With Suggested Chordal Accompaniment. Composed by Craig Duncan. Violin,Guitar: Gospel and Sacred,Style,Gospel/Sacre d,Du ets and Ensembles,Solos,Duets and Ensemble,Solos. 100 Hymns. Book. 120 pages. Published by Mel Bay Publications, Inc

By Manuel de Falla. For Voz y Guitarra. Published by Editorial de Musica Boileau (Spanish import).

By Astor Piazzolla (1921-1992). For violin and guitar. Hal Leonard Fretted. Latin and Argentina. Difficulty: medium. Instrumental duet book. A biography of Astor Piazzolla. 80 pages. Published by Hal Leonard

With Suggested Chordal Accompaniment. Composed by Craig Duncan. Violin,Guitar: Gospel and Sacred,Style,Featured Products,Duets and Ensembles,Solos,Duets and Ensemble,Solos,Holiday: Christmas,. 100 Hymns. Book. 124 pages. Published by Mel Bay Publications, Inc

With Suggested Chordal Accompaniment. Composed by William Bay. Violin,Guitar: Classical and Lute,Guitar: Gospel and Sacred,Style,Liturgical,D uets and Ensembles,Solos,Duet and Ensemble,Solos,Duets and Ensemble. 100 Hymns. Book. 132 pages. Published by Mel Bay Publications, Inc

Violin, Guitar

SKU: UT.CH-335

Composed by Nicolo Paganini. Edited by Italo Vescovo. Saddle stitching. Classical. Score and Parts. Ut Orpheus #CH 335. Published by Ut Orpheus (UT.CH-335).

ISBN 9790215326538. 9 x 12 inches.

The Trois airs variés for violin and piano belong to the small nucleus of compositions for this scoring which, in the Catalogo tematico, also includes the Cantabile in D major (M.S.109), the only original manuscript piece for violin and piano recently published in a critical edition, and the Quattro Notturni a quartetto (M.S.15). This ‘triptych’, whose authorship is unknown, is familiar thanks to the nineteenth-century editions Ricordi, Pacini and Hofmeister, the only evidence of the piece which is placed in the Catalogo tematico at n. 3 of the uncertain works (Section V, pp. 346-347), that is, those works whose authorship remains in doubt due to the lack of objectively valid documents. This placing does not categorically exclude the originality of the piece, at least as regards the violin part, and that Gustavo Carulli ‘completed’ them later by adding the piano part. Given that to date there is no evidence to deny Paganini’s authorship of the piece, we rely on the editorial tradition documented by the three publications mentioned above and, of course, on the style of the composition.
Regarding the instrumental aspect, the technical peculiarity is given by the exclusive use of the 4th string which must be transposed one tone above, in all three airs, including the variations. Concerning the piano part composed by Gustavo Carulli, it can only be said that it is simple and functional, aimed at highlighting the violin part, nothing more. Since the piano part is not original, the guitar has been thought of as the ideal instrument (as indeed is proved by Paganini’s considerable musical production for this scoring) to support the violin part and which is better suited to these small but pleasant pieces. In the transposition for guitar, however, the aim has been to include Gustavo Carulli’s musical lesson, where it is convincing, in other cases, however, the preference has been to find different solutions, while trying to remain within Paganini’s ‘style’ also as regards writing for the guitar. The present edition therefore seeks to be a plausible alternative to the previous editions, also in order to make these delightful but forgotten pieces more usable.

For Violin and Guitar. By Nicolo Paganini. Edited by R. De Barbieri, A. Cantu. This edition: HN473. Violin. Henle Music Folios. Pages: Score = VI and 32 * Guitar Part = 20. Urtext edition-paper bound. 60 pages. Published by G. Henle.