Matériel : Partition + CD
SKU: BA.BA10689
ISBN 9790006566068. 30 x 23 cm inches. Text Language: English, German. Illustrations: Charlotte Panowsky.
Junge Musiker wollen nicht nur innerhalb ihres Schulwerkes vorwärtskommen, sondern auch früh mit Anderen zusammen spielen, am liebsten schon im Orchester. Willkommene Anlässe dafür sind Vorspiele in der Vorweihnachtszeit, das musikalische Material dazu bietet dieses Heft. Die meist vierstimmigen Sätze für zwei Geigen, Bratsche und Cello sind leicht zugänglich und zugleich abwechslungsreich arrangiert. Bekannte Weihnachtslieder wechseln sich ab mit kleinen Werken barocker Komponisten von Händel, Lully und anderen. Alle Stimmen lassen sich solistisch besetzen, genauso gut aber auch zu mehreren ausführen, sodass der sich der Einsatz in jedem jungen Musikschul-Streicherorche ster anbietet.
About Baerenreiter's Sassmannshaus
Children playfully learn reliable technique at the earliest age. For more than three decades the Sassmannshaus Tradition has been the household name for excellence in beginner methods in German-speaking countries. More than half a million students have successfully learned to play using this publication.Thi s tried and tested German method is now available in English! The best-selling method that gave generations of European musicians their foundation is now available in English, with content and songs newly adapted for today's English speaking children.What makes this method so special? The child-friendly and age-appropriate text underlying the music enables children to perceive melodies as a whole and to understand their singable qualities.Songs and scales in different positions are easily explained and mastered within the first year. This is an important advantage over methods that confine children to the first position for many years.Note reading is emphasized from the first lesson - children are brought up to become proficient sight-readers and play in chamber music ensembles as early as possible.In contrast to other beginner methods, The Sassmannshaus Tradition progresses swiftly by introducing advanced techniques in rudimentary form, such as shifting and varied bow strokes.Ensemble playing is encouraged from the very beginning.The method is suitable for single instruction as well as for group and class lessons.The large print notes and text as well as many colorful illustrations are particularly child-friendly and very attractive to pre-school children and school children alike.The substantial volumes contain comprehensive material and carefully calibrated learning curves. They keep children curious and interested for many months and years.
SKU: BA.BA08991
ISBN 9790006565665. 30 x 23 cm inches.
The nine pieces in this second volume of the “Viola Recital Album” augment those appearing in volume 2 of the viola tutor. There the pieces are integrated in ascending order of difficulty, whereas the additional pieces in the “Recital Album” can be handled more freely and inserted at any point for the sake of variety.The volume contains such pieces as Carrie Williams Krogmann's “Rotkehlchens Nachtgesang” (“Robin's nocturne”) or Wilhelm Fitzenhagen's “Russisches Lied ohne Worte” (“Russian song without words”).Each piece is accompanied by duo version in which the teacher or an advanced learner can play the second part. There is also a piano part that can be played by the teacher or parents.All the pieces in the four “Viola Recital Albums” represent welcome additions to the already varied repertoire of Egon Sassmannhaus's viola tutor “Early Start on the Viola”.Kurt Sassmannshaus is the editor of many string editions in the Bärenreiter catalogue. He continues in the tradition of “Early Start on String Instruments” founded by his father, Egon Sassmannshaus. The new editions mentioned here were developed by Kurt Sassmannshaus in conjunction with his wife Melissa Lusk and his son Christoph Sassmannshaus.
SKU: BA.BA10688
ISBN 9790006566051. 30 x 23 cm inches. Preface: Sassmannshaus, Egon / Sassmannshaus, Kurt.
The Sassmannshaus “Early Start” string methods cultivate playing together as early as possible, initially in duets. However playing in larger mixed ensembles is also encouraged and this tried-and-trusted edition for strings provides the perfect start for this. The first songs can all be performed in canon; each piece is notated in violin, viola and bass clef so that all three string instruments can play together in any number and combination. The collection then continues with through-composed pieces by such composers as Johann Valentin Rathgeber and Johann Joseph Fux. Here the middle part may optionally be performed by a viola or second violin.
SKU: GI.G-10049
ISBN 9781622774333.
Musi c teachers know their students don’t just learn to play music, they are also exposed to universal life skills along the way. But that’s just part of the story. Currently, most students are largely left to learn these universal skills—like problem-solving, patience, focus, collaboration, critical thinking, creativity, and communication—on their own and often not very effectively. The Transposed Musician is a practical guide to teaching these universal skills within the context of a traditional music lesson. The results not only empower students to better confront the challenges of the twenty-first century, they significantly improve musicianship—a double benefit. Author Dylan Savage spent two decades refining his approach to teaching universal skills through music, and he shares them in this book. Each of the eight chapters of The Transposed Musician focuses on a specific universal skill (problem-solving, focus, patience, critical thinking, communication, collaboration, improvisation, and creativity) and shows how students can apply that skill to music. He then shows how teachers can guide those students to “transpose” that skill to life and back again to music with far deeper understanding and musicianship. With practical examples and clear writing, this book is for music educators wishing to help their students become both better musicians and also better-equipped citizens of the world. Students truly become “transposed musicians” for life and for music. Dylan Savage is Associate Professor of Piano at the University of North Carolina–Charlotte. He is also a Bösendorfer Concert Artist, a Capstone Records Recording Artist, and a winner of the Rome Festival Orchestra Competition. https://thetransposedmusi cian.com/ This book is priceless and contains a wealth of music teaching information that every teacher should apply to their studio. Dylan Savage’s use of universal skills transforms music teaching into a viable and essential part of education in the twenty-first-century. This teaching approach of using universal skills can revolutionize teaching music in both the private studio and college level and will give teachers a greater sense of purpose and satisfaction in their work. This book challenges many preconceived ideas about teaching music and mastering performance. Bravo for shaking up the status quo. —Randall Hartsell Composer, Clinician, Teacher This book asks and explores fascinating questions about what it means to study music in a changing world. Are there skills we can learn in our music lessons which can enrich our lives in other non-musical areas, and then can we bring those expanded skills back into our study of music itself? Too often our conservatories are dead-ends, stuck with outdated, one-dimensional approaches which can lead to stunted personal development. This book suggests ways in which we can break down doors, for students and teachers alike, and celebrate music as something life-affirming, in and out of the studio. —Stephen Hough Pianist, Composer, Writer Dylan Savage has given us a fresh and creative pedagogy to guide our music students toward life as twenty-first-century musicians. His career as pianist and teacher, and his firsthand experience in the marketplace of business and industry, allow him to forge a systematic approach to teaching universal skills in the music lesson. In each of the eight chapters, skills such as problem-solving, focus, critical thinking, collaboration, and improvisation are defined and applied to musical skills. These in turn are “transposed” to non-musical applications. We observe the music lessons and the active “transposition” or transfer of universal skills exemplified through descriptions of particular lessons. The anxieties, confusions, and ultimate comfort and understanding of students are guided by the questions of the teacher. The book is beautifully organized and is enriched by quotations of artists, musicians and philosophers, and suggested readings and references. I really think this is an important and helpful book with a point of view that is much needed. The empathy and knowledge of the author steer the reader toward the realities of today’s musical world, a world that requires skilled musicians to have universal skills that benefit their lives, regardless of their ultimate career paths. —Phyllis Alpert Lehrer Professor Emerita, Westminster Choir College of Rider University Artist Faculty, Westminster Conservatory In The Transposed Musician, Dylan Savage combines a visionary’s deep understanding of the challenges music students and teachers face with an eminently practical way to meet those challenges. Using a master teacher’s insight, Savage “transposes” eight potential stumbling blocks into eight universal skills that can be acquired through a beautifully organized, step-by-step approach. In turn, he shows how these skills can be applied to other areas in our rapidly changing world, helping us lead more satisfying, meaningful, and fulfilling lives, not only as musicians, but as human beings. For students and teachers alike, an inspired and inspiring book. —Barbara Lister-Sink, Ed.D. Producer, Freeing the Caged Bird The Transposed Musician is an important contribution to our literature on teaching essential life skills including problem-solving, patience, focus, critical thinking, and creativity within the traditional music lesson. Teachers and students both can benefit from the study and application of these skills. Applications are made both to the traditional lesson as well as to non-music applications. —Jane Magrath Pianist, Author, Teacher University of Oklahoma Twenty-five hundred years ago Plato recommended music first in his ideal curriculum for potential leaders of Athens—before sport, mathematics, and moral philosophy. None of his candidates, one may assume, aspired to become a professional musician. Nevertheless, throughout centuries, otherwise people have acknowledged that the study and practice of music generates collateral benefits essential to human fulfillment. In his new book The Transposed Musician, Professor Dylan Savage of the University of North Carolina at Charlotte identifies eight of these benefits—Problem Solving, Focus, Patience, Critical Thinking, Communication, Collaboration, Improvisation, and Creativity—and calls them “universal skills” which may be developed consciously and systematically within the context of traditional music lessons. Doing so takes what has been implicit all along and makes it explicit. Music is good for us! Music teachers, even at the highest conservatory level, learn from Professor Savage that they are not so much professional trainers as guides to a happier, more successful life. —Dr. Joseph Robinson Principal Oboe, New York Philharmonic (1978–2005) Successful author, teacher, producer, and arts advocate Savage's excellent book couldn't be more timely, unique, clear, full of wisdom, and exactly what we need. As he points out, music teachers have known for generations—in a rather generalized way—that musical skills can strengthen life skills in many ways. Dylan Savage is the first to address this 'transposition' intentionally, with specific exercises in the transferrable skills. What better gift could there be for music students facing an ever-changing world? —William Westney Award-winning concert pianist (Geneva Competition) and teacher Author of The Perfect Wrong Note: Learning to Trust Your Musical Self.
SKU: GI.G-10345
ISBN 9781574635294.
Writ ten for drumline instructors, arrangers, and performers at all levels, Drumline Gold reveals the philosophies, lessons, and mindsets of over 20 of the most brilliant, creative, and successful game-changers in the marching percussion activity. Top educators in DCI, WGI, PAS, college, and high school share their systems on leading, practicing, rehearsing, listening, cleaning, performing, arranging, competing, auditioning, reading, marching, tuning, recruiting, staffing, and building an excellent culture. There is even a system on self-care and the importance of wearing earplugs, preventing injury, and managing stress. Learn more about this new resource in the informational video below: WOW, I’m so impressed with the information gathered in this book. This is a must-have for all marching percussion instructors and performers, young and old. —Tom Aungst Dartmouth High School, The Cadets, DCI, WGI, and World Drum Corps Hall of Fame Drumline Gold is a terrific collection of shared principals, fundamental to leading, building and elevating any program, as well as underscoring life skills that transcend the marching arts. —Julie Davila Middle Tennessee State University and WGI Hall of Fame A must-read for students and members of any drumline in that it provides insight into how these leading educators think and what they expect. BRAVO, Paul, and thank you. —Dennis DeLucia DCI, WGI, and PAS Hall of Fame A thought-provoking resource for students and educators of all backgrounds and experience levels. This is a must-read addition to anyone’s library. —Thom Hannum University of Massachusetts, Carolina Crown, and DCI and World Drum Corps Hall of Fame No matter your position, or where you are in your career—if you are a student of the game, this book is well worth your time! —Jeff Queen District Manager for Yamaha’s School Service Sales Division Former percussion director with Carmel and Avon High Schools This book should be in the hands of all drumline teachers, whether this is their first year or their fiftieth. The information provided is valuable for everyone. It will make you think hard about your drumline culture and your approach, and it will most likely help to bring about positive changes to your ensemble. —Josh Armstrong Percussive Arts Society .