Edited by Jessica O'Leary. Book; Method/Instruction; String - Violin Studies or Collection; Technique Musicianship. Faber Edition: Graded Studies. Published by Faber Music

Edited by Jessica O'Leary. Book; Method/Instruction; String - Violin Studies or Collection; Technique Musicianship. Faber Edition: Graded Studies. Published by Faber Music

Composed by Suzanna Barnes. For Fiddle. Folded. Advanced. Chart. 4 pages. Published by Mel Bay Publications, Inc

Violin SKU: HU.F0571539777 Composed by Various. Edited by Jessica O'Leary. Strings, Methods. Softcover Book. 40 pages. Faber Music #F0571539777. Published by Faber Music

Chamber Music Violin

SKU: PR.144407380

Composed by Ellen Taaffe Zwilich. Performance Score. 4 pages. Duration 4 minutes. Merion Music #144-40738. Published by Merion Music (PR.144407380).

ISBN 9781491133903. UPC: 680160683475. 9 x 12 inches.

In her powerful Foreword to the music, violinist Kelly Hall-Tompkins has written: “There are great works which give voice to important moments for generations, and this is one of them.” The tragedy of Elijah McClain’s murder has moved us all, and for many musicians the image of this gentle young man playing his violin for kittens at an animal shelter has added a poignant extra layer. Zwilich was a professional violinist before turning exclusively to composing, and A LITTLE VIOLIN MUSIC is a memorial from the heart of one violinist to another.
[THESE NOTES MAY NOT BE REPRODUCED OUTSIDE OF THE PUBLICATION; OK TO QUOTE A BIT AND GIVE AUTHOR CREDIT]We often research important pieces of music to gain some glimpse into the mind of the composer by understanding the times in which a piece was written. The times that brought this piece into being, 2020, has been a year like no other in our lifetimes.With the suffering of a once in a century pandemic raging in ever higher waves, and millions of people around the world confined to their homes with a shared attention span for the first time in generations, we watched in horror the 8 minute 46 second killing of George Floyd, a man previously unknown to us, but now unwillingly joining a long list of names of unarmed African Americans killed by police. The anguished backlash of citizens around the world, from Japan to New Zealand to Germany to the United States, of every age, color, and creed, has rallied for weeks and months on end to demand enough and that “Black Lives Matter.”And yet, in the midst of it all is an America starkly divided against itself with some defiantly pushing back, emboldened by authoritarian-style government actions against its own citizens occurring all over the country. It is against this backdrop that we ever had a chance to know of Elijah McClain. Here in quarantine I sometimes practice my scales in front of the news. And one day the mirror image looking back at me from the screen was a slight young man, warm, affable brown eyes, and also a violin under his chin. The newsreel-style camera pan so familiar now, I knew the only reason we were gazing upon his unfamous face was that he too had been killed by police nearly a year before. But the revelation of it in the broadcast hit me particularly hard.Ellen Taaffe Zwilich, who is not only one of the great composers of our time, is also a dear friend, and called me the next day, also deeply saddened by the news. It was from Ellen that I learned that Elijah used to play for the kittens at the local animal shelter so they wouldn’t be lonely. This kind, gentle soul was aggressively taken into police custody while saying, “I am an introvert. Please respect the boundaries that I am speaking... I’m going home.” He was never seen alive again.Ellen and I spoke of the sadness and the injustice of this several times. She felt a powerful calling to contribute something in a statement and the result is the piece you now hold in your hands. I am deeply honored to be the dedicatee of the piece, to have worked together with Ellen on some of the final details, and to pen this score note. As an invited alumna of the Eastman School of Music, I premiered the work for their virtual event on Diversity and Inclusion. Each time I play it, there is a persistent lump in my throat because Ellen has captured something poignant and powerful here.There are great works which give voice to important moments for generations, and this is one of them. We humbly offer this piece in memory of Elijah McClain.Foreword © 2021 by Kelly Hall-Tompkins. Used by permission.

Composed by Various. Arranged by Kenneth D. Friedrich. For violin solo. Level 2 to 4. Published by Kenneth D. Friedrich

(A Revolutionary Method for Early-Intermediate Musicians (Violin)). By Bob Phillips, Peter Boonshaft, and Robert Sheldon. Orchestra. For Violin. This edition: Violin. Book; CD; DVD; Method/Instruction; String Orchestra Method/Supplement. Sound Innovations. 48 pages. Published by Alfred Music Publishing

Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, Contrabass, English Horn, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion, Piccolo, Timpani, Trombone, Trumpet 1, Trumpet 2, Viola, Violin 1 and more.

SKU: PR.41641366L

For Violin and Orchestra. Composed by Behzad Ranjbaran. Contemporary. Large Score. With Standard notation. Composed 1994. 144 pages. Duration 31 minutes. Theodore Presser Company #416-41366L. Published by Theodore Presser Company (PR.41641366L).

UPC: 680160585755.

From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violins open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movements primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.
From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violinas open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movementas primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.
From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violin's open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movement's primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.
From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notionof writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures.The notes of the violin’s open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes:1 st movement: A-D-A2nd movement: D-G-D3rd movement: E-A-EThe overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movement’s primary theme. While the movements share similar musical materials, each one is definedby distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgivingferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes fromthe previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.

By Samuel Applebaum. For Violin. String Orchestra Method/Supplement. Book. 32 pages. Published by Alfred Publishing.

Violin

SKU: OT.22090

Composed by Daniel Akiva. For violin solo. Classical. Score. OR-TAV Music Publications #22090. Published by OR-TAV Music Publications (OT.22090).

ISBN 9789655050738. 8.27 x 11.69 inches.

Daniel Akiva's Partita for violin solo consists of six movements based loosely on music of the Sephardic Jews. It was written for students as performance material, and dedicated to them.
Contents:
Liturgical Song
Prayer
Supplication
Dance
Kaddish
Supplication
Daniel Akiva is a composer, performer, and educator whose performances on guitar and lute have won great acclaim. Mr. Akiva graduated from the Rubin Academy of Music in Jerusalem in 1981, where he studied classical guitar with Haim Asulin and composition with Haim Alexander. In 1987 he completed his studies at the Geneva Conservatorium in Switzerland where he studied lute with Jonathon Rubin and composition with Jean Ballisa. For many years, he headed the Music Department at the WIZO High School for the Arts in Haifa, which he founded in 1986, and served as the Artistic Director of the Guitar Gems Festival from 2006-2019. As part of his work at WIZO High School, he has developed a method for teaching free improvisation that has been incorporated into the music program at the school.
Mr. Akiva has appeared in concert as a guitarist and lutist and given master classes in Israel, Europe, Russia, the United States, and Latin America. Daniel Akiva’s compositional output includes works for solo instruments, chamber ensembles, choir, voice and guitar, piano, and chamber orchestra. His works have been recorded on twelve CDs, the latest of which, Malchut, was issued by OR-TAV in 2014.
A native of Haifa whose family has lived in Israel for over five hundred years, he was steeped in the Sephardic (Jewish-Spanish) tradition from his youth. Much of his compositional output has been devoted to a dialogue with the music of the Sephardic Jews. Daniel Akiva has also maintained a creative dialogue over many years with the poets and writers Amnon Shamash, Rivka Miriam, and Avner Peretz.

(Serie II - France 1800-1860). Edited by Nicolas Fromageot. For Violin. Facsimiles. Methodes and Traites. Grade 0. 1157 pages. Published by Anne Fuzeau Productions - France

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.

Violin

SKU: OT.22089

Composed by Tal Weissman. For violin and piano. Classical. Score and Parts. OR-TAV Music Publications #22089. Published by OR-TAV Music Publications (OT.22089).

8.27 x 11.69 inches.

For violin and piano
Israeli pianist Tal Weissman was born in Haifa in 1972, and began his musical training at age four. While a youth, he performed as a soloist with most of the orchestras in Israel, including the Israel Philharmonic Orchestra and the Israel Chamber Orchestra. He was awarded an Outstanding Israeli Competitor at the Arthur Rubenstein Competition in 1992, and has won prizes in international piano competitions in Europe.
In 1995, Weissman was accepted for piano studies with the internationally renowned pianist and pedagogue Maria Curcio Diamand in London. During this period of study in London, he was awarded many prizes and performed in most of the major concert venues in England. In 1999, he made a concert tour of the United States.
Tal Weissman returned to Israel in 2004, where he teaches piano privately and continues to perform both in Israel and abroad. His compositions for piano and other instruments express the human sprit as it faces the challenges of the world.

Violin - beginning

SKU: SP.TS556

Composed by Tony Santorella. Reference; Educational. Reference, Educational. Chart. 4 pages. Santorella Publications #TS556. Published by Santorella Publications (SP.TS556).

ISBN 9781585609161.

Due to the success of our Instrumental Fingering Posters, we thought it would be helpful to create a smaller version that could be tucked comfortably into any method book as a reference guide. Unbeknownst to us after days of research, we were left with countless questions, much confusion, and a slew of poorly crafted images from contradicting publications. That being said, we realized that there weren't truly any trustworthy resources in print and decided to address the void. We consulted experts in every category asking questions until both we and they and we were satisfied. Finally, a guide to fingering for beginners that even the experienced players will find beneficial. Santorella's Basic Fingering Charts are essential for anyone that picks up an instrument. Initially intended for beginners but after understanding the importance of false fingerings or more appropriately called, alternate fingerings their necessity is vital for playing certain musical passages on a particular instrument. In addition, after observing the difficulties that students had in identifying key signatures, we decided to include the Circle of Fifths diagram and every major scale in two octaves in every key including their enharmonic counterparts. After all was said in done, we now know, we now have the best educational products available for fingering in the industry. Our Basic Fingering Charts are perfect for private students, classroom study, or simply for a quick and easy reference guide while practicing at home. These graphic reference guides for assorted brass, reeds, woodwinds, and orchestral strings are specifically available for Clarinet, Bass Clarinet, Trumpet, Flute, Piccolo, Recorder, Baritone Horn, Trombone, Bass Trombone, Alto Sax, Soprano Sax, Tenor Sax, Baritone Sax, French Horn, Euphonium, Tuba, Oboe, Bassoon, Violin, Viola, Cello, and Bass. Every chart displays the entire range of each instrument by clearly depicting the fingering for each note including all their enharmonic substitutions. Each chart includes a diagram identifying the levers, valves, keys, slides, frets and more of each and every instrument. Learn where, when, and why to place your fingers. Now is the time to truly start playing with assured confidence.

Violin - intermediate

SKU: BT.EMBZ8068

Composed by Endre Szervansky, Endre Szervánszky, Frigyes Sandor, Jardanyi, and Sandor. Method. Book Only. Composed 1977. 64 pages. Editio Musica Budapest #EMBZ8068. Published by Editio Musica Budapest (BT.EMBZ8068).

Hungarian-English-Germ an-French.

Frigyes Sándor (1905-1979), violinist, teacher and conductor. His six-volume Violin tutor was published between 1949 and 1959, and has remained popular ever since. One reason for its popularity - in addition to its methodological concept may be the fact that from the very beginning learners are given high quality musical material on which to master the basic elements of violin playing. The musical material in the volumes was written specifically for this tutor by Pál Járdányi and Endre Szervánszky apart from pieces designed for pedagogical purposes it includes a wealth of folk tunes (Hungarian and other European folk melodies) graded to suit each level of difficulty, andexcerpts representing different periods in the history of music.

Die Beliebtheit der von Frigyes Sándor (1905-1979), Violinist, Lehrer und Dirigent zwischen 1949 und 1959 veröffentlichten Violinschule in sechs Bänden ist ungebrochen. Das bewährte methodische Konzept und das von Anfang an hochwertige musikalische Übungsmaterial (von Pál Járdányi und Endre Szervánszky) überzeugen noch heute. Neben den reinen Übungsstücken enthalten die Bände eine Fülle an volkstümlichen Melodien aus ganz Europa und Stücke aus verschiedenen Epochen, jeweils dem Schwierigkeitsgrad angepasst.

Violin - easy

SKU: BT.EMBZ8065

Composed by Endre Szervansky, Endre Szervánszky, Frigyes Sandor, Jardanyi, and Sandor. Method. Book Only. Composed 1977. 100 pages. Editio Musica Budapest #EMBZ8065. Published by Editio Musica Budapest (BT.EMBZ8065).

Hungarian-English-Germ an-French.

Frigyes Sándor (1905-1979), violinist, teacher and conductor. His six-volume Violin tutor was published between 1949 and 1959, and has remained popular ever since. One reason for its popularity - in addition to its methodological concept may be the fact that from the very beginning learners are given high quality musical material on which to master the basic elements of violin playing. The musical material in the volumes was written specifically for this tutor by Pál Járdányi and Endre Szervánszky apart from pieces designed for pedagogical purposes it includes a wealth of folk tunes (Hungarian and other European folk melodies) graded to suit each level of difficulty, andexcerpts representing different periods in the history of music.

Die Beliebtheit der von Frigyes Sándor (1905-1979), Violinist, Lehrer und Dirigent zwischen 1949 und 1959 veröffentlichten Violinschule in sechs Bänden ist ungebrochen. Das bewährte methodische Konzept und das von Anfang an hochwertige musikalische Übungsmaterial (von Pál Járdányi und Endre Szervánszky) überzeugen noch heute. Neben den reinen Übungsstücken enthalten die Bände eine Fülle an volkstümlichen Melodien aus ganz Europa und Stücke aus verschiedenen Epochen, jeweils dem Schwierigkeitsgrad angepasst.

Violin - advanced

SKU: BT.EMBZ8069

Composed by Endre Szervansky, Endre Szervánszky, Frigyes Sandor, Jardanyi, and Sandor. Method. Book Only. Composed 1977. 96 pages. Editio Musica Budapest #EMBZ8069. Published by Editio Musica Budapest (BT.EMBZ8069).

Hungarian-English-Germ an-French.

Frigyes Sándor (1905-1979), violinist, teacher and conductor. His six-volume Violin tutor was published between 1949 and 1959, and has remained popular ever since. One reason for its popularity - in addition to its methodological concept may be the fact that from the very beginning learners are given high quality musical material on which to master the basic elements of violin playing. The musical material in the volumes was written specifically for this tutor by Pál Járdányi and Endre Szervánszky apart from pieces designed for pedagogical purposes it includes a wealth of folk tunes (Hungarian and other European folk melodies) graded to suit each level of difficulty, andexcerpts representing different periods in the history of music.

Die Beliebtheit der von Frigyes Sándor (1905-1979), Violinist, Lehrer und Dirigent zwischen 1949 und 1959 veröffentlichten Violinschule in sechs Bänden ist ungebrochen. Das bewährte methodische Konzept und das von Anfang an hochwertige musikalische Übungsmaterial (von Pál Járdányi und Endre Szervánszky) überzeugen noch heute. Neben den reinen Übungsstücken enthalten die Bände eine Fülle an volkstümlichen Melodien aus ganz Europa und Stücke aus verschiedenen Epochen, jeweils dem Schwierigkeitsgrad angepasst.

Violin - intermediate

SKU: BT.EMBZ8066

Composed by Endre Szervansky, Endre Szervánszky, Frigyes Sandor, Jardanyi, and Sandor. Method. Book Only. Composed 1977. 112 pages. Editio Musica Budapest #EMBZ8066. Published by Editio Musica Budapest (BT.EMBZ8066).

Hungarian-English-Germ an-French.

Frigyes Sándor (1905-1979), violinist, teacher and conductor. His six-volume Violin tutor was published between 1949 and 1959, and has remained popular ever since. One reason for its popularity - in addition to its methodological concept may be the fact that from the very beginning learners are given high quality musical material on which to master the basic elements of violin playing. The musical material in the volumes was written specifically for this tutor by Pál Járdányi and Endre Szervánszky apart from pieces designed for pedagogical purposes it includes a wealth of folk tunes (Hungarian and other European folk melodies) graded to suit each level of difficulty, andexcerpts representing different periods in the history of music.

Die Beliebtheit der von Frigyes Sándor (1905-1979), Violinist, Lehrer und Dirigent zwischen 1949 und 1959 veröffentlichten Violinschule in sechs Bänden ist ungebrochen. Das bewährte methodische Konzept und das von Anfang an hochwertige musikalische Übungsmaterial (von Pál Járdányi und Endre Szervánszky) überzeugen noch heute. Neben den reinen Übungsstücken enthalten die Bände eine Fülle an volkstümlichen Melodien aus ganz Europa und Stücke aus verschiedenen Epochen, jeweils dem Schwierigkeitsgrad angepasst.

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.”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 2017 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.    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.

(Instruction for Players of Any Level). For Fiddle, Violin. Violin Instruction. Softcover with CD. 88 pages. Published by Hal Leonard

(Foreword and Additional Editing by Doris Gazda). By George Frideric Handel Federigo Fiorillo. Edited by Larry Clark, Leopold Auer, Doris Gazda. Arranged by William Strasser. For Violin, Violin and Piano. Book. 96 pages. Published by Carl Fischer

Music from the Motion Picture Soundtrack for Violin Solo. Composed by Joseph Bologne (Chevalier de Saint-Georges) and Kris Bowers. Instrumental Solo. Classical, Movies. Softcover. 24 pages. Published by Hal Leonard

By Bonnie Rideout. For Fiddle. Solos. Encyclopedia. Scottish. Level: Intermediate. Book. Size 8.75x11.75. 136 pages. Published by Mel Bay Publications, Inc.

SATB vocal soli, SATB choir, 2 oboes, 2 clarinets, 2 trombones, timpani, violin solo, 2 violins, basso continuo

SKU: CA.2703511

Composed by Karl Ditters von Dittersdorf. Edited by Johannes Kirner. Violin solo. Sacred vocal music, Masses, Latin. Single Part, Violin Solo. Composed circa 1769. KreD 326. 4 pages. Duration 42 minutes. Carus Verlag #CV 27.035/11. Published by Carus Verlag (CA.2703511).

ISBN 9790007199166. Key: C major. Language: Latin.

Of the 19 Masses by Dittersdorf which have been handed down, the present Mass, which is being published for the first time, enjoyed a special popularity during the composer's lifetime and it was even performed for the coronation of emperor Franz II in the Frankfurt Cathedral. This solemn, prestigious Mass shows evidence of choral movements in traditional contrapuntal church style as well solo parts with a modern, cantabile character. In addition, the Gloria includes a lengthy virtuosic violin solo, which also lends the work a concertante character (Dittersdorf was a professional violinist). Score and part available separately - see item CA.2703500.