The Art Of Violin Playing Vol.1

La méthode d'initiation aux instruments à cordes d'Egon Saßmannshaus publiée par Bärenreiter est réputée depuis longtemps dans les pays germanophones et anglophones et permet une initiation précoce solide tout en étant ludique.Un cahier supplémentaire en français reprenant les deux premiers volumes de la méthode ' Early Start on the Violin ' est désormais disponible afin de rendre l'accès aux francophones plus facile. Ce cahier peut être commandé séparément ou avec un des deux premiers volumes de la méthode pour violon, sans supplément de prix. Il peut également être téléchargé ci-dessous.Le premier volume de 'Early Start on the Violin' présente l'apprentissage la lecture des notes, leurs valeurs et les altérations de manière adaptée aux jeunes enfants. Différents coups d'archet ainsi que l'usage de la main gauche sont introduits en s'appuyant sur des chansons enfantines connues. L'utilisation de plusieurs structures de la main gauche est un des aspects les plus importants du second volume. Cette technique pose de manière convaincante les bases nécessaires à une virtuosité précoce. / Violon

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

This series contains all of the pieces from Volumes 1 and 2 of the Suzuki Violin School arranged for three violins. Suzuki Violin Volume 1 serves as the violin 1 part. The pieces can be played with or without piano accompaniment, which expands their performance possibilities. Another advantage is that students at different playing and reading levels can make music together. The score contains a chart that lists the level of difficulty of each piece and each part so that the teacher can easily assign parts. A CD is available containing all of the trio arrangements. All of the parts were purposely kept as simple as possible. A table listing the reading skills required for each piece is found in the back of the violin 2 and violin 3 books.

20 Easy to Intermediate Pieces from four Centuries. Par NEUMANN EVA-MARIA (Arr.). Making music in a quartet uniquely nurtures young string players’ musical development, ensemble playing, listening to each other, and intonation. So, what could be more obvious than introducing the scoring of this genre, often referred to as chamber music’s supreme discipline, as early as possible. Indeed, composers have all along advised the classical string quartet’s outstanding compositions, but they are hardly easy to play for beginners. Here, with the present collection, is where Eva-Maria Neumann comes in. The two volumes include A total of 20 easy to intermediate arrangements of pieces from Bach to Bartók, together with specifically composed ones in string-quartet friendly keys - Reading scores and individual parts - additionally, individual part for violin III instead of viola - Tips on warming up, intonation, bowing, fingering, tempos, dynamics, and playing musically - Specific instructions for the individual pieces - Lists of supplementary original literature The pieces are also effective as scored for chorus./ Recueil / Quatuor à Cordes

Par WHEELER CAROL ANN. As both a championship fiddler and superb teacher, Carol Ann Wheeler brings all her talents to bear in this fiddling book written especially for young children. Students raised in the Suzuki tradition will immediately take to the method, concepts, and techniques used in this book and play-along DVD. Common folk songs familiar to the student are used to demonstrate and teach the basic skill of oldtime fiddle playing. All melodies are first presented in their simplest form followed by more complex variations with introductions, ornaments, and endings. Students of all levels will find challenging material in this book. Younger students can proceed at their own pace, returning to the more difficult variations at a future time. On the DVD, each tune is recorded in split-track format, allowing the student to play with solo violin, guitar accompaniment or both. / Niveau : Débutant / All Styles - Methods / Méthode / Violon

A Guide For The Serious Player. Par BERTHOUD PHILIP JOHN. 'Ce livre est un suivi de ' irlandais Fiddle jouant: un Guide pour le joueur sérieux' (MB99402BCD). L'étudiant sera acquérir une connaissance approfondie de jouer du violon et améliorer leur jouer ensemble et la compréhension musicale. Les sujets comprennent : les modes - improvisation - doigté et de s'incliner techniques - de jouer avec d'autres musiciens-- conversion du classique au traditionnel - improvisation en chansons - le joueur deviendra plus conscient de la mécanique de jouer du violon, mettre en position de: - améliorer leur son - développer leur propre style - jouer plus efficacement et en toute confiance avec d'autres, comme pour le premier livre de la série, il contient des conseils de 25 ans de l'auteur de jouer de la musique. Le format du livre est similaire à ce premier livre. Section 1 traite de divers aspects de jouer du violon. L'article 2 contient une sélection de mélodies surtout bien connus, transcrite pleinement avec les variations, embellissements et ornements. Ces airs sont inclus sur l'enregistrement qui l'accompagne. / Niveau : Intermédiaire / Celtic/Irish - Methods / Méthode / Violon

The long awaited Sassmannshaus method ?Early Start on the Double Bass? is now here. At last students of the largest instrument in the string family can make use of this tried and tested method for beginners, developed by Egon Sassmannshaus for the other string instruments and applied here to the double bass by Holger Sassmannshaus and J. Peter Close. This method will meet the needs of the growing number of young bass students.?Early Start on the Double Bass? encompasses everything that one would expect from a Sassmannshaus method: an easy start, progression at a suitable rate, many cross-references to the other string instruments, songs and scales in different positions from early on, as well as many duets. Lively and colourful illustrations by Charlotte Panowsky complete the edition.For more than three decades ?The Sassmannshaus Tradition? has been the household name for excellence in beginner string methods in German-speaking countries. The English editions for violin, viola and violoncello, which were introduced to the international market in 2008, have proven to be very successful, particularly in the United States.Kids to the Bass!While children learning other string instruments can start as early as the age of four, the appropriate age to begin the double bass is approximately eight (possibly even six); this allows for a faster progression than on the other string instruments, and the method consists of only three volumes. The first volume will be published separately in an English and a German edition; the following two volumes will have German and English text in each book. Original compositions by Boguslaw Furtok enrich the volumes.- Based on the tried-and-tested Sassmannshaus methods for violin, viola and cello- Volume 1: Separate editions in German and English- Volumes 2 and 3: Bilingual, German/English editions- Moderate increase in difficulty- Position playing, duets- Includes new original compositions to B. Furtok- Volume 3 with piano accompaniments to 7 piecesThe authorsHolger Sassmannshaus is a double bass player with the Niederrheinische Sinfoniker in Mönchengladbach/Krefeld. He also teaches the double bass and performs with several other ensembles.J. Peter Close is a teacher for violoncello and double bass in Munich.