During the eighteenth century a person called 'the Dance Master' made his appearance in Ireland. He was a travelling dance-teacher who moved from one village to another to teach the people there how to dance. They were often flamboyant personalities gorgeously dressed and holding a staff in one hand. In order to teach their pupils the difference between their right and left leg the dance master used to tie a small bunch of straw or hay to their leg and then would order them to either lift their 'hay-leg' or their 'straw-leg'. The dancing masters used to stay in one particular village for about six weeks (if they were not claimed by a neighbouringvillage) after which they continued their journey. Having a famous dance master gave a village a certain distinction and did not seldom lead to boasting and pride. Also on account of the popularity of Celtic music in general at the moment William Vean was inspired to writing 'The Irish Dance Master'. He 'teaches' you two dances the Reel and the Jig. In between these two dances there is a short breathing space during which a traditional Irish rhythm can be enjoyed.

During the eighteenth century a person called 'the Dance Master' made his appearance in Ireland. He was a travelling dance-teacher who moved from one village to another to teach the people there how to dance. They were often flamboyant personalities gorgeously dressed and holding a staff in one hand. In order to teach their pupils the difference between their right and left leg the dance master used to tie a small bunch of straw or hay to their leg and then would order them to either lift their 'hay-leg' or their 'straw-leg'. The dancing masters used to stay in one particular village for about six weeks (if they were not claimed by a neighbouringvillage) after which they continued their journey. Having a famous dance master gave a village a certain distinction and did not seldom lead to boasting and pride. Also on account of the popularity of Celtic music in general at the moment William Vean was inspired to writing 'The Irish Dance Master'. He 'teaches' you two dances the Reel and the Jig. In between these two dances there is a short breathing space during which a traditional Irish rhythm can be enjoyed.

A tuneful way to introduce students to the lyrical style and rollicking feel of traditional Scottish/Irish music. The 'Air' is the melody from Gilderoy and is set with a contemporary harmonic palette that concludes with an exciting climax before transitioning to the jig. 'The Jig of Slurs' is a traditional Irish dance with a melody and feel that is infectious! (2:30) 'Air and Jig? correlates to Book 2, Level 2 of Sound Innovations for Concert Band. / Concert Band

Robert W. Smith has chosen three castles and several colorful characters known for legendary deeds from Irish history and folklore to put to music. The use of tinwhistle, the Irish drum bodran and hints of traditional Irish melodies add ethnic authenticity and fascination to the performance of this work. As we have come to expect from this highly inventive composer, the arena of sounds is expanded at every turn of the page. Musical imagery at its finest! (duration 6:59)

Recorded by the Dropkick Murphys this Irish jig with a rock-and-roll edge has become a popular anthem for professional sports teams--not only in Boston but also in stadiums and arenas across the country. Traditional Irish musicwas never quite likethis!

Britten's Irish Reel was composed in 1936 as title music for a documentary film made by Marion Grierson and Evelyn Spice. Around the Village Green was made for the Travel and Industrial Development Association which explored the changes to rural life in East Anglia after the increased mechanisation of agriculture. In his incidental music Britten incorporated a riotous medley of folk songs and other traditional tunes (including 'Early One Morning' 'The Vocar of Bray' and Sheild's 'The Plough Boy') many of which were suggested to him by the Norfolk-based composer E.J.Moeran.

The traditional American folk and bluegrassífavorite Angelina the Baker is cleverly arranged in an Irish dance style forístrings. Great fiddle style melodies accompanied by drone harmony make it funíto teach and play.

Easy Music for Strings - Grade 2. Par . This iconic traditional Irish medley shines in this accessible arrangement by Larry Moore. Moore's cut-time version begins in G major and modulates to A major for the final section, providing much-needed experience with C-sharps and G-sharps! / Date parution : 2022-12-12/ Répertoire / Ensemble de Cordes

Playful moods abound in this light-hearted set of holidayvariations based on a traditional Irish carol. Four briefsections portray the colorful ?ornaments? of the season.Exciting rhythmic motion creative and surprising variations lyrical interludes infused with rich harmonies and a jovialwaltz-like final section all combine to make a splendid anddistinct offering for your next Christmas concert. Mr. Bulla?sorchestration techniques ensure that your band will soundGREAT!Imaginative!

Featuring the heartfelt melody of this traditional Irish folk song Michael uses lush harmonies varieties in texture and carefully paced emotional peaks in this marvelous setting for young players. This version has been carefully adapted forflexible instrumentation.

Beautiful, nostalgic, and lush, this intimate arrangement of a traditional Irish tune is an excellent tool for teaching phrasing and legato playing. A beautiful moment for your concert or contest! (3:05) / Orchestre A Cordes

Composed in the 1700s this traditional Irish ballad was a lament of homesickness by its author and is now a tender and beloved melody appearing on countless recordings. Also known as “The Wind from the South” or “An Gaoth Aneas ” this setting for second year players provides melody for all sections of the band along with subtle and tasteful harmonic variants.

Playful moods abound in this light-hearted set of holidayvariations based on a traditional Irish carol. Four briefsections portray the colorful ?ornaments? of the season.Exciting rhythmic motion creative and surprising variations lyrical interludes infused with rich harmonies and a jovialwaltz-like final section all combine to make a splendid anddistinct offering for your next Christmas concert. Mr. Bulla?sorchestration techniques ensure that your band will soundGREAT!Imaginative!

James Curnow's Dublin Sketches features a rich blend of textures and moods and represents a distinctive work in the repertoire for mature bands. Composed as a theme and set of three variations the final variation has the flavor of a traditional Irish jig. Dur: 8:00