SKU: HL.14006318
ISBN 9780853602897. 8.5x11.0x0.073 inches.
Cello Time is a sequel to Colin Evans' Take a Cello, and Basic Bass. Cellists who have moved on from the open string writing can now take up the challenge of these seven new pieces written for the first position.
SKU: AP.36-52730544
ISBN 9781628761221. UPC: 679360789353. English.
This audition survival guide for teachers and students of all levels begins with one-octave major and minor scales to three sharps and flats. Two-octave scales are introduced subsequently, and the book concludes with three-octave scales to five sharps and flats. Two-octave blues scales to four sharps and flats are included as a bonus. Bowings and fingerings are not included in this workbook, which includes blank staves in the back for teachers to make suggestions. An introduction by Lynne Latham offers tips on how to practice scales and includes a lesson on scale construction and theory.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: SP.TS558
ISBN 9781585609185.
Due to the success of our Instrumental Fingering Posters, we thought it would be helpful to create a smaller version that could be tucked comfortably into any method book as a reference guide. Unbeknownst to us after days of research, we were left with countless questions, much confusion, and a slew of poorly crafted images from contradicting publications. That being said, we realized that there weren't truly any trustworthy resources in print and decided to address the void. We consulted experts in every category asking questions until both we and they and we were satisfied. Finally, a guide to fingering for beginners that even the experienced players will find beneficial. Santorella's Basic Fingering Charts are essential for anyone that picks up an instrument. Initially intended for beginners but after understanding the importance of false fingerings or more appropriately called, alternate fingerings their necessity is vital for playing certain musical passages on a particular instrument. In addition, after observing the difficulties that students had in identifying key signatures, we decided to include the Circle of Fifths diagram and every major scale in two octaves in every key including their enharmonic counterparts. After all was said in done, we now know, we now have the best educational products available for fingering in the industry. Our Basic Fingering Charts are perfect for private students, classroom study, or simply for a quick and easy reference guide while practicing at home. These graphic reference guides for assorted brass, reeds, woodwinds, and orchestral strings are specifically available for Clarinet, Bass Clarinet, Trumpet, Flute, Piccolo, Recorder, Baritone Horn, Trombone, Bass Trombone, Alto Sax, Soprano Sax, Tenor Sax, Baritone Sax, French Horn, Euphonium, Tuba, Oboe, Bassoon, Violin, Viola, Cello, and Bass. Every chart displays the entire range of each instrument by clearly depicting the fingering for each note including all their enharmonic substitutions. Each chart includes a diagram identifying the levers, valves, keys, slides, frets and more of each and every instrument. Learn where, when, and why to place your fingers. Now is the time to truly start playing with assured confidence.
SKU: M7.VHR-3517
ISBN 9783864341670. German.
The bow school Billy Bogen & Gwindi Greifhand - Expedition mit dem Cellobogen is aimed at 6 to 12 year old children from the 1st year of lessons. It can accompany the pupils' training over a long period of time and offers an ideal supplement to any cello tutor, as the basics of cello technique are deepened here in 88 exercises. The focus is on the development of the bow hand. With scales, triads and thirds over 1 - 2 octaves, six of the most important stroke types are trained. The imaginative approach to the technical subject is essential here, to which the lovely illustrations by Anette Bley in particular also contribute.
SKU: HL.49003448
ISBN 9790001033909. UPC: 842819102984. 9.0x11.75x0.153 inches. German - English.
SKU: PR.16400272S
UPC: 680160588442. 8.5 x 11 inches.
My third quartet is laid out in a three-movement structure, with each movement based on an early, middle, and late work of the great American impressionist painter Mary Cassatt. Although the movements are separate, with full-stop endings, the music is connected by a common scale-form, derived from the name MARY CASSATT, and by a recurring theme that introduces all three movements. I see this theme as Mary's Theme, a personality that stays intact while undergoing gradual change. I The Bacchante (1876) [Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania] The painting shows a young girl of Italian or Spanish origin, playing a small pair of cymbals. Since Cassatt was trying very hard to fit in at the French Academy at the time, she painted a lot of these subjects, which were considered typical and universal. The style of the painting doesn't yet show Cassatt's originality, except perhaps for certain details in the face. Accordingly the music for this movement is Spanish/Italian, in a similar period-style but using the musical signature described above. The music begins with Mary's Theme, ruminative and slow, then abruptly changes to an alla Spagnola-type fast 3/4 - 6/8 meter. It evokes the Spanish-influenced music of Ravel and Falla. Midway through, there's an accompanied recitative for the viola, which figures large in this particular movement, then back to a truncated recapitulation of the fast music. The overall feeling is of a well-made, rather conventional movement in a contemporary Spanish/Italian style. Cassatt's painting, too, is rather conventional. II At the Opera (1880) [Museum of Fine Arts, Boston, Massachusetts] This painting is one of Cassatt's most well known works, and it hangs in the Museum of Fine Arts in Boston. The painting shows a woman alone in a box at the opera house, completely dressed (including gloves) and looking through opera glasses at someone or something that is NOT on the stage. Across the auditorium from her, but exactly at eye level, is a gentleman with opera glasses intently watching her - though it is not him that she's looking at. It's an intriguing picture. This movement is far less conventional than the first movement, as the painting is far less conventional. The music begins with a rapid, Shostakovich-type mini-overture lasting less than a minute, based on Mary's Theme. My conjecture is that the woman in the painting has arrived late to the opera, busily stumbling into her box. What happens next is a kind of collage, a kind of surrealistic overlaying of two different elements: the foreground music, at first is a direct quotation of Soldier's Chorus from Gounod's FAUST (an opera Cassatt would certainly have heard in the brand-new Paris Opera House at that time), played by Violin II, Viola, and Cello. This music is played sul ponticello in the melody and col legno in the marching accompaniment. On top of this, the first violin hovers at first on a high harmonic, then descends into a slow melody, completely separate from the Gounod. It's as if the woman in the painting is hearing the opera onstage but is not really interested in it. Then the cello joins the first violin in a kind of love-duet (just the two of them, at first). This music isn't at all Gounod-derived; it's entirely from the same scale patterns as the first movement and derives from Mary's Theme and its scale. The music stays in a kind of dichotomy feeling, usually three-against-one, until the end of the movement, when another Gounod melody, Valentin's aria Avant de quitter ce lieux reappears in a kind of coda for all four players. It ends atmospherically and emotionally disconnected, however. The overall feeling is a kind of schizophrenic, opera-inspired dream. III Young Woman in Green, Outdoors in the Sun (1909) [Worcester Art Museum, Massachusetts] The painting, one of Cassatt's last, is very simple: just a figure, looking sideways out of the picture. The colors are pastel and yet bold - and the woman is likewise very self-assured and not in the least demure. It is eight minutes long, and is all about melody - three melodies, to be exact (Young Woman, Green, and Sunlight). No angst, no choppy rhythms, just ever-unfolding melody and lush harmonies. I quote one other French composer here, too: Debussy's song Green, from Ariettes Oubliees. 1909 would have been Debussy's heyday in Paris, and it makes perfect sense musically as well as visually to do this. Mary Cassatt lived her last several years in near-total blindness, and as she lost visual acuity, her work became less sharply defined - something akin to late water lilies of Monet, who suffered similar vision loss. My idea of making this movement entirely melodic was compounded by having each of the three melodies appear twice, once in a pure form, and the second time in a more diffuse setting. This makes an interesting two ways form: A-B-C-A1-B1-C1. String Quartet No.3 (Cassatt) is dedicated, with great affection and respect, to the Cassatt String Quartet, whose members have dedicated themselves in large measure to the furthering of the contemporary repertoire for quartet.
SKU: PR.164002720
UPC: 680160573042. 8.5 x 11 inches.
SKU: BT.DHP-1084471-070
ISBN 9789043128773. 9x12 inches. English-German-French-Dutch.
This great work for young, inexperienced string orchestras can be performed in various ways. The associated story even makes a staged performance possible. A wonderful journey through time enables the ensemble members to practice the notes of the G scale in an enjoyable way. All parts are for first position only and require first and second finger patterns. A third violin part can replace the violas if necessary, and a piano accompaniment is included for harmonic and rhythmic support. A fun way to learn! This set contains two first violin parts, two second violin parts, one viola part, one third violin part (viola), one cello part (double bass) and one score (piano accompaniment).Dit fraaie werk voor jonge, beginnende strijkersorkesten kan op verschillende manieren worden uitgevoerd. Het bijbehorende verhaal maakt zelfs een geënsceneerde toneelvoorstelling mogelijk. Een fantastische reis door de tijd geeftde leden van het ensemble of orkest de mogelijkheid om de noten van de toonladder van G (sol) op een prettige manier te oefenen. Voor alle partijen is alleen de eerste positie nodig, verder zijn de eerste en tweede vingerstand vereist.Een derdevioolpartij is bijgevoegd - voor het geval er geen altviolisten in het ensemble zitten. Ook is er een pianobegeleiding meegeleverd, die harmonische en ritmische ondersteuning biedt. Een leuke manier om te leren!Dieses großartige Werk für junge, noch unerfahrene Streichensembles kann auf verschiedene Weisen gespielt werden. Die damit verbundene Erzählung ergänzt den theoretischen Unterricht und erlaubt sogar eine Bühnenaufführung. Auf einer wunderbaren Zeitreise können die Ensemblemitglieder die Töne der G-Dur-Tonleiter auf heitere Weise üben. Alle Stimmen bewegen sich nur innerhalb der ersten Lage und erfordern die erste und zweite Griffart. Die zusätzliche Klavierbegleitung sorgt für die harmonische und rhythmische Stütze. So macht Lernen Spaß! Das Set umfasst zwei erste und zwei zweite Stimmen für Violine, eine Violastimme, eine dritte Violine (alt. Viola), eine Cello- oderKontrabassstimme und eine Partitur (Klavierbegleitung). Cette charmante composition en plusieurs tableaux s’adresse aux jeunes Ensembles Cordes inexpérimentés. La narration qui accompagne la pièce permet d’en faire une véritable œuvre scénique. Un délicieux voyage dans le temps permet aux jeunes instrumentistes de travailler les notes de la gamme de Sol, tout en se divertissant. Toutes les voix sont écrites en première position et ne nécessitent que l’utilisation des premier et deuxième schémas de doigts. La partie optionnelle pour violon 3 permet de remplacer la voix d’alto, si nécessaire. L’accompagnement de piano inclus offre un soutien harmonique et rythmique. Un moyen plaisant pour progresser dans l’apprentissage!Instrumentation : 2 Violons 1 & 2, 1 Alto (ou Violon 3), 1 Violoncelle (ou Contrebasse), 1 partie de Piano. Questa piacevole composizione si rivolge a tutti gli ensemble d'archi senza esperienza. La narrazione che accompagna il brano permette di farne una vera opera scenica. Un delizioso viaggio nel tempo che consente ai giovani strumentisti di lavorare le note della scala di Sol divertendosi. Tutte le voci sono scritte in prima posizione e non necessitano l'utilizzo del primo e del secondo schema della dita. La parte opzionale del violino 3 permette di sostituire la parte della viola. L'accompagnamento del piano incluso offre un sostegno armonico e ritmico. Strumentazione: 2 violini 1 & 2, 1 viola (o violino 3), 1 violoncello (o contrabbasso), 1 parte del piano.