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.
Chamber Music Violin SKU: PR.114418750 Composed by Michael Hersch. Sws. P...(+)
Chamber Music Violin
SKU: PR.114418750
Composed by Michael
Hersch. Sws. Performance
Score. 8 pages. Duration
11 minutes. Theodore
Presser Company
#114-41875. Published by
Theodore Presser Company
(PR.114418750).
ISBN
9781491129524. UPC:
680160655489. 9 x 12
inches.
The
seven-movement in the
snowy margins might be
considered a sort of
atomic suite, as each
movement is succinct, yet
a microcosmic powerhouse
inspired by “The
Comet,” by Polish
writer and Holocaust
victim Bruno Schulz.
Hersch’s intensity is
expressed through
dramatically captivating
violin gestures, pushing
the boundaries of
texture, technique, and
emotion. Michael
Hersch’s in the snowy
margins was written in
2010. Like much of his
work, it is grounded in
literature and art. The
title is drawn from a
short story, The Comet by
Polish writer, poet, and
artist, Bruno Schulz
(1892-1942). This forms
the last of his
collection The Street of
Crocodiles, published in
1934. Schulz was shot by
a Nazi officer in
1942.Both the title of
Hersch’s work, and the
‘motto’ found on the
composer’s manuscript
(‘Thus far and no
further. But what has
become of the end of the
world…’) are to be
found in The Comet.
It’s interesting that
in in the snowy margins,
unlike his earlier
Fourteen Pieces which
were inspired by the
poetry of Primo Levi,
Hersch chose to not title
each individual movement
with a quote. However his
choices of text are
applied, there is a clear
quality of distillation.
In every case, the texts
which the composer has
chosen to eschew lie
beneath the music, akin
to the greater mass of an
iceberg, submerged, but
imminent.Hersch also has
very particular taste in
visual art, and there
seems to be common ground
between the intensely
expressionist drawing of
Schulz, and those of
Michael Mazur, which
inspired his string
quartet Images from a
Closed Ward. The
parallels between these
artists reflect common
traits shared between
these two pieces, which
provide a window on how
the music should be
approached, expressively
and technically. I would
argue, that from a
violinist’s point of
view, this pertains
directly to how bow and
left hand should approach
the string: the febrile
vibrancy of both Mazur
and Schulz’s pencil and
charcoal strokes, perhaps
what T.S. Eliot called
the ‘circulation of the
lymph’, in every
gesture, speaks to the
intense experience,
physically and
emotionally, of playing
(and hearing) this music.
There is an intense sense
of ‘truth to
materials’ at every
moment, the sense that
every note sings on the
edge of, or even beyond,
total collapse.— Peter
Sheppard-Skaerved.
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.
Chamber Music Violin SKU: CF.BF131 Composed by Roland Vamos. With Standar...(+)
Chamber Music Violin
SKU: CF.BF131
Composed by Roland Vamos.
With Standard notation.
168 pages. Carl Fischer
Music #BF131. Published
by Carl Fischer Music
(CF.BF131).
ISBN
9781491153765. UPC:
680160911264. 9 x 12
inches.
Inspired by
Clarence Cameron
White’s book The
Violinist’s Daily
Dozen, The
Violinist’s Daily
Sixteen is a collection
of daily exercises
compiled by Roland Vamos.
Intended for student and
professional violinists,
the collection provides
the performer with a
variety of exercises for
daily warm-ups. Mr. Vamos
also focuses on
developing dexterity and
flexibility in the
fingers and joints, the
first and fourth fingers
in particular. Each of
the sixteen exercises is
notated for each of the
four strings, and Vamos
recommends that the
exercises be practiced as
warm-ups, choosing a
different string for each
day of practice.Also
included with the Daily
Sixteen is a
comprehensive set of
studies for developing
fluency with scales and
arpeggios. Mr.
Vamos’ unique
methodology is to begin
with major scales and
arpeggios, followed by
minor scales and
arpeggios, all of which
are notated in two, three
and four octaves.
Alternate fingers are
provided, as well as a
variety of slurred and
mixed bowings using the
three parts of the bow
whenever feasible. It is
a remarkably systematic
approach to performing
scales and arpeggios on
the violin and will
surely benefit students
and professionals
alike. ForewordThis
short hand-setting set of
exercises was inspired by
a book entitled The
Violinist’s Daily
Dozen, conceived by
Clarence Cameron White, a
prominent
African-American
violinist, composer and
arranger who enjoyed the
bulk of his career in the
first half of the
twentieth century.I have
practiced this set of
exercises since I was
twelve years old. It has
served me as a superb
warm-up and hand setting
tool. Over the years, I
have found that there are
some aspects of this
warm-up routine that were
not given sufficient
attention or not
addressed at all.
Consequently, I have
expanded the Daily Dozen
to create a new work
entitled The
Violinist’s Daily
Sixteen.I have also paid
particular attention in
this work as to how these
exercises are to be
practiced. In exercises
one and two, I have
indicated some notes to
be played before the
actual written exercises.
This is to ensure that
the fourth finger will be
over the string in a
position ready to strike
even though it is not
being used. Before
playing exercises three,
four, nine, ten, eleven
and twelve, I have
indicated silent fingers
to be placed on the notes
they would be playing if
they were being used.I
have replaced Mr.
White’s grace
notes with notes of
specific value and have
slowed down the exercises
so that the first joint
(the joint nearest the
string) of each finger
can move with flexibility
and strength. At no time
should the first joint
buckle.In Mr.
White’s version,
the last exercise gave
the first finger some
very valuable backward
extensions. In this
exercise (number 14 in
this book), I caution the
student not to move the
hand along with the first
finger. The hand should
remain in position while
the first finger
independently moves back
and forth.It became
obvious to me that if the
first finger were given
the opportunity to
develop the dexterity
that Mr. White’s
twelfth exercise
emphasizes, the fourth
finger could benefit from
an exercise that gives it
a forward extension.
Consequently, I added
another exercise to
create a Baker’s
Dozen (thirteen).Several
years later, I felt that
the second and third
fingers should also have
an exercise to further
develop their
dexterity…hence
exercise fourteen was
added to create a
“Vamos
Dozen.â€Because the
first finger did not have
sufficient practice in
the development of the
first joint in the
original version, I have
added two exercises to
precede White’s
fifth exercise. After
re-working and
re-numbering these
exercises, I have come up
with a total of sixteen
exercises. It is my
suggestion that these be
practiced as a warm-up,
choosing a different
string each
day.—Roland
VamosEvanston, Illinois
2017Â PrefaceScales are
a means of teaching a
person the fingerboard on
his or her instrument.
The fingers move across
the strings and are
required to make shifts,
all in highly organized
patterns. Scales and
arpeggios are the
foundation upon which our
repertoire is built. Many
scale books have been
written; each one being
organized in its own
specific way. The Flesch
Scale System has been a
standard for many
decades. It is very
comprehensive and
systematic. From the
point of view of
establishing similar
patterns, it has one
drawback: it is organized
by starting with a major
key, followed by its
relative minor, going
through the circle of
fifths. I believe that it
is more profitable to do
only major scales with
their arpeggios first,
going up chromatically,
and then follow them in a
similar way with the
minor scales. In using
this approach, the
similarities in
fingerings between the
various scales are more
apparent. It is also
profitable to have
alternate fingerings
whenever possible. My
approach to scales and
arpeggios includes a
variety of slurred and
mixed bowings using the
three parts of the bow
whenever feasible. These
bowings are not
all-inclusive. Whenever a
particularly awkward
bowing pattern is
encountered in the
repertoire, it can be
practiced as an
additional bowing
variation in the scales
and arpeggios. Â Â I
have chosen to introduce
the three and four octave
scales by teaching two
octave scales across the
strings in one position
going up chromatically
through seven positions;
starting on the first,
second, third, and
finally fourth fingers in
major and melodic
minor.—Roland
VamosEvanston, Illinois
2017.
Violin - Easy SKU: JK.01983 Composed by Various. Arranged by Brent Jorgen...(+)
Violin - Easy
SKU:
JK.01983
Composed by
Various. Arranged by
Brent Jorgensen.
Christian, Christmas,
Christmas Carols,
Contemporary Christian,
Gospel, Holiday,
Inspirational. Christian,
Inspirational. Score.
Jackman Music Corporation
#01983. Published by
Jackman Music Corporation
(JK.01983).
UPC:
093285019836.
Prese
nting the newest addition
to the popular
Hymn-Alongs series:
Christmas
Hymn-Alongs! The
Hymn-Alongs series
includes over 20
different instrumental
books. They are simple
enough for developing
musicians to master, yet
beautiful and fun for
those advancing in
music. The
accompaniment book
features beautiful, yet
simple arrangments for
piano, guitar (chord
symbols), and voice. The
many instrumental books
can be played together in
any combination. All
instrument books include
a melody part; treble
instruments have a duet
part, and bass
instruments also include
a bass part. View all
Christmas Hymn-Alongs
products HERE.
Songs included in
Christmas
Hymn-Alongs:Angels We
Have Heard on HighAway in
a MangerHark! The Herald
Angels SingI Heard the
Bells on Christmas DayIt
Came upon the Midnight
ClearJoy to the WorldO
Come, O Come, EmmanuelO
Little Town of
BethlehemOh, Come, All Ye
FaithfulO Holy
NightSilent NightThe
First NoelWe Three
KingsWhat Child Is
This? Composer:
VariousArranger: Brent
JorgensenDifficulty:
Easy hymn along,
hymnalongs, hymnalong,
hymn alongs.
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 Ensemble (Study Score) SKU: HL.49046391 For Violin, Cello, Nor...(+)
Chamber Ensemble (Study
Score)
SKU:
HL.49046391
For
Violin, Cello,
Northumbrian pipes,
Hammond Organ and
Orchestr. Composed by
Jon Lord. Edited by Paul
Mann. Study Score.
Classical. Softcover. 146
pages. Duration 3420
seconds. Schott Music
#ED23177. Published by
Schott Music
(HL.49046391).
ISBN
9781540086549. UPC:
842819108696.
The
general inspiration for
the music was an idea of
Durham, garnered from two
or three short visits and
a reading of a short
history - so a sort of
Durham of the mind, a
stylized Durham; 'my'
Durham, if you will,
imagined into music.
However, the
defininginspiration for
the piece was the
Cathedral. My first visit
to Durham in 2001 saw me
standing open-mouthed on
Palace Green, and then in
silent awe as I walked
into that formidable
magnificence inside. Most
of the themes came from
the days immediately
following my first
experience of this
extraordinary, inspiring
building. The feeling
that the very stones and
pillars themselves are
imbued with centuries of
prayer, withpeople's joy,
grief, despair, even
anger; gratitude and
hope. As the tunes and
chords and sounds started
to organize themselves in
my mind and onto
manuscript paper, I
realized that I was
writing a sort of day in
the life of Durham, and
that the Cathedral
wouldbe its beginning,
would be in its middle,
and would be at its
ending. The piece
consists of six
'pictures' arranged into
three parts - the
morning, afternoon and
evening of this imaginary
Durham city. Jon Lord,
2017.
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 - intermediate SKU: BT.DHP-1114985-400 16 tangos for violin...(+)
Violin - intermediate
SKU:
BT.DHP-1114985-400
16 tangos for
violin. Composed by
Myriam Mees. Arranged by
Nico Dezaire. Book with
CD. Composed 2010. 56
pages. De Haske
Publications #DHP
1114985-400. Published by
De Haske Publications
(BT.DHP-1114985-400).
ISBN 9789043135023.
9x12 inches.
English-German-French-Dut
ch.
The tango -
vigorous and comforting
dance music full of
emotion, passion and
love! Tango
Delight is the
follow-up to Tango
Time! The pieces are
a bit more challenging
and expansive. They are
intended for violonists
of an intermediate level
who wish to enjoy the
real tango. The enclosed
demo and play-along CD is
a source of inspiration.
De tango -
krachtige en troostrijke
dansmuziek boordevol
emotie, passie en liefde!
Tango Delight is de
opvolger van Tango Time!
De stukken zijn iets
uitdagender en verder
uitgewerkt. Ze zijn
bedoeld voor violisten
van een gemiddeldniveau
die willen genieten van
de echte tango. De
bijgevoegde demo- en
play-along-cd is een bron
van inspiratie. Voor
samenspel met een pianist
zijn op deze cd ook
printklare pdf-bestanden
van de begeleiding
toegevoegd.
Der
Tango - lebhafte und
tröstliche Tanzmusik
voll Gefühl,
Leidenschaft und Liebe!
Tango Delight ist
die Fortsetzung von
Tango Time! Die
Stücke sind ein wenig
anspruchsvoller und
ausgedehnter. Sie richten
sich an Geiger im
mittleren Spielniveau,
die gerne den echten
Tango erleben möchten.
Die beiliegende Demo- und
Mitspiel-CD ist eine
Quelle der Inspiration!
Für das Zusammenspiel
mit einem Pianisten sind
auf der CD PDF-Dateien
der Begleitung in
Notenform
enthalten.
Il
seguito di Tango Time!
con brani più esigenti
per violinisti di livello
medio. Il CD, che propone
sia una traccia demo che
una play-along, è una
vera fonte di
ispirazione! Se si
desidera suonare assieme
ad un pianista basta
scaricare dal CD lo
spartito in formato
PDF.
(An Easy Approach to Improvising in Funk, Soul, Latin Folk and Jazz Styles). Edi...(+)
(An Easy Approach to
Improvising in Funk,
Soul, Latin Folk and Jazz
Styles). Edited by Paul
Harvey and Rob Hughes.
For Flute, Violin.
Schott. Book with CD. 32
pages. Schott Music
#ED13373. Published by
Schott Music
Violin - Advanced SKU: JK.02036 Composed by Various. Arranged by David Fi...(+)
Violin - Advanced
SKU:
JK.02036
Composed by
Various. Arranged by
David Fick. Christian,
Christmas, Christmas
Carols, Contemporary
Christian, Gospel,
Holiday, Inspirational.
Jackman Music Corporation
#02036. Published by
Jackman Music Corporation
(JK.02036).
UPC:
093285020368.
A
Truly Classic Christmas
consists of twelve
tasteful Baroque
Christmas settings for
string quartet, as played
by the Piranesi String
Quartet. These
arrangements are
masterfully crafted for
advanced players and will
liven any Christmas
event.
Instrumenta
l books are each sold
separately. Violin 1 -
#02035 Violin 2 -
#02036 Viola -
#02037 Cello -
#02038 Songs
Included: It Came Upon
the Midnight
Clear Hark! The Herald
Angels Sing Deck the
Halls O
Tannenbaum Angels We
Have Heard on High God
Rest Ye, Merry
Gentlemen O Little
Town of Bethlehem We
Wish You a Merry
Christmas The Twelve
Days of Christmas We
Three Kings Joy to the
World Oh, Come, All Ye
Faithful
Composer:
Various Arranger:
David Fick Difficulty:
Advanced Reference:
Luke 2.
Violin - Intermediate SKU: JK.01914 Composed by Roger Hoffman. Arranged b...(+)
Violin - Intermediate
SKU: JK.01914
Composed by Roger
Hoffman. Arranged by
Jason Tonioli. Christian,
Contemporary Christian,
Gospel, Inspirational.
Jackman Music Corporation
#01914. Published by
Jackman Music Corporation
(JK.01914).
UPC:
093285019140.
The
long-awaited and highly
requested solo violin
arrangement of Consider
the Lilies is finally
here! Jason Tonioli put
his graceful touch to the
piece that has impacted
the hearts of people all
around the world. The
contemplative mood of
this setting will be a
beautiful addition to any
funeral, sacrament
meeting, church service,
baptism, or sacred
service. As recorded by
Jason Tonioli and John
Knudson. Violin part and
Piano Accompaniment
included.
Composer
: Roger
Hoffman Arranger:
Jason
Tonioli Difficulty:
Intermediate Matthew
6:28.
Violin Solo SKU: AY.VL3430PM Composed by Michael Asmara. Strings - Violin...(+)
Violin Solo
SKU:
AY.VL3430PM
Composed
by Michael Asmara.
Strings - Violin. Sheet
music. Duration 10'.
Periferia Publishing
#VL3430PM. Published by
Periferia Publishing
(AY.VL3430PM).
ISBN
9790543575608.
Thre
e Pieces for Solo Violin
was specially written for
Rieko Suzuki, a wonderful
violinist from Tokyo
Japan. Beside it has been
premiered in Yogyakarta,
it performed as well by
Rieko in Japan afterward.
The pieces was inspired
by the cengkok and the
sounds of rebab (a string
instrument in Javanese
Gamelan Music).
Violin SKU: HL.49045725 Solo Violin. Composed by Vijay Iyer. This ...(+)
Violin
SKU:
HL.49045725
Solo
Violin. Composed by
Vijay Iyer. This edition:
Saddle stitching. Sheet
music. String Solo.
Softcover. Composed 2016.
6 pages. Duration 3'.
Schott Music #ED30166.
Published by Schott Music
(HL.49045725).
ISBN
9781540015938. UPC:
888680725266.
9.0x12.0x0.084
inches.
My piece is
titled 'Zany, Cute,
Interesting.' It's
inspired by the literary
theorist Sianne Ngai,
whose book Our Aesthetic
Categories explores what
she calls 'weak
aesthetics' - our
ambivalent or
antithetical responses to
contemporary culture and
commodities: playfulness
and desperation,
tenderness and
aggression, stimulation
and boredom. This
composition stages a
violin performance that
might support a similar
range of reactions,
offering an ambivalence
around the notion of
virtuosity.- Vijay
Iyer.
Violin SKU: UT.XXS-107 Composed by Salvatore Di Stefano. Saddle stitching...(+)
Violin
SKU:
UT.XXS-107
Composed
by Salvatore Di Stefano.
Saddle stitching.
Contemporary Music.
Classical. Score and
Parts. Ut Orpheus #XXS
107. Published by Ut
Orpheus (UT.XXS-107).
ISBN 9790215323865. 9
x 12
inches.
Racconto
(Tale)/ Capri/ Cielo
sereno (Clear sky)/ Tano/
Napolitango/ Luci della
spiaggia (Beach lights)/
Fantasia mediterranea
(Mediterranean fantasy)/
Una lacrima ridente (A
smiling tear)/ Quartieri
spagnoli/ Marcia dei
pomodori (March of the
tomatos)
Being
interested in certain
aspects of popular music,
I became aware of several
similarities between
popular Neapolitan
melodies and the
Argentinean tango.
Napolitango is
based on an imaginary
journey to Naples and
Buenos Aires. In
retaining certain
characteristics of the
original music,
Napolitango
embodies an inspiration
and an almost
theatrically passionate
character which is common
to these two
genres. The piece has
been composed for the
Parisian Festival
Paris Banlieues
Tango 2001. (S. Di
Stefano).
Violin (VIOLIN SOLO) SKU: HL.50487759 (1986). Composed by Laszlo T...(+)
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).
Violin - Medium/Easy SKU: JK.09177 Arranged by Brent Jorgensen. Difficult...(+)
Violin - Medium/Easy
SKU: JK.09177
Arranged by Brent
Jorgensen. Difficulty
Easy Medium, Instrumental
Violin, Piano Choir, God
the Father, Gospel, Jesus
Christ - Savior, Peace,
Service. Christian,
Inspirational. Jackman
Music Corporation #09177.
Published by Jackman
Music Corporation
(JK.09177).
Psalm
119:165, Psalm
119:97-104.
Violin
obbligatos to accompany
Hymnplicity Ward Choir
Book 10 (#01769). Created
to add color and warmth
to the
arrangements. Arrangem
ents in this
packet: Come, O Thou
King of Kings Count
Your Blessings Each
Life that Touches Ours
for Good Israel,
Israel God Is
Calling Now Let Us
Rejoice Sweet Is the
Peace the Gospel
Brings Arranger: Brent
Jorgensen Difficulty:
Medium/Easy Reference:
Psalm 119:165, Psalm
119:97-104.
Orchestra, Violin, Choir (Study Score) SKU: HL.50601001 For Violin, Ch...(+)
Orchestra, Violin, Choir
(Study Score)
SKU:
HL.50601001
For
Violin, Choir and
Orchestra. Composed
by Lera Auerbach. Score.
Classical. Softcover. 156
pages. Sikorski #SIK8852.
Published by Sikorski
(HL.50601001).
UPC:
888680707118. 8.25x11.75
inches.
Commissione
d work by the Bergen
Philharmonic Orchestra,
the Orchestre de la
Suisse Romande and the
BBC
Proms.
“'The
Infant Minstrel and His
Peculiar Menagerie' is a
symphonic fantasy for
solo violin, choir, and
orchestra. Violinist
Vadim Gluzman performs
the lead role of a
traveling musical
storyteller who
introduces a collection
of wondrous tales by the
mysterious author
Erroneous Anonymous. The
Infant Minstrel guides
listeners in a voyage of
imagination. Auerbach's
new composition speaks to
the young and the young
at heart with child-like,
yet enigmatic and
humorous poems in the
tradition of 'nonsense'
authors such as Edward
Lear, Lewis Carol,
Hilaire Belloc, and
Mother Goose, as well as
Edith Sitwell, Shel
Silverstein, Edward
Gorey, and Tim Burton.
The text is relevant, yet
timeless; absurd, yet
profound; simple, yet
multi-layered. We meet
characters such as the
Common Corporant, the
Moon Rider, and the
Flying Pig that enjoys
sitting on a cloud
watching the crowd. The
work embraces with humor
the traditions of the
British and Gaelic bard
and the troubadour, whose
songs told embellished
and exotic tales. It also
finds inspiration in the
menagerie – a
diverse collection of
creatures and curiosities
– and the sideshow
presentation of oddities
and the bizarre.”
(Lera Auerbach).
Book/CD. Composed by Hywel Davies and Various. Edited by Hywel Davies. Boose...(+)
Book/CD. Composed by
Hywel
Davies and Various.
Edited
by Hywel Davies. Boosey
&
Hawkes Miscellaneous.
Softcover with CD. 32
pages.
Boosey & Hawkes
#M060129520.
Published by Boosey &
Hawkes
Violin - Advanced SKU: JK.02035 Composed by Various. Arranged by David Fi...(+)
Violin - Advanced
SKU:
JK.02035
Composed by
Various. Arranged by
David Fick. Christian,
Christmas, Christmas
Carols, Contemporary
Christian, Gospel,
Holiday, Inspirational.
Jackman Music Corporation
#02035. Published by
Jackman Music Corporation
(JK.02035).
UPC:
093285020351.
A
Truly Classic Christmas
consists of twelve
tasteful Baroque
Christmas settings for
string quartet, as played
by the Piranesi String
Quartet. These
arrangements are
masterfully crafted for
advanced players and will
liven any Christmas
event.
Instrumenta
l books are each sold
separately. Violin 1 -
#02035 Violin 2 -
#02036 Viola -
#02037 Cello -
#02038 Songs
Included: It Came Upon
the Midnight
Clear Hark! The Herald
Angels Sing Deck the
Halls O
Tannenbaum Angels We
Have Heard on High God
Rest Ye, Merry
Gentlemen O Little
Town of Bethlehem We
Wish You a Merry
Christmas The Twelve
Days of Christmas We
Three Kings Joy to the
World Oh, Come, All Ye
Faithful
Composer:
Various Arranger:
David Fick Difficulty:
Advanced Reference:
Luke 2.
Chamber Music Violin SKU: PR.114418540 For solo violin. Composed b...(+)
Chamber Music Violin
SKU: PR.114418540
For solo violin.
Composed by James
Matheson. -. Premiere:
Jennifer Koh, violin.
Contemporary. Solo part.
With Standard notation.
Composed 2015. 4 pages.
Duration 2 minutes.
Theodore Presser Company
#114-41854. Published by
Theodore Presser Company
(PR.114418540).
ISBN
9781491109779. UPC:
680160642052. 9x12
inches.
James
Matheson's CAPRICCIO was
composed for Jennifer Koh
who premiered it as part
of the 2016 NY
Philharmonic Biennial.
Playing against the
expectations of
flamboyant violin
caprices, Matheson's work
is dramatically, even
eerily quiet throughout
its entirety and inspired
by the arpeggiated
preludes from Bach's
suites. As in the Bach
preludes, Matheson's
study in
motivically-phrased 16th
notes has no marked
tempo, offering
performers a vastly broad
spectrum to express this
quiet exploration. For
advanced violinists.
Violin SKU: ST.Y274 Composed by Morgan Hayes. String music. 3 minutes. Sc...(+)
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.
Composed by Brian Wicklund and April Verch. Saddle-stitched. American Fiddle Met...(+)
Composed by Brian
Wicklund and April Verch.
Saddle-stitched. American
Fiddle Method. Book and
online audio. 80 pages.
Published by Mel Bay
Publications, Inc
(MB.20142M).
Composed by
Nigel Goldberg. String
music. Clifton Edition
#C545. Published by
Clifton Edition
(ST.C545).
ISBN
9790570815456.
Combines and replaces the
two original publications
of Sounds of a
Rainbow Book 1 from
Spartan Press (SP950-1),
into this volume that
includes both duets and
violin and piano versions
in one
volume.
Whether a
student or a great
artist, the desire to
make a beautiful sound is
a constant in the life of
any musician. Sound is
the musician’s voice,
the means of
communicating an artistic
vision to the audience
and it should be the aim
for children of any age
or standard to be engaged
in good tone
production.
The
inspiration for writing
the pieces for this book
came to me from the wish
to give the young
children I teach music
which would develop their
ear for both good
intonation and beautiful
tone production. All the
pieces have a strongly
implied harmonic
structure allowing them
to be played without
accompaniment. The
purpose of the second
violin part is therefore
to enable the teacher to
underline the harmony as
well as to influence the
student’s tone
production and intonation
through his own sound, as
much can be taught by
good example. The violin
student also has the
option to play with
piano. The accompaniments
included within this book
are written by Heidi
Rolfe.
The choice
of keys in this book
covers most of the
requirements for scales
in the Associated Board
syllabus Grade
1.
Finally I think
that children enjoy the
challenge of expressing
different moods and
emotions musically, and I
hope that the range of
ideas implied by the keys
and the titles of these
pieces will fire their
imagination.
Nigel
Goldberg
Grade
1 Former Spartan Press
Cat. No.: SP950 and
SP951.
How To Play Fiddle with CD by Larry McCabe. For fiddle. This edition: Paperback....(+)
How To Play Fiddle with
CD by Larry McCabe. For
fiddle. This edition:
Paperback. Instructional.
Method. Book and CD. Text
Language: English. 48
pages. Published by
Santorella Publications