Variation in Traditional Irish Dance Music. Par LARSEN GREY. From the author of The Essential Guide to Irish Flute and Tin Whistle comes a work for players of all melody instruments that probes deeply into the art of variation in traditional Irish dance music. At the heart of Down the Back Lane are the accompanying audio recordings. The author plays eight traditional tunes on Irish flute and tin whistle, each three times through, complete with beautiful variations. He notates each performance in meticulous detail and offers insightful comments on each one. We get a rare and intimate view into the intuitive musical mind of a masterful player, along with extensive information on ornamentation, phrasing, articulation, dynamics and much more. Though the author plays the tunes on flute and whistle, he has carefully designed the book to be useful to players of all melody instruments. From the author of The Essential Guide to Irish Flute and Tin Whistle comes a work for players of all melody instruments that probes deeply into the art of variation in traditional Irish dance music. At the heartof Down the Back Lane are the accompanying audio recordings. The author plays eight traditional tunes on Irish Flute and Tin Whistle, each three times through, complete with beautiful variations. Henotates each performance in meticulous detail and offers insightful comments on each one. We get a rare and intimate view into the intuitive musical mind of a masterful player, along with extensive information on ornamentation, phrasing, articulation, dynamics and much more. Though the author plays the tunes on Flute and Whistle, he has carefully designed the book to be useful to players of all melody instruments. / Niveau : Très Avancé / Recueil / Tin Whistle

Leichte Bis Mittelschwere Folksongs Aus Schottland, Irland, Wales, Dem Cornwall und Der Bretagne. Martin Tourish is an accordion specialist from Ireland whose own history is steeped in the tradition of Celtic Music. In his ground-breaking publication ?CELTIC?, he explored, in arrangements for solo, standard-bass accordion, music from Ireland, Scotland, Wales, Cornwall and Brittany. In this new book, he opens the world of Celtic music to flautists who can explore this music in equal partnership with an accordion player. He offers his expert insight into no less than thirteen pieces in accessible arrangements for intermediate players./ Recueil / Flûte et Accordéon Basse

8 Easy To Intermediate Play-Alongs Of Well-Known Pieces From Ireland, Scotland, Wales, Cornwall And Brittany. Martin Tourish is an accordionist, composer and musicologist from Co. Donegal, now based in Dublin. Celtic music is in his blood, for his ancestors were noted collectors of dance music manuscripts dating back to the 19th century. With many recordings to his credit, he now offers his expertise to performers wishing to explore the rich culture of Irish and other Celtic music on a variety of instruments. 'World Music - Celtic” presents material from the Irish, Scottish, Welsh, Cornish and Breton traditions. It makes no great technical demands on the players, but Tourish points out that notation of this music is often 'skeletal”, hence it is important to gain a knowledge of the individual traditions in question and, naturally, he offers plenty of information on performance practice. The collection spans three centuries, from the blind bardic harpists of the 18th century to the international performers of the present day. Tourish accepts that this volume can only scratch the surface of a multi-faceted genre but hopes you will see it as a stepping stone to delve deeper into recordings, festivals and the very communities whence this music comes. 'World Music - Celtic” is available in eight formats, each with complete recordings and backing tracks on CD: as solo versions for violin, violoncello, flute, clarinet, saxophone, recorder or trumpet (with piano) and in an ensemble version for two melodic instruments (C, Bb or Eb), piano, guitar, bass and bodhrán. In addition to the alto recorder part, this edition also contains a part for soprano or tenor recorder. / Niveau : Facile à Intermédiaire / Recueil / Flûte à Bec Alto

Variation in Traditional Irish Dance Music-From the author of The Essential Guide to Irish Flute and Tin Whistle comes a work for players of all melody instruments that probes deeply into the art of variation in traditional Irish dance music.At the heartof Down the Back Lane are the accompanying audio recordings. The author plays eight traditional tunes on Irish Flute and Tin Whistle each three times through complete with beautiful variations. Henotates each performance in meticulous detail and offers insightful comments on each one. We get a rare and intimate view into the intuitive musical mind of a masterful player along with extensive information on ornamentation phrasing articulation dynamics and much more. Though the author plays the tunes on Flute and Whistle he has carefully designed the book to be useful to players of all melody instruments.

Two beautiful pieces of Irish influence. Recorded by Gary Ryan on his CD 'Visions and Vistas'.The composer writes:'Out of Clonmel' - Over the past few years I have explored different tunings on the guitar. The instrument sounds fresh with a new tuning and harmonies or patterns that have become stale or are difficult to play with the traditional tuning can suddenly become reinvigorated idiomatic and resonant in different ways. You are also forced as a player to explore the fingerboard differently and the different tension of the strings produces a subtly different timbre.Out of Clonmel is tuned so that all of the open strings form a D major chord (D A D F# A D). This can be confusing at first but you get used to it pretty quickly and tablature helps when notating the score. Both of these pieces were originally commissioned by Rebecca Baulch a very fine player who I used to teach at the Royal College of Music. She was very good at reading tablature hence the idea to retune the guitar.Clonmel was the place my grandfather came from in Co. Tipperary Ireland and the piece has an energetic Irish flavour which reflects Irish folk music something I have always loved. The melody is decorated with ornaments which imitate those often played on the pipe or whistle. I dedicated this piece to my second daughter Caitlin so full of life who has of course in part come out of Clonmel.'Lough Caragh (Glenbeigh)' - Lough Caragh is influenced by the traditional Irish ballad and expresses for me something of the incredible beauty of the South West of Ireland. When my eldest daughter Jenny was only one year old in the summer of 2004 we stayed on the shores of Lough Caragh a beautifully tranquil lake west of Killarney visiting Glenbeigh where Jenny first played in the sea. I was trying to convey through the music the memory of those early magical childhood days which can never be recaptured. I had the melody going round in my head for a very long time before writing it down. When I compose I like to think that if what I have written is good I will remember it several weeks or months later in my head. My aural memory therefore acts as a filter retaining the best ideas before I put pen to paper. Lough Caragh uses a

All the tools the beginner novice and intermediate Tin Whistle player needs in order to progress to a high level of competence in Irish music. Includes an 'Orientation to Traditional Irish Music' which puts the music incontext with information on scales and modes dance tune types the historical roots of Whistle playing and advice for learning by ear. The book is full of thorough instruction exercises and musical examples: from holding fingering breathing and blowing up to advanced ornamentation phrasing and variations. Features a simple and penetrating new approach to understanding and notating ornamentation that goes beyond any previous method. Alsoincludes history and theory of traditional Irish Tin Whistle music. For those who don't read music almost all the exercises and examples appear on the companion audio. Audio download available online.

Traditional Irish-Anne-Marie Hildebrandt is drawn to Irish melody and this piece is no exception. Here she sets the traditional Irish tune for unaccompanied treble voices (SSA) with soprano solo. It works great with high school or older voices.

The Lark In The Clear Air is a traditional Irish air. Since the 1800s it has been associated with a poem by the Irish writer Sir Samuel Ferguson (1810-1886) one of the founding fathers of the Irish literary revival. It has been arranged here by Edgar M. Deale for TBarB Three-part Male Voice Chorus with Piano accompaniment. It makes a perfect recital item for any Male Voice Choir. Edgar M. Deale (1902-1999) was a twentieth century Irish composer. A former chorister at Christ Church Cathedral Dublin he was largely self-taught as a composer. His output was limited to a few dozen original works and arrangements but hiscontribution to Irish music is gradually achieving the recognition it deserves.

DADGAD and DGDGCD Tunings is an extension and expansion of the previously released Mel Bay book DADGAD Tuning. It includes a number of additional instrumental solos in DADGAD for beginning-intermediateguitar players while introdtucing DGDGCD a related open tuning. Although many of theselections are traditional Irish dance tunes the book also includes an American dance tune two traditional Irish songs and original instrumentals by Frederick Boyce Jake Schumacher Gilles le Bigot and the author. The book iswritten in tablature and standard notation.

A wonderful collection of some of Ireland's finest music. Consisting of twenty songs plus thirty-seven dance tunes and airs this is a veritable treasure trove of Old Irish Songs. The melody line is suitable for and can be played on most melody instruments but will be of most benefit to Traditional Irish Musicians who will revel in the wealth of traditional folk music. Track listing includes The Spanish Lady In Dublin's fair City Sally Gardens and Wellington's Advance.

The traditional Irish tune Denis Delaney is arranged here for treble choir (SSA) with piano and fiddle. Set to the traditional liturgical text composer Dan Rash really captures the spirit of the Irish. Try it with treble voices of any age.

Beginners of all ages will enjoy learning to play Tinwhistle with the step-by-step method found in this book. Familiar folk melodies abound in this comprehensive collection of easy-to-play literature. Carefully sequenced tunesand exercises teach the player to read music notation and a section is included on Irish ornamentation.Several Irish tunes containing suggested ornamentation present the traditional Irish style of whistle playing. Becauseof the ease of learning the Tinwhistle (also called the Pennywhistle) many Irish musicians begin their musical training on the whistle before switching to the Flute or Uillean Pipes. Written for the D Tinwhistle. Includes accessto online audio.