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-1084540-400
ISBN 9789043130271. 9x12 inches. English-German-French-Dutch.
This modernised and revised edition comes with a demo CD that features all the études - this allows you to hear what the final result should be. Another advantage is the easy-to-read layout with unequivocal symbols. Well-thought-out fingerings have been chosen, taking into account current practice and styles, whilst showing due regard for the original. Deze bekende en waardevolle etudes hebben hun nut reeds lang bewezen, ze staan aan de basis van de technische bagage van de violist. De gemoderniseerde en gereviseerde uitgaven van De Haske hebben een demo-cd waaropalle etudes zijnvoorgespeeld - zo is meteen te horen hoe het uiteindelijke resultaat zou moeten zijn. Een ander pluspunt is de overzichtelijke bladindeling met eenduidige symbolen. Er is gekozen voor gedoseerde vingerzettingen. Daarbij is rekeninggehouden met de huidig geldende inzichten en stijlen - met inachtneming van de oorspronkelijke aanduidingen van de componist. Zowel 60 Studies Opus 45 als 30 Special Studies Opus 36 wordt door veel beginners alsstudiemateriaal gebruikt. In de eerstgenoemde uitgave zijn de etudes opgedeeld in twee reeksen van dertig (eerste positie - derde en tweede positie). Beide boeken mogen niet ontbreken op de lessenaar van de leerling.Diese modernisierte, überarbeitete Ausgabe der bekannten Etüden von Mazas ist mit einer Demo-CD ausgestattet, auf der alle Etüden enthalten sind - so kann jeder vorher hören, wie sein Ergebnis klingen sollte. Ein weiterer Pluspunkt ist die leicht lesbare Aufmachung mit eindeutigen Symbolen. Es wurden gut durchdachte Griffe gewählt, an gegenwärtige Praktiken und Stile gedacht und dabei auch das Original gebührend berücksichtigt. Cette édition révisée et modernisée des 30 Ã?tudes Spéciales de Mazas est accompagnée dâ??un compact disc sur lequel vous trouverez une version intégrale de chaque étude. Ces interprétations constituent un excellent point de référence. La présentation est facile dâ??accès, les symboles sont clairs et les doigtés sont parfaitement adaptés aux exigences de la pratique et des styles actuels tout en restant fidèles aux versions originales.
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.WH31276
ISBN 9788759821916. English.
Commissioned by The Royal Danish Orchestra and The Swedish Chamber Orchestra. Full Score. Ensemble Violin Solo Piano Solo bring a Marimba mallet for playing inside the Piano String Orchestra (6-6-4-4-2) the number of string players may be doubled, 12-12-8-8-4 if doubling the strings then Desk 1 means Desk 1+2, Desk 2 means 3+4 etc. Performance Notes General: The set-up on stage is important, with two Violin groups on each side on the platform: Vilin 1 lefts and Violin 2 right, as seen from the audience 1st Movement : In bar 1 &, 7 the entire string group should adjust their intonation to the Double Basses and their natural harmonics. In the rest of the movement normalintonation should be used. The slow and rhythmical vibrato pulse should follow the accents 2nd Movement : The 10/5 meter is divided into two beats, and the dotted lines show the position of the second beat in each bar 3rd Movement : no comment 4th Movement : The very high harmonics are intended as mostly a high 'airy' sound. The small gliss/portamenti that will invariably occur in the fast shofts of positions are intended.
SKU: ST.C545
ISBN 9790570815456.
Combines and replaces the two original publications of Sounds of a Rainbow Book 1 from Spartan Press (SP950-1), into this volume that includes both duets and violin and piano versions in one volume.Whether a student or a great artist, the desire to make a beautiful sound is a constant in the life of any musician. Sound is the musician’s voice, the means of communicating an artistic vision to the audience and it should be the aim for children of any age or standard to be engaged in good tone production.The inspiration for writing the pieces for this book came to me from the wish to give the young children I teach music which would develop their ear for both good intonation and beautiful tone production. All the pieces have a strongly implied harmonic structure allowing them to be played without accompaniment. The purpose of the second violin part is therefore to enable the teacher to underline the harmony as well as to influence the student’s tone production and intonation through his own sound, as much can be taught by good example. The violin student also has the option to play with piano. The accompaniments included within this book are written by Heidi Rolfe.The choice of keys in this book covers most of the requirements for scales in the Associated Board syllabus Grade 1.Finally I think that children enjoy the challenge of expressing different moods and emotions musically, and I hope that the range of ideas implied by the keys and the titles of these pieces will fire their imagination.Nigel GoldbergGrade 1Former Spartan Press Cat. No.: SP950 and SP951.
SKU: ST.C546
ISBN 9790570815463.
Whether a student or a great artist, the desire to make a beautiful sound is a constant in the life of any musician. Sound is the musician’s voice, the means of communicating an artistic vision to the audience and it should be the aim for children of any age or standard to be engaged in good tone production.The inspiration for writing the pieces for this book came to me from the wish to give the young children I teach music which would develop their ear for both good intonation and beautiful tone production. All the pieces have a strongly implied harmonic structure allowing them to be played without accompaniment. The purpose of the second violin part is therefore to enable the teacher to underline the harmony as well as to influence the student’s tone production and intonation through his own sound, as much can be taught by good example. The violin student also has the option to play with piano. The accompaniments included within this book are written by Heidi Rolfe.The choice of keys in this book covers most of the requirements for scales in the Associated Board syllabus Grade 1.Finally I think that children enjoy the challenge of expressing different moods and emotions musically, and I hope that the range of ideas implied by the keys and the titles of these pieces will fire their imagination.Nigel GoldbergGrade 2Former Spartan Press Cat. No.: SP952 and SP953.
SKU: ST.C547
ISBN 9790570815470.
Whether a student or a great artist, the desire to make a beautiful sound is a constant in the life of any musician. Sound is the musician’s voice, the means of communicating an artistic vision to the audience and it should be the aim for children of any age or standard to be engaged in good tone production.The inspiration for writing the pieces for this book came to me from the wish to give the young children I teach music which would develop their ear for both good intonation and beautiful tone production. All the pieces have a strongly implied harmonic structure allowing them to be played without accompaniment. The purpose of the second violin part is therefore to enable the teacher to underline the harmony as well as to influence the student’s tone production and intonation through his own sound, as much can be taught by good example. The violin student also has the option to play with piano. The accompaniments included within this book are written by Heidi Rolfe.The choice of keys in this book covers most of the requirements for scales in the Associated Board syllabus Grade 1.Finally I think that children enjoy the challenge of expressing different moods and emotions musically, and I hope that the range of ideas implied by the keys and the titles of these pieces will fire their imagination.Nigel GoldbergGrades 3–4Former Spartan Press Cat. No.: SP954 and SP955.
SKU: ST.C309
ISBN 9790570813094.
An Advanced Guide to Quicker LearningKnow The Score is a guide to quicker learning for advanced violinists. It was originally published in 2012 and designed with the DipABRSM Quick Study in mind – a previously unseen extended piece of music for which 5 minutes preparation time was given prior to an assessed performance. The music was at roughly grade 6 level, based on an assumption that a diploma standard player should be capable of tackling the test in this relatively short amount of time. Following the recent withdrawal of the qualification, the continued aim of this newly edited series is to boost the more advanced player’s confidence at quick learning. Two assumptions are made here — that you are a diploma level violinist, and that a reasonable level of sight-reading skill is in place. That said, if you’re less proficient at sight-reading, you should find much in the book that will help you to improve and feel more confident. Alternatively, the book will be of interest to teachers seeking varied, approachable repertoire and theory content to support a keen grade 6 pupil’s longer-term learning. The book contains 15 original quick study pieces, 8 of which have guides.
SKU: AP.28075GER
ISBN 9780739047682. UPC: 038081307572. German.
The Step by Step series is a collection of exercise books/CDs for violin based on the Mother-Tongue approach. From the very beginning, it will provide a solid foundation in instrumental technique for the Suzuki Method and traditional approaches in private lessons or group settings. The focus is on teaching correct, child-appropriate practice habits that range from listening, singing, and dancing to playing music. The ideas presented, including information for parents and practice tips, should stimulate daily practice and also make it more effective. German edition.
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