This is a scale book of unprecedented scope. Simon Fischer has developed an entirely new method in which, using the traditional ways of practising scales only as a point of departure, he focuses on numerous often-neglected aspects of the violist's technique. For every element he has designed exercises that sensitize the ear, stimulate the mind and build the playing apparatus of the violist. The many outstanding features of this book include:how to structure intonation around perfect intervals and leading notesa new approach to learning how to time shiftsextensive notation for preparing and holding down fingersone-, two-, three- and four-octave scales and arpeggiostwo-octave scales and arpeggios on one stringnew sequences for single-finger scalesMany well-known Fischer classics are also incorporated, including practice methods for intonation, smooth bowing, string crossing, fast fingers, fourth-finger extensions and placing fingers in blocks. The innovative and wide-ranging material in Scales keeps the player turning the pages, discovering yet more exciting ways to approach scales. The wealth of thought-provoking exercises encourages violists to re-evaluate their practice - developing the playing skills of violists at all levels from intermediate to professional. / Alto

42 Finger Exercises for perfect intonation in the first position. Par SZILVAY GEZA. Géza Szilvay's Kreutzerini, here adapted for viola by David Banney, consists of 42 finger exercises for perfect intonation in the first position. These mini-studies were created to make learning and teaching 'ear-led finger-stopping movements' even more effective and enjoyable with inventive and resourceful use of natural harmonics and left hand pizzicatos. Kreutzerini is a supplementary material for the Colourstrings Viola ABC Book B (ISMN 9790550112537), but it can be used independently as well. / Date parution : 2022-05-31/ Répertoire / Alto

Viola Time Scales is brimming over with creative ideas to make learning scales and arpeggios easy, covering the finger patterns used in Viola Time Joggers and Runners, and including all the scales and arpeggios for ABRSM Grades 1 and 2.

Big Note/Large Print-Warm-ups for the Violist is an adaptation of Warm-ups for the Violinist. It is targeted to help build strengthen and develop the muscles and techniques needed for viola playing. It is especially suited and created for the morecasual violist who is sincerely interested in getting maximum benefit from a minimum of effort. I first tested these scales and exercises on myself for six months faithfully using them for about 20 minutes as warm-ups to my dailypractice. I was rewarded with a definite improvement in my technique. I was actually surprised to see my dexterity grow as I charted my metronomic progress on a calendar. I remember thinking 'I will never be able to play fasterthan this.' But then a couple of weeks later I would indeed climb a notch higher!Through the years I have used these exercises in countless workshops and with private students. The letters of thanks and positive feedback fromstudents who were thrilled with improved violin and fiddle technique have brought me great satisfaction. Progress with these exercises is like the progress of a body builder. Body builders do not get up in the morning and think 'I am going to develop and build my muscles today ' and instantly look like Mr. Atlas. It takes weeks months and for some years to attain results. It must be done over a period of time. Like all diets and exercise programs determination and dedication are most important to success! I sincerely believe that these exercises when faithfully practiced will help violists improve their skills. The exercises will help develop and strengthen muscles usedfor finger dexterity clarity of notes tone bowing-arm control intonation double stops and a flexible bowing-arm wrist. A companion audio play-along recording is available online.

This pupil's book provides a lively and comprehensive introduction to the very first steps of playing the viola.All the titles in the Abracadabra series work in conjunction with each other making them ideal for ensemble group and whole class tuition. Used alone they remain perfect for individual lessons. The book contains activities games and pieces that teach the fundamentals of playing the viola : good posture (with and without the instrument) bow hold finger position and pitch awareness as well as developing rhythm and notation reading. The CD also aids pitch development with performances of the pieces and backing tracks to motivate pupils to practisepieces and activities outside of their lessons. The basics are constantly reinforced and revisited with the pupils building up to 'performance pieces' that combine and showcase all of the skills they have developed.

The Viola Wall Chart presents innovative finger-pattern drawings for all twelve major scales in first position and movable patterns for higher positions. It also includes note names superimposed on an actual viola picture and alist of bowing terms.

Par DUNCAN CRAIG. Prévoyant indispensables de littérature engageante l'altiste étudiant, cette collection d'Alto / arrangements pour piano est dérivé de sonates de Handel, oeuvres orchestrales et pièces accessoires. Les parties de l'alto relativement facile sont jouables tout en première position. Une partie d'arrachement commode pour le soliste dispose d'indications fingering et se. Cette collection commence avec des plus facile et progresse dans son niveau de difficulté. / Niveau : Débutant à Intermédiaire / Classic - Solos / Recueil / Alto

In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D'Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D'Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel's virtuoso classic 'Tzigane?. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano, producing a sound similar to the rich overtones of the Cimbalon), the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel later orchestrated 'Tzigane? and both versions remain a 'must? for music-lovers and aspiring violinists today. Jelly D'Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel's masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer's earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition - one of the available sources, consulted for the first time, was a copy of 'Tzigane? from the estate of Jelly D'Aranyi, which is today part of a private collection. The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D'Aranyi. D'Aranyi's alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D'Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto.- First scholarly-critical Urtext edition of the work - Presented are both versions: for violin and orchestra and for violin and piano- Includes Jelly D'Aranyi's fingering / Alto

Providing much-needed engaging literature for the student violist this collection of viola/ piano arrangements is derived from Handel's sonatas orchestral works and incidental pieces. The relatively easy viola parts are allplayable in first position. A convenient pull-out part for the soloist features fingering and bowing indications. This collection begins with easier arrangements and progresses in its level of difficulty.

60 First Position Studies from Op. 45 54 74 - Selected and Arranged in-The quintessential Viola method just got even better with a new edition expertly updated and edited by world-famous violinist Rachel Barton Pine. It contains modernised fingerings bowings and dynamics by Pine all newly engraved for this edition. At the same time it remains faithful to the original maintaining the same pedagogical sequence as Aiqouni's classic edition. This edition also includes a DVD of Matthew Lipman playing all 60 etudes with two camera views so students can choose to see either the bow or the left hand technique. For beginning to intermediate players.

Now in a third edition Abracadabra Viola has a fresh contemporary new look and is the perfect book for pupil and teachers.This title offers an identical selection of repertoire to the other books in the Abracadabra Strings series so they can be used in any combination for group or whole class lessons and mixed ensemble performances. Used alone they remain ideal for individual tuition.With tunes you know and want to play carefully graded in 20 learning steps this new edition of the popular tutor also includes duets trios and teacher's parts. Clear fingering and bowing diagrams and concise theory explanations help to teach thefundamentals of the instrument and each new technical aspect is reinforced by several pieces using that particular technique.Abracadabra Viola now also includes two CDs of performance and backing tracks featuring selected orchestral backings.

A second set of Easy Progressive Studies for Viola by Herbert Kinsey. These studies published by the Associated Board of the Royal Schools of Music provide invaluable practice material for the building of bowing technique. It also provides much useful note-reading practice within the positions indicated. Each exercise is clearly marked with the technique or skill that you are practicing.