An Intonation, Note-reading, Theory, Shifting System. By Barbara Barber. For Vio...(+)
An Intonation,
Note-reading, Theory,
Shifting System. By
Barbara Barber. For
Violin. String - Violin
Studies or Collection.
Book. Published by Alfred
Publishing.
As performed by Barbara Barber, Trudi Post. By Barbara Barber. Edited by Judi Go...(+)
As performed by Barbara
Barber, Trudi Post. By
Barbara Barber. Edited by
Judi Gowe. Suzuki Violin:
Compact Disc. 4 pages.
Published by Warner
Brothers.
As performed by Barbara Barber, Trudi Post. By Barbara Barber. Edited by Judi Go...(+)
As performed by Barbara
Barber, Trudi Post. By
Barbara Barber. Edited by
Judi Gowe. Suzuki Violin:
Compact Disc. 4 pages.
Published by Warner
Brothers.
Partita Violon [Conducteur et Parties séparées] Seesaw Music Corp
Violin & Cello SKU: SU.50000960 For Violin & Cello. Composed by Se...(+)
Violin & Cello
SKU:
SU.50000960
For
Violin & Cello.
Composed by Seymour
Barab. Strings, Cello,
Strings, Violin, Chamber
Music. Score & Parts.
Seesaw Music Corp
#50000960. Published by
Seesaw Music Corp
(SU.50000960).
By Giovanni Battista Vitali (1632-1692). Edited by Alessandro Bares. For solo vi...(+)
By Giovanni Battista
Vitali (1632-1692).
Edited by Alessandro
Bares. For solo violin.
This edition: Paperback.
I piaceri del violino.
Baroque. Published by
Musedita Edizioni
Musicali
For Violinn, Oboe &
Bassoon. Composed by
Seymour Barab. Chamber
Music, Mixed Ensemble.
Score & Parts. Seesaw
Music Corp #50001430.
Published by Seesaw Music
Corp (SU.50001430).
Suite Violon [Conducteur et Parties séparées] Seesaw Music Corp
Violin, Harp & Piano SKU: SU.50001380 For Violin, Harp & Piano. Co...(+)
Violin, Harp & Piano
SKU: SU.50001380
For Violin, Harp &
Piano. Composed by
Seymour Barab. Chamber
Music, Piano Trio. Score
& Parts. Seesaw Music
Corp #50001380. Published
by Seesaw Music Corp
(SU.50001380).
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.
Duo Violon [Conducteur et Parties séparées] Seesaw Music Corp
Violin & Viola SKU: SU.50000840 For Violin & Viola. Composed by Se...(+)
Violin & Viola
SKU:
SU.50000840
For
Violin & Viola.
Composed by Seymour
Barab. Strings, Viola,
Strings, Violin, Chamber
Music. Score & Parts.
Seesaw Music Corp
#50000840. Published by
Seesaw Music Corp
(SU.50000840).
Suite Violon [Conducteur et Parties séparées] Seesaw Music Corp
Violin, Horn & Piano SKU: SU.50001390 For Violin, Horn & Piano. Co...(+)
Violin, Horn & Piano
SKU: SU.50001390
For Violin, Horn &
Piano. Composed by
Seymour Barab. Chamber
Music, Piano Trio. Score
& Parts. Seesaw Music
Corp #50001390. Published
by Seesaw Music Corp
(SU.50001390).
Edited by David Brody. For violin. Format: fake book. With lead melody, chord na...(+)
Edited by David Brody.
For violin. Format: fake
book. With lead melody,
chord names,
instructional text and
performance notes. Folk,
americana and british.
302 pages. 9x12 inches.
Published by Oak
Publications.
Selections from the Student Repertoire. By Barbara Barber and Trudi Post. String...(+)
Selections from the
Student Repertoire. By
Barbara Barber and Trudi
Post. String - Violin
Studies or Collection;
Suzuki. Solos for Young
Violinists. CD. Alfred
Music #00-8015. Published
by Alfred Music
(Newly Composed Fiddle Tunes). Edited by Paul Stewart Cranford. For Fiddle and V...(+)
(Newly Composed Fiddle
Tunes). Edited by Paul
Stewart Cranford. For
Fiddle and Violin.
Transcribed Solos.
Cranford Publications.
Fiddle Tunes.
Intermediate. Book/CD
Set. 112 pages
Violin - intermediate SKU: HL.49016300 Composed by Barbara Heller. Sheet ...(+)
Violin - intermediate
SKU: HL.49016300
Composed by Barbara
Heller. Sheet music.
Violin-Bibliothek (Violin
Library). Classical.
Composed 1982. 8 pages.
Duration 9'. Schott Music
#VLB90. Published by
Schott Music
(HL.49016300).
ISBN
9790001115537. UPC:
840126939033.
9.0x12.0x0.057
inches.
(The Highland Fiddle Music of Aonghas Grant). Composed by Aonghas Grant, with Ba...(+)
(The Highland Fiddle
Music of Aonghas Grant).
Composed by Aonghas
Grant, with Barbara
McOwen, Laura Risk, and
Peggy Duesenberry. For
fiddle. Wire bound.
Beginning-Intermediate.
Book and online video.
Published by Mel Bay
Publications, Inc
Selections from the Student Repertoire. By Barbara Barber and Trudi Post. String...(+)
Selections from the
Student Repertoire. By
Barbara Barber and Trudi
Post. String - Violin
Studies or Collection;
Suzuki. Solos for Young
Violinists. CD. Alfred
Music #00-8011. Published
by Alfred Music