American Fiddle Tunes for Solo and Ensemble: Violin 1 and 2 with piano accompaniment included

Good selection!! The only thing that’s kind of weird is that the violin parts are bound in the same book as the piano accompaniment. So if I want to play with a pianist I will have to cut it in half. But the arrangements are solid, simple and beautiful.

I haven't had time to play these, but they look great. I downgraded it a little because it is so hard to keep these kinds of books open. I will probably take it to an office store and have them put a spiral binding so I can keep it open.

Loved it. Bought this for a gift for friends who play the violin in Greece and wanted to learn American music. It was the perfect gift

Good book.

My book was printed off no cover in it. What a joke😡

Craig Duncan holds a Bachelor of Music degree from Appalachian State University in Boone, North Carolina. An Adjunct Professor of Fiddle at the Belmont School of Music in Nashville, Tennessee, Duncan has interest in both classical and traditional styles of playing. His "American Fiddle Tunes for Solo and Ensemble" series for violins actually include two books. The first has the music notation for two violin parts in 16 common North American fiddle tunes like Cripple Creek, Old Joe Clark, Cottoneyed Joe, Flopeared Mule, Mississippi Sawyer, and Red Wing. Each has the theme and a variation. The second booklet includes both violin parts along with the piano accompaniment. With other books in the series, even more combinations are possible.The arrangements allow music readers to play these tunes in configurations from solo to full string chamber orchestra. Some Cajun offerings include Bayou Pon Pon and Jolie Blonde. Other orchestrated tunes include Bonaparte's Retreat, Eighth of January, Going to Boston/On the Road to Boston, Goodbye Liza Jane, Home With the Girls in the Morning, Rose Tree/Over the Waterfall. Another book in the series is available for viola, third violin, and piano. One for cello, bass, and piano is also available. When these tunes are played by classically trained musicians in ensembles, however, I caution them to occasionally look beyond the written page for inspiration and to discover the heart, soul and emotional consciousness of these traditional tunes. Written music for ensembles to play traditional tunes together often misses the mark on that count and is simply not able to fully convey the music's sentinence. (Joe Ross, staff writer, Bluegrass Now)