Flausino Vale (Barbacena, 1894; Belo Horizonte, 1954), known as the "Brazilian Paganini" by Villa-Lobos, wrote a set of characteristic and concertante preludes for solo violin. These short pieces show the Brazilian musical landscape and explore important violin techniques rarely shown on a basic level. This book presents a bigger set of scores including missing pieces in previous catalogues and alternate versions for 3 preludes, which the composer intended to publish. There is a suggestion for studying the preludes in a progressive order. This edition aims to print original bowings, fingerings and instructions which retain precious teachings of this remarkable teacher. Editor?s suggestions and explanations are written in Portuguese and English. As a homage to Flausino Vale, there are two Flausinian preludes composed by Dr Zoltan Paulinyi for violin, along with their transcriptions for viola.

=====

Em Português. Flausino Vale (Barbacena, 1894; Belo Horizonte, 1954), chamado de "Paganini Brasileiro" por Villa-Lobos, escreveu um conjunto de prelúdios característicos e concertantes para violino só, valiosos pela exuberância do estilo musical brasileiro e pela exploração de importantes técnicas violinísticas raramente encontradas no ensino fundamental.Esta edição reúne um conjunto ampliado de partituras com obras ausentes em catalogações anteriores e versões alternativas para 3 prelúdios, que o próprio compositor desejava publicar. Este livro traz uma sugestão de ordem progressiva aos estudos desta coleção. Preservam-se arcadas, dedilhados e instruções originais visando guardar preciosos ensinamentos deste notável professor. Consolidações e sugestões do editor estão anotadas em português e inglês.Como homenagem a Flausino Vale, adicionam-se dois prelúdios flausinianos de Dr. Zoltan Paulinyi para violino, com respectivas transcrições para viola.

English.

A course of violin instruction combined with musical theory and practice in duet-playing

English.

A course of violin instruction combined with musical theory and practice in duet-playing.

Quarantine Etudes for Violin by Dr. Piotr Szewczyk
Composed in May 2020 during the global pandemic.

All major etude books for violin, including those by Mazas, Kreutzer, Dont and
others, are firmly rooted in romantic harmonic language; minor and major triads,
arpeggios, diminished and augmented chords, dominant 7th etc.

A 21st Century violinist will encounter a much more varied musical language.
Those standard etudes don?t prepare students for octatonic scales, various
modes, whole tone scales, rapid chromatic twists and turns, atonality, extended
jazz harmonies etc. that are a big part of contemporary music.

I created these bite-sized etudes to help students experience different musical
languages and go against the ingrained familiar patterns their fingers are used to.
I hope they will be fun and adventurous challenge for violin students of all ages.

The G Major Scale Book for Violin gives you 26 ways to learn, perfect, and use a 3-octave G major scale.

Perfect for students that have just started playing three-octave scales on the violin,this book uses shifting exercises, slur patterns, rhythms, and more to help you master this important scale.

Who this book can help: Intermediate and early-advanced violinists who are ready to perfect the G major scale.

How to use this book: Play one page a day as part of your practice regimen, after finger exercises.

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.