by Stacy Phillips. For fiddle. All styles, fiddle tunes. Level: Multiple Levels....(+)
by Stacy Phillips. For
fiddle. All styles,
fiddle tunes. Level:
Multiple Levels. Book.
Solos. Size 8.75x11.75.
268 pages. Published by
Mel Bay Pub., Inc.
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.
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.
by Dean Marshall. For Fiddle. ensemble. Swath Publishing. Fiddle Tunes. Level: I...(+)
by Dean Marshall. For
Fiddle. ensemble. Swath
Publishing. Fiddle Tunes.
Level:
Intermediate-Advanced.
Book/CD Set. Size
8.75x11.75. 72 pages.
Published by Mel Bay
Publications, Inc.
Violin - intermediate SKU: BT.DHP-1135448-400 Solo Arrangements of 14 ...(+)
Violin - intermediate
SKU:
BT.DHP-1135448-400
Solo Arrangements of
14 Classic Songs with CD
Accompaniment.
Composed by Various. De
Haske Instrumental
Play-along.
TV-Film-Musical-Show.
Book with CD. Composed
2013. 28 pages. De Haske
Publications #DHP
1135448-400. Published by
De Haske Publications
(BT.DHP-1135448-400).
ISBN 9789043140881.
9x12 inches.
English.
Now solo
instrumentalists can play
play along with 14
intermediate-level tunes
from Musicals like The
Sound of Music, Mary
Poppins and Beauty and
the Beast.These books
include CDs with
orchestral accompaniment
tracks. ABC (THRILLER
- The Musical) Always
Look on the Bright Side
(SPAMALOT) Beauty And
The Beast (BEAUTY AND THE
BEAST) Belle (BEAUTY
AND THE BEAST) Circle
of Life (THE LION
KING) Defying Gravity
(WICKED) Good Morning
Baltimore
(HAIRSPRAY) I Just
Cant Wait To Be King (THE
LION KING) My
Favourite Things (THE
SOUND OF MUSIC) One
Short Day
(WICKED) Sixteen Going
On Seventeen (THE SOUND
OF
MUSIC) Supercalifragil
isticexpialidocious (MARY
POPPINS) That Face
(THE PRODUCERS) We Are
The Champions (WE WILL
ROCK YOU)
Wem
BEST OF FILM and TV
gefällt, wird auch
Freude an BEST OF MUSICAL
haben. Die 14
mittelschweren
Solostücke aus
bekannten Musicals
können zur
Orchesterbegleitung der
CD gespielt werden. Das
macht richtig Laune!
Inhalt: ABC (THRILLER
- The Musical) Always
Look on the Bright Side
(SPAMALOT) Beauty And
The Beast (BEAUTY AND THE
BEAST) Belle (BEAUTY
AND THE BEAST) Circle
of Life (THE LION
KING) Defying Gravity
(WICKED) Good Morning
Baltimore
(HAIRSPRAY) I Just
Cant Wait To Be King (THE
LION KING) My
Favourite Things (THE
SOUND OF MUSIC) One
Short Day
(WICKED) Sixteen Going
On Seventeen (THE SOUND
OF
MUSIC) Supercalifragil
isticexpialidocious (MARY
POPPINS) That Face
(THE PRODUCERS) We Are
The Champions (WE WILL
ROCK YOU)
By Stacy Phillips. For Fiddle. Solos. Fiddle Tunes. Level: Beginning-Intermediat...(+)
By Stacy Phillips. For
Fiddle. Solos. Fiddle
Tunes. Level:
Beginning-Intermediate.
Book. Size 8.75x11.75. 72
pages. Published by Mel
Bay Publications, Inc.
by Craig Duncan. For fiddle. method. You Can Teach Yourself. All Styles. Level: ...(+)
by Craig Duncan. For
fiddle. method. You Can
Teach Yourself. All
Styles. Level: Beginning.
Book/CD Set. Size
8.75x11.75. 80 pages.
Published by Mel Bay
Publications, Inc.
Violin Play-Along Volume 56. Composed by Oscar Hammerstein and Richard Rod...(+)
Violin Play-Along Volume
56.
Composed by Oscar
Hammerstein and Richard
Rodgers. Violin
Play-Along.
Softcover Audio Online.
16
pages. Published by Hal
Leonard
By Aaron Copland. Arranged by Quincy C. Hilliard. Boosey and Hawkes Chamber Musi...(+)
By Aaron Copland.
Arranged by Quincy C.
Hilliard. Boosey and
Hawkes Chamber Music.
Softcover. Size 9x12
inches. 14 pages.
Published by Boosey &
Hawkes.
(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 Violin Technique Book for Group Classes and Private Instruction). By Kathryn ...(+)
(A Violin Technique Book
for Group Classes and
Private Instruction). By
Kathryn Bird Kinnard. For
Violin. String - Violin
Studies or Collection.
Book. 44 pages. Published
by Alfred Publishing.
By Craig Duncan. For Violin. Ensemble (mixed). Fiddle Tunes. Level: Beginning. B...(+)
By Craig Duncan. For
Violin. Ensemble (mixed).
Fiddle Tunes. Level:
Beginning. Book. Size
8.75x11.75. 64 pages.
Published by Mel Bay
Publications, Inc.
(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
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 Philip John Berthoud. For fiddle. Wire bound, Methods. Beginning-Int...(+)
Composed by Philip John
Berthoud. For fiddle.
Wire bound, Methods.
Beginning-Intermediate.
Book and online audio.
Published by Mel Bay
Publications, Inc
(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
How To Play Fiddle with CD by Larry McCabe. For fiddle. This edition: Paperback....(+)
How To Play Fiddle with
CD by Larry McCabe. For
fiddle. This edition:
Paperback. Instructional.
Method. Book and CD. Text
Language: English. 48
pages. Published by
Santorella Publications
(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