Violin SKU: LM.29352 Composed by Regis Campo. Classical: 20th Century (Co...(+)
Violin
SKU:
LM.29352
Composed by
Regis Campo. Classical:
20th Century
(Contemporary). Score. 9
pages. Editions Henry
Lemoine #29352. Published
by Editions Henry Lemoine
(LM.29352).
ISBN
9790230993524.
Gigu
e du troll qui sent
mauvais - Un farfadet
d'Indonesie - Molly, la
fee au gros nez - Momo,
un lutin africain - Chant
du lutin aux grands pieds
- Une sorciere vraiment
tres moche - Zaza, la
licorne qui louche, qui
est triste (mais pas
trop) - Lucioles et
pillywiggins dans la nuit
- Bob, le gnome sur une
balancoire.
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: CF.B3476 Composed by Ulysses Kay. Performance S...(+)
Chamber Music Violin
SKU: CF.B3476
Composed by Ulysses Kay.
Performance Score. 24+12
pages. Carl Fischer Music
#B3476. Published by Carl
Fischer Music (CF.B3476).
ISBN 9781491162309.
UPC:
680160921058.
Among
his many other honors and
scholarships,
groundbreaking composer
Ulysses Kay was the first
African-American to
receive the Prix de Rome
award that offered
promising composers the
opportunity to travel and
study in Italy. Kay
received this prize twice
between 1946 and 1952 and
it was during his
residency at the American
Academy in Rome that Kay
wrote Partita in A for
solo violin. Premiered on
April 15, 1952, the
colorful suite contains
four contrasting
melodies: Prelude,
Burlesca, Interlude, and
Echo.
String Thang Violon [Conducteur] - Facile Alfred Publishing
Violin - Grade 3 SKU: AP.50642 Composed by Mark Wood. Sheet; Solo. Mark W...(+)
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.
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).
Violin - Early Intermediate SKU: OT.22091 Composed by Mike Witkerk. For v...(+)
Violin - Early
Intermediate
SKU:
OT.22091
Composed by
Mike Witkerk. For violin
and piano. Contemporary.
Score and Part. OR-TAV
Music Publications
#22091. Published by
OR-TAV Music Publications
(OT.22091).
ISBN
9789655050929. 8.27 x
11.69 inches.
Mike
Witkerk The Lady in
Blue for violin and
piano
Mike Witkerk
is a South African
composer and pianist.
Hailing originally from
the Republic of
Tajikistan, he now lives
in Israel. His
performances include
appearances with Michael
Jackson, Chris deBurgh,
Stevie Wonder and Cliff
Richard. His compositions
range from classical jazz
to modern. He enjoys
creating compositions
that present new ideas
and sounds.