{"id":21848,"date":"2022-11-30T11:20:08","date_gmt":"2022-11-30T10:20:08","guid":{"rendered":"https:\/\/bagpipe.de\/produkt\/uncategorized\/chant-n-fife\/"},"modified":"2026-03-31T09:17:39","modified_gmt":"2026-03-31T07:17:39","slug":"chant-n-fife","status":"publish","type":"product","link":"https:\/\/bagpipe.de\/en\/chant-n-fife\/","title":{"rendered":"chant n fife"},"content":{"rendered":"<p><strong>chant n fife &#8211; sing and whistle  <\/strong><\/p>\n<p><font face=\"ArnoPro-Regular\">Traveling to England with the bagpipes may remind you of owls being carried to Athens. But it is a joyful endeavor to explore music of the island kingdom. In the tradition of minstrels, songs are accompanied by instrumental pieces or singing. Where necessary, a melody is adapted (range, chromaticism) or transposed to a key that allows playing with the dudey.  <\/p>\n<p align=\"left\">This new booklet by Hermann Rieth contains both originals and adaptations. One feels free to deal with the presented material according to one&#8217;s own gusto: To invent accompanying voices, preludes, interludes, postludes, to set up one&#8217;s own arrangements or to put together sets with other music.  <\/p>\n<p align=\"left\">\n<p>   <strong><\/strong><\/p>\n<p align=\"left\"><strong>Contents of the collection:  <\/strong><\/p>\n<p align=\"left\">\n<p align=\"left\"><font face=\"ArnoPro-Bold\"><strong>Sumer is icumen<\/strong> in  <font face=\"ArnoPro-Regular\">is probably the oldest secular song in the British Isles to have survived in written form. It is amazing how close the melody is to our listening habits. For this edition, a low leading note has been adjusted in only two places.  <\/font><\/font><\/p>\n<p align=\"left\"><font face=\"ArnoPro-Bold\"><strong>NOBILIS HUMILIS<\/strong><font face=\"ArnoPro-Regular\"><strong>, <\/strong>also called Magnus Hymnus, is an early organum and is reproduced here without alteration. What is striking is the importance of the third, which established itself as euphonious in the islands long before this happened on the continent.  <\/font><\/font><\/p>\n<p align=\"left\"><font face=\"ArnoPro-Bold\"><strong>Byrd one Brere  <\/strong><font face=\"ArnoPro-Regular\">is the oldest love song in England to survive in writing, roughly noted on the back of a papal bull. The transmission here is a possible suggestion for interpretation.  <\/font><\/font><\/p>\n<p align=\"left\"><font face=\"ArnoPro-Bold\"><strong>Airs from the Beggar&#8217;s Opera  <\/strong><font face=\"ArnoPro-Regular\">use as melody popular tunes of the time (1728). John Gay wrote the lyrics, Christoph Pepusch added a bass. The opera enjoyed great popularity. For this booklet, arias were selected that are playable on our instruments without modification. The bass has been transposed up an octave and adapted where necessary so that it can be played on an alto instrument (dudey or cornamuse). These changes are marked in the musical text.  <\/font><\/font><\/p>\n<p align=\"left\"><font face=\"ArnoPro-Bold\"><em>AIR 10  <\/em><em><font face=\"ArnoPro-Regular\">goes without adjustments.  <\/font><font face=\"ArnoPro-Bold\">AIR 15  <\/font><font face=\"ArnoPro-Regular\">has two additional octaves.  <\/font><font face=\"ArnoPro-Bold\">AIR 17  <\/font><font face=\"ArnoPro-Regular\">needs three small changes.  <\/font><font face=\"ArnoPro-Bold\">AIR 22  <\/font><font face=\"ArnoPro-Regular\">becomes playable through repeated octavations.  <\/font><font face=\"ArnoPro-Bold\">AIR 24  <\/font><font face=\"ArnoPro-Regular\">goes without adjustments, as well  <\/font><font face=\"ArnoPro-Bold\">AIR 27  <\/font><font face=\"ArnoPro-Regular\">and  <\/font><font face=\"ArnoPro-Bold\">AIR 29<\/font><font face=\"ArnoPro-Regular\">.  <\/font><font face=\"ArnoPro-Bold\">AIR 34  <\/font><font face=\"ArnoPro-Regular\">needs at one point the increase of the low leading tone.  <\/font><font face=\"ArnoPro-Bold\">AIR 36  <\/font><font face=\"ArnoPro-Regular\">goes without adjustments.  <\/font><font face=\"ArnoPro-Bold\">AIR 48  <\/font><font face=\"ArnoPro-Regular\">needs two octaves. At  <\/font><font face=\"ArnoPro-Bold\">AIR 54 <\/font><font face=\"ArnoPro-Regular\">the biggest changes of the bass are necessary. <\/font><font face=\"ArnoPro-Bold\">AIR 69 <\/font> <font face=\"ArnoPro-Regular\">has received many increases in the bass, but for a bagpiper of its kind, these are part of the daily routine. An additional accompaniment part was introduced for some arias:  <\/font><font face=\"ArnoPro-Bold\">AIR 17<\/font><font face=\"ArnoPro-Regular\">,  <\/font><font face=\"ArnoPro-Bold\">AIR 27<\/font><font face=\"ArnoPro-Regular\">,  <\/font><font face=\"ArnoPro-Bold\">AIR 34<\/font><font face=\"ArnoPro-Regular\">,  <\/font><font face=\"ArnoPro-Bold\">AIR 69<\/font><\/em><font face=\"ArnoPro-Regular\"><em>.<\/em> <\/p>\n<p align=\"left\"><em>After the great success, the following year John Gay wrote the opera  <\/em><em><font face=\"ArnoPro-Bold\">Polly<\/font><font face=\"ArnoPro-Regular\">, &#8220;being the second part of the Beggar&#8217;s Opera&#8221;. However, it fell victim to censorship and was not performed during the librettist&#8217;s lifetime.  <\/font><font face=\"ArnoPro-Bold\">AIR 5  <\/font><font face=\"ArnoPro-Regular\">gives an idea of what it was all about. A print with lyrics and melodies has been preserved. Three arias were selected for this booklet. The source contains other melodies of interest to us.  <\/font><font face=\"ArnoPro-Bold\">AIR 5 <\/font><font face=\"ArnoPro-Regular\">was only slightly customized and got an accompanying voice. <\/font><font face=\"ArnoPro-Bold\">AIR 20 <\/font> <font face=\"ArnoPro-Regular\">was moved down an octave in parts and given an accompanying voice. A second part was appended and remained textless.  <\/font><font face=\"ArnoPro-Bold\">AIR 71 <\/font><font face=\"ArnoPro-Regular\">was transposed and also provided with an accompanying voice.<\/font><\/em><\/p>\n<p align=\"left\"><font face=\"ArnoPro-Bold\"><strong>Love, Love, Nothing But Love <\/strong><font face=\"ArnoPro-Regular\">is included as an example of the extensive music for Shakespeare&#8217;s dramas. <\/font> <\/font><\/p>\n<p align=\"left\"><font face=\"ArnoPro-Bold\"><strong>Martin Said to His Man  <\/strong><font face=\"ArnoPro-Regular\">is a funny drinking and mocking song of the Renaissance. The tenor can be taken from the dudey. Two small changes were made for this purpose.<\/font><\/font><\/p>\n<p align=\"left\"><font face=\"ArnoPro-Bold\"><strong>Country Life  <\/strong><font face=\"ArnoPro-Regular\">is from the rich fund of English folk, in this case from the Yorkshire Dales. It became known through the group &#8220;The Watersons&#8221;. The melody can be played without any changes. The accompanying voice is in the same register.  <\/font><\/font><\/p>\n<p align=\"left\"><font face=\"ArnoPro-Bold\"><strong>John Ball <\/strong><font face=\"ArnoPro-Regular\">was a priest in the 14th century who argued that there was no reason for servants and masters to be treated differently. The society to come would be defined by mutual companionship and love between people. He was executed for spreading this message. Sydney Carter dedicated a folk song to him. <\/font> <\/font><\/p>\n<p align=\"left\"><font face=\"ArnoPro-Bold\"><strong>Shepherds Arise <\/strong><font face=\"ArnoPro-Regular\">and <\/font><font face=\"ArnoPro-Bold\"><strong>Diadem <\/strong><\/font> <font face=\"ArnoPro-Regular\">are two popular English Christmas carols that can be found in the repertoire of the Sheffield Carols, among others. Both were given accompaniments that can be played with alto or soprano and alto pipes. When performed purely instrumentally, they can sound like fanfares. A collection like this should not be without a song by the Scottish poet Rubert Burns.  <\/font><\/font><\/p>\n<p align=\"left\"><font face=\"ArnoPro-Bold\"><strong>My Love is Like a Red, Red Rose  <\/strong><font face=\"ArnoPro-Regular\">is one of the better known. The melody is playable on the Dudey without modification. The accompaniment is again kept in the same position.&nbsp; <\/font><\/font><\/p>\n<p align=\"left\">\n<p align=\"left\"><strong><font color=\"#660000\">Order no.:&nbsp;19<\/font><\/strong><strong><font color=\"#660000\">-5<br \/>ISBN:&nbsp;978-3-943060-19-5<br \/>Format:&nbsp;DIN A4<br \/>Number of pages:&nbsp;44 pages<br \/>Cover: Softcover<\/font><\/strong><\/p>\n<p><\/font><\/p>\n<\/p>\n<\/p>\n<p><\/font><\/p>\n<\/p>\n<\/p>\n<p><\/font><\/p>\n<\/p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Songs from the British Isles &#8211; arranged for H\u00fcmmelchen, Dudey and many other instruments. 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