SKU: BT.HITPCVIORAMA1A
Du répertoire tous styles pour violon, permettant de passer du jazz la variété, de la variété au classique, en passant par les airs traditionnels du monde entier ou la musique de film. Chaque pièce est accompagnée de commentaires techniques, biographiques et historiques. Sont jointes ce recueil les parties séparées pour piano pour tous les morceaux. Autres volumes disponibles dans la collection : 2A. Existe aussi pour le saxophone, la clarinette, le piano, la fl te traversière, la guitare et l'accordéon.
SKU: BT.HITPCPTVIOL01
Le Petit Violonrama est un répertoire de morceaux pour violonistes débutants, permettant de jouer aussi bien du classique que des musiques de films ou de la variété et du traditionnel.L’ouvrage réunit deux sommités du violon : Bruno Garlej,pédagogue du violon le plus vendu et reconnu en France, et Roland Daugareil, premier violon solo de l’Orchestre de Paris et l’un des plus grands violonistes français.Le CD accompagnant l’ouvrage, de qualité supérieur, a été enregistré parRoland Daugareil sur un violon de légende : «Txinka», un Stradivarius de 1708. Cet enregistrement exceptionnel donnera un exemple et un plaisir musical de choix tous les apprentis violoniste,ainsi qu’ tous les mélomanes !Chaque morceau estle fruit d’un travail d’arrangement, précis, adapté l’instrument et au niveau de l’élève. Ce volume, progressif, est écrit uniquement la première position, il présente donc un niveau de difficulté très faible et aisément accessible pourl’élève.La mise en page, en couleur et très aérée, et la spirale assurent une grande lisibilité.
SKU: BT.HITPCVIORAMA2A
Du répertoire tous styles pour violon, permettant de passer du jazz la variété, de la variété au classique, en passant par les airs traditionnels du monde entier ou la musique de film. Chaque pièce est accompagnée de commentaires techniques, biographiques et historiques. Sont jointes ce recueil les parties séparées pour piano pour tous les morceaux. Autres volumes disponibles dans la collection : 1A. Existe aussi pour le saxophone, la clarinette, le piano, la fl te traversière, la guitare et l'accordéon.
SKU: HL.374362
ISBN 9781705150153. UPC: 196288016892. 9.0x12.0x0.094 inches.
A baker's dozen of hot hits are included in this collection perfect for new instrumentalists. It features online access to audio demonstration and backing tracks for download or streaming to help you hear how the song should sound then play along and sound like a pro! Songs include: Adore You (Harry Styles) • Bad Habits (Ed Sheeran) • Blinding Lights (The Weeknd) • drivers license (Olivia Rodrigo) • Kings and Queens (Ava Max) • Therefore I Am (Billie Eilish) • Willow (Taylor Swift) • and more.
SKU: BT.RICL00003700
English.
One of Australia’s best-known composers, Ross Edwards’ distinctive sound world combines shapes and patterns from nature with a variety of musical resources which reflect and celebrate Australia’s cultural diversity.White Cockatoo Spirit Dance has all the characteristics of a maninya, or dance-chant. Ross Edwards coined the word maninya to denote the chant-like quality of one strand of his music, a unique and highly characteristic form which results from thesubtly varied repetition of material over a static harmonic basis in a lively tempo.Vibrant, captivating, life-affirming and virtuosic, White Cockatoo Spirit Dance is a spontaneous melodic outpouring. It also exists as a viola solo from which it has been adapted for violin by the composer.
SKU: BT.HITPCTEVK01
French.
Le temps des études Kreutzer est un recueil qui compile les 40 études (ou caprices) du compositeur Versaillais, accompagné d’un disque d’exception : un enregistrement par la star montante du violon français, Nicolas Dautricourt, sur Stradivarius !édition originale (Urtext) annotée par Bruno Garlej, qui propose une synthèse musicale et pédagogique enrichie par les nombreuses versions précédentes.Ce corpus des fameux « Caprices de Kreutzer » se voit ici présenté sous un jour ambitieux, réunissant rigueur de la technique violonistique et beauté de l’interprétation, avec biographie, gravure, et préface de François de Mazières (Mairede Versailles). Un cadeau parfait pour tous les violonistes !
SKU: BT.DHP-1043549-400
ISBN 9789043119412. English-German-French-Dutch.
An exciting new book containing a great selection of pop hitsarranged for solo instruments with play-along CD. Superhits die leuk zijn om te spelen. Alle stukken staan op de bijgevoegde cd. Inhoud: American Pie â?¢ Somethinâ?? Stupid â?¢ Living Next Door to Alice â?¢ I Want It That Way â?¢ La Cucaracha â?¢ A Whiter Shade of Pale â?¢ Macarena â?¢ Old andWise â?¢ La Bamba â?¢ YMCA â?¢ If You Believe â?¢ Heâ??s Got the Whole WorldIn Pop Around the Clock versammelte Don Campbell zwölf super Songs zum rund um die Uhrâ?? Mitspielen und SpaÃ? haben. Auf der CD sind Begleitungen eingespielt, auÃ?erdem werden alle Stücke auch vorgespielt. Il CD contiene la versione integrale di ogni brano, come anche una versione con il solo accompagnamento.
SKU: PR.144407380
ISBN 9781491133903. UPC: 680160683475. 9 x 12 inches.
In her powerful Foreword to the music, violinist Kelly Hall-Tompkins has written: “There are great works which give voice to important moments for generations, and this is one of them.†The tragedy of Elijah McClain’s murder has moved us all, and for many musicians the image of this gentle young man playing his violin for kittens at an animal shelter has added a poignant extra layer. Zwilich was a professional violinist before turning exclusively to composing, and A LITTLE VIOLIN MUSIC is a memorial from the heart of one violinist to another.[THESE NOTES MAY NOT BE REPRODUCED OUTSIDE OF THE PUBLICATION; OK TO QUOTE A BIT AND GIVE AUTHOR CREDIT]We often research important pieces of music to gain some glimpse into the mind of the composer by understanding the times in which a piece was written. The times that brought this piece into being, 2020, has been a year like no other in our lifetimes.With the suffering of a once in a century pandemic raging in ever higher waves, and millions of people around the world confined to their homes with a shared attention span for the first time in generations, we watched in horror the 8 minute 46 second killing of George Floyd, a man previously unknown to us, but now unwillingly joining a long list of names of unarmed African Americans killed by police. The anguished backlash of citizens around the world, from Japan to New Zealand to Germany to the United States, of every age, color, and creed, has rallied for weeks and months on end to demand enough and that “Black Lives Matter.â€And yet, in the midst of it all is an America starkly divided against itself with some defiantly pushing back, emboldened by authoritarian-style government actions against its own citizens occurring all over the country. It is against this backdrop that we ever had a chance to know of Elijah McClain. Here in quarantine I sometimes practice my scales in front of the news. And one day the mirror image looking back at me from the screen was a slight young man, warm, affable brown eyes, and also a violin under his chin. The newsreel-style camera pan so familiar now, I knew the only reason we were gazing upon his unfamous face was that he too had been killed by police nearly a year before. But the revelation of it in the broadcast hit me particularly hard.Ellen Taaffe Zwilich, who is not only one of the great composers of our time, is also a dear friend, and called me the next day, also deeply saddened by the news. It was from Ellen that I learned that Elijah used to play for the kittens at the local animal shelter so they wouldn’t be lonely. This kind, gentle soul was aggressively taken into police custody while saying, “I am an introvert. Please respect the boundaries that I am speaking... I’m going home.†He was never seen alive again.Ellen and I spoke of the sadness and the injustice of this several times. She felt a powerful calling to contribute something in a statement and the result is the piece you now hold in your hands. I am deeply honored to be the dedicatee of the piece, to have worked together with Ellen on some of the final details, and to pen this score note. As an invited alumna of the Eastman School of Music, I premiered the work for their virtual event on Diversity and Inclusion. Each time I play it, there is a persistent lump in my throat because Ellen has captured something poignant and powerful here.There are great works which give voice to important moments for generations, and this is one of them. We humbly offer this piece in memory of Elijah McClain.Foreword © 2021 by Kelly Hall-Tompkins. Used by permission.
SKU: HL.239841
ISBN 9781780382531.
This collection of 50 popular tunes has been carefully arranged and graded to provide attractive repertoire for young violinists. The familiarity of the material will stimulate pupils' enthusiasm and encourage theirpractice.The technical demands of the solo part increase progressively up to the standard of Associated Board Grade 3. The piano accompaniments are simple yet effective and should be within the range of most pianists.
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.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version
