One, Two, Three - 1 Violin

With this work Pachelbel who was born in Nuremberg created one of the most popular orchestral pieces of the baroque period. In the canon two of the strictest contrapuntal forms are combined: The three violin parts form an extensive canon with entries of two bars distance. To this a ground bass (basso ostinato) has been added repeating its two-bar tone formula 28 times. The technical mastery of the piece can be ad-mired just as much as its effect lies in the melodic and sensuous power of its string tones. The modest technical demands on the musicians are diametrically opposed to the compositional level: they do not go beyond the third position.

While Pachelbel has been most admired as a composer of organ works and Lutheran church music his Canon in D has long been one of his most celebrated compositions. It combines two time-honored compositional devices. The first of these is of course the canon a procedure whereby a melody in one part is strictly imitated by one or more other parts; a round (such as for example Frère Jacques) is a type of canon. The second device involves a short bass line (refeered to as a ground bass) that is repeated constandly over which the composer writes continuous variations. In its original form the work consists of an initial statement of an eight note ground bass followed by27 variations in strict canonic style for three violins above that bass. In addition to these four essential parts an appropriate harmonic background would have been improvised on harpsichord lute or organ. In the present arrangement Pachelbel's note values have been doubled for greater ease of reading and the work's canonic structure has been somewhat modified in order to make it more readily playable by violinists and pianists at an intermediate level. Since dynamics bowing indications articulations and slurs were not customarily provided by composer of the Baroque era the arranger and the editor have added them here as well as a metronome indication and a few cadential trills. Obviously these editorial additions should be regarded only as suggestions.

Description Saxophonist John Coltrane was one of the most innovative, creative, and influential jazz artists of the 20th Century. Both stylistically and harmonically, he opened doors for others to follow. This book will focus on the first period of Coltrane's career, when he was with Miles Davis, and the jazz vocabulary he used. First, to help the student better understand Coltrane's bebop style of improvising, the authors discuss the use of guide tones, bebop scales, three to flat nine, targeting, and other techniques. Then the text presents numerous one-, two-, and three-measure jazz lines in Coltrane's style grouped by the harmony over which they can be used. The accompanying play-along CD provides the rhythm parts for each section, including a track for each section that modulates through the cycle of fourths, helping you master the phrases in all keys. By combining various lines, musicians will be able to mix and match numerous combinations of these lines to play over ii-V-I progressions, turnarounds, and other harmonic situations. Incorporate these essential jazz lines into your vocabulary and you will be able to create your own lines in the style of John Coltrane

Each skill section in this excellent resource for beginning intermediate and advanced players is concise easy to understand and provides an effective and meaningful approach to learning one- two- and three-octave scales plusmore. Presentation of scales and arpeggios include excellent fingerings and an emphasis on bowing and rhythmic variations. Beginners are supported with rote and music notation as well as specific goals to accomplish. One specialfeature is an intense focus on the development of the intermediate player through two-octave scales arpeggios and chord progression arpeggios! These studies increase knowledge of music theory promote chord recognition and areespecially valuable for those learning improvisation. Advanced players will be challenged by three-octave major and minor scales presented in increasing rhythmic values. Finally scales in sixths and thirds are offered forcontinued study and development of double stops. Discover a deep appreciation for getting the most out of scales!

D MAJOR - PARTITUR - = HARPSICHORD - 3 VIOLINS AND BASSO CONTINUO OR STRING ORCHESTRA EDITOR: MAY, HELMUT W. COMPOSER: PACHELBEL, JOHANN SÉRIE: CONCERTINO DIFFICULTÉ: INTERMEDIATE PAGES: 12 WITH THIS WORK, PACHELBEL, WHO WAS BORN IN NUREMBERG, CREATED ONE OF THE MOST POPULAR ORCHESTRAL PIECES OF THE BAROQUE PERIOD. IN THE CANON TWO OF THE STRICTEST CONTRAPUNTAL FORMS ARE COMBINED: THE THREE VIOLIN PARTS FORM AN EXTENSIVE CANON WITH ENTRIES OF TWO BARS DISTANCE. TO THIS, A GROUND BASS (BASSO OSTINATO) HAS BEEN ADDED REPEATING ITS TWO-BAR TONE FORMULA 28 TIMES. THE TECHNICAL MASTERY OF THE PIECE CAN BE AD-MIRED JUST AS MUCH AS ITS EFFECT LIES IN THE MELODIC AND SENSUOUS POWER OF ITS STRING TONES. THE MODEST TECHNICAL DEMANDS ON THE MUSICIANS ARE DIAMETRICALLY OPPOSED TO THE COMPOSITIONAL LEVEL: THEY DO NOT GO BEYOND THE THIRD POSITION.

Music Minus One Violin Deluxe 2-CD Set-Schubert's B-flat piano trio is a beautiful and magnificently cheerful work lyrical in character and truly a gem in the chamber repertoire. Delicacy and thoughtful integration of the three instruments make it a joy to perform. Includes a complete high-quality printed music score and two compact discs containing a complete performance with soloist then performed again minus the soloist. Performed by Vardi Emanuel violin Accompaniment : The Vardi Trio: Alan Shulman violoncello Edwin Hymovitz piano

Of Grieg?s three Violin sonatas the great C-minor Sonata op. 45 is the best known today. And unjustly so because the two early sonatas are captivating in their joy to play and their fresh youthful tone. And what is more they can also be played by advanced students due to their somewhat lesser technical demands. Written in 1867 the G-major Violin Sonata op. 13 palpably draws on Grieg?s enthusiasm for Norwegian folk music; the lively outer movements in particular take as their model the traditional ?jumping dance.? Aside from the second print edition of 1887 revised by Grieg himself the autograph manuscript in Stockholm wasalso consulted for this edition thus offering an optimally ascertained musical text.

The second volume containing the final three of six terrific Sonatas for two Violins by Italian composer Gaetano Pugnani. One of the leading Violinists of the late 18th century he was a strong and skillful player with adistinctive style and whose talents led to many developments of the bow and advancements in bowing technique that we know today. With great depth and drama these sonatas reveal Pugnani’s ability at composing music for the Violinand are works that display his brilliance.

New methods to practice and improve shifting positionsWith brief descriptions in three languages (Cz/Ger/Eng)Advanced level of difficultyThese exercises are intended for violinists who have a basic knowledge of shifting positions and how to play double stops. At first fixed positions and shifting are practised separately from one another in one and two part combinations. In the second volume these two techniques are combined and consolidated.The aim of these studies or études is to improve left-hand techniques enabling the student to execute shifting positions with greater confidence. Gola?s Violin Technique should accompany the violinist throughout his career.The authorZden kGola (*1929) studied at the Brunn Janá ek Academy and was subsequently Professor of Violin at the Music Conservatory in Ostrava. In 1966 he emigrated to Sweden where he made a name for himself as orchestral musician concert master and soloist as well as pedagogue. He is the author of numerous educational works.Also availableVolume 1: BA 9550

Cesar Franck's Sonata for Piano and Violin is one of the most treasured works in the violin repertoire, a masterpiece of cyclic form with a gracefulness and expressive force almost paradigmatic for the age of musical Romanticism. This work was composed in 1886 and was dedicated to the Belgian violinist and composer Eugène Ysaÿe.Franck's correspondence proves that he was directly involved in the printing of the sonata. Consequently, our new scholarly performing edition draws mainly on the first edition of the separate violin part. For the piano part, the first edition of the version for violoncello and piano, which appeared during Franck's lifetime, was an important source as many engraver's errors found in the first printing of the violin version had been corrected in this violoncello version. In addition to these sources, both autograph scores of the violin sonata (Franck's working copy and his fair copy) were consulted to clarify questionable readings.Bärenreiter's new edition also includes two short separate movements for the same instrumentation: the early 'Andantino quietoso? op. 6 (1843), a hauntingly beautiful piece composed for performances with Franck's violinist brother Joseph, as well as 'Mélancolie?, first published after Franck's death in 1911. This second piece is based on a solfège exercise and written at the height of the composer's creative powers, at about the same time as his famous violin sonata.The edition is rounded off by an informative text on the genesis and reception history of the three compositions (Ger/Fr/Eng), a complete list of sources, editorial notes and a Critical Commentary (Eng).- Pioneering new Urtext edition- Informative text on the genesis and reception history of the sonata and its versions (Ger/Fr/Eng)- Two small individual movements for violin and piano published for the first time- Detailed Critical Commentary (Eng) / Violon Et Piano