Double Stops for Violin (EN)

A violin method for children age four and older-The second volume already presents classical Violin duets. The child’s knowledge and technique is expanded by dotted rhythms sixteenths notes and first double stops. And here is the most revolutionary aspect of the method: different finger patterns can be connected and combined to create any major and minor scale without the use of open strings. This creates the ability to practice scales in any position often within the first year of playing!With this skill songs learned in first position are easily transposed to other keys and higher position. Coupled with beginning shifting exercises this sets a foundation for an early virtuoso technique notavailable in any other method.The authors:The original German Violin method was first published in 1976. The author Egon Sassmannshaus is one of the most experienced and renowned Violin pedagogues in Germany.For the new English edition his son Kurt Sassmannshaus worked as co-author and adapted his father’s successful method for English-speaking children.The combined knowledge and experience of father and son make the four volumes of the Sassmannshaus Tradition the most thoroughly researched and thought-through beginner Violin method in the world.The second volume already presents classical Violin duets. The child’s knowledge and technique is expanded by dotted rhythms sixteenths notes and first double stops. And here is the most revolutionary aspect of the method: different finger patterns can be connected and combined to create any major and minor scale without the use of open strings. This creates the ability to practice scales in any position often within the first year of playing!With this skill songs learned in first position are easily transposed to other keys and higher position. Coupled with beginning shifting exercises this sets a foundation for an early virtuoso technique not available in any other method.The authors:The original German Violin method was first published in 1976. The author Egon Sassmannshaus is one of the most experienced and renowned violin pedagogues in Germany.For the new English edition his son Kurt Sassmannshaus worked as co-author and

Arranger : David Heyes The Transcriptions Series series Recital Music publish a wealth of original works for double bass alongside a popular, accessible and growing range of transcriptions for bassists of all ages and abilities. Most transcriptions published by Recital Music are by David Heyes, who has a successful and proven track record when arranging for double bass. Czardas for violin and piano is Monti's only famous work, believed to have been composed in the early years of the 20th-century, and has been composed for almost every instrument, every instrumental combination, and performed by every gipsy orchestra or ensemble. The slow rhapsodic introduction quickly leads into the main theme which is full of rhythmic fire and gipsy passion. A slow section, primarily in double stops, is then repeated in high harmonics before a brief return of the fast viruosic music which leads into a reprise of the Czardas material, but now in the tonic major. A fast and energetic finale brings the piece to a rousing and successful conclusion. This exciting new arrangement by David Heyes offers musical and technical challenges in equal measure and the edition includes accompaniments for both solo and orchestral tunings. An arrangement for double bass quartet is in preparation. Italian composer, conductor and violinist, Vittorio Monti was born in Naples on 6 January 1868 and died on 20 June 1922. He studied at the Conservatorio di San Pietro a Majella with F. Pinto (violin) and Paolo Serrao (composition) and moved to Paris in 1886 where he studied violin with Camillo Sivori, Paganini's most famous pupil. For many years Monti was a member of the Lamoureux Orchestra in Paris, also conducting the orchestra on occasions, and composed ballets, operettas and instrumental music during his years in the French capital.

Par BRYDERN BENEDIKT. This volume contains a delightful collection of 16 well-known Ragtimes by Scott Joplin (Country Club, Easy Winners, Elite Syncopations, Pineapple Rag), James Scott and original compositions by violinist/composer Benedikt Brydern - arranged for 2 violins (intermediate-level) in progressive order. It teaches syncopated rhythms, accompaniment and double-stops in an entertaining way. All arrangements are suitable for student recitals or could be used as effective encores. / Niveau : Débutant à Intermédiaire / Ragtime - Duets / Recueil / 2 Violons

Warm-ups and Essential Exercises for Violin. Par BERGMANN BENJAMIN. Fit in 15 Minutes is intended for occasional players who are very short of time and want to maintain and improve their violin technique in a concentrated and effective quarter of an hour. They can also be used at the beginning of a longer practice or rehearsal session. As the technical precondition of beginners and professional violinists vary, each exercise is offered in three levels of progressive complexity: · Level 1: Exercises for beginners · Level 2: Exercises for advanced players · Level 3: Exercises for tertiary students and professionals The division in three levels provides didactic transparency. It is not meant to create boundaries, but serves as a stimulation to identify correlations, to polish basics or to conquer new technical challenges. / Études et exercices / Etude / Violon

New edition of a tutor that generations of violinists have grown up with.Fundamental work by a leading Violin educator.Three volumes in increasing order of difficulty: easy moderate difficult.Methodological notes by the editor (Cz/Eng/Ger)The School of Bowing Technique Op.2 is the second important Violin tutor by Otakar Šev k (1852 1934) and deals with the elementary technical demands of the right hand. Divided into three sections the tutor contains more than 4 000 systematically arranged bowing exercises in increasing order of difficulty.This new edition of the School of Bowing Techniquecombines the original six volumes in groups of two. It is largely based on the first edition published in the early 20th century and on other sources from Šev k’s estate. The editor Jaroslav Foltýn is a professor of violin at the Prague Conservatory as was Šev k himself.Already published:Otakar Šev kSchool of Violin Technique Op.1Book 1 1st Position BA 9552Book 2 2nd 7th Position BA 9553Book 3 Changing Positions BA 9554Book 4 Exercises in Double Stops and Harmonics BA 9555

for the Violin-Roland Vamos Exercises For The Violin In Various Combinations Of Double-Stops features a systematic series of fixed double-stops that enables the aspiring violinist to practice and master every possible combination of finger patterns across two strings without shifting.The exercise book helps with the development of a strong left hand set up so that the fingers rise and drop consistently landing on the same part of the finger.

New methods to practice and improve shifting positionsWith brief descriptions in three languages (Cz/Ger/Eng)Advanced level of difficultyThese exercises are intended for violinists who have a basic knowledge of shifting positions and how to play double stops. At first fixed positions and shifting are practised separately from one another in one and two part combinations. In the second volume these two techniques are combined and consolidated.The aim of these studies or études is to improve left-hand techniques enabling the student to execute shifting positions with greater confidence. Gola?s Violin Technique should accompany the violinist throughout his career.The authorZden kGola (*1929) studied at the Brunn Janá ek Academy and was subsequently Professor of Violin at the Music Conservatory in Ostrava. In 1966 he emigrated to Sweden where he made a name for himself as orchestral musician concert master and soloist as well as pedagogue. He is the author of numerous educational works.Also availableVolume 2: BA 9551

Par WHEELER CAROL ANN. Comme un violoneux championnat et à l'enseignant de superbe, Carol Ann Wheeler partage sa routine d'échauffement remarquablement efficace dans ce livre, leçon handy 5 1/2 ' x 8 ' QWIKGUIDE. Créé spécialement pour le violoniste occasionnel dont lifestyle exige le maximum d'avantages d'un minimum d'effort, le livre contient des exercices bien pensés, traitant de la dextérité, vibrato, relâchement et renforcer le poignet, plus techniques, tels que double-stops, revirements, chromatismes et plus encore. Le CD d'accompagnement plus améliore cette leçon rendant ce paquet beaucoup ! / Niveau : Débutant à Intermédiaire / All Styles - Technic / Etude / Violon

The endlessly energetic duo of Oriol Saña and Lluís Gómez have created a charming and informative account of the musical phenomenon we call bluegrass. Originally a quirky supercharged folk music played by about ten people, bluegrass music, with its Mozart-like formality and ferocious rhythmic zest, now describes an extended international family of related string band styles. Master fiddler Oriol and bluegrass banjoist Lluís, both acclaimed educators, present both the wide view and crucial details about this music in a clear, personable manner. Bravo! Includes access to online audio. El dúo formado por Oriol Saña y Lluís Gómez, siempre tan activos, se ha puesto manos a la obra una vez más para producir esta brillante obra, amena a la vez que informativa, sobre el fenómeno musical que llamamos bluegrass. En sus inicios, era un estilo folk muy rebuscado y minoritario, pero esa formalidad digna de Mozart y ese ritmo frenético tan característico han conseguido que actualmente abarque una gran familia de estilos musicales en distintos países. El maestro violinista Oriol y el banjista de bluegrass Lluís, ambos reconocidos profesores, presentan una visión amplia y a la vez detallada sobre esta música, aportando tanto claridad como su punto de vista personal. ¡Bravo! Incluye acceso a audio en línea. / Niveau : Facile / Recueil / Violon

2me Polonaise brillante pour violon avec acompagnement de piano op.21Henryk Wieniawski wrote only two polonaises. The first one, op. 4 in D minor, is one of his youthful works; the other, op. 21 in A major, is one of the last works he composed. Moreover, H. Wieniawski is the co-author of another polonaise, op. 8, for violin and piano, which he wrote with his brother Józef Wieniawski, a pianist. The latter polonaise, like the Polonaise in D minor op. 4, is also a youthful composition (1852). The polonaise as a genre, therefore, does not occupy much space in Wieniawskis heritage. Nonetheless, both polonaises, in D minor and A major, constitute an essential part of his artistic inheritance. Likewise, both polonaises had been composed in two versions: for violin and orchestra, and for violin and piano. The Polonaise in A major was completed in 1870. It is not known precisely which of the versions, the one with the piano, or the one with the orchestra first came into being. It was the version with orchestra that the composer performed for the first time on 17 March 1870, in the Grand Theatre in St. Petersburg. But merely two months later he performed the Polonaise in Warsaw, accompanied by his brother Józef at the piano. It is quite possible that Wieniawski had already performed this version of the Polonaise. It is certain, nonetheless, that both versions either appeared simultaneously, or one was composed shortly after the other. From its first public performance until the end of his concert career, Wieniawski often included this Polonaise in his concert repertoire, playing one version or another, the choice depending on the needs and circumstances. Just to mention one occasion, he played the orchestral version during a concert tour of Sweden in 1870, when he dedicated and presented a manuscript of this piece to King Charles XV of Sweden. The dedication, however, was changed in print, and both versions were eventually dedicated to François van Hal. Both versions were published simultaneously, by Schott Publishers in Mainz, with the same plate number, though the orchestral version appeared only in parts, which was a common practice in those days. The piece was most probably not published earlier than 18751. The Polonaise was praised by the critics. The reviews reported that it was a magnificent piece2, and this opinion was shared by later critical reviews, both Russian and West European. The Polonaise remained popular after the composer had died, which is evident from the number of later editions of the piece (more than ten) issued by different publishers, mostly German, and prepared by different editors. In Poland, the Polonaise was published twice after the Second World War. All the editions introduced some more or less significant changes into the text, mostly concerning performance indications, but in a sense blurring the composers intentions. All those changes were pertinent to the violin and piano version, and it was mostly in this form that the piece appeared in concert and teaching repertoires. The performances with an orchestra were much more seldom which was, among other factors, due to limited availability of the orchestral version, as it had never been published again after the first edition, until now. The Polonaise in A major was composed approximately at the same time as the Violin Concerto No. 2 in D minor3. This convergence in time had influenced a certain similarity with regard to both composition and technical means, and also to the themes. In particular, the similarity becomes quite obvious in the second theme of the Allegro in the Concerto, and in the theme of the Polonaise. The Polonaise in A major is also in a certain way similar to the first Polonaise (in D minor), the motifs of the themes in both polonaises are alike. However, both pieces differ in style. The Polonaise in D minor shows the composers fascination with technical writing. Wieniawski makes the most of double-stops, chords, and all other sophisticated virtuoso techniques. The Polonaise in A major, written 18 years later, is much more mature. Although it is a virtuosic piece as well, the techniques used are somewhat more limited and subordinated to the expression. The virtuoso character of this piece is more fragile, much closer to the brillant style. At the same time, the Polonaise is typical of Wieniawskis violin playing technique. Here the composer uses the means regarded by his contemporaries to be typical of him, e.g., long staccato fragments played with one bow. The Polonaise is a concert piece in one movement extended form with a considerably abbreviated return of the first section at the end. The middle section is contrasting in character, due to the modulation to F major, change of tempo (meno mosso) and the reduction in the number of instruments (in the orchestral version). All the sections show thematic similarity. The first section, too, consists of three subsections, including a contrasting middle subsection (in E major). Zofia Chechli?ska Footnotes 1. See The Critical Commentary, p. ' and onward. 2. See V. Grigoriev, Henryk Wieniawski. ?ycie i twórczo??. [Life and Work] Warszawa - Pozna? 1986, p. 184. 3. The first version of the Concerto No. 2 in D minor was completed in 1862, but in 1870, i.e., not until the Polonaise in A major was completed, Wieniawski had been working on the Concerto and implemented quite a few changes.Publisher: PWM/Towarzystwo Muzyczne im. Henryka Wieniawskiego w PoznaniuSeries: Henryk Wieniawski - Complete WorksCover: softbackNr ISMN: 979-0-2740-0753-9Number of pages: 34 8Format: N4 stoj. 235x305Language version of text: pol., Eng.