Top Performing Songs and Artists from the Billboard Hot 100 and Billboard Hot...(+)
Top Performing Songs
and Artists from the
Billboard Hot 100 and
Billboard Hot 200 over
the Past 50 years.
Arranged by Various.
Book; CD; Play-Along;
String Series.
Instrumental Solos
Series. Pop. 60 pages.
Published by Alfred Music
(AP.46201).
Violin SKU: HL.50499695 First edition. By Barta. By Andras Szollos...(+)
Violin
SKU:
HL.50499695
First
edition. By Barta. By
Andras Szollosy. Edited
by Barta Mihaly. 20th
Century. EMB. Classical,
Contemporary. Softcover.
Composed 2014. 8 pages.
Editio Musica Budapest
#Z14885. Published by
Editio Musica Budapest
(HL.50499695).
ISBN
979080148853.
9.0x12.0x0.063 inches.
Andras Szollosy; Mihaly
Barta.
Andras
Szollosy (1921-2007) was
one of the most
significant Hungarian
composers of the second
half of the 20th century,
yet his oeuvre has not
become as well-known as
that of Gyorgy Ligeti,
two years his junior, or
of Gyorgy Kurtag, five
years his junior.
Szollosy did not compose
many works and he was
strict about which of
them he would allow to go
public. As a younger
colleague of his once
remarked: He only
composed his good works.
Szollosy's Sonata for
Solo Violin, which was
written at the age of 26
and was publicly
performed only in 2006,
almost 60 years after its
composition, fell victim
to his self-criticism.
Although the model of
Bartok's Sonata for Solo
Violin of just three
years earlier was
obviously on the young
composer's mind, he was
no epigone of the great
master. From the aspect
of both composition and
instrumental technique,
the 11-minute Sonata for
Solo Violin represents
exacting and prominent
music, and is a
remarkable piece among
works written for the
violin in 20th-century
Hungarian music. The
score of the posthumously
published work was edited
by the soloist of its
world premiere, Michael
Barta.
For Violin and
Orchestra. Composed
by Behzad Ranjbaran.
Contemporary. Large
Score. With Standard
notation. Composed 1994.
144 pages. Duration 31
minutes. Theodore Presser
Company #416-41366L.
Published by Theodore
Presser Company
(PR.41641366L).
UPC:
680160585755.
From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violins open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movements primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violinas open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movementas primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violin's open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement's primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notionof
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures.The notes of the
violin’s open
strings (G, D, A, E) also
influenced many of the
melodic and harmonic
elements of my violin
concerto. The opening
tutti is mostly based on
intervals of a perfect
4th and 5th. The primary
material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes:1 st
movement: A-D-A2nd
movement: D-G-D3rd
movement: E-A-EThe
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement’s
primary theme. While the
movements share similar
musical materials, each
one is definedby
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and
unforgivingferocity. The
second movement is
haunting, mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
fromthe previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell.
Partita Violon SATB, Orchestre OR-TAV Music Publications
Violin SKU: OT.22090 Composed by Daniel Akiva. For violin solo. Classical...(+)
Violin
SKU:
OT.22090
Composed by
Daniel Akiva. For violin
solo. Classical. Score.
OR-TAV Music Publications
#22090. Published by
OR-TAV Music Publications
(OT.22090).
ISBN
9789655050738. 8.27 x
11.69
inches.
Daniel
Akiva's Partita for
violin solo consists of
six movements based
loosely on music of the
Sephardic Jews. It was
written for students as
performance material, and
dedicated to them.
Contents: Liturgical
Song Prayer
Supplication
Dance Kaddish
Supplication Daniel
Akiva is a composer,
performer, and educator
whose performances on
guitar and lute have won
great acclaim. Mr. Akiva
graduated from the Rubin
Academy of Music in
Jerusalem in 1981, where
he studied classical
guitar with Haim Asulin
and composition with Haim
Alexander. In 1987 he
completed his studies at
the Geneva Conservatorium
in Switzerland where he
studied lute with
Jonathon Rubin and
composition with Jean
Ballisa. For many years,
he headed the Music
Department at the WIZO
High School for the Arts
in Haifa, which he
founded in 1986, and
served as the Artistic
Director of the Guitar
Gems Festival from
2006-2019. As part of his
work at WIZO High School,
he has developed a method
for teaching free
improvisation that has
been incorporated into
the music program at the
school. Mr. Akiva has
appeared in concert as a
guitarist and lutist and
given master classes in
Israel, Europe, Russia,
the United States, and
Latin America. Daniel
Akiva’s
compositional output
includes works for solo
instruments, chamber
ensembles, choir, voice
and guitar, piano, and
chamber orchestra. His
works have been recorded
on twelve CDs, the latest
of which, Malchut, was
issued by OR-TAV in
2014. A native of
Haifa whose family has
lived in Israel for over
five hundred years, he
was steeped in the
Sephardic
(Jewish-Spanish)
tradition from his youth.
Much of his compositional
output has been devoted
to a dialogue with the
music of the Sephardic
Jews. Daniel Akiva has
also maintained a
creative dialogue over
many years with the poets
and writers Amnon
Shamash, Rivka Miriam,
and Avner Peretz.
Chamber Music Violin SKU: PR.114422260 For solo violin. Composed b...(+)
Chamber Music Violin
SKU: PR.114422260
For solo violin.
Composed by Stacy Garrop.
Sws. Performance Score.
12 pages. Duration
0:09:00. Theodore Presser
Company #114-42226.
Published by Theodore
Presser Company
(PR.114422260).
ISBN
9781491133866. UPC:
680160683352. 9 x 12
inches.
Legends of
the phoenix are found in
stories from ancient
Egypt and Greece. While
each culture possesses a
range of stories
encompassing the myth,
these tales tend toward
similar traits: a sacred
bird with brilliantly
colored plumage and
melodious call lives for
typically 500 years, then
dies in a nest of embers,
only to be reborn among
the flames. Phoenix
Rising consists of two
movements: I. Dying in
Embers represents an old
phoenix settling on top
of a pile of embers and
breathing its last
breath; II. Reborn in
Flames depicts the
newly-born phoenix
getting its first taste
of flight. Legends of
the phoenix are found in
stories from ancient
Egypt and Greece. While
each culture possesses a
range of stories
encompassing the phoenix
myth, these tales tend to
share similar traits: a
sacred bird with
brilliantly colored
plumage and melodious
call lives for typically
five hundred years; then
the bird dies in a nest
of embers, only to be
reborn among the
flames.In Egyptian
stories, the phoenix
gathers scented wood and
spices for its
funeral/rebirth pyre,
then collects the ashes
from its earlier
incarnation and flies
them to the temple of the
sun in Heliopolis to
offer as a tribute to the
sun god.In Greek myths,
the phoenix was
approximately the size of
an eagle and was adorned
with red and gold
feathers; it would fly
from either India or
Arabia to Heliopolis to
give its offering. The
bird’s association
with immortality and
resurrection are
particularly intriguing
aspects of these tales,
giving numerous writers
(including William
Shakespeare, C.S. Lewis,
and J.K. Rowling) a rich
resource for their own
stories.Phoenix Rising
consists of two
movements. I. Dying in
embers represents an old
phoenixwho is settling on
top of a pile of embers
and breathing its last
breath. II. Reborn in
flames depicts the
newly-born phoenix
getting its first taste
of flight.Phoenix Rising
was commissioned by
saxophonist Christopher
Creviston, who has
recorded the work on the
Blue Griffin label. The
composer has also made
editions of the work for
flute and for clarinet
(also available from
Theodore Presser
Company).
Composed by Rodolphe Kreutzer (1766-1831). Edited by Ingolf Turban and Norbert...(+)
Composed by Rodolphe
Kreutzer (1766-1831).
Edited
by Ingolf Turban and
Norbert
Gertsch. Henle Music
Folios.
Classical. Softcover. G.
Henle #HN1177. Published
by
G. Henle
Violin - intermediate SKU: BT.DHP-1185780-400 The World's Most Beautif...(+)
Violin - intermediate
SKU:
BT.DHP-1185780-400
The World's Most
Beautiful Arias with Full
Orchestra Play Along.
Opera or Operetta. Book
with CD. Composed 2018.
36 pages. De Haske
Publications #DHP
1185780-400. Published by
De Haske Publications
(BT.DHP-1185780-400).
ISBN 9789043153836.
English-German-French-Dut
ch.
For over three
hundred years, great
opera singers have held
entire audiences under
their spell. In so doing,
they can call on an
etensive repertoire of
arias by many important
composers. Live at the
Opera now makes this
precious treasure trove
available to
instrumentalists, too.
Twelve of the most
beautiful operatic
melodies of all time have
been specially arranged
for violin and are
performed by the renowned
violinist Maximilian
Lohse. The accompanying
audio is performed by an
authentic opera
orchestra, which also
includes a play-along
version without soloist.
Additionally, this unique
collection also includes
background info and tips
on performance for
theindividual arias.
Al meer dan
driehonderd jaar weten
grote operazangers en
-zangeressen hun publiek
te betoveren. Wanneer ze
voor ons op het podium
staan, vertolken ze
melodieën die behoren
tot de allermooiste van
de klassieke muziek.
Live at the opera
maakt deze schat aan
melodieën nu ook
toegankelijk voor
instrumentalisten: twaalf
Italiaanse
opera-ariaâ??s zijn
speciaal gearrangeerd
voor viool en opgenomen
door de gerenommeerd
violist Maximilian Lohse.
Een echt operaorkest
neemt de begeleiding voor
zijn rekening, die op de
meespeelversie ook zonder
solo-instrumentalist
beschikbaar is. Verder
zijn in deze unieke
collectie
muziekhistorische
achtergrondinformatie bij
iedere aria entips voorde
uitvoering opgenomen.
Schon seit mehr
als dreihundert Jahren
ziehen groÃ?e
Opernsängerinnen ein
ganzes Opernpublikum in
seinen Bann. Dabei
können sie sich aus
einem umfangreichen
Arienrepertoire aus der
Feder zahlreicher
bedeutender Komponisten
bedienen. Live at the
Opera macht diesen
kostbaren Melodienschatz
nun auch
Instrumentalisten
zugänglich: 12 der
schönsten
Opernmelodien aller
Zeiten wurden hier eigens
für Violine
eingerichtet und werden
von dem renommierten
Geiger Maximilian Lohse
vorgespielt. Ein echtes
Opernorchester
übernimmt dabei die
Begleitung, welche
zusätzlich auch in
einer Mitspielversion
ohne den Solisten zur
Verfügung steht.
Hintergrundwissen
undAusführungstipps zu
den einzelnen Arien sind
weitere Pluspunkte dieser
einzigartigen Sammlung.
Violon [Partition + Accès audio] - Intermédiaire/avancé Mel Bay
Composed by Mary Ann Harbar (Willis). For violin. Squareback saddle stitch. Inte...(+)
Composed by Mary Ann
Harbar (Willis). For
violin. Squareback saddle
stitch.
Intermediate-Advanced.
Book and online audio.
Published by Mel Bay
Publications, Inc
Violin SKU: HL.50603952 MS83. Composed by Nicolo Paganini. String ...(+)
Violin
SKU:
HL.50603952
MS83. Composed by
Nicolo Paganini. String
Solo. Classical,
Virtuoso. Softcover. 48
pages. Ricordi #NR142388.
Published by Ricordi
(HL.50603952).
ISBN
9781705162583. UPC:
196288062684.
9.0x12.0x0.161
inches.
The Sonata
à violin solo (M.S.
83) is an early work by
Paganini that can be
ascribed to the years
1796-1800, a period which
includes works such as
the posthumous Grande
concerto (M.S. 75), the
Inno patriottico con
variazioni (M.S. 81) and
the Tema variato (M.S.
82)for violin. There are
no doubts as to the
authenticity of the work:
the highly virtuosic
experimental writing, the
indications
“Organettoâ€
and
“Flagiolettoâ€
and the use of the fourth
string are all
distinctive traits found
in Paganini's writing
from this period which
link the Sonata to the
Inno patriottico con
variazioni and the Tema
variato. The most
significant
characteristics of this
composition are its
length and the
three-movement structure
that connect it to the
Classical style, at least
far as the first movement
is concerned: it is
written in sonata form,
something rarely seen in
Paganini's solo violin
works.
(Learn the Melodies, Techniques and Styles of a Great Tradition). By Lisa ...(+)
(Learn the Melodies,
Techniques and Styles of
a
Great Tradition). By Lisa
Gutkin. Homespun Tapes.
DVD.
Hal Leonard #DVDLSAFI21.
Published by Hal Leonard
An introduction to Style and Technique. Edited by Chris Haigh. This edition: ...(+)
An introduction to Style
and
Technique. Edited by
Chris
Haigh. This edition:
Paperback/Soft Cover.
Sheet
music with online
material.
String Method. Beginning
Jazz Violin is a great
way
to learn the basics of
playing the violin in
jazz
style. Classical, Jazz.
Edition with Online audio
file, Softcover Audio
Online. 112 pages. Schott
Music #ED 13906.
Published
by Schott Music
Eulenburg Audio Score Series. Composed by Peter Ilyich Tchaikovsky (1840-1893). ...(+)
Eulenburg Audio Score
Series. Composed by Peter
Ilyich Tchaikovsky
(1840-1893). Edited by
Richard Clarke. This
edition: Paperback/Soft
Cover. Sheet music with
CD. Eulenburg Audio Score
(Pocket Scores CD).
Classical. Study score
and CD. Composed 1878.
Op. 35. 136 pages.
Duration 32'. Eulenburg
Edition #EAS 144.
Published by Eulenburg
Edition
Book with Media Online Violin SKU: HL.49047321 A Creative Violin Metho...(+)
Book with Media Online
Violin
SKU:
HL.49047321
A
Creative Violin Method
for Children Book with
Media Online. String
Method. Children,
Classical, Educational,
Instruction. Softcover
Media Online. Schott
Music #ED23122. Published
by Schott Music
(HL.49047321).
UPC:
196288201380.
Violi
n Junior is a fun and
creative violin method
for children from the age
of 5 years upwards. The
repertoire covers a wide
rangeof styles from
classical music to folk,
world and popular music.
Join Fiocco the Frog in
this new approach and
find out just how much
fun playing the violin
can be! Lesson Books
include many duets for
two students to play
together as well as
imaginative technical,
aural, rhythm and
improvisation exercises.
Piano and Violin
Accompaniments are
available for the Lesson
Books. Theory Books cover
fun games and creative
exercises on music
reading, music writing,
aural training,
composition and music
theory. Concert Books
provide additional
repertoire and enjoyable
concert pieces. Audio
tracks (full version and
play-along mp3s) are
available for the Lesson
Books, Theory Books and
Concert Books. Tutorial
videos are also available
with technical and
musical advice on many of
the pieces and exercises
in the Lesson Books.
Additional online
materials round off the
method. The series will
be continued (5 levels).
Please visit
www.violin-junior.com.
100 Progressive Melodies of 3 to 8 Notes with Piano Accompaniment. Composed by...(+)
100 Progressive Melodies
of 3
to 8 Notes with Piano
Accompaniment. Composed
by
Various. Edited by Andrea
Cappellari. Instrumental
Folio. Classical.
Softcover
Audio Online. 36 pages.
Published by Ricordi
(A compilation of the best ever Grade 3 violin pieces ever selected by the major...(+)
(A compilation of the
best ever Grade 3 violin
pieces ever selected by
the major examination
boards). Edited by
Jessica O'Leary. For
Violin. Book; CD; String
- Violin Studies or
Collection. Faber
Edition: Best of Grade
Series. Grade 3.
Published by Faber Music
Violin SKU: PE.EP9493 Ger/Eng. Composed by Edited by Klaus Hertel ...(+)
Violin
SKU:
PE.EP9493
Ger/Eng. Composed
by Edited by Klaus Hertel
and Ulfert Thiemann.
Method/Instruction.
Edition Peters. Book. 148
pages. Edition Peters
#98-EP9493. Published by
Edition Peters
(PE.EP9493).
ISBN
9790014077013.
Pete
rs Violin School Vol.2 -
A graded series of study
and instruction manuals.
Vol.1: A selection of 139
studies byBeriot, Dont,
Hertel, Wohlfahrt &
others, arranged in 9
sections to cover skills
to be acquired in the
first 4-5 years.
100 Most Essential Studies for Violin Tuition. Composed by Various. Edited b...(+)
100 Most Essential
Studies
for Violin Tuition.
Composed
by Various. Edited by
Wolfgang Birtel. String.
Softcover. 154 pages.
Schott
Music #ED21564. Published
by
Schott Music
Violin - late intermediate SKU: BT.1248-05-400-DHI Composed by Joachim Jo...(+)
Violin - late
intermediate
SKU:
BT.1248-05-400-DHI
Composed by Joachim
Johow. Book with CD.
Composed 2005. 28 pages.
De Haske International
#1248-05-400 DHI.
Published by De Haske
International
(BT.1248-05-400-DHI).
ISBN 9789043123327.
9x12 inches.
English-German-French-Dut
ch.
A collection of
original Irish songs
designed for violinists
produced following years
of research. Ideal for
concert performances or
for private study, the
songs range from fast
jigs to quiet ballads.
With chord symbols to
enable performance with
guitar, a harmonica or a
banjo.
Deze
geslaagde collectie van
oude en nieuwe dansen
geeft je de kans om mooie
folkmuziek te spelen. De
stukken in Irish
Melodies variëren
van snelle, meeslepende
jigs tot rustige songs in
balladstijl. Om
uitvoeringen met
anderenmogelijk te maken
zijn akkoordsymbolen
toegevoegd. De stukken
kunnen bijvoorbeeld
worden gespeeld in
combinatie met
instrumenten als gitaar,
fluit of banjo - die
bijzonder geschikt zijn
voor de originele
speelstijl. De live
opgenomencd bevat
voorbeeldversies en
begeleidingen van alle
melodieën uit het
boek, erg handig om mee
te studeren óf om mee
op te
treden.
Diese
Sammlung von original
irischer Musik bietet
etwas fortgeschritteneren
Spielern einen Einblick
in die Schönheit und
den Reichtum von neuen
und traditionellen
Melodien. Die 17
Stücke variieren von
schnellen Jigs bis zu
ruhigen Balladen und
können alleine oder
bei Auftritten gespielt
werden. Dank der
notierten Akkordsymbole
kann man sich stilecht
von Gitarre, Akkordeon
oder Banjo begleiten
lassen. Die CD, die neben
Demoversionen auch
Begleitungen aller
Stücke enthält,
hilft beim Ãœben und
Vorspielen.
Questa
pubblicazione di musica
irlandese permette ai
musicisti con gi qualche
anno di pratica
strumentale di
approfondire la
conoscenza stilistica
attraverso arie antiche e
più recenti. I brani
possono essere
interpretati assieme a
strumenti quali la
chitarra, la fisarmonica
o il banjo (simboli degli
accordi segnati sulla
partitura). Nel CD
incluso troverete una
registrazione integrale
di tutti i brani e anche
una versione play-along
col solo
accompagnamento.