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Eyes and EarsAn Anthology of Melodies for Sight-SingingBenjamin CrowellEyes and EarsAn Anthology of Melodies for Sight-SingingBenjamin Crowell2Copyright c2004 Benjamin CrowellAll rights reserved.rev. August 25, 2017Permission is granted to copy, distribute and/or modify this document under the terms of the CreativeCommons Attribution Share-Alike License, which can be found at creativecommons.org. The booksweb site,www.lightandmatter.com/sight/sight.html,provides the book for downloading free of charge, and also gives further details about the copyrightsof the individual melodies.Brief ContentsI Rhythm 13I-1 Whole, Half, and Quarter Notes 13I-2 3/4 Time, and Dotted Half-Notes 14I-3 Eighth Notes 14I-4 Dotted Quarter Notes 14I-5 Sixteenth Notes 15I-6 Dotted Eighth Notes 15I-7 Compound Time 16I-8 Syncopation 16I-9 Triplets 17II Major Keys 19II-1 Introduction to Solfeggio 19II-2 Melodies Containing Only Steps 21II-3 Leaps to Do 26II-4 Leaps Back to Remembered Notes 26II-5 Easy Leaps Within the Tonic Triad 28II-6 The Leap of a Fifth Within the Tonic Triad 32II-7 Leaps of a Sixth Within the Tonic Triad 34II-8 Leaps Within the Dominant 37II-9 Wider Leaps Within the Dominant 432III Minor Keys 51III-1 Solfeggio in the Minor Mode 51III-2 Steps 53III-3 Leaps Within the Tonic Triad 55III-4 Leaps Within the Dominant 58IV Other Diatonic Materials 65IV-1 Leaps Between the Tonic and Dominant 65IV-2 Leaps Within the Subdominant, Major Keys 67IV-3 Wide Leaps Within the Subdominant 78IV-4 Leaps Within the Subdominant, Minor Keys 80IV-5 Leaps of a Seventh 83IV-6 Other Perfect Fourths and Fifths 88IV-7 The Diminished Seventh Chord, and the Harmonic Minor Scale 96V Nondiatonic Materials 99V-1 Secondary Dominants and Chromatic Passing Tones 99V-2 Blue Notes 110V-3 Relative Minor and Major 112VI The C Clef 1153ContentsI 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 . . 13I-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, 3/414I-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 . . . . . 14I-4 Dotted Quarter Notes . . . .1412 rhythm of Jingle Bells, 4/4 . . . . . . . 1413 rhythm of Jimmy Crack Corn, 4/4 . . . . 1514 rhythm of Away in a Manger, 3/4 . . . . 1515 rhythm of Rockabye Baby, 3/4 . . . . . 1516 rhythm of Home On the Range, 3/4 . . . 15I-5 Sixteenth Notes. . . . . . . .1517 Tchaikovsky, rhythm of trepak from TheNutcracker, 2/4 . . . . . . . . . . . . . 15I-6 Dotted Eighth Notes . . . . .1518 rhythm of Alouette, 4/4 . . . . . . . . 1519 Tchaikovsky, rhythm of waltz of the flowersfrom The Nutcracker, 3/4 . . . . . . . . . 1520 rhythm of Ive Been Working on the Rail-road, 4/4 . . . . . . . . . . . . . . . 16I-7 Compound Time . . . . . . .1621 rhythm of Here We Go Round the MulberryBush, 6/8 . . . . . . . . . . . . . . . 1622 rhythm of The Itsy-Bitsy Spider, 6/8 . . . 1623 rhythm of Pop Goes the Weasel, 6/8 . . . 1624 rhythm of Row, Row, Row Your Boat, 12/8 16I-8 Syncopation . . . . . . . . . .1625 Joplin, rhythm of The Entertainer, 2/4 . . 16I-9 Triplets. . . . . . . . . . . . .1726 Tchaikovsky, rhythm of march from TheNutcracker, 4/4 . . . . . . . . . . . . . 17II Major Keys. . . . .19II-1 Introduction to Solfeggio . .19II-2 Melodies Containing OnlySteps . . . . . . . . . . . . . . . .2127 C, 4/4 . . . . . . . . . . . . . . . 2128 C, 4/4 . . . . . . . . . . . . . . . 2129 C, 3/4 . . . . . . . . . . . . . . . 2130 Beethoven, Ode to Joy, C, 4/4 . . . . . 2131 G, 3/4 . . . . . . . . . . . . . . . 2132 G, 3/4 . . . . . . . . . . . . . . . 2133 carol (Bohemia), D, 4/4 . . . . . . . . 2134 Bach, Chorale, Herr, wie du willst, soschicks mit mir, A, 4/4 . . . . . . . . . 2135 Latour, The Beautiful Angel, E, 6/8 . . . 2236 Lewis, B, 3/4 . . . . . . . . . . . . 2237 B, 4/4 . . . . . . . . . . . . . . . 2238 Lewis, B, 4/4 . . . . . . . . . . . . 2239 E, 3/4 . . . . . . . . . . . . . . . 2240 A, 4/4 . . . . . . . . . . . . . . . 2241 D, 4/4 . . . . . . . . . . . . . . . 2342 G, 4/4 . . . . . . . . . . . . . . . 2343 G, 6/8 . . . . . . . . . . . . . . . 2344 C, 4/4, 1 . . . . . . . . . . . . . . 2345 Emerson, Whither Through the Meadow?,C, 2/4, 1. . . . . . . . . . . . . . . . 2346 C, 3/4 . . . . . . . . . . . . . . . 2347 G, 4/4 . . . . . . . . . . . . . . . 2448 Lewis, C, 4/4 . . . . . . . . . . . . 2449 Lewis, C, 4/4 . . . . . . . . . . . . 2450 Lewis, C, 6/8 . . . . . . . . . . . . 2451 Lewis, B, 4/4 . . . . . . . . . . . . 25II-3 Leaps to Do . . . . . . . .2652 G, 3/4 . . . . . . . . . . . . . . . 2653 F, 3/4 . . . . . . . . . . . . . . . 264II-4 Leaps Back to RememberedNotes . . . . . . . . . . . . . . . .2654 C, 4/4 . . . . . . . . . . . . . . . 2655 Bach, Chorale, Seelenbrautigam, Jesu,Gottes Lamm, A, 4/4 . . . . . . . . . . 2656 Bach, Chorale, Jesu, meiner Seelen Wonne,A, 4/4. . . . . . . . . . . . . . . . . 2657 G, 4/4 . . . . . . . . . . . . . . . 2758 folk song, C, 3/4 . . . . . . . . . . . 27II-5 Easy Leaps Within the TonicTriad . . . . . . . . . . . . . . . .2859 Beethoven, opening theme of Symphony #3(Eroica), E, 3/4 . . . . . . . . . . . . 2860 G, 4/4 . . . . . . . . . . . . . . . 2861 G, 6/8 . . . . . . . . . . . . . . . 2862 G, 4/4 . . . . . . . . . . . . . . . 2863 Latham, Broadway Sights, A, 6/8 . . . . 2864 A la Claire Fontaine (France), F, 2/4 . . . 2865 Pergolesi, aria Sancta Mater from StabatMater, G, 4/4. . . . . . . . . . . . . . 2966 Sullivan, E, 6/8 . . . . . . . . . . . 2967 A Recouvrance (France), F, 4/4 . . . . . 2968 Froebel, Pat-a-Cake, C, 12/8 . . . . . . 2969 Carmela (Mexico), E, 4/8 . . . . . . . 2970 My Father, How Long? (Florida), F, 4/4 . 2971 Bach, Chorale, Es ist gewisslich an der Zeit,B, 4/4 . . . . . . . . . . . . . . . . 2972 Annie Laurie, C, 4/4. . . . . . . . . . 3073 Cutler, The Son of God Goes Forth to War,B, 4/4 . . . . . . . . . . . . . . . . 3074 Luther, We Come Unto Our Fathers God,G, 4/4. . . . . . . . . . . . . . . . . 3075 Lawlan Jenny (Scotland), D, 3/4 . . . . 3076 Foster, Hard Times Come Again No More,E, 4/4 . . . . . . . . . . . . . . . . 3177 Weston, Row, Burnie, Row, E, 2/4 . . . 3178 En Revenant dAuvergne (France), B, 2/4. 3179 Entendez-Vous Sur lOrmeau (France), F,4/4, 1 . . . . . . . . . . . . . . . . . 31II-6 The Leap of a Fifth Withinthe Tonic Triad . . . . . . . . . .3280 G, 4/4 . . . . . . . . . . . . . . . 3281 G, 3/4 . . . . . . . . . . . . . . . 3282 Scarlatti, Su, Venite a Consiglio, G, 3/4 . . 3283 Rousseau, Hush, My Babe, F, 2/4 . . . . 3284 Dans la Foret Lointaine (France), F, 2/4. . 3285 The Beggar Girl (England), F, 6/8 . . . . 3386 Hawthorne, Home, By and By, F, 4/4. . . 3387 Froebel, Beckoning the Pigeons, G, 3/8 . . 3388 F, 2/4 . . . . . . . . . . . . . . . 33II-7 Leaps of a Sixth Within theTonic Triad. . . . . . . . . . . . .3489 G, 4/4 . . . . . . . . . . . . . . . 3490 G, 9/8 . . . . . . . . . . . . . . . 3491 Wohlfahrt, F, 4/4 . . . . . . . . . . . 3492 As-Tu Vu la Casquette? (France), G, 2/4 . 3493 Praise, Member (South Carolina), G, 2/4 . 3494 Froebel, Beckoning the Chickens, F, 2/4. . 3495 folk song, G, 2/4 . . . . . . . . . . . 3596 Poor Rosy (South Carolina), G, 2/4 . . . 3597 Poor Rosy (South Carolina), C, 2/4 . . . 3598 Wrighton, The Dearest Spot on Earth, B,4/4 . . . . . . . . . . . . . . . . . . 3599 Absent Davie (Scotland), D, 4/4 . . . . . 35100 A, 4/4 . . . . . . . . . . . . . . . 36101 B, 3/4, 1 . . . . . . . . . . . . . 36II-8 Leaps Within the Dominant 37102 Mozart, allegro from Eine kleine Nacht-musik, F, 4/4 . . . . . . . . . . . . . 37103 Mozart, Duet No. 2, Menuet, from 12Duets, K.V. 487, G, 3/4 . . . . . . . . . 37104 folk song, G, 3/4 . . . . . . . . . . 37105 Derrier Chez Nous il y a Trois Fleurs(France), G, 2/4. . . . . . . . . . . . . 37106 Parry, Villikins and His Dinah, E, 3/4 . . 37107 Annchen von Tharau (Germany), G, 3/4 . 37108 Ah! Mon Beau Chateau! (France), A, 2/4 38109 Ainsi Font, Font, Font (France), G, 2/4 . 38110 Husband, Revive Us Again, C, 3/4 . . . 38111 Lightly Row (Spain), F, 2/4 . . . . . . 38112 God Speed the Right (Germany), C, 4/4 . 38113 Mozart, aria (Papageno) from The MagicFlute, G, 2/4 . . . . . . . . . . . . . . 38114 Schonster Schatz, Mein Engel, D, 3/4 . . 39115 Down in the Valley, C, 9/8 . . . . . . 39116 Musieu Bainjo (Louisiana), G, 2/4 . . . 39117 Brother, Guide Me Home (Tennessee), A,4/4 . . . . . . . . . . . . . . . . . . 39118 Serenata (California), B, 2/2 . . . . . 39119 Mozart, adagio from string quartet # 1, G,3/4 . . . . . . . . . . . . . . . . . . 395120 Bach, Chorale, Es spricht der UnweisenMund wohl, B, 4/4 . . . . . . . . . . . 39121 Beuttner, Es kam ein treuer Bote, F, 4/4 . 40122 Bach, Chorale, Valet will ich dir geben, D,4/4 . . . . . . . . . . . . . . . . . . 40123 Bach, Chorale, Wie bist du Seele in mir sogar betrubt, G, 4/4 . . . . . . . . . . . 40124 Gardez Piti Milatte-la (Louisiana), B, 4/4 40125 Shout On, Children (Georgia), A, 2/4 . . 40126 Schubert, Wohin?, G, 4/8 . . . . . . . 40127 Bach, Chorale, Liebster Jesu, wir sind hier,G, 4/4. . . . . . . . . . . . . . . . . 41128 Haydn, menuet Oxford symphony, G, 3/4. 41129 Bach, Chorale, Machs mit mir, Gott, nachdeiner Gut, D, 4/4 . . . . . . . . . . . 41130 Schubert, Halt!, C, 6/8 . . . . . . . . 41131 Holst, Venus theme from The Planets, D,3/4 . . . . . . . . . . . . . . . . . . 41132 Serenata (California), B, 2/2 . . . . . 42133 If Your Foot Is Pretty, Show It (UnitedStates), D, 3/8 . . . . . . . . . . . . . 42134 G, 3/4 . . . . . . . . . . . . . . . 42II-9 Wider Leaps Within theDominant . . . . . . . . . . . . .43135 Bates, America the Beautiful, C, 4/4 . . 43136 Eli Yale, B, 2/4 . . . . . . . . . . . 43137 Krambambuli, D, 2/4 . . . . . . . . 43138 Go Way, Old Man (Louisiana), E, 3/4 . 43139 Our Baby (France), A, 2/4 . . . . . . 43140 Aux Marches du Palais (France), F, 6/8 . 43141 Bach, Chorale, Herr, wie du willst, soschicks mit mir, A, 4/4 . . . . . . . . . 44142 Bach, minuet, D, 3/4 . . . . . . . . 44143 Arlequin Tient Sa Boutique (France), A,2/4 . . . . . . . . . . . . . . . . . . 44144 Ballade de Roland (France), G, 6/8 . . . 44145 folk song, G, 6/8 . . . . . . . . . . 44146 Tu Eres Mas Bella (Costa Rica), F, 2/4 . 45147 Praise, Member (South Carolina), G, 2/4 . 45148 Wach Auf, Mein Hort, F, 6/8 . . . . . 45149 Barbara Allan (Scotland), B, 4/4 . . . . 45150 Im a Pilgrim (Italy), G, 4/4 . . . . . . 46151 Haydn, finale, London symphony, D, 4/4 . 46152 Dans Notre Jardin (France), F, 2/4 . . . 46153 The Gypsy Warning (Missouri), E, 3/4 . 46154 Jungfraulein, Soll Ich Mit Euch Gehn, F,4/4 . . . . . . . . . . . . . . . . . . 46155 G, 4/4 . . . . . . . . . . . . . . . 47156 Strauss, Not Yet, A, 6/8 . . . . . . . 47157 Ah, Suzette, Chere (Louisiana), E, 3/4 . 47158 La Paloma Blanca (Arizona), F, 6/8 . . . 47159 Schubert, Das Wandern, B, 4/8 . . . . 47160 C, 3/4 . . . . . . . . . . . . . . . 48161 Chill Ether (Scotland), E, 3/4 . . . . . 48162 folk song, A, 3/4 . . . . . . . . . . 48163 folk song, A, 6/8 . . . . . . . . . . 48164 Bach, Chorale, Nun ruhen alle Walder, B,4/4 . . . . . . . . . . . . . . . . . . 49165 Bach, Chorale, Wenn wir in hochstenNoten sein, G, 4/4 . . . . . . . . . . . 49166 The Duke of Argyles Courtship (Scotland),D, 3/4. . . . . . . . . . . . . . . . . 49167 Samuel, The Fairy Boat, G, 2/4 . . . . 49168 Gar Lieblich Hat Sich Gesellet, F, 2/4 . . 49169 B, 4/4, 1 . . . . . . . . . . . . . 49III Minor Keys . . . .51III-1 Solfeggio in the MinorMode . . . . . . . . . . . . . . . .51III-2 Steps . . . . . . . . . . . . .53170 a, 4/4 . . . . . . . . . . . . . . . 53171 a, 6/8 . . . . . . . . . . . . . . . 53172 a, 3/4 . . . . . . . . . . . . . . . 53173 a, 3/4 . . . . . . . . . . . . . . . 53174 Lewis, a, 3/4 . . . . . . . . . . . . 53175 Lewis, a, 3/4 . . . . . . . . . . . . 53176 Lewis, d, 4/4 . . . . . . . . . . . . 53177 Lewis, d, 4/4 . . . . . . . . . . . . 54178 Lewis, d, 3/4 . . . . . . . . . . . . 54179 Lewis, d, 3/2 . . . . . . . . . . . . 54180 Bach, gavotte in G minor, g, g/minor . . 54181 Lewis, a, 4/4 . . . . . . . . . . . . 54III-3 Leaps Within the TonicTriad . . . . . . . . . . . . . . . .55182 c, 4/4 . . . . . . . . . . . . . . . 55183 c, 4/4 . . . . . . . . . . . . . . . 55184 Wedge, c, 3/4. . . . . . . . . . . . 55185 Who Got Dirt on the Carpet Again?, c, 4/455186 c, 3/4 . . . . . . . . . . . . . . . 55187 c, 4/4 . . . . . . . . . . . . . . . 55188 Wedge, f, 2/4 . . . . . . . . . . . . 55189 Wedge, f, 2/4 . . . . . . . . . . . . 556190 Wedge, f, 2/4 . . . . . . . . . . . . 55191 f, 4/4 . . . . . . . . . . . . . . . 56192 Bach, Chorale, Herr, nun lass in Friede, a,4/4 . . . . . . . . . . . . . . . . . . 56193 Every Hour in the Day (Georgia), e, 2/4 . 56194 Forget na, dear Lassie (Scotland), a, 3/4 . 56195 Bach, Chorale, Es stehn vor GottesThrone, g, 4/4 . . . . . . . . . . . . . 56196 Mozart, theme from symphony in G minor,g, 4/4 . . . . . . . . . . . . . . . . . 56197 Thou Poor Bird, c, 4/4, 1 . . . . . . . 57III-4 Leaps Within the Dominant58198 Wedge, g, 3/4. . . . . . . . . . . . 58199 Wedge, g, 2/4. . . . . . . . . . . . 58200 My Field (Russia), g, 4/4 . . . . . . . 58201 g, 9/8 . . . . . . . . . . . . . . . 58202 Wedge, g, 3/4. . . . . . . . . . . . 58203 Wedge, g, 3/4. . . . . . . . . . . . 58204 Wedge, c, 3/4. . . . . . . . . . . . 59205 Bach, melody from the notebook for AnnaMagdalena, g, 3/4 . . . . . . . . . . . . 59206 lullabye (Russia), e, 4/4 . . . . . . . 59207 Las Tristes Horas, e, 2/4 . . . . . . . 59208 Wedge, g, 3/4. . . . . . . . . . . . 59209 Froebel, The Wolf, c, 4/8 . . . . . . . 59210 Guten Abend, g, 3/8 . . . . . . . . . 59211 Bach, Gavotte II from cello suite # 5, c,12/8 . . . . . . . . . . . . . . . . . 60212 Lolotte (Louisiana), c, 4/4 . . . . . . . 60213 Mozart, menuet from string quartet # 15,d, 3/4 . . . . . . . . . . . . . . . . . 60214 Los Ojos Mexicanos (Mexico), g, 2/4 . . 60215 White, Ophelias Song, e, 4/4 . . . . . 61216 Bach, Chorale, Nun sich der Tag geendethat, a, 4/4. . . . . . . . . . . . . . . 61217 Reir Es Necesario (Mexico), d, 2/4 . . . 61218 En Avant, Grenadiers! (Louisiana), e, 4/4 61219 Angel de Mis Amores (Mexico), d, 2/4 . . 61220 Schubert, Am Feierabend, a, 6/8 . . . . 61221 Bach, Chorale, O Traurigkeit, o Herzeleid,a, 4/4 . . . . . . . . . . . . . . . . . 62222 Brahms, Nachtwache 1, b, 4/4 . . . . . 62223 Mi Sueno (Mexico), c, 3/4 . . . . . . 62224 Bach, Chorale, O Haupt voll Blut undWunden, from St. Matthews Passion, d, 4/4 . 62225 Bach, Chorale, Von Gott will ich nichtlassen, b, 4/4 . . . . . . . . . . . . . 62226 Wedge, g, 4/8. . . . . . . . . . . . 62227 Wedge, g, 3/4. . . . . . . . . . . . 63228 Handel, aria O Jordan, Sacred Tide fromEsther, g, 3/4. . . . . . . . . . . . . . 63229 Go Down, Moses (Unites States), g, 4/4 . 63IV Other DiatonicMaterials. . . . . . . . . .65IV-1 Leaps Between the Tonicand Dominant . . . . . . . . . . .65230 Ya Viene El Alba (California), G, 2/4 . . 65231 Scarlatti, Gia il Sole dal Gange, A, 3/4 . 65232 Schubert, Danksagung an den Bach, G, 2/465233 Grieg, e, 4/4 . . . . . . . . . . . . 65234 zandunga folk song (Southern Mexico), e,3/4 . . . . . . . . . . . . . . . . . . 66235 Carcini, Amarilli, Mia Bella, g, 4/4 . . . 66IV-2 Leaps Within the Subdom-inant, Major Keys . . . . . . . . .67236 Jehovah, Hallelujah (South Carolina), F,3/4 . . . . . . . . . . . . . . . . . . 67237 Arlequin Marie Sa Fille (France), C, 3/4 . 67238 folk song, F, 2/4. . . . . . . . . . . 67239 folk song, F, 2/4. . . . . . . . . . . 67240 Foster, Old Folks at Home, D, 4/4 . . . 68241 Lang Johnny More (Scotland), F, 2/4 . . 68242 The Bonniest Lass in a The Land (Scot-land), C, 2/4 . . . . . . . . . . . . . . 68243 Old Hundred, G, 4/4 . . . . . . . . . 68244 Da Unten Im Tale, E, 3/4 . . . . . . 69245 I Want To Be Ready (United States), E,2/4 . . . . . . . . . . . . . . . . . . 69246 Fasolo, Cangia, Cangia Tue Voglie, C, 2/4 69247 The Ash Grove (Wales), F, 3/4 . . . . . 69248 West, The Jenny Lind Mania (UnitedStates), G, 2/4 . . . . . . . . . . . . . 69249 Au Jardin de Mon Pere (France), F, 6/8 . 69250 Strauss, Devotion, C, 4/4 . . . . . . . 70251 I Ride an Old Paint (United States), D, 3/470252 Whittier, Song of the Free, E, 3/2 . . . 70253 Handel, aria Hush ye pretty warbling quirefrom Acis and Galatea, F, 3/8 . . . . . . . 70254 Tallis, If Ye Love Me, F, f/major . . . . 70255 The Huntsman, B, 6/8 . . . . . . . . 717256 Moore, Evening Bells, G, 3/4 . . . . . 71257 Sinner Wont Die No More (Tennessee), A,4/4 . . . . . . . . . . . . . . . . . . 71258 Mozart, opening from clarinet quintet, A,4/4 . . . . . . . . . . . . . . . . . . 71259 The Gold Band (Tennessee), G, 3/4 . . . 72260 Pergolesi, tune from Stabat Mater, G, 4/4 72261 Bonnie Wee Window (Arkansas), E, 6/8 . 72262 Fearis, Beautiful Isle of Somewhere, A, 6/872263 Bradbury, He Leadeth Me, B, 4/4 . . . . 73264 Sullivan, The Blue Juniata, F, 2/4 . . . 73265 Red River Valley, E, 4/4 . . . . . . . 73266 Im In Trouble (Florida), C, 4/4. . . . . 73267 Haydn, introduction, London symphony, D,4/4 . . . . . . . . . . . . . . . . . . 73268 Rosa Lee, A, 2/4 . . . . . . . . . . 73269 My Lodging Is On the Cold Ground, A, 6/874270 Cowboys Home Sweet Home (Arkansas),G, 12/8 . . . . . . . . . . . . . . . . 74271 Calinda (Louisiana), F, 6/8 . . . . . . 74272 The Braes O Yarrow (Scotland), C, 3/4 . 74273 Gaudeamus Igitur, G, 3/4 . . . . . . . 75274 Mozart, andante from string quartet # 2,A, 3/4. . . . . . . . . . . . . . . . . 75275 The Wild Moor (Missouri), B, 3/4 . . . 75276 Brahms, introduction, 1st symphony, C,4/4 . . . . . . . . . . . . . . . . . . 75277 Caroline (Louisiana), G, 4/4 . . . . . . 75278 Avril (France), E, 6/8 . . . . . . . . 75279 Mozart, menuet from string quartet # 10,C, 3/4. . . . . . . . . . . . . . . . . 76280 The Hallowed Spot (Missouri), A, 3/4. . 76281 folk song (Russia), G, 2/4 . . . . . . . 76282 The Ship That Never Returned (Missouri),A, 2/4. . . . . . . . . . . . . . . . . 76283 Paradies, Mha Preso Alla Sua Ragna, A,2/4 . . . . . . . . . . . . . . . . . . 77284 Die Sonne Scheint Nicht Mehr, E, 4/4 . . 77285 Ubi Bene, Ibi Patria, C, 6/8 . . . . . . 77IV-3 Wide Leaps Within theSubdominant . . . . . . . . . . .78286 Mozart, presto from string quartet # 4, C,2/4 . . . . . . . . . . . . . . . . . . 78287 Ellor, Diadem, B, 3/4 . . . . . . . . 78288 Mozart, rondo from string quartet # 6, B,2/4 . . . . . . . . . . . . . . . . . . 78289 Adieu, Bonne Hotesse (France), F, 4/4. . 78290 Derriere Chez Moi (France), F, 2/4 . . . 78291 Foster, The Song of All Songs, F, 4/4 . . 79292 Gladden, The Mountains, B, 4/4 . . . . 79IV-4 Leaps Within the Subdom-inant, Minor Keys . . . . . . . . .80293 Wedge, f, 2/4 . . . . . . . . . . . . 80294 Wedge, f, 3/4 . . . . . . . . . . . . 80295 Wedge, c, 2/4. . . . . . . . . . . . 80296 g, 4/4 . . . . . . . . . . . . . . . 80297 Hanukah O Hanukah, d, 4/8, Presto . . . 80298 Vivo Llorando la Suerte (Mexico), d, 2/4 . 81299 Mozart, Osanna (bass solo, allegro) fromSanctus, Requiem, D, 3/4 . . . . . . . . . 81300 Bach, trio from Brandenburg concerto #1, d, 3/4 . . . . . . . . . . . . . . . . 81301 Que No Te Amo (Mexico), g, 4/4 . . . . 81302 folk song (Russia), d, 4/4 . . . . . . . 81303 folk song (Russia), f, 2/4 . . . . . . . 81304 Entre Vous Tous Gens de la Ville (France),f, 3/4 . . . . . . . . . . . . . . . . . 82IV-5 Leaps of a Seventh . . . . .83305 Mozart, menuet from string quartet # 8,F, 3/4 . . . . . . . . . . . . . . . . . 83306 Hess, Little Charley Went a Fishing, F, 6/8 83307 folk song, A, 4/4 . . . . . . . . . . 84308 Carmela (Mexico), E, 4/8. . . . . . . 84309 Mozart, menuet from string quartet # 1,C, 3/4. . . . . . . . . . . . . . . . . 84310 Gwine Follow (South Carolina), A, 2/4 . . 84311 Mendelssohn, aria If with all your hearts yetruly seek me from Elijah, E, 3/4 . . . . . 85312 Bayly, Long, Long Ago, D, 4/4 . . . . 85313 Cradle Song, F, 4/4 . . . . . . . . . 85314 Widdecombe Fair (England), C, 3/4 . . . 85315 Walk, Shepherdess, Walk (Arkansas), C,4/4 . . . . . . . . . . . . . . . . . . 86316 Reir Es Necesario (Mexico), F, 2/4 . . . 86317 folk song (Russia), A, 3/4 . . . . . . . 86318 A Quinze Ans (France), g, 6/8 . . . . . 86319 Mozart, menuet from string quartet # 8,F, 3/4 . . . . . . . . . . . . . . . . . 86320 Mozart, presto from string quartet # 7, E,2/4 . . . . . . . . . . . . . . . . . . 86321 Upidee, G, 4/4 . . . . . . . . . . . 878IV-6 Other Perfect Fourths andFifths . . . . . . . . . . . . . . . .88322 Mozart, opening from string quartet # 4,C, 4/4. . . . . . . . . . . . . . . . . 88323 folk song, G, 2/4 . . . . . . . . . . 88324 La Rana (Mexico), D, 3/4 . . . . . . . 88325 Poulton, Aura Lee, F, 4/4 . . . . . . 89326 Weber, Softly Now the Light of Day, A, 2/489327 Harris, After the Ball, B, 3/4 . . . . . 89328 Sullivan, Take a Pair of Sparkling Eyes, F,6/8 . . . . . . . . . . . . . . . . . . 89329 Sullivan, Sing Hey to You, Good-Day toYou!, G, 2/4 . . . . . . . . . . . . . . 89330 Foster, Slumber My Darling, E, 6/8. . . 89331 Foster, Gentle Annie, E, 4/4 . . . . . . 90332 Were You Ever in Rio Grand, B, 6/8. . . 90333 Rimsky-Korsakov, Scheherezade (themefrom third movement), C, 6/8 . . . . . . . 90334 Beethoven, opening movement from stringquartet # 1, F, 3/4 . . . . . . . . . . . 90335 Mozart, trio from string quartet # 1, C, 3/490336 Abt, Kathleen Aroon, G, 3/4 . . . . . . 91337 folk song (Germany), D, 4/4 . . . . . . 91338 Moore, Loves Young Dream, G, 6/8. . . 91339 Giordiano,, Caro Mio Ben, D, 4/4 . . . . 91340 Remon (Louisiana), F, 2/4. . . . . . . 92341 Juanita, D, 3/4 . . . . . . . . . . . 92342 Thompson, Lilly Dale, B, 4/4 . . . . . 92343 / . . . . . . . . . . . . . . . . . 92344 Pergolesi, aria from Stabat Mater, G, 4/4. 93345 Bach, menuet II from cello suite # 2, D,3/4 . . . . . . . . . . . . . . . . . . 93346 Brahms, introduction, 1st symphony, C,4/4 . . . . . . . . . . . . . . . . . . 93347 processional march song (Germany), D, 4/493348 Milhaud, Chant de Sion, A, 4/4 . . . . 94349 Sagt Mir, O Schonste Schafrin Mein, A,6/8 . . . . . . . . . . . . . . . . . . 94350 Gunhilde, F, 2/4 . . . . . . . . . . . 94351 Ach, Englische Schaeferin, F, 3/4 . . . . 94352 Bach, Chorale, War Gott Nicht Mit UnsDiese Zeit, C, 4/4 . . . . . . . . . . . . 95353 Handel, Angels Ever Bright and Fair, E,4/4 . . . . . . . . . . . . . . . . . . 95354 Beethoven, allegro from string quartet #6, B, 3/4 . . . . . . . . . . . . . . . 95IV-7 The Diminished SeventhChord, and the Harmonic MinorScale . . . . . . . . . . . . . . . .96355 a, 4/4 . . . . . . . . . . . . . . . 96356 O Daniel (Florida), d, 4/4 . . . . . . . 96357 Bach, Invention 2, c, c/minor . . . . . 96358 Mozart, andante un poco allegretto fromstring quartet # 5, a, 4/4 . . . . . . . . . 96359 Goldfaden, Raisins with Almonds, a, 3/4,Lullabye . . . . . . . . . . . . . . . . 97V Nondiatonic Materials99V-1 Secondary Dominants andChromatic Passing Tones . . . .99360 Luther, A Mighty Fortress Is Our God, D,4/4 . . . . . . . . . . . . . . . . . . 99361 Kevin Barry (Ireland), C, 3/4. . . . . . 99362 Who Got Dirt on the Carpet Again?, c, 4/499363 Conkey, God is Love, His Mercy Brightens,G, 3/4. . . . . . . . . . . . . . . . . 99364 Shoals, Valedictory, G, 4/4 . . . . . .100365 Autrefois le Rat de Ville (France), G, 2/4 .100366 Webbe, Come, Ye Disconsolate, B, 2/2 .100367 Keller, Angel of Peace, F, 4/4 . . . . .100368 Butterfield, When You and I Were Young,C, 4/4 . . . . . . . . . . . . . . . .101369 Woodbury, Speed Away! Speed Away!, A,3/8 . . . . . . . . . . . . . . . . . .101370 Mozart, aria from the Magic Flute, E, 3/8101371 Let Gods Saints Come In (Virginia), G, 2/4101372 Vivo Penando (California), F, 2/4 . . . .102373 Allan Maclean (Scotland), G, 3/4 . . . .102374 Stradella, Ragion Sempre Addita, A, 3/8 .102375 Dans le Port, Il Est Arrive (France), G, 2/4102376 Root, Brother, Tell Me of the Battle, D,3/4 . . . . . . . . . . . . . . . . . .102377 Cooper, Beautiful Bells, A, 3/4 . . . .103378 McNaughton, The Faded Coat of Blue, G,4/4 . . . . . . . . . . . . . . . . . .103379 Mozart, menuet from string quartet # 1,C, 3/4. . . . . . . . . . . . . . . . .103380 Haydn, adagio poco cantabile from stringquartet, Op. 73, #3 (Emperor), G, 4/4 . . .104381 Crepusculo (Mexico), D, 2/4 . . . . . .1049382 Media Noche (California), E, 2/4. . . .104383 Pergolesi, tune from Stabat Mater, f, 4/4.104384 Bach, Bourree II from orchestral suite #2,b, 4/4 . . . . . . . . . . . . . . . . .105385 The Cruel Mother (England), E, 3/4 . .105386 Hawthorne, Out of Work, A, 4/4 . . . .105387 Joplin, The Easy Winners, C, 2/4 . . . .105388 Edwards, In My Merry Oldsmobile, G, 3/4 106389 Erlaube Mir, Feins Madchen, F, 3/4. . .106390 Bach, Menuet I from orchestral suite #1,G, 3/4. . . . . . . . . . . . . . . . .106391 Handel, chorus from Judas Maccabaeus,C, 4/4. . . . . . . . . . . . . . . . .107392 Shackleton, The Orange and the Black, B,4/4 . . . . . . . . . . . . . . . . . .107393 Adelphi School Song, G, 4/4 . . . . . .107394 Allen, Maid of Athens, G, 4/4 . . . . .107395 Ascher, Alice, Where Art Thou?, B, 3/4 .108396 Mozart, Duet No. 2, Menuet, from 12Duets, K.V. 487, G, 3/4 . . . . . . . . .108397 Schubert, Above the Mountains, A, 4/4 .108398 Mozart, Duet from The Magic Flute, E,6/8 . . . . . . . . . . . . . . . . . .109V-2 Blue Notes . . . . . . . . . .110399 The Graveyard (South Carolina), F, 2/4 .110400 Roll, Jordan, Roll (United States), D, 2/4 110401 Cyclone at Ryecove (Missouri), A, 3/4 . .110402 Europe, Goodnight Angeline, G, 4/4 . . .110403 Tis Me, O Lord (Unites States), A, 4/4 .111V-3 Relative Minor and Major .112404 Schwesterlein, g, 3/4 . . . . . . . . .112405 Es Ritt ein Ritter, b, 6/8 . . . . . . .112406 Cradle Song (Sweden), f, 2/4 . . . . .112407 Bach, Chorale, Befiehl du deine Wege, b,4/4 . . . . . . . . . . . . . . . . . .112408 Bach, Chorale, Das Walt Mein Gott,Vater, Sohn, d, 4/4 . . . . . . . . . . .112409 Feinsliebchen, Du Sollst, a, 2/4 . . . . .113410 Bach, Chorale, Gib Dich Zufrieden und SeiStille, e, 4/4 . . . . . . . . . . . . . .113411 Crouch, Kathleen Mavourneen, C, 3/4 . .113VI The C Clef . . . .115412 C, 4/4 . . . . . . . . . . . . . . .115413 C, 3/4 . . . . . . . . . . . . . . .115414 The Ash Grove (Wales), C, 3/4. . . . .115415 Haydn, menuet Oxford symphony, C, 3/4 .115416 folk song, C, 6/8 . . . . . . . . . .115417 Wach Auf, Mein Hort, C, 6/8 . . . . .116418 La Paloma Blanca (Arizona), C, 6/8 . . .116419 Holst, Venus theme from The Planets, G,3/4 . . . . . . . . . . . . . . . . . .116420 folk song, G, 6/8 . . . . . . . . . .116421 Pergolesi, aria Sancta Mater from StabatMater, F, 4/4 . . . . . . . . . . . . . .116422 Mozart, aria (Papageno) from The MagicFlute, B, 2/4 . . . . . . . . . . . . .117423 Haydn, finale, London symphony, D, 4/4 .117424 Every Hour in the Day (Georgia), a, 2/4 .117425 lullabye (Russia), a, 4/4 . . . . . . . .117426 Feinsliebchen, Du Sollst, a, 2/4 . . . . .117427 Crouch, Kathleen Mavourneen, G, 3/4 . .11810Chapter IRhythmThe 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 youre working with a teacher, you maywish to clap the rhythm twice, with the teacher counting beats the first time, and singing the tunethe second time.I-1 Whole, Half, and Quarter Notes1 2 3 7 4 5 1 , rhythm of Twinkle Twinkle, Little Star 2 , rhythm of Little Brown Jug 3 , rhythm of Bingo 4 , rhythm ofRain, Rain, Go Away 5 , rhythm of O Come, All Ye FaithfulI-2 3/4 Time, and Dotted Half-Notes6 43 9 7 43 I-3 Eighth Notes8 9 43 10 11 I-4 Dotted Quarter Notes12 6 , rhythm of We Three Kings 7 , rhythm of Take Me Out to the Ball Game 8 , rhythm of O Little Town ofBethlehem 9 , rhythm of We Wish You a Merry Christmas 10 , rhythm of This Old Man 11 , rhythm of HushLittle Baby 12 , rhythm of Jingle Bells14 Chapter I. Rhythm13 5 14 43 15 43 16 43 9 I-5 Sixteenth Notes17 42 I-6 Dotted Eighth Notes18 19 43 13 , rhythm of Jimmy Crack Corn 14 , rhythm of Away in a Manger 15 , rhythm of Rockabye Baby 16 , rhythm ofHome 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 flowers from The NutcrackerI-5. Sixteenth Notes 1520 I-7 Compound Time21 86 5 22 8623 8624 812 I-8 Syncopation25 42 20 , rhythm of Ive Been Working on the Railroad 21 , rhythm of Here We Go Round the Mulberry Bush 22 , rhythmof The Itsy-Bitsy Spider 23 , rhythm of Pop Goes the Weasel 24 , rhythm of Row, Row, Row Your Boat 25 ScottJoplin, rhythm of The Entertainer16 Chapter I. RhythmI-9 Triplets2633 4 7 26 P.I. Tchaikovsky, rhythm of march from The NutcrackerI-9. Triplets 1718 Chapter I. RhythmChapter IIMajor KeysII-1 Introduction to SolfeggioThe following syllables are traditionally used for the seven notes of the major scale.tilaso dodo fare miThey originate from the Latin hymn Ut Queant Laxis, in which the first word of each successive mu-sical phrase began on the next note of the scale.This book uses the movable do system. In this system, do is always the tonic, and the other syllablesare assigned to the other notes according to their role in the key. In the key of D, for example:tilasododo famireThis may seem confusing at first, but its the only system that makes sense to the ear. For instance,ti is always a note with a tendency to move up a half-step to do, the tonic. (There is also a fixed dosystem, in which do is always C, re is always D, and so on. The fixed do system is often taught toEuropean schoolchildren, who dont know enough music theory to recognize the roles of the differentnotes in relation to the tonic in a key that has sharps or flats.)Sight singing is first and foremost a method of training your brain to understand relationships betweenmusical notes, and is therefore an important component of musicianship even if you consider yourselfprimarily a composer or instrumentalist rather than a singer. For example, a jazz musician improvis-ing a solo on the saxophone needs to be able to imagine a melody, and understand the relationshipbetween the imagined pitches so as to be able to translate them into fingerings. The solfeggio syllablesare a device for making the recognition of the relationships automatic.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 were singing a piece ofmusic 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 first approach, we recognize this as the interval of a half-step (minorsecond), so we move to the note a half-step above the one weve just sung. In the second technique,we know how to sing do because of its special sound in relation to the key: its the tonic, the notethat sounds like it would be a good one to end the song on. In reality, one doesnt 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 fluent 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 fluent sight singer by artificial 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 its good to learn that an E at the end of a word makes thepreceding vowel long. But a fluent reader doesnt look at the word sure and think silent E makesthe U long. Learning the phonics rules is necessary, but having learned them, we actually becomefluent 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 tiplay 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 artificial and not usually very useful.20 Chapter II. Major KeysII-2 Melodies Containing Only StepsIn each example, start by identifying which line or space on the staff represents do, the tonic. Ifyou 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 first 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 43 famous tune (identified 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 finally singing do ti do with authority!31 43 32 43 33 34 33 anonymous, carol (Bohemia) 34 J.S. Bach, Chorale, Herr, wie du willst, so schicks mit mirII-2. Melodies Containing Only Steps 2135 Moderato 86 5Note that the following two examples both have the tonic on the line at the center of the staff, so theone with five sharps actually isnt any more difficult to read.36 43 5 37 The following five melodies all begin on so.38 5We now begin moving around the circle of fifths in the opposite direction. Ti in the previous keyis flattened, and becomes fa of the new key. If youre singing the new, flattened version of the notecorrectly, you should be able to hear its strong tendency to resolve down to mi.39 43 403335 Pierre Latour, The Beautiful Angel 36 L.R. Lewis 38 L.R. Lewis22 Chapter II. Major Keys41 The following two melodies both have the tonic at the same place on the staff.42 43 86 Canon for two voices:44 21 Canon for two voices:45 1 42 9 2 4643 43 Canon for two voices:4745 L.O. Emerson, Whither Through the Meadow?II-2. Melodies Containing Only Steps 236484975086 86 5148 L.R. Lewis 49 L.R. Lewis 50 L.R. Lewis 51 L.R. Lewis24 Chapter II. Major Keys51014II-2. Melodies Containing Only Steps 25II-3 Leaps to Do52 43 553 Adagio 43 7II-4 Leaps Back to Remembered Notes54 * * 55 * * 756 * 7 * The following example uses both leaps back to remembered notes and leaps to the tonic.55 J.S. Bach, Chorale, Seelenbrautigam, Jesu, Gottes Lamm 56 J.S. Bach, Chorale, Jesu, meiner Seelen Wonne26 Chapter II. Major Keys57* * * * * 6 *The next tune is easier than it appears, because you only need to return to the same note after eachlow G.58 43 58 folk songII-4. Leaps Back to Remembered Notes 27II-5 Easy Leaps Within the Tonic TriadThis section introduces leaps of a third, a fourth, and an octave within the tonic triad.famous tune (identified in the table of contents)59 43 60 61 86 62 7 63Allegretto 86 564 42 Allegro763 W.H. Latham, Broadway Sights 64 anonymous, A la Claire Fontaine (France)28 Chapter II. Major Keys6566 86 67 568 812 369 333 84 70 871 6 65 Giovanni Battista Pergolesi, aria Sancta Mater from Stabat Mater 66 A.S. Sullivan 67 anonymous, A Recouvrance(France) 68 Froebel, Pat-a-Cake 69 anonymous, Carmela (Mexico) 70 anonymous, My Father, How Long? (Florida)71 J.S. Bach, Chorale, Es ist gewisslich an der ZeitII-5. Easy Leaps Within the Tonic Triad 2972 8 73 61174 775 433 5 76 5 872 anonymous, Annie Laurie 73 H.S. Cutler, The Son of God Goes Forth to War 74 Martin Luther, We Come UntoOur Fathers God 75 anonymous, Lawlan Jenny (Scotland) 76 Stephen Foster, Hard Times Come Again No More30 Chapter II. Major Keys 1277Allegretto 42 The following example includes a leap of a sixth, but its an easy leap back to do.78 Con moto 42 5This four-part canon includes a leap of a sixth to do.79 2 1 4 5 377 H. Burgess Weston, Row, Burnie, Row 78 anonymous, En Revenant dAuvergne (France) 79 anonymous, Enten-dez-Vous Sur lOrmeau (France)II-5. Easy Leaps Within the Tonic Triad 31II-6 The Leap of a Fifth Within the Tonic Triad80 781 43 782 Allegro 43 883 42 8 1784 42 782 Alessandro Scarlatti, Su, Venite a Consiglio 83 J.J. Rousseau, Hush, My Babe 84 anonymous, Dans la ForetLointaine (France)32 Chapter II. Major Keys85 Grazioso 86 586 Moderato587 8388 42Andante10 85 anonymous, The Beggar Girl (England) 86 Alice Hawthorne, Home, By and By 87 Froebel, Beckoning the PigeonsII-6. The Leap of a Fifth Within the Tonic Triad 33II-7 Leaps of a Sixth Within the Tonic Triad89 90 89 91 592 Allegro vivace 42 793 42 594 42 95 42 91 Franz Wohlfahrt 92 anonymous, As-Tu Vu la Casquette? (France) 93 anonymous, Praise, Member (South Carolina)94 Froebel, Beckoning the Chickens 95 folk song34 Chapter II. Major Keys 8The 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!96 42997 42 9 Another example that includes leaps to do.98 599 3 100 96 anonymous, Poor Rosy (South Carolina) 97 anonymous, Poor Rosy (South Carolina) 98 W.T. Wrighton, TheDearest Spot on Earth 99 anonymous, Absent Davie (Scotland)II-7. Leaps of a Sixth Within the Tonic Triad 35 5Canon for two voices:101 2 1 43 36 Chapter II. Major KeysII-8 Leaps Within the DominantThis section introduces leaps of a third within the dominant. Fourths, fifths, and sixths are includedin section II-9, and leaps of a seventh within the dominant chord are deferred until section IV-5.famous tune (identified in the table of contents)102103 43104 43 105 Un poco allegretto 42 7106 43 8107 43 9103 W.A. Mozart, Duet No. 2, Menuet, from 12 Duets, K.V. 487 104 folk song 105 anonymous, Derrier Chez Nous il ya Trois Fleurs (France) 106 John Parry, Villikins and His Dinah 107 anonymous, Annchen von Tharau (Germany)II-8. Leaps Within the Dominant 37108 Moderato 42 8 109 42 110 43 111 42 9112 Maestoso 611113 42108 anonymous, Ah! Mon Beau Chateau! (France) 109 anonymous, Ainsi Font, Font, Font (France) 110 John Husband,Revive Us Again 111 anonymous, Lightly Row (Spain) 112 anonymous, God Speed the Right (Germany) 113 W.A.Mozart, aria (Papageno) from The Magic Flute38 Chapter II. Major Keys114 Hell und freudig 43 12 115 89 116 42 5117 5118 333336 119 43 120 114 anonymous, Schonster Schatz, Mein Engel 115 anonymous, Down in the Valley 116 anonymous, Musieu Bainjo(Louisiana) 117 anonymous, Brother, Guide Me Home (Tennessee) 118 anonymous, Serenata (California) 119 W.A.Mozart, adagio from string quartet # 1 120 J.S. Bach, Chorale, Es spricht der Unweisen Mund wohlII-8. Leaps Within the Dominant 39121 122 7123 6124 Allegretto con grazia 7 125 42 5126 84 121 Nikolaus Beuttner, Es kam ein treuer Bote 122 J.S. Bach, Chorale, Valet will ich dir geben 123 J.S. Bach, Chorale,Wie bist du Seele in mir so gar betrubt 124 anonymous, Gardez Piti Milatte-la (Louisiana) 125 anonymous, ShoutOn, Children (Georgia) 126 Franz Schubert, Wohin?40 Chapter II. Major Keys127 6128 43 5 129 5 130 86 131 43 4132 3333333333127 J.S. Bach, Chorale, Liebster Jesu, wir sind hier 128 Franz Joseph Haydn, menuet Oxford symphony 129 J.S. Bach,Chorale, Machs mit mir, Gott, nach deiner Gut 130 Franz Schubert, Halt! 131 Gustav Holst, Venus theme from ThePlanets 132 anonymous, Serenata (California)II-8. Leaps Within the Dominant 416133 Moderato 83 9 134 43 714133 anonymous, If Your Foot Is Pretty, Show It (United States)42 Chapter II. Major KeysII-9 Wider Leaps Within the DominantThis section introduces leaps within the dominant as broad as a sixth. Leaps of a seventh are deferreduntil section IV-5.famous tune (identified in the table of contents)135 136 42 9 137 42 138 43 9139 42 140 86 5136 anonymous, Eli Yale 137 anonymous, Krambambuli 138 anonymous, Go Way, Old Man (Louisiana) 139 anonymous,Our Baby (France) 140 anonymous, Aux Marches du Palais (France)II-9. Wider Leaps Within the Dominant 43141 7142 43 143 Un poco allegretto 42 5 10 144 86 7145 86 6 11141 J.S. Bach, Chorale, Herr, wie du willst, so schicks mit mir 142 J.S. Bach, minuet 143 anonymous, Arlequin TientSa Boutique (France) 144 anonymous, Ballade de Roland (France) 145 folk song44 Chapter II. Major Keys146 42 10 19 147 42 611148 Mit kraeftiger Leidenschaft 86 7149 36150 146 anonymous, Tu Eres Mas Bella (Costa Rica) 147 anonymous, Praise, Member (South Carolina) 148 anonymous,Wach Auf, Mein Hort 149 anonymous, Barbara Allan (Scotland) 150 anonymous, Im a Pilgrim (Italy)II-9. Wider Leaps Within the Dominant 45 5913151 152 Allegro 42 7 153 333 43 3 5 154 Lebhaft, doch zart611151 Franz Joseph Haydn, finale, London symphony 152 anonymous, Dans Notre Jardin (France) 153 anonymous, TheGypsy Warning (Missouri) 154 anonymous, Jungfraulein, Soll Ich Mit Euch Gehn46 Chapter II. Major Keys155 Allegretto 6156 86Molto mesto157 Allegretto comodo 43 7 12 158 86 5 9159 84 156 Richard Strauss, Not Yet 157 anonymous, Ah, Suzette, Chere (Louisiana) 158 anonymous, La Paloma Blanca(Arizona) 159 Franz Schubert, Das WandernII-9. Wider Leaps Within the Dominant 47160 43 Andante5161 43 5162 43 10 D.S. al fine 18 Fine 83 163 86 5 10164 161 anonymous, Chill Ether (Scotland) 162 folk song 163 folk song 164 J.S. Bach, Chorale, Nun ruhen alle Walder48 Chapter II. Major Keys 7165 5166 3 43 5167 Andante 42 5168 42Anmutig 8Canon for two voices:169 2 1 165 J.S. Bach, Chorale, Wenn wir in hochsten Noten sein 166 anonymous, The Duke of Argyles Courtship (Scotland)167 Harold Samuel, The Fairy Boat 168 anonymous, Gar Lieblich Hat Sich GeselletII-9. Wider Leaps Within the Dominant 4950 Chapter II. Major KeysChapter IIIMinor KeysIII-1 Solfeggio in the Minor ModeSome people sing in the minor mode using these solfeggio syllables: sofalete remedoremefadosoti dodolaThis 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 ofthe notes stay the same when switching between the parallel major and minor.Others prefer this: mirefaso tidolatidorelamisi lalafiThis system highlights the relationship between the minor and its relative major.If you dont have a teacher who wants you to use one system or another, I suggest you use the firstone, because it lets you recycle many of the patterns youve learned in minor. For instance, so-ti-dois still a formula for a cadence.In both systems, the vowel i is used for a sharpened note, and e for a flattened one. The chromaticscale looks like this: lali sosidotidi redo fifamirime re fa mi dora tite do so sela leThe 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 KeysIII-2 StepsThe purpose of the first exercise is to get used to the solfeggio syllables used in minor.170 Poco a poco accelerando171 86 172 Largo 43 This melody introduces the use of the ascending and descending forms of the melodic minor scale.The rhythmic figure is the same as in the preceding tune.173Largo 43 5 174 43 175 43 9176 174 L.R. Lewis 175 L.R. Lewis 176 L.R. LewisIII-2. Steps 53177 178 43 6 179 23 180 418159177 L.R. Lewis 178 L.R. Lewis 179 L.R. Lewis 180 J.S. Bach, gavotte in G minor 181 L.R. Lewis54 Chapter III. Minor KeysIII-3 Leaps Within the Tonic Triad182 183 184 43185 3 3186 43 9 187 5 188 42 189 42 190 42 184 G.A. Wedge 185 Who Got Dirt on the Carpet Again? 188 G.A. Wedge 189 G.A. Wedge 190 G.A. WedgeIII-3. Leaps Within the Tonic Triad 55191 192 7193 42 5 194 43 48 12195 famous tune (identified in the table of contents)196 Round:192 J.S. Bach, Chorale, Herr, nun lass in Friede 193 anonymous, Every Hour in the Day (Georgia) 194 anonymous,Forget na, dear Lassie (Scotland) 195 J.S. Bach, Chorale, Es stehn vor Gottes Throne56 Chapter III. Minor Keys197 4 21 3197 anonymous, Thou Poor BirdIII-3. Leaps Within the Tonic Triad 57III-4 Leaps Within the Dominant198 43 199 42 famous tune (identified in the table of contents)200 Andante5201 89 Vivace35202 43 5203 43 198 G.A. Wedge 199 G.A. Wedge 202 G.A. Wedge 203 G.A. Wedge58 Chapter III. Minor Keys204 43205 43 206 Largo 5207 42 5208 43209 84 210 Draengend, doch nicht schnell 83 9 204 G.A. Wedge 205 J.S. Bach, melody from the notebook for Anna Magdalena 206 anonymous, lullabye (Russia) 207anonymous, Las Tristes Horas 208 G.A. Wedge 209 Froebel, The Wolf 210 anonymous, Guten AbendIII-4. Leaps Within the Dominant 59211 812 2 212 35 7213 43 6 214 3 42 33 5215 Andantino211 J.S. Bach, Gavotte II from cello suite # 5 212 anonymous, Lolotte (Louisiana) 213 W.A. Mozart, menuet from stringquartet # 15 214 anonymous, Los Ojos Mexicanos (Mexico) 215 Maude Valerie White, Ophelias Song60 Chapter III. Minor Keys 3 5216 2173 42 5 218 Allegro marziale 6 11 219 3 4233 6 3 11220 86 216 J.S. Bach, Chorale, Nun sich der Tag geendet hat 217 anonymous, Reir Es Necesario (Mexico) 218 anonymous, EnAvant, Grenadiers! (Louisiana) 219 anonymous, Angel de Mis Amores (Mexico) 220 Franz Schubert, Am FeierabendIII-4. Leaps Within the Dominant 61221 222Langsampp 223 43224 8 225 7226 84 5227 43 221 J.S. Bach, Chorale, O Traurigkeit, o Herzeleid 222 Johannes Brahms, Nachtwache 1 223 anonymous, Mi Sueno(Mexico) 224 J.S. Bach, Chorale, O Haupt voll Blut und Wunden, from St. Matthews Passion 225 J.S. Bach, Chorale,Von Gott will ich nicht lassen 226 G.A. Wedge 227 G.A. Wedge62 Chapter III. Minor Keys5 228 43 1018 27 36 44 52famous tune (identified in the table of contents)229Lento 9 228 G.F. Handel, aria O Jordan, Sacred Tide from EstherIII-4. Leaps Within the Dominant 6364 Chapter III. Minor KeysChapter IVOther Diatonic MaterialsIV-1 Leaps Between the Tonic and DominantThe following three songs contain the leap from ti to mi.230 42 231 Allegro giusto 43 7 232 42 4 The next three use leaps of a diminished fourth, an interval which sounds like a major third, and istypical of minor keys.233 234 43 230 anonymous, Ya Viene El Alba (California) 231 Alessandro Scarlatti, Gia il Sole dal Gange 232 Franz Schubert,Danksagung an den Bach 233 Grieg 234 anonymous, zandunga folk song (Southern Mexico) 10235 Moderato affetuoso6 235 Giulio Carcini, Amarilli, Mia Bella66 Chapter IV. Other Diatonic MaterialsIV-2 Leaps Within the Subdominant, Major KeysThe first two tunes clearly imply the subdominant chord in the marked measures.236 * * 43 9 * 237 Allegro 43 6 * 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:238 * 42 6 * This one jumps from la to fa:239 42 * famous tune (identified in the table of contents)236 anonymous, Jehovah, Hallelujah (South Carolina) 237 anonymous, Arlequin Marie Sa Fille (France) 238 folk song239 folk songIV-2. Leaps Within the Subdominant, Major Keys 67240 333333 5 A great deal of Scottish folk music uses a major scale that omits ti. Fa is sometimes left out aswell, forming a five-note, or pentatonic, scale. Once ones ear adjusts to the sound of the scale, thecharacteristic leap between do and la no longer sounds like a leap at all. Of the following twoexamples, the first is pentatonic, while the second uses the full major scale. The first example hasbeen notated with the styles typical elaborate ornamentation, which you may wish to ignore.241 42 5 9 13242 42 243 5241 anonymous, Lang Johnny More (Scotland) 242 anonymous, The Bonniest Lass in a The Land (Scotland) 243anonymous, Old Hundred68 Chapter IV. Other Diatonic Materials244 Sanft bewegt 43 5 245 Andante 42 5246 42Moderato247 43248 42 249 Animato 86 6 12 244 anonymous, Da Unten Im Tale 245 anonymous, I Want To Be Ready (United States) 246 G.B. Fasolo, Cangia,Cangia Tue Voglie 247 anonymous, The Ash Grove (Wales) 248 W.H.C. West, The Jenny Lind Mania (United States)249 anonymous, Au Jardin de Mon Pere (France)IV-2. Leaps Within the Subdominant, Major Keys 69250 Moderato251 43 7 13 19 252 Andante sostenuto 23 8253 838 254 7250 Richard Strauss, Devotion 251 anonymous, I Ride an Old Paint (United States) 252 J.G. Whittier, Song of the Free253 G.F. Handel, aria Hush ye pretty warbling quire from Acis and Galatea 254 Thomas Tallis, If Ye Love Me70 Chapter IV. Other Diatonic Materials255 86 6 11 16256 43 917257 6 11258 259 43 255 anonymous, The Huntsman 256 Thomas Moore, Evening Bells 257 anonymous, Sinner Wont Die No More (Ten-nessee) 258 W.A. Mozart, opening from clarinet quintet 259 anonymous, The Gold Band (Tennessee)IV-2. Leaps Within the Subdominant, Major Keys 71 5 260 8 15 261 86 5 9262 Moderato 86 5263 5 9 260 Giovanni Battista Pergolesi, tune from Stabat Mater 261 anonymous, Bonnie Wee Window (Arkansas) 262 J.S.Fearis, Beautiful Isle of Somewhere 263 W.B. Bradbury, He Leadeth Me72 Chapter IV. Other Diatonic Materials 13 264 42 9 265 5266 3267 8 268 42Allegretto9 264 M.D. Sullivan, The Blue Juniata 265 anonymous, Red River Valley 266 anonymous, Im In Trouble (Florida) 267Franz Joseph Haydn, introduction, London symphony 268 anonymous, Rosa LeeIV-2. Leaps Within the Subdominant, Major Keys 73269 86 5 9 13 270 8123 6 271 86 5272 43 10 273Maestoso 43 269 anonymous, My Lodging Is On the Cold Ground 270 anonymous, Cowboys Home Sweet Home (Arkansas) 271anonymous, Calinda (Louisiana) 272 anonymous, The Braes O Yarrow (Scotland) 273 anonymous, Gaudeamus Igitur74 Chapter IV. Other Diatonic Materials 5 9 274 43 4 275 333 43 3333 7 276 277 33333 5278 86 5 274 W.A. Mozart, andante from string quartet # 2 275 anonymous, The Wild Moor (Missouri) 276 Johannes Brahms,introduction, 1st symphony 277 anonymous, Caroline (Louisiana) 278 anonymous, Avril (France)IV-2. Leaps Within the Subdominant, Major Keys 75279 3 43 33 7 280 3 433 6 11 3281 Adagio 42 9282 42 8 283 Allegretto mosso 42 6 279 W.A. Mozart, menuet from string quartet # 10 280 anonymous, The Hallowed Spot (Missouri) 281 anonymous, folksong (Russia) 282 anonymous, The Ship That Never Returned (Missouri) 283 Pier Domenico Paradies, Mha PresoAlla Sua Ragna76 Chapter IV. Other Diatonic Materials 1217 22 284 Gehalten und empfindungsvoll6 Lebhaft43 10285 Moderato 86 7 Vivace 13 284 anonymous, Die Sonne Scheint Nicht Mehr 285 anonymous, Ubi Bene, Ibi PatriaIV-2. Leaps Within the Subdominant, Major Keys 77IV-3 Wide Leaps Within the Subdominant286 42 9287 43 8 16 288 42 289 Moderato 7 290 42 713286 W.A. Mozart, presto from string quartet # 4 287 J. Ellor, Diadem 288 W.A. Mozart, rondo from string quartet # 6289 anonymous, Adieu, Bonne Hotesse (France) 290 anonymous, Derriere Chez Moi (France)78 Chapter IV. Other Diatonic Materials291 Moderato292 59 13291 Stephen Foster, The Song of All Songs 292 S.W. Gladden, The MountainsIV-3. Wide Leaps Within the Subdominant 79IV-4 Leaps Within the Subdominant, Minor Keys293 42 294 43 5295 42296Largo5 297 Presto 84 816 25 33293 G.A. Wedge 294 G.A. Wedge 295 G.A. Wedge 297 anonymous, Hanukah O Hanukah80 Chapter IV. Other Diatonic Materials298 42 9 299 43 5 300 43 301 9302 Allegretto 9 303 Allegretto 42 9298 anonymous, Vivo Llorando la Suerte (Mexico) 299 W.A. Mozart, Osanna (bass solo, allegro) from Sanctus, Requiem300 J.S. Bach, trio from Brandenburg concerto # 1 301 anonymous, Que No Te Amo (Mexico) 302 anonymous, folk song(Russia) 303 anonymous, folk song (Russia)IV-4. Leaps Within the Subdominant, Minor Keys 81304 Lightly 43 9 17304 anonymous, Entre Vous Tous Gens de la Ville (France)82 Chapter IV. Other Diatonic MaterialsIV-5 Leaps of a SeventhWith 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, find the lowest key in which you can comfortably sing the lowest note of the melody.A factor in the sight-singers favor is that the most difficult leaps to sing are usually the ones thatare ugly as well, and therefore composers dont 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, thats a fundamentally unnatural way to think about melody; keep in mind that most ofthe 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, well see that there are bettersolutions arising naturally from the logic of the melodic line.The first example is easy, because the leap begins a repetition.305 * 43 5The next two examples are not much harder; there is repetition, but at a pitch one step higher.306 * Lively 86 5307 * 305 W.A. Mozart, menuet from string quartet # 8 306 C. Hess, Little Charley Went a Fishing 307 folk songIV-5. Leaps of a Seventh 83 5 In the next tune, the leap upward from ti to la is heard as the inversion of the earlier step downfrom ti to la.308 3 3 3 84 * 8 15 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 mayfind that the easiest way to hit the fa is simply by locating fa-mi.309 43 * This tune, like the preceding one, uses the familiar so-fa-mi pattern. The leap is also made easierbecause weve just sung fa in the low register, and because, looking ahead, we anticipate the de-scending scale fa-mi-re-do.310 42 5 *9 13 308 anonymous, Carmela (Mexico) 309 W.A. Mozart, menuet from string quartet # 1 310 anonymous, Gwine Follow(South Carolina)84 Chapter IV. Other Diatonic MaterialsAnother so-fa-mi example. The fa is heard as part of a logical progression of prominent high pointsin the line.311 43 7 * 312 5 9 * 13 313 7 314 43 * 815 315 333333 311 Felix Mendelssohn, aria If with all your hearts ye truly seek me from Elijah 312 T.H. Bayly, Long, Long Ago313 anonymous, Cradle Song 314 anonymous, Widdecombe Fair (England) 315 anonymous, Walk, Shepherdess, Walk(Arkansas)IV-5. Leaps of a Seventh 85316 3 42 3 5 317 43Moderato * 318 86 6 11319 * 43 5320 42 5316 anonymous, Reir Es Necesario (Mexico) 317 anonymous, folk song (Russia) 318 anonymous, A Quinze Ans (France)319 W.A. Mozart, menuet from string quartet # 8 320 W.A. Mozart, presto from string quartet # 786 Chapter IV. Other Diatonic Materials321 4 7321 anonymous, UpideeIV-5. Leaps of a Seventh 87IV-6 Other Perfect Fourths and FifthsWeve already sung leaps of a fourth and a fifth within the tonic, dominant, and subdominant chords,and those leaps strongly implied their chords. For instance, its difficult to hear the so-re leap withoutperceiving a dominant chord. Although other leaps of a fourth or a fifth may imply other triads, inreal music they are more commonly produced not by the harmony but by the logic of the melodyitself. In the first 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.322 5 * In this example, the leap from la to re is heard as an imitation of the preceding so-do leap.323 42 *918 Here, we really have the easy so-mi leap, but with la interposed.324 * 43 42 11 famous tune (identified in the table of contents)325 322 W.A. Mozart, opening from string quartet # 4 323 folk song 324 anonymous, La Rana (Mexico)88 Chapter IV. Other Diatonic Materials612326 42 9 327 Tempo di valse 43 1122328 86 329 42330 86 5 326 C.M. von Weber, Softly Now the Light of Day 327 Charles K. Harris, After the Ball 328 A.S. Sullivan, Take a Pairof Sparkling Eyes 329 A.S. Sullivan, Sing Hey to You, Good-Day to You! 330 Stephen Foster, Slumber My DarlingIV-6. Other Perfect Fourths and Fifths 89331 Andante 6 11 332 86 6 12 333 86 4 334 43 5335 43 5 331 S.C. Foster, Gentle Annie 332 anonymous, Were You Ever in Rio Grand 333 Nikolai Rimsky-Korsakov, Scheherezade(theme from third movement) 334 Beethoven, opening movement from string quartet # 1 335 W.A. Mozart, trio fromstring quartet # 190 Chapter IV. Other Diatonic Materials336 43 7 12337 Moderato5 10 14 338 Moderato con espressione 86 714339 5 336 Franz Abt, Kathleen Aroon 337 anonymous, folk song (Germany) 338 Thomas Moore, Loves Young Dream 339Attributed to Guiseppe Giordiano,, Caro Mio BenIV-6. Other Perfect Fourths and Fifths 91340 3333 42 33 33 8 341 43Andante9 3 317342 Andante 612343 42 5 340 anonymous, Remon (Louisiana) 341 anonymous, Juanita 342 H.S. Thompson, Lilly Dale92 Chapter IV. Other Diatonic Materials344 7 13 345 43 5 346 7 12347 Alla marcia 6 11344 Giovanni Battista Pergolesi, aria from Stabat Mater 345 J.S. Bach, menuet II from cello suite # 2 346 JohannesBrahms, introduction, 1st symphony 347 anonymous, processional march song (Germany)IV-6. Other Perfect Fourths and Fifths 93348 Moderato 6 349 86Zaertlich und lebhaft 8350 In ruhigem Zeitmass und teilnehmend erzaehlt 42 611351 Mit guter Laune 43 611352 348 Darius Milhaud, Chant de Sion 349 anonymous, Sagt Mir, O Schonste Schaf rin Mein 350 anonymous, Gunhilde351 anonymous, Ach, Englische Schaeferin 352 J.S. Bach, Chorale, War Gott Nicht Mit Uns Diese Zeit94 Chapter IV. Other Diatonic Materials 6353 Larghetto5 9354Allegro 43 5 353 G.F. Handel, Angels Ever Bright and Fair 354 Beethoven, allegro from string quartet # 6IV-6. Other Perfect Fourths and Fifths 95IV-7 The Diminished Seventh Chord, and the Harmonic Minor Scale355 356 6 113572 4 358 3 5 359 Lullabye43 9 356 anonymous, O Daniel (Florida) 357 J.S. Bach, Invention 2 358 W.A. Mozart, andante un poco allegretto from stringquartet # 5 359 Abraham Goldfaden, Raisins with Almonds96 Chapter IV. Other Diatonic Materials 17 IV-7. The Diminished Seventh Chord, and the Harmonic Minor Scale 9798 Chapter IV. Other Diatonic MaterialsChapter VNondiatonic MaterialsV-1 Secondary Dominants and Chromatic Passing Tones360 612361 43 36233338 363 43 9 360 Martin Luther, A Mighty Fortress Is Our God 361 anonymous, Kevin Barry (Ireland) 362 Who Got Dirt on theCarpet Again? 363 Ithamar Conkey, God is Love, His Mercy Brightens364 611365 42Allegro moderato8 366 6 11 367 Maestoso 9 17 25 364 Shoals, Valedictory 365 anonymous, Autrefois le Rat de Ville (France) 366 Samuel Webbe, Come, Ye Disconsolate367 M. Keller, Angel of Peace100 Chapter V. Nondiatonic Materials368 5 913 369 83 9 17 370 83 f 11 371 42 5372 42 368 J.A. Butterfield, When You and I Were Young 369 I.B. Woodbury, Speed Away! Speed Away! 370 W.A. Mozart,aria from the Magic Flute 371 anonymous, Let Gods Saints Come In (Virginia) 372 anonymous, Vivo Penando(California)V-1. Secondary Dominants and Chromatic Passing Tones 1019373 43 5 9374 Allegro 83 7 375 42 61116376 43 5 373 anonymous, Allan Maclean (Scotland) 374 Alessandro Stradella, Ragion Sempre Addita 375 anonymous, Dans lePort, Il Est Arrive (France) 376 George F. Root, Brother, Tell Me of the Battle102 Chapter V. Nondiatonic Materials377 43 917 24378 36379 43 10 19 380 6 377 George Cooper, Beautiful Bells 378 J.H. McNaughton, The Faded Coat of Blue 379 W.A. Mozart, menuet from stringquartet # 1 380 Franz Joseph Haydn, adagio poco cantabile from string quartet, Op. 73, #3 (Emperor)V-1. Secondary Dominants and Chromatic Passing Tones 10311 16381 Moderato 42 91725382 Slowly 42 8 383 6 10 381 anonymous, Crepusculo (Mexico) 382 anonymous, Media Noche (California) 383 Giovanni Battista Pergolesi, tunefrom Stabat Mater104 Chapter V. Nondiatonic Materials384 5 9 385 43 6386 Moderato 4 387Not fast 42 7 12 384 J.S. Bach, Bourree II from orchestral suite #2 385 anonymous, The Cruel Mother (England) 386 Alice Hawthorne,Out of Work 387 Scott Joplin, The Easy WinnersV-1. Secondary Dominants and Chromatic Passing Tones 105388 43Tempo di valse 12 23389 43 6 11 390 437 13 19391 Maestoso 388 Gus Edwards, In My Merry Oldsmobile 389 anonymous, Erlaube Mir, Feins Madchen 390 J.S. Bach, Menuet I fromorchestral suite #1 391 G.F. Handel, chorus from Judas Maccabaeus106 Chapter V. Nondiatonic Materials71319392 6 11 393 611394 6 11 392 Frances Shackleton, The Orange and the Black 393 anonymous, Adelphi School Song 394 H.R. Allen, Maid of AthensV-1. Secondary Dominants and Chromatic Passing Tones 107395 Moderato 43 6 11In the following two melodies, the flattened third scale degree occurs in the viio7 of V chord.396 43 9 17 24 FineDa capo 33397 58395 Joseph Ascher, Alice, Where Art Thou? 396 W.A. Mozart, Duet No. 2, Menuet, from 12 Duets, K.V. 487 397 FranzSchubert, Above the Mountains108 Chapter V. Nondiatonic Materials39886 86Andantino611398 W.A. Mozart, Duet from The Magic FluteV-1. Secondary Dominants and Chromatic Passing Tones 109V-2 Blue Notes399 42 6400 42 401 333 43 33 8 402 Moderately, not too fast8 16 2329 399 anonymous, The Graveyard (South Carolina) 400 anonymous, Roll, Jordan, Roll (United States) 401 anonymous,Cyclone at Ryecove (Missouri) 402 James Reese Europe, Goodnight Angeline110 Chapter V. Nondiatonic Materials403 Moderato7 12 18403 anonymous, Tis Me, O Lord (Unites States)V-2. Blue Notes 111V-3 Relative Minor and Major404 Nicht zu langsam und mit inniger Teilnahme 43 7405 In ruhiger Bewegung 86 5406 Lullabye, andante con espressione 42 10407 7408 6404 anonymous, Schwesterlein 405 anonymous, Es Ritt ein Ritter 406 anonymous, Cradle Song (Sweden) 407 J.S. Bach,Chorale, Befiehl du deine Wege 408 J.S. Bach, Chorale, Das Walt Mein Gott, Vater, Sohn112 Chapter V. Nondiatonic Materials409 Heimlich und zierlich bewegt 42 8410 5 9 411 43 Andante e penseroso 8 15 22 29 35 409 anonymous, Feinsliebchen, Du Sollst 410 J.S. Bach, Chorale, Gib Dich Zufrieden und Sei Stille 411 F. NichollsCrouch, Kathleen MavourneenV-3. Relative Minor and Major 113114 Chapter V. Nondiatonic MaterialsChapter VIThe C ClefThis 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 find the tonic on the staff.)412 413 43 414 43 415 43 5416 867 414 anonymous, The Ash Grove (Wales) 415 Franz Joseph Haydn, menuet Oxford symphony 416 folk song417 Mit kraeftiger Leidenschaft 86 7 418 86 5 9 419 436 11420 86 611421 417 anonymous, Wach Auf, Mein Hort 418 anonymous, La Paloma Blanca (Arizona) 419 Gustav Holst, Venus themefrom The Planets 420 folk song 421 Giovanni Battista Pergolesi, aria Sancta Mater from Stabat Mater116 Chapter VI. The C Clef422 42 423 The following three examples are in the minor mode.424 42 5425 Largo5426 Heimlich und zierlich bewegt 42 8427 Andante e penseroso 43 7422 W.A. Mozart, aria (Papageno) from The Magic Flute 423 Franz Joseph Haydn, finale, London symphony 424anonymous, Every Hour in the Day (Georgia) 425 anonymous, lullabye (Russia) 426 anonymous, Feinsliebchen, DuSollst 427 F. Nicholls Crouch, Kathleen Mavourneen117 1421 28 34118 Chapter VI. The C ClefThematic Indexddddrdtd p. 108, no. 397ddddmdss p. 86, no. 320ddddmsff p. 39, no. 117ddddslsd p. 31, no. 78dddrrrmd p. 43, no. 139dddrrmmf p. 21, no. 29; p. 115, no. 413dddmdsmm p. 56, no. 193; p. 117, no. 424dddmmssm p. 84, no. 310dddmssll p. 69, no. 245dddsmmrd p. 60, no. 213dddsllls p. 67, no. 237dddsltdt p. 99, no. 360ddrdmfss p. 33, no. 86ddrrmmrd p. 31, no. 79ddrmrdrr p. 29, no. 71ddrmrrmr p. 93, no. 344ddrmrmfm p. 49, no. 165ddrmmrdf p. 70, no. 254ddrmmmfs p. 27, no. 57ddrmmfsl p. 85, no. 312ddrmfsss p. 40, no. 121ddrmfssl p. 69, no. 249ddmrdrrm p. 30, no. 74ddmmrmdd p. 28, no. 64ddmmmdts p. 40, no. 125ddmssfmr p. 37, no. 106ddmsslls p. 73, no. 268ddmsltdt p. 56, no. 191ddsdrmfs p. 82, no. 304ddssddll p. 71, no. 256ddtdrdrm p. 26, no. 55ddtlsdrm p. 39, no. 120; p. 68, no. 243ddtltddt p. 24, no. 49ddtltdrm p. 94, no. 352ddtltlls p. 26, no. 52drddtdrm p. 22, no. 36drdrdrmr p. 53, no. 170drdrmfss p. 33, no. 88drdtdsdr p. 90, no. 334drdtlsls p. 21, no. 32drmdddrm p. 45, no. 150drmdrmrm p. 55, no. 187drmrdtdr p. 53, no. 175drmrmfmf p. 21, no. 28; p. 115, no. 412drmrmfsf p. 21, no. 31drmrfmrt p. 103, no. 380119drmrsdrs p. 59, no. 205drmmmrfm p. 88, no. 322drmmmmsm p. 30, no. 76drmmmsrr p. 46, no. 152drmmfmfs p. 23, no. 45drmmfsds p. 57, no. 197drmmflss p. 69, no. 244drmfrmdm p. 60, no. 215drmfmrmf p. 22, no. 37drmfmmrr p. 23, no. 46drmfmfsl p. 23, no. 44drmfsmfs p. 48, no. 162drmfsfmr p. 54, no. 180drmfsfsl p. 96, no. 355drmfssfm p. 41, no. 129drmfsssf p. 21, no. 33drmfssls p. 23, no. 47drmfslsf p. 53, no. 171drmfslss p. 59, no. 209drmfslsl p. 54, no. 177; p. 54, no. 179drmfsltd p. 21, no. 27drssmddf p. 76, no. 282dmddmssl p. 55, no. 188dmdmsffm p. 29, no. 70dmdmssmm p. 28, no. 60dmdsdmsd p. 28, no. 59dmdslfmf p. 106, no. 390dmdtdrmm p. 56, no. 195dmrdmfst p. 62, no. 223dmrdssms p. 34, no. 95dmrsdmrs p. 59, no. 206; p. 117, no. 425dmrtdmrt p. 78, no. 286dmmmrfff p. 65, no. 230dmmflssm p. 74, no. 270dmfssrss p. 48, no. 160dmsdmssm p. 34, no. 92dmsdlsdd p. 68, no. 241dmsdtdrm p. 58, no. 198dmsrdrmm p. 48, no. 161dmsmrflf p. 96, no. 358dmsmmddt p. 61, no. 218dmsmfrfr p. 92, no. 340dmsmslsf p. 55, no. 185dmsfslsf p. 99, no. 362dmssdtrr p. 68, no. 242dmssdtls p. 29, no. 68dmsssmfs p. 32, no. 82dmssssfm p. 96, no. 359120 Chapter VI. The C Clefdmssslss p. 34, no. 90dmsslfsd p. 67, no. 239dmssltds p. 91, no. 337dmslsddr p. 38, no. 109dmslsmss p. 39, no. 114dsdrmfsf p. 55, no. 189dsdsdsdm p. 37, no. 102dsdtdsmr p. 59, no. 204dsmdrmrt p. 110, no. 402dsmdslsm p. 55, no. 183dsmdslst p. 80, no. 295dsmrdrmd p. 55, no. 190dsmrdrmf p. 29, no. 65; p. 116, no. 421dsmrdlsf p. 80, no. 294dsmrmfmr p. 100, no. 365dsmsmdrm p. 42, no. 134dsfmddsf p. 58, no. 203dsfmsmrd p. 28, no. 62dssdddfl p. 112, no. 406dssdlllt p. 74, no. 273dssmdsms p. 32, no. 80dssfrdtl p. 83, no. 305; p. 86, no. 319dssfsfmr p. 75, no. 278dsssslls p. 49, no. 168dsslsmrd p. 58, no. 199dsslsfmd p. 37, no. 104dssltddm p. 40, no. 122dslsfmrd p. 79, no. 291dsltdrms p. 102, no. 374dsltdmfs p. 36, no. 101dtddddrm p. 55, no. 182dtdrdtdt p. 24, no. 50dtdrrdrm p. 21, no. 34; p. 44, no. 141dtdrmrdt p. 24, no. 51dtdrmfsl p. 53, no. 173dtdrmsfm p. 105, no. 384dtdrmslt p. 96, no. 357dtdtdrmr p. 34, no. 91dtfmdsls p. 81, no. 299dtlsfmrd p. 53, no. 176dtlsfmms p. 69, no. 246dtlslsfm p. 70, no. 253; p. 91, no. 339rddrmrdr p. 53, no. 172rmfsdmrd p. 46, no. 153rsdsdddd p. 72, no. 262mdrmfsfm p. 48, no. 164mdrmfsss p. 93, no. 345mdmrdtrs p. 62, no. 222121mdmrsmrd p. 58, no. 200mdmfmrdl p. 80, no. 293mrdddttl p. 30, no. 72mrddrdrm p. 90, no. 331mrddrdtd p. 38, no. 113; p. 117, no. 422mrddmmsr p. 60, no. 212mrdrddms p. 74, no. 269mrdrmrdm p. 89, no. 330mrdrsmdr p. 41, no. 127mrdmrddl p. 68, no. 240mrdmssms p. 35, no. 99mrdsdrmm p. 77, no. 284mrdsfmdt p. 113, no. 411; p. 117, no. 427mrdsfmfm p. 32, no. 81mrdslsfm p. 56, no. 194mrdslslf p. 91, no. 336mrdslstr p. 47, no. 158; p. 116, no. 418mrdtdrmr p. 23, no. 43mrrdsmmr p. 85, no. 313mrmdmfss p. 34, no. 94mrmfmrds p. 59, no. 208mrmfmrsf p. 45, no. 146mrmfssmr p. 29, no. 66mrmsdrrl p. 103, no. 377mrfmlsmr p. 89, no. 326mmdrsmdm p. 44, no. 144mmrddrrm p. 32, no. 83mmrdtdrd p. 40, no. 123mmrmstls p. 112, no. 408mmmrdddd p. 111, no. 403mmmrdrmr p. 90, no. 332mmmfmmrr p. 43, no. 140mmfssfmr p. 21, no. 30mmslslsl p. 105, no. 387mfrdrmfs p. 73, no. 267mfrmdlsf p. 81, no. 300mfmrdmfs p. 26, no. 54mfmmrdtd p. 53, no. 174mfsmdttd p. 65, no. 232mfsmrtds p. 41, no. 128; p. 115, no. 415mfsmmrdl p. 92, no. 342mfsmfsmr p. 71, no. 259mfssfmrr p. 26, no. 56mfssfsls p. 99, no. 361mfsssfsl p. 102, no. 373mfsssssm p. 40, no. 126mfsssssl p. 49, no. 166mfssltdt p. 104, no. 382122 Chapter VI. The C Clefmfslsmrd p. 90, no. 333mfslsffs p. 75, no. 275msrsmdtd p. 78, no. 288msmdrmsm p. 30, no. 75msmrdsfm p. 85, no. 315msmfmrdm p. 110, no. 399msmffflf p. 74, no. 271msmsslfl p. 67, no. 236msmlmsml p. 89, no. 327msfmslsm p. 70, no. 252msssffmm p. 40, no. 124mtrddrmr p. 65, no. 234ffdddtdr p. 112, no. 405fslsfmfs p. 76, no. 281sdddddrr p. 48, no. 163; p. 115, no. 416sddddrrr p. 46, no. 154sddddmrd p. 110, no. 400sddddtdr p. 81, no. 302sddddtss p. 96, no. 356sdddmddm p. 32, no. 84sdddslss p. 43, no. 136sdddlssd p. 70, no. 251sdddtdrs p. 27, no. 58sddrmfsl p. 94, no. 351sddrtddm p. 88, no. 323sddmdtls p. 85, no. 314sddmrdls p. 93, no. 347sddmmssm p. 44, no. 145; p. 116, no. 420sddtlslr p. 95, no. 353sddtlslf p. 80, no. 296sdrdsdrm p. 58, no. 201sdrmdmmr p. 39, no. 115sdrmdsrd p. 67, no. 238sdrmrdrm p. 29, no. 67sdrmmfmd p. 29, no. 69; p. 84, no. 308sdrmmffs p. 61, no. 216sdrmfrdt p. 62, no. 225sdrmfmfs p. 49, no. 167sdrmfsdr p. 78, no. 287sdrmsssl p. 100, no. 367sdrsdrmr p. 65, no. 233sdmdmdmr p. 94, no. 349sdmdtlsd p. 99, no. 363sdmrdrms p. 37, no. 105sdmrmrdm p. 28, no. 61sdmrfmrd p. 94, no. 348sdmmmmrm p. 73, no. 265sdmmfmrr p. 106, no. 389123sdmsdmsd p. 112, no. 404sdmsrmld p. 90, no. 335sdmsfmdd p. 69, no. 247; p. 115, no. 414sdmssdms p. 45, no. 148; p. 116, no. 417sdsdrmrr p. 44, no. 143sdtdrmfs p. 65, no. 231sdtdrlrd p. 88, no. 325sdtdlsdr p. 75, no. 276; p. 93, no. 346sdtlsfsr p. 62, no. 224; p. 112, no. 407sdtlssls p. 43, no. 137sdtlslsf p. 104, no. 383sdtltdtl p. 89, no. 329srmtdrrs p. 66, no. 235smdrssdd p. 73, no. 264smdsslsd p. 42, no. 133smdlssfs p. 100, no. 366smrdrmfr p. 71, no. 258smrdsmrd p. 35, no. 100smrdslff p. 72, no. 263smrdtlds p. 35, no. 98; p. 87, no. 321smrdttdl p. 85, no. 311smrrdmrs p. 41, no. 131; p. 116, no. 419smrmdsss p. 78, no. 289smrmrtdd p. 62, no. 221smrmfmrl p. 100, no. 364smmddtrm p. 69, no. 248smmrrddt p. 94, no. 350smmrrmmd p. 63, no. 229smmrsdtd p. 107, no. 393smmmrddd p. 28, no. 63smmmmrrr p. 83, no. 307smmmmfmr p. 103, no. 378smmfrrdr p. 38, no. 111smfrrrmf p. 37, no. 103smfsddtt p. 30, no. 73smfsdrmf p. 106, no. 391smfslsmd p. 55, no. 186smfslsfm p. 113, no. 410smsmrdmr p. 35, no. 96; p. 35, no. 97smsfmrsf p. 62, no. 227smslssmd p. 34, no. 93; p. 45, no. 147sfrfmdss p. 46, no. 151; p. 117, no. 423sfmdrldl p. 91, no. 338sfmrrdtl p. 22, no. 39sfmmrdrd p. 95, no. 354sfmmrrmf p. 92, no. 341sfmmmmfm p. 71, no. 257sfmmsdsm p. 47, no. 157124 Chapter VI. The C Clefsfmfmmfs p. 23, no. 41sfmfsdrd p. 26, no. 53sfmfsldt p. 76, no. 279sfmfsltd p. 75, no. 274sfmsmrrd p. 107, no. 392sfmsmsmf p. 106, no. 388sfmsfmrd p. 33, no. 85; p. 84, no. 309; p. 103, no. 379sfslsfss p. 60, no. 211sflsrmrm p. 107, no. 394sflsftrd p. 102, no. 376ssdddtdr p. 59, no. 210; p. 78, no. 290ssdddttd p. 74, no. 272ssddrmrd p. 45, no. 149ssddmrtd p. 70, no. 250ssddssmm p. 102, no. 375ssddsldr p. 76, no. 280ssddtddr p. 113, no. 409; p. 117, no. 426ssdrdtdr p. 39, no. 119ssdrdtlt p. 108, no. 395ssdrmmmm p. 104, no. 381ssdmrdrm p. 81, no. 301ssdmrdtl p. 79, no. 292ssdmmfsm p. 77, no. 285ssdmsfmf p. 38, no. 108ssdsmmsm p. 38, no. 112ssdssmmr p. 47, no. 156ssdtdrdt p. 105, no. 386ssdtrddt p. 86, no. 317ssdtfmsm p. 47, no. 159ssmdddrm p. 61, no. 219ssmddtll p. 41, no. 130ssmdsfrm p. 58, no. 202ssmrddtd p. 83, no. 306ssmrdrdd p. 101, no. 368ssmrdssf p. 72, no. 261ssmrdtdr p. 61, no. 220ssmmmddd p. 43, no. 138ssmmmddt p. 101, no. 370; p. 109, no. 398ssmmssdd p. 34, no. 89ssmmssrr p. 43, no. 135ssfmmrdr p. 72, no. 260sssddmms p. 86, no. 318sssdmsss p. 59, no. 207sssmrmdr p. 44, no. 142sssmfsls p. 75, no. 277sssffmmm p. 39, no. 116ssssdsss p. 39, no. 118; p. 41, no. 132; p. 80, no. 297ssssssms p. 71, no. 255125ssssssss p. 31, no. 77; p. 101, no. 369sssslsmm p. 110, no. 401sssslssd p. 60, no. 214ssslsssf p. 54, no. 178sslddsfm p. 73, no. 266sslsmsss p. 101, no. 371sslsfmrd p. 55, no. 184sslsfmrl p. 92, no. 343sslsfmmf p. 62, no. 226sslsffmm p. 61, no. 217ssltddtl p. 22, no. 38ssltdtdr p. 33, no. 87ssltdtdt p. 22, no. 35ssltdttt p. 56, no. 192sstrddrd p. 47, no. 155slsmdsls p. 38, no. 110slsmrddt p. 81, no. 298slsffmmr p. 23, no. 42slssddrm p. 37, no. 107slslsdtd p. 63, no. 228slslsssd p. 86, no. 316sltdrmrm p. 22, no. 40sltdrmfs p. 54, no. 181sltdmmrd p. 101, no. 372sltdtddd p. 24, no. 48strsfmfs p. 81, no. 303stlsmfsd p. 105, no. 385lmsltddt p. 89, no. 328lsslssls p. 56, no. 196tdmddrfr p. 49, no. 169126 Chapter VI. The C ClefIndexTis Me, O Lord, 111Annchen von Tharau, 37Above the Mountains, Franz Schubert, 108Absent Davie, 35Abt, FranzKathleen Aroon, 91Ach, Englische Schaeferin, 94adagio poco cantabile from string quartet, Op.73, #3, Franz Joseph Haydn, 103Adelphi School Song, 107Adieu, Bonne Hotesse, 78After the Ball, Charles K. Harris, 89Ah Mon Beau Chateau, 38Ah, Suzette, Chere, 47Ainsi Font, Font, Font, 38Alice, Where Art Thou?, Joseph Ascher, 108Allan Maclean, 102allegro from Eine kleine Nachtmusik, W.A. Mozart,37Allen, H.R.Maid of Athens, 107Alouette (rhythm only), , 15Am Feierabend, Franz Schubert, 61Amarilli, Mia Bella, Giulio Carcini, 66America the Beautiful, Katharine Lee Bates, 43andante un poco allegretto from string quartet #5, W.A. Mozart, 96Angel de Mis Amores, 61Angel of Peace, M. Keller, 100Angels Ever Bright and Fair, G.F. Handel, 95Annie Laurie, 30Arlequin Marie Sa Fille, 67Arlequin Tient Sa Boutique, 44As-Tu Vu la Casquette?, 34Ascher, JosephAlice, Where Art Thou?, 108Ash Grove, The, 69, 115Au Jardin de Mon Pere, 69Aura Lee, George Poulton, 88Autrefois le Rat de Ville, 100Aux Marches du Palais, 43Avril, 75Away in a Manger (rhythm only), , 15Bach, J.S.Bourree II from orchestral suite #2, 105Chorale, Befiehl du deine Wege, 112Chorale, Das Walt Mein Gott, Vater, Sohn,112Chorale, Es ist gewisslich an der Zeit, 29Chorale, Es spricht der Unweisen Mund wohl,39Chorale, Es stehn vor Gottes Throne, 56Chorale, Gib Dich Zufrieden und Sei Stille,113Chorale, Herr, nun lass in Friede, 56Chorale, Herr, wie du willst, so schicks mitmir, 21, 44Chorale, Jesu, meiner Seelen Wonne, 26Chorale, Liebster Jesu, wir sind hier, 41Chorale, Machs mit mir, Gott, nach deinerGut, 41Chorale, Nun ruhen alle Walder, 48Chorale, Nun sich der Tag geendet hat, 61Chorale, O Haupt voll Blut und Wunden,from St. Matthews Passion, 62Chorale, O Traurigkeit, o Herzeleid, 62Chorale, Seelenbrautigam, Jesu, Gottes Lamm,26Chorale, Valet will ich dir geben, 40Chorale, Von Gott will ich nicht lassen, 62Chorale, War Gott Nicht Mit Uns DieseZeit, 94Chorale, Wenn wir in hochsten Noten sein,49Chorale, Wie bist du Seele in mir so garbetrubt, 40Gavotte II from cello suite # 5, 60gavotte in G minor, 54Invention 2, 96melody from the notebook for Anna Mag-dalena, 59Menuet I from orchestral suite #1, 106menuet II from cello suite # 2, 93minuet, 44trio from Brandenburg concerto # 1, 81Ballade de Roland, 44Barbara Allan, 45Bates, Katharine LeeAmerica the Beautiful, 43Bayly, T.H.Long, Long Ago, 85Beautiful Angel, The, Pierre Latour, 22Beautiful Bells, George Cooper, 103Beautiful Isle of Somewhere, J.S. Fearis, 72Beckoning the Chickens, Froebel, 34Beckoning the Pigeons, Froebel, 33BeethovenOde to Joy, 21opening movement from string quartet # 1,90opening theme of Symphony #3, 28string quartet # 6, allegro, 95Beggar Girl, The, 33Beuttner, NikolausEs kam ein treuer Bote, 40Bingo (rhythm only), , 13Blue Juniata, The, M.D. Sullivan, 73Bonnie Wee Window, 72Bonniest Lass in a The Land, The, 68Bourree II from orchestral suite #2, J.S. Bach,105Bradbury, W.B.He Leadeth Me, 72Braes O Yarrow, The, 74Brahms, Johannesintroduction, 1st symphony, 75, 93Nachtwache 1, 62Broadway Sights, W.H. Latham, 28Brother, Guide Me Home, 39Brother, Tell Me of the Battle, George F. Root,102Butterfield, J.A.When You and I Were Young, 101Calinda, 74Cangia, Cangia Tue Voglie, G.B. Fasolo, 69Carcini, GiulioAmarilli, Mia Bella, 66Carmela, 29, 84Caro Mio Ben, Attributed to Guiseppe Giordiano,,91carol, 21Caroline, 75Chant de Sion, Darius Milhaud, 94Chill Ether, 48chorus from Judas Maccabaeus, G.F. Handel, 106Come, Ye Disconsolate, Samuel Webbe, 100Conkey, IthamarGod is Love, His Mercy Brightens, 99Cooper, GeorgeBeautiful Bells, 103Cowboys Home Sweet Home, 74Cradle Song, 85, 112Crepusculo, 104Crouch, F. NichollsKathleen Mavourneen, 113, 117Crowell, B.a, 3/4, 53A, 4/4, 35a, 4/4, 53, 96a, 6/8, 53A, 4/4, 22B, 3/4, 1, 36B, 4/4, 22B, 4/4, 1, 49C, 3/4, 21, 23, 48, 115c, 3/4, 55C, 4/4, 21, 26, 115c, 4/4, 55C, 4/4, 1, 23D, 4/4, 23E, 3/4, 22F, 2/4, 33F, 3/4, 26f, 4/4, 56G, 3/4, 21, 26, 32, 42G, 4/4, 23, 27, 28, 32, 34, 47g, 4/4, 80G, 6/8, 23, 28G, 9/8, 34g, 9/8, 58G, 4/4, 23Who Got Dirt on the Carpet Again?, 55, 99Cruel Mother, The, 105Cutler, H.S.Son of God Goes Forth to War, The, 30Cyclone at Ryecove, 110Da Unten Im Tale, 69Danksagung an den Bach, Franz Schubert, 65Dans la Foret Lointaine, 32Dans le Port, Il Est Arrive, 102Dans Notre Jardin, 46128 IndexDas Wandern, Franz Schubert, 47Dearest Spot on Earth, The, W.T. Wrighton, 35Derriere Chez Moi, 78Devotion, Richard Strauss, 70Diadem, J. Ellor, 78Die Sonne Scheint Nicht Mehr, 77Down in the Valley, 39Duet from The Magic Flute, W.A. Mozart, 109Duet No. 2, Menuet, from 12 Duets, K.V. 487,W.A. Mozart, 37, 108Duke of Argyles Courtship, The, 49Easy Winners, The, Scott Joplin, 105Edwards, GusIn My Merry Oldsmobile, 106Eli Yale, 43Ellor, J.Diadem, 78Emerson, L.O.Whither Through the Meadow?, 23En Avant, Grenadiers, 61En Revenant dAuvergne, 31Entendez-Vous Sur lOrmeau, 31Entre Vous Tous Gens de la Ville, 82Erlaube Mir, Feins Madchen, 106Es kam ein treuer Bote, Nikolaus Beuttner, 40Es Ritt ein Ritter, 112Europe, James ReeseGoodnight Angeline, 110Evening Bells, Thomas Moore, 71Every Hour in the Day, 56, 117Faded Coat of Blue, The, J.H. McNaughton, 103Fairy Boat, The, Harold Samuel, 49Fasolo, G.B.Cangia, Cangia Tue Voglie, 69Fearis, J.S.Beautiful Isle of Somewhere, 72Feinsliebchen, Du Sollst, 113, 117finale, London symphony, Franz Joseph Haydn,46, 117Forget na, dear Lassie, 56Foster, S.C.Gentle Annie, 90Foster, StephenHard Times Come Again No More, 30Old Folks at Home, 68Slumber My Darling, 89Song of All Songs, The, 79FroebelBeckoning the Chickens, 34Beckoning the Pigeons, 33Pat-a-Cake, 29Wolf, The, 59Gar Lieblich Hat Sich Gesellet, 49Gardez Piti Milatte-la, 40Gaudeamus Igitur, 74Gavotte II from cello suite # 5, J.S. Bach, 60gavotte in G minor, J.S. Bach, 54Gentle Annie, S.C. Foster, 90Gia il Sole dal Gange, Alessandro Scarlatti, 65Giordiano,, Attributed to GuiseppeCaro Mio Ben, 91Gladden, S.W.Mountains, The, 79Go Way, Old Man, 43Go Down, Moses, 63God is Love, His Mercy Brightens, Ithamar Con-key, 99God Speed the Right, 38Gold Band, The, 71Goldfaden, AbrahamRaisins with Almonds, 96Goodnight Angeline, James Reese Europe, 110Graveyard, The, 110Griege, 4/4, 65Gunhilde, 94Guten Abend, 59Gwine Follow, 84Gypsy Warning, The, 46Hallowed Spot, The, 76Halt, Franz Schubert, 41Handel, G.F.Angels Ever Bright and Fair, 95chorus from Judas Maccabaeus, 106Hush ye pretty warbling quire from Acis andGalatea, 70O Jordan, Sacred Tide from Esther, 63Hanukah O Hanukah, 80Hard Times Come Again No More, Stephen Fos-ter, 30Harris, Charles K.After the Ball, 89Hawthorne, AliceHome, By and By, 33Index 129Out of Work, 105Haydn, Franz Josephadagio poco cantabile from string quartet,Op. 73, #3, 103finale, London symphony, 46, 117introduction, London symphony, 73menuet Oxford symphony, 41, 115He Leadeth Me, W.B. Bradbury, 72Here We Go Round the Mulberry Bush (rhythmonly), , 16Hess, C.Little Charley Went a Fishing, 83Holst, GustavVenus theme from The Planets, 41, 116Home On the Range (rhythm only), , 15Home, By and By, Alice Hawthorne, 33Huntsman, The, 71Husband, JohnRevive Us Again, 38Hush Little Baby (rhythm only), , 14Hush ye pretty warbling quire from Acis and Galatea,G.F. Handel, 70Hush, My Babe, J.J. Rousseau, 32I Ride an Old Paint, 70I Want To Be Ready, 69Im a Pilgrim, 45Im In Trouble, 73Ive BeenWorking on the Railroad (rhythm only),, 16If with all your hearts ye truly seek me from Eli-jah, Felix Mendelssohn, 85If Ye Love Me, Thomas Tallis, 70If Your Foot Is Pretty, Show It, 42In My Merry Oldsmobile, Gus Edwards, 106introduction, 1st symphony, Johannes Brahms,75, 93introduction, London symphony, Franz Joseph Haydn,73Invention 2, J.S. Bach, 96Jehovah, Hallelujah, 67Jenny Lind Mania, The, W.H.C. West, 69Jimmy Crack Corn (rhythm only), , 15Jingle Bells (rhythm only), , 14Joplin, ScottEasy Winners, The, 105The Entertainer (rhythm only), 16Juanita, 92Jungfraulein, Soll Ich Mit Euch Gehn, 46Kathleen Aroon, Franz Abt, 91Kathleen Mavourneen, F. Nicholls Crouch, 113,117Keller, M.Angel of Peace, 100Kevin Barry, 99Krambambuli, 43la Claire Fontaine, A, 28Lang Johnny More, 68Latham, W.H.Broadway Sights, 28Latour, PierreBeautiful Angel, The, 22Lawlan Jenny, 30Let Gods Saints Come In, 101Lewis, L.R.a, 3/4, 53a, 4/4, 54B, 3/4, 22B, 4/4, 22, 24C, 4/4, 24C, 6/8, 24d, 3/2, 54d, 3/4, 54d, 4/4, 53, 54Lightly Row, 38Lilly Dale, H.S. Thompson, 92Little Brown Jug (rhythm only), , 13Little Charley Went a Fishing, C. Hess, 83Lolotte, 60Long, Long Ago, T.H. Bayly, 85Loves Young Dream, Thomas Moore, 91lullabye, 59, 117Luther, MartinMighty Fortress Is Our God, A, 99We Come Unto Our Fathers God, 30Mha Preso Alla Sua Ragna, Pier Domenico Paradies,76Maid of Athens, H.R. Allen, 107march from The Nutcracker (rhythm only), P.I.Tchaikovsky, 17McNaughton, J.H.Faded Coat of Blue, The, 103Media Noche, 104130 Indexmelody from the notebook for Anna Magdalena,J.S. Bach, 59Mendelssohn, FelixIf with all your hearts ye truly seek me fromElijah, 85Menuet I from orchestral suite #1, J.S. Bach, 106menuet II from cello suite # 2, J.S. Bach, 93menuet Oxford symphony, Franz Joseph Haydn,41, 115Mi Sueno, 62Mighty Fortress Is Our God, A, Martin Luther,99Milhaud, DariusChant de Sion, 94minuet, J.S. Bach, 44Moore, ThomasEvening Bells, 71Loves Young Dream, 91Mountains, The, S.W. Gladden, 79Mozart, W.A.allegro from Eine kleine Nachtmusik, 37andante un poco allegretto from string quar-tet # 5, 96aria (Papageno) from The Magic Flute, 38,117aria from the Magic Flute, 101Duet from The Magic Flute, 109Duet No. 2, Menuet, from 12 Duets, K.V.487, 37, 108opening from clarinet quintet, 71Osanna (bass solo, allegro) from Sanctus, Re-quiem, 81string quartet # 1, adagio, 39string quartet # 1, menuet, 84, 103string quartet # 1, trio, 90string quartet # 10, menuet, 76string quartet # 15, menuet, 60string quartet # 2, andante, 75string quartet # 4, opening, 88string quartet # 4, presto, 78string quartet # 6, rondo, 78string quartet # 7, presto, 86string quartet # 8, menuet, 83, 86theme from symphony in G minor, 56Musieu Bainjo, 39My Father, How Long?, 29My Field, 58My Lodging Is On the Cold Ground, 74Nachtwache 1, Johannes Brahms, 62Not Yet, Richard Strauss, 47O Come, All Ye Faithful (rhythm only), , 13O Daniel, 96O Jordan, Sacred Tide from Esther, G.F. Handel,63O Little Town of Bethlehem (rhythm only), , 14Ode to Joy, Beethoven, 21Ojos Mexicanos, Los, 60Old Folks at Home, Stephen Foster, 68Old Hundred, 68opening from clarinet quintet, W.A. Mozart, 71opening movement from string quartet # 1, Beethoven,90opening theme of Symphony #3, Beethoven, 28Ophelias Song, Maude Valerie White, 60Orange and the Black, The, Frances Shackleton,107Osanna (bass solo, allegro) from Sanctus, Re-quiem, W.A. Mozart, 81Our Baby, 43Out of Work, Alice Hawthorne, 105Paloma Blanca, La, 47, 116Paradies, Pier DomenicoMha Preso Alla Sua Ragna, 76Parry, JohnVillikins and His Dinah, 37Pat-a-Cake, Froebel, 29Pergolesi, Giovanni Battistaaria from Stabat Mater, 93Sancta Mater from Stabat Mater, 29, 116tune from Stabat Mater, 72, 104Poor Rosy, 35Pop Goes the Weasel (rhythm only), , 16Poulton, GeorgeAura Lee, 88Praise, Member, 34, 45processional march song, 93Que No Te Amo, 81Quinze Ans, A, 86Remon, 92Ragion Sempre Addita, Alessandro Stradella, 102Rain, Rain, Go Away (rhythm only), , 13Raisins with Almonds, Abraham Goldfaden, 96Rana, La, 88Index 131Recouvrance, A, 29Red River Valley, 73Reir Es Necesario, 61, 86Revive Us Again, John Husband, 38Rimsky-Korsakov, NikolaiScheherezade, 90Rockabye Baby (rhythm only), , 15Roll, Jordan, Roll, 110Root, George F.Brother, Tell Me of the Battle, 102Rosa Lee, 73Rousseau, J.J.Hush, My Babe, 32Row, Burnie, Row, H. Burgess Weston, 31Row, Row, Row Your Boat (rhythm only), , 16Sagt Mir, O Schonste Schafrin Mein, 94Samuel, HaroldFairy Boat, The, 49Sancta Mater from Stabat Mater, Giovanni Bat-tista Pergolesi, 29, 116Scarlatti, AlessandroGia il Sole dal Gange, 65Su, Venite a Consiglio, 32Schonster Schatz, Mein Engel, 39Scheherezade, Nikolai Rimsky-Korsakov, 90Schubert, FranzAbove the Mountains, 108Am Feierabend, 61Danksagung an den Bach, 65Das Wandern, 47Halt, 41Wohin?, 40Schwesterlein, 112Serenata, 39, 41Shackleton, FrancesOrange and the Black, The, 107Ship That Never Returned, The, 76ShoalsValedictory, 100Shout On, Children, 40Sing Hey to You, Good-Day to You, A.S. Sulli-van, 89Sinner Wont Die No More, 71Slumber My Darling, Stephen Foster, 89Softly Now the Light of Day, C.M. von Weber, 89Son of God Goes Forth to War, The, H.S. Cutler,30Song of All Songs, The, Stephen Foster, 79Song of the Free, J.G. Whittier, 70Speed Away Speed Away, I.B. Woodbury, 101Stradella, AlessandroRagion Sempre Addita, 102Strauss, RichardDevotion, 70Not Yet, 47string quartet # 1, adagio, W.A. Mozart, 39string quartet # 1, menuet, W.A. Mozart, 84, 103string quartet # 1, trio, W.A. Mozart, 90string quartet # 10, menuet, W.A. Mozart, 76string quartet # 15, menuet, W.A. Mozart, 60string quartet # 2, andante, W.A. Mozart, 75string quartet # 4, opening, W.A. Mozart, 88string quartet # 4, presto, W.A. Mozart, 78string quartet # 6, allegro, Beethoven, 95string quartet # 6, rondo, W.A. Mozart, 78string quartet # 7, presto, W.A. Mozart, 86string quartet # 8, menuet, W.A. Mozart, 83, 86Su, Venite a Consiglio, Alessandro Scarlatti, 32Sullivan, A.S.E, 6/8, 29Sing Hey to You, Good-Day to You, 89Take a Pair of Sparkling Eyes, 89Sullivan, M.D.Blue Juniata, The, 73Take a Pair of Sparkling Eyes, A.S. Sullivan, 89Take Me Out to the Ball Game (rhythm only), ,14Tallis, ThomasIf Ye Love Me, 70Tchaikovsky, P.I.march from The Nutcracker (rhythm only),17trepak from The Nutcracker (rhythm only),15waltz of the flowers from The Nutcracker (rhythmonly), 15The Entertainer (rhythm only), Scott Joplin, 16The Itsy-Bitsy Spider (rhythm only), , 16theme from symphony in G minor, W.A. Mozart,56This Old Man (rhythm only), , 14Thompson, H.S.Lilly Dale, 92Thou Poor Bird, 57132 Indextrepak from The Nutcracker (rhythm only), P.I.Tchaikovsky, 15trio from Brandenburg concerto # 1, J.S. Bach,81Tristes Horas, Las, 59Tu Eres Mas Bella, 45Twinkle Twinkle, Little Star (rhythm only), , 13Ubi Bene, Ibi Patria, 77Upidee, 87Valedictory, Shoals, 100Venus theme from The Planets, Gustav Holst, 41,116Villikins and His Dinah, John Parry, 37Vivo Llorando la Suerte, 81Vivo Penando, 101Wach Auf, Mein Hort, 45, 116Walk, Shepherdess, Walk, 85waltz of the flowers from The Nutcracker (rhythmonly), P.I. Tchaikovsky, 15We Come Unto Our Fathers God, Martin Luther,30We Three Kings (rhythm only), , 14We Wish You a Merry Christmas (rhythm only),, 14Webbe, SamuelCome, Ye Disconsolate, 100Weber, C.M. vonSoftly Now the Light of Day, 89Wedge, G.A.c, 2/4, 80c, 3/4, 55, 59f, 2/4, 55, 80f, 3/4, 80g, 2/4, 58g, 3/4, 58, 59, 62g, 4/8, 62Were You Ever in Rio Grand, 90West, W.H.C.Jenny Lind Mania, The, 69Weston, H. BurgessRow, Burnie, Row, 31When You and I Were Young, J.A. Butterfield,101White, Maude ValerieOphelias Song, 60Whither Through the Meadow?, L.O. Emerson,23Whittier, J.G.Song of the Free, 70Who Got Dirt on the Carpet Again?, B. Crowell,55, 99Widdecombe Fair, 85Wild Moor, The, 75Wohin?, Franz Schubert, 40Wohlfahrt, FranzF, 4/4, 34Wolf, The, Froebel, 59Woodbury, I.B.Speed Away Speed Away, 101Wrighton, W.T.Dearest Spot on Earth, The, 35Ya Viene El Alba, 65Index 133

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