36 Traditional Pieces. Argentinian Folk Tunes for Accordion presents a collection of beautiful pieces arranged for accordion with chords for accompanying instruments, drawn from the rich tradition of Argentinian music.. Highly regarded performer author and teacher Ros Stephen provides notes on all of the pieces, explaining their background and history. The volume is accompanied by a CD with a recording of all tunes. German and French translations of all texts are available as pdf downloads from the Schott Music website. Suitable for players of grades 3-8.Part of the best selling World Music series, which also includes music from England,
(Schott). Argentinian Folk Tunes for Accordion presents a collection of beautiful pieces arranged for accordion with chords for accompanying instruments, drawn from the rich tradition of Argentinian music. The renowned performer, author and teacher Ros Stephen provides notes on all of the pieces as well as explanations of their background and history. The volume is accompanied by recordings of all tunes. German and French translations of all texts are available as PDF files for download from the Schott Music website. Part of the best-selling World Music series, which also includes music from England, Ireland, Scotland, Wales, Eastern Europe, America, Mexico, India, China and Korea.
Born in the impoverished barrios of Buenos Aires during the late 19th Century, the tango has become one of the most important music and dance forms of our time. Tangos for Accordion presents a distinctive collection of predominantly Argentinian tangos arranged for solo piano accordion. The book’s introduction includes a brief history of the tango and an explanation of tango rhythms. Preparatory exercises explore the differences between various rhythms (habanera, marcato, etc) and how to perform them on the accordion. Includes many of the best-known tangos, such as La Cumparsita, Caminito, El Choclo, El Marne, Catamarca, La Paloma, and many more. Includes chords symbols for accompanying instruments. For intermediate to advanced players.
(Schott). 41 pieces including tangos, milongas, chamames, zambas, and chacareras. A second violin part is included for many songs as an optional duet. Audio is accessed online using the unique code inside the book and can be streamed or downloaded.
(Piano Collection). A collection of beautiful pieces arranged for solo piano drawn from the rich tradition of Argentinean music. Includes performance notes and history along with a CD of full performances.
These fine poems are connected byÑand evokeÑthe music of lost homelands. Paegle, the daughter of immigrants from Argentina and Latvia, takes us through the tumult of displacement and migration with a strong sense for the folk songs and tango music of her youth. Against this musical backdrop, she invests the bandone—n, an accordion-like instrument brought to Argentina in the late nineteenth century, with a special significance. Her poetic account of the instrument yields this striking tribute, which testifies to the passion of the collection: Òwhen mission music spilled, / five octaves went new-world wild.Ó The poems in the first section, torch songs, hover near a heartbreaking lyricism as they reckon with political histories, landscapes, and loss. As she writes in this section, there is truly Ònothing in this life like being blind in Granada.Ó The sonnet crown that comprises the next section, tango liso, plots a history of cultural inheritance and renewal, weaving back and forth in time and spanning Argentina, Spain, and the United States. Here the reader encounters Eva Per—n alongside Katharine of Aragon and Billie Holiday. The final section, choir, commemorates sites of pilgrimage in Latvia, West Germany, and Spain, among other places. In this extended contemplation of cathedral spaces, Paegle interrogates the boundary between the sacred and the secular, silence and song. What emerges from this diverse collection is a sensual and allusive space where music and memory coincide.
(Woodwind). Argentinian Folk Tunes for Flute presents a collection of beautiful pieces arranged for solo flute with chords for accompanying instruments, drawn from the rich tradition of Argentinian music. Highly regarded performer author and teacher Ros Stephen provides notes on all of the pieces, explaining their background and history. The volume is accompanied by a CD with a recording of all tunes.
This collection considers the accordion and its myriad forms, from the concertina, button accordion, and piano accordion familiar in European and North American music to the exotic-sounding South American bandoneon and the sanfoninha. Capturing the instrument's spread and adaptation to many different cultures in North and South America, contributors illuminate how the accordion factored into power struggles over aesthetic values between elites and working-class people who often were members of immigrant and/or marginalized ethnic communities. Specific histories and cultural contexts discussed include the accordion in Brazil, Argentine tango, accordion traditions in Colombia, cross-border accordion culture between Mexico and Texas, Cajun and Creole identity, working-class culture near Lake Superior, the virtuoso Italian-American and Klezmer accordions, Native American dance music, and American avant-garde.
An invention of the Industrial Revolution, the accordion provided the less affluent with an inexpensive, loud, portable, and durable "one-man-orchestra" capable of producing melody, harmony, and bass all at once. Imported from Europe into the Americas, the accordion with its distinctive sound became a part of the aural landscape for millions of people but proved to be divisive: while the accordion formed an integral part of working-class musical expression, bourgeois commentators often derided it as vulgar and tasteless. This rich collection considers the accordion and its myriad forms, from the concertina, button accordion, and piano accordion familiar in European and North American music to the exotic-sounding South American bandoneon and the sanfoninha. Capturing the instrument's spread and adaptation to many different cultures in North and South America, contributors illuminate how the accordion factored into power struggles over aesthetic values between elites and working-class people who often were members of immigrant and/or marginalized ethnic communities. Specific histories and cultural contexts discussed include the accordion in Brazil, Argentine tango, accordion traditions in Colombia and the Dominican Republic, cross-border accordion culture between Mexico and Texas, Cajun and Creole identity, working-class culture near Lake Superior, the virtuoso Italian-American and Klezmer accordions, Native American dance music, and American avant-garde. Contributors are María Susana Azzi, Egberto Bermúdez, Mark DeWitt, Joshua Horowitz, Sydney Hutchinson, Marion Jacobson, James P. Leary, Megwen Loveless, Richard March, Cathy Ragland, Helena Simonett, Jared Snyder, Janet L. Sturman, and Christine F. Zinni.
"Volinworks, in two volumes, is a comprehensive method for the adult beginner, taking students carefully from the very first steps to around Grade 3 standard. The approach suits self-taught beginners as well as those who have teachers, and emphasizes the importance of good habits from day one, of using your ear, and of always aiming for the best sound. Each volume contains a wide selection of repertoire, plus detailed descriptions and photos to demonstrate correct playing positions. The accompanying CD includes play-along tracks for all pieces, with piano, string quartet, or band backings, plus aural exercises and downloadable PDFs of piano accompaniments. There are supporting video clips and additional resources on a dedicated website, making Violinworks a complete resource for all new learners."--Publisher's description.
