Songs And Dances From British Isles (Folk-Ensemble) 111

Songs and Dances from British Isles

Those Songs And Dances Were Arranged For: Vocal, Flute, Guitar, Bass

Score with Parts

Contents:
The Gaelic Farmer  (Treasa Ni Chormaic)
Dainty Davie  (Scotland)
Sally Gardens  (Ireland)
The Jolly Beggar  (Scotland)
The Gispsy Rover  England)
Carrickfergus  (Ireland)
Elionor Plunkett  (Turlough O'Carolan)
Sheebeg Agus Sheemore  (Turlough O'Carolan)
Planxty Browne  (Turlough O'Carolan)
Mairi´s Wedding  (Scotland)
Villafjord  (Shetland)
Planxty Irvin  (Turlough O'Carolan)
Gie Gordons  (Ireland)

Music of other peoples:
Singing, playing, and dancing to the music of other peoples can not only make an important contribution to music education but also, especially in our time, encourage children, adolescents, and adults to sample foreign cultures in a pleasant and creative manner.
This collection, Jike the one already published*, was put together in connection with work at a music school. lt is designed to encourage teachers, pupils, and music lovers to become acquainted with the music of other peoples.
The instrumentation is meant to be variable. The various parts can be played or omitted at will. Because music schools are more likely to have a cello, I have used that instrument instead of the bass viol. The cello is to be played pizzicato. Other bass instruments may be used as well. Cello and guitar are used chiefly as accompainiment, and they can also have a percussive function. The cello and the guitar should also play melody parts if their players are able. The guitar's chords do not always correspond to the harmonic feeling of the composition; rather, they supplement it.
The score is one of many possibilities for performance. Several stanzas should always be played, and they should contrast as much as possible. For example, the opening stanza can be played by the softest or deepest-voiced instruments, and the others can be added gradually. Unison stanzas can also have a charming effect.
Social learning is promoted and the aural perception of players is trained when the group works together to develop its own arrangements. Most important, it's fun!
I wish all of you who use my books much enjoyment.

Juliane Zollmann

NOTE:
The harmonies and melodies of these pieces often seem strange to our "classical" ears. The peculiarities in the music of other peoples cannot necessarily be written down with our notation. I recommend listening to original recordings from the countries in question. One such example is the French edition "Music folklorique du Mond".

ISMN 979-0-2024-2186-4