Violin Series, Third Edition: Violin Repertoire 7

SKU: FH.VLR02

ISBN 9781554409037.

C arefully selected and curated to support teachers and students in their artistic and technical development, the Violi n Series, 2021 Edition includes pieces from a diverse range of eras and styles that represent stepping stones to major violin repertoire. Each level is constructed to link repertoire selections to necessary techniques and corresponding etudes, while illustrating step-by-step connections for developing core skills. Each Reper toire book includes quality video and audio recordings by some of North America's finest violinists and accompanists; both performance and accompaniment-only tracks for each Reper toire selection offer students a model for performance practice and the convenience of accompanied rehearsal at home.

Violi n Repertoire 2 provides an array of character pieces to capture students' imaginations with music written by Violet Archer, Ludwig van Beethoven, Edward Elgar, Mikhail Glinka, Dmitri Kabalevsky, Wolfgang Amadeus Mozart, Franz Schubert, and Pyotr Ilyich Tchaikovsky. The selections are varied and compelling, from arrangements of traditional favorites to exciting, newly commissioned works from 21st-century composers. Level 2 explores rhythmic pulse and organization of meter, while integrating dotted rhythms with hooked bowings, increased slur combinations, and bow articulations. Position work is explored in first and third position with additional focus on major and minor keys.

SKU: 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.

SKU: HL.48186510

UPC: 888680871437. 10.25x13.25 inches.

“Melo dic Studies is the third in a series of three volumes of studies for the Violin. Compiled in 1878 by Auguste Samie, the studies allow students to work on basic technical concepts, such as articulation, bowing and rhythm. The 15 exercises in Melodic Studies each helpfully contain a title indicating the focus of the exercise, followed by clear instructions regarding technique. Moreover, this edition of 60 Studies is revised and annotated by Georges Catherine, popular contemporary violinist and arranger. Edits by Catherine include bowing marks, fingerings, articulation, dynamics and performance directions. Containing input by two prolific figures of the Violin, Melodic Studies is an obligatory guide for beginners of the instrument. &rdquo.

SKU: PR.114422690

UPC: 680160684809. 9 x 12 inches.

In 2014, I enjoyed a wonderful residence at the Ucross Foundation in Clearmont,
Wyoming. Ucross is an artist colony that gives writers, composers, and visual artists the
gift of time, space, and support to follow their artistic pursuits; we are provided with
studio space, housing, and meals so that we can work continuously on our projects. I have
been in residence at numerous artist colonies; however, nothing in my previous
experiences prepared me for living in such isolated, wild country. Ucross is situated on a
20,000-acre cattle ranch at nearly 4,000 feet in elevation with fewer than 150 people
living within the town. But what Clearmont lacks in population, it makes up for
abundantly and spectacularly in wilderness and wildlife. I composed the sextet Postcards
from Wyoming to offer three glimpses of what I found to be the most striking aspects of
my residence. The Solitude of Stars, the third and final movement of the original sextet,
was inspired by the stunning nightly display of the heavens above. Without city lights
dimming the night sky, countless stars shone brightly over the vast expanse of the prairie.
This edition is part of The Solitude of Stars Project that I undertook during the 2020
COVID-19 pandemic, which consists of a series of arrangements that I made for
colleagues and friends.
In 2014, I enjoyed a wonderful residence at the Ucross Foundation in Clearmont, Wyoming. Ucross is an artist colony that gives writers, composers, and visual artists the gift of time, space, and support to follow their artistic pursuits; we are provided with studio space, housing, and meals so that we can work continuously on our projects. I have been in residence at numerous artist colonies; however, nothing in my previous experiences prepared me for living in such isolated, wild country. Ucross is situated on a 20,000-acre cattle ranch at nearly 4,000 feet in elevation with fewer than 150 people living within the town. But what Clearmont lacks in population, it makes up for abundantly and spectacularly in wilderness and wildlife. I composed the sextet Postcards from Wyoming to offer three glimpses of what I found to be the most striking aspects of my residence. The Solitude of Stars, the third and final movement of the original sextet, was inspired by the stunning nightly display of the heavens above. Without city lights dimming the night sky, countless stars shone brightly over the vast expanse of the prairie. This edition is part of The Solitude of Stars Project that I undertook during the 2020 COVID-19 pandemic, which consists of a series of arrangements that I made for colleagues and friends.
In 2014, I enjoyed a wonderful residence at the Ucross Foundation in Clearmont,Wyoming. Ucross is an artist colony that gives writers, composers, and visual artists thegift of time, space, and support to follow their artistic pursuits; we are provided withstudio space, housing, and meals so that we can work continuously on our projects. I havebeen in residence at numerous artist colonies; however, nothing in my previousexperiences prepared me for living in such isolated, wild country. Ucross is situated on a20,000-acre cattle ranch at nearly 4,000 feet in elevation with fewer than 150 peopleliving within the town. But what Clearmont lacks in population, it makes up forabundantly and spectacularly in wilderness and wildlife. I composed the sextet Postcardsfrom Wyoming to offer three glimpses of what I found to be the most striking aspects ofmy residence. The Solitude of Stars, the third and final movement of the original sextet,was inspired by the stunning nightly display of the heavens above. Without city lightsdimming the night sky, countless stars shone brightly over the vast expanse of the prairie.This edition is part of The Solitude of Stars Project that I undertook during the 2020COVID-19 pandemic, which consists of a series of arrangements that I made forcolleagues and friends.

SKU: HL.49045444

ISBN 9790001162005. UPC: 841886028746. 9.25x12.0x0.058 inches. German - English - French. (ed. Wolfgang Birtel, Benjamin Ramirez) Schott Student Edition Repertoire.

This Rondo, which originally was the third of four easy performance pieces in a cycle for violin and piano (Op. 22), is one of Rieding's most popular and frequently performed pieces in violin lessons for beginners. This edition is part of the new Schott Student Edition series which offers varied literature at five different levels of difficulty, from 1 (easy) to 5 (difficult), for instrumental lessons.

About Schott Student Edition

Th e Schott Student Edition gathers instrumental works for music lessons providing a unique and varied repertoire resource including standard teaching works, lesser known pieces which are perfectly suited to lessons as well as to student concerts and competitions.

Th e repertoire is divided into levels 1-5, from very easy to difficult, and includes works from the Renaissance up to modern performance pieces. Each title is graded, from very easy works for beginners up to demanding pieces for more advanced students who are preparing for further study or examinations.

Ev ery work in the series has been carefully selected and edited by experienced music teachers. The editions also contain a wealth of information on the pieces as well as useful advice on studying, rehearsing and interpreting the works. The first titles to be published in the Schott Student Edition series contain works for violin, violoncello, flute, clarinet and recorder. Further editions are in preparation.

SKU: HH.HH335-FSP

ISBN 9790708024910.

This Sonata in A major, clearly belonging to the 'London' group but not preserved in the British Library manuscript containing seven similar works, was published by John Walsh in April 1704 as the second sonata by Bitti presented in a series of violin sonatas by different composers delivered to subscribers in twelve monthly instalments. It is an extrovert work well suited to public performance -- we know that the Cremonese violinist Gasparo Visconti played it in London. The fast second and slow third movements, unusually for Bitti's violin sonatas preserved in London, lack clear dance associations: the Allegro starts with playful imitations between violin and bass, but these eventually give way to violin acrobatics; the slow movement is a model of continuously evolving melody.

SKU: BT.DHP-1155625-070

ISBN 9789043142397. English-German-French-Dut ch.

Discover the Waltzes is the third edition in the De Haske Flexible String Trios series which offers many possibilities to string ensembles of various instrumentations. The set contains a three-part score and nine individual parts for violin, viola and cello. This means that the pieces can be played in any combination of string instruments, depending on the musicians available. Discover the Waltzes contains six motivating arrangements of famous waltzes from the 19th to the early 20th Century.

Voor strijkers-ensembles die in wisselende bezettingen spelen biedt de Flexible String Trios serie een uitgekiend concept. In de partituur worden 3 stemmen aangegeven, waarbij iedere stem door zowel viool, altviool of cello kan wordeningevuld. Op deze manier kunnen de stukken in allerlei combinaties van strijkinstrumenten worden gespeeld. Zowel combinaties met dezelfde als met verschillende strijkinstrumenten zijn mogelijk. In het laatste geval is het wel aan te raden het hoogstgestemde instrument de hoogst genummerde stem te laten spelen. Dit levert een juiste klankbalans en daardoor het mooiste resultaat.

Discover the Waltzes is een verzameling arrangementen van beroemde walsen uit de 19e en vroege 20e eeuw. De partijen zijn antrekkelijk geschreven en blijven dicht bij het origineel.Discover the Waltzes bevat zes uitdagende arrangementen - heerlijk om te spelen en uitermate geschikt voor uitvoeringen!

Discover the Waltzes ist die dritte Ausgabe der Reihe De Haske Flexible String Trios, die Streichensembles, die in wechselnden Besetzungen spielen, zahlreiche Besetzungsmöglichkeite n bietet: Das Set enthält eine Partitur für drei Stimmen sowieneun Einzelstimmen für Violine, Viola und Violoncello. Auf diese Weise können allerlei Kombinationen von Streichinstrumenten gebildet werden, je nach verfügbaren Spielern.
Discover the Waltzes enthält sechs motivierende Bearbeitungen berühmter Walzer aus dem 19. und frühen 20. Jahrhundert.

SKU: CF.YAS13F

ISBN 9780825848339. UPC: 798408048334. 8.5 X 11 inches. Key: G major.

IApart from some of his Sonatinas, Opus 36, Clementi's life and music are hardly known to the piano teachers and students of today. For example, in addition to the above mentioned Sonatinas, Clementi wrote sixty sonatas for the piano, many of them unjustly neglected, although his friend Beethoven regarded some of them very highly. Clementi also wrote symphonies (some of which he arranged as piano sonatas), a substantial number of waltzes and other dances for the piano as well as sonatas and sonatinas for piano four-hands.In addition to composing, Clementi was a much sought after piano teacher, and included among his students John Field (Father of the 'Nocturne'), and Meyerbeer.In his later years, Clementi became a very successful music publisher, publishing among other works the first English edition of Beethoven's Violin Concerto, in the great composer's own arrangement for the piano, as well as some of his string quartets. Clementi was also one of the first English piano manufacturers to make pianos with a metal frame and string them with wire.The Sonatina in C, Opus 36, No. 1 was one of six such works Clementi wrote in 1797. He must have been partial to these little pieces (for which he also provided the fingerings), since they were reissued (without the fingering) by the composer shortly after 1801. About 1820, he issued ''the sixth edition, with considerable improvements by the author;· with fingerings added and several minor changes, among which were that many of them were written an octave higher.IIIt has often been said, generally by those unhampered by the facts, that composers of the past (and, dare we add, the present?), usually handled their financial affairs with their public and publishers with a poor sense of business acumen or common sense. As a result they frequently found themselves in financial straits.Contrary to popular opinion, this was the exception rather than the rule. With the exception of Mozart and perhaps a few other composers, the majority of composers then, as now, were quite successful in their dealings with the public and their publishers, as the following examples will show.It was not unusual for 18th- and 19th-century composers to arrange some of their more popular compositions for different combinations of instruments in order to increase their availability to a larger music-playing public. Telemann, in the introduction to his seventy-two cantatas for solo voice and one melody instrument (flute, oboe or violin, with the usual continua) Der Harmonische Gottesdienst, tor example, suggests that if a singer is not available to perform a cantata the voice part could be played by another instrument. And in the introduction to his Six Concertos and Six Suites for flute, violin and continua, he named four different instrumental combinations that could perform these pieces, and actually wrote out the notes for the different possibilities. Bach arranged his violin concertos for keyboard, and Beethoven not only arranged his Piano Sonata in E Major, Opus 14, No. 1 for string quartet, he also transposed it to the key of F. Brahm's well-known Quintet in F Minor for piano and strings was his own arrangement of his earlier sonata for two pianos, also in F Minor.IIIWe come now to Clementi. It is well known that some of his sixty piano sonatas were his own arrangements of some of his lost symphonies, and that some of his rondos for piano four-hands were originally the last movements of his solo sonatas or piano trios.In order to make the first movement of his delightful Sonatina in C, Opus 36, No. 1 accessible to young string players, I have followed the example established by the composer himself by arranging and transposing one of his piano compositions from one medium (the piano) to another. (string instruments). In order to simplify the work for young string players, in the process of adapting it to the new medium it was necessary to transpose it from the original key of C to G, thereby doing away with some of the difficulties they would have encountered in the original key. The first violin and cello parts are similar to the right- and left-hand parts of the original piano version. The few changes I have made in these parts have been for the convenience of the string players, but in no way do they change the nature of the music.Since the original implied a harmonic framework in many places, I have added a second violin and viola part in such a way that they not only have interesting music to play, but also fill in some of the implied harmony without in any way detracting from the composition's musical value. Occasionally, it has been necessary to raise or lower a few passages an octave or to modify others slightly to make them more accessible for young players.It is hoped that the musical value of the composition has not been too compromised, and that students and teachers will come to enjoy this little piece in its new setting as much as pianists have in the original one. This arrangement may also be performed by a solo string quartet. When performed by a string orchestra, the double bass part may be omitted.- Douglas TownsendString editing by Amy Rosen.

About Carl Fischer Young String Orchestra Series

Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels

SKU: CF.YAS41F

ISBN 9780825861307. UPC: 798408061302. 8.5 X 11 inches. Key: G major.

Larry Clark does it again with this tuneful new feel good piece. You and your students will walk away humming this tune. There is even a nice contrasting lyrical middle section in the relative minor to break up the piece.

About Carl Fischer Young String Orchestra Series

Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels