Book One. By Carl Flesch. Edited by E. Rosenblith. Arranged by E. Rosenblith A. Mutter. For Violin. Masters Collection. Classical. Text. 192 pages. Published by Carl Fischer.

Chamber Music violin, piano

SKU: CF.BF148

Composed by George Frideric Handel. Arranged by Carl Flesch. Collection - Score and Parts. 32+12 pages. Carl Fischer Music #BF148. Published by Carl Fischer Music (CF.BF148).

ISBN 9781491160299. UPC: 680160918874.

Scale Exercises in All Major and Minor Keys for Daily Study. By Carl Flesch. Arranged by Gerd Reinke. For Double Bass. Classical. Soft Cover. 75 pages. Published by Carl Fischer.

(A Supplement To Book 1 Of 'The Art Of Violin Playing') By Carl Flesch, edited by Max Rostal. Instructional book for violin. Text language German, English, French. 142 pages. Published by Carl Fischer.

Composed by Carl Flesch, arranged by Charlotte Karman. Instructional book for Viola. With bowings and fingerings. 112 pages. Published by Carl Fischer.

Composed by Nicolo Paganini (1782-1840). Arranged by Carl Flesch. Masterworks; Solo; Solo Small Ensembles; String - Violin and Piano. Kalmus Edition. Masterwork; Romantic. Book. 68 pages. Kalmus Classic Edition #00-K03764. Published by Kalmus Classic Edition

Composed by Felix Bartholdy Mendelssohn (1809-1847). Arranged by Carl Flesch. Masterworks; Solo; Solo Small Ensembles; String - Violin and Piano. Kalmus Edition. Masterwork Arrangement; Romantic. Book. 48 pages. Kalmus Classic Edition #00-K03668. Published by Kalmus Classic Edition

Composed by Joseph Haydn, edited by Carl Flesch. Hob. VIIa: 1. For violin and piano. Format: set of performance parts (includes separate pull-out violin part). With solo part and piano reduction. Classical period. 35 pages. 9x12 inches. Published by C.F. Peters.

Violin - Grade 4

SKU: HL.14011469

Composed by Carl Flesch. Music Sales America. 20th Century. Book [Softcover]. Composed 2002. 102 pages. Edition Wilhelm Hansen #WH17021. Published by Edition Wilhelm Hansen (HL.14011469).

ISBN 9788759851876. UPC: 888680983833. 8.5x12.0x0.502 inches.

Volume 3 in a great collection of Studies and Exercises for Violin.

Violin

SKU: HL.14045562

Composed by Carl Flesch. CARISCH - MUSIC SALES. Classical. General Merchandise. Real Musical #MK16457. Published by Real Musical (HL.14045562).

ISBN 9788438705407. Spanish.

Composed by Roland Vamos. With Standard notation. 72 pages. Carl Fischer #BF00067. Published by Carl Fischer

By Carl Flesch. Arranged by Gustav Saenger. For Violin. Published by Carl Fischer.

Book 2. By Carl Flesch. Arranged by Eric Rosenblith. For Violin. Published by Carl Fischer.

By Carl Flesch. Arranged by Wolfgang Boettcher. Cello (Violoncello). Size 9 X 12. Published by Carl Fischer.

Technique. All Styles. Book. 104 pages. Published by Mel Bay Publications, Inc (MB.96745).

Composed by John Bauer. For Cello. Squareback saddle-stitched, Technic. Archive Edition. All Styles. Beginning-Intermediate. Book. 100 pages. Published by Mel Bay Publications, Inc

Composed by Cindy Moyer. Strings Methods. Secular. Published by Galaxy Music Corporation

Violin

SKU: PE.EP3900

Opp. 78, 100, 108. Composed by Johannes Brahms. Edited by Artur Schnabel and Carl Flesch. Violin and Piano. Edition Peters. Book. Edition Peters #98-EP3900. Published by Edition Peters (PE.EP3900).

ISBN 9790014019365. UPC: 9790014019365. English.

Edited by Carl Flesch and Artur Schnabel

Composed by Cindy Moyer. Methods. Secular. Galaxy Music Corporation #1.3510. Published by Galaxy Music Corporation

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.

Viola

SKU: CU.EC415B

Composed by Carl Flesch, Charlotte Karman. Published by Edizioni Curci (CU.EC415B).

ISBN 9790013010011.

Violin

SKU: CU.EC415

Composed by Carl Flesch, Max Rostal. Published by Edizioni Curci (CU.EC415).

ISBN 9790013000098.

Viola

SKU: CU.EC4150B

Composed by Carl Flesch, Max Rostal. Published by Edizioni Curci (CU.EC4150B).

By Simon Fischer. For Violin. Education. Method book. 201 pages. Published by Edition Peters