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English Folk Song Suite
''English Folk Song Suite'' is one of English composer Ralph Vaughan Williams' most famous works. It was first published for the military band as ''Folk Song Suite'' and its premiere was given at Kneller Hall on 4 July 1923, conducted by Lt Hector Adkins. The piece was then arranged for full orchestra in 1924 by Vaughan Williams' student Gordon Jacob and published as ''English Folk Song Suite''. The piece was later arranged for British-style brass band in 1956 by Frank Wright and published as ''English Folk Songs Suite''.Published score by Boosey & Hawkes, 1956, ref. B&H 18233 All three versions were published by Boosey & Hawkes; note the use of three different titles for the three different versions. The suite uses the melodies of nine English folk songs, six of which were drawn from from the collection made by Vaughan Williams’ friend and colleague Cecil Sharp.Garofalo, Robert and Graebe, Martin (2014) ‘Focus on Repertoire: Folk songs in Ralph Vaughan Williams' English Fol ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ralph Vaughan Williams
Ralph Vaughan Williams, (; 12 October 1872– 26 August 1958) was an English composer. His works include operas, ballets, chamber music, secular and religious vocal pieces and orchestral compositions including nine symphonies, written over sixty years. Strongly influenced by Tudor music and English folk-song, his output marked a decisive break in British music from its German-dominated style of the 19th century. Vaughan Williams was born to a well-to-do family with strong moral views and a progressive social life. Throughout his life he sought to be of service to his fellow citizens, and believed in making music as available as possible to everybody. He wrote many works for amateur and student performance. He was musically a late developer, not finding his true voice until his late thirties; his studies in 1907–1908 with the French composer Maurice Ravel helped him clarify the textures of his music and free it from Music of Germany, Teutonic influences. Vaughan Williams i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Phrasing
Musical phrasing is the method by which a musician shapes a sequence of notes in a passage of music to allow expression, much like when speaking English a phrase may be written identically but may be spoken differently, and is named for the interpretation of small units of time known as phrases (half of a period). A musician accomplishes this by interpreting the music—from memory or sheet music—by altering tone, tempo, dynamics, articulation, inflection, and other characteristics. Phrasing can emphasise a concept in the music or a message in the lyrics, or it can digress from the composer's intention, aspects of which are commonly indicated in musical notation called phrase marks or phrase markings. For example, accelerating the tempo or prolonging a note may add tension. Giuseppe Cambini—a composer, violinist, and music teacher of the Classical period—had this to say about bowed string instruments, specifically violin, phrasing: Intuitive and analytical phrasin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Blow Away The Morning Dew
"The Baffled Knight" or "Blow Away the Morning Dew" () is a traditional ballad existing in numerous variants. The first-known version was published in Thomas Ravenscroft's ''Deuteromelia'' (1609) with a matching tune, making this one of the few early ballads for which there is extant original music. The song was included in such notable collections as ''Pills to Purge Melancholy'' by Thomas d'Urfey (1719–1720) and ''Reliques of Ancient English Poetry'' by Thomas Percy (1765). Versions were collected in England, Scotland, the USA, Canada. One version was recorded by Cecil Sharp from John Dingle (Coryton, Devon, 12 September 1905). The "Blow Away the Morning Dew" version was used in the third movement of Ralph Vaughan Williams' ''English Folk Song Suite'' (1923). Norfolk fisherman Sam Larner sang this same melody to Ewan MacColl and Peggy Seeger in 1958-60, then was filmed performing the song in 1962. Synopsis A knight (or in later versions a farmer's son or a shepherd's son) me ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Charles Marson
Charles Latimer Marson (16 May 1859 – 3 March 1914) was an influential figure in the second wave of Christian socialism in England in the 1880s. Later between 1903 and 1906 he collaborated with his good friend Cecil Sharp in the collection and publication of ''Folk Songs from Somerset vols. 1-3'', which contributed greatly to the first British folk revival. Education and training Marson's formative years were spent in Clevedon in Somerset where his father was the vicar of St Andrew's Church from 1871 till his death in 1895. Marson attended Clifton College and then University College, Oxford. Brought up as a strict evangelical, he lost his faith initially but found new direction when working as a volunteer (and then as a curate) under the Rev Samuel Barnett at St Jude's Whitechapel between December 1881 and April 1884. This close engagement with East End poverty – the overcrowded and squalid housing, the casual and ‘sweated’ labour, the workhouses and the inadequate char ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Green Bushes
Green Bushes is an English folk song (Roud #1040, Laws P2) which is featured in the second movement of Vaughan Williams's '' English Folk Song Suite'', in Percy Grainger's ''Green Bushes (Passacaglia on an English Folksong)'', and in George Butterworth's ''The Banks of Green Willow''. The melody is very similar to that of the " Lost Lady Found" movement of Percy Grainger's ''Lincolnshire Posy'', and to "Cutty Wren". According to Roud and Bishop This was an immensely popular song, collected many times across England, although not so often elsewhere. It was also very popular with nineteenth-century broadside printers. The song first appears in broadsides of the 1820s or 1830s. Its popularity was hugely increased by a popular melodrama ''The Green Bushes, or A Hundred Years Ago'' by William Buckstone, first performed in 1845. The heroine of the play made repeated reference to the song and sang a few verses, with the result that the sheet music was published soon after.Roud & Bishop ib ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dorian Mode
Dorian mode or Doric mode can refer to three very different but interrelated subjects: one of the Ancient Greek ''harmoniai'' (characteristic melodic behaviour, or the scale structure associated with it); one of the medieval musical modes; or—most commonly—one of the modern modal diatonic scales, corresponding to the piano keyboard's white notes from D to D, or any transposition of itself. : Greek Dorian mode The Dorian mode (properly ''harmonia'' or ''tonos'') is named after the Dorian Greeks. Applied to a whole octave, the Dorian octave species was built upon two tetrachords (four-note segments) separated by a whole tone, running from the ''hypate meson'' to the ''nete diezeugmenon''. In the enharmonic genus, the intervals in each tetrachord are quarter tone–quarter tone–major third. : In the chromatic genus, they are semitone–semitone–minor third. : In the diatonic genus, they are semitone–tone–tone. : In the diatonic genus, the sequence over the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arch Form
In music, arch form is a sectional structure for a piece of music based on repetition, in reverse order, of all or most musical sections such that the overall form is symmetric, most often around a central movement. The sections need not be repeated verbatim but must at least share thematic material. It creates interest through interplay among "memory, variation, and progression". Though the form appears to be static and to deny progress, the pairs of movements create an "undirectional process" with the center, and the form "actually engenders specific expressive possibilities that would otherwise be unavailable for the work as a whole".Wilson, Paul (1992). ''The Music of Béla Bartók''. . p. 32. Béla Bartók is noted for his use of arch form, e.g., in his fourth and fifth string quartets, Concerto for Orchestra, ''Music for Strings, Percussion and Celesta'', second piano concerto, and, to a lesser extent, in his second violin concerto. Samuel Barber's ''Adagio for Strings ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Form
In music, ''form'' refers to the structure of a musical composition or musical improvisation, performance. In his book, ''Worlds of Music'', Jeff Todd Titon suggests that a number of organizational elements may determine the formal structure of a piece of music, such as "the arrangement of musical units of rhythm, melody, and/or harmony that show repetition (music), repetition or variation (music), variation, the arrangement of the instruments (as in the order of solo (music), solos in a jazz or bluegrass performance), or the way a symphonic piece is orchestration, orchestrated", among other factors. It is, "the ways in which a composition is shaped to create a meaningful musical experience for the listener."Kostka, Stefan and Payne, Dorothy (1995). ''Tonal Harmony'', p.152. McGraw-Hill. . These organizational elements may be broken into smaller units called phrases, which express a musical idea but lack sufficient weight to stand alone. Musical form unfolds over time through th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Da Capo
Da capo (, also , ) is an Italian musical term that means "from the beginning" (literally, "from the head"). It is often abbreviated as D.C. The term is a directive to repeat the previous part of music, often used to save space, and thus is an easier way of saying to repeat the music from the beginning. In small pieces, this might be the same thing as a repeat. But in larger works, D.C. might occur after one or more repeats of small sections, indicating a return to the very beginning. The resulting structure of the piece is generally in ternary form. Sometimes, the composer describes the part to be repeated, for example: ''Menuet da capo''. In opera, where an aria of this structure is called a ''da capo aria'', the repeated section is often adorned with grace notes. The word ''Fine'' (Ital. 'end') is generally placed above the stave at the point where the movement ceases after a 'Da capo' repetition. Its place is occasionally taken by a pause (see fermata)."Grove, George; Ful ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Simple Metre
In music, metre ( Commonwealth spelling) or meter (American spelling) refers to regularly recurring patterns and accents such as bars and beats. Unlike rhythm, metric onsets are not necessarily sounded, but are nevertheless implied by the performer (or performers) and expected by the listener. A variety of systems exist throughout the world for organising and playing metrical music, such as the Indian system of '' tala'' and similar systems in Arabic and African music. Western music inherited the concept of metre from poetry, where it denotes: the number of lines in a verse; the number of syllables in each line; and the arrangement of those syllables as long or short, accented or unaccented. The first coherent system of rhythmic notation in modern Western music was based on rhythmic modes derived from the basic types of metrical unit in the quantitative metre of classical ancient Greek and Latin poetry. Later music for dances such as the pavane and galliard consisted of mu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Compound Time
In music, metre ( Commonwealth spelling) or meter ( American spelling) refers to regularly recurring patterns and accents such as bars and beats. Unlike rhythm, metric onsets are not necessarily sounded, but are nevertheless implied by the performer (or performers) and expected by the listener. A variety of systems exist throughout the world for organising and playing metrical music, such as the Indian system of '' tala'' and similar systems in Arabic and African music. Western music inherited the concept of metre from poetry, where it denotes: the number of lines in a verse; the number of syllables in each line; and the arrangement of those syllables as long or short, accented or unaccented. The first coherent system of rhythmic notation in modern Western music was based on rhythmic modes derived from the basic types of metrical unit in the quantitative metre of classical ancient Greek and Latin poetry. Later music for dances such as the pavane and galliard consisted of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
List Of The Child Ballads
The Child Ballads is the colloquial name given to a collection of 305 ballads collected in the 19th century by Francis James Child Francis James Child (February 1, 1825 – September 11, 1896) was an American scholar, educator, and folklorist, best known today for his collection of English and Scottish ballads now known as the Child Ballads. Child was Boylston professor of ... and originally published in ten volumes between 1882 and 1898 under the title ''The English and Scottish Popular Ballads.'' The ballads Following are synopses of the stories recounted in the ballads in Child's collection. Since Child included multiple versions of most ballads, the details of a story can vary widely. The synopses presented here reflect the summaries in Child's text, but also rely on other sources as well as the ballads themselves. References {{Francis James Child Child Ballads Murder ballads ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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