Jazz Violin Etudes Pdf

[Kassim Bisaillon]

FiddleDeebeBop" is a collection of jazz performance style etudes written for the violin. Accompanying each etude is a chord chart and treble clef pizzicato "bass" style accompaniment that is suitable for improvising upon, or also useful in a teacher/student or twin violin setting. Several of the etudes also contain an arco rhythm accompaniment. Provided with each etude are three or more "Play-Along" audio clips, including Violin and Guitar, Violin alone, and Guitar alone.

The Jazz Strings program at UNT provides students with a solid foundation in acoustic jazz playing. The curriculum includes amplified playing and the use of electric instruments. Students will also have the opportunity to work in popular and alternative styles. Applicants may audition on violin, viola, or cello. All auditions will be on an acoustic instrument without amplification. For further information, contact Prof. Scott Tixier at scott....@unt.edu.

Please note a screening (preliminary audition video) is required for all applicants. The screening will be submitted directly through the Acceptd application. On-campus auditions are preferred. Video auditions may be accepted if an applicant is unable to travel to the UNT campus for the audition; in this case, the video recording will be supplemented by a videoconference component (Skype or similar program). For doctoral audition requirements, see the DMA page.

The video audition for the bachelor's degree should include items 1, 2, and 4 in the lists above. For the master's degree, items 1, 2, 3, and 5 should be included. The remaining items will be addressed in the videoconference.

When you enter your email above you will also receive jazz violin solos PDF as part of the free creative strings ecourse. See more resources on the right sidebar of this page.

Southern Exposure features music from Brazil, Cuba, Spain, Argentina, and more, and includes interplay between Christian and master accordianist, Richard Galliano, alongside the rhythm section with Lewis Nash on drums, Scott Colley on bass, and Josh Nelson on piano.

Book/CD set. Learn to improvise in the Gypsy Jazz violin style even if you have never improvised before. The style is closely associated with French jazz violinist Stephane Grappelli, who played with Gypsy jazz guitar player Django Reinhardt. Each lesson in the book covers specific key aspects of the Gypsy jazz violin style.

This book contains practice tips, a helpful glossary, a short essay on the Gypsy touch and a fine assortment of approximately 50 annotated traditional Gypsy tunes from Russia, Romania, Hungary, and Bessarabia. Book/CD set. 131 p.

A complete study and reference book which gives string players experience with rhythmic concepts, bowing styles, syncopation, and other jazz violin effects. Includes "licks" of various lengths. The play-along stereo recording has select examples played at various speeds.

Book/CD set. Jazz Fiddle Wizard is a work book and CD for string players that want to learn to improvise within the jazz tradition. It teaches the reader/player improvising by using tunes and chord structures from the standard jazz repertoire. Though the book has some theory it is not theory for the sake of theory. It introduces rhythms and scales that quickly are put to use. After completing lesson 1 through 25 the complete novice will be able to sit in at any blues or jazz jam session.

Over 25 transcribed solos as played by Stephane Grappelli, Joe Venuit, Jean-Luc Ponty, and others. Original interviews and tips on improvising from the masters. Plus complete analysis of each solo, rare historical photos, and an informative discography.

A well thought out and highly detailed jazz violin instruction book. Detailed study of the styles of Joe Venuti, Stephane Grappelli, Eddie South, Stuff Smith, Jean-Luc Ponty, and more. Jazz violin discography 93 p.

First method ever for learning Gypsy Jazz Violin in the style of Stphane Grappelli Theory and stylistic lessons lead up to improvisation in authentic Gypsy Jazz style Six classic Grappelli solos fully analyzed for study and understanding Playalong rhythm section as well as violin licks and sample solos

Book/CD set. Jazz Fiddle Wizard Jr. is designed for beginning to intermediate middle and high school violinists in the tradition of the parent method, Jazz Fiddle Wizard--a break-through approach for string players who want to learn to improvise within the jazz style.

This page lists the classical audition requirements for all undergraduate majors. To review jazz repertoire requirements, please visit jazz.unt.edu/admission-auditions.

First movement of a standard concerto (Dvorak, Schumann, Tchaikovsky, etc.), and a movement of a solo Bach suite. Please note that the works listed are only suggested pieces; any standard work of comparable quality is acceptable. There is no memory requirement. The instrumentalist should prepare 10-15 minutes of music.

Final Video Auditions:

Applicants living within 150 miles from campus are expected to audition live unless prior approval has been granted by the faculty. The clarinet faculty strongly encourages all applicants living more than 150 miles away from campus to audition in person. We recognize, however, this is not always possible. If applying by final video, please upload separate, single take, video recordings of the following:

1. All required scales. Please check the scale requirements for the specific degree(s) you are applying for, and play each scale slurred, in as many octaves as possible.

2. All prepared pieces. Please record each of the pieces you have prepared together in a single, unedited continuous video take.

3. Personal introduction (maximum length: two minutes). Please take a moment to tell us a little bit about yourself. Why would you like to study at UNT? What are your career goals? Can you tell us something interesting about yourself?

First movement from any of the standard double bass concertos or equivalent single-movement works, e.g., Bottesini, Dragonetti, Dittersdorf, Koussevitzky, etc., and two standard orchestral excerpts. Please note that the works listed are only suggested pieces; any standard work of comparable quality is acceptable. There is no memory requirement. The instrumentalist should prepare 10-15 minutes of music.

Undergraduate applicants may audition with Electronics as their musical instrument concentration for the Bachelor of Arts and Bachelor of Music Degree in Music Composition. The audition consists of the submission of a pre-screening portfolio as well as a live audition and interview (on-campus or virtually).

The pre-screening portfolio will consist of a video (up to 7 minutes) and audio examples (up to 2 tracks, 5 minutes each) that demonstrate your use of technological tools in your creative process. The video and audio files will be submitted through the Acceptd application portal.

Faculty will evaluate the creative breadth and imagination as well as the technical skill of the pre-screening portfolios. Finalists will be invited to campus for a live audition that will include both an interview with faculty and a timed creative project.

J. S. Bach - any sonata; Poulenc - Sonata; Hindemith - Sonata; Mozart - Concerto in G or D; Griffes - Poem; any Paris Conservatory piece. All major and minor scales. Please note that the works listed are only suggested pieces; any standard work of comparable quality is acceptable. There is no memory requirement. The instrumentalist should prepare 10-15 minutes of music.

1. A solo performed from memory, showing technical proficiency and musicianship. The solo should display a minimum difficulty level represented by the suggested repertoire. Any repertoire from the American Harp Society (AHS) National Competition Intermediate 2 level may be substituted.

Performance of works from the standard repertoire: Bach inventions, Scarlatti sonatas, Couperin, etc. Students with little or no harpsichord experience will be considered for major if there are equivalent skills on organ or piano.

You may substitute an etude by one of the following composers for one of your selections if it as at least one page in length: Barboteu, Gallay, Hackleman, Kling, Maxime-Alphonse, Neuling, Reynolds, Schuller, Shoemaker.

One slow and one fast etude from the collection of 48 Etudes, Op. 31 by W. Ferling, and two contrasting movements of major repertoire, in addition to major and minor scales. There is no memory requirement. The instrumentalist should prepare 10-15 minutes of music. Possible sight reading and pitch matching. Sight reading will be provided at the audition.

Performance of organ music from the standard repertoire (Bach, Buxtehude, Brahms, Franck, Reger, Vierne, Dupre, Langlais, etc.) of approximately twenty minutes in length. Memorization is not required. Applicants will be asked to perform one hymn of their choice at the beginning of the audition. An improvised or otherwise creative introduction is at the discretion of the applicant. Sight reading material to be specified by the jury. Students should present repertoire list of all works studied in high school.

All Classical Percussion Degrees: Mallets, Snare Drum and Timpani: Percussion Concentrations include degrees such as Music Education, Composition, and BA. If you are applying for a Percussion Performance degree (orchestral player, solo performer, etc.) the expectations are higher and you should be able to perform more advanced literature. You should select pieces that best showcase your ability level. Final acceptance as a music major with a percussion emphasis will be determined by an audition consisting of:

Boutry - Divertimento; Orrego - Salas - Quattro Liriche; Muczynski - Concerto; Ibert - Concertino da Camera. Recorded auditions submitted for saxophone must be video. Please note that the works listed are only suggested pieces; any standard work of comparable quality is acceptable. There is no memory requirement. The instrumentalist should prepare 10-15 minutes of music.

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