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VIOLIN PLAYING TECHNIQUES : VIOLIN PLAYING


VIOLIN PLAYING TECHNIQUES : FREE SAXOPHONE SCORES : MAKING A CLASSICAL GUITAR.



Violin Playing Techniques





violin playing techniques






    techniques
  • The gameplay of the Pokemon series of role-playing video games involves the capture and training of a variety of fictional creatures called "Pokemon" and using them to battle other trainers.

  • (technique) proficiency: skillfulness in the command of fundamentals deriving from practice and familiarity; "practice greatly improves proficiency"

  • A way of carrying out a particular task, esp. the execution or performance of an artistic work or a scientific procedure

  • Skill or ability in a particular field

  • A skillful or efficient way of doing or achieving something

  • (technique) a practical method or art applied to some particular task





    playing
  • the action of taking part in a game or sport or other recreation

  • Amuse oneself by engaging in imaginative pretense

  • the act of playing a musical instrument

  • Engage in (a game or activity) for enjoyment

  • Engage in activity for enjoyment and recreation rather than a serious or practical purpose

  • acting: the performance of a part or role in a drama





    violin
  • A stringed musical instrument of treble pitch, played with a horsehair bow. The classical European violin was developed in the 16th century. It has four strings and a body of characteristic rounded shape, narrowed at the middle and with two f-shaped sound holes

  • Violin was the first album released by violinst Vanessa-Mae. It was recorded in October 1990, near her 12th birthday, and released shortly afterwards in March 1991. Vanessa-Mae contributed her royalties from the album to the National Society for the Prevention of Cruelty to Children.

  • bowed stringed instrument that is the highest member of the violin family; this instrument has four strings and a hollow body and an unfretted fingerboard and is played with a bow

  • (violinist) a musician who plays the violin











Norwegian Air Shuttle 'Ole Bull'




Norwegian Air Shuttle 'Ole Bull'





Bull, Ole, eccentric Norwegian violinist. He was extremely precocious, and played the violin experimen­tally even before acquiring the rudiments of music. At the age of 9 he played solos with the Bergen Harmonic Soc. His teachers were then Niels Eriksen and J.H. Poulsen; later he had regular instruction with M. Ludholm. Ignoring academic rules, he whittled the bridge almost to the level of the finger- board, so as to be able to play full chords on all 4 strings. He was sent by his father to Christiania to study theology, but failed the entrance examinations; instead, he organized a the­ater orch., which he led with his violin. In 1829 he played in Copenhagen and Kassel. In 1831 he went to Paris, where he heard Paganini and became obsessed with the idea of imitat­ing his mannerisms and equaling his success, a fantasy devoid of all imagined reality because of Bull’s amateurish technique. However, he developed a personal type of playing that pleased the public, particularly in localities rarely visited by real artists. During the season 1836—37 he played 274 concerts in England and Ireland; in 1839 he visited the great German violinist and composer Spohr in Kassel, in the hope of receiving useful advice from him. In 1840 he played Beethoven’s Krentzer So­nata in London, with Liszt at the piano. On July 23, 1849, he announced the formation of a Norwegian Theater in Bergen, which was opened on Jan. 2,1850. While he failed to impress serious musicians and critics in Europe, he achieved his dream of artistic success in America; he made 5 concert tours across the U.S., playing popular selections and his own compositions on American themes with such fetching titles as Niagara, Soli­tude of the Prairies, and To the Memory of Washington, inter­spersing them with his arrangements of Norwegian folk songs. He entertained a strong conviction that Norway should gener­ate its own national art, but the practical applications of his musical patriotism were failures because of his lack of formal study and a concentration on tawdry effects; still, it may be argued that he at least prepared the ground for the emergence of true Norwegian music; indeed, it is on his recommendation that Grieg was sent to study at the Leipzig Cons. Characteristi­cally, Ole Bull became attracted by the then-current ideas of communal socialism. In 1852 he purchased 11,144 acres in Pennsylvania for a Norwegian settlement, but his lack of busi­ness sense led his undertaking to disaster. The settlement, planned on strict socialist lines, was given the name Oleana, thus establishing a personal connection with the name of its unlucky founder. Oleana soon collapsed, but Ole Bull earned admiration in Norway as a great national figure. Many of his violin pieces, mostly sentimental or strident in nature, with such titles as La preghiera d’una madre, Variazioni di bravura, Polacca guerriera, etc., were publ., but they sank into predict­able desuetude.











When marimba rhythms start to play




When marimba rhythms start to play





:::

Sway
When marimba rhythms start to play
Dance with me
Make me sway
Like the lazy ocean hugs the shore
Hold me close
Sway me more

Like a flower bending in the breeze
Bend with me
Sway with ease
When we dance you have a way with me
Stay with me
Sway with me

Other dancers may be on the floor
Dear, but my eyes will see only you
Only you have that magic technique
When we sway I grow weak

I can hear the sound of violins
Long before
It begins
Make me thrill as only you know how
Sway me smooth
Sway me now

Quien sera el que me quiere a mi
Quien sera
Quien sera
Quien sera el que me de su amor
Quien sera
Quien sera

I can hear the sound of violins
Long before
It begins
Make me thrill as only you know how
Sway me smooth
Sway me now

Sway me smooth, Sway me now

I loved both the Rosemary Clooney and Dean Martin versions. And I still do.









violin playing techniques







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Post je objavljen 16.12.2011. u 13:15 sati.