An introduction to Style and Technique. Edited by Chris Haigh. This edition: Paperback/Soft Cover. Sheet music with online material. String Method. Beginning Jazz Violin is a great way to learn the basics of playing the violin in jazz style. Classical, Jazz. Edition with Online audio file, Softcover Audio Online. 112 pages. Schott Music #ED 13906. Published by Schott Music

compiled by Dr. Ed Whitcomb. For Fiddle. songbook. Canadian. Level: Beginning-Intermediate. Book. Size 8.75x11.75. 224 pages. Published by Mel Bay Publications, Inc.

("Original compositions, arrangements, cadenzas, and editions for violin"). By Rachel Barton Pine. Edited by Rachel Barton Pine. For violin solo and piano. Masters Collection. CD includes piano accompaniment as mp3 audio and printable pdf. Classical. Collection and CD. Published by Carl Fischer

By Allen, Gillespie, Hayes. Arranged by John Higgins. Essential Elements String Method. Size 9x12 inches. 48 pages. Published by Hal Leonard.

Concert Pieces for Teaching Beginning Strings. By Doris Gazda; Henry Purcell; James Pierpont. Arranged by Doris Gazda. For Violin I, Violin II. This edition: Violin. Student Book. 16 pages. Published by Carl Fischer.

By William Bay. For violin. Solos. Fun With. Folk. Level: Beginning. Book. Size 8.75x11.75. 32 pages. Published by Mel Bay Publications, Inc.

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.

By Joe Maroni. For Violin. SongBook. Bill's Music Shelf. All Styles. Beginning. Book. 72 pages. Published by Mel Bay Publications, Inc

Beginning Fiddle Tunes and Techniques. By Brian Wicklund. For Fiddle. Method. Bluegrass and Country. Level: Beginning. DVD. Size 5.25x7.50. 114 pages. Published by Mel Bay Publications, Inc.

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.

by Craig Duncan. For violin. solos. Building Excellence. Classic. Level: Beginning. Book. Size 8.75x11.75. 40 pages. Published by Mel Bay Publications, Inc.

by Craig Duncan. For violin. Building Excellence. All styles, studies and exercises. Level: Beginning. Book. Technique. Size 8.75x11.75. 32 pages. Published by Mel Bay Pub., Inc.

By Melanie Smith. For Violin. Theory & Harmony. Bill's Music Shelf. Children. Beginning. Book. 174 pages. Published by Mel Bay Publications, Inc

by Craig Duncan. For violin. solos. Classic. Level: Beginning. Book. Size 8.75x11.75. 52 pages. Published by Mel Bay Publications, Inc.

Composed by Cassia Harvey. For violin. 33 pages. Published by C. Harvey Publications

Composed by Various. Edited by Larry Newman. Arranged by Larry Newman. Beginning. Book. Children's Music Workshop #9781518682827. Published by Children's Music Workshop

by Craig Duncan. For violin. Building Excellence. Christmas, with keyboard accomp. Level: Beginning. Book. Solos. Size 8.75x11.75. 36 pages. Published by Mel Bay Pub., Inc.

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

Composed by George Perlman. De Haske Study and Play. Book with CD. Composed 2005. 24 pages. De Haske Publications #DHP 1053792-400. Published by De Haske Publications

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.