Ideal for junior choirs - twelve traditional Scottish songs arranged by Clifford Fletcher for unison voices with optional second parts. Includes ‘The Braes O’ Ballochmyle’ 'Aiken Drum’ and ‘Loch Lomond’.

Barbara Arens writes... A fact: I love Scotland. Every time I come home after travelling in Scotland I feel myself bursting with ideas inspired by all I've seen and experienced there. The heather-covered hills and the dusky forests the wind the amazingly pure air the mysterious ruins - and especially the water - be it a dark brown burn a roaring waterfall heavy clouds a gentle mist or the waves of the North Sea or a loch just begging to be explored - and the people I meet and their lovely almost always comprehensible speech...What a source of inspiration! And then there's the music - nothing is more thrilling than hearing massed bands of pipes and drums aswell as the rich tradition of folk music. So I come home and sit down at the piano and try to put these impressions into music trying always to keep the pieces as easily playable as possible - I want my piano students to enjoy them and express themselves through them without struggling with technical difficulties.So some of these pieces reflect my impression of a landscape standing stones a sunset over a loch; but some of the pieces are based on actual traditional gaelic songs and tunes. A wonderful discovery was finding the Scots Musical Museum the collection of traditional songs assembled and revised to a great extent by Robert Burns which appeared in Edinburgh 1769 1803 - a fantastic resource.I'm hoping you'll enjoy playing this collection of Scottish Piano pieces.

A collection of traditional Scottish and Irish Favourites including; I Belong To Glasgow When Irish Eyes Are Smiling and many more.

Tubular Bells Part-John Tavener's O Where Tell Me Where? was commissioned by The Bach Choir. It was first performed on 10th April 2014 at the Oriental Arts Centre Shanghai China by The Bach Choir conducted by DavidHill.This piece for SSSSAAAATTBB Choir and Tubular Bells is a meditation on three traditional Scottish songs: The Blue Bells Of Scotland My Love Is Like A Red Red Rose and The Skye Boat Song.

A collection of timeless favourites from the Scottish tradition as recorded by the celebrated performer Kenneth McKeller all arranged for Piano Voice and Guitar.

Par BURNS ROBERT. This second volume of the songs of Scottish poet Robert Burns contains 70 songs excerpted from the chapter 'The Lasses' in a larger collection of 324 Burns songs compiled and researched by Serge Hovey. It includes songs expressing the poet's 'passion' for his wife Jean, and for 'that other species.' Robert Burns (1759-1796) spent his life collecting Scottish songs, using fragments of existing lyrics as the basis for his own poems, and wrote original lyrics for traditional melodies. Burns left for posterity about 270 poems and more than 300 songs which are usually printed without their tunes. Serge Hovey meticulously examined Burns' own sources, letters, and manuscripts to determine the origin of every tune and all the verses as well as Burns' intended match of words and music. He then arranged each song with highly imaginative and beautiful accompaniments geared for pianists with average skills. This volume is illustrated with reproductions of paintings, drawings, and prints. These volumes also contain a glossary of frequently appearing Scots words and insightful historical notes for each song. / Niveau : Intermédiaire / Scottish - Songbooks / Recueil / Chant

Scottish Folk-One of the most loved songs by the Scottish poet Robert Burns (1759-1796) is set to the traditional Scottish tune The Caledonians Hunts Delight in English with a Scottish dialect.

While one of a kind is a hard rating to achieve at Mel Bay Publications Kevin Allison has done it with The Ceilidh Dance Book. A ceilidh is a traditional Scottish gathering where people share songs stories music and dancingthat is very much alive today. In Scotland there are hundreds of ceilidh bands each of which has their own trademark tune sets making it possible for a man in a kilt to make a living as a performing musician.This booknot only provides 85 Scottish tunes in sets as they might be used in a ceilidh event—it also offers detailed beat-by-beat descriptions of the dance steps for twenty-four dances! From The Highland Scottish to The MooncoinJig with this book in hand you’ll be able to both play in the band and step to the music with the locals. The kilt is optional.Arranged for mandolin or fiddle with suggested chord backup in standard notationonly.

from Scottish Folksong Suite-Recorder drum and guitar (or piano) give this traditional Scottish folksong special appeal. Performance Time: Approx. 3:00. Also in this set from this year are The Flowers o' the Forest (#08743219 SATB) and Bonnie Maryof Argyle (#08743218 TTBB a cappella). Also available in this set are three songs published in 2001: The Road to the Isles (#08703321 SATB) Robin Adair (#08703322 SATB a cappella) Rothsayo (08703323 SSA).

for Solo Guitar Vol. 1-This collection will help spark an interest in the development of an American repertoire for the classical guitar. Traditional Scottish and Irish tunes were transformed by the African rhythms of banjo players which in turninfluenced popular music and led to ragtime jazz and blues. The amount of folk music in America is staggering. The nineteenth century gave birth to many unique American styles and its songs are an important part of our musicalheritage. Even today quite a few of the tunes in this collection will seem very familiar. Written primarily in standard notation the exceptions being those tunes in altered tunings which logically appear in tablature only.

A proven source of graded duets for both the student and teacher of brass and woodwind instruments. Each volume contains works from the Renaissance, Baroque and Classical periods, folk songs and traditional tunes, and a selection of original compositions by Keith Snell in a variety of styles. A useful source of repertoire. Contains: Allegro (Mozart) * Allemand (Susato) * Arietta (Turk) * Aura Lee (Traditional) * Ballad (Snell) * Camptown Races (Steven Foster) * The Carousel (Snell) * The Dancing Master (Turk) * The Emperor of Germany's March (Clarke) * English Folk Tune (Traditional) * Etude in G (Snell) * Fanfare (Snell) * German Dance ( Beethoven) * Hide N' Seek (Snell) * Lullaby (Snell) * March (Snell) * Michael, Row the Boat Ashore (Folk Song) * Minuet (Handel) * La Mourisque (Susato) * Musette (LeCouppey) * Processional (Snell) * Rigaudon (Bohm) * Rondo (Snell) * Scottish Folk Song (Traditional) * Serenade (Muller) * Sonatina (Schmitt) * Toccata (Snell) * Trumpet Voluntary (Snell), Waltz (Snell) * Yankee Doodle (American Traditional).

Folksongs from Japanese Immigrant Workers in Hawai'i-Voices From The Canefields is a collection of folk songs from Japanese immigrant workers in Hawai'i. Folk songs are short stories from the souls of common people. Some like Mexican corridos or Scottish ballads reworked in the Appalachias are stories of tragic or heroic episodes. Others like the African American blues reach from a difficult present back into slavery and forward into a troubled future. Japanese workers in Hawaii's plantations created their own versions in form more akin to their traditional tanka or haiku poetry. These holehole bushi describe the experiences of one particular group caught in the global movements of capital empire and labor during the late nineteenth and early twentieth centuries. In Voices From The Canefields author Franklin Odo situates over two hundred of these songs in translation in a hitherto largely unexplored historical context. Japanese laborers quickly comprised the majority of Hawaiian sugar plantation workers after their large-scale importation as contract workers in 1885. Their folk songs provide good examples of the intersection between local work/life and the global connection which the workers clearly perceived after arriving. While many are songs of lamentation others reflect a rapid adaptation to a new society in which other ethnic groups were arranged in untidy hierarchical order - the origins of a unique multicultural social order dominated by an oligarchy of white planters. Odo also recognizes the influence of the immigrants' rapidly modernizing homeland societies through his exploration of the 'cultural baggage' brought by immigrants and some of their dangerous notions of cultural superiority. Japanese immigrants were thus simultaneously the targets of intense racial and class vitriol even as they took comfort in the expanding Japanese empire. Engagingly written and drawing on a multitude of sources including family histories newspapers oral histories the expressed