B-Tonarten, C-Dur, 2.
und 3. Lage, Doppelgriffe
und andere Kniffe.
Composed by Renate
Bruce-Weber. Arranged by
Mark Bruce. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. 144
pages. Schott Music #ED
8432. Published by Schott
Music (HL.49015482).
ISBN 9783795754631.
9.0x12.0x0.42 inches.
German.
Vol. 3 of
'Die frohliche Violine'
pursues the same musical
and technical goals as
the first two volumes. It
contains a detailed
introduction to the flat
keys, C major key as well
as the 2nd and 3rd
positions. The last
chapter takes up the
subject matter of the
first chapters again in a
more demanding form and
with longer charming
pieces, giving an insight
into 'virtuoso' violin
technique.
Violin - very easy SKU: HL.49007122 Geigenschule fur den Anfang. C...(+)
Violin - very easy
SKU: HL.49007122
Geigenschule fur den
Anfang. Composed by
Renate Bruce-Weber.
Arranged by Mark Bruce.
This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. The most
important aspect of the
violin method 'Die
frohliche Violine' is the
fun of learning to play
the violin: The textbook
is aimed at an early
playful beginning with
the instrument. Over the
course of the lessons,
the pupils are
deliberately addresse.
Classical. 96 pages.
Schott Music #ED 7299.
Published by Schott Music
(HL.49007122).
ISBN
9783795722197. UPC:
196288077480.
9.0x12.0x0.282 inches.
German.
The most
important aspect of the
violin method 'Die
frohliche Violine' is the
fun of learning to play
the violin: The textbook
is aimed at an early
playful beginning with
the instrument. Over the
course of the lessons,
the pupils are
deliberately addressed in
a language that
corresponds to their age.
Furthermore, the method
provides a stylistically
varied range of classical
and folkloristic
instrumental pieces, and
always gives a lot of
interesting information
on the music and its
composers.Vol. 1:
Detailed introduction to
the bow hold - songs and
instrumental pieces,
using exclusively the
first type of fingering
while focussing on
rhythmic, melodic and
technical variety -
playful touching and
feeling of violin-playing
techniques such as
pizzicato, position
playing, harmonics and
double stops. Vol. 1 is
accompanied by a CD (T
3272) containing all
songs and pieces with
funny dialogues spoken by
children. A motivating
addition to violin
lessons and a great gift
idea!
Fiddle, Violin - Difficulty: medium SKU: HL.235 By Various. Fiddle. Folk....(+)
Fiddle, Violin -
Difficulty: medium
SKU: HL.235
By
Various. Fiddle. Folk.
Solo fiddle songbook.
With performance notes,
introductory text and
standard notation. 96
pages. Published by
Centerstream Publications
(HL.235).
ISBN
9781574240566. UPC:
073999567786. 9x12
inches.
This
comprehensive collection
of fabulous fiddle tunes
includes reels,
hornpipes, strathspeys,
jigs, waltzes and slow
airs.
Violin - easy SKU: HL.44011234 Fingerings, scales and triads. Comp...(+)
Violin - easy
SKU:
HL.44011234
Fingerings, scales and
triads. Composed by
Nico Dezaire. De Haske
Play-Along Book.
Softcover with CD.
Composed 2012. De Haske
Publications #1125312.
Published by De Haske
Publications
(HL.44011234).
Position 1 covers the
four fingerings of the
first position. The
connection between these
fingerings and the
different keys - up to
three sharps or flats -
is also dealt with. The
book features 38
exercises for the various
fingerings, sevenscale
and triad exercises, and
68 attractive performance
pieces in a range of
musical styles. The
performance pieces can be
played with CD
accompaniment (demo and
play-along tracks are
featured on CDs 1 and 2)
or with piano
accompaniment. The
pianoaccompaniments can
be found on CD 2 in PDF
form.
In
Position 1 worden
alle vingerstellingen
binnen de 1e positie
geleerd aan de hand van
grepenschema's,
oefeningen en
speelstukken. Verder
wordt het verband gelegd
tussen de verschillende
vingerstellingen in
toonladders endrieklanken
in de 1e positie over 2
oktaven. De 68
speelstukken kunnen met
cd-begeleiding worden
gespeeld, of met
live-pianobegeleidingen.
Deze worden als pdf
geleverd op de 2
bijbehorende cd's. De
vertrouwde afwisseling
van nieuwestukken,
arrangementen van
klassieke thema's en
volksliedjes ontbreekt
uiteraard niet!
In
Position 1 geht es
um die vier Griffarten
der ersten Lage. Diese
Griffarten werden auch
mit den verschiedenen
Tonarten - mit bis zu
drei Kreuzen oder Bs -
verknupft. Das Buch
umfasst 38 Ubungen fur
die verschiedenen
Griffe,sieben Tonleiter-
und Dreiklangsubungen
sowie 68 reizvolle
Vortragstucke in einer
ganzen Palette an
Musikstilen. Die
Vortragstucke konnen zu
den Begleitungen auf den
beiden CDs (die Demo- und
Mitspielversionen
enthalten), aber auch mit
einemPianisten gespielt
werden. Die
Klavierstimmen sind im
PDF-Format zum Ausdrucken
auf der CD
enthalten.
Posi
tion 1 couvre les
quatre doigtes de la
premiere position et
examine le rapport entre
ces doigtes et les
differentes tonalites -
jusqua trois dieses ou
bemols. Cet ouvrage
contient 38 exercices
pour les divers doigtes,
7exercices de gammes et
de triades, et 68
morceaux de concert dans
une diversite de styles.
Ces morceaux peuvent etre
executes avec
l'accompagnement du CD,
mais aussi accompagnes au
piano. Des versions
integrales et de
demonstration figurent
surles CD 1 et 2, ce
dernier comprenant aussi
les partitions du piano
sous forme de fichiers
PDF.
Position
1 affronta le quattro
diteggiature della prima
posizione. La
pubblicazione contiene 38
esercizi per le varie
posizioni, sette scale e
terze, come anche 68
accattivanti brani in
vari stili musicali da
suonare in pubblico.
Questipossono essere
eseguiti sia con lausilio
dei 2 CD inclusi (traccia
demo e traccia
play-along), sia con
l'accompagnamento di un
pianista. Le parti del
piano, contenute sul
secondo CD, sono
scaricabili in formato
PDF.
Circus Time Violon [Partition + CD] - Facile De Haske Publications
Violin - early intermediate SKU: BT.DHP-1125245-400 14 showstoppers fo...(+)
Violin - early
intermediate
SKU:
BT.DHP-1125245-400
14 showstoppers for
violin play-along
performance. Composed
by Joachim Johow. Book
with CD. Composed 2012.
20 pages. De Haske
Publications #DHP
1125245-400. Published by
De Haske Publications
(BT.DHP-1125245-400).
ISBN 9789043141741.
9x12 inches.
English-German-French-Dut
ch.
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!Theaccompan
ying 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!
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).
Violin SKU: M7.VHR-3905 Arbeitsbuch Violine. Composed by Simone Dr...(+)
Violin
SKU:
M7.VHR-3905
Arbeitsbuch
Violine. Composed by
Simone Drebenstedt. Sheet
music. 100 pages.
Holzschuh Musikverlag
#VHR 3905. Published by
Holzschuh Musikverlag
(M7.VHR-3905).
ISBN
9783940069832.
Umfa
ngreiches Schulwerk
für den
Streicherklassenunterrich
t- für 2
JahreBesetzung: Violine
Das neue Schulwerk
verbindet Lieder und
Aufgaben in sehr
übersichtlicher Form.
Viele Liedbeispiele und
Liedbegleitungen mit
Texten zum Singen
erleichtern den
Schülern den Zugang
zur Musik. Alle Seiten
dieses Unterrichtswerkes
sind gleich aufgebaut.
Das übersichtliche
Layout erleichtert
Lehrern und Schülern
die Orientierung. Der
Umfang des Materials ist
auf zwei Unterrichtsjahre
ausgerichtet.
Violin Position 1 Violon [Partition + CD] - Facile De Haske Publications
Violin - easy SKU: BT.DHP-1125312-400 Fingerings, scales and triads(+)
Violin - easy
SKU:
BT.DHP-1125312-400
Fingerings, scales and
triads. Composed by
Nico Dezaire. Book with
CD. Composed 2012. 92
pages. De Haske
Publications #DHP
1125312-400. Published by
De Haske Publications
(BT.DHP-1125312-400).
9x12 inches.
English-German-French-Dut
ch.
Position
1 covers the four
fingerings of the first
position. The connection
between these fingerings
and the different keys -
up to three sharps or
flats - is also dealt
with. The book features
38 exercises for the
various fingerings,
sevenscale and triad
exercises, and 68
attractive performance
pieces in a range of
musical styles. The
performance pieces can be
played with CD
accompaniment (demo and
play-along tracks are
featured on CDs 1 and 2)
or with piano
accompaniment. The
pianoaccompaniments can
be found on CD 2 in PDF
form.
In
Position 1 worden
alle vingerstellingen
binnen de 1e positie
geleerd aan de hand van
grepenschemaâ??s,
oefeningen en
speelstukken. Verder
wordt het verband gelegd
tussen de verschillende
vingerstellingen in
toonladders endrieklanken
in de 1e positie over 2
oktaven. De 68
speelstukken kunnen met
cd-begeleiding worden
gespeeld, of met
live-pianobegeleidingen.
Deze worden als pdf
geleverd op de 2
bijbehorende cdâ??s. De
vertrouwde afwisseling
van nieuwestukken,
arrangementen van
klassieke themaâ??s en
volksliedjes ontbreekt
uiteraard niet!
In
Position 1 geht es
um die vier Griffarten
der ersten Lage. Diese
Griffarten werden auch
mit den verschiedenen
Tonarten - mit bis zu
drei Kreuzen oder Bs -
verknüpft. Das Buch
umfasst 38 Ã?bungen
für die verschiedenen
Griffe,sieben Tonleiter-
und Dreiklangsübungen
sowie 68 reizvolle
Vortragstücke in einer
ganzen Palette an
Musikstilen. Die
Vortragstücke
können zu den
Begleitungen auf den
beiden CDs (die Demo- und
Mitspielversionen
enthalten), aber auch mit
einemPianisten gespielt
werden. Die
Klavierstimmen sind im
PDF-Format zum Ausdrucken
auf der CD
enthalten.
Position
1 affronta le quattro
diteggiature della prima
posizione. La
pubblicazione contiene 38
esercizi per le varie
posizioni, sette scale e
terze, come anche 68
accattivanti brani in
vari stili musicali da
suonare in pubblico.
Questipossono essere
eseguiti sia con lausilio
dei 2 CD inclusi (traccia
demo e traccia
play-along), sia con
l´accompagnamento di
un pianista. Le parti del
piano, contenute sul
secondo CD, sono
scaricabili in formato
PDF.
A violin method for children. By Egon Sassmannshaus; Kurt Sassmannshaus. Ameri...(+)
A violin method for
children. By Egon
Sassmannshaus; Kurt
Sassmannshaus. American
English translation: Kurt
Sassmannshaus;
Illustrations: Charlotte
Panowsky. For Violin.
Take advantage of our
exclusive introductory
offer now and save 25%
off the regular price -
this special price is
available for a limited
time only. Baerenreiter's
Sassmannshaus. Original
German title: Fruher
Anfang auf der Geige -
Band 2; Eine Violinschule
fur Kinder. Instructional
Method. Method book. Text
language: English. 64
pages. Published by
Baerenreiter Verlag
(German import).
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.
(Serie IV - Italie 1600-1800). Edited by Alessandro Moccia. For Violin. Facsimil...(+)
(Serie IV - Italie
1600-1800). Edited by
Alessandro Moccia. For
Violin. Facsimiles.
Methodes and Traites.
Grade 0. 904 pages.
Published by Anne Fuzeau
Productions - France
Featuring 43 Fiddlers
and 188 of Their
Tunes. Perfect
binding. Folk. Book. 212
pages. Mel Bay
Publications, Inc #30091.
Published by Mel Bay
Publications, Inc
(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.
Violin - Level 4 SKU: FH.VLR04 Composed by The Royal Conservatory. Repert...(+)
Violin - Level 4
SKU:
FH.VLR04
Composed by
The Royal Conservatory.
Repertoire. Violin
Series. Book and online
audio. The Frederick
Harris Music Company
#VLR04. Published by The
Frederick Harris Music
Company (FH.VLR04).
ISBN
9781554409051.
C
arefully selected and
curated to support
teachers and students in
their artistic and
technical development,
the Violi
n Series, 2021 Edition
includes pieces from
a diverse range of eras
and styles that represent
stepping stones to major
violin repertoire. Each
level is constructed to
connect repertoire
selections to necessary
techniques and
corresponding etudes,
while illustrating
step-by-step connections
for developing core
skills. Each Reper
toire book includes
access to quality video
and audio recordings by
some of North America's
finest violinists and
accompanists; both
performance and
accompaniment-only tracks
for each Reper
toire selection
offer students a model
for performance practice
and the convenience of
accompanied rehearsal at
home.
Violi
n Repertoire 4
includes Baroque,
Classical, Romantic, and
20th- and 21st-century
selections of Johann
Sebastian Bach, Natalya
Backlanova, Ethel Barns,
Harold Birston, Arcangelo
Corelli, Franz Joseph
Haydn, Ferdinand Kuchler,
Jacques Fereol Mazas,
Eduard Mollenhauer,
Yoshinao Nakada,
Charlotte Ruegger,
Arnaldo Sartorio, and
Gerry Thornton. Level 4
introduces new aural
challenges with tempo
fluctuations and harmonic
modulations, while
exploring compound
meters, syncopation, and
hemiola. This book
encourages performers to
be flexible, as it
expands upon hand-frames
with extensions,
fourth-position fluency,
and fingered double
stops, while the bow
develops stylistic
applications of
articulations, including
off-string
strokes.
Violin - Level 1 SKU: FH.VLR01 Composed by The Royal Conservatory. Repert...(+)
Violin - Level 1
SKU:
FH.VLR01
Composed by
The Royal Conservatory.
Repertoire. Violin
Series. Book and online
audio. The Frederick
Harris Music Company
#VLR01. Published by The
Frederick Harris Music
Company (FH.VLR01).
ISBN
9781554409020.
C
arefully selected and
curated to support
teachers and students in
their artistic and
technical development,
the Violi
n Series, 2021 Edition
includes pieces from
a diverse range of eras
and styles that represent
stepping stones to major
violin repertoire. Each
level is constructed to
link repertoire
selections to necessary
techniques and
corresponding etudes,
while illustrating
step-by-step connections
for developing core
skills. Each Reper
toire book includes
access to quality video
and audio recordings by
some of North America's
finest violinists and
accompanists; both
performance and
accompaniment-only tracks
for each Reper
toire selection
offer students a model
for performance practice
and the convenience of
accompanied rehearsal at
home.
Violi
n Repertoire 1
offers selections at
various tempos that
explore familiar D
major/minor and A
major/minor tonalities in
first position, while
encouraging further
development of hand-frame
knowledge in the keys of
G major and C major
across the fingerboard.
Through a broad
cross-section of pieces
in simple and compound
time, enriched piano
accompaniments enhance
lyricism and tone
production. The pieces
explore bow development
and division using a
variety of lengths, while
also introducing hooked
bows and slurs. New
experiences include
artificial harmonics, gliss
ando, and double
stops; duets are included
to provide opportunities
for in-class and recital
collaboration. Featured
composers include Harold
Birston, Christine
Donkin, Robert Fleming,
Christine Gale, Terence
Greaves, Ricky Hyslop,
Michael Joncas, Dmitri
Kabalevsky, Christopher
Norton, Mary Alice Rich,
Alec Rowley, and Robert
Schumann.
For Violin and
Orchestra. Composed
by Behzad Ranjbaran.
Contemporary. Large
Score. With Standard
notation. Composed 1994.
144 pages. Duration 31
minutes. Theodore Presser
Company #416-41366L.
Published by Theodore
Presser Company
(PR.41641366L).
UPC:
680160585755.
From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violins open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movements primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violinas open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movementas primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violin's open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement's primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notionof
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures.The notes of the
violin’s open
strings (G, D, A, E) also
influenced many of the
melodic and harmonic
elements of my violin
concerto. The opening
tutti is mostly based on
intervals of a perfect
4th and 5th. The primary
material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes:1 st
movement: A-D-A2nd
movement: D-G-D3rd
movement: E-A-EThe
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement’s
primary theme. While the
movements share similar
musical materials, each
one is definedby
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and
unforgivingferocity. The
second movement is
haunting, mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
fromthe previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell.
(Violin). For Violin. Book; CD; Play-Along; String Series. Ultimate Pop Instrume...(+)
(Violin). For Violin.
Book; CD; Play-Along;
String Series. Ultimate
Pop Instrumental Solos
Series. Movie. Grade 2;
Grade 3. 84 pages.
Published by Alfred Music
Publishing
Violin - Level 3 SKU: FH.VLR03 Composed by The Royal Conservatory. Repert...(+)
Violin - Level 3
SKU:
FH.VLR03
Composed by
The Royal Conservatory.
Repertoire. Violin
Series. Book and online
audio. The Frederick
Harris Music Company
#VLR03. Published by The
Frederick Harris Music
Company (FH.VLR03).
ISBN
9781554409044.
C
arefully selected and
curated to support
teachers and students in
their artistic and
technical development,
the Violi
n Series, 2021 Edition
includes pieces from
a diverse range of eras
and styles that represent
stepping stones to major
violin repertoire. Each
level is constructed to
link repertoire
selections to necessary
techniques and
corresponding etudes,
while illustrating
step-by-step connections
for developing core
skills. Each Reper
toire book includes
access to quality video
and audio recordings by
some of North America's
finest violinists and
accompanists; both
performance and
accompaniment-only tracks
for each Reper
toire selection
offer students a model
for performance practice
and the convenience of
accompanied rehearsal at
home.
Violi
n Repertoire 3
provides exciting and
varied repertoire with
entry-level concertos,
sonatas, fiddle tunes,
and dance styles (polkas,
waltzes, and polonaises).
Pieces by composers such
as Johann Sebastian Bach,
Natalya Baklanova,
Antonin Dvorak, Edvard
Grieg, Ferdinand Kuchler,
Wolfgang Amadeus Mozart,
Jean-Philippe Rameau, and
Georg Philipp Telemann
are experienced in both
solo and duet form. Level
3 students continue to
expand their hand-frame
knowledge with the
inclusion of new flat
keys, while gaining
comfort in the second
position. Rhythmic
challenges are introduced
through a variety of
meters and syncopation.
Articulations such as
brush stroke are
introduced.
Violin - Level 8 SKU: FH.VLR08 Composed by The Royal Conservatory. Repert...(+)
Violin - Level 8
SKU:
FH.VLR08
Composed by
The Royal Conservatory.
Repertoire. Violin
Series. Book and online
audio. The Frederick
Harris Music Company
#VLR08. Published by The
Frederick Harris Music
Company (FH.VLR08).
ISBN
9781554409099.
C
arefully selected and
curated to support
teachers and students in
their artistic and
technical development,
the Violi
n Series, 2021 Edition
includes pieces from
a diverse range of eras
and styles that represent
stepping stones to major
violin repertoire. Each
level is constructed to
link repertoire
selections to necessary
techniques and
corresponding etudes,
while illustrating
step-by-step connections
for developing core
skills. Each Reper
toire book includes
access to quality video
and audio recordings by
some of North America's
finest violinists and
accompanists; both
performance and
accompaniment-only tracks
for each Reper
toire selection
offer students a model
for performance practice
and the convenience of
accompanied rehearsal at
home.
Violi
n Repertoire 8 is
the culmination of
techniques presented in
the repertoire forms of
concertos, sonatas,
concert pieces, and
unaccompanied materials
by composers such as
Murray Adaskin, Johann
Sebastian Bach, Bela
Bartok, Edward Elgar,
George Frideric Handel,
Franz Joseph Haydn,
Anatoli Komarowski, Fritz
Kreisler, Pablo de
Sarasate, Dmitri
Shostakovich, Francois
Schubert, Georg Philipp
Telemann, Antonio
Vivaldi, and Henryk
Wieniawski. The
repertoire highlights
areas in which students
can further their
artistic development by
cultivating expressive
vibra
to and their fluency
of left-hand shifts
between the first and
seventh position,
alongside varied bow
strokes in different
styles.
Violin - Beginner/Advanced SKU: AD.ADG245 Composed by Andrew D. Gordon. T...(+)
Violin -
Beginner/Advanced
SKU:
AD.ADG245
Composed by
Andrew D. Gordon. The
Blues Scale. Blues. Book
and digital audio. ADG
Productions #ADG245.
Published by ADG
Productions (AD.ADG245).
ISBN 9781958017357.
UPC: 663389124523. 9 x 12
inches.
The Blues
Scale for Violin is one
of a series by Andrew D.
Gordon is a comprehensive
collection of educational
books that explores the
intricacies, techniques,
and applications of the
blues scale in
contemporary music.
Designed for musicians of
all levels, this series
serves as an
indispensable resource
for guitarists, pianists,
saxophonists, and other
instrumentalists looking
to delve into the
expressive and soulful
world of blues music.
Andrew D. Gordon, an
accomplished musician and
renowned educator,
combines his vast
knowledge and experience
to provide a step-by-step
guide for mastering the
blues scale. Each book in
the series offers a
well-structured
curriculum, progressing
from fundamental concepts
to advanced improvisation
techniques, ensuring a
thorough understanding of
the blues scale's
potential. Through
detailed explanations,
musical examples,
exercises, and play-along
tracks, readers will
embark on a
transformative journey,
gaining fluency and
confidence in playing the
blues. The books cover
various styles showing
how the blues scale can
be used, including ,
jazz, funk , new age,
Latin, pop, gospel, acid
jazz and rock enabling
musicians to expand their
repertoire and adapt
their skills to different
musical contexts. The
Blues Scale series not
only equips musicians
with the technical
aspects of playing the
blues but also emphasizes
the importance of
creativity and personal
expression. Gordon
encourages readers to
develop their
improvisational skills,
providing tools and
strategies to create
unique solos and express
their musical personality
within the framework of
the blues scale. Whether
you are a beginner
seeking to explore the
foundations of the blues
scale or an advanced
player looking to refine
your improvisational
abilities, The Blues
Scale series by Andrew D.
Gordon offers a
comprehensive and
accessible approach to
learning and mastering
the blues. With its clear
instruction, engaging
exercises, and practical
examples, this series is
an invaluable resource
for musicians passionate
about incorporating the
soulful and timeless
sounds of the blues into
their playing.
Chamber Music Violin SKU: PR.114418750 Composed by Michael Hersch. Sws. P...(+)
Chamber Music Violin
SKU: PR.114418750
Composed by Michael
Hersch. Sws. Performance
Score. 8 pages. Duration
11 minutes. Theodore
Presser Company
#114-41875. Published by
Theodore Presser Company
(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.
Music Minus One Violin. Composed by Wolfgang Amadeus Mozart (1756-1791). Sheet m...(+)
Music Minus One Violin.
Composed by Wolfgang
Amadeus Mozart
(1756-1791). Sheet music
with CD. Music Minus One.
Classical. Softcover
Audio Online. 32 pages.
Music Minus One #MMO3170.
Published by Music Minus
One
Edited by Edward Huws Jones. For violin(w/CD). Collection. Student book and play...(+)
Edited by Edward Huws
Jones. For violin(w/CD).
Collection. Student book
and play-along CD.
Published by ABRSM
(Associated Board of the
Royal Schools of Music)
For violin. Format: violin solo book (excerpts only). Baroque, Classical Period ...(+)
For violin. Format:
violin solo book
(excerpts only). Baroque,
Classical Period and
Romantic Period. 64
pages. 9x12 inches.
Published by Music Sales.
(MS.AM84153)
A selection of all the
best-known tunes and
themes in the classical
repertoire, carefully
edited for violin solo.
Includes works by Mozart,
Bach, Beethoven, Chopin
and many more great
composers.
Violin SKU: FZ.5827 Serie IV - Italy 1600-1800. Edited by Alessand...(+)
Violin
SKU:
FZ.5827
Serie IV -
Italy 1600-1800.
Edited by Alessandro
Moccia. This edition:
Facsimile. Methodes &
Traites. Score. Published
by Anne Fuzeau
Productions - France
(FZ.5827).
ISBN
9790230658270. 24.00 x
33.00 cm
inches.
These early
music methods are in
facsimile in three books.
Anonyme - Bartolomeo
CAMPAGNOLI (1) -
Francesco GALEAZZI -
Pietro LEONE- Antonio
LOLLI - Vicenzo PANERAI-
Giovanni Batista RANGONI
- Pietro SIGNORETTI -
Giuseppe TARTINI (2-3) -
Carlo TESSARINI (2-3) -
Carlo ZUCCARI. Table of
contents: Tessarini
Carlo: Nouvelle methode
pour apprendre par
theorie - c. 1760.
Zuccari Carlo: The tru
method of playing - 1762.
Tessarini Carlo: An
accurate method - 1765.
Leone Pietro: Methode
raisonnee - 1768. Tartini
Giuseppe: Lettera del
defonto signor Giuseppe
Tartini - 1770. Tartini
Giuseppe: Traite des
agremens - 1771.
Signoretti Pietro:
Methode contenant les
principes - 1777. Panerai
Vicenzo: Principi di
musica - c. 1780.
Anonyme: Riflessioni d'un
professore - 1780. Lolli
Antonio: L'ecole du
violon en quatuor - c.
1784. Rangoni Giovanni
Batista: Saggio sul gusto
della musica - 1790.
Campagnoli Batolomeo:
L'art d'inventer a
l'improviste - c. 1790.
Galeazzi Francesco:
Elementi teorico-pratici
- 1796. Collection
supervised by the
musicologist Jean
Saint-Arroman, professor
at the Conservatoire
National Superieur de
Musique et de Danse of
Paris and at the CEFEDEM
Ile de France (Training
Centre for Music
Teachers). He is the
author of the majority of
our prefaces and has also
been involved in library
searches. Facsimile of
copies from: - National
Library of Paris
(France). - British
Library of London
(England). - Civico Museo
Bibliografico Musicale of
Bologna (Italy). -
Conservatory Library of
Music Benedetto Marcello
of Venice (Italy). -
Staatlische Hochschule
fur Musik und
darstellende Kunst of
Berlin (Germany). -
Conservatory Library of
Music Giuseppe Verdi of
Milan (Italy). Anne
Fuzeau Classique propose
the complete theoretic
documentation, methods,
classical music scores on
the violin.