Format : Score
SKU: CF.CPS181
ISBN 9781491142288. UPC: 680160630349.
This piece is built on original melodies that capture the essences of Celtic folk songs. This ballad is lush, richly scored and contains beautiful countermelodies. The expressive playing in this piece will provide contrast to the uptempo selections during a concert or festival performance.
SKU: CF.CPS181F
ISBN 9781491142295. UPC: 680160630356.
SKU: HL.4006595
UPC: 840126917536. 9.0x12.0x0.032 inches.
Continuing the popular format of previous Celtic Air and Dance settings, this work for second year players opens with the tender Irish ballad Ned of the Hill. The dance segment combines two popular Irish polkas with the melodies skillfully traded between various sections of the band. Perfect for teaching both legato and detached styles, and also keeping the percussion engaged.
SKU: PR.ZM36140
SKU: HL.4004964
UPC: 888680653552. 9.0x12.0x0.051 inches.
Brendan Graham's tender song tells the emotional story of Ireland's Annie Moore, the first person to step ashore when Ellis Island opened as an immigration center in 1892. With emotions ranging from hope to fear, joy to despair, this deeply moving ballad has been recorded notably by Sean & Dolores Keane, The Irish Tenors, Celtic Thunder, and Celtic Woman. Here is a beautiful setting adapted for the concert stage. Dur: 3:40.
SKU: HP.8994
UPC: 763628189945. Chris Tomlin; Louie Giglio; John Newton.
Contemporary ballad by Chris Tomlin & Louie Giglio With Celtic underpinnings, Joel Raney has turned this gripping, contemporary ballad into a perfect worship anthem, paired with John Newton's classic hymn, Amazing Grace. Its crowning glory is found in the powerful refrain, My chains are gone, I've been set free. My God, my Savior has ransomed me. The additional rhythm parts are completely optional, but highly recommended. These contain parts for Acoustic Guitar, Electric Guitar, Electric Bass, Drums & Synth.
SKU: SU.29110060
1. Sidestep Reel - In 19th Century America, the Afro-Celtic fiddle style was the centerpiece of many a dance. Reels and hornpipes were very popular forms. Their repetitive, even-metered rhythms were easy and fun to dance to, and their infectious singable melodies stayed in the mind and on the tongue. More adventurous fiddlers were given to syncopating on these forms by accenting off beats and by embellishing melodies with oddmetered note groupings. Syncopation is a fundamental rhythmic attitude of jazz and this movement is a celebration of that art. The melodic language is a home-grown concoction of commonality between traditional reels and hornpipes and the Baroque, Ragtime and the quartal concepts of Modern Jazz. 2. As the Wind Goes - the wistful late night song of a lullabye, a campfire song, a ballad...a spiritual. It is sung as if on the wind, yearning to experience once again that which will only ever again live as memory. 3. Jones’ Jig - the Irish Jig, the African 6/8 bell pattern, the shuffle rhythm of jazz and the drum style of Elvin Jones all play around with the relationship of 3 in the time-space of 2. The juxtaposition, negotiation and reconciliation of these opposing rhythmic perspectives create interesting musical relationships all over the globe. 4. Nicola’s Strathspey - In the traditional Strathspey, improvised embellishments, syncopated dotted rhythms and the use of space between notes create expectation, momentum and surprise. These same elements and their effect on the listener are the same in the blues. It seems like a natural marriage. 5. Bye Bye Breakdown - This is good ol’, Saturday night barn dance, hoedown fiddling. It revels in the whining cry of open double stops, in all types of musical onomatopoeia from train sounds to animal calls to country whistling, and in the steady 2/4 rhythm that is as basic as walking. The harmonic framework of several popular fiddle and folk tunes provide a practical grid for the cutting of challenging melodic and rhythmic figures. It is designed to tire fiddler and dancers out. Then we stomp our way home in varying states of delight and disrepair.Solo Violin Duration: 24' Composed: 2018 Published by: Wynton Marsalis (administered by Skayne's Music).
