NXT Violin / Viola Instructions
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A Comparative Analysis of the Six Duets for Violin and Viola by Michael Haydn and Wolfgang Amadeus Mozart
A COMPARATIVE ANALYSIS OF THE SIX DUETS FOR VIOLIN AND VIOLA BY MICHAEL HAYDN AND WOLFGANG AMADEUS MOZART by Euna Na Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Frank Samarotto, Research Director ______________________________________ Mark Kaplan, Chair ______________________________________ Emilio Colón ______________________________________ Kevork Mardirossian April 30, 2021 ii I dedicate this dissertation to the memory of my mentor Professor Ik-Hwan Bae, a devoted musician and educator. iii Table of Contents Table of Contents ............................................................................................................................ iv List of Examples .............................................................................................................................. v List of Tables .................................................................................................................................. vii Introduction ...................................................................................................................................... 1 Chapter 1: The Unaccompanied Instrumental Duet... ................................................................... 3 A General Overview -
The Science of String Instruments
The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D. -
This Paper Is a Revised Version of My Article 'Towards A
1 This paper is a revised version of my article ‘Towards a more consistent and more historical view of Bach’s Violoncello’, published in Chelys Vol. 32 (2004), p. 49. N.B. at the end of this document readers can download the music examples. Towar ds a different, possibly more historical view of Bach’s Violoncello Was Bach's Violoncello a small CGda Violoncello “played like a violin” (as Bach’s Weimar collegue Johann Gottfried Walther 1708 stated)? Lambert Smit N.B. In this paper 18 th century terms are in italics. Introduction Bias and acquired preferences sometimes cloud people’s views. Modern musicians’ fondness of their own instruments sometimes obstructs a clear view of the history of each single instrument. Some instrumentalists want to defend the territory of their own instrument or to enlarge 1 it. However, in the 18 th century specialization in one instrument, as is the custom today, was unknown. 2 Names of instruments in modern ‘Urtext’ editions can be misleading: in the Neue Bach Ausgabe the due Fiauti d’ Echo in Bach’s score of Concerto 4 .to (BWV 1049) are interpreted as ‘Flauto dolce’ (=recorder, Blockflöte, flûte à bec), whereas a Fiauto d’ Echo was actually a kind of double recorder, consisting of two recorders, one loud and one soft. (see internet and Bachs Orchestermusik by S. Rampe & D. Sackmann, p. 279280). 1 The bassoon specialist Konrad Brandt, however, argues against the habit of introducing a bassoon in every movement in Bach’s church music where oboes are played (the theory ‘wo Oboen, da auch Fagott’) BachJahrbuch '68. -
Viola Concerto Second Movement
String Orchestra Series • Grade 3.5 Viola Concerto Second Movement Georg Philipp Telemann arranged by Todd Parrish 1 Full Score 8 Violin I 8 Violin II 5 Viola 5 Cello 5 Bass For PreviewExtra Parts P3035221 Only 3035222 sm INGERT WONES J P UBLICATIONS Program Notes The Telemann Viola Concerto is one of the most famous ever written for the instrument. Although originally in four movements, this arrangement focuses on the exuberant second movement. Care has been taken to keep a great deal of melodic material in the viola part. Difficult sixteenth note passages have been broken up to be easily played by both the violin and viola sections. Student violists will enjoy playing this medium level work, and they will appreciate the opportunity it gives to showcase the beauty and power of their instrument. About the Arranger Todd Parrish has taught public school orchestras at all levels for 17 years in both Illinois and Virginia. He currently has several original compositions and arrangements published with Alfred Music and Wingert-Jones Publications. He received a Bachelor of Music Education from Oral Roberts University in Oklahoma and a Master of Music in orchestral conducting from the University of Arizona in Tucson. He has also studied conducting at workshops with many leading teachers in Colorado, Illinois, South Carolina, Maine, and Aix-en-Provence, France. Todd is the orchestra editor for J.W. Pepper & Son sheet music and the string editor for Wingert-Jones Publications based in Exton, Pennsylvania. In addition to playing violin and viola with many symphony orchestras around the country, he regularly guest conducts student orchestras upon request ([email protected]) For Preview Only Duration 3:00 Viola Concerto Second Movement Georg Philipp Telemann arranged by Todd Parrish Allegro q = 100 œ œ≥ œ œ œ Violin I ° #4 ≥ . -
The String Family
The String Family When you look at a string instrument, the first thing you'll probably notice is that it's made of wood, so why is it called a string instrument? The bodies of the string instruments, which are hollow inside to allow sound to vibrate within them, are made of different kinds of wood, but the part of the instrument that makes the sound is the strings, which are made of nylon, steel or sometimes gut. The strings are played most often by drawing a bow across them. The handle of the bow is made of wood and the strings of the bow are actually horsehair from horses' tails! Sometimes the musicians will use their fingers to pluck the strings, and occasionally they will turn the bow upside down and play the strings with the wooden handle. The strings are the largest family of instruments in the orchestra and they come in four sizes: the violin, which is the smallest, viola, cello, and the biggest, the double bass, sometimes called the contrabass. (Bass is pronounced "base," as in "baseball.") The smaller instruments, the violin and viola, make higher-pitched sounds, while the larger cello and double bass produce low rich sounds. They are all similarly shaped, with curvy wooden bodies and wooden necks. The strings stretch over the body and neck and attach to small decorative heads, where they are tuned with small tuning pegs. The violin is the smallest instrument of the string family, and makes the highest sounds. There are more violins in the orchestra than any other instrument they are divided into two groups: first and second. -
Wittner Shoulder Rest “ Isny” 280, 281, 282 for Viola and Violin Instruction and Assembly Manual Stand 17.4.2013
Wittner shoulder rest “ Isny” 280, 281, 282 for viola and violin Instruction and Assembly Manual Stand 17.4.2013 Product description: Important safety advice: Product description: Combination possibilities 1. Pad rest with 6mm pad (complete) • Please study the instruction manual carefully prior to • Central mounting! Option A: 280... + 281... 2. Shoulder rest arm assembly. • No loss in sound since shoulder rest has no contact with without chin rest or with chin 3. Shoulder rest base • Do not use the shoulder rest any different than described in back of instrument. rest of a different brand - this manual. mounted on the rib 4. Cross-tip screwdriver for mounting the base onto the • Countless adjustment possibilities. instrument (only type 280, 281 ) • Please ensure the fit and the latching after each mounting • The shoulder rest cannot slip and drop. 5. Hex wrench to adjust the ball joints at the rest's arm on the instrument. Option B: 280... + 281... 6. 2 tenterhooks with cross-head screw (only type 280, 281) • Anti-allergic. • To protect your instrument during each transport, please with Wittner chin rest 253xxx, • 7. 2 clasps (only type 282) remove pad rest (1) and shoulder rest arm (2) and stow it Ultra-light. 254xxx, 256xxx or 257xxx - 8. Cloth bag together with the hex wrench (5) using the included cloth • Very flexible adaption to shoulder. mounted centrally Adjustment template – part of the packaging insert bag (8) inside the instrument case. • Can be disassembled into very small parts which enables • Accessories / replacements: To attach and adjust the shoulder rest, please only use easy transport in violin case. -
Lunchtime Concert in Europe, Scandinavia, China, the U.S
Rob Nairn worked as Associate Professor of Double Bass at Melbourne Conservatorium and Head of the Early Music Department for the past three years. He previous taught on the faculty of the Juilliard School for 11 years and Penn State University for 18 years where he was a Distinguished Professor. A Past-president of the International Society of Bassists he hosted the Society’s 2009 Convention at Penn State. Rob received his Bachelor of Music with distinction from the Canberra School of Music and a post-graduate diploma from the Berlin Musikhochschule by courtesy of a two-year DAAD German Government Scholarship. His teachers have included Klaus Stoll, Tom Martin, and Max McBride. In 2008 he was awarded a Howard Foundation Fellowship from Brown University. Rob has performed with the Pittsburgh Symphony Orchestra, the London Philharmonic, the English, Scottish and Australian Chamber Orchestras, the Bavarian Radio Symphony Orchestra, The Oslo Philharmonic, The Gothenburg Symphony, The Baltimore Symphony, The Halle Orchestra, the London Sinfonietta, and the Sydney, Adelaide, Queensland and Melbourne Symphony Orchestras, the Australia Ensemble, The Australian World Orchestra and the Australian String Quartet. Rob has recorded for Deutsche Grammaphon, Sony Classical , EMI, Naxos, Tall Poppies, RCA and ABC Classics. In Historical Performance he is currently principal bass with the Australian Brandenburg Orchestra and the Handel Haydn Society of Boston and has worked with the Boston Early Music Festival, Juilliard Baroque, Orchestre Revolutionnaire et Romantique, English Baroque Soloists, Smithsonian Chamber Players, Concerto Caledonia, Ironwood, Washington Bach Consort, the Aulos Ensemble, Rebel, Florilegium and the Orchestra of the Age of Enlightenment. -
“Playful Pizzicato” from Simple Symphony
“Playful Pizzicato” from Simple Symphony Benjamin Britten When the war was over, the biggest Born: November 22, 1913 opera company in England held a gala Died: December 4, 1976 reopening and commissioned Britten to write a new opera for the occasion. Benjamin Britten was an expert in Britten was also asked to compose an three different musical fields— opera when Elizabeth II was crowned conducting, composing and playing Queen of England. piano. Britten was born in Lowestoft, a town on the English seacoast. (His The Simple Symphony was written when birthday, November 22nd, happens to Britten was 20 years old. After graduating be the feast day of the patron saint of from the Royal Conservatory of Music, music, St. Cecilia.) Benjamin’s father he spent his Christmas vacation looking was a dentist; his mother loved to sing, through pieces of music he had composed and regularly held concerts in their years before. Some were written when home. he was just 10 years old. Britten thought that with a little work he could turn this From the moment he started playing early music into something that would be piano, Britten knew he wanted to earn fun for school orchestras to perform. his living as a composer. His first paying job was writing music for films. “Playful Pizzicato” is the second movement from Britten’s Simple Britten was a pacifist and didn’t believe Symphony. He instructed his players to in fighting wars, so when it became play as fast as possible and always obvious that England would go to pizzicato. Pizzicato means to pluck war with Germany in 1939, he left for the strings of the instrument with America. -
Young Person's Guide to String Instrument Care
Young Person's Guide to String Instrument Care For More information, visit: www.henrystrobel.com Copyright © 1999 Henry Strobel (503) 749-1742 Fitting the Violin or Viola - Hold it under the chin in playing position. If the left-hand fingers can comfortably curl around the scroll, with the elbow slightly bent, the instrument is not too large. Straining to play one too large can be bad for your music or your health. Fitting the Cello - Sit with knees bent square, the C-peg behind the left ear, the middle finger of the left hand able to touch the top of the bridge. (The violin shop can replace a too short end pin.) Fitting the Bass - Stand behind the bass in playing position, the nut level with the temple, the middle finger of the left hand able to touch the top of the bridge without bending forward. (Note - the normal "adult" size bass is 3/4, not 4/4.) Chin Rests and Shoulder Rests - These should let you play comfortably and securely. Your teacher can advise. Often the original chin rest is OK. Or perhaps a “Teka” or, for a few, a central “Flesch.” A Kun or similar shoulder rest. Watch out for worn pads that might scratch your instrument. Cleaning - Use a dry untreated cloth to clean the instrument after use - a man's handkerchief is good. If you need to clean or polish it, use only a white liquid violin shop type. Have any cracks or openings repaired first, wipe it on with a clean soft paper towel (not the dry cloth kept in your case!) and rub it all off. -
The Issue of Size: a Glimpse Into the History of the Violoncello Piccolo
Page 1 The Issue of Size: A Glimpse into the History of the Violoncello Piccolo by Johanna Randvere Early Music Department University of the Arts, Sibelius Academy April 2020 Page 2 Abstract The aim of this research is to find out whether, how and why the size, tuning and the number of strings of the cello in the 17th and 18th centuries varied. There are multiple reasons to believe that the instrument we now recognize as a cello has not always been as clearly defined as now. There are written theoretical sources, original survived instruments, iconographical sources and cello music that support the hypothesis that smaller-sized cellos – violoncelli piccoli – were commonly used among string players of Europe in the Baroque era. The musical examples in this paper are based on my own experience as a cellist and viol player. The research is historically informed (HIP) and theoretically based on treatises concerning instruments from the 17th and the 18th centuries as well as articles by colleagues around the world. In the first part of this paper I will concentrate on the history of the cello, possible reasons for its varying dimensions and how the size of the cello affects playing it. Because this article is quite cello-specific, I have included a chapter concerning technical vocabulary in order to make my text more understandable also for those who are not acquainted with string instruments. In applying these findings to the music written for the piccolo, the second part of the article focuses on the music of Johann Sebastian Bach, namely cantatas with obbligato piccolo part, Cello Suite No. -
A Guide to Extended Techniques for the Violoncello - By
Where will it END? -Or- A guide to extended techniques for the Violoncello - By Dylan Messina 1 Table of Contents Part I. Techniques 1. Harmonics……………………………………………………….....6 “Artificial” or “false” harmonics Harmonic trills 2. Bowing Techniques………………………………………………..16 Ricochet Bowing beyond the bridge Bowing the tailpiece Two-handed bowing Bowing on string wrapping “Ugubu” or “point-tap” effect Bowing underneath the bridge Scratch tone Two-bow technique 3. Col Legno............................................................................................................21 Col legno battuto Col legno tratto 4. Pizzicato...............................................................................................................22 “Bartok” Dead Thumb-Stopped Tremolo Fingernail Quasi chitarra Beyond bridge 5. Percussion………………………………………………………….25 Fingerschlag Body percussion 6. Scordatura…………………………………………………….….28 2 Part II. Documentation Bibliography………………………………………………………..29 3 Introduction My intent in creating this project was to provide composers of today with a new resource; a technical yet pragmatic guide to writing with extended techniques on the cello. The cello has a wondrously broad spectrum of sonic possibility, yet must be approached in a different way than other string instruments, owing to its construction, playing orientation, and physical mass. Throughout the history of the cello, many resources regarding the core technique of the cello have been published; this book makes no attempt to expand on those sources. Divers resources are also available regarding the cello’s role in orchestration; these books, however, revolve mostly around the use of the instrument as part of a sonically traditional sensibility. The techniques discussed in this book, rather, are the so-called “extended” techniques; those that are comparatively rare in music of the common practice, and usually not involved within the elemental skills of cello playing, save as fringe oddities or practice techniques. -
Color in Your Own Cello! Worksheet 1
Color in your own Cello! Worksheet 1 Circle the answer! This instrument is the: Violin Viola Cello Bass Which way is this instrument played? On the shoulder On the ground Is this instrument bigger or smaller than the violin? Bigger Smaller BONUS: In the video, Will said when musicians use their fingers to pluck the strings instead of using a bow, it is called: Piano Pizazz Pizzicato Potato Worksheet 2 ALL ABOUT THE CELLO Below are a Violin, Viola, Cello, and Bass. Circle the Cello! How did you know this was the Cello? In his video, Will talked about a smooth, connected style of playing when he played the melody in The Swan. What is this style with long, flowing notes called? When musicians pluck the strings on their instrument, does it make the sounds very short or very long? What is it called when musicians pluck the strings? What does the Cello sound like to you? How does that sound make you feel? Use the back of this sheet to write or draw what the sound of the Cello makes you think of! Worksheet 1 - ANSWERS Circle the answer! This instrument is the: Violin Viola Cello Bass Which way is this instrument played? On the shoulder On the ground Is this instrument bigger or smaller than the violin? Bigger Smaller BONUS: In the video, Will said when musicians use their fingers to pluck the strings instead of using a bow, it is called: Piano Pizazz Pizzicato Potato Worksheet 2 - ANSWERS ALL ABOUT THE CELLO Below are a violin, viola, cello, and bass.