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.
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.
For
violin and piano.
Composed by Aleksey
Igudesman. Set of Score
and Parts. With Standard
notation. Universal
Edition #UE037117.
Published by Universal
Edition (PR.UE037117).
ISBN 9783702474591.
UPC:
803452071709.
The
familiar Happy Birthday
tune undergoes an
Igudesman concert
transformation. Stated
simply enough, the melody
immediately morphs into a
Viennese waltz, a big
band statement, a
Bulgarian step dance, a
Russian romp, and more. A
touch of violinistic
virtuosity leads to the
fantastic finish. Make
someone's birthday
special!
Chamber Music violin SKU: PO.PE121 Composed by Christos Hatzis. Sws. Perf...(+)
Chamber Music violin
SKU: PO.PE121
Composed by Christos
Hatzis. Sws. Performance
Score. Promethean
Editions #PE121.
Published by Promethean
Editions (PO.PE121).
ISBN
9781877564215.
Chri
stos Hatzis Dystopia was
written especially for
two-time Grammy
Award-winning violinist
Hilary Hahn. Hatzis
considers this work to be
a meditation on the
causes of religious
intransigence,
disenchantment and
ultimately, jihad. Within
the work Hatzis evokes a
Middle-Eastern sound
world by incorporating a
microtonally altered
modal scale. These exotic
sounds subtly transforms
into the equal-
temperament of the
Western European music
tradition, and thereby
juxtaposes these
traditions and creates a
dramatic interplay within
the work. Dystopia is
highly virtuosic and
lends itself well to
individual expression,
making it an exciting
addition to solo violin
repertoire as an encore
or recital work.
Violin - Beginner/Advanced SKU: AD.ADG245 Composed by Andrew D. Gordon. T...(+)
Violin -
Beginner/Advanced
SKU:
AD.ADG245
Composed by
Andrew D. Gordon. The
Blues Scale. Blues. Book
and digital audio. ADG
Productions #ADG245.
Published by ADG
Productions (AD.ADG245).
ISBN 9781958017357.
UPC: 663389124523. 9 x 12
inches.
The Blues
Scale for Violin is one
of a series by Andrew D.
Gordon is a comprehensive
collection of educational
books that explores the
intricacies, techniques,
and applications of the
blues scale in
contemporary music.
Designed for musicians of
all levels, this series
serves as an
indispensable resource
for guitarists, pianists,
saxophonists, and other
instrumentalists looking
to delve into the
expressive and soulful
world of blues music.
Andrew D. Gordon, an
accomplished musician and
renowned educator,
combines his vast
knowledge and experience
to provide a step-by-step
guide for mastering the
blues scale. Each book in
the series offers a
well-structured
curriculum, progressing
from fundamental concepts
to advanced improvisation
techniques, ensuring a
thorough understanding of
the blues scale's
potential. Through
detailed explanations,
musical examples,
exercises, and play-along
tracks, readers will
embark on a
transformative journey,
gaining fluency and
confidence in playing the
blues. The books cover
various styles showing
how the blues scale can
be used, including ,
jazz, funk , new age,
Latin, pop, gospel, acid
jazz and rock enabling
musicians to expand their
repertoire and adapt
their skills to different
musical contexts. The
Blues Scale series not
only equips musicians
with the technical
aspects of playing the
blues but also emphasizes
the importance of
creativity and personal
expression. Gordon
encourages readers to
develop their
improvisational skills,
providing tools and
strategies to create
unique solos and express
their musical personality
within the framework of
the blues scale. Whether
you are a beginner
seeking to explore the
foundations of the blues
scale or an advanced
player looking to refine
your improvisational
abilities, The Blues
Scale series by Andrew D.
Gordon offers a
comprehensive and
accessible approach to
learning and mastering
the blues. With its clear
instruction, engaging
exercises, and practical
examples, this series is
an invaluable resource
for musicians passionate
about incorporating the
soulful and timeless
sounds of the blues into
their playing.
Wood's Bolero Violon [Conducteur] - Intermédiaire Alfred Publishing
Violin - Grade 4 SKU: AP.50644 Composed by Joseph Baldassare and Mark Woo...(+)
Violin - Grade 4
SKU:
AP.50644
Composed by
Joseph Baldassare and
Mark Wood. MakeMusic
Cloud; Sheet; Solo. Mark
Wood Series. Rock. Score.
8 pages. Alfred Music
#00-50644. Published by
Alfred Music (AP.50644).
Violin (Violin) SKU: HL.49044934 For solo violin. Composed by Gera...(+)
Violin (Violin)
SKU:
HL.49044934
For
solo violin. Composed
by Gerald Barry. This
edition: Saddle
stitching. Sheet music.
String Solo. Softcover.
Composed 1990. 16 pages.
Duration 4'. Schott Music
#ED13772. Published by
Schott Music
(HL.49044934).
ISBN
9790220135521. UPC:
841886024670.
9.0x12.0x0.055
inches.
The
original version of
Triorchic Blues for solo
piano was later
transformed into this
short virtuosic piece for
solo violin. Lively and
aggressive, the work
explores the extremes of
the instrument and would
make an impressive opener
or encore to a
recital.
Violin SKU: HL.49047338 Violin Solo. Composed by Ludger Vollmer. S...(+)
Violin
SKU:
HL.49047338
Violin
Solo. Composed by
Ludger Vollmer. String
Solo. Classical.
Softcover. Duration 480
seconds. Schott Music
#ED23442. Published by
Schott Music
(HL.49047338).