Traditional fiddle music from around the world. Par . Le répertoire complet de musique traditionnelle pour violon est maintenant à votre portée ! Avec ce grand choix de recueils vous pourrez recréer l'ambiance de votre propre 'ceilidh', des danses folkloriques, du club de jazz, des cafés concerts comme à Sarajevo. Certains de ces morceaux de musiques sont connus, d'autres sont plus exotiques, mais tous sont absolument authentiques et leurs arrangements sont faits sans compromis, mais ce qu?il y a de plus important, c'est qu'ils vous donneront énormément de plaisir. Chaque titre de la série est disponible en deux versions : la Violin Edition (avec en option une partie violon simplifiée et des accords de guitare), ou la Complete Edition qui comprend des accompagnements pour clavier et pour violon. Chaque version permet de jouer la musique en solo, en duo ou en trio aussi bien que dans des ensembles plus importants. Edward Huws Jones a beaucoup voyagé lors de sa recherche de styles traditionnels pour violon. Dans chaque livre il explique l'histoire d'un style particulier, offrant ses propres suggestions pour obtenir une exécution vivante. / Date parution : 2022-06-21/ Recueil / Violon

Complete Edition. La série populaire d'Edward Huws Jones de répertoire traditionnel pour violon est à présent disponible avec un CD enregistré par des professionnels. Les pistes d'accompagnement et les versions de démonstration complètes pourront vous aider et vous inspirer non seulement dans votre pratique privée, mais aussi pour des concerts. Ces riches compilations de musique authentique - parfois familière, parfois plus étrangère, mais toujours arrangée de manière fidèle à la pièce originale - vous permettent de donner vie à votre propre Ceilidh, Bluegrass-Club ou Charanga. L'édition pour violon contient en option une partie facile de violon et des accords simples de guitare, tandis que l'édition complète comprend également l'accompagnement au clavier et au violon. Toutes les éditions ont un contenu très flexible, c'est-à-dire que la musique peut être jouée en solo, en duo ou en trio, ainsi qu'avec de plus grands ensembles. Edward Huws Jones a étudié les différentes traditions liées au violon au cours de ses nombreux voyages. Dans chaque livre, il raconte le contexte de chaque style musical et fait des propositions pour une exécution plus vivante. / Niveau : Moyen / Recueil / Violon ou 2 Violons et Piano, Guitare Ad Libitum

Take the lead is an integrated series for alto saxophone, clarinet, flute, piano, tenor saxophone, trumpet and violin. In each edition all of the songs are in the same key at concert pitch, allowing the different instruments to play together. Chord symbols are included at concert pitch for use by piano or guitar.'Take the Lead Rock 'n' Roll' features idiomatic arrangements of rock 'n' roll classics offering fun repertoire that young instrumentalists will love to play. Students have a choice of playing along with CD, Piano or Guitar and all pieces are fully integrated with arrangements for other instruments in the series, making this the ideal resource for school bands and small ensembles. Used as a solo book these pieces will encourage technical progression and confidence in playing. Ideal pieces for performance, or just for fun.Contents: Be-Bop-A-Lula; Blue Suede Shoes; Blueberry Hill; C'mon Everybody; Great Balls Of Fire; Jailhouse Rock; Let's Twist Again; The Green Door

Works for Piano and Violin I. Par MOZART WOLFGANG AMADEUS. Mozart ne s’est adonné à aucun autre genre de musique de chambre autant qu’à celui des duos pour piano et violon, qu’il s’agisse de sonates ou de variations. Exploitant les possibilités d’interaction de ces deux instruments par des combinaisons et des croisements toujours renouvelés, en particulier dans les sonates, il composa ainsi des oeuvres d’une beauté pure et intemporelle alliant force dramatique, élégance et profondeur de sentiments. Cette édition de travail offre le texte complet et non modifié des partitions publiées dans les trois éditions pratiques «bleues» Henle Urtext HN 77, 78 et 79, respectivement l’édition sous reliure lin de l’ensemble des sonates pour violon deMozart HN 80. / Partition brochée / Répertoire / Violon et Piano

2me Polonaise brillante pour violon avec acompagnement de piano op.21Henryk Wieniawski wrote only two polonaises. The first one, op. 4 in D minor, is one of his youthful works; the other, op. 21 in A major, is one of the last works he composed. Moreover, H. Wieniawski is the co-author of another polonaise, op. 8, for violin and piano, which he wrote with his brother Józef Wieniawski, a pianist. The latter polonaise, like the Polonaise in D minor op. 4, is also a youthful composition (1852). The polonaise as a genre, therefore, does not occupy much space in Wieniawskis heritage. Nonetheless, both polonaises, in D minor and A major, constitute an essential part of his artistic inheritance. Likewise, both polonaises had been composed in two versions: for violin and orchestra, and for violin and piano. The Polonaise in A major was completed in 1870. It is not known precisely which of the versions, the one with the piano, or the one with the orchestra first came into being. It was the version with orchestra that the composer performed for the first time on 17 March 1870, in the Grand Theatre in St. Petersburg. But merely two months later he performed the Polonaise in Warsaw, accompanied by his brother Józef at the piano. It is quite possible that Wieniawski had already performed this version of the Polonaise. It is certain, nonetheless, that both versions either appeared simultaneously, or one was composed shortly after the other. From its first public performance until the end of his concert career, Wieniawski often included this Polonaise in his concert repertoire, playing one version or another, the choice depending on the needs and circumstances. Just to mention one occasion, he played the orchestral version during a concert tour of Sweden in 1870, when he dedicated and presented a manuscript of this piece to King Charles XV of Sweden. The dedication, however, was changed in print, and both versions were eventually dedicated to François van Hal. Both versions were published simultaneously, by Schott Publishers in Mainz, with the same plate number, though the orchestral version appeared only in parts, which was a common practice in those days. The piece was most probably not published earlier than 18751. The Polonaise was praised by the critics. The reviews reported that it was a magnificent piece2, and this opinion was shared by later critical reviews, both Russian and West European. The Polonaise remained popular after the composer had died, which is evident from the number of later editions of the piece (more than ten) issued by different publishers, mostly German, and prepared by different editors. In Poland, the Polonaise was published twice after the Second World War. All the editions introduced some more or less significant changes into the text, mostly concerning performance indications, but in a sense blurring the composers intentions. All those changes were pertinent to the violin and piano version, and it was mostly in this form that the piece appeared in concert and teaching repertoires. The performances with an orchestra were much more seldom which was, among other factors, due to limited availability of the orchestral version, as it had never been published again after the first edition, until now. The Polonaise in A major was composed approximately at the same time as the Violin Concerto No. 2 in D minor3. This convergence in time had influenced a certain similarity with regard to both composition and technical means, and also to the themes. In particular, the similarity becomes quite obvious in the second theme of the Allegro in the Concerto, and in the theme of the Polonaise. The Polonaise in A major is also in a certain way similar to the first Polonaise (in D minor), the motifs of the themes in both polonaises are alike. However, both pieces differ in style. The Polonaise in D minor shows the composers fascination with technical writing. Wieniawski makes the most of double-stops, chords, and all other sophisticated virtuoso techniques. The Polonaise in A major, written 18 years later, is much more mature. Although it is a virtuosic piece as well, the techniques used are somewhat more limited and subordinated to the expression. The virtuoso character of this piece is more fragile, much closer to the brillant style. At the same time, the Polonaise is typical of Wieniawskis violin playing technique. Here the composer uses the means regarded by his contemporaries to be typical of him, e.g., long staccato fragments played with one bow. The Polonaise is a concert piece in one movement extended form with a considerably abbreviated return of the first section at the end. The middle section is contrasting in character, due to the modulation to F major, change of tempo (meno mosso) and the reduction in the number of instruments (in the orchestral version). All the sections show thematic similarity. The first section, too, consists of three subsections, including a contrasting middle subsection (in E major). Zofia Chechli?ska Footnotes 1. See The Critical Commentary, p. ' and onward. 2. See V. Grigoriev, Henryk Wieniawski. ?ycie i twórczo??. [Life and Work] Warszawa - Pozna? 1986, p. 184. 3. The first version of the Concerto No. 2 in D minor was completed in 1862, but in 1870, i.e., not until the Polonaise in A major was completed, Wieniawski had been working on the Concerto and implemented quite a few changes.Publisher: PWM/Towarzystwo Muzyczne im. Henryka Wieniawskiego w PoznaniuSeries: Henryk Wieniawski - Complete WorksCover: softbackNr ISMN: 979-0-2740-0753-9Number of pages: 34 8Format: N4 stoj. 235x305Language version of text: pol., Eng.

The Ceilidh Collection (New Edition) Complete Edition Traditional Fiddle Tunes from England, Ireland and Scotland Ed­i­tor: Huws Jones, Edward 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 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. The Oyster Girl Galopede The Steam Boat College Hornpipe Barwick Green Sir Roger de Coverley The Peacock followed the Hen Parson's Farewell Pool's Hole Greensleeves and Pudding Pies Lilli Burlero Lannigan's Ball Giddy of Sligo Napoleon crossing the Alps The Pullet Star of the County Down Cooney's Reel From the New Country The Blackthorn Stick The Irish Washerwoman Paddy on the Railroad The Temperance Reel Athol Highlanders The Hundred Pipers Mrs Hamilton of Pencaitland Miss Lyall De'il among the Tailors Staten Island Mrs. McLeod's Reel Skye Boat Song Mairi's Wedding The Flower of the Quern Timour the Tartar

16 Famous Jazz Ballads. Par . Profitez des plus célèbres ballades de jazz pour violon avec ces nouveaux arrangements lounge de Nikolai Tunkowitsch. Cette première parution de la nouvelle collection Schott Violin Lounge contient des pistes completes et pistes d'accompagnement (play-along). Vous y trouverez les musiques telles que Fly Me To The Moon, Mack The Knife, Take The A-Train et As Time Goes By. / Date parution : 2023-09-13/ Recueil / Violon et Piano

Par DEBUSSY CLAUDE. Claude Debussy had difficulties finishing his last major work, the Sonata for Violin and Piano. This can be seen in the many drafts which have been handed down and the fact that the cycle for which it was conceived was left unfinished. The work originated under the impact of Debussy' s progressing illness as well as the First World War. The first edition, published during the final year of Debussy' s life, contains many rhythmic errors. The non-autograph metronome marks as well as the discrepancies between the separate violin part and the violin part in small print in the piano score are two problems that have affected the work' s later reception. Both are examined here in a fresh light. In addition to the Sonata, this edition contains arrangements of „La fille aux cheveux de lin' and „Il pleure dans mon coeur' by the American violinist Arthur Hartmann. It was Hartmann who inspired Debussy to make an arrangement of his well-known piano piece „Minstrels' , also included in our edition. - Debussy' s complete works for violin and piano - With arrangements by Debussy' s acquaintance Hartmann - Informative Foreword (Eng/Fr/Ger) - Critical Commentary (Eng)/ Répertoire / Violon et Piano