Lionel Tertis was internationally recognised to have been perhaps the greatest viola player of all time. That the viola is today an important solo instrument and orchestral unit is entirely his achievement, and his design of a large but easily manageable viola - the Tertis Model - has laid the foundations for a standard-sized instrument. The author describes his prodigious career with vigour and a remarkable recall of detail. The musicians and composers, many of them his close friends of whom he writes, include some of the most important in twentieth century music. A comprehensive bibliography of works written for solo viola is included as is a complete discography of the author's solo recordings.

(Music Sales America). Written by Tony Trischka, one of the leading authorities in banjo education, The Complete 5-String Bluegrass Banjo Player sets the standard for bluegrass banjo instruction from beginning to advanced. From holding the banjo and reading tablature to melodic banjo style and standard bluegrass repertoire, this book is the definitive guide to learning authentic bluegrass technique. The audio CD includes demonstration tracks of the music examples, techniques, and songs. The Complete 5-String Bluegrass Banjo Player features include: all bluegrass techniques; scale patterns; chords illustrated with photographs and diagrams; new and clear engravings; composition and arranging; improvisation techniques; the most influential banjo players' styles; and more

16 pieces from the swashbuckling blockbusters, including: The Black Pearl * Davy Jones * He's a Pirate * I've Got My Eye on You * Jack Sparrow * To the Pirate's Cave! * Wheel of Fortune * and more.

In the early seventeenth century, enthusiasm for the violin swept across Europe-this was an instrument capable of bewitching virtuosity, with the power to express emotions in a way only before achieved with the human voice. With this new guide to the Baroque violin, and its close cousin, the Baroque viola, distinguished performer and pedagogue Walter Reiter puts this power into the hands of today's players. Through fifty lessons based on the Reiter's own highly-renowned course at The Royal Conservatory of the Hague, The Baroque Violin & Viola, Volume II provides a comprehensive exploration of the period's rich and varied repertoire. The lessons in Volume II cover the early seventeenth-century Italian sonata, music of the French Baroque, the Galant style, and the sonatas of composers like Schmelzer, Biber, and Bach. Practical exercises are integrated into each lesson, and accompanied by rich video demonstrations on the book's companion website. Brought to life by Reiter's deep insight into key repertoire based on a lifetime of playing and teaching, The Baroque Violin & Viola, Volume II: A Fifty-Lesson Course will enhance performances of professional and amateur musicians alike.

This study is an analysis of the first three of Beethoven's late quartets, Opp. 127, 132, and 130, commissioned by Prince Nikolai Galitzin. The five late quartets, usually considered as a group, were written in the same period as the Missa solemnis and the Ninth Symphony, and are among the composer's most profound musical statements. Daniel K. L. Chua believes that of the five quartets the three that he studies trace a process of disintegration, whereas the last two, Opp. 131 and 135, reintegrate the language that Beethoven himself had destabilized. Through analyses that unearth peculiar features characteristic of the surface and of the deeper structures of the music, Chua interprets the "Galitzin" quartets as radical critiques of both music and society, a view first proposed by Theodore Adorno. From this perspective, the quartets necessarily undo the act of analysis as well, forcing the analytical traditions associated with Schenker and Schoenberg to break up into an eclectic mixture of techniques. Analysis itself thus becomes problematic and has to move in a dialectical and paradoxical fashion in order to trace Beethoven's logic of disintegration. The result is a new way of reading these works that not only reflects the preoccupations of the German Romantics of that time and the poststructuralists of today, but also opens a discussion of cultural, political, and philosophical issues. Originally published in 1995. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

The Russian school of violin playing produced many of the twentieth century's leading violinists - from the famed disciples of Leopold Auer such as Jascha Heifetz, Nathan Milstein, and Mischa Elman to masters of the Soviet years such as David Oistrakh and Leonid Kogan. Though descendants of this school of playing are found today in every major orchestra and university, little is known about the pedagogical traditions of the Russian, and later Soviet, violin school. Following the revolution of 1917, the center of Russian violin playing and teaching shifted from St. Petersburg to Moscow, where violinists such as Lev Tseitlin, Konstantin Mostras, and Abraham Yampolsky established an influential pedagogical tradition. Founded on principles of scientific inquiry and physiology, this tradition became known as the Soviet Violin School, a component of the larger Russian Violin School. Yuri Yankelevich (1909 - 1973), a student and assistant of Abraham Yampolsky, was greatly influenced by the teachers of the Soviet School and in turn he became one of the most important pedagogues of his generation. Yankelevich taught at the Moscow Conservatory from 1936 to 1973 and produced a remarkable array of superb violinists, including forty prizewinners in international competitions. Extremely interested in the methodology of violin playing and teaching, Yankelevich contributed significant texts to the pedagogical literature. Despite its importance, Yankelevich's scholarly work has been little known outside of Russia. This book includes two original texts by Yankelevich: his essay on positioning the hands and arms and his extensive research into every detail of shifting positions. Additional essays and commentaries by those close to him examine further details of his pedagogy, including tone production, intonation, vibrato, fingerings and bowings, and his general approach to methodology and selecting repertoire. An invaluable resource for any professional violinist, Yankelevich's work reveals an extremely sophisticated approach to understanding the interconnectivity of all components in playing the violin and is complete with detailed practical suggestions and broad historical context.

(Bass Recorded Versions). Note-for-note transcriptions with tab of Jaco's brilliant bass work on 16 songs: Amerika * Birdland * Blackbird * The Chicken * Chromatic Fantasy * Come On, Come Over * Continuum * Donna Lee * Invitation * Liberty City * Opus Pocus * Portrait of Tracy * River People * Soul Intro * Teen Town * Word of Mouth.

(Guitar Method). Book 2 continues the instruction started in Book 1 and covers: Am, Dm, A, E, F and B7 chords; power chords; fingerstyle guitar; syncopations, dotted rhythms, and triplets; Carter style solos; bass runs; pentatonic scales; improvising; tablature; 92 great songs, riffs and examples; notes in first and second position; and more The CD includes 57 full-band tracks for demonstration or play-along.

Written by a renowned musicologist, this survey explores the early history and construction of stringed instruments. Topics include the work of the Italian master violin-makers and the bows of Francois Tourte.

"'Tis God gives skill, but not without men's hands: He could not make Antonio Stradivari's violins without Antonio."
-George Eliot
Antonio Stradivari (1644--1737) was a perfectionist whose single-minded pursuit of excellence changed the world of music. In the course of his long career in the northern Italian city of Cremona, he created more than a thousand stringed instruments; approximately six hundred survive. In this fascinating book, Toby Faber traces the rich, multilayered stories of six of these peerless instruments-five violins and a cello-and the one towering artist who brought them into being.
Blending history, biography, meticulous detective work, and an abiding passion for music, Faber embarks on an absorbing journey as he follows some of the most prized instruments of all time. Mysteries and unanswered questions proliferate from the outset-starting with the enigma of Antonio Stradivari himself. What made this apparently unsophisticated craftsman so special? Why were his techniques not maintained by his successors? How is it that even two and a half centuries after his death, no one has succeeded in matching the purity, depth, and delicacy of a Stradivarius?
In Faber's illuminating narrative, each of the six fabled instruments becomes a character in its own right-a living entity cherished by artists, bought and sold by princes and plutocrats, coveted, collected, hidden, lost, copied, and occasionally played by a musician whose skill matches its maker's.
Here is the fabulous Viotti, named for the virtuoso who enchanted all Paris in the 1780s, only to fall foul of the French Revolution. Paganini supposedly made a pact with the devil to transform the art ofthe violin-and by the end of his life he owned eleven Strads. Then there's the Davidov cello, fashioned in 1712 and lovingly handed down through a succession of celebrated artists until, in the 1980s, it passed into the capable hands of Yo-Yo Ma.
From the salons of Vienna to the concert halls of New York, from the breakthroughs of Beethoven's last quartets to the first phonographic recordings, Faber unfolds a narrative magnificent in its range and brilliant in its detail. "A great violin is alive," said Yehudi Menuhin of his own Stradivarius. In the pages of this book, Faber invites us to share the life, the passion, the intrigue, and the incomparable beauty of the world's most marvelous stringed instruments.

"From the Hardcover edition.

(Ukulele). 20 great Disney classics arranged for all uke players, including: Beauty and the Beast * Bibbidi-Bobbidi-Boo (The Magic Song) * Breaking Free * Can You Feel the Love Tonight * Chim Chim Cher-ee * Heigh-Ho * It's a Small World * Some Day My Prince Will Come * Supercalifragilisticexpialidocious * We're All in This Together * When You Wish upon a Star * and more.

(Easy Piano Vocal Selections). Over 50 Disney delights, including: The Ballad of Davy Crockett * The Bare Necessities * Bibbidi-Bobbidi-Boo * Candle on the Water * Chim Chim Cher-ee * A Dream Is a Wish Your Heart Makes * Heigh-Ho (The Dwarfs' Marching Song) * It's a Small World * Kiss the Girl * The Siamese Cat Song * Someday My Prince Will Come * Supercalifragilisticexpialidocious * Under the Sea * When You Wish Upon a Star * Winnie the Pooh * Zip-A-Dee-Doo-Dah * and more.

Play the Viol is the first comprehensive guide to appear in modern times and covers the treble, tenor, and bass viol. Its detailed technical instruction is based on original sources and on Alison Crum's extensive experience of performing and teaching. The book assumes no knowledge beyond an ability to read music, but aims to help players to reach an advanced standard, even without regular access to a teacher.

`In all areas of human endeavour, time and again an individual appears who, due to a multitude of personal attributes, elevates his or her field to a hitherto unknown height. Such an individual was William Primrose. His name and the viola are synonymous.' Janos Starker This unique book is the result of a series of conversations with Primrose in the last years before his death in 1982. David Dalton describes how he came to the great artist armed with every question he could think of pertaining to performing on and teaching the viola. The lively dialogue contains a wealth of illuminating advice for the student on the technicalities of playing the viola. It is, however, far more than a technical guide. The two violists discuss the unique position of their instrument - `an instrument without tradition' is Primrose's bald description. They cover the topic of repertoire with fascinating insights into the performance of the great concertos by Bartok and Walton, with which Primrose was so closely associated. Still more invaluable advice emerges from the discussion of Primrose's own experience, on the art of performance, on demeanour on stage, on competitions, on recordings, and on preparing for a career. The book is a tribute to one of the greatest artists of this century.