The search for a methodology in devising exercises suitable for
different types of nyckelharpa, of repertoire and modes of execution

By Marco Ambrosini

This article is a short dissertation on the difficulties teachers can encounter in the compilation of exercises suitable for different types of nyckelharpas and tunings, especially in the educational reality of Continental Europe, where so called “Swedish” and “Continental” versions happily coexist, and on possible solutions to such hurdles.

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Marco Ambrosini (Germany/Italy)

Marco Ambrosini studied violin and composition at  the Musical Institute "G.B.Pergolesi" in Ancona and at the Conservatory "G. Rossini" in Pesaro, Italy. His eminent tutor was Adrio Casagrande.

Ambrosini discovered the nyckelharpa in the 80's, and immediately fell in love with its beautiful form and its marvellous sound. He started using this instrument in concerts in the 90's and very quickly shifted his attention from the violin to the nyckelharpa. He has perform as soloist and in several orchestras and ensembles for early and contemporary music, at various venues, from Vancouver to Moskow.

He is also active as a composer and often writes for our instrument, especially for nyckelharpa ensembles.

Ambrosini works as a teacher of early music and nyckelharpa at the “Academy of BURG FÜRSTENECK” (D) and at the “Scuola di Musica Popolare di Forlimpopoli” (I), both birthplaces of the European Nyckelharpa Training.

He is presently writing a book of daily exercises for advanced nyckelharpa players.