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).
Chamber Music Bass
Clarinet, Clarinet 1,
Clarinet 2, Violin
SKU: PR.444410070
For Violin, Two
Clarinets, and Bass
Clarinet. Composed by
Sydney F. Hodkinson. Set
of performance scores.
With Standard notation. 9
pages. Duration 5:30.
Theodore Presser Company
#444-41007. Published by
Theodore Presser Company
(PR.444410070).
Orchestra 2 Bassoons, 2
Clarinets in Bb, 2
Flutes, 2 Oboes, 2
Trombones, 3 Percussion,
3 Trumpets in C, 4 Horns
in F, Bass Clarinet, Bass
Trombone, Piccolo, Solo
Violin, Strings, Timpani
SKU: PR.416414600
For violin and
Orchestra. Composed
by Samuel Adler.
Premiere: Tulsa Symphony
Orchestra, Siwoo Kim,
violin; Tulsa, OK.
Contemporary. Full score.
With Standard notation.
Composed 2012. Duration
20 minutes. Theodore
Presser Company
#416-41460. Published by
Theodore Presser Company
(PR.416414600).
Orchestra 2 Bassoons, 2
Clarinets in Bb, 2
Flutes, 2 Oboes, 2
Trombones, 3 Percussion,
3 Trumpets in C, 4 Horns
in F, Bass Clarinet, Bass
Trombone, Piccolo, Solo
Violin, Strings, Timpani
SKU: PR.41641460L
For violin and
Orchestra. Composed
by Samuel Adler.
Premiere: Tulsa Symphony
Orchestra, Siwoo Kim,
violin; Tulsa, OK.
Contemporary. Large
Score. With Standard
notation. Composed 2012.
Duration 20 minutes.
Theodore Presser Company
#416-41460L. Published by
Theodore Presser Company
(PR.41641460L).
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.
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).
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).
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
Violinn, Clarinet,
Bassoon, trumpet,
Trombone, Percussion &
Double bass. Composed
by William Sydeman.
Chamber Music, Mixed
Ensemble. Score & Parts.
Seesaw Music Corp
#50032220. Published by
Seesaw Music Corp
(SU.50032220).
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 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, Clarinet, Trumpet & Doublebass SKU: SU.50032380 For Violin, Cl...(+)
Violin, Clarinet, Trumpet
& Doublebass
SKU:
SU.50032380
For
Violin, Clarinet, Trumpet
& Doublebass.
Composed by William
Sydeman. Chamber Music,
Mixed Ensemble. Score &
Parts. Seesaw Music Corp
#50032380. Published by
Seesaw Music Corp
(SU.50032380).
Chamber Music Clarinet, Contrabass, Percussion, Piano, Violin, tenor Saxophone <...(+)
Chamber Music Clarinet,
Contrabass, Percussion,
Piano, Violin, tenor
Saxophone
SKU:
PR.114413040
For
violin, Bb Clarinet, Bb
Tenor Saxophone, Double
Bass, Piano, and
Percussion. Composed
by Chen Yi. Saddle.
Premiered at Kerrytown
Concert House in Ann
Arbor, MI. Contemporary.
Set of Score and Parts.
With Standard notation.
Composed 2006.
16+3+2+2+2+3+2 pages.
Duration 5 minutes.
Theodore Presser Company
#114-41304. Published by
Theodore Presser Company
(PR.114413040).
UPC:
680160571628. 8.5 x 11
inches.
Commissione
d by the Opus 21
ensemble, this mixed
sextet is a musical
realization of Chinese
clay figurines of the
Eastern Han (25-220
A.D.). Shapes of the
enraptured storyteller,
the vivid acrobat, and
the moving dancers are in
highly exaggerated forms
and postures, in large
and sweeping movements
— the innocent and
bold images symbolize the
strength, motion, and
speed, as the beauty of
the crude and primitive
power of humanity in its
conquest of the material
world. The mixed
sextet The Han Figurines
is a musical realization
of my impression of the
Chinese clay figurines of
the Eastern Han (25-220
A.D.). Â Have you seen
the shapes of the
enraptured storyteller,
the vivid acrobat, and
the moving dancers with
long sleeves? Â They
are in highly exaggerated
forms and postures, in
large and sweeping
movements — the
innocent and bold images
symbolize the strength,
motion, and speed.
 It’s the
beauty of the crude and
primitive power of
humanity in its conquest
of the material
world.—Chen
Yi.
Chamber Music Clarinet, Contrabass, Percussion, Piano, Violin, tenor Saxophone <...(+)
Chamber Music Clarinet,
Contrabass, Percussion,
Piano, Violin, tenor
Saxophone
SKU:
PR.11441304S
For
violin, Bb Clarinet, Bb
Tenor Saxophone, Double
Bass, Piano, and
Percussion. Composed
by Chen Yi. Premiered at
Kerrytown Concert House
in Ann Arbor, MI.
Contemporary. Full score.
With Standard notation.
Composed 2006. 16 pages.
Duration 5 minutes.
Theodore Presser Company
#114-41304S. Published by
Theodore Presser Company
(PR.11441304S).
UPC:
680160620357. 8.5 x 11
inches.
The mixed
sextet The Han Figurines
is a musical realization
of my impression of the
Chinese clay figurines of
the Eastern Han (25-220
A.D.). Have you seen the
shapes of the enraptured
storyteller, the vivid
acrobat, and the moving
dancers with long
sleeves? They are in
highly exaggerated forms
and postures, in large
and sweeping movements --
the innocent and bold
images symbolize the
strength, motion, and
speed. It's the beauty of
the crude and primitive
power of humanity in its
conquest of the material
world. --Chen Yi. The
mixed sextet The Han
Figurines is a musical
realization of my
impression of the Chinese
clay figurines of the
Eastern Han (25-220
A.D.). Â Have you seen
the shapes of the
enraptured storyteller,
the vivid acrobat, and
the moving dancers with
long sleeves? Â They
are in highly exaggerated
forms and postures, in
large and sweeping
movements — the
innocent and bold images
symbolize the strength,
motion, and speed.
 It’s the
beauty of the crude and
primitive power of
humanity in its conquest
of the material
world.—Chen
Yi.
Orchestra (2 flutes (2nd
flute doubling piccolo),
2 oboes, 2 clarinets in
bb, 2 bassoons, 4 french
horns in f, 2 trumpets in
c, 2 trombones, 1 bass
trombone, 1 tuba,
percussion 1: small
beijing opera gong,
marimba, tam-tam,
japanese high, wood
block, percussion 2: s)
SKU: PR.416415110
For Violin And
Orchestra. Composed
by Chen Yi. Contemporary.
Full score. With Standard
Notation. Duration 10
minutes. Theodore Presser
Company #416-41511.
Published by Theodore
Presser Company
(PR.416415110).
UPC:
680160621286.
Commi
ssioned by Kennesaw State
University Symphony
Orchestra in 2012,
Chinese Rap for violin
and orchestra is
premiered by Prof. Helen
Kim as the soloist and
the KSUSO led by Prof.
Michael Alexander at
Bailey Center in KSU, GA
on Feb. 17, 2014. The
work is inspired by
Chinese folk musical
story telling, Quyi, in a
form of mixed reciting
and singing style, with
interludes played by
percussion and plucking
instruments in
accompaniment. The folk
musical story telling is
sung in dialects from
different geographic
regions. I mixed all
these elements in a
complex three-part form,
with an introduction, a
cadenza in the middle,
and a coda as the frame
in the structure. The
melodies are delicate and
leisurely, and the
rhythmic parts are
energetic, vivid and
lively. There are big
contrasts between
sections, which are
juxtaposed and connected
smoothly and
congenially. Commissio
ned by Kennesaw State
University Symphony
Orchestra in 2012,Chinese
Rap for violin and
orchestra is premiered by
Prof. Helen Kim as
thesoloist and the KSUSO
led by Prof. Michael
Alexander at Bailey
Center inKSU, GA on Feb.
17, 2014. The work is
inspired by Chinese folk
musical storytelling,
Quyi, in a form of mixed
reciting and singing
style, with
interludesplayed by
percussion and plucking
instruments in
accompaniment. The
folkmusical story telling
is sung in dialects from
different geographic
regions. Imixed all these
elements in a complex
three-part form, with an
introduction, a cadenza
in the middle, and a coda
as the frame in the
structure. The melodies
are delicate and
leisurely, and the
rhythmic parts are
energetic, vivid and
lively. There are big
contrasts between
sections, which are
juxtaposed and connected
smoothly and
congenially.
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).
Orchestra (2 flutes (2nd
flute doubling piccolo),
2 oboes, 2 clarinets in
bb, 2 bassoons, 4 french
horns in f, 2 trumpets in
c, 2 trombones, 1 bass
trombone, 1 tuba,
percussion 1: small
beijing opera gong,
marimba, tam-tam,
japanese high, wood
block, percussion 2: s)
SKU: PR.41641511L
For Violin And
Orchestra. Composed
by Chen Yi. Contemporary.
Large Score. With
Standard Notation.
Duration 10 minutes.
Theodore Presser Company
#416-41511L. Published by
Theodore Presser Company
(PR.41641511L).
UPC:
680160621293.
Commi
ssioned by Kennesaw State
University Symphony
Orchestra in 2012,
Chinese Rap for violin
and orchestra is
premiered by Prof. Helen
Kim as the soloist and
the KSUSO led by Prof.
Michael Alexander at
Bailey Center in KSU, GA
on Feb. 17, 2014. The
work is inspired by
Chinese folk musical
story telling, Quyi, in a
form of mixed reciting
and singing style, with
interludes played by
percussion and plucking
instruments in
accompaniment. The folk
musical story telling is
sung in dialects from
different geographic
regions. I mixed all
these elements in a
complex three-part form,
with an introduction, a
cadenza in the middle,
and a coda as the frame
in the structure. The
melodies are delicate and
leisurely, and the
rhythmic parts are
energetic, vivid and
lively. There are big
contrasts between
sections, which are
juxtaposed and connected
smoothly and
congenially. Commissio
ned by Kennesaw State
University Symphony
Orchestra in 2012,Chinese
Rap for violin and
orchestra is premiered by
Prof. Helen Kim as
thesoloist and the KSUSO
led by Prof. Michael
Alexander at Bailey
Center inKSU, GA on Feb.
17, 2014. The work is
inspired by Chinese folk
musical storytelling,
Quyi, in a form of mixed
reciting and singing
style, with
interludesplayed by
percussion and plucking
instruments in
accompaniment. The
folkmusical story telling
is sung in dialects from
different geographic
regions. Imixed all these
elements in a complex
three-part form, with an
introduction, a cadenza
in the middle, and a coda
as the frame in the
structure. The melodies
are delicate and
leisurely, and the
rhythmic parts are
energetic, vivid and
lively. There are big
contrasts between
sections, which are
juxtaposed and connected
smoothly and
congenially.
Violin, Flute, Clarinet,
Bassoon, French Horn,
Viola, & Violoncello
SKU: SU.50031920
For Violin, Flute,
Clarinet, Bassoon, French
Horn, Viola, &
Violoncello. Composed
by William Sydeman.
Chamber Music, Mixed
Ensemble, Strings,
Violin. Score & Parts.
Seesaw Music Corp
#50031920. Published by
Seesaw Music Corp
(SU.50031920).
(Violin). For Violin.
Book; CD; Play-Along;
String Series.
Instrumental Solos
Series. Pop; Pop/Rock.
Grade 2; Grade 3. 52
pages. Published by
Alfred Music
(Violin). Arranged by Various. For Violin. Book; CD; Play-Along; String Series. ...(+)
(Violin). Arranged by
Various. For Violin.
Book; CD; Play-Along;
String Series. Top Hits
Instrumental Solos.
Broadway; Movie; TV.
Grade 2; Grade 3. 76
pages. Published by
Alfred Music
(Violin). Arranged by Various. For Violin. Book; CD; Play-Along; String Series. ...(+)
(Violin). Arranged by
Various. For Violin.
Book; CD; Play-Along;
String Series. Top Hits
Instrumental Solos. Pop;
Rock. Grade 2; Grade 3.
28 pages. Published by
Alfred Music
Written by Mary Ann Harbar. For violin solo. Includes violin solo songbook and e...(+)
Written by Mary Ann
Harbar. For violin solo.
Includes violin solo
songbook and examples CD.
With introductory text,
instructional text,
standard notation,
bowings, chord names,
illustrations and
glossary. Gypsy. 131
pages. 8.75x11.75 inches.
Published by Mel Bay
Publications, Inc.
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).
The Orchestra Musician's CD-ROM Library - Violin. By Wolfgang Amadeus Mozart. (...(+)
The Orchestra Musician's
CD-ROM Library - Violin.
By Wolfgang Amadeus
Mozart. (Violin). Misc.
CD-ROM only. Size 9x12
inches. 8 pages.
Published by Hal Leonard.
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).