![]() ("Nice performance of the Sibelius Concerto last Saturday. If someone's got a violin student capable of playing anything toward the bottom of that list, then they've not looked at a graded list to help the student choose repertoire for a long time. ![]() Far better would be a list of their alumni who gained conservatory admission or who have paid, regular orchestral gigs. I think the only purpose of upholding "Dorothy DeLay's Concerto List" (or whatever) is to tell the world that they're serious. I wince when I see "graded lists" like the one Gabriel linked, because frankly it's hard to imagine the organization that published it has very many students who work their way clear to the bottom, and the list also gives the very false impression that a student would play every single piece and every single study in every method book along the way. Your technique will develop more quickly in some areas than in others, that happens to everyone. The problem with those "graded lists" is that they are only rough guides.If you buy the Barbara Barber books, get them from a music supplier like Shar instead of Amazon, and if you are even half-way serious make sure you get the piano accompaniment part and the CD with it. Your time is better spent on the Reiding Concerto, and by the way when someone says "Reiding Concerto" they almost always mean the Op. (The Kuchler Concertino at the end of the book is a dreadful Vivaldi Concerto clone. ![]() The tunes toward the end like Elves Dance and Donkey Doodle are more advanced than Suzuki Book 1 level. You can expect to play the first few pieces of Volume 1 based on your Suzuki Book 1 skills, perhaps up to and including the Bach Marche. One word of caution is that the volume numbers do not match exactly to the Suzuki Books. I agree with "Solos for Young Violinists" by Barbara Barber, this is an excellent series. Miguel, I appreciate your apprehension about launching into Suzuki Book 2 on your own, but if you were quite comfortable playing the last fiew pieces in Book 1, I believe you will not find the first few pieces in Book 2 to be that much more demanding.Quick studies or duet work should also be regularly worked on during lessons. Orchestral extracts should be systematically studied from set violin repertoire lists and prepared with the same dedication as solo repertoire. Preparation is the key factor in order to succeed with violin auditions It is imperative to have this repertoire at ones fingertips. Solo Bach or a Mozart concerto for chamber orchestra, and a romantic concerto of Brahms, Tchaikovsky, Dvorak or Sibelius for the full orchestra. Careful programming to match the style and size of the orchestra is essential. This also applies to GCSE and A level choices.įor advanced students or professionals, the violin concerto repertoire is usually stipulated or should be chosen. The correct standard of repertoire played competently will be more successful in auditions than repertoire that is too ambitious. In some instances graded viola repertoire may be requested, as this will be a reliable guide for the adjudicator. As soon as the student becomes capable, violin auditions should be undertaken for local orchestras or Saturday music schools. This process will always raise standards and enthusiasm levels. It is important that students participate with other instrumentalists as soon as possible. It is then possible to see at a glance if enough technique along with the two main genres of music i.e Baroque and Classical repertoire, is being covered or neglected. Always ensuring that technical work is listed first. Regular 'spring cleaning' of these basic technical elements must be undertaken by the teacher and fully appreciated by the student, for correct progress to be enhanced.Ī comprehensive list of technical work and violin repertoire should be kept and continually updated. Teachers have their own preferred repertoire that will cover basic technique. It is crucial not to be too ambitious in the early stages covering these basic skills, as steady progress will substantially raise technical and musical standards for the discerning student. Violin repertoire should always encompass areas of posture, scales, studies, sight-reading, and a selection of standard repertoire, on a regular basis
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