SKU: AP.6-450414
ISBN 9780486450414. UPC: 9780486450414. 9x12 inches. English.
How long should I practice? Which pieces should I study? How can I develop a singing tone? All violinists ponder these questions, striving to make the most of their practice and performances. This enlightening and encouraging book holds the answers, offering a series of interviews with the most celebrated violin teachers and performers of the nineteenth and early twentieth centuries.Twenty-four famous violinists reveal the secrets of their success, sharing the lessons of their artistry and experience. In addition to aesthetic and technical aspects of playing, they discuss their personal conceptions of violin mastery. Eugene Ysaye reminisces about his studies with Vieuxtemps and Wieniawski, and Leopold Auer emphasizes the importance of fostering students' individual talents. Maud Powell describes her pioneering role as a female orchestral musician, and Jascha Heifetz voices his views on technical mastery and temperament. Hints and advice from other masters include tips on efficient practice, immproving bow technique, and refining intonation. A rare find in musical literature, this book is essential reading for every serious violinist.Dover (2006) unabridged republication of the work originally published by Frederick A. Stokes, New York, 1919.
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: PR.41641366L
UPC: 680160585755.
From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violins open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movements primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violinas open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movementas primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violin's open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movement's primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notionof writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures.The notes of the violin’s open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes:1 st movement: A-D-A2nd movement: D-G-D3rd movement: E-A-EThe overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movement’s primary theme. While the movements share similar musical materials, each one is definedby distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgivingferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes fromthe previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.
SKU: MB.30091
ISBN 9781513466378. 8.75 x 11.75 inches.
Appalachian fiddle music, based on the musical traditions of the people who settled in the mountainous regions of the southeastern United States, is widely-known and played throughout North America and parts of Europe because of its complex rhythms, its catchy melodies, and its often-ancient-sounding stylistic qualities. The authors explore the lives and music of 43 of the classic Appalachian fiddlers who were active during the first half of the 20th century. Some of them were recorded commercially in the 1920s, such as Gid Tanner, Fiddlin? John Carson, and Charlie Bowman. Some were recorded by folklorists from the Library of Congress, such as William Stepp, Emmett Lundy, and Marion Reece. Others were recorded informally by family members and visitors, such as John Salyer, Emma Lee Dickerson, and Manco Sneed. All of them played throughout most of their lives and influenced the growth and stylistic elements of fiddle music in their regions. Each fiddler has been given a chapter with a biography, several tune transcriptions, and tune histories. To show the richness of the music, the authors make a special effort to show the musical elements in detail, but also acknowledge that nothing can take the place of listening. Many of the classic recordings used in this book can be found on the web, allowing you to hear and read the music together.
SKU: AP.1-ADV14708
UPC: 805095147087. English.
With this book/audio set you will learn essential jazz rhythms first-hand from world-class professionals ! Reading Key Jazz Rhythms is a collection of 24 easy to medium level jazz etudes, and 24 simplified guide tone versions of the etudes. They are ideal for learning the basic language of jazz, swing phrasing, and articulation. A perfect tool for preparing for the jazz ensemble or for any other ensemble/orchestra which performs jazz related music (pops orchestras, musical, studio, movie scores, concert and marching bands, etc.). Each etude is based on a specific rhythm or a combination of rhythmic figures. Some etudes sound like very lyrical improvised jazz solos, while others are more like a melody to a standard. On the downloadable audio tracks the soloist demonstrates the 24 melodious etudes together with a professional rhythm section. You can also improvise along with the play-along tracks using the chord symbols. The guide tones are the essential or defining notes for each given chord type. So if improvising is new to you and you find yourself getting lost, you can always return to a guide tone and play rhythmically around it. Any etude and its corresponding simplified guide tone version can be played together as a duet (with or without the audio accompaniment) with your teacher or a friend.
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: CF.BF154
ISBN 9781491162064. UPC: 680160920808.
Learning to play chamber music is an important milestone in the music studentââ¬â¢s journey. Playing with a teacher or friend helps develop rhythmic independence, intonation, listening skills, and sense of pulse that are vital to playing in an ensemble. These progressive duets offer beginning and developing players the opportunity to play along with others, or with the helpful support of the teacher in a lesson. Each duet adds new techniques and challenges that align with the natural advancement of lessons, moving from easy rhythms and keys to staccato bow strokes, slurs, accidentals (low or extended finger patterns), and more complex or independent rhythms. While the melody remains in the top line, musicians can alternate playing the melody as all efforts have been made to keep both parts at a similar difficulty level. This book features familiar melodies from traditional, folk, and Classical repertoire including tunes that many string teachers will recognize from Suzuki books. Appropriate for recitals or even small group concerts, there are 30 selections of different tempi, styles, and keys for variety, while remaining in string-friendly ranges. Each duet is one page or less in length, ensuring an immediate sense of success for young players. The perfect supplement to method book exercises and solo repertoire.
SKU: CF.BF118
ISBN 9781491149812. UPC: 680160907311. 9 x 12 inches.
Continuing on the success of the popular Compatible series,Compatible Duets for Strings, Volume II contains 29 duets in avariety of styles (classical, folk music, new original pieces) thatcan be played with any combination of two string instruments.Students can develop their chamber ensemble skills whileplaying with their friends, no matter what string instrumentthey play. Ranging from grade levels 2–3, Compatible Duetsfor Strings, Volume II is perfect for orchestra directors to buyfor use in the classroom, and its flexibility makes it a musthavefor any string player.Having students play in small chamber music groups is a very beneficial exercise to improvethe student’s overall musicianship. The simplest form of chamber music is the duet. It is anopportunity for the student to play with a teacher or to play with another student of similarabilities. Aspects of playing such as tone quality, intonation, technique and ensemble skillscan be developed during the process of studying duets.These duets are different in that they have many different performance options since all ofthe books in this series are compatible. As former long time music educators we alwayshad student that wanted to come to the music room during lunch or after school and theyjust wanted to play with their friends. That was not possible since there is very little duetmaterial available that is compatible with all of the string instruments. This book and thefirst volume in the series takes care of that. A student can now grab their friend no matterwhat instrument they play and have hours of fun playing duets together. Most importantthey will learn something in the process.The duets have been generally placed in the book in order of difficulty and cover a rangeof keys that are appropriate for this ability level. Special care was given to making surethat both of the duet parts were on a similar ability level and that each line was givenan opportunity to play a lead role at some point during the arrangement. Also, most ofthe musical markings are attached to both systems and the point size of the music wasconsidered for ease of reading.It is our hope that this collection will help to stimulate and enhance the musicianship of theperformers. It was a pleasure for me to have the opportunity to put together this collection.We hope it is a useful tool for you for years to come.
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: SP.TS556
ISBN 9781585609161.
Due to the success of our Instrumental Fingering Posters, we thought it would be helpful to create a smaller version that could be tucked comfortably into any method book as a reference guide. Unbeknownst to us after days of research, we were left with countless questions, much confusion, and a slew of poorly crafted images from contradicting publications. That being said, we realized that there weren't truly any trustworthy resources in print and decided to address the void. We consulted experts in every category asking questions until both we and they and we were satisfied. Finally, a guide to fingering for beginners that even the experienced players will find beneficial. Santorella's Basic Fingering Charts are essential for anyone that picks up an instrument. Initially intended for beginners but after understanding the importance of false fingerings or more appropriately called, alternate fingerings their necessity is vital for playing certain musical passages on a particular instrument. In addition, after observing the difficulties that students had in identifying key signatures, we decided to include the Circle of Fifths diagram and every major scale in two octaves in every key including their enharmonic counterparts. After all was said in done, we now know, we now have the best educational products available for fingering in the industry. Our Basic Fingering Charts are perfect for private students, classroom study, or simply for a quick and easy reference guide while practicing at home. These graphic reference guides for assorted brass, reeds, woodwinds, and orchestral strings are specifically available for Clarinet, Bass Clarinet, Trumpet, Flute, Piccolo, Recorder, Baritone Horn, Trombone, Bass Trombone, Alto Sax, Soprano Sax, Tenor Sax, Baritone Sax, French Horn, Euphonium, Tuba, Oboe, Bassoon, Violin, Viola, Cello, and Bass. Every chart displays the entire range of each instrument by clearly depicting the fingering for each note including all their enharmonic substitutions. Each chart includes a diagram identifying the levers, valves, keys, slides, frets and more of each and every instrument. Learn where, when, and why to place your fingers. Now is the time to truly start playing with assured confidence.
SKU: BT.9780713693652
ISBN 9780713693652. English.
This pupil's book provides a lively and comprehensive introduction to the very first steps of playing the violin.All the titles in the Abracadabra series work in conjunction with each other, making them ideal for ensemble,group and whole class tuition. Used alone they remain perfect for individual lessons. The book contains activities, games and pieces that teach the fundamentals of playing the violin : good posture (with and without theinstrument), bow hold, finger position and pitch awareness as well as developing rhythm and notation reading. The CD also aids pitch development with performances of the pieces and backing tracks to motivate pupils topractisepieces and activities outside of their lessons. The basics are constantly reinforced and revisited with the pupils building up to 'performance pieces' that combine and showcase all of the skills they have developed.
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