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 Patrick Sky. For fiddle. All styles. Level: Multiple Levels. Book. Songbook. Size 8.75x11.75. 176 pages. Published by Mel Bay Pub., Inc.

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.

(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

Written by Craig Duncan. Fiddle solo book and performance CD for fiddle solo. Intermediate-Advanced. With standard notation, chord names, introductory text and black and white photos. 118 pages. Published by Mel Bay Publications, Inc..

By Douglas F Smith. Violin. Sacred instrumental. Published by Lorenz Publishing Company.

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.

(Newly Composed Fiddle Tunes). Edited by Paul Stewart Cranford. For Fiddle and Violin. Transcribed Solos. Cranford Publications. Fiddle Tunes. Intermediate. Book/CD Set. 112 pages

By Various Composers. Instrumental Folio. Size 9x12 inches. 146 pages. Published by Hal Leonard.

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.

Fiddle, Violin - Difficulty: medium

SKU: HL.235

By Various. Fiddle. Folk. Solo fiddle songbook. With performance notes, introductory text and standard notation. 96 pages. Published by Centerstream Publications (HL.235).

ISBN 9781574240566. UPC: 073999567786. 9x12 inches.

This comprehensive collection of fabulous fiddle tunes includes reels, hornpipes, strathspeys, jigs, waltzes and slow airs.

Violin - Beginner/Advanced

SKU: AD.ADG245

Composed by Andrew D. Gordon. The Blues Scale. Blues. Book and digital audio. ADG Productions #ADG245. Published by ADG Productions (AD.ADG245).

ISBN 9781958017357. UPC: 663389124523. 9 x 12 inches.

The Blues Scale for Violin is one of a series by Andrew D. Gordon is a comprehensive collection of educational books that explores the intricacies, techniques, and applications of the blues scale in contemporary music. Designed for musicians of all levels, this series serves as an indispensable resource for guitarists, pianists, saxophonists, and other instrumentalists looking to delve into the expressive and soulful world of blues music. Andrew D. Gordon, an accomplished musician and renowned educator, combines his vast knowledge and experience to provide a step-by-step guide for mastering the blues scale. Each book in the series offers a well-structured curriculum, progressing from fundamental concepts to advanced improvisation techniques, ensuring a thorough understanding of the blues scale's potential. Through detailed explanations, musical examples, exercises, and play-along tracks, readers will embark on a transformative journey, gaining fluency and confidence in playing the blues. The books cover various styles showing how the blues scale can be used, including , jazz, funk , new age, Latin, pop, gospel, acid jazz and rock enabling musicians to expand their repertoire and adapt their skills to different musical contexts. The Blues Scale series not only equips musicians with the technical aspects of playing the blues but also emphasizes the importance of creativity and personal expression. Gordon encourages readers to develop their improvisational skills, providing tools and strategies to create unique solos and express their musical personality within the framework of the blues scale. Whether you are a beginner seeking to explore the foundations of the blues scale or an advanced player looking to refine your improvisational abilities, The Blues Scale series by Andrew D. Gordon offers a comprehensive and accessible approach to learning and mastering the blues. With its clear instruction, engaging exercises, and practical examples, this series is an invaluable resource for musicians passionate about incorporating the soulful and timeless sounds of the blues into their playing.

Solo Violin

SKU: SU.29110060

For Solo Violin. Composed by Wynton Marsalis. Strings, Violin. Unaccompanied. Score. Subito Music Corporation #29110060. Published by Subito Music Corporation (SU.29110060).

1. Sidestep Reel - In 19th Century America, the Afro-Celtic fiddle style was the centerpiece of many a dance. Reels and hornpipes were very popular forms. Their repetitive, even-metered rhythms were easy and fun to dance to, and their infectious singable melodies stayed in the mind and on the tongue. More adventurous fiddlers were given to syncopating on these forms by accenting off beats and by embellishing melodies with oddmetered note groupings. Syncopation is a fundamental rhythmic attitude of jazz and this movement is a celebration of that art. The melodic language is a home-grown concoction of commonality between traditional reels and hornpipes and the Baroque, Ragtime and the quartal concepts of Modern Jazz. 2. As the Wind Goes - the wistful late night song of a lullabye, a campfire song, a ballad...a spiritual. It is sung as if on the wind, yearning to experience once again that which will only ever again live as memory. 3. Jones’ Jig - the Irish Jig, the African 6/8 bell pattern, the shuffle rhythm of jazz and the drum style of Elvin Jones all play around with the relationship of 3 in the time-space of 2. The juxtaposition, negotiation and reconciliation of these opposing rhythmic perspectives create interesting musical relationships all over the globe. 4. Nicola’s Strathspey - In the traditional Strathspey, improvised embellishments, syncopated dotted rhythms and the use of space between notes create expectation, momentum and surprise. These same elements and their effect on the listener are the same in the blues. It seems like a natural marriage. 5. Bye Bye Breakdown - This is good ol’, Saturday night barn dance, hoedown fiddling. It revels in the whining cry of open double stops, in all types of musical onomatopoeia from train sounds to animal calls to country whistling, and in the steady 2/4 rhythm that is as basic as walking. The harmonic framework of several popular fiddle and folk tunes provide a practical grid for the cutting of challenging melodic and rhythmic figures. It is designed to tire fiddler and dancers out. Then we stomp our way home in varying states of delight and disrepair.Solo Violin Duration: 24' Composed: 2018 Published by: Wynton Marsalis (administered by Skayne's Music).

For Violin. By Various. Instrumental Folio. Christmas. Softcover. 96 pages. Published by Hal Leonard

By Various. Instrumental Folio. Softcover. 146 pages. Published by Hal Leonard.

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

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

Edited by Paul Stewart Cranford. Arranged by Melissa Emmons. For Fiddle. Solos. Cranford Publications. Canadian-Maritime. Intermediate. Book. 80 pages