Sverddansen. Par ROGERS SCOTT. The sword dance is a tradition in many cultures. The Scottish sword dances date back to the 15th century. This traditional melody captures all the excitement and energy of the sword dance through insistent rhythms, variation in dynamics and a big accelerando at the end. Articulations should be clear and crisp, and the accelerando at the end should be as fast as you dare! / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie

Another addition to the hit series, making authentic folk music available in a flexible format suitable for teaching, busking and performance. Traditional music from Scandinavia - Denmark, Finland, Iceland, Norway, Sweden. Explore the rich variety of the Nordic tradition, from the Polish-influenced polska dances to a Norwegian Wedding Song. The Complete edition includes a violin part, keyboard accompaniment with optional violin accompaniment, easy violin part and guitar chords. / 2 Violons Et Guitare

Complete Edition ( Violin And Piano )-Edward Huws Jones’ popular series of traditional fiddle repertoire now available with expertly-recorded audio CD. Containing colourful instrumental backing tracks and full demonstrations the new audio resource will aid and inspire your private practice and public performance alike. These generous collections of authentic music some familiar some more exotic but all of it faithfully arranged enable you to create your own ceilidh bluegrass club or charanga band. The violin edition includes optional easy violin part and guitar chords whilst the complete edition also includes both keyboard and violin accompaniments. Either format is highly flexible which means themusic can be played as solos duets or trios as well as with larger ensembles. Edwards Huws Jones has travelled extensively researching fiddle-playing traditions. In each book he explains the background of the particular musical style giving his own suggestions for a lively performance.

This original piece is in a style reminiscent of the music of the rich cultural heritage of the Appalachian Mountain area. Music is an important part of the Appalachian way of life. In fact, Appalachian music is one of the best-known manifestations of the culture. Traditional Appalachian music is derived primarily from the English and Scottish ballad tradition and Irish and Scottish fiddle music. African-American blues musicians played a significant role in developing the instrumental aspects of Appalachian music as well. (2:15) / Orchestre A Cordes

Navigation Inn was originally written to celebrate one of the most popular events in the brass band calendar - the Whit Friday marches. The Navigation Inn is a pub which is a popular meeting place for bandsmen and which celebrates the love of brass bands with mementoes and historic photographs on the walls. This lively piece in the style of a traditional contest-style march will bring a great sense of tradition to any concert.

Edward Huws Jones’ popular series of traditional fiddle repertoire now available with expertly-recorded audio CD. Containing colourful instrumental backing tracks and full demonstrations the new audio resource will aid and inspire your private practice and public performance alike. These generous collections of authentic music some familiar some more exotic but all of it faithfully arranged enable you to create your own ceilidh bluegrass club or charanga band.The violin edition includes optional easy violin part and guitar chords whilst the complete edition also includes both keyboard and violin accompaniments. Either format is highly flexible whichmeans the music can be played as solos duets or trios as well as with larger ensembles.Edwards Huws Jones has travelled extensively researching fiddle-playing traditions. In each book he explains the background of the particular musical style giving his own suggestions for a lively performance.

Following in the footsteps of Ceremonial March Mercury Arsenal and Minerva Helios is a concert march in the tradition of grand English marches. In the first passage several connected themes are developed in a combination of contrasting nuances. The melodic line of the trio is long and expressive; a characteristic found in all Jan Van der Roost’s marches. Helios represents the ideal combination of rich thematic material with a traditional harmonic structure.

24 Traditional Folk Songs for Intermediate Piano Solo. Par . Faites découvrir aux élèves pianistes la musique traditionnelle d\'Afrique du Sud avec ces 24 chansons folk arrangées pour piano solo. Pendant l\'apartheid, la musique des différentes cultures et ethnies du pays (Afrikaans, amaNdebele, amaXhosa, amaZulu, Bapedi, Basotho, Batswana, Cape Malay, emaSwati, Vatsonga) s\'est développée séparément, et les auteurs ont estimé qu\'il était grand temps de rassembler ces traditions musicales contrastées. / Date parution : 2022-07-23/ Recueil / Piano

While his contemporary Paul Hindemith found new approaches to composition Gál remained rooted in the Germanic tradition. The Sonata clearly follows in the footsteps of the great masters Brahms and Reger and though traditional in idiom is less complex and complicated than comparable works of these composers. The Sonata is available on CD together with the two Clarinet Sonatas by Brahms.

'Danish songs' - Danske Sange gathers the core repertoire in the Danish song tradition. It covers the Danish song from ballads to the traditional Danish songs till Danish pop and rock. It's all the well known songs and song we'll never get tired of singing. Not just because the songs are Danish but because of the wonderful melodies and lyrics have a special quality and speaks to the heart . The songs are annotated to include origin historical and cultural background. In this way there is also the opportunity to learn more about the context in which the songs were originally written. Edited by Inge Marstal and Kaj Nørholm.

Freie Orgelwerke - BuxWV 136-161. Par BUXTEHUDE DIETERICH. This edition is the result of Harald Vogel?s many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17 th - and 18 th -century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the ?Einzelanmerkungen?. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude?s free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary). Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on ?Die Fuge um Bach?. Besides the description of the ?inclusion? of triple measures into the C notation and the irregularities of the ?voice mutation? in the polyphonic structures, this also included a discussion about the justification of the ?inner textual criticism?. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude?s work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the ?indicators of the fantastic style? is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude?s work. In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Luleå University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lübeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude?s organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands. / Date parution : 2022-10-12/ Recueil / Orgue

Although the popularity of the Cello is rising and its use in popular music is growing the repertory remains limited. The studies in this book are intended to reinforce traditional technique and to expand it through the recovery of old traditions. Each of the studies in this book is also suitable for use in recitals either as small sets or encores.

This traditional spiritual comes out of the work song tradition. It is firm and strong and features a baritone soloist who instructs the singers to keep their hands on the plow. The call and response between soloist and choir is classic and offers a wonderful opportunity to teach this style so important in our history.

(A Branch of May)-The text for this work is comprised of several traditional May Day carols and sonnets from a variety of sources ranging from the medieval era to the 17th century. Musically the work embraces many different styles but is largely a tribute to the folk traditions of Ireland Scotland and Brittany. It is scored for SATB chorus Children's or Women's Choir and Chamber Orchestra (flute oboe harp percussion and strings).

This piece combines techniques from traditional Chinese music and Western classical music drawing on the Flute's rich history in both traditions. Using the full range of the instrument a variety of extended techniques and a wide range of dynamics it is both virtuosic and characterful.