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Description

Description
The present Method, devised as an anthology divided into five sections, intends to help satisfy a need, felt by many, for texts for didactic use for the Viola da gamba. It is addressed to those students and teachers who want access to concise, guiding information about the most significant musical -literature dedicated to this instrument.
The selection of texts proposed here, conforming to the historical original versions both in the use of graphic symbols for embellishments and more generally with respect to the various styles and notational forms, is intended to aid in the study of the various complete compositions and the respective bibliographical panorama.
The original historical European pieces and treatises cited here were chosen from the Renaissance period on as those considered most useful for learning to play the instrument.
Bowings and fingering are given for the studies, the scales and arpeggios, as well as in all the -historical compositions which were without them.
For didactic purposes the pieces in tablature are printed opposite transcriptions into mensural notation, while those with separate Bass parts are here given in score.
Three tables are included summarizing the symbols for fingering, embellishments, dynamics and bowings, extracted from the Avertissements by M. Marais, as found in his five books of Pièces de Viole.
The scales, the arpeggios and some studies – for practical reasons – designate the strings by Roman numeral and are provided with a respective Legend.
The musical portraits for two viols or viol and basso continuo – given here for didactic use and presented in order of difficulty – are dedicated to viola students and friends.
In the Appendix, for the study of the soprano viol in concert, three pieces in trio are provided.




INDEX

Introduzione Insertion Introduction

Tastiera Basso di Viola Bass Viol fingerboard Touche Basse de Viole

Tastiera Viola Soprano Treble Viol fingerboard Touche Dessus de Viole

Tastiera Viola Tenore Tenor Viol fingerboard Touche Taille de Viole

Tastiera Viola Sopranino High Treble Viol fingerboard Touche Pardessus de Viole

Notazione della Tastiera Fingerboard notation Notation de la touche

Posizioni Positions Positions

Temperamenti Temperaments Tempéraments



Parte prima First part Partie première

Corde a vuoto Open strings Cordes à vide

Prima posizione First position Première position

Mezza posizione Half position Demi-position

Prima posizione allargata First extended position Première position avancée

Mezza posizione allargata Half-extended position Demi-position avancée



Parte seconda Second part Partie deuxième

Corde doppie Double stops Cordes doubles

Scale Maggiori e relative minori melodiche Major and relative melodic minor scales Gammes Majeures et relatives mineures mélodiques

Scale minori armoniche Harmonic minor scales Gammes mineures harmoniques

Arpeggi Arpeggios Arpèges

Esercizi per la mano sinistra Exercises for the left hand Exercises pour la main gauche

Recercada Primera D. Ortiz (Cantus Firmus La Spagna, Tratado de Glosas; Roma, 1553)

Recercada I D. Ortiz (Viola sola, Tratado de Glosas; Roma, 1553)

Recercada II D. Ortiz (Viola sola, Tratado de Glosas; Roma, 1553)

Recercada III D. Ortiz (Viola sola, Tratado de Glosas; Roma, 1553)

Recercada IV D. Ortiz (Viola sola, Tratado de Glosas; Roma, 1553)

Ordine primo in proprietà de bequadro S. Ganassi (Regula Rubertina; Venezia, 1542)

Ordine secondo in proprietà de bemole S. Ganassi (Regula Rubertina; Venezia, 1542)

Chelis Minuritionum Artificio Exornata C. Simpson (The Division Viol, 1659)

Minuritiones Primae C. Simpson (The Division Viol, 1659)

Fantasia I Th. Lupo (XX Konincklycke Fantasien; Amsterdam, 1648)

Fantasia G. Bassano (Fantasie a tre voci per cantar e sonar con ogni sorte d’Istrumenti; Venetia, 1585)

Recercada I D. Ortiz (Passamezzo antiguo, Tratado de Glosas; Roma, 1553)

Trillo Trillo Trille

Trillo doppio Double Trillo Double Trille

Greensleeves Anon. (XVII sec.)

Prelude Demachy (Pièces de Viole; Paris, 1685)

Harke, harke T. Hume (The first part of Ayres; London, 1605)



Parte terza Third part Partie troisième

Explication des Agrémens et des signes F. Couperin (Pièces de Clavecin, Premier Livre, 1713)

Vivement F. Couperin (Treizième Concert, Concerts Royaux; Boivin, 1722)

Avvertimenti Remarks Avertissements M. Marais (Pièces de Viole, Livres I-II-III-IV-V, 1686-1725)

Tombeau pour Mr. De S.te Colombe M. Marais (Pièces de Viole, Deuxième Livre; Paris, 1701)

Allemande L’Infidèle dite La Schroeder ou L’Exotique C. Denti (Hommage à Marais, 2003)

Courante La Résolue luthée ou La Pandolfo C. Denti (Hommage à Marais, 2003)

Courante Double La Résolue glissante ou La Wieland C. Denti (Hommage à Marais, 2003)

Couplets de folies M. Marais (Pièces de Viole Deuxième Livre; Paris, 1701)

Studio Study Étude

Gavotte J. B. de Boismortier (Sonates à deux Violes op. 10, 1725)

Elégie La Ravissante dite La Ghielmi C. Denti (Hommage à Marais, 2003)

Elégie Double La Coulante ou La Schaap C. Denti (Hommage à Marais, 2003)

Tombeau Les Regrets Mr. De S.te Colombe (Concert XLIV)

Preludio C. F. Abel (WK 205)

Adagio J. Schenck (L’echo du Danube, Sonata V, 0p. 9)

Sarabande La Flatteuse dite La Claudia C. Denti (Hommage à Marais, 2003)

Sarabande Double La Flatteuse plaintive ou La Barthold C. Denti (Hommage à Marais, 2003)

Le Tourbillon M. Marais (Pièces de Viole, Quatrième Livre; Paris, 1717)

Gavotte La Favorite ou La Sigiswald C. Denti (Hommage à Marais, 2003)

Gavotte Double L’Exquise ou La Rosita C. Denti (Hommage à Marais, 2003)

Suite VII M. Marais (Pièces de Viole, Cinquième Livre; Paris, 1725)

Danse nostalgique ou La Sennari C. Denti (Hommage à Marais, 2003)

Gigue La Boiteuse C. Denti (Suite des Portraits, 2002)

Fantaisie La Difficile dite La Balestracci ou L’Acharnée C. Denti (Hommage à Marais, 2003)

Allemanda J. S. Bach - C. Denti (Partita II a Violino senza Basso accompagnato BWV 1004)

Prelude C. Dollé (Pièces de Violes, Première Suite, 1740)

Andante Presto (Sonata III) Anon. (6 Sonate per due Viole, 18° sec.)

Boutade en perpetuum mobile dite La Coin C. Denti (Hommage à Marais, 2003)



Appendix Appendix Appendice

Manche du Pardessus à 5 cordes M. Corrette (Méthode de Pardessus de Viole à 5 et 6 cordes, 1748)

Accordi Chords Accords (Intavolatura Tablature Tablature)

Cadenze Cadences Cadences (Intavolatura - notazione Tablature - notation Tablature - notation)

Praeludium J. S. Bach (Wohltemperirte Clavier, BWV 846)

Abbellimenti Embellishments Agréments J. S. Bach (Klavierbüchlein vor W.F. Bach, 1720)

Nomenclatura Nomenclature Nomenclature

Canzona V detta La Tromboncina G. Frescobaldi (Primo Libro delle Canzoni, Roma, 1628)

Ragionar inquieto C. Denti (Trio di Viole, Hortus Musarum I, 2004)

Ascensus C. Denti (Trio di Viole, Hortus Musarum I, 2004)

Lo sguardo della Dea C. Denti (Trio di Viole, Hortus Musarum I, 2004)
Reviews
L'Écho de La Viole. Bulletin de la Société Française de Viole. N. XVII, Décembre 2004
Une toute nouvelle méthode spécialement conçue pour des violoncellistes avancés intéressés par l'apprentissage de la viole de gambe. Extrêmement synthétique, cette méthode propose de nombreux exercices: cordes à vide pour l'archet, extensions, gammes, doubles cordes, exercices digitaux. Les différents styles du répertoire y sont abordés: Ortiz, Ganassi, Simpson; Hume et Demachy pour les tablatures, les compositeurs français (Couperin, Marais, Boismortier, Sainte Colombe, Dollé), les compositeurs allemands (Abel, Schenk, Bach). Carlo Denti y a ajouté des compositions personnelles sous forme de portraits de violistes ou de musiciens actuels («La Schroeder», «La Wieland», «La Coin»...) (Paul Rousseau)
Brand reference number:UTODM37
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