(A Primer for the 21st Century Audio Engineer). By Roger Nichols. Book; Books an...(+)
(A Primer for the 21st
Century Audio Engineer).
By Roger Nichols. Book;
Books and DVDs; DVD;
Method/Instruction; Pro
Audio; Pro Audio
Textbook; Reference
Textbooks. 180 pages.
Published by Alfred Music
Publishing
Chamber Music Violin SKU: CF.BF131 Composed by Roland Vamos. With Standar...(+)
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.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
2017Â 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. Â Â 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.
In All Major and Minor Keys. Composed by J. B. Albert. Edited by Julie DeRoche...(+)
In All Major and Minor
Keys.
Composed by J. B. Albert.
Edited by Julie DeRoche.
Book.
With Standard notation.
32
pages. Carl Fischer Music
#O99X. Published by Carl
Fischer Music
Flute, Percussion SKU: PR.16400248S Composed by Dan Welcher. With Standar...(+)
Flute, Percussion
SKU:
PR.16400248S
Composed
by Dan Welcher. With
Standard notation.
Duration 14 minutes.
Theodore Presser Company
#164-00248S. Published by
Theodore Presser Company
(PR.16400248S).
UPC:
680160038244.
This
work is my second for a
solo woodwind and a solo
percussionist, following
Firewing: The Flame and
the Moth for oboe and
percussion by nine years.
The earlier piece
followed a specific story
line, and pitted the oboe
against the percussionist
as both adversary and
lover. In Spirit Realms,
my aim was not only to
juxtapose the very
different sounds of flute
(plus alto flute and
piccolo) against a large
array of percussion, but
also to attempt three
different meditative
spaces, each named for a
different type of
spiritual practice. The
musical means of
expression is very
different for each of the
three movements (as is
the instrumentation),
although they share a
common scale-source: the
looped pentatonic scale I
have been developing over
the last several years.
The first movement
is called Prayer Tunnel,
and is named for the
Eskimo practice of solo
meditation within a
tunnel of ice blocks.
This is said to be a
means of overcoming
demons within, and in my
musical rendering it
takes the form of an
unaccompanied alto flute
solo. The flute begins
rather angrily, full of
tension, but in the
course of the solo
passage manages to slowly
unwind. The percussionist
then plays the exact same
music the alto flute had
played....on seven tuned
cymbals. Toward the end,
the alto flute re-enters,
its original meditation
having fused with its
mirror. Kiva
represents the circular,
subterranean pit in which
the Anasazi practiced
their religion, a form of
which still can be found
in the Hopi tribes of the
American southwest. These
are not spaces for solo
meditation, but rather a
group meeting place in
which only the sanctified
are permitted. After an
introductory invocation
(dove call), the music
begins. At first, it is
flowing, in a repetitive
double-five meter. It
then traces several
sections, with metric
shifts forcing the pulse
to race faster and
faster, until it halves
itself in the coda and
returns to the exact
pulse of the beginning.
The flutist here uses the
C flute, and the
percussionist plays on
both pitched (marimba)
and unpitched instruments
(various drums and struck
sources). Zendo is
the meditation room used
by Zen Buddhists. My
music begins with another
invocation (wind chimes,
temple cup gongs, and
temple blocks), then
moves on to a slow
subject stated by the
flute. The subject is
taken up by the
vibraphone, and after
several modulations and
tempo changes, the
flutist takes up the
piccolo. The music
continues higher and
higher, and faster and
faster (Zen meditation is
NOT all about becoming
lost!) until it breaks
free at the very end. The
percussionist is put
through his paces in this
movement, having to reach
a staggering number of
instruments in a short
time. Spirit
Realms was commissioned
by, and is dedicated to,
the Armstrong Duo. -- Dan
Welcher.