Here again is an assortment of tunes which I hope will give some pleasure to those who play them. Much of the work is written in traditional mode and should be treated as such. In other words whereas in classical pieces the player attempts to reproduce what the composer intended in traditional music it is up to the player to apply his/her own interpretation and personality to the work. If that interpretation happens to differ to what I intended it doesn't make it wrong it makes it personal to you and I have no doubt that in your hands at least it will come over better so feel free to change the odd note apply your own grace notes alter a chord here or there. Music is avery personal thing and traditional music perhaps even more so than other forms.

In his preface the author reminds the reader that this is not a book for the absolute beginner. Even the experienced player may not 'get it' on first reading a given tune but 'You can expect to enjoy the process oflearning...[and experience] the joy of recreating a traditional tune of making it your own.' This is the teacher/student pact in effect throughout this marvellous book written for the literary as much as the musical connoisseur.Although no classical Violin experience is needed you will need to know how to hold the Fiddle and bow and be able to play at least simple tunes in the first position.Having the ability to read music will enable you tofollow the bowing patterns and left-hand techniques which the author feels are crucial in grasping the playing style. Includes online audio download files featuring solo Fiddle. The teaching recording plays the first tunes slowly but by the end the correct speed is played. This stereo recording contains 77 of the 80 songs from the book.

with optional part for viola-Les mélodies anglaises et irlandaises contenues dans ce recueil s?adressent aux violonistes ayant déjà une certaine expérience du jeu. Le recueil contient une voix optionnelle pour alto.

Designed for Violinists who have never Fiddled in the Scottish style or for anyone who would simply like to brush up on their 'Scottishness' this guide discusses ornamentations and their applications bowing styles rhythmicissues and stylistic interpretations. It covers five basic types of tunes: airs marches jigs reels and strathspeys as well as Scottish Fiddle history and regional styles. Accompanying video clips demonstrated by formerU.S. National Scottish Fiddling Champion Melinda Crawford show how to execute all of the different techniques and how to perform more than 44 full-length traditional Scottish Fiddle tunes. Transcriptions of the tunesare included within the guide. Includes access to online video.

The fiddle has been popular in Scotland for over 500 years as an accompanying instrument for dance and song. Bonnie Rideout has been playing traditional Scottish fiddle music since the 1980s. This collection presents favoritetunes which Bonnie had stashed away over the years while awaiting the perfect opportunity to record them. The music written here ranges from J. Scott Skinner's Dr. Gordon Stable (a wonderful fiery reel she once played to garnerher first national fiddling title as a young teenager) to Fear A Bhata (a heartbreaking air she has known as long as she can remember). These Scottish fiddle selections have been carefully transcribed from Bonnie's recordingScottish Fire. It would be impossible to write down all her bowings and every grace note especially since they are not always consistent from one playing to the next. Readers should use this book as a basis for exploring theirown voice within the music.

Inspired by the Celtic circles of ancient Scotland Bonnie paints a musical picture through time joining the heavens and earth to the cycles of everyday life. Performed on Scottish fiddle with gold medal piper Eric Rigler on theGreat Highland bagpipe Scottish smallpipes and uilleann pipes. Also accompanied by guitar Celtic harp viola da gamba hammered dulcimer bass and bodhran. Includes North Highland tunes from The Patrick McDonald Collection 1784 pipe marches strathspeys jigs and reels laments and traditional favorites.

The twenty-five pieces in this collection date back to 18th and 19th century Scotland. Included are song and fiddle airs strathspeys reels jigs a hornpipe and the sword dance. The pieces are arranged for viola and cello withguitar chords. Since the viola generally has the melody the pieces can also be played by solo viola. The music of Scotland is unique. The airs have their own special beauty and the dances are fun to play with lively tempos dotted rhythms and sudden key changes. This music has been the pleasure of country fiddler and pipers. Now violists and cellists and their listeners can feel themselves transported to the Lowlands and Highlands of Scotland. Twenty-five pieces dating back to 18th and 19th century Scotland. Includes song and fiddle airs strathspeys reels jigs a hornpipe and the sword dance. Since the viola generally has the melody the pieces canalso be played by solo viola and guitar chords are included. The airs have a special beauty and the dances are fun to play with lively tempos dotted rhythms and sudden key changes.

Instrumentation: Vln?Pf Editor: Cliff Eisen Format: Sheet Music Details: This projected complete edition of the MozartSonatas for Keyboard and Violin has been researched and prepared by Cliff Eisen, one of the most distinguished Mozart scholars of our time. Professor Eisen recognises that many of the apparent inconsistencies and idiosyncrasies of Mozart's notation are perfectly deliberate, and that the attempts in many other editions to impose uniformity upon similar phrases or musical paragraphs can be misguided. As he writes in the preface: '?the notion that the classical style represents a model of symmetry, balanceand clarity is for the most part a 19th-century fiction?it has little to do withMozart's actual practice, which is based primarily on variety of both content and articulation. So in this new edition, alternative readings found in parallel passages are preserved, rather than being sterilised by a spurious quest for conformity. Naturally all such instances are noted within the Critical Commentary. The highly individual beaming within Mozart's autographs is also respected in the new edition, as this often contributes to our aural perceptions of phrase structure and accent. Professor Eisen is conscious that there is no single 'Urtext' for this music. On the contrary he believes that 'there is compelling evidence that Mozart's later performances of his works were characterised by changes ? sometimes substantial changes ? in the musical text'. It is the achievement of this edition to indicate how far this freedom of musical expression can extend, andas such it is likely to take pride of place in the collections of all those involved in the study and performance of these masterpieces. Contents: K454, K481, K526, K547 and Variations K359, K360

10 compositions originales de styles variésAccompagnement de piano disponible séparémentTango for You Balkan Lazy Rag Bella Lisa The Tap Dancer Jig Playing at the Club Czardas No Time to Waste Puszta, Puszta