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.

Violin

SKU: HL.288102

Violin Solo. Composed by Per Nø, rd, and rgå. Music Sales America. Classical. Softcover. 10 pages. Duration 360 seconds. Edition Wilhelm Hansen #WH30819. Published by Edition Wilhelm Hansen (HL.288102).

Preface / Programme NoteThe title is meant to suggest something playful, even childlike, but also something challenging and competitive. All these elements are part of sports, games and playing and playing music.Even if the mostly straightforward melodic patterns resemble the melos of childrens jingles and chants, substantial technical and musical demands will be made on the violin player during the six to seven minutes of musical play.PLAYGROUND was commissioned by The 8th Carl Nielsen International Violin Competition, taking place in Odense, May/June 2008.Per Norgard.

Chamber Music violin, viola

SKU: PR.114419730

For violin and Viola. Composed by Chen Yi. Sws. Set of Score and Parts. 8+2+2 pages. Duration 2:30. Theodore Presser Company #114-41973. Published by Theodore Presser Company (PR.114419730).

ISBN 9781491132333. UPC: 680160681686. 9 x 12 inches.

Chen Yi describes the cheery interplay of HAPPY TUNE as: “When one instrument plays a livelymelody, the other plays a vivid rhythmic pattern in the accompaniment. The pair of string instrumentsimitates the sound of primitive Chinese folk song singing, as well as the Chinese traditional windinstrument sheng, a mouth pipe organ.” Published as a shared score and extracted parts, and writtenas a celebration piece honoring the 25th anniversary of the Great Lakes Chamber Music Festival.
Composed to celebrate the 25th Anniversary of the Great Lakes Chamber Music Festival, my violin and viola duet HAPPY TUNE was written for Kim Kashkashian and Tien-Hsin Cindy Wu, and premiered at the festival on June 16, 2018.I fondly remember being invited by the GLCMF (directed by Prof. James Tocco) to be the dual Stone Composers-in-Residence with my husband Zhou Long, along with the Stone Composer Fellow Nicholas Omiccioli in 2011. We had a dozen of our chamber works performed excellently by the outstanding chamber ensembles and musicians during the week, meeting enthusiastic audiences and supporters of new music in various venues at the festival. The experience was truly inspiring, and I created HAPPY TUNE to honor the GLCMF, with hopes to carry on the high spirit in our new music society.In this duet, when one instrument plays a lively melody, the other plays a vivid rhythmic pattern in the accompaniment. The pair of string instruments imitates the sound of primitive Chinese folk song singing, as well as the Chinese traditional wind instrument sheng, a mouth pipe organ.

Violin

SKU: FZ.5826

Serie IV - Italy 1600-1800. Edited by Alessandro Moccia. This edition: Facsimile. Methodes & Traites. Score. Published by Anne Fuzeau Productions - France (FZ.5826).

ISBN 9790230658263. 24.00 x 33.00 cm inches.

These early music methods are in facsimile in three books. Bartolomeo BISMANTOVA - Francesco GEMINIANI (1-2) - Giuseppe TARTINI (1) - Carlo TESSARINI (1) - Aurelio VIRGILIANO - Gasparo ZANNETTI. Table of contents: Virgiliano Aurelio: Il dolcimelo d'Aurelio Virgiliano - c. 1600. Zannetti Gasparo: Il scolaro di Gasparo Zannetti - 1645. Bismantova Bartolomeo: Compendio musicale - 1677. Tessarini Carlo: Gramatica di musica - 1741. Tartini Giuseppe: L'Arte del arco - 1748. Geminiani Francesco: A treatise of good taste - 1749. Geminiani Francesco: The art of playing on the violin - 1751. 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: - National Library of Paris (France). - Civico Museo Bibiografico Musicale of Bologna (Italy). - Municipal Library of Reggio Emilia (Italy).
- Gemeente Museum of The Hague (Netherlands). Anne Fuzeau Classique propose the complete theoretic documentation, methods, classical music scores on the violin.

Violin - late intermediate

SKU: BT.1248-05-400-DHI

Composed by Joachim Johow. Book with CD. Composed 2005. 28 pages. De Haske International #1248-05-400 DHI. Published by De Haske International (BT.1248-05-400-DHI).

ISBN 9789043123327. 9x12 inches. English-German-French-Dut ch.

A collection of original Irish songs designed for violinists produced following years of research. Ideal for concert performances or for private study, the songs range from fast jigs to quiet ballads. With chord symbols to enable performance with guitar, a harmonica or a banjo.

Deze geslaagde collectie van oude en nieuwe dansen geeft je de kans om mooie folkmuziek te spelen. De stukken in Irish Melodies variëren van snelle, meeslepende jigs tot rustige songs in balladstijl. Om uitvoeringen met anderenmogelijk te maken zijn akkoordsymbolen toegevoegd. De stukken kunnen bijvoorbeeld worden gespeeld in combinatie met instrumenten als gitaar, fluit of banjo - die bijzonder geschikt zijn voor de originele speelstijl. De live opgenomencd bevat voorbeeldversies en begeleidingen van alle melodieën uit het boek, erg handig om mee te studeren óf om mee op te treden.

Diese Sammlung von original irischer Musik bietet etwas fortgeschritteneren Spielern einen Einblick in die Schönheit und den Reichtum von neuen und traditionellen Melodien. Die 17 Stücke variieren von schnellen Jigs bis zu ruhigen Balladen und können alleine oder bei Auftritten gespielt werden. Dank der notierten Akkordsymbole kann man sich stilecht von Gitarre, Akkordeon oder Banjo begleiten lassen. Die CD, die neben Demoversionen auch Begleitungen aller Stücke enthält, hilft beim Üben und Vorspielen.

Ce recueil de musique irlandaise permet d'approfondir ses connaissances stylistique travers des airs irlandais anciens et récents. Les piéces peuvent être interprétées en associant des instruments comme la guitare, 'accordéon ou le banjo (symboles d´accord notés sur les partitions). Sur le CD inclus, vous trouverez une version de démonstration de chaque péce ainsi qu´une version play-along.

Questa pubblicazione di musica irlandese permette ai musicisti con gi qualche anno di pratica strumentale di approfondire la conoscenza stilistica attraverso arie antiche e più recenti. I brani possono essere interpretati assieme a strumenti quali la chitarra, la fisarmonica o il banjo (simboli degli accordi segnati sulla partitura). Nel CD incluso troverete una registrazione integrale di tutti i brani e anche una versione play-along col solo accompagnamento.

Violin

SKU: BT.RICL00003700

For Solo Violin. Composed by Ross Edwards. Contemporary Music. Book Only. Composed 2000. 8 pages. Ricordi #RICL00003700. Published by Ricordi (BT.RICL00003700).

English.

One of Australia’s best-known composers, Ross Edwards’ distinctive sound world combines shapes and patterns from nature with a variety of musical resources which reflect and celebrate Australia’s cultural diversity.White Cockatoo Spirit Dance has all the characteristics of a maninya, or dance-chant. Ross Edwards coined the word maninya to denote the chant-like quality of one strand of his music, a unique and highly characteristic form which results from thesubtly varied repetition of material over a static harmonic basis in a lively tempo.Vibrant, captivating, life-affirming and virtuosic, White Cockatoo Spirit Dance is a spontaneous melodic outpouring. It also exists as a viola solo from which it has been adapted for violin by the composer.

Composed by Gjovalin Nonaj. Collection. 33 pages. Published by Editions Henry Lemoine

A violin method for children age four and older. Composed by Egon Saßmannshaus and Kurt Sassmannshaus. Stapled. With a Chinese text booklet. Performance score. Baerenreiter Verlag #BA10753. Published by Baerenreiter Verlag

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

Arranged by and ed. Joanne Martin. For Violin Ensemble. String Ensemble - Mixed. 40 pages. Published by Alfred Publishing.

By Various Composers. Arranged by Jonathan Stock. Schott. Size 9x12 inches. 33 pages. Published by Schott.

(A violin method for children age four and older). By Egon Sassmannshaus; Kurt Sassmannshaus. For violin. This edition: Stapled. Barenreiter's Sassmannshaus. With a French text supplement. Instructional. Performance score, Teaching material. Text Language: English/French. 64/11 pages. Published by Baerenreiter Verlag

Arranged by And Ed. Joanne Martin. For Solo Violin. String Ensemble - Mixed. 20 pages. Published by Alfred Publishing.

Composed by Miles Courtiere. Saddle stitch. Folk/Violin Instruction. Play Along Book and CD. Duration 65 minutes. Published by ADG Productions

Piano Accompaniment Included. Composed by Craig Duncan. Book and insert. 64 pages. Published by Mel Bay Publications, Inc (MB.30560).

Violin

SKU: HL.48181473

Composed by Maurice Hauchard. Leduc. Classical. Softcover. 44 pages. Alphonse Leduc #AL21019. Published by Alphonse Leduc (HL.48181473).

UPC: 888680842611. 9.0x12.0x0.164 inches.

Methode Elementaire ? 2eme cahier was created by Maurice Hauchard (1870-1957), a French violinist, composer and music teacher. This is the second in a series of three books constituting a renowned progressive method, for beginners/intermediate players. This second book of Methode Elementaire focuses on tonalities major and minor other than G, C, D Major. It proposes different exercises which involves fingers crossing, extensions, chromaticism, scales and arpeggios. The violinists are also introduced to some melodic extracts from renowned composers. The quality and the efficiency of Maurice Hauchard?s methods make this book a key series to have for a Violin player. And, in addition to this series, the composer also created nine additional methods for strings..

Violin - difficult

SKU: HL.49045066

For Violin Solo. Composed by Igor Loboda. This edition: Saddle stitching. Sheet music. String. Classical. Softcover. Composed 2014. 8 pages. Duration 4'. Schott Music #VLB207. Published by Schott Music (HL.49045066).

ISBN 9790001159685. 9.0x12.0x0.055 inches.

Requiem for solo violin, composed by the Georgian composer Igor Loboda for Lisa Batiashvili, is dedicated to the victims of the Ukraine conflict in 2014. It is based on the melody of a Ukrainian folksong about the river Dnieper.

Composed by Various. Instrumental Folio. Softcover. 120 pages. Published by Hal Leonard

(for Violin). By Various. For Violin (Violin). Instrumental Folio. Softcover. 64 pages. Published by Hal Leonard

Chamber Music Bass Saxophone, alto Saxophone 1, alto Saxophone 2, alto Saxophone 3, baritone Saxophone, soprano Saxophone 1, soprano Saxophone 2, tenor Saxophone 1, tenor Saxophone 2

SKU: PR.UE037117

For violin and piano. Composed by Aleksey Igudesman. Set of Score and Parts. With Standard notation. Universal Edition #UE037117. Published by Universal Edition (PR.UE037117).

ISBN 9783702474591. UPC: 803452071709.

The familiar Happy Birthday tune undergoes an Igudesman concert transformation. Stated simply enough, the melody immediately morphs into a Viennese waltz, a big band statement, a Bulgarian step dance, a Russian romp, and more. A touch of violinistic virtuosity leads to the fantastic finish. Make someone's birthday special!