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Partitions Hautbois Hautbois, harpe Anonymous

"Bonnie Kellswater" for Oboe & Harp

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Télécharger PDF : "Bonnie Kellswater" for Oboe & Harp (5 pages - 407.73 Ko)
VoirTélécharger PDF : Harpe (77.18 Ko)
VoirTélécharger PDF : Hautbois (62.37 Ko)
VoirTélécharger PDF : Conducteur complet (360.96 Ko)
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Télécharger MP3 : "Bonnie Kellswater" for Oboe & Harp 4x 72x
Bonnie Kellswater for Oboe & Harp
Télécharger MP3 (2.38 Mo) : (par Magatagan, Mike)3x 6x
Bonnie Kellswater for Oboe & Harp
Télécharger MP3 (2.36 Mo) : (par Magatagan, Mike)0x 3x

Compositeur : Anonymous Anonymous
Instrumentation :

Hautbois, harpe

Genre :


Arrangeur :
Editeur :
 AnonymousMagatagan, Mike (1960 - )
Droit d'auteur :Public Domain
The Ballads From 1798 To Today's Modern Rebel Songs. A brief history of ballads in Ireland and why they were written to explain events taking place around the country. The etymological sence of the word Ballad is "Dancing Song". But this description is not entirely acceptable for there are many more songs in use today which we could not call Ballads, perhaps most ballads were not composed to accompany a dance. A ballad is a relatively short song with a short story line divided into verses and sung to a story like melody. Even this definition, close as it may be is still completely accurate. Some ballads extend to only a few lines, while others run into hundreds. The Oxford Dictionary says that a ballad is a simple spirited poem stanzas narrating some popular story. This is much nearer to the ballad as we know it, but still not completely accurate, as the demand for stanzaic structure is fulfilled only in the ballads of certain countries. Three of the four principle types of European ballads are not stanzaic at all. I am not churning out all this to confuse, but to illustrate just how how difficult it is to classify the "Ballad". Bearing the above in mind we have, I feel no option but to use the term ballad in it's widest sense as meaning any short traditional narrative poem sung with or without accompaniment or dance. I am sure there are still many who will not agree with this definition.

The ballad evolved from the more ancient kind of song narrative, the epic or hero song. Heroic epics were once spread all over The Balkans. They are long songs, some of them taken seven or eight hours for just one song. There are likely to be hundred, even thousands of lines long, telling of Godlike heroes in a whole chain of complex adventures. They move in a supernatural world of magic monsteres. In contrast the ballad is more like a romantic short story, anything from fifty to one hundred lines long telling of a single exploit, involving lifesized figures in a realistic world, true lovers and false ones, fearless soldiers and treacherous neighbours. Nowadays the epic is found mainly in Albania, Greece and Bulgaria. But all over western and central Europe the old epics have faded away and being replaced with the ballad.

If a map of Europe was drawn to show the migration of ballads, it would be criss - crossed in every direction, so that it is extremely difficult to say for certain where the long grim hero songs first softened into the gentler pieces, with the old solid block recitative broken up into stanzas and fitted to song-like tunes. The balled may first have seen the light of day among French and Waloon pearants and gradually spread outwards. Wherever there is no difficult language or cultural frontier to surmount, the traditional ballad is able to travel from mouth to mouth. The dialect used for its performance takes on, slowly, new characteristics as the song moves over the ground until it reaches the limits of the linguistic area. Then it is substituted not translation which occurs and the stronger part of the ballad, either tune or story survives. As the ballad moved outwards towards Ireland, Scotland and Scandinavia it became longer and more full of fighting and magic, doubtless because the effects of old hero epics lingered longer on the fringes of the ballad area.

Source: A History Of Irish Ballads ( llads.html).

Although originally written for Tradional Irish instruments, I created this Interpretation of the Ballad "Bonnie Kellswater" for Oboe & Celtic or Concert (Pedal) Harp.
Ajoutée par magataganm, 30 Oct 2021
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Cette partition est associée à la collection de magataganm :
arrangements pour harpe
arrangements pour harpe
Collection des arrangements pour harpe
Liste des partitions :
› Élégie pour harpe - Harpe
› Étude "La Source" pour harpe - Harpe
› "3 Salve Regina" for Oboe & Harp - Hautbois, harpe
› "A Carousel's Last Song" for Harp - Harpe
› "Adelita" for Harp - Harpe
› "Aeolian Harp Étude" in Ab Major for Harp
› "Alléluia" Duet Harpe - 2 Harpes (Duo)
› "Allemande" for Harp - Harpe
› "Allemande" from the Suite in E-Minor for Harp - Harpe
› "An Emigrant's Daughter" for Oboes & Harp - Hautbois, harpe

Partitions numériques (accès après achat) Recherche sur ""Bonnie Kellswater" for Oboe & Harp" en Hautbois, harpe