R$35
Wenn wir uns wiedersehen – Faun
Artist / Band: Faun
Album: Von den Elben (2013)
Key: B minor
Time signature: 2/4
Tempo marking: ♩ = 110
Arrangement: Tin Whistle melody + Chords
Arranger: Maiko Thomé de Araujo
Songwriting / composition credits: Oliver S. Tyr (Oliver Pade), Fiona Rüggeberg, Stephan Groth, Niel Mitra, Rüdiger Maul, Ingo Politz and Bernd Wendlandt
Style / Character: Modern Pagan Folk / Medieval Folk / folk fusion
Region / Culture: German
Type: Pagan folk / medieval-inspired song arrangement
Special features: chord symbols, complete Tin Whistle melodic arrangement including the original flute passages and vocal melody, reference labels showing where flute and voice occur in the original song, additional Tin Whistle Study Version with note names, fingering diagrams and beat markings, reference MP3
Format: Digital download (PDF + MP3) — 2 files (1.4MB)
Musical material: 4 useful pages — 2-page main version + 2-page Study Version
“Wenn wir uns wiedersehen” — approximately “When We Meet Again” — is a song by the German band Faun, included on the 2013 album Von den Elben.
Faun is known for combining ancient and medieval musical influences with modern folk production, creating a distinctive sound associated with Pagan Folk, medieval folk and contemporary folk fusion. Their music frequently brings together historical or traditional instruments, modern arrangements, mythology, nature imagery and themes drawn from medieval culture.
Wenn wir uns wiedersehen is particularly connected with the atmosphere of medieval love poetry. Its underlying theme recalls the old motif of the minstrel and the noble lady — or the travelling musician and the king's daughter — whose love is separated by social boundaries.
The song imagines reunion in an almost fairy-tale landscape where those barriers no longer matter. This combination of longing, nature, medieval imagery and emotional directness places the piece naturally within Faun's characteristic world of romantic medieval folk and modern Pagan Folk.
Musically, the original song alternates between instrumental flute passages and sung melodic passages. This edition brings those melodic elements together into a single continuous Tin Whistle performance line, allowing the player to follow and perform the recognizable melodic content of the song instrumentally.
This arrangement by Maiko Thomé de Araujo presents the piece in B minor as a complete melodic version dedicated primarily to Tin Whistle, with chord symbols included throughout.
The Tin Whistle line incorporates both:
The score includes small reference indications such as “Flute,” “Voice” and “Voice + Flute.”
These indications do not mean that a singer is required and they do not divide the edition into separate vocal and flute parts.
They are included only as orientation markers, showing the Tin Whistle player where each passage comes from in the original recording.
For example, when the score is marked “Voice,” the Tin Whistle simply plays the melody that is sung at that point in the original song.
When it is marked “Flute,” the Tin Whistle plays the corresponding original instrumental passage.
This makes it easier for the player to follow the structure of the recording while performing the entire melodic sequence on a single instrument.
A major advantage of this edition is that it does not reproduce only the flute solos or instrumental interludes.
Instead, the arrangement creates a continuous instrumental interpretation of the song, combining the important melodic material from both the original flute and vocal lines.
The player can therefore perform a much more complete representation of Wenn wir uns wiedersehen on Tin Whistle rather than stopping whenever the original singer enters.
This approach is particularly useful for:
The main score includes chord symbols throughout the arrangement.
This makes the edition considerably more versatile than a melody-only transcription.
The chords can be used for:
For musicians working within Pagan Folk, Celtic-influenced folk, medieval folk or acoustic ensemble settings, having the harmonic structure directly above the melody makes the material particularly practical.
In addition to the regular two-page performance version, this edition includes a separate two-page Study Version designed specifically to support Tin Whistle practice.
The Study Version adds several visual learning aids directly to the score:
These features make it easier to connect the written note, its fingering position and its location within the musical pulse.
For players who are still developing fluent music reading, the fingering diagrams provide an immediate visual reference.
More experienced players can simply use the regular version without the additional didactic information.
The indications Flute, Voice and Voice + Flute are particularly useful when studying the piece together with the original recording.
They allow the player to identify whether the Tin Whistle is currently reproducing:
The entire edition, however, remains a Tin Whistle arrangement.
No singing is required.
The purpose of these labels is simply to help the instrumentalist understand the structure of the original arrangement and locate each passage more easily while listening or practicing.
The B minor setting sits naturally within the pitch collection associated with a standard D Tin Whistle, making much of the melodic writing idiomatic for the instrument.
Its minor character also complements the wistful and medieval-folk atmosphere of the song, preserving the emotional color that makes the piece so characteristic of Faun's repertoire.
The combination of Tin Whistle, minor tonality and medieval/Pagan Folk aesthetics makes this arrangement particularly suitable for musicians interested in Celtic, Nordic, medieval and fantasy-inspired repertoire.
Keep the melodic line lyrical and vocal in character when playing passages marked “Voice.”
These sections represent the melody originally sung in the recording, so the Tin Whistle can imitate the natural shape, breathing and expressive phrasing of a singer.
In passages marked “Flute,” a slightly lighter and more instrumental articulation can create useful contrast and reflect the character of the original instrumental line.
The 2/4 pulse should remain clear but not heavy. Use the beat markings in the Study Version to maintain rhythmic stability while allowing longer melodic phrases to flow naturally over the bar lines.
The reference labels can also be used while listening to the original recording: follow the score and notice how the Tin Whistle arrangement moves between material originally assigned to the voice and material originally assigned to the flute.
This can help the player understand not only the notes, but also the formal structure and changes of musical character within the song.
Although the edition and Study Version are specifically designed for Tin Whistle, the regular chorded melody can also be useful for other compatible melody instruments.
Possible applications include:
The fingering diagrams in the Study Version are naturally specific to Tin Whistle, but the regular score can be interpreted by other instruments capable of playing the written range.
The chord symbols also allow the melody to be combined easily with guitar, piano, bouzouki or other accompanying instruments.