Viola

Students just beginning to learn an instrument naturally want to advance quickly beyond simple melodies to something more 'popular', but beginning techniques are not enough to allow them to enjoy this type of music as much as they would when singing it. This set of pieces is meant to help bridge that gap, step by step. The pieces gradually progress from very easy to medium advanced, constantly teaching something new. Articulation, phrasing, rhythm, and harmony are all addressed, with special attention paid to the characteristics of pop music. Instrumental parts for violin, flute, viola, and cello are available separately. These parts can be used separately or together in unison. In English and German.

This collection contains 16 traditional fiddling tunes from across North America. They are arranged in a theme and variation format, typical of American fiddling. The authentic fiddling style harmonies are written so that various combinations from solo instrument with piano to duets and trios to full string quartet/orchestra are possible. The book includes viola melody (solo), viola harmony, third violin, and full score. The score is also available as an online download. 'American Fiddle Tunes for Solo and Ensemble' books are written as ensemble books, so they can be played as solo books with piano accompaniment or together as ensemble. The Violin 1 & 2 book and the Cello/Bass book contain the piano accompaniment. Includes access to online PDF.

These books are arranged to be performed with various combinations of instruments. This volume presents some of the most beloved repertoire for the Christmas season. Some works are well known, others will sound fresh and new to most players. The pieces may be performed as a solo for each instrument (Violin 1, Violin 2, Viola or Cello) with piano accompaniment, or as duets or trios, as well as full orchestra. If performed with full orchestra, the piano accompaniment should not be used.

The string ensemble series meets all standards for ASTA (American String Teachers Association) and Suzuki Association of the Americas, Inc.

If performed with full orchestra, no solo parts should be played except the 1st violin part. Note also, if you wish to perform these works with full orchestra and you are short certain instruments, you still have some flexibility with the score. For example, if there are not enough violas for balance, the viola (harmony part) and 3rd violin part are identical. The part may be played with all 3rd violins or equally divided between 3rd violins and violas.

Whatever your skill level, if you are devoted to the noble art of playing the viola, this course is sure to enhance your technique. The Lobko Method will increase your understanding of playing throughout the fingerboard in the most rational and comfortable way, facilitating the discovery of technical solutions even while sight reading. The method's progressive approach, brief yet comprehensive, will enable you to examine and revise the very way you handle a viola and bow. The roots of great success or unexplainable failure often lie in simple technical errors that have become habits. To help you correct these habits, brilliant technical concepts gleaned from various books by the best viola teachers of the past are brought together here in simple, easy to follow formulas.

Many selections in this volume are unique and until now have been inaccessible to the string ensemble repertoire. These pieces are intended for multiple strings for performance in the classroom as well as performance in concerts. Several players may be used on each part. Whenever possible, every effort was made to keep the viola and violoncello/double bass parts melodic rather than simply filling in the various harmonic chord progressions. The pieces may be performed as a solo for each instrument (Violin 1, Violin 2, Viola or Cello) with piano accompaniment, or as duets or trios, as well as full orchestra. If performed with full orchestra, the piano accompaniment is not necessary. The string ensembleseries meets all standards for ASTA with NSOA (American String Teachers Association/National School Orchestra Association) and Suzuki Association of the Americas, Inc. Free piano accompaniment AND ensemble score downloads are available for use with this title.

The forty-five tunes in this collection represent the vast repertoire of traditional Scottish fiddle music dating back to the 1700s.There is a long history of music shared between fiddle, bagpipe and song. Included are laments, airs, marches, strathspeys, reels and jigs. The music has been edited and arranged for viola along with guitar chords if desired for accompaniment. The tunes are presented in sets of three or four for solo performance.

This collection contains twenty-four pieces from 18th and 19th century Scotland. Included are airs and dance tunes originally for voice or fiddle. These duet arrangements are perfect for student and teacher as well as viola colleagues. The music is presented in sets of two or three tunes ready for performance. The traditional music of Scotland has unique and beautiful qualities and is fun to play.

This speed-reading book employs the standard techniques of language speed-reading, converted to music reading. The key ingredients are mental focus, physical eye focus and quick fingers. The virtuoso, or the elementary player, can benefit from practicing these procedures. In 60 pages, one will drill in all possible finger patterns including half steps, whole steps, augmented seconds, and brief repetitions.

The Viola Wall Chart presents innovative finger-pattern drawings for all twelve major scales in first position and movable patterns for higher positions. It also includes note names superimposed on an actual viola picture and a list of bowing terms.

Warm-ups for the Violist is an adaptation of Warm-ups for the Violinist. It is targeted to help build, strengthen and develop the muscles and techniques needed for viola playing. It is especially suited and created for the more casual violist who is sincerely interested in getting maximum benefit from a minimum of effort.

I first tested these scales and exercises on myself for six months, faithfully using them for about 20 minutes as warm-ups to my daily practice. I was rewarded with a definite improvement in my technique. I was actually surprised to see my dexterity grow as I charted my metronomic progress on a calendar. I remember thinking, 'I will never be able to play faster than this.' But then a couple of weeks later I would indeed climb a notch higher!

Through the years I have used these exercises in countless workshops and with private students. The letters of thanks and positive feedback from students who were thrilled with improved violin and fiddle technique have brought me great satisfaction. Progress with these exercises is like the progress of a body builder. Body builders do not get up in the morning and think, 'I am going to develop and build my muscles today,' and instantly look like Mr. Atlas. It takes weeks, months and for some, years, to attain results. It must be done over a period of time. Like all diets and exercise programs, determination and dedication are most important to success!

I sincerely believe that these exercises, when faithfully practiced, will help violists improve their skills. The exercises will help develop and strengthen muscles used for finger dexterity, clarity of notes, tone, bowing-arm control, intonation, double stops, and a flexible bowing-arm wrist.

A companion audio play-along recording is available online.