Waltzing Matilda Tin Whistle Sheet Music
The sheet music for the Viola and the Cello are now included in the key of G Major. The lyrics for this Australian folk song were written by Banjo Peterson in 1895. The tune was called ''The Craigielee March''. But the original tune is much older and hales from Scotland called ''Thou Bonnie Wood of Craigielea'', which was written by James Barr in 1818. The sheet music here is set in the key of G Major and is suitable for the D whistle. Puff The Magic Dragon tin whistle notes are also included. Another song with a closely matching is And The Band Played Waltzing Mathilda Sheet Music .
Below is the list of sheet music and tin whistle songs that are in my ebooks. This is the largest collection of tin whistle songs ever put together.[over 800 songs ] Including folk, pop and trad tunes plus German And French songs along with Christmas Carols.
All of the sheet music tabs have been made as easy to play as was possible.
The price of the ebooks is €7.50
All of the sheet music tabs have been made as easy to play as was possible.
The price of the ebooks is €7.50
Viola sheet music for Waltzing Mathilda In G Major
Cello sheet music for Waltzing Mathilda
Below is Puff The Magic Dragon whistle notes.
Australian Folk Songs
In 1952 when Burl Ives was invited by the Australia Broadcasting Commission to do a concert tour he had been told there was one Australia folk song and that this was "Waltzing Matilda." On his arrival he made a radio address to the Australian people, the burden of which was that in a country of such vitality, based on English, Scotch and Welsh ancestry, there must be a living folk-song heritage. Both he and the Australian Broadcasting Commission were inundated with thou- sands of letters and copies of songs.
Many of these songs were versions of old British ballads, some like the British ballads which Cecil Sharpe had found in our own Appalachian Mountains- were versions not now extant in Great Britain. But among these ballads were hundreds of songs about Australia and Australian life. Like "Waltzing Matilda" and like folk songs anywhere, they reflected the life and attitudes of the people of their origin, Australia. Some were new verses applied to traditional melodies, some were in traditional verse form with a new content and a new melody. In every case the songs, like our own American folk songs, showed a vitality that reflected what Mr. Ives had said over the Australian airwaves, "A vital people are a singing people, and a vital people have experiences out of which musical expression will come. This musical expression will be sung and it will express the truth and it will live and become a folk song. I am waiting to hear the folk songs of Australia."
At the same time Mr. Ives met Dr. Percy Jones of the Melbourne Conservatory of Music, who had been collecting Australian folk songs in much the same way as John A. Lomax had been collecting in the United States. In collaboration with Dr. Jones, Mr. Ives issued a book of Australian folk songs based on the material which they had found together. Before leaving Australia he did an album of songs for the Australian people. These songs had never been released in the United States until now.
On the Australian folk song album it said, "not only will these songs delight folk song enthusiasts in Australia but in their fine simplicity they will also contribute greatly toward strengthening good will and understanding between us and our fellowmen in distant lands. The easy going nature of the people and the timelessness of our country can be heard in these songs as they are brought to life by the inimitable Burl Ives."
About The Songs:
They say in Australia that Mr. Ives' triumphant tour was the beginning of a revival of long overdue interest in Australian historical song research. Whether Mr. Ives began, or was only a catalyst to the revival of interest in Australian folk songs, it is now a fact that after Mr. Ives left Australia there was a revival of folk song interest that parallels our revival here in the United States.
Out of the wealth of Australian folk songs, Mr. Ives has selected those which he feels are excellent songs in themselves and which like all good folk songs reflect Australia and make you feel the country for what it is. The ballads in this album were handed down by word of mouth. In the evening after a day's shearing the men would sit around and sing these songs, and, as they "travelled the land" from one sheep station to another following the season, other shearers would listen and pick up the tune and words. It happened much as cow- boy songs travelled in our own west.
These songs were not intended for the concert hall. They were written to pass away hours in the stifling heat of the shearing shed, or for the "bullocky" with a long road ahead and slow team to travel, or for the boundary rider with weeks of no company but his own.
In 1952 when Burl Ives was invited by the Australia Broadcasting Commission to do a concert tour he had been told there was one Australia folk song and that this was "Waltzing Matilda." On his arrival he made a radio address to the Australian people, the burden of which was that in a country of such vitality, based on English, Scotch and Welsh ancestry, there must be a living folk-song heritage. Both he and the Australian Broadcasting Commission were inundated with thou- sands of letters and copies of songs.
Many of these songs were versions of old British ballads, some like the British ballads which Cecil Sharpe had found in our own Appalachian Mountains- were versions not now extant in Great Britain. But among these ballads were hundreds of songs about Australia and Australian life. Like "Waltzing Matilda" and like folk songs anywhere, they reflected the life and attitudes of the people of their origin, Australia. Some were new verses applied to traditional melodies, some were in traditional verse form with a new content and a new melody. In every case the songs, like our own American folk songs, showed a vitality that reflected what Mr. Ives had said over the Australian airwaves, "A vital people are a singing people, and a vital people have experiences out of which musical expression will come. This musical expression will be sung and it will express the truth and it will live and become a folk song. I am waiting to hear the folk songs of Australia."
At the same time Mr. Ives met Dr. Percy Jones of the Melbourne Conservatory of Music, who had been collecting Australian folk songs in much the same way as John A. Lomax had been collecting in the United States. In collaboration with Dr. Jones, Mr. Ives issued a book of Australian folk songs based on the material which they had found together. Before leaving Australia he did an album of songs for the Australian people. These songs had never been released in the United States until now.
On the Australian folk song album it said, "not only will these songs delight folk song enthusiasts in Australia but in their fine simplicity they will also contribute greatly toward strengthening good will and understanding between us and our fellowmen in distant lands. The easy going nature of the people and the timelessness of our country can be heard in these songs as they are brought to life by the inimitable Burl Ives."
About The Songs:
They say in Australia that Mr. Ives' triumphant tour was the beginning of a revival of long overdue interest in Australian historical song research. Whether Mr. Ives began, or was only a catalyst to the revival of interest in Australian folk songs, it is now a fact that after Mr. Ives left Australia there was a revival of folk song interest that parallels our revival here in the United States.
Out of the wealth of Australian folk songs, Mr. Ives has selected those which he feels are excellent songs in themselves and which like all good folk songs reflect Australia and make you feel the country for what it is. The ballads in this album were handed down by word of mouth. In the evening after a day's shearing the men would sit around and sing these songs, and, as they "travelled the land" from one sheep station to another following the season, other shearers would listen and pick up the tune and words. It happened much as cow- boy songs travelled in our own west.
These songs were not intended for the concert hall. They were written to pass away hours in the stifling heat of the shearing shed, or for the "bullocky" with a long road ahead and slow team to travel, or for the boundary rider with weeks of no company but his own.
