Two-Steps,& Marches- Fiddle. Par STACY PHILLIPS. Poursuit la réédition du classique Phillips Collection de traditionnelle américaine Fiddle Tunes - Volume 2, Favorite américaine écoute pièces, deux étapes et Marches pour violon présente plus de 120 classique et moins connus fiddle tunes de partout aux Etats-Unis, certains avec plusieurs versions. Ce trésor rassemble beaucoup de fusées-sondes lonesome et mystérieux, parfois sinueuse, mais toujours de belles mélodies qui ne correspondent pas clairement dans le typique fiddle catégories, encore sont quelques-uns des mélodies plus aimés par violoneux. Toutes les pièces sont transcrit de représentations des plus grandes violoneux traditionnelles du passé et du présent notamment Kenny Kosek, Pete Sutherland, Eck Robertson, Bruce Greene, Hoyt Ming, Jere Canote, Luther Strong, John Salyer, Clark Kessinger, Kenny Baker, Howdy Forrester, John Hartford et des douzaines plus. / Niveau : Débutant à Intermédiaire / Fiddle Tunes - Solos / Recueil / Violon

Chant de l'escarpoletteDance ScherzoGavotteMenuet CapricieuxPreludeRigaudonTeacher and editor Mary Cohen has compiled a two-volume selection of violin music by Adam Carse covering the elementary and intermediate grades. Carse wrote exquisite miniatures in the tradition of Kreisler and Elgar. Mary Cohen has updated technical details while leaving intact the imperishable musical value of Carse's work. Classic Carse Book 2 is set for the Trinity College examinations Grade 5/6 . Book 1 can be found in the Elementary section Ref. H354.

30 very easy duets for violin-Tunes for Two réunit des duos originaux et des arrangements de célèbres mélodies en provenance du monde entier. Ce recueil peut être utilisé de façon indépendante mais constitue avant tout un excellent complément aux deux volumes de la méthode Je joue du violon ! Les premiers morceaux utilisent les cordes à vide. Toutes les pièces peuvent être jouées en première position et nécessitent l?utilisation des trois premiers schémas de doigts. Les difficultés techniques et musicales sont identiques pour les deux voix.

Par SUZUKI SHINICHI. The Suzuki philosophy is based upon the idea that children can learn music in the same manner they do their native language, through repetitive listening. This listening is then followed up with 1) Individual Instruction with a trained Suzuki teacher 2) Group lessons on a bi-weekly / weekly basis 3) Parent Involvement 4) Encouragement. Students begin lessons as early as two years old and through repetition of small and enjoyable steps begin building a music vocabulary. / Méthode en anglais / Méthode / Violon

Par SUZUKI SHINICHI. The Suzuki philosophy is based upon the idea that children can learn music in the same manner they do their native language, through repetitive listening. This listening is then followed up with 1) Individual Instruction with a trained Suzuki teacher 2) Group lessons on a bi-weekly / weekly basis 3) Parent Involvement 4) Encouragement. Students begin lessons as early as two years old and through repetition of small and enjoyable steps begin building a music vocabulary. / Niveau : Débutant à Intermédiaire / Méthode en anglais / Méthode / Violon

Two pieces renowned for their pathos and sentimentality: Tchaikovsky's Valse Sentimentale and Rachmaninov's Vocalise. The Valse is transcribed by Rok Klopcic who edited the book.

Works for two Pianos-Whose ears are not instantly filled with the dreamy flute solo when Debussy?s 'Prélude l?après-midi d?un faune' is mentioned? Very few people know that before he wrote the orchestral score Debussy made a version for two pianos.Both versions should be seen as being independent and they differ in some details. The differences are revealed in our edition as are Debussy?s entries concerning the work in his copy of the score. The volume also contains theSpanish impression 'Lindaraja' and the three pieces 'En blanc et noir' in which Debussy addresses the horrors of World War I. Andreas Groethuysen one half of the famous piano duo Tal & Groethuysen provided the fingerings.

Spielend for two violins was written during the summer and early autumn of 2003 and is based on the idea of the two instruments not only playing the instruments but also playing in the sense of sport i.e. playing their themes off against each other and playing with the musical material. There are times for instance when they seem to be having a contest to see who can finish the themes first or who can divert the other’s attention to a new texture or rhythm. The title the German word for 'playing' also refers in a way to the composer himself exploring the themes harmonies and rhythms - particularly notable in this respect is the large central slow section which contraststwo altered reminiscences of the Violin Sonata of Poulenc (a composer whose music is very dear to me) with the gradual expansion of a fugue from two parts to eight (four in each violin). Fugue after all is in a sense an example of a composer making sport however seriously with the themes.So the work is a kind of extended musical pun lasting about fifteen minutes in all and being performed without a break. Though the central section is slow the outer ones are quick and energetic emphasizing especially the idea of activity and vigour - the ending however may catch the unwary listener by surprise.The first performance was given by Philippa Mo and Peter Sheppard Skærved in Leighton House London on 7th May 2004.'John McCabe's new 'Spielend' strikes me as a miniature masterpiece: a highly charged 15-minute piece in which the violins chase or echo each other in a thousand different ways including a fugure in which as with Bach two instruments seemed to suggest a dozen voices.'            - Richard Morrison The Times 11/05/2004

TWV 51:a1 A minor 51:D9 D major 51:g1 G minor-Three Concertos for Violin A minor TWV 51: a1; D major TWV 51: D9; G minor TWV 51: g1No fewer than twenty-five violin concertos by Georg Philipp Telemann (1681-1767) have come down to us over the years - presumably only a fraction of his total output in this geme. But even this corpus though reduced by time reveals that Telemann like other composers of his day regarded the violin as the most important and most versatile of all solo instruments. Two of his operas - Der neumodische Liebhaber Damon (1719 TWV 21:8) and Die last-tragende Liebe oder Emma und Eginhard (1728 TWY 27:25) - open with introductory violin concertos; there are eight concertos for twoviolins; and the violin plays an important role in virtually all his concertos for two or more solo instruments.Urtext of the Telemann EditionPerformance material available for hire

Learn how to improvise and explore your creativity with this method developed by acclaimed fiddler violinist and instructor Julianna Waller.This book is divided into four Skill Sections and presented in workbook format.Each exercise includes basic and advanced examples as well as easy progress tracking.The unique improvisatory activities entice the imagination through imagery observation external stimuli art projects and memories.This multifaceted methodology is appropriate for novice and professional String players of the Fiddle Violin Viola and Cello and is adaptable to many musical styles.A high-quality play-along recording is provided tosupport your practice and entice your imagination. The recording includes all examples from sections two and three Piano and full band accompaniment tracks for the I IV V7 - I chord progression in ten keys and excerpts fromtwo bluegrass compositions by the author.

Sonatas Wq 71-74 BWV 1036 Violinsonaten nach den Trios Wq 143-147-Carl Philipp Emanuel Bach's works for Violin and Harpsichord obbligato pervade his entire compositional oeuvre. The earliest works like the Sonata in D minor still numbered BWV 1036 date back to the years of study with his father yet show already a remarkable creative will of his own. The latest work the fantasia 'C. P. E. Bachs Empfindungen' in F flat minor of 1787 is characterized by the composer's highly expressive late style. The new two-volume edition of Wiener Urtext Edition contains C. P. E. Bach's complete works for Harpsichord (Piano) obbligato and Violin. Vol. 1 contains not only the sonatas Wq 71–74 and BWV 1036 but alsothe arrangements of the trios Wq 143–145 for Violin and Harpsichord most of which are included in C. P. E. Bach's autographs as well as a – previously ignored – early version of Wq 71 which like BWV 1036 grants a rare insight into the early works of the composer. Vol. 2 contains the four major sonatas of 1763 which already fascinated Johannes Brahms. Brahms not only played them in concert together with Joseph Hellmesberger but also published two of these sonatas in 1864. This volume concludes with the two late works 'Arioso' and 'Fantasie' of 1781 and 1787 respectively. With these works C. P. E. Bach bridged the gap between the late Baroque sonatas of his father and the early classical 'Klaviersonate mit begleitender Violine' [Piano Sonata with Accompanying Violin].