(Serie IV - Italie 1600-1800). Edited by Alessandro Moccia. For Violin. Facsimil...(+)
(Serie IV - Italie
1600-1800). Edited by
Alessandro Moccia. For
Violin. Facsimiles.
Methodes and Traites.
Grade 0. 904 pages.
Published by Anne Fuzeau
Productions - France
For Violin and
Orchestra. Composed
by Behzad Ranjbaran.
Contemporary. Large
Score. With Standard
notation. Composed 1994.
144 pages. Duration 31
minutes. Theodore Presser
Company #416-41366L.
Published by Theodore
Presser Company
(PR.41641366L).
UPC:
680160585755.
From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violins open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movements primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violinas open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movementas primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violin's open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement's primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notionof
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures.The notes of the
violin’s open
strings (G, D, A, E) also
influenced many of the
melodic and harmonic
elements of my violin
concerto. The opening
tutti is mostly based on
intervals of a perfect
4th and 5th. The primary
material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes:1 st
movement: A-D-A2nd
movement: D-G-D3rd
movement: E-A-EThe
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement’s
primary theme. While the
movements share similar
musical materials, each
one is definedby
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and
unforgivingferocity. The
second movement is
haunting, mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
fromthe previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell.
Violin SKU: FZ.5826 Serie IV - Italy 1600-1800. Edited by Alessand...(+)
Violin
SKU:
FZ.5826
Serie IV -
Italy 1600-1800.
Edited by Alessandro
Moccia. This edition:
Facsimile. Methodes &
Traites. Score. Published
by Anne Fuzeau
Productions - France
(FZ.5826).
ISBN
9790230658263. 24.00 x
33.00 cm
inches.
These early
music methods are in
facsimile in three books.
Bartolomeo BISMANTOVA -
Francesco GEMINIANI (1-2)
- Giuseppe TARTINI (1) -
Carlo TESSARINI (1) -
Aurelio VIRGILIANO -
Gasparo ZANNETTI. Table
of contents: Virgiliano
Aurelio: Il dolcimelo
d'Aurelio Virgiliano - c.
1600. Zannetti Gasparo:
Il scolaro di Gasparo
Zannetti - 1645.
Bismantova Bartolomeo:
Compendio musicale -
1677. Tessarini Carlo:
Gramatica di musica -
1741. Tartini Giuseppe:
L'Arte del arco - 1748.
Geminiani Francesco: A
treatise of good taste -
1749. Geminiani
Francesco: The art of
playing on the violin -
1751. Collection
supervised by the
musicologist Jean
Saint-Arroman, professor
at the Conservatoire
National Superieur de
Musique et de Danse of
Paris and at the CEFEDEM
Ile de France (Training
Centre for Music
Teachers). He is the
author of the majority of
our prefaces and has also
been involved in library
searches. Facsimile of
copies from: - National
Library of Paris
(France). - Civico Museo
Bibiografico Musicale of
Bologna (Italy). -
Municipal Library of
Reggio Emilia (Italy).
- Gemeente Museum of
The Hague (Netherlands).
Anne Fuzeau Classique
propose the complete
theoretic documentation,
methods, classical music
scores on the violin.
By Craig Duncan. For Fiddle. Method. Bluegrass. Level: Multiple Levels. Book CD ...(+)
By Craig Duncan. For
Fiddle. Method.
Bluegrass. Level:
Multiple Levels. Book CD
DVD. Size 8.75x11.75. 112
pages. Published by Mel
Bay Publications, Inc.
Edited by David Brody. For violin. Format: fake book. With lead melody, chord na...(+)
Edited by David Brody.
For violin. Format: fake
book. With lead melody,
chord names,
instructional text and
performance notes. Folk,
americana and british.
302 pages. 9x12 inches.
Published by Oak
Publications.
Intermediate Fiddle Tunes and Techniques. By Brian Wicklund. For Fiddle. Methods...(+)
Intermediate Fiddle Tunes
and Techniques. By Brian
Wicklund. For Fiddle.
Methods. Bluegrass and
Country. Level:
Intermediate. Book CD
DVD. 64 pages. Published
by Mel Bay Publications,
Inc.
By Koji Toyoda. Arranged by Dr. Shinichi Suzuki. This edition: Performance CD. M...(+)
By Koji Toyoda. Arranged
by Dr. Shinichi Suzuki.
This edition: Performance
CD. Method/Instruction;
String - Violin (Suzuki);
Suzuki. Suzuki Violin
School. Instructional and
Technique. Performance
CD. 1 pages. Alfred Music
#00-0919. Published by
Alfred Music
For Violin. Composed by Various. Music Sales America. Classical Period, Broadway...(+)
For Violin. Composed by
Various. Music Sales
America. Classical
Period, Broadway and
Folk. Violin solo book
(no accompaniment,
softcover). 96 pages.
Music Sales #AM33671.
Published by Music Sales
Chamber Music Violin SKU: PR.114422260 For solo violin. Composed b...(+)
Chamber Music Violin
SKU: PR.114422260
For solo violin.
Composed by Stacy Garrop.
Sws. Performance Score.
12 pages. Duration
0:09:00. Theodore Presser
Company #114-42226.
Published by Theodore
Presser Company
(PR.114422260).
ISBN
9781491133866. UPC:
680160683352. 9 x 12
inches.
Legends of
the phoenix are found in
stories from ancient
Egypt and Greece. While
each culture possesses a
range of stories
encompassing the myth,
these tales tend toward
similar traits: a sacred
bird with brilliantly
colored plumage and
melodious call lives for
typically 500 years, then
dies in a nest of embers,
only to be reborn among
the flames. Phoenix
Rising consists of two
movements: I. Dying in
Embers represents an old
phoenix settling on top
of a pile of embers and
breathing its last
breath; II. Reborn in
Flames depicts the
newly-born phoenix
getting its first taste
of flight. Legends of
the phoenix are found in
stories from ancient
Egypt and Greece. While
each culture possesses a
range of stories
encompassing the phoenix
myth, these tales tend to
share similar traits: a
sacred bird with
brilliantly colored
plumage and melodious
call lives for typically
five hundred years; then
the bird dies in a nest
of embers, only to be
reborn among the
flames.In Egyptian
stories, the phoenix
gathers scented wood and
spices for its
funeral/rebirth pyre,
then collects the ashes
from its earlier
incarnation and flies
them to the temple of the
sun in Heliopolis to
offer as a tribute to the
sun god.In Greek myths,
the phoenix was
approximately the size of
an eagle and was adorned
with red and gold
feathers; it would fly
from either India or
Arabia to Heliopolis to
give its offering. The
bird’s association
with immortality and
resurrection are
particularly intriguing
aspects of these tales,
giving numerous writers
(including William
Shakespeare, C.S. Lewis,
and J.K. Rowling) a rich
resource for their own
stories.Phoenix Rising
consists of two
movements. I. Dying in
embers represents an old
phoenixwho is settling on
top of a pile of embers
and breathing its last
breath. II. Reborn in
flames depicts the
newly-born phoenix
getting its first taste
of flight.Phoenix Rising
was commissioned by
saxophonist Christopher
Creviston, who has
recorded the work on the
Blue Griffin label. The
composer has also made
editions of the work for
flute and for clarinet
(also available from
Theodore Presser
Company).
Violin - intermediate SKU: BT.DHP-1185780-400 The World's Most Beautif...(+)
Violin - intermediate
SKU:
BT.DHP-1185780-400
The World's Most
Beautiful Arias with Full
Orchestra Play Along.
Opera or Operetta. Book
with CD. Composed 2018.
36 pages. De Haske
Publications #DHP
1185780-400. Published by
De Haske Publications
(BT.DHP-1185780-400).
ISBN 9789043153836.
English-German-French-Dut
ch.
For over three
hundred years, great
opera singers have held
entire audiences under
their spell. In so doing,
they can call on an
etensive repertoire of
arias by many important
composers. Live at the
Opera now makes this
precious treasure trove
available to
instrumentalists, too.
Twelve of the most
beautiful operatic
melodies of all time have
been specially arranged
for violin and are
performed by the renowned
violinist Maximilian
Lohse. The accompanying
audio is performed by an
authentic opera
orchestra, which also
includes a play-along
version without soloist.
Additionally, this unique
collection also includes
background info and tips
on performance for
theindividual arias.
Al meer dan
driehonderd jaar weten
grote operazangers en
-zangeressen hun publiek
te betoveren. Wanneer ze
voor ons op het podium
staan, vertolken ze
melodieën die behoren
tot de allermooiste van
de klassieke muziek.
Live at the opera
maakt deze schat aan
melodieën nu ook
toegankelijk voor
instrumentalisten: twaalf
Italiaanse
opera-ariaâ??s zijn
speciaal gearrangeerd
voor viool en opgenomen
door de gerenommeerd
violist Maximilian Lohse.
Een echt operaorkest
neemt de begeleiding voor
zijn rekening, die op de
meespeelversie ook zonder
solo-instrumentalist
beschikbaar is. Verder
zijn in deze unieke
collectie
muziekhistorische
achtergrondinformatie bij
iedere aria entips voorde
uitvoering opgenomen.
Schon seit mehr
als dreihundert Jahren
ziehen groÃ?e
Opernsängerinnen ein
ganzes Opernpublikum in
seinen Bann. Dabei
können sie sich aus
einem umfangreichen
Arienrepertoire aus der
Feder zahlreicher
bedeutender Komponisten
bedienen. Live at the
Opera macht diesen
kostbaren Melodienschatz
nun auch
Instrumentalisten
zugänglich: 12 der
schönsten
Opernmelodien aller
Zeiten wurden hier eigens
für Violine
eingerichtet und werden
von dem renommierten
Geiger Maximilian Lohse
vorgespielt. Ein echtes
Opernorchester
übernimmt dabei die
Begleitung, welche
zusätzlich auch in
einer Mitspielversion
ohne den Solisten zur
Verfügung steht.
Hintergrundwissen
undAusführungstipps zu
den einzelnen Arien sind
weitere Pluspunkte dieser
einzigartigen Sammlung.
Violin SKU: BT.VOLMB39 Suzuki Method International. Tuition. Book Only. 2...(+)
Violin
SKU:
BT.VOLMB39
Suzuki
Method International.
Tuition. Book Only. 28
pages. Volonte e Co
#VOLMB39. Published by
Volonte e Co
(BT.VOLMB39).
ISBN
9788863880373.
Italian-French-Spanish.
p>
Suzuki
Violin School Volume
3.
E’ il
3° volume del Metodo
Suzuki dedicato al
violino, pubblicato in
una nuova edizione, per
la prima volta anche in
italiano.I temi di studio
affrontati sono, in
particolare: il progresso
attraverso
l’ascolto
musicale, la
tonalization,
l’intonazione
accurata, lo studio del
fraseggio. Sono inclusi
esercizi per il
vibrato.
About Suzuki
Method
The
Suzuki Method is based on
the principle that all
children possess ability
and that this ability can
be developed and enhanced
through a nurturing
environment. All children
learn to speak their own
language with relative
ease and if the same
natural learning process
is applied in teaching
other skills, these can
be acquired as
successfully. Suzuki
referred to the process
as the Mother Tongue
Method and to the whole
system of pedagogy as
Talent Education. The
important elements of the
Suzuki approach to
instrumental teaching
include the following:an
early start (aged 3-4 is
normal in most
countries); the
importance of listening
to music; learning to
play before learning to
read; -the involvement of
the parent; a nurturing
and positive learning
environment; a high
standard of teaching by
trained teachers; the
importance of producing a
good sound in a balanced
and natural way; core
repertoire, used by
Suzuki students across
the world; social
interaction with other
children. Suzuki students
from all over the world
can communicate through
the language of
music.
by Stacy Phillips. For fiddle. All styles, fiddle tunes. Level: Multiple Levels....(+)
by Stacy Phillips. For
fiddle. All styles,
fiddle tunes. Level:
Multiple Levels. Book.
Solos. Size 8.75x11.75.
268 pages. Published by
Mel Bay Pub., Inc.
For violin. Format: violin solo book (excerpts only). Baroque, Classical Period ...(+)
For violin. Format:
violin solo book
(excerpts only). Baroque,
Classical Period and
Romantic Period. 64
pages. 9x12 inches.
Published by Music Sales.
(MS.AM84153)
A selection of all the
best-known tunes and
themes in the classical
repertoire, carefully
edited for violin solo.
Includes works by Mozart,
Bach, Beethoven, Chopin
and many more great
composers.
By Martin Norgaard. For Violin. Method. Jazz Wizard. Jazz. Level: Intermediate. ...(+)
By Martin Norgaard. For
Violin. Method. Jazz
Wizard. Jazz. Level:
Intermediate. Book/CD
Set. Size 8.75x11.75. 64
pages. Published by Mel
Bay Publications, Inc.