SKU: HL.48025136
ISBN 9781784547011. UPC: 196288091677. 9.0x12.0x0.14 inches.
The full range of traditional fiddle repertoire is now at your fingertips! Using these generous collections, you can create your own ceilidh, barn dance, jazz club or Sarajevo street-café. Some of this music is familiar, some more exotic, but all of it is absolutely authentic, faithfully arranged and, above all, hugely enjoyable. Each title in the series is available in two formats: the Violin Edition (with an optional easy violin part and guitar chords); or the Complete Edition, which also includes both keyboard and violin accompaniments. Either format is hugely flexible, which means the music can be played as solos, duets or trios as well as with larger ensembles. Edward Huws Jones has travelled extensively researching fiddle-playing traditions. In each book he explains the background of the particular musical style, giving his own suggestions for a lively performance.
SKU: PR.114419730
ISBN 9781491132333. UPC: 680160681686. 9 x 12 inches.
Chen Yi describes the cheery interplay of HAPPY TUNE as: “When one instrument plays a livelymelody, the other plays a vivid rhythmic pattern in the accompaniment. The pair of string instrumentsimitates the sound of primitive Chinese folk song singing, as well as the Chinese traditional windinstrument sheng, a mouth pipe organ.†Published as a shared score and extracted parts, and writtenas a celebration piece honoring the 25th anniversary of the Great Lakes Chamber Music Festival.Composed to celebrate the 25th Anniversary of the Great Lakes Chamber Music Festival, my violin and viola duet HAPPY TUNE was written for Kim Kashkashian and Tien-Hsin Cindy Wu, and premiered at the festival on June 16, 2018.I fondly remember being invited by the GLCMF (directed by Prof. James Tocco) to be the dual Stone Composers-in-Residence with my husband Zhou Long, along with the Stone Composer Fellow Nicholas Omiccioli in 2011. We had a dozen of our chamber works performed excellently by the outstanding chamber ensembles and musicians during the week, meeting enthusiastic audiences and supporters of new music in various venues at the festival. The experience was truly inspiring, and I created HAPPY TUNE to honor the GLCMF, with hopes to carry on the high spirit in our new music society.In this duet, when one instrument plays a lively melody, the other plays a vivid rhythmic pattern in the accompaniment. The pair of string instruments imitates the sound of primitive Chinese folk song singing, as well as the Chinese traditional wind instrument sheng, a mouth pipe organ.
SKU: XC.SB2101
ISBN 9781644020654. UPC: 812598038521. 9 x 12 inches.
Adaptable Trios for Christmas contains 27 newly arranged trios written at grades 1.5 to 3. Since it’s creation in 2019, Tyler Arcari and Matthew R. Putnam’s Adaptable Ensemble series has emerged as a leading resource in flexible instrumentation and this new addition to the series for Christmastime is no exception. Designed to be used with any combination of three string instruments, the possible combinations are endless! Play these trios as traditional three instrument chamber works, or expand your instrumentation to include the entire ensemble. Tyler and Matthew use their experience as music educators to craft trios that are fun to play, and musically stimulating.
SKU: PR.144407530
ISBN 9781491136614. UPC: 680160687992.
A violinist herself, Lauren Bernofsky has described SONATA FOR SOLO VIOLIN as drawn from autobiographical inspiration, including gestures from Bachâ??s beloved Partita in E Major. Bernofsky opens with a Preludio movement whose references to Bach may be disguised, but they are surely lurking. The second movement is lusciously contrapuntal with the idiomatic finesse of a violinist composing for her own instrument, while musically journaling the emotional pain of living through 2020. The third and final movement is aptly marked â??white-hot,â? and the music certainly is.My SONATA FOR SOLO VIOLIN was commissioned by violinist Megan Healy as part of The Maud Powell Project, which celebrated the 100th anniversary of the ratification of the 19th Amendment. The project included the creation of five new works for solo violin inspired by and dedicated to the memory of pioneering American violinist Maud Powell (1867-1920). Healy premiered the sonata on May 8, 2021 at PianoForte Studios in Chicago.Among the works Powell most frequently performed in her recitals was the â??Preludioâ? movement from Bachâ??s E major Partita, and I decided to refer to that music in my own first movement, also titled â??Preludio.â? The beginning subtly reflects Bachâ??s opening three-note motive, wherein the music dips down a semitone and then comes back up. This melodic material returns throughout the movement in various forms. I also refer to Bachâ??s sixteenth-note dominated texture, and the gesture in the third measure, which outlines a perfect fifth and then fills it in with notes that alternate between a scale and a pedal tone. The corresponding passage in my piece occurs in the same place, measure 3. Apart from these references to Bach, my sonata is much more modern sounding, especially in its chromatic character.I was still thinking of Bachâ??s solo violin writing while composing the second movement, particularly the polyphonic nature of the slow movements, where the melodic interest moves around between the voices. Emotionally, I wanted my movement to reflect the acute sadness I had been experiencing over the political and social situation in the United States as I wrote the piece. I realized that this is a historically noteworthy time in U.S. history, marked not only by political unrest, but also by a challenge to the very values that I consider essential to what makes a person fundamentally human. I wanted to create a record of that pain in my music.The final movement is marked â??White-hot.â? It is imbued with a relentless, passionate intensity. Wanting again to reflect aspects of our own time, I included glissandi that refer to rock music, specifically the â??fall-offsâ? I frequently hear played by electric guitarists. I borrowed from another (completely different) musical tradition as well, one that is near-and-dear to my heart: Klezmer. Klezmer (Eastern European Jewish folk music) is characterized in part by scales colored by augmented seconds, and is often performed by solo instrumentalists who improvise embellishments like quick grace notes. The second, more lyrical theme in this movement is my nod to Klezmer style.While this piece is an homage to Maud Powell, I also think of it as my own musical autobiography, as it combines some of my favorite aspects of music, and is played on my own instrument.
SKU: HL.50600994
8.0x11.75x0.055 inches.
Commissioned by Leopold-Mozart-Kuratorium Augsburg e.V. as partner of the Augsburg University in cooperation with the Mozartbüro of the City of Augsburg “Anthologies were important during Leopold Mozart's lifetime. All knowledge was to be collected and made available, and Mozart's 'Versuch einer gründlichen Violinschule' (A Treatise on the Fundamental Principles of Violin Playing) is also to be regarded in this context. My 'Florilegium' (the Latin word for 'Anthology' – 'Blossom Collection') follows this tradition. I thus collected more or less loose 'blossoms': individual turns of phrase and gestures from Leopold Mozart's Violin Treatise, as well as from books that include the extended techniques of violin playing in use today. I attempted to organize this 'blossom collection' – in a double sense of word – during the course of the compositional process and to transfer them into my own language. Ultimately the idea was to create an album piece that would allow the sound of the violin to blossom in its various facets ... including prickly thorns!†(Johannes X. Schachtner).
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