He's Gone Away - Piano/Vocal Solo (Medium High) Sheet Music Preview

He's Gone Away - Piano/Vocal Solo (Medium High): Piano/Vocal Solo (Medium High)

14 Folk Songs Arranged for Solo Voice and Piano for Recitals, Concerts, and Contests

Compiled and ed. Jay Althouse

Item: 00-PS-0017651

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$4.99
Description
This volume of 14 best-loved folk songs for solo voice and piano contains memorable works arranged by three of Alfred Music's top writers: Jay Althouse, Mark Hayes and Ruth Elaine Schram. Titles: All My Trials * All Through the Night * Camptown Races * Cindy * Fire Down Below * Follow the Drinking Gourd * Go 'Way from My Window * He's Gone Away * Old Dan Tucker * Poor Boy * Poor Wayfaring Stranger * Shenandoah * Simple Gifts * The Water Is Wide. This title is available in MakeMusic Cloud.

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Additional Details
Series: For Solo Singers
Publisher: Alfred Music
Page Count: 64
SKU: 00-PS-0017651

More about this title

About the Arranger: Ruth Elaine Schram

Ruth Elaine Schram brings decades of experience arranging folk and traditional music for vocal performance. Her arrangements balance accessibility with artistic depth, making classic material feel fresh while preserving the emotional core that has kept these songs alive across generations.

Schram's work at Alfred Music has established her as a trusted voice in choral and solo vocal arrangement. Her careful attention to piano writing and vocal line creates arrangements that serve both the singer's technical growth and the listener's musical satisfaction.

Why we love this

This collection sits at a crucial intersection: it offers substantial recital material without requiring advanced technical facility, and it draws from a deep well of American and British folk tradition that students connect with emotionally. The variety across 14 songs means you can program a cohesive set that feels curated rather than assembled, and the consistent quality of arrangement across all three contributors keeps the book useful from start to finish.

What to expect

The collection moves through intimate ballads (Poor Wayfaring Stranger, The Water Is Wide), rhythmic folk narratives (Camptown Races, Old Dan Tucker), and spiritually resonant pieces (Simple Gifts, Follow the Drinking Gourd) that capture the depth of American musical heritage. Schram and her colleagues honor the folk roots while bringing refined piano writing that suggests concert hall rather than campfire.

Who it's for

Solo singers preparing concert or festival recitals will find authentic, singable material across a range of tempos and emotional landscapes. This book works equally well for intermediate singers building recital repertoire and advanced singers seeking lesser-known folk arrangements that add character to a program.

How to get the most out of it

  • Treat the piano part as a full musical partner, not mere accompaniment. Schram's writing often establishes mood or historical context in the introduction; honor that foundation before entering with your voice.
  • Notice where the arrangers shift between folk authenticity and formal art-song treatment within a single piece. Adjust your vocal approach accordingly, sometimes allowing a more speech-like quality in ballads and tightening classical technique in more composed moments.
  • Explore the poetry and storytelling in each text before finalizing interpretive choices. These songs carry narrative weight, and your phrasing should serve the story as much as the melody.

How to use it

Build a recital around a thematic subset: pair murder ballads with spirituals for emotional contrast, or create an American heritage concert using five or six selections from this book as a cohesive block. The medium-high keys make these accessible for most singers, and the 14-song range lets you customize program length and tone for different occasions.

Skills your students will build

  • Balancing lyrical storytelling with formal vocal technique
  • Understanding stylistic conventions of American and British folk traditions
  • Working confidently with varied piano accompaniments and textural relationships
  • Sustaining musical interest across contrasting tempos and emotional registers within a single recital set

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