The Techniques of Violin Playing: Instrumental Reference

Learn more about your favorite fiddle styles and techniques through the writings of experts in bluegrass country Irish Cajun and swing traditions. This volume covers the difference between classical violin playing and fiddling 'chopping' technique bariolage double-stop playing and alternate tunings plus lots of info on fiddle tunes from around the world.

Stuff All the Pros Know and Use-Are you ready to take your Violin playing to the next level?101 Violin Tips: Stuff All The Pros Know And Use presents valuable how-to insight that violinists of all levels can benefit from spanning classical to rock music and everything in between. The text photos music diagrams and accompanying CD provide a terrific easy-to-use resource for a variety of topics including bowing techniques non-classical playing electric Violins accessories gig tips practicing recording and much more.

The idea for this book series is to give instrumentalists the opportunity to practice solo improvisational techniques while playing along to rhythm tracks of keyboards, guitar, bass, drums/percussion in various different Latin styles including Calypso, Mambo, Salsa, Songo, Bossa, Guaracha, Samba and Latin-Blues. Memorable melodies along with more Bluesier sounding melodic lines have been created over the various chord progressions used in these various Latin styles.

A great introduction to the world of Violin playing for the complete beginner. Full-color photos and diagrams explain all the essential techniques in first position. Learn to read music with easy to understand music theoryincluding note values scales and key signatures. Play along with the high quality backing tracks which feature contemporary and well-known melodies in a variety of styles including Folk World Music and Classical.

The Violin Lesson offers players of all standards the opportunity to immediately — and dramatically — improve their technique and understanding of violin playing. Presented in twelve comprehensive and highly accessible lessons filled with more than 500 music examples and over 350 photographs it provides fresh approaches to neglected aspects of playing whilst covering all the major areas of violin technique including:tone productionintonationavoiding aches and painschanging positionimproving bow strokesvibratoWhether outlining a basic concept or an advancedtechnique each topic is handled with the clarity and attention to detail for which Simon Fischer is so highly regarded. Fundamental exercises principles and practice methods sit alongside case studies and practical question-and-answer sections to present a truly rounded volume — essential reading for both students and teachers alike.

Irvine Arditti who is an extraordinary violinist a specialist for contemporary music and the leader of the phenomenal Arditti Quartet worked together with the composer and conductor Robert HP Platz to produce this book on contemporary violin technique. It presents detailed explanations of the technical possibilities of the violin for performers and composers. This publication takes into account the virtuosity of a new generation of soloists. These are soloists who with their exceptional ability have succeeded in paving the way for a greater understanding of classical and contemporary music. The chapters on bowing techniques vibrato pizzicato glissando flageolet tablatures rhythm and electronic sound production are illustrated with numerous musical examples and diagrams. Particularly helpful is the accompanying DVD where Arditti demonstrates and explains the described techniques. Chapters on the basics of violin technique and on Irvine Arditti’s personal experience with notable composers make the book equally interesting for non-violinists.The authorsIrvine Arditti born in London in 1953 became the Principal Concert Master of the London Symphony Orchestra at the age of 25. He left the orchestra in 1980 to devote his time to his quartet. In recent decades Irvine Arditti has premiered a large number of important works many of which were written for him. Amongst them are the violin concertos by Xenakis Hosokawa and Ligeti Ferneyhough’s Terrain and Sciarrino’s Le Stagioni Artificiali. As well as having recorded over 180 CDs with the Arditti Quartet Arditti has built an impressive catalogue of solo recordings. His recording of Cage’s Freeman Etudes for Solo Violin has made musical history.Robert HP Platz born in Baden-Baden Germany in 1951 has conducted premieres of over 300 works with renowned orchestras such as the Orchestre Philharmonique de Luxembourg and worked with composers such as Hosokawa Huber Scelsi Stockhausen and Xenakis. Platz is also a composer. Since 1989 his compositions comprise associative connected parts of a diary-like continuous complete work. Since 1990 he teaches composition as well as performance practice regarding contemporary music at the University of Maastricht.

For more than a century, violinists have played jazz, swing, blues and similar improvisational styles. With its rich tone, considerable range, and bowed rhythms and phrasing, the violin offers a unique opportunity for a creative and personal statement as a musician. This book presents a broad sampling of the styles of major jazz violinists, from blues to bebop, from jug band to jazzgrass, from big-band swing to Texas swing. Tunes represent the styles of Stéphane Grappelli, Joe Venuti, Stuff Smith, Eddie South, Mark O'Connor, Benny Thomasson, Jean-Luc Ponty, and Darol Anger. Helpful jazz theory sections with exercises alternate with tunes that show how the theory works in practice. This book has two objectives: first, to present a broad, roughly chronological sampling of major jazz violinists and the styles associated with them, and secondly, to introduce the basics of jazz theory as applied to the violin. Whether consciously or intuitively, through critical listening or by practicing jazz patterns and exercises, the more knowledge of jazz you acquire, the better you will be able to think about the content of your playing without being bound by technical and theoretical aspects. This anthology was written to help provide that foundation. Interspersed with pragmatic jazz theory lessons, you'll find 28 original tunes in the style of various jazz violin luminaries. The book ends with an extensive discography of recommended jazz recordings with a violin focus. Mandolinists as well as other instrumentalists will find a wealth of useful information in this outstanding collection. Delightful broadcast-quality recordings of the repertoire are available online. Includes access to online audio. Written for intermediate to advanced violinists.

This book offers every violinist the tools and skills necessary to play improvised music. Renowned violinist Charlie Bisharat explains and demonstrates everything you need to know about groove and feel playing over chord changes and extended techniques. The musical examples cover jazz blues rock popular ethnic and world music. Includes CD with play-along tracks.

Instruction for Players of Any Level-Fiddling: The Basics & Beyond covers the essentials needed to be a successful fiddler. No matter if you are an experienced player or a complete beginner the four versions of each tune will keep you challenged.Each tune has etudes that are specifically written to cater to the techniques that will be needed to play every version of that tune. There is also information that is specific to each version that will help you learn faster and understand more. All of this information is specifically geared to building proper playing technique so violinists are welcome. And if that's not enough there are customised checklists to help you narrow downwhat's really important to remember while practicing each tune. The best part is that all four versions can be played together so teachers with students at various ability levels can still play together. The CD contains recordings of many of the songs in the book at both a slow and normal tempo.

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.