SKU: CF.BF131
ISBN 9781491153765. UPC: 680160911264. 9 x 12 inches.
Inspired by Clarence Cameron White’s book The Violinist’s Daily Dozen, The Violinist’s Daily Sixteen is a collection of daily exercises compiled by Roland Vamos. Intended for student and professional violinists, the collection provides the performer with a variety of exercises for daily warm-ups. Mr. Vamos also focuses on developing dexterity and flexibility in the fingers and joints, the first and fourth fingers in particular. Each of the sixteen exercises is notated for each of the four strings, and Vamos recommends that the exercises be practiced as warm-ups, choosing a different string for each day of practice.Also included with the Daily Sixteen is a comprehensive set of studies for developing fluency with scales and arpeggios. Mr. Vamos’ unique methodology is to begin with major scales and arpeggios, followed by minor scales and arpeggios, all of which are notated in two, three and four octaves. Alternate fingers are provided, as well as a variety of slurred and mixed bowings using the three parts of the bow whenever feasible. It is a remarkably systematic approach to performing scales and arpeggios on the violin and will surely benefit students and professionals alike.ForewordThis short hand-setting set of exercises was inspired by a book entitled The Violinist’s Daily Dozen, conceived by Clarence Cameron White, a prominent African-American violinist, composer and arranger who enjoyed the bulk of his career in the first half of the twentieth century.I have practiced this set of exercises since I was twelve years old. It has served me as a superb warm-up and hand setting tool. Over the years, I have found that there are some aspects of this warm-up routine that were not given sufficient attention or not addressed at all. Consequently, I have expanded the Daily Dozen to create a new work entitled The Violinist’s Daily Sixteen.I have also paid particular attention in this work as to how these exercises are to be practiced. In exercises one and two, I have indicated some notes to be played before the actual written exercises. This is to ensure that the fourth finger will be over the string in a position ready to strike even though it is not being used. Before playing exercises three, four, nine, ten, eleven and twelve, I have indicated silent fingers to be placed on the notes they would be playing if they were being used.I have replaced Mr. White’s grace notes with notes of specific value and have slowed down the exercises so that the first joint (the joint nearest the string) of each finger can move with flexibility and strength. At no time should the first joint buckle.In Mr. White’s version, the last exercise gave the first finger some very valuable backward extensions. In this exercise (number 14 in this book), I caution the student not to move the hand along with the first finger. The hand should remain in position while the first finger independently moves back and forth.It became obvious to me that if the first finger were given the opportunity to develop the dexterity that Mr. White’s twelfth exercise emphasizes, the fourth finger could benefit from an exercise that gives it a forward extension. Consequently, I added another exercise to create a Baker’s Dozen (thirteen).Several years later, I felt that the second and third fingers should also have an exercise to further develop their dexterity…hence exercise fourteen was added to create a “Vamos Dozen.â€Because the first finger did not have sufficient practice in the development of the first joint in the original version, I have added two exercises to precede White’s fifth exercise. After re-working and re-numbering these exercises, I have come up with a total of sixteen exercises. It is my suggestion that these be practiced as a warm-up, choosing a different string each day.—Roland VamosEvanston, Illinois 2017 PrefaceScales are a means of teaching a person the fingerboard on his or her instrument. The fingers move across the strings and are required to make shifts, all in highly organized patterns. Scales and arpeggios are the foundation upon which our repertoire is built. Many scale books have been written; each one being organized in its own specific way. The Flesch Scale System has been a standard for many decades. It is very comprehensive and systematic. From the point of view of establishing similar patterns, it has one drawback: it is organized by starting with a major key, followed by its relative minor, going through the circle of fifths. I believe that it is more profitable to do only major scales with their arpeggios first, going up chromatically, and then follow them in a similar way with the minor scales. In using this approach, the similarities in fingerings between the various scales are more apparent. It is also profitable to have alternate fingerings whenever possible. My approach to scales and arpeggios includes a variety of slurred and mixed bowings using the three parts of the bow whenever feasible. These bowings are not all-inclusive. Whenever a particularly awkward bowing pattern is encountered in the repertoire, it can be practiced as an additional bowing variation in the scales and arpeggios.   I have chosen to introduce the three and four octave scales by teaching two octave scales across the strings in one position going up chromatically through seven positions; starting on the first, second, third, and finally fourth fingers in major and melodic minor.—Roland VamosEvanston, Illinois 2017.
SKU: PR.114422260
ISBN 9781491133866. UPC: 680160683352. 9 x 12 inches.
Legends of the phoenix are found in stories from ancient Egypt and Greece. While each culture possesses a range of stories encompassing the myth, these tales tend toward similar traits: a sacred bird with brilliantly colored plumage and melodious call lives for typically 500 years, then dies in a nest of embers, only to be reborn among the flames. Phoenix Rising consists of two movements: I. Dying in Embers represents an old phoenix settling on top of a pile of embers and breathing its last breath; II. Reborn in Flames depicts the newly-born phoenix getting its first taste of flight.Legends of the phoenix are found in stories from ancient Egypt and Greece. While each culture possesses a range of stories encompassing the phoenix myth, these tales tend to share similar traits: a sacred bird with brilliantly colored plumage and melodious call lives for typically five hundred years; then the bird dies in a nest of embers, only to be reborn among the flames.In Egyptian stories, the phoenix gathers scented wood and spices for its funeral/rebirth pyre, then collects the ashes from its earlier incarnation and flies them to the temple of the sun in Heliopolis to offer as a tribute to the sun god.In Greek myths, the phoenix was approximately the size of an eagle and was adorned with red and gold feathers; it would fly from either India or Arabia to Heliopolis to give its offering. The bird’s association with immortality and resurrection are particularly intriguing aspects of these tales, giving numerous writers (including William Shakespeare, C.S. Lewis, and J.K. Rowling) a rich resource for their own stories.Phoenix Rising consists of two movements. I. Dying in embers represents an old phoenixwho is settling on top of a pile of embers and breathing its last breath. II. Reborn in flames depicts the newly-born phoenix getting its first taste of flight.Phoenix Rising was commissioned by saxophonist Christopher Creviston, who has recorded the work on the Blue Griffin label. The composer has also made editions of the work for flute and for clarinet (also available from Theodore Presser Company).
SKU: PR.114418750
ISBN 9781491129524. UPC: 680160655489. 9 x 12 inches.
The seven-movement in the snowy margins might be considered a sort of atomic suite, as each movement is succinct, yet a microcosmic powerhouse inspired by “The Comet,” by Polish writer and Holocaust victim Bruno Schulz. Hersch’s intensity is expressed through dramatically captivating violin gestures, pushing the boundaries of texture, technique, and emotion.Michael Hersch’s in the snowy margins was written in 2010. Like much of his work, it is grounded in literature and art. The title is drawn from a short story, The Comet by Polish writer, poet, and artist, Bruno Schulz (1892-1942). This forms the last of his collection The Street of Crocodiles, published in 1934. Schulz was shot by a Nazi officer in 1942.Both the title of Hersch’s work, and the ‘motto’ found on the composer’s manuscript (‘Thus far and no further. But what has become of the end of the world…’) are to be found in The Comet. It’s interesting that in in the snowy margins, unlike his earlier Fourteen Pieces which were inspired by the poetry of Primo Levi, Hersch chose to not title each individual movement with a quote. However his choices of text are applied, there is a clear quality of distillation. In every case, the texts which the composer has chosen to eschew lie beneath the music, akin to the greater mass of an iceberg, submerged, but imminent.Hersch also has very particular taste in visual art, and there seems to be common ground between the intensely expressionist drawing of Schulz, and those of Michael Mazur, which inspired his string quartet Images from a Closed Ward. The parallels between these artists reflect common traits shared between these two pieces, which provide a window on how the music should be approached, expressively and technically. I would argue, that from a violinist’s point of view, this pertains directly to how bow and left hand should approach the string: the febrile vibrancy of both Mazur and Schulz’s pencil and charcoal strokes, perhaps what T.S. Eliot called the ‘circulation of the lymph’, in every gesture, speaks to the intense experience, physically and emotionally, of playing (and hearing) this music. There is an intense sense of ‘truth to materials’ at every moment, the sense that every note sings on the edge of, or even beyond, total collapse.— Peter Sheppard-Skaerved.
SKU: BT.9781408114612
ISBN 9781408114612. English.
Now in a third edition, Abracadabra Violin has a fresh and contemporary new look and is the perfect book for pupil and teacher.This title offers an identical selection of repertoire to the other books in theAbracadabra Strings series, so they can be used in any combination for group or whole class lessons and mixed ensemble performances. Used alone, they remain ideal for individual tuition.With tunes you know and want toplay, carefully graded in 20 learning steps, this new edition of the popular tutor also includes duets, trios and teacher's parts. Clear fingering and bowing diagrams and concise theory explanations help to teach thefundamentalsof the instrument, and each new technical aspect is reinforced by several pieces using that particular technique.Abracadabra Violin now also includes two CDs of performance and backing tracks, featuringselected orchestral backings.
SKU: MB.30091
ISBN 9781513466378. 8.75 x 11.75 inches.
Appalachian fiddle music, based on the musical traditions of the people who settled in the mountainous regions of the southeastern United States, is widely-known and played throughout North America and parts of Europe because of its complex rhythms, its catchy melodies, and its often-ancient-sounding stylistic qualities. The authors explore the lives and music of 43 of the classic Appalachian fiddlers who were active during the first half of the 20th century. Some of them were recorded commercially in the 1920s, such as Gid Tanner, Fiddlin? John Carson, and Charlie Bowman. Some were recorded by folklorists from the Library of Congress, such as William Stepp, Emmett Lundy, and Marion Reece. Others were recorded informally by family members and visitors, such as John Salyer, Emma Lee Dickerson, and Manco Sneed. All of them played throughout most of their lives and influenced the growth and stylistic elements of fiddle music in their regions. Each fiddler has been given a chapter with a biography, several tune transcriptions, and tune histories. To show the richness of the music, the authors make a special effort to show the musical elements in detail, but also acknowledge that nothing can take the place of listening. Many of the classic recordings used in this book can be found on the web, allowing you to hear and read the music together.
SKU: PR.144407380
ISBN 9781491133903. UPC: 680160683475. 9 x 12 inches.
In her powerful Foreword to the music, violinist Kelly Hall-Tompkins has written: “There are great works which give voice to important moments for generations, and this is one of them.†The tragedy of Elijah McClain’s murder has moved us all, and for many musicians the image of this gentle young man playing his violin for kittens at an animal shelter has added a poignant extra layer. Zwilich was a professional violinist before turning exclusively to composing, and A LITTLE VIOLIN MUSIC is a memorial from the heart of one violinist to another.[THESE NOTES MAY NOT BE REPRODUCED OUTSIDE OF THE PUBLICATION; OK TO QUOTE A BIT AND GIVE AUTHOR CREDIT]We often research important pieces of music to gain some glimpse into the mind of the composer by understanding the times in which a piece was written. The times that brought this piece into being, 2020, has been a year like no other in our lifetimes.With the suffering of a once in a century pandemic raging in ever higher waves, and millions of people around the world confined to their homes with a shared attention span for the first time in generations, we watched in horror the 8 minute 46 second killing of George Floyd, a man previously unknown to us, but now unwillingly joining a long list of names of unarmed African Americans killed by police. The anguished backlash of citizens around the world, from Japan to New Zealand to Germany to the United States, of every age, color, and creed, has rallied for weeks and months on end to demand enough and that “Black Lives Matter.â€And yet, in the midst of it all is an America starkly divided against itself with some defiantly pushing back, emboldened by authoritarian-style government actions against its own citizens occurring all over the country. It is against this backdrop that we ever had a chance to know of Elijah McClain. Here in quarantine I sometimes practice my scales in front of the news. And one day the mirror image looking back at me from the screen was a slight young man, warm, affable brown eyes, and also a violin under his chin. The newsreel-style camera pan so familiar now, I knew the only reason we were gazing upon his unfamous face was that he too had been killed by police nearly a year before. But the revelation of it in the broadcast hit me particularly hard.Ellen Taaffe Zwilich, who is not only one of the great composers of our time, is also a dear friend, and called me the next day, also deeply saddened by the news. It was from Ellen that I learned that Elijah used to play for the kittens at the local animal shelter so they wouldn’t be lonely. This kind, gentle soul was aggressively taken into police custody while saying, “I am an introvert. Please respect the boundaries that I am speaking... I’m going home.†He was never seen alive again.Ellen and I spoke of the sadness and the injustice of this several times. She felt a powerful calling to contribute something in a statement and the result is the piece you now hold in your hands. I am deeply honored to be the dedicatee of the piece, to have worked together with Ellen on some of the final details, and to pen this score note. As an invited alumna of the Eastman School of Music, I premiered the work for their virtual event on Diversity and Inclusion. Each time I play it, there is a persistent lump in my throat because Ellen has captured something poignant and powerful here.There are great works which give voice to important moments for generations, and this is one of them. We humbly offer this piece in memory of Elijah McClain.Foreword © 2021 by Kelly Hall-Tompkins. Used by permission.
SKU: PR.416411770
UPC: 680160091508.
I was tempted to call the piece Throw Back because it consciously employs rhythmic and harmonic approaches characteristic of the earlier part of the twentieth century, much of which plays a part in forging my musical personality. Going along with the impetus, I have paid homage by subtly interpolating stylistic or actual references to such unexpected bedfellows as Scriabin, Ravel, Debussy, Piston, Roussel, and Ysaye. I hope I will be musically forgiven. In one continuous movement, there are three definite internal sections: Presto-Largo-Allegro. The first section opens with a very soft percussion cadenza. If the acoustics allow it, the player will use sponge pottery mallets (sponge-headed mallets employed to smooth the interior of a pot as it is being spin-dried). No matter how hard the percussionist strikes the drums, the dynamic cannot go above pp (pianissimo). This cadenza serves as a basis for the first movement. The elements of the cadenza are taken by the orchestra to make the first major statement, similar to the classical concerto; but rather than making a restatement, the soloists, when they come in, begin with variational ideas. The second section is given over to the soloists, and is lyrical. The third section begins with an alternation between strict rhythmic pulsation and free-sounding timbres, as if reluctant to leave the second section behind. The rhythmic aspect takes over more and more as the piece progresses toward its conclusion. Double Play was commissioned by the Saint Paul Chamber Orchestra with financial assistance from the Northwest Area Foundation. It received its premiere on January 7, 1983, in St. Paul, with the St. Paul Chamber Orchestra; Pinchas Zukerman, violinist; Marc Neikrug, piano; and the composer conducting.
SKU: ST.C544
ISBN 9790570815449.
Student Violin part with either teacher (as violin duets) or with piano accompaniment (Vln & Pno).This bumper volume incorporates the three separate former publications from Spartan Press, the series called 'Concertinos in the Olden Style' (SP1121–3).Piano accompaniments by Heidi Rolfe.Nigel Goldberg writes:I can still remember the thrill I felt as a child of 8 when my violin teacher introduced me to my first concertino. Learning, playing and eventually mastering the famous Küchler Concertino in D major made me feel privileged and grown-up, as if I were joining a very special club.That was a long time ago, yet for me concertinos still hold a distinctive place in the teaching repertoire. Having now taught the violin for the last thirty years and seen how happily my pupils respond to learning duets - that distinctive sense of enjoyment at playing with an adult, the improvement of intonation and tone production, the liveliness of the lesson - I have composed three new concertinos, inspired by the duet form.Taking three great keys for the violin – G, D and A minor, I have endeavoured to combine emotionally engaging and technically educational music in the 'Olden Style'. Uniquely, I have written a second violin part for the teacher to play alongside their pupil's part and there is also a piano accompaniment for use alternatively in concert settings.I very much hope that these concertinos prove as popular and as helpful as the series of duets in my previously published books, Sounds of a Rainbow and, that they ignite that sense of wonderment and purpose I experienced while playing the Kuchler, all those years ago.Former Spartan Press Cat. No.: SP1121.
SKU: PR.114418540
ISBN 9781491109779. UPC: 680160642052. 9x12 inches.
James Matheson's CAPRICCIO was composed for Jennifer Koh who premiered it as part of the 2016 NY Philharmonic Biennial. Playing against the expectations of flamboyant violin caprices, Matheson's work is dramatically, even eerily quiet throughout its entirety and inspired by the arpeggiated preludes from Bach's suites. As in the Bach preludes, Matheson's study in motivically-phrased 16th notes has no marked tempo, offering performers a vastly broad spectrum to express this quiet exploration. For advanced violinists.
SKU: CF.BF115
ISBN 9781491150993. UPC: 680160908493. 9x12 inches.
Johann Sebastian Bach’s (1685—1750) SixSonatas and Partitas have captivated violinistsfor centuries. Rachel Barton Pine—havingspent decades studying the music of Bach,his contemporaries, and his predecessors—now offers this unparalleled edition completewith detailed historical notes, performancesuggestions, and downloadable study materialsincluding a new Urtext edition and a speciallyprepared manuscript. Pine’s interpretationis informed by thorough historical study, which has been polished byyears of performance insight, but also encourages those studying Bach’srepertoire to craft their own unique interpretation of these timelessmasterpieces. This edition closely follows Pine’s critically acclaimed 2016recording “Testament: Complete Sonatas and Partitas for Solo Violin byJ.S. Bach†(Avie 2360) making it an invaluable resource for any student,teacher, or performer enthralled with J.S. Bach’s long standing legacy.Ms. Pine holds the distinction of being the only American and youngestperson to win the gold medal at the J.S. Bach International ViolinCompetition in Leipzig, Germany, 1992.here is no one right way to play Bach. More thanalmost any repertoire, each individual’s interpretation isas unique as their personality. Though I have spent decadesstudying Bach’s music as well as that of his contemporariesand predecessors, my final rationale for artisticdecisions is often taste and instinct. Every violinist whoundertakes a lifetime’s journey with this incredible repertoireis continually discovering new ideas. Thus, theopinions on the following pages may evolve over time.However, everything in the sheet music closely follows my2016 recording “Testament: Complete Sonatas and Partitasfor Solo Violin by J.S. Bach†(Avie 2360), which I trulyfeel represents the culmination of my exploration intothese extraordinary works.In choosing to present this edition, my hope is thatyou will find useful solutions to challenges of fingering,bowing, and polyphony, and helpful information aboutphrasing. I have also included additional dynamic suggestionswith the hope that trying these ideas will help inspireyou to discover your own. All of these markings aredesigned to work with a baroque violin and baroque bow,a modern violin and baroque bow, or a modern violinand modern bow. While the information in this editionis unusually dense, there is much that I did not include,such as lifts, breaths, articulations, whether to play on oroff the string, metronome markings, details of timing,and emphases other than hemiolas.I offer this book to you in the spirit of Bach: “SoliDeo Gloria.â€.
SKU: FH.VLE02
ISBN 9781554409143.
Carefully selected and curated to support teachers and students in their artistic and technical development, the Violin Series, 2021 Edition includes pieces from a diverse range of eras and styles that represent stepping stones to major violin repertoire.
Violin Orchestral Excerpts 9-ARCT presents excerpts ordered chronologically from the Baroque to the modern era and includes overtures, ballets, operas, chamber music, orchestral music, and contemporary works. Selections are organized progressively to present relevant materials with both section parts and concertmaster solos for youth and community orchestras, chamber music ensembles, and to provide preparation material for auditions at the professional level. This book features works from Ludwig van Beethoven, Antonin Dvorak, Edward Elgar, Franz Joseph Haydn, Gustav Mahler, Wolfgang Amadeus Mozart, Felix Mendelssohn, Sergei Prokofiev, Sergei Rachmaninoff, Nikolai Rimsky-Korsakov, Arnold Schoenberg, Rodney Sharman, Caroline Shaw, Dmitri Shostakovich, Bedrich Smetena, Richard Strauss, Pyotr Il'yich Tchaikovsky and Dinuk Wijeratne.
SKU: FH.VLE01
ISBN 9781554409136.
Violin Orchestral Excerpts 7-8 presents excerpts ordered chronologically from Baroque through to the modern era. Selections are organized progressively to present relevant materials for school orchestras and initial chamber music experiences. Bowing and fingering has been added where needed to encourage the most stylistically appropriate results. This book features works from Johann Sebastian Bach, Ludwig van Beethoven, Hector Berlioz, Georges Bizet, Mikhail Glinka, George Frideric Handel, Jacques Hetu, Franz Joseph Haydn, Wolfgang Amadeus Mozart, Felix Mendelssohn, Kelly-Marie Murphy, Jacques Offenbach, Gioachino Rossini, Franz Schubert, Georg Philipp Telemann, and Pyotr Il'yich Tchaikovsky.
SKU: SU.29110060
1. Sidestep Reel - In 19th Century America, the Afro-Celtic fiddle style was the centerpiece of many a dance. Reels and hornpipes were very popular forms. Their repetitive, even-metered rhythms were easy and fun to dance to, and their infectious singable melodies stayed in the mind and on the tongue. More adventurous fiddlers were given to syncopating on these forms by accenting off beats and by embellishing melodies with oddmetered note groupings. Syncopation is a fundamental rhythmic attitude of jazz and this movement is a celebration of that art. The melodic language is a home-grown concoction of commonality between traditional reels and hornpipes and the Baroque, Ragtime and the quartal concepts of Modern Jazz. 2. As the Wind Goes - the wistful late night song of a lullabye, a campfire song, a ballad...a spiritual. It is sung as if on the wind, yearning to experience once again that which will only ever again live as memory. 3. Jones’ Jig - the Irish Jig, the African 6/8 bell pattern, the shuffle rhythm of jazz and the drum style of Elvin Jones all play around with the relationship of 3 in the time-space of 2. The juxtaposition, negotiation and reconciliation of these opposing rhythmic perspectives create interesting musical relationships all over the globe. 4. Nicola’s Strathspey - In the traditional Strathspey, improvised embellishments, syncopated dotted rhythms and the use of space between notes create expectation, momentum and surprise. These same elements and their effect on the listener are the same in the blues. It seems like a natural marriage. 5. Bye Bye Breakdown - This is good ol’, Saturday night barn dance, hoedown fiddling. It revels in the whining cry of open double stops, in all types of musical onomatopoeia from train sounds to animal calls to country whistling, and in the steady 2/4 rhythm that is as basic as walking. The harmonic framework of several popular fiddle and folk tunes provide a practical grid for the cutting of challenging melodic and rhythmic figures. It is designed to tire fiddler and dancers out. Then we stomp our way home in varying states of delight and disrepair.Solo Violin Duration: 24' Composed: 2018 Published by: Wynton Marsalis (administered by Skayne's Music).
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