Traditional fiddle music from around the world. Par . Le répertoire complet de musique traditionnelle pour violon est maintenant à votre portée ! Avec ce grand choix de recueils vous pourrez recréer l'ambiance de votre propre 'ceilidh', des danses folkloriques, du club de jazz, des cafés concerts comme à Sarajevo. Certains de ces morceaux de musiques sont connus, d'autres sont plus exotiques, mais tous sont absolument authentiques et leurs arrangements sont faits sans compromis, mais ce qu?il y a de plus important, c'est qu'ils vous donneront énormément de plaisir. Chaque titre de la série est disponible en deux versions : la Violin Edition (avec en option une partie violon simplifiée et des accords de guitare), ou la Complete Edition qui comprend des accompagnements pour clavier et pour violon. Chaque version permet de jouer la musique en solo, en duo ou en trio aussi bien que dans des ensembles plus importants. Edward Huws Jones a beaucoup voyagé lors de sa recherche de styles traditionnels pour violon. Dans chaque livre il explique l'histoire d'un style particulier, offrant ses propres suggestions pour obtenir une exécution vivante. / Niveau : Moyen / Date parution : 2024-02-16/ Recueil / Violon et Piano (Guitare ad lib.)

The Ceilidh Collection (New Edition) Complete Edition Traditional Fiddle Tunes from England, Ireland and Scotland Ed­i­tor: Huws Jones, Edward Edward Huws Jones' popular series of traditional fiddle repertoire, now available with expertly-recorded audio CD. Containing colourful instrumental backing tracks and full demonstrations, the new audio resource will aid and inspire your private practice and public performance alike. These generous collections of authentic music, some familiar, some more exotic, but all of it faithfully arranged, enable you to create your own ceilidh, bluegrass club or charanga band. The violin edition includes optional easy violin part and guitar chords, whilst the complete edition also includes both keyboard and violin accompaniments. Either format is highly flexible, which means the music can be played as solos, duets or trios as well as with larger ensembles. Edwards Huws Jones has travelled extensively researching fiddle-playing traditions. In each book he explains the background of the particular musical style, giving his own suggestions for a lively performance. The Oyster Girl Galopede The Steam Boat College Hornpipe Barwick Green Sir Roger de Coverley The Peacock followed the Hen Parson's Farewell Pool's Hole Greensleeves and Pudding Pies Lilli Burlero Lannigan's Ball Giddy of Sligo Napoleon crossing the Alps The Pullet Star of the County Down Cooney's Reel From the New Country The Blackthorn Stick The Irish Washerwoman Paddy on the Railroad The Temperance Reel Athol Highlanders The Hundred Pipers Mrs Hamilton of Pencaitland Miss Lyall De'il among the Tailors Staten Island Mrs. McLeod's Reel Skye Boat Song Mairi's Wedding The Flower of the Quern Timour the Tartar

8 Easy To Intermediate Play-Alongs Of Well-Known Pieces From Ireland, Scotland, Wales, Cornwall And Brittany. Par DIVERS AUTEURS (ARR.MARTIN TOURISH). Martin Tourish is an accordionist, composer and musicologist from Co. Donegal, now based in Dublin. Celtic music is in his blood, for his ancestors were noted collectors of dance music manuscripts dating back to the 19th century. With many recordings to his credit, he now offers his expertise to performers wishing to explore the rich culture of Irish and other Celtic music on a variety of instruments. 'World Music - Celtic” presents material from the Irish, Scottish, Welsh, Cornish and Breton traditions. It makes no great technical demands on the players, but Tourish points out that notation of this music is often 'skeletal”, hence it is important to gain a knowledge of the individual traditions in question and, naturally, he offers plenty of information on performance practice. The collection spans three centuries, from the blind bardic harpists of the 18th century to the international performers of the present day. Tourish accepts that this volume can only scratch the surface of a multi-faceted genre but hopes you will see it as a stepping stone to delve deeper into recordings, festivals and the very communities whence this music comes. 'World Music - Celtic” is available in four formats, each with complete recordings and backing tracks on CD: as solo versions for violin, flute or saxophone (with piano) and in an ensemble version for two melodic instruments (C, Bb or Eb), piano, guitar, bass and bodhrán. / Niveau : Facile / Recueil / Violon et Piano

Par VADROT DIDIER. Voici 16 morceaux authentiques de la musique irlandaise, dans une version pour le violon ou la flûte, instruments emblématiques de cette musique traditionnelle, mais qui peuvent tout à fait s'adapter au hautbois. Laissez-vous porter par la poésie, parfois la mélancolie de ces paysages, par l'énergie vitale de ces reels et jigs endiablés. Bon voyage sur les terres irlandaises !/ Recueil / Flûte ou Violon et Piano

World Music. Les éditions existantes pour solistes avec accompagnements sur CD, sont maintenant disponibles avec un accompagnement au piano alternative ajouté fournissant des pianistes et solistes avec la chance de jouer ensemble de ces pièces. Les CD a immédiatement leur musique traditionnelle vivante de partout dans le monde - dans toute sa diversité. Représentations complètes des pièces sont également fournies et seront une source d'inspiration à la fois des solistes et des pianistes.Joueurs de niveau intermédiaires./ Recueil / Violon et Accompagnement CD ou Piano

These dances were composed early in 1957 and are dedicated to the BBC Light Music Festival. They are all based on original melodies except one the melody of which was composed by Robert Burns. Arranged for Violin and Piano by David Gedge.

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