SKU: FG.55011-596-5
ISBN 9790550115965.
The volume G of the popular Colourstrings violin tutors by Geza Szilvay studies every position of the violin in a separate volume: G1 the second position, G2 the third position, G3 the fourth position, G4 the fifth position and the last one, G5, the high positions (sixth and seventh). These books form an all-embracing, rich collection of shifting exercises, position playing studies, excerpts from the literature, chamber music (mainly duos), and performing pieces, piano accompaniment offered as a separate publication (Books G1, G2 & G2 supplement 9790550116467; Books G3 & G4 9790550116931). The extensive Book G3 - Fourth position (9790550115965) follows the key principles of Colourstrings methodology - the use of natural harmonics and constant developing of inner hearing for instance - but it can be fully utilized also without any previous use or knowledge about the Colourstrings method. The innovative and unique visual presentation of the house of the positions and preparatory exercises for the challenging passages help the young and older students to fully understand, why and where the different positions are needed.
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: FG.55011-595-8
The volume G of the popular Colourstrings violin tutors by Geza Szilvay studies every position of the violin in a separate volume: G1 the second position, G2 the third position, G3 the fourth position, G4 the fifth position and the last one, G5, the high positions (sixth, seventh, eighth). These books form an all-embracing, rich collection of shifting exercises, position playing studies, excerpts from the literature, chamber music (mainly duos), and performing pieces, piano accompaniment offered as a separate publication (9790550116467). The extensive Book G2 - Third position (9790550115958) follows the key principles of Colourstrings methodology - the use of natural harmonics for instance - but it can be fully utilized also without any previous use or knowledge about the Colourstrings method. The performance pieces are a welcome enlargement in the syllabus. A separate collection, Colourstrings Violin ABC: Performing pieces for Violin in the First Three Positions (supplement for the book G2) (9790550116375), completes the carefully hand-picked repertoire from four centuries.
SKU: HL.48181697
Part of the collection ?Concert Solo?, Ninth Concerto is a contemporary and modern piece by Raymond Gallois Montbrun, for Violin and Piano. Quite difficult, this piece should prepare upper-intermediate players to play classical concertos. This really nice piece is composed of a main theme, four variations and a final. The theme is quite lyrical and has an Allegretto tempo. The fourth theme stands out by its extensive use of harmonies. The Piano accompaniment also evolves based on the variations. The piece finishes on a really harmonious final. Raymond Gallois Montbrun (1918-1994) was a French violinist and composer who won the Premier Grand Prix de Rome and the Grand Prix de Paris. He later became the director of the Paris Conservatoire. He composed many symphonic pieces, an opera, a quartet and many pieces for Solo Piano, Violin and Piano and other instruments..
SKU: HL.50603675
ISBN 9781705128138. UPC: 840126952919.
The original music Walk for one dancer and violinist was commissioned by Compagnie Trans. The four pieces that compose this sonata are from the performance piece Laurence Marthouret choreographed for a dancer and a violinist, entitled Walk, and interpreted by Sona Khochafian in 2001. The project originated from a shared conception of the two art forms, an equal collaboration between choreographic and musical composition. Its central idea was to utilize Laban's choreographic notation system, which accompanies and parallels the musical notation, allowing for an extreme precision in the playing out of the dance-music relationship. Largely cut and recomposed to arrive at this concert version, Walk-Sonata still maintains its four discreet parts, the four sides of a square of the choreographic composition and is therefore strongly linked to the original choreography. This is discernible not only in the formal four movement structure, but also in the music's multiple rhythms, dynamics and phrasing, which are consistently, if not tightly, joined to the dance gesture. Walk-Sonata is dedicated to Sona Khochafian and Laurence Marthouret.
SKU: HL.48181084
UPC: 888680906689. 9.0x12.0x0.113 inches.
Sonata for Violin and Cello composed by Luigi Boccherini was transcribed and annotated by Paul Bazelaire, a professor at the National Conservatoire. Ideal for a recital or for a contest, this sonata in four parts is quite challenging for both instruments and would require advanced skills. The cello score is written over the C and the F key and each of the four parts includes numerous repetitions and fast sections. These four parts are 1. Allegretto Spiritoso, 2. Vivace, 3. Grave and 4. Allegro Assai. This really nice sonata will be a delight to play and to listen to. Luigi Boccherini (1743-1806) composed numerous pieces for various instruments, including cello duets, chamber music, cantatas, ballets, orchestral music, masses, and a large amount of music for strings.
SKU: HL.242899
UPC: 888680953126. 9x12.25 inches.
This is the violin solo part of Philip Glass's wonderful Violin Concerto No. 2 “American Four Seasons.” The piece was commissioned by Toronto Symphony Orchestra and London Philharmonic Orchestra, among others, the world premiere was held in Toronto on December 9th 2009, conducted by Peter Oundjian. At this premiere, the violinist was Robert McDuffie, for whom the Concerto was composed. During the summer and autumn of 2009, Glass composed this work after many years of exchanges with McDuffie. His idea of creating a work that would be influenced by, and an accompaniment to Vivaldi's The Four Seasons. Interestingly, Glass has provided no indication in the score of where each season falls, making it open for interpretation by the performers or the audience.
SKU: SU.27020070
Four movements inspired by Vivaldi's The Four Seasons; approximate duration: 16' (http://ggrcomposer.squarespace.com/works-instrumental-elementsand/)Violin, Organ Composed: 2008 Published by: Distributed Composer.
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