This book contains 15 Irish airs arranged as fiddle (violin) duets and trios from melodies composed by Turlough O'Carolan. Carolan was a blind Irish poet, composer, and traveling harper who lived from 1670 - 1738. Each song has a melody and two melodic harmonies to choose from. The songs can be played as duets repeated using the different harmonies, or all parts can be played at the same time to form a violin trio. The tunes are airs, and are therefore played at a slower tempo than a lot of traditional Irish fiddle music. All of these arrangements can be played in 1st position, making it an approachable book for beginner and intermediate violin players. The difficulty level varies for the different pieces. This book is great for musicians performing with a friend or small group. The arrangements are appropriate for weddings and formal acoustic performances. The harmonies can even be used by a soloist with a looper pedal. It is also helpful for teachers who want to accompany their students. Those who study classical violin repertoire, and are interested in Irish folk music, may notice some of these songs have a "Baroque" spirit to them. This book promotes listening closely to other players while performing a part, and learning how melodic harmonies can fit with a melody line. Happy Fiddling! CONTENTS: Introduction: - A Summary of Irish History that Influenced Carolan and His Music - A Brief Biography of Turlough O'Carolan Sheet Music: - Captain O'Kane - Fanny Power - Carolan's Welcome - Carolan's Receipt (Dr. John Stafford) - Colonel John Irwin - Morgan Megan - Eleanor Plunkett - Carolan's Quarrel with the Landlady - Sir Charles Coote - Si Bheag Si Mhor - George Brabazon's 2nd Air - Princess Royal (Miss MacDermott) - Planxty Hewlett - Denis O'Conor - Carolan's Concerto. If a song requires page turns using the book's primary note size, a second version is included using smaller notes so the song fits entirely on 2 pages. The lower harmony, "Harmony 2," was arranged keeping the common registers of the violin and viola in mind. All three parts are written in treble clef, but the second harmony only briefly goes onto the violin's "e-string" for two songs. The arrangements use familiar key signatures that have one or two sharps. Occasionally, a d-sharp is used as an accidental for e-harmonic minor songs. About the Arranger: Katy Adelson is an American fiddle player, composer, and arranger residing in Colorado. She has released digital music albums and singles, and has posted many free online fiddle tune sheet music arrangements on her website. She has created online fiddle lessons and music videos on YouTube. This book is published by Golden Aspen Music.

(String Duet). Designed for violinists familiar with first position and comfortable reading basic rhythms, each two-page arrangement in this collection includes a violin 1 and violin 2 part, with each taking a turn at playing the melody for a fun and challenging ensemble expereince. Songs include: Billie Jean * Bridge over Troubled Water * Can You Feel the Love Tonight * Hallelujah * Imagine * Over the Rainbow * Unchained Melody * What a Wonderful World * With or Without You * Your Song * and more.

(String Duet). Designed for violinists familiar with first position and comfortable reading basic rhythms, each arrangement in this collection includes a violin 1 and violin 2 part, with each taking a turn at playing the melody for a fun and challenging ensemble expereince. Songs include: All My Loving * Blackbird * Eleanor Rigby * A Hard Day's Night * Hey Jude * Let It Be * Michelle * Ob-La-Di, Ob-La-Da * Something * When I'm Sixty-Four * Yesterday * and many more.

This collection of 26 duets for two violins has been arranged from works of the keyboard masters of the Baroque period. The pieces are of varying difficulty, for players of intermediate to advanced ability. Clearly edited and superbly printed, this album includes small gems from the German, Italian, French, and English masters of this immensely rich period. As a supplement to any string method, this book enables two players of equal facility to play together -- important in the development of pitch and the ear-training necessary for further chamber playing. Titles: * The King's March (Jeremiah Clarke) * Minuet (Georg Philipp Telemann) * Musical Pastime (Valentin Rathgeber) * Gavotte (Arcangelo Corelli) * Les Papillons (Jean Francois Dandrieu) * Aria (Bernardo Pasquini) * Minuet (Jeremiah Clarke) * Bourr̩e (Georg Philipp Telemann) * Menuet (Johann Krieger) * Aria (Johann Sebastian Bach) * Minuet (Johann Sebastian Bach) * Andante (Bernardo Pasquini) * Minuetto (Alessandro Scarlatti) * Prelude (Johann Gottfried Walther) * Ayre (Henry Purcell) * Toccata (Carlos Seixas) * Aria (Alessandro Scarlatti) * Fanfare (Francois Couperin) * Rigaudon (Francois Couperin) * Menuet in D Minor (George Frederic Handel) * Impertinence (George Frederic Handel) * Air (George Frederic Handel) * Sonatina (George Frederic Handel) * Rigaudon (Jean Philippe Rameau) * Les Fifres (Jean Francois Dandrieu) * Moderato (Georg Philipp Telemann)

400 classic Irish session tunes from the author of "A Complete to Playing Irish Traditional Music on the Whistle." A unique collection of the most popular tunes played in Ireland... and throughout the world. Complete with 400-track downloadable audio of each tune played at moderate tempo on tin whistle - over 5 hours of music! Download details on copyright page of book. These tunes are suitable for all melody instruments - tin whistle, flute, fiddle, uilleann pipes, accordion, concertina, banjo, mandolin, harp - and feature widely-played session standards as well as less common tunes. All the main tune types are represented - jigs, reels, hornpipes, slip jigs, set dances, polkas, slides, barn dances, marches, waltzes, carolan tunes, mazurkas and flings.

The playback of recordings is the primary means of experiencing music in contemporary society, and in recent years 'classical' musicologists and popular music theorists have begun to examine the ways in which the production of recordings affects not just the sound of the final product but also musical aesthetics more generally. Record production can, indeed, be treated as part of the creative process of composition. At the same time, training in the use of these forms of technology has moved from an apprentice-based system into university education. Musical education and music research are thus intersecting to produce a new academic field: the history and analysis of the production of recorded music. This book is designed as a general introductory reader, a text book for undergraduate degree courses studying the creative processes involved in the production of recorded music. The aim is to introduce students to the variety of approaches and methodologies that are currently being employed by scholars in this field. The book is divided into three sections covering historical approaches, theoretical approaches and case studies and practice. There are also three interludes of commentary on the academic contributions from leading record producers and other industry professionals. This collection gives students and scholars a broad overview of the way in which academics from the analytical and practice-based areas of the university system can be brought together with industry professionals to explore the ways in which this new academic field should progress.