This collection contains twenty-four pieces from 18th and 19th century Scotland. Included are airs and dance tunes originally for voice or fiddle. These duet arrangements are perfect for student and teacher as well as viola colleagues. the music is presented in sets of two or three tunes ready for performance. the traditional music of Scotland has unique and beautiful qualities and is fun to play.
This collection contains twenty-four pieces from 18th and 19th century Scotland. Included are airs and dance tunes originally for voice or fiddle. These duet arrangements are perfect for student and teacher as well as cello colleagues. the music is presented in sets of two or three tunes ready for performance. the traditional music of Scotland has unique and beautiful qualities and is fun to play.
This collection contains twenty-four pieces from 18th and 19th century Scotland. Included are airs and dance tunes originally for voice or fiddle. These duet arrangements are perfect for student and teacher as well as violin colleagues. the music is presented in sets of two or three tunes ready for performance. the traditional music of Scotland has unique and beautiful qualities and is fun to play.
The twenty-five pieces in this collection date back to eighteenth and nineteenth century Scotland. Music was passed around among professional and amateur musicians, hand copied, and ended up in slightly different versions in many collections. the Airs were originally songs or for solo violin. the Dances - strathspeys, reels, jigs, a hornpipe, and the sword dance - were originally for fiddle or bagpipe. the book is arranged as a program from beginning to end - from sunrise, with Ossians's Hymn to the Sun, to sunset, with the lullaby O, Can Ye Sew Cushions. and no Scottish evening is complete without Auld Lang Syne as a finale. But one can, of course, choose to play a selection.Three of the airs are Gaelic songs. Others are tunes for which Robert Burns and other poets wrote lyrics. Two airs were composed for the violin - Neil Gow's Lament for the Death of His Second Wife and the anonymous Killiecrankie,. the dances were played by fiddlers or pipers. They played (and still play) many of the same pieces. One example is Gillie Callum, the sword dance. Originally a bagpipe tune, its range was expanded beyond the pipes' nine notes and it became a fiddle tune.The composers are anonymous except for pieces by Niel Gow (1727-1807), his son, Nathaniel Gow (1763-1831) and William Marshall (1748-1833). Niel Gow was the preeminent violinist of his day. All three composed many fiddle tunes for Scottish country dancing.Most of the pieces are presented in sets of two, and they should be played without stopping in-between, as they would be performed at a country dance. Metronome markings are given as a guideline. Guitar chords are included ad libitum. Since the first violin generally has the melody, the pieces can also be played by solo violin.The music of Scotland is unique. the airs have their own special beauty. the dances are fun to play, with lively tempos, dotted rhythms and sudden key changes. This music has long been the pleasure of country fiddlers and pipers. These new arrangements for two violins are perfect for student and teacher as well as violin colleagues.
The forty-five tunes in this collection represent the vast repertoire of traditional Scottish fiddle music dating back to the 1700s.There is a long history of music shared between fiddle, bagpipe and song. Included are laments, airs, marches, strathspeys, reels and jigs. the music has been edited and arranged for viola along with guitar chords if desired for accompaniment. the tunes are presented in sets of three or four for solo performance.
