| 45 Sonatinas for Piano Piano seul - Intermédiaire Wilhelm Hansen
Piano - Grade 5 SKU: HL.14029181 By Ludwig Schytte. Edited by Ludvig Schy...(+)
Piano - Grade 5 SKU:
HL.14029181 By Ludwig
Schytte. Edited by Ludvig
Schytte. Music Sales
America. Classical. Book
[Softcover]. Composed
2002. 136 pages. Edition
Wilhelm Hansen #WH13718.
Published by Edition
Wilhelm Hansen
(HL.14029181). ISBN
9788774551843.
8.75x11.75x0.75 inches.
German. From Bach,
Beethoven and Clementi,
to Handel, Mozart,
Schubert and Tchaikovsky.
This is a wonderful
collection of 45
Sonatinas for piano solo
which has been edited by
Ludvig Schytte. $31.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Lirica Espanola Vol.5 For Piano Piano seul Curci (+)
-
Habanera
-
Ronda Serrana
-
Sonatina Playera
| | |
| Sonatina Orchestre à Cordes [Conducteur] - Facile Carl Fischer
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS13F Composed by Muzio...(+)
Orchestra String
Orchestra - Grade 2-2.5
SKU: CF.YAS13F
Composed by Muzio
Clementi. Arranged by
Douglas Townsend. Carl
Fischer Young String
Orchestra Series.
Classical. Full score.
With Standard notation.
12 pages. Carl Fischer
Music #YAS13F. Published
by Carl Fischer Music
(CF.YAS13F). ISBN
9780825848339. UPC:
798408048334. 8.5 X 11
inches. Key: G
major. IApart from
some of his Sonatinas,
Opus 36, Clementi's life
and music are hardly
known to the piano
teachers and students of
today. For example, in
addition to the above
mentioned Sonatinas,
Clementi wrote sixty
sonatas for the piano,
many of them unjustly
neglected, although his
friend Beethoven regarded
some of them very highly.
Clementi also wrote
symphonies (some of which
he arranged as piano
sonatas), a substantial
number of waltzes and
other dances for the
piano as well as sonatas
and sonatinas for piano
four-hands.In addition to
composing, Clementi was a
much sought after piano
teacher, and included
among his students John
Field (Father of the
'Nocturne'), and
Meyerbeer.In his later
years, Clementi became a
very successful music
publisher, publishing
among other works the
first English edition of
Beethoven's Violin
Concerto, in the great
composer's own
arrangement for the
piano, as well as some of
his string quartets.
Clementi was also one of
the first English piano
manufacturers to make
pianos with a metal frame
and string them with
wire.The Sonatina in C,
Opus 36, No. 1 was one of
six such works Clementi
wrote in 1797. He must
have been partial to
these little pieces (for
which he also provided
the fingerings), since
they were reissued
(without the fingering)
by the composer shortly
after 1801. About 1820,
he issued ''the sixth
edition, with
considerable improvements
by the author;· with
fingerings added and
several minor changes,
among which were that
many of them were written
an octave higher.IIIt has
often been said,
generally by those
unhampered by the facts,
that composers of the
past (and, dare we add,
the present?), usually
handled their financial
affairs with their public
and publishers with a
poor sense of business
acumen or common sense.
As a result they
frequently found
themselves in financial
straits.Contrary to
popular opinion, this was
the exception rather than
the rule. With the
exception of Mozart and
perhaps a few other
composers, the majority
of composers then, as
now, were quite
successful in their
dealings with the public
and their publishers, as
the following examples
will show.It was not
unusual for 18th- and
19th-century composers to
arrange some of their
more popular compositions
for different
combinations of
instruments in order to
increase their
availability to a larger
music-playing public.
Telemann, in the
introduction to his
seventy-two cantatas for
solo voice and one melody
instrument (flute, oboe
or violin, with the usual
continua) Der Harmonische
Gottesdienst, tor
example, suggests that if
a singer is not available
to perform a cantata the
voice part could be
played by another
instrument. And in the
introduction to his Six
Concertos and Six Suites
for flute, violin and
continua, he named four
different instrumental
combinations that could
perform these pieces, and
actually wrote out the
notes for the different
possibilities. Bach
arranged his violin
concertos for keyboard,
and Beethoven not only
arranged his Piano Sonata
in E Major, Opus 14, No.
1 for string quartet, he
also transposed it to the
key of F. Brahm's
well-known Quintet in F
Minor for piano and
strings was his own
arrangement of his
earlier sonata for two
pianos, also in F
Minor.IIIWe come now to
Clementi. It is well
known that some of his
sixty piano sonatas were
his own arrangements of
some of his lost
symphonies, and that some
of his rondos for piano
four-hands were
originally the last
movements of his solo
sonatas or piano trios.In
order to make the first
movement of his
delightful Sonatina in C,
Opus 36, No. 1 accessible
to young string players,
I have followed the
example established by
the composer himself by
arranging and transposing
one of his piano
compositions from one
medium (the piano) to
another. (string
instruments). In order to
simplify the work for
young string players, in
the process of adapting
it to the new medium it
was necessary to
transpose it from the
original key of C to G,
thereby doing away with
some of the difficulties
they would have
encountered in the
original key. The first
violin and cello parts
are similar to the right-
and left-hand parts of
the original piano
version. The few changes
I have made in these
parts have been for the
convenience of the string
players, but in no way do
they change the nature of
the music.Since the
original implied a
harmonic framework in
many places, I have added
a second violin and viola
part in such a way that
they not only have
interesting music to
play, but also fill in
some of the implied
harmony without in any
way detracting from the
composition's musical
value. Occasionally, it
has been necessary to
raise or lower a few
passages an octave or to
modify others slightly to
make them more accessible
for young players.It is
hoped that the musical
value of the composition
has not been too
compromised, and that
students and teachers
will come to enjoy this
little piece in its new
setting as much as
pianists have in the
original one. This
arrangement may also be
performed by a solo
string quartet. When
performed by a string
orchestra, the double
bass part may be
omitted.- Douglas
TownsendString editing by
Amy Rosen.
About Carl
Fischer Young String
Orchestra
Series Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels $8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sonate A Yorke Edition
Very little is known about the two sonatas which appear here in their origina...(+)
Very little is known
about the two sonatas
which appear here in
their original keys. They
were placed in the
library of the Music
School in Oxford at the
end of the seventeenth
century in a form
convenient for playing
(i.e.unbound). The
library was catalogued by
Hake between 1850 and
1855 and the sonatas were
eventually bound in 1855
with other instrumental
and vocal manuscripts of
the same period, some of
which are dated
1698.
Thesonatas
are both inscribed on the
title page Sonata
à Violone Solo.
Col Basso per l'Organo, o
Cembalo. A third sonata
bears the words Sonata
à Violino e
Violoncino … di
Giovannino del
Violone.Giovannino(=Littl
e, or Young John) must
have been a performer,
and although the third
sonata has been copied by
a different hand, it is
conceivable that
Giovannino is a
connecting link between
the three. He cannot,
however, beassumed to be
their
author.
The
Violone was a
six-stringed instrument
with frets, and there is
evidence to suggest that
the Contrabasso of the
same period was similar
but probably a little
larger; the
Violoncino(=Little
Violone, or Violoncello)
must have been smaller.
The word 'Violone' was
also used as a collective
term embracing all
members of the Viol
family, which means that
the sonatas might well
have been written for a
tenor or abass Viol, and
not necessarily a Violone
as such. Indeed, when
they are played on a
Violone, or Double Bass
the continuo bass line
must be played at a lower
pitch than the solo
instrument, to prevent
inversion of the
intendedharmony. (The use
of a Violone/Double Bass
continuo or 16' organ
tone would overcome this
problem.)
The
editor has added no
ornaments or
embellishments to the
solo part as it appears
in the original
manuscript. It isopen to
debate whether a Violone
player, owing to the very
nature of his instrument,
would have used any but
the simplest melodic
decorations.
Nevertheless, the
performer should acquaint
himself thoroughly with
those seventeenthcentury
traditions that
$8.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Edison Denisov - Sonate Pour Saxophone Alto Et Piano Saxophone Leduc, Alphonse
Saxophone SKU: HL.48182907 Composed by Edison Denisov. Leduc. Classical. ...(+)
Saxophone SKU:
HL.48182907 Composed
by Edison Denisov. Leduc.
Classical. Softcover. 52
pages. Alphonse Leduc
#AL24654. Published by
Alphonse Leduc
(HL.48182907). UPC:
888680904944.
9.0x12.0x0.144
inches. “Sona
ta for Alto Saxophone and
Piano by Edison Demisov
was composed in1970 and
covers three movements.
The first part, Allegro,
shows serialism; the
second, Lento, focuses on
new techniques; with the
last one, Allegro
Moderato, reminiscent of
Jazz music. This
strong>Sonata for Alto
Saxophone and Piano,
dedicated to the French
Saxophonist Jean-Marie
Londeix, was strongly
influenced by Western
European music and
requires a certain level
of ability (intermediate
to advanced players),
especially for the second
movement. Edison Demisov
(1929-1996) was a
Russian, Siberian-born,
composer specialising in
alternative /
non-conformist Soviet
music. Strongly
influenced by the West,
he was often criticised
by his peers. He gained
international recognition
for the composition 'Le
soleil des Incas' (1964)
and wrote numerous
concerti, sonatas and
other pieces.â€. $42.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult SKU:
HL.49046544 For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544). ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches. I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti). $34.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Mantel Intonation For Strings Schott
(TB) SKU: HL.49032755 Spielraume fur Streicher. Composed by Mantel...(+)
(TB) SKU:
HL.49032755
Spielraume fur
Streicher. Composed
by Mantel. This edition:
Paperback/Soft Cover.
Book. Edition Schott.
Gerhard Mantel vermittelt
in diesem Buch
Hintergrundwissen zum
Phanomen der Intonation
und nennt praktische
Ubemethoden, die uber
eine simple, spontane
Bestimmung von zu hoch -
zu tief weit hinausgehen.
Die teilweise
unkonventionellen
Losungsansatze ermog. 180
pages. Schott Music #ED
8729. Published by Schott
Music (HL.49032755).
ISBN 9783795787295.
5.75x8.25x0.384 inches.
German. 'How can I
play cleaner - even
cleaner?' This question
bothers every critical
string instrument player
during his/her daily
practice. According to a
survey, more than 70 per
cent of the actual
practising time and
attention of a string
instrument player is
spent on intonation.In
this book, Gerhard Mantel
provides basic
information on the
phenomenon of intonation,
presenting practical
methods which go far
beyond a simple,
spontaneous determination
of 'too high - too low'.
His approaches to a
solution, some of them
quite unconventional,
enable every sting
instrument player to find
his/her individual way to
the best possible
intonation and eliminate
seemingly insoluble
problems in the ensemble
playing with other string
instrument, wind
instrument or piano
players. The author
attaches particular
importance to dealing
with intonation playfully
and use it specifically
for the artistic
expression. $24.95 - Voir plus => Acheter | | |
| Exercises for the Cello in Various Combinations of Double-Stops Carl Fischer
Chamber Music Cello SKU: CF.BF126 Composed by Roland Vamos. Edited by Hor...(+)
Chamber Music Cello
SKU: CF.BF126
Composed by Roland Vamos.
Edited by Horacio
Contreras. SWS. Book.
With Standard notation.
64 pages. Carl Fischer
Music #BF126. Published
by Carl Fischer Music
(CF.BF126). ISBN
9781491150009. UPC:
680160907502. 9x12
inches. Written by
world renown pedagogue,
Roland Vamos, this
collection of double-stop
exercises fill a void in
the literature of
technical exercises for
cellists. These etudes
feature a systematic
series of fixed
double-stops that enables
the player to practice
and master every possible
combination of finger
patterns across two
strings without shifting.
Mr. Vamos says of the
book, The most important
accomplishment is the
development of a strong
left handà These
exercises, when practiced
slowly and carefully,
will help to develop a
keen sense of pitch and
intonation. Adapted for
cello by Horacio
Contreras, teacher,
chamber musician, and
recitalist. When I
first became familiar
with Roland Vamos’
Exercises, I was
impressed with itsclarity
and effectiveness. The
book focuses on a few
important fundamentals of
string playing,and it is
accessible to students of
every age. Moreover, its
tonal organization in C
major makesit simple and
easy to understand. I
recognized the potential
this book could have for
cellists,and after
spending several months
working on an adaptation,
I witnessed its results
in buildingand
maintaining important
fundamentals of
technique.Mr.
Vamos’ Exercises
is comprised of simple
patterns of double-stops
in sevenpositions. There
are two basic groups of
variations: seven
double-stop variations in
differentcombined rhythms
that develop finger
coordination and
independence of the left
hand, andnine bowing
variations that use
détaché at the
frog, middle and tip of
the bow to work onstring
crossings, coordination,
and balance of the bow.
The whole work provides
training thatimproves
intonation, sound, and
ease of playing in all
positions and all parts
of the bow.In order to
adapt Mr. Vamos’
book for cello, I needed
to make some
modifications tothe
original. To address the
different needs of the
neck and the thumb
positions, I chose to
writetwo separate books.
I kept the original
ascending stepwise motion
for subsequent
variationsin Book I by
following a diatonic
scale on the top line of
the patterns. However, I
modifiedthe tonal
framework to adjust to
the more limited range of
the cello. Therefore,
unlike in
Mr.Vamos’ book,
variations in Book I do
not ascend through the
positions in a uniform
pattern.I also switched
the order of patterns to
create a gradual increase
in difficulty. In Book
II, Iadded options that
work on the fourth finger
and an extended left hand
frame, and at the end,
Iincluded five sets of
variations with different
bowing alternatives.Mr.
Vamos provides a number
of specific instructions
regarding left hand
techniquein his
exercises. For his
original version, two
fingers must remain down
for almost the entireset
of variations, providing
a solid reference for the
frame of the hand. In
variations H and I,he
instructs students to
lift these fingers when
they are not being used.
In the case of
thumbposition on cello,
lifting the thumb could
make the hand unstable;
therefore, I suggested
thatthe thumb remains
down while the other
fingers are lifted
alternately in H and I. I
have foundthis exercise
quite useful to work on
thumb independence and
relaxing the thumb while
usingother fingers.Mr.
Vamos gives precise
instructions for the
bowing exercises as well.
Following hisdirections,
the exercises should be
performed with a relaxed
hand and flexible
fingers. Thenotes should
be consistently connected
even when crossing
strings. The bowing
patterns shouldbe
performed at the frog,
the middle and the tip of
the bow in every
position. $19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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