Complete and progressive Method for Viol

Complete and Progressive Method for the Viol by Paolo Biordi and Vittorio Ghielmi - Volume 1.   Contents:   1. Open strings   2. Left hand first position   3. Bowing and barring   4. Slurring and bowing   5. String crossings   6. Slurring across two strings   7. Extension of the first finger   8. Half position   9. Horizontal fingering   10. Changing positions (first and half positions)   11. Advanced position   12.Review   13. More on string crossings   14. Exercises for the left hand and bowing strokes   15. Alto clef   16. Double stops   17. Review   18. Staccato and dotted notes   19. Exercises and bowing strokes   20. Fourth position   Appendix:   Scales and arpeggios   Progressions in each tonality

Douze Cahiers D'Etudes Revues, Annotées et Doigtées Par Mathieu Crickboom. Par CRICKBOOM MATHIEU. The masters of the violin have left us an inheritance of numerous books of remarkable studies and caprices. But the very abundance of this precious inheritance makes that an important part of it remains without profit, because it is impossible for the pupils to acquire or study these few thousands studies scattered in fifty big volumes. Very frequently, however, these studies are not classified in a progressive manner. Result of an inspiration which the pedagogical spirit could not always dominate or guide as it liked to, the first studies address themselves sometimes to the pupils who conjugate yet their first shifts with the most easy bow strokes, while the last are always of transcendent difficulty. Whatever be the chosen studies, once the first step is sourmounted, the pupils must do great efforts to realize imperfectly and in divided movements, difficulties which are beyond them. The result of this is: a considerable loss of time and sometimes even much discouragement. It follows at all events, that instead of practising fifty or sixty caprice studies in one year's time, the pupils can hardly study thirty. It is the desire to remedy these multiple inconveniences, that has incited us to realize the present work and in order to accomplish it to search in the greatest works of the masters, the elements the most apt to insure rapidly to the young violinists, the most complete mecanism of the left hand and bow. These exceedingly numerous and diverse elements chosen in the old editions, have been re-examined, fingered and sometimes the nuances (shades) set by us, with the most care and then classified by degrees from the second to the eight year of study in a progressive manner. These books of studies will not bear their fruits however, unless the work is regulated from the second to the fifth year of teaching, by a good method and appropriated exercises. The studies cannot in reality during this period, replace neither a method nor the exercises, they have to be considered rather as an amplified rehearsal of elements learned elsewhere but still badly assimilated./ Méthode / Violon

The long awaited Sassmannshaus method ?Early Start on the Double Bass? is now here. At last students of the largest instrument in the string family can make use of this tried and tested method for beginners, developed by Egon Sassmannshaus for the other string instruments and applied here to the double bass by Holger Sassmannshaus and J. Peter Close. This method will meet the needs of the growing number of young bass students.?Early Start on the Double Bass? encompasses everything that one would expect from a Sassmannshaus method: an easy start, progression at a suitable rate, many cross-references to the other string instruments, songs and scales in different positions from early on, as well as many duets. Lively and colourful illustrations by Charlotte Panowsky complete the edition.For more than three decades ?The Sassmannshaus Tradition? has been the household name for excellence in beginner string methods in German-speaking countries. The English editions for violin, viola and violoncello, which were introduced to the international market in 2008, have proven to be very successful, particularly in the United States.Kids to the Bass!While children learning other string instruments can start as early as the age of four, the appropriate age to begin the double bass is approximately eight (possibly even six); this allows for a faster progression than on the other string instruments, and the method consists of only three volumes. The first volume will be published separately in an English and a German edition; the following two volumes will have German and English text in each book. Original compositions by Boguslaw Furtok enrich the volumes.- Based on the tried-and-tested Sassmannshaus methods for violin, viola and cello- Volume 1: Separate editions in German and English- Volumes 2 and 3: Bilingual, German/English editions- Moderate increase in difficulty- Position playing, duets- Includes new original compositions to B. Furtok- Volume 3 with piano accompaniments to 7 piecesThe authorsHolger Sassmannshaus is a double bass player with the Niederrheinische Sinfoniker in Mönchengladbach/Krefeld. He also teaches the double bass and performs with several other ensembles.J. Peter Close is a teacher for violoncello and double bass in Munich.

Mauro Giuliani is considered today to have been the most important guitarist-composer of the early nineteenth century. Not only was Giuliani the foremost player of his day: his fame reached far beyond the realm of guitar enthusiasts, earning him a place among the musical élite as a complete, versatile musician. Even so, by the end of the nineteenth century he was largely forgotten and his music managed to retain little more than a marginal presence in the repertory of the great guitarists of the early twentieth century. The current revitalization of his work owes its origins to the monumental research begun by Thomas Heck in 1971 and continued by Ruggero Chiesa, Mario Torta, Marco Riboni, and Gerhard Pen. Thanks to the dedication of these scholars, Giuliani's music has progressively returned to its erstwhile prominence in the performing repertory. Giuliani wrote some 230 works, of which 150 carry opus numbers. They consist above all of pieces for solo guitar and a considerable quantity of chamber music for guitar and violin, flute, piano, or voice, as well as three guitar concertos. Based on the texts of the first published editions, the pieces in this collection have been revised only with the addition of fingering (according to the technique documented in Giuliani's method (Studio per la chitarra opus 1) and his Esercizio per la chitarra contenente 24 pezzi della maggiore difficoltà, diversi preludi passaggi ed assolo opus 48, published by Steiner in 1813) and the correction of obvious typographical errors. / 1 Ou 2 Guitare(s)