Scale Exercises in All Major and Minor Keys for Daily Study
Author: Carl Flesch
Pubpsher: Allegro Editions
Nearly a century after its initial publication, Carl Flesch's Scale System remains one of the foremost scale books for violin. This comprehensive collection of exercises features the 24 major and minor scales, with emphasis on both double-stops and arpeggios. With Flesch's exercises, the intermediate player will progressively master intonation, shifting, rhythm, string crossing, bow speed and pressure, and tone production. Initially published as a supplement to Book 1 of The Art of Violin Playing, Flesch's Scale System has become the principal scale study for serious violinists. Carl Flesch (1873-1944) was born in Hungary and began playing the violin at age seven. He was a famous chamber musician, instructor, and solo performer, who mastered repertoire ranging from Baroque to contemporary works.
Until comparatively recent times very little had been written for the viola as a solo instrument. Our contemporary composers have done a great deal to remedy this situation. Bax, Beresowsky, Bliss, Bloch, Delius, Hindemith, Honegger, Milhaud, Vaughan Williams, Walton and many others have contributed important sonatas, suites and concertos for the viola. Many new works are constantly being added. This new literature has placed new demands upon the violist, who in the past found a place only as an orchestra or chamber music player. Higher standards of technical perfection are required. It therefore occurred to me that the “Scalesystem” published by the eminent pedagogue and violinist Carl Flesch, regarded as a standard work by violinists the world over, would be equally valuable to violists if translated into their medium. I have undertaken this task with the encouragement of Professor Carl Flesch. The publishers and I hope that it will be found useful by performers and teachers of the viola. Charlotte Karman New York October 1941
Solly’s dream is for his son Teddy to one day become a concert violinist. Eventually he comes to understand and to endure the heartbreak of knowing that the dream never will be realized. As Solly watches, life takes Teddy from gifted violin student to adult engineer and scientist, leaving no time for the career in music Solly so dearly wants his son to pursue. In the end, there emerges the essence of redemption as Teddy returns to the violin late in life and fulfills his and his father’s vision. The story, which is a work of fiction based on real events, will fascinate readers from ages ten to one hundred who are interested in radio, communications, and music and in how it was to grow up in a family whose members trace their heritage to that great wave of immigrants that crashed onto America’s shores in the mid- to late 1800s.
`In all areas of human endeavour, time and again an individual appears who, due to a multitude of personal attributes, elevates his or her field to a hitherto unknown height. Such an individual was William Primrose. His name and the viola are synonymous.' Janos Starker This unique book is the result of a series of conversations with Primrose in the last years before his death in 1982. David Dalton describes how he came to the great artist armed with every question he could think of pertaining to performing on and teaching the viola. The lively dialogue contains a wealth of illuminating advice for the student on the technicalities of playing the viola. It is, however, far more than a technical guide. The two violists discuss the unique position of their instrument - `an instrument without tradition' is Primrose's bald description. They cover the topic of repertoire with fascinating insights into the performance of the great concertos by Bartók and Walton, with which Primrose was so closely associated. Still more invaluable advice emerges from the discussion of Primrose's own experience, on the art of performance, on demeanour on stage, on competitions, on recordings, and on preparing for a career. The book is a tribute to one of the greatest artists of this century.
Colourstrings® Violin ABC: Violin Scales 3 - Scales and Arpeggios
Author: Szilvay, Géza
Pubpsher: Fennica Gehrman Ltd.
Colourstrings® Violin ABC is finally available in digital format! Violin Books A, B, C and D, Scales book 1, 2 and 3 and Kreutzerini are released as electronic publications. Violin Scales for Children, Vol. 3: Scales and Arpeggios, is the third book of Violin Scales for Children. This book uses tonic sol-fa to acquaint the pupil with major and melodic minor scales and major and minor arpeggios, played over one and two octaves. In the Scales over two octaves, the length of the last note in both directions - ascending and descending - is doubled to allow the child to gain a secure feeling for the tonic. The Colourstrings® method uses a colour for each string and focuses on teaching children rhythm and technique on open strings while gradually introducing them to more complicated methods.
This progressive scale system coordinates basic concepts from elementary to advanced scales in preparation for the Scale System by Carl Flesch. In some aspects it goes beyond the scope of the Flesch system. One-octave scales are introduced in patterns with emphasis on half steps and finger retention. the two-octave scale patterns are non-shifting. Three-octave scales are offered with traditional and modern fingerings. the double stop scales vary in fingerings in order to teach the basic concepts of double-stops. Harmonics are included beyond the scope of the Flesch system, in a basic form including natural harmonics.
A mesmerizing figure in concert, Charles Munch was celebrated for his electrifying public performances. He was a pioneer in many arenas of classical music--establishing Berlioz in the canon, perfecting the orchestral work of Debussy and Ravel, and leading the world to Roussel, Honegger, and Dutilleux. A pivotal figure, his accomplishments put him on a par with Arturo Toscanini and Leonard Bernstein. In Charles Munch, D. Kern Holoman provides the first full biography of this giant of twentieth-century music, tracing his dramatic survival in occupied Paris, his triumphant arrival at the Boston Symphony Orchestra, and his later years, when he was a leading cultural figure in the United States, a man known and admired by Presidents Truman, Eisenhower, and Kennedy. He turned to conducting only in middle age, after two decades as a violinist and concertmaster, a background which gave him special insight into the relationship between conductor and orchestra. At the podium, his bond with his musicians unleashed something in them and in himself. "A certain magic took wing that amounts to the very essence of music in concert," the author writes, as if "public performance loosed the facets of character and artistry and poetry otherwise muffled by his timidity and simple disinclination to say much." In concert, Munch was arresting, even seductive, sweeping his baton in an enormous arch from above his head down to his knee. Yet as Holoman shows, he remained a lonely, even sad figure, a widower with no children, a man who fled admirers and avoided reporters. With groundbreaking research and sensitive, lyrical writing, Charles Munch penetrates the enigma to capture this elusive musical titan.