By Donald Martino. For Violin. This edition: Part. Contemporary Classical. Contemporary Classical. Level: Conservatory. Sheet Music. Published by Dantalian, Inc.

An Introduction to Folk Styles, Technique and Improvisation. Strings, Methods. Schott Pop-Styles. Exploring Folk Fiddle. Softcover Book and CD. 208 pages. Schott Music #ED13460. Published by Schott Music

Composed by Dix Bruce and Gerald Jones. For fiddle. Wire bound. Parking Lot Pickers. Book and online audio. Published by Mel Bay Publications, Inc

Edited by David Brody. For violin. Format: fake book. With lead melody, chord names, instructional text and performance notes. Folk, americana and british. 302 pages. 9x12 inches. Published by Oak Publications.

Violin - Grade 3

SKU: AP.50642

Composed by Mark Wood. Sheet; Solo. Mark Wood Series. Rock. Score. 6 pages. Alfred Music #00-50642. Published by Alfred Music (AP.50642).

ISBN 9781470652517. UPC: 038081574967. English.

String Thang by Mark Wood is based on the twelve-bar blues. The blues has deep roots in American history, developed out of the work songs and chants of African-American slaves. The Great Migration of the first half of the 20th century saw freed slaves and their descendants move to northern and eastern parts of the U.S., taking their music with them. The blues took on different forms; in turn it helped to create rock, jazz, hip-hop, and other popular genres. A twelve-bar blues uses a repeating chord progression which allows musicians to express themselves creatively with each recurrence. If anything defines the blues, it is the use of blue notes---pitches that don't usually belong in a given key---and elements of improvisation.

Chamber Music Violin

SKU: CF.B3476

Composed by Ulysses Kay. Performance Score. 24+12 pages. Carl Fischer Music #B3476. Published by Carl Fischer Music (CF.B3476).

ISBN 9781491162309. UPC: 680160921058.

Among his many other honors and scholarships, groundbreaking composer Ulysses Kay was the first African-American to receive the Prix de Rome award that offered promising composers the opportunity to travel and study in Italy. Kay received this prize twice between 1946 and 1952 and it was during his residency at the American Academy in Rome that Kay wrote Partita in A for solo violin. Premiered on April 15, 1952, the colorful suite contains four contrasting melodies: Prelude, Burlesca, Interlude, and Echo.

Violin

SKU: HL.242899

Violin Solo Part. Composed by Philip Glass. Music Sales America. Classical. Softcover. Composed 2017. 24 pages. Chester Music #DU1116501. Published by Chester Music (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.

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.

Violin - Grade 4

SKU: AP.50644

Composed by Joseph Baldassare and Mark Wood. MakeMusic Cloud; Sheet; Solo. Mark Wood Series. Rock. Score. 8 pages. Alfred Music #00-50644. Published by Alfred Music (AP.50644).

ISBN 9781470652531. UPC: 038081574981. English.

The traditional bolero is a moderately slow dance in triple meter which originated in late 18th century Spain. Since then it has spread to other countries and become transformed in the process. The Cuban bolero became a bit faster in tempo and duple in meter. In the U.S. it became a staple of competitive ballroom dancing, even faster and in 4/4 time. Maurice Ravel's Boléro for orchestra harkens back to the slower Spanish dance in three. Wood's Bolero by Mark Wood, on the other hand, focuses on the American version but maintains elements of the dance's origins and first iterations.