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5th Grade

Now Let Me Fly

"Now Let Me Fly," Lyrics, Text Format

Intermediate syncopation, pentatonic scale, and
multiple tied notes to promote breath support.

 

Description

  • Grade: Fifth
  • Origin: USA – African American Spiritual
  • Key: G Major
  • Time: 4/4
  • Form: ABA – refrain/verse/refrain
  • Rhythm: intermediate: | ti ta ta/a/_|_a/a/a ta | syncopation, (_=tie), | ta ti ti ti ti ti ti | ta/a/a (ta) |
    | ta ta ti/ ri ti/ ri | syncopation, | ti/ ri ti/ ri ta/a | syncopation, | ta ta ta/a | ti/ ri ti/ ri ta ti/ ri | syncopation
  • Pitches: beginners: So La Do Re Mi So – pentatonic scale
  • Intervals: intermediate: Do\La (m3), So/Do/Mi/So ascending tonic arpeggio (I, G), So\Mi\Do descending tonic arpeggio (I, G), La/Do (m3), Mi\So (M6)
  • Musical Elements: notes: dotted half, half, quarter, dotted eighth, eighth, sixteenth; rest: quarter; pickup beat, tied notes, syncopation, tonic arpeggios, D.C. al Fine, Fine, refrain/verse/refrain, two double barlines
  • Key Words: USA history, African American history, sacred, chariot wheel, working, Promised Land, shake her hand, hypocrite, street, teeth, lie; contractions: gonna (going to), ain’t (is not); abbreviations: partic’lar (particular), ’bout (about), shakin’ (shaking); Southern US dialect: yonder (a place down the way), wanta (want to), de (the)
  • Recorder: intermediate: tonic arpeggios, long tied notes promote breath support

“Now Let Me Fly” 
Refrain
Now let me fly,
Now let me fly,
Now let me fly way up high,
Way in the middle of the air.
1. Way down yonder in the middle of the field,
See me working at the chariot wheel.
Not so partic’lar ’bout working at the wheel,
But I just want to see how the char’iot feels.
Refrain
2.
 I got a mother in the Promise Land,
Ain’t gonna stop till I shake her hand.
Not so partic’lar ’bout shakin’ her hand,
But I just wanta get up in de Promise Land.
Refrain
3. Meet that hypocrite on the street
First thing he does is show his teeth.
Next thing he does is to tell a lie
And the best thing to do is to pass him by.
Refrain
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Now is the Month of Maying

"Now is the Month of Maying," Lyrics, Text Format

Syncopation in cut time (2/2), raised subdominant (Fi),
with dominate octave skips and dominate arpeggios.

 

Description

  • Grade: Fifth
  • Origin: England – Thomas Morley 1595 – “Ballett”*
  • Key: G Major 
  • Time: 2/2 – cut time (also shown in 4/4)
  • Form: AB
  • Rhythm: advanced: 2/2: | ti ti ti/ ri | syncopation,
    | ta ti ti | ti/ ri ti ti | syncopation, | ta/ ta ti ri | syncopation, | ta/ ti | syncopation, | ta (ti) ti |
    | ta (ti) ti ri | syncopation, | ti ri ti ri ti ri ti | syncopation, | ta/a |
  • Pitches: intermediate: So La Ti Do Re Mi Fa Fi So – raised/sharp subdominant (4, Fi)
  • Intervals: intermediate: Mi\Do/Mi (M3), Mi/Fi(M2), So\Re (P4), Re\Ti\So descending dominate arpeggio (V, D), So/So ascending dominate octave skip, Fa\Re (m3), Re/So (P4), So\Fi/So (m2), Re/Fa (m3), Do/So (P5), So\So descending dominate octave skip
  • Musical Elements: notes: dotted half, half, dotted quarter, quarter, eighth; rest: quarter; pickup beat, multiple repeat signs, multiple endings, syncopation on 2/2 (cut time), dominate arpeggios, dominate octave skip, raised subdominant (4, Fi),note: each stanza is repeated twice 
  • Key Words: world geography: England; music history: Thomas Morley (1557-1602), Ballett, Seasons, Maying, merry, lads, playing, Spring, gladness, Winter, sadness, upon, greenly grass, bagpipes, nymphs (young female): Old English: doth (does), bonny lass (pretty girl), trend (dance)
  • Recorder: advanced: introducing C sharp (C#), dominate arpeggios, dominate octave skip, counting 2/2 – cut time

*Ballett (2 t’s): 17th-century dance-like vocal composition similar to the madrigal in style.


“Now is the Month of Maying” 
1.
 Now is the month of maying,
When merry lads are playing,
Fa la la la la la la la la.
Fa la la la la la la.Each with his bonny lass
Upon the greeny grass.
Fa la la la la.
Fa la la al al al al, la la la la la.
2.
 The Spring, clad all in gladness,
Doth laugh at Winter’s sadness,
Fa la la la la la la la la.
Fa la la la la la la.And to the bagpipe’s sound
The nymphs tread out their ground.
Fa la la la la.
Fa la la al al al al, la la la la la.
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Nobody Knows the Trouble I’ve Seen

"Nobody Knows the Trouble I've Seen," Lyrics, Text Format

Intermediate syncopation, mastering So\Mi/So (m3), and the pentatonic scale.

.

 

Description

  • Grade: Fifth
  • Origin: USA – African American Spiritual
  • Key: G Major
  • Time: 4/4
  • Form: ABA – chorus/verse/chorus
  • Rhythm: intermediate: | ti ta ti ta/ ti | syncopation, | ti ti ta ta/a | ti ta ti ta ta | syncopation, | ta ta/a/a |
    | ta/ ti ta ta | syncopation, | ta ta/a ta | ta/a ta/a |
    | ta/a/a ta | ta/a/a/a |
  • Pitches: beginners: So La Do Re Mi So – pentatonic scale
  • Intervals: intermediate: Mi\So (M6), La/Do (m3), Do\La (m3), Mi/So8\Mi (m3), Mi\Do (M3)
  • Musical Elements: notes: whole, dotted half, half, dotted quarter, quarter, eighth; D.C. al Fine, Fine, two double barlines, syncopation, pentatonic scale, chorus/verse/chorus
  • Key Words: USA history, African American history, sacred, trouble, sorrow, Jesus, glory hallelujah, Lord, sometimes, ground, below, sky opened, love, shall, forget, washed, sins, friends; contractions: I’ve (I have), I’m (I am): abbreviations: walkin’ (walking), comin’ (coming)
  • Recorder: intermediate: syncopation, pentatonic scale

“Nobody Knows the Trouble I’ve Seen” 
Chorus:
Nobody knows the trouble I’ve seen,
Nobody knows my knows but Jesus (my sorrow).
Nobody knows the troubles I’ve seen,
Glory Hallelujah.
1. Sometimes I’m up, sometimes I’m down,
Oh yes, Lord.
Sometimes I’m almost to the ground,
Oh yes, Lord.
Chorus
2.
 Now, you may think that I don’t know,
Oh yes, Lord.
But I’ve had troubles here below,
Oh yes, Lord.
Chorus
3. One day when I was walkin’ along,
Oh yes, Lord,
The sky opened up and love came down,
Oh yes, Lord.
Chorus
4. I never shall forget that day,
Oh yes, Lord.
When Jesus washed my sins away.
Oh yes, Lord.
Chorus
5. If you get there before I do,
Oh yes, Lord.
Tell all my friends I’m comin’ too,
Oh yes, Lord.
Chorus
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My Old Kentucky Home

"My Old Kentucky Home," Lyrics, Text Format
"My Old Kentucky Home," Lyrics, Text Format

Intermediate syncopation, dynamics: mf, f,
with a ritardando and caesura.

 

Description

  • Grade: Fifth
  • Origin: USA – Stephen Foster (1826-1864), circa. 1853
  • Key: G Major
  • Time: 4/4
  • Form: AAB – verse/verse/refrain
  • Rhythm: intermediate: | ta ta ta ti ti |
    | ti/ ri ti ti ta (ti) ti | ti ti (ti) ti ti ti (ti) ti | syncopation, | ta/a/a (ti) ti | ti/ ri ti ti ta ti/ ri | syncopation, | ta ta ti ti ti/ ri | syncopation,
    | ti ti ti ti ta/ ti | syncopation, | ta/ ti ta ta | syncopation, | ti ta/ (ta) ti | syncopation,
    | ta/a (ta) ti ti | ti/ ri ti ti ta_ // ti ti | (_=fermata),
    (//=caesura), | ti/ ri ti ti ta ti/ ri | syncopation
  • Pitches: intermediate: La Ti Do Re Mi Fa So La
  • Intervals: intermediate: Mi\Do (M3), Fa/La (M3), So\Do (P5), Do/Fa (P4), Re\Ti M3), So\Mi (m3), Do\La/Do (m3)
  • Musical Elements: notes: dotted half, half, dotted quarter, quarter, dotted eighth, eighth, sixteenth; rest: quarter, eighth; pickup beat, repeat signs, first and second endings, syncopation, two double barlines, fermata, caesura (railroad tracks/silent pause), ritardando (rit.); dynamics: mezzo forte/medium loud, forte/loud, verse/verse/chorus
  • Key Words: USA history, USA geography: Kentucky; shines, bright, summer, folks, gay, corn tops, ripe, meadows, birds make music, cabin floor, merry, happy, bright, hard times, goodnight, weep lady possum, coon (raccoon), shore, glimmer, shadow, heart, sorrow, delight, bow, bend, wanderer trouble, sugar canes, weary load, trotter; contractions: ’tis (it tis), by’n (by and), ’twill (it will); abbreviations: knockin’ (knockin), o’re (over); possessives: top’s, meadow’s
  • Recorder: intermediate: introducing F#, caesura (railroad tracks/silent pause), ritardando (rit.), syncopation

“My Old Kentucky Home” 
1. The sun shines bright in the old Kentucky home,
‘Tis summer, the old folks are gay.
The corn top’s ripe and the meadow’s in the bloom,
While the birds make music all the day.
2.
 The young folks roll on the little cabin floor,
All merry, all happy and bright.
By’n by hard times come a-knockin’ at the door,
Then my old Kentucky home, goodnight.
Chorus:
Weep no more my lady,
Oh weep no more today.
We will sing one song for the old Kentucky home,
For the old Kentucky home, far away.
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My Lord, What a Mornin’

"My Lord, What a Mornin'," Lyrics, Text Format

Advanced syncopation, dynamics: mp, mf,
and a tonic I6 arpeggio.

 

Description

  • Grade: Fifth
  • Origin: USA – African American Spiritual
  • Key: F Major
  • Time: 4/4
  • Form: ABA – chorus/verse/chorus
  • Rhythm: advanced: | ta/a/a ti ti | ta ta/a ta |
    | ta ta (ti) ta ti | ta ta/a ti ti | ta/ ti ta ta | syncopation, | ta/ ti ti ta/ | ta ta ta ta | ta/a/a/a |
    | ti ti ti ti ta ta | ta/a ta/ ti | syncopation
  • Pitches: beginners: Do Re Mi Fa So La
  • Intervals: intermediate: Mi\Do (M3), Do/So (P5), So\Mi (m3), Mi/So (m3), So\Re (P4), Re/La (P5), Fa\Re (m3), Do/Fa (P4), Do/Mi/So/La ascending tonic arpeggio w/sixth (I6, F6)
  • Musical Elements: notes: whole, dotted half, half, dotted quarter, quarter, eighth; rest: eighth; pickup beat, repeat signs, D.S. al Fine, Fine, vocal slur, two double barlines, dynamics: mezzo piano/medium soft, mezzo forte/medium loud, multiple endings, ending a phrase on the supertonic (2, Re), tonic arpeggio with sixth (I6)
  • Key Words: USA history, African American history, sacred, Lord, Jesus, Christians, trumpet sound, wake, nations, underground, glory, shining, shout, stars; contraction: you’ll (you will), there’s (there is); abbreviation: ’cause (because), mornin’ (morning); possessive: Lord’s
  • Recorder: intermediate: excellent lower register practice

“My Lord, What a Mornin'” 
Chorus:
My Lord, what a mornin’,
My Lord, what a mornin’,
My Lord, what a mornin’,
When the stars begin to fall.
1. You’ll hear the trumpet sound,
To wake all nations underground,
Look in my Lord’s right hand,
When the stars begin to fall.
Chorus
2.
 You’ll see my Jesus come,
His glory shining like the sun,
Look in my Lord’s right hand,
When the stars begin to fall.
Chorus
3. You’ll hear all Christian’s shout,
‘Cause there’s a new day come about,
Look in my Lord’s right hand,
When the stars begin to fall.
Chorus
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Moving On

"Moving On," Lyrics, Text Format

Partner Songs: “When the Saints Go Marching In”
over “This Train”, with advanced syncopation.

 

Description

  • Grade: Fifth
  • Origin: USA – African American Spirituals
  • Key: G Major
  • Time: 4/4
  • Form: top: ABCb – bottom: ABCA
  • Rhythm: advanced: Top: | ta/a/ ti ti ti | syncopation, | ta ta ta ta | ta/a (ti) ti ti ti | syncopation, | ta/ ti ta ti ti | syncopation,
    | ti ta/a/ ti ti | syncopation;
    Bottom: | 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 Fa So La
  • Intervals: intermediate: Top: Do/Mi (M3), So8\Do (P5), So8\Mi\Do descending tonic arpeggio (I, G), Do/Mi/So8 ascending tonic arpeggio (I,G);
    Bottom    : Mi\Do\La descending arpeggio (vi, Em), So/Do (P4), So8\Mi/So8 (m3), Do\La (m3)
  • Musical Elements: notes: half, dotted quarter, quarter, eighth, sixteenth; rests: quarter, eighth; pickup beats, tied notes, two part song: partner songs, syncopation, tonic arpeggios, submediant arpeggio
  • Key Words: USA history, African American history, African American Spiritual, sacred, saints, marching, train, bound, glory, underground railroad
  • Recorder: advanced: playing two parts: partner songs, cooperative learning


“Moving On” 
Melody
1.
 Oh, when the saints go marching in,
Oh, when the saints go marching in,
Oh, Lord, I want to be in that number
When the saints go marching in.
Counter Melody
2.
 This train is bound for glory this train,
This train is bound for glory this train,
This train is bound for glory this train,
If you ride it you must be holy,
This train is bound for glory this train.
Combination of two songs:

  1. “When the Saints Go Marching In”
  2. “This Train”
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Morning Has Broken – NEW

Morning Has Broken Text Format

Practicing the ascending tonic arpeggio and descending tonic triad.

 

Description

• Grade: Fifth (5)

• Origin: Traditional Gaelic Melody
Words: Eleanor Farjeon

• Key: C Major

• Time: 3/4

• Form: ABCD

• Rhythm: intermediate: | ta ta ta | ta/a/a | ta/ ti ta | syncopation

• Pitches: intermediate: Do Re Mi So La Ti Do Re

• Intervals: intermediate: Do/Mi/So/Do8 ascending tonic arpeggio, Re\Ti (m3), So\Do (P4), So\Mi\Do descending tonic triad, So\Mi/So (m3), So/Do8 (P4), Do\La (m3), La\Re (P5)

• Musical Elements: notes: dotted half, dotted quarter, quarter, eighth; rests: quarter; tied notes, syncopation, repeated melodic patterns, vocal slurs

• Key Words: Geography: Scotland, Gaelic; morning, blackbird, spoken, praise, sacred, singing, rain, sunlit, heaven, dew, grass, earth science, garden, Eden, fresh, sweetness, elation, completeness, recreation, His feet, God


“Morning Has Broken” 
1. Morning has broken,
Like the first morning.
Blackbird has spoken,
Like the first bird.
Praise for the singing,
Praise for the morning.
Praise for them springing,
Fresh from the world.
2. Sweet the rain’s new fall,
Sunlit from heaven.
Like the first dewfall,
On the first grass.
Praise for the sweetness,
Of the wet garden.
Sprung in completeness,
Where his feet pass.
3. Mine is the sunlight,
Mine is the morning.
Born of the one light,
Eden saw play.
Praise with elation,
Praise ev’ry morning.
God’s recreation,
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(On) Moonlight Bay

"(On) Moonlight Bay," Lyrics, Text Format

Accidentals: sharp, flat, natural; syncopation,
with advanced pitches and intervals.

 

Description

  • Grade: Fifth
  • Origin: USA – words: Edward Madden, music: Percy Wenrich – 1912
  • Key: F Major 
  • Time: 4/4
  • Form: phrases: ABAC*
  • Rhythm: intermediate: | ti/ ri ti/ ri ta | syncopation,
    | ta/a/a/a_|_ta ta ti ta/ | syncopation (_=tie),
    | ta/a (ta/a) | (ta) ti/ ri ti/ ri ti/ ri | syncopation,
    | ta/a ta/a |
  • Pitches: advanced: So Si La Do Ra Re Ri Mi Fa Fi – raised/sharp dominate (5, Si), lowered/flat supertonic (2, Ra), raised/sharp supertonic (2, Ri), raised/natural subdominant (4, Fi)
  • Intervals: advanced: Mi\Ri/Mi (m2), Mi\So (M6), So/Si/La (chromatic m2’s), La/Fa (M6), Mi/Fi\Mi (M2), Re\Ra/Re (m2), So/Do (P4), Re\So/Re (P5), Mi\Do (M3)
  • Musical Elements: notes: whole, dotted half, half, dotted quarter, quarter, dotted eighth, eighth, sixteenth; pickup beats, syncopation, accidentals: sharp supertonic (2, Ri), flat supertonic (2, Ra), sharped dominate (5, Si), natural subdominant (4, Fi); tied notes, chromatic movement 
  • Key Words: USA history, courting song, sailing, voices ringing, stolen my heart, seemed, “Love’s Old Sweet Song”; abbreviation: ‘way (away); contraction: don’t (do not), possessive: love’s
  • Recorder: advanced: introducing C#, G#, Gb, and Bb, syncopation, accidentals: natural, sharp, flat

*Chorus from the popular early twentieth century song.


“(On) Moonlight Bay” 

We were sailing along
On Moonlight Bay
We could hear the voices ringing
They seemed to say:
“You have stolen my heart”
“Now don’t go ‘way!”
As we sang “Love’s Old Sweet Song”
On Moonlight Bay
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Molly Malone

"Molly Malone," Lyrics, Text Format
"Molly Malone," Lyrics, Text Format

Syncopation on the second half of the first beat (& of 1),
melodic rhythm patterns, and a chorus melody
composed from parts of the verse melody.

 

Description

  • Grade: Fifth
  • Origin: Ireland – Traditional, circa. 1883
  • Key: G Major
  • Time: 3/4
  • Form: phrases: ABA/B (third phrase is a combination of A and B) song: AB – verse/chorus
  • Rhythm: intermediate: | ta ta/ ti | syncopation,
    | ti ta/ ta | syncopation, | ta ta ta | ta/a ta |
    | ti ta/ ti ti | syncopation, | ta/ ti ta | syncopation
  • Pitches: beginners: So Do Re Mi Fa So
  • Intervals: beginners: So/Do (P4), Do/Mi\Do (M3), Re/Fa\Re (m3), Re\So (P5), Mi/So (m3)
  • Musical Elements: notes: half, dotted quarter, quarter, eighth; pickup beat, syncopation, verse/chorus, melodic rhythm patterns, two double barlines; composition: chorus is composed of music from the first and last line of the verse
  • Key Words: world geography: Dublin, Ireland; folk tales, USA holiday: St. Patrick’s Day, Halloween; wheeled, wheelbarrow, broad, narrow, cockles (saltwater clams), mussels (fresh/saltwater clams), fishmonger (fisherman/fisherwoman), wonder, died, alive, father, mother, through, fever, ghosts, streets; abbreviation: ’twas (it was)
  • Recorder: intermediate: syncopation on the second half of the first beat (& of 1)

“Molly Malone”
also known as
“Cockles and Mussels”
1. In Dublin’s fair city, where girls are so pretty,
Was there that I found here sweet Molly Malone.
She wheeled a wheelbarrow through streets broad and narrow,
Singing, “Cockles and mussels, a-live, alive ho!”
Chorus:
“Alive, alive ho! Alive, alive ho!”
Singing, “Cockles and mussels, alive, alive ho.”
2.
 She was a fishmonger, but sure ’twas no wonder,
For so were her father and mother before,
And they wheeled their wheelbarrow, through streets broad and narrow,
Singing, “Cockles and mussels, alive, alive ho!”
Chorus
3. She died of a fever, and no one could save her,
And that was the end of sweet Molly Malone;
Now her ghost wheels her wheelbarrow, through streets broad and narrow,
Singing, “Cockles and mussels, alive, alive ho!”
Chorus
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Merry Minstrels

"Merry Minstrels," Lyrics, Text Format

Three part round: singing/playing the C major scale,
with an extended range, two octave skips,
and a compound interval (P8+M3=M10).

 

Description

  • Grade: Fifth
  • Origin: England – Traditional Scale Round
  • Key: C Major 
  • Time: 3/4
  • Form: ABC
  • Rhythm: beginners: | ta ta ta | ta/a ta | ta/a/a |
    | ta ti ti ti ti |
  • Pitches: advanced: Do Re Mi Fa So La Ti Do Re Mi – extended range
  • Intervals: advanced: Do/Mi8 (compound – P8+M3=M10th), Mi\Do (M3), Mi8\Mi descending mediant octave skip (P8), Do8\Do descending tonic octave skip (P8), Do/Fa (P4), Fa\Re (m3), Re/Ti(M6)
  • Musical Elements: notes: dotted half, half, quarter, eighth; three part round, singing/playing the C major scale (forwards and backwards), mediant and tonic octave skips, compound interval (M10), vocal slur, hearing and singing harmony 
  • Key Words: world geography: England; minstrel (medieval/middle ages: bard/poet who traveled singing stories), hatred, malice, destroy, sweetly, drive, harmony, banish, despair, hail, heavenly, sound, pleasure, earth
  • Recorder: intermediate: practicing the C Major Scale, forwards and backwards with repeated pitches, two octave skips, and a compound interval P8+M3=M10


“Merry Minstrels” 
We are merry minstrels soft music we enjoy,
For music does hatred and malice destroy.
We sing so sweetly, we drive away care,
And with our soft harmony banish despair.
The, hail, sweet music, hail, hail! heavenly sound,
No pleasure like music on earth can be found.
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