99 Traditional Pieces. Composed by Pete Cooper. Arranged by Pete Cooper. This edition: Saddle stitching. Sheet music with CD. Edition Schott. Diese Ausgabe enthalt 99 traditionelle englische Geigenmelodien. Der Band ist versehen mit Akkorden und Hinweisen zur Bogenfuhrung. Ausserdem ist ihm eine CD von Pete Cooper beigelegt. Folk, Classical, English. Edition/Softcover with CD. 12758. 68 pages. Schott Music #ED12758. Published by Schott Music

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).

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.

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.

Edited by Robin Williamson. For violin. Includes violin solo songbook and examples CD. With standard notation, chord names, performance notes and introductory text. British and folk. 96 pages. 9x12 inches. Published by Oak Publications

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 2; Eine Violinschule fur Kinder. Instructional Method. Method book. Text language: English. 64 pages. Published by Baerenreiter Verlag (German import).

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.

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.

Orchestra Bassoon, Cello, Clarinet, Contrabass, English Horn, Flute, Horn, Oboe, Timpani, Trumpet, Viola, Violin, Violin 1, Violin 2, Violoncello

SKU: PR.44641076P

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).

UPC: 680160095988.

For violin. Format: violin solo book (excerpts only). Baroque, Classical Period and Romantic Period. 64 pages. 9x12 inches. Published by Music Sales. (MS.AM84153) A selection of all the best-known tunes and themes in the classical repertoire, carefully edited for violin solo. Includes works by Mozart, Bach, Beethoven, Chopin and many more great composers.

For Violin. String Series. Rolling Stone Magazine's 500 Greatest Songs of All Time. Play Along. Level: Level 2-3. Book and CD. 88 pages. Published by Alfred Publishing.

Violin. Arranged by Various. Play-Along; String Series. Instrumental Solos Series. Pop. Book; CD. 20 pages. Alfred Music #00-46311. Published by Alfred Music (AP.46311).

Violin Solos. Arranged by Bill Galliford and Ethan Neuburg. Play-Along; String Series. Instrumental Solos Series. Patriotic. Book. 28 pages. Alfred Music #00- 48694. Published by Alfred Music

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

62 Traditional Pieces for Violin. Edited by Matt Cranitch. This edition: Saddle stitching. Sheet music with CD. String. Edition with CD. 52 pages. Schott Music #ED 13361. Published by Schott Music

Cello. Arranged by Various. Book; CD; Play-Along; String Series. Instrumental Solos Series. Pop. 20 pages. Published by Alfred Music (AP.46317).

Cello. Arranged by Various. Play-Along; Solo; String Series. Instrumental Solos Series. Masterwork Arrangement. Book; CD. 40 pages. Alfred Music #00- 47071. Published by Alfred Music

Cello Solos. Arranged by Bill Galliford and Ethan Neuburg. Play-Along; String Series. Instrumental Solos Series. Patriotic. Book. 28 pages. Alfred Music #00-48698. Published by Alfred Music

For Cello. String Series. Rolling Stone Magazine's 500 Greatest Songs of All Time. Play Along. Level: Level 2-3. Book and CD. 88 pages. Published by Alfred Publishing.