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See below for a selection of the latest books from String instruments category. Presented with a red border are the String instruments books that have been lovingly read and reviewed by the experts at Lovereading. With expert reading recommendations made by people with a passion for books and some unique features Lovereading will help you find great String instruments books and those from many more genres to read that will keep you inspired and entertained. And it's all free!
The viola da gamba was a central instrument in European music from the late 15th century well into the late 18th. In this comprehensive study, Bettina Hoffmann offers both an introduction to the instrument -- its construction, technique and history -- for the non-specialist, interweaving this information with a wealth of original archival scholarship that experts will relish. The book begins with a description of the instrument, and here Hoffmann grapples with the complexity of various names applied to this and related instruments. Following two chapters on the instrument's construction and ancestry, the core of the book is given to a historical and geographical survey of the instrument from its origins into the classical period. The book closes with a look at the revival of interest in the 19th and 20th centuries.
Solicitor and antiquary William Sandys (1792-1874) had a lifelong passion for music and took cello lessons from the renowned Robert Lindley. His principal interest, however, was the Christmas carol, particularly the ballad carol; his meticulous collection of examples ensured the survival of many melodies that are now well known. Simon Andrew Forster (1801-70), of the London-based family of stringed instrument makers and music sellers, took on the Frith Street business in 1824, but is best known for this collaboration with Sandys. First published in 1864, it is an important treatise of its time, not only for its history of bowed instruments, its survey of the principal makers in Europe, and its details relating to well-known orchestral and virtuoso string players, but also for its first-hand information on the Forster family, listing all the numbered Forster instruments, with the name, in many instances, of the first purchaser.
BL Open string pieces and tunes using the finger pattern 0-1-34 BL Quality original pieces from rock to calypso BL Careful introduction of new notes and rhythms BL Simple slurs and dynamics BL Easy duets BL Scales and arpeggios in the keys of G, D, and C major, one octave BL CD with performances of all the pieces to play along to - jazz and rock numbers add drumkit BL Book of straightforward piano accompaniments available
A musical instrument that has played a vital role in Latin American music cultures - the harp - is the subject of this work. John Schechter presents a history of the harp in Spain, traces its introduction into colonial Latin America, and describes its modern roles in the diverse cultural centres of Mexico, Paraguay, Argentina, Chile, Venezuela and Peru. He then turns his focus to his own field research in the Quichua culture of northern highland Ecuador, an area that has received considerably less scholarly attention tthan many of its Latin American neighbours. The reader will meet a community of harp maistrus on the slopes of Mt Cotacachi and become familiar with their culture, their particular instrument and its turning, and their performance practices. Numerous photographs, musical transciptions, and diagrams illustrate and enliven the text. The Indispensable Harp integrates aspects of music and cultural history, organology and performance practice, treating in depth both broadly established music-historical processes and specific music-ethnographical practices. It speaks to the conclusion that the vital role of the harp in Latin American music history has now been properly acknowledged and documented.
Never before available in English, this classic work is a major contribution to the art and technique of violin playing and an important document in the history of performance practice. A contemporary of Kreutzer and Rode, Pierre Marie Francois de Sales Baillot provides in his treatise many insights into the style of nineteenth-century fingering, bowing, ornamentation, and expressiveness that are not apparent from the directions and markings found in scores of that time. Such information will be invaluable for performers interested in understanding the intentions of composers such as Viotti, Haydn, Mozart, Beethoven, and Mendelssohn. This complete, unabridged translation, which includes an extensive introduction by the translator, Louise Goldberg, and a foreword by Zvi Zeitlin, will be indispensable for musicologists, performers, and lovers of eighteenth- and nineteenth-century classical music.
Canada's Prince Edward Island is home to one of the oldest and most vibrant fiddling traditions in North America. First established by Scottish immigrants in the late eighteenth century, it incorporated the influence of a later wave of Irish immigrants as well as the unique rhythmic sensibilities of the Acadian French, the Island's first European inhabitants. In Couldn't Have a Wedding without the Fiddler, renowned musician and folklorist Ken Perlman combines oral history, ethnography, and musical insight to present a captivating portrait of Prince Edward Island fiddling and its longstanding importance to community life. Couldn't Have a Wedding without the Fiddler draws heavily on interviews conducted with 150 fiddlers and other Islanders -including singers, dancers, music instructors, community leaders, and event organizers-whose memories span decades. The book thus colorfully brings to life a time not so very long ago when virtually any occasion-a wedding, harvest, house warming, holiday, or the need to raise money for local institutions such as schools and churchs-was sufficient excuse to hold a dance, with the fiddle player at the center of the celebration. Perlman explores how fiddling skills and traditions were learned and passed down through the generations and how individual fiddlers honed their distinctive playing styles. He also examines the Island's history and material culture, fiddlers' values and attitudes, the role of radio and recordings, the fiddlers' repertoire, fiddling contests, and the ebb and flow of the fiddling tradition, including efforts over the last few decades to keep the music alive in the face of modernization and the passing of old-timers. Rounding out the book is a rich array of photographs, musical examples, dance diagrams, and a discography. The inaugural volume in the Charles K. Wolfe American Music Series, Couldn't Have a Wedding without the Fiddler is, in the words of series editor Ted Olson, clearly among the more significant studies of a local North American music tradition to be published in recent years.
Relying on extensive archival research and on sixty interviews with fiddlers and their families and friends, Cauthen tells the rich, full story of old-time fiddling in Alabama. Writing of life in the Alabama Territory in the late 1700s, A. J. Pickett, the state's first historian, noted that the country abounded in fiddlers, of high and low degree. After the defeat of the Creek Indians at the Battle of Horseshoe Bend in 1813, the number of fiddlers swelled as settlers from the southern states surrounding Alabama claimed the land. The music they played was based on tunes brought from Ireland, Scotland, and England, but in Alabama they developed their own southern accent as their songs became the music of celebration and relaxation for the state's pioneers. Early in the 20th century such music began to be called old-time fiddling, to distinguish it from the popular music of the day, and the term is still used to distinguish that style from more modern bluegrass and country fiddle styles. In With Fiddle and Well-Rosined Bow, Cauthen focuses on old-time fiddling in Alabama from the settlement of the state through World War II. Cauthen shows the effects of events, inventions, ethnic groups, and individuals upon fiddlers' styles and what they played. Cauthen gives due weight to the modest masters of fiddle and bow who were stars only to their families and communities. The fiddlers themselves tell why they play, how they learned without formal instruction and written music, and how they acquired their instruments and repertoires. Cauthen also tells the stories of brag fiddlers such as D.Dix Hollis, Y. Z. Hamilton, Charlie Stripling, Fiddling Tom Freeman, Monkey Brown, and the Johnson Brothers whose reputations spread beyond their communities through commercial recordings and fiddling contests. Described in vivid detail are the old-style square dances, Fourth of July barbeques and other celebrations, and fiddlers' conventions that fiddler shave reigned over throughout the state's history.
Fiddle Time is a great series for young violinists. Packed with lively original tunes, well-known pieces, and easy duets, the series is carefully paced and organized to build confidence every step of the way. The new editions contain all your favourite pieces from the previous books, back by popular demand.
Drawing on the experience and expertise found in a traditional English repair and restoration shop, the Violin Manual is a fully illustrated guide to the maintenance, repair and restoration of these beautiful instruments. With guidance divided into `basic', `intermediate' and `advanced' sections, this manual will prove valuable to a wide spectrum of people, from violinists who want to do simple maintainance on their own instruments to those wishing to become expert restorers. All violinists will find this book absorbing and enlightening.