\UWIWIHHM“MINIMUM“HHWHIHIWIIHI 126 821 THS THESIS This is to certify that the thesis entitled A GUIDE TO THE TEACHING OF THEORETICAL CONCEPTS TO ELEMENTARY STUDENTS THROUGH THE USE OF FOLK SONGS presented by BARBARA STEPHON has been accepted towards fulfillment of the requirements for M . M degree in Mus 1C \ Major professor ‘ Date May 16, 1980 0-7639 _-‘ OVERDUE FINES: 25¢ per day per ite- RETURNING LIBRARY MATERIALS: Place in book return to remove charge from circulation records fl-l\\\\ . V2; , ‘f’l’ 1 " .1 l Liv -\ r -_.'l\; ‘ @ Copyright by BARBARA J. STEPHON 1980 © 1980 BARBARA J OAN STE PH 0N All Rights Reserved A GUIDE TO THE TEACHING OF THEORETICAL CONCEPTS TO ELEMENTARY STUDENTS THROUGH THE USE OF FOLK SONGS By Barbara Stephon A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC Department of Music 1980 ABSTRACT A GUIDE TO THE TEACHING OF THEORETICAL CONCEPTS TO ELEMENTARY STUDENTS THROUGH THE USE OF FOLK SONGS By Barbara Stephen The purpose of this thesis is to set forth various theoretical concepts which can be taught to elementary school children through the use of folk songs. Each concept and its elements are dealt with in individual chapters. Examples, which are taken from the body of folk song literature, are used to illustrate the different components of rhythm, melody, harmony, and form. Several hundred folk songs are listed in Appendix B, including their sources and a brief analysis of the theoretical elements which are illustrated by that particular song. ACKNOWLEDGEMENTS I should like to thank Dr. Russell Friedewald, Dr. Charles HeDermid, Dr. Merrill Sherburn, and Dr. Corliss Arnold for their valuable insights, support, and assistance with this project. iii TABLE OF CONTENTS INTRODUCTION CHAPTER ONE: CONCEPTS OF RHYTHM Beat Meter Rhythmic Patterns-afielodic Rhythm Syncopation Tempo CHAPTER Tm: CONCEPTS 0F MELODY Melodic Movement Conjunct and Disjunct Motion Melodic Contour Range Tonal Organization CHAPTER THREE: CONCEPTS OF HARMONY AND TEXTURE Ostinato Chordal Accompanhnent Harmonic Rhythm Consonance and Dissonance Texture CHAPTER FOUR: comer-ms or PATTERN AND FOR)! CHAPTER FIVE: concsrrs OF coma, EXPRESSION, AND mama CONCLUSION iv wuw O‘O‘O‘O 11 11 1h 1h 1h 15 1e 1e 18 21 25 APPENDIX A APPENDIX B NOTES BIBLIOGRAPHY 26 29 7h INTRODUCTION A person who wants to teach music to others must first answer two questions: why teach (music) and what to teach. There are many reasons why one teaches music. Carl E. Seashore states that, while music is a play on our feelings and appeals primarily to our emotional life, an intellectual mastery of the process, the ability to understand artistic meanings, the ability to construct beautiful art forms, the ability to analyze elements in the power of music, the ability to see the relation between musical art and other forms of art, and the ability to compre- hend the unity of all the arts, are basic in our love of music. Stated more simply, the objective of music teaching--the ”why'--is to develop a love fer music."2 What to teach can also be derived from Seashore's statement: ”the ability to analyze elements."’ These elements, or concepts, rhythm, melody, harmony, form, and color, are the bases of all musical organiza- tion. Each will be dealt with in a succeeding chapter, with well-known folk songs used as supportive, illustrative examples. No attempt has been made to establish a grade level or a behavioral objective guide for teaching these concepts. Rather a hierarchy of learning seems to be more appropriate. Some school districts have no formal music education program; some may provide two hours or more of music instruction per week. The majority lie somewhere between these two extremes. Therefore the expectations of learning must be flexible, but must still progress in a logical manner. Each of the following chapters will be presented in outline form. Methodology will be kept to a.minimum, as it is assumed that the music teacher has had adequate preparation at the university level. Folk songs are used nearly exclusively. Many an; known to the general public , and nearly all should be familiar to most music teachers. These songs are readily available, not only in the most frequently used basic music texts, but also in libraries and in many private collections. (See Appendix B.) Some may be so familiar as to make books unnecessary. Therefbre the lack of basic music textbooks need not be a deterent to'a good music program. 'I will sing with the spirit and the understanding also."3 It is the understanding of music which compounds the joy-in singing, playing, composing, performing, listening-in every aspect of musical partici- pation. CHAPTER ONE CONCEPTS OF RHYTHM Within the category of rhythm are a number of concepts which make up a rhythmic organization of each musical piece. Rhythm itself’may be defined as patterns of sounds and silence in time which can be of varying duration. It includes beat, meter, tempo, melodic rhythm patterns, and syncopation. BEAT The beat is the steady, ongoing pulse which is found in most music. The beat may be strongly felt (as in “Jingle Bells”), or it may be gentle (as in ”All Through the Night”). METER The meter is the grouping of accented and unaccented beats in a systematic manner, symbolized by a meter signature at the beginning of the piece. Music grouped in two-beat patterns: Example 1: I'm a Little Teapot (Note: All examples are located in Appendix A.) Additional examples: Bridge of Avignon Row, Row, Row Your Boat Camptown Races Skip To My Lou Jingle Bells Ten Little Indians London Bridge Yankee Doodle Over the River and Through the wood Music grouped in three-beat patterns: lllll lllll lllll ll... |'.|' .]||| lilll 1|!!! Example 2: America Additional Examples: Blow the Man Down Prayer of Thanksgiving Down In the Valley Santa Lucia Home On the Range Star Spangled Banner On Top Of Old Smokey Streets of Laredo We Wish You a Merry Christmas Music grouped in four-beat patterns: Example 3: Are Ybu Sleeping? Additional examples: All Through the Night Go Tell Aunt Rhody America the Beautiful Muffin Man Auld Lang Syne Old MacDonald Baa Baa Black Sheep Old Folks at Home Drill Ye Tarriers Riddle Song Music grouped in six-beat patterns: Example h: Scarborough Fair Ekample S: Mulberry Bush Two examples are given to illustrate a major problem in teaching 3 meter. The tempo is the primary factor which determines whether pieces in 3 meter will be grouped in six-beat or in two-beat patterns. "Scarborough Fair" may be perceived as having six beats in a measure because it has a slower tempo than ”Mulberry Bush,"which is felt in two because it is sung more rapidly. "Mulberry Bush" is, however, a good piece to use as a visual example when introducing 2 meter due to the lack of dotted eighth and sixteenth notes, and other more complex rhythmic patterns. Some of the songs listed under two-beat patterns are written in 3 meter, but are perceived as two beats to the measure. The teacher must decide whether to use these songs to illustrate feeling a two-beat pattern or to illustrate seeing a six-beat pattern. Additional examples: Dogie Song Night Herding Song Friendly Beasts Pop Goes the Weasel Greensleeves Silent Night Hickory Dickory Dock Skye Boat Song Music grouped in nine‘beat patterns: Emmple 6: Down In the Valley Music containing changing meter: Example 7: Shenandoah Additional examples: Here We Come A-Wassailing Weltzing Matilda Twelve Days of Christmas RHYTHMIC PATTERNS-MELODIC RHYTHM Melodic rhythm is the grouping of sounds and silences (tones and rests) of varying durations into rhythmic patterns. Regardless of the complexity of the patterns, they can always be reduced to groups of two or groups of three. Rhythmic patterns may further be categorized as 878!) or uneven. Even rhythmic patterns: Ekample 8: Twinkle, Twinkle Additional examples: Are You Sleeping? Old MacDonald Deaf Weman's Courtship Ten Little Indians Jolly Old St. Nicholas Yankee Doodle Uneven rhythmic patterns: Example 9: I've Been Working On the Railroad Example 10: The Farmer In the Dell Additional examples: I'll! Alouette Deck the Halls Eency Weency Spider Pop Goes the Weasel London Bridge There's a Hole in the Bottom of the Sea It is assumed that the following rhythmic patterns will be taught with note values, and that the note values will be placed within the measures of the given meters. Rhythmic patterns with examples: 1: uu| JJJ W. W :JJJllJJ mam: tJJJ|JJ :11an a... a, .01... n n ' J J Little Sally Water t n A n] JingleBells C’N E J n l J n Deaf Woman's Courtship 1': n n J J I'm a Little Teapot :JDJJI JJJ :JIJJJJIHJJ W (I!!! It!!! It!!! Illa; lllll 1g... ."" '.". "'.. illll zJJJIJJJ AmAAm all. ll JJ. J“ AAAAAAAA fiJJ‘JJ I m 17"! J J mm. i m n l ”J London Bridge gJ-HJJ‘JA teammates“ 3 ”MI II“. M mm. ma g Al mJl‘l .U‘JP m. mom so... mm... m... gnan-1mm and..- :FJ'JHJTTJJ. :mllJJTJ'J. WNW... 8 Songs beginning on the downbeat: nary Had a Little Lamb America Songs beginning with a pickup: Example 11: We Wish You a Merry Christmas Additional examples: America the Beautiful Farmer in the Dell Bingo Hole in the Bucket Cindy Home on the Range Clementine Prayer of Thanksgiving SYNCOPATION Syncopation is a rhythmic pattern which is created by accenting a weak beat, or a weak portion of a beat, instead of a strong beat. Songs in which syncopation is incorporated: Dry Bones Joshua Fought the Battle of Jericho Get on Board Hill an' Gully Rider Havah Nagila Swing Low, Sweet Chariot TEMPO Tempo is the rate of speed at which music moves. Tempo and the musical terms which label the various rates of speed are somewhat subjective. The simplest concept to teach to early elementary children is that or fast as compared to slow. The terms allegro and adagio can be substituted at a later time. Experienced students in upper elemen- tary grades can usually understand and use five tempos: presto, allegro, moderate, andante, and adagio. The terms accelerando , ritardando, a tempo, and fermata, and how they affect the tempo, should also be included within this concept. 11111 11111 11111 11111 11111 11111 11111 11111 11111 I'll! CHAPTER TWO CONCEPTS OF MELODY Melody is the organization of a succession of single tones, which vary in pitch and duration, into rhythmic patterns or groups. A simpler but less precise definition might be: melody is the tune of a vocal or instrumental composition. Within the concepts of melody there are a nmmber of elements which should be taught. Among them are melodic movement (up, down, repeated), conjunct (by step) and disjunct (by leap) motion, contour (ascending, descending), range, and tonal organi- zation(use of intervals, scales, and modes). It is assumed that such constructs as staff notation, whole and half steps, intervals, scales, and key signatures will be taught prior to or in conjunction with the presentation of the above elements. This should be done in an hier- archichal manner, commensurate with the students' abilities and experiences. MELODIC MOVEMENT Melodic movement--notes which go up, down, or are repeated--can be illustrated with nearly any song at any level of difficulty. "Row, Row, Row Your Boat" incorporates all three types of movement (see Example 12). CONJUNCT AND DISJUNCT MOTION Conjunct motion (scalewise, by step): Example 13: The First Noel 9 11111 11111 III'I 11111 11111 11111 11111 10 Additional examples: America Go Tell Aunt Rhody Deck the Halls Hickory Dickory Dock Dixie Joy to the World _Eency Weency Spider Streets of Laredo ' Uisjunct motion (by skip or leap): Example 1h: Did You Ever See a Lassie? Additional examples: Down in the valley Rock-a My Soul Looby Lou Santa Lucia Marine's Hmmn Skip to My Lou Old Texas Swing Low, Sweet Chariot Red River Valley MELODIC CONTOUR Ascending contour: Example 15: Clementine Additional examples: Dixie O Come, All Ye Faithful Farmer in the Dell On Top of Old Smokey First Noel Riddle Song Home on the Range Skye Boat Song Descending contour: Example 16: Joy to the World Additional examples: Cindy Silent Night Deck the Halls Susie, Little Susie Shortnin' Bread Most folk songs have smooth contours, and combine both ascending and descending lines to various degrees. Melodies which have winding or angular contours find their way into folk literature less frequently because they are more difficult to sing. 11111 11111 11111 11111 11111 11111 I l I l l JIIII 11 RANGE Range is the distance between the highest and lowest tones within a melody. Just as every melody has a contour or a shape, each has a range. The range may be as narrow as a major third (“Hot Cross Buns“), or as wide as an octave or more ("The Farmer in the Dell'). An excellent collection of folk songs has been edited by Peter Erdei and the Kodaly Musical Training Institute. In his introduction to _1_S_(_) American El}; .5282 32 Sing, £129., 222 2121;, Mr. Wei quotes Zolton Kodaly from his preface to Collection g£;Songs 22: Schools: How often one can hear small children struggling with .melodies of too big a range, too difficult intervals and rhythm. And as a result, the beauty of the song is lost, and only the memory of confusion and the feeling of strain remain with the children. Most songs in this collection are simple enough in every way gar small children, and have already been successfully used. 12 American Folk Songs has been divided into two major groups, based upon melodic elements. These two groups-osongs in the pentatonic scale and songs in the diatonic scaleo-have been further classified as to size of range, number of different pitches within identical ranges, and rhythmic complexity within groups of songs with identical range and number of pitches. A table provides this information as well as the meter, the solfa syllables used, and whether there is a game in- cluded with a particular song. TONAL ORGANIZATION Tonal organization includes the intervals, scales, and modes which make up a melody. An interval is the tonal distance between two notes. In the Kodaly system, the numerical degrees of the scale are replaced by the solfa syllable system. Thus the descending minor third created by the fifth and third degrees of a major scale are 12 understood and sung as “sol-mi.” The tonic chord uses the syllables “do, mi, 301," which are the most common pitches on which folk melodies begin. Nearly all melodies end on ”do." It is necessary to have a firm grasp of this concept of the components of a tonic chord before the elements of harmony can be considered. The use of songs which begin on ”do," "mi,“ or 'sol' can be helpful in reinforcing these ideas. Songs beginning on 'do:' America Mulberry Bush Are You Sleeping? Old MacDonald Au Clair de la Lune Row, Row, Row Your Boat Clementine This Land is.Your Land Michael. Row Your Boat Yankee Doodle Songs beginning on 'mi:' Blue Tail Fly Marching to Praetoria _Hicxory Dickory Dock Nobody Knows the Trouble I've Seen Hot Cross Buns Old Folks at Home Jingle Bells Sandy Land Lullahy (Brahms) Skip to My Lou Songs beginning on "301:" america the Beautiful Blue Bells of Scotland Auld Lang Syne My Bonnie Bingo Silent Night Blow the Man Down This Old Man Buffalo Gals Twelve Days of Christmas Songs which outline a triad or inversion: Jingle At the Window Rock-a My Soul Loony Loo Star Spangled Banner Old Texas Steal Away On Top of Old Smokey When the Saints Go Marching In Red River Valley ' Songs not beginning on ”do,‘ "mi," ”301:” Jeannie With the Light Brown Hair Londonderry Air Songs not ending on 'do:" First Noel Lightly Row Riddle Song 13 Songs which modulate (change tonal centers): Erie Canal New Thank We All Our Gor Have Nagila Skye Boat Song Modes are scales which are made up of contrasting arrangements of whole steps and half steps. Songs in the major mode (the majority of folk songs): Blue Bells of Scotland London Bridge First Neel Joy to the World Refs Got the Whole World in His Bands Songs in the minor mode : Drill Ye Terriers Go Down, Moses Joshua Fought the Battle of Jericho Songs in both major and.minor modes: Erie Canal Skye Boat Song We Three Kings Songs in other modes: Greensleeves O Come, 0 Come hhmanuel I Wonder As 1 Wander Scarborough Fair Songs using the pentatonic scale (1,2,3,5,b): Angel Band Jim Along Josie Canoe Song I Bought Me a Cat Ezekiel Saw the Wheel Who's That Tapping At My Window? Additional pentatonic songs may be found in Sing It Yourself, a collection of 220 pentatonic American folk songs by Louise Larkins Bradford, and published by Alfred Publishing Company, Inc. These songs are arranged by intervallic range. CHAPTER THREE CONCEPTS OF HARMONY AND TEXTURE Harmony is achieved when two or more tones are sounded simultane- ously. Texture is the thinness or thickness of the sound, and is determined by how many tones are sounded at once. Range is not consid- ered here because the range of children's voices is relatively narrow. Within the concepts of harmony and texture, the following elements must be considered: ostinato, chordal accompaniment, harmonic rhythm, consonance and dissonance, and monophonic, homophonic, and polyphonic textures. OSTINATO Ostinato is a melodic or rhythmic pattern repeated continuously. It may be achieved vocally or instrumentally. Example 17: Row, Row, How Your Boat The second line (the ostinato) may either be sung or it can be played on various mallet instruments. "Are Ybu Sleeping?" can be performed in the same manner by substituting the words "ding, ding, dong" in the lower part. CHORDAL ACCOMPANIMENT Chordal accompaniment can be taught with the autoharp, guitar, piano, and.mallett instruments. Basic chords (I, IV, V7) can be taught by rote to Young children. Theoretical explanations should wait until the student has more experience. The autoharp is probably the 1h 15 easiest instrument on which to begin chordal accompaniments. Songs using one chord (I): Are You Sleeping? 0 How Lovely Is the Evening Kookaburra Row, Row, Row Your Boat Make New Friends Taps Most songs which can be sung as rounds can be accompanied by a single chord. Songs using two chords (I, V7)-major: Alouette Hush Little Baby Are You Sleeping? Looby Loo Bow Belinda Mary Had a Little Lamb Farmer in the Dell Mulberry Bush Hill an' Gully Rider Oh, Susanna Songs using two chords (1, V7)dminor: Hey, Ho, Nobody Home Joshua Fought the Battle of Jericho Songs with three chords (I, IV, V7)-major: America Old MacDonald Baa, Baa, Black Sheep On Top of Old Smokey Billy Boy Red River Valley Comin'Hbund the Mbuntain Silent Night I I'm a Little Teapot Twinkle, Twinkle I Songs with three chords (i, iv, V7)-minor: Go Down, Moses Poor Wayfaring Stranger Minka The creation of minor chords is not difficult if the student has been exposed to melodies written in a.minor mode. The playing and singing in minor of familiar songs originally sung in major provides excellent listening and learning experiences HARMONIC RHYTHM The teaching of harmonic rhythm goes hand in hand with that of chordal accompaniment. An effective method of introducing this element is to play a familiar melody, accompanied by a I chord, until the class 16 discovers the need for a chord change. As their proficiency in identi- fying this need increases, they may begin to be aware of the frequency of changes of harmony. The identification of chord changes can then be related to changes in melodic structure. CONSONANCE AND DISSONANCE The elements of consonance and dissonance can be combined with chord accompaniments and harmonic rhythm. The comparison of an interval of a third or a sixth with that of a second or a seventh provides a contrast of relaxation and tension. Care must be taken, however, to prevent the implication that dissonance is "bad' and consonance is "good." Both consonance and dissonance are necessary for balance within a piece. TEXTURE The three types of texture are monophonic, homophonic, and poly- phonic. Monophonic songs have only a single unaccompanied melodic line. They vary in difficulty from "Rain, Rain, Go Away," to the complexity of Gregorian chant. "O Come, 0 Come, Emanuel" is an example of a melody based upon a plainsong chant. Homophonic texture consists of a single melodic line with a harmonic accompaniment. The majority of folk songs are homophonic. Polyphonic texture results when two or more melodies are sounded at the same time. The best way to prepare students to sing multi-part harmony is to have them begin to sing polyphonically. Rounds, canons, echo, and partner songs are the easiest forms of polyphony with which to begin. Barbara Green states in her preface to Rounds About Rounds that, 17 Rounds lay invaluable groundwork in early music training. A group of young children that has learned a simple song very well and is then divided into two groups to sing the same song in canon, is handling the fundamentals upon which all later musical experiences and techniques will be built: Rhythmic and melodic independence....They begin to live with and hear the intricacies of counterpoint and harmony long begore they even need to analyze them on a conscious level." Examples of songs which can be sung as rounds: All Things Must Perish Make New Friends Are You Sleeping? Oh, How Lovely is the Evening Canoe Song Row, Row, Row Your Boat Christmas is Coming Scotland's Burning Day is Done (Taps) Shalom Chaverim Donna Nobis Pacem Soul Cakes For Health and Strength Sweetly Sings the Donkey Ghost of John Three Blind Mice Hey, so, Nobody Home White Coral Bells Kookaburra An echo song is one in which the first part (group) sings a melodic phrase, which is then echoed by the second part (group 2), often while the first part is sustaining the final note of a phrase. Example 18: Old Texas Partner songs combine two songs which have the same meter, tempo, and harmony. Partner _S_o_rlg§ _a_n_g_ Mole Partner S_ogg§, by Frederick Beck- mnn (Boston: Ginn, 1952, 1958) are excellent sources. Examples of partner songs: Ten Little Indians-Skip to My Lou When the Saints Go Marching In-Good Night, Ladies All Night, All Dabewing Low, Sweet Chariot Frere Jacques-Three Blind Mice-Farmer in the Dell- Row, Row, Row Your Boat (in any combination, or all four together) My Home's In Montana-Home on the Range My Bonnie-Cielito Lindo 0h, Susanna-The Year of Jubilo Santa Lucia-Juanita She‘ll Be Coming Round the Mountain—The Gospel Train Rise Up, Shepherd an' Follotho Tell it on the Mountain CHAPTER FOUR CONCEPTS OF PATTERN AND FORM The arrangement of the rhythmic, melodic, and harmonic patterns into groups, or phrases, which conclude with a cadence, or feeling of rest, constitute the form of a piece. The phrases may be similar or different, thus creating feelings of unity and variety. The identifi- cation of rhythmic, melodic, and harmonic patterns has been covered in previous chapters. It remains for the teacher to combine those three patterns to demonstrate the concept of form through phrase structure. The term "cadence" should be used to identify the ends of phrases. Songs which contain similar phrases: Are You Sleeping? Jingle Bells Bear went Over the Mountain Jolly Old St. Nicholas Deaf woman's Courtship Mulberry Bush Eency weency Spider Old MacDonald Hush Little Baby Ten Little Indians Songs which contain question (antecedent) and answer (consequent) phrases: Example 19: Swing Low, Sweet Chariot Additional songs with question and answer phrases: Clementine Muffin Man Down in the Valley Old Texas Hush Little Baby On Top of Old Smokey Michael, Row Your Boat Susie, Little Susie The phrases of songs containing more than two phrases can often be grouped into two parts or sections. Mbst melodies which have only two phrases have a single musical idea. Therefore they have only one 18 19 "section.: Songs which have two distinctly different musical ideas have two sections, which can be labeled "A" and "B." Songs with two sections (A and B): Blue Tail Fly Down By the Riverside Cielito Lindo Jingle Bells Cindy Marching to Praetoria Many binary songs (with two sections) are in the form of verse and chorus, or melody and refrain. Songs with several verses or stanzas (strophic): Blowin' in the Wind Hush Little Baby Deck the Halls Oh, Susanna . Friendly Beasts Prayer of Thanksgiving Hole in the Bucket This Old Man Songs frequently contain patterns in which identical melodic and rhythmic patterns are repeated at different pitch levels. These repeti- tions are known as sequences. Example 20: London Bridge Additional songs containing sequences: America Riddle Song Do, Re, Mi Skip to My Lou Eency weency Spider Sweetly Sings the Donkey Kookaburra Vive L'Amour Songs containing dissimilar phrases: Example 12: Row, Row, Row Your Boat Additional songs containing dissimilar phrases: Brother, Come and Dance With Me Donna Nobis Pacem Prayer of Thanksgiving Friendly Beasts Shenandoah Joy to the world This Old Man Songs which have two sections that are contrasting (A,B), followed by a repetition of the first section (A) are said to be ternary (ABA or three-part form) Many are written with "D.C. al fine‘ at the end of 20 the second section (meaning go back to the beginning and sing or play until the word "fine" appears--usually at the end of the first section). Songs in three-part form: All Through the Night Marine's Hymn Blue-Bells of Scotland More we Get Together, The Camptown Races Old Folks at Home Deck the Halls Old MacDonald Home on the Range Susie, Little Susie Rondo and variation forms do not usually appear within the folk song idiom. A cumulative form in which a phrase is added with each succeeding verse is sometimes found. Examples of these songs are: Alouette There's a Hole in the Bottom of Old MacDonald Sea Twelve Days of Christmas Through both visual and listening experiences, students can see and hear the phrase structure of a song.. The identification of such structure is a skill which is especially useful later on when the student encounters more complex music in choir, band, and orchestra. The ability to break down a much longer work into smaller units, such as phrases, greatly facilitates the learning process. CHAPTER FIVE CONCEPTS OF COLOR, EXPRESSION, AND TIMBRE The concepts of color, expression, and timbre are much more subjective than those of rhythm, melody, harmony, and form. For example, in the treble clef, "B" is always found on the middle line. It is difficult, however, to determine how loud an "f" should be sung, or how slow a ritard should become. This does not mean that such concepts should be avoided, but rather that they should be approached with care. The loudness or softness of a tone or phrase is known as intensity or dynamics. Early elementary children can easily distinguish between loud and soft, and can be made aware of the appropriate usage of each. ("Silent Night-" soft, as opposed to "Deck the Halls-" loud.) At the upper elementary level, awareness should be increased to include pianissimo, fortissimo, mezzo piano, and.mezzo forte. Terminology and musical signs should be incorporated whenever possible. Variations in tempo enhance a musical performance. A fermata extends a note longer than its normally written value. It is often used at the end of a piece and is sometimes preceded by a ritard and followed by a return to the original tempo. Exanples: "land of the free" - "Star spangled Banner" "away down south" - "Dixie" "I wonder as I wander" - "I wonder as I Wander," last phrase Chromaticism (color) is not frequently found in folk song 21 22 literature. The term itself usually implies a degree of difficulty which is often beyond the ability of the untrained musician. In the song ”Dry Bones,” the phrases are chromatically raised a half step. This parallels the connection of the bones from the foot bone to the head bone. As the phrases rise in pitch, so also does the dynamic level. The reverse takes place in the second half of the song. The phrases descend in pitch as well as in dynamic level. Most chronaticism in folk songs occurs in the accompaniment, usually at a point of modulation or with the use of a secondary dominant. Occasionally a note in the melody will be chromatically altered (see Ekample 21 - 'Jolly Old Saint Nicholas"). The mood or purpose of a piece, as expressed by the text, needs to be conveyed by the performers. It is best to use examples for con- trast, such as Brahms' “Lullaby,“ ”Battle Hymn of the Republic,” “Simple Gifts," and "There was an Old Lady.” 'Timbre can be approached by havingdifferent children sing a phrase and having others guess who is singing. Adult voices can also be demonstrated to show the differences between high and low men's and women's voices. In upper elementary grades the terms soprano, alto, tenor, and bass should be used. A similar contrasting technique can be used for introducing various instruments. The younger the students, the more obvious the contrasted comparisons should be (trumpets and strings, or flute and drums). Following is a list of instrumental compositions which contain illustrations of various instruments within an orchestra. Strings Violin - Saint-Seens: ”Dense Macabre” 23 Saint-Saens: "Carnival of the Animals" - ”Hens and Cocks" Grofe: "Grand Canyon Suite" - "On the Trail” Viola- Dukas: "Sorcerer's Apprentice Saint-Saens: "Danse Macabre" Cello - Saint-Saens: ”Carnival of the Animals" Rossini: "William Tell Overture"- "Dawn" Respighi: "Pines of Rome" - "Catacombs" Bass - Tchaikovsky: "Nutcracker Suite"- "Chinese Dance' Harp - Tchaikovski: "Nutcracker Suite" - "waltz of the Flowers" Offenbach: "Tales of Hoffman" Winds Piccolo - Sousa: "Stars and Stripes Forever" Prokofieff: "Peter and the wolf" Tchaikovsky: ”Nutcracker Suite" - "Chinese Danse" Flute - Prokofieff: "Peter and the wolf" Hayden: "Surprise Symphony,” Nu. 9h Tchaikovsky: "Nutcracker Suite" - "March" Clarinet -Prokofieff: "Peter and the wolf" Saint-Sasns: "Carnival of the Animals" - "Hens and Cocks” Gershwin: "Rhapsody in Blue“ Oboe - Tchaikovsky: ”Nutcracker Suite” - "Arabian Dance" Menotti: "Amahl and the Night Visitors" - "Shepherds'Dance" Prokofieff: "Peter and the wolf" Bassoon - Dukas: "Sorcerer's Apprentice" Profofieff: “Peter and the wolf" Shostokovitch: "Age of Gold" - "Polka" English horn - Dvorak: "New world Symphony" - Largo Sibelius: "Swan of Tuonela" Rossini: "William Tell Overture" - "Dawn" Bass clarinet - Grofe: "Grand Canyon Suite" - "On the Trail" Contrabassoon - Dukes: "Sorcerer's Apprentice" Saxophone - Mussorgsky-Ravel: "Pictures at an Exhibition" - "The Old Castle" Gershwin: "An American in Paris" Brass Trumpet - Rossini: "William Tell Overture" - Finale 2h Sousa:- 'Semper Fideles' Elgar: "Pomprand Circumstance” French horn - Beethoven: "Symphony No. S” Tchaikovsky: “Nutcracker Suite'-'wa1tz of the Flowers" Mendelssohn: ”Midsummer Night's Dream" Trombone - wagner: I'Prelude to Act III of Lohengrin' Mozart: 'RequiemF-'Tuba Hirum' Rimskybxorsakoff: ”Russian Easter Overture" Tuba - Sibelius: 'Finlandia' Hussorgskbeavel: :Pictures at an Exhibition” - ”Byblo' Kleinsinger: "Tubby, the Tuba“ Percussion and Other Instruments Timpani - Rossini: "William Tell Overture' - "Storm'I Dvorak: “New World Symphony“ - Molto vivace Snare Drums - Sousa: 'Semper Fideles' Ravel: "Bolero” Piano - Saint-Saens: “carnival of the Animals“ Capland: 'Rodeo' - "Hoedown' Organ - Saint-Saens: “Symphony No. 3' Albinoni: ”Adagio for Organ and Strings” Strauss: 'Thus Spake Zarathustra: Celeste - Tchaikovsky: :Nutcracker Suite'o'Dance of tne Sugar P1um.Fairies" Saint-Sachs: ”Carnival of the Animals" - "Aquarium” Cymbals - Sousa: “Semper Fioeies' Thmbourine - Tchaikovsky: “nutcracker Suite" - ”Arabian Dance“ Xylophone - Saint-Saens: “Carnival of the Animals" - ”Fossils“ Shostakovitch: ”Age of Gold“ - ”Polka” In addition to the above selections, much of the concerto liter- ature would provide good examples. Host of the previously listed recordings are easily obtained from the libraries, record stores, or private collections. CONCLUSION At first glance, it might seem somewhat difficult to believe that theory could be taught within a time span of perhaps only a half hour a week in a large music class. If that time is multiplied by the number of sessions per year, and again multiplied by six or seven years of exposure at the elementary level, it becomes a substantial block of time. If, whenever a song is introduced, a single element of one of the previous concepts could be illustrated and reinforced, then a student entering middle school or junior high school would be well-prepared for choir, band, or orchestra. It should not be necessary at that stage for ensemble instructors to have to teach basic note names and time values or dynamic markings. The learning of musical concepts is similar to learning mathematics or how to read: it is a cumulative acquisition of knowledge. Often, the problem is not so much a lack of time to teach theory, ”but rather a lack of knowing how and where to begin. It is hoped that. this outline will be of some assistance in that regard. 25 APPENDI CES APPENDIX A lard, _____ _____ __... iiiii \iiia \\\\\ \\\\\ \\\\\ \\\\\ Appendix A Tm!» ‘3: \— \_... \-~ '3 Twinkle, lTwinHe' LIA-9e 341.:- I I No. 05 —- Printed in the U. S. A. 26 10 StewM G. Schirmer, Inc., New York We rIA l I a I II I I\ II I I My. . 32». +33%” I v ”‘3 a Emmsle I= '0 k III/H. II J A. 934:? 27 No. 05 — Printed In the U. S. A. 10 btaves G. Schirmer, Inc., New York II I ll'x 'SefiucnarstL;____——I ‘ \ I 1 1 Jo ro-rhdzl-n'c. aI‘I-QI‘afl-Eo n bid—-— 1..- u-.. v._:_ (1 APPENDIX B APPENDIX B FOLK SONGS, THEIR SOURCES, AND APPLICABLE THEORETICAL CONCEPTS The following list contains sources-for the songs used in this thesis. Volume numbers are indicated where appropriate. 1. Discovering M Together, Volumes 1,2,3,h,5,6,8. 2. Exploring _M_u_s_i_c_, '1,2,3,h,5,6. 3. mmggggfl, 1,2,3,h,5,6. h. m, 1,2,3,h,5,6. 5. N31 Dimensions In 111123, K,1,2,3,h,5,6. 6 . Songs In Action 7. 150 American Folk Songs to Sing, Read, and Play 8. The Book 93 Rounds 9- 1322. 22222 .5925: ans Emma 10 The. Fireside §2_o_k_ 9}; Children's _S_o_r_1_g§ 11. Fireside B921; of Favorite American Eggs 12. Fireside B295 2;; Eli-32118.3. 13- m M m 11:. Sing it Yourself 15. A Treasm 9}; American Song 29 16. 17. 18. 19. 20. 21. 22. 23s 30 A Concise Introduction to Teaching Elementary m m flmdamental Classroom _M.u_s_19_ §k_i_l_l_§_ m Mali was Musical Growth lg the Elementary School Music Skills For the Classroom Teacher Note Partner Songs and More Partner Songs 31 Ach du Lieber Augustine - 3-6. Rhythm: 3 beat pattern, downbeat Melody: begins on sol, wide range, major Harmony: homophonic, I and V7 chords Form: ABA A-Hunting we Will Go - 5-1, 6, 32. Rhythm: 2 beat, pick-up Melody: begins on mi, major, repeated notes Harmony: homophonic, I, IV, V7 chords Ain't Gonna Grieve My Lord No More - h-3, 5-5, 6. Rhythm: 2 beat, pick-up, out time Melody: begins on do, major Harmony: homophonic, I, IV, V7 chords Form: AB, echo song All Night, All Day- 2-3;3-1,2,3; h-1; S-1,2,3; 7322. Rhythm: 2 beat, downbeat, some syncopation Melody: begins on sol,major, outlines triads Harmony: I, IV, V7 chords Form: ABA, using D.C. All the Pretty Little Horses - 2-2;h-3363 10; 29. Rhythm: h beat, downbeat Melody: minor and major modes, begins on la, descending line Harmony: 5 chords - 1, v, III, IV, VI Form: AABA, similar phrases All Through the Night - 1-h,6;3—6; h-S; 5-1,S,6; 9511; 19; 32. Rhythm: h beat pattern, downbeat, uneven rhythm 32 Melody: begins on do, conjunct movement Harmony: I, V7 chords Form: AABA Aloha Oe - 1-h,6; 3-6;S-S; 9; 21. Rhythm: h beat, pick-up Melody: begins on sol, major, outlines triad, chromatic in- flection Harmony: I, IV, v7 chords Form: AB, verse-chorus Alouette - 2-3; 3-6; S-h; 6; 9; 12; 185 21. Rhythm: h beat, downbeat, uneven rhythm Melody: begins on do, major, octave intervals Harmony: I, V7 chords Form: cumulative Alphabet Song - h-2; S-K,S; 18. See Twinkle, Twinkle, Little Star Amazing Grace - h-h,6; 9; 18. Rhythm: 3 beat, pick-up Melody: begins on sol; outlines triad Harmony: I, IV, V7 chords Form: strophic America - 3-1,2,3,h,5,6; h-1,2,3,u,6; 5-1,2,3,S,K; 6; 9; 18;21. Rhythm: 3 beat, downbeat Melody: begins on do; major Harmony: I, IV, V7chords Form: similar phrases, sequences 33 America the Beautiful - 1-2,h,6; 2-2,3; 3-2,3,h,5,6; h-3,h; 5-1,2,33 6; ; 18; 21. Rhythm: h beat, pickup, uneven rhythm Melody: begins on sol, contains chromatic inflection, major Fbrm: AB Angel Band,The - 1-2;2-2;3-1;S-h;6; 7; 20. V Rhythm: 2 beat; pickup, Melody: begins on sol, major, pentatonic Harmony: I, V7 chords Form: similar phrases, AB Angels We Have Heard On High - 3-6; 14-6; 12. Rhythm: IL beat Melody: begins on mi, major Hamony: I. IV, v7 chords ' Form: similar phrases, verse-chorus, AB Annie Laurie- h-8; 9; 12; 21. Rhythm: h beat, pickup, uneven Melody: begins on mi, major, wide range, large intervals Harmony: *I, IV, V7 chords Form; AABA Are You Sleeping - 1-2; 2-3; 5-2,3; 3-336; 8; 10; 13; 17; 18; 20; 21. Rhythm: h beat, even Melody: begins on do, major Harmony: I, V7 chords, partner song, ostinato Form: similar phrases 3h A-Tisket, A-Tasket - 7,10,1h,15,19. Rhythm: 2 beat, pickup, even Melody: sol-mi relationship, narrow range, does not end on do Harmony: I chord Form: ABA Au Clair de la Lune - 3-3; 9;12;18;21. Rhythm: h beat, even Melody: begins on do, major Form: AABA Auld Lang Syne - 9,12,21. Rhythm: h beat, pickup, uneven Melody: begins on sol, major Harmony: I, IV, V7 chords Aura Lee - 21, 18. Rhythm: h beat Melody: begins on sol, major Form: AB, verse-chorus, similar phrases Baa Baa Black Sheep - 3-1; 6; 18. Rhythm: h beat, even Melody: begins on do, major, repeated notes, conjunct Harmony: I, IV, V7 chords Form; antecedent and consequent phrases, ABA Battle Hymn of the Republic - 1-6; 3-1,2,S,6;h-1,2;5-K,1,S;9;11;12;1S;18. Rhythm: h beat, pickup, uneven Melody: begins on sol, major Harmony: I, IV, V7 chords Form: similar phrases, verse-chorus 35 Bear Went Over the Mountain, The - 6, 21. Billy Bingo Rhythm: 2 beat (compound meter), pickup, fermata Melody: begins on do, major 7 Harmony: I,IV, V chords Boy - 3-3.6; 16;17;18; Rhythm: 2 beat, pickup Melody: begins on mi, major Harmony: I, IV, V7 chords - 3-2,3; 5-1; 10;18;21. Rhythm: 2 beat, pickup Melody: begins on sol, major, repeated notes Harmony: I, IV, V7 chords Form: uses sequences Blow the Man Down - 1-h; 3-5; 9; 12; 15; 16; 21. Rhythm: 3 beat, pickup Melody: begins on sol, major Form: strophic, similar phrases Blue-Bells of Scotland - 1-h; 12. Rhythm: h beat, pickup, even Melody: begins on sol, chromatic inflection Harmony: fast harmonic rhythm Form: AABA Blue-Tail Fly - 3-3,.3,12. Rhythm: 2 beat, pickup, uneven, fermata Melody: begins on mi, minor-major Form: AB, verse-chorus Bobby Shafto - 10, 21. 36 Rhythm: h beat Melody: begins on mi, major, disjunct,repeated notes, wide range Harmony: I, IV, V7 Bow Belinda - 3-2; 5-K; 6; 17; 18; 21. Rhythm: 2 beat Melody: begins on do, major outlines triad Harmony: I, v7 chords Form: similar phrases Bridge of Avignon - 1-2; 2-3; 3-2;17. Rhythm: 2 beat Melody: begins on do, major, repeated notes Harmony: I, V7 chords Fbrm: similar phrases ABA Brother, Come and Dance with Me - 2-3; 17. Rhythm: 2 beat Melody: begins on sol, major, descending line Harmony: I, IV, V7 chords Form: sequences Buffalo Gals - 3-6; 9; 20; 21. Rhythm: 2 beat, even Melody: begins on sol, major, descending line Harmony: I, V7 chords Form: AB, similar phrases Camptown Races - 1-h; 3-6; h-6; 9; 12; 15. Rhythm: 2 beat, pickup .. syncopation Melody: begins on sol, major, outlines triad Harmony: I, IV, V7 chords Form: similar phrases, AB, verse-chorus 37 Canoe Song - 2-3; 3-5; S-h; 17; 17; 19; 20; 22. Rhythm: h beat, syncopation Melody: begins on mi, minor, pentatonic, wide range Harmony: i chord, round Form: similar phrases Chairs to Mend - 3-5; 10; 13. Rhythm: h beat Melody: begins on sol, major, Harmony: I chord, round Form: similar phrases, AAB Christmas is Coming - 3-2,3,6; h-S; 8; 13. Rhythm: 2 beat Melody: begins on do, major, octave leaps, outlines triad Harmony: round Cielito Lindo - 1-h,6;9; 17; 21. Rhythm: 3 beat, pickup, syncopation (through use of ties) Melody: begins on do, major Harmony: I, IV, V7 chords Form: AB, verse-chorus Cindy - 2-6; 3-h; 15; 19; 21. Rhythm: 2 beat, pickup Melody: begins on sol, major Harmony: I, IV, V7 chords Form: AB, verse-chorus Clap Your Hands - 2-5; 3-1,S; h-2,3,6; S-1,2; 7; 10; 15; 18; 19. Rhythm: 2 beat; Melody: begins on do, major, repeated notes 38 Clementine - 3-h; h-S; 12; 17; 18; 21. Rhythm: 3 beat, uneven Melody: begins on do, major, outlines triad Harmony: I, V7 chords Form: similar phrases Cockles and Mussels - 1-6; 2-6; 9; 12; 17. Rhythm: 3 beat, pickup, uneven Melody: begins on sol, major, outlines triad Form: verse-chorus Colorado Trail - 1-6; 2-535-5; 7. Rhythm: h beat Melody: begins on mi, major Harmony: I, IV, V7 chords Form: similar phrases Come On and Join Into the Game - 10 Rhythm: 3 beat, pickup, even Melody: begins on sol, major 7 Harmony: I, IV, V chords Form: strophi c Cotton-Eye Joe -h-2; 7; 10; 19 Rhythm: 2 beat Melody: begins on mi, major, narrow range Harmony: I, IV, V7 chords Form: similar phrases Day Is Done - 8 Rhythm: h beat, pickup 39 Melody: begins 0; sol, major, outlines triad Harmony: round Deaf woman's Courtship - 2-3; 6; 7; 18. Rhythm: 2 beat, even Melody: begins on sol, major, outlines triad, repeated notes Harmony: I, V7 chords Fbrm: AB, strophic Deck the Halls - 1-h; 2-3; 3-5,6; S-h,5; 9; 12. Rhythm: h beat Melody: begins on sol, major, descending line Form: AABA, similar phrases, strophic Deep River - 9,15. Rhythm: h beat Melody: begins on mi, wide range, octave leaps Form: ABA, D.C. al fine Did You Ever See A Lassie - 1-2, 10. Rhythm: 3 beat, pickup Melody: begins on do, major, outlines triad Harmony: I, V7 chords Form: AABA Dixie - 1-h,6; 3-5; 9; 12; 15; 17. Rhythm: 2 beat, fermata Melody: begins on sol, major, outlines triad, wide range Fbrm: AB, verse- chorus Do Lord - 5-5; 1h Rhythm; h beat, uneven Melody: begins on sol, major hO Harmony: 1, V7 chords Form: similar phrases Dogie Song - 1-h; 2-5; 3-h,S; 9; 12 Rhythm: 2 beat (compound time), pickup, uneven Melody: begins on do, major Form: similar phrases, AB, verse-chorus Donna Nobis Pacem - 5-5; 8; 13; 18; 2o; 21. Rhythm: 3 beat Melody: begins on do, major, descending line, wide intervals 7 Harmony: I, IV, V chords, round Form: 3 different phrases Down By the Station - 2-2;,3-3; 5-K. Rhythm: 2 beat, even Melody; begins on do, major, repeated notes 7 Harmony: I, V chords, ostinato Form: similar phrases Down In the Valley - 1-h; 2-5; 3-3; h-S; 5-2; 7; 9; 12; 1o; 17; 18; 20; 21 Rhythm: 3 beat (compound meter) Melody: begins on sol, major, outlines triad 7 Harmony: I, V chords Form: strophic Down the River - 1-h; 2-3; 3-5; 5-3; 17. Rhythm: 2 beat (compound), pickup Melody: begins on do, major, outlines triad, repeated notes 7 Harmony: I, IV, V chords Form: AB, verse-refrain h1 Drill Ye Tarriers - 1-b.; 3-5; 12; 18. Rhythm: h beat Melody: begins on la, minor Form: Verse-chorus, AB Dry Bones - 6; 1h. Rhythm: h beat, pickup, uneven, syncopation Melody: begins on do, major, repeated notes, chromatic inflections, modulation Form: similar phrases Early One Morning - 18. Rhythm: 2 beat, even Melody: begins on do, major, outlines triad, descending line Harmony: I, IV, V7 chords Form: AB, verse-chorus Eency-weency Spider - 5-K, 6,7,10,21. Rhythm: 2 beat (compound), uneven Melody: begins on do, major, conjunct Harmony: I, V7 chords Fomm: similar phrases Erie Canal - 2-5; 3-5; S-K,S; 12; 15; 16; 18; 20. Rhythm: 2 beat, uneven, sync0pation Melody: begins on mi, minor-major, repeated notes Harmony: i,iv, V7’I,IV,V7 chords Form: AB, (A is aaba, B is ab), verse-chorus Every Night When the Sun Goes In - 2-6; 3-6; 12; 15. Rhythm: 2 beat, pickup, borrowed division Melody: begins on do, major, chromatic inflection h2 Form: h different phrases, verse-chorus Ezekial Saw the Wheel - 3-h,5; 1h. Rhythm: 2 beat, uneven Melody: begins on do, major, pentatonic, repeated notes Harmony: I, V7 chords Form: AB Farmer In the Dell - 5-K, 6,7,10,20. Rhythm: 2 beat (compound), pickup Melody: begins on sol, major, outlines triad, repeated notes Harmony: I, V7 chords Form: similar phrases Fiddle Dee Dee - 1-h; 16, 19. Rhythm: 2 beat (compound) Melody: begins on mi, major, repeated notes 7 Harmony: I, IV, V chords Form: ABA First Noel - 3-S,6; 9; 12; 21. Rhythm: 3 beat, pickup, even Melody: begins on mi, major,ascending line, conjunct, ends on mi Form: AAB, verse-chorus For Health and Strength - 2-3; 3-3,h;S-2,S; 8; 21. Rhythm: 2 beat, pickup, even Melody: begins on sol, major, repeated notes , descending line Harmony: I chord, round For Hels a Jolly Good Fellow - 3-2,h. See The Bear went Over the Mountain h3 Frere Jacques - See Are You Sleeping Friendly Beasts, The - 1-2; 2-3; 3-1,2; 5-2. Rhythm: 2 beat, (compound) Melody: begins on do, major Harmony: I, IV, V7 chords Form: similar phrases, strophic Frog went a-Courtin' - 3-1,2; 7; 10; 15; 16; 19, Rhythm: h beat, pickup, even Melody: begins on sol, major, pentatonic, repeated notes Harmony: I, IV, V7 chords Funiculi, Funicula 1-6; 12.- Rhythm: 2 beat (compound), pickup, fermata Melody: begins on sol, major, repeated notes, chromatic in- flection, minor Form: AB, verse-chorus, similar phrases German Instrument Song - 3-2,3; h-3; 18. (The Orchestra Song) Rhythm: 3 beat, pickup, even Melody: begins on sol, major Harmony: 1, V7 chords, sung in 5 parts Form: similar phrases Get On Board, Little Children - 2-3; 3-1; h-2,3,6; 6; 20. Rhythm: 2 beat, pickup, uneven, syncopated Melody: begins on mi, major, repeated notes, pentatonic 7 chords Harmony: I,IV,V Form: ABA, uses D.C. al fine Go Down, Moses - 12, 15, 19. hh Rhythm: I: beat, pickup, syncopation Melody: begins on mi, minor Form: AB, verse-chorus Good-bye, Old Paint - 1-h; 2-2; 3-2,h;h-S,o; 15; 17; 18; 19. Rhythm: 3 beat, pickup Melody: begins on la, major, pentatonic 7 Harmony: I, IV, V chords Form: AABA, strophic Go Tell Aunt Rhody - 3-1; 5-1; 7; 10; 16; 18; 20. Rhythm: 2 beat, even Melody: begins on mi, major, narrow range Harmony: I, V7 chords Go Tell It On the Mountain - 1-h,6; 2-2,6;3-5; 5-K,5; 17; 19. Rhythm: h beat, fermata Melody: begins on mi, major Form: AB, verse-refrain Greensleeves - 2-6; 3-6; h-S; S-h; 6; 9; 12; 16; 17; 18; 20; 21. Rhythm: 2 beat (compound), pickup, uneven Melody: begins on la, minor, outlines triad Form: AB, similar phrases Happy Birthday - h-Z; 5-1,2; 18; 21. Rhythm: 3 beat, pickup,even, fermata Melody: begins on sol, major, outlines triad Harmony: I, IV, V7 chords Hanukah Song - 1-2,h;2-23; 3-6; h-h; 5-1; 12; 22. Rhythm: 2 beat, even Melody: begins on sol, major, outlines triad hS Harmony: I, IV, V7 chords Form: ABAC Haul Away, Joe - 2-2; 16; 19. Rhythm: 2 beat, pickup Melody: begins on mi, Dorian mode, repeated notes Harmony: i, iv,v Form: verse-chorus, antecedent-concequent phrases Hava Nagila - h-6; 5-h; 6. Rhythm: h beat, borrowed dividion, accelerando Melody: begins on mi, minor-major Harmony: i, iv, V7 Form: ABC, similar phrases Have You Seen the Ghost of John? - h-1; 10, 13, 20. Rhythm: h beat, even Melody: begins on la, natural minor Harmony: 1 chord, round Form: h different phrases Here we Come A-wassailing’- 2-5; 3-2,3,h,6;12. Rhythm: 2 beat, changing meter Melody: begins on do, major Form: AB, verse-chorus He's Got the Whole world in His Hands - 2-6; 3-6; h-6; 5-2,6; 18; 20. Rhythm: h beat, syncopation, pickup Melody: begins on sol, major, outlines triad Harmony: I, V7 chords Form: similar phrases to Hey, Betty Martin - 1-2; 3-1; 5-1; 19; 20. Rhythm: h beat, even Melody: begins on mi, major, descending line Harmony: I, V7 chords Form: similar phrases Hey Ho prody Home - 2-5; 3-6; h-S; S-h; 8,13,17,18,19,21,22. Rhythm: 2 beat, Melody: begins on la, minor, repeated notes Harmony: i, v chords, round Form: 3 different phrases Hickory Dickory Dock - 3-1; 5-K; 6,20. Rhythm: 2 beat (compound) Melody: begins on mi, major Harmony: I, IV, V7 chords Hill 'n' Gully Rider - 3-5; h-3; 6. Rhythm: h beat, syncopation Melody: begins on sol, major, outlines triad Harmony: I, IV chords Form: AB, verse, refrain Holly and the Ivy, The - 1-6; 3-6; 21. Rhythm: 3 beat, pickup Melody: begins on do, major, outlines triad, wide range, disjunct Harmony: I, IV, V7 chords Form: verse-chorus, similar phrases Home on the Range - 1-6; 2-3; 3-5; 9; 12; 18; 21. Rhythm: 6 beat (slow compound), pickup h? Melody: begins on sol, major, disjunct 7 Harmony: I, IV, V chords Form: verse-chorus, similar phrases Hot Cross Buns - h-5; 7, 19, 21. Hush, Rhythm: 2 beats, even Melody: begins on mi, major, repeated notes, narrow range Harmony: I, V7 chords Form: similar phrases Little Baby - 1-2,h;3-1; h-2; 5-1; 6; 7; 10; 1h; 18; 19. Rhythm: h beat, even Melody: begins on sol, major, repeated notes Harmony: I, V7 chords Form: antecedent and consequent phrases I Bought Me a Cat - 3-1; 7; 10; 17; 19. I Got I Had Rhythm: 2 beat, pickup, even Melody: begins on sol, major, pentatonic, outlines triad Harmony: I, V7 chords Form: ABA, uses D.C. a1 fine, cumulative Shoes - 1-h; 3-1,2; 9; 1h. Rhythm: h beat, syncopation Melody: begins on do, major Harmony: I,IV,V7 Form: similar phrases a Little Nut Tree - 3-2; 10. Rhythm: 2 beat, pickup, even Melody: begins on do, major, outlines triad 7 Harmony: I, IV, V chords 1:8 Form: similar phrases I Know an Old Lady Who Swallowed a Fly -10 Rhythm 2 beat, pickup, fermata Melody: begins on sol, major, outlines triad 7 Harmony: I, IV, V chords Form: cumulative I Ride Old Paint - 15, 21. Rhythm: 3 beat Melody: begins on sol, major 7 Harmony: I,V chords Form: AB, verse-chorus I Saw Three Ships Come Sailing In- 1-h; 2-3; 3-1,2; 19. Rhythm: 2 beat (compound), pickup Melody: begins on sol, major Harmony: I, V7 chords Form: strophic, similar phrases I've Been working on the Railroad - 6, 9, 12, 18. Rhythm: h beat, uneven, fermata Melody: begins on do, major, chromatic inflection Harmony: I, IV, V7 (V/V) Form: ABCD, similar phrases If You're Happy - h-2, 5-1,2. Rhythm: h beat, pickup, even Melody: begins on sol, major, repeated notes 7 Harmony: I, IV, V chords Form: strophic I'm a Little Teapot - 6, 21. h? Rhythm: h beat, uneven Melody: begins on do, major, ascending line, octave leap Harmony: I, IV, V7 chords Form: similar phrases Jacob's Ladder - 3-6; 11; 18; 20; 21. Rhythm: 2 beat Melody: begins on mi, major 7 Harmony: I, IV, V chords Jim Along Josie - 1-2; 5-2; 7; 19. Rhythm: h beat, even Melody: begins on sol, major, pentatonic, repeated notes Harmony: I, IV V7 chords Form: strophic, similar phrases Jingle at the Windows - 1-h; 5-K,1,2;6; 7; 1h; 19. Rhythm: 2 beat, even Melody: begins on mi, major, outlines triad 7 Harmony: I, V chords Form: similar phrases, repeated section, antecedent and consequent phrases Jingle Bells - 1-2; 3-1,2; h-1; 5-K,2; 6; 9; 18; 21. Rhythm: 2 beat Melody: begins on mi, major Harmony: I, IV, V7, V/V chords John Jacob Jingleheimer Schmidt - 10, 21, 22. Rhythm: h beat Melody: begins on mi, major, disjunct 50 Harmony: I, IV, V7 chords Johnny Has Gone For a Soldier - 2-6; 3-5; 7; 12; 16; 19; Rhythm: h beat Melody: begins on do, minor Form: h different phrases John Henry: 3-5; h-é; 5-5; 9; 12; 15. Rhythm: h beat, pickup, synCOpation Melody: begins on sol, major Form: strophic Join Into The Game - h-3; 5-2. Rhythm: 3 beat, pickup, even Melody: begins on sol, major, descending line Harmony: I, IV, v7 chords Form: AABA, strophic Jolly Old Saint Nicholas - 6 Rhythm: 2 beat, even Melody: begins on mi, major, repeated notes, chromatic inflection Form: antecedent and consequent phrases Joshua Fit the Battle of Jericho -h-6; 12; 15; 21. Rhythm: L1 beat, fermata, syncopation Melody: begins on la, minor Harmony: i, V7 chords Form: AB, verse-chorus Joy to the world - 2-5; 3-6; 9; 12; 21. Rhythm: 2 beat, uneven Melody: begins on do, major, descending scale 51 Harmony: I, IV, v7 chords Form: different phrases Kookaburra - 3-1,3,h; 5-1; 10; 13; 18; 21. Rhythm: 2 beat Melody: begins on sol, major Harmony: I, IV, V7 chords, round, Form: sequences, similar phrases Kum Ba Yah - 3-6; h-h; 5-2,6; 18. Rhythm: 3 beat, pickup Melody: begins on do, major, outlines triad Harmony: I, IV, V7 chords Form: strophic, similar phrases La Cucaracha - 1-6; 9; 11; 15. Rhythm: 3 beat, even Melody: begins on 301, major, outlines triad, chromatic inflection Harmony: I, V7chords Lavender's Blue - 2-2; 19; 20; 21. Rhythm: 3 beat, even Melody: begins on do, major, narrow range Harmony: I, IV, V7 chords Form: antecedent and consequent phrases, Let There Be Peace On Earth - 5-6; 6. Rhythm: 3 beat, even Melody: begins on do, major, chromatic inflection, wide range Form: similar phrases 52 Lightly Row - h-S; 18, 21. Rhythm: 2 beat, even Melody: begins on sol, major, repeated notes, outlines triad Harmony: I, V7 chords Form: AABA, similar phrases Little David - h-B; 5-6; 1h; 15. Rhythm: 2 beat, syncopation Melody: begins on mi, major, outlines triad Harmony: I, IV, V7 chords Form: AB, verse-chorus Li'l Liza Jane - 7, 1h, 17, 21. Rhythm: 2 beat, syncopation Melody: Begins on mi, major, outlines triad Harmony: I, IV, V7 chords, canon Form: AB, similar phrases London Bridge - 5-K, 7, 18, 21 Rhythm: 2 beat Melody: begins on sol, major Harmony: I, V7 chords Form: sequences, similar phrases Lonesome Road - 12 Rhythm: 2 beat, pickup Melody: begins on mi, major, chromatic inflection Form: strophic, similar phrases Long, Long Ago - 3-2, 9, 18, 21. Rhythm: h beat, even _53 Melody: begins on do, major, repeated notes, conjunct Harmony: I, V7 chords Form: ABA, uses D.C. al fine Looby Loo - 1-2; 5-1; 7; 1h; 17; Rhythm: 2 beat (compound) Melody: begins on do, major, outlines triad, iescending line Harmony: I, V7 chords Form: similar phrases Lullaby (Brahms) - 9,10, 18, 20, 21. Rhythm: 3 beat, pickup Melody: begins on mi, major, octave interval, outlines triad Harmony: I, IV, V7 chords Make New Friends - 5-3; 13; 17; 18. Rhythm: h beat, even Melody: begins on do, major Harmony: I, V7 chords, round Form: Different phrases Man on the Flying Trapeze - 2-2; 5-2; 6; 11. Rhythm: 3 beat, pickup, even Melody: begins on sol, major Harmony: I, IV, v7 chords Form: similar phrases Marching to Pretoria - 1-2; 3-2,3,6; h-3,5; 5-3; 17; 20. Rhythm: 2 beat, even Melody? begins on mi, major, repeated notes, sequences 7 Harmony: I, IV, V chords 5h Form: sequences, AB, verse-chorus Marine's Hymn - 9, 21. Rhythm: 2 beat, pickup, even Melody: begins on do, major, outlines triad, repeated notes Harmony: I, IV, V7_chords Form: AABA Mary Ann - 2-5; 6; 20. Rhythm: 2 beat, sync0pation Melody: begins on mi,major, outlines triad Harmony: I, V7 chords Form: antecedent and consequent phrases Mary Had a Baby - 1-2; 2-2; h-2; 5-K; 7; 17; 19. Rhythm: 2 beat, even Melody: begins on do, major, repeated notes Harmony: I. IV, V7 chords Form: similar phrases Mary Had a Little Lamb - 10, 18, 19. Rhythm: 2 beat, even Melody: begins on mi, major, repeated notes, narrow range Harmony: I, V7 chords Form: similar phrases Michael Row the Boat Ashore - 2-3; 3-3; h-1,2,6; 5-K,h; 18. Rhythm: h beat, pickup, even Melody: begins on do, major, outlines triad 7 Harmony: I, IV, V chords Form: similar phrases 55 Minka - 2-6; 3-6; 6; 18; 21. Rhythm: 2 beat, even Melody: begins on la, minor-major, repeated notes Harmony: i, V7, III Form: similar phrases Mere we Get Together, The - 21 Rhythm: 3 beat, pickup Melody: begins on do, major, disjunct Harmony: I. V7 chords Form: AABA Muffin Man - 1-2; 3-1; 5-K; 10. Rhythm: 2 beat, pickup Melody: begins on sol, major Harmony: I, ii, V7 chords Form: similar phrases Mulberry Bush - 6, 10. Rhythm: 2 beat (compound) Melody: begins on do, major, outlines triad Harmony: I, V7 chords Form: similar phrases Music Alone Shall Live - 1-6; 2-5; 3-h; 5-h; 18. Rhythm: 3 beat Melody: begins on mi, major Harmony: I, V7 chords, round Form: ABA, sequences My Bonnie - 9, 18, 21. Rhythm: 3 beat, pickup 56 Melody: begins on sol, major, disjunct Harmony: I, IV, V7 chords Form: AB, similar phrases My Hat Has Three Corners - 3-6; 21. Rhythm: 3 beat, pickup, even Melody: begins on sol, major Harmony: I, V7 chords Form: similar phrases My Home's In Montana- 21 Rhythm: 3 beat, pickup Melody: begins on sol, major, repeated notes, disjunct, triad Harmony: I, IV, V7 chords, partner song Form: similar phrases, sequences My Lord, What a Morning - 5-2,3; 12. Rhythm: h beat Melody: begins on mi, major, outlines triad, repeated notes 7 Harmony: I, IV, V chords Form: verse-chorus, similar phrases Night Herding Song - 1-6; 2-3; 3-3; 5-3,h,5; 15. Rhythm: 6 beat (slow compound), pickup Melody: begins on do, major, octave leaps 7 Harmony: I, IV, V chords Form: similar phrases Noble Duke of York - 6, 7, 10. Rhythm: 2 beat, pickup, fermata Melody: begins on mi, major, repeated notes, outlines triad Harmony: I, IV, V7 chords 57 Form: dissimilar phrases Nobody Knows the Trouble I've Seen - 9, 12. Rhythm: h beat, even (verse), uneven (chorus) Melody: begins on mi, major Form: AB, verse-chorus Now Thank we All Our God - 2-5, 5-2. Rhythm: h beat, pickup, even Melody: begins on sol, major, repeated notes 7 chords Harmony: I, IV, V Form: AB Oats, Peas, Beans and Barley Grow - 3-1,2; 7; 10; 18; 21. Rhythm: 2 beat, (compound) Melody: begins on mi, major, repeated notes, narrow range Harmony: I, V7 chords Form: sequences 0 Come All Ye Faithful - 3-3,u; S-h; 9; 12; 21. Rhythm: h beat, pickup begins on do, major, disjunct Form: similar phrases, verse-chorus O Comeg OvCome-EMmanuel --1-6; 19; 20... Rhythm: h beat, pickup, even Melody: begins on la, Aeolian mode Harmony: monophonic Form: similar and dissimilar phrases Ode to Joy - 18, 19. Rhythm: h beat, even Melody: begins on mi, major, conjunct 56 Form: AABA Oh Dear! What Can the Matter Be - 2-3; 3-1; 21. Rhythm: 2 beat (compound), even Melody: begins pn sol, major, outlines triad Harmony: I, V7 chords Form: similar phrases Oh, How Lovely Is the Evening - 8, 10, 13, 17, 19, 20, 21. Rhythm: 3 beat, even Melody: begins on do, major Harmony: I chord, round, ostinato Form: 3 phrases Oh, Susanna - 1-h,6; 3-2,3,h,6; 5-3; 9; 12; 15; 17; 18; 21. Rhythm: 2 beat, pickup, uneven Melody: begins on do, major, outlines triad 7 Harmony: I, IV, V chords Form: verse-chorus, similar phrases Old Abram Brown - 2-6; 3-h;8. Rhythm: h beat, pickup, even Melody: begins on la, minor, repeated notes, octave leap Harmony: round Form: similar phrases Old Brass wagon - 1-h; 2-2; 5-K; 17. Rhythm: 2 beat, even Melody: begins on do, major, repeated notes Harmony: 1, IV: V7 chords Form: similar phrases 59 Old Folks At Home - 9, 12. Rhythm: h beat Melody: begins on mi, major, outlines triad, octave leaps Harmony: I, IV, V7 chords Form: AAB, verse- chorus Old Joe Clark - see Clap Your Hands Old MacDonald - 5-K; 6; 7; 21. Rhythm: 2 beat, even Melody: begins on do, major, repeated notes Harmony: I, IV, V7 chords Form: AABA, cumulative Old Texas - h-h; 1h, 17, 20. Rhythm: 2 beat, pickup, even Melody: begins on sol, major, outlines triad Harmony: I, V7 chords, echo song On Top of Old Smokey - 2-5; 3-h,5; 9; 12; 15; 18. Rhythm: 3 beat, pickup, even Melody:v begins on do, major, outlines triad 7 Harmony: I, IV, V chords Form: strophic O Tannenbaum - 3-1; 5-1; 11. Rhythm: 3 beat, pickup, uneven Melody: begins on sol, major, wide range 7 chords Harmony: I, IV, V Form: ABA Over the River and Through the woodn- 3-1,2; 5-1,2,33 6; 15; 21- 60 Rhythm: 2 beat (compound) Melody: begins on sol, major Harmony: I, IV, V7 V/V chords Form: similar phrases Patapan - 2-6; 3-h; 5-2; 21. Rhythm: 2 beat, even Melody: begins on la, minor Harmony: i, iv, V7 chords Form: similar and dissimilar phrases Paw Paw Patch - 2-2; 3—1,2; 5-K,1; 7; 18; 21. Rhythm: h beat, even Melody: begins on do, major, repeated notes, outlines triad Harmony: I, V7chords Form: similar phrases Pick a Bale of Cotton - 1-2; 3-5; 7; 11. Rhythm: 2 beat, even Melody: begins on mi, major 7 Harmony: I, V chords Form: AB Polly wolly Doodle - 3-3,h; h-3; Rhythm: 2 beat, even Melody: begins on do, major Harmony: I, V7 chords Form: ABA Poor Wayfaring Stranger - 1-6; 9; 12; 15. Rhythm: h beat, pickup Melody: begins on la, minor Form: AB, similar phrases 61 Pop Goes the weasel - 2-3; 6; 10; 11. Rhythm: 2 beat (compound) Melody: begins on do, major 7 chords Harmony: I, IV V Form: AB Praise God From Whom All Blessings Flow - 2-5; 5-5; 9; 11; 12; 16;18;21 Rhythm: h beat, pickup, even Melody: begins on do, major, outlines triad Form: h different phrases Prayer of Thanksgiving -1-h,6; 11; 21. Rhythm: 3 beat, pickup, uneven Melody: begins on sol, major Form: h different phrases Rain, Rain, Go Away 8 1-2; h-S; 7, 19. Rhythm: 2 beats, even Melody: begins on sol, major Harmony: I chord Form: similar phrases Red River Valley - 2-5; 3-h,5; 9; 12; 15; 21. Rhythm: b beats, pickup, even Melody: begins on sol, major, outlines triad 7 Harmony: I, IV, V chords Form: verse-chorus, different phrases Reuben, and Rachel - 21 Rhythm: 2 beat, even Melody: begins on do, majorrepeated notes, outlines triad Harmony: canon 62 Riddle Song - 7, 9,12,16, 18, 19. Rhythm: h beat, pickup, even Melody: begins on sol, major, repeated notes 7 Harmony: I, IV, V chords Form: sequences Rig-a-Jig-Jig - 2-3; 3-1,2; 5-1; 17. Rhythm: 2 beat (compound), pickup Melody: begins on sol, major, repeated notes, chromatic inflection 7 chords Harmony: I, V Form: verse-chorus, sequences Rfiykmmmwhw-7,W,W. Rhythm: 2 beat, even Melody: begins on sol, major, pentatonic Harmony: I, V7 chords Form: AB, similar phrases Rise Up Shepherd, and Follow - 5-6; 12. Rhythm: h beat, pickup Melody: begins on do, major, chromatic inflection, outlines triad Form: AB, verse-chorus Rock-a-My-Soul - 3-6; 17; 18. Rhythm: h beat, syncopation Melody: begins on mi, major, outlines triad Harmony: I, V7 chords Form: ABA, uses D.C. a1 fine Row, Row, Row Your Boat - 1-h; 3-1; 5-2; 6; 8; 10; 13; 18; 21. Rhythm: 2 beat, (compound) Melody: begins on do, major, outlines triad 63 VHarmony: I, V7 chords, round Form: different phrases Sandy Land - 2-3; 3-2,3,h; 5-2; 1h; 20. Rhythm: 2 beat Melody: begins on mi, major, outlines triad Harmony: I, V7 chords Form: similar phrases Santa Lucia - 5-h; 9, 12. Rhythm: 3 beat Melody: begins on sol, major, chromatic inflection Form: verse-chorus, AB, similar phrases Scarborough Fair - 1-h; h-S; 12; 18. Rhythm: 2 beat Melody: begins on la, Dorian mode Form: different phrases Scotland's Burning - 2-2; 3-3; 5-h; 8; 10; 13; 19. Rhythm: 2 beat, even Melody: begins on sol, major, pentatonic, repeated notes, octaves Harmony: I, V7 chords, round See-Saw, Margery Daw - 19; 20. Rhythm: 2 beat (compound) Melody: begins on do, major, repeated notes, outlines triad Harmony: I, V7 chords Shalom Chaverim - 2-5; 3-5,63h-5,6; 8; 13; 20; 21. Rhythm: h beat, pickup, even Melody: begins on mi, minor Harmony: I chord, round 6h Form: different phrases She'll Be Comin' Round the Mountain - 6, 9, 12, 21. Rhythm: 2 beat, pickup, even Melody: begins on sol, major, repeated notes, outlines triad 7 Harmony: I, IV, V chords Form: strophic Shenandoah - 2-5; 3-5; 9; 12; 15; 16; 18; 19. Rhythm: h beat, 3 beat (changing meter), pickup Melody: begins on sol, major Form: strOphic Shoo Fly, Don't Bother Me - 2-3; 3-2; 11; 17; 21. Rhythm: 2 beat Melody: begins on mi, major Harmony: I, V7 chords Form: ABA, uses D.C. al fine Shortnin' Bread - 3-6; 1h. Rhythm: 2 beat. even Melody: begins on mi, major 7 chords Harmony: I, V Form: AB, verse-chorus Silent Night - 1-2,h,6; 2-2,3; 3—3,h,5,6; S-3,6; 6; 9; 12; 21. Rhythm: 6 beat (slow compound), Melody: begins on sol, major 7 Harmony: I, IV, V chords Form: similar phrases Simple Gifts - 2-5; 5-3; 20, 21. Rhythm: h beat, pickup, even 65. Melody: begins on sol ,major, repeated notes Harmony: I, IV, V7 chords Form: ABA Skip To My Lou - 1-2; 2-2; 3-1,h; h-1; S-K; 10; 15; 16; 17; 18; 19; 21. Rhythm: 2 beat, even Melody: begins on mi, outlines triad, repeated notes Harmony: I, V7 chords Form: verse-chorus, similar phrases Skye Boat Song - 1-6; 3-h; s-h,S; 12; 18; 20. Rhythm: 2 beat ( Compound) Melody: begins on sol, major, ends on sol Form: ABA, uses D.C. al fine, strophic Sleep, Baby, Sleep - 10, 18, 19, 20. Rhythm: 2 beat, even Melody: begins on mi, major Harmony: I, IV, V7 chords Form; ABA, repeated phrases Soldier, Soldier, won't You Marry Me - 3-5; 5-5; 6; 11; 19. Rhythm: h beat, pickup, even Melody: begins on sol, major Form: ABA, uses D.C. al fine, strophic Star-Spangled Banner - 1-u,6;3-h,5,6;h-h,5;5-2,3,S;9;11;12;18;21. Rhythm: 3 beat, pickup Melody: begins on sol, major, outlines triad, disjunct, wide range, chromatic inflection Form: AABC, strophic 66 Steal Away - 2-5; 9; 12; 21. Rhythm: h beat, uneven, fermata Melody: begins on do, major-minor Form: ABA, uses D.C. al fine Streets of Laredo - 1-h; 3-6; h-S; 5-6; 11; 19; 21. Rhythm: 3 beat, pickup, uneven Melody: begins on sol, major Harmony: I, V7 chords Form: strophic, similar phrases Susie, Little Susie - 1-h; 2-3 Rhythm: 3 beat Melody: begins on sol, major, conjunct Harmony: I, V7 chords Form: antecedent and consequent phrases Sweetly Sings the Donkey - 5-1; 10; 13. Rhythm: 2 beat, uneven Melody: begins on do, major, octave leaps Harmony: I, V7 chords, round Form: 3 phrases Swing Low, Sweet Chariot - 1-h; 3-6; 5-h,6; 6; 7; 9; 12. Rhythm: h beat Melody: begins on mi, major, outlines triad 7 Harmony: I, IV, V chords Form: ABA, uses D.C. al fine, antecedent and consequent phrases Tallis' Canon - 2-6; 3-6; 9. Rhythm: h beat, pickup, even Melody: begins on do, major 67 Harmony; I, IV, V7 chords Form: dissimilar phrases Taps - see Day is Done Tell Me Why - 21 Rhythm: 3 beat Melody: begins on sol, major Form: similar phrases Teddy Bear - 20; 22 Rhythm: 2 beat, even Melody: begins on sol, major, narrow range Harmony: I, V7 chords Form: strophic, similar phrases Ten in the Bed - 5-2. Rhythm: h beat, pickup; even, fermata Melody: begins on sol, repeated notes, major, outlines triad Harmony: I chord Form: ABA Ten Little Indians - 5-1; 6;17; 21. Rhythm: h beat, even Melody: begins on do, major, outlines triad, repeated notes 7 Harmony: I, V chords Form: similar phrases There's a Hole In the Bottom of the Sea - 3-h; 6. Rhythm: h beat, pickup, uneven Melody: begins on sol, major, outlines triad, repeated notes Harmony: I, V7 chords Form: Similar phrases, sequence, cumulative song 68 There's a Hole in the Bucket - 1-h; 3-h; 18. Rhythm: 3 beat, pickup, even Melody: begins on do, major, outlines triad Harmony: I, IV, V7 chords Form: strophic, similar phrases This Land Is Your Land - 3-3,5; h-3,h,6;5-2,3,5,6;18; 20. Rhythm: 2 beat, pickup, even Melody: begins on do, major, outlines triad, repeated notes Harmony: I, IV, V7 chords Form: strophic, similar phrases This Little Light of Mine - 2-h; 5-5; 6. Rhythm: h beat, uneven, sync0pation Melody: begins on sol, major Harmony: I, IV, V7 chords Form: similar phrases, strophic This Old Man - 3-1,2; h-1,2;5-K; 10; 17; 18; 19; 21. Rhythm: 2 beat, even Melody: begins on sol, major Harmony: I, IV, V7 chords Form: strophic, dissimilar phrases This Train - 2-h; 3-6; Rhythm: 2 beat,?uneven Melody: begins on do, major Harmony: I, IV, V7 chords Form: strophic, similar phrases Three Blind Mice - 2-3; 8; 13; 21. Rhythm: 2 beat (compound), 69 Melody: begins on mi, major Harmony: I, IV, V7 chords, partner song Form: similar phrases Tinga Layo - 1-h; 2-3; 3-3; h-h; 5-2,3; 20. Rhythm: h beat, pickup, uneven Melody: begins on mi, major Harmony: I, IV, V7 chords Form: ABA Train Is A-Coming - 2-2; 3-2; 5-K,2; 6; 7. Rhythm: h beat, pickup, even Melody: begins on do, major, wide range Harmony: I, V7 chords Form: strophic, similar phrases Tumbalalaika - 1-h; 2-6; 3-5; 6; 18; 20. Rhythm: 3 beat, verse-even, refrain-uneven Melody: begins on mi, minor, wide range, repeated notes Harmony: i, iv, V7 chords Form: AB, verse-refrain Turkey in the Straw - 1-6; 9; 12; 15; 16. Rhythm: h beat, pickup Melody: begins on mi, major, outlines triad, repeated notes Harmony: I, IV, V7 chords Form: AB, verse-chorus, similar phrases Twelve Days of Christmas - 1-h; 3-5,6; 6; 9; 12. Rhythm: h beat, 3 beat, (changing meter), pickup Melody: begins on sol, major, chromatic inflection Harmony: I, IV, V7, V/V chords Form: similar phrases, cumulative 7O Twinkle, Twinkle Little Star - 5-K,2; 6; 10; 18; 21. Rhythm: h beat, even Melody: begins on do, major, descendingline, repeated notes Harmony: I, IV, V7 chords Form: ABA Tzena, Tzena - 2-6; 3-5; 6; 18. Rhythm: h beat, uneven, syncopation Melody: begins on do, major, outlines triad, repeated notes Harmony: I, IV, V7 chords Form: AAB Up On the Housetop - 5-1; 22. Rhythm: h beat, even Melody: begins on sol, major, outlines triad Harmony: I, IV V7 chords Form: AB, verse-chorus waltzing Matilda - 1-6; 12. Rhythm: 2 beat, 3 beat (changing meter), even Melody: begins on mi, major, outlines triad Form: AB, verse-chorus we Gather Together - see Prayer of Thanksgiving we Three Kings - 1-h; 9; 11. Rhythm: 3 beat, even, fermata Melody: (begins on mi, minor-major (changing mode) Form: AB, verse-chorus, similar phrases We Wish You A Merry Christmas - 3-1,2,h; h-1; 5-K; 21. Rhythm: 3 beat, pickup, even Melody: begins on sol, major, octave leaps 71 Form: ABA, sequences When Johnny Comes Marching Home - 2-5; 3-2; 5-3; 6; 12; 15; 18; 21. Rhythm: 2 beat (compound), pickup Melody: begins on mi, minor Harmony: i, III, V7 Form: similar phrases When The Saints Go Marching In - 2-5; 3-5; u-h,s; 6; 18; 21. Rhythm: 2 beat, pickup Melody: begins on do, major, outlines triad Harmony: I, IV, V7 chords Form: similar phrases Where Is Thumbkin? - S-K, 6; 10; 21. Rhythm: h beat, even Melody: begins on do, major 7 Harmony: I, V chords Form: similar phrases White Coral Bells - 1-h; 5-3; 13; 22. Rhythm: h beat Melody: begins on do, major, wide range Harmony: I, IV, V7 chords, round Form: strophic, dissimilar phrases Who's That Tapping At My Window - 1-2; 7; 17; 20. Rhythm: 2 beat, even Melody: begins on do, major, pentatonic, narrow range 7 Harmony: I, V chords Form: similar phrases 72 Willie, Take Ybur Little Drum - see Patapan Yankee Doodle - 1-2; 3-3,h,6; u-o; S-K,1,2,3; 9;11;15;16;17;21. Rhythm: 2 beat, even Melody: begins on do, major Harmony: I, IV, V7 chords Form: AB, verse-chorus Zum Gali Gali - 1-6; 5-3; 18; 21. Rhythm: h beat, even Melody: begins on la, minor Harmony: i, V7 chords Form: AAB, strophic NOTES NOTES 1 Carl E. Seashore, Why We: Love Music, (New York: Oliver Ditson, 19111), p- S. 2 Bjornar Bergethon and Eunice Boardman, Musical Eggwth_ig tbs Elementary Sghggl, (New Ybrk: Holt, Rinehart, and Winston, 1970), p. 3. 3 1 Corinthians 111:15 '4 Peter Erdei, fig American 22.1.1: @253 1.3 m, .8333: 21.19. 113;; (New York: Boosey & Hawkes, 197k), p. v. 5 Jane Yolen and Barbara Green, Rounds About Rounds, (New York: Franklin watts, 1977), p. h. 73 BIBLIOGRAPHY BIBLIOGRAPHY BASIC ELEMENTARY TEXTS Boardman, Eunice and Beth Landis. Ex lorin Music. New York: Holt Rinehart and Winston, Inc., 196g Choate, Robert A., Richard C. Berg, Lee Kjelson, Eugene w. Troth. New Dimensions _i_r_1. Music. New York: American Book Company, 1976. Crook, Elisabeth, Bennett Reimer, and David S. welker. Music. Morristown, New Jersey: Silver Burdett General Learning Corp., 197k. Gelineau, Phyllis. Songs I2_Action. New York: McGraw-Hill Book Company, 197k. Landeck, Beatrice, Elizabeth Crook, and Harold C. Youngberg. Making Music Your Own. Morristown, New Jersey: Silver Burdett Company, 1965- Leonhard, Charles, Beatrice Perham Krone, Irving wolfe, and Margaret Fullerton. Discovering Music Together. Chicago: Follett Publishing Company, 1966. FOLK SONG COLLECTIONS Boni, Margaret, ed. Fireside Book 2; Favorite American Song . New York: Simon and Schuster, 1992. Boni, Margaret, ed. Fireside Book 25 Folk Song . New York: Simon and Schuster, 19u7. Bradford, Louise Larkins. Sing_ It Yourself. Sherman Oaks, CA: Alfred Publishing Co., Inc., 197 Downes, Olin and Elie Siegmeister. A_Treasggz 25 American Song. New York: Alfred A. Knopf, 191:3. Erdei, Peter, ed. 150 American Folk Son 5 toS ng, Read, and Pl 1. New York: Boosey Hawkes, Inc., 1975.- Ives, Burl. The Burl Ives Song Book. New York: Ballantine Books, 1953. Morehead, James and Albert Morehead. Best Loved Songs_ and HZEE.‘ Cleveland: The World Publishing Company, “1965. 7h 75 Taylor, Mary Catherine and Carol Dyk. The Book 22 Rounds. New York: EQPO mtton’1977 0 Winn, Marie, ed. The Fireside of Children' 5 Songs. New York: Simon and Schuster, 196. Yolen, Jane, ed. Rounds About Rounds. New YOrk: Franklin Watts, 1977. OTHER SOURCES Annett, Thomas. Music For Recreation. LaCrosse, Wisconsin: Wisconsin State College, 1952. Beckman, Frederick. Partner Songs. Boston: Ginn and Co., 1952. 2, More Partner Song . Boston: Ginn and Co., 1958. Bergethon, Bjornar and Eunice Boardman. Musical Growth in the Elementary School. New York: Holt, Rinehart and Winston, Inc., 1970. Cahn, Meyer M. The Music Listener's Guide. San Francisco: City College, 1953. Choksy, Lois. The Kodal Method. Englewood Cliffs, N.J.: Prentice- Hall, Inc., 197 Clemens, James. R. The Music Box - 150 gaperiences_ With Music. Carson City, CA: Educational Insights, _1971. 1 Corinthians 1h:1S Grant, Parks. Music For Elementary Teachers. New York: Appleton- Century-Crofts, Inc., 1960. Hughes, William.0. A_Concise Introduction To Teaching Elementary School Music. Belmont, CA: wadsworth Publishing Company, Inc. 1973. Hurd, Lyman C. III. First Ekperiences In Music. San Diego, CA: wadsworth Publishing Company, 1966_’ ' Jones, Archie N.ed.,Music Education In Action. Boston: Allyn and Bacon, 1960. Kennan, Kent Wheeler. Technigue 2£_0rchestration. Englewood Cliffs, N.J.: Prentice-Hall, Inc. 1970, Knuth, Alice Snyder and William E. Knuth. Basic Resources For Learning Music. Belmont, CA: wadsworth Publishing Co., 1966. 76 Moore, Karen. Note. Stevensville, MI: Educational Services, Inc., 1972. Myers, Louise Kife. Music Fundamentals Through Song. New York: Prentice-Hall,lnc., 19 . meaning-12222. MENC- Restons VA., 1973. Seashore, Carl E. W x Wg_Love Music. New York: Oliver Ditson, 19h1. Surplus, Robert W. The AlEhabet 2; Music. Minneapolis, Minn.: Lerner Publications Co., 1963. Thomas, Edrie. 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