(A Collection of 35 Traditional Appalachian Tunes). Composed by Ken Kolodner. For fiddle. Perfect binding. Book and Online Audio. 60 pages. Published by Mel Bay Publications, Inc

For Fiddle and Mandolin. Edited by Austin Gregory. Squareback saddle-stitched. Book. 88 pages. Published by Mel Bay Publications, Inc

Edited by Paul Stewart Cranford. Arranged by Melissa Emmons. For Fiddle. Solos. Cranford Publications. Canadian-Maritime. Intermediate. Book. 80 pages

by Craig Duncan. For fiddle. Christmas, solos. Level: Beg-Intermediate. Book. Solos. Size 8.75x11.75. 108 pages. Published by Mel Bay Pub., Inc.

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.

By Various Composers. Instrumental Folio. Size 9x12 inches. 146 pages. Published by Hal Leonard.

(Foreword and Additional Editing by Doris Gazda). By George Frideric Handel Federigo Fiorillo. Edited by Larry Clark, Leopold Auer, Doris Gazda. Arranged by William Strasser. For Violin, Violin and Piano. Book. 96 pages. Published by Carl Fischer

For Violin. By Various. Instrumental Folio. Pop, Standards. Softcover. Published by Hal Leonard

For Fiddle (IRISH FIDDLE). Waltons Irish Music Books. 30 pages. Waltons Irish Music #WM1370. Published by Waltons Irish Music

Waltons Irish Music Books. Celtic, Irish. Softcover with CD. 30 pages. Waltons Irish Music #WM1370CD. Published by Waltons Irish Music

Edited by Patrick Sky. For fiddle. All styles. Level: Multiple Levels. Book. Songbook. Size 8.75x11.75. 176 pages. Published by Mel Bay Pub., Inc.

How To Play Fiddle with CD by Larry McCabe. For fiddle. This edition: Paperback. Instructional. Method. Book and CD. Text Language: English. 48 pages. Published by Santorella Publications

Chamber Music Violin

SKU: PR.144407530

Composed by Lauren Bernofsky. 12 pages. Duration 10 minutes, 30 seconds. Merion Music #144-40753. Published by Merion Music (PR.144407530).

ISBN 9781491136614. UPC: 680160687992.

A violinist herself, Lauren Bernofsky has described SONATA FOR SOLO VIOLIN as drawn from autobiographical inspiration, including gestures from Bachâ??s beloved Partita in E Major. Bernofsky opens with a Preludio movement whose references to Bach may be disguised, but they are surely lurking. The second movement is lusciously contrapuntal with the idiomatic finesse of a violinist composing for her own instrument, while musically journaling the emotional pain of living through 2020. The third and final movement is aptly marked â??white-hot,â? and the music certainly is.
My SONATA FOR SOLO VIOLIN was commissioned by violinist Megan Healy as part of The Maud Powell Project, which celebrated the 100th anniversary of the ratification of the 19th Amendment. The project included the creation of five new works for solo violin inspired by and dedicated to the memory of pioneering American violinist Maud Powell (1867-1920). Healy premiered the sonata on May 8, 2021 at PianoForte Studios in Chicago.Among the works Powell most frequently performed in her recitals was the â??Preludioâ? movement from Bachâ??s E major Partita, and I decided to refer to that music in my own first movement, also titled â??Preludio.â? The beginning subtly reflects Bachâ??s opening three-note motive, wherein the music dips down a semitone and then comes back up. This melodic material returns throughout the movement in various forms. I also refer to Bachâ??s sixteenth-note dominated texture, and the gesture in the third measure, which outlines a perfect fifth and then fills it in with notes that alternate between a scale and a pedal tone. The corresponding passage in my piece occurs in the same place, measure 3. Apart from these references to Bach, my sonata is much more modern sounding, especially in its chromatic character.I was still thinking of Bachâ??s solo violin writing while composing the second movement, particularly the polyphonic nature of the slow movements, where the melodic interest moves around between the voices. Emotionally, I wanted my movement to reflect the acute sadness I had been experiencing over the political and social situation in the United States as I wrote the piece. I realized that this is a historically noteworthy time in U.S. history, marked not only by political unrest, but also by a challenge to the very values that I consider essential to what makes a person fundamentally human. I wanted to create a record of that pain in my music.The final movement is marked â??White-hot.â? It is imbued with a relentless, passionate intensity. Wanting again to reflect aspects of our own time, I included glissandi that refer to rock music, specifically the â??fall-offsâ? I frequently hear played by electric guitarists. I borrowed from another (completely different) musical tradition as well, one that is near-and-dear to my heart: Klezmer. Klezmer (Eastern European Jewish folk music) is characterized in part by scales colored by augmented seconds, and is often performed by solo instrumentalists who improvise embellishments like quick grace notes. The second, more lyrical theme in this movement is my nod to Klezmer style.While this piece is an homage to Maud Powell, I also think of it as my own musical autobiography, as it combines some of my favorite aspects of music, and is played on my own instrument.

Critical Edition Violin Solo Part. Composed by Erich Wolfgang Korngold (1897- 1957). LKM Music. Classical. Softcover. Lauren Keiser Music Publishing #S510015. Published by Lauren Keiser Music Publishing

Solo Violin

SKU: SU.29110060

For Solo Violin. Composed by Wynton Marsalis. Strings, Violin. Unaccompanied. Score. Subito Music Corporation #29110060. Published by Subito Music Corporation (SU.29110060).

1. Sidestep Reel - In 19th Century America, the Afro-Celtic fiddle style was the centerpiece of many a dance. Reels and hornpipes were very popular forms. Their repetitive, even-metered rhythms were easy and fun to dance to, and their infectious singable melodies stayed in the mind and on the tongue. More adventurous fiddlers were given to syncopating on these forms by accenting off beats and by embellishing melodies with oddmetered note groupings. Syncopation is a fundamental rhythmic attitude of jazz and this movement is a celebration of that art. The melodic language is a home-grown concoction of commonality between traditional reels and hornpipes and the Baroque, Ragtime and the quartal concepts of Modern Jazz. 2. As the Wind Goes - the wistful late night song of a lullabye, a campfire song, a ballad...a spiritual. It is sung as if on the wind, yearning to experience once again that which will only ever again live as memory. 3. Jones’ Jig - the Irish Jig, the African 6/8 bell pattern, the shuffle rhythm of jazz and the drum style of Elvin Jones all play around with the relationship of 3 in the time-space of 2. The juxtaposition, negotiation and reconciliation of these opposing rhythmic perspectives create interesting musical relationships all over the globe. 4. Nicola’s Strathspey - In the traditional Strathspey, improvised embellishments, syncopated dotted rhythms and the use of space between notes create expectation, momentum and surprise. These same elements and their effect on the listener are the same in the blues. It seems like a natural marriage. 5. Bye Bye Breakdown - This is good ol’, Saturday night barn dance, hoedown fiddling. It revels in the whining cry of open double stops, in all types of musical onomatopoeia from train sounds to animal calls to country whistling, and in the steady 2/4 rhythm that is as basic as walking. The harmonic framework of several popular fiddle and folk tunes provide a practical grid for the cutting of challenging melodic and rhythmic figures. It is designed to tire fiddler and dancers out. Then we stomp our way home in varying states of delight and disrepair.Solo Violin Duration: 24' Composed: 2018 Published by: Wynton Marsalis (administered by Skayne's Music).

Violin - Level 6

SKU: BA.BA11433

Composed by Zsigmond Szathmary. In a folder. Performance score. Composed 2010. 12 pages. Baerenreiter Verlag #BA11433_00. Published by Baerenreiter Verlag (BA.BA11433).

ISBN 9790006568215. 29.7 x 21 cm inches. Preface: Zsigmond Szathmary.

In ancient times, language and music were already regarded as an inseparable unit. Homer’s epic poems, for example, were sung, and in the highly developed art of rhetoric, words were used to communicate reason, while music spoke to the soul. Since Monteverdi’s time, musical delineation of text has become even more important: rhetoric terms such as “exclamatio”, “saltus duriusculus”, and “climax” were applied to music in order to render the emotional content of the text in even more expressive ways.

Szathmàry used this compositional method as a model when he drafted his work for violin “Rhetorica”. He wrote about this work: “My aim was to instill a “speaking quality” into even the tiniest musical elements in order to allow for the music to become a powerful narration of the moments experienced in a human life with all its highs and lows – entirely without the use of words.”

Violin - Grade 3

SKU: AP.50643

Composed by Bob Daisley, Ozzy Osbourne, and Randy Rhoads. Arranged by Mark Wood. Sheet; Solo. Mark Wood Series. Pop; Radio; Rock. Score. 12 pages. Alfred Music #00-50643. Published by Alfred Music (AP.50643).

ISBN 9781470652524. UPC: 038081574974. English.

Crazy Train was co-written by one of Mark Wood's main influences and favorite guitar players, Randy Rhoads, a neo-classical rock guitar player. When Wood discovered him, Rhoads was fully entrenched in the standard rock/blues style, yet had wonderful control of the flourish and esthetic of classical music in his playing. The influence was perfect for Mark Wood, who was an up-and-coming rock violinist at the time.

Composed by Maurice Hauchard. Leduc. Classical. Softcover. 24 pages. Alphonse Leduc #AL21011. Published by Alphonse Leduc

Violin (VIOLIN SOLO)

SKU: HL.50487759

(1986). Composed by Laszlo Tihanyi. EMB. Score Only. Composed 1997. Duration 11'. Editio Musica Budapest #Z14099. Published by Editio Musica Budapest (HL.50487759).

ISBN 9790080140994. A/4 inches. Hungarian, English. Laszlo Tihanyi.

The piece was composed at the request of violinist Eszter Perenyi, my colleague at the Ferenc Liszt Academy of Music, and was several times amond the optional pieces of the yearly violin competition for students. It was inspired by the famous 63rd poem of Catullus that tells the story of Attis: the hero of the Greek mythology arrives at the Mount Ida in Frygia, to the invitation of the goddess Cybele, and becomes her lover. The Gallas, certitude priests of Cybele chase him into delirious dance, by the end of which he castrates himself. On waking from his paralysed dream he entreats in vain for his virility and freedom to Cybele, he will remain servant of the goddess for eternity. My work tells the story in four parts: 1) Attis' ecstasy 2) Dance of the Gallas 3) Attis' dream 4) Attis' entreaty. The Catullian galliambic metric that first appears in the 'prologue' of the piece, becomes the organisational principle of almost all musical aspects of it. (Hungaroton HCD 32484).

Violin

SKU: HL.49046891

Violin Solo. Composed by Camillo Sivori. Edited by Wolfgang Birtel. String Solo. Classical, Virtuoso. Softcover. 44 pages. Schott Music #ED21544. Published by Schott Music (HL.49046891).

UPC: 841886029705. 9.0x12.0x0.219 inches.

Camillo Sivori was considered a child prodigy in his time. He started playing the violin at the age of 2. He later became the only student of Niccolò Paganini. His 12 Étude-Caprices for solo violin demand a high degree of virtuosity. This critical new edition is based on the first edition, the practical playing arrangement was made by the Lübeck professor Maria Egelhof.

Violin

SKU: HL.49046553

For Violin Solo. Composed by Eugene Ysaye. Edited by Philippe Graffin. Arranged by Philippe Graffin. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Softcover. Composed 1923/2019. Op.27bis. 16 pages. Duration 10'. Schott Music #VLB226. Published by Schott Music (HL.49046553).

ISBN 9781705122785. UPC: 842819113027. 9.0x12.0x0.109 inches.

For almost 100 years, violinists had to live without Eugene Ysaye's Sonata Op. 27bis. The work was re-discovered in a sketchbook recently given to the library of Brussels' Koninklijk Conservatorium and is now published for the first time. The Sonate posthume was composed in the surrounding of Ysaye's famous cycle of six solo sonatas for violin and shares their artistic quality.

(for Violin). By Various. For Violin (Violin). Instrumental Folio. Softcover with CD. 24 pages. Published by Hal Leonard

For Violin. By Various. Instrumental Folio. Classics, Pop. Softcover. Published by Hal Leonard

(Solo Violin). By Fazil Say. For Violin. Schott. Softcover. 12 pages. Schott Music #VLB154. Published by Schott Music

For Violin. By Various. Instrumental Folio. Christmas. Softcover. 96 pages. Published by Hal Leonard

Composed by Jeanine Orme. For fiddle. Perfect binding. Beginning-Intermediate. Book and Online Audio. 64 pages. Published by Mel Bay Publications, Inc