Fiddle - Intermediate

SKU: MB.30815M

Renaissance, Saddle-stitched. Celtic / Irish. Book and online audio. 48 pages. Mel Bay Publications, Inc #30815M. Published by Mel Bay Publications, Inc (MB.30815M).

ISBN 9781513466828. 8.75x11.75 inches.

Early Music Gems contains 49 tunes dating from 1300-1791, including Medieval, Renaissance, and ancient melodies as well as a â??best ofâ? John Playford's The Dancing Master. These delightful melodies are perfect for contradance, English country dance and concert settings. Suggested bowings, chords, tempos, and variations are included. An audio recording of each of the tunes includes the fiddle melody with guitar accompaniment. Includes access to online audio.

For Violin. Studies and Tutors, ABRSM Exams. Education. Grades 1--5. Collection. Published by ABRSM (Associated Board of the Royal Schools of Music)

A Musical Sampler from the Pages of Strings Magazine. By Various. String Letter Publishing. Softcover. 112 pages. Published by String Letter Publishing.

Music from All Nine Films. Composed by John Williams. Instrumental Play-Along. Disney, Movies. Softcover Audio Online. 24 pages. Published by Hal Leonard

For Violin. Studies and Tutors, ABRSM Exams. Education. Grade 3. Etude book. Published by ABRSM (Associated Board of the Royal Schools of Music)

For Violin. Studies and Tutors, ABRSM Exams. Education. Grade 5. Etude book. Published by ABRSM (Associated Board of the Royal Schools of Music)

Selections from the Student Repertoire. By Barbara Barber and Trudi Post. String - Violin Studies or Collection; Suzuki. Solos for Young Violinists. CD. Alfred Music #00-8012. Published by Alfred Music

Violin. Composed by John Williams. String Series. Instrumental Series. Movies. Instrumental solo book. 20 pages. Alfred Music #00-0066B. Published by Alfred Music

For Violin. Studies and Tutors, ABRSM Exams. Education. Grade 8. Etude book. Published by ABRSM (Associated Board of the Royal Schools of Music)

Violin - Initial-Grade 8

SKU: TL.TCL014580

Trinity College London #TCL 014580. Published by Trinity College London (TL.TCL014580).

ISBN 9780857364319.

This item contains all the scales, arpeggios and studies required for Trinity College London's violin exams for Initial to Grade 8, valid from 2016. Newly commissioned studies are also included for Grades 1–5 which may be used as an alternative to scales and arpeggios.

(Violin Solo). By Carl Orff (1895-1982). Arranged by Adri�¡n Varela. For Violin. String Solo. Softcover. 8 pages. Schott Music #VLB177. Published by Schott Music

Violin

SKU: AP.49293

Volume 2. Violin Part. Composed by Dr. Shinichi Suzuki. This edition: International/Asian. MakeMusic Cloud; Method/Instruction; String - Violin (Suzuki); Suzuki. Suzuki Violin School. Book and CD. 36 pages. Alfred Music #00-49293. Published by Alfred Music (AP.49293).

ISBN 9781470644673. UPC: 038081563374. English.

Authorized Asian Edition - Available ONLY in Asia.

Teach violin with the popular Suzuki Violin School! The Suzuki Method of Talent Education is based on Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Shinichi Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the mother-tongue approach. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Violin School. Suzuki lessons are generally given in a private studio setting with additional group lessons. The student listens to the recordings and work with their Suzuki violin teacher to develop their potential as a musician and as a person.

This Suzuki Book & CD (Asian Edition) is integral for Suzuki violin lessons. This revised edition of the Suzuki Violin School, Volume 2 features:
* Engravings in a 9 x 12 format
* Revised editing of pieces, including bowings and fingerings
* 16 additional pages
* Additional exercises, some from Shinichi Suzuki, plus additional insight and suggestions for teachers
* Glossary of terms in English, French, German, and Spanish
* Musical notation guide
* Fingerboard position
* CD features new recordings by Hilary Hahn in collaboration with pianist Natalie Zhu, as well as piano accompaniment only tracks for play-along purposes.

Titles: Principles of Study and Guidance * Chorus fromJudas Maccabaeus (Handel) * Musette (Bach) * Hunters' Chorus (Weber) * Long, Long Ago (Bayly) * Waltz (Brahms) * Bourrée (Handel) * The Two Grenadiers (Schumann) * Theme fromWitches' Dance (Paganini) * Gavotte fromMignon (Thomas) * Gavotte (Lully) * Minuet in G (Beethoven) * Minuet (Boccherini). This title is av.

About Suzuki Method

The Suzuki Method is based on the principle that all children possess ability and that this ability can be developed and enhanced through a nurturing environment. All children learn to speak their own language with relative ease and if the same natural learning process is applied in teaching other skills, these can be acquired as successfully. Suzuki referred to the process as the Mother Tongue Method and to the whole system of pedagogy as Talent Education. The important elements of the Suzuki approach to instrumental teaching include the following:an early start (aged 3-4 is normal in most countries); the importance of listening to music; learning to play before learning to read; -the involvement of the parent; a nurturing and positive learning environment; a high standard of teaching by trained teachers; the importance of producing a good sound in a balanced and natural way; core repertoire, used by Suzuki students across the world; social interaction with other children. Suzuki students from all over the world can communicate through the language of music.

Violin

SKU: AP.48725

Violin Part. Composed by Dr. Shinichi Suzuki. This edition: International. MakeMusic Cloud; Method/Instruction; String - Violin (Suzuki); Suzuki. Suzuki Violin School. Book and CD. 36 pages. Alfred Music #00-48725. Published by Alfred Music (AP.48725).

ISBN 9781470644154. UPC: 038081560366. English.

Teach violin with the popular Suzuki Violin School! The Suzuki Method of Talent Education is based on Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Shinichi Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the mother-tongue approach. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Violin School. Suzuki lessons are generally given in a private studio setting with additional group lessons. The student listens to the recordings and work with their Suzuki violin teacher to develop their potential as a musician and as a person.

This Suzuki Book and CD is integral for Suzuki violin lessons. This revised edition of the Suzuki Violin School, Volume 2 features:
* Engravings in a 9 x 12 format
* Revised editing of pieces, including bowings and fingerings
* 16 additional pages
* Additional exercises, some from Shinichi Suzuki, plus additional insight and suggestions for teachers
* Glossary of terms in English, French, German, and Spanish
* Musical notation guide
* Fingerboard position
* CD features new recordings by Hilary Hahn in collaboration with pianist Natalie Zhu, as well as piano accompaniment only tracks for play-along purposes.

Titles: Principles of Study and Guidance * Chorus fromJudas Maccabaeus (Handel) * Musette (Bach) * Hunters' Chorus (Weber) * Long, Long Ago (Bayly) * Waltz (Brahms) * Bourrée (Handel) * The Two Grenadiers (Schumann) * Theme fromWitches' Dance (Paganini) * Gavotte fromMignon (Thomas) * Gavotte (Lully) * Minuet in G (Beethoven) * Minuet (Boccherini).

This title is available in MakeMusic Cloud.

About Suzuki Method

The Suzuki Method is based on the principle that all children possess ability and that this ability can be developed and enhanced through a nurturing environment. All children learn to speak their own language with relative ease and if the same natural learning process is applied in teaching other skills, these can be acquired as successfully. Suzuki referred to the process as the Mother Tongue Method and to the whole system of pedagogy as Talent Education. The important elements of the Suzuki approach to instrumental teaching include the following:an early start (aged 3-4 is normal in most countries); the importance of listening to music; learning to play before learning to read; -the involvement of the parent; a nurturing and positive learning environment; a high standard of teaching by trained teachers; the importance of producing a good sound in a balanced and natural way; core repertoire, used by Suzuki students across the world; social interaction with other children. Suzuki students from all over the world can communicate through the language of music.

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.

(Serie II - France 1800-1860). Edited by Nicolas Fromageot. For Violin. Facsimiles. Methodes and Traites. Grade 0. 1157 pages. Published by Anne Fuzeau Productions - France

(Serie II - France 1800-1860). Edited by Nicolas Fromageot. For Violin. Facsimiles. Methodes and Traites. Grade 0. 135 pages

Composed by Cindy Moyer. Strings Methods. Secular. Published by Galaxy Music Corporation

(Serie II - France 1800-1860). Edited by Nicolas Fromageot. For Violin. Facsimiles. Methodes and Traites. Grade 0. 280 pages

Violin

SKU: FZ.5850

Serie I - France 1600-1800. Edited by Philippe Lescat, Jean Saint-Arroman. This edition: Facsimile. Methodes & Traites. Score. Published by Anne Fuzeau Productions - France (FZ.5850).

ISBN 9790230658508. 24.00 x 33.00 cm inches.

These early music methods are in facsimile in four books. ANCELET - Jacques-Laurent BETHISY - Sebastien de BROSSARD (1-2) - Michel CORRETTE (1) - Jean-Baptiste DOMENJOUD - Pierre DUPONT - Encyclopedie - F. A. P. de GARSAULT - Francesco GEMINIANI - Marin MERSENNE - Michel Pignolet de MONTECLAIR - Leopold MOZART. Table of contents: Mersenne Marin: Harmonie universelle - 1636. Brossard Sebastien de: Dictionnaire de musiqua - 1703. Brossard Sebastien de: [Methode de violon manuscrite] - c. 1711. Monteclair Michel Pignolet de: Methode facile pour apprendre a jouer du violon - 1711. Dupont Pierre: Principes de violon - 1718. Corrette Michel: L'ecole d'Orphee - 1738. Dupont Pierre: Principes de violon '(seconde edition) - 1740. Encyclopedie: Articles sur le violon et la lutherie - 1751/1772. Geminiani Francesco: L'art de jouer du violon - 1752. Ancelet: Observations sur la musique - 1757. Domenjoud Jean-Baptiste: De la preference des vis aux chevilles - 1757. Garsault F. A. P. de: Notionnaire, ou memorial raisonne - 1761. Bethisy Jacques Laurent: Exposition de la theorie - 1764. Mozart Leopold: Methode raisonnee pour apprendre a jouer du violon - 1770. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimile of copies from: - British Library of London (England). - National Library of Paris (France). - Library of Congress, Washington (USA). - Bayerische Staatsbibliothek of Munich (Germany). - In Private collection. Anne Fuzeau Classique propose the complete theoretic documentation, methods, classical music scores on the violin.

Violin

SKU: FZ.5851

Serie I - France 1600-1800. Edited by Philippe Lescat, Jean Saint-Arroman. This edition: Facsimile. Methodes & Traites. Score. Published by Anne Fuzeau Productions - France (FZ.5851).

ISBN 9790049058513. 24.00 x 33.00 cm inches.

These early music methods are in facsimile in four books. Anonyme (1-2) - Michel CORRETTE (2) - LABADENS (1) - L'ABBE LE FILS - Jean-Benjamin de LABORDE - Theodore-Jean TARADE. Table of contents: Anonyme: Maniere de graduer un violon - 1771. Observation sur la maniere de graduer un violon. Labadens: Nouvelle methode pour apprendre a jouer du violon - 1772. L'Abbe Le Fils: Principes de violon pour apprendre le doigte - 1772. Tarade Theodore-Jean: Traite du violon - 1774. Laborde Jean-Benjamin de: Essai sur la musique ancienne et moderne - 1780. Corrette Michel: L'art de se perfectionner - 1782. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimile of copies from: - British Library of London (England). - National Library of Paris (France). - In Philippe Lescat's Collection. Anne Fuzeau Classique propose the complete theoretic documentation, methods, classical music scores on the violin.

By Pietro Antonio Locatelli (1695-1764). Edited by Nicolas Fromageot. Violon et basse continue. For Violin. Facsimiles. Collection Dominantes. Grade 0. 78 pages

Violin

SKU: FZ.5813

Serie II - France 1800-1860. Edited by Nicolas Fromageot. This edition: Facsimile. Methodes & Traites. Score. Published by Anne Fuzeau Productions - France (FZ.5813).

ISBN 9790230658133. 24.00 x 33.00 cm inches.

These early music methods are in facsimile in six books. Jacques-Fereol MAZAS. Methode de violon suivie d'un traite des sons harmoniques en simple ou double-cordes (Paris, Aulagnier, s. d. = 1830). Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimile of a copy in the National Library of Paris (France). Anne Fuzeau Classique propose the complete theoretic documentation, methods, classical music scores on the violin.

Violin

SKU: FZ.5816

Serie II - France 1800-1860. Edited by Nicolas Fromageot. This edition: Facsimile. Methodes & Traites. Score. Published by Anne Fuzeau Productions - France (FZ.5816).

ISBN 9790230658164. 24.00 x 33.00 cm inches.

These early music methods are in facsimile in six books. Delphin ALARD. Ecole du Violon - Methode complete et progressive a l'usage du conservatoire (Paris, Schonenberger - Mayence B. Schott, edition datee de 1844). Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimile of a copy in the National Library of Paris (France). Anne Fuzeau Classique propose the complete theoretic documentation, methods, classical music scores on the violin.

Serie II - France 1800-1860. Edited by Nicolas Fromageot. For Violin. Facsimiles. Methodes & Traites. Level: Grade 0. 288 pages. Published by Editions Fuzeau Classique - France (French import).

Violin

SKU: FZ.5815

Serie II - France 1800-1860. Edited by Nicolas Fromageot. This edition: Facsimile. Methodes & Traites. Score. Published by Anne Fuzeau Productions - France (FZ.5815).

ISBN 9790049058155. 24.00 x 33.00 cm inches.

These early music methods are in facsimile in six books. Francois-Antoine HABENECK. Methode theorique et pratique de violon (Paris Canaux, edition datee de 1842) - [Methode composee c. 1840]. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimile of a copy in the National Library of Paris (France). Anne Fuzeau Classique propose the complete theoretic documentation, methods, classical music scores on the violin.