For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chord names. Folk. Series: Hal Leonard Fake Books. 536 pages. 9.6x12 inches. Published by Hal Leonard.

(Advanced Arrangements for Flute & Piano). By Carol Foss. Woodwind solo. For flute, piano. Published by Lillenas Publishing Company

By Philip Gabriel. For unison/2-part choir. Sacred. Sacred Choral Collection. Published by Triune Music Inc. (45/1103K)

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Temple Blocks, Timpani, Trombone 1 and more. - Grade 3

SKU: CF.CPS240F

Composed by Richard Summers. Sws. Cps. Full score. 24 pages. Duration 3 minutes, 55 seconds. Carl Fischer Music #CPS240F. Published by Carl Fischer Music (CF.CPS240F).

ISBN 9781491157879. UPC: 680160916474. 9 x 12 inches.

Composing this piece was an interesting process. A piece of a melody or an idea takes shape, and after writing it down, itas like planting a seed that starts to grow and develop. I got a snippet of a western idea and then thought of a monument in my hometown of Wheeling, West Virginia. The statue is called Madonna of the Trail. The history part of this piece started to take shape as I researched this statue. There are twelve of them located in twelve states where the Old Trail Road, or National Road, passes through. As the piece developed, I started to think about the travel of a pioneer woman and her family passing through various areas of our early country. The 3,000 mile coast-to-coast National road was realized in the early 1900s but was based on six trails that date back to the 1700s. After developing the introduction and theme to this concert band piece, the story began to take shape. The slower 3/4 section melody hints at Greensleeves (What Child Is This) which appropriately weaves itself into the mix. Finally heading further west into New Mexico, Arizona, and California, the melody takes on a Spanish flavor and returns to the main theme before its conclusion. Divisi parts that are optional can be utilized to add a richer sound. Feel free to experiment with octave changes in the woodwinds in the fuller sections, if students are comfortable playing up an octave. Always be aware of the musicality, blend, and especially legato playing when required.
Composing this piece was an interesting process. A piece of a melody or an idea takes shape, and after writing it down, it's like planting a seed that starts to grow and develop. I got a snippet of a western idea and then thought of a monument in my hometown of Wheeling, West Virginia. The statue is called Madonna of the Trail. The history part of this piece started to take shape as I researched this statue. There are twelve of them located in twelve states where the Old Trail Road, or National Road, passes through. As the piece developed, I started to think about the travel of a pioneer woman and her family passing through various areas of our early country. The 3,000 mile coast-to-coast National road was realized in the early 1900s but was based on six trails that date back to the 1700s. After developing the introduction and theme to this concert band piece, the story began to take shape. The slower 3/4 section melody hints at Greensleeves (What Child Is This) which appropriately weaves itself into the mix. Finally heading further west into New Mexico, Arizona, and California, the melody takes on a Spanish flavor and returns to the main theme before its conclusion. Divisi parts that are optional can be utilized to add a richer sound. Feel free to experiment with octave changes in the woodwinds in the fuller sections, if students are comfortable playing up an octave. Always be aware of the musicality, blend, and especially legato playing when required.
Composing this piece was an interesting process. A piece of a melody or an idea takes shape, and after writing it down, it’s like planting a seed that starts to grow and develop. I got a snippet of a western idea and then thought of a monument in my hometown of Wheeling, West Virginia.  The statue is called Madonna of the Trail. The history part of this piece started to take shape as I researched this statue. There are twelve of them located in twelve states where the Old Trail Road, or National Road, passes through.  As the piece developed, I started to think about the travel of a pioneer woman and her family passing through various areas of our early country.  The 3,000 mile coast-to-coast National road was realized in the early 1900s but was based on six trails that date back to the 1700s. After developing the introduction and theme to this concert band piece, the story began to take shape.  The slower 3/4 section melody hints at Greensleeves (What Child Is This) which appropriately weaves itself into the mix.  Finally heading further west into New Mexico, Arizona, and California, the melody takes on a Spanish flavor and returns to the main theme before its conclusion.  Divisi parts that are optional can be utilized to add a richer sound. Feel free to experiment with octave changes in the woodwinds in the fuller sections, if students are comfortable playing up an octave. Always be aware of the musicality, blend, and especially legato playing when required.

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Temple Blocks, Timpani, Trombone 1 and more. - Grade 3

SKU: CF.CPS240

Composed by Richard Summers. Folio. Cps. Set of Score and Parts. 16+4+8+8+8+4+4+4+4+4+4+8+ 8+8+4+4+6+6+6+4+8+2+2+4+2 +24 pages. Duration 3 minutes, 55 seconds. Carl Fischer Music #CPS240. Published by Carl Fischer Music (CF.CPS240).

ISBN 9781491157862. UPC: 680160916467. 9 x 12 inches.

Composing this piece was an interesting process. A piece of a melody or an idea takes shape, and after writing it down, itas like planting a seed that starts to grow and develop. I got a snippet of a western idea and then thought of a monument in my hometown of Wheeling, West Virginia. The statue is called Madonna of the Trail. The history part of this piece started to take shape as I researched this statue. There are twelve of them located in twelve states where the Old Trail Road, or National Road, passes through. As the piece developed, I started to think about the travel of a pioneer woman and her family passing through various areas of our early country. The 3,000 mile coast-to-coast National road was realized in the early 1900s but was based on six trails that date back to the 1700s. After developing the introduction and theme to this concert band piece, the story began to take shape. The slower 3/4 section melody hints at Greensleeves (What Child Is This) which appropriately weaves itself into the mix. Finally heading further west into New Mexico, Arizona, and California, the melody takes on a Spanish flavor and returns to the main theme before its conclusion. Divisi parts that are optional can be utilized to add a richer sound. Feel free to experiment with octave changes in the woodwinds in the fuller sections, if students are comfortable playing up an octave. Always be aware of the musicality, blend, and especially legato playing when required.
Composing this piece was an interesting process. A piece of a melody or an idea takes shape, and after writing it down, it's like planting a seed that starts to grow and develop. I got a snippet of a western idea and then thought of a monument in my hometown of Wheeling, West Virginia. The statue is called Madonna of the Trail. The history part of this piece started to take shape as I researched this statue. There are twelve of them located in twelve states where the Old Trail Road, or National Road, passes through. As the piece developed, I started to think about the travel of a pioneer woman and her family passing through various areas of our early country. The 3,000 mile coast-to-coast National road was realized in the early 1900s but was based on six trails that date back to the 1700s. After developing the introduction and theme to this concert band piece, the story began to take shape. The slower 3/4 section melody hints at Greensleeves (What Child Is This) which appropriately weaves itself into the mix. Finally heading further west into New Mexico, Arizona, and California, the melody takes on a Spanish flavor and returns to the main theme before its conclusion. Divisi parts that are optional can be utilized to add a richer sound. Feel free to experiment with octave changes in the woodwinds in the fuller sections, if students are comfortable playing up an octave. Always be aware of the musicality, blend, and especially legato playing when required.
Composing this piece was an interesting process. A piece of a melody or an idea takes shape, and after writing it down, it’s like planting a seed that starts to grow and develop. I got a snippet of a western idea and then thought of a monument in my hometown of Wheeling, West Virginia.  The statue is called Madonna of the Trail. The history part of this piece started to take shape as I researched this statue. There are twelve of them located in twelve states where the Old Trail Road, or National Road, passes through.  As the piece developed, I started to think about the travel of a pioneer woman and her family passing through various areas of our early country.  The 3,000 mile coast-to-coast National road was realized in the early 1900s but was based on six trails that date back to the 1700s. After developing the introduction and theme to this concert band piece, the story began to take shape.  The slower 3/4 section melody hints at Greensleeves (What Child Is This) which appropriately weaves itself into the mix.  Finally heading further west into New Mexico, Arizona, and California, the melody takes on a Spanish flavor and returns to the main theme before its conclusion.  Divisi parts that are optional can be utilized to add a richer sound. Feel free to experiment with octave changes in the woodwinds in the fuller sections, if students are comfortable playing up an octave. Always be aware of the musicality, blend, and especially legato playing when required.

By Various. Arranged by Bobby Fisher. For Voices: none. Instruments: Guitar (1-3), woodwinds (flute, oboe, recorders), string bass, cello (instruments required). Coll, Inst; Guit Ens Sacred. Published by GIA Publications.

(Woodwind Solos and Ensemble/Flute Collection). Arranged by Arthur Ephross and Jan Stark. Flute. Woodwind Solos and Ensembles - Flute Collection. Southern Music. Grade 2. 52 pages. Southern Music Company #B392CO. Published by Southern Music Company

By Traditional. Arranged by Christensen. For 4 flutes. Flute Quartet. Level: Grade 4. Published by Kendor Music Inc.

By Kuehmann, Barrett. For flute choir. Instrumental collection. Intermediate. Published by SoundForth

Arranged by Bruce R. Smith. Woodwind Ensemble. For Flute, Clarinet, Alto Saxophone. Level: Grade 4. Published by BRS Music.

By Various Composers. Fake Book (Includes melody line and chords). Size 8.5x11 inches. 416 pages. Published by Hal Leonard.

C Instruments. By Various. Fake Book (Includes melody line and chords). Published by Hal Leonard.

B-flat Edition. By Various. Fake Book (Includes melody line and chords). Size 8.5x11 inches. Published by Hal Leonard.

Book with Play-Along Tracks. Composed by Various. Real Book Play-Along. Softcover Audio Online. 440 pages. Published by Hal Leonard

Eb Instruments. By Various. Fake Book (Includes melody line and chords). Size 9x11 inches. Published by Hal Leonard.

Bass Clef Edition. By Various. Fake Book (Includes melody line and chords). Size 9x11 inches. Published by Hal Leonard.

By Various. For Voices: various. Instruments: Flute, oboe, 1 and 2 woodwinds in C (instruments optional). Keyboard accompaniment. Collection Sacred. Level: easy. 48 pages. Published by GIA Publications.

Flute

SKU: HL.645801

(Suite). Composed by Endre Szervanszky. 20th Century. Educational Piano. Studies & Exercises. Softcover. 4 pages. Duration 7200 seconds. Schaum Publications, Inc. #7001. Published by Schaum Publications, Inc. (HL.645801).

ISBN 9790080070017. UPC: 008148070015. 9.0x12.0 inches. Hungarian, English.

(Hungaroto n HCD 31785).

Guitar, flute

SKU: GI.G-5364INST

Composed by Robert J. Batastini. Arranged by Robert J. Batastini. This edition: Instrument edition. Tune Name: Greensleeves. Sacred. Instrumental part(s). 4 pages. GIA Publications #5364INST. Published by GIA Publications (GI.G-5364INST).

Choral Cello, Flute, Harp, Oboe, Percussion, Piano, Viola, Violin 1, Violin 2, alto voice, bass voice, soprano voice, tenor voice

SKU: PR.31241902S

From Terra Nostra. Composed by Stacy Garrop. Full score. Duration 3:15. Theodore Presser Company #312-41902S. Published by Theodore Presser Company (PR.31241902S).

UPC: 680160690589. English.

Commission ed by the San Francisco Choral Society and the Piedmont East Bay Children’s Choir, Terra Nostra is a 70-minute oratorio on the relationship between our planet and humankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. Part I: Creation of the World explores various creation myths from different cultures, culminating in a joyous celebration of the beauty of our planet. Part II: The Rise of Humanity examines human achievements, particularly since the dawn of our Industrial Age, and how these achievements have impacted the planet. Part III: Searching for Balance questions how to create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. In addition to the complete oratorio, stand-alone movements for mixed chorus, and for solo voice with piano, are also available separately.
Terra Nostra focuses on the relationship between our planet and mankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. The oratorio is divided into three parts:Part I: Creation of the World celebrates the birth and beauty of our planet. The oratorio begins with creation myths from India, North America, and Egypt that are integrated into the opening lines of Genesis from the Old Testament. The music surges forth from these creation stories into “God’s World” by Edna St. Vincent Millay, which describes the world in exuberant and vivid detail. Percy Bysshe Shelley’s “On thine own child” praises Mother Earth for her role bringing forth all life, while Walt Whitman sings a love song to the planet in “Smile O voluptuous cool-breathed earth!” Part I ends with “A Blade of Grass” in which Whitman muses how our planet has been spinning in the heavens for a very long time.Part II: The Rise of Humanity examines the achievements of mankind, particularly since the dawn of the Industrial Age. Lord Alfred Tennyson’s “Locksley Hall” sets an auspicious tone that mankind is on the verge of great discoveries. This is followed in short order by Charles Mackay’s “Railways 1846,” William Ernest Henley’s “A Song of Speed,” and John Gillespie Magee, Jr.’s “High Flight,” each of which celebrates a new milestone in technological achievement. In “Binsey Poplars,” Gerard Manley Hopkins takes note of the effect that these advances are having on the planet, with trees being brought down and landscapes forever changed. Percy Bysshe Shelley’s “A Dirge” concludes Part II with a warning that the planet is beginning to sound a grave alarm.Part III: Searching for Balance questions how we can create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. Three texts continue the earth’s plea that ended the previous section: Lord Byron’s “Darkness” speaks of a natural disaster (a volcano) that has blotted out the sun from humanity and the panic that ensues; contemporary poet Esther Iverem’s “Earth Screaming” gives voice to the modern issues of our changing climate; and William Wordsworth’s “The World Is Too Much With Us” warns us that we are almost out of time to change our course. Contemporary/agrarian poet Wendell Berry’s “The Want of Peace” speaks to us at the climax of the oratorio, reminding us that we can find harmony with the planet if we choose to live more simply, and to recall that we ourselves came from the earth. Two Walt Whitman texts (“A Child said, What is the grass?” and “There was a child went forth every day”) echo Berry’s thoughts, reminding us that we are of the earth, as is everything that we see on our planet. The oratorio concludes with a reprise of Whitman’s “A Blade of Grass” from Part I, this time interspersed with an additional Whitman text that sublimely states, “I bequeath myself to the dirt to grow from the grass I love…”My hope in writing this oratorio is to invite audience members to consider how we interact with our planet, and what we can each personally do to keep the planet going for future generations. We are the only stewards Earth has; what can we each do to leave her in better shape than we found her?

Choral Cello, Flute, Harp, Oboe, Percussion, Piano, Viola, Violin 1, Violin 2, alto voice, bass voice, soprano voice, tenor voice

SKU: PR.31241902A

From Terra Nostra. Composed by Stacy Garrop. Set of Score and Parts. Duration 3:15. Theodore Presser Company #312-41902A. Published by Theodore Presser Company (PR.31241902A).

UPC: 680160690510. English.

Commission ed by the San Francisco Choral Society and the Piedmont East Bay Children’s Choir, Terra Nostra is a 70-minute oratorio on the relationship between our planet and humankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. Part I: Creation of the World explores various creation myths from different cultures, culminating in a joyous celebration of the beauty of our planet. Part II: The Rise of Humanity examines human achievements, particularly since the dawn of our Industrial Age, and how these achievements have impacted the planet. Part III: Searching for Balance questions how to create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. In addition to the complete oratorio, stand-alone movements for mixed chorus, and for solo voice with piano, are also available separately.
Terra Nostra focuses on the relationship between our planet and mankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. The oratorio is divided into three parts:Part I: Creation of the World celebrates the birth and beauty of our planet. The oratorio begins with creation myths from India, North America, and Egypt that are integrated into the opening lines of Genesis from the Old Testament. The music surges forth from these creation stories into “God’s World” by Edna St. Vincent Millay, which describes the world in exuberant and vivid detail. Percy Bysshe Shelley’s “On thine own child” praises Mother Earth for her role bringing forth all life, while Walt Whitman sings a love song to the planet in “Smile O voluptuous cool-breathed earth!” Part I ends with “A Blade of Grass” in which Whitman muses how our planet has been spinning in the heavens for a very long time.Part II: The Rise of Humanity examines the achievements of mankind, particularly since the dawn of the Industrial Age. Lord Alfred Tennyson’s “Locksley Hall” sets an auspicious tone that mankind is on the verge of great discoveries. This is followed in short order by Charles Mackay’s “Railways 1846,” William Ernest Henley’s “A Song of Speed,” and John Gillespie Magee, Jr.’s “High Flight,” each of which celebrates a new milestone in technological achievement. In “Binsey Poplars,” Gerard Manley Hopkins takes note of the effect that these advances are having on the planet, with trees being brought down and landscapes forever changed. Percy Bysshe Shelley’s “A Dirge” concludes Part II with a warning that the planet is beginning to sound a grave alarm.Part III: Searching for Balance questions how we can create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. Three texts continue the earth’s plea that ended the previous section: Lord Byron’s “Darkness” speaks of a natural disaster (a volcano) that has blotted out the sun from humanity and the panic that ensues; contemporary poet Esther Iverem’s “Earth Screaming” gives voice to the modern issues of our changing climate; and William Wordsworth’s “The World Is Too Much With Us” warns us that we are almost out of time to change our course. Contemporary/agrarian poet Wendell Berry’s “The Want of Peace” speaks to us at the climax of the oratorio, reminding us that we can find harmony with the planet if we choose to live more simply, and to recall that we ourselves came from the earth. Two Walt Whitman texts (“A Child said, What is the grass?” and “There was a child went forth every day”) echo Berry’s thoughts, reminding us that we are of the earth, as is everything that we see on our planet. The oratorio concludes with a reprise of Whitman’s “A Blade of Grass” from Part I, this time interspersed with an additional Whitman text that sublimely states, “I bequeath myself to the dirt to grow from the grass I love…”My hope in writing this oratorio is to invite audience members to consider how we interact with our planet, and what we can each personally do to keep the planet going for future generations. We are the only stewards Earth has; what can we each do to leave her in better shape than we found her?

Flute - Intermediate

SKU: CZ.9798879331721

Composed by Various. Arranged by Larry Newman. Book. Children's Music Workshop #9798879331721. Published by Children's Music Workshop (CZ.9798879331721).

ISBN 9798879331721.

Disc over Jazz Hymns – where cherished hymns meet the vibrant world of jazz! Immerse yourself in the timeless essence of twenty beloved hymns, now adorned with sophisticated jazz harmonies, designed to be easily performed by music enthusiasts of all levels.
This unique collection features classics like 'Amazing Grace,' 'How Great Thou Art,' and 'What a Friend We Have in Jesus,' each thoughtfully arranged to blend tradition with the allure of contemporary jazz. Featuring beautiful arrangements, online audio mp3s and included lyrics, this book is a comprehensive resource for both musicians and congregations alike.
Ideal for church services, personal devotion, or musical gatherings, these hymns resonate with a newfound energy while honoring their sacred roots. Elevate the ambiance of your gatherings and infuse them with the rich melodies and fresh harmonies found within Jazz Hymns.
Embrace the beauty of tradition reimagined and experience the joy of playing these timeless hymns, perfectly suited for musicians seeking a harmonious blend of classic and modern influences
Jazz Hymns is available is editions for flute, oboe, clarinet, saxophone, trumpet, trombone, violin, viola, cello, guitar and solo piano.

Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Clarinet 3, Flute 1, Flute 2, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3, Piccolo, Ride Cymbal, Tambourine, Tom-tom, Triangle, Wood Block, alto Saxophone 1 and more. - Grade 3

SKU: CF.CPS264

Composed by Lauren Bernofsky. Cps. Set of Score and Parts. 1+8+8+4+4+8+8+8+4+4+4+4+4 +4+4+4+4+4+28 pages. Duration 3 minutes, 39 seconds. Carl Fischer Music #CPS264. Published by Carl Fischer Music (CF.CPS264).

ISBN 9781491161418. UPC: 680160920006.

Some of the first music I remember hearing as a child was folk dance music from around the world. My parents were avid folk dancers, and they used to host weekly folk dance evenings in our basement. Some nights, when I was supposed to be in bed, I would stand with my ear to the door, listening to this fascinating music that drifted up the stairs. I didn't know what each piece was, but the melodies have stayed with me. Tropanka is one of those tunes. Tropanka (pronounced tro-PAHN-kuh) is a folk dance from Bulgaria, and the title means stomping dance. One can hear two repeated notes at the end of each phrase - this is where the dancers stomp. Patsh Tantz (pronounced PAHTSH tahnts) is a classic example of Klezmer, which is East European Jewish folk music. The title is Yiddish for clapping dance, and all the players get the chance to clap at certain points in their individual part. Klezmer music is often quite exciting, and this arrangement includes the characteristic accelerando, building excitement as the piece drives to the end. Both movements should be played rhythmically, and as it is folk music that would be danced to by untrained dancers, often wearing boots or other flat-soled shoes, adding weight to many of the downbeats will help bring out the earthy character of the music. Since my parents met while folk dancing, I made these arrangements (originally in a version for string quartet) as a gift in celebration of their 50th wedding anniversary.
Some of the first music I remember hearing as a child was folk dance music from around the world. My parents were avid folk dancers, and they used to host weekly folk dance evenings in our basement.  Some nights, when I was supposed to be in bed, I would stand with my ear to the door, listening to this fascinating music that drifted up the stairs. I didn’t know what each piece was, but the melodies have stayed with me. Tropanka is one of those tunes. Tropanka (pronounced “tro-PAHN-kuh� �) is a folk dance from Bulgaria, and the title means “stomping dance”. One can hear two repeated notes at the end of each phrase – this is where the dancers stomp. Patsh Tantz (pronounced “PAHTSH tahnts”) is a classic example of Klezmer, which is East European Jewish folk music. The title is Yiddish for “clapping dance”, and all the players get the chance to clap at certain points in their individual part. Klezmer music is often quite exciting, and this arrangement includes the characteristic accelerando, building excitement as the piece drives to the end.Both movements should be played rhythmically, and as it is folk music that would be danced to by untrained dancers, often wearing boots or other flat-soled shoes, adding weight to many of the downbeats will help bring out the “earthy” character of the music. Since my parents met while folk dancing, I made these arrangements (originally in a version for string quartet) as a gift in celebration of their 50th wedding anniversary.

Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Clarinet 3, Flute 1, Flute 2, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3, Piccolo, Ride Cymbal, Tambourine, Tom-tom, Triangle, Wood Block, alto Saxophone 1 and more. - Grade 3

SKU: CF.CPS264F

Composed by Lauren Bernofsky. Cps. Full score. 28 pages. Duration 3 minutes, 39 seconds. Carl Fischer Music #CPS264F. Published by Carl Fischer Music (CF.CPS264F).

ISBN 9781491161746. UPC: 680160920433.

Some of the first music I remember hearing as a child was folk dance music from around the world. My parents were avid folk dancers, and they used to host weekly folk dance evenings in our basement. Some nights, when I was supposed to be in bed, I would stand with my ear to the door, listening to this fascinating music that drifted up the stairs. I didn't know what each piece was, but the melodies have stayed with me. Tropanka is one of those tunes. Tropanka (pronounced tro-PAHN-kuh) is a folk dance from Bulgaria, and the title means stomping dance. One can hear two repeated notes at the end of each phrase - this is where the dancers stomp. Patsh Tantz (pronounced PAHTSH tahnts) is a classic example of Klezmer, which is East European Jewish folk music. The title is Yiddish for clapping dance, and all the players get the chance to clap at certain points in their individual part. Klezmer music is often quite exciting, and this arrangement includes the characteristic accelerando, building excitement as the piece drives to the end. Both movements should be played rhythmically, and as it is folk music that would be danced to by untrained dancers, often wearing boots or other flat-soled shoes, adding weight to many of the downbeats will help bring out the earthy character of the music. Since my parents met while folk dancing, I made these arrangements (originally in a version for string quartet) as a gift in celebration of their 50th wedding anniversary.
Some of the first music I remember hearing as a child was folk dance music from around the world. My parents were avid folk dancers, and they used to host weekly folk dance evenings in our basement.  Some nights, when I was supposed to be in bed, I would stand with my ear to the door, listening to this fascinating music that drifted up the stairs. I didn’t know what each piece was, but the melodies have stayed with me. Tropanka is one of those tunes. Tropanka (pronounced “tro-PAHN-kuh� �) is a folk dance from Bulgaria, and the title means “stomping dance”. One can hear two repeated notes at the end of each phrase – this is where the dancers stomp. Patsh Tantz (pronounced “PAHTSH tahnts”) is a classic example of Klezmer, which is East European Jewish folk music. The title is Yiddish for “clapping dance”, and all the players get the chance to clap at certain points in their individual part. Klezmer music is often quite exciting, and this arrangement includes the characteristic accelerando, building excitement as the piece drives to the end.Both movements should be played rhythmically, and as it is folk music that would be danced to by untrained dancers, often wearing boots or other flat-soled shoes, adding weight to many of the downbeats will help bring out the “earthy” character of the music. Since my parents met while folk dancing, I made these arrangements (originally in a version for string quartet) as a gift in celebration of their 50th wedding anniversary.

Arranged by Judy Nishimura. Instrumental parts. Hope Publishing Company #9061. Published by Hope Publishing Company