Arranged by Douglas E. Wagner. For Concert Band. Concert Band. Belwin Young Band. Folk Song. Level: 2 (Easy) (grade 2). Conductor Score. 20 pages. Published by Alfred Publishing.

Arranged by Douglas E. Wagner. For Concert Band. Concert Band. Belwin Young Band. Folk Song. Level: 2 (Easy) (grade 2). Conductor Score and Parts. 178 pages. Published by Alfred Publishing.

Composed by Bela Bartok (1881-1945). Masterworks; Piano Solo; Solo; Solo Small Ensembles. Kalmus Edition. 20th Century; Folk; Masterwork. 4 pages. Kalmus Classic Edition #00-K03130. Published by Kalmus Classic Edition

By Jane Smisor Bastien. (Bastien Supplementary Books). Bastien Piano. Folk Tunes. Folk Tunes. Level: Grade 1. Music Book. Published by Neil A. Kjos Music Company.

by Stacy Phillips. For fiddle. All styles, fiddle tunes. Level: Multiple Levels. Book. Solos. Size 8.75x11.75. 268 pages. Published by Mel Bay Pub., Inc.

By North Carolina Folk Song. Arranged by Mack Wilberg. Text: North Carolina Folk Song. For A Cappella. (SATB Div.). Mack Wilberg Three Mountain Tunes. Folk Secular. Level: Medium Advanced Jr. High/High School or Med. Adult. 8 pages. Duration 2 min, 28 sec. Published by Hinshaw Music Inc.

Composed by Jess Peterson. Saddle stitch. Folk/Dulcimer Instruction. Book and Downloadable audio. Duration 60 minutes. Published by ADG Productions

Arranged by Douglas E. Wagner. Concert Band. Concert Band; Part(s); Score; SmartMusic. Belwin Beginning Band. Form: Medley. Folk; Multicultural. Grade 1. 136 pages. Published by Belwin Music

By James Bastien. For Piano. (Bastien Supplementary Books). Bastien Piano. Folk Tunes. Primer Level piece for the American Patriotic and Folk Event with the National Federation of Music Clubs (NFMC) Festivals Bulletin 2008-2009-2010. Folk Tunes. Level: Primer. Music Book. Published by Neil A. Kjos Music Company.

Composed by Robert Applebaum. Advanced/Collegiate. Chanukah, 21st Century, Folk Song. Octavo. Duration 3 minutes, 15 seconds. Published by E.C. Schirmer Publishing (EC.8437).

Progressive Graded Repertoire for the Developing Saxophonist. Edited by Hywel Davies. Boosey & Hawkes Chamber Music. Softcover. 30 pages. Boosey & Hawkes #M060133091. Published by Boosey & Hawkes

By Ed Wennink. De Haske Play-along Book. Book and CD Package. Size 9x12 inches. 28 pages. Published by De Haske Publications.

Arranged by Deborah Greenblatt. Viola Duet. For 2 violas. Tunes for Two. Children's, Folk. Songbook. Standard Notation. 72 pages. Published by Greenblatt and Seay

Arranged by Deborah Greenblatt. Cello Duet. For 2 cellos. Tunes for Two. Children's, Folk. Songbook. Standard Notation. 72 pages. Published by Greenblatt & Seay

Fiddle, Violin - Difficulty: medium

SKU: HL.235

By Various. Fiddle. Folk. Solo fiddle songbook. With performance notes, introductory text and standard notation. 96 pages. Published by Centerstream Publications (HL.235).

ISBN 9781574240566. UPC: 073999567786. 9x12 inches.

This comprehensive collection of fabulous fiddle tunes includes reels, hornpipes, strathspeys, jigs, waltzes and slow airs.

Arranged by Deborah Greenblatt. Violin Duet. For 2 violins. Tunes for Two. Children's, Folk. Songbook. Standard Notation. 72 pages

Vocal and Piano

SKU: HL.50513485

Three and Thirty Folk Tunes. Composed by Laighton. Lengnick Publishing. Classical. Book Only. Alfred Lengnick & Co #AL0955A. Published by Alfred Lengnick & Co (HL.50513485).

Concert band - Grade 3

SKU: CL.012-4484-01

On Old English Songs. Composed by La Plante. Concert Band. Concert Band Series. Audio recording available separately (item CL.WFR388). Extra full score. Composed 2016. Duration 7 minutes, 52 seconds. Opus III Wind Orchestra Publications #012-4484-01. Published by Opus III Wind Orchestra Publications (CL.012-4484-01).

This suite was written and intended as a homage and stepping stone to the great band works of Holst, Grainger & Vaughan Williams. The three movements are based on traditional English folk tunes which include settings of sea songs, a ballad, and variations on an old whimsical children’s song. Written somewhat in the style of the above-mentioned masters, this suite is accessible to younger bands yet appropriate for more advanced ensembles. Destined to be a band classic!

Concert band - Grade 3

SKU: CL.012-4484-75

On Old English Songs. Composed by La Plante. Concert Band. Concert Band Series. Audio recording available separately (item CL.WFR388). Oversized, spiral-bound score. Composed 2016. Duration 7 minutes, 52 seconds. Opus III Wind Orchestra Publications #012-4484-75. Published by Opus III Wind Orchestra Publications (CL.012-4484-75).

This suite was written and intended as a homage and stepping stone to the great band works of Holst, Grainger & Vaughan Williams. The three movements are based on traditional English folk tunes which include settings of sea songs, a ballad, and variations on an old whimsical children's song. Written somewhat in the style of the above-mentioned masters, this suite is accessible to younger bands yet appropriate for more advanced ensembles. Destined to be a band classic!

Acoustic instruments - Intermediate

SKU: MB.30971M

Saddle-stitched. Ensemble. Book and online video. 48 pages. Mel Bay Publications, Inc #30971M. Published by Mel Bay Publications, Inc (MB.30971M).

ISBN 9781513467368. 8.75x11.75 inches.

A set of 12 beautiful new folk tunes arranged for acoustic instruments and suitable for ensembles ranging from duos to small orchestras. Each tune has three written parts ? melody, countermelody, and bass line ? as well as chords shown beneath the melody line. In addition to technical tips there is a video performance of each tune by Moonrakers played at a steady pace. Suitable for intermediate-level amateurs and professionals alike. Includes access to online video.

Composed by Traditional. Arranged by Michael Story and Robert W. Smith. Concert Band. Concert Band Method; SmartMusic. Band Expressions Book 2. Folk. Grade 2. Conductor Score and Parts. Published by Alfred Music

On Old English Songs. Composed by Pierre La Plante. Concert Band Series. Score and parts. Duration 0:7:52. Published by C.L. Barnhouse (CL.012-4484-00).

Recorder

SKU: HL.49002262

First Tunes. Composed by Freda Dinn. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. 24 pages. Schott Music #ED10079. Published by Schott Music (HL.49002262).

ISBN 9790220100819. UPC: 073999729467. 8.5x11.5x0.089 inches. English.

Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, English Horn, Flute 1, Flute 2, Oboe 1, Oboe 2, Piccolo, alto Saxophone, soprano Saxophone, tenor Saxophone

SKU: PR.165001000

Hymns for Wind Ensemble. Composed by Dan Welcher. Folio. Set of Score and Parts. 4+24+24+16+8+4+4+24+12+12 +8+4+4+4+4+8+8+8+8+4+4+4+ 4+8+8+8+8+8+8+8+8+4+16+4+ 8+4+8+8+4+4+4+48 pages. Duration 10 minutes, 41 seconds. Theodore Presser Company #165-00100. Published by Theodore Presser Company (PR.165001000).

ISBN 9781491129241. UPC: 680160669776. 9 x 12 inches.

Commissione d for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,”giving rise to the work’s title.
This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,” butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty” than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?” takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.”Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,”cons tantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.” This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key” of the hymn seems to shift — until the “Lord of all, toThee we praise” melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tune”heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty” with long spaces between them, but it soonchanges to a series of “Amen” cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth” contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sight”and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected.