44 Transcriptions from 15 Championship Rounds. Edited by Nate Olson. Squa...(+)
44 Transcriptions from
15 Championship
Rounds. Edited by
Nate Olson. Squareback
saddle stitch. Book and
online audio. 116 pages.
Published by Mel Bay
Publications, Inc
(MB.21400M).
For Violin &
Orchestra. Composed
by Thomas Pasatieri.
Strings, Violin,
Orchestra. Violin &
Orchestra. Study Score.
Composed 1994. Duration
9'. Subito Music
Corporation #91910030.
Published by Subito Music
Corporation
(SU.91910030).
Vln,1111,2100,
stgs Duration: 9' Version
for Violin &
Piano available for sale
(#91940010)
Composed: 1994
Published by: Subito
Music
Publishing
Fiddle, Violin - Difficulty: medium SKU: HL.235 By Various. Fiddle. Folk....(+)
Fiddle, Violin -
Difficulty: medium
SKU: HL.235
By
Various. Fiddle. Folk.
Solo fiddle songbook.
With performance notes,
introductory text and
standard notation. 96
pages. Published by
Centerstream Publications
(HL.235).
ISBN
9781574240566. UPC:
073999567786. 9x12
inches.
This
comprehensive collection
of fabulous fiddle tunes
includes reels,
hornpipes, strathspeys,
jigs, waltzes and slow
airs.
Featuring 43 Fiddlers
and 188 of Their
Tunes. Perfect
binding. Folk. Book. 212
pages. Mel Bay
Publications, Inc #30091.
Published by Mel Bay
Publications, Inc
(MB.30091).
ISBN
9781513466378. 8.75 x
11.75
inches.
Appalachian
fiddle music, based on
the musical traditions of
the people who settled in
the mountainous regions
of the southeastern
United States, is
widely-known and played
throughout North America
and parts of Europe
because of its complex
rhythms, its catchy
melodies, and its
often-ancient-sounding
stylistic qualities. The
authors explore the lives
and music of 43 of the
classic Appalachian
fiddlers who were active
during the first half of
the 20th century. Some of
them were recorded
commercially in the
1920s, such as Gid
Tanner, Fiddlin? John
Carson, and Charlie
Bowman. Some were
recorded by folklorists
from the Library of
Congress, such as William
Stepp, Emmett Lundy, and
Marion Reece. Others were
recorded informally by
family members and
visitors, such as John
Salyer, Emma Lee
Dickerson, and Manco
Sneed. All of them played
throughout most of their
lives and influenced the
growth and stylistic
elements of fiddle music
in their regions. Each
fiddler has been given a
chapter with a biography,
several tune
transcriptions, and tune
histories. To show the
richness of the music,
the authors make a
special effort to show
the musical elements in
detail, but also
acknowledge that nothing
can take the place of
listening. Many of the
classic recordings used
in this book can be found
on the web, allowing you
to hear and read the
music together.
by Stacy Phillips. For fiddle. All styles, fiddle tunes. Level: Multiple Levels....(+)
by Stacy Phillips. For
fiddle. All styles,
fiddle tunes. Level:
Multiple Levels. Book.
Solos. Size 8.75x11.75.
268 pages. Published by
Mel Bay Pub., Inc.
By Stacy Phillips. For Fiddle. Solos. Fiddle Tunes. Level: Beginning-Intermediat...(+)
By Stacy Phillips. For
Fiddle. Solos. Fiddle
Tunes. Level:
Beginning-Intermediate.
Book. Size 8.75x11.75. 64
pages. Published by Mel
Bay Publications, Inc.
Violin, Piano and String Orchestra SKU: BT.WH31276 For Violin, Piano a...(+)
Violin, Piano and String
Orchestra
SKU:
BT.WH31276
For
Violin, Piano and String
Orchestra. Composed
by Hans Abrahamsen.
Classical. Score Only.
Composed 2011. 62 pages.
Edition Wilhelm Hansen
#WH31276. Published by
Edition Wilhelm Hansen
(BT.WH31276).
ISBN
9788759821916.
English.
Commission
ed by The Royal Danish
Orchestra and The Swedish
Chamber Orchestra. Full
Score. Ensemble Violin
Solo Piano Solo bring a
Marimba mallet for
playing inside the Piano
String Orchestra
(6-6-4-4-2) the number of
string players may be
doubled, 12-12-8-8-4 if
doubling the strings then
Desk 1 means Desk 1+2,
Desk 2 means 3+4 etc.
Performance Notes
General: The set-up on
stage is important, with
two Violin groups on each
side on the platform:
Vilin 1 lefts and Violin
2 right, as seen from the
audience 1st Movement :
In bar 1 &, 7 the
entire string group
should adjust their
intonation to the Double
Basses and their natural
harmonics. In the rest of
the movement
normalintonation should
be used. The slow and
rhythmical vibrato pulse
should follow the accents
2nd Movement : The 10/5
meter is divided into two
beats, and the dotted
lines show the position
of the second beat in
each bar 3rd Movement :
no comment 4th Movement :
The very high harmonics
are intended as mostly a
high 'airy' sound. The
small gliss/portamenti
that will invariably
occur in the fast shofts
of positions are
intended.
Violon [Partition + CD] - Débutant Oxford University Press
(A first book of very easy pieces for violin) Written by Kathy and David Blackwe...(+)
(A first book of very
easy pieces for violin)
Written by Kathy and
David Blackwell.
Collection and
accompaniment CD for
violin. 32 pages.
Published by Oxford
University Press.
The Untold Story of Ervin T. Rouse, Chubby Wise, Johnny Cash and the Orange Blos...(+)
The Untold Story of Ervin
T. Rouse, Chubby Wise,
Johnny Cash and the
Orange Blossom Special.
By Randy Noles. Fiddle.
Softcover. 226 pages.
Published by Centerstream
Publications.
(Serie IV - Italie 1600-1800). Edited by Alessandro Moccia. For Violin. Facsimil...(+)
(Serie IV - Italie
1600-1800). Edited by
Alessandro Moccia. For
Violin. Facsimiles.
Methodes and Traites.
Grade 0. 904 pages.
Published by Anne Fuzeau
Productions - France
Violin - intermediate SKU: BT.DHP-1135448-400 Solo Arrangements of 14 ...(+)
Violin - intermediate
SKU:
BT.DHP-1135448-400
Solo Arrangements of
14 Classic Songs with CD
Accompaniment.
Composed by Various. De
Haske Instrumental
Play-along.
TV-Film-Musical-Show.
Book with CD. Composed
2013. 28 pages. De Haske
Publications #DHP
1135448-400. Published by
De Haske Publications
(BT.DHP-1135448-400).
ISBN 9789043140881.
9x12 inches.
English.
Now solo
instrumentalists can play
play along with 14
intermediate-level tunes
from Musicals like The
Sound of Music, Mary
Poppins and Beauty and
the Beast.These books
include CDs with
orchestral accompaniment
tracks. ABC (THRILLER
- The Musical) Always
Look on the Bright Side
(SPAMALOT) Beauty And
The Beast (BEAUTY AND THE
BEAST) Belle (BEAUTY
AND THE BEAST) Circle
of Life (THE LION
KING) Defying Gravity
(WICKED) Good Morning
Baltimore
(HAIRSPRAY) I Just
Cant Wait To Be King (THE
LION KING) My
Favourite Things (THE
SOUND OF MUSIC) One
Short Day
(WICKED) Sixteen Going
On Seventeen (THE SOUND
OF
MUSIC) Supercalifragil
isticexpialidocious (MARY
POPPINS) That Face
(THE PRODUCERS) We Are
The Champions (WE WILL
ROCK YOU)
Wem
BEST OF FILM and TV
gefällt, wird auch
Freude an BEST OF MUSICAL
haben. Die 14
mittelschweren
Solostücke aus
bekannten Musicals
können zur
Orchesterbegleitung der
CD gespielt werden. Das
macht richtig Laune!
Inhalt: ABC (THRILLER
- The Musical) Always
Look on the Bright Side
(SPAMALOT) Beauty And
The Beast (BEAUTY AND THE
BEAST) Belle (BEAUTY
AND THE BEAST) Circle
of Life (THE LION
KING) Defying Gravity
(WICKED) Good Morning
Baltimore
(HAIRSPRAY) I Just
Cant Wait To Be King (THE
LION KING) My
Favourite Things (THE
SOUND OF MUSIC) One
Short Day
(WICKED) Sixteen Going
On Seventeen (THE SOUND
OF
MUSIC) Supercalifragil
isticexpialidocious (MARY
POPPINS) That Face
(THE PRODUCERS) We Are
The Champions (WE WILL
ROCK YOU)
By Martin Norgaard. For Violin. Method. Jazz Wizard. Jazz. Level: Intermediate. ...(+)
By Martin Norgaard. For
Violin. Method. Jazz
Wizard. Jazz. Level:
Intermediate. Book/CD
Set. Size 8.75x11.75. 64
pages. 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.
