The start is lyrical, abounding with portamenti. This is followed by a rhythmic duo with the piano before retiring to the opening lyrical feel.
Great fun duets with rhythmic demands and a good feel for virtuosic playing. Melodies include Auld Lang Syne, Morrison’s Jig plus many more traditional and original compositions by Igudesman. Cross-rhythms, accents, grace notes and syncopations abound. The book includes some hints so “one can sound a little more authentic and less ‘classical’“
A wonderful piece that will delight any audience and have them foot tapping along. The opening cadenza has a variety of more advanced techniques with long glissandi on single notes and even on double stopped chords. There is one fast and furious patch of semiquavers in the central section as well as a most beautiful melody. Beware that the cadenza appears to have bars printed out of order, certainly not in the order Piazzolla’s bassist, Kicho, plays it. Also watch out for the many wrong notes in the bass part. Requires a professional pianist.
This unaccompanied jazz-style piece is popular with advanced pupils. It features many technical challenges including much double stopping, awkward shifting and string-crossing, many kinds of articulation and dynamic contrasts.
Dog Tired has long phrases with a changing time signature though the pulse is always a crotchet. It will benefit from vibrato and sustained bows. There is a rall. in the middle and a glissando at the end. It goes up to 3rd position but could use 4th position on the D string depending on the chosen fingering.
The Great Tail Chase opens with an up bow crescendo followed by fast semiquavers which require good co-ordination. It goes up to 3rd position.
Dog’s Life is a very effective concert piece.
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