Par HARRIS PAUL. Does the thought of sight-reading make you groan? The ability to sight-read fluently is a vital skill, enabling you to learn new pieces more quickly and play with other musicians. The best-selling Improve Your Sight-reading! for Viola by renowned educationalist Paul Harris, is designed to help you overcome all your sight-reading problems, especially in the context of graded exams. Step by step you build up a complete picture of each piece, firstly through rhythmic and melodic exercises related to specific technical issues, then by studying prepared pieces with associated questions, and finally 'going solo' with a series of meticulously graded sight-reading pieces. New edition, devised to support the revised sight-reading criteria from the ABRSM from 2012./ Etude / Alto

Par EILISH BILLIE. Les plus grands tubes de Billie Eilish maintenant disponibles pour une variété d’instruments. Sommaire : Bad Guy Lovely • Everything I Wanted • No Time to Die • Ocean Eyes et plus. 9 des plus grands succès de Billie Eilish dans des arrangements pour instruments à cordes et à vent solo avec les accompagnements audio./ Recueil / Alto

42 Finger Exercises for perfect intonation in the first position. Par SZILVAY GEZA. Géza Szilvay's Kreutzerini, here adapted for viola by David Banney, consists of 42 finger exercises for perfect intonation in the first position. These mini-studies were created to make learning and teaching 'ear-led finger-stopping movements' even more effective and enjoyable with inventive and resourceful use of natural harmonics and left hand pizzicatos. Kreutzerini is a supplementary material for the Colourstrings Viola ABC Book B (ISMN 9790550112537), but it can be used independently as well. / Date parution : 2022-05-31/ Répertoire / Alto

2-stimmige Kanons. Par SCHMITZ MANFRED. Canons are fun and at the same time also help develop the ability to listen and play along, thus making them an important enhancement to musical training. With 109 pop style melodies in two volumes Manfred Schmitz work provides comprehensive and diversified material which can be flexibly implemented in teaching single pupils, for group lessons and for ensemble classes. The instruments violin, viola, violoncello and flute can thus stay „among themselves“ or play music together in all imaginable instrumental combinations. 2 part: 23 MINI-Canons – from the very start - 37 Canons – for the progressing demands This collection is particularly well-suited for the playing together ofpupil and teacher, but it also works well in group lessons. A collection of canons for the first learning steps on the instrument as well as for more advanced levels of learning. Through the universal versions for viola, cello and flute, different instruments can also play together. / Niveau : Débutant à Intermédiaire / Contemporary - Solos / Recueil / Alto

Par PUSCOIU COSTEL. Great performers have proven that the viola can be successfully used for playing not only classic music, but also symphonic or chamber music from the classical, romantic or modern 36 period just as well as any other musical instrument. No longer is the contemporary repertoire considered unfit for the viola. This collection contains music which has been adapted and arranged especially for the viola. Ideal for the beginning player, it focuses on simple, well known melodies which are both easy and enjoyable. The arranger has carefully chosen the best keys for viola and therefore many songs are not in the keys in which they were originally written. A number of other adaptations have also been introduced to make the music more suitable for performance on the viola. The structure of the music has not been altered. The selections in the beginning of this book use more the treble clef than alto clef, making them easier for beginners and violinists transferring to viola. The piano accompaniment is available as a free download. / Niveau : Débutant / Classic - Solos / Recueil / Alto

Par BRUCH MAX. Thanks to the premiere performance by Joseph Joachim and to the release of the printed edition in 1868, Max Bruch's Violin Concerto #1 zipped onto the road to success and has never left it since. Yet from the preface of the 'BreitkopfUrtext' edition,one can infer how things looked like behind the dazzling facade. After the world premiere, the composer struggled for the definitive form. He wrote '3, 4 development sections in the finale,' and sought the advice of celebrated virtuosi such as Joseph Joachim and Ferdinand David to revise the solo part. And after all this was done (see above), Bruch suffered under the work's popularity: 'Have I written nothing but this one concerto?' The new Urtext edition is based primarily on the first edition. Next to the main source and the autograph, what is supremely interesting is a solo part with entries by Joachim and Bruch. It confirms how intensively the two men collaborated on honing the final form of the work./ Répertoire / Alto

a cura di Danilo Rossi. Par . A collection of the most important solo and ensemble excerpts for viola edited by Danilo Rossi, first viola soloist of the Orchestra del Teatro alla Scala in Milan for over 35 years. The aim of the edition is to make a significant educational, as well as professional, contribution to orchestra work. / Date parution : 2024-01-06/ Recueil / Alto

Pierre Boulez wrote two pieces for solo violin, called ?Anthèmes? I and II. This is the first and shorter of the pair and was composed in 1991 for the Yehudi Menuhin Violin Competition. Taking inspiration from childhood memories of Catholic church services, Boulez created a piece of two distinct sonic worlds, in seven short parts, ending with a ?col legno battuto?, characteristic of Boulez?s witty humour. This arrangement is a direct transposition for viola of the original violin piece. It is not known who produced it but it is known that Boulez heard this version and approved of it./ Recueil / Alto

Par TARKIAINEN OUTI. Tarkiainen writes: The Lustful Mother's Heart is a solo work that plumbs the depths of one of the most fundamental human instincts - the tie between a mother and her new-born child that, as day follows day, becomes less part of its mother's body. The work develops themes from my song cycle The Lustful Mother in which long solo viola passages strike to the very heart of down-to-earth, natural womanhood. The Lustful Mother's Heart was born at a very special moment in my life when my second child was spending his first weeks in this world. The viola song kept company with us night and day, dark and deep-rooted, at times broadening out into a hymn, weaving into our fate asthrough a dream. The Lustful Mother's Heart is dedicated to violist Ellen Nisbeth, who also commissioned it. / Musique contemporaine / Date parution : 2020-04-11/ Répertoire / Alto

Par SITT HANS. Hans Sitt's Viola Method Hans Sitt was a very talented violinist, violist, teacher, and composer. During his lifetime, he was regarded as one of the foremost teachers of Violin. / Méthode / Méthode / Alto

3- und 4-stimmige Kanons. Par SCHMITZ MANFRED. Canons are fun and at the same time also help develop the ability to listen and play along, thus making them an important enhancement to musical training. With 109 pop style melodies in two volumes Manfred Schmitz work provides comprehensive and diversified material which can be flexibly implemented in teaching single pupils, for group lessons and for ensemble classes. The instruments violin, viola, violoncello and flute can thus stay „among themselves“ or play music together in all imaginable instrumental combinations. 3/4 part Particularly designed for performance in groups and ensembles, the demands grow with the addition of voices and the growing diversity of timbres. As withthe two-voiced canons, also the three and four-voiced canons can with the help of the universal versions be played in all thinkable combinations of instruments up to the various chamber music ensembles. / Niveau : Débutant à Intermédiaire / Contemporary - Solos / Recueil / Alto

In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D'Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D'Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel's virtuoso classic 'Tzigane?. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano, producing a sound similar to the rich overtones of the Cimbalon), the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel later orchestrated 'Tzigane? and both versions remain a 'must? for music-lovers and aspiring violinists today. Jelly D'Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel's masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer's earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition - one of the available sources, consulted for the first time, was a copy of 'Tzigane? from the estate of Jelly D'Aranyi, which is today part of a private collection. The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D'Aranyi. D'Aranyi's alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D'Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto.- First scholarly-critical Urtext edition of the work - Presented are both versions: for violin and orchestra and for violin and piano- Includes Jelly D'Aranyi's fingering / Alto