Songs And Dances Of England

An exciting collection of songs and dances from England's rich musical heritage. All are arranged for voice and recorder penny whistle flute and other suitable C instruments. Each is complete with full lyrics chordsymbols and guitar chord diagrams.

A beautiful illustrated collection containing over 100 folksongs from the British Isles. Songs of longing, of love, of the Irish and Scottish rebellions, as well as lullabies, children's songs, and even a few composed songs which have become part of the folk heritage can be found in this collection. Easily played piano and guitar accompaniments are provided, and not only translated lyrics, but phonetic transcriptions are also included so that songs may be sung in their original language. England: Hares On The Mountain; Allan Water; My Boy Willie; When Cockleshells Turn Silverbells; The Banks Of The Sweet Primroses; I?m Seventeen Come Sunday; Greensleeves; The Trees Are Geting High; On Ilkla Moor Baht? At; O Waly, Waly; Weel May The Keel Row; The Three Ravens; Early One Morning; O No, John!; A May Day Carol; The Oak And The Ash; Lavender?s Blue; Blow The Wind Southerly; The Cherry Tree Carol; The Green Bushes; Over The Mountains; Gently, Johnny, My Jingalo; Two Maidens Went Milking One Day; Cock Robin; Died For Love; Buttercup Joe; Ireland: Down By The Salley Gardens; Let Erin Remember The Days Of Old; The Crusikeen Lawn; Shule Aroon; The Little Red Fox; When Pat Came Over The Hill; The Bold Fenian Men; The Parting Glass; Bendemeer?s Stream; The Mountains O? Mourne; The Wearing Of The Green; The Rising Of The Moon; The Lark In The Clear Air; I Wish I Had The Shopherd?s Lamb; O?Donnell Aboo; She Moved Through The Fair; Mrs. McGrath; Lilli Burlero; Monday, Tuesday; Farewell! But Whenever You Welcome The Hour; Kevin Barry; Kilgary Mountain; Oft In The Stilly Night; Molly Brannigan; John O?Dywer Of The Glen; The Time I?ve Lost In Wooing; The Croppy Boy; The Banks Of Roses; The Bard of Armagh; ?Tis Pretty To Be In Balinderry; Whack Fol The Diddle; Scotland: Green Grow The Rashes, O!; Wae?s Me For Prince Charlie; The Wark O? The Weavers; Flow Gently, Sweet Afton; The Blue Bells Of Scotland; Baloo Baleerie; Is There For Honest Poverty; Corn Rigs Are Bonnie; Can Ye Sew Cushions?; A Hihgland Lad My Love Was Born; Ho Ro My Nut-Brown Maiden; Robin Adair; Awa?, Whigs, Awa?; My Love is Like a Red, Red Rose; Weaving Lilt; Turn Ye To Me; To The Beggin? I Will Go; Ye Banks And Braes O? Bonnie Doon; Scots Wha Ha?e Wi? Wallace Bled; Charlie Is My Darling; Oh Rowan Tree; Will Ye No? Come Back Again?; The Piper O? Dundee; Leezie Lindsay; The Road To The Isles; An Eriskay Love Lilt; Wales: The Bells Of Aberdovey; To See Swainson; Robin Redbreat; David Of The White Rock; The Kind Old Man; Men Of Harlech; Fairest Gwen; Over The Stone; Cuckoo Dear; Megan?s Fair Daugher; Little Saucepan; The Ash Grove; Rise, Rise, Thou Merry Lark; Lullaby; All Through The Night; Joy Upon The Bright Cheek Dances; Idle Days In Summertime; Counting The Goats; The Dove; Welsh National Anthem.

Most of the music in this book comes from editions or manuscripts from England in the late 1500’s. There are also a few French pieces. The cittern was popular in Italy England and France. Aside from various tunings there weretwo main kinds of instruments being played during the 16th and 17th centuries: the 4 course (four sets of doubled strings) and the 6 course cittern with several editions of music to go along with both. The pieces I have chosenfor this book were all written for the 4 course instrument and fall into three main categories: dance music song arrangements and free pieces. The free pieces are basically preludes that explore the melodic range of theinstrument. As the title suggests these pieces can be played very freely and need not have a very strict tempo. The dance pieces are not really meant to be danced to but rather take their form and rhythm from the popular courtdances of the time. These can be played with a wide range of overall tempo but once a tempo is chosen should be strictly adhered to. The song arrangements are settings of popular songs of the time as well as more formal vocalsettings. Care should be taken in making the melody clear and singing. Since the range of the cittern and mandolin are the same John Holenko has kept the melodies intact. Because of the difference in tuning however thevoicing of the harmonies have been changed so as to fit on the mandolin.