English Romantic Songs and Ballads of the early 19th century, for voice with original guitar accompaniments from the period, edited and with an introduction by Brian Jeffery, is a selection of 17 splendid songs in English from the early 19th century, with guitar accompaniments from the period. Re-engraved (not facsimile).
TECLA 0041 (paperbound), TECLA 0048 (clothbound). 52 pages.
“Bring your guitar, bring your guitar, sing me the songs I love”, says one of the songs.
The book is particularly recommended for guitarists (even of moderate accomplishments) who wish to work with singers. Superb repertory for voice and guitar. Composers include Thomas Moore, Balfe, Sir Henry Bishop; arrangers include Sperati, Sola, Eulenstein. Includes “Cherry Ripe” and “Home, sweet home”. With a preface and notes by Brian Jeffery.
A note (SEPTEMBER 2007) from a user of the book, who writes: ‘I have often played many of them to private audiences with wonderful results’.
He writes: “Sometime in the early eighties I found the songbook English Romantic Songs and Ballads for guitar and voice. I started playing some of them immediately and soon found that they were different enough from the normal fare to attract attention and applause, even occasional encores, from listeners looking for something different. I have kept some of these beautiful, light and appealing songs in my repertoire ever since. My musical choices range far and wide, from Dowland to Dylan, The Stones to Jewel, Folk, Blues, Country, Classical and beyond. These delightful songs fit right in.” (Arthur Sherry, NY, NY, USA)
“Seventeen of the most delightful songs imaginable … The guitar accompaniments are truly accessible to almost anyone with a year or two of study, and yet could be very useful to university level students who need experience in accompaniment” (Soundboard, Summer 2001).
“I purchased a volume by Brian Jeffery, ‘English Romantic Songs and Ballads’, and I have often performed many of them to private audiences with wonderful results.” (a customer, September 2007)
These songs were recorded, from this book, by Ann Murray and Simon Wynberg on a record which received highly enthusiastic reviews.
MORE ABOUT THIS BOOK
The contents of English Romantic Songs and Ballads are as follows.
- Alexander Lee: Come where the aspens quiver (Guitar arrangement by B. Sperati) (c sharp to e’) (with optional ornaments going up to g’)
- J.A. Wade: Meet me by moonlight (Guitar arrangement by C.M. Sola) (d to e’)
- C.E. Horn: My dark hair’d girl (Guitar arrangement by T.B. Phipps) (d to f’)
- Sir Henry Bishop: My heart and lute (Guitar arrangement by A. Donnadieu) (c sharp to e’)
- Alexander Lee: When the dew is on the grass (Guitar arrangement by T.B. Phipps) (c to g’)
- Joseph de Pinna: Awake! Awake, mine own love (Guitar arrangement by A. Bertioli) (d to a”)
- Michael Kelly: Flora McDonald (Guitar arrangement by C.M. Sola) (g to f’)
- John Barnett: My minstrel love (Guitar arrangement by C. Eulenstein) (d to f’ sharp)
- Thomas Haynes Bayly: Welcome me home (Guitar arrangement by C.M. Sola) (c sharp to d’)
- N.J. Sporle: Do you think I can forget? (Guitar arrangement by Louis Leo) (e to g’)
- M.W. Balfe: The light of other days (Guitar arrangement by C.M. Sola) (e to f’ sharp)
- Charles Purday: The broken hearts (Guitar arrangement by F. Pelzer) (d to d’) (with optional ornaments up to e’)
- Thomas Moore: They tell me thou’rt the favour’d guest (Guitar arrangement by P. Verini) (d to f’)
- P. Verini: Farewell! and never think of me (Guitar arrangement by P. Verini) (e to f’ sharp)
- Sir Henry Bishop: Home, sweet home (Guitar arrangement by C.M. Sola) (e to e’)
- C.E. Horn: Cherry ripe (Guitar arrangement by C.M. Sola) (c sharp to f’ sharp)
- Thomas Haynes Bayly: Long, long ago (Guitar arrangement by C.M. Sola) (c to d’)
Ranges: Some of the songs will suit a tenor or soprano going up to f’ or g’ or a”, while others such as The broken hearts or Long, long ago are for lower voices going only up to d’. The exact ranges are indicated above as follows:
a, b, c, and so on up to g: this means from the a four notes below the treble stave, up to the g which is on the second line of the treble stave.
a’, b’, c’, and so on up to g’: this means from the a which is on the second space of the treble stave, up to the g which is on the space just above the treble stave.
a”, b”, c”, and so on: this means from the a which is on the line immediately above the treble stave, upwards.