by Stacy Phillips. For fiddle. All styles, fiddle tunes. Level: Multiple Levels....(+)
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.
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.
Edited by David Brody. For violin. Format: fake book. With lead melody, chord na...(+)
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 ...(+)
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
Piano Transcriptions Piano SKU: HL.285972 By Bill Evans. Jazz Transcripti...(+)
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.
Piano seul [Partition] - Intermédiaire Warner Brothers
Performed by Bill Evans. For solo piano. Format: piano solo book. With chord nam...(+)
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 Jo...(+)
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 Car...(+)
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) T...(+)
(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.
Choral Piano, Violin, Voice 1, Voice 2, Voice 3 SKU: CF.CM9641 He Is B...(+)
Choral Piano, Violin,
Voice 1, Voice 2, Voice 3
SKU: CF.CM9641
He Is Born.
Composed by French carol.
Arranged by Lynn Shaw
Bailey Christopher
Pillsbury. Sws.
Performance Score. 16
pages. Duration 0:02:32.
Carl Fischer Music
#CM9641. Published by
Carl Fischer Music
(CF.CM9641).
ISBN
9781491157138. UPC:
680160915699. 6.875 x
10.5 inches. Key: G
major. English, English.
Traditional 18th Century
French
Carol.
Delightfully
fresh and fun, this
Celtic-style arrangement
of the beloved French
carol He Is Born, is a
lively Christmas anthem.
Featuring a driving piano
accompaniment and
optional Celtic fiddle,
it is the perfect piece
for any occasion where
spirited holiday music is
desired. An optional
string ensemble
accompaniment is also
available on demand
(CM9503IN). Also
available for SATB Voices
(CM9503), TBB Voices
(CM9636), and SSA Voices
(CM9528). A Celtic
French Carol (He is Born)
is a spirited English
arrangement of the
traditional French Carol
Il est ne', le divin
Enfant. One of the most
famous songs of the
French repertoire, the
melody is derived from an
Eighteenth-Century Air de
Chasse (or hunting tune),
entitled La Tete Bizarde
(The Bizard Head). The
oldest known publication
of the tune is an organ
arrangement by Romary
Grosjean (1815-1888),
musicologist and organist
of the Cathedral of
Saint-Die'-des-Vosges, in
an 1862 collection of
carols entitled Airs des
Noels Lorrains. The
French text for the carol
was first published in
Dom Georges Legeay's
collection of ancient
carols, Noels anciens
(1875-1876). Il est ne',
le divin Enfant has been
translated into many
languages throughout the
world. One of the best
English translations
appeared in Walter Ehret
and George K. Evans'
collection The
International Book of
Christmas Carols
(1963). A Celtic
French Carol (He is Born)
is a spirited English
arrangement of the
traditional French Carol
Il est ne´, le divin
Enfant. One of the most
famous songs of the
French repertoire, the
melody is derived from an
Eighteenth-Century Air de
Chasse (or hunting tune),
entitled La Tete Bizarde
(The Bizard Head). The
oldest known publication
of the tune is an organ
arrangement by Romary
Grosjean (1815-1888),
musicologist and organist
of the Cathedral of
Saint-Die´-des-Vosges,
in an 1862 collection of
carols entitled Airs des
Noels Lorrains.The French
text for the carol was
first published in Dom
Georges Legeay's
collection of ancient
carols, Noels anciens
(1875-1876). Il est
ne´, le divin Enfant
has been translated into
many languages throughout
the world. One of the
best English translations
appeared in Walter Ehret
and George K. Evans'
collection The
International Book of
Christmas Carols
(1963).
By Chuck Sher . For Bass. A complete method book, over 200 pages, filled with in...(+)
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.
Arab Dance Big band [Conducteur et Parties séparées] Jazz Lines Publications
By Claude Thornhill. Edited by Jeffrey Sultanof. Arranged by Gil Evans. For Big ...(+)
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
Buster's Last Stand Big band [Conducteur et Parties séparées] Jazz Lines Publications
By Claude Thornhill. Edited by Jeffrey Sultanof. Arranged by Gil Evans. For jazz...(+)
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...(+)
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....(+)
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.
I Loves You Porgy Ensemble Jazz [Conducteur] Jazz Lines Publications
As Recorded by Miles Davis and Gil Evans on 1958's Porgy and Bess. Edited...(+)
As Recorded by Miles
Davis and Gil Evans on
1958's Porgy and
Bess. Edited by Dylan
Canterbury, Rob DuBoff,
and Jeffrey Sultanof.
Arranged by Gil Evans.
Range: Trumpet 1: G5;
Trombone 1: G4. Ballad.
Score. Published by Jazz
Lines Publications
(JL.JLP-7554S).