Folk Song Arrangements
Burleigh, H. T. 1917. Album of Negro spirituals Van Nuys, CA: Belwin Mills.For voice and piano. Contains "Nobody knows de trouble I've seen," "Evry time I feel de spirit," ˇ°By and by," "Couldn't hear nobody pray," and "De gospel train." The score can be purchased here.
Cadman, C. W. 1909. Four American Indian songs, op. 45.
Boston: White-Smith Music Publishing Co.
The second number, "The white dawn is stealing," is based on an Iroquois melody using la do re mi la.
Chance, J. B. 1967. Variations on a Korean folk song. Boosey & Hawkes.
This concert band piece is highly respected, and for good reason. The piece could serve as an example of the terms canon, inversion, augmentation, and diminution. Although an entire performance would require a highly accomplished ensemble, a beginning clarinet player might be able to play the opening theme.
The original Korean song can be viewed here.
The score can be purchased here.
A videotape can be viewed here.
Copland, A. 1941. Billy the Kid: Ballet suite. London: Boosey & Hawkes.
On pages 22-27, the violins and violas play a melody using only C, F, G, Bb, and C.
On pages 40-48 is a quotation of "Goodbye, Old Paint."
_____. 1950. Old American songs. 2 vol. New York: Boosey & Hawkes.
For voice and piano. The first volume includes "The boatmen's dance" and "I bought me a cat."
Guion, D, W. 1941. Short'nin' bread. New York: Robbins Music Corp.
For voice and piano.
Kennedy-Fraser, M. & Macleod, K. 1909. 3 vol. Songs of the Hebrides. London: Boosey & Hawkes.
For voice and piano. The first volume contains 10 pentatonic songs.
Kodaly, Z. 1941. Variations on a Hungarian folksong (The peacock). London: Boosey & Hawkes.
For orchestra.
A videotape can be viewed here.
Lawrence, V. B., ed. 1970. The Wa-Wan Press: 1901-1911. 5 vol. New York: Arno Press and New York Times.
In volume 3, pp. 48-49, we see an arrangement of a lesser-known melody of "The lone prairee" for voice and piano by Arthur Falwell. The tremolos in the piano accompaniment seem unrealistically difficult.
On pages 246-247 of the same volume is "Song of Approach," op. 21 no. 3 by the same composer. This is a piano solo based on a Native American song.
Here, too, he makes an unrealistic demand on the performer--by asking the performer to repeat a note 8 times a second to simulate a drum.
"Raising the Pipes," on pages 250-251, is another Native American piano solo by the same composer.
Falwell had a theory which he called "latent harmony." This theory contended that non-Western people carry a drive for the European style of harmony, and that non-Western music could be improved by adding such harmony.
Falwell tested this theory by writing compositions such as the ones mentioned above, playing them for Native Americans, and asking for their opinion. When the Native Americans expressed their approval, his theory was confirmed.
However, we don't know whether those Native Americans were being truthful or merely tactful.
Manny, C. F. 1922. Steal away. Boston: Oliver Ditson Co.
For voice and piano. The voice range is from F to D.
Ostling, A. E. 1949. Old MacDonald had a drum: Novelty encore. New York: Remick Music Corp.
An amusing piece for snare drum and piano. On the last four measures, the composer asks the soloist to toss and catch the drumsticks.
Some percussion students may complain that the task is outside their specialty.
Siegmeister, E. 1956. Five American folk-songs. New York: Carl Fischer.
For concert band. Contains "Sourwood Mountain" and "Doney Gal."
Thomson, V. 1954. Symphony on a hymn tune. New York: Southern Music Publishing Co.
For full orchestra. The hymn tune can be seen here.
____. 1958. Suite from "The River". New York: Southern Music Publishing Co., Inc.
The first movement is based on a folk song in the AABA form.
The second movement begins with an unaccompanied flute solo which a student might be able to play.
Young, G. 1959. Spiritual. Detroit, MI: Bandland, Inc.
For Bb trumpet or cornet and piano. Based on "Nobody knows the trouble I've seen."
The solo part does not seem difficult, except for holding the last note for about 12 seconds.
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