A Must-Have Collection of Well-Known Songs!. If you've been taking viola lessons for a little while, you're probably eager to put your new skills to use and learn to play some familiar songs. The First 50 Songs You Should Play on the Viola includes a wide variety of favorite songs, from pop hits and movie themes to classical melodies and folk songs. / Pop and rock / Date parution : 2020-04-11/ Recueil / Alto

Par BAY WILLIAM. Une collection de 47 solos de niveau-un big-note, faciles sur Favoris folkloriques conçus pour construire une technique, plage et endurance tout en conservant l'intérêt des élèves. Plaisir à jouer et sert idéalement un supplément à n'importe quelle méthode. Tous les solos dans ce texte peuvent être joué ensemble dans l'ensemble avec le Fun d'avec violon, s'amuser avec violoncelle,' et ' Fun avec basse ' livres. / Niveau : Débutant / Folk - Solos / Recueil / Alto

For String Quartet Volume 1. 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 / Classique / Date parution : 2018-05-04/ Répertoire / Quatuor à Cordes

Chaconne. Par LERDAHL FRED. Chaconne (2016), for string quartet, was commissioned by the Daedalus Quartet to celebrate its 15th anniversary. The commission was supported by New Music USA, made possible by annual program support and/or endowment gifts from Pennsylvania Council on the Arts, Helen F. Whitaker Fund, and Aaron Copland Fund for Music. My music has a substantial history with Daedalus. I composed the Third String Quartet (2008) for them, and subsequently they performed my three string quartets on several occasions and recorded them brilliantly on Bridge Records (Bridge 9352: Music of Fred Lerdahl, vol. 3). Chaconne is in one movement lasting 19 minutes. It is effectively my fourth string quartet. Quartets 1-3 form a unified cycle lasting 70 minutes. When I finished the cycle, I thought I would never write again for the medium; yet I could not resist the opportunity of working again with Daedalus. The issue was how to compose another string quartet unrelated to the earlier cycle. The solution came from my solo cello piece There and Back Again (2010), which was based on a four-bar variation pattern from a 17th-century chaconne. Unlike the asymmetrical phrases and expanding variations of much of my music, the chaconne form requires symmetrical phrases and strictly periodic variations. I wished to work again with these symmetries but on a larger scale. Chaconne also differs in character and expression from the three-quartet cycle. The cycle is inward and intense, a kind of psychological excavation. Chaconne is, for the most part, transparent and playful. Many of its textures emerge from little canons, not completely unlike the rounds that children sing. Any composer who writes in chaconne form (one thinks above all of the last movement of Bach’s D minor violin partita and the finale of Brahms’s Fourth Symphony) is confronted with the challenge of how to create a larger form out of a constantly repeating pattern. My Chaconne grows from paired antecedent-consequent phrases, each variation lasting eight bars. The 50 variations group into three large rotations, forming three arcs of tension and relaxation, with subtle parallel connections across the rotations. Notwithstanding my attraction to chaconne form, I purposefully disguised its symmetries and periodicities in order to build an overall dramatic shape. Fred Lerdahl/ Répertoire / Quatuor à Cordes

A viola method for childrenThe leading German viola method now available in English.For more than three decades the Sassmannshaus Tradition has been the household name for excellence in beginner string methods in German-speaking countries. More than half a million students have successfully learned to play string instruments using this publication.The publication of the four violin books in 2008 in a fully adapted English version has been a big success.On the back of this success story Bärenreiter published the four books for cello in 2009 and now presents the four books for viola in a newly adapted version for today?s English speaking children.What makes this viola method so unique?- Large print notes and texts as well as many colourful illustrations are ideal for pre-school as well as school children.- Note reading is emphasised from the first lesson, encouraging ensemble playing from the very beginning.- Songs and scales in different positions are easily mastered within the first year of playing to ensure that children are not confined to first position playing.- Advanced viola techniques such as varied bow strokes and shifting are introduced in a basic form.The new English viola method for children 4 years and older?The early emphasis on ensemble playing and the many duos in this method are so much fun for the kids. They pick up important chamber music skills right from the beginning!(Peter Winograd and Laurie Carney, American String Quartet)

Par WIBERNY HEINER. Heiner Wiberny has written this joyful composition for his wife Ulla, who has a special affinity for African Music. The listener recognizes immediately the sound and flavor of 'African Highlife” and 'Latin Funk”. The composition consists of the following parts: chorale-intro, prelude, ABA-theme, transition, violin- and violasolos with 'break'-intros, prelude, AB-theme, Coda. The soloists may play either the written transcriptions or their own improvised solos, whereby the corresponding ensemble sections can be repeated. The phrase markings offer help in the correct stylistic interpretation of the piece, but they can also be changed according to the individual preferences. 'Klaus the fiddler” (Klaus der Geiger) gave the world premier of this work with the String Quartet of the Cologne Kunst-Salon Orchestra (Streichquartett des Kölner Kunstsalonorchesters). Klaus and the string quartet deserve my special thanks./ Répertoire / Quatuor à Cordes

An assortment of 20 fun pieces to pick and mix - from easy classics to great new pieces, this collection covers it all.All Sorts is designed to fit the technique and capabilities of the young player, with easy-to play Piano accompaniments for the teacher. / Alto Et Piano