Six Studies in English Folk Song for Clarinet
This blog post covers six studies in English folk song for clarinet. Each of these studies is designed to help the clarinetist develop their skills in playing this type of music.
Introduction
In this work Vaughan Williams explores the potential of the clarinet in presenting a wide range of emotions and colors. The six pieces are all based on traditional English folk songs, and each one highlights a different aspect of the instrument’s personality.
“Dives and Lazarus” is a slow, mournful piece that reflects the sadness of the lyrics. “The Sprig of Thyme” is a lively dance tune, while “My Bonny Boy” is a gentle love song. “The Bluebirds” is a playful piece that features the clarinet’s high register, and “Cherry Ripe” is a sensual, seductive song. Finally, “Sicilian Mariner’s Song” is a fast-paced, exuberant piece that showcases the clarinet’s agility.
This work was written in 1914, during the first World War. Vaughan Williams was deeply affected by the conflict, and many of his later works would explore themes of war and loss. The Six Studies in English Folk Song are among his most joyful and life-affirming works, celebrating the simple beauty of English folk music.
The English Folk Song
English Folk Song is a beautiful and moving work by Ralph Vaughan Williams. The work is for unaccompanied clarinet, and is in six movements. The first movement, “The Sussex Mummers’ Christmas Carol”, is a festive and lively piece. The second movement, “The Bold Fisherman”, is a slower and more reflective piece. The third movement, “The Old Miner”, is a slower and more melancholy piece. The fourth movement, “The Fox Jumps Over the Parson’s Gate”, is a faster and more playful piece. The fifth movement, “The Tenderfoot”, is a slower and more gentle piece. The sixth and final movement, “The Bitter Withy”, is a faster and more energetic piece.
The Characteristics of English Folk Song
One of the most striking characteristics of English Folk Song is its great variety. It would be difficult to find two songs which were alike in melody, harmony and rhythm, except, of course, where one was merely a copy or variation of the other. The nearest approach to similarity is found where a number of songs are built on the same or similar melodic phrases, called “motives.” A good example is furnished by the group of songs known as “Broadside Ballads,” many of which are built on the same or similar melodic motives. These Broadside Ballads were printed on sheets and sold in the streets by the vendors known as “ballad-singers.” Many of them were extremely crude in construction, but some few showed evidence of having been composed by skilled musicians.
The Origin of English Folk Song
The English Folk Song is a beautiful, heart-warming genre of music that has its roots deep in the England’s history. The first recordings of English Folk Songs date back to the late 18th century, and since then, the genre has continued to evolve and grow in popularity.
There are many theories about the origin of English Folk Song, but the most popular belief is that these songs were passed down from generation to generation, gradually evolving over time. This theory is supported by the fact that many of these songs have been found in oral traditions all over England.
While the exact origins of English Folk Song may never be known for sure, one thing is certain – this genre of music is loved by people all over the world, and it continues to bring joy to everyone who hears it.
The Six Studies
The Six Studies were composed between the years of 1896 and 1899 by Ralph Vaughan Williams. They were originally written for oboe, but have been transcribed for clarinet. The Six Studies are a staple in the English clarinet repertoire and are often performed by clarinetists of all levels.
Study One: The Sprig of Thyme
The first study is in the key of D and is based on the song “The Sprig of Thyme”. It starts with a slow section, followed by a fast section. The tempo for the slow section is crotchet = 60, and for the fast section it is quaver = 120.
Study Two: The Keel Row
The second study, “The Keel Row”, is based on a Northumbrian folk song of the same name. It is in 3/4 time and marked Allegretto. The first and second clarinets play the melody in unison, while the third clarinet accompanies with a countermelody.
Study Three: The Unquiet Grave
The Unquiet Grave is a traditional English folk song which tells the story of a man who is mourning the death of his love. The song has been recorded by many artists over the years, but one of the most famous versions is by Ralph Vaughan Williams, who composed a piece for clarinet and piano based on the tune.
The story of the song is that a man’s wife has died and he is grieving for her. He goes to her grave and begs her to come back to him, but she says that she cannot because she is in Heaven. The man then says that he will kill himself so that he can be with her. The song ends with the man’s spirit visiting his love in her dream, telling her that he will always love her.
Study Four: The Bonny Earl o’ Moray
The Bonny Earl o’ Moray is a ballad from the Scottish Highlands. It tells the story of the Earl of Moray, who was killed in a battle in 1592. The song is about his widow, who is left to mourn him.
The ballad has been adapted into many different versions over the years, and has been performed by many different artists. It is one of the most popular Scottish folk songs, and is known all over the world.
Study Five: The Banks o’ Doon
Robert Burns’ (1759-96) ‘Banks o’ Doon’ is a lovely ballad in 6/8 metre about parting from a lover. It was first published in his 1788 collection ‘Merry Muses of Caledonia’. The opening melody is in the major key but, as befits a song about parting, it modulates to the minor for the final three verses.
Study Six: My Love is Like a Red, Red Rose
This final study is a slow, lyrical ballad in which the clarinet takes on the role of the singer, telling the story of unrequited love. The melody is based on the traditional Scottish ballad “My Love is Like a Red, Red Rose” and the accompaniment features some simple Scottish-style chord progressions.
Conclusion
In conclusion, it can be said that these six studies are excellent examples of English folk song for Clarinet. They are all varied in terms of style and difficulty, making them perfect for players of all levels. Whether you are looking to improve your technique or simply want to explore the genre, these pieces are sure to provide you with hours of enjoyment.
