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.
Violin - Intermediate-Advanced SKU: MB.22035M A Guide to Gear and New ...(+)
Violin -
Intermediate-Advanced
SKU: MB.22035M
A Guide to Gear and
New Techniques for the
21st Century
Violinist. Composed
by Joe Deninzon.
Squareback saddle stitch,
Bluegrass, Contemporary,
Technique, Theory and
Reference, Adult
Contemporary. Style. Book
and online audio/video.
112 pages. Mel Bay
Publications, Inc
#22035M. Published by Mel
Bay Publications, Inc
(MB.22035M).
ISBN
9781513460185. 8.75 x
11.75 inches.
Are
you a violinist who is
curious about going
electric but have no idea
where to begin? This book
will walk you through the
process of choosing an
electric violin, shopping
for an amplifier, and
using effects pedals. The
book also covers
improvisation in the
genres of blues, rock,
and funk. Chopping and
other rhythmic techniques
for bowed string
instruments are explored,
as well as playing in a
band, rock string
arranging and working
with DJs. Plugging In
will open new worlds of
creativity for you as a
string player and help
you find your own voice
in this brave new world.
Includes access to online
audio and video.
By Martin Wulfhorst. This edition: 1st printing 2012 edition. Paperback. A compr...(+)
By Martin Wulfhorst. This
edition: 1st printing
2012 edition. Paperback.
A comprehensive guidebook
with hundreds of
excerpts. Book. Language:
English. 483 pages.
Published by Baerenreiter
Verlag
Violin Playtime Studies (A First Book of Studies for the Young Violinist). Arran...(+)
Violin Playtime Studies
(A First Book of Studies
for the Young Violinist).
Arranged by Paul de
Keyser. For Violin. Book;
Method/Instruction;
String - Violin Studies
or Collection. Faber
Edition. Elementary.
Published by Faber Music
Violin, Piano SKU: HU.F0571506577 For Violin and Piano. Composed by Paul de Key...(+)
Violin, Piano
SKU: HU.F0571506577
For Violin and Piano.
Composed by Paul de
Keyser. Strings,
Repertoire, Collections.
The Young Violinist's
Repertoire Book 2.
Softcover Book. 36 pages.
Faber Music #F0571506577.
Published by Faber Music
(
Edited by Paul de Keyser and Fanny Waterman. For Violin and Piano. Book; Method/...(+)
Edited by Paul de Keyser
and Fanny Waterman. For
Violin and Piano. Book;
Method/Instruction;
String - Violin Studies
or Collection. Faber
Edition. Published by
Faber Music
Arranged by Paul de Keyser. For Violin and Piano. Book; Method/Instruction; Stri...(+)
Arranged by Paul de
Keyser. For Violin and
Piano. Book;
Method/Instruction;
String - Violin Studies
or Collection. Faber
Edition. Published by
Faber Music
Arranged by Paul de Keyser. For Violin and Piano. Book; Method/Instruction; Stri...(+)
Arranged by Paul de
Keyser. For Violin and
Piano. Book;
Method/Instruction;
String - Violin Studies
or Collection. Faber
Edition. Published by
Faber Music
Violin & Piano - Grade 3.5 SKU: AP.36-52710045 Composed by Lynne Latham. ...(+)
Violin & Piano - Grade
3.5
SKU:
AP.36-52710045
Composed by Lynne Latham.
This edition: Latham
Music. String - Violin
and Piano. LudwigMasters
- Latham Music. Wedding.
Book. 88 pages. Latham
Music Enterprises
#36-52710045. Published
by Latham Music
Enterprises
(AP.36-52710045).
ISBN
9781621567264. UPC:
830056000453.
English.
Our
bestseller for over ten
years! Everything the
working violinist needs
to play a wedding prelude
and service, without
being technically
taxing.
Violin - Grade 3.5 SKU: AP.36-52710175 Composed by Lynne Latham. This edi...(+)
Violin - Grade 3.5
SKU:
AP.36-52710175
Composed by Lynne Latham.
This edition: Latham
Music. LudwigMasters -
Latham Music. Wedding.
Book. Latham Music
Enterprises #36-52710175.
Published by Latham Music
Enterprises
(AP.36-52710175).
ISBN
9781621569336. UPC:
679360609590.
English.
Our
bestseller for over ten
years! Everything the
working violinist needs
to play a wedding prelude
and service, without
being technically
taxing.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Arranged by Paul de Keyser. For Violin and Piano. Book; Method/Instruction; Stri...(+)
Arranged by Paul de
Keyser. For Violin and
Piano. Book;
Method/Instruction;
String - Violin Studies
or Collection. Faber
Edition. Published by
Faber Music
Violin (Violin) SKU: HL.48185819 Composed by Amé, lie Oliviero-Dena...(+)
Violin (Violin)
SKU:
HL.48185819
Composed
by Amé, lie
Oliviero-Denaë, and
s. Leduc. Classical.
Softcover. Alphonse Leduc
#AL29555. Published by
Alphonse Leduc
(HL.48185819).
Amelie
Oliviero-Denaes studied
at the Paris
Conservatoire where she
won First Prize for Music
Theory. As an advanced
violinist herself,
Oliviero-Denaes'
Violinist's Music Theory
is very well-informed.
Oliviero-Denaes'
Violinist's Music Theory
is described as the
'simultaneous learning of
Theory and Violin'.
Violinist's Music Theory
addresses the stave,
clefs, the 4 strings of
the Violin, note names
and values, time
signatures, sharps and
flats, rests, scales and
tones, and intervals,
among other aspects. For
all beginner violinists,
Oliviero-Denaes'
Violinist's Music Theory
ensures a high standard
of understanding and
progression..
Chamber Music Violin SKU: PR.144407530 Composed by Lauren Bernofsky. 12 p...(+)
Chamber Music Violin
SKU: PR.144407530
Composed by Lauren
Bernofsky. 12 pages.
Duration 10 minutes, 30
seconds. Merion Music
#144-40753. Published by
Merion Music
(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.
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe
SKU:
CF.WF229
15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229).
Composed by Viktor
Kosenko. Arranged by
Robert Debbaut. Carl
Fischer Concert String
Orchestra Series. Full
score. 28 pages. Carl
Fischer Music #CAS139F.
Published by Carl Fischer
Music (CF.CAS139F).
ISBN 9781491160800.
UPC:
680160919406.
The
works of Viktor Kosenko
(1896-1938) - highly
regarded in his lifetime
as concertmaster,
pianist, educator, and
composer - became known
to the arranger through
his Russian-American
wife, Alina, a teacher of
young violinists and
pianists. She owned an
old out-of-print
anthology of works by
both Soviet composers and
other world-renowned
composers entitled The
Young Violinist. Inspired
by these lovely melodies,
Debbaut compiled and
arranged a collection of
music exclusively by
Soviet composers entitled
The Young Soviet
Violinist as well as
published collections of
all four of Kosenko's
Four Children's Pieces,
arranged for violin and
piano, flute and piano,
viola and piano, and
cello and piano. Four
Children's Pieces for
piano (1930) were the
first works the
educational pioneer
Kosenko wrote with young
pianists in mind based on
his own personal deep
knowledge of the main
objectives of a teacher.
Arranged here for string
orchestra, this charming
suite features four
delightful movements: I.
Scherzino, II. Melody,
III. Olden Dance, and IV.
March. Each contrasting
theme can be performed
alone or as a full
performance of all four
movements. The works
of Viktor Kosenko
(1896-1938) -Â highly
regarded in his lifetime
as concertmaster,
pianist, educator, and
composer - became known
to the arranger through
his Russian-American
wife, Alina, a teacher of
young violinists and
pianists. She owned an
old out-of-print
anthology of works by
both Soviet composers and
other world-renowned
composers entitled The
Young Violinist. Inspired
by these lovely melodies,
Debbaut compiled and
arranged a collection of
music exclusively by
Soviet composers entitled
The Young Soviet
Violinist as well as
published collections of
all four of
Kosenko’s Four
Children’s Pieces,
arranged for violin and
piano, flute and piano,
viola and piano, and
cello and piano. Four
Children’s Pieces
for piano (1930) were the
first works the
educational pioneer
Kosenko wrote with young
pianists in mind based on
his own personal deep
knowledge of the main
objectives of a teacher.
Arranged here for string
orchestra, this charming
suite features four
delightful movements: I.
Scherzino, II. Melody,
III. Olden Dance, and IV.
March. Each contrasting
theme can be performed
alone or as a full
performance of all four
movements.
About Carl
Fischer Concert String
Orchestra
Series
Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by:
Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
More
comprehensive bowing
techniques
Viola
T.C.
included
Careful
selection of keys and
degree of difficulty for
advancing
musicians
Violin SKU: HU.F0571510140 Arranged by Paul De Keyser. Strings, Methods. Violin...(+)
Violin
SKU: HU.F0571510140
Arranged by Paul De
Keyser. Strings, Methods.
Violin Study Time (solo
violin). Softcover Book.
20 pages. Faber Music
#F0571510140. Published
by Faber Music
(HU.F0571510140).
12 x 9 x 0.1 inches.
Piano Accompaniment; Violin SKU: HL.50601168 Violin and Piano. Com...(+)
Piano Accompaniment;
Violin
SKU:
HL.50601168
Violin
and Piano. Composed
by Franghiz Ali-Zadeh.
String. Classical.
Softcover. 22 pages.
Sikorski #SIK8846.
Published by Sikorski
(HL.50601168).
8.25x11.75x0.08
inches.
During the
course of her South
American concert tour,
the American star
violinist Hillary Hahn
presented the world
premiere of Franghiz
Ali-Zadeh's new work
“Impulse†on
11 September 2012 in Rio
de Janeiro. The encore
piece
“Impulse†is
part of Hilary Hahn's
cycle In 27 Pieces: The
Hilary Hahn Encores. The
violinist had turned to
various contemporary
composers from whom she
requested contributions.
The individual encore
pieces were premiered by
the violinist
successively until the
end of the 2012/13 season
and then recorded on
CD.
("A Violin Method That's Fun for Both Children and Adults, Includes Classical an...(+)
("A Violin Method That's
Fun for Both Children and
Adults, Includes
Classical and Popular
Melodies You Know and
Love!"). By Janice Tucker
Rhoda. For violin. CD
contains piano
accompaniments as audio
and printable PDF; Also
includes complete
performances.
Instructional.
Instructional book and
CD. Published by Carl
Fischer
Violin (violin/piano) SKU: HL.48180707 For Violin and Piano. Compo...(+)
Violin (violin/piano)
SKU: HL.48180707
For Violin and
Piano. Composed by
Charles Auguste de
Beriot. Leduc. Classical.
CD. 4 pages. Alphonse
Leduc #AL18900. Published
by Alphonse Leduc
(HL.48180707).
Violin (violin/piano) SKU: HL.48180708 For Violin and Piano. Compo...(+)
Violin (violin/piano)
SKU: HL.48180708
For Violin and
Piano. Composed by
Pierre Rode. Leduc.
Classical. CD. Alphonse
Leduc #AL18901. Published
by Alphonse Leduc
(HL.48180708).
Parisian
violinist Georges
Catherine (1872-1958)
compiles an exciting
collection for the violin
repertoire. The first
solo from Beriot's
Concerto No. 9 is clearly
printed with a helpful
key of unusual
techniques. Charles
Auguste de Beriot
(1802-1870) was a Belgian
violinist and composer.
He composed a significant
10 concertos for the
violin which remain
popular in the advanced
violinist's repertoire,
as well as many study
books for the instrument.
The violin solo line of
Concerto No. 9 makes use
of extended techniques,
including harmonics, bow
techniques, articulations
and hand positions.
Catherine's series, First
Solos Extracted from the
Classic Concertos
provides essential access
to significant repertoire
of the violin, preparing
advanced violinists for
the major concertos.
Composed by Martin Norgaard. For violin. Squareback saddle stitch. Getting Into....(+)
Composed by Martin
Norgaard. For violin.
Squareback saddle stitch.
Getting Into.
Beginning-Intermediate.
Book and online audio.
Published by Mel Bay
Publications, Inc
Violin (violin/piano) SKU: HL.48180989 For Violin and Piano. Compo...(+)
Violin (violin/piano)
SKU: HL.48180989
For Violin and
Piano. Composed by
Henri Vieuxtemps. Leduc.
Classical. CD. Alphonse
Leduc #AL19945. Published
by Alphonse Leduc
(HL.48180989).
Parisian
violinist, Georges
Catherine (1872-1958)
compiles an exciting
collection for the violin
repertoire. The first
solo from Vieuxtemp's
Concerto No. 5 is clearly
printed with a helpful
key of unusual
techniques. Vieuxtemp
(1820-1881) was an
Belgian composer and
violinist. He composed a
significant amount of
string music,
particularly for the
violin, which remain
popular in the advanced
violinist's repertoire.
The violin solo line of
Concerto No. 5 makes use
of extended techniques,
including harmonics, bow
techniques, aritculations
and hand positions.
Catherine's series, First
Solos Extracted from the
Classic Concertos
provides essential access
to significant repertoire
of the violin, preparing
advanced violinists for
the major concertos.