Flute or Violin SKU: AP.1-ADV6101 Volume 1. For Violin or Flute...(+)
Flute or Violin
SKU:
AP.1-ADV6101
Volume 1. For
Violin or Flute.
Arranged by Mike Curtis.
Series; Solo; Solo Small
Ensembles; Woodwind -
Flute Method or
Collection. Advance
Music. Folk; Jewish
Heritage. Book. Advance
Music #01-ADV6101.
Published by Advance
Music (AP.1-ADV6101).
UPC: 805095061017.
English.
The
Klezmer Repertoire, Vol.
1 presents an
interpretation of Klezmer
music as it was recorded
in the U.S.A. in the
early 20th century. The
principal stylistic
influences have been the
78rpm recordings of two
great pioneer
clarinetists: Naftule
Brandwein and Dave
Tarras. The first volume
contains 12 Klezmer
pieces with chord
symbols.
Titles
include: Koyln * Mazl Tov
Shver un Shviger *
Bessarabian Chusidl *
Freylacher Bulgar * Sirba
Popilar * Bay a Glezele
Mashke * Rebn's Waltz *
Palesteena * Yiddish
Charleston * Sirba Slanic
* Kolomeyka * Odessa
Bulgar.
Chamber Music Bass
Clarinet, Clarinet 1,
Clarinet 2, Violin
SKU: PR.444410070
For Violin, Two
Clarinets, and Bass
Clarinet. Composed by
Sydney F. Hodkinson. Set
of performance scores.
With Standard notation. 9
pages. Duration 5:30.
Theodore Presser Company
#444-41007. Published by
Theodore Presser Company
(PR.444410070).
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).
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).
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 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).
Sketch Book Violon [Conducteur et Parties séparées] Doblinger
For Violin, Clarinet and Piano. Composed by Gernot Wolfgang. Chamber musi...(+)
For Violin, Clarinet
and Piano. Composed
by Gernot Wolfgang.
Chamber music. Wind-piano
chamber music. Score and
set of parts. Published
by Doblinger Music
Publishers (DB.07-00365).
Flute or Violin SKU: AP.1-ADV6102 Volume 2. For Violin or Flute...(+)
Flute or Violin
SKU:
AP.1-ADV6102
Volume 2. For
Violin or Flute.
Arranged by Mike Curtis.
Series; Solo; Solo Small
Ensembles; Woodwind -
Flute Method or
Collection. Advance
Music. Folk; Jewish
Heritage. Book. Advance
Music #01-ADV6102.
Published by Advance
Music (AP.1-ADV6102).
UPC: 805095061024.
English.
The
Klezmer Repertoire, Vol.
1 presents an
interpretation of Klezmer
music as it was recorded
in the U.S.A. in the
early 20th century. The
principal stylistic
influences have been the
78rpm recordings of two
great pioneer
clarinetists: Naftule
Brandwein and Dave
Tarras. The first volume
contains 12 Klezmer
pieces with chord
symbols.
Titles
include: Koyln * Mazl Tov
Shver un Shviger *
Bessarabian Chusidl *
Freylacher Bulgar * Sirba
Popilar * Bay a Glezele
Mashke * Rebn's Waltz *
Palesteena * Yiddish
Charleston * Sirba Slanic
* Kolomeyka * Odessa
Bulgar.
Orchestra Bass Clarinet,
Bassoon 1, Bassoon 2,
Bongos, Cello, Clarinet,
Contrabass, Crotales,
Cymbals, English Horn,
Field Drum, Flute,
Glockenspiel, Horn 1,
Horn 2, Oboe 1, Oboe 2,
Percussion, Piano, Snare
Drum, Triangle, Trumpet,
Vibraphone, Viola and
more.
SKU:
PR.416411770
For
Violin, Piano, and
Chamber Orchestra.
Composed by William
Kraft. Full score. With
Standard notation.
Duration 17 minutes.
Theodore Presser Company
#416-41177. Published by
Theodore Presser Company
(PR.416411770).
UPC:
680160091508.
I was
tempted to call the piece
Throw Back because it
consciously employs
rhythmic and harmonic
approaches characteristic
of the earlier part of
the twentieth century,
much of which plays a
part in forging my
musical personality.
Going along with the
impetus, I have paid
homage by subtly
interpolating stylistic
or actual references to
such unexpected
bedfellows as Scriabin,
Ravel, Debussy, Piston,
Roussel, and Ysaye. I
hope I will be musically
forgiven. In one
continuous movement,
there are three definite
internal sections:
Presto-Largo-Allegro. The
first section opens with
a very soft percussion
cadenza. If the acoustics
allow it, the player will
use sponge pottery
mallets (sponge-headed
mallets employed to
smooth the interior of a
pot as it is being
spin-dried). No matter
how hard the
percussionist strikes the
drums, the dynamic cannot
go above pp (pianissimo).
This cadenza serves as a
basis for the first
movement. The elements of
the cadenza are taken by
the orchestra to make the
first major statement,
similar to the classical
concerto; but rather than
making a restatement, the
soloists, when they come
in, begin with
variational ideas. The
second section is given
over to the soloists, and
is lyrical. The third
section begins with an
alternation between
strict rhythmic pulsation
and free-sounding
timbres, as if reluctant
to leave the second
section behind. The
rhythmic aspect takes
over more and more as the
piece progresses toward
its conclusion. Double
Play was commissioned by
the Saint Paul Chamber
Orchestra with financial
assistance from the
Northwest Area
Foundation. It received
its premiere on January
7, 1983, in St. Paul,
with the St. Paul Chamber
Orchestra; Pinchas
Zukerman, violinist; Marc
Neikrug, piano; and the
composer conducting.
For violin. Format: violin solo book (excerpts only). Baroque, Classical Period ...(+)
For violin. Format:
violin solo book
(excerpts only). Baroque,
Classical Period and
Romantic Period. 64
pages. 9x12 inches.
Published by Music Sales.
(MS.AM84153)
A selection of all the
best-known tunes and
themes in the classical
repertoire, carefully
edited for violin solo.
Includes works by Mozart,
Bach, Beethoven, Chopin
and many more great
composers.
Piano Accompaniment; Violin (SCORE+PART) - very easy SKU: HL.49045440 ...(+)
Piano Accompaniment;
Violin (SCORE+PART) -
very easy
SKU:
HL.49045440
For
Violin and Piano Schott
Student Edition
Repertoire. Composed
by Ferdinand Kuchler.
Edited by Wolfgang
Birtel. This edition:
Saddle stitching. Sheet
music. Schott Student
Edition. Repertoire.
Softcover. Op. 11. 28
pages. Schott Music
#SE1001. Published by
Schott Music
(HL.49045440).
ISBN
9790001161817. UPC:
841886028623.
9.25x12.0x0.081 inches.
German - English -
French. Schott Student
Edition
Repertoire.
Ferdina
nd Küchler is regarded
as one of the great
violin teachers of the
20th century, due, in
large part, to his
popular violin method.
His Concertino remains a
popular entry-level piece
for students to this day.
This edition is part of
the new Schott Student
Edition series which
offers varied literature
at five different levels
of difficulty, from 1
(easy) to 5 (difficult),
for instrumental
lessons.
About Schott
Student
Edition
Th
e Schott Student Edition
gathers instrumental
works for music lessons
providing a unique and
varied repertoire
resource including
standard teaching works,
lesser known pieces which
are perfectly suited to
lessons as well as to
student concerts and
competitions.
Th
e repertoire is divided
into levels 1-5, from
very easy to difficult,
and includes works from
the Renaissance up to
modern performance
pieces. Each title is
graded, from very easy
works for beginners up to
demanding pieces for more
advanced students who are
preparing for further
study or
examinations.
Ev
ery work in the series
has been carefully
selected and edited by
experienced music
teachers. The editions
also contain a wealth of
information on the pieces
as well as useful advice
on studying, rehearsing
and interpreting the
works. The first titles
to be published in the
Schott Student Edition
series contain works for
violin, violoncello,
flute, clarinet and
recorder. Further
editions are in
preparation.
Orchestra (2 flutes (2nd
flute doubling piccolo),
2 oboes, 2 clarinets in
bb, 2 bassoons, 4 french
horns in f, 2 trumpets in
c, 2 trombones, 1 bass
trombone, 1 tuba,
percussion 1: small
beijing opera gong,
marimba, tam-tam,
japanese high, wood
block, percussion 2: s)
SKU: PR.416415110
For Violin And
Orchestra. Composed
by Chen Yi. Contemporary.
Full score. With Standard
Notation. Duration 10
minutes. Theodore Presser
Company #416-41511.
Published by Theodore
Presser Company
(PR.416415110).
UPC:
680160621286.
Commi
ssioned by Kennesaw State
University Symphony
Orchestra in 2012,
Chinese Rap for violin
and orchestra is
premiered by Prof. Helen
Kim as the soloist and
the KSUSO led by Prof.
Michael Alexander at
Bailey Center in KSU, GA
on Feb. 17, 2014. The
work is inspired by
Chinese folk musical
story telling, Quyi, in a
form of mixed reciting
and singing style, with
interludes played by
percussion and plucking
instruments in
accompaniment. The folk
musical story telling is
sung in dialects from
different geographic
regions. I mixed all
these elements in a
complex three-part form,
with an introduction, a
cadenza in the middle,
and a coda as the frame
in the structure. The
melodies are delicate and
leisurely, and the
rhythmic parts are
energetic, vivid and
lively. There are big
contrasts between
sections, which are
juxtaposed and connected
smoothly and
congenially. Commissio
ned by Kennesaw State
University Symphony
Orchestra in 2012,Chinese
Rap for violin and
orchestra is premiered by
Prof. Helen Kim as
thesoloist and the KSUSO
led by Prof. Michael
Alexander at Bailey
Center inKSU, GA on Feb.
17, 2014. The work is
inspired by Chinese folk
musical storytelling,
Quyi, in a form of mixed
reciting and singing
style, with
interludesplayed by
percussion and plucking
instruments in
accompaniment. The
folkmusical story telling
is sung in dialects from
different geographic
regions. Imixed all these
elements in a complex
three-part form, with an
introduction, a cadenza
in the middle, and a coda
as the frame in the
structure. The melodies
are delicate and
leisurely, and the
rhythmic parts are
energetic, vivid and
lively. There are big
contrasts between
sections, which are
juxtaposed and connected
smoothly and
congenially.
Orchestra (2 flutes (2nd
flute doubling piccolo),
2 oboes, 2 clarinets in
bb, 2 bassoons, 4 french
horns in f, 2 trumpets in
c, 2 trombones, 1 bass
trombone, 1 tuba,
percussion 1: small
beijing opera gong,
marimba, tam-tam,
japanese high, wood
block, percussion 2: s)
SKU: PR.41641511L
For Violin And
Orchestra. Composed
by Chen Yi. Contemporary.
Large Score. With
Standard Notation.
Duration 10 minutes.
Theodore Presser Company
#416-41511L. Published by
Theodore Presser Company
(PR.41641511L).
UPC:
680160621293.
Commi
ssioned by Kennesaw State
University Symphony
Orchestra in 2012,
Chinese Rap for violin
and orchestra is
premiered by Prof. Helen
Kim as the soloist and
the KSUSO led by Prof.
Michael Alexander at
Bailey Center in KSU, GA
on Feb. 17, 2014. The
work is inspired by
Chinese folk musical
story telling, Quyi, in a
form of mixed reciting
and singing style, with
interludes played by
percussion and plucking
instruments in
accompaniment. The folk
musical story telling is
sung in dialects from
different geographic
regions. I mixed all
these elements in a
complex three-part form,
with an introduction, a
cadenza in the middle,
and a coda as the frame
in the structure. The
melodies are delicate and
leisurely, and the
rhythmic parts are
energetic, vivid and
lively. There are big
contrasts between
sections, which are
juxtaposed and connected
smoothly and
congenially. Commissio
ned by Kennesaw State
University Symphony
Orchestra in 2012,Chinese
Rap for violin and
orchestra is premiered by
Prof. Helen Kim as
thesoloist and the KSUSO
led by Prof. Michael
Alexander at Bailey
Center inKSU, GA on Feb.
17, 2014. The work is
inspired by Chinese folk
musical storytelling,
Quyi, in a form of mixed
reciting and singing
style, with
interludesplayed by
percussion and plucking
instruments in
accompaniment. The
folkmusical story telling
is sung in dialects from
different geographic
regions. Imixed all these
elements in a complex
three-part form, with an
introduction, a cadenza
in the middle, and a coda
as the frame in the
structure. The melodies
are delicate and
leisurely, and the
rhythmic parts are
energetic, vivid and
lively. There are big
contrasts between
sections, which are
juxtaposed and connected
smoothly and
congenially.
(60 Traditional Pieces - Book/CD). Composed by Various. Arranged by Iain Fraser....(+)
(60 Traditional Pieces -
Book/CD). Composed by
Various. Arranged by Iain
Fraser. For Fiddle.
String Solo. Softcover
with CD. Schott Music
#ED13700. Published by
Schott Music
For
violin, Violoncello and
Orchestra (Double
Concerto). Composed
by Ellen Taaffe Zwilich.
Set of parts. With
Standard notation.
Duration 18 minutes.
Theodore Presser Company
#446-41076P. Published by
Theodore Presser Company
(PR.44641076P).
Violin. Arranged by Various. Play-Along; String Series. Instrumental Solo...(+)
Violin. Arranged
by Various. Play-Along;
String Series.
Instrumental Solos
Series. Pop. Book; CD. 20
pages. Alfred Music
#00-46311. Published by
Alfred Music (AP.46311).
For
violin , Violoncello,
Piano and Orchestra.
Composed by Ellen Taaffe
Zwilich. Classical. Large
Score. With Standard
notation. Composed 1995.
Duration 24 minutes.
Theodore Presser Company
#446-41102. Published by
Theodore Presser Company
(PR.446411020).
Violin. Arranged by Various. Play-Along; Solo; String Series. Instrumental Sol...(+)
Violin. Arranged by
Various.
Play-Along; Solo; String
Series. Instrumental
Solos
Series. Masterwork
Arrangement. Book; CD. 40
pages. Alfred Music #00-
47065. Published by
Alfred
Music