73 Traditional Pieces for Violin. Composed by Vicki Swan. Edited by Vicki Swan. ...(+)
73 Traditional Pieces for
Violin. Composed by Vicki
Swan. Edited by Vicki
Swan. Arranged by Vicki
Swan. This edition:
Saddle stitching. Sheet
music with CD. String.
Folk, Scandinavian.
Edition with CD. 76
pages. Schott Music #ED
13565. Published by
Schott Music
62 Traditional Pieces for Violin. Edited by Matt Cranitch. This edition: Saddle ...(+)
62 Traditional Pieces for
Violin. Edited by Matt
Cranitch. This edition:
Saddle stitching. Sheet
music with CD. String.
Edition with CD. 52
pages. Schott Music #ED
13361. Published by
Schott Music
A violin method for children. By Egon Sassmannshaus; Kurt Sassmannshaus. Ameri...(+)
A violin method for
children. By Egon
Sassmannshaus; Kurt
Sassmannshaus. American
English translation: Kurt
Sassmannshaus;
Illustrations: Charlotte
Panowsky. For Violin.
Take advantage of our
exclusive introductory
offer now and save 25%
off the regular price -
this special price is
available for a limited
time only. Baerenreiter's
Sassmannshaus. Original
German title: Fruher
Anfang auf der Geige -
Band 2; Eine Violinschule
fur Kinder. Instructional
Method. Method book. Text
language: English. 64
pages. Published by
Baerenreiter Verlag
(German import).
By Martin Wulfhorst. This edition: 1st printing 2012 edition. Paperback. A compr...(+)
By Martin Wulfhorst. This
edition: 1st printing
2012 edition. Paperback.
A comprehensive guidebook
with hundreds of
excerpts. Book. Language:
English. 483 pages.
Published by Baerenreiter
Verlag
99 Traditional Pieces. Composed by Pete Cooper. Arranged by Pete Cooper. This ed...(+)
99 Traditional Pieces.
Composed by Pete Cooper.
Arranged by Pete Cooper.
This edition: Saddle
stitching. Sheet music
with CD. Edition Schott.
Diese Ausgabe enthalt 99
traditionelle englische
Geigenmelodien. Der Band
ist versehen mit Akkorden
und Hinweisen zur
Bogenfuhrung. Ausserdem
ist ihm eine CD von Pete
Cooper beigelegt. Folk,
Classical, English.
Edition/Softcover with
CD. 12758. 68 pages.
Schott Music #ED12758.
Published by Schott Music
42 Traditional Pieces. Composed by Julia Chardavoine, Diego Brossollet Her...(+)
42 Traditional Pieces.
Composed by Julia
Chardavoine, Diego
Brossollet
Hernandez, and Cesar Ivan
Juarez-Joyner. Edited by
Cesar Ivan Juarez-Joyner,
Diego Brossollet
Hernandez,
and Julia Chardavoine.
This
edition: Saddle
stitching.
Sheet music with CD.
String
Solo. Mexican, Folk,
Classical. Edition with
mp3-
CD. 96 pages. Schott
Music
#ED13900. Published by
Schott
Music
A violin method for children age four and older. By Egon Sassmannshaus; Kurt Sa...(+)
A violin method for
children age four and
older. By Egon
Sassmannshaus; Kurt
Sassmannshaus. American
English translation: Kurt
Sassmannshaus and Melissa
Lusk; Illustrations:
Charlotte Panowsky. For
Violin. Take advantage of
our exclusive
introductory offer now
and save 25% off the
regular price - this
special price is
available for a limited
time only. Baerenreiter's
Sassmannshaus. Original
German title: Fruher
Anfang auf der Geige -
Band 1; Eine Violinschule
fur Kinder ab 4 Jahren.
Instructional Method.
Method book. Text
language: English. 64
pages. Published by
Baerenreiter Verlag
(German import).
A violin method for children. By Egon Sassmannshaus; Kurt Sassmannshaus. America...(+)
A violin method for
children. By Egon
Sassmannshaus; Kurt
Sassmannshaus. American
English translation: Kurt
Sassmannshaus;
Illustrations: Charlotte
Panowsky. For Violin.
Take advantage of our
exclusive introductory
offer now and save 25%
off the regular price -
this special price is
available for a limited
time only. Baerenreiter's
Sassmannshaus. Original
German title: Fruher
Anfang auf der Geige -
Band 4; Eine Violinschule
fur Kinder. Instructional
Method. Method book. Text
language: English. 72
pages. Published by
Baerenreiter Verlag
(German import).
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.
(Very First Pieces with Piano Accompaniment). Arranged by Paul de Keyser. For Vi...(+)
(Very First Pieces with
Piano Accompaniment).
Arranged by Paul de
Keyser. For Violin. Book;
Method/Instruction;
String - Violin Studies
or Collection. Faber
Edition. Elementary. 24
pages. Published by Faber
Music
Violin SKU: AP.12-0571514367 Arranged by Alan Gout and Marguerite Wilkins...(+)
Violin
SKU:
AP.12-0571514367
Arranged by Alan Gout and
Marguerite Wilkinson.
Method/Instruction;
String - Violin Solo and
Piano. Classical;
Traditional. Book. Faber
Music #12-0571514367.
Published by Faber Music
(AP.12-0571514367).
ISBN 9780571514366.
English. Johannes Brahms;
Traditional; Edward
Elgar; Domenico
Gabrielli; George
Frideric Handel; Hans
Georg Nageli; Joseph
Parry; Niccolo Piccinni;
Spiritual; William
Steffe; Thoinot
Arbeau.
Easy
repertoire in 2nd, 3rd
and 4th
positions Achieving
security of fingering,
tone and intonation in
positions other than
first is one of the major
technical challenges that
every young violinist has
to tackle. This book
offers a carefully
selected and edited
sequence of short
attractive repertoire
pieces, suitable for
examination or concert
use, each focussing on a
particular position or
mixture of positions.
The material is
drawn from a wide range
of styles, from baroque
to popular tunes, and
will appeal to all young
players. Expertly
arranged piano parts are
simple enough for most
teachers to tackle with
ease.
An
invaluable addition to
the string teaching
repertoire.
An Introduction to Folk Styles, Technique and Improvisation. Strings, Meth...(+)
An Introduction to Folk
Styles, Technique and
Improvisation. Strings,
Methods. Schott
Pop-Styles.
Exploring Folk Fiddle.
Softcover Book and CD.
208
pages. Schott Music
#ED13460.
Published by Schott Music
Wood's Bolero Violon - Intermédiaire/avancé Alfred Publishing
Violin - Grade 4 SKU: AP.50644 Composed by Joseph Baldassare and Mark Woo...(+)
Violin - Grade 4
SKU:
AP.50644
Composed by
Joseph Baldassare and
Mark Wood. MakeMusic
Cloud; Sheet; Solo. Mark
Wood Series. Rock. Score.
8 pages. Alfred Music
#00-50644. Published by
Alfred Music (AP.50644).
Vivaldi Rocks Violon - Intermédiaire/avancé Alfred Publishing
Violin - Grade 4 SKU: AP.50640 Composed by Antonio Vivaldi. Arranged by M...(+)
Violin - Grade 4
SKU:
AP.50640
Composed by
Antonio Vivaldi. Arranged
by Mark Wood. Sheet;
Solo. Mark Wood Series.
Rock. Score. 8 pages.
Alfred Music #00-50640.
Published by Alfred Music
(AP.50640).
ISBN
9781470652494. UPC:
038081574943.
English.
Mark Wood
originally recorded
Vivaldi Rocks on his
These Are a Few of My
Favorite Things CD
playing his seven-string
Viper electric violin,
but the solo part can be
performed on the
traditional acoustic
four-stringed instrument.
The composer prefers the
sound of the electric
instrument, so consider
at least using a
microphone with a
standard instrument for
amplification.
Traditional Fiddle Music from Around the World Violin Edition. Composed by E...(+)
Traditional Fiddle Music
from
Around the World Violin
Edition. Composed by
Edward
Huws Jones. Boosey &
Hawkes
Chamber Music. Celtic,
English, Folk. Softcover
Audio
Online. 36 pages. Boosey
&
Hawkes #M060139055.
Published
by Boosey & Hawkes
Violin - Grade 1; Grade 1.5; Grade 2 SKU: AP.48645 Rounds for Like Str...(+)
Violin - Grade 1; Grade
1.5; Grade 2
SKU:
AP.48645
Rounds
for Like String
Instruments or String
Orchestra (Violin).
Composed by Matthew Hoey.
Method/Instruction;
String Orchestra
Method/Supplement. Book.
24 pages. Alfred Music
#00-48645. Published by
Alfred Music (AP.48645).
ISBN 9781470643539.
UPC: 038081557403.
English.
Fantastic
repertoire for fun that
also builds reading,
listening, and ensemble
skills! Intended for
first- and second-year
players, this creative
collection presents seven
original rounds, each
written from the
scrambled notes of a
traditional tune that
students are challenged
to identify. Whether in
the classroom or on the
concert program, the
mystery delights one and
all. Designed for maximum
flexibility, these pieces
may be performed with as
few as four like
instruments, or with as
many instruments as
desired, divided into
four groups. Upper
strings can be combined,
or lower strings can be
combined. For an ensemble
that contains both upper
and lower strings,
ensemble accompaniment
parts have been provided.
The score contains a
reproducible piano
accompaniment as well.
With so many options for
instrumentation, Seven
Mystery Melodies offers a
unique, easy-to-use
collection for teachers
and beginning string
students.