VIOLIN - FIDDLE
Violin, Orchestra Not classified 3,652 Voice
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Strings Violin (band part) 7,206 String Quartet: 2 violins, viola, cello 1,088 Violin 299 Violin and Piano 286 String Quintet: 2 violins, viola, cello, bass 261 Violin, Cello (duet) 140 String Trio: violin, viola, cello 83 String Trio: 2 violins, cello 77 Violin, Viola (duet) 43 2 Violins (duet) 39 Violin, Guitar (duet) 28 Violin ensemble 13 String Trio: 3 violins 12 Harp, Violin (duet) 9 String Quintet: 2 violins, 2 violas, cello 7 Double bass, Piano (duet) 6 Cello, String Bass (duet) 4 String quartet: 4 violins 3 String Trio: 2 violins, viola 3 Violin, Basso continuo 3 String Quintet: 2 violins, viola, 2 cellos 2 2 Violins and Basso 1 Violin, Organ 1 Violin, Bassoon (duet) 1
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International Artists : • Brian Setzer Orchestra [The] • Trans-Siberian Orchestra • Electric Light Orchestra
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286 sheet music found Mendelssohn: Song Without Words Op. 109 for Violin & Piano
Mendelssohn: Song Without Words Op. 109 for Violin & Piano # Violin and Piano # INTERMEDIATE # Felix Mendelssohn # James M # Mendelssohn: Song Without Word # jmsgu3 # SheetMusicPlus
Piano,Violin - Level 3 - Digital Download SKU: A0.549485 Composed by Felix Mendelssohn (1809 –1847). Arranged by James M. Guthrie, ASCAP. Instruct...(+)
Piano,Violin - Level 3 - Digital Download SKU: A0.549485 Composed by Felix Mendelssohn (1809 –1847). Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. 20 pages. Jmsgu3 #3500555. Published by jmsgu3 (A0.549485). VIOLIN & PIANO - Score: 11 pages, solo part: 3 pages, piano part: 5 pages. Duration: 4:20. This is a popular recital piece that would work well also in church or school programs. Mendelssohn Background Felix Mendelssohn (1809 –1847) was, by all means, a German mastermind composer, musician, and orchestra conductor of the Romantic period. Consequently, Mendelssohn composed in the usual forms of the time - symphonies, concertos, oratorios, piano music, and chamber music. To summarize, his most famous works include his music for A Midsummer Night's Dream, the Italian Symphony, the Scottish Symphony, The Hebrides Overture, his later Concerto for Violin & Orchestra, and his Octet for Strings. His most well-known piano pieces, by and large, are the Songs Without Words. Artistic Standing  Musical tastes change from time to time. Moreover, just such a change occurred in the late 19th and early 20th centuries. This plus rampant antisemitism brought a corresponding amount of undue criticism. Fortunately, however, his artistic inventiveness has indeed been critically re-evaluated. As a result, Mendelssohn is once again among the most prevalent composers of the Romantic era. Early Family Life Mendelssohn was, in fact, born into a prominent Jewish family. His grandfather was, notably, the philosopher Moses Mendelssohn. Felix was, in fact, raised without religion. At the age of seven, he was suddenly baptized as a Reformed Christian. He was, moreover, a child musical prodigy. Nevertheless, his parents did not attempt to exploit his talent. Early Adulthood Mendelssohn was, in general, successful in Germany. He conducted, in particular, a revival of the music of Johann Sebastian Bach, specifically with his presentation of the St Matthew Passion in 1829. Felix was truly in demand throughout Europe as a composer, conductor, and soloist. For example, he visited Britain ten times. There, he premiered, namely, many of his significant works. His taste in music was. To be sure, inventive and well-crafted yet markedly conservative. This conservatism separated him by all means from more audacious musical colleagues like Liszt, Wagner, and Berlioz. Mendelssohn founded the Leipzig Conservatoire which, to clarify, became a defender of this conservative viewpoint. Mature Adulthood Schumann notably wrote that Mendelssohn was the Mozart of the nineteenth century, the most brilliant musician, the one who most clearly sees through the contradictions of the age and for the first time reconciles them. This observation points to a couple of features in particular that illustrate Mendelssohn's works and his artistic procedure. Musical Features In the first place, his musical style was fixed in his systematic mastery of the style of preceding masters. This being said, he certainly recognized and even developed early romanticism from the music of Beethoven and Weber. Secondly, it indicates that Mendelssohn sought to strengthen his inherited musical legacy rather than to exchange it with new forms and styles or replace it with exotic orchestration. Consequently, he diverged his contemporaries in the romantic period, such as Wagner, Berlioz, and Liszt. Mendelssohn revered Liszt's virtuosity at the keyboard but found his music rather insubstantial. The Holly and the Ivy (STR:UK Violin Solo)
The Holly and the Ivy (STR:UK Violin Solo) # Violin and Piano # EASY # Christmas # Tim Crooks # Tim Crooks # The Holly and the Ivy # STR:UK String Arrangements # SheetMusicPlus
Piano,Violin - Level 2 - Digital Download SKU: A0.850418 Composed by Tim Crooks. Arranged by Tim Crooks. Christmas. 8 pages. STR:UK String Arrangements #...(+)
Piano,Violin - Level 2 - Digital Download SKU: A0.850418 Composed by Tim Crooks. Arranged by Tim Crooks. Christmas. 8 pages. STR:UK String Arrangements #6621275. Published by STR:UK String Arrangements (A0.850418). The Holly and the Ivy, arranged for Solo Violin & Piano with easy second part by Tim Crooks (STR:UK Strings).FREE backing track with this download - just click the YouTube link!This old English carol is an essential addition to any Christmas collection. With a hint of Satie's 'Gymnopédie No.1' and 'Blackbird' by the Beatles, this beautiful arrangement suitable for ABRSM Grade 1 - 3 players. Parts included (can be printed multiple times):- Violin 1, Easy Violin, Violin Duet- Piano About the arrangerTim Crooks trained as a violinist and violist, working professionally in Manchester (UK) for many years. He was a founding member of the Manchester String Quartet and scored many arrangements for the group's recordings. Tim now orchestrates and conducts, working with orchestras including Manchester Camerata, Royal Liverpool Philharmonic, RTÉ Concert Orchestra and the Philharmonia.STR:UK STRINGS - String Music, made in the UKWe'd love to hear your feedback: strukstrings@gmail.com Claude Debussy: Sérénade for violin and piano
Claude Debussy: Sérénade for violin and piano # Violin and Piano # INTERMEDIATE/ADVANCED # Classical # Claude Debussy/Robert Orledge # Claude Debussy: Sérénade for # Musik Fabrik Music Publishing # SheetMusicPlus
Piano,Violin - Level 4 - Digital Download SKU: A0.534583 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Romantic Period,Standards. 21 pa...(+)
Piano,Violin - Level 4 - Digital Download SKU: A0.534583 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Romantic Period,Standards. 21 pages. Musik Fabrik Music Publishing #4727479. Published by Musik Fabrik Music Publishing (A0.534583). Preface:In the early 1890s, Debussy composed the opening of a lyrical piece in E major for violin and piano, perhaps as a shorter companion piece for the violin Nocturne he was planning for the Belgian violinist Eugène Ysaÿe. After Debussy’s death in 1918, his second wife Emma often gave away sketch pages to performers or composers as memorials to her beloved husband , and this particular page was given to the Cuban born pianist and composer Joaquin Nin (1879-1949). It came up for sale in the catalogue of the British antiquarian dealer Lisa Cox in 2010 and although it might possibly be an early song for contralto and piano, the more dynamic idea in bar 12 strongly suggests the violin, especially as it begins on an open D string. Moreover, there is no text and in pieces of this length, Debussy usually wrote at least one word in, if only to remind himself where he had got to in any song. So my starting point was a complete 12-bar melody gently undulating in the violin’s lowest register over a sensual accompaniment, rising to a climax in bar 12 and giving me a contrasting idea that I could use as a link between sections and in the cadenza. As the B section (bars 14-26) derives directly from Debussy’s opening theme by metamorphosis, my own additions were restricted to the central section (bars 27-57) - comprising a new scherzando idea (C) and the more lyrical D (bars 36-46). C returns at bar 47, followed by the opening sections in reverse order, so that the Sérénade begins and ends with Debussy’s material and is cast in arch form (ABCDCBA). Robert OrledgeBrighton, 19 June 2019Robert Orledge was born in Bath in 1948 and educated at Clare College, Cambridge, where he gained his doctorate for his study of the composer Charles Kœchlin in 1973. Between 1971 and 1991 He rose from Lecturer to Professor in the Music Department of the University of Liverpool, publishing books on Gabriel Fauré, Claude Debussy, Charles Kœchlin and Erik Satie, as well as numerous articles, editions and reviews. As a historical musicologist, Professor Orledge specialized in the way composers composed, ,and since taking early retirement in 2004, he has concentrated on completing and orchestrating Debussy’s unfinished works, and especially his theatre projects. His completion of Debussy’s opera The Fall of the House of Usher (1908-17) was successfully premiered at the Bregenz Opera Festival in Austria in August 2006 and has since been performed in America, Portugal Germany and Holland, as well as being broadcast throughout Europe. A DVD of the Bregenz premier is available on Capriccio 93517, produced by Phylida Lloyd and conducted by Lawrence Foster. His completion of the Chinese ballet No-ja-li ou Le Palais du Silence (1914) was also premiered in 2006 in Los Angeles and other completions include La Saulaie and the Nocturne and Poème for violin and orchestra as well as Debussy’s other Poe opera Le Diable dans le Beffroi.Préface en français : Au debut des années 1890, Debussy a composé le debut d’une pièce lyrique en Mi majeur pour violon et piano, peut-être pour accompagner la Nocturne pour violon que Debussy a destinée pour le violoniste belge Eugène Ysaÿe. Après la morte de Debussy en 1918, sa deuxième femme Emma avait l’habitude d’offrir ses pages d’esquisses aux intérpètes et compositeurs en souvenir de son regreté mari. Cette page d’esquisse a été offerte aux compositeur et pianiste cubain Joaquin Nin (1879-1949). Cette page a été mise en vente dans la catalogue de l’antiquaire britannique Lisa Cox en 2010 et malgré que cette esquisse est peut-être le début d‘une mélodie pour contralto et piano, l‘idée dynamique dans la douzième mesure suggère la violon, surtout qu‘elle commence sur la. AT LAST - ETTA JAMES - FOR VIOLIN AND PIANO (WITH BONUS EASY VIOLIN PART)
AT LAST - ETTA JAMES - FOR VIOLIN AND PIANO (WITH BONUS EASY VIOLIN PART) # Violin and Piano # INTERMEDIATE/ADVANCED # Jazz # Etta James # Helen Marple-Horvat # AT LAST - ETTA JAMES - FOR VIO # Helen Marple-
Horvat # SheetMusicPlus
Piano Accompaniment, Violin -
Advanced Intermediate -
Digital Download
By Etta James. Arranged by
Helen Marple-Horvat. Score,
Set of Parts. 12 pages.
...(+)
Piano Accompaniment, Violin -
Advanced Intermediate -
Digital Download
By Etta James. Arranged by
Helen Marple-Horvat. Score,
Set of Parts. 12 pages.
Published by Helen Marple-
Horvat https://www.youtube.com/watch?v=8SYROYYYOc8
‘At Last’ was composed by Mack Gordon and Harry Warren for the musical ‘Sun Valley Serenade’ in 1941. It was recorded by Glenn Miller and his orchestra, becoming a chart hit in 1942, and in 1960 by Etta James, who was subsequently inducted into the Grammy Hall of Fame. The song is a frequent wedding favourite for quartets.
Why chose my arrangement?
This is a song from my gig repertoire, and as such I have spent a long time on the piano part to make sure that it lies under the fingers. I have assigned the opening to the piano as it is tricky, even for very experienced violin players, and I shortened the introduction to make it more appropriate for concerts, wedding venues and pub gigs. I have also made the piano notation slightly smaller so that it falls onto two pages. It’s very important for a live performance to be able to see it easily. And unlike some sheet music that you can buy, I make sure the treble and bass clefs are easy to read….very few horrible ledger lines!
The violin part has difficult rhythms but I enclose a midi version to help you. (Watch the video) Having said that, although the pianist needs to hold a steady pulse, the violin part can be extremely varied and you can play around with the tune as much as you like. I have included a cadenza that my daughter sings in live performances, but feel free to change it, or miss it out altogether.
I have also included an Easy Violin version for your pupils, or as a way in to working on the more difficult version.
My tips for the performance.
The first piano chord is tricky, but works if you do a glissando in the left hand, and land on the A on the first beat of the bar. I tried many different spacings of the chord but this is the one that sounded best. I have largely written a quaver accompaniment throughout the song, but sometimes I hint at it rather than playing it literally. There are some fingerings that I have found helpful, but feel free to change them, of course! The same goes for my bowing. Take as many bows as you need to feel comfortable. MÉDITATION - From the Opera Thaïs (for Violin and Piano accompaniment)
MÉDITATION - From the Opera Thaïs (for Violin and Piano accompaniment) # Violin and Piano # INTERMEDIATE # Classical # Jules Massenet
# Flavio Regis Cunha # MÉDITATION - From the Opera T # Flavio Regis
Cunha # SheetMusicPlus
Piano Accompaniment, Violin -
Intermediate - Digital
Download
Composed by Jules Massenet
(1842-1912). Arranged by
Flavio Regis Cunha. Romantic
Period...(+)
Piano Accompaniment, Violin -
Intermediate - Digital
Download
Composed by Jules Massenet
(1842-1912). Arranged by
Flavio Regis Cunha. Romantic
Period, Opera, Wedding,
Graduation, Recital. Score,
Solo Part. 12 pages.
Published by Flavio Regis
Cunha This arrangement was modified in its edition and violin indications. A very clean piano part was written. Very good edition of the entire score.
The Méditation is an instrumental entr'acte performed between the scenes of Act II in the opera Thaïs. In the first scene of Act II, Athanaël, a Cenobite monk, confronts Thaïs, a beautiful and hedonistic courtesan and devotée of Venus, and attempts to persuade her to leave her life of luxury and pleasure and find salvation through God. It is during a time of reflection following the encounter that the Méditation is played by the orchestra. In the second scene of Act II, following the Méditation, Thaïs tells Athanaël that she will follow him to the desert.
The piece is in D major and is approximately five minutes long (although there are a number of interpretations that stretch the piece to over six minutes). Massenet may also have written the piece with religious intentions; the tempo marking is Andante religioso, signifying his intention that it should be played religiously (which could mean either strictly in the tempo or literally with religiously-founded emotion) and at walking tempo, or around 60 BPM. The piece opens with a short introduction, with the solo violin quickly entering with the motif. After the violin plays the melody twice, the piece goes into a section marked animato, gradually becoming more and more passionate (Massenet wrote poco a poco appassionato). The climax is reached at a place marked poco piu appassionato (a little more passion) and is then followed by a short cadenza-like passage from the soloist and returns to the main theme. After the theme is played twice, the soloist joins the piano while playing harmonics on the upper register as the piano quietly play below the solo line. Nimrod (for Violin Solo and Piano)
Nimrod (for Violin Solo and Piano) # Violin and Piano # INTERMEDIATE # Classical # Edward Elgar
# Flavio Regis Cunha # Nimrod # Flavio Regis Cunha # SheetMusicPlus
Piano Solo, Violin -
Intermediate - Digital
Download
Composed by Edward Elgar
(1857-1934). Arranged by
Flavio Regis Cunha. Romantic
Period, Easter, W...(+)
Piano Solo, Violin -
Intermediate - Digital
Download
Composed by Edward Elgar
(1857-1934). Arranged by
Flavio Regis Cunha. Romantic
Period, Easter, Wedding,
Funeral, Recital. Score, Solo
Part. 8 pages. Published by
Flavio Regis Cunha Edward Elgar composed his Variations on an Original Theme, Op. 36, popularly known as the Enigma Variations, between October 1898 and February 1899. It is an orchestral work comprising fourteen variations on an original theme.
Elgar dedicated the work "to my friends pictured within", each variation being a musical sketch of one of his circle of close acquaintances (see musical cryptogram). Those portrayed include Elgar's wife Alice, his friend and publisher Augustus J. Jaeger and Elgar himself.
In naming his theme "Enigma" Elgar posed a challenge which has generated much speculation but has never been conclusively answered. The Enigma is widely believed to involve a hidden melody.
The name of the variation IX (NIMROD) refers to Augustus J. Jaeger, who was employed as music editor by the London publisher Novello & Co. He was a close friend of Elgar's, giving him useful advice but also severe criticism, something Elgar greatly appreciated. Elgar later related how Jaeger had encouraged him as an artist and had stimulated him to continue composing despite setbacks. Nimrod is described in the Old Testament as "a mighty hunter before the Lord", Jäger being German for hunter.
In 1904 Elgar told Dora Penny ("Dorabella") that this variation is not really a portrait, but "the story of something that happened". Once, when Elgar had been very depressed and was about to give it all up and write no more music, Jaeger had visited him and encouraged him to continue composing. He referred to Ludwig van Beethoven, who had a lot of worries, but wrote more and more beautiful music. "And that is what you must do", Jaeger said, and he sang the theme of the second movement of Beethoven's Piano Sonata No. 8 Pathétique. Elgar disclosed to Dora that the opening bars of "Nimrod" were made to suggest that theme. "Can't you hear it at the beginning? Only a hint, not a quotation."
This variation has become popular in its own right and is sometimes used at British funerals, memorial services, and other solemn occasions. It is always played at the Cenotaph, Whitehall in London at the National Service of Remembrance. A version was also played during the Hong Kong handover ceremony in 1997 and at the opening ceremony of the London 2012 Olympic Games. The “Nimrod” variation was the final orchestral composition (before the national anthem) played by the Greek National Orchestra in a televised June 2013 concert, before the 75-year-old Athenian ensemble was dissolved in the wake of severe government cutbacks.
An adaptation of the piece appears at the ending of the 2017 film Dunkirk as part of the score Larghetto, for Solo Violin and Strings (School Arrangement)
Larghetto, for Solo Violin and Strings (School Arrangement) # Violin and Piano # INTERMEDIATE # Geraldine # Larghetto, for Solo Violin and # Geraldine # SheetMusicPlus
String Orchestra - Level 3 - Digital Download SKU: A0.1297895 Composed by Geraldine (Denny) Green. 21st Century,Chamber,Children,Classical. Score and Par...(+)
String Orchestra - Level 3 - Digital Download SKU: A0.1297895 Composed by Geraldine (Denny) Green. 21st Century,Chamber,Children,Classical. Score and Parts. 37 pages. Geraldine (Denny) Green at Oakmountmusic #887868. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1297895). ALL PURCHASES COME WITH SCORE AND PARTSFebruary 2012 – Duration Approx. 8 minutesThe Larghetto was specially written for violinist Julia Kiefner and the Banda Di Musica. It was adapted from the middle section of the second movement of an earlier work, The Thresher, Sonata For Strings, which has never yet been played. I had always felt that this Larghetto section of music was extra special somehow, needing to escape as a little piece in its own right. Writing it for Julia Kiefner gave me the special opportunity to achieve this. It is slow, beautiful and deeply passionate.There are three arrangements available;No.1 – School – for Solo Violin, Violins 1, 2 and 3, Cellos 1 and 2No.2 – Standard – for Solo Violin, Violins 1 and 2, Viola, Cello and Double BassNo.3 – For violin and piano. The Fiddle Concerto (violin solo part – violin and piano)
The Fiddle Concerto (violin solo part – violin and piano) # Violin and Piano # ADVANCED # Mark O'Connor # The Fiddle Concerto # Mark O'Connor Musik International # SheetMusicPlus
Piano,Violin - Level 5 - Digital Download SKU: A0.861952 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. 23 pages. Mark O'Connor Musik Interna...(+)
Piano,Violin - Level 5 - Digital Download SKU: A0.861952 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. 23 pages. Mark O'Connor Musik International #6209125. Published by Mark O'Connor Musik International (A0.861952). The Fiddle Concerto (piano score – violin and piano) MO119BViolin Solo Part - adapted for violin and piano (piano reduction)Music by Mark O’Connor19 pages - 45:00 minutes in length The FIDDLE CONCERTO adapted for violin and piano is from Mark O’Connor’s first orchestral score, composed when he was 31 years old in 1992-93. A few years later it was recorded for Warner Bros. The recording featured the Concordia Orchestra with Marin Alsop conducting and the composer as violin soloist. The recording was named by the BMG Classical Catalog as one of the top ten classical recordings of 1995. The composition was reviewed by a distinguished panel of composers and was awarded a Meet The Composer grant for another original concerto by O’Connor. Beginning with the premiers in 1993, and including the subsequent performances into 1999, the year of this publication, The FIDDLE CONCERTO has received more performances with orchestra than any other violin concerto composed in the last 50 years. O’Connor has prepared this adaption for violin and piano from his score. The music is suited for advanced levels and the slow second movement can be appropriate for intermediate. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1992-93 Composed by Mark O’ConnorCommissioned by the Santa Fe Symphony OrchestraCan be heard on The Fiddle Concerto! Warner Bros. RecordsMark O’Connor - violin, Concordia Symphony, Marin Alsop Catalogue Number MO119BCopyright © 1992 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com Song Of The Liberty Bell (violin solo part - violin and piano)
Song Of The Liberty Bell (violin solo part - violin and piano) # Violin and Piano # INTERMEDIATE/ADVANCED # Mark O'Connor # Song Of The Liberty Bell # Mark O'Connor Musik International # SheetMusicPlus
Piano,Violin - Level 4 - Digital Download SKU: A0.861887 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. 8 pages. Mark O'Connor Musik Internat...(+)
Piano,Violin - Level 4 - Digital Download SKU: A0.861887 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. 8 pages. Mark O'Connor Musik International #6205811. Published by Mark O'Connor Musik International (A0.861887). Song Of The Liberty Bell (violin solo part – violin and piano) MO130BViolin Solo Part (score available)Music by Mark O’Connor3 pages - 5:00 minutes in length Song Of The Liberty Bell adapted for violin and piano was composed by Mark O’Connor and used as the theme song for the critically acclaimed PBS documentary, Liberty! The American Revolution. O’Connor wrote the piece to include three different instrument groupings - unaccompanied solo, folk ensemble, and string orchestra. The Sony Classical album Liberty! features Song Of The Liberty Bell in all three arrangements. O’Connor later adapted his piece for violin and piano. Album notes author Thomas Fleming calls the music profoundly moving with exquisite melody. Fleming further describes the orchestral version - O’Connor joins in, and the instruments of the symphony pick up the theme. It is a musical replication of the way the voices of liberty in 1776 began with a lonely defiant few - and then swelled to a tremendous national chorus that has resounded through the world for the next two hundred and thirty-three years. The music is suited for all levels. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1996 Composed by Mark O’ConnorThe string orchestra version can be heard on Liberty! Sony Classical and The Essential Mark O’Connor Sony ClassicalMark O’Connor - violin, Yo-Yo Ma – cello, and the Nashville Symphony Orchestra Catalogue Number MO130BCopyright © 1996 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com