Composed by Samuel Adler. For violin solo. Score. 4 pages. Duration 5 minutes. Published by Theodore Presser Company

Violin. Composed by Various. Instrumental Play-Along. Classical. Softcover Audio Online. 24 pages. Published by Hal Leonard

By Andrew Skirrow (Arranger) ; Christopher Hussey (Arranger). For Violin. Baroque, Popular, Classical, Play Along. Sheet Music and Audio CDs. 32 pages. Published by Wise Publications.

Volume 4. By Shinozaki, Mitsuo Shinozaki. Schott. Texts in Russian. Size 9x12 inches. 142 pages. Published by Zen-On.

(A Supplement To Book 1 Of 'The Art Of Violin Playing') By Carl Flesch, edited by Max Rostal. Instructional book for violin. Text language German, English, French. 142 pages. Published by Carl Fischer.

Violin Composed by Jacques Fereol Mazas (1782-1849). Masterworks; String - Violin Studies or Collection. Kalmus Edition. Classical; Masterwork; Romantic. Book. 142 pages. Kalmus Classic Edition #00-K02075. Published by Kalmus Classic Edition

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

By Various. Instrumental Folio. Softcover. 146 pages. Published by Hal Leonard.

by Stacy Phillips. For fiddle. Bluegrass and country, fiddle tunes. Level: Intermediate. Book/CD package. Duets. Size 9x13. 148 pages.

Solo Violin. Composed by Emile Sauret. Edited by Nazrin Rashidova. Solo; Solo Small Ensembles; String - Violin Solo. Form: Etude. Masterwork; Masterwork Arrangement; Romantic. Book. 148 pages. Edition Peters #98-EP73648. Published by Edition Peters

Vol. II: Left Hand Technique. Composed by Otokar Sevcik. Solo instruments; Softbound. Edition Breitkopf. Romantic; Late-romantic. Score. 140 pages. Breitkopf and Haertel #EB 7804. Published by Breitkopf and Haertel

Composed by Johann Sebastian Bach (1685-1750). Masterworks; String - Violin and Piano. Kalmus Edition. Baroque; Masterwork. Book. 140 pages. Kalmus Classic Edition #00-K02264. Published by Kalmus Classic Edition

Saddle-stitched, Solos & Duets. Canadian. Book and online audio. 140 pages. Mel Bay Publications, Inc #30934M. Published by Mel Bay Publications, Inc

Book/CD Pack. By Julie Lyonn Lieberman. (Violin). Fretted. BOOK W/CD. 144 pages. Published by Huiksi Music Company.

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.

Traditional, Old Time, Bluegrass and Celtic Solos. By Mark Geslison. For Fiddle. Solos. Fiddle Tunes. Level: Beginning-Intermediate. Book/CD Set. Size 8.75x11.75. 144 pages. Published by Mel Bay Publications, Inc.

Beginning Fiddle Tunes and Techniques. By Brian Wicklund. For Fiddle. Method. Bluegrass and Country. Level: Beginning. DVD. Size 5.25x7.50. 114 pages. Published by Mel Bay Publications, Inc.

(Violin). Arranged by Colin Cowles. For Violin. Fentone Instrumental Books. Play Along. Book with CD. 24 pages. Fentone Music #F831. Published by Fentone Music . Sheet music + CD. Play Along.

(for Violin). By Various. For Violin. Instrumental Solo. Softcover. 114 pages. Published by Hal Leonard

(Oeuvres pour Violon). By Arthur Honegger. (Violin). Editions Durand. Size 9x12 inches. 130 pages. Published by Editions Salabert.

Violin

SKU: HL.14014724

Composed by Mogens Heimann. Music Sales America. Classical. Book [Softcover]. Composed 2002. 8 pages. Edition Wilhelm Hansen #WH26722. Published by Edition Wilhelm Hansen (HL.14014724).

ISBN 9788759859124. 8.25x11.75x0.063 inches.

Violin

SKU: HL.14026459

Sonatas I-III. Composed by Henry Purcell. Music Sales America. Classical. Book [Softcover]. 12 pages. Music Sales #NOV12044401. Published by Music Sales (HL.14026459).

8.25x11.75x0.06 inches.

The Works of Henry Purcell, Sonatas I-III.

Violin

SKU: HL.14048262

For Violin Solo. Composed by Joby Talbot. Music Sales America. Classical. Softcover. Composed 2016. 4 pages. Chester Music #CH70158. Published by Chester Music (HL.14048262).

8.0x11.72 inches.

Released in 2005, the album Once Around The Sun is the outcome of Joby Talbot's residency with Classic FM. During his year in residence, Talbot composed a new piece of music each month, scored for up to five instruments. The resulting twelve compositions were then premiered on Classic FM and were recorded on CD. November - Eleven was the 11th piece to be composed and is scored here for solo Violin.