SKU: SU.29110060
1. Sidestep Reel - In 19th Century America, the Afro-Celtic fiddle style was the centerpiece of many a dance. Reels and hornpipes were very popular forms. Their repetitive, even-metered rhythms were easy and fun to dance to, and their infectious singable melodies stayed in the mind and on the tongue. More adventurous fiddlers were given to syncopating on these forms by accenting off beats and by embellishing melodies with oddmetered note groupings. Syncopation is a fundamental rhythmic attitude of jazz and this movement is a celebration of that art. The melodic language is a home-grown concoction of commonality between traditional reels and hornpipes and the Baroque, Ragtime and the quartal concepts of Modern Jazz. 2. As the Wind Goes - the wistful late night song of a lullabye, a campfire song, a ballad...a spiritual. It is sung as if on the wind, yearning to experience once again that which will only ever again live as memory. 3. Jones’ Jig - the Irish Jig, the African 6/8 bell pattern, the shuffle rhythm of jazz and the drum style of Elvin Jones all play around with the relationship of 3 in the time-space of 2. The juxtaposition, negotiation and reconciliation of these opposing rhythmic perspectives create interesting musical relationships all over the globe. 4. Nicola’s Strathspey - In the traditional Strathspey, improvised embellishments, syncopated dotted rhythms and the use of space between notes create expectation, momentum and surprise. These same elements and their effect on the listener are the same in the blues. It seems like a natural marriage. 5. Bye Bye Breakdown - This is good ol’, Saturday night barn dance, hoedown fiddling. It revels in the whining cry of open double stops, in all types of musical onomatopoeia from train sounds to animal calls to country whistling, and in the steady 2/4 rhythm that is as basic as walking. The harmonic framework of several popular fiddle and folk tunes provide a practical grid for the cutting of challenging melodic and rhythmic figures. It is designed to tire fiddler and dancers out. Then we stomp our way home in varying states of delight and disrepair.Solo Violin Duration: 24' Composed: 2018 Published by: Wynton Marsalis (administered by Skayne's Music).
SKU: HL.48024637
ISBN 9781540055583. UPC: 888680946166.
According to Geza Szilvay, the Colourstrings (r) method can make a violin player of almost anyone with motivation. The key to maintaining musical culture lies with the teacher. The Colourstrings (r) is a teaching method developed by Geza and Csaba Szilvay. Themethod is ideal for preschool beginners and can be used effectively in instrumental teaching throughout the school years. It createsan environment in which singing, playing games and instrument live side by side, for the happiness of the child. The Handbook for Teachers and Parents brings together the entire Colourstrings(r) series for the violin. The Handbook guides the teachers and parents through books A-F and Yellow Pages I-III, offering expert advice and methodological support to teaching in Colourstrings(r) method. The method makes use of colourful teaching materials and supports learning by appealing to many senses. Founded on the principles ofZoltan Kodaly, Colourstrings (r) develops the capacity for internal listening so that the child learns to visualize the notes heard and to aurilize the notes on the page. The method has been fostered by ESTA, ASTA, AUSTA, ISME, NMPU and IKS. The Colourstrings(r) approach developed by the Szilvay brothers has gained an international reputation and is now taught all over the world. A number of special Colourstrings(r) institutions - schools, centres and societies - have been established in several European countries in order to implement and further this child-centred teaching concept.
SKU: HL.48023884
9.25x12.0x0.053 inches.
This composition for solo violin was written in 1987 for the violinist Roger Zahab who performed the world premiere in New York. As is typical of Ursula Mamlok, the work of about 5 minutes' duration is very short. In one movement, divided into five short sections, she sums up her musical cause in an extremely virtuoso manner: A powerful opening theme, which varies several times, is followed by a quiet, lyrical passage which uses similar musical ideas, however. In the following, the formal contrast disappears due to the increasing fusion of opening theme and slower episode before the main theme is taken up again in the final section in a very dramatic form.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version