Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, Contrabass, English Horn, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion, Piccolo, Timpani, Trombone, Trumpet 1, Trumpet 2, Viola, Violin 1 and more.

SKU: PR.41641366L

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.

(10 Gems for Violin and Piano). Arranged by Edward Huws Jones. For Violin and Piano. Book; Method/Instruction; String - Violin Studies or Collection. Faber Edition. Published by Faber Music

Violin Part Only. By Edward Huws Jones. (Violin). Boosey and Hawkes Chamber Music. Size 9x12 inches. 22 pages. Published by Boosey & Hawkes.

Chamber Music Violin

SKU: PR.114424050

Composed by Adolphus Hailstork. Sws. Theodore Presser Company #114-42405. Published by Theodore Presser Company (PR.114424050).

ISBN 9781491137369. UPC: 680160690084.

Hints of Bach’s solo violin music occasionally infuse Hailstork’s modernist side, creating a fascinating drama in this three-movement suite for solo violin. While overall in a fast-slow-fast form, each movement is a world in itself with engaging contrasts, pacing, and textures within the solo instrument.

Repertoire. Trinity College London #TCL 014849. Published by Trinity College London (TL.TCL014849).

Violin

SKU: AP.6-443566

Composed by Edward Heron Allen. Reference Textbooks; Textbook - Instrumental. Dover Edition. Book. Dover Publications #06-443566. Published by Dover Publications (AP.6-443566).

ISBN 9780486443560. English.

This classic guide offers an accessible initiation into the mysteries of violin-making. Charming in its style and cultivated in its research, it covers every detail of the process, from wood selection to varnish. A fascinating history of the instrument precedes discussions of materials and construction techniques. More than 200 diagrams, engravings, and photographs complement the text.

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

The Untold Story of Ervin T. Rouse, Chubby Wise, Johnny Cash and the Orange Blossom Special. By Randy Noles. Fiddle. Softcover. 226 pages. Published by Centerstream Publications.

By Various Composers. Arranged by Jonathan Stock. Schott. Size 9x12 inches. 33 pages. Published by Schott.

Easy Violin Pieces. (World's Favorite Series #91). By Various. For Violin. World's Favorite (Ashley). Classical. Softcover. 128 pages. Ashley Mark Publishing Company #AS10091. Published by Ashley Mark Publishing Company

History, Tips, and Techniques. Composed by Brad Leftwich. Squareback saddle stitch. Book and online audio. Published by Mel Bay Publications, Inc (MB.20485M).

Violin - Grade 4

SKU: TL.TCL014924

Repertoire. CD. Trinity College London #TCL 014924. Published by Trinity College London (TL.TCL014924).

ISBN 9780857364654.

This audio CD contains exam pieces on the Trinity College London Violin syllabus for 2016-2019, featuring renowned violinist Liz Partridge. (alternative pieces are not included). In addition to full recordings of each piece, the CD also includes 'minus one' style backing tracks, allowing students to practise with the piano accompaniment played by Stephen Wilder.
These recordings are not definitive but may be employed as an aid to preparation for Trinity College London examinations.

Violin - intermediate

SKU: BT.DHP-1114985-400

16 tangos for violin. Composed by Myriam Mees. Arranged by Nico Dezaire. Book with CD. Composed 2010. 56 pages. De Haske Publications #DHP 1114985-400. Published by De Haske Publications (BT.DHP-1114985-400).

ISBN 9789043135023. 9x12 inches. English-German-French-Dut ch.

The tango - vigorous and comforting dance music full of emotion, passion and love! Tango Delight is the follow-up to Tango Time! The pieces are a bit more challenging and expansive. They are intended for violonists of an intermediate level who wish to enjoy the real tango. The enclosed demo and play-along CD is a source of inspiration.

De tango - krachtige en troostrijke dansmuziek boordevol emotie, passie en liefde! Tango Delight is de opvolger van Tango Time! De stukken zijn iets uitdagender en verder uitgewerkt. Ze zijn bedoeld voor violisten van een gemiddeldniveau die willen genieten van de echte tango. De bijgevoegde demo- en play-along-cd is een bron van inspiratie. Voor samenspel met een pianist zijn op deze cd ook printklare pdf-bestanden van de begeleiding toegevoegd.

Der Tango - lebhafte und tröstliche Tanzmusik voll Gefühl, Leidenschaft und Liebe! Tango Delight ist die Fortsetzung von Tango Time! Die Stücke sind ein wenig anspruchsvoller und ausgedehnter. Sie richten sich an Geiger im mittleren Spielniveau, die gerne den echten Tango erleben möchten. Die beiliegende Demo- und Mitspiel-CD ist eine Quelle der Inspiration! Für das Zusammenspiel mit einem Pianisten sind auf der CD PDF-Dateien der Begleitung in Notenform enthalten.

Le tango est une danse émotionnelle puissante et profonde qui exprime la passion et lâ??amour. Tango Delight fait suite au recueil Tango Time! Les douze pièces sont plus conséquentes et un peu plus exigeantes. Elles sâ??adressent aux violonistes de niveau élémentaire-moyen qui souhaitent découvrir lâ?? me du vrai tango. Les symboles dâ??accords permettent de jouer avec dâ??autres instruments. Laissez-vous séduire par les sons fascinants de lâ??accompagnement musical sur compact disc (version intégrale version play-along).

Il seguito di Tango Time! con brani più esigenti per violinisti di livello medio. Il CD, che propone sia una traccia demo che una play-along, è una vera fonte di ispirazione! Se si desidera suonare assieme ad un pianista basta scaricare dal CD lo spartito in formato PDF.

Violin

SKU: HL.50601306

Violin. Composed by Lera Auerbach. String. Classical. Softcover. 20 pages. Sikorski #SIK8860. Published by Sikorski (HL.50601306).

8.25x11.5x0.085 inches.

Lera Auerbach's “par.ti.ta” is a commissioned work by the Bachwoche Ansbach and received its world premiere on 29 July 2007 at the Bachwoche, performed by Vadim Gluzman. Gluzman has remarked: “'par.ti.ta” is an incredible work, projecting Lera's lifelong fascination with Bach ... We hear traces and echoes of Brandenburg Concerti, Concerto for two violins, Sonatas and Partitas for violin solo. No particular work is being quoted, yet I can't help the feeling of being drawn to an incredible world of shades, echoes - are these shades of ourselves? (...).

Fun, facts and puzzles for violin players everywhere. By Katie Elliott. (Violin). Boosey and Hawkes Chamber Music. Size 7.25x10.25 inches. 32 pages. Published by Boosey and Hawkes.