More Viola Fun

Into the faded air was commissioned by Britten Sinfonia for first performance at Filharmonic Hall Krakow Poland on Sunday 13th January 2008 with Jacqueline Shave (Violin) Miranda Dale (Violin) Clare Finnimore(Viola) Catherine Musker (Viola) Caroline Dearnley (Cello) and Banjamin Chappell (Cello).Scoring: String Sextet (2 Violins 2 Violas and 2 Cellos)Duration: 10 minutes Composer'sNotes 'Into The Faded Air is cast in four movements although the last three movements are played without a break.In the first movement the sextet is divided into twogroups. The first group consisting of violin viola and cello plays a sustained melody while the second group (also violin viola and cello) contributes more jagged and intricate material. The second movement is an extended duetfor two violas accompanied by the other instruments. As the movement progresses the accompanying instruments become more prominent. The third movement is the only fast movement in the piece with rapid semiquavers and much useof pizzicato throughout. This leads into a serene chorale where the three upper instruments (two violins and first viola) are set against the second viola and two cellos.' - HelenGrime

Viola Play-Along Book with Online Audio. Par SWIFT TAYLOR. 14 songs from the two 2020 album releases by the ever-popular and musically prolific Taylor Swift in arrangements for instrumentalists with approximately one year of playing experience. Each of these books also includesdemonstration and play-along audio tracks online for download or streaming. Songs include: August · Cardigan · Exile · Gold Rush · Long Story Short · No Body, No Crime · Seven · Willow · and more./ Recueil / Alto

A remarkable set of 40 variations derived from a single melody by Otaker Sevcik. Arranged for the Viola with Piano accompaniment the variations become progressively more complex and difficult throughout the work making this set ideal as a set of challenging exercises for the Viola student. As well as presenting a huge variety of technical goals much can be learned from this work about the nature of composition melody-building and the potential versatility of a single melodic idea. A superb and satisfyingly musical teaching aid.

Instrumental Play-Along for Viola. Solo instrumentalists will love this collection of 15 timeless rock hits! Demonstration and backing tracks are included for each song, too, for practice and play-along fun. Songs include: Don't Fear the Reaper ? Fortunate Son ? Free Fallin' ? Go Your Own Way ? Jack and Diane ? Money ? Old Time Rock and Roll ? Sweet Home Alabama ? 25 or 6 to 4 ? and more. Audio is accessed online using the unique code inside the book and can be streamed or downloaded. The audio files include PLAYBACK , a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.

Plus amusant de Viola, la suite de Viola Fun, est destiné aux élèves d'Alto deuxième année. Comme avant, un véritable orchestre joue avec vous sur le CD qui l'accompagne. Bon nombre des titres montrent que plusieurs instruments de musique peuvent joindre à vous, par exemple un hautbois, ou une flûte parmi d'autres. Vous pouvez facilement dire en regardant les titres et les belles illustrations quels instruments d'attendre. / Alto / Partition

Instrumental Play-Along-10 songs from the latest live action hit movie adaptation of the Disney classic Beauty and the Beast arranged for instrumentalists. Each book features online access to audio demonstration tracks for download or streaming to help you hear how the song should sound.Songs include Aria Be Our Guest Beauty and the Beast Belle Days in the Sun Evermore Gaston How Does a Moment Last Forever The Mob Song and Something There.

Instrumental Play-Along. Solo instrumental arrangements with audio accompaniment for 9 of Billie's biggest hits so far: Bad Guy ' Everything I Wanted ' I Love You ' idontwannabeyouanymore ' Lovely ' No Time to Die ' Ocean Eyes ' When the Party's Over ' You Should See Me in a Crown. The audio is accessed online using the unique code inside each book and can be streamed or downloaded. The audio files include PLAYBACK , a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.

Bridge’s early works those written before the first World War were more late Romantic in style warmly expansive than his mature works. The Lament for Two Violas was written for himself and Lionel Tertis to perform at Wigmore Hall in March 1912. There were originally two pieces Caprice and Lament of which the first has been lost. Paul Hindmarsh has edited this sheet music from sketches and drafts.It is a deeply felt work interweaving the near-human Voices of the Violas into a work that is more thoughtful than grief-stricken yet no less effective for that.British composer Frank Bridge was active in the early decades of the 20th century and was a highly respectedconductor violist and teacher his sole composition student having been Benjamin Britten. Britten honoured his former teacher in his work Variations on a Theme of Frank Bridge based on a theme from one of Bridge’s pieces for String quartet.

A viola method for children-For more than three decades the Sassmannshaus Tradition has been the household name for excellence in beginner string methods in German-speaking countries. More than half a million students have successfully learned to play string instruments using this publication.The publication of the four Violin books in 2008 in a fully adapted English version has been a big success. On the back of this success story Bärenreiter published the four books for Cello in 2009 and now presents the four books for Viola in a newly adapted version for today's English speaking children.What makes this Viola method so unique?Large print notes and texts as wellas many colourful illustrations are ideal for pre-school as well as school children.Note reading is emphasised from the first lesson encouraging ensemble playing from the very beginning.Songs and scales in different positions are easily mastered within the first year of playing to ensure that children are not confined to first position playing.Advanced viola techniques such as varied bow strokes and shifting are introduced in a basic form.

For Viola and Piano this is the composer's first opused work. Premiered at the Wigmore Hall in July 1959 by Cecil Aronowitz and Margaret Kitchen.Wood: In 1957 I knew I had newly discovered the music of Schoenberg and hispupils and I knew at once that they were to show me the way forward for my music; as indeed they have ever since. The revelation was primarily an emotional experience for me and however imperfectly their influence wasreceived it was obviously reflected in the all-out chromaticism (new for me then) in the many chains of twelve notes or lesser chromatic formations (which do not here amount to serial working and have only rarely done sosince) in the characteristic harmonic and rhythmic formations the wide and sometimes angular intervals of the melodies and in general the introverted romanticism. Anyway I knew then that this was the sort of music that Ihenceforth would want to write and so I called these Variations my Opus One.The declamatory Introduction leads into the Theme heard on the viola. Six Variations follow of which No.3 is the most violent and No.4 the mostsustainedly lyrical. The recitative-like sixth variation leads into the Finale a more extended movement. The Theme returning on the piano leads to a climax at which there is a citation from Beethoven’s C minor Variations forpiano. Then their characteristics sequence of chords is heard on the piano as an accompaniment to the final statement of my own theme on the viola in the closing bars of the work.

While Gordon Jacobs composed a vast amount of music more than four hundred pieces -- he was particularly celebrated for his work for Viola and for woodwinds as well as for his books on music pedagogy. Jacob had an early success with his Viola Concerto of 1926 which was premiered at a Promenade concert and which was the beginning of a series of strong contributions to Viola repertoire. This Sonatina for Viola and Piano demonstrates his sensitive writing for the instrument. It works very well when performed on clarinet as well.While many composers of the 20th century rejected serialism atonality and other avant garde effects in favour of Romanticism Jacob was much morean adherent to the musical models of the classic and baroque eras while still encompassing modern harmonies. His work Music for a Festival for symphonic wind band and brass ensemble was used for the post-war Festival of Britain and he arranged the British national anthem for the coronation of Queen Elizabeth II.

To see the summer sky for Violin and Viola falls into four movements. The first movement opens with the two instruments sounding almost as one playing very high glassy harmonics. Gradually an expressive viola solo emerges withboth instruments descending to their lower ranges. A livelier quasi scherzando solo for violin accompanied by viola pedal notes leads to a chorale like passage the violin at the top of its range whilst the viola is at itslowest. The movement ends with the two instruments coming together once again on a unison Bb and fades away almost as it has begun but this time in the husky lower registers.The second movement is much faster and openswith a downward flurry for both instruments. A continuous pizzicato line for viola is interrupted by more violent passages in the violin. The two instruments come together in a dance-like passage before the roles are reversed.Finally an ecstatic melody surfaces in the viola and is later continued in the violin before the movement closes with the spiky figures of its opening the two instruments ending in unison.The third movement encompasses isthe most delicate and still music of the piece. After a very tranquil opening an expressive violin melody is accompanied by a gentle rocking figure in the viola. Tentative at first intensity and speed gather until the violinreaches stratospheric heights. Both of the instruments play at the extremes of their registers before moving to common ground for a more lively textural passage. This is followed by a passionate reminder of the movement’s opening gradually fading away to nothing.The piece ends with a Moto Perpetuo. The instruments begin by dovetailing a single line which develops into two strands before a more violent section appears punctuated by strident doublestops. Both instruments have slightly manic solo episodes before the movement quickly dies away in the single line of its opening