For Violin, Oboe &
Guitar. Composed by
Meyer Kupferman. Guitar,
Chamber Music with
Guitar, Chamber Music,
Mixed Ensemble.
Performance Score. Subito
Music Corporation
#80119811. Published by
Subito Music Corporation
(SU.80119811).
Violin, Oboe &
Guitar Composed: 1998
Published by: Soundspells
Productions Includes set
of 3 scores. New
Space (1998) is an 18
minute trio for violin,
oboe, and guitar
(amplified), written for
William Anderson and
Roberto Limón, in
celebration of the births
of their sons.
Orchestra 2 Bassoons, 2 Clarinets (Clarinet II doubles on Bass Clarinet), 2 Oboe...(+)
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).
Violin, Oboe, Cello & Piano SKU: SU.32040060 For Violin, Oboe, Cello &...(+)
Violin, Oboe, Cello &
Piano
SKU:
SU.32040060
For
Violin, Oboe, Cello &
Piano. Composed by
Amy Riebs Mills. Chamber
Music, Piano
Quartet/Quintet. Score &
Parts. Subito Music
Corporation #32040060.
Published by Subito Music
Corporation
(SU.32040060).
Violin, Oboe,
Cello & Piano Duration:
6' Composed: 2012
Published by: Amy Mills
Music, LLC 3 movements I.
Seven Toes Down II. En
Pointe III. Muddy Boots
This charming suite has
three short movements,
each with its own
character. The suite
bursts open with
breathless energy. Seven
Toes Down is modal, in
7/8 time, with people
dancing in bare feet on
bare ground, so
vigorously that it kicks
up the dust. En Pointe
opens with a lovely
waltz, then it focuses in
on the tiny, delicate
movements of a ballerina
high up on her toes.
Muddy Boots is big strong
guys, covered with dirt
from a hard day of work,
practicing one-upmanship.
Different players have
the chance to show what
they can do, surrounded
by their friends. Then we
catch another glimpse of
the ballerina before
closing playfully with
Seven Toes Down.
Difficulty Level: 4
(Advanced) See composer
website for audio
sample.
Improvisations Violon [Conducteur et Parties séparées] Seesaw Music Corp
Violinn, Oboe (or Saxophone) & Piano SKU: SU.50033960 For Violinn, Obo...(+)
Violinn, Oboe (or
Saxophone) & Piano
SKU: SU.50033960
For Violinn, Oboe (or
Saxophone) & Piano.
Composed by Paul Turok.
Chamber Music, Mixed
Ensemble. Score & Parts.
Seesaw Music Corp
#50033960. Published by
Seesaw Music Corp
(SU.50033960).
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, Viola, Oboe and
Bassoon - Study
Score. Composed by
Gian Francesco Malipiero.
Music Sales America.
Classical. Softcover.
Composed 2014. 14 pages.
Edition Wilhelm Hansen
#WH24015. Published by
Edition Wilhelm Hansen
(HL.14043548).
ISBN
9788759886700.
8.25x11.75x0.138 inches.
Italian.
Epodi E
Giambi for Violin, Viola,
Oboe and Bassoon, was
composed by Gian
Francesco Malipiero in
1932.
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).
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).
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.
Violinn, Oboe & Piano SKU: SU.50011780 For Violinn, Oboe & Piano. ...(+)
Violinn, Oboe & Piano
SKU: SU.50011780
For Violinn, Oboe &
Piano. Composed by
Antony Garlick. Chamber
Music, Mixed Ensemble.
Score & Parts. Seesaw
Music Corp #50011780.
Published by Seesaw Music
Corp (SU.50011780).
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).
Kasace No. 2 Violon [Conducteur et Parties séparées] Seesaw Music Corp
Violin, Oboe d'amore or Clarinet, Percussion, & Piano SKU: SU.50019150 (+)
Violin, Oboe d'amore or
Clarinet, Percussion, &
Piano
SKU:
SU.50019150
For
Violin, Oboe d'amore or
Clarinet, Percussion, &
Piano. Composed by
Jiri Laburda. Chamber
Music, Mixed Ensemble.
Score & Parts. Seesaw
Music Corp #50019150.
Published by Seesaw Music
Corp (SU.50019150).
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).
By Jean-Marie Leclair (1697-1764). Edited by Jean Saint-Arroman. For Violin. Thi...(+)
By Jean-Marie Leclair
(1697-1764). Edited by
Jean Saint-Arroman. For
Violin. This edition:
Facsimile. La Musique
Francaise Classique de
1650 a 1800. Score. 128
pages. Published by Anne
Fuzeau Productions -
France
Speel viool! deel 3 Violon SATB, Orchestre [Partition + CD] De Haske Publications
Violin SKU: BT.DHP-1084617-400 Composed by Gunter Van Rompaey, Jaap van E...(+)
Violin
SKU:
BT.DHP-1084617-400
Composed by Gunter Van
Rompaey, Jaap van Elst,
and Wim Meuris. Speel
viool! Book with CD.
Composed 2009. 60 pages.
De Haske Publications
#DHP 1084617-400.
Published by De Haske
Publications
(BT.DHP-1084617-400).
ISBN 9789043130592.
9x12 inches.
Dutch.
Speel
viool! is uitstekend
geschikt voor gebruik in
de individuele of
groepsles. Met 24
gestructureerde lessen en
twee zorgvuldig
samengestelde cdâ??s
vormt elk deel een prima
leidraad voor iedere
vioolleerling. De methode
onderscheidtzich door
duidelijke instructies,
intonatie- en
naspeeloefeningen (met de
cdâ??s als hulpmiddel),
ritmeoefeningen,
opdrachten en spelletjes.
De leerstof is ook
verwerkt in bekende en
nieuwe speelstukjes,
evenals duetten.Een
kruiswoordraadsel (deel
1), een sudoku (deel 2)
en interessante
achtergrondinformatie
maken de boeken extra
aantrekkelijk voor de
leerling.Viool leren
spelen wordt zo nóg
leuker!Deel 1 behandelt
onder meer:â?¢
pizzicatospelâ?¢
deeerste twee
vingerstandenâ?¢ vlot
leren strijkenâ?¢
legatospelâ?¢
snaarwisselingenâ?¢
basistoonladdersâ?¢
fluittonenâ?¢ eenvoudig
dubbelsnarenspelâ?¢
improvisatieâ?¢
bewegingsoefeningenDeel 2
behandelt onder
meer:â?¢ de derde en de
vierde vingerstandâ?¢de
derde positie (tweede
vingerstand), eenvoudige
positiewisselingenâ?¢
grote- en
kleine-tertstoonladders,
evenals drieklankenâ?¢
staccato, portato,
spiccato (basis)â?¢
vibrato â?¢
syncopenâ?¢ triolen
â?¢ dubbelgrepen â?¢
zittend spelenâ?¢
muzikaleaanduidingen
â?¢ fluittonenDe
pianobegeleidingen van
Speel viool! zijn
afzonderlijk
verkrijgbaar. Bij elk van
de pianoboeken hoort een
cd waarop de
begeleidingen te horen
zijn, ingespeeld op een
echte vleugel.Extra
speelmateriaalvoor bij
deel 1 (vanaf les 8) en
deel 2:.
Violin - beginner SKU: BT.DHP-1064227-400 Vioolmethode deel 2. Com...(+)
Violin - beginner
SKU:
BT.DHP-1064227-400
Vioolmethode deel
2. Composed by Gunter
Van Rompaey, Jaap van
Elst, and Wim Meuris.
Speel viool! Book with
CD. Composed 2006. 64
pages. De Haske
Publications #DHP
1064227-400. Published by
De Haske Publications
(BT.DHP-1064227-400).
ISBN 9789043126328.
9x12 inches.
Dutch.
Speel
viool! is uitstekend
geschikt voor gebruik in
de individuele of
groepsles. Met 24
gestructureerde lessen en
twee zorgvuldig
samengestelde cdâ??s
vormt elk deel een prima
leidraad voor iedere
vioolleerling. De methode
onderscheidtzich door
duidelijke instructies,
intonatie- en
naspeeloefeningen (met de
cdâ??s als hulpmiddel),
ritmeoefeningen,
opdrachten en spelletjes.
De leerstof is ook
verwerkt in bekende en
nieuwe speelstukjes,
evenals duetten.Een
kruiswoordraadsel (deel
1), een sudoku (deel 2)
en interessante
achtergrondinformatie
maken de boeken extra
aantrekkelijk voor de
leerling.Viool leren
spelen wordt zo nóg
leuker!Deel 1 behandelt
onder meer:â?¢
pizzicatospelâ?¢
deeerste twee
vingerstandenâ?¢ vlot
leren strijkenâ?¢
legatospelâ?¢
snaarwisselingenâ?¢
basistoonladdersâ?¢
fluittonenâ?¢ eenvoudig
dubbelsnarenspelâ?¢
improvisatieâ?¢
bewegingsoefeningenDeel 2
behandelt onder
meer:â?¢ de derde en de
vierde vingerstandâ?¢de
derde positie (tweede
vingerstand), eenvoudige
positiewisselingenâ?¢
grote- en
kleine-tertstoonladders,
evenals drieklankenâ?¢
staccato, portato,
spiccato (basis)â?¢
vibrato â?¢
syncopenâ?¢ triolen
â?¢ dubbelgrepen â?¢
zittend spelenâ?¢
muzikaleaanduidingen
â?¢ fluittonenDe
pianobegeleidingen van
Speel viool! zijn
afzonderlijk
verkrijgbaar. Bij elk van
de pianoboeken hoort een
cd waarop de
begeleidingen te horen
zijn, ingespeeld op een
echte vleugel.Extra
speelmateriaalvoor bij
deel 1 (vanaf les 8) en
deel 2:.
Violin SKU: AP.48726 International Edition. By Hilary Hahn and Nat...(+)
Violin
SKU:
AP.48726
International
Edition. By Hilary
Hahn and Natalie Zhu.
This edition:
Performance/Accompaniment
CD; International.
MakeMusic Cloud;
Method/Instruction;
String - Violin (Suzuki);
Suzuki. Suzuki Violin
School. CD. Alfred Music
#00-48726. Published by
Alfred Music (AP.48726).
ISBN 9781470644161.
UPC: 038081560373.
English.
Teach
violin with the popular
Suzuki Violin School! The
Suzuki Method of Talent
Education is based on
Shinichi Suzuki's view
that every child is born
with ability, and that
people are the product of
their environment.
According to Shinichi
Suzuki, a world-renowned
violinist and teacher,
the greatest joy an adult
can know comes from
developing a child's
potential so he/she can
express all that is
harmonious and best in
human beings. Students
are taught using the
mother-tongue approach.
Each series of books for
a particular instrument
in the Suzuki Method is
considered a Suzuki music
school, such as the
Suzuki Violin School.
Suzuki lessons are
generally given in a
private studio setting
with additional group
lessons. The student
listens to the recordings
and work with their
Suzuki violin teacher to
develop their potential
as a musician and as a
person.
This CD
of the Suzuki violin
method, Volume 2 features
recordings by Hilary Hahn
in collaboration with
pianist Natalie Zhu, as
well as piano
accompaniment only tracks
for play-along purposes.
The
Suzuki Method is based on
the principle that all
children possess ability
and that this ability can
be developed and enhanced
through a nurturing
environment. All children
learn to speak their own
language with relative
ease and if the same
natural learning process
is applied in teaching
other skills, these can
be acquired as
successfully. Suzuki
referred to the process
as the Mother Tongue
Method and to the whole
system of pedagogy as
Talent Education. The
important elements of the
Suzuki approach to
instrumental teaching
include the following:an
early start (aged 3-4 is
normal in most
countries); the
importance of listening
to music; learning to
play before learning to
read; -the involvement of
the parent; a nurturing
and positive learning
environment; a high
standard of teaching by
trained teachers; the
importance of producing a
good sound in a balanced
and natural way; core
repertoire, used by
Suzuki students across
the world; social
interaction with other
children. Suzuki students
from all over the world
can communicate through
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Piano Accompaniment; Violin (Score and Solo Part) SKU: HL.50600999 For...(+)
Piano Accompaniment;
Violin (Score and Solo
Part)
SKU:
HL.50600999
For
Violin and Piano
Accompaniment.
Composed by Slawa
Ulanowski. String.
Classical. Softcover. 12
pages. Sikorski #SIK8838.
Published by Sikorski
(HL.50600999).
8.25x11.75x0.084
inches.
The Russian
composer Slava Ulanovski,
born on 18 November 1951
in Moscow, composed his
chamber music piece
“At the Western
Wall†in 2011 and
has dedicated the work to
Oleg and Alexander
Krimer. This edition
comprises the version for
violin and piano.
Ulanovski also composed a
version for oboe and
piano in 2011, this
version will be soon
available as part of the
edition series
“exempla
nova.â€.
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 SKU: HL.50497648 Violin 2 Part. Composed by Evaristo Felice...(+)
Violin
SKU:
HL.50497648
Violin
2 Part. Composed by
Evaristo Felice
Dall'Abaco. Arranged by
Friedrich Buck. Ensemble.
Classical. Softcover. Hal
Leonard #SIK0601VL2.
Published by Hal Leonard
(HL.50497648).
Reconstruction after BWV 1060. By Johann Sebastian Bach. Edited by Wilfried Fisc...(+)
Reconstruction after BWV
1060. By Johann Sebastian
Bach. Edited by Wilfried
Fischer. For Violin Solo.
Single Part. Published by
Baerenreiter-Ausgaben
(German import). (BA5147
77)
16 Easy to Intermediate Pieces from 18th century Sweden. Composed by Various. Ed...(+)
16 Easy to Intermediate
Pieces from 18th century
Sweden. Composed by
Various. Edited by Jeremy
Barlow. This edition:
Saddle stitching. Sheet
music with CD. 16 leichte
bis mittelschwere Stucke
aus dem Schweden des 18.
Jahrhunderts. Classical.
Edition with CD. 68
pages. Schott Music #ED
12863. Published by
Schott Music
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).
Chamber Orchestra; Viola; Violin (Study Score) SKU: HL.14023605 For Vi...(+)
Chamber Orchestra; Viola;
Violin (Study Score)
SKU: HL.14023605
For Violin, Viola and
Chamber Orchestra.
Composed by Michael
Nyman. Music Sales
America. Classical.
Studyscore. Composed
2002. 118 pages. Chester
Music #CH61649. Published
by Chester Music
(HL.14023605).
ISBN
9780711992412.
9.25x12.0x0.38
inches.
Drowning By
Numbers, arranged by the
composer from his
sound-track for the film
by Peter Greenaway for
Violin, Viola, and
Chamber Orchestra. This
work was commissioned by
the London Mozart
Players, and first
performed December 1998
at the Warwick Arts
Centre. Duration 20
minutes. Full Score and
parts are available on
hire from the publishers.
Instrumentation: Solo
Violin, Solo Viola, 2
Flutes, Oboe, Cor
Anglais, 2 B Flat
Clarinets, 2 Bassoons, 2
Horns in F, 2 Trumpets in
C, Bass Trombone, Piano,
Strings (8.6.4.4.2).
Violin - beginning SKU: SP.TS556 Composed by Tony Santorella. Reference; ...(+)
Violin - beginning
SKU: SP.TS556
Composed by Tony
Santorella. Reference;
Educational. Reference,
Educational. Chart. 4
pages. Santorella
Publications #TS556.
Published by Santorella
Publications (SP.TS556).
ISBN
9781585609161.
Due
to the success of our
Instrumental Fingering
Posters, we thought it
would be helpful to
create a smaller version
that could be tucked
comfortably into any
method book as a
reference guide.
Unbeknownst to us after
days of research, we were
left with countless
questions, much
confusion, and a slew of
poorly crafted images
from contradicting
publications. That being
said, we realized that
there weren't truly any
trustworthy resources in
print and decided to
address the void. We
consulted experts in
every category asking
questions until both we
and they and we were
satisfied. Finally, a
guide to fingering for
beginners that even the
experienced players will
find beneficial.
Santorella's Basic
Fingering Charts are
essential for anyone that
picks up an instrument.
Initially intended for
beginners but after
understanding the
importance of false
fingerings or more
appropriately called,
alternate fingerings
their necessity is vital
for playing certain
musical passages on a
particular instrument. In
addition, after observing
the difficulties that
students had in
identifying key
signatures, we decided to
include the Circle of
Fifths diagram and every
major scale in two
octaves in every key
including their
enharmonic counterparts.
After all was said in
done, we now know, we now
have the best educational
products available for
fingering in the
industry. Our Basic
Fingering Charts are
perfect for private
students, classroom
study, or simply for a
quick and easy reference
guide while practicing at
home. These graphic
reference guides for
assorted brass, reeds,
woodwinds, and orchestral
strings are specifically
available for Clarinet,
Bass Clarinet, Trumpet,
Flute, Piccolo, Recorder,
Baritone Horn, Trombone,
Bass Trombone, Alto Sax,
Soprano Sax, Tenor Sax,
Baritone Sax, French
Horn, Euphonium, Tuba,
Oboe, Bassoon, Violin,
Viola, Cello, and Bass.
Every chart displays the
entire range of each
instrument by clearly
depicting the fingering
for each note including
all their enharmonic
substitutions. Each chart
includes a diagram
identifying the levers,
valves, keys, slides,
frets and more of each
and every instrument.
Learn where, when, and
why to place your
fingers. Now is the time
to truly start playing
with assured
confidence.