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.
Violin SKU: FZ.5852 Serie I - France 1600-1800. Edited by Philippe...(+)
Violin
SKU:
FZ.5852
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.5852).
ISBN
9790230658522. 24.00 x
33.00 cm
inches.
These early
music methods are in
facsimile in four books.
Anonyme (3-4) - Louis,
L'aine BORNET - Joseph
DEMAR - Louis-Antoine
DURIEU - Encyclopedie
methodique - LABADENS (2)
- J. J. O. de
MEUDE-MONPAS. Table of
contents: Anonyme: La
parfaite connoissance -
1782. Bornet Louis,
l'aine: Nouvelle methode
de violon - 1786.
Meude-Monpas J. J. O. de:
Dictionnaire de musique -
1787. Encyclopedie
methodique: Article sur
les outils de lutherie et
complements a
l'Encyclopedie de Diderot
- 1788. Anonyme:
Principes pour apprendre
facilement - c. 1790.
Labadens: Nouvelle
methode pour apprendre a
jouer du violon - 1790.
Durieu Louis-Antoine:
Methode de violon - 1794.
Demar Joseph: Nouvelle
methode abregee - c.
1797. 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). Anne Fuzeau
Classique propose the
complete theoretic
documentation, methods,
classical music scores on
the violin.
Violin - intermediate SKU: BT.DHP-1064024-400 For the developing violi...(+)
Violin - intermediate
SKU:
BT.DHP-1064024-400
For the developing
violinist. Arranged
by Gunter Van Rompaey and
Nico Dezaire. De Haske
Study and Play. Studies
and Exercises. Book with
CD. Composed 2006. 72
pages. De Haske
Publications #DHP
1064024-400. Published by
De Haske Publications
(BT.DHP-1064024-400).
ISBN 9789043124621.
9x12 inches.
English-German-French-Dut
ch.
Studies can be
boring - you usually play
them alone and the lack
of rhythm and harmony can
be dispiriting. This very
practical collection
contains the best studies
written throughout two
centuries of violin
education. The studies -
all in the first position
- have been provided with
completely new piano
accompaniments which give
a harmonic and rhythmic
helping hand, so that
practicing becomes more
instructive and more fun.
Each edition within this
concept features two CDs.
For each study there are
three tracks on the CDs:
a demo version, a
play-along version in
normal tempo and one in a
slower, study tempo. The
following technical
skills are included in
the Selected
Studiesprogramme:
Book 2: For the
right hand: string
shifts, staccato, legato,
spiccato; For the left
hand: position work in
the second and third
position; position
shifts, trills.
Violin SKU: GH.GE-10410 Composed by Evabritt Gratte. Educational. Gehrman...(+)
Violin
SKU:
GH.GE-10410
Composed
by Evabritt Gratte.
Educational. Gehrmans
Musikforlag #GE 10410.
Published by Gehrmans
Musikforlag
(GH.GE-10410).
ISBN
978-91-7748-075-4.
Fiolmagasinet ar en
modern larobok i
fiolspel. I Fiolmagasinet
kommer musiken i forsta
hand. Sammusicerandet,
improvisationen och den
blandade repertoaren
hamtad fran olika genrer
och med olika ursprung
ger en bred ingang i
fiolspelet. Innehallet ar
baserat pa en repertoar
som med inbyggda ovningar
for tonbildning och
teknik utvecklar de
instrumentala och
musikaliska
fardigheterna. Stor vikt
laggs ocksa vid sangen
och lyssnandet, samt
balansen och rorelsen i
kroppen. Fiolmagasinet ar
indelat i progressivt
upplagda kapitel. En
koppling finns till
Spelmagasinet (GE 10412)
och Pianomagasinet (GE
10411), men Fiolmagasinet
kan ocksa anvandas
separat. Det
eleven/eleverna spelar ar
barigt av sig sjalvt och
kraver inte lararkomp for
att lata bra. Materialet
ar flexibelt, samtidigt
som det kan ge den
styrning som manga elever
och larare onskar.
Evabritt Gratte var en av
de forsta i Sverige som
borjade arbeta med
violinspel i helklass.
Som violinpedagog och
metodiklarare har
Evabritt arbetat med
utveckling av
arbetsformer, material
och metoder for att vidga
violinundervisningens
ramar till att kunna mota
alla de elever som idag
vill spela fiol pa ett
gladjefyllt satt.
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.
by Stacy Phillips. For fiddle. All styles, fiddle tunes. Level: Multiple Levels....(+)
by Stacy Phillips. For
fiddle. All styles,
fiddle tunes. Level:
Multiple Levels. Book.
Solos. Size 8.75x11.75.
268 pages. Published by
Mel Bay Pub., Inc.
Score and Parts Mixed Ensemble (Score & Parts) SKU: HL.233289 For Viol...(+)
Score and Parts Mixed
Ensemble (Score & Parts)
SKU: HL.233289
For Violin,
Vibraphone, Piano,
Sustaining Keyboard and
Contrabass. Composed
by John Luther Adams.
Music Sales America.
Classical. Set. Duration
1800 seconds. Chester
Music #CH85987. Published
by Chester Music
(HL.233289).
12.0x9.25x0.43
inches.
Score and
separate parts with
spiral-bound
keyboard/organ part.
Number 5, 1950 was Mark
Rothko's last painting
before the breakthrough
into his mature format.
In it the luminous color
fields of a classic
Rothko are inscribed
across the middle with
three delicate lines.
Describing this painting
and its pivotal position
in Rothko's work, Brian
O'Doherty observes:
'After this, the lines
disappear completely.' In
recent years gesture and
figuration have
disappeared from my
music. What used to be
background has emerged to
become a musical world
composed entirely of
floating color fields. In
this new world I've
changed media, moving
from the orchestra to
smaller combinations of
acoustical instruments
and
electronically-processed
sounds. I still think in
orchestral terms, but
this hybrid medium allows
me to create orchestral
textures for more
practical and readily
available ensembles.
Initially I imagined this
as a kind of monolithic
music -an entire piece as
one rich and complex
sound. Then I came to
hear it as homophonic or
heterophonic. And now -
in this musical world
that I thought was
completely free of lines
- I've come to hear a
polyphony of harmonic
clouds. Maybe the lines
never disappear
completely. Maybe
Christian Wolff was right
when he quipped: 'No
matter what we do, sooner
or later it all sounds
melodic.' - John Luther
Adams.
As a boxed set - including HE.9077, HE.9078, and HE.9079. By Wolfgang Amadeus Mo...(+)
As a boxed set -
including HE.9077,
HE.9078, and HE.9079. By
Wolfgang Amadeus Mozart.
Edited by W.D. Seiffert,
Schmid. STUDY EDITION.
Pages: XIX and 430.
Urtext edition
(Paper-bound). Published
by G. Henle.