t he scarÈd harp - mewsic.com · vocal ranges try to keep the four parts within the following...

THE SCARÈD HARP

choral arrangements of filk songs

first edition July 2003

available on the World Wide Web at

http://www.mewsic.com/TheScaredHarp

iii

Table of Contents

Preface ............................................................................... v

Some Tips on Vocal Arranging.......................................viii

How Can I Keep from Filking ............................................ 1

Hope Eyrie .........................................................................2

The Green Hills of Earth....................................................4

The Word of God................................................................6

The Galaxy’s Wide............................................................. 8

The View from the Iron Road ............................................9

Falling Down on New Jersey ...........................................10

Woad ................................................................................ 12

Code.................................................................................. 14

Who Sings for the Engineer? ........................................... 16

Vampire’s Lullabye ..........................................................18

Dies Ille, Dies Lunae ........................................................ 19

Cur Ursus Clamat............................................................ 20

The Heretic Heart (The Ploughboy’s Dream) ................ 24

The Heretic Heart (Jordan) ............................................ 26

Web of Love..................................................................... 28

Hymn (All My Songs Home to You) ............................... 30

Hymn to Hubble (original tune) ......................................31

Hymn to Hubble (Northfield) ......................................... 32

How Can I Keep from Singing ........................................ 34

Acts of Creation ............................................................... 36

A Psalm of Life ................................................................ 37

Let Insects Specialize ...................................................... 38

A Pilgrim’s Way ............................................................... 40

After the Gold Rush......................................................... 42

Babylon is Fallen ............................................................. 46

The Last Frontier............................................................. 47

A Short Treatise on the History of Filk ........................... 50

Winter is Icummen In ..................................................... 52

Recessional ...................................................................... 53

Indexes.............................................................................I-1

Dedicated to all who love to sing, especially those who’ve been told they shouldn’t.

v

Preface

I have always loved choral singing. When I first began to lead choral singing workshops at filk conventions in the late 1990’s, I was particularly struck by those participants who had never done any choral singing before, and by how much they enjoyed it. As time went on, the feeling grew in me that choral singing in the filk community should not be limited to the stage, but belonged in the filk circle as well. There was no reason, I thought, that simple choral arrangements could not be sung with success in a filk circle.

I have always loved hymns, too, especially the old German tunes such as “Lasst uns Erfreuen”, “Lobe den Herren”, “Nun Danket”, and “Kremser”. And Christmas carols, of course. It always disappointed me that there was such a dearth of good hymn texts expressing non-Christian spirituality. Fannish hymns do actually exist: “Hope Eyrie” and “Acts of Creation” are two of the best. There just hasn’t been much in the way of easy, accessible four-part arrangements – until now.

The tradition of Sacred Harp singing features the most power-ful and stirring hymn singing I’ve ever heard. It also has a consistent history of emphasizing participation over performance. I fell in love with it the first time I heard it, in spite of texts which did not reflect my own personal spirituality. I have longed to hear such singing in filk circles, and so I have set five songs to music from The Sacred Harp, plus one additional arrangement in that style. When singing them, keep in mind that the melody is always in the Tenor part. The Soprano (called Treble in The Sacred Harp) and Tenor parts are traditionally sung by both men and women (in their proper octaves), creating an effect of six-part harmony.

When not explicitly marked otherwise, the melody is in the Soprano. The parts and staves are arranged in the traditional order. I have used two staves where I could do so in a readable

manner; the Soprano is in the upper staff with stems pointing up, the Alto is in the top staff with stems pointing down, the Tenor and Bass are in the lower staff with stems pointing up and down, respectively. When the four parts were too complex to be easily readable on two staves, I used four staves, with the Soprano (or Treble) on top, followed by Alto and Tenor, and Bass on the bottom. When four staves are used, I have provided a two-staff keyboard reduction for rehearsal purposes.

At the beginning of each song I have notated the vocal ranges as small solid note heads without stems. I have included chord symbols on those songs which I felt most lent themselves to accompaniment, though all of them are intended to work a capella (unaccompanied).

In selecting songs for this collection, I considered hundreds of possibilities, both “true” filk songs and folk songs that are (or ought to be) often heard in filk circles. Some, while fine songs in their own right, are simply not well suited to easy four-part arrangements. Others eluded my attempts at arranging. My original goal was a dozen songs. From a list of over seventy candi-dates, I chose thirty of my favorites, leaving the rest to future contributors.

It is my fervent hope that this collection will be embraced by the filk community as one of the standard “Filk Hymnals”. To encourage its dissemination I have made it available on the World Wide Web at “http://www.mewsic.com/TheScaredHarp”. I also hope that others will take up this torch and try arranging other filk songs – or even re-arranging those that appear here. I welcome submissions for a future new edition of The Scarèd Harp.

Edward L. Stauff, June 2003

vi

Some Tips on Vocal Arranging

One of the best aspects of the filk community is its tradition of encouraging beginners. In the spirit of that tradition, I offer the following tips on vocal arranging. Give it a try! Take your ar-rangement to a filksing and get three other people (or more) to try it out. As with all things, be prepared to take criticism and learn from mistakes.

Anything like a full treatment of harmony, counterpoint and voice-leading is well beyond the scope of this book; indeed, many entire books are devoted to the subject. The information given here should get you started on the right track. In the interest of space, I have only listed the rules, and not the music theory that lies behind them.

Elementary keyboard skills are extremely useful if you’re going to try your hand at arranging. However, with the availability of a variety of music editing software that can play back your music, keyboard skills are no longer a strict requirement.

A hymnal is a great resource for learning by example. Churches often have old ones that they no longer use.

Vocal Ranges Try to keep the four parts within the following ranges. Keep in

mind that you’re writing for untrained voices. The more you exceed these limits, the harder it will be to sing.

Step by Step Start with the melody. Write it down or enter it into your score

editing program, and make sure it’s in a key that keeps it within the Soprano range. If you wait until later to transpose it into range, your other parts may be moved out of their ranges.

The next step is to rough out the harmony by selecting chords for the major beats, as if you were going to accompany the song on guitar or piano. I generally do this at the same time that I write the Bass part (the next step), but if you’re not comfortable putting chords to a song, then do this as a separate step.

Once you have an idea as to the basic harmony (chords), write the Bass part. The Bass part is the second most important part, after the melody (Soprano). As such, it should follow the rules even more closely than the other parts. Stepwise motion (ex-plained below) is particularly good in the Bass part. Play the Bass part together with the Soprano part, and make sure they sound good before going on. The fifth of a chord is the weakest note to use in the bass (e.g. the G in a C chord), and only works in certain circumstances. The third of a chord (e.g. the E in a C chord) is nearly as good as the root (e.g. the C in a C chord) in the bass, but does not give a sense of finality or arrival, so don’t use the third at the end of a phrase. The seventh can be used in the bass (e.g. the F in a G7 chord), but only if it resolves downward to the third of the next chord; for example, a G7 chord with an F in the bass should be followed immediately by a C (or C minor) chord with an E (or Eb) in the bass.

After writing the Bass part, add the inner parts (the Alto and Tenor). You’ll generally have to do the two of them together. This is the most difficult step, as you’ll find as you try to satisfy all the rules at once. Be prepared to modify your Bass part if necessary.

vii

The Rules Within a single part, stepwise motion (moving up or down to

the next adjacent note) is preferable to larger intervals. The larger the interval (the distance between two notes), the harder it is to sing.

In general, prefer contrary motion over parallel motion. That is, two parts should move in the opposite direction: if one part goes up, the other part should go down. In particular, you should never have all the parts moving in the same direction at once.

Try to keep one part stationary (on the same note) between two adjacent chords. This provides harmonic continuity.

Within a single part, avoid repeating the same note too many times. It’s very common to end up with an Alto or Tenor part that does this. It makes for a boring part.

Since most chords are defined by three notes, and you’re writ-ing in four parts, most of the time one note in the chord will be doubled. Doubling the 3rd of the chord is the least desirable. Avoid doubling more than one note, which results in an incomplete chord; if you must, then omit the 5th, not the root or 3rd.

Do not write parallel fifths or octaves. Doing so will get you an instant “F” in any music theory course.

Avoid writing parallel dissonant intervals (2nds and 7ths). Avoid crossing of parts. This is when a part which is normally

higher than another part goes below it (or vice versa). You can find an example of this in the last measure of the first page of “Hope Eyrie”. Part crossing is particularly undesirable when it involves the Bass and Soprano parts.

Musical Styles The rules given above apply to traditional Western harmony,

dating back to the Baroque period and before. The vast majority of mainstream hymns follow these rules. There are, however, other styles which intentionally violate one or more of these rules. Feel free to break the rules if you’re trying to achieve a particular effect – but understand them before you break them!

While traditional Western harmony is based on thirds, the harmony in The Sacred Harp is based on fourths and fifths. Thirds are often omitted altogether, and parallel fifths and octaves are common.

Writing in three parts is actually more difficult than writing in four parts, because it’s harder to fill all the notes of each chord while following the rest of the rules.

About half of the songs in this collection are harmonized using the rules of traditional hymnody. Consult the Index of Musical Styles at the back of this book.

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œ œ œ œ

have

speakstu -

bestto

ifdy

youchoose

weor

thinkbe -

butmay

the

œ œ œ œ


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#

œ œ œ œ

tween

lis -shud -

sto -them

tender

ryin

whenand

isthe

itde -

un -

œ œ œ œ


.˙ Œ

strife,

talks;ny;

furled.

.˙ Œ

.˙ Œ.˙ Œ

œ œ .œ jœ

hu -

hu -hu -

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mansmans

manswrote

wrotewrote

wrotethe

thethe

the

œ œ .œ Jœ

œ œ .œ jœœ œ .œ Jœ

œ œ ˙BiBiBiBi

- - - -

ble,ble,ble,ble,

œ œ ˙

œ œ ˙˙ ˙

˙ œ œGod

GodGod

Godwrote

wrotewrote

wrote

thethe

the

˙ œ œ

˙ œ œ˙ œ œ

.˙

life.

rocks.sky.

world.

.˙

.˙ .˙

7

[CMD] words and music © 1994 by Catherine Faber; harmonization © 2003 by Edward L. Stauff [rev. 7 July 03]

&

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#

44

44

œœ œœ

œœ œœ

Œ œ œ œ œG D

Refrain:1.2.3.

TheThere

IMy

ga-is

foundsuit

la-xy'saa

was

Œ œ œ œ œ œ

4. Oh love burns

Œ œ œ œ œŒ œ œ œ œ

˙ ˙G

wide,ship

worldbound

˙ ˙

bright- ly,

˙ ˙˙ ˙

Œ œ œ œ œC

worldsoutbluesafe

arebe -

and

fewtweengreen

to

andthe

withmy

Œ œ œ œ œ

and love burns


wG

far,stars,life,ship,

w

warm,

www

Œ œ œ œD7

andher

II

nei -holds

thoughtthought

theraretothe

Œ œ œ œ

and love's a

Œ œ œ œŒ œ œ œ

˙ ˙Em

havefull,landline

˙ ˙

no-va

˙ ˙˙ ˙

Œ œ œ œ œD7 G C

Ishe'sand

would

hullhome -call

ne'er

norwardher

come

Œ œ œ œ œ

with - in your


&

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#

#

wD

drive.bound,mine.free.

w

soul.

˙ ˙w

Œ œ œ œGiveandButBut

meno

she'dfirst

aless

beenit

Œ œ œ œ

But love grows


wG/B

shipfull

claimed,frayed,

w

dim,

ww

Œ œ œ œ œ œC

thatis

andand

canmy

they

jumpheart

warnedthen

be -withmeit

Œ œ œ œ œ

and clo - ses


wG

tweenlove,off,

broke,

w

in,ww

Œ œ œ œC

andyetandand

nonenososo

shallstar's

Imy

Œ œ œ œ

and leaves your


˙ ˙G/D

partpullleft

˙ ˙

falseheart

love

˙ ˙˙ ˙

Œ œ œ œAm7/D

mycanthat

lovedrawworld

andmebe -

Œ œ œ œ

dida

un -cold

toblack


wG

I.down.hind.

w

me.hole.

ww

The Galaxy's Wide

[LM] words © 1995 by Edward L. Stauff; tune “The Water Is Wide” (“Waly, Waly”), traditional; harmonization © 2003 by Edward L. Stauff [rev. 9 July 03]

8

&

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b

b

44

44

œœ œœ œ œ

1.2.3.

AllTheWe

ma -

œ œ

œœ œœœ œœ œ

œ œ œ œbeau -

chine'swon't

ti -not

take

fulel -

our

thee -

wars

œ œ œ œ œ


œ œ œ œ œ œwheelgant

in -

ofit'sto

starstrue,

space,

asitat

œ œ œ œ


œ œ œ œ œsea-rat -

least

sonstlesnot

comeandfor

andita

œ œ œ œ


.˙ œgo.

roars.while,

TheForand

.˙ œ

.˙ œ.˙ œ

œ œ œ œhand

dreamseye

thatinto

madeSteeleye

themade

in

œ œ œ œ œ


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b

œ œ œ œ œ œroseman -

ze -

hathi -

ro

wroughtfestgee

acause

is

œ œ œ œ


œ œ œ œ œwayfeareas -

forandier

usclo -by

tosesa

œ œ œ œ


.˙ œ œgo:

doors.mile.

anButAnd

when

.˙ œ œ

.˙ œ œ.˙ œ œ

.œ jœ œ œ œ œI -I -

when

ronron

we've

Roaddreamslearned

forandto

.œ Jœ œ œ


œ œ œ œ œ œus

worldssee

tocol -our

take,lide,way

andwhoin

œ œ œ œ

œ œ œ œœ œ œ œ œ&

?

b

b

œ œ œ œreachsayssun's

forthenun -

thatwhat

fet -

brightis

tered

œ œ œ œ œ


˙ ˙light

right?light,

'tilAndwe'll

˙ ˙

˙ œ œ˙ œ œ

œ œ œ œev -all

teach

'rytheour

earth -earth -earth -

boundboundbound

œ œ œ œ œ


œ œ œ œ œ œchildchil -chil -

ofdrendren

usseeto

seesit

see

œ œ œ œ


œ œ œ œ œallall

things

fromfromfrom

aaa

lof -lof -lof -

tytyty

œ œ œ œ œ

œ œ œ œ œ œœ œ œ œ œ

.˙height.height.height.

.˙

.˙ .˙

The View from the Iron Road

[CMD] words © by Kate Holly-Clark; tune “The Ploughboy's Dream” (“Forest Green”), trad. English; harmonized by Ralph Vaughan Williams [rev. 7 July 03]

9

&

?

44

44

œœ œ œ

1.2.3.4.

It'sNowWell,

It

ait's

now,will

œœ œœ

melody in tenor

œ œœ œ

œ œ œ œ# œAm E

damnwide -why

strike

toughly

thea

lifeknownshock?spark

farthatHell,that

froma

it'swill

œ œ œ# œ œœ œ œ œ œ

œ œ œ# œ œAm E

homeshipjusttoast

anda -a

New -

wifelonerock.ark;

wewould

Areand

bewewill


œ œ œ œ œAm Dm6 E

as -burned

justflat

tro-

-

nautsupa -

ten

un -andlar -

Perth

der -de -

mistAm -

œ œ œ œ œ#œ œ œ œ œ

˙ Œ œ œAm

go.stroyed,fools?boy.

AndbutButIt

wetheit


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don'tshiphas,

won't

muchandyoube

care,crewsee,pret - ty

whenbrought

thein

the

At -

œ œ œ# œ œ œœ œ œ œ œ œ

œ œ œ# œ œ œAm E

mis-withen -lan -

sion'sus,er -tic

done,too,gyCi - ty;

howanof

you

e -

should

œ œ œ œ œ œ œœ œ œ œ œ œ

œ œ œ œ œ œAm Dm6 E

farlev -ten

shade

enthe

mileto

yourthe

shipas -

nine -eyes

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teenthin

œ œ œ œ œ œ œ#œ œ œ œ œ œ

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go.oid.

joules.Troy.

You'llSo

WithE -

be

theven

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sadwhenrock's

so,

toyou've

andad

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yet,vance,

kenourall

therewe

de -theis

have


œ œ œ œ œ œ œG

or -folksBuck-one

bitin

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Ho -

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burnbo -

chancegret:

kenwon'tandthatthat

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made:profsGar -have -

ourat

denn't the

tanks

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'll -

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beta

ton,

œ œ œ œ œ œœ œ œ œ œ œ œ

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ty,too,

spared,V

andwe'llandto

thedi -we


Falling Down on New Jersey10

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fuelvulgesoonpush

line'sthewillit

torn,fact

show,forth,

soofif

just

you'dtheyou

a


œ œ œ œ# œAm E

rock'sdid -few

bet - terim -n't

miles

warnpact

know,north,

at

to

all

thatland

the


.œ jœ œ œF E

folksse -

smackE

inven

onis

Newthir -

N.M

Jer -ty -

Y.C

.œ jœ œ œ œ#.œ Jœ œ œ

˙Am

sey.two.

C.squared.

˙̇

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œ œœ œ

.œ jœ œ œC

down on New Jer -

.œ jœ œ œ œ.œ Jœ œ œ œ œ

.œ jœ œ œ œG

sey, me boys, fal - ling


.œ jœ œ œAm

down on New Jer -

.œ jœ œ œ œ.œ Jœ œ œ œ œ

˙# Œ œE

sey, we

˙ Œ œ˙ Œ œ

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œ œ œ œ# œAm E

thought it wise to a -


œ œ œ# œ œAm E

po - lo - gize to the


.œ jœ œ œF E

folks in New Jer -

.œ jœ œ œ œ#.œ Jœ œ œ˙ ŒAm

sey.

˙ Œ˙ Œ

[CMD] words © 1988 by Mitchell Burnside-Clapp; tune “Rolling Down to Old Maui”, traditional; harmonization © 2003 by Edward L. Stauff [rev. 7 July 03]

11

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?

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#

44

44

œœ œœ

1.2.

œœ œœ

.œ jœ .œ jœWhat's

Ro -the

mansuse

cameofa -

.œ Jœ .œ Jœ

.œ jœ .œ jœ.œ Jœ .œ Jœ

œ œ œ œwear-cross

ingthe

bra -chan-

ces,nel

œ œ œ œ


œ œ œ œhatsall

anddressed

spatsup

andin

œ œ œ œ

œ œ# œ œœ œ œ œ#

œ œ œ œboots

tinwithand

la -flan -

ces,nel,

œ œ# œ œ

œ œ œ œœ œ œ œN

.œ jœ .œ jœvestshalf

anda

coatspint

youof

.œ Jœ .œ Jœ


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œ œ jœ .œbuy

woadin

perpla -

man -ces'll

œ œ Jœ .œ

œ œ jœ .œœ œ Jœ .œ

jœ .œ .œ jœdowndress

onus

Bromp-more

tonthan

˙ .œ Jœ

jœ .œ .œ jœJœ .œ .œ Jœ

wRoad?these.

w

ww


Sax -theons

useye

ofmay

.œ Jœ .œ Jœ


œ œ œ œshirtswaste

ofyour

cot -stit -

ton,ches

œ œ œ œ


œ œ œ œstudsbuil -

thatding

al -beds

waysfor

œ œ œ œ


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#

œ œ œ œget

bugsfor -in

got -brit -

ten?ches,

œ œ# œ œ


.œ jœ .œ jœSuchwe

af -have

fairswoad

areto

.œ Jœ .œ Jœ


œ œ jœ .œsimp -

clothelyus

rot -which

ten,is

œ œ Jœ .œ


jœ .œ .œ jœbet -not

tera

farnest

isfor

˙ .œ Jœ


wwoad.fleas.

w

ww

Woad12

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.œ jœ .œ jœWoad's

Ro -the

mansstuffkeep

toyour

.œ Jœ .œ Jœ


œ œ Óshow

ar -men,

mours,

œ œ

œ œ Óœ œ

.œ jœ .œ jœwoadSax -

toons

scareyour

yourpy -

.œ Jœ .œ Jœ


œ œ Ófoe -ja -

men.mas.

œ œ

œ œ Óœ œ

.œ jœ .œ jœBoilHair -

ity

tocoats

awere

.œ Jœ .œ Jœ


.œ jœ .œ jœbril -

madeliantfor

huegoats,

andgo -

.œ Jœ .œ Jœ


&

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#

œ œ œ œ œ œ œ œrubril -

itlas,

onyaks,

yourre -

legstrie -

andver

yourdogs

ab -and

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ

œ œ Œ œdo-lla-

men.mas. So

Those

œ œ Œ œ

œ œ Œ œœ œ Œ œ

œ œ œ œtramp

an - cientup

Bri -Snow-

tonsdon

œ œ œ œ


œ œ œ œne'erwith

didyour

hitwoad

onon,

œ œ œ œ


œ œ œ œ œ œan -nev-

y-er

thingmind

asif

goodyou

asget

œ œ œ œ œ œ

œ œ œ œ# œ œœ œ œ œ œ œ#

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#

œ œ œ œwoad

rainedtoor

fitsnowed

onon,

œ œ# œ œ


.œ jœ .œ jœnecknev -

orer

kneesneed

ora

.œ Jœ .œ Jœ


œ œ jœ .œwhere

but -youton

sitsewed

on.on.

œ œ Jœ .œ


jœ .œ .œ jœTai -Go

lors,it,

youAn -

becient

Jœ .œ .œ Jœ


wblowed!

B's!

w

ww

[irr.] words of unknown origin, attr. to Flanders & Swann or Colin Douthwaite; music “Men of Harlech”, traditional; harmonization © 2002 by Edward L. Stauff [rev. 7 July 03]

13

&

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#

#

44

44

œœ œœ

1.2.

œœ œœ


Of -theten -

usetimes

ofa

.œ Jœ .œ Jœ


œ œ œ œin -

poorcan -old

ta -bid -

tionsdy

œ œ œ œ


œ œ œ œneed -found

ingon

strangeher

ges -fa -

œ œ œ œ


œ œ œ œti -

mil -cu -iar

la-kit -

tions,ty

œ œ# œ œ


.œ jœ .œ jœeye -

ticksballsand

offleas,

ob -which

.œ Jœ .œ Jœ


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(more'scrus -the

ta -pi -

ceans,ty)

œ œ Jœ .œ


jœ .œ .œ jœtoe -

movednails

in -ofto

aher

˙ .œ Jœ


wtoad?rugs.

w

ww


Sha -the

mansuseus -

ofing

.œ Jœ .œ Jœ


œ œ œ œyearsdung

offrom

train-cat -

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œ œ œ œspellswith

thatsmall

don'tin -

worksects

œ œ œ œ


&

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œ œ œ œwhenmust

it'sdo

rain -bat -

ingtle.

œ œ# œ œ


.œ jœ .œ jœor

Webe -

havecausecode

theto

.œ Jœ .œ Jœ


œ œ jœ .œmoonserve

isus

wan -that -

ing?'ll

œ œ Jœ .œ


jœ .œ .œ jœBet -not

terbe

farfraught

iswith

˙ .œ Jœ


wCode!bugs.

w

ww

Code14

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.œ jœ .œ jœCode's

Sha -the

man,stuffsave

weyour

.œ Jœ .œ Jœ


œ œ Ówriteton -

now,ic;

œ œ

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.œ jœ .œ jœcode

witch,that'syour

cleanpets

andbu -

.œ Jœ .œ Jœ


œ œ Ótightbon -

now.ic.

œ œ

œ œ Óœ œ

.œ jœ .œ jœRun

We'veit

thethroughmeans,

yourwith

.œ Jœ .œ Jœ


.œ jœ .œ jœAp -our

plema-

IIchines,

(tryto

.œ Jœ .œ Jœ


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œ œ œ œ œ œ œ œnot

maketo

phan -stayta -

upsms

fix -vi -

ingsu -

ital

alland

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ

œ œ Ónightson -

now.)ic.

œ œ

œ œ Óœ œ

œ œ œ œAn -If

cientyou've

ma -stayed

ges,with

œ œ œ œ


œ œ œ œthrough

codethe

that'sa -

madeges,with

œ œ œ œ


&

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œ œ œ œ œ œprin - ci - pled tech-niques and

œ œ œ œ œ œfre- quent - ly were prone to

œ œ œ œ# œ œœ œ œ œ œ œ#

œ œ œ œnot been played with,

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.œ jœ .œ jœyou won't need a

.œ Jœ .œ Jœdue to por-ing


œ œ œ œ

wiz-ard's aid with

œ œ œ œo - ver pa - ges


jœ .œ .œ jœu - ser - friend-ly

Jœ .œ .œ Jœfilled with ink that


wcode!

wglowed.

ww[irr] words © 1986 by Bob Kanefsky, www.songworm.com; tune “Men of Harlech”, traditional; harmonization © 2003 by Edward L. Stauff [rev. 7 July 03]

15

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&

V

?

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#

#

#

#

#

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23

23

23

23

23

23

œœ ˙

1.2.3.4.

InGoneNot

Some

œœ ˙

1.2.3.4.

InGoneNot

Someœœ ˙

1.2.3.4.

InGoneNot

Someœœ ˙

1.2.3.4.

InGoneNot

Some

˙̇˙̇

w ˙twen -areagewor -

ty -thedis -

kers'

w ˙twen -areagewor -

ty -thedis -

kers'w ˙twen -areagewor -

ty -thedis -

kers'w ˙twen -areagewor -

ty -thedis -

kers'

w ˙w ˙w ˙w ˙

w ˙ninedayscri

loss -

theof

min -is

˙ ˙ ˙ninedayscri

loss -

theof

min -is.œ Jœ ˙ ˙

ninedays

losscri -

theof

ismin -

˙ ˙ ˙ninedayscri

loss -

theof

min -is

w ˙˙ ˙ ˙.œ jœ ˙ ˙˙ ˙ ˙

.œ jœ ˙ ˙a

mourned

unloy

- - - tion,

in

em -al -

w ˙unloya

mourned

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em -al -

tion,in.œ jœ ˙ ˙

unloy

mourneda -

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al -

intion,

w ˙unloya

mourned

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em -al -

tion,in

.œ jœ ˙ ˙w ˙

.œ jœ ˙ ˙w ˙

w ˙ployed

tybut

song:

wouldbe -

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w ˙ployed

tybut

song:

wouldbe -

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w ˙ployed

ty

song:but

wouldbe -

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ployedty

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w ˙w ˙w ˙w ˙

w ˙walk

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walktween

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w ˙w ˙w ˙w ˙

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w ˙rideandfied"yes -

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w ˙w ˙w ˙w ˙

Who Sings for the Engineer?16

melodyin Tenor

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w ˙rails.boss.say,year,

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w ˙w ˙w ˙w ˙

w ˙dayjob

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w ˙w ˙w ˙w ˙

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stock;out

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w ˙w ˙w ˙w ˙

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.œ jœ ˙ ˙toughbrasssharewho

-when

'syoursingsw ˙

toughbrasssharewho

when's

yoursings

w ˙.œ Jœ ˙ ˙.œ jœ ˙ ˙w ˙

˙ ˙ ˙gainhoufor

ev -

-be -rs

the

'ry

w ˙ev

gainhoufor

-

-

'rybe -rs

the

˙ ˙ ˙ev

gain

forhou -

- 'rybe -

thers

w ˙ev

gainhoufor

-

-

'rybe -rs

the

˙ ˙ ˙w ˙˙ ˙ ˙w ˙

.œ jœ ˙ ˙job

comesanden -

searchyouryourgin -

˙ ˙ ˙job

comesanden -

searchyouryourgin -

.œ jœ ˙ ˙job

comesanden -

searchyouryourgin -

˙ ˙ ˙job

comesanden -

searchyouryourgin -

.œ jœ ˙ ˙˙ ˙ ˙

.œ jœ ˙ ˙˙ ˙ ˙

wfails.loss.pay.eer?

wfails.loss.pay.eer?

wfails.loss.pay.eer?wfails.loss.pay.eer?

wwww

17

[LM] words © 2003 by Edward L. Stauff; tune “When Jesus Wept” by William Billings (1746-1800); harmonization © 2003 by Edward L. Stauff [rev. 7 July 03]

&

?

#

#

44

44

œœ œœ

3.2.1.

œœ œœ

.œ jœ œ œG C G/B

Eat,Hur -All

myry,of

child,child,you

there'swea -

.œ Jœ œ œ


.œ jœ œ œA D

foodmustmong

a -bethe

bun -gone

liv -

dantbying

.œ# Jœ œ œ

.œ jœ œ œ.œ Jœ# œ œ

˙ .œ jœC D

alldawn's

turn

throughear -

now

thelyin

˙ .œ Jœ

˙ .œ jœ˙ œ œ

wG

night.light.fright,

w

ww


NeckForfor

towe

there

bitecan -will

andnotbe

.œ Jœ œ œ


&

?

#

#

.œ jœ œ œA D

limbscar -no

re -ry

for -

dun -ongiv -

dant,ex -ing

.œ# Jœ œ œ


˙ .œ jœC D

allceptby

throughthrough

dark

thetheof

˙ .œ Jœ

˙ .œ jœ˙ œ œ

wG

night.night.night.

w

ww

œ œ œ œC/E G/D C G/B

WhileCrea -

When

theturesyour

worldof

world

sleepstheis

œ œ œ œ


œ œ œ œC G/B Am E/G#

un -darktorn

sus -area -

pec -wesun -

ting,andder,

œ œ œ œ

œ œ œ œœ œ œ œ#

&

?

#

#

œ œ œ œAm E/B Am/C A7/C#

wesub -

earth -

un -ject

quake,

deadtofam -

aresuchine,

œ œ œ œ

œ œ# œ œ œnœ œ œ œ#

.œ jœ œ œG/D D

re -en -fire

sur -mi -

and

rec -ty,

thun-

ting:we'reder,

.œ Jœ œ œ



Vam -bound

we

pires,to

will

ghoulsspend

rest

ande -se -

.œ Jœ œ œ


.œ jœ œ œA D

ghostster -

cure

col -ni -

down

lec -tyun -

tinga -

der,

.œ# Jœ œ œ


˙ .œ jœC D

biteliveall

af -just

through

terat

the

˙ .œ Jœ

˙ .œ jœ˙ œ œ

wG

bite.night.night.

w

ww

Vampire's Lullabye

[12.12.8.8.12] words © 1994 by Dr. H. Paul Shuch, http://drseti.com/filk; tune “Ar Hyd y Nos” (“All Through the Night”), traditional Welsh; harmonization © 2003 by Edward L. Stauff [rev. 7 July 03]

18

&

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#

44

44

..

..

œœœœ

œœœœ

solemnly

pœ œ œ œDi -Se -

esqui-

il -tur

le,Mer -

œ œ œ œ

p œ œ œ œœ œ œ œ

œ œ œ œdi -cu -

esrii

Lu-di -

naees

œ œ œ œ


œ œ œ œsem-qua -

perlis

ve -som-

nitnus,

œ œ œ œ


œ œ œ œop -

qua -por -lis

tu -qui-

nees!

œ œ œ œ


œ œ œ œ œ œ œro -Au -

godi

vosLe -

etpus!

œ œ œ œ œ

œ œ œ œ œœ œ œ œ œ œ

œ œ œ œquae-Quae-

rori -

id:tur:

œ œ œ œ


&

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#

#

œ œ œ œ œquidQuis-

estnam?

quodUn -

etde?

œ œ œ œ


œ œ ˙quodQuid-

estni?

quid?Cur?

œ œ ˙

œ œ ˙œ œ ˙

˙ Œ œRiDi

˙Œ œ

˙ Œ œ˙ Œ œ

œ œ œ# œ - -

eses

al -quar-

ter,tus,

œ œ œ œ

œ œ œ œ#œ œ œ œ

œ œ œ œdi-di-

eses

Mar-Jo -

tis,vis,

œ œ œ œ


œ œ ˙di -di -

eses

Mar -Jo -

œ œ ˙#

œ œ ˙œ œ ˙

˙ Œ œtisvis

estheu,

˙ Œ œ

˙ Œ œ˙ Œ œ

œ œ œ# œae-

la -nig-

bo-ma-

rista,

œ œ œ œ


&

?

#

#

..

..

œ œ œ œetae-

estnig-

ar -ma -

tis,ta

œ œ œ œ


œ œ ˙et

dates ar -

no -

œ œ ˙#

œ œ ˙œ œ ˙

˙ œ œtisbis

a -co -

gegi -

˙ œ œ

˙ œ œ˙ œ œ

œ œ œ œCan-ta -

ga,bo

dicfor -

sisi -

œ œ œ œœ œ œ œœ œ œ œ

˙ œ œscis:tan:

QuaNon

- -

˙ œ œ

˙ œ œ˙ œ œ

œ œ œ œ œ œ œrum?ne?

QuoNec

- -

rum?ne?

œ ˙ œ

œ ˙ œœ œ œ œ œ œ

œ œ ˙Quid

Ut -est

rum -quis?an?

œ œ ˙

œ œ ˙œ œ ˙

.˙ Œ.˙Œ

.˙ Œ.˙ Œ

Dies Ille, Dies Lunae

On Monday, when the sun is hot / I wonder to myself a lot: / "Now is it true, or is it not, / "That what is which and which is what?"On Tuesday, when it hails and snows, / The feeling on me grows and grows / That hardly anybody knows / If those are these or these are those.On Wednesday, when the sky is blue, / And I have nothing else to do, / I sometimes wonder if it's true / That who is what and what is who.On Thursday, when it starts to freeze / And hoar-frost twinkles on the trees, / How very readily one sees / That these are whose -- but whose are these?

[8.8.7.7] words © 1926, 1954 by A. A. Milne; Latin translation from Winnie Ille Pu © 1960 by Alexander Lenard; tune “Dies Irae”, early 13th cent.; harmonization © 1999 by Edward L. Stauff [rev. 4 July 03]

19

&

&

V?

#

#

#

#

22

22

22

22

œœ

œœ

œœœœœ

f

f

f

f

œCur

1 ˙ œ œur - sus, cur

Œ œ œ œCur ur-sus,

∑

∑


˙ œ œcur ur-sus,


∑

3 œ œ œ œ œur - sus cla -

œ œ œ œ œur - sus cla -

˙ œ œur - sus cla -

Œ œ œ œ œUr - sus cla -

4 ˙ Ómat?

˙ Ómat?

˙ Ómat?

˙ Œ œmat? Cur

5 ∑

∑

Ó . œCur

.œ Jœ œ œa - de-o, cur

6 Ó . œA -

Œ œ ˙Cur a -

.œ jœ œ œa - de- o mel

.œ Jœ œ œa - de-o, a -

7 .œ jœ œ œde - o mel a -

.œ# jœ œ œde - o mel a -

wa - - -œ œ œ# œde-o mel a -

&

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V?

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p

p

p

p

8 .˙ Œmat?

.˙ Œmat?

.˙ Œmat?

.˙ Œmat?

9 Ó . œBurr,

wBurr,

Œ .˙Burr,

Ó ˙Burr,

10 Ó . œburr,

w#burr,

Œ .˙burr,

Ó ˙burr,

11 Ó . œburr,

wburr,

Œ .˙burr,

Ó ˙burr,

12 Ó . œburr,

wNburr,

Œ .˙burr,

Ó ˙burr,

cresc.

cresc.

cresc.

cresc.

13 ˙ ˙burr, burr,

Œ œ Œ œ#burr, burr,

Œ œ Œ œburr, burr,

˙ ˙burr, burr,

14 ˙ ˙burr, burr!

Œ œ Œ œNburr, burr!

Œ œ Œ œburr, burr!

˙ ˙burr, burr!

15 œ œ œ œQuid est cau-sae

œ œ œ œ#Quid est cau-sae

œ œ œ œQuid est cau-sae


Cur Ursus Clamat?20

&

&

V?

#

#

#

#

16 ˙ Ócur?

˙ Ócur?

˙ Œ œœ( )cur? Cur

˙ Ócur?

17 ∑

Ó . œCur

.œ jœ œ œcal - le- o, cur

∑

18 Ó . œcur

.œ# jœ œ œcal - le- o, cur

.œ jœ œ œcal - le- o, cur

∑

19 ˙ ˙cal - le -

.œ jœ œ œcal - le - o can -

.œ Jœ œ œcal - le - o can -

Ó . œcan -

20 œ œ# Œ œo Dum

œ œ Óta - re

œ œ Óta - re

œ œ Óta - re

21 .œ Jœ œ œne - que-o, dum

Ó . œdum

∑

∑

22 .œ jœ œ œne - que-o, dum

.œ jœ œ œne - que-o, dum

∑

Ó . œDum

23 œ œ œ œne-que-o vo -

œ œ œ œ#ne-que-o vo -

Ó . œvo -

œ œ œ œne-que-o vo -

&

&

V?

#

#

#

#

P

P

P

P

24 œ œ Œ œla-re? E -

œ# œ Óla-re?

œ œ Œ œla-re? E -

œ œ Œ œla-re? E -

25 œ œ œ œge - o dul- cis

˙ ˙E - ge -

œ œ œ œnge - o dul- cis

œ œ œ œge - o dul- cis

F

F

F

F

26 œ œ Œ œmel-lis, e -

˙ Óoœn œ Œ œ

mel-lis, e -œ œ Œ œmel-lis, e -

27 œ œ œ# œge- o dul - cis

.˙ œdul - cis

œ# œ œ œge- o dul - cisœ œ œ œ#ge- o dul - cis

ƒ

ƒ

ƒ

ƒ

28 œ ˙ Œmel-lis

œ ˙ Œmel-lis

œ# ˙ Œmel-lisœ# ˙ Œmel-lis

29 >̇ >̇sed mel

.>̇ œ> œsed mel>̇ œ> œ#sed mel>̇ >̇sed mel

30 .>̇ œ œstat in

.˙>œ œ

stat in

.>̇ œ œstat in

.>̇ œ œstat in

31 ˙ ˙stel -

˙ ˙#stel -

.˙ œstel -˙ ˙stel -

f

f

f

f

32

˙ Œ œlis! Cur

˙ Ólis!

˙ Ólis!

˙ Ólis!

21

&

&

V?

#

#

#

#



∑

∑


˙ œ œcur ur-sus,


∑

35 œ œ œ œ œur - sus cla -

œ œ œ œ œur - sus cla -

˙ œ œur - sus cla -

Œ œ œ œ œUr - sus cla -

36 ˙ Ómat?

˙ Ómat?

˙ Ómat?

˙ Œ œmat? Cur

37 ∑

∑

Ó . œCur

.œ Jœ œ œa - de-o, cur

38 Ó . œA -

Œ œ ˙Cur a -

.œ jœ œ œa - de- o mel

.œ Jœ œ œa - de-o, a -

39 .œ jœ œ œde - o mel a -

.œ# jœ œ œde - o mel a -

wa - - -œ œ œ# œde - o mel a -

p

p

p

p

40 .˙ Œmat?

.˙ Œmat?

.˙ Œmat?

.˙ Œmat?

&

&

V?

#

#

#

#

41 Ó . œBurr,

wBurr,

Œ .˙Burr,

Ó ˙Burr,

42 Ó . œburr,

w#burr,

Œ .˙burr,

Ó ˙burr,

43 Ó . œburr,

wburr,

Œ .˙burr,

Ó ˙burr,

cresc.

cresc.

cresc.

cresc.

44 Ó . œburr,

wNburr,

Œ .˙burr,

Ó ˙burr,

45 ˙ ˙burr, burr,



˙ ˙burr, burr,

f

f

f

f

46 ˙ U̇ ,burr, burr!

Œ œ U̇ ,burr, burr!

Œ œ U̇ ,burr, burr!

˙ ˙̇U ,burr, burr!

47 œ œ œ œQuid est cau-sae


œ œ œ œQuid est cau-saeœœ œœ œœ œQuid est cau-sae

48 .˙cur?

.˙cur?

.˙cur?

.˙cur?

[irr.] words © 1926, 1954 by A. A. Milne; Latin translation from Winnie Ille Pu, © 1960 by Alexander Lenard; music © 1999 by Edward L. Stauff [rev. 6 July 03]

22

Isn't it funny / How a bear likes honey / Buzz! Buzz! Buzz! / I wonder why he does?It's a very funny thought that, if Bears were Bees / They'd build their nests at the bottom of trees

And that being so (if the Bees were Bears), / We shouldn't have to climb up all these stairs

&?

#

#22

22Œ œ∑

1 ˙ œ œŒ œ œ œ∑∑

2 ˙ œ œ˙ œ œŒ œ œ œ∑

3 œ œ œ œ œœ œ œ œ œ˙ œ œŒ œ œ œ œ

4 ˙ Ó˙ Ó˙ Ó˙ Œ œ

5 ∑∑Ó . œ.œ Jœ œ œ

6 Ó . œŒ œ ˙.œ jœ œ œ.œ Jœ œ œ

7 .œ jœ œ œ.œ# Jœ œ œwœ œ œ# œ

8 .˙ Œ.˙ Œ.˙ Œ.˙ Œ

9 Ó . œwŒ .˙Ó ˙

10 Ó . œw#Œ .˙Ó ˙

11 Ó . œwŒ .˙Ó ˙

12 Ó . œwNŒ .˙Ó ˙

&?

#

#

13˙ ˙Œ œ Œ œ#Œ œ Œ œ˙ ˙

14˙ ˙Œ œ Œ œNŒ œ Œ œ˙ ˙

15œ œ œ œœ œ œ œ#œ œ œ œœ œ œ œ

16 ˙ Ó˙ Ó˙ Œ œœ( )˙ Ó

17 ∑Ó . œ.œ jœ œ œ∑

18 Ó . œ.œ# Jœ œ œ.œ jœ œ œ∑

19˙ ˙.œ Jœ œ œ.œ jœ œ œÓ . œ

20œ œ# Œ œœ œ Óœ œ Óœ œ Ó

21 .œ jœ œ œÓ . œ∑∑

22 .œ jœ œ œ.œ Jœ œ œ∑

Ó . œ

23 œ œ œ œœ œ œ œ#Ó . œœ œ œ œ

24 œ œ Œ œœ# œ Óœ œ Œ œœ œ Œ œ

&?

#

#

25œ œ œ œ˙ ˙œ œ œ œnœ œ œ œ

26 œ ˙ œ.˙ Œœn ˙ œœ ˙ œ

27 œ œ œ# œ.˙ œœ# œ œ œœ œ œ œ#

28 œ ˙ Œœ ˙ Œœ# ˙ Œœ# ˙Œ

29 ˙ ˙.˙ œ œ˙ œ œ#˙ ˙

30 .˙ œ œ.˙ œ œ.˙ œ œ.˙ œ œ

31˙ ˙˙ ˙#.˙ œ˙ ˙

32

˙ Œ œ˙ Ó˙ Ó˙ Ó

33˙ œ œŒ œ œ œ∑∑

34˙ œ œ˙ œ œŒ œ œ œ∑

35œ œ œ œ œœ œ œ œ œ˙ œ œŒ œ œ œ œ

36˙ Ó˙ Ó˙ Ó˙ Œ œ

37 ∑∑Ó . œ.œ Jœ œ œ

&?

#

#

38 Ó . œŒ œ ˙.œ jœ œ œ.œ Jœ œ œ

39 .œ jœ œ œ.œ# Jœ œ œwœ œ œ# œ

40 .˙ Œ.˙ Œ.˙ Œ.˙ Œ

41 Ó . œwŒ .˙Ó ˙

42 Ó . œw#Œ .˙Ó ˙

43 Ó . œwŒ .˙Ó ˙

44 Ó . œwNŒ .˙Ó ˙

45˙ ˙Œ œ Œ œŒ œ Œ œ˙ ˙

46˙ U̇ ,Œ œ ˙Œ œ U̇ ,˙ ˙̇

47 œ œ œ œœ œ œ œœ œ œ œœœ œœ œœ œ

48 .˙ .˙.˙ .˙

Cur Ursus Clamat?(keyboard reduction for rehearsal)

music © 1999 by Edward L. Stauff [rev. 9 July 03]

23

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b

44

44

œœ œœ œ

1.2.3.4.5.

IMy

OnceTheyThen

œ

œœ œœ

œœ

œ œ œ œ œam

moth -I

tellwhile

aer

wasmeI

boldwas

found,Je -

breathe

anda

butsusthis

a

œ œ œ œ œ


œ œ œ œ œ œpa -

spin -nowlovesglor -

nerganof

I'mmeious

soultales,gonebutair,

a -mya -I

an

œ œ œ œ œ


œ œ œ œ œram -

fa -way

thinkout -

blingtherfrom

helaw

athe

throughdream -faith -loves

I'll

thisingfulinre -

œ œ œ œ œ


&

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b

b

.˙ œland.man.fold:vain.main.

IAndtheHeMy

.˙ œ

.˙ œ.˙ œ

œ œ œ œ œjudge

Ionesmust

bo -

thehavewhogody

worldswungpreach

un -will

byfromthat

notre

the

-

œ œ œ œ œ


œ œ œ œ œ œ œmydra -ho -

bequi -

owngon's

li -tedsub -

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nessfor

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and

I

to

œ œ œ œ œ


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danceddome

I

byon

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shall

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arenobe

œ œ œ œ œ


The Heretic Heart24(The Ploughboy's Dream)

&

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.˙ œ œhands.land.told.

claim.claimed.

AndI've

ThoughMyAnd

.˙ œ

.˙ œ.˙ œ

.œ jœ œ œ œ œif

sunglawgod -

if

youtheanddess

I

askseedscrip -

iscan -

meout

ture,thenot

.œ Jœ œ œ


œ œ œ œ œ œwhere

ofprayer

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Itheanddya -

learnedground,priestMoonloud,

tothe

havewhose

I'll

œ œ œ œ


œ œ œ œlivebirdall

tidessing

sodown

in -runit

reck -fromstruc -deep

se -

less -thetedin

cret -

œ œ œ œ œ


&

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b

b

˙ ˙ly;

tree.me,me.ly:

myMymyMymy

˙ ˙

˙ œ œ˙ œ œ

œ œ œ œskin,skin,skin,skin,skin,

mymymymymy

bones,bones,bones,bones,bones,

mymymymymy

œ œ œ œ œ


œ œ œ œ œ œhe -he -he -he -he -

re -re -re -re -re -

tictictictictic

heartheartheartheartheart

areareareareare

œ œ œ œ œ


œ œ œ œ œmymymymymy

au -au -au -au -au -

tho -tho -tho -tho -tho -

ri -ri -ri -ri -ri -

œ œ œ œ


.˙ty.ty.ty.ty.ty.

.˙

.˙ .˙

25

[CMD] words © by Catherine Madsen; tune “The Ploughboy's Dream” (“Forest Green”), trad. English; harmonized by Ralph Vaughan Williams [rev. 7 July 03]

&

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#

#

44

44

œœ œœ ˙

œœœœ ˙̇

1.2.3.4.5.

IMy

OnceTheyThen

∑˙ ˙

˙ ˙˙ ˙

ammoth -

Itell

while

aer

wasme

I

∑˙ œ œ

˙ œ œ˙ œ œ

boldwas

found,Je -

breathe

anda

butsusthis

a

∑˙ œ œ

.œ jœ œ œ˙ œ œ

pa -spin -nowlovesglor -

gannerI'mmeious

of

Ó ˙˙ œ œ

˙ œ œ˙ œ œ

soultales,gonebutair,

a -mya -I

an

˙ œ œ˙ œ œ

˙ œ œœ œ œ œ

ram -fa -

waythinkout -

blingtherfrom

helaw

athe

œ œ œ œ˙ ˙

˙ œ œ˙ ˙

throughdream -faith -loves

I'll

thisingfulinre -

ww

ww

land.man.fold:vain.main.

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Ó ˙Ó ˙

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˙ œ œ˙ œ œ

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worldswungpreach

un -will

fromthat

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by

re

the

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˙ ˙˙ ˙

.œ jœ œ œ˙ ˙

mydra -ho -

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˙ œ œ˙ œ œ

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lightstongue

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dued,

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and

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to

œ œ œ œ˙ œ œ

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hands.land.told.

claim.claimed.

The Heretic Heart26(Jordan)

melodyin Tenor

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whereof

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shout

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learnedground,priestMoonloud,

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havewhose

I'll

∑

˙ œ œ˙ œ œ

livebirdall

tidessing

sodown

in -runit

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ly;tree.me,me.ly:

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Ó ˙My

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˙ .œ jœskin, my

˙ ˙

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˙ ˙˙ œ œ˙ ˙

œ œ œ œhe - re - tic

œ œ ˙

œ œ ˙œ œ œ œ

˙ ˙heart are

˙ ˙˙ œ œ˙ œ œ

˙ œ œmy au -

œ œ œ œ œ œœ œ œ œœ œ œ œ

œ œ œ œtho - ri -

œ œ ˙œ œ œ œœ œ ˙

wty!

w

ww

[CMD] words © by Catherine Madsen; music “Jordan” by William Billings 1786, from The Sacred Harp [rev. 6 July 03]

27

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œœ œœ1.2.

4.5.

3.

œœ œœ

œ œ œ œLifeCar -

Ni -We

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isbon

tro -are

wine

spunin

genmade

was

ofthis

andof

part

œ œ œ œ


œ œ œ œtwist -bread

phos-liv -

ri -

ingwe

ph'rusing

sing

at -break,

pass -earth,

cloud,

oms,

inga

the

the

œ œ œ œ


œ œ œ œ œtwined

sweep,spawn

blushchild

inof

likeof

of

athe

a

the

seam -har -

phan -moul -

sun -

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tomting

light's

œ œ œ œ œ


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wings,star.

pride,

thru

thruThe

came

˙ œ œ

˙ œ# œœ œ œ œ

œ œ œ œ œwind

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death,all

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œ œ œ œ œ


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œ œ œ œearth

earthcame

knife -mas -

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ter -the

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know,

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bones,hour

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with -I

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œ œ œ œheartdayseast -

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hurled,flood,

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for

meets

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œ œ œ œ œ œwe

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neath

we

once

are

is

a

have

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strands

made

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touched

gain

in

of

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in

its

anger

œ œ œ œ œ


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stone

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rain-

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and

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sea,

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the

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blood.

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Web of Love28

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œ œ œ œ œFrom the time when the

œ œ# œ œ œ


œ œ œ œ œsun caught fire from the

œ œ œ œ œ


œ œ œ œ œpress of the weight it

œ œ œ œ œ#


˙ ˙owns,

˙ ˙

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œ œ œ œ œfrom the time when the

œ œ œ œ œ


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œ œ œ œfirst rain fell and

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œ œ œ œ œ œhissed on the scald - ing

œ œ œ œ œ œ


wstones,

w#

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œ œ œ œat - oms have been

œn œ œ œ œ


œ œ œ œdan-cing to a

œ œ œ œ


œ œ œ œmu - sic made of

œ œ œ œ


&

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42

42

44

44

˙ ˙light

˙ ˙

˙ ˙˙ ˙#

œ œ œ œ œtill at last in the

œ œ œ œ œ


œ œdance we

œ œ

œ œ#œ œ

.˙ œmeet, and

.˙ œ

.˙ œ.˙ œ

œ œ œ œmeet - ing re - u -

œ œ œ œ#


wnite.

w

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[irr.] words and music © 1998 by Catherine Faber; harmonization © 2003 by Edward L. Stauff [rev. 9 July 03]

29

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..

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freelyœœ œœ

2.3.4.

1, 5.

œœ œœ

Soloœ œ œ œ œ ˙ œ

WhenEv -All

When there'sthere's

'rya -

fearwork

breathround

into

that

mybeI

the

heart,done,take,world your

∑

Chorusœ œ œ .œ jœ ˙La -

Lordlet

chil -

dy,

medren

I'mI'mbeare

sing -sing -sing -sing -

ing.ing.ing.ing,

œ œ œ ˙ ˙

œ œ œ ˙ ˙œ œ œ ˙ ˙

œ œ œ œ œ ˙WhenWhen

Ev -good

there'sthere's

'ryand

sportstepbad

gladtoa

be -

had,dancetimes

ness

œ œ œ œ œ ˙

œ œ œ œ œ ˙œ œ œ œ œ ˙

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œ œ œ .œ œ œ ˙I'mI'm

Iwe're

sing -sing -

dancesing -

inging

withing

too.too.you.too.

œ œ œ .œ œ œ ˙

œ œ œ wœ œ œ w

Soloœ œ œ œ œ jœ .œ ˙SongsSongs

Lis -Ev

ten -

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tory

the

joy,play,beatSum -

loveloveof

mer

andandmy

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pain,toil,

heart,land:

∑

Chorusœ œ œ .œ jœ ˙La -

Lord,let

don't

dy

meyou

I'mI'mbe

hear

sing -sing -sing -sing -

ing.ing.ing.ing?

œ œ œ ˙ ˙

œ œ œ ˙ ˙œ œ œ ˙ ˙

&

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..

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œ œ œ œ ˙Send-Send-Send-Bring-

inginginging

allallallall

mymymyour

songssongssongssongs

œ œ œ œ ˙

œ œ œ œ ˙œ œ œ œ ˙

jœ .œ ˙ ˙homehomehomehome

totototo

you.you.you.you.

˙ ˙ ˙

˙ ˙ ˙˙ ˙ ˙

Soloœ œ œ œ ˙Send-ing all my songs

∑

Chorusjœ .œ ˙ U̇home to you.

˙ ˙ ˙

˙ ˙ U̇˙ ˙ ˙

Hymn

[irr.] words and music © 2002 by Gwen Knighton; harmonization © 2003 by Edward L. Stauff [rev. 7 July 03]

(All My Songs Home to You)

30

&

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44

œœ œœ

œ1.2.3.

OUn -

Those

œ

œœ œœ

œœ

œ œ œ œ œHub -ceas -Pil -

ble!ing,lars

Vastsearch

giv -

andtheing

œ œ œ œ


œ œ œ œGlor -deep -birth

iousingto

Eye!voidstars,

Pleaseto

the

œ œ œ œ


œ œ œ œlendfind

hearts

tousof

ussights

ga -

yourun -lax -

œ œ œ œ


.˙ œsight,seenies:

andthatyou

.˙ œ

.˙ œ.˙ œ

&

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b

œ œ œ œev -fill

show

erourthe

keepheartsworks

yourandof

œ œ œ œ


œ œ œ œwatchstretch

time

a -ourun -

bove,minds

fold

yourandin

œ œ œ œ


œ œ œ œmir -lookall

rorsgreattheir

shin -onma -

ingourjes -

œ œ œ œ


.˙bright.

screens.ty.

.˙

.˙ .˙

Hymn to Hubble

[CM] words and music © 1998 by Michelle Bottorff; harmonization © 2003 by Edward L. Stauff [rev. 7 July 03]

(original tune)

31

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###

###

###

###

###

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44

44

44

44

44

44

..

..

..

..

..

..

œœ

1.2.3.

œœ

1.2.3.

œœ

1.2.3.œ

œ1.2.3.

˙ œ œOhUn -

Those

Hub-ceas-Pil -

ble!ing,lars

˙ œ œOhUn -

Those

Hub-ceas-Pil -

ble!ing,lars

˙ œ œOhUn -

Those

Hub-ceas-Pil -

ble!ing,lars

˙ œ œOhUn -

Those

Hub-ceas-Pil -

ble!ing,lars

˙ œ œ˙ œ œ˙ œ œ˙ œ œ

œ œ œ œVast

searchgiv -

andtheing

Glor-deep-birth

iousingto

œ œ œ œVast

searchgiv -

andtheing

Glor-deep-birth

iousingto

œ œ œ œVast

searchgiv -

andtheing

Glor-deep-birth

iousingto

œ œ œ œVast

searchgiv -

andtheing

Glor-deep-birth

iousingto

œ œ œ œœ œ œ œœ œ œ œœ œ œ œ

.˙ œ œEye!voidstars,

Pleaseto

the

.˙ œEye!voidstars,

Pleaseto

the.˙ œEye!voidstars,

Pleaseto

the.˙ œEye!voidstars,

Pleaseto

the

.˙ œ œ.˙ œ

.˙ œ.˙ œ

œ œ œ œ œlendfind

hearts

tousof

ussights

ga -

yourun -lax -

œ œ œ œlendfind

hearts

tousof

ussights

ga -

yourun -lax -œ œ œ œ

lendfind

hearts

tousof

ussights

ga -

yourun -lax -œ œ œ œ

lendfind

hearts

tousof

ussights

ga -

yourun -lax -

œ œ œ œ œœ œ œ œœ œ œ œœ œ œ œ

.˙sight,seenies:

.˙sight,seenies:.˙

sight,seenies:.˙

sight,seenies:

.˙ .˙

.˙ .˙

Œ

Œ

Œ

œandthatyou

Œœ

∑

∑

Ó . œandthatyouœ œ œ œ

ev -fill

show

erourthe

keepheartsworks

yourandof

∑Ó . œœ œ œ œ

Hymn to Hubble32

melodyin Tenor

(Northfield)

&

&

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###

###

###

###

###

###

..

..

..

..

..

..

∑

Ó . œandthatyouœ œ œ œ

ev -fill

show

erourthe

keepheartsworks

yourandofœ œ œ œ

watchstretch

time

a -ourun -

bove,minds

fold

andthatyou

∑Ó . œœ œ œ œœ œ œ œ

Ó . œandthatyou

œ œ œ œev -fill

show

erourthe

keepheartsworks

yourandofœ œ œ œ

watchstretchtime

a -ourun -

bove,mindsfold

yourandin

œ œ œ œev -fill

show

erourthe

keepheartsworks

yourandof

Ó . œœ œ œ œœ œ œ œœ œ œ œ

œ œ œ œev -fill

show

erourthe

keepheartsworks

yourandof

œ œ œ œ œ œwatchstretch

time

a -ourun -

bove,mindsfoldœ œ œ œ œ

mir -lookall

rorsgreattheir

shin -onma -

ingourjes -

˙ ˙watchstretch

time

a -ourun -

œ œ œ œœ œ œ œ œ œœ œ œ œ œ˙ ˙

œ œ œ œwatchstretch

time

a -ourun -

bove,mindsfold

yourandin

.˙ œyourandin

.˙ œbright.screens.

ty.

yourandin

.˙ œbove,minds

fold

yourandin

œ œ œ œ.˙ œ.˙ œ.˙ œ

.œ Jœ œ œmir -lookall

rorsgreattheir

.˙ œmir -lookall

rorsgreattheir.œ Jœ œ œ œ

mir -lookall

rorsgreattheir.˙ œ

mir -lookall

rorsgreattheir

.œ jœ œ œ.˙ œ.œ jœ œ œ œ.˙ œ

˙ ˙shin-onma-

ingourjes -

˙ ˙shin-onma-

ingourjes -

˙ ˙shin-onma-

ingourjes -˙ ˙

shin-onma-

ingourjes -

˙ ˙˙ ˙˙ ˙˙ ˙

.˙bright.

screens.ty.

.˙bright.

screens.ty.

.˙bright.

screens.ty.

.˙bright.

screens.ty.

.˙ .˙

.˙ .˙

Œ

Œ

Œ

Œ

ŒŒ

[CM] words © 1998 by Michelle Bottorff; music “Northfield” by Jeremiah Ingalls 1800, from The Sacred Harp [rev. 7 July 03]

33

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###

46

46

œœ œœŒ œ

1.2.3.4.

MyWhatWhen

I

œ

œœ œœœŒ œœ

œ œ .˙ œlife

thoughty -lift

flowsthe

rantsmy

ontem -trem -eyes,

inpestble,the

œ œ .˙ œ

œ œ .˙ œœ œ .˙ œ

œ œ ˙ Œ œend -loud -sick

cloud

lessly

withgrows

song,roars,fear,thin,

a -I

andI

œ œ ˙ Œ œ


œ œ ˙ ˙bovehearhearsee

Earth'sthe

theirthe

la -truth,deathblue

men -it

knella -

œ œ ˙ ˙

œ œ ˙ ˙œ œ ˙ ˙

œ .˙ Œ œta -liv -

ring -bove

tion.eth!ing,it,

IWhatwhenand

œ .˙ Œ œ

œ .˙ Œ œœ .˙ Œ œ

&

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###

###

œ œ .˙ œthough

hear

friendsday

thethe

re -by

dark -real,

joiceday

nessthough

boththis

œ œ .˙ œ

œ œ .˙ œœ œ .˙ œ

œ œ ˙ Œ œround

far

farpath -

meoff,

andway

close,hymn

near,clears

thatsongshowsince

œ œ ˙ Œ œ


œ œ ˙ ˙hails

incanfirst

thethe

II

newnightkeep

learned

cre -it

fromto

œ œ ˙ ˙

œ œ ˙ ˙œ œ ˙ ˙̇

œ .˙ Œ œa -

giv -sing -love

tion.eth.ing?it.

A -NoIn

The

œ .˙ Œ œ

œ .˙ Œ œœœ .˙ Œ œ

&

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###

###

œ œ .˙ œbove

stormpri -

peace

thecansonof

tu -shake

celllove

multmyandre -

œ œ .˙ œ

œ œ .˙ œœ œ .˙ œ

œ œ ˙ Œ œandin -

dun -stores

themostgeonmy

strifecalmvile

soul,

Ias

oura

œ œ ˙ Œ œ


œ œ ˙ ˙hear

tothoughts

foun -

itsthatto

tain

mu -rockthem

ev -

sicI'mareer

œ œ ˙ ˙

œ œ ˙ ˙œ œ ˙ ˙

œ .˙ Œ œring -cling -wing -

spring-

ing.ing;ing.ing.

ItsinceWhen

All

œ .˙ Œ œ

œ .˙ Œ œœ .˙ Œ œ

How Can I Keep From Singing?34

&

?

###

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œ œ ˙ œ œsounds

Lovefriendsthings

anisbyare

e -lord

shamemine

choof

aresince

œ œ ˙ œ œ

œ œ ˙ ˙œ œ ˙ ˙

œ œ ˙ Œ œin

heav'nun -I

myandde -am

soul:earth,filed,loved,

howhowhowhow

œ œ ˙ Œ œ


œ œ ˙ ˙cancancancan

IIII

keepkeepkeepkeep

fromfromfromfrom

œ œ ˙ ˙

œ œ ˙ ˙œ œ ˙ ˙̇

œ .˙sing -sing -sing -sing -

ing?ing?ing?ing?

œ .˙

œ .˙œœ .˙

The origin of this song is not known with any certainty.Various claims have been made by various sources, including the following:

• The words and music were written by Robert Lowry (1826-1899). • It was a traditional Quaker hymn which predates Lowry. • It was first published in 1869 by Robert Lowry. • Lowry was himself a Quaker. • Lowry was a Baptist preacher. • It was written by Ann Warner, a folk song collecter from the 1950's. • The lyrics appeared in a 19th century Christian novel by Anna Bartlett Warner or her sister Susan. • Doris Plenn wrote the "When tyrants tremble" verse. (This claim is better documented than others.) • Lowry wrote only the tune. • Lowry wrote only the lyrics.

The lyrics of this very popular song have, in the best tradition of the folk process, evolved over the years, and the lyrics given here are but one of many variants. An early version, possibly the original, was much more explicitly Christian.

[8.7.8.7 D] harmonization © 2003 by Edward L. Stauff [rev. 7 July 03]

35

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œœ œœ

œœ œœ

Ó œ œF

(Refrain)1.2.3.

YouFrom

SoThough

cantheweyou

Ó œ œ

Ó œ œÓ œ œ

œ œ œ œF C

tellran -

makework

itcherourwith

onmen -art

words

thedingandor

œ œ œ œ


œ ˙ œ œF

moun-fen -mu -mu -

tain,cessic,sic,

inwith

thoughliv -

thetheweing

œ ˙ œ œ


œ œ œ œBb

val -wire

knowthings

leythat

itor

farshewill

stone

be -hasbeor

œ œ œ œ


˙ œ œF

low,found

flawed,glass,

buttoyetif

youthein

you

˙ œ œ

˙ œ œ˙ œ œ

&

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b

œ œ œ œBb

need -far -

striv -don't

n'tmeringlove

tellonto

what

thehisdo

you're

œ œ œ œ


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crafts-trac -bet -

mak -

men,tortering

forput -weit

theytingarewill

œ œ œ œ


œ œ œ œC

al

reach -nev -

seed -

corninger

read -in

outcome

ythetoto

œ œ œ œ


˙ œ œknow;ground,

God.pass.

fromin

WeFrom

thethisarethe

˙ œ œ

˙ œ œ˙ œ œ

œ œ œ œF C

au -worldreach -draw -

thorof

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athateforof

herandper -

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œ ˙ œ œF

key -an -fec -

child

boardger,tion

towhenandto

theit'sit'sthe

œ ˙ œ œ


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wood-ea -

notworks

wrightsybe -of

atto

yondGod

hisde -our

a -

œ œ œ œ


˙ œ œF

lathestroy,scope:bove

ev -ev -ev -ev -

'ry'ry'ry'ry

˙ œ œ

˙ œ œ˙ œ œ

˙ .œ jœBb

actactactact

ofofofof

cre -cre -cre -cre -

˙ .œ Jœ

˙ .œ jœ˙ .œ Jœ

œ œ jœ .œF

a -a -a -a -

tiontiontiontion

isisisis

anananan

œ œ Jœ .œ


˙ ˙F/C C

actactactact

ofofofof

˙ ˙

˙ ˙˙ ˙

wF

faith.joy.

hope.love.

w

ww

Acts of Creation

[8.7.8.7.8.7.8.5] words and music © 1993 by Catherine Faber; harmonization © 2002 by Edward L. Stauff [rev. 6 July 03]

36

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œœ œœ

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lifeiswe

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a

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.œ jœ .œ jœart, to dust re -

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œ œ ˙ œ œturn - est, was not

œ ˙ œ œœ ˙ œ œœ ˙ œ œ

œ œ œ œ œspo - ken of the

œ œ œ œ œœ œ œ œ œ œœ œ œ œ

.˙soul.

.˙

.˙ .˙

A Psalm of Life

[8.7.8.7 with Refrain] words by Alfred Lord Tennyson; composer unknown; harmonization © 1990 by Edward L. Stauff [rev. 9 July 03]

3. Art is long, and Time is fleeting, And our hearts, though stout and brave, Still, like muffled drums, are beating Funeral marches to the grave.

4. In the world's broad field of battle, In the bivouac of Life, Be not like dumb, driven cattle! Be a hero in the strife!

5. Trust no Future, howe'er pleasant! Let the dead Past bury its dead! Act, — act in the living Present! Heart within, and God o'er head!

7. Footprints, that perhaps another, Sailing o'er life's solemn main, A forlorn and shipwrecked brother, Seeing, shall take heart again.

37

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Let Insects Specialize38

melodyin Tenor

“A human being should be able to change a diaper, plan an invasion, butcher a hog, design a building, write a sonnet, set a bone, comfort the dying, take orders, give orders, solve equations, pitch manure,

program a computer, cook a tasty meal, fight efficiently, die gallantly. Specialization is for insects.”– Lazarus Long (Robert A. Heinlein)

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wwww

[CM] words adapted from Robert A. Heinlein by Edward L. Stauff; music “Bethel” from The Sacred Harp, composer unknown [rev. 7 July 03]

39

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A Pilgrim's Way40

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.˙ .˙5. But when I meet with frantic folk who sinfully declare There is no pardon for their sin, the same I will not spare Till I have proved that Heaven and Hell which in our hearts we have Show nothing irredeemable on either side the grave. For as we live and as we die - if utter Death there be - The people, Lord, Thy people are good enough for me!

6. Deliver me from every pride - the Middle, High or Low - That bars me from a brother's side, whatever pride he show. And purge me from all heresies of thought and speech and pen That bid me judge him otherwise than I am judged. Amen! [short verse; ends at double bar line]

7. That I may sing of Crowd or King or road-borne company, That I may labour in my day, vocation and degree, To prove the same by deed and name, and hold unshakingly (Where'er I go, whate'er I know, whoe'er my neighbor be) This single faith in Life and Death and to Eternity: “The people, Lord, Thy people are good enough for me!”

[CMD with Refrain ] words by Rudyard Kipling; music by Peter Bellamy; harmonization © 2003 by Edward L. Stauff [rev. 7 July 03]

41

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jœ œ œ ‰ œ œDb

to the sun that was

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After the Gold RushNote: All the verses have the same harmonization; only the rhythms are different.

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the run in the

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43

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jœ œ œ jœ œ œAb

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44

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new home.

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[irr.] words and music by Neil Young, © 1970 Cotillion Music / Broken Arrow Music (BMI); harmonized by Edward L. Stauff [rev. 6 July 03]

45

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Babylon Is Fallen

[8.7.8.7 D] words © 2003 by Edward L. Stauff; music “Babylon Is Fallen” by W. E. Chute 1878, from The Sacred Harp [rev. 9 July 03]

melodyin Tenor

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The Last Frontier 47

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48

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[8.6.8.6.8.6] words © 2003 by Edward L. Stauff; music “A Cross for Me” by O. A. Parris 1935, from The Sacred Harp [rev. 9 July 03]

49

& ## 44 Soprano & AltoœThe

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ww[7.6.7.6 D] words © 1988 by Valerie Housden & Anne Whitaker; tune by H. L. Hassler (1564-1612); harmonization by J. S. Bach (1685-1750) [rev. 9 July 03]

51

& 86 ..œœ

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Winter Is Icummen In(round)

[irr.] words by Ezra Pound; music “Sumer Is Icummen In”, anon. 13th. cent. [rev. 9 July 03]

52

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old,dies;way;loosetrust

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Recessional

[LMD] words by Rudyard Kipling; music © 1993 by Leslie Fish, assigned to Random Factors, used by permission; harmonization © 2002 by Edward L. Stauff [rev. 7 July 03]

53

Indexes I-1

Index of First Lines and Refrains A human should know how to change a diaper,

plan a war 38 All beautiful the wheel of stars as seasons come

and go 9 Babylon is fallen ... to rise once more 46 Cur ursus, cur ursus, cur ursus clamat 20 Dies Ille, dies Lunae semper venit opportune 19 Eat, my child, there’s food abundant all through

the night 18 Falling down on New Jersey, me boys 10 From desert cliff and mountain top we trace the

wide design 6 From the time when the sun caught fire from the

press of the weight it owns 28 God of our fathers, known of old 53 How Can I Keep from Singing? 34 How Can I Keep from Filking? 1 Humans wrote the Bible, God wrote the ... 6 I am a bold and a pagan soul a-rambling through

this land 24, 26 I do not look for holy saints to guide me on my

way 40 In twenty-nine the unemployed would walk the

streets or ride the rails 16 It’s a damn tough life far from home and wife we

astronauts undergo 10 Let insects specialize 38 Life is real! Life is earnest! And the grave is not

its goal 37 Life is spun of twisting atoms twined in a seamless

weave 28 Lord God of hosts, be with us yet, lest we forget

53 My life flows on in endless song above earth’s

lamentation 34

My skin, my bones, my heretic heart are my

authority 24, 26 My voice goes on in endless song above all

protestation 1 No more do wood and canvas carry human

pioneers 47 O Hubble! Vast and glorious eye! 31, 32 Out in Epsilon Eridani, twenty-five light-years

from Earth 46 Sending all my songs home to you 30 Tell me not, in mournful numbers, life is but an

empty dream 37 The arching sky is calling spacemen back to their

trade 4 The eagle has landed, tell your children when 2 The galaxy’s wide, worlds are few and far 8 The history of filking is full of famous names 50 The people, Lord, Thy people are good enough for

me 40 We pray for one last landing on the globe that

gave us birth 4 Well I dreamed I saw the knights in armor coming

42 What’s the use of incantations needing strange

gesticulations 14 What’s the use of wearing braces, hats and spats

and boots with laces 12 When there’s fear in my heart, Lady I’m singing

30 Winter is icummen in, lhude sing Goddamm 52 Worlds grow old and suns grow cold and death we

never can doubt 2 You can tell it on the mountain, in the valley far

below 36

Index of Titles Acts of Creation 36 After the Gold Rush 42 Babylon Is Fallen 46 Code 14 Cur Ursus Clamat 20 Dies Ille, Dies Lunae 19 Falling Down on New Jersey 10 Galaxy’s Wide, The 8 Green Hills of Earth, The 4 Heretic Heart, The 24, 26 Hope Eyrie 2 How Can I Keep from Filking? 1 How Can I Keep from Singing? 34 Hymn 30 Hymn to Hubble 31, 32 Last Frontier, The 47 Let Insects Specialize 38 Pilgrim’s Way, A 40 Psalm of Life, A 37 Recessional 53 Short Treatise on the History of Filk, A 50 Vampire’s Lullabye 18 View from the Iron Road, The 9 Web of Love 28 Who Sings for the Engineer? 16 Winter Is Icummen In 52 Woad 12 Word of God, The 6

I-2

Index of Lyricists Bear, Edward

(see Milne, A.A.) Bernstein, Mark

Green Hills of Earth, The 4 Bottorff, Michelle

Hymn to Hubble 31, 32 Burniside-Clapp, Mitchell

Falling Down on New Jersey 10 Douthwaite, Colin

Woad 12 Faber, Catherine

Acts of Creation 36 Web of Love 28 Word of God, The 6

Fish, Leslie Hope Eyrie 2

Flanders & Swann Woad 12

Heinlein, Robert A. Green Hills of Earth, The 4 Let Insects Specialize 38

Holly-Clark, Kate View from the Iron Road, The 9

Housden, Valerie Short Treatise on the History of Filk, A 50

Kanefsy, Bob Code 14

Kipling, Rudyard Pilgrim’s Way, A 40 Recessional 53

Knighton, Gwen Hymn 30

Lenard, Alexander Cur Ursus Clamat 20 Dies Ille, Dies Lunae 19

Lowry, Robert How Can I Keep from Singing? 34

Madsen, Catherine Heretic Heart, The 24, 26

Milne, A. A. Cur Ursus Clamat 20 Dies Ille, Dies Lunae 19

Pooh, Winnie-the- (see Milne, A.A.)

Pound, Ezra Winter Is Icummen In 52

Shuch, H. Paul Vampire’s Lullabye 18

Stauff, Edward L. Babylon Is Fallen 46 Galaxy’s Wide, The 8 Last Frontier, The 47 Let Insects Specialize 38 Who Sings for the Engineer? 16

Stein, Mike How Can I Keep from Filking? 1

Tennyson, Alfred Lord Psalm of Life, A 37

Warner, Ann or Susan How Can I Keep from Singing? 34

Whitaker, Anne Short Treatise on the History of Filk, A 50

Young, Neil After the Gold Rush 42

anonymous, traditional, or unknown How Can I Keep from Singing? 34 Woad 12

Index of Composers Bellamy, Peter

Pilgrim’s Way, A 40 Bernstein, Mark

Green Hills of Earth, The 4 Billings, William

Heretic Heart, The 26 Who Sings for the Engineer? 16

Bottorff, Michelle Hymn to Hubble 31

Chute, W. E. Babylon Is Fallen 46

Faber, Catherine Acts of Creation 36 Web of Love 28 Word of God, The 6

Fish, Leslie Hope Eyrie 2 Recessional 53

Hassler, H. L. Short Treatise on the History of Filk, A 50

Ingalls, Jeremiah Hymn to Hubble 32

Knighton, Gwen Hymn 30

Lowry, Robert How Can I Keep from Singing? 34 How Can I Keep from Filking? 1

Parris, O. A. Last Frontier, The 47

Stauff, Edward Cur Ursus Clamat 20

Young, Neil After the Gold Rush 42

anonymous, traditional, or unknown Code 14 Dies Ille, Dies Lunae 19 Falling Down on New Jersey 10 Galaxy’s Wide, The 8 Heretic Heart, The 24 How Can I Keep from Filking? 1 How Can I Keep from Singing? 34 Let Insects Specialize 38 Psalm of Life, A 37 Vampire’s Lullabye 18 View from the Iron Road, The 9 Winter Is Icummen In 52 Woad 12

I-3

Metrical Index irregular

After the Gold Rush 42 Code 14 Cur Ursus Clamat 20 Green Hills of Earth, The 4 Hymn 30 Web of Love 28 Winter Is Icummen In 52 Woad 12

7.6.7.6.D Short Treatise on the History of Filk, A 50

CM (8.6.8.6) Hymn to Hubble 31, 32 Let Insects Specialize 38

8.6.8.6.8.6 Last Frontier, The 47

CMD (8.6.8.6.8.6.8.6) Falling Down on New Jersey 10 Heretic Heart, The 24, 26 View from the Iron Road, The 9 Word of God, The 6

CMD with Refrain Pilgrim’s Way, A 40

8.6.8.8.6+Refrain Hope Eyrie 2

8.7.8.7 with Refrain Psalm of Life, A 37

8.7.8.7.D Babylon Is Fallen 46 How Can I Keep from Filking? 1 How Can I Keep from Singing? 34

8.7.8.7.8.7.8.5 Acts of Creation 36

8.8.7.7 Dies Ille, Dies Lunae 19

LM (8.8.8.8)

Galaxy’s Wide, The 8 Who Sings for the Engineer? 16

LMD (8.8.8.8.8.8.8.8) Recessional 53

12.12.8.8.12 Vampire’s Lullabye 18

Index of Arrangers Bach, J. S.

Short Treatise on the History of Filk, A 50 Stauff, Edward L.

Acts of Creation 36 After the Gold Rush 42 Code 14 Dies Ille, Dies Lunae 19 Falling Down on New Jersey 10 Galaxy’s Wide, The 8 Green Hills of Earth, The 4 Hope Eyrie 2 How Can I Keep from Filking? 1 How Can I Keep from Singing? 34 Hymn 30 Hymn to Hubble 31 Pilgrim’s Way, A 40 Psalm of Life, A 37 Recessional 53 Vampire’s Lullabye 18 Web of Love 28 Who Sings for the Engineer? 16 Woad 12 Word of God, The 6

Williams, Ralph Vaughan View from the Iron Road, The 9 Heretic Heart, The 24

Index of Tunes A Cross for Me

Last Frontier, The 47 All Through the Night

(see Ar Hyd y Nos) Ar Hyd y Nos (All Through the Night)

Vampire’s Lullabye 18 Babylon Is Fallen

Babylon Is Fallen 46 Bethel

Let Insect Specialize 38 Dies Irae

Dies Ille, Dies Lunae 19 Forest Green

(see Ploughboy’s Dream, The) How Can I Keep from Singing

How Can I Keep from Filking? 1 How Can I Keep from Singing? 34

Jordan Heretic Heart, The 26

Men of Harlech Code 14 Woad 12

Northfield Hymn to Hubble 32

Ploughboy’s Dream, The (Forest Green) Heretic Heart, The 24 View from the Iron Road, A 9

Rolling Down to Old Maui Falling Down on New Jersey 10

Sumer Is Icummen In Winter Is Icummen In 52

Waly, Waly (see Water Is Wide, The)

Water is Wide, The (Waly, Waly) Galaxy’s Wide, The 8

When Jesus Wept Who Sings for the Engineer? 16

I-4

Thematic Index Babylon 5

Babylon Is Fallen 46 bears

Cur Ursus Clamat 20 bees

Cur Ursus Clamat 20 computers

Code 14 conundrums

Dies Ille, Dies Lunae 19 disasters

Falling Down on New Jersey 10 drug trips

After the Gold Rush 42 earth

Green Hills of Earth, The 4 filking

How Can I Keep from Filking? 1 Short Treatise on the History of Filk, A 50

history Short Treatise on the History of Filk, A 50 Woad 12

home Green Hills of Earth, The 4

literary Cur Ursus Clamat 20 Dies Ille, Dies Lunae 19 Pilgrim’s Way, A 40 Psalm of Life, A 37 Recessional 53

love Galaxy’s Wide, The 8 Web of Love 28

New Jersey Falling Down on New Jersey 10

religion

Acts of Creation 36 Heretic Heart, The 24, 26 How Can I Keep from Singing? 34 Hymn 30 Pilgrim’s Way, A 40 Psalm of Life, A 37 Recessional 53 Word of God, The 6

science Hymn to Hubble 31, 32 Web of Love 28 Word of God, The 6

singing How Can I Keep from Filking? 1 How Can I Keep from Singing? 34 Hymn 30

space Babylon Is Fallen 46 Falling Down on New Jersey 10 Galaxy’s Wide, The 8 Green Hills of Earth, The 4 Hope Eyrie 2 Hymn to Hubble 31, 32 Last Frontier, The 47 View from the Iron Road, The 9

unemployment Who Sings for the Engineer? 16

vampires Vampire’s Lullabye 18

weather Winter Is Icummen In 52

Index of Musical Styles Traditional Hymnody

Code 14 Galaxy’s Wide, The 8 Green Hills of Earth 4 Heretic Heart, The (The Ploughboy’s Dream) 24 Hope Eyrie 2 How Can I Keep from Singing? 34 How Can I Keep from Filking? 1 Hymn to Hubble (original tune) 31 Pilgrim’s Way, A 40 Psalm of Life, A 37 Recessional 53 Vampire’s Lullabye 18 View from Iron Road, The 9 Web of Love 28 Woad 12

Sacred Harp (Shape Note) Fuguing Babylon Is Fallen 46 Hymn to Hubble (Northfield) 32 Last Frontier, The 47 Non-Fuguing Heretic Heart, The (Jordan) 26 Let Insects Specialize 38 Who Sings for the Engineer? 16

Baroque Counterpoint Short Treatise on the History of Filk, A 50 Cur Ursus Clamat 20

Medieval/Renaissance Dies Ille, Dies Lunae 19 Winter Is Icummen In 52

Other Acts of Creation 36 After the Gold Rush 42 Falling Down on New Jersey 10 Hymn 30 Word of God, The 6

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