and piano quintet with text by A.E. Housman from his poetry collection A Shropshire Lad for my senior recital. Recognizing that executing Mr. Vaughan Williams’s genius requires fully understanding the music that my on-stage colleagues are playing, I requested a full open score and have been familiarizing myself with the piano and string parts. As I encounter unfamiliar notation in the quintet, I am able to consult the dictionary rather than relying on my colleagues, especially as many notational concepts used in music braille do not occur in inkprint music.

What is one piece of advice in learning music you would give to your younger self or a print disabled student?

Learn to read music braille early on. Music literacy is vital to any person’s success as a musician at any level, especially professionally. For sighted people, music literacy is a ubiquitous, required skill. As an example, American classroom music students are expected to learn music notation in elementary school in many states, and that expectation follows anyone who intends to further pursue music in band, jazz ensemble, chorus, or simply for personal enjoyment. Meanwhile, during my elementary school years, my mother had difficulty finding a piano instructor who felt comfortable teaching me both because they had no idea how they would teach a blind student in the first place, and more tellingly, because I could not read music. It is a tragic shame that music literacy is not expected from blind students and that the impetus for becoming proficient in music braille is often left to students and their families; I dearly hope that this situation changes for the better so that future generations of blind musicians are not placed in my situation.

When I was young, my parents and I often heard, “He has an incredible ear; why would we teach him music braille or pay for transcriptions when he can just figure things out aurally?” Learning by ear is an immensely valuable skill which I still use even at Conservatory. However, learning aurally is no substitute for notation. Being able to discern a composer’s intent from their own writing on the page rather than being reliant on the interpretations (and potential mistakes) of others is not only expected in a professional setting but also liberating. Using On Wenlock Edge as an example of a rule which occurs throughout the entirety of vocal literature, there are expressive notations and subtleties throughout the piano and string parts that are not copied into the vocal line but which nonetheless are necessary for the vocalist to observe. These markings are not obvious from listening or even simply reading the vocal part, and all musicians performing in the piece must be intimately aware of what the others are obliged to do by the composer.

So, in summary, advocate early and often for music braille instruction and also for the full transcription of any music being learned. The alternative–cram-learning the particulars of music braille while trying to stay afloat academically during one’s first semester of Conservatory–is a baptism by fire which I would not recommend.

Why is music important to you and how has it influenced your life?

Music is important to me because it offers a direct, vivid, emotional, and personal connection to the listener. Experiencing music–whether on stage or in the seats of a hall–is a kind of marvelous, inexplicable, transportive magic that enraptured me as a child and has been my obsession ever since. It has directly shaped my trajectory; being a performer is a gift and an obligation to pay forward the joy, reverence, and deep emotional connection that I found in music to others.

What do you like to do in your free time that isn’t music related?

In my free time, I serve as Second Vice President and Director of Operations for Judy’s League, a grassroots organization dedicated to raising awareness of the current threats to the disability rights laws upon which 80 million Americans nationwide rely. Beyond advocacy, I adore taking long walks, listening to podcasts (my current obsession is The Moth), drinking herbal tea, and spending time with friends, family, and my partner, Kaleigh. I’m also hoping to get back into reading for fun; my favorite book–which I have read an embarrassing number of times–is The Martian by Andy Weir (available on BARD in audio at DB78389 and in braille at BR21144).

Finally, Noah shared with us a recording of him performing as the tenor soloist in Anton Bruckner’s Mass No. 3 in F Minor, WAB 28, “Great” with the Eastman School Symphony Orchestra, Eastman-Rochester Chorus, and Eastman Chorale under the baton of Dr. William Weinert, on Friday, December 5, 2025, in Kodak Hall at Eastman Theatre. The clip starts in the third movement, the Credo. Enjoy!

New BARD Additions: August 2026

Brian McCurdy — Thu, 27 Aug 2026 17:00:32 +0000

Greetings from the NLS Music Section! As summer comes to a close, we are thrilled to present our latest additions to BARD (Braille Audio Reading Download). There is something for everyone!

We recently acquired several audio music lessons from Homespun Music. Our first offering from this series, Improvising Violin by Julie Lyonn Lieberman (DBM04784), covers everything from folk music to New Age, and is an exciting new acquisition for our collection!

In our braille collection, we’ve added several partitas and other keyboard works by J. S. Bach, as well as studies from Burgmüller and Czerny. We’ve also added a collection of piano solos by contemporary Japanese composer Naoko Ikeda.

For our singers, we have classical and popular offerings to share. Our latest issue of Popular Music Lead Sheets features selections from the Beach Boys, Steely Dan, Prince, Taylor Swift, and Billie Eilish. We’ve also added lieder by Hugo Wolf and Robert Schumann, as well as the libretto to Verdi’s “I Lombardi alla prima crociata.”

If you are new to our services, you can find more information about BARD here: Sign up for BARD and Accessing BARD.

Audio

Instructional

Lieberman, Julie Lyonn. Improvising Violin. “Leave the confines of the written tune and fly off to the musical freedom of improvisation! Julie will help you give voice to your own musical self-expression, no matter what level you’re playing at now. She covers improvisation techniques in folk, blues, swing, jazz and New Age music, as well as musicianship, theory, and new mental and physical approaches to playing. Guitar and piano rhythm tracks are provided for improvisation practice.” –Publisher’s website (DBM04784).

Braille

Libretti

Verdi, Giuseppe. I Lombardi alla prima crociata. Music by Giuseppe Verdi. Libretto by Temistocle Solera. Includes words for the tenor chorus part only with breath marks and rests indicated but no music notes. Also includes complete libretto in English contracted braille. (BRM36295)

Piano

Bach, Johann Sebastian. Concerto no. 5 in F minor for Harpsichord and String Orchestra, BWV 1056. Arranged for piano. This transcription contains the solo keyboard part only in bar over bar format. (BRM38149)

____ Contrapunctus XIX, BWV 1080: Fuga a 3 Soggetti. Bar over bar format. (BRM38150)

____ Partita no. 3 in A minor, BWV 827. Bar over bar format. (BRT38162)

____ Partita no. 4 in D major, BWV 828. Bar over bar format. (BRT38151)

____ Partita no. 5 in G major, BWV 829. Bar over bar format. (BRT38152)

____ Partita no. 6 in E minor, BWV 830. Bar over bar format. (BRT38153)

Burgmüller, Friedrich. Eighteen Characteristic Studies, op. 109. Bar over bar format. (BRT38159)

Czerny, Carl. The New Czerny: Book 1. Revised and edited by A. Rowley and E. Haywood. “Carl Czerny’s studies are an indispensable foundation for learning the piano. The present edition contains a selection from his rich repertoire of exercises, arranged according to pedagogical principles.”–Publisher’s note. Bar over bar format. (BRT38158)

____ 100 Progressive Studies without Octaves, op. 139. “Op. 139 begins with an easy level of pieces and gradually increases to a moderately difficult level. Some of the technical devices in these pieces include: right-hand melody with left-hand accompaniment; diatonic and chromatic scalar and arpeggio figurations; syncopated melodies and trills. Many of the studies can be transposed into other keys and practiced at varied tempos.”–Publisher’s note. Bar over bar format. (BRT37157)

Ikeda, Naoko. 14 Beautiful Piano Solos. “Naoko Ikeda’s latest collection features music inspired by the beautiful timbres of woodwind instruments. As with much of her music, it is immensely appealing to more mature students. The book also features an arrangement of Bellini’s ‘Vaga luna, che inargenti,’ one of Ikeda’s favorite arias.”–Publisher’s note. Bar over bar format. (BRM38156)

Liszt, Franz. Valse oubliée no. 1. Paragraph format. (BRM36360)

Porter, Cole. The Best of Cole Porte: Easy Piano Arrangements by Dan Coates. For medium voice and piano with chord symbols. Line by line and bar over bar format. (BRM28737)

Schumann, Robert. Davidsbündlertänze, op. 6. Bar over bar format. (BRT38154)

Thompson, John. Let’s Join the Army. Bar over bar format. (BRM36296)

Vocal, Classical

Five Selected Lieder by Hugo Wolf and Robert Schumann. For voice and piano in line by line and bar over bar format. (BRM36297)

Vocal, Popular

The Beatles. Nine Beatles Songs. For voice and piano in section by section format. (BRM34936)

National Library Service for the Blind and Print Disabled. Popular Music Lead Sheets no. 144. Features songs popularized by the Beach Boys, Steely Dan, Prince, Taylor Swift, and Billie Eilish. In lead sheet format with melody, words, and chord symbols. For voice and chordal accompaniment. (BRM38155)

Wind Instruments

Bach, Johann Sebastian. Bach Chorales for Brass Quintet. Arranged by Clair W. Johnson. Open score format. (BRM36292)

Bennetts, Kathryn. Time Pieces for Descant or Soprano Recorder: Volume 1. Grades 1-3. Selected and arranged by Kathryn Bennetts and Peter Bowman. “Time Pieces for Descant/Soprano Recorder is a two-volume anthology of well-crafted arrangements of music from the 14th century to the present day. The pieces are presented chronologically within each volume and all include the year in which they were written, so that you can get a feel for the different styles of music through time.”–Publisher’s note. Line by line format. (BRM38163)

____ Time Pieces for Descant or Soprano Recorder: Volume 2. Grades 4 and 5. Selected and arranged by Kathryn Bennetts and Peter Bowman. “All four of these volumes include wonderful selections, representative of many historical eras and of many different genres within each era. These books become especially valuable as they contain music representing styles that are often not included in the education of younger recorder students.”–Publisher’s note. Line by line format. (BRM38161)

Lyons, Graham. New Recorder Solos: Book 1, Beginners. “Graded compositions in a wide variety of styles progressing from the first three or four notes.”–Publisher’s note. For recorder and piano in single line and bar over bar format. (BRM38160)

Voxman, Himie. Selected Duets for Clarinet, Volume I: Easy-Medium. Line by line format. (BRM23630)

Reader Spotlight On: Audrey Joy Levine

Juliette Appold — Thu, 13 Aug 2026 15:16:23 +0000

This post features musician and longtime NLS music patron Audrey Joy from New York City. Playing music since early childhood, she received piano lessons at age seven, first learned music by ear, then by reading braille music. Audrey holds a bachelor’s degree in music business from New York University and a master’s degree in music performance from Hunter College. She works as a professional entertainer, plays piano, sings, writes songs, and teaches voice and performance skills.

Audrey Joy. Photograph used with permission.

What’s the most meaningful or memorable musical experience you have had so far in your life?

It’s all meaningful: I enjoy learning new songs for my shows, as well as performing them. I also enjoy teaching my students how to prepare, arrange, and perform songs for showcasing. I truly enjoy teaching, especially when my students have success and go beyond what they believe they’re capable of. As a rule, I get to know my students’ strengths and weaknesses and then help them to bring their best to the stage. We all have fun and learn a great deal. Here is an example: In 1993, I was teaching music at Manhattan Comprehensive Night High School, where the students between 16 to 21 attended school from 5 PM till 10:45 PM. Most of the students were shy and had low self-esteem because they had learning and other challenges at traditional high school settings. Out of approximately 75 students, one young man stood out who was especially shy. One afternoon, he heard another student playing a music riff on the piano, walked over to the piano and started singing lyrics: “Oh tell me why.” With my encouragement, in subsequent afternoons, he and the pianist completed a song. A month later, that same shy student got up on the stage and sang his original song in front of the whole school. Three months later, the drama teacher and I directed a production of the Broadway show “The Wiz,” with said student playing the part of the Wiz, and he did a phenomenal job. To sum up, I was able to help a very shy young man write an original song, perform it onstage for the school audience, and then enjoy having a leading role in a school production of “the Wiz.”

How have you used technology to assist with your musical career?

I have some background in MIDI production software, but I’d rather be at my baby grand piano. I use a refreshable braille display to read everything on the computer screen. I use a braille tablet for many tasks including creating lesson plans, getting lyrics, reading emails and using my email list. I also use Google to search for lyrics to songs that I either don’t know or have in my Braille music collection.

How have you utilized the NLS Music Section collection, and what is your favorite book or resource?

The NLS Music Section is my professional lifeline. My favorite resource is the Popular Music Lead Sheets magazine. I also appreciate the Broadway and pop music collections. In addition, the “jazz piano” instructional braille books are extremely valuable.

What is one piece of advice in learning music you would give to your younger self or a print disabled student?

Find an instructor who specializes in ear training and music theory. After the student learns theory, he or she can then learn how to read notation (large print or braille). Whether the student reads braille or not, chord patterns and other advanced theory concepts should be learned.

Why is music important to you and how has it influenced your life?

Music is my life—it’s probably in my DNA. All of my family and friends know that wherever there’s a piano, I’ll be asked to take song requests. It’s difficult to pinpoint a single song because I enjoyed listening to all kinds of music from childhood to now. I remember my first public performance: I was five, and my entire family went upstate (New York) to the Browns Hotel for the Passover holiday. There was a piano player, and I was singing along with his version of “Hello, Dolly!” He had me come up to the piano to sing with him.

Some of my favorite songs at the time were: “Those Were the Days,” “The Sound of Music,” “The Impossible Dream,” “I Could Have Danced all Night,” “I’ve Gotta Be Me,” “Good Morning Starshine,” and many others. I remember my cousins and I would put on shows for our parents. I played the piano, and we sang songs and made-up comedy skits for our audience to enjoy.

To summarize, throughout my entire life, I knew I’d have a career in music. When I was in high school (in Monticello, NY where all those famous hotels like the Concord and the Grossinger’s were located), my guidance counsellor told my parents not to even consider any other career for me.

Finally, here is an audio impression of the song: Woke Up in Love. Composed and performed by Audrey Joy, used with permission.

Thank you for sharing your musical journey with us!

The NLS Music Section is proud to offer the world’s largest collection of accessible music materials. Registered patrons can access audio instructional guides, braille materials for free through our digital library BARD, or through the mail.

Empower your musical journey today! Learn more at www.loc.gov/nls/music, or reach us vie email nlsm@loc.gov, or phone: 800-424-8567 ext. 2.

New BARD Additions: July 2026

Katie Rodda — Thu, 30 Jul 2026 18:09:09 +0000

Welcome to the July edition of what’s new on BARD!

This month for our audio listeners, we have a fantastic recorded interview with singer, pianist and NLS Music Section patron Holly Connor! In this interview, Holly talks a bit with our own Brian McCurdy about her experiences as an opera singer, student, and braille music reader.

For our braille readers, we have a number of exciting additions, including some newly digitized music theory textbooks, and a large number of choral works including some by Eric Whitacre, thanks to the Marrakesh Treaty. So, keep reading, and get ready to download these fantastic titles!

Please note that all materials listed below are also available to borrow by mail, not only through BARD. Please contact the Music Section to borrow talking books on digital cartridge or to borrow hard copies of braille music. Call us at 1-800-424-8567, ext. 2, or e-mail us at nlsm@loc.gov.

If you are new to BARD, you can find more information about signing up here: Sign up for BARD and Accessing BARD.

Audio

NLS Music Notes: Interview with NLS Music Patron Holly Connor. Interview with singer, pianist, and braille music patron Holly Connor. Hosted by Brian McCurdy and Juliette Appold. (DBM04775)

Choral

Barber, Samuel. Prayers of Kierkegaard: op. 30, for Mixed Chorus, Soprano Solo and Orchestra. Tenor chorus part. Line by line format. (BRM36303)

Mendelssohn, Felix. Book of Tenor Chorus Parts for Selected Choral Works by Felix Mendelssohn. Line by line format. (BRM36309)

Rutter, John. Gloria: For Mixed Voices with Brass, Percussion, and Organ. This version is transcribed for mixed voices and piano accompaniment in line by line and bar over bar format. (BRM29078)

Tenor Chorus Parts: Book of Spirituals for Mixed Voices. Line by line format. (BRM36310)

Tenor Chorus Parts for Selected Sacred Choral Music. Line by line format. (BRM36327)

Whitacre, Eric. Alleluia: For Unaccompanied SATB Chorus. This transcription includes the first soprano part only in line by line format. (BRT38145)

____ Cloudburst: For SATB Chorus, Piano and Percussion. This transcription includes the soprano chorus part only in line by line format. (BRT38147)

____ Eric Whitacre Collection: For Unaccompanied SATB Chorus. Line by line format. The piano part, for rehearsal only, is in bar over bar format. (BRT38141)

____ The Firefly: From Animal Crackers, Vol. 1, No. 3: For SATB Chorus and Piano. This transcription includes the second alto part only in line by line format. (BRT38144)

____ Higher, Faster, Stronger: For Triple SATB Chorus with Solo Soprano, Percussion and Piano. This transcription includes the soprano chorus part only in line by line format. (BRT38146)

____ Kalá Kallá: From Five Hebrew Love Songs: For Unaccompanied SATB Chorus. This transcription includes the soprano part only in line by line format. (BRT38142)

____ When David Heard: For SSAATTBB Chorus. This transcription includes the soprano 1 part only in line by line format. (BRT38148)

Music Theory

Aston, Peter. Music Theory in Practice Grade 6. Single line format. BRM35559

Ottman, Robert W. Music for Sight Singing: Tenth Edition. Single line format. (BRM38140)

Taylor, Eric Robert. Music Theory in Practice Grade 1. Single line format. (BRM35554)

____ Music Theory in Practice Grade 3. Single line format. (BRM35556)

____ Music Theory in Practice Grade 4. Single line format. (BRM35557)

Organ

Hammond Easy Play Songbook. For organ in line by line format with chord symbols. (BRM36302)

Piano

Albéniz, Isaac. Iberia: No. 1 Triana. For piano in section by section format. (BRM27749)

Florentine, Sister. Birdie’s Call: Piano Solo. For piano in bar over bar format. (BRM36368)

Godard, Benjamin. Second Mazurka, op. 54. For piano in bar over bar format. (BRM36307)

Ibert, Jacques. Histoires. For piano in paragraph format. (BRM36305)

Selected Piano Arrangements of Hymns and Spirituals. Bar over bar format. (BRM36308)

Vocal

Adams, Emmett. The Bells of St. Mary’s: Song for High Voice. For voice and piano in bar over bar format. (BRM36300)

Gershwin, George. The Best of George Gershwin. Arranged for voice and piano by Dan Coates. Line by line and bar over bar format. (BRM28697)

Special Concert Announcement: Access-VSA International Young Musicians Showcase

Juliette Appold — Wed, 22 Jul 2026 15:04:05 +0000

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This coming Friday, July 24, 2026, The Kennedy Center for the Performing Arts/VSA program will present the “International Young Musicians Program” in collaboration with Library of Congress National Library Service for the Blind and Print Disabled (NLS) and the Music Division of the Library of Congress. The Kennedy Center’s Very Special Arts program is an initiative that creates opportunities in arts, education, and career development for people with disabilities. It was founded in 1974 to break down barriers and ensure that individuals of all ages have equal access to the arts, professional development, and international competitions.

Justin Kauflin by Glen McClure. Used with permission.

Acclaimed jazz pianist and NLS patron Justin Kauflin will serve as both master of ceremonies and pianist.

The program will also feature

Valentina Koehler, vocalist
Jadyn Thompson, soprano
Carter Doolittle, alto saxophone
Dennis Fleitz, cello

Tickets are available here: https://www.etix.com/ticket/p/40227190

To read the concert program, click here.

The concert will begin at 6:00 p.m. in the Coolidge Auditorium at the Library of Congress.

This performance will also be recorded for the National Public Radio’s show “From the Top” and will be featured both as a national radio broadcast and as a full-length podcast.

NLS is delighted to cohost this inspiring evening celebrating the artistry of exceptional young musicians.

Empower your musical journey today! Learn more at www.loc.gov/nls/music, or reach us vie email nlsm@loc.gov, or phone: 800-424-8567 ext. 2.

New BARD Additions: June 2026

Lindsay Conway — Thu, 25 Jun 2026 18:24:23 +0000

Greetings, music lovers, and happy midsummer! We’re excited to share the audio music lessons and braille music that we’ve added to BARD (Braille and Audio Reading Download) during the past month.

Although the calendar may suggest otherwise, it’s never too early to start practicing music for the winter holidays. If you’re celebrating Christmas in July, we have new “EZ Solos Christmas” courses from Bill Brown for both piano and guitar. What’s more, these courses feature the same carols so that a pianist and guitarist can practice together—fun! We also have new editions of Bill Brown’s popular “EZ Solos” for piano.

And for our braille music readers, we have an addition that should be popular with our church musicians out there: “Solos for the Sanctuary,” Hymns 1 and 2. We also have cello repertoire from the UK’s ABRSM and Canada’s Royal Conservatory. Whether you’re looking to learn more about music theory, brush up on your conducting skills, or explore virtuoso violin works, we have braille music for you, so read and play on!

You can download the materials below through BARD. You can also contact the Music Section to borrow talking books on digital cartridge or embossed copies of braille music materials. Call us at 1-800-424-8567, ext. 2, or e-mail us at nlsm@loc.gov.

For more information about getting started with BARD, use this link: Sign up for BARD and Accessing BARD.

Music Instruction

Bill Brown’s Guitar by Ear

EZ Solos Christmas, Volume 1. “Learn the notes and chords to five Christmas Carols in an easy to learn arrangement. The titles on this lesson correspond to the Piano by Ear lesson of the same title so you and a pianist can play together. Jingle Bells, Silent Night, We Wish You a Merry Christmas, White Christmas, Jolly Old St. Nicholas.” –Publisher’s website. (DBM04764)

EZ Solos Christmas, Volume 2. “Learn the notes and chords to five Christmas Carols in an easy to learn arrangement. The titles on this lesson correspond to the Piano by Ear recording of the same title so you and a pianist can play together. Includes Away in a Manger, Little Drummer Boy, O Little Town of Bethlehem, Deck the Halls, Hark! The Herald Angels Sing.” –Publisher’s website. (DBM04765)

Bill Brown’s Piano by Ear

EZ Solos, Volume 1. “Learn the chords and notes to five songs on the piano in an easy arrangement. This lesson teaches the songs – Amazing Grace, O Danny Boy, America, Aura Lee, & You Are My Sunshine.” –Publisher’s website. (DBM04771)

EZ Solos, Volume 2. “Learn easy chords and notes to Just As I Am, My Wild Irish Rose, My Country Tis of Thee, Down in the Valley, and Five Foot Two without having to read music or tab. This lesson teaches the same songs as the guitar by ear version so you and a guitar playing friend can play together!” –Publisher’s website. (DBM04772)

EZ Solos Christmas, Volume 2. “Learn the notes and chords to five Christmas Carols in an easy to learn arrangement. The titles on this lesson correspond to the Guitar by Ear recording of the same title so you and a guitarist can play together. Includes Away in a Manger, Little Drummer Boy, O Little Town of Bethlehem, Deck the Halls, Hark! The Herald Angels Sing.” –Publisher’s website. (DBM04768)

I’ve Been Working on the Railroad. “In this ‘all-audio’ lesson you will learn a late beginner arrangement of ‘I’ve Been Working on the Railroad.’ The lesson starts with a full demonstration of the song and then talks you through the entire song, describing every note and fingering, without music, print or video. This is the fastest way to learn a song and you memorize it while you are learning it.” –Publisher’s website. (DBM04773)

Notturno by Grieg, from Lyric pieces, op. 54. Intermediate level. “This is from the album Lyric Pieces by the Norwegian Romantic Era composer Edvard Grieg. This piece of piano literature is not only a beautiful composition but it incorporates more advanced techniques like the right hand over left hand and two against three rhythms between the hands. There are also trills and grace notes to help sharpen the student’s piano playing skills and prepare them for even more difficult piano pieces. The song is fully demonstrated and then taught ‘by ear’ using no print, music or video. Each measure is broken down note-by-note with fingering and tips on technique. This lesson contains over an hour of high-quality detailed instruction. This song is rated at an intermediate level.” –Publisher’s website. (DBM04770)

Braille Music

Cello

Associated Board of the Royal Schools of Music. Cello Pieces, ABRSM Grades 4 and 5. Selected from the 2020-2023 syllabus. For cello and piano. Cello part only in single line format. (BRM38138)

Royal Conservatory of Music. Cello Series, Repertoire, Levels 2-5. For cello and piano. Cello part only in single line format. (BRM38134)

Choral

The Concord Series, no. 4: A book of songs for unison and part singing for grades 4, 5 and 6. Compiled and edited by Archbald T. Davison. Melodies in single line format with words in English contracted braille. (BRM36325)

Conducting

Boult, Adrian. A Handbook on the Technique of Conducting. “This handbook was written in 1920 for private circulation amongst members of the Conducting Class at the Royal College of Music, and published later.” –Publisher’s note. English contracted braille. (BRM36323)

Guitar

Bay, Melbourne Earl. The New Mel Bay Classic Guitar Method, Volume 3. Line by line format. (BRM30543)

Grieg, Edvard. Melody: Guitar Solo. Transcribed by Andrés Segovia for guitar solo. Single line format. (BRM36344)

Piano

Austin, Glenda, arr. Solos for the Sanctuary, Hymns 1: 7 Piano Solos for the Church Pianist. “Exciting piano solos for church pianists everywhere! These excellent arrangements by Glenda Austin include some of her favorite hymns that may be used for church and recital performances, or simply for personal enjoyment.” –Publisher’s note. Bar over bar format. (BRM38135)

Austin, Glenda, arr. Solos for the Sanctuary, Hymns 2: 10 Piano Solos for the Church Pianist. “10 more gorgeous hymn arrangements from Glenda Austin!” –Publisher’s note. Bar over bar format. (BRM38136)

Bach, Johann Sebastian. Konzert, F Moll, für Klavier und Orchester. BWV 1056. Arranged for two pianos in section by section format. (BRM34321)

Bartlett, Homer Newton. Grande Polka de Concert for Pianoforte. For piano in bar over bar format. (BRM36361)

Brahms, Johannes. Concerto no. 1 in D minor, op. 15. Edited and arranged by Emil Sauer for two pianos. (BRM36318). Bar over bar format.

Ganz, Wilhelm. Qui vive galop, op. 12. For piano in bar over bar format. (BRM36346)

Grützmacher, Friedrich. Albumblatt, op. 66. For piano in paragraph format. (BRM36337)

Kim Un-Bong. Beyer for the Elder Beginner, Vol. 1, Piano Beginning. For adults. Bar over bar format. “Piano Beginning for Adults is a basic piano textbook tailored for adults. It offers encouragement to those who briefly learned piano as children but have lost all memory due to a long hiatus, as well as to those who wish to take on a new challenge but lack the courage to do so. Unlike childhood learning, the book leverages the unique advantages of learning as an adult to guide the basics. Composed of a selection of familiar practice pieces within a step-by-step foundational curriculum, it allows any adult to enjoy learning the piano.”–Publisher’s note. (BRT38139)

Langgaard, Siegfried. Love-Song. For piano in paragraph format. (BRM36328)

Olsen, Ole. “Fanitull,” op. 23, no. 2, from Petite Suite. For piano in paragraph format. (BRM36329)

Philipp, Isidor. The Elf, op. 23. For piano in paragraph format. (BRM36338)

Scarlatti, Domenico. Pastorale: Sonata in F. For piano in bar by bar format. (BRM36345)

Music Theory

Associated Board of the Royal Schools of Music. Rudiments and Theory of Music, Grades 1-5 and 6-8. Based on the syllabus of the theory examinations of the Royal Schools of Music. Single line format and English contracted braille. (BRM36342)

Recorder

Hook, James. Sonata no. 6 in G major, op. 54. For descant recorder and piano. Single line and bar over bar format. (BRM38137)

Violin

Paganini, Niccolò. Compositions célèbres. For violin in paragraph format. (BRM26412)

Ravel, Maurice. Tzigane: Rapsodie de concert. For violin and piano in paragraph format. (BRM26435)

Viotti, Giovanni Battista. Concerto 23 in G Major. Arranged for violin and piano by Jules le Boulch. Paragraph format. (BRM21391)

Voice

Gershwin, George. “Bess, You Is My Woman Now” from Porgy and Bess. Duet for soprano and bass-baritone with piano. Bar over bar format. (BRM36311)

Gurney, Ivor. “Down by the Salley Gardens,” no. 4 of Twenty Songs. Words by W. B. Yeats. For voice and piano in bar by bar format. (BRM01771)

Sanderson, Wilfrid. Break o’ Day by Wilfrid Sanderson. For voice and piano in bar over bar format. (BRM36350)

Sandoval, Miguel. Madrigal. Song for voice and piano. Bar over bar format. (BRM36355)

Scarlatti, Alessandro. Se Florindo è fedele. For voice and piano in bar over bar format. (BRM36352)

New BARD Additions, May 2026

Timothy Jones — Thu, 28 May 2026 18:00:38 +0000

New BARD Additions, May 2026

Timothy Jones

In the 1500s, the English poet Thomas Tusser coined the phrase, “April showers bring May flowers.” While you will not find the physical flowers of spring in the Music Section, we are sure you will enjoy the garden of offerings we present this month. And, if you are searching for vocal music, we are pleased to bring you Schumann’s “The Lotus Flower” as one of our braille vocal selections. Not ready for spring? Perhaps Christmas in May will brighten your day.

Audio

Guitar

Brown, Bill. A Love Song. An intermediate level fingerstyle solo of this soft rock/folk hit by Anne Murray and popularized by Kenny Loggins. (DBM04761)

Piano

Brown, Bill. Frosty Rudolph Medley. “In this lesson you will learn this upbeat medley completely “BY EAR,” using no print, music or video. The medley is demonstrated in its entirety and then taught note-by-note, describing every finger and note and any additional techniques needed to play this delightful arrangement.” –Publisher’s website. (DBM04766)

____ Liz On Top Of The World, From The Motion Picture “Pride And Prejudice”. (DBM04769)

Braille

Choral

Loewe, Frederick. My Fair Lady, Choral Selection. Arranged for mixed chorus and piano. BRM36386

Tenor Chorus Parts, Book 1. Contains works by Thomas Attwood Walmisley, Gerald Finzi, and Basil Harwood. (BRM36379)

Tenor Chorus Parts, Book 2. Tenor chorus parts to various works for mixed chorus and orchestra. Line by line format. (BRM36378)

Walton, William. Belshazzar’s Feast. Bass Chorus Part. (BRM36383)

Guitar

Schmid, Will. Hal Leonard Guitar Method, Book 2. “Book 2 continues the instruction started in Book 1 and covers, Am, Dm, A, E, F and B7 chords; power chords; fingerstyle guitar; syncopations, dotted rhythms, and triplets; Carter style solos; bass runs; pentatonic scales; improvising; tablature; 92 great songs, riffs and examples; notes in first and second position.”–Publisher’s note. Single line and line by line format. (BRM38128)

____ Hal Leonard Guitar Method, Book 3. “Includes, the major, minor, pentatonic, and chromatic scales; sixteenth notes; barre chords; Travis picking; drop D tuning; movable scales; notes in fifth position; slides, hammer-ons, pull-offs, and string bends; chord construction; gear; definitions for special guitar notation; 89 great songs, riffs, and examples.”–Publisher’s note. Single line and line by line format. (BRM38129)

Organ

Brahms, Johannes. Sämtliche Orgelwerke. Paragraph format. (BRM26448)

Piano

Barratt, Carol. Chester’s Piano Starters, Very Easy Tunes For Young Beginners, Volume 2. Bar over bar format. (BRM36916)

Bartók, Béla. For Children, Piano Solo, Vol. II, Based On Slovakian Folk Tunes. For Piano in bar over bar format. (BRM 24759)

Bastien, James W. Major Scales And Pieces, Level 4. For piano in bar over bar format. (BRM36926)

Chopin, Frédéric. Mazurkas 1-3, Op. 59. Paragraph format. (BRM21714)

Beethoven, Ludwig van. Sonata, op. 101. For piano in bar over bar format. (BRM07247)

Piano Duets

Zeitlin, Poldi. The Duet Book II. For piano, four hands in bar over bar format. (BRM36931)

Popular Vocal

Barroso, Ary. Brazil, For Mixed Chorus. Arranged By Helen Marchisio. Line by line format. (BRM38131)

Mitchell, Anaïs. Hadestown, Vocal Selections. “A dozen vocal selections from the 2019 Tony® Award winner for Best Musical and Best Original Score by Anaïs Mitchell.” (BRM38133)

Rodgers, Richard. Younger Than Springtime, From The Musical Play “South Pacific”, Four-Part Mixed Voices. For mixed chorus. Line by line format. (BRM38132)

Violin

Bach, Johann Sebastian. Concerto In D Minor For Two Violins & Piano. BWV 1043, by J. S. Bach. Arranged for two violins and piano. Edited with original cadenzas and marks of expression by Joesph Joachim. Paragraph format. (BRM37803)

Demuth, J, A, (John Arthur). Petit chanson d’amour = little love song, op. 10, no. 8. Violin part only in single line format. (BRM36356)

Vocal

Gounod, Charles. When All Was Young, Romance From The Opera Faust. For voice and piano in bar by bar format. (BRM36354)

Kelly, John Craig. Kyrie, From Mass In B Minor. For mixed chorus. Soprano and contralto parts only. (BRM38130)

Parker, Horatio. Salve Regina. For Piano and High Voice, with Lattin text. (BRM 36351)

Schumann, Robert. The Lotus Flower = Die Lotosblume, The Cottage = Die Hutte. For voice and piano in bar by bar format. (BRM36349)

Strauss, Richard. Ich Trage Meine Minne Vor Wonne Ttumm, Op. 32 No. 1. For medium voice and piano in paragraph format. (BRM36367).

Wind Instruments

Haydn, Joseph. Lirenkonzerte, No. 1 In C Major. For Two Recorders (or Hurdy-gurdies). (BRM 37045)

New BARD Additions: April 2026

Brian McCurdy — Thu, 30 Apr 2026 17:00:59 +0000

Greetings from the NLS Music Section! As April comes to an end, we are pleased to present our latest additions to BARD (Braille Audio Reading Download). We have many new offerings to share!

This month, we’ve added more lessons on piano and guitar from Bill Brown. This includes “For Good” from “Wicked” and “Leaving on a Jet Plane” by John Denver. Whether it’s Elvis, Ed Sheeran, or Peter, Paul and Mary, there’s something for everyone!

Our braille collection has grown quite a bit on BARD this month as well. We’ve added more selections from the Bastien piano series, as well as organ music from Handel and Alexandre Guilmant. Our latest Popular Music Lead Sheets publication includes Michael Jackson, Sade, the Beach Boys and Ronnie Milsap.

If you are new to our services, you can find more information about BARD here: Sign up for BARD and Accessing BARD.

Audio

Guitar, Instructional

Brown, Bill. Can’t Help Falling in Love. As performed by Elvis Presley. (DBM04747)

____ Leaving on a Jet Plane. As Performed by John Denver. (DBM04751)

____ Puff the Magic Dragon. In the style of Peter, Paul and Mary. (DBM04752)

____ Tears in Heaven. As written and performed by Eric Clapton. (DBM04753)

Piano, Instructional

Brown, Bill. 100 Years. As performed by Five for Fighting. (DBM04754)

____ Breathe. As performed by Faith Hill. (DBM04756)

____ Can’t Help Falling in Love. As performed by Elvis Presley. (DBM04757)

____ For Good. From the musical and motion picture “Wicked.” (DBM04758)

____ Perfect. Music by Ed Sheeran. As performed by the Piano Guys. (DBM04760)

____ A Thousand Miles. As performed by Vanessa Carlton. (DBM04755)

Wind Instruments, Instructional

Brown, Bill. Intro to the Trumpet. “In this all-audio course the student learns the basics of playing the trumpet using no music, print, tab or video. There are over 20 professionally recorded tracks to listen to and practice/perform with. This course covers about three to six months of what a student would learn with a private teacher. ”–Publisher’s website. (DBM04774)

Braille

Choral

Brahms, Johannes. Morning Song. For four-part mixed chorus in line by line format. (BRM37791)

Chopin, Frédéric. Prayer: Anthem for Mixed Voices. Music composed by Frédéric Chopin and arranged by Edgar Stillman Kelley. For mixed chorus (SATB) a cappella in line by line format. (BRM38117)

Rogers, Richard. Happy Talk. From the musical “South Pacific.” For mixed chorus and piano in line by line format. (BRM38118)

____ This Nearly was Mine. From the musical “South Pacific.” For mixed chorus and piano in line by line format. (BRM38119)

Whiting, Richard A. Beyond the Blue Horizon. Chorus for mixed voices with soprano (or tenor) solo. Music composed by Richard A. Whiting and W. Franke Harling. Lyrics by Leo Robin. Arranged by Roy Ringwald. Line by line format. (BRM38116)

Orchestra

Purcell, Henry. Air and Rondo in D minor. Individual orchestra parts and conductor’s score in single line and bar over bar format. (BRM36997)

Organ

Guilmant, Alexandre. Nöel languedocien af Noëls, Op. 60. Paragraph format. (BRM25526)

Handel, George Frederic. Sechs Fugen: Orgel. Section by section format. (BRM28532)

Larson, Earl Roland. Belwin Organ Album: Book 1. Bar over bar format. (BRM00779)

Piano

Barratt, Carol. Chester’s Easiest Dinosaur Tunes. Bar over bar format. (BRM36917)

Bastien, James. Christmas Favorites: Level 4. Bar over bar format. (BRM37780)

____ Christmas Favorites: Primer Level. Bar over bar format. (BRM37785)

____ First Piano Repertoire Album: Levels 3 and 4. Bar over bar format. (BRM37782)

____ Folk Tunes: Primer Level. Bar over bar format. (BRM37781)

____ Solos for the Very Young Pianist: Book 1. Bar over bar format. (BRM37799)

____ Solos for the Very Young Pianist: Book 2. Bar over bar format. (BRM37784)

Bastien, Jane Smisor. Music Through the Piano: Book 4, Writing. Single line format. (BRM37778)

____ Music Through the Piano: Book 6, Writing. Bar over bar format. (BRM37786)

Bentley, Berenice Benson. Sonatina in D major. Bar over bar format. (BRM36935)

Copeland, Cara. The Spanish Dancer. From “Holiday Sketches.” Bar over bar format. (BRM36918)

Heller, Stephen. Twenty-five Etudes, op. 45. Bar over bar format. (BRM32201)

Norton, Christopher. Microjazz II: Graded Piano Pieces in Popular Styles. Bar over bar format. (BRM36934)

Paderewski, Ignace Jan. Menuet a l’antique, op. 14, no. 1. Section by section format. (BRM37044)

Rose, Michael. Party Time! 15 Party Pieces for Piano. Bar over bar format. (BRM37006)

Strings

Dare, Marie. Serenade & Valse for Violoncello and Piano. Cello part only in single line format. (BRM38121)

Haydn, Joseph. Lirenkonzerte no. 3 in G major. For 2 hurdy gurdies (or recorders) and piano in single line and section by section format. (BRM37046)

Violin

Associated Board of the Royal Schools of Music. ABRSM Violin Exams: Grade 4, Book 1. Published in 2007 by the Associated Board of the Royal Schools of Music. Single line format. (BRM38122)

____ ABRSM Violin Exams: Grade 4, Book 2. Published in 2011 by the Associated Board of the Royal Schools of Music. Single line format. (BRM38123)

____ ABRSM Violin Exams: Grade 4, Book 3. Published in 2015 by the Associated Board of the Royal Schools of Music. Single line format. (BRM38124)

____ ABRSM Violin Pieces from 2024: Grades 4, 6, 7, 8. Single line format. (BRM38125)

Royal Conservatory of Music. Violin Series: Repertoire, Levels 1-8. For violin and piano. Published in 2013 by the Royal Conservatory of Music. Violin part only in single line format.

Vocal, Popular

National Library Service for the Blind and Print Disabled. Popular Music Lead Sheets no. 143. Includes melody, words, and chord symbols. Lead sheet format. Features songs popularized by Michael Jackson, the Broadway musical “Wicked”, Sade, the Beach Boys, and Ronnie Milsap. (BRM38111)

Vocal, Classical

Mendelssohn-Bartholdy, Felix. Sixteen Two-Part Songs. For 2 voices and piano. English and German words. Line by line and bar over bar format. (BRM26021)

Panofka, Heinrich. The Art of Singing: Twenty-Four Vocalises for Soprano, op. 81. For high voice and piano in paragraph format. (BRM37798)

Wind Instruments

Kettelkamp, Larry. Flutes, Whistles and Reeds. Explains the structure and history of woodwinds. English contracted braille. (BRM20718)

Zimmerman, Charles A. Anchors Aweigh: The Song of the Navy. Arranged for concert band in open score and single line format. (BRM36995)