Playing for Integration – Folksong Book Playing for Integration Grundtvig - Learning Partnership 2011 – 2013
funded by
European
Folksong Book
Partners from Website(s) www.playingforintegration.com www.sommercamp.at/p4i2
Folksongs colleced by FUN&LEARN (Austria)
August 2013
2 Playing for Integration – Folksong Book Playing for Integration – Folksong Book European Folksong Book Folksongs and Adult Education
• What Can We Learn From Folksongs? Content • How To Use Folksongs In Adult Education? 1. Introduction: Folksongs and Adult Education • Structure and Content of the Songbook
2. Folksongs I. What Can We Learn From FOLKSONGS? Structure - music sheet with chords - recordings 1. Cultural Heritage Learning - background information about the content and music The folksongs of a country are a part of their cultural heritage. - translation into English
Countries 1.1. Lyrical Aspects Austria The lyrics of the folksongs give an interesting view on the history and a great impression - Bergvagabunten - Kufstein Lied on the country. - Gstanzl singen For example, the two Austrian folksongs deal with the nature aspect of the country such as the mountain side, the famous Austrian flower "Edelweiss" and how beautiful the Denmark - Jeg kan se på dine øjne environment is whereas the Danish folksongs deal with the topic of love. In both songs - Syv Kærester one partner has been cheating.
The two German folksongs - one coming from the North sung in lower German called Germany - Dat du min Leevsten bist "Plattdütsch" and one sung in the Bavarian dialect - are very directly proposing their love - s´Suserl to the partner.
Ireland It is made very obvious that they expect more then just innocent kisses. - Molly malone The Irish folksongs are more dynamical, both telling a full story, such as in the famous - An Po car Buile tune "Molly Mallone" and in "An poc ar buile" - a rather surreal song a bout a crazy goat
Poland relating to a yearly fair sung in Irish. - W Murowanej Piwnicy The Polish songs are dancing songs and deal with love. Very typical for this region they - Czerwone Jabluszko start with an introducing about an apple and then the next line has nothing to do with the Romania beginning: - Coborai din deal in vale "A little red apple is rolling on the table - Cui nu-i place dragostea I love that girl who has bright eyes.." Slovenia - Zrejlo je !ito - Po koro"kem po kranjskem Also the Romanian folksongs handle the most popular topic love but in a more philosophical and ironical way. UK - England The two Slovenian Folksongs songs are about farming. "The grain is ripe" - this tune is - Two Ravens - Lowlands Away describing the harvest and beauty of the summer with a rather sentimental touch. Both folksongs from England deal with death. The "two ravens" are metaphorical for the
3 4 Playing for Integration – Folksong Book Playing for Integration – Folksong Book killing during wars. II. How To Use Folksongs In Adult Education? Discussing the various lyrics in our last two meeting in Poland and Germany we wondered Here is an instruction how to use folksongs in adult education: if the lyrics draw a good picture of each country. It was interesting to see what pictures/stereotypes people have about the countries. 1. Target Group Therefore the lyrics could be a good starting point for a analysis and/or discussion about a • Language Learning Group country and its background. • (any) International Learning Group
1.2. Musical Aspects 2. Task for the LEARNERS = the one who presents the song In our folksong meetings we were also discussing the musical aspects of the a) Select 1-2 Folksongs from your country compositions. b) Find a good source (from Internet, Youtube) to listen to the song Austria used very simple I-V-(IV)* progressions – very similar to German folksong tradition. c) Translate the Song: in a German language class – translate it into German, also Though the Bavarian song had a very uncommon change of rhythm from 3/4 to 4/4 which translate it into English (translation into the national language and English) is a so called "Zweifacher" dancing pattern. d) Answer the following questions Interesting enough the Danish folksong are structured in a even more simple chord - Why did you choose exactly this song? progression: I-V (and IV). - When and where did you sing this song? In the English folksongs there are not many chord progressions but very unfamiliar scales - Which instruments are normally used to sing this song? such as the lydian scale. - What is the cultural, historical background of this song? Whereas the Irish folksongs are more complex in their harmonic composition. e) Make a short PRESENTATION about the song The Slovenian, Polish and Romanian folksongs are preferably written in minor. It creates a - content, meanings more melancholic or sentimental picture which suits the content of the words. - historical background * "I" stands for tonic, "IV" for subdominant and "V" for dominant. - when and where do people sing this song? f) IF possible: TEACH the song to the other participants/learners of your course 2. Language Learning It is recommended to first let the participants pronounce the words line by line with several We did not intend to study the different languages by learning the folksongs. repetitions. But by being taught how to pronounce the words we expired the sound and got an idea about the rhythm and melody of the languages. Then let them sing the melody with a simple syllable such as "la". When trying to sing the song you have to pronounce properly and we really tried to do it Put words and melody together and start by singing it in a very slow tempo. correctly. Some languages of course were much easier to learn then others. Danish and Polish were by far the most difficult for the others to learn. 3. Reflection of the other LEARNERS = the ones who learn the song - What are your associations when you hear that folksong? 3. Cultural and History Learning - What pictures do you see? During the folksong workshops we always got some interesting information about the - Does it fit to the picture that you have about this country? cultural and historical background of the song and of the country. - What is familiar – what is new? - Is the song similar to songs that you know? - What did you learn when you learnt this song?
5 6 Playing for Integration – Folksong Book Playing for Integration – Folksong Book Austria 1.1. Listen to the Song
1. Bergvagabunten www.youtube.com/watch?v=a17WRbxnuCQ www.liederkiste.com/liederkiste/Wanderlieder/Bergvagabunden.html
1.2. Historical Background
The Song is about mountain climbing. It describs the feelings of the hikers. The love climbing, beeing near to the sun, the beauty of the mountain. The last verse tells that girls are watching them when they are back home. But the climbers are afraid of them. because they could lose their heard to the girls. The Song was written after a mountain hike in 1945 in the ALLGÄU (Germany, Austria). Words by Rudolf Hartinger and Melody by Hans Kolesa und Hans Gasser. After 1956 it appeared in many song books.
1.3. Translation into English
1. When we hike up to the top, we climb up to the mountain peak In our hearts there is a desire, which leaves us never in peace Wonderful mountains, sunny mountains, mountain vagabonds are, yes, we Wonderful mountains, sunny mountains, mountain vagabonds are, yes, we
2. With rope and hook, we adventure everything, we hand in the steep wall Hearts burn, the edelweiss (= flower) flowers, we go on with a straight hand
3. The rock is beaten, we breath freely, this world is so wonderful handshake, a smile, efforts forgotten, everything is perfect
4. With the alpenglow we go home, the mountains are shining red we come again, because we are brothers, brothers (when we are) alive and dead 1. Wenn wir erklimmen schwindelnde Höhen, steigen dem Berggipfel zu, In unserem Herzen brennt eine Sehnsucht, die lässt uns nimmer mehr in Ruh. 5. When we walk through the city, girls are watching us Herrliche Berge, sonnige Höhen, Bergvagabunden sind wir, ja wir. But you cant trust these girls, because they could steal our hearts the peace Herrliche Berge, sonnige Höhen, Bergvagabunden sind wir.
2. Mit Seil und Haken, alles zu wagen, Hängen wir in steiler Wand. Herzen erglühen, Edelweiß blühen, Vorwärts mit sicherer Hand. Herrliche Berge, sonnige Höhen, Bergvagabunden sind wir, ja wir. Herrliche Berge, sonnige Höhen, Bergvagabunden sind wir.
3. Fels ist bezwungen, frei atmen Lungen, Ach, wie so schön ist die Welt ! Handschlag, ein Lächeln, Mühen vergessen, Alles aufs beste bestellt.
4. Im Alpenglühen heimwärts wir ziehen, Berge, sie leuchten so rot. Wir kommen wieder, denn wir sind Brüder, Brüder auf Leben und Tod.
5. Wenn wir marschieren, durch unser Städtchen, schauen die Mädchen uns zu. Doch diesen Frauen ist nicht zu trauen, Rauben unser Herzen die Ruh.
7 8 Playing for Integration – Folksong Book Playing for Integration – Folksong Book 2. Kufstein Lied
G G D Kennst du die Perle, die Perle Tirols, G das Städtchen Kufstein, das kennst du wohl; C umrahmt von Bergen, so friedlich und still: G D G Ja das ist Kufstein dort am grünen Inn, C D G ja das ist Kufstein am grünen Inn.
(Jodler) D7 G Holdera diridiridiri, holderi holdereidio, Kuku D7 Holderi holdereidio, Kuku G holderi holdereidio.
Holdera diridiridiri, holderi holdereidio, Holderi holdereidio, bei uns in Tirol.
Es gibt so Vieles bei uns in Tirol. A guates Weinderl aus Südtirol. Da denkt a jeder, ´s möcht immer so sein: Bei einem Maderl und am Flascherl Wein.
Und ist der Urlaub dann wieder mal aus, dann nimmt man Abschied und fährt nach Haus. Man denk an Kufstein, man denkt an Tirol Mein liebes Maderl, leb wohl, leb wohl. Mein liebes Maderl, leb wohl, leb wohl.
9 10 Playing for Integration – Folksong Book Playing for Integration – Folksong Book 2.1. Listen to the Song
www.youtube.com/watch?v=lZawJRw2_co www.youtube.com/watch?v=aqYxdBTlIUA
2.2. Historical Background
The Song is about the village Kufstein. It is a village at the tyrolian river INN, 75 kilometres down from the capital city of Tyrol INNSBRUCK.
The song was written 1946/47. The writer came from Brixlegg and worked as bus drivers in KUFSTEIN. His name was Karl GANZER. The words was created while driving the bus and the melody was written on 3 beer coasters. At the beginning it was a 4/4 rythm, but within the years it became a walz. Also the characteristic jodler came later. In 1969 the music producer Egon Ludwig Frauenberger produced the song with the Jodler-King Franzl LANG and it became a world hit.
2.3. Translation into English
Do you know the pearl, the pearl of Tyrol the village KUFSTEIN, you know it well framed by mountains, so peaceful and silent yes this is KUFSTEIN, there at the green INN (= river) yes this is KUFSTEIN, there at the green INN (= river)
There are so many thing here in Tyrol a good wine from South Tyrol Everybody thinks that it should be like this all the time to be with a girl and a bottle of wine
And when the holidays are over then you say goodbye and go hoem you think about KUFSTEIN, you think about TYROL dear my girl, fare well fare well dear my girl, fare well fare well
11 12 Playing for Integration – Folksong Book Playing for Integration – Folksong Book 3. Gstanzl singen Guat Morgn Herr Pfarrer, wos mocht da Kaplon? Er liegt auf da Köchin Und kraht wia a Hohn.
Da Pfarrer von Gmunden hat´s brunzn erfunden, dabei hams eam gschreckt, hat er´s scheißn entdeckt.
Da Pfarrer von Kufstein der richtet ein Puff ein, da Papst Benedikt aus Rom weiht´n ein den Salon!
3.1. Listen to the Song www.volksmusik.cc/lieder/images/WemenderQuartett_MeinVoderHodAHaus%27l.mp3 http://www.youtube.com/watch?v=2P2YLWNyEkc&feature=related
More Info: http://www.dancilla.com/wiki/index.php/Gstanzln
3.2. Content and Historical Background Gstanzl-Singing is a traditional form of singing. Songs are sung in Austria and Bavaria when there are celebrations. There are tons of verses to a lot of different topics: love, fun, professions, church. Most of the melodies contain jodlers. The most important thing is that new verses are improvised. That means that people sing together and find new verses about the current sitaution. Gstanzl-Singen is first mentioned in the year 1756. There are simular forms in Sweden, Norway, Russia, Spain, Italy, Greece and even in the Arabic area.
3.3. Translation into English
Professions My father is plumber and so am I Beruf my father is covering the houses Mei Voda is Spengler the girls are covered by me und Spengler und Spengler bin i. Mei Voda deckt Heisa My father is hunter und de Weiba deck i! and a hunter am I my father hunts animals Mei Voda is Jacha, the girls are hunted by me und Jacha bin i. Mei Voda jagd d´Viecher My father is carpenter und d´Weiba joch i. and a carpenter am I My father nails wood Mei Voda is Zimmerer the girls are naild by me und Zimmerer bin i. Mei Voda nagelt´s Holz und d´Weiba nagel i. Pfarrer
13 14 Playing for Integration – Folksong Book Playing for Integration – Folksong Book Danish Folksongs 2. Syv Kærester
1. Jeg kan se på dine øjne
Lyrics: //:Jeg kan se på dine øjne, at du har en anden kær:// Min sødeste veninde, sig mig dog hvem det er.
//:Dine sorte brune øjne og din røde rosenmund:// De har lagt oppå mit hjerte en byrde så tung.
1.1. Listen to the Song
Sorten Muld, 1997: http://www.youtube.com/watch?v=kPNdEmmCwrA&feature=related Ivan Sand, 2007: http://www.youtube.com/watch?v=OSxwj4WEYMY Trøst, 2011: http://www.youtube.com/watch?v=6wsj5dycnB8
1.2. Historical Background
This traditional song is also known as "Hjertesorg". It is originated in the island of Funen, and has been included in most of the common Danish song books through the 20th century. As you can hear from the versions on YouTube, there are many ways of interpreting it.
1.3. Translation into English
//:I can see in your eyes that you are in love with someone else:// My dearest friend, please tell me who it is.
//:Your black brown eyes and your lips as red as roses:// have laid a heavy weight upon my heart.
15 16 Playing for Integration – Folksong Book Playing for Integration – Folksong Book 2.1. Listen to the Song Germany: 1. Dat du min Leevsten bist
Virelai, 2011: http://www.youtube.com/watch?v=uKIjIGav1YQ
2.2. Historical Background
Syv Kærester (Seven Boyfriends) is a traditional ballad. Melody and lyrics are here from Kirstine Nurdug Jensen (who taught us the song and the dance in Aarhus). The first known written version is from 1709. This version is Kirstine’s own version, but it is close to a version by Leif Varmark (1984) with lyrics based on the three known written records and transformed into nowadays language.
2.3. Translation
1.1. Listen to the song
Recording by Hannes Wader (famous North German folksinger) and Konstantin Wecker (famous Munich Songwriter) www.zeit.de/kultur/musik/2011-01/volkslieder-folge-24
www.youtube.com/watch?v=OK89VJ8ES7k www.youtube.com/watch?v=JSN583UeFrY
1.2. Historical background
The melodie was published in Hamburg in 1778, whereas the lyrics were first publisghed in Kiel in 1845 by Karl Müllenhoff, „Sagen, Märchen und Lieder der Herzogthümer Schleswig Holstein und Lauenburg“ - sagas, fairy tales and songs. Schleswig-Holstein is the most northern province of Germany and this folksong is still a very popular one of the low German dialect called „Plattdütsch“ which is still spoken by old people and taught in primary schools. It is said to be close to the English language. When keeping the translation simple and word by word one might notice the connection.
17 18 Playing for Integration – Folksong Book Playing for Integration – Folksong Book 1.3. English translation
That you are my dearest that you know for sure. Come at night and tell me your name.
Come at midnight, come at one o´clock. Father sleept, mother sleeps, I sleep alone.
Knock at the room door, touch the handle. Father thinks, mother things that´s done by the wind.
Comes the dawn the cockerel crows. My darest, my dearest, then you have to go.
19 20 Playing for Integration – Folksong Book Playing for Integration – Folksong Book 2.1. Listen to the song Irland
Recording of Karin Rabhansl (famous Songwriter from Bavaria) https://soundcloud.com/playing4integration/ssuserl
Instrumental Version: www.youtube.com/watch?v=NJaBjoGRgxQ
Here is the dance to it: www.youtube.com/watch?v=uMgFb9nda7U
2.2. Historical background
Suserl is girls pet name meaning Susan. Zwiefacher is a typical Bavarian dance, which changes the rhythm from 3/4 to 4/4. It is claimed that the word Doubly (first documented in 1780) is not of the most two different rhythms originated, but by pairs exerted round dance in which rotate two people of different sexes in close embrace, which in earlier times of moral reasons, was not granted. It is a traditionla folk tune that varietes from the South German areas „Holledau, Niederbayern and Oberpfalz“. Lyrics by Josef Eberswein, Dellnhausen. 3rd Verse unknow athor.
2.3 English translation
I woud like to dance if I had this maid Suserl doens´t want to but she’s so nice. She’s not allowed to go out tonight But it would be so nice so I asked her mother „May I go with with Suserl?“ She said yes.
Let’s go tonight, because I got the girl Suserl is my joy because she’s a good dancer. The band playes, lets forget about the money Jesus! I turn her around until the cock carks
Dancing is over now. It´s time to go home. I looked forward to going home with Suserl She said: „My dear boy, I only go with you“ Along the path it’s the most beautiful way home. And we are going to rest a little now and then.
21 22 Playing for Integration – Folksong Book Playing for Integration – Folksong Book C G In Dublin's fair city, where the girls are so pretty C Em Dm G I first set my eyes on sweet Molly Malone C G She wheeled a wheel-barrow through streets broad and narrow C Em C G C Crying 'Cockles and Mussels a-live, a-live, oh'
C G A-live, a-live, oh, a-live, a-live, oh C Em C G C Crying 'Cockles and Mussels a-live, a-live, oh'
She was a fishmonger, but sure 'twas no wonder For so were her father and mother before. They both wheeled a barrow through streets broad and narrow Crying 'Cockles and Mussels a-live, a-live, oh'
Chorus
She died of a fever, and no one could save her And that was the end of sweet Molly Malone. Now her ghost wheeles her barrow through streets broad and narrow Crying 'Cockles and Mussels a-live, a-live, oh'
1.1. Listen to the Song
P4I (Tony, Shane) in Wroclaw www.youtube.com/watch?v=UEK_QMd00M4
www.youtube.com/watch?v=vdxLxnhGnvo
1.2. Content and Historical Background
The song tells the fictional tale of a beautiful fishmonger who plied her trade on the streets of Dublin, but who died young, of a fever. In the late 20th century a legend grew up that there was a historical Molly, who lived in the 17th century. She is typically represented as a hawker by day and part-time prostitute by night.
www.en.wikipedia.org/wiki/Molly_Malone
23 24 Playing for Integration – Folksong Book Playing for Integration – Folksong Book
(D) (G) (D) Ar mo gavial dom sheer kum drocade e warga (D) Pic em goid is me dual eh mehel (G) (D) K casfey oram eh gumar kayohg (A) (D) Ach pocan kron is eh ar buile
Chorus: (D) (G) (D) ah-lay-lu p-way-le-lu (D) (G) (A) ah-lay-lu ta an poke ar bwayla (D) (G) (D) ah-lay-lu p-way-le-lu (D) (G) (A) (D) ah-lay-lu p-way-le-lu ta an poke ar bwayla
do remar trasna tree rulegock is du lesh an corak ar fuid na mwenga is trayscart de vuir shay sna turtoga kus ina anyon ar a grom le fu-eniv
Chorus
nor ag shay corrag go raive scot ann na gur ril le forsa kun me a willegg is ah anshin do claih shay an lem ba wo le fana war na faille brika
Chorus
I nangain kuish le haiyag an tranona V an sagart paraoshta amach na goinive Is eh dirt gurv eh and deavil beh goy lesha An garve an tro ar focan buille
2.1. Listen to the Song
www.youtube.com/watch?v=sFHO2gVeiN8 www.youtube.com/watch?v=zAGhiW3qQvQ
25 26 Playing for Integration – Folksong Book Playing for Integration – Folksong Book 2.2. Content and Historical Background Poland Each year in Killorglin, Co. Kerry (in the month of Lunasa) August 10th, a Puck Fair is held. The Puck, a wild mountain goat, with decorated horns, is paraded through the streets with rapturous applause and cheering. On arrival at the town square he is crowned and then ceremoniously raised on a scaffold platform some twenty five feet high. The Puck resides here for the next three days and nights looking down on his subjects. The well- known song An Poc ar buile, 'The Mad Puck Goat', is associated with the festival which dates from the seventeenth century. At that time, a herd of goats was grazing on a high peak, when the noisy throng of Cromwell’s army shattered their peace. Alarmed and frightened, the goats scattered and ran into the hills - all of them that is except for one brave male who ran down the mountain and into Killorglin. The local people on seeing the goat sensed something was wrong and took cover. The people of Killorglin survived and have commemorated the event by holding the fair ever since.
2.3. Translation
THE MAD PUCK GOAT As I set out with me pike in hand To old Trommler to 'Ion a meithil, (Work gang) Who should I meet but a tan puck goat And he roarin' mad, in ferocious mettle.
CHORUS: AiII – iI - Iu puill – il - iu - AiI| - il-lu daan poc ar buile AiII – iI - Iu puill – il - iu - AiI| - il-lu daan poc ar buile
He chased me over bush and weed And through the bog the run proceeded 'Till he caught his horns in a clump of gorse And on his back l jumped unheeded.
CHORUS
There was ne'er a rock with no passage through Which he didn'tjump, and me like Eddie Nacken, But when he leaped clean down Fair Breach, I felt like a load of old wet sacking.
CHORUS
When the sergeant stood in Rochestown With a force of guards to apprehend us, The goat he tore his trousers down And made rags of his breeches and new suspenders.
CHORUS
27 28 Playing for Integration – Folksong Book Playing for Integration – Folksong Book
1.1. Listen to the Song https://www.youtube.com/watch?v=2GaLZQy8Lik
Modern version: https://www.youtube.com/watch?v=3fQRZCj9wg4 https://www.youtube.com/watch?v=uaWoSLwbiLU https://www.youtube.com/watch?v=4j0_ZPFfsx8
1.2. Historical Background
The song W MUROWANEJ PIWINCY is a folk song, probably very old. It has been sung in Tatra mountains and it is the most populra Polish folk song from this region. Lyrics are in the dialect of inhabitants of Tatra mountains.
1.3. Translation into English
In the brick basement
In the brick basement Danced robbers They ordered to play them beautifully And to look on their legs
I would dance, if I would be able to If I would not have curved legs As I have curved legs When I jump up, they bend
Hey, you chief shepherd You have good boys to rob You would have even better If you would give them some cheese
Who would go beside threes He will be a man And I am so brush man Who will jump out just in the length of a finger
Dance, Janto#, also with me I will bake for you a mouse in the oven I would bake it for you But it, o gosh!, fled out.
29 30 Playing for Integration – Folksong Book Playing for Integration – Folksong Book Romania
1.
2.1. Listen to the Song https://www.youtube.com/watch?v=V6wYhRo2y9U
2.2. Historical Background The song CZERWONE JAB$USZKO is from the central Poland. Its music is in the most popular tempo of Polish folk songs, it means 3/4. The rhythmical structure of this song is typical for such forms as OBEREK, KUJAWIAK and MAZUREK. Names of these forms are mentioned in lyrics of this song.
2.3. Translation into English
Little read apple
Little red apple is rolling on the table I love that girl who has light eyes Geese behind the water, ducks behind the water Run away, girl, otherwise they will gore you You will give me a kiss, I will give you a kiss You will not tell about it, I will not tell about it Oberek, little oberek, mazurek, little mazurek, Kujawiak, little kujawiak, go with me, Marys, hoc, hoc.
Obereczek - is a little oberek, mazureczek - is little mazurek, Kujawiaczek, little kujawiak / Polish folk dances
31 32 Playing for Integration – Folksong Book Playing for Integration – Folksong Book G 2. Coborai din deal in vale C G Coborai din deal in vale G Ma-ntalnii cu doru-n cale. C G Ma-ntalnii cu doru-n cale.
G C Doru' prinse-a ma-ntreba G D G Doru' ti-i de cineva?
1.1. Listen to the Song www.youtube.com/watch?v=Rjb4EIpcicY
1.2. Historical Background
This is a folk song from Maramures ( a region in the north-west of Romania), first released in the second half of 20th century by Tatiana Mihali, a famous folk singer from this region and now people sing it at parties. The rhythm, specific to Maramures is easily learned, the accents being often marked by clapping, giving it an extraordinary popularity. This song is one of the most known in the Romanian folklore, it resisted over time and it sung today with the same pleasure, especially in groups.
1.3. Translation into English
I came down into the valley
When I came down into the valley I met sadness on my way Sadness then said to me Did I miss someone today
I then answered to the sadness You fool “Men of the world” like me Always miss some one
Have you ever seen a good man C Am G D Am C Who does not love the world Cui nu-i place dragostea hei hai dragostea Have ever seen a handsome man C Am G D Am C Who does not love Cui nu-i place dragostea hei hai dragostea Am G Am G Am C Dumnezeu sa nu io dea la la la la la la, Am G Am G D Dumnezeu sa nu io dea la la la la la la.
33 34 Playing for Integration – Folksong Book Playing for Integration – Folksong Book 2.1. Listen to the Song Slovenia www.youtube.com/watch?v=34b4sD4rPOs 1.
2.2. Historical Background
This is a love folk song released in the first part of 20th century by a great folk singer from Ardeal (a region in the west of Romania), Alexandru Grozuta. The song was then picked by other singers: Maria Butaciu, Nicolae Furdui Iancu, Gheorghe Turda and others. Owing to its simple rhythm and its accessibility, it was quickly learned by the audience, being sung at weddings and other parties, individually or in groups.
2.3. Translation into English
Hey Love
God should not give love Hey Love Dragostea To those who do not like to love He Love Dragostea
Lord give it only to me Hey Love Dragostea I have known love since I was young Hey Love Dragostea
Lionel. You’re a stupid man Hey Love Dragostea So where were you last night? Hey Love Dragostea
I was having fun instead Hey love Dragostea With my sweetheart in my bed Hey love Dragostea
a Zrejlo je !ito, je !uta slama, d a !alostna dekla, kaj nima" luboga. F G7 C E, sedi ta, sedi lastvica ti, d a E7 a nasloni se luba, na mo ple%a ti.
Zrejlo je !ito, je !uta slama, zrejlo je zelje, !uto je li"%e. Zrejla je p"enica, !uta je slama, zrejla je p"enica, !uta je slama.
35 36 Playing for Integration – Folksong Book Playing for Integration – Folksong Book 1.1. Listen to the Song 2. www.noteflight.com/scores/view/b4916915d310d2ac961e9f71e6f9d4175534c4de
Listen to Poems: www.youtube.com/watch?v=Hn9LHb9Mlr8 www.youtube.com/watch?v=6S2uBdosag0 www.youtube.com/watchv=JFcMKhnKBTc&feature=related
1.2. Historical Background It comes from east Slovenia- Prekmurje, it means- country over Mura river, where all of songs are sad, melancholy. The author is unknown. The provenance of »Zrejlo je !ito« is also unknown. There is thought to be influenced by some Hungarian tendencies. People from Prekmurje were acquainted with these songs and Hungarian influences in 19. century while working on large estates, initially mainly in Hungary. The song Zrejlo je !ito has recently been very popular, mainly thanks to the reproducers of the song.
1.3. Translation into English
The grain is ripe
The grain is ripe, the straw is yellow sad girl why don,t you have beloved, sit down you swallow next to me, rest my dear on my shoulders.
The grain is ripe the straw is yellow the cabbage is ripe, the leaves are yellow, the wheat is ripe, the straw is yellow, the wheat is ripe, the straw is yellow.
C G C Po koro"kem po kranjskem !e ajda zori, !e ajda zori, !e ajda zori G C eno dekle jo !anje jo glavca boli, jo glavca boli prav zares.
Tri dni jo !e !anje, tri snopke ima, tri snopke ima, tri snopke ima, pa poglejte na roke, kolk !uljev ima, kolk !uljev ima prav zares.
37 38 Playing for Integration – Folksong Book Playing for Integration – Folksong Book 2.1. Listen to UK, England www.youtube.com/watch?v=FnoeQbpT6uQ
2.2. Historical Background
Koro"ka country is in Northern Slovenia and borders with Austria. The song »Po Koro"kem, po Kranjskem« was apparently widespread in the 19th century. It was mentioned by Karel &trekelj in various records in the collection of Slovenian folk songs. In one of the versions of the song the beginning was a little different - Po Koro"kem, po Nem"kem.
&trekelj placed this song among love songs, even though the rhythm corresponds to the type of a dancing song - "posko%nica", which were often accompanied by a dance called ""tajeri"".
»These two songs are among the most famous Slovenian folk songs. Of course there is almost impossible to discover when and how they became part of the folk song repertoire,« told us Dr. Marija Klob%ar from Institute of Ethnomusicolgy SRC SASA, Novi trg 2, SI-1000 Ljubljana.
2.3. Translation into English
Across the Country of Koro!ka and Kranjska
Across the Country of Koro"ka and Kranjska buckwheat ripes one girl reaps it and her head hurts.
Three days she reaps it and she has three cereal bundles and look at her hands how many blisters she has.
39 40 Playing for Integration – Folksong Book Playing for Integration – Folksong Book 1.1. Listen to the Song https://soundcloud.com/aortas/two-ravens-dan-plews
1.2. Content and Historical Background
The two ravens has been around for 500 years as a poem without a tune, and has been translated into many european languages. R.M. Blythman (the Scots poet “Thurso Berwick”) set it to a Breton tune, Al Alar'ch, The Swan, which has a nice modulation in the first two lines. More Information at: en.wikipedia.org/wiki/The_Three_Ravens
2.1. Listen to the Song
https://soundcloud.com/aortas/lowlands-dan-plews www.youtube.com/watch?v=DoU3IoraAlg
2.2. Content and Historical Background This is a simple lament for a dead lover, which can be adapted to suit a male or female singer. It is normally sung as a call and response song in which a group is led by a single singer, typical of the shanties (or 'chanteys') sung by sailors over the centuries. A full debate about its origins can be found online at www.mudcat.org. Dan Plews learned it from Oxford singer Ian Giles but he has heard it throughout his childhood wherever folksingers gather. The melody provided is skeletal, and normally improvised and ornamented with slides, grace notes and moving chords improvised by those assembled.
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