Composed by Philip John Berthoud. For fiddle. Wire bound, Methods. Beginning-Int...(+)
Composed by Philip John
Berthoud. For fiddle.
Wire bound, Methods.
Beginning-Intermediate.
Book and online audio.
Published by Mel Bay
Publications, Inc
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.
(Very First Pieces with Piano Accompaniment). Arranged by Paul de Keyser. For Vi...(+)
(Very First Pieces with
Piano Accompaniment).
Arranged by Paul de
Keyser. For Violin. Book;
Method/Instruction;
String - Violin Studies
or Collection. Faber
Edition. Elementary. 24
pages. Published by Faber
Music
I Can Read Music - Volume 2. (a note reading book for violin students). For viol...(+)
I Can Read Music - Volume
2. (a note reading book
for violin students). For
violin. String - (Suzuki)
Supplementary. Suzuki
Method Supplement.
Instructional and Method.
Instructional book. 108
pages. Published by
Alfred Music Publishing
38
bekannte musikalische
Themen bearbeitet für
Violine (1. Lage).
Arranged by Andrea
Holzer-Rhomberg. Score
with online audio files.
Score with online audio
files. 36 pages.
Holzschuh Musikverlag
#VHR 3875. Published by
Holzschuh Musikverlag
(M7.VHR-3875).
ISBN
9783864341182.
Dies
e Sammlung bietet ein
abwechslungsreiches
Repertoire an
Spielstücken sowohl
für junge
Musiklernende als auch
für erwachsene
Amateurmusiker. Die
Auswahl der Werke nimmt
den Spieler mit auf eine
Reise durch mehrere
Jahrhunderte. Leicht
spielbare Bearbeitungen
berühmter Meisterwerke
aus Barock, Klassik und
Romantik sind ebenso
vertreten wie
Fiddle-Musik,
Traditionals und beliebte
Melodien aus der
Unterhaltungsmusik. Alle
Stücke sind in der 1.
Lage spielbar und eine
ideale Ergänzung zu
jeder Violinschule. Das
Einstudieren der
Stücke wird durch die
per Download zur
Verfügung gestellten
Audiodateien (Hör- und
Mitspielversion)
unterstützt. Für
das gemeinsame Musizieren
ist zusätzlich eine
Ausgabe mit sämtlichen
Klavierbegleitungen
erhältlich (Best.-Nr.
VHR 3912).
By Traditional. Arranged by Sarah Labrousse-Baert. Solo. For Solo violin. Classi...(+)
By Traditional. Arranged
by Sarah Labrousse-Baert.
Solo. For Solo violin.
Classical, Educational,
Traditional. Grade 1.
Part. 32 pages. Published
by FLEX Editions
Fiddle - Intermediate-Advanced SKU: MB.94367M Composed by Craig Duncan. C...(+)
Fiddle -
Intermediate-Advanced
SKU: MB.94367M
Composed by Craig Duncan.
Country, Solos, Duets and
Ensembles, Bluegrass,
Perfect binding.
Complete. Style. Book and
online video. 208 pages.
Mel Bay Publications, Inc
#94367M. Published by Mel
Bay Publications, Inc
(MB.94367M).
ISBN
9780786691432. 8.75 x
11.75 inches.
Mel
Bay's Complete Fiddling
Book is a compilation of
arrangements of
traditional tunes by
several outstanding
practitioners of the art
of fiddle playing: Craig
Duncan, Bill Guest, Dave
Reiner, Frank Zucco, and
Joe Castle. From The
Arkansas Traveler to The
Yellow Rose of Texas,
over 300 colorful fiddle
tunes populated this
book's 205 pages. Scant
on text or historical
notes, but long on
musical content, the
Complete Fiddling Book is
a great resource for any
fiddler or teacher in
search of a delightful,
toe-tapping repertoire.
Although most of the
tunes are written for
solo fiddle, the last ten
pieces are arranged as
fiddle duets. A masterful
solo collection
presenting a vivid
assortment of fiddling
styles and repertoire.
Includes access
to an online video
containing fiddler Craig
Duncan and guitarist
Robert Bowlin performing
34 favorite tunes which
are played at a slow and
medium tempo to
demonstrate many fiddling
techniques. Split-screen
filming features close-up
angles of both the left
hand and the bow. This
video is the perfect
companion to the Complete
Fiddling Book, bringing
the teacher right into
your living
room.
â?¢
Compilation of
arrangements of
traditional
tunes â?¢ Over 300
colorful fiddle tunes
populate the 205
pages â?¢ Most for
solo fiddle, but the last
ten pieces are arranged
as fiddle duets â?¢
Intermediate to advanced
in difficulty â?¢
Split-screen companion
online video of 34 tunes
performed by Craig Duncan
and guitarist Robert
Bowlin.
Composed by Philip John Berthoud. This edition: saddle-stitch. Saddle-stitched, ...(+)
Composed by Philip John
Berthoud. This edition:
saddle-stitch.
Saddle-stitched, Celtic /
Irish, Solos, Duets and
Ensembles, Children and
Young Beginner. Made
Easy. Style. Book and
online audio. 32 pages.
Mel Bay Publications, Inc
#21354M. Published by Mel
Bay Publications, Inc
Violin SKU: AP.12-0571514367 Arranged by Alan Gout and Marguerite Wilkins...(+)
Violin
SKU:
AP.12-0571514367
Arranged by Alan Gout and
Marguerite Wilkinson.
Method/Instruction;
String - Violin Solo and
Piano. Classical;
Traditional. Book. Faber
Music #12-0571514367.
Published by Faber Music
(AP.12-0571514367).
ISBN 9780571514366.
English. Johannes Brahms;
Traditional; Edward
Elgar; Domenico
Gabrielli; George
Frideric Handel; Hans
Georg Nageli; Joseph
Parry; Niccolo Piccinni;
Spiritual; William
Steffe; Thoinot
Arbeau.
Easy
repertoire in 2nd, 3rd
and 4th
positions Achieving
security of fingering,
tone and intonation in
positions other than
first is one of the major
technical challenges that
every young violinist has
to tackle. This book
offers a carefully
selected and edited
sequence of short
attractive repertoire
pieces, suitable for
examination or concert
use, each focussing on a
particular position or
mixture of positions.
The material is
drawn from a wide range
of styles, from baroque
to popular tunes, and
will appeal to all young
players. Expertly
arranged piano parts are
simple enough for most
teachers to tackle with
ease.
An
invaluable addition to
the string teaching
repertoire.
By Richard J. Barber. For Violin. Solo for Violin. Meter: 3/4, 4/4, 5/4, 2/4. Tr...(+)
By Richard J. Barber. For
Violin. Solo for Violin.
Meter: 3/4, 4/4, 5/4,
2/4. Traditional. Grade
3.5. Duration 4'15 .
Published by David E.
Smith Traditional
41 Fiddle Solos. by Natalie MacMaster transcribed by Stacy Phillips. Level: Inte...(+)
41 Fiddle Solos. by
Natalie MacMaster
transcribed by Stacy
Phillips. Level:
Intermediate. Book. Size
8.75x11.75. 64 pages.
Published by Mel Bay
Pub., Inc.
Composed by Martin Norgaard. For violin. Squareback saddle stitch. Getting Into....(+)
Composed by Martin
Norgaard. For violin.
Squareback saddle stitch.
Getting Into.
Beginning-Intermediate.
Book and online audio.
Published by Mel Bay
Publications, Inc
34 Famous Children's Tunes. By Various Composers. De Haske Play-Along Book. Book...(+)
34 Famous Children's
Tunes. By Various
Composers. De Haske
Play-Along Book. Book &
CD Package. Size 9x12
inches. 24 pages.
Published by De Haske
Publications.
(Grade 2-3). Arranged by Pam Wedgwood. For Violin. Book; String - Violin Studies...(+)
(Grade 2-3). Arranged by
Pam Wedgwood. For Violin.
Book; String - Violin
Studies or Collection.
Faber Edition: Up-Grade!
Series. Elementary.
Published by Faber Music
Fiddle - Beginning-Intermediate SKU: MB.99402M A Guide for the Serious...(+)
Fiddle -
Beginning-Intermediate
SKU: MB.99402M
A Guide for the
Serious Player.
Composed by Philip John
Berthoud. Squareback
saddle stitch, Celtic /
Irish, Solos, Duets and
Ensembles, Method. Style.
Book and online audio. 88
pages. Mel Bay
Publications, Inc
#99402M. Published by Mel
Bay Publications, Inc
(MB.99402M).
ISBN
9780786686285. 8.75 x
11.75 inches.
The
book is designed to make
the personal aspects of
traditional Irish fiddle
playing, improvisation
and interpretation,
accessible to novice
players. Drawing on his
experience writing out
reels, jigs and other
tunes for new players at
a North London session
and teaching fiddle, the
author conveys what to do
with tunes to make them
your own. The first part
of the book discusses
such subjects as the
language of traditional
music, posture, bowing,
and effective practice,
with a detailed analysis
of left and right hand
technique. The second
section is a selection of
tunes that demonstrate
the ideas in the first
part. The aim of the book
is to allow the player to
look more closely at
their technique while
also improving accuracy
and speed. A recording
adds an extra dimension
to the learning
experience. Includes
access to online
audio.
Chamber Music violin, viola SKU: PR.114419730 For violin and Viola...(+)
Chamber Music violin,
viola
SKU:
PR.114419730
For
violin and Viola.
Composed by Chen Yi. Sws.
Set of Score and Parts.
8+2+2 pages. Duration
2:30. Theodore Presser
Company #114-41973.
Published by Theodore
Presser Company
(PR.114419730).
ISBN
9781491132333. UPC:
680160681686. 9 x 12
inches.
Chen Yi
describes the cheery
interplay of HAPPY TUNE
as: “When one
instrument plays a
livelymelody, the other
plays a vivid rhythmic
pattern in the
accompaniment. The pair
of string
instrumentsimitates the
sound of primitive
Chinese folk song
singing, as well as the
Chinese traditional
windinstrument sheng, a
mouth pipe organ.â€
Published as a shared
score and extracted
parts, and writtenas a
celebration piece
honoring the 25th
anniversary of the Great
Lakes Chamber Music
Festival. Composed to
celebrate the 25th
Anniversary of the Great
Lakes Chamber Music
Festival, my violin and
viola duet HAPPY TUNE was
written for Kim
Kashkashian and Tien-Hsin
Cindy Wu, and premiered
at the festival on June
16, 2018.I fondly
remember being invited by
the GLCMF (directed by
Prof. James Tocco) to be
the dual Stone
Composers-in-Residence
with my husband Zhou
Long, along with the
Stone Composer Fellow
Nicholas Omiccioli in
2011. We had a dozen of
our chamber works
performed excellently by
the outstanding chamber
ensembles and musicians
during the week, meeting
enthusiastic audiences
and supporters of new
music in various venues
at the festival. The
experience was truly
inspiring, and I created
HAPPY TUNE to honor the
GLCMF, with hopes to
carry on the high spirit
in our new music
society.In this duet,
when one instrument plays
a lively melody, the
other plays a vivid
rhythmic pattern in the
accompaniment. The pair
of string instruments
imitates the sound of
primitive Chinese folk
song singing, as well as
the Chinese traditional
wind instrument sheng, a
mouth pipe organ.
Solo Violin SKU: SU.29110060 For Solo Violin. Composed by Wynton M...(+)
Solo Violin
SKU:
SU.29110060
For
Solo Violin. Composed
by Wynton Marsalis.
Strings, Violin.
Unaccompanied. Score.
Subito Music Corporation
#29110060. Published by
Subito Music Corporation
(SU.29110060).
1. Sidestep
Reel - In 19th
Century America, the
Afro-Celtic fiddle style
was the centerpiece of
many a dance. Reels and
hornpipes were very
popular forms. Their
repetitive, even-metered
rhythms were easy and fun
to dance to, and their
infectious singable
melodies stayed in the
mind and on the tongue.
More adventurous fiddlers
were given to syncopating
on these forms by
accenting off beats and
by embellishing melodies
with oddmetered note
groupings. Syncopation is
a fundamental rhythmic
attitude of jazz and this
movement is a celebration
of that art. The melodic
language is a home-grown
concoction of commonality
between traditional reels
and hornpipes and the
Baroque, Ragtime and the
quartal concepts of
Modern Jazz. 2. As the
Wind Goes - the
wistful late night song
of a lullabye, a campfire
song, a ballad...a
spiritual. It is sung as
if on the wind, yearning
to experience once again
that which will only ever
again live as memory. 3.
Jones’ Jig -
the Irish Jig, the
African 6/8 bell pattern,
the shuffle rhythm of
jazz and the drum style
of Elvin Jones all play
around with the
relationship of 3 in the
time-space of 2. The
juxtaposition,
negotiation and
reconciliation of these
opposing rhythmic
perspectives create
interesting musical
relationships all over
the globe. 4.
Nicola’s
Strathspey - In the
traditional Strathspey,
improvised
embellishments,
syncopated dotted rhythms
and the use of space
between notes create
expectation, momentum and
surprise. These same
elements and their effect
on the listener are the
same in the blues. It
seems like a natural
marriage. 5. Bye Bye
Breakdown - This is
good ol’, Saturday
night barn dance, hoedown
fiddling. It revels in
the whining cry of open
double stops, in all
types of musical
onomatopoeia from train
sounds to animal calls to
country whistling, and in
the steady 2/4 rhythm
that is as basic as
walking. The harmonic
framework of several
popular fiddle and folk
tunes provide a practical
grid for the cutting of
challenging melodic and
rhythmic figures. It is
designed to tire fiddler
and dancers out. Then we
stomp our way home in
varying states of delight
and disrepair.Solo Violin
Duration: 24' Composed:
2018 Published by: Wynton
Marsalis (administered by
Skayne's Music).
Book with Online Material Fiddle; Violin (Violin) SKU: HL.49047387 97 ...(+)
Book with Online Material
Fiddle; Violin (Violin)
SKU: HL.49047387
97 Traditional Pieces
for Violin BOok with
Online Material.
Composed by Siâ and n
Phillips. String. Welsh.
Softcover Media Online.
Schott Music #ED13494D.
Published by Schott Music
(HL.49047387).
ISBN
9781847615664. UPC:
196288208839.
9.0x12.0x0.185
inches.
Welsh
Fiddle Tunes presents a
collection of beautiful
pieces for solo violin
drawn from the rich
tradition of Welsh folk
music. Experienced folk
fiddler Siân Phillips
provides notes on history
of the Welsh Folk music
tradition. The volume is
accompanied online with a
recording of all tunes
performed by Siân.
German and French
translations of all texts
are available as pdf
downloads from the Schott
Music website. Suitable
for players of grades
3-8. Part of the best
selling World Music
series, which also
includes Fiddle music
from England, Ireland,
Scotland, Eastern Europe,
America, Argentina,
India, China and
Korea.
An Introduction to Folk Styles, Technique and Improvisation. Strings, Meth...(+)
An Introduction to Folk
Styles, Technique and
Improvisation. Strings,
Methods. Schott
Pop-Styles.
Exploring Folk Fiddle.
Softcover Book and CD.
208
pages. Schott Music
#ED13460.
Published by Schott Music