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.
(A Revolutionary Method for Early-Intermediate Musicians (Violin)). By Bob Phill...(+)
(A Revolutionary Method
for Early-Intermediate
Musicians (Violin)). By
Bob Phillips, Peter
Boonshaft, and Robert
Sheldon. Orchestra. For
Violin. This edition:
Violin. Book; CD; DVD;
Method/Instruction;
String Orchestra
Method/Supplement. Sound
Innovations. 48 pages.
Published by Alfred Music
Publishing
(From Playford's Dancing Master). Edited by Jeremy Barlow. For Violin. Book; Sol...(+)
(From Playford's Dancing
Master). Edited by Jeremy
Barlow. For Violin. Book;
Solo; String - Violin
Studies or Collection.
Faber Edition.
Multicultural.
Intermediate. Published
by Faber Music
(Mini-Pieces for Beginner Violinists). By Mary Cohen. For Violin. Book; Method/I...(+)
(Mini-Pieces for Beginner
Violinists). By Mary
Cohen. For Violin. Book;
Method/Instruction;
String - Violin Studies
or Collection. Faber
Edition. Elementary.
Published by Faber Music
Songs and Themes from the Latest Movies and Television Shows (Violin). Arran...(+)
Songs and Themes from the
Latest Movies and
Television
Shows (Violin). Arranged
by
Various. Book; CD; Play-
Along; SmartMusic; String
Series. Alfred's
Instrumental Play-Along.
Movie; Pop; TV. 28 pages.
Published by Alfred Music
For Violin. Book; CD; Play-Along; String Series. Pop Instrumental Solo Series. R...(+)
For Violin. Book; CD;
Play-Along; String
Series. Pop Instrumental
Solo Series. Rock. Grade
2; Grade 2.5; Grade 3. 84
pages. Published by
Alfred Music Publishing
(Violin). Arranged by Victor López. For Violin. Book; Mixed Instruments - Fle...(+)
(Violin). Arranged by
Victor López. For
Violin. Book; Mixed
Instruments - Flexible
Instrumentation.
U.Play.Plus. Pop/Rock.
Grade 2.5; Grade 3. 24
pages. Published by
Alfred Music Publishing
Violin SKU: BT.EMBZ1975 Composed by Tivadar Orszagh. Studies & Exercises....(+)
Violin
SKU:
BT.EMBZ1975
Composed
by Tivadar Orszagh.
Studies & Exercises. Book
Only. Composed 1955. 44
pages. Editio Musica
Budapest #EMBZ1975.
Published by Editio
Musica Budapest
(BT.EMBZ1975).
This is a
revised edition of the
scale studies published
in 1948. It contains the
major and minor scales
used during violin
teaching at elementary
level as well as broken
triads and seventh
chords. Its mission is to
gradually prepare the
player for the volume
''Das Skalensystem by
Carl Flesch, used in
advanced level
teaching.It depends on
the needs of the student
whether to make use of
the fingering suggested
in the music or a
different one: the same
musical patterns can be
realized in many
different ways.
Similarly, bowing,
rhythmic patterns, and
dynamic levels may be
altered according to
taste.As far as
progressions in thirds,
sixths, octaves, and
tenths are concerned,
dueto lack of space only
samples are given here.
Based on these,
transposed versions may
be elaborated
individually.
Violin SKU: HL.50485744 Composed by Tivadar Orszagh. EMB. Method. Book [S...(+)
Violin
SKU:
HL.50485744
Composed
by Tivadar Orszagh. EMB.
Method. Book [Softcover].
Editio Musica Budapest
#Z1975. Published by
Editio Musica Budapest
(HL.50485744).
ISBN
9780634090899. UPC:
073999328691. Bach (23 x
30,2 cm)
inches.
This is a
revised edition of the
scale studies published
in 1948. It contains the
major and minor scales
used during violin
teaching at elementary
level as well as broken
triads and seventh
chords. Its mission is to
gradually prepare the
player for the volume
''Das Skalensystem by
Carl Flesch, used in
advanced level
teaching.It depends on
the needs of the student
whether to make use of
the fingering suggested
in the music or a
different one: the same
musical patterns can be
realized in many
different ways.
Similarly, bowing,
rhythmic patterns, and
dynamic levels may be
altered according to
taste.As far as
progressions in thirds,
sixths, octaves, and
tenths are concerned, due
to lack of space only
samples are given here.
Based on these,
transposed versions may
be elaborated
individually.
Chamber Music Violin SKU: PR.144407530 Composed by Lauren Bernofsky. 12 p...(+)
Chamber Music Violin
SKU: PR.144407530
Composed by Lauren
Bernofsky. 12 pages.
Duration 10 minutes, 30
seconds. Merion Music
#144-40753. Published by
Merion Music
(PR.144407530).
ISBN
9781491136614. UPC:
680160687992.
A
violinist herself, Lauren
Bernofsky has described
SONATA FOR SOLO VIOLIN as
drawn from
autobiographical
inspiration, including
gestures from Bachâ??s
beloved Partita in E
Major. Bernofsky opens
with a Preludio movement
whose references to Bach
may be disguised, but
they are surely lurking.
The second movement is
lusciously contrapuntal
with the idiomatic
finesse of a violinist
composing for her own
instrument, while
musically journaling the
emotional pain of living
through 2020. The third
and final movement is
aptly marked
â??white-hot,â? and
the music certainly
is. My SONATA FOR SOLO
VIOLIN was commissioned
by violinist Megan Healy
as part of The Maud
Powell Project, which
celebrated the 100th
anniversary of the
ratification of the 19th
Amendment. The project
included the creation of
five new works for solo
violin inspired by and
dedicated to the memory
of pioneering American
violinist Maud Powell
(1867-1920). Healy
premiered the sonata on
May 8, 2021 at PianoForte
Studios in Chicago.Among
the works Powell most
frequently performed in
her recitals was the
â??Preludioâ?
movement from Bachâ??s E
major Partita, and I
decided to refer to that
music in my own first
movement, also titled
â??Preludio.â? The
beginning subtly reflects
Bachâ??s opening
three-note motive,
wherein the music dips
down a semitone and then
comes back up. This
melodic material returns
throughout the movement
in various forms. I also
refer to Bachâ??s
sixteenth-note dominated
texture, and the gesture
in the third measure,
which outlines a perfect
fifth and then fills it
in with notes that
alternate between a scale
and a pedal tone. The
corresponding passage in
my piece occurs in the
same place, measure 3.
Apart from these
references to Bach, my
sonata is much more
modern sounding,
especially in its
chromatic character.I was
still thinking of
Bachâ??s solo violin
writing while composing
the second movement,
particularly the
polyphonic nature of the
slow movements, where the
melodic interest moves
around between the
voices. Emotionally, I
wanted my movement to
reflect the acute sadness
I had been experiencing
over the political and
social situation in the
United States as I wrote
the piece. I realized
that this is a
historically noteworthy
time in U.S. history,
marked not only by
political unrest, but
also by a challenge to
the very values that I
consider essential to
what makes a person
fundamentally human. I
wanted to create a record
of that pain in my
music.The final movement
is marked
â??White-hot.â? It is
imbued with a relentless,
passionate intensity.
Wanting again to reflect
aspects of our own time,
I included glissandi that
refer to rock music,
specifically the
â??fall-offsâ? I
frequently hear played by
electric guitarists. I
borrowed from another
(completely different)
musical tradition as
well, one that is
near-and-dear to my
heart: Klezmer. Klezmer
(Eastern European Jewish
folk music) is
characterized in part by
scales colored by
augmented seconds, and is
often performed by solo
instrumentalists who
improvise embellishments
like quick grace notes.
The second, more lyrical
theme in this movement is
my nod to Klezmer
style.While this piece is
an homage to Maud Powell,
I also think of it as my
own musical
autobiography, as it
combines some of my
favorite aspects of
music, and is played on
my own instrument.
Violin - intermediate SKU: BT.DHP-1125236-400 Composed by Nico Dezaire. D...(+)
Violin - intermediate
SKU:
BT.DHP-1125236-400
Composed by Nico Dezaire.
De Haske String Technique
Series. Book with CD.
Composed 2012. 56 pages.
De Haske Publications
#DHP 1125236-400.
Published by De Haske
Publications
(BT.DHP-1125236-400).
ISBN 9789043145572.
9x12 inches.
Dutch.
Double
Stopping is a modern
method designed to teach
violinists who are fairly
confident in the 1st
position how to play
dyads on two strings as
well as double stops.
This is achieved through
38 exercises and 37
performance pieces in
various musical styles.
The various dyads and
double stops are offered
in a coherent and
structured way, and
indicated in different
colours. The performance
pieces can be played
without accompaniment,
with CD accompaniment or
as a duet, with the
second violin parts
provided as PDF files on
the CD.English edition:
DHP 1125089-400 Double
Stops for
Violin
Dubb
elgrepen voor viool -
Double Stopping is
een eigentijdse methode
om violisten met een
ruime speelervaring in de
eerste positie
samenklanken van twee
snaren en dubbelgrepen te
leren. Dit gebeurt door
middel van 38
oefeningenen 37
speelstukken in diverse
muzikale stijlen. De
verschillende
samenklanken en
dubbelgrepen worden
overzichtelijk en
gestructureerd aangeboden
en met verschillende
kleuren aangeduid. De
speelstukken kunnen zowel
onbegeleid,met
cd-begeleiding als met
een tweede vioolstem
worden uitgevoerd. De
duetten zijn geleverd als
uit te printen pdf-files
op de
cd.
Doppelgriff
e auf der Violine
richtet sich an
Geigenschüler, die
sich sicher in der ersten
Lage bewegen, und leitet
zum Spiel von
Zusammenklängen mit
zwei Saiten und
Doppelgriffen über.
Anhand von 38 Ã?bungen
und 37 Spielstücken in
verschiedenen Musikstilen
führt diese moderne
Methode übersichtlich
und strukturiert in die
diversen
Zusammenklänge und
Doppelgriffe ein.
Zusätzliche farbige
Markierungen
unterstützen dabei den
Lernprozess. Die
Spielstücke können
sowohl unbegleitet als
auch mit einer zweiten
Geigenstimme gespielt
werden. Die Duette sind
als PDF-Dateien zum
Ausdrucken auf der CD
enthalten.Deutschsprachig
e Ausgabe siehe DHP
1125237-400
Doppelgriffe aufder
Violine
(on a painting by Edvard Munch Young people on the beach Solo Violin). Composed ...(+)
(on a painting by Edvard
Munch Young people on the
beach Solo Violin).
Composed by Naji Hakim
(1955-). For Violin.
Schott. Softcover. 6
pages. Schott Music
#VLB156. Published by
Schott Music
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.
(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
Violin SKU: HL.360036 Composed by Various. Instrumental Folio. Chris...(+)
Violin
SKU:
HL.360036
Composed by
Various. Instrumental
Folio. Christian, General
Worship, Worship.
Softcover. 120 pages.
Published by Hal Leonard
(HL.360036).
ISBN
9781705122822. UPC:
840126947168. 9.0x12.0
inches.
This
glorious collection
provides hours of
repertoire for
instrumentalists.
Includes: Amazing Grace
(My Chains Are Gone)
â?¢ As the Deer â?¢
The Blessing â?¢ Build
My Life â?¢ Do It Again
â?¢ Draw Me Close â?¢
Everlasting God â?¢
Goodness of God â?¢
Great Are You Lord â?¢
Here I Am to Worship
(Light of the World)
â?¢ How Great Is Our
God â?¢ In Christ Alone
â?¢ Living Hope â?¢
Mighty to Save â?¢
Oceans (Where Feet May
Fail) â?¢ Open the Eyes
of My Heart â?¢ Shout
to the Lord â?¢ 10,000
Reasons (Bless the Lord)
â?¢ This Is Amazing
Grace â?¢ Way Maker
â?¢ Yet Not I but
Through Christ in Me
â?¢ Your Name â?¢ and
many more!
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).
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.
Edited by Edward Huws Jones. For violin(w/CD). Collection. Student book and play...(+)
Edited by Edward Huws
Jones. For violin(w/CD).
Collection. Student book
and play-along CD.
Published by ABRSM
(Associated Board of the
Royal Schools of Music)
Circus Time Violon [Partition + CD] - Facile De Haske Publications
Violin - early intermediate SKU: BT.DHP-1125245-400 14 showstoppers fo...(+)
Violin - early
intermediate
SKU:
BT.DHP-1125245-400
14 showstoppers for
violin play-along
performance. Composed
by Joachim Johow. Book
with CD. Composed 2012.
20 pages. De Haske
Publications #DHP
1125245-400. Published by
De Haske Publications
(BT.DHP-1125245-400).
ISBN 9789043141741.
9x12 inches.
English-German-French-Dut
ch.
The band
strikes up the circus
march for the entrance of
the artistes—the
audience waits
expectantly…Between
the Opening March
and the Grand
Finale the packed
audience is presented
with a colourful
programme: courageous
acrobats, comical clowns,
oriental belly dancers,
knife-throwers and snake
charmers appear one after
the other.Circus
Time is also
available for flute,
clarinet and alto
saxophone (in the same
sounding key). This opens
up all sorts of choices:
musicians can take turns
to perform or build a
real circus band, or
even—with the help
of scenery and
props—put on a
proper circus
performance. There is no
end of
possibilities!Theaccompan
ying CD contains demo and
play-along version of all
the pieces. Alternatively
the chord symbols
(written in concert
pitch) above the music
staff can be used for a
live accompaniment by
guitar and/or keyboard.
An optional piano
accompaniment is
available separately
(order number: DHP
1125344-401).On with the
show!
Het orkest
begint de circusmars te
spelen voordat de
artiesten opkomen - het
publiek wacht vol
spanning af…Van de
openingsmars tot de grand
finale krijgen de
toeschouwers een
kleurrijk programma
voorgeschoteld: moedige
acrobaten,grappige
clowns,
oostersebuikdanseressen,
messenwerpers en
slangenbezweerders volgen
elkaar op in de
piste.Circus Time
is ook beschikbaar voor
dwarsfluit, klarinet en
altsaxofoon (in dezelfde
klinkende toonsoort). Er
zijn dusallerlei
mogelijkheden: de
muzikanten kunnen elkaar
afwisselen met
solo-optredens of een
echt circusorkest vormen,
of zelfs - in een
geschikte omgeving en met
behulp van decorstukken -
een heus circusoptreden
verzorgen. Laat
jefantasie de vrije
loop.De bijgevoegde cd
bevat zowel demotracks
als begeleidingen voor
alle stukken. Voor live
begeleiding door keyboard
en/of gitaar staan de
akkoordsymbolen (klinkend
genoteerd) boven de
muziek. Optionele
pianobegeleidingenzijn
apart verkrijgbaar
(bestelnummer: DHP
1125344-401).Laat de show
maar beginnen!
Die
Kapelle spielt schon den
Zirkusmarsch zum Einzug
der Artisten - das
Publikum wartet
gespannt...Zwischen dem
Eröffnungsmarsch und dem Großen
Finale wird dem
geneigten Publikum ein
buntes Programm
präsentiert: Mutige
Akrobaten, lustige
Clowns, orientalische
Bauchtänzerinnen,
Messerwerfer und
Schlangenbeschwörer
treten nacheinander
auf.Circus Time
gibt es auch für
Klarinette, Altsaxophon
und Querflöte (in den
gleichen klingenden
Tonarten). So eröffnen
sich viele
Möglichkeiten
für die
Aufführung: Die
Musiker können
abwechselnd auftreten
oder ein ganzes
Zirkusorchester“
bilden und sogar -
ergänzt durch eine
szenische Umsetzung -
einerichtige
Zirkusvorstellung geben.
Der Fantasie sind keine
Grenzen gesetzt!Die
beiliegende CD enthält
Demo- und
Mitspielversionen aller
Stücke. Alternativ
zu den Mitspiel-Tracks
können die
Akkordsymbole (in
klingenden Tonarten)
über den Noten
für eine
Live-Begleitung durch
Keyboard und/oder Gitarre
genutzt werden. Optional
sind Klavierbegleitungen
separat erhältlich
(Bestellnummer: DHP
1125344-401).Manege frei!
Un viaggio nel
mondo circense che
consente ai musicisti di
suonare da soli, ma anche
di formare una vera band.
Il CD contiene una
versione demo e una
play-long di ogni brano.
In alternativa, grazie ai
simboli degli accordi
sopra il pentagramma, ci
si può esibire live
accompagnati dalla
chitarra e/o tastiera
(DHP 1125344-401).
Composed by Craig Duncan. Saddle-stitched. Celtic. Book and online audio. 60...(+)
Composed by Craig Duncan.
Saddle-stitched. Celtic.
Book
and online audio. 60
pages.
Mel Bay Publications, Inc
#30860M. Published by Mel
Bay
Publications, Inc
Violin SKU: AP.20159UK Very Easy Ensemble Pieces with Piano. Compo...(+)
Violin
SKU:
AP.20159UK
Very
Easy Ensemble Pieces with
Piano. Composed by
Helen Butterworth. String
Ensemble (Suzuki);
Suzuki. Book and Digital
Download. Alfred Music
#00-20159UK. Published by
Alfred Music
(AP.20159UK).
ISBN
9781470611675.
English.
Gems for
Beginner Violin Groups is
a collection of tried and
tested, easy, rhythmic,
fun pieces for group
lessons, concerts, and
workshops. They are
designed for use in
either a reader-based or
Suzuki context. Includes
reproducible violin
parts. Although designed
for open-string players
(violin A Parts) with
piano/CD, most of the
pieces include optional
parts (violin B and C)
for more advanced
players. The CD includes
performance and
accompaniment tracks.
Violin - easy to intermediate SKU: HL.49005772 Christmas Music Violin ...(+)
Violin - easy to
intermediate
SKU:
HL.49005772
Christmas Music Violin
and Piano. Composed
by Various. Edited by
Curt Bö and hme. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. 52 pages.
Schott Music #ED5550.
Published by Schott Music
(HL.49005772).
ISBN
9790001062367. UPC:
884088072544.
9.0x12.0x0.155
inches.
Chamber Music Violin SKU: CF.BF115 Composed by Johann Sebastian Bach. Edi...(+)
Chamber Music Violin
SKU: CF.BF115
Composed by Johann
Sebastian Bach. Edited by
Rachel Barton Pine. SWS.
Collection. With Standard
notation. 80 pages. Carl
Fischer Music #BF115.
Published by Carl Fischer
Music (CF.BF115).
ISBN
9781491150993. UPC:
680160908493. 9x12
inches.
Johann
Sebastian Bach’s
(1685—1750)
SixSonatas and Partitas
have captivated
violinistsfor centuries.
Rachel Barton
Pine—havingspent
decades studying the
music of Bach,his
contemporaries, and his
predecessors—now
offers this unparalleled
edition completewith
detailed historical
notes,
performancesuggestions,
and downloadable study
materialsincluding a new
Urtext edition and a
speciallyprepared
manuscript. Pine’s
interpretationis informed
by thorough historical
study, which has been
polished byyears of
performance insight, but
also encourages those
studying
Bach’srepertoire
to craft their own unique
interpretation of these
timelessmasterpieces.
This edition closely
follows Pine’s
critically acclaimed
2016recording
“Testament:
Complete Sonatas and
Partitas for Solo Violin
byJ.S. Bach†(Avie
2360) making it an
invaluable resource for
any student,teacher, or
performer enthralled with
J.S. Bach’s long
standing legacy.Ms. Pine
holds the distinction of
being the only American
and youngestperson to win
the gold medal at the
J.S. Bach International
ViolinCompetition in
Leipzig, Germany,
1992. here is no one
right way to play Bach.
More thanalmost any
repertoire, each
individual’s
interpretation isas
unique as their
personality. Though I
have spent
decadesstudying
Bach’s music as
well as that of his
contemporariesand
predecessors, my final
rationale for
artisticdecisions is
often taste and instinct.
Every violinist
whoundertakes a
lifetime’s journey
with this incredible
repertoireis continually
discovering new ideas.
Thus, theopinions on the
following pages may
evolve over time.However,
everything in the sheet
music closely follows
my2016 recording
“Testament:
Complete Sonatas and
Partitasfor Solo Violin
by J.S. Bach†(Avie
2360), which I trulyfeel
represents the
culmination of my
exploration intothese
extraordinary works.In
choosing to present this
edition, my hope is
thatyou will find useful
solutions to challenges
of fingering,bowing, and
polyphony, and helpful
information
aboutphrasing. I have
also included additional
dynamic suggestionswith
the hope that trying
these ideas will help
inspireyou to discover
your own. All of these
markings aredesigned to
work with a baroque
violin and baroque bow,a
modern violin and baroque
bow, or a modern
violinand modern bow.
While the information in
this editionis unusually
dense, there is much that
I did not include,such as
lifts, breaths,
articulations, whether to
play on oroff the string,
metronome markings,
details of timing,and
emphases other than
hemiolas.I offer this
book to you in the spirit
of Bach: “SoliDeo
Gloria.â€.
Violin - intermediate SKU: BT.DHP-1125237-400 Composed by Nico Dezaire. D...(+)
Violin - intermediate
SKU:
BT.DHP-1125237-400
Composed by Nico Dezaire.
De Haske String Technique
Series. Book with CD.
Composed 2012. 56 pages.
De Haske Publications
#DHP 1125237-400.
Published by De Haske
Publications
(BT.DHP-1125237-400).
ISBN 9789043145565.
9x12 inches.
German.
Double
Stopping is a modern
method designed to teach
violinists who are fairly
confident in the 1st
position how to play
dyads on two strings as
well as double stops.
This is achieved through
38 exercises and 37
performance pieces in
various musical styles.
The various dyads and
double stops are offered
in a coherent and
structured way, and
indicated in different
colours. The performance
pieces can be played
without accompaniment,
with CD accompaniment or
as a duet, with the
second violin parts
provided as PDF files on
the CD.English edition:
DHP 1125089-400 Double
Stops for
Violin
Doub
le Stopping is een
eigentijdse methode om
violisten met een ruime
speelervaring in de
eerste positie
samenklanken van twee
snaren en dubbelgrepen te
leren. Dit gebeurt door
middel van 38 oefeningen
en 37 speelstukkenin
diverse muzikale stijlen.
De verschillende
samenklanken en
dubbelgrepen worden
overzichtelijk en
gestructureerd aangeboden
en met verschillende
kleuren aangeduid. De
speelstukken kunnen zowel
onbegeleid , met
cd-begeleiding alsmet een
tweede vioolstem worden
uitgevoerd. De duetten
zijn geleverd als uit te
printen pdf-files op de
cd.Nederlandse uitgave:
DHP 1125236-400
Dubbelgrepen voor
viool
Doppe
lgriffe auf der
Violine richtet sich
an Geigenschüler, die
sich sicher in der ersten
Lage bewegen, und leitet
zum Spiel von
Zusammenklängen mit
zwei Saiten und
Doppelgriffen über.
Anhand von 38 Ã?bungen
und 37 Spielstücken in
verschiedenen Musikstilen
führt diese moderne
Methode übersichtlich
und strukturiert in die
diversen
Zusammenklänge und
Doppelgriffe ein.
Zusätzliche farbige
Markierungen
unterstützen dabei den
Lernprozess. Die
Spielstücke können
sowohl unbegleitet als
auch mit einer zweiten
Geigenstimme gespielt
werden. Die Duette sind
als PDF-Dateien zum
Ausdrucken auf der CD
enthalten.