Up Bow, Down Bow For Violin

Music Medals Violin Ensemble Pieces are five volumes of enjoyable and accessible repertoire for the developing ensemble progressively graded Copper Bronze Silver Gold and Platinum. They contain original pieces and imaginative arrangements for duets trios and quartets.

The 12th of November 2014 was a day of glory for the Rosetta mission: after a ten-year journey in space the Philae lander – a minuscule robot whose job was to gather scientific data – set down on the comet Churi to analyse the composition of the soil and evolution of its structure when the shooting star approaches the Sun. This technical prowess also produced photos. Contemplating them could only inspire Allain Gaussin a follower of spectral music and very keen on astrophysics. How might one translate the intensity of the impressions felt by the viewer of these aerospace photos? Philae for solo Violin chooses to make contrasts collide: the smooth and therough the bright and the dark the bounce and the static. As always Gaussin seeks to explore the particularities of Violin playing: suddenly arise in turn a fervent motif – this exponential crescendo obtained by means of bow momentum – harmonic constellations of spiccato demisemiquavers then a series of repeated notes on the instrument's open third string which are finally softened by rolled bowing. As a veritable 'astromusician' the composer embarks on the conquest of new sound spaces.

This fun and easy bluegrass fiddle book and CD takes you from the very beginning. Starting with an introduction to the instrument the book teaches you basic fiddle technique such as holding the bow and provides scales andexercises setting the foundation for the repertoire found in the book. Featuring classics such as 'Boil E'm Cabbage Down' 'Cripple Creek' and 'Old Joe Clark' this book will get you playing in no time!

An Introduction to Folk Styles Technique and Improvisation-* This in-depth tutor book from renowned fiddle player and teacher Chris Haigh is perfect for classical violinists and fiddle players looking to master the art. * Covering all aspects of folk violin technique from ornamentation to modes and scales and from scordatura to improvisation and composition. * The book is centred around Irish traditional music but also dips into English Scottish Scandinavian East European Klezmer Cajun and American Old-Time traditions. * Accompanied by a CD of all pieces performed by Chris Haigh with a live backing band. Folk fiddle and classical violin are as different as chalk and cheese. At first glance folk might seem so simpleit?s hardly worth bothering with. The tunes are often no more than 32 bars long they stay in first position and they don?t even have a composer. However it?s what?s NOT written on the page that makes folk fiddle so interesting and challenging.This book attempts to explore from general observation down to the finest detail what the fiddler needs to know to bring these tunes alive. We need to understand their history and context their purpose their structure and pulse. And we need to be able to add all the stylistic elements that come not from reading the music but from years of immersion in folk music both listening and playing.Key areas covered include:* Tune types and structures * Ornamentation * Bowing * Modes and scales * Scordatura * Starts endings and links * Variation improvisation and composition Playing tunes in ?sets? * Regional and individual style * Playing in sessions for contests and for dancing

Not your typical fiddle-tune book these tunes range from variations of regular tunes to obscure Scottish polkas classical duets gypsy fiddle tunes Cajun tunes and even two or three original tunes with many in third andfifth position.Uncompromising care was taken in the transcription of these pieces and virtually nothing was simplified. There are several classical Piano pieces trimmed down to violin solos and duets Americana and eventhe author?s own variations on ?Carnival of Venice.?Included is an extensive section on playing back-up Fiddle to another instrument dwelling on chord patterns double-stops bowing patterns ?shuffles ? and all manner ofaccompaniment and all Fiddle tunes have chord symbols included.

Description Learn the Violin from scratch with the Xtremists , and get into playing immediately without getting bogged down in unnecessary theory. This book will show you everything from tuning up and finding your first notes to double stops, vibrato, bowing tricks and other special effects. Get your strings burning in no time at all. The CD will demonstrate all examples for you to copy, and the book is packed with illustrations and cartoons.

Beethoven's 'Romances' are performed all over the world yet how many conductors performers and listeners are aware that op. 50 which was incidentally composed before op. 40 comes down to us in an unfinished form? The autograph score contains little to no articulation or dynamics and to the present day the work has existed only in highly over-edited publications. The performer has no way of knowing what was originally intended by the composer.Bärenreiter?s new Urtext edition of opp. 50 and 40 offers the score to op. 50 twice; the first score reflects the state of Beethoven?s autograph with editorial markings clearly indicated the second score has beenedited based on other works by Beethoven from that period. This manner of publishing remains true to the sources and at the same time offers musicians a reliable transparent score for performances.In addition to the Urtext solo part a second solo part with fingering and bowing by Detlef Mahn is also included in the piano reduction.- Piano reduction which includes an Urtext solo part as well as an additional solo part with fingering and bowing- The score to op. 50 available in two versions- Detailed critical commentary (Eng)Barenreiter no. BA9026A

The fiddle has been popular in Scotland for over 500 years as an accompanying instrument for dance and song. Bonnie Rideout has been playing traditional Scottish fiddle music since the 1980s. This collection presents favoritetunes which Bonnie had stashed away over the years while awaiting the perfect opportunity to record them. The music written here ranges from J. Scott Skinner's Dr. Gordon Stable (a wonderful fiery reel she once played to garnerher first national fiddling title as a young teenager) to Fear A Bhata (a heartbreaking air she has known as long as she can remember). These Scottish fiddle selections have been carefully transcribed from Bonnie's recordingScottish Fire. It would be impossible to write down all her bowings and every grace note especially since they are not always consistent from one playing to the next. Readers should use this book as a basis for exploring theirown voice within the music.

A dynamic and interactive course for the early-intermediate fiddle-player to start improvising with traditional swing and jazz styles.Glaser begins with some intuitive call-and-response patterns allowing you to build increasingly complex phrases at your own pace whilst your improvising confidence grows. The lesson is punctuated with some fascinating information technical tips and essential elements of theory. Circle of fifths 7ths diminished chords whole tone scales bowing patterns and phrasing are all discussed in detail creating a full vocabulary from which your musical imagination can blossom.To put all the information into context Glaser breaksdown and analyses some significant violin solos including performances by Stephane Grappelli and Claude 'Fiddler' Williams. If you are looking for a way to make your fiddle-playing swing with that authentic jazz sound look no further.

Lesson 2-Here are more great tunes and techniques from one of America's foremost old-time fiddlers!Brad Leftwich continues his exploration of traditional downbow fiddling taking early intermediate players to new levels as he teaches how to produce a truely authentic sound continue a vital tradition and have fun in the process!

Media Type : Book+CD+DVD Level : Beginning Musical Genre : All Styles Series : You Can Teach Yourself Number of pages : 80 Designed for beginning fiddle students, these 36 lessons present basic techniques by applying them to fiddle tunes. Reading music is unnecessary, as the lessons are explained step by step, and fingerings are given for every note. Each version builds on the previous one and helps students to create their own arrangements. Includes a split- track CD. Forty-eight songs from the book are on the CD. The DVD with this set is designed to complement the first 17 lessons of the You Can Teach Yourself Fiddling text. Covers tuning, holding the fiddle and bow, left-hand position, basic A, D, and G scales, shuffle bowing, slurs, double stops, and many tunes, including Liza Jane, Shortening Bread, Going to Boston, and Bile Them Cabbage Down.

Born in South Africa but now an Irish citizen Kevin Volans? musical idiom has been shaped by an unusually diverse range of experiences including studies with Stockhausen in Cologne field trips to South Africa tostudy traditional music his own involvement with the New Simplicity movement his collection of contemporary art and African textiles friendships with composers like Morton Feldman and Gerald Barry as well as a love of virtuosopiano music which he performs broadcasts and records. While having an easily recognised unique voice Volans? music resists compartmentalisation. He is as comfortable working in conventional genres as embarking oninnovative collaborations with artists of other disciplines. String Quartet No.1 (White Man Sleeps) was written for the Kronos Quartet and was first performed by them in July 1986 London.The title?White Man Sleeps? comes from a moment in nyanga Panpipe music where the performers leave off playing their loud pipes for a few cycles and dance only to the sound of their ankle rattles to let the whitelandowner sleep for a minute or two.'In composing this piece I drew from the following sources: the first movement owes something to the style of Basotho concertina music; the second and fourth movements are drawnfrom traditional Nyungwe music played by Makina Chirenje and his Nyanga panpipe group at Nsava Tete Mozambique recorded and transcribed by Andrew Tracey (to be found in an article entitled ?The nyanga Panpipe dance? in AfricanMusic Vol.5 No.1 (1971); the third movement derives from the San bow music (recorded by Tony Traill of the University of Witwatersrand) and from Basotho lesiba music transcribed by myself; in the fifth movement I added my owninvented folklore. My approach to the original music was anything but purist it is played in Western tuning filtered slowed down by a few ?time-octaves? cast into non-African metres (like the 13-beat pattern of the first