Chamber Music String Quartet

SKU: PR.114412190

Composed by Robert Maggio. Shenandoah, All the Pretty Little Horses, Blue Tail Fly, I've Been Working on the Railroad. Set of Score and Parts. With Standard notation. Composed 2001. 56 + 76 pages. Duration 20 minutes. Theodore Presser Company #114-41219. Published by Theodore Presser Company (PR.114412190).

UPC: 680160017683. Shenandoah, All the Pretty Little Horses, I've Been Working on the Railroad, Blue Tail Fly.

String Quartet - advanced

SKU: HL.49033197

Score and Parts. Composed by Paul Dessau. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Score and Parts. Composed 1957. 28 pages. Duration 7'. Schott Music #ED9617. Published by Schott Music (HL.49033197).

ISBN 9790001134897. UPC: 884088075477. 8.25x11.75x0.071 inches.

Dessau's String Quartet movement was written while he was also working on Brecht's opera Puntila. After Brecht's death in 1956 Dessau found himself looking for a new direction. On the one hand he was still working on music begun in collaboration with the poet, while on the other hand Dessau was trying to work towards a socially oriented musical aesthetic, which led him to compose songs for political purposes. Even this Quartet movement does not owe its inspiration purely to an artistic vision. In spite of its technical demands, the piece is intended to be comprehensible and could even be played by an amateur ensemble in its cleverly reduced form. Only discovered after the composer's death, the Movement for String Quartet is published for the first time in this edition.

Chamber Music String Quartet

SKU: PR.11441219S

Composed by Robert Maggio. Shenandoah, All the Pretty Little Horses, Blue Tail Fly, I've Been Working on the Railroad. Full score. With Standard notation. 56 pages. Duration 20 minutes. Theodore Presser Company #114-41219S. Published by Theodore Presser Company (PR.11441219S).

UPC: 680160017706. Shenandoah, I've Been Working on the Railroad, All the Pretty Little Horses, Blue Tail Fly.

Score (Study Score)

SKU: HL.49045775

Study Score. Composed by Kurt Weill. Study Score. Classical. Softcover. Universal Edition #UE35538. Published by Universal Edition (HL.49045775).

ISBN 9783702471132. UPC: 803452068235. 7.0x10.0x0.436 inches.

Kurt Weill developed his creative energies mainly within the world of musical theater, where he proved to be an immensely productiveand imaginative innovator, but he also left behind a small body of work for the concert hall. The Concerto for Violin and Wind Orchestra op. 12 dates from the spring of 1924. Scored for two flutes, clarinets, bassoons, horns, one oboe and trumpet, percussion and four contrabasses, the concerto comprises three movements. While composing the work, Weill informed his publisher: 'I am workingon a concerto for violin and wind orchestra that I hope to finish within two or three weeks. The work is inspired by the idea - one never carried out before - of juxtaposing a single violin with a chorus of winds.' The specific character of Weill's concerto as music written for chamber orchestra (with an often soloistic treatment of instruments) leads to a transparency that requires utmost precision in the ensemble playing. In the quest for an overall sonic balance, the coarser-sounding wind instruments need to explore all dynamic nuances. The solo part is challenging not only from a technical standpoint but also from an acoustic one (it is crucial to make the violin 'sound'). In spite of these challenges - or precisely because of them - critics in the 1920s called the solo parthighly idiomatic and extremely rewarding. Since then the concerto has become a 'modern classic' in concert halls around the world. (Elmar Juchem, August 2010). The score is based on the critical text of the Kurt Weill Edition Ser. II, Vol. 2.

Composed by Bedrich Smetana (1824-1884). Edited by Milan Pospisil. Sheet Music. Paperbound. Henle Music Folios. Classical. Score and Parts. 88 pages. G. Henle #HN1249. Published by G. Henle

String Quartet (String Quartet)

SKU: HL.14042752

Composed by Various. Music Sales America. TV-Film-Musical-Show. Softcover. Composed 1993. Chester Music #CH61369. Published by Chester Music (HL.14042752).

ISBN 9780711965454. 9.0x12.0x0.403 inches.

A series of popular music for working string quartets. Light enjoyable repertoire pieces and entertaining encores. Each folio contains five pieces. Contents: 'Empty Chairs at Empty Tables', 'I Don't Know To Love Him', 'If I Were ARich Man', 'Somewhere', 'Tonight'.

Urtext based on the Complete Edition Jean Sibelius Works (JSW). Composed by Jean Sibelius (1865-1957). Edited by Anna Pulkkis. The violin was Sibelius's instrument, and the virtuoso aspect is eminent in Drei Stucke Op. 116 as well as in his entire oeuvre for violin and piano. Apart from that, Op. 116 provides a glimpse into the last active phase of Sibelius's care. Breitkopf and Haertel #EB-9341. Published by Breitkopf and Haertel

Chamber Music Violin

SKU: CF.BF131

Composed by Roland Vamos. With Standard notation. 168 pages. Carl Fischer Music #BF131. Published by Carl Fischer Music (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.”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.

Composed by Mary Cohen. Quartet; Solo Small Ensembles; String Quartet. Faber Edition. Christmas; Winter. Part(s). Faber Music #12-0571520766. Published by Faber Music

Composed by Johannes Brahms (1833-1897), edited by Brown Clive. Score for violin solo and orchestra. Published by Baerenreiter-Ausgaben (German import). ISBN M006526093.

Composed by Maurice Ravel (1875-1937). Leduc. Classical. Softcover. 4 pages. Alphonse Leduc #AL24864. Published by Alphonse Leduc

Archduke. Composed by Ludwig van Beethoven (1770-1827). Edited by Jonathan Del Mar. This edition: urtext edition. Hardback. Score, Part. Opus 97. Baerenreiter Verlag #BA10942. Published by Baerenreiter Verlag