Composed by Miles Courtiere. Spiral bound. Celtic/Violin Instruction. Book and Downloadable audio. Duration 75 minutes. Published by ADG Productions

By Janice Tucker Rhoda. For Violin. Merchandise. Duration 1:00:00. 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.

Cello; Violin

SKU: HL.14043547

For Violin and Cello. Composed by Judith Weir. Music Sales America. Classical, Contemporary. Book [Softcover]. 12 pages. Chester Music #CH83358. Published by Chester Music (HL.14043547).

8.25x11.75x0.05 inches.

Judith Weir 'S Sundew For Violin And Cello. Score. ' The Bog-Based Sundew Plant Isn'T As Pleasant As The Name Suggests. It Produces Beads Of Fluid, Resembling Dew, But In Fact A Sticky Deposit In Which Visiting Insects Become Trapped. The Plant Closes In On The Insect And Digests It For The Extra Nutrition It Needs In An Acidic Habitat. Each Of The 36 Bars Can Be Understood As A Time-Lapse Study Of Parts Of This Process. Often One Instrument Encloses And Digests The Music Of The Other. Occasionally One Player Tries To Struggle Free; At Other Times Both Exist Motionless, Stuck To Each Other. In The Final Bars, A Lucky Insect (The Violin) Escapes From The Goo And Flies Off IntoThe Ether. ' Judith Weir.

By Chris Bartram. For Fiddle. Tune Book. English. Beginning-Intermediate. Book/CD Set. 82 pages. Published by Mel Bay Publications, Inc

Violin

SKU: BT.9781408114612

Composed by Peter Davey. Abracadabra. Method. Book with CD. 64 pages. Collins Music Publishing #9781408114612. Published by Collins Music Publishing (BT.9781408114612).

ISBN 9781408114612. English.

Now in a third edition, Abracadabra Violin has a fresh and contemporary new look and is the perfect book for pupil and teacher.

This title offers an identical selection of repertoire to the other books in theAbracadabra Strings series, so they can be used in any combination for group or whole class lessons and mixed ensemble performances. Used alone, they remain ideal for individual tuition.

With tunes you know and want toplay, carefully graded in 20 learning steps, this new edition of the popular tutor also includes duets, trios and teacher's parts. Clear fingering and bowing diagrams and concise theory explanations help to teach thefundamentalsof the instrument, and each new technical aspect is reinforced by several pieces using that particular technique.

Abra cadabra Violin now also includes two CDs of performance and backing tracks, featuringselected orchestral backings.

Violin (Violin)

SKU: HL.48185775

Composed by J.P.& Dupont I. Leduc. Classical. Softcover. 28 pages. Alphonse Leduc #AL29496. Published by Alphonse Leduc (HL.48185775).

UPC: 888680832117. 9.0x12.0x0.125 inches.

Little Violin Travels in Nursery Tunes Land by Isabelle Dupont and Jean-Pierre Wallez is the first volume of a series for young violinists. Easy to play and with many illustrations, this book can be used by Children from 3 years old. Really pedagogic, it introduces young children to all aspects of the Violin, including the different physical parts of the instrument, the basics of the theory such as scales, the different note. Being very attractive and colourful, this method is a must-have for future young violinists. Note: this book is written in French. Isabelle Dupont and Jean-Pierre Wallez are both professional violinists. Isabelle Dupont has used her experience working with young children in nursery and primary school..

(Violin 1 and 2). By Donald Miller. For Violin. Ensemble (Mixed). Bill's Music Shelf. World Music. Beginning-Intermediate. Book Online PDF. 40 pages

Violin

SKU: GI.G-J330

The Instrumental Series. Composed by Christopher D. Azzara, Edwin E. Gordon, and Richard F. Grunow. Method Book. Jump Right In. Music Education. Book. 48 pages. GIA Publications #J330. Published by GIA Publications (GI.G-J330).

ISBN 9781579994571. English.

The newly revised Jump Right In: The Instrumental Series for Strings incorporates hundreds of improvements designed to make the series practical, engaging, and, most of all, musical. Like its counterparts for winds and recorder, the string series includes high-quality CD recordings of folk songs and melodies and performances by some of the world’s greatest musicians. And, of course, this series incorporates the latest research and is sequenced according to Edwin E. Gordon’s Music Learning Theory. The 522-page Teacher’s Guide incorporates all of Book 1 and 2 and includes complete lesson plans, an introduction to Music Learning Theory, connections to the National Standards, and information on testing, recruiting, scheduling, and many other critical issues.

Violin

SKU: GI.G-J319

The Instrumental Series. Composed by Christopher D. Azzara, Edwin E. Gordon, and Richard F. Grunow. Method Book. Jump Right In. Music Education. CD only. GIA Publications #J319. Published by GIA Publications (GI.G-J319).

English.

The newly revised Jump Right In: The Instrumental Series for Strings incorporates hundreds of improvements designed to make the series practical, engaging, and, most of all, musical. Like its counterparts for winds and recorder, the string series includes high-quality CD recordings of folk songs and melodies and performances by some of the world’s greatest musicians. And, of course, this series incorporates the latest research and is sequenced according to Edwin E. Gordon’s Music Learning Theory. The 522-page Teacher’s Guide incorporates all of Book 1 and 2 and includes complete lesson plans, an introduction to Music Learning Theory, connections to the National Standards, and information on testing, recruiting, scheduling, and many other critical issues.

Violin

SKU: HL.48181084

For Violin and Cello. Composed by Luigi Boccherini. Leduc. Classical. Softcover. 24 pages. Alphonse Leduc #AL20219. Published by Alphonse Leduc (HL.48181084).

UPC: 888680906689. 9.0x12.0x0.113 inches.

Sonata for Violin and Cello composed by Luigi Boccherini was transcribed and annotated by Paul Bazelaire, a professor at the National Conservatoire. Ideal for a recital or for a contest, this sonata in four parts is quite challenging for both instruments and would require advanced skills. The cello score is written over the C and the F key and each of the four parts includes numerous repetitions and fast sections. These four parts are 1. Allegretto Spiritoso, 2. Vivace, 3. Grave and 4. Allegro Assai. This really nice sonata will be a delight to play and to listen to. Luigi Boccherini (1743-1806) composed numerous pieces for various instruments, including cello duets, chamber music, cantatas, ballets, orchestral music, masses, and a large amount of music for strings.

Solokantate. Der Partitur liegen Sing- und Instrumentalstimmen bei. By Dietrich Buxtehude. Edited by Matthaei. For Soprano solo, Violin, Basso continuo. Score; Set of Parts. Published by Baerenreiter-Ausgaben (German import).

Solokantate (deutsch/englisch). Der Partitur liegen die Sing- und Instrumentalstimmen bei. By Dietrich Buxtehude. Edited by Karl Matthaei. For Tenor solo, Violin (2), Basso continuo. Score; Set of Parts. Published by Baerenreiter-Ausgaben (German import).

Kleine geistliche Abendmusik fur dreistimmigen gemischten Chor, zwei Geigen und Generalbass. Der Partitur liegen die Instrumentalstimmen bei. By Hugo Distler. For Mixed Choir 3 Parts, Violin (2), Basso Continuo. Score. Op. 6, Nr. 1. Published by Baerenreiter-Ausgaben (German import).

Arranged by and ed. Joanne Martin. For Violin Ensemble. String Ensemble - Mixed. 40 pages. Published by Alfred Publishing.

Orchestra (2 flutes (2nd flute doubling piccolo), 2 oboes, 2 clarinets in bb, 2 bassoons, 4 french horns in f, 2 trumpets in c, 2 trombones, 1 bass trombone, 1 tuba, percussion 1: small beijing opera gong, marimba, tam-tam, japanese high, wood block, percussion 2: s)

SKU: PR.416415110

For Violin And Orchestra. Composed by Chen Yi. Contemporary. Full score. With Standard Notation. Duration 10 minutes. Theodore Presser Company #416-41511. Published by Theodore Presser Company (PR.416415110).

UPC: 680160621286.

Commi ssioned by Kennesaw State University Symphony Orchestra in 2012, Chinese Rap for violin and orchestra is premiered by Prof. Helen Kim as the soloist and the KSUSO led by Prof. Michael Alexander at Bailey Center in KSU, GA on Feb. 17, 2014. The work is inspired by Chinese folk musical story telling, Quyi, in a form of mixed reciting and singing style, with interludes played by percussion and plucking instruments in accompaniment. The folk musical story telling is sung in dialects from different geographic regions. I mixed all these elements in a complex three-part form, with an introduction, a cadenza in the middle, and a coda as the frame in the structure. The melodies are delicate and leisurely, and the rhythmic parts are energetic, vivid and lively. There are big contrasts between sections, which are juxtaposed and connected smoothly and congenially.
Commissio ned by Kennesaw State University Symphony Orchestra in 2012,Chinese Rap for violin and orchestra is premiered by Prof. Helen Kim as thesoloist and the KSUSO led by Prof. Michael Alexander at Bailey Center inKSU, GA on Feb. 17, 2014. The work is inspired by Chinese folk musical storytelling, Quyi, in a form of mixed reciting and singing style, with interludesplayed by percussion and plucking instruments in accompaniment. The folkmusical story telling is sung in dialects from different geographic regions. Imixed all these elements in a complex three-part form, with an introduction, a cadenza in the middle, and a coda as the frame in the structure. The melodies are delicate and leisurely, and the rhythmic parts are energetic, vivid and lively. There are big contrasts between sections, which are juxtaposed and connected smoothly and congenially.

Orchestra (2 flutes (2nd flute doubling piccolo), 2 oboes, 2 clarinets in bb, 2 bassoons, 4 french horns in f, 2 trumpets in c, 2 trombones, 1 bass trombone, 1 tuba, percussion 1: small beijing opera gong, marimba, tam-tam, japanese high, wood block, percussion 2: s)

SKU: PR.41641511L

For Violin And Orchestra. Composed by Chen Yi. Contemporary. Large Score. With Standard Notation. Duration 10 minutes. Theodore Presser Company #416-41511L. Published by Theodore Presser Company (PR.41641511L).

UPC: 680160621293.

Commi ssioned by Kennesaw State University Symphony Orchestra in 2012, Chinese Rap for violin and orchestra is premiered by Prof. Helen Kim as the soloist and the KSUSO led by Prof. Michael Alexander at Bailey Center in KSU, GA on Feb. 17, 2014. The work is inspired by Chinese folk musical story telling, Quyi, in a form of mixed reciting and singing style, with interludes played by percussion and plucking instruments in accompaniment. The folk musical story telling is sung in dialects from different geographic regions. I mixed all these elements in a complex three-part form, with an introduction, a cadenza in the middle, and a coda as the frame in the structure. The melodies are delicate and leisurely, and the rhythmic parts are energetic, vivid and lively. There are big contrasts between sections, which are juxtaposed and connected smoothly and congenially.
Commissio ned by Kennesaw State University Symphony Orchestra in 2012,Chinese Rap for violin and orchestra is premiered by Prof. Helen Kim as thesoloist and the KSUSO led by Prof. Michael Alexander at Bailey Center inKSU, GA on Feb. 17, 2014. The work is inspired by Chinese folk musical storytelling, Quyi, in a form of mixed reciting and singing style, with interludesplayed by percussion and plucking instruments in accompaniment. The folkmusical story telling is sung in dialects from different geographic regions. Imixed all these elements in a complex three-part form, with an introduction, a cadenza in the middle, and a coda as the frame in the structure. The melodies are delicate and leisurely, and the rhythmic parts are energetic, vivid and lively. There are big contrasts between sections, which are juxtaposed and connected smoothly and congenially.

Score and Parts Chamber Group, String Instruments, Piano Chamber (Chamber Orchestra)

SKU: HL.14035706

For Violin, Viola, Cello, Double Bass, and Piano Score and Parts. Composed by Judith Weir. Music Sales America. 20th Century. Set. Composed 2000. 108 pages. Chester Music #CH60298. Published by Chester Music (HL.14035706).

ISBN 9780711930070. 9.25x12.0x0.37 inches.

This work was commissioned by the Schubert Ensemble, and first performed by them on 5th July 1992 as part of the Cheltenham International Festival. The words I broke off a golden branch come from a Croatian folksong, which is very obliquely referred to in the second of the work's two movements. Scored for Violin, Viola, Cello, Double Bass and Piano. Duration: c.15 minutes.