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
ilcmp.org
[email protected] - [email protected] - IMEC - Friday 1/30/15 - 8:30am - RCC Sanctuary
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Paulette Boddy
Metea Valley High School – HS/MS Choir
[email protected]
Jeremy Little
Vernon Hills High School – HS Choir
[email protected]
Rob Buckley
Rotolo Middle School – MS Band
[email protected]
Ray Ostwald
York High School – HS Orchestra
[email protected]
Josh Chodoroff
Highland Park High School – HS Band
[email protected]
Bill Rank
Oak Prairie Junior High School – MS BAND
[email protected]
Mary Lynn Doherty
Northern Illinois University – College/University
[email protected]
Mona Roy
Dundee Middle School – MS Choir
[email protected]
Judy Meyer Hays
Armstrong School – Elementary/General Music
[email protected]
Melissa Schoonover
Washington Junior High School – MS Orchestra
[email protected]
Rick Jaeschke
Augustana College – College/University
[email protected]
Matt Temple
New Trier High School – HS Band
[email protected]
Andy Jeffrey
Glenbard West High School
[email protected]
Beth Wood
Carpentersville Middle School – MS Orchestra
[email protected]
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 ask us not to judge by first
impressions, but rather to assume its
meaning is not readily apparent?
Does it require active rather than passive
listening? Is listening a dynamic experience?
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
o
o
o
o
What are hallmarks of great music?
Having one isn’t enough...must have many, but not necessarily all
It’s quite difficult to come up with simple words (no guarantee, but it’s a start)
“Ah, Poor Bird” – How does it stand against the preceding criteria?
Does this composition “say” something important? Would spending time with this allow significant
opportunities for growth and reflection for my students?
“The only reason for taking a poem apart is that it may then be put together again more richly.” – John Ciardi
 What Makes it Cliché?
o
o
o
Sometimes it’s helpful to identify something by what it is not
e.g. Latin text over pop-song chords
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
o
o
o
o
University methods class? Graduate school?
Did you just assume the music that “Mr. So-and-So” or “Dr. Amazing” chose was good?
Have you spent any time thinking about the merits of a piece (devoid of their educational outcomes)
Nature of debate in today’s culture: 24 hour cable “talking heads” vs. intellectual discourse on merits
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, multicultural?
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 What is a piece of music?
o a puzzle
o a to-do list
o a mathematical equation
o _________________________________________________________________________________________
o _________________________________________________________________________________________
Doesn’t seem practical to philosophize? It may be the most practical thing we can stop and do.
What role does music play in the lives of our students...
 Outside the classroom?
o
o
o
Entertainment (almost always a visual component as well)
Relaxation, de-stressor
Something to be traded/acquired, something to wear/identify with = to be consumed
 Inside the classroom?
o
o
o
o
o
Do we offer an alternate view of what music is (or has been, or can be)?
Is what we’re offering worthy of “study”?
Is the music we choose to perform historically, culturally, intellectually significant?
Are we more of a club/activity than an academic course (on par with the ‘core’ classes)?
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?
“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
o
o
o
How do I move from “is this great for my students?” toward “is this great?”
What criteria do I use for selecting music for my students?
What “voices” influence my choices?
 Publishing catalogues - “It sounds a lot harder than it is” - as if that’s a value?!?
“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:
I hope my students will find that selffulfillment 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.
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 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
o
o
o
‘performability’
Overcoming the “we like what we know” student mindset; trying to broaden what they know
Master/Apprentice relationship - hang with colleagues who think like this
So many choices! – we have to get better at distinguishing between “crafted” & “consumed”
 Some of our personal thoughts
o
o
o
o
o
Does this “old” music still connect with kids? Wrong question.
 Does this music resonate with people?
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.
Children will initially take the easy path, but are often times thankful for the “harder path” afterward
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!
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
o
o
things (area #1, area #2, & student), can take many forms, etc.
High Quality Music = concrete
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
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
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)
Teaching “The Classics” in Schools
The Anatomy of a Melody:
Exploring the Single Line of Song
(Alice Parker)
Canons:
IMSLP
Beyond “Row, Row, Row Your
Boat”
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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
Santa Barbara Music Publishing, SBMP 442
Appalachian folk song
SSA & Piano
2. arr. Donald Patriquin: Ah! Si Mon Moine Voulait Danser
earthsongs, W-07c
Folk song from Quebec
SSA & Piano
3. arr. Donald Patriquin: Savory, Sage, Rosemary, & Thyme
earthsongs, W-07f
British Columbia via England
SSA & Piano
4. Ralph Vaughan Williams: Linden Lea
arr. Julius Harris, Boosey & Hawkes, No. 219
(W. Barnes) English folk song
SSA a cappella
5. arr. Cyndee Giebler: The Tailor of Gloucester
Colla Voce, 21-20545
English folk song
Two-part & piano
6. arr. Mary Goetze: Old Joe Clark
Hal Leonard, 48003695
American Mountain ballad
SSA a cappella
7. arr. Betty Bertaux: I'll Give My Love an Apple
Boosey & Hawkes, OC3B6370
English folk song
Three-part equal voices
8. arr. Ralph Vaughan Williams: Alister McAlpine’s Lament
J. Curwen & Sons, JC60997
(Robert Allan) Scottish folk song
SATB a cappella
9. arr. Stephen Leek: South Australia
Morton Music, MM0403
Australian folk song
SATB & Piano (or a cappella)
10. arr. Joseph Flummerfelt: Danny Boy
Hinshaw Music, HPC-7077
(Frederick Wetherby) Irish folk song
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
Alfred Publishing, LG51452
Irish folk song
SATB a cappella
13. arr. Mark Hayes: Home on the Range
Hinshaw Music Co, HMC-1118
Folk song from American West
SATB div. a cappella
14. arr. James Erb: Shenandoah
Alfred Publishing, LG51846
American folk song
SATB div. a cappella
15. arr. Jon Washburn: Tell My Ma
Walton Music Corp, 08501572
Irish folk song
SATB a cappella
16. arr. Harry Somers: Feller from Fortune
Gordon V. Thompson Music, VEI 1008
Newfoundland folk song
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
earthsongs, S-132a
British Antiphon and Carol
Unison & SSA a cappella
4. Ther Is No Rose of Swych Vertu
earthsongs, S-132b
15th C. British Carol
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
Concordia Publishing, 98-1027
(Luke 18: 41-43)
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
IMSLP
(text from the ‘Credo’)
SSAATTBB a cappella
14. Ludovico da Viadana: Exultate Justi in Domino
CPDL
SATB a cappella
Authentic World-Music
Arrangements
1. arr. Joan Gregoryk: Kalinka
Boosey & Hawkes, M-051-4785-3
(Russia)
SSA a cappella
2. arr. Nick Page: Niska Banja
Boosey & Hawkes, M-051-46517-0
(Yugoslavia)
4 part treble voices
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3. arr. Debbie Cavalier: Somagwaza
Carl Fisher, CM8620
(South Africa)
3 equal voices
4. arr. Ro Ogura: Hotaru Koi
Theodore Presser, 312-41520
(Japan)
SSA a cappella
5. arr. Jakob Jež: Igraj Kolce
earthsongs, S-208
(Slovenia)
SSA a cappella
6. Astor Piazolla: Libertango
arr. Oscar Escalada, Neil Kjos Music Co., 6353
(Argentina)
SSA a cappella
7. arr. Flory Jagoda: Ocho Kanelikas
Hal Leonard, 48020748
(Bosnia)
Unison & Piano
8. arr. Chen Yi: Fengyang Song
Theodore Presser, 312-41731
(China)
SATB a cappella
9. arr. Stephen Hatfield: The Virgin Mary Had a Baby Boy
Hal Leonard, 48004659
(Trinidad)
SSAA a cappella
10. arr. Mark Sirett: Ma come bali bene bela bimba
Hal Leonard, 48019930
(Italy)
SA & Piano
11. Edvard Grieg: The Death of Aase from “Peer Gynt Suite”
arr. Hellerstedt, CDPL
(Norway)
SSATB a cappella
12. Max Janowski: Avinu Malkeinu
Transcontinental 986203
SSAATTBB a cappella
Compositions
13. Zoltán Kodály: Egyetem Begyetem
Editio Musica Budapest, 50511020
(Hungary)
SSA a cappella
14. Petar Liondev: Ergen Deda
Vox Bulgarica
(Bulgaria)
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
earthsongs, W-28
(Ireland)
SSA a cappella
17. Ernani Aguiar: Salmo 150
earthsongs, S-40
(Psalm 150) (Brazil)
SATB a cappella
18. Victor Paranjoti: Dravidian Dithyramb
earthsongs, S-42
(India)
SATB a cappella
19. Arvo Pärt: Bogoroditse Devo
Universal Edition, UE 30414
(Estonia)
SATB a cappella
20. Stephen Leek: Ngana
Morton Music, MM 0405
(Australia)
SATB a cappella
21. Alberto Grau: Kasar Mie La Gaji
earthsongs, S-43
(Venezuela)
SATB a cappella
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22. C.A. Pinto Fonseca: Muié Rendéra
earthsongs, S-76
(Brazil)
SATB a cappella
23. Otmar Macha: Hoj, Hura hoj!
Alliance Publications, AP-1134
(Czech)
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
CPDL
(Psalm 113:1-2)
SSA & Piano
8. Gabriel Fauré: Tantum Ergo
IMSLP
(St. Thomas Aquinas)
SSA & Organ (Piano)
9. J.S. Bach: Ershallet, ihr Lieder (BWV 172)
IMSLP
(Salomon Franck)
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”
IMSLP (p. 58)
(W.S. Gilbert)
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
Colla Voce Music, 36-20108
(e.e. cummings)
SATB div. & Piano
4. Claudio Monteverdi: Beatus Vir
CPDL
(Psalm 112)
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
arr. Henry Leck, Hal Leonard, 08743511
(Neapolitan folk song)
TB & Piano
3. arr. Mark Sirett: Carrickfergus
Hal Leonard, 48019311
(Irish ballad)
TBB & Piano
4. P.D.Q. Bach (Peter Schickele): The Art of the Ground Round
Theodore Presser, 312-41055
Three Baritones & Discontinuo ;)
15
5. Walter Kittredge: Tenting on the Old Campground
arr. Leonard Van Camp, Mark Foster Music, MF1055
(Civil War “melancholy” song)
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’
G. Schirmer, 10159
(African-American Spiritual)
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
Shawnee Press, 35013169
(Scottish folk song)
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
G. Schirmer, 50303310
(e.e. cummings)
TB & Piano
17. Franz Schubert: Die Erlkönig
IMSLP (transposed for lower voice)
(Goethe)
Unison voices & Piano
Duets for Choir
1. Robert Schumann: Herbstlied (Autumn Song)
IMSLP
(Malhmann)
SA & piano
2. Gaetano Donizetti: Servant’s Chorus from “Don Pasquale”
Boosey & Hawkes, 48019951
(Ruggini & Donizetti)
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
16
4. J.S. Bach: Ich jauchze, ich lache mit Schall
Boosey & Hawkes, MO51464548
Cantata BWV 15
SA & Piano
5. J.S. Bach: Wir eilen mit schwachen, doch emsigen Schritten
IMSLP (p. 15-23)
Cantata BWV 78
SA & Piano
6. J.S. Bach: Herr, du Siehst statt guter Verke
IMSLP (p. 27-34)
Cantata BWV 9
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
IMSLP (p.24-30)
Gloria in D Major, RV 589
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
IMSLP (p. 5-10)
(G.F. Daumer)
SATB & Piano
3. Johannes Brahms: O Süsser mai
IMSLP (p.7)
(L.A. von Arnim)
SATB a cappella
4. Johannes Brahms: Der englishe jäger
IMSLP (p.16-17)
from WoO 34
SATB a cappella
5. Johannes Brahms: The May Night (Die Mainacht)
arr. Frackenpohl, Hal Leonard, HL00007777
(L.Holty/R.Griffith)
SATB & Piano
6. Felix Mendelssohn: Lerchengesang (Song of the Lark)
National Music Publishers, NMP168
Op. 48, no. 4
SATB a cappella
7. Arthur Sullivan: The Long Day Closes
Novello, NOV 160046
(Henry F. Chorley)
SATB a cappella
8. Ralph Vaughan Williams: Love is a Sickness
Theodore Presser, 392-03022
(Samuel Daniel)
SATB a cappella
9. Ralph Vaughan Williams: Wassail
IMSLP
SATB a cappella
10. Ralph Vaughan Williams: Linden Lea
arr. Arthur Sommerville, CPDL
(William Barnes)
SATB a cappella
17
11. Edward Elgar: The Snow
IMSLP
(Caroline Alice Elgar)
SSA, 2 violins, & piano
12. Edward Elgar: As Torrents in Summer
IMSLP
(Henry Wadsworth Longfellow)
SATB a cappella
13. Gerald Finzi: “Seven Poems of Robert Bridges”
especially:
I Praise the Tender Flower
I Have Loved Flowers that Fade
My Spirit Sang All Day
Boosey & Hawkes, M060101670
(Robert Bridges)
SATB a cappella
SAT a cappella
SATB a cappella
14. Francis Poulenc: Petites Voix
The Good Little Girl (La Petite Fille Sage)
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
(Madeleine Ley)
SSA a cappella
15. Paul Hindemith: Six Chansons
especially:
1. La Biche
2. Un Cygne
IMSLP
(Rainer Maria Rilke)
SATB a cappella
Unison Art Songs for Choirs
1. Benjamin Britten: Jazz-Man
Hal Leonard, HL48003983
(Eleanor Farjeon)
2. J.S. Bach: Bist du bei mir
Boosey & Hawkes, OCTB6716
(J.S. Bach)
3. Benjamin Britten: The Salley Gardens
Hal Leonard, HL48003456
(W.B. Yeats)
4. Gabriel Faure: Lydia
IMSLP
(Leconte de Lisle)
5. Franz Schubert: An die Musik
IMSLP
(Schober)
6. Henry Purcell: If Music Be the Food of Love
IMSLP
(Heveningham)
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
Hal Leonard, 48008457
18
(W.H. Davis)
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
Hal Leonard, HL50322060
(Navajo Prayer)
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
Summy-Birchard, Music 5297
English text only: Psalm 103:13
Three-Part Canon with Piano
11. Hashivenu Ed. Rao
Boosey & Hawkes, OC3B6430
Lamentations 5:21
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
IMSLP
Three-Part Canon
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
Tetra/Continuo Music Group, AB 120
(Song of Solomon)
SSA & Piano (or Organ)
2. John Tavener: The Lamb
Chester Music, 179753
(William Blake)
SATB a cappella
19
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
Oxford University Press 3401991 [POP] Google search to purchase
(Walter de la Mare)
SA & Piano
7. arr. James Mulholland: Think On Me
Colla Voce, 20-96900
(Mary, Queen of Scots)
SSA & Piano
8. Eleanor Daley: The Lake Isle of Innisfree
Oxford University Press, 9780193426528
(William Butler Yeats)
SSA & Piano
9. Eric Whitacre: Animal Crackers, Vol. I & II
Hal Leonard, 08746973 (v. I) 08751016 (v.II)
(Ogden Nash)
SATB & Piano
10. Srul Irving Glick: Psalm 47
earthsongs, S-125B
(Psalm 47)
SSA & Piano
11. Daniel Brewbaker: little tree
Hal Leonard, 48004297
(e.e. cummings)
SA & Piano
12. Ralph Manuel: Alleluia
Hinshaw Music Co., HMC927
SATB a cappella
13. Randall Thompson: A Girl’s Garden from “Frostiana”
E.C. Schimer, 2540
(Robert Frost)
SAA & Piano
14. *Robert Convery: “Songs of Children”
espeically II. At Terzezin
VI. The Closed Town
VIII. Terezin
earthsongs, S-48
(texts written by anomyous children from
Theresienstadt concentration camp)
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
arr. Phil Matteson, Hal Leonard, 08743583
(Maxwell Anderson)
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”
arr. Nick Page, Boosey & Hawkes, M-051-47773-9
(Scott Joplin)
SATB, solo, & piano
4. Kirke Mecham: Blow Ye the Trumpet
Hal Leonard, HL50481534
(text adapted by Kirke Mecham)
SATB & Piano
20
5. Randall Thompson: Alleluia
E.C. Schirmer, 1786
SATB a cappella
6. Aaron Copland: Zion’s Walls
arr. Glen Koponen, Boosey & Hawkes, OCTB 6070
(John G. McCurry, Social Harp)
SATB & Piano
7. William Billings: Creation
CPDL
(Dr. Watts, Continental Harmony)
SATB a cappella
8. William Billings: I Am the Rose of Sharon
CPDL
(Bible: Song of Solomon 2)
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
Alfred Publishing, LG51340
(Isaac Watts)
SATB a cappella
12. Seth Houston: Emerald Stream
Santa Barbara, SBMP 1046
SATB a cappella
13. Jeffrey LaValley: Holy, Holy, Holy
Hal Leonard, 08551643
(A. Jeffrey LaValley)
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
Shawnee Press, 35017399
(Joyce Merman)
SATB a cappella
21. Amy Beach: Through the House Give Glimmering Light
Treble Clef Music Press, TC-106
(Shakespeare)
SSAA a cappella
22. Alice Parker: Punching the Dough
Treble Clef Music Press, TC-119
(Canadian folk song - North “American!”
SSAA & Piano
23. Gwyneth Walker: i thank You God
E.C. Schirmer, 5331
(e.e. cummings)
SSA & Piano
21
Che gusto è mai questo
Canone a tre voci
Antonio Caldara (1670-1736)
” 1 
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Music engraving by LilyPond 2.6.3 — www.lilypond.org
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1
Sanctus
Holy, holy, holy Lord, God of power and might,
heaven and earth are full of your glory.
Hosanna in the highest.
Alto
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Copyright © 1999 by The Choral Public Domain Library.
Edition may be freely distributed, duplicated, performed or recorded.
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Ralph Vaughan Williams
(1872-1958)
Linden Lea
Copyright © 2009 by the Choral Public Domain Library (http://www.cpdl.org)
Edition may be freely distributed, duplicated, performed, or recorded.
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d
un - der
d
d
qui - ver
un - der
dd
dd
d d
d .d
dd
dd
dd
d
d
9
&- - - - d `
foot;
&- - - - d `
- foot;
d
m
d
m
And
i
d
And
i i
&- - - - d d d
}
- foot;
% ---- d `
- foot;
d
m
do
whis
i di
d`
d
birds
do
whis
i
d
d
m
birds
d`
do
whis
i i
d`
d
d
And
birds
dd
d
d
dd
d`
d`
% - - - - dd ` d dd
d
d
d
d
d`
d`
&- - - - dd ``
13
And
birds
d`
d
m
&- - - - d `
bed;
i
d
And
&- - - - d d d di
bed;
&- - - - d
}
bed;
d
% ----
bed;
And
d d
m m
And
d d
m m
there
i
d
whis
d
m
for
- tle
i i i
d d d
d
- tle
- tle
d d d
d d d
d`
d
m
me,
the
i
d d d d d
for
me,
the
d
m
d
m
d
d
there
for
me,
the
i
d d
d
i
d
me,
for
the
&- - - - d ` d d d
dd
dd
dd ` d dd
d
d d
d d
d
d
d
d
d
d
d
d
d`
d
m
d
m
d`
d
m
d ` d dd
d`
d`
dd
d
m
d
m
ap - ple
tree
d
m
Do
ap - ple
d
m
d
m
tree
do
its
i
d .d
m
in
its
d
m
d
m
in
its
d
m
d
m
in
its
dd
dd . dd
dd
u
d`
d`
-d
d
d
d
d
d
i i
d d d
d
lean
down
i
d .d d
m
bub - bling
in
d
m
dd
d
lean
d
m
d
m
d`
d`
d
i i i i
d -d d d d
-d
m
bub - bling
d`
wa - ter's
dd
dd
d
m
d
m
bub - bling
d`
wa - ter's
d
m
And
d
m
d
m
bub - bling
d`
d
wa - ter's
d
m
And
o - ver - head,
dd dd d
there
And
d`
d
m
wa - ter's
i i
d
d d
o - ver - head,
i i
d d md
- tle
And
o - ver - head,
d d d
m m m
d
m
d
m
o - ver - head,
there
dd
% ----
And
i
d
do
d d di d `
m m
d
down
-d
low in
Lin - den
i i
d d d
low in
Lin - den
i i
d d d
d
ap - ple
tree
do
lean
down
d
m
d
m
d
m
d
d
tree
do
lean
down
d
d
d
d
d
d
dd
d dd
dd
dd
dd . dd
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dd dd
d
d
dd
d
m
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d -d
d
d
2
d
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low in
d
d d
m m
low in
Lin - den
d
d
Lin - den
17
] PP
&- - d u di
Lea.
d
m
When leaves,
] PP i
&- - d u d
Lea.
Lea.
]
&- - dd u
]
]
% - - - - ddd u
21
&- - - - d `
copse,
&- - - -
d`
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-
ly
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late
- ly
d
m
d
d
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leaves,
that
late
d
m
d
m
d
that
late - ly
dd
dd
And
pain - ted
i di d
d
m
% ---- d `
d
m
And
pain - ted
d
m
d
m
pain - ted
d
d
d d d d
m
i i i d
d d d
d
m
do
d
- ing,
- ing
fade
dd
dd
dd
d dd
dd
d
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d
d
d
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d dd
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d
d
d
d
m
d
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hush
their
i
d
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d
d
sing
do
hush
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sing
d
d
m
d
m
d
dd
dd
d
d
d
d
m
- ing, Up
i i
d d d
birds
dd
i i
d d d
m
do
d
dd
fade
Now
d
m
% - - - - dd ``
do
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d
m
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d
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a - spring
d
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d d
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the
i
d d
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d
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d
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the
dd
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m
the
up - on
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d d dd
tim - ber
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tim - ber
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d
tim - ber
d
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hush
their
sing
dd
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d
d
d
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d
d
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d
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3
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up - on
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d d
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d
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do
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&- - - - d `
d`
do
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d
hush
do
i
d d`
d
m
i i i
d d d
- ing,
do
birds
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d d
birds
d
d
m
d
m
d
d
a - spring
were
dd
birds
a - spring
d
m
d
dd
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d
a - spring
were
d
And
were
d
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d
d
m
d
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were
d ddd
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d
m
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d d d
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d
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copse,
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d d
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d
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] PP
% - -- d u d
m
d ddd
m
d
m
tim - ber
d
d
25
ii
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tops;
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tops;
&- - - - d `
}
tops;
% ---- d `
tops;
29
And
i
d
And
d
m
And
d
m
And
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d
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d
m
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fruits
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d
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d
brown
leav'd
d
m
d
m
i
d d
m
d`
d
m
d`
d
m
a -turn - ing
red,
In
d
fruits
a -turn - ing
d`
d d
m m
red,
In
i
d
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d
d`
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d d md
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a -turn - ing
red,
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d d
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&- - - - d `
}
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d
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d
m
&- - - - d d dd
d
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% ---- d
d
d
m
d
m
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for
me
the
d
me
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d d d
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d
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d
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me
dd
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d
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cloud - less sun
dd
m
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d
d
tree
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lean
i i i i
d d d d d
d
m
for
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shine o - ver
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d
d`
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d d d
m m m
i
d d d di di - di di . d d
i
d d
m
With
cloud - less sun
shine o - ver
d`
d`
me
for
d d`
m
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d
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for
fruits
d
m
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d
d
d d
d d
m m
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d d d
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In
cloud - less sun
shine o - ver
d d d d
d`
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d`
d`
d
m
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d
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d
d
i
d
cloud - less sun
i
d d .d
m m
dd
d
d
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d
m
a -turn - ing
d`
% ---- d `
d
i
d d`
fruits
dd ` d d dd
&- - - -
In
leav'd
dd
- head,
red,
brown
dd
&- - - - d d d
d d d d
m
iii i
i i i
d
d
d
d
d
d d d d d d`
&- - - - dd d dd
`
d
d
d
m
the
ap - ple
d
down
d
d d
m m
d`
low in
Lin
i i
d d d
i
d
- den
d
Do
lean
d
m
d
m
d
d
ap - ple
tree
d
m
Do
lean
down
d
m
d
m
d
m
d
d
tree
Do
lean
down
d . dd
d
d
d
d
d d
d d
i
dd ` d d
d
d
d
d
d
d
dd dd
d
d
d
m
the
ap - ple
dd
dd d d d
d
dd - dd
d
d
d
d`
d d
d
d
4
d
d
dd
low in
d d
d d
tree
d
m
down
d
d
dd . dd
Lin - den
i i
d d d
low in
d d
m m
low in
d
Lin - den
d
d
Lin - den
dd
33
] SAnimatoi
&- - - d u di d d
m
Lea.
Let o - ther folk
] S i i i
&- u d d d d`
d
Lea.
Lea.
37
&- - - -
d`
towns;
&- - - -
d`
towns;
&- - - }
% ----
d`
towns;
d`
towns;
i
u d d
m
d d
I
d d
I
d d
I
don't
i
d
make
d
d
fast
- er,
d
m
In
i i i
d d d
d
the
air
of
i i i i
d d d d
d
fast
- er,
In
the
air
d
d
d
m
d
m
d
m
fast
- er,
In
the
air
of
dark
i i
d d d
m
d
m
d
d d d
of
- er,
In
the
air
of
d
d`
d
d
dd d dd
dd
dd
d
dd
dd
d
d
d
d
dd
d
d
d d d
dd
d
d
d
d
d
d
dd
d`
d
d
m
d
m
d
d
dread
a
fast
d
pee - vish
mas
i i
d dd d d d
a
d
m
d
d
don't
dread
a
d
dread
d
a
ma
ma
d
- ster,
d
d
m
pee - vish
d
- ster,
d d
d
no
room'd
d
dark - room'd
i i i d
d d d m
Tho'
-
man
may
i i i i
d d d d
dd
i
d
d
d
d
heed
my
d
.d
Tho'
no
man
may
heed
my
d
m
d
m
d
m
d
m
d
d
my
Tho'
no
man
may
heed
d
m
d
m
d
m
d
m
d
Tho'
no
man
may
heed
my
d
m
d
m
d
d
dd d
dd
dd
dd
dd
dd
d
d
dd
d
d d
d
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dd
d
dd
dd
dd
dd
d
d
pee - vish
&- - - -
d`
d`
d dd
dd
dd d dd d dd
% ----
d`
dd dd
d
d
dd
d
d
- ter,
d d
pee - vish
d
m
d
i
d
i
d`
d
d di d
d
mo - ney
d
dark - room'd
d
m
make
d
dark - room'd
d
m
dread
don't
d
m
mo - ney
don't
d
m
mo - ney
d
m
d
Let o - ther folk
I
make
d
&- - - - d u d dd dd
d
]
d d
]d
d d
d
% - -u
mo - ney
d
Let o - ther folk
d
m
i i i
d
d d d
d d
d
]
% - - - - d u d d md
S m m
Lea.
make
Let o - ther folk
] S
&- - - - d u di md md
}
d
m
d
d
d
d
ma
5
- ster,
d
41
&- - - -
frowns.
&- - - -
d`
d
free
to
d`
d
be
free
to
d d
d`
d
be
free
to
d d d
m
d`
d
d
free
to
go
u md d
m
d`
I
d d
c
frowns.
&- - - }
d
d`
frowns.
45
&- - - % ----
I
d
frowns.
% ----
be
I
I
be
dc `
u dd dd
d`
d`
dd `
d d dd d
d
&- - - - d `
road,
i
d
To
&- - - - d d d di
road,
&- - - - d
}
road,
d
% ----
road,
To
d d
m m
To
d d
m m
where,
i
d
go
d d
go
or
d`
d`
d
d
d d
d
d
d
m
d`
d
m
me,
the
take
or
take
d` P d
m
d`
P
a - broad,
dd d
d`
d
m
a - gain
my
d
m
d
m
or
take
d
m
d
m
or
take
my
d
m
d`
-d
m
a - gain
my
d
m
for
me,
d
m
d
m
d
d
where,
for
me,
the
i
d d
d
me,
the
for
the
&- - - - d `  d d d
dd
dd
dd ` d dd
d
d d
d d
d
d
d
d
d
d
d
d
d`
a - gain
d d dd
dd
dd
d`
d`
d`
d`
dd
dd
d
m
dd
d
m
d
m
ap - ple
tree
d
m
ap - ple
tree
d
d
d
m
6
d
d
m
d
m
d
m
home - ward
d
d
d
d
d
home - ward
i i
d d d
d
m
tree
d
m
d
d
d
m
d d
d -d
d
m
d
d
tree
ap - ple
home - ward
-d
d
Do lean down
Do lean down
d
i
.d
d
m
d`
d`
Do lean down
d
m
home - ward
. dd
ap - ple
d
m
my
d
m
dd
-d
d
m
d
m
d
m
dd
i
d .d d
m
d
m
d
m
a - gain
i
i i i i i
d
d
d
d d d -d d d d
where,
i
d
d
d
m
d
m
i i i i
d d d d d d`
a - broad,
dd
for
P
a - broad,
d d
go
d`
a - broad,
where,
dd
% ----
To
i
d
d d
Do lean down
low
iin
Lin - den
i i
d d d
low
in
in
d
m
d
m
low
in
d
Lin - den
i i
d d d
low
d
d
Lin - den
d
d
Lin - den
d
d
d
d
dd
d
dd
dd
dd
dd . dd
dd
-d
d
dd
dd
d
d
dd
49
&- - - - c `
c`
c`
d
d d d
c`
d
d d d
c`
d
c
Lea.
&- - - - d
Lea.
&- - - - d
}
Lea.
d
m
d
m
% ---- c
Lea.
d
c`
m
&- - - - cd `
d
d
cd ` d d
c`
c`
d
c
% - --
d
dd
dc d d
d
c`
c`
r
7