Waltzing Matilda

Beginners syncopation, extended range, tonic and
subdominant arpeggios, diminished sixth (d6),
and an introduction to Australian vocabulary.

Description

Grade: Fifth
Origin: Australia – Banjo Paterson, 1895 – (unofficial National Anthem)
Key: D Major
Time: Common Time (4/4)
Form: AB – verse/refrain
Rhythm: beginners: | ti ti ti ti ta ta | ti ti ti ti ti ti ta |
| ta ti/ ri ta ti ti | syncopation, | ti ti ta ta ti ti |
| ta ti ti ta ta | ta ti ti ta (ta) | ta ti/ ri ta ta | syncopation, | ta ti/ ri ta ti/ ri | syncopation,
| ta ti ti ta ti ti | ta ti ti ta/a |
Pitches: intermediate: So La Ti Do Re Mi Fa So La Ti Do – extended range
Intervals: intermediate: Mi\Do\La descending submediant arpeggio (vi,Bm) Do\So (P4), So/Do/Mi/So8ascending tonic arpeggio (I, D), So\Mi (m3), Mi/Do8(d6, diminished sixth)
Musical Elements: notes: half, quarter, dotted eighth, eighth, sixteenth; rest: quarter; syncopation, tonic and submediant arpeggios, diminished sixth (d6), two double barlines, vocal slur, melodic rhythm patterns
Key Words: world geography: Australia; Australian vocabulary: swag (portable shelter that is rolled (usually with belongings inside) and carried on a person’s back), swagman (temporary worker, who travelled by foot carrying the traditional swag), Matilda (bag carried over one’s back), billabong (backwater river branch/stagnant pool), coolibah tree (Eucalyptus tree), billy (pot for boiling water), jumbuck (sheep), tucker bag (lunch/dinner bag), squatter (temporary landlord); holiday: Halloween; grabbed, glee, stowed, mounted, thoroughbred (horse), catch, ghost; contractions: you’ll (you will), who’s (who is), who’ll (who will), you’ve (you have); abbreviations: camp’d (camped), watch’d (watched)

**“Waltzing Matilda”**

		1.	Once a jolly swagman camp’d by a billabong Under the shade of a coolibah tree. And he sang as he watch’d and waited till his billy boiled, “You’ll come a waltzing Matilda, with me.”
			Refrain:
			“Waltzing Matilda, waltzing Matilda, You’ll come a waltzing Matilda with me.” And he sang as he watch’d and waited till his billy boiled, “You’ll come a waltzing Matilda with me.”
		2.	Down came a jumbuck to drink at the billabong, Up got the swagman and grabbed him with glee, And he sang as he stowed that jumbuck in his tucker bag, “You’ll come a-Waltzing Matilda, with me.”
			“Waltzing Matilda, waltzing Matilda, You’ll come a waltzing Matilda with me.” And he sang as he stowed that jumbuck in his tucker bag, “You’ll come a-Waltzing Matilda, with me.”
		3.	Down came the squatter, mounted on his thoroughbred, Up came the troopers, one, two, three, “Who’s that jolly jumbuck you’ve got in your tucker bag?” You’ll come a-Waltzing Matilda, with me.”
			“Waltzing Matilda, waltzing Matilda, You’ll come a waltzing Matilda with me. Who’s that jolly jumbuck you’ve got in your tucker bag? You’ll come a-Waltzing Matilda, with me.”
		4.	Up got the swagman and jumped into the billabong, “You’ll never catch me alive,” said he, And his ghost may be heard as you pass by that billabong, “Who’ll come a-Waltzing Matilda, with me?”
			“Waltzing Matilda, waltzing Matilda, You’ll come a waltzing Matilda with me.” And his ghost may be heard as you pass by that billabong, “Who’ll come a-Waltzing Matilda, with me?”

Additional Formats (click to enlarge)

music

beats

rhythm

pitch numbers

Click to Enlarge: "Waltzing Matilda," Pitch Number Format

solfeggio

letter names

Wade In the Water

Minor tonality pitch in the relative major, intermediate
syncopation and a raised dominant (Si) functioning
as a leading tone to the parallel D Major.

Description

Grade: Fifth
Origin: USA – African American Spiritual
Key: D minor (pitched in F Major)
Time: 4/4
Form: ABA – refrain/verse/refrain
Rhythm: intermediate: | ta/a/ ta ti | syncopation,
| ta/ ta/a/ | syncopation, | ta ta ti ti ta |
| ta ti ti ti ta ti | syncopation, | ta ta ta ta |
| ta ta ti ta/ | syncopation, | ta ti ti ti ta ti | syncopation, | ta/ ta/ (ti) ti | syncopation,
| ta/ ti ti ta/ | syncopation
Pitches: intermediate: Si La Do Re Mi So La – pentatonic scale with a raised dominant Si (functions as a leading tone to the parallel D Major)
Intervals: intermediate: La/Do\La (m3), La/Mi (P5), Mi/So\Mi (m3), Mi/La (P4), La\Si/La (m2), Mi\Do (M3)
Musical Elements: notes: half, dotted quarter, quarter, eighth;rest: eighth; syncopation, raised/sharp dominant (Si), tied notes, tied rhythms, vocal slurs, D.C. al Fine, Fine, two double barlines, refrain/verse/refrain, minor tonality
Key Words: USA history, African American history; world history: Israelites; sacred, spiritual, Bible stories, God, Moses
Recorder: advanced: introducing G#, high F, G, and A, syncopation

**“Wade In the Water”**

			Refrain
			Wade in the water. Wade in the water, children; Wade in the water. God’s goin’ to trouble the water.
		1.	See that band all dressed in white, God’s gonna trouble the water. The leader looks like the Israelite, God’s gonna trouble the water.
			Refrain
		2.	See the band all dressed in red, God’s gonna trouble the water. It looks like the band that Moses led, God’s gonna trouble the water.
			Refrain

Additional Formats (click to enlarge)

music

beats

rhythm

pitch numbers

Click to Enlarge: "Wade In the Water," Pitch Number Format

solfeggio

letter names

Wabash Cannon Ball

Syncopation and an ascending dominant arpeggio.

Description

Grade: Fifth
Origin: USA – J. A. Roff – 1882
(The Great Rock Island Route)
Key: G Major
Time: 4/4
Form: AB – verse/refrain
Rhythm: beginners: | ta/ ti ta ta | syncopation,
| ta ta/a ti ti | ta/a/a ti ti | ta ta ta ta | ta ta ti ta/ |
syncopation, | ta/a/a ta | ta ta/a ta |
Pitches: intermediate: Fa So La Ti Do Re Mi So
Intervals: intermediate: So/Do (P4), Mi/So8 (m3), So8\Mi (m3), Do\Fa (P5), So/Ti/Re ascending dominant arpeggio (IV, D), Re\Ti (m3), So/Ti\So (M3), Do\So (P4)
Musical Elements: notes: dotted half, half, dotted quarter, quarter, eighth; pickup beat, repeat signs, first and second endings, verse/refrain, syncopation, dominant arpeggio, repeated melodic rhythm patterns, two double barlines
Key Words: USA history, USA geography: New York, NY; St. Louis, Missouri; Chicago, Illinois; Minnesota; world oceans: Pacific, Atlantic; world geography: Labrador; fictional railroad, jingle, roar, locomotive, train whistle, thunder, engine, streams along, shore, eastern states, Southlands, western people, rippling waters, Daddy Klaxton, remembered, earthly race, curtain, victory; contractions: we’ll (we will), here’s (here is), it’s (it is) there’s (there is); abbreviation: ’round (around)
Recorder: intermediate: introducing high E and high G, dominant arpeggio, syncopation, repeated melodic rhythm patterns

**“Wabash Cannon Ball”**

		1.	From the coast of the Atlantic to the wide Pacific shore, From he warm and sunny Southland to the isle of Labrador, There’s a name of great importance that is known by one and all, It’s the Western combination called the Wabash Cannon Ball.
			Refrain:
			Just listen to the jingle, the rumble and the roar, Of the mighty locomotive as she streams along the shore, Hear the thunder of the engine, hear the lonesome whistle call, It’s the Western combination called the Wabash Cannon Ball.
		2.	The eastern states are dandies so the western people say, From New York to St. Louis and Chicago by the way. Through the hills of Minnesota where the rippling waters fall, No chances can be taken on the Wabash Cannonball.
			Refrain
		3.	Here’s to Daddy Klaxton may his name forever stand. Will he be remembered through parts of all our land? His earthly race is over and the curtain ’round him falls. We’ll carry him on to victory on the Wabash Cannonball.
			Refrain

Additional Formats (click to enlarge)

music

beats

rhythm

pitch numbers

Click to Enlarge: "Wabash Cannon Ball," Pitch Number Format

solfeggio

letter names

Viva L’Amour

Beginners syncopation, extended range, two part harmony
(6th’s and 3rd’s), feeling duple meter (2) in 6/8.

Description

Grade: Fifth
Origin: German/English 1818 – USA – 1844
( F. D, Benteen – Baltimore, Maryland)
Key: G Major
Time: 6/8
Form: AB – verse/refrain
Rhythm: beginners: | ti ti ti ti ti ti | ti ti ti ta (ti) |
syncopation, | ti ti ti ta ti | syncopation, |
| ta/ (ta) ti | ti ti ti ta/ | ta/ (ta) (ti) | ta/a/ ti |
Pitches: intermediate: Mi Fa So La Ti Do Re Mi Fa
Intervals: intermediate: So/Do (P4), La\Fa (M3), Re\Ti (M3), Mi/So (m3), Do/Mi8 (M3), Fa8\Re (m3), Mi8\Do (M3)
Musical Elements: notes: half, dotted quarter, quarter, eighth; rest: quarter, eighth; pickup beat, syncopation, verse/refrain, tied notes, two part harmony: major and minor sixths, major and minor thirds, perfect fourth; singing in parts, 6/8 time: eighth note receives one beat, divisions of a dotted quarter note: three eights (3 ti’s), feeling duple meter (2) in 6/8: where three eights would be a triplet if the beat is represented by a dotted quarter
Key Words: world geography: England, Germany (each documented as country of origin, 1818), USA geography: first published in 1844 by F. D, Benteen of Baltimore, Maryland; French: viva l’amour (long live love), viva la compagnie (long live the company: army unit); character education, fellow, success, friend, fellowship, wider, circle, expands, comrades, far away lands, banish troubles, occasion, compel, enliven, heart, military song, scout song, camp song, fellowship song; contractions: we’ll (we will), won’t (will not); abbreviation: ev’ry (every)
Recorder: advanced: introducing high F,syncopation, playing in two parts, two part harmony: major and minor sixths, major and minor thirds, perfect fourth; singing in parts, 6/8 time: eighth note receives one beat, divisions of a dotted quarter note: three eights (3 ti’s), feeling duple meter (2) in 6/8: where three eights would be a triplet if the beat is represented by a dotted quarter

**“Viva L’Amour”**

		1.	Let ev’ry good fellow now join in a song, Viva la compagnie! Success to each other and pass it along, Viva la compagnie!
			Refrain:
			Viva la, viva la, viva l’amour, Viva la, viva la, viva l’amour, Viva l’amour, viva l’amour, Viva la compagnie!
		2.	A friend on your left, and a friend on your right, Viva la compagnie! In love and good fellowship, let us unite, Viva la compagnie!
			Refrain
		3.	Now wider and wider, our circle expands, Viva la compagnie! We’ll sing to our comrades, in far away lands, Viva la compagnie!
			Refrain
		4.	With friends all around us, we’ll sing out our song, Viva la compagnie! We’ll banish our troubles, it won’t take us long, Viva la compagnie!
			Refrain
		5.	Should time or occasion, compel us to part, Viva la compagnie! These days shall forever, enliven our heart, Viva la compagnie!
			Refrain

Additional Formats (click to enlarge)

music

beats

rhythm

pitch numbers

Click to Enlarge: "Viva L'Amour," Pitch Number Format

solfeggio

letter names

Tom Dooley

Limited range, syncopated rhythms, and submediant
arpeggios (vi, Dm) using the pentatonic scale.

Description

Grade: Fifth
Origin: USA – Traditional Ballad – 1866
Key: F Major
Time: 4/4
Form: ABA – chorus/verse/chorus
Rhythm: intermediate: | ti ta ti ta ta | syncopation, | ta/a ta/a | ta/a/a/a | ta/a/a ta |
| ti ta/ ta ta | syncopation, | ta ta/a ta | ta ta ti ta/ | syncopation
Pitches: beginners: So La Do Re Mi – pentatonic scale
Intervals: intermediate: La/Do/Mi ascending submediant arpeggio (vi, Dm), Mi\So (M6), Re\So (P5), Mi\Do\La descending submediant arpeggio (vi, Dm), Do\So (P4), La/Do (m3)
Musical Elements: notes: whole, dotted half, half, dotted quarter, quarter, eighth; pickup beat, syncopation, chorus/verse/chorus, D.C. al Fine, Fine, two double barlines; note: use of the minor arpeggio (vi, Dm) and ending with a minor third gives the tune a minor quality using the pentatonic scale
Key Words: USA history; USA geography: Wilkes County, North Carolina, Tennessee; murder of Laura Foster by Tom Dula (Dooley); hanging, tomorrow, Grayson (Tom’s boss who turned him in), lonesome, white oak tree; contractions: I’ll (I will), hadn’t (had not), I’d (I would); abbreviation: hangin’ (hanging);
southern USA vocabulary: reckon (thought)
Recorder: intermediate: playing in F Major, syncopation, ascending and descending submediant arpeggios (vi, Dm), pentatonic scale, practicing pitches in the lower register

Based on the 1866 murder of a woman named Laura Foster in Wilkes County, North Carolina. Col. James Grayson, a Tennessee politician, had hired Tom Dula (Dooley) on his farm when he fled North Carolina.

**“Tom Dooley”**

			Chorus:
			Hang down your head Tom Dooley, Hang down your head and cry. Hang down your head Tom Dooley, Poor boy, you’re bound to die.
		1.	I met her on the mountain, And there I took her life. I met her on the mountain, And stabbed her with my knife.
			Chorus
		2.	Come this time tomorrow, Reckon where I’ll be? Hadn’t a-been for Grayson, I’d a-been in Tennessee.
			Chorus
		3.	Come this time tomorrow, Reckon where I’ll be? Down in some lonesome valley, Hangin’ from a white oak tree.
			Chorus

Additional Formats (click to enlarge)

music

beats

rhythm

pitch numbers

Click to Enlarge: "Tom Dooley," Pitch Number Format

solfeggio

letter names

This Train

Syncopation on the second half of the first beat (& of 1)
and repeated melodic rhythm patterns.

Description

Grade: Fifth
Origin: USA – African American Spiritual
Key: G Major
Time: Common Time – 4/4
Form: ABCA
Rhythm: beginners: | ti ta ti ti ti ti ti | syncopation, | ti ta/a (ta) | syncopation,
| ti ti ti ri ti ti ti ti ti | syncopation
Pitches: intermediate: So La Do Re Mi So La – extended pentatonic scale
Intervals: intermediate: Mi\Do\La\So descending submediant arpeggio with seventh (vi7, Em7), So/Do (P4), Do/Mi (M3), Mi/So (m3), So\Mi/So (m3), Do\La (m3)
Musical Elements: notes: dotted quarter, quarter, eighth, sixteenth; rest: quarter; common time (4/4), syncopation, tied notes, submediant arpeggio with a seventh (vi7, Em7), melodic rhythm patterns
Key Words: USA history, African American history; Underground Railroad, American Civil War, Civil Rights Movement; sacred, character education, bound for glory (Heaven), sin, sinners, gamblers, hypocrites, midnight ramblers, liars, weeping criers, rustlers, side-street walkers, two-bit hustlers; contractions: don’t (does not)
Recorder: intermediate: playing in G major, submediant seventh arpeggio (vi7, Em7), syncopation, pentatonic scale

Partner song: “Rock-a My Soul”

**“This Train”**

	1.	This train is bound for glory, this train, This train is bound for glory, this train, This train is bound for glory, If you ride it you must be holy, This train is bound for glory, this train,

	2.	This train don’t carry no gamblers, this train, This train don’t carry no gamblers, this train, This train don’t carry no gamblers No hypocrites no midnight ramblers, This train is bound for glory this train.

	3.	This train don’t carry no liars, this train, This train don’t carry no liars, this train, This train don’t carry no liars, No hypocrites no weeping criers, This train is bound for glory this train.

	4.	This train don’t carry no rustlers, this train, This train don’t carry no rustlers, this train, This train don’t carry no rustlers, Sidestreet walkers or two-bit hustlers, This train is bound for glory this train.

Additional Formats (click to enlarge)

music

beats

rhythm

pitch numbers

Click to Enlarge: "This Train," Pitch Number Format

solfeggio

letter names

This Little Light of Mine

Advanced syncopation, augmented second (A2, Do/Ri),
and chromatic minor seconds.

Description

Grade: Fifth
Origin: USA – African American Spiritual
Key: G Major
Time: 4/4
Form: ABA – refrain/verse/refrain
Rhythm: advanced: | ta ti ti ti ta/ | syncopation,
| ta/a (ta/a) | ta/a ti ta/ | syncopation, | ta/a ta/a |
| ta/a/a ta | ti ta ti ti ti ti ta_|_/ ta ta/ (ti) ti | syncopation (_=tie), | ta ta ta ta | ta ti ta/ (ti) ti |
syncopation, | ti ti ti ta/ (ti) ti | syncopation,
| ta ti ti ti ti ti ta_|_/ ta ta/ (ti) ti | syncopation,
| ti ti ta ti ti ta | ti ta ta/ (ti) ti | syncopation,
| ta ta ti ta ti | syncopation, | ta ti ta/ ta ti | syncopation, | ta ta ti ti ta |
Pitches: intermediate: So La Ti Do Re Ri Mi So – raised/sharp supertonic (2, Ri)
Intervals: intermediate: La/Do (m3), Do/Mi (M3), Do\La (m3), Do/So8\Do (P5), Do/Ri (A2, augmented second), Ti\So (M3), Re/Ri/Mi (chromatic m2’s)
Musical Elements: notes: half, dotted quarter, quarter, eighth; rests: half, eighth; accidentals: sharp, natural; syncopation, tied notes, augmented second Do/Ri, chromatic movement (m2’s), D.C. al Fine, Fine, melodic rhythm patterns, refrain/verse/refrain
Key Words: USA history, African American history, day of the week: Monday, Tuesday, Wednesday, Thursday, Friday, Saturday, Sunday; sacred, he (God), gift of grace, peace, faith, pray, gift divine; contractions: gonna (going to), I’m (I am)
Recorder: advanced: advanced syncopation, playing in G Major, introducing A#, augmented second (A2)

**“This Little Light of Mine”**

			Refrain:
			This little light of mine, I’m gonna let it shine, This little light of mine, I’m gonna let it shine, This little light of mine, I’m gonna let it shine, Let it shine, let it shine, let it shine.
			On Monday he gave me the gift of grace, On Tuesday peace came from above, On Wednesday he told me to have more faith, On Thursday he gave me just a little more grace. On Friday he told me to watch and pray, On Saturday told me just what to say, On Sunday gave me the gift divine, Just to let my little light shine.
			Refrain:
			This little light of mine, I’m gonna let it shine, This little light of mine, I’m gonna let it shine, This little light of mine, I’m gonna let it shine, Let it shine, let it shine, let it shine.

Additional Formats (click to enlarge)

music

beats

rhythm

pitch numbers

Click to Enlarge: "This Little Light of Mine," Pitch Number Format

solfeggio

letter names

There’s Music In The Air

An ascending m6 (So/Mi), descending M6 (Fa\La, and
descending dominate arpeggio (Ri\Ti\So – Eb Major)

Description

Grade: Fifth
Origin: music: George Fredrick Root (1820-1895)
words: Frances (Fanny) Jane Crosby (1920-1915)
Key: A flat Major
Time: 4/4
Form: AABb
Rhythm: beginners: | ta ta ta ta | ta/a ta/a |
| ti ti ti ti ta ta | ta/a/a ta | ta/a/a (ta) |
| ta ta ta/a | ta ta ta ti ti |
Pitches: beginners: So La Ti Do Re Mi Fa
Intervals: intermediate: m3: La/Do, m6: So/Mi,
P4: Do\So, Do/Fa, So/Do, P5: So/Re, M6: Fa\La,
Re\Ti\So descending dominate arpeggio (EbM – V),
So/Do/Mi ascending tonic arpeggio
Musical Elements: notes: dotted half, half, quarter, eighth; rest: quarter; pickup beat, vocal slur
Key Words: Art Song, infant, morn, nigh, faint, blush, laughing, ecstatic, profound, thrill, enchanted, noontide, sultry, reflects, mountain, stream. beneath, aching, twilight, gentle, breast, pensive, celestial, angels; possessives: harp’s, its, noontide’s, sorrow’s, twilight’s, evening’s

**“There’s Music In The Air”**

	1.	There’s music in the air, When the infant morn is nigh, And faint its blush is seen On the bright and laughing sky. Many a harp’s ecstatic sound, With its thrill of joy profound, While we list, enchanted there, To the music in the air.

	2.	There’s music in the air, When the noontide’s sultry beam Reflects a golden light On the distant mountain stream. When beneath some grateful shade, Sorrow’s aching head is laid, Sweetly to the spirit there Comes the music in the air.

	3.	There’s music in the air, When the twilight’s gently sigh Is lost on evening’s breast, As its pensive beauties die. Then, oh, then the loved ones gone Wake the pure celestial song, Angel voices greet us there, In the music in the air.

Additional Formats (click to enlarge)

music

beats

rhythm

pitch numbers

Click to Enlarge: "There's Music In The Air" Pitch Number Format

ssolfeggio

Click to Enlarge: "There's Music In The Air" Solfeggio Format

letter names

Swing Low, Sweet Chariot

Advanced syncopation and an extended pentatonic scale,
produces a spiritual which is challenging and fun!

Description

Grade: Fifth
Origin: USA – Wallis Willis (Choctaw Freedman)
circa. 1860’s – African American Spiritual
Key: G Major
Time: 4/4
Form: ABA – refrain/verse/refrain
Rhythm: advanced: | ta/a/a ta | ta/ ti ti ta/ | syncopation, | ti ti ti ti ti ti ta | ta/a (ta) ti ti |
| ti ta ti ti ta ti | syncopation, | ti ti ta ti ta/ | syncopation, | ti ti ta ta ta | ti ti ti ti ti ta/ |
Pitches: beginners: So La Do Re Mi So La – extended pentatonic scale
Intervals: beginners: Mi\Do/Mi\Do (M3), Do\La (m3), So/Do (P4), Do…/Mi../So8.. ascending tonic arpeggio with repeated pitches, So8\Mi/So8 (m3), So8\Do (P5)
Musical Elements: notes: doted half, half, dotted quarter, quarter, eighth; rest: quarter; pickup beat, syncopation, pentatonic scale, tonic arpeggios, two double barlines, refrain/verse/refrain, D.C. al Fine, Fine
Key Words: USA history; underground railroad, African American History, USA geography: Choctaw County, Hugo, Oklahoma; Wallis Willis (composer), Jubilee Singers, scared, spiritual, civil rights movement song; world geography: Jordan River (Middle East); chariot, band of angels, Heaven, soul, heavenly, bound, brightest, sins, Jesus, Bible stories
Recorder: advanced: playing in F Major (pentatonic scale), syncopation, tonic arpeggio

Partner song: “All Night, All Day!”

**“Swing Low, Sweet Chariot”**

			Refrain
			Swing low, sweet chariot, Coming for to carry me home, Swing low, sweet chariot, Coming for to carry my home.
		1.	I looked over Jordan, and what did I see? Coming for to carry me home, A band of angels coming after me. Coming for to carry me home.
			Refrain
		2.	If you get there before I do, Coming for to carry me home, Tell all my friends I’m coming, too. Coming for to carry me home.
			Refrain
		3.	I’m sometimes up and sometimes down, Coming for to carry me home, But still my soul feels heavenly bound, Coming for to carry me home.
			Refrain
		4.	The brightest day that I can say, Coming for to carry me home, When Jesus washed my sins away, Coming for to carry me home.
			Refrain

Additional Formats (click to enlarge)

music

beats

rhythm

pitch numbers

Click to Enlarge: "Swing Low, Sweet Chariot," Pitch Number Format

solfeggio

letter names

Sweet Betsy from Pike

Beginning syncopation, two part (harmonic echo) refrain, descending octave skip (P8), tonic (I,C) and mediant (iii,Em) arpeggios.

Description

Grade: Fifth
Origin: England – tune: “Villikens and His Dinah”
USA – words: Folk Ballad
Key: C Major
Time: 3/4
Form: AB – verse/refrain
Rhythm: beginners: | ta ta ta | ta/a ta | ta/a ti ti |
| ta ta/ ti | syncopation, | (ta) ta/ ti | syncopation,
| ta (ta) (ta) |
Pitches: intermediate: Ti Do Re Mi Fa So La Ti Do
Intervals: intermediate: Do/Mi/So/Do8 ascending tonic arpeggio (I, C), Ti\So (M3), So/Do8 (P4), Ti\So\Mi descending mediant (iii, Em), So\Do (P5), Do/Do ascending tonic octave skip (P8), La/Do8\La (m3), Fa\Re (m3)
Musical Elements: notes: dotted half, half, dotted quarter, quarter, eighth; rest: quarter; pickup beat, two part (harmonic echo) refrain, singing in parts, repeated melodic rhythm patterns, syncopation, vocal slur, octave, tonic (I, C) and mediant (iii, Em) arpeggios
Key Words: USA history: Brigham Young; USA geography: world geography: England, Shanghai; Pike, Missouri, California, Salt Lake City, Utah; wide prairie, husband, yoke of Oxen, swam, rivers, peaks, camped, starvation, cholera, slaughter, plateau, sore-footed, repose, gazed, starry night, shouted, whiskey, plain, wagon train, thundering, horde, scared, scalp, adored, wagon-bed, crawl, musket ball, terrible, crash, suspicious, square, inquire, declared, frightened, pawing, steer, alkali, desert, soul, shrank, lurked, fondly, embraced, waist, rooster, cattle, fried bacon, discouraged, wonderfully, suddenly, wonder, Placerville, Hangtown, attended, doggone, chock-full, jealous, obtained, divorce, well-satisfied, shout, lummox (clumsy person); contractions: ’twas (it was), you’ll (you will); abbreviations: ‘spint (in spite), o’er (over); colloquial slang: injuns (indians), hoss (big man)

*possibly the county of Pike, Missouri, USA

**“Sweet Betsy from Pike”**

		1.	Oh, don’t you remember sweet Betsy from Pike? She crossed the wide prairies with her brother Ike, With two yoke of Oxen, and old yellow dog, A tall Shanghai rooster and one spotted hog.
			Refrain:
			Too-ra-lee, too-ra-lay, Singing too-ra-lee, too-ra-lay, too-ra-lee-ay.
		2.	They swam the wide rivers and crossed the tall peaks, And camped on the prairie for weeks upon weeks. Starvation and cholera, hard work and slaughter– They reached California ‘spite of rain and high water.
			Refrain
		3.	One evening quite early they camped on the Platte, Twas near by the road on a green shady flat. Betsy, sore-footed, lay down to repose– With wonder Ike gazed on that Pike County rose.
			Refrain
		4.	Out on the prairie one bright, starry night, They broke out the whiskey, and Betsy got tight. She sang and she shouted and she danced o’er the plain, And she put on a show to the whole wagon train.
			Refrain
		5.	Out on the prairie one bright, starry night, They broke out the whiskey, and Betsy got tight. She sang and she shouted and she danced o’er the plain, And she put on a show to the whole wagon train.
			Refrain
		6.	The Injuns came down in a thundering horde, And Betsy was scared they would scalp her adored. So under the wagon-bed Betsy did crawl And she fought off the Injuns with musket and ball.
			Refrain
		7.	The wagon broke down with a terrible crash, And out on the prairie rolled all sorts of trash. A few little baby-clothes, done up with care, Looked rather suspicious, but all on the square.
			Refrain
		8.	They stopped at Salt Lake to inquire of the way, When Brigham declared that Sweet Betsy should stay. Betsy got frightened and ran like a deer, While Brigham stood pawing the ground like a steer.
			Refrain
		9.	The alkali desert was burning and bare, And Isaac’s soul shrank from the death that lurked there. “Dear old Pike County, I’ll go back to you”– Says Betsy, “You’ll go by yourself if you do!”
			Refrain
		10.	They soon reached the desert, where Betsy gave out, And down in the sand she lay rolling about. Ike in great wonder looked on in surprise, Saying, “Betsy, get up, you’ll get sand in your eyes.”
			Refrain
		11.	Sweet Betsy got up in a great deal of pain. She declared she’d go back to Pike County again. Ike gave a sigh, and they fondly embraced, And they traveled along with his arm round her waist.
			Refrain
		12.	The Shanghai ran off, and the cattle all died, That morning the last piece of bacon was fried. Ike got discouraged, Betsy got mad, The dog drooped his tail and looked wonderfully sad.
			Refrain
		13.	They suddenly stopped on a very high hill, With wonder looked down upon old Placerville. Ike said to Betsy, as he cast his eyes down, “Sweet Betsy, my darling, we’ve got to Hangtown.”
			Refrain
		14	Long Ike and Sweet Betsy attended a dance. Ike wore a pair of his Pike County pants. Betsy was covered with ribbons and rings. Says Ike, “You’re an angel, but where is your wings?”
			Refrain
		15.	A miner said, “Betsy, will you dance with me?” “I will that, old hoss, if you don’t make too free. Don’t dance me hard, do you want to know why? Doggone you, I’m chock-full of strong alkali.”
			Refrain
		16.	This Pike County couple got married, of course, But Ike became jealous, and obtained a divorce. Betsy, well-satisfied, said with a shout, “Good-bye, you big lummox, I’m glad you backed out!”
			Refrain

Additional Formats (click to enlarge)

music

beats

rhythm

pitch numbers

Click to Enlarge: "Sweet Betsy from Pike," Pitch Number Format

solfeggio

letter names

5th Grade