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Vous avez sélectionné:
The Real American Folk Song
Partitions à imprimer
64 partitions trouvées
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The Story Of Reuben Clamzo & His Strange Daughter
The Story Of Reuben Clamzo & His Strange Daughter
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Chorale TTBB
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FACILE
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Arlo Guthrie
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Craig Hanson
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The Story Of Reuben Clamzo &am
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Edition Craig Hanson
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SheetMusicPlus
Choral Choir (TTBB) - Level 2 - SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edi...
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Choral Choir (TTBB) - Level 2 - SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
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The Unquiet Grave from American Death Ballads (Downloadable)
The Unquiet Grave from American Death Ballads (Downloadable)
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Voix haute
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David Conte
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The Unquiet Grave from America
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
High voice and piano - Moderately Difficult - SKU: MQ.8454-2E Composed by David Conte. Secular, 21st century. Instrument part. 6 pages. E. C. Schirmer M...
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High voice and piano - Moderately Difficult - SKU: MQ.8454-2E Composed by David Conte. Secular, 21st century. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8454-2E. Published by E. C. Schirmer Music Company - Digital (MQ.8454-2E). English.American Death Ballads was composed especially for tenor Brian Thorsett. We have been frequent collaborators since 2011, when he premiered the complete set of my Three Settings of W. B. Yeats for string quartet and tenor. At his urging, I transcribed and published my Three Poems of Christina Rossetti (originally for medium voice) for high voice, which he premiered at the San Francisco Conservatory in 2014. American Death Ballads was premiered by him at the San Francisco Conservatory, November 1, 2015, with pianist John Churchwell, and at the National Association of Teachers of Singing (NATS) Conference in Chicago, July 10, 2016, with pianist Warren Jones.The choice of texts for my American Death Ballads was inspired partly by Copland’s Old American Songs, which I deeply admire, but more by my dear friend and colleague the late Conrad Susa’s Two Murder Ballads. The ingenuity of Susa’s accompaniments for his ballads in imagining anew the original source material owes a great deal to Copland’s accompaniment for his songs. Though the content of my songs is completely original and not based on preexisting melodies, I have tried to expand on this further, as the texts are much longer, and go through many different moods and characters. The four texts I chose include stories about murder, death, and dying. Though two of the texts were written in England, they traveled to the colonies almost immediately. The subjects of the texts had spent time in America, and their stories were well known to Americans.Wicked Polly is a cautionary tale. Polly has lived a dissolute and immoral life, saying, 'I'll turn to God when I grow old.' Suddenly taken ill, she realizes that it is too late to repent. She dies in agony and is presumably sent to hell; young people are advised to heed. My musical setting is stately and preacherly in character for the narrator; for Polly it becomes pleading and remorseful. The Unquiet Grave was brought to the attention of Alan Lomax, the great American field collector of folk music, by English folk singer Shirley Collins. The text is taken from an English folk song dating from 1400. In The Unquiet Grave, a young man mourns his dead lover too fervently and prevents her from obtaining peace. The dead woman complains that his weeping is keeping her from peaceful rest. He begs a kiss; she tells him it would kill him. When he persists, wanting to join her in death, she explains that once they were both dead their hearts would simply decay, and that he should enjoy life while he has it. My setting is in a flowing Andante with a rocking accompaniment. Three voices are delineated here: the narrator, the mournful lover, and the dead lover speaking from the grave. The Dying Californian first appeared in the New England Diadem in 1854. Its lyrics are based on a letter from a New Englander’s sailor to his brother who is dying at sea while on the way to California to seek his fortune in the California gold fields. He implores his brother to impart his message to his father, mother, wife, and children. My setting opens with the singer alone in a moderate dirge tempo, then, joined by the piano, moves through many tonalities and moods before ending with supreme confidence as the speaker 'gained a port called Heaven/Where the gold will never rust.'Captain Kidd was a Scottish sailor who was tried and executed for piracy and murder in 1701. The American connection to this ballad is that Kidd escaped to America and for a time lived in New York and Boston, though he was a wanted criminal by the British authorities and was extradited to Britain, where he was hung at 'Executioner’s Dock.' The lyric was printed in Britain in 1701, traveling to the colonies almost immediately. Though the didactic tone of the text is similar to Wicked Polly, it expresses no regret until the final lines: 'Take warning now by me, and shun bad company, / Lest you come to hell with me, for I must die.' My setting is fast and spirited, expressing the confidence of a man who lived life as he wanted. -David Conte.
$3.50 ≈
3.13€
Latin-American Folk Music for Classic Guitar
Latin-American Folk Music for Classic Guitar
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Guitare
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INTERMÉDIAIRE
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Latin/Musique du monde
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Guillermo Diego
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Latin-American Folk Music for
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Guitar - Intermediate - Advanced - Composed by Guillermo Diego. Latin American. E-book. 36 pages. Mel Bay Publications - Digital Sheet Music #30826EB....
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Guitar - Intermediate - Advanced - Composed by Guillermo Diego. Latin American. E-book. 36 pages. Mel Bay Publications - Digital Sheet Music #30826EB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781513455044.
The presentation of this album marks a special event in classic guitar publishing! This anthology contains 11 truly representative examples of the folklore of Latin America, all highly revered folk songs considered jewels of the musical traditions of: Argentina, Bolivia, Colombia, Chile, Ecuador, Panama, Peru, Uruguay, Venezuela and Mexico. Artfully arranged by the renowned Mexican composer and guitarist, Guillermo Diego, students and professionals alike will discover multiple items of interest and important technical challenges while learning some of the most popular Latin-American folk tunes. To facilitate dialog between teacher and student, rehearsal numbers have been added at key points of each arrangement; additionally, the guitarist will find a handful of pieces faithful to various Latin-American styles composed by Diego. Written in standard notation only for the intermediate to advanced classic guitarist, these arrangements will make delightful additions to recital and concert programs. La presentacion de este album es una buena nueva para la guitarra; se trata de la publicacion de una antologia sumamente representativa de obras pertenecientes al Folklore latinoamericano, piezas por demas apreciadas y consideradas joyas de la tradicion musical. La musica incluida en este album abarca los siguientes paises: Argentina, Bolivia, Colombia, Chile, Ecuador, Panama, Peru, Uruguay, Venezuela y Mexico. Los arreglos, realizados de forma artistica y amorosa fueron realizados bajo el tamiz y experiencia del reconocido compositor y guitarrista mexicano, Guillermo Diego. Tanto estudiantes como profesionales, encontraran multiples puntos de interes y retos tecnicos importantes al abordar piezas notables de la musica latinoamericana.Como un elemento extra y para lograr el estudio mas eficaz de estas obras entre profesor y alumno, cada pieza cuenta con Numeros de Ensayo; adicionalmente, el guitarrista encontrara un punado de piezas fieles a diversos estilos latinoamericanos compuestas por Diego. Musica Tradicional Latinoamericana para Guitarra de Concierto, sin duda, una novedad para el mundo de la guitarra que aportara a los programas de concierto deliciosos ejemplos de la musica de America Latina.
$12.99 ≈
11.60€
REAL AMERICAN FOLK SONG, THE (IS A RAG)
REAL AMERICAN FOLK SONG, THE (IS A RAG)
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Chorale TTBB
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INTERMÉDIAIRE
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Folklorique/Traditionel
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George and Ira Gershwin
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Walter Latzko
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REAL AMERICAN FOLK SONG, THE
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Latzko Muzic
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SheetMusicPlus
Choral Choir (TTBB) - Level 3 - SKU: A0.871720 Composed by George and Ira Gershwin. Arranged by Walter Latzko. Traditional. Octavo. 4 pages. Latzko Muzi...
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Choral Choir (TTBB) - Level 3 - SKU: A0.871720 Composed by George and Ira Gershwin. Arranged by Walter Latzko. Traditional. Octavo. 4 pages. Latzko Muzic #5325625. Published by Latzko Muzic (A0.871720). WONDERFUL, LITTLE-KNOWN 1918 ARRANGEMENT OF A GREAT GERSHWIN SONG.
$6.99 ≈
6.24€
The Four Seasons in the Basque Country
The Four Seasons in the Basque Country
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Orchestre d'harmonie
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Gregory Fritze
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The Four Seasons in the Basque
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Musica Nova USA
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SheetMusicPlus
Concert Band - SKU: A0.917412 Composed by Gregory Fritze. 20th Century,Contemporary,Folk. Score and parts. 370 pages. Musica Nova USA #6321277. Publishe...
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Concert Band - SKU: A0.917412 Composed by Gregory Fritze. 20th Century,Contemporary,Folk. Score and parts. 370 pages. Musica Nova USA #6321277. Published by Musica Nova USA (A0.917412). The Four Seasons in the Basque Country is a 4 movement symphony for concert band. It is the Third Prize Winner of the 2020 American Prize in Composition - Concert Band. Grade 5, duration 27 minutes. The piece depicts four different places in the Basque country that the composer feels best show the changes of season. The first movement is Winter in the Costa Norte (Galerna). Galerna is on the northerncoast and is subject to harsh storms in the winter. As the piece starts off with a light-hearted dance in thepiccolo, a storm is approaching from afar. At first the storm seems to be in the distance but as it comes closer it overtakes the festivities in a bluster. For a short time two conductors are needed as the concertband is split into two groups – one showing the light-hearted dance led by the piccolo, the other thecacophony of the storm led by the percussion. The storm overtakes everything as it ends the movement with a flourish.The second movement Spring in Rioja Alavesa is a calming contrast to the first movement like the freshness of a spring day. The sun rises and shines beams of light onto the acres of grape vines. After a timea short rain comes to refresh and clean the plants.The third movement Autumn at the Guggenheim Museum is in a traditional 3rd movement form of a symphony, minuet and trio, but the harmonies sometimes use bitonality, having the melody in one key while the accompaniment is in another to suggest surrealism. The Guggenheim Museum in Bilbaois one of the world’s most famous museums, not only for the surreal art inside, but also because of the architecture of the building itself.The fourth movement Summer in Bilbao is based on a dance melody composed in the Ezpata- dantza Basque style. It employs a rhythmic element with alternating 6/8 and 3â„4 meters where the eighth notes are basically equal, but in the dance the 3â„4 meter is actually a little bit longer. This type of subtlemanipulation of rhythm is used similarly in the Viennese Waltz, when the 3rd beat would be stretched outto accommodate the dancers. The Ezpata-dantza dance continues until the Altza Gastiak, the officialsong of the Bilbao Athletic Club, the local soccer team of Bilbao, is heard. After this the Ezpata-dantzamelody is transformed from a happy dance to a triumphant melody and rousing finale.In The Four Seasons in the Basque Country all of the themes are original except for the short excerpt ofAltza Gastiakin the 4th movement. Some themes are composed in the style of Basque folk dances.Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer. He recently retired from Berklee College of Music where he was Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over one hundred compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world. Many of his compositions are available on ITunes, Youtube and Soundcloud.He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanishcomposers around the world. He is the only composer who has been commissioned six times by Spanishbands for Certamen competitions, with each band winning first prize.His compositions are recorded on Albany Records, MSR Classics, Crystal Records, Mark Recordsand others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University.He now resides in Daytona Beach Shores, Florida
$100.00 ≈
89.33€
American West Folk Suite
American West Folk Suite
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Orchestre d'harmonie
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INTERMÉDIAIRE
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David Ahrens
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American West Folk Suite
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Baseline Music Publishing
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.1294499 Composed by David Ahrens. 21st Century,Classical,Contest,Festival,Folk,Historic. 119 pages. Baseline Music Publ...
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Concert Band - Level 3 - SKU: A0.1294499 Composed by David Ahrens. 21st Century,Classical,Contest,Festival,Folk,Historic. 119 pages. Baseline Music Publishing #884874. Published by Baseline Music Publishing (A0.1294499). A setting of three classic American folk songs for Wind Band. Transport your audience back to the “Old West†as you cross the nation by covered wagon to join the California Gold Rush, move a herd of cattle over the plains to new grasing lands, and be a part of the adventure of early rail commerce.Price discounted on my website “Sweet Betsy from Pike†is a comic folk ballad chronicling the trials and successes of Betsy, a mid-19th century pioneer woman, as she migrates from (perhaps) Pike County, Missouri (or Illinois) to the California Gold Rush town of Placerville (known colloquially as ‘Hangtown’). The journey across the Wild West was full of hardship, peril, and loss This song battles the very real struggles with levity and humor. It was first published in 1858.“Git Along, Little Dogies†is a cowboy ballad, also known as “Whoopie Ti Yi Yoâ€. While likely older, the first mention of the song was in author Owen Wister’s 1893 journal. It was first published in 1910. “Dogies†is a reference to small or orphaned calves. The narrative of the song quotes a cowboy singing to the slow or stray dogies as they move along the cattle drive to Wyoming.“Rock Island Line†refers the Rock Island and La Salle Railroad company (established 1947) which soon after became the Chicago and Rock Island Railroad. When construction of the railroad arrived at Rock Island in 1854, it became the first to connect Chicago with the Mississippi River. This folk song references an encounter between an operator of a toll gate and a train engineer who is let through without paying by lying about his payload. Once safely through, he yells back his confession as the train speeds onward. The earliest known version of the song was published in 1929.Grade 3.5 Performance time: 10:00.
$95.00 ≈
84.87€
Jesus Christ the Apple Tree — SATB voices
Jesus Christ the Apple Tree — SATB voices
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Chorale SATB
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INTERMÉDIAIRE
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Todd Marchand
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Jesus Christ the Apple Tree &m
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Con Spirito Music
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SheetMusicPlus
Choral Choir,Choral,SATB Chorus - Level 3 - SKU: A0.1495196 Composed by Todd Marchand. A Cappella,Christian,Christmas,Folk,Sacred. 4 pages. Con Spirito ...
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Choral Choir,Choral,SATB Chorus - Level 3 - SKU: A0.1495196 Composed by Todd Marchand. A Cappella,Christian,Christmas,Folk,Sacred. 4 pages. Con Spirito Music #1071742. Published by Con Spirito Music (A0.1495196). Jesus Christ the Apple Tree is the commonly used title for a poem published under the heading Christ compared to an Apple-tree in the August 1761 issue of The Spiritual Magazine, a London periodical for Calvinist Baptists.Above the poem in the publication are words of its author:Gentlemen,Having spent some of my vacant time in the composition of short pieces of Divine Poetry, have sent you the following, by way of specimen; which, if thought worthy of a place in your magazine, shall communicate the others regularly. I am your well-wisher and constant reader, R.H.R.H. is today believed to most likely be the Rev. Richard Hutchins, a Calvinist Baptist clergyman then serving in Long Buckby, Northamptonshire. The poem's first known appearance in a hymnal, and in America, was in 1784 in Divine Hymns, or Spiritual Songs: for the use of Religious Assemblies and Private Christians compiled by Joshua Smith, a lay Baptist minister from New Hampshire. Because of its popularity in New England churches thereafter, it has often been wrongly attributed to an anonymous early American poet or to Smith.The poem may be an allusion to the apple tree in Song of Solomon 2:3 (As the apple tree among the trees of the wood, so is my beloved among the sons. I sat down under his shadow with great delight, and his fruit was sweet to my taste), which has been interpreted as a metaphor for Jesus. It also alludes to other descriptions of the tree of life in both the Old and New Testaments. Primitive yet profound, Jesus Christ the Apple Tree has been set to music by many composers, including a very popular setting by Elizabeth Poston (1905-1987). This new setting for unaccompanied SATB voices captures the rustic quality of the text with a rising-and-falling folksong-like melody, attractively harmonized. Voices realized by Cantamus (https://cantamus.app/)©Copyright 2024 Todd Marchand / Con Spirito Music (ASCAP). All rights reserved. For more sacred, folk, patritic, and popular music for instruments and voices, visit www.conspiritomusic.com
$2.99 ≈
2.67€
Folk Songs of Old Kentucky-Two Song Catchers in the Kentucky Mountains 1914 and 1916 - Appalacian Dulcimer
Folk Songs of Old Kentucky-Two Song Catchers in the Kentucky Mountains 1914 and 1916 - Appalacian Dulcimer
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Dulcimer
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Ralph Lee Smith
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Folk Songs of Old Kentucky-Two
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Dulcimer (mountain) - Beginning-Intermediate - SKU: M0.98423EB Two Song Catchers in the Kentucky Mountains 1914 and 1916 - Appalachian Dulcimer. ...
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Dulcimer (mountain) - Beginning-Intermediate - SKU: M0.98423EB Two Song Catchers in the Kentucky Mountains 1914 and 1916 - Appalachian Dulcimer. Composed by Ralph Lee Smith. Arranged by Ralph Lee Smith with Madeline MacNeil. Dulcimer: Mountain, Folk. Old Time. E-book. Mel Bay Publications - Digital Sheet Music #98423EB. Published by Mel Bay Publications - Digital Sheet Music (M0.98423EB). ISBN 9781609742645. 8.75x11.75 inches.This book provides 20 beautiful Anglo-American folk songs, field-collected by two remarkable real-life song catchers, Josephine McGill and Loraine Wyman, in the Cumberland Mountains of Kentucky in 1914 and 1916. Josephine and Loraine, the latter accompanied by Howard Brockway, a composer and arranger, were among the first persons to search for folk songs in the Southern Appalachians. The musical adventurers traveled hundreds of miles on horseback and on foot through an inaccessible world to which radios, roads and cars had not yet come. They made friends in isolated log cabins, and transcribed some 200 song treasures, some of which they published in complex arrangements in books that are now out of print and rare. This book contains a selection of the songs, presented with simplified musical notation, guitar chords, and dulcimer tablature. It also includes glowing accounts of their mountain adventures, published by Josephine and Howard in long-forgotten publications; a must for all lovers of American folk music.
$17.99 ≈
16.07€
The Lost Lady Found
The Lost Lady Found
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Arr
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Ray Thompson
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The Lost Lady Found
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RayThompsonMusic
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SheetMusicPlus
Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - SKU: A0.1251539 Composed by Arr. Michael Sweeney and Percy Aldridge Grainger. Arranged by Ray T...
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Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - SKU: A0.1251539 Composed by Arr. Michael Sweeney and Percy Aldridge Grainger. Arranged by Ray Thompson. 20th Century,Folk. 24 pages. RayThompsonMusic #845816. Published by RayThompsonMusic (A0.1251539). Lincolnshire Posy is a musical composition by Percy Grainger for concert band commissioned in 1937 by the American Bandmasters Association. Considered by John Bird, the author of Grainger's biography, to be his masterpiece, the 16-minute-long work has six movements, each adapted from folk songs that Grainger had collected on a 1905–1906 trip to Lincolnshire, England.In a similar fashion to these folk songs, many of the movements are in strophic form.This is my arrangement of No.VI. The Lost Lady FoundArranged symphonic wind dectet (double wind quintet) and bassA lilting 3/4 melody in strophic form. As the tempo is too fast for the conductor to gesture each beat of every measure, the movement is typically conducted in 1 where each gesture given by the conductor indicates a full measure instead of each beat. Every section of the ensemble states the theme at some point in the movement.This movement is based on the ballad of the same name,in which a lady, who while living with her uncle in a village is kidnapped by three Roma. After being missing for a long time, the villagers begin to speculate that the uncle is responsible for her disappearance, later imprisoning him and condemning him to death. At some point, the lady was found in Dublin by a young squire who loved her and was subsequently brought back to the village. Upon return to the village, the villagers, mere moments away from executing the uncle at the gallows, realized their error and set the uncle free, celebrating the lady's return with church bells (which are emulated by the tubular bells in the closing of the movement), music, and frivolity.As this movement was not yet completed at the time of the work's premiere, it was omitted for the performance.For Info:Green Bushes is an English folk song  which is featured in the second movement of Vaughan Williams's English Folk Song Suite, in Percy Grainger's Green Bushes (Passacaglia on an English Folksong), and in George Butterworth's The Banks of Green Willow. The melody is very similar to that of the Lost Lady Found movement.
$17.99 ≈
16.07€
Frontiers S.A.T.B. Five settings of American Cowboy Songs
Frontiers S.A.T.B. Five settings of American Cowboy Songs
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Chorale SATB
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David F Golightly
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Modrana Music Publishers Ltd
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Frontiers S.A.T.B. Five settin
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Modrana Music Publishers Ltd
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SheetMusicPlus
Choral Choir (SATB) - SKU: A0.966312 Composed by David F Golightly. Arranged by Modrana Music Publishers Ltd. Contemporary,Folk. Octavo. 54 pages. Modra...
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Choral Choir (SATB) - SKU: A0.966312 Composed by David F Golightly. Arranged by Modrana Music Publishers Ltd. Contemporary,Folk. Octavo. 54 pages. Modrana Music Publishers Ltd #3135883. Published by Modrana Music Publishers Ltd (A0.966312). No1 The Buffalo Skinners. No 2 Chisholm Trail No 3 Shenandoah. No 4 The Streets of Laredo. No 5 John Hardy. Commissioned 1994 by Hull Male Voice Choir recorded by The Soglasie Choir of St Petersburg. Score includes a CD recorded by Soglasie Male Voice Choir of St Petersburg. This is the S.A.T.B. version of these five American Cowboy Songs originally commissioned, recorded and sung by 'The Soglasie Male Voice Choir of St Petersburg on their 1995 23 concert tour of the UK. Only for the most advanced choir but if you like a challenge and enjoy an exciting new approach to traditional American Cowboy songs then these arrangements are for you. From the gentle relaxed approach to the setting of Streets of Laredo to the vibrant challenge of the setting of John Hardy these arrangements bring a freshness and originality to these cowboy songs. At $30 there represent real value, i.e $6 per setting. 44 pages of vibrant and rewarding choral music.
$30.00 ≈
26.80€
Turkey in the Straw For Two Saxophones
Turkey in the Straw For Two Saxophones
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2 Saxophones (duo)
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FACILE
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American Folk Song
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Jeremy Corcoran
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Turkey in the Straw For Two Sa
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LPC Publishers
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SheetMusicPlus
Instrumental Duet Alto Saxophone,Baritone Saxophone,Instrumental Duet,Soprano Saxophone,Tenor Saxophone - Level 2 - SKU: A0.714068 Composed by American ...
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Instrumental Duet Alto Saxophone,Baritone Saxophone,Instrumental Duet,Soprano Saxophone,Tenor Saxophone - Level 2 - SKU: A0.714068 Composed by American Folk Song. Arranged by Jeremy Corcoran. Concert,Folk,Standards. Score and parts. 1 pages. LPC Publishers #3037763. Published by LPC Publishers (A0.714068). Show off your top students with this American Folk Song. Play it slow, medium or fast and it will sound good. Stays in the comfortable range of the instrument. A real crowd pleaser.
$5.00 ≈
4.47€
The Real American Folk Song (is A Rag)
The Real American Folk Song (is A Rag)
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Chorale SSAA
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Comédie Musicale
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George Gershwin and Ira Gershw
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Becky Cartine
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The Real American Folk Song
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Becky Cartine
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SheetMusicPlus
Choral Choir (SSAA) - SKU: A0.1148065 Composed by George Gershwin and Ira Gershwin. Arranged by Becky Cartine. A Cappella,Barbershop,Broadway,Jazz,Music...
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Choral Choir (SSAA) - SKU: A0.1148065 Composed by George Gershwin and Ira Gershwin. Arranged by Becky Cartine. A Cappella,Barbershop,Broadway,Jazz,Musical/Show. Octavo. 5 pages. Becky Cartine #748258. Published by Becky Cartine (A0.1148065). Suitable for women's barbershop chorus or quartet ( TTBB ).
$1.99 ≈
1.78€
El Condor pasa - Peruvian Folk Song - Clarinet Quintet
El Condor pasa - Peruvian Folk Song - Clarinet Quintet
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Quintette de Clarinettes: 5 clarinettes
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INTERMÉDIAIRE
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Folklorique/Traditionel
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Traditional
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Thomas Graf
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El Condor pasa - Peruvian Folk
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Thomas Graf - the-hit-factory.com
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SheetMusicPlus
Clarinet, Woodwind Choir or Ensemble - Intermediate - Composed by Traditional. Arranged by Thomas Graf. World, Folk, South American. Score, Set of P...
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Clarinet, Woodwind Choir or Ensemble - Intermediate - Composed by Traditional. Arranged by Thomas Graf. World, Folk, South American. Score, Set of Parts. 18 pages. Published by Thomas Graf - the-hit-factory.com
Simon & Garfunkel have made the famous Peruvian folk song popular. This concert piece will surely be a real highlight of your next concert! Instrumentation: Clarinet 1/2/3 in Bb, Basset Horn/Clarinet 4 in Bb, Bass Clarinet in Bb Listen to the recording - a challenge for your ensemble. Check out our latest uploads: http://www.sheetmusicplus.com/publishers/thomas-graf-the-hit-factory-com/smp-press/3001412+1303131?N... Any individual arrangement and substitute parts are available on request. Call +49 (0) 172 2515987 E-Mail: info@the-hit-factory.com. www.the-hit-factory.com facebook: https://www.facebook.com/hitfactorymusic New catalog included (2016,9 pages) https://youtu.be/b73MpkZjftM.
$15.99 ≈
14.28€
El Condor pasa - Peruvian Folk Song - String Orchestra
El Condor pasa - Peruvian Folk Song - String Orchestra
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Orchestre à Cordes
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INTERMÉDIAIRE
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Folklorique/Traditionel
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Traditional
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Thomas Graf
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El Condor pasa - Peruvian Folk
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Thomas Graf - the-hit- factory.com
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SheetMusicPlus
String Orchestra - Intermediate - Digital Download Composed by Traditional. Arranged by Thomas Graf. World, South American, Easter, Anniversary, Bi...
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String Orchestra - Intermediate - Digital Download Composed by Traditional. Arranged by Thomas Graf. World, South American, Easter, Anniversary, Birthday. Score, Set of Parts. 14 pages. Published by Thomas Graf - the-hit- factory.com
Simon & Garfunkel have made the famous Peruvian folk song popular. This concert piece will surely be a real highlight of your next concert!
Instrumentation: Violin 1+2, Viola, Cello, Contra Bass
Listen to the recording - a challenge for your ensemble.
$25.00 ≈
22.33€
In the Evening by the Moonlight
In the Evening by the Moonlight
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Ensemble de cuivres
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INTERMÉDIAIRE
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James Bland
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F
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In the Evening by the Moonligh
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Sweetwater Brass Press
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SheetMusicPlus
Brass Ensemble - Level 3 - SKU: A0.817619 Composed by James Bland. Arranged by F. Leslie Smith. Folk,Spiritual,Traditional. Score and parts. 28 pages. S...
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Brass Ensemble - Level 3 - SKU: A0.817619 Composed by James Bland. Arranged by F. Leslie Smith. Folk,Spiritual,Traditional. Score and parts. 28 pages. Sweetwater Brass Press #424503. Published by Sweetwater Brass Press (A0.817619). James Alan Bland, composer of “In the Evening by the Moonlight,” was a prolific song writer. He is said to have created the words and music for more than 600 compositions. Born in 1854 to a free African American family in Flushing, New York, he made a name for himself as musician, composer and minstrel performer. Among his compositions were “Oh, Dem Golden Slippers,” “In the Morning in the Bright Light” and “De Golden Wedding.” His most famous song by far was “Carry Me Back to Old Virginny,” which the State of Virginia used as its official anthem for over 50 years. Bland, in keeping with his persona as a minstrel, wrote the lyrics to “In the Evening by the Moonlight” in dialect. Years passed and sensitivities changed, but the song’s poignant melody and basic sentiment survived. Latter day recordings, such as those by Bing Crosby and the Ray Charles Singers, dropped the dialect and objectionable terms. One of the most notable versions was by singer, pianist and civil rights activist Nina Simone, released in 1960 on the album Nina at Newport. This brass quintet version begins with the group instrumentally humming along under an eight-measure Horn in F introduction. The first statement of the melody initially takes the form of a partial call-and-response between a Trombone/Horn duo and Trumpet 1, then switches to an exchange between Trumpet 1 and Tuba. Next, the melody is repeated but in a rhythmic pattern reminiscent of the 1880 tune “Here Dem Bells”; Tuba plays counterpoint. Third time around, the melody is presented almost exactly as Bland wrote it and as Hitchcock’s Music Store published it in 1880. Finally, the tempo slows and the melody is presented as so many have sung it around campfires at YMCA, 4-H and other youth camps all over the country: softly and tenderly. The arrangement ends with a brief recapitulation of the introduction. There are no really difficult or tricky rhythms in this arrangement. Trumpet 1’s highest note, which occurs in Section D, is A above its staff; Tuba’s lowest, G below the staff. Otherwise, there are no exceptionally high or low notes. The piece opens in the key of F major then, about halfway through, changes to G major. Tempo opens with a suggested MM of 104, speeds up to 120, slows to 66, increases again to 122 and finally slows to 66. Completed in 2022, performance time runs about 4 minutes, 22 seconds. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge. He would also like to receive your suggestions, comments, corrections and criticisms. Contact him directly at lessmith61@bellsouth.net. For more arrangements by Les, enter "Sweetwater Brass Press" (without the quotation marks) in the SheetMusicPlus or Sheet Music Direct search box. (Also, purchase of this piece entitles you to your choice of another of his arrangements at no charge; send a copy of your purchase receipt directly to him at lessmith61@bellsouth.net.)
$7.95 ≈
7.10€
Listen to the Mocking Bird
Listen to the Mocking Bird
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Quatuor de Cuivres
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INTERMÉDIAIRE
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Music by Richard Milburn
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F
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Listen to the Mocking Bird
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Sweetwater Brass Press
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SheetMusicPlus
Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1148567 Composed by Music by Richard Milburn. Arranged by F. Leslie Smith. Country,Folk,Historic,Traditio...
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Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1148567 Composed by Music by Richard Milburn. Arranged by F. Leslie Smith. Country,Folk,Historic,Traditional. 27 pages. Sweetwater Brass Press #748729. Published by Sweetwater Brass Press (A0.1148567). Listen to the Mocking Bird was first published in 1855. The melody originated with Richard Milburn, a Philadelphia African-American who has been described variously as a panhandling busker and as a musically inclined barber. A songwriter and publisher by the name of Septimus Winner heard Milburn's tune, arranged it, added words, put it into print and claimed credit for its creation under the pseudonym Alice Hawthorne. Supposedly, Winner sold the rights to the song for five dollars. Listen to the Mocking Bird grew to be one of the most popular songs of the mid-19th century, a real hit. Its sheet music, by one estimate, sold more than 20 million copies. It was sung and performed particularly often during the Civil War, and troops used its melody as a marching tune. It remains somewhat of a standard and has been recorded numerous times, especially as a favorite of bluegrass musicians. In the lyrics, the singer is remembering his loved one. She has passed away but he recalls their good life together. They particularly enjoyed the call of the mocking bird, which even now is singing o'er her grave. This arrangement opens in E-flat major with Trumpet 1 introducing the sweetly sad melody, I'm dreaming now of Hally. After the introduction, the tempo picks up to allegro and whirls along. It does slow down several times, and there are four one-measure deviations from the 4/4 time signature: one 6/4, two 2/4s and one 1/4. At measure 65, the key changes to B-flat major for the finale. Trumpets 1 and 2 each play one A-above-their-staff eighth note as their highest pitch; the rest of the music stays well within the normal playing range of the five instruments. Completed in 2022, performance time runs about 3 minutes, 23 seconds. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge. He would like to receive your suggestions, comments, corrections and criticisms. For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the Sheet Music Plus or Sheet Music Direct search box. (Also, purchase of this piece entitles you to your choice of another of his arrangements at no charge; send a copy of your purchase receipt directly to him at lessmith61@bellsouth.net.)
$7.95 ≈
7.10€
Oh Shenandoah (for alto saxophone and piano)
Oh Shenandoah (for alto saxophone and piano)
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Saxophone Alto et Piano
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FACILE
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Americana
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Traditional
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Colin Kirkpatrick
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Oh Shenandoah
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Colin Kirkpatrick Publications
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SheetMusicPlus
Composed by Traditional. Arranged by Colin Kirkpatrick. Folk, Fourth of July, Anniversary, Wedding, Americana. Set of Parts. 9 pages. Published by Col...
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Composed by Traditional. Arranged by Colin Kirkpatrick. Folk, Fourth of July, Anniversary, Wedding, Americana. Set of Parts. 9 pages. Published by Colin Kirkpatrick Publications
This beautiful song is one of the most popular American folk songs, evoking images of the river life of yesteryear. It is sure to be a popular addition to your saxophone recital, or it would make an excellent encore piece. The top note is D (written) above the treble staff and the duration is 03:55.
As with most folk songs, there are many different versions of Shenandoah, and it?s impossible to determine the song?s exact provenance with any degree of certainty. It probably has its origins among the French Canadians who traded with Native Americans around the Great Lakes during the sixteenth century. In most versions of the song, the lyrics tell of a seafarer, possibly a canoeing fur-trader, who was in love with the daughter of Shenandoah, a Native American Chief who lived in what is now the state of Virginia. Shenandoah was a real person: an individual of commanding presence who lived for over a hundred years.
Sailors heading down the Mississippi picked up the song and made it a capstan shanty, which they sang while hauling in the anchor. By the mid-1800s versions of the song were heard almost everywhere the clipper ships ventured. Shenandoah was one of the most popular capstan shanties, a slow song which set a manageable pace for the crew in a heavy and lengthy task. Add this lovely American song to your repertoire today!
$6.99 ≈
6.24€
THE COST OF LOVING vocal & guitar
THE COST OF LOVING vocal & guitar
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Piano, Voix et Guitare
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INTERMÉDIAIRE
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Brooks & King
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Hilary Brooks
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King
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THE COST OF LOVING vocal &
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Hilary Brooks
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 3 - SKU: A0.1195953 By Brooks & King. By Hilary Brooks. Arranged by Hilary Brooks. Broadway,Celtic,Folk,Irish,Musical/S...
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Guitar,Piano,Vocal,Voice - Level 3 - SKU: A0.1195953 By Brooks & King. By Hilary Brooks. Arranged by Hilary Brooks. Broadway,Celtic,Folk,Irish,Musical/Show,Singer/Songwriter,Standards. Score. 2 pages. Hilary Brooks #795112. Published by Hilary Brooks (A0.1195953). THE COST OF LOVING is a contemporary protest/folk song, written for alto or high tenor voice and guitar. The song is from the 2022 musical KIKI starring the Scottish chanteuse Christine Bovill. The show was set in 1920's Paris, about the relationship between the artist and muse, the extrordinary Kiki de Montparnasse and her lover, the American photographer Man Ray. The score  comprises 12 original songs by the songwriting team Brooks & King.In 1924 Man Ray produced an image of Kiki, titled Le violon d'Ingres. On May 14th 2022 this work, considered by many as the prime example of Surrealist photography, was sold at Christie's in New York for the staggering $12.4 million, making history as the most expensive photograph ever sold at auction.
$4.99 ≈
4.46€
Austrian Folk Song - in F for flexible ensemble
Austrian Folk Song - in F for flexible ensemble
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Anon
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David Woodcock
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Austrian Folk Song - in F for
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David Woodcock
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SheetMusicPlus
Acoustic Guitar,Bass Clef Instrument,Bass Guitar,Drums,Electric Guitar,Keyboard,Treble Clef Instrument - Level 2 - SKU: A0.1394003 Composed by Anon. Arr...
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Acoustic Guitar,Bass Clef Instrument,Bass Guitar,Drums,Electric Guitar,Keyboard,Treble Clef Instrument - Level 2 - SKU: A0.1394003 Composed by Anon. Arranged by David Woodcock. 19th Century,Instructional. 35 pages. David Woodcock #977456. Published by David Woodcock (A0.1394003). This is an arrangement of the famous American civil war melody, scored for flexible ensemble in F. It is also available in B flat. This series has been specifically designed to meet the requirements of the ever-changing ensemble combinations that primary and secondary schools and other instrumental ensembles face. Because certain instruments are more comfortable in playing in certain keys, each work will be offered in two keys. This should allow for the music director to choose the key most suitable for the instrumental combination. Each piece consists of five core instrumental parts: 2 treble, 1 alto, tenor and bass. All parts will have a number of transpositions suitable for the instruments that are capable of playing those parts, eg, Part 2 will have parts for violin, B flat clarinet and trumpet, and E flat alto sax.  This will save music directors' time in having to write out additional parts. Optional parts are included for tuned and untuned percussion, guitar (chords) and bass guitar (notation and TAB), a keyboard part appropriate to the difficulty level, and a rehearsal piano part which is a fuller realisation of the piece and could be played by a more advanced student or the music director. If the numbers of players on each part allows, the music director can feel free to 'solo' instruments and vary the orchestration, especially on repeats, to create variety in instrumental colour.
$15.00 ≈
13.40€
The Best Hymns of All Time (for Strings) Book 3
The Best Hymns of All Time (for Strings) Book 3
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Quatuor à cordes: 2 violons, alto, violoncelle
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FACILE
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Musique Sacrée
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Various
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Worship, General Worship
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The Best Hymns of All Time
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Colin Kirkpatrick Publications
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SheetMusicPlus
String Quartet, String Orchestra, Playable by any size string ensemble from quartet upwards - Early Intermediate - Digital Download Composed by Vario...
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String Quartet, String Orchestra, Playable by any size string ensemble from quartet upwards - Early Intermediate - Digital Download Composed by Various. Arranged by Colin Kirkpatrick. Christian, Sacred, Praise & Worship, General Worship. Score, Set of Parts. 65 pages. Published by Colin Kirkpatrick Publications
The Best Hymns of All Time
Arranged for Strings by Colin Kirkpatrick
Book 3
We?re really excited to present the third and last book of our collection of sixty of the best-loved hymns ever composed. The hymns are scored in four parts and could be used with virtually any combination of stringed instruments: string quartet or quintet or any size string ensemble. They are presented in a set of three books and include full four-part instrumental scores plus four separate parts for 1st violin, 2nd violin, viola and cello (and double bass). The bass part is also optional because it doubles the cello part an octave lower. There?s also an optional but useful simplified keyboard part intended for less experienced keyboard players. The left hand plays only the bass part most of the time, with the right hand part kept as simple as possible. The piano part too means that you can use the arrangements as solos, duets or trios. To make the music accessible to less experienced players, the range of the notes has been kept fairly low so that many of the arrangements can be played in first position. However, to produce a brighter and richer sound, a few of the more experienced violinists could play an octave higher. You can hear this effect in the audio samples.
These arrangements are intended either as stand-alone pieces that could be used as interludes in a service, or they could be used to accompany solo, choral or congregational singing. This is essential music for schools and many churches and contains probably all the hymns you?ll ever need. The scores and all the parts of Book 2 are contained in a single 65-page PDF file.
Book 3 contains the following twenty popular hymns: All Hail the Power of Jesus? Name (Miles Lane); All things Bright and Beautiful (Bright and Beautiful); Alleluia, Sing to Jesus (Hyfrydol); Blessed Assurance (Assurance); Come, Ye Thankful People, Come (St George?s Windsor); Father, Hear the Prayer we Offer (Sussex & Gott Will's Machen); For the Beauty of the Earth (Dix); Glorious Things of Thee are Spoken (Austrian hymn); How Firm a Foundation (Foundation); Jesu, Lover of my Soul (Hollingside); Jesus Loves Me, This I Know (Jesus Loves Me); Joyful, Joyful, We Adore Thee (Hymn to Joy); Kum Ba Yah (Afro-American folksong); Mine Eyes have Seen the Glory (Battle Hymn of the Republic); O God, Our Help In Ages Past (St. Anne); Morning has Broken (Bunessan); Praise to the Lord the Almighty (Lob den Herren); Shall We Gather at the River? (Hanson Place); The God of Abraham Praise (Leoni); When Peace Like a River (Ville du Havre).
The audio samples include (1) All things Bright and Beautiful, (2) How Firm a Foundation, (3) Kum Ba Yah and (4) Morning has Broken. The music has been set in string-friendly keys so they are not compatible with the brass collection of the same name.
$25.99 ≈
23.22€
Oh Shenandoah (for oboe and piano)
Oh Shenandoah (for oboe and piano)
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Hautbois, Piano (duo)
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FACILE
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the mid-1800s versions of the
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Traditional
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Colin Kirkpatrick
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Oh Shenandoah
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Colin Kirkpatrick Publications
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SheetMusicPlus
Oboe,Piano - Level 2 - SKU: A0.1311555 Composed by Traditional. Arranged by Colin Kirkpatrick. Folk,Historic,Instructional,Multicultural,Patriotic,World...
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Oboe,Piano - Level 2 - SKU: A0.1311555 Composed by Traditional. Arranged by Colin Kirkpatrick. Folk,Historic,Instructional,Multicultural,Patriotic,World. Score and part. 9 pages. Colin Kirkpatrick Publications #900562. Published by Colin Kirkpatrick Publications (A0.1311555). This beautiful song is one of the most popular American folk songs, evoking images of the river life of yesteryear. It is sure to be a popular addition to your oboe recital, or it would make an excellent encore piece. The lowest note is the C just under the treble staff and the highest note is the A just above the staff.  The duration is 03:55. As with most folk songs, there are many different versions of Shenandoah, and it’s impossible to determine the song’s exact provenance with any degree of certainty. It probably has its origin among the French Canadians who traded with Native Americans around the Great Lakes during the sixteenth century. In most versions of the song, the lyrics tell of a seafarer, possibly a canoeing fur-trader, who was in love with the daughter of Shenandoah, a Native American Chief who lived in what is now the state of Virginia. Shenandoah was a real person: an individual of commanding presence who lived for over a hundred years. Sailors heading down the Mississippi picked up the song and made it a capstan shanty, which they sang while hauling in the anchor. By the mid-1800s versions of the song were heard almost everywhere the American clipper ships ventured. Shenandoah was one of the most popular capstan shanties, a slow song which set a manageable pace for the crew in a heavy and lengthy task. Add this lovely American song to your oboe repertoire today!
$6.99 ≈
6.24€
Oh Shenandoah (for violin and piano)
Oh Shenandoah (for violin and piano)
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Violon et Piano
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FACILE
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the mid-1800s versions of the
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Traditional
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Colin Kirkpatrick
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Oh Shenandoah
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Colin Kirkpatrick Publications
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SheetMusicPlus
Piano,Violin - Level 2 - SKU: A0.522283 Composed by Traditional. Arranged by Colin Kirkpatrick. Folk,Holiday,Patriotic,Wedding. 9 pages. Colin Kirkpatri...
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Piano,Violin - Level 2 - SKU: A0.522283 Composed by Traditional. Arranged by Colin Kirkpatrick. Folk,Holiday,Patriotic,Wedding. 9 pages. Colin Kirkpatrick Publications #6526701. Published by Colin Kirkpatrick Publications (A0.522283). This beautiful song is one of the most popular American folk songs, evoking images of the river life of yesteryear. It is sure to be a popular addition to your violin recital, or it would make an excellent encore piece. The music lies easily under the hand and the top note is B just above the treble staff.  The standard is about ABRSM violin Grade 3-4 (UK). The duration is 03:55. As with most folk songs, there are many different versions of Shenandoah, and it’s impossible to determine the song’s exact provenance with any degree of certainty. It probably has its origin among the French Canadians who traded with Native Americans around the Great Lakes during the sixteenth century. In most versions of the song, the lyrics tell of a seafarer, possibly a canoeing fur-trader, who was in love with the daughter of Shenandoah, a Native American Chief who lived in what is now the state of Virginia. Shenandoah was a real person: an individual of commanding presence who lived for over a hundred years. Sailors heading down the Mississippi picked up the song and made it a capstan shanty, which they sang while hauling in the anchor. By the mid-1800s versions of the song were heard almost everywhere the American clipper ships ventured. Shenandoah was one of the most popular capstan shanties, a slow song which set a manageable pace for the crew in a heavy and lengthy task. Add this lovely American song to your violin repertoire today!
$5.99 ≈
5.35€
Sea Shanty Medley
Sea Shanty Medley
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Cloches
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INTERMÉDIAIRE
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Celtique/Irlandais
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Folklorique/Traditionel
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American Folk Song and Scottis
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Mark R Lewis
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Sea Shanty Medley
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Mark R Lewis
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SheetMusicPlus
Handbell - Level 3 - SKU: A0.1284588 Composed by American Folk Song and Scottish Folk Song. Arranged by Mark R Lewis. Celtic,Folk,Irish,Traditional. Sco...
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Handbell - Level 3 - SKU: A0.1284588 Composed by American Folk Song and Scottish Folk Song. Arranged by Mark R Lewis. Celtic,Folk,Irish,Traditional. Score. 8 pages. Mark R Lewis #875763. Published by Mark R Lewis (A0.1284588). This lively Sea Shanty Medley is a combination of two different sea shanties, Fish in the Sea from Scotland and Santiana from the Americas.Fish in the Sea is quite simple but has dozens of verses. It takes the form of a chorus that is identical every time and a verse that describes various fish. The idea being that everyone would sing the chorus and each individual sailor would basically ad-lib new lyrics when it was their turn to sing a verse.Santiana actually tells the story of the Mexican General Antonio Lopez de Santa Anna during the Mexican-American war in the 1840s. However, the various exploits described in the song have very little to do with historical reality. There are of course dozens of version of the song, each associated with different shipping lanes, and there are even a wide variety of shanties from other countries that seem to be adaptations of this tune with different stories.This arrangement by Mark Lewis is for 3 to 5 octave handbell choir and makes extensive use of both malleted and normal ringing techniques. There are some very quick transitions between the two techniques. The piece moves along at a pretty good clip with some portions in 6/8 and others in cut time with various duplet and triplet patterns to help with transitions, leading to a difficulty rating of 4+. While the piece should be playable by most intermediate groups, they will definitely need to put in enough practice time to perform it properly.Season: ConcertRange: 3-5 octaves.
$3.99 ≈
3.56€
Oh Shenandoah (SSA choir and piano)
Oh Shenandoah (SSA choir and piano)
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Chorale 3 parties
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FACILE
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Traditional
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Colin Kirkpatrick
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Oh Shenandoah
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Colin Kirkpatrick Publications
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SheetMusicPlus
Choral Choir (SSA) - Level 2 - SKU: A0.1257261 Composed by Traditional. Arranged by Colin Kirkpatrick. Folk,Historic,Patriotic,Traditional. Octavo. 11 p...
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Choral Choir (SSA) - Level 2 - SKU: A0.1257261 Composed by Traditional. Arranged by Colin Kirkpatrick. Folk,Historic,Patriotic,Traditional. Octavo. 11 pages. Colin Kirkpatrick Publications #850592. Published by Colin Kirkpatrick Publications (A0.1257261). Here’s a new SSA choir arrangement of that ever-popular American folksong Shenandoah.  The original song probably has its origins among the French Canadians who traded with Native Americans around the Great Lakes during the sixteenth century. These traders exchanged weapons and tools for animal furs, especially beaver pelts. Paddling their canoes along the Mississippi and Missouri Rivers the traders were well-known for their singing. However, as most of the traders were illiterate, the songs were never written down and went through numerous changes over the years and centuries. In most versions of the song, the lyrics tell of a seafarer, possibly a canoeing fur-trader, who was in love with the daughter of Shenandoah, a Native American Chief who lived in what is now the state of Virginia. Shenandoah was a real person: evidently an individual of commanding presence who lived for over a hundred years. Shenandoah became one of the most popular capstan shanties, a slow song which set a manageable pace for the crew in a heavy and lengthy task. Most versions of the song have a similar couplet at the end of each verse. In some transcriptions, the melody is written out entirely in 4/4 time; others use triple time and some arrangements use a mixture of both. In this version, the lyrics have been selected from different versions of the song. This SSA arrangement for choir and piano is conceived for boy choir or girl choir and within easy technical reach of amateur or school choirs. The top soprano note is high F on the treble staff and the other parts fall well within the usual choral range. Each section of the choir takes the melody at some point. With a running time of 04:00 this piece is enjoyable to sing and hear. It’s an essential addition to your choir’s repertoire.
$2.25 ≈
2.01€
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The Real American Folk Song
