Par HARRIS PAUL. Does the thought of sight-reading make you groan? The ability to sight-read fluently is a vital skill, enabling you to learn new pieces more quickly and play with other musicians. The best-selling Improve your sigh-reading! series, by renowned educationalist Paul Harris, is designed to help you overcome all your sight-reading problems, especially in the context of graded exams. Step by step you build up a complete picture of each piece, firstly through rhythmic and melodic exercises related to a specific technical and nbsp - issues, then by studying prepared pieces with associated questions, and finally 'going solo' with a series of meticulously graded sight-reading pieces. New edition, devised to support the revised sight-reading criteria from the ABRSM from 2012. Paul Harris is one of the most respected music educationalist, known for his innovative Simultaneous Learning approach. He has over 500 publications to his name including the highly-acclaimed Improve your teaching!, Improve your scales!, Improve your aural! and Improve your practice! series. Paul writes frequesntly on music education and is in great demand as a workshop and seminar leader around the world./ Etude / Violon

Par BEETHOVEN LUDWIG VAN. 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 been edited 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)/ Répertoire / Violon et Orchestre

plus CD: Full performances and Play-Along-Tracks - Piano part to print. Quite a different sort of well-known folk songs: Newly arranged for melodic instrument and piano, slightly jazzy and mixed with pop music elements - making the well-known songs sound fresh and interesting again! All pieces have a very melodic character and sound very pleasant even without piano accompaniment. This is why they are particularly suited for being used in class. The music of the piano accompaniment is available on CD as PDF files and can be printed in professional quality. The CD also contains backing tracks recorded of each piece - perfect live feeling guaranteed! For all lovers of the 'crossover' between folk, jazz and pop - by Schott's best-selling author Dirko Juchem who has been active as a saxophonist, saxophone teacher and specialist author nationally and internationally for many years./ Recueil / Violon

Konzert a-moll BWV 1041 und E-dur BWV 1042. Par BACH JOHANN SEBASTIAN. Study score format 22. 5 x 16. 5cm Today the three Violin concertos, BWV 1041–3, are among Johann Sebastian Bach ’s best known and most popular instrumental works and enjoy a permanent place in the concert repertoire. This Urtext edition is based in the New Bach Edition. The revised Violin and Piano reduction includes an Urtext solo part and a solo part with bowing, fingering and comments on performance by Andrew Manze. Full score and performance material, Violin and Piano reduction and study score of BWV1041-1042 (TP269) available for sale./ Répertoire / Partition de Poche

Solos for Young Violinists is a graded series of works ranging from elementary to advanced levels representing an exciting variety of styles and techniques for violinists -- a valuable resource for teachers and students of all ages. Many of the works in this collection have long been recognized as stepping stones to the major violin repertoire, while others are newly published pieces for further choices of study.

Solos for Young Violinists is a graded series that contains works ranging from elementary to advanced levels representing an exciting variety of styles and techniques for violinists -- a valuable listening resource for teachers and students of all ages. The piano tracks, recorded on the second half of each CD, give the violinist the opportunity to practice with accompaniments. This series of recordings can be used by any violinist and is supplementary to any method or course of study. Many of the pieces in this collection have long been recognized as stepping stones to the major violin repertoire, while others are newly published works.

Without any doubt J.S. Bach?s cycle of the three Sonatas and Partitas BWV 1001-1006 represents one of the pinnacles of classical European music. According to C.P.E. Bach a contemporary voice stated that there was ?nothing more accomplished in order to become a good violinist? than his father?s works. The cycle reflects the entire harmonic and polyphonic musical universe of Bach?s time, so masterfully composed that it can be rendered within the limited framework of but a single instrument the violin.
The new publication of the Sonatas and Partitas BWV 1001-1006 (BA 5256) constitutes a complete revision of our older edition (BA 5116). The musical text has been edited by Peter Wollny and represents the most up-to-date state of research as published in the New Bach Edition Revised (NBArev), volume BA 5937-01. The edition is mainly based on Bach?s unusually clear autograph which is considered among the most beautiful manuscripts by the composer. All relevant secondary sources have been taken into consideration in order to clarify ambiguities. These include five contemporary copies, including one by Anna Magdalena Bach, and four manuscripts from the late 18th and early 19th centuries.
The musical text has been newly engraved with a clear and generous layout, whereby page turns and pagination have been retained from the previous edition. This allows the straightforward navigation between a copy of the previous and this new edition. The detailed Preface (Ger/Eng) provides information on the genesis of the Sonatas and Partitas, their context and the sources.
Sonata 1 g-Moll, BWV 1001
Partita 1 h-Moll, BWV 1002
Sonata 2 a-Moll, BWV 1003
Partita 2 d-Moll, BWV 1004
Sonata 3 C-Dur, BWV 1005
Partita 3 E-dur, BWV 1006 / Partitions classique / Cordes / Violon / BARENREITER

Par MENDONCA VASCO. 'Terrance Hayes? series of sonnets is an extraordinary collection of poems: his poetry captures the spiralling social and political chaos in America (and the world) in a way no newspaper article or scholarly essay has been able to; his words have the rare quality of clarifying a collective feeling that is messy and confusing, an elusive and disturbing combination of fear, hope, perhaps despair. I have never personally experienced (and probably never will) the reality Hayes writes about: the oppression, danger and ambiguity he reflects upon are alien to my own experience. But I nevertheless felt compelled to create something inspired by his words. To engage - how can you not engage' The first movement of ''A Box of Darkness with a Bird in its Heart'' is a hurtful ostinato with an uneven, organic pulse - not unlike the way we breathe under physical or emotional strain. The second is a quiet, delicate birdsong; its very high melody almost a secret that?s unwillingly shared - followed by an expressive lament. The ending in the low register brings me the image of a viola da gamba played outside in a warm summer night, a distant tale of violence and loss. In the final movement the energy picks up, in a relentless and unforgiving mechanism of pizzicati. This piece was written for the wonderful violinist Diana Tishchenko, and is dedicated to her. (Vasco Mendonça)' / Date parution : 2022-04-26/ Répertoire / Violon

This edition contains all of Janá ek?s works for Violin and Piano - the Sonata as well as the Romance and Dumka composed while he was still a student.Though probably written as early as 1914 Janá ek?s Sonata for Violin and Piano was revised several times before finally appearing in a definitive version in 1922. This new edition of the Sonata and the Romance is based on the Complete Critical Edition of the Works of Leo? Janá ek (Vol. E/1) with a clearer notation to optimise readability.For the Dumka the editor has drawn on the sole autograph source the Violin part (still considered lost when the above mentioned Complete Edition volume waspublished) and the revised version contained therein. Unlike the first edition it also contains Janá ek?s detailed dynamic markings.Newly engraved edition with notation adapted to conform with modern usage.Revised version of Dumka with original dynamic markings.Foreword by leading Janá ek scholar Alena N mcová (Cz/Eng/Ger)

Par DUFOURT HUGUES. Dawn Flight est le titre d'une toile que le graveur et peintre britannique Stanley William Hayter (1901-1988) réalisa en 1959. Sa formation scientifique - chimie, géologie - son habileté mathématique furent un atout considérable dans ses recherches de matières et de couleurs, qui peuvent atteindre des tons fluorescents. Hayter, qui fut l'une des premières figures du mouvement surréaliste, s'engagea à New York sur les voies de l'abstraction, aux côtés de Pollock, Rothko, Baziotes, Matta, Motherwell, De Kooning, Riopelle. Il est reconnu comme celui qui a révolutionné les techniques de la gravure au cours du XXe siècle. Il inventa le procédé qui permet d'obtenir plusieurs couleurs sur une même plaque en un seul passage. Rentré en 1950 à Paris, il expérimente de nouvelles techniques de gravure: empreintes, utilisation de l'acide sur le métal et surtout le burin multipointe. Il poursuit une recherche sur l'émergence des formes, sur la transparence, l'interférence, la vibration, les moires. Ses toiles intensifient la couleur, le dynamisme gestuel, et s'attachent sur la fin à capter les jeux de lumière à la surface de l'eau. Dawn Flight est construit sur un éventail d'obliques divergentes, remontant la diagonale, illustrant ainsi le paradoxe d'un flux ascendant, aspiré par le haut. La forme étirée et allongée des stries, la torsion intime de la trame, la tension paradoxale des entrelacs donnent le sentiment d'une réalité élémentaire, de l'aurore d'un monde. La production de Hayter à cette époque - Perseïdes, Poissons volants, Vague, Ixion, Cascade, Mérou, Méduse, Night - montre d'étranges associations de bleu et de noir, d'orange, de jaune transparent, de bleu et de vert. Frank Stella et Donald Judd comptent parmi les artistes qui ont le plus radicalement récusé l'idée d'un procès formateur de l'art, évacuant l'idée même de nécessité intérieure, voire de composition formelle. Transparence, profondeur, épaisseur, rayonnement ne seraient que des catégories factices tirées d'une illusion d'intériorité et l'idée même de progression structurée ne serait que l'effet d'une tyrannie du dedans. Qu'en est-il du quatuor qui fut la construction par excellence de l'intériorité, l'exemple même d'une logique compositionnelle épurée et réduite à la forme essentielle d'un développement ? Ecrire un quatuor après Donald Judd est-il encore possible ? Car il ne suffit pas de se confronter à l'histoire d'un genre, mais à la question de sa possibilité. L'idée même d'un dynamisme des voix a-t-elle encore un sens ? Et celle d'un tout dont les parties sont solidaires ? On n'osera même plus parler de texture, car il s'agit encore d'une forme interne, de l'expression d'une cohérence intérieure. Ecrire un quatuor pourrait signifier le retour à une réflexion sur les formes fondamentales du mouvement - comme l'attraction, la répulsion, l'inclusion ou la pénétration. Ou encore sur ce que signifient des gestes comme briser, couper, déchirer ou fendre. Ce serait aussi revenir sur ce qu'est une interférence de fluctuations, sur la plasticité, ou au contraire la tension désordonnée. A moins de supprimer le quatuor, il faut bien convenir qu'il est à l'image du tissu, d'une continuité ininterrompue, d'un entrelacs de fils et qu'il s'agit de l'oeuvre humaine par excellence: écrire un quatuor c'est renouer le fil. Froisser, tordre, déplier, déployer, dérouler, tels sont les exigences primordiales du quatuor, que l'on dit parfois soyeux ou moiré. Judd et ses contemporains ont rendu caduque l'idée qu'une oeuvre puisse formuler et suivre des règles explicites, assurer la conservation d'une forme dans une certaine série de transformations. Dans cette vue, la pensée musicale serait alors rendue à un état d'instabilité, de glissement perpétuel. Mais elle pourrait alors trouver peut-être de nouveaux schémas de connexion, et attribuer un sens original à l'idée de processus orienté, en lui donnant la forme d'un devenir global et unique, sans répétitions. La musique récente sait susciter l'émergence de propriétés inédites et s'absorber dans la réalité supérieure qu'elle suscite: elle n'est pas tant l'imagination des possibles que l'articulation des moments de l'expérience. Revenir à Hayter, ce serait se concentrer sur une topologie concrète d'intervalles et de liaisons, penser la musique comme flux, modulation, émergence perpétuelle, lumière illocalisable, masse en essor ou tournoiement sans prise. Ce sont là quelques bonnes raisons d'écrire un quatuor. Hugues Dufourt / contemporain / Date parution : 2008-06-24/ Répertoire / Quatuor à Cordes

A lively collection of great Scottish Irish and Canadian tunes to add variety to your sets! The four books in the series 'The Ceilidh Collection for Fiddlers' have been best sellers in Scotland for more than 20 years with all ages and stages of fiddle players - a testimony to the great Scottish music contained in them. This volume contains some tunes which use more complex rhythms bowings and the keys up to three flats but most of the tunes are in A D or G. Another stunning collection of popular tunes for ceilidh dancing and solo performances. “The Ceilidh Collection has over eighty tunes arranged by type and hereis its real strength: if you’re playing at a ceilidh what you want is a set of tunes suited to the next dance and you want them quickly - mustn’t keep the dancers waiting. Well using this book you just turn to the page and away you go. It’s not just that the tunes are arranged by jigs reels waltzes or whatever but they are also arranged by dance.” “For anyone staring out in the business of playing for dancers the Ceilidh Collection is ideal. It has all the old favourites and a few newer ones for interest. It has nearly all the dances which are usually performed and a few titbits like the set for Burns Nigh and some airs. Nor is it just for fiddlers because everything is chorded. A thoroughly worthwhile publication.” - John Moar Orkney View Magazine