music theory - melodies for sight singing - benjamin crowell

7/31/2019 Music Theory - Melodies for Sight Singing - Benjamin Crowell

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Brief Contents

I Rhythm 13I-1 Whole, Half, and Quarter Notes 13

I-2 3/4 Time, and Dotted Half-Notes 14

I-3 Eighth Notes 14

I-4 Dotted Quarter Notes 14

I-5 Sixteenth Notes 15

I-6 Dotted Eighth Notes 15

I-7 Compound Time 16

I-8 Syncopation 16

I-9 Triplets 16

II Major Keys 17II-1 Introduction to Solfeggio 17

II-2 Melodies Containing Only Steps 19

II-3 Leaps to ‘Do’ 25

II-4 Leaps Back to Remembered Notes 25

II-5 Easy Leaps Within the Tonic Triad 27

II-6 The Leap of a Fifth Within the Tonic Triad 31

II-7 Leaps of a Sixth Within the Tonic Triad 33

II-8 Leaps Within the Dominant 35

II-9 Wider Leaps Within the Dominant 41

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III Minor Keys 51III-1 Solfeggio in the Minor Mode 51

III-2 Steps 53

III-3 Leaps Within the Tonic Triad 56

III-4 Leaps Within the Dominant 59

IV Other Diatonic Materials 67IV-1 Leaps Between the Tonic and Dominant 67

IV-2 Leaps Within the Subdominant, Major Keys 69

IV-3 Wide Leaps Within the Subdominant 81

IV-4 Leaps Within the Subdominant, Minor Keys 83

IV-5 Leaps of a Seventh 86

IV-6 Other Perfect Fourths and Fifths 91

IV-7 The Diminished Seventh Chord, and the Harmonic Minor Scale 101

V Nondiatonic Materials 103V-1 Secondary Dominants and Chromatic Passing Tones 103

V-2 Blue Notes 116

V-3 Relative Minor and Major 118

VI The C Clef 121

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Contents

I Rhythm . . . . . . . . .13I-1 Whole, Half, and QuarterNotes . . . . . . . . . . . . . . . . 131 rhythm of Twinkle Twinkle, Little Star , 4/4 . 132 rhythm of Little Brown Jug , 4/4 . . . . . 133 rhythm of Bingo , 4/4 . . . . . . . . . . 134 rhythm of Rain, Rain, Go Away , 4/4 . . . . 135 rhythm of O Come, All Ye Faithful , 4/4 . . 13

I-2 3/4 Time, and Dotted Half-Notes . . . . . . . . . . . . . . . . 146 rhythm of We Three Kings , 3/4. . . . . . 147 rhythm of Take Me Out to the Ball Game , 3/414

I-3 Eighth Notes . . . . . . . . .148 rhythm of O Little Town of Bethlehem, 4/4 . 149 rhythm of We Wish You a Merry Christmas ,3/4 . . . . . . . . . . . . . . . . . . 1410 rhythm of This Old Man, 4/4 . . . . . . 1411 rhythm of Hush Little Baby , 4/4 . . . . . 14

I-4 Dotted Quarter Notes . . . .1412 rhythm of Jingle Bells , 4/4 . . . . . . . 1413 rhythm of Jimmy Crack Corn, 4/4 . . . . 1414 rhythm of Away in a Manger , 3/4 . . . . 1515 rhythm of Rockabye Baby , 3/4 . . . . . 1516 rhythm of Home On the Range , 3/4 . . . 15

I-5 Sixteenth Notes. . . . . . . .1517 Tchaikovsky, rhythm of trepak from The Nutcracker , 2/4 . . . . . . . . . . . . . 15

I-6 Dotted Eighth Notes. . . . .1518 rhythm of Alouette , 4/4 . . . . . . . . 1519 Tchaikovsky, rhythm of waltz of the owers from The Nutcracker , 3/4 . . . . . . . . . 1520 rhythm of I’ve Been Working on the Rail-road , 4/4 . . . . . . . . . . . . . . . 15

I-7 Compound Time . . . . . . .1621 rhythm of Here We Go Round the Mulberry Bush, 6/8 . . . . . . . . . . . . . . . 1622 rhythm of The Itsy-Bitsy Spider , 6/8 . . . 1 623 rhythm of Pop Goes the Weasel , 6/8 . . . 1624 rhythm of Row, Row, Row Your Boat , 12/8 16

I-8 Syncopation . . . . . . . . . .1625 Joplin, rhythm of The Entertainer , 2/4 . . 16

I-9 Triplets. . . . . . . . . . . . .1626

Tchaikovsky, rhythm of march from The Nutcracker , 4/4 . . . . . . . . . . . . . 16

II Major Keys. . . . .17II-1 Introduction to Solfeggio . .17II-2 Melodies Containing OnlySteps . . . . . . . . . . . . . . . .1927 C, 4/4 . . . . . . . . . . . . . . . 1928 C, 4/4 . . . . . . . . . . . . . . . 1929 C, 3/4 . . . . . . . . . . . . . . . 1930 Beethoven, Ode to Joy , C, 4/4 . . . . . 1931 G, 3/4 . . . . . . . . . . . . . . . 1932 G, 3/4 . . . . . . . . . . . . . . . 1933 carol (Bohemia), D, 4/4 . . . . . . . . 2034 Bach, Chorale, ‘Herr, wie du willst, so schick’s mit mir’ , A, 4/4 . . . . . . . . . 2035 Latour, The Beautiful Angel , E, 6/8 . . . 2 036 Lewis, B, 3/4 . . . . . . . . . . . . 2037 B , 4/4 . . . . . . . . . . . . . . . 2038 Lewis, B , 4/4 . . . . . . . . . . . . 20

39 E , 3/4 . . . . . . . . . . . . . . . 2040 A , 4/4 . . . . . . . . . . . . . . . 2141 D , 4/4 . . . . . . . . . . . . . . . 2142 G , 4/4 . . . . . . . . . . . . . . . 2143 G, 6/8 . . . . . . . . . . . . . . . 2144 C, 4/4, 1 . . . . . . . . . . . . . . 2145 Emerson, Whither Through the Meadow? ,C, 2/4, 1. . . . . . . . . . . . . . . . 2146 C, 3/4 . . . . . . . . . . . . . . . 2147 G, 4/4 . . . . . . . . . . . . . . . 2248 Lewis, C, 4/4 . . . . . . . . . . . . 2249 Lewis, C, 4/4 . . . . . . . . . . . . 2250 Lewis, C, 6/8 . . . . . . . . . . . . 2351 Lewis, B , 4/4 . . . . . . . . . . . . 24

II-3 Leaps to ‘Do’ . . . . . . . .2552 G, 3/4 . . . . . . . . . . . . . . . 2553 F, 3/4 . . . . . . . . . . . . . . . 25

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II-4 Leaps Back to RememberedNotes . . . . . . . . . . . . . . . . 2554 C, 4/4 . . . . . . . . . . . . . . . 2555 Bach, Chorale, ‘Seelenbr autigam, Jesu,Gottes Lamm’ , A, 4/4 . . . . . . . . . . 2556 Bach, Chorale, ‘Jesu, meiner Seelen Wonne’ ,A, 4/4. . . . . . . . . . . . . . . . . 2557 G, 4/4 . . . . . . . . . . . . . . . 2658 folk song, C, 3/4 . . . . . . . . . . . 26

II-5 Easy Leaps Within the TonicTriad . . . . . . . . . . . . . . . .2759 Beethoven, opening theme of Symphony #3 (‘Eroica’), E , 3/4 . . . . . . . . . . . . 2760 Scarlatti, Su, Venite a Consiglio , G, 3/4 . . 2761 Latham, Broadway Sights , A, 6/8 . . . . 2762 A la Claire Fontaine (France), F, 2/4 . . . 2763 Pergolesi, aria ‘Sancta Mater’ from Stabat Mater , G, 4/4. . . . . . . . . . . . . . 2764 Sullivan, E , 6/8 . . . . . . . . . . . 2765 A Recouvrance (France), F, 4/4 . . . . . 2866 Froebel, Pat-a-Cake , C, 12/8 . . . . . . 2867 Carmela (Mexico), E , 4/8 . . . . . . . 2868 My Father, How Long? (Florida), F, 4/4 . 2869 Bach, Chorale, ‘Es ist gewisslich an der Zeit’ ,B , 4/4 . . . . . . . . . . . . . . . . 2870 Annie Laurie , C, 4/4. . . . . . . . . . 2971 Cutler, The Son of God Goes Forth to War ,B , 4/4 . . . . . . . . . . . . . . . . 2972 Luther, We Come Unto Our Father’s God ,G, 4/4. . . . . . . . . . . . . . . . . 2973 Lawlan’ Jenny (Scotland), D, 3/4 . . . . 2974 Foster, Hard Times Come Again No More ,E , 4/4 . . . . . . . . . . . . . . . . 3075 Weston, Row, Burnie, Row , E , 2/4 . . . 3076 En Revenant d’Auvergne (France), B , 2/4. 3077 Entendez-Vous Sur l’Ormeau (France), F,4/4, 1 . . . . . . . . . . . . . . . . . 30

II-6 The Leap of a Fifth Within

the Tonic Triad . . . . . . . . . .3178 Rousseau, Hush, My Babe , F, 2/4 . . . . 3 179 Dans la Foret Lointaine (France) , F, 2/4. . 3180 The Beggar Girl (England), F, 6/8 . . . . 3 181 Hawthorne, Home, By and By , F, 4/4 . . . 3182 Froebel, Beckoning the Pigeons , G, 3/8 . . 3283 F, 2/4 . . . . . . . . . . . . . . . 32

II-7 Leaps of a Sixth Within theTonic Triad. . . . . . . . . . . . .3384 As-Tu Vu la Casquette? (France) , G, 2/4 . 3385 Praise, Member (South Carolina) , G, 2/4 . 3386 Froebel, Beckoning the Chickens , F, 2/4. . 3387 folk song, G, 2/4 . . . . . . . . . . . 3388 Poor Rosy (South Carolina), G, 2/4 . . . 3389 Poor Rosy (South Carolina), C, 2/4 . . . 3490 Wrighton, The Dearest Spot on Earth , B ,4/4 . . . . . . . . . . . . . . . . . . 3491 Absent Davie (Scotland), D, 4/4 . . . . . 3492 A, 4/4 . . . . . . . . . . . . . . . 3493 B , 3/4, 1 . . . . . . . . . . . . . . 34

II-8 Leaps Within the Dominant 3594 Mozart, allegro from ‘Eine kleine Nacht-musik’ , F, 4/4 . . . . . . . . . . . . . 3595 Mozart, Duet No. 2, Menuet, from 12

Duets, K.V. 487 , G, 3/4 . . . . . . . . . 3596 folk song, G, 3/4 . . . . . . . . . . . 3597 Derrier’ Chez Nous il y a Trois Fleurs (France) , G, 2/4. . . . . . . . . . . . . 3598 ¨ Annchen von Tharau (Germany), G, 3/4. . 3599 Ah! Mon Beau Chateau! (France) , A, 2/4 . 36100 Ainsi Font, Font, Font (France) , G, 2/4 . 36101 Husband, Revive Us Again, C, 3/4 . . . 36102 Lightly Row (Spain), F, 2/4 . . . . . . 36103 God Speed the Right (Germany), C, 4/4 . 36104 Mozart, aria (Papageno) from ‘The Magic Flute’ , G, 2/4 . . . . . . . . . . . . . . 36105 Sch¨ onster Schatz, Mein Engel , D, 3/4 . . 37106 Down in the Valley , C, 9/8 . . . . . . 37107 Musieu Bainjo (Louisiana), G, 2/4 . . . 37108 Brother, Guide Me Home (Tennessee) , A,4/4 . . . . . . . . . . . . . . . . . . 37109 Serenata (California) , B , 2/2 . . . . . 37110 Mozart, adagio from string quartet # 1 , G,3/4 . . . . . . . . . . . . . . . . . . 37111 Bach, Chorale, ‘Es spricht der UnweisenMund wohl’ , B , 4/4 . . . . . . . . . . . 37112 Beuttner, Es kam ein treuer Bote , F, 4/4 . 38113 Bach, Chorale, ‘Valet will ich dir geben’ , D,4/4 . . . . . . . . . . . . . . . . . . 38114 Bach, Chorale, ‘Wie bist du Seele in mir so gar betr¨ ubt’ , G, 4/4 . . . . . . . . . . . 38115 Gardez Piti Milatte-la (Louisiana), B , 4/4 38116 Shout On, Children (Georgia), A, 2/4 . . 38117 Schubert, Wohin? , G, 4/8 . . . . . . . 39

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118 Bach, Chorale, ‘Liebster Jesu, wir sind hier’ ,G, 4/4. . . . . . . . . . . . . . . . . 39119 Haydn, menuet Oxford symphony , G, 3/4. 39120 Bach, Chorale, ‘Mach’s mit mir, Gott, nachdeiner Gut’ , D, 4/4 . . . . . . . . . . . 39121 Schubert, Halt! , C, 6/8 . . . . . . . . 39122 Holst, Venus theme from The Planets , D,

3/4 . . . . . . . . . . . . . . . . . . 39123 Serenata (California) , B , 2/2 . . . . . 40124 If Your Foot Is Pretty, Show It (United States) , D, 3/8 . . . . . . . . . . . . . 40125 G, 3/4 . . . . . . . . . . . . . . . 40

II-9 Wider Leaps Within theDominant . . . . . . . . . . . . .41126 Bates, America the Beautiful , C, 4/4 . . 41127 Eli Yale , B , 2/4 . . . . . . . . . . . 41128 Krambambuli , D , 2/4 . . . . . . . . 41

129 Go ’Way, Old Man (Louisiana), E , 3/4 . 41130 Our Baby (France) , A, 2/4 . . . . . . 42131 Aux Marches du Palais (France), F, 6/8 . 42132 Bach, Chorale, ‘Herr, wie du willst, so schick’s mit mir’ , A, 4/4 . . . . . . . . . 42133 Bach, minuet , D , 3/4 . . . . . . . . 42134 Arlequin Tient Sa Boutique (France) , A,2/4 . . . . . . . . . . . . . . . . . . 42135 Ballade de Roland (France), G, 6/8 . . . 43136 folk song, G, 6/8 . . . . . . . . . . 43137 Tu Eres Mas Bella (Costa Rica), F, 2/4 . 43

138 Praise, Member (South Carolina) , G, 2/4 . 43139 Wach’ Auf, Mein Hort , F, 6/8 . . . . . 44140 Barbara Allan (Scotland) , B, 4/4 . . . . 4 4141 I’m a Pilgrim (Italy), G, 4/4 . . . . . . 44142 Haydn, nale, London symphony , D, 4/4 . 44143 Dans Notre Jardin (France) , F, 2/4 . . . 45144 The Gypsy Warning (Missouri), E , 3/4 . 45145 Jungfraulein, Soll Ich Mit Euch Gehn, F,4/4 . . . . . . . . . . . . . . . . . . 45146 G, 4/4 . . . . . . . . . . . . . . . 45147 Strauss, Not Yet , A , 6/8 . . . . . . . 46148 Ah, Suzette, Chere (Louisiana) , E , 3/4 . 46149 La Paloma Blanca (Arizona), F, 6/8 . . . 46150 Schubert, Das Wandern , B , 4/8 . . . . 46151 C, 3/4 . . . . . . . . . . . . . . . 46152 Chill Ether (Scotland), E , 3/4 . . . . . 47153 folk song, A , 3/4 . . . . . . . . . . 47154 folk song, A, 6/8 . . . . . . . . . . 47

155 Bach, Chorale, ‘Nun ruhen alle Walder’ , B ,4/4 . . . . . . . . . . . . . . . . . . 48156 Bach, Chorale, ‘Wenn wir in h¨ ochstenN¨ oten sein’ , G, 4/4 . . . . . . . . . . . 48157 The Duke of Argyle’s Courtship (Scotland),D, 3/4. . . . . . . . . . . . . . . . . 48158 Samuel, The Fairy Boat , G, 2/4 . . . . 48

159 Gar Lieblich Hat Sich Gesellet , F, 2/4 . . 48160 B , 4/4, 1 . . . . . . . . . . . . . 49

III Minor Keys . . . .51III-1 Solfeggio in the MinorMode . . . . . . . . . . . . . . . .51III-2 Steps. . . . . . . . . . . . .53161 a, 4/4 . . . . . . . . . . . . . . . 53162 a, 6/8 . . . . . . . . . . . . . . . 53163 a, 3/4 . . . . . . . . . . . . . . . 53164 a, 3/4 . . . . . . . . . . . . . . . 53165 Lewis, a, 4/4 . . . . . . . . . . . . 53166 Lewis, a, 3/4 . . . . . . . . . . . . 53167 Lewis, a, 3/4 . . . . . . . . . . . . 54168 Lewis, d, 4/4 . . . . . . . . . . . . 54169 Lewis, d, 4/4 . . . . . . . . . . . . 54170 Lewis, d, 3/4 . . . . . . . . . . . . 54171 Lewis, d, 3/2 . . . . . . . . . . . . 54172 Bach, gavotte in G minor , g, g/minor . . 54173 Lewis, a, 4/4 . . . . . . . . . . . . 55

III-3 Leaps Within the TonicTriad . . . . . . . . . . . . . . . .56174 c, 4/4 . . . . . . . . . . . . . . . 56175 c, 4/4 . . . . . . . . . . . . . . . 56176 Wedge, c, 3/4. . . . . . . . . . . . 56177 Who Got Dirt on the Carpet Again?, c, 4/456178 c, 3/4 . . . . . . . . . . . . . . . 56179 c, 4/4 . . . . . . . . . . . . . . . 56180 Wedge, f, 2/4 . . . . . . . . . . . . 57181 Wedge, f, 2/4 . . . . . . . . . . . . 57182 Wedge, f, 2/4 . . . . . . . . . . . . 57183 f, 4/4 . . . . . . . . . . . . . . . 57184 Bach, Chorale, ‘Herr, nun lass in Friede’ , a,4/4 . . . . . . . . . . . . . . . . . . 57185 Every Hour in the Day (Georgia), e, 2/4 . 57186 Forget na’, dear Lassie (Scotland), a, 3/4. 58187 Bach, Chorale, ‘Es steh’n vor Gottes Throne’ , g, 4/4 . . . . . . . . . . . . . 58

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188 Mozart, theme from symphony in G minor ,g, 4/4 . . . . . . . . . . . . . . . . . 58189 Thou Poor Bird , c, 4/4, 1 . . . . . . . 58

III-4 Leaps Within the Dominant59190 Wedge, g, 3/4. . . . . . . . . . . . 59191 Wedge, g, 2/4. . . . . . . . . . . . 59

192 My Field (Russia), g, 4/4 . . . . . . . 59193 g, 9/8 . . . . . . . . . . . . . . . 59194 Wedge, g, 3/4. . . . . . . . . . . . 59195 Wedge, g, 3/4. . . . . . . . . . . . 59196 Wedge, c, 3/4. . . . . . . . . . . . 60197 Bach, melody from the notebook for AnnaMagdalena, g, 3/4 . . . . . . . . . . . . 60198 lullabye (Russia), e , 4/4 . . . . . . . 60199 Las Tristes Horas , e, 2/4 . . . . . . . 60200 Wedge, g, 3/4. . . . . . . . . . . . 60201 Froebel, The Wolf , c, 4/8 . . . . . . . 60202 Guten Abend , g, 3/8 . . . . . . . . . 60203 Bach, Gavotte II from cello suite # 5 , c,12/8 . . . . . . . . . . . . . . . . . 61204 Lolotte (Louisiana), c, 4/4 . . . . . . . 61205 Mozart, menuet from string quartet # 15 ,d, 3/4 . . . . . . . . . . . . . . . . . 61206 Los Ojos Mexicanos (Mexico), g, 2/4 . . 61207 White, Ophelia’s Song , e, 4/4 . . . . . 61208 Bach, Chorale, ‘Nun sich der Tag geendet hat’ , a, 4/4. . . . . . . . . . . . . . . 61209 Reir Es Necesario (Mexico), d, 2/4 . . . 62210 En Avant, Grenadiers! (Louisiana) , e , 4/4 62211 Angel de Mis Amores (Mexico), d, 2/4 . . 62212 Schubert, Am Feierabend , a, 6/8 . . . . 6 2213 Bach, Chorale, ‘O Traurigkeit, o Herzeleid’ ,a, 4/4 . . . . . . . . . . . . . . . . . 62214 Brahms, Nachtwache 1, b, 4/4 . . . . . 63215 Mi Sue˜ no (Mexico), c , 3/4 . . . . . . 63216 Bach, Chorale, ‘O Haupt voll Blut und Wunden,’ from St. Matthew’s Passion, d, 4/4. 63

217 Bach, Chorale, ‘Von Gott will ich nicht lassen’ , b, 4/4 . . . . . . . . . . . . . 63218 Wedge, g, 4/8. . . . . . . . . . . . 64219 Wedge, g, 3/4. . . . . . . . . . . . 64220 Handel, aria ‘O Jordan, Sacred Tide’ fromEsther , g, 3/4 . . . . . . . . . . . . . . 65221 Go Down, Moses (Unites States), g, 4/4 . 65

IV Other DiatonicMaterials..........67IV-1 Leaps Between the Tonicand Dominant . . . . . . . . . . .67222 Ya Viene El Alba (California), G, 2/4 . . 67223 Scarlatti, Gia il Sole dal Gange , A , 3/4 . 67224 Schubert, Danksagung an den Bach, G, 2/467225 Grieg, e, 4/4 . . . . . . . . . . . . 67226 zandunga folk song (Southern Mexico), e,3/4 . . . . . . . . . . . . . . . . . . 68227 Carcini, Amarilli, Mia Bella, g, 4/4 . . . 68

IV-2 Leaps Within the Subdom-inant, Major Keys. . . . . . . . .69228 Jehovah, Hallelujah (South Carolina), F,3/4 . . . . . . . . . . . . . . . . . . 69229 Arlequin Marie Sa Fille (France), C, 3/4 . 69230 folk song, F, 2/4. . . . . . . . . . . 69231 folk song, F, 2/4. . . . . . . . . . . 69232 Foster, Old Folks at Home , D, 4/4 . . . 7 0233 Lang Johnny More (Scotland), F, 2/4 . . 70234 The Bonniest Lass in a’ The Land (Scot-land), C, 2/4 . . . . . . . . . . . . . . 70235 Old Hundred , G, 4/4 . . . . . . . . . 71236 Da Unten Im Tale , E , 3/4 . . . . . . 71237 I Want To Be Ready (United States) , E ,2/4 . . . . . . . . . . . . . . . . . . 71238 Fasolo, Cangia, Cangia Tue Voglie , C, 2/4 71239 The Ash Grove (Wales), F, 3/4 . . . . . 71240 West, The Jenny Lind Mania (United States) , G, 2/4 . . . . . . . . . . . . . 71241 Au Jardin de Mon Pere (France) , F, 6/8 . 71242 Strauss, Devotion, C, 4/4 . . . . . . . 72243 I Ride an Old Paint (United States) , D, 3/472244 Whittier, Song of the Free , E , 3/2 . . . 72245 Handel, aria ‘Hush ye pretty warbling quire’ from Acis and Galatea, F, 3/8 . . . . . . . 72246 Tallis, If Ye Love Me , F, f/major . . . . 73247 Sinner Won’t Die No More (Tennessee), A,4/4 . . . . . . . . . . . . . . . . . . 73248 Mozart, opening from clarinet quintet , A,4/4 . . . . . . . . . . . . . . . . . . 73249 The Gold Band (Tennessee) , G, 3/4 . . . 73250 Pergolesi, tune from Stabat Mater , G, 4/4 74251 Bonnie Wee Window (Arkansas), E, 6/8 . 74

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252 Fearis, Beautiful Isle of Somewhere , A , 6/874253 Bradbury, He Leadeth Me , B, 4/4 . . . . 7 5254 Sullivan, The Blue Juniata , F, 2/4 . . . 75255 Red River Valley , E, 4/4 . . . . . . . 75256 I’m In Trouble (Florida), C, 4/4. . . . . 75257 Haydn, introduction, London symphony , D,4/4 . . . . . . . . . . . . . . . . . . 75

258 Rosa Lee , A , 2/4 . . . . . . . . . . 76259 My Lodging Is On the Cold Ground , A, 6/876260 Cowboy’s Home Sweet Home (Arkansas),G, 12/8 . . . . . . . . . . . . . . . . 76261 Calinda (Louisiana), F, 6/8 . . . . . . 76262 The Braes O Yarrow (Scotland) , C, 3/4 . 77263 Gaudeamus Igitur , G, 3/4 . . . . . . . 77264 Mozart, andante from string quartet # 2 ,A, 3/4. . . . . . . . . . . . . . . . . 77265 The Wild Moor (Missouri), B, 3/4 . . . 77266 Brahms, introduction, 1st symphony , C,

4/4 . . . . . . . . . . . . . . . . . . 77267 Caroline (Louisiana), G, 4/4 . . . . . . 78268 Avril (France), E , 6/8 . . . . . . . . 78269 Mozart, menuet from string quartet # 10 ,C, 3/4. . . . . . . . . . . . . . . . . 78270 The Hallowed Spot (Missouri), A , 3/4. . 78271 folk song (Russia), G, 2/4 . . . . . . . 79272 The Ship That Never Returned (Missouri),A, 2/4. . . . . . . . . . . . . . . . . 79273 Paradies, M’ha Preso Alla Sua Ragna, A ,2/4 . . . . . . . . . . . . . . . . . . 80274

Die Sonne Scheint Nicht Mehr , E, 4/4 . . 80275 Ubi Bene, Ibi Patria, C, 6/8 . . . . . . 80

IV-3 Wide Leaps Within theSubdominant . . . . . . . . . . .81276 Mozart, presto from string quartet # 4 , C,2/4 . . . . . . . . . . . . . . . . . . 81277 Ellor, Diadem, B , 3/4 . . . . . . . . 81278 Mozart, rondo from string quartet # 6 , B ,2/4 . . . . . . . . . . . . . . . . . . 81279 Adieu, Bonne Hˆ otesse (France) , F, 4/4. . 81280 Derriere Chez Moi (France) , F, 2/4 . . . 82281 Foster, The Song of All Songs , F, 4/4 . . 82282 Gladden, The Mountains , B , 4/4 . . . . 8 2

IV-4 Leaps Within the Subdom-inant, Minor Keys. . . . . . . . .83283 Wedge, f, 2/4 . . . . . . . . . . . . 83284 Wedge, f, 3/4 . . . . . . . . . . . . 83

285 Wedge, c, 2/4. . . . . . . . . . . . 83286 g, 4/4 . . . . . . . . . . . . . . . 83287 Hanukah O Hanukah, d, 4/8, Presto. . . 84288 Vivo Llorando la Suerte (Mexico), d, 2/4 . 84289 Mozart, Osanna (bass solo, allegro) fromSanctus, Requiem, D, 3/4 . . . . . . . . . 84290 Bach, trio from Brandenburg concerto #

1, d, 3/4 . . . . . . . . . . . . . . . . 84291 Que No Te Amo (Mexico), g, 4/4 . . . . 8 4292 folk song (Russia), d, 4/4 . . . . . . . 85293 folk song (Russia), f, 2/4 . . . . . . . 85294 Entre Vous Tous Gens de la Ville (France),f, 3/4 . . . . . . . . . . . . . . . . . 85

IV-5 Leaps of a Seventh . . . . .86295 Mozart, menuet from string quartet # 8 ,F, 3/4 . . . . . . . . . . . . . . . . . 86296 Hess, Little Charley Went a Fishing , F, 6/8 86297 folk song, A, 4/4 . . . . . . . . . . 86298 Carmela (Mexico), E , 4/8. . . . . . . 87299 Mozart, menuet from string quartet # 1 ,C, 3/4. . . . . . . . . . . . . . . . . 87300 Gwine Follow (South Carolina), A, 2/4 . . 88301 Mendelssohn, aria ‘If with all your hearts ye truly seek me’ from Elijah, E , 3/4 . . . . . 88302 Bayly, Long, Long Ago , D , 4/4 . . . . 88303 Cradle Song , F, 4/4 . . . . . . . . . 88304 Widdecombe Fair (England), C, 3/4 . . . 89305 Walk, Shepherdess, Walk (Arkansas) , C,4/4 . . . . . . . . . . . . . . . . . . 89306 Reir Es Necesario (Mexico), F, 2/4 . . . 89307 folk song (Russia), A, 3/4 . . . . . . . 89308 A Quinze Ans (France), g, 6/8 . . . . . 89309 Mozart, menuet from string quartet # 8 ,F, 3/4 . . . . . . . . . . . . . . . . . 90310 Mozart, presto from string quartet # 7 , E ,2/4 . . . . . . . . . . . . . . . . . . 90311 Upidee , G, 4/4 . . . . . . . . . . . 90

IV-6 Other Perfect Fourths andFifths . . . . . . . . . . . . . . . .91312 Mozart, opening from string quartet # 4 ,C, 4/4. . . . . . . . . . . . . . . . . 91313 folk song, G, 2/4 . . . . . . . . . . 91314 La Rana (Mexico), D, 3/4 . . . . . . . 92315 Poulton, Aura Lee , F , 4/4 . . . . . . 92316 Weber, Softly Now the Light of Day , A, 2/492317 Harris, After the Ball , B , 3/4 . . . . . 93

8



318 Sullivan, Take a Pair of Sparkling Eyes , F,6/8 . . . . . . . . . . . . . . . . . . 93319 Sullivan, Sing Hey to You, Good-Day to You! , G, 2/4 . . . . . . . . . . . . . . 93320 Foster, Slumber My Darling , E , 6/8 . . . 93321 Foster, Gentle Annie , E, 4/4 . . . . . . 93322 Were You Ever in Rio Grand , B, 6/8 . . . 94

323 Rimsky-Korsakov, Scheherezade (theme from third movement), C, 6/8 . . . . . . . 94324 Beethoven, opening movement from string quartet # 1 , F, 3/4 . . . . . . . . . . . 94325 Mozart, trio from string quartet # 1 , C, 3/494326 Abt, Kathleen Aroon, G, 3/4 . . . . . . 94327 folk song (Germany), D, 4/4 . . . . . . 95328 Moore, Love’s Young Dream, G, 6/8 . . . 95329 Giordiano,, Caro Mio Ben, D, 4/4 . . . . 96330 Remon (Louisiana) , F, 2/4. . . . . . . 96331 Juanita , D, 3/4 . . . . . . . . . . . 96332 Thompson, Lilly Dale , B , 4/4 . . . . . 97333 G, 2/4 . . . . . . . . . . . . . . . 97334 Pergolesi, aria from Stabat Mater , G, 4/4. 97335 Bach, menuet II from cello suite # 2 , D,3/4 . . . . . . . . . . . . . . . . . . 97336 Brahms, introduction, 1st symphony , C,4/4 . . . . . . . . . . . . . . . . . . 98337 processional march song (Germany), D, 4/498338 Milhaud, Chant de Sion, A , 4/4 . . . . 98339 Sagt Mir, O Sch¨ onste Schaf’rin Mein, A,6/8 . . . . . . . . . . . . . . . . . . 99340 Gunhilde , F, 2/4 . . . . . . . . . . . 99341 Ach, Englische Schaeferin, F, 3/4 . . . . 99342 Bach, Chorale, ‘War’ Gott Nicht Mit Uns Diese Zeit’ , C, 4/4 . . . . . . . . . . . . 99343 Handel, Angels Ever Bright and Fair , E ,4/4 . . . . . . . . . . . . . . . . . .100344 Beethoven, allegro from string quartet # 6 , B , 3/4 . . . . . . . . . . . . . . .100

IV-7 The Diminished SeventhChord, and the Harmonic MinorScale . . . . . . . . . . . . . . . .101345 a, 4/4 . . . . . . . . . . . . . . .101346 O Daniel (Florida), d, 4/4 . . . . . . . 101347 Bach, Invention 2 , c, c/minor . . . . .101348 Mozart, andante un poco allegretto fromstring quartet # 5 , a, 4/4 . . . . . . . . .101349 Goldfaden, Raisins with Almonds , a, 3/4,Lullabye . . . . . . . . . . . . . . . .102

V Nondiatonic Materials103V-1 Secondary Dominants andChromatic Passing Tones . . . .103350 Luther, A Mighty Fortress Is Our God , D,4/4 . . . . . . . . . . . . . . . . . .103351 Kevin Barry (Ireland), C, 3/4. . . . . . 103352 Who Got Dirt on the Carpet Again?, c, 4/4103353 Conkey, God is Love, His Mercy Brightens ,G, 3/4. . . . . . . . . . . . . . . . .104354 Shoals, Valedictory , G, 4/4 . . . . . .104355 Autrefois le Rat de Ville (France), G, 2/4.104356 Webbe, Come, Ye Disconsolate , B , 2/2 .105357 Keller, Angel of Peace , F, 4/4 . . . . . 105358 Buttereld, When You and I Were Young ,C , 4/4 . . . . . . . . . . . . . . . .106359 Woodbury, Speed Away! Speed Away! , A,3/8 . . . . . . . . . . . . . . . . . .106360 Mozart, aria from the Magic Flute , E , 3/8106361 Let God’s Saints Come In (Virginia), G, 2/4106362 Vivo Penando (California), F, 2/4 . . . .107363 Allan Maclean (Scotland), G, 3/4 . . . .107364 Stradella, Ragion Sempre Addita, A, 3/8 .107365 Dans le Port, Il Est Arrive (France), G, 2/4107366 Root, Brother, Tell Me of the Battle , D,3/4 . . . . . . . . . . . . . . . . . .108367 Cooper, Beautiful Bells , A , 3/4 . . . . 108368 McNaughton, The Faded Coat of Blue , G,4/4 . . . . . . . . . . . . . . . . . .108369 Mozart, menuet from string quartet # 1 ,C, 3/4. . . . . . . . . . . . . . . . .109370 Haydn, adagio poco cantabile from string quartet, Op. 73, #3 (‘Emperor’) , G, 4/4 . . .109371 Crep´ usculo (Mexico), D, 2/4 . . . . . .110372 Media Noche (California), E , 2/4 . . . .110373 Pergolesi, tune from Stabat Mater , f, 4/4.110374 Bach, Bourree I I from orchestral suite #2 ,b, 4/4 . . . . . . . . . . . . . . . . .111375 The Cruel Mother (England), E , 3/4 . .111376 Hawthorne, Out of Work , A , 4/4 . . . . 111377 Joplin, The Easy Winners , C, 2/4 . . . .112378 Edwards, In My Merry Oldsmobile , G, 3/4112379 Erlaube Mir, Fein’s Madchen, F, 3/4. . .112380 Bach, Menuet I from orchestral suite #1 ,G, 3/4. . . . . . . . . . . . . . . . .113

9



381 Handel, chorus from ‘Judas Maccabaeus’ ,C, 4/4. . . . . . . . . . . . . . . . .113382 Shackleton, The Orange and the Black , B ,4/4 . . . . . . . . . . . . . . . . . .114383 Adelphi School Song , G, 4/4 . . . . . . 114384 Mozart, Duet from The Magic Flute , E ,6/8 . . . . . . . . . . . . . . . . . .115

385 Mozart, Duet No. 2, Menuet, from 12 Duets, K.V. 487 , G, 3/4 . . . . . . . . .115

V-2 Blue Notes . . . . . . . . . .116386 The Graveyard (South Carolina), F, 2/4 .116387 Roll, Jordan, Roll (United States), D, 2/4 116388 Cyclone at Ryecove (Missouri), A, 3/4 . .116389 Europe, Goodnight Angeline , G, 4/4 . . .117390 ’Tis Me, O Lord (Unites States), A , 4/4 .117

V-3 Relative Minor and Major .118391 Schwesterlein, g, 3/4 . . . . . . . . .118392 Es Ritt ein Ritter , b, 6/8 . . . . . . .118393 Cradle Song (Sweden), f, 2/4 . . . . .118394 Bach, Chorale, ‘Beehl du deine Wege’ , b,4/4 . . . . . . . . . . . . . . . . . .118395 Bach, Chorale, ‘Das Walt’ Mein Gott,Vater, Sohn’ , d, 4/4 . . . . . . . . . . .119396 Feinsliebchen, Du Sollst , a, 2/4 . . . . .119

397 Bach, Chorale, ‘Gib Dich Zufrieden und Sei Stille’ , e, 4/4 . . . . . . . . . . . . . .119398 Crouch, Kathleen Mavourneen, C, 3/4 . .120

VI The C Clef . . . .121399 C, 4/4 . . . . . . . . . . . . . . .121400 C, 3/4 . . . . . . . . . . . . . . .121401 The Ash Grove (Wales), C, 3/4 . . . . .121402 Haydn, menuet Oxford symphony , C, 3/4.121403 folk song, C, 6/8 . . . . . . . . . . 122404 Wach’ Auf, Mein Hort , C, 6/8 . . . . .122405 La Paloma Blanca (Arizona), C, 6/8. . .122406 Holst, Venus theme from The Planets , G,3/4 . . . . . . . . . . . . . . . . . .122407 folk song, G, 6/8 . . . . . . . . . . 123408 Pergolesi, aria ‘Sancta Mater’ from Stabat Mater , F, 4/4 . . . . . . . . . . . . . .123409 Mozart, aria (Papageno) from ‘The Magic Flute’ , B , 2/4 . . . . . . . . . . . . .123410 Haydn, nale, London symphony , D, 4/4 .123411 Every Hour in the Day (Georgia), a, 2/4 .123412 lullabye (Russia), a, 4/4 . . . . . . . .123413 Feinsliebchen, Du Sollst , a, 2/4 . . . . .124414 Crouch, Kathleen Mavourneen, G, 3/4 . .124

10



Chapter IRhythm

The rhythms in this chapter all come from well-known tunes. After reading them, you may want tolook at the titles, which are given in the table of contents. If you’re working with a teacher, you maywish to clap the rhythm twice, with the teacher counting beats the rst time, and singing the tunethe second time.

I-1 Whole, Half, and Quarter Notes

1 2 3

4 5

1 , rhythm of Twinkle Twinkle, Little Star 2 , rhythm of Little Brown Jug 3 , rhythm of Bingo 4 , rhythm of Rain, Rain, Go Away 5 , rhythm of O Come, All Ye Faithful



I-2 3/4 Time, and Dotted Half-Notes

643 43

743 43

I-3 Eighth Notes

8

9

4343

10 11

I-4 Dotted Quarter Notes

12 13

6 , rhythm of We Three Kings 7 , rhythm of Take Me Out to the Ball Game 8 , rhythm of O Little Town of Bethlehem 9 , rhythm of We Wish You a Merry Christmas 10 , rhythm of This Old Man 11 , rhythm of Hush Little Baby 12 , rhythm of Jingle Bells 13 , rhythm of Jimmy Crack Corn

14 Chapter I. Rhythm



14 4343

15 4343

16 43 43

I-5 Sixteenth Notes

174242

I-6 Dotted Eighth Notes

18 19

43 43

20

14 , rhythm of Away in a Manger 15 , rhythm of Rockabye Baby 16 , rhythm of Home On the Range 17 P.I.Tchaikovsky, rhythm of trepak from The Nutcracker 18 , rhythm of Alouette 19 P.I. Tchaikovsky, rhythm of waltz of the owers from The Nutcracker 20 , rhythm of I’ve Been Working on the Railroad

I-5. Sixteenth Notes 15



I-7 Compound Time

21 8 6 8 6

22 8 6 8 6

23 8 6 8 6

24 8 128

12 I-8 Syncopation

254242 I-9 Triplets

26 3 3

21 , rhythm of Here We Go Round the Mulberry Bush 22 , rhythm of The Itsy-Bitsy Spider 23 , rhythm of PopGoes the Weasel 24 , rhythm of Row, Row, Row Your Boat 25 Scott Joplin, rhythm of The Entertainer 26 P.I.Tchaikovsky, rhythm of march from The Nutcracker

16 Chapter I. Rhythm



Broadly speaking, there are two main approaches to learning solfeggio singing. One can learn to singintervals, or to sing each note according to its role in the key. That is, we can hear each note in relationto the preceding note, or in relation to the tonic. Suppose, for example, that we’re singing a piece of music in the key of C major, and having just sung B, which is ‘ti,’ we see that the next note in themelody is C, which is ‘do.’ In the rst approach, we recognize this as the interval of a half-step (minorsecond), so we move to the note a half-step above the one we’ve just sung. In the second technique,we know how to sing ‘do’ because of its special sound in relation to the key: it’s the tonic, the note

that sounds like it would be a good one to end the song on. In reality, one doesn’t use either techniqueexclusively. We might as well ask Shakespeare what he does when he reads words: ‘Mr. Shakespeare,do you use phonics, or do you recognize whole words?’ A uent reader is actually decoding patternsat a subconscious level, and the process is extremely rapid because most of the patterns are familiar.

Because the goal is rapid recognition of patterns at a subconscious level, one should not expect tobecome a uent sight singer by articial devices. For instance, many people learn to recognize theinterval of a major sixth using a tune such as ‘My Bonnie Lies Over the Ocean’ or the NBC jingle.This is a good thing to learn, just as it’s good to learn that an E at the end of a word makes thepreceding vowel long. But a uent reader doesn’t look at the word ‘sure’ and think ‘silent E makesthe U long.’ Learning the phonics rules is necessary, but having learned them, we actually becomeuent readers through the act of reading large amounts of English.

There is also a pitfall to this technique of learning to hear intervals via a personalized list of familiarmelodies. The leap of a major sixth in ‘My Bonnie’ is a leap from ‘so’ up to ’mi,’ but your brain willprobably refuse to recognize the leap from ‘re’ to ‘ti’ as being the same thing, because ‘re’ and ‘ti’play different roles in the key than ‘so’ and ‘mi.’ Some people learn two melodies, one for ‘so-mi’ andone for ‘re-ti.’ Some might even do another two for the downward leaps ‘mi-so’ and ‘ti-re!’ This justshows that the technique is articial and not usually very useful.

18 Chapter II. Major Keys



II-2 Melodies Containing Only Steps

In each example, start by identifying which line or space on the staff represents ‘do,’ the tonic. If you have an instrument at hand, play the tonic, and then sing enough notes from the tonic chordto bracket the range of the melody, e.g., ‘do mi so do’ for the octave spanned by the rst example.If an instrument is not available, pick a note for ‘do’ that will put the melody in the most comfort-able part of your vocal range. Locate the notes of the tonic chord on the staff to use as reference points.

27 28 29 4

343

famous tune (identied in the table of contents)

30 The following example is in a new key: its ‘do’ is the former ‘so.’ If you have trouble convincing yourbrain to switch keys, try singing ‘do re mi fa so’ in the old key, then repeating the last note as ‘do,’and nally singing ‘do ti do’ — with authority!

31 4343

32

4343

II-2. Melodies Containing Only Steps 19



33 34

35

Moderato

8 6 8 6

Note that the following two examples both have the tonic on the line at the center of the staff, so theone with ve sharps actually isn’t any more difficult to read.

364343

37 The following ve melodies all begin on ‘so.’

38 We now begin moving around the circle of fths in the opposite direction. ‘Ti’ in the previous keyis attened, and becomes ‘fa’ of the new key. If you’re singing the new, attened version of the notecorrectly, you should be able to hear its strong tendency to resolve down to ‘mi.’

39 4343

33 anonymous, carol (Bohemia) 34 J.S. Bach, Chorale, ‘Herr, wie du willst, so schick’s mit mir’ 35 Pierre Latour,The Beautiful Angel 36 L.R. Lewis 38 L.R. Lewis




40 3 3

41

The following two melodies both have the tonic at the same place on the staff.

42

43 8 6 8 6

Canon for two voices:

44 21


4521

4242

46

43

4343

43

45 L.O. Emerson, Whither Through the Meadow?

II-2. Melodies Containing Only Steps 21




47

48

49

48 L.R. Lewis 49 L.R. Lewis




II-3 Leaps to ‘Do’

52 4

343

53 Adagio

4343

II-4 Leaps Back to Remembered Notes

54 *

*

55 **

56*

*

The following example uses both leaps back to remembered notes and leaps to the tonic.

55 J.S. Bach, Chorale, ‘Seelenbr¨ autigam, Jesu, Gottes Lamm’ 56 J.S. Bach, Chorale, ‘Jesu, meiner Seelen Wonne’

II-3. Leaps to ‘Do’ 25



II-5 Easy Leaps Within the Tonic Triad

This section introduces leaps of a third, a fourth, and an octave within the tonic triad.


594

3

4

3

60 Allegro

4343

61

Allegretto

8

6

8

6

62Allegro

4242

63

64 8

6 8 6

65

60 Alessandro Scarlatti, Su, Venite a Consiglio 61 W.H. Latham, Broadway Sights 62 anonymous, A la Claire Fontaine(France) 63 Giovanni Battista Pergolesi, aria ‘Sancta Mater’ from Stabat Mater 64 A.S. Sullivan 65 anonymous,A Recouvrance (France)

II-5. Easy Leaps Within the Tonic Triad 27



66

8 128

12

67 8

48 4

3 3 3

68

69

70

66 Froebel, Pat-a-Cake 67 anonymous, Carmela (Mexico) 68 anonymous, My Father, How Long? (Florida) 69 J.S.Bach, Chorale, ‘Es ist gewisslich an der Zeit’ 70 anonymous, Annie Laurie




71

72

7343

43

3

71 H.S. Cutler, The Son of God Goes Forth to War 72 Martin Luther, We Come Unto Our Father’s God 73 anonymous,Lawlan’ Jenny (Scotland)

II-5. Easy Leaps Within the Tonic Triad 29



74

75

Allegretto

4

2

4

2

The following example includes a leap of a sixth, but it’s an easy leap back to ‘do.’

76 Con moto 4242

This four-part canon includes a leap of a sixth to ‘do.’

77321 4

74 Stephen Foster, Hard Times Come Again No More 75 H. Burgess Weston, Row, Burnie, Row 76 anonymous, En Revenant d’Auvergne (France) 77 anonymous, Entendez-Vous Sur l’Ormeau (France)




82 8 38 3

8342

Andante

42

82 Froebel, Beckoning the Pigeons




II-7 Leaps of a Sixth Within the Tonic Triad

84 42

Allegro vivace

42

85 4

242

86 4242

874242

The next example includes both leaps within the tonic triad and leaps to ‘do.’ Because of its widerange, it is given in two keys; make sure to choose a key in which you can actually reach all the notes!

8842 42

84 anonymous, As-Tu Vu la Casquette? (France) 85 anonymous, Praise, Member (South Carolina) 86 Froebel,Beckoning the Chickens 87 folk song 88 anonymous, Poor Rosy (South Carolina)

II-7. Leaps of a Sixth Within the Tonic Triad 33



89 4242

Another example that includes leaps to ‘do.’

90

91 92


93 2

1 4343

89 anonymous, Poor Rosy (South Carolina) 90 W.T. Wrighton, The Dearest Spot on Earth 91 anonymous, Absent Davie (Scotland)




II-8 Leaps Within the Dominant

This section introduces leaps of a third within the dominant. Fourths, fths, and sixths are includedin section II-9, and leaps of a seventh within the dominant chord are deferred until section IV-5.


94 95 4

343

96 4343 97

Un poco allegretto

4242

98

43

43

99

4

2

Moderato

4

2

95 W.A. Mozart, Duet No. 2, Menuet, from 12 Duets, K.V. 487 96 folk song 97 anonymous, Derrier’ Chez Nous il y a Trois Fleurs (France) 98 anonymous, ¨ Annchen von Tharau (Germany) 99 anonymous, Ah! Mon Beau Chˆateau! (France)

II-8. Leaps Within the Dominant 35



10543 Hell und freudig

43

106 8

9 8 9

1074242

108 109

3 3 3 3 3

110 4343

111

105 anonymous, Sch¨ onster Schatz, Mein Engel 106 anonymous, Down in the Valley 107 anonymous, Musieu Bainjo

(Louisiana) 108 anonymous, Brother, Guide Me Home (Tennessee) 109 anonymous, Serenata (California) 110 W.A.Mozart, adagio from string quartet # 1 111 J.S. Bach, Chorale, ‘Es spricht der Unweisen Mund wohl’




112 113

114

115

Allegretto con grazia

116

4

242

112 Nikolaus Beuttner, Es kam ein treuer Bote 113 J.S. Bach, Chorale, ‘Valet will ich dir geben’ 114 J.S. Bach, Chorale,‘Wie bist du Seele in mir so gar betr¨ ubt’ 115 anonymous, Gardez Piti Milatte-l` a (Louisiana) 116 anonymous, Shout On, Children (Georgia)




117 8 48 4

118

119

4343

120

121 8

6 8 6

122

4343

117 Franz Schubert, Wohin? 118 J.S. Bach, Chorale, ‘Liebster Jesu, wir sind hier’ 119 Franz Joseph Haydn, menuet Oxford symphony 120 J.S. Bach, Chorale, ‘Mach’s mit mir, Gott, nach deiner Gut’ 121 Franz Schubert, Halt! 122

Gustav Holst, Venus theme from The Planets




123

3

3

3

3

3

3

3

3

3

3

124

Moderato

8 38 3

12543

43

123 anonymous, Serenata (California) 124 anonymous, If Your Foot Is Pretty, Show It (United States)




II-9 Wider Leaps Within the Dominant

This section introduces leaps within the dominant as broad as a sixth. Leaps of a seventh are deferreduntil section IV-5.


126 127

42

42

128 4

2 42

129

43 43

127 anonymous, Eli Yale 128 anonymous, Krambambuli 129 anonymous, Go ’Way, Old Man (Louisiana)

II-9. Wider Leaps Within the Dominant 41



1304242

131

8 6 8 6

132

133 4

343

1344

2

Un poco allegretto

4

2

135

8 6

8 6

130 anonymous, Our Baby (France) 131 anonymous, Aux Marches du Palais (France) 132 J.S. Bach, Chorale, ‘Herr,wie du willst, so schick’s mit mir’ 133 J.S. Bach, minuet 134 anonymous, Arlequin Tient Sa Boutique (France) 135

anonymous, Ballade de Roland (France)




136

8 6

8 6

137

42

4

2

13842

42

136 folk song 137 anonymous, Tu Eres Mas Bella (Costa Rica) 138 anonymous, Praise, Member (South Carolina)




139

8 6

Mit kraeftiger Leidenschaft

8 6

140

141

142

139 anonymous, Wach’ Auf, Mein Hort 140 anonymous, Barbara Allan (Scotland) 141 anonymous, I’m a Pilgrim (Italy)142 Franz Joseph Haydn, nale, London symphony




14342

Allegro

42

144 4

343

3 3 3 3

145

Lebhaft, doch zart

146

Allegretto

143 anonymous, Dans Notre Jardin (France) 144 anonymous, The Gypsy Warning (Missouri) 145 anonymous,Jungfr¨ aulein, Soll Ich Mit Euch Gehn




147

Molto mesto 8

6 8 6

14843

Allegretto comodo

43

149

8 6

8 6

150 8

48 4

151Andante

4343

147 Richard Strauss, Not Yet 148 anonymous, Ah, Suzette, Chere (Louisiana) 149 anonymous, La Paloma Blanca

(Arizona) 150 Franz Schubert, Das Wandern




15243 43

153

43 43

8

3

Fine

D.S. al ne

154

8

6

8

6

155

152 anonymous, Chill Ether (Scotland) 153 folk song 154 folk song 155 J.S. Bach, Chorale, ‘Nun ruhen alle Walder’




156

15743

43

3

158

Andante

4242

159

42 Anmutig

42


156 J.S. Bach, Chorale, ‘Wenn wir in h¨ ochsten N¨ oten sein’ 157 anonymous, The Duke of Argyle’s Courtship (Scotland)158 Harold Samuel, The Fairy Boat 159 anonymous, Gar Lieblich Hat Sich Gesellet




1602

1




Chapter IIIMinor Keys

III-1 Solfeggio in the Minor Mode

Some people sing in the minor mode using these solfeggio syllables:

doremefaso

le

tedodo

ti

lasofameredo

This system has the advantage that most of the notes have the same functions as in the major mode.‘Do’ is still the tonic, ‘so’ the dominant, ‘ti’ the leading tone, and so on. In this system, the names of the notes stay the same when switching between the parallel major and minor.

Others prefer this:

latidoremi fa solala si meredotila This system highlights the relationship between the minor and its relative major.

If you don’t have a teacher who wants you to use one system or another, I suggest you use the rstone, because it lets you recycle many of the patterns you’ve learned in minor. For instance, ‘so-ti-do’is still a formula for a cadence.

In both systems, the vowel ‘i’ is used for a sharpened note, and ‘e’ for a attened one. The chromaticscale looks like this:



dotililasisofamiriredido

so

le

la

tetido

do

ra

re

memi

fa

se

The important thing is to pick a system and learn it thoroughly. (I use my own enharmonic systemin which the chromatic scale is ‘do gu ri bu mi fa ka so ja la pa ti do.’)

52 Chapter III. Minor Keys



III-2 Steps

The purpose of the rst exercise is to get used to the solfeggio syllables used in minor.

161Poco a poco accelerando

162

8 6 8 6

163

Largo

4343

This melody introduces the use of the ascending and descending forms of the melodic minor scale.The rhythmic gure is the same as in the preceding tune.

164 Largo

4343

165 166 4

343

16743 43

165 L.R. Lewis 166 L.R. Lewis 167 L.R. Lewis

III-2. Steps 53



168

169 170

4343

171 2

3 23

172

168 L.R. Lewis 169 L.R. Lewis 170 L.R. Lewis 171 L.R. Lewis 172 J.S. Bach, gavotte in G minor




III-3 Leaps Within the Tonic Triad

174 175 176 4

343

177 3 3

178

43 43

179

176 G.A. Wedge 177 Who Got Dirt on the Carpet Again?




180 4242

181

4242

182 4

242

183

184

185 4242

186

43

43

180 G.A. Wedge 181 G.A. Wedge 182 G.A. Wedge 184 J.S. Bach, Chorale, ‘Herr, nun lass in Friede’ 185 anonymous,

Every Hour in the Day (Georgia) 186 anonymous, Forget na’, dear Lassie (Scotland)

III-3. Leaps Within the Tonic Triad 57



187


188

Round:

189 321 4

187 J.S. Bach, Chorale, ‘Es steh’n vor Gottes Throne’ 189 anonymous, Thou Poor Bird




III-4 Leaps Within the Dominant

19043 43

191 4242


192Andante

193 8 9

Vivace

8 9

194 4343

195 4343

190 G.A. Wedge 191 G.A. Wedge 194 G.A. Wedge 195 G.A. Wedge

III-4. Leaps Within the Dominant 59



196 4343

197

4343

198

Largo

199

42

42

200 4

343

201

8

4

8

4

202

8 3

Draengend, doch nicht schnell 8 3

196 G.A. Wedge 197 J.S. Bach, melody from the notebook for Anna Magdalena 198 anonymous, lullabye (Russia) 199

anonymous, Las Tristes Horas 200 G.A. Wedge 201 Froebel, The Wolf 202 anonymous, Guten Abend




203 8 12

8 12

204

205 4

343

206

4

2

42

3

3 3

207 Andantino

3

208

203 J.S. Bach, Gavotte II from cello suite # 5 204 anonymous, Lolotte (Louisiana) 205 W.A. Mozart, menuet from string quartet # 15 206 anonymous, Los Ojos Mexicanos (Mexico) 207 Maude Valerie White, Ophelia’s Song 208 J.S. Bach,Chorale, ‘Nun sich der Tag geendet hat’




209 42 42 3

210

Allegro marziale

211

42 42

3 3

3 3

212 8 6 8 6

213

209 anonymous, Reir Es Necesario (Mexico) 210 anonymous, En Avant, Grenadiers! (Louisiana) 211 anonymous, Angel de Mis Amores (Mexico) 212 Franz Schubert, Am Feierabend 213 J.S. Bach, Chorale, ‘O Traurigkeit, o Herzeleid’




219

4343

220 4

3 43

219 G.A. Wedge 220 G.F. Handel, aria ‘O Jordan, Sacred Tide’ from Esther





221 Lento




Chapter IVOther Diatonic Materials

IV-1 Leaps Between the Tonic and Dominant

The following three songs contain the leap from ‘ti’ to ‘mi.’

2224242

22343

Allegro giusto 43

224 4

242

The next three use leaps of a diminished fourth, an interval which sounds like a major third, and istypical of minor keys.

225

222 anonymous, Ya Viene El Alba (California) 223 Alessandro Scarlatti, Gi a il Sole dal Gange 224 Franz Schubert,

Danksagung an den Bach 225 Grieg



226 43 43

227

Moderato affetuoso

226 anonymous, zandunga folk song (Southern Mexico) 227 Giulio Carcini, Amarilli, Mia Bella

68 Chapter IV. Other Diatonic Materials



IV-2 Leaps Within the Subdominant, Major Keys

The rst two tunes clearly imply the subdominant chord in the marked measures.

22843

* *

43

* 229

*Allegro

4343

More commonly, the melody leaps into or out of ‘la’ without spelling out the subdominant chordexplicitly. Although dominant harmony can often be implied strongly with only one or two notes, thisis not usually true of the subdominant, because of its weaker character. Since thirds are the mostcommon leaps, the most important new leaps to learn to sing are the ones between ‘do’ and ‘la’ andbetween ‘fa’ and ‘la.’ This melody leaps from ‘do’ to ‘la:’

230*

*

4

242

This one jumps from ‘la’ to ‘fa:’

231*

4242


232

3 3

3

228 anonymous, Jehovah, Hallelujah (South Carolina) 229 anonymous, Arlequin Marie Sa Fille (France) 230 folk song231 folk song

IV-2. Leaps Within the Subdominant, Major Keys 69



3 3

3

A great deal of Scottish folk music uses a major scale that omits ‘ti.’ ‘Fa’ is sometimes left out aswell, forming a ve-note, or pentatonic, scale. Once one’s ear adjusts to the sound of the scale, the

characteristic leap between ‘do’ and ‘la’ no longer sounds like a leap at all. Of the following twoexamples, the rst is pentatonic, while the second uses the full major scale. The rst example hasbeen notated with the style’s typical elaborate ornamentation, which you may wish to ignore.

233 4242

234 42 42

233 anonymous, Lang Johnny More (Scotland) 234 anonymous, The Bonniest Lass in a’ The Land (Scotland)




235 236

Sanft bewegt

4343

237

Andante 4242

238

Moderato

4242

239 4343

240

4

2

4

2

241

8

6 Animato

8 6

235 anonymous, Old Hundred 236 anonymous, Da Unten Im Tale 237 anonymous, I Want To Be Ready (United States)238 G.B. Fasolo, Cangia, Cangia Tue Voglie 239 anonymous, The Ash Grove (Wales) 240 W.H.C. West, The Jenny Lind

Mania (United States) 241 anonymous, Au Jardin de Mon Pere (France)




242

Moderato

243 43 43

244

23

Andante sostenuto

23

245 8 3 8 3

242 Richard Strauss, Devotion 243 anonymous, I Ride an Old Paint (United States) 244 J.G. Whittier, Song of the Free245 G.F. Handel, aria ‘Hush ye pretty warbling quire’ from Acis and Galatea




246

247

248

249 4

343

246 Thomas Tallis, If Ye Love Me 247 anonymous, Sinner Won’t Die No More (Tennessee) 248 W.A. Mozart, opening from clarinet quintet 249 anonymous, The Gold Band (Tennessee)




250

2518

6 8

6

252

Moderato

8

6 8 6

253

250 Giovanni Battista Pergolesi, tune from Stabat Mater 251 anonymous, Bonnie Wee Window (Arkansas) 252 J.S.Fearis, Beautiful Isle of Somewhere 253 W.B. Bradbury, He Leadeth Me




254

4242

255

256

3

257

258

42

Allegretto

42

254 M.D. Sullivan, The Blue Juniata 255 anonymous, Red River Valley 256 anonymous, I’m In Trouble (Florida) 257

Franz Joseph Haydn, introduction, London symphony 258 anonymous, Rosa Lee




259

8 6 8 6

260

8

12

8 12

261

8 6 8 6

259 anonymous, My Lodging Is On the Cold Ground 260 anonymous, Cowboy’s Home Sweet Home (Arkansas) 261

anonymous, Calinda (Louisiana)




26243 43

263

43

Maestoso 43

264 4

343

26543

43

3 3 3

3 3

3

3

266

262 anonymous, The Braes O Yarrow (Scotland) 263 anonymous, Gaudeamus Igitur 264 W.A. Mozart, andante from string quartet # 2 265 anonymous, The Wild Moor (Missouri) 266 Johannes Brahms, introduction, 1st symphony




27142

Adagio

42

272

42

42

273 42 42

Allegretto mosso

271 anonymous, folk song (Russia) 272 anonymous, The Ship That Never Returned (Missouri) 273 Pier DomenicoParadies, M’ha Preso Alla Sua Ragna




274

Gehalten und empndungsvoll

Lebhaft

43

275

8 6

Moderato

8 6

Vivace

274 anonymous, Die Sonne Scheint Nicht Mehr 275 anonymous, Ubi Bene, Ibi Patria




IV-3 Wide Leaps Within the Subdominant

27642 42

277

43 43

278 4242

279 Moderato

276 W.A. Mozart, presto from string quartet # 4 277 J. Ellor, Diadem 278 W.A. Mozart, rondo from string quartet # 6 279 anonymous, Adieu, Bonne Hˆotesse (France)

IV-3. Wide Leaps Within the Subdominant 81



28042 42

281

Moderato

282

280 anonymous, Derriere Chez Moi (France) 281 Stephen Foster, The Song of All Songs 282 S.W. Gladden, TheMountains




IV-4 Leaps Within the Subdominant, Minor Keys

283 4242

284 4343

285 4242

286

Largo

287 8 4

Presto

8 4

283 G.A. Wedge 284 G.A. Wedge 285 G.A. Wedge 287 anonymous, Hanukah O Hanukah

IV-4. Leaps Within the Subdominant, Minor Keys 83



288

42

42

289

43

43

290

4343

291

292

Allegretto

288 anonymous, Vivo Llorando la Suerte (Mexico) 289 W.A. Mozart, Osanna (bass solo, allegro) from Sanctus, Requiem 290 J.S. Bach, trio from Brandenburg concerto # 1 291 anonymous, Que No Te Amo (Mexico) 292 anonymous, folk song

(Russia)




293

Allegretto

4242

294

4343

Lightly

293 anonymous, folk song (Russia) 294 anonymous, Entre Vous Tous Gens de la Ville (France)

IV-4. Leaps Within the Subdominant, Minor Keys 85



IV-5 Leaps of a Seventh

With leaps of a seventh, as with any very broad leap, the most common problem is simply theinability to reach the note. Make sure to sing each example in an appropriate key. If the leap of aseventh is upward, nd the lowest key in which you can comfortably sing the lowest note of the melody.

A factor in the sight-singer’s favor is that the most difficult leaps to sing are usually the ones thatare ugly as well, and therefore composers don’t write them; in real music, most leaps of a seventhoccur in certain special contexts that make them both easier to sing and more acceptable to the ear.Although it is possible to memorize the sounds of the minor and major seventh leaps and sing themon demand, that’s a fundamentally unnatural way to think about melody; keep in mind that most of the examples in this section are folk songs created by people who were illiterate, and probably couldnot have performed such a trick themselves.

Another technique for use when all else fails is to imagine the seventh as a downward step, with thesecond note moved up an octave. In all the following examples, however, we’ll see that there are better

solutions arising naturally from the logic of the melodic line.

The rst example is easy, because the leap begins a repetition.

295 * 4

343

The next two examples are not much harder; there is repetition, but at a pitch one step higher.

296 *

Lively

8 6 8 6

297 *

295 W.A. Mozart, menuet from string quartet # 8 296 C. Hess, Little Charley Went a Fishing 297 folk song




In the next tune, the leap upward from ‘ti’ to ‘la’ is heard as the inversion of the earlier step downfrom ‘ti’ to ‘la.’

2988 4 8 4

3 3

3

*

The next example has a leap of a seventh as part of a dominant seventh chord. It resolves downwardto ‘mi,’ and this ‘fa-mi’ relationship is one of the most prominent landmarks of the key, so you maynd that the easiest way to hit the ‘fa’ is simply by locating ‘fa-mi.’

299 * 4

343

This tune, like the preceding one, uses the familiar ‘so-fa-mi’ pattern. The leap is also made easierbecause we’ve just sung ‘fa’ in the low register, and because, looking ahead, we anticipate the de-scending scale ‘fa-mi-re-do.’

30042 42

*

298 anonymous, Carmela (Mexico) 299 W.A. Mozart, menuet from string quartet # 1 300 anonymous, Gwine Follow (South Carolina)

IV-5. Leaps of a Seventh 87



Another ‘so-fa-mi’ example. The ‘fa’ is heard as part of a logical progression of prominent high pointsin the line.

301 4343

*

302

*

303

301 Felix Mendelssohn, aria ‘If with all your hearts ye truly seek me’ from Elijah 302 T.H. Bayly, Long, Long Ago 303

anonymous, Cradle Song




30443 43

*

305

3 3 3

3 3 3

306 4242 3 3

307

43

*

Moderato

43

308

8 6

8

6

304 anonymous, Widdecombe Fair (England) 305 anonymous, Walk, Shepherdess, Walk (Arkansas) 306 anonymous, Reir Es Necesario (Mexico) 307 anonymous, folk song (Russia) 308 anonymous, A Quinze Ans (France)

IV-5. Leaps of a Seventh 89



309 * 4

343

310

4242

311

309 W.A. Mozart, menuet from string quartet # 8 310 W.A. Mozart, presto from string quartet # 7 311 anonymous,Upidee




IV-6 Other Perfect Fourths and Fifths

We’ve already sung leaps of a fourth and a fth within the tonic, dominant, and subdominant chords,and those leaps strongly implied their chords. For instance, it’s difficult to hear the ‘so-re’ leap withoutperceiving a dominant chord. Although other leaps of a fourth or a fth may imply other triads, inreal music they are more commonly produced not by the harmony but by the logic of the melodyitself. In the rst example, the composer simply wants to repeat a molodic idea at a different pitch.

The ‘la’ is easily sung by thinking of it in relation to the ‘do’ it leads up to.

312*

In this example, the leap from ‘la’ to ‘re’ is heard as an imitation of the preceding ‘so-do’ leap.

3134242

*

Here, we really have the easy ‘so-mi’ leap, but with ‘la’ interposed.

314 4343 *

312 W.A. Mozart, opening from string quartet # 4 313 folk song 314 anonymous, La Rana (Mexico)

IV-6. Other Perfect Fourths and Fifths 91



42


315

31642 42

317

4343

Tempo di valse

316 C.M. von Weber, Softly Now the Light of Day 317 Charles K. Harris, After the Ball




318

8 6

8 6

319 4

242

3208 6

8 6

321

Andante

318 A.S. Sullivan, Take a Pair of Sparkling Eyes 319 A.S. Sullivan, Sing Hey to You, Good-Day to You! 320 StephenFoster, Slumber My Darling 321 S.C. Foster, Gentle Annie




327 Moderato

328

8 6 Moderato con espressione

8 6

329

327 anonymous, folk song (Germany) 328 Thomas Moore, Love’s Young Dream 329 Attributed to Guiseppe Giordiano,,Caro Mio Ben




330

42

42

3

3

3

3

3 3

3 3

331

43

43

Andante

3

3

332 Andante

330 anonymous, Remon (Louisiana) 331 anonymous, Juanita 332 H.S. Thompson, Lilly Dale




333 4

242

334

335 4343

336

333 anonymous 334 Giovanni Battista Pergolesi, aria from Stabat Mater 335 J.S. Bach, menuet II from cello suite # 2 336 Johannes Brahms, introduction, 1st symphony




337 Alla marcia

338

Moderato

339

8 6

Zaertlich und lebhaft

8 6

337 anonymous, processional march song (Germany) 338 Darius Milhaud, Chant de Sion 339 anonymous, Sagt Mir, OSch¨ onste Sch¨ af’rin Mein




34042

42

In ruhigem Zeitmass und teilnehmend erzaehlt

341 43

Mit guter Laune

43

342

340 anonymous, Gunhilde 341 anonymous, Ach, Englische Schaeferin 342 J.S. Bach, Chorale, ‘W¨ ar’ Gott Nicht Mit UnsDiese Zeit’




IV-7 The Diminished Seventh Chord, and the Harmonic Minor Scale

345

346

347

348

346 anonymous, O Daniel (Florida) 347 J.S. Bach, Invention 2 348 W.A. Mozart, andante un poco allegretto from string

quartet # 5

IV-7. The Diminished Seventh Chord, and the Harmonic Minor Scale 101



Chapter VNondiatonic Materials

V-1 Secondary Dominants and Chromatic Passing Tones

350

351 4343 352 3 3 3 3

350 Martin Luther, A Mighty Fortress Is Our God 351 anonymous, Kevin Barry (Ireland) 352 Who Got Dirt on the

Carpet Again?



35343 43

354

35542

Allegro moderato

42

356

353 Ithamar Conkey, God is Love, His Mercy Brightens 354 Shoals, Valedictory 355 anonymous, Autrefois le Rat de Ville(France) 356 Samuel Webbe, Come, Ye Disconsolate

104 Chapter V. Nondiatonic Materials



357

Maestoso

358

357 M. Keller, Angel of Peace 358 J.A. Buttereld, When You and I Were Young

V-1. Secondary Dominants and Chromatic Passing Tones 105



362 42

42

363 43 43

364 Allegro

8 38 3

3654

2

4

2

362 anonymous, Vivo Penando (California) 363 anonymous, Allan Maclean (Scotland) 364 Alessandro Stradella, Ragion

Sempre Addita 365 anonymous, Dans le Port, Il Est Arrive (France)




3694343

370

371Moderato

42

42

369 W.A. Mozart, menuet from string quartet # 1 370 Franz Joseph Haydn, adagio poco cantabile from string quartet,Op. 73, #3 (‘Emperor’) 371 anonymous, Crep´ usculo (Mexico)




372

42

Slowly

42

373

372 anonymous, Media Noche (California) 373 Giovanni Battista Pergolesi, tune from Stabat Mater




374

3754

3

4

3

376

Moderato

377 4242 Not fast

374 J.S. Bach, Bourree II from orchestral suite #2 375 anonymous, The Cruel Mother (England) 376 Alice Hawthorne,Out of Work 377 Scott Joplin, The Easy Winners




378 43

Tempo di valse

43

3794

3

4

3

380

4343

378 Gus Edwards, In My Merry Oldsmobile 379 anonymous, Erlaube Mir, Fein’s M¨ adchen 380 J.S. Bach, Menuet I from orchestral suite #1




381

Maestoso

382

381 G.F. Handel, chorus from ‘Judas Maccabaeus’ 382 Frances Shackleton, The Orange and the Black




383

3848 6

8 6

Andantino

8 6

8 6

383 anonymous, Adelphi School Song 384 W.A. Mozart, Duet from The Magic Flute




V-2 Blue Notes

386 42 42

387 4

2 42

388 4

3 4

3

3

3 3

3 3

389 Moderately, not too fast

386 anonymous, The Graveyard (South Carolina) 387 anonymous, Roll, Jordan, Roll (United States) 388 anonymous,Cyclone at Ryecove (Missouri) 389 James Reese Europe, Goodnight Angeline




390

Moderato

390 anonymous, ’Tis Me, O Lord (Unites States)

V-2. Blue Notes 117



V-3 Relative Minor and Major

39143

Nicht zu langsam und mit inniger Teilnahme

43

392 In ruhiger Bewegung

8 6 8 6

393 42

Lullabye, andante con espressione

42

394

395

391 anonymous, Schwesterlein 392 anonymous, Es Ritt ein Ritter 393 anonymous, Cradle Song (Sweden) 394 J.S. Bach,Chorale, ‘Beehl du deine Wege’ 395 J.S. Bach, Chorale, ‘Das Walt’ Mein Gott, Vater, Sohn’




Chapter VIThe C Clef

This chapter recapitulates some melodies from earlier chapters, using the C clef. The clef indicatesmiddle C. In modern music, the C clef is used almost exclusively for the viola, but it will also beencountered in older scores, both vocal and instrumental, as an equally important companion to thetreble and bass clefs. The C clef is a movable clef, but the examples in this chapter are all given withC placed at the middle line. Sight-singing from the C clef is not difficult, because one merely followsthe usual procedure of determining which line or space on the staff represents ‘do,’ and reading allother notes relative to it. A trick for instrumentalists is to imagine that the middle line is really theledger line for middle C on the grand staff, while the top two lines belong to the treble clef, and thebottom two to the bass clef. (The same trick can be handy for vocalists when using the key signatureto nd the tonic on the staff.)

399 400 4

343

4014343

402 4343

403 8 6 8 6

401 anonymous, The Ash Grove (Wales) 402 Franz Joseph Haydn, menuet Oxford symphony 403 folk song



407

8 6

8 6

408 409

4242

410

The following three examples are in the minor mode.

411 4242

412

Largo

413 4

2 Heimlich und zierlich bewegt

42

407 folk song 408 Giovanni Battista Pergolesi, aria ‘Sancta Mater’ from Stabat Mater 409 W.A. Mozart, aria (Papageno) from ‘The Magic Flute’ 410 Franz Joseph Haydn, nale, London symphony 411 anonymous, Every Hour in the Day (Georgia) 412 anonymous, lullabye (Russia) 413 anonymous, Feinsliebchen, Du Sollst

123



414

Andante e penseroso

4343

414 F. Nicholls Crouch, Kathleen Mavourneen

124 Chapter VI. The C Clef



Thematic Indexddddddtl — p. 22, no. 49dddddrmf — p. 21, no. 46dddddtdr — p. 23, no. 50ddddmdss — p. 90, no. 310ddddmfsl — p. 55, no. 173ddddmsff — p. 37, no. 108ddddffff — p. 40, no. 123ddddslsd — p. 30, no. 76ddddsltd — p. 22, no. 47; p. 22, no. 48ddddtltd — p. 23, no. 51ddddttss — p. 114, no. 384dddrrrmd — p. 42, no. 130dddrrmmf — p. 19, no. 29; p. 121, no. 400dddmdsmm — p. 57, no. 185; p. 123, no. 411dddmmssm — p. 87, no. 300dddmssll — p. 71, no. 237dddsmmrd — p. 61, no. 205

dddsllls — p. 69, no. 229dddsltdt — p. 103, no. 350ddrdmfss — p. 31, no. 81ddrrmmrd — p. 30, no. 77ddrmrdrr — p. 28, no. 69ddrmrrmr — p. 97, no. 334ddrmrmfm — p. 48, no. 156ddrmmrdf — p. 73, no. 246ddrmmmfs — p. 26, no. 57ddrmmfsl — p. 88, no. 302ddrmfsss — p. 38, no. 112

ddrmfssl — p. 71, no. 241ddmrdrrm — p. 29, no. 72ddmmrmdd — p. 27, no. 62ddmmmdts — p. 38, no. 116ddmsslls — p. 75, no. 258ddmsltdt — p. 57, no. 183ddsdrmfs — p. 85, no. 294ddtdrdrm — p. 25, no. 55ddtlsdrm — p. 37, no. 111; p. 71, no. 235ddtltdrm — p. 99, no. 342ddtltlls — p. 25, no. 52drddtdrm — p. 20, no. 36drdrdrmr — p. 53, no. 161drdrmfss — p. 32, no. 83drdtdsdr — p. 94, no. 324drdtlsls — p. 19, no. 32drmdddrm — p. 44, no. 141drmdrmrm — p. 56, no. 179

125



drmrdtdr — p. 53, no. 167drmrmfmf — p. 19, no. 28; p. 121, no. 399drmrmfsf — p. 19, no. 31drmrfmrt — p. 109, no. 370drmrsdrs — p. 60, no. 197drmmmrfm — p. 91, no. 312drmmmmsm — p. 30, no. 74

drmmmsrr — p. 45, no. 143drmmfmfs — p. 21, no. 45drmmfsds — p. 58, no. 189drmmss — p. 71, no. 236drmfrmdm — p. 61, no. 207drmfmrdt — p. 53, no. 165drmfmrmf — p. 20, no. 37drmfmfsl — p. 21, no. 44drmfsmfs — p. 47, no. 153drmfsfmr — p. 54, no. 172drmfsfsl — p. 101, no. 345drmfssfm — p. 39, no. 120drmfsssf — p. 20, no. 33drmfslsf — p. 53, no. 162drmfslss — p. 60, no. 201drmfslsl — p. 54, no. 169; p. 54, no. 171drmfsltd — p. 19, no. 27drssmddf — p. 79, no. 272dmddmssl — p. 57, no. 180dmdmsffm — p. 28, no. 68dmdsdmsd — p. 27, no. 59dmdslfmf — p. 112, no. 380dmdtdrmm — p. 58, no. 187dmrdmfst — p. 63, no. 215dmrdssms — p. 33, no. 87dmrsdmrs — p. 60, no. 198; p. 123, no. 412dmrtdmrt — p. 81, no. 276dmmmrfff — p. 67, no. 222dmmssm — p. 76, no. 260dmfssrss — p. 46, no. 151dmsdmssm — p. 33, no. 84dmsdlsdd — p. 70, no. 233dmsdtdrm — p. 59, no. 190dmsrdrmm — p. 47, no. 152

dmsmrf — p. 101, no. 348dmsmmddt — p. 62, no. 210dmsmfrfr — p. 96, no. 330dmsmslsf — p. 56, no. 177dmsfslsf — p. 103, no. 352dmssdtrr — p. 70, no. 234dmssdtls — p. 28, no. 66




dmsssmfs — p. 27, no. 60dmssssfm — p. 102, no. 349dmsslfsd — p. 69, no. 231dmssltds — p. 95, no. 327dmslsddr — p. 36, no. 100dmslsmss — p. 37, no. 105dsdrmfsf — p. 57, no. 181

dsdsdsdm — p. 35, no. 94dsdtdsmr — p. 60, no. 196dsmdrmrt — p. 116, no. 389dsmdslsm — p. 56, no. 175dsmdslst — p. 83, no. 285dsmrdrmd — p. 57, no. 182dsmrdrmf — p. 27, no. 63; p. 123, no. 408dsmrdlsf — p. 83, no. 284dsmrmfmr — p. 104, no. 355dsmsmdrm — p. 40, no. 125dsfmddsf — p. 59, no. 195dssddd — p. 118, no. 393dssdlllt — p. 77, no. 263dssfrdtl — p. 86, no. 295; p. 90, no. 309dssfsfmr — p. 78, no. 268dsssslls — p. 48, no. 159dsslsmrd — p. 59, no. 191dsslsfmd — p. 35, no. 96dssltddm — p. 38, no. 113dslsfmrd — p. 82, no. 281dsltdrms — p. 107, no. 364dsltdmfs — p. 34, no. 93dtddddrm — p. 56, no. 174dtdrrdrm — p. 20, no. 34; p. 42, no. 132dtdrmfsl — p. 53, no. 164dtdrmsfm — p. 111, no. 374dtdrmslt — p. 101, no. 347dtfmdsls — p. 84, no. 289dtlsfmrd — p. 54, no. 168dtlsfmms — p. 71, no. 238dtlslsfm — p. 72, no. 245; p. 95, no. 329rddrmrdr — p. 53, no. 163rmfsdmrd — p. 45, no. 144rsdsdddd — p. 74, no. 252

mdrmfsfm — p. 47, no. 155mdrmfsss — p. 97, no. 335mdmrdtrs — p. 63, no. 214mdmrsmrd — p. 59, no. 192mdmfmrdl — p. 83, no. 283mrdddttl — p. 28, no. 70mrddrdrm — p. 93, no. 321

127



msmfff — p. 76, no. 261msmssl — p. 69, no. 228msmlmsml — p. 92, no. 317msfmslsm — p. 72, no. 244msssffmm — p. 38, no. 115mtrddrmr — p. 68, no. 226ffdddtdr — p. 118, no. 392

fslsfmfs — p. 79, no. 271sdddddrr — p. 47, no. 154; p. 121, no. 403sddddrrr — p. 45, no. 145sddddmrd — p. 116, no. 387sddddtdr — p. 84, no. 292sddddtss — p. 101, no. 346sdddmddm — p. 31, no. 79sdddslss — p. 41, no. 127sdddlssd — p. 72, no. 243sdddtdrs — p. 26, no. 58sddrmfsl — p. 99, no. 341sddrtddm — p. 91, no. 313sddmdtls — p. 89, no. 304sddmrdls — p. 98, no. 337sddmmssm — p. 43, no. 136; p. 123, no. 407sddtlslr — p. 100, no. 343sddtlslf — p. 83, no. 286sdrdsdrm — p. 59, no. 193sdrmdmmr — p. 37, no. 106sdrmdsrd — p. 69, no. 230sdrmrdrm — p. 27, no. 65sdrmmfmd — p. 28, no. 67; p. 87, no. 298sdrmmffs — p. 61, no. 208sdrmfrdt — p. 63, no. 217sdrmfmfs — p. 48, no. 158sdrmfsdr — p. 81, no. 277sdrmsssl — p. 105, no. 357sdrsdrmr — p. 67, no. 225sdmdmdmr — p. 98, no. 339sdmdtlsd — p. 104, no. 353sdmrdrms — p. 35, no. 97sdmrfmrd — p. 98, no. 338sdmmmmrm — p. 75, no. 255sdmmfmrr — p. 112, no. 379

sdmsdmsd — p. 118, no. 391sdmsrmld — p. 94, no. 325sdmsfmdd — p. 71, no. 239; p. 121, no. 401sdmssdms — p. 44, no. 139; p. 122, no. 404sdsdrmrr — p. 42, no. 134sdtdrmfs — p. 67, no. 223sdtdrlrd — p. 92, no. 315

129



sdtdlsdr — p. 77, no. 266; p. 97, no. 336sdtlsfsr — p. 63, no. 216; p. 118, no. 394sdtlssls — p. 41, no. 128sdtlslsf — p. 110, no. 373sdtltdtl — p. 93, no. 319srmtdrrs — p. 68, no. 227smdrssdd — p. 75, no. 254

smdsslsd — p. 40, no. 124smdlssfs — p. 104, no. 356smrdrmfr — p. 73, no. 248smrdsmrd — p. 34, no. 92smrdslff — p. 74, no. 253smrdtlds — p. 34, no. 90; p. 90, no. 311smrdttdl — p. 88, no. 301smrrdmrs — p. 39, no. 122; p. 122, no. 406smrmdsss — p. 81, no. 279smrmrtdd — p. 62, no. 213smrmfmrl — p. 104, no. 354smmddtrm — p. 71, no. 240smmrrddt — p. 99, no. 340smmrrmmd — p. 65, no. 221smmrsdtd — p. 114, no. 383smmmrddd — p. 27, no. 61smmmmrrr — p. 86, no. 297smmmmfmr — p. 108, no. 368smmfrrdr — p. 36, no. 102smfrrrmf — p. 35, no. 95smfsddtt — p. 29, no. 71smfsdrmf — p. 113, no. 381smfslsmd — p. 56, no. 178smfslsfm — p. 119, no. 397smsmrdmr — p. 33, no. 88; p. 34, no. 89smsfmrsf — p. 64, no. 219smslssmd — p. 33, no. 85; p. 43, no. 138sfrfmdss — p. 44, no. 142; p. 123, no. 410sfmdrldl — p. 95, no. 328sfmrrdtl — p. 20, no. 39sfmmrdrd — p. 100, no. 344sfmmrrmf — p. 96, no. 331sfmmmmfm — p. 73, no. 247sfmmsdsm — p. 46, no. 148

sfmfmmfs — p. 21, no. 41sfmfsdrd — p. 25, no. 53sfmfsldt — p. 78, no. 269sfmfsltd — p. 77, no. 264sfmsmrrd — p. 113, no. 382sfmsmsmf — p. 112, no. 378sfmsfmrd — p. 31, no. 80; p. 87, no. 299; p. 109, no. 369




sfslsfss — p. 61, no. 203ssftrd — p. 108, no. 366ssdddtdr — p. 60, no. 202; p. 82, no. 280ssdddttd — p. 77, no. 262ssddrmrd — p. 44, no. 140ssddmrtd — p. 72, no. 242ssddssmm — p. 107, no. 365

ssddsldr — p. 78, no. 270ssddtddr — p. 119, no. 396; p. 123, no. 413ssdrdtdr — p. 37, no. 110ssdrmmmm — p. 109, no. 371ssdmrdrm — p. 84, no. 291ssdmrdtl — p. 82, no. 282ssdmmfsm — p. 80, no. 275ssdmsfmf — p. 35, no. 99ssdsmmsm — p. 36, no. 103ssdssmmr — p. 46, no. 147ssdtdrdt — p. 111, no. 376ssdtrddt — p. 89, no. 307ssdtfmsm — p. 46, no. 150ssmdddrm — p. 62, no. 211ssmddtll — p. 39, no. 121ssmdsfrm — p. 59, no. 194ssmrddtd — p. 86, no. 296ssmrdrdd — p. 105, no. 358ssmrdssf — p. 74, no. 251ssmrdtdr — p. 62, no. 212ssmmmddd — p. 41, no. 129ssmmmddt — p. 106, no. 360ssmmssrr — p. 41, no. 126ssfmmrdr — p. 74, no. 250sssddmms — p. 89, no. 308sssdmsss — p. 60, no. 199sssmrmdr — p. 42, no. 133sssmfsls — p. 78, no. 267sssffmmm — p. 37, no. 107ssssdsss — p. 37, no. 109; p. 83, no. 287ssssssss — p. 30, no. 75; p. 106, no. 359sssslsmm — p. 116, no. 388sssslssd — p. 61, no. 206ssslsssf — p. 54, no. 170

sslddsfm — p. 75, no. 256sslsmsss — p. 106, no. 361sslsfmrd — p. 56, no. 176sslsfmrl — p. 97, no. 333sslsfmmf — p. 63, no. 218sslsffmm — p. 62, no. 209ssltddtl — p. 20, no. 38

131



ssltdtdr — p. 32, no. 82ssltdtdt — p. 20, no. 35ssltdttt — p. 57, no. 184sstrddrd — p. 45, no. 146slsmdsls — p. 36, no. 101slsmrddt — p. 84, no. 288slsffmmr — p. 21, no. 42

slssddrm — p. 35, no. 98slslsdtd — p. 64, no. 220slslsssd — p. 89, no. 306sltdrmrm — p. 21, no. 40sltdmmrd — p. 107, no. 362strsfmfs — p. 85, no. 293stlsmfsd — p. 111, no. 375lmrdsdrm — p. 80, no. 274lmsltddt — p. 93, no. 318lsslssls — p. 58, no. 188tdmddrfr — p. 49, no. 160




Index’Tis Me, O Lord, 117Annchen von Tharau, 35

Absent Davie, 34Abt, Franz

Kathleen Aroon, 94Ach, Englische Schaeferin, 99adagio poco cantabile from string quartet, Op.

73, #3, Franz Joseph Haydn, 109Adelphi School Song, 114Adieu, Bonne H otesse, 81After the Ball, Charles K. Harris, 92Ah Mon Beau Château, 35Ah, Suzette, Chere, 46

Ainsi Font, Font, Font, 36Allan Maclean, 107allegro from Eine kleine Nachtmusik, W.A. Mozart,

35Alouette (rhythm only), , 15Am Feierabend, Franz Schubert, 62Amarilli, Mia Bella, Giulio Carcini, 68America the Beautiful, Katharine Lee Bates, 41andante un poco allegretto from string quartet

# 5, W.A. Mozart, 101Angel de Mis Amores, 62Angel of Peace, M. Keller, 105Angels Ever Bright and Fair, G.F. Handel, 100Annie Laurie, 28Arlequin Marie Sa Fille, 69Arlequin Tient Sa Boutique, 42As-Tu Vu la Casquette?, 33Ash Grove, The, 71, 121Au Jardin de Mon Pere, 71Aura Lee, George Poulton, 92Autrefois le Rat de Ville, 104Aux Marches du Palais, 42Avril, 78Away in a Manger (rhythm only), , 15

Bach, J.S.Bourree I I from orchestral suite #2, 111Chorale, ‘Beehl du deine Wege’, 118Chorale, ‘Das Walt’ Mein Gott, Vater, Sohn’,

118

Chorale, ‘Es ist gewisslich an der Zeit’, 28Chorale, ‘Es spricht der Unweisen Mund

wohl’, 37

Chorale, ‘Es steh’n vor Gottes Throne’, 58Chorale, ‘Gib Dich Zufrieden und Sei Stille’,

119Chorale, ‘Herr, nun lass in Friede’, 57Chorale, ‘Herr, wie du willst, so schick’s mit

mir’, 20, 42Chorale, ‘Jesu, meiner Seelen Wonne’, 25Chorale, ‘Liebster Jesu, wir sind hier’, 39Chorale, ‘Mach’s mit mir, Gott, nach deiner

Gut’, 39Chorale, ‘Nun ruhen alle Walder’, 47

Chorale, ‘Nun sich der Tag geendet hat’, 61Chorale, ‘O Haupt voll Blut und Wunden,’from St. Matthew’s Passion, 63

Chorale, ‘O Traurigkeit, o Herzeleid’, 62Chorale, ‘Seelenbräutigam, Jesu, Gottes Lamm’,

25Chorale, ‘Valet will ich dir geben’, 38Chorale, ‘Von Gott will ich nicht lassen’, 63Chorale, ‘W ar’ Gott Nicht Mit Uns Diese

Zeit’, 99Chorale, ‘Wenn wir in höchsten N oten sein’,

48Chorale, ‘Wie bist du Seele in mir so gar

betr ubt’, 38Gavotte II from cello suite # 5, 61gavotte in G minor, 54Invention 2, 101melody from the notebook for Anna Mag-

dalena, 60Menuet I from orchestral suite #1, 112menuet II from cello suite # 2, 97minuet, 42trio from Brandenburg concerto # 1, 84

Ballade de Roland, 42Barbara Allan, 44Bates, Katharine Lee

America the Beautiful, 41Bayly, T.H.

Long, Long Ago, 88Beautiful Angel, The, Pierre Latour, 20



Beautiful Bells, George Cooper, 108Beautiful Isle of Somewhere, J.S. Fearis, 74Beckoning the Chickens, Froebel, 33Beckoning the Pigeons, Froebel, 32Beethoven

Ode to Joy, 19opening movement from string quartet #

1, 94opening theme of Symphony #3, 27string quartet # 6, allegro, 100

Beggar Girl, The, 31Beuttner, Nikolaus

Es kam ein treuer Bote, 38Bingo (rhythm only), , 13Blue Juniata, The, M.D. Sullivan, 75Bonnie Wee Window, 74Bonniest Lass in a’ The Land, The, 70Bourree II from orchestral suite #2, J.S. Bach,

111Bradbury, W.B.He Leadeth Me, 74

Braes O Yarrow, The, 77Brahms, Johannes

introduction, 1st symphony, 77, 97Nachtwache 1, 63

Broadway Sights, W.H. Latham, 27Brother, Guide Me Home, 37Brother, Tell Me of the Battle, George F. Root,

108Buttereld, J.A.

When You and I Were Young, 105

Calinda, 76Cangia, Cangia Tue Voglie, G.B. Fasolo, 71Carcini, Giulio

Amarilli, Mia Bella, 68Carmela, 28, 87Caro Mio Ben, Attributed to Guiseppe Gior-

diano,, 95carol, 20Caroline, 78Chant de Sion, Darius Milhaud, 98Chill Ether, 47chorus from Judas Maccabaeus, G.F. Handel,

113Come, Ye Disconsolate, Samuel Webbe, 104Conkey, Ithamar

God is Love, His Mercy Brightens, 104

Cooper, GeorgeBeautiful Bells, 108

Cowboy’s Home Sweet Home, 76Cradle Song, 88, 118Crep usculo, 109Crouch, F. Nicholls

Kathleen Mavourneen, 119, 124

Crowell, B.a, 3/4, 53A, 4/4, 34a, 4/4, 53, 101a, 6/8, 53A , 4/4, 21B , 3/4, 1, 34B , 4/4, 20B , 4/4, 1, 49C, 3/4, 19, 21, 46, 121c, 3/4, 56

C, 4/4, 19, 25, 121c, 4/4, 56C, 4/4, 1, 21D , 4/4, 21E , 3/4, 20F, 2/4, 32F, 3/4, 25f, 4/4, 57G, 3/4, 19, 25, 40G, 4/4, 22, 26, 45g, 4/4, 83G, 6/8, 21g, 9/8, 59G , 4/4, 21Who Got Dirt on the Carpet Again?, 56,

103Cruel Mother, The, 111Cutler, H.S.

Son of God Goes Forth to War, The, 29Cyclone at Ryecove, 116

Da Unten Im Tale, 71Danksagung an den Bach, Franz Schubert, 67Dans la Foret Lointaine, 31Dans le Port, Il Est Arrive, 107Dans Notre Jardin, 45Das Wandern, Franz Schubert, 46Dearest Spot on Earth, The, W.T. Wrighton,

34Derriere Chez Moi, 82

134 Index



Devotion, Richard Strauss, 72Diadem, J. Ellor, 81Die Sonne Scheint Nicht Mehr, 80Down in the Valley, 37Duet from The Magic Flute, W.A. Mozart, 114Duet No. 2, Menuet, from 12 Duets, K.V. 487,

W.A. Mozart, 35, 115

Duke of Argyle’s Courtship, The, 48Easy Winners, The, Scott Joplin, 111Edwards, Gus

In My Merry Oldsmobile, 112Eli Yale, 41Ellor, J.

Diadem, 81Emerson, L.O.

Whither Through the Meadow?, 21En Avant, Grenadiers, 62En Revenant d’Auvergne, 30Entendez-Vous Sur l’Ormeau, 30Entre Vous Tous Gens de la Ville, 85Erlaube Mir, Fein’s M¨adchen, 112Es kam ein treuer Bote, Nikolaus Beuttner, 38Es Ritt ein Ritter, 118Europe, James Reese

Goodnight Angeline, 116Every Hour in the Day, 57, 123

Faded Coat of Blue, The, J.H. McNaughton,108

Fairy Boat, The, Harold Samuel, 48Fasolo, G.B.

Cangia, Cangia Tue Voglie, 71Fearis, J.S.

Beautiful Isle of Somewhere, 74Feinsliebchen, Du Sollst, 119, 123nale, London symphony, Franz Joseph Haydn,

44, 123Forget na’, dear Lassie, 57Foster, S.C.

Gentle Annie, 93Foster, Stephen

Hard Times Come Again No More, 30Old Folks at Home, 69Slumber My Darling, 93Song of All Songs, The, 82

FroebelBeckoning the Chickens, 33Beckoning the Pigeons, 32

Pat-a-Cake, 28Wolf, The, 60

Gar Lieblich Hat Sich Gesellet, 48Gardez Piti Milatte-l` a, 38Gaudeamus Igitur, 77Gavotte II from cello suite # 5, J.S. Bach, 61

gavotte in G minor, J.S. Bach, 54Gentle Annie, S.C. Foster, 93Gia il Sole dal Gange, Alessandro Scarlatti, 67Giordiano,, Attributed to Guiseppe

Caro Mio Ben, 95Gladden, S.W.

Mountains, The, 82Go ’Way, Old Man, 41Go Down, Moses, 65God is Love, His Mercy Brightens, Ithamar Con-

key, 104

God Speed the Right, 36Gold Band, The, 73Goldfaden, Abraham

Raisins with Almonds, 102Goodnight Angeline, James Reese Europe, 116Graveyard, The, 116Grieg

e, 4/4, 67Gunhilde, 99Guten Abend, 60Gwine Follow, 87Gypsy Warning, The, 45

Hallowed Spot, The, 78Halt, Franz Schubert, 39Handel, G.F.

Angels Ever Bright and Fair, 100chorus from Judas Maccabaeus, 113Hush ye pretty warbling quire from Acis

and Galatea, 72O Jordan, Sacred Tide from Esther, 64

Hanukah O Hanukah, 83Hard Times Come Again No More, Stephen

Foster, 30Harris, Charles K.

After the Ball, 92Hawthorne, Alice

Home, By and By, 31Out of Work, 111

Haydn, Franz Joseph

Index 135



Menuet I from orchestral suite #1, J.S. Bach,112

menuet II from cello suite # 2, J.S. Bach, 97menuet Oxford symphony, Franz Joseph Haydn,

39, 121Mi Sueno, 63Mighty Fortress Is Our God, A, Martin Luther,

103Milhaud, DariusChant de Sion, 98

minuet, J.S. Bach, 42Moore, Thomas

Love’s Young Dream, 95Mountains, The, S.W. Gladden, 82Mozart, W.A.

allegro from Eine kleine Nachtmusik, 35andante un poco allegretto from string quar-

tet # 5, 101aria (Papageno) from ‘The Magic Flute’,

36, 123aria from the Magic Flute, 106Duet from The Magic Flute, 114Duet No. 2, Menuet, from 12 Duets, K.V.

487, 35, 115opening from clarinet quintet, 73Osanna (bass solo, allegro) from Sanctus,

Requiem, 84string quartet # 1, adagio, 37string quartet # 1, menuet, 87, 109string quartet # 1, trio, 94string quartet # 10, menuet, 78string quartet # 15, menuet, 61string quartet # 2, andante, 77string quartet # 4, opening, 91string quartet # 4, presto, 81string quartet # 6, rondo, 81string quartet # 7, presto, 90string quartet # 8, menuet, 86, 90theme from symphony in G minor, 58

Musieu Bainjo, 37My Father, How Long?, 28

My Field, 59My Lodging Is On the Cold Ground, 76

Nachtwache 1, Johannes Brahms, 63Not Yet, Richard Strauss, 46

O Come, All Ye Faithful (rhythm only), , 13O Daniel, 101

O Jordan, Sacred Tide from Esther, G.F. Han-del, 64

O Little Town of Bethlehem (rhythm only), ,14

Ode to Joy, Beethoven, 19Ojos Mexicanos, Los, 61Old Folks at Home, Stephen Foster, 69

Old Hundred, 71opening from clarinet quintet, W.A. Mozart, 73opening movement from string quartet # 1, Beethoven,

94opening theme of Symphony #3, Beethoven, 27Ophelia’s Song, Maude Valerie White, 61Orange and the Black, The, Frances Shackle-

ton, 113Osanna (bass solo, allegro) from Sanctus, Re-

quiem, W.A. Mozart, 84Our Baby, 42Out of Work, Alice Hawthorne, 111

Paloma Blanca, La, 46, 122Paradies, Pier Domenico

M’ha Preso Alla Sua Ragna, 79Pat-a-Cake, Froebel, 28Pergolesi, Giovanni Battista

aria from Stabat Mater, 97Sancta Mater from Stabat Mater, 27, 123tune from Stabat Mater, 74, 110

Poor Rosy, 33, 34Pop Goes the Weasel (rhythm only), , 16

Poulton, GeorgeAura Lee, 92

Praise, Member, 33, 43processional march song, 98

Que No Te Amo, 84Quinze Ans, A, 89

Remon, 96Ragion Sempre Addita, Alessandro Stradella,

107Rain, Rain, Go Away (rhythm only), , 13Raisins with Almonds, Abraham Goldfaden, 102Rana, La, 91Recouvrance, A, 27Red River Valley, 75Reir Es Necesario, 62, 89Revive Us Again, John Husband, 36Rimsky-Korsakov, Nikolai

Index 137



trio from Brandenburg concerto # 1, J.S. Bach,84

Tristes Horas, Las, 60Tu Eres Mas Bella, 43Twinkle Twinkle, Little Star (rhythm only), ,

13

Ubi Bene, Ibi Patria, 80Upidee, 90

Valedictory, Shoals, 104Venus theme from The Planets, Gustav Holst,

39, 122Vivo Llorando la Suerte, 84Vivo Penando, 107

Wach’ Auf, Mein Hort, 44, 122Walk, Shepherdess, Walk, 89waltz of the owers from The Nutcracker (rhythm

only), P.I. Tchaikovsky, 15We Come Unto Our Father’s God, Martin Luther,29

We Three Kings (rhythm only), , 14We Wish You a Merry Christmas (rhythm only),

, 14Webbe, Samuel

Come, Ye Disconsolate, 104Weber, C.M. von

Softly Now the Light of Day, 92Wedge, G.A.

c 2/4 83

Song of the Free, 72Who Got Dirt on the Carpet Again?, B. Crow-

ell, 56, 103Widdecombe Fair, 89Wild Moor, The, 77Wohin?, Franz Schubert, 39Wolf, The, Froebel, 60

Woodbury, I.B.Speed Away Speed Away, 106Wrighton, W.T.

Dearest Spot on Earth, The, 34

Ya Viene El Alba, 67

music theory - melodies for sight singing - benjamin crowell

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