Edited by Patrick Sky. For fiddle. All styles. Level: Multiple Levels. Book. Songbook. Size 8.75x11.75. 176 pages. Published by Mel Bay Pub., Inc.

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.

8 Famous Works for Violin. By Johann Sebastian Bach. De Haske Play-Along Book. Play Along. BOOK W/CD. Size 9x12 inches. 16 pages. Published by DeHaske Publications.

Violin

SKU: ST.Y237

Composed by Morgan Hayes. String music. 3 minutes. Part. Stainer & Bell Ltd. #Y237. Published by Stainer & Bell Ltd. (ST.Y237).

ISBN 9790220221835.

1st perf: Darragh Morgan, The Picture Gallery, Royal Holloway College, University of London, 15 November 2006

Programme Note
Lucky's Speech was composed at the request of the violinist Darragh Morgan, for the launch of his recital CD Opera on the NMC label in June 2006. The title refers to a pivotal moment in Samuel Beckett's play Waiting for Godot, when the hitherto silent character Lucky suddenly pours forth a torrential stream of gibberish.

This idea also suggested the cadenza of my Violin Concerto, composed in the same year, and it is reflected in both cases by an almost breathless musical activity punctuated by pizzicato commentaries. I should like to thank Darragh Morgan for his invaluable advice in the preparation of the score.

(c) Copyright Morgan Hayes

Critical Edition Solo Violin. By Italo Vescovo. String Solo. Classical. Softcover. Composed 2019. 24 pages. Ricordi #NR14194600. Published by Ricordi

Violin

SKU: ST.Y274

Composed by Morgan Hayes. String music. 3 minutes. Score. Stainer & Bell Ltd. #Y274. Published by Stainer & Bell Ltd. (ST.Y274).

ISBN 9790220223358.

1st perf: Keisuke Okazaki, Tokyo Opera City Recital Hall, Tokyo, Japan, 22 April 2008
1st UK perf: Darragh Morgan, Schott Recital Room, Bauer & Hieber, London, 5 February 2009

Though the jagged figures and phrases of Lucky's Dream by Morgan Hayes are unmistakably those of a contemporary musical expressionist, the shadow of Bach also falls on this work, inspired by the virtuosity of the young Japanese soloist Keisuke Okazaki and his playing of the E major Partita.

In fact, though 'standard' contemporary techniques are widely used in the piece - left-hand pizzicato, harmonics and microtones, all deployed in edgy, unpredictable rhythms - there is also a classical shape to the structure. In this two-part form, lasting around four minutes, the first section is reflective, dwelling on single notes, phantoms as it were of pitches that are subtly deflected through slow glissandi. Then a spectral dance ensues, delivered largely on plucked strings, ethereal, disembodied, strange.

The 'Lucky' in question is a character from Samuel Beckett's play Waiting for Godot, and Lucky's Dream is a complementary work to the earlier, impassioned Lucky's Speech (2006). The two items can stand alone or may be performed consecutively. Both are to be found on the recent all-Hayes CD released on the NMC label (NMC D163), which also features the composer's 17-minute Violin Concerto as further evidence for his original approach to writing for the instrument.

Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, Contrabass, English Horn, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion, Piccolo, Timpani, Trombone, Trumpet 1, Trumpet 2, Viola, Violin 1 and more.

SKU: PR.41641366L

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.

Violin, Organ

SKU: SU.27020070

For Violin, Organ. Composed by Graham Gordon Ramsay. Strings, Violin, Keyboard, Organ. Score & Parts. Subito Music Corporation #27020070. Published by Subito Music Corporation (SU.27020070).

Four movements inspired by Vivaldi's The Four Seasons; approximate duration: 16' (http://ggrcomposer.squar espace.com/works-instrume ntal-elementsand/)Violin, Organ Composed: 2008 Published by: Distributed Composer.

Violin

SKU: HL.50600994

For Violin Solo. Composed by Johannes X. Schachtner. String. Classical. Softcover. 8 pages. Sikorski #SIK8823. Published by Sikorski (HL.50600994).

8.0x11.75x0.055 inches.

Commissione d by Leopold-Mozart-Kuratorium Augsburg e.V. as partner of the Augsburg University in cooperation with the Mozartbüro of the City of Augsburg “Anthologies were important during Leopold Mozart's lifetime. All knowledge was to be collected and made available, and Mozart's 'Versuch einer gründlichen Violinschule' (A Treatise on the Fundamental Principles of Violin Playing) is also to be regarded in this context. My 'Florilegium' (the Latin word for 'Anthology' – 'Blossom Collection') follows this tradition. I thus collected more or less loose 'blossoms': individual turns of phrase and gestures from Leopold Mozart's Violin Treatise, as well as from books that include the extended techniques of violin playing in use today. I attempted to organize this 'blossom collection' – in a double sense of word – during the course of the compositional process and to transfer them into my own language. Ultimately the idea was to create an album piece that would allow the sound of the violin to blossom in its various facets ... including prickly thorns!” (Johannes X. Schachtner).

Violin - difficult

SKU: HL.49046112

Contemporary Violin Studies. Composed by Garth Knox. This edition: Saddle stitching. Sheet music. String Method. 20 praxiserprobte Unterrichtsstunden. Classical, Etude. Softcover. Composed 2017. 52 pages. Schott Music #ED22971. Published by Schott Music (HL.49046112).

ISBN 9790001188685. UPC: 842819100164. 9.0x12.0x0.198 inches. German - English - French.

Garth Knox is one of the most prolific violists of his generation, and as a former member of the Arditti Quartet for years, he has developed his love of contemporary music. He now gives concerts and organizes workshops all over the world. Following his highly successful Viola Spaces, he has now released the Violin Spaces, concert etudes for violin, which bring advanced playing techniques to advanced players. The pieces - or â??spacesâ? - give each of them a space for specific techniques, such as the flageolette, pizzicato technique (with 10 fingers!) Or glissando variants. The Violin Spaces are dedicated to the violinist Diamanda Dramm, who worked closely with the composer during the development of the pieces.

Violin & Organ

SKU: SU.50025430

For Violin & Organ. Composed by Gardner Read. Strings, Violin. Accompanied by organ. Score & Parts. Seesaw Music Corp #50025430. Published by Seesaw Music Corp (SU.50025430).

Published by: Seesaw Music.

Violin & Organ

SKU: SU.95010490

For Violin & Organ. Composed by Judith Lang Zaimont. Strings, Violin,Keyboard, Organ. Score & Parts. Composed 2008. Duration 10'. Subito Music Corporation #95010490. Published by Subito Music Corporation (SU.95010490).

Violin, Violoncello, Piano Duration: 10' Composed: 2008 Published by: Subito Music Publishing.

Violin

SKU: HL.48186062

Composed by Jean-Marie Leclair. Leduc. Classical. Softcover. Alphonse Leduc #AL29892. Published by Alphonse Leduc (HL.48186062).

UPC: 888680828653. 9.0x12.25x0.136 inches.

Jean-Marie Leclair: Concerto Op.10, No.2 in A major (Score) POUR VIOLON, ORCHESTRE A CORDES, CLAVECIN OU ORGUE (PARTITION) For Violin, String Orchestra, Clavecin or Organ (Score).

Violin & Piano (Organ)

SKU: SU.50026960

For Violin & Piano (Organ). Composed by Thomas Rice. Strings, Violin. Accompanied by piano. Score & Parts. Seesaw Music Corp #50026960. Published by Seesaw Music Corp (SU.50026960).

Copyright 1992. Published by: Seesaw Music.

Chamber Music violin, viola

SKU: PR.114419730

For violin and Viola. Composed by Chen Yi. Sws. Set of Score and Parts. 8+2+2 pages. Duration 2:30. Theodore Presser Company #114-41973. Published by Theodore Presser Company (PR.114419730).

ISBN 9781491132333. UPC: 680160681686. 9 x 12 inches.

Chen Yi describes the cheery interplay of HAPPY TUNE as: “When one instrument plays a livelymelody, the other plays a vivid rhythmic pattern in the accompaniment. The pair of string instrumentsimitates the sound of primitive Chinese folk song singing, as well as the Chinese traditional windinstrument sheng, a mouth pipe organ.” Published as a shared score and extracted parts, and writtenas a celebration piece honoring the 25th anniversary of the Great Lakes Chamber Music Festival.
Composed to celebrate the 25th Anniversary of the Great Lakes Chamber Music Festival, my violin and viola duet HAPPY TUNE was written for Kim Kashkashian and Tien-Hsin Cindy Wu, and premiered at the festival on June 16, 2018.I fondly remember being invited by the GLCMF (directed by Prof. James Tocco) to be the dual Stone Composers-in-Residence with my husband Zhou Long, along with the Stone Composer Fellow Nicholas Omiccioli in 2011. We had a dozen of our chamber works performed excellently by the outstanding chamber ensembles and musicians during the week, meeting enthusiastic audiences and supporters of new music in various venues at the festival. The experience was truly inspiring, and I created HAPPY TUNE to honor the GLCMF, with hopes to carry on the high spirit in our new music society.In this duet, when one instrument plays a lively melody, the other plays a vivid rhythmic pattern in the accompaniment. The pair of string instruments imitates the sound of primitive Chinese folk song singing, as well as the Chinese traditional wind instrument sheng, a mouth pipe organ.

Edited by David Brody. For violin. Format: fake book. With lead melody, chord names, instructional text and performance notes. Folk, americana and british. 302 pages. 9x12 inches. Published by Oak Publications.

Edited by Paul Stewart Cranford. Arranged by Melissa Emmons. For Fiddle. Solos. Cranford Publications. Canadian-Maritime. Intermediate. Book. 80 pages

By Georg Philipp Telemann (1681-1767). Edited by Yvonne Morgan. For violin. Published by Amadeus Verlag

By Andreas Romberg. Edited by Yvonne Morgan. For 2 violins. Set of parts. Published by Amadeus Verlag

(from Die Zauberflote ). By Wolfgang Amadeus Mozart (1756-1791). Edited by Yvonne Morgan. For 2 flutes (flute and violin). Score. Published by Amadeus Verlag

Composed by William Bay. Saddle-stitched. Lively Tunes. Celtic / Irish. Book. 32 pages. Mel Bay Publications, Inc #WBM38. Published by Mel Bay Publications, Inc

Violin

SKU: HL.50603952

MS83. Composed by Nicolo Paganini. String Solo. Classical, Virtuoso. Softcover. 48 pages. Ricordi #NR142388. Published by Ricordi (HL.50603952).

ISBN 9781705162583. UPC: 196288062684. 9.0x12.0x0.161 inches.

The Sonata à violin solo (M.S. 83) is an early work by Paganini that can be ascribed to the years 1796-1800, a period which includes works such as the posthumous Grande concerto (M.S. 75), the Inno patriottico con variazioni (M.S. 81) and the Tema variato (M.S. 82)for violin. There are no doubts as to the authenticity of the work: the highly virtuosic experimental writing, the indications “Organetto” and “Flagioletto” and the use of the fourth string are all distinctive traits found in Paganini's writing from this period which link the Sonata to the Inno patriottico con variazioni and the Tema variato. The most significant characteristics of this composition are its length and the three-movement structure that connect it to the Classical style, at least far as the first movement is concerned: it is written in sonata form, something rarely seen in Paganini's solo violin works.

By Ottakar Sevcik. For Violin. 20th Century. Sheet Music. 44 pages. Published by Bosworth

Violin - Easy

SKU: LM.VV320

Composed by Francine Trachier and Nathalie Bera-Tagrine. Score. Editions Henry Lemoine #VV320. Published by Editions Henry Lemoine (LM.VV320).

ISBN 9790560053202. 9 x 12 inches. Francais.

Instrumen tal Music.

Violin (VIOLIN SOLO)

SKU: HL.50487759

(1986). Composed by Laszlo Tihanyi. EMB. Score Only. Composed 1997. Duration 11'. Editio Musica Budapest #Z14099. Published by Editio Musica Budapest (HL.50487759).

ISBN 9790080140994. A/4 inches. Hungarian, English. Laszlo Tihanyi.

The piece was composed at the request of violinist Eszter Perenyi, my colleague at the Ferenc Liszt Academy of Music, and was several times amond the optional pieces of the yearly violin competition for students. It was inspired by the famous 63rd poem of Catullus that tells the story of Attis: the hero of the Greek mythology arrives at the Mount Ida in Frygia, to the invitation of the goddess Cybele, and becomes her lover. The Gallas, certitude priests of Cybele chase him into delirious dance, by the end of which he castrates himself. On waking from his paralysed dream he entreats in vain for his virility and freedom to Cybele, he will remain servant of the goddess for eternity. My work tells the story in four parts: 1) Attis' ecstasy 2) Dance of the Gallas 3) Attis' dream 4) Attis' entreaty. The Catullian galliambic metric that first appears in the 'prologue' of the piece, becomes the organisational principle of almost all musical aspects of it. (Hungaroton HCD 32484).