1 *

FOLK SONG A song reflecting the traditions °í the peopie of a country or

region and rorming part of their choracteristic culture.
SOLO — One piayer, aione, with or wfthout accompaniment.

AM1
fl Hot Cross Buns
Moderato*
English FoIk Song

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

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

A?Mt8 Notes
Moderato
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 Lamb

LiveIy 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#Ó
ACCOM.#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.
 sOLO#I2
ACCOM. #12-2 • Au CIare de Ia
Legato
Lune
FrenchFolkSong
7

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.
SOLO #13
ACCOM. #13-2 Down By The Station
Moderato American School Song

‘1
, Down by the sta - tion ear -
ly in the morn - ing,

#J o
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
Legato French Lullaby

ik
,
:
-t
] 1 ‘1 1 1 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 composed
rhythmic/melodic variations.

Al8 Stepping and Skipping (THEME)

Moderato u.s.
ID#i)
r, J H
Step - ping, step ping,
- step ping - up. Skip - ping, skip — ping, step and skip.

ACCOM. #S
Variation One

H
ACCOM. #IS
A Variation Two
(#

? Forget the name of something? You Can Look ft (J in the Music Signs and Symbols Dictionary on Pages 2 and 3.
Al6
Hot Cross Buns
Moderato EngIsh FoIk Song

H
Hot 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 Duet

Moderato English FoIk Song

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

— —

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

Rocket Cruiser
Moderato U.S.

Wish 1 had a rock-et crui- ser and a base on Mars.

H 1 could fly a-way to dis-tant stars.

ACCOM.#8 More Notes

Moderato U.S.
,
1 i

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

ACCOM. Eighth Notes Duet

Moderato U.S.

- -

? Forget Lhe meaning of something? You Can Look It up Music Terms Dictionary on pages 42, 43, 44, and 45.
 9

NEW c
NOTE:
c• 1
r REGGAE — A musical style mixing African and Caribbean rhythms often attributed tojamaican sources.

A74I • Cobbler, Cobbler

Rhythmicaily Jamaican Street Song

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

r r :I
Hif 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

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

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

ACCOM. #23 Variation on Juba

4 r r r r r
ACCOM#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.
BARCAROLLE — Originally, a fó/k song of thc Vcnctian gondoliers (boatmen of thc Italian city of Venicc).
SOLO#24
ACCOM.#14 2
fl Barcaroile
Smoothiy In one
- Jacques Offenbach (1819-1880)

r Hr r’rHHr r
n ‘r r LJ
POLKA — A Iively dance originated by Bohemian (Eastern European) peasants.

SOLO#25
ACCOM. #25.l Polka
Cheerfully Dance Tune
o

AccoM.#25-2 Variations on Polka

.

r ‘

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

soLo#16
ACCOM. #16.2 Jacob Drink
With enthusiasm U. S. Spiritual

ACCOM. #26.2 Variation on Jacob Drink

4
Shave and a Haircut
As quickly as possible Early American
, -

1Y9 -

l4

Shave and a hair - cut, TWO BITS!

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

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

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.

SOLO#30
ACCOM, #32 The Blues in D u.S.
In a swinging style
D7
G7
,

rj I(j UJ 1
D7 ,A7 D7

J J JJ ii

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
7 cnmthin& Yôu Cnn tnk lt (lô nn 1ws 4 and 5.
 ‘3
ACCOM.I8 Notes (SOLO OR DUET)
Moderto
,
u.s.

Notes step
F down,
F
Notes step up. Notes re -
r r
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 Baby
Legato

Hush my ba - by. Hush my ba -

r
by.
J
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 in
18 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.

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

N Be-A-Round (4 PART ROUND)

U.S.
Smoothly M.M. =96
2. ‘3.

? Farget the saund of a rhytjim pattern? You Can Look It Up in the Rhythm Pattern Dictionary on pages 46 and 47.
 NEW
NOTE: F4
F

SOLO #45
ACCOM. #45-2 A Paris (SOLO OR DUET)
Moderato OId French Tune
,

u
A Pa- ris, a Pa - ris, sur lJn pe - tit che - vai gris.
To Pa- ree, to Pa - ree, , on a hum - bie grey - haired steed.

HYMN — A song of worship.

SOLO #46
ACCOM. #46-l Vesper Hymn (SOLO OR DUET) Russian FoIk Tune
Smooth and connected Text by Thomas Moore
A

Hark! The Ves - per Hymn is steal - ing o’er the wa - ters soft and clear;

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 Samuel Webbe (c. 1680)
2. , 3. 4.
zI
&
We are met Iet mirth a - bound, and et the catch and glee go ‘round
 *
I5
TI-lEME AND VARIATIONS

ASCl9 fl Shepherd’s Hey

LiveIy English Country Dance TIme
—

I4 ;,- 1 1
Io
I I II II -

I:F
Variation One on Shepherd’s Hey
Oô) 1
?• :I

ACCOM. #39
U* Variation Two on Shepherd’s Hey

r r :

I:F :

SOLO #40
ACCOM. #40.2 *** Shepherd’s Hey (QUICK TIME - “BY EAR” STARTING ON B)

ACCOM. #40.2 **** Variation Two on Shepherd’s Hey (QUICKTIME-BYEARSTARTINGOND)

SOLO #41
ACCOM, #42 **** Jinge BeNs (COUNTRY STYLE - “BY EAR” STARTING ON B)

Day Is Done (4 PART ROUND)

Smoothly M.M. J= 04 Traditional Round

2.

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.

? Forget the nome or something? You Can Look lt (Jp in the Music Signs and Symbols Dictionary on Pages 2 and 3.
ü4
WLO 434
ACCOM,#4.2 • Lighty Row
Livcly
Old German FolkTunc

Light Iy row, Iight ly row, o’er the

-
- shin - ing waves we go;

[ , p
Smooth Iy glide, smooth Iy glide,
-

-
on the si - lent tide.

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)

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

OId German FoIk Tune
A1 ‘

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

:I
Smoothly glide, smoothly glide, on the si - lent tide.

SOI.O 437
ACCOM. 437-2 Norwegian Dance
Lively
Scandinavian Folk Tune

pp

rr
Round Dance (4 PART ROUND)
L!ghtly M.M. . 00
U.S.
2.
i4’
3.
1

..r r
4.

‘ H

Forget the name of something? You Can Look It Up in the

Music Signs and Symbols Dictionary on Pages 2 and 3.
 II
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.

Waltz Theme with Variations

D Lightly Dance Tune

r4 j. .
:

ACCOM. 427-2 Waltz Variation One

r i. .

ACCOM. 427-2
D Waltz Variation Two

J. :I
4r ‘

ACCOM. 427.2 Waltz Variation Three

J. :I

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

1 .. .
• ‘ - 1
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.

BRANLE — A popular French group dance of the 1 6th century in which

ali tIie motions of the lead coupie are imitated.

SOLO 429
ACCOM.#29.2 Champaigne Branle

L
Lively 1 6th Century French Dance Tune
Claude Gervaise
,
— — 1

1 I—’.—.’ -- l1

e)

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

17
LLILLABV — 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 Duet
Lightiy 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.
 __
__

la
COU1TY 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)

U.S.
Whimsically

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

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

* Two Birds (4 PART ROUND)

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

Once there were two birds sit- ting on a fence;

E LE E E
One fiew a - way so then there was one.
‘

E E E
one on Iy one.
Tra - Ia, Ia, Ia, Ia, Ia, la, Ia, Ia, Ia, Ia; There sat -

* Rooster Round (5 PART ROUND)

Germany
Marcato (M.M. J 104)

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

,4.

E E E E E
Cock - 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

E
NEW 1
NOTE:
E
1 o

USTENAND
PLAY#50 fl Rain, Rain (LISTEN AND PLAY) Accomponiment
Only on Repeat
Expressiveiy
ii
E
I’_1J’I
,:, -_
—

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

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

LLSTENAND
IMPO ViSE #SO * ©© Usten and lmprovse Variation on Ran, Ra “By Ear”
Use the tces of the E minor o
Pentctonic Scaie: E G A B - - - - D 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)

Legato French Foik Song
t,
(,)

Au
L
cloir de la lu - ne, Mon o - mi Pier - rot.
in the moon’s pale shim - mer, My dear friend, Pier - rot.

(,)
, Ir1
Pré - te - moi plu - me Pour é - crite un mot
wouid Iike to write you, J ust a word or so.

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

iF! Fois
d
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
Ho nu - - kch, hu hog tov, s’e -vi - von, sov, 50V, SOV.

Giow ing - iights, joy - fui sounds, spin, my top ‘round and ‘raund.
.C. AL U%iE — Go back to the bccrinning and c’nd at tho Fino.

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

Baa, baa,
.

black sheep, have you an -

y
r
wool?
‘H
No, sir, nay, not one bag fuil.
DC. ai Fine

F H J flu ri 1
None 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
1
D.C. alFine

‘j ,

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”)

Ecch pcttern wiLl s?r on G. II

II
(1
Use the tones G, E, cd A.

OPTIONAL
NEW
,J NOTE:
CALLAND
SPONSE 454 ** Bues Rock (IMPROVISED “CALL AND RESPONSE”)

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

( o

.
o
o
o
SOLO#55
ACCOM, 455.2 The Brch Tree (THEME FROM THE FOURTH SYMPHONY) Russian FoIk Song
Andante Tschaikovsky (1840- 893)

j— r’’H j

eJ. pj f 1 —

Fnrot th minino nf .çnmeDJin? Vou Can Look lt Up in the Music Terms Dictionary on aes 42, 43, 44, cnd 45.
 21
By the Fre3ide (SOLO, DULET, TRIO, OR OUARTET)
Lightly u.S.

,_
1.2. Praise the’ friend - Iy 1. camp fire Praise its warmth and beau - ty:
2. giow of fire.

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

Accompanment One to By the Fireside

SoftIy

Accompanment Two to By the Firesde

SoftIy and Iightiy

,J H :

* Obbligato to By the Fireside

Softiy and IightIy

Ii. 112. PIay from the beginning to the repeat sign in the first
ISTAD 2ND DJkIGS— ending. Then, return to the beginning. On the repeat, skip
the first ending and continue through the second ending.

SOLO#57
ACCOM. #57-2 Norsense Sorg
Marcato Hungary
Ii. 112
é) -I

1 just caught a mos- qui to - big ger than a

-
U horse, Oh! house, Oh! If you think so
Rode it up and ai! a round
- high- er than a

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

OPTJONAL NEW NOTE:

E
Haff hoje e
e
.
e
SOLO $58
ACCOM. $58.2 Hatikvah e
o
With expression o Hebrew Meiody

H
 i

4 NEW D
ri

!NOTE:

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

Twinkle, Twinkle, Little Star

fl Smoothly
(SOLO, DUET TRIO, OR QUARTET)
Frerrch FolkTune
Text by Jane and Ann Taylor (1806)
Fine

J ,

Twin - kle, Twin - kle, Iit - tie star, How 1 won - der what you are.
‘ D.C.alFine
1

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

fl Harmony Part One to Twinkle, Twinke, Little Star Fine

Softly and smoothly

J
D.C. alFine

J ,

fl Harmory Part Two to Twnkle, Twinke, Little Star Fine

Softly and smoothly

D.C. alFine
,

ili
•
I’ III!I
• • a
li
á • e1.
e e

* Obbligato to Twinkle, Twinkle, Little Star

Softly and smoothly Fine
— ,I—I

DC. alFine

e á a 4
SWING STYLE — A type of Big Band jazz of the Iate 1 930s and 1 940s.

10#6I
50
ACCOM 62 © Twinkle,Twinkle, Little Star (SWING STYLE “BY EAR” STARTING ON 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 D

French FoIk Song

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

French Lullaby

• * s3© Hot Crcss Buns “By Ear” Starting on

Engish 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 A

England
 1
—
-U -
c c
.
u 2 D
O bO ...
3
C Li 1-- ai
0 bil
>— 3:
-O - >.-
- -O
• *
c -
O L
ia L >*
ia
>— -O -E
E
cii -
Li C -
(ci c
ia
ci
O >-_
ci,
0
ia
-U ai -
E . -° -
ia ai
ai c
- O
- ci)
E. -
-
ia
cci - (ci
Li
Z
m
e’ o E e’
cci
LI
ia
- 3: U
>•_ o • o r’4
o
o - 3
O <ii
Li ‘ -
-c
O >—
cl) ci,
c
9
D
•
ia i• O
o - -n
ai >.
-
b
cli -cc r4 -o
c — c
O
ci ia
E
1,:: .
¶ -U--
cii O -
c_4 Q Q O
- L —
O
H L .2
.
E •
..

-
o.
•}
O - • —
•%
2- — Lii >. o
Z (
- -
(3 £ ..C ii)
> o_ .O
u-j. o
d
o
LI LI
Li LI LI
 25
Utt of e5tmrte (4 PART ROUND)
Lightiy (M.M. J 08)
2. 3 4.

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

Varbtion One of LittJe BeNs of Westminster

:I
tie belis go Ding, Dong, Ding, Dong,
Lit -

Varaticn Two of Litte BeNs of Westminster

2. 3. 4.

o
:I
Belis go Ding, Dong.

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.

TaNis Canon (4VOICECANON)

Thomas Tailis (15 10-1585)
Legato* (M.M. J = 96)
2. 4.
.
j)

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

, ,

H U H J
1 neath Thine
r

own Ai might y wings.

ight; keep me, Oh keep us, King of Kings, Be -
-
-

Doctor FeN (4 PART ROUND)

Marcato* (M.M. J 100) Dutch Round
1. 2. 4.
1 :I
—

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

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

SOLO #63
ACCOM. #63.2 Patsy Ory-Ory-Aye irish Raiiroad Song
Liveiy

•b.J. 1 É, —
N. 1
I?
teen hund red nine ty- one, That’s the year that 1 be-gun,
1. Eigh -
-
-

sy O ry O ry Aye, Pat sy O ry O ry Aye,

2. Pat
-

44
- -
-
-
-

• 1. — e u
1 :;l
the year that be- gun, A work ing on the rail road.
Tat’s - -
-

Pat - sy O - ry O - ry Aye, A - work - ing on the rail - road.

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

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

Lightly Fronch FoIk Song

ie d’A vi gnon L’on y dan se, L’on y don se.

Sur pont, - -
-
-
-

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

On bridge,
-
-
-
- -

Softly

le pont, d’A vi gnon L’on y don se, tout en rond.

Sur - -
-
-

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

On - -

,
-

. . . 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)
J = 92 England
With conviction M.M.
2.

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

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

Santy Maloney (4 PART ROUND)

92 England
Happily M.M. . =
1. 2.

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

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.
 Lfl
c o’
o
LI1
(a -
-ó
1) IS)
a D
b
-a:
4-J 2 (a
1,)
1 1
a:
a:

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1
1
-n
1_
c
(a
A,
1 o
c
1 o
-c
1—’
(çj 1—
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a:
a:
a:
u

I(a
a) c
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14)
(a
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(a o
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e’ cçj e’
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e’
a: a)
1 a:
=3
-
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a:
-c
o ai
Li
o ca
o a)
-Ü
E ‘o
Li
4-,
iz;
(a
-D
H a)
li)
-a:
a:
a:

4/
Li
4-,
Li o ( o E’ 1
a:
-a: 1-
-
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o
-l a)
Li
o
c
(a
o b E o
c
4-’ o o
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(a 4-’
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a:
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a:
4-,
o -v li)
a:
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(1)
Í o E
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o z
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o
1.’,
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 ____

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

Ac,##L
• Ilerry Brane
Merrily Thoinot Arbeau (ca. 15 19 - 595)

u .

fl -
J •.

SOLO #7I
ACCOM, 72 JoIIy OId Saint NichoLas
Lightly Anonymous Carol

‘Ht J H fl
Jol Iy OId Saint Nich- o - las, lean your ear this way! Don’t you teu a
-

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

L Teu me if you can.

Now my dear old man, whis- per what you’II bring to me.

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

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

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.
.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 #75
ACCOM.#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
1. 2. 3.. . . . 4.
1

L .
3
p____—

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

Variation on The Frogs

2.

Hear the frogs in yon - der pond, Crick! Críck! Crick! Crick! Br—r—r - rump!
 Ajl7 A LD Abdgbke (veg Be)
Oh, How Lovy s the Evenng (3 PART ROUND)
Smooth and connected
German Round

O wie wohl ist mir am A bend,

Oh, how
- mir am A bend,
love ly is the eve ning, is the eve
-

- -

- ning,

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

-
-
-
ly - ing,

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

SOLO 78
?rflM. #78.2 CuckooSong
Swing 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.

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 Evening
J. 56
Smoothly M.M.
u.s.
1. 2. , 3. 4.

‘r’ r• dIí’
.
:j

Round Evening Two

Smooth[y M.M. 56
u.s.
.

2. 3. 4.
:
Round Evening and Round Evening Two may be piayed simultaneous
ly.
 Acc0M.t143-1 fl R0W,
Mcrrily
Ry,
M.M. .J.
0W
92-96
YDLT oat (4 PART ROUND) u.s.
E.O. Lyte
2.

L
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 Housetop
Rocking 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—_ —

Down through the

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

? J
Ho, ho, ho, who would- n’t go! Ho, ho, ho, who would- n’t go!_
1 1

e)
1°
ii H á • J
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#83
AccoM.#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.
 1 Lf v
o
•1
1 1 D D
1
o 1 1
A
AI
- -
j A 1 bÁ L A A
1 A IA
•1 1 F •1 A 1 1 bÁ —
1 A A
1 1 1 1
1 1 b
1 1 1
1
1 -l 1 1
‘1
1 1 1
b 1
1 1
1 -l
4
a) ‘1 a)
v 4 o
1 1 ai
( o
o 1 1
1 -

b
5
4-’
cTJ 1 E
1
o 1 1 4 -o
cl.,
1r IA A 1 bÁ 4
Lii
A A A-
1 bÁ A IA
D v ai
cl 1 A A 1
A A 1
(Q
o 1 1 bÁ A a) IA o
-J
o E 1 4
4 E
a.,
b a)
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(1) 1 1 •L)
1 4J
-L.
a) L.
U a)
LL
1
o 1
o 1-•
1 —
‘4-’ 1
---
Cr’
‘4-’ —
—
• 0.11
1 1
L
- o jo
1
1
-J
E 1 Ç1 Ucii
1 b
(z
ZL
2”-
o.
o
OZ
4
COVNTRY S TYiE — A popular style of music that oricinatos in the Arnerican Soiith and Wcst.

AI2
-
fl Jingle BeNs
Lightly 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

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

Harmony Part One to jingle BeNs

Softly and iightiy
r)

? ‘

* Harmony Part Two to Jinge BeNs

Softiy and hghtiy
r lI’i

ri 1 ‘ 1 —
•j .. 1 IS ll
.

— Learn to Pby a Song “By Ear”

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

Starting on D :

*** Suggestion: PIay Oh Hanukkoh

Starting on E
L
*** ©J© Suggestion: PIay King Wenceslas
Starting on G
tQLX YM — A song o worship with a rcligious tuxt that has becn sct tu a Lolk mcIody.

SOLO ü86
ACCOM,#86-2 Amazing Grace John Newton (1779)
Early American Melody
Stately

A - maz - ing_ grace how sweet the

usound
‘
that saved a— wretch ike— rne!__
, ,

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

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

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

i -

Starting on G 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 Lee Arnerican BalIad

Gently ,

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
— — -

II
—

l
8 à l°

Sun - shine carne a - Iong with thee, And swal - lows ir the air.
 :
AC9I2
Seep, Baby, Seep (Schaf, Kindei, ScMaf)
Legato 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.

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.

Harmory Part to Sleep, Baby, S!eep

Tenuto

J ‘

* ObbNgato to S!eep, Baby, Sleep

Lightly

‘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.
. . . a .

I
* **
The hart he loves the high wood, The hare, he loves the hili. The
4.
H. . ,.

.. 1 J .

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

* 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.
 a)
c
o
c
Li,
VI
D
a, C -
CI’
o
E o
1 o E
z
•‘
C
— 01-.’
.C
-0
-0
a)
O O O
00 0
LI
-z 0
LI t1 LI
LI 0 O
Ooo-. O 00 1...... a) o-
o_ r o- -
u 4i o-
Co o Co
-U O U •—
L.
Q U
o
1.)

ci—
(Q)
>W
II
—1 o
1.)
w
z
ti)
(D

1 2. 2
—a,

ii fl:
20
0
2o
00 00
—1 o
-
o (D
(D -

o
o o
-. O
‘9
-1
o o

1
c

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

G Scotland’s Burning
Brightiy (i 1 2)
(iN TWO- QUARTER TIME)
Traditionai
2.

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

u
- - - 4.

Fire!
r
Fire! Fire! Fire! Pour on wa - ter.
U Pour on wa - ter.

Variatior on Scotand’s Burning

u
1. 2. ‘ 3.- 4. -

í
4 I
1
e
Scot - iand’s
Ir

bom - irlg, Look out,

rH ook out, Fire! Fire! Fire! Fire! Pour on wa - ter.
:11

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

2. ‘3... . . . 4.
1 iI
4 1•
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.
‘.0
i á • •

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

3.

à
e a
No - ei, No - ei. Sing, sing No - ei! Síng, sing No - ei!
 39

. NEW4 .‘_,$
L
NOTE: :‘:

SOLO 427
ACCOM. 427.2
Waltz (SOLO OR DUET)
Brightly in one to the bar
-
1 9th Century Dance Tune

1 1 1— i Jlp P.
A ir 1 71

,)
U U
-j
—
-
J—I—
-

A
, :(
à tF-) 71
—— ;1. 1 O• E -. o. --jJ-- - o.
e)

I Thou, Poor Bird (4-PART ROUND)

M.M.J= 100-108 Anonymous
A 2.
Li
.
I,v ,

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

A 3. 4.
1
1

I’.LJ F — 1 á
—.1 Cd
,J 1
sweet - Iy thou didst war - bie In thy wan - d’rings free.

SOLO 494
ACCOM 494.2 Echen Confites (Scatter the Bon Bons)
Light and quick Mexican FoIk Song
f -I
1
-

1 1%. II 1 1 h. II
1 IJ L 1 l_I 1 i 1 II
p_ J___ 1 _1 1 1 — 1 1 1 .

I(U 1 - - — — — 1 — d J
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.

SOLO 495
ACCOM. 496
A hitry Niritry
Playfully Game Song
A
4 é) 1
.y?T ,- 2
1 ‘.-.y -i • U .J J 1 — á —

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

Tumn and turn and turn a - bout. O - U - T and that spells OUT!!

ACCOM, 496 * Improvise Rhythmic Variations on Intry Mintry

CCM.#96
A ** S3L Improvise Melodic Variations on Intry
A
Mintry
t li
Use tones of the D Minor Pentatonic Scale:
‘ _-_)

I-L)

F G A C (D)

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

A
Intry Mintry
Use tones of the D Dorian Scale:
:;:L 1)

DE F G A B C
 ;.•
•

NEW
NOTE:
c

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

SOLO#97
ACCOM, #974
ti
——
Song of the Donkey (MIXOLYDIAN MODE)
2th Century Conductus
Smoothly

1-
‘ J
vit
H o si nus Pul cher et for
O - ri - en - tis por - ti - bus Ad - ven - tu - -
-
-
-

i ‘H Sor
J
ci nis op tis si mus,
‘
Hez, Sir As ne hez.
tis si mus
-
- -
-
-
-
- -

Tide and Time (2 PART ROUND)

LoweII Masori (1864)
Marcato M.M. = 00-108
2.
1.
:I
e one
and tide wiII wait for no -

Time

SOLO#98
ACCOM.#99
Scarborough Fair (DORIAN MODE)
Engiish BaIIad
Smoothly with expression

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

Are - -

and thyme. Oh,

sage, rose - mar - y,

ci
)
une who lives there, Once she
send my love to

was a true ove of mine.

 41
y — O T! MPOV$E

Cobbler, Cobbler
COM fl Rhythmically
(PAGE 9)
j amaican Street Song

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

r r
E
j 1• •
Half past two, I’m at your door, Get it done by half past four.

** ©© Improvise Mebdic Variations on Cobbler, Gobbier

(((o)lI
Use tones of the C Penttonic Scaffe: ,

CD E G A(C)(D)

LISTEN AND
PLAY#50
Rain, Rain (PAGE 19) Accompaniment
OnIy on Repeat
‘

Expressively

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

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

Use tones of the E Phrygicn Sca!e: 1 --

ii
‘.) g- t)

EFGABCDE

SOLO#30
ACCOM. #32
The Blues in D (PAGE 2)
In a swinging style

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

—. II

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

()
DFGG#ACD
e.
.
o
.
.
o
o

? It
Forget tIie fingering of a note? You Can Look UP on the
Fingering Chart Iocated on the inside front cover.
 “VOU LOOI( IT UP’

MU$C TERNS DCTIONARY

DEFINITIONS 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.”