73 Traditional Pieces for Violin. Composed by Vicki Swan. Edited by Vicki Swan. ...(+)
73 Traditional Pieces for
Violin. Composed by Vicki
Swan. Edited by Vicki
Swan. Arranged by Vicki
Swan. This edition:
Saddle stitching. Sheet
music with CD. String.
Folk, Scandinavian.
Edition with CD. 76
pages. Schott Music #ED
13565. Published by
Schott Music
62 Traditional Pieces for Violin. Edited by Matt Cranitch. This edition: Saddle ...(+)
62 Traditional Pieces for
Violin. Edited by Matt
Cranitch. This edition:
Saddle stitching. Sheet
music with CD. String.
Edition with CD. 52
pages. Schott Music #ED
13361. Published by
Schott Music
60 Traditional Pieces for Violin. Composed by Iain Fraser. This edition: Saddle ...(+)
60 Traditional Pieces for
Violin. Composed by Iain
Fraser. This edition:
Saddle stitching. Sheet
music with CD. Edition
Schott. Folk, Classical,
Scottish. Edition with
CD. 56 pages. Schott
Music #ED12759. Published
by Schott Music
The Irish Fiddle Book. (The Art of Traditional Fiddle Playing). For Violin. Musi...(+)
The Irish Fiddle Book.
(The Art of Traditional
Fiddle Playing). For
Violin. Music Sales
America. Irish,
Traditional, Folk,
Celtic. Softcover with
CD. 192 pages. Ossian
Publications #OMB7.
Published by Ossian
Publications
Klezmer Fiddler Violon [Partition + Accès audio] Boosey and Hawkes
Traditional Fiddle Music from Around the World Violin Edition. Composed by E...(+)
Traditional Fiddle Music
from
Around the World Violin
Edition. Composed by
Edward
Huws Jones. Arranged by
Edward
Huws Jones. Boosey &
Hawkes
Chamber Music. Folk,
Klezmer.
Softcover Audio Online.
40
pages. Boosey &
Hawkes
#M060138928. Published by
Boosey & Hawkes
Book with Audio Online Guitar Accompaniment; Piano Accompaniment; Violin (Violin...(+)
Book with Audio Online
Guitar Accompaniment;
Piano Accompaniment;
Violin (Violin/Piano)
SKU: HL.48025405
For Violin (2), Piano,
Guitar Book with Audio
Online. Composed by
Edward Huws Jones. Boosey
& Hawkes Chamber Music.
Celtic, Irish, Scottish.
Softcover Audio Online.
Boosey & Hawkes
#M060139048. Published by
Boosey & Hawkes
(HL.48025405).
A Sequenced Guide to American Fiddling (Violin). Composed by Crystal Plohman ...(+)
A Sequenced Guide to
American Fiddling
(Violin).
Composed by Crystal
Plohman
Wiegman, Renata Bratt,
and
Bob Phillips. Book; CD;
Method/Instruction;
String
Orchestra
Method/Supplement.
Folk; Traditional. 48
pages.
Published by Alfred Music
by Gene Lowinger. Book. Published by Music Sales. The first complete guide to b...(+)
by Gene Lowinger. Book.
Published by Music Sales.
The first complete guide
to bluegrass fiddling,
covering the fundamentals
of musical terminology,
right- and left-hand
techniques, double stops,
slurs and slides. Twenty
nine bluegrass and 14
traditional tunes
arranged to develop
technique and a
repertoire.
Strings - Beginning SKU: MB.30879M Saddle-stitched. Sacred. Book and onli...(+)
Strings - Beginning
SKU: MB.30879M
Saddle-stitched. Sacred.
Book and online audio.
Mel Bay Publications, Inc
#30879M. Published by Mel
Bay Publications, Inc
(MB.30879M).
ISBN
9781513476544. 8.75X11.75
inches.
This
collection of traditional
hymns is designed for
solo violin, duets, or
groups. The arrangements
are not difficult but are
well-done musically. The
pieces are ideal for
offertories and for
ensembles where rehearsal
time is limited. The
author encourages the
more advanced violinists
to add ornamentation
where desired. Includes
online audio, performed
by Karen Khanagov on
piano and William
Khanagov on violin, that
will aid in practice and
interpretation for
performance. In his
words, This collection is
ideal for developing
freedom while playing and
for bringing ones spirit
into the music.
41 Traditional Pieces. Edited by Ros Stephen. Strings, Repertoire, Collectio...(+)
41 Traditional Pieces.
Edited
by Ros Stephen. Strings,
Repertoire, Collections.
Schott World Music.
Argentinian Tango and
Folk
Tunes for Violin.
Softcover
Book and CD. Schott Music
#ED13379. Published by
Schott
Music
A Sequenced Guide to American Fiddling (Viola). Composed by Crystal Plohman Wi...(+)
A Sequenced Guide to
American
Fiddling (Viola).
Composed by
Crystal Plohman Wiegman,
Renata Bratt, and Bob
Phillips. Book; CD;
Method/Instruction;
String
Orchestra
Method/Supplement.
Folk; Traditional. 48
pages.
Published by Alfred Music
52 Pieces. Composed by Traditional and Various. Edited by Jonny Dyer and V...(+)
52 Pieces. Composed by
Traditional and Various.
Edited by Jonny Dyer and
Vicki Swan. String.
Softcover
with CD. 32 pages. Schott
Music #ED13844. Published
by
Schott Music
Fiddle - Beginning; Intermediate; Advanced SKU: MB.95393M Celtic and A...(+)
Fiddle - Beginning;
Intermediate; Advanced
SKU: MB.95393M
Celtic and Acadian
Tunes in Living
Tradition. Composed
by Ken Perlman. Tunebook,
Celtic / Irish, Canadian,
Perfect binding, World.
Style. Book and online
audio. 216 pages. Mel Bay
Publications, Inc
#95393M. Published by Mel
Bay Publications, Inc
(MB.95393M).
ISBN
9780786690107. 8.75 x
11.75 inches.
The
over 425 reels, jigs,
set-tunes, waltzes,
marches, strathspeys, and
airs transcribed from the
playing of traditional
fiddlers in this
collection, represent a
large portion of the
current Island
repertoire. It is
believed that over 100 of
these tunes have never
been in print previously.
Even the titles that have
appeared in print before,
feature new and
intriguing details.
Because each tune is a
transcription of a
specific performance by
an individual player,
many subtleties of
style--such as
ornamentation, double
stops, and slursâ??are
included. Also included
are each playerâ??s
melodic
idiosyncrasiesâ??called
twists in local parlance.
You will find living,
breathing versions of
tunes filled with the
vitality of a people
whose great love for
their music is expressed
in every bow-stroke.
Includes access to online
audio.
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).
(Traditional Old Time Bluegrass and Celtic Solos Volume 1). Composed by Mark Ges...(+)
(Traditional Old Time
Bluegrass and Celtic
Solos Volume 1). Composed
by Mark Geslison. For
fiddle. Perfect binding.
Book and online audio.
Published by Mel Bay
Publications, Inc
(Learn the Melodies, Techniques and Styles of a Great Tradition). By Lisa ...(+)
(Learn the Melodies,
Techniques and Styles of
a
Great Tradition). By Lisa
Gutkin. Homespun Tapes.
DVD.
Hal Leonard #DVDLSAFI21.
Published by Hal Leonard
A Musical Sampler from the Pages of Strings Magazine. By Various. String Letter ...(+)
A Musical Sampler from
the Pages of Strings
Magazine. By Various.
String Letter Publishing.
Softcover. 112 pages.
Published by String
Letter Publishing.
Composed by Philip John Berthoud. For fiddle. Wire bound, Methods. Beginning-Int...(+)
Composed by Philip John
Berthoud. For fiddle.
Wire bound, Methods.
Beginning-Intermediate.
Book and online audio.
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.