English Traditional-Bill Snedden sets the traditional English tune for mixed voices and piano. There are many arrangements of this tune on the market but none as exciting and engaging. Try it with high school college church or community ensembles.

63 Traditional Pieces. Par BOWMAN PETER. Irish Folk Tunes for Descant Recorder is a collection of 63 arrangements for descant recorder, of traditional tunes including a range of styles such as Reels, Hornpipes, Jigs and more. Experienced recorder player and co-author of English Folk Tunes for Descant Recorder, the Baroque Recorder Anthology series, and Fun and Games with the Recorder series amongst others, Peter Bowman provides notes on all of the styles covered, as well as individual pieces. German and French translations of all texts are available as pdf downloads from the Schott Music website. Suitable for players of grades 3-8. The volume contains recordings for download in order to get a sound impression of the stylistic and technical features of the pieces. / Niveau : Facile / Recueil / Flûte à Bec

This book is the second volume of arrangements for the Celtic harp by MonikaMandelartz. The material encompasses diverse songs and tunes from the British Isles, commonly described as 'Celtic Music'. This type of music is often associated with the English publisher John Playford. In the 17th century, he published The English Dancing Master, which contains traditional music as well as tunes of his day (up to the Renaissance). Author Monika Mandelartz, a specialist in historical performance practice, followsPlayford's tradition by arranging parts of the collection for Celtic harp. Thereby, Mandelartz points out that her arrangements constitute a 'snapshot in time'. Her workemphasizes the idea that lively music always allows for change and variation - it must in order to survive. The book includes tunes such as De`il Take the Wars, Scot Cap (Edinburgh Castle), Upon a Summer's Day, Parson's Farewell, Welcome Home Old Rowland, Dissembling Love (The Lost Heart), An Italian Rant, Porter's Lament, Greenesleeves and Pudding Pies (Greenesleeves and Yellow Lace), Jenny Pluck Pears, Remember Me My Deir, Enfield Common, The Sword Dance, and Drive the Cold Winter Away. This book is the second volume of arrangements for the Celtic Harp by Monika Mandelartz. The material encompasses diverse songs and tunes from the British Isles, commonly described as 'Celtic Music'. This type ofmusic is often associated with the English publisher John Playford. In the 17th century, he published The English Dancing Master, which contains traditional music as well as tunes of his day (up to the Renaissance). Author Monika Mandelartz, a specialist in historical performance practice, follows Playford's tradition by arranging parts of the collection for Celtic Harp. Thereby, Mandelartz points out that her arrangementsconstitute a 'snapshot in time'. Her work emphasizes the idea that lively music always allows for change and variation - it must in order to survive. The book includes tunes such as De`il Take the Wars, ScotCap(Edinburgh Castle), Upon a Summer's Day, Parson's Farewell, Welcome Home Old Rowland, Dissembling Love (The Lost Heart), An Italian Rant, Porter's Lament, Greenesleeves and Pudding Pies (Greenesleeves and Yellow Lace), JennyPluckPears, Remember Me My Deir, Enfield Common, The Sword Dance and Drive the Cold Winter Away./ Recueil / Harpe

Baritone Voice And Piano Performing Score-Composed in 2012 the two pieces in Sadie Harrison’s Heartoutbursts! take their inspiration from traditional English folk.'...in the folk-song there is to be found the complete history of a people recorded by the race itself through the heartoutbursts of its healthiest output. It is a history compiled with deeper feeling and more understanding than can be found among the dates and data of thegreatest historian...'(Percy Grainger 1922)In 1905 Joseph Taylor won a Lincolnshire folksong competition with his rendition of Brigg Fair a song he had learnt from a gypsy. Australian composer Percy Graingersubsequently published a setting in his Lincolnshire Posy with Delius using the tune in his rhapsody Brigg Fair. Both composers sought to vivify the tradition of English folksong celebrating not only the ancient tunes and words but also the qualities of particular folksingers like Joseph Taylor.Harrison’s own Australian Heartoutbursts! follow unashamedly in the Grainger tradition with echoes of the original folktunes underpinning both songs Brigg Fair and The Seeds of Love. Although different in character both texts use similar images as analogies for the joys and despairing associated with love - the lark and violet symbolize youth the lily as virginity the red rose as true love and the willow representing falsehood and abandonment.

Voice and Piano-Until the advent of the great lieder writers of Germany England had a heritage of song reckoned to be the richest in Europe. Much of this material has disappeared however this book aims to present some of the best-known folk- and art- songs of 1250-1700. Reliquary Of English Song - Volume 1 is a fantastic collection of over 50 traditional English songs and tunes that also includes a wealth of text illustrations diagrams and notes that help to explain the collection and examples and to fill the gaps in the history. A excellant research resource or simply as a rare repertory.

For Beginner Flautist-This volume includes a selection of 22 traditional tunes from English Irish Scottish and Welsh backgrounds all arranged for beginner Flautists with a Piano accompaniment by Patricia Ramsay. These provide a varied and tuneful selection of pieces for the developing flautist to enjoy while also intruducing a new generation of musicians to the traditional songs of the British Isles.

This Fantasia is founded on the following traditional English carols: The Truth Sent From Above (Herefordshire) words and tune; Come All You Worthy Gentlemen (Somerset) words and tune; On Christmas Night (Sussex) words and tune; There Is A Fountain (Herefordshire) tune only; together with fragments of other well-known carol tunes. The work is scored for ordinary full Orchestra with Organ and set of bells (ad lib.) or String Orchestra with Organ or Piano. Alternatively it may be accompanied by Organ or Piano alone played from the Vocal score with an optional solo Cello part (H212). A chorus part for performance bysolo Baritone and TTBB is also available (W41). The chorus is required to sing in four different ways:1. Singing the words.2. Singing with closed lips.3. Singing \'Ah\'.4. Singing with half-closed lips i.e. with a short \'u\' sound as in the word \'but\'. Watch Pasadena Master Chorale performing Ralph Vaughan Williams\' Fantasia On Christmas Carols:

26 easy pieces for flute-Many of the short pieces in Funtime Favourites will sound familiar to pupils. All 26 tunes are fun to learn and the contemporary accompaniment provided on the CD will keep them from sounding dull. The CD features a demo and a play-along version of each tune so the pupil will feel as if there's a whole backing band supporting them - great for motivation!

This Hal Hopson classic is appropriate for services where 'love' is the theme and is especially useful for weddings. The familiar words are a paraphrase of 1 Corinthians 13 and the haunting tune is based on the traditional English melody O WALY WALY. The SAB voicing String Quartet setting and Performance/Accompaniment CD are new for this year (2012). The String Quartet setting can be for strings only or used as an accompaniment for the choral settings or the vocal solo but not for the TTBB version which is in the Key of C. String Parts come in the two keys A

Christmas Fanfare is based on the traditional English Christmas tune 'The Sussex Carol' also known as 'On Christmas Night All Christians Sing'. A short piece of about 2 minutes in the style of a fanfare the tune moves betwen the various sections of the band sometimes appearing in canon. Christmas Fanfare was first performed in Naas Co. Kildare Ireland on December 20th 2007 by the Army Number One Band with the composer conducting.

The haunting melody of this traditional tune likely dates to the Middle Ages and was published by British composer Ralph Vaughan Williams in the 1906 English Hymnal. Freely adapted by Johnnie Vinson in this setting for young bands the minor melodyis stated first by low clarinets and horns. The next section introduces an original theme which is then combined with the first melody in the moving final section. Beautifully paced and scored largely in choral fashion this is a wonderfully freshand unique offering for holiday or winter concerts.