(Violin). Arranged by Various. For Violin. Book; CD; Play-Along; String Series. Top Hits Instrumental Solos. Broadway; Movie; TV. Grade 2; Grade 3. 76 pages. Published by Alfred Music

Arranged by various, ed. Bill Galliford. Play-Along; String Series. Instrumental Solos Series. Country; Pop; Radio. Book; CD. 24 pages. Alfred Music #00-47348. Published by Alfred Music

Craig Duncan. For fiddle. Bluegrass and country, bluegrass. Level: Intermediate-Advanced. Book. Solos. Size 8.75x11.75. 152 pages. Published by Mel Bay Pub., Inc.

Arranged by Artem Vassiliev. For Violin. This edition: ED13168. Schott Master Play-Along Series. 12 favourite works from the Classical era, with authentic orchestral backing tracks. Play Along. Collection and Play-Along CD. 28 pages. Published by Schott Music.

(With Marked and Unmarked String Parts). By Max Reger (1873-1916). Edited by Ernst Schliephake and Michael Kube. For Violin. Henle Music Folios. Softcover. G. Henle #HN1097. Published by G. Henle

(60 Traditional Pieces - Book/CD). Composed by Various. Arranged by Iain Fraser. For Fiddle. String Solo. Softcover with CD. Schott Music #ED13700. Published by Schott Music

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.

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).

UPC: 680160593422. 11 x 17 inches.

SATB vocal soli, SATB choir, 2 oboes, 2 clarinets, 2 trombones, timpani, violin solo, 2 violins, basso continuo

SKU: CA.2703511

Composed by Karl Ditters von Dittersdorf. Edited by Johannes Kirner. Violin solo. Sacred vocal music, Masses, Latin. Single Part, Violin Solo. Composed circa 1769. KreD 326. 4 pages. Duration 42 minutes. Carus Verlag #CV 27.035/11. Published by Carus Verlag (CA.2703511).

ISBN 9790007199166. Key: C major. Language: Latin.

Of the 19 Masses by Dittersdorf which have been handed down, the present Mass, which is being published for the first time, enjoyed a special popularity during the composer's lifetime and it was even performed for the coronation of emperor Franz II in the Frankfurt Cathedral. This solemn, prestigious Mass shows evidence of choral movements in traditional contrapuntal church style as well solo parts with a modern, cantabile character. In addition, the Gloria includes a lengthy virtuosic violin solo, which also lends the work a concertante character (Dittersdorf was a professional violinist). Score and part available separately - see item CA.2703500.

For Violin. String Orchestra Method/Supplement. Book. 32 pages. Published by Alfred Publishing.

Violin. Arranged by Various. Play-Along; Solo; String Series. Instrumental Solos Series. Masterwork Arrangement. Book; CD. 40 pages. Alfred Music #00- 47065. Published by Alfred Music

Orchestra 2 Bassoons, 2 Clarinets in Bb, 2 Flutes, 2 Oboes, 2 Trombones, 3 Percussion, 3 Trumpets in C, 4 Horns in F, Bass Clarinet, Bass Trombone, Piccolo, Solo Violin, Strings, Timpani

SKU: PR.416414600

For violin and Orchestra. Composed by Samuel Adler. Premiere: Tulsa Symphony Orchestra, Siwoo Kim, violin; Tulsa, OK. Contemporary. Full score. With Standard notation. Composed 2012. Duration 20 minutes. Theodore Presser Company #416-41460. Published by Theodore Presser Company (PR.416414600).

UPC: 680160612246. 8.5 x 11 inches.

Orchestra 2 Bassoons, 2 Clarinets in Bb, 2 Flutes, 2 Oboes, 2 Trombones, 3 Percussion, 3 Trumpets in C, 4 Horns in F, Bass Clarinet, Bass Trombone, Piccolo, Solo Violin, Strings, Timpani

SKU: PR.41641460L

For violin and Orchestra. Composed by Samuel Adler. Premiere: Tulsa Symphony Orchestra, Siwoo Kim, violin; Tulsa, OK. Contemporary. Large Score. With Standard notation. Composed 2012. Duration 20 minutes. Theodore Presser Company #416-41460L. Published by Theodore Presser Company (PR.41641460L).

UPC: 680160612253. 11 x 15 inches.

Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Contrabassoon, English Horn, Flute 1, Flute 2, Flute 3, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 3, Piano, Piccolo, Synthesizer, Timpani, Trombone 1 and more.

SKU: PR.44641212L

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).

11 x 17 inches.

Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Contrabassoon, English Horn, Flute 1, Flute 2, Flute 3, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion, Piano, Piccolo, Synthesizer, Timpani, Trombone 1 and more.

SKU: PR.446412120

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).

UPC: 680160607419. 8.5 x 11 inches.

Fentone Play Along Books. Play Along. Size 9x12 inches. 16 pages. Published by Hal Leonard.

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.

Chamber Music Clarinet, Contrabass, Percussion, Piano, Violin, tenor Saxophone

SKU: PR.114413040

For violin, Bb Clarinet, Bb Tenor Saxophone, Double Bass, Piano, and Percussion. Composed by Chen Yi. Saddle. Premiered at Kerrytown Concert House in Ann Arbor, MI. Contemporary. Set of Score and Parts. With Standard notation. Composed 2006. 16+3+2+2+2+3+2 pages. Duration 5 minutes. Theodore Presser Company #114-41304. Published by Theodore Presser Company (PR.114413040).

UPC: 680160571628. 8.5 x 11 inches.

Commissione d by the Opus 21 ensemble, this mixed sextet is a musical realization of Chinese clay figurines of the Eastern Han (25-220 A.D.). Shapes of the enraptured storyteller, the vivid acrobat, and the moving dancers are in highly exaggerated forms and postures, in large and sweeping movements — the innocent and bold images symbolize the strength, motion, and speed, as the beauty of the crude and primitive power of humanity in its conquest of the material world.
The mixed sextet The Han Figurines is a musical realization of my impression of the Chinese clay figurines of the Eastern Han (25-220 A.D.).  Have you seen the shapes of the enraptured storyteller, the vivid acrobat, and the moving dancers with long sleeves?  They are in highly exaggerated forms and postures, in large and sweeping movements — the innocent and bold images symbolize the strength, motion, and speed.  It’s the beauty of the crude and primitive power of humanity in its conquest of the material world.—Chen Yi.

Chamber Music Clarinet, Contrabass, Percussion, Piano, Violin, tenor Saxophone

SKU: PR.11441304S

For violin, Bb Clarinet, Bb Tenor Saxophone, Double Bass, Piano, and Percussion. Composed by Chen Yi. Premiered at Kerrytown Concert House in Ann Arbor, MI. Contemporary. Full score. With Standard notation. Composed 2006. 16 pages. Duration 5 minutes. Theodore Presser Company #114-41304S. Published by Theodore Presser Company (PR.11441304S).

UPC: 680160620357. 8.5 x 11 inches.

The mixed sextet The Han Figurines is a musical realization of my impression of the Chinese clay figurines of the Eastern Han (25-220 A.D.). Have you seen the shapes of the enraptured storyteller, the vivid acrobat, and the moving dancers with long sleeves? They are in highly exaggerated forms and postures, in large and sweeping movements -- the innocent and bold images symbolize the strength, motion, and speed. It's the beauty of the crude and primitive power of humanity in its conquest of the material world. --Chen Yi.
The mixed sextet The Han Figurines is a musical realization of my impression of the Chinese clay figurines of the Eastern Han (25-220 A.D.).  Have you seen the shapes of the enraptured storyteller, the vivid acrobat, and the moving dancers with long sleeves?  They are in highly exaggerated forms and postures, in large and sweeping movements — the innocent and bold images symbolize the strength, motion, and speed.  It’s the beauty of the crude and primitive power of humanity in its conquest of the material world.—Chen Yi.