Jessica O'Leary (Editor). Over the years, many examination pieces have captured the imagination of teachers and students, but the stars of past syllabuses are often forgotten. This collection brings together best-loved grade 1 Violin pieces, including Land of the Silver Birch , Dvorák's Largo from the New World Symphony and Gershwin's Oh, Lady, Be Good . Containing fresh editions of folk and classical masterpieces alongside contemporary favourites, all pieces have been rigorously researched by violin expert Jessica O'Leary. A CD of performance and accompaniment tracks is included, as are useful practice tips. This book includes pieces from current and past Trinity and ABRSM syllabuses. Jessica O'Leary has a successful career as a teacher, professional violinist, ABRSM examiner and seminar presenter. She has toured and recorded extensively as a member of the Academy of St Martin in the Fields, and has performed with Madonna, Led Zeppelin, the London Symphony Orchestra and the Royal Opera House. She teaches violin and viola and directs string ensembles at St Paul's Girls' School, Eltham College and Junior Guildhall London. / Niveau : Facile / Recueil / Violon

Jessica O'Leary (Editor). Over the years, many examination pieces have captured the imagination of teachers and students, but the stars of past syllabuses are often forgotten. This collection brings together best-loved grade 5 pieces, including Pleyel's Sonatina in B flat , Fauré's Sicilienne and Wedgwood's Survivor . Containing fresh editions of folk and classical masterpieces alongside contemporary favourites, all pieces have been rigorously researched by violin expert Jessica O'Leary. A CD of performance and accompaniment tracks is included, as are useful practice tips. This book includes pieces from current and past Trinity and ABRSM syllabuses. Jessica O'Leary has a successful career as a teacher, professional violinist, ABRSM examiner and seminar presenter. She has toured and recorded extensively as a member of the Academy of St Martin in the Fields, and has performed with Madonna, Led Zeppelin, the London Symphony Orchestra and the Royal Opera House. She teaches violin and viola and directs string ensembles at St Paul's Girls' School, Eltham College and Junior Guildhall London. / Niveau : Assez Facile / Recueil / Violon

Accompaniments Violin Viola Books 1 and 2-This book contains all the accompaniment parts necessary for use with the Essential String Method Violin and Viola pupil's books 1 and 2. The melody line from the Violin and Viola books haas been replicated here so accompanists and teachers can see exactly what the lead instrument should play.

This book contains all the accompaniment parts necessary for use with the Essential String Method Violin and Viola pupil's books 3 and 4.

To see the summer sky for Violin and Viola falls into four movements. The first movement opens with the two instruments sounding almost as one playing very high glassy harmonics. Gradually an expressive viola solo emerges withboth instruments descending to their lower ranges. A livelier quasi scherzando solo for violin accompanied by viola pedal notes leads to a chorale like passage the violin at the top of its range whilst the viola is at itslowest. The movement ends with the two instruments coming together once again on a unison Bb and fades away almost as it has begun but this time in the husky lower registers.The second movement is much faster and openswith a downward flurry for both instruments. A continuous pizzicato line for viola is interrupted by more violent passages in the violin. The two instruments come together in a dance-like passage before the roles are reversed.Finally an ecstatic melody surfaces in the viola and is later continued in the violin before the movement closes with the spiky figures of its opening the two instruments ending in unison.The third movement encompasses isthe most delicate and still music of the piece. After a very tranquil opening an expressive violin melody is accompanied by a gentle rocking figure in the viola. Tentative at first intensity and speed gather until the violinreaches stratospheric heights. Both of the instruments play at the extremes of their registers before moving to common ground for a more lively textural passage. This is followed by a passionate reminder of the movement’s opening gradually fading away to nothing.The piece ends with a Moto Perpetuo. The instruments begin by dovetailing a single line which develops into two strands before a more violent section appears punctuated by strident doublestops. Both instruments have slightly manic solo episodes before the movement quickly dies away in the single line of its opening

Johannes Brahms:The Works for one Instrument and PianoJohannes Brahms' compositions for one instrument and piano have been standards in chamber music literature ever since their inception. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter's pioneering new scholarly-critical editions of Brahms' works for one instrument and piano are edited by a team of musicologists who are also performers. They offer today's musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.In addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.An integral part of Bärenreiter's Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo, rubato, rhythmic flexibility and articulation. Furthermore musicians will find valuable information concerning vibrato, portamento and bowing. Last but not least characteristics of Brahms' own piano playing as well as that of his circle and contemporaries are discussed.The violin and viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim's pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms' associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- A pioneering set of Urtext editions- String editions include an Urtext solo part and a second part with fingering as well as performance markings- Each edition offers a preface on performance practice aspects pertaining to the respective works- A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms' chamber music / Violon Et Piano

With Piano Accompaniment-These books are arranged to be performed with various combinations of instruments. This volume presents some of the most beloved repertoire for the Christmas season. Some works are well known others will sound fresh and new tomost players. The pieces may be performed as a solo for each instrument (Violin 1 Violin 2 Viola or Cello) with piano accompaniment or as duets or trios as well as full orchestra. If performed with full orchestra the pianoaccompaniment is not necessary. The string ensemble series meets all standards for ASTA (American String Teachers Association) and Suzuki Association of the Americas Inc. If performed with full orchestra no solo parts should beplayed except the 1st violin part. Note also if you wish to perform these works with full orchestra and you are short certain instruments you still have some flexibility with the score. For example if there are not enoughviolas for balance the viola (harmony part) and 3rd violin part are identical. The part may be played with all 3rd violins or equally divided between 3rd violins and violas.

INSTRUMENTATION : 2 VIOLINS, VIOLA (VIOLIN) AND CELLO VERSION : SCORE AND PARTS CONTENU : AIRE FROM ABDELAZAR (PURCELL) - ALLEGRO (HAYDN) - CONVERSATION PIECE (NORTON) - LENTO FROM SCENES OF CHILDHOOD (SCHUMANN) - MARCH FROM FLAVIUS (HANDEL) - MINUET & TRIO (BEETHOVEN) - MINUET & TRIO FROM DIVERTIMENTO IN D (MOZART) - NEW YEAR�?S SONG - RONDO FROM FAIRY QUEEN (SCHUBERT) - SLOVAKIAN FOLKSONG (BARTóK) - VARIATIONS ON EARLY ONE MORNING (NELSON) NOMBRE DE PAGES : 56 FORMAT : DIN A4

Par CLARKE GENE. Hymns Made Easy for Viola is a collection of favorite traditional hymns with guitar accompaniment, suitable for church, teaching or recreational settings. The material includes viola parts and bowing indications in first position, with guitar chord names written above the staff. All the arrangements in this book are compatible with Hymns Made Easy for Violin and Hymns Made Easy for Cello. Hymns Made Easy for Viola is a collection of favorite traditional hymns with guitar accompaniment, suitable for church, teaching or recreational settings. The material includes viola parts and bowing indications in first position, with guitar chord names written above the staff. All the arrangements in this book are compatible with Hymns Made Easy for Violin and Hymns Made Easy for Cello. / Niveau : Facile / Musique religieuse / Date parution : 2019-05-27/ Recueil / Alto

Pieces by Georeg Frideric Handel, arranged by Felix Borowski for Violin/Viola and Piano. / Violon Et Piano

Or Violin And Viola-28 familiar feet-tappin' folk numbers cleverly arranged for either two violins OR for violin and viola. Good barn dance material!Grade: 5