ISBN 9781609744694. Each skill section in this excellent resource for beginning, intermediate, and advanced players is concise, easy to understand, and provides an effective and meaningful approach to learning one, two, and three-octave scales plus more. Presentation of scales and arpeggios include excellent fingerings and an emphasis on bowing and rhythmic variations. Beginners are supported with rote and music notation as well as specific goals to accomplish. One special feature is an intense focus on the development of the intermediate player through two-octave scales, arpeggios, and chord progression arpeggios! These studies increase knowledge of music theory, promote chord recognition, and are especially valuable for those learning improvisation. Advanced players will be challenged by three-octave major and minor scales presented in increasing rhythmic values. Finally, scales in sixths and thirds are offered for continued study and development of double stops. Discover a deep appreciation for getting the most out of scales!

Pachelbel's Canon is the common name for an accompanied canon by the German Baroque composer Johann Pachelbel in his Canon and Gigue for 3 violins and basso continuo (German: Kanon und Gigue für 3 Violinen mit Generalbaß) (PWC 37, T. 337, PC 358), sometimes referred to as Canon and Gigue in D or Canon in D. Neither the date nor the circumstances of its composition are known (suggested dates range from 1680 to 1706), and the oldest surviving manuscript copy of the piece dates from the 19th century.

Pachelbel's Canon, like his other works, although popular during his lifetime, went out of style, and remained in obscurity for centuries. A 1968 arrangement and recording of it by the Jean-François Paillard chamber orchestra gained popularity over the next decade, and in the 1970s the piece began to be recorded by many ensembles; by the early 1980s its presence as background music was deemed inescapable. From the 1970s to the late 2010s, elements of the piece, especially its chord progression, were used in a variety of pop songs. Since the 1980s, it has also been used frequently in weddings and funeral ceremonies in the Western world.

The canon was originally scored for three violins and basso continuo and paired with a gigue. Both movements are in the key of D major. Although a true canon at the unison in three parts, it also has elements of a chaconne.

ISBN 9781619111479. Many selections in this volume are unique and until now have been inaccessible to the string ensemble repertoire. These pieces are intended for multiple strings for performance in the classroom as well as performance in concerts. Several players may be used on each part. Whenever possible, every effort was made to keep the viola and violoncello/double bass parts melodic rather than simply filling in the various harmonic chord progressions. The pieces may be performed as a solo for each instrument (Violin 1, Violin 2, Viola or Cello) with piano accompaniment, or as duets or trios, as well as full orchestra. If performed with full orchestra, the piano accompaniment is not necessary. The string ensemble series meets all standards for ASTA with NSOA (American String Teachers Association/National School Orchestra Association) and Suzuki Association of the Americas, Inc.

After playing hundreds of events throughout the years I have finally put some of my personal arrangements down on paper. This version of Air eliminates the sul G and replaces it with more lush chords. It is a solo violin version that works great for weddings and other events. This is both a challenging work to practice a multitude of chords and a great performance piece.

For those who are still progressing, the chords can be omitted where needed to make the piece more approachable.

After playing hundreds of events throughout the years I have finally put some of my personal arrangements down on paper. This version of the Wedding March takes the full sound of a quartet and puts it into one instrument. There are many chords in this version which is perfect for a solo violinist at a wedding.

For those who are still progressing, the chords can be omitted where needed to make the piece more approachable.

After playing hundreds of events throughout the years I have finally put some of my personal arrangements down on paper. This version of Ave Maria takes the original theme and turns it into a concert piece. After the first verse with a multitude of chords is performed, a second version comes with string crossings reminiscent of the Bach Chaconne. Rubato is definitely acceptable and at times necessary to bring out the feeling of this piece.

For those who are still progressing, the chords can be omitted where needed to make the piece more approachable.

After playing hundreds of events throughout the years I have finally put some of my personal arrangements down on paper. This version of the Bridal Chorus takes the full sound of a quartet and puts it into one instrument. There are many chords in this version which is perfect for a solo violinist at a wedding.

For those who are still progressing, the chords can be omitted where needed to make the piece more approachable.