18093888
Bonny Wood Green
18093888
18093888
18093888
Copyright Material for Preview Only - Sheet Music Plus
SAA choir a cappella (SAA choir)
SKU: AN.AMP-0326
Edited by Elaine Quilichini. Arranged by Stephen Hatfield. Octavo. Alliance Music Publications #AMP 0326. Published by Alliance Music Publications (AN.AMP-0326).
Hatfield.
Bonny Wood GreenBonny Wood Green is a ballad from World War I, still sung in Irish pubs today. The Irishwere unenthusiastic about entering the war on the British side, but once the decision hadbeen made there were surprisingly large numbers of volunteers. The divided loyalties of theIrish soldiers cannot have made their ordeal in the trenches any easier.
I've adapted the text to a female perspective and added a final glimpse of the girl left behind,as she continues to pay tribute to an ordeal of her own.
Although the song deals with heartbreak and death, a simple, meditative delivery will bemore effective than a lot of high drama. A void big vocal gestures, and keep all changes indramatic levels gentle and understated. The audience should be left with the melancholypeace that comes long after heartbreak, not the heartbreak itself.
SAA choir a cappella (SAA choir)
SKU: AN.AMP-0326
Edited by Elaine Quilichini. Arranged by Stephen Hatfield. Octavo. Alliance Music Publications #AMP 0326. Published by Alliance Music Publications (AN.AMP-0326).
Hatfield.
Bonny Wood GreenBonny Wood Green is a ballad from World War I, still sung in Irish pubs today. The Irishwere unenthusiastic about entering the war on the British side, but once the decision hadbeen made there were surprisingly large numbers of volunteers. The divided loyalties of theIrish soldiers cannot have made their ordeal in the trenches any easier.
I've adapted the text to a female perspective and added a final glimpse of the girl left behind,as she continues to pay tribute to an ordeal of her own.
Although the song deals with heartbreak and death, a simple, meditative delivery will bemore effective than a lot of high drama. A void big vocal gestures, and keep all changes indramatic levels gentle and understated. The audience should be left with the melancholypeace that comes long after heartbreak, not the heartbreak itself.
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