Fiddle, Violin - Difficulty: medium SKU: HL.235 By Various. Fiddle. Folk....(+)
Fiddle, Violin -
Difficulty: medium
SKU: HL.235
By
Various. Fiddle. Folk.
Solo fiddle songbook.
With performance notes,
introductory text and
standard notation. 96
pages. Published by
Centerstream Publications
(HL.235).
ISBN
9781574240566. UPC:
073999567786. 9x12
inches.
This
comprehensive collection
of fabulous fiddle tunes
includes reels,
hornpipes, strathspeys,
jigs, waltzes and slow
airs.
Featuring 43 Fiddlers
and 188 of Their
Tunes. Perfect
binding. Folk. Book. 212
pages. Mel Bay
Publications, Inc #30091.
Published by Mel Bay
Publications, Inc
(MB.30091).
ISBN
9781513466378. 8.75 x
11.75
inches.
Appalachian
fiddle music, based on
the musical traditions of
the people who settled in
the mountainous regions
of the southeastern
United States, is
widely-known and played
throughout North America
and parts of Europe
because of its complex
rhythms, its catchy
melodies, and its
often-ancient-sounding
stylistic qualities. The
authors explore the lives
and music of 43 of the
classic Appalachian
fiddlers who were active
during the first half of
the 20th century. Some of
them were recorded
commercially in the
1920s, such as Gid
Tanner, Fiddlin? John
Carson, and Charlie
Bowman. Some were
recorded by folklorists
from the Library of
Congress, such as William
Stepp, Emmett Lundy, and
Marion Reece. Others were
recorded informally by
family members and
visitors, such as John
Salyer, Emma Lee
Dickerson, and Manco
Sneed. All of them played
throughout most of their
lives and influenced the
growth and stylistic
elements of fiddle music
in their regions. Each
fiddler has been given a
chapter with a biography,
several tune
transcriptions, and tune
histories. To show the
richness of the music,
the authors make a
special effort to show
the musical elements in
detail, but also
acknowledge that nothing
can take the place of
listening. Many of the
classic recordings used
in this book can be found
on the web, allowing you
to hear and read the
music together.
Violin - Level 3 SKU: FH.VLR03 Composed by The Royal Conservatory. Repert...(+)
Violin - Level 3
SKU:
FH.VLR03
Composed by
The Royal Conservatory.
Repertoire. Violin
Series. Book and online
audio. The Frederick
Harris Music Company
#VLR03. Published by The
Frederick Harris Music
Company (FH.VLR03).
ISBN
9781554409044.
C
arefully selected and
curated to support
teachers and students in
their artistic and
technical development,
the Violi
n Series, 2021 Edition
includes pieces from
a diverse range of eras
and styles that represent
stepping stones to major
violin repertoire. Each
level is constructed to
link repertoire
selections to necessary
techniques and
corresponding etudes,
while illustrating
step-by-step connections
for developing core
skills. Each Reper
toire book includes
access to quality video
and audio recordings by
some of North America's
finest violinists and
accompanists; both
performance and
accompaniment-only tracks
for each Reper
toire selection
offer students a model
for performance practice
and the convenience of
accompanied rehearsal at
home.
Violi
n Repertoire 3
provides exciting and
varied repertoire with
entry-level concertos,
sonatas, fiddle tunes,
and dance styles (polkas,
waltzes, and polonaises).
Pieces by composers such
as Johann Sebastian Bach,
Natalya Baklanova,
Antonin Dvorak, Edvard
Grieg, Ferdinand Kuchler,
Wolfgang Amadeus Mozart,
Jean-Philippe Rameau, and
Georg Philipp Telemann
are experienced in both
solo and duet form. Level
3 students continue to
expand their hand-frame
knowledge with the
inclusion of new flat
keys, while gaining
comfort in the second
position. Rhythmic
challenges are introduced
through a variety of
meters and syncopation.
Articulations such as
brush stroke are
introduced.
Edited by Robin Williamson. For violin. Includes violin solo songbook and exampl...(+)
Edited by Robin
Williamson. For violin.
Includes violin solo
songbook and examples CD.
With standard notation,
chord names, performance
notes and introductory
text. British and folk.
96 pages. 9x12 inches.
Published by Oak
Publications
A violin method for children. By Egon Sassmannshaus; Kurt Sassmannshaus. Ameri...(+)
A violin method for
children. By Egon
Sassmannshaus; Kurt
Sassmannshaus. American
English translation: Kurt
Sassmannshaus;
Illustrations: Charlotte
Panowsky. For Violin.
Take advantage of our
exclusive introductory
offer now and save 25%
off the regular price -
this special price is
available for a limited
time only. Baerenreiter's
Sassmannshaus. Original
German title: Fruher
Anfang auf der Geige -
Band 2; Eine Violinschule
fur Kinder. Instructional
Method. Method book. Text
language: English. 64
pages. Published by
Baerenreiter Verlag
(German import).
New Tune a Day for Violin - Spanish Edition. Music Sales America. Instruction,...(+)
New Tune a Day for Violin
-
Spanish Edition. Music
Sales
America. Instruction,
Spanish
Edition. Softcover with
CD.
52 pages. Music Sales
#BM12606. Published by
Music
Sales
With Guitar Chords. Edited by Sinead Madden. Waltons Irish Music Books. Celtic, ...(+)
With Guitar Chords.
Edited by Sinead Madden.
Waltons Irish Music
Books. Celtic, Irish. 48
pages. Waltons Irish
Music #WM1382CD.
Published by Waltons
Irish Music
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.
(20 Famous Tunes from Ireland With a CD of performances and backin). By Various....(+)
(20 Famous Tunes from
Ireland With a CD of
performances and backin).
By Various. Edited by
Patrick Steinbach.
Arranged by Heiko
R�¼hmkorff. For
Violin. String. Softcover
with CD. 28 pages. Schott
Music #ED21378. Published
by Schott Music
By Stacy Phillips. For Fiddle. Solos. Fiddle Tunes. Level: Beginning-Intermediat...(+)
By Stacy Phillips. For
Fiddle. Solos. Fiddle
Tunes. Level:
Beginning-Intermediate.
Book. Size 8.75x11.75. 72
pages. Published by Mel
Bay Publications, Inc.
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.
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).
Chamber Music Violin SKU: CF.BF150 30 Easy Level Arrangements for Any ...(+)
Chamber Music Violin
SKU: CF.BF150
30 Easy Level
Arrangements for Any
Combination of String
Instruments. Composed
by Benjamin Hanby,
Bernard de la Monnoye,
Felix Bartholdy
Mendelssohn, Franz Xaver
Gruber, French carol,
James Murray, James
Pierpont, John Henry
Hopkins, John Neale, John
Wade, John Wesley Work,
III, Lowell Mason,
Melchior Franck, Mykola
Leontovich, S. Goldfarb,
Spanish Carol, and etc.
Arranged by Kathryn
Griesinger. Collection -
Part. 28 pages. Carl
Fischer Music #BF150.
Published by Carl Fischer
Music (CF.BF150).
ISBN
9781491162101. UPC:
680160920846.
Learn
ing to play chamber music
is an important milestone
in the music
student’s journey.
Playing with a teacher or
friend helps develop
rhythmic independence,
intonation, listening
skills, and sense of
pulse that are vital to
playing in an ensemble.
These progressive duets
offer beginning and
developing players the
opportunity to play along
with others, or with the
helpful support of the
teacher in a lesson. Each
duet adds new techniques
and challenges that align
with the natural
advancement of lessons,
moving from easy rhythms
and keys to staccato bow
strokes, slurs,
accidentals (low or
extended finger
patterns), and more
complex or independent
rhythms. While the melody
remains in the top line,
musicians can alternate
playing the melody as all
efforts have been made to
keep both parts at a
similar difficulty level.
This book features
familiar melodies for the
holidays, including
sacred and secular
Christmas songs, music
for Hanukkah, and folk
tunes from many
countries. Appropriate
for caroling, recitals,
or chamber holiday
concerts, there are 30
festive selections of
different tempi, styles,
and keys for variety,
while remaining in
string-friendly ranges.
Each duet is one page or
less in length, ensuring
an immediate sense of
success for young
players. Put new skills
into practice while
celebrating the
season.
Chamber Music Violin SKU: CF.BF154 30 Easy Level Arrangements for Any ...(+)
Chamber Music Violin
SKU: CF.BF154
30 Easy Level
Arrangements for Any
Combination of String
Instruments. Composed
by Antonin Dvorak, Clara
Wieck-Schumann, Czech
Folk Song, Edvard Grieg,
French Folk Song, George
Frideric Handel, Isabella
Leonarda, Korean
Folksong, Lowell Mason,
Scottish Folk Song,
Spanish Folk, Thomas
Bayly, Traditional,
Wolfgang Amadeus Mozart,
and etc. Arranged by
Kathryn Griesinger.
Collection - Part. 28
pages. Carl Fischer Music
#BF154. Published by Carl
Fischer Music (CF.BF154).
ISBN 9781491162064.
UPC:
680160920808.
Learn
ing to play chamber music
is an important milestone
in the music
studentââ¬â¢s
journey. Playing with a
teacher or friend helps
develop rhythmic
independence, intonation,
listening skills, and
sense of pulse that are
vital to playing in an
ensemble. These
progressive duets offer
beginning and developing
players the opportunity
to play along with
others, or with the
helpful support of the
teacher in a lesson. Each
duet adds new techniques
and challenges that align
with the natural
advancement of lessons,
moving from easy rhythms
and keys to staccato bow
strokes, slurs,
accidentals (low or
extended finger
patterns), and more
complex or independent
rhythms. While the melody
remains in the top line,
musicians can alternate
playing the melody as all
efforts have been made to
keep both parts at a
similar difficulty level.
This book features
familiar melodies from
traditional, folk, and
Classical repertoire
including tunes that many
string teachers will
recognize from Suzuki
books. Appropriate for
recitals or even small
group concerts, there are
30 selections of
different tempi, styles,
and keys for variety,
while remaining in
string-friendly ranges.
Each duet is one page or
less in length, ensuring
an immediate sense of
success for young
players. The perfect
supplement to method book
exercises and solo
repertoire.
An Introduction to Folk Styles, Technique and Improvisation. Strings, Meth...(+)
An Introduction to Folk
Styles, Technique and
Improvisation. Strings,
Methods. Schott
Pop-Styles.
Exploring Folk Fiddle.
Softcover Book and CD.
208
pages. Schott Music
#ED13460.
Published by Schott Music