By Traditional. Arranged by Sarah Labrousse-Baert. Solo. For Solo violin. Classi...(+)
By Traditional. Arranged
by Sarah Labrousse-Baert.
Solo. For Solo violin.
Classical, Educational,
Traditional. Grade 1.
Part. 32 pages. Published
by FLEX Editions
Violin - easy SKU: HL.44005955 For Violin & Piano. Composed by Col...(+)
Violin - easy
SKU:
HL.44005955
For
Violin & Piano.
Composed by Colin Cowles.
Fentone Instrumental
Books. Educational Tool.
Book with CD. Composed
2003. 32 pages. Fentone
Music #F834. Published by
Fentone Music
(HL.44005955).
UPC:
884088044251. 9x12
inches. International
(more than one
language).
The nine
easy, fun-to-play
fragments in this book
can be played in the
first position with
occasional fourth finger
use. These lovely pieces
enable the beginner
musician to perform
comfortably at an early
stage in their
development - and
performing experience is
vital for any musician!
Violin and Piano. Book
and CD.
The nine
easy, fun-to-play
fragments in this book
can be played in the
first position with
occasional fourth finger
use. These lovely pieces
enable the beginner
musician to perform
comfortably at an early
stage in their
development - and
performing experience is
vital for any musician!
Die einfachen,
melodischen Stucke in
Easy Melodic
Fragments sind fur
Violinschuler mit
geringen technischen
Fertigkeiten geeignet.
Sie sind in der ersten
Lage zu spielen mit
gelegentlicher Verwendung
des vierten Fingers. Mit
diesen Stucken will der
Komponist Colin Cowles
die Spieler zum
Vorspielen motivieren -
ein wichtiger Aspekt des
Musizierens in jedem
Lernstadium! Auf der
beiliegenden CD werden
die Stucke abwechselnd
von Violine und Viola
vorgespielt, dann folgt
die Begleitung zum
Mitspielen. Die
Klavierbegleitungen sind
ebenfalls im Buch
notiert.
The
Easy Sound of Pop, Rock &
Blues e una raccolta
di pezzi divertenti
pensati per tutti i
musicisti che desiderano
diventare delle vere star
in tutti i generi
musicali.
L'accompagnamento sul CD
e tonico e movimentato.
Nei brani potrete dare
spazio alla vostra
creativita inventando i
vostri soli.
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.114424050 Composed by Adolphus Hailstork. Sw...(+)
Chamber Music Violin
SKU: PR.114424050
Composed by Adolphus
Hailstork. Sws. Theodore
Presser Company
#114-42405. Published by
Theodore Presser Company
(PR.114424050).
ISBN
9781491137369. UPC:
680160690084.
Hints
of Bach’s solo violin
music occasionally infuse
Hailstork’s modernist
side, creating a
fascinating drama in this
three-movement suite for
solo violin. While
overall in a
fast-slow-fast form, each
movement is a world in
itself with engaging
contrasts, pacing, and
textures within the solo
instrument.
Violin Solo SKU: HP.9084 Composed by Paul Detterman. Piano Accompaniment....(+)
Violin Solo
SKU:
HP.9084
Composed by
Paul Detterman. Piano
Accompaniment.
Instrumental parts. 8
pages. Hope Publishing
Company #9084. Published
by Hope Publishing
Company (HP.9084).
UPC:
763628190842.
Violi
n solo New for solo
violin with piano
accompaniment, Savior is
an exquisite original
composition by Paul
Detterman, offering a
beautiful musical moment
for any worship service.
The use of minor tonality
juxtaposed with major
creates a pallet of tone
color that reflects on
the beauty of our Savior.
Violinists will find this
useful for many occasions
during the church
year.