Par GRIEG EDVARD. Of Grieg ’s three Violin sonatas, the great C-minor Sonata op. 45 is the best known today. And unjustly so, because the two early sonatas are captivating in their joy to play and their fresh, youthful tone. And what is more, they can also be played by advanced students due to their somewhat lesser technical demands. Written in 1867, the G-major Violin Sonata op. 13, palpably draws on Grieg ’s enthusiasm for Norwegian folk music; the lively outer movements in particular take as their model the traditional “jumping dance. ” Aside from the second print edition of 1887 revised by Grieg himself, the autograph manuscript in Stockholm wasalso consulted for this edition, thus offering an optimally ascertained musical text. / Heinemann, Ernst-Günter / Steen-Nökleberg, Einar / Répertoire / Violon et Piano

Take the lead is an integrated series for alto saxophone, clarinet, flute, piano, tenor saxophone, trumpet and violin. In each edition all of the songs are in the same key at concert pitch, allowing the different instruments to play together. Chord symbols are included at concert pitch for use by piano or guitar.'Take the Lead Latin' features idiomatic arrangements of Latin classics offering fun repertoire that young instrumentalists will love to play. Students have a choice of playing along with CD, Piano or Guitar and all pieces are fully integrated with arrangements for other instruments in the series, making this the ideal resource for school bands and small ensembles. Used as a solo book these pieces will encourage technical progression and confidence in playing. Ideal pieces for performance, or just for fun.Contents: Bailamos; Cherry Pink And Apple Blossom White; Guantanamera; La Bamba; La Isla Bonita; Livin' La Vida Loca; Oye Mi Canto (Hear My Voice); Soul Limbo

(replaces HM 278) The 'Devil's Trill' Sonata is the most famous of the violin sonatas of Giuseppe Tartini (1692-1770). In this scholarly-critical edition, it holds many a surprise in store. For the first time, all available contemporary sources have been consulted to produce an edition closely approximating Tartini's lost autograph. The solo part offers several ossia passages and alternative articulation marks, and the score has been given an eminently playable realization of the continuo part offering ample scope for improvisation. Also for the first time, this edition includes a separate part for violoncello or violone.A detailed Foreword sheds light on the genesis and subsequent reception of this sonata. There is also a Critical Report discussing and evaluating all sources used and providing explanations of a number of important passages, including the famous trill itself. / Violon Et Basse Continue

Description Written for the violinist who longs to leave the confines of the written page, Improvising Violin is a comprehensive guide to the art and science of successful string improvisation. With clear, step-by-step explanations and instructions, acclaimed teacher and performer Lieberman breaks down all of the components necessary to master improvisation in jazz, blues, swing, folk, rock and new age styles, offering dozens of helpful tips on theory and technique along the way.

Take the lead is an integrated series for alto saxophone, clarinet, flute, piano, tenor saxophone, trumpet and violin. In each edition all of the songs are in the same key at concert pitch, allowing the different instruments to play together. Chord symbols are included at concert pitch for use by piano or guitar.'Take the Lead Rock 'n' Roll' features idiomatic arrangements of rock 'n' roll classics offering fun repertoire that young instrumentalists will love to play. Students have a choice of playing along with CD, Piano or Guitar and all pieces are fully integrated with arrangements for other instruments in the series, making this the ideal resource for school bands and small ensembles. Used as a solo book these pieces will encourage technical progression and confidence in playing. Ideal pieces for performance, or just for fun.Contents: Be-Bop-A-Lula; Blue Suede Shoes; Blueberry Hill; C'mon Everybody; Great Balls Of Fire; Jailhouse Rock; Let's Twist Again; The Green Door

Take the lead is an integrated series for alto saxophone, clarinet, flute, piano, tenor saxophone, trumpet and violin. In each edition all of the songs are in the same key at concert pitch, allowing the different instruments to play together. Chord symbols are included at concert pitch for use by piano or guitar.'Take the Lead Swing' features idiomatic arrangements of swing classics offering fun repertoire that young instrumentalists will love to play. Students have a choice of playing along with CD, Piano or Guitar and all pieces are fully integrated with arrangements for other instruments in the series, making this the ideal resource for school bands and small ensembles. Used as a solo book these pieces will encourage technical progression and confidence in playing. Ideal pieces for performance, or just for fun.Contents: Chattanooga-Choo Choo Ch'Boogie; I've Got A Gal In Kalamazoo; In The Mood; I Don't Mean A Thing (If It Ain't Got That Swing); Jersey Bounce; Pennsylvania 6-5000; A String Of Pearls

Johannes Brahms:The Works for one Instrument and PianoJohannes Brahms' compositions for one instrument and piano have been standards in chamber music literature ever since their inception. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter's pioneering new scholarly-critical editions of Brahms' works for one instrument and piano are edited by a team of musicologists who are also performers. They offer today's musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.In addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.An integral part of Bärenreiter's Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo, rubato, rhythmic flexibility and articulation. Furthermore musicians will find valuable information concerning vibrato, portamento and bowing. Last but not least characteristics of Brahms' own piano playing as well as that of his circle and contemporaries are discussed.The violin and viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim's pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms' associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- A pioneering set of Urtext editions- String editions include an Urtext solo part and a second part with fingering as well as performance markings- Each edition offers a preface on performance practice aspects pertaining to the respective works- A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms' chamber music / Violon Et Piano

The Works for one Instrument and PianoJohannes Brahms' compositions for one instrument and piano have been standards in chamber music literature ever since their inception. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter's pioneering new scholarly-critical editions of Brahms' works for one instrument and piano are edited by a team of musicologists who are also performers. They offer today's musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.In addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.An integral part of Bärenreiter's Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo, rubato, rhythmic flexibility and articulation. Furthermore musicians will find valuable information concerning vibrato, portamento and bowing. Last but not least characteristics of Brahms' own piano playing as well as that of his circle and contemporaries are discussed.The violin and viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim's pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms' associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- A pioneering set of Urtext editions- String editions include an Urtext solo part and a second part with fingering as well as performance markings- Each edition offers a preface on performance practice aspects pertaining to the respective works- A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms' chamber music / Violon Et Piano

Huws Jones Edward (Editor). Par HUWS JONES EDWARD. The 'division' (variations on a repeating theme) enjoyed huge popularity in the 17th century. 'Paul's Steeple' is a collection of three of the finest, first published in 1684 by John Playford.With simple keyboard parts, these stylish pieces offer fresh musical and technical challenges for the intermediate violinist./ Recueil / Violon et Piano

10 Fugues For String Quartet Vol. 2. Par BACH JOHANN-SEBASTIAN. The idea for these arrangements came to me whilst listening to the Hagen Quartet's beautiful recording of the fugues that form part of Haydn's 'Sun Quartets', Op. 20. The spirit and influence of J.S. Bach, in particular his Well Tempered Clavier, Book II, courses through these three miraculous Haydn fugues. Like the viol consort, the string quartet suits this kind of composition (the fugue), with all four instruments sufficiently similar in character to each other to match the extraordinary unity and economy of the counterpoint. A string quartet playing Bach fugues is a good example of a harmonious relationship between form andcontent: just as there is a unifying principle behind the construction of the four string instruments, so there is (usually) a single theme or subject that unifies the construction of a four-part fugue. Thus the form enacts the content, telling you something about the text and message within. Apart from Haydn's and a handful of other composers' wondrous creations, there's little fugal writing for string quartet, at least in comparison with the abundance of other forms. This was another reason to make these arrangements. The quartet offers a melodic independence impossible to achieve on a single instrument. And I believe the technical and interpretative challenges posed by this repertoire and ndash - lightness of sound and rhythmic fluidity, for example - will be very valuable to quartets seeking the holy grail: a unified sound. Perhaps the simplest and most compelling reason for this work is that I just love this music more than I can say. These dazzling pieces, mostly fast, bright and in major keys, show Bach at his most playful, funny and mischievous, composing for an instrument rarely associated with these qualities. And so I'm very happy to offer string quartets these little know fugues, written by my favourite composer - a violinist and violist himself, but above all a master / Classique / Date parution : 2018-05-04/ Répertoire / Quatuor à Cordes

Par FINE ELAINE. The etudes in this book offer students a musically and intellectually satisfying means of practicing scales in all major and minor keys, even while remaining in first position. Although presented in the traditional order of the circle of fifths, this is where similarities to other violin scale-oriented books end.Of course, the etudes can be played using a mixture of positions by more advanced students. The studies also resonate very well on the viola if played at pitch. These are instructive etudes and can be played as appealing solo pieces. The stepwise motion in the etudes makes intervals between pitches easy to hear, even in keys with many flats or sharps.Both the book and etude titles refer to names of animals that have scales, so you will see natural and harmonic minor scales named after various moths, and major scales named for unusual reptiles, birds, and mammals throughout. The author hopes that in addition to experiencing more enjoyable scale practice, students will be inspired to learn more about these amazing animals or even write scale studies of their own. / Date parution : 2022-07-20/ Etude / Violon

Miller Rag - Boogie For Strings - Jazz Invention - Passacaglia In Jazz - Birthday Serenade. Par SCHMITZ MANFRED. Five quartets at an intermediate level that offer a welcome change to classical literature. / Pop & rock / Répertoire / Quatuor

The Best of Belwin Jazz: First Year Charts for Jazz Ensemble is a collection of twelve outstanding jazz ensemble arrangements for the young player. Each chart is written by experienced educational arrangers and composers in various styles and tempos: swing, Latin, ballad, waltz, holiday and pop.This collection is written for full instrumentation - five saxophones, three trumpets, three trombones, and four rhythm - but is designed to sound full and complete with reduced instrumentation of three saxes, two trumpets, one trombone and three rhythm. Optional parts are available for flute, clarinet, tuba, horn in F, and baritone T.C.The rhythm section parts offer suggestions for rhythms, piano voicings, and guitar chord frames. All solos are written out in improvised sections. The conductor's book includes full-length CD recordings of all titles.Titles include:Bill Bailey, Won't You Please Come Home, Birth of the Blues, Embraceable You, First Time Around, Gospel, Hot Chocolate, Jazzmin Tea, Jingle Bell Rock, Poco Loco, Splanky, Sunday Morning, TMI

The series Eighteenth Century Italian Music includes compositions of special historical and musical significance. Each edition is based on the original sources to offer performers works that satisfy clear critical and musicological criteria. This anthology includes ten sonatas carefully selected from among those written by ten of the most important eighteenthcentury Italian composers of violin music. Tomaso Albinoni: Sonata op. VI n. 7 - Arcangelo Corelli: Follia op. V [n. 12] - Francesco Geminiani, Sonata op. IV n. 11 H. 95 -Pietro Antonio Locatelli: Sonata op. VI n. 5 - Pietro Nardini: Sonata op. V n. 3 - Gaetano Pugnani: Sonata op. VII n. 1 - Giuseppe Tartini: Sonata op. I n. 10 B. g 10 ['Didone abbandonata?] - Francesco Maria Veracini: Sonata op. II n. 8 - Giovanni Battista Viotti: Sonata op. IV n. 4 W. V/4 - Antonio Vivaldi: Sonata RV 10 / Violon Et Piano

Par STILES SARAH. Something of a first in violin music, Dual Band features nine exciting violin duets that also offer nine exciting routes to creative improvisation. Through special IMPRO sections, players are encouraged to explore every aspect of the instrument as a means to open-minded music-making, carefully set within the formal framework of individual pieces. Titles include A Thought, Transquil, On the Up, Laid Back and Silence. Copious notes give start-up advice to players of whatever age or standard, from intermediate grade upwards, who are approaching improvisation for the first time./ Répertoire / 2 Violons