by Stacy Phillips. For fiddle. All styles, fiddle tunes. Level: Multiple Levels. Book. Solos. Size 8.75x11.75. 268 pages. Published by Mel Bay Pub., Inc.

Edited by Patrick Sky. For fiddle. All styles. Level: Multiple Levels. Book. Songbook. Size 8.75x11.75. 176 pages. Published by Mel Bay Pub., Inc.

Chamber Music Violin

SKU: CF.BF131

Composed by Roland Vamos. With Standard notation. 168 pages. Carl Fischer Music #BF131. Published by Carl Fischer Music (CF.BF131).

ISBN 9781491153765. UPC: 680160911264. 9 x 12 inches.

Inspired by Clarence Cameron White’s book The Violinist’s Daily Dozen, The Violinist’s Daily Sixteen is a collection of daily exercises compiled by Roland Vamos. Intended for student and professional violinists, the collection provides the performer with a variety of exercises for daily warm-ups. Mr. Vamos also focuses on developing dexterity and flexibility in the fingers and joints, the first and fourth fingers in particular. Each of the sixteen exercises is notated for each of the four strings, and Vamos recommends that the exercises be practiced as warm-ups, choosing a different string for each day of practice.Also included with the Daily Sixteen is a comprehensive set of studies for developing fluency with scales and arpeggios. Mr. Vamos’ unique methodology is to begin with major scales and arpeggios, followed by minor scales and arpeggios, all of which are notated in two, three and four octaves. Alternate fingers are provided, as well as a variety of slurred and mixed bowings using the three parts of the bow whenever feasible. It is a remarkably systematic approach to performing scales and arpeggios on the violin and will surely benefit students and professionals alike.
ForewordThis short hand-setting set of exercises was inspired by a book entitled The Violinist’s Daily Dozen, conceived by Clarence Cameron White, a prominent African-American violinist, composer and arranger who enjoyed the bulk of his career in the first half of the twentieth century.I have practiced this set of exercises since I was twelve years old. It has served me as a superb warm-up and hand setting tool. Over the years, I have found that there are some aspects of this warm-up routine that were not given sufficient attention or not addressed at all. Consequently, I have expanded the Daily Dozen to create a new work entitled The Violinist’s Daily Sixteen.I have also paid particular attention in this work as to how these exercises are to be practiced. In exercises one and two, I have indicated some notes to be played before the actual written exercises. This is to ensure that the fourth finger will be over the string in a position ready to strike even though it is not being used. Before playing exercises three, four, nine, ten, eleven and twelve, I have indicated silent fingers to be placed on the notes they would be playing if they were being used.I have replaced Mr. White’s grace notes with notes of specific value and have slowed down the exercises so that the first joint (the joint nearest the string) of each finger can move with flexibility and strength. At no time should the first joint buckle.In Mr. White’s version, the last exercise gave the first finger some very valuable backward extensions. In this exercise (number 14 in this book), I caution the student not to move the hand along with the first finger. The hand should remain in position while the first finger independently moves back and forth.It became obvious to me that if the first finger were given the opportunity to develop the dexterity that Mr. White’s twelfth exercise emphasizes, the fourth finger could benefit from an exercise that gives it a forward extension. Consequently, I added another exercise to create a Baker’s Dozen (thirteen).Several years later, I felt that the second and third fingers should also have an exercise to further develop their dexterity…hence exercise fourteen was added to create a “Vamos Dozen.”Because the first finger did not have sufficient practice in the development of the first joint in the original version, I have added two exercises to precede White’s fifth exercise. After re-working and re-numbering these exercises, I have come up with a total of sixteen exercises. It is my suggestion that these be practiced as a warm-up, choosing a different string each day.—Roland VamosEvanston, Illinois 2017 PrefaceScales are a means of teaching a person the fingerboard on his or her instrument. The fingers move across the strings and are required to make shifts, all in highly organized patterns. Scales and arpeggios are the foundation upon which our repertoire is built. Many scale books have been written; each one being organized in its own specific way. The Flesch Scale System has been a standard for many decades. It is very comprehensive and systematic. From the point of view of establishing similar patterns, it has one drawback: it is organized by starting with a major key, followed by its relative minor, going through the circle of fifths. I believe that it is more profitable to do only major scales with their arpeggios first, going up chromatically, and then follow them in a similar way with the minor scales. In using this approach, the similarities in fingerings between the various scales are more apparent. It is also profitable to have alternate fingerings whenever possible. My approach to scales and arpeggios includes a variety of slurred and mixed bowings using the three parts of the bow whenever feasible. These bowings are not all-inclusive. Whenever a particularly awkward bowing pattern is encountered in the repertoire, it can be practiced as an additional bowing variation in the scales and arpeggios.    I have chosen to introduce the three and four octave scales by teaching two octave scales across the strings in one position going up chromatically through seven positions; starting on the first, second, third, and finally fourth fingers in major and melodic minor.—Roland VamosEvanston, Illinois 2017.

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

He Is Born. Composed by French carol. Arranged by Lynn Bailey Christopher Pillsbury. Sws. Octavo. 16 pages. Duration 2 minutes. Carl Fischer Music #CM9636. Published by Carl Fischer Music

Arranged by Chuck Israels. For little big band. Swing, Jazz. Difficult. Score and parts. Published by Jazz Lines Publications

Piano Transcriptions Piano

SKU: HL.285972

By Bill Evans. Jazz Transcriptions. Jazz. Softcover. 360 pages. Published by Hal Leonard (HL.285972).

ISBN 9781540039538. UPC: 888680892463. 9.0x12.0x0.834 inches.

The ultimate collection for jazz keyboardists to learn 40 Evans classics with exact note-for-note transcriptions. Includes: Alice in Wonderland • Autumn Leaves • Bill's Hit Tune • Blue in Green • Days of Wine and Roses • Emily • Everything Happens to Me • Five • For Nenette • How About You? • How My Heart Sings • I Loves You, Porgy • It Could Happen to You • Just You, Just Me • Letter to Evan • My Foolish Heart • My Funny Valentine • My Romance • Nardis • Night and Day • One for Helen • Peace Piece • Peri's Scope • Quiet Now • Re: Person I Knew • Skating in Central Park • A Sleepin' Bee • Some Other Time • Stella by Starlight • Song from M*A*S*H (Suicide Is Painless) • 34 Skidoo • Time Remembered • The Touch of Your Lips • Turn Out the Stars • Very Early • Waltz for Debby • What Kind of Fool Am I? • Who Can I Turn to (When Nobody Needs Me) • You Go to My Head • You Must Believe in Spring • and more. Spiral bound.

Arranged by Lee Evans. Lee Evans Piano Education. Size 9x12 inches. 48 pages. Published by Hal Leonard.

Arranged by Lee Evans. For piano. Format: piano solo songbook (no lyrics). Rock and rock 'n' roll. Series: Hal Leonard Lee Evans Piano Education. 40 pages. 9x12 inches. Published by Hal Leonard.

Performed by Bill Evans. Richmond Music ¯ Folios. Size 9.2x12 inches. 102 pages. Published by Tro - The Richmond Organization.

Performed by Bill Evans. For solo piano. Format: piano solo book. With chord names and black and white photos. Jazz and standards. 96 pages. 9x12 inches. Published by Warner Brothers.

Featuring Bill Evans, Eddie Gomez/Bass and Drummers Marty Morrell, Philly Joe Jones and Jack DeJohnette. Performed by Bill Evans. Artist Transcriptions (Authentic note-for-note transcriptions). Size 9x12 inches. 192 pages. Published by Hal Leonard.

By Bud Powell; Chick Corea; Don Raye; George Gershwin; Herbie Hancock; Hoagy Carmichael; Jerome Kern; Leon Berry; Margarita Lecuona; Miles Davis; Pat Johnston. Edited by Ronny S. Schiff. Arranged by Ahmad Jamal; Art Tatum; Bill Evans; Dave Brubeck; Erroll Garner; Fats Waller; Oscar Peterson. Text: Andy Razaf; Don Raye; Ira Gershwin; Oscar Hammerstein Ii; Pat Johnston; Stuart Gorrell. Solo piano. For Piano Solo. Solo part. 63 pages. Published by Carl Fischer

(A Step-by-Step Breakdown of the Piano Styles and Techniques of a Jazz Legend) Transcribed by Brent Edstrom, by Bill Evans. Collection and accompaniment CD for solo piano. Series: Hal Leonard Keyboard Signature Licks. 64 pages. Published by Hal Leonard.

By Claude Thornhill. Arranged by Gil Evans. For big band with vocal solo. Swing. Difficult. Score and parts. Published by Jazz Lines Publications

By David Brody. For Banjo Tab, with chord symbols. Traditional, Bluegrass. Sheet Music. 216 pages. Published by Oak Publications.

By Chuck Sher . For Bass. A complete method book, over 200 pages, filled with information and exercises on all aspects of bass playing, for both acoustic and electric bass. Method. Published by Sher Music Company.

By Claude Thornhill. Edited by Jeffrey Sultanof. Arranged by Gil Evans. For Big Band. Swing. Advanced. Full score and set of parts. Published by Jazz Lines Publications

Performed by Lee Evans. Lee Evans Piano Education. Size 9x12 inches. 112 pages. Published by Hal Leonard.

By Claude Thornhill. Edited by Jeffrey Sultanof. Arranged by Gil Evans. For jazz big band (2 alto saxophones (double clarinet), 2 tenor saxophones, baritone saxophone, clarinet (optional), 4 trumpets (4th alternate for horn 1), 2 horns in F, 3 trombones (3rd alternate for horn 2), guitar, piano, bass, drums, 2 trombones). Swing. Difficult. Score and parts. Published by Jazz Lines Publications

SKU: AP.1-ADV11315

An Analysis of Gil Evans Works. Composed by Gil Evans, Miles Davis, and Steve Lajoie. Reference Textbooks; Textbook - Jazz. Advance Music. Jazz. Book. Advance Music #01-ADV11315. Published by Advance Music (AP.1-ADV11315).

ISBN 9783892210641. UPC: 805095113150. English. [Gil Evans; Miles Davis] By Steve Lajoie.

Gil Evans & Miles Davis: Historic Collaborations 1957--1962 offers a first-time in-depth analysis of major works by Gil Evans and Miles Davis, including transcribed full scores for Blues for Pablo, New Rhumba, Bess, You Is My Woman, and Will O' the Wisp. It examines the historical context of these legendary collaborations and assesses their impact on jazz ensemble literature.

Arranged by Lee Evans. For solo piano. Format: piano solo book. With fingerings. Christmas and holiday. Series: Hal Leonard Lee Evans Piano Education. 24 pages. 9x12 inches. Published by Hal Leonard.