Asian Edition. By piano accompaniment performed by Kuang-Hao Huang, violin performed by Augustin Hadelich, and Dr. Shinichi Suzuki. This edition: International. MakeMusic Cloud; Method/Instruction; String - Violin (Suzuki); Suzuki. Suzuki Violin School. Book and CD. 32 pages. Alfred Music #00-50637. Published by Alfred Music

Composed by Marty Laster. Young Beginner. Book and online audio. 32 pages. Published by Mel Bay Publications, Inc

10 Pieces by 9 Composers G. Schirmer Instrumental Library. Composed by Various. String Solo. Classical. Softcover Audio Online. 72 pages. Published by G. Schirmer

By Robert Woods. Violin. Jazz Basics. Level: Grade 2. Strg col. Published by Heritage Music Press.

By Nichols. For violin. Instruments of Joy (Early-Intermediate). Instrumental, Play along. Book and accompaniment CD

Violin - intermediate

SKU: BT.DOW-04524-400

D major. Composed by Roland Seitz. Dowani 3 Tempi Play Along. Book with CD. Composed 2009. 20 pages. Dowani #DOW 04524-400. Published by Dowani (BT.DOW-04524-400).

ISBN 9783905477788. 9x12 inches.

Music Minus One Violin. By Geoffrey Applegate. By Peter Ilyich Tchaikovsky (1840-1893). Sheet music. Music Minus One. Classical. Softcover Audio Online. 28 pages. Music Minus One #MMO3102. Published by Music Minus One

Composed by Gail Rudisill-Johnson. Absolute Beginners. Tuition. Book with CD. 40 pages. Wise Publications #MUSAM986392. Published by Wise Publications

For Violin. Includes a complete, high-quality printed music score; and a compact disc containing a complete performance with soloist, then performed again minus the soloist. Published by Music Minus One.

(Traditional Old Time Bluegrass and Celtic Solos Volume 1). Composed by Mark Geslison. For fiddle. Perfect binding. Book and online audio. Published by Mel Bay Publications, Inc

Violin Ensembles. By Sven Sjogren. For Violin. String Ensemble (Suzuki). Book and CD. 56 pages. Published by Alfred Publishing.

For Violin. Contains a printed score and a compact disc featuring the concerto in digitally remastered stereo, then again minus the solo violin part; and a second compact disc containing the complete version followed by a -20% slow-tempo version for practice purposes. Both versions feature fully indexed practice sections and orchestra entrances for easy learning and performance. Published by Music Minus One.

Composed by Melanie Smith. Squareback saddle-stitched. Book and online audio. 116 pages. Published by Mel Bay Publications, Inc

(Etudes and Ideas for the Modern Fiddler). Berklee Guide. Softcover with CD. 50 pages. Published by Berklee Press

Violin - intermediate

SKU: BT.MUSAM960927

Guest Spot. Arranged by Paul Honey. Guest Spot. Pop & Rock. Book with CD. Wise Publications #MUSAM960927. Published by Wise Publications (BT.MUSAM960927).

ISBN 9780711978607. English.

Ten classic Abba hits arranged for violin by Paul Honey. Includes a CD so you can step into the spotlight and play along with the superb specially recorded backing tracks.

Easy graded repertoire for young players. By Sheila Nelson. (Violin). Boosey and Hawkes Chamber Music. Size 9.25x12.25 inches. 29 pages. Published by Boosey and Hawkes.

Newly Revised. By Richard Grunow; Michael Martin. Band Method. Instructional Sacred. Text language: English. 48 pages. Published by GIA Publications.

Composed by Andrea Holzer- Rhomberg. Sheet music. Edition with Online audio file. 80 pages. Holzschuh Musikverlag #VHR 3873. Published by Holzschuh Musikverlag

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.

Chamber Music violin, viola

SKU: PR.114419730

For violin and Viola. Composed by Chen Yi. Sws. Set of Score and Parts. 8+2+2 pages. Duration 2:30. Theodore Presser Company #114-41973. Published by Theodore Presser Company (PR.114419730).

ISBN 9781491132333. UPC: 680160681686. 9 x 12 inches.

Chen Yi describes the cheery interplay of HAPPY TUNE as: “When one instrument plays a livelymelody, the other plays a vivid rhythmic pattern in the accompaniment. The pair of string instrumentsimitates the sound of primitive Chinese folk song singing, as well as the Chinese traditional windinstrument sheng, a mouth pipe organ.” Published as a shared score and extracted parts, and writtenas a celebration piece honoring the 25th anniversary of the Great Lakes Chamber Music Festival.
Composed to celebrate the 25th Anniversary of the Great Lakes Chamber Music Festival, my violin and viola duet HAPPY TUNE was written for Kim Kashkashian and Tien-Hsin Cindy Wu, and premiered at the festival on June 16, 2018.I fondly remember being invited by the GLCMF (directed by Prof. James Tocco) to be the dual Stone Composers-in-Residence with my husband Zhou Long, along with the Stone Composer Fellow Nicholas Omiccioli in 2011. We had a dozen of our chamber works performed excellently by the outstanding chamber ensembles and musicians during the week, meeting enthusiastic audiences and supporters of new music in various venues at the festival. The experience was truly inspiring, and I created HAPPY TUNE to honor the GLCMF, with hopes to carry on the high spirit in our new music society.In this duet, when one instrument plays a lively melody, the other plays a vivid rhythmic pattern in the accompaniment. The pair of string instruments imitates the sound of primitive Chinese folk song singing, as well as the Chinese traditional wind instrument sheng, a mouth pipe organ.

Composed by Janice Tucker Rhoda. For Violin. 48 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.

Violin

SKU: KV.3612511

Composed by Melanie Kyle. Mungo Monster's. Book. Published by Kevin Mayhew Publishers (KV.3612511).

ISBN 9781848676497.

< b>Hi, I'm Mungo Monster! Welcome to my first violin book! Along with your tutor, I will teach you how to play the violin, step-by-step. So, let's get started... if you're brave enough!

Desi gned to nurture both confidence and independence in beginner violinists by teaching them how to read notes, rather than relying upon finger numbers written in by the teacher. The book progresses steadily with each chapter introducing a new finger at a time, as well as:

• Useful information about the violin and the music
• Practice songs
• A duet to play with a friend or the teacher
• A monster challenge
• A quick quiz
• A brain box (fun musical activities)

Incl udes 1 x CD.

Violin

SKU: BT.VOLMB297

Composed by Dr. Shinichi Suzuki. Suzuki Method International. Tuition. Book with CD. Volonte e Co #VOLMB297. Published by Volonte e Co (BT.VOLMB297).

ISBN 9788863882919. Italian-French-Spanish.

This volume includes the Violin part for Suzuki Violin School - Volume 3 along with a CD.

About Suzuki Method

The Suzuki Method is based on the principle that all children possess ability and that this ability can be developed and enhanced through a nurturing environment. All children learn to speak their own language with relative ease and if the same natural learning process is applied in teaching other skills, these can be acquired as successfully. Suzuki referred to the process as the Mother Tongue Method and to the whole system of pedagogy as Talent Education. The important elements of the Suzuki approach to instrumental teaching include the following:an early start (aged 3-4 is normal in most countries); the importance of listening to music; learning to play before learning to read; -the involvement of the parent; a nurturing and positive learning environment; a high standard of teaching by trained teachers; the importance of producing a good sound in a balanced and natural way; core repertoire, used by Suzuki students across the world; social interaction with other children. Suzuki students from all over the world can communicate through the language of music.

Violin

SKU: BT.VOLMB298

Composed by Dr. Shinichi Suzuki. Suzuki Method International. Tuition. Book with CD. Volonte e Co #VOLMB298. Published by Volonte e Co (BT.VOLMB298).

ISBN 9788863882926. Italian-French-Spanish.

This volume includes the Violin part for Suzuki Violin School - Volume 4 along with a CD.

About Suzuki Method

The Suzuki Method is based on the principle that all children possess ability and that this ability can be developed and enhanced through a nurturing environment. All children learn to speak their own language with relative ease and if the same natural learning process is applied in teaching other skills, these can be acquired as successfully. Suzuki referred to the process as the Mother Tongue Method and to the whole system of pedagogy as Talent Education. The important elements of the Suzuki approach to instrumental teaching include the following:an early start (aged 3-4 is normal in most countries); the importance of listening to music; learning to play before learning to read; -the involvement of the parent; a nurturing and positive learning environment; a high standard of teaching by trained teachers; the importance of producing a good sound in a balanced and natural way; core repertoire, used by Suzuki students across the world; social interaction with other children. Suzuki students from all over the world can communicate through the language of music.