This book is a mixture of traditional and contemporary tunes from the Scottish accordionists' repertoire.

It explores the common tune types played in Scotland, i.e. the Jig, reel, strathspey, slow air, waltz, march and polka. Some tunes are arranged in a traditional, dance music style where others have been set with a more contemporary feel as used by the author and many of the ?new age? of Scottish accordionists. Strong emphasis has been placed on the use of the left hand to enhance the style and arrangement.

Ian Lowthian was brought up steeped in the Scottish accordion tradition; he is a graduate of the Royal Academy of Music who, since leaving, has concentrated mainly in traditional music as a performer, teacher and composer. / Musiques du monde / Partition CD / Agrafé /

Scottish Dances is based on three Scottish traditionals: Cock of the North The Bonnie Bank's O'Loch Lomond and Marie's Wedding. I. Cock of the North's name is used for multiple things or events. For example for a locomotive to a famous it seems delicious liqueur and rallies to snowboard competitions. Furthermore is 'Cock O' the North ' a nickname of a famous Duke. (The 4th Duke of Gordon). In this composition Cock of the North (a Jig) is a traditional Scottish bagpipe tune regularly played on tattoos by Pipe Bands. Not infrequently the drummers sing the text. Auntie Mary had a canary Up the leg of her trousers While she was sleeping Iwas peeping Up the leg of her trousers. II. ' The Bonnie Bank's O'Loch Lomond ' is about a sad story that took place during an revolt against the British. In 1745 Bonnie Prince Charlie had to retreat. Two of his men were captured. One was convicted and executed while the other was released. The spirit of the executed soldier would arrive in Scotland via the 'low road' (underworld) before his companion who had still a long way to go. You'll take the high road And I'll take the low road And I'll be in Scotland afore ye But me and my true love will never meet again On the Bonnie Bonnie Banks of Loch Lomond III. In a Scottish wedding after the official ceremonies there is often danced. This is called a ceilidh. For this we use traditional Scottish music such as 'Marie's Wedding '. Mid dance we go back to the church where a lovely song in honor of the couple sounds. Marie's Wedding has been recorded by Van Morrison (among many others). Step we gaely on we go heel for heel and toe for toe Arm and arm and on we go all for Marie's wedding

Scottish Dances is based on three Scottish traditionals: Cock of the North The Bonnie Bank's O'Loch Lomond and Marie's Wedding. I. Cock of the North's name is used for multiple things or events. For example for a locomotive to a famous it seems delicious liqueur and rallies to snowboard competitions. Furthermore is 'Cock O' the North ' a nickname of a famous Duke. (The 4th Duke of Gordon). In this composition Cock of the North (a Jig) is a traditional Scottish bagpipe tune regularly played on tattoos by Pipe Bands. Not infrequently the drummers sing the text. Auntie Mary had a canary Up the leg of her trousers While she was sleeping Iwas peeping Up the leg of her trousers. II. ' The Bonnie Bank's O'Loch Lomond ' is about a sad story that took place during an revolt against the British. In 1745 Bonnie Prince Charlie had to retreat. Two of his men were captured. One was convicted and executed while the other was released. The spirit of the executed soldier would arrive in Scotland via the 'low road' (underworld) before his companion who had still a long way to go. You'll take the high road And I'll take the low road And I'll be in Scotland afore ye But me and my true love will never meet again On the Bonnie Bonnie Banks of Loch Lomond III. In a Scottish wedding after the official ceremonies there is often danced. This is called a ceilidh. For this we use traditional Scottish music such as 'Marie's Wedding '. Mid dance we go back to the church where a lovely song in honor of the couple sounds. Marie's Wedding has been recorded by Van Morrison (among many others). Step we gaely on we go heel for heel and toe for toe Arm and arm and on we go all for Marie's wedding

Scottish Dances is based on three Scottish traditionals: Cock of the North The Bonnie Bank's O'Loch Lomond and Marie's Wedding. I. Cock of the North's name is used for multiple things or events. For example for a locomotive to a famous it seems delicious liqueur and rallies to snowboard competitions. Furthermore is 'Cock O' the North ' a nickname of a famous Duke. (The 4th Duke of Gordon). In this composition Cock of the North (a Jig) is a traditional Scottish bagpipe tune regularly played on tattoos by Pipe Bands. Not infrequently the drummers sing the text. Auntie Mary had a canary Up the leg of her trousers While she was sleeping Iwas peeping Up the leg of her trousers. II. ' The Bonnie Bank's O'Loch Lomond ' is about a sad story that took place during an revolt against the British. In 1745 Bonnie Prince Charlie had to retreat. Two of his men were captured. One was convicted and executed while the other was released. The spirit of the executed soldier would arrive in Scotland via the 'low road' (underworld) before his companion who had still a long way to go. You'll take the high road And I'll take the low road And I'll be in Scotland afore ye But me and my true love will never meet again On the Bonnie Bonnie Banks of Loch Lomond III. In a Scottish wedding after the official ceremonies there is often danced. This is called a ceilidh. For this we use traditional Scottish music such as 'Marie's Wedding '. Mid dance we go back to the church where a lovely song in honor of the couple sounds. Marie's Wedding has been recorded by Van Morrison (among many others). Step we gaely on we go heel for heel and toe for toe Arm and arm and on we go all for Marie's wedding

As part of the Mel Bay Encyclopedia Series the purpose of this book is to offer fiddlers direct access to the gems of the genre. Composers represented in this volume span a three hundred year period including works by: PatrickMacDonald Adam Craig Capt. Charles Duff Simon Fraser Robert and Joseph Lowe Robert MacIntosh William Marshall and J. Scott Skinner. Ms. Rideout's original compositions are also included. The tunes are listed in order bykey signature to enable the fiddler to put sets together for performance competition or session playing. This book contains extra marches and strathspeys unique to Scottish fiddling. The end of the book is dedicated to solonumbers consisting of piobaireachd (pibroch) and slow airs. The Scottish Fiddle Encyclopedia is an essential tune book for musicians interested in developing a deeper appreciation for genuine traditional Scottish fiddle music.

18 easy trios for violins suitable for Grades 3-6-Tunes for Three is an imaginative and entertaining way of learning ensemble playing. Keith Stent's arrangements of eighteen well-known melodies ensure that the interest is spread across all threeparts and often everybody gets to have a go at the tune. 18 Easy Trios For Violins includes traditional English and Scottish tunes alongside pieces by masters such as Haydn Schubert Beethove Purcell Bach andDvorák.

Par GILLAND TOM. La musique de violon suédois a été grandement influencée par les pays environnants. Une preuve peut trouver dans les noms de certains types de tunes, tels que Polska de Pologne, Schottis (un Scottish) d'Ecosse et franska d'Angleterre. D'autres types populaires de mélodies inclus dans cette collection sont g and aring - ngl and aring - t qui est une sorte de mars, brudmarsch qui est un mariage tune, skänkl and aring - t qui est joué lors des noces, lorsque les dons sont donnés à la fiancée et groom vals (une valse). Avec la musique suédoise étant très bien une tradition phonétique, il y a presque autant de versions de mélodies qu'il sont a des gens qui jouent leur. Pour cette raison, la notation n'inclut pas beaucoup l'ornementation, laissant le joueur. Deuxième parties ont été inclus avec certains de la mélodie. Chaque morceau comprend une traduction du titre. / Niveau : Débutant à Intermédiaire / Fiddle Tunes - Solos / Recueil / Violon

Scottish jigs reels and slow airs on guitar with tab and staff notation. The Scottish Guitar Tutor with CD by John Carnie highlights the guitar as a melody instrument for playing traditional Scottish jigs reels and slow airs and gives helpful tips for playing them.Forty four pages of great Scottish tunes. These arrangements are great for concerts or sessions and can played in a combination of flatpicking and fingers or fingerstyle only.

Traditional And Original Tunes For Fiddle From 1762 To The Present. Par RIDEOUT BONNIE. Le violon populaire en Ecosse depuis plus de 500 ans comme un instrument d'accompagnement pour la danse et de chant. Bonnie Rideout joue la musique traditionnelle fiddle écossais depuis les années 1980. Cette collection présente des airs favoris qui Bonnie avait caché loin au fil des ans en attendant l'occasion idéale pour enregistrer leur. La musique écrite ici gammes de Dr Gordon Stable de j. Scott Skinner (un merveilleux fiery reel qu'elle a joué une fois pour recueillir son premier titre national tergiversation comme un jeune adolescent), à la peur A Bhata (un air déchirant elle a connue tant qu'elle se souvienne). Ces fiddle écossais sélections ont été soigneusement transcrits de Bonnie de l'enregistrement feu écossais. Il serait impossible d'écrire toutes ses flexions et chaque appoggiatures, d'autant qu'ils ne sont pas toujours cohérentes sur le terrain d'un à l'autre. Lecteurs devraient utiliser cet ouvrage comme une base pour explorer leur propre voix au sein de la musique. Ce package comprend le CD. / Niveau : Intermédiaire / Scottish - Solos / Recueil / Violon

Par MACKILLOP ROB. This book is devoted to playing the soprano, concert, or tenor ukulele tuned in perfect fifths as used by the string and mandolin families of instruments, as well as the cittern and tenor banjo. The book?s scores are all in tablature; you?ll have no trouble adapting to the tuning and playing in the book?s various styles.The 55 pieces in Play Ukulele in 5ths Tuning progress from simple to advanced and can be played fingerstyle or with a pick. To help you come to grips with the tuning, the book includes Classical-era studies originally written for instruments tuned in 5ths, followed by Scottish traditional tunes, bluegrass, blues, and early jazz pieces, and ultimately?Bach\'s gorgeous Baroque cello music. Includes access to online audio for every piece recorded by the author to facilitate your progress.Anytime you play with musicians who use instruments tuned in fifths, you can all use the same fingerings. As a result, the music can sound more \'together\'. In addition, having played the uke tuned in perfect fifths, if you ever want to play any of those traditionally 5th-tuned instruments, you will have had a head start! / Date parution : 2022-09-14/ Etude / Ukulélé

A Collection Of Scottish Airs and Dance Tunes-Variety is the keyword in this collection of traditional Scottish melodies. Virtually every type of song-air and dance tune is represented here and carefully selected to offer a first-class introduction to the truly vast treasury of Scots music.The majority of the 200 tunes are in the easy keys of D G and A making them suitable for most instruments.From Gaelic lullabies to jogs reels hornpipes pipe tunes and ballad airs you will find it all between these coves. Intended as an introduction to the music of Scotland this volume aims to interest not just traditional players but also those who play classical instruments and are curious about these gems of sheer magicthat the Scottish nation has produced over a long time.

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