Chamber Music Violin SKU: PR.144407530 Composed by Lauren Bernofsky. 12 p...(+)
Chamber Music Violin
SKU: PR.144407530
Composed by Lauren
Bernofsky. 12 pages.
Duration 10 minutes, 30
seconds. Merion Music
#144-40753. Published by
Merion Music
(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.
For Violin. Composed by Various. Music Sales America. Classical Period, Broadway...(+)
For Violin. Composed by
Various. Music Sales
America. Classical
Period, Broadway and
Folk. Violin solo book
(no accompaniment,
softcover). 96 pages.
Music Sales #AM33671.
Published by Music Sales
Violin Part. Composed by Dr. Shinichi Suzuki. This edition: International. ...(+)
Violin Part. Composed by
Dr.
Shinichi Suzuki. This
edition:
International.
Method/Instruction;
String -
Violin (Suzuki); Suzuki.
Suzuki Violin School. CD;
Book. 32 pages. Alfred
Music
#00-50114. Published by
Alfred
Music
(Violin). Arranged by Various. For Violin. Book; CD; Play-Along; String Series. ...(+)
(Violin). Arranged by
Various. For Violin.
Book; CD; Play-Along;
String Series. Top Hits
Instrumental Solos. Pop;
Rock. Grade 2; Grade 3.
28 pages. Published by
Alfred Music
International Edition. By Kuang-Hao Huang. This edition: Performance/Accompa...(+)
International Edition. By
Kuang-Hao Huang. This
edition:
Performance/Accompaniment
CD;
International.
Method/Instruction;
String -
Violin (Suzuki); Suzuki.
Suzuki Violin School. CD.
Alfred Music #00-50115.
Published by Alfred Music
Asian Edition. By piano accompaniment performed by Kuang-Hao Huang, violin ...(+)
Asian Edition. By piano
accompaniment performed
by
Kuang-Hao Huang, violin
performed by Augustin
Hadelich, and Dr.
Shinichi
Suzuki. This edition:
International. MakeMusic
Cloud;
Method/Instruction;
String - Violin (Suzuki);
Suzuki. Suzuki Violin
School.
Book and CD. 32 pages.
Alfred
Music #00-50637.
Published by
Alfred Music
Violin Part. By Shinichi Suzuki, violin performed by William Preucil, Jr., pia...(+)
Violin Part. By Shinichi
Suzuki, violin performed
by
William Preucil, Jr.,
piano
accompaniment performed
by
Linda Perry. This
edition:
International.
Method/Instruction;
SmartMusic; String -
Violin
(Suzuki); Suzuki. Suzuki
Violin School. Book; CD.
48
pages. Alfred Music #00-
46910. Published by
Alfred
Music
Composed by David Reiner. Squareback saddle stitch. Solos. Book and online ...(+)
Composed by David Reiner.
Squareback saddle stitch.
Solos. Book and online
audio. 136 pages. Mel Bay
Publications, Inc
#93818M.
Published by Mel Bay
Publications, Inc
For Violin and
Orchestra. Composed
by Behzad Ranjbaran.
Contemporary. Large
Score. With Standard
notation. Composed 1994.
144 pages. Duration 31
minutes. Theodore Presser
Company #416-41366L.
Published by Theodore
Presser Company
(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.
Violin SKU: AP.48723 International Edition. By Hilary Hahn and Nat...(+)
Violin
SKU:
AP.48723
International
Edition. By Hilary
Hahn and Natalie Zhu.
This edition:
Performance/Accompaniment
CD; International.
MakeMusic Cloud;
Method/Instruction;
String - Violin (Suzuki);
Suzuki. Suzuki Violin
School. CD. Alfred Music
#00-48723. Published by
Alfred Music (AP.48723).
ISBN 9781470644147.
UPC: 038081560359.
English.
Teach
violin with the popular
Suzuki Violin School! The
Suzuki Method of Talent
Education is based on
Shinichi Suzuki's view
that every child is born
with ability, and that
people are the product of
their environment.
According to Shinichi
Suzuki, a world-renowned
violinist and teacher,
the greatest joy an adult
can know comes from
developing a child's
potential so he/she can
express all that is
harmonious and best in
human beings. Students
are taught using the
mother-tongue approach.
Each series of books for
a particular instrument
in the Suzuki Method is
considered a Suzuki music
school, such as the
Suzuki Violin School.
Suzuki lessons are
generally given in a
private studio setting
with additional group
lessons. The student
listens to the recordings
and work with their
Suzuki violin teacher to
develop their potential
as a musician and as a
person.
This CD
of the Suzuki violin
method, Volume 1 features
recordings by Hilary Hahn
in collaboration with
pianist Natalie Zhu, as
well as piano
accompaniment only tracks
for play-along purposes.
Titles: Twinkle,
Twinkle, Little Star
Variations (Suzuki) *
Lightly Row (Folk Song) *
Song of the Wind (Folk
Song) * Go Tell Aunt
Rhody (Folk Song) * O
Come, Little Children
(Folk Song) * May Song
(Folk Song) * Long, Long
Ago (Bayly) * Allegro
(Suzuki) * Perpetual
Motion (Suzuki) *
Allegretto (Suzuki) *
Andantino (Suzuki) *
Etude (Suzuki) * Minuet
1, Minuett III from Suite
in G Minor for Klavier,
BWV 822 (Bach) * Minuet
2, Minuet, BWV Anh. II
116 from Notebook for
Anna Magdalena Bach
(Bach) * Minuet 3, Minuet
BWV Anh. II 114/Anh. III
183 (Bach) * The Happy
Farmer from Album for the
Young, Op. 68, No. 10
(Schumann) * Gavotte
(Gossec).
This
title is available in
MakeMusic Cloud.
About Suzuki
Method
The
Suzuki Method is based on
the principle that all
children possess ability
and that this ability can
be developed and enhanced
through a nurturing
environment. All children
learn to speak their own
language with relative
ease and if the same
natural learning process
is applied in teaching
other skills, these can
be acquired as
successfully. Suzuki
referred to the process
as the Mother Tongue
Method and to the whole
system of pedagogy as
Talent Education. The
important elements of the
Suzuki approach to
instrumental teaching
include the following:an
early start (aged 3-4 is
normal in most
countries); the
importance of listening
to music; learning to
play before learning to
read; -the involvement of
the parent; a nurturing
and positive learning
environment; a high
standard of teaching by
trained teachers; the
importance of producing a
good sound in a balanced
and natural way; core
repertoire, used by
Suzuki students across
the world; social
interaction with other
children. Suzuki students
from all over the world
can communicate through
the language of
music.
(Violin Part). By Dr. Shinichi Suzuki. For Violin. This edition: Revised. Method...(+)
(Violin Part). By Dr.
Shinichi Suzuki. For
Violin. This edition:
Revised.
Method/Instruction;
String - Violin (Suzuki).
The Suzuki Method Core
Materials. Book. 36 pages
Violin Part. Composed by
accomp. perf. Natalie
Zhu,
violin perf. Hilary Hahn,
and
Dr. Shinichi Suzuki.
Method/Instruction;
SmartMusic; String -
Violin
(Suzuki); Suzuki. Suzuki
Violin School. Book and
CD.
28 pages. Alfred Music
#00-
48728. Published by
Alfred
Music
Violin Part. Composed by Dr. Shinichi Suzuki. This edition: International. ...(+)
Violin Part. Composed by
Dr.
Shinichi Suzuki. This
edition:
International.
Method/Instruction;
String -
Violin (Suzuki); Suzuki.
Suzuki Violin School.
Book and
CD. 32 pages. Alfred
Music
#00-50106. Published by
Alfred
Music
Violin Part. Composed by Dr. Shinichi Suzuki. This edition: International. ...(+)
Violin Part. Composed by
Dr.
Shinichi Suzuki. This
edition:
International.
Method/Instruction;
String -
Violin (Suzuki); Suzuki.
Suzuki Violin School. CD;
Book. 36 pages. Alfred
Music
#00-50109. Published by
Alfred
Music
Asian Edition. By piano accompaniment performed by Kuang-Hao Huang, violin ...(+)
Asian Edition. By piano
accompaniment performed
by
Kuang-Hao Huang, violin
performed by Augustin
Hadelich, and Dr.
Shinichi
Suzuki. This edition:
International. MakeMusic
Cloud;
Method/Instruction;
String - Violin (Suzuki);
Suzuki. Suzuki Violin
School.
Book and CD. 32 pages.
Alfred
Music #00-50633.
Published by
Alfred Music
How To Play Fiddle with CD by Larry McCabe. For fiddle. This edition: Paperback....(+)
How To Play Fiddle with
CD by Larry McCabe. For
fiddle. This edition:
Paperback. Instructional.
Method. Book and CD. Text
Language: English. 48
pages. Published by
Santorella Publications
Violin SKU: AP.48725 Violin Part. Composed by Dr. Shinichi Suzuki....(+)
Violin
SKU:
AP.48725
Violin
Part. Composed by Dr.
Shinichi Suzuki. This
edition: International.
MakeMusic Cloud;
Method/Instruction;
String - Violin (Suzuki);
Suzuki. Suzuki Violin
School. Book and CD. 36
pages. Alfred Music
#00-48725. Published by
Alfred Music (AP.48725).
ISBN 9781470644154.
UPC: 038081560366.
English.
Teach
violin with the popular
Suzuki Violin School! The
Suzuki Method of Talent
Education is based on
Shinichi Suzuki's view
that every child is born
with ability, and that
people are the product of
their environment.
According to Shinichi
Suzuki, a world-renowned
violinist and teacher,
the greatest joy an adult
can know comes from
developing a child's
potential so he/she can
express all that is
harmonious and best in
human beings. Students
are taught using the
mother-tongue approach.
Each series of books for
a particular instrument
in the Suzuki Method is
considered a Suzuki music
school, such as the
Suzuki Violin School.
Suzuki lessons are
generally given in a
private studio setting
with additional group
lessons. The student
listens to the recordings
and work with their
Suzuki violin teacher to
develop their potential
as a musician and as a
person.
This
Suzuki Book and CD is
integral for Suzuki
violin lessons. This
revised edition of the
Suzuki Violin School,
Volume 2 features: *
Engravings in a 9 x 12
format * Revised
editing of pieces,
including bowings and
fingerings * 16
additional pages *
Additional exercises,
some from Shinichi
Suzuki, plus additional
insight and suggestions
for teachers *
Glossary of terms in
English, French, German,
and Spanish * Musical
notation guide *
Fingerboard position
* CD features new
recordings by Hilary Hahn
in collaboration with
pianist Natalie Zhu, as
well as piano
accompaniment only tracks
for play-along purposes.
The
Suzuki Method is based on
the principle that all
children possess ability
and that this ability can
be developed and enhanced
through a nurturing
environment. All children
learn to speak their own
language with relative
ease and if the same
natural learning process
is applied in teaching
other skills, these can
be acquired as
successfully. Suzuki
referred to the process
as the Mother Tongue
Method and to the whole
system of pedagogy as
Talent Education. The
important elements of the
Suzuki approach to
instrumental teaching
include the following:an
early start (aged 3-4 is
normal in most
countries); the
importance of listening
to music; learning to
play before learning to
read; -the involvement of
the parent; a nurturing
and positive learning
environment; a high
standard of teaching by
trained teachers; the
importance of producing a
good sound in a balanced
and natural way; core
repertoire, used by
Suzuki students across
the world; social
interaction with other
children. Suzuki students
from all over the world
can communicate through
the language of
music.
International Edition. By Kuang-Hao Huang. This edition: Performance/Accompa...(+)
International Edition. By
Kuang-Hao Huang. This
edition:
Performance/Accompaniment
CD;
International.
Method/Instruction;
String -
Violin (Suzuki); Suzuki.
Suzuki Violin School. CD.
Alfred Music #00-50110.
Published by Alfred Music
Asian Edition. By piano accompaniment performed by Kuang-Hao Huang, violin ...(+)
Asian Edition. By piano
accompaniment performed
by
Kuang-Hao Huang, violin
performed by Augustin
Hadelich, and Dr.
Shinichi
Suzuki. This edition:
International. MakeMusic
Cloud;
Method/Instruction;
String - Violin (Suzuki);
Suzuki. Suzuki Violin
School.
Book and CD. 36 pages.
Alfred
Music #00-50635.
Published by
Alfred Music
International Edition. By Kuang-Hao Huang. This edition: Performance/Accompa...(+)
International Edition. By
Kuang-Hao Huang. This
edition:
Performance/Accompaniment
CD;
International.
Method/Instruction;
String -
Violin (Suzuki); Suzuki.
Suzuki Violin School. CD.
Alfred Music #00-50107.
Published by Alfred Music
Violin SKU: AP.48726 International Edition. By Hilary Hahn and Nat...(+)
Violin
SKU:
AP.48726
International
Edition. By Hilary
Hahn and Natalie Zhu.
This edition:
Performance/Accompaniment
CD; International.
MakeMusic Cloud;
Method/Instruction;
String - Violin (Suzuki);
Suzuki. Suzuki Violin
School. CD. Alfred Music
#00-48726. Published by
Alfred Music (AP.48726).
ISBN 9781470644161.
UPC: 038081560373.
English.
Teach
violin with the popular
Suzuki Violin School! The
Suzuki Method of Talent
Education is based on
Shinichi Suzuki's view
that every child is born
with ability, and that
people are the product of
their environment.
According to Shinichi
Suzuki, a world-renowned
violinist and teacher,
the greatest joy an adult
can know comes from
developing a child's
potential so he/she can
express all that is
harmonious and best in
human beings. Students
are taught using the
mother-tongue approach.
Each series of books for
a particular instrument
in the Suzuki Method is
considered a Suzuki music
school, such as the
Suzuki Violin School.
Suzuki lessons are
generally given in a
private studio setting
with additional group
lessons. The student
listens to the recordings
and work with their
Suzuki violin teacher to
develop their potential
as a musician and as a
person.
This CD
of the Suzuki violin
method, Volume 2 features
recordings by Hilary Hahn
in collaboration with
pianist Natalie Zhu, as
well as piano
accompaniment only tracks
for play-along purposes.
The
Suzuki Method is based on
the principle that all
children possess ability
and that this ability can
be developed and enhanced
through a nurturing
environment. All children
learn to speak their own
language with relative
ease and if the same
natural learning process
is applied in teaching
other skills, these can
be acquired as
successfully. Suzuki
referred to the process
as the Mother Tongue
Method and to the whole
system of pedagogy as
Talent Education. The
important elements of the
Suzuki approach to
instrumental teaching
include the following:an
early start (aged 3-4 is
normal in most
countries); the
importance of listening
to music; learning to
play before learning to
read; -the involvement of
the parent; a nurturing
and positive learning
environment; a high
standard of teaching by
trained teachers; the
importance of producing a
good sound in a balanced
and natural way; core
repertoire, used by
Suzuki students across
the world; social
interaction with other
children. Suzuki students
from all over the world
can communicate through
the language of
music.
Violin SKU: AP.44719 Volume 8. International Edition. By Li...(+)
Violin
SKU:
AP.44719
Volume
8. International
Edition. By Linda
Perry and William
Preucil, Jr. This
edition:
Performance/Accompaniment
CD; International.
Method/Instruction;
String - Violin (Suzuki);
Suzuki. Suzuki Violin
School. CD. Alfred Music
#00-44719. Published by
Alfred Music (AP.44719).
ISBN 9781470627508.
UPC: 038081508375.
English.
Teach
violin with the popular
Suzuki Violin School. The
Suzuki Method of Talent
Education is based on
Shinichi Suzuki's view
that every child is born
with ability, and that
people are the product of
their environment.
According to Shinichi
Suzuki, a world-renowned
violinist and teacher,
the greatest joy an adult
can know comes from
developing a child's
potential so he/she can
express all that is
harmonious and best in
human beings. Students
are taught using the
mother-tongue approach.
Each series of books for
a particular instrument
in the Suzuki Method is
considered a Suzuki music
school, such as the
Suzuki Violin School.
Suzuki lessons are
generally given in a
private studio setting
with additional group
lessons. The student
listens to the recordings
and works with their
Suzuki violin teacher to
develop their potential
as a musician and as a
person.
This
performance/accompaniment
CD of the Suzuki violin
method, Volume 8, is
integral for Suzuki
violin lessons and
features recordings by
William Preucil Jr. and
piano accompaniments by
Linda Perry, as well as
piano accompaniments
recorded alone.
The
Suzuki Method is based on
the principle that all
children possess ability
and that this ability can
be developed and enhanced
through a nurturing
environment. All children
learn to speak their own
language with relative
ease and if the same
natural learning process
is applied in teaching
other skills, these can
be acquired as
successfully. Suzuki
referred to the process
as the Mother Tongue
Method and to the whole
system of pedagogy as
Talent Education. The
important elements of the
Suzuki approach to
instrumental teaching
include the following:an
early start (aged 3-4 is
normal in most
countries); the
importance of listening
to music; learning to
play before learning to
read; -the involvement of
the parent; a nurturing
and positive learning
environment; a high
standard of teaching by
trained teachers; the
importance of producing a
good sound in a balanced
and natural way; core
repertoire, used by
Suzuki students across
the world; social
interaction with other
children. Suzuki students
from all over the world
can communicate through
the language of
music.
Violin SKU: AP.48729 International Edition. By Hilary Hahn and Nat...(+)
Violin
SKU:
AP.48729
International
Edition. By Hilary
Hahn and Natalie Zhu.
This edition:
Performance/Accompaniment
CD; International.
MakeMusic Cloud;
Method/Instruction;
String - Violin (Suzuki);
Suzuki. Suzuki Violin
School. CD. Alfred Music
#00-48729. Published by
Alfred Music (AP.48729).
ISBN 9781470644185.
UPC: 038081560397.
English.
Teach
violin with the popular
Suzuki Violin School! The
Suzuki Method of Talent
Education is based on
Shinichi Suzuki's view
that every child is born
with ability, and that
people are the product of
their environment.
According to Shinichi
Suzuki, a world-renowned
violinist and teacher,
the greatest joy an adult
can know comes from
developing a child's
potential so he/she can
express all that is
harmonious and best in
human beings. Students
are taught using the
mother-tongue approach.
Each series of books for
a particular instrument
in the Suzuki Method is
considered a Suzuki music
school, such as the
Suzuki Violin School.
Suzuki lessons are
generally given in a
private studio setting
with additional group
lessons. The student
listens to the recordings
and work with their
Suzuki violin teacher to
develop their potential
as a musician and as a
person.
This CD
of the Suzuki violin
method, Volume 3 features
recordings by Hilary Hahn
in collaboration with
pianist Natalie Zhu, as
well as piano
accompaniment only tracks
for play-along purposes.
The
Suzuki Method is based on
the principle that all
children possess ability
and that this ability can
be developed and enhanced
through a nurturing
environment. All children
learn to speak their own
language with relative
ease and if the same
natural learning process
is applied in teaching
other skills, these can
be acquired as
successfully. Suzuki
referred to the process
as the Mother Tongue
Method and to the whole
system of pedagogy as
Talent Education. The
important elements of the
Suzuki approach to
instrumental teaching
include the following:an
early start (aged 3-4 is
normal in most
countries); the
importance of listening
to music; learning to
play before learning to
read; -the involvement of
the parent; a nurturing
and positive learning
environment; a high
standard of teaching by
trained teachers; the
importance of producing a
good sound in a balanced
and natural way; core
repertoire, used by
Suzuki students across
the world; social
interaction with other
children. Suzuki students
from all over the world
can communicate through
the language of
music.
Indian Concertino Violon [Partition + CD] - Facile De Haske Publications
Composed by George Perlman. De Haske Study and Play. Book with CD. Composed 20...(+)
Composed by George
Perlman.
De Haske Study and Play.
Book
with CD. Composed 2005.
24
pages. De Haske
Publications
#DHP 1053792-400.
Published
by De Haske Publications