An American Folktune Setting for Concert Band-One of the most distinctive characteristics of this traditional Appalachian folk song is the jazz-like use of occasional ?blue? notes in the melody and harmony. This setting effectively explores the many instrumental colors and textures of the modern concert band yet it maintains the simplicity and beauty of the original melody.

Appalachian Folk Song. Par PAGE NICK. Bowling Green a été enregistré dans les années 1940 par Cousin Emmy. Simple arrangement de la page est dans une clé plus élevée et, dans la tradition populaire, a des changements de rythme./ Feuillet / 2 Parties Voix Aigües (SA) et Groupe de Bluegras (

Dr. Timothy Howard from Cal State University Northridge has arranged this enchanting Appalachian folk song for SSA Treble choir. He captures the open-string character sensationally well - there is a Copland-esque quality to the entire setting. Destined to be a favorite for high school and college choirs everywhere.

Appalachian Folk Song-Tom Shelton's arrangement of this beloved bluegrass song will offer a rich experience for singers and audiences. Shady Grove may be performed with Piano only or with the additional traditional bluegrass instrumentation. An option for combining two choirs of differing levels makes this a versatile work. Tremendously fun!

From the composer of Festival of Carols and The Winter Rose comes a cantata that celebrates the legacy of early American carols and hymnody. Composed in the spirit of folk music the cantata combines traditionalsounds with more rustic elements creating a blend that is fresh and pleasing. Popular American carols like Away In a Manger and O Little Town of Bethlehem dance with traditional spirituals such as Children GoWhere I Send Thee and Go Tell It on the Mountain. Sacred Harp tunes are re-tooled for Advent and stand alongside new versions of Shaker hymns and Appalachian melodies. Thoughtful narration weaves the movements togetherin a meaningful tapestry of song and Scripture. Two orchestral options are available allowing maximum flexibility in performance. A full line of support products is also available. Available separately: SATB CD-ROM FullOrchestration (Score & Parts for Flute 1 & 2 alto recorder Oboe/English Horn Clarinet 1 & 2 Bassoon Horn 1 & 2 Trumpet 1-3 Trombone 1 & 2 Bass Trombone/Tuba Timpani Percussion Acoustic Guitar Banjo Harp Piano Synth Solo fiddle Violin 1 & 2 Viola Cello Double Bass) Printed Full Orchestration Appalachian Consort Orchestration (Score & parts for Flute Violin Cello Mandolin Guitar Percussion and Piano) StudioTrax CD (accompanimentonly) SplitTrax CD Listening CD 10-Pack Listening CDs Preview Pack (Book/CD combo) RehearsalTrax CDs (part predominant reproducible) Digital Resource Kit (PowerPoint Choir Devotionals Poster Program Flyers Children'sProgram PDFs). Duration: approx. 40 min.

Doc Watson was a legendary performer who blended his traditional Appalachian musical roots with bluegrass country gospel and blues to create a unique style and an expansive repertoire. His flatpicking style elevated the acoustic guitar to solo status in bluegrass and country music and whose interpretations of traditional American music profoundly influenced generations of folk and rock guitarists.Doc was born in Deep Gap North Carolina on March 3 1923 into a family already rich in musical tradition. His mother Annie Watson sang traditional secular and religious songs and his father General Watson played the banjo which was Doc's first instrument as well.In 1953 Doc met Jack Williams a local piano player and played rockabilly/swing music for seven years a period and a style that he later revisited in the album Docabilly. But he also continued to play acoustic traditional music with his family and with his banjo playing neighbor Clarence Tom Ashley. In 1960 spurred by the growing folk revival folklorists Ralph Rinzler and Eugene Earle came south to record Ashley and heard Doc Watson in the process. These sessions resulted in Doc's first recordings Old-Time Music at Clarence Ashley's.In 1961 the Friends of Old-Time Music invited Doc Ashley Clint Howard and Fred Price to perform at a now-legendary concert in New York City and one year later Doc gave his first solo performance at Gerde's Folk City in Greenwich Village. From then on he was a full-time professional playing a wide range of concerts clubs colleges and festivals including the Newport Folk Festival and Carnegie Hall.In the late 1960s Doc was joined on the road by his son Merle who provided both musical and emotional companionship; with Merle playing guitar and banjo and serving as partner and driver the father-son team expanded their audience nationwide. Sadly Merle died in 1985 from a tractor accident.A series of over 50 remarkable recordings including collaborations with Flatt & Scruggs Chet Atkins and

for the Mountain Dulcimer-This collection for mountain dulcimer players includes two dozen wedding pieces in DAD tuning derived from the folk traditions of the British Isles and America???s Appalachian community. The melodies appear in both dulcimer tablature and music notation with suggested backup chords. Arrangements for a second dulcimer player are also included. An original song entitled Many Butterflies is provided as a wedding gift from author Madeline MacNeil! Haste to the Wedding and the marrying couple then asks each other to Give Me Your Hand.