Eyes and Ears

(Clairnote DN Version )

An Anthology of Melodies for Sight-Singing

(in Clairnote DN Music Notation)

Based on the original version in standard music notation by

Benjamin Crowell, converted to Clairnote DN music notation by Paul Morris

This Clairnote DN version is copyright ©2017, 2018 Paul Morris.

All rights reserved.

Permission is granted to copy, distribute and/or modify this document under the terms of the

Creative Commons Attribution Share-Alike License, which can be found at the Creative

Commons website: https://creativecommons.org

The Clairnote web site provides the book for downloading free of charge: http://clairnote.org/dn/

The ways in which the Clairnote DN version differs from the original version include the following. The

Clairnote DN version has no text to indicate that a given melody is famous and no footnotes to indicate

titles and composers of melodies (refer to the table of contents instead). The thematic index only

includes melody numbers, not page numbers. Sections of chapters do not automatically start on a new

page. A few sentences that were not relevant to Clairnote DN music notation have been omitted from

the introduction to chapter six (The C Clef). The texts describing melodies 36, 37, 42, and 43 have been

modified to reflect the Clairnote DN staff.

The original version in standard music notation is copyright ©2004 Benjamin Crowell.

All rights reserved.

rev. November 4, 2005

With permission granted to copy, distribute and/or modify it under the terms of the

Creative Commons Attribution Share-Alike License, which can be found at the Creative

Commons website: https://creativecommons.org

Further details about the original version and the copyrights of the individual melodies are

available from the website of the original version: www.lightandmatter.com/sight/sight.html

Brief Contents

Chapter 1 : Rhythm 1

1-1 Whole, Half, and Quarter Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

1-2 3/4 Time, and Dotted Half-Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

1-3 Eighth Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

1-4 Dotted Quarter Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

1-5 Sixteenth Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

1-6 Dotted Eighth Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

1-7 Compound Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

1-8 Syncopation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

1-9 Triplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Chapter 2 : Major Keys 5

2-1 Introduction to Solfeggio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

2-2 Melodies Containing Only Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

2-3 Leaps to `Do' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

2-4 Leaps Back to Remembered Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

2-5 Easy Leaps Within the Tonic Triad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

2-6 The Leap of a Fifth Within the Tonic Triad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

2-7 Leaps of a Sixth Within the Tonic Triad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

2-8 Leaps Within the Dominant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

2-9 Wider Leaps Within the Dominant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Chapter 3 : Minor Keys 36

3-1 Solfeggio in the Minor Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

3-2 Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

3-3 Leaps Within the Tonic Triad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

3-4 Leaps Within the Dominant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Chapter 4 : Other Diatonic Materials 50

4-1 Leaps Between the Tonic and Dominant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

4-2 Leaps Within the Subdominant, Major Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

4-3 Wide Leaps Within the Subdominant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

4-4 Leaps Within the Subdominant, Minor Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

4-5 Leaps of a Seventh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

4-6 Other Perfect Fourths and Fifths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

4-7 The Diminished Seventh Chord, and the Harmonic Minor Scale . . . . . . . . . . . . . . . . . . . . . . . . 81

Chapter 5 : Nondiatonic Materials 83

5-1 Secondary Dominants and Chromatic Passing Tones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

5-2 Blue Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

5-3 Relative Minor and Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Chapter 6 : The C Clef 99

Contents

Chapter 1 : Rhythm 1

1-1 Whole, Half, and Quarter Notes 1

1 rhythm of Twinkle Twinkle, Little Star, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

2 rhythm of Little Brown Jug, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

3 rhythm of Bingo, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

4 rhythm of Rain, Rain, Go Away, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

5 rhythm of O Come, All Ye Faithful, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

1-2 3/4 Time, and Dotted Half-Notes 2

6 rhythm of We Three Kings, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

7 rhythm of Take Me Out to the Ball Game, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

1-3 Eighth Notes 2

8 rhythm of O Little Town of Bethlehem, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

9 rhythm of We Wish You a Merry Christmas, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

10 rhythm of This Old Man, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

11 rhythm of Hush Little Baby, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

1-4 Dotted Quarter Notes 2

12 rhythm of Jingle Bells, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

13 rhythm of Jimmy Crack Corn, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

14 rhythm of Away in a Manger, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

15 rhythm of Rockabye Baby, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

16 rhythm of Home On the Range, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

1-5 Sixteenth Notes 3

17 P.I. Tchaikovsky, rhythm of trepak from The Nutcracker, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

1-6 Dotted Eighth Notes 3

18 rhythm of Alouette, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

19 P.I. Tchaikovsky, rhythm of waltz of the flowers from The Nutcracker, 3/4 . . . . . . . . . . . . . . . . . . . . 3

20 rhythm of I've Been Working on the Railroad, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

1-7 Compound Time 4

21 rhythm of Here We Go Round the Mulberry Bush, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

22 rhythm of The Itsy-Bitsy Spider, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

23 rhythm of Pop Goes the Weasel, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

24 rhythm of Row, Row, Row Your Boat, 12/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

1-8 Syncopation 4

25 Scott Joplin, rhythm of The Entertainer, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

1-9 Triplets 4

26 P.I. Tchaikovsky, rhythm of march from The Nutcracker, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Chapter 2 : Major Keys 5

2-1 Introduction to Solfeggio 5

2-2 Melodies Containing Only Steps 6

27 B. Crowell, C major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

28 B. Crowell, C major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

29 B. Crowell, C major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

30 Beethoven, Ode to Joy, C major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

31 B. Crowell, G major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

32 B. Crowell, G major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

33 anonymous, carol (Bohemia), D major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

34 J.S. Bach, Chorale, `Herr, wie du willst, so schick's mit mir', A major, 4/4 . . . . . . . . . . . . . . . . . . . . 8

35 Pierre Latour, The Beautiful Angel, E major, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

36 L.R. Lewis, B major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

37 B. Crowell, B� major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

38 L.R. Lewis, B� major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

39 B. Crowell, E� major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

40 B. Crowell, A� major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

41 B. Crowell, D� major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

42 B. Crowell, G� major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

43 B. Crowell, G major, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

44 B. Crowell, C major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

45 L.O. Emerson, Whither Through the Meadow?, C major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

46 B. Crowell, C major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

47 B. Crowell, G major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

48 L.R. Lewis, C major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

49 L.R. Lewis, C major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

50 L.R. Lewis, C major, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

51 L.R. Lewis, B� major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

2-3 Leaps to `Do' 12

52 B. Crowell, G major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

53 B. Crowell, F major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

2-4 Leaps Back to Remembered Notes 12

54 B. Crowell, C major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

55 J.S. Bach, Chorale, `Seelenbräutigam,, Jesu, Gottes Lamm', A major, 4/4 . . . . . . . . . . . . . . . . . . . . 12

56 J.S. Bach, Chorale, `Jesu, meiner Seelen Wonne', A major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . 12

57 B. Crowell, G major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

58 anonymous, folk song, C major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

2-5 Easy Leaps Within the Tonic Triad 13

59 Beethoven, opening theme of Symphony #3 (`Eroica'), E� major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . 13

60 B. Crowell, G major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

61 B. Crowell, G major, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

62 B. Crowell, G major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

63 W.H. Latham, Broadway Sights, A major, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

64 anonymous, A la Claire Fontaine (France), F major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

65 Pergolesi, aria `Sancta Mater' from Stabat Mater, G major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . 14

66 A.S. Sullivan, E� major, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

67 anonymous, A Recouvrance (France), F major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

68 Froebel, Pat-a-Cake, C major, 12/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

69 anonymous, Carmela (Mexico), E� major, 4/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

70 anonymous, My Father, How Long? (Florida), F major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

71 J.S. Bach, Chorale, `Es ist gewisslich an der Zeit', B� major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . 15

72 anonymous, Annie Laurie, C major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

73 H.S. Cutler, The Son of God Goes Forth to War, B� major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

74 Martin Luther, We Come Unto Our Father's God, G major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . 16

75 anonymous, Lawlan' Jenny (Scotland), D major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

76 Stephen Foster, Hard Times Come Again No More, E� major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . 17

77 H. Burgess Weston, Row, Burnie, Row, E� major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

78 anonymous, En Revenant d'Auvergne (France), B� major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

79 anonymous, Entendez-Vous Sur l'Ormeau (France), F major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . 17

2-6 The Leap of a Fifth Within the Tonic Triad 18

80 B. Crowell, G major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

81 B. Crowell, G major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

82 Alessandro Scarlatti (1649-1725), Su, Venite a Consiglio, G major, 3/4 . . . . . . . . . . . . . . . . . . . . . 18

83 J.J. Rousseau, Hush, My Babe, F major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

84 anonymous, Dans la Forêt Lointaine (France), F major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

85 anonymous, The Beggar Girl (England), F major, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

86 Alice Hawthorne, Home, By and By, F major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

87 Froebel, Beckoning the Pigeons, G major, 3/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

88 B. Crowell, F major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

2-7 Leaps of a Sixth Within the Tonic Triad 19

89 B. Crowell, G major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

90 B. Crowell, G major, 9/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

91 Franz Wohlfahrt, F major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

92 anonymous, As-Tu Vu la Casquette? (France), G major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

93 anonymous, Praise, Member (South Carolina), G major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

94 Froebel, Beckoning the Chickens, F major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

95 anonymous, folk song, G major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

96 anonymous, Poor Rosy (South Carolina), G major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

97 anonymous, Poor Rosy (South Carolina), C major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

98 W.T. Wrighton, The Dearest Spot on Earth, B� major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

99 anonymous, Absent Davie (Scotland), D major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

100 B. Crowell, A major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

101 B. Crowell, B� major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

2-8 Leaps Within the Dominant 22

102 W.A. Mozart, allegro from `Eine kleine Nachtmusik', F major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . 22

103 W.A. Mozart, Duet No. 2, Menuet, from 12 Duets, K.V. 487, G major, 3/4 . . . . . . . . . . . . . . . . . . . . 22

104 anonymous, folk song, G major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

105 anonymous, Derrièr’ Chez Nous il y a Trois Fleurs (France), G major, 2/4 . . . . . . . . . . . . . . . . . . . 22

106 John Parry, Villikins and His Dinah, E� major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

107 anonymous, Ännchen von Tharau (Germany), G major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

108 anonymous, Ah! Mon Beau Château! (France), A major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

109 anonymous, Ainsi Font, Font, Font (France), G major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

110 John Husband, Revive Us Again, C major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

111 anonymous, Lightly Row (Spain), F major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

112 anonymous, God Speed the Right (Germany), C major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

113 W.A. Mozart, aria (Papageno) from `The Magic Flute', G major, 2/4 . . . . . . . . . . . . . . . . . . . . . . 24

114 anonymous, Schönster Schatz, Mein Engel, D major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

115 anonymous, Down in the Valley, C major, 9/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

116 anonymous, Musieu Bainjo (Louisiana), G major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

117 anonymous, Brother, Guide Me Home (Tennessee), A major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . 25

118 anonymous, Serenata (California), B� major, 2/2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

119 W.A. Mozart, adagio from string quartet # 1, G major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

120 J.S. Bach, Chorale, `Es spricht der Unweisen Mund wohl', B� major, 4/4 . . . . . . . . . . . . . . . . . . . . 25

121 Nikolaus Beuttner, Es kam ein treuer Bote, F major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

122 J.S. Bach, Chorale, `Valet will ich dir geben', D major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

123 J.S. Bach, Chorale, `Wie bist du Seele in mir so gar betrübt', G major, 4/4 . . . . . . . . . . . . . . . . . . . 26

124 anonymous, Gardez Piti Milatte-là (Louisiana), B� major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . 26

125 anonymous, Shout On, Children (Georgia), A major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

126 Franz Schubert, Wohin?, G major, 4/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

127 J.S. Bach, Chorale, `Liebster Jesu, wir sind hier', G major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . 26

128 Haydn, menuet Oxford symphony, G major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

129 J.S. Bach, Chorale, `Mach's mit mir, Gott, nach deiner Gut', D major, 4/4 . . . . . . . . . . . . . . . . . . . 27

130 Franz Schubert, Halt!, C major, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

131 Holst, Venus theme from The Planets, D major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

132 anonymous, Serenata (California), B� major, 2/2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

133 anonymous, If Your Foot Is Pretty, Show It (United States), D major, 3/8 . . . . . . . . . . . . . . . . . . . . 27

134 B. Crowell, G major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

2-9 Wider Leaps Within the Dominant 28

135 Katharine Lee Bates, America the Beautiful, C major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

136 anonymous, Eli Yale, B� major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

137 anonymous, Krambambuli, D� major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

138 anonymous, Go 'Way, Old Man (Louisiana), E� major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

139 anonymous, Our Baby (France), A major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

140 anonymous, Aux Marches du Palais (France), F major, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

141 J.S. Bach, Chorale, `Herr, wie du willst, so schick's mit mir', A major, 4/4 . . . . . . . . . . . . . . . . . . . 29

142 J.S. Bach, minuet, D� major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

143 anonymous, Arlequin Tient Sa Boutique (France), A major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . 29

144 anonymous, Ballade de Roland (France), G major, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

145 anonymous, folk song, G major, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

146 anonymous, Tu Eres Mas Bella (Costa Rica), F major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

147 anonymous, Praise, Member (South Carolina), G major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

148 anonymous, Wach' Auf, Mein Hort, F major, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

149 anonymous, Barbara Allan (Scotland), B major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

150 anonymous, I'm a Pilgrim (Italy), G major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

151 Haydn, finale, London symphony, D major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

152 anonymous, Dans Notre Jardin (France), F major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

153 anonymous, The Gypsy Warning (Missouri), E� major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

154 anonymous, Jungfrälein, Soll Ich Mit Euch Gehn, F major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . 32

155 B. Crowell, G major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

156 Richard Strauss, Not Yet, A� major, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

157 anonymous, Ah, Suzette, Chère (Louisiana), E� major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

158 anonymous, La Paloma Blanca (Arizona), F major, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

159 Franz Schubert, Das Wandern, B� major, 4/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

160 B. Crowell, C major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

161 anonymous, Chill Ether (Scotland), E� major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

162 anonymous, folk song, A� major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

163 anonymous, folk song, A major, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

164 J.S. Bach, Chorale, `Nun ruhen alle Walder', B� major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

165 J.S. Bach, Chorale, `Wenn wir in höchsten Nöten sein', G major, 4/4 . . . . . . . . . . . . . . . . . . . . . . 34

166 anonymous, The Duke of Argyle's Courtship (Scotland), D major, 3/4 . . . . . . . . . . . . . . . . . . . . . . 35

167 Harold Samuel, The Fairy Boat, G major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

168 anonymous, Gar Lieblich Hat Sich Gesellet, F major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

169 B. Crowell, B� major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Chapter 3 : Minor Keys 36

3-1 Solfeggio in the Minor Mode 36

3-2 Steps 37

170 B. Crowell, A minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

171 B. Crowell, A minor, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

172 B. Crowell, A minor, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

173 B. Crowell, A minor, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

174 L.R. Lewis, A minor, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

175 L.R. Lewis, A minor, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

176 L.R. Lewis, D minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

177 L.R. Lewis, D minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

178 L.R. Lewis, D minor, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

179 L.R. Lewis, D minor, 3/2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

180 Johann Sebastian Bach (1685-1750), gavotte in G minor, G minor, . . . . . . . . . . . . . . . . . . . . . . . 39

181 L.R. Lewis, A minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

3-3 Leaps Within the Tonic Triad 40

182 B. Crowell, C minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

183 B. Crowell, C minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

184 G.A. Wedge, C minor, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

185 B. Crowell, Who Got Dirt on the Carpet Again?, C minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . 40

186 B. Crowell, C minor, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

187 B. Crowell, C minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

188 G.A. Wedge, F minor, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

189 G.A. Wedge, F minor, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

190 G.A. Wedge, F minor, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

191 B. Crowell, F minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

192 J.S. Bach, Chorale, `Herr, nun lass in Friede', A minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

193 anonymous, Every Hour in the Day (Georgia), E minor, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

194 anonymous, Forget na', dear Lassie (Scotland), A minor, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

195 J.S. Bach, Chorale, `Es steh'n vor Gottes Throne', G minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . 42

196 W.A. Mozart, theme from symphony in G minor, G minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . 42

197 anonymous, Thou Poor Bird, C minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

3-4 Leaps Within the Dominant 43

198 G.A. Wedge, G minor, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

199 G.A. Wedge, G minor, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

200 anonymous, My Field (Russia), G minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

201 B. Crowell, G minor, 9/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

202 G.A. Wedge, G minor, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

203 G.A. Wedge, G minor, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

204 G.A. Wedge, C minor, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

205 J.S. Bach, melody from the notebook for Anna Magdalena, G minor, 3/4 . . . . . . . . . . . . . . . . . . . . 44

206 anonymous, lullabye (Russia), E� minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

207 anonymous, Las Tristes Horas, E minor, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

208 G.A. Wedge, G minor, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

209 Froebel, The Wolf, C minor, 4/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

210 anonymous, Guten Abend, G minor, 3/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

211 J.S. Bach, Gavotte II from cello suite # 5, C minor, 12/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

212 anonymous, Lolotte (Louisiana), C minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

213 W.A. Mozart, menuet from string quartet # 15, D minor, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

214 anonymous, Los Ojos Mexicanos (Mexico), G minor, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

215 Maude Valerie White, Ophelia's Song, E minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

216 J.S. Bach, Chorale, `Nun sich der Tag geendet hat', A minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . 46

217 anonymous, Reir Es Necesario (Mexico), D minor, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

218 anonymous, En Avant, Grénadiers! (Louisiana), E� minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . 47

219 anonymous, Angel de Mis Amores (Mexico), D minor, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

220 Franz Schubert, Am Feierabend, A minor, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

221 J.S. Bach, Chorale, `O Traurigkeit, o Herzeleid', A minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . 47

222 Johannes Brahms, Nachtwache 1, B minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

223 anonymous, Mi Sueño (Mexico), C� minor, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

224 J.S. Bach, Chorale, `O Haupt voll Blut und Wunden,' from St. Matthew's Passion, D minor, 4/4 . . . . . . 48

225 J.S. Bach, Chorale, `Von Gott will ich nicht lassen', B minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . 48

226 G.A. Wedge, G minor, 4/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

227 G.A. Wedge, G minor, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

228 G.F. Handel, aria `O Jordan, Sacred Tide' from Esther, G minor, 3/4 . . . . . . . . . . . . . . . . . . . . . . 49

229 anonymous, Go Down, Moses (Unites States), G minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Chapter 4 : Other Diatonic Materials 50

4-1 Leaps Between the Tonic and Dominant 50

230 anonymous, Ya Viene El Alba (California), G major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

231 Alessandro Scarlatti (1649-1725), Già il Sole dal Gange, A� major, 3/4 . . . . . . . . . . . . . . . . . . . . . 50

232 Franz Schubert, Danksagung an den Bach, G major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

233 Grieg, E minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

234 anonymous, zandunga folk song (Southern Mexico), E minor, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . 51

235 Giulio Carcini (1546-1614), Amarilli, Mia Bella, G minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . 51

4-2 Leaps Within the Subdominant, Major Keys 51

236 anonymous, Jehovah, Hallelujah (South Carolina), F major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . 51

237 anonymous, Arlequin Marie Sa Fille (France), C major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

238 anonymous, folk song, F major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

239 anonymous, folk song, F major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

240 Stephen Foster, Old Folks at Home, D major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

241 anonymous, Lang Johnny More (Scotland), F major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

242 anonymous, The Bonniest Lass in a' The Land (Scotland), C major, 2/4 . . . . . . . . . . . . . . . . . . . . 53

243 anonymous, Old Hundred, G major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

244 anonymous, Da Unten Im Tale, E� major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

245 anonymous, I Want To Be Ready (United States), E� major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . 54

246 G.B. Fasolo (17th century), Cangia, Cangia Tue Voglie, C major, 2/4 . . . . . . . . . . . . . . . . . . . . . . 54

247 anonymous, The Ash Grove (Wales), F major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

248 W.H.C. West, The Jenny Lind Mania (United States), G major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . 54

249 anonymous, Au Jardin de Mon Père (France), F major, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

250 Richard Strauss, Devotion, C major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

251 anonymous, I Ride an Old Paint (United States), D major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . 55

252 J.G. Whittier, Song of the Free, E� major, 3/2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

253 G.F. Handel, aria `Hush ye pretty warbling quire' from Acis and Galatea, F major, 3/8 . . . . . . . . . . . 55

254 Tallis, If Ye Love Me, F major, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

255 anonymous, The Huntsman, B� major, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

256 Thomas Moore, Evening Bells, G� major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

257 anonymous, Sinner Won't Die No More (Tennessee), A major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . 56

258 W.A. Mozart, opening from clarinet quintet, A major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

259 anonymous, The Gold Band (Tennessee), G major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

260 Pergolesi, tune from Stabat Mater, G major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

261 anonymous, Bonnie Wee Window (Arkansas), E major, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

262 J.S. Fearis, Beautiful Isle of Somewhere, A� major, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

263 W.B. Bradbury, He Leadeth Me, B major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

264 M.D. Sullivan, The Blue Juniata, F major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

265 anonymous, Red River Valley, E major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

266 anonymous, I'm In Trouble (Florida), C major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

267 Haydn, introduction, London symphony, D major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

268 anonymous, Rosa Lee, A� major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

269 anonymous, My Lodging Is On the Cold Ground, A major, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . 59

270 anonymous, Cowboy's Home Sweet Home (Arkansas), G major, 12/8 . . . . . . . . . . . . . . . . . . . . . . 59

271 anonymous, Calinda (Louisiana), F major, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

272 anonymous, The Braes O Yarrow (Scotland), C major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

273 anonymous, Gaudeamus Igitur, G major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

274 W.A. Mozart, andante from string quartet # 2, A major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

275 anonymous, The Wild Moor (Missouri), B major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

276 Brahms, introduction, 1st symphony, C major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

277 anonymous, Caroline (Louisiana), G major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

278 anonymous, Avril (France), E� major, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

279 W.A. Mozart, menuet from string quartet # 10, C major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

280 anonymous, The Hallowed Spot (Missouri), A� major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

281 anonymous, folk song (Russia), G major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

282 anonymous, The Ship That Never Returned (Missouri), A major, 2/4 . . . . . . . . . . . . . . . . . . . . . . 62

283 Pier Domenico Paradies (1710-1792), M'ha Preso Alla Sua Ragna, A� major, 2/4 . . . . . . . . . . . . . . . 62

284 anonymous, Die Sonne Scheint Nicht Mehr, E major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

285 anonymous, Ubi Bene, Ibi Patria, C major, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

4-3 Wide Leaps Within the Subdominant 63

286 W.A. Mozart, presto from string quartet # 4, C major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

287 J. Ellor (1819--1899), Diadem, B� major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

288 W.A. Mozart, rondo from string quartet # 6, B� major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

289 anonymous, Adieu, Bonne Hôtesse (France), F major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

290 anonymous, Derrière Chez Moi (France), F major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

291 Stephen Foster, The Song of All Songs, F major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

292 S.W. Gladden, The Mountains, B� major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

4-4 Leaps Within the Subdominant, Minor Keys 65

293 G.A. Wedge, F minor, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

294 G.A. Wedge, F minor, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

295 G.A. Wedge, C minor, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

296 B. Crowell, G minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

297 anonymous, Hanukah O Hanukah, D minor, 4/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

298 anonymous, Vivo Llorando la Suerte (Mexico), D minor, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

299 W.A. Mozart, Osanna (bass solo, allegro) from Sanctus, Requiem, D major, 3/4 . . . . . . . . . . . . . . . . 67

300 J.S. Bach, trio from Brandenburg concerto # 1, D minor, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

301 anonymous, Que No Te Amo (Mexico), G minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

302 anonymous, folk song (Russia), D minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

303 anonymous, folk song (Russia), F minor, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

304 anonymous, Entre Vous Tous Gens de la Ville (France), F minor, 3/4 . . . . . . . . . . . . . . . . . . . . . . 68

4-5 Leaps of a Seventh 68

305 W.A. Mozart, menuet from string quartet # 8, F major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

306 C. Hess, Little Charley Went a Fishing, F major, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

307 anonymous, folk song, A major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

308 anonymous, Carmela (Mexico), E� major, 4/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

309 W.A. Mozart, menuet from string quartet # 1, C major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

310 anonymous, Gwine Follow (South Carolina), A major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

311 Felix Mendelssohn, aria `If with all your hearts ye truly seek me' from Elijah, E� major, 3/4 . . . . . . . . . 70

312 T.H. Bayly, Long, Long Ago, D� major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

313 anonymous, Cradle Song, F major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

314 anonymous, Widdecombe Fair (England), C major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

315 anonymous, Walk, Shepherdess, Walk (Arkansas), C major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . 71

316 anonymous, Reir Es Necesario (Mexico), F major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

317 anonymous, folk song (Russia), A major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

318 anonymous, A Quinze Ans (France), G minor, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

319 W.A. Mozart, menuet from string quartet # 8, F major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

320 W.A. Mozart, presto from string quartet # 7, E� major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

321 anonymous, Upidee, G major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

4-6 Other Perfect Fourths and Fifths 73

322 W.A. Mozart, opening from string quartet # 4, C major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

323 anonymous, folk song, G major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

324 anonymous, La Rana (Mexico), D major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

325 George Poulton, Aura Lee, F� major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

326 C.M. von Weber, Softly Now the Light of Day, A major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

327 Charles K. Harris, After the Ball, B� major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

328 A.S. Sullivan, Take a Pair of Sparkling Eyes, F major, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

329 A.S. Sullivan, Sing Hey to You, Good-Day to You!, G major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . 74

330 Stephen Foster, Slumber My Darling, E� major, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

331 S.C. Foster, Gentle Annie, E major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

332 anonymous, Were You Ever in Rio Grand, B major, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

333 Nikolai Rimsky-Korsakov, Scheherezade (theme from third movement), C major, 6/8 . . . . . . . . . . . . . 75

334 Beethoven, opening movement from string quartet # 1, F major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . 76

335 W.A. Mozart, trio from string quartet # 1, C major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

336 Franz Abt, Kathleen Aroon, G major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

337 anonymous, folk song (Germany), D major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

338 Thomas Moore, Love's Young Dream, G major, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

339 Attributed to Guiseppe Giordiano, 1748--1798, Caro Mio Ben, D major, 4/4 . . . . . . . . . . . . . . . . . . 77

340 anonymous, Rémon (Louisiana), F major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

341 anonymous, Juanita, D major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

342 H.S. Thompson, Lilly Dale, B� major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

343 anonymous, Vámonos por Santa Anita, G major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

344 Pergolesi, aria from Stabat Mater, G major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

345 J.S. Bach, menuet II from cello suite # 2, D major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

346 Brahms, introduction, 1st symphony, C major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

347 anonymous, processional march song (Germany), D major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . 79

348 Darius Milhaud, Chant de Sion, A� major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

349 anonymous, Sagt Mir, O Schönste Schäf'rin Mein, A major, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . 80

350 anonymous, Gunhilde, F major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

351 anonymous, Ach, Englische Schaeferin, F major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

352 J.S. Bach, Chorale, `Wär' Gott Nicht Mit Uns Diese Zeit', C major, 4/4 . . . . . . . . . . . . . . . . . . . . . 80

353 G.F. Handel, Angels Ever Bright and Fair, E� major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

354 Beethoven, allegro from string quartet # 6, B� major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

4-7 The Diminished Seventh Chord, and the Harmonic Minor Scale 81

355 B. Crowell, A minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

356 anonymous, O Daniel (Florida), D minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

357 Johann Sebastian Bach (1685-1750), Invention 2, C minor, . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

358 W.A. Mozart, andante un poco allegretto from string quartet # 5, A minor, 4/4 . . . . . . . . . . . . . . . . . 82

359 Abraham Goldfaden, Raisins with Almonds, A minor, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Chapter 5 : Nondiatonic Materials 83

5-1 Secondary Dominants and Chromatic Passing Tones 83

360 Martin Luther, A Mighty Fortress Is Our God, D major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

361 anonymous, Kevin Barry (Ireland), C major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

362 B. Crowell, Who Got Dirt on the Carpet Again?, C minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . 83

363 Ithamar Conkey, God is Love, His Mercy Brightens, G major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . 84

364 Shoals, Valedictory, G major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

365 anonymous, Autrefois le Rat de Ville (France), G major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

366 Samuel Webbe, Come, Ye Disconsolate, B� major, 2/2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

367 M. Keller, Angel of Peace, F major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

368 J.A. Butterfield, When You and I Were Young, C� major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

369 I.B. Woodbury, Speed Away! Speed Away!, A major, 3/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

370 W.A. Mozart, aria from the Magic Flute, E� major, 3/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

371 anonymous, Let God's Saints Come In (Virginia), G major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . 86

372 anonymous, Vivo Penando (California), F major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

373 anonymous, Allan Maclean (Scotland), G major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

374 Alessandro Stradella (1645-1681), Ragion Sempre Addita, A major, 3/8 . . . . . . . . . . . . . . . . . . . . 87

375 anonymous, Dans le Port, Il Est Arrivé (France), G major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . 87

376 George F. Root, Brother, Tell Me of the Battle, D major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

377 George Cooper, Beautiful Bells, A� major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

378 J.H. McNaughton, The Faded Coat of Blue, G major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

379 W.A. Mozart, menuet from string quartet # 1, C major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

380 Haydn, adagio poco cantabile from string quartet, Op. 73, #3 (`Emperor'), G major, 4/4 . . . . . . . . . . . 88

381 anonymous, Crepúsculo (Mexico), D major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

382 anonymous, Media Noche (California), E� major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

383 Pergolesi, tune from Stabat Mater, F minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

384 J.S. Bach, Bourrée II from orchestral suite #2, B minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

385 anonymous, The Cruel Mother (England), E� major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

386 Alice Hawthorne, Out of Work, A� major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

387 Scott Joplin, The Easy Winners, C major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

388 Gus Edwards, In My Merry Oldsmobile, G major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

389 anonymous, Erlaube Mir, Fein's Mädchen,, F major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

390 J.S. Bach, Menuet I from orchestral suite #1, G major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

391 G.F. Handel, chorus from `Judas Maccabaeus', C major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

392 Frances Shackleton, The Orange and the Black, B� major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . 92

393 anonymous, Adelphi School Song, G major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

394 H.R. Allen, Maid of Athens, G major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

395 Joseph Ascher, Alice, Where Art Thou?, B� major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

396 W.A. Mozart, Duet No. 2, Menuet, from 12 Duets, K.V. 487, G major, 3/4 . . . . . . . . . . . . . . . . . . . . 93

397 Franz Schubert, Above the Mountains, A� major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

398 W.A. Mozart, Duet from The Magic Flute, E� major, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

5-2 Blue Notes 94

399 anonymous, The Graveyard (South Carolina), F major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

400 anonymous, Roll, Jordan, Roll (United States), D major, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

401 anonymous, Cyclone at Ryecove (Missouri), A major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

402 James Reese Europe, Goodnight Angeline, G major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

403 anonymous, 'Tis Me, O Lord (Unites States), A� major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

5-3 Relative Minor and Major 96

404 anonymous, Schwesterlein, G minor, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

405 anonymous, Es Ritt ein Ritter, B minor, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

406 anonymous, Cradle Song (Sweden), F minor, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

407 J.S. Bach, Chorale, `Befiehl du deine Wege', B minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

408 J.S. Bach, Chorale, `Das Walt' Mein Gott, Vater, Sohn', D minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . 97

409 anonymous, Feinsliebchen, Du Sollst, A minor, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

410 J.S. Bach, Chorale, `Gib Dich Zufrieden und Sei Stille', E minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . 98

411 F. Nicholls Crouch, Kathleen Mavourneen, C major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Chapter 6 : The C Clef 99

412 B. Crowell, C major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

413 B. Crowell, C major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

414 anonymous, The Ash Grove (Wales), C major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

415 Haydn, menuet Oxford symphony, C major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

416 anonymous, folk song, C major, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

417 anonymous, Wach' Auf, Mein Hort, C major, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

418 anonymous, La Paloma Blanca (Arizona), C major, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

419 Holst, Venus theme from The Planets, G major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

420 anonymous, folk song, G major, 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

421 Pergolesi, aria `Sancta Mater' from Stabat Mater, F major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . 101

422 W.A. Mozart, aria (Papageno) from `The Magic Flute', B� major, 2/4 . . . . . . . . . . . . . . . . . . . . . . 101

423 Haydn, finale, London symphony, D major, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

424 anonymous, Every Hour in the Day (Georgia), A minor, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

425 anonymous, lullabye (Russia), A minor, 4/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

426 anonymous, Feinsliebchen, Du Sollst, A minor, 2/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

427 F. Nicholls Crouch, Kathleen Mavourneen, G major, 3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Chapter 1: Rhythm

The rhythms in this chapter all come from well-known tunes. After reading them, you may want to look

at the titles, which are given in the table of contents. If you're working with a teacher, you may wish to

clap the rhythm twice, with the teacher counting beats the first time, and singing the tune the second

time.

1-1 Whole, Half, and Quarter Notes

1 44

2 44

3 44

4 44

5 44

Rhythm 1

1-2 3/4 Time, and Dotted Half-Notes

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7 �34 ��

1-3 Eighth Notes

8 �44 �

9 34

10 44

11 44

1-4 Dotted Quarter Notes

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2 Chapter 1

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1-5 Sixteenth Notes

17 24

1-6 Dotted Eighth Notes

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Rhythm 3

1-7 Compound Time

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1-9 Triplets

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4 Chapter 1

Chapter 2: Major Keys

2-1 Introduction to Solfeggio

The following syllables are traditionally used for the seven notes of the major scale.

tilaso dodo

444famire

They originate from the Latin hymn Ut Queant Laxis , in which the first word of each successive

musical 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 syllables

are assigned to the other notes according to their role in the key. In the key of D, for example:

tilaso dodo

444famire

This may seem confusing at first, but it's 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 do

system, in which `do' is always C, `re' is always D, and so on. The fixed do system is often taught to

European schoolchildren, who don't know enough music theory to recognize the roles of the different

notes 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 between

musical notes, and is therefore an important component of musicianship even if you consider yourself

primarily a composer or instrumentalist rather than a singer. For example, a jazz musician improvising

a solo on the saxophone needs to be able to imagine a melody, and understand the relationship between

the imagined pitches so as to be able to translate them into fingerings. The solfeggio syllables are a

device for making the recognition of the relationships automatic.

Major Keys 5

Broadly speaking, there are two main approaches to learning solfeggio singing. One can learn to sing

intervals, or to sing each note according to its role in the key. That is, we can hear each note in relation

to the preceding note, or in relation to the tonic. Suppose, for example, that we're singing a piece of

music in the key of C major, and having just sung B, which is `ti,' we see that the next note in the

melody is C, which is `do.' In the first approach, we recognize this as the interval of a half-step (minor

second), so we move to the note a half-step above the one we've just sung. In the second technique, we

know how to sing `do' because of its special sound in relation to the key: it's the tonic, the note that

sounds like it would be a good one to end the song on. In reality, one doesn't use either technique

exclusively. 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 patterns at 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 to

become a fluent sight singer by artificial devices. For instance, many people learn to recognize the

interval of a major sixth using a tune such as `My Bonnie Lies Over the Ocean' or the NBC jingle. This

is a good thing to learn, just as it's good to learn that an E at the end of a word makes the preceding

vowel long. But a fluent reader doesn't look at the word `sure' and think `silent E makes the U long.'

Learning the phonics rules is necessary, but having learned them, we actually become fluent 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 familiar

melodies. The leap of a major sixth in `My Bonnie' is a leap from `so' up to 'mi,' but your brain will

probably refuse to recognize the leap from `re' to `ti' as being the same thing, because `re' and `ti' play

different roles in the key than `so' and `mi.' Some people learn two melodies, one for `so-mi' and one for

`re-ti.' Some might even do another two for the downward leaps `mi-so' and `ti-re!' This just shows that

the technique is artificial and not usually very useful.

2-2 Melodies Containing Only Steps

In each example, start by identifying which line or space on the staff represents `do,' the tonic. If you

have an instrument at hand, play the tonic, and then sing enough notes from the tonic chord to 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 comfortable part of your vocal

range. Locate the notes of the tonic chord on the staff to use as reference points.

27�

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6 Chapter 2

28��4 44

29 �� ��4 34� �

30 ��444 � �

The following example is in a new key: its `do' is the former `so.' If you have trouble convincing your

brain 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 �4 34

32 ��

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33 3 44

Major Keys 7

34 ��4 44

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Moderato

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(In standard notation the following two examples would both have the tonic on the same staff line.

Clairnote makes it apparent that their tonic notes are a half-step apart.)

36 �344

37 ��4 44

The following five melodies all begin on `so.'

38 � �4 44

��4

8 Chapter 2

We now begin moving around the circle of fifths in the opposite direction. `Ti' in the previous key is

flattened, and becomes `fa' of the new key. If you're singing the new, flattened version of the note

correctly, you should be able to hear its strong tendency to resolve down to `mi.'

39 �4 34 �

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3

3

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41 �� ���

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(In standard notation the following two melodies both have the tonic at the same place on the staff.

Clairnote makes it apparent that their tonic notes are a half-step apart.)

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Canon for two voices:

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Major Keys 9

Canon for two voices:

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Major Keys 11

2-3 Leaps to `Do'

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Adagio

2-4 Leaps Back to Remembered Notes

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12 Chapter 2

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

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The next tune is easier than it appears, because you only need to return to the same note after each low

G.

58 �4 34

2-5 Easy Leaps Within the Tonic Triad

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

59 4 34

60 � ��4 44

Major Keys 13

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62 4 44

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14 Chapter 2

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Major Keys 15

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4 24

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

78 ���244

Con moto

This four-part canon includes a leap of a sixth to `do.'

7921

4 444

43

Major Keys 17

2-6 The Leap of a Fifth Within the Tonic Triad

80 4 44�

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81 4 34

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82 ���344

Allegro

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18 Chapter 2

85 � ���

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2-7 Leaps of a Sixth Within the Tonic Triad

89 � �444

Major Keys 19

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92 �

Allegro vivace

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95 4 24

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20 Chapter 2

The next example includes both leaps within the tonic triad and leaps to `do.' Because of its wide range,

it is given in two keys; make sure to choose a key in which you can actually reach all the notes!

96 �� ���244

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97 �� ���244

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Another example that includes leaps to `do.'

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Major Keys 21

Canon for two voices:

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2-8 Leaps Within the Dominant

This section introduces leaps of a third within the dominant. Fourths, fifths, and sixths are included in

section 2-9, and leaps of a seventh within the dominant chord are deferred until section 4-5.

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104 344

105 � ��Un poco allegretto

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22 Chapter 2

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Moderato

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4

109 4 24

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Major Keys 23

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Maestoso

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24 Chapter 2

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Major Keys 25

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Allegretto con grazia

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26 Chapter 2

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Major Keys 27

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2-9 Wider Leaps Within the Dominant

This section introduces leaps within the dominant as broad as a sixth. Leaps of a seventh are deferred

until section 4-5.

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Major Keys 29

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Major Keys 31

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Molto mesto

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32 Chapter 2

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Major Keys 33

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34 Chapter 2

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Major Keys 35

Chapter 3: Minor Keys

3-1 Solfeggio in the Minor Mode

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

meso falete re dore me fado

4 44ti do doso la

This system has the advantage that most of the notes have the same functions as in the major mode.

`Do' is still the tonic, `so' the dominant, `ti' the leading tone, and so on. In this system, the names of the

notes stay the same when switching between the parallel major and minor.

Others prefer this:

domi refaso ti lati do rela

4 44si la lame fi

This system highlights the relationship between the minor and its relative major.

36 Chapter 3

If you don't have a teacher who wants you to use one system or another, I suggest you use the first one,

because it lets you recycle many of the patterns you've learned in minor. For instance, `so-ti-do' is still a

formula for a cadence.

In both systems, the vowel `i' is used for a sharpened note, and `e' for a flattened one. The chromatic

scale looks like this:

la liso si dotidi re

4fi

44do famiri

me refa mi ra dodo ti te

4sesolela

The important thing is to pick a system and learn it thoroughly. (I use my own enharmonic system in

which the chromatic scale is `do gu ri bu mi fa ka so ja la pa ti do.')

3-2 Steps

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

170 ��444

Poco a poco accelerando

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Minor Keys 37

172�

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Largo

4 34�

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.

173 �� ����

344

Largo

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175 ��4 34 �

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176 4 44

177 4 44

38 Chapter 3

178 �4 34

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179 �4 32

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Minor Keys 39

3-3 Leaps Within the Tonic Triad

182 � ��3 44�

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184 �343 �

185

3 3

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Chapter 4: Other Diatonic Materials

4-1 Leaps Between the Tonic and Dominant

The following three songs contain the leap from `ti' to `mi.'

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50 Chapter 4

The next three use leaps of a diminished fourth, an interval which sounds like a major third, and is

typical of minor keys.

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4-2 Leaps Within the Subdominant, Major Keys

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

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Other Diatonic Materials 51

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More commonly, the melody leaps into or out of `la' without spelling out the subdominant chord

explicitly. Although dominant harmony can often be implied strongly with only one or two notes, this is

not usually true of the subdominant, because of its weaker character. Since thirds are the most common

leaps, the most important new leaps to learn to sing are the ones between `do' and `la' and between `fa'

and `la.' This melody leaps from `do' to `la:'

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This one jumps from `la' to `fa:'

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52 Chapter 4

A great deal of Scottish folk music uses a major scale that omits `ti.' `Fa' is sometimes left out as well,

forming a five-note, or pentatonic, scale. Once one's ear adjusts to the sound of the scale, the

characteristic leap between `do' and `la' no longer sounds like a leap at all. Of the following two

examples, the first is pentatonic, while the second uses the full major scale. The first example has been

notated with the style's typical elaborate ornamentation, which you may wish to ignore.

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Other Diatonic Materials 65

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Other Diatonic Materials 67

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4-5 Leaps of a Seventh

With leaps of a seventh, as with any very broad leap, the most common problem is simply the inability

to reach the note. Make sure to sing each example in an appropriate key. If the leap of a seventh is

upward, find the lowest key in which you can comfortably sing the lowest note of the melody.

A factor in the sight-singer's favor is that the most difficult leaps to sing are usually the ones that are

ugly as well, and therefore composers don't write them; in real music, most leaps of a seventh occur 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 them on demand,

that's a fundamentally unnatural way to think about melody; keep in mind that most of the examples in

this section are folk songs created by people who were illiterate, and probably could not have performed

such a trick themselves.

Another technique for use when all else fails is to imagine the seventh as a downward step, with the

second note moved up an octave. In all the following examples, however, we'll see that there are better

solutions arising naturally from the logic of the melodic line.

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

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68 Chapter 4

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

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In the next tune, the leap upward from `ti' to `la' is heard as the inversion of the earlier step down from

`ti' to `la.'

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Other Diatonic Materials 69

The next example has a leap of a seventh as part of a dominant seventh chord. It resolves downward to

`mi,' and this `fa-mi' relationship is one of the most prominent landmarks of the key, so you may find

that the easiest way to hit the `fa' is simply by locating `fa-mi.'

309 �� �4 34 �* �

This tune, like the preceding one, uses the familiar `so-fa-mi' pattern. The leap is also made easier

because we've just sung `fa' in the low register, and because, looking ahead, we anticipate the

descending scale `fa-mi-re-do.'

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Another `so-fa-mi' example. The `fa' is heard as part of a logical progression of prominent high points in

the line.

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72 Chapter 4

4-6 Other Perfect Fourths and Fifths

We've 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, it's difficult to hear the `so-re' leap without

perceiving a dominant chord. Although other leaps of a fourth or a fifth may imply other triads, in real

music they are more commonly produced not by the harmony but by the logic of the melody itself. In the

first example, the composer simply wants to repeat a melodic idea at a different pitch. The `la' is easily

sung by thinking of it in relation to the `do' it leads up to.

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

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

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Other Diatonic Materials 73

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4-7 The Diminished Seventh Chord, and the Harmonic Minor Scale

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82 Chapter 4

Chapter 5: Nondiatonic Materials

5-1 Secondary Dominants and Chromatic Passing Tones

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Nondiatonic Materials 89

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In the following two melodies, the flattened third scale degree occurs in the viio7 of V chord.

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Nondiatonic Materials 93

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406

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Nondiatonic Materials 97

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98 Chapter 5

Chapter 6: The C Clef

This chapter recapitulates some melodies from earlier chapters, using the C clef. In modern music, the

C clef is used almost exclusively for the viola, but it will also be encountered in older scores, both vocal

and instrumental, as an equally important companion to the treble and bass clefs. Sight-singing from

the C clef is not difficult, because one merely follows the usual procedure of determining which line or

space on the staff represents `do,' and reading all other notes relative to it.

412 ��43 44

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The C Clef 99

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100 Chapter 6

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The following three examples are in the minor mode.

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Largo

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The C Clef 101

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Heimlich und zierlich bewegt

43 24

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102 Chapter 6

Thematic Index (Numbers are Melody Numbers, not Page Numbers)

ddddrdtd — 397

ddddmdss — 320

ddddmsff — 117

ddddslsd — 78

dddrrrmd — 139

dddrrmmf — 29; 413

dddmdsmm — 193; 424

dddmmssm — 310

dddmssll — 245

dddsmmrd — 213

dddsllls — 237

dddsltdt — 360

ddrdmfss — 86

ddrrmmrd — 79

ddrmrdrr — 71

ddrmrrmr — 344

ddrmrmfm — 165

ddrmmrdf — 254

ddrmmmfs — 57

ddrmmfsl — 312

ddrmfsss — 121

ddrmfssl — 249

ddmrdrrm — 74

ddmmrmdd — 64

ddmmmdts — 125

ddmssfmr — 106

ddmsslls — 268

ddmsltdt — 191

ddsdrmfs — 304

ddssddll — 256

ddtdrdrm — 55

ddtlsdrm — 120; 243

ddtltddt — 49

ddtltdrm — 352

ddtltlls — 52

drddtdrm — 36

drdrdrmr — 170

drdrmfss — 88

drdtdsdr — 334

drdtlsls — 32

drmdddrm — 150

drmdrmrm — 187

drmrdtdr — 175

drmrmfmf — 28; 412

drmrmfsf — 31

drmrfmrt — 380

drmrsdrs — 205

drmmmrfm — 322

drmmmmsm — 76

drmmmsrr — 152

drmmfmfs — 45

drmmfsds — 197

drmmflss — 244

drmfrmdm — 215

drmfmrmf — 37

drmfmmrr — 46

drmfmfsl — 44

drmfsmfs — 162

drmfsfmr — 180

drmfsfsl — 355

drmfssfm — 129

drmfsssf — 33

drmfssls — 47

drmfslsf — 171

drmfslss — 209

drmfslsl — 177; 179

drmfsltd — 27

drssmddf — 282

dmddmssl — 188

dmdmsffm — 70

dmdmssmm — 60

dmdsdmsd — 59

dmdslfmf — 390

dmdtdrmm — 195

dmrdmfst — 223

dmrdssms — 95

dmrsdmrs — 206; 425

dmrtdmrt — 286

dmmmrfff — 230

dmmflssm — 270

dmfssrss — 160

dmsdmssm — 92

dmsdlsdd — 241

dmsdtdrm — 198

dmsrdrmm — 161

dmsmrflf — 358

dmsmmddt — 218

dmsmfrfr — 340

dmsmslsf — 185

dmsfslsf — 362

dmssdtrr — 242

dmssdtls — 68

dmsssmfs — 82

dmssssfm — 359

dmssslss — 90

dmsslfsd — 239

dmssltds — 337

dmslsddr — 109

dmslsmss — 114

dsdrmfsf — 189

dsdsdsdm — 102

dsdtdsmr — 204

dsmdrmrt — 402

dsmdslsm — 183

dsmdslst — 295

dsmrdrmd — 190

dsmrdrmf — 65; 421

dsmrdlsf — 294

dsmrmfmr — 365

dsmsmdrm — 134

dsfmddsf — 203

dsfmsmrd — 62

dssdddfl — 406

dssdlllt — 273

dssmdsms — 80

dssfrdtl — 305; 319

dssfsfmr — 278

dsssslls — 168

dsslsmrd — 199

dsslsfmd — 104

dssltddm — 122

dslsfmrd — 291

dsltdrms — 374

dsltdmfs — 101

dtddddrm — 182

dtdrdtdt — 50

dtdrrdrm — 34; 141

dtdrmrdt — 51

dtdrmfsl — 173

dtdrmsfm — 384

dtdrmslt — 357

dtdtdrmr — 91

dtfmdsls — 299

dtlsfmrd — 176

dtlsfmms — 246

Thematic Index 103

dtlslsfm — 253; 339

rddrmrdr — 172

rmfsdmrd — 153

rsdsdddd — 262

mdrmfsfm — 164

mdrmfsss — 345

mdmrdtrs — 222

mdmrsmrd — 200

mdmfmrdl — 293

mrdddttl — 72

mrddrdrm — 331

mrddrdtd — 113; 422

mrddmmsr — 212

mrdrddms — 269

mrdrmrdm — 330

mrdrsmdr — 127

mrdmrddl — 240

mrdmssms — 99

mrdsdrmm — 284

mrdsfmdt — 411; 427

mrdsfmfm — 81

mrdslsfm — 194

mrdslslf — 336

mrdslstr — 158; 418

mrdtdrmr — 43

mrrdsmmr — 313

mrmdmfss — 94

mrmfmrds — 208

mrmfmrsf — 146

mrmfssmr — 66

mrmsdrrl — 377

mrfmlsmr — 326

mmdrsmdm — 144

mmrddrrm — 83

mmrdtdrd — 123

mmrmstls — 408

mmmrdddd — 403

mmmrdrmr — 332

mmmfmmrr — 140

mmfssfmr — 30

mmslslsl — 387

mfrdrmfs — 267

mfrmdlsf — 300

mfmrdmfs — 54

mfmmrdtd — 174

mfsmdttd — 232

mfsmrtds — 128; 415

mfsmmrdl — 342

mfsmfsmr — 259

mfssfmrr — 56

mfssfsls — 361

mfsssfsl — 373

mfsssssm — 126

mfsssssl — 166

mfssltdt — 382

mfslsmrd — 333

mfslsffs — 275

msrsmdtd — 288

msmdrmsm — 75

msmrdsfm — 315

msmfmrdm — 399

msmffflf — 271

msmsslfl — 236

msmlmsml — 327

msfmslsm — 252

msssffmm — 124

mtrddrmr — 234

ffdddtdr — 405

fslsfmfs — 281

sdddddrr — 163; 416

sddddrrr — 154

sddddmrd — 400

sddddtdr — 302

sddddtss — 356

sdddmddm — 84

sdddslss — 136

sdddlssd — 251

sdddtdrs — 58

sddrmfsl — 351

sddrtddm — 323

sddmdtls — 314

sddmrdls — 347

sddmmssm — 145; 420

sddtlslr — 353

sddtlslf — 296

sdrdsdrm — 201

sdrmdmmr — 115

sdrmdsrd — 238

sdrmrdrm — 67

sdrmmfmd — 69; 308

sdrmmffs — 216

sdrmfrdt — 225

sdrmfmfs — 167

sdrmfsdr — 287

sdrmsssl — 367

sdrsdrmr — 233

sdmdmdmr — 349

sdmdtlsd — 363

sdmrdrms — 105

sdmrmrdm — 61

sdmrfmrd — 348

sdmmmmrm — 265

sdmmfmrr — 389

sdmsdmsd — 404

sdmsrmld — 335

sdmsfmdd — 247; 414

sdmssdms — 148; 417

sdsdrmrr — 143

sdtdrmfs — 231

sdtdrlrd — 325

sdtdlsdr — 276; 346

sdtlsfsr — 224; 407

sdtlssls — 137

sdtlslsf — 383

sdtltdtl — 329

srmtdrrs — 235

smdrssdd — 264

smdsslsd — 133

smdlssfs — 366

smrdrmfr — 258

smrdsmrd — 100

smrdslff — 263

smrdtlds — 98; 321

smrdttdl — 311

smrrdmrs — 131; 419

smrmdsss — 289

smrmrtdd — 221

smrmfmrl — 364

smmddtrm — 248

smmrrddt — 350

smmrrmmd — 229

smmrsdtd — 393

smmmrddd — 63

smmmmrrr — 307

smmmmfmr — 378

104 Thematic Index

smmfrrdr — 111

smfrrrmf — 103

smfsddtt — 73

smfsdrmf — 391

smfslsmd — 186

smfslsfm — 410

smsmrdmr — 96; 97

smsfmrsf — 227

smslssmd — 93; 147

sfrfmdss — 151; 423

sfmdrldl — 338

sfmrrdtl — 39

sfmmrdrd — 354

sfmmrrmf — 341

sfmmmmfm — 257

sfmmsdsm — 157

sfmfmmfs — 41

sfmfsdrd — 53

sfmfsldt — 279

sfmfsltd — 274

sfmsmrrd — 392

sfmsmsmf — 388

sfmsfmrd — 85; 309; 379

sfslsfss — 211

sflsrmrm — 394

sflsftrd — 376

ssdddtdr — 210; 290

ssdddttd — 272

ssddrmrd — 149

ssddmrtd — 250

ssddssmm — 375

ssddsldr — 280

ssddtddr — 409; 426

ssdrdtdr — 119

ssdrdtlt — 395

ssdrmmmm — 381

ssdmrdrm — 301

ssdmrdtl — 292

ssdmmfsm — 285

ssdmsfmf — 108

ssdsmmsm — 112

ssdssmmr — 156

ssdtdrdt — 386

ssdtrddt — 317

ssdtfmsm — 159

ssmdddrm — 219

ssmddtll — 130

ssmdsfrm — 202

ssmrddtd — 306

ssmrdrdd — 368

ssmrdssf — 261

ssmrdtdr — 220

ssmmmddd — 138

ssmmmddt — 370; 398

ssmmssdd — 89

ssmmssrr — 135

ssfmmrdr — 260

sssddmms — 318

sssdmsss — 207

sssmrmdr — 142

sssmfsls — 277

sssffmmm — 116

ssssdsss — 118; 132; 297

ssssssms — 255

ssssssss — 77; 369

sssslsmm — 401

sssslssd — 214

ssslsssf — 178

sslddsfm — 266

sslsmsss — 371

sslsfmrd — 184

sslsfmrl — 343

sslsfmmf — 226

sslsffmm — 217

ssltddtl — 38

ssltdtdr — 87

ssltdtdt — 35

ssltdttt — 192

sstrddrd — 155

slsmdsls — 110

slsmrddt — 298

slsffmmr — 42

slssddrm — 107

slslsdtd — 228

slslsssd — 316

sltdrmrm — 40

sltdrmfs — 181

sltdmmrd — 372

sltdtddd — 48

strsfmfs — 303

stlsmfsd — 385

lmsltddt — 328

lsslssls — 196

tdmddrfr — 169

Thematic Index 105

Index (by Title and Composer)

Above the Mountains, Franz Schubert, #397 p. 94

Absent Davie, #99 p. 21

Abt, Franz, Kathleen Aroon, #336 p. 76

Ach, Englische Schaeferin, #351 p. 80

adagio poco cantabile from string quartet, Op. 73, #3, Franz Joseph Haydn, #380 p. 89

Adelphi School Song, #393 p. 93

Adieu, Bonne Hôtesse, #289 p. 64

After the Ball, Charles K. Harris, #327 p. 74

Ah! Mon Beau Château!, #108 p. 23

Ah, Suzette, Chère, #157 p. 33

Ainsi Font, Font, Font, #109 p. 23

Alice, Where Art Thou?, Joseph Ascher, #395 p. 93

Allan Maclean, #373 p. 87

allegro from Eine kleine Nachtmusik, W.A. Mozart, #102 p. 22

Allen, H.R., Maid of Athens, #394 p. 93

Alouette (rhythm only), #18 p. 3

Am Feierabend, Franz Schubert, #220 p. 47

Amarilli, Mia Bella, Giulio Carcini, #235 p. 51

America the Beautiful, Katharine Lee Bates, #135 p. 28

andante un poco allegretto from string quartet # 5, W.A. Mozart, #358 p. 82

Angel de Mis Amores, #219 p. 47

Angel of Peace, M. Keller, #367 p. 85

Angels Ever Bright and Fair, G.F. Handel, #353 p. 81

Annchen von Tharau, #107 p. 23

Annie Laurie, #72 p. 16

Arlequin Marie Sa Fille, #237 p. 52

Arlequin Tient Sa Boutique, #143 p. 30

As-Tu Vu la Casquette?, #92 p. 20

Ascher, Joseph, Alice, Where Art Thou?, #395 p. 93

Ash Grove, The, #247 p. 54

Ash Grove, The, #414 p. 99

Au Jardin de Mon Père, #249 p. 55

Aura Lee, George Poulton, #325 p. 74

Autrefois le Rat de Ville, #365 p. 84

Aux Marches du Palais, #140 p. 29

Avril, #278 p. 61

Away in a Manger (rhythm only), #14 p. 3

Bach, J.S., Bourrée II from orchestral suite #2, #384 p. 90

Bach, J.S., Chorale, `Befiehl du deine Wege', #407 p. 97

Bach, J.S., Chorale, `Das Walt' Mein Gott, Vater, Sohn', #408 p. 97

Bach, J.S., Chorale, `Es ist gewisslich an der Zeit', #71 p. 16

Bach, J.S., Chorale, `Es spricht der Unweisen Mund wohl', #120 p. 25

Bach, J.S., Chorale, `Es steh'n vor Gottes Throne', #195 p. 42

Bach, J.S., Chorale, `Gib Dich Zufrieden und Sei Stille', #410 p. 98

Bach, J.S., Chorale, `Herr, nun lass in Friede', #192 p. 42

Bach, J.S., Chorale, `Herr, wie du willst, so schick's mit mir', #141 p. 29

106 Index

Bach, J.S., Chorale, `Herr, wie du willst, so schick's mit mir', #34 p. 8

Bach, J.S., Chorale, `Jesu, meiner Seelen Wonne', #56 p. 13

Bach, J.S., Chorale, `Liebster Jesu, wir sind hier', #127 p. 26

Bach, J.S., Chorale, `Mach's mit mir, Gott, nach deiner Gut', #129 p. 27

Bach, J.S., Chorale, `Nun ruhen alle Walder', #164 p. 34

Bach, J.S., Chorale, `Nun sich der Tag geendet hat', #216 p. 46

Bach, J.S., Chorale, `O Haupt voll Blut und Wunden,' from St. Matthew's Passion, #224 p. 48

Bach, J.S., Chorale, `O Traurigkeit, o Herzeleid', #221 p. 47

Bach, J.S., Chorale, `Seelenbräutigam, Jesu, Gottes Lamm', #55 p. 12

Bach, J.S., Chorale, `Valet will ich dir geben', #122 p. 26

Bach, J.S., Chorale, `Von Gott will ich nicht lassen', #225 p. 48

Bach, J.S., Chorale, `Wenn wir in höchsten Nöten sein', #165 p. 35

Bach, J.S., Chorale, `Wie bist du Seele in mir so gar betrübt', #123 p. 26

Bach, J.S., Chorale, `Wär' Gott Nicht Mit Uns Diese Zeit', #352 p. 81

Bach, J.S., Gavotte II from cello suite # 5, #211 p. 45

Bach, J.S., gavotte in G minor, #180 p. 39

Bach, J.S., Invention 2, #357 p. 82

Bach, J.S., melody from the notebook for Anna Magdalena, #205 p. 44

Bach, J.S., Menuet I from orchestral suite #1, #390 p. 92

Bach, J.S., menuet II from cello suite # 2, #345 p. 79

Bach, J.S., minuet, #142 p. 29

Bach, J.S., trio from Brandenburg concerto # 1, #300 p. 67

Ballade de Roland, #144 p. 30

Barbara Allan, #149 p. 31

Bates, Katharine Lee, America the Beautiful, #135 p. 28

Bayly, T.H., Long, Long Ago, #312 p. 71

Beautiful Angel, The, Pierre Latour, #35 p. 8

Beautiful Bells, George Cooper, #377 p. 88

Beautiful Isle of Somewhere, J.S. Fearis, #262 p. 58

Beckoning the Chickens, Froebel, #94 p. 20

Beckoning the Pigeons, Froebel, #87 p. 19

Beethoven, Ode to Joy, #30 p. 7

Beethoven, opening movement from string quartet # 1, #334 p. 76

Beethoven, opening theme of Symphony #3, #59 p. 13

Beethoven, string quartet # 6, allegro, #354 p. 81

Beggar Girl, The, #85 p. 19

Beuttner, Nikolaus, Es kam ein treuer Bote, #121 p. 25

Bingo (rhythm only), #3 p. 1

Blue Juniata, The, M.D. Sullivan, #264 p. 58

Bonnie Wee Window, #261 p. 57

Bonniest Lass in a' The Land, The, #242 p. 53

Bourrée II from orchestral suite #2, J.S. Bach, #384 p. 90

Bradbury, W.B., He Leadeth Me, #263 p. 58

Braes O Yarrow, The, #272 p. 60

Brahms, Johannes, introduction, 1st symphony, #276 p. 61

Brahms, Johannes, introduction, 1st symphony, #346 p. 79

Brahms, Johannes, Nachtwache 1, #222 p. 48

Index 107

Broadway Sights, W.H. Latham, #63 p. 14

Brother, Guide Me Home, #117 p. 25

Brother, Tell Me of the Battle, George F. Root, #376 p. 87

Butterfield, J.A., When You and I Were Young, #368 p. 85

Calinda, #271 p. 60

Cangia, Cangia Tue Voglie, G.B. Fasolo, #246 p. 54

Carcini, Giulio, Amarilli, Mia Bella, #235 p. 51

Carmela, #308 p. 70

Carmela, #69 p. 15

Caro Mio Ben, Attributed to Guiseppe Giordiano,, #339 p. 77

carol, #33 p. 8

Caroline, #277 p. 61

Chant de Sion, Darius Milhaud, #348 p. 80

Chill Ether, #161 p. 34

chorus from Judas Maccabaeus, G.F. Handel, #391 p. 92

Come, Ye Disconsolate, Samuel Webbe, #366 p. 85

Conkey, Ithamar, God is Love, His Mercy Brightens, #363 p. 84

Cooper, George, Beautiful Bells, #377 p. 88

Cowboy's Home Sweet Home, #270 p. 59

Cradle Song, #313 p. 71

Cradle Song, #406 p. 97

Crepúsculo, #381 p. 89

Crouch, F. Nicholls, Kathleen Mavourneen, #411 p. ?

Crouch, F. Nicholls, Kathleen Mavourneen, #427 p. ?

Crowell, B., a, 3/4, #172 p. 38

Crowell, B., a, 3/4, #173 p. 38

Crowell, B., A, 4/4, #100 p. 22

Crowell, B., a, 4/4, #170 p. 37

Crowell, B., a, 4/4, #355 p. 81

Crowell, B., a, 6/8, #171 p. 38

Crowell, B., A-flat, 4/4, #40 p. 9

Crowell, B., B-flat, 3/4, 1, #101 p. 22

Crowell, B., B-flat, 4/4, #37 p. 8

Crowell, B., B-flat, 4/4, 1, #169 p. ?

Crowell, B., C, 3/4, #160 p. 33

Crowell, B., c, 3/4, #186 p. 41

Crowell, B., C, 3/4, #29 p. 7

Crowell, B., C, 3/4, #413 p. 99

Crowell, B., C, 3/4, #46 p. 10

Crowell, B., c, 4/4, #182 p. 40

Crowell, B., c, 4/4, #183 p. 40

Crowell, B., c, 4/4, #187 p. 41

Crowell, B., C, 4/4, #27 p. 7

Crowell, B., C, 4/4, #28 p. 7

Crowell, B., C, 4/4, #412 p. 99

Crowell, B., C, 4/4, #54 p. 12

Crowell, B., C, 4/4, 1, #44 p. 10

108 Index

Crowell, B., D-flat, 4/4, #41 p. 9

Crowell, B., E-flat, 3/4, #39 p. 9

Crowell, B., F, 2/4, #88 p. 19

Crowell, B., F, 3/4, #53 p. 12

Crowell, B., f, 4/4, #191 p. 41

Crowell, B., G, 3/4, #134 p. 28

Crowell, B., G, 3/4, #31 p. 7

Crowell, B., G, 3/4, #32 p. 7

Crowell, B., G, 3/4, #52 p. 12

Crowell, B., G, 3/4, #81 p. 18

Crowell, B., G, 4/4, #155 p. 32

Crowell, B., g, 4/4, #296 p. 66

Crowell, B., G, 4/4, #47 p. 10

Crowell, B., G, 4/4, #57 p. 13

Crowell, B., G, 4/4, #60 p. 14

Crowell, B., G, 4/4, #62 p. 14

Crowell, B., G, 4/4, #80 p. 18

Crowell, B., G, 4/4, #89 p. 20

Crowell, B., G, 6/8, #43 p. 9

Crowell, B., G, 6/8, #61 p. 14

Crowell, B., g, 9/8, #201 p. 43

Crowell, B., G, 9/8, #90 p. 20

Crowell, B., G-flat, 4/4, #42 p. 9

Crowell, B., Who Got Dirt on the Carpet Again?, #185 p. 40

Crowell, B., Who Got Dirt on the Carpet Again?, #362 p. 84

Cruel Mother, The, #385 p. 90

Cutler, H.S., Son of God Goes Forth to War, The, #73 p. 16

Cyclone at Ryecove, #401 p. 95

Da Unten Im Tale, #244 p. 54

Danksagung an den Bach, Franz Schubert, #232 p. 51

Dans la Forêt Lointaine, #84 p. 19

Dans le Port, Il Est Arrivé, #375 p. 87

Dans Notre Jardin, #152 p. 32

Das Wandern, Franz Schubert, #159 p. 33

Dearest Spot on Earth, The, W.T. Wrighton, #98 p. 21

Derrièr Chez Nous il y a Trois Fleurs, #105 p. 23

Derrière Chez Moi, #290 p. 65

Devotion, Richard Strauss, #250 p. 55

Diadem, J. Ellor, #287 p. 64

Die Sonne Scheint Nicht Mehr, #284 p. 63

Down in the Valley, #115 p. 24

Duet from The Magic Flute, W.A. Mozart, #398 p. 94

Duet No. 2, Menuet, from 12 Duets, K.V. 487, W.A. Mozart, #103 p. 22

Duet No. 2, Menuet, from 12 Duets, K.V. 487, W.A. Mozart, #396 p. 94

Duke of Argyle's Courtship, The, #166 p. 35

Easy Winners, The, Scott Joplin, #387 p. 91

Edwards, Gus, In My Merry Oldsmobile, #388 p. 91

Index 109

Eli Yale, #136 p. 28

Ellor, J., Diadem, #287 p. 64

Emerson, L.O., Whither Through the Meadow?, #45 p. 10

En Avant, Grénadiers!, #218 p. 47

En Revenant d'Auvergne, #78 p. 17

Entendez-Vous Sur l'Ormeau, #79 p. 18

Entre Vous Tous Gens de la Ville, #304 p. 68

Erlaube Mir, Fein's Mädchen, #389 p. 91

Es kam ein treuer Bote, Nikolaus Beuttner, #121 p. 25

Es Ritt ein Ritter, #405 p. 97

Europe, James Reese, Goodnight Angeline, #402 p. 96

Evening Bells, Thomas Moore, #256 p. 56

Every Hour in the Day, #193 p. 42

Every Hour in the Day, #424 p. 101

Faded Coat of Blue, The, J.H. McNaughton, #378 p. 88

Fairy Boat, The, Harold Samuel, #167 p. 35

Fasolo, G.B., Cangia, Cangia Tue Voglie, #246 p. 54

Fearis, J.S., Beautiful Isle of Somewhere, #262 p. 58

Feinsliebchen, Du Sollst, #409 p. 98

Feinsliebchen, Du Sollst, #426 p. 102

finale, London symphony, Franz Joseph Haydn, #151 p. 32

finale, London symphony, Franz Joseph Haydn, #423 p. 101

Forget na', dear Lassie, #194 p. 42

Foster, S.C., Gentle Annie, #331 p. 75

Foster, Stephen, Hard Times Come Again No More, #76 p. 17

Foster, Stephen, Old Folks at Home, #240 p. 53

Foster, Stephen, Slumber My Darling, #330 p. 75

Foster, Stephen, Song of All Songs, The, #291 p. 65

Froebel, Beckoning the Chickens, #94 p. 20

Froebel, Beckoning the Pigeons, #87 p. 19

Froebel, Pat-a-Cake, #68 p. 15

Froebel, Wolf, The, #209 p. 45

Gar Lieblich Hat Sich Gesellet, #168 p. 35

Gardez Piti Milatte-là, #124 p. 26

Gaudeamus Igitur, #273 p. 60

Gavotte II from cello suite # 5, J.S. Bach, #211 p. 45

gavotte in G minor, J.S. Bach, #180 p. 39

Gentle Annie, S.C. Foster, #331 p. 75

Giordiano,, Attributed to Guiseppe, Caro Mio Ben, #339 p. 77

Già il Sole dal Gange, Alessandro Scarlatti, #231 p. 50

Gladden, S.W., Mountains, The, #292 p. 65

Go 'Way, Old Man, #138 p. 29

Go Down, Moses, #229 p. ?

God is Love, His Mercy Brightens, Ithamar Conkey, #363 p. 84

God Speed the Right, #112 p. 24

Gold Band, The, #259 p. 57

Goldfaden, Abraham, Raisins with Almonds, #359 p. ?

110 Index

Goodnight Angeline, James Reese Europe, #402 p. 96

Graveyard, The, #399 p. 95

Grieg, e, 4/4, #233 p. 51

Gunhilde, #350 p. 80

Guten Abend, #210 p. 45

Gwine Follow, #310 p. 70

Gypsy Warning, The, #153 p. 32

Hallowed Spot, The, #280 p. 62

Halt!, Franz Schubert, #130 p. 27

Handel, G.F., Angels Ever Bright and Fair, #353 p. 81

Handel, G.F., chorus from Judas Maccabaeus, #391 p. 92

Handel, G.F., Hush ye pretty warbling quire from Acis and Galatea, #253 p. 56

Handel, G.F., O Jordan, Sacred Tide from Esther, #228 p. 49

Hanukah O Hanukah, #297 p. 66

Hard Times Come Again No More, Stephen Foster, #76 p. 17

Harris, Charles K., After the Ball, #327 p. 74

Hawthorne, Alice, Home, By and By, #86 p. 19

Hawthorne, Alice, Out of Work, #386 p. 90

Haydn, Franz Joseph, adagio poco cantabile from string quartet, Op. 73, #3, #380 p. 89

Haydn, Franz Joseph, finale, London symphony, #151 p. 32

Haydn, Franz Joseph, finale, London symphony, #423 p. 101

Haydn, Franz Joseph, introduction, London symphony, #267 p. 59

Haydn, Franz Joseph, menuet Oxford symphony, #128 p. 27

Haydn, Franz Joseph, menuet Oxford symphony, #415 p. 100

He Leadeth Me, W.B. Bradbury, #263 p. 58

Here We Go Round the Mulberry Bush (rhythm only), #21 p. 4

Hess, C., Little Charley Went a Fishing, #306 p. 69

Holst, Gustav, Venus theme from The Planets, #131 p. 27

Holst, Gustav, Venus theme from The Planets, #419 p. 101

Home On the Range (rhythm only), #16 p. 3

Home, By and By, Alice Hawthorne, #86 p. 19

Huntsman, The, #255 p. 56

Husband, John, Revive Us Again, #110 p. 23

Hush Little Baby (rhythm only), #11 p. 2

Hush ye pretty warbling quire from Acis and Galatea, G.F. Handel, #253 p. 56

Hush, My Babe, J.J. Rousseau, #83 p. 18

I Ride an Old Paint, #251 p. 55

I Want To Be Ready, #245 p. 54

I'm a Pilgrim, #150 p. 31

I'm In Trouble, #266 p. 58

I've Been Working on the Railroad (rhythm only), #20 p. 4

If with all your hearts ye truly seek me from Elijah, Felix Mendelssohn, #311 p. 71

If Ye Love Me, Thomas Tallis, #254 p. 56

If Your Foot Is Pretty, Show It, #133 p. 28

In My Merry Oldsmobile, Gus Edwards, #388 p. 91

introduction, 1st symphony, Johannes Brahms, #276 p. 61

introduction, 1st symphony, Johannes Brahms, #346 p. 79

Index 111

introduction, London symphony, Franz Joseph Haydn, #267 p. 59

Invention 2, J.S. Bach, #357 p. 82

Jehovah, Hallelujah, #236 p. 52

Jenny Lind Mania, The, W.H.C. West, #248 p. 54

Jimmy Crack Corn (rhythm only), #13 p. 3

Jingle Bells (rhythm only), #12 p. 3

Joplin, Scott, Easy Winners, The, #387 p. 91

Joplin, Scott, The Entertainer (rhythm only), #25 p. 4

Juanita, #341 p. 78

Jungfräulein, Soll Ich Mit Euch Gehn, #154 p. 32

Kathleen Aroon, Franz Abt, #336 p. 76

Kathleen Mavourneen, F. Nicholls Crouch, #411 p. ?

Kathleen Mavourneen, F. Nicholls Crouch, #427 p. ?

Keller, M., Angel of Peace, #367 p. 85

Kevin Barry, #361 p. 83

Krambambuli, #137 p. 29

la Claire Fontaine, A, #64 p. 14

Lang Johnny More, #241 p. 53

Latham, W.H., Broadway Sights, #63 p. 14

Latour, Pierre, Beautiful Angel, The, #35 p. 8

Lawlan' Jenny, #75 p. 17

Let God's Saints Come In, #371 p. 86

Lewis, L.R., a, 3/4, #174 p. 38

Lewis, L.R., a, 3/4, #175 p. 38

Lewis, L.R., a, 4/4, #181 p. 40

Lewis, L.R., B, 3/4, #36 p. 8

Lewis, L.R., B-flat, 4/4, #38 p. 9

Lewis, L.R., B-flat, 4/4, #51 p. 12

Lewis, L.R., C, 4/4, #48 p. 11

Lewis, L.R., C, 4/4, #49 p. 11

Lewis, L.R., C, 6/8, #50 p. 11

Lewis, L.R., d, 3/2, #179 p. 39

Lewis, L.R., d, 3/4, #178 p. 39

Lewis, L.R., d, 4/4, #176 p. 38

Lewis, L.R., d, 4/4, #177 p. 39

Lightly Row, #111 p. 24

Lilly Dale, H.S. Thompson, #342 p. 78

Little Brown Jug (rhythm only), #2 p. 1

Little Charley Went a Fishing, C. Hess, #306 p. 69

Lolotte, #212 p. 46

Long, Long Ago, T.H. Bayly, #312 p. 71

Love's Young Dream, Thomas Moore, #338 p. 77

lullabye, #206 p. 44

lullabye, #425 p. 102

Luther, Martin, Mighty Fortress Is Our God, A, #360 p. 83

Luther, Martin, We Come Unto Our Father's God, #74 p. 16

M'ha Preso Alla Sua Ragna, Pier Domenico Paradies, #283 p. 63

112 Index

Maid of Athens, H.R. Allen, #394 p. 93

march from The Nutcracker (rhythm only), P.I. Tchaikovsky, #26 p. ?

McNaughton, J.H., Faded Coat of Blue, The, #378 p. 88

Media Noche, #382 p. 89

melody from the notebook for Anna Magdalena, J.S. Bach, #205 p. 44

Mendelssohn, Felix, If with all your hearts ye truly seek me from Elijah, #311 p. 71

Menuet I from orchestral suite #1, J.S. Bach, #390 p. 92

menuet II from cello suite # 2, J.S. Bach, #345 p. 79

menuet Oxford symphony, Franz Joseph Haydn, #128 p. 27

menuet Oxford symphony, Franz Joseph Haydn, #415 p. 100

Mi Sueño, #223 p. 48

Mighty Fortress Is Our God, A, Martin Luther, #360 p. 83

Milhaud, Darius, Chant de Sion, #348 p. 80

minuet, J.S. Bach, #142 p. 29

Moore, Thomas, Evening Bells, #256 p. 56

Moore, Thomas, Love's Young Dream, #338 p. 77

Mountains, The, S.W. Gladden, #292 p. 65

Mozart, W.A., allegro from Eine kleine Nachtmusik, #102 p. 22

Mozart, W.A., andante un poco allegretto from string quartet # 5, #358 p. 82

Mozart, W.A., aria (Papageno) from `The Magic Flute', #113 p. 24

Mozart, W.A., aria (Papageno) from `The Magic Flute', #422 p. 101

Mozart, W.A., aria from the Magic Flute, #370 p. 86

Mozart, W.A., Duet from The Magic Flute, #398 p. 94

Mozart, W.A., Duet No. 2, Menuet, from 12 Duets, K.V. 487, #103 p. 22

Mozart, W.A., Duet No. 2, Menuet, from 12 Duets, K.V. 487, #396 p. 94

Mozart, W.A., opening from clarinet quintet, #258 p. 57

Mozart, W.A., Osanna (bass solo, allegro) from Sanctus, Requiem, #299 p. 67

Mozart, W.A., string quartet # 1, adagio, #119 p. 25

Mozart, W.A., string quartet # 1, menuet, #309 p. 70

Mozart, W.A., string quartet # 1, menuet, #379 p. 88

Mozart, W.A., string quartet # 1, trio, #335 p. 76

Mozart, W.A., string quartet # 10, menuet, #279 p. 61

Mozart, W.A., string quartet # 15, menuet, #213 p. 46

Mozart, W.A., string quartet # 2, andante, #274 p. 60

Mozart, W.A., string quartet # 4, opening, #322 p. 73

Mozart, W.A., string quartet # 4, presto, #286 p. 64

Mozart, W.A., string quartet # 6, rondo, #288 p. 64

Mozart, W.A., string quartet # 7, presto, #320 p. 72

Mozart, W.A., string quartet # 8, menuet, #305 p. 69

Mozart, W.A., string quartet # 8, menuet, #319 p. 72

Mozart, W.A., theme from symphony in G minor, #196 p. 42

Musieu Bainjo, #116 p. 25

My Father, How Long?, #70 p. 15

My Field, #200 p. 43

My Lodging Is On the Cold Ground, #269 p. 59

Nachtwache 1, Johannes Brahms, #222 p. 48

Not Yet, Richard Strauss, #156 p. 33

Index 113

O Come, All Ye Faithful (rhythm only), #5 p. 2

O Daniel, #356 p. 82

O Jordan, Sacred Tide from Esther, G.F. Handel, #228 p. 49

O Little Town of Bethlehem (rhythm only), #8 p. 2

Ode to Joy, Beethoven, #30 p. 7

Ojos Mexicanos, Los, #214 p. 46

Old Folks at Home, Stephen Foster, #240 p. 53

Old Hundred, #243 p. 53

opening from clarinet quintet, W.A. Mozart, #258 p. 57

opening movement from string quartet # 1, Beethoven, #334 p. 76

opening theme of Symphony #3, Beethoven, #59 p. 13

Ophelia's Song, Maude Valerie White, #215 p. 46

Orange and the Black, The, Frances Shackleton, #392 p. 92

Osanna (bass solo, allegro) from Sanctus, Requiem, W.A. Mozart, #299 p. 67

Our Baby, #139 p. 29

Out of Work, Alice Hawthorne, #386 p. 90

Paloma Blanca, La, #158 p. 33

Paloma Blanca, La, #418 p. 100

Paradies, Pier Domenico, M'ha Preso Alla Sua Ragna, #283 p. 63

Parry, John, Villikins and His Dinah, #106 p. 23

Pat-a-Cake, Froebel, #68 p. 15

Pergolesi, Giovanni Battista, aria from Stabat Mater, #344 p. 79

Pergolesi, Giovanni Battista, Sancta Mater from Stabat Mater, #421 p. 101

Pergolesi, Giovanni Battista, Sancta Mater from Stabat Mater, #65 p. 15

Pergolesi, Giovanni Battista, tune from Stabat Mater, #260 p. 57

Pergolesi, Giovanni Battista, tune from Stabat Mater, #383 p. 90

Poor Rosy, #96 p. 21

Poor Rosy, #97 p. 21

Pop Goes the Weasel (rhythm only), #23 p. 4

Poulton, George, Aura Lee, #325 p. 74

Praise, Member, #147 p. 31

Praise, Member, #93 p. 20

processional march song, #347 p. 79

Que No Te Amo, #301 p. 67

Quinze Ans, A, #318 p. 72

Ragion Sempre Addita, Alessandro Stradella, #374 p. 87

Rain, Rain, Go Away (rhythm only), #4 p. 1

Raisins with Almonds, Abraham Goldfaden, #359 p. ?

Rana, La, #324 p. 74

Recouvrance, A, #67 p. 15

Red River Valley, #265 p. 58

Reir Es Necesario, #217 p. 47

Reir Es Necesario, #316 p. 72

Revive Us Again, John Husband, #110 p. 23

Rimsky-Korsakov, Nikolai, Scheherezade, #333 p. 76

Rockabye Baby (rhythm only), #15 p. 3

Roll, Jordan, Roll, #400 p. 95

114 Index

Root, George F., Brother, Tell Me of the Battle, #376 p. 87

Rosa Lee, #268 p. 59

Rousseau, J.J., Hush, My Babe, #83 p. 18

Row, Burnie, Row, H. Burgess Weston, #77 p. 17

Row, Row, Row Your Boat (rhythm only), #24 p. 4

Rémon, #340 p. 78

Sagt Mir, O Schönste Schäf'rin Mein, #349 p. 80

Samuel, Harold, Fairy Boat, The, #167 p. 35

Sancta Mater from Stabat Mater, Giovanni Battista Pergolesi, #421 p. 101

Sancta Mater from Stabat Mater, Giovanni Battista Pergolesi, #65 p. 15

Scarlatti, Alessandro, Già il Sole dal Gange, #231 p. 50

Scarlatti, Alessandro, Su, Venite a Consiglio, #82 p. 18

Scheherezade, Nikolai Rimsky-Korsakov, #333 p. 76

Schubert, Franz, Above the Mountains, #397 p. 94

Schubert, Franz, Am Feierabend, #220 p. 47

Schubert, Franz, Danksagung an den Bach, #232 p. 51

Schubert, Franz, Das Wandern, #159 p. 33

Schubert, Franz, Halt!, #130 p. 27

Schubert, Franz, Wohin?, #126 p. 26

Schwesterlein, #404 p. 96

Schönster Schatz, Mein Engel, #114 p. 24

Serenata, #118 p. 25

Serenata, #132 p. 27

Shackleton, Frances, Orange and the Black, The, #392 p. 92

Ship That Never Returned, The, #282 p. 62

Shoals, Valedictory, #364 p. 84

Shout On, Children, #125 p. 26

Sing Hey to You, Good-Day to You!, A.S. Sullivan, #329 p. 75

Sinner Won't Die No More, #257 p. 57

Slumber My Darling, Stephen Foster, #330 p. 75

Softly Now the Light of Day, C.M. von Weber, #326 p. 74

Son of God Goes Forth to War, The, H.S. Cutler, #73 p. 16

Song of All Songs, The, Stephen Foster, #291 p. 65

Song of the Free, J.G. Whittier, #252 p. 55

Speed Away! Speed Away!, I.B. Woodbury, #369 p. 86

Stradella, Alessandro, Ragion Sempre Addita, #374 p. 87

Strauss, Richard, Devotion, #250 p. 55

Strauss, Richard, Not Yet, #156 p. 33

string quartet # 1, adagio, W.A. Mozart, #119 p. 25

string quartet # 1, menuet, W.A. Mozart, #309 p. 70

string quartet # 1, menuet, W.A. Mozart, #379 p. 88

string quartet # 1, trio, W.A. Mozart, #335 p. 76

string quartet # 10, menuet, W.A. Mozart, #279 p. 61

string quartet # 15, menuet, W.A. Mozart, #213 p. 46

string quartet # 2, andante, W.A. Mozart, #274 p. 60

string quartet # 4, opening, W.A. Mozart, #322 p. 73

string quartet # 4, presto, W.A. Mozart, #286 p. 64

Index 115

string quartet # 6, allegro, Beethoven, #354 p. 81

string quartet # 6, rondo, W.A. Mozart, #288 p. 64

string quartet # 7, presto, W.A. Mozart, #320 p. 72

string quartet # 8, menuet, W.A. Mozart, #305 p. 69

string quartet # 8, menuet, W.A. Mozart, #319 p. 72

Su, Venite a Consiglio, Alessandro Scarlatti, #82 p. 18

Sullivan, A.S., E-flat, 6/8, #66 p. 15

Sullivan, A.S., Sing Hey to You, Good-Day to You!, #329 p. 75

Sullivan, A.S., Take a Pair of Sparkling Eyes, #328 p. 74

Sullivan, M.D., Blue Juniata, The, #264 p. 58

Take a Pair of Sparkling Eyes, A.S. Sullivan, #328 p. 74

Take Me Out to the Ball Game (rhythm only), #7 p. 2

Tallis, Thomas, If Ye Love Me, #254 p. 56

Tchaikovsky, P.I., march from The Nutcracker (rhythm only), #26 p. ?

Tchaikovsky, P.I., trepak from The Nutcracker (rhythm only), #17 p. 3

Tchaikovsky, P.I., waltz of the flowers from The Nutcracker (rhythm only), #19 p. 3

The Entertainer (rhythm only), Scott Joplin, #25 p. 4

The Itsy-Bitsy Spider (rhythm only), #22 p. 4

theme from symphony in G minor, W.A. Mozart, #196 p. 42

This Old Man (rhythm only), #10 p. 2

Thompson, H.S., Lilly Dale, #342 p. 78

Thou Poor Bird, #197 p. 43

Tis Me, O Lord, #403 p. 96

trepak from The Nutcracker (rhythm only), P.I. Tchaikovsky, #17 p. 3

trio from Brandenburg concerto # 1, J.S. Bach, #300 p. 67

Tristes Horas, Las, #207 p. 44

Tu Eres Mas Bella, #146 p. 30

Twinkle Twinkle, Little Star (rhythm only), #1 p. 1

Ubi Bene, Ibi Patria, #285 p. 63

Upidee, #321 p. 73

Valedictory, Shoals, #364 p. 84

Venus theme from The Planets, Gustav Holst, #131 p. 27

Venus theme from The Planets, Gustav Holst, #419 p. 101

Villikins and His Dinah, John Parry, #106 p. 23

Vivo Llorando la Suerte, #298 p. 67

Vivo Penando, #372 p. 86

Wach' Auf, Mein Hort, #148 p. 31

Wach' Auf, Mein Hort, #417 p. 100

Walk, Shepherdess, Walk, #315 p. 72

waltz of the flowers from The Nutcracker (rhythm only), P.I. Tchaikovsky, #19 p. 3

We Come Unto Our Father's God, Martin Luther, #74 p. 16

We Three Kings (rhythm only), #6 p. 2

We Wish You a Merry Christmas (rhythm only), #9 p. 2

Webbe, Samuel, Come, Ye Disconsolate, #366 p. 85

Weber, C.M. von, Softly Now the Light of Day, #326 p. 74

Wedge, G.A., c, 2/4, #295 p. 66

Wedge, G.A., c, 3/4, #184 p. 40

116 Index

Wedge, G.A., c, 3/4, #204 p. 44

Wedge, G.A., f, 2/4, #188 p. 41

Wedge, G.A., f, 2/4, #189 p. 41

Wedge, G.A., f, 2/4, #190 p. 41

Wedge, G.A., f, 2/4, #293 p. 65

Wedge, G.A., f, 3/4, #294 p. 66

Wedge, G.A., g, 2/4, #199 p. 43

Wedge, G.A., g, 3/4, #198 p. 43

Wedge, G.A., g, 3/4, #202 p. 44

Wedge, G.A., g, 3/4, #203 p. 44

Wedge, G.A., g, 3/4, #208 p. 45

Wedge, G.A., g, 3/4, #227 p. 49

Wedge, G.A., g, 4/8, #226 p. 48

Were You Ever in Rio Grand, #332 p. 75

West, W.H.C., Jenny Lind Mania, The, #248 p. 54

Weston, H. Burgess, Row, Burnie, Row, #77 p. 17

When You and I Were Young, J.A. Butterfield, #368 p. 85

White, Maude Valerie, Ophelia's Song, #215 p. 46

Whither Through the Meadow?, L.O. Emerson, #45 p. 10

Whittier, J.G., Song of the Free, #252 p. 55

Who Got Dirt on the Carpet Again?, B. Crowell, #185 p. 40

Who Got Dirt on the Carpet Again?, B. Crowell, #362 p. 84

Widdecombe Fair, #314 p. 71

Wild Moor, The, #275 p. 60

Wohin?, Franz Schubert, #126 p. 26

Wohlfahrt, Franz, F, 4/4, #91 p. 20

Wolf, The, Froebel, #209 p. 45

Woodbury, I.B., Speed Away! Speed Away!, #369 p. 86

Wrighton, W.T., Dearest Spot on Earth, The, #98 p. 21

Ya Viene El Alba, #230 p. 50

Index 117