French.

The masters of the violin have left us an inheritance of numerous books of remarkable studies and caprices. But the very abundance of this precious inheritance makes that an important part of it remains without profit, because it is impossible for the pupils to acquire or study these few thousands studies scattered in fifty big volumes. Very frequently, however, these studies are not classified in a progressive manner. Result of an inspiration which the pedagogical spirit could not always dominate or guide as it liked to, the first studies address themselves sometimes to the pupils who conjugate yet their first shifts with the most easy bow strokes, while the last are always of transcendent difficulty. Whatever be the chosen studies, once the first step is sourmounted, the pupils must do great efforts to realize imperfectly and in divided movements, difficulties which are beyond them. The result of this is: a considerable loss of time and sometimes even much discouragement. It follows at all events, that instead of practising fifty or sixty caprice studies in one year\'s time, the pupils can hardly study thirty. It is the desire to remedy these multiple inconveniences, that has incited us to realize the present work and in order to accomplish it to search in the greatest works of the masters, the elements the most apt to insure rapidly to the young violinists, the most complete mecanism of the left hand and bow. These exceedingly numerous and diverse elements chosen in the old editions, have been re-examined, fingered and sometimes the nuances (shades) set by us, with the most care and then classified by degrees from the second to the eight year of study in a progressive manner. These books of studies will not bear their fruits however, unless the work is regulated from the second to the fifth year of teaching, by a good method and appropriated exercises. The studies cannot in reality during this period, replace neither a method nor the exercises, they have to be considered rather as an amplified rehearsal of elements learned elsewhere but still badly assimilated.

The Belgian violinist, Eugene Ysaye (1858-1931), with his impressive blend of virtuosity and poetry, was a great admirer of the young Debussy's music who led the Paris premiere of his only string quartet in December 1893. In September 1892, Debussy was planning an American tour with the financial support of Prince Andre Poniatowski that was to include his 'nearly completed three Scenes au crepuscule', inspired by the Symbolist poetry of his friend Henri de Regnier. He made 'extensive revisions' to them in 1893, even if all that seems to have survived is a series of sketches in Bibliotheque Nationale de France, MS 20632(2), most of which appear to be for violin and orchestra in E or B major. Another related, and more virtuosic, theme emerged in a Parisian sale in June 2006, which opens the main part of the present Nocturne (after a slow introduction).

We also learn from Ernest Chausson in April 1893 that Debussy was composing a work for Ysaye's first American tour in 1894-95, which at one stage was described as a 'concerto'. Then, as Debussy was putting the finishing touches to L'Apres-midi d'un faune in 1894, he told Ysaye he was now working on 'three Nocturnes for solo violin and orchestra which are destined for you', and which undoubtedly derived from his earlier 'Twilight scenes'. The first was to be 'for strings only'. the second for three flutes, four horns, three trumpets and two harps. the third combines all these instruments'. He also informed Ysaye, perhaps with Whistler's Nocturnes in mind, that they were to be like 'a study in grey in painting'. Debussy only abandoned this project in November 1896 after Ysaye told him he would not be able to premiere the Nocturnes in Brussels 'for financial reasons'.

My completion comes closest to the third Nocturne Debussy planned and to being a rondo with related episodes. The dynamic idea that emerged in 2006, which was scored by Debussy, leads naturally into the 'twilight' theme in B major beginning on solo cello and doublebasses, with the high, haunting three-note idea first heard at the outset floating above on solo violin, exactly as Debussy conceived it. All five of Debussy's themes are harmonized and they vary in length between three and thirteen bars: none of them relate to the orchestral Nocturnes of 1897-99. Rather than develop any of these themes, they are presented in changing harmonic backgrounds in the contemporary manner of L'Apres-midi d'un faune, and the whole work centres on an expansive scalar which joins the various aspects of Debussy's 'twilight' themes together in a new perspective.

ISBN 9781619118867.

For more than a century, violinists have played jazz, swing, blues and similar improvisational styles. With its rich tone, considerable range, and bowed rhythms and phrasing, the violin offers a unique opportunity for a creative and personal statement as a musician. This book presents a broad sampling of the styles of major jazz violinists, from blues to bebop, from jug band to jazzgrass, from big-band swing to Texas swing. Tunes represent the styles of Stephane Grappelli, Joe Venuti, Stuff Smith, Eddie South, Mark O'Connor, Benny Thomasson, Jean-Luc Ponty, and Darol Anger. Helpful jazz theory sections with exercises alternate with tunes that show how the theory works in practice. This book has two objectives; first, to present a broad, roughly chronological sampling of major jazz violinists and the styles associated with them, and secondly, to introduce the basics of jazz theory as applied to the violin. Whether consciously or intuitively, through critical listening or by practicing jazz patterns and exercises, the more knowledge of jazz you acquire, the better you will be able to think about the content of your playing without being bound by technical and theoretical aspects. This anthology was written to help provide that foundation. Interspersed with pragmatic jazz theory lessons, youall find 28 original tunes in the style of various jazz violin luminaries. The book ends with an extensive discography of recommended jazz recordings with a violin focus. Mandolinists as well as other instrumentalists will find a wealth of useful information in this outstanding collection. Delightful broadcast-quality recordings of the repertoire are available online. Includes access to online audio. Wirtten for intermediate to advanced violinists.

HBO fantasy series "Game of Thrones" has been a smash hit for audiences around the world, and the catchy theme song centered around the cello has become a widely requested tune. This arrangement for string quartet, originally commissioned by Premiere Wedding Music for the recessional of a wedding, features the cello in the first half and the violins in the second half for an arrangement that's as much fun to play as it is to listen to! Playable for intermediate/student musicians and easily sightreadable for professionals.

Why choose Cellobat Charts arrangements? For any musician who knows what they're doing, the answer is easy: just listen to them. Every freelance musician has thrown hard-earned money away on questionable, error-filled charts by unknown arrangers from weird corners of the Internet. But watch out -- inferior arrangements not only make gigs less enjoyable to play, but they also make your group sound bad to your client and audience, no matter how great your players really are. That's why Cellobat Charts is here: to provide students and working string players alike with high-quality versions of highly requested music. My arrangements are guaranteed to be energetic, fun to play, and enjoyable to listen to, whether or not you're familiar with the original songs. Hear the difference for yourself! Full videos of many Cellobat Charts arrangements are available on YouTube so you know exactly what you're getting. Click "Watch" near the item details at the top of the page for full video of "Game Of Thrones Theme." Crowd pleasing guaranteed.


Sarah "Cellobat" Chaffee earned her bachelor's degree in cello performance from the Cleveland Institute of Music and is now based in Las Vegas. She currently performs with Aerosmith in their "Deuces Are Wild" residency at The Park MGM Theater on the Las Vegas Strip. Sarah is also the principal cellist in David Perrico's Pop Strings Orchestra, a 14-piece band that performs every Friday and Saturday at Caesars Palace, and she plays regularly for Premiere Wedding Music and Bella Electric Strings. Sarah has performed and recorded with many other artists including Halsey, Disturbed, M�tley Cr�e, Celine Dion, Kygo, Ricky Martin, Sarah Brightman, Il Divo, and Lady Antebellum. She can be found at:
http://www.cellobat.com
http://www.instagram.com/cellobat
http://www.youtube.com/c/SarahCellobatChaffee

Item Number: H0.817299-53487

This is a beautiful, playable arrangement for three violins. Keep in mind that "easy" for one is not necessarily "easy" for another. This is not a "beginner" arrangement. It is an arrangement with less notes in it than the regular arrangement, and easier rhythms where applicable.

You receive the score, the Violin 1, Violin 2 and Violin 3 parts. The sound clip is digitally produced.

There is a regular arrangement of this trio available, Item No. H0.357419-53487.

This collection contains 10 familiar hymns and praise choruses arranged as easy instrumental duets (for VIOLIN solo with PIANO accompaniment). From flowing and peaceful to bright and uplifting, these arrangements are a welcome addition to the repertoire for beginning string students. These familiar hymn arrangements are equally enjoyed whether used for recitals, worship services, or to make practicing more interesting.

All notes for the VIOLIN in each song are playable in the first position making these arrangements an excellent choice for early-intermediate string players. For each song, there is a combined score (grand staff) with both parts on each page (VIOLIN and PIANO) plus a separate 1-staff score for the VIOLIN.

Each song is also available separately with accompanying preview pages and audio samples.

Song titles included in this collection:
Be Still and Know
Close to Thee
Faith of Our Fathers
God Is So Good
I Have Decided to Follow Jesus
I?ve Found a Friend
Kum Ba Yah
Shall We Gather at the River
Shalom
Sweet By and By

This collection of ?Easy String Trios? contains 10 hymns arranged for VIOLIN, VIOLA, and CELLO. These fun-to-learn arrangements are a welcome addition to the repertoire for beginning string students and suitable for recitals and worship services. The theme of each hymn centers around giving thanks and is equally suited for the Thanksgiving season as well as other times of year to encourage a spirit of gratitude.

All notes for each instrument are playable in the first position making these arrangements an excellent choice for early-intermediate string players. For each song, there is a combined score (grand staff) with all three parts on each page plus separate 1-staff scores for the VIOLIN, VIOLA, and CELLO.

Each song is also available separately with accompanying preview pages and audio samples.

Song titles included in this collection:
All Creatures of Our God and King
Come, Thou Fount of Every Blessing
Come, Ye Thankful People, Come
Count Your Blessings
Joyful, Joyful, We Adore Thee (Ode to Joy)
Now Thank We All Our God
Praise God, from Whom All Blessings Flow (Doxology)
Praise to the Lord
Rejoice, the Lord Is King
We Gather together

Caprices No.?s 1 - 6 (for unaccompanied violin) MO112

Violin Solo

Music by Mark O?Connor

36 pages - 20:00 minutes in length



Caprice No. 1 In A Major - p. 1

Caprice No. 2 In G Minor - p. 7

Caprice No. 3 In A Major - p. 13

Caprice No. 4 In D Major - p. 19

Caprice No. 5 In F Major - p. 25

Caprice No. 6 In G Major - p. 31



Caprices No.?s 1 - 6 for unaccompanied violin are among Mark O?Connor?s most critically acclaimed works. Receiving great interest from performers, teachers and students of the violin, O?Connor has contributed music here which will challenge even the most gifted virtuoso. O?Connor?s caprices, like Nicolo Paganini?s and Pietre Locatelli?s, push the violin into a new direction, musically and technically, furthering the possibilities of the instrument. ?Caprice?s No.?s 1 - 6? feature demanding techniques which are desirable for study purposes, and at the same time, are accessible to concert audiences. The violinist will find passages containing complex rhythms, broken chord arpeggios, two-handed pizzicato, various spicatto and double-stopped runs. In addition to these specialized skills, the violinist must master the works? driving and aggressive rhythms in order to perfect the performance of them. This collection is appropriate for the advanced student but isolated selections could be valuable for the intermediate.



Original music printed from the composer?s manuscripts.

Music editing, copying and engraving by Mark O?Connor

using ?Finale? on Apple Macintosh 1986 - 1994



Composed By Mark O?Connor

Caprices No.?s 1 - 6 can be heard on ?Midnight On The Water? Warner Bros. Records

Mark O?Connor - violin



Catalogue Number MO112

Copyright � 1986 by Mark O?Connor Music International

The fourth volume of the Violinissimo series features the most important studies for the early years of violin lessons. Violin Studies contains selections from the standard works by Kayser, Dont, Wohlfahrt, Kreutzer and many others. This anthology is ideal for use in music lessons or for violinists who wish to develop their technique.