Old Favorites For All Ages
Old Favorites For All Ages
Old Favorites For All Ages
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for Learners Songs of English
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Musicalnotations by Wnn Ripka Illustrationsby DeeSeadler, TeresaWilbtk and SuscnA. I-ara Printecl by the UniteclStatesInformationAgenqy. Firstpublishecl 1991 printed lc)93. . Thiseclition
"Old Favorites for All Ages"are truly well-lovedmelodies As the title reflects, that represent a mosaicof Americanculturein music.Youngchildrenin the todaystill memorizethesewords and melodiesfrom 18thUnitedStates on rhymes.Adultsstill sing theseold-timefavorites centuryMotherGoose for instance, and Eve, traditionaloccasions-"AuldLangSyne"on NewYear's "GoodNight, "For He/She's special. aJollyGoodFellow"in honorof someone socialevent,and Ladies"is a well-knownmusicalsignalto end an evening's "Rock-a'bye-Baby" is probablythe first tune that comesto mind for most when thev think of lullabies. Americans tell us that someof thesesongsdate back several The folk music historians of course,in GreatBritainand hundredyearsor more. Manyoriginated, in the settlers traveledto the NewWorld with the Englishand Scotch-lrish evenolder of perhaps Othermelodies, centuries. eighteenth and nineteenth origin, are reportedto have come from Germany,France,or other parts of that appearin many Thesefollt tunesare like familiar proverbs Europe. versions. evenin their differentlanguage cultures;they are still recognizable Melodies,in fact, seem to travel from region to region and passfrorn generation more easilythan do their lyrics,which havea way of to generation of the singer. being adaptedto suit the whim or circumstance You will norethat someof the songsin this book havebeenslightlyadapted Please note alsothat all of the for Englishteachingpurposes. or expanded "public you, adaptingand creating too, enjoy if domain." So are in the songs you may experiment with thesetunesto your heart's your own verses, content-none are copyrighted. to you in the hope of musicalAmericana this collection We are presenting lessons. will enlivenand enrichyour Englishlanguage that thesesongs Happysingingl
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PREFACE SONGS CHILDREN'S 1. AlphabetSong,The 2. Did You EverSeea Lassie/Laddie? 3. Down at the Station 4. Farmerin the Dell,The 5. GoodMorning to You 6. Hickory Dickory Dock 7. I'm a Little TeapoVSnowman 8. Mary Had a Little Lamb 9. MoreWe GetTo$ether,The 10. Muffin Man,The 11. One,Two, BuckleMy Shoe 12. Polly,Put the KettleOn .......... 13. Twinkle,Twinkle,Little Star SONGS ACTIONAND COUNTING The 1. AntsGo Marching, 2. Bingo 3. HappySong,The Knees, and Toes 4, Head,Shoulders, 5. Hokey Pokey 6. JohnnyWorkswith One Hammer 7. LondonBrid$e 8. NinetyNine Milesfrom Home 9. Skip to My Lou 10. This Is the Way 11. ThisOld Man 12. Tisket,A Tasket SONGS GROUP GENERAL 1. Auld LangSyne ....... The ........ 2. BearWentOverthe Mountain, 3. Billy Boy 4. Clementine 5. Down in the Vallev a Jo l l yC o b aFellow 6 . F o rH e 's 3 9 11 l2 l3 14 15 t6 t7 18 19 20 2l 22 23 25 27 29 3l 33 34 36 37 38 39 40 4l 43 45 47 48 49 51 53 54
- ...............
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A,B,C,D,E,F,G, H,lJ,K,L,M,N,O,P, and T,U,V, Q,R,S, W ,X,andY andZ. Happy,happywe shallbe Whenwe learnour ABC's.
This melody is thoughtto haveoriginatedin Franceduring the 18thcentury. by C. Bradlee, as "The,schoolmaster" The spellin! rhyme Firstappearedin the UnitedStates 1834. Boston.Massachusetts,
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Did You Ever see A Lassie?/ Did You Ever see A Laddie?
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a lassie, a lassie, Did you everseea lassie, and that? way Did you ever seea lassie$o this Go this way and that way, go this way and that way' Did you ever seea lassiego this way and that? Did you ever seea laddie,a laddie,a laddie' Did you ever seea laddie $o this way and that? Co this way and that way, go this way and that way' Did you ever seea laddie go this way and that?
H. Bancroft,NewYork, in 1909'The melody,similar to byJessie Firstpublishedin the United States "folly, eut the KettleOn," probablyoiiginateAas "Ach,Du LieberAugustin,"byJ'F' Kirmair in Mainz' Germanyin 1788.
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Downat the station,early in the morning, Seethe little wa$onslined up in a row. Seethe enginedriverpull the little handle. Chug!Chugl Toot! Toot! Herewe gol
melody. Of unknownorigin, this tune is believedto be basedon a French-Canadian
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The farmer in the dell, the farmer in the dell: Heigh-o, the derry-o, the farmer in the dell.
the dog takesa cat. Heigh-o, the derry-o, the dog takesa cat.
7 . The cat takesa rat,
2 . The farmer takesa wife, the farmer takesa wife. Heigh-o,the derry-o, the farmer takesa wife. 3. Thewife takesa child, the wife takesa child. Heigh-o,the derry-o, the wife takesa child.
4 . The child takesa
the cat takesa rat. Heigh-o, the derry-o, the cat takesa rat.
8 . The rat takesthe cheese,
Heigh-o, thederry-o,
the rat takes the cheese. 9. The cheese stands alone.the cheese standsalone. Heigh-o, the derry-o,the cheese stands alone.
nurse,the child takes a nurse.Heigh-o, the derry-o,the child takesa nurse. 5. The nursetakesa dog, the nurse takesa dog. Heigh-o, the derry-o,the nursetakesa dog.
word, used in the refrainsof old ballads derry-o....a meaningless heigh-o....an exclamation to attractnotice,show pleasure, etc.
The words and melody are a variationof the old English"Farmer's Den,"first printed in NewYork in' 1885.lt is thoughtto havederivedfrom a children'sgame,"Der Kirmenbauer," by EdwardFiedler, publishedin Dessau, Germanyin 1847.
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morning to youl Good to you! mornin$ Good We're all in our places, faces. with sunshiny morning to you, Good goodmorning to youl
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by M.l. Hill, Summy Pubs.' Of unknownorigin, rhis tune appearedin SongSforiesfortheRindergarten, usA. 1896.
15
6. Hickory DickoryDock
anonymous 1. Hickorydickorydock,the mouseran up the clock. The clockstruckone,the mouseran down, Hickorydickorydock. 2. Hickorydickorydock,the mouseran up the clock. The clock strucktwo, the mousesaid "Bool" Hickorydickorydock. 3. Hickorydickorydock,the mouseran up the clock. The clockstruckthree,the mousesaid "Wheel" Hickorydickorydock. 4. Hickorydickorydock,the mouseran up the clock. The clock struck four, the mousesaid "No morel" Hickorydickorydock.
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I'm a little teapot,shortand stout. Hereis my handle,here is mY spout. When the water'sboiling,hear me shout, "Tip me over,pour me outl" 2 . I'm a little snowman,shortand fat. here is my hat. Hereis my broomstick, jolly comesto stay. sunshine When the Then I slowlymelt awaY!
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together, together, The more we get together, we'll be. happier the The more we get together, Foryour friendsare my friends, And my friendsare your friends, the happierwe'll be. The more we get together,
(Seenote page 12.) Of unknown origin, this is the same melody as "Did You EverSeea Lassie?"
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2 . Oh, yes,I know the Muffin Man, the Muffin Man,the Muffin Man, Oh, yes,I know the Muffin Man, who liveson Drury Lane. 3 . Now two of us know the Muffin Man. the Muffin Man,the Muffin Man. Now naro of us know the Muffin Man. who liveson Drury Lane. (Continue around the circle until all the childrenhaveresponded.)
4 . Nowwe all know the Muffin Man,
the Muffin Man,the Muffin Man, Now we all know the Muffin Man, who liveson Drury Lane.
Originunknown.
20
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One,two, bucklemY shoe. Three,four, shut the door. Five,six, pick up sticks. ei$ht,laYthem straight. Seven, Eight,seven,six, five,four, three,two, one, Alldone!
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Melodies, This old Englishnurseryrhyme is also a musicalscalesong It appearedin Mother Goose's in the 1700s. Massachusetts orintedin Worcester.
21
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Polly,put the kettleon, Polly,put the kettleon, Polly,put the kettleon, We'll all havetea.
2 . Sukey,take it off again, Sukey,take it off again, Sukey,take it off again, They've allgone awayl
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The same melody as "Did You Eversee a Lassie?" (seenote page12.)origin unknown.
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1. Twinkle,nruinkle, little star,how I wonderwhat you are. Up abovethe world so high, like a diamondin the sky. little star,how I wonderwhat you are. Twinkle,nrrinkle,
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2 . When the blazingsun is set,and the grasswith dew is wet. all the ni$ht. little light, rwinkle,trruinkle Thenyou showy-our you are. what I wonder how Twinkle,twinkle,little star, 3 . Thenthe travelerin the dark thanksyou for your tiny spark. so? How could he seewhere to go if you did not nruinkle you are. Twinkle,twinkle,little star,how I wonderwhat
4 . As your bright and tiny sparkli$htsthe travelerin the dark,
ThoughI know not what you are,twinkle,twinkle,little star. Twinkle.twinkle,little star,how I wonderwhat you are'
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Accordingto records,the words were written in Londonin 1806,and probably first printed_togetheriith rhe music in TheSingingMasterin 1835.The melody, the same as "The Alphabet d'une Heureet Demy" by M' Song,"is thought to have been composedas "Les Amusements Bou-inin parii, t7Ot. Mozart wrote 12 variations of the melody for piano in Paris, 1778;
Beethoven \r improvised on the theme in Prague in 1798. On the other side of the Atlantic' l\ it was published as "Mark My Alford" in Philadelphia, Pennsylvania in 1794. U ,ltlr^4
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1. The antsgo marchingone by one,hurrah,hurrahl The antsgo marchingone by one,hurrah' hurrahl The antsgo marchingone by one,the little one stopsto eat a crumb' And they;ll go marchingdown to the groundto get out of the rain, Boom,boom,booml 2. The ants$o marchingtwo by rwo, hurrah,hurrahl The ants go marchingtwo by wo, hurrah,hurrahl by two, the little one stopsto tie his shoe, The ants go marchingn'rro And rhey;ll go marchingdown to the groundto get out of the rain' Boom,boom,boom! 3. The antsgo marchingthreeby three,hurrah,hurrahl The ants!o marchingthreeby three'hurrah,hurrah! The antsgo marchingfour by four, the little one stopsto $yt the door, And theyill go marchingdown to the groundto get out of the rain, Boom,boom,booml
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The ants!o marchingfour by four, hurrah,hurrahl The ants!o marchin! fout by four,.thelittle one stopsto shut the door, nnd theyill go marcfringdown to the groundto get out of the rain, Boom,boom, booml 5 . The ants $o marchin$five by five,hurrah,hurrahl The ants !o marchingfive by five' hurrah,hurrahl The ants !o marchingfiueby five,the little one stopsto rob a hive, go marcfiingdown to the groundto get out of the rain, And they"all Boom.boom,booml 6 . The ants $o marchin$six by six, hurrah,hurrahl The ants!o marchingsix by six, hurrah,hurrahl the ants!o marchin! six by six, the little one stopsto pick up sticks, ana tfreyill go marcflingdbwn to the groundto get out of the rain, Boom,boom,booml hurrah,hurrahl 7 . The ants go marchingsevenby seven, hurrah,hurrahl The ants!o marchin! sevenby seven, bY seven, The ants$o marchingseven the little one stopsto pray to Heaven, And they all go marchingdown to the $roundto get out of the rain, Boom,boom,booml 8 . The ants go marchingeight by ei$ht,hurrah,hurrahl The antsgo marchingeight by ei$ht,hurrah,hurrahl gate, The antsgo marchin! eiltrt ny eigtrt,the little one stopsto lock the And theylll go marc[inf aown to the groundto get out of the rain, Boom,boom,booml 9 . The ants go marchingnine by nine, hurrah,hurrahl The ants go marchingnine by nine, hurrah,hurrahl The antsgo marchin! nine by nine, the little one stopsto checkthe time, go marciing down to the $roundto get out of the rain, And they"all Boom.boom, booml 1 0 . The ants go marchingten by ten, hurrah,hurrahl The ants!o marchingten by ten, hurrah,hurrahl The ants!o marchin! t"n Uy ten, the little one stopsto say'The Endl" And theyill go marcfiingdown to the groundto get out of the rain, Boom.boom, boom, booml
28
2. Bingo
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Therewas a farmerhad a dog, And Bingowas his name, And Bingowas his name,ol B-I-N-G-O, B-I-N-G-O, B-I-N-G-O, And Bingowas his name,ol Therewas a farmer had a dog, And Bingowas his name, And Bingowas his name,ol (clap)-l-N-G-O, (clap)-l-N-G-o, (clap)-l-N-G-O, And Bingowas his name,ol
29
3. Therewas a farmer had a dog, And Bingowas his name, And Bingowas his name,ol (clap)-(clap)-N-G-O, (clap)-(clap)-N-G-o, (clap)-(clap)-N-G-O, And Bingowas his name,o! 4. Therewas a farmer had a dog, And Bingowas his name, And Bin$owas his name,ol -G-O, -(claP) (clap)-(clap) -(claP)-G-O, (clap)-(clap) -(claP)-G-O, -(clap) (clap) And Bingowas his name,ol Therewas a farmer had a dog, And Bingowas his name, And Bingowas his name,ol -(claP)-O, -(claP) -(clap) (clap) -O, -(claP) (clap)-(clap)-(claP) -o, -(claP) -(claP) -(clap) (clap) And Bingowas his name,ol 6. Therewas a farmerhad a dog' Ang Bingowas his name, And Bingowas his name,ol (clap)-(clap)-(clap)-(clap)-(clap), -(clap), -(clap) -(clap) -(clap) (clap) (clap)-(clap)-(clap)-(clap)-(clap)' And Bingowas his name,ol
30
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1. If you'rehappyand you know it, clapyour handsl(clap)-(clap) If you're happy and you know it, clap your handst (clap)-(clap) If you'rehappyand you know it, and you reallywant to showit, If you'rehappyand you know it, clapyour handsl(clap)-(clap) 2. If you're happy and you know it, slapyour kneesl (slap)-(slap) If you're happy and you know it, slapyour kneesl (slap)-(slap) If you're happy and you know it, and you really want to show it, If you're happy and you know it, slapyour kneesl (slap)-(slap)
Origin unknown.
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it, stamP Your feet'l 3. If You're haPPYand You know @tamP)-(stamP) it, stamP Your feetl if you're haPPYand You know
it' toshow want reallv it'and know vou liftr* [ij[ffi]". vou Hno* it' siamp your feetl
If vou're happy ";i y"; (siamp)-(statnq) snapyour fingersl If you'rehappyand you know it' (snaq) (snap)your fingers'l If you're happy and you know it' snap
it' toshow want it' and voureallv vouknow $ifl';itfff$y and it' shapyour fingersl
If you're happy ;d (snap)-(snaq) y"; ttno* OK!(O-KI) 5. If you'rehappyandyou ltnowll' :uu oKI(o-KD il il fng* il' t"i' happy Ifyou're lt' andYou.Know lf vou'rehaPPY lt' snow to want andYoureallY andyou knowit' sayOKI(O-l(0 happy If you're all fivel 6. If you'rehappyandyou ["9Y].1-9o (o'Rl) (snap)' (snap)' (stanwi' 1starytP) (s (slop (clap), -' )- lap.)' (clap)' all fivel If you'rehappyuilOyou kngwit' do -(snap)'(o-R|) - (stap.), - (clap),Glap) Otoyil tttamp)' fnap) to showit' (ctap) want you'really If you'renappyaii you knol" it' and you knowit' do all fivel rl"bbi'anA iiirou'ru ' -(snap), (o'RI) - 6t amp1, $nap) (starnpi4 iri;;: (r;6i (shp>tstap),
32
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(o-Rl) and toes, knees, Head,shoulders, and toes. Knees and toes, knees, Head,shoulders, Kneesand toes. Eyes, and ears,and mouth,and nose, knees, and toes. Head,shoulders, Knees and toes.
Origin unknown
33
Hokey Pokey
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Putyour right hand in, and you shakeit all about' Do the HokeyPokeyand you turn yourselfaroundThat'swhat it's all aboutl Put your left hand in, takeyour left hand out, Putyour left hand in, and you shakeit all about. no the HokeyPokeyand you turn yourselfaround. That'swhat it's all aboutl Putyour right foot in, takeyour right foot out, Put your right foot in, and you shakeit all about. Do the HokeyPokeyand you turn yourselfaround. That'swhat it's all aboutl Putyour left foot in, takeyour left foot out. Put your left foot in, and you shakeit all about. Do the HokeyPokeyand you turn yourselfaround. That'swhat it's all aboutl Putyour whole self in, takeyour whole selfout. Putyour whole self in, and you shakeit all about. Do the HokeyPokeyand you turn yourselfaround.
That's what it's all aboutl
./
35
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Johnnyworkswith one hammet, one hammer,one hammer; Johnnyworkswith one hammer. Now he works with two. hammers, 2. Johnnyworkswith nruo nvo hammers,tvvohammers; hammers. Johnnyworkswith naro three. with works Now he Johnnyworkswith threehammers, threehammers,threehammers; Johnnyworkswith threehammers. Now he works with four. 4. Johnnyworkswith four hammers, four hammers,four hammers; Johnnyworkswith four hammers. \ Now he works with five. Johnnyworkswith five hammers, five hammers,five hammers; Johnnyworkswith five hammers. Now he goesto sleeP.
songis unknown. The origin of this "sit-downexercise"
36
7. London Brid$e
anonymous
old Englishmelody
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LondonBridgeis fallingdown, fallingdown, fallingdown. LondonBridgeis fallingdown, my fair ladyl Buildit up with iron bars, iron bars,iron bars. Buildit up with iron bars, my fair lady! Ironbarswill bend and break,bend and break, bendand break. Iron bars willbend and break, my fair lady! Buildit up with silverand gold, silverand gold, silverand gold. Build it up with silverand gold, my fair ladyl
5 . Silverand gold are much too dear, much too dear,much too dear. Silverand gold are much too dear, my fair ladyl
6 . Build it up with sticksand stones,
sticksand stones. sticksand stones, Build it up with sticks and stones, my fair ladyl Sticks and will stones wash away, wash away, wash away. Sticksand stones willwash away, my fair ladyl 8. LondonBridgeis fallingdown, fallingdown, fallingdown. LondonBridgeis fallingdown, my fair ladyl
publishedin the PrettySongBook,London,1744.First Firstpubtishedin EnglandinTommy Thumb's 1879. Pennsylvania, Philadelphia, and Games, in NurserySongs UnitedStates
37
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miles from home. We'reninery-nine miles from home. We'reninety-nine We walk a mile;we restawhile. miles from home. We'reninety-eight miles from home. 2 . We'reninery-eight miles from home. We'reninety-eight We walk a mile;we restawhile. miles from home. We're'ninery-seven miles from home. 3 . We'reninety-seven miles from home. We'reninety-seven We walk a mile;we resta while. miles from home. We'reninety-six miles from home. 4 . We'reninety-six miles from home. We'reninety-six We walk a mile: we resta while. We're ninety-fivemiles from home. (Continue singing,subtractingone eachtime untilyoureach zero.)
Bottlesof Beeron the Wall." Origin This is a variationof rhe popularold countingsong,"Ninety-Nine unknown.
38
9. Skip to My Lou
arnonymous
{}1 re >1
4 t; de
lost my 7ar?qler,
tl/
+-n
l-{r
I lost my partner,what shallI do? I lost my partner,what shall I do? I lost my partner,what shall I do? Skip to my Lou, my darlin'l 2. You'llfind another,or maybenvol You'll find another,or maybe nruo! You'llfind another,or maybenvol Skip to my Lou, my darlin'l The cat'sin the buttermilklWhat shallI do? The cat'sin the buttermilklWhat shall I do? The cat'sin the buttermilklWhat shall I do? Skip to my Lou, my darlin'! Fliesin the sugarbowl! Shoo,fly, shoo! Fliesin the sugarbowll Shoo,fly, shool Fliesin the sugarbowll Shoo,fly, shool Skip to my Lou, my darlin'l
The origin of this earlyAmericansquaredanceis unrecorded
o.)
Ongin
39
rt
TLts Ls tlzaal
fII''-------------t
tt
nG',C7F
flit
cs &Leary X ,*L
Wash my face,wash mY face' This is the waY I wash mY face, Soearly in the morning. 2 . This is the way I brush mY teeth' Brushmy teeth, brush mY teeth' This is the waY I brush mY teeth, Soearly in the morning. 3 . This is the waYI comb mY hair, ' Comb my hair, comb mY hair. This is the waYI comb mY hair, Soearly in the mornin$'
4 . This is the way I Put on mY clothes,
Put on my clothes, Put on mY clothes. This is the way I Put on mY clothes, Soearly in the mornin$. 5. This is the way we go to school, Go to school,go to school' This is the way we go to school, Soearly in the morning.
1858'The melody is.thesametune A variationof "The Morningsong" by AsaFitz,written in Bostonin in Londonin l74O' ,.Here originated have to said is which Bush," We Go Roundtne"fufuf#rry as
40
/,\\ps
.,.i \
h sviVa
t
T fu"t.
1't
ll
Ln7lo1"l onu1
n7 tt
= 'o-tft1.
o,/L mq lL"^/,
A*7
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&
al'ock2
D7
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ce,
tcth :arh ta rh
tt
dll,
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ir
alr,
1.
one, This old man, he PlaYed mY thumb, on knack He playedknick With aknick knackpaddywhack,$ivethe dog a bonel Thisold man camerollinghome.
nvo, 2 . Thisold man, he PlaYed He playedknick knackon mY shoe, With aknick knackpaddywhack,$ive the dog a bonel Thisold man came rolling home.
::-,etune Originunknown.
4l
3 . Thisold man, he playedthree, He playedknick knackon mY knee, With a knick knackpaddywhack,givethe dog a bone! Thisold man came rolling home.
4 . Thisold man, he playedfour,
He playedknick knackon mY door, With aknick knack paddywhack, give the dog a bonel Thisold man came rolling home. 5 . Thisold man, he playedfive, He played knick knack on mY hive, With aknick knackpaddywhack,$ivethe dog a bonel Thisold man came rolling home. six, 6 . Thisold man, he PlaYed He playedknick knackon mY sticks, With aknick knackpaddywhack,$ivethe dog a bonel Thisold man came rolling home.
seven, 7 . Thisold man, he plaYed He playedknick knackuP in heaven, with aknick knackpaddywhack,givethe dog a bonel Thisold man came rolling home. ei$ht, 8 . This old man, he PlaYed He playedknick knackon mY gate, With aknick knackpaddywhack,givethe dog a bonel Thisold man camerollinghome.
nine, 9 . Thisold man, he plaYed He playedknick knackin a line, With aknick knackpaddywhack,givethe dog a bonel This old man came rolling home. ten, 1 0 . Thisold man, he PlaYed He playedknick knackoncdagain, With aknick knack paddywhack, $ive the dog a bone! Thisold man camerollinghome.
42
A Tisket, A Tasket
ar"0nymous
,&-rn
A LLs- Krt, a,
tas' ftaf,, a,
.t'
droffed/
Lt ) ,T
.L
l,oy7d tt t I
67
/"r77"L 't,
lct'tle
jtrl
av l"er 7o"k -
"t'
I wrote a letterto my love,and on the way I droppedit. I droppedit, I droppedit, and on the way I droppedit. A little girl camealongand put it in her pocket.
2 . A tisket,a tasket,a greenand yellow basket, I wrote a letterto my love,and on the way I droppedit' I droppedit, I droppedit, and on the way I droppedit. A little boy camealongand put it in his pocket. (Thechildwho is "lt" walks around the circleof childrenand drops the letter in front of another child, who is now "lt' ")
The first recordof this variationof "Drop the Handkerchief'waspublishedby W. F. Shawin Nursery in 1879. Pennsylvania Philadelphia, tungs and Gqmes,
43
SLo / "l
n"r-u, lr^3/l
lo
mizl?
foryot2 ool
For
oo//--
lozj
'
For for
arcldo"l/-
f unaJ
stlrce.
J
//"' //
DAG
D
lanqIJ
Sqne.
Thewords are generallyattributedto the Scottishpoet RobertBurns,1759-1796,butmay have in 17ll. The melody is believed originaredas "Old LongSyne"byJamesWatson,Edinburgh,Scotland Tune,"London,1687. to havecome from "The Duke of Bucclugh's
47
D ?rloun- taLn,
TL"
b"o,
Lh.e
ln*
a"r/ o-rerlle
'llz,ourt- {aLn
see ot/rolL"
"oold
see;
t o see ,l-L
/,n
"oull
sea)
1. The bearwent overthe mountain, The bearwent overthe mountain, The bearwent overthe mountain, To seewhat he could see. chorus:To seewhat he could see,to seewhat he could see, the mountain,the bearwent overthe mountain, The bearwent OVer The bearwent overthe mountain,to seewhat he could see, 2. The other sideof the mounmin, The other sideof the mounain, The other sideof the mountain, Was all that he could see. was all that he could see,was all that he could see, Chorus: The other sideof the mountain,the other sideof the mountain, The other sideof the mountain,was all that he could see.
"Malbrouk,"printedin a collectionof The earliestrecordof this melody is the Frenchhunting song, sametune as "We Won't Go L{ometill is tfre parts, 1762-1778.fiis between sometime in streetsongs 1842). (NewYork' Fellow" Good and "ForHe'saJolly 1841) n4ornirrg'"iLondon,
48
3. Billy Boy
relody
anonvmous
#
rh o
01,
oL
fru
,r ll,
#
=
t.
.rBLl-lu?
J
have
Sh{s
,)
' toury
can- not
/eor e
Oh,where haveyou been, Billy Boy,Billy Boy? Oh,where haveyou been, CharmingBilly? I havebeento seeka wife; thejoy of my life. She's She's a young thing And cannotleaveher motherl Did sheaskyou to comein; Billy Boy,Billy Boy? Did sheaskyou to come in, CharmingBilly? Yes.sheaskedme to come in; There's a dimple in her chin, a young thing She's And cannotleaveher motherl
The melody is said to haveoriginatedfrom the Englishfolk song"Lord Randall,"broughtto Americain the early 1600s.
Mt
_\:
49
3. Canshebake a cherryPie, Billy Boy,Billy BoY? Canshebake a cherryPie, CharmingBilly? Shecan bake a cherryPie, Quick as you canwink an eye. a young thing She's And cannotleaveher motherl
| \ (,tl
{-:-:*-2__
qgcz
Billy Boy,Billy Boy? Canshemake a featherbed, Billy? Charming Shecan make a featherbed, on her head. standing While she's young thing a She's And cannotleaveher motherl
5. Howold is she, Billy Boy,Billy Boy? Howold is she. Billy? Charming Sheis threetimes six Plusseven, eleven. Fourtimes ei$ht and t\,vice young thing a She's And cannotleaveher motherl
50
4.
PercyMonffose
Clementine
mtTLe) B7 ead.
Lir"J- *
//LLrL-
sr)
For- tJ tlltnE
zT')
ftnd-
lit
o/t, n1 /or-lio' ,
oL m1
cleru'e*-/;o"l
gz
Yoa ore E
for a mine, |. In a cavern,in a canyon,excavating Liveda miner, Forry-Niner, Clementine. And his daughter, Oh, my darlin',oh, mY darlin', Chorus: Oh, my darlin'Clernentinel You are lost and gone forever. Dreadfulsorry,Clementine.
'Clementine,"a tragi-comedy Thewords and in music, popularizedthe Californiagotd rush of 1849. musicwere first publishedby PercyMontrosein Boston,1884.
51
2 . Light shewas and like a fairy, were number nine. And her shoes topses without Herringboxes were for Clementine. Sandals (Chorus)
Drovesheducklingsto the millpond, Everymorningjust at nine; Stubbedher toe upon a sPlinter, Fell into the foamingbrine. (Chorus)
Blowingbubblessoft and fine. But alas,shewas no swimmer, And I lost my Clementinel (Chorus)
5 . And the miner, FortY-Niner,
He beganto peakand Pine; Thoughthe oughterjoin his daughterNow he'swith his Clementine. (Chorus)
6 . How I missedher, how I missedher,
How I missedmy ClementineTill I kissedher litle sister, And forgotmy Clementinel (Chorus)
52
-rr-
Eq'.-.
\
\<
k-s
Ln
Gmoi'1
Uo utft
l\ U
lle
lor,
G
Hooq ,10u,/r"o/- o
JvDGGmn
verT
llou.
lpond, rr.
J"ori
ttear l / , " r i n L l l o u ,
'
Down in the valley,the valleyso low, Hangyour headover,hear the wind blow.
Hearthe wind blow, dear;hearthe wind blow. Chorus: Hangyour headover;hear the wind blow. ,violetslovedew. Roses love sunshine; Angelsin heavenknow I loveyou.
_trs
[\
'f/
/r
53
6.
anonymous
1. Forhe'sa jolly good fellow,for he'sajolly good.fellow, For he'saiol$ good fellow,which nobodycan denyl Which nobodycan deny,which nobodycan deny' Chorus: For he'sa joliy good fellow,which nobodycan denyl 2 . For she'sa jolly good fellow,for she'sa jolly $oodfellow, For she'saiolly good fellow,which nobodycan denyl Which nobodycan deny,which nobodycan deny' Chorus: For she'sa;dtty good fellow,which nobodycan denyl
4or
lo'7 ,,
*L*L
lllr".L
w/r""L
no'[o/-'3
G
ca-rz/."-ry,
For
D
no-loL3 /t-nj
"on
T
q
54
Goodnight, ladiesl Goodnight, ladiesl Goodnight, ladiesl We'regoing to leaveyou now. Merrilywe roll along, Chorus: roll along,rollalong, Merrilywe roll alon$, o'er the deepblue sea.
rt-t
fr,"fr1sJffi
al-VA TteTttr-"fa^qV 'aXiaX-;,e"r "t:
# z ood'
I
4-l
I
tSoo L
(t
Good G
nlLt,
la- d-c es I G
l.
ih-tafL
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lo-li, ' I
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do 10-L7L!
7
dp-
1cr
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ue ,oll o-lon1,
F
q:
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n- l onl t
The words and melody for the first versewere composedby E.P.Christyin NewYork in 1847.The origin of rhe chorus,"Merrily...,"is not known but the tune is the sameas "Mary Had a Little Lamb." (Seenotepage 18.)
55
TL"r*
u a.s
tr ee,
tLer e
lr as a Lr .e2
oLorn
tn a /rol"2
Jour,
Lr"e, tl-e
yr.t-t"-est
ev-eT &L&
tl
se"ltlot
!o& F
etr er ld
t.u7
-r-| I lLe
tree
LrL a-
/r"/e,
L ?L G
t/te
Arrl. tL"
greeTL trass
Fc
Srea
oll
a- -
roarc/, oll n-roon/-1 nn/. Lbe green- jr-a-ss SreD all a--ronnl. 1. Therewas a tree (repeaf)down in a hole (repeat), The prettiesttree (repeat)that you ever did see(repeat), The tree in a hole,and the hole in the ground, And the greengrassgrew all around,all around, Chorus: And the greengrassgrew all around.
Old recordsstatethat a l9th centuryversionof this, "TheTreein the Wood,"was popularin the Appalachian mountain region,and otherversions were familiar in France, Germany, and Denmark.
56
\:
Nfu*
,\\ \
\N. A
d$U 5\
f1
"Lary t
SS That you ever did see(repea4. \The limb on the tree. aa And the tree in the hole, And the hole in the ground,(Chorus)
therewas a branch(repeat), 3. And on that limb (repeat) The prettiestbranch (repeat)that you ever did see(repeat), The branchon the limb, and the limb on the tree, And the tree in a hole,and the hole in the ground,(Chorus)
A .+.
tu
4 L 'ee)
--l
And on that branch (repeat)there was a nest (repeat), The prettiestnest (repeat)that you ever did see(repeat), The neston the branch.and the branchon the limb, And the limb on the tree,and the tree in a hole, And the hole in the ground,(Chorus) 5 . And in that nest (repeat)there was an egg (repeat), The prettiestegg (repeat)that you ever did see(repeat), The egg in the nest,and the neston the branch, And the branchon the limb. and the limb on the tree, And the tree in a hole,and the hole in the ground,(Chorus)
6 . And in that egg (repeat)there was a bitd (repeat),
-Tl -Tl
ogi-,
The prettiestbird (repeat)that you ever did see(repeat)' fhe bird in the egg,and the egg in the nest,and the neston the branch, And the branchon the limb, and the limb on the tree, And the tree in a hole,and the hole in the ground,(Chorus)
7. And on that bird (repeat)there was a wing (repeat), The prettiestwing (repeat)that you ever did see(repeat), Thewing on the bird, and the bird in the egg,and the egg in the nest, And the neston the branch.and the branchon the limb, And the limb on the tree,and the tree in a hole, And the hole in the ground,(Chorus) 8. And on that wing (repeat)therewas a feather (repeat), The prettiestfeather (repeat)that you ever did see(repeat), The featheron the wing, and the wing on the bird, And the bird in the egg,and the egg in the nest,and the neston the branch, And the branchon the limb, and the limb on the tree, And the tree in a hole,and the hole in the ground,(Chorus)
57
/r.n l o Jit' E
87EE,
?l"J,
lil-"r.
AroT
srl*lo-
is /r"orl 6z
a- a-,s-
"lo'rlg "ll
l"j.
in 1873. BrewsterM. Higley,a pioneerdoctorborn in Ohio,wrote thesewords in Smith County,Kansas DanielE, Kelly,a musicalentertainerfrom RhodeIsland,set the words to music.Their composition it remainsthe statesongtoday. StateSong---and becameso popularthat it was voted the Kansas
58
Kelly
-] -
E L/le
= T
J-rt-
Oh, give me a homewhere the buffaloroam, Wherethe deer and the antelopeplay, word Whereseldomis hearda discouraging And the skiesare not cloudyall day. Home,home on the range, Chorus: Wherethe deerand the antelopeplay, word, Whereseldomis hearda discouraging And the skiesare not cloudyall day' are bri$ht 2. How often at night where the heavens With the light from the glitteringstars, HaveI stood there amazedand askedas I $azed that of ours If their glory exceeds (Chorus) 3. Oh, $ive me a land where the bri$ht diamondsand Flowsleisurelydown the stream, Wherethe gracefulwhite swan$oes$lidingalong dream. Like a maid in a heavenlv
E
rFl
=F
/ope
L
I-1
r|_'l J_
',r s'
(Chorus)
F
;873. ioi',
59
.l / ll tt I lt daLl' T've b"u* uorkcry ort the rail-road-, all {h'e liue-lonq JJ
+\
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a'-
'o!'
AftLs-tto
//
llo,
iftj!
Err" tL/ so
"or-11
Dr-rJrrorc'/ qoo//or,
D7q
f,r D
"D7
nl
//
Thewords and melody for the main versewere written and compose! by Martin R. Dennisin Newark, NJ. in I g94,and publishedunder the ritle "LeveeSong."The origin of the choruswords is unknown, note') but the chorustune is the melody from "GoodNight, Ladies."(See
60
D;o"L,
# a--
lhor l
G9
-1
:
tFt
F"" ft f iLll"y
tt ate 2 olL t
A (_t
.+
daLiz
#
iaa;2 7G 14
r,,'ark, n\n.
6l
I 1. JingleBells
S.Pierpont John
LlL a- oz"-/rors"
o-Fev
sl.ijl2
U
n7
A) tJ ef
lL.
fi"lJt ue Jo )
aaq,
J
B"llt
A*7
f,r*-gl. I'lls 7
JLn-3te betts)
t_t
ll
/ l L T Lq - te Arn7
oll tle
ua/'
5-?
f,,n-3le l"llt 2 c
J Lrt-j re
2
t/t" ,roq.
J
l)'
67
3d'J
,+
ll J f AAL
opensleigh' 1. Dashing throughthe snow,in a one-horse O'erthe fieldswe go, laughingall the way. Bellson Bobtailring,makingspiritsbri$ht, songtonightl What fun it is to ride and sing a sleighing jingleall theway. jingle bells, Chorus: Jinglebells, open sleighl in a one-horse ride fun it is to Ohl What jingle jingle way. the all bells, Jinglebells, open sleighl Ohl What fun it is to ride in a one-horse 2 . A day or two ago, I thought I'd take a ride, And soonMissFannieBrightwas sittingby my side. was his lot. The horsewas leanand lank. misfortune got upsotl We we? got bank-and into a snowdrift He (Chorus) 3 . So now the moon is bright,enjoyit while you'reyoung. Inviteyour friendstonightto sing this sleighingsong. Justget a bob-tailednag and givehim extrafeed. Thenhitch him to an open sleigh-and cracklYou'lltakethe lead! (Chorus)
poeticform of over o'er........... Bobtail.... a nicknamefor a horsewith a short,or "bobbed"tail (18thcentury)form for the pasttenseof upset upsot........old-fashioned (to rhymewith got) na$........... horse 1857. published the wordsand musicfor this songin Boston, JohnS. Pierpont
63
12. LonesomeRoad
anonvmous old spiritual
Look
/.oun, A*"
looft
'7
t,
d-oatu
'7 n Lrm&J'
t/Lt
/on" A
some
z._-7
Toodt-be-fore l.
ln(tl
Llou Lr*v
el
orL.
fall, 2 . The sun is down, the shadows The day will soonbe gone. 3 . True love, true love,what have I done? That you should treat me so? 4 . Look down, look down that lonesomeroad I prayyou'll nevergo.
.P
Althoughthe originsof this melancholytune are unrecorded, it is believedto havederivedfrom an old spiritual, and is sung in that sryle.
64
T/t.r'
uu, on ol/-
m-a.,L name/D7
"/
/h"1
lrea
cn u'jo"n.
Frr''rt'Jon.
Finni$an 1. There was an old man namedMichael Who had somewhiskerson his chinnigan. He shaved them off, but they grew in a$ain. Finnigan. Poorold Michael 2. Therewas an old man namedMichaelFinnigan with a pinnigan. Who went off fishing He caughta fish,but it fell in again. Finnigan. Poorold Michael vL! 3. Therewas an old man named MichaelFinnigan Who had a wife calledMissusFinni$an. Shefirst grew fat, and then grew thin again. Finni$an. Poorold Missus
E-
tzz
4. Therewas an old man namedMichaelFinni$an Who had an old dog calledRin Tin Tinni$an. He threw it out, but the wind blew it in again. Poorold RinTin Tinnigan. Finni$an 5. There was an old man namedMichael Who caughta cold and couldn'tget well again. Thenhe died, and had to beginagain. Poorold MichaelFinni$an.
Origin unknown.
1 4 . My Bonnie
anonymous
ny
Eornielies over t h e o c e a n - y
G
ny Sonnielies orer
A
lle sea2
G
D,t
ocenttt
Arinj bnckt
to
G
66
)lL) I GTcJ
w,lL
m!
loz-jo
orL m/
kn".,
llnd I'm .r
rv
/1
t'c
see,
L-
0L,
JoL
cr!
for
Tze2
ror
(7
r^7 (-t
alll
m/ ]onjo
with my banjoon my knee, And I'm going ro Louisiana, my true love for to see. Chorus: Oh, Susannal Now don'tyou cry for me, For I come from Alabama, Wirh my banjoon my knee. 2 . Oh, it rainedall night the day I left, the weatherwas so dry. The sun so hot, I frozeto death. Susanna, don'tyou cryl (Chorus)
Foster Stephen composed thewordsand musicfor this songin Pittsburgh, Pennsylvania in 1848. lt pioneers becamethe "theme song"for weswvard-bound and "Forty-Niners" on the gold rush to California.
67
roll rgltll>2causeiodl
roll r4lrt
OL,iou
CLn
o?L rol/-er
skotes
>ca'use
gou-'L
LJJ
r"or/- ,1 q utut . X
CLorus
ain'l
gon:?La
grLeve
mj
/or/-'/to
?^-ore,
a-trt'L F
gorL- tua-
Bb
<9 /or/- no ^nr"l I
a.in't jon--ne
lrLeve
*g /.orl no
:rsw r5-"
5T--f:7,
4 TLeVe
-.,)
')Lq
J
/orl
no ,*r.!
66
tlo
1. Oh, you can't get to heaven(repeat)on roller skates(repeat), 'causeyou'd roll right by (repeat)thosepearly gates(repeat). Oh, you can'tget to heavenon roller skates 'cause you'd roll ri$ht by thosepearlygates. I ain't gonnagrievemy Lord no more. ain't gonnagrievemy Lord no morel I ain't gonnagrievemy Lord no morel I ain't gonnagrievemy Lord no morel in a rockin$chair (repeat), Oh, you can'tget to heaven(repeat) 'causea rocking chair (repeat) ' won't get you there (repeat) chair Oh,you can'tget to heavenin a rockin$ 'causea rockingchairwon't get you there. I ain't gonna$rievemy Lord no more. (Chorus) 3. Oh, you can't get to heaven(repeat)in a limousine (repeat), 'causethe Lord won't sell (repeaf)any $asoline(repeat)-, limousine Oh, you can'tget to heavenin a 'causethe Lordwon't sell any $asoline. I ain't gonnagrievemy Lord no morel (Chorus) in a motorcar(repeat), 4. Oh,you can'tget to heaven(repeat) 'causea motorcar (repeat) won't go that far (repeat). Oh,you can'tget to heavenin a motorcar 'causea motorcarwon't go that far. , I ain't gonnagrievemy Lord no more. (Chorus) 5. Now, if you get to heaven(repeat)before I do (repeat), just dig a hole (repeat)and pull me throu$h (repeat). If you get to heavenbeforeI do, just dig a hole and Pull me through. grievemy Lord no more. gonna I ain't (Chorus) this traditionalrefrainwould be: " AmericanEnglish, Note: In standard goingto make my Lord unhappyanymorel"
The melodyand the chorus Of unknownorigin, this lively folk tune has many versionsand variations. clearlyderivefrom an old spiritual.
Tu.9
tFl
= ,frrll I IE ,ou-
'a
+
an
69
#ea
C
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c D'. G
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on t/rr's for*
G
"/rr"kt,
E-L-E-T-0. ('/;dL*
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PAT ,lltfi
"r"-r,1-rlere
a- tLiek2cl.cft,
0ll
70
rrlv
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had a farm, E-l'E-l-O. 2 . Old MacDonald And on this farm he had someducks,E-l-E-l-O. With a quack,quackhere,and quack,quack there, a quack,quack, Herea quack,therea quack,everywhere had a farm, E-l-E-l-O. Old MacDonald
rl
H g
J sls,
3. Old MacDonald had a farm. E-l-E-l-O. And on this farm he had someturkeys,E-l-E-l-O. with a gobble,gobblehere,and a gobble,gobblethere, a gobble,gobble, Herea gobble,therea gobble,everywhere had a farm. E-l-E-l-O. Old MacDonald
T na
IFI
And on this farm he had somepi$s,E-l-E-l-O. With an oink,oink here,and an oink,oink there, an oink, oink, Herean oink, therean oink, everywhere E-l-E-l-O. farm, had a Old MacDonald had a farm, E-l-E-l-O. Old MacDonald And on this farm he had a cat, E-l-E-l-O. With a meow, meow here,and a meow,meow there, a meow,meow, Herea meow,therea meow,everywhere had a farm, E-l-E-l-O. Old MacDonald
La'
(For a more chatlenging version,add the animal sounds-lines 3 and 4-from yerse newyerse,cumulativety previoLts to the , beforeendingwith line 5. Add each other verses for other animals.)
. k nt) : =
Accordingto historians, this songmay havederivedfrom a songabout countrylife that appearedrn a comic operacalled"Wondersin the Sun',in London.1706.
Qe
7l
(;
/t
ln
rn
O -t n tor
ol
"ld
| m o - ltz \q1-at
J-
tl
cov-
"r .l
attL
Snoa ?
lost ?/z! t r u e
lov
c
for
i?L3 too tlo*.
"on"d-
with snow, On top of Old Smoky,all covered I lost my true loverfor courtingtoo slow. but partingis grief...and 2 . Now,courtingis pleasure, loveris worsethan a thief. A false-hearted whatyou save.'.but 3 . A thiefonly robsyou, and takes loverdrivesyou to the grave. A false-hearted
l.
you, and turn you to dust.'.for will decay 4 . Thegrave loverthat a poor girl can'ttrust. A false'hearted
mountain region,probablybrought to Americafrom Great An old folk songpopularin the Appalachian Britainin the early 1700s.
72
A6
N n , ' n t h ,' \ M ,
tl .' l,
Al
, n
please listento mel youngmaidens, So,listen, on a greenwillow tree. Don'thangyour affections wither, Thewillow'sleaves the willow'srootsdie. You'llsoonbe forsaken, and neverknow why. On top of Old Smoky, with snow, all covered I lost my true lover for courtingtoo slow.
ffi
73
LydiaMariaChild
)S^
l!l-
onl
tlroulL
LLe aools
GronLruotL-er's
ltonse ae Jo.
to
sroD'-
U.
VET
dhe riv-er
ortl
tlroyl
tte
,oo lt ,
c
,, I
r Lt /-oes b l o a ,G7
sttnas
J
tlLe
/ I
1-o s e n
v
on/.
Ltttt
tLe to"s
o-ler
tl"
ue lronn /io'
Day song'excepttnat sne Liftle is recordedabout Lydia Mariachild, the composerof this Thanksgiving wrotethe poemduringthe CivilWarperiod,in the 1860s'
74
1 l.
/ : =
Overthe river and throughthe woods housewe go. To Grandmother's The horseknows the waY To carrythe sleigh Throughthe white and drifted snow. Overthe river and throughthe woods, Oh, how the wind doesblowl It stingsthe nose And bitesthe toes As overthe groundwe go. 2 . Overthe river and throughthe woods, Trot fast,my dapPlegraYl Springoverthe ground Like a hunting hound, DaYI For this is Thanks$iving Overthe river and throu$hthe woods, faceI sPY. Now Grandmother's Hurrahfor the fun! Is the puddingdone? Hurrahfor the pumPkinPiel
75
Ue
L//Lu
mlss
t-
.t
(/our brijh.t
AL"o
qou
lot
loo
atll
tLol
l-o'
F
lrollterLe/ allr 7"/L,' ,u! a--rtli/e,
Comt anl
Fsb-E
d[eu2 Bb
"t
,1"/-
Et r
'a7
- eT'
Lnl-/"j)
qon so Lruu.
Somehistoriansbelievethis songoriginallyreferredto the Red Riverthat flowsinto LakeWinnipegin Manitoba, Canada, and was sungin the Canadian Northwest Territories duringthe Rebellion of 1869. Migratingto the westernpart of the UnitedStates, it becamea popularAmericancowboytune.
76
1. From this valleythey sayyou are going. We will missyour bri$hteyesand sweetsmile' Whenyou go, you will take all the sunshine our pathwayawhile. That hasbrightened
o.-
Comeand sit by my side,littledarlin'. Do not hastento bid me adieu, But rememberthe Red RiverValleY, And the one who has lovedVouso true.
aa'
2. In this valleythat now you are leaving, Oh, how lonely,how saditwill bel For so many fond heartswill be broken, tear dropsthat you'll neversee. Shedding (Chorus)
1rn r9.
77
l.
She'll be comin'roundthe mountain when shecomes, when shecomes. She'll be comin'roundthe mountain when shecomes. when shecomes. She'll be comin'roundthe mountain. She'll be comin'roundthe mountain. She'll be comin'roundthe mountain when shecomes. when shecomes.
{f
2 . She'll be drivin'sixwhite horses when shecomes, when shecomes. She'll be drivin'sixwhite horses when shecomes, when shecomes. She'll be drivin'sixwhitehorses, She'll be drivin'sixwhite horses, She'll be drivin'sixwhite horses when shecomes. when shecomes.
).
v
FT
#
#
Oh,we'llall go out to meether when shecomes, when shecomes. Oh,we'll all go out to meether when shecomes, when shecomes. Oh,we'llall go out to meether, Oh,we'llall go out to meether, Oh,we'll all go out to meet her when shecomes, whenshecomes.
Thisold melodyappeared as "Whenthe Chariot published Comes," in OIdPlantation Hymns,Bosron, 1899. It rvasadapted and popularized by railroad work gangsin the American Midwest duringthe 1890s.
7B
]he'll be com-tri
rouol
comes)
Slte'll
L.
cort-irt
rou-n/-
t/re
rtoun-La[rt
u/n*
s/te
pz
come'l ,
/\7
(alLeiL
Slte?||
slLe
be
*/re
co trtes)
moLLn-tor'rz,
9Le'll
notzn-h.inr Sle'll [e
+notcn-toin
Thenwe'll kill the old red rooster when shecomes. when shecomes. Thenwe'll kill the old red rooster when shecomes. when shecomes. Thenwe'll kill the old red rooster, Thenwe'll kill the old red rooster, Thenwe'll kill the old red rooster when shecomes. when shecomes. Andwe'll all havechickenand dumplings when shecomes, when shecomes, Andwe'llall havechicken and dumplings when shecomes, when shecomes. Andwe'll all havechickenand dumplings, Andwe'll all havechickenand dumplings, Andwe'll all havechickenand dumplings when shecomes. when shecomes.
13 I' ) ,Q
79
r]
il
Streets r'7
lt/
ol
L*-Te--d-o
('
o?Le
/."1 t 67
wra77e/" tn ulile
/cn-r*,
an/
co//
as
/Le
c/a1.
1. As I was out walking the streets of Laredo, Out walking the streets of Laredoone day, I sawa youngcowboyallwrappedin white linen, Allwrappedin white linen,and coldas rheclay. 2. "l seeby your outfit that you are a cowboy," He spokethesewords softlyas I passed him by. "Comesit down besideme, and hear my sadstory. I'm shotin the chest, and I know I must die
This "old Westerncowboysongfrom the bordertown of Laredo,Texas"is a variationof a much older English balladaboutthe deathand burialof a Britishsoldier. Somehistorians believe it may have originated in lrelandin 1790.
80
)d!'
ll
S _--ra
.t
The ladiesadoredmel 3 . Likeyou, I was handsome. But then I fell deep into troubleone day. I spentall my moneyon cardsand on whiskeyGotshot in the chest,now I'm dying today' send six young cowboysto carry my coffin, 4 . Please And six pretfymaidensto carrymy pall. rosesto lie on my coffin, Sendsweet-smelling For roseswill deadenthe clodsas they fall.
c.
Thenbeat the drum slowly,and play the fife lowly, And soundthe deathmarch as you bear me along. And down in the valley,pleaselay the earthon me' Oh, I'm a young cowboy,and I know IVe donewrongl" 6 , We beat the drum slowly,and playedthe fife lowly, I And bitterlywept as we bore him along. dashing. and We lovedthis ybung cowboy,so handsome We lovedthis young cowboy,althoughhe'd donewron$l
B1
gr
's L LJ" /tol", T/rur"
"o
tle
mtL/./e
of Ll"
sea-.
_;.|tr:;*,* 1. There's a hole in the middle of the sea,(repeat) There's a hole. *..l"ltlrD-*aaThere's a hole, \--1-There's a hole in the middle of the sea. _;_
*-}}$-.4
__
-AL
2. There's re'sa log log in the hole e in the middle le of o the sea,(repeat)
4\*
++'\.- -^ry
There's a log, There's a log, There's a log in the hole in the middle of the sea.
3 . There's a stump on the log in the hole in the middle of the sea,(repeat) a stump, There's There's a stump, There's a stump on the log in the hole in the middle of the sea. 4. There's a frog on the stump on the log in the hole in the middle of the sea, (repeat) There'sa frog, There's a frog, There's a frog on the stump on the log in the hole in the middleof the sea.
+-r--*
zf*.',^-
Originunknown.
82
G ai
a hump on the frog on the stump on the log 5 . There's in the hole in the middle of the sea,(repeat) There's a hump, There's a hump, There's a hump on the frog on the stump on the log in the hole in the middle of the sea.
--\,----\-e
.-1
.-\--
=t
+
,< l
4=-.'^\'4-.+.*
J J
4\+,
-_\.^
There's a fly on the hump on the frog on the stump on the log in the hole in the middle of the sea,(repel.t) There's a fly, There'sa fly, here'sa fly on the hump on the frog on the stump on the log in the hole in the middle of the sea.
.---
a lump on the fly on the hump on the frog 7. There's on the stump on the log in the hole in the middle of the sea,(repeat) There's a lump, There's a lump, There'sa lump on the fly on the hump on the frog\-:*" on the stump on the log in the hole in the middleof the sea.
4==5a.*
!-f
v ,2r..-a--
,n f\
4\-{1+'/-\../-t
&
There's a fleaon the lump on the fly on the hump on the frog on the stump on the log in the hole in the middle of the sea,(repeat) There's a flea, There's a flea, There's a fleaon the lump on the fly on the hump on the fro$ on the stump on the log in the holein the middleof the sea.
oie
ole
9. There's a bump on the fleaon the lump on the fly on the hump on the frog on the stump on the log =.=-:-. in the hole in the middle of the sea,(repeat) There's a bump, There'sa bump, \/+._^<^v There's a bump on the fleaon the lump on the fly on the hump on the frog on the stump on the log in the hole in the middle of the sea.
r-i--.--
-o_
4-l.3"\-r^r-'
"Z::+-;-
83
old Frenchmelodv
Rr,
Iolrn ? BroLlr",
[\orr.
inq *4
bells
&Te
rLnq JJ
LTzq >
are YousleePing' Areyou sleePing, Brother John? John,Brother Morningbellsare ringing,morningbellsare ringing' Ding,dong,ding.Ding,dong,ding.
first printed in Parisin 1811. This classicround has been translated of "Frere An adaptarion Jacques," around the world. into dozensof languages
87
2. The Clock
anonymous
1. Harkto the sound of the old woodenclock: T i c k l . . . . . . . . . . T o c k l . . . . . . . . . . . . . T i.c l ockl .k .T Cuck-ool... ..Cuck-ool Cuck-ool...Cuck-oo1....... . on91.....B B o n g l . . . . .B . ong!.... ...B . .o . .n . gl...... 2. It tells the time foreachminuteand hour: Tickl..........Tockl.............TicT k lo c k l -ool.. oo1..... Cuck-ool Cuck . Cuck-oo!.... ...Cuck.. o n 9 1 . . . ....B ..o . ngl...... B o n g ! . . .....8 . o n 9 1 . . . .......B
f;"1 qf
(ts
ol/
f irk
I T"ck
f'"K l
tc{
'.
lock I
LacK - oo I L-u.cKoo I
t.
t.
CucK-
oo I LqcK' oo I
l^tl
8""3 !
Boo3I
BoogI
Bongl
Originunknown.
88
3. Follow Me
anonvmous
Fol - lo,
me.
A, B,
Origin unknown.
eLs-j
a-s !on
se*l
ve-r1 bj,
Tn ltr"s
aa! 2
f,rst rt-y.&t
com * 7lete.
90
3
*1
T -l
(ln0.
neu)
{rinn/,s 7
Lnl E""y-t,Lu-"1d,
"LL
ytJ.
Make new friends,but keep the old; One is silver,and the other gold.
Origin unknown
91
0lr,
lro, lov.- 11
t/re eve -
"LLns,
cs
Drrr3, /.orr3t
-*]r"
-ifu
Dtry,
--\Jt-+:=-* -.--.?\
--*_*
.=>
Oh, how lovelyis the evening,is the evening, When the bellsare sweetlyringing,sweetlyringing. Ding,dong!Ding,donglDing,dongl
An adaptation of "EveningBells,"from an old Germantune "O. Wie Wohl Ist Mir Am Abend." I
t
d\--^'\-t'i
tt"
J 1/
.*--*{'&
"*{
*u
92
anonvmous
melody English
'
Don'{
"J
loo maTL'1
."-.-.
l.
p[ck - l"s
utLL
lro-^'
- er Aurq .)
Don't
*III
"ot
too ?tLerl-cl
ay'y/e Tiet
a7-7le t 7ie
ar-plepLe.ordP)P I
J. I I
93
I I . Don't eat too many pickleswith hamburgersandwiches, Don't eat too manv pickles, or elseyou will POPI
(ln this three-partsong,eachgroup takesone part and sings only that part. The threegroups all begin together,and end togetheron theword POPI)
*;
94
Rose!Rose!
anonymous melody old English
Rosel Rosel Rose! Rosel Will I ever seeyou bloom? m e bloom , Yesl Youwillsee I f . . . . . . . ..v . o u. . . .... w i l.l . .'.' .w a i t . .I
ev-er
tcll
s e e goniloo^?
Y"rl
Yonwill
fi
ou
wi ll
wolt.
95
8. RowYour Boat
anonymous
R. Sinclair
Ro, , roa )
*$
Toa
4our booty
I/
tt
stream,
Row, row, row your boat, Gentlydown the stream. Merrily,merrily, merrily,merrily, Life is but a dream.
_--==2-
-------=-_
Thoughtto havederivedfrom Americanminstrel music, the words and melodywere copyrighred by R. Sinclair in Newyork, t 88l .
96
9. Scotland'sBurning
JT
anonvmous
fl
Look o*t I
l-cre I J'cre I
f.
F.
l-ore I f cre I
p.
v-
four
ozt u)a-'l"r I
burningl burningl Scotland's Scotland's Look outl Look outl FirelFirelFirelFirel Pouron waterl Pouron waterl
97
10. Starlight,Starbright
Harry B..Smith
VictorHerbert
Star - l4Lt,
wLrL/ may tI
wi,L I nllt
\\ l\\
ght, starbright, Starli Firststar IVe seentonight. I wish I may, I wish I mi$ht Havethe wish I wish tonight. Starlightl
Arfi
--
One source atffibutes the words to Harrv B. Smith and the mtlsic to Victor Herbert, as published in I 895.
98
anonvmous
.es'
tl" /nn- k"y
oL lle, br"nK LLrt Ls
tt
*t
"L"4 L.'ll
naa t
tt
ll ee
tt
ltad I
H ee
tt
hau I
H e e h a o tI
tt
tl
singsthe donkey,at the breakof day. Sweetly you If do not feedhim, this is what he'll say: "Heehawl Heehawl Heehawl Heehaw! Heehaw!"
Origin unknown
99
lnu tl-e1
'1F
see ltoudl"j ron. T/r.1 *// rar of-/nrll" Fa-rm'er'swife; sl'e
ffi
#
f't\ <er
\Af1
@ 'in
-{
<
,@^rt*?
(or theSecond Part ofl indicaterhar the words and music were first publishedin Deuteramelia Sources MusicksMelodiein London.1609.
100
stolk;
Ltl-i",
u*lk'
3
i
_WWgM
t- 4C."_- oa>e saga>futW-rA1*J 6b
White coralbells,upon a slenderstalk; Liliesof the valleygracemy $ardenwalk' Oh, don'tyou wish that you could hearthem ring? Thatwill happenonly when the fairiessing.
Origin unknown
101
bw&&ffiwffis
t03
1. Brahms' Lullaby
FritzSimrock Brahms Johannes
LtLll - & r7 \t
L1
*l
jool--nt1Lt, tl"y
Lt ros
J"-
lclltx ; Lrt a
/,1-t/"
F.
\-:r'
a'f
l/ De&.
nL41
1o&7'
I
5/u7tL- l"r
a
L^
.^7
ll"ru"J.
Lullabyand goodnight,sleepin roses'deli$ht. be spread'roundyour wee little bed. Let their sweetness Goto sleepnow and resi, may your slumberbe blessed. Goto sleepnow and rest,rnayyour slumberbe blessed.
FritzSimrockwrote the lyricsto accompany published in Berlinin 1868. Brahms' composition, (Thetraditionaltranslation of the lyrics is slightly in thisversion.) adapted
105
2. Golden Slumbers
anonvmous
smt les
a- woLt
!o'L
Am
ulzeru !o,/ T t s e ,
tt
not .ry
ooJ
nnL
I wt.ll
sLrtq
J
a- l"ll-o
Am
I . Dt'l I
/nl/Cl
"
6u^
L"ll L-utt
o-1,
Goldenslumberskissyour eyes; Smilesawaityou when you rise. Sleep,prettylovedone;do not cry And I will singa lullaby. Lullaby,lullaby,lullaby.
England Of unknownorigin, some sources believethat this melody datesback to 17th-century
106
3.
*unonu*ou,
DT
IJOOCItf
ntjLt Lo 30*
D
a-ll 7
t @"J
D
Gool
a.TLtt
1et5
a - routtJ
pr
nLl/t-tt
SooJ nijLt1
3oo/-r3lL2
3"o/- rryLt'
Goodnight to you all, and sweetbe your sleep. May angelsaroundyou their silentwatch keep' Goodnigfrt,good night,good ni$ht,good night.
107
4.
anonvmous
d-on't
o uu I
cr! t
!oo
a- /*ll * &
l. Hush,litrlebaby,don'tyou cry; Mama'sgoing to singyou a lullaby. 2. Hush,littlebaby,don'tsaya goingto buy you a mockingbird. Papa's A 'g/ 3. If rharmockingbird won,tsing, papa's goingtJ nuy you a golien ring. 4. If that gold ring turns to brass, Papa's goingto buy you a lookingglass. If that glassbeginsro crack, goingto buy you a jumping jack. Papa's 6. If rharjumpingjack is broke, goingto buy you a velvetcloak. Papa's If that velvetcloth is coarse, going to puy you a rockinghorse. Papa's 8. If that rockinghorsewon'r rock, going to buy you a cuckooclock. Papa's If that cuckooclockwon't tick, going ro buy you a walking stick. Papa's 10. If rharwalkingstickfallsdown, You'llstill be the sweetest little babv in rownl
This lullaby,which probablycame from England,has many versions and is especially well-knownin the Appalachian mountainregion.
108
5.
anonymous * Y-r tNtF \]' \t .a
Roclca-Bye,Baby
EffieL Crockett
-4t- &W'F
J'
Ro"kA*7
a,'bleT
II
Pa/
l.'7 u
l,t .
OlL
ULrn
L'
tLe
cro - //"
ai//
,o"k.
a v
and
l q . , cra- - l/e
nol
"//.
babY,on the tree top. Rock-a-bYe, When the wind blows,the cradlewill rock' When the boughbreaks,the cradlewill fall' And down will come baby,cradle,and all'
Melody'publishedby John Baby"in Mother Goase's This lullaby first appearedin print as "Hush-a-bye, l. crockettin Boston,1872. Effie music was composedby Newburyin London,1765.The accompanying
109
6.
anonymous
Sleep,Baby, Sleep
old Germanmelodv
F
bo - \,
sl"u7.
G'o
sL".7.
GrL
*tn-/s o /""n*
51""y,
bu- ll , t/"uy.
Sleep, baby,sleep. Your fathertendsthe sheep. Your mothershakesthe dreamlandtree. And findsa dream for you and me. Sleep, baby,sleep.
110
7.
Alfred,Lord Tennyson
Vd,Lm.
t.
L,
5 weef,
L'
A-fLdr
lodT Cl;n
SAeeb
ol
gtc
Sea -l-oa7
5ea -
0- rer tl.
Co^"
h,;r"7;;t
l t
i
I i
l
,
?noort .-onL
l/oa
to nze -
I )
,
t t
D
r I
mj 7re/-/1 oTLe,/n"yr.
2. Sleepand rest,sleepand rest, Father will come to thee soon. Rest,rest,on Mother's breast, Father will come to thee soon. Father will come to his babe in the nest, Sil-versailsall out of the west. Underthe silvermoon, my littleone, Sleep, sleepmy prettyone,sleep.
This poem,written by Lord Tennyson, appearedinThe Princess in London,1850. JosephBarnbyset the words to music in Londonin 1863
111
ffippffits[x
115
FORUSINGSONGS RATIONALE you alreadyknowwhat an important" teacher, If you are an experienced contributionmusic and singingcan make to ihe foreignlanguage.learnin$ for many textbooks in foreignlangua$e are regulart! irictuOed Songs process. reasons: "-;to lesson aaOvarieryand enjoymentto the language .to changethe paceoi the lesson practice .to providelisteningcomprehension patterns .to reinforcelearnedlan$uage .ro enrichculruralundeitandiirg and providenew insi$hts .to motivatethe learnerwith a feelingof achievement helpsbring appeal.sin-ging will a$reethat music has a universal Everyone and happyatmosphere a harmonious and c,reates tf," Jing*rsclosi together, learningcan flourish' in which lan$uage THE SONGS AND PREPARING SELECTING to the a$eand levelof your students' your songsnot only according Choose purpJse,changeof pace,grammarpractice, toifre classroom Uui ucc,irOing etc' of vocabulary' use of idioms in context,reinforcement the amountof time you haveto spendon the song'and how long Calculate will take' the introductionand practice the songat home. If you are not a "born singer"or musician,choose Practice the singing' one of your sudlnts witha good,strongvoiceto help you lead of the music.) (Or look for a recording of the words and the generalmeaningof .the Checkon rhe pronunciation io*. wonderfulsongsaren'ttotallycomprehensible-they lines.Remember, to enjoythe wordsor sytlibles.It is still possible may havesome nonsense thou$hyou don't undersnnd everyword' rotig "u.n THE SONGS PRESENTING Va ryth e Wa yyo u i n tro duceyour song,intheSaTgwaythatyoutr ydi ffer enr the purposeof the Consider *iyr of intr6ducingnew t"uOingpasiages. your mood' students'interest' the type of iraterial, thetiass le-vel, lesson, lesson' alwayshelpsto spiceup the and so on. V"ariety
t17
for introducingnew songs.(lf you The followingsuggestions are techniques skip this sectionand go in reviewing old familiar songs, are more interested Language Practice.) on to General 1. What Can You Guessfrom the Title? From the Key Words? Write the title on the board.Seewhat the studentscan guessabout the meaningand the contextof the song. Read(or write out on the board,or dictate) the key words, and seewhat the students can guessfrom thesewords. Havethe studentswrite them down and study them for activemastery,or for passive readingvocabulary. 2. Vanishing Lines Write the linesof the songon the board (oneverseat a time) and practice with the students, line by line or phraseby phrase.Firsterasethe lastword of the line, and havethe studentsrepeatthe whole line. Thenerasethe first words of the line, and so on. Havethe studentsrepeatbeforeand after you erase,until you haveerasedall the words of all the lines,and the students can repeatthe whole song(or verse)from memory. 3. Sharing the Verses If the songis long and ratherdifficult,work on one verseat a time, and introduceonly one verseduring a lesson. If the songis long but easy,divide the classinto groups,and assignone verse to eachgroup.Eachgroup canwork on its own verse,and then sing it in turn to the others. If the songis both long and difficult,and it hasa chorus,let the students practiceonly the chorusat first.You can sing or play the verses, and the class join will want in singingthe chorusaftereachverse.Later,the students can to learnall the versesif they like the song. Again,depending on whetherthe melodyis easyor difficult,you may want to work on just the melodyand rhythm first,and ask the studentsto simply hum alongwith you. Gradually, they can fit the words to the music and sing you. alongwith
118
4.
Backward BuilduP
Ifthephrasesarelonganddifficult,trybe$inningwith.thelastwordor addinganother.wo.rd. gr the siudentslistenana iepelt. t<eep ;h;#:*f,if" (without easily line whole the repeat can students phraseeachtime, until the the music). it's ? gooAidea.tomark and intonationconsistent, In order to keep the stress buildup' the word anOsentenceit."rr"t beforeyou begin the backward Example: "MichaelFinni$an" (page6fl Teacher: Students: Teacher: Students: Teacher: Students: Teacher: Students: Teacher: Students: Teacher: Students: Teacher: Students: Teacher: Students: 5. Creatin$ a Story for a new songis techniquethat'sgoodpreparation Another"tried'and-true" and dictate order' up in iandom mix the-m a numbeioi t word's, to choose differentset gets a "y willwork in groups.Eachgroup who them to the students, of six to eight keYwords.
Finni$an. Finni$an. Michael Finni$an. Michael Finni$an. named Michael Finni$an' named Michael Finni$an' man named Michael Finni$an' man named Michael Finni$an' old man named Michael Finni$an' old man named Michael Finni$an' an old man named Michael Finni$an' an old man named Michael Finni$an' was an old man named Michael Finni$an' was an old man named Michael Finni$an'
Therewas an old man named Michael Finni$an' Therewas an old man named Michael Finnigan'
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a storyout of their words,usin$them in any order they Eachgroup creates wish. The other groupsmust guesswhat the key words are. Later,as a follow-upactivity,when you introducethe song,the studentscan rheir key words in the order in which they actuallyhear listenand rearrange them in the song. COMPREHENSION LISTENING PRACTICING are one of the bestwaysof stimulatinglisteningcomprehension Songs from musicalteachers are techniques prac-tice. The followingsuggestions practice. who enjoyusing songsfor language 1. Listening and Writin$ times,while the students(workingin pairsor Singor play the songseverai on the groirps;'write downls many of the words as they can.Depending at least until times, time, you may want to play or sing the songa number of all the words. transcribed one pairlgrouphas successfully can to readtheir lines,then play the songagainso everyone Ask the srudents checktheir words. students, This techniqueis suitablefor introducinga songto more advanced or as a reviewof a songintroducedin a previouslesson. 2. Filling in the Blanks try writing the words on the board,leavingout certain To inffoducea Song, key words or rhymingwords,or dictatethe linesand indicatethe bianks. Workingin pairs,the studentslistenand fill in the blankswith words they think may be approPriate. Readthe songagainso the studentscan checktheir worK' Exarnple: "On Top of Old Smoky" (page72) with snow, all covered 1. On top of OId Smoky, I lost my 11us-fer courting too-. grief, [u1-is 2. Now,courtingis pleasure, And a false-hearfscl-i5 worse 1ft3na--. you save, and-------what 3. A thief only-you, But a false-hearted--drives Vou 1ethg-.
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4. The gravewill decayyou, and turn you to dust, For a false-hsaftscl-that a poor girl can't-. 5. So,listen,young maidens,pleaselistento rnel on a greenwillow-. Don'thangyour affections wither, the willow'srootsdie. 6. Thewillow'sleaves and neverkns\ /--. You'llsoonbe forsaken with snow, 7. On top of Old Smoky,all covered I lost my 11us-fer courting too-_, Rqt Words in random order; grave robs lover (5x) takes tree 3. Numbering the Key Words Parting thief slow (2x) why trust
to exercise This techniquemay be usedas a listeningcomprehension review to a or introducethe words of a songbeforeintroducin$the melody, havealreadypracticed. songthat the students First,write the key words on the board in randomorder,or dictatethem in randomorder.Ask the studentsif they can guessthe meaningof the words in the meaningof the words. the contextof the song.Discuss Thensingor play the songwhile the studentslistenand number the words in the order they hear them. (Thisis can checktheir answers. Singor play the songagain,so the students good pair practicetechniquefor any son$.) Example: "Over the Riverand through the Woods" (page74) f. sleigh a. dapplegray g. spring b. drifted snow c. huntinghound h. spy i. sting d. Hurrahl j. pie trot pumpkin e. (Answers: l-f, 2-b,5-i,4-i, 5-a,6-!,7-c, 8-h,9-d,10-e)
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Mostsongs,like poems,havebuilt-in rhymesat the end of eachline, or in you can try this on the levelof your students, someregularorder.Depending with any songthat has rhyming lines. exercise the must listenas you read/sing/play Workingin pairsor groups,the students song.Their task is to identifythe pairsof rhymingwords. Afterthe groupshavecheckedtheir work and made sure the spellingis correct,they should try to find as many words as possiblethat have the same This activitymay be carriedout like a game,to seewhose rhyming sounds. is the longest. Theword listsshouldbe readaloud,so words list of rhyming that all groupscan checktheir lists. Exarnple: "Homeon the Range" (page58) (comb,dome,foam) home-roam (bird,Kurd,purred,third) heard-word (bay,clay,lay,may,pay,pray,ray,say,stay,way,wei$h) play-day PRACTICE LANGUAGE GENERAL Remember, you can change your presentationtechnique depending on neWold. Now here are some easy/difficult, whether the song is shorVlong, to add more varieryto your songsessions. additionalsuggestions 1. Alternating the Lines One simpleway to practicea new songor reviewan old one is to assignlines For example,ask GroupA to sing to differentgroupsor rowsof students. "odd" lines),and GroupB to sing lines2, 4, 6, 8 (the lines 1, 3, 5, and7 (the "even"lines). Or you can try somechoralreadinggroup ?rran$mfltS: .Row A / Row B / Row C, and so on .Girls/ Boys .HighVoices / LowVoices .Teacher (simplerepetition) / Students .Teacher sing chorus. / Students singsverses .Solostudentsingsverse/ Classsingschorus(Students take turns). .Teacher to continuethe song. beginssong,pointsto differentstudents
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2. Unscramblin$ the Lines you alreadyknow the "Strip Story"technique:* Perhaps or shortnarrative. .delectan inteiestinganecdote .Writeout the linesdn individualstripsof paper(or write them out' into separatestrips)' then cut the sentences .Giveone strip (onesentence) to eachstudent/ pair / $roup' .Allow the studenFone minute to memorizetheir line' (Do not allow them to write it down.) .Ask the studentsto workwith the othersin their group to decidethe order of the story. which line is the The discussionthat takesplace:which line is the beginning? language end.?What are the transition clues?etc., is excellent interactive own in their discuss to students allow their (Someteachers piu.ti." in English. in English') iunguug",but-toreporttheir conclusions and othersong! that tella story' This techniqueshouldworkwell with ballads, of the lines' and When the student, huu" worked out the correct order singin$ thlV can.practice the cluesthat led them to this conclusion, discussed to students (if Uotfrthe words and the melody are unfamiliar, ask the rh;;;i. trying out the listen to the melody severaltimes, humming along, before words.) pattern and/or tell a Any repetitivesong that follows a recognizable Examples: story,suchas the followin$: "Clementine" "On ToPof Old SmokY" "She'llbe Comin'Roundthe Mountain" "The Ants Go Marching" "TheFarmerin the Dell" "The GreenGrassGrowsAll Around" "The Streetsof Laredo" "There's a Holein the Middleof the Sea"
*bv RobertE. Gibsonin TESOL vol' 9' No' 2,June 1975 Quarterly,
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Changing the Mood games,they may also enjoycompetingin group language If your students group enjoyseeing can do the following: which .singthe ciearest .sing the fastest .singthe sweetest .sing the softest (Thisis anotherway to reviewold songsand reinforcelearnedpatternsand vocabulary.) Lining This techniqueis a traditionalcallingout of the linesof a spiritualor other group folk song.The leader(or in this case,the teacher) chantsone line or phraseat a time, and waits for the audienceto sing the line, like a musical echo.Lining is especially effective with group songsthat havesimple melodiesand predictable rhyme schemes. It is an easyway to introduce and to reviewthem. songs, Picture Cues For repetitious typesof songsthat are basedon simple substitutions, try making picturecardsthat illustratethe key ideaor word in eachline. The children's"Alphabet Song,"for instanee, and reinforced can be enlivened with cue cards. Oneway to do this is to make a card for eachletterof the alphabetand hand them out to the children,afterthey havepracticedthe songin a group.Each child, followingthe melody,singsthe letteron his/hercardwithout breaking the rhythm. A specialtype of picturecues,calledrebuses, can substitute for the key words.Thesehelpjog the memory and are often usedin picturepuzzles. "Red River Valley" Qage 76 ) Exampleof rebuses.'
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Simple PercussionInstruments for very young children,ask them to bring To add a livelynote,especially simple itemsirom home,or make theseeasy"musicalinstruments"(which are not very noisy)in the classroom: .smallbells .triangles(from piecesof metal suspended on a string) .shakers (smalljarsor boxesfilledwith beans/pebblesletc.) .rattles(driedgourd/squash/other filledwith its seeds) vegetable Theycan keep or the conductor. The childrencan take turns being musicians "instruments," to help the the tempo,or mark the beat of the musicwith their singers.
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BrgrtocRApHrcRernRENcEs Botkin,Benjamin Albert American Play-Party song, The: with a collection of oklahoma Texts and Tunes. University of Nebraska, 1937. Emrich.Duncan Folklore of the American Land Little,Brown,1972. Enrich,Marianand George Korson The Child's Book of Folklore D i a lPr e ss, 1947. Fuld, James J. American Popular Music: 1875-1950 Musical Americana, 1955. FuldJ , a me s J. Book of World-Famous Music: Classical,Popular and Folk DoverPublications, 1985. Lomax,JohnA. and Alan Lomax American Ballads and Folk Songs (1 1 thp ri n ti n g ) . M a c m i l la n1 , 951
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Aoorrroner Rrrcunces
Byrd,DonaldR.H.and LaurieWellman Hard to Learn That English-As-A-second-Lan$ua$eBlues 197 5. International. Collier-Macmillan Graham, Carolyn JazzChants Oxford,1979. Graham, Carolyn Small Talk: More JazzChants Oxford. 1986. Graham, Carolyn The Carolyn Graham Turn-of-the-Century Songbook Regents, 1982. Millie Grenough, English: Sing It! McGraw-Hill, 1976. AliceandJean McConochie Osman, If You Feel Like Singing 1979. Longman, Schneider, Bob Sharing a Song Addison-Wesley, 1986. Wellman,Laurieand DonaldR.H.Byrd ESLExpress Internation Collier-Macmillan al. 197 5.
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