Violin SKU: BT.9781408114612 Composed by Peter Davey. Abracadabra. Method...(+)
Violin
SKU:
BT.9781408114612
Composed by Peter Davey.
Abracadabra. Method. Book
with CD. 64 pages.
Collins Music Publishing
#9781408114612. Published
by Collins Music
Publishing
(BT.9781408114612).
ISBN 9781408114612.
English.
Now in a
third edition,
Abracadabra Violin
has a fresh and
contemporary new look and
is the perfect book for
pupil and
teacher.
This
title offers an identical
selection of repertoire
to the other books in
theAbracadabra Strings
series, so they can be
used in any combination
for group or whole class
lessons and mixed
ensemble performances.
Used alone, they remain
ideal for individual
tuition.
With
tunes you know and want
toplay, carefully graded
in 20 learning steps,
this new edition of the
popular tutor also
includes duets, trios and
teacher's parts. Clear
fingering and bowing
diagrams and concise
theory explanations help
to teach
thefundamentalsof the
instrument, and each new
technical aspect is
reinforced by several
pieces using that
particular
technique.
Abra
cadabra Violin now
also includes two CDs of
performance and backing
tracks, featuringselected
orchestral backings.
By Georg Philipp Telemann. Edited by Kross, Siegfried. For Violin Solo, strings,...(+)
By Georg Philipp
Telemann. Edited by
Kross, Siegfried. For
Violin Solo, strings,
basso continuo. Score;
Urtext Edition. TWV 51:h
2. Published by
Baerenreiter-Ausgaben
(German import).
Score. By Antonio Vivaldi. Arranged by Gian Francesco Malipiero, Fritz Zobeley. ...(+)
Score. By Antonio
Vivaldi. Arranged by Gian
Francesco Malipiero,
Fritz Zobeley. (Score).
Orchestra. Book only.
Size 8x10.75 inches. 48
pages. Published by
Ricordi.
Violin SKU: BT.EMBZ2441 Composed by Jozsef Bloch. EMB Music Lesson - Exer...(+)
Violin
SKU:
BT.EMBZ2441
Composed
by Jozsef Bloch. EMB
Music Lesson - Exercises,
Studies. Studies &
Exercises. Book Only.
Composed 1957. 12 pages.
Editio Musica Budapest
#EMBZ2441. Published by
Editio Musica Budapest
(BT.EMBZ2441).
Der
gebürtige Ungar
Joseph Bloch
(1917-29) war ein
gefeierter amerikanischer
Konzertsolist und viele
Jahre lang Professor
für Klavier an der
renommierten Juillard
School in New York. Neben
mehreren Schulwerken
hinterließ er auch
diese viel verwendeteten
Fingerübungen.
Violin SKU: BA.BA06629 Spielbuch fur den Unterricht mit gemischten Str...(+)
Violin
SKU:
BA.BA06629
Spielbuch fur den
Unterricht mit gemischten
Streichergruppen.
Composed by Hella
Hartung-Ehlert. Stapled.
Gemeinsam von Anfang an.
Fur den Unterricht mit
gemischten
Streichergruppen. Schulen
fur Violine (Violin
Method). Performance
score. 63 pages.
Baerenreiter Verlag
#BA06629_00. Published by
Baerenreiter Verlag
(BA.BA06629).
ISBN
9790006498871. 21 x 29 cm
inches. Language: German.
Preface: Hella
Hartung-Ehlert.
The
se
“playbocksâ€
form a sequel to the
authors Violin method for
group instruction (BA
6623). They contain
musical games, canons and
songs in simple
arrangements for one to
three identical
instruments, introclucing
children to ensemble
playing during their
first music lessons. Each
arrangement has a melody
part joined by an
accompaniment part on
open strings and a
fingered accompaniment
for more advanced pupils,
so that all children have
a chance to play. The
play- books end with
several four-part pieces
and can be combined for
use in mixed
ensembles.
By Tomaso Giovanni Albinoni (1671-1751). Edited by Walter Kolneder. For violin s...(+)
By Tomaso Giovanni
Albinoni (1671-1751).
Edited by Walter
Kolneder. For violin
solo, strings. Orchestra.
Concerto a cinque in A
Major Op. 10 No. 5 Op.
10, No. 5 (A). Viola part
Violin SKU: HL.50497648 Violin 2 Part. Composed by Evaristo Felice...(+)
Violin
SKU:
HL.50497648
Violin
2 Part. Composed by
Evaristo Felice
Dall'Abaco. Arranged by
Friedrich Buck. Ensemble.
Classical. Softcover. Hal
Leonard #SIK0601VL2.
Published by Hal Leonard
(HL.50497648).
Violin SKU: HL.48181471 Composed by Maurice Hauchard. Leduc. Classical. S...(+)
Violin
SKU:
HL.48181471
Composed
by Maurice Hauchard.
Leduc. Classical.
Softcover. 27 pages.
Alphonse Leduc #AL21014.
Published by Alphonse
Leduc (HL.48181471).
UPC: 888680842536.
0.114
inches.
Technical
Exercises, Vol. 1 was
created by Maurice
Hauchard (1870-1957), a
French violinist,
composer and music
teacher. This is the
first of a series of two
constituting a renowned
progressive method, for
upper beginners. This
first book of Technical
Exercises focuses on
technical methods for the
left hand and insists on
the player's correct body
position. It also
proposes different
exercises which involve
the development of
independent fingers,
crossing fingers, chords,
scales and octaves. The
quality and the
efficiency of Maurice
Hauchard?s methods make
this book a key series to
have for a Violin player.
In addition to this
series, the composer also
created nine additional
methods for strings..
By Georg Philipp Telemann. Edited by Wolfgang Hirschmann. For Violin Solo, strin...(+)
By Georg Philipp
Telemann. Edited by
Wolfgang Hirschmann. For
Violin Solo, strings,
basso continuo. Score;
Urtext Edition. TWV 51:a
2. Published by
Baerenreiter-Ausgaben
(German import).
Violin SKU: HL.50497647 Violin 1 Part. Composed by Evaristo Felice...(+)
Violin
SKU:
HL.50497647
Violin
1 Part. Composed by
Evaristo Felice
Dall'Abaco. Arranged by
Friedrich Buck. Ensemble.
Classical. Softcover. Hal
Leonard #SIK0601VL1.
Published by Hal Leonard
(HL.50497647).
Violin SKU: HL.48181473 Composed by Maurice Hauchard. Leduc. Classical. S...(+)
Violin
SKU:
HL.48181473
Composed
by Maurice Hauchard.
Leduc. Classical.
Softcover. 44 pages.
Alphonse Leduc #AL21019.
Published by Alphonse
Leduc (HL.48181473).
UPC: 888680842611.
9.0x12.0x0.164
inches.
Methode
Elementaire ? 2eme cahier
was created by Maurice
Hauchard (1870-1957), a
French violinist,
composer and music
teacher. This is the
second in a series of
three books constituting
a renowned progressive
method, for
beginners/intermediate
players. This second book
of Methode Elementaire
focuses on tonalities
major and minor other
than G, C, D Major. It
proposes different
exercises which involves
fingers crossing,
extensions, chromaticism,
scales and arpeggios. The
violinists are also
introduced to some
melodic extracts from
renowned composers. The
quality and the
efficiency of Maurice
Hauchard?s methods make
this book a key series to
have for a Violin player.
And, in addition to this
series, the composer also
created nine additional
methods for strings..
By Georg Philipp Telemann. Edited by Kross, Siegfried. For Violin Solo, strings,...(+)
By Georg Philipp
Telemann. Edited by
Kross, Siegfried. For
Violin Solo, strings,
basso continuo. Score;
Urtext Edition. TWV 51:G
7. Published by
Baerenreiter-Ausgaben
(German import).
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.
For Violin &
Orchestra. Composed
by Thomas Pasatieri.
Strings, Violin,
Orchestra. Violin &
Orchestra. Study Score.
Composed 1994. Duration
9'. Subito Music
Corporation #91910030.
Published by Subito Music
Corporation
(SU.91910030).
Vln,1111,2100,
stgs Duration: 9' Version
for Violin &
Piano available for sale
(#91940010)
Composed: 1994
Published by: Subito
Music
Publishing
