Paganini and Wieniawski were among the 19th century's most famous violin virtuosos and composed some of the solo violin repertoire's most treasured works. Here, in one large-format playing edition, are Paganini's innovative Caprices and Wieniawski's much-admired collections, L'Ecole Moderne and Etudes Caprices. The three scores offer hours of rigorous practice and rehearsal.

A solo, for Violin, composed by Niccolò Paganini.

Jan H���_mal�_ (1844-1915) was an influential Czech violinist and teacher, associated with Moscow Conservatory for 46 years. These are his progressive scale studies in 10 sections.

PrefaceThe 24 Caprices by Niccoló Paganini were written between 1802 and 1817 for Violin solo. The URTEXT version presented for Viola solo, was adapted, edited, and transcripted by Roisber Narvaez, starting from the manuscript and the first editions printed when the composer was still alive. Transposing in an interval of a perfect 5th descended was essential for the adaptation of the viola, for that reason, C-clef prevail the most part of the time as possible to facilitate the study and reading of the player, however, those passages or high register excerpts that are not in conjunct motion were written in G-clef, as long as the height of the notes surpasses the B5, sections that moves in conjunct motion in an ascending movement that reaches or surpasses the C5 are also in G-clef. The octave (8ve) superior line in C-clef has been exclude, and in its place, the notes were written in their real height register in G-key in order to provide better comfort. Also, some suggestions and possible solutions of the editor were placed in parenthesis, as well as: ligature, articulations and accidental notes. One of the aspects of this edition is that the fractionals-stem bars has been placed in a straight - horizontal pattern to avoid overload of visual noise. In case of caprice number 6, it has remained the original writing of the autograph. In spite of being an Urtext unfingered edition, the only ones that can be found are the proper ones of the composer and it offers and spacious design that allows to add fingerings and personal bowings.

(String Solo). For unaccompanied violin.

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GOOD MORNING AMERICA BOOK CLUB PICK! • Ray McMillian is a Black classical musician on the rise—undeterred by the pressure and prejudice of the classical music world—when a shocking theft sends him on a desperate quest to recover his great-great-grandfather’s heirloom violin on the eve of the most prestigious musical competition in the world. “I loved The Violin Conspiracy for exactly the same reasons I loved The Queen’s Gambit: a surprising, beautifully rendered underdog hero I cared about deeply and a fascinating, cutthroat world I knew nothing about—in this case, classical music.” —Chris Bohjalian, #1 New York Times bestselling author of The Flight Attendant and Hour of the Witch Growing up Black in rural North Carolina, Ray McMillian’s life is already mapped out. But Ray has a gift and a dream—he’s determined to become a world-class professional violinist, and nothing will stand in his way. Not his mother, who wants him to stop making such a racket; not the fact that he can’t afford a violin suitable to his talents; not even the racism inherent in the world of classical music. When he discovers that his beat-up, family fiddle is actually a priceless Stradivarius, all his dreams suddenly seem within reach, and together, Ray and his violin take the world by storm. But on the eve of the renowned and cutthroat Tchaikovsky Competition—the Olympics of classical music—the violin is stolen, a ransom note for five million dollars left in its place. Without it, Ray feels like he's lost a piece of himself. As the competition approaches, Ray must not only reclaim his precious violin, but prove to himself—and the world—that no matter the outcome, there has always been a truly great musician within him.

In his book on left-hand violin technique, Maestro Ruggiero Ricci addresses common problems in shifting by advocating the study of the glissando technique. He asserts that re-incorporating this technique will not only aid violinists in developing a better-trained ear, but also provide them with "shortcuts" to playing some of Paganini's most difficult passages. Ricci introduces and compares old and new systems of playing to provide a context for the glissando system. He outlines a series of glissando scales that provides the student with a blueprint for developing additional glissando scales in other keys. He offers exercises designed to increase flexibility, ear training, coordination, and crawling technique and has included a DVD in which he demonstrates various bowing techniques.