| Irish Fiddle Tunes: 62 Traditional Pieces For Violin W/ Performance Cd Violin [Sheet music + CD] Schott
62 Traditional Pieces for Violin. Edited by Matt Cranitch. This edition: Saddle ...(+)
62 Traditional Pieces for Violin. Edited by Matt Cranitch. This edition: Saddle stitching. Sheet music with CD. String. Edition with CD. 52 pages. Schott Music #ED 13361. Published by Schott Music
$23.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Wedding Music for Solo Violin Violin [Sheet music] Mel Bay
By Katherine Curatolo. For violin. Saddle-stitched. Wedding Music. Intermediate-...(+)
By Katherine Curatolo. For violin. Saddle-stitched. Wedding Music. Intermediate-Advanced. Book. 32 pages. Published by Mel Bay Publications, Inc
$12.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 24 Caprices Violin - Intermediate/advanced Schott
In forme of Etudes, in all 24 keys. Composed by Jacques Pierre Joseph Rode. ...(+)
In forme of Etudes, in all 24
keys. Composed by Jacques
Pierre Joseph Rode. Edited by
Ulrich Groener. Arranged by
Ida Bieler. This edition:
Saddle stitching. Sheet
music. String. 84 pages.
Schott Music #ED20584.
Published by Schott Music
$28.99 - See more - Buy online | | |
| 24 Caprice Etudes in the form of Etudes, in all 24 Keys Violin - Intermediate/advanced Schott
In form of Etudes, in all 24 Keys. Composed by Jacques Pierre Joseph Rode. Arran...(+)
In form of Etudes, in all 24 Keys. Composed by Jacques Pierre Joseph Rode. Arranged by Max Rostal. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. 76 pages. Schott Music #ED6512. Published by Schott Music
$20.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Traditional Hymns for Violin Solo or Duet Violin [Sheet music + Audio access] - Beginner Mel Bay
Strings - Beginning SKU: MB.30879M Saddle-stitched. Sacred. Book and onli...(+)
Strings - Beginning SKU: MB.30879M Saddle-stitched. Sacred. Book and online audio. Mel Bay Publications, Inc #30879M. Published by Mel Bay Publications, Inc (MB.30879M). ISBN 9781513476544. 8.75X11.75 inches. This collection of traditional hymns is designed for solo violin, duets, or groups. The arrangements are not difficult but are well-done musically. The pieces are ideal for offertories and for ensembles where rehearsal time is limited. The author encourages the more advanced violinists to add ornamentation where desired. Includes online audio, performed by Karen Khanagov on piano and William Khanagov on violin, that will aid in practice and interpretation for performance. In his words, This collection is ideal for developing freedom while playing and for bringing ones spirit into the music. $22.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Intermediate Pieces for Classical Guitar Guitar Classical guitar - Intermediate Mel Bay
Composed by Lily Afshar. Squareback saddle stitch. Classical. Book. 116 pages....(+)
Composed by Lily Afshar.
Squareback saddle stitch.
Classical. Book. 116 pages.
Mel Bay Publications, Inc
#30832. Published by Mel Bay
Publications, Inc
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 4 Valtz for Violin. Critical Edition Violin SATB, Orchestra Ut Orpheus
Violin SKU: UT.HS-298 Composed by Nicolo Paganini. Edited by Italo Vescov...(+)
Violin SKU: UT.HS-298 Composed by Nicolo Paganini. Edited by Italo Vescovo. Saddle stitching. Classical. Ut Orpheus #HS 298. Published by Ut Orpheus (UT.HS-298). ISBN 9790215326941. 9 x 12 inches. The four Valtz (plus a fifth in the Appendix, which constitutes the first draft of n. 3) for violin, published here for the first time in their manuscript form, although brief, are important musically since they add to the rich and varied catalogue of works for solo violin by Paganini. The pieces can be found within the manuscript of the Ghiribizzi for guitar M.S. 43. Their musical structure is simple, as is found in this genre of compositions and is mostly divided into a bipartite form (8+8 bars) with ritornelli. These are short but very pleasant pieces, in which it is not difficult to find the spirit of the great Genoese composer of small compositions. $14.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Les Grandes Plaines Du Jour For Solo Violin Violin Schott
Violin - difficult SKU: HL.49017065 For solo violin. Composed by K...(+)
Violin - difficult SKU: HL.49017065 For solo violin. Composed by Kenneth Hesketh. This edition: Saddle stitching. Sheet music. String Solo. Book only. Composed 2005. 16 pages. Duration 12'. Schott Music #ED 12878. Published by Schott Music (HL.49017065). ISBN 9790220130571. 9.0x12.0x0.052 inches. Taking his starting point from 17th century philosopher-poet Cyrano de Bergerac's 'Grandes Plaines du Jour', Hesketh powerfully fuses a huge range of performing and compositional techniques into this 12 minute work for solo violin. Inspired by Bergerac's imaginations of other worlds and utopian societies, the work explores extreme ranges and timbres whilst using techniques such as left hand pizzicato and natural harmonics. Open-fifth material, which is natural to the instrument, is prominent and short duets alternating between arco and pizzicato figures add yet another dimension. $26.95 - See more - Buy online | | |
| Violin Duet Classics Made Playable 2 Violins (duet) [Sheet music + Audio access] - Intermediate Mel Bay
Composed by Mary Ann Harbar (Willis). Squareback saddle stitch. Book and online ...(+)
Composed by Mary Ann Harbar (Willis). Squareback saddle stitch. Book and online audio. Published by Mel Bay Publications, Inc (MB.96619M).
$24.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Broken Lute: Six (6) Pieces For Solo Violin Violin Schott
Violin - difficult SKU: HL.49017998 Six pieces for solo violin. Co...(+)
Violin - difficult SKU: HL.49017998 Six pieces for solo violin. Composed by Alexander Goehr. This edition: Saddle stitching. Sheet music. String. Composed 2006. Op. 78. 20 pages. Duration 24'. Schott Music #ED13050. Published by Schott Music (HL.49017998). ISBN 9790001147033. UPC: 884088566357. 9.0x12.0x0.138 inches. 'Broken Lute, six pieces for violin alone', is written on a Chinese Ming story, 'The Minister, The Lute and the Woodcutter' from which Goehr has extracted key sentences and placed them at particular points in the score. Animating the poetic text, the virtuosic violin line captures elements of the story's characters taking performer and audiences on a fantastic journey experiencing storms at sea, mountain scenery, friendship and loss. $19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Bach E Major Prelude from the Partita No. 3 for Solo Violin Transcribed for Mandolin Mandolin [Sheet music + Audio access] Mel Bay
Composed by Andrew Driscoll. Saddle-stitched. Book and online audio. 8 pages. ...(+)
Composed by Andrew Driscoll.
Saddle-stitched. Book and
online audio. 8 pages.
Published by Mel Bay
Publications, Inc
$9.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| A TUNES - CAPRICIOUS PIECES FOR BEGINNER VIOLINISTS Violin Mel Bay
Saddle-stitched. Classic. Book. Mel Bay Publications, Inc #30956. Published ...(+)
Saddle-stitched. Classic.
Book. Mel Bay Publications,
Inc #30956. Published by Mel
Bay Publications, Inc
$12.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Playlist 1 (resonance) For Solo Violin Violin Schott
Solo violin SKU: HL.49045609 For solo violin. Composed by Vijay Iy...(+)
Solo violin SKU: HL.49045609 For solo violin. Composed by Vijay Iyer. This edition: Saddle stitching. Sheet music. String Solo. Softcover. Composed 2010. 8 pages. Duration 7'. Schott Music #ED31329. Published by Schott Music (HL.49045609). ISBN 9781540000804. UPC: 888680705862. 9.0x12.0x0.062 inches. $17.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Violin Concerto Orchestra, Violin [Study Score / Miniature] Schott
Orchestra; Violin (Study Score) SKU: HL.49045166 Study Score. Comp...(+)
Orchestra; Violin (Study Score) SKU: HL.49045166 Study Score. Composed by Ryan Wigglesworth. This edition: Saddle stitching. Sheet music. String. Classical. Softcover. Composed 2011. 72 pages. Duration 16'. Schott Music #ED13695. Published by Schott Music (HL.49045166). ISBN 9790220135002. UPC: 888680724214. 8.25x11.75x0.276 inches. Violin Concerto is scored for a Classical-sized orchestra, with the addition of a harp and celeste, and lasts around 17 minutes. Although the work sets out to explore the lyrical characteristics of the solo instrument, it is only gradually that the violin finds its full, lyric voice, and thence, as the work progresses, a more dominant role. This, in one sense, is the 'journey' of the piece. The work's straightforward formal scheme consists of three movements (roughly fast-slow-fast) framed by a reflective introduction and epilogue. However, these formal divisions exist within a single, unbroken arc. Such an overall symmetrical shape places the slow Arioso (itself divided into three subsections) at the midpoint, sandwiched between the two Allegro movements. The dramaturgy of the piece centers on a twofold search. First there is the ongoing pursuit to recapture the simple melodic material stated by the solo violin - accompanied by thar harp's bass register - during the opening bars. Whilst aspects of this melody are invoked frequently throughout (especially in the violin cadenza which closes the Arioso movement), it is only with the final and most important climax of the work that the melody appears again in its complete form, now accompanied by violent, orchestral stabs. The second search is for a tonal resting place, the arrival of which is delayed until the close of the epilogue. The original version of the Violin Concerto, commissioned by the Netherlands Chamber Orchestra, was premiered in Amsterdam in February 2012 with Gordan Nikolic as soloist. The present, revised version was created for Barnabas Kelemen and the Halle. $43.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Mexican Folk Fiddle Tunes Violin [Sheet music + CD] - Intermediate Schott
42 Traditional Pieces. Composed by Julia Chardavoine, Diego Brossollet Her...(+)
42 Traditional Pieces.
Composed by Julia
Chardavoine, Diego Brossollet
Hernandez, and Cesar Ivan
Juarez-Joyner. Edited by
Cesar Ivan Juarez-Joyner,
Diego Brossollet Hernandez,
and Julia Chardavoine. This
edition: Saddle stitching.
Sheet music with CD. String
Solo. Mexican, Folk,
Classical. Edition with mp3-
CD. 96 pages. Schott Music
#ED13900. Published by Schott
Music
$27.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchestra. Composed by Gyorgy Ligeti. This edition: Saddle stitching. Sheet music. Edition Schott. Softcover. Composed 1985-1988. Duration 24'. Schott Music #ED23178. Published by Schott Music (HL.49046544). ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches. I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. The markings of the movements are the following: 1. Vivace molto ritmico e preciso 2. Lento e deserto 3. Vivace cantabile 4. Allegro risoluto 5. Presto luminoso.The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale; my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. In the Piano Concerto I realized new concepts of harmony and rhythm. The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time 'rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form; later in the fourth movement it will be considerably developed. The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement; however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly; they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales; in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting; illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated; the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus; indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. (Gyorgy Ligeti). $34.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Beginning Pieces for Classical Guitar Guitar Classical guitar - Easy Mel Bay
Composed by Lily Afshar. Squareback saddle stitch. Classic. Book. 80 pages. Me...(+)
Composed by Lily Afshar.
Squareback saddle stitch.
Classic. Book. 80 pages. Mel
Bay Publications, Inc #30831.
Published by Mel Bay
Publications, Inc
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Getting Into Gypsy Jazz Violin Violin [Sheet music + Audio access] - Easy Mel Bay
Composed by Martin Norgaard. For violin. Squareback saddle stitch. Getting Into....(+)
Composed by Martin Norgaard. For violin. Squareback saddle stitch. Getting Into. Beginning-Intermediate. Book and online audio. Published by Mel Bay Publications, Inc
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Deluxe Anthology of Jazz Violin Styles Violin [Sheet music + Audio access] - Intermediate/advanced Mel Bay
Composed by David Reiner. Squareback saddle stitch. Solos. Book and online ...(+)
Composed by David Reiner.
Squareback saddle stitch.
Solos. Book and online
audio. 136 pages. Mel Bay
Publications, Inc #93818M.
Published by Mel Bay
Publications, Inc
$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Swingin' Jazz Fiddle Solos Violin [Book] - Intermediate Mel Bay
Composed by Aaron Weinstein. For fiddle. Saddle-stitched, Violin; Fiddle; Solo; ...(+)
Composed by Aaron Weinstein. For fiddle. Saddle-stitched, Violin; Fiddle; Solo; Alternative Styles; Solos/Tunebooks; Music Styles and Regions; Jazz. Jazz. Intermediate. Book. Published by Mel Bay Publications, Inc
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Violinkonzert aus der Serenade D-Dur KV 203 Music Distribution Services
Violin and string orchestra SKU: M7.KECF-158 Colloredo. Composed b...(+)
Violin and string orchestra SKU: M7.KECF-158 Colloredo. Composed by Wolfgang Amadeus Mozart. Arranged by Hans-Martin Schwindt. This edition: Saddle-wire stitching. Sheet music. Score and parts. 68 pages. MDS (Music Distribution Services) #KECF 158. Published by MDS (Music Distribution Services) (M7.KECF-158). ISBN 9790502361587. German English. The Serenade KV 203 was written 1774 probably as a so called Finalmusik for the end of termat Salzburg University ansd was later dedicated to Archbishop Colloredo for his name day. The present Arrangement for solo violin, 2 violins and Cello is an ideal introduction to Mozart's Music for Young string Players. The work can as well be played with soloists as with an orchestra; the 2nd part is also printed for viola. $25.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Old English Hymns for Violin Solo Violin - Easy Mel Bay
Arranged by Linda M. Ellis Cummings. Squareback saddle stitch. Book and online P...(+)
Arranged by Linda M. Ellis Cummings. Squareback saddle stitch. Book and online PDF. Published by Mel Bay Publications, Inc (MB.97044M).
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Easy Concert Pieces Violin And Piano Edition With Cd Violin and Piano [Sheet music + CD] - Easy Schott
Violin and Piano With a CD of Performances and Accompaniments. Composed by Vario...(+)
Violin and Piano With a CD of Performances and Accompaniments. Composed by Various. Edited by Peter Mohrs. This edition: Saddle stitching. Sheet music with CD. String. Easy Concert Pieces enthalten leichte und bekannte Stucke von der Renaissance bis zur Moderne, die sorgfaltig nach technischen und musikalischen Anforderungen ausgewahlt wurden: Band 1 leicht, Band 2 mittelschwer. Classical. Edition with CD. 64 pages. Schott Music #ED 21634. Published by Schott Music
$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Hot Violin 1 Violin and Piano [Sheet music + CD] - Easy Schott
20 Easy Pop Pieces in 1st position. Composed by Gabriel Koeppen. This edition:...(+)
20 Easy Pop Pieces in 1st
position. Composed by Gabriel
Koeppen. This edition: Saddle
stitching. Sheet music with
CD. String Solo. Instruction,
Recital. Edition with CD. 52
pages. Schott Music #ED22672.
Published by Schott Music
$23.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| American Fiddle Tunes for Solo and Ensemble - Viola, Score Violin 3 Viola Mel Bay
Composed by DeWitt Scott. Squareback saddle stitch. Tunebooks. Book online PDF...(+)
Composed by DeWitt Scott. Squareback saddle stitch. Tunebooks. Book online PDF. 80 pages. Published by Mel Bay Publications, Inc (MB.99385M).
$17.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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