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.

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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.

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 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.

ISBN 9781513459929. 8.75 x 11.75 inches.

Incorporating skills taught in many popular violin methods, these tuneful solo pieces offer a fresh alternative for teachers who would like a stimulating supplement to their usual method. These entertaining and whimsical compositions reinforce and develop violin skills through repetition disguised as lyrical musical phrases. They strengthen the left hand, exercise the fourth finger, and use rests in musically compelling ways that keep the student attentive. They also present mixed meter and double-stops, and offer a practical introduction to musical form and phrase structure. Slurs and dynamics are incorporated immediately, along with right-hand pizzicato on stopped strings and left-hand pizzicato on all open strings. These pieces are written specifically to encourage interpretive creativity, even at the most elementary levels. As twenty-first-century pieces for solo violin, they are meant to be performed as well as studied

In 1936 Fritz Kreisler revealed to the world that many of the miniatures that he performed were composed by him and not works ascribed to earlier composers such as Gaetano Pugnani. ?The Praeludium and Allegro had been published in 1905, thirty-one years before this confession. ?By that time it had found its way in the hearts of violinists and audiences alike. ?The dramatic Praeludium gives way to the lively Allegro. ?No one will ever know if Gaetano Pugnani (1731?98) would have enjoyed Kreisler's fun piece, but violinists certainly do!

The PDF file contains the score and all string parts.

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.

Viktor Kosenko (1896-1938) was a Soviet Ukrainian pianist and composer. He wrote mainly for his two instruments, the piano and the violin, including concerti for both instruments. In the early 1930s, sensing a void in the educational offerings for children, Kosenko began to write beautiful, yet simple tunes for his piano students. The arranger fond these works suitable for the violin (there is a viola version available as well). Melody, Olden Dance, Scherzino and March all take abut six minutes to perform and are excellent recital works for young violinists. All four are playable in first position in friendly keys like A Minor, G Major, D Minor and D Major.