By Matt Glaser and Mimi Rabson. Berklee Methods. Book and CD Package. Size 9x12 inches. Published by Berklee Press Publications

Arranged by Kerstin Wartberg. For Violin. String - Violin (Suzuki). Book and CD. 68 pages. Published by Alfred Publishing.

Composed by Cindy Moyer. Strings Methods. Secular. Published by Galaxy Music Corporation

Violin

SKU: AP.28075GER

Macht alle mit! (German Language Edition). Arranged by Kerstin Wartberg. This edition: German. String - Violin (Suzuki); Suzuki. Book and CD. Alfred Music #00-28075GER. Published by Alfred Music (AP.28075GER).

ISBN 9780739047682. UPC: 038081307572. German.

The Step by Step series is a collection of exercise books/CDs for violin based on the Mother-Tongue approach. From the very beginning, it will provide a solid foundation in instrumental technique for the Suzuki Method and traditional approaches in private lessons or group settings. The focus is on teaching correct, child-appropriate practice habits that range from listening, singing, and dancing to playing music. The ideas presented, including information for parents and practice tips, should stimulate daily practice and also make it more effective. German edition.

(Pre-Practice Technical Exercises). For Violin. Willis. Softcover with CD. 32 pages. Willis Music #WMR101167. Published by Willis Music

Written by Kerstin Wartberg. Instructional book and accompaniment CD for violin. Series: Suzuki Method. Text language English, French, Spanish. 32 pages. Published by Alfred Publishing.

Written by Kerstin Wartberg. Instructional book and accompaniment CD for violin. Series: Suzuki Method. Text language English, French, Spanish. 24 pages. Published by Alfred Publishing.

Arranged by Kerstin Wartberg. For Violin. String - Violin (Suzuki). CD. 64 pages. Published by Alfred Publishing.

Daily Exercises to Maintain and Improve Violin Technique. Composed by Mary Cohen. String - Violin Studies or Collection. Faber Edition. Book. Faber Music #12-0571541577. Published by Faber Music

Composed by June DeForest. Collection. 44 pages. Published by Mel Bay Publications, Inc

Violin

SKU: HL.49018324

Theory and Practice in 5 Books. Composed by Mathieu Crickboom. This edition: Saddle stitching. Sheet music. String. Book only. 56 pages. Schott Music #SF6565. Published by Schott Music (HL.49018324).

ISBN 9790543506312. 9.0x12.0x0.18 inches. Spanish - English.

(250 Step-by-Step Practice Methods for the Violin) Written by Simon Fischer. Instructional book for violin. With introductory text, instructional text, instructional photos, musical examples, standard notation, bowings, fingerings and thematic index. 336 pages. Published by C.F. Peters.

(Intermediate Violin Pieces with Suggestions for Practice). Edited by Kerstin Wartberg. For violin. Intermediate. Solo book with 2 CDs. Published by Edition Peters

By Various. For Violin. Music Medals Violin Options Practice Book (Copper - Platinum). Copper - Platinum

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.

(A critical collection of the most important exercises for violin technique by Otakar Sevcik.). By Ottakar Sevcik (1852-1934). Edited by Endre Granat and Stephen Shipps. For Violin. LKM Music. 248 pages. Hal Leonard #S510008. Published by Hal Leonard

Composed by Roland Vamos. With Standard notation. 72 pages. Carl Fischer #BF00067. Published by Carl Fischer

By Martin Wulfhorst. This edition: 1st printing 2012 edition. Paperback. A comprehensive guidebook with hundreds of excerpts. Book. Language: English. 483 pages. Published by Baerenreiter Verlag

Jascha Heifetz Version. By Jascha Heifetz. By Niccolò Paganini. LKM Music. Softcover. 52 pages. Lauren Keiser Music Publishing #S510013. Published by Lauren Keiser Music Publishing

Compiled and edited by Barbara Barber. Instructional book for violin. With fingerings and progress chart. 36 pages. Published by Preludio Music Inc.

For Violin. Fiddle. Softcover with CD. 48 pages. Published by Centerstream Publications

(El Inereible Sorprendente Violin Que Se Eneogia). Book. Softcover. 48 pages. Published by Centerstream Publications

Composed by Clive Brown. Stapled. Book. Opus 64. 72 pages. Baerenreiter Verlag #BA09060. Published by Baerenreiter Verlag (BA.BA09060).