(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

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.

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

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.

Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, Contrabass, English Horn, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion, Piccolo, Timpani, Trombone, Trumpet 1, Trumpet 2, Viola, Violin 1 and more.

SKU: PR.41641366L

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.

Chamber Music Violin

SKU: PR.144407380

Composed by Ellen Taaffe Zwilich. Performance Score. 4 pages. Duration 4 minutes. Merion Music #144-40738. Published by Merion Music (PR.144407380).

ISBN 9781491133903. UPC: 680160683475. 9 x 12 inches.

In her powerful Foreword to the music, violinist Kelly Hall-Tompkins has written: “There are great works which give voice to important moments for generations, and this is one of them.” The tragedy of Elijah McClain’s murder has moved us all, and for many musicians the image of this gentle young man playing his violin for kittens at an animal shelter has added a poignant extra layer. Zwilich was a professional violinist before turning exclusively to composing, and A LITTLE VIOLIN MUSIC is a memorial from the heart of one violinist to another.
[THESE NOTES MAY NOT BE REPRODUCED OUTSIDE OF THE PUBLICATION; OK TO QUOTE A BIT AND GIVE AUTHOR CREDIT]We often research important pieces of music to gain some glimpse into the mind of the composer by understanding the times in which a piece was written. The times that brought this piece into being, 2020, has been a year like no other in our lifetimes.With the suffering of a once in a century pandemic raging in ever higher waves, and millions of people around the world confined to their homes with a shared attention span for the first time in generations, we watched in horror the 8 minute 46 second killing of George Floyd, a man previously unknown to us, but now unwillingly joining a long list of names of unarmed African Americans killed by police. The anguished backlash of citizens around the world, from Japan to New Zealand to Germany to the United States, of every age, color, and creed, has rallied for weeks and months on end to demand enough and that “Black Lives Matter.”And yet, in the midst of it all is an America starkly divided against itself with some defiantly pushing back, emboldened by authoritarian-style government actions against its own citizens occurring all over the country. It is against this backdrop that we ever had a chance to know of Elijah McClain. Here in quarantine I sometimes practice my scales in front of the news. And one day the mirror image looking back at me from the screen was a slight young man, warm, affable brown eyes, and also a violin under his chin. The newsreel-style camera pan so familiar now, I knew the only reason we were gazing upon his unfamous face was that he too had been killed by police nearly a year before. But the revelation of it in the broadcast hit me particularly hard.Ellen Taaffe Zwilich, who is not only one of the great composers of our time, is also a dear friend, and called me the next day, also deeply saddened by the news. It was from Ellen that I learned that Elijah used to play for the kittens at the local animal shelter so they wouldn’t be lonely. This kind, gentle soul was aggressively taken into police custody while saying, “I am an introvert. Please respect the boundaries that I am speaking... I’m going home.” He was never seen alive again.Ellen and I spoke of the sadness and the injustice of this several times. She felt a powerful calling to contribute something in a statement and the result is the piece you now hold in your hands. I am deeply honored to be the dedicatee of the piece, to have worked together with Ellen on some of the final details, and to pen this score note. As an invited alumna of the Eastman School of Music, I premiered the work for their virtual event on Diversity and Inclusion. Each time I play it, there is a persistent lump in my throat because Ellen has captured something poignant and powerful here.There are great works which give voice to important moments for generations, and this is one of them. We humbly offer this piece in memory of Elijah McClain.Foreword © 2021 by Kelly Hall-Tompkins. Used by permission.

Edited by Robin Williamson. For violin. Includes violin solo songbook and examples CD. With standard notation, chord names, performance notes and introductory text. British and folk. 96 pages. 9x12 inches. Published by Oak Publications

Violin

SKU: BA.BA06643

Violinschule, Band 2. Composed by Hella Hartung-Ehlert. Stapled. Gemeinsam von Anfang an. Fur den Gruppen- oder Einzelunterricht. Schulen fur Violine (Violin Method). Performance score. 80 pages. Baerenreiter Verlag #BA06643_00. Published by Baerenreiter Verlag (BA.BA06643).

ISBN 9790006501120. 21 x 29 cm inches. Language: German. Preface: Hella Hartung-Ehlert.

Vol ume 2 of this highly regarded violin method follows the approach and material of volume 1 to teach children more fundamentals of violin playing, including changes of position, double stops, dotted notes and new key signatures. The many songs and pieces allow pupils to try out what they have learned and to gain practice in ensemble playing.

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 - very easy

SKU: HL.49007122

Geigenschule fur den Anfang. Composed by Renate Bruce-Weber. Arranged by Mark Bruce. This edition: Paperback/Soft Cover. Sheet music. Edition Schott. The most important aspect of the violin method 'Die frohliche Violine' is the fun of learning to play the violin: The textbook is aimed at an early playful beginning with the instrument. Over the course of the lessons, the pupils are deliberately addresse. Classical. 96 pages. Schott Music #ED 7299. Published by Schott Music (HL.49007122).

ISBN 9783795722197. UPC: 196288077480. 9.0x12.0x0.282 inches. German.

The most important aspect of the violin method 'Die frohliche Violine' is the fun of learning to play the violin: The textbook is aimed at an early playful beginning with the instrument. Over the course of the lessons, the pupils are deliberately addressed in a language that corresponds to their age. Furthermore, the method provides a stylistically varied range of classical and folkloristic instrumental pieces, and always gives a lot of interesting information on the music and its composers.Vol. 1: Detailed introduction to the bow hold - songs and instrumental pieces, using exclusively the first type of fingering while focussing on rhythmic, melodic and technical variety - playful touching and feeling of violin-playing techniques such as pizzicato, position playing, harmonics and double stops. Vol. 1 is accompanied by a CD (T 3272) containing all songs and pieces with funny dialogues spoken by children. A motivating addition to violin lessons and a great gift idea!

M.S. 54 Critical Edition. Composed by Nicolo Paganini (1782-1840). String Solo. Classical. Softcover. 16 pages. Ricordi #NR14199900. Published by Ricordi

Violin

SKU: HL.50499695

First edition. By Barta. By Andras Szollosy. Edited by Barta Mihaly. 20th Century. EMB. Classical, Contemporary. Softcover. Composed 2014. 8 pages. Editio Musica Budapest #Z14885. Published by Editio Musica Budapest (HL.50499695).

ISBN 979080148853. 9.0x12.0x0.063 inches. Andras Szollosy; Mihaly Barta.

Andras Szollosy (1921-2007) was one of the most significant Hungarian composers of the second half of the 20th century, yet his oeuvre has not become as well-known as that of Gyorgy Ligeti, two years his junior, or of Gyorgy Kurtag, five years his junior. Szollosy did not compose many works and he was strict about which of them he would allow to go public. As a younger colleague of his once remarked: He only composed his good works. Szollosy's Sonata for Solo Violin, which was written at the age of 26 and was publicly performed only in 2006, almost 60 years after its composition, fell victim to his self-criticism. Although the model of Bartok's Sonata for Solo Violin of just three years earlier was obviously on the young composer's mind, he was no epigone of the great master. From the aspect of both composition and instrumental technique, the 11-minute Sonata for Solo Violin represents exacting and prominent music, and is a remarkable piece among works written for the violin in 20th-century Hungarian music. The score of the posthumously published work was edited by the soloist of its world premiere, Michael Barta.

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

Chamber Music Violin

SKU: PR.114418750

Composed by Michael Hersch. Sws. Performance Score. 8 pages. Duration 11 minutes. Theodore Presser Company #114-41875. Published by Theodore Presser Company (PR.114418750).

ISBN 9781491129524. UPC: 680160655489. 9 x 12 inches.

The seven-movement in the snowy margins might be considered a sort of atomic suite, as each movement is succinct, yet a microcosmic powerhouse inspired by “The Comet,” by Polish writer and Holocaust victim Bruno Schulz. Hersch’s intensity is expressed through dramatically captivating violin gestures, pushing the boundaries of texture, technique, and emotion.
Michael Hersch’s in the snowy margins was written in 2010. Like much of his work, it is grounded in literature and art. The title is drawn from a short story, The Comet by Polish writer, poet, and artist, Bruno Schulz (1892-1942). This forms the last of his collection The Street of Crocodiles, published in 1934. Schulz was shot by a Nazi officer in 1942.Both the title of Hersch’s work, and the ‘motto’ found on the composer’s manuscript (‘Thus far and no further. But what has become of the end of the world…’) are to be found in The Comet. It’s interesting that in in the snowy margins, unlike his earlier Fourteen Pieces which were inspired by the poetry of Primo Levi, Hersch chose to not title each individual movement with a quote. However his choices of text are applied, there is a clear quality of distillation. In every case, the texts which the composer has chosen to eschew lie beneath the music, akin to the greater mass of an iceberg, submerged, but imminent.Hersch also has very particular taste in visual art, and there seems to be common ground between the intensely expressionist drawing of Schulz, and those of Michael Mazur, which inspired his string quartet Images from a Closed Ward. The parallels between these artists reflect common traits shared between these two pieces, which provide a window on how the music should be approached, expressively and technically. I would argue, that from a violinist’s point of view, this pertains directly to how bow and left hand should approach the string: the febrile vibrancy of both Mazur and Schulz’s pencil and charcoal strokes, perhaps what T.S. Eliot called the ‘circulation of the lymph’, in every gesture, speaks to the intense experience, physically and emotionally, of playing (and hearing) this music. There is an intense sense of ‘truth to materials’ at every moment, the sense that every note sings on the edge of, or even beyond, total collapse.— Peter Sheppard-Skaerved.

by Bonnie Rideout. For fiddle and violin. Maggie's Music. Scottish. Level: Beg-Intermediate. Book. Solos. Size 8.75x11.75. 64 pages. Published by Mel Bay Pub., Inc.

Violin - late intermediate

SKU: BT.1248-05-400-DHI

Composed by Joachim Johow. Book with CD. Composed 2005. 28 pages. De Haske International #1248-05-400 DHI. Published by De Haske International (BT.1248-05-400-DHI).

ISBN 9789043123327. 9x12 inches. English-German-French-Dut ch.

A collection of original Irish songs designed for violinists produced following years of research. Ideal for concert performances or for private study, the songs range from fast jigs to quiet ballads. With chord symbols to enable performance with guitar, a harmonica or a banjo.

Deze geslaagde collectie van oude en nieuwe dansen geeft je de kans om mooie folkmuziek te spelen. De stukken in Irish Melodies variëren van snelle, meeslepende jigs tot rustige songs in balladstijl. Om uitvoeringen met anderenmogelijk te maken zijn akkoordsymbolen toegevoegd. De stukken kunnen bijvoorbeeld worden gespeeld in combinatie met instrumenten als gitaar, fluit of banjo - die bijzonder geschikt zijn voor de originele speelstijl. De live opgenomencd bevat voorbeeldversies en begeleidingen van alle melodieën uit het boek, erg handig om mee te studeren óf om mee op te treden.

Diese Sammlung von original irischer Musik bietet etwas fortgeschritteneren Spielern einen Einblick in die Schönheit und den Reichtum von neuen und traditionellen Melodien. Die 17 Stücke variieren von schnellen Jigs bis zu ruhigen Balladen und können alleine oder bei Auftritten gespielt werden. Dank der notierten Akkordsymbole kann man sich stilecht von Gitarre, Akkordeon oder Banjo begleiten lassen. Die CD, die neben Demoversionen auch Begleitungen aller Stücke enthält, hilft beim Üben und Vorspielen.

Ce recueil de musique irlandaise permet d'approfondir ses connaissances stylistique travers des airs irlandais anciens et récents. Les piéces peuvent être interprétées en associant des instruments comme la guitare, 'accordéon ou le banjo (symboles d´accord notés sur les partitions). Sur le CD inclus, vous trouverez une version de démonstration de chaque péce ainsi qu´une version play-along.

Questa pubblicazione di musica irlandese permette ai musicisti con gi qualche anno di pratica strumentale di approfondire la conoscenza stilistica attraverso arie antiche e più recenti. I brani possono essere interpretati assieme a strumenti quali la chitarra, la fisarmonica o il banjo (simboli degli accordi segnati sulla partitura). Nel CD incluso troverete una registrazione integrale di tutti i brani e anche una versione play-along col solo accompagnamento.

SKU: HL.50603675

For Solo Violin. Composed by Patrick Marcland. Violin. Softcover. Chester Music #CH80850. Published by Chester Music (HL.50603675).

ISBN 9781705128138. UPC: 840126952919.

The original music Walk for one dancer and violinist was commissioned by Compagnie Trans. The four pieces that compose this sonata are from the performance piece Laurence Marthouret choreographed for a dancer and a violinist, entitled Walk, and interpreted by Sona Khochafian in 2001. The project originated from a shared conception of the two art forms, an equal collaboration between choreographic and musical composition. Its central idea was to utilize Laban's choreographic notation system, which accompanies and parallels the musical notation, allowing for an extreme precision in the playing out of the dance-music relationship. Largely cut and recomposed to arrive at this concert version, Walk-Sonata still maintains its four discreet parts, the four sides of a square of the choreographic composition and is therefore strongly linked to the original choreography. This is discernible not only in the formal four movement structure, but also in the music's multiple rhythms, dynamics and phrasing, which are consistently, if not tightly, joined to the dance gesture. Walk-Sonata is dedicated to Sona Khochafian and Laurence Marthouret.

For Fiddle (IRISH FIDDLE). Waltons Irish Music Books. 30 pages. Waltons Irish Music #WM1370. Published by Waltons Irish Music

Waltons Irish Music Books. Celtic, Irish. Softcover with CD. 30 pages. Waltons Irish Music #WM1370CD. Published by Waltons Irish Music

Violin

SKU: HL.50565834

For Violin Solo. Composed by Philippe Hersant. Editions Durand. Classical. Softcover. 10 pages. Editions Durand #DF15934. Published by Editions Durand (HL.50565834).

Tarab premiered by David Grimal in le Volcan, Scene Nationale du Havre, on April 23rd 2010. Born in 1948 in Rome, Philippe Hersant studied music at the Paris Conservatory, notably in the composition class of Andre Jolivet, before residing at the Casa Velasquez from 1970 to 1972 and then at the Villa Medici from 1978 to 1980. Since 1973 he has been a producer for radio broadcasts with France Musiques . Refusing to play tricks with history, Philippe Hersant has forged a language that extends the course of Western music as a whole, and, without ever seeking to establish a school, he was one of the first of his generation to place himself, once more, in the domain of tonality and modality. He does not, for all that, banish all neo-classical tendencies. On the contrary, he champions the mannerism and the deep subjectivity of his memory as sources and guides to creation.

Violin

SKU: BT.MUSM570366392

Composed by Thomas Simaku. Book Only. 11 pages. University of York Music Press #MUSM570366392. Published by University of York Music Press (BT.MUSM570366392).

English.

Written for and dedicated to Peter Sheppard-Skærved. The world premiere was given on 26 November 2014 at King's Place, London. Written in 2014, this work focuses exclusively on a single note - the drone? This particular sonority, is on, is ubiquitously present throughout the piece; the music begins and ends with it, and its echo is felt even when the actual sound is not heard! But it is always there in the background and it serves as a nucleus with a gravitational sonic power, around which the identity of the music is displayed. The title alludes to the genre of capriccio, in terms ofboth its free formal design and the overall character of the music, which invariably consistsof rhythmic gestures with a high degree of virtuosity. And who better than its dedicatee, with whom I have collaborated for a number of years now, could give all these and much more! TS Duration: c. 8'.

Violin

SKU: HL.48180105

Enseignement Complet du Violin. Composed by Georges Catherine. Leduc. Classical. Softcover. 47 pages. Alphonse Leduc #AL15816. Published by Alphonse Leduc (HL.48180105).

UPC: 888680794972. 9x12 inches.

Georges Catherine (1872-1958) is best remembered as a prolific violinist in the orchestra of the Paris Opera. However, he was also a prominent teacher and his Complete Study of the Violin has aided the development of violin technique since its publication in 1948. The first volume, Study of the Mechanism of the Bow considers all bow markings found in music, and substantial notes on how to address each technique. Each bowing technique is accompanied by a sizeable exercise in order to practise and perfect the technique. Comprising 42 detailed bowing studies, Study of the Mechanism of the Bow from Complete Study of the Violin by violin virtuoso, Georges Catherine cannot be missed by aspiring players of the instrument.

Violin 1 Part. By George Frideric Handel. (Violin). Choral Large Works. Size 9x12 inches. 44 pages. Published by Schirmer.

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

Critical Edition Violin Solo Part. Composed by Erich Wolfgang Korngold (1897- 1957). LKM Music. Classical. Softcover. Lauren Keiser Music Publishing #S510015. Published by Lauren Keiser Music Publishing

Violin - intermediate

SKU: HL.50601152

Violin Solo. By Italo Vescovo. By Nicolo Paganini. String Solo. Classical. Softcover. Composed 2017. 24 pages. Ricordi #NR14171700. Published by Ricordi (HL.50601152).

UPC: 888680739379. 9x12 inches. Italian-English.

Th e Caprice d'Adieu (autograph unknown) is appended to Eduard Eliason's Six Caprices Caractéristiques pour le Violon, Op. 12, which was published in Mayence by B. Schott in 1833. This piece, which Paganini dedicated to Eliason, is part of a series of compositions for violin solo that have been widely ignored by both performers and scholars of the great Genoese musician. It is a composition whose size and structure (A-B-A, with two refrains) follows the pattern of some of his Capricci, Op. 1, but, unlike these proper studies, the Caprice d'adieu is lighter and more lively in character. Although not as brilliant, musically, as the Capricci, it still contains some original musical ideas, mostly articulated in two parts with a few complex technical passages and a central, contrasting section featuring different dynamics and a range of chords and trills. This critical edition is based on the first edition and is collated with the most important nineteenth and twentieth-century editions.

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.

Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Bongos, Cello, Clarinet, Contrabass, Crotales, Cymbals, English Horn, Field Drum, Flute, Glockenspiel, Horn 1, Horn 2, Oboe 1, Oboe 2, Percussion, Piano, Snare Drum, Triangle, Trumpet, Vibraphone, Viola and more.

SKU: PR.416411770

For Violin, Piano, and Chamber Orchestra. Composed by William Kraft. Full score. With Standard notation. Duration 17 minutes. Theodore Presser Company #416-41177. Published by Theodore Presser Company (PR.416411770).

UPC: 680160091508.

I was tempted to call the piece Throw Back because it consciously employs rhythmic and harmonic approaches characteristic of the earlier part of the twentieth century, much of which plays a part in forging my musical personality. Going along with the impetus, I have paid homage by subtly interpolating stylistic or actual references to such unexpected bedfellows as Scriabin, Ravel, Debussy, Piston, Roussel, and Ysaye. I hope I will be musically forgiven. In one continuous movement, there are three definite internal sections: Presto-Largo-Allegro. The first section opens with a very soft percussion cadenza. If the acoustics allow it, the player will use sponge pottery mallets (sponge-headed mallets employed to smooth the interior of a pot as it is being spin-dried). No matter how hard the percussionist strikes the drums, the dynamic cannot go above pp (pianissimo). This cadenza serves as a basis for the first movement. The elements of the cadenza are taken by the orchestra to make the first major statement, similar to the classical concerto; but rather than making a restatement, the soloists, when they come in, begin with variational ideas. The second section is given over to the soloists, and is lyrical. The third section begins with an alternation between strict rhythmic pulsation and free-sounding timbres, as if reluctant to leave the second section behind. The rhythmic aspect takes over more and more as the piece progresses toward its conclusion. Double Play was commissioned by the Saint Paul Chamber Orchestra with financial assistance from the Northwest Area Foundation. It received its premiere on January 7, 1983, in St. Paul, with the St. Paul Chamber Orchestra; Pinchas Zukerman, violinist; Marc Neikrug, piano; and the composer conducting.