Folk And Dance Tunes From America

SKU: CF.CPS264

ISBN 9781491161418. UPC: 680160920006.

Some of the first music I remember hearing as a child was folk dance music from around the world. My parents were avid folk dancers, and they used to host weekly folk dance evenings in our basement. Some nights, when I was supposed to be in bed, I would stand with my ear to the door, listening to this fascinating music that drifted up the stairs. I didn't know what each piece was, but the melodies have stayed with me. Tropanka is one of those tunes. Tropanka (pronounced tro-PAHN-kuh) is a folk dance from Bulgaria, and the title means stomping dance. One can hear two repeated notes at the end of each phrase - this is where the dancers stomp. Patsh Tantz (pronounced PAHTSH tahnts) is a classic example of Klezmer, which is East European Jewish folk music. The title is Yiddish for clapping dance, and all the players get the chance to clap at certain points in their individual part. Klezmer music is often quite exciting, and this arrangement includes the characteristic accelerando, building excitement as the piece drives to the end. Both movements should be played rhythmically, and as it is folk music that would be danced to by untrained dancers, often wearing boots or other flat-soled shoes, adding weight to many of the downbeats will help bring out the earthy character of the music. Since my parents met while folk dancing, I made these arrangements (originally in a version for string quartet) as a gift in celebration of their 50th wedding anniversary.
Some of the first music I remember hearing as a child was folk dance music from around the world. My parents were avid folk dancers, and they used to host weekly folk dance evenings in our basement.  Some nights, when I was supposed to be in bed, I would stand with my ear to the door, listening to this fascinating music that drifted up the stairs. I didn’t know what each piece was, but the melodies have stayed with me. Tropanka is one of those tunes. Tropanka (pronounced “tro-PAHN-kuh� �) is a folk dance from Bulgaria, and the title means “stomping dance”. One can hear two repeated notes at the end of each phrase – this is where the dancers stomp. Patsh Tantz (pronounced “PAHTSH tahnts”) is a classic example of Klezmer, which is East European Jewish folk music. The title is Yiddish for “clapping dance”, and all the players get the chance to clap at certain points in their individual part. Klezmer music is often quite exciting, and this arrangement includes the characteristic accelerando, building excitement as the piece drives to the end.Both movements should be played rhythmically, and as it is folk music that would be danced to by untrained dancers, often wearing boots or other flat-soled shoes, adding weight to many of the downbeats will help bring out the “earthy” character of the music. Since my parents met while folk dancing, I made these arrangements (originally in a version for string quartet) as a gift in celebration of their 50th wedding anniversary.

SKU: CF.CPS264F

ISBN 9781491161746. UPC: 680160920433.

Some of the first music I remember hearing as a child was folk dance music from around the world. My parents were avid folk dancers, and they used to host weekly folk dance evenings in our basement. Some nights, when I was supposed to be in bed, I would stand with my ear to the door, listening to this fascinating music that drifted up the stairs. I didn't know what each piece was, but the melodies have stayed with me. Tropanka is one of those tunes. Tropanka (pronounced tro-PAHN-kuh) is a folk dance from Bulgaria, and the title means stomping dance. One can hear two repeated notes at the end of each phrase - this is where the dancers stomp. Patsh Tantz (pronounced PAHTSH tahnts) is a classic example of Klezmer, which is East European Jewish folk music. The title is Yiddish for clapping dance, and all the players get the chance to clap at certain points in their individual part. Klezmer music is often quite exciting, and this arrangement includes the characteristic accelerando, building excitement as the piece drives to the end. Both movements should be played rhythmically, and as it is folk music that would be danced to by untrained dancers, often wearing boots or other flat-soled shoes, adding weight to many of the downbeats will help bring out the earthy character of the music. Since my parents met while folk dancing, I made these arrangements (originally in a version for string quartet) as a gift in celebration of their 50th wedding anniversary.
Some of the first music I remember hearing as a child was folk dance music from around the world. My parents were avid folk dancers, and they used to host weekly folk dance evenings in our basement.  Some nights, when I was supposed to be in bed, I would stand with my ear to the door, listening to this fascinating music that drifted up the stairs. I didn’t know what each piece was, but the melodies have stayed with me. Tropanka is one of those tunes. Tropanka (pronounced “tro-PAHN-kuh� �) is a folk dance from Bulgaria, and the title means “stomping dance”. One can hear two repeated notes at the end of each phrase – this is where the dancers stomp. Patsh Tantz (pronounced “PAHTSH tahnts”) is a classic example of Klezmer, which is East European Jewish folk music. The title is Yiddish for “clapping dance”, and all the players get the chance to clap at certain points in their individual part. Klezmer music is often quite exciting, and this arrangement includes the characteristic accelerando, building excitement as the piece drives to the end.Both movements should be played rhythmically, and as it is folk music that would be danced to by untrained dancers, often wearing boots or other flat-soled shoes, adding weight to many of the downbeats will help bring out the “earthy” character of the music. Since my parents met while folk dancing, I made these arrangements (originally in a version for string quartet) as a gift in celebration of their 50th wedding anniversary.

SKU: PR.114419290

ISBN 9781491135235. UPC: 680160676118. 9 x 12 inches.

Supported by a major commissioning award from the Serge Koussevitzky Music Foundation in the Library of Congress, my Chinese Folk Dance Suite is written for violin solo and orchestra, and premiered by The Women's Philharmonic with violin soloist Terrie Baune, conducted by Apo Hsu, on March 10, 2001, at Yerba Buena Center For the Arts Theater in San Francisco. Inspired by various Chinese traditional folk dances, I've composed three movements in the suite: 1) Lion Dance. Traditionally, people dance with richly decorated hand made lions, accompanied by percussion ensemble, to celebrate happy occasions and major festivals throughout the country. In the composition, I use Chinese drum and other percussion instruments in the background, to form a dynamic and rhythmic texture responding to the solo part, which imitates the tunes played on the suona (traditional Chinese trumpet). The pitch materials came from traditional Guangdong Music tune and Chaozhou Music tune ; 2) YangKo. Originated in northern China, it's a major folk dance form in mass performance popularized in the country. In YangKo performance, people always play rhythmic patterns on the drums hung around their waists while singing and dancing. In my second movement, I have imagined a warm scene of YangKo dancing in distance. The solo violin plays a sweet and gracious melodic line while all members in the orchestra sing the non-pitch syllables in different layers as the soft background, to imitate the percussion sound which produces the ever going pulse. 3) Muqam. It is a large scale traditional music and dance form from Uygur nationality in Xinjiang province, originated in the 15th century. In my third movement, I keep the meter of seven eight and the melodic style of Muqam music. The fiery dancing gesture cumulates the sustained climax section at the end of the work, after a colorful violin cadenza in both improvisational singing style and polyphonic writing with woven lines. Scored for 2 flutes (2nd doubling piccolo), 2 oboes, 2 clarinets in Bb, 2 bassoons, 4 French horns in F, 2 trumpets in Bb, 3 trombones, percussion 1 (3 congas, low tom-tom, temple block, paddle castanets), percussion 2 (snare drum, 6 small Beijing opera gong, 12 big Beijing opera gong, crotales, tambourine), percussion 3 (suspended cymbal, a pair of 6 Chinese cymbals, bass drum), solo violin, violins I, violins II, violas, cellos and double basses. Duration is about 16 minutes. The work is recorded on Bis [CD-1352] and released in 2003, performed by Cho-Liang Lin and the Singapore Symphony Orchestra, cond. by Lan Shui. Reduction for B-flat soprano saxophone and piano by Wong Tak Chiu (2017) and edited by Chen Yi (2018) The second movement YangKo is premiered by Dr. Wong and Korak Lerpibulchai at the Singapore Saxophone Symposium on 8/13/2017. The American premiere of the saxophone and piano reduction version of Chinese Folk Dance Suite is given by Chi Him Chik and Hao Yin at the Society for American Music National Conference in Kansas City, MO on 3/2/2018.

SKU: HL.4005899

UPC: 888680942106. 9.0x12.0x0.074 inches.

Exploring some of the most well-known traditional folk tunes from Korea, here is an appealing and well-paced suite for young players. Let's Sing and Dance starts slowly then gradually speeds up similar to how it is usually sung. The Gate is a song and game played by Korean children, and this is followed by the beautiful ballad Bellflowers. Finally The Palace completes the set in a bold and optimistic style. Dur: 3:55.

SKU: PR.114419280

ISBN 9781491132357. UPC: 680160676125.

Inspi red by Chinese tradition, this concerto-like dance suite includes: 1. Lion Dance, 2. YangKo, and 3. Muqam. Each movement draws from melodies and rhythms characteristic of various regions of China many centuries ago. CHINESE FOLK DANCE SUITE is available for violin with full orchestra, or as a recital work with piano.
Supported by a major commissioning award from the Serge Koussevitzky Music Foundation in the Library of Congress, Chinese Folk Dance Suite is written for solo violin and orchestra; it was premiered by The Women’s Philharmonic with violin soloist Terrie Baune, conducted by Apo Hsu, on March 10, 2001, at Yerba Buena Center For the Arts Theater in San Francisco.Inspired by various Chinese traditional folk dances, the suite has three movements:I. Lion Dance. Traditionally, people dance with richly decorated hand-made lions, accompanied by percussion ensemble, to celebrate happy occasions and major festivals throughout the country. In this composition, I use Chinese drum and other percussion instruments in the background, to form a dynamic and rhythmic texture responding to the solo part, which imitates the tunes played on the suona (traditional Chinese trumpet). The pitch materials came from the traditional Guangdong tune “Dragon Boat Racing,” and the Chaozhou tune “Lion Playing Ball.”II. YangKo. Originating in northern China, this is a major folk dance form in mass performance popularized in the country. In YangKo performance, people play rhythmic patterns on the drums hung around their waists while singing and dancing. In the second movement, I imagined a warm scene of YangKo dancing in distance. The solo violin plays a sweet and gracious melodic line while all members of the orchestra sing non-pitched syllables in different layers as the soft background, to imitate the percussion sound which produces the ever-going pulse.III. Muqam. This large-scale music and dance form, from the Uygur nationality in Xinjiang province, originated in the 15th century. My third movement use a 7/8 meter and the melodic style of Muqam music. The fiery dancing gesture culminates in the sustained climax section at the end of the work, after a colorful violin cadenza in both improvisational singing style and polyphonic writing with woven lines.

SKU: AP.36-60710007

ISBN 9798888521687. UPC: 676737816278. English.

In the years preceding World War I, Hungarian composer, pianist, and ethnomusicologist Béla Bartók (1881-1945) took trips to the Transylvanian region to explore the musical traditions of the Romanian population. Following a two-year depression caused by the war, as well as some professional setbacks, he returned to composition. The Romanian Folk Dances, Sz. 56, emerged in 1915, bearing a strong influence from his experiences as an ethnomusicologist. They comprise 6 dances, all based on folk tunes that Bartók had recorded and transcribed. In 1917, he arranged a version for full orchestra. Hungarian violinist and composer Zoltán Székely (1903-2001) transcribed these six short movements for violin and piano in 1926, which are offered here in this reprint edition. Movements: 1. Joc cu bâta (Stick Dance), 2. Brâul (Sash Dance), 3. Topogó / Pê-loc (In One Spot), 4. Bucsumí tánc / Buciumeana (Dance from Bucsum), 5. Poarga româneasca (Romanian Polka), 6. Aprózó / Maruntel (Fast Dance).

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