(Easy violin pieces). By Kathy Blackwell; David Blackwell. For violin. Fiddle Ti...(+)
(Easy violin pieces). By
Kathy Blackwell; David
Blackwell. For violin.
Fiddle Time. Easy. Method
book and CD. 24 pages.
Published by Oxford
University Press
Featuring 43 Fiddlers
and 188 of Their
Tunes. Perfect
binding. Folk. Book. 212
pages. Mel Bay
Publications, Inc #30091.
Published by Mel Bay
Publications, Inc
(MB.30091).
ISBN
9781513466378. 8.75 x
11.75
inches.
Appalachian
fiddle music, based on
the musical traditions of
the people who settled in
the mountainous regions
of the southeastern
United States, is
widely-known and played
throughout North America
and parts of Europe
because of its complex
rhythms, its catchy
melodies, and its
often-ancient-sounding
stylistic qualities. The
authors explore the lives
and music of 43 of the
classic Appalachian
fiddlers who were active
during the first half of
the 20th century. Some of
them were recorded
commercially in the
1920s, such as Gid
Tanner, Fiddlin? John
Carson, and Charlie
Bowman. Some were
recorded by folklorists
from the Library of
Congress, such as William
Stepp, Emmett Lundy, and
Marion Reece. Others were
recorded informally by
family members and
visitors, such as John
Salyer, Emma Lee
Dickerson, and Manco
Sneed. All of them played
throughout most of their
lives and influenced the
growth and stylistic
elements of fiddle music
in their regions. Each
fiddler has been given a
chapter with a biography,
several tune
transcriptions, and tune
histories. To show the
richness of the music,
the authors make a
special effort to show
the musical elements in
detail, but also
acknowledge that nothing
can take the place of
listening. Many of the
classic recordings used
in this book can be found
on the web, allowing you
to hear and read the
music together.
Composed by Nicolo Paganini (1782-1840). Edited by Daniela Macchione. For violin...(+)
Composed by Nicolo
Paganini (1782-1840).
Edited by Daniela
Macchione. For violin.
This edition: Urtext
edition. Paperback. Level
5. Performance score,
anthology. Text Language:
English/German. Published
by Baerenreiter Verlag
Violin SKU: UT.HS-298 Composed by Nicolo Paganini. Edited by Italo Vescov...(+)
Violin
SKU:
UT.HS-298
Composed by
Nicolo Paganini. Edited
by Italo Vescovo. Saddle
stitching. Classical. Ut
Orpheus #HS 298.
Published by Ut Orpheus
(UT.HS-298).
ISBN
9790215326941. 9 x 12
inches.
The four
Valtz (plus a fifth in
the Appendix, which
constitutes the first
draft of n. 3) for
violin, published here
for the first time in
their manuscript form,
although brief, are
important musically since
they add to the rich and
varied catalogue of works
for solo violin by
Paganini. The pieces can
be found within the
manuscript of the
Ghiribizzi for guitar
M.S. 43. Their musical
structure is simple, as
is found in this genre of
compositions and is
mostly divided into a
bipartite form (8+8 bars)
with ritornelli. These
are short but very
pleasant pieces, in which
it is not difficult to
find the spirit of the
great Genoese composer of
small compositions.
(From Playford's Dancing Master). Edited by Jeremy Barlow. For Violin. Book; Sol...(+)
(From Playford's Dancing
Master). Edited by Jeremy
Barlow. For Violin. Book;
Solo; String - Violin
Studies or Collection.
Faber Edition.
Multicultural.
Intermediate. Published
by Faber Music
Violin Solo Op. 37. Composed by Jakob Dont. Edited by Dominik Rahmer. Henle Mu...(+)
Violin Solo Op. 37.
Composed
by Jakob Dont. Edited by
Dominik Rahmer. Henle
Music
Folios. Classical.
Softcover. G. Henle
#HN1176.
Published by G. Henle
Violin SKU: HL.49046553 For Violin Solo. Composed by Eugene Ysaye....(+)
Violin
SKU:
HL.49046553
For
Violin Solo. Composed
by Eugene Ysaye. Edited
by Philippe Graffin.
Arranged by Philippe
Graffin. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Classical. Softcover.
Composed 1923/2019.
Op.27bis. 16 pages.
Duration 10'. Schott
Music #VLB226. Published
by Schott Music
(HL.49046553).
ISBN
9781705122785. UPC:
842819113027.
9.0x12.0x0.109
inches.
For almost
100 years, violinists had
to live without Eugene
Ysaye's Sonata Op. 27bis.
The work was
re-discovered in a
sketchbook recently given
to the library of
Brussels' Koninklijk
Conservatorium and is now
published for the first
time. The Sonate posthume
was composed in the
surrounding of Ysaye's
famous cycle of six solo
sonatas for violin and
shares their artistic
quality.
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.
Chamber Music Violin SKU: CF.BF118 29 Duets That Can Be Played by Any ...(+)
Chamber Music Violin
SKU: CF.BF118
29 Duets That Can Be
Played by Any Combination
of String
Instruments. Composed
by Adolphe-Charles Adam,
Chauncey Olcott, Claude
Rouget de Lisle, George
Frideric Handel, Giuseppe
Concone, Giuseppe
Gariboldi, Henri Kling,
Hughie Cannon, Larry
Clark, Richard Shuebruk,
Scottish Folk Song,
Traditional, Wilhelm
Wurm, Wolfgang Amadeus
Mozart, and etc. Arranged
by Doris Gazda Larry
Clark. SWS. Collection.
With Standard notation.
48 pages. Carl Fischer
Music #BF118. Published
by Carl Fischer Music
(CF.BF118).
ISBN
9781491149812. UPC:
680160907311. 9 x 12
inches.
Continuing
on the success of the
popular Compatible
series,Compatible Duets
for Strings, Volume II
contains 29 duets in
avariety of styles
(classical, folk music,
new original pieces)
thatcan be played with
any combination of two
string
instruments.Students can
develop their chamber
ensemble skills
whileplaying with their
friends, no matter what
string instrumentthey
play. Ranging from grade
levels 2–3,
Compatible Duetsfor
Strings, Volume II is
perfect for orchestra
directors to buyfor use
in the classroom, and its
flexibility makes it a
musthavefor any string
player. Having
students play in small
chamber music groups is a
very beneficial exercise
to improvethe
student’s overall
musicianship. The
simplest form of chamber
music is the duet. It is
anopportunity for the
student to play with a
teacher or to play with
another student of
similarabilities. Aspects
of playing such as tone
quality, intonation,
technique and ensemble
skillscan be developed
during the process of
studying duets.These
duets are different in
that they have many
different performance
options since all ofthe
books in this series are
compatible. As former
long time music educators
we alwayshad student that
wanted to come to the
music room during lunch
or after school and
theyjust wanted to play
with their friends. That
was not possible since
there is very little
duetmaterial available
that is compatible with
all of the string
instruments. This book
and thefirst volume in
the series takes care of
that. A student can now
grab their friend no
matterwhat instrument
they play and have hours
of fun playing duets
together. Most
importantthey will learn
something in the
process.The duets have
been generally placed in
the book in order of
difficulty and cover a
rangeof keys that are
appropriate for this
ability level. Special
care was given to making
surethat both of the duet
parts were on a similar
ability level and that
each line was givenan
opportunity to play a
lead role at some point
during the arrangement.
Also, most ofthe musical
markings are attached to
both systems and the
point size of the music
wasconsidered for ease of
reading.It is our hope
that this collection will
help to stimulate and
enhance the musicianship
of theperformers. It was
a pleasure for me to have
the opportunity to put
together this
collection.We hope it is
a useful tool for you for
years to come.
By Sally O'reilly. (String Collection/Study). Orchestra Method. Fiddle Magic. Le...(+)
By Sally O'reilly.
(String
Collection/Study).
Orchestra Method. Fiddle
Magic. Level: Elementary.
Music Book. Size 232.
Published by Neil A. Kjos
Music Company.
I Can Read Music - Volume 2. (a note reading book for violin students). For viol...(+)
I Can Read Music - Volume
2. (a note reading book
for violin students). For
violin. String - (Suzuki)
Supplementary. Suzuki
Method Supplement.
Instructional and Method.
Instructional book. 108
pages. Published by
Alfred Music Publishing
Violin - Level 1 SKU: FH.VLR01 Composed by The Royal Conservatory. Repert...(+)
Violin - Level 1
SKU:
FH.VLR01
Composed by
The Royal Conservatory.
Repertoire. Violin
Series. Book and online
audio. The Frederick
Harris Music Company
#VLR01. Published by The
Frederick Harris Music
Company (FH.VLR01).
ISBN
9781554409020.
C
arefully selected and
curated to support
teachers and students in
their artistic and
technical development,
the Violi
n Series, 2021 Edition
includes pieces from
a diverse range of eras
and styles that represent
stepping stones to major
violin repertoire. Each
level is constructed to
link repertoire
selections to necessary
techniques and
corresponding etudes,
while illustrating
step-by-step connections
for developing core
skills. Each Reper
toire book includes
access to quality video
and audio recordings by
some of North America's
finest violinists and
accompanists; both
performance and
accompaniment-only tracks
for each Reper
toire selection
offer students a model
for performance practice
and the convenience of
accompanied rehearsal at
home.
Violi
n Repertoire 1
offers selections at
various tempos that
explore familiar D
major/minor and A
major/minor tonalities in
first position, while
encouraging further
development of hand-frame
knowledge in the keys of
G major and C major
across the fingerboard.
Through a broad
cross-section of pieces
in simple and compound
time, enriched piano
accompaniments enhance
lyricism and tone
production. The pieces
explore bow development
and division using a
variety of lengths, while
also introducing hooked
bows and slurs. New
experiences include
artificial harmonics, gliss
ando, and double
stops; duets are included
to provide opportunities
for in-class and recital
collaboration. Featured
composers include Harold
Birston, Christine
Donkin, Robert Fleming,
Christine Gale, Terence
Greaves, Ricky Hyslop,
Michael Joncas, Dmitri
Kabalevsky, Christopher
Norton, Mary Alice Rich,
Alec Rowley, and Robert
Schumann.
Composed by
Nigel Goldberg. String
music. Clifton Edition
#C544. Published by
Clifton Edition
(ST.C544).
ISBN
9790570815449.
Student Violin part with
either teacher (as violin
duets) or with piano
accompaniment (Vln &
Pno).
This bumper
volume incorporates the
three separate former
publications from Spartan
Press, the series called
'Concertinos in the Olden
Style'
(SP1121–3). Piano
accompaniments by Heidi
Rolfe.
Nigel
Goldberg
writes:
I can
still remember the thrill
I felt as a child of 8
when my violin teacher
introduced me to my first
concertino. Learning,
playing and eventually
mastering the famous
Küchler Concertino in D
major made me feel
privileged and grown-up,
as if I were joining a
very special
club.
Tha
t was a long time ago,
yet for me concertinos
still hold a distinctive
place in the teaching
repertoire. Having now
taught the violin for the
last thirty years and
seen how happily my
pupils respond to
learning duets - that
distinctive sense of
enjoyment at playing with
an adult, the improvement
of intonation and tone
production, the
liveliness of the lesson
- I have composed three
new concertinos, inspired
by the duet
form.
Tak
ing three great keys for
the violin – G, D and A
minor, I have endeavoured
to combine emotionally
engaging and technically
educational music in the
'Olden Style'. Uniquely,
I have written a second
violin part for the
teacher to play alongside
their pupil's part and
there is also a piano
accompaniment for use
alternatively in concert
settings.
I very much hope that
these concertinos prove
as popular and as helpful
as the series of duets in
my previously published
books, Sounds of a
Rainbow and, that they
ignite that sense of
wonderment and purpose I
experienced while playing
the Kuchler, all those
years
ago.