(Learn the Melodies, Techniques and Styles of a Great Tradition). By Lisa Gutkin. Homespun Tapes. DVD. Hal Leonard #DVDLSAFI21. Published by Hal Leonard

Perfect binding, Solos. Children. Book. 32 pages. Mel Bay Publications, Inc #31001. Published by Mel Bay Publications, 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: 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.

(Newly Composed Fiddle Tunes). Edited by Paul Stewart Cranford. For Fiddle and Violin. Transcribed Solos. Cranford Publications. Fiddle Tunes. Intermediate. Book/CD Set. 112 pages

(143 Traditional Pieces for Violin). By Various. Edited by Chris Haigh. Arranged by Chris Haigh. For Fiddle, Violin. String. Softcover with CD. 92 pages. Schott Music #ED13493. Published by Schott Music

by Craig Duncan. For fiddle. Qwik Guide Series. Fiddle tunes. Level: Beg-Intermediate. Book/CD package. Solos. Size 5.5x8. 32 pages. Published by Mel Bay Pub., Inc.

Composed by Mary Ann Harbar (Willis). Perfect binding. Book and online audio. Published by Mel Bay Publications, Inc (MB.95536M).

80 Traditional Pieces for Violin Book with Online Material. Composed by Various. Edited by Pete Cooper. String. European, Folk, Hungarian, Klezmer, Multicultural, Polish. Softcover Audio Online. 72 pages. Schott Music #ED12886D. Published by Schott Music

Violin - Intermediate-Advanced

SKU: MB.99169

Composed by Herbert Chang. Squareback saddle stitch, Style, Technique, Theory and Reference, Classical. Classic. Book. 80 pages. Mel Bay Publications, Inc #99169. Published by Mel Bay Publications, Inc (MB.99169).

ISBN 9780786657841. UPC: 796279072175. 8.75 x 11.75 inches. By Herbert Chang.

An advanced-level violin method supplement for both professional and amateur violinists. The studies in this book are more intensive and powerful than most traditional violin studies. Double-stop trills are introduced here for technical training, and the finger stretching exercises for the left hand are pushed to the limit. The mixed single-stops, double-stops, and chords are also highly effective bowing exercises. All these innovative studies offer a great opportunity for students to build up their technique more efficiently. In some studies, a new synthesis of Eastern and Western music is shown, unveiling a new type of music to Western audience.

Violin - Grade 3

SKU: AP.50642

Composed by Mark Wood. Sheet; Solo. Mark Wood Series. Rock. Score. 6 pages. Alfred Music #00-50642. Published by Alfred Music (AP.50642).

ISBN 9781470652517. UPC: 038081574967. English.

String Thang by Mark Wood is based on the twelve-bar blues. The blues has deep roots in American history, developed out of the work songs and chants of African-American slaves. The Great Migration of the first half of the 20th century saw freed slaves and their descendants move to northern and eastern parts of the U.S., taking their music with them. The blues took on different forms; in turn it helped to create rock, jazz, hip-hop, and other popular genres. A twelve-bar blues uses a repeating chord progression which allows musicians to express themselves creatively with each recurrence. If anything defines the blues, it is the use of blue notes---pitches that don't usually belong in a given key---and elements of improvisation.

Composed by Mary Ann Harbar (Willis). For violin. Beginning-Intermediate. Book and Online Audio. 60 pages. Published by Mel Bay Publications, Inc

52 Pieces. Composed by Traditional and Various. Edited by Jonny Dyer and Vicki Swan. String. Softcover with CD. 32 pages. Schott Music #ED13844. Published by Schott Music