Violin Play-Along. Composed by Various. Instrumental Play- Along. Video Games. Softcover Audio Online. 16 pages. Published by Hal Leonard

(Traditional Old Time Bluegrass and Celtic Solos Volume 1). Composed by Mark Geslison. For fiddle. Perfect binding. Book and online audio. Published by Mel Bay Publications, Inc

Chamber Music Violin

SKU: PR.144407530

Composed by Lauren Bernofsky. 12 pages. Duration 10 minutes, 30 seconds. Merion Music #144-40753. Published by Merion Music (PR.144407530).

ISBN 9781491136614. UPC: 680160687992.

A violinist herself, Lauren Bernofsky has described SONATA FOR SOLO VIOLIN as drawn from autobiographical inspiration, including gestures from Bachâ??s beloved Partita in E Major. Bernofsky opens with a Preludio movement whose references to Bach may be disguised, but they are surely lurking. The second movement is lusciously contrapuntal with the idiomatic finesse of a violinist composing for her own instrument, while musically journaling the emotional pain of living through 2020. The third and final movement is aptly marked â??white-hot,â? and the music certainly is.
My SONATA FOR SOLO VIOLIN was commissioned by violinist Megan Healy as part of The Maud Powell Project, which celebrated the 100th anniversary of the ratification of the 19th Amendment. The project included the creation of five new works for solo violin inspired by and dedicated to the memory of pioneering American violinist Maud Powell (1867-1920). Healy premiered the sonata on May 8, 2021 at PianoForte Studios in Chicago.Among the works Powell most frequently performed in her recitals was the â??Preludioâ? movement from Bachâ??s E major Partita, and I decided to refer to that music in my own first movement, also titled â??Preludio.â? The beginning subtly reflects Bachâ??s opening three-note motive, wherein the music dips down a semitone and then comes back up. This melodic material returns throughout the movement in various forms. I also refer to Bachâ??s sixteenth-note dominated texture, and the gesture in the third measure, which outlines a perfect fifth and then fills it in with notes that alternate between a scale and a pedal tone. The corresponding passage in my piece occurs in the same place, measure 3. Apart from these references to Bach, my sonata is much more modern sounding, especially in its chromatic character.I was still thinking of Bachâ??s solo violin writing while composing the second movement, particularly the polyphonic nature of the slow movements, where the melodic interest moves around between the voices. Emotionally, I wanted my movement to reflect the acute sadness I had been experiencing over the political and social situation in the United States as I wrote the piece. I realized that this is a historically noteworthy time in U.S. history, marked not only by political unrest, but also by a challenge to the very values that I consider essential to what makes a person fundamentally human. I wanted to create a record of that pain in my music.The final movement is marked â??White-hot.â? It is imbued with a relentless, passionate intensity. Wanting again to reflect aspects of our own time, I included glissandi that refer to rock music, specifically the â??fall-offsâ? I frequently hear played by electric guitarists. I borrowed from another (completely different) musical tradition as well, one that is near-and-dear to my heart: Klezmer. Klezmer (Eastern European Jewish folk music) is characterized in part by scales colored by augmented seconds, and is often performed by solo instrumentalists who improvise embellishments like quick grace notes. The second, more lyrical theme in this movement is my nod to Klezmer style.While this piece is an homage to Maud Powell, I also think of it as my own musical autobiography, as it combines some of my favorite aspects of music, and is played on my own instrument.

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

For Violin. By Lizzo. Instrumental Play-Along. Pop. Softcover Audio Online. Published by Hal Leonard

Composed by Mary Ann Willis (Harbar). For fiddle. Saddle-stitched, Methods. Dirt Simple. Beginning. Book and online audio. Published by Mel Bay Publications, Inc

Violin

SKU: BT.9781408114612

Composed by Peter Davey. Abracadabra. Method. Book with CD. 64 pages. Collins Music Publishing #9781408114612. Published by Collins Music Publishing (BT.9781408114612).

ISBN 9781408114612. English.

Now in a third edition, Abracadabra Violin has a fresh and contemporary new look and is the perfect book for pupil and teacher.

This title offers an identical selection of repertoire to the other books in theAbracadabra Strings series, so they can be used in any combination for group or whole class lessons and mixed ensemble performances. Used alone, they remain ideal for individual tuition.

With tunes you know and want toplay, carefully graded in 20 learning steps, this new edition of the popular tutor also includes duets, trios and teacher's parts. Clear fingering and bowing diagrams and concise theory explanations help to teach thefundamentalsof the instrument, and each new technical aspect is reinforced by several pieces using that particular technique.

Abra cadabra Violin now also includes two CDs of performance and backing tracks, featuringselected orchestral backings.

Composed by Miles Courtiere. Saddle stitch. Folk/Violin Instruction. Play Along Book and CD. Duration 65 minutes. Published by ADG Productions

Violin Solos. Arranged by Various and ed. Bill Galliford. Play-Along; SmartMusic; String Series. Pop Instrumental Solos Series. Broadway; Movie. Book; Digital Download; Software. 28 pages. Alfred Music #00-47979. Published by Alfred Music

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.

100 Progressive Melodies of 3 to 8 Notes with Piano Accompaniment. Composed by Various. Edited by Andrea Cappellari. Instrumental Folio. Classical. Softcover Audio Online. 36 pages. Published by Ricordi

Violin. Composed by Various. Instrumental Play-Along. Softcover Audio Online. 16 pages. Published by Hal Leonard

For Violin. By Various. Instrumental Folio. Softcover. 128 pages. Published by Hal Leonard

Instrumental Play-Along(r) Series. Composed by Various. Instrumental Play-Along. TV, Movies. Softcover Audio Online. 16 pages. Published by Hal Leonard

Instrumental Play-Along. Composed by Various. Instrumental Play-Along. Disney, Movies. Softcover Audio Online. 16 pages. Published by Hal Leonard

Instrumental Play-Along. Composed by Various. Instrumental Play-Along. Softcover Audio Online. 16 pages. Published by Hal Leonard

Arranged by And Ed. Joanne Martin. For Solo Violin. String Ensemble - Mixed. 20 pages. Published by Alfred Publishing.

For Violin. By Various. Instrumental Play-Along. Hip- Hop, Pop, RandB. Softcover Audio Online. Published by Hal Leonard

Composed by Miles Courtiere. Spiral bound. Celtic/Violin Instruction. Book and Downloadable audio. Duration 75 minutes. Published by ADG Productions

Fiddle - Beginning

SKU: MB.20796M

Composed by Steve Kaufman. Saddle-stitched, Solos, Duets and Ensembles, Bluegrass. My First. Style. Book and online audio. 40 pages. Mel Bay Publications, Inc #20796M. Published by Mel Bay Publications, Inc (MB.20796M).

ISBN 9780786698714. 8.75 x 11.75 inches.

This fun and easy bluegrass fiddle book and companion audio takes you from the very beginning. Starting with an introduction to the instrument, the book teaches you basic fiddle technique such as holding the bow, and provides scales and exercises setting the foundation for the repertoire found in the book. Featuring classics such as Boil Em Cabbage Down, Cripple Creek and Old Joe Clark. This book will get you playing in no time. Includes access to online audio.

For Fiddle. By Darol Anger. Homespun Tapes (Instructional). Softcover with CD. 44 pages. Published by Homespun.