Middle Ages (from 'Le Violon en 3 Temps')

Middle AgesThe violin did not yet exist in the Middle Ages, but its ancestor the medieval fiddle, was mistrals' favourite instrument.Its repertoire was large. It was used to accompany songs, but also for dancing. It was the ideal instrument.The goal of this album is to help young violinists discover the roots of its repertoire and to practice the fundamental rhythmic aspects and modal spirit of the melody. Technical exercises for violin1. Melodic exercises from the Middle Ages2. Chart - The six rhythmic modes 3. Bowing practice with rhythmical modes4. Practice on modes from the Middle Ages (2 violins)5. Preparatory melodic exercises6. Practice on combined rhythmical modesRepertory1. Sing cucu (canon with 3 violins) 2. Polorum regina (Llibre Vermell de Montserrat 4 violins)3. Christus patris gratie (rondeau with 2 violins)4. Vineam meam plantavi (rondeau with 2 violins) 5. Offerat ecclesia (rondeau with 2 violins) 6. Imperatriz de la Ciutat Joyosa (Llibre Vermell de Montserrat with 2 violins)7. Tant me sui de dire teüs (3 violins)8. Danse du Morholt (Pierre Hamon, 3 violins)9. Ay mi! Dame de valour (Guillaume de Machaut, 3 violins) 10. Trotto (Italy 14th century, 2 violins) Playlist YouTube<iframe src="https://www.youtube.com/embed/videoseries?list=PLUp_sT24M6fr_LjavzF9Cp9vJOOWl-skO" frameborder="0" allowfullscreen></iframe>PresseViolin in 3 erasBright and colourful covers attract attention to this delightful collection. The goal of these albums is to help young violinists discover the roots of their repertoire.The medieval fiddle was the minstrels' favourite instrument, accompanying songs and dances in the Middle Ages. Low bass to high soprano instruments developed in the Renaissance, along with polyphony, and music flourished throughout Europe. The baroque style emerged in the early 17th century and through advances in craftsmanship by Amati and Stradivarius, the violin became the favoured melodic instrument. Maica Brandao has preceded her tunes for two, three, four violins and cello continuo with preparatory melodic exercises for each period, bowing practice for rhythmical modes, and improvisation techniques. Canons abound, from Anon. to Playford, Praetorius and Purcell. In the Baroque album Brandao includes 16 Variations for two violins by Geminiani, as well as his 3 and 4-note arpeggio variations. All three books are wonderful introductions to early styles that deserve to be played much more. Mary NemetStringendoAUSTA (National Journal Reviews Editor)