Learn to play twelve classics of the Folk guitar repertoire, all specially arranged from the original recordings, in the original keys, in guitar tab and standard notation. Includes full lyrics, chord symbols, guitar chord boxes and a biography on each artist. / Guitare
SKU: CL.023-4233-01
A great concert/festival work for the young band by well known composer Robert W. Smith, Appalachian Folk Dance is a lively work inspired by the folk songs and dances of the early American pioneers. Using only the first six notes introduced in most band methods, Appalachian Folk Dance gives the young and developing band a strong musical experience while reinforcing skills and concepts introduced in their band method. The band and the audience will love the interactive call and response with the percussion section! An exceptional teaching tool for beginning bands everywhere!
SKU: HL.123197
UPC: 884088955649. 5x5 inches.
This American folk hymn became an anthem of the pioneers, reflecting the courage of a growing nation. This setting for younger choirs offers well-crafted, layered voice parts, and alternates between a more flowing, expressive verse and the rhythmic, fervent refrain, building in anticipation to the final chorus with soaring descant. Superb for contest, honor choirs and festivals! Available separately: 3-Part Mixed, 2-Part, VoiceTrax CD. Duration: ca. 2:40.
SKU: FJ.FJH2367
ISBN 9781619283503. UPC: 241444437216. English.
This collection focuses on American folk songs, folk ballads, and popular songs that feature adventurous women-the pioneers, the trailblazers, the sweethearts. Primo is stacked on top of Secondo part; most are about 60 measures in length with the melody moving between each part. Some titles are: Sweet Betsy from Pike; The Yellow Rose of Texas; Oh! Susanna; and more. This book is interesting and well written-a good source for recital material.
SKU: CF.YAS113
ISBN 9780825889547. UPC: 798408089542. 8.5 x 11 inches. Key: D major.
You will hear the clicking of horse hooves and the sounds of the old west in this setting of a standard American folk song. Virginia Croft draws from her experience as a longtime music educator to write pleasing arrangements of popular folk songs like this one. She has a knack for bringing out the true beauty of the song in an authentic way. All sections of the orchestra get a chance to shine in Red River Valley.This is one of those love songs which traveled west with the pioneers, and thus the Bright Mohawk Valley of New York State became the Red River Valley. Attention to the unrelenting rhythm of the horses’ hooves (and the suggested sound effects which complement this) will bring this beautiful, poignant melody to life for both your performers and your audiences. NB: This tune, played and sung up-tempo, is also used as a well-known square dance.
About Carl Fischer Young String Orchestra Series
Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:--Occasionally extending to third position--Keys carefully considered for appropriate difficulty--Addition of separate 2nd violin and viola parts--Viola T.C. part included--Increase in independence of parts over beginning levels
SKU: HL.49015105
ISBN 9781423442103. UPC: 884088247980. 305 X 229 inches. Latin.
Based on an early American fiddle tune, Grainger created a setting as he describes that aims at preserving a pioneer blend of lonesome wistfulness and sturdy persistence. The 16-measure melody is fully explored and developed in a variety of harmonizations and instrumental colors, and is particularly noteworthy for the extensive use of tuneful percussion (bells, chimes, xylophone, marimba) as well as important parts for piano and harp. This publication brings back the classic 1967 edition arranged for band by Glenn Cliffe Bainum. (Grade 4) Dur: 6:00Based on an early American fiddle tune, Grainger created a setting as he describes that aims at preserving a pioneer blend of lonesome wistfulness and sturdy persistence. The 16-measure melody is fully explored and developed ina variety of harmonizations and instrumental colors, and is particularly noteworthy for the extensive use of tuneful percussion (bells, chimes, xylophone, marimba) as well as important parts for piano and harp. This publicationbrings back the classic 1967 edition arranged for band by Glenn Cliffe Bainum. (Grade 4) Dur: 6:00Based on an early American fiddle tune, Grainger created a setting as he describes that aims at preserving a pioneer blend of lonesome wistfulness and sturdy persistence. The 16-measure melody is fully explored and developed in a variety of harmonizations and instrumental colors, and is particularly noteworthy for the extensive use of tuneful percussion (bells, chimes, xylophone, marimba) as well as important parts for piano and harp. This publication brings back the classic 1967 edition arranged for band by Glenn Cliffe Bainum. (Grade 4) Dur: 6:00Based on an early American fiddle tune, Grainger created a setting as he describes that aims at preserving a pioneer blend of lonesome wistfulness and sturdy persistence. The 16-measure melody is fully explored and developed in a variety of harmonizations and instrumental colors, and is particularly noteworthy for the extensive use of tuneful percussion (bells, chimes, xylophone, marimba) as well as important parts for piano and harp. This publication brings back the classic 1967 edition arranged for band by Glenn Cliffe Bainum. (Grade 4) Dur: 6:00Based on an early American fiddle tune, Grainger created a setting as he describes that aims at preserving a pioneer blend of lonesome wistfulness and sturdy persistence. The 16-measure melody is fully explored and developed in a variety of harmonizations and instrumental colors, and is particularly noteworthy for the extensive use of tuneful percussion (bells, chimes, xylophone, marimba) as well as important parts for piano and harp. This publication brings back the classic 1967 edition arranged for band by Glenn Cliffe Bainum. (Grade 4) Dur: 6:00.
SKU: PR.144407530
ISBN 9781491136614. UPC: 680160687992.
A violinist herself, Lauren Bernofsky has described SONATA FOR SOLO VIOLIN as drawn from autobiographical inspiration, including gestures from Bachâ??s beloved Partita in E Major. Bernofsky opens with a Preludio movement whose references to Bach may be disguised, but they are surely lurking. The second movement is lusciously contrapuntal with the idiomatic finesse of a violinist composing for her own instrument, while musically journaling the emotional pain of living through 2020. The third and final movement is aptly marked â??white-hot,â? and the music certainly is.My SONATA FOR SOLO VIOLIN was commissioned by violinist Megan Healy as part of The Maud Powell Project, which celebrated the 100th anniversary of the ratification of the 19th Amendment. The project included the creation of five new works for solo violin inspired by and dedicated to the memory of pioneering American violinist Maud Powell (1867-1920). Healy premiered the sonata on May 8, 2021 at PianoForte Studios in Chicago.Among the works Powell most frequently performed in her recitals was the â??Preludioâ? movement from Bachâ??s E major Partita, and I decided to refer to that music in my own first movement, also titled â??Preludio.â? The beginning subtly reflects Bachâ??s opening three-note motive, wherein the music dips down a semitone and then comes back up. This melodic material returns throughout the movement in various forms. I also refer to Bachâ??s sixteenth-note dominated texture, and the gesture in the third measure, which outlines a perfect fifth and then fills it in with notes that alternate between a scale and a pedal tone. The corresponding passage in my piece occurs in the same place, measure 3. Apart from these references to Bach, my sonata is much more modern sounding, especially in its chromatic character.I was still thinking of Bachâ??s solo violin writing while composing the second movement, particularly the polyphonic nature of the slow movements, where the melodic interest moves around between the voices. Emotionally, I wanted my movement to reflect the acute sadness I had been experiencing over the political and social situation in the United States as I wrote the piece. I realized that this is a historically noteworthy time in U.S. history, marked not only by political unrest, but also by a challenge to the very values that I consider essential to what makes a person fundamentally human. I wanted to create a record of that pain in my music.The final movement is marked â??White-hot.â? It is imbued with a relentless, passionate intensity. Wanting again to reflect aspects of our own time, I included glissandi that refer to rock music, specifically the â??fall-offsâ? I frequently hear played by electric guitarists. I borrowed from another (completely different) musical tradition as well, one that is near-and-dear to my heart: Klezmer. Klezmer (Eastern European Jewish folk music) is characterized in part by scales colored by augmented seconds, and is often performed by solo instrumentalists who improvise embellishments like quick grace notes. The second, more lyrical theme in this movement is my nod to Klezmer style.While this piece is an homage to Maud Powell, I also think of it as my own musical autobiography, as it combines some of my favorite aspects of music, and is played on my own instrument.
SKU: HL.4003289
UPC: 884088864170. 9x12 inches.
Commissione d by the Oshkosh (nickname “Sawdust City”) Area Community Band for their 25th anniversary, Sawdust City Celebration presents varied and creative settings of early American folk tunes commonly heard during Wisconsin's pioneer days. With styles ranging from dramatic and powerful to lighthearted and lyrical, this is a rich-sounding and impressive work for the concert stage. Duration: 5:50.
SKU: AP.6-832953
ISBN 9780486832951. UPC: 800759832958. English.
Musicologi st and writer Samuel Charters (1929--2015) considered blues lyrics a profound cultural expression that could connect all people who love poetry. A pioneer in the exploration of world music, Charters conducted research that brought obscure musicians of the American South and Appalachia into the mainstream. In this landmark volume, the noted blues historian and folklorist presents a rich exploration of blues songs as folk poetry, quoting lyrics by such legends as Son House and Lightnin' Hopkins at length to reveal the depth of feeling and complex literary forms at work within a unique art form.
