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5th Grade

Kum Ba Yah

"Kum Ba Yah," Lyrics, Text Format

Reading, singing, and playing three parts, singing in harmony, and
chord identification: tonic (I), subdominant (IV), dominate (V).

 

Description

  • Grade: Fifth
  • Origin: Africa – Traditional
  • Key: F Major 
  • Time: 3/4
  • Form: phrases: ABAC – song: AB, chorus/verse
  • Rhythm: intermediate: | ti/ ri ta ti ti |
    syncopation, | ta/a ti ti | ta/a ta | ti ta/ ti ti | syncopation
  • Pitches: intermediate: Mi Fa So La Ti Do Re Mi Fa So La
  • Intervals: intermediate: Do/Mi/So ascending tonic arpeggio (I, F), So\Do (P5), Mi\Do (M3), Do/Mi (M3), Do\So (P4), So/Do (P4)
  • Musical Elements: notes: half, dotted quarter, quarter, eighth; tied notes, syncopation, vocal slur, three part harmony, chorus/verse, chords: tonic triad (I, F), subdominant triad (IV, Bb), dominate triad (V, C), supertonic triad (ii, Ed – diminished), harmony 
  • Key Words: world geography: Africa; “Come By Here,” sacred, laughing, crying, praying, singing, camp song, scout song, civil rights song, protest song, prayer song; possessive: someone’s
  • Recorder: advanced: practicing B flat, three part ensemble, chord identification

 


“Kum Ba Yah”“Come By Here”

 
Chorus:
Kum ba yah, my Lord, Kum ba yah!
Kum ba yah, my Lord, Kum ba yah!
Kum ba yah, my Lord, Kum ba yah!
Oh, Lord, Kum ba yah!
1.
 Someone’s laughing, Lord, kum ba yah!
Someone’s laughing, Lord, kum ba yah!
Someone’s laughing, Lord, kum ba yah!
Oh, Lord, kum ba yah!
Chorus
2. Someone’s crying, Lord, kum ba yah!
Someone’s crying, Lord, kum ba yah!
Someone’s crying, Lord, kum ba yah!
Oh, Lord, Kum ba yah!
Chorus
3. Someone’s praying, Lord, kum ba yah!
Someone’s praying, Lord, kum ba yah!
Someone’s praying, Lord, kum ba yah!
Oh, Lord, Kum ba yah!
Chorus
4. Someone’s singing, Lord. kum ba yah!
Someone’s singing, Lord. kum ba yah!
Someone’s singing, Lord. kum ba yah!
Oh, Lord, Kum ba yah!
Chorus
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Keep in the Middle of the Road

"Keep in the Middle of the Road," Lyrics, Text Format
"Keep in the Middle of the Road," Lyrics, Text Format

Advanced syncopation, extended range, with an
American Southern English dialect.

 

Description

  • Grade: Fifth
  • Origin: USA – African American Spiritual
  • Key: D Major
  • Time: 2/4
  • Form: AB – verse/chorus
  • Rhythm: advanced: | ti ti ti ti | ti ti ta |
    | ti ti ri ti ri ti ri | syncopation, | ta (ti) ti ri |
    | ti ti ti ti ri | syncopation, | ti ti ti ri ti ri | syncopation, | ti ti ti ti ri | syncopation,
    | ti ri ti ti ri ti ri | syncopation, | ri ti ri ta |
    | ti ti ri ti ti ri | syncopation, | ti ti ri ti ri | syncopation, | ta (ti) ti |
  • Pitches: intermediate: So La Ti Do Re Mi Fa So La Do – extended range
  • Intervals: intermediate: So\Mi/So (m3), Mi\Do (M3), Do/So (P5), So/Do8 (P4), Do8\So (P4), La/Do8 (m3), La\Mi (P4), Do/Mi (M3), Do/Fa (P4), Fa/La\Fa (M3)
  • Musical Elements: notes: quarter, eighth, sixteenth; rest: eighth; pickup beat, vocal slur, syncopation, extended vocal range, tied notes, verse/chorus
  • Key Words: USA history, African American history, sacred, loud, wait, children, right, left, white gate, road, rough, fix, golden star, bound, am (verb), crown, weary band, world of sin, knock,chance, sinful things, tired, die, watch, sky, wings, fly; contractions: gonna (going to), ain’t (is not) don’t (do not), I’ll (I will), they’ll (they will), you’ll (you will), we’re (we are); abbreviations: callin’ (calling), waitin’ (waiting), standin’ (standing), ’round (around), ’cause (because)

 

“Keep in the Middle of the Road” 
1. I hear them angels calling loud:
Keep in the middle of the road,
They are waitin’ there in a great big crowd,
Keep in the middle of the road.
I see them standin’ ’round the big white gate,
Gonna travel along before it gets too late,
For it ain’t no use for to sit down, and wait,
Right in the middle of the road.
Chorus:
So children, keep in the middle of the road,
Children, keep in the middle of the road ,
Don’t you look to the right, don’t you look to the left,
Just keep in the middle of the road.
2.
 I ain’t got time for to stop and talk
Keep in the middle of the road.
‘Cause the road am rough and it’s hard for to walk,
Keep in the middle of the road.
I’ll fix my eye on the golden stair,
And I’ll keep on a-going till I get there
‘Cause my head am bound for the crown to wear
Keep in the middle of the road.
Chorus
3. Come and join our weary band
Keep in the middle of the road.
Cause we’re bound for home in the happy land
Keep in the middle of the road.
Turn your back on this world of sin
Just knock at the door, and they’ll let you in
Cause you’ll never gonna get such a chance again
Keep in the middle of the road.
Chorus
4. This world am full of sinful things,
Then keep in the middle of the road.
When your feet get tired, just put on them wings,
Keep in the middle of the road.
If you lay down in the road and die,
You can watch them angels in the sky,
You can put on wings and get up and fly,
Keep in the middle of the road.
Chorus
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Johnny Has Gone for a Soldier

"Down by the Bay" Lyrics, Text Format

One for the girls: four note ascending submediant arpeggio, syncopation, and an imperfect ending on the sixth, La.

 

Description

  • Grade: Fifth
  • Origin: USA – Folk Song American Revolutionary War
    circa. 1875-1883
  • Key: C Major 
  • Time: 4/4
  • Form: through composed
  • Rhythm: beginners: | ta ta ta ta | ti ti ta ta/a |
    | ta/ ti ta/ ti | syncopation, | ta ta ta/ ti | syncopation, | ta ta ta ti ti | ti ti ta ta ti ti |
    | ta/a ta/a |
  • Pitches: intermediate: Do Re Mi So La Ti Do
  • Intervals: intermediate: La\Mi (P4), Mi/So\Mi/So (m3), So\Do (P4), Do/Mi/La/Do8 ascending tonic arpeggio (vi, Am), Ti\So (M3)
  • Musical Elements: notes: half, dotted quarter, quarter, eighth; fermata, imperfect ending: melody ends on the sixth (La) which is in keeping with the subject (imperfect endings do not end on the tonic, (1, Do), ascending submediant arpeggio, syncopation 
  • Key Words: USA history, American Revolutionary War; world geography: tune has Irish (Ireland) origins; girlfriend’s lament, leaving for war, separated by war, Buttermilk Hill, blame, cry my fill, tear, mill, woe, soldier, rod and reel, spinning wheel, sword of steel, dye, dress, red, through, streets, beg, bread, lad, fled; contraction: I’ll (I will); abbreviation: ev’ry (every)
  • Recorder: intermediate: Excellent sixth (6th) tune following the Beginning Recorder Songs.

 


“Johnny Has Gone for a Soldier”
also known as
“Buttermilk Hill” 
1.
 There I sat on Buttermilk Hill.
Who could blame me, cry my fill?
And ev’ry tear would turn a mill;
Johnny has gone for a soldier.
2.
 Me, oh my, I loved him so:
Broke my heart to see him go,
And only time will heal my woe;
Johnny has gone for a soldier.
3. I’ll sell my rod, I’ll sell my reel,
Likewise I’ll sell my spinning wheel,
And buy my love a sword of steel,
Johnny has gone for a soldier.
4. I’ll dye my dress, I’ll dye it red,
And through the streets I’ll beg for bread,
For the lad that I love from me has fled,
Johnny has gone for a soldier.
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John Henry

"John Henry," Lyrics, Text Format

Syncopated rhythm variations for verse syllables, lowered/flat leading
tone (7, Ta), and two descending tonic arpeggios with a sixth (I6, C6).

 

Description

  • Grade: Fifth
  • Origin: USA – Traditional Southern Folk Song
    circa: 1870’s
  • Key: C Major
  • Time: 4/4
  • Form: ABbCc
  • Rhythm: intermediate: | ti ta ti ti ti ti ti | syncopation, | ti ti ta/ (ti) ti ti | syncopation,
    | ta ta ti ta/ | syncopation, | ta/a (ta) ti ti |
    | ta ta ta ti ti | ta ta ti ti ti ti |
  • Pitches: intermediate: Do Re Mi So La Ta Do – lowered leading tone (7, Te) – blue note
  • Intervals: intermediate: La/Do8 (m3), Do8\La (m3), La\Mi (P4), Do/So (P5), Do8\So (P4), So/Te(m3), Te\La (m2), La\So\Mi\Do descending tonic arpeggio with added sixth (I6, C6), Mi/La (P4)
  • Musical Elements: notes: half, dotted quarter, quarter, eighth; rests: quarter, eighth; pickup beat, repeat signs, first and second endings, tonic arpeggio (I6, C6), blue note, vocal slur, ballad; rhythm variations to match verse syllables, note:more commonly preformed with a fast tempo, originally sung slowly to pace the hard labor and save lives
  • Key Words: USA history, pre-industrial laborer’s “hammer song,” prison convict labor system, railroad steam drill, railroad steam powered hammer, folk lore, legends, man against machine, ballad, sad, lonesome, death of me, Lord, captain, steam drill, contractions: gonna (going to), I’ll (I will), ain’t (is not); abbreviations: sittin’ (sitting), hammerin’ (hammering), steel-drivin’ (steel-driving) ’round (around), nothin’ (nothing), lightnin’ (lightning) ; possessive: daddy’s,
  • Recorder: intermediate: introducing the B flat (blue note, lowered seventh)


“John Henry”
also known as
“The Ballad of John Henry” 
1.
 When John Henry was just a little baby,
Sittin’ on his daddy’s knee,
He gave one long sad and lonesome cry,
Said, “A hammer be the death of me, Lord, Lord.”
Said, “A hammer be the death of me.”
2.
 Well, the captain said to John Henry,
“Gonna bring that steam drill ’round,
Gonna take that steam drill out on the job,
Gonna whop that steel on down, Lord, Lord.
Gonna whop that steel on down.”
3. John Henry told his captain,
“Well, a man ain’t nothin’ but a man,
But before I let your steam drill beat me down,
I’ll die with a hammer in my hand, Lord, Lord.
I’ll die with a hammer in my hand.”
4. Oh, the man that invented the steam drill,
He thought that he was mighty fine,
But John Henry drove his steel fifteen feet,
And the steam drill drove only nine, Lord, Lord.
Gonna whop that steel on down.”
5. John Henry kept hammerin’ on the mountain,
There was lightnin’ in his eye.
He drove so hard that he broke his heart,
And he laid down his hammer and he died, Lord, Lord.
And he laid down his hammer and he died.
6. They carried him off to the graveyard,
They buried him in the sand.
And people came from near and far,
To praise that steel-drivin’ man, Lord, Lord.
To praise that steel-drivin’ man.
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The John B. Sails

"The John B. Sails," Lyrics, Text Format
"The John B. Sails," Lyrics, Text Format

Advanced syncopation, mastering So/Mi (M6),
and a raised/sharped supertonic (2, Ri).

 

Description

  • Grade: Fifth
  • Origin: Bahama Island, Nassau Folk Song
  • Key: G Major
  • Time: 4/4
  • Form: AB – verse/chorus
  • Rhythm: advanced: | ti ta ti ta ta | syncopation,
    | ta/a (ta) ta | ta/ ta ti ta | syncopation, |
    | ta/a ti ta/ | syncopation, | ta/a ti ti ta | ta/a/a/a |
    | ta (ti) ta ti ta | syncopation, | (ta) ti ta ti ta | syncopation, | (ta/a) ta ta | ta ti ta ta/ | syncopation, | (ta/a) (ta) ta | ta/a (ta/a) |
    | ta/ ta ti ta | syncopation, | ti ta ti ti ti ta | syncopation, | (ta) (ti) ta/ ta | syncopation
  • Pitches: intermediate: So La Ti Do Re Ri Mi Fa So – raised/sharp supertonic (2, Ri)
  • Intervals: intermediate: So/Mi (M6), Mi\So (M6), Re\So (P5), Mi\Ri/Mi (m2), Mi\Do (M3)
  • Musical Elements: notes: whole, half, dotted quarter, quarter, eighth; rests: half, quarter, eighth; pickup beat, two double barlines, syncopation, tied notes, vocal slur; verse/chorus
  • Key Words: world geography: Bahama Islands, Nassau Town; sloop (boat), grandfather, roam, sights, breakup, hoist, ashore, drunk, first mate, broke, constable, sheriff, John Stone, cook, caught, fits, throw, grits, worst; contractions: I’ve (I have) abbreviations: walkin’ (walking), seein’ (seeing), mains’l (main sail), capt’n (captain) possessive: people’s
  • Recorder: advanced: introducing F# and A#

“The John B. Sails” 
1. Oh, we come on the sloop John B.
My grandfather and me,
Around Nassau town we did roam.
Walkin’ all night
Just seein’ the sights,
Well, I feel so breakup, I want to go home.
Chorus:
So hoist up the John B. sails,
See how the mains’l sets,
Send for the Capt’n ashore,
Let me go home,
Please let me go home,
I want to go home,
Well, I feel so breakup
I want to go home.
2.
 First mate, he got drunk.
Broke up the people’s trunk.
Constable had to come and take him away.
Sheriff John Stone,
Why don’t you leave me alone?
Well, I feel so break-up, I want to go home.
Chorus
3. Well, the poor cook he caught the fits.
Throw away all of my grits.
Then he took and he ate up all of my corn.
Let me go home.
I want to go home.
This is the worst trip since I’ve been born.
Chorus
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Jefferson and Liberty

"Jefferson and Liberty" Lyrics, Text Format
"Jefferson and Liberty" Lyrics, Text Format

Syncopation on 6/8 time, feeling duple meter in 6/8,
submediant (vi/Fm) and dominant (V/Eb) arpeggios,
lowered/natural dominant (Se).

 

Description

  • Grade: Fifth
  • Origin: Ireland/USA – music: Irish Jig: The Gobby-O
    words: Traditional
  • Key: F minor (pitched in A flat Major)
  • Time: 6/8
  • Form: AB – verse/refrain
  • Rhythm: beginners: | ta ti ti ti ti | ta ti ta ti | syncopation, | ti ti ti ta ti | syncopation,
    | ti ti ti ti ti ti | ta ti ta ti ri | syncopation
  • Pitches: intermediate: Mi Se So La Ti Do Re Mi Fa So – natural dominant (Se)
  • Intervals: intermediate: M2: La\Se; m3: Do\La, La/Do, Ti\So, Ti/Re, So/Ti, So8\Mi; M3: Do/Mi8; P4: La\Mi/La, La8\Mi; P5: Ti\Mi; arpeggios: ascending submediant La/Do/Mi (vi/Fm), descending dominant Re\Ti\So (V/Eb)
  • Musical Elements: notes: dotted quarter, quarter, eighth, sixteenth; pickup beat, repeat signs, multiple endings, fermata, accidental: natural dominant (Se), syncopation in 6/8, feeling duple meter in 6/8, repeated melodic rhythm patterns, verse/refrain
  • Key Words: world geography: Ireland, Irish Jig: “Gobby-O”; Europe; USA, Georgia, Lake Champlain, Mississippi, Columbia, presidential campaign rally song; gloomy, reign of terror, gags, inquisitors, spies, hordes, harpies, tyrants, varied, clime, dales, majesty, sublime, immortal, prevails, illustrious, virtues, assume, sway, temple, preside, immense, hireling, tyranny, lording, gorging jaws, industry, bigot, amidst, abundant, nobler, spread, lofty, dreary, humble, expanded, sect, sacred, privilege, worship, Deity, thine, fought, inspiration, glorious, foes, dread, ye, proclaim; abbreviations: o’er (over), hallow’d (hallowed), e’er (ever), array’d (arrayed), injur’d (injured), compell’d (compelled), laurel’d (laureled), mem’ries (memories)


“Jefferson and Liberty” 
1.
 The gloomy night before us flies,
The reign of terror now is o’er;
Its gags, inquisitors and spies,
Its hordes of harpies are no more.
Refrain:
Rejoice, Columbia’s sons, rejoice
To tyrants never bend the knee
But join with heart, and soul and voice
For Jefferson and Liberty.
2.
 O’er vast Columbia’s varied clime
Her cities, forests, shores, and dales;
In riding majesty, sublime,
Immortal liberty prevails.
Refrain
3. Hail! long expected glorious day
Illustrious memorable morn:
That freedom’s fabric from decay
Secures – for millions yet unborn.
Refrain
4. His country’s glory, hope and stay,
In virtues and in talents tried;
Now rises to assume the sway,
O’er freedom’s temple to preside.
Refrain
5. Within its hallow’d walls immense
No hireling band shall e’er arise;
Array’d in tyranny’s defense,
To hear an injur’d people’s cries.
Refrain
6. No lordling here with gorging jaws.
Shall wring from industry its food;
No fiery bigot’s holy laws,
Lay waste our fields and streets in blood.
Refrain
7. Here strangers from a thousand shores
Compell’d by tyranny to roam;
Shall find, amidst abundant stores,
A nobler and a happier home.
Refrain
8. Here art shall lift her laurel’d head
Wealth industry and peace divine;
And where dark forests lately spread
Rich fields and lofty cities shine.
Refrain
9. From Europe’s wants and woes remote
A dreary waste of waves between;
Here plenty cheers the humble cot,
And smiles on every village green.
Refrain
10. Here, free as air’s expanded space,
To every soul and sect shall be;
That sacred privilege of our race,
The worship of the Deity.
Refrain
11. These gifts, great Liberty, are thine,
Ten thousand more we owe to thee; Immortal may their mem’ries shine,
Who fought and died for Liberty.
Refrain
12. What heart but hails a scene so bright
What soul but inspiration draws;
Who would not guard so dear a right
Or die in such a glorious cause.
Refrain
13. Let foes to freedom dread the name,
But should they touch the sacred tree
Twice fifty thousand swords would flame,
For Jefferson and Liberty.
Refrain
14. From Georgia up to Lake Champlain
From seas to Mississippi’s shore;
Ye sons of freedom loud proclaim,
The Reign of Terror is no more.
Refrain
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Jamaica Farewell – NEW

Jamaica Farewellg Text Format
Jamaica Farewellg Additional Languages

Beginners pitches and intervals allow for extra time to master the advanced syncopated calypso rhythms.

 

Description

• Grade: Fifth (5)

• Origin: Traditional Caribbean Song

• Key: C Major

• Time: 4/4

• Form: ABCD

• Rhythm: advanced: | (ti) ta ti ta ti ti | ta ti ta/ ta ti | ta ta ti ti ti ti | ti ta ti (ta/a) | ti ta ta ti ti ti | (ti) ti ti ti ti ta ti | ta ti ta ti (ti) ti | (ti) ta ti ta (ti) ti | ti ti ti ta/ (ti) ti | ti ta ta ti ti ti | ti ti ti ta ti ti ti | ta ti ta/ (ta) | ta ta ta ti ti |

• Pitches: beginners: Ti Do Re Mi Fa So La Ti Do

• Intervals: beginners: Do/Mi/So ascending tonic triad, Re/Fa (m3)

• Musical Elements: • notes: quarter, eighth; rests: quarter, eighth; advanced syncopated rhythms with tied notes, ascending tonic arpeggio,

• Key Words: • Geography: Kingston, Jamaica, Caribbean, Mexica: work song, dock song, sailing ship, calypso rhythms, Ackee (tropical tree w/fruit), rice, salt, fish, love song


“Jamaica Farewell”
as sung by Harry Belafonte
1. Down the way,
Where the nights are gay,
And the sun shines daily on the mountain top.
I took a trip on a sailing ship,
And when I reached Jamaica I made a stop.
Refrain
But I’m sad to say I’m on my way.
Won’t be back for many a day.
My heart is down,
My head is turning around,
I had to leave a little girl in Kingston town.
2. Sounds of laughter everywhere,
And the dancing girls swing to and fro.
I must declare my heart is there,
Though I’ve been from Maine to Mexico.
Refrain
3. Down at the market you can hear,
Ladies cry out while on their heads they bear.
Ackee, rice, salt, fish are nice,
And the rum is fine any time o’ year.
Refrain
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I Want a Girl Just Like the Girl That Married Dear Old Dad

"I Want a Girl Just Like the Girl That Married Dear Old Dad," Lyrics, Text Format

Introducing the raised/natural supertonic (2, Ri, D# on recorder, with the popular chorus from a turn of the century song.

 

Description

  • Grade: Fifth
  • Origin: USA – words: William Dillion – music: Harry Von Tilzer (1911)
  • Key: A Flat Major
  • Time: 2/4
  • Form: through composed
  • Rhythm: beginners: | ta/a | ti ti ta | ti ti ti ti |
    | ta ta | ta/ ti | syncopation
  • Pitches: intermediate: Mi Fa So La Ti Do Re Ri Mi – raised/natural supertonic (2, Ri)
  • Intervals: intermediate: So\Mi (m3), So/Do (P4), Do\La (m3), Do/La (m3), Do\So (P4), La/Re (P4), Re/Ri (m2), Ri/Mi8 (m2), Ti\So (M3)
  • Musical Elements: notes: half, dotted quarter, quarter, eighth; rests: quarter, eighth; stepping up chromatically Re/Ri/Mi (Bb/B/C), tied notes, natural sign
  • Key Words: Mother’s day, turn of the century popular song, 2nd most popular song in 1911, married, pearl, old fashioned, heart, true, nobody else
  • Recorder: intermediate: introducing D#

A popular barbershop quarter selection best know for the chorus represented here.


“I Want a Girl Just Like the Girl That Married Dear Old Dad”

I want a girl, just like the girl that married dear old Dad.
She was a pearl, and the only girl that Daddy every had;
A good old fashioned girl with heart so true,
One who loves nobody else but you;
I want a girl, just like the girl that married dear old Dad.
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It Came Upon A Midnight Clear

"It Came Upon A Midnight Clear" Lyrics, Text Format
"It Came Upon A Midnight Clear" Lyrics, Text Format

Beginners syncopation, two accidentals: natural and sharp,
and a mediant octave skip.

 

Description

  • Grade: Fifth
  • Origin: USA – Christmas Carol, words: Edmond Sears, 1849, music: Richard Willis, 1861
  • Key: B Flat Major
  • Time: 3/4
  • Form: ABCB
  • Rhythm: beginners: | ta ti ti ti ti | ta ti ta ti | syncopation, | ti ti ti ti ti ti | ta/a ti | syncopation
  • Pitches: intermediate: Mi Fe So Si La Ti Do Re Mi – accidentals: natural/lowered subdominant (Fe), raised/sharp dominant (Si)
  • Intervals: intermediate: m2: Si/La; M2: Mi/Fe, Fe/Si; m3: Ti/R; M3: Do/Mi8; P4: Mi\Ti, So/D;
    P5    : Re\So; M6: So/Mi; P8: Mi\Mi (mediant octaveskip)
  • Musical Elements: notes: dotted quarter, quarter, eighth; pickup beat, ties notes, mediant octave skip, melodic rhythm patterns, accidentals: natural, sharp
  • Key Words: USA history, sacred, Christmas carol, Christmas hymn, midnight, glorious, Heaven, gracious, solemn, stillness, angels, cloven skies, peaceful, unfurled, heavenly, music floats, weary, lowly plains, hovering, Babel sounds, blessed, woes, sin and strife, suffered, beneath, angel-strain, thousand, crushing, whose, toil, climbing, painful, weary, hastening, prophet, bards, foretold, ever-circling, ancient, splendors, fling; abbreviations: o’er (over); possessive: life’s


“It Came Upon A Midnight Clear” 
1.
 It came upon a midnight clear,
That glorious song of old,
From angels bending near the earth,
To touch their harps of gold;
“Peace on the earth, good will to men,
From Heaven’s all gracious King.”
The world in solemn stillness lay,
To hear the angels sing.
2.
 Still through the cloven skies they come,
With peaceful wings unfurled,
And still their heavenly music floats
O’er all the weary world;
Above its sad and lowly plains,
They bend on hovering wing,
And ever o’er its Babel sounds
The blessed angels sing.
3. Yet with the woes of sin and strife
The world has suffered long;
Beneath the angel-strain have rolled
Two thousand years of wrong;
And man, at war with man, hears not
The love-song which they bring;
O hush the noise, ye men of strife,
And hear the angels sing.
4. And ye, beneath life’s crushing load,
Whose forms are bending low,
Who toil along the climbing way
With painful steps and slow,
Look now! for glad and golden hours
Come swiftly on the wing.
O rest beside the weary road,
And hear the angels sing!
5. For lo!, the days are hastening on,
By prophet bards foretold,
When with the ever-circling years
Comes round the age of gold
When peace shall over all the earth
Its ancient splendors fling,
And the whole world give back the song
Which now the angels sing.
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I Ride an Old Paint

"I Ride an Old Paint," Lyrics, Text Format
"I Ride an Old Paint," Lyrics, Text Format

Intermediate syncopation, melodic rhythm patterns,
and a cowboy’s vocabulary lesson.

 

Description

  • Grade: Fifth
  • Origin: USA – Cowboy Song
  • Key: G Major
  • Time: 3/4
  • Form: phrases: ABb – song: AB, verse/chorus
  • Rhythm: intermediate: | ta/ ti ta | syncopation,
    | ti ta/ (ti) ti | syncopation, ta/a ti ti | ta/ ti ti ti | syncopation, | ta ta ta | ta ta ti ti |
  • Pitches: beginners: So La Ti Do Re Mi
  • Intervals: beginners: So/Do (P4), Do\La (m3), So/Re (P5), Do/Mi (M3), Ti\So/Ti (m3)
  • Musical Elements: notes: half, dotted quarter, quarter, eighth; pickup beat, vocal slur, syncopation, melodic rhythm patterns, verse/chorus
  • Key Words: USA history, USA geography: Montana; westward expansion, cowboy life, cowboy vocabulary,* herding song, Paint, lead, Dan, hoolihan, coulees, draw, mated, raw, doggies, fiery, snuffy, raring to go, daughter, son, college, killed, wife, poolroom, fight, singing, die, saddle, pony, stall, bones, west, prairie; contraction: we’ll (we will) abbreviation: Montan’ (Montana), mornin’ (morning)
  • Recorder: intermediate: Excellent follow-up to the Beginning Recorder Songs!

* see cowboy vocabulary below lyrics

 

“I Ride an Old Paint” 
1. I ride an old paint, I lead an old Dan.
I’m goin’ to Montan’ just to throw the hooluhan,
They feed in the coulees, they water in the draw,
Their tails are all matted, their backs are all raw.
Chorus:
Tide around little doggies,
Ride around them slow,
For the fiery and snuffy
Are raring to go.
2.
 Bill Jones had a daughter, Bill Jones had a son,
The son went to college, the daughter went wrong,
His wife she got killed in a poolroom fight,
And still he keeps singing from mornin’ till night.
Chorus
3. Oh, when I die take my saddle from the wall,
And put it on my pony, lead him out of the stall,
Tie my bones to his back, turn our faces to the west,
And we’ll ride the prairie that we love the best.
Chorus
Cattle herding songs subdued the stock and provided
entertainment around the campfire.Cowboy vocabulary:

Paint: two toned (colored) breed of horse
Dan: breed of quarter horse
coulee: (or coulée): deep steep-sided ravine formed by erosion
draw: small natural depression where water drains;
a shallow gully
hoolihan:fast overhand rope throw with an open loop
used to catch a horse in a corral
doggies: motherless calves.
fiery/snuffy nervous, skittish cattle that want to break
away from the herd
Additional Formats (click to enlarge)
music
"I Ride an Old Paint," Music Format		 beats
Click to enlarge: "I Ride an Old Paint," Beats Format		 rhythm
Click to Enlarge: "I Ride an Old Paint," Rhythm Format
pitch numbers
Click to Enlarge: "I Ride an Old Paint," Pitch Number Format		 solfeggio
Click to Enlarge: "I Ride an Old Paint," Solfeggio Format		 letter names
Click to Enlarge: "" Letter Names Format