SKU: M7.MGSZ-287
ISBN 9783927985285.
Nach 40-jähriger Praxis als Orchestermusikerin und Geigenlehrerin ist Maria Marek Moscher überzeugt: Geige spielen macht nur dann wirklich Freude, wenn der Körper dabei nicht leidet. Gesundheitliche Beschwerden und körperliche Störungen aller Art sind gerade bei Berufsmusikern recht häufig und lassen sich in ihren Anfängen bereits bei so manchem kleinen Geigenschüler finden. Der Weg zu einem freien und natürlichen Spiel führt über eine unverkrampfte Haltung des Instruments, die von Anfang an aufmerksam beachtet werden muss. Bald stellt sich dann das Gefühl aktiver Entspanntheit ein, das nicht nur ein gesundes, sondern auch technisch besseres Violinspiel ermöglicht. Wie ein solches Violin- und Violaspiel vom Anfang an leicht und mühelos zu erreichen ist, zeigt Maria Marek Moscher in ihrer Violin- und Violaschule Frei und mit Freude spielen, jeweils in drei Bänden. Die theoretischen Grundlagen dieser Methodik, die von Anfang an klare und klangvolle Töne gestalten lässt, hat Maria Marek Moscher für alle Pädagogen, Musiker und Laien in ihrem Buch, mit selbem Titel Frei und mit Freude spielen, zusammengefasst. Sie analysiert die Grundlagen der Instrumentalhaltung und die Bewegungsabläufe, welche entscheidend für die weitere musikalische Entwicklung sind. Die methodische Vorstellung ist durch Zeichnungen unterstützt. Das autodidaktische Erlernen ist dadurch möglich, auch Korrekturen in Bewegungsabläufen im späteren Stadium des Spielens hilft das Buch durchzuführen. Auf musiktherapeutischem Gebiet kann das Violin- und Violaspiel zur Förderung des Geistes und einer harmonischen Körperhaltung eingesetzt werden.
SKU: M7.MGSZ-279
ISBN 9783927985278.
SKU: M7.MGSZ-260
ISBN 9783927985261.
SKU: MB.30878M
ISBN 9781513470535. 8.75X11.75 inches.
You may not fall in love, but the 257 online piano accompaniment tracks that come witháI Love My Scalesáare likely to change your attitude towards playing tetrachords, scales, arpeggios, and double stops on the violin. In fact, anyone who plays a C instrument with a comparable range will enjoy playing along with these imaginative and elegant recordings.áWhile this book was written primarily for violinists to enhance intonation, agility, overall musicianship, and the sense of time essential to playing with an ensemble in any style, mandolinists will benefit equally in improving sight reading and fretboard knowledge. Like the famous Hanon studies for piano, once these exercises become a part of muscle memory, improved technical, ear training and improvisation skills will follow.Useful for violinists of any skill level, this book and its extensive companion recordings offer a complete workout for 1 to 3-octave major and minor scales and arpeggios in commonly used violin keys. The book also addresses scales in various intervals plus chromatic, modal, and exotic scalesùall with piano accompaniment that makes scale practice a labor of love.Includes access to online audio.
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.
SKU: BT.DHP-1125245-400
ISBN 9789043141741. 9x12 inches. English-German-French-Dutch.
The band strikes up the circus march for the entrance of the artistes—the audience waits expectantly…Between the Opening March and the Grand Finale the packed audience is presented with a colourful programme: courageous acrobats, comical clowns, oriental belly dancers, knife-throwers and snake charmers appear one after the other.Circus Time is also available for flute, clarinet and alto saxophone (in the same sounding key). This opens up all sorts of choices: musicians can take turns to perform or build a real circus band, or even—with the help of scenery and props—put on a proper circus performance. There is no end of possibilities!Theaccompanying CD contains demo and play-along version of all the pieces. Alternatively the chord symbols (written in concert pitch) above the music staff can be used for a live accompaniment by guitar and/or keyboard. An optional piano accompaniment is available separately (order number: DHP 1125344-401).On with the show! Het orkest begint de circusmars te spelen voordat de artiesten opkomen - het publiek wacht vol spanning af…Van de openingsmars tot de grand finale krijgen de toeschouwers een kleurrijk programma voorgeschoteld: moedige acrobaten,grappige clowns, oostersebuikdanseressen, messenwerpers en slangenbezweerders volgen elkaar op in de piste.Circus Time is ook beschikbaar voor dwarsfluit, klarinet en altsaxofoon (in dezelfde klinkende toonsoort). Er zijn dusallerlei mogelijkheden: de muzikanten kunnen elkaar afwisselen met solo-optredens of een echt circusorkest vormen, of zelfs - in een geschikte omgeving en met behulp van decorstukken - een heus circusoptreden verzorgen. Laat jefantasie de vrije loop.De bijgevoegde cd bevat zowel demotracks als begeleidingen voor alle stukken. Voor live begeleiding door keyboard en/of gitaar staan de akkoordsymbolen (klinkend genoteerd) boven de muziek. Optionele pianobegeleidingenzijn apart verkrijgbaar (bestelnummer: DHP 1125344-401).Laat de show maar beginnen!Die Kapelle spielt schon den Zirkusmarsch zum Einzug der Artisten - das Publikum wartet gespannt...Zwischen dem Eröffnungsmarsch und dem Großen Finale wird dem geneigten Publikum ein buntes Programm präsentiert: Mutige Akrobaten, lustige Clowns, orientalische Bauchtänzerinnen, Messerwerfer und Schlangenbeschwörer treten nacheinander auf.Circus Time gibt es auch für Klarinette, Altsaxophon und Querflöte (in den gleichen klingenden Tonarten). So eröffnen sich viele Möglichkeiten für die Aufführung: Die Musiker können abwechselnd auftreten oder ein ganzes Zirkusorchester“ bilden und sogar - ergänzt durch eine szenische Umsetzung - einerichtige Zirkusvorstellung geben. Der Fantasie sind keine Grenzen gesetzt!Die beiliegende CD enthält Demo- und Mitspielversionen aller Stücke. Alternativ zu den Mitspiel-Tracks können die Akkordsymbole (in klingenden Tonarten) über den Noten für eine Live-Begleitung durch Keyboard und/oder Gitarre genutzt werden. Optional sind Klavierbegleitungen separat erhältlich (Bestellnummer: DHP 1125344-401).Manege frei! L’orchestre du cirque attaque la marche qui annonce l’apparition des artistes - le public attend impatiemment…Entre la marche d’ouverture et le finale, grands et petits savourent un programme haut en couleurs : acrobates audacieux, clowns comiques, danseuses orientales, jongleurs et charmeurs de serpents présentent tour tour leur numéro.Circus Time existe également pour fl te, clarinette et alto saxophone (dans la même tonalité). Ce choix offre de nombreuses options : les musiciens peuvent jouer tour tour ou former un véritable orchestre de cirque, ou même - avec des décors et des accessoires - monter une vraie représentation de cirque. Les possibilités sontillimitées !Le compact-disc ci-joint contient les versions intégrales des morceaux ainsi que les versions d’accompagnement. Les symboles d’accords (sons réels) figurant au-dessus de la portée facilitent l’accompagnement la guitare et/ou au piano. Les parties d’accompagnement de piano optionel sont rassemblées dans un recueil vendu séparément (référence :DHP_x001F_1125344-401).Que le spectacle commence ! Un viaggio nel mondo circense che consente ai musicisti di suonare da soli, ma anche di formare una vera band. Il CD contiene una versione demo e una play-long di ogni brano. In alternativa, grazie ai simboli degli accordi sopra il pentagramma, ci si può esibire live accompagnati dalla chitarra e/o tastiera (DHP 1125344-401).
SKU: PR.114418750
ISBN 9781491129524. UPC: 680160655489. 9 x 12 inches.
The seven-movement in the snowy margins might be considered a sort of atomic suite, as each movement is succinct, yet a microcosmic powerhouse inspired by “The Comet,” by Polish writer and Holocaust victim Bruno Schulz. Hersch’s intensity is expressed through dramatically captivating violin gestures, pushing the boundaries of texture, technique, and emotion.Michael Hersch’s in the snowy margins was written in 2010. Like much of his work, it is grounded in literature and art. The title is drawn from a short story, The Comet by Polish writer, poet, and artist, Bruno Schulz (1892-1942). This forms the last of his collection The Street of Crocodiles, published in 1934. Schulz was shot by a Nazi officer in 1942.Both the title of Hersch’s work, and the ‘motto’ found on the composer’s manuscript (‘Thus far and no further. But what has become of the end of the world…’) are to be found in The Comet. It’s interesting that in in the snowy margins, unlike his earlier Fourteen Pieces which were inspired by the poetry of Primo Levi, Hersch chose to not title each individual movement with a quote. However his choices of text are applied, there is a clear quality of distillation. In every case, the texts which the composer has chosen to eschew lie beneath the music, akin to the greater mass of an iceberg, submerged, but imminent.Hersch also has very particular taste in visual art, and there seems to be common ground between the intensely expressionist drawing of Schulz, and those of Michael Mazur, which inspired his string quartet Images from a Closed Ward. The parallels between these artists reflect common traits shared between these two pieces, which provide a window on how the music should be approached, expressively and technically. I would argue, that from a violinist’s point of view, this pertains directly to how bow and left hand should approach the string: the febrile vibrancy of both Mazur and Schulz’s pencil and charcoal strokes, perhaps what T.S. Eliot called the ‘circulation of the lymph’, in every gesture, speaks to the intense experience, physically and emotionally, of playing (and hearing) this music. There is an intense sense of ‘truth to materials’ at every moment, the sense that every note sings on the edge of, or even beyond, total collapse.— Peter Sheppard-Skaerved.
SKU: BT.CMP-0584-01-400
ISBN 9789043113144. German.
Für dieses Buch bearbeitete der amerikanische Komponist James Curnow die ‘Hits’ der großen Meister der Renaissance, der Klassik und der Romantik für die jüngsten Geiger und bringt ihnen so auf leicht zugängliche Weise diese Musik näher. Für die Begleitung sorgt die beigefügte CD.
SKU: OT.22091
ISBN 9789655050929. 8.27 x 11.69 inches.
Mike WitkerkThe Lady in Bluefor violin and pianoMike Witkerk is a South African composer and pianist. Hailing originally from the Republic of Tajikistan, he now lives in Israel. His performances include appearances with Michael Jackson, Chris deBurgh, Stevie Wonder and Cliff Richard. His compositions range from classical jazz to modern. He enjoys creating compositions that present new ideas and sounds.
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.49044060
ISBN 9783795748876. German.
Die sechsbandige 'Systematische Violintechnik' behandelt alle Aspekte des Violinspiels und ermoglicht damit eine umfassende Grundlage fur lernende, lehrende und ausubende Musiker. Die Bande enthalten reichhaltige Anregungen fur die vernunftige und einwandfreie Aufbereitung von technisch anspruchsvollen Passagen in Meisterwerken der Musik. Die einfache Idee, die Violintechnik auf der Kombination von Bogenwechseln, Saitenwechseln, Fingerwechseln und Lagenwechseln aufzubauen, wird systematisch entwickelt und stellt - vergleichbar einer 'Hausapotheke fur Geiger' - ein Konzentrat zielgerichtet anwendbarer Ubungen zur Verfugung. Gleichzeitig verschafft diese Systematische Violintechnik einen vollstandigen und unverzichtbaren Uberblick uber alle Bestandteile der Technik und ihrer Zusammenhange. Wohldurchdachtes und praxiserprobtes Ubungsmaterial aus der Feder von Prof. Helmut Zehetmair (Mozarteum Salzburg) und Prof. Benjamin Bergmann (Johannes Gutenberg Universitat Mainz).
SKU: HL.49019687
ISBN 9783795747282. 9.25x12.0x0.289 inches. German.
SKU: HL.50601152
UPC: 888680739379. 9x12 inches. Italian-English.
The Caprice d'Adieu (autograph unknown) is appended to Eduard Eliason's Six Caprices Caractéristiques pour le Violon, Op. 12, which was published in Mayence by B. Schott in 1833. This piece, which Paganini dedicated to Eliason, is part of a series of compositions for violin solo that have been widely ignored by both performers and scholars of the great Genoese musician. It is a composition whose size and structure (A-B-A, with two refrains) follows the pattern of some of his Capricci, Op. 1, but, unlike these proper studies, the Caprice d'adieu is lighter and more lively in character. Although not as brilliant, musically, as the Capricci, it still contains some original musical ideas, mostly articulated in two parts with a few complex technical passages and a central, contrasting section featuring different dynamics and a range of chords and trills. This critical edition is based on the first edition and is collated with the most important nineteenth and twentieth-century editions.
SKU: HL.235
ISBN 9781574240566. UPC: 073999567786. 9x12 inches.
This comprehensive collection of fabulous fiddle tunes includes reels, hornpipes, strathspeys, jigs, waltzes and slow airs.
SKU: HL.49015543
ISBN 9783795753313. UPC: 884088087289. 9.0x12.0x0.2 inches. German.
Violintechnik intensiv ist ein dreibandiges Kompendium zu allen technischen Aspekten des Geigenspiels und wendet sich an Orchestermusiker, Studenten, jugendliche Spieler und Laienmusiker und gibt vielfaltige Anregungen fur den Violinunterricht. Der Lehrgang hat folgenden Aufbau: Band 1 Konditionstraining (ED 8681); Band 2 Bogentechnik und Koordinationsetuden (ED 8682); Band 3 Fit in 20 Minuten, Einspielubungen (ED 8683). Inhalt von Band 2: Die Beherrschung der Strichtechnik (Detache, Saltellato, Spiccato, Saitenubergange, etc.) setzt ein fundiertes Wissen uber die vielfaltigen Wechselwirkungen von Bogentempo, Kraft und Kontaktstelle voraus. Im 2. Band bietet Josef Markl daher eine Fulle von Material zum Thema Bogentechnik und Koordinationsubungen. Besonderen Wert legt er auf zahlreiche Beispiele aus der Konzert- und Kammermusikliteratur.
SKU: HL.48025121
ISBN 9781784546465. UPC: 196288079750. 9.0x12.0x0.086 inches.
The Boosey and Hawkes Easy String Music series by Katherine and Hugh Colledge contains four volumes of repertoire for new and developing string players. Popular with teachers and students alike, each title steadily introduces and consolidates new techniques, fingerings, notes and rhythms to build firm foundations for future learning. Demonstration and accompaniment audio resources are available online for all volumes in the series. Each title is available in two editions - a standalone string book for students or an expanded edition with additional piano accompaniment. The 26 pieces of Waggon Wheels form the second volume of the series. They cover 3rd and 4th finger notes and slurred bowing.
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