63 Traditional Pieces. Par BOWMAN PETER. Irish Folk Tunes for Descant Recorder is a collection of 63 arrangements for descant recorder, of traditional tunes including a range of styles such as Reels, Hornpipes, Jigs and more. Experienced recorder player and co-author of English Folk Tunes for Descant Recorder, the Baroque Recorder Anthology series, and Fun and Games with the Recorder series amongst others, Peter Bowman provides notes on all of the styles covered, as well as individual pieces. German and French translations of all texts are available as pdf downloads from the Schott Music website. Suitable for players of grades 3-8. The volume contains recordings for download in order to get a sound impression of the stylistic and technical features of the pieces. / Niveau : Facile / Recueil / Flûte à Bec

Volume 2. Après le grand succès du premier volume, le spécialiste du folklore irlandais Patrick Steinbach présente 70 autres mélodies traditionnelles irlandaises - dont des polkas, des marches, des gigues et des reels - de chansons folkloriques connues et des compositions de Turlough O'Carolan. Les pièces conviennent pour la flûte, la flûte à bec ou le tin whistle. Une introduction avec des explications sur le style et l'ornementation traditionnelle ainsi que des notes sur chacune des mélodies complètent le volume 2 de Irish Folk Tunes for Flute. Pour toutes les pièces, il existe un enregistrement au format mp3, qui peut être téléchargé avec un code de bon imprimé dans le livret. / Niveau : 2-3 / Musique traditionnelle / Recueil / Flûte Traversière

Prelude on an Irish Folk Tune (?Prélude sur un air irlandais?) est basée sur l'air traditionnel Slane la version hymnique d?une mélodie irlandaise plus ancienne The Banks of the Bann. La mélodie s?imbrique dans la trame musicale vers la fin de la pièce. Publiée pour la première fois en 1909 dans le recueil Old Irish Folk Music and Songs (?Chants et airs irlandais anciens?) de Patrick Joyce cette mélodie traditionnelle tient son nom d?une colline située à environ 16 kilomètres de Tara dans le comté de Meath. Selon un extrait des Confessions de Saint Patrick le saint irlandais aurait allumé le cierge pascal sur la colline de Slane le Samedisaint de l?an 443. Cet acte de défi provoqua la fureur de Laoghaire un roi païen qui avait promulgué un édit interdisant d?allumer un feu autre que le feu royal sur la colline de Tara. Le feu royal célébrait la coutume païenne du retour du Printemps après l?Hiver du triomphe de la lumière (saison claire) sur la pénombre (saison sombre).Dans Prelude on an Irish Folk Tune des fragments de la mélodie font allusion au canevas futur de la pièce. Un autre thème écrit dans le style traditionnel domine le contexte avant de servir de contrechant lorsque la mélodie Slane se dévoile.

Prelude on an Irish Folk Tune (?Prélude sur un air irlandais?) est basée sur l'air traditionnel Slane la version hymnique d?une mélodie irlandaise plus ancienne The Banks of the Bann. La mélodie s?imbrique dans la trame musicale vers la fin de la pièce. Publiée pour la première fois en 1909 dans le recueil Old Irish Folk Music and Songs (?Chants et airs irlandais anciens?) de Patrick Joyce cette mélodie traditionnelle tient son nom d?une colline située à environ 16 kilomètres de Tara dans le comté de Meath. Selon un extrait des Confessions de Saint Patrick le saint irlandais aurait allumé le cierge pascal sur la colline de Slane le Samedisaint de l?an 443. Cet acte de défi provoqua la fureur de Laoghaire un roi païen qui avait promulgué un édit interdisant d?allumer un feu autre que le feu royal sur la colline de Tara. Le feu royal célébrait la coutume païenne du retour du Printemps après l?Hiver du triomphe de la lumière (saison claire) sur la pénombre (saison sombre).Dans Prelude on an Irish Folk Tune des fragments de la mélodie font allusion au canevas futur de la pièce. Un autre thème écrit dans le style traditionnel domine le contexte avant de servir de contrechant lorsque la mélodie Slane se dévoile.

Be Thou My Vision (Slane)-The Irish folk tune Slane (the melody used in the hymn Be Thou My Vision) forms the foundation for this melodically expansive and inspired work for concert band. A flowing exploration of the melody in variationinspires the listener with its bold and thrilling progression. The piece remains within reach of a solid grade 3 band but gives the impression of a higher level of composition. A rich variety of style and orchestration make thisa good choice for festival use as well as concert performance as well as a great opportunity to study the rich cultural heritage of Ireland. You'll be glad you programmed Variants on an Irish Folk Tune by Timothy Johnson.

71 Traditional Pieces-Irish Folk Tunes for Flute presents seventy-one superb Irish traditional tunes including jigs reels polkas hornpipes and slow airs and pieces by Carolan and are suitable for flute recorder or tin whislte. Experienced folk musician Patrick Steinbach provides an excellent introduction explaining style and traditional ornamentation and there are also notes on each of the seventy-one tunes. All pieces are recorded on the accompanying CD.

36 Traditional Pieces for Ukulele-Irish Folk Tunes For Ukulele presents a collection of 36 pieces for solo fingerstyle Ukulele playing. Drawn from the rich tradition of Irish folk music the collection covers a range of styles including some popular as well as lesser known pieces. Experienced Ukulele player and teacher Colin Tribe along with musicologist Andrew Robinson provide notes on all of the pieces as well as technical aspects of the playing style. This volume is accompanied by a CD with a recording of all tunes. German and French translations of all texts are available as PDF downloads from the Schott Music website. Suitable for both beginners as well as moreexperienced Ukulele players. Part of the best selling World Music series which also includes music from England Ireland Scotland Eastern Europe America Argentina India China and Korea.

30 Traditional Pieces-Irish Folk Tunes For Accordion is a collection of 30 arrangements of traditional tunes including a range of styles such as Reels Hornpipes Jigs and more.Accordionist Gemma Telfer provides notes on all of the tunes as well as general notes on interpretation. The volume is also accompanied by a CD with a recording of all tunes performed by Gemma.German and French translations of all texts are available as pdf downloads from the Schott Music website. Suitable for players of grades 3-8.

51 Traditional Pieces. Par . Cellist Ben Davis presents a collection of pieces for solo cello drawn from the rich tradition of Irish folk music. The collection covers a range of styles including Jigs, Reels, Hornpipes and Marches. The volume includes notes on the tunes, and is accompanied by recordings of all tunes. German and French translations of all texts are available as PDF downloads from the Schott Music website. Suitable for players of grades 3-8. / Niveau : Intermédiaire-Avancé / Date parution : 2023-08-12/ Recueil / Violoncelle

Violist and composer Benedict Taylor presents a collection of 60 pieces for solo viola. Drawn from the rich tradition of Irish folk music the collection covers a range of styles including Jigs, Reels, Hornpipes and Marches. The volume includes notes on playing styles, and is accompanied by a CD with a recording of all tunes. German and French translations of all texts are available as PDF downloads from the Schott Music website. Suitable for players of grades 3-8. / Alto

An Introduction to Folk Styles, Technique and Improvisation. This in-depth tutor book, from renowned fiddle player and teacher Chris Haigh, is perfect for classical violinists and fiddle players looking to master the art. Covering all aspects of folk violin technique from ornamentation to modes and scales, and from scordatura to improvisation and composition. The book is centred around Irish traditional music, but also dips into English, Scottish, Scandinavian, East European, Klezmer, Cajun and American Old-Time traditions. Accompanied by audio recordings (to download) of all pieces performed by Chris Haigh with a live backing band. Folk fiddle and classical violin are as different as chalk and cheese. At first glance, folk might seem so simple it's hardly worth bothering with. The tunes are often no more than 32 bars long, they stay in first position, and they don't even have a composer. However, it's what's NOT written on the page that makes folk fiddle so interesting and challenging. This book attempts to explore, from general observation down to the finest detail, what the fiddler needs to know to bring these tunes alive. We need to understand their history and context, their purpose, their structure and pulse. And we need to be able to add all the stylistic elements that come not from reading the music, but from years of immersion in folk music, both listening and playing. Key areas covered include: Tune types and structures Ornamentation Bowing Modes and scales Scordatura Starts, endings and links Variation, improvisation and composition Playing tunes in 'sets” Regional and individual style Playing in sessions, for contests, and for dancing / Niveau : 3 / Pédagogie / Etude / Violon

Volume 1. Par . 71 Airs traditionnels irlandais ? jigs, reels, polkas, hornpipes et airs lents ? de même que des pièces de Carolan, pour la flûte, la flûte à bec ou le flûtiau de métal. Musicien expérimenté de la musique folk, Patrick Steinbach fournit ici une excellente introduction sur les styles et les ornements traditionnels ainsi que des commentaires sur chacune des 71 pièces. De plus, l'édition contient des enregistrements de toutes les pièces en téléchargement gratuit. / Date parution : 2022-02-15/ Recueil / Flûte Traversière ou Flûte à Bec