Saints Augustine’s College Cairns SENIOR MUSIC . The Australian Scene Selection of Australian songs and compositions Term 31 Two Welcome Songs EC SRESOURRCES Bs CDi istic abe a) Abeeyo Information ‘This is a simple song of welcome sung by Australian Aborigines. It is made up of two phrases; the frst—a long held note—resembles a loud shout or call as if hailing someone from a distance. It belongs tothe tradition known as ‘cll and response’, where the material is shared between people and groups. Starting + Stand in a circle—this emphasizes sharing and equality + Practise deep, slow breathing in and hissing out, with some pressure behind the alr to develop long notes. Say or call ‘hello, ‘hi’, ‘welcome’, "howdie’, etc. across the group to someone to warm up the voice and begin the process of communication. + The song itself acts as a warm up, so get going as soon as possible! £2] Teaching and rehearsing “+ Teach this song by rote—a phrase ata time, + Start at any pitch that’s comfortable, and go higher by a semitone each time, + The exact note lengths and rhythm are not important; ‘What matters is that the group works together and moves at the same time, + The sound should be full, warm, and welcoming—the secret here isa big breath follovred by long notes that are pushed out across the circle J=72 Leader Group A-bee = yo, A - bee Leader sbe = yo, -bee/-yo bee-yo bee - yerm_ 2 1. Twd Welcome Songs: A - bee-yo ma - ma. Ae L She Mane Ne eg Ideas + Divide into two groups, well separated across the room (A and B). Sing it as an echo. Really project the sound to communicate with people ata distance. + Repeat, but with each group holding on the last note of ‘each phrase during the echo. + Thisis.a great piece to ‘feel as you sing, so try some ‘moverent—walking on the spot with upper-body thovement helps give it a strong pulse.” Listen out *+ Good clear upbeats are needed—breathe in good time and aim for a strong first syllable. + The long notes may sag and lose energy. Bring this to the singers’ attention if it happens, and suggest they crescendo slightly during long notes. Performing + This isa warm-up and rehearsal plece for the singers and not really for an audience, although you could start a performance by welcoming everyone! + Start in unison, then divide, * Individual singers could take it in turns to lead a line. + "The group could begin the piece ‘off stage’ at a performance, and enter singing. Trad, Aboriginal Leader Group yo, A-be - yo, A- Group bee-yo bee-yern____ ma - ma, Ae : Leader ||? ma - ma. This page may be photocopied (2 ey est1» Hey ungua [1 Information “This Afsican welcome song is, like ‘Abeeyo’, bastally built srotnd one chord! Its a‘all and response’ witha strong thythmic feel to It, and can build into an impressive group plece. §& Starting + Repeat the exercises for ‘Abeeyo". + Shout ‘Hey ungual’ in a firm voice before singing. Teaching and rehearsing + Teach by rote—a phrase ata time, + Star at any pitch, but not too Tow, so the voices aren't forced or uncomfortable. + Aim for a big, firm sound (use the Image of a group of people welcoming someone from a distance). + ‘Ungua’ should be pronounced ‘ooonngooa’ with a shot last syllable (as is ‘hat. Accent the ‘oong’ syllable by really closing on the glottle ‘ng’ sound. Don't worry too much about articulating the separate notes of the moving lines on ‘hey’, or they might sound like a trained choir and not a crowd! © Ideas + Introduce whole body movement as soon as possible; the whole group can move by facing left and walking clockwise round in a circle, Agree which foot is moving, first and step on beats one and thee (on the second ‘hey’ and on ‘ungua’), Encourage whole body commitment including arms and shoulders. Wow a a a ek a i ee te eas | i i i i e y q 4 =100 Leader hey. un + gu-a, Hey Group ay AP aca Leader <2 hey. Un-gu-a, un - gua. VU Uo Odo Uns Pst This page may be photocopied sey yg tg se em emo ge : * Divide into two groups and share the leader/group parts, Detween them. + Turn the plece into a two-, three-, or fourpart round or canon by singing the lines together, entering a line at a time, For this to work, each group will have to sing the ‘whole piece, ie, the leader and the group lines without a break. £3 Listen out + As before, good clear upbeats are needed—breathe in ‘good time and aim for a strong ‘Hey’ on the first note of ‘each phrase, + Keep it realy rhythmic and together—body movement should help. [Gl Performing + This piece makes a good concert opener—start in ‘unison then divide, then Into a canon. «Thy this for an effective ending: when singing its canon, on the final time through each group should keep repeating the last line repeated ‘ungua, tngua’) ‘until all the groups have reached that point together. Keep repeating ‘ungua’, gradually getting louder until the leaderfconductor signals to stop. ‘Trad. Africar Leade un - gu-a Hey Grou Group un - gu-a, un - gu-a, un- gua 1. Two Welcome SongsOne Sun - day — morn - o Am F fate be- wail - ing As port- ed now from my na - F o a-ged pa-rents And — from ing na tive as I Bris - bane wa - ters 1 chanced to stray, 1 o onthe - tive of shore, They tore me from my the maid~ en was walk - ing, By heard a con- viet his sun - ony river Erin's is - land Trans ~ o that 1 do 2One Sunday morning as I was walking, By Brisbane waters I chanced to stray, Theard a convict his fate bewailing As on the sunny river bank he lay: ‘Tam a native of Brin’s island Transported now from my native shore, They tore me from my aged parents And from the maiden that I do adore, ‘Tve been a convict at Port Macquarie, At Norfolk Island and Emu Plains, At Castle Hill and cursed Toongabbi At all those settlements I've worked in chains; But of all places of condemnation And penal stations of New South Wales, ‘To Moreton Bay I have found no equal; Excessive tyranny each day prevails. ‘For three long years I was beastly treated And heavy irons on my leg I wore; My back with floggings was lacerated, And often painted with my crimson gore, And many @ man from downright starvation Lies mouldering now beneath the clay; And Captain Logan he had us mangied At the triangles of Moreton Bay. ‘Like the Egyptians and ancient Hebrews We were oppressed under Logan's yoke, Till a native black lying there in ambush Did deal our tyrant his mortal stroke. My fellow prisoners, be exhilarated ‘That all such monsters such a death may find, And when from bondage we are liberated, Our former sufferings shall fade from mind.’ Frank McNamara was transported in the early 18206, probably for forgery, and won @ ‘reputation throughout the colony for his wit and verses, The classial references in thie fine song are typical ofthe man who took great and conscious pride in his nickname, “The Poet’. Perhaps his best known work is a mammoth epie poem, “A Conviet's Teur of Hela superb piece of sustained satice directed against Governor Darling and the whole penal system,There was a_-Wild Co - lon - ial Boy, Jack Doo-lan was _ his Em name, Of poor but hon - est pa = rents He — was born in. Cas - tle ~ maine, He was his fa - ther’s on - ly Av D AY D hope, Hiss mo = ther’s. pride and joy And dear = ly a a a CHORUS same tune as Verse oF did his pa ~ rents love The Wild Co - lon - ial — Boy,‘There was a Wild Colonial Boy, Jack Doolan was his name, Of poor but honest parents He was born in Castlemaine. He was his father’s only hope, His mother’s pride and joy And dearly did his parents love ‘The Wild Colonial Boy. Chorus: So come away me hearties We'll roam the mountains high, Together we will plunder And together we will die. Weill scour along the valleys And well gallop o'er the plains, ‘And scorn to live in slavery, Bound down by iron chains. At the age of sixteen years He left his native home And to Australia’s sunny shores, A bushranger did roam. ‘They put him in the iron gang In the government employ, But ne¥er an iron on earth could hold ‘The Wild Colonial Boy. In sixty-one this daring youth Commenced his wild career, With a heart that knew no danger And no foeman did he fear. He stuck up the Beechworth mail coach + ‘And robbed Judge MacEvoy Who, trembling cold, gave up his gold To the Wild Colonial Boy. He bade the Judge good morning ‘And he told him to beware, That he'd never rob a needy man Or one who acted square, But a Judge who'd rob a mother Of her one and only joy Sure, he must be a Worse outlaw than The Wild Colonial Boy. One day as Jack was riding The mountainside along, Aclistening to the little birds, ‘Their happy laughing song. ‘Three mounted troopers came along, Kelly, Davis and Fitzroy With’a warrant for the capture of The Wild Colonial Boy. ‘Surrender now! Jack Doolan, For you see it’s three to one; Surrender in the Queen’s own name, You are a highwayman,’ Jack drew a pistol from his belt ‘And waved it like a toy, ‘Til fight, but not surrender,’ cried The Wild Colonial Boy. He fired at trooper Kelly ‘And brought him to the ground, And in return from Davis Received a mortal wound, All shattered through the jaws he lay Still firing at Fitzroy. And that’s the way they captured him, ‘The Wild Colonial Boy. . 'No historical evidence has as yet been advanced-to prove the historical existence of Jack Doolan, Duggan, Dolan etc. One plausible suggestion is that he ‘based on the famous bushranger Jack Donahoe, who roamed NS 3s simply a character myth-it hardly matters, as he has become the archetypal anti-establishment figure, doing for bushranging what Robin Hood did for outlawry in England, We have experienced the great popularity and knowledge of this song in Ireland and Britain, 15a —at =a Now at his gate each shearer stood as the whis- tle loud - ly ee blew, With Em Bm vky 7 SS S55 eyc-browsfixed and lips com-pressed the af a oe tigers all bent tog: You could 44 Bm @ D_ PAT -—- > oe o ———— - = hear the click - ing of the shears as through the wool they glide, You yg Bm FE Bm G D rz Bm E sec a gun al - read-y tumed, he’s on thewhip -ping side, CHORUS same tune as Verse At his gate each shearer stood as the whistle loudly blew, With eyebrows fixed and lips compressed the tigers all bent too; You could hear the clicking ig of the shears as through the wool they glide, You see a gun already turned, he’s on the whipping side. Chorus: A lot of Lachlan tigers it’s plain to see we are, Hark to our burly ringer as he loudly calls for tar; ‘Tar here,’ calls one and quick the tar boy flies “Sweep those locks away,’ another loudly cries, 96‘The scene it is a lively one and ought to be admired, ‘There hasn't been a’ better board since Jacky Howe expired; ‘Along the board our gaffer walks his face all in a frown, ‘And passing by the ringer says, ‘You watch my lad, keep down.’ For I must have their bellies off, and topknots too likewise, My eye is quick so none of your tricks or from me you will ly, Oh, curses on our gaffer, he's never on our side, To shear a decent tally boys, in vain I've often tried. T have a pair of Ward and Paine’s that are both bright and new, Pil rig them up and I'll let you see what I can really dot For I've shorn on the Riverine where they shear ’em by the score But such a terror as this to clip I never shore before. Lf any shearer wished to confirm his prowess he would boast that he had worked on the Lachlan. His listeners would be well aware that only the best could gets job there. They ‘ate of course, all'tyebuck” shearers, and could out-shear, out drink, out-fight and out- Tee ay other two men put together. The most famous tiger’ was Jacky Howe who seta ery mecord in 1892, when he shore 327 ewes in 7 hours and 20 minutes, with hand shears!72 SONGS IN 6/8 TIME The Old Bark Hut D AT 1.Oh,my name is Bob the Swag-manand I'll have youun -der- stand T've. D AT D seen a lot of ups anddownswhile trav-'lingthrough the land. T once waswell 10 AT D G D G D do, mylads, but now I'm so hard up That I'm forced to go. on ra-tionsin an Chorus G D old bark hut Jn an old bark = but «Tn an old bark hut, That I'm forced to goon ra-tionsin an old bark hut. 2. Ten pounds of flour, ten pounds of beef, some sugar and some tay, ‘That's all they give a hungry man until the seventh day. If you don’t be mighty sparing, you go with a hungry gut ‘That's one of the great misfortunes of an old bark hut, Chorus: in an old bark hnt, in an old bark hut (and repeat last line of verse) 3. The bucket I wash me feet in has to cook me tay and ste; ‘They'd say I was getting mighty flash if T should ask for two. ‘The table's just a sheet of bark—God knows when it was cut! ‘twas blown from off the rafters ofthe old bark hut. Chorus 4, I've had the rain come pouring in just like a perfect flood, ‘Especially through the great big hole where once the table stood. ItJeaves me not a single spot where I can lay me nut Bt the rain is sure to find me in the old bark hut. Chorus 5, So now I’ve sung my litte song as nicely as T could; Thope the ladies present will not think my language rude. ‘And all you handsome girls and boys, around me growing up, ‘Remember Bob the Swagman in his old bark hut. Chorus Eg & E ¥ gx x gE gz gE E gE E gE E E E = = & E E & & & & & & & & & LS 5 5The Limejuice Tub (The Whalers’ Rhyme) G G D 1. When shear-ingcomes,lay down yourdramsAnd step tothe boardyou brandnew chums, Witha G Em Cc G rah-dum,rah-dum rub-a-dub dub We'll send you back to the —limejuice tub, 2. The brand-new-chums and cockies" sons All fancy that they are great guns, ‘They fancy they can shear the woot, But the beggars can only tear and pall, 3. They tar the sheep tll they're nearly blacks, Roll up, roll up, and get the sack! ‘Then press the wool without any bales; Oh, shearing’ hell in New South Wales. 4. You cockatoos, you never need ret! ‘To show you up I'll not forget. For I'm the man that’s ready to bet You're over your heels, headfirst in deb, 5. Although you live beyond your means, ‘Your daughters wear no crinolines, Nor are they troubled with boots or shoes, For they're wild in the bush with the kangaroos. 6. Athome, at home I'd like to be, ‘Not humping my drum in the back countree; Sixteen thousand miles I've come ‘To march along with my blanket drum,400 AUSTRALIAN SONGS Wild Rover No More ¥ cr Gm cr F 1.Pve been awild ro-ver this man-y a year; And I spent all my Dm c7 F F c7 Gm mon-eyon whiskey and beer. But now T'llgive ower, my —mon-ey T'll Chorus ca F Dm CT F Gm c7 store, andl play the wild ro - ver,wild rover no more, Nay, no, nev.er! Gn c7 F Dm c7 F never no more! Ishall play the wild ro - ver,wild rover no more, 2. T went to a shanty T used to frequent, ‘And I told the landlady my money was spent. asked her for credit, she answered me ‘Nay, Such custom as yours Ican get any day.” Chorus 3, Then out of my pocket I drew sov'reigns bright; ‘The landlady opened her eyes at the sight! She said ‘T have whiskey and wines of the best, For the things I was saying were only in jest.” Chorus 4, Tll go to my parents, tell them what T've done, ‘And beg them to pardon their prodigal son; ‘And if they forgive me as they've done before, I shall play the wild rover, wild rover no more. Chorus TOM MRRP OOOO Ah OO mm mM MmSe eet key ky a i Click! Go the Shears Cc F Cc 1. Out on theboard the old shear - erstands Grasping hhisshears._in his G c Fr thin bon - y hands, Fixed is hisgaze on a blue - bel ~ liedjoe, D7 G7 c G7 Glo -ry if hegets herwon't he make thering - ergo, Click! go. the shears, boys, ic} F cj G7 ic clicktelicklelick! Wide is hisblowand his handsmove quick, ‘The ring-erlooks a-toundand is F DT G7 c F c beat - enby ablow, And curs -esthe oldsnag - gerwith the blue - bel - liedjoe. 2, Shearing is over and we've all got our cheques, Roll up your swags we're off on the tracks, ‘The frst pub we come to is where we'll have a spree, And ev'ry one that comes along it’s ‘come and drink with me!" Click! go the shears, boys, click! click! click’ etc. “3. Down by the bar the old shearer stands, Grasping his glass in his thin bony hands, Fixedis his gnze on a green painted keg, Glory he'll get down to itere he stirs a peg. (Click! go the shears, boys, click! click! click! ete, 401Waltzing Math ~ de d sang a2 be ated ani id) Waltzing Matilda. 20, AB Paterson =p Wattiag “Ma - tit - da | Youll come a Waltz-ing Ma | - reited | out come a Waltzing Ma }= th - dai) me. id r wit od tM his GIy boiled |. South come a Waltz-ing Ma |= t= da with me ewe i Music -Marie Cavan Arranged Tea Gentry “All Riats Reserved2h. Waltzing Ma = tl = a yowll come a Walkz-ing Ma [= t= da with me and he > 7 vit ed ll his bil ty boiled | Youll come a Walt-ing Ma] t= da with me 2 dd Sout come a Waltzing Ma | = } =