Melody of the verses is centered around the dominate (So)
resolving to the tonic (Do) in the refrain.

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Description

• Grade: Fourth
• Origin: 17 Century Cradle Song
• Key: A Major
• Time: 3/4
• Form: AB, verse/refrain
• Rhythm: beginners: | ta ta ta | ta/a ta | ta/a/a |
  | ta ta/a |
• Pitches: intermediate: Mi Fa So La Ti Do Re Mi Fa So
• Intervals: advanced: So\Mi, So/Mi8, Do\La, Ti\So, Do/Mi8, Mi8\La, La/Re, Re\So, So/Ti, Do\So, So/Re\So, Re\La
• Musical Elements: notes: dotted half, half, quarter; rest: quarter; tied notes, vocal slurs
• Key Words: lullaby, cradle song, slumbers, kiss your eyes, smiles, await, rise, sleep, loved one, cry, sing, cares, mother, safe watch, keep

“Golden Slumbers” 

	1.	Golden slumbers kiss your eyes, Smiles await you when you rise.
		Refrain:
		Sleep, pretty loved one, do not cry, And I will sing a lullaby, Lullaby, lullaby, lullaby.
	2.	Cares you know not, go to sleep, Mother here safe watch will keep.
		Refrain

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Minor tonality, syncopation, and a melody
stepping up and down the staff.

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Description

• Grade: Fifth
• Origin: England – Traditional Carol
• Key: D minor (pitched in F Major)
• Time: 4/4
• Form: AB – verse/refrain
• Rhythm: beginners: | ta ta ta ta | ta/a/a ta |
  | ta/a ta ta | ta/a ti ti ta | syncopation
• Pitches: intermediate: So La Ti Do Re Mi Fa So La
• Intervals: intermediate: La/Mi (P5), Mi\La (P5), Fa\Re (m3), La8\Mi (P4), Do\La (m3), La/Do (m3), La/Re (P4) – melody moves primarily by steps
• Musical Elements: notes: dotted half, half, quarter, eighth; pickup beat, syncopation, minor tonality, verse/refrain
• Key Words: world geography: England, Bethlehem, Israel; scared, Christmas carol, Christmas hymn, birth of Jesus, Bible story, Christ, Saviour, Satan, holiday song, seasonal song, astray, Jewry, blessed, manger, mother Mary, scorn, tiding, comfort, God, heavenly, Father, angel, shepherds, brought, Son of God, affright, Savior, Virgin, rejoiced, flocks, tempest, straight, oxen, kneeling, pray, praises, brotherhood, embrace, holy tide, doth deface, reign, kindred; abbreviation: Bethl’em (Bethlehem), pow’r (power)
• Recorder: intermediate: introducing B flat, D minor tonality

“God Rest You Merry Gentlemen” 

		1.	God rest you merry, gentlemen, Let nothing you dismay, For Jesus Christ our Saviour Was born upon this day, To save us all from Satan’s pow’r When we were gone astray:
			Refrain:
			O tidings of comfort and joy, comfort and joy, O tidings of comfort and joy.
		2.	In Bethlehem in Jewry This blessed Babe was born, And laid within a manger, Upon this blessed morn; The which His mother Mary Did nothing take in scorn:
			Refrain
		3.	In Bethlehem, in Israel, This blessed Babe was born, And laid within a manger Upon this blessed morn; The which His mother Mary Did nothing take in scorn:
			Refrain
		4.	From God our heavenly Father A blessed angel came; And unto certain shepherds Brought tidings of the same; How that in Bethlehem was born The Son of God by name.
			Refrain
		5.	“Fear not, then,” said the angel, “Let nothing you affright This day is born a Savior Of a pure Virgin bright, To free all those who trust in Him From Satan’s power and might.”
			Refrain
		6.	The shepherds at those tidings Rejoiced much in mind, And left their flocks a-feeding In tempest, storm and wind, And went to Bethl’em straightaway This blessed Babe to find.
			Refrain
		7.	But when to Bethlehem they came Where our dear Savior lay, They found Him in a manger Where oxen feed on hay; His mother Mary kneeling Unto the Lord did pray.
			Refrain
		8.	Now to the Lord sing praises All you within this place, And with true love and brotherhood Each other now embrace; This holy tide of Christmas All others doth deface.
			Refrain
		9.	God bless the ruler of this house, And send him long to reign, And many a merry Christmas May live to see again; Among your friends and kindred That live both far and near:
			That God send you a happy new year, happy new year, And God send you a happy new year.

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Minor tonality, syncopation, and a raised dominate (Si) which functions as the leading tone to the parallel G Major.

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Description

• Grade: Fifth
• Origin: USA – African American Spiritual, circa. 1862
• Key: G minor (pitched in B Flat Major)
• Time: 4/4
• Form: staves: AABC – song AB, verse/refrain
• Rhythm: beginners: | ta ta ta ta | ta ta ta/a |
  | ta ta ti ta/ | syncopation, | ta/a/a ta | ta/a/a/a |
  | ta ta/a ta | ta ta/a/a |
• Pitches: intermediate: Mi Si* La Ti Do Re Mi – raised/sharp dominate (Si, G#), functions as the leading tone to the parallel Major, G
• Intervals: intermediate: Mi/Do (M6), Do\La (m3), La\Mi (P4), Mi/Si (M3), Si/La (m2), La/Re (P4)
• Musical Elements: notes: whole, dotted half, half, dotted quarter, quarter, eighth; pickup beat, melodic rhythm patterns, vocal slur, raised/sharped dominate (Si)
• Key Words: USA history, African American history, sacred, world geography: Bible stories, Israel, Egypt, Canaan; contraband slave song, contraband slaves (escaped slaves working/fighting for the Union during the American Civil War) oppressed, Pharaoh, bondage, toil, spoil, flee, Christ, free, weep, mourn, chains, forlorn, foes, possess; contraction: you’ll (you will); abbreviations: slav’ry (slavery); possessive: Egypt’s, Canaan’s
• Recorder: intermediate: introducing G#, A minor tonality

*Although composed in G minor, the raised 7th (5th in major tonality) ending the first, second, and fourth phrases gives the feeling of ending in G Major. This also supports the lyrics strong statement, “Let my people go!”

“Go Down, Moses” 

		1.	When Israel was in Egypt’s land, Let my people go! Oppressed so hard they could not stand, Let my people go!
			Refrain:
			Go down, Moses, Way down in Egypt’s land. Tell old Pharaoh, To let my people go!
		2.	No more shall they in bondage toil, Let my people go! Let them come out with Egypt’s spoil, Let my people go!
			Refrain
		3.	Oh, let us all from bondage flee, Let my people go! And let us all in Christ be free, Let my people go!
			Refrain
		4.	You need not always weep and mourn, Let my people go! And wear these slav’ry chains forlorn, Let my people go!
			Refrain
		5.	Your foes shall not before you stand, Let my people go! And you’ll possess fair Canaan’s land, Let my people go!
			Refrain

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Advanced syncopation on the second quarter of the second beat, the second half of the second beat, and the second half of the first beat.

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Description

• Grade: Fourth
• Origin: USA – African American Spiritual, cir. 1872
• Key: G Major
• Time: 2/4
• Form: ABA, refrain/verse/refrain
• Rhythm: advanced: | ta/ ti ri | ti ti ri ti/ | syncopation, | ti ta ti | syncopation, | ti ti ti ri ti |
  | ta (ti) ti | ti ti ti/ ri | syncopation
• Pitches: beginners: So La Do Re Mi
• Intervals: intermediate: Mi\Do\La descending vi arpeggio (Em), La/Do, Do/Mi, Mi\Do\So descending tonic arpeggio, So/Do, Do\La, Do\So – contrasting the descending intervals Do\La and Do\So
• Musical Elements: notes: dotted quarter, quarter, dotted eighth, eighth, sixteenth; rest: eighth; pickup beat, fermata, Da Capo al Fine, Fine, two double barlines, syncopation
• Key Words: USA history, sacred, Civil Rights song, Underground Railroad, African American history, gospel train, whistle, curve, loosened, steam engine, steam brakes, nerve, fare, cheap, rich, poor, second class, aboard, difference; abbreviations; comin’ (coming), blowin’ (blowing), rumblin’ (rumbling)strainin’ (straining), ev’ry (every); contractions: there’s (there is), train’s (train is), she’s (she is)

“Get on Board” 

		Refrain:
		Get on board, little children, Get on board, little children, Get on board, little children, There’s room for many a more.
	1.	The gospel train’s a-comin’, I see it close at hand I hear the whistle blowin’ And rumblin’ through the land.
		Refrain
	2.	I hear that train a-comin’; She’s comin’ round the curve. She’s loosened all her steam and breaks And strainin’ ev’ry nerve.
		Refrain
	3.	The fare is cheap and all can go; The rich and poor are there. No second class aboard this train; No difference in the fare.
		Refrain

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Introducing the major/minor sixths, an augmented second,
and an accidental: natural sign (raised tonic, Di).

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Description

• Grade: Fifth
• Origin: USA – George M. Cohan, circa: 1904
• Key: A Flat Major
• Time: 2/4
• Form: AB – verse/chorus
• Rhythm:intermediate: | ta ta | ti ta/ | syncopation,| ta/a_|_a ti ti | (_=tie) syncopation,
  | ta/ ti | syncopation, | ti ta ti | syncopation,
  | ta ti ti | ti ti ti ti |
• Pitches: intermediate: Mi Fa So La Ti Do Di Re Mi Fa – natural/raised tonic Di
• Intervals: intermediate: A2: Mi\Di (augmented second) M3: Ti\So, Di\La; m3: Mi\Do, Do\La, La/Do, Re\Ti; m6: Do\M; P4: So/Do; M6: La/Fa
• Musical Elements: notes: half, dotted quarter, quarter, dotted eight, eight, sixteenth; rests: eighth, quarter; double single bar, repeat signs, first and second endings, verse/chorus, accidentals: natural; tempo: di Marcia: march; vocal slur, ties
• Key Words: USA – Broadway, musical: “Little Johnny Jones” (title character played by composer), James Cagney, Al Jolson, film: “Yankee Doodle Dandy”, Yankee, foreign, shore, Old New York: Waldorf, Herald Square, Forty-Second Street, Coney Island; tear dimmed eyes, mention, doubt, pier, Isle, mingle, throng, yearning; abbreviations: e’er (ever), ev’ry (every), ’round (around); possessive: ship’s, contraction: they’re (they are)

“Give My Regards To Broadway” 

	1.	Did you ever see two Yankees part upon a foreign shore When the good ship’s just about to start for Old New York once more? With a tear-dimmed eye they say goodbye, they’re friends without a doubt; When the man on the pier shouts, “Let them clear!”, as the ship strikes out…
		Chorus:
		Give my regards to Broadway, remember me to Herald Square, Tell all the gang at Forty-Second Street, that I will soon be there; Whisper of how I’m yearning to mingle with the old time throng; Give my regards to old Broadway and say that I’ll be there e’re long.
	2.	Say hello to dear old Coney Isle, if there you chance to be, When you’re at the Waldorf[1] have a “smile” [2] and charge it up to me; Mention my name ev’ry place you go, as ’round the town you roam; Wish you’d call on my gal, now remember, old pal, when you get back home…
		Chorus

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Syncopation on the last quarter of the first beat,
lowered/flat seventh (Te) (blue note) in the refrain
which is centered around the dominate, So.

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Description

• Grade: Fourth
• Origin: USA – Cowboy Song
• Key: C Major
• Time: 6/8
• Form: AB – verse/refrain
• Rhythm: intermediate: | ti/ ri ti ti ti ti | syncopation, | ti ti ti ti ti ti | ti ti ti ta ti ri |
  | ta ti ta ti ri | syncopation, | ta ti ti ti ti |
  | ti ti ti ta ti |
• Pitches: intermediate: Do Re Mi Fa So Te Do – flat/lowered seventh (Te) – blue note
• Intervals: advanced: Do/Mi\Do, Do/Fa, So\Re, So\Do, So/Te, Te\So, So/Do8, Do8\So, Fa/Te
• Musical Elements: notes: quarter, dotted eighth, eighth, sixteenth; pickup beat, lowered 7th (Te), syncopation, blue note
• Key Words: USA geography, Wyoming, USA history, cowboy vocabulary: spurs, cowpuncher, git, dogies (cows), chuck-wagon, whoopee, ti-yi-yo, brand, bob tails, round up, throwed; pleasure, spied, jingling, misfortune, spring, throw; contraction: it’s (it is); abbreviations: approach’d (approached), ’em (them), whoopin (whooping), yellin’ (yelling), drivin’ (driving), punchin (punching)

“Git Along Little Dogies” 

		1.	As I was a walking one morning for pleasure, I spied a cowpuncher a riding alone; His hat was throwed back and his spurs was a-jingling, And as he approach’d he was singing this song:
			Refrain:
			Whoopee ti-yi-yo, git along, little dogies, It’s your misfortune and none of my own; Whoopee ti-yi-yo, git along little dogies, You know that Wyoming will be your new home.
		2.	Early in the spring we round up the dogies, Mark ’em and brand ’em and bob off their tails; Drive up our horses, load up the chuck-wagon, Then throw the dogies out on the trail.
			Refrain
		3.	It’s whoopin’ and yellin’ and a-drivin’ them dogies; Oh, how l wish that you would go on. It’s a-whoopin’ and punchin’ and go on-a, little dogies For you know that Wyoming is to be your new home.
			Refrain

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Complete descending tonic arpeggio (I, D),
ascending tonic arpeggio, and dotted syncopation.

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Description

• Grade: Fifth
• Origin: Ireland – Traditional Folk Tune, circa. 1700’s
• Key: D Major
• Time: 2/4
• Form: phrases: ABCB – song: AB
• Rhythm: intermediate: | ti ti ti ti | ti ti ti/ ri | syncopation, | ti ti ti ri ti ri | ta ti ti ri | ti ti ti ti/ ri | syncopation, | ti ti ti/ ri | syncopation
• Pitches: intermediate: So La Ti Do Re Mi Fa So La Ti Do – extended range
• Intervals: intermediate: So8\Mi\Do descending tonic arpeggio (I, D), Do\La (m3), Mi/Do8 (m6), Ti/Re (m3), Re\So (P5), Do/So (P5), Mi/So (m3), Do8\So8\Mi\Do complete descending tonic arpeggio (I, D), Do/Mi/So8 ascending tonic arpeggio
• Musical Elements: notes: quarter, dotted eighth, eighth, sixteenth; pickup beat, syncopation, tonic arpeggios
• Key Words: world geography: Ireland, popular soldier’s song: USA war of independence, war of 1812, and American Civil war; lonesome, moor, heavy thoughts, parting, fine and gay, remind, swift, forget, night, stars, gently, lent, vowed, bound, Brighton camp, heaven, pray, guide, safely, golden hair, ringlets, diamonds, shining, slender waist, heavenly face, pining, gods, prayer, beauteous, bee, honey, taste, dove, ranger, falling waters, roar, cease, ere, vows, cheer, bind me, constancy; contractions: I’m (I am); abbreviations: ne’er (never), silv’ry (silvery), heav’n (heaven)
• Recorder: advanced: introducing F#, (high and low), complete descending tonic arpeggio, extended range

“The Girl I Left Behind Me” 

	1.	I’m lonesome since I crossed the hill, And o’er the moor and valley Such heavy thoughts my heart do fill Since parting with my Betsey. I seek no more the fine and gay For each does but remind me, How swift the hours did pass away With the girl I left behind me.
	2.	O ne’er shall I forget the night, The stars were bright above me And gently lent their silv’ry light When first she vowed to love me. But now I’m bound to Brighton camp Kind heaven then pray guide me And send me safely back again, To the girl I left behind me.
	3.	Her golden hair in ringlets fair, Her eyes like diamonds shining Her slender waist, her heavenly face, That leaves my heart still pining. Ye gods above oh hear my prayer To my beauteous fair to find me And send me safely back again, To the girl I left behind me.
	4.	The bee shall honey taste no more, The dove become a ranger The falling waters cease to roar, Ere I shall seek to change her The vows we made to heav’n above Shall ever cheer and bind me In constancy to her I love, The girl I left behind me.

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