Cello

SKU: ST.CLD112

Composed by Claude Debussy. String music. CelloLid.com #CLD112. Published by CelloLid.com (ST.CLD112).

ISBN 9790708113126.

Violin - Grade 2

SKU: TL.TCL014900

Repertoire. CD. Trinity College London #TCL 014900. Published by Trinity College London (TL.TCL014900).

ISBN 9780857364630.

This audio CD contains exam pieces on the Trinity College London Violin syllabus for 2016-2019, featuring renowned violinist Liz Partridge. (alternative pieces are not included). In addition to full recordings of each piece, the CD also includes 'minus one' style backing tracks, allowing students to practise with the piano accompaniment played by Stephen Wilder.
These recordings are not definitive but may be employed as an aid to preparation for Trinity College London examinations.

By Kathy and David Blackwell. For violin accompaniment. Violin. Fiddle Time. Flute Time. 48 pages. Published by Oxford University Press

(Cello). Arranged by Various. For Cello. Book; CD; Play-Along; String Series. Easy Instrumental Solos. Grade 1. 48 pages. Published by Alfred Music

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

(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

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. For Violin. Book; CD; Play-Along; String Series. Top Hits Instrumental Solos. Pop; Rock. Grade 2; Grade 3. 28 pages. Published by Alfred Music

(Violin). For Violin. Book; CD; Play-Along; String Series. Easy Instrumental Solos. Grade 2; Grade 3. 48 pages. Published by Alfred Music

(Cello). For Cello. Book; CD; Play-Along; String Series. Easy Instrumental Solos. Pop; Rock. Grade 2; Grade 3. 28 pages. Published by Alfred Music

(Violin). For Violin. Book; CD; Play-Along; String Series. Instrumental Solos Series. Pop; Pop/Rock. Grade 2; Grade 3. 52 pages. Published by Alfred Music

(Cello). For Cello. Book; CD; Play-Along; String Series. Instrumental Solos Series. Pop; Pop/Rock. Grade 2; Grade 3. 52 pages. 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

Composed by Manfred Schmitz. Book with CD. AMA Verlag #AMAV610337. Published by AMA Verlag

(Cello). For Cello. Book; CD; Play-Along; String Series. Ultimate Instrumental Solos Series. Christmas; Sacred; Secular; Winter. Grade 2; Grade 3. 60 pages. Published by Alfred Music

(Violin). For Violin. Book; CD; Play-Along; String Series. Easy Instrumental Solos. Pop; Rock. Grade 2; Grade 3. 28 pages. Published by Alfred Music

(Violin). For Violin. Book; CD; Play-Along; String Series. Ultimate Instrumental Solos Series. Christmas; Sacred; Secular; Winter. Grade 2; Grade 3. 60 pages. Published by Alfred Music

(Cello). Arranged by Various. For Cello. Book; CD; Play-Along; String Series. Top Hits Instrumental Solos. Pop; Rock. Grade 2; Grade 3. 28 pages. Published by Alfred Music

For Violin or Flute and Piano. Composed by Adriana Isabel Figueroa Manas. Contemporary. Score and part(s). 22 pages. Hildegard Publishing Company #494-02957. Published by Hildegard Publishing Company (PR.494029570).

Cello

SKU: SP.TS178

Composed by Denise Gendron. Arranged by Denise Gendron. Collection; Christmas. Book. Santorella Publications #TS178. Published by Santorella Publications (SP.TS178).

ISBN 9781585604609. UPC: 649571101787.

Music has always been an integral part of the holiday season. As everyone knows, there is no better way to celebrate than with a song. Re-live your childhood memories and share your love of music this holiday season with Santa's Little Helper published by Santorella Publications. Santa's Little Helper for Cello is also written as solos or duets in accommodating keys for Violin, Viola & Bass. The Piano Accompaniment book for this Stringed Instrument Edition is sold separately. Santorella's Horn Edition is also available for trumpet, clarinet, flute, alto sax & trombone.

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.