compiled by Dr. Ed Whitcomb. For Fiddle. songbook. Canadian. Level: Beginning-Intermediate. Book. Size 8.75x11.75. 224 pages. Published by Mel Bay Publications, Inc.

Violin

SKU: HL.48188562

Violon Et Basse Continue - Astree. Composed by Louis-Nicolas Clé and rambaul. Leduc. Softcover. Heugel & Cie #HE32802. Published by Heugel & Cie (HL.48188562).

Clerambault Wahl Sonate L'impromptu Violin & Basso Continuo Book.

By A. Vivaldi (1678-1741). For Violin. DOWANI 3 Tempi Play Along - Violin. Artist: Alexey Bruni - Violin; Konstantin Krimets - Conductor; Leonid Ogrintschuk - Piano; Russian Philharmonic Orchestra - Orchestra accompaniment. Level: Intermediate. Sheet Music with CD (3 Tempi Play Along). Published by Dowani International.

By Johann Sebastian Bach. For Violin. DOWANI 3 Tempi Play Along - Violin. Level: Advanced. Sheet Music with CD (3 Tempi Play Along). Published by Dowani International.

Violin

SKU: HL.48188631

Composed by Franç and ois Danican Philido. Leduc. Classical. Softcover. Heugel & Cie #HE33072. Published by Heugel & Cie (HL.48188631).

for recorder (or flute, or violin) and continuo.

Violin and Basso Continuo. By Antonio Vivaldi. Arranged by Olivier Nagy. EMB. Size 9x12 inches. 39 pages. Published by Editio Musica Budapest.

Violin (Violin)

SKU: HL.48183437

Composed by Jean-Marie Leclair. Leduc. Classical. Softcover. Alphonse Leduc #AL25522. Published by Alphonse Leduc (HL.48183437).

For violin and continuo.

For Violin and Basso Continuo. By Georg Philipp Telemann. Schott. 24 pages. Published by Schott.

By Johann Sebastian Bach. Edited by Dietrich Kilian. For Violin Solo, strings, basso continuo. Score; Urtext Edition (paperbound). BWV 1042. Duration 18'. Published by Baerenreiter-Ausgaben (German import).

Violin

SKU: HL.48188549

Composed by Simon Ballicourt. Leduc. Classical. Softcover. Heugel & Cie #HE32749. Published by Heugel & Cie (HL.48188549).

For violin (or flute) and continuo.

By Johann Sebastian Bach (1685-1750), edited by Kilian Dietrich. Score; Urtext Edition (paperbound) for violin solo, basso continuo and strings. a minor. Published by Baerenreiter-Ausgaben (German import).

For Violin and Basso Continuo. By Jean Baptiste Senaille. Schott. 24 pages. Published by Schott.

With Basso continuo Part, realized by S. Gerlach. By Bohemian Violin Sonatas. Edited by Zdenka Pilkova. Figured bass by Sonja Gerlach. Violin. Pages: Score = IX and 45 * Vl Part = 23 * BC Part = 16. Urtext edition-paper bound. Published by G. Henle.

Composed by Brian Wicklund and April Verch. Saddle-stitched. American Fiddle Method. Book and online audio. 80 pages. Published by Mel Bay Publications, Inc (MB.20142M).

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

60 Traditional Pieces Schott World Music Series. Edited by Iain Fraser. String. Canadian, Celtic, Folk. Softcover Audio Online. 56 pages. Schott Music #ED13700D. Published by Schott Music

By Marin Marais. Edited by Jean Saint-Arroman. Instrument(s) and continuo (Violin and continuo - Violin, viol and continuo). For Viol, Violin. Facsimiles. La Musique Francaise Classique de 1650 a 1800. Level: Grade 0. 88 pages. Published by Editions Fuzeau Classique - France (French import).

Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, Contrabass, English Horn, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion, Piccolo, Timpani, Trombone, Trumpet 1, Trumpet 2, Viola, Violin 1 and more.

SKU: PR.41641366L

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 - intermediate

SKU: BT.DOW-04016-400

Composed by Johann Sebastian Bach. Dowani 3 Tempi Play Along. Educational Tool. Set of Books and Media. Dowani #DOW 04016-400. Published by Dowani (BT.DOW-04016-400).

UPC: 632977040163. International.

DOWA NI 3 Tempi Play Along is an effective and time-tested method of practicing that offers more than conventional play-long editions. DOWANI 3 Tempi Play Along enables you to learn a work systematically and with accompaniment at different tempi.The first thing you hear on the CD is the concert version in a first-class recording with solo instrument and orchestral, continuo, or piano accompaniment. Then the piano or harpsichord accompaniment follows in slow and medium tempo for practice purposes, with the solo instrument heard softly in the background at slow tempo. Finally, you can play at the original tempo to the accompaniment of an orchestra, piano, or basso continuo.Allversions appearing on the CD were recorded live by renowned soloists, accompanists, and orchestras. There are no synthesised sounds in a DOWANI edition!

Nachfolgeartikel: DOW 04511.

Basso Continuo; Cello; Violin (Score & Parts) - intermediate

SKU: HL.49044374

For Violin, Cello and Basso Continuo. Composed by Pietro Antonio Locatelli. Edited by Angela Lepore. Arranged by Filippo Ravizza. This edition: Saddle stitching. Sheet music. Ensemble. Classical. Softcover. Op. 8/10. 26 pages. Schott Music #ED13723. Published by Schott Music (HL.49044374).

ISBN 9781847613684. UPC: 888680057183. 9.25x12.0x0.148 inches.

Violin - intermediate

SKU: BT.DOW-04024-400

Op. 21 in A-minor. Dowani 3 Tempi Play Along. Educational Tool. Set of Books and Media. Dowani #DOW 04024-400. Published by Dowani (BT.DOW-04024-400).

ISBN 9783905479812. International.

DOWA NI 3 Tempi Play Along is an effective and time-tested method of practicing that offers more than conventional play-long editions. DOWANI 3 Tempi Play Along enables you to learn a work systematically and with accompaniment at different tempi.The first thing you hear on the CD is the concert version in a first-class recording with solo instrument and orchestral, continuo, or piano accompaniment. Then the piano or harpsichord accompaniment follows in slow and medium tempo for practice purposes, with the solo instrument heard softly in the background at slow tempo. Finally, you can play at the original tempo to the accompaniment of an orchestra, piano, or basso continuo.Allversions appearing on the CD were recorded live by renowned soloists, accompanists, and orchestras. There are no synthesised sounds in a DOWANI edition!

By Johann Pachelbel. Edited by Frohmut Dangel-Hofmann. 2 violins and continuo. For Violin, Continuo. Facsimiles. Collection Dominantes. Level: Grade 0. 68 pages. Published by Editions Fuzeau Classique - France (French import).

Violin - advanced

SKU: BT.DOW-04008-400

Composed by Franz Joseph Haydn. Dowani 3 Tempi Play Along. Educational Tool. Set of Books and Media. Dowani #DOW 04008-400. Published by Dowani (BT.DOW-04008-400).

ISBN 9783905479171. UPC: 632977040088. International.

DOWA NI 3 Tempi Play Along is an effective and time-tested method of practicing that offers more than conventional play-long editions. DOWANI 3 Tempi Play Along enables you to learn a work systematically and with accompaniment at different tempi.The first thing you hear on the CD is the concert version in a first-class recording with solo instrument and orchestral, continuo, or piano accompaniment. Then the piano or harpsichord accompaniment follows in slow and medium tempo for practice purposes, with the solo instrument heard softly in the background at slow tempo. Finally, you can play at the original tempo to the accompaniment of an orchestra, piano, or basso continuo.Allversions appearing on the CD were recorded live by renowned soloists, accompanists, and orchestras. There are no synthesised sounds in a DOWANI edition!

Nachfolgeartikel: DOW 04508-400.

Violin - intermediate

SKU: HL.49003207

Composed by Pietro Antonio Locatelli. Edited by Piera Federici. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Op. 5. 76 pages. Schott Music #ED 12453. Published by Schott Music (HL.49003207).

ISBN 9790220119194. UPC: 073999475760. 9.0x12.0x0.264 inches.

The 6 Trio Sonatas, Op. V, for 2 Violins or Flutes and Basso continuo were originally published in Amsterdam in 1736 under the supervision of the composer. The present edition * edited by Piera Federici with realization of the Basso continuo by Filippo Ravizza * is based on the text of the Critical Edition published in association with the Stichting-Fondazione Pietro Antonio Locatelli, Amsterdam-Cremona, under the direction of Albert Dunning.

Urtext der Hallischen Handel-Ausgabe. In der Continuo-Gruppe sind 2 Cebali besetzt. By George Frideric Handel. Edited by Adolf Hoffmann; Hans Ferdinand Redlich. For Violin Solo (2), Vcsolo, Strings, Basso Continuo. P:Urtext. Op. 6/11. Duration 19'. Published by Baerenreiter-Ausgaben (German import).

By Oscar Rieding. (Violin). This edition: DOW4517. Dowani Book/CD. Play Along. BOOK W/CD. 22 pages. Published by Dowani Editions.

Kantate zum 1. Weihnachtsfeiertag. By Georg Philipp Telemann. Edited by Felix Schroeder. Arranged by Felix Schroeder. For Solo Alto (Bass), Violin, Basso continuo. TVWV 1:470. Full score available separately - see item CA.3949700. Cantatas; Stuttgart Urtext editions; Use during church year: End of the church year, Christmas. Part: Basso continuo. Language: German. 4 pages. Duration 17 min. Published by Carus Verlag (German import).

By Jean-Marie Leclair (1697-1764). Edited by Jean Saint-Arroman. For Violin. This edition: Facsimile. La Musique Francaise Classique de 1650 a 1800. Score. 128 pages. Published by Anne Fuzeau Productions - France