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.
Chamber Music Violin SKU: PR.114422260 For solo violin. Composed b...(+)
Chamber Music Violin
SKU: PR.114422260
For solo violin.
Composed by Stacy Garrop.
Sws. Performance Score.
12 pages. Duration
0:09:00. Theodore Presser
Company #114-42226.
Published by Theodore
Presser Company
(PR.114422260).
ISBN
9781491133866. UPC:
680160683352. 9 x 12
inches.
Legends of
the phoenix are found in
stories from ancient
Egypt and Greece. While
each culture possesses a
range of stories
encompassing the myth,
these tales tend toward
similar traits: a sacred
bird with brilliantly
colored plumage and
melodious call lives for
typically 500 years, then
dies in a nest of embers,
only to be reborn among
the flames. Phoenix
Rising consists of two
movements: I. Dying in
Embers represents an old
phoenix settling on top
of a pile of embers and
breathing its last
breath; II. Reborn in
Flames depicts the
newly-born phoenix
getting its first taste
of flight. Legends of
the phoenix are found in
stories from ancient
Egypt and Greece. While
each culture possesses a
range of stories
encompassing the phoenix
myth, these tales tend to
share similar traits: a
sacred bird with
brilliantly colored
plumage and melodious
call lives for typically
five hundred years; then
the bird dies in a nest
of embers, only to be
reborn among the
flames.In Egyptian
stories, the phoenix
gathers scented wood and
spices for its
funeral/rebirth pyre,
then collects the ashes
from its earlier
incarnation and flies
them to the temple of the
sun in Heliopolis to
offer as a tribute to the
sun god.In Greek myths,
the phoenix was
approximately the size of
an eagle and was adorned
with red and gold
feathers; it would fly
from either India or
Arabia to Heliopolis to
give its offering. The
bird’s association
with immortality and
resurrection are
particularly intriguing
aspects of these tales,
giving numerous writers
(including William
Shakespeare, C.S. Lewis,
and J.K. Rowling) a rich
resource for their own
stories.Phoenix Rising
consists of two
movements. I. Dying in
embers represents an old
phoenixwho is settling on
top of a pile of embers
and breathing its last
breath. II. Reborn in
flames depicts the
newly-born phoenix
getting its first taste
of flight.Phoenix Rising
was commissioned by
saxophonist Christopher
Creviston, who has
recorded the work on the
Blue Griffin label. The
composer has also made
editions of the work for
flute and for clarinet
(also available from
Theodore Presser
Company).
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: 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.
Violin SKU: BT.9781408114612 Composed by Peter Davey. Abracadabra. Method...(+)
Violin
SKU:
BT.9781408114612
Composed by Peter Davey.
Abracadabra. Method. Book
with CD. 64 pages.
Collins Music Publishing
#9781408114612. Published
by Collins Music
Publishing
(BT.9781408114612).
ISBN 9781408114612.
English.
Now in a
third edition,
Abracadabra Violin
has a fresh and
contemporary new look and
is the perfect book for
pupil and
teacher.
This
title offers an identical
selection of repertoire
to the other books in
theAbracadabra Strings
series, so they can be
used in any combination
for group or whole class
lessons and mixed
ensemble performances.
Used alone, they remain
ideal for individual
tuition.
With
tunes you know and want
toplay, carefully graded
in 20 learning steps,
this new edition of the
popular tutor also
includes duets, trios and
teacher's parts. Clear
fingering and bowing
diagrams and concise
theory explanations help
to teach
thefundamentalsof the
instrument, and each new
technical aspect is
reinforced by several
pieces using that
particular
technique.
Abra
cadabra Violin now
also includes two CDs of
performance and backing
tracks, featuringselected
orchestral backings.
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.
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.
(Newly Composed Fiddle Tunes). Edited by Paul Stewart Cranford. For Fiddle and V...(+)
(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
Orchestra Bass Clarinet,
Bassoon 1, Bassoon 2,
Bongos, Cello, Clarinet,
Contrabass, Crotales,
Cymbals, English Horn,
Field Drum, Flute,
Glockenspiel, Horn 1,
Horn 2, Oboe 1, Oboe 2,
Percussion, Piano, Snare
Drum, Triangle, Trumpet,
Vibraphone, Viola and
more.
SKU:
PR.416411770
For
Violin, Piano, and
Chamber Orchestra.
Composed by William
Kraft. Full score. With
Standard notation.
Duration 17 minutes.
Theodore Presser Company
#416-41177. Published by
Theodore Presser Company
(PR.416411770).
UPC:
680160091508.
I was
tempted to call the piece
Throw Back because it
consciously employs
rhythmic and harmonic
approaches characteristic
of the earlier part of
the twentieth century,
much of which plays a
part in forging my
musical personality.
Going along with the
impetus, I have paid
homage by subtly
interpolating stylistic
or actual references to
such unexpected
bedfellows as Scriabin,
Ravel, Debussy, Piston,
Roussel, and Ysaye. I
hope I will be musically
forgiven. In one
continuous movement,
there are three definite
internal sections:
Presto-Largo-Allegro. The
first section opens with
a very soft percussion
cadenza. If the acoustics
allow it, the player will
use sponge pottery
mallets (sponge-headed
mallets employed to
smooth the interior of a
pot as it is being
spin-dried). No matter
how hard the
percussionist strikes the
drums, the dynamic cannot
go above pp (pianissimo).
This cadenza serves as a
basis for the first
movement. The elements of
the cadenza are taken by
the orchestra to make the
first major statement,
similar to the classical
concerto; but rather than
making a restatement, the
soloists, when they come
in, begin with
variational ideas. The
second section is given
over to the soloists, and
is lyrical. The third
section begins with an
alternation between
strict rhythmic pulsation
and free-sounding
timbres, as if reluctant
to leave the second
section behind. The
rhythmic aspect takes
over more and more as the
piece progresses toward
its conclusion. Double
Play was commissioned by
the Saint Paul Chamber
Orchestra with financial
assistance from the
Northwest Area
Foundation. It received
its premiere on January
7, 1983, in St. Paul,
with the St. Paul Chamber
Orchestra; Pinchas
Zukerman, violinist; Marc
Neikrug, piano; and the
composer conducting.
Composed by
Nigel Goldberg. String
music. Clifton Edition
#C544. Published by
Clifton Edition
(ST.C544).
ISBN
9790570815449.
Student Violin part with
either teacher (as violin
duets) or with piano
accompaniment (Vln &
Pno).
This bumper
volume incorporates the
three separate former
publications from Spartan
Press, the series called
'Concertinos in the Olden
Style'
(SP1121–3). Piano
accompaniments by Heidi
Rolfe.
Nigel
Goldberg
writes:
I can
still remember the thrill
I felt as a child of 8
when my violin teacher
introduced me to my first
concertino. Learning,
playing and eventually
mastering the famous
Küchler Concertino in D
major made me feel
privileged and grown-up,
as if I were joining a
very special
club.
Tha
t was a long time ago,
yet for me concertinos
still hold a distinctive
place in the teaching
repertoire. Having now
taught the violin for the
last thirty years and
seen how happily my
pupils respond to
learning duets - that
distinctive sense of
enjoyment at playing with
an adult, the improvement
of intonation and tone
production, the
liveliness of the lesson
- I have composed three
new concertinos, inspired
by the duet
form.
Tak
ing three great keys for
the violin – G, D and A
minor, I have endeavoured
to combine emotionally
engaging and technically
educational music in the
'Olden Style'. Uniquely,
I have written a second
violin part for the
teacher to play alongside
their pupil's part and
there is also a piano
accompaniment for use
alternatively in concert
settings.
I very much hope that
these concertinos prove
as popular and as helpful
as the series of duets in
my previously published
books, Sounds of a
Rainbow and, that they
ignite that sense of
wonderment and purpose I
experienced while playing
the Kuchler, all those
years
ago.
A violin method for children age four and older. Composed by Egon Saßmannshau...(+)
A violin method for
children
age four and older.
Composed
by Egon Saßmannshaus and
Kurt
Sassmannshaus. Stapled.
With a
Chinese text booklet.
Performance score.
Baerenreiter Verlag
#BA10753.
Published by Baerenreiter
Verlag
Chamber Music Violin SKU: PR.114418540 For solo violin. Composed b...(+)
Chamber Music Violin
SKU: PR.114418540
For solo violin.
Composed by James
Matheson. -. Premiere:
Jennifer Koh, violin.
Contemporary. Solo part.
With Standard notation.
Composed 2015. 4 pages.
Duration 2 minutes.
Theodore Presser Company
#114-41854. Published by
Theodore Presser Company
(PR.114418540).
ISBN
9781491109779. UPC:
680160642052. 9x12
inches.
James
Matheson's CAPRICCIO was
composed for Jennifer Koh
who premiered it as part
of the 2016 NY
Philharmonic Biennial.
Playing against the
expectations of
flamboyant violin
caprices, Matheson's work
is dramatically, even
eerily quiet throughout
its entirety and inspired
by the arpeggiated
preludes from Bach's
suites. As in the Bach
preludes, Matheson's
study in
motivically-phrased 16th
notes has no marked
tempo, offering
performers a vastly broad
spectrum to express this
quiet exploration. For
advanced violinists.
Chamber Music Violin SKU: CF.BF115 Composed by Johann Sebastian Bach. Edi...(+)
Chamber Music Violin
SKU: CF.BF115
Composed by Johann
Sebastian Bach. Edited by
Rachel Barton Pine. SWS.
Collection. With Standard
notation. 80 pages. Carl
Fischer Music #BF115.
Published by Carl Fischer
Music (CF.BF115).
ISBN
9781491150993. UPC:
680160908493. 9x12
inches.
Johann
Sebastian Bach’s
(1685—1750)
SixSonatas and Partitas
have captivated
violinistsfor centuries.
Rachel Barton
Pine—havingspent
decades studying the
music of Bach,his
contemporaries, and his
predecessors—now
offers this unparalleled
edition completewith
detailed historical
notes,
performancesuggestions,
and downloadable study
materialsincluding a new
Urtext edition and a
speciallyprepared
manuscript. Pine’s
interpretationis informed
by thorough historical
study, which has been
polished byyears of
performance insight, but
also encourages those
studying
Bach’srepertoire
to craft their own unique
interpretation of these
timelessmasterpieces.
This edition closely
follows Pine’s
critically acclaimed
2016recording
“Testament:
Complete Sonatas and
Partitas for Solo Violin
byJ.S. Bach†(Avie
2360) making it an
invaluable resource for
any student,teacher, or
performer enthralled with
J.S. Bach’s long
standing legacy.Ms. Pine
holds the distinction of
being the only American
and youngestperson to win
the gold medal at the
J.S. Bach International
ViolinCompetition in
Leipzig, Germany,
1992. here is no one
right way to play Bach.
More thanalmost any
repertoire, each
individual’s
interpretation isas
unique as their
personality. Though I
have spent
decadesstudying
Bach’s music as
well as that of his
contemporariesand
predecessors, my final
rationale for
artisticdecisions is
often taste and instinct.
Every violinist
whoundertakes a
lifetime’s journey
with this incredible
repertoireis continually
discovering new ideas.
Thus, theopinions on the
following pages may
evolve over time.However,
everything in the sheet
music closely follows
my2016 recording
“Testament:
Complete Sonatas and
Partitasfor Solo Violin
by J.S. Bach†(Avie
2360), which I trulyfeel
represents the
culmination of my
exploration intothese
extraordinary works.In
choosing to present this
edition, my hope is
thatyou will find useful
solutions to challenges
of fingering,bowing, and
polyphony, and helpful
information
aboutphrasing. I have
also included additional
dynamic suggestionswith
the hope that trying
these ideas will help
inspireyou to discover
your own. All of these
markings aredesigned to
work with a baroque
violin and baroque bow,a
modern violin and baroque
bow, or a modern
violinand modern bow.
While the information in
this editionis unusually
dense, there is much that
I did not include,such as
lifts, breaths,
articulations, whether to
play on oroff the string,
metronome markings,
details of timing,and
emphases other than
hemiolas.I offer this
book to you in the spirit
of Bach: “SoliDeo
Gloria.â€.
Violin SKU: FH.VLE02 Composed by The Royal Conservatory. Excerpts. Violin...(+)
Violin
SKU:
FH.VLE02
Composed by
The Royal Conservatory.
Excerpts. Violin Series.
Book. The Frederick
Harris Music Company
#VLE02. Published by The
Frederick Harris Music
Company (FH.VLE02).
ISBN
9781554409143.
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.
Violi
n Orchestral Excerpts
9-ARCT presents
excerpts ordered
chronologically from the
Baroque to the modern era
and includes overtures,
ballets, operas, chamber
music, orchestral music,
and contemporary works.
Selections are organized
progressively to present
relevant materials with
both section parts and
concertmaster solos for
youth and community
orchestras, chamber music
ensembles, and to provide
preparation material for
auditions at the
professional level. This
book features works from
Ludwig van Beethoven,
Antonin Dvorak, Edward
Elgar, Franz Joseph
Haydn, Gustav Mahler,
Wolfgang Amadeus Mozart,
Felix Mendelssohn, Sergei
Prokofiev, Sergei
Rachmaninoff, Nikolai
Rimsky-Korsakov, Arnold
Schoenberg, Rodney
Sharman, Caroline Shaw,
Dmitri Shostakovich,
Bedrich Smetena, Richard
Strauss, Pyotr Il'yich
Tchaikovsky and Dinuk
Wijeratne.
Violin SKU: FH.VLE01 Composed by The Royal Conservatory. Excerpts. Violin...(+)
Violin
SKU:
FH.VLE01
Composed by
The Royal Conservatory.
Excerpts. Violin Series.
Book. The Frederick
Harris Music Company
#VLE01. Published by The
Frederick Harris Music
Company (FH.VLE01).
ISBN
9781554409136.
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.
Violi
n Orchestral Excerpts 7-8
presents excerpts
ordered chronologically
from Baroque through to
the modern era.
Selections are organized
progressively to present
relevant materials for
school orchestras and
initial chamber music
experiences. Bowing and
fingering has been added
where needed to encourage
the most stylistically
appropriate results. This
book features works from
Johann Sebastian Bach,
Ludwig van Beethoven,
Hector Berlioz, Georges
Bizet, Mikhail Glinka,
George Frideric Handel,
Jacques Hetu, Franz
Joseph Haydn, Wolfgang
Amadeus Mozart, Felix
Mendelssohn, Kelly-Marie
Murphy, Jacques
Offenbach, Gioachino
Rossini, Franz Schubert,
Georg Philipp Telemann,
and Pyotr Il'yich
Tchaikovsky.
Solo Violin SKU: SU.29110060 For Solo Violin. Composed by Wynton M...(+)
Solo Violin
SKU:
SU.29110060
For
Solo Violin. Composed
by Wynton Marsalis.
Strings, Violin.
Unaccompanied. Score.
Subito Music Corporation
#29110060. Published by
Subito Music Corporation
(SU.29110060).
1. Sidestep
Reel - In 19th
Century America, the
Afro-Celtic fiddle style
was the centerpiece of
many a dance. Reels and
hornpipes were very
popular forms. Their
repetitive, even-metered
rhythms were easy and fun
to dance to, and their
infectious singable
melodies stayed in the
mind and on the tongue.
More adventurous fiddlers
were given to syncopating
on these forms by
accenting off beats and
by embellishing melodies
with oddmetered note
groupings. Syncopation is
a fundamental rhythmic
attitude of jazz and this
movement is a celebration
of that art. The melodic
language is a home-grown
concoction of commonality
between traditional reels
and hornpipes and the
Baroque, Ragtime and the
quartal concepts of
Modern Jazz. 2. As the
Wind Goes - the
wistful late night song
of a lullabye, a campfire
song, a ballad...a
spiritual. It is sung as
if on the wind, yearning
to experience once again
that which will only ever
again live as memory. 3.
Jones’ Jig -
the Irish Jig, the
African 6/8 bell pattern,
the shuffle rhythm of
jazz and the drum style
of Elvin Jones all play
around with the
relationship of 3 in the
time-space of 2. The
juxtaposition,
negotiation and
reconciliation of these
opposing rhythmic
perspectives create
interesting musical
relationships all over
the globe. 4.
Nicola’s
Strathspey - In the
traditional Strathspey,
improvised
embellishments,
syncopated dotted rhythms
and the use of space
between notes create
expectation, momentum and
surprise. These same
elements and their effect
on the listener are the
same in the blues. It
seems like a natural
marriage. 5. Bye Bye
Breakdown - This is
good ol’, Saturday
night barn dance, hoedown
fiddling. It revels in
the whining cry of open
double stops, in all
types of musical
onomatopoeia from train
sounds to animal calls to
country whistling, and in
the steady 2/4 rhythm
that is as basic as
walking. The harmonic
framework of several
popular fiddle and folk
tunes provide a practical
grid for the cutting of
challenging melodic and
rhythmic figures. It is
designed to tire fiddler
and dancers out. Then we
stomp our way home in
varying states of delight
and disrepair.Solo Violin
Duration: 24' Composed:
2018 Published by: Wynton
Marsalis (administered by
Skayne's Music).