Every beginner violinist should have this book on hand when they need a break from their main repertoire but still want to play something that will challenge them. Barlow presents dozens of catchy, energetic tunes, but each one also has technical challenges. These tunes are so fun to play that even advanced students enjoy reviewing them! A wonderful introduction to the incredible world of fiddle music.
This sweet, short, but little-known piece is wonderful for intermediate students who want to delve into Romantic works. It does contain shifting and quite a few high notes, but the tempo is not fast and the theme repeats so there is not that much music to learn.
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This piece embodies glorious hope in the face of tremendous pain and loss. Felix Borowski is not well-known in most circles. Born in England in 1872 of Polish descent, he later moved to Chicago where he became director of the Chicago Musical College and program annotator for the Chicago Symphony. He wrote three symphonies and three major organ sonatas, but Adoration is definitely his best-known work for violin.
Composed in 1911 by an 18-year-old Lili Boulanger, this hidden gem is starting to be more widely appreciated. It exhibits very strong influences from French impressionists like Claude Debussy (see if you can catch a moment in the piano that sounds exactly like Afternoon of a Fawn). This piece is not tragic, but it is definitely nostalgic. It is perhaps foreshadowing also, when you learn that Lili died only six years later.
A chaconne is basically variations on a theme. It is attributed to Antonio Vitali, although some speculate that it was written later by someone else. Regardless, the solo part was altered by Leopold Charlier in the 20th century to make it more virtuosic. The violin spins into more and more complex renditions of the main theme, each expressing a deep sense of longing.
It is so hard to pick just one Mozart sonata to list because he wrote thirty-six of them! Each is special in its own way, but K. 301 is very popular. All three movements are gentle and playful, which is wonderfully conveyed by Hilary Hahn in this recording.
Belgian composer Cesar Franck composed this in 1886 as a wedding present for the young violin virtuoso Eugene Ysaye. Franck was not at the wedding, but a friend of his presented the piece to Ysaye the morning of. After one quick rehearsal with his new sister-in-law, Ysaye performed the piece for his guests, and kept it in his repertoire for the next forty years.
Saint-Saens dedicated this work to Pablo de Sarasate. It has a distinct Spanish flavor; you can almost see the bullfighters strutting in during the main theme. Incredibly dramatic and evocative, it is a favorite among advanced students and major soloists. The recording below is performed by Christian Li, a world-famous soloist who is currently thirteen years old. His performance really brings out the energy and joy in the piece.
A Virtual Violin produces the sound of a traditional Violin. The Virtual Violin can be played through a computer, tablet or mobile without the physical instrument. The violin is a small stringed instrument with a hollow body that is most commonly made of wood. The four strings of a violin are played using a stringed bow. Violins are made up of different sections of wood, often from different types of trees depending on the qualities desired. Traditionally, violin strings were made of catgut but they are often made of synthetic materials today. The term fiddle is interchangeable with the name violin and both refer to the same instrument. The bridge of a violin is very specific. It is cut in a particular shape and is always made of maple. The bridge is important as its curve helps to hold the strings taught and it also transfers the vibration of the strings into the main violin cavity.
The format of the bow was streamlined in the late 18th century and has remained mostly unchanged since then. All stringed instruments are thought to derive from the Ancient Greek Lyre, a small stringed instrument that was plucked using a pick. The earliest stringed instrument played with a bow is thought to have been an Arabic rebab. From which, the violin is thought to have derived from. Stradivarius, Guarnerius and Maggini and considered to be some of the greatest violin builders. Instruments made by these Italian families are the most highly prized. Their ability to deliver a superior sound quality has been scientifically researched and examined, though no one particular characteristic has been identified.
A violin always has two distinctive cut-out holes on either side of the body in the shape of a long 's.' These holes known as f-holes, help to project sound and are found on many other stringed instruments. The E string of every violin is the thinnest and the most delicate. In the 1920s the E string of many modern violins was made using steel, instead of the traditional gut material. This was due to the lack of availability of gut after the war and the greater durability of steel. Violins play an important role in classical music. They have also been widely used in jazz and folk music. Electric violins were introduced in the 1940s and often feature in contemporary rock and pop music.
Hi, I'm Ahafia! I'm a musician and teacher from Kansas City, I use they/them pronouns, and I am deeply passionate about music and have been since I was born. I have studied piano since age 5 and violin since age 7, and recently graduated from the University of Central Missouri with my Bachelor of Arts in Piano Performance. My instruction focuses highly on the expressive possibilities of music, and I encourage my students to find their own individual style by learning how theory, technique, and genre influence their stylistic and artistic decisions. I have a strong background in piano technique: I myself sustained serious injuries from overpracticing and incorrect technique in my first year of college, and over the past four years have studied different technical styles to be able to play healthily and comfortably again. This healthy technical work is heavily emphasized in my studio, as I am unwilling to let anyone experience the pain and frustration I went through from these piano injuries. I perform regularly, and have worked at theaters all across my home city of Kansas City as a musician/music director in musical theater pit orchestras. My favorite styles to play and teach are classical, musical theater, 20th century classical, and new music!
I have been teaching since my junior year of high school. I construct my lessons to best fit the student's passions and interests, as well as their strengths and weakness. If the student has a good ear and is interested in learning how to play pop piano, we work on aural skills and learning how to play a song by ear only. If the student likes a particular classical era, we dive deeply into that and learn the minutiae of the style. Piano lessons should feel challenging, but never like a chore; music is expression and passion, and lessons should cultivate those feelings. I strongly believe that breadth of genre familiarity is what makes a good and flexible musician of any age, so I am willing to work with a student on any style of music they would like to pursue. Music theory, aural skills, and healthy technique are emphasized at each and every lesson, and regular practice, even if for only a short time every day, is required.
For intermediate students, I may still use a series of method books, but with most students I prefer to emphasize learning through repertoire. I have specific technique and theory books I use with students to provide structure to the beginning of lessons and practice sessions, but I find that most expressive and technical lessons are taught through music itself. By talking through healthy practice habits and jointly constructing daily or weekly practice plans with my students, I encourage them to take responsibility for how they use their time at the piano, and how to get things learned healthily and efficiently.
My goal for each of my students is that they are truly learning things that make them want to play, pieces and techniques that make them want to learn more and ask questions for themselves. I am not here to tell a student what they can and cannot do in music (though of course I am in technical ways) - I am here to enable students to make the music they want to make, to perform the sounds they hear in their head. My learning and practice goals are realistic, but I will push students to learn and grow as musicians. Each student is different and learns differently; thus I always do my best to tailor lessons to each individual's musical desires and needs.
Select all the days/times the student would be available to start lessons. Selecting "3pm - 7pm" means the student can start as early as 3pm or start as late as 7pm. It is important that you select as many days and the widest window of start times for each day as possible. That will help us make a match with one of our teachers.
While acknowledging the huge contributions that Classical (Western) music has made to the body of work available for violin and piano, I also encourage my students to explore genres outside of this, while studying the historical and cultural context behind these. I also include music theory, ear training, and occasional singing/keyboard recognition, as a means of providing extremely thorough, well-rounded instruction to my students.
My mother would alway play Classical recordings during breakfast time, and the sound of the violin always stuck out to me in a particular way. I remember asking her if I could learn to play the violin at around two years of age. Shortly after turning four, she finally bought me a violin and took me to my first lesson. My first violin teacher quickly got me involved in group lessons and ensembles with other kids. I know this had a huge impact on my orchestra and ensemble skills, as I got into more advanced repertoire and my abilities progressed. The following year (at age 5), I also started learning piano, another instrument which I had taken a keen interest in, and have been playing the two instruments seriously ever since. It should be noted that I had the incredible privilege of studying with my piano teacher for about twelve years. Overall, I had many fine teachers over the course of my musical education, and I am exceedingly grateful to them for all the different musical perspectives they imparted to me. 152ee80cbc