SKU: BT.DHP-1125245-400
ISBN 9789043141741. 9x12 inches. English-German-French-Dutch.
The band strikes up the circus march for the entrance of the artistes—the audience waits expectantly…Between the Opening March and the Grand Finale the packed audience is presented with a colourful programme: courageous acrobats, comical clowns, oriental belly dancers, knife-throwers and snake charmers appear one after the other.Circus Time is also available for flute, clarinet and alto saxophone (in the same sounding key). This opens up all sorts of choices: musicians can take turns to perform or build a real circus band, or even—with the help of scenery and props—put on a proper circus performance. There is no end of possibilities!Theaccompanying CD contains demo and play-along version of all the pieces. Alternatively the chord symbols (written in concert pitch) above the music staff can be used for a live accompaniment by guitar and/or keyboard. An optional piano accompaniment is available separately (order number: DHP 1125344-401).On with the show! Het orkest begint de circusmars te spelen voordat de artiesten opkomen - het publiek wacht vol spanning af…Van de openingsmars tot de grand finale krijgen de toeschouwers een kleurrijk programma voorgeschoteld: moedige acrobaten,grappige clowns, oostersebuikdanseressen, messenwerpers en slangenbezweerders volgen elkaar op in de piste.Circus Time is ook beschikbaar voor dwarsfluit, klarinet en altsaxofoon (in dezelfde klinkende toonsoort). Er zijn dusallerlei mogelijkheden: de muzikanten kunnen elkaar afwisselen met solo-optredens of een echt circusorkest vormen, of zelfs - in een geschikte omgeving en met behulp van decorstukken - een heus circusoptreden verzorgen. Laat jefantasie de vrije loop.De bijgevoegde cd bevat zowel demotracks als begeleidingen voor alle stukken. Voor live begeleiding door keyboard en/of gitaar staan de akkoordsymbolen (klinkend genoteerd) boven de muziek. Optionele pianobegeleidingenzijn apart verkrijgbaar (bestelnummer: DHP 1125344-401).Laat de show maar beginnen!Die Kapelle spielt schon den Zirkusmarsch zum Einzug der Artisten - das Publikum wartet gespannt...Zwischen dem Eröffnungsmarsch und dem Großen Finale wird dem geneigten Publikum ein buntes Programm präsentiert: Mutige Akrobaten, lustige Clowns, orientalische Bauchtänzerinnen, Messerwerfer und Schlangenbeschwörer treten nacheinander auf.Circus Time gibt es auch für Klarinette, Altsaxophon und Querflöte (in den gleichen klingenden Tonarten). So eröffnen sich viele Möglichkeiten für die Aufführung: Die Musiker können abwechselnd auftreten oder ein ganzes Zirkusorchester“ bilden und sogar - ergänzt durch eine szenische Umsetzung - einerichtige Zirkusvorstellung geben. Der Fantasie sind keine Grenzen gesetzt!Die beiliegende CD enthält Demo- und Mitspielversionen aller Stücke. Alternativ zu den Mitspiel-Tracks können die Akkordsymbole (in klingenden Tonarten) über den Noten für eine Live-Begleitung durch Keyboard und/oder Gitarre genutzt werden. Optional sind Klavierbegleitungen separat erhältlich (Bestellnummer: DHP 1125344-401).Manege frei! L’orchestre du cirque attaque la marche qui annonce l’apparition des artistes - le public attend impatiemment…Entre la marche d’ouverture et le finale, grands et petits savourent un programme haut en couleurs : acrobates audacieux, clowns comiques, danseuses orientales, jongleurs et charmeurs de serpents présentent tour tour leur numéro.Circus Time existe également pour fl te, clarinette et alto saxophone (dans la même tonalité). Ce choix offre de nombreuses options : les musiciens peuvent jouer tour tour ou former un véritable orchestre de cirque, ou même - avec des décors et des accessoires - monter une vraie représentation de cirque. Les possibilités sontillimitées !Le compact-disc ci-joint contient les versions intégrales des morceaux ainsi que les versions d’accompagnement. Les symboles d’accords (sons réels) figurant au-dessus de la portée facilitent l’accompagnement la guitare et/ou au piano. Les parties d’accompagnement de piano optionel sont rassemblées dans un recueil vendu séparément (référence :DHP_x001F_1125344-401).Que le spectacle commence ! Un viaggio nel mondo circense che consente ai musicisti di suonare da soli, ma anche di formare una vera band. Il CD contiene una versione demo e una play-long di ogni brano. In alternativa, grazie ai simboli degli accordi sopra il pentagramma, ci si può esibire live accompagnati dalla chitarra e/o tastiera (DHP 1125344-401).
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: HL.359057
ISBN 9781705120941. UPC: 840126945119. 11.0x13.0x0.404 inches.
Composed during the summer of 1964 at the Aspen Music Festival, performed by students under the direction of Leonard Slatkin. The composer writes: “The first movement has much the feel of a Mozart string divertimento. The 'distant relative' of the second movement was Richard Wagner, and there are hidden quotations of his work throughout. The short scherzo movement, which leads to a solo lament, eventually lands upon a light-hearted rondo, unashamedly in G major, a compositional ploy that drew criticism in its time.â€.
SKU: CF.BF132
ISBN 9781491158678. UPC: 680160917310.
The 17 masterworks contained in this collection have been carefully arranged for any combination of string trio. The selections span nearly 200 years and feature works from the baroque, classical, and romantic periods of music. The arrangements are drawn from a variety of sources, including piano solos, chamber works, and symphonies. Each work was selected for its quality, musical interest, and appropriateness in a chamber setting. All pieces in this collection have stood the test of time and are worthy of both study and performance. Arranged specifically for a chamber setting, the trios may be performed at recitals, contests, weddings, and social events. The various moods created through these works will work for any setting.The 17 masterworks contained in this collection have been carefully arranged for any combination of string trio. The most standard instrumentation for voicing is violin, viola, and cello. However, three of the same instruments work well as do other groupings, given that the higher-pitched instrument plays the higher part.The selections have been arranged in chronological order. They span nearly 200 years and feature works from the baroque, classical, and romantic periods of music. The arrangements are drawn from a variety of sources, including piano solos, chamber works, and symphonies. Each work was selected for its quality, musical interest, and appropriateness in a chamber setting.All pieces in this collection have stood the test of time and are worthy of both study and performance. Arranged specifically for a chamber setting, the trios may be performed at recitals, contests, weddings, and social events. The various moods created through these works will work for any setting. Some repeats are marked in the music, but any selection may be repeated for the appropriate amount of music needed. Bowings have been added as suggestions, while fingerings have been left to the individual performers to decide.
SKU: BA.BA11433
ISBN 9790006568215. 29.7 x 21 cm inches. Preface: Zsigmond Szathmary.
In ancient times, language and music were already regarded as an inseparable unit. Homer’s epic poems, for example, were sung, and in the highly developed art of rhetoric, words were used to communicate reason, while music spoke to the soul. Since Monteverdi’s time, musical delineation of text has become even more important: rhetoric terms such as “exclamatioâ€, “saltus duriusculusâ€, and “climax†were applied to music in order to render the emotional content of the text in even more expressive ways.Szathmà ry used this compositional method as a model when he drafted his work for violin “Rhetoricaâ€. He wrote about this work: “My aim was to instill a “speaking quality†into even the tiniest musical elements in order to allow for the music to become a powerful narration of the moments experienced in a human life with all its highs and lows – entirely without the use of words.â€
SKU: PR.144407530
ISBN 9781491136614. UPC: 680160687992.
A violinist herself, Lauren Bernofsky has described SONATA FOR SOLO VIOLIN as drawn from autobiographical inspiration, including gestures from Bachâ??s beloved Partita in E Major. Bernofsky opens with a Preludio movement whose references to Bach may be disguised, but they are surely lurking. The second movement is lusciously contrapuntal with the idiomatic finesse of a violinist composing for her own instrument, while musically journaling the emotional pain of living through 2020. The third and final movement is aptly marked â??white-hot,â? and the music certainly is.My SONATA FOR SOLO VIOLIN was commissioned by violinist Megan Healy as part of The Maud Powell Project, which celebrated the 100th anniversary of the ratification of the 19th Amendment. The project included the creation of five new works for solo violin inspired by and dedicated to the memory of pioneering American violinist Maud Powell (1867-1920). Healy premiered the sonata on May 8, 2021 at PianoForte Studios in Chicago.Among the works Powell most frequently performed in her recitals was the â??Preludioâ? movement from Bachâ??s E major Partita, and I decided to refer to that music in my own first movement, also titled â??Preludio.â? The beginning subtly reflects Bachâ??s opening three-note motive, wherein the music dips down a semitone and then comes back up. This melodic material returns throughout the movement in various forms. I also refer to Bachâ??s sixteenth-note dominated texture, and the gesture in the third measure, which outlines a perfect fifth and then fills it in with notes that alternate between a scale and a pedal tone. The corresponding passage in my piece occurs in the same place, measure 3. Apart from these references to Bach, my sonata is much more modern sounding, especially in its chromatic character.I was still thinking of Bachâ??s solo violin writing while composing the second movement, particularly the polyphonic nature of the slow movements, where the melodic interest moves around between the voices. Emotionally, I wanted my movement to reflect the acute sadness I had been experiencing over the political and social situation in the United States as I wrote the piece. I realized that this is a historically noteworthy time in U.S. history, marked not only by political unrest, but also by a challenge to the very values that I consider essential to what makes a person fundamentally human. I wanted to create a record of that pain in my music.The final movement is marked â??White-hot.â? It is imbued with a relentless, passionate intensity. Wanting again to reflect aspects of our own time, I included glissandi that refer to rock music, specifically the â??fall-offsâ? I frequently hear played by electric guitarists. I borrowed from another (completely different) musical tradition as well, one that is near-and-dear to my heart: Klezmer. Klezmer (Eastern European Jewish folk music) is characterized in part by scales colored by augmented seconds, and is often performed by solo instrumentalists who improvise embellishments like quick grace notes. The second, more lyrical theme in this movement is my nod to Klezmer style.While this piece is an homage to Maud Powell, I also think of it as my own musical autobiography, as it combines some of my favorite aspects of music, and is played on my own instrument.
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: BT.DHP-1114985-400
ISBN 9789043135023. 9x12 inches. English-German-French-Dutch.
The tango - vigorous and comforting dance music full of emotion, passion and love! Tango Delight is the follow-up to Tango Time! The pieces are a bit more challenging and expansive. They are intended for violonists of an intermediate level who wish to enjoy the real tango. The enclosed demo and play-along CD is a source of inspiration. De tango - krachtige en troostrijke dansmuziek boordevol emotie, passie en liefde! Tango Delight is de opvolger van Tango Time! De stukken zijn iets uitdagender en verder uitgewerkt. Ze zijn bedoeld voor violisten van een gemiddeldniveau die willen genieten van de echte tango. De bijgevoegde demo- en play-along-cd is een bron van inspiratie. Voor samenspel met een pianist zijn op deze cd ook printklare pdf-bestanden van de begeleiding toegevoegd.Der Tango - lebhafte und tröstliche Tanzmusik voll Gefühl, Leidenschaft und Liebe! Tango Delight ist die Fortsetzung von Tango Time! Die Stücke sind ein wenig anspruchsvoller und ausgedehnter. Sie richten sich an Geiger im mittleren Spielniveau, die gerne den echten Tango erleben möchten. Die beiliegende Demo- und Mitspiel-CD ist eine Quelle der Inspiration! Für das Zusammenspiel mit einem Pianisten sind auf der CD PDF-Dateien der Begleitung in Notenform enthalten.Le tango est une danse émotionnelle puissante et profonde qui exprime la passion et lâ??amour. Tango Delight fait suite au recueil Tango Time! Les douze pièces sont plus conséquentes et un peu plus exigeantes. Elles sâ??adressent aux violonistes de niveau élémentaire-moyen qui souhaitent découvrir lâ?? me du vrai tango. Les symboles dâ??accords permettent de jouer avec dâ??autres instruments. Laissez-vous séduire par les sons fascinants de lâ??accompagnement musical sur compact disc (version intégrale version play-along).Il seguito di Tango Time! con brani più esigenti per violinisti di livello medio. Il CD, che propone sia una traccia demo che una play-along, è una vera fonte di ispirazione! Se si desidera suonare assieme ad un pianista basta scaricare dal CD lo spartito in formato PDF.
SKU: MB.30878M
ISBN 9781513470535. 8.75X11.75 inches.
You may not fall in love, but the 257 online piano accompaniment tracks that come witháI Love My Scalesáare likely to change your attitude towards playing tetrachords, scales, arpeggios, and double stops on the violin. In fact, anyone who plays a C instrument with a comparable range will enjoy playing along with these imaginative and elegant recordings.áWhile this book was written primarily for violinists to enhance intonation, agility, overall musicianship, and the sense of time essential to playing with an ensemble in any style, mandolinists will benefit equally in improving sight reading and fretboard knowledge. Like the famous Hanon studies for piano, once these exercises become a part of muscle memory, improved technical, ear training and improvisation skills will follow.Useful for violinists of any skill level, this book and its extensive companion recordings offer a complete workout for 1 to 3-octave major and minor scales and arpeggios in commonly used violin keys. The book also addresses scales in various intervals plus chromatic, modal, and exotic scalesùall with piano accompaniment that makes scale practice a labor of love.Includes access to online audio.
SKU: HL.48181476
UPC: 888680844578. 9x12 inches.
“Maurice Hauchard (1870-1957) was a French violinist and composer. As a minor composer, often in the shadow of his contemporary, Maurice Ravel, much of Hauchard's music is not widely known. However, his To Distract Little Father is a charming suite, perfect for beginners. As an excellent, versatile musician Hauchard loved his art and remains one of the greatest contributors to music education. To Distract Little Father, is a collection of twelve easy pieces for Violin. Each movement is varied in tempo, time and key signatures, articulation and rhythm, making for an exciting compilation for the student. All beginners should play this quirky Hauchard suite for its engaging contrasts and distinction.&rdquo.
SKU: SU.32040060
Violin, Oboe, Cello & Piano Duration: 6' Composed: 2012 Published by: Amy Mills Music, LLC 3 movements I. Seven Toes Down II. En Pointe III. Muddy Boots This charming suite has three short movements, each with its own character. The suite bursts open with breathless energy. Seven Toes Down is modal, in 7/8 time, with people dancing in bare feet on bare ground, so vigorously that it kicks up the dust. En Pointe opens with a lovely waltz, then it focuses in on the tiny, delicate movements of a ballerina high up on her toes. Muddy Boots is big strong guys, covered with dirt from a hard day of work, practicing one-upmanship. Different players have the chance to show what they can do, surrounded by their friends. Then we catch another glimpse of the ballerina before closing playfully with Seven Toes Down. Difficulty Level: 4 (Advanced) See composer website for audio sample.
SKU: HL.49047398
ISBN 9798350127898. UPC: 842819121244. 9.0x12.0x0.061 inches.
This work for solo violin was commissioned by American Violinist Wendy Case for her CD of works for solo violin by living composers titled The Tiger and The Clover released in February 2022 by the label Blue Griffin. Just as Wendy proposed this new work, I heard the news that the Polish poet Adam Zagajewski who I had met through mutual friends, had died. I had long admired his essays that thoughtfully and with grace and ease, merged the past with the present in the way that only a poet can, lifting the reader onto a plain of images, thoughts and words that conjure seamless journeys through time, space and the imagination. His essays often refer to the music of Bach and I found myself writing this piece inhabited by the physical pleasure of playing Bach's suites for Lute transposed for the guitar. The piece revolves around a simple repetitive semiquaver motif playing with the Aeolian mode starting on G. The motif ascends and descends playing with and against the low G string to extend itself away from the home mode, then returning and gradually extending into quavers to reach the key of E major while hinting at A minor. The repetitive nature of the piece invites the player to explore variations in sound quality and dynamics and to enjoy the effect of the notes playing against each other as they rise and fall away but always maintain a constant tempo and rhythm.
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