Northumbrian And Border Folk Songs

A unique collection of traditional Northumbrian music arranged for fingerstyle guitar. Selections include Salmon Tails Up the Water; Johnny Armstrong; Jimmy Allen; Felton Lonnen; Sir John Fenwick; Bonny Gallowgate Lad; Buy Broom Besoms; Elsie Marley; Sweet Hesleyside; Chevy Chase; Lea Riggs; Noble Squire Dacre; Dolia; Are You My Hinny Burd; and more. Each piece is written in standard notation and tablature and includes brief technical and performance notes.

A unique collection of traditional Northumbrian music arranged for fingerstyle guitar. Selections include Salmon Tails Up the Water; Johnny Armstrong; Jimmy Allen; Felton Lonnen; Sir John Fenwick; Bonny Gallowgate Lad; Buy Broom Besoms; Elsie Marley; Sweet Hesleyside; Chevy Chase; Lea Riggs; Noble Squire Dacre; Dolia; Are You My Hinny Burd; and more. Each piece is written in standard notation and tablature and includes brief technical and performance notes

The name of this book is no exaggeration. It includes some of the most gorgeous music that the authors El McMeen and Sandy Shalk know. To make things even more interesting, none of the music was originally written for guitar! In addition to Celtic favorites, El includes his arrangements of two of the most beautiful arias in all of opera: "Che Gelida Manina" from Puccini's "La Boheme" and "My Heart at Thy Sweet Voice" (“Mon Coeur S'ouvre à ta Voix”) from "Samson and Delilah" by Camille Saint-Saëns. Sandy's contributions range from Celtic to French love songs to Stephen Foster, manifesting Sandy's gift for chordal subtleties and innovation. Each piece is in either standard tuning (EADGBE) or Drop D tuning (DADGBE). Written in standard notation and tablature with computer generated audio files of each arrangement.

A master solo collection by classic guitarist James Bellizzi containing 16 English airs and country dances; 21 Irish tunes by O' Carolan and others; and 14 lively Scottish tunes and country dances. the arrangements capture the unique tone and spirit of these wonderful folk melodies and compositions. In notation and tablature.

Christmas Carols in the British Isles presents 20 songs from the Renaissance through early 20th century. It includes familiar compositions such as the “Coventry Carol”, “Away in a Manger”, and the “Wexford Carol”, and incorporates some lovely pieces that may be new to the listener. The melodies for these lyrical pieces appear in their most easily recognized form before any variation is presented. Raymond Gonzalez has a gift for combining traditional harmonies with occasional harmonic and rhythmic twists, providing freshness, color, and new life to familiar tunes. All arrangements are in standard or dropped-D tuning, suitable for both steel and nylon-string guitar performance and should be comfortably accessible to the intermediate guitarist. The reader is referred to the tablature for string, fret, and harmonic locations. The book includes access to online audio of every tune recorded by the author.

Whispering Stones won the award for “Best Recording” from the Washington Area Music Association and has continued to be a favorite with fans of fingerstyle guitar music throughout the world. The book features Celtic-inspired original and traditional tunes performed on solo acoustic guitar with the occasional addition of flute, mandolin, cello, piano, or bells. The tunes appear in the same order as in the recording. Al Petteway is an award-winning fingerstyle guitarist and composer. His many “Wammie” awards from the Washington Area Music Association include “Artist of the Year” and “Musician of the Year”. Al’s playing fuses Celtic/British ideas and tunings with American themes and drive. Acoustic Guitar Magazine praised his ‘concise, clean arrangements similar to John Renbourn’s better work’. In notation and tablature.

Victorian Songhunters is a pioneering history of the rediscovery of vernacular song—street songs that have entered oral tradition and have been passed from generation to generation—in England during the late Georgian and Victorian eras. In the nineteenth century there were four main types of vernacular song: ballads, folk lyrics, occupational songs, and national songs. The discovery, collecting, editing, and publishing of all four varieties are examined in the book, and over seventy-five selected examples are given for illustrative purposes. Key concepts, such as traditional balladry, broadside balladry, folksong, and national song, are analyzed, as well as the complicated relationship between print and oral tradition and the different methodological approaches to ballad and song editing. Organized chronologically, Victorian Songhunters sketches the history of English song collecting from its beginnings in the mid-seventeenth century; focuses on the work of important individual collectors and editors, such as William Chappell, Francis J. Child, and John Broadwood; examines the growth of regional collecting in various counties throughout England; and demonstrates the considerable efforts of two important Victorian institutions, the Percy Society and its successor, the Ballad Society. The appendixes contain discussions on interpreting songs, an assessment of relevant secondary sources, and a bibliography and alphabetical song list. Author E. David Gregory provides a solid foundation for the scholarly study of balladry and folksong, and makes a significant contribution to our understanding of Victorian intellectual and cultural life.

Originally published in 1969. Until the latter half of the nineteenth century, it was thought that England, alone among the European countries, and unlike Scotland and Ireland where collections of ballads and songs had already been published as early as the eighteenth century, had no important native tradition of music. The founding of the (English) Folk-Song Society in 1898, however, and the pioneering work of such collectors as Lucy Broadwood, the Reverend S. Baring-Gould and, later, Cecil Sharp uncovered a still flourishing folk culture. Since then interest in this subject has grown steadily, and the bibliography of publications of actual folk-songs and ballads is now huge. Frank Howes sets out a general and scholarly introduction, first examining in detail the history and origins of folk music and going on to show the nature and vast amount of the material, enforcing his arguments with a wealth of examples from around the world. His discussion of the differences of national idiom leads on to a comparison of British folk music with that of other European countries and America, in which he pays due attention to the Celtic and Norse traditions. Separate sections on balladry, carols, street cries, broadsides, sea shanties, nursery rhymes and instruments illustrate both the variety of folk music and the extent to which it permeates our national heritage.