I don't know about anyone else, but I'm disappointed at the list B pieces included in the new Grade 5 violin book published by the ABRSM. It's the stage at which pupils can get really inspired by tackling some wonderful pieces of romantic repertoire...and they're offered Dancla and Rieding. So I've turned to the alternatives, and strongly recommend this one. It's a great opportunity to show off the work you've done on vibrato, and to make use of the higher positions you're encountering in the scales and arpeggios.
Degzi has been busy, and after producing flash cards for Grade 2 violin scales and arpeggios, he's done Grades 1 and 3 as well. These are a brilliant way of being really confident that you can play all your scales equally well - cut them out, shuffle them up, then play one at a time as you pick the card out of the pile. You'll never accidentally neglect one, and you can be sure that you'll be able to play them in whatever order the examiner chooses.
This is a flexible arrangement, which I originally made for a primary school concert, in order to involve all string players, including those who had only been playing a few weeks and were still on open strings. Wikipedia provides the history of the song, and the lyrics in both German and English. It's also got an impressive list of other uses of the tune, from the Red Flag through to the official state songs of Maryland and Iowa...
- Score and all parts (format ZIP / 143 KB)
- Score & piano (format PDF / 30 KB)
- Violin 1 (format PDF / 15 KB)
- Violin 2 (format PDF / 16 KB)
- Violin 3 (format PDF / 14 KB)
- Violin 4 (open strings) (format PDF / 14 KB)
- Viola 1 (format PDF / 17 KB)
- Viola 2 (format PDF / 14 KB)
- Viola 3 (format PDF / 14 KB)
- Viola 4 (open strings) (format PDF / 14 KB)
- Cello 1 (format PDF / 15 KB)
- Cello 2 (format PDF / 14 KB)
- Cello 3 (format PDF / 14 KB)
- Cello 4 (open strings) (format PDF / 14 KB)
- Finale 2007 file (score and violin parts) (format MUS / 45 KB)
A powerful, harrowing piece of music, from Grieg's incidental music for Peer Gynt.
I made this arrangement for string ensemble a few years ago, but for some reason never got around to using it. I was expecting it to be really useful for intermediate players who are developing an awareness of playing as an ensemble, with everybody having a role in shaping the phrases. If anyone does try it out, please let me know how well it works!
Very straightforward, with no dotted rhythms, just quavers which can be picked up aurally even if they haven't encountered them on the page before.
I found myself yesterday trying to explain the evolution of equal temperament, off the top of my head, which I never do a particularly good job of...not least because it's not really anything I could call a speciality. Something I find particularly difficult is making the jump from abstract mathematical concepts to how the sounds of earlier tuning systems exploited the character of individual keys which resulted.