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.
(A Workbook for Examinations). By Paul Harris. For Violin. This edition: US Ed...(+)
(A Workbook for
Examinations).
By Paul Harris. For
Violin.
This edition: US Edition.
Book; Method/Instruction;
String - Violin Studies
or
Collection; Technique
Musicianship. Faber
Edition.
6 ; Late Intermediate.
Published by Faber Music
(A Workbook for Examinations). By Paul Harris. For Violin. This edition: US ...(+)
(A Workbook for
Examinations).
By Paul Harris. For
Violin.
This edition: US Edition.
Book; Method/Instruction;
String - Violin Studies
or
Collection; Technique
Musicianship. Faber
Edition.
Early Elementary; Grade
1.
Published by Faber Music
(A Workbook for Examinations). By Paul Harris. For Violin. This edition: US ...(+)
(A Workbook for
Examinations).
By Paul Harris. For
Violin.
This edition: US Edition.
Book; Method/Instruction;
String - Violin Studies
or
Collection; Technique
Musicianship. Faber
Edition.
Grade 3; Late Elementary.
Published by Faber Music
(A Workbook for Examinations). By Paul Harris. For Violin. This edition: US ...(+)
(A Workbook for
Examinations).
By Paul Harris. For
Violin.
This edition: US Edition.
Book; Method/Instruction;
String - Violin Studies
or
Collection; Technique
Musicianship. Faber
Edition.
Early Intermediate; Grade
4.
Published by Faber Music
(A Workbook for Examinations). By Paul Harris. For Violin. This edition: US Edit...(+)
(A Workbook for
Examinations). By Paul
Harris. For Violin. This
edition: US Edition.
Book; Method/Instruction;
String - Violin Studies
or Collection; Technique
Musicianship. Faber
Edition. 6 ; Advanced.
Published by Faber Music
(A Workbook for Examinations). By Paul Harris. For Violin. This edition: US ...(+)
(A Workbook for
Examinations).
By Paul Harris. For
Violin.
This edition: US Edition.
Book; Method/Instruction;
String - Violin Studies
or
Collection; Technique
Musicianship. Faber
Edition.
Elementary; Grade 2.
Published
by Faber Music
Stage Fright. (Its Causes and Cures with Special Reference to Violin Playing). F...(+)
Stage Fright. (Its Causes
and Cures with Special
Reference to Violin
Playing). For Violin.
Music Sales America. 136
pages. Bosworth and Co.
#BOE004556. Published by
Bosworth and Co.
Solo-Duet-Trio-Quartet with Optional Accompaniment. Arranged by Victor Lopez. Fo...(+)
Solo-Duet-Trio-Quartet
with Optional
Accompaniment. Arranged
by Victor Lopez. For
Violin. Mixed Instruments
- Flexible
Instrumentation.
Flex-Ability Series.
Book. 24 pages. Published
by Alfred Publishing.
M.S. 54 Critical Edition. Composed by Nicolo Paganini (1782-1840). String Solo...(+)
M.S. 54 Critical Edition.
Composed by Nicolo
Paganini
(1782-1840). String Solo.
Classical. Softcover. 16
pages. Ricordi
#NR14199900.
Published by Ricordi
Composed by Martin Norgaard. For violin. Squareback saddle stitch. Getting Into....(+)
Composed by Martin
Norgaard. For violin.
Squareback saddle stitch.
Getting Into.
Beginning-Intermediate.
Book and online audio.
Published by Mel Bay
Publications, 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.
Violin - easy to intermediate SKU: HL.49001794 Set of Parts. Compo...(+)
Violin - easy to
intermediate
SKU:
HL.49001794
Set of
Parts. Composed by
Istvá, n
Szelé, and nyi.
Sheet music. Concertino
(Chamber Orchestra).
Classical. Set of choral
parts. 50 pages. Duration
9'. Schott Music #CON
148-70. Published by
Schott Music
(HL.49001794).
ISBN
9790001117388.
Beca
use of its scoring, this
uncomplicated little
six-movement suite in a
folkloric style is, above
all, suitable for the
first ensemble playing in
violin lessons. As
vigorous effective music,
it suits, in particular,
the needs of young
players.
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.
Violin SKU: HL.360036 Composed by Various. Instrumental Folio. Chris...(+)
Violin
SKU:
HL.360036
Composed by
Various. Instrumental
Folio. Christian, General
Worship, Worship.
Softcover. 120 pages.
Published by Hal Leonard
(HL.360036).
ISBN
9781705122822. UPC:
840126947168. 9.0x12.0
inches.
This
glorious collection
provides hours of
repertoire for
instrumentalists.
Includes: Amazing Grace
(My Chains Are Gone)
â?¢ As the Deer â?¢
The Blessing â?¢ Build
My Life â?¢ Do It Again
â?¢ Draw Me Close â?¢
Everlasting God â?¢
Goodness of God â?¢
Great Are You Lord â?¢
Here I Am to Worship
(Light of the World)
â?¢ How Great Is Our
God â?¢ In Christ Alone
â?¢ Living Hope â?¢
Mighty to Save â?¢
Oceans (Where Feet May
Fail) â?¢ Open the Eyes
of My Heart â?¢ Shout
to the Lord â?¢ 10,000
Reasons (Bless the Lord)
â?¢ This Is Amazing
Grace â?¢ Way Maker
â?¢ Yet Not I but
Through Christ in Me
â?¢ Your Name â?¢ and
many more!
Chamber Music violin SKU: PO.PE121 Composed by Christos Hatzis. Sws. Perf...(+)
Chamber Music violin
SKU: PO.PE121
Composed by Christos
Hatzis. Sws. Performance
Score. Promethean
Editions #PE121.
Published by Promethean
Editions (PO.PE121).
ISBN
9781877564215.
Chri
stos Hatzis Dystopia was
written especially for
two-time Grammy
Award-winning violinist
Hilary Hahn. Hatzis
considers this work to be
a meditation on the
causes of religious
intransigence,
disenchantment and
ultimately, jihad. Within
the work Hatzis evokes a
Middle-Eastern sound
world by incorporating a
microtonally altered
modal scale. These exotic
sounds subtly transforms
into the equal-
temperament of the
Western European music
tradition, and thereby
juxtaposes these
traditions and creates a
dramatic interplay within
the work. Dystopia is
highly virtuosic and
lends itself well to
individual expression,
making it an exciting
addition to solo violin
repertoire as an encore
or recital work.