1*

FOLK SONG A song reflecting the traditions °í the peopie of a country orregion and rorming part of their choracteristic culture.

SOLO — One piayer, aione, with or wfthout accompaniment.

AM1 fl Hot Cross BunsModerato*

Hot cross buns, Hot cross buns, One cent, Two cents, Hot cross buns.

HONKY TONK — A Rowdy musical style characterized by a lively piano accompaniment.

AM4’ A * ©L Hot Cross Buns (HONKYTONKSTYLESTARTING ON B)

ROCK AND ROLL — A mid- 1 950s style of popular music feoturing guitar and driving rhythmswith accents on the off-beats: 1 2 1 2

Al6 A ** HotCross Buns (ROCK AND ROLL STYLE - “BY EAR” STARTING ON B)

A?Mt8 NotesModerato u.s.

6)

Notes step down, Notes step up. Notes re - peat and notes can skip.

BLUE GRASS — A type of Anglo-American ralk music originating around the mid- 1 940s in rural Appalachio.CD

SOLO #g ——

ACCON.194 Mary Had A Little LambLiveIy Traditiona FoIk Song

(‘ H,1

Mar-y had a I[t- tie Iamb. Lít-tle Iamb. Lit-tle Iamb. Mar-y had a Iit-tle Iambwíth fleece as white as SflOW.

REGGAE — A musical style mixing African and Caribbean rhythms often attributed to Jamaican sources.CD

SOLO#ÓACCOM.#104 * Mary Had A Little Lamb (REGGAE STYLE STARTING ON B)

CD$OLO#II

ACCOM.#II.1 M ** ©© Mary Had A Little Lamb (ROCKAND ROLLSTYLE”BYEAR” ON B-WITH REPEAT)

a? *Forget the meaning of something? Vou Çan Look It Up in the Music Terms Dictionary on pages 42, 43, 44,andi 45.

English FoIk Song

ACCOM. #12-2sOLO#I2 • Au CIare de Ia Lune

FrenchFolkSongLegato

1 (‘)

cJ J o

Au clair de la lu - ne, Mon a - mi Pier - rot,In the moon’s pale shím - mer, My dear friend, Pier - rot,

o

Prê - te - moi ta plu - me Pour é - crite un mot.1 would Iike to write you, Just a word or so.

Down By The StationModerato American School Song

. ‘1, Down by the sta - tion ear

-ly in the morn - ing,

#Jo

Legato French Lullaby

ik : ] ‘1 1 1 1, -t

ID#i)

r, J HStep - ping, step - ping, step - ping up. Skip - ping, skip — ping, step and skip.

Variation One

HA Variation Two(#

7

SOLO #13ACCOM. #13-2

Down by the sta - tion hear the whis - tie blow.

JAZZ — Originally a style or improvised dance music characterized by strong rhythms and expressiveness,originating in the Sout.h by Black Americans.

AIS A * Down by the Station (JAZZ STYLE “BY EAR’ STARTING ON G - WITH REPEAT)

LLJLLABY — A cradle, song usually sung by a mother to soothe or quiet an infant before bedtime.SOLO#16 • J j

ACCOM.#I62 raiS uO (10

1

Fais do - do, Co - Ias, mon p’tit fre - re, Fais do - do, T’au - ras, du lo - lo.Go to sleep m sweet Iit - tie bro - ther, Go to sleep, and you’II get a treat.

THEME AND VARIATIONS — A musical form based upon a melody followed by a succession of composedrhythmic/melodic variations.

Al8 Stepping and Skipping (THEME)

Moderato

ACCOM. #S

ACCOM. #IS

u.s.

? Forget the name of something? You Can Look ft (J in the Music Signs and Symbols Dictionary on Pages 2 and 3.

Al6Hot Cross BunsModerato EngIsh FoIk Song

HHot cross buns. Hot cross buns. One a pen- ny, Two a pen- ny, Hot cross buns.

DUET— A composition for two perfbrmers.

ACCOM.#2 Taking Turns DuetModerato English FoIk Song

__

-

______ ____

Hot cross buns, One a pen-ny. Hot. Buns.

— —

____ ___ ______ ______ ____ ____

Hot cross buns, Two a pen- ny. Cross.

Rocket CruiserModerato U.S.

HWish 1 had a rock-et crui- ser and a base on Mars. 1 could fly a-way to dis-tant stars.

ACCOM.#8 More NotesModerato U.S.

,

1 i

H - r r Lr LrHNotes step down, Notes can step on up. Notes can sub- di-vide and notes can skip.

ACCOM. Eighth Notes DuetModerato U.S.

_________ ___

-

___ ___ ___

-

__ __ __

-

__

? Forget Lhe meaning of something? You Can Look It up Music Terms Dictionary on pages 42, 43, 44, and 45.

NEW

________

NOTE:

_______

c• 1

r REGGAE — A musical style mixing African and Caribbean rhythms often attributed tojamaican sources.

A74I • Cobbler, CobblerRhythmicaily Jamaican Street Song

r_rCob - bier, Cob - bier fix my shoe, Get it done by haif past two.

r r :IHif past two, I’m at your door, Get it done by haif past four.

ACcOM.#21 Variation on Cobbler, Cobber.

4 r• Fix my shoe, Haif past two. At the door, Wait no more.

IMPROVISATION— The art oj” creating music spontaneously, during performance. Also, a form of composition.

RHYTHMIC IMPROVISATION— The act of’ expressing one’s own rhythmic ideas while maintaining

the basic melodic choracter of the piece.

ACCOM.#1I U * ©LL Improvise rhythmic variations on Cobbler, Cobbler

BLUE GRASS— A type of Anglo-American folk music originating around the mid- 1 940s in rural Appalachia.

AI3 jUba

Pia’fuiiy African-American FoIk Song

r r j r r 2ju - ba this and Ju - ba that. ju - ba chased a yel - iow cat,

FJ u - ba up and Ju - ba down, ju - ba run - ning ali a - round.

Variation on Juba

4 r r r r rACCOM#23 * © Improvise rhythmic variations on Juba

? Forget tiie sound of a rhythm pattern? You Can Look It LJp in the Rhythm Pattern Dictionary on pages 46 and 47.

c

9

ACCOM. #23

BARCAROLLE— Originally, a fó/k song of thc Vcnctian gondoliers (boatmen of thc Italian city of Venicc).

SOLO#24 fl BarcaroileACCOM.#14 2Smoothiy - In one

AccoM.#25-2 Variations on Polka

SPIRITLJAL — A rellgious LoIk song of African-American origin.

? Forget tIie fingering or a note? You Can Look It Up on tIie Fingering Chart located on the inside front cover.

Jacques Offenbach (1819-1880)

r Hr r’rHHr r

n ‘r r LJPOLKA — A Iively dance originated by Bohemian (Eastern European) peasants.

SOLO#25 PolkaACCOM. #25.l

Cheerfully Dance Tune

o

.

r ‘

soLo#16 Jacob DrinkACCOM. #16.2

With enthusiasm

ACCOM. #26.2

U. S. Spiritual

H

Variation on Jacob Drink

4Shave and a HaircutAs quickly as possible

, -

1Y9 -

l4

Shave and a hair - cut, TWO

Early American

BITS!

NEWNOTE:

D

D\

BLUES — An African-American 1’olk music characterized by spontaneity and deep emotion.

SLUR — A curved tine /0%. above ar below two ar more notes oj’ different pitch to indicate a

connected style of performance. That is, on one breath une without tongued articulation.

CALL AND RESPONSE — A musical alteration between two performers ar a perrormer and a group of perrormers.

The musical response to the cali may be imitated ar improvised.

R31 * The Blues in D (IMITATIVE CALL AND RESPONSE - BY EAR” STARTING ON D)

EXAMPLE: Cali Response (Imitated)

IMPROVISATION — The art of creating music spontaneously, during performance. Also, a form of composition.

RE3I ** ©L The Blues in D (IMPROVISEDCALLAND RESPONSE-”BYEAR”ONANYNOTE)

EXAMPLE: Cali Response (Irnprovised)

ACCDM.#32 A *** (IMPROVISE OVERTHE 12 BAR BLUES IN D “BY EAR”)

o (1(1 p

DCAGACD

SOLO#30 The Blues in DACCOM, #32

In a swinging styleD7 ,

G7

rj UJ 1I(j

D7 ,A7 D7

J J JJ ii

u.S.

7 cnmthin& Yôu Cnn tnk lt (lô nn 1ws 4 and 5.

‘3ACCOM.I8 Notes (SOLO OR DUET)

Moderto u.s.,

F F r rNotes step down, Notes step up. Notes re - peat and notes can skip.

______ __ ___

‘r

___ __

ACCOM.#18 Stepping and Skipping (SOLO OR DUET)

Moderato , U.S.

Step - ping, step - ping, step - ping up; skip - ping, skip - ping, step and skip.

j J 1J J

____ ____ ____ ____ ____

Hush My BabyLegato

r JHush my ba - by. Hush my ba - by. Hush my ba - by. Don’t you cry.

ROUND— A specially composed melody that allows two ar more individuais to create interesting musical

effects by starting the melody at different times.

METRONOME MARKING — A precise indication of the speeci ar the beat as expressed by Maelzel’s metronome.(The metronome is a machine with a ticking pendulum patented byjohann Maelzel in18 i. M.M. J = 96 means the tempo of the quarter note is 96 beats per minute.)

Lady My (2 PART ROUND)

Moderato M.M. J = 104 English Round

2.

JLa - dy, my can’t you see? John feli off the white oak tree.

N Be-A-Round (4 PART ROUND)

Smoothly M.M. =96 U.S.

2. ‘3.

? Farget the saund of a rhytjim pattern? You Can Look It Up in the Rhythm Pattern Dictionary on pages 46 and 47.

NEWNOTE:

F

HYMN — A song of worship.

SOLO #46ACCOM. #46-l Vesper Hymn (SOLO OR DUET)

o’er the wa - ters

Russian FoIk TuneText by Thomas Moore

soft and clear;

F4

SOLO #45ACCOM. #45-2

uA Paris (SOLO OR DUET)Moderato

,

A Pa- ris,To Pa- ree,

ato

Pa - ris,Pa - ree,

OId French Tune

lJn

asuron,

pe - tithum - bie

che - vai gris.grey - haired steed.

ASmooth and connected

Hark! The Ves - per Hymn is steal - ing

Near - er yet and near - er peal - ing. Soft it breaks up - on the ear.

We Are Met (4 PART ROUND)Brightly M.M. J = 120

&

2. , 3. 4.

Samuel Webbe (c. 1680)

zI

We are met Iet mirth a - bound, and et the catch and glee go ‘round

TI-lEME AND VARIATIONS *

ASCl9 fl Shepherd’s HeyLiveIy

I4

? Forget the nome or something? You Can Look lt (Jp in the Music Signs and Symbols Dictionary on Pages 2 and 3.

;,-

I5

1 1

I I II II -

English Country Dance TIme—

Io

ACCOM. #39

SOLO #40ACCOM. #40.2

ACCOM. #40.2

SOLO #41ACCOM, #42

I:F

Variation One on Shepherd’s HeyOô) 1

?• :I

:

U * Variation Two on Shepherd’s Hey

r r :

I:F :

*** Shepherd’s Hey (QUICK TIME - “BY EAR” STARTING ON B)

**** Variation Two on Shepherd’s Hey (QUICKTIME-BYEARSTARTINGOND)

**** Jinge BeNs (COUNTRY STYLE - “BY EAR” STARTING ON B)

Day Is Done (4 PART ROUND)

Smoothly M.M. J = 04 Traditional Round2.

Now the day is near - y done, Night is slow-

Iy com - ing on.

Ag 1

1 •1

• ÉS •

Sweet- Iy sleep tili morn - ing Iight. Good night Good night.

WLO 434ACCOM,#4.2 • Lighty Row

Livcly

COUNTRY SWING — A blend of western, bluegrass and swing styles originating in Texas during the / 940s.

* Lightly Row (COUNTRY SWING SYYLE “BY EAR” STARTING ON D)

n ** Lighdy Row (QUICK TIME)ACCOM. #36-2

i Li rLight - ly row, Iight - ly row, o’er the shin - ing waves we go;

:ISmoothly glide, smoothly glide, on the si - lent tide.

Norwegian DanceLively

Scandinavian Folk Tune

pp

rr

Round Dance (4 PART ROUND)L!ghtly M.M. . 00 U.S.

2.1i4’ ..r r

3. 4.

‘ H

Forget the name of something? You Can Look It Up in the Music Signs and Symbols Dictionary on Pages 2 and 3.

ü4

Light-

Iy row, Iight-

ly row, o’er the shin - ing waves we go;

[ , p

Old German FolkTunc

Smooth-

Iy glide, smooth-

Iy glide, on the si - lent tide.

OId German FoIk TuneA1

‘

SOI.O 437ACCOM. 437-2

TI-lEME AND VARIATIONS — A musical Lorrn bascd upon a mclody follawed by a succcssion or con]posed

rhythmic/melodic variations.

WALTZ— A 1 9th century dance in triple meter.

II

r4 j. .:

Waltz Variation One

r i. .

D Waltz Variation Two

4r J. ‘ :IWaltz Variation Three

J. :I

SOLO#28 Gólya, Gólya, Gihce (The Storks)ACCOM. 428.2

Plairitively(,

Hungarian Folk Song

LJ•Gói-ya, gól- ya, gi-h-ce, mi-tõi vé-res a iá-bad. T6- rikgyer-ek

Love-

Iy storb fly to the nest, See how one must stop and rest. Turk - ish child - ren

• ‘ - 11 .. .

ei - vá- gta, Mag- yar gyer- ek gyó - gyit-ja, Sip - pai, dob - boi, nó di- he-ge - dü - vei.

hurt the bird, Mag- yar child- ren want him cured. Sing, play! Sing, play! Mu- sic wiII re - store you.

SOLO 429ACCOM.#29.2 Champaigne Branle

1 6th Century French Dance TuneLivelyClaude Gervaise

,— — 1

D Waltz Theme with VariationsLightly Dance Tune

ACCOM. 427-2

ACCOM. 427-2

ACCOM. 427.2

BRANLE — A popular French group dance of the 1 6th century in whichali tIie motions of the lead coupie are imitated.

L e)

? Forget the meaning of sometJ-ing? You Can Look It U in the Music Terms Dictionary on pcges 42, 43, 44, and 45.

1 I—’.—.’ -- l1

17LLILLABV — A cradle song usually sung by a mother to soothe or quict an infant Lnior’ bcitirne.

SiIent, Silent (SOLO OR DUET)

Smoothly

____________ ______________________ ________ _________________

German Luiiaby

____ ___

Si - Ient, Si - ent, Make no sound at ali. Now lay the child to sieep.

Love and peace his soul to keep. Si - lent. Si - Ient, Make no sound at ali.

SLUR — A curved une ,-.. above or below two ar more notes of diiTerent pitch to indicate a

connected style of performance. That is, on one breath une without tongued articulation.

ACcO1.2 Bubble Gum DuetLightiy with humor U.S.

__________ ___

fl:1 like bub- bie gum. Got to get me some. Biow it! Hold it! Ker - plop!

-

___ ___ ___ ____ ____ ____

Yum. Chew it! Big- ger Ker- piop!

©)1 J©T — Learn to Pay a Song “By Ear”

*** ©1© Suggeston: PIay Go TeIIAunt Rhody Starting on B

NATURAL (b)— A sign that cancels a flat () or sharp ( ) in the measure or in the key signature.

French Cathedrals (3 PART ROUND)

Stateiy M.M. J = 94 French Luliaby

2.

Or-Ié- aris, Beau-gen- cy, No- tre Dome— de CIé- ry, Ven - dô - me, Ven - dô - me.

? Forget the flnering of a note? You Can Look It iip on the Fingering Chart Iocated on the inside front cover.

laCOU1TY MUJC— A popular style o’ Amcrican rnusic originating in thc South and Wcst

that usually cxpresses the ícelingful eiements of life.

Some Folks Do (SOLO OR DUET)

Whimsically U.S.

E E E E E

___

Some folks like to sigh, Some folks do, Some folks do,

I

____ ________ _______

____

___

E‘Some folks Iike to lie. That’s not me or you.

* Two Birds (4 PART ROUND)

Moderato(M.M.J 100-104) France

E LE E EOnce there were two birds sit- ting on a fence; One fiew a - way so then there was one.

E E E‘

Tra - Ia, Ia, Ia, Ia, Ia, la, Ia, Ia, Ia, Ia; There sat one on-

Iy one.

* Rooster Round (5 PART ROUND)

Marcato (M.M. J 104) Germany

J H H r ELis - ten to the Roos - ter make his cail. Lis - ten to the Roos- ter make his cali.

__

E E E E,4.

ECock - a - doo - dle - doo, Cock- a - doo, Cock- a - doo. Cock - a - doo - dle - doo, Cock- a -

doo, Cock- a - doo. Cock - a - doo - die, Cock - a - doo - die - doo, Cock- a - doo.

TI t1, gn, tí rhwthm 4Wtprn? Vni, 1 nnk 1. 11h in th flhvthm Pnttrn flitionnrv nn hts 46 and 47.

19

NEW 1E

NOTE: 1 oE

AccomponimentOnly on Repeat

IMPROYISATION— The art of creating music spontaneously, during performance. Also, a form oí composition.

LLSTENAND * ©© Usten and lmprovse Variation on Ran, Ra “By Ear”IMPO ViSE #SO

Use the tces of the E minorPentctonic Scaie: E - G - A - B - D o

o

TONAL.ITY’— A characteristic aí Western music referring to the relationship aí pitches to a specif7c tonal center.If Do is the tonal center, the tonality is Major. lf La is the tonal center, the tonality is Minor.

Au Clair de a Lune (IN MINORTONALITY)

Pré - te - moiwouid Iike

plu - meto write you,

Pour é - crite un

J ust a word or

SOLO#52 Fais do do (IN M1NOR TONALITY)ACCOM, #52-2

Ho - nu - kch,Giow - ing iights,

sov, 50V, SOV.

‘round and ‘raund.

USTENAND fl Rain, Rain (LISTEN AND PLAY)PLAY#50Expressiveiy

E ,:, -_ii

I’_1J’I —

Rain, Rain go a - way, come a - gain some oth - er day.

Legato French Foik Song

t,(,)

LAu cloir de la lu - ne, Mon o - mi Pier - rot.

in the moon’s pale shim - mer, My dear friend, Pier - rot.

(,)

, Ir1motso.

French Luliaby

iF! d

Fois do - do, Co - los, mon p’tit fre - re, Fois do - do, T’ou - ros, du lo - lo.

Go to sieep my sweet iit - tie bro - ther, Go to sieep, and you’iI get a treat.

S’evivon Round (Spin, My Top)Not too siowiy M.M. = 32 Hebrew Song

2.

S’e - vi - von, 50v, SOV, sov, Ho - nu - koh hu hog tov,5pm, my tap ‘round and round, Ha - nu - kah days we ave,

,J P

hu hog tov, s’e - vi - von,joy - fui sounds, spin, my top

.C. AL U%iE — Go back to the bccrinning and c’nd at tho Fino.

SOLO #53ACCOM. #53-2 Baa, Baa, Back Sieep (IN MINORTONALITY- SOLO OR DUET)

Moderato France

Fine

.r ‘H

Baa, baa, black sheep, have you an-

y wool? No, sir, nay, not one bag fuil.

DC. ai Fine

F H J flu ri 1None for my mas - ter and none for my dame, None for the lit- de boy who lives in the lane.

Harmony Part to Baa, Baa, Black Sheep Fine

O’•) 1 1 1D.C. alFine

‘j ,

Ecch pcttern wiLl s?r on G.Use the tones G, E, cd A.

OPTIONALNEW

NOTE:

Fnrot th minino nf .çnmeDJin? Vou Can Look lt Up in the Music Terms Dictionary on aes 42, 43, 44, cnd 45.

BLUES ROCK — A musical style that merges blues harmonies with rock and roli rhythms

oíthe 1950s and 1960s.

— Bftes Rock “CaN and Response”

R54 * Bues Rock (IMITATED “CALL AND RESPONSE”)

II

(1 II

CALLAND ** Bues Rock (IMPROVISED “CALL AND RESPONSE”)SPONSE 454

Use Lhe tones E, G, A, B’, and C. 1 (l?p) 1)

( o

SOLO#55 The Brch Tree (THEME FROM THE FOURTH SYMPHONY)ACCOM, 455.2

Andante

.ooo

Russian FoIk SongTschaikovsky (1840- 893)

j— r’’H j

,J

eJ. pj f 1 —

By the Fre3ide (SOLO, DULET, TRIO, OR OUARTET)

,_1.2. Praise the’ friend - Iy 1. camp fire Praise its warmth and beau - ty:

2. giow of fire.

J :lFire, Fire Burn - ing bright, Crack - Iing flames iight up the night.

Accompanment One to By the FiresideSoftIy

Accompanment Two to By the FiresdeSoftIy and Iightiy

,J H :

* Obbligato to By the FiresideSoftiy and IightIy

:

ISTAD 2ND DJkIGS—Ii. 112. PIay from the beginning to the repeat sign in the first

ending. Then, return to the beginning. On the repeat, skipthe first ending and continue through the second ending.

SOLO#57 Norsense SorgACCOM. #57-2Marcato

OPTJONAL NEW NOTE:

Haff hoje ee.e

eoo

Lightly u.S.

21

Ii. 112Hungary

-Ié)

U1 just caught a mos- qui - to big - ger than a horse, Oh! house, Oh! If you think so

Rode it up and ai! a - round high- er than a

1 IIIj

you are dim, dim- mer than a horse, Oh! If you think so you are dim, dim- mer than a horse, Oh!

SOLO $58 HatikvahACCOM. $58.2

With expression Hebrew Meiody

E

H

4 NEW

____

!NOTE:

_______

D.C. AL FINE — Go back to the beginning and end at the Fine.

fl Twinkle, Twinkle, Little Star (SOLO, DUET TRIO, OR QUARTET)

Smoothly

iri

Frerrch FolkTuneText by Jane and Ann Taylor (1806)

Fine

J ,

Twin - kle, Twin - kle, Iit - tie star, How 1 won - der what you are.

‘ 1D.C.alFine

HUp a - bove the world so high, Like a dia - mond in the sky.

fl Harmony Part One to Twinkle, Twinke, Little StarSoftly and smoothly

Fine

JD.C. alFine

J ,

fl Harmory Part Two to Twnkle, Twinke, Little StarFine

Softly and smoothly

D.C. alFine,

iliI’ III!I liá 1. • • e e e • • a

* Obbligato to Twinkle, Twinkle, Little StarSoftly and smoothly Fine

— ,I—I

DC. alFine

4e á a

SWING STYLE — A type of Big Bandjazz of the Iate 1 930s and 1 940s.

5010#6I © Twinkle,Twinkle, Little Star (SWING STYLE “BY EAR” STARTING ON D)ACCOM 62

D

AJJ?AL TAJSLPOSJTION — Thc process of pIayin a song orpassagc on a diffl.’rcnt starting now“by ear” without the aid of music notation.

• * Au Car de b Lune “By Ear” Startng ori DFrench FoIk Song

• * ©L pais do-do “By Ear” Startng on F#French Lullaby

• * s3© Hot Crcss Buns “By Ear” Starting onEngish FoIk Song

* Notes “By Ear” Starting on

, u.s.1

* ©© Mary Had A Litte Lamb “By Ear” Starting on F#Traditional

* Stepping and Skippng “By Ear” Startng on D

L,

• * Down By the Station “By a” Starting on, American School Song

ri

** London Bridge Is Fa!Iing Down “By Ear” Starting on AEngland

1—

-U-

c.

cu

2D

ObO

...

3

CLi

1--ai

0bil

>—3:

-O-

>.-

--O

•*

-L

cO

iaL

>*

ia>—

-O-E

Ecii

-L

iC

-(ci

cci

ia

O>

-_

ci,0

ia-U

ai-

E.

-°-

iaai

aic

-O

-E

.-

ci)ia

-L

im

Zcci

-(ci

e’o

Ee’

cciL

Iia

-3:

U>

•_o

•o

r’4o

-3

oLi

O‘

-<ii

-cO

>—cl)ci,

9•

c

Dia

i•O

o-

-n-

ai>

.

bcli-cc

r4-o

c—

c

Oci

iaE

1,::.

¶-

-U--

ciiO

c_4

QQ

O-

L—

O

HL

.2E

•-

•}O

...

o.

-•

—•%

2-

—L

ii

__

>.

o

Z-

(-

(3.O

£..C

ii)

>o_

u-j.

o

doL

IL

IL

iL

IL

I

25

Utt of e5tmrte (4 PART ROUND)

Lightiy (M.M. J 08)

F’J2. 3 4.

Lit - tie elis of West- mm - ster go Ding, Dong, Ding, Dong, Dong,

Varbtion One of LittJe BeNs of Westminster

:ILit - tie belis go Ding, Dong, Ding, Dong,

Varaticn Two of Litte BeNs of Westminster2. 3. 4.

:IBelis go Ding,

oDong.

The Belis of Westrninster, Variation One, and Variation Two may be piayed simultaneously.

CAION — Literally, a “rule” for realizing a composition. The rule dictates that each voice

imitates exactly the meiody sung or piayed by the first voice.

— One or more notes that come before the first fui! measure of a piece.

They are usuaily found in the íast measure.

be- gun, A - work - ing onO - ry Aye, A - work - ing on

*Forget the meaning of something? You Con Look It UP in the Music Terms Dictionary on pages 42, 43, 44, and 45.

TaNis Canon (4VOICECANON)Legato* (M.M. J = 96) Thomas Tailis (15 10-1585)

SOLO #63ACCOM. #63.2

.j)

2. 4.

Ali praise to Thee, my Lord, thís night. For ali the bles - sings of the

, ,

H U rH J

1ight; keep me, Oh keep us, King of Kings, Be - neath Thine own Ai - might

-y wings.

Doctor FeN (4 PART ROUND)

Marcato* (M.M. J 100) Dutch Round

1. 2. 4.1 :I

—

pi 11. 1 do not iike thee, Doc - tor Feil, The rea- son why 1 can - not teu;

2. But this 1 know, and know fuli weiI, 1 do not hke thee, Doc- tor Feil.

Patsy Ory-Ory-AyeLiveiy irish Raiiroad Song

•b.J.1

N. 1É, —

I?1. Eigh - teen hund - red nine - ty- one, That’s the year that 1 be-gun,

2. Pat - sy O - ry O - ry Aye, Pat - sy O - ry O - ry Aye,

44 1 :;l• 1. — e

Tat’s the year that

Pat - sy O - ry

uthe rail - road.the rail - road.

Sur e P©rit dA grcr (Or the Bridge oT Avgo) (SOLOORDUETENSEMBLE3-6PARTS)

Lightly Fronch FoIk Song

Sur ie pont, d’A - vi - gnon L’on-

y dan - se, L’on y don - se.

On the bridge, A - vi - gnon Eve - ry one is dan - cing, dan - cing.

Softly

_______________________________________ ______________________

Sur le pont, d’A - vi - gnon L’on-

y don - se, tout en rond.

On the bridge, A - vi - gnon , They are dan - cing in a round.

. . . e

________

OST[1ÂTO — A melodic pattern that is repeated over and over to accompany a principal melody.

Melodic Osth,atos to Sur le Pont d’Avignon

U A SoftI B.

J :j

C. Softly D. Softly

J J : J j:I

Singing Goose (4 PART ROUND)

With conviction M.M. J = 92 England

__

2.

Why should- n’t my goose, Sing as welI as thy goose,

__

__

:11When 1 paid for my goose, Twice as much as thou?

Santy Maloney (4 PART ROUND)

Happily M.M. . = 92 England

1.

______

2.

Can you dance San - ty Ma - lon - ey? Can you dance San - ty Ma - lon - ey?

a

.‘

Can you dance Sar - ty Ma - on - ey, As we go round a - bout?

fl Fnrot th ni ind nf ri rhvthm hattern? Vou Can Look It UD in the Rhvthm Pattern Dictioncsry on aaes 46 and 47.

1

Lfl

o’

IS)

(aa)-n1_oco-c1—

1)

I(a a)(a-D-cca-Ü

iz;c(a

1A,

-óD2(ac

Ic(a-Do(a-Dc(a(a

Í

coLI1(a-

a1,)

a)Ec(a

o1-oDooo(1)

-a:

4-J

a:a:

1—’

-a:a:a:a:uo-a:a:-L

iooL

i4

-,

Li

4-,

Li

a:-a

:Li

ELi

4-,

a:

•LJoEo

H

e’

--l

o4-’

4-’

b1111

e’

1

(-ob

oo4-o-o’

o

e’

(çj

o14)

ocçj

-voa)Ea)li)

oo-E

‘Ozo‘3

4/

1

e’

Á 1

a,,a)a:=34-,

a:ai

Li

‘o-a:a:a:a)oa)

E—)

a:a:-v-a:a

iE=34-,

zo1.’,

o

E’Doo9ovi

li)

O-c

‘D

J

A popular French .roup dance of the / 6th ccntury.

Ac,##L • Ilerry BraneMerrily

SOLO #7I JoIIy OId Saint NichoLasACCOM, 72

Lightly

Now my dear old

JAZZ BALLAD STYLE — A slow, expressive vocal style characterized by extended jazz harmonies.

Anonymous Carol

SOLO#73 * JoNy O!d Saint Nichoas (JAZZ BALLAD STYLE “BY EAR” STARTING ON B)ACCOM. #74

____

My Dame’s Lame, Tame Crane (4 PART ROUND)

With emotion M.M. = 100 Old English Round

2. 3.

My dame hath a lame, tame crane, My dame hath a crane that is ame. Do

e :

Pray, gen - tle Jane Iet my dame’s ame, tame crane heal and come home a - gain

? Foret the tneerin of a note? You Can Look It UP on the Fingerin Chart located on the inside front cover.

Thoinot Arbeau (ca. 15 19 - 595)

u .

fl - J •.

‘Ht J H flJol

-

Iy OId Saint Nich- o - las, lean your ear this way! Don’t you teu a

flHsing - le soul, what Im going to say; Christ- mas Eve is com - ing soon,

Lman, whis- per what you’II bring to me. Teu me if you can.

.SPJRJTUAL — A reIfrious /o)k sons of thc United Statcs. Mciinly, o[ A/ricon-Arnurican oriçin,beginnin,c in thc 1 9tb century and continuing into the 2Oth.

SOLO #75ACCOM.#76 D Jacob Drnk (SOLO, ENSEMBLE 2-5 PARTS)

U.S. Spirftual Melody

JDET J ii

Acccmpanment Number One to Jacob Drink

nJ :

Accornpanrnent Number Two to Jacob Drink

* ObbNgato Number One to Jacob Drink

4JjJ

** ObbHgato Number Two to Jacob Drink

Hr ‘ :

ACCEÀ1T — A marking to indicate special stress ar emphosis upon a certain note.

STACCATO — A marking to indicate a detached, separated style of articulation.

The Frogs (4 PART ROUND)

Brightly M.M. = 96

Crick! Críck! Crick! Crick! Br—r—r - rump!

1. 2. 3.. . . . 4.

L . 1

3p____—

Heartheive-Iy song of the frogs in yon-der pond, Crick! Crick Crick-i- ty Crick! Br—r—r- rump!

Variation on The Frogs2.

Hear the frogs in yon - der pond,

Ajl7 A LD Abdgbke (veg Be)Oh, How Lovy s the Evenng (3 PART ROUND)

JAZZ WAI.TZ— An adaptation of jazz harmonies to 3/4 time characterized by a hard driving

bass une and swinging drums, espedally in the ride cymbal.

* Cuckoo Song (JAZZ WALTZ STYLE “BY EAR” STARTING ON A)

Round EveningSmoothly M.M. J. 56 u.s.1. 2. , 3. 4.

‘r’ r• dIí’.

:j

Round Evening TwoSmooth[y M.M. . 56 u.s.

2. 3. 4.

:

Round Evening and Round Evening Two may be piayed simultaneously.

Smooth and connected German Round

SOLO 78?rflM. #78.2

O wie wohl ist mir am A - bend, mir am A - bend,Oh, how love-

ly is the eve - ning, is the eve- ning,

J H JWenn zur Ruh’ die Glock - en lau - ten, Glock - en lau - ten,when the belis are sweet - ring - ing, sweet - ly ring - ing,

J. J. j. J.Bim, bam, bim, bom, bim, bam.Ding, dong, ding, dong, ding, dong.

CuckooSongSwing and Sway

Germany

J.

Cuck - 00, Cuck - 00, wel - come your song Win - ter s go - ing.

1

Soft breez- es blow - ing; Spring - time, spring - time soon wiII be here.

Acc0M.t143-1 fl R0W, Ry, 0W YDLT oat (4 PART ROUND)

Mcrrily M.M. .J. 92-96

L2.

Row, row, row your boat gent-

ly ciown the stream.

3

:

Mer- ri-

iy mer- ri - mer- ri-

Iy mer- ri-

Iy Life is but a dream.

fl Varation on Row, Row, Row Your Boat‘i4.

* Row, Row, RowYour Boat is a partner tune to Little Tom Tinker (page 24, #1)

ROCK AND ROLL— A mid-1 950s style of popular music featuring guitar and driving rhythms

with accents on the off-beats: 1 2 1 2> >

A2 • U On the HousetopRocking and rolling Benjamín R. Hanby (U.S. 1833-1867)

,

## H ‘

Up on the house- top the rein- deer pause, Out jumps good oid San- ta Claus;

r—_ —

‘ H fl U r L •1 uDown through the chim - ney with Iots of toys, Ali for the lit- tie ones’ Christ- mas joys.

,

J?Ho, ho, ho, who would- n’t go! Ho, ho, ho, who would- n’t go!_

1 1

1° H Jii á •e)

Up on the house-top, click, click, lick, Down through the chim - ney with good Saint Nick.

SWING STYLE— “lt don’t mean a tliing if it ain’t got that swing.” - Cab Calloway

SOLO#83AccoM.#84 * ©L© Up On the Housetop (SWING STYLE - “BY EAR» STARTING ON A)

ACCDM84 ** ©L© Up On the Housetop (RHYTHMIC IMPROVISATION- SWING STYLE)

? Forget the saund of a rhythm pattern? You Can Look It UP in the Rhythm Pattern Dictionary on pages 46 and 47.

u.s.E.O. Lyte

oo-

-

F1

11

LAAAA

111E

•1•11111

11

AAAA

11

11j1111L11

r

11

•11-l1-l‘111

IAA

11111

11111111

14

LL

IA111bÁ

b1

1111

4411

41

bÁ

AI

bÁ

—

bbbIAIA

o

•0.1

1

jo

Ç1

b

111

1‘1144a)

1

bÁbÁE04

Ja)

o‘4-’—

-oE

o5oLiiDclo-Jo(1)

a)U‘4-’

1OZ4

Lf

D

A

AA

a)

-L.—

vD

A

A

AA

a)1L.

1-•---

Cr’

—

Ucii

(z

a)v(-

4-’cTJ

1va)o

A

oai

oE-ocl.,

A-ai

(Q

oEa.,•L

)

-JZL

2”-o.o

1

COVNTRY S TYiE — A popular style of music that oricinatos in the Arnerican Soiith and Wcst.

AI2 fl Jingle BeNs- Lightly

— Learn to Pby a Song “By Ear”

*** ©] Suggestion: Pay We Wish YouA Merry Christmcis

Starting on D :

*** Suggestion: PIay Oh Hanukkoh

Starting on E

*** ©J© Suggestion: PIay

Starting on G

James Pierpont (U.S. 822-1893)

Alternate: jin- gle beiis, Jin- gie belis, Jin- gie ali the way, Oh! what fun it is to ride

Original: jin- gle belis, jin- gie belis, Jin- gie ali the way, Oh! what fun it is to ride in a

[ flin an o - pen sleigh._ Jin - gle belis, - jin - gle belis, jin - gle ali the

one horse o - pen sieigh._ jin - gie belis, jin - gie beNs, jin - gie ali the

L# r ‘

way, Oh! what fun it is to ride in an o - pen sieigh.

way, Oh! what fun it is to ride in a one horse o - pen sieigh.

Harmony Part One to jingle BeNsSoftly and iightiy

r)

? ‘

* Harmony Part Two to Jinge BeNsSoftiy and hghtiy

lI’ir

ri 1 ‘ 1 —

•j .. 1 IS ll.

LKing Wenceslas

tQLX YM — A song o worship with a rcligious tuxt that has becn sct tu a Lolk mcIody.

SOLO ü86ACCOM,#86-2 Amazing Grace

Stately

John Newton (1779)

Early American Melody

u ‘

A - maz - ing_ grace how sweet the sound that saved a— wretch ike— rne!__

, ,

. i_jii— 1 once— was_ lost but now Im— found; Was blind but_ now 1 see.

GOSPEL— African-American church music characterized by expression, improvisation, and a strong sense of ceiebration.

U * ©© Amazing Grace (GOSPEL STYLE - “BY EAR” STARTING ON D)

ACCOM#88 ** ©© Arnazirg Grace (IMPROVISE IN GOSPEL STYLE - “BY EAR” STARTING ON D)

— Learn to PJay a Song “By Ear”

*** Suggestion: PIay Oh When the Saints Go Mcrching In

Starting on Gi -

I( ii

.

orD

*** ©L© Suggeston: P]ay On Top of Old Srnokey

StartingonD

BALLAD — A short, simpie song in a narrative ar descriptive fàrm,

sometimes set to a romantic or histarical poem.

AIO Aura LeeGently

Sun - shine carne a - Iong

Arnerican BalIad,

As the black- bird in the spring ‘Neath the wil - low tree,

I.tf

•a a • à

Sat and piped, 1 heard hirn sing, Sing - ing Au - ra Lee.

.o

Au - ra Lee, Au - ra Lee, Maid of gold - en hair,

1

— — — -

—. ii

8l à l° II

with thee, And swal - lows ir the air.

:

AC9I2Seep, Baby, Seep (Schaf, Kindei, ScMaf)

Legato

TENUTO — A term used to indicate a sustained (connected) style of articulation. Horizontal dashes

above or below a series of notes a/so indicate a sustained style of articulation.

* A hart is an adult male deer.

** A hare is a field animal similar to a rabbit, but Iarger.

? Forget the sound of a rhythm pattern? You Can Look It UP in the Rhythm Pattern Dictionary on pages 46 and 47.

Gc’rman Lullaby

Schlaf. Kind- Iein, schlar. Der Va - ter hüt’ die Schaf, Die Mut - ter schüt- telt’s

Sieep, ba - by, sleep, Thy fa - ther guards the sheep, Thy mc - ther shakes the,

u 1

— —:11

Bium - e - lein, Da rôiit her - ab em Trãum - e - lein, SchIaf Kind- lein, schaf

dream - Iand tree, And from it fali sweet dreams for thee, Sleep, ba - by, sleep.

Harmory Part to Sleep, Baby, S!eepTenuto

J ‘

* ObbNgato to S!eep, Baby, SleepLightly

É‘É

‘1 :jI

The Hart, He Loves the High Wood (4 PART ROUND)

With humor and enthusiasm M.M. = 132 Composer Unknown c. 1680

1. ,2. ,3.1

. 1 o.

I

. . . a

* **The hart he loves the high wood, The hare, he loves the hili. The

4.H. . ,. J ... 1

knight, he loves a bright sword, The Ia - dy loves her wil.

a)cocLi,

VI

D

a,C

-

CI’

oE

o1

o•‘

Ez

C—

01

-.’.C

-0-0

a)

OO

00

0-z

0O

LI

LIL

It1

LI

Oo

O0

01......

0O

o-.

o_r

o--

a)o-

u4i

o-C

oo

Co

-UO

U•

—Q

U

oci—

L.

1.)

>W

(Q

)

II

—1

ow

1.)zti)

(D 12.

2—

a,

iifl: 2

02

00

00

0o

—1o

-o

(D

(D-

oo

o-.

O

-1‘9

oo

1 c -

ACCTE!T A rnarkin Lo indiccite sp(cicii stress ar cinphcisi; upon o ccrtciiti note.

G Scotland’s Burning (iN TWO- QUARTER TIME)

Brightiy (i 1 2) Traditionai2.

Scot - iand’s burn - ing, Scot - iand’s burn - ing. Look out, iook out,

- - - 4.

r u UFire! Fire! Fire! Fire! Pour on wa - ter. Pour on wa - ter.

Variatior on Scotand’s Burning

41. 2. ‘ 3.- 4. -

í I

Ir1 r H u :11

eScot - iand’s bom - irlg, Look out, ook out, Fire! Fire! Fire! Fire! Pour on wa - ter.

Scotland’s A-Burning (IN SIX-EIGHT TIME)

Brightiy ( J. 1 12) Traditionai

1. 2. ‘

Scot- iand’s a - burn- ing, oh, Scot- iand’s a - burn— ing, so Look out, Look out,

4.

Fire! Fire! Fire! Fire! Pour on some wa - ter Pour on some wa - ter.

Variation on Scotkand’s A-Burning

142. ‘3... . . . 4.

. iI1•

Scot- iand’s burn- ing, Look out, iook out, Fire! Are! Fire! Fíre! Pour on wa - ter.

Sing Noe (3 PART ROUND)West Africa (Liberia)

1. 2.

‘.0i á • •‘L

Sing No - ei, Sing No - ei No - ei No - ei........._ Síng No - ei, Sing No- ei,

3.

àe a

No - ei, No - ei. Sing, sing No - ei! Síng, sing No - ei!

39

. NEW4NOTE: :‘:

•

.‘_,$ L

Waltz (SOLO OR DUET)

Brightly - in one to the bar

;1. 1 O•

1 9th Century Dance Tune

J—I—-

-

o.

P.

I Thou, Poor Bird (4-PART ROUND)AnonymousM.M.J= 100-108

2.ALi

.

SOLO 494ACCOM 494.2

SOLO 495ACCOM. 496

ACCOM, 496 * Improvise Rhythmic Variations on Intry Mintry

ap - pie thorn.that spells OUT!!

CCM.#96 A ** S3L Improvise Melodic Variations on Intry MintryA

Use tones of the D Minor Pentatonic Scale:I-L)

t ‘ _-_) li

F G A C (D)

ACCOM.#96 *** ©1 Improvise Melodic Variations on Intry Mintry

:;:L 1)

A

Use tones of the D Dorian Scale:

SOLO 427ACCOM. 427.2

A

à

1 1 1— i -j

,)A

ir 1 71 U U

, :(

e)tF-) 71—— E

Jlp

-.

—

o. --jJ-- -

I,v ,

;5 .Thou, poor bírd, Mourn’st the tree, Where

A 3. 4.1

1

I’.LJ F — 1 á

p_ J___ 1

,J 1 —.1 Cd

sweet - Iy thou didst war - bie In thy wan - d’rings free.

Echen Confites (Scatter the Bon Bons)

Light and quick Mexican FoIk Song

f - -I

_1 11 IJ 1 1 1%. II 1 1 h. II

I(U 1 - - — — — 1 — d J1 — 1 1 1 L 1 l_I 1 i . 1 II

E - chen cori - - tes y ca-ne-lo-nes Pa-ra los ni- nos que son muytra-go- nes.

Serve up the bon bons. Serve up the can- dy. To ali the chil- dren who are so in- dulg- ing.

A hitry NiritryPlayfully Game Song

A4 é)

.y?T ,-1 ‘.-.y -i • U .J J 1 — á — 2

In - try mm try cu - try com. Ap - pie seed and

Tumn and turn and turn a - bout. O - U - T and

1

DE F G A B C

NEWNOTE:

c

•

;.•

CONDUCTLJS — A 1 2th century song with a serious, usually sacred, text in Latin verse.

SOLO#97 ti Song of the Donkey (MIXOLYDIAN MODE)ACCOM, #974 ——

Smoothly2th Century Conductus

1-‘ J H

O - ri - en - tis por - ti - bus Ad - ven - tu - vit o - si - nus Pul - cher et for -

i ‘H J‘

tis - si - mus Sor - ci - nis op - tis - si - mus, Hez, Sir As - ne hez.

Tide and Time (2 PART ROUND)

Marcato M.M. = 00-108 LoweII Masori (1864)

1. 2.

:Iwait

SOLO#98 Scarborough Fair (DORIAN MODE)ACCOM.#99

Smoothly with expression Engiish BaIIad

•o.,Are you going to Scar - bo - rough Fair? Pars - ley,

sage, rose - mar - y, and thyme. Oh,

ci)

send my love to une who lives there, Once she

was a true ove of mine.

Time and tidee

wiII for no - one

y — O T! MPOV$E

fl Cobbler, Cobbler (PAGE 9)Rhythmically

*** © Listen and Improvise Meodic Variations on Rck, Rah,

41

Use tones of the E Phrygicn Sca!e:

SOLO#30 The Blues in D (PAGE 2)ACCOM. #32

In a swinging style

1 -- ii‘.) g- t)

EFGABCDE

*** ©© Improvise Melodic Variations on The Blues hi D

Use tones of the D Blues Scale:I_SL) ()

—. II

()DFGG#ACD

e..o..oo

? Forget tIie fingering of a note? You Can Look It UP on the Fingering Chart Iocated on the inside front cover.

j amaican Street SongCOM

LISTEN AND‘ PLAY#50

Cob - bier, Cob - bler fix my shoe, Get it done by half past two.

,E

j• r r1•

Half past two, I’m at your door, Get it done by half past four.

** ©© Improvise Mebdic Variations on Cobbler, Gobbier

(((o)lIUse tones of the C Penttonic Scaffe: ,

CD E G A(C)(D)

Rain, Rain (PAGE 19) Accompaniment

Expressively OnIy on Repeat

(:jRain, Rain go a - way, come a - gairi some oth - er day.

“VOU LOOI( IT UP’

MU$C TERNS DCTIONARYDEFINITIONS NEEDED TO UNDERSTAND MUSIC TERMINOLOGY

Accelerando poco a poco “Fasfer, little by little.”

Animato In an excited, animated style.

Accent “Look lt Up” in the Music Signs and Symbols Dictianary - page 4.

Accidental A flat, sharp, or natural sign that alters the pitch of a note.

Adagio See Tempo Markings - page 45.

AI fine To the end.

Allegro See Tempo Markings - page 45.

Andante See Tempo Markings - page 45.

Aural Transpositiori A process of playing a song or passage on a different starting note “by ear” without the aid

of music notation.

aIIad A short, simple song in a narrative or descriptive form, sometimes set to a romantic or his

torical poem.

ar Line “Look lt Up” in the Music Signs and Symbols Dictionary - page 4.

àrcaroIIe Originally, a folk song of the Venetian gondoliers (boatmen of the city of Venice).

Biue Grass A type of Angio-American foik music originating around the mid- 1 940s in rural Appalachia.

Blues An African-American folk music characterized by spontaneity and deep emotion.

alues Rock A musical style that merges blues harmonies with rock and rol! rhythms of the 1 950s and

l960s.D Blues Scale

2iues Scale A six tone scale used to improvise over blues harmonies. 1

Branle A popular French group dance of the 1 6th century in which ali motions of the ead couple

are imitated.

Bouffons Costumed dancers of the 1 5th and 1 6th centuries.

Cal! and Response A musical alteration between two perormers or a performer and a group of performers.

The musical response to the caIl may be irnitated or improvised.

Canon Literally, a “rule” for realizing a composition. The ruie dictates that each voice imitates exact

ly the melody sung or played by the first voice.

C!ef “Look t Up” in the Music Signs and Symbols Dictionary - page 4.

Conductus A 1 2th century song with a serious, usually sacred text in Latin verse.

Country Music A popular style of American music originating in the South and West that usually expresses

the feelingful elements of life.

Country Swing A blend of western, bluegrass, and swing styles originating in Texas during the 1 940s.

D.C. ai Fine An abbreviation for “Da Capo ai Fine,” which means “go back to the beginning and

end at the Fine.”

D.S. An abbreviation for ‘Dai Signo,” which means “go back and repeat from the sign.”