SKU: AP.49292
ISBN 9781470644666. UPC: 038081563367. English.
Authorized Asian Edition - Available ONLY in Asia. Teach violin with the popular Suzuki Violin School! The Suzuki Method of Talent Education is based on Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Shinichi Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the mother-tongue approach. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Violin School. Suzuki lessons are generally given in a private studio setting with additional group lessons. The student listens to the recordings and works with their Suzuki violin teacher to develop their potential as a musician and as a person. This Suzuki Book & CD (Asian Edition) is integral for Suzuki violin lessons. This International Edition of the Suzuki Violin School, Volume 1 features: * Engravings in a 9 x 12 format * New editing of pieces, including bowings and fingerings * 16 additional pages * Additional exercises, some from Shinichi Suzuki, plus additional insight and suggestions for teachers * Glossary of terms in English, French, German, and Spanish * Musical notation guide * Fingerboard position * CD features new recordings by Hilary Hahn in collaboration with pianist Natalie Zhu, as well as piano accompaniment only tracks for play-along purposes. Titles: Principles of Study and Guidance * Twinkle, Twinkle, Little Star Variations (Suzuki) * Lightly Row (Folk Song) * Song of the Wind (Folk Song) * Go Tell Aunt Rhody (Folk Song) * O Come, Little Children (Folk Song) * May Song (Folk Song) * Long, Long Ago (Bayly) * Allegro (Suzuki) * Perpetual Motion (Suzuki) * Allegretto (Suzuki) * Andantino (Suzuki) * Etude (Suzuki) * Minuet.
About Suzuki Method
The Suzuki Method is based on the principle that all children possess ability and that this ability can be developed and enhanced through a nurturing environment. All children learn to speak their own language with relative ease and if the same natural learning process is applied in teaching other skills, these can be acquired as successfully. Suzuki referred to the process as the Mother Tongue Method and to the whole system of pedagogy as Talent Education. The important elements of the Suzuki approach to instrumental teaching include the following:an early start (aged 3-4 is normal in most countries); the importance of listening to music; learning to play before learning to read; -the involvement of the parent; a nurturing and positive learning environment; a high standard of teaching by trained teachers; the importance of producing a good sound in a balanced and natural way; core repertoire, used by Suzuki students across the world; social interaction with other children. Suzuki students from all over the world can communicate through the language of music.
SKU: AP.49293
ISBN 9781470644673. UPC: 038081563374. English.
Authorized Asian Edition - Available ONLY in Asia. Teach violin with the popular Suzuki Violin School! The Suzuki Method of Talent Education is based on Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Shinichi Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the mother-tongue approach. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Violin School. Suzuki lessons are generally given in a private studio setting with additional group lessons. The student listens to the recordings and work with their Suzuki violin teacher to develop their potential as a musician and as a person. This Suzuki Book & CD (Asian Edition) is integral for Suzuki violin lessons. This revised edition of the Suzuki Violin School, Volume 2 features: * Engravings in a 9 x 12 format * Revised editing of pieces, including bowings and fingerings * 16 additional pages * Additional exercises, some from Shinichi Suzuki, plus additional insight and suggestions for teachers * Glossary of terms in English, French, German, and Spanish * Musical notation guide * Fingerboard position * CD features new recordings by Hilary Hahn in collaboration with pianist Natalie Zhu, as well as piano accompaniment only tracks for play-along purposes. Titles: Principles of Study and Guidance * Chorus fromJudas Maccabaeus (Handel) * Musette (Bach) * Hunters' Chorus (Weber) * Long, Long Ago (Bayly) * Waltz (Brahms) * Bourrée (Handel) * The Two Grenadiers (Schumann) * Theme fromWitches' Dance (Paganini) * Gavotte fromMignon (Thomas) * Gavotte (Lully) * Minuet in G (Beethoven) * Minuet (Boccherini). This title is av.
SKU: AP.49294
ISBN 9781470644680. UPC: 038081563381. English.
Authorized Asian Edition - Available ONLY in Asia. Teach violin with the popular Suzuki Violin School! The Suzuki Method of Talent Education is based on Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Shinichi Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the mother-tongue approach. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Violin School. Suzuki lessons are generally given in a private studio setting with additional group lessons. The student listens to the recordings and work with their Suzuki violin teacher to develop their potential as a musician and as a person. This Suzuki Book & CD (Asian Edition) is integral for Suzuki violin lessons. This revised edition of the Suzuki Violin School, Volume 3 features: * Engravings in a 9 x 12 format * Revised editing of pieces, including bowings and fingerings * 16 additional pages * Additional exercises, some from Shinichi Suzuki, plus additional insight and suggestions for teachers * Glossary of terms in English, French, German, and Spanish * Musical notation guide * Fingerboard position * CD features new recordings by Hilary Hahn in collaboration with pianist Natalie Zhu, as well as piano accompaniment only tracks for play-along purposes. Titles: Study Points * Tonalization * Vibrato Exercises * Gavotte (Martini) * Minuet (Bach) * Gavotte in G Minor (Bach) * Humoresque (Dvorák) * Gavotte (Becker) * Gavotte in D Major (Bach) * Bourrée (Bach). This title is available in MakeMusic Cloud.
SKU: HL.44011234
UPC: 888680062958. 8.75x12.0x0.325 inches. English(UK)/Deutsch/Francais/Nederlands.
Position 1 covers the four fingerings of the first position. The connection between these fingerings and the different keys - up to three sharps or flats - is also dealt with. The book features 38 exercises for the various fingerings, sevenscale and triad exercises, and 68 attractive performance pieces in a range of musical styles. The performance pieces can be played with CD accompaniment (demo and play-along tracks are featured on CDs 1 and 2) or with piano accompaniment. The pianoaccompaniments can be found on CD 2 in PDF form.In Position 1 worden alle vingerstellingen binnen de 1e positie geleerd aan de hand van grepenschema's, oefeningen en speelstukken. Verder wordt het verband gelegd tussen de verschillende vingerstellingen in toonladders endrieklanken in de 1e positie over 2 oktaven. De 68 speelstukken kunnen met cd-begeleiding worden gespeeld, of met live-pianobegeleidingen. Deze worden als pdf geleverd op de 2 bijbehorende cd's. De vertrouwde afwisseling van nieuwestukken, arrangementen van klassieke thema's en volksliedjes ontbreekt uiteraard niet!In Position 1 geht es um die vier Griffarten der ersten Lage. Diese Griffarten werden auch mit den verschiedenen Tonarten - mit bis zu drei Kreuzen oder Bs - verknupft. Das Buch umfasst 38 Ubungen fur die verschiedenen Griffe,sieben Tonleiter- und Dreiklangsubungen sowie 68 reizvolle Vortragstucke in einer ganzen Palette an Musikstilen. Die Vortragstucke konnen zu den Begleitungen auf den beiden CDs (die Demo- und Mitspielversionen enthalten), aber auch mit einemPianisten gespielt werden. Die Klavierstimmen sind im PDF-Format zum Ausdrucken auf der CD enthalten.Position 1 couvre les quatre doigtes de la premiere position et examine le rapport entre ces doigtes et les differentes tonalites - jusqua trois dieses ou bemols. Cet ouvrage contient 38 exercices pour les divers doigtes, 7exercices de gammes et de triades, et 68 morceaux de concert dans une diversite de styles. Ces morceaux peuvent etre executes avec l'accompagnement du CD, mais aussi accompagnes au piano. Des versions integrales et de demonstration figurent surles CD 1 et 2, ce dernier comprenant aussi les partitions du piano sous forme de fichiers PDF.Position 1 affronta le quattro diteggiature della prima posizione. La pubblicazione contiene 38 esercizi per le varie posizioni, sette scale e terze, come anche 68 accattivanti brani in vari stili musicali da suonare in pubblico. Questipossono essere eseguiti sia con lausilio dei 2 CD inclusi (traccia demo e traccia play-along), sia con l'accompagnamento di un pianista. Le parti del piano, contenute sul secondo CD, sono scaricabili in formato PDF.
SKU: BT.DHP-1125312-400
9x12 inches. English-German-French-Dutch.
Position 1 covers the four fingerings of the first position. The connection between these fingerings and the different keys - up to three sharps or flats - is also dealt with. The book features 38 exercises for the various fingerings, sevenscale and triad exercises, and 68 attractive performance pieces in a range of musical styles. The performance pieces can be played with CD accompaniment (demo and play-along tracks are featured on CDs 1 and 2) or with piano accompaniment. The pianoaccompaniments can be found on CD 2 in PDF form.In Position 1 worden alle vingerstellingen binnen de 1e positie geleerd aan de hand van grepenschemaâ??s, oefeningen en speelstukken. Verder wordt het verband gelegd tussen de verschillende vingerstellingen in toonladders endrieklanken in de 1e positie over 2 oktaven. De 68 speelstukken kunnen met cd-begeleiding worden gespeeld, of met live-pianobegeleidingen. Deze worden als pdf geleverd op de 2 bijbehorende cdâ??s. De vertrouwde afwisseling van nieuwestukken, arrangementen van klassieke themaâ??s en volksliedjes ontbreekt uiteraard niet!In Position 1 geht es um die vier Griffarten der ersten Lage. Diese Griffarten werden auch mit den verschiedenen Tonarten - mit bis zu drei Kreuzen oder Bs - verknüpft. Das Buch umfasst 38 Ã?bungen für die verschiedenen Griffe,sieben Tonleiter- und Dreiklangsübungen sowie 68 reizvolle Vortragstücke in einer ganzen Palette an Musikstilen. Die Vortragstücke können zu den Begleitungen auf den beiden CDs (die Demo- und Mitspielversionen enthalten), aber auch mit einemPianisten gespielt werden. Die Klavierstimmen sind im PDF-Format zum Ausdrucken auf der CD enthalten.Position 1 couvre les quatre doigtés de la premiére position et examine le rapport entre ces doigtés et les différentes tonalités - jusqu trois diéses ou bémols. Cet ouvrage contient 38 exercices pour les divers doigtés, 7exercices de gammes et de triades, et 68 morceaux de concert dans une diversité de styles. Ces morceaux peuvent être exécutés avec l´accompagnement du CD, mais aussi accompagnés au piano. Des versions intégrales et de démonstration figurent surles CD 1 et 2, ce dernier comprenant aussi les partitions du piano sous forme de fichiers PDF.Position 1 affronta le quattro diteggiature della prima posizione. La pubblicazione contiene 38 esercizi per le varie posizioni, sette scale e terze, come anche 68 accattivanti brani in vari stili musicali da suonare in pubblico. Questipossono essere eseguiti sia con lausilio dei 2 CD inclusi (traccia demo e traccia play-along), sia con l´accompagnamento di un pianista. Le parti del piano, contenute sul secondo CD, sono scaricabili in formato PDF.
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: BT.DHP-1114985-400
ISBN 9789043135023. 9x12 inches. English-German-French-Dutch.
The tango - vigorous and comforting dance music full of emotion, passion and love! Tango Delight is the follow-up to Tango Time! The pieces are a bit more challenging and expansive. They are intended for violonists of an intermediate level who wish to enjoy the real tango. The enclosed demo and play-along CD is a source of inspiration. De tango - krachtige en troostrijke dansmuziek boordevol emotie, passie en liefde! Tango Delight is de opvolger van Tango Time! De stukken zijn iets uitdagender en verder uitgewerkt. Ze zijn bedoeld voor violisten van een gemiddeldniveau die willen genieten van de echte tango. De bijgevoegde demo- en play-along-cd is een bron van inspiratie. Voor samenspel met een pianist zijn op deze cd ook printklare pdf-bestanden van de begeleiding toegevoegd.Der Tango - lebhafte und tröstliche Tanzmusik voll Gefühl, Leidenschaft und Liebe! Tango Delight ist die Fortsetzung von Tango Time! Die Stücke sind ein wenig anspruchsvoller und ausgedehnter. Sie richten sich an Geiger im mittleren Spielniveau, die gerne den echten Tango erleben möchten. Die beiliegende Demo- und Mitspiel-CD ist eine Quelle der Inspiration! Für das Zusammenspiel mit einem Pianisten sind auf der CD PDF-Dateien der Begleitung in Notenform enthalten.Le tango est une danse émotionnelle puissante et profonde qui exprime la passion et lâ??amour. Tango Delight fait suite au recueil Tango Time! Les douze pièces sont plus conséquentes et un peu plus exigeantes. Elles sâ??adressent aux violonistes de niveau élémentaire-moyen qui souhaitent découvrir lâ?? me du vrai tango. Les symboles dâ??accords permettent de jouer avec dâ??autres instruments. Laissez-vous séduire par les sons fascinants de lâ??accompagnement musical sur compact disc (version intégrale version play-along).Il seguito di Tango Time! con brani più esigenti per violinisti di livello medio. Il CD, che propone sia una traccia demo che una play-along, è una vera fonte di ispirazione! Se si desidera suonare assieme ad un pianista basta scaricare dal CD lo spartito in formato PDF.
SKU: BT.DHP-1074258-400
ISBN 9789043127417. 9x12 inches. Italian.
Questo metodo, fondato sui principi moderni della pedagogia, è ideale per essere usato sia da soli che in gruppo. Con 24 lezioni chiaramente strutturate, e due CD, ogni volume è un'eccelente guida per tutti gli allievi violinisti.Suona il violino! propone una presentazione chiara e accattivante, con esercizi di intonazione e d'ascolto (con l'ausilio del CD), esercizi ritmici e consigli teorici. Il tutto è arricchito da canzoni più o meno conosciute, e duetti. Giochi e interessanti informazioni supplementari rendono il metodo particolarmente accattivante.Gli accompagnamenti al piano sono disponibili separatamente. Ognuno die questi libri contiene un CD con tuttigli accompagnamenti realizzati su un vero pianoforte a coda.Volume 1 include:- suonare il pizzicato - posizioni delle prime due dita - velocit dei colpi d'archetto - suonare il legato - il cambio di corde - le prime scale - armonici - suonare la doppia corda attraverso esercizi facilitati - improvisazione - esercizi di movimento.
SKU: HL.133352
ISBN 9788322421925. UPC: 884088981860. 9.0x12.0x0.171 inches.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version
