SKU: HL.49043940
ISBN 9783795747336. 9.25x12.0x0.325 inches. German.
The six-volume edition of 'Systematische Violintechnik' [Systematic Violin Technique] covers all aspects of violin playing, thus providing the comprehensive groundwork for learning, teaching and performing musicians. The volumes contain a wealth of suggestions of how to edit technically demanding passages in musical masterpieces in a reasonable and perfect way. The simple idea to base the violin technique on the combination of changes of bowing, strings, fingers and position is developed systematically and, like a 'medicine cabinet for violinists', provides a collection of exercises that can be used purposefully. At the same time, 'Systematische Violintechnik' provides a complete and indispensable overview of all technical elements and their connections. An elaborate and field-tested practising material by Prof. Helmut Zehetmair (Mozarteum Salzburg) and Prof. Benjamin Bergmann (Johannes Gutenberg University of Mainz).Vol. 6 covers the coordination of all changes (of bowing, strings, fingers and position).
SKU: HL.49043939
ISBN 9783795747329. 9.25x12.0x0.245 inches. German.
The six-volume edition of 'Systematische Violintechnik' [Systematic Violin Technique] covers all aspects of violin playing, thus providing the comprehensive groundwork for learning, teaching and performing musicians. The volumes contain a wealth of suggestions of how to edit technically demanding passages in musical masterpieces in a reasonable and perfect way. The simple idea to base the violin technique on the combination of changes of bowing, strings, fingers and position is developed systematically and, like a 'medicine cabinet for violinists', provides a collection of exercises that can be used purposefully. At the same time, 'Systematische Violintechnik' provides a complete and indispensable overview of all technical elements and their connections. An elaborate and field-tested practising material by Prof. Helmut Zehetmair (Mozarteum Salzburg) and Prof. Benjamin Bergmann (Johannes Gutenberg University of Mainz).Vol. 5 covers the coordination of two changes each (of bowing, strings, fingers and position).
SKU: HL.49044060
ISBN 9783795748876. German.
Die sechsbandige 'Systematische Violintechnik' behandelt alle Aspekte des Violinspiels und ermoglicht damit eine umfassende Grundlage fur lernende, lehrende und ausubende Musiker. Die Bande enthalten reichhaltige Anregungen fur die vernunftige und einwandfreie Aufbereitung von technisch anspruchsvollen Passagen in Meisterwerken der Musik. Die einfache Idee, die Violintechnik auf der Kombination von Bogenwechseln, Saitenwechseln, Fingerwechseln und Lagenwechseln aufzubauen, wird systematisch entwickelt und stellt - vergleichbar einer 'Hausapotheke fur Geiger' - ein Konzentrat zielgerichtet anwendbarer Ubungen zur Verfugung. Gleichzeitig verschafft diese Systematische Violintechnik einen vollstandigen und unverzichtbaren Uberblick uber alle Bestandteile der Technik und ihrer Zusammenhange. Wohldurchdachtes und praxiserprobtes Ubungsmaterial aus der Feder von Prof. Helmut Zehetmair (Mozarteum Salzburg) und Prof. Benjamin Bergmann (Johannes Gutenberg Universitat Mainz).
SKU: HL.49019687
ISBN 9783795747282. 9.25x12.0x0.289 inches. German.
SKU: HL.49019852
ISBN 9783795747312. German.
Die sechsbandige 'Systematische Violintechnik' behandelt alle Aspekte des Violinspiels und ermoglicht damit eine umfassende Grundlage fur lernende, lehrende und ausubende Musiker. Die Bande enthalten reichhaltige Anregungen fur vernunftige und einwandfreie Aufbereitung von technisch anspruchsvollen Passagen in Meisterwerken der Musik. Die einfache Idee, die Violintechnik auf der Kombination von Bogenwechseln, Saitenwechseln, Fingerwechseln und Lagenwechseln aufzubauen, wird systematisch entwickelt und stellt - vergleichbar einer 'Hausapotheke fur Geiger' - ein Konzentrat zielgerichtet anwendbarer Ubungen zur Verfugung. Gleichzeitig verschafft diese Systematische Violintechnik einen vollstandigen und unverzichtbaren Uberblick uber alle Bestandteile der Technik und ihrer Zusammenhange. Wohldurchdachtes und praxiserprobtes Ubungsmaterial aus der Feder von Prof. Helmut Zehetmair (Mozarteum Salzburg) und Prof. Benjamin Bergmann (Johannes Gutenberg Universitat Mainz).Band 4 behandelt den indirekten Lagenwechsel (2), Bogen- und Saitenwechsel koordiniert.
SKU: HL.49019688
ISBN 9783795747299. German.
Die sechsbandige 'Systematischen Violintechnik' behandelt alle Aspekte des Violinspiels und ermoglicht damit eine umfassende Grundlage fur lernende, lehrende und ausubende Musiker. Die Bande enthalten reichhaltige Anregungen fur vernunftige und einwandfreie Aufbereitung von technisch anspruchsvollen Passagen in Meisterwerken der Musik. Die einfache Idee, die Violintechnik auf der Kombination von Bogenwechseln, Saitenwechseln, Fingerwechseln und Lagenwechseln aufzubauen, wird systematisch entwickelt und stellt - vergleichbar einer 'Hausapotheke fur Geiger' - ein Konzentrat zielgerichtet anwendbarer Ubungen zur Verfugung. Gleichzeitig verschafft diese Systematische Violintechnik einen vollstandigen und unverzichtbaren Uberblick uber alle Bestandteile der Technik und ihrer Zusammenhange. Wohldurchdachtes und praxiserprobtes Ubungsmaterial aus der Feder von Prof. Helmut Zehetmair (Mozarteum Salzburg) und Prof. Benjamin Bergmann (Johannes Gutenberg Universitat Mainz). Band 2 behandelt den direkten Lagenwechsel.
SKU: HL.49019851
ISBN 9783795747305. German.
Die sechsbandige 'Systematische Violintechnik' behandelt alle Aspekte des Violinspiels und ermoglicht damit eine umfassende Grundlage fur lernende, lehrende und ausubende Musiker. Die Bande enthalten reichhaltige Anregungen fur vernunftige und einwandfreie Aufbereitung von technisch anspruchsvollen Passagen in Meisterwerken der Musik. Die einfache Idee, die Violintechnik auf der Kombination von Bogenwechseln, Saitenwechseln, Fingerwechseln und Lagenwechseln aufzubauen, wird systematisch entwickelt und stellt - vergleichbar einer 'Hausapotheke fur Geiger' - ein Konzentrat zielgerichtet anwendbarer Ubungen zur Verfugung. Gleichzeitig verschafft diese Systematische Violintechnik einen vollstandigen und unverzichtbaren Uberblick uber alle Bestandteile der Technik und ihrer Zusammenhange. Wohldurchdachtes und praxiserprobtes Ubungsmaterial aus der Feder von Prof. Helmut Zehetmair (Mozarteum Salzburg) und Prof. Benjamin Bergmann (Johannes Gutenberg Universitat Mainz).Band 3 behandelt den indirekten Lagenwechsel.
SKU: BT.EMM121-031
French.
Destiné aux élèves partir de sept ans environ, Le Monde du Violon peut être utilisé pour les leçons individuelles et en groupe. Le présent ouvrage s’accompagne d’un site web où se trouvent de nombreux fichiers MP3 et PDF ainsi que des vidéos.
Tous les exercices de cette méthode sont expliqués en détail et sont augmentés de photos et de vidéos très clairs, particulièrement utiles pour assurer la bonne compréhension des élèves (et des parents) pour le travail la maison. Avec Le Monde du Violon, les leçons peuvent être personnalisées, car presque toutes les méthodes didactiques sont employées. Chaque élève peut donc bénéficier d’un enseignement « sur mesure ».
Cet ouvrage comprend : • Des exercices d’imitation (« Jeu du perroquet » en cours et la maison).
• Des exercices techniques d’abord expliqués par un texte et des images (photos et vidéos) et, plus tard, en notation musicale.
• Des morceaux jouer l’oreille.
• Des morceaux en notation musicale ( partir du milieu du volume 1 environ).
• Des morceaux en notation musicale (le volume 2 contient un plus grand nombre de pièces du répertoire).
• Des exercices d’improvisation pour stimuler l’imagination en matière de sons et de créativité.
• Des explications sur le solfège en général et les techniques de jeu.
• Des morceaux notés en tablature.
• Des jeux de questions-réponses portant sur les éléments déj appris.
• Des « bons points » sous forme d’autocollants apposer aux exercices correctement exécutés.
Cette méthode offre de nombreuses possibilités pour jouer plusieurs. Pour toutes les pièces, des partitions pour deux violons et accompagnement au piano sont téléchargeables sur le site web.
Le Monde du Violon est attrayant, contemporain et complet un must pour l’enseignement du violon au XXIe siècle !
SKU: PR.41641366L
UPC: 680160585755.
From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violins open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movements primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violinas open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movementas primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violin's open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movement's primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notionof writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures.The notes of the violin’s open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes:1 st movement: A-D-A2nd movement: D-G-D3rd movement: E-A-EThe overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movement’s primary theme. While the movements share similar musical materials, each one is definedby distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgivingferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes fromthe previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.
SKU: FH.VLR07
ISBN 9781554409082.
Carefully selected and curated to support teachers and students in their artistic and technical development, the Violin Series, 2021 Edition includes pieces from a diverse range of eras and styles that represent stepping stones to major violin repertoire. Each level is constructed to link repertoire selections to necessary techniques and corresponding etudes, while illustrating step-by-step connections for developing core skills. Each Repertoire book includes access to quality video and audio recordings by some of North America's finest violinists and accompanists; both performance and accompaniment-only tracks for each Repertoire selection offer students a model for performance practice and the convenience of accompanied rehearsal at home.
In Violin Repertoire 7, a broad cross-section of composers is explored, including Johann Sebastian Bach, Carl Bohm, Cesar Cui, Riccardo Drigo, Edward Elgar, Francesco Geminiani, Fritz Kreisler, Benedetto Marcello, Moritz Moszkowski, William Potstock, Friedrich Seitz, Edmund Severn, Franz Schubert, Paul Wachs, and Antonio Vivaldi. This varied repertoire provides ample opportunity for stylistic development. Violin Repertoire 7 encourages the expansion of artistry through the introduction of new key signatures, leading to comfort and awareness of melody and harmonic structure. Passagework includes first to seventh positions, increased chromaticism, motivic patterning, and the exploration of ornaments, alongside a variety of opportunities for mastering bow articulation.
SKU: SU.29120130
Premiered at Brigham Young University and comissioned by Duo Novae, Los Angeles composer Todd Mason wrote his Duo for Violin & Viola in 2023. Mason says: The Duo was a chance to explore the wide range of textures, harmonic worlds and emotions of just one violin & one viola. This piece spans many energy states with a kind of Bartókian chromaticism mixed with a bit of an East Indian feel in some sections. The work is in one-movement and keeps driving forward from the first notes to the end! This piece was recently admitted into the prestigious William Primrose International Archive at Brigham Young University.Violin & Viola Duration: 8' Composed: 2023 Published by: Todd Mason.
SKU: HL.48020672
This album presents 7 swinging and easy jazz pieces for violin and piano introducing syncopated rhythms, blues tonality and chromaticism. The CD is a handy aid both to practicing and, in the absence of an accompanist, to performing the pieces.
SKU: HL.48181468
UPC: 888680842420. 9x12 inches.
“Maurice Hauchard (1870-1957) was a French violinist and composer. As a minor composer, often in the shadow of his contemporary, Maurice Ravel, much of Hauchard's music is not widely known. However, his Methodical Study of Positions for Violin remains popular to improve violinist's technique. As an excellent, versatile musician Hauchard loved his art and remains one of the greatest contributors to music education. The fourth volume of Methodical Study of Positions addresses the sixth and seventh positions in detail, through exercises which enable progression using intervals, scales, arpeggios, chromaticism and varying rhythms. All violinists should seek to purchase this Hauchard study series to ensure technical progression to a high level.&rdquo.
SKU: HL.48181473
UPC: 888680842611. 9.0x12.0x0.164 inches.
Methode Elementaire ? 2eme cahier was created by Maurice Hauchard (1870-1957), a French violinist, composer and music teacher. This is the second in a series of three books constituting a renowned progressive method, for beginners/intermediate players. This second book of Methode Elementaire focuses on tonalities major and minor other than G, C, D Major. It proposes different exercises which involves fingers crossing, extensions, chromaticism, scales and arpeggios. The violinists are also introduced to some melodic extracts from renowned composers. The quality and the efficiency of Maurice Hauchard?s methods make this book a key series to have for a Violin player. And, in addition to this series, the composer also created nine additional methods for strings..
SKU: HL.14010573
ISBN 9780711987463. UPC: 884088426101. 9.0x12.0x0.335 inches. English.
The 2nd, 4th and 5th positions are introduced, also trills, double stopping, chords, spiccato and sautille bowings. Each new technique is demonstrated in a short study. The difficulties of each hand are isolated and only one point intouduced at a time. A separate piano accompaniment section is included within this volume.
SKU: BT.9781472923608
ISBN 9781472923608. English.
A fantastic collection of 14 classical showstoppers arranged for beginner to intermediate players. Bringing together well-known classics in varied styles from the Baroque period to the twentieth century, this versatile repertoire book includes aninspirational CD and duet parts: everything needed to givea great performance.Anyone can take centre stage and stand in the spotlight with Abracadabra Performance Pieces.This brand new book is the latest addition to the best-selling Abracadabra series, offering approachable longer arrangements with fantastic backing tracks ideal for concert performances or simply for more musical fun. The 14 pieces showcase anarray of classical favourites, from Purcell and Handel to Bizet and Bartok, and are suitable for beginner to intermediate players (Grade 1 3).The CD contains specially recorded performances and supportive backing tracks that are guaranteed to bring extra sparkle to any performance. Four pieces also include a duet part for teachers or fellow players.
SKU: BT.DHP-1185780-400
ISBN 9789043153836. English-German-French-Dutch.
For over three hundred years, great opera singers have held entire audiences under their spell. In so doing, they can call on an etensive repertoire of arias by many important composers. Live at the Opera now makes this precious treasure trove available to instrumentalists, too. Twelve of the most beautiful operatic melodies of all time have been specially arranged for violin and are performed by the renowned violinist Maximilian Lohse. The accompanying audio is performed by an authentic opera orchestra, which also includes a play-along version without soloist. Additionally, this unique collection also includes background info and tips on performance for theindividual arias. Al meer dan driehonderd jaar weten grote operazangers en -zangeressen hun publiek te betoveren. Wanneer ze voor ons op het podium staan, vertolken ze melodieën die behoren tot de allermooiste van de klassieke muziek. Live at the opera maakt deze schat aan melodieën nu ook toegankelijk voor instrumentalisten: twaalf Italiaanse opera-ariaâ??s zijn speciaal gearrangeerd voor viool en opgenomen door de gerenommeerd violist Maximilian Lohse. Een echt operaorkest neemt de begeleiding voor zijn rekening, die op de meespeelversie ook zonder solo-instrumentalist beschikbaar is. Verder zijn in deze unieke collectie muziekhistorische achtergrondinformatie bij iedere aria entips voorde uitvoering opgenomen. Schon seit mehr als dreihundert Jahren ziehen groÃ?e Opernsängerinnen ein ganzes Opernpublikum in seinen Bann. Dabei können sie sich aus einem umfangreichen Arienrepertoire aus der Feder zahlreicher bedeutender Komponisten bedienen. Live at the Opera macht diesen kostbaren Melodienschatz nun auch Instrumentalisten zugänglich: 12 der schönsten Opernmelodien aller Zeiten wurden hier eigens für Violine eingerichtet und werden von dem renommierten Geiger Maximilian Lohse vorgespielt. Ein echtes Opernorchester übernimmt dabei die Begleitung, welche zusätzlich auch in einer Mitspielversion ohne den Solisten zur Verfügung steht. Hintergrundwissen undAusführungstipps zu den einzelnen Arien sind weitere Pluspunkte dieser einzigartigen Sammlung. Les grandes chanteuses lyriques nous captivent depuis plus de trois siècles. Lorsque nous les voyons sur scène, nos oreilles se délectent de mélodies qui comptent parmi les plus belles de tous les temps. Live at the Opera permet aux instrumentistes dâ??accéder également ces trésors : 12 arias dâ??opéras ont été individuellement arrangées pour le violon et enregistrées par le violoniste de renommée internationale Maximilian Lohse. Interprété par un authentique orchestre dâ??opéra, lâ??accompagnement est également fourni sous forme de playback, sans le soliste. Cette collection unique sâ??accompagne dâ??informations sur lâ??histoire des opéras sélectionnés, ainsi que deconseilsdâ??interprétation.
SKU: HL.49015482
ISBN 9783795754631. 9.0x12.0x0.42 inches. German.
Vol. 3 of 'Die frohliche Violine' pursues the same musical and technical goals as the first two volumes. It contains a detailed introduction to the flat keys, C major key as well as the 2nd and 3rd positions. The last chapter takes up the subject matter of the first chapters again in a more demanding form and with longer charming pieces, giving an insight into 'virtuoso' violin technique.
SKU: CF.BF131
ISBN 9781491153765. UPC: 680160911264. 9 x 12 inches.
Inspired by Clarence Cameron White’s book The Violinist’s Daily Dozen, The Violinist’s Daily Sixteen is a collection of daily exercises compiled by Roland Vamos. Intended for student and professional violinists, the collection provides the performer with a variety of exercises for daily warm-ups. Mr. Vamos also focuses on developing dexterity and flexibility in the fingers and joints, the first and fourth fingers in particular. Each of the sixteen exercises is notated for each of the four strings, and Vamos recommends that the exercises be practiced as warm-ups, choosing a different string for each day of practice.Also included with the Daily Sixteen is a comprehensive set of studies for developing fluency with scales and arpeggios. Mr. Vamos’ unique methodology is to begin with major scales and arpeggios, followed by minor scales and arpeggios, all of which are notated in two, three and four octaves. Alternate fingers are provided, as well as a variety of slurred and mixed bowings using the three parts of the bow whenever feasible. It is a remarkably systematic approach to performing scales and arpeggios on the violin and will surely benefit students and professionals alike.ForewordThis short hand-setting set of exercises was inspired by a book entitled The Violinist’s Daily Dozen, conceived by Clarence Cameron White, a prominent African-American violinist, composer and arranger who enjoyed the bulk of his career in the first half of the twentieth century.I have practiced this set of exercises since I was twelve years old. It has served me as a superb warm-up and hand setting tool. Over the years, I have found that there are some aspects of this warm-up routine that were not given sufficient attention or not addressed at all. Consequently, I have expanded the Daily Dozen to create a new work entitled The Violinist’s Daily Sixteen.I have also paid particular attention in this work as to how these exercises are to be practiced. In exercises one and two, I have indicated some notes to be played before the actual written exercises. This is to ensure that the fourth finger will be over the string in a position ready to strike even though it is not being used. Before playing exercises three, four, nine, ten, eleven and twelve, I have indicated silent fingers to be placed on the notes they would be playing if they were being used.I have replaced Mr. White’s grace notes with notes of specific value and have slowed down the exercises so that the first joint (the joint nearest the string) of each finger can move with flexibility and strength. At no time should the first joint buckle.In Mr. White’s version, the last exercise gave the first finger some very valuable backward extensions. In this exercise (number 14 in this book), I caution the student not to move the hand along with the first finger. The hand should remain in position while the first finger independently moves back and forth.It became obvious to me that if the first finger were given the opportunity to develop the dexterity that Mr. White’s twelfth exercise emphasizes, the fourth finger could benefit from an exercise that gives it a forward extension. Consequently, I added another exercise to create a Baker’s Dozen (thirteen).Several years later, I felt that the second and third fingers should also have an exercise to further develop their dexterity…hence exercise fourteen was added to create a “Vamos Dozen.â€Because the first finger did not have sufficient practice in the development of the first joint in the original version, I have added two exercises to precede White’s fifth exercise. After re-working and re-numbering these exercises, I have come up with a total of sixteen exercises. It is my suggestion that these be practiced as a warm-up, choosing a different string each day.—Roland VamosEvanston, Illinois 2017 PrefaceScales are a means of teaching a person the fingerboard on his or her instrument. The fingers move across the strings and are required to make shifts, all in highly organized patterns. Scales and arpeggios are the foundation upon which our repertoire is built. Many scale books have been written; each one being organized in its own specific way. The Flesch Scale System has been a standard for many decades. It is very comprehensive and systematic. From the point of view of establishing similar patterns, it has one drawback: it is organized by starting with a major key, followed by its relative minor, going through the circle of fifths. I believe that it is more profitable to do only major scales with their arpeggios first, going up chromatically, and then follow them in a similar way with the minor scales. In using this approach, the similarities in fingerings between the various scales are more apparent. It is also profitable to have alternate fingerings whenever possible. My approach to scales and arpeggios includes a variety of slurred and mixed bowings using the three parts of the bow whenever feasible. These bowings are not all-inclusive. Whenever a particularly awkward bowing pattern is encountered in the repertoire, it can be practiced as an additional bowing variation in the scales and arpeggios.   I have chosen to introduce the three and four octave scales by teaching two octave scales across the strings in one position going up chromatically through seven positions; starting on the first, second, third, and finally fourth fingers in major and melodic minor.—Roland VamosEvanston, Illinois 2017.
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