A Sequenced Guide to American Fiddling (Violin). Composed by Crystal Plohman ...(+)
A Sequenced Guide to
American Fiddling
(Violin).
Composed by Crystal
Plohman
Wiegman, Renata Bratt,
and
Bob Phillips. Book; CD;
Method/Instruction;
String
Orchestra
Method/Supplement.
Folk; Traditional. 48
pages.
Published by Alfred Music
A Sequenced Guide to American Fiddling (Viola). Composed by Crystal Plohman Wi...(+)
A Sequenced Guide to
American
Fiddling (Viola).
Composed by
Crystal Plohman Wiegman,
Renata Bratt, and Bob
Phillips. Book; CD;
Method/Instruction;
String
Orchestra
Method/Supplement.
Folk; Traditional. 48
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
(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
By A. Vivaldi (1678-1741). For Violin. DOWANI 3 Tempi Play Along - Violin. Artis...(+)
By A. Vivaldi
(1678-1741). For Violin.
DOWANI 3 Tempi Play Along
- Violin. Artist: Alexey
Bruni - Violin;
Konstantin Krimets -
Conductor; Leonid
Ogrintschuk - Piano;
Russian Philharmonic
Orchestra - Orchestra
accompaniment. Level:
Intermediate. Sheet Music
with CD (3 Tempi Play
Along). Published by
Dowani International.
By Johann Sebastian Bach. For Violin. DOWANI 3 Tempi Play Along - Violin. Level:...(+)
By Johann Sebastian Bach.
For Violin. DOWANI 3
Tempi Play Along -
Violin. Level: Advanced.
Sheet Music with CD (3
Tempi Play Along).
Published by Dowani
International.
Violin - Intermediate SKU: KJ.123VN Composed by Jeremy Woolstenhulme and ...(+)
Violin - Intermediate
SKU: KJ.123VN
Composed by Jeremy
Woolstenhulme and Kirt
Mosier. Strings/Methods,
Strings/Repertoire.
String Basics Solos Book
2 - 19 Solos for
Intermediate String
Players. Neil A. Kjos
Music Company #123VN.
Published by Neil A. Kjos
Music Company (KJ.123VN).
ISBN
9780849735776.
Stri
ng BasicsTM Solos Book 2
features a collection of
19 solos for recitals,
festivals, informal
gatherings, or just for
fun. This collection
includes a mix of
classical themes, folk
songs, and original solos
by Jeremy Woolstenhulme.
The solos correlate with
String BasicsTM Book 2
and most level 2 method
books. Solos progress in
difficulty from beginning
to end. All instruments
have the same set of
solos. This solo
collection is the perfect
supplement for students
who do not have a private
studio teacher and want
to play solo
literature.
The
piano accompaniments by
Kirt Mosier are available
in a separate book and
recorded audio tracks are
available for download by
using the Kjos
Interactive Practice
Studio (IPS). The IPS
features three tracks for
each solo. Track 1 is a
complete performance
performed by a
professional violinist
with piano accompaniment.
Track 2 is a complete
performance of the solo
played by either a
violist, cellist, or
bassist with piano
accompaniment. Track 3 is
an accompaniment-only
track provided for
play-along
opportunities.
Strings; Violin (Study Score) SKU: HL.49010206 For Violin, Strings and...(+)
Strings; Violin (Study
Score)
SKU:
HL.49010206
For
Violin, Strings and Basso
Continuo. Composed by
Antonio Vivaldi. Edited
by Alfred Einstein.
Arranged by Alfred
Einstein. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Baroque, Classical. Study
Score. Op. 6/1. 20 pages.
Eulenburg Edition #ETP
754. Published by
Eulenburg Edition
(HL.49010206).
ISBN
9790200206555.
5.25x7.5x0.092
inches.
With more
than 1,200 titles from
the orchestral and choral
repertoire, from chamber
music and musical
theatre, Edition
Eulenburg is the world's
largest series of scores,
covering large part of
music history from the
Baroque to the Classical
era and looking back on a
long tradition.
(Sequential Repertoire for Solo Strings or String Ensemble). By Laurie Scott, Wi...(+)
(Sequential Repertoire
for Solo Strings or
String Ensemble). By
Laurie Scott, Winifred
Crock, and William Dick.
For Violin. String
Orchestra
Method/Supplement. Book &
CD. 36 pages. Published
by Alfred Music
Publishing
Classic Rock for the String Orchestra (Violin). Arranged by Bob Phillips ...(+)
Classic Rock for the
String Orchestra
(Violin). Arranged by
Bob Phillips and Daryl
Silberman. Book; CD;
Play-Along; String
Orchestra Collection.
Rock. 40 pages. Published
by Alfred Music
(AP.40736).
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.
By A. Vivaldi (1678-1741). For Violin. DOWANI 3 Tempi Play Along - Violin. Level...(+)
By A. Vivaldi
(1678-1741). For Violin.
DOWANI 3 Tempi Play Along
- Violin. Level:
Advanced. Sheet Music
with CD (3 Tempi Play
Along). Published by
Dowani International.
By A. Vivaldi (1678-1741). For Violin. DOWANI 3 Tempi Play Along - Violin. Level...(+)
By A. Vivaldi
(1678-1741). For Violin.
DOWANI 3 Tempi Play Along
- Violin. Level:
Advanced. Sheet Music
with CD (3 Tempi Play
Along). Published by
Dowani International.
By A. Vivaldi (1678-1741). For Violin. DOWANI 3 Tempi Play Along - Violin. Level...(+)
By A. Vivaldi
(1678-1741). For Violin.
DOWANI 3 Tempi Play Along
- Violin. Level:
Advanced. Sheet Music
with CD (3 Tempi Play
Along). Published by
Dowani International.
By Johann Sebastian Bach. For Violin. DOWANI Urtext 3 Tempi Play Along - Violi...(+)
By Johann Sebastian Bach.
For Violin. DOWANI Urtext
3 Tempi Play Along -
Violin. Level:
Intermediate. Sheet Music
with CD (3 Tempi Play
Along). Published by
Dowani International.
By A. Vivaldi (1678-1741). For Violin. DOWANI 3 Tempi Play Along - Violin. Level...(+)
By A. Vivaldi
(1678-1741). For Violin.
DOWANI 3 Tempi Play Along
- Violin. Level:
Advanced. Sheet Music
with CD (3 Tempi Play
Along). Published by
Dowani International.
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.
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).
String Parts (Strings) SKU: HL.14063989 For Violin, Viola, Cello, Bass...(+)
String Parts (Strings)
SKU: HL.14063989
For Violin, Viola,
Cello, Bass, and Piano
String Parts.
Composed by Judith Weir.
Instrumental. General
Merchandise. Duration 240
seconds. Chester Music
#CH87494-01. Published by
Chester Music
(HL.14063989).
UPC:
196288022190.
9.0x12.0x0.055
inches.
Composed
for the Schubert
Ensemble's farewell tour
and modelled on
'Abschied' from
Schubert's
Schwanengesang, this
four-minute piece gives
each player a brief solo
before the work's close.
A light-hearted piece
that is ideal for the end
of a concert programme or
as an encore.