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I do believe strongly in the power of playing together, and in the occasional demonstration, when talking is not getting the point across. A pair of sisters, Angela and Jennifer Chun , recently released a recording of the duets, downloadable on iTunes or on Amazon. These duets — short little works of genius — are featured prominently in The Doflein Method , a five-volume set of books that I highly recommend for violin students and teachers , particularly Book 3, which helps greatly in solidifying second, third and half positions.
Nonetheless, most of them appear in Books 1 and 2. Doflein went to the trouble of commissioning duets from living composers because he wished to combine technical study with musical and stylistic study. Erich and Elma Doflein express this intention beautifully in their introduction to the books: "This is training, but not as on the athletic field — it is rather a journey through many lands of music, and the music of many lands The music of our own time was also to be represented.
Distinguished composers declared their readiness to cooperate and to provide examples of their art for the single stages of the course. These pieces are written by master composers, written specifically for two violins, not arranged from some other instrumentation. They stand whole, tiny little masterpieces to train the student. The Dofleins interspersed these pieces with music written by Mozart, by Baroque composers — even a few non-metered chants. Very often the piece sounds very "normal" and innocuous when the student is learning his or her part over the course of the week -- but add the second voice at the lesson, and it's a whole new story.
A little dark, maybe a little depressed," is how the conversation often goes. I like to hear their ideas about it. I explain to them that these pieces were written during an actual Depression, between two World Wars, when music took this turn for a while to the atonal. You can argue with me here, that maybe I should talk about Bartok's interest in folk music. But what tends to strike the student is the strange tonality and asymmetrical rhythms, which they hear neither in traditional classical music, nor in the music that they get from Lady Gaga and iTunes.
That said, I do wish there were a modern-day Erich Doflein to leverage the efforts of some of the great composers of today — the 21st century — to write something to train young fingers, ears and minds, something a young violinist can play in the company of his or her teacher. I'm not a composer, but as a writer, I do know that the most difficult piece to write is the short one — to put a whole world of an idea through a prism and make it understandable to the newcomer, the youngster, the student.
Who would like to write the short, modern violin duets for beginners? Send them to me, I'll put them in order and make the book. While never truly atonal in the sense of "grating on the ear" , they sure are outlandish, tricky, unconventional and unusual - i.
My teacher loves out-of-the-ordinary rhythms - I find them very hard to learn, but once I'm into the groove, they're so much fun to play. It was a hard row to hoe to get those short pieces down pat, but afterwards I felt like after a cold shower: it's dreadful to begin with, but it's healthy and once you've done it, you feel that special inner glow. One of my favorite pieces of this collection is the one with the two "b"s - but not the usual combination of B flat and E flat - in fact, there's an editor's note that this is not a typo but really meant this way by the composer.
Surely great material to keep you on your sight-reading-toes. If you can find a few of the recordings that Bartok made of European and African music-- not the sanitized Gypsy music-- that may open ears a bit. He talked a bit about the style, saying that the music needed to have the freedom of speech. So find groups of notes, and play them as though they were words.
As far as tonality, Sandor said that far from being atonal, Bartok's music was very tonal. So much so that he threw in extra notes over the chords, like paprika. My teacher has me using Doflein 2 in conjunction with 3 other books - I like variety and a few months back we did one of those Bartok and I just loved it.
Felt like we were playing "real" music. I had no idea Doflein had commissioned a lot of those works in his books. Do you know if the easier ones merely duplicate what's already in the Doflein? Wouldn't want to buy it just to duplicate what I already have, but it looks like a great collection that would be skill-appropriate for many years to come.
I was hooked. This work was not composed in one short period, but over a length of time. Now it was finished and he wanted to submit it to his editor. Helping him with the sorting, I was puzzled about the order in which to put the first five pieces intended for beginners because they had to be organized in the correct sequence from the easiest to the most difficult.
But you, a professional, have to take a handicap which should put your violin playing back to the stage of a child. Let us play the first five duos, but we will make a slight adjustment.
Why don't you reverse your bow and violin. Hold your violin with your right hand and bow it with your left. That little trick may put us on even terms.
Now this is a remarkable feeling if you have never done it before, but somehow you still have the reflex and some feeling for playing. We played the duos in this way and succeeded in finding the correct sequence. They're taking the concept right up to modern-day contemporary and some really great stuff. Some things are easier to learn visually.
But unfortunetly I must sat I loathed the Doflein books, particularly book 3 but I did like the 4th book. Well you are entitled to One of my students, then a high-school junior, finished Book 3, then turned to me and said, "Mrs. I also find that they incorporate a lot of intonation work as well. But as you can see, I'm a big fan of these books! Shar Music. Yamaha Silent Violin. Corilon Violins. Pirastro Strings. Find an Online Music Camp. Laurie's Books Discover the best of Violinist.
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44 Duos for 2 Violins, Sz.98 (Bartók, Béla)
Follow us on. Some composers thrive on limitations. Stravinsky waxed lyrical on constriction in The Poetics of Music since it cuts down on the confusing infinity of being able to do anything and reveals a clearer path. Few composers were so economical with their notes. Something about this spareness aesthetically satisfies me.
I do believe strongly in the power of playing together, and in the occasional demonstration, when talking is not getting the point across. A pair of sisters, Angela and Jennifer Chun , recently released a recording of the duets, downloadable on iTunes or on Amazon. These duets — short little works of genius — are featured prominently in The Doflein Method , a five-volume set of books that I highly recommend for violin students and teachers , particularly Book 3, which helps greatly in solidifying second, third and half positions. Nonetheless, most of them appear in Books 1 and 2. Doflein went to the trouble of commissioning duets from living composers because he wished to combine technical study with musical and stylistic study. Erich and Elma Doflein express this intention beautifully in their introduction to the books: "This is training, but not as on the athletic field — it is rather a journey through many lands of music, and the music of many lands The music of our own time was also to be represented.
Béla Bartók: 44 Duos
This intention for educative works was exploited by the fact that he was a teacher himself, then he chose to write works for his pupils to play. Nevertheless, all songs and dances included in this series are based on folk music from many Eastern Europe countries, but harmonic and rhythmic freedom is evident throughout the whole piece. This work is divided in four books, and the series of pieces advances in difficulty. The first and the second book should suit a student with a basic level, while the third book would be for an intermediate level, and the fourth book for an advanced level. Dissonant harmonies are present throughout the whole piece, but it is not until the eleventh piece that polytonality is introduced.
Béla Bartók's 44 Duets for Two Violins: Art Music for Teaching