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.
(Foreword and Additional Editing by Doris Gazda). By George Frideric Handel Fede...(+)
(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
For Violin and
Orchestra. Composed
by Behzad Ranjbaran.
Contemporary. Large
Score. With Standard
notation. Composed 1994.
144 pages. Duration 31
minutes. Theodore Presser
Company #416-41366L.
Published by Theodore
Presser Company
(PR.41641366L).
UPC:
680160585755.
From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violins open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movements primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violinas open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movementas primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violin's open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement's primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notionof
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures.The notes of the
violin’s open
strings (G, D, A, E) also
influenced many of the
melodic and harmonic
elements of my violin
concerto. The opening
tutti is mostly based on
intervals of a perfect
4th and 5th. The primary
material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes:1 st
movement: A-D-A2nd
movement: D-G-D3rd
movement: E-A-EThe
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement’s
primary theme. While the
movements share similar
musical materials, each
one is definedby
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and
unforgivingferocity. The
second movement is
haunting, mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
fromthe previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell.
(A Comprehensive String Method) Written by Brenda Mitchell, Joanne Erwin, Kathle...(+)
(A Comprehensive String
Method) Written by Brenda
Mitchell, Joanne Erwin,
Kathleen Horvath, Robert
D McCashin. Instructional
book and accompaniment CD
for violin. Series: New
Directions for Strings.
56 pages. Published by
The FJH Music Company
Inc.
(Learn the Melodies, Techniques and Styles of a Great Tradition). By Lisa ...(+)
(Learn the Melodies,
Techniques and Styles of
a
Great Tradition). By Lisa
Gutkin. Homespun Tapes.
DVD.
Hal Leonard #DVDLSAFI21.
Published by Hal Leonard
Chamber Music Violin SKU: CF.BF132 17 Medium-Level Arrangements for An...(+)
Chamber Music Violin
SKU: CF.BF132
17 Medium-Level
Arrangements for Any
Combination of String
Instruments. Composed
by Alexander Borodin,
Cecile Chaminade,
Chevalier de
Saint-Georges, Edvard
Grieg, Fanny Cecile
Mendelssohn, Franz Joseph
Haydn, Gabriel Faure,
George Frideric Handel,
Isabella Leonarda, Johann
Sebastian Bach, Ludwig
van Beethoven, Luigi
Boccherini, and etc.
Arranged by Todd Parrish.
Collection - Part. 42
pages. Carl Fischer Music
#BF132. Published by Carl
Fischer Music (CF.BF132).
ISBN 9781491158678.
UPC:
680160917310.
The
17 masterworks contained
in this collection have
been carefully arranged
for any combination of
string trio. The
selections span nearly
200 years and feature
works from the baroque,
classical, and romantic
periods of music. The
arrangements are drawn
from a variety of
sources, including piano
solos, chamber works, and
symphonies. Each work was
selected for its quality,
musical interest, and
appropriateness in a
chamber setting. All
pieces in this collection
have stood the test of
time and are worthy of
both study and
performance. Arranged
specifically for a
chamber setting, the
trios may be performed at
recitals, contests,
weddings, and social
events. The various moods
created through these
works will work for any
setting. The 17
masterworks contained in
this collection have been
carefully arranged for
any combination of string
trio. The most standard
instrumentation for
voicing is violin, viola,
and cello. However, three
of the same instruments
work well as do other
groupings, given that the
higher-pitched instrument
plays the higher part.The
selections have been
arranged in chronological
order. They span nearly
200 years and feature
works from the baroque,
classical, and romantic
periods of music. The
arrangements are drawn
from a variety of
sources, including piano
solos, chamber works, and
symphonies. Each work was
selected for its quality,
musical interest, and
appropriateness in a
chamber setting.All
pieces in this collection
have stood the test of
time and are worthy of
both study and
performance. Arranged
specifically for a
chamber setting, the
trios may be performed at
recitals, contests,
weddings, and social
events. The various moods
created through these
works will work for any
setting. Some repeats are
marked in the music, but
any selection may be
repeated for the
appropriate amount of
music needed. Bowings
have been added as
suggestions, while
fingerings have been left
to the individual
performers to decide.
Score and Parts Mixed Ensemble (Score & Parts) SKU: HL.233289 For Viol...(+)
Score and Parts Mixed
Ensemble (Score & Parts)
SKU: HL.233289
For Violin,
Vibraphone, Piano,
Sustaining Keyboard and
Contrabass. Composed
by John Luther Adams.
Music Sales America.
Classical. Set. Duration
1800 seconds. Chester
Music #CH85987. Published
by Chester Music
(HL.233289).
12.0x9.25x0.43
inches.
Score and
separate parts with
spiral-bound
keyboard/organ part.
Number 5, 1950 was Mark
Rothko's last painting
before the breakthrough
into his mature format.
In it the luminous color
fields of a classic
Rothko are inscribed
across the middle with
three delicate lines.
Describing this painting
and its pivotal position
in Rothko's work, Brian
O'Doherty observes:
'After this, the lines
disappear completely.' In
recent years gesture and
figuration have
disappeared from my
music. What used to be
background has emerged to
become a musical world
composed entirely of
floating color fields. In
this new world I've
changed media, moving
from the orchestra to
smaller combinations of
acoustical instruments
and
electronically-processed
sounds. I still think in
orchestral terms, but
this hybrid medium allows
me to create orchestral
textures for more
practical and readily
available ensembles.
Initially I imagined this
as a kind of monolithic
music -an entire piece as
one rich and complex
sound. Then I came to
hear it as homophonic or
heterophonic. And now -
in this musical world
that I thought was
completely free of lines
- I've come to hear a
polyphony of harmonic
clouds. Maybe the lines
never disappear
completely. Maybe
Christian Wolff was right
when he quipped: 'No
matter what we do, sooner
or later it all sounds
melodic.' - John Luther
Adams.
(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
Chamber Music Violin SKU: CF.BF159 26 Medium-Level Arrangements for An...(+)
Chamber Music Violin
SKU: CF.BF159
26 Medium-Level
Arrangements for Any
Combination of String
Instruments. Arranged
by Todd Parrish.
Collection - Part. 48
pages. Carl Fischer Music
#BF159. Published by Carl
Fischer Music (CF.BF159).
ISBN 9781491162163.
UPC:
680160920914.
The
26 masterworks contained
in this collection have
been carefully arranged
for any combination of
string duet. The
selections appear in
chronological order. They
span nearly 200 years
with 22 composers and
feature works from the
Baroque, Classical and
Romantic periods of
music. The arrangements
are drawn from a variety
of sources, including
piano and chamber works.
However, the majority of
works were taken from
actual duets originally
written for two
instruments by the
composers themselves.
Each work was selected
for its quality, musical
interest, and
appropriateness. Arranged
specifically for a
chamber setting, the
duets may be performed at
recitals, adjudications,
weddings, and social
events. The various moods
created through these
works will compliment any
occasion.
Violin SKU: HL.48024637 Handbook for Teachers and Parents. Compose...(+)
Violin
SKU:
HL.48024637
Handbook for Teachers
and Parents. Composed
by Geza Szilvay. Boosey &
Hawkes Chamber Music.
Classical. Softcover. 303
pages. Fennica Gehrman
#M550112490. Published by
Fennica Gehrman
(HL.48024637).
ISBN
9781540055583. UPC:
888680946166.
Accor
ding to Geza Szilvay, the
Colourstrings (r) method
can make a violin player
of almost anyone with
motivation. The key to
maintaining musical
culture lies with the
teacher. The
Colourstrings (r) is a
teaching method developed
by Geza and Csaba
Szilvay. Themethod is
ideal for preschool
beginners and can be used
effectively in
instrumental teaching
throughout the school
years. It createsan
environment in which
singing, playing games
and instrument live side
by side, for the
happiness of the child.
The Handbook for Teachers
and Parents brings
together the entire
Colourstrings(r) series
for the violin. The
Handbook guides the
teachers and parents
through books A-F and
Yellow Pages I-III,
offering expert advice
and methodological
support to teaching in
Colourstrings(r) method.
The method makes use of
colourful teaching
materials and supports
learning by appealing to
many senses. Founded on
the principles ofZoltan
Kodaly, Colourstrings (r)
develops the capacity for
internal listening so
that the child learns to
visualize the notes heard
and to aurilize the notes
on the page. The method
has been fostered by
ESTA, ASTA, AUSTA, ISME,
NMPU and IKS. The
Colourstrings(r) approach
developed by the Szilvay
brothers has gained an
international reputation
and is now taught all
over the world. A number
of special
Colourstrings(r)
institutions - schools,
centres and societies -
have been established in
several European
countries in order to
implement and further
this child-centred
teaching concept.
Violin SKU: BT.MUSM570364831 For Solo Violin. Composed by Sadie Ha...(+)
Violin
SKU:
BT.MUSM570364831
For Solo Violin.
Composed by Sadie
Harrison. Classical. Set
of Parts. 24 pages.
University of York Music
Press #MUSM570364831.
Published by University
of York Music Press
(BT.MUSM570364831).
English.
Gallery
(Room 1) is a fantastic
set of miniatures
beautifully composed by
Sadie Harrison . Sadie
was inspired by Peter
Sheppard Skaerved’s
exceptional artwork. The
pieces have been written
so they can be performed
in any order, just as a
viewer could choose their
various paths through a
gallery. Gallery (Room 1)
has been written
conveying expressions of
imagined narratives,
personal responses to the
art's kaleidoscopic
references, their
vivacity, drama and quiet
beauty. Gallery has been
dedicated to Peter
Sheppard Skaerved’s in
admiration and with
thanks for so many
wonderful years of
collaboration.
Violin SKU: HU.F0571524427 Composed by Mary Cohen. Strings, Methods. Superstart...(+)
Violin
SKU: HU.F0571524427
Composed by Mary Cohen.
Strings, Methods.
Superstart Violin.
Softcover Book and CD. 48
pages. Faber Music
#F0571524427. Published
by Faber Music
Violin SKU: PE.0615811802 History and Comparison. Composed by Luci...(+)
Violin
SKU:
PE.0615811802
History and
Comparison. Composed
by Lucien Capet, Kelley
M. Johnson. Reference
Textbooks; Technique
Musicianship; Textbook -
Instrumental. Book. 184
pages. Edition Peters
#98-0615811802. Published
by Edition Peters
(PE.0615811802).
ISBN
9780615811802. UPC:
038081509754.
English.
Lucien
Capet was born in Paris
in 1873 and became a
renowned violinist in the
Capet Quartet. He was a
student of Maurin and the
pure tradition of French
violin technique through
Baillot. He was invited
to teach chamber music at
the Paris Conservatory
and during his years
there, he published
Superior Bowing
Technique. This book
answers the subjects that
many have been wanting to
learn about, including:
the most complete
biography of Capet, a
comparison with Baillot's
pedagogy, and a
comparison with the
bowing techniques of
Galamian and Fischer.