by Craig Duncan. For violin. Building Excellence. All styles. Level: Beginning-Intermediate. Book. Technique. Size 8.75x11.75. 40 pages. Published by Mel Bay Pub., Inc.

Violin

SKU: UT.HS-220B

Vol. 1: Sonatas 1-6. Composed by Arcangelo Corelli. Edited by Iain Quinn. Arranged by Carl Czerny. Saddle stitching. Classical. Set of Parts. 60 pages. Ut Orpheus #HS 220B. Published by Ut Orpheus (UT.HS-220B).

ISBN 9790215323339. 9 x 12 inches.

Violin

SKU: UT.HS-221B

Vol. 2: Sonatas 7-12. Composed by Arcangelo Corelli. Edited by Iain Quinn. Arranged by Carl Czerny. Saddle stitching. Classical. Set of Parts. 48 pages. Ut Orpheus #HS 221B. Published by Ut Orpheus (UT.HS-221B).

ISBN 9790215323346. 9 x 12 inches.

Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3, Piano, Timpani, Trumpet 1, Trumpet 2, Viola, Violin, Violin 1, Violin 2, Violoncello

SKU: PR.46600040L

For violin and Orchestra. Composed by Dan Welcher. Premiere: Paul Kantor, Violin, Aspen Festival Orchestra, conducted by the composer. Contemporary. Large Score. With Standard notation. Composed December 26 1992. 186 pages. Duration 25 minutes. Theodore Presser Company #466-00040L. Published by Theodore Presser Company (PR.46600040L).

UPC: 680160599134. 11 x 17 inches.

Orchestra 2 Bassoons, 2 Clarinets (Clarinet II doubles on Bass Clarinet), 2 Oboes (Oboe II doubles on English Horn), 2 Trombones (Trombone II doubles on Bass Trombone), 2 Trumpets in C, 3 Flutes (Flute III doubles on Piccolo), 4 Horns in F, Harp, Piano/Cel, Timpani

SKU: PR.44641253L

For violin and Orchestra. Composed by Stephen Jaffe. Contemporary. Large Score. With Standard notation. Composed Dec-99. Duration 35 minutes. Theodore Presser Company #446-41253L. Published by Theodore Presser Company (PR.44641253L).

UPC: 680160593422. 11 x 17 inches.

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.

By Brant Adams. For violin, keyboard and performance/accompaniment CD. Instrumental solo (strings). Published by Lorenz Publishing Company.

Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Contrabassoon, English Horn, Flute 1, Flute 2, Flute 3, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 3, Piano, Piccolo, Synthesizer, Timpani, Trombone 1 and more.

SKU: PR.44641212L

For violin and Orchestra. Composed by Donald Erb. With Standard notation. 112 pages. Theodore Presser Company #446-41212L. Published by Theodore Presser Company (PR.44641212L).

11 x 17 inches.

By Eta Cohen. For Violin. Sheet Music. 36 pages. Published by Novello and Co Ltd.

After Plato's Symposium. By Leonard Bernstein. Arranged by Isaac Stern. (Violin). Boosey and Hawkes Chamber Music. Size 8.5x11 inches. Published by Boosey and Hawkes.

Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Contrabassoon, English Horn, Flute 1, Flute 2, Flute 3, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion, Piano, Piccolo, Synthesizer, Timpani, Trombone 1 and more.

SKU: PR.446412120

For violin and Orchestra. Composed by Donald Erb. With Standard notation. 112 pages. Theodore Presser Company #446-41212. Published by Theodore Presser Company (PR.446412120).

UPC: 680160607419. 8.5 x 11 inches.

Violin & Harpschord

SKU: SU.50007660

For Violin & Harpschord. Composed by David Deason. Strings, Violin. Accompanied by harpsichord. Score & Parts. Seesaw Music Corp #50007660. Published by Seesaw Music Corp (SU.50007660).

Published by: Seesaw Music.

Violin (Violin)

SKU: HL.48185819

Composed by Amé, lie Oliviero-Denaë, and s. Leduc. Classical. Softcover. Alphonse Leduc #AL29555. Published by Alphonse Leduc (HL.48185819).

Amelie Oliviero-Denaes studied at the Paris Conservatoire where she won First Prize for Music Theory. As an advanced violinist herself, Oliviero-Denaes' Violinist's Music Theory is very well-informed. Oliviero-Denaes' Violinist's Music Theory is described as the 'simultaneous learning of Theory and Violin'. Violinist's Music Theory addresses the stave, clefs, the 4 strings of the Violin, note names and values, time signatures, sharps and flats, rests, scales and tones, and intervals, among other aspects. For all beginner violinists, Oliviero-Denaes' Violinist's Music Theory ensures a high standard of understanding and progression..

Violin - easy

SKU: HL.44011234

Fingerings, scales and triads. Composed by Nico Dezaire. De Haske Play-Along Book. Softcover with CD. Composed 2012. De Haske Publications #1125312. Published by De Haske Publications (HL.44011234).

UPC: 888680062958. 8.75x12.0x0.325 inches. English(UK)/Deutsch/Franc ais/Nederlands.

Position 1 covers the four fingerings of the first position. The connection between these fingerings and the different keys - up to three sharps or flats - is also dealt with. The book features 38 exercises for the various fingerings, sevenscale and triad exercises, and 68 attractive performance pieces in a range of musical styles. The performance pieces can be played with CD accompaniment (demo and play-along tracks are featured on CDs 1 and 2) or with piano accompaniment. The pianoaccompaniments can be found on CD 2 in PDF form.

In Position 1 worden alle vingerstellingen binnen de 1e positie geleerd aan de hand van grepenschema's, oefeningen en speelstukken. Verder wordt het verband gelegd tussen de verschillende vingerstellingen in toonladders endrieklanken in de 1e positie over 2 oktaven. De 68 speelstukken kunnen met cd-begeleiding worden gespeeld, of met live-pianobegeleidingen. Deze worden als pdf geleverd op de 2 bijbehorende cd's. De vertrouwde afwisseling van nieuwestukken, arrangementen van klassieke thema's en volksliedjes ontbreekt uiteraard niet!

In Position 1 geht es um die vier Griffarten der ersten Lage. Diese Griffarten werden auch mit den verschiedenen Tonarten - mit bis zu drei Kreuzen oder Bs - verknupft. Das Buch umfasst 38 Ubungen fur die verschiedenen Griffe,sieben Tonleiter- und Dreiklangsubungen sowie 68 reizvolle Vortragstucke in einer ganzen Palette an Musikstilen. Die Vortragstucke konnen zu den Begleitungen auf den beiden CDs (die Demo- und Mitspielversionen enthalten), aber auch mit einemPianisten gespielt werden. Die Klavierstimmen sind im PDF-Format zum Ausdrucken auf der CD enthalten.

Posi tion 1 couvre les quatre doigtes de la premiere position et examine le rapport entre ces doigtes et les differentes tonalites - jusqua trois dieses ou bemols. Cet ouvrage contient 38 exercices pour les divers doigtes, 7exercices de gammes et de triades, et 68 morceaux de concert dans une diversite de styles. Ces morceaux peuvent etre executes avec l'accompagnement du CD, mais aussi accompagnes au piano. Des versions integrales et de demonstration figurent surles CD 1 et 2, ce dernier comprenant aussi les partitions du piano sous forme de fichiers PDF.

Position 1 affronta le quattro diteggiature della prima posizione. La pubblicazione contiene 38 esercizi per le varie posizioni, sette scale e terze, come anche 68 accattivanti brani in vari stili musicali da suonare in pubblico. Questipossono essere eseguiti sia con lausilio dei 2 CD inclusi (traccia demo e traccia play-along), sia con l'accompagnamento di un pianista. Le parti del piano, contenute sul secondo CD, sono scaricabili in formato PDF.

Second Year Violin Tutor by Neil Mackay. For violin. String music. Published by Stainer and Bell Ltd.

By Melanie Smith. For Violin. Theory. All. Level: Beginning. Book. Size 8.5x11. 84 pages. Published by Mel Bay Publications, Inc.

Chamber Music Violin

SKU: PR.494031990

Composed by Karen North. Collection - Full. 44+69 pages. Theodore Presser Company #494-03199. Published by Theodore Presser Company (PR.494031990).

UPC: 680160686179.

Lyric al Violin Legends is an exciting collection of 20 works for violin and piano, featuring exclusively commissioned works by contemporary composers and inspiring new arrangements of 19th and 20th century compositions. Listen to the legends, discover beautiful scenes and enjoy lively dances through the alluring lyricism of this music.These exclusive commissioned works and new arrangements are suitable for intermediate level players. The violin part includes biographies of all composers and notes/ performance suggestions for each work.All pieces in Lyrical Violin Legends have free violin & piano recordings to listen to, as well as free piano backing tracks to play along with.Preview pages: https://www.theyoungflute player.com/violin-musicFr ee recordings: https://www.youtube.com/c hannel/UCh0MBwKcJUR75_3wX RyYj5QComposers: Johannes Brahms, Antonin Dvorak, Hans Engelmann, Sally Greenaway, Greg Harradine, Jolin Jiang, Scott Joplin, Elena Kats-Chernin, Toivo Kuula, Rachel Laurin, Edward MacDowell, Felix Mendelssohn, Merryl Neille, Heather Percy, Gary Schocker.Specifications:� �€¢ Contents: 20 pieces• Standard: Intermediate level• Key signatures: up to three sharps and three flats• Time signatures: 4/4, 3/4, 2/4, ₵, 6/8 (including mixed metre).

Edited by Edward Huws Jones. Collection. Student book and play-along CD. Published by ABRSM (Associated Board of the Royal Schools of Music)

Edited by Patrick Sky. For fiddle. All styles. Level: Multiple Levels. Book. Songbook. Size 8.75x11.75. 176 pages. Published by Mel Bay Pub., Inc.

Harpsichord; String Ensemble; String Trio (Score & Parts)

SKU: HL.255632

For violin, viola, violoncello and harpsichord. Composed by Anna Thorvaldsdottir. Music Sales America. Classical. Set. Composed 2017. Duration 480 seconds. Chester Music #CH86812. Published by Chester Music (HL.255632).

9.0x12.0x0.1 inches.

Anna Thorvaldsdottir's Shades Of Silence was composed in 2012 for violin, viola, violoncello and harpsichord. Written for Nordic Affect. The first performance was given on 2 February 2013 at Kaldalon Hall, Harpa Centre, Reykjavik, Iceland.

Fiddle - Intermediate

SKU: MB.30815M

Renaissance, Saddle-stitched. Celtic / Irish. Book and online audio. 48 pages. Mel Bay Publications, Inc #30815M. Published by Mel Bay Publications, Inc (MB.30815M).

ISBN 9781513466828. 8.75x11.75 inches.

Early Music Gems contains 49 tunes dating from 1300-1791, including Medieval, Renaissance, and ancient melodies as well as a â??best ofâ? John Playford's The Dancing Master. These delightful melodies are perfect for contradance, English country dance and concert settings. Suggested bowings, chords, tempos, and variations are included. An audio recording of each of the tunes includes the fiddle melody with guitar accompaniment. Includes access to online audio.