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: HL.360036 Composed by Various. Instrumental Folio. Chris...(+)
Violin
SKU:
HL.360036
Composed by
Various. Instrumental
Folio. Christian, General
Worship, Worship.
Softcover. 120 pages.
Published by Hal Leonard
(HL.360036).
ISBN
9781705122822. UPC:
840126947168. 9.0x12.0
inches.
This
glorious collection
provides hours of
repertoire for
instrumentalists.
Includes: Amazing Grace
(My Chains Are Gone)
â?¢ As the Deer â?¢
The Blessing â?¢ Build
My Life â?¢ Do It Again
â?¢ Draw Me Close â?¢
Everlasting God â?¢
Goodness of God â?¢
Great Are You Lord â?¢
Here I Am to Worship
(Light of the World)
â?¢ How Great Is Our
God â?¢ In Christ Alone
â?¢ Living Hope â?¢
Mighty to Save â?¢
Oceans (Where Feet May
Fail) â?¢ Open the Eyes
of My Heart â?¢ Shout
to the Lord â?¢ 10,000
Reasons (Bless the Lord)
â?¢ This Is Amazing
Grace â?¢ Way Maker
â?¢ Yet Not I but
Through Christ in Me
â?¢ Your Name â?¢ and
many more!
Hanon Power Workouts for Violin and Fiddle arranged by Larry McCabe. For violin,...(+)
Hanon Power Workouts for
Violin and Fiddle
arranged by Larry McCabe.
For violin, fiddle. This
edition: Paperback.
Instructional. Exercises.
Book. Text Language:
English. 32 pages.
Published by Santorella
Publications
Chamber Music Clarinet, Contrabass, Percussion, Piano, Violin, tenor Saxophone <...(+)
Chamber Music Clarinet,
Contrabass, Percussion,
Piano, Violin, tenor
Saxophone
SKU:
PR.11441304S
For
violin, Bb Clarinet, Bb
Tenor Saxophone, Double
Bass, Piano, and
Percussion. Composed
by Chen Yi. Premiered at
Kerrytown Concert House
in Ann Arbor, MI.
Contemporary. Full score.
With Standard notation.
Composed 2006. 16 pages.
Duration 5 minutes.
Theodore Presser Company
#114-41304S. Published by
Theodore Presser Company
(PR.11441304S).
UPC:
680160620357. 8.5 x 11
inches.
The mixed
sextet The Han Figurines
is a musical realization
of my impression of the
Chinese clay figurines of
the Eastern Han (25-220
A.D.). Have you seen the
shapes of the enraptured
storyteller, the vivid
acrobat, and the moving
dancers with long
sleeves? They are in
highly exaggerated forms
and postures, in large
and sweeping movements --
the innocent and bold
images symbolize the
strength, motion, and
speed. It's the beauty of
the crude and primitive
power of humanity in its
conquest of the material
world. --Chen Yi. The
mixed sextet The Han
Figurines is a musical
realization of my
impression of the Chinese
clay figurines of the
Eastern Han (25-220
A.D.). Â Have you seen
the shapes of the
enraptured storyteller,
the vivid acrobat, and
the moving dancers with
long sleeves? Â They
are in highly exaggerated
forms and postures, in
large and sweeping
movements — the
innocent and bold images
symbolize the strength,
motion, and speed.
 It’s the
beauty of the crude and
primitive power of
humanity in its conquest
of the material
world.—Chen
Yi.
Chamber Music Clarinet, Contrabass, Percussion, Piano, Violin, tenor Saxophone <...(+)
Chamber Music Clarinet,
Contrabass, Percussion,
Piano, Violin, tenor
Saxophone
SKU:
PR.114413040
For
violin, Bb Clarinet, Bb
Tenor Saxophone, Double
Bass, Piano, and
Percussion. Composed
by Chen Yi. Saddle.
Premiered at Kerrytown
Concert House in Ann
Arbor, MI. Contemporary.
Set of Score and Parts.
With Standard notation.
Composed 2006.
16+3+2+2+2+3+2 pages.
Duration 5 minutes.
Theodore Presser Company
#114-41304. Published by
Theodore Presser Company
(PR.114413040).
UPC:
680160571628. 8.5 x 11
inches.
Commissione
d by the Opus 21
ensemble, this mixed
sextet is a musical
realization of Chinese
clay figurines of the
Eastern Han (25-220
A.D.). Shapes of the
enraptured storyteller,
the vivid acrobat, and
the moving dancers are in
highly exaggerated forms
and postures, in large
and sweeping movements
— the innocent and
bold images symbolize the
strength, motion, and
speed, as the beauty of
the crude and primitive
power of humanity in its
conquest of the material
world. The mixed
sextet The Han Figurines
is a musical realization
of my impression of the
Chinese clay figurines of
the Eastern Han (25-220
A.D.). Â Have you seen
the shapes of the
enraptured storyteller,
the vivid acrobat, and
the moving dancers with
long sleeves? Â They
are in highly exaggerated
forms and postures, in
large and sweeping
movements — the
innocent and bold images
symbolize the strength,
motion, and speed.
 It’s the
beauty of the crude and
primitive power of
humanity in its conquest
of the material
world.—Chen
Yi.
(Solos with Ensemble Arrangements for Two or More Players) Arranged by Stan Peth...(+)
(Solos with Ensemble
Arrangements for Two or
More Players) Arranged by
Stan Pethel. For violin.
Format: violin songbook.
With standard notation,
solo part and harmony
part. Contemporary
Christian. 23 pages. 9x12
inches. Published by
Daybreak Music.
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.
Instrumental Play-Along. Composed by Various. Instrumental Play-Along. Christ...(+)
Instrumental Play-Along.
Composed by Various.
Instrumental Play-Along.
Christian, General
Worship,
Hymns, Sacred. Softcover
Audio Online. 24 pages.
Published by Hal Leonard
By Jenni Norey. Playalong 50- 50. Pop & Rock. Book with Online Audio. Com...(+)
By Jenni Norey. Playalong
50-
50. Pop & Rock. Book
with
Online Audio. Composed
2014.
144 pages. Wise
Publications
#MUSAM1007226. Published
by
Wise Publications
Composed by Craig Duncan. Solos, Saddle-stitched. Great Fiddling Tunes. Scotti...(+)
Composed by Craig Duncan.
Solos, Saddle-stitched.
Great
Fiddling Tunes. Scottish.
Book and online audio.
Mel
Bay Publications, Inc
#30814M. Published by Mel
Bay
Publications, Inc
Violon [Partition] - Intermédiaire Kjos Music Company
By Robert Frost. Edited by Gerald Fischbach. (String Coll/Study). orchestra meth...(+)
By Robert Frost. Edited
by Gerald Fischbach.
(String Coll/Study).
orchestra method. Level:
Intermediate. Music book.
Published by Neil A. Kjos
Music Company.
Violin - Intermediate-Advanced SKU: MB.99169 Composed by Herbert Chang. S...(+)
Violin -
Intermediate-Advanced
SKU: MB.99169
Composed by Herbert
Chang. Squareback saddle
stitch, Style, Technique,
Theory and Reference,
Classical. Classic. Book.
80 pages. Mel Bay
Publications, Inc #99169.
Published by Mel Bay
Publications, Inc
(MB.99169).
ISBN
9780786657841. UPC:
796279072175. 8.75 x
11.75 inches. By Herbert
Chang.
An
advanced-level violin
method supplement for
both professional and
amateur violinists. The
studies in this book are
more intensive and
powerful than most
traditional violin
studies. Double-stop
trills are introduced
here for technical
training, and the finger
stretching exercises for
the left hand are pushed
to the limit. The mixed
single-stops,
double-stops, and chords
are also highly effective
bowing exercises. All
these innovative studies
offer a great opportunity
for students to build up
their technique more
efficiently. In some
studies, a new synthesis
of Eastern and Western
music is shown, unveiling
a new type of music to
Western audience.
Violin - difficult SKU: HL.49017065 For solo violin. Composed by K...(+)
Violin - difficult
SKU: HL.49017065
For solo violin.
Composed by Kenneth
Hesketh. This edition:
Saddle stitching. Sheet
music. String Solo. Book
only. Composed 2005. 16
pages. Duration 12'.
Schott Music #ED 12878.
Published by Schott Music
(HL.49017065).
ISBN
9790220130571.
9.0x12.0x0.052
inches.
Taking his
starting point from 17th
century philosopher-poet
Cyrano de Bergerac's
'Grandes Plaines du
Jour', Hesketh powerfully
fuses a huge range of
performing and
compositional techniques
into this 12 minute work
for solo violin. Inspired
by Bergerac's
imaginations of other
worlds and utopian
societies, the work
explores extreme ranges
and timbres whilst using
techniques such as left
hand pizzicato and
natural harmonics.
Open-fifth material,
which is natural to the
instrument, is prominent
and short duets
alternating between arco
and pizzicato figures add
yet another
dimension.
Edited by Craig Duncan. Instructional book and accompaniment CD for fiddle (viol...(+)
Edited by Craig Duncan.
Instructional book and
accompaniment CD for
fiddle (violin). With
introductory text and
chord names. Series:
Getting Into, Methods. 96
pages. Published by Mel
Bay Publications, Inc.
Violin SKU: HL.48023884 For Violin. Composed by Ursula Mamlok. Boo...(+)
Violin
SKU:
HL.48023884
For
Violin. Composed by
Ursula Mamlok. Boosey &
Hawkes Chamber Music.
Classical. Softcover. 6
pages. Bote & Bock
#M202534540. Published by
Bote & Bock
(HL.48023884).
9.25x12.0x0.053
inches.
This
composition for solo
violin was written in
1987 for the violinist
Roger Zahab who performed
the world premiere in New
York. As is typical of
Ursula Mamlok, the work
of about 5 minutes'
duration is very short.
In one movement, divided
into five short sections,
she sums up her musical
cause in an extremely
virtuoso manner: A
powerful opening theme,
which varies several
times, is followed by a
quiet, lyrical passage
which uses similar
musical ideas, however.
In the following, the
formal contrast
disappears due to the
increasing fusion of
opening theme and slower
episode before the main
theme is taken up again
in the final section in a
very dramatic form.
64 Pieces for Violin. By Pete Cooper. For Fiddle. Solos. Celtic/Irish. Level: In...(+)
64 Pieces for Violin. By
Pete Cooper. For Fiddle.
Solos. Celtic/Irish.
Level: Intermediate.
Book/CD Set. Size
8.75x11.75. 56 pages.
Published by Mel Bay
Publications, Inc.
(for Solo Violin). Composed by Johann Sebastian Bach (1685-1750). Arranged by St...(+)
(for Solo Violin).
Composed by Johann
Sebastian Bach
(1685-1750). Arranged by
Stuart Carlson. For
Violin. LKM Music.
Softcover. 10 pages.
Lauren Keiser Music
Publishing #S510009.
Published by Lauren
Keiser Music Publishing