This suite for Violin and Piano features Raimundo Penaforte's elaborate concert arrangements for advanced players of I Feel Pretty Somewhere and America. Recently recorded and performed by world-renowned American Violinist Joshua Bell.

for Violin-This great play-along pack lets instrumentalists play solo along with backing tracks so they can sound like a pro. It features all 12 tracks from Lizzo\'s breakout album including: Better in Color · Crybaby · Cuz I Love You · Exactly How I Feel · Heaven Help Me · Jerome · Juice · Like a Girl · Lingerie · Soulmate · Tempo · Truth Hurts. Audio is accessed online using the unique code inside the book and can be streamed or downloaded. The audio files include PLAYBACK a multi-functional audio player that allows you to slow down audio without changing pitch set loop points change keys and pan left or right.

En plus de la série très réussie de Hans et Marianne Magolt, ils publient aujourd'hui le premier volume de la nouvelle série la plus belle Spirituals and Gospels '. Toutes les mélodies sont des arrangements très faciles pour les débutants et peut être joué à plusieurs reprises à la maison, à l'école de musique, à l'école primaire ou dans un ensemble. Eventuellement, les arrangements peuvent être joués avec une deuxième partie supplémentaire.Contenu: Down by the Riverside, Glory Hallelujah, Go down Moses, O jour heureux, Rock my soul, Il a le monde entier dans ses mains, personne ne sait la peine que j'ai vu, Swing low et beaucoup plus. / 1 Ou 2 Violon(s)

Concertino in a minor op. 21 in Hungarian Style for Violin and Piano-With this one-movement Concertino Oskar Rieding turns to already advanced students of the violin. Aside from playing in third position it also requires a considerable degree of dexterity and mastery of bowing. The Hungarian style??? mentioned in the title alludes to the fact that Prussian-born Rieding gave more than three decades of service at Budapest???s National Theatre. Its marked rhythms recall Hungarian folk music and will appeal to more spirited young violinists. The Slovenian Rieding specialist Maru?a Zupan i contributes an interesting preface on the little-known composer to this Urtext edition: the markings in the solo part are provided by the experienced violinistEvelyne Gr?b-Trauer.

Georges Catherine (1872-1958) is best remembered as a prolific violinist in the orchestra of the Paris Opera. However he was also a prominent teacher and his Complete Study of the Violin has aided the development of Violin technique since its publication in 1948. The first volume Study of the Mechanism of the Bow considers all bow markings found in music and substantial notes on how to address each technique. Each bowing technique is accompanied by a sizeable exercise in order to practise and perfect the technique. Comprising 42 detailed bowing studies Study of the Mechanism of the Bow fromComplete Study of the Violin by Violin virtuoso Georges Catherine cannot be missed by aspiring players of the instrument.

Par GLASS PHILIP. Philip Glass’s Double Concerto for Violin, Cello and Orchestra was composed in the spring of 2010 as a commission from the Netherlands Dance Theater, premiered by the Hague Philharmonic (Residentie Orkest) conducted by Jurjen Hempel on April 22, 2010 with violinist Cecilia Bernardini and cellist Maarte-Maria den Herder./ Répertoire / Violon

Orchestra and concert promoters long for a public that is excited by music and curious about the modern repertoire. Today there are many ways to awaken this excitement. Musicians as well as music educators are forming new alliances to bring young people and adults into close contact with music.Listening Lab is a new series that offers practical and inspiring approaches for children, young people and adults. Music educators will find general tips for the creative design of programmes for music lovers as well as concrete suggestions that open up and allow for a deeper understanding of each work.The present volume considers the Violin Concerto by Alban Berg and aims to help facilitate these journeys. / Violon

The Celtic was written as David Heath's second work as composer in residence with the BT Scottish Ensemble. It is dedicated to the ensemble's musical director violinist Clio Gould who gave the premiere in 1995.The concerto is in three movements each with its own story. The first movement Ceilidh captures the atmosphere of a ceilidh getting wilder and wilder as everyone gets intoxicated on the 'atmosphere'.The second movement is a Lament for Collessie: during the autumn of 1994 Heath's family had to move back to London and they all really missed Collessie Fife where they had lived for a year. Lament for Collessie is a slow movementwhich expresses these feelings.In 1994 one of the great craftsmen of the century flute-maker Albert Cooper was 70 and Heath wanted to write a piece to celebrate his birthday. Living in Cupar Fife Heath decided to base the piece on an old version of a popular local song 'The Wee Cooper of Fife'. As Albert lives in Clapham (London) it became The Cooper of Clapham.The Celtic has been recorded by Clio Gould & the BT Scottish Ensemble on Linn CKD073 and by Ittai Shapira & the English Chamber Orchestra on Black Box BBM1083

Charles Dancla (1817-1907) is considered to be the last great representative of the French Violin School. He knew in a special way how to implement the principle 'no music without technique no technique without music' in his teaching material. This is the case in his easy melodic studies. These studies are perfectly suited for young beginners after the second year but also for adult players refreshers or outsiders. Most of them can be effectively used as little performance pieces providing an excellent foundation for every advanced étude or concert piece.Each study is preceded by new or revised exercises which either deal with specific problems relating to the playingtechnique or present the tonal material of the respective study in a condensed playful form.Those who prefer Dancla's somewhat easier original preliminary exercises will find them in the appendix.

Wiener Urtext-These sonatas are among the epoch-making works of the Violin repertoire and nowadays figure in the standard repertoire of every violinist. It is all the more surprising therefore that until now there has been no Urtext edition of such significant works. The score is based on a first edition supervised by Corelli himself. From what we know of performance practice in Corelli's time however more was expected of the violinist than just a musical reading of the printed score: it was customary to add ornamentation verging on improvisation with embellishment and 'variations as desired'. The original score is therefore presented here withthe earliest documented ornamentation from a reprint published by Roger in Amsterdam in 1708. This ornamentation is not meant to be slavishly imitated but to stimulate the player to find their own creative and stylistically confident interpretation of the score. As Roger did not specify any ornaments for the sonatas in the second volume the 'variations as desired' used by Corelli’s pupil Geminiani have been reproduced with the ninth Sonata as an example. Advice on performance is given by the Cologne baroque specialist Reinhard Goebel. This advice does not only apply to ornamentation but also to articulation bowings and more besides calling for specific markings in the separate Violin part. The realisation of the Continuo part echoes the fashions of that time. Here too advice on performance is meant to stimulate free interpretation by the Continuo player. A figured Bass part is included for the player who prefers to read the accompaniment from figures.

This is not just another book of Irish session tunes. It represents the relatively unknown repertoire of a single Irish traditional musician Packie Manus Byrne of Donegal. There has been considerable interest in the music ofDonegal over the past 10 years or so especially with the rise of groups such as Altan. Packie Manus Byrne is a familiar name to traditional-music lovers in Ireland and the UK where he enjoyed a successful career as a folkperformer for more than 20 years. Almost all these tunes were being played in Packie's home area between 1925 and 1935; the collection is thus something of a 'time capsule' with a unity of origin and style that sets it apart fromother collections. The 85 genuine old traditional tunes are being made public for the first time. This unique collection with all the background information and stories gives the reader a real sense of the community out of whichthe music came and the characters who played it. Suitable for fiddle tin whistle flute and other traditional instruments. The CD includes 33 of the tunes performed by Jean Duval Stephen Jones Johanne St. Laurent Lynda Dowker and Reinhard Görner on a variety of instruments.

The Austrian violinist and composer Jakob Dont (1815-1888) very early became a member of the Vienna Hofburg Theatre later of the Court Chapel. Although he had made a name for himself as a soloist he decided in favour of a career in education. For his instrument the violin he wrote about 50 works most of them modern opera pot-pourris and character pieces which are forgotten today. Apart from the preliminary exercises for Kreutzer and Rohde his 'Studies and Caprices' (opus 35) however have become an integral part of violin lessons. Praised by Joachim Auer and Flesch these outstanding studies were edited by Max Rostal in consideration of a modern violin technique andcomplemented by preparatory exercises and variants.

Par ASCH GLENN / REINER DAVID. For more than a century, violinists have played jazz, swing, blues and similar improvisational styles. With its rich tone, considerable range, and bowed rhythms and phrasing, the violin offers a unique opportunity for a creative and personal statement as a musician. This book presents a broad sampling of the styles of major jazz violinists, from blues to bebop, from jug band to jazzgrass, from big-band swing to Texas swing. Tunes represent the styles of Stéphane Grappelli, Joe Venuti, Stuff Smith, Eddie South, Mark O'Connor, Benny Thomasson, Jean-Luc Ponty, and Darol Anger. Helpful jazz theory sections with exercises alternate with tunes that show how the theory works inpractice. This book has two objectives: first, to present a broad, roughly chronological sampling of major jazz violinists and the styles associated with them, and secondly, to introduce the basics of jazz theory as applied to the violin. Whether consciously or intuitively, through critical listening or by practicing jazz patterns and exercises, the more knowledge of jazz you acquire, the better you will be able to think about the content of your playing without being bound by technical and theoretical aspects. This anthology was written to help provide that foundation. Interspersed with pragmatic jazz theory lessons, you'll find 28 original tunes in the style of various jazz violin luminaries. The book ends with an extensive discography of recommended jazz recordings with a violin focus. Mandolinists as well as other instrumentalists will find a wealth of useful information in this outstanding collection. Delightful broadcast-quality recordings of the repertoire are available online. Includes access to online audio. Written for intermediate to advanced violinists. / Niveau : Intermédiaire à Avancé / Jazz / Recueil / Violon

Walk-Sonata. For solo violin. The original music Walk for one dancer and violinist was commissioned by Compagnie Trans. The four pieces that compose this sonata are from the performance piece Laurence Marthouret choreographed for a dancer and a violinist, entitled Walk, and interpreted by Sona Khochafian in 2001. The project originated from a shared conception of the two art forms, an equal collaboration between choreographic and musical composition. Its central idea was to utilize Laban?s choreographic notation system, which accompanies and parallels the musical notation, allowing for an extreme precision in the playing out of the dance-music relationship. Largely cut and recomposed to arrive at this concert version, Walk-Sonata still maintains its four discreet parts, the four sides of a square of the choreographic composition and is therefore strongly linked to the original choreography. This is discernible not only in the formal four movement structure, but also in the music's multiple rhythms, dynamics and phrasing, which are consistently, if not tightly, joined to the dance gesture. Walk-Sonata is dedicated to Sona Khochafian and Laurence Marthouret.

Edited by Jeremy DibbleA key figure in the so-called English Musical Renaissance Parry was a considerable composer of chamber music. His three violin sonatas the first of which in d minor is here published for the first time along with the Fantasie-sonata and Sonata in D major date from the 1870s and 80s and are contemporary with his four symphonies and setting of Milton's Blest Pair of Sirens . They are fine additions to the string repertoire and will be greeted enthusiastically by violinists seeking new material for recitals. Performing editions of each sonata are available separately.First published in 2003. Hardback