The ukulele managed to spread worldwide as well as Jewish music before. Moreover, Jewish music achieved to absorb different folk music, mostly European. For the reason you can meet here with beautiful melodies in minor, which are not scales preferred by ukulele playing. You can find in book here 20 Jewish songs. Each song is arranged in two keys. What you need is to know your favorite key, maybe take a capo and start playing. Adon Olam; Amcha Jisrael; Artsa Alinu; Avinu Malkeinu; Chiribim Chiribom; Dajenu; David Melech Yisrael; Hanukkah, Hanukkah; Hava Nagila; Hevenu Shalom Aleichem;Hine Ma Tov; Chag Purim; Kadesh Urchac; Ner Li;Nerot Shabat; Shalom Chaverim; Sevivon; Shema Israel;Tum Balalaika; Yoshke Fort Avek. The are in the book songs without text. Check out samples from books: http: //osos.sweb.cz/preview-ukulele.pdf

First found in Georgia at the beginning of the nineteenth century, in the Bahamas in the 1920's and 1950's, and popularized during the folk revival of the 1960's, variations of the song "Delia's Gone" have been in circulation for over a century. The murder of an obscure woman has been celebrated by bluesmen, country singers and folk singers across North America. But less well known is the fact that Delia was a real person. Here, for the first time, John Garth presents the full story of the crime behind the song.

From the plaintive tunes of woe sung by exiled kings and queens of Africa to the spirited worksongs and "shouts" of freedmen, enslaved people created expansive forms of music from the United States to the West Indies and South America. Dena J. Epstein's classic work traces the course of early black folk music in all its guises. Anchored by groundbreaking scholarship, it redefined the study of black music in the slavery era by presenting the little-known development of black folk music in the United States. Her findings include the use of drums, the banjo, and other instruments originating in Africa; a wealth of eyewitness accounts and illustrations; in-depth look at a wide range of topics; and a collection of musical examples. This edition offers an author's preface that looks back on the twenty-five years of changes in scholarship that followed the book's original publication.

There are thirty known and simple tunes in the book written only for a left hand. They are such melodious etudes for left hand independence. The book can be used for playing songs when you play one verse only by the left hand. But mostly take it as inspiration for your own playing what can be done with the left hand. All the Good Times Are Past Gone; Amcha Yisrael; Au clair de la Lune; Banks of the Ohio; Beautiful Brown Eyes; David Melech Yisrael; For He's a Jolly Good Fellow; Gimme Dat Ol'Time Religion; Go Tell Aunt Rhody; Hot Cross Buns I.; Hot Cross Buns II.; Iroquois Lullaby; Kum ba yah; London Bridge; Mary Had A Little Lamb; Michael, Row The boat Ashore; Oh, Freedom; Oh, When The Saints; Old MacDonald Had A Farm; Oranges and Lemons; Railroad Bill; Reuben's Train; Rock My Soul; Shema Yisrae; Steal Away; The Cruel War; This Old Man; Tom Dooley; Twinkle, Twinkle Little Star; Worried Man Blues Check out samples from books: http: //osos.sweb.cz/Preview-Anglo-concertina.pdf

Recorded in 1949, "Foggy Mountain Breakdown" changed the face of American music. Earl Scruggs's instrumental essentially transformed the folk culture that came before it while helping to energize bluegrass's entry into the mainstream in the 1960s. The song has become a gateway to bluegrass for musicians and fans alike as well as a happily inescapable track in film and television. Thomas Goldsmith explores the origins and influence of "Foggy Mountain Breakdown" against the backdrop of Scruggs's legendary career. Interviews with Scruggs, his wife Louise, disciple Bela Fleck, and sidemen like Curly Seckler, Mac Wiseman, and Jerry Douglas shed light on topics like Scruggs's musical evolution and his working relationship with Bill Monroe. As Goldsmith shows, the captivating sound of "Foggy Mountain Breakdown" helped bring back the banjo from obscurity and distinguished the low-key Scruggs as a principal figure in American acoustic music.Passionate and long overdue, Earl Scruggs and Foggy Mountain Breakdown takes readers on an ear-opening journey into two minutes and forty-three seconds of heaven.

Jerome Just one more Song! A Local, Social & Political History in the Repertoire of a Newfoundland-Irish Singer. This timeless Songs collection, recorded in Codroy Valley, Newfoundland, 1980 by folklorists Kenneth S. Goldstein and Margaret Bennett , is a tribute to singer Jerome Downey. This is not only a song book but is a Local, Social & Political History of Newfoundland's Codroy Valley. To appreciate the way of life in any part of Newfoundland, the reader should bear in mind that, until 1949, Canada was another country. Anyone born before that year, is, first and foremost, a Newfoundlander, belonging to a unique island with a long history - it has the distinction of being Britain's oldest colony. Given that Canada's newest province was less than twenty years old when Bennett first went there, it was very common to hear folk explain, 'I'm not a Canadian, I'm a Newfoundlander.' Thus, to understand the social, cultural and historical context of a song, it is essential to appreciate where it comes from, and especially to acknowledge the people who compose and sing the song. 'If there is no land or work, there are no people, no livelihood, no stories, no music, no songs...' (Gavin Sprott) In the Codroy Valley, the folk who have worked on the land or fished the rivers and coastal waters for nearly two centuries are a mix of Irish, English, Scottish Gaels, French and Mi'kmaq. For as long as anyone remembers, they have enjoyed getting together for 'a few tunes', songs, yarns and a cup of tea. The kettle is always on the stove and, more often than not, a few glasses appear from the cupboard and make their way to the kitchen table- they need no excuse for a ceilidh or a kitchen party, with accordions, bagpipes, fiddles, guitars, spoons and mandolins as well as songs that would lift the heaviest heart. To Jerome and his people, songs and music are way of life. Kenneth S. Goldstein; Margaret Bennett; Newfoundland Folklore Collection; songs of the Codroy Valley; Jerome Downey; Newfoundland-Irish Singer; Newfoundland Irish Folklore; Anthropology; the onset and progression of Alzheimer.

30 traditional Christmas Carols with sheet music and fingering diagrams for Irish tin whistle. Simple, easy-to-follow arrangements of classic songs that kids will love.
Without any prior musical knowledge, you can immediately start playing your first tunes.
The tin whistle (sometimes called pennywhistleor simply whistle) is a small 6-holed flute, that in its present form dates from the 19 th century. Because of its affordable price and ease of use it is the most common folk instrument in Ireland, and is often the instrument of choice for beginners and children.
The tunes in this book, and in the other books of the collection, were chosen and arranged to allow even an absolute beginner to start playing straight away, without any technical knowledge of sheet music or musical theory. Fingering tablatures are provided with every tune; an accompanying audio CD of the tunes in the book is also available, and is even recommended to favour learning by ear.
Angels from the Realms of Glory
Away in a Manger
Boar's Head Carol
Brightest and Best
The Coventry Carol
Bring a Torch, Jeannette, Isabella
The Cherry Tree Carol
Deck the Halls
Ding Dong Merrily On High
The Holly and the Ivy
God Rest Ye, Merry Gentlemen
The First Nowell
Good King Wenceslas
Hark The Herald Angels Sing
I Saw Three Ships Come Sailing In
In Dulci Jubilo
In the Bleak Midwinter
It Came Upon a Midnight Clear
Jingle Bells
Joy to the World
O Christmas Tree
O Come, All Ye Faithful
O Come, O Come Emmanuel
O Little Town of Bethlehem
Once in Royal David's City
Sans Day Carol
See, Amid the Winter Snow
Silent Night
We Three Kings
We Wish You a Merry Christmas
While Shepherds Watched their Flocks by Night

"The Power of Song" shows how the people of Estonia, Latvia, and Lithuania confronted a military superpower and achieved independence in the Baltic "singing revolution." When attacked by Soviet soldiers in public displays of violent force, singing Balts maintained faith in nonviolent political action. More than 110 choral, rock, and folk songs are translated and interpreted in poetic, cultural, and historical context.

Guntis Smidchens is the Kazickas Family Endowed Professor in Baltic Studies in the Scandinavian studies department at the University of Washington.

"An excellent and thorough work and a significant and important addition to our understanding of the role that folklore and popular culture play in shaping political events." --Timothy Tangherlini, UCLA

"A monumental study addressing a sorely neglected aspect of one of the last century's most dramatic geopolitical upheavals. This book will stand, for years and even decades to come, as the standard, authoritative source on its topic." -Kevin C. Karnes, Emory University

This long-awaited sequel to Gale Huntington's classic collection, Songs the Whalemen Sang, assembles more than 200 songs from whalemen's journals, log books, and popular music of the whaling era: whaling songs, sea songs, traditional ballads, popular songs, gospel songs, and a couple of fiddle tunes, nearly all accompanied by musical notation. It represents the culmination of Huntington's career as a collector, historian, writer and musician.

The ukulele managed to spread worldwide as well as Jewish music before. Moreover, Jewish music achieved to absorb different folk music, mostly European. For the reason you can meet here with beautiful melodies in minor, which are not scales preferred by ukulele playing. You can find in book here 20 Jewish songs. Each song is arranged in two keys. What you need is to know your favorite key, maybe take a capo and start playing. Adon Olam; Amcha Jisrael; Artsa Alinu; Avinu Malkeinu; Chiribim Chiribom; Dajenu; David Melech Yisrael; Hanukkah, Hanukkah; Hava Nagila; Hevenu Shalom Aleichem;Hine Ma Tov; Chag Purim; Kadesh Urchac; Ner Li; Nerot Shabat; Shalom Chaverim; Sevivon; Shema Israel;Tum Balalaika; Yoshke Fort Avek. The are in the book songs without text. Check out samples from books: http: //osos.sweb.cz/preview-ukulele.pdf

30 traditional nursery rhymes with sheet music and fingering diagrams for Irish tin whistle. Simple, easy-to-follow arrangements of classic songs that kids will love.
Without any prior musical knowledge, you can immediately start playing your first tunes.
Oh, Dear, What Can The Matter Be?
Old King Cole
Baa, Baa, Black Sheep
The Mulberry Bush
Row, Row, Row Your Boat
Twinkle, Twinkle, Little Star
Rock-a-bye Baby
Rain, Rain, Go Away
Ten Little Indians
Three Blind Mice
Hush Little Baby
The Grand Old Duke of York
Mary Had a Little Lamb
Head, Shoulders, Knees and Toes
Bingo
Oranges and Lemons
Bobby Shaftoe
This Old Man
Ten Green Bottles
Old MacDonald
Little Bo Peep
Polly Put the Kettle On
Hey, Diddle Diddle
The Wheels on the Bus
The Muffin Man
Eensy Weensy Spider
Sing a Song of Sixpence
One Man Went to Mow
Three Little Kittens
Hot Cross Buns
The tin whistle (sometimes called pennywhistleor simply whistle) is a small 6-holed flute, that in its present form dates from the 19 th century. Because of its affordable price and ease of use it is the most common folk instrument in Ireland, and is often the instrument of choice for beginners and children.
The tunes in this book, and in the other books of the collection, were chosen and arranged to allow even an absolute beginner to start playing straight away, without any technical knowledge of sheet music or musical theory. Fingering tablatures are provided with every tune; an accompanying audio CD of the tunes in the book is also available, and is even recommended to favour learning by ear.

The transplantation of African musical cultures to the Americas was a multi-track and multi-time process. In the past many historical studies of African diaspora music, dance and other aspects of expressive culture concentrated on events in the Americas. What happened before the American trauma and simultaneously in Africa was often looked at unhistorically. In this book, world-renowned ethnomusicologist Gerhard Kubik considers African music and dance forms as the products of people living in various African cultures which have changed continuously in history, absorbing and processing elements from inside and outside the continent, creating new styles and fashions all the time. African diaspora music then appears as a consequent and creative extension overseas of African musical cultures that have existed in the period between the sixteenth and the twentieth century. From this perspective African diaspora music cannot be described adequately in terms of "retentions" and "survivals," as if African cultures in the Americas were doomed from the outset and perhaps only by some act of mercy permitted to "retain" certain elements. Using field research and documentary sources, Kubik tracks down some aspects of the Angolan dimension in the panorama of African music and dance cultures in Brazil, and also addresses methodology applicable in the wider context of African diaspora cultural studies.

Fado, Portugal's most celebrated genre of popular music, can be heard in Lisbon clubs, concert halls, tourist sites, and neighborhood bars. Fado sounds traverse the globe, on internationally marketed recordings, as the "soul" of Lisbon. A "fadista" might sing until her throat hurts, the voice hovering on the break of a sob; in moments of sung beauty listeners sometimes cry. Providing an ethnographic account of Lisbon's""fado scene, Lila Ellen Gray draws on research conducted with amateur fado musicians, "fadistas," communities of listeners, poets, fans, and cultural brokers during the first decade of the twenty-first century. She demonstrates the power of music to transform history and place into feeling in a rapidly modernizing nation on Europe's periphery, a country no longer a dictatorship or an imperial power. Gray emphasizes the power of the genre to absorb sounds, memories, histories, and styles and transform them into new narratives of meaning and "soul."

Which came first, the ballad or the romance? Many famous tales exist in both early folk ballads and in written medieval romances. Scholars for more than a century have debated the nature of the literary dependence - did the ballads inspire the romances, or vice versa, or do they both depend on something else? By applying the techniques of literary and textual criticism to the legend of Orpheus and Euridice, as told in the romance "Sir Orfeo" and the ballad "King Orfeo," author Robert Waltz gives reasons why the romance almost certainly came first - and shows how this gives us new insight into the entire history of English balladry.

Robert Burns (1759-1796) belongs among most famous Scottish poets, who were touched by Romantic interest in their own culture. Therefore, he was interested in Scottish folk song. He collected and prepared it to be published. When he was unsatisfied with lyrics in some of the songs, he revised it and arranged or wrote new lyrics on a former music. That is why many songs could be resurrected to life. And even though today we do not know the authors of the original music, at least we know the author of the lyrics. Therefore, we can play them on the ukulele and admire the beautifully arched melodies. Ae Fond Kiss, A Highland Lad my Love was Born, A Man's A Man For A' That, Auld Lang Syne, Braw, Braw Lads, Comin' Thro' the Rye, Craigieburn Wood, For The Sake O' Somebody, Gae Bring to Me a Pint o' Wine, Highland Mary, Lassie Wi' The Lint White Locks, Last May a Braw Wooer, My Ain Kind Dearie O, My Heart's In The Highlands, My Love is Like a Red, Red Rose, My Love She's But A Lassie Yet, My Tocher's the Jewel, O Willie Brew'd a Peck o' Maut, Scots, Wha Hae, Tam Glen, The Birks of Aberfeldy, The Braes of Killiecranchie, The Gallant Weaver, The Highland Widow's Lament, The Soldier's Return, The Winter It Is Past, There was a Lad was Born in Kyle, Wandering Willie, Whistle O'er the Lave O't, Ye Banks and Braes. The are in the book songs without text. Check out samples from books: http: //osos.sweb.cz/preview-ukulele.pdf

In many places around the world, flutes and the sounds of flutes are powerful magical forces for seduction and love, protection, vegetal and human fertility, birth and death, and other aspects of human and non-human behavior. This book explores the cultural significance of flutes, flute playing, and flute players from around the world as interpreted from folktales, myths, and other stories--in a word, "flutelore." A scholarly yet readable study, World Flutelore: Folktales, Myths, and Other Stories of Magical Flute Power draws upon a range of sources in folklore, anthropology, ethnomusicology, and literary analysis. Describing and interpreting many examples of flutes as they are found in mythology, poetry, lyrics, and other narrative and literary sources from around the world, veteran ethnomusicologist Dale Olsen seeks to determine what is singularly distinct or unique about flutes, flute playing, and flute players in a global context. He shows how and why world flutes are important for personal, communal, religious, spiritual, and secular expression and even, perhaps, existence. This is a book for students, scholars, and any reader interested in the cultural power of flutes.