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I Can Play Beethoven for Violin and Piano: Violin and Piano Book

$9.95 USD
$9.95 USD
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I Can Play Beethoven for Violin and Piano Cover Image
I Can Play Beethoven for Violin and Piano: Violin and Piano Book

I Can Play Beethoven for Violin and Piano: Violin and Piano Book

By Andrew H. Dabczynski

Grade: 1.5

Item: 36-52710011
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Description
Eight easy solos with easy piano parts in friendly keys for beginning to intermediate players taken from some of Beethoven's best known works.

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Additional Details
Series: Latham Music - LudwigMasters
Publisher: Keiser Productions, Inc.
ISBN10: 1-68-296866-9
ISBN13: 978-1-68-296866-6
UPC: 660355156861
SKU: 36-52710011
Instrumentation: Violin, Piano

More about this title

About the Composer: Andrew H. Dabczynski

Andrew H. Dabczynski

Andrew H. Dabczynski has shaped string education across multiple institutions and roles. He founded the BYU "New Horizons Orchestra" as Emeritus Professor of Music Education at Brigham Young University, establishing it as both a beginning string ensemble for adult learners and a training laboratory for string teachers. His leadership earned him BYU's Joseph E. White Fellowship for Teaching and Learning. Previously, he held teaching and administrative positions at the Eastman School of Music and in public school systems across New York and Michigan, including serving as Fine Arts Supervisor in Waterford, Michigan.

Dbowski holds a B.M. in viola performance from Eastman and a Ph.D. in Music Education from the University of Michigan, with additional graduate study at the University of Connecticut. His performance history includes positions with the Rochester Philharmonic, Hartford Symphony, Portland Symphony, Kalamazoo Symphony, and Greenwich Symphony orchestras, as well as six years with the Colden String Quartet at Western Michigan University. He has been instrumental in the American String Teachers Association at both the national and state levels, serving as president of the Utah chapter and receiving the state's "Higher Education Teacher of the Year" award in 2005 and recognition for "Outstanding Contributions to Music Education" in 2014. His pedagogical expertise is evident in the widely used String Explorer method series, co-authored for Alfred Publishing, and in his research on fiddling and traditional music transmission.

Why we love this

Dabczynski understands exactly what beginning and early intermediate violinists need: recognizable melodies that inspire practice, paired with piano accompaniments that don't overwhelm the page. These eight arrangements distill Beethoven's genius into accessible keys and manageable technical demands, letting students experience the satisfaction of playing "real" classical music without waiting years to reach it.

What to expect

These arrangements capture the directness and emotional clarity Beethoven brought to melody. The music feels urgent and purposeful, yet playable; each piece carries genuine substance without unnecessary technical flourish, inviting young violinists to bring their own expression to lines they recognize as important.

Who it's for

Beginning to early intermediate violinists who crave repertoire beyond exercise books. Students in grades 2-5 of violin study will find these arrangements in comfortable keys, and teachers looking to build confidence and musicality in young players will appreciate how these pieces reward consistent practice with immediate musical payoff.

How to get the most out of it

  • Balance your tone with the piano by imagining you're singing the melody rather than playing through it. Beethoven's lines sing, and your bow control should reflect that.
  • Coordinate with your pianist on tempo and style during rehearsals. These are solos with accompaniment, not duets, so the violin takes the lead while the piano provides harmonic support.
  • Work vibrato into sustained notes gradually if your students have started it. Even subtle vibrato can add warmth to Beethoven's longer phrases.

How to use it

Use these as solo repertoire in studio recitals or youth orchestra concerto competitions. A single arrangement works equally well as a summer sightreading exercise or as a confidence builder mid-year for a student ready to step beyond etudes. Consider programming one or two in a studio recital to showcase how far students have progressed in tone and phrasing.

Skills your students will build

  • Reading in multiple keys while maintaining consistent intonation
  • Sustaining longer melodic phrases with shape and direction
  • Coordinating with a separate accompaniment while maintaining independence
  • Navigating position shifts in accessible patterns
  • Building expressive control appropriate to classical style

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