Compiled and edited by Barbara Barber. Instructional book for violin. With fingerings and progress chart. 36 pages. Published by Preludio Music Inc.

Composed by Barbara Barber. For Violin. Book; String - Violin Studies or Collection; Suzuki. 40 pages. Published by Alfred Music

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 Gowe. Suzuki Violin: Compact Disc. 4 pages. Published by Warner Brothers.

As performed by Barbara Barber, Trudi Post. By Barbara Barber. Edited by Judi Gowe. Suzuki Violin: Compact Disc. 4 pages. Published by Warner Brothers.

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).

Published by: Seesaw Music.

By Francisco Tarrega Eixea. Edited by Carlo Maria Barato. For violin solo. String music. Published by Noten Roehr

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

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).

Copyright 1994. Published by: Seesaw Music.

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.

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).

Published by: Seesaw Music.

(For Solo Violin). By Behzad Ranjbaran. For Violin Solo. Classical. Solo part. Standard notation. Composed 1995. 7 pages. Duration 5:00

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).

Copyright 1993. Published by: Seesaw Music.

For Solo Violin. By Barbara Kolb. (Violin). Boosey and Hawkes Chamber Music. Size 9x12 inches. 12 pages. Published by Boosey & Hawkes.

Violin. This edition: 084103. Curnow Play-Along Book. Play Along. BOOK W/CD. 16 pages. Published by Curnow Music

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 - 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 Violin. Transcribed Solos. Cranford Publications. Fiddle Tunes. Intermediate. Book/CD Set. 112 pages

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 Barbara McOwen, Laura Risk, and Peggy Duesenberry. For fiddle. Wire bound. Beginning-Intermediate. Book and online video. Published by Mel Bay Publications, Inc

Saddle-stitched. Airs. Book. 28 pages. Mel Bay Publications, Inc #31028. Published by Mel Bay Publications, Inc (

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