For Violin and
Orchestra. Composed
by Behzad Ranjbaran.
Contemporary. Large
Score. With Standard
notation. Composed 1994.
144 pages. Duration 31
minutes. Theodore Presser
Company #416-41366L.
Published by Theodore
Presser Company
(PR.41641366L).
UPC:
680160585755.
From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violins open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movements primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violinas open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movementas primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violin's open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement's primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notionof
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures.The notes of the
violin’s open
strings (G, D, A, E) also
influenced many of the
melodic and harmonic
elements of my violin
concerto. The opening
tutti is mostly based on
intervals of a perfect
4th and 5th. The primary
material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes:1 st
movement: A-D-A2nd
movement: D-G-D3rd
movement: E-A-EThe
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement’s
primary theme. While the
movements share similar
musical materials, each
one is definedby
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and
unforgivingferocity. The
second movement is
haunting, mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
fromthe previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell.
Violin SKU: FZ.5851 Serie I - France 1600-1800. Edited by Philippe...(+)
Violin
SKU:
FZ.5851
Serie I -
France 1600-1800.
Edited by Philippe
Lescat, Jean
Saint-Arroman. This
edition: Facsimile.
Methodes & Traites.
Score. Published by Anne
Fuzeau Productions -
France (FZ.5851).
ISBN
9790049058513. 24.00 x
33.00 cm
inches.
These early
music methods are in
facsimile in four books.
Anonyme (1-2) - Michel
CORRETTE (2) - LABADENS
(1) - L'ABBE LE FILS -
Jean-Benjamin de LABORDE
- Theodore-Jean TARADE.
Table of contents:
Anonyme: Maniere de
graduer un violon - 1771.
Observation sur la
maniere de graduer un
violon. Labadens:
Nouvelle methode pour
apprendre a jouer du
violon - 1772. L'Abbe Le
Fils: Principes de violon
pour apprendre le doigte
- 1772. Tarade
Theodore-Jean: Traite du
violon - 1774. Laborde
Jean-Benjamin de: Essai
sur la musique ancienne
et moderne - 1780.
Corrette Michel: L'art de
se perfectionner - 1782.
Collection supervised by
the musicologist Jean
Saint-Arroman, professor
at the Conservatoire
National Superieur de
Musique et de Danse of
Paris and at the CEFEDEM
Ile de France (Training
Centre for Music
Teachers). He is the
author of the majority of
our prefaces and has also
been involved in library
searches. Facsimile of
copies from: - British
Library of London
(England). - National
Library of Paris
(France). - In Philippe
Lescat's Collection. Anne
Fuzeau Classique propose
the complete theoretic
documentation, methods,
classical music scores on
the violin.
Leduc.
CD. 60 pages. Alphonse
Leduc #AL30475. Published
by Alphonse Leduc
(HL.48186287).
UPC:
888680839048. 9x12
inches.
“Les
cahiers Charlier/Sourisse
- jazz (livre avec cd)
pour violon, initiation
et perfectionnement
à l'improvisation
(texte fr/ang/all/esp).
Par Charlier aux
éditions Leduc.
Méthode
instrumentale pour
Violon&rdquo.
(Foreword and Additional Editing by Doris Gazda). By George Frideric Handel Fede...(+)
(Foreword and Additional
Editing by Doris Gazda).
By George Frideric Handel
Federigo Fiorillo. Edited
by Larry Clark, Leopold
Auer, Doris Gazda.
Arranged by William
Strasser. For Violin,
Violin and Piano. Book.
96 pages. Published by
Carl Fischer
Fiddle - Intermediate-Advanced SKU: MB.94367M Composed by Craig Duncan. C...(+)
Fiddle -
Intermediate-Advanced
SKU: MB.94367M
Composed by Craig Duncan.
Country, Solos, Duets and
Ensembles, Bluegrass,
Perfect binding.
Complete. Style. Book and
online video. 208 pages.
Mel Bay Publications, Inc
#94367M. Published by Mel
Bay Publications, Inc
(MB.94367M).
ISBN
9780786691432. 8.75 x
11.75 inches.
Mel
Bay's Complete Fiddling
Book is a compilation of
arrangements of
traditional tunes by
several outstanding
practitioners of the art
of fiddle playing: Craig
Duncan, Bill Guest, Dave
Reiner, Frank Zucco, and
Joe Castle. From The
Arkansas Traveler to The
Yellow Rose of Texas,
over 300 colorful fiddle
tunes populated this
book's 205 pages. Scant
on text or historical
notes, but long on
musical content, the
Complete Fiddling Book is
a great resource for any
fiddler or teacher in
search of a delightful,
toe-tapping repertoire.
Although most of the
tunes are written for
solo fiddle, the last ten
pieces are arranged as
fiddle duets. A masterful
solo collection
presenting a vivid
assortment of fiddling
styles and repertoire.
Includes access
to an online video
containing fiddler Craig
Duncan and guitarist
Robert Bowlin performing
34 favorite tunes which
are played at a slow and
medium tempo to
demonstrate many fiddling
techniques. Split-screen
filming features close-up
angles of both the left
hand and the bow. This
video is the perfect
companion to the Complete
Fiddling Book, bringing
the teacher right into
your living
room.
â?¢
Compilation of
arrangements of
traditional
tunes â?¢ Over 300
colorful fiddle tunes
populate the 205
pages â?¢ Most for
solo fiddle, but the last
ten pieces are arranged
as fiddle duets â?¢
Intermediate to advanced
in difficulty â?¢
Split-screen companion
online video of 34 tunes
performed by Craig Duncan
and guitarist Robert
Bowlin.
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
Fiddle - Beginning; Intermediate; Advanced SKU: MB.95393M Celtic and A...(+)
Fiddle - Beginning;
Intermediate; Advanced
SKU: MB.95393M
Celtic and Acadian
Tunes in Living
Tradition. Composed
by Ken Perlman. Tunebook,
Celtic / Irish, Canadian,
Perfect binding, World.
Style. Book and online
audio. 216 pages. Mel Bay
Publications, Inc
#95393M. Published by Mel
Bay Publications, Inc
(MB.95393M).
ISBN
9780786690107. 8.75 x
11.75 inches.
The
over 425 reels, jigs,
set-tunes, waltzes,
marches, strathspeys, and
airs transcribed from the
playing of traditional
fiddlers in this
collection, represent a
large portion of the
current Island
repertoire. It is
believed that over 100 of
these tunes have never
been in print previously.
Even the titles that have
appeared in print before,
feature new and
intriguing details.
Because each tune is a
transcription of a
specific performance by
an individual player,
many subtleties of
style--such as
ornamentation, double
stops, and slursâ??are
included. Also included
are each playerâ??s
melodic
idiosyncrasiesâ??called
twists in local parlance.
You will find living,
breathing versions of
tunes filled with the
vitality of a people
whose great love for
their music is expressed
in every bow-stroke.
Includes access to online
audio.
(Learn the Melodies, Techniques and Styles of a Great Tradition). By Lisa ...(+)
(Learn the Melodies,
Techniques and Styles of
a
Great Tradition). By Lisa
Gutkin. Homespun Tapes.
DVD.
Hal Leonard #DVDLSAFI21.
Published by Hal Leonard
(A Collection of 35 Traditional Appalachian Tunes). Composed by Ken Kolodner....(+)
(A Collection of 35
Traditional Appalachian
Tunes). Composed by Ken
Kolodner. For fiddle.
Perfect binding. Book and
Online Audio. 60 pages.
Published by Mel Bay
Publications, Inc
For
violin and piano.
Composed by Aleksey
Igudesman. Set of Score
and Parts. With Standard
notation. 23 pages.
Universal Edition
#UE037200. Published by
Universal Edition
(PR.UE037200).
ISBN
9783702475079. UPC:
803452072188.
Maste
r violinist Igudesman
continues a series of
books designed for
beginning to intermediate
violin students. In My
Garden presents ten short
pieces based on various
fruits and vegetables,
perfect for class and
recitals. This charming
collection includes
drawings and short poems
for each descriptive
miniature. Piano
accompaniment is
undemanding for a more
advanced fellow student
or teacher.
Your favourite ABRSM
violin exam pieces.
Composed by ABRSM. ABRSM
Violin Exams. ABRSM Exam
Pieces. Score. 72 pages.
ABRSM (Associated Board
of the Royal Schools of
Music) #9781848499379.
Published by ABRSM
(Associated Board of the
Royal Schools of Music)
(A3.9781848499379).
ISBN
9781848499379.
Enco
re Violin is the official
collection of best-loved
ABRSM violin exam pieces,
selected from syllabuses
of the past few decades.
Violinists will find an
appealing mix of
repertoire, while
teachers can be confident
that the perfect balance
of content has been
selected at every
level.
Chamber Music Violin SKU: PR.144407530 Composed by Lauren Bernofsky. 12 p...(+)
Chamber Music Violin
SKU: PR.144407530
Composed by Lauren
Bernofsky. 12 pages.
Duration 10 minutes, 30
seconds. Merion Music
#144-40753. Published by
Merion Music
(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.
Violon [Partition + Accès audio] - Intermédiaire Mel Bay
(64 Pieces for Violin). Composed by Pete Cooper. For fiddle. Perfect binding. In...(+)
(64 Pieces for Violin).
Composed by Pete Cooper.
For fiddle. Perfect
binding. Intermediate.
Book and online audio.
Published by Mel Bay
Publications, Inc
(76 Easy Fiddle Tunes with Piano Arrangements, Guitar Chords). Composed by J...(+)
(76 Easy Fiddle Tunes
with
Piano Arrangements,
Guitar
Chords). Composed by
Jerry
Silverman. For fiddle
solo.
Perfect binding. Made
Easy.
Beginning. Book and
Online
PDF. 44 pages. Published
by
Mel Bay Publications, Inc
A practical introduction to styles from England, Ireland, Scotland, and Wales...(+)
A practical
introduction to styles
from England, Ireland,
Scotland, and Wales.
Edited by Jane Griffiths.
Book and CD. 56 pages.
Published by Oxford
University Press
(OU.9780193392793).
Edited by Robin Williamson. For violin. Includes violin solo songbook and exampl...(+)
Edited by Robin
Williamson. For violin.
Includes violin solo
songbook and examples CD.
With standard notation,
chord names, performance
notes and introductory
text. British and folk.
96 pages. 9x12 inches.
Published by Oak
Publications
Violin SKU: AP.1-ADV14708 Violin. Composed by Fred Lipsius. Improv...(+)
Violin
SKU:
AP.1-ADV14708
Violin. Composed
by Fred Lipsius.
Improvisation;
Method/Instruction;
Play-Along; String -
Violin Studies or
Collection; Technique
Musicianship. Advance
Music: Reading Key Jazz
Rhythms. Jazz. Book and
Digital Download. Advance
Music #01-ADV14708.
Published by Advance
Music (AP.1-ADV14708).
UPC: 805095147087.
English.
With this
book/audio set you will
learn essential jazz
rhythms first-hand from
world-class professionals
! Reading Key Jazz
Rhythms is a collection
of 24 easy to medium
level jazz etudes, and 24
simplified guide tone
versions of the etudes.
They are ideal for
learning the basic
language of jazz, swing
phrasing, and
articulation. A perfect
tool for preparing for
the jazz ensemble or for
any other
ensemble/orchestra which
performs jazz related
music (pops orchestras,
musical, studio, movie
scores, concert and
marching bands, etc.).
Each etude is based on a
specific rhythm or a
combination of rhythmic
figures. Some etudes
sound like very lyrical
improvised jazz solos,
while others are more
like a melody to a
standard. On the
downloadable audio tracks
the soloist demonstrates
the 24 melodious etudes
together with a
professional rhythm
section. You can also
improvise along with the
play-along tracks using
the chord symbols. The
guide tones are the
essential or defining
notes for each given
chord type. So if
improvising is new to you
and you find yourself
getting lost, you can
always return to a guide
tone and play
rhythmically around it.
Any etude and its
corresponding simplified
guide tone version can be
played together as a duet
(with or without the
audio accompaniment) with
your teacher or a
friend.
Violin - Intermediate SKU: KJ.123VN Composed by Jeremy Woolstenhulme and ...(+)
Violin - Intermediate
SKU: KJ.123VN
Composed by Jeremy
Woolstenhulme and Kirt
Mosier. Strings/Methods,
Strings/Repertoire.
String Basics Solos Book
2 - 19 Solos for
Intermediate String
Players. Neil A. Kjos
Music Company #123VN.
Published by Neil A. Kjos
Music Company (KJ.123VN).
ISBN
9780849735776.
Stri
ng BasicsTM Solos Book 2
features a collection of
19 solos for recitals,
festivals, informal
gatherings, or just for
fun. This collection
includes a mix of
classical themes, folk
songs, and original solos
by Jeremy Woolstenhulme.
The solos correlate with
String BasicsTM Book 2
and most level 2 method
books. Solos progress in
difficulty from beginning
to end. All instruments
have the same set of
solos. This solo
collection is the perfect
supplement for students
who do not have a private
studio teacher and want
to play solo
literature.
The
piano accompaniments by
Kirt Mosier are available
in a separate book and
recorded audio tracks are
available for download by
using the Kjos
Interactive Practice
Studio (IPS). The IPS
features three tracks for
each solo. Track 1 is a
complete performance
performed by a
professional violinist
with piano accompaniment.
Track 2 is a complete
performance of the solo
played by either a
violist, cellist, or
bassist with piano
accompaniment. Track 3 is
an accompaniment-only
track provided for
play-along
opportunities.
Celtic / Irish, Perfect binding, World. Sacred. Book and online audio. 108 pag...(+)
Celtic / Irish, Perfect
binding, World. Sacred.
Book
and online audio. 108
pages.
Mel Bay Publications, Inc
#31036M. Published by Mel
Bay
Publications, Inc
(32 Trios That Can Be Played by Any Combination of String Instruments). By Larry...(+)
(32 Trios That Can Be
Played by Any Combination
of String Instruments).
By Larry Clark. Edited by
Doris Gazda. Arranged by
Larry Clark. For violin.
Violin part. 48 pages.
Published by Carl Fischer