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Books > Music > Musical instruments & instrumental ensembles > String instruments > General
Titles: Concerto in C Major, Hob. VIIb 1 (Moderato, Adagio, Allegro
molto) (J. Haydn). This volume contains a few smaller pieces that
could be used as warm-up exercises, but the majority of the edition
is devoted to the entire Concerto in C Major, Hob. VIIb. 1, by
Franz Joseph Haydn. This work is perfect for students at the
intermediate/advanced level, and is a vital link to the unique
teaching philosophy that is Suzuki Volume 9 contains both the cello
score and the piano accompaniment.
This title is available in SmartMusic.
These easy-to-read, progressive exercises by Joanne Martin develop
a student's reading skills one stage at a time, with many
repetitions at each stage. I Can Read Music is designed as a first
note-reading book for students of string instruments who have
learned to play using an aural approach such as the Suzuki
MethodA(R), or for traditionally taught students who need extra
note reading practice. Its presentation of new ideas is clear
enough that it can be used daily at home by quite young children
and their parents, with the teacher checking progress every week or
two.
Tatjana Goldberg reveals the extent to which gender and socially
constructed identity influenced female violinists' 'separate but
unequal' status in a great male-dominated virtuoso lineage by
focussing on the few that stood out: the American Maud Powell
(1867-1920), Australian-born Alma Moodie (1898-1943), and the
British Marie Hall (1884-1956). Despite breaking down traditional
gender-based patriarchal social and cultural norms, becoming
celebrated soloists, and greatly contributing towards violin works
and the early recording industry (Powell and Hall), they received
little historical recognition. Goldberg provides a more complete
picture of their artistic achievements and the impact they had on
audiences.
When aspiring violinist Jessica Chiccehitto Hindman lands a job
with a professional ensemble in New York City, she imagines she has
achieved her lifelong dream. But the ensemble proves to be a sham.
When the group "performs", the microphones are never on. Instead,
the music blares from a CD. The mastermind behind this scheme is a
peculiar and mysterious figure known as The Composer, who is
gaslighting his audiences with music that sounds suspiciously like
the Titanic movie soundtrack. On tour with his chaotic ensemble,
Hindman spirals into crises of identity and disillusionment as she
"plays" for audiences genuinely moved by the performance, unable to
differentiate real from fake. Sounds Like Titanic is a surreal,
often hilarious coming-of-age story. Hindman writes with precise,
candid prose and sharp insight into ambition and gender, especially
when it comes to the difficulties young women face in a world that
views them as silly, shallow and stupid. As the story swells to a
crescendo, it gives voice to the anxieties and illusions of a
generation of women, and reveals the failed promises of a nation
that takes comfort in false realities.
Teach violin with the popular Suzuki Violin School. Revised edition
features:
New engravings in a 9" x 12" format
New editing of pieces, including bowings and fingerings
16 additional pages
Additional exercises, some from Dr. Suzuki, plus additional insight
and suggestions for teachers
Glossary of terms in English, French, German and Spanish
Musical notation guide
Fingerboard position.
Titles: Study Points * Tonalization * Vibrato Exercises * Gavotte
(P. Martini) * Minuet (J. S. Bach) * Gavotte in G Minor (J. S.
Bach) * Humoresque (A. Dvor?k) * Gavotte (J. Becker) * Gavotte in D
Major (J. S. Bach) * Bourr?e (J. S. Bach).
This title is available in SmartMusic.
This book provides the first scholarly history of the viola
d'amore, a popular bowed string instrument of the Baroque era, with
a unique tone produced by a set of metal sympathetic strings.
Composers like Bach made use of the viola d'amore for its
particular sound, but the instrument subsequently fell out of
fashion amid orchestral standardisation, only to see a revival as
interest in early music and historical performance grew. Drawing on
literary accounts, iconography, and surviving instruments, this
study examines the origins and development of this eye-catching
string instrument in the seventeenth and eighteenth centuries. It
explores the rich variation of designs displayed in extant viola
d'amore specimens, both as originally constructed and as a result
of conversion and repair. The viola d'amore is then set into the
wider context of Elizabethan England's development of instruments
with wire strings, and its legacy in the form of the baryton which
emerged in the early seventeenth century, followed by a look at the
viola d'amore's own nomenclatorial and organological influence. The
book closes with a discussion of the viola d'amore's revival, and
its use and manufacture today. Offering insights for organological
research and historical performance practice, this study enhances
our knowledge of both the viola d'amore and its wider family of
instruments.
*A RADIO 4 BOOK OF THE WEEK* 'Utterly enthralling - a
beautifully-written voyage of discovery that takes us deep into the
heart of music-making' Deborah Moggach From the moment she hears
Lev's violin for the first time, Helena Attlee is captivated. She
is told that it is an Italian instrument, named after its former
Russian owner. Eager to discover all she can about its ancestry and
the stories contained within its delicate wooden body, she sets out
for Cremona, birthplace of the Italian violin. This is the
beginning of a beguiling journey whose end she could never have
anticipated. Making its way from dusty workshops, through Alpine
forests, cool Venetian churches, glittering Florentine courts, and
far-flung Russian flea markets, Lev's Violin takes us from the
heart of Italian culture to its very furthest reaches. Its story of
luthiers and scientists, princes and orphans, musicians, composers,
travellers and raconteurs swells to a poignant meditation on the
power of objects, stories and music to shape individual lives and
to craft entire cultures.
A catalog of baritone uke chords in photo/diagram form grouped by
type. Major, minor, seventh, diminished, augmented, and ninth
chords are all shown in all keys in fretboard photos and diagrams.
Major seventh, minor seventh, sixth, minor sixth, seventh augmented
fifth, and seventh diminished fifth chords are shown in diagram
form only. Also includes helpful photos and information on the
correct way to hold the baritone ukulele and the pick, and on
tuning the baritone uke. This book may also be used with the tenor
ukulele in D-G-B-E tuning.
This is the first history of the harp in Scotland to be published.
It sets out to trace the development of the instrument from its
earliest appearance on the Pictish stones of the 8th century, to
the present day. Describing the different harps played in the
Highlands and the Lowlands of Scotland, the authors examine the
literary and physical evidence for their use within the Royal
Courts and "big houses" by professional harpers and aristocratic
amateurs. They vividly follow the decline of the wire-strung
clarsach from its links with the hereditary bards of the Highland
chieftains to its disappearance in the 18th century, and the
subsequent attempts at the revival of the small harp during the
19th and 20th centuries. The music played on the harp, and its
links with the great families of Scotland are described. The
authors present, in this book, material which has never before been
brought to light, from unpublished documents, family papers and
original manuscripts. They also make suggestions, based on their
research, about the development and dissemination of the early
Celtic harps and their music. This book, therefore, should be of
great interest, not only to harp players but to historians, to all
musicians in the fields of traditional and early music, and to any
reader who recognises the importance of these beautiful
instruments, and their music, throughout a thousand years of
Scottish culture.
(Reference). Veteran musician and educator Mick Goodrick presents
practical information for guitarists who want to improve their
playing technique and style and simply become better musicians.
Rather than a step-by-step method book, the information is
presented in a general essay format, discussing ways that the
various techniques covered may be applied by the advancing
guitarist to enhance his/her own style of playing, some of the
areas discussed include: basic fingerboard mechanics * modes,
scales and chords * contemporary harmony * harmonica and overtone
influences * being self-critical * improvising short pieces *
different playing situations.
Teaching Strings in Today's Classroom: A Guide for Group
Instruction assists music education students, in-service teachers,
and performers to realize their goals of becoming effective string
educators. It introduces readers to the school orchestra
environment, presents the foundational concepts needed to teach
strings, and provides opportunities for the reader to apply this
information. The author describes how becoming an effective string
teacher requires three things of equal importance: content
knowledge, performance skills, and opportunities to apply the
content knowledge and performance skills in a teaching situation.
In two parts, the text addresses the unique context that is
teaching strings, a practice with its own objectives and related
teaching strategies. Part I (Foundations of Teaching and Learning
String Instruments) first presents an overview of the string
teaching environment, encouraging the reader to consider how
context impacts teaching, followed by practical discussions of
instrument sizing and position, chapters on the development of each
hand, and instruction for best practices concerning tone
production, articulation, and bowing guidelines. Part II
(Understanding Fingerings) provides clear guidance for
understanding basic finger patterns, positions, and the creation of
logical fingerings. String fingerings are abstract and thus
difficult to negotiate without years of playing experience-these
chapters (and their corresponding interactive online tutorials)
distill the content knowledge required to understand string
fingerings in a way that non-string players can understand and use.
Teaching Strings in Today's Classroom contains pedagogical
information, performance activities, and an online virtual teaching
environment with twelve interactive tutorials, three for each of
the four string instruments. ACCOMPANYING VIDEOS CAN BE ACCESSED
VIA THE AUTHOR'S WEBSITE: www.teachingstrings.online
The revised edition for Suzuki Violin School, Volume 6 is now
available. Like the other revised violin books, the music has been
edited by the International Violin Committee. Titles: La Folia (A.
Corelli/S. Suzuki), Sonata No. 3 in F Major, HWV 370 (G. F.
Handel), Allegro (J.-H. Fiocco), Gavotte (J. Ph. Rameau), Sonata
No. 4 in D Major, HWV 371 (G. F. Handel) Other features include: *
New engravings in a more easily readable 9 x 12 format * New
editing of pieces, including bowings and fingerings * Available
together with the newly recorded CD for $19.99 * CD by William
Preucil, Concertmaster of the Cleveland Orchestra * Piano
accompaniments recorded by Linda Perry.
The viola da gamba was a central instrument in European music from
the late 15th century well into the late 18th. In this
comprehensive study, Bettina Hoffmann offers both an introduction
to the instrument -- its construction, technique and history -- for
the non-specialist, interweaving this information with a wealth of
original archival scholarship that experts will relish. The book
begins with a description of the instrument, and here Hoffmann
grapples with the complexity of various names applied to this and
related instruments. Following two chapters on the instrument's
construction and ancestry, the core of the book is given to a
historical and geographical survey of the instrument from its
origins into the classical period. The book closes with a look at
the revival of interest in the 19th and 20th centuries.
for solo violin and orchestra or piano This serene romance is one
of Vaughan Williams's most enduring popular works. Taking its title
from a poem by George Meredith, the music perfectly evokes the
lark's 'chirrup, whistle, slur, and shake'. This beautifully
presented new edition of the violin and piano score includes a
preface by Michael Kennedy.
(Banjo). This handy reference title fits right in your banjo case.
It covers all of the essential chords in all 12 keys for the tenor
banjo in C-G-D-A tuning, plus unusual chord shapes, all
demonstrated with clear readable diagrams. Suitable for beginners
to intermediate players.
This is the first history of the harp in Scotland to be published.
It sets out to trace the development of the instrument from its
earliest appearance on the Pictish stones of the 8th century, to
the present day. Describing the different harps played in the
Highlands and the Lowlands of Scotland, the authors examine the
literary and physical evidence for their use within the Royal
Courts and "big houses" by professional harpers and aristocratic
amateurs. They vividly follow the decline of the wire-strung
clarsach from its links with the hereditary bards of the Highland
chieftains to its disappearance in the 18th century, and the
subsequent attempts at the revival of the small harp during the
19th and 20th centuries. The music played on the harp, and its
links with the great families of Scotland are described. The
authors present, in this book, material which has never before been
brought to light, from unpublished documents, family papers and
original manuscripts. They also make suggestions, based on their
research, about the development and dissemination of the early
Celtic harps and their music. This book, therefore, should be of
great interest, not only to harp players but to historians, to all
musicians in the fields of traditional and early music, and to any
reader who recognises the importance of these beautiful
instruments, and their music, throughout a thousand years of
Scottish culture.
From 1840-57, Heinrich Ernst was one of the most famous and
significant European musicians, and performed on stage, often many
times, with Berlioz, Mendelssohn, Chopin, Liszt, Wagner, Alkan,
Clara Schumann, and Joachim. It is a sign of his importance that,
in 1863, Brahms gave two public performances in Vienna of his own
and Ernst's music to raise money for the now mortally ill
violinist. Berlioz described Ernst as 'one of the artists whom I
love the most, and with whose talent I am most sympathetique',
while Joachim was in no doubt that Ernst was 'the greatest
violinist I ever heard; he towered above the others'. Many felt
that he surpassed the expressive and technical achievements of
Paganini, but Ernst, unlike his great predecessor, was also a
tireless champion of public chamber music, and did more than any
other early nineteenth-century violinist to make Beethoven's late
quartets widely known and appreciated. Ernst was not only a great
virtuoso but also an accomplished composer. He wrote two of the
most popular pieces of the nineteenth century - the Elegy and the
Carnival of Venice - and he is best known today for two solo pieces
which represent the ne plus ultra of technical difficulty: the
transcription of Schubert's Erlking, and the sixth of his
Polyphonic Studies, the variations on The Last Rose of Summer.
Perhaps he made his greatest contribution to music through his
influence on Liszt's outstanding masterpiece, the B minor piano
sonata. In 1849, Liszt conducted Ernst playing his own Concerto
Pathetique, a substantial single-movement work, in altered sonata
form, using thematic transformation. Soon after this performance,
Liszt wrote his Grosses Konzertsolo (1849-50), his first extended
single-movement work, using altered sonata form, and thematic
transformation. This is now universally acknowledged to be the
immediate forerunner of the sonata, which refines and develops all
these techniques. Liszt made his debt clear when, three years after
completi
Contents are: Study Points for Volume 2 * Chorus from Judas
Maccabaeus (G.F. Handel) * Musette, Gavotte II or the Musette from
English Suite III in G Minor for Klavier, BWV 808 (J.S. Bach) *
Hunters' Chorus from 3rd Act of the opera Der Freischutz (C.M. von
Weber) * Long, Long Ago (T.H. Bayly) * Waltz, Op. 39, No. 15 for
Piano (J. Brahms) * BourrA(c)e from Sonata in F Major for Oboe, HHA
IV/18, No. 8 (G.F. Handel) * The Two Grenadiers, Die beiden
Grenadier, Op. 49, No. 1 for Voice and Piano (R. Schumann) * Theme
from Witches' Dance (N. Paganini) * Gavotte from Mignon (A. Thomas)
* Gavotte (J.B. Lully) * Minuet in G, Wo0 10, No. 2 (L. van
Beethoven) * Minuet from Sei Quintetti per Archi No. 11, Op. 11,
No. 5 in E Major (L. Boccherini).
This research guide is an annotated bibliography of sources dealing
with the string quartet. This second edition is organized as in the
original publication (chapters for general references, histories,
individual composers, aspects of performance, facsimiles and
critical editions, and miscellaneous topics) and has been updated
to cover research since publication of the first edition. Listings
in the previous volume have been updated to reflect the burgeoning
interest in this genre (social aspects, newly issued critical
editions, doctoral dissertations). It also offers commentary on
online links, databases, and references.
No single American could personify what Henry Luce called the
American Century but Isaac Stern came closer than most. Despite
modest origins as the child of Jewish immigrants in San Francisco,
by the early 1940s talent and practice had brought him a Carnegie
Hall debut, critical acclaim and the attention of the legendary Sol
Hurok. As America came of age, so too did Stern. He would go on to
make music on five continents, records in formats from 78 rpm to
digital, friends as different as Frank Sinatra and Isaiah Berlin,
and policy from Carnegie Hall to Washington, Jerusalem and
Shanghai. He also loaned instruments to young players, brokered
gigs for Soviet emigres and replied in person to inquiring fans.
Wide-ranging yet intimate, The Lives of Isaac Stern is a portrait
of an artist and musical statesman who left a profound musical and
cultural legacy.
The Step by Step series is a collection of exercise books/CDs for
violin based on the Mother-Tongue approach. From the very
beginning, it will provide a solid foundation in instrumental
technique for Suzuki and traditional approaches in private lessons
or group settings. The focus is on teaching correct,
child-appropriate practice habits that range from listening,
singing, and dancing to playing music. The ideas presented,
including information for parent and practice tips should stimulate
daily practice and also make it more effective. Includes new piano
arrangements by David Andruss. This volume is the Complete Version
based on Suzuki Violin School, Volume 1, and includes the Violin
Exercise Book in English with the CD. Pages: 74
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