Becoming the Bridge: Connecting with Our Students Using Rich ...
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1 Becoming the Bridge Connecting with Our Students Using Rich Choral Music Any great art work...revives and readapts time and space, and the measure of its success is the extent to which it makes you an inhabitant of that world – the extent to which it invites you in and lets you breathe its strange, special air.” – Leonard Bernstein “The real voyage of discovery consists not in seeking new landscapes, but in having new eyes.” – Marcel Proust [email protected] - [email protected] - IMEC - Friday 1/30/15 - 8:30am - RCC Sanctuary ilcmp.org
Transcript of Becoming the Bridge: Connecting with Our Students Using Rich ...
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Becoming the Bridge Connecting with Our Students Using Rich Choral Music
Any great art work...revives and readapts time and space, and the measure
of its success is the extent to which it makes you an inhabitant of that
world – the extent to which it invites you in and lets you breathe its
strange, special air.” – Leonard Bernstein
“The real voyage of discovery consists not in seeking new landscapes, but
in having new eyes.” – Marcel Proust
[email protected] - [email protected] - IMEC - Friday 1/30/15 - 8:30am - RCC Sanctuary
ilcmp.org
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Paulette Boddy
Metea Valley High School – HS/MS Choir
Jeremy Little
Vernon Hills High School – HS Choir
Rob Buckley
Rotolo Middle School – MS Band
Ray Ostwald
York High School – HS Orchestra
Josh Chodoroff
Highland Park High School – HS Band
Bill Rank
Oak Prairie Junior High School – MS BAND
Mary Lynn Doherty
Northern Illinois University – College/University
Mona Roy
Dundee Middle School – MS Choir
Judy Meyer Hays
Armstrong School – Elementary/General Music
Melissa Schoonover
Washington Junior High School – MS Orchestra
Rick Jaeschke
Augustana College – College/University
Matt Temple
New Trier High School – HS Band
Andy Jeffrey
Glenbard West High School
Beth Wood
Carpentersville Middle School – MS Orchestra
2015 CMP Summer Workshops:
Illinois – July 7-10, Northern Illinois University, DeKalb (Register: ilcmp.org)
Wisconsin – June 22-26, Viterbo University, LaCrosse (Register: wmea.com/CMP)
Iowa – July 23-26, Drake University, Des Moines (Register: iowacmp.org)
New York – July 9-12, Carnegie Hall Music Education Series
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“The novel’s spirit is the spirit of complexity. Every novel says to the reader:
‘Things are not as simple as you think.’” – Milan Kundra
What’s your favorite section? Why?
Does the work pose more questions than it answers? Does it require active rather than passive
listening? Is listening a dynamic experience?
Does it ask us not to judge by first
impressions, but rather to assume its
meaning is not readily apparent?
Every great piece of music has embedded in its
content a belief about the identity of its audience.
What does this music believe about us?
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What Makes it Great? o What are hallmarks of great music?
o Having one isn’t enough...must have many, but not necessarily all
o It’s quite difficult to come up with simple words (no guarantee, but it’s a start)
o “Ah, Poor Bird” – How does it stand against the preceding criteria?
o Does this composition “say” something important? Would spending time with this allow significant
opportunities for growth and reflection for my students?
What Makes it Cliché? o Sometimes it’s helpful to identify something by what it is not
o e.g. Latin text over pop-song chords
o How many can we name?
Entertainment
“Goes down easy”
Stays in the comfort zone
Amuses us
Makes a simple point
Is more one-dimensional
Is obvious
Satisfies the “sweet tooth”
Puts value on external
Created to sell
Art
Expects you to “chew”
Provokes and challenges
Changes us
Operates on multiple layers
Is open to a variety of interpretations
Is nuanced and subtle
Nourishes
Puts value on inner depth
Created for meaning
Were you trained in this kind of thinking? o University methods class? Graduate school?
o Did you just assume the music that “Mr. So-and-So” or “Dr. Amazing” chose was good?
o Have you spent any time thinking about the merits of a piece (devoid of their educational outcomes)
o Nature of debate in today’s culture: 24 hour cable “talking heads” vs. intellectual discourse on merits
o Questions our “teacher brain” would ask (vs. our “musician brain”):
Is this a great piece for my students?
How difficult is it?
How much time do we have?
Will the audience like it?
Do we have the right instrumentation (e.g. enough tenors, good oboe player, etc.)?
Is it in a different meter/key/language than normal?
Will I be able to easily teach my curriculum with it (good breath support, tonguing/slurring,
martellato bowing)?
Can I check off a box from the National Standards (now NCAS): improvisation, historic, multi-
cultural?
“The only reason for taking a poem apart is that it may then be put together again more richly.” – John Ciardi
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What is a piece of music?
o a puzzle o a to-do list o a mathematical equation o _________________________________________________________________________________________ o _________________________________________________________________________________________
What role does music play in the lives of our students...
Outside the classroom?
o Entertainment (almost always a visual component as well) o Relaxation, de-stressor o Something to be traded/acquired, something to wear/identify with = to be consumed
Inside the classroom?
o Do we offer an alternate view of what music is (or has been, or can be)? o Is what we’re offering worthy of “study”? o Is the music we choose to perform historically, culturally, intellectually significant? o Are we more of a club/activity than an academic course (on par with the ‘core’ classes)? o What is our role in our relationship with kids: director vs. bridge
The music you choose essentially reveals your philosophy of music education, whether you’ve thought about it or not.
What would you teach if you didn’t have concerts?
Doesn’t seem practical to philosophize? It may be the most practical thing we can stop and do.
“Music is another lens, another window through which we understand reality – the natural
world, relationships, the past/future, our connection with big ideas.” - Randal Swiggum
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Questions for teachers wrestling with this idea? o How do I move from “is this great for my students?” toward “is this great?”
o What criteria do I use for selecting music for my students?
o What “voices” influence my choices?
Publishing catalogues - “It sounds a lot harder than it is” - as if that’s a value?!?
o “That notation is weird.” “My students will never go for this.” “I’ve never done a piece in Medieval
English.”
What is an effective way to present this kind of music to kids?
In other words, how do I make broccoli seem like brownies?
D128 Opening Day - Teacher Responses:
In this world of "there's an app for that," I hope my students learn how to read through information, be able to discern what is viable and what is rubbish, in order to be able to form opinions for themselves.
I hope my students will find that self-fulfillment is a challenging, life-long journey and that it begins with self-awareness, curiosity, and a desire to be the best self one can be. I hope my students realize that it takes time and effort to be introspective, and I hope that they realize that introspection is vital when it comes to living a meaningful life.
● ● ●
I want my students to learn how to think divergently so that they can approach the challenges they will face in their adult lives with the perspective that there is not usually ONE correct answer. Creative problem solving and the ability to see the world in a unique way are what I hope to instill in my emerging artists.
● ● ●
Take notice of the world around you.
Embrace curiosity!
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Growth Mindset o Step outside the bounds of what you can ‘perform’ and get a better idea of what great art is, regardless of its
‘performability’ o Overcoming the “we like what we know” student mindset; trying to broaden what they know o Master/Apprentice relationship - hang with colleagues who think like this o So many choices! – we have to get better at distinguishing between “crafted” & “consumed”
Some of our personal thoughts o Does this “old” music still connect with kids? Wrong question.
Does this music resonate with people?
o Children of all ages love challenges, love a puzzle, love a problem. This is how they learn. It’s our job as
music teachers to “light their fire” for a piece as well as guide their journey through rehearsal to performance
and beyond.
o Children will initially take the easy path, but are often times thankful for the “harder path” afterward
o It is an awesome thing to watch as kids (especially teenagers) have their eyes opened to something “great”
and want to make it a part of their lives. When they have the “fire inside” to improve, to learn, to grow:
watch out!
o You are nurturing your students’ souls and minds (as well as their musical skills).
Why is this important? “Now I’m not an expert on music or the history of music or theories of aesthetics but I do know that great art
is never made by uncritical boosterism, it’s never made by committees trying to raise the reputation and standing of
their field, or by corporate mindsets, or by prizes and commissions; nor is it produced by people living comfortable
lives running their creative operation as a well-oiled business enterprise.
“Great art is made by individuals who have placed a commitment to their art above everything else. It’s
made by people who understand that it’s going to be extraordinarily hard, that they almost certainly will fail, that
they will be mercilessly attacked, but who have chosen to run that gauntlet nonetheless.
“...So if a critic expresses a view you disagree with, the grown-up and energetic and useful response is to marshal
your own critical arguments as to why his analysis is wrong. The not very grown - up response is to protest that he
should not have expressed his views because it is being “rude” or “unsupportive” to do so. My other point is this: of
course criticism is often ill wrought just as the works of art they criticize are. Critical judgments often change over
time. They are often hotly disputed by other critics then and later. Yet criticism is part of the essential conversation
by which art is made. It is part of the process by which we begin to develop sophistication and judgment and
appreciation of art at all. [underline ours] It is part of the refining fire that art goes through. The very discussion and
debate is part of what makes art art. When you isolate yourself from criticism, you are not producing art. You are
producing . . . a product.”
-Stephen Budiansky, “The Repertoire is the Curriculum: Getting Back to Basics in Music Education.” (Speech to the WASBE Conference, 2009), p. 20 & 25.
What’s your teaching metaphor? o Parker Palmer (The Courage to Teach): “When I am teaching at my best, I am like a ______________.” o For us: a “bridge” – provides direction and boundaries, guides rather than pushes/pulls, connects three
things (area #1, area #2, & student), can take many forms, etc. o High Quality Music = concrete o CMP Plan = metal trusses, etc.
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Becoming the Bridge
Connecting with Our Students Using Rich Choral Music
RESOURCES (go to online .pdf) for direct links)
Repertoire
Wisconsin CMP – Great Choral
Treasure Hunt Repertoire Lists
(an absolute gold mine!)
Homestead High School Choirs -
Rebecca Winnie, director (click
“Repertoire” link)
“Where to Find It?” – tips for
finding quality music &
recommended CD collections
(pages 21-24 of “Great Choral
Treasure Hunt”
Real Repertoire for Women’s
Choirs – Mary Lycan
Canons:
IMSLP
Beyond “Row, Row, Row Your
Boat”
Philosophy
Swimming Upstream
Swimming Upstream II
-written by Randy Swiggum
(required reading!!)
Websites:
Stephan Budiansky – Washington Post
(more required reading!!)
Sound Reasoning – Anthony Brandt
The Importance of Classical Literature
Teaching “The Classics” in Schools
Books
Shaping Sound Musicians
(Patricia O’Toole)
What Makes it Great: Short
Masterpieces, Great Composers
(Rob Kapilow)
All You Have To Do Is Listen:
Music from the Inside Out
(Rob Kapilow)
What to Listen for In Music
(Aaron Copland)
The Anatomy of a Melody:
Exploring the Single Line of Song
(Alice Parker)
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WHAT MAKES IT GREAT? Adapted from “Merit & Meaning: The Search for Quality Music” by Randal Swiggum (p.16 of .pdf)
Musical Examples from Rob Kapilow’s “What Makes it Great?” Book - Website
SOMETHING DIFFERENT: A good composition has something ingenious that holds our attention, makes us
remember it vividly and want to “relive” that special moment in the piece that makes it memorable. There may be
something novel in the piece that is innovative or strange and sets it apart, or it may be that the composer is doing the
same old thing, but doing it in an especially beautiful or meaningful way. A question I often ask student composers (and
applies to any piece of music) is: “What does this piece say better (or at least very differently) than any other piece similar
to it?” Does it stand alone as a unique artistic expression? What is inventive or new about the piece? Does it avoid cliché
and triviality?
“Transcendental” Étude in A Minor by Franz List
o Uses an earlier, simplistic exercise as a springboard for an exploration of pianistic possibilities, combining and
developing older material in fantastically imaginative ways
o Captured the “zeitgeist” of the cultural moment, opened up new possibilities for how the piano could be played
o A musical idea is inseparable from its instrumental realization
FORM (balance): Good form usually means the proper balance between two key principles: repetition and contrast. Too
much repetition of the same ideas creates monotony whereas too much contrast gives the ear nothing to latch on to, recall,
and identify. Both are needed, but either in extreme create a kind of formlessness.
“Spring” from The Four Seasons by Antonio Vivaldi
o Opening thematic idea creates entire sound world for the concerto; crafted for maximum staying power
o Repetition on multiple levels: using one idea to generate music that follows
o Not wholesale repetition, but using modular, detachable elements of main idea
STRATEGIC DESIGN: (Related to FORM) On a larger level than musical details, good compositions reflect the
conscious design of their composer. All good pieces are a series of musical “events.” Has the composer paced these events
in an effective way? Do the climaxes happen at the most strategic points? Is the transitional material logical and does it
help the flow between “events”?
UNPREDICTABILITY: Does the piece have “designed uncertainties”? Enough surprises? Does it contain enough
harmonic twists, melodic variation or rhythmic development to keep the listener sufficiently off-guard enough to stay
interested? If a musical idea is repeated twice, the third time should delight the ear with the unexpected. A good
composition reveals a striving toward a musical goal – the best pieces have unusual musical goals that are reached in
often indirect, unpredictable ways. A very predictable musical goal reached by the quickest, most obvious or most direct
route will be less effective. If there are too many or too elaborate diversions along the way, this also weakens its musical
effect.
String Quartet, Op 76, No. 1, Movement 3, by F.J. Haydn
o Minuet-trio form: the clearer the expectations of the listener, the greater the opportunity for manipulating those
expectations
o Compositional ingenuity: his ability to quickly create and thwart patterns and expectations which is
simultaneously surprising and repetitive
o “A rounded character in fiction must be surprising in convincing ways” – E.M Forster
SUFFICIENT DEPTH: Does the piece bear repeated hearings? In fact, if the ear can grasp most everything on first
hearing, or if every phrase of its music or text can be predicted accurately on first hearing, the value of the piece is
probably minimized. If it is sufficiently unpredictable to preclude an immediate grasp of its meaning, it will sustain its
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intrigue through repeated hearings. Truly great music usually demands repeated hearings to probe its layers of meaning.
This is one of the differences between art music and entertainment music. One is meant to make a quick, immediate
impression; the other offers new riches even after the hundredth listening. This does not necessarily mean the music need
be more difficult or complex. A solo Bach melody like “Bist du bei mir” continually reveals the genius of its construction
and the force of its expressive power, though it can be sung by children. It is both simple and sophisticated.
“Invention No. 1” from The Two-part Inventions by J.S. Bach
o Bach thought of himself as a dedicated craftsman in service to his patrons
o Created a dazzlingly rich composition out of a single musical idea; “becoming” vs. “being”
o Variety in treating a single musical idea: transposed, fragmented, flipped upside down, stretched rhythmically,
ending upside down = Bach’s purposeful craft!
o “Bach taught me the art of creating the whole from a single kernel.” -Schoenberg
CONSISTENT QUALITY & STYLE: Are all the sections of the piece consistent in quality? Profound moments should
not be followed by trivial ones. Does the piece sound like everything belongs together? Anything that seems “out of
place” in the piece should have a good reason for being there. A combination of styles in a single piece should only exist if
this is part of the composer's artistic vision, not because of carelessness, incompetence, accident or poor taste.
EFFECTIVE ORCHESTRATION/VOICING: Does the piece use various colors and textures effectively? Does the
composer show knowledge of voices or instruments? Is there good craftsmanship in the way the parts are handled?
Again, strange choices of voicing or texture should be based on an artistic vision, not incompetence or accident.
“Trepak” from The Nutcracker Suite by P.I. Tchaikovsky
o Instantly captured the essence of a scene, character or mood in a single musical idea
o It is his brilliantly theatrical orchestration of these ideas (as much as their notes, rhythms, and harmonies) that
makes them so effective
o Here, “orchestration” is not just window dressing; it’s an essential, expressive component of the musical idea
DISTINCTIVE TEXT: Does the piece use a worthy text? Is this a text that will provoke discussion or insight on its own,
apart from its musical setting?
“Die Erlkönig” by Franz Schubert (poem by Goethe)
o Once music and poetry join forces, it is the combination that is meaningful, magical
o Captures the 4 distinct characters in the poem with musical devices: vocal range, dynamic contrast, surprising
harmonies
o Subtle vs. overt: Schubert rarely paints death in obviously melodramatic fashion, instead choosing to represent
it as something seductive and alluring
o Chromatic descending passage, fast dynamic changes & recitative-like ending: maximum dramatic effect of
Goethe’s poem
EXCELLENT UNION OF TEXT & MUSIC: Does the composer show an understanding of the text? Is it a “happy
marriage” of text and music? Is the composer sensitive to the structure and poetic devices of the text? Does the music
“add” anything to the text or further amplify its expressive power?
“Hallelujah” from The Messiah by G.F. Handel
o Opening theme: musically memorable and a perfect depiction of the word’s meaning
o Combines unison awe of “For the Lord God” with the ecstatic “hallelujahs” to create a different emotional
attitude toward the idea of God reigning omnipotent
o “Great composers do not set words to music; they set the emotions behind the words.” (Rob Kapilow) Handel
sets the radiant calm of “the kingdom of this world”- trumpets/timpani drop out, complex contrapuntal writing
stops, homophonic chorus accompanied only by strings
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Well Crafted Folk-Song Arrangements
1. arr. Jay Broeker: Cedar Swamp Appalachian folk song
Santa Barbara Music Publishing, SBMP 442 SSA & Piano
2. arr. Donald Patriquin: Ah! Si Mon Moine Voulait Danser Folk song from Quebec
earthsongs, W-07c SSA & Piano
3. arr. Donald Patriquin: Savory, Sage, Rosemary, & Thyme British Columbia via England
earthsongs, W-07f SSA & Piano
4. Ralph Vaughan Williams: Linden Lea (W. Barnes) English folk song
arr. Julius Harris, Boosey & Hawkes, No. 219 SSA a cappella
5. arr. Cyndee Giebler: The Tailor of Gloucester English folk song
Colla Voce, 21-20545 Two-part & piano
6. arr. Mary Goetze: Old Joe Clark American Mountain ballad
Hal Leonard, 48003695 SSA a cappella
7. arr. Betty Bertaux: I'll Give My Love an Apple English folk song
Boosey & Hawkes, OC3B6370 Three-part equal voices
8. arr. Ralph Vaughan Williams: Alister McAlpine’s Lament (Robert Allan) Scottish folk song
J. Curwen & Sons, JC60997 SATB a cappella
9. arr. Stephen Leek: South Australia Australian folk song
Morton Music, MM0403 SATB & Piano (or a cappella)
10. arr. Joseph Flummerfelt: Danny Boy (Frederick Wetherby) Irish folk song
Hinshaw Music, HPC-7077 SATB div. a cappella
11. arr. John Rutter: Sing a Song of Sixpence from “Five Childhood Lyrics” English folk song
Oxford University Press, 9780193437166 SATB div. a cappella
12. arr. Alice Parker: Johnny, I Hardly Knew Ye Irish folk song
Alfred Publishing, LG51452 SATB a cappella
13. arr. Mark Hayes: Home on the Range Folk song from American West
Hinshaw Music Co, HMC-1118 SATB div. a cappella
14. arr. James Erb: Shenandoah American folk song
Alfred Publishing, LG51846 SATB div. a cappella
15. arr. Jon Washburn: Tell My Ma Irish folk song
Walton Music Corp, 08501572 SATB a cappella
16. arr. Harry Somers: Feller from Fortune Newfoundland folk song
Gordon V. Thompson Music, VEI 1008 SATB a cappella
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Chant/Early Music/Renaissance for Young Voices
1. Ut Queant Laxis Gregorian Chant
2. Veni Emmauel - Music & Text Gregorian Chant
3. Hodie Christus Natus Est & Alleluya A Nywe Werke British Antiphon and Carol
earthsongs, S-132a Unison & SSA a cappella
4. Ther Is No Rose of Swych Vertu 15th C. British Carol
earthsongs, S-132b SSA a cappella
5. Thomas Weelkes: Four Arms, Two Necks, One Wreathing
Rebecca Winnie edition SAB a cappella
6. Johann Hermann Schein: Kikkehihi
ed. Mary Goetze, Hal Leonard 48003950 SSA a cappella
7. Salamon Rossi: Bar’chu
CPDL SAB a cappella
8. Robert L. de Pearsall: When Allen-A-Dale Went A-Hunting
IMSLP SATB a cappella
9. Hans Leo Hassler: Ihr Musici, Frisch Auf!
CPDL SSATBB a cappella
10. Melchior Vulpius: Jesus Said to the Blind Man (Luke 18: 41-43)
Concordia Publishing, 98-1027 SATB a cappella
11. Jan Pieterzoon Sweelinck: Hodie Christus Natus Est
ed. Alwes, Roger Dean Publishing, 10/2142R or CPDL SSATB a cappella
12. Giovanni Pierluigi da Palestrina: Tu Es Petrus (Matthew 16:18-19)
ed. Salamunavich, National Music Publishers, RCS-109 or CPDL SSATBB a cappella
13. Antonio Lotti: Crucifixus (text from the ‘Credo’)
IMSLP SSAATTBB a cappella
14. Ludovico da Viadana: Exultate Justi in Domino
CPDL SATB a cappella
Authentic World-Music
Arrangements
1. arr. Joan Gregoryk: Kalinka (Russia)
Boosey & Hawkes, M-051-4785-3 SSA a cappella
2. arr. Nick Page: Niska Banja (Yugoslavia)
Boosey & Hawkes, M-051-46517-0 4 part treble voices
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3. arr. Debbie Cavalier: Somagwaza (South Africa)
Carl Fisher, CM8620 3 equal voices
4. arr. Ro Ogura: Hotaru Koi (Japan)
Theodore Presser, 312-41520 SSA a cappella
5. arr. Jakob Jež: Igraj Kolce (Slovenia)
earthsongs, S-208 SSA a cappella
6. Astor Piazolla: Libertango (Argentina)
arr. Oscar Escalada, Neil Kjos Music Co., 6353 SSA a cappella
7. arr. Flory Jagoda: Ocho Kanelikas (Bosnia)
Hal Leonard, 48020748 Unison & Piano
8. arr. Chen Yi: Fengyang Song (China)
Theodore Presser, 312-41731 SATB a cappella
9. arr. Stephen Hatfield: The Virgin Mary Had a Baby Boy (Trinidad)
Hal Leonard, 48004659 SSAA a cappella
10. arr. Mark Sirett: Ma come bali bene bela bimba (Italy)
Hal Leonard, 48019930 SA & Piano
11. Edvard Grieg: The Death of Aase from “Peer Gynt Suite” (Norway)
arr. Hellerstedt, CDPL SSATB a cappella
12. Max Janowski: Avinu Malkeinu
Transcontinental 986203 SSAATTBB a cappella
Compositions 13. Zoltán Kodály: Egyetem Begyetem (Hungary)
Editio Musica Budapest, 50511020 SSA a cappella
14. Petar Liondev: Ergen Deda (Bulgaria)
Vox Bulgarica SSAA a cappella
15. Veljo Tormis: Four Estonian Lullabies
Warner/Chappell, M-042-08840-1 SATB a cappella
16. Dolores Keane/John Faulkner: Mouth Music (Ireland)
earthsongs, W-28 SSA a cappella
17. Ernani Aguiar: Salmo 150 (Psalm 150) (Brazil)
earthsongs, S-40 SATB a cappella
18. Victor Paranjoti: Dravidian Dithyramb (India)
earthsongs, S-42 SATB a cappella
19. Arvo Pärt: Bogoroditse Devo (Estonia)
Universal Edition, UE 30414 SATB a cappella
20. Stephen Leek: Ngana (Australia)
Morton Music, MM 0405 SATB a cappella
21. Alberto Grau: Kasar Mie La Gaji (Venezuela)
earthsongs, S-43 SATB a cappella
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22. C.A. Pinto Fonseca: Muié Rendéra (Brazil)
earthsongs, S-76 SATB a cappella
23. Otmar Macha: Hoj, Hura hoj! (Czech)
Alliance Publications, AP-1134 SSAA a cappella
Masterworks to be Revisited
1. Francis Poulenc: Domine Filii Unigenite from “Gloria”
Editions Salabert Inc, 50418140 SATB & Piano (reduction)
2. Sergei Rachmaninoff: Bogoroditse Devo from “All Night Vigil”
Musica Russica, Ra-028 SATB a cappella
3. Jean Berger: The Eyes of All Wait Upon Thee
Augsburg, 0-8006-4559-6 SATB a cappella
4. Franz Schubert: Kyrie from “Mass in G”
IMSLP SATB, Sop. solo, & piano (reduction)
5. Ernest Bloch: Silent Devotion and Response (Yihu Lerotzon) from “Sacred Service” (Psalm 19:14)
Broude Brothers, B.B. 179 SATB & piano
6. Franz Joseph Haydn: Credo from “Lord Nelson” Mass
IMSLP SATB & Piano (reduction)
7. Felix Mendelssohn: Laudate Pueri Dominum (Psalm 113:1-2)
CPDL SSA & Piano
8. Gabriel Fauré: Tantum Ergo (St. Thomas Aquinas)
IMSLP SSA & Organ (Piano)
9. J.S. Bach: Ershallet, ihr Lieder (BWV 172) (Salomon Franck)
IMSLP SATB & Piano (reduction)
10. Benjamin Britten: The Evening Primrose from “Five Flower Songs” (John Clare)
Hal Leonard, 48008905 SATB a cappella
11. Giovanni Battista Pergolesi: Stabat Mater Dolorosa from “Stabat Mater”
IMSLP SA & Piano (reduction)
12. Henry Purcell: Lost is My Quiet Forever
IMSLP SA & Piano
13. Arthur Sullivan: Three Little Maids from “The Mikado” (W.S. Gilbert)
IMSLP (p. 58) SSA soli, SSA & Piano (reduction)
14. Giuseppe Verdi: Che faceste? Dite su! (Witches’ Chorus) from “Macbeth” (F.M. Piave)
IMSLP (p.8) SSA & Piano (reduction)
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Lesser Known Gems by Great Composers
1. Johannes Brahms: The Little Sandman (Sandmännchen) Unison & Piano
arr. Marie Stultz, MorningStar Music Publishers, MSM-50-9914
2. W. A. Mozart: “Three Nocturnes”
I. Ecco quel fiero istante
II. Se lontan, ben mio, tu sei
III. Luci care, luci belle
ed. Harold Mason/Don Craig, Colla Voce Music, 55-51400 SAB & Piano
3. Eric Whitacre: little tree (e.e. cummings)
Colla Voce Music, 36-20108 SATB div. & Piano
4. Claudio Monteverdi: Beatus Vir (Psalm 112)
CPDL SSATTB & Piano (reduction)
5. arr. Stephen Hatfield: Vus Vet Zayn
Colla Voce, 21-20231 SSA a cappella
6. William Byrd: Sanctus from “Mass for 3 Voices”
CPDL SAB a cappella
7. Salamone Rossi: Barechu
CPDL SAB a cappella
8. Leonard Bernstein: Take Care of This House from “1600 Pennsylvania Ave.”
arr. Arnold Freed, Boosey & Hawkes, OCTB 6135 SATB & Piano
9. Ludwig von Beethoven: Kyrie from “Mass in C Major”
IMSLP SATB & Piano (reduction)
10. W.A. Mozart: Sancta Maria, Mater Dei
CPDL SATB & Piano (reduction)
11. Benjamin Britten: Old Abram Brown
Boosey & Hawkes, OCTB-1787 SSAA/SATB/variable
Music with Integrity for Young Men (That Isn’t About Pirates, Sailing, or Women)
*ok, there’s one song about pirates!
1. arr. Vijay Singh: Russian Hammer Song (Dubinushka)
National Music Publishers, NMP277 TTB a cappella
2. Teodoro Cottrau: Santa Lucia (Neapolitan folk song)
arr. Henry Leck, Hal Leonard, 08743511 TB & Piano
3. arr. Mark Sirett: Carrickfergus (Irish ballad)
Hal Leonard, 48019311 TBB & Piano
4. P.D.Q. Bach (Peter Schickele): The Art of the Ground Round
Theodore Presser, 312-41055 Three Baritones & Discontinuo ;)
16
5. Walter Kittredge: Tenting on the Old Campground (Civil War “melancholy” song)
arr. Leonard Van Camp, Mark Foster Music, MF1055 TTB a cappella
6. J.S. Bach: Der Herr Segne Euch (BWV 196)
ed. Arthur Mendel, C.F. Peters 6079 TB & Piano
7. Aaron Copland: The Golden Willow Tree
Hal Leonard, 48004939 Unison voices & piano
8. Ernst Toch: Geographical Fugue
Mills Music, 60168 (Dist. by Alfred Publishing) Speaking Chorus, a cappella
9. arr. R. Lee Gilliam: My Lord, What a Mornin’ (African-American Spiritual)
G. Schirmer, 10159 TTBB a cappella
10. Eddie Pola & George Wyle: It’s the Most Wonderful Time of the Year
arr. Hawley Ades, Shawnee Press C0223 TTB & Piano
11. arr. Greg Gilpin: Loch Lomond (Scottish folk song)
Shawnee Press, 35013169 TTB, solo, & Piano
12. arr. Jeffrey Ames: Joshua Fit the Battle of Jericho
Colla Voce, 18-96780 TTB & Piano
13. Arthur Sullivan: With Cat-Like Tread from “The Pirates of Penzance” (W.S. Gilbert)
IMSLP (p.122) TBB, soli, & Piano (reduction)
14. Pavel Chesnokov: Spaséniye Sodélal
Musica Russica, CN176MC TTBB a cappella
15. arr. Kenneth Jennings: Rise Up, O Men of God
Augsburg Choral Library, 9780800645731 TTBB a cappella
16. Vincent Persichetti: sam was a man (e.e. cummings)
G. Schirmer, 50303310 TB & Piano
17. Franz Schubert: Die Erlkönig (Goethe)
IMSLP (transposed for lower voice) Unison voices & Piano
Duets for Choir
1. Robert Schumann: Herbstlied (Autumn Song) (Malhmann)
IMSLP SA & piano
2. Gaetano Donizetti: Servant’s Chorus from “Don Pasquale” (Ruggini & Donizetti)
Boosey & Hawkes, 48019951 SA & piano
3. Antonin Dvorak: 3 Moravian Duets
I. Dyby Byla Kosa Nabróšená
II. Slavíkovský polečko malý
II. Holub na javoře
Hal Leonard, 08744995 SA & Piano
17
4. J.S. Bach: Ich jauchze, ich lache mit Schall Cantata BWV 15
Boosey & Hawkes, MO51464548 SA & Piano
5. J.S. Bach: Wir eilen mit schwachen, doch emsigen Schritten Cantata BWV 78
IMSLP (p. 15-23) SA & Piano
6. J.S. Bach: Herr, du Siehst statt guter Verke Cantata BWV 9
IMSLP (p. 27-34) SA & Piano
7. J.S. Bach: Domine Deus from “Mass in G Major,” BWV 236
ed. Rao, Boosey & Hawkes, OCTB6552 SA, continuo, violin(s)
8. Antonio Vivaldi: Esurientes from “Magnificat” RV 610
IMSLP (p.19-22) SA & Piano
9. Antonio Vivaldi: Laudamus te Gloria in D Major, RV 589
IMSLP (p.24-30) SS & Piano
10. Leo Delibes: Call of the Flowers (Sous le dôme épais) from “Lakmé” (lowered a minor 3rd!)
ed. Ron Nelson, Santa Barbara Music Press SBMP 464 SA & Piano
11. W.A. Mozart: Via Resti Servita from “Le Nozze di Figaro”
IMSLP (p. 29-34) SA & Piano
Expertly Crafted Secular Partsongs
1. Johannes Brahms: Der Gang zum Liebchen
IMSLP (p.16-18) SATB & Piano
2. Johannes Brahms: O Schöne Nacht (G.F. Daumer)
IMSLP (p. 5-10) SATB & Piano
3. Johannes Brahms: O Süsser mai (L.A. von Arnim)
IMSLP (p.7) SATB a cappella
4. Johannes Brahms: Der englishe jäger from WoO 34
IMSLP (p.16-17) SATB a cappella
5. Johannes Brahms: The May Night (Die Mainacht) (L.Holty/R.Griffith)
arr. Frackenpohl, Hal Leonard, HL00007777 SATB & Piano
6. Felix Mendelssohn: Lerchengesang (Song of the Lark) Op. 48, no. 4
National Music Publishers, NMP168 SATB a cappella
7. Arthur Sullivan: The Long Day Closes (Henry F. Chorley)
Novello, NOV 160046 SATB a cappella
8. Ralph Vaughan Williams: Love is a Sickness (Samuel Daniel)
Theodore Presser, 392-03022 SATB a cappella
9. Ralph Vaughan Williams: Wassail
IMSLP SATB a cappella
10. Ralph Vaughan Williams: Linden Lea (William Barnes)
arr. Arthur Sommerville, CPDL SATB a cappella
18
11. Edward Elgar: The Snow (Caroline Alice Elgar)
IMSLP SSA, 2 violins, & piano
12. Edward Elgar: As Torrents in Summer (Henry Wadsworth Longfellow)
IMSLP SATB a cappella
13. Gerald Finzi: “Seven Poems of Robert Bridges” (Robert Bridges)
especially: I Praise the Tender Flower SATB a cappella
I Have Loved Flowers that Fade SAT a cappella
My Spirit Sang All Day SATB a cappella
Boosey & Hawkes, M060101670
14. Francis Poulenc: Petites Voix (Madeleine Ley)
The Good Little Girl (La Petite Fille Sage) SSA a cappella
The Lost Dog (Le Chien Perdu)
When Coming Home from School
The Sick Little Boy (Le Petit Garçon Malade)
The Hedgehog (Le Hérisson )
Editions Salabert, 50462710
15. Paul Hindemith: Six Chansons (Rainer Maria Rilke)
especially: 1. La Biche
2. Un Cygne
IMSLP SATB a cappella
Unison Art Songs for Choirs
1. Benjamin Britten: Jazz-Man (Eleanor Farjeon)
Hal Leonard, HL48003983
2. J.S. Bach: Bist du bei mir (J.S. Bach)
Boosey & Hawkes, OCTB6716
3. Benjamin Britten: The Salley Gardens (W.B. Yeats)
Hal Leonard, HL48003456
4. Gabriel Faure: Lydia (Leconte de Lisle)
IMSLP
5. Franz Schubert: An die Musik (Schober)
IMSLP
6. Henry Purcell: If Music Be the Food of Love (Heveningham)
IMSLP
7. Alessandro Scarlatti: Gia il sole dal Gange (Parnasso)
ed. J.G. Paton (from 26 Italian Songs and Arias), Alfred Publishing Co.
8. Michael Head: Sweet Chance, that Led My Steps Abroad (W.H. Davis)
Hal Leonard, 48008457
19
Canons for Choirs
(taken directly from “The Great Choral Treasure Hunt” by Randy Swiggum, Margaret Jenks, & Rebecca Winnie)
***Note: Many canon scores available within “Treasure Hunt” .pdfs***
1. Gregg Smith: Now I Walk in Beauty (Navajo Prayer)
Hal Leonard, HL50322060 Unison voices & canon
2. Rolande de Lassus: Musica est Dei donum optimi
Boosey & Hawkes, OC4B6449 Four-Part Canon
3. William Billings: When Jesus Wept
G. Schirmer, 11145 / Hal Leonard HL50311160 Four-Part Canon
4. Michael Praetorius: Jubilate Deo
Boosey & Hawkes, OCTB6350 Four-Part Canon
5. J.P. Sweelinck: Vanitas, Vanitatum
Boosey & Hawkes, OCTB6351 Four-Part Canon
6. Melchior Franck: Da Pacem Domine
Boosey & Hawkes, OC2B6187 Four-Part Canon
7. William Byrd: Non Nobis, Domine
Oxford University Press, 40.023 Three-Part Canon
8. Georg Philipp Telemann: Ich will den Herrn loben alle Zeit (Praise Ye the Lord)
arr. DePue, CPP Belwin, SV 8926 [POP] Three-Part Canon
9. Attributed to Clemens non Papa: Dona Nobis Pacem
Ed. Leonard Van Camp, Somerset Press, SP723 [POP] Five-Part Canon
10. Luigi Cherubini: Like as a Father English text only: Psalm 103:13
Summy-Birchard, Music 5297 Three-Part Canon with Piano
11. Hashivenu Ed. Rao Lamentations 5:21
Boosey & Hawkes, OC3B6430 Three-Part Canon
12. Johannes Brahms: Dreizehn Kanons für Frauenchor (op. 113)
especially: No. 7 Wenn die Klänge nahn Three-Part Canon
No. 11 Ich weiß nich, was im Hain die Taube girret Four-Part Canon
13. *Antonio Caldara: Che gusto è mai questo Three-Part Canon
IMSLP
14. *Ludwig van Beethoven: Abbé Stadler Three-Part Canon
IMSLP or Edited by Betty Bertaux, Boosey & Hawkes OCTB6368 (lowered one whole step!) *not included in WI “Treasure Hunt”
Contemporary Compositions for Young Voices
1. Pablo Casals: Nigra Sum (Song of Solomon)
Tetra/Continuo Music Group, AB 120 SSA & Piano (or Organ)
2. John Tavener: The Lamb (William Blake)
Chester Music, 179753 SATB a cappella
20
3. Leonard Bernstein: A Simple Song & Gloria Tibi from “Mass”
Hal Leonard, 48011221 Unison & Piano
Hal Leonard, 48004141 SA & Piano
4. Aaron Copland: At the River
arr. Wilding-White, Boosey & Hawkes, OCTB-5513 SATB & Piano
5. Leonard Bernstein: There is a Garden from “Trouble in Tahiti” (Leonard Bernstein)
Boosey & Hawkes, OCTB 6816 Unison Treble & Piano
6. Benjamin Britten: The Ride-By-Nights (Walter de la Mare)
Oxford University Press 3401991 [POP] Google search to purchase SA & Piano
7. arr. James Mulholland: Think On Me (Mary, Queen of Scots)
Colla Voce, 20-96900 SSA & Piano
8. Eleanor Daley: The Lake Isle of Innisfree (William Butler Yeats)
Oxford University Press, 9780193426528 SSA & Piano
9. Eric Whitacre: Animal Crackers, Vol. I & II (Ogden Nash)
Hal Leonard, 08746973 (v. I) 08751016 (v.II) SATB & Piano
10. Srul Irving Glick: Psalm 47 (Psalm 47)
earthsongs, S-125B SSA & Piano
11. Daniel Brewbaker: little tree (e.e. cummings)
Hal Leonard, 48004297 SA & Piano
12. Ralph Manuel: Alleluia
Hinshaw Music Co., HMC927 SATB a cappella
13. Randall Thompson: A Girl’s Garden from “Frostiana” (Robert Frost)
E.C. Schimer, 2540 SAA & Piano
14. *Robert Convery: “Songs of Children” (texts written by anomyous children from
espeically II. At Terzezin Theresienstadt concentration camp)
VI. The Closed Town
VIII. Terezin
earthsongs, S-48 SATB, string trio, & piano
*email: [email protected] for more “Songs of Children” movements and other Convery works. They are truly hidden gems!
Uniquely American Music
1. Kurt Weill: September Song (Maxwell Anderson)
arr. Phil Matteson, Hal Leonard, 08743583 SATB a cappella
2. Richard Rodgers: It’s a Grand Night for Singing from “State Fair” (Oscar Hammerstein II)
arr. Mac Huff, Hal Leonard, 08733671 SATB & Piano
3. Scott Joplin: We’re Goin’ Around from “Treemonisha” (Scott Joplin)
arr. Nick Page, Boosey & Hawkes, M-051-47773-9 SATB, solo, & piano
4. Kirke Mecham: Blow Ye the Trumpet (text adapted by Kirke Mecham)
Hal Leonard, HL50481534 SATB & Piano
21
5. Randall Thompson: Alleluia
E.C. Schirmer, 1786 SATB a cappella
6. Aaron Copland: Zion’s Walls (John G. McCurry, Social Harp)
arr. Glen Koponen, Boosey & Hawkes, OCTB 6070 SATB & Piano
7. William Billings: Creation (Dr. Watts, Continental Harmony)
CPDL SATB a cappella
8. William Billings: I Am the Rose of Sharon (Bible: Song of Solomon 2)
CPDL SATB a cappella
9. A.M. Cagle: Soar Away
SACRED HARP SATB a cappella
10. arr. Alice Parker & Robert Shaw: Wondrous Love
Alfred Publishing, LG00907 SATB a cappella
11. arr. Alice Parker: When I Can Read My Title Clear (Isaac Watts)
Alfred Publishing, LG51340 SATB a cappella
12. Seth Houston: Emerald Stream
Santa Barbara, SBMP 1046 SATB a cappella
13. Jeffrey LaValley: Holy, Holy, Holy (A. Jeffrey LaValley)
Hal Leonard, 08551643 SAT(B) & Piano
14. Robert Ray: He Never Failed Me Yet
Hal Leonard, 44708014 SATB & Piano
15. Keith Hampton: True Light
earthsongs, S-182 SATB, solo, & Piano
16. arr. Jester Hairston: Elijah Rock
Bourne Co., 037376 SSATB a cappella
17. arr. William A. Dawson: In His Care-O
Neil A Kjos Music. Co, T122 SATB a cappella
18. arr. Undine S. Moore: Daniel, Daniel, Servant of the Lord
Hal Leonard, 48740083 SATB div. a cappella
19. arr. Jack Hollaran: Witness
Gentry Publications, 08738606 SATB div. a cappella
20. arr. Roy Ringwald: Precious Lord, Take My Hand (Joyce Merman)
Shawnee Press, 35017399 SATB a cappella
21. Amy Beach: Through the House Give Glimmering Light (Shakespeare)
Treble Clef Music Press, TC-106 SSAA a cappella
22. Alice Parker: Punching the Dough (Canadian folk song - North “American!”
Treble Clef Music Press, TC-119 SSAA & Piano
23. Gwyneth Walker: i thank You God (e.e. cummings)
E.C. Schirmer, 5331 SSA & Piano
Antonio Caldara (1670-1736)Canone a tre voci
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Music engraving by LilyPond 2.6.3 — www.lilypond.org
1
Copyright © 1999 by The Choral Public Domain Library.Edition may be freely distributed, duplicated, performed or recorded.
SanctusHoly, holy, holy Lord, God of power and might,
heaven and earth are full of your glory.Hosanna in the highest.
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Copyright © 2009 by the Choral Public Domain Library (http://www.cpdl.org) Edition may be freely distributed, duplicated, performed, or recorded.
Linden LeaRalph Vaughan Williams
(1872-1958)Words by William BarnesArr. by Arthur Somervell
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do
dm
fade
di
with
d `in-
di
the
&---- d]
Lea.
uPP
di
When
di
leaves,
di
that
dlate
dly-
di
were
di
a
dspring-
d ding,-
di
Now
di
do
di
fade
di
with
din-
dthe
&}---- d
]d
Lea.
uPP
di
When
di
leaves,
dm
that
d
late
d
ly-
dm
were
dma
d
spring-
d
ing-
dm
Now
di
do
di
fade
di
with
din-
dthe
%---- d]
Lea.
PPu d
mWhen
dm
leaves,
dm
that
d
late
dly-
dm
were
dma
d
spring-
d d
ing-
di
Now
di
do
dm
fade
dm
with
din-
d
the
&---- d]d u d
d d d d d d d d d d dd dd dd dd dd d ` di&---- u d d d d d d d d d d
%----d]d u d d d d
%---- d] u d d d dd d
ddd
dd d d dd dd dd dd dd dd dd
&----21 d `copse,
di
And
dm
pain
dm
ted-
d
birds
d d dm
do
dm
hush
dm
their
dsing
ding,-
dm
Up
dm
up
dm
on-
dm
the
dtim
d dber-
d
&---- d `copse,
di
And
di
pain
di
ted-
dbirds
ddo
di
hush
di
their
di
sing
did
ing,-
di
Up
di
up
di
on-
di
the
dtim
d.ber-
&}---- d `
copse,
di
And
di
pain
dm
ted-
d
birds
d
do
dm
hush
dm
their
d
sing
d
ing,-
di
Up
di
up
di
on-
dm
the
d
tim
dber-
%---- d `
copse,
dm
And
dm
pain
dm
ted-
d
birds
ddo
dm
hush
dm
their
d
sing
d d
ing,-
dUp
dup
don-
dthe
dtim
dber-
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dd dd d d d d d d&---- d d d d d d d d d d d d.
%---- d d d dd dd
dd
dd d d dd dd dd d
ddd
dd
dd%----
d `d ` d d d d
4
&----25
&----
&}----
%----
&----&----
%----%----
&----25 dtops;
didi
And
di
brown
dm
leav'd
d `
fruits
di
a
dm
turn-
dm
ing-
d `
red,
dm
In
dm
cloud
dm
less-
d
sun
d d dm
shine-
dmo
d.i
ver-
&---- d `tops;
di
And
di
brown
di
leav'd
dfruits
didi
a
di
turn-
di
ing-
dred,
d d di
In
di
cloud
di
less-
d `sun
d-i
shine-
di
o
di
ver-
&}---- d `
tops;
dm
And
dm
brown
dm
leav'd
d `
fruits
dma
dm
turn-
di
ing-
d `
red,
dm
In
dm
cloud
dm
less-
d `
sun
dm
shine-
dmo
dm
ver-
%---- d `
tops;
dm
And
di
brown
di
leav'd
d `
fruits
di
a
di
turn-
dm
ing-
d `
red,
dm
In
di
cloud
di
less-
d `
sun
dm
shine-
dmo
dm
ver-
&---- d d d d d d ` d d d d d d d d d d d d d d d.&---- d ` d d d d d d d d d ` d d dd ` d- d d
%----d `d ` dd
dd
dd
d `d `
dmddmd
dmd d `d ` dd
dd
dd
d `d `
dd dd dd%----
&----29 dhead,-
d d di
With
dm
fruits
dm
for
d
me
d d di
the
di
ap
d-i
ple-
di
tree
d.i
Do
dlean
d
down
dm
low
dmin
d `Lin
di
den-
&---- dhead,-
di
di
With
di
fruits
di
for
dme
dthe
di
ap
di
ple-
di
tree
di
Do
dlean
ddown
di
low
di
in
dLin
dden-
&}---- d `
head,-
di
With
di
fruits
dm
for
d `
me
dm
the
dm
ap
dm
ple-
dm
tree
dm
Do
dlean
ddown
di
low
di
in
dLin
dden-
%---- dhead,-
dm d
mWith
di
fruits
di
for
dme
dthe
dm
ap
dm
ple-
dm
tree
dm
Do
dlean
ddown
dm
low
dmin
dLin
d
den-
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dd
dd dd d ` di&---- d d d d d d d d d d d
%----d ` d d d
d d d d%---- d d d d dd ` d d d dd dd d
d dd dd dd dd dd
5
&----33
&----
&}----
%----
&----&----
%----%----
&----33 d]
Lea.
uSAnimato
di
Let
di
o
dm
ther-
d
folk
d
make
dm
mo
dm
ney-
d
fast
d
er,-
dm
In
di
the
di
air
di
of
ddark
droom'd-
&---- d]
Lea.
uSdi
Let
di
o
di
ther-
d `folk
di
make
di
mo
di
ney-
dfast
d der,-
di
In
di
the
di
air
di
of
ddark
droom'd-
&}---- d
]
Lea.
uSdi
Let
dmo
dm
ther-
d
folk
d
make
dm
mo
dm
ney-
d
fast
d
er,-
dm
In
dm
the
dm
air
di
of
d `dark
di
room'd-
%----d]
Lea.
uSdm
Let
dmo
dm
ther-
d
folk
dmake
dm
mo
dm
ney-
d
fast
d d
er,-
di
In
di
the
dm
air
dm
of
ddark
d
room'd-
&---- dd u d d d d d dd dd d d d dd dd d dd dd dd&---- d d d d ` d
i d d
%----d]u d
d d d dd dd d d%----
d] u d d d dd dd
dd dd d d dd d
ddd d ` d
i
&----37 d `towns;
u di
I
dm
don't
d
dread
d
a
dm
pee
dm
vish-
d
mas
d
ter,-
di
Tho'
di
no
di
man
dm
may
d
heed
dmy
&---- d `towns;
dI
d di
don't
ddread
d da
d di
pee
di
vish-
dma
d dster,-
di
Tho'
di
no
di
man
di
may
dheed
d.my
&}---- d `
towns;
dI
d dm
don't
d
dread
d
a
dm
pee
dm
vish-
d
ma
d
ster,-
dm
Tho'
dm
no
dm
man
dm
may
dheed
dmy
%----d `
towns;
d
I
d dm
don't
d
dread
da
dm
pee
dm
vish-
d
ma
d d
ster,-
dm
Tho'
dm
no
dm
man
dm
may
d
heed
dmy
&---- d ` d d d d d d d d d d d dd dd dd dd dd dd.&---- d ` d d d d d d d d d
%----d ` dd dd d
d d d d d d dd dd dd dd%----dd d
ddd dd
d d d d
6
&----41
&----
&}----
%----
&----&----
%----%----
&----41 d `
frowns.
u dmI
dm
be
d `
free
d
to
d
go
da
d `
broad,-
Pdm
or
dm
take
dma
d `
gain-
dm
my
dm
home
dm
ward-
&---- cfrowns.
dI
dbe
d `free
dto
dgo
da
dbroad,-
didi
or
di
take
di
a
d `gain-
dm
my
dm
home
d.i
ward-
&}---- d
frowns.
d dI
d
be
d `
free
d
to
d
go
d
a
d `
broad,-
P dm
or
dm
take
dma
d `
gain-
d-m
my
dm
home
dm
ward-
%---- d `
frowns.
dm d
I
dbe
d `
free
dto
dgo
d
a
d `
broad,-
P dm
or
dm
take
dma
d `
gain-
dm
my
dm
home
dm
ward-
&---- d ` u dd dd d `
d ` dd dd d d d d d d `d ` dd dd dd.&---- c d d d d d
%----d d d `
d `dd
dd
dd d `d `
dd dd dd d `d `
d-d
dd dd%---- d ` d dd
dd
&----45 d `
road,
di
To
di
where,
dm
for
d `
me,
dm
the
dm
ap
dm
ple-
dm
tree
dm
Do
dlean
ddown
di
low
di
iin
dLin
dden-
&---- droad,
d d di
To
di
where,
di
for
dme,
d d di
the
di
ap
d-i
ple-
di
tree
di
Do
dlean
ddown
di
low
di
in
dLin
dden-
&}---- d
road,
dm
dm
To
dm
where,
dm
for
d
me,
d
the
dm
ap
dm
ple-
dm
tree
d.i
Do
dlean
d-down
di
low
di
in
dLin
dden-
%----d
road,
dm d
mTo
di
where,
di
for
dme,
dthe
dm
ap
dm
ple-
dm
tree
dm
Do
dlean
ddown
dm
low
dmin
dLin
d
den-
&---- d ` d d d d ` d d d dd dd dd dd d dd dd dd&---- d d d d d d d d d d d d-
%----dd d
ddd
dd
dd
dd
dd
dmd d
md dd d. d dd d-d dd dd dd dd%----
7
&----49 c `Lea.
c ` c `
&---- dLea.
dm
d d d d c `
&}---- d
Lea.
d
m
d d d d c `
%----c
Lea.
d
m
c d c `
&---- d d d d d d c `c `&---- c ` c ` c `
%----d d d d d d c `
c `%----c d c d r
