The twenty-five pieces in this collection date back to 18th and 19th century Scotland. Included are song and fiddle airs, strathspeys, reels, jigs, a hornpipe and the sword dance. the pieces are arranged for viola and cello with guitar chords. Since the viola generally has the melody, the pieces can also be played by solo viola. the music of Scotland is unique. the airs have their own special beauty, and the dances are fun to play with lively tempos, dotted rhythms, and sudden key changes. This music has been the pleasure of country fiddler and pipers. Now violists and cellists, and their listeners, can feel themselves transported to the Lowlands and Highlands of Scotland.Twenty-five pieces dating back to 18th and 19th century Scotland.Includes song and fiddle airs, strathspeys, reels, jigs, a hornpipe and the sword dance.Since the viola generally has the melody, the pieces can also be played by solo viola, and guitar chords are included.The airs have a special beauty and the dances are fun to play, with lively tempos, dotted rhythms, and sudden key changes.

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.

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.

This book presents the most widely played fiddle tunes in easy-to-read arrangements for viola. The viola edition features the same tunes in the same keys as the author’s original The Fiddlin’ Workshop and The Fiddlin' Workshop for Cello, so all three instruments could conceivably jam together. Designed for beginning through intermediate players, the arrangements progress in difficulty with each tune. A few tunes are presented in both easier and more challenging versions. In addition to helpful hints on fingerings and bowing, this collection contains suggested guitar accompaniment chords and a bit of fiddlin’ history and related folklore. Includes access to an excellent online audio recording of the book’s tunes and variations.

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.

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 book, with accompanying video, is the second and final volume in the Glengarry Collection of Aonghas Grant's Highland fiddle repertoire. The book contains 188 additional slow airs, marches, strathspeys, reels, jigs and hornpipes. Accompanying stories, history and photographs provide additional background to the tunes. This collection focuses on the core of Grant's music - Highland fiddling, and its connections to pipe tunes and Gaelic songs. Some of these tunes have never been published before, while others are only available in out-of-print books and pipe settings. The collection also includes a number of tunes composed by Grant, and ones composed in his honor. The tunes are fully chorded in a style representative of Grant's band experience. Transcriptions of his bowings, grace notes and stories provide insight into his playing style. Accompanying photos richlyillustrate Grant's music, including images of musicians, family, and scenes from his various careers. The accompanying video download available online includes recordings of Grant's impromptu and passionate performances, featuring 81 selections