Dernière sortie
Essential Exercises
20 Études brillantes et caractéristiques
The studies by Charles Dancla (1817-1907) are more than mere technical exercises. They demand a special sense of tone, an elegant, softly flowing and swinging way of playing. They challenge the violinist in all associated disciplines, such as staccato on an up- and downbow, arpeggios, double stop passages and rapid passages. Apart from that, Dancla again and again seeks the soft, singing sound areas and the refined sound.
It is fun for both teacher and pupil to develop the violin playing technique in such a way.
Furthermore, the delight in music-making is increased as every piece has its own characteristic, appearing not like a study but rather like a performance capriccio which could be played as an encore, for example. The present edition is based on the (presumed) first edition of the Parisian publisher S. Richault (plate number 12974. B.) from c. 1856. Added fingerings have been marked accordingly.
Information on technical characteristics, playing suggestions, etc. are contained in the notes at the end of the volume.
Furthermore, the delight in music-making is increased as every piece has its own characteristic, appearing not like a study but rather like a performance capriccio which could be played as an encore, for example. The present edition is based on the (presumed) first edition of the Parisian publisher S. Richault (plate number 12974. B.) from c. 1856. Added fingerings have been marked accordingly.
Information on technical characteristics, playing suggestions, etc. are contained in the notes at the end of the volume.
The studies by Charles Dancla (1817-1907) are more than mere technical exercises. They demand a special sense of tone, an elegant, softly flowing and swinging way of playing. They challenge the violinist in all associated disciplines, such as staccato on an up- and downbow, arpeggios, double stop passages and rapid passages. Apart from that, Dancla again and again seeks the soft, singing sound areas and the refined sound.
It is fun for both teacher and pupil to develop the violin playing technique in such a way.
Furthermore, the delight in music-making is increased as every piece has its own characteristic, appearing not like a study but rather like a performance capriccio which could be played as an encore, for example. The present edition is based on the (presumed) first edition of the Parisian publisher S. Richault (plate number 12974. B.) from c. 1856. Added fingerings have been marked accordingly.
Information on technical characteristics, playing suggestions, etc. are contained in the notes at the end of the volume.
Furthermore, the delight in music-making is increased as every piece has its own characteristic, appearing not like a study but rather like a performance capriccio which could be played as an encore, for example. The present edition is based on the (presumed) first edition of the Parisian publisher S. Richault (plate number 12974. B.) from c. 1856. Added fingerings have been marked accordingly.
Information on technical characteristics, playing suggestions, etc. are contained in the notes at the end of the volume.
