Italian Folksongs Medley is a collection of six popular traditional Italian and Neapolitan folksongs arranged for Clarinet Quartet. The Titles Include: 1. Bella Ciao 2. Funiculi, Funicula, 3. O Sole Mio, 4. Torna a Surriento (Come Back to Sorrento), 5. Santa Lucia and 6. Tarantella. The piece can be played as a medley with repeats as desired or as individual pieces. This advanced intermediate level arrangement is suitable for a variety of performance application to include general performance, Weddings and other Italian celebrations. The approximate playing time for all songs is 9:30 with repeats and 5:00 without. To view and listen to this piece in its entirety as well hundreds of other arrangement and transcriptions by Kenneth Abeling at the lowest prices available please visit: https://lincolnmusicpublications.com/

Italian Folksongs Medley is a collection of six popular traditional Italian and Neapolitan folksongs arranged for Brass Quintet. The Titles Include: 1. Bella Ciao 2. Funiculi, Funicula, 3. O Sole Mio, 4. Torna a Surriento (Come Back to Sorrento), 5. Santa Lucia and 6. Tarantella. The piece can be played as a medley with repeats as desired or as individual pieces. This advanced intermediate level arrangement is suitable for a variety of performance application to include general performance, Weddings and other Italian celebrations. The approximate playing time for all songs is 9:30 with repeats and 5:00 without. To view and listen to this piece in its entirety as well hundreds of other arrangement and transcriptions by Kenneth Abeling at the lowest prices available please visit: https://lincolnmusicpublications.com/

Gustav Holst - Folksongs of Hampshire England . In the early 1900's there was great interest in collecting and preserving the folk songs of England, Scotland, and Ireland. Equipped with their newly invented recording devices, people such as Cecil Sharp, Charles Stanford, Ralph Vaughan Williams, and Gustav Holst would travel into the country-side to record, or notate songs being sung. They would frequently use these songs in their own compositions. Holst's music in particular is filled with those songs and his two suites for band are especially valued by wind bands around the world. This group of four songs was arranged for voice and piano by Holst and set for flute choir by John Gibson. The songs are 1. Young Edwin in the Lowlands Low 2. Bedlam City 3. The Irish Girl 4. Young Reilly. The instrumentation is: Piccolo, Flute 1-3, Alto Flute, Bass Flute, and Contra Bass Flute.

Gustav Holst - Folksongs of Hampshire England . In the early 1900's there was great interest in collecting and preserving the folk songs of England, Scotland, and Ireland. Equipped with their newly invented recording devices, people such as Cecil Sharp, Charles Stanford, Ralph Vaughan Williams, and Gustav Holst would travel into the country-side to record, or notate songs being sung. They would frequently use these songs in their own compositions. Holst's music in particular is filled with those songs and his two suites for band are especially valued by wind bands around the world. This group of four songs was arranged for voice and piano by Holst and set for woodwind choir by John Gibson. The songs are 1. Young Edwin in the Lowlands Low 2. Bedlam City 3. The Irish Girl 4. Young Reilly. The instrumentation is the standard group of woodwinds found in a band piece: piccolo, flutes. oboes, bassoons, clarinets, bass clarinets, alto and tenor saxes, and baritone sax.

Gustav Holst - Folksongs of Hampshire England . In the early 1900's there was great interest in collecting and preserving the folk songs of England, Scotland, and Ireland. Equipped with their newly invented recording devices, people such as Cecil Sharp, Charles Stanford, Ralph Vaughan Williams, and Gustav Holst would travel into the country-side to record, or notate songs being sung. They would frequently use these songs in their own compositions. Holst's music in particular is filled with those songs and his two suites for band are especially valued by wind bands around the world. This group of four songs was arranged for voice and piano by Holst and set for clarinet choir by John Gibson. The songs are 1. Young Edwin in the Lowlands Low 2. Bedlam City 3. The Irish Girl 4. Young Reilly. The instrumentation is: Eb Soprano Clarinet, Bb Soprano Clarinet 1 - 3, Alto Clarinet (with an alternate 4th Bb part), Bass Clarinet, Contra Bass or Contralto. Although an alternate for alto is provided, the alto is preferred.

Gustav Holst - Folksongs of Hampshire England . In the early 1900's there was great interest in collecting and preserving the folk songs of England, Scotland, and Ireland. Equipped with their newly invented recording devices, people such as Cecil Sharp, Charles Stanford, Ralph Vaughan Williams, and Gustav Holst would travel into the country-side to record, or notate songs being sung. They would frequently use these songs in their own compositions. Holst's music in particular is filled with those songs and his two suites for band are especially valued by wind bands around the world. This group of four songs was arranged for voice and piano by Holst and set for flute quartet by John Gibson. The songs are 1. Young Edwin in the Lowlands Low 2. Bedlam City 3. The Irish Girl 4. Young Reilly. The instrumentation is: Flute 1 - 3, and alto with an alternate 4th flute for the alto.

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.

3 Irish Folksongs arranged by Charles Villiers Stanford and set for flute quintet by John Gibson. Charles Stanford arranged many folksongs that he and others collected. This set comes from his "Songs of Erin" (1901) and is set for 4 C Flutes and 1 Alto Flute with an alternate 5th C part provided. The tunes are : The Killarney Hunt, Now Mary What's the Matter, and Reynard on the Mountain High.

Irish Folksong Suite is a collection of popular traditional Irish Folksongs arranged for Clarinet Quartet. The titles include: 1. When Irish Eyes Are Smiling, 2. My Wild Irish Rose, 3. Molly Malone (Cockles and Mussels), 4. The Irish Washerwoman and 5. Drunken Sailor. This is a versatile arrangement that allows the songs to be played individually, as a medley in the original order, or any of the selections in any desired order. The arrangement is moderately advanced and perfect for most St. Patrick?s Day and other Irish celebrations. Total Playing Time with repeats 9:40 and 6:40 without repeats. To view and listen to this piece in its entirety as well hundreds of other arrangement and transcriptions by Kenneth Abeling at the lowest prices available please visit: https://lincolnmusicpublications.com/

Petros Shoujounian, an Armenian/Canadian composer has written Twelve Duos for Trumpets based on the folksong collection of the Armenian priest Komitas, known as the founder of the Armenian national school of music and one of the pioneers of ethnomusicology. Below are comments from the composer about his inspiration in writing these Twelve Duos for Trumpets.

My interest in the collected works of Komitas's ethnographical songs was aroused when I was introduced to Bela Bartok's similar works followed by Alan Hovhaness's huge creative world. Bartok completed his project having at his disposal a large collection of ethnographic music, while Hovhannes studied the wealth of Komitas's music with great interest. It is difficult to say to what extent the Armenian underpinning of Hovhannes's works is nurtured by Komitas's musical world, but his classical interpretation of the Armenian ethnographical music created a huge interest in the listener. Needless to say, there is also Aram Katchaturian's legacy, which at its core has the ardent presence of the Armenian spirit, nurtured by Komitas's very existence.

Komitas has left a collection of about 3,000 cleaned versions of the ethnographic song and dance pieces, of which 1,700 has reaches us, about 400 of which have been activated. I believe that in those beautiful musical fragments reside the power to be revived, once we enrich them with colorful musical instruments and unbounded polyphonic imagination.

This is the motivation behind my own work and these Twelve Duos for Trumpets: to make the essence of our ethnographic music accessible through Komitas.

These Twelve Duos are appropriate for advanced performers and are written for C Trumpets, B-flat Trumpets, Cornets, B-flat Piccolo Trumpets, and Flugelhorns.

Petros Shoujounian, an Armenian/Canadian composer has written Twelve Duos for Trombones based on the folksong collection of the Armenian priest Komitas, known as the founder of the Armenian national school of music and one of the pioneers of ethnomusicology. Below are comments from the composer about his inspiration in writing these Twelve Duos for Trombones.

My interest in the collected works of Komitas's ethnographical songs was aroused when I was introduced to Bela Bartok's similar works followed by Alan Hovhaness's huge creative world. Bartok completed his project having at his disposal a large collection of ethnographic music, while Hovhannes studied the wealth of Komitas's music with great interest. It is difficult to say to what extent the Armenian underpinning of Hovhannes's works is nurtured by Komitas's musical world, but his classical interpretation of the Armenian ethnographical music created a huge interest in the listener. Needless to say, there is also Aram Katchaturian's legacy, which at its core has the ardent presence of the Armenian spirit, nurtured by Komitas's very existence.

Komitas has left a collection of about 3,000 cleaned versions of the ethnographic song and dance pieces, of which 1,700 have reaches us, about 400 of which have been activated. I believe that in those beautiful musical fragments reside the power to be revived, once we enrich them with colorful musical instruments and unbounded polyphonic imagination.

This is the motivation behind my own work and these Twelve Duos for Trombones: to make the essence of our ethnographic music accessible through Komitas.

These Twelve Duos are appropriate for advanced performers and may be performed on Alto, Tenor, and Bass Trombones.

Bernard Scherr has arranged six lovely Portuguese Folksongs for Brass Quintet entitled:

1. Mourisca do Santo João de Braga (Moorish architechture of Saint John of Braga) as a march

2. A Pastorinha (The Shepherdess) - a lovely andantino

3. O Xi-Xi (Wee-wee) - a silly song

4. O ai, o linda! (Oh, the beauty!) - a lyrical romance

5. Coradinha (The blushing one) - a dance-like jaunt

6. Carro amaricano (American Car) - driving around in the auto

These movements are of contrasting styles and will make a lovely addition to your program.

Instrumentation is for 2 Trumpets in B-flat, Horn, Trombone & Tuba.

For advanced performers.

Traditional Jewish Folksongs is a collection of six popular traditional Jewish/Yiddish/Sephardic/Hebrew songs and the Israeli National Anthem arranged for Brass Quintet. The Titles Include: 1. Hatikvah (The Hope) Israeli National Anthem, 2. Dona, Dona 3. Tzena, Tzena, Tzena, 4. Kuando el rey Nimrod, 5. Mayim Mayim, 6. Tumbalalaika and 7. Hava Nagilah. This advanced intermediate level arrangement is suitable for a variety of performance application to include Weddings and bar/bat mitzvahs. The approximate playing time for all songs is11:00 with repeats and 7:30 without. To view and listen to this piece in its entirety as well hundreds of other arrangement and transcriptions by Kenneth Abeling at the lowest prices available please visit: https://lincolnmusicpublications.com/

Wellspring of Repertoire, an Original and Bountiful Source of Piano Music, for Beginning and Returning Students, Volume 3, Early Intermediate to Early Advanced, by Dennis Frayne, contains 120 Folk Songs, Children's Songs, Spirituals, Nursery Rhymes, Parlor Songs, Lullabies, Scales, Chords, and Technical Exercises for Piano, all in a Classical Style.

Perfect for teachers of early students who prefer not to use method books, for students returning to play after a long time away from the piano, for sight reading practice, to practice singing while playing the piano (includes lyrics and solfege syllables on most songs and exercises), for recitals and performances, and for fun in learning good, old-fashioned, time-honored folk songs, children?s songs, and more!

Arirang - pedal harp solo
On an old traditional melody from Korea.
Arranged by Regina Ederveen - harpist in The Netherlands
Also playable on piano.
Level: advanced intermediate.
Duration: 3'24''
There's also a version for folk harp (no lever changes!) by Regina Ederveen, on this website.
For information contact via www.reginaederveen.nl

Morning has broken - arranged for folk harp (no lever changes)
An old traditional hymn.
Arranged by Regina Ederveen - harpist in The Netherlands
Also playable on piano.
Level: advanced intermediate.
Duration: 3'05''
For information contact via www.reginaederveen.nl

Romanian Folk Dances Sz. 56, BB 68 is a suite of six short piano pieces composed by Béla Bartók in 1915. He later orchestrated it for small ensemble in 1917 as Sz. 68, BB 76.

It is based on seven Romanian tunes from Transylvania, originally played on fiddle or shepherd's flute.

The original name for the piece was titled Romanian Folk Dances from Hungary but was later changed by Bartók when Transylvania became part of Romania in 1920. It is nowadays available in the 1971 edition which is written with key signatures although Bartók rarely ever used key signatures.

This set of dances consists of six movements and, according to the composer, it should take four minutes and three seconds to perform, but most professional pianists take up to five minutes. The list of the movements is as follows (with the original Hungarian title listed first, the most commonly known Romanian title second, and the English translation in parentheses):




Bot tánc / Jocul cu bâtand#259; (Stick Dance)The melody of the first movement, according to Bartók, came from the Mezand#337;szabad (present-day Voiniceni) village that was part of Mezand#337;csávás (present-day Ceuaand#537;u de Câmpie) commune which was located in the Maros-Tordaadministrative county within Transylvania, and he first heard it when two gypsy violinists were playing it.
Brâul (Sash Dance)The second movement is a typical dance from Romania called Brâul, for which traditionally a sash or a waistband was used. This melody came from Egres (present-day Igriand#537;), in the Banat region.
Topogó / Pe loc (In One Spot)The third dance comes also from Egres (Igriand#537;), but its theme is much darker and its melody recreates Middle Eastern instruments, such as the flute.[4]
Bucsumí tánc / Buciumeana (Dance from Bucsum)The fourth dance came from Bucsony, Alsó-Fehér County (today Bucium, Alba county in Romania)
Román polka / Poarga Româneascand#259; (Romanian Polka)The fifth dance is an old Romanian dance similar to the Polka and comes from Belényes (present-day Beiuand#351;, in Bihor county), near the border between Hungary and Romania.
Aprózó / Mand#259;runand#539;el (Fast Dance)The sixth and last dance is formed by two different melodies: the first one comes from Belényes (present-day Beiuand#537;) and the second one comes from the then named Nyagra (present-day Neagra) village within the Palotailva (present-day Lunca Bradului) commune. Both on the orchestral version and on the original piano version, the final two dances are performed attacca?without a break between movements.

A Bulgarian folk dance "Kopanitsa" (11/8, 4 3 4) arranged for two guitars by Eugen Sedko (eugensedko.com), Ukrainian musician. Notes and tabs together.
See all my arrangements here (publishers -> Eugen Sedko).

Russian folk song from the 1920s with Gypsy Jazz improvisations. Advancd level.