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Violin Spaces

Contemporary violin studies
with a foreword by Carolin Widmann
violin
20 praxiserprobte Unterrichtsstunden
Product number: ED 22971
As low as
€24.99
Incl. Tax
Product Type
Print edition
E-score PDF

Product Details

Description

"Often in a humoristic manner and always with musical expression in focus, these eight pieces are perfect for every violinist to practice playing techniques and to enhance the enthusiasm to experiment and the joy of playing." (Carolin Widmann)

'This collection of concert studies for violin explores what are often referred to as “extended techniques”. These are for the most part techniques which are already present in classical music in a secondary role, but which have now, through continuous development, come to occupy a musical place of primary importance. Each of the studies concentrates on a single technique, investigating how it works technically, and exploring its musical possibilities. They are called “Spaces” because as well as being concert pieces, they are intended to open up spaces for exploration, discussion and improvisation around these techniques. They are also intended to be enjoyable to play, to work on and to listen to. Far from being an esoteric handbook of complex techniques reserved for contemporary music specialists, these “Spaces” are designed to help all violinists to explore, in a playful and imaginative way, the possibilities of their instrument and to discover some sounds and techniques that will have very tangible positive effects on their playing of all styles of music. We can all extend our techniques by opening up the space around them and taking them to their limits. The Violin Spaces are dedicated to Diamanda Dramm, whose talent, enthusiasm, suggestions and feedback were an enormous help to me in the construction of these ”Spaces”.' (Garth Knox)

Content

Spielanweisungen
No. 1 : Skating
No. 2: Up above our heads (harmonics)
No. 3: Microtonal blues (microtones)
No. 4: Ten fingers (pizzicato)
No. 5: No pitch, no Problem (noise)
No. 6: Sliding (glissando)
No. 7: The Raven (sul tasto)
No. 8: Rick O'Shea (Extended bowing techniques)

More Information

Title:
Violin Spaces
Contemporary violin studies
with a foreword by Carolin Widmann
Level of difficulty:
difficult
Publisher/Label:
Schott Music
Year of composition:
2017
Series:
Title:
Violin Spaces
Contemporary violin studies
with a foreword by Carolin Widmann
Language:
French, German, English
Level of difficulty:
difficult
Publisher/Label:
Schott Music
Year of composition:
2017
Series:
Title:
Violin Spaces
Contemporary violin studies
with a foreword by Carolin Widmann
Language:
French, German, English
Level of difficulty:
difficult
Publisher/Label:
Schott Music
Year of composition:
2017
Series:

Technical Details

Product number:
ED 22971
ISMN13:
979-0-001-18868-5
Product number:
ED 22971
ISMN13:
979-0-001-18868-5
UPC:
842819100164
Weight:
0,22 kg
Pages:
52
Format:
23.1cm x 30.3cm
Binding:
Saddle-wire stitching
Delivery rights:
Worldwide
Product number:
ED 22971 Q49139
ISMN13:
979-0-001-18868-5
Pages:
52
File format:
(PDF / 807,19 KB)
Delivery rights:
Worldwide

Preview/Media Contents

Video:
Here is Violin Space number 1, ‘Skating’, which explores splitting notes into their sub-atomic particules (sul ponticello and related techniques), performed by Diamanda Dramm
Violin Spaces no 2 ‘Up above our heads’ is all about harmonics and the ultrasounds which float above our heads.
Microtonal Blues explores different types of micro-intervals: quartertones, harmonic tuning, tunings with an ‘ethnic’ feel, beating tones and an offstage bagpipes imitation at the end.
Ten Fingers uses all the fingers to pluck the strings, so no bow.
No pitch, no problem is a study in noise. How to enjoy sounds without worrying about ‘right’ notes and ‘wrong’ ones, and how to give them meaning.
Sliding uses one of the most natural string techniques – glissando. Strings are not keyboards and the notes are not sectioned off like on a fretted instrument. So why not slide up and down li
The bow is the breath of the violin. Here it imitates the breath of the violinist by playing without pitch, then whispers it’s ghostly melody under the breath.
Rick O’Shea and his amazing circular bow would make a great circus act – sonorous bow juggling in many dimensions; up and down, sideways, round, with the hair and with the back of the bow, an
Video:
Here is Violin Space number 1, ‘Skating’, which explores splitting notes into their sub-atomic particules (sul ponticello and related techniques), performed by Diamanda Dramm
Violin Spaces no 2 ‘Up above our heads’ is all about harmonics and the ultrasounds which float above our heads.
Microtonal Blues explores different types of micro-intervals: quartertones, harmonic tuning, tunings with an ‘ethnic’ feel, beating tones and an offstage bagpipes imitation at the end.
Ten Fingers uses all the fingers to pluck the strings, so no bow.
No pitch, no problem is a study in noise. How to enjoy sounds without worrying about ‘right’ notes and ‘wrong’ ones, and how to give them meaning.
Sliding uses one of the most natural string techniques – glissando. Strings are not keyboards and the notes are not sectioned off like on a fretted instrument. So why not slide up and down li
The bow is the breath of the violin. Here it imitates the breath of the violinist by playing without pitch, then whispers it’s ghostly melody under the breath.
Rick O’Shea and his amazing circular bow would make a great circus act – sonorous bow juggling in many dimensions; up and down, sideways, round, with the hair and with the back of the bow, an
Video:
Here is Violin Space number 1, ‘Skating’, which explores splitting notes into their sub-atomic particules (sul ponticello and related techniques), performed by Diamanda Dramm
Violin Spaces no 2 ‘Up above our heads’ is all about harmonics and the ultrasounds which float above our heads.
Microtonal Blues explores different types of micro-intervals: quartertones, harmonic tuning, tunings with an ‘ethnic’ feel, beating tones and an offstage bagpipes imitation at the end.
Ten Fingers uses all the fingers to pluck the strings, so no bow.
No pitch, no problem is a study in noise. How to enjoy sounds without worrying about ‘right’ notes and ‘wrong’ ones, and how to give them meaning.
Sliding uses one of the most natural string techniques – glissando. Strings are not keyboards and the notes are not sectioned off like on a fretted instrument. So why not slide up and down li
The bow is the breath of the violin. Here it imitates the breath of the violinist by playing without pitch, then whispers it’s ghostly melody under the breath.
Rick O’Shea and his amazing circular bow would make a great circus act – sonorous bow juggling in many dimensions; up and down, sideways, round, with the hair and with the back of the bow, an

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