Echo Song

Das Liederspiel. Par HUMPERDINCK ENGELBERT. When Engelbert Humperdinck’s fairy tale opera Hänsel und Gretel was premiered on 23 December 1893 in Weimar conducted by Richard Strauss, the work could look back on an extensive history of origin. Humperdinck’s younger sister Adelheid Wette (born in 1858) had displayed a great interest in literature in her youth and written a variety of poems for special occasions. In 1888, she wrote a fairy tale entitled Schneewittchen [Snow White] and her brother supplied some songs for this piece. Further fairy tale collaborations followed which were customarily performed within the family circle, and the first draft of the Hänsel und Gretel was begun in 1890. Adelheid’s husband would be celebrating his 34th birthday on 16 May of this year and his wife intended to surprise him with a performance of her version of this fairy tale. Her brother was allotted the task of composing the accompanying songs and, a month before the birthday, she wrote a letter to him in Mainz where Engelbert Humperdinck was among other activities working as an editor for the Schott publishing house, ordering a “very pretty folkloric” Tanzlied [Dance song], a Waldlied [Forest song] (or Echolied [Echo song]), a Schlummerlied [Lullaby] and a Kickericki-Lied [Cock-a-doodle-doo song] from her “dear sugar-sweet little brother... Engel-Bärtchen [angel beard]”. She enclosed the corresponding verses with the letter and “for fun” also provided her own invented melody for the Schlummerlied and rhythmic suggestions for the Tanzlied. Humperdinck went straight to work and, as related in an entry in his diary, was already able to play the songs to the director of the publishing house, Dr Ludwig Strecker, by 19 April. This was the history of origin of the four songs published for the first time edited in form of their original versions in this edition Brüderchen komm’ tanz’ mit mir, Wer ruft mir im Walde doch alles nach, In den Zweigen die Vögelein und Tirelireli! ‘s ist nicht mehr früh “for two children’s voices and piano accompaniment” (see manuscript1). In his reply letter to his sister in which the fair copy of the songs were enclosed, Humperdinck wrote: “As you see, the pitch of the melodies is not too high and I have incorporated your melodies. Let me know soon whether you like the little songs. By the way, the ‘cock-a-doodle-doo’ can also be sung on one note (E flat) instead of on the four notes of the chord.” The first performance of the song-play was held as planned within the family circle with Wettes’ two eldest daughters in the two principle roles. Spurred on by the success of the family performance, initial plans were forged to adapt the song-play into a singspiel with numerous musical numbers and rhymed dialogues; Hermann Wette participated in a draft of the text. The particell of this singspiel had been completed by Christmas 1890. Hugo Wolf and a few others however advised the composer to extend the singspiel into a through-composed fairy tale opera. Humperdinck followed this advice and worked on what he ironically termed as a “Kinderstubenweihfestspiel“ [sacred festive play for the nursery] during the next two summers in Bayreuth. Tanzliedchen [Dance song] and Morgenweckruf [Cock-a-doodle-doo song] were eventually included in the opera in a modified form. / Niveau : Intermédiaire / Répertoire / 2 Voix et Piano

Now you can play over 250 of your favorite songs from Broadway, movies and television, all in one book! This book provides the lyrics along with piano and chord arrangements for some of the greatest hits ever written for the stage and screen. / Miscellaneous, Scores, Songbooks / Recueil / Piano, Voix, Guitare et Clavier

Elgar was pre-eminently the composer of large forms. Complex, lengthy development of musical ideas was for him a measure of genius. His songs, with the exception of the orchestral cycle Sea Pictures , were not often the vehicles for his most striking ideas. Paradoxically, he was also bedevilled by a fine literally taste. He once told a friend that he felt it better to set the best second-rate poetry to music, for the most immortal verse is music already. Some of his songs are therefore settings of poets now all but forgotten, such as Arthur Salmon and Gilbert Parker: to their verse his music might make a vital addition. Elgar's songs offer authentic Edwardian reflections which we can value now in their own terms. These songs are full of echoes of a master's thoughts - and especially in the songs written for the stage - flashes of his genius. / Chant Et Piano

Echo Songs and Activities for Young Singers-Hello-oooo! Hello-oooo! Help young singers develop their listening and pitch matching skills while reinforcing basic music concepts ? and have fun doing it!! These ?educational echos? will motivate students torespond to common patterns of sound that involve pitch direction high/low loud/soft intervals sequence steady beat and more! Students will also develop motor skills and beat awareness with simple movement sequences for eachsong and expand learning with fun extension activities. This creative collection of 36 echo songs includes melody lines with chord symbols and a sing-along CD for hands-free teaching and assessment options. Available: Book/CD Pak(with reproducible pages). For Gr. K-3.

Par BAY WILLIAM. This is a collection of 28 original guitar solos by William Bay?a portrait of growing up and living in the Midwestern United States. Echoed in each piece are the melodies of sprawling farmlands, wooded hills and valleys, freshwater streams, small towns and villages. Together, these songs awaken a memory of what many refer to as the American heartland.Includes access to online audio of all the solos recorded by the author. Written in standard notation and tablature. / Date parution : 2022-09-14/ Tablatures / Guitare

Alfred's Best series centers around impeccable piano/vocal/guitar arrangements of the most loved and recognizable songs in modern music. Best Top 40 Songs: 38 Hits from the '90s to the Now highlights tunes from such varied artists as Bruno Mars, Aerosmith, Evanescence, Sheryl Crow, Carrie Underwood, The Verve, and more. / Piano/Vocal/Guitare (PVG)

An exciting addition to Alfred Music's I Sing, You Sing echo song series. These 30 call and response songs encompass a wide variety of subjects, including: important everyday lessons (like crossing the street and answering the telephone), music class fundamentals (like the instruments of the orchestra and major vs. minor), and cross-curricular reinforcements (like identifying the continents and multiplying by two). Singers may echo the leader provided on the SoundTrax CD or take turns being leaders themselves---two versions of each song are included on the recording. Recommended for grades K--4. Chord symbols and suggested classroom activities are provided. / Voix

Develop independent singing and listening skills in your young students with this delightful collection of 41 echo songs. You sing the melody they sing it back. Or take turns assigning different soloists or groups of 'leaders' and 'followers.' Students may also echo the leader provided on the split-track CD. Includes songs in various styles for mornings and afternoons seasons and holidays hellos and good-byes rhymes scales solfege and more. Plus each song has a page full of suggested activities and teaching suggestions. Chord symbols are provided. Grades K-3.

Instrument : violin Type : performance book Nombre de Pages : 24 Part 2 of Sheila Nelson's Tetratunes Series. Stringsongs develops reading skills begun in Tetratunes, by the use of singing and part-playing. The edition is part of the ABRSM syllabus (grade 2). Content : Anon: Sound for us - Traditional: London's burning - Sheila M. Nelson: Drummer's march - Traditional: Fiddle and flute - Anon: Favourite round - T.H. Bayley: Long, long ago - Traditional: My dame hath a lame, tame crane - Thomas Tallis: Tallis' canon - Sheila M. Nelson: Summer song - Anon: Summer is a-coming in - Sheila M. Nelson: Echo dance - Anon: Ave Maria - Sheila M. Nelson: Idle cowboy - Traditional: Three blind mice - G.F. Handel: Gavotte - Sheila M. Nelson: I sing when I'm happy - Philip Hayes: The rose - Anon: Oh, how lovely is the evening - Sheila M. Nelson: Rumba time - John Jenkins: A boat, a boat - John Arnold: Haste thee, nymph - L. van Beethoven: The flower wondrous-fair - John Hilton: Come, follow - Anon: O my love - Country dance: The four posted bed - Johann Strauss: Emperor waltz - R.A. Eastburn: Little brown jug