I Am A Rider Song In English Download Mp3
Madeline Crocket
"I Know You Rider" (also "Woman Blues" and "I Know My Rider") is a traditional blues song that has been adapted by numerous artists. It has appeared in folk, country, and rock guises and is not overly identified with any particular artist.[1]
Modern versions can be traced back to Blind Lemon Jefferson's "Deceitful Brownskin Blues", which was released as a single in 1927. It appears in a 1934 book, American Ballads and Folk Songs, by the noted father-and-son musicologists and folklorists John Lomax and Alan Lomax.[2] The book notes that "An eighteen-year old black girl, in prison for murder, sang the song and the first stanza of these blues." The Lomaxes then added a number of verses from other sources and named it "Woman Blue".[2] The music and melody are similar to Lucille Bogan's "B.D. Woman Blues" (c. 1935), although the lyrics are completely different.
In the mid-1950s, traditional musician Bob Coltman found the song in the Lomax book, arranged it and began singing it frequently around Philadelphia and New England circa 1957-1960.[2] In 1959, Coltman taught it to Tossi Aaron who recorded it in 1960 for her LP Tossi Sings Folk Songs & Ballads on Prestige International.[2][3] Joan Baez recorded a version for her 1960 debut album on Vanguard Records but the track was not released until 2001.[3] Throughout the early 1960s, the song gained popularity through folk performers, most notably the Kingston Trio, who included the song "Rider" on their album Sunny Side! in 1963.[4] So did the Big 3, an American folk trio that featured Cass Elliot. Folk singer Judy Roderick also recorded an influential version of the song under the title "Woman Blue" and it became the title track of her second album, recorded and released by Vanguard in 1965.[2][5] British folk singer John Renbourn recorded a version of the song (titled "I Know My Babe") and it was included on his 1967 solo album, Another Monday.[6]
By the mid-1960s, rock acts had begun to perform or record the song. James Taylor sang it as "Circle Round the Sun" on his 1968 debut album James Taylor).[2] Big Brother and the Holding Company featuring Janis Joplin were performing it in concert; a rendition from 1966 was released in 1984 on the live album Cheaper Thrills.[2] The Grateful Dead's interpretation was a staple of their live shows from the beginning of the band's existence in 1965, where it would soon be performed as a connected song from "China Cat Sunflower" and represented the group's forging a bridge from their psychedelic music to their more traditional country and folk side.[1] This combination was featured on their 1972 triple live album Europe '72.[1] (The Grateful Dead's segue approach was later used by Bruce Hornsby and the Range in the late 1980s, with "I Know You Rider" following their song, "The Red Plains".[7]) the Astronauts released a version on their 1967 album Travelin' Men. The Byrds recorded the song during 1966, under the title "I Know My Rider (I Know You Rider)", but their version remained unreleased until 1987, when it was included on Never Before.[8] The Byrds' version was later included as a bonus track on the expanded CD edition of their Fifth Dimension album.[9] The Byrds also performed the song at the Monterey Pop Festival, though that performance has never been officially released.[10] As "Know You Rider", it was included on Hot Tuna's debut eponymous album in 1970.[2] The progressive bluegrass group The Seldom Scene recorded it as "Rider" on their 1973 album Act III. The Dutch progressive rock band Galaxy-Lin released an influential[citation needed] version of the song (titled "I Know My Baby") on their 1975 album, G.[11]
You can teach this song in one go, and I always did. I never bothered with solfège for this one, but taught it on words directly through call and response, right from the beginning. You can go over the words and melody this way two or three times with most groups of children, and then simply sing it together.
The allure and probably defining characteristic of this song is its use of cumulative accelerando. Increasing the tempo with each repetition builds excitement, and very young children can work themselves into a frenzy when singing Ho! Young Rider. Be careful! More than once, children have fallen out of their chairs when singing this song in my presence. I found it helpful to remind young riders singing along with me to hold the (imaginary) reins firmly in front of themselves with both hands, and not to let go until the song was over!
The cheekéd is pronounced with 2 syllables.
This song is also beautiful as a 3 part round with the additional groups starting on the whithers, and with the second verse slowing to a heartfelt longing on the dusha moyas
One of the bands I play with just recently started playing Low rider by war. I believe that the song was in the key of F since that is the first note of the bass line. Guitar player says G since the horn part starts on G. Needless to say the first time we played this it was a trainwreck because he said key of G so I started it on G instead of F. The notes to the bass line are F G Bflat C D F D F D F G.
I consider it to be in G ... the primary chordal rhythm is based around the typical "G" rock pattern (and it's pretty much the only chord in the song) - and the horn riff is based around a "G" chord as well (using the dominant 7th (the "F") as the accent note). With that much pointing to it being in "G" - I would tend to think of it as being in "G" and consider the first note of "F" as simply being a pickup note.
No, you just think you have. Technically you've been playing it in C major. Or so I was told. And is a theory which I understand and is probably technically correct, although I believe it's equally technically correct to say that there are no hard and fast rules to key signatures and there's another, equally valid theory that says the key is pretty much whatever the songwriter/transcriber says it is.
But from a practical standpoint, anyone who actually PLAYS the song would call the key to be "Dm". Because anything else would be largely counterproductive to the goals of the musicians performing the song.
Yes that was the argument. The theory (as I understood it--others here who understand theory better could explain it better) is that you notate a song in which key has the fewest accidentals. Since you'd have to have a B-natural every time you played the G chord if the song were in Dm, then Dm wouldn't be the correct key. It would be "C" because that way you could get through the whole piece with no accidentals.
At the time of this discussion I looked up sheet music online and, interestingly, while all the 'full score' sheet music was notated in key of Dm, much of the single note/instrument sheet music was notated in key of C (with the first note of the song still being "D")
Yeah, I've hashed that out in the past. I did up a set list for the band...I always put the keys of the song next to the title. Habit more than anything else. I put 'Hey Jealousy' by the Gin Blossoms as in the key of A. The bass player busted my balls and said it should be in D. I said, yeah...it STARTS on a Dsus2, but it's not in D. The chords are Dsus2, E, F#m, A...clearly, it's in A to me.
Upon getting an accepting a offer for a group ride, I decided I would use that opportunity to discover my true range. The route was 29.2 miles (it was expended by 4.5 miles) per Goggle Maps. Since it was all bicycle trial (famous and measured) I "assumed" the number to be very accurate. I rode 3 miles (actual) to a train. The app said 3.8 miles. I took a 18 minute train ride to the meetup point. The ride from that point was 25 miles per my fellow rider's Darkbot app. I couldn't precisely map a approximately 4.5 portion where we did a big loop around Valley Forge National Park, but 4.5 per Darkbot seemed about right. The KS app had 30+ miles. I had planned on taking the train back to Philly, but decided to ride back to determine what the KS18:'s maximum range was with me on it. I also wanted to see the effect of Speed dropping as the battery emptied.
Rhythmically, the whole song consists of a sequence of chords with no fixed rhythm, just calmly strummed, two chords for each line of text, from beginning to end, with no change, no development. Just the chords.
Whether it\u2019s a 5 minute trip or an hour long journey, nothing helps you get in the groove like music. The right song can turn a stressful morning into a peaceful commute, liven up the trip to dinner with friends, or break the ice with your driver.
That\u2019s why we\u2019re excited to launch a new and improved rider music experience. You now have two ways to customize your ride, and can use Pandora and Spotify Premium to play music from your Uber app.
Plus, your music will automatically play once the driver starts the trip, seamlessly flowing from your home to your phone to your Uber. With more drivers connected to music via Bluetooth, USB or an auxiliary cord, there\u2019s more opportunity to listen to the songs you love during your ride.
Scene 1: This scene takes place in the interior of a room, with enormous furniture. On the back wall is a portrait of Kuno (played by actor). Bertram (the old forester) enters and consults the Kuno portrait. But Kuno leaves it up to him to decide. Bertram's wife Anne enters and they start singing "But He's Not Wilhelm". Wilhelm and Kthchen enter and join the song. Robert (the hunting boy) enters and shakes hands with Bertram. The two are obviously close friends. Then Robert tries to convince Kthchen: "I know this forest, like I know my prick".
Scene 3: Back in the interior of a room, with enormous furniture. Kthchen enters while carrying a white goose. She speaks lines from "That's The Way". Wilhelm enters and we hear the Burroughs version of "That's the Way". Then Kthchen and Wilhelm sing "The Briar And The Rose" as a love duet. During the song the room fills with water, with Kthchen and Wilhelm swimming under water. Scene ends with a giant gun, appearing on stage.
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