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This book presents 60 songs and tunes from the American Civil War that were favorites with the soldiers and those at home, arranged especially for the 20-button C/G Anglo concertina. Inside are patriotic airs, marching songs, soldier songs, sentimental ballads and minstrel show songs adapted from the original sheet music, including popular works by Stephen C. Foster, George F. Root, Henry Clay Work and many others. All songs and tunes include the melody in standard musical notation along with complete lyrics and chords so you can play them on any musical instrument. For those who play the 20-button Anglo concertina, every selection includes an Anglo concertina tablature system that makes it easy to learn and play simple and complex arrangements. The music is arranged for concertina in a variety of styles - single note, simple harmony, octaves, and full accompaniment. All 60 tunes also have a QR code that links to a YouTube video so you can hear and see exactly how each printed arrangement is played. Although the 20-button Anglo only has one row of buttons in the key of C and another row in the key of G, it is far less limited than you might think, and you will be surprised just how much music you can make with it and how so many of these wartime melodies seem to fit perfectly. This book will take you back a hundred and fifty years so you can experience the songs and music of the rallies, the camps, the battlefields and the homes.
The creation of the Confederate States of America and the subsequent Civil War inspired composers, lyricists, and music publishers in Southern and border states, and even in foreign countries, to support the new nation. Confederate-imprint sheet music articulated and encouraged Confederate nationalism, honored soldiers and military leaders, comforted family and friends, and provided diversion from the hardships of war. This is the first comprehensive history of the sheet music of the Confederacy. It covers works published before the war in Southern states that seceded from the Union, and those published during the war in Union occupied capitals, border and Northern states, and foreign countries. It is also the first work to examine the contribution of postwar Confederate-themed sheet music to the South's response to its defeat, to the creation and fostering of Lost Cause themes, and to the promotion of national reunion and reconciliation.
NEW YORK TIMES BESTSELLER • A celebration of American history through the music that helped to shape a nation, by Pulitzer Prize winner Jon Meacham and music superstar Tim McGraw “Jon Meacham and Tim McGraw form an irresistible duo—connecting us to music as an unsung force in our nation's history.”—Doris Kearns Goodwin Through all the years of strife and triumph, America has been shaped not just by our elected leaders and our formal politics but also by our music—by the lyrics, performers, and instrumentals that have helped to carry us through the dark days and to celebrate the bright ones. From “The Star-Spangled Banner” to “Born in the U.S.A.,” Jon Meacham and Tim McGraw take readers on a moving and insightful journey through eras in American history and the songs and performers that inspired us. Meacham chronicles our history, exploring the stories behind the songs, and Tim McGraw reflects on them as an artist and performer. Their perspectives combine to create a unique view of the role music has played in uniting and shaping a nation. Beginning with the battle hymns of the revolution, and taking us through songs from the defining events of the Civil War, the fight for women’s suffrage, the two world wars, the Great Depression, the civil rights movement, the Vietnam War, and into the twenty-first century, Meacham and McGraw explore the songs that defined generations, and the cultural and political climates that produced them. Readers will discover the power of music in the lives of figures such as Harriet Tubman, Franklin Roosevelt, Eleanor Roosevelt, and Martin Luther King, Jr., and will learn more about some of our most beloved musicians and performers, including Marian Anderson, Elvis Presley, Sam Cooke, Aretha Franklin, Bob Dylan, Duke Ellington, Carole King, Bruce Springsteen, and more. Songs of America explores both famous songs and lesser-known ones, expanding our understanding of the scope of American music and lending deeper meaning to the historical context of such songs as “My Country, ’Tis of Thee,” “God Bless America,” “Over There,” “We Shall Overcome,” and “Blowin’ in the Wind.” As Quincy Jones says, Meacham and McGraw have “convened a concert in Songs of America,” one that reminds us of who we are, where we’ve been, and what we, at our best, can be.
I have not written these memoirs entirely for the amusement or instruction of my contemporaries; but I shall feel rewarded if I elicit thereby the interest and sympathy which follows an honest effort to tell the truth in the recollections of one’s life—for, after all, truth is the chief virtue of history. My ancestry may be of as little importance in itself as this book is likely to be after the lapse of a few years; yet it is satisfactory to know that your family is respectable,—even if you cannot prove it to be so ancient that it has no beginning, and so worthy that it ought to have no end. I am willing, however, that my genealogy should be investigated; there are books giving the whole history; and it is surely an innocent and praiseworthy pride—that of good pedigree. I was born November 24th, 1825, at our plantation home, called Cottage Hall, in the parish of East Feliciana, in the State of Louisiana. My father was a man of firmness and of courage amounting to stoicism. He appeared calm and self-possessed under all circumstances. He ruled his own house, but so judicious was his management that even his slaves loved him. Though I was very young when my mother died, I can remember her and the great affection manifested for her by the entire family. While not realizing the importance of my loss, I knew enough to resent the coming of another to fill her place. My father said he wanted a good woman who could see that his family of six children were properly brought up and educated. His nephew, Dr. James Thomas, introduced him to Miss Susan Brewer, who he thought would fill all these requirements. The marriage was soon arranged, and I was brought home, to Cottage Hall, by my eldest sister, with whom I had been living. The other children had laid aside their mourning and I was informed that I also had new dresses; but I declined to wear them or to call the new mistress of the household by the name of “Mother,” which had been freely given her by the rest of the family. When my father lifted me from the carriage he said: “My child, I will now take you to your new mother.” As he kissed me affectionately I turned away and said: “I am not your child, and I have no mother now.” I have never forgotten the sad look he gave me nor the tenderness he manifested toward my waywardness as he took me in his arms and carried me into the house. I was a troublesome little girl with an impetuous temper; perhaps it was on this account that he often said: “This golden-haired darling is the dearest little one in the house—and the most exacting.” My father had a vein of quaint humor and abounded in proverbial wisdom. I have heard him say, “Yes, I have a very bad memory—I remember what should be forgotten.”