SKU: HL.49007122
ISBN 9783795722197. UPC: 196288077480. 9.0x12.0x0.282 inches. German.
The most important aspect of the violin method 'Die frohliche Violine' is the fun of learning to play the violin: The textbook is aimed at an early playful beginning with the instrument. Over the course of the lessons, the pupils are deliberately addressed in a language that corresponds to their age. Furthermore, the method provides a stylistically varied range of classical and folkloristic instrumental pieces, and always gives a lot of interesting information on the music and its composers.Vol. 1: Detailed introduction to the bow hold - songs and instrumental pieces, using exclusively the first type of fingering while focussing on rhythmic, melodic and technical variety - playful touching and feeling of violin-playing techniques such as pizzicato, position playing, harmonics and double stops. Vol. 1 is accompanied by a CD (T 3272) containing all songs and pieces with funny dialogues spoken by children. A motivating addition to violin lessons and a great gift idea!
SKU: M7.APUE-516124
ISBN 9781875516124.
Enjoy hours of playing with this wonderful collection of 50 pieces of festive music from around the world. There are settings of both sacred and secular works. Music is such an important part of celebrations, and this book brings you a large selection of Christmas songs and carols, as well as music to celebrate the festivals of New Year, Thanksgiving, Harvest, Halloween, Winter Carnival, Cherry Blossom Festival, Doll's Festival, Star Festival, Hanukkah and St Nicholas Day. The arrangements offer maximum flexibility, with solo violin, duet and/or trio settings, and range in standard from Preliminary to Grade 4. FREE recordings of every piece in this collection are available on The Young Instrumentalist YouTube channel. So come and join the celebrations with Festive Violin Fun!
SKU: FP.FGN02
ISBN 979-0-57050-116-8.
Extra parts for Fiddler's Fun.
SKU: HG.PE-1001
ISBN 9790202822739.
Altersempfehlung: 6-8 Jahre PIPOS GEIGENSCHULE ist fur Kinder von 6 bis 8 Jahren konzipiert, die noch nicht oder fast nicht lesen konnen. Darin werden Bilder und bildliche Vergleiche eingesetzt, die dem Kind beim Uben, als Orientierungshilfe und Gedachtnisstutze dienen. Band 1: Zuhoren, Nach- und Auswendiglernen, Experimentieren mit verschiedenen Klangen und Spielarten - Geigenhaltung - Kennenlernen der vier leeren Saiten - Bogenhaltung - Vorbereitung der linken Hand - Einfuhrung 1. bis 4. Finger - Lieder im Funftonraum (auf einer Seite) -Bogenhaltung -Vorbereitung der linken Hand -Einfuhrung 1. bis 4. Finger -Lieder im Funftonraum (auf einer Seite).
SKU: PR.144407530
ISBN 9781491136614. UPC: 680160687992.
A violinist herself, Lauren Bernofsky has described SONATA FOR SOLO VIOLIN as drawn from autobiographical inspiration, including gestures from Bachâ??s beloved Partita in E Major. Bernofsky opens with a Preludio movement whose references to Bach may be disguised, but they are surely lurking. The second movement is lusciously contrapuntal with the idiomatic finesse of a violinist composing for her own instrument, while musically journaling the emotional pain of living through 2020. The third and final movement is aptly marked â??white-hot,â? and the music certainly is.My SONATA FOR SOLO VIOLIN was commissioned by violinist Megan Healy as part of The Maud Powell Project, which celebrated the 100th anniversary of the ratification of the 19th Amendment. The project included the creation of five new works for solo violin inspired by and dedicated to the memory of pioneering American violinist Maud Powell (1867-1920). Healy premiered the sonata on May 8, 2021 at PianoForte Studios in Chicago.Among the works Powell most frequently performed in her recitals was the â??Preludioâ? movement from Bachâ??s E major Partita, and I decided to refer to that music in my own first movement, also titled â??Preludio.â? The beginning subtly reflects Bachâ??s opening three-note motive, wherein the music dips down a semitone and then comes back up. This melodic material returns throughout the movement in various forms. I also refer to Bachâ??s sixteenth-note dominated texture, and the gesture in the third measure, which outlines a perfect fifth and then fills it in with notes that alternate between a scale and a pedal tone. The corresponding passage in my piece occurs in the same place, measure 3. Apart from these references to Bach, my sonata is much more modern sounding, especially in its chromatic character.I was still thinking of Bachâ??s solo violin writing while composing the second movement, particularly the polyphonic nature of the slow movements, where the melodic interest moves around between the voices. Emotionally, I wanted my movement to reflect the acute sadness I had been experiencing over the political and social situation in the United States as I wrote the piece. I realized that this is a historically noteworthy time in U.S. history, marked not only by political unrest, but also by a challenge to the very values that I consider essential to what makes a person fundamentally human. I wanted to create a record of that pain in my music.The final movement is marked â??White-hot.â? It is imbued with a relentless, passionate intensity. Wanting again to reflect aspects of our own time, I included glissandi that refer to rock music, specifically the â??fall-offsâ? I frequently hear played by electric guitarists. I borrowed from another (completely different) musical tradition as well, one that is near-and-dear to my heart: Klezmer. Klezmer (Eastern European Jewish folk music) is characterized in part by scales colored by augmented seconds, and is often performed by solo instrumentalists who improvise embellishments like quick grace notes. The second, more lyrical theme in this movement is my nod to Klezmer style.While this piece is an homage to Maud Powell, I also think of it as my own musical autobiography, as it combines some of my favorite aspects of music, and is played on my own instrument.
SKU: BT.9781408114612
ISBN 9781408114612. English.
Now in a third edition, Abracadabra Violin has a fresh and contemporary new look and is the perfect book for pupil and teacher.This title offers an identical selection of repertoire to the other books in theAbracadabra Strings series, so they can be used in any combination for group or whole class lessons and mixed ensemble performances. Used alone, they remain ideal for individual tuition.With tunes you know and want toplay, carefully graded in 20 learning steps, this new edition of the popular tutor also includes duets, trios and teacher's parts. Clear fingering and bowing diagrams and concise theory explanations help to teach thefundamentalsof the instrument, and each new technical aspect is reinforced by several pieces using that particular technique.Abracadabra Violin now also includes two CDs of performance and backing tracks, featuringselected orchestral backings.
SKU: HG.PE-1003
ISBN 9790202840276.
Der Violin Circle ladt zu einer vergnuglichen Reise rund um die Tonarten und Techniken der Geige ein. Das Heft ist als Fortsetzung und Erganzung zu jeder Violonschule geeignet. Circle ist dem Quintenzirkel nachempfunden: - Alle Dur- und Molltonarten kommen vor - Der Quintenzirkel wird anschaulich erklart - Der Aufbau orientiert sich am Schwierigkeitsgrad der Griffarten. - Neben Dur und Moll werden chromatische, Ganzton- und Bluestonleitern sowie Kirchen- und Zigeunertonarten behandelt - Individuell und flexibel einsetzbar - Fur Jung und Alt - Mit vielen Spielseiten und Spieltechniken - Mit einem breitgefacherten Repertoire - Mit Aufgaben zum Improvisieren, Transponieren und Komponieren Farbig illustriert: - Hinweiskasten zur Spielweise und Musiktheorie - Merkkasten zu den Vorzeichen der Stucke - PLUS-Kasten mit Zusatzaufgaben fur Interessierte - Komponistenportraits Notenformat, 80 Seiten, farbig illustriert.
SKU: HL.14045595
ISBN 9788438706787. English-Spanish.
Foundations of shifting - Fundamentos del cambio de posicion. Shifting is one of the most important aspects of string playing. The mastery of this art is essential for a performance without compromising the musical aesthetics.
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