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 MUSIC
FOR
CONDUCTING
CLASS
Second Edition
Second Edition Copyright © 1988, Mark Foster Music Company

Excerpts and complete octavos are used with the

permission of Marko Press, Fostco Music Press,
and Editio Helios.

Library of Congress Catalog Card Number: LC 88-82200

ISBN 0-916656-26-8

Printed in the United States of America

First Edition Copyright © 1977, Mark Foster Music Company

All rights reserved. No part of this publication may be reproduced or transmitted in any form
or by any means, electronic or mechanical, including photocopy, recording, or any information
storage and retrieval system, without permission in writing from the publisher. An exception
is that conducting class teachers may, without requesting permission, reproduce excerpts from
this book provided they are used for testing purposes only.
PREFACE TO THE SECOND EDITION

Suggestions from teachers and students have been incorporated in the

Second Edition of Music for Conducting Class. There are fewer excerpts,
more complete works, and more difficult scores.

The 66 selections include 32 complete octavos, six excerpts from octavos,

23 arrangements of folk-like songs, and five conducting exercises. Of the
total, five are for unison voices, 20 for high-low, nine for SAB, one for SSA,
16 for SATB, one for TTBB, two for SSATB, one for SSATBB, four for
double choir, one for strings, and five canons.

James McKelvy

PREFACE TO THE FIRST EDITION

Music for Conducting Class provides enough music for the first semester
of a college conducting class, and in many instances enough for use well
into the second semester.

The book is divided into eight parts opening with 3/4 meter, probably
the easiest for the beginner. Many of the early pieces are for high/low
voices to facilitate performance with even a small class. The examples pro-
gress from the easiest, "America," to the closing examples of double-choir
writing.

With Music for Conducting Class, discussions, and class instruction, the
usual conducting book may be omitted. Or this collection may be used to
supplement one of the standard texts.

Before the music begins, there is a brief "To the Teacher" suggesting
various ways to use this collection, followed by "To the Student" which
helps set the stage for the course. It includes general concepts, cautions
on observing others, suggestions on selecting music, and much encourage-
ment. The importance of rehearsal technique is emphasized, but not dwelt
upon. One might refer students to Jack Boyd's Rehearsal Guide for the
Choral Director. For exercises in conducting skills for the more advanced
student, one should consider Mastering Conducting Techniques by John
Haberlen.

"Notes on the Music" (p. 139) provides information about each selection,
its source, arranger, editor, composer, text and availability as an octavo.

For teacher and student alike, conducting class is both challenging and
rewarding. This book is the result of years of challenge; may it be reward-
ing to all.

James McKelvy
 Digitized by the Internet Archive
in 2023 with funding from
Kahle/Austin Foundation

https://archive.org/details/musicforconductiO000unse
 TABLE OF CONTENTS
To the Teacher...... 50.

MOetHE SOLON tote rehevohehoreretonslonste

raion 6 eee ee eee eee eee seeeereees

I THREE-BEAT METER

AMERICA High/low; basic conducting pattern

COME, THOU ALMIGHTY KING High/low; phrasing
. JUANITA High/low; phrasing; rests
SANTA LUCIA High/low; 3/8 meter; phrasing
WIEGENLIED High/low; anacrusis; German
CURTAINS OF NIGHT High/low; anacrusis; fermata on one
SCARLET TOWN High/low; anacrusis
POOR WAYFARING STRANGER High/low; anacrusis
MitGO STUDY
ce
rater
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OANA
PWN IN DYNAMICS Unison; dynamics
STUDY IN DYNAMICS Unison; dynamics
STUDY IN FERMATAS Unison; fermatas
. FLOW GENTLY, SWEET AFTON High/low; anacrusis; fermata on two
STAR-SPANGLED BANNER High/low anacrusis; fermata on two
- COME, SWEET DEATH SATB; fermata on three
7 SU DYSINGRES Ls Unison
- GLORIA, GLORIA SAB; 3/2 meter; fermata on two; cues
. ALLELUIA (Excerpt) SAB; cues; ritard
. WERE I A TINY BIRD High/low; 3/8 meter; phrasing
- O TASTE AND SEE SATB; phrasing; cues; messa di voce
. WHEN JESUS WEPT Canon; 3/2 meter; cues
. THUS SAITH THE HIGH, THE LOFTY ONE Canon; 3/2 meter; cues
- AGNUS DEI SATB; articulation; dynamics
. ALLES WAS ODEM HAT SATB; fugue; 3/8 meter; cues

II FOUR-BEAT METER eee eee meee eee reer reer eeeeeeeeeeeeeeeeeeeeeeeeeee eee EEE eee eH eee EEE HEE HEHEHE ED

. ALL THROUGH THE NIGHT High/low; basic conducting pattern

- NOW THE DAY IS OVER SAB; phrasing
. SWING LOW, SWEET CHARIOT High/low; tempo variations
. STARS OF THE SUMMER NIGHT High/low; phrasing
. AMERICA THE BEAUTIFUL High/low; phrasing
. ANNIE LAURIE High/low; phrasing
. DOXOLOGY SATB; anacrusis; fermatas on three
. LOCH LOMOND High/low; anacrusis; fermatas; cues
. MEN OF HARLECH SATB; fermata on four
. THE BOAR'S HEAD SAB; anacrusis; fermatas
. LONDONDERRY AIR High/low; anacrusis
. WHEN HOME FROM WORK MY HUSBAND COMES
SATB; dynamics; cues
. QUAERITE PRIMUM REGNUM DEI SATB; 4/2 meter; cues; Latin
. GUIDING STAR SATB; phrasing; dynamics
. ALL SO STILL SATB; cues; flexibility
. LASCIATEMI MORIRE SSATB; cues; dynamics; phrasing
. ST. FRANCIS' PRAYER Unison; accompaniment; irregular rhythm

III eee eee eer eres eerereerereeeseesreesereseeeerseeresreereeersrereeeeresreeereeeeseeseseeeeseeseecee

. HANEROT HALALU High/low; 4/4 and meters; stringendo

. MASTERS IN THIS HALL High/low; 6/8 meter
. THE SEVEN JOYS OF MARY (Excerpt) SATB; 6/8 meter; narrator
. THANK THE LORD SATB; 6/8 meter; cues
. NOW WITH ONE ACCORD SAB; meter; cues
. BY THE RIVERS OF BABYLON Canon; 2/4 meter; cues
WELCOME TO OUR MUSIC FEAST Canon; 2/2 meter; cues
. O MUSIC, SWEET MUSIC Canon; 2/2 meter; cues
. AS FAIR AS MORN SAB; meter; cues
. THANK YOU ROUND Men/ women; and 6/4 meters; cues

vii
IV SIX=BEAT METERS iio 00 ic cate os kort tee oo Be OE ie eae eroniale cicenie bo tosis Sia ne Geeisee byes 90

51. SWEET AND LOW SAB; 6/8 meter 89

52. DRINK TO ME ONLY SAB; 6/8 meter 90

Vi -TWELVE=BEA TESME TE Rixivucs cisccurtels ivere sceiclere: sc eletel Cielereielesebeiers ce eferereiccancre cue rele sncteretedskedeneuel everenened etemerers tocaroreiel elere 94

53. PASTORAL SYMPHONY Strings; 12/8 meter 94

VI (CHANGIN G UMEBAWCERGS steve tayaieteste a letelcv hale) paleo eteyatade, o-6)(o)ev eo 1a(sre cietal elais aiallsicer ohare alisiete ls orele ere’ sraretereteletotencten sie ofeiais,e ave 96

54. DECK THE HALLS (in 7/8) SATB; 7/8 + 6/8 + 4/8 96
55. WE WISH YOU A MERRY CHRISTMAS SATB; 7/8 + 3/4 100
56. JINGLE BELLS SCHERZO SATB; 2/4 + 5/8 + 6/8 101
57. A-ROVIN' TTBB; 2/4 + 4/4 + 3/8 + 6/8 107
58. GO, LOVELY ROSE SATB; 2/2 + 3/2 + 4/2 + 5/4 +.7/4 111

VEL. VARTA=~BARY NGO TATION stateoscusitue isistens evar s cleats elerel siete eve stiananels, olohe vis tere smenetetetelerencis teheretontveieis eccateieracleve ies nie}

59. KYRIE ELEISON SATB; free meter; cues; Latin ils

60. SERVE BONE High/low; phrasing; Latin 116
61. GAUDE MARIA VIRGO (Excerpt) SSATB; cues; Latin 118
62. TU ES PETRUS (Excerpt) SSATBB; cues; Latin 119

VITL, -DOUBBRE! GHOLUR tisicics atectho\cicca chee oe wi aires tohe toi'scle air site: atatalis islet aleve s)0, cuscw ts obeteetetsboheie cuaele meretore aberte etcle: ateis ets 120

63. SURELY HE HAS BORNE OUR BRIEFS SAT/SAB; cues 120

64. STEAL AWAY SSA; echo choir 124
65. MOZART'S ALPHABET SONG SATB; cues 128
66. GLORIA IN EXCELSIS DEO SATB/SATB; cues; varia-bar notation 131

Notes on the Musice-cccccescccccvvesccvvcevecvvecces tile oka) ulaue@

6/4 @.016 dies Wein ohel'a,© Slele © 66 Sisl8 s1¢/o e146) bie..0 19(6)0c ¢ 61010 139

Index of Music Titles--eseccccccccccvcevcsvces cPetedecen

wae 6G mo Oh 06 6 uw Ge Se xe wwe. Slee hatha o plete bus opel a ienetn 143
 TO THE TEACHER
Music for Conducting Class provides 66 examples
of music for the beginning conducting student.
Since the basics are the same, it is intended for both
choral and instrumental majors. With this book, the
class itself constitutes a choral group, eliminating
the problem of students bringing instruments to
class.
Of the arrangements written for this collection,
most are without tempo or dynamic indications,
leaving these to be supplied by each student in his
own conducting. There is little labeling of conduct-
ing problems in the scores, and few conducting sug-
gestions, for problems will appear easily enough
and the solutions are best left to you, the teacher.
While these special arrangements are short and
complete, many of the octavos are incomplete, lend-
ing more variety; also I am sure, providing frustra-
tion.
Beyond a few pages “To the Student” no text nor
conducting diagrams are included. At a glance, the
emphasis column in the Table of Contents will indi-
cate when certain problems are first encountered,
or appear in some depth.
Most students seem to find the three-beat pat-
tern easiest to learn, but you may prefer to begin
with the two-beat or four-beat sections. You will
want to omit some pieces for the more advanced
student, as some are more appropriate for one stu-
dent than another.
Most of the numbers are short, making memori-
zation appropriate. Some scores have been printed
in small size to encourage this, since memorization
will create better class participation and faster
learning.
To eliminate correspondence, the copyright page
carries this notice:
Without requesting permission, the conducting
teacher may reproduce excerpts from this book pro-
vided the reproductions are used for testing pur-
poses only.
Do feel free to adapt this material to the specific
needs of your students. The author will be grateful
for suggestions of material to include in a revised
edition of Music for Conducting Class.

ix
 TO) THE STUDENT
What is conducting?
To Karl Wilson Gehrkens goes the credit for
defining good conducting as that which is clear, ex-
pressive, and unobtrusive. There is more, of
course, for conducting is an art which demands
much beyond the movements of one’s arms. Still, in
your college course, correct movements are the
foundation of your conducting.
Clear conducting means movements that reflect
the basic elements of the score. Much rehearsal
time is saved by clear conducting. Why explain
when you can create a moving picture of what you
want? A clear conducting picture is quicker than a
thousand words.
Expressive conducting reflects the subtle nu-
ances of the score, and suggests appropriate con-
ducting for different music. For example, one would
conduct differently for a Sousa march or a Brahms
lullaby, because movements for one would be in-
appropriate for the other.
Good conducting does not draw attention to it-
self. The novice conductor often adopts peculiar
traits he may have unconsciously observed in
others, or movements which he does not realize he
is making. Eliminate distractions; conduct wnobtru-
sively.
It is a major concern for the conducting teacher
to help the student eliminate obtrusive movements,
so you should heed his observations. Do your knees
bend on every beat? Does your body sway? Does
your head bob? Do your elbows suggest you are
trying to fly? These are obtrusive movements
which detract from clear and expressive conduct-
ing.
Watch a conductor like Robert Shaw. He makes
no movements that are not clear; his movements
are consistently expressive of the music being per-
formed; in no way does his conducting draw atten-
tion to itself so that he is the center of attention
rather than the music. He observes these three
essentials, and then adds much more, as you will,
too.
Musicianship
There is an old expression about the choir mem-
ber being a singer, while the orchestra player is a
musician. The difference is assumed to be in the
depth of training. How about the conductor? Can
there be too much for him, or any aspect of music
that can be excluded? Just as Renaissance man
was expected to know everything there was to
know about a great variety of given subjects, so a
conductor should be knowledgeable in all facets of
music.
The technical tool of playing the piano must be the
sine qua non of every conductor. And since the con-
ductor is a recreator of the composers’ com-
positions, he surely must have a_ thorough
knowledge of music theory, orchestration, form, and
composition. Should he be asking others to perform
if he cannot?
Leadership
Leadership is that elusive quality every con-
ductor must have, and which each develops dif-
ferently. Creating in people their own desire and
ability to do what you want them to do is leadership.
Courses in psychology will help, but only you can
really evolve your own leadership style.
You can lead a horse to water, but you can’t make
it drink—unless you are a consumate leader.
Selecting Repertoire
Assuming a conductor’s movements are clear, ex-
pressive, and unobtrusive, his musicianship high,
and leadership solid, you will observe that these
successful conductors always (1) choose music
wisely, and always (2) accomplish much at every
rehearsal.
Repertoire selections are vital to success. The
conductor chooses music giving consideration to (1)
the choir, (2) the audience, and (3) himself. All of
these are important, but in varying degrees depend-
ing upon circumstances.
As for the audience, some directors make the
mistake of thinking they must sing down to them,
when in fact whatever is performed will generally
be accepted by concertgoers, complimented by high
quality.
Be careful about selecting works to satisfy your
ego, being able to boast that you conducted an es-
pecially difficult work, or by mailing impressive pro-
grams to others in the profession. It is important to
think of one’s own growth, just as it is to consider
the audience; still you must remember that the
singers are the ones preparing and experiencing the
music, and they deserve first consideration.
When you ask singers to vote for their favorite
number, you may find they frequently choose ones
they know very well. If you ask them what they
would like best to re-use next year, it may be a work
which had been challenging and musically worth-
while, but also one that was performed reasonably
well. Thus, your cue is to select music of a challeng-
ing difficulty, but still within their reach, and music
that has a lasting quality.
Because students hear popular music does not
mean they want to sing it in choir. They realize their
inability to perform the music as they hear it on
records, and may become frustrated, discouraged,
and before long, weary of choir itself. To be sure,
there is a place for the swing choir—a special group
devoted to that one genre of music—but the usual
school choir has difficulty trying to perform popular
arrangements.
I do not see the conductor’s responsibility as one
to necessarily provide music the singers know or
like—or music which seeks the least common
denominator of their limited experience. Your job is
to help them expand their music knowledge, and to
make it possible for them to experience great choral
music, a life-time enrichment.
A semester’s repertoire might be likened to a
meal. You’d like to have hors d’oeuvre, salad, meat,
potatoes, coffee, and dessert. You are healthy witha
balanced diet, just as choir members will be with a
balanced diet of music. They will sicken on all
desserts, but in proper proportion, enjoy them im-
mensely. You can enrich their musical experience by
selecting the best, whether it be meat or dessert,
and by teaching them to understand each kind of
music thoroughly and perform it well. Keeping
balance in mind, choose only that music about which
you as a conductor can be genuinely enthusiastic.
Class Preparation
The material in this book has been selected to pro-
vide you with a ready source of music appropriate
for beginning conducting. Many numbers are un-
edited; they have no tempo markings, no dynamics,
nor expressive indications. Following the sugges-
tions of your teacher, these are to be supplied by
you with your conducting, not with verbal instruc-
tions.
There are no diagrams of conducting patterns nor
advice on conducting beyond this brief introduction.
The problems are in the music, and the solutions are
in your hands. Work hard at developing your con-
ducting skills. They are your bread and butter.
Prepare for every class meeting by following the
sc
advice of the great French conductor and teacher,
Nadia Boulanger, who says that to really know one’s
score, take blank staff paper and write out the music
from memory, completely! Are you ever overpre-
pared?
You may have heard it said that you learn to con-
duct by conducting, and to an extent that is true. It
is wise to practice your conducting; don’t just do it
in class. You must be alert for extraneous move-
ments and take seriously the observations of your
teacher. Listen carefully and try to follow sugges-
tions. Later you can sift out what is most valuable,
but it is wise, at least for a time, to take seriously
the observations others make of your conducting
movements.
Observing Other Conductors
You will learn much by observing other student
conductors. Try to evaluate their work as though
you were the teacher. How close are your evalua-
tions?
Because of limited time your class will concen-
trate on conducting movements. As you begin to
grasp these, you are ready to start observing ex-
perienced conductors in rehearsals. Learn as much
as you can from them in all areas of leadership, look-
ing for what makes conductors great. You may learn
what to do just as well as what not to do. Keep in
mind that everyone is not perfect and that while the
conductor you are observing may be doing some-
thing you think is wrong—you too will someday be
in that position of having a student observe you, and
notice the wrong things you do. As a beginning con-
ductor, be charitable in your criticisms. Learn by
listening, not talking. Study good rehearsal tech-
niques.
The Total Conductor
From your own experience in performing groups
you know that a conductor is far more than someone
waving his arms correctly. He is a musician, vocal
coach, confidant; an administrator, taskmaster,
planner; a psychologist, promoter, stage director; a
politician, traveler, speechmaker; a dictator, hypno-
tist, comedian, dramatist, friend, teacher—and a lot
more!
Seldom does a single conductor have all those
qualities, but the successful ones always conduct
well, choose music thoughtfully, know what to ac-
complish in rehearsal and do it with good conduct-
ing. Conducting skills will help you be successful.
Finally, the great conductor is inspirational.
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 | THREE-BEAT METER
1. AMERICAN

thers died! Land

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3. JUANITA

Lin-g'ring falls the south-ern moon;

In the dark__eyes' splen-dor,

loves to dwell, Wea-ry looks, yet ten - der, c i fell. Ni- ta! Juan -
aw

Ask thy soul__if we should part! Ni - ta! Juan i ! Lean thouon my heart.

Now neath the sil-ver moon

soft winds are blow - ing; Here balm y breez-es blow,

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6. CURTAINS OF NIGHT

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es
ee —
SS sae =
=
ZOo I'm go - ing there to see “my fa -ther, I'm go - ing there no more to

an
a= aa eee ee GS ee
———
ee as Ss
SSeS SS SSS SS SS
aan spre | EE Sas ee —=——_ aT ») Se ta See tre

go. I'm go - ing there to see__.____ my fa-ther, I'm go -ing there no more to

ing o -ver Jor-dan, I'm just a

roam; I’m just a go-ing o - - ver Jor-dan, I'm just a go = ing o-ver home.

9. STUDY IN DYNAMICS | 4
Woe aa a aS ea
2 el * ae ee ee ee
=e eer et eS ee ey eet =
SS EES, a RE EE

Doo doodoé doo doot, doo doo doo doo doot, doo doo doodoodoodoo doo doo doo doo doot.

10. STUDY IN DYNAMICS

ts
Doo doo doo doo doo doo doo doo doo doo doot, doot, doot, doot.

11. STUDY IN FERMATAS

Doo doo doo doo doot, doo doo doo doo doo doot, doodoodoo doo doodoodoo doo doo doo doo doot.
12. FLOW GENTLY, SWEET AFTON

Flow gent - ly, sweet____ Af - ton, a - mong thy green braes; Flow

gent - ly, I'll sing thee a song in thy praise; My Ma - ry's a-

sleep by thy mur - mur - ing stream, Flow gent - ly, sweet Af - ton, dis - turb not her

efoto doles SS a ee ae
dream, Thou stock dove whose ech- o - sounds through the glen, Ye wild whist -ling

black birds in yon ===) thorn = Vy den, Thou green crest- ed__ lap - wing, thy

ce Sy ed SS
BS S=
a
oem in you thorn 7—sy. den, Thou ‘green crest - Sees lap - wing,

scream-ing for bear, I charge you, dis - turb _ not my slum

- ber - ing fair.

scream-ing for - bear, I charge you, dis - turb not my slum

- ber - ing fair.
13. STAR-SPANGLED BANNER

light, What so proud - ly we

at the twi - light's last gleam - ing? whose broad stripes and _ bright stars through the

watched___ were so gal - lant - ly

[| SSS eee Se eee eae

i] eS Se Ge ee eT

stream- ing? And the rock - ets! red glare, the bombs burst - ing in air, Gave
P ’ :
= See ee ee Se Se al aes Roan

Oh___ say, does that__ star-span- gled

ban - ner__yet__._- wave, Oter the land____ of the free__..__ and_ the home _ of the brave ?
14 Come Sweet Death
Komm, susser Tod fe) SEBASTIAN BACH
English by J. M. Arranged by James McKelvy
 i<o)

15. STUDY IN RESTS

{) :
a” EP ee 5 ll? BSS See 6° i ene ee a ae
==
2 (a. 1) See DS) Red ES (bee PS - Be Oe EY eS Ee RT Ses eS
3 7 -Eee ry "G E ee:G |a _SSO SE Oh ERE ner et PRS Se LES En EE ET a

Glo. = ri- a; Glo - ri - a, To God on high = How sweet the an- gel

2
yn Sf
ee a ee Se ee oe ea et ees ee ee ee ee ee aS ae See ES

Glo - fri- a, Glo - peste Hele, To God on pie How sweet the an- gel

ae
FAY See BEE 3 SBE 2 FPS) (oe Ee Ee EE a ES A
Qa 11 See Aa? ee ea | ed ee a eee ee ee EES PY ee) Se ee
eS 22> ee ¢ | SE a hea aS) Pe ee eS ) BE ee a a ee
—=y qe ana ey Cee (EE 2 Lees eS eee ee ee eee eee eee

Glo = Tava Glo - ri - a, To God on high!

2.\)) eee
Gee SSS ee aa = Saat

songs do ring! Glog —etl— a Glo = Hand 2

P og
eee — >} -__-. — |

— ee .
Songs =e dossss eer ning thro' the cold and star - ry con Glos] ri = “a; Glo - ri- a,

Cf
= — 77? or

To God on high! To God on high!

EEE, | ae ~——l_g4 5, =. ————————————

Glo - ri- a, Glos #rii—va, To God on high! To God on high!

(\
10

17. ALLELUIA
ry hr Te Ws Gee LS SS Se ee eee,
w Se? Be Se eee ee | ee 9 Es es SSeS Se Gee (Se eee eee
e.. 0. aa ee ae SSS ee PE SIBS A ee 0S | ee Re aes
as aaa eS” A SaaS FP Ei SS ee EE BEES

Al-le - lu - ia, Al - le - lu-ia, Al - le - lu - ia.

a (eee be Se RGR Ta a a ee

si SSS SE Eas [So ee (Gl Sly a (ae

PA res eb eyme AELTS goes th se eee eS Al - le- lu - ia. Al - le - lu-

|
ATeo Wa
_——————SSS_——_O — eg

Al - le- lu - ia,- Al - le - lu - ia, Al-le - lu - ia. Al = le - lu -

f’) EE is
ee <7 ee ee Se eS
SPE SeEST ESSER
| SE SS oe Rb 1s] N
2 eS SS ee se SS SS Se eS ee a Ss ee SS eS a Eee a eae
totesae Se SER Seer PSs Teed Re SS ee FES SE ee ee om = I CS oT eel a) a
a ee Te See PSS ee OSes 8 ee SE © _) Ee SE ——
nas
Al-de=l— jag Ale= dei =— lie tas Al<le = In — ia. Al - le - lu -

2 (me a7
Baa eee EES Say ee ES
Um 2 2 oe Ge Ge EE, ee Geet... SSS See eee ee |)! Ee ee ee Se Se SS ee
ey 2 eee CE ee = EE eS SS) SSS ES SESS SS i i SA eee ee SE Se
SSeS SSPE a ee =e eee eae SS ee

1 Al-le-
lu - ia, Al-le
- lu -

molto rit.
a > 7 . SEs (eee RES Se eS Se ee De iio ee eT es
Wy 2 Sao = Di nes,ey Ee Ges! pS S es ee Se ee (SSS SD he Nae eee Re Re eS I
|B fan [A a SSS i eS ee Se ee Se ee” Gee 6S Ee er
WES, ee Se Se Re (RS ES 1 Ee ee SE a ol
Res
SSS i

ia. Aly = le.=) i aa, 8 es see Fal Os ee a Al - le - lu - ia.

molto rit.

—————
et
Sa S iS ee
—s
ee SS
——————
ee a eS
SS
OSS Se }_————_}-_45-0# 1-4 4 =e FE
H
8

ee See
ia. Ales “le =a lupe
a BAL = er eyluS aia.
molto rit.
mot _—_—= ae) Raa Se ee See SE eS ee ee et |
Ag Pgh ag ge EL
 — —_

18.
WERE | A TINY BIRD
ROBERT SCHUMANN
English text and editing by
JOHN B. HABERLEN
Not Too Fast

Were I a lit = tle bird and had two ti - ny wings,

Wenn ich ein Vog - lein war' und auch zwei Flug - lein hatt’,

“il | a il LTT|
: =a Sa Gael
——a

YS Ut 26> Ra ed ee" ee eee ES ee Ee ee ee ee Eee

S44 OF J) Gl ° Rae (a) eh a 9 eee (Eh_ (Et Ee
Be Gy) praea o enls esa

Gen eee ee ee SE fee _ EE | ae ee ee a

2 Erne oe ere er ee BE 2 Se 1 2 ee © eS
aa ee eee ee ee Sy Sey eee
ES SS er eee ee Se eee
> See So ae eee eee BR en Se Se Se eee Eb. Ser we Sh
oe eh

aS Sa Eee 1)
36 $$ — —}- th ——— + ——g + HH SESE SRE RES
Sr" 22 SS eS See SS eee ae Se Sad ee. Gee Ez
i eee seer aa ere Se) a ee Pee ae ee 2 ee eee 1 aa
B=)
—

UJ UJ

i) Ged Oe | eee ae) SS ay Se Pee eee ae aeee ees 8ee

Bee BS Gael e e
feerorenss
— Se | —aV———
—— Te —

Copyright © MCMLXXVI Fostco Music Press

Sole Selling Agent: Mark Foster Music Company
 eee eee
CS’ 0°) | a See A ay peg fg eg me Ee
Le i Poke Re ae Pe bs RS ee eee 7 TE)... APSA ER Seen
DE eS" ae
‘a. ie nT nn aaa eam ery [Ee]ameanernaeeee
| nas hie aa Eee PS he ee ee a PS ee FSA] Be Ee ALS SS
He an eS SS a a SaaS [KcSSTecoSecaacaacSccc
2
Since this can ne - ver be, since this can ne - ver be,—
Weil's a - ber nicht kann sein, weil's a - ber nicht kann sein_
U ee — leet
2’ 27’ l) na Sen” Ga hes See eS Pe Ee ee EE ee. —
OY CREA |SEE ARES, 2 (ara Gal DS el es ee ee TB Ee ee eS OS ee
Bl <. ES. | REET LS EE ES Pe RE, ER VST), |" Gh Peel Se Se ae a ee ee I Re ED
SS Ee SCE SRE PSS a See Se SI eS SE SSG Oo be A EG
<i erat
© ae

Se 2) a a a oe eee oy es ee eT
eat Nn ee) eee
aa eos
See
CT ee ae a EPs
FS F SS,
Lee 4S 2 RSS ae ee ee
i. = eee eee See Roe 2 fe SS SY EE a See oer oe See
LM SSeS? Ee PSS et Sa he he PSS SS A ee ey A
ears Scena -— a Eom

lee #2 ae Pe We ey Ee ee eed Se ed SE eer Sa Ss eT

Bae Tl), a Ee Gael ae Rt Iaet ee FO es ee | bs
PBB: as eee O_O eee ee
ae Be = eee Oe" eee eS eee | ee Oe [|ES
a

dim
— rie oe
=’ a estan ee eos _—}—_—__t SSS fa
ABEL Bae See! 1 IRA Se) [7S PES SE ese (|
8 fon. Le Ee (ee) MEE Ge SE | 5 SE a ee EP ee ee, ae
LY SEES 1 Se Se ee eee |ES
®

I must stay a - lone. Though I'm a - way, my dear,

bleib’— ich all - Bin ich gleich weit von dir,

in my dreamsI feel younear' and speak with you,

bin ich doch im Schlaf bei dir und red'§ mit dir;

_ 7 _ aee

as
Sypant ent
eaeciaserad SoeToteBES OF
<7se = a — re
———————— a ee
‘ ae
Though I'm a - way, mydear, in mydreams I feel you near__
Bin ich gleich weit vondir, bin ichdoch im Schlaf bel. dir

iS” Sy 3):ae et ee, 2 Sas

2 sth | Ee ESS 2 ee SR ae Mimi Ss
Ret Sse SS Se 2 aaa TSS a ee
 13

dim.
ar nee me.
7 2 ees 0
re

and__ speak with you! Then wak - en and

und__ red' mit dir! Wenn ich er wa - chen tu

a” AP, ees tee

2 ay

WKS be speak with you!

red! mit dir!

z-| 9

Love is not
ge

ne

A
een qn
all

gz
al
ree

zal
a3

25
‘
ee

oO
ao
!

bin ich al

-
|
o_o

| it(Ii
vaplll

ND eee|(PS S| RSS PSS (a a eS ee | ae Ee

i
ea

TF
|
inl
ball
|

Hl
mn 25
ee

aa Pee el Pee
Hl] #2
Lh

Ht
| So

SS ae ay Pee
Ar

ae ae See
|

OW 2S Se ae)_Aa Th ee a SE)

Mind and heart en -

35
5

238
§ 5

BS

>
ei
oD 4

9 0
es
o

da mein Her - ze
oe

&
Ines
h

(lp
OLAD
‘
°

,
:

:
8

8
°

sit
TIL
mM
}
ta
008
14

[ae Ti) | ey eS ae we TIE Ld pt £2 fo Ee) ee SS See

eS ee eee

= eS es es ce ae a

dream-ing of fyOLLI OV Cee dear-est dar - ling, come (fo) pe

und an dich ge—denkt aa dass du mir viel tau. - send-mal,—

a?
ee
AE Te) SS) ces _
A ee REET ES Saat
——
aes
Sa Sy eee EE
pS gee a

a Sa RS ae a
———
a ae

Lbs
dim ‘ey
Cf e
LOPE e
alo SS Bes Ease a
ESE ee.
2

Come to me so ten = der-ly, to my heart give peace.

tau-send-mal dein Herz ge-schenkt, dein._ Herz ge -_ schenkt.
>)
a

oF
AURA ane St(SS
6 le. Se RS
ERIE OS aOR ET
ae SS SR, SE
CNTR,SS
EY fa
ey
WRCSTEee
Ge eee= Ayoaekeseae Em
res Ei ae .._._ ee ee Ee)
anc
Be
aeeeen!
ae eS
whey LE Fa Geese Fh ew A gl [ aS |
ef
 15

13:
O TASTE AND SEE
THOMAS HASTINGS (1784-1872)

Edited by James G. Smith

Berar tee = ca. 92 ria
SOPRANO <= ———> mf
() «
a 7s meas
@ |e. TS Ue a > i Ee SS SSS Sa ee ee ee ee ee ee
BW SS0 es RS SSS EES ES Se Es io Ee oe ee eT Se

gue a taste ___ and see that the Lord__— is good. eae is the
Ge’ a. Fa GR So Se Ey) Se ae a ee [= ae i Sees eS eeSe E255) toa
| 4 (l” a eon SS Ee (SiS ea i Ee eo ee Bee ee Ee ee es ee 2 ee
So. SSeS GSS Ol See ee ere CS ASSES 2 SS Se Be Ee er a ee Lee ae eee SS
EO sees i hae aren Oe ee

TENOR O taste__ —s and'"—s See that the Lord__ is good. Bless-ed is the
——
| PEP EES EES EES SSS TES eT R= ae ere eee = SS
- ie ye —__,—_______ 1 | _#& —_ — | 4 s—\ +++} + FF es Sas
= ESS Se AES SE ee lo a eee 9 a Ee See

BASse eetaste ___ and = see that the Lord__ is

2‘ood, Bless-ed is the

mo uy Fa Seieeaawenes SG ees
Set SSS3
a BSS
aeraSe Laeraese 6)
SS
aed aee a2 on
een
a oo
ee eee
a
es ee

O taste== and = see that the Lord __ is good. Bless-ed is the

man that trust-eth in Thee. O taste mp and__ see,

aS
a eae ees

man that trust-eth in Thee. O taste and see,

man that trust-eth in Thee. O taste and see,

Copyright © MCMLXXVI Fostco Music Press

Sole Selling Agent: Mark Foster Music Company
16

© ne Gras Sa eS) ET ae RY ee Ss Se eg ee re Ss a
O.. © Bee 2 SaaS 6? Pee SE Be Se eS 1 SS A LP ee aa Se eS eS
— a Ae SSE GRY BS hae a eee

taste and see, taste and__ see_____ that the Lord is good, that the

Re a ea eS Sey SS TEE CES See GIDE A RE CRE a EE ae Eee eee

a, ED BD CELA EDFA, CE TEED EY EE, LTA EEL, EN
CTS ee 0 er eee eS Se ee PSD PSS SEE SSeS STE RSA SS ae a Se
EE EE SE ES) ES) == Sey EE a" RE Ee 7 Os LE - ee eS Oe ee FfRe
SS o Ses See o

taste and__ see, taste___.._—s—_ and see___— that the Lord is good, that the

’ SS Sees
PE GS IS SS eee Be SES 1 2) Se aS 2) 8 SES AD
a 5 See ae SS) BE Sy F SS 8 SS es Ee SS SS ea.
2 oe CE SD — a, aS es Se eS - SEE CE 2 EEE FE 8S) ChAEE |OF EA EO PSSST Ee
J
taste and see, taste and see that the Lord is good, that the

TACY. ae eS SS CEE Ee TS SS EE SE SS ay ae ET LE SE Se Ee)

nt U Ss eee ES See EE SS Se PS. ES EP ee ee ee ee RS SS DISSE
= ae ne eee See Se ES eT Gs Lee el 6 Ta et ee Se Le
2, as SSeS) SSS A 7 SS SS SS SST SS Mo Se I eS SS ea See

taste and See, taste and see that the Lord is good, that the

ee] Bane eee eee, eee SS Bae

+ Ge EEE ITD |p CD GILEAD) LILLE, ELEY EO EEE GS GALEN
Biea 2° (le ees O° Sey Vee f 4-1 7S | Se TA SS IS SE Se ee
5 = $e ea SSS SS Ra eee)

ee Be See
[4 EES SR
Se ae |
Ge J] 1 eee RSS ESERIES BS Se ines Ge SS a ES Ee Go
7 ame: eee ae EEE SELLA TREE TE _ LTE DID, LPP) LD, A! ELE
FPL SS CARES BE x Se a ee ae

2 == Se ee Se
Lord is good,

a
stfs (3) Ge SS ee) ES ES PEST
Se
OE Sa, oe
ee ess!
———_————
op et ff

Lord is good, Bless-ed is the man that trust-eth in Thee.

x 2 = 45 }— Tf ep > >
bint oy ssa So SE, PSE OS © Gees 2 SD CSS (Ses FS SE ee EC PSS ae ae Se Seer ae
2 Se SEES FE EE Es (5 Es) aS ESS SS en ee Se Se ae Ss ee Se

Lord is good. Bless-ed is the man that trust-eth in Thee.

wartr po Gg =a = aaa Se SS
ae? L) DER EEE Ge EC RE SE EY REE 9 SS) SS SSS BL aes SSS Se
BP GEE PEGE GEIS EE A) ET, PR TA LIES BEE aes, be SS. MOY FS SE I _ Ss Se SS ey SS
2 a ae Se ae Bee ES Sey Ss eS) ST

Lord 1S a eOOd. Bless-ed is the man that trust-eth in Thee.

SF = Se ee Se I SS SS ee eee ee eas Se
| ass S| 2 ie eS SEE) Ei Se ers LSE CSS SSE ee ee Eee AS
So: > 2S o en To Ree SSeen Ss ee pe a Io re eS Ee ae eS eee ee ee Sees Ss
> r Pe P; fe — ams ee ee © eas

72 ae
Gea:
—5 = a
asm hai =
SP 2, Ee GEE SS Ss EET ES = Sa Cee SS ee) en 2 ae ee) = ee 0 ea SS
 | ~J

aay Dt
ELD CIES OD SA CELA ALD, ECLA L LEE, CL. LLL IEEE SEL LLANES, ERTL AS, I ES
oS ae - eee a ES. SSE Se SE Sar Eh a SS ee CS RE
EE Ss a ee See Oo
0 ee 7 eee 0 aed eT a > ESS SE BESS ES SS ee
ad

O taste__ and _= see that the Lord__ is good, thatthe Lord__ is

SO Wee ee a Ss <a aD Ms.

OoLugar
Gee eea a er,
ee
a a
a a
aS
a
a
|
a
2° aS eS ES ey a ess
p)

c Cae
ON eB Ee O_o Sao eee at
Sy Gis CEE) SS Ss ee ee eee
ES
‘ es Ss
— casero, so,

ae
|a.if

j
a P)
4G a
4

EE EELS EE ELD, EBA Seer eS es a ae eee

Beer
4 EE) Ae Ss SF a = (ED EAD SE ES EASA SST SEY BEY CESSES SSS SS PSS See ee ee eee Cee ee Ga)
Slo.) Se aes ES | RSS ES SS Se A) ee ee ay PES SS) a ee ee ee ey
a tee ee SeeSe SS ee BS See
eee ee) ee
GJ =

good, see, taste,=— fe) taste and see.

a
na SaaS Se Sa ee BS ee ae
S . 2.4 Gee Se Sa ee U GS ee > a SS SS Se a eee Ce ay SS
Gl. (eS eS eee 9 ae 0 0 es SS (ees PR ee a ead Se BS ee See ee
! (See eae ae eee ES A ee Se es ee) BS ee GS eee Re ae ae eS
'?, CG
Sa “ =
Se at =

good, that the Lord __ is good, that the Lord, the Lord

————
2 eee Sa
a aa ees es, aes ae ee

ts
ere

O taste___ and see, taste, — fo) taste ____ and_—sSs See.

5
S a) wae aS SS SS a SS
Be es Ee Ge ed ee es ee BS eee 6 FE 9 ee ee ee Be ee ee EE » ee ee
LA e,

see that the Lord__ is cOOds a that thes Lord, === is good.
18

Ge’ arf ee ES) (SE RSS SSE (RE ROR Ee Ta

SE GS ae
wr a Tay (iy By Raa Be i aS eee aay ee Se Se Ee Se ee _ a a _
2 (o. : Sae 2 ee ee) ee Gea El eee GEE Ee RET REE SS eo SS eS a a eT ee
Ee ESF ee. een. ee ee ( ES CERES SEIS, SRE SSS

Bless-ed is the man that trust-eth in Thee.

Se
aE’ aT Si aaa SS SSS Sarees Sos eae aes ES ee SS
i . Gait | Sees D Pee », Ge ee ee) SS PS Re (SS en ee ee ee ee Se Se SER
s.. S SSeS aa FR TAA BABE TOSSES Ce ee | SS Bee? Wee eee See) eS | Es TS
| fa [| fa lO —————————————

ee

Bless-ed is the man that trust-eth in Thee. © a

es
y ae
eS 4 | ey ley De Ieee Glos ie ee eee ER SP EE SEES, GLEE, (SEE LET ATOET, |S RETIRE ALE LS
i Bide et ee 2 eel See ES (ee, se! (Se te ee, Jae bee (PR Se SSG POI Le ee a
i (ot i ee > oe *, ee ee Ee RS EE ee a ES 2? i ae ae IY . | ee ae Gey ee SS ST)
5 eee GE) SE SEE, ES i es SEES lay Ss Tee ss re ee

. Bless-ed is the man that trust-eth in Thee. O taste___._—s-— and

mf. r 2 —
PT ees . Se ES _S )_ eeey § ee Bh een. ee _ ee Ee eS SS YY AS eS ee eT Se
Bed LPS a ee es a ee EE el Se EES be CS) SRT MAE ey SE ES) Se ee ee (a ESS
ie eld) eS Se ay EE le Ieee eS (ee S| ey | 6 _ SSS eS A SSS LIS eS ee SS eee ee
eS, aS EET 72 See SS FE CSE A ie Sa ee SS LE

Bless-ed is the man that trust-eth in Thee, O taste___—s-_- and

et Rees taste= == and see thatthe) Lord === is good.

M fe
Se =) Saat See iy ee eS ae ee Ee 8 2 SS ee ee ae
0 ee ee
O
a 2 See
ee
See ee
a
eee
oe ae oon ee
a aS 2B
ee
ae + a
|
eet

see, taste and see that the Lord is good.

QD
9
DY ib
eS
Es Sa ae 2S aa Ae ae eS a Pee
ee
Sd eee
eet
ee Ps © ee eee |
ee =z Bee eee) ees ES i Se SS le eS Sa ae t
 19

20.

WILLIAM BILLINGS
WHEN JESUS (C ano n)
WEPT WILLIAM BILLINGS

ld = 0]

21.
THUS SAITH THE HIGH, THE LOFTY ONE
ISAAC WATTS (Ca non ) WILLIAM BILLINGS

() #
d= od
eS & > Rees See ae eee bh ee ee
— fhe} ——- fg * J
20

2. Jzco from Missa

AGNUS DEI
Brevis St. Joannis de Deo
Translation by Harold Decker Franz Josef Haydn
Adagio Be (7 ab Edited by Harold Decker
Soprano yee - = rn CK BM
i
a S.C
ee ee

Qui tol - lis pec, ~ cay ta

Ser Who bear-eth the world's trans-

He SS LL OL TTL Sa) 2S SE Se! eee Be

Qui tol - lis pec -ca - ta

Who _ bear-eth the world's trans-
Tenor ap = - - Pp Sea
Be 22 Gi) 2 See EE NS Te ee eS SE DRS Aa SS
OT - Ee ES © Ra PE PET, EELS) SEK PRES IES ee SS SS Se See
AO 4 eee ee

Qui__—tol - lis pec-ca - ta

Who _—bear-eth the world's trans-
Bass = ee
a ee
a oe eee P
0%. GES) BS Se aS SN BEETS EM RE ES RE SS “eS Tn ee Rea
af (73) 21> net Gee ERED ee 2 GG se SO ee eee Se | Ee ae ee DES

A = = onus De. = = = L; qui__—tol- lis pec-ca - ta

Lamb of 2055 ee me oe aE who bear-eth the world's trans-
Keyboard ee | oe
ae a
ae
Ee ee
ee a BS
SEE A I TS

ER, TEED, (EE EB BT | a SS a SS

Ro ag tit telecine ——~
SSS SES

ees ES
IEE I GETLELLE TE (AE CLT CME +,aE SS SSE
CE Ee SEER SEES EA GESTE! ISLETS! AxeseSY SES
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gressions, Lord have; ) miner ==) cy, Lord have mer- - cy
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 21

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22
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26

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 27

23. Johann Sebastian Bach

ALLES WAS ODEM HAT
from the motet "Singet dem Herrn"

Edited by JAMES McKELVY

SATB a cappella

l|
a? ee Aye (i ee Ge ee Se Ba SS SSS Svea IS OGY Em Raa SSeS SS. 6S ES eee
Eat TULSA" o ce A eda = a Oa SsAES Gans AS eS a we ek eS le. 4) ee Bee ES eee
A SS a ee a A SS PS CO ee ee” ee ee ee”
eS © GREET SESS (ae a ee eee ees Le ee a

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i ee TD f peariereen 355 == SSSa=) a a

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Eh IE
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ss
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Se se

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SA a.ae Se Ss seeas _ 4 3 SSOS eee Se
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Re Se aS SS a le Lae Se ee ee ES 7 ae

8 lo-be
Ga den Herrn, Hal-le -lu - ja, Hal - le -
an San ee i
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pee 4 ee) eS CST BE BE eae ee Dp pe

le - lu - ja, Hal - le - lu = ja. Al - - les was O-dem hat, lo- be den

- dem hat, lo-be den Herrn, Hal-le- lu - ja,

eS A) 2 ee 2.7 = Reed
eee SS See SB ee eee eee eee Se Be eee el.
QT eS eS ee Oe Yea Ie ED ae ee eee eee Eee eee se eee ee Sas = I
V a
= eas

lu=ja, sHal-= leo = lu*=~ja! Al - les, a - - les was

Herrn,lo - - be den Herrn,Hal-le - lu-ja, Hal - le - lu - ja,

eas All Rights Reserved Copyright MCMLXXXV Fostco Music Press

sKAPY Sole Selling Agent: Mark Foster Music Company
int eeneteonel Copyright Secured Box 4012, Champaign, IL 61820
28

errs a
es
ON ae a ee 2S SS SS SS a eee |
ER” SE” TTA TD EA ES BT EA ER SS
r,

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sere

Poe SS = SS Se SS SEES
mam SS SF eee Sm EN Bee BSG as rn PE ND ST ED Eee)
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Se
SS
f — 70 ee eS
= ae AGEA BAe Ces Sn. a ==]
Ne a eed Sows 7 ed SNe a a BY HY eT ea
ray —FA jo ae (2aPP ae SS GlDSRS" AS 7ESSN (a ae Oc) OD) EM SG DF LN STO ( ]
3 —_—_ oS = —_ LZ ~ aegis enn EO pe es

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lo - - be den Herm,Hal-le - lu - ja, Hal - le- lu - ja,

m
ap’ au ISO ) CESS SS | ) SS SSS a Ly ee
v.22 (aes eae Ce A eee ee SS ee YR De aS ES ee
a. ae ee ae SE OS. ee ee. aes es - SS eee eee ee LEM A... mE Bei Sa
FAG! SSeS OE a ES Oh RE ES SD RF Bea er 2 LETITIA TEE IE. SEN ENS iv.
en ES GaSe Co en

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—

ate ss

. a em tare re aie,
— real : 2
SS OE) SS ES WS BER Ge BSS 0 WSS SET DEE. GSE SE Se TE SR A ES ES
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6... GaN f Ee ee ee 2 ee Cts SD EE,PTTL MY TR ED
SW esi 0 Se * ed SS EEE, TELS DEIR LIES |SP EEE FLEES, IT

lu-ja, Hal - le - lu - ja,Hal j - le - lu = ja,

et m
ee eee ee ee ee ae ee eee SS SS) ha oe eT

age ae Ret den Herrn, ‘al -le - lu - iS Hal - le - lu - ja, Hal- le - lu -

.
<= va, Hal = im - lu - ja, Hal-le - Ga Hal - le-lu = eh

= See Ge (2 2 Le eS ee eer
J a ae >a. or SSos oe
ed

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a SS Ee — m

e— A 2 Se a Ss Se a
en NS ee eee A 0 9 BS Se
LED
Fon ene SS

les was O - - - dem hat, lo-be den Herrn,lo =

a Bay a Ee eee ae
SSS 0S SSS BS SS Ge SS a SS Se SS SS ES SSS Sy a eer eae
ay SS a es ee ee OS SS SS", Se} eg
Ss Sc ses |
jo, Hal-le - lu-ja, Hal - in - lu - ja, Hal-
 29

Se | Se
5 y 5 a Ce thEG SESS bhGa) CSS Ge Re EE Ge
2 a a Fi SE EEE BES FE Ee Ee AS) El SE See Ge~ ( eS SHS Re a
BD) Se (SEES ERLE
BE SSE WA ES 7a Bae! BE SS Da CSS
9 Aes

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f) D =r co
-=a= | > » 4 as ha at
V BEA "4

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—
09 Bie ann aS or See! SSSey
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EE EE 1sCA i a. a)
SS Ue en

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1, L, SSS See

dem hat, lo-be den Herrn,Hal-le j Hal -le - lu ja,Hal -le - lu - ja, Hal-

Hall yee le sus — aa A - - - - les was O-dem hat,

— =
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}
Be ee ee A RS (_ a Bm. ae eee eee

lew =) lu =" ja, Hal-le-lu - jo, Hal -le - lu - ja.

f)

BY
A Re A SS es Se eS |) ee ee ee Cl a i) es ee

Hey —_e te He Ba A eS SEE 22 SSS a es eee ee

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LEE ES aS m

mee Iho Yer Hal - le- lu - ja, Hal -le - lu - fe Al - ay at

was
m

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lo be den Herrn,al - les, al - -

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es

AW SES
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eer Ss SSS SS. SI Ss. Dy

$< ——S— Se) GS ae Et Se =

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a as

Y PD eer ee ee ee 2 ee AEF REE) Gee)

- les was O - - dem hat, lo-be den Herrn,al -

30

- - dem hat, lo-be den Herrn,al - les was

ee eee
ES SEN a eee: | SSE.

BR” eae | Bae BESS EES ON ee cee ES eR 2 ee ES SS ee ee TT A a SS A Se SS See

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ae ae, oS ae 9

STE 2 SERS OEY SS0RP BS. SES | nS EE ES PE EE Sy Seen eee

Bae Sn SS Se SSS EEE'SEES OS ER HOA ee Ee ee ee a

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agres lo-be den Herrn, al - - - -

{)
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= a
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SE CE eS We
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LE SSS ) SE) Sn aaa FED meseeen ey came: reese ees (EET

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BS SS EEE A ES Ee) Se. Se Ee EE ee eS ee

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ae: Se ee eS ee ee ee ee ee a ee
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lo -be den Herrn,al - - - - les was ©) - - -

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a lpm ——f ff jp fe a as
pletely —— 1——__ Cs == fal eS) bo be Se ee tt

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f) =, ees
pot KR eee te eH HF ST a Se

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Hal = le - lu - ja, Hal -le-lu - ja, Hal - le - lu - ja.

3 ee |

8 cai A - le - lu - ja, Hal -le- lu - ja, Hal - le - lu - ja.

seat \
9” Uni me. GS Ge 8 GE SSE SE AST Baer Na ee ee
ie UO) BO eee». Ge ee ae SF ESS SS, SS SS LS BS
4 Nee SE 0 Gee) ee (| . GE ae a eS
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— dem hat, lo-be den Herrn,Hal - -

 Il FOUR-BEAT METER
24. ALL THROUGH THE NIGHT
ae eeer ser a — =. iy BES =
Sleep,__my child,and peace at-tend thee All through_the _ night; Guard - ian an - gels

au:
fp #

eats? ee rey

Sa Sa Se

ae ae Sea ees
God_willsendthee, All____ through the night, Soft the drow-sy hoursarecreeping, Hilland vale in__

slum - ber steep-ing, I___my loving vig - il keep-ing All _ = through==the night;

= Bese ee SeSe ee eee ae eee a

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a SS SS ee

eo SSS aee paees SS SS SSS SSS SS ee Ee

@ (0. Ue Se rae) Ba ee ee ae eee ee i Ee, eR ee ee 2S ae eS eee ee |
Be aS: eee eS SSS eee See El - ED O Ee ee Ye a ae eee
i ee

Now the day is Co) - ver, Night is draw - ing nigh,

2) Qs Ey seen Se Se en Se eee eee eee [ae
a
S Ane? SS ae ee eee eS iy a eee See eee ee
Ba. WARE Gee SE eee EE bl ee ee er ee ae ee a Pe eee oe Se La ee eS ee eee
eS) Gee ST a ee ae a, cS a
SS eee G 7
Now the__— hes 1S eo = ver, Night_.is draw- ing mh
aan lan ie YE eee Ss
ro Essay. ee ESS. Para Re a ae Ss a Pee $s ee BS Ses Sl Gee Cee ee a}
0 ll) a2! See a a Ee Ieee ee Ge Gs as BS ss SSS eee eee ee eee 5 aes Ree Pee
wee SS Ss SS Se SS a eS See eS eee Be ee ee ee eee i Pee eee ee eee
aa Leeear aS Seay aes ieee ee a ee ee

Shad - ows of the ev = ni ng Steal a- cross the sky.

SaaS
eS See ee GS ele ae ed
——————————— ) SS eS See ae ee eee es 6 eee | ee ee ae
SS SS SS SS a SC ee as Fo a

Se
Shad - ows of the ev = LTT) ees Steal a-cross the__ sky.
32

26. SWING LOW, SWEET CHARIOT

Swing low, sweet char - i-ot,

Et
Com-in' for to car-ry me home! I lookedo - verJordanand whatdid I see,

om
m oe

Sarnia aioe = ae ae eS eee ee

Com-in' for tocarry me home! A_ band of an- gels com-in' af-ter me, Com-in' for to car-ry me home.

Se

27. STARS OF THE SUMMER NIGHT

Stars of the sum - mer night, Far in yon az - ure deep, Hide, hide your gold - en light, She

see?
ion Wa ae C=
BSE = —

ae ee ee ee eeeee
sleeps, myla- dy sleeps, She sleeps, She sleeps, my la - dy sleeps.
 33

28. AMERICA THE BEAUTIFUL

ee = = = 5 i
O beau- ti-ful for spa - ciousskies For am- ber waves of grain, For pur - ple moun-tain

(SS Se SeSS es Sh i SS
ee
ay Zee oe SEs

OM beau iii— tule tox spa - cious skies, Hum Beau = =

maj - es-ties A - bove the fruit - ed plain. AY = mer = i-ica, A= mer = i-ca, God

== SS = SS
we 9 en tees *
ty, A - bove the _ fruit - ed Dian, AY) mer = i ea, A -

shed His grace on Thee, And crown thy good with broth - er- hood From sea to shin-ing

mer = i Ca, And crown thy good with broth-er - hood From sea to shin-ing sea!

Max - well-ton'sbraes are bon-nie, Where ear - ly fa's the__ dew, And it's there that An - nie

Lau - rie gave me her prom-ise true. Gave me _ her prom-ise true, Which ne'er for-got will

=e =

And for bon - nie An - nie__ Lau- rie Neos lay me doon and dee.
34

30° DOXOLOGY
Oo TE
oo a fe Seren oes R == —— a ee eee
S25! PSS ses ‘ So ae ee eS eee ea SSS
ea eS eee ee

aS ee SS a eSSS SS eS

Praise God from whom all bless- ings flow; Praise Him all crea-tures here be - low; Praise

bove,—ye heav'n -ly___._ host; Praise Fa -

31. LOCH LOMOND

High voices only

By yon’ bon-nie banks and by yon _ bon-nie braes,Wherethe sun shinesbright on Loch Lo - mon',Where

Add low voices

me and my true love were ev-er wont to. be, On thebon-nie, bon-nie banks of Loch Lo - mon'. Oh,_—

I'll take the low—_ road,And [I'll be in Scot-land be - fore ye; But

ye'll take the high road,And I'll take the low road, I'll be in Scot-land be - fore ye; But

(\ a CN
pee 4 ll

me and my true__love will nev-er meet a-gain On the bon-nie, bon-nie banks of Loch Lo - mon’.
fan oN
eel SS Se —— re
8 — —a Be Seen oe ee

as. — —— a Se eS ES See
 35

32. MEN OF HARLECH

|? ee) a ae Ce ee ree ee Cl ed Re ee ee ae {$j
J. ae eee SY eee
ee NY ee ee ae ae ee 2 See ee Te eee

—— Y gs 2 See| Oe El RE ee eae

1. Men Qi Bee = lech, in the hol - low, Do ye hear, like rush- ing bil - low
2.'Tis the tramp of Sax - on foe) — amen,= Sax — son spear/—smen, Sax=— on bow — men,
—a a,
amine:
2. ee ee
Se PaaS
ee
oe ee eS
er —————————
= Paes 7 eae eS
SE eS Po SES a aaa See ee aa et
°

1.Men of Har - lech, in the hol - low, Do ye hear, like rush- ing bil - low
Phe SOUS the tramp of Sax = on foe - men, Sax - on spear - men, Sax - on bow - men,

ae
a SS SS ———
ee Up et
V EE «a = S

Wave on wave that surg - ing fol - low Bat-tle's dis = tant sound?
Be they knights or hinds’ or yeo - men, They shall bite the ground!
ld 4 Sy Ss SS ae) ee a
. a a
ee ee
a |)
pee es SS
oe
2S SS,
ee
EEE
a
SE eS
OO
| ee ES

Wave on wave that surg - ing fol - low Bat-tle's dis - tant sound ?
Be they knights or hinds or yeo - men, They shall bite the ground!
vartr ———— ee ee een
it YY Seas ae fy Ps oe ee Re ees Se Se ee Se ee eee ee ES eee ee
pee SS San 0 ee _ ae ee ee 6a eee 2 ee eee SS
Lae ee ee Se = aan es 2 ae ee ee Se | Ee |

{) «
= 2 eee IS S oO
|S el LY Ly oO
ae SS
eS SSS aT

Loose the folds a = “suni— der, Flag wecon - quer un - der! The

Loose the folds a - sun- der, Flag wecon - quer un - der! The

BP AT = sree) EY |
eS ee ee
a,
ae ae
SESE Ne 5S
eS
ES
ESE)
SSS
A
(2SSSee
eee EE
a)
(ee
Se
a ees
as
ag
ae
SSeS
aS
eer
SS
See 7 ee
eS Se
SS
a
PSR
ee ES

plac - id sky now bright on high Shall launch_its bolts_— of thun - der.

= om — S 5) Ss — =o 9
‘
Aes——__—__________#= = Rew Ss PS eee ee
eS Be 8 a =” an
ae ee =
So ae eee a

plac - id sky now _ bright on high Shall Wlaunch=its=—== bolts==

of thun - der.

3
NG
ii
36

= a Bey Ae a a ee ee ea
wai nee Ee Oe OE ET Sey ee Ue Cees EE Sey BR ees Se ee ee WSS Bee SS SS SSS SS ee
ES PEA TA Se Es ES

On - ward, 'tis our Coun- try needs us, He iS = DLA ests he who leads _ us,

LAY a SS ee 1 Se Pe Se ee a ees SS GS SS ee ED

ae °

On - ward, 'tis our Coun- try needs us, He is brav - est, he who leads_ us,

v2? as JE 62 Ee EE CE GET Gee) FS ee SS ee SED

hf TT Saas ae wy Dd Ce 6 SSS ete See een eS a Se SS SS ESS eee
SS PPS aaa RES SEE 6S Po See ES EE oe SS RS GY SST Re tee ee aN SS
2 ee CEE a EE ee EE ENG SEE RS SS SES, ERS SS (RE Ce Se PS

fe’
=a’ a See See SSS 2 | = Ra ae See
2 . cess SS 1 ee ees ee ae SS Py aaaEeaaaes |
5. ees eee bh ea ie Re SSS ee SS A _e ee ee
e eeee
EET _ TLE TE CSE 2) SO. ae SEE SSS I (A a ae ee U

Hon - or's self now proud- ly heads us, Free-dom, God, and Right!
ox
=’ a ea Re Pee a ee EE SE a SS
See SS Ss BR bee en ee ee ES Re ee eS
Tes i A BREA CS) Ee SERS SE Gere es eee er ey Sai
3! 2, EET SSS SEES SS eS i De RSG Ga a Rese
gse

Hon - or's self now proud - ly heads us, Free - dom, _ God, and Right!
a
a RSS ES FSS ) PSS SS eee eee I ° i ee
| je 4 ee Ee oe LS Gr ey a ee ee Pee SS BS ES eee SS

33. THE BOAR’S HEAD

a)
—f}1— pf ____4 mE -eEee eee ee eee Se Pay Ea

2 aaa: Se Bee SN GE 0 Se (Se ee ee ee Ss ee See © Sef Se eSea

The boar's head in hand bear I, Be - decked with bays and rose - ma-ry. And I
a
i— 3 ae 1— Sa SS
es SE
FSS 2 Gt 2S] ES CS ee ee en | S22 eee
SS
Gl... Ua: a ae. 5 oS (2 Ee ee Sen eS Gea A es (Sy Sr eee ee eS es a ieee | eS" TS SS A
a! Sea > = Lol Saat eet 2 fe Be ere Se ee ee ee a a | ee ee) See
Se ee. "
4

The boar's head in hand bear Il, Be - decked with__bays_— and rose - ma-ry. And I
aap Cae A oc
7 es es Se ee ee ee ees (ee es ES SE, SS PA ee ee eee ee ee ee
bd Ti: a en fo eee [GSEs 2 ee SSS ES Se 8 ad ees ee BS Se | eee ES ee ee ee eee ee ee
458 CE GS? Ee i eee EEE BGs Ee See SERS eS SE Sees SS ea SE eee Saas—— aa
(=! Eee SE a os » iar Be JS CSS S Se eee eS

ON
7mine
|.
eS
We)
eeeee
ee Ces —— a a co eo
ees eee SS Yt
Gee See Se ae i _ ._. aae eSee
SEE WEI REE ©)Me ee a eed ER ee ee I ee Gy a ee SS BS ee ee

pray you, my mas- ters be mer- ry Quot est - is in con = Vivo = rh BAF OYS
or
a FS) EEA = eee SS ee eee eS ee
2 22 Re ee aT eT FS es Cee Ses | Se Ss es SSS 2 Ee ees Se SS Se
a). Se EE DEERE $6 r" EES WEES a ae Red a SS SS SS ee SS Se ee ee SS ee ee See ae
= we = Bee Sees ee GS Ee BE Be eS a ¥
0
SS, ee

pray you, my mas- ters be mer - ry Quot” “est iss" an ae CONN VA: = Teas
<> am ° fe
= eee i ee ee a a CS a SE ST _ ee Be ee ee eee ee

(2 SE SE Sy
aes
PE
Gor
ph.
eeea
[eee
Se
ED
ee
ee
Ae
PS
GE BESS
Se ee
OS Se SS
ee
CE
ee ee
aa
fs
See
ee
 -)
SS
or
a ey
a
Tees
Soe ae aes fermen
SSS
a Ae
Ses
i
Ss
9 cate eerers eens =etsSeas
Se
ee
aera
ee
ame ae
a
na ee See
Ee
See _——
a
+e
i?
ee f

Care= puts ae =P pri dese nice LO Red - dens lau ~=— des Domi y = lin DOs
a
eS 22 Ss a ee ee ES ee: SE oe EE Oe a
TEE DESERET 2 (ER SLPS Se ESS SSN Ro a I le) BS Se ee ees eas i SIE

SS Ss

Came put a - pri deme fem ero Reda dens==" lau, — sa des=——, Domi i — © no.
iw fen’

ey
ad YS Sy
SS 7 eee
(SS
ee
Peer
ee
eee
ea
Sh es
ess
ES PSs
SY Se
SS
SS
ao.
ee Se © ee
as
eae
eet
Lae ae
—TT —_
2
1)
LEE
#7
LEED
Hty|
ES 20S § DS SS F aS he Se a an is

34. LONDONDERRY AIR

tg Sg ye SE eee
WouldGodI were a ten-der ap-ple blos - som__ Thatfallsandfloats fromoffthe twisted bough, To find a

SS = oo

Siar = f=
home _ be-side your ten-der blush- es, And gent-ly lie where lies that blos-som now. Or would__I

SS SS SS ee

S gael SS ee See
a little burn-ishedap - ple For you to gath - er,glidingby so fair, While shade and

= a Sea

ee
sun___ your robe of lawnwilldap - ple And hide to- geth-er in yourcrownofgold-en hair.

a
38

35.WHEN HOME FROM WORK MY HUSBAND COMES

srs | De ee
Quand mon m —- ry vient de de -— hors,
hen home from work my hus - band comes,

Alto anne
ARP,
se ‘i == = = |
a>
Quand mon m — ry = de - hors,
When home from work my ee - band ear

Tenor = i — : i
Quand mon
When home fot

ea —— ee Quand
“SES
mon
ie When home Fee
a | es
+ Eat 2 i = ——=—

Piano For rehearsal only

|
= = Se

ies aes = Sree ale —————

ren — te est ~ ge bat - tu -
ae is fate he be beat -
=

Sai eee

koe 2 eee ren—te est wh late bat - tu -

[tip ee eee is fate that be beat -

= =e a oa
ry vient de de - hors,
work my hus - band comes,

ry vient de de - hors,
work my hus - band comes,

All dynamic
areas marhings are

Copyright
added

©
by the editor.

MCMLAVI Fostco Music Press — A.S.C.A.P.

ays a ee een Seer ee
i" Bae Rae ee) eee SS ee ees Ss eee (ee es >a aaa SS
Wt (a. W148) BE os SSS eee fee ee A ee eee eee ee) Ge > Sa ia" ae rereee)
fo SF a a RL Se Ee ee oe ee ee Ore ae [.—— ie
eee 2

Bp ma ren — te est a'@é —- -— tre bat—tu -

en, it is fate that I be beat-
f >

a pie ao een ae Soe ee Se Se Se Se en oe er ee oes ee

é, ma ren — te est d'é — tre bat—tu -
en, it is fate that I be beat-
> >
aa’ Qe) 2 en ee ee es ES BE ae i ee ee ee ey Sees ee)
SS Sey 4 eee See eae eee Ss CS ee o ee ee Ee Se SS eS ee ee Ee ee
Gl (. 4s Be Ee BE ee ae ed) ee Eee ES Sd ae Et ee Se Ee ee eer
) SERGE TE) GET) SS (eee ( Ges GS ee Ge 7 eee Gee Ee Ie] SE ES Be) ES Gee ee

ren-te est d'é=tre bat-tu - e, ma ren — te est d'é-tre bat— tu —-

is fate that I be beat - en, it is fate that I be beat-
> mp =>
2 EE Bee ae ee SS LA ae ee eee LE enters]
G4 ha bl ae. ee eee SSS (SS RS 64a oe Oe ee | eee eee ed ee Ee eee Ge ee
By Ae a Ge ee Ee eS SS) ed es Ue SS Ea SSS S| Ges ee eee ee eee ee ee ee © |
Ble) AG ) SS eS, SE Se EG Sa SS SE SS Sa Se a eee 2229 eee

te est d'é — tre bat—tu - é, ma ren — te est a'é - tre bat—tu -

fate that I be beat - en, ie is fate that I be beat-

= ae Sa aaa es ree ee CS eee a eee Eee SS See ST

Pe Sy Ne o Eee Le © EE) © ee SY » Ee ee ee ee eee. eee
S (.. 8 4) eee = 3 Le SS 2) Se Le ee ee ee ee Ieee
fa Ss eS Se ee ed ee eS ee) Le ee eee ee eee

6, wl prend la cuil —- lier du pot,

en, From the pot he takes the spoon,
A
a" ae Be
f a FESR Se ae EE Ee ee eee I ee eee ee
Kb ss et Saas) ee ee Be ee eS Ra ee _
Of (oe) ee SS SS ae Ee Ge ee eee ee ee a Ee ee
vy —— p= een ee enn ene ee eee eee ee Se

e, Il prend la cuil —- lier du pot,

en), From the pot he takes the spoon, ¢
BD” Aiea) RS aS ee Oe

| oan
Il prend ila cu NN 1
From the pot Ow

4 43) See aes =]

e, Il prend ia cuil —-
en, From the _ pot he
40

= @

coum ———————— ———

AB TA) -—te OQ ip Sae ee, S eee ee RSet a ee

ee LL te - Ste il me la re = e,
At my _ head he sends it fly - ing,
4 ae =>

rane
[TONY
—
| \

A Ja te-—ste il me la mT — es
At my head he sends it fly - ing,

——— —— —— ss
a a ec ee ee
Se Sa Ea ee re ee ee ee

e
8 lier du pot, Ase eee ee To Ce—SLe atl
takes the spoon, At my head he
SaaS eS ss SS 5 Ss
ep a Oe Sees assy Se
SE Rs Be SSS Bae ee a ene ee Se SS) (a Se eS eee

lier du pot, A la te - Stier tl

takes the spoon, At my head he

a la te - ste il me LO IIe ~ e,
at my head he sends it fly - ing,
f) at SS >
aa Sars SSS
[Tey YD a ==
Saeed oD -
oe
a la te - - Ste tl me ia ru - e,
at my head he sends it fly - ing,
es a aa —
a
J Se en ee ee ee
HAs? p97
V SS SaaeeeSS Ee
Gia eseerarea ee ee
renee fees es apes Gases ot anes Seascale
ee ee aa
ee eee alae

8 me. <Ia- Tul "= é, a la te-ste il me la ru - e,

sends it fly - _ ing, at my head he sends it fly - ing,
= mp >
ASaU£576
fF Cay Bia
1BES
ee EeeeMeenas PEES-Ree Re SSS Gee Sar
es Lee eeee Se
eeee
A EeeeeS eeed Daee ee eee
eee » COONS ERE SERPIIN AIA (BEN ed SSE PST ia WES
gee (See ee SSIeeee) eeCd Poe) oe Re
Ee
me la ru -— e, a la te - - RYH IL Elan - e,
sends it fly - ing, at my head he sends it fly - ing,

a
ld 2.

nCmene
oF
S ).
ate)
eh S See
pe e
es eee
ESeee ee ee iene
ee
ae
a
ES ee
eel
ee ee
ae
ee
Comer
ST
eens
ae
ee
Se
G2) Bate ee ee er ee See ee a oS Ee ene el a ee > Se Ra Se ee eS ee

J'ay grand peur qu'il ne me tu. - e, Clest un

One I fear he means to kill me, Jeal - ous
N Pp — > =
¢s ana SSS eS
ee '@,

PMONV) grand eur qu'il ne me tu - e, Clest um

p Oh, I ear he means to kill me, Jeal - ous
é = St > >

8 J'lay grand peur qu'il ne me tue - e, Clest un

Oh. eat I fear he means to _ kill me, Jeal - ous
P ee = - fastds a =
+e [7 2 © 2 eS eS oe a eS Sesser Se
| 2/6 Se SS ed ee eee ee Re eee Ee eee a a ee pe
0. se "Se Ge es ee RE ee ee, Lee a ee

Cy grand peur qu'il ne me tu - e, Clest un

Oh I fear he means to kill me, Jeal - ous

a Cee
Bae ee
eS aS ee
eae
Ee ee Ee ee eee
L
Re ee Be ee
i
_ = 7 eS od BS Se ee Ee Ge ee eee ee ee ee eee ee)
mur, ve ) SS SS ee A es ee en ee

ey ae OQ
i £= Bee ee eS es eee ee See ee eee ey See Se Se
RSs 0 2 a 0 TS 3 Bes SS So hE ? Bee eee ES SS eee eee eee eee
a a ee ee ee ee
= (Sti Ser Eo SEE St See ee ee BE)

Saux vi — lain i tL OLLZ) CHEST aaU faux vi - lain y2 -

vile = slain, that he 1S) jeal - ous vilie=— lain: that e
= => — => —_ jp
f)
if . aes ees (ee == aaa 7 eeeEa SS
eye 7? rr? P's O'S
ee ee ee ey aes RE Sa) SES a AEE Bea eee ee

Saux vi — lain Ja - loux, cfest un Saux vt - lain io

Vale = adn, that he Se jeal - ous Vil = slain, that he
f) > > > —_ > PP £
Of i A
(6. 04a) Ses <_See
CE[==] SS
Se ead i Al Re
SS
OA i aS
ae ee
SS
a
SS
ST
een
oF
$$ re NSN

: Saux vi - lain ja —- loux, clest un faux vi -— lain j2 =

vil - lain, that he ASI jeal - ous vil - lain, that he
‘2 2 Sa
> >
Ba (eee
>o Reseed Rs
> as
PP a ) ee ee ey
a 6 +
Bs ee a Say Se (Eee ee _ ee ee Se ee
BS 2872s aa Saas SD ae 1) eS eee Ie eS eee
rhea 5) aaa an es a ee ee ES See Se See ee ana SS

faux vi -—- lain Ja — loux, clest un faux vi - lain yee

Gaul a ewhele that he is, jeal - ous Vilseomlatne that he

eae arraayy een ee eS SS SSR: are eS Se ea ee See

@ QS 0 Aa 5a » ee So ae eee Se ee eee © ee ° ee SS 6 SSS SSS I~.
Ble W4l: he aaa ey ae eee ees a 8 SS es ES EE RS CT AAT = = A
BWW G2 ae See 7 AS eS BS 0 BL FSF (EE SEES ee LS ( eS — ee eee Es

bh Ih
Wd
bi |

Zz4 ag
ST A)
 f JS > = > > > > > > > >
a >a Sn See ee Ee | ee Ce SESS ESS SE RS SS ree ae
one i « Seay ee Ge GE CE GE EER) F-IN G SS SSS SS Se Se Se
i. @24 Dp henna See Ee ees Ss - eee et EE Se SEE Se eS SSS PSS SSS ASS
¥, SaaS Be Oa EA hE EES PS a a eee ee Ee ee) eer ee ee ee

loux, Clest un vi — lain ri - o — teu, grom me — leux,

is, lll - tem - pered and cru - el man, spite - ful man,
+ hi > > = > > > > > =
ee Se ee aay
B 6874 3 Se=s Gea eee FS es RE ae ed ee ee Pee Rese! Sey SE Ss EES Ee eae ae
(a. Gla: Se? See ESS SS ae SS Bee GE CESS ERE SSS PSS SSS SSN RESIZE SSE
BN eee eee SES Ee Ie WY Ee Gee ee Be eo ee SES ES Sees ey

1oux, Crest un vi = lain ri - o —teux, grom me — leux,

Ss lll += tem - pered and cru - el man, spite - ful man,
Ss = > > > > = > > >
ae LL >
Ba C4S! 1 Sa Gay Jee Game 7 a eet ae a Bee ae BSS eel ey I SA
Se Bea ESSE SS Ee eee RSE) HSA Tied GE aa) (SE ES eS ESS SS ee

se loux, Clest un vi - lain ri - o —teux, grom me — leux,

se Tie tem - pered and cru - el man, spite - ful man,
, a > > > > = > > >
2a a ey GST AT Eee
ee Se ee GS eePREY SS ee ep Ee) ES ee ae
eo} > + >? of i Ho Ho? oH
Be 220 "GE Ae - Pee ey Ee eee aT RE STE CT SEAS Sy I Re ee ee eS ee
Gah Laat aaa A Se Se ES SES CS SSS PSS S| PTE FA FS ae EE ee ee

loux, Clest uw vi — lain ri - o — teux, grom me — léux,

is, fil - tem - pered and cru - el man, spite - ful man,

MOSSO a tempo
MENO
t > > >
SS" 0) :
2 VS SE: Te GE Pa Se RY Se EEE RS SS ES See) ES
2 Ee tS
6 EE
|
ES
ES Se
EBLE
Ps
GR AREA
cas ES
ERS
SE
Se oe La ia eae
OF” EEE) WOES
See Need ae
Gas Some ow_ SSE
Peeeney >Sa enoms
Je suis jeune et il est vieux, Crest wm vi — lain
I am young and he is old, fli - tem - pered and
SS] 2 SAN ESS EE PGES EL EEE IDL
:
LD
i
LIYE) CLIN CEA
ee GET GIT APES ERE IE PLY
A ES Se
: ap
a SS Lee Meee e
Mesmacaees Saaseaear
ee
ken tes laaemc wee Sovecetn Jee
mace et
aod prose
ee
deusmasoeeaae!
»
meee

Je suis jeune et il est vieux, Clest um vi -— lain

am young and he is old, lll - tem - pered and
f) f > > > >
a” SFB BS eS SESS 1 EE (SS (SS a BESS Ss eee ee See SSS ee
—~ Ba P+ 5 Sr SC a a a Re ae 2S Se o- BSS ssa
Y ees BASSES EES (Se ee, ESL SIE Tt Se VS ees eee eee

8 Je suis jeune et il est vieux, Crest um vi — lain

I am young and he is old, fll — tem - pered and
Pp be —- > >

Je suis Jeune et tl est vieux, Crest um vi - lain

 N/a Se
cah had dh Diade
ee oeBaud tr
ar. P ur. 'rT !LT
Hy ie ey
neue pute oS 3
rt-
o> og at oolATT 3S
o-

qe
8 AIM E 3a 3a
SEAWILSEg
3 2 3 3 Bs he a a > nae -¢ ag q
téux,

: UL ss
Ue; Illesse$3 MILiil ge$2 adil
(firs [irsé | I ee ee
Oo v 0 y O ® % :
3 § 3 §3 % 2O ail il es ee Vi 2 ieee :
2 y | = 2 &y = 2 0 et 5 SBA t a
grom

© ” ©
. Ny vd 3 4 1 '
2
: | me
. | i 2 [t e | B 2YG
i lly CH | gs
: | Are)
eS ll1/ gSlie
: I |
SAT
\ ' !
me —

cane »
= << -¢ s¢ S
leux,

Se TMI82 Th 22 ll il
~ i Wi. Mk. 2 8 We by » » »
i Ss| sir
H

Ise Wis? (ies? Hs? ; & MSs eS >

a x ~ | cy he %

°
* N) |rs@ o Hei} | @ Yo A q 0 aeFa:S E 3
3 Q E oa
3‘- , hi
z rey z » 245 2 tre

& iS K =

=
: mS
|< iil $
: : ese ANAT TT a= |i "= iiss SS
se HT S
38 (ull (Nile SUN
Jeune

oo 00 oo oo
|
82 TM Be limS2 Ss [tyes :
Wl.ill Mis.| es Uloe : etE
et

| |
YI =O oO SY O ~ a) 0 ~ en) ®
tl

cillke 83 Sscloll] clillleSscl/e

— ellie
]
| | : : : | = 2 on vas |
SES VES Sane oem amwe weeoaw ]| TT] Tl = TT] T
44

36.

Quaerite primum regnum Det

Seek First the Kingdom of God

———— W.A.Mozart, KV 86 (73v)

i Baa teeer, Edited by James G. Smith

Re = = - gnum, re - gnum Dei, re - enum=

TENOR Seek first, seek ye first, seek God's==

Re = gnum De = - = - - - - - -
Seek the king = - - - - - - = =

4 ey
SEP ED, 2 TE ES EEA A SSS Ss SS ese ae SE
SS . Sy) a EA SS GEER SY NSS ET SS Sa Se eS eee SE ee ee ee
oo. | Die = eS a a SE 8 _aaee ee a Ss Se Se REO ee
3 Or {~j* SS ear |

FOR cS 6 Pr
REHEARSAL a
ONLY -] GS 9
= = = a (? a)
SS \ Se ee, es ae (| a EL Le ee =
4 _' | LADS SE a ee ee Li eS EE ES SS PS
i aaa i

Copyright C) MCMLXXV Fostco Music Press

Sole Selling Agent: Mark Foster Music Company
 45

— ee a
mf
___ dd a Ee Se ET ET REELS 9 {ERE Te eee PCR RR a
wa yy aaa as Sa Gee) Ne es tn a __ re ee SS ee) Se er ey Bl ae
Sl. BS SSS SSS Le SA Se I ee 6 en ee RE eS Riaeeea hee Die ee” 8A)
Be Sa Saas) SS ee ee eS CaS Sa aes RET aeSe |

-gnum De = - - = ilp De = i
God's king - - - - dom, seek the
a ————
Se’ Sere = ee ee ee eee
a
ED LEED LTE DDE SET OE2 TT ae RE Se Es JE Ea eee ae =

— De - - - i et jue sti cs ine fegol 2 =

Bn ae king - - - dom; and seek____ al - so his jus -
A ee ——————— ——— mf
© SERS aS ae REESE IE EE EOE EE (SELENE LEP LID I DEL DEE, IEE EEA, FPIE
fa Os ee S [ere = |]
RS ES CE TS Se ee) (eS ee ee eae qth eSBSS Se)

= = - i et ju - - sti - ti - am, ju -

et ju - sti - ti = am, ju - - sti = tah. =

46

ee eee IR ie
ee
"ae, = See ES 9» i Os EES EES CERES TE
SS _——aaay = Te) WW 2sS Sse ES — EES PS _ SATS PE i Sees SS ae
8 =e 1) 2S i Dias a SEE EEE, PEK EG RPT eea ae Se Ee
at a Sa Saar Ee pe SS Re (SS eee Ee Lea

- am e = - jus et haec om = ni -
his - - tice: and. 10, eee)
ee eee eee these

ee
SS

aa Pee ree SS - SEED

@ RSIS
5
SB EE SSE DEE
2 0
a ST
EE ES,
A a SL
porary
A A a Sa a aS ne 6 eee ee
See SSJ
-a ad - ji - ci-en - tur vo - - bis#et hace ==. omy —
things shall= be Ay spiite=) Io, eee VOUS andalo. = = ea Le
en
t+} -—
- 2 eee RE SSS DUST SS Se SS eS Ee Se ee ee ee es
2. Wael 2 ee ES ee Se ES ea SE Se ee a eld ea See
EF LEELA, TIE AS SEED SEER GER ~ ESTEE RSE BEE APOE TERE FEA (SEO (CE i eee O°ES, SE
a U tio G

- ji - ci - en - tur vo - bis,
—— be a gift un - to you,
Sees oo
8 AD, EES ETRE VOTERS ETL EERIE SSSI ST. SEE SES EIN POLI Se a eae ee ee Sea See eS

| —_) oS =F
Sari et haec om - ni - a
—— and lo, all these things
ES
et t ee ee ae 9 ee CS ES Ee ee ees See

BS -SS A “w=
ih 6. Ei) ee Te Ee I Pe Rs ie a ee ee ae Sas
Se SSeS
2d 3 ee 6 BSE 6 Ree ees o SS SS ey? SS SS SS
Se) — SSE — 10)
 4 ~]

a’ ifaay SS La? SaaS) a Sy EA ay BEF See ee ae es S|

ee
- = ni- a ad - ip - Cie = en) = Satur vo - -
these) thing's) shall be a Ci el) 2 EO
ar a ae ed eee ar ere ee ee
4 aS) ESS) PS a SE eS (ee Sa =e
a (.. Ge EE Bay, ee a ees Say a nee ee) ee 7 Ey SSE GE Ras
v, EE ERE O ER Te ETL FMF aa Sa)

ad - ji - ci- en - - tur vo -_ bis. lias

shall be a= gift un - to you.

ra = ® EE ES Sl SS SS ae
2s oS 8
Sa
eT a

——
= mf _—_————— mp
a
ee Oe eee
ey Oe
=a Pa er ee
ER(a 8 ee Oe ee See Eee]
eel
~Y, = ee EE

a z bis. AL = le - lu - ja.
A cae you mf Se
© .eocmeeseneoesrearee ares 2 Saree deg aStoeo eee ee Se St Ee ee
Ai oe Eo oes sewer acest re Oe

~ le - lu - 15 Al - le - lu - - - ae
 \IN lly =e he Mle= WJ lie We We We WI
16th century German carol

, , a; :
Le lilleUte
lil
UteUe lllUg
7s | He ie
elle Weds Wr a
JAMES McKELVY

ee he is We
Arranged by

1 ! ! 1
Selmi ene Me
‘ os y y
fl “TEL
i 4,
i *
iL}
tire Hi *® Ui *
Wi ae) il ae) v as) ;
| i =esi
5
s Ss
tiltsS —
Ue ye ye ae i | |A Ne ( uit
|We ll
Guiding Star

() >S {lis ;cg :S fT (aiidee Math my * i” te

‘ Hit ll
iS}
Ni q — | ae U i U lil vv |
mos (he fae tame Wt F 2 g z ill
BH] S BU] + 8 < BIII|] < e
© © © o
|| | | | | | Ty (ie BR UN UT LT
A) y a v ats
lis We Ue Ue OP AH
e {lll 2 : : s (NS AT] > Hl xlll
ho 8=
My ®> |iy * > “TLL > TTL | ‘himAll
| tht
WI g | e lu l s ae g TE 4
s 3 3 3 hme Me fire Ul
mee
Hs
I 1
ee0 ee a Ae :
e ‘ Wl see sil s OE a) my i} 1 3 3 3
ea
2
°
2
slit < SH < Stiff} *
Al s
g iy “% ll ill
He al : nS AS ill il
Uy lfSU i
o
iit il
wa
PPh Ph rp ii Hu arn | il OUT ill wl
JAMES McKELVY La. STP*__BD Saul
te _ Teve_
See 2 Sn San) San aa
Text by 3 !,
|
| | ||
(im).| HIP / 4
FS : g a5 il HH ° A

F 506
HH ~Q a Oo ual ail | agi
° eam lele| iQ
Ae i aif : zl Tre? aN
__h

3].
48 A
 49

Franquillo

did of
poco rit. a Pp

a
hud
i)
4‘@)

be - hold:

be - eek
poco rit.

e
Neal
Til
SON

aid == of
rar
old, he”) Son ‘of Maj ry. we == 8 be-—hold?: «To
nl
Mt

i
TNH

ee
mr ranquillo
ih

Il
Tt IhNy
le

Hie
i
ne

allt
M

=U
Q

hn
a

ill

[he
|
te

Thee, Up, — ons Thy na tal day, — Be - lov - ed Je = su,

bud
le)
Aa

ay eas

= =
Thee, up
- on Thy na tal day == Be - lov ed am)
= su,
bt
“tl
=

(To)
i
Be - lov
 50

poco rit. a tempo

That through_— the ag a= far = Thy

do pray That through_ the ag ane tare ses Thy

poco rit. zp 2 tempo

i Me
lli

do pray That through

feaa cileal
eo
}
ot
ON
°

i
nil
ll

poco rit.

peace___ may
ee a eae
a ae cs ing star, a guid-ing star.
poco rit.
ne

peace__ may be___ a guid - ing star, a star.

Ae

Me

Me
stl|
4
| eral
i

il

Uh
38. All So Still
Anonymous OLD CAROL Z. Randall Stroope
Soprano “a = 60)

All “so © still, all so. still, AMI is08 still, all’ ‘so “still.

To Ded X0 beomit tHIE ali- oso, still, AU aIOr “stills all so still.

All so © still, all so_ still. All <so._ “still, all so. still,

came-all so still Where his moth-er was,— As dew— in— A-pril That

Piso still, all so __ still, All so still,

All so Stiles all so” still, All so still,

All so still, all so still, All so still,

————— qulerapo Pp ae
° 2 aw eee,
Se ee a Ee ; Sar ee ee ee
2 ia Ga) ae) ans Ge
Ree ed Ea ee eee I ee Lee ee ee feel ae Ee
lay Ee SS) ey WA a Se ee se 9 eed ee ee Be, Suey Sy aw.
DAM Ae" ee GSS eS ee ee ae 7 a ee Sr aa ee
a

fallethonthe grass, = He came_ so still_ To his

——————
2’ Gf See
sea ae

That falleth onthe grass,

— = SS SS -
ee pe Sl SS" EA |) See Cee Eee Saar ke

all so still. He came all so still, He came all so still,

52

moth-er's bow'r, As dewin A - pril, dew That fall - eth__

OS) GES Ree ee a eee eee ee SS ee TEES CED,

As dewin A - ppril, dew That fall - eth

mp SS _*f

a ee ar

Moth - er's bow'r, As dewin A _ ~- _ pril, dew That fall - eth

on__.. the ___. flow'‘r, He came_ all so still Where his mother lay,_— As

rit.
8 ————

Hf
BS) SSeS
| |ES—_ ES 2 1) |
"Se eS
9 a
|Rae
6 Se
eee
eh eS ee eS eS ee eee
ee ee

dew= in April That fall onthe spray,

———————— re
eo SS.) s
re —, a

5S Sey SES STS Re See Ga SSeS ee Coes Sain ma Ses Seems! |osu ws ee

All so still, That fallethon the spray, a tempo

ee a ee Se a ee a Ss w a? a
fo) ee SORE SEEN Be). <a. Se Sia ae eee eS . ee ee — gt L—e¢

All so Stil all so still, Moth - er and maid -en,

ee —————————
 aS a
7. ee ee See OE SS a ee ee ees es RES Oe eee SS es EE
2 Se A _ E GN RE Se SSeS “A es EE A EE ET Oe

Moth-er and maid -en,__ Was nev-er none, none but she; Well
mf —— 3 —— ————
i) Se)
eS) Se RSS EE SS SS ee ee. ES ee Ee aes el
I (Se Biase ey Pee ee DE Be es EE 2 ES Ray See
= — }- —____°__@ jj 1 _g2__@

Was nev-er none, nev-er none but she; Well

Moth - er and maid - en, Was nev-er none, none but she; Well

BS 6 os ee oe a ne Ee Die a en ee PE eee eae ee aa

Hes
eS a ES Rene ES eT pear aS
Y, See foes a &=e eee = ae ae iw Ta sone

ww ee ae OP! S & 7 Pee

AE ASEA OS ait an rl | SaaS SEES FS eee) Ce ee, GE SE ]
Se SEES SS aE TE |
SS) SS ee ESS te LS SE SS ee ES SS BS eee
J

All so still, =. all so still,

54

Lasciatemi Morire
39 CLAUDIO MONTEVERDI (1567-1643)
Edited by Harold Decker

La -
) : sia aS ih
Se’ GR RAR CRED ES 2 SE OS ES a SE a Ge SE ee Ss Se Pa eee GS ee
SS he « me EE GS _ Ee (Sae E SSS t SN ee Se eS Se eae eae
Re ee ee eT Pp ag pig eg
1) ar i See Se ee, =

La- scia - - te - mi mo- ri = re,

Tr mf
bg eee SS ee
FS TE BS 6 SSS es _ EERE, PRESS EE A,__ CELIA LS EB CLD POI rr BTTIE REE, CLE, EEF EBLG, ETERS CLE EEA eE,
on Oe es a SS

B)

ee
8 La - scia -te -
— ner ans mf
SS 21S eS BERGE SS Ee ei Se EL ea a a ee ey ed
EEN II
ETE CIEE A Lee eee

La = << fCIG,. Gel SE ie» Tree) ie res Las

> - = ES Be *

Pn al ae ee a Ow EE TREES TL AT BESTE GS aS & 1S Be SS SE Se ST Reeer eR SST ES

oe Se 2 Se a OSS SST (RGSS Sar LR So Re a Sa es PSS sg Lo a eS Se
C9 arma eeSS SSS LES Me 2 ae Pe STS = Se

BCla--tee= 1) eee
a mo - ri - - - rel
TT
——————————
3S ae = =y eee SO Ee ee
o =a ee JS Reeser Hs =. EPS) FTE (PE ESI SS ES |] EE SESS ee
Uc.OL) Se SS ee SSS SS SETS" Be EB OEE ETI TE TE RRS, EO BS LE LSE EET,
2) 2H JES EE BE REE ES SEE © SS So ee ee ) ae

La- scia-te - mi mo - ti = - - rel

ty ee Pe CN Ee ES eS ee Le ee EL ee ee Se ee
o 7S Se Pees ee ee Ee EE Se A EE ee a ES SS Se (a a ee ee
Se... 6) SE SSS eT SE ee ee _ eS Pa SS SS y
2 EERO TS EE CERES
SSE Ee ee ass a eT SE Ee OT
> oe

ae Lau=sciai=te- =) ni mo - ri - - - rel
ee . .

mf ———— mf
Se’ ae ERE SS See SO ES a eS SS 9 CT Ae AS
7 See ae of ae Se ee 6.4 423.7 eee SSS SSS ee Sa ee 7 FST 8 ee
(Weis YY Dra ee FSIS Peel (Ree RSE SS |e TES ee Se A SC PS SE ee aay eS
eee ee Ee es ES ES SS nN ee ES aa

mi, La - .scia=tel= ii eo = er - rel E chi vo -

 E chi vo-le - te voi, che mi con-for - te in co-si

le - te voi, che mi con-for - te, inco-si du - -

E chi vo-le - te VOI ee Che) il eee ECON

= 101mm =e in co-si

La -
——_ *> _—— eS ————
A” 2) a SE EE (ee FEee Te Se Te Ge Se eT)
LA ee Ga) a SSN [a SS ere ae ( ey RE ee Ce De
i. Ge =| eae eee ara eee (a BSE, SSE ED en er a eee eee a ee ES ee Rae ere ee
aNa! A/E See | Pen A as Se aaa ee ee Bea
=
eeSe

di.=. 6asor-.- “te, in co= 91, crane may -th =i Fe,

ae GES ee WS PE i oO ee eae
S - Sa ae ee EE © AEE GRP 65) 9 ee ERS REE A Y, SS! Sy Bee essesee (=e a |
8 ay Gl.) Se Cee a ae eee Be 2 ee ee ee a ee De

ra SOles ae Le, in co-si gran mar-ti =o Te,

SS ee : jk
SS
7 eS ar ae eee eae ee eee
ad CNS > SESS Ge SD ee 0 Le ee eee ey Bee Be ES) $e Se Eee Be eee Sa ee)

due. ra. (sor is? “te; in co-si gran mar-ti = re, Laer
 Ss m
GG) Bed 72 eee a Se SSinSe ESS ee ee if= aes Se) Ey =a ee eee
ov. (2 BES (ES ESSE ) SS RS es FE ESR SG ee
Ue) ME See ESA | ee oe EE kas: Sey Sf SSS sy AEN RO he a ee
AED (aren
ee oe oe i a Gan, | enema ar ee BRR paeced a a ae

scia - te - mi mo-ri -_ rel E chi vo - le - te voi,

E chi vo - le -te voi,

ee ——— 2 mf
OQ =5 =
0% SS SES ee POSSESS ES Fe SET CE 2 SS) ee ea Ee ee a
ed ( R) SE, CEES SG SS A EEE SEN GSS SS ee A. EE ee ee 8 er eee eS SE
AE EE EES NEEL, SE | cI

= scia ~ te <ami>-mo= rio = rel E chi vo - le - te voi, che

che mi confor = te in co-sidu - ra sor - te, in co-si

———
m
=’ are BES SSS PES 0S ee Fee Se SS ee a Soe aS sa eA es
oo ae EPEAOSE SERED) BEETS EE GI EE EE LED AP ATE (CE SO PES ES Ee Ee EeSO EE
ET a
So. 0 4S) Ae SEES ED SS SST ae ae Ce = 5 a
2 eS aoe Bae « SSS, SS _ ST oOSAEED
EEE A) |S) _ ESSA —
ae
che mi con- for - te in co-si du - - ra sor - te,

4
ES? TE) Te a) SAE Re ESSE SSS eS SSS
7 GS" hee eT Se thes A Ce EES Ee RN Sd ee EE BS Se ee es Se
a. 048) 2 ee Ee BESS) ws EE ES ESS OS SS 0 Ss Se eS eS Ee er ee ee
a) == Se DEES ee ee eee ae Ee Lae i Sa eee ee ae 5 Sea

che mi con- for - te in co-si du - ra son, = te

Se’ aes. eee BEES eS SS eee Sra

, i i SG Gee eee Ee Ee ea SS AT | SS 9 ey ee 0 Oe ee eee See
hie BL.GS! G2 ie SSS" Res (ee Bs LS LS ee ee ha ee Sas ae eS ae
2S TS BSE FSS TE SSD REREAD, TELS, PERO TI)
EEE

che mi con- for - te in co-si du - ra sor - te

 = A SS E> Sa See See). ee ee ee
es) hr
| OS . ED AS AAS § EE
i
SS)
FL Sa ee Oe Ey
oo
Ee
Po c= ereS ie |
ay ae " Se
in co-si gran mar -ti - re: La-scia - - te - mi moe. ri" =" "re;
——— mf
=m” awe ae Eor as SaaS Ce ES
2 See oes hier eosin awasslES
aw’
ESE priae! eam
ee eS
eee Se Baa ee
SS aE
Saa Eee

iiCO-Si-gran mat t= Le; La -

ln*co=si gran iar = ti, - (re;

P poe a
——
” + 9 6
oN 2 Se» EEE Se Ge) © eee 6 EE S| ES St ee ee PS ee ee Oe ae,
tf! ER?) STee 9 ES ee SS PR Re a Ree ee ee 2 ESE SE Ee Se ee Ge GE Gee

in co=Si-gran‘mar =:ti-=-" re: =a = ae SClag ate)-F Ile InOm- hi res

ee re x

scia-te - mi, — La-scia-te - mi Mo. rigo> - - rel

mf ———
oo)
=I mE SS SSeS 6) )Y Bas) bee ees SS ES ee eee
nf py ——————————————_—————————
== eens SSS
2” 2 SS Ee CE RS ee ee ee Ee Ss RE Ee ee Ga ee” eer EE 0 BE a

La - scia-te - mi, Liaw =.-+6Cid

= te-=> ie ee IO TI. - rel

ss mf eT)
[i SS OOO ey eS Ee ee ES Ky Sees ee
ee se Ss Se —as |

iat La - scia-te - mi mo - - - ri - - ~ rel

dim. e rit.

5 .a | gnalLol
sa

|
58

40.
Saint Francis’ Praver
Thomas G. Beveridge

GR Ee a
Voices in Unison 2 ee STON SL:ESD AA

make me an in - stru-ment

ORGAN

and/or

PIANO

(
|
ws

fe
OE
Where
I
as

ET
SST aS

there
Ta, EOE
is

|
r
hate,

4
SS © A

may
SS

I
A

bring

f i Af
ho

|
love;
fo
ae
a RET
where
RIE AI a Te
ee
of -
EET
a
fence,
Ns

d
I
par-don;
IE CLLAA AEA ARTETA
ee a
Ce AE OE ER

l
|
a ces

i
= = ee nah t= bl hg pitan ny
a = he = =
7 i SS Se SS SS eee Se ee Eee

|
a 0 ee ee ee ee Gee y we SES A - Be ee Se Se) ee os es 9 eS ee) ee
/.. Vee: GG. ieee eee ee Ger] SS ee

bv
1 2 (ee ———
Cee ee

— = Be ee ee hee
ee : ie | p* peer

Copyright © MCMLXVII Fostco Music Press — A.S.C.A.P.

Sole Selling Agent: Mark Foster Music Company
International Copyright Secured All Rights Reserved
 59

in place of dis - cord; truth; re-plac-ing

i
‘y
i

er - ror; faith, where once there was doubt; hope for de-spair;

—__

ESS eS

|
YY 2 e

f)

af
 60

light where was dark-ness; joy to re-place ness.

Th
, He
hs
|
||ali

lh
ns

jaa

@)
2
ie)
Hb _4 o me not to so crave to be loved as to i.
love.

re?
—

fi
an
a |

ee

dh
|
1
 ‘i
ad a Gs FOS PS
fe
Bees es
’ 2 ESS eee
a
ae Bae
eee
eS Seed
@ D> SE Ga Sie ees Ss aa SS Seea eee >
aes,
ae
Se,| PP BL: aaa Ee PLE eT ee lyr a Sees <a ee
‘Te
8
ee me to learn that in giv - ing I may re - ceive; in for-get - ting

ee
2 SS Ss ee ee ES es) Ge 0 ) Se See ee ee ES
2. ees ee ee See ee ee eee
> = 2S Pa ee eee ae a a AE ae ee) Bs Sa eS ee ee ee
ae ee ee ee ee ee ee eS
Sa Sa a a eee

Mi ———.

cA
Tee
_——————
ie ee Se Se eee eee eee
ee

sere

a
it Soa LS2 =e eee ee
aS Se eS ED
Sl Sa ee a eee
Ss

All|
= J
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SW .
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€S) 46" <2 See

B lay (a,
BNO.
an
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(Ge) CSS
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Se) Ge
SSS
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Se
ey)
SF RSS
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es ee
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a ass
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ee
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self, I may find i

life e - tes; - nal

f)
teen eas 5 Se
ae ee are ee
wo . Sa © ef > ee
i (ay eo SR A Se | fe ee a, = aay
ee

ON
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Pa a ee

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 35
a: (JRFAR:
My if feie a:aly
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fea)
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II] TWO-BEAT METER

«_ < i) Tas} @ [pth itl lil |

:g *, I
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nage 3
a) il p | A ' STM| a
UT i ett
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41.
62
 63

a’ SSeS Sees Gl ee eS ee |GS Ge ae ee Se ee Gs ee ee Ge ed ee

eRe a a hee ee Ba See Seana?) GS eS SSS ae" eee ee) ee eee ee ey eee ee
a... (4a a Ree Se ee ey Eee ee SSSGee Seer Ee Bey eee
Sa. a
Bae SS 8 a er See eee ie ee

nach = nu__ mad-li - kin al ha-ni-sim v' - al ha-t'shu-ot v'!-

f)
2 EE Se ee ee ee ae ay eee) Ge ee eee ee Coe ee] a a a Ce a ET Te) NE] ET Rees) ERD |
mom = Cea SS |

Ld es a | a _ ee ees | aS
> @ Sse eee Sees EES Ean Le a eee ee es Sa aes ee ee es ee, a Ses aD
el. USSG Ss) 4 See Ses LS ee eee ESS SS ees ee Ee eee" ee ee ee al
eS eas ee a hee eee Oe" EET”
a 0, =

al ha - mil-cha mo - ot. She - a-si - ta la - a-vo-tey-nu

é :
GS Sees Sean Se ee ee eee
eS ee Ee ee Gees ee Eee a ee Se eae: Tm
SS] Se ee eer ee ES re ae eS 2 ee SS) Re a Se ee ES (ee Se ee
Gt | oo GL ee ee Ee Se a Bees ee eae ey eee Gee Ee eee ieee eT ae

Bim Bom Bim Bom Bim Bom, Ya-ba Bim Bom Bim Bom Bim Bom Bim Bom

oe

ba-ya-mim ha-hem baz'-manha - ze al y'-de ko - ha-ne-cha

2’ Sst sae ee en ne ae ee ee ee eee Ee Gas SSS Bars See ee Se ee
a ee SS aaa ee Pe ee ee ee i) Eee) RS ES GE Gee Oe
sr ee ee ee SEY Fa SSS ESE eS eae Rae

Bim Bom Bim Bom Bim Bom, Ya-ba Bim Bom Bim Bom Bim Bom Bim Bom
64

nach = nu mad-li - kin al ha=ni=-sim v' = al ha-t'shu-ot v'-

mo - ot. She - a-si = ta la - a-vo-tey-nu

Bim Bom Bim Born Bim Bom, Ya-ba Bim Bom Bim Bom Bim Bom Bim Bom

ae 2 eee oeeet Seeees

( ——————— eS eS

2 SeesoesSees ee ee a a
————
ve ———
 Start very slowly and deliberately,
gradually increasing tempo to the end.
Pee

ee
fesse

we
Want
Ce
eee

thee
As each part enters , begin clapping on the beat
SHES

SEA tee) leae eee

tn cd

——— =e en Ges ies Sl) SS ed Ee ea

an
(= Ge seies 6 eae Pr

il

en)a
y- Se a FEE ET CET)

Bim Bom Bim Bom Bim Bom Bim Bom Bim Bom Bim Bom Bim
Ist?

ie
fed maeSy eS
i

wa Se SnEy See

AGAR Ul
fh}
1)

|
|

i
BS BS Bee ey JSS}
WD Bea Sees
SOM

ie ee Se es
Shade
fess

ie ee) __ ae ee ee

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See aS =
a a eS eee Se

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[eeeel
fosd
eke tb

Pee SS caae Teel

fod
|

Gas
Ree ee eS)
ie

EEA BERR eae RE

2
Bim Bom Bim Bom Bim Bom Bim Bom Bim Bom Bim Bom Bim

ea3
THY
I

E f l
sli
21)
|

ae and Alto
ring

ESS

it}
aaa en Re en RS eee
|

naa Cae TES Eee) aes es

il

Be Roy SS SS eee

Bim Bom Bim Bom Bim Bom Bim Bom Bim Bom Bim Bom Bim

3
E
Us?

2S ES
)

ES) RS Se (Se
SS eS
hat
Bh)

Q § a fe} g Q § fQ ° g 6E Q fe} 3 ee) § Q ° g § Q (eo)g Q E Q °g cs E

66

42.

MASTERS IN THIS HALL

Arranged by
TRADITIONAL TEXT JAMES McKELVY

With a moderate lilt

SOPRANO

Mas-tersin this hall,

LAG IEG)

Hear ye news
No - el,

No - el, ging we

No - el, No - el, No - el, No - el, No - el, No -el,

clear! Hol - pen are

we clear!

Copyright (<)>) MCMLXXI Fostco Music Press

Sole Selling Agent: Mark Foster Music Company
 67

No - el, No - el, No No - el sing we loud!

No - el, No - el, No - el, No-el, No - el, No - el sing we loud!

ea
ee ae ee

ee e

day hath poor folk raised And cast a-down the proud!_
proud!_

iE (Glwsigie ida Ibyorecl,= Mas-ters be ye glad!

el, No -
68

hath poor folk

on

all folk on i dear! No -el,

clear!

No - él) Nou el, No - aul No - elsing we loud! God _ to -

No - el, No - el sing we

nee

hath poor folk a - down the proud!==—

a - down the proud
 69

43. THE SEVEN JOYS OF MARY

ee
ee

? 04 =S
L
a= ca. 104
SOPRANO 2

ALTO BW 2S 0 ele ial Rida ee 2 oy Ge ee ee Cee Ge eee a Lay Sa

The first good joy —__ that Mar - y had,

' ee

TENOR Val 2G Rewer

ee eee a
4 01 Bsa ed ie Se ey Pes
BASS a

a SS 8 ee eS fi DS eS SSeS 7 SE ES Re ee 0 ee) ee FS
}—_—__0:______#—_/‘_} + -¢ aE eT hae See See la ee Le

a eee
2 es cea ELE
IRS, PLT STEAD, TAD, CT
ot Ge |
To see the bless - ed Je - sus Christ, When
me, Lm /

=e es SET W 2 aa. eee eee eae

4 Cy! Paes eee eS) ey [ae eS _ er ee rr ee Ee ae
5
See SP ee Ee (Ee eee a EE ES Bee a ee Be ee eee ee ee)
SEERA TE POA ED ERS SRE ee Pee ee ee ee ee ee) ee ee eens P

Her r==S ae ey ee eee

SS awe ee ee 7
He was first her Son. When He was first her

reat
Sar Lee pai aah) | 4 =
ees = eae Tey (SSS (See ee ee ee ee eee
[ane ee eee ell MESSic
i). Sey” Da (a

oF

: —
as

|
EES CN

=" LF ae fe ee re) [2 2 Se Se eee b PSS Ca ee F a eee ae

He _——S eo Ss ae eeey es a
AD
ae
eS
y
Pe
2 es ey ST
4
Ne

Son, Good Lord;— And Hap — py may__ we be; _ Praise__

r | GEE
Ra mePye

moa:
iS 235 55rg), T)
oS
pees
Se
e > eee ee
ee
SS a 2
ee
eS
ee
ee es as a

~"
__
—_
>_>
>
a
_
=
=v
—
_——
“—
f—
70

——————
Saw
a3
DR ET

ay RE AY Nd

ther , Son
l=

!
Jeae
We Ee Bale ey i ;

°
sty

°
a {aaa
= Saeed
See
i
ha

|
NARRATOR: The next good joy that Mary had, It was the joy of two; To see her own Son
Jesus Christ Making the lame to go. Making the lame to go, Good
Lord; And happy may we be;

SOPRANOS & ALTOS

du du du du etc.

NARRATOR The next good joy that Mary had, It was the joy of three; To see her own Son
Jesus Christ Making the blind to see. Making the blind to see, Good
Lord; And happy may we be;
TENORS & BASSES

Fa ther, Son, and Ho av “ly Ghost. To. > alt

 71

44.

Thank the |ord

Folk Tune
a =70 With a lilting pulse
Arranged by RENE CLAUSEN
SOPRANO ONLY

ey Thank the Lord and sing— his praise. Tell ev-'’ry one what He has done. Let

ev - 'ry man who loves’ the Lord re- joice__ and glad- ly bear His name.

; (ee ee

He re -calls His prom -i - ses and leads His peo- ple forth in joy with

ED SE SE LT EE TS ais a ee Se ee ae eS

E shouts of Thanks - giv - - ing Ripecte du = ta, Al = loot = —" tat

SOPRANO

™P Thank the Lord and sing_ his praise. Tellev—'ry one what He has doneLet ev-'ry man who
ADAGTE@)
{\ _#
I
S 4.4. eee re CS ae ee ) SS ree et ee eee Se 2 SaaS Be ESS ee ee,
a SG Ged 6 OP ee Coo eee So a Se A oe a a a ee | Ve Ss es aSteer
[Se Ne "eg eg eS =e eS el ee ee EH
SS

Thank the Lordand sing his praise Tellev-'ry one what He has done Let ev-'ry man_who
TENOR
-! 4
BRS. === Saar eee) Saaz w
=e ae a_i ee Cs I Se a Ba Ss S| Se ae oe tay aa
=
= i Sioa a oes a al Se Saar a ee

O Tellev-'ry one what He hasdone Let ev-'ry man who

Se SS ee
hankaaas the
(For rehearsal only) =

Feed
SC
oe Se eeee :
ee
aa
eS
ee eemee, Seas. el
ean

oT
tiles eee
Sa ee #2
ie
SSS
+o prs
Se i SSE SSS

Copyright © MCMLXXVI Fostco Music Press

Sole Selling Agent: Mark Foster Music Company
hh ____+—_—_ ae CE SEE Ee Se Sh CS) a Se SL
7 . USS Ge ee ET
Ee 6G be Se FS ES ee |S ES SE es
St .. Eee SE SS SSS2a SSSR ae" | WE GEE i PS RS 2 eS Se Saree 9 eee)
DS ARES SS. Se a a St Pe S a a” Bas LSD

loves the Lord re-joice and glad-ly bear Hisname. He re-calls His prom-i-ses and

a SP See
ra Se SS SES A] PREIS
PARES EE SS| PISS De ES SE
ai oY GSS SE bh.WES BSR BPC SEES
SAE PR
2 |). er ES >.OS EE 2 1 a ES WY CE EE 2 es 0 SS ES SS Se ss ee eae
2D) ee 7 RES) 8 ER TAS ee ba Ra a ee a eS

ww

loves the Lord re-joice and glad-ly bear Hisname. He re-calls His prom-i-ses and
{) # N K
SS 2 a EE ft EE SE EE Ss) Bea SS is eS Ce eS BP.
s aed
Ue ell
=>) ae 7 2 Sa * Se

« loves the Lord re-joice and glad-ly bear Hisname. He re-calls His prom-i-ses and
94 eee Eee eS es ae ee ear) Se

Lord bear Hisname. He re-calls His prom-i-ses and

ee” ee | Ce EE JE EE EE, SE SEER 6 A ESSA GAA SESE Gs eS bbTS BS SB GS =

@ io Seeee RET ee US CS 81 SER Wa BS ae SS Ree
ELE AN= Bi A ESD
ES AES | ——

| @s # 2 eS OeSSE EN SSS See Le

id iP” SF aa Sasa Pe ey EB
BP SBS Ase <a ED, LEEPER yp ELROD DAE IEE, PE) OILS BEN EEO a! ELE, (SEEPS
EE SESSE
5 S a

eee STE ee ee >

a se Bat SjS5S SSS See = |A Ee a ae

. essy rei 0 Se SE Le BS SS ff SE SEES Be GE GE OE EST ee ee
SS ne i eres a BEE AES

leads His peo-ple forth in joy with shouts of Thanks- giv - - ing Al - le-lu- ia,

ft) = f =
an’ a = Se 2 ELT Sa Lean) pa ae
: Sa ee 2 a eS cat ee Se Saar re
BY Saas pga] a =a a {eae oa]

leads His peo-ple forthin joy with shouts of Thanks - giv - _ ing Al - le-lu- ia,
ae f
a’ ae Ss SS] a ee ee = oI a PES (i
Seana Eee
BCE Se eS BS ee easEC Ses 1 S . eeES 2 E _ ee F a=
@ es Bee BST Se a a

leads His peo-ple forthin joy with shouts of Thanks - giv - ing Al = le=lu= ia,

=~ r mas a:
92 OF | 2 Sey es See § SE Ee ee 2 es ee ee ey ey ES ee SF SSS SS A Ss ee eS Sey SSS Sa
aw! L) Bae GE. Ee ee 9 ee ee ae er Ee A ES Ph | ee eae > oe ee EL eee SSA
eae 6 oe eee ber ae, eee BS Ee ee ee ed) See ee © ST Se ES SS
B.S SE SE See. HR) See SE Ce ee ee ee eT OS

leads His peo-ple forthin joy with shouts of Thanks giv - ing Al - le-lu- ia,

a. a mas ee L\
= 4 ee Sea 7 es ee ee WS eee Ee ES See ee Gea 6S) a ee) SS OS a Se SS Se SS ae
, wsaE La SS 7 ee eee EE EE (ee ee BS (es OS SSS aS eS BS SSS SSS La eS Say ES
Be WE Go 4 See 6 ie eee 6 Se eee ee SS ee ie (SS er SS Oe are SES Se El
| Sw BeesESS CRISS 8 ee a Be ee) a ay Se ATR ee ae eae
| Se ee _ ey L———

| )
7? eee MS fa ees Sy Sse eS eee ee ee
[= a ee Se Gee 92s SE Pe _ PS SS ee. §- as ee eee
BS CE EL EB OE _AEE IIE wa OO. GEO VE ES SS A eee Ei Bee) SE SI SS SSS ee Be) 6 eS
ae ee =e BS
 73

mf

IU Se NS Sue Sr ii K Thank the Lord and sing__ His praise

a aa (en GaSe ee EES Lea ee ee Ge ee

ES PS ag (See S68 cat ae SS ES Se _ eo ee eS

2S | Sas ee eS 0 eee a SS a eee ee a eee ed ee eee Ss ee Se ee eee oe)

— LP’ aa Rie ae § ee is Se Gp 5 OE eee ee eS ee ee ee ee ee e__ a)
we ey ae = Qe Se FE ee Ee ee ee ee
Gra SS Se BN Se Se eee ST ee eee ee eee

re See

| can) aes S| DH Gn eee

iy «tues, 2 SS Se) 8 2 eS aa Ee ae ee 0 ee eee 0 ee ee ee eee ee ee pe
1. Sraea XK J Bee = aaa. eS eee fan a ASS SS aa Eee
BN 2) Sane ES) SSS SF SS SS 8 ee, ee ee GRE ee eee SS a ee ee

tell ev-'ry one what He has done Let ev - 'ry manwho loves the Lord re-joice and glad-ly

Thank the Lord and sing Hispraise Tell ev-'ry one what He has done re-joice and glad-ly

() Ss ——
ES 22 Eel on Gee Geet Re es eee, eee) ee ra SS SS SS EST RS I E&Y ee SE ee eS A
S . Sates" Gee Re ee ee ee a SS Sy _ SS eS ES eee et a 8 ee "ae Eee
Bo) Ee eee Se ES SE, Fh BEE ESS ee Se SS ee ee ee Sb ae Bee Ey Be
BS Seer eOS UL SES _Ae are FE =.) _. eee as
Gee,

sing__ His praise Tell ev-'ry one what He has done Let ev-'ry man _ re-joice and glad-ly

| many ae = ST sr SS yg
leh mie. Cy ayy Semaiees Gy DSSS wa eee
i iW ee BAe ae) oe eee ee eee eer
Se eee oS

Seema a ies bead wy* 2 : i : ; jefibaen 1)

74

poco a poco cres. S

_ =
———
Oe ————————
bear His name He re-calls His prom-i-ses and leads His peo-ple forthin joy with
poco a poco cres. S ts
an’ a Leen en nc ne nc ee en — —
. 2A Ee Ge 2 Ree aT SST 25S SS ES SE SSA
a. GS SE 2 Ea | a] ED ES 2 ES (ee b.WE De Ge ee VR Ee SS 9 a ES Ee be EE A
1) GSS SE 8 See GEE SRE, BE SY es ee ee 2 ee Se SS _. S Y OS e

bear His name He re-calls His prom-i-ses and _ leads His peo-ple forth in joy with

poco @ poco cres. f >.

fp ————- aia bw ee Pe EE EST =e oe
Ge SS fae) Eee! GS REE 8 OS PE es FE AS A Sl SSS ia SST aa
1 oe aaa ee ee ee bee SS Gl ee GE PSST a SS CLES AE! SC ee ae
S° Se ES | a , a Se ME SE 3 ee SS SSS SSF Ee Oe eS eee es

bear His name He re-calls His prom-i-ses and _ leads His peo-ple forth in joy with
poco a poco cres. am
O72 SoS eee A SEE 1 Ee Os Ei eee ee 2 SSS SST SSS BSG SD Se a ST BeST
i! See
eee SSS Ry ey SE ei Sessaes Ee ee eee 25 ar Ree Ee SSS PS
a pe cd

He re-calls His prom-i-ses and _ leads His peo-ple forthin joy with

poco a poco cresc. 2

‘
© EE ELE ayAEE CLL LPL LED, OEE A LOPEE LLL ELIE, ELL, ELI LEAT
PIRES IAA 2SEB DREN ©A ROSS 0 Doe
. SR i el Gee a SS b ES SSS SS) ES eee Seer eS SE a eh a Se
ey | SE Le ES 5 CE bE Ge” II he 8 a Sar ES fg
ms: EES i BEET ksh es eS i Sane “ans! ia? Be GG hae Be ee
~~ | r

wor.
Pe aeSE PEE. PE SRT
4
ea,
OD SRS EE PRES)
. ) EIEIO
2 ne —

Be SSS SSS Lsnacs Sosnneeeet aa eo

oor Soren amma Not avame Ba Soret maa

z. ft
2’ EEE Saees eeee
e) AA TRS (STEER
See
=e EE TK Gl RD Mee ees GP a _y SR ESESY 2 ES i CS 2 et SR SOL AL
3. SSeS at eee 1 See Pass! La a
mw’. 72 Sen PS ae PE =

shouts of Thanks- giv - ing Al - le -lu- ia, Al- le-lu- - ia!

BA Sf See See Tee ESS 0 ES

DP SEE LS ide SS be a OE 2) SSS SS FTFe ee, Ce ee oe: aa 2S Get ee
S|... Cee BS ( Se) WS | ee ee ee ee ey Sa eae) So Sr Le Se Se
.} ieee, aaa 2% aT ly (aes

shouts of Thanks - giv - ing Al - le -lu- ia, Al- le-lu- - ia!

SS" AF Eas
4 - =
oh a
s ane bb anaes SS _ eee _ eS) SS SES By 2eSee 7 ER awe ee Ses Se S25 ©)Rel ee SS
Rie ha TEA 0h Learn DUS |S C1 SS 2 SS ea 2 PS ON Re ee eS aE a
5 2 Sn SS SS Oe es UJ

8 shouts of Thanks - giv - ing Al- le -lu- ia, Al - le-lu- - ia!

= rae Ce ,
TA? ay Bee es Meee ee a ESS ES OS SS SE) See“ He eee 2 ae er ee i nee
ed OF 2 pS Eh ae EE Eh ED 0 2 "LY RT) SS | | ee OE ee a ee, a LA
SE EEE ETE, ES,
EBB ES SEIS pO BETAS STIS! (8 CS PLS RETR, a SE Ye eS _eees ey ee a Sse
Fee Ee ee ee =

shouts of Thanks - giv - ing Al- le -lu - ia, Al - le-lu- - ia!

ee Ta —
f) S—
Se Se SS SS SS a a eS TT
1 Cia Ee De SE ES a SS EL SE BS Se ee esEL
oe eee ES aS SSeS ees Sa aS eee SS a ee a
MD SERS OSE ~SY eee
| Cae ee ey OS ees Se Se eee eo = op EEE © < Se >). |

2 dla agg J iit agePy

De?
>. oy
= Se
 75

45.
Now With One Accord
Confitemini Domino
English text by Ray Stroud Alessandro Costantini (c. 1581 - 1657)
Moderato Arranged by James McKelvy
<> [aire
2D [
gye A TP ad 1F

ee
a Se ee eee ee
SOVSIEVNIN(G) | |Ssea
ey A IS iS p eee me an on ees

Now with one ac-cord sing we all, sing we all to

Con— *i- te - mi-nt Do - mi - no Que - ni-an vo = - -

A LTO
wat
oP
es |
eje taf
eS gy
VV Ze BE Bee eM Se See, S Ba
ES a
®

Now with one AC] COrdaassing. wen alli) ssing== ==. we all to
Jon —fi- te - ni-nt De - nt - no g4o - ni-an bo Ss

mf a Q Ae oS
SG ean Ee eS SBS. i) 3S Gee
are er
BASS ae ean (eae eee Sener ease iss ae Cee Se aes Sas SS SLES oe OR Ee
V hae eee ee ee) ee eee ee Ce ee ae ee)

Now with one ac-cord sing we all, sing we all to

Con— fi- te = mi—nt JO — mi — no quo =| nian to - -
Moderato ee | SN ———wGan)
om i

5
cla’ «
es 2 eSSe
D
Se ee
eee
(Seen 2
ee eee Rew a) US ee aS eee
1?) SE 3 ESS Biz Fp ee ee ee
PIANO
or
ORGAN 3 s 3
9 VES BSS Be ee BS Een aes eee re

Ma
ee OS) 27 1
ee
as aa, a Geb
SS ZA ESE Za ee SE
aa
ae ea
ae
a

(or unaccompanied)

eS
—)

e
+—e =
ee pas —
God. Now with one ac - cord sing sing__
nus. Con—fi- te = mi- nt Do = - no quo —

aa ame ees =a: = sclera

aaa i! |} | NEE ee ee
Ns
‘
[-# G
See
= }—
a a EE a a
agree DS
ES

God. Now with one ac- cord sing we all, sing we

NUS > Con-ft — te - mt- ni Do - mi— no quo - ni -
ee -+#s Q _—
Leer. 5. = [peorenearees)
Ey ane ew ee ee
God. Now with one ac - cord sing we all, sing__
NUS Con-fi- te ~ mt— nt Do = mt — no quo —

NEN

Copyright CC) MCMLXXV Festco Music Press

Sole Selling Agent: Mark Foster Music Company
 IS = i -*Sa SA iy Lay BS BeSo pses See Se ER SS Sy
rsa ee a Baa ee Bias 7 6 Lae Eee Sa Sa PE TY Cy ee Seal ery Sey Soy SSS Ise

ees Wer alla to eee God. Praisewe Himin heav'n a-bove now
- nt—am bo - - nus: quo— ni-an tn sae— cu-luwn mt—

—————
Pes 5 as =-0
2 — Oo 2S SS SL SS oS” ae
®

all to God. Praise we Him inheav'n a-bove now and for

am bo - nus: quo —nt-am in sae—Ccu-lwn MLS C= anti

=~ & . 2 he?

SEE AT ASCII, A EE LIE FE SCTE PRLE LE ETAL LES CALLED LLB, |SOLLLE DP TIPE SS AFA OS OS ES PSS SA

ee Wee a to God. Praise weHimin heav'n above

= ni-am bo - nus: quo—nt-an in saée=- cu-lun

f) (es ER
Za ae« . ~ we Jey Ss ie Slo DE ee
Se ee pe. Mi} w '?. | PE + fs ++ +} *_+-—__ + —
pe Sas Sa Seen F = (=4 Rae SS BOSS ay Re en ee

and for ev - er-moreA ~ men, now and for ev- ermore A -

se—-rt-cor -di-a e - jus, mi — se—ri- cor—di-a e -

44» ey Ss) eS es ee
Y . oa gf. -}-4 ae rae Se SS 0 Se ) ae ea
8 (2.8 _ STS RSE Pa SE eee eS) 35 Bee a Fe ee Ce 1° eee eae
BWR Ser iS 1° ae . eat eae 2. eee Sass SS
e 2
ev - ermore A - men, now and for ev-ermore A -
cor - di-a e _ Jus, mt — se-—rt—cor—di-a e =

vai a eters terot

AS eee CSS SSS Coase
a [eepeser
er eee eo
a ie Seana wena wa Boel nt(ee oe PoReand» AtPtr Pg en Seen ee sane
| es soy. aes See OS (eee ee Ge SSS Se eS, BOE Se BS ee SS
2 Lee Se ee Se Se Bee WSs MS eee ae a A ee ee eae

nowandfor ev - ermore A - - - -
mt-—se-rit-cor -—- di-a e - - - -
' a ’ i)
val ee
Gay Ce! Se) RSS oa a =>ia ey CST So Sees
eo Bae =a
[7 is poe Oo =: 7, 7. {f~ -+-4£5-o& 4 FBLA (SEE EID
Blas 4 o V rhk—S Pees ae
[ef pO eee ar 5 -3 eat Sess ee

(= Pees
e
be | ee A ERS BUS OLS ESTAS Fe See ES
ane ‘ a 26 fp
v Basle PSG Sar eee ee) eee
 77

men, Praise weHimin heav'n a - bove now and for ev- er-more A
Jus, quo ~ nt—am tn sae cu — lum mi-se-ri -— cor—di-a

Est ya Sa ee eee ie a Se Be.

Sa ey Seay

Praise we Him in heav'n a-bove now and for A men.

ls:
ev - ermore
quo=-ni-am in sae—cu-lumn mi-se-ri - cor-di-a e

it fe
mMiyline SS

MN]
Pa
aN
ari

=
See ee

rie eek I
Wl ea
a

eF Emil:
y aS

SSS
SS SSS ee
|

8
eS See ES)
para
S
ev = eis a= more
5 gy

i}
dij= a ra]
e

i
thos

ea Bof Sao
be

aca
i a esaes
& La BeaSs=s
aa Es a ae ee

+ ulll it ar
AT eae ge aera a ae

Son
pa
SaaS
an
pty

tt
eg

|
ae ay
l
q

SSSaee ae See Sa SS SS ee ee)

SSS aes) ieeareey eee

medae:
: ‘i
Dv
&
:

Niles t wi
Teele
TNH

TT Pi@is [eeeee
ty

ey a wy ees cpreall
ela
eee SSAC TM ATE Ree es
SSS ee ie
$

i] se

xg : 2 3 o [ea

|
oa
ia, Al le-lu - ia.

tite’ |e
TSH:

Kee eee ee eee) arora ayae Ey

tu.
‘tl

‘=a mee eee rd SSS

= a
as LE
(eee)BB aa eee
| te

SS ES

a: .
a hee GSS = Fees

2 2

Tl tteie
Al - le- lu - ia, i
ot Al le- lu -

sama — maz =z
i
i|
I il
ela
fl
aN
OM

Dies oe == es ees
lil
I.

=<
Sear Seas ° ee
ae as oe eee
$

BSS Se Bea

© Loum

ia, Al-le - lu - Ae el ue—

ate
: ‘il
o ||| eH
:
Swe

Ss
wh

Ss St
qos Ce
.
GN
iy
=
78

Al- le -lu- ia, Al

- le lu -ia, A-le-lu - ia, Al le-lu -

Al -le- lu - ia, Al - le-lu - ia, Alle-lu - ia, Al le-lu -

Al-le- lu - ia, Al-le-lu -

:
| ri ‘in|me: ilsa1]
eetes |
air:
f) ne
Mt ees

|
SE ) SETS
St Nee (SE | om
Eee EIT

= 2 1 s

RN eal.
ia.
1
3

Wes Sear Mks

|
ie |
ae
me’ ees
S te ES ee il
{4.0 ete ae
GDC ERERSOSE
+ | PRES

ee aE Us Me
“ a
ia.

[tT] “Hs

ee
1 a Seer’ aes
Ss ee eee)
we Se eS SS
Y (in Ae ea |

IRenA Me
< a :
ia. “s

HPi;®&—|
all
Mie _

+» —
SSS SS
34
oO

eS
[(T] Ul
Sin
4

pada
ee ea
SES eS
f
Sey
= BY THE RIVERS OF BABYLON
PSALM 137: 1-2 LOWELL MASON

oo .-w SaarFa
Bo Ue) Ss SS Se Se ee) OS) Eee es Se ee EE eT ee eee ee ee eee ee eee 2
Bare eh (SSS SS eS Eee eee a ee ee ee
6g 5 =
By the riv-ers of Bab - y-lon, there we sat down.
[A]
Se A eS TS ae a a Ss Ss
2. See a ee eee eee ee ey See PSS eee ee ee ee ee, aed a See 3

We wept, we wept when we re - mem - bered Zi-on; We

,
SLE ADA LEE LI CREDA, CD) aa
SSeS Ba SoS SS ey ee Ge ee ee ee
[>] ree)
o -S ikel ey 2 SSS SSF SS 2S See el _ eee» eee BS 0 | eee Se See SE ee ee ee
Oe z
” Ee Ge Gea eee BS eee SS as ees ee eee © eee ee) eee ee

hanged our harpson the wil - low _ in the midst there - of.

4]. WELCOME TO OUR MUSIC FEAST

[J «a (Canon) ANONYMOUS

Fill both soul and— wrav - ish'd ear.

Desa
aS eS SS) ES OS ees ee eS (0 en ee et
ee) Gees ed) ee Se SE eS ee EE SE en eee

Sweet-est notes to__

Soft - ly swell the trem-bling—air To__. com-plete our__ con - cert fair.

48. 0 MUSIC

thy_ prais-es

plea - sures and— hap- pi- ness you— bring.

80

AS FAIR AS MORN
p = ca. rd (1574 - 1638)
SOPRANO
Ed. by John B. Haberlen

=> Ee SES I ee a ee ee
“Ws ia AS a aes eee Se eee i
Been«yy SU“ ee ee ES Eee SS SS
Fp ease saeae mens aa eae wrerowercwe ta eae ofa ts {ee ESS Bee ee Se ae
Oe) Tay
2 SY eee Ae on ee fa Sas -——_f
ee Se

ALTO As fair
i as morn, as fresh
fresha as M ay
f) t
sf aS DIO IS SY Ci SE SE =a
WY - 2. hy’( i PRE GE SEERA PROTEASES ESR 6 BS Reesee
B00 Cem | PE as EL (GT 2PRS ee IS RG ie WO ay 0) De ee 5 A Se ae
(eee Se OE 7mm” Ey

BARITONE As fair as genie asfreshas May a _ pret-ty

W +3 \ Del Re es a GS ae
Se Oe ee

As fair as morn, as fresh as

65 ee SS @ CRESSAe! ESS eRe

Ae ES CS
Biet 4 )ile .LSS baa Ree Sea Rs hey See
Sd eee Bent eS Be ene. Ses Ee SY SS ae eee

\ Je<t ite ee ee ee aS 2 Be Gees

@ JE LSE Sen. _ So eee 2 2S aS EE A A ES SS] a
Se 23 SE Fee ES SE SY 2.5 SS ROT =a
Se SE EE EE OD PRT Saas WSS PTS

a ; D
2 See Eee GEE
Dee Bae Se ee A BST ae
. 2 “Gee ASS I ER Del PE BES PS BE BS |S SS) SS SS ia ES ae See
eS ——_—__¢c—__ ERPDE ETE EE RR CLT PG eer eas he aa
a ee se a a

A pret-ty gracein say-ing nay, a_ pret-ty grace in say- ing

é
SA RS ER Te OS
OF - Cae TS SE SRO Paes EE es (Sy SEE PS SS. Ee Ee a EE ee Se Se
2 (6. UAE RS (Es Ee ee Pd Ea See BY See ESS) SN ae es eee Le iS eee
51 —_—_1 nee BES EE Ee ESE Se a ee eS Se ee i ae a ea a See

gracein say-ing nay, A pret-ty grace in say - ing

0 eo a
2% \ Bae a| SD
Sas aes Ee ES =. SES ee Be ee ee ee eee
SS + Ses SSS a Reet Ee ee hh ee CS ee = Se

May,A_ pret-ty gracein say-ing nay, a pret-ty “grace in say

-ing

\rs a ae a a a
qe aa
2 Se a SE ES SS LE Se BS ee Se ee SE SS
Ie ES GEE
RO See Sea eee ee ee ey ESS BA Tamas! Ses
2) eo
eo OO,
lSs LS eT Le Ae Ce ktAN Sa ee Ae Galomen? Sees Oey (Seno eo Sg ee) ee

Copyright CC) MCMLXXVI Fostco Music Press

Sole Selling Agent: Mark Foster Music Company
 81

am’ (SSE SS ee EE) Ee

ES (EER

nay, Smile my sweet-heart? Smile my sweet-heart? then

eH poe ef aay aay Fa

nay, Smile my sweet-heart? Smile my sweet-heart? then sing

Qa a &
a un ose 5Foes ere cere Sey (a
a ee ee)

SS errs

nay, Smile my sweet-heart? Smile my sweet-heart? then

U.S SSE ESSE Sa ESS £3 Go (Se Ee 7 SE

es ee Cn oe
oS eee ae er mmaay Te =a —— $f — 5; ee SD ——

= si
Q mf =
ra Gl ALS ee) eK ES LY Aj S657 OM 25e See Se eee
— an lease iar3eo po Spe
a _
a

’ Sa See Ei A ee ee ee a
© . oe “RSs S| SS) SS a Oe es ae a EE eV
Sl... % ess Rea wee ESSN WT NR OT es Ee 1 ee eee ee ee ie Ee DE ee PE
[el g” j|ing 4 Be See ee a es ee ee ae ee

sing and = say,Ta na na _ no, Tana na no, Ta na na

<a, eee aa a ee |) ae Pe es ee Se il a Ree" Lay ee ee

Sl ov Wa SE REE NEE Per ea ie ES) Se ee ee ee ee Le ee ee eT
$3 ese aa we aaseaaae

and say, Ta na na _ no, Tana na _ no, Ta na na

o )
7° UBER Ey eI 4 ee eS ee Se Be ee Sea TSE a
Tran aes eee SS aes fae Se i aaa a pT SS EE Ee Se FD
- 28 So a a ee ee ee ee ee Oe ee ee Ai SSS BS hae ie Se
ae ee a ee eS Ee = =

sing and say, Ta nana no, Ta na na no, Ta

” ie ae ee) (SEE, TS Sa a
4 bp} —_—_} —_ fy,___, —_} | fg} —________4j»_ ED oes SED
a nwa a ene Sw Se AW 0. 7 ees See ES ee a 1a Ee
= aaa oe ee 8 0 Ce 4 ae ae ee aida
SS
2)

OQ)
ha!
82

= p
a a
2] ee _ ee ER Re an Bee ee ee ee es Se

nS’ ee EET TLE LAE, EDF, ox. eae

hana nana, De oS ha. - na- sna. ona nos But oh, but oh,
a
Bi” BSCS [ey | SSeS SSS

2 ee SE Eke" Sai RE BGS A Ee ee Re SUR A vee ee ao ae

2” AE, SE ee Ee ee Be Ee eS ea Se PEST SSS | iy Sie Ae ee ae

na nana na na na nana na no. But oh, but oh, but

5 =x
0% | SS RT ey EE ALE A TRAE GESAREE OS ee eee et {i> 2S LSS? aa Se
ba Poe
|

na nanana na na na no. But oh, but

=
p ee ee ee
: ees
é im»
SS . So ee) Ee ee) SE Se) SS SS ee ESE 9 PSS I 11 Bi eee ea es a @ PE
(iis vg em 257 Mi Ci Reeeee eee - SERRE perered
SS) PETES, @) eee i So iS er eer

am” AEEE TO et AES eS Se P=

eS eee
ey Ee «BR RS es i EE ES OE See =REENSS ESES | ( BU ES PS PS PE i> me
S|. Wee RS 7 ee ee ee 2 Ree REET oS | i AEECT BE RE BE EF SE CT
LAY ar aa ES Sas Sa 7 <—amt

but oh, that love en-chant-ing eye, Lo here my doubt-ful doomI try, But

| a Le See | SeLp ES
w - Qa iene DE Ee es Ee ee ee ey es a SS 7S ee ES eT ees ey SS|© 1
Bia easy a —— A CELT” CEE CIES EA | FE, SE ES) Se ERS, AY ER A 6 lr) el)
5 nee =SS. See Pe LE" ee ee o ee Se _ a 7 «I
nS

oh, that love en-chant-ing eye, Lo here my doubt-ful doom I try, But oh

Oo l es ee ee eee ee EE a ee See PSS SS SSS Se ey SSS Sass ee) Hs SS SSS EE

Set (PSS ser

oh, that love en-chant-ing eye, Lo here my doubt-ful doom I _ try,my doom I try,

SEE EE TTDI ai Sethe" eee Ee ae ES SS aaa Sa ae man

wy Ga: EE SE TEE) a EES a SSS SS SS ES aaa es 1 Be
Biota a 2a. Sees SB EST ae) Pee EA a esse Seer
EE ER _ EERE BESS ae 2 Sees ay 8

a ES Ge Gee GE “Gee Eee a ee) ae 5

ae ae _ ee ESS OS 0 Se a SES SS S| 0 _ ee Se) i O Ba
a Te OS) eS 2 _ eee Ee) Se Ge ES SES RS | OT RSs eee
Se SES Cp ECR
EE; EE, ETE SEES CEE EE aT FY a Re ee CSS) ee Ses ES) Ge ES A) ee ee SSF

*First time higher voices on upper pitch only. On the repeat add the low octave pitches with
lower voices.
 83

doom I try, my doubt - - ful doom Itry,___—S_—‘ Tell me my sweet,live I or

Lo here my doubt-ful doom I try, Tell me mysweetlive [__ or

a myo
a Ye Pa

9 1 RSs ee ee Ieee ee SS See SE SE EeST Ss A rcs 2 i ee ee ee ee

yeeros a |\
0 Se Se eS aes ES) RS a FD A PT PS eet EN es ee
an ee eee
eee i ee a Se eee eee eee ee ee (fg 5
ESTE, ae ee

\
a” Aa
2
iS ae SS ee Se a
ee
ae ee)
fF [ieee ener Se ae a | JSD.
S&S . GG 0 ee ee en SS § ee i ee Cee RS aay ee 62a ee ee De a
@ |...eee
Cea Se ee EY See Se) eee 6) CEE ee eae Pee (a
B) ee Se ee eI eee) aaa ay A

die? Tell me my sweet,live I or__

I or die?Tell me live I or die? Tell me my sweet, live

84

die ? Tell me my sweet,

aaa
ES 1"6 | ae eS, ASS ST EA . te
D

me my sweet, my__ sweet, live I or die? Tell me my Sweet, my

> e 5° P D
Sa Ae ae NCS aoe ee SS LS ANC CAAA ONE aa NeRSERRT SNS ew es GYMra eee EE eS
Loe |
7s ES oe RES
EE ROSES Tal SSIES TES MED Se BS SS ae

I or die? O tell me,live I or die? Tell me my sweet, my

we live 1--or die ? Tell me my sweet, live I or

f)
° EEE CETL AD PEGE ETS ET ER fa
© Ses eat aa PERN SOE ORME! (MMAR RuNeR) We pe eTeTaS en) Esse) Peg See ee
2 | ol Tae ai a” Ree (SE ees OS ee ee eS, KI =a See
go - BEER ELE > oe —_1 1 _ >oe_ {Ee OS FD

sweet, ee L - 20% die ? Tell me my Lae my sweet, live I or

fie 6
9% | Sees es Ge Bee ee (Ee be es eS Se See IS Se ee
Uae) SSS] SE et ae ee Pe Ee ee eS BSS Fs ara
LS a
Fy Ae Eee. EE SSS OSes SY Eee ee ee ea ee

Tell me my sweet, my sweet,_ live I or

 85

Fann SS ee

die? Tell me my sweet, live I or die ? She smiles_—

Se OEE EE eee SE Ge ee en) Eee ee aE

& - a ee See EE ee) ee eee ee eee ee ee eee SS)
. (an Gee ee ee ee) Sa ee eee 6s Ea ee eee eee ee Bae ae eee eee
i ) SERGE OS See Ae 2S ES Sat PSS i 6 ee ee EE ee De ee ee ee ee ee
2 q
U Ge

die? Tell me my sweet, live I or die,Live I or die?

0.
@ \ GaSe @ LSS ee ee Ed) 6a ee eee ed #6 eee de 6a Ee Ee eee ee eed
ed a|

die? Tell me my sweet, O tellme,Live I or die ? She

—
am” aa Gee eee eS SS eae
yy 2 eee 6 ay £ Seas SS Sloe a Se Ee Sa Sen ae Cl a See
ae ee cee
Bla > a ey 6 ees Reese Dey 13. fe eae Se a ee Ee ee ay
1 i) ieee ee ee eas Fa a ee) a Paes

Fa lalalala lalala lalalala

She-sniules,. She smiles, lalalalala lala

ie pets cae
: So en Se ea eee ore os Se Se necnOE oad #RRR penee a cl eee —
nesSere

Snile ss sheysnules7 Fa lalallala la la

(Rae PR Se Ra Fats
Pog [iA SpE em eae 5 AR he Se i
CBR TD eee Keer eo
86

am” PERS MSS Sy, ae CE eS SS

& . 2 ee eee See ee ee OS eae Bees ae be ee ee
a.m en See Cees A DES Be ae eS ae) ee Se a
BD) ae” Ee « Ee ee SS a § See ES Ba 6 eee

fa- cla la la. Ah she frowns, Ab==

ap” asa) ae ee
mp my
> . a3 ES) SE (ee es Se) SE PSE OS Ba
SS 6. 22 ES Gee Set Eee SESE SS Ia Ss Leena}
— SST & FS I ET BE eS a

la la ta la Ah she frowns, Aho 4

Qa
o ie oO : mf .
va \ EES SES, Te ae Me ee) Se = 5
aSaR ee os0

Se So PS Set LENSE SSONEY ERASE SaURCNNT eT Sees Sow agFoo ee ES [ee a a ee

la la Ah she frowns, Ah
[slowe r|
mp
P Ri MEP PTS aE ee ee SY) Se er |< |
TES Sa Eee ES VRE ee) eeee ee et
@ a. Dae” Re Nee Ee ST QA PE Ae PSG Bs WP PE EE IEE S IE PY EET SEE Se
Swe! ae ee Cd AA (Ga 6” ) hha)

re me, Ase me, I die, I die.

 87

0.

apatite Se
bo

Ss
Ss
=
ree

we
ASS

S
a

=~

=
= 5 if:
S
John Biggs
M
9
eseeccnemasanenersacmee/Al
\o

WT
thle
Hhifie
== Saat

ft :
|

Livia
Mm 2
GeeseST aes Sa ESS
Sw Jaa ESS BS

ie
eS ==

== joy ble ex-

an

;
5
ee

fi
G@ n a o oO CG @ most
pe - ri-ence for us,
has been a most Joy -a-ble, a most

pe-ri -ence for us,

joy-a-ble,has been joy-a-ble ex - pe -ri -ence for us,

* Other words may be substituted such as: dinner, party, evening, etc.

Copyright © MCMLXVI Marko Press — B.M.I.

Sole Selling Agent: Mark Foster Music Company
88

our dear friends.

thank you

We thank you we thank you

our dear friends.

we thank our dear friends.

we thank you

Thank you thank

slower

our dear — friends.

you
 89

IV SIX-BEAT METER
61. SWEET AND LOW
aa a Se a SP ee Ree a a SET
EES 0 Tay eee Ge Ee SE I EE
Reef he eee 2 eee eee
0) 48) ee Be 5 O_O eT SS 2) ee ee eee ee

Sweet and low, sweet and low, Wind of the west - ern sea;
f)
GS Gl) & arn eee ee BS ee, SS ES ES) SE eee) Ce a
atop Be a i EEE ne S| ee See! (Se ae)
(0. T2Sal 0 ES RSs lhES eS hee ) 1S ee EN ee ee ee a “Se ee ee ee ( Gas
a —— EE 7 oF? SS" 5S Ga eae 8 ) Bl ee es eS es Eee eee es

Sweet___and
gas. low, sweet____and
pa low, Wind of the west- ern sea;
°
% Rt (es ee eae eee ES I a ee Se es eee ee eee. ee A DS ene _ aes De ee ee

breathe and blow, Wind of themaWesti= Terme seas= == O- ver the roll - ing

SS
breathe —— and blow, Wind of the west= ern sea;— O-ver the roll - ing

Sa TS PST ean po PS en Ee en) Ee ee De ee ee ee ee ae el be

& TS 2 Se ee Sl a a GS (ee Pe ee) ey i) eg (See Be ees Co ee ee ae oe bee FES
Bl. Cs = ae ee ee a eer a ay ee Se) ee _ ee) ee eee) _see
A) eH O ee Oe SE OS —E ee ee (Oe Se ee) ee es ee eee
Se eee

wa - ters go, Come fromthe dy - ing moon___ and _ blow, Blow him a- gain to

er,

wa - ters go, Come fromthe dy - ing moon and blow, Blow him a - gain to
ea a SS Oe ey es |)
poy =n tH
ee SS aS SSS SS es SS eS ee es 2 Se ee SSS Se

ie While my lit - tle one, while my pret-ty one sleeps.

1i SS——— ee
f) fan

3 Se
me; Whilemy lit - tle one, while__my pret- ty one sleeps, She sleeps.
aw a ces ‘

She sleeps.
90
z Drink To Me Only
BEN
ean JONSON (1573?-1637)
With Thine Eyes
Moderato Arranged by JAMES McKELVY

Drink to me on - ly with__ thine eyes,_ and Iwill

— pledge with mine.

Drink to me on - ly with thine eyes,_ and | will pledge with mine.

Drink to me on - ly with__ thine eyes, and | will pledge_with mine.

Drink to me on - ly with
__ thine eyes,_ and | will pledge with mine.
Moderato (For rehearsal only) =~ a

|Se ES EA TD BOSSES F SD le Gea

ET aS ay

Or leave a_ kiss with- in the ciip,.. and I'll. mnot-ask for, wine.——
Gl’ oy Se Se ee GS
re eo Ee a aa SSS —— SRYBSE
So. ee See A, ES eee) BE Pe ae a ES SS es ee as ee | ee ) EE ae
2.) 2 Eee ae ee 1 ES =i BS a CES OS] Sean, eT
Sa e

Or leave a_ kiss with- in the cup,— and I'll not ask for win@s_ oe
|__{) 1 oun —=— pm §_fp —$§ pr aa ieee
- Sa a my Gee ee) ee Fe Beri ss Real ES 9, a SS) |Sed BS BE PE Se ee (SSS Oe. SS
lie he Ge” GS” Seon aoa CES BS" ees ee SS SE Ef. Se" SS SS STS Rae el ES | a Be El
BD” 2 4 ee, eee Ee SS SPS eee
Pe, eae ES eee,
9S _ Ae =e e_ Ee _ ae "ee

4 Or leave a_ kiss with- in_____ the cup, and I'll not ask— for wine._ The
0. =e ee GS i Be Ed
@w! LI) Ses ee EE ee MoT 2 Tos ee ee es SS) SS BS ee es SS BS ee SS Se) Bs SS eee
7 LE SR EE i Gee Se SS ee SS SS ee SSS SS. Se ee ee -
Se ee See a ey OS [
Se Dae eT

Or leave a kiss with=- in. the cup,— and’ [ll not ask for wine.——
. . . ._——
 TENOR SOLO (Soprano tacet)

a AE ESE Ae es PS, ESS wi 0 eee ES 2 Re eee Se ee ee

@ (o> ES PS Le Ee ee Se eee 9 ae rae & ei Reed Oe EE TTB
ED) SEN F LD Sj hss Peay ) SIP aS eae a Sa aed Bees eo ee

thirst_. that from the soul— doth rise, Doth ask a drink—di - vine; —__

Be SE ee SE TT a SS See), Se) ee eee

s \ = eae Te FE) a SS ES SS SS SSS es Saeed
@ (. Ca Ree eee es eee) BE Ge a eee Ee Pe | BS ee a ae ey

\ —
ee’2 eee 7 I a 0 A) I ee |
s (EE) ED ae, eee) ee een ee ee ee ene ae" Be ee ee ee ee ee
in hae ae i i eee he eae ee eS Se ae .eee ee eee ee ee ee Ge |

Re Ly es eS eae es SS Ge ee (SS bnBE eee eS ee (eee een 0 ee ees ee Ss BS za es)

BS AOU Se? aaa OS SS es Ea eee eee eS ee, (Sa) Eee Ee Pe ey
SS | Se ee eee SS =
ee eee a

Hum Sern ee

But might | of love's nec - tar sup,— I! would— not change for_— thine.

2 a SS a es ee RE, Se Ee EES es ee ee ee Oe ee GE Ca ee ee eee

2 eee Ge) Re Ee a ee Ee eee Saeed BS SS Tb ae 0.
Eee eer aera ee ES SSS 0 eee 0 es ee es Ce eT Ee ee
muy’. A=, ay
ee
But might | of love's nec - tar sup,— | would not change for’ thine.——

pe 2 SS a I Py gg, ne a
—————————!$ = — ed ee ee Se GE RO SS at a

J
: But might | of love's nec - tar sup,— | would not change for _ thine.

mo eo zee) eo ~ poe ee ee

But might | of love's nec - tar sup,— | would not a iaen for thine.

|
a=
4 —Ee a \ Pte a Ea eee, 5
°F. STE PS Se I TL ee oe Ee ee eee een Bees ae eee ee ee 9 en as
rt, SS een eee ee SE SS eee SS SS aa aa Bea SE BEE eo Sse Be eS

ae Ee Ee ee ey ee ese EP a ae’ aE)

ET BE Oe 0 TE 0 eee, ae BS eS. GE. SS —. Ee BS EE
ae CT EY PEE LSS 7 PES EE ae 8 SE 0
ig
92

TENOR SOLO Se eae ee ee eee

f) 4 — ee el feeeaes eee
Ee’ &*4SaasSL SRE Se PE ETT an Be ee Te De eae Be a el ee SE ) EE GE Eee ES er er
4 (=e wet Se eee eee Se ee ee SS FS aes PES ES Ce ee ee
S|. es BSS SE TE EE BED, da be" PSS SS SNS FCA ES Se eee ST

1 sent thee late a ros -- y wreath not so__ muchhon -'ring thee,
, Alto and Soprano
ee ey

eg Gy / ——
Sa a eS eeeES SE SO 2S Te EOS | ae ES a EET

(Tenor solo) ——
le 2 ee el = —T___}_{ 1} io
i =a a SSS SSS BS ————

‘Hl
a’ Sy eee ee Ee eS SE ie SE ES WH Se ee ee
& . eo. Rael Gee 0 ae Ce SE RE STG (PETES bE OS FS ES ee EE ES en Ge GE
S|... a | Se SE DS SE ES SE LIES TSS a ae Se 8 eee
ELIE TELE DILL ALE — AE ITED ELISE EIN ALBEE DATITL NTR (EB al SDE RIT EER LT I ET
SSS a
EIN
 () « é
CS eS = ee eos fe =a ae =
See ae
eee eee)
SY Se SS Ses Bee Se. C2 (BS ee SS - See eS EE. ae ee Se "eeee BT

thou there-on didst on - ly breath, andsendst it back— to me.

4 (S and A)
ee ee ea ee ee a Ree A ,
2 aki eee eee el RE OE EL |RE an EE (el a WFA —
mor == é ee a ea

Since when it grows and smells_ I swear,— not of__ it-self, but thee.
rit. 9 9
=’ a Se SS ee ee eee es ee ee ea er
ae ee
. ee ee SASey eS BSS eee 6S ES ae ee SSS Ss een Oe ee a8
33 6 et aes AS Ess EE SS Se | Ga (Se | ee ee Oe) Ce
a =7-8 mas ESS FF ET a

Since when it grows_and smells— | swear,— not of__— it-self,_._ but_ thee.
. ° cre — a

rit — , eee
SS Sa a a SSS iA Wa Gl eo (=e Die es Re
| 4 IEEE, TTT AOE |ae) Es a ET SS PSY | UE ees Pi ae) Se Ee ee ey Rea Cee
ee Tee
fio BEE = Bases pe ay Ee ee ee Sh ee es) ae ee Oe BE es Bs ee eee eee eee Bs,eee ||
3 mann (aaa a CLS eee ee eee ee al Ress

8 Since when it grows_and smells_ | swear, not. of = it-selfe7 «but thee.

rit \ 9 9
T°.U.4 Eee SS =I SSS ES SSS ET EE
Rd LF = eeeee Ee a ee es Gee ee Ee ee ee ee Be Oe |e ee
Ly Gases Geo ej ee ee DE Ee Le ee a a ee ey Sma ee. Gee (_, e_. Se
es ee ae ne a |)See Es GE eae ee ee PS (a Fee Reel eS 3220 Dee EE" ieee ORE
ae a V See

Since when it grows and smells | swear,— not of__— it-self,__ but thee.

1 oN
‘ pf
eecercrspoane te _
ee ee —_ —_ Fe —
A [iseseneerrerg Bey ESS aaah
94

|
V TWELVE-BEAT METER
J3. PASTORAL SYMPHONY
Larghetto #) 132

MeCZZO piano
;
(H
é
|
 95

piu Crese.

Cresce
{

a
EE eee =
y

Ea
far
Me Age ERP
$3)42=.
YS

;
eon
° ° . ia

a] nw
cs
ee

e 4 > le
Gee alates
sit
ae

ee

a rit. eae a
lon
ar

oF.
Ln
—-

Z.
e
—-
~~
96

Vi CHANGING METERS

04.

Deck the Halls

(IN) Arranged by
JAMES McKELVY

§ METER The eighth note must remain equal in time value whether it is in a group of two ( eq ) or three elon, ).
The resulting irregular accents create a fascinating rhythm. It is suggested that the music be learned
with a metronome set at about 152 for an eighth note, gradually increasing the tempo until the singers begin to feel the
lilt. The tempo change indicated for the third stanza may be disregarded, for if the music should begin a little too fast
and/or the tempo gradually increase, a still faster tempo here would destroy the delightful quality of the j meter.

Moderato

'Tis the sea- son

1a Ria lager.
ao uteis

Copyright CC) MCMLXXV Fostco Music Press

Sole Selling Agent: Mark Foster Music Company
 97

gay ap-par - el,

y3 3 a : : : : e ‘ e : : : ; : :
Fa la la la, Fa la la la,

(no rit.)

Troll the an - cient Yule - tide car- ol,

toy3 3 & ; ; : ‘ ; : ; e ; : °
Fa la jam. OO: Oi R18 Ore 8} 10> 406 «6: Teer we “Oe.” 8 e

Se e the blaz - ing__ Yule be -fore us, Fa la la . eo 16) 8 e- -@ <6) ie 6.8" 6 “6 Fer se; © eye

Strike the harp _and__ join the cho - rus, Fa la la S116, (50 OL te) (O Lier, ©: OO) 616 'e') 16 CO" 1 @
 ©
Oy
6
6
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BY.
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£146
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ee)
a 5 3 el

la la
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Fa
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ome

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co) oa Sa °
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g4

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tell_
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s 5 3

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Pe =

ta 3 aos} aos}
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While
PrP + —s
n Nn n
Bs ws

Allegro
fy By Ry
98 + —
 99

ye lads and lass - es,

Manlaglae.m ia cmst si teuts: (ellel es. ole

in
Hail the new > Fa la la. @ "@ '@) (a © @4 ©. .¢ e ‘6

Sing we joy - ous all to :4 - er, Fa la la OOF OO i Oe OO Os Oi Si NO SiO! @.

Fa la la . OSE) (OF BO 40-10” 0) NO OY 8) 0: 16 8 SO Be 8 Le

Fa la la la

Fa la la la
1a ]a 1a la

and weath - er, Fa la la }

Ss s 8 e e e @ e e e e e C) e e e e Fa la la .
100

00.

WE WISH YOU a MERRY CHRISTMAS!

eo ranitiowel cext
» 1 ACoA Nasic arranged by James HeKelvy
@'= 208 1 Sa? aa
KS aa its A L Wy
-
Soprano eo —— eee a= ai
Alto ama rY ° ry ° -

; mer-ry Christ-e-mas, we
enor mf . ° . . e =

sass

hap - Py» hap -By New Year!

r |r ‘4 9 " ig F Good

Copyright © MCMLXVI Marko Press — B.M.I.

Sole Selling Agent: Mark Foster Music Company
 101

06.

Gingle Bells Scherzo

Arranged by
JAMES McKELVY

Soprano and Alto in unison

SOPRANO

ALTO
Dash-ing thro' the

TENOR Tenor and Bass in unison

BASS
Dash-ing thro' the snow In a one-horse o-pen

O'er the fields we

sleigh, O'er the fields we _ go, Laugh-ing all the

Bells on bob- tail ring, Mak-ing spir - its bright;

way; Bells on bob- tail ring, Mak-ing spir - its

MF 604

Copyright ©MCMLXXII Fostco Music Press PSN

All Rights Reserved Sole Selling Agent: Mark Foster Music Company ward)
International Copyright Secured “Conan.
102

is to tS] +A42)o Ti) S ue} n aSs Ley} « sleigh-ing song to - night,

is to ride and sing a sleigh- ing song to -

sleigh ing song to = night! a)oaG '

OD Comalo Be}o a — n O< Jin - gle bells Oh

night!

Oh what fun

one- horse o-pen_ sleigh! Lae]“Aq - gle bells Oh Jin - gle bells Oh

Oh what fun
 103

one-hors-y wide o-pen sleigh! =}

one-hors-y wide o-pen Jin - gle bells Oh Jin-gle bells Oh Jin - gle bells Oh

Jin - gle bells Oh Jin-gle bells Oh Jin - gle bells Oh

Oh what fun it

lll
& ot O 5 Ze 8
Din 4
ett)

alll

G
5

oO ' & «oe G oe ~ ‘A~

©

reto
:

ae ed Nee

§
oDre eo ;

LTT
il

Lil]
=
ull
hae

uae
|

ll
|

| :
az

KN]
As
ca)

It
AN

=>

is to ride Inve one - horse o ~- pen sleigh)! Jin - gle bells Oh

Oh what fun it

Jin - gle bells Oh Jin - gle all the way! Oh what fun what fun it

MF 604
104

Jin - gle bells Oh

is to ride ina one-hors-y wide o-pen sleigh! Jin - gle bells Oh

: 2 Jaa

Lae)4S '
a0 a o Q o oH|(omn O Be) ae raG 1
jet)aoeo Q o oHa"n O a Jin - gle bells Oh Jin - gle bells!

Jin - gle bells Oh Jin - gle bells Oh Jin- gle all the

Jin - gle bells Oh Jin - gle bells Oh Jin- gle all the

Jin- gle bells! Jin - gle bells!

Oh 3 a8 » SHa § it is to ride in a one - horse o - pen

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

Jin - gle bells! ae)| c '

fot)[wn]o aQ o ee
Comal n e) Be) Lar)relS ‘
tet)cevo Q ov n
melet e) Be} Jin - gle bells!

Jin - gle bells Oh Jin - gle bells Oh Jin - gle all the

sleigh ss Jin - gle bells Oh Jin - gle bells Oh Jin - gle all the
MF 604
 105

Jin - gle bells! Jin - gle bells! La)“ASs 4 0)

to¥rot) aQ 0) fonda)n one - horse o pen
Oh what fun

way! Oh what fun what fun it is to ride ina one - horse o pen

LaeelS i] jot)xooO La)+Aq i] oDa o Jin - gle Jin - gle Jin bells Oh

gradually crescendo to the fortissimo

Jin - gle bells Oh LieoaSs i]

te’)ow)oO Q o eea n O eo} La)odg i]
tol)a o aQ oO co4 n (e)G Jin-gle all the

Oh what fun it one - horse o pen

106

gle a o omee O r-| Jin - gle bells Oh Jin - gle all t he

one - horse o pen

° Ss o ' a° no °
Oh what fun it

one - horse o pen

Solo
Jin - gle Jin - gle
sleigh!
Jin gle bells Oh

One-horse o - pen
Jin gle bells Oh _ Jing!
E ' a ° Lad n o ° '
or vo q n _ 0) oe]iol)ao) Jin gle bells Oh Jing!

sleigh!

Fi Tisaly ap5
one - horse o

one
 107

>
=
=
—
—=—
eS
=
.
|

oy
“ al
IV
ARovin
£77) =
ADeSitiey)

& aia Arranged by

omoothly
io ee rece t | ROD WALKER
@)
X LDA
Tenor I
Tenor II

use ONE. , Since rov- in's been my

“
age goehesee ee eee -
B1l& B2nm

iA aed vm Lively d= 104

Ge ee ee
no more a - rov-in' with you,_fair maid. In Am-sterdam there

lived a maid.MarkwellwhatI do say. .In Am-sterdam there liveda maid,and she was mistress

ofhertrade,I'll go nomorea- rov - in' with you, fair maid. A - rov-in', a - rov-in'.Since

Copyright CQ) MCMLXXV_ Fostco Music Press

Sole Selling Agent: Mark Foster Music Company

UlUWN~C
POUL
TOTP
SYS
SS
YS
USS
ewer
108

os

2. a Sse Seee ee ee ee =
f) TY =a

lo Vides eee ASS ER PTS = EE EE AE EEE — ES CE, A ER OP Ee SSS.

ry ike ee aeee — —
mw, ges nh SS" Be Tf SS) GS ee | See at GEES GAARA =" Gateng “"=EES Soca em Geomcaoe VONT v4

8 Y
rov-in'sbeenmy ru-i-in,I'll go no morea - rov - in_ with you, fair maid, I

a — State sa Se eee Soa ee eas ee

Le 6 EZ
a mp a gee mf

mw ee
Mark well, I took that fair maid for a walk, and
took that fair maid for a walk. MarkwellwhatIdo say. and
B1&B2

ie
i” —_ : eS Ni, oe
: ee es Se eee ee ae eeeau eee ae 7 as
ae Ce aes
4 —— mae =z cs ae
mw ma 2 hae SS Oe 4 a,
@: a, 7

wehadsucha lovetytalk,I'll go nomorea-rov - in' with you,fair__maid. A-rov-in', a-

!rov - in'.Since rov-in's been my ru-i-in, I'll go nomorea- rov- in'with you, fair__

ape
et
A )
(ND 7
» ¥
an
p =
:
|
N . So aoe Te
hsp 8 eo en =.
RS BSeeeee 4— poe = es .
ial ae
8 Ss ed

maid. | I put__. my hand___a-yround__her waist. Mark well what I do

 109

===
mene SSS Fae |
put my hand a- round her waist. Said she}'Young man.you're

pe

—— ERiMsbo fl TF
Hp
eats. id go no morea - TOV oz
with wre
my fair maid. IN SGROKy= DE ey —

aa re
rov-in'.Since rov-in's been my rUu- 1~ in, Ae eo nomorea - rov - in' with
=
you, fair

ee Se
be CSne othiy~ S,

yee
= ee eee eee Serer
plagererlees
oS
maid. 1 Look that Pil, Up) — son my knee. Mark well what now J say. I

= reer =e fede = a
C@Ymis ae
AY 1ed,
Ry

Free!vf) ato p==

wale ee 2

St
took that girl up - on my _ knee. Said she,''Young man, you're rath-er free.’ I'll go no more a-

SS ee
110

rov- in' with you,my fair maid. A - rov- in', a - rov -

y
in'.Since rov-in's been my

Sere Se
aE
7)

go nomorea - rov -in with you, fair maid. A - yrov-in', a-rov-in'.Since

eae EE s Se Se? SS cearduet 9 \ a

|
MIF oe
8 ———— a= = 2

rov-in's been my rwi- in, I'll go no morea-rov - in'gg\ - roy-in', a-rov-in'.Since rov-in's been my

=p Sees

ee ee faopee rae SSS

ruin,
B1&B2
Villy
2 ===
Yeo. nomoreas— rov-in - rov-in',a-rov-injSince rov-in's been my ru- i- in, ['ll

|
— . 2 = oo \ \

— f

go no more a - roy-in',a-rov-in', a - rov-in', a rov-in' with you, fair maid.

—$——. subi tofr
 iat

38 + i =
25
sv
pel ON =
©
& ay
7)YU
3)Oo = = Z, Q = < 6 a] ea} ec <= Ne}(jo)Oo coSS ee < a —~Nea}> =
WN fx)= isa)Z, WN
Andante (d 60)

i
Qs LS
Go , love-ly Rose, b i?) = = oO wy fe)G is}w 3 =
o a ~ vO n a=)i) a ps)— oO w S Uv ; That now

EES SI DNS
ee ES SS

now she knows, When I re sem-ble her thee How sweet and

Tell her that's young, < G uo) ‘ shuns. to

Tell her

have her gra -ces spied, That & oe bo}n ~ ~ a fe) =) n a.uy =| I bo R=) des = Crts where no
Pcresc.

men a-bide, Thou must have

© Copyright 1954 by Halsey Stevens

112

‘ beau - ep Wwa ie) = ra)G vo fe tired: Bid hercome

meno

n =| we
'
x My av M4 '
a vo = to be de- sired, And not blush

molto espr.

2 & o U0 ' mired. Then die ——._ that she The com-mon fate of
PP —__ _ molto espr.

all things rare May read in thee; eo ° = n =s wo A Mw ~ ° Lon) time they

Iowa City
8 and 19 August 1942
Go, Lovely Rose - 2 Duration; 1° 32”
A

113

Vil VARIA-BAR NOTATION

n Kyrie Eleiso
from the 1592 Mass "O Magnum Mysterium”

Tomas Luis de Victoria

Edited by James McKelvy

Cantus == Altus — Tenor —— Bassus 2

eae

2. A NT SS SAE |k Sae CUS SASed SETeee

SR a | Se
SOPRANO 8 6 LAR | SS Se aN I LESS LA Al Sd LO ee a Se ae
a) ee ee ee PEE (Pe Ey (aS ee Sees pS aT
SS
Ky = - real - e e - = fom = son ee Ky -

pe
© . aay ae ee Bee See eS
ALGO; 6 ee es Se SS SS SS SS See
Sa Se Cae eee ee a rs
) '?,

'e,

Ky - - - - ri - - e

TENOR 8) (a ee wy Sw Se ees SS
SS a a ENE TTY

,
BASS S Ae SS SS SS LY Sy aes
2S Se a ee ee ee

‘f ee =>) Ge 0 SE Se SS ES SE ee ee eee |

- - - - - - - - - le - i - son,

SEE RS ET ET LE PGE DEAE LE EL ERED IAAT ag DIE

a ae ae SS oe Oe eS ES
aa ee a a ne ee ee en el Ra Se ae aD
a a E eS es ee oe ee Eee oe) ae ee Ea See= aD ? (a
U ee

- - - - - - - - le ~ - 1 w= SON,

jee a a ee ee ee ee
ae
ee
a a a a LT ET 8
Ky z 3 = = ae
._——

Copyright © MCMLXVIII Fostco Music Press — \.S.C.A.P.

Sole Selling Agent: Mark Foster Music Company

rl
aeiril
Cl
sas
Ow
Owes
mss
Ss
Seals
SHheOCUh
SllOUMWLDSC(C
ermal
yr
wr
Fr
ve#§sKevw7fe
vwTjrvv7jvv”Tv7TT~v7yjTovrveéiveoioviiTrovvrriv7ivr
w«
s
acarmCU<
orwmrlUCmafr-a_thU(
114

Chris - ste

i son, Chri-ste

le -i- son, Chri-ste

 115

ri e

son,

- le i - son, e-le - i - son,

JSON.

le son.

i-son, Ky-ri- e son.

e
= iS = = i = son.
116

Orlando di Lasso:
Edited by James McKelvy
SERVE BONE
READ ACROSS THE PAGE eRe

pee ae —————— «

te’ 270 SLY Se eS

ey ee ey Saas p eB ee I

di - um Do = mi -ni De = = «
in gau-

Fee Ae EL SL eee aT! aed Eaeeel dW "aadWasa ees en ee ES Go ee

ey == Py (4 —_}|—__________t} tf i} tf ff "Es

© " ae —_e———

Copyright CC) MCMLXXIV Fostco Music Press 4

Sole Selling Agent: Mark Foster Music Company
 117

et lis,

de

lis, su

te con - sti- tu - am, con - sti

con - sti - tu in

Do in gau -
= ural(ee)

r=)aS cs=<==fase!= <=I —_ = cs=

JOPRANO I Uy :I fo) SS,
SS

O| a i] i] = = - de

<Z
8 8 I SEE EEE ———————————EEe
WY e) Ay [ao O oq

Gau

ALTO es
ak
a
aa
tee
SS
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eee
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RES TH
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a
es
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\ ET
ATED
SOLE LES, TE AF RES Y
og
2)
Gau de,

GS tar seaay 0 ae ee ee ee ee SS ae
TENOR alot Say pee ES EAS oe ee = a Se
(i)? Ee
SES (as
SSS ERASE ee Ss
se fa
Gau - -

Us eS
12
See So NSS £52 SS ES I See OS Se
ae ae
ne
=
feed
fit
BASS eee : |J
Series".

Gau

aS BE
4
c__@— |}.

Ma - ri a Vir = - go
2
=, if

de Ma - ri - a Vir-
=
=
am SSJ
aE
SSeS
DR PRBS
SS Ses
SEA
ee PamESR
Bae ee
=e 2a
|
Ma = ri - a Vir - go Ma- ri-a
ies

== os = Sew lh |
|
RES)
SE SS a al

de, Ma- ri-a go Ma - ri- @

ESS
SS aae
SS
eee
Ea
yo
ETS SRST?
(ere
EE
Se
2
RS BS
Leas ee
aaa
fd
baa
== ea
aes |
Se
@
Aes
an
Ton)
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{}
a’
wv.
ri Py Ae 9 —
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SE
SSS! EES ¢ SSS SS
=
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Cas

ri Vir - go
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a
SEI CREEL SEE (ER EE CG EE LAI OLED Ss = See RS!
SS Ges ee SS aaeeey. ee SSS =e es Fa) aa eS
Bia
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>> (ee Pe
2S See 8
re
4
5 eT ——Soy See a aay a > RIT
= a
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- - go Ma - ri a Vir go

{}—________] eS
a AEE:
? . =e ae
I = =e
SaaS ee, es
aa ee Ee Ee
=
Ce ee as es
2) 2 GE
*
A Se A see aes. —
— Sa aaa Ser

Vir - - go, Ma Tri- Vir go cun-ctas

a (acer =a be Se ee
Saas > SSaee
<5[ | me es
aS
ees
|
_ SS See
eee Was
As |
ae

a a ed

Ma-ri-a Vir - go Ma-ri-a Vir -

ar. See,
vf eee Sea Bes |____________]
aay ese. aa
2. - ee

Vir - go =- go
 19

62. TU ES PETRUS

Pe - trus,
f) 6
ee ES Se eT
Z “22 oyey
n aes 8
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et pe - - tram, et su-per hanc pe - tram

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yo] i) aaa ©

et |su-per hanc pe - - tram, et su-per hanc pe - - -

a aN
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tram,ae-di-fi- | ca - - - bo, ae-di -fi-|ca - bo Ec-cle -si-am me-

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120

63, Vill DOUBLE-CHOIR MUSIC

Surely He Has Borne Our Griefs
Cantoris Antonio Lotti

SAT arranged by Ray Stroud

The unusual format of this publication avoids the two major problems
of reading double-choir music. There are no page turns, and it provides easy-
to-follow cues. This score may at first seem awkward, but the singers will soon
adjust to performing only the large notes, and to remembering that each
measure contains but four beats, except the two toward the end.
Moderato

a” ERG PT
4 GST TSS SRNETE REE CORE Gel Sau See SD Nea) RRR eS
Sopris: (Het
Bae! a ee Ee A ee SS PT . ESTSS ses a BES
ES 1 SSS RT a a eT ee
et Sia ee, Se te

Sure - ly He has’ borne our griefs

f) mp

26" af Tes SS ee AE CS RS SC a SS ee ee
Ale: hat ee
NO SSE GOS El RE SRSEESE WES Sl SST SE PSS 2 ES Se Ce Ce SS La

a as “Lae!oy Be 4
Sure - - - ly He has borne our griefs
A np
2 Se Sl BE ES SSS GE SE SE ee |)SR SS SS eS aS Sea as
Teo Hee
BSR CEE & SSE EAD SRE SERS.
MOAT Sn TREES, | ES Se RE SST

a Ne ae Bee TE EP Bee a SS SY isa Pe ay ee et —

BD) RES LITO, OLD ETE PID (PILE ES EAE FEY SEER D DS ES RSA EN BY KR CSRS IS ey
sine

He has borne our griefs has

ee SS Se [cnssss:\\\«+\|c1\|\|\\\|\::1

pT EES ET 2 Ae Se a Se Soc eess oe

He has borne our griefs has

BB REESE IEEE PRIA DL WILL, SCE DL DAD ILA LI DED ADELE LBB, SEO LE LECLERC LEN EL, GP BAPE EE ELIT, PG
eetO
a’ BS SEES
SS SSS
LES EE ES
SS SS Ss ES
EE Eee
ee

He has borne our griefs has

1? Af 1 RE EEE SE EES SEE SSO Ie SS Tse CS) ae SS SES ee i Se ee es

{= aS eee eer eet Sea oe ere ee ae Sees a a

borne our griefs He has borne, He has

+H 7 i FS TLE LEED LEDS, CS BE EE RR GREE GOS 2 AES SERRE) GED (SR ASSES SS oy FOS SE FRSSS ae
SS UL, EEE TEE EE CREE FLEE RED EE SETI EN IBS BIDET ETRE ATE FEES (ERB BEA Sy ee SSS eee ee)
A SE A LS Ce a! es |Sacaeee er caeaciasmes aesoy"ont Gi aeessee eee soostee 9 es oe
Ss ; 5 a, o
er

borne Ours eriers He has borne, He has

borne our griefs He has borne, He has

Copyright MCMLXIV by Mark Foster Music Company
 121

po
borne our eriefs,

bail
fess poco
Fag
ritard a tempo
a
eS a eS ee a
> a Ee) =a
=
a
ae ee ae ES

ES
SSS =

Sure - ale sure -

uit
fad mV 1
=a
(Se
$e
=
==
gas

ited,
Sarat Ee, Se ee ee
= K ~
Sure - ly, sure -
Amail Vi
gs
See eee
gg
ae
—- + H fa
eee SS
fee
ee en ee ee ee (eS eS a= Saar
lk
Sees

0
Sure - ly, sure - ly,
|

2 Pag
fase
Fr} SS SS SESS SSS a ay aay

SSSey =
SSS ee
aan is
ih

ime aa a
er mts ee ee noe Br wees

He has borne, has borne our griefs

ail
fase Rag
| l
ee
ee eel SS eee ee eee
i =a eee
[Ee a ae eee aS Fa — >a = BS eee ee

+4
en i Se ae) ae ae CaS 7 ee ee ae ee Ge
|P

aa
has borne, has borne our Seriers,
uit
aed Fag eae
EE a Se SE eS SSS
ih

< rae
| i ee |i
———— |
i
[erect se j;—_———_——Ha— ay
SSS. eae
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See, OO Bue See,
KY
RY
®

ba has borne our griefs,

fhemull poco allarg.

]
Raa
|
|

|P te
:

ee
|

a)

car -ried our sor

car-ried our sor rows.

car-ried our sor

122

Surely He Has Borne Our Griefs

Antonio Lotti

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:

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has borne our griefs,

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He has borne our griefs, has borne

See
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moet eee nore fae eeee

sure=
ly, sure - ly,
RS
St
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maar

sure- ly, sure - ly,

Copyright MCMLXIV by Mark Foster Music Company

 123

and car - - ried, car-ried ovr sor - - - -

and car - - - ried, car-ried our

- poco allarge ritard

Ge @ lies Se Sa SS ae eee) (Le es SS) SSS SE Le ee ees res 5
S 231) Ga arr ee Se) Se eee. I ° Gd) ee el eee Gee) Dee) GE C° SS eR) eee |
0.63 Ba = SS Se SS 9 See a Se Ce Sa }-e $$}, —

sor - = = - - - - rows, car-ried our sor - rows,

aw.
Ph ee SS a ee ee) ee ee |> RE? ee ee) Pe oe ee |

= BO tt et es (SSS) es SE eee ie + SSS SS? SSS EP SSS LSS Ss

'f, 2 r= G A Ul 'F,

sor ~ = = = = = - rows, car-ried our sor = - - rows.

eye | Wt Sa) SS eS ee SS ETS 5

a. TY imme Ea Gey Tes ae a Ee ee ay Sea SS ied 2: ae) ee ee |
Ci GEE ee eee EE SS BS Se Bs Bees ESS Ss LS Se SS WS ee Ss 9 ee ee ee )
ra, CAS) SSS aa & SS es Seen a Gee en 2 EER = a
7 SSA/SSA a cappella
MF 918
EAL AWAY Arranged by
Slowl
Ce
ECHO CHOIR (Trio or small off-stage group) JAMES McKELVY ——
P St
f\
BE AE! AS See Se SE eS ESS ee ESS
= . Gea
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Bl. 042) ee ee eee, See EES
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i
BD 22S Se eee aS SS ee Sn ee eee a ee , ar ea

Sop | Steal a - way, steal a -way,

Sop 2 P PSF aero ——
a ae a ae 2 2a WETS are WS ee © ee) (S ) e a aa
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SS) Se | SS EE RE ES A OO RN J). 2 | een er ROSS SE Seed I ES ae
) SSE
Alto
Steal a - way, steal__ a-wa
Sop 1 Y Y-
SB’ A) GSS Se SE. WE PRS NS EE WE SET EE SE ES) ESE SF BEST SS ES PA SSeS
a DE RAS f CS OEE EA SESE HESS (STSSS ee Py © SS
eee Ss
biota)
Bl Gt ma!
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RS RS STE IIE SLE LED, IER ILLES, FETA ER I eS ES I Se SN

Steal a- way, steal a- way,

Sop 2 P
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Soo anT? Sa ant aa ee as Ss |.
we
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Steal__— a- way, steal _— a- way,
4
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He eS eee)
Pm a9 ET ee Sea
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For rehearsal Off Stage P y
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el ac i ee
 125

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a ses ENT LS ? (a ~ EE
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home _ Stealia= Waly allOM Green ee I

et a ee ed es ed ma Ez
BS’ rn 5S Ss REE) CS Be, “Ge eo Le i Se ee ee
Fe en Pe ee SS EN Se ee RT Pao Se ee RK) ER ERS
neeeS = 3 Sees a=

a 3
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ei ey
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seas l ain't got long to stay here.

faster
+--+
e 4 + [esses siamo =Fae ees Lee Seen Ls a ee See a a Se CEE pa
V ay ea
i > ae eee eee qeRee Bae Sa ene eae

J
ain't got long to stay here. My-oh, my-oh my

mw eee DES GES GT See -. eae

Sa ee
4

ain't got long to stay here.

a,
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126

Se
wy a Kpv
en
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SS ea EE
SSA SE
= BASS
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Bl De eT Sa TT
|
0 analEaten Deuce moecnssnsenes areewesamcaar SS ae STs

my -oh my _ Lord, He calls. me, He calls__ me__

a” GS 0eS EE, I I EE IAI, CLD CLELE BIE! “PCTEAL IAA EE A

. Ce Sh rear era PE FE EES SR: ETE __ TERA SE EK BESET I _ ET
a EEE
EERE LOE IEE BELLE TEETER OLED ELLEN, CELE DIAL LIE ALE DE LE DBE ABABA LEELA PLEA IE" ERLE EAL DLE EAP

SS" a eB Essoa
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EE ESE TE WE ce? a = EE SCE
ae |
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Lord, he= calls mez He -calls—= (me—— by, the

SD ED) Re OSS I ITE IEEE, (SLL LARA ILE PDB ELDL IAD Hn ET
ie 1 © ae _ SOI SN _ SEE TSS SSS OS _ ES
Ba A CR SE SE RTA COR ARI TSE TS MTGE Pease Se
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\— +--+, PESTS AEE

1 PETS EGE ert Seatoney SESS ESS Bee ees
an we EST AEE SESE REA OF SESE b WEN HE REE REASSEE RS eS Se
Bo, Bae) SO EE SS RES ERTS HE GRETA Fg Sg SEE SS BE ES ER Css RE
i eS SS Oy ES SS ES CS SS

Be? EU Ba ee ee ERS SESE EE ER ST 6 EERSTE RE 8 ES SE ES)PS

wv. SEE BETES 4 ER BE CEES GENE SER TEEE SET EST ACG WA BE EE ee Ge Sy
8 2. Ol) 2 SSE DAES 7 IE EE SED EO SSR ES Be 2) ee ET CS eet SSS
BS! REE ET EE NT OROTET | (CSET bie REE AREER ES RR es a ES LSS SES)

slower
as’ au) a: EEE ESS SS 6 SE ES SESE
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S .a See PAR Be De Se See See EG ONS Seed Wee ST EE
a ..0 4S) eee 0 CEE GE I RE =SSS | ee EE By hee SE Be SN
oT OH HH Oot sss (<I

by the thun- der, the trumpet sounds with-

slower
CR” AOR 2S a SE ET ISS 2 ST RE a ee Tl ED
—— BERR ADEBA 1
SAE OT Cs et ny =
{-—————— - —j ——

the trumpet sounds with-

] slower
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Se - S 6 ae Ce s eee) ER SSL LEED LLG VIEL AIEEE, EAD, GA GPR” PD hE CRESS SE
Bia ha: aa eee SSS ES 0 G'S © ee BE OE LS | ee (eS PS
a [ed ME) SD EEE TS SEE TRIES RSS I ae I ES

thun - der, the trumpet sounds with-in a

slower
i
cre|
pag il i

the trumpet sounds with-in a

fh K slower
” A! 7 Se SE Ee) | ee (eee SSS SES
| SEE SERRE «eae
aenan SRST I See See eee es eae _——_—_ OF? es
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SSS a Se SG a a a ES ee ee beeen
v,
 127

&S nasass
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in my soul ain't got

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128

65. Mozart’s Alphabet Song

ae=P 23.ON 25 3% s
bee = <a pgs
vd Re 3
<x o Gi >
Moderato
et n oO a Ay
Choir I
ee
ee
So
<i
ea)

Moderato
Choir II

Alto

Hi
Tenor

ne
Bass

a
hie
i
(AEC, a
&
cht c

T
1 i
chi che

=
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This is also published for SSA/SSA,.MF 952.

 129

HTthas
|
ae
o)

‘
fe ee

(lel
ch
f)
i
aa
ac ee
CSS
|
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1
ctAE
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,

wat. Sane Geet Se at!

[| S Be #1 SS a __
Sy, ES
are aS
ee
ie

js
f) ce
Ee es eS a es
Ses a)
|
wi
Bla
m0).
IT
|

* This measure, in both choirs, tenors and basses,

could be sung
Aa Be.G.
Di ESE:
To facilitate learning, it is suggested that each choir learn the
other's parts simultaneously with its own, that is, both choirs sing
Measure one, both sing measure two, etc., then sing only their proper
measures, thinking the pitches of the other choir.
 lo
Msc dithechl
hy thy
(HH (My
lil |8 tl |
(i
funn iy
LeBi
3 fuan ne
|
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isa ch isa SN
130
 131

Gloria in excelsis Deo

from the 1600 Mass Tomas Luis de Victoria
WA mia Bre dieanp tos!
Edited by James McKelvy

Choir I Choir II
fe ee se a

ee fe

The Varia-Bar System

Grounded in Gregorian chant, Victoria’s singers understood
his irregular meters and the flow of his vocal lines. Learning
to sing Renaissance polyphony takes conscious effort on the
part of twentieth century singers normally accustomed to
bar-line accents and regular metric schemes—neither of which
is part of Victoria’s music.
Each phrase should be thought of as an arch, the beginning
notes ascending to the top of the curve and then descending
to the close. The listener should hear distinctly each individ-
ual entry, unless of course there are several at the same time.
Entries will be clear if the choir sections consciously project
them, and carefully subdue other parts. It is less important
that the last part of phrases be heard, because new entries will
be overlapping these closes. Even in the final cadence the
last note seldom receives emphasis, such as a similar note
would receive in later music.
Sixteenth century polyphony uses no regular “‘forte piano”
accents, but rather irregular agogic accents — accents of pres-
sure, the momentary stretching or slight elongation of a note.
The Varia-Bar System, bar lines placed at varying places, is
employed to assist the singer in recognizing the pressure
point(s) within each phrase. The note immediately following
a bar line is the pusle which should receive this slight stretch-
ing. It usually coincides with the text accents and/or the peak
of the phrase.
To shape the phrases, it will be found helpful to make a
slight crescendo toward each bar line and through the note
after it, followed by a slight diminuendo to the end of the
phrase. The long phrase marks are included to further guide
the singer in making an arch of each phrase—the quintessence
of the Renaissance polyphonic line.
To assist in orienting the singer to the other parts, the bar
line is sometimes extended to an adjacent staff when the two
parts are directly related or when both have agogic accents.
To further assist the singer in his orientation, the notes are
spaced evenly according to the rhythmic pulse of the quarter
note, an eighth note half as much, and so on.
If a choir needs keyboard support in learning this music it
is suggested that two players be used, one reading the upper
parts, the other the lower ones. This kind of keyboard work
will produce better polyphonic lines than the chords implied
by one person playing the usual piano reduction. Accompan-
ists must help the choir sing melodic lines, not chords.
The conductor need only give small regular beats, and
perhaps quietly cue entries, but need not become involved
trying to conduct all phrase movements — although he should
be certain the singers are shaping each phrase.
Singers find the Varia-Bar System easy to read. With it,
choirs can readily sing in good polyphonic style.
James McKelvy

INTONATION

Glo - ri-a inex-cel-sisDe - 0,

A Et in ter - ra pax ho- mi- ni-— bus
SOPRANO | 7
Nicks —————————
Di SE ee eer Ea ae Cae

Choir I

TENOR
BASS
ho - ;mi -
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—O ON ae Se ee ee
Genes ay ee ag Sees See ae aS ee ee See ore
SOPRANO es ey a
7 BU(O) eS ££ {4 a Ss

ae

j ! bo -
Choir II <

TENOR a
BASS ( [fee =.

Copyright ©) MCMLXIX Fostco Press —A.S.C.A.P.

Sole Selling Agent: Mark Foster Music Company
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 135

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137
 139

NOTES ON THE MUSIC

*indicates an excerpt from the published octavo.

**indicates the complete published octavo.

Ike America--Henry Carey, arranged James McKelvy. With high/low voicing the sopranos and
tenors sing the upper staff, altos and basses the lower. There are no particular conducting
challenges in these first few pieces, other than establishing a clear conducting pattern.

. Come, Thou Almighty King--Felice de Giardini, arr. J.M.

. Juanita--Spanish folksong, arr. J.M.

. Santa Lucia--Italian folksong, arr. J.M.

. Wiegenlied--German folksong, arr. J.M.

. Curtains of Night--John Jacob Niles, extracted and arranged by J. McKelvy. Complete octavo
arrangements of this composition are available as MF 336 for SATB, and MF 1054 for TTBB.

. Scarlet Town--Scottish folksong, arr. J.M.

. Poor Wayfaring Stranger--American folksong, arr. J.M.

. Study in Dynamics--composed for this volume by J.M.

. Study in Dynamics--composed for this volume by J.M.

. Study in Fermatas--composed for this volume by J.M.

. Flow Gently, Sweet Afton--James Spilman, text by Robert Burns, arr. J.M.

. The Star-Spangled Banner--John Stafford Smith, arr. J.M. An SATB/SSA/TTBB choral

harmonization with optional brass by J.M. is available as MF 3021.

. *Come Sweet Death--J.S. Bach, edited J.M. Published separately as MF 241.

Study in Rests--composed for this volume by J.M.

. Gloria, Gloria~-composed for this volume by J.M.

. *Alleluia--Alessandro Costantini, edited J.M. An excerpt from the complete motet on page 75.
Available as MF 159 for SAB, and as MF 902 for SSA or TBB.

. **Were I a Tiny Bird--Robert Schumann, edited John Haberlen. Published separately as MF 854.

. **O Taste and See--Thomas Hastings, edited James G. Smith. Hastings (1784-1872) was an
American composer. The crescendo and decrescendo lines should be observed with moderation.
Lowell Mason refers to these as a union of crescendo and decrescendo, sometimes called Drawn
Tone or the Messa di voce. Available as a separate octavo, MF 276F or in The New Liberty
Bell, MF 276.

Be **When Jesus Wept--William Billings, edited James G. Smith. Appears on page 18 of The
New Liberty Bell, MF 276, and in the octavo MF 276D.

llc **Thus Saith the High, the Lofty One--William Billings, edited James G. Smith. Appears on
page 17 of The New Liberty Bell, MF 276, and in the octavo MF 276D.

ihe **Agnus Dei--from the Little Organ Mass, Joseph Haydn, Edited Harold Decker. MF 282.
140

Ze ** Alles was Odem hat--the final movement of the motet Singet dem Herrn by J.S. Bach,
edited J.M. MF 259

Zar All Through the Night--Welsh folksong, arr. J.M.

Zo Now the Day is Over--Joseph Barnby, arr. J.M.

20%. Swing Low, Sweet Chariot--Negro spiritual, arr. J.M.

fail Stars of the Summer Night--I.B. Woodbury, arr. J.M.

28. America the Beautiful--Samuel A. Ward, arr. J.M.

Ba\e Annie Laurie--Scottish folksong, arr. J.M.

30. Doxology--Genevan Psalter, arr. J.M.

opie Loch Lomond--Scottish folksong, arr. J.M.

Sy Men of Harlech--Welsh folksong, arr. J.M.

33% The Boar's Head--English carol, arr. J.M.

34. Londonderry Air--English folksong, arr. J.M.

305i **When Home From Work My Husband Comes--Orlando di Lasso, edited Marion Vree. MF 306.

36. **Quaerite Primum Regnum Dei--Wolfgang Mozart (KV 86), edited James G. Smith. This is
Mozart's text piece in stile antico, part of his examination for membership in the Bologna
Accademia Filharmonica, written when he was fourteen. Available as a complete SATB octavo,
with background notes, MF 157.

Silks **Guiding Star--Austrian carol arr. J.M., MF 506.

35. ** All So Still--Z. Randall Stroope, MF 540.

Se **Lasciatemi morire--Monteverdi, edited Harold Decker, MF 3005.

40. **St. Francis' Prayer--Thomas G. Beveridge. Available as a complete unison octavo with
piano and/or organ parts, MF 702. Also available for medium voice solo with organ accom-
paniment, MF 752.

41. **Hanerot Halalu--Baruch Cohon, arranged Blanche Chass. Available as MF 677 for SATB,
as MF 678 for SAB, as MF 877 for SA and as MF 1077 for TBB. Translation: We kindle
these lights for the wonder and the redemptions Thou didst perform for our fathers through
Thy holy priests. These Hanukah lights are holy and through them we sanctify Thy name.

42. **Masters in This Hall--English carol, arr. J.M., MF 852.

43. *The Seven Joys of Mary--English carol, arr. J.M., MF 514.

44, **Thank the Lord--folksong, arr. René Clausen, MF 163.

45. *Now With One Accord--Alessandro Costantini, arr. J.M. This excerpt combined with #18,
Alleluia, constitutes the entire motet. Available as an octavo for SAB as MF 159, and for
SSA or TBB as MF 902.

46. **By the Rivers of Babylon--Lowell Mason, edited James G. Smith. Available in The New
Liberty Bell, MF 276 and in octavo MF 276D.
 141

47. **Welcome To Our Music Feast--Anonymous, edited James G. Smith. Available in The New
Liberty Bell, MF 276 and in octavo MF 276D.

48. **Q Music, Sweet Music--Lowell Mason, edited by James G. Smith. Available in The New
Liberty Bell, MF 276 and in octavo MF 276D.

49. **As Fair as Morn--John Wilbye (1574-1638), edited John Haberlen, MF 338.

50. **Thank You Round--John Biggs, MF 307. Indispensable for the touring choral group.

dike Sweet and Low--Joseph Barnby, arr. J.M. Text by Alfred Tennyson.

52 **Drink To Me Only--English folksong, arr. J.M. Available as MF 3015 for SATB and as
MF 1064 for TTBB. Text is by Ben Johnson.

236 **Pastoral Symphony--George Frederick Handel. From Messiah. Score and string parts
available from Mark Foster Music Company.

54. **Deck the Halls (in 7/8)--English carol, arr. J.M. Available as MF 605 for SATB and as
MF 953 for SSA. The eighth notes must remain equal in time value whether in a group of
two or three. The resulting accents create a fascinating rhythm. It is suggested that the
music be learned with a metronome set at about 152 for an eighth note, gradually increasing
the rate until the singers begin to feel the lilt. Too fast a tempo will destroy the rhythm
of the 7/8 meter.

5D). **We Wish You a Merry Christmas--English carol, arr. J.M. Published with "Here We Come
a-caroling" as MF 602.

Do ** Jingle Bells Scherzo--English carol, arr. J.M., MF 604.

Dili ** A-Rovin'--traditional Sea Chanty, arr. Rod Walker for TTBB, MF 1056.

58. **Go, Lovely Rose--Halsey Stevens. Published by Editio Helios, EH 1, available from Mark
Foster Music Company.

we **Kyrie Eleison--Tomas Victoria, edited J.M., MF 151. This Kyrie is from the 1592 Mass, O
Magnum Mysterium.

60. **Serve Bone--Orlando di Lasso, edited J.M., MF 801. Text translation: Servant good and
faithful, because in small ways you have been faithful, over much will you be set; enter into
the joy of thy Master, your God.

61. *Gaude Maria Virgo--Tomas Victoria, edited J.M., MF 153. Text translation: Rejoice, Virgin
Mary; all heresies you alone have ended in the whole world. Alleluia.

62: *Tu Es Petrus--Tomas Victoria, edited J.M., MF 152. Text translation: Thou art Peter, and
upon this rock I will build my church and the gates of hell will not prevail against it; And I
shall give you the keys of the heavens. Alleluia.

63. **Surely He Has Borne Our Griefs--Antonio Lotti, arr. Ray Stroud, MF 401.

64. **Steal Away--a double choir setting for treble voices by J.M., MF 918.

OD: **Mozart's Alphabet Song--arranged J.M. for double choir as MF 309 and as MF 952 for SSA.

66. **Gloria In Excelsis Deo--Tomas Victoria, edited J.M., MF 404 and in the Mass Alma Redemp-
toris, MF 409.
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 143

AGNUS DEI
ALL SO STILL
INDEX OF MUSIC TITLES
ALL THROUGH THE NIGHT
ALLELUIA
ALLES WAS ODEM HAT
AMERICA
AMERICA THE BEAUTIFUL
ANNIE LAURIE
A-ROVIN'
AS FAIR AS MORN
BY THE RIVERS OF BABYLON
COME SWEET DEATH
COME, THOU ALMIGHTY KING
CURTAINS OF NIGHT
DECK THE HALLS (in 7/8)
DOXOLOGY
DRINK TO ME ONLY
FLOW GENTLY, SWEET AFTON
GAUDE MARIA VIRGO
GLORIA, GLORIA
GLORIA IN EXCELSIS DEO
GO, LOVELY ROSE
GUIDING STAR
HANEROT HALALU
JINGLE BELLS SCHERZO
JUANITA
KYRIE ELEISON
LASCIATEMI MORIRE
LOCH LOMOND NOW THE DAY IS OVER 31
LONDONDERRY AIR NOW WITH ONE ACCORD (5
MASTERS IN THIS HALL O MUSIC, SWEET MUSIC ao
MEN OF HARLECH O TASTE AND SEE 15
MOZART'S ALPHABET SONG PASTORAL SYMPHONY 94
POOR WAYFARING STRANGER 5
QUAERITE PRIMUM REGNUM DEI 44
SANTA J-UCIA 2
SCARLET TOWN 4
SERVE BONE 116
ST. FRANCIS' PRAYER 58
STAR-SPANGLED BANNER 7
STARS OF THE SUMMER NIGHT 32
STEAL AWAY 124
STUDY IN DYNAMICS (#10) 5
STUDY IN DYNAMICS (#11) 5
STUDY IN FERMATAS 5
STUDY IN RESTS 9
SURELY HE HAS BORNE OUR GRIEFS 120
SWEET AND LOW 89
SWING LOW, SWEET CHARIOT 32
THANK THE LORD 71
THANK YOU ROUND 87
THE BOAR'S HEAD 36
THE SEVEN JOYS OF MARY 69
THUS SAITH THE HIGH, THE LOFTY ONE 19
TU ES PETRUS 119
WE WISH YOU A MERRY CHRISTMAS 100
WELCOME TO OUR MUSIC FEAST (ee)
WERE I A TINY BIRD 11
WHEN HOME FROM WORK MY HUSBAND
COMES 38
WHEN JESUS WEPT 19
WIEGENLIED 3
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