Score and Parts Violin, Horn and Piano - Grade 4 SKU: HL.14027987 For ...(+)
Score and Parts Violin,
Horn and Piano - Grade 4
SKU: HL.14027987
For Violin, French
Horn, and Piano Score and
Parts. Composed by
Poul Ruders. Music Sales
America. 20th Century.
Set. Composed 2002. 92
pages. Edition Wilhelm
Hansen #WH30438.
Published by Edition
Wilhelm Hansen
(HL.14027987).
ISBN
9788759809808.
8.25x11.75x0.32 inches.
International (more than
one language).
This
piece has a broad,
moderately paced first
movement which leads to a
sparkling scherzo, which
in turn gives way to an
extremely sparsely
textured movement that
features the horn and its
less frequently used
techniques. The whole
piece turns on this
movement, then a couple
of crisp arpeggios act as
a premature, cinematic
transition into the big
finale, the longest and
the technically most
demanding movement of the
piece.
By Stacy Phillips. For Fiddle. Solos. Fiddle Tunes. Level: Beginning-Intermediat...(+)
By Stacy Phillips. For
Fiddle. Solos. Fiddle
Tunes. Level:
Beginning-Intermediate.
Book. Size 8.75x11.75. 64
pages. Published by Mel
Bay Publications, Inc.
For Violin Solo. Composed by Pierre Rode (1773-1830). Edited by Friedemann Ei...(+)
For Violin Solo. Composed
by
Pierre Rode (1773-1830).
Edited by Friedemann
Eichhorn and Norbert
Gertsch. Henle Music
Folios.
Classical. Softcover. G.
Henle #HN1186. Published
by
G. Henle
By Bonnie Rideout. For Fiddle. Solos. Encyclopedia. Scottish. Level: Intermediat...(+)
By Bonnie Rideout. For
Fiddle. Solos.
Encyclopedia. Scottish.
Level: Intermediate.
Book. Size 8.75x11.75.
136 pages. Published by
Mel Bay Publications,
Inc.
by Stacy Phillips. For fiddle. All styles, fiddle tunes. Level: Multiple Levels....(+)
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.
A violin method for children. By Egon Sassmannshaus; Kurt Sassmannshaus. America...(+)
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 4; Eine Violinschule
fur Kinder. Instructional
Method. Method book. Text
language: English. 72
pages. Published by
Baerenreiter Verlag
(German import).
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.
For
violin and Orchestra.
Composed by Donald Erb.
With Standard notation.
112 pages. Theodore
Presser Company
#446-41212L. Published by
Theodore Presser Company
(PR.44641212L).
For
violin and Orchestra.
Composed by Donald Erb.
With Standard notation.
112 pages. Theodore
Presser Company
#446-41212. Published by
Theodore Presser Company
(PR.446412120).
Orchestra 2 Bassoons, 2 Clarinets (Clarinet II doubles on Bass Clarinet), 2 Oboe...(+)
Orchestra 2 Bassoons, 2
Clarinets (Clarinet II
doubles on Bass
Clarinet), 2 Oboes (Oboe
II doubles on English
Horn), 2 Trombones
(Trombone II doubles on
Bass Trombone), 2
Trumpets in C, 3 Flutes
(Flute III doubles on
Piccolo), 4 Horns in F,
Harp, Piano/Cel, Timpani
SKU: PR.44641253L
For violin and
Orchestra. Composed
by Stephen Jaffe.
Contemporary. Large
Score. With Standard
notation. Composed
Dec-99. Duration 35
minutes. Theodore Presser
Company #446-41253L.
Published by Theodore
Presser Company
(PR.44641253L).
Quartet Violon [Conducteur et Parties séparées] Seesaw Music Corp
Violin, Viola, Horn & Piano SKU: SU.50500960 For Violin, Viola, Horn &...(+)
Violin, Viola, Horn &
Piano
SKU:
SU.50500960
For
Violin, Viola, Horn &
Piano. Composed by
Frank Ezra Levy. Chamber
Music, Piano
Quartet/Quintet, Brass,
Horn. Score & Parts.
Seesaw Music Corp
#50500960. Published by
Seesaw Music Corp
(SU.50500960).
Violin, Viola,
Horn & Piano Duration:
15' Composed: 2013
Published by: Seesaw
Music.
Orchestra Bass Clarinet,
Bassoon 1, Bassoon 2,
Bongos, Cello, Clarinet,
Contrabass, Crotales,
Cymbals, English Horn,
Field Drum, Flute,
Glockenspiel, Horn 1,
Horn 2, Oboe 1, Oboe 2,
Percussion, Piano, Snare
Drum, Triangle, Trumpet,
Vibraphone, Viola and
more.
SKU:
PR.416411770
For
Violin, Piano, and
Chamber Orchestra.
Composed by William
Kraft. Full score. With
Standard notation.
Duration 17 minutes.
Theodore Presser Company
#416-41177. Published by
Theodore Presser Company
(PR.416411770).
UPC:
680160091508.
I was
tempted to call the piece
Throw Back because it
consciously employs
rhythmic and harmonic
approaches characteristic
of the earlier part of
the twentieth century,
much of which plays a
part in forging my
musical personality.
Going along with the
impetus, I have paid
homage by subtly
interpolating stylistic
or actual references to
such unexpected
bedfellows as Scriabin,
Ravel, Debussy, Piston,
Roussel, and Ysaye. I
hope I will be musically
forgiven. In one
continuous movement,
there are three definite
internal sections:
Presto-Largo-Allegro. The
first section opens with
a very soft percussion
cadenza. If the acoustics
allow it, the player will
use sponge pottery
mallets (sponge-headed
mallets employed to
smooth the interior of a
pot as it is being
spin-dried). No matter
how hard the
percussionist strikes the
drums, the dynamic cannot
go above pp (pianissimo).
This cadenza serves as a
basis for the first
movement. The elements of
the cadenza are taken by
the orchestra to make the
first major statement,
similar to the classical
concerto; but rather than
making a restatement, the
soloists, when they come
in, begin with
variational ideas. The
second section is given
over to the soloists, and
is lyrical. The third
section begins with an
alternation between
strict rhythmic pulsation
and free-sounding
timbres, as if reluctant
to leave the second
section behind. The
rhythmic aspect takes
over more and more as the
piece progresses toward
its conclusion. Double
Play was commissioned by
the Saint Paul Chamber
Orchestra with financial
assistance from the
Northwest Area
Foundation. It received
its premiere on January
7, 1983, in St. Paul,
with the St. Paul Chamber
Orchestra; Pinchas
Zukerman, violinist; Marc
Neikrug, piano; and the
composer conducting.
(24 Solos from Around the World). Arranged by Edward Huws Jones. Boosey and Hawk...(+)
(24 Solos from Around the
World). Arranged by
Edward Huws Jones. Boosey
and Hawkes Chamber Music.
Book with CD. 48 pages.
Boosey and Hawkes
#M051106400. Published by
Boosey and Hawkes
For
violin, Violoncello and
Orchestra (Double
Concerto). Composed
by Ellen Taaffe Zwilich.
Set of parts. With
Standard notation.
Duration 18 minutes.
Theodore Presser Company
#446-41076P. Published by
Theodore Presser Company
(PR.44641076P).
For
violin and Orchestra.
Composed by Dan Welcher.
Premiere: Paul Kantor,
Violin, Aspen Festival
Orchestra, conducted by
the composer.
Contemporary. Large
Score. With Standard
notation. Composed
December 26 1992. 186
pages. Duration 25
minutes. Theodore Presser
Company #466-00040L.
Published by Theodore
Presser Company
(PR.46600040L).
Violin, Flute, Clarinet,
Bassoon, French Horn,
Viola, & Violoncello
SKU: SU.50031920
For Violin, Flute,
Clarinet, Bassoon, French
Horn, Viola, &
Violoncello. Composed
by William Sydeman.
Chamber Music, Mixed
Ensemble, Strings,
Violin. Score & Parts.
Seesaw Music Corp
#50031920. Published by
Seesaw Music Corp
(SU.50031920).
Trio Violon [Conducteur et Parties séparées] Seesaw Music Corp
Violinn, Horn, Piano SKU: SU.50005440 For Violinn, Horn, Piano. Co...(+)
Violinn, Horn, Piano
SKU: SU.50005440
For Violinn, Horn,
Piano. Composed by
David Harold Cox. Chamber
Music, Piano Trio. Score
& Parts. Seesaw Music
Corp #50005440. Published
by Seesaw Music Corp
(SU.50005440).
Fivescape Violon [Conducteur et Parties séparées] Seesaw Music Corp
Violin, Clarinet, Marimba, French Horn, & Piano SKU: SU.50033160 For V...(+)
Violin, Clarinet,
Marimba, French Horn, &
Piano
SKU:
SU.50033160
For
Violin, Clarinet,
Marimba, French Horn, &
Piano. Composed by
Gunther Tautenhahn.
Chamber Music, Mixed
Ensemble. Marimba. Score
& Parts. Seesaw Music
Corp #50033160. Published
by Seesaw Music Corp
(SU.50033160).
Trio, 1947 Violon [Conducteur et Parties séparées] Seesaw Music Corp
Violinn, Horn & Piano SKU: SU.50017430 For Violinn, Horn & Piano. ...(+)
Violinn, Horn & Piano
SKU: SU.50017430
For Violinn, Horn &
Piano. Composed by
Hugo Kauder. Chamber
Music, Mixed Ensemble.
Score & Parts. Seesaw
Music Corp #50017430.
Published by Seesaw Music
Corp (SU.50017430).
Violin - beginning SKU: SP.TS556 Composed by Tony Santorella. Reference; ...(+)
Violin - beginning
SKU: SP.TS556
Composed by Tony
Santorella. Reference;
Educational. Reference,
Educational. Chart. 4
pages. Santorella
Publications #TS556.
Published by Santorella
Publications (SP.TS556).
ISBN
9781585609161.
Due
to the success of our
Instrumental Fingering
Posters, we thought it
would be helpful to
create a smaller version
that could be tucked
comfortably into any
method book as a
reference guide.
Unbeknownst to us after
days of research, we were
left with countless
questions, much
confusion, and a slew of
poorly crafted images
from contradicting
publications. That being
said, we realized that
there weren't truly any
trustworthy resources in
print and decided to
address the void. We
consulted experts in
every category asking
questions until both we
and they and we were
satisfied. Finally, a
guide to fingering for
beginners that even the
experienced players will
find beneficial.
Santorella's Basic
Fingering Charts are
essential for anyone that
picks up an instrument.
Initially intended for
beginners but after
understanding the
importance of false
fingerings or more
appropriately called,
alternate fingerings
their necessity is vital
for playing certain
musical passages on a
particular instrument. In
addition, after observing
the difficulties that
students had in
identifying key
signatures, we decided to
include the Circle of
Fifths diagram and every
major scale in two
octaves in every key
including their
enharmonic counterparts.
After all was said in
done, we now know, we now
have the best educational
products available for
fingering in the
industry. Our Basic
Fingering Charts are
perfect for private
students, classroom
study, or simply for a
quick and easy reference
guide while practicing at
home. These graphic
reference guides for
assorted brass, reeds,
woodwinds, and orchestral
strings are specifically
available for Clarinet,
Bass Clarinet, Trumpet,
Flute, Piccolo, Recorder,
Baritone Horn, Trombone,
Bass Trombone, Alto Sax,
Soprano Sax, Tenor Sax,
Baritone Sax, French
Horn, Euphonium, Tuba,
Oboe, Bassoon, Violin,
Viola, Cello, and Bass.
Every chart displays the
entire range of each
instrument by clearly
depicting the fingering
for each note including
all their enharmonic
substitutions. Each chart
includes a diagram
identifying the levers,
valves, keys, slides,
frets and more of each
and every instrument.
Learn where, when, and
why to place your
fingers. Now is the time
to truly start playing
with assured
confidence.
Violinn, Horn & Piano SKU: SU.50030170 For Violinn, Horn & Piano. ...(+)
Violinn, Horn & Piano
SKU: SU.50030170
For Violinn, Horn &
Piano. Composed by
Glenn Smith. Chamber
Music, Piano Trio. Score
& Parts. Seesaw Music
Corp #50030170. Published
by Seesaw Music Corp
(SU.50030170).
Suite Violon [Conducteur et Parties séparées] Seesaw Music Corp
Violin, Horn & Piano SKU: SU.50001390 For Violin, Horn & Piano. Co...(+)
Violin, Horn & Piano
SKU: SU.50001390
For Violin, Horn &
Piano. Composed by
Seymour Barab. Chamber
Music, Piano Trio. Score
& Parts. Seesaw Music
Corp #50001390. Published
by Seesaw Music Corp
(SU.50001390).
Solo Violin SKU: SU.29110060 For Solo Violin. Composed by Wynton M...(+)
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, 2 Horns, Electric Guitar, Percussion SKU: SU.50013070 For Viol...(+)
Violin, 2 Horns, Electric
Guitar, Percussion
SKU: SU.50013070
For Violin, 2 Horns,
Electric Guitar,
Percussion. Composed
by Gaetano Giuffre'.
Chamber Music, Mixed
Ensemble, Guitar, Chamber
Music with Guitar.
Performance Score. Seesaw
Music Corp #50013070.
Published by Seesaw Music
Corp (SU.50013070).
Set of 5
scores. Violin, 2 Horns,
Electric Guitar,
Percussion. Published by
Seesaw Music.
compiled by Dr. Ed Whitcomb. For Fiddle. songbook. Canadian. Level: Beginning-In...(+)
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.
Songs and Themes from the Latest Movies and Television Shows (Violin). Arran...(+)
Songs and Themes from the
Latest Movies and
Television
Shows (Violin). Arranged
by
Various. Book; CD; Play-
Along; SmartMusic; String
Series. Alfred's
Instrumental Play-Along.
Movie; Pop; TV. 28 pages.
Published by Alfred Music