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SD item code:10427292
| Detail | Price & Quantity | ||
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| S1 |
Masahito Ueda (Supervisor)
 Original text before translation
上田 眞仁 (監修)
(42624)
JAN:9784780426243
|
(42624)
JAN:9784780426243
Wholesale Price: Members Only
1 pc /set
In Stock
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| Dimensions |
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Size: A5 (210mm x 148mm)
Number of pages: 112 Weight: 214g |
| Specifications |
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Country of manufacture: Japan
Material / component: Paper
Year of manufacture: 2022
Product tag: None
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Description
| * Learn how to make beautiful tones! You will learn how to make beautiful tones! * Bow movement for a tone of a higher grade * The key to mastering positional movement * How to use the body, the key to a rich performance * Comments from the supervisor * I started playing the violin at the age of three. After graduating from junior high school, I moved to England and later studied at the Guildhall School of Music. I later studied at the Guildhall School of Music I studied at the Guildhall School of Music with Prof. Ifrah Neiman. After returning to Japan, I studied violin again at the same graduate school and received a diploma. I studied the violin again at the same graduate school and received a diploma. I hope that the violin methods he taught me will be I realized that the violin method I learned from my teacher would surely be useful for many violin players in Japan. I have continued to give private lessons in parallel with my performance activities. I have continued to give private lessons in parallel with my performance activities. Many violin players are not familiar with the Many players, perhaps because of the image of a virtuoso violin piece are often distracted by the technique of the left hand, and right hand bowing, which should be the most important part of the violin. the bowing of the right hand, which should be the most important part of the violin. I have studied violin in both Japan and England. I have studied the violin in both Japan and England. I have tried to share my own thoughts and ideas, having studied the violin both in Japan and in England. [For those who are practicing the violin on their own I believe that this book will be an eye-opener for those who are practicing the [Br] violin on their own. And for those who are already studying with a teacher, there may be many things you already know. I hope you will take this opportunity to reexamine your own playing style. I would be happy if you could use this as a starting point to look at your own technique once again. Masahito Ueda * Main Contents * * Basics Points to keep in mind when practicing the violin * An accurate understanding of the instrument will improve the efficiency of your progress. * Knowing how sound is produced, let's make a [good sound]. * Shoulder pads are not always necessary. * No good playing without accurate tuning * Efficiently work on your practice when you set up your practice sessions. * etc. * Bowing Bowing method for mastering tone * A consciously relaxed body is the foundation for a good sound. * If you want to play freely, you must have a supple and beautiful posture. * If you want to pursue a beautiful sound, bowing is the only way. * The correct way to hold the bow is to prepare the starting point of sound * Stretching the bow and ballpoint pen to master the movement * etc. * Technique section Train your left hand for a richer performance * Practice your weakest phrases with a metronome * Ensure that all fingers are in shape to move freely * Scale practice in every key is the muscle of your playing * Move each finger quickly to get the grain of the note right. * Practice octave scales to train your ear. * etc. * Musical instruments Maintenance techniques to maintain beautiful tone * Daily care is indispensable for beautiful tone. * Take great care in storing your instrument * The condition of your bow will affect your bowing. * Replace the strings before they deteriorate. * The heart of the violin [piece]. * * etc. |
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music bookOther items from this category:
You will learn how to make beautiful tones!
* Bow movement for a tone of a higher grade
* The key to mastering positional movement
* How to use the body, the key to a rich performance
* Comments from the supervisor *
I started playing the violin at the age of three.
After graduating from junior high school, I moved to England and later studied at the Guildhall School of Music.
I later studied at the Guildhall School of Music
I studied at the Guildhall School of Music with Prof. Ifrah Neiman.
After returning to Japan, I studied violin again at the same graduate school and received a diploma.
I studied the violin again at the same graduate school and received a diploma.
I hope that the violin methods he taught me will be
I realized that the violin method I learned from my teacher would surely be useful for many violin players in Japan.
I have continued to give private lessons in parallel with my performance activities.
I have continued to give private lessons in parallel with my performance activities.
Many violin players are not familiar with the
Many players, perhaps because of the image of a virtuoso violin piece
are often distracted by the technique of the left hand, and
right hand bowing, which should be the most important part of the violin.
the bowing of the right hand, which should be the most important part of the violin.
I have studied violin in both Japan and England.
I have studied the violin in both Japan and England.
I have tried to share my own thoughts and ideas, having studied the violin both in Japan and in England. [For those who are practicing the violin on their own
I believe that this book will be an eye-opener for those who are practicing the [Br] violin on their own.
And for those who are already studying with a teacher, there may be many things you already know.
I hope you will take this opportunity to reexamine your own playing style.
I would be happy if you could use this as a starting point to look at your own technique once again.
Masahito Ueda
* Main Contents *
* Basics
Points to keep in mind when practicing the violin
* An accurate understanding of the instrument will improve the efficiency of your progress.
* Knowing how sound is produced, let's make a [good sound].
* Shoulder pads are not always necessary.
* No good playing without accurate tuning
* Efficiently work on your practice when you set up your practice sessions.
* etc.
* Bowing
Bowing method for mastering tone
* A consciously relaxed body is the foundation for a good sound.
* If you want to play freely, you must have a supple and beautiful posture.
* If you want to pursue a beautiful sound, bowing is the only way.
* The correct way to hold the bow is to prepare the starting point of sound
* Stretching the bow and ballpoint pen to master the movement
* etc.
* Technique section
Train your left hand for a richer performance
* Practice your weakest phrases with a metronome
* Ensure that all fingers are in shape to move freely
* Scale practice in every key is the muscle of your playing
* Move each finger quickly to get the grain of the note right.
* Practice octave scales to train your ear.
* etc.
* Musical instruments
Maintenance techniques to maintain beautiful tone
* Daily care is indispensable for beautiful tone.
* Take great care in storing your instrument
* The condition of your bow will affect your bowing.
* Replace the strings before they deteriorate.
* The heart of the violin [piece].
*
* etc.
きちんと身につく!
★ ワンランク上の音色にかえる弓の動き
★ ポジション移動をマスターするポイント
★ 豊かな演奏の要となる体の使い方
◆◇◆ 監修者からのコメント ◆◇◆
私は3歳でヴァイオリンを始めた後、
中学校卒業とともにイギリスへ渡り、
のちにギルドホール音楽院で
イフラ・ニーマン先生に学びました。
帰国後、再び同大学院で
ヴァイオリンを学びディプロマを得た私は、
先生から教わったヴァイオリンのメソッドが
日本の多くのヴァイオリン奏者に必ず役立つと気づき、
演奏活動と並行して
プライベートレッスンを続けてきました。
超絶技巧を駆使したヴァイオリンの
名曲のイメージからか、多くの奏者は
左手の技術に意識を奪われがちで、
本来最も大事にすべき右手のボウイングが
二の次になっている人も少なくありません。
この本をまとめるにあたり、日本とイギリス、
両方でヴァイオリンを学んできた私なりの
考えを惜しみなくお伝えしようと工夫しました。<Br>ヴァイオリンを独学で練習している人にとっては
目からうろこの内容も含まれていると思います。
また、すでに先生のもとで学んでいる人にとっては、
すでにご存じのことも多いかもしれませんが、<Br>今一度、ご自分の奏法を見つめ直す
きっかけにしていただければ幸いです。
上田眞仁
◆◇◆ 主な目次 ◆◇◆
☆ 基本編
ヴァイオリンを練習する際に押さえておくポイント
* 楽器に対する正確な理解が上達の効率を高める
* 音の出る仕組みを知り、「いい音」を奏でよう
* 肩当ては必ずしも必要なパーツではない
* 正確なチューニングなくしてよい演奏なし
* 練習の段取りを決めると効率よく取り組める
・・・など
☆ ボウイング編
音色を極めるための運弓メソッド
* 意識的に脱力した体がいい音を生む土台となる
* 自由に演奏したければしなやかで美しい構えを
* きれいな音を追求したいならボウイング一択
* 正しい弓の持ち方は、音の出発点を整えること
* 弓とボールペンのストレッチで動きをマスター
・・・など
☆ テクニック編
左手を鍛えて豊かな演奏にしよう
* 苦手なフレーズこそメトロノームで練習を
* すべての指が自在に動く形を確保しよう
* すべての調の音階練習が演奏の筋肉となる
* 各指を素早く動かして音の粒立ちをそろえる
* オクターブの音階練習で耳を鍛えよう
・・・など
☆ 楽器編
美しい音色を保つためのメンテナンス術
* 美しい音を奏でるために欠かせない毎日のケア
* 楽器の保管には細心の注意を払おう
* 弓のコンディションがボウイングを左右する
* 弦は劣化する前に張り替えよう
* ヴァイオリンの心臓部ともいえる「駒」
*
・・・など