1

*
FOLK SONG A song reflecting the traditions

the peopie of a country or

region and rorming part of their choracteristic culture.
SOLO One piayer, aione, with or wfthout accompaniment.
AM1
fl
Hot Cross Buns
Moderato*
Hot cross buns, Hot cross buns, One cent, Two cents, Hot cross buns.
HONKY TONK A Rowdy musical style characterized by a lively piano accompaniment.
AM4
A
* L Hot Cross Buns (HONKYTONKSTYLESTARTING ON B)
ROCK AND ROLL A mid- 1 950s style of popular music feoturing guitar and driving rhythms
with accents on the off-beats: 1 2 1 2
Al6
A
** HotCross Buns (ROCK AND ROLL STYLE - BY EAR STARTING ON B)
A?Mt8
Notes
Moderato
u.s.
6)
Notes step down, Notes step up. Notes re - peat and notes can skip.
BLUE GRASS A type of Anglo-American ralk music originating around the mid- 1 940s in rural Appalachio.
CD
SOLO #g
ACCON.194 Mary Had A Little Lamb
LiveIy
Traditiona FoIk Song
( H,
1
Mar-y had a I[t- tie Iamb. Lt-tle Iamb. Lit-tle Iamb. Mar-y had a Iit-tle Iambwth fleece as white as SflOW.
REGGAE A musical style mixing African and Caribbean rhythms often attributed to Jamaican sources.
CD
SOLO#
ACCOM.#104
* Mary Had A Little Lamb (REGGAE STYLE STARTING ON B)
CD
$OLO#II
ACCOM.#II.1
M
** Mary Had A Little Lamb (ROCKAND ROLLSTYLEBYEAR ON B-WITH
REPEAT)
a
?
*Forget
the meaning of something? Vou an Look It Up in the Music Terms Dictionary on pages 42, 43, 44,andi 45.
English FoIk Song
ACCOM. #12-2
sOLO#I2

Au CIare de Ia Lune
FrenchFolkSong
Legato
1 ()
cJ J
o
Au clair de la lu - ne, Mon a - mi Pier - rot,
In the moons pale shm - mer, My dear friend, Pier - rot,
o
Pr - te - moi ta plu - me Pour - crite un mot.
1 would Iike to write you, Just a word or so.
Down By The Station
Moderato
American School Song
.
1
, Down by the sta - tion ear
-
ly in the morn - ing,
#J
o
Legato
French Lullaby
ik
:
] 1 1 1 1
, -t
ID#i)
r,
J
H
Step - ping, step - ping, step - ping up. Skip - ping, skip ping, step and skip.
Variation One
H
A
Variation Two
(#
7
SOLO #13
ACCOM. #13-2
Down by the sta - tion hear the whis - tie blow.
JAZZ Originally a style
or
improvised dance music characterized by strong rhythms and expressiveness,
originating in the Sout.h by Black Americans.
AIS
A
* Down by the Station (JAZZ STYLE BY EAR STARTING ON G - WITH REPEAT)
LLJLLABY A cradle, song usually sung by a mother to soothe or quiet an infant before bedtime.
SOLO#16 J j
ACCOM.#I62 raiS uO (10
1
Fais do - do, Co - Ias, mon ptit fre - re, Fais do - do, Tau - ras, du lo - lo.
Go to sleep m sweet Iit - tie bro - ther, Go to sleep, and youII get a treat.
THEME AND VARIATIONS A musical form based upon a melody followed by a succession of composed
rhythmic/melodic variations.
Al8 Stepping and Skipping (THEME)
Moderato
ACCOM. #S
ACCOM. #IS
u.s.
? Forget the name of something? You Can Look ft (J in the Music Signs and Symbols Dictionary on Pages 2 and 3.
Al6
Hot Cross Buns
Moderato EngIsh FoIk Song
H
Hot cross buns. Hot cross buns. One a pen- ny, Two a pen- ny, Hot cross buns.
DUET
A composition for two perfbrmers.
ACCOM.#2 Taking Turns Duet
Moderato English FoIk Song
__
-
______ ____
Hot cross buns, One a pen-ny. Hot. Buns.

____ ___ ______ ______ ____ ____
Hot cross buns, Two a pen- ny. Cross.
Rocket Cruiser
Moderato U.S.
H
Wish 1 had a rock-et crui- ser and a base on Mars. 1 could fly a-way to dis-tant stars.
ACCOM.#8 More Notes
Moderato U.S.
,
1
i
H -
r r Lr
LrH
Notes step down, Notes can step on up. Notes can sub- di-vide and notes can skip.
ACCOM. Eighth Notes Duet
Moderato
U.S.
_________ ___
-
___ ___ ___
-
______
-
__
? Forget Lhe meaning of something? You Can Look It up Music Terms Dictionary on pages 42, 43, 44, and 45.
NEW
________
NOTE:
_______
c
1
r
REGGAE A musical style mixing African and Caribbean rhythms often attributed tojamaican sources.
A74I

Cobbler, Cobbler
Rhythmicaily Jamaican Street Song
r_r
Cob - bier, Cob - bier fix my shoe, Get it done by haif past two.
r r
:I
Hif past two, Im at your door, Get it done by haif past four.
ACcOM.#21 Variation on Cobbler, Cobber
.
4
r
Fix my shoe, Haif past two. At the door, Wait no more.
IMPROVISATION
The art oj creating music spontaneously, during performance. Also, a form of composition.
RHYTHMIC IMPROVISATION
The act of expressing ones own rhythmic ideas while maintaining
the basic melodic choracter of the piece.
ACCOM.#1I
U
* LL Improvise rhythmic variations on Cobbler, Cobbler
BLUE GRASS A type of Anglo-American folk music originating around the mid- 1 940s in rural Appalachia.
AI3
jUba
Piafuiiy African-American FoIk Song
r r
j
r r
2
ju - ba this and Ju - ba that. ju - ba chased a yel - iow cat,
F
J
u - ba up and Ju - ba down, ju - ba run - ning ali a - round.
Variation on Juba
4
r
r
r
r
r
ACCOM#23
* Improvise rhythmic variations on Juba
? Forget tiie sound of a rhythm pattern? You Can Look It LJp
in the
Rhythm Pattern Dictionary
on pages 46 and 47.
c
9
ACCOM. #23
BARCAROLLE Originally, a f/k song of thc Vcnctian gondoliers (boatmen of thc Italian city of Venicc).
SOLO#24
fl
Barcaroile
ACCOM.#14 2
Smoothiy - In one
AccoM.#25-2 Variations on Polka
SPIRITLJAL A rellgious LoIk song of African-American origin.
? Forget tIie fingering or a note? You Can Look It Up on tIie Fingering Chart located on the inside front cover.
Jacques Offenbach (1819-1880)
r
Hr rrHHr r
n
r r
LJ
POLKA A Iively dance originated by Bohemian (Eastern European) peasants.
SOLO#25
Polka
ACCOM. #25.l
Cheerfully Dance Tune
o
.
r

soLo#16
Jacob Drink ACCOM. #16.2
With enthusiasm
ACCOM. #26.2
U. S. Spiritual
H
Variation on Jacob Drink
4
Shave and a Haircut
As quickly as possible
, -
1Y9 -
l4
Shave and a hair - cut, TWO
Early American
BITS!
NEW
NOTE:
D
D\
BLUES
An African-American 1olk music characterized by spontaneity and deep emotion.
SLUR A curved tine
/0%.
above ar below two ar more notes oj different pitch to indicate a
connected style of performance. That is, on one breath une without tongued articulation.
CALL AND RESPONSE A musical alteration between two performers ar a perrormer and a group of perrormers.
The musical response to the cali may be imitated ar improvised.
R31 * The Blues in D (IMITATIVE CALL AND RESPONSE - BY EAR STARTING ON D)
EXAMPLE: Cali
Response (Imitated)
IMPROVISATION The art of creating music spontaneously, during performance. Also, a form of composition.
RE3I ** L The Blues in D (IMPROVISEDCALLAND RESPONSE-BYEARONANYNOTE)
EXAMPLE: Cali
Response (Irnprovised)
ACCDM.#32
A
*** (IMPROVISE OVERTHE 12 BAR BLUES IN D BY EAR)
o (1
(1
p
DCAGACD
SOLO#30
The Blues in D
ACCOM, #32
In a swinging style
D7 ,
G7
rj
UJ
1
I(j
D7
,A7
D7
J J
JJ ii
u.S.
7 cnmthin& Yu Cnn tnk lt (l nn 1ws 4 and 5.
3
ACCOM.I8 Notes (SOLO OR DUET)
Moderto u.s.
,
F
F
r
r
Notes step down, Notes step up. Notes re - peat and notes can skip.
______ __ ___
r
___ __
ACCOM.#18 Stepping and Skipping (SOLO OR DUET)
Moderato
,
U.S.
Step - ping, step - ping, step - ping up; skip - ping, skip - ping, step and skip.
j
J 1J
J
____ ____ ____ ____ ____
Hush My Baby
Legato
r
J
Hush my ba - by. Hush my ba - by. Hush my ba - by. Dont you cry.
ROUND A specially composed melody that allows two ar more individuais to create interesting musical
effects by starting the melody at different times.
METRONOME MARKING A precise indication of the speeci ar the beat as expressed by Maelzels metronome.
(The metronome is a machine with a ticking pendulum patented byjohann Maelzel in
18 i. M.M. J = 96 means the tempo of the quarter note is 96 beats per minute.)
Lady My (2 PART ROUND)
Moderato M.M. J = 104 English Round
2.
J
La - dy, my cant you see? John feli off the white oak tree.
N
Be-A-Round (4 PART ROUND)
Smoothly M.M. =96 U.S.
2. 3.
? Farget the saund of a rhytjim pattern? You Can Look It Up in the Rhythm Pattern Dictionary on pages 46 and 47.
NEW
NOTE:
F
HYMN
A song of worship.
SOLO #46
ACCOM. #46-l Vesper Hymn (SOLO OR DUET)
oer the wa - ters
Russian FoIk Tune
Text by Thomas Moore
soft and clear;
F4
SOLO #45
ACCOM. #45-2
u
A Paris (SOLO OR DUET)
Moderato
,
A Pa- ris,
To Pa- ree,
a
to
Pa - ris,
Pa - ree,
OId French Tune
lJn
a
sur
on
,
pe - tit
hum - bie
che - vai gris.
grey - haired steed.
A
Smooth and connected
Hark! The Ves - per Hymn is steal - ing
Near - er yet and near - er peal - ing. Soft it breaks up - on the ear.
We Are Met (4 PART ROUND)
Brightly M.M. J = 120
&
2.
,
3. 4.
Samuel Webbe (c. 1680)
zI
We are met Iet mirth a - bound, and et the catch and glee go round
TI-lEME AND VARIATIONS
*
ASCl9
fl
Shepherds Hey
LiveIy
I4
? Forget the nome
or
something? You Can Look lt (Jp in the Music Signs and Symbols Dictionary on Pages 2 and 3.
;,-
I5
1 1
I I II
II -
English Country Dance TIme

I
o
ACCOM. #39
SOLO #40
ACCOM. #40.2
ACCOM. #40.2
SOLO #41
ACCOM, #42
I:F
Variation One on Shepherds Hey
O) 1
?
:I
:
U
* Variation Two on Shepherds Hey
r
r
:
I:F
:
*** Shepherds Hey (QUICK TIME - BY EAR STARTING ON B)
**** Variation Two on Shepherds Hey (QUICKTIME-BYEARSTARTINGOND)
**** Jinge BeNs (COUNTRY STYLE - BY EAR STARTING ON B)
Day Is Done (4 PART ROUND)
Smoothly M.M. J = 04 Traditional Round
2.
Now the day is near - y done, Night is slow
-
Iy com - ing on.
Ag
1
1
1

S
Sweet- Iy sleep tili morn - ing Iight. Good night Good night.
WLO 434
ACCOM,#4.2

Lighty Row
Livcly
COUNTRY SWING A blend of western, bluegrass and swing styles originating in Texas during the / 940s.
*
Lightly Row (COUNTRY SWING SYYLE BY EAR STARTING ON D)
n
** Lighdy Row (QUICK TIME)
ACCOM. #36-2
i
Li
r
Light -
ly
row, Iight - ly row, oer the shin - ing waves we go;
:I
Smoothly glide, smoothly glide, on the si - lent tide.
Norwegian Dance
Lively
Scandinavian Folk Tune
pp
rr
Round Dance (4 PART ROUND)
L!ghtly M.M. . 00
U.S.
2.
1
i4
..r
r
3.
4.

H
Forget the name of something? You Can Look It Up in the Music Signs and Symbols Dictionary on Pages 2 and 3.
4
Light
-
Iy row, Iight
-
ly row, oer the shin - ing waves we go;
[
,
p
Old German FolkTunc
Smooth
-
Iy glide, smooth
-
Iy glide, on the si - lent tide.
OId German FoIk Tune
A1

SOI.O 437
ACCOM. 437-2
TI-lEME AND VARIATIONS A musical Lorrn bascd upon a mclody follawed by a succcssion
or
con]posed
rhythmic/melodic variations.
WALTZ
A 1 9th century dance in triple meter.
II
r4
j. .
:
Waltz Variation One
r
i. .
D
Waltz Variation Two
4r
J. :I
Waltz Variation Three
J. :I
SOLO#28
Glya, Glya, Gihce (The Storks)
ACCOM. 428.2
Plairitively
(,
Hungarian Folk Song
LJ
Gi-ya, gl- ya, gi-h-ce, mi-ti v-res a i-bad. T6- rikgyer-ek
Love
-
Iy storb fly to the nest, See how one must stop and rest. Turk - ish child - ren

- 1
1 .. .
ei - v- gta, Mag- yar gyer- ek gy - gyit-ja, Sip - pai, dob - boi, n di- he-ge - d - vei.
hurt the bird, Mag- yar child- ren want him cured. Sing, play! Sing, play! Mu- sic wiII re - store you.
SOLO 429
ACCOM.#29.2 Champaigne Branle
1 6th Century French Dance Tune
Lively
Claude Gervaise
,
1
D
Waltz Theme with Variations
Lightly
Dance Tune
ACCOM. 427-2
ACCOM. 427-2
ACCOM. 427.2
BRANLE A popular French group dance of the 1 6th century in which
ali tIie motions of the lead coupie are imitated.
L
e)
? Forget the meaning of sometJ-ing? You Can Look It Uin the Music Terms Dictionary on pcges 42, 43, 44, and 45.
1 I.. -- l1
17
LLILLABV A cradle song usually sung by a mother to soothe or quict an infant Lnior bcitirne.
SiIent, Silent (SOLO OR DUET)
Smoothly
____________ ______________________ ________ _________________
German Luiiaby
____ ___
Si - Ient, Si - ent, Make no sound at ali. Now lay the child to sieep.
Love and peace his soul to keep. Si - lent. Si - Ient, Make no sound at ali.
SLUR A curved une ,-.. above or below two ar more notes of diiTerent pitch to indicate a
connected style of performance. That is, on one breath une without tongued articulation.
ACcO1.2
Bubble Gum Duet
Lightiy with humor
U.S.
_______ ___ ___
fl:
1 like bub- bie gum. Got to get me some. Biow it! Hold it! Ker - plop!
-
___ ___ ___ ____ ____ ____
Yum. Chew it! Big- ger Ker- piop!
)1 JT Learn to Pay a Song By Ear
*** 1 Suggeston: PIay Go TeIIAunt Rhody Starting on B
NATURAL (b)
A sign that cancels a flat
()
or sharp
( )
in the measure or in the key signature.
French Cathedrals (3 PART ROUND)
Stateiy M.M. J = 94
French Luliaby
2.
Or-I- aris, Beau-gen- cy, No- tre Dome de CI- ry, Ven - d - me, Ven - d - me.
? Forget the flnering of a note? You Can Look It iip on the Fingering Chart Iocated on the inside front cover.
la
COU1TY MUJC A popular style
o
Amcrican rnusic originating in thc South and Wcst
that usually cxpresses the celingful eiements of life.
Some Folks Do (SOLO OR DUET)
Whimsically
U.S.
E E E
E E
___
Some folks like to sigh, Some folks do, Some folks do,
I
____ ________ _______
__ __ ___
E
Some folks Iike to lie. Thats not me or you.
* Two Birds (4 PART ROUND)
Moderato(M.M.J 100-104)
France
E
LE E
E
Once there were two birds sit- ting on a fence; One fiew a - way so then there was one.
E E
E

Tra - Ia, Ia, Ia, Ia, Ia, la, Ia, Ia, Ia, Ia; There sat one on
-
Iy one.
* Rooster Round (5 PART ROUND)
Marcato (M.M. J 104)
Germany
J
H H
r
E
Lis - ten to the Roos - ter make his cail. Lis - ten to the Roos- ter make his cali.
__
E E
E
E
,4.
E
Cock - a - doo - dle - doo, Cock- a - doo, Cock- a - doo. Cock - a - doo - dle - doo, Cock- a -
doo, Cock- a - doo. Cock - a - doo - die, Cock - a - doo - die - doo, Cock- a - doo.
TI t1, gn, t rhwthm 4Wtprn? Vni, 1 nnk 1. 11h in th flhvthm Pnttrn flitionnrv nn hts 46 and 47.
19
NEW 1
E
NOTE:
1 o
E
Accomponiment
Only on Repeat
IMPROYISATION The art of creating music spontaneously, during performance. Also, a form o composition.
LLSTENAND
* Usten and lmprovse Variation on Ran, Ra
By
Ear
IMPOViSE #SO
Use the tces of the E minor
Pentctonic Scaie: E - G - A - B - D
o
o
TONAL.ITY A characteristic a Western music referring to the relationship a pitches to a specif7c tonal center.
If Do is the tonal center, the tonality is Major. lf La is the tonal center, the tonality is Minor.
Au Clair de a Lune (IN MINORTONALITY)
Pr - te - moi
wouid Iike
plu - me
to write you,
Pour - crite un
J
ust a word or
SOLO#52
Fais do do (IN M1NOR TONALITY)
ACCOM, #52-2
Ho - nu - kch,
Giow - ing iights,
sov, 50V, SOV.
round and raund.
USTENAND
fl
Rain, Rain (LISTEN AND PLAY)
PLAY#50
Expressiveiy
E ,:, -_
ii
I_1JI
Rain, Rain go a - way, come a - gain some oth - er day.
Legato
French Foik Song
t,
(,)
L
Au cloir de la lu - ne, Mon o - mi Pier - rot.
in the moons pale shim - mer, My dear friend, Pier - rot.
(,)
,
Ir1
mot
so.
French Luliaby
iF!
d
Fois do - do, Co - los, mon ptit fre - re, Fois do - do, Tou - ros, du lo - lo.
Go to sieep my sweet iit - tie bro - ther, Go to sieep, and youiI get a treat.
Sevivon Round (Spin, My Top)
Not too siowiy M.M. = 32
Hebrew Song
2.
Se - vi - von, 50v, SOV, sov, Ho - nu - koh hu hog tov,
5pm, my tap round and round, Ha - nu - kah days we ave,
,
J
P
hu hog tov, se - vi - von,
joy - fui sounds, spin, my top
.C. AL U%iE Go back to the bccrinning
and cnd at tho Fino.
SOLO #53
ACCOM. #53-2
Baa, Baa, Back Sieep (IN MINORTONALITY- SOLO OR DUET)
Moderato
France
Fine
.
r
H
Baa, baa, black sheep, have you an
-
y wool? No, sir, nay, not one bag fuil.
DC. ai Fine
F H
J flu
ri 1
None for my mas - ter and none for my dame, None for the lit- de boy who lives in the lane.
Harmony Part to Baa, Baa, Black Sheep Fine
O)
1
1
1
D.C. alFine
j
,
Ecch pcttern wiLl s?r on G.
Use the tones G, E, cd A.
OPTIONAL
NEW
NOTE:
Fnrot th minino nf .nmeDJin? Vou Can Look lt Up in the Music Terms Dictionary on aes 42, 43, 44, cnd 45.
BLUES ROCK A musical style that merges blues harmonies with rock and roli rhythms
othe 1950s and 1960s.
Bftes Rock CaN and Response
R54 * Bues Rock (IMITATED CALL AND RESPONSE)
II
(1 II
CALLAND
** Bues Rock (IMPROVISED CALL AND RESPONSE)
SPONSE 454
Use Lhe tones E, G, A, B, and C.
1 (l?p)
1)
(
o
SOLO#55
The Brch Tree (THEME FROM THE FOURTH SYMPHONY)
ACCOM, 455.2
Andante
.
o
o
o
Russian FoIk Song
Tschaikovsky (1840- 893)
j
rH j
,J
eJ. pj
f 1
By the Fre3ide (SOLO, DULET, TRIO, OR OUARTET)
,_
1.2. Praise the friend - Iy 1. camp fire Praise its warmth and beau - ty:
2. giow of fire.
J
:l
Fire, Fire Burn - ing bright, Crack - Iing flames iight up the night.
Accompanment One to By the Fireside
SoftIy
Accompanment Two to By the Firesde
SoftIy and Iightiy
,J
H
:
* Obbligato to By the Fireside
Softiy and IightIy
:
ISTAD 2ND DJkIGS
Ii. 112. PIay from the beginning to the repeat sign in the first
ending. Then, return to the beginning. On the repeat, skip
the first ending and continue through the second ending.
SOLO#57
Norsense Sorg
ACCOM. #57-2
Marcato
OPTJONAL NEW NOTE:
Haff hoje e
e
.
e
e
o
o
Lightly
u.S.
21
Ii.
112
Hungary
-I )
U
1 just caught a mos- qui - to big - ger than a horse, Oh! house, Oh! If you think so
Rode it up and ai! a - round high- er than a
1
III
j
you are dim, dim- mer than a horse, Oh! If you think so you are dim, dim- mer than a horse, Oh!
SOLO $58
Hatikvah
ACCOM. $58.2
With expression
Hebrew Meiody
E
H
4
NEW
____
!NOTE:
_______
D.C.
AL FINE Go back to the beginning and end at the Fine.
fl
Twinkle, Twinkle, Little Star (SOLO, DUET TRIO, OR QUARTET)
Smoothly
i
ri
Frerrch FolkTune
Text by Jane and Ann Taylor (1806)
Fine
J ,
Twin - kle, Twin - kle, Iit - tie star, How 1 won - der what you are.

1
D.C.alFine
H
Up a - bove the world so high, Like a dia - mond in the sky.
fl Harmony Part One to Twinkle, Twinke, Little Star
Softly and smoothly
Fine
J
D.C. alFine
J
,
fl Harmory Part Two to Twnkle, Twinke, Little Star
Fine
Softly and smoothly
D.C. alFine
,
iliI
III!I
li

1.
e e e

a
* Obbligato to Twinkle, Twinkle, Little Star
Softly and smoothly
Fine
,II
DC. alFine
4
e
a
SWING STYLE A type of Big Bandjazz of the Iate 1 930s and 1 940s.
50 10#6I
Twinkle,Twinkle, Little Star (SWING STYLE BY EAR STARTING ON D)
ACCOM 62
D
AJJ?AL TAJSLPOSJTION Thc process of pIayin a song orpassagc on a diffl.rcnt starting now
by ear without the aid of music notation.

* Au Car de b Lune By Ear Startng ori D

French FoIk Song

* L pais do-do By Ear Startng on F#

French Lullaby

* s3 Hot Crcss Buns By Ear Starting on

Engish FoIk Song
* Notes By Ear Starting on
, u.s.1
* Mary Had A Litte Lamb By Ear Starting on F#
Traditional
* Stepping and Skippng By Ear Startng on D
L
,

* Down By the Station By a Starting on

, American School Song
ri
** London Bridge Is Fa!Iing Down By Ear Starting on A
England
1

-
U
-
c
.
c
u
2
D
O
b
O
.
.
.
3
C
L
i
1
-
-
a
i
0
b
i
l
>

3
:
-
O
-
>
.
-
-
-
O

*
-
L
c
O
i
a
L
>
*
i
a
>

-
O
-
E
E
c
ii
-
L
i
C
-
(c
i
c
c
i
i
a
O
>
-
_
c
i,
0
i
a
-
U
a
i
-
E
.
-

-
i
a
a
i
a
i
c
-
O
-
E
.
-
c
i)
i
a
-
L
i
m
Z
c
c
i
-
(c
i
e

o
E
e

c
c
i
L
I
i
a
-
3
:
U
>

_
o

o
r

4
o
-
3
o
L
i
O

-
<
ii
-
c
O
>

c
l)
c
i,
9

c
D
i
a
i

O
o
-
-
n
-
a
i
>
.
b c
li
-
c
c
r
4
-
o
c

c
O
c
i
i
a
E
1
,
:
:
.

-
-
U
-
-
c
ii
O
c
_
4
Q
Q
O
-
L

O
H
L
.
2
E

}
O
.
.
.
o
.
-

%
2
-

L
i
i
_
_
>
.
o
Z
-
(
-
(
3
.
O

.
.
C
i
i
)
>
o
_
u
-
j
.
o
d
o L
I
L
I
L
i
L
I
L
I
25
Utt of e5tmrte (4 PART ROUND)
Lightiy (M.M. J 08)
FJ
2. 3 4.
Lit - tie elis of West- mm - ster go Ding, Dong, Ding, Dong, Dong,
Varbtion One of LittJe BeNs of Westminster
:I
Lit - tie belis go Ding, Dong, Ding, Dong,
Varaticn Two of Litte BeNs of Westminster
2.
3.
4.
:I
Belis go Ding,
o
Dong.
The Belis of Westrninster, Variation One, and Variation Two may be piayed simultaneously.
CAION Literally, a rule for realizing a composition. The rule dictates that each voice
imitates exactly the meiody sung or piayed by the first voice.
One or more notes that come before the first fui! measure of a piece.
They are usuaily found in the ast measure.
be- gun, A - work - ing on
O - ry Aye, A - work - ing on
*Forget
the meaning of something? You Con Look It UP
in the Music Terms Dictionary on pages 42, 43, 44, and 45.
TaNis Canon (4VOICECANON)
Legato*
(M.M. J = 96)
Thomas Tailis (15 10-1585)
SOLO #63
ACCOM. #63.2
.
j)
2.
4.
Ali praise to Thee, my Lord, ths night. For ali the bles - sings of the
,
,
H U
r
H
J
1
ight; keep me, Oh keep us, King of Kings, Be - neath Thine own Ai - might
-
y wings.
Doctor FeN (4 PART ROUND)
Marcato*
(M.M. J 100)
Dutch Round
1.
2.
4.
1
:I

pi
1
1. 1 do not iike thee, Doc - tor Feil, The rea- son why 1 can - not teu;
2. But this 1 know, and know fuli weiI, 1 do not hke thee, Doc- tor Feil.
Patsy Ory-Ory-Aye
Liveiy
irish Raiiroad Song
b.J.
1
N. 1
,
I?
1. Eigh - teen hund - red nine - ty- one, Thats the year that 1 be-gun,
2. Pat - sy O - ry O - ry Aye, Pat - sy O - ry O - ry Aye,
44 1 :;l
1.
e
Tats the year that
Pat - sy O - ry
u
the rail - road.
the rail - road.
Sur e Prit dA grcr (Or the Bridge oT Avgo) (SOLOORDUETENSEMBLE3-6PARTS)
Lightly
Fronch FoIk Song
Sur ie pont, dA - vi - gnon Lon
-
y dan - se, Lon y don - se.
On the bridge, A - vi - gnon Eve - ry one is dan - cing, dan - cing.
Softly
_____________________ __________________ ______________________
Sur le pont, dA - vi - gnon Lon
-
y don - se, tout en rond.
On the bridge, A - vi - gnon
,
They are dan - cing in a round.
. . .
e
________
OST[1TO A melodic pattern that is repeated over and over to accompany a principal melody.
Melodic Osth,atos to Sur le Pont dAvignon
U
A SoftI
B.
J
:j
C. Softly D. Softly
J
J
:
J
j:I
Singing Goose (4 PART ROUND)
With conviction M.M. J = 92
England
__
2.
Why should- nt my goose, Sing as welI as thy goose,
__
__
:11
When 1 paid for my goose, Twice as much as thou?
Santy Maloney (4 PART ROUND)
Happily M.M. . = 92
England
1.
___ ___
2.
Can you dance San - ty Ma - lon - ey? Can you dance San - ty Ma - lon - ey?
a
.
Can you dance Sar - ty Ma - on - ey, As we go round a - bout?
fl Fnrot th ni ind nf ri rhvthm hattern? Vou Can Look It UD in the Rhvthm Pattern Dictioncsry on aaes 46 and 47.
1
L
f
l
o

I
S
)
(
a a
)
-
n 1
_
o c o
-
c
1

1
)
I
(
a
a
)
(
a
-
D
-
c c
a
-

i
z
; c (
a
1
A
,
-
D 2 (
a c
I
c
(
a
-
D o (
a
-
D c (
a
(
a

c o
L
I
1
(
a
-
a
1
,)
a
)
E c (
a
o 1
-
o D o o o (
1
)
-
a
:
4
-
J
a
:
a
:
1

-
a
:
a
:
a
:
a
:
u o
-
a
:
a
:
-
L
i
o o L
i
4
-
,
L
i
4
-
,
L
i
a
:
-
a
:
L
i
E L
i
4
-
,
a
:

L
J
o E o
H
e

- -
l
o
4
-

4
-

b 1 1 1 1
e

1
(
-
o
b
o o
4 -
o
-
o

o
e

j
o 1
4
)
o c

j
-
v o a
)
E a
)
l
i
)
o o
-
E

O
z o
3
4
/
1
e

1
a
,,
a
)
a
:
=
3
4
-
,
a
:
a
i
L
i

o
-
a
:
a
:
a
:
a
)
o a
)
E

)
a
:
a
:
-
v
-
a
:
a
i
E =
3
4
-
,
z o 1
.

,
o
E

D o o 9 o v
i
l
i
)
O
-
c

D
J
A popular French .roup dance of the / 6th ccntury.
Ac,##L

Ilerry Brane
Merrily
SOLO #7I
JoIIy OId Saint NichoLas
ACCOM, 72
Lightly
Now my dear old
JAZZ BALLAD STYLE A slow, expressive vocal style characterized by extended jazz harmonies.
Anonymous Carol
SOLO#73
* JoNy O!d Saint Nichoas (JAZZ BALLAD STYLE BY EAR STARTING ON B)
ACCOM. #74
____
My Dames Lame, Tame Crane (4 PART ROUND)
With emotion M.M. = 100
Old English Round
2. 3.
My dame hath a lame, tame crane, My dame hath a crane that is ame. Do
e :
Pray, gen - tle Jane Iet my dames ame, tame crane heal and come home a - gain
? Foret the tneerin of a note? You Can Look It UP on the Fingerin Chart located on the inside front cover.
Thoinot Arbeau (ca. 15 19 - 595)
u .
fl
-
J
.
Ht
J
H
fl
Jol
-
Iy OId Saint Nich- o - las, lean your ear this way! Dont you teu a
flH
sing - le soul, what Im going to say; Christ- mas Eve is com - ing soon,
L
man, whis- per what youII bring to me. Teu me if you can.
.SPJRJTUAL A reIfrious /o)k sons of thc United Statcs. Mciinly, o[ A/ricon-Arnurican oriin,
beginnin,c in thc 1 9tb century and continuing into the 2Oth.
SOLO #75
ACCOM.#76
D
Jacob Drnk (SOLO, ENSEMBLE 2-5 PARTS)
U.S. Spirftual Melody
JDET
J
ii
Acccmpanment Number One to Jacob Drink
nJ
:
Accornpanrnent Number Two to Jacob Drink
* ObbNgato Number One to Jacob Drink
4JjJ
** ObbHgato Number Two to Jacob Drink
Hr
:
ACCE1T A marking to indicate special stress ar emphosis upon a certain note.
STACCATO A marking to indicate a detached, separated style of articulation.
The Frogs (4 PART ROUND)
Brightly M.M. = 96
Crick! Crck! Crick! Crick! Brrr - rump!
1. 2. 3.. . . . 4.
L
.
1
3
p____
Heartheive-Iy song of the frogs in yon-der pond, Crick! Crick Crick-i- ty Crick! Brrr- rump!
Variation on The Frogs
2.
Hear the frogs in yon - der pond,
Ajl7 A
LD Abdgbke (veg Be)
Oh, How Lovy s the Evenng (3 PART ROUND)
JAZZ WAI.TZ
An adaptation of jazz harmonies to 3/4 time characterized by a hard driving
bass une and swinging drums, espedally in the ride cymbal.
* Cuckoo Song (JAZZ WALTZ STYLE BY EAR STARTING ON A)
Round Evening
Smoothly M.M. J. 56
u.s.
1.
2.
, 3.
4.
r
r dI
.
:j
Round Evening Two
Smooth[y M.M. . 56
u.s.
2.
3.
4.
:
Round Evening and Round Evening Two may be piayed simultaneously.
Smooth and connected
German Round
SOLO 78
?rflM. #78.2
O wie wohl ist mir am A - bend, mir am A - bend,
Oh, how love
-
ly is the eve - ning, is the eve - ning,
J
H
J
Wenn zur Ruh die Glock - en lau - ten, Glock - en lau - ten, when the belis are sweet - ring - ing, sweet -
ly
ring - ing,
J. J. j. J.
Bim,
bam, bim, bom, bim, bam.
Ding,
dong, ding, dong, ding, dong.
CuckooSong
Swing and Sway
Germany
J
.
Cuck - 00, Cuck - 00, wel - come your song Win - ter s go - ing.
1
Soft breez- es blow - ing; Spring - time, spring - time soon wiII be here.
Acc0M.t143-1
fl
R0W, Ry, 0W YDLT oat (4 PART ROUND)
Mcrrily M.M. .J. 92-96
L
2.
Row, row, row your boat gent
-
ly ciown the stream.
3
:
Mer- ri
-
iy mer- ri - mer- ri
-
Iy mer- ri
-
Iy Life is but a dream.
fl
Varation on Row, Row, Row Your Boat
i4.
*
Row, Row, RowYour Boat is a partner tune to Little Tom Tinker (page 24, #1)
ROCK AND ROLL A mid-1 950s style of popular music featuring guitar and driving rhythms
with accents on the off-beats: 1 2 1 2
> >
A2

U On the Housetop
Rocking and rolling Benjamn R. Hanby (U.S. 1833-1867)
,
##
H
Up on the house- top the rein- deer pause, Out jumps good oid San- ta Claus;
r_
H
fl
U
r L
1
u
Down through the chim - ney with Iots of toys, Ali for the lit- tie ones Christ- mas joys.
,
J
?
Ho, ho, ho, who would- nt go! Ho, ho, ho, who would- nt go!_
1 1
1
H
J
ii
e)
Up on the house-top, click, click, lick, Down through the chim - ney with good Saint Nick.
SWING STYLE lt dont mean a tliing if it aint got that swing. - Cab Calloway
SOLO#83
AccoM.#84 * L Up On the Housetop (SWING STYLE - BY EAR STARTING ON A)
ACCDM84
** L Up On the Housetop (RHYTHMIC IMPROVISATION - SWING STYLE)
? Forget the saund of a rhythm pattern? You Can Look It UP in the Rhythm Pattern Dictionary on pages 46 and 47.
u.s.
E.O. Lyte
o o
-
-
F 1
1 1
L
A A A A
1 1 1 E

1
1 1 1 1
1 1
A A A A
1 1
1 1 j 1 1
1 1 L 1 1
r
1 1

1
1 -
l
1 -
l

1
1 1
I
A A
1 1 1 1 1
1 1 1 1 1 1 1 1
1 4
L
L
I
A
1 1 1
b

b 1
1 1 1 1
4 4 1 1
4 1
b

A
I
b

b b b I
A
I
A
o

0
.
1
1
j
o

1
b
1
1 1
1
1
1 4 4
a
)
1
b

E
0
4
J
a
)
o
4
-

-
o E
o 5 o L
ii
D c
l
o -
J
o (
1
)
a
)
U

4
-

1 O
Z 4
L
f
D
A
A A
a
)
-
L
.

v D
A
A
A A
a
)
1 L
.
1
-

-
-
-
C
r

U
c
i
i
(
z
a
)
v (
-
4
-

c
T
J
1
v a
)
o
A
o a
i
o E
-
o c
l.,
A
- a
i
(
Q
o E a
.,

L
)
-
J
Z
L
2

-
o
.
o
1
COVNTRY
S TYiE A popular style of music that oricinatos in the Arnerican Soiith and Wcst.
AI2
fl
Jingle BeNs
- Lightly
Learn to Pby a Song By Ear
*** ] Suggestion: Pay We Wish YouA Merry Christmcis
Starting on D
:
*** Suggestion: PIay Oh Hanukkoh
Starting on E
*** J Suggestion: PIay
Starting on G
James Pierpont (U.S. 822-1893)
Alternate: jin- gle beiis, Jin- gie belis, Jin- gie ali the way, Oh! what fun it is to ride
Original: jin- gle belis, jin- gie belis, Jin- gie ali the way, Oh! what fun it is to ride in a
[
fl
in an o - pen sleigh._ Jin - gle belis, - jin - gle belis, jin - gle ali the
one horse o - pen sieigh._ jin - gie belis, jin - gie beNs, jin - gie ali the
L#
r
way, Oh! what fun it is to ride in an o - pen sieigh.
way, Oh! what fun it is to ride in a one horse o - pen sieigh.
Harmony Part One to jingle BeNs
Softly and iightiy
r)
?

* Harmony Part Two to Jinge BeNs

Softiy and hghtiy
lIi r
ri 1
1
j .. 1 IS ll
.
L
King Wenceslas
tQLX YM A song o worship with a rcligious tuxt that has becn sct tu a Lolk mcIody.
SOLO 86
ACCOM,#86-2 Amazing Grace
Stately
John Newton (1779)
Early American Melody
u
A - maz - ing_ grace how sweet the sound that saved a wretch ike rne!__
, ,
. i_jii
1 once was_ lost but now Im found; Was blind but_ now 1 see.
GOSPEL African-American church music characterized by expression, improvisation, and a strong sense of ceiebration.
U
* Amazing Grace (GOSPEL STYLE - BY EAR STARTING ON D)
ACCOM#88 ** Arnazirg Grace (IMPROVISE IN GOSPEL STYLE - BY EAR STARTING ON D)
Learn to PJay a Song By Ear
*** Suggestion: PIay Oh When the Saints Go Mcrching In
Starting on G
i -
I(
ii
.
orD
*** L Suggeston: P]ay On Top of Old Srnokey
StartingonD
BALLAD A short, simpie song in a narrative ar descriptive frm,
sometimes set to a romantic or histarical poem.
AIO
Aura Lee
Gently
Sun - shine carne a - Iong
Arnerican BalIad
,
As the black- bird in the spring Neath the wil - low tree,
I.tf

a
a

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

.o
Au - ra Lee, Au - ra Lee, Maid of gold - en hair,
1
-
. ii
8l l
II
with thee, And swal - lows ir the air.
:
AC9I2
Seep, Baby, Seep (Schaf, Kindei, ScMaf)
Legato
TENUTO A term used to indicate a sustained (connected) style of articulation. Horizontal dashes
above or below a series of notes a/so indicate a sustained style of articulation.
* A hart is an adult male deer.
** A hare is a field animal similar to a rabbit, but Iarger.
? Forget the sound of a rhythm pattern? You Can Look It
UP in the Rhythm Pattern Dictionary on pages 46 and 47.
Gcrman Lullaby
Schlaf. Kind- Iein, schlar. Der Va - ter ht die Schaf, Die Mut - ter scht - telts
Sieep, ba - by, sleep, Thy fa - ther guards the sheep, Thy mc - ther shakes the
,
u
1

:11
Bium - e - lein, Da riit her - ab em Trum - e - lein, SchIaf Kind- lein, schaf
dream - Iand tree, And from it fali sweet dreams for thee, Sleep, ba - by, sleep.
Harmory Part to Sleep, Baby, S!eep
Tenuto
J
* ObbNgato to S!eep, Baby, Sleep
Lightly

1
:jI
The Hart, He Loves the High Wood (4 PART ROUND)
With humor and enthusiasm M.M. = 132 Composer Unknown c. 1680
1.
,2. ,3.
1
. 1
o.
I
. .
. a
*
**
The hart he loves the high wood, The hare, he loves the hili. The
4.
H. . ,.
J . .. 1
knight, he loves a bright sword, The Ia - dy loves her wil.
a
)
c o c L
i,
V
I
D
a
,
C
-
C
I

o
E
o
1
o

E
z
C

0
1
-
.

.
C
-
0
-
0
a
)
O
O
0
0
0
-
z
0
O
L
I
L
I
L
I
t
1
L
I
O
o
O
0
0
1
......
0
O
o
-
.
o
_
r
o
-
-
a
)
o
-
u
4
i
o
-
C
o
o
C
o
-
U
O
U

Q
U
o
c
i

L
.
1
.
)
>
W
(
Q
)
I
I

1
o
w
1
.
)
z t
i
)
(
D
1
2
.
2

a
,
i
i
f
l
:
2
0
2
0
0
0
0
0
o

1
o
-
o
(
D
(
D
-
o
o
o
-
.
O
-
1

9
o
o
1c
-
ACCTE!T A rnarkin Lo indiccite sp(cicii stress ar cinphcisi; upon o ccrtciiti note.
G
Scotlands Burning (iN TWO- QUARTER TIME)
Brightiy (i 1 2)
Traditionai
2.
Scot - iands burn - ing, Scot - iands burn - ing. Look out, iook out,
- - - 4.
r
u U
Fire! Fire! Fire! Fire! Pour on wa - ter. Pour on wa - ter.
Variatior on Scotands Burning
4
1. 2. 3.- 4. -

I
Ir
1
r
H
u
:11
e
Scot - iands bom - irlg, Look out, ook out, Fire! Fire! Fire! Fire! Pour on wa - ter.
Scotlands A-Burning (IN SIX-EIGHT TIME)
Brightiy
(
J. 1 12)
Traditionai
1.
2.
Scot- iands a - burn- ing, oh, Scot- iands a - burn ing, so Look out, Look out,
4.
Fire! Fire! Fire! Fire! Pour on some wa - ter Pour on some wa - ter.
Variation on Scotkands A-Burning
1
4
2. 3... . . . 4.
. iI
1
Scot- iands burn- ing, Look out, iook out, Fire! Are! Fire! Fre! Pour on wa - ter.
Sing Noe (3 PART ROUND)
West Africa (Liberia)
1.
2.
.0
i

L
Sing No - ei, Sing No - ei No - ei No - ei........._ Sng No - ei, Sing No- ei,
3.

e a
No - ei, No - ei. Sing, sing No - ei! Sng, sing No - ei!
39
. NEW4
NOTE:
::

._,$
L
Waltz (SOLO OR DUET)
Brightly - in one to the bar
;1. 1 O
1 9th Century Dance Tune
JI
-
-
o.
P.
I Thou, Poor Bird (4-PART ROUND)
Anonymous
M.M.J= 100-108
2.
A
Li
.
SOLO 494
ACCOM 494.2
SOLO 495
ACCOM. 496
ACCOM, 496
* Improvise Rhythmic Variations on Intry Mintry
ap - pie thorn.
that spells OUT!!
CCM.#96
A
** S3L Improvise Melodic Variations on Intry Mintry
A
Use tones of the D Minor Pentatonic Scale:
I-L)
t _-_) li
F G A C (D)
ACCOM.#96 *** 1 Improvise Melodic Variations on Intry Mintry
:;:L 1)
A
Use tones of the D Dorian Scale:
SOLO 427
ACCOM. 427.2
A

1 1 1
i
-j
,)
A
ir 1 71 U U
, :(
e)
tF-) 71
E
Jlp
-.

o. --jJ-- -
I,v ,
;5 .
Thou, poor brd, Mournst the tree, Where
A
3.
4.
1
1
I.LJ F
1
p_ J___ 1
,J
1
.1
Cd
sweet - Iy thou didst war - bie In thy wan - drings free.
Echen Confites (Scatter the Bon Bons)
Light and quick
Mexican FoIk Song
f
- -I
_1 1
1 IJ
1 1 1%. II 1 1 h. II
I(U 1 - - 1 d J
1 1 1 1 L 1 l_I 1 i . 1 II
E - chen cori
-
- tes y ca-ne-lo-nes Pa-ra los ni- nos que son muytra-go- nes.
Serve up the bon bons. Serve up the can- dy. To ali the chil- dren who are so in- dulg- ing.
A
hitry Niritry
Playfully
Game Song
A
4 )
.y?T ,-
1 .-.y -i U
.J J
1
2
In - try mm try cu - try com. Ap - pie seed and
Tumn and turn and turn a - bout. O - U - T and
1
DE F G A B C
NEW
NOTE:
c

;.
CONDUCTLJS A 1 2th century song with a serious, usually sacred, text in Latin verse.
SOLO#97 ti
Song of the Donkey (MIXOLYDIAN MODE)
ACCOM, #974
Smoothly
2th Century Conductus
1-
J
H
O - ri - en - tis por - ti - bus Ad - ven - tu - vit o - si - nus Pul - cher et for -
i H
J

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

Tide and Time (2 PART ROUND)
Marcato M.M. = 00-108
LoweII Masori (1864)
1.
2.
:I
wait
SOLO#98
Scarborough Fair (DORIAN MODE)
ACCOM.#99
Smoothly with expression
Engiish BaIIad

o.,
Are you going to Scar - bo - rough Fair?
Pars - ley,
sage, rose - mar - y, and thyme.
Oh,
ci
)
send my love to une who lives there,
Once she
was a true ove of mine.
Time and tide
e
wiII
for no - one
y O T! MPOV$E
fl
Cobbler, Cobbler (PAGE 9)
Rhythmically
*** Listen and Improvise Meodic Variations on Rck, Rah,
41
Use tones of the E Phrygicn Sca!e:
SOLO#30
The Blues in D (PAGE 2)
ACCOM. #32
In a swinging style
1 --
ii
.) g- t)
EFGABCDE
*** Improvise Melodic Variations on The Blues hi D
Use tones of the D Blues Scale:
I_SL) ()
. II
()
DFGG#ACD
e.
.
o
.
.
o
o
? Forget tIie fingering of a note?
You Can Look It
UP on the Fingering Chart Iocated on the inside front cover.
j
amaican Street Song COM
LISTEN AND
PLAY#50
Cob - bier, Cob - bler fix my shoe, Get it done by half past two.
,
E
j
r r
1
Half past two, Im at your door, Get it done by half past four.
** Improvise Mebdic Variations on Cobbler, Gobbier
(((o)lI
Use tones of the C Penttonic Scaffe:
,
CD E G A(C)(D)
Rain, Rain (PAGE 19)
Accompaniment
Expressively
OnIy on Repeat
(:j
Rain, Rain go a - way, come a - gairi some oth - er day.
VOU LOOI( IT UP
MU$C TERNS DCTIONARY
DEFINITIONS NEEDED TO UNDERSTAND MUSIC TERMINOLOGY
Accelerando poco a poco Fasfer, little by little.
Animato In an excited, animated style.
Accent Look lt Up in the Music Signs and Symbols Dictianary - page 4.
Accidental A flat, sharp, or natural sign that alters the pitch of a note.
Adagio See Tempo Markings - page 45.
AI fine To the end.
Allegro See Tempo Markings - page 45.
Andante See Tempo Markings - page 45.
Aural Transpositiori A process of playing a song or passage on a different starting note by ear without the aid
of music notation.
aIIad A short, simple song in a narrative or descriptive form, sometimes set to a romantic or his
torical poem.
ar Line Look lt Up in the Music Signs and Symbols Dictionary - page 4.
rcaroIIe Originally, a folk song of the Venetian gondoliers (boatmen of the city of Venice).
Biue Grass A type of Angio-American foik music originating around the mid- 1 940s in rural Appalachia.
Blues An African-American folk music characterized by spontaneity and deep emotion.
alues Rock A musical style that merges blues harmonies with rock and rol! rhythms of the 1 950s and
l960s.
D Blues Scale
2iues Scale A six tone scale used to improvise over blues harmonies. 1
Branle A popular French group dance of the 1 6th century in which ali motions of the ead couple
are imitated.
Bouffons Costumed dancers of the 1 5th and 1 6th centuries.
Cal! and Response A musical alteration between two perormers or a performer and a group of performers.
The musical response to the caIl may be irnitated or improvised.
Canon Literally, a rule for realizing a composition. The ruie dictates that each voice imitates exact
ly the melody sung or played by the first voice.
C!ef Look t Up in the Music Signs and Symbols Dictionary - page 4.
Conductus A 1 2th century song with a serious, usually sacred text in Latin verse.
Country Music A popular style of American music originating in the South and West that usually expresses
the feelingful elements of life.
Country Swing A blend of western, bluegrass, and swing styles originating in Texas during the 1 940s.
D.C. ai Fine An abbreviation for Da Capo ai Fine, which means go back to the beginning and
end at the Fine.
D.S. An abbreviation for Dai Signo, which means go back and repeat from the sign.