Contents are: Long, Long Ago (T.H. Bayly) * May Time, Komm Lieber Mai (Longing for Spring) from Sehnsucht nach dem FrA1/4hlinge, K. 96 (W.A. Mozart) * Minuet No. 1, Minuett III from Suite in G Minor for Klavier, BWV 822 (J.S. Bach) * Minuet No. 3, Minuet in C, BWV Anh. II (J.S. Bach) * Chorus from Judas Maccabaeus (G.F. Handel) * Hunters' Chorus from 3rd Act of the opera Der Freischutz (C.M. von Weber) * Musette in G, Gavotte II or the Musette from English Suite III in G Minor for Klavier, BWV 808 (J.S. Bach) * March in G (J.S. Bach) * Theme from Witches' Dance (N. Paganini) * Tonalization: The Moon over the Ruined Castle (R. Taki) * The Two Grenadiers, Die Beiden Grenadier, Op. 49, No. 1 for Voice and Piano (R. Schumann) * Gavotte (F.J. Gossec) * BourrA(c)e from Sonata in F Major for Oboe and Basso Continuo, HHA IV/18, No. 8-EZ (G.F. Handel).

Originally published in 1924, this book is the result of many years' quiet thought and observation in connection with the authors own teaching. It focuses mainly on the essential skills of violin playing, rather than on the peculiarities that all players adopt to suit their own requirements. The book contains broad common-sense views, preferring not to concentrate on any particular "school" or "method." It is also written with some humour and in a very colloquial style. Complete with detailed diagrams and photographic plates. Contents Include: Part 1 - Explanation - Argument - Tone - Advice to Beginners - The Left Side of the Body - The Right Side of the Body, (The Bow Arm) - Left Hand Technique - Finger Action - The Third Position - The Second Position - Higher Positions - Sliding - Fingering - Bowing - Sautille - Ricochet or Elastic Staccato - How to Practise Double Stopping - Extensions - Right Hand Pizzicato - Left hand Pizzicato - Harmonics - The Shake - Tremolo or Vibrato - Sight Reading and Memorising - Controlled Movement and Concentration - How to Become a Musician - Musical Development - Conclusion, "Dont's"

Originally published in 1920, this neat little book is the result of the authors desire to tabulate in a concise form, his own ideas on violin playing, with regard to both the technical and the interpretive aspects of the subject. The authors views are placed before the reader in as clear a manner as possible. This little work should prove valuable to a wide circle of violinists - both amateur and professional. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. Hesperides Press are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork. Contents Include: Chamber Music, Choice and Care of Violin Strings and Other Accessories - The Lesson - The Left Hand, Intonation - The Left Hand, Position of the Wrist, Fingers, Thumb, Palm - The Left Hand, Scales, Various Methods of Fingering, Hands with Poor Stretches, Trills - The Bow - Spiccato, Martele, Staccato - Arpeggio, Ricochet, Legato - Expression and Interpretation: Variety of Tone - Vibrato - Phrasing - Rubato, Rhythm and Time Generally

This book combines a performance guide for violinists, an analytical study, an exploration of Bach's style, and an investigation of musical form and continuity. J.S. Bach's three sonatas and three partitas for solo violin have been mainstays of the violin concert repertoire since the mid-nineteenth century; their long performance history, evidenced in recordings as well as in editions, offers an opportunity to study the ways in which notions of Baroque style have evolved. Central to the book is the question what type of analysis is best applied to Bach's music: wherever possible, Lester draws his analytical tools from eighteenth-century techniques, developed for this repertoire.

Originally published in 1930, this little book is not an exposition of the art of violin-playing, nor does it claim to teach a system of technical study. The authors aim was to help students and less experienced teachers through some of the more frequent problems from which they will, almost inevitably, be faced. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. Hesperides Press are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork. Contents Include: Posture and the Holding of the Instrument - 'Bow Measurement' - On Bowing Generally - Intonation - Various Difficulties - Playing of Chords and Chord Passages - Shifting and the Portamento - The Playing of Octaves - Double-Stopping - Harmonics - 'Artificial' Harmonics - Vibrato - Tenths and Fingered Octaves - Memorizing, Playing From Melody - Conclusion, Inspiration, A Repertoire Always Ready

Domenico Dragonetti (1763-1846) was the most famous double-bass player in history. He dominated the English musical world for just over half a century. This critical biography explores his extraordinary career as musician, composer, entrepreneur, and pedagogue.

Meeting the existing need for a resource on Spanish violin and viola music, this guide provides the teacher and performer with information on approximately 300 works for violin and viola in solo, with piano, and with orchestra. The annotated entries provide practical information with regard to level of difficulty, musical language, and duration and number of movements. An overview of Spanish music in this century, including a brief examination of violin and viola activity in Spain, places the work in historical context and introduces major names in Spanish musical history. Short biographical sketches on composers complement the historical information presented about Spanish viola and violin music of the 20th century. Each entry contains a list of the composer's compositions and is annotated with information pertaining to the publisher, musical style, and date of the premiere. Musical scholars with interest in Spanish music and viola and violin music will appreciate this informative volume, complete with appendices and index.

Violin Star is a three-book series offering beginner violinists a refreshing and inspirational choice of pieces to help build confidence and musical skills. The repertoire is imaginatively tailored to develop specific techniques through an exciting range of musical styles. This Student's book contains the solo violin parts, along with colourful illustrations, activities and a playalong CD. The Accompaniment book, available separately, includes piano and violin accompaniments for every piece. Key features of the series include: an approachable progression from beginner level to Grade 2; playalong CDs with each Student's book, which contain specially created instrumental arrangements to convey style and mood; and original compositions and arrangements by Edward Huws Jones.

The appeal of the banjo has been shown to be timeless and universal---adaptable to almost any form of popular music. It was one of just a few instruments that could be faithfully reproduced in the early days of sound recording, and its recording history dates back to 1889. Heier documents that history on cylinders and 78-rpm disks in the pre-LP era ending in the mid-1950s. The book offers a comprehensive compilation of all such recordings on which the banjo plays a solo role or dominant part. Organized by performer or performing group, the recordings are listed chronologically with location, date, matrix number, and take-digit as available, as well as manufacturer and catalog number. Biographical information on the banjoist is provided wherever possible, and all performers anywhere in the world known to have recorded any type of music on banjo are included even if no data on the actual disks is available. Introduced in a foreword by British discographer Brian Rust, the discography also includes a narrative account of the banjo in phonograph recording history by Lowell Schreyer and an essay on the history of the banjo itself by Robert Lloyd Webb. In addition to the discography proper, the editors have provided a preface, A Quick Look at the Banjo Family, identifying the instruments; an extensive bibliography of sources; an index of all tune titles; and reproductions of 92 recording labels. These elements all combine to make this volume a true discopedia of the banjo.

A practical guide for guitarists searching for new repertoire that includes women composers, this unique work lists musical works by instrumentation followed by biographies of each composer. The format first leads users to available pieces in possible ensembles and then to the biographical section, which introduces them to the composers, many of whom have been completely unknown in the guitar world. Appendixes list addresses for composers and publishers. Indexes cross reference composers with their works. Instrumentation entries include titles, composer names, publisher names, specific instruments, and length and description of the piece for indication of style. In the biographical entries, sources are given to guide the reader to more complete information about the composer. These features, combined with valuable appendixes, indexes, and cross-referencing capabilities from section to section, make this work easy to use.

Facsimile reprint of "The Seventh edition, Corrected and Elarged. Printed by W. Godbid, for J. Playford at his Shop in the Temple near the Church. 1674."

Classical Guitarists fills a void in the special world of the classical guitar. Although this realm is inhabited by world-class musicians, much of what they think and feel has never been captured in print. The interviewees, including Julian Bream, John Williams, Sharon Isbin, Eliot Fisk, David Starobin and David Tanenbaum are a select group at the peak of their prowess who speak openly and thoughtfully about their opportunities, accomplishments, and lessons learned. Each has made important contributions from establishing significant academic programs to broadening the audience for the classical guitar. The author shares his reviews of their most important recordings and New York City concerts during the 1990s, as well as discographies of their recordings. There are also interviews with Harold Shaw, the most prominent artist manager in the history of the classical guitar and several of today's most important composers for the guitar, including Pulitzer Prize winners George Crumb and Aaron Jay Kernis. An introductory chapter provides an historical perspective on classical guitar and a postscript explains how to create a basic repertoire of recordings.