§ii – Option b) Harmonising a Folk Song

This question will require you to complete a piano accompaniment to a given folk song melody. Theextract will be approximately 8-12 bars long and the four bars you must complete may occur anywherewithin the extract. Study the bars which are given so that you can maintain the given style.

Study and preparation

Sing and play some folk songs. They can be found in various collections, such as:

• The New National Song Book (Boosey & Hawkes)

• Pentatonic Song Book (Schott)

• Collections of English Folk Songs, arranged by Vaughan Williams (Penguin)

• One Hundred English Folk Songs, arranged by Cecil Sharpe (Dover)

• Songs of England, arranged by Margaret Hargest Jones (Boosey & Hawkes)

• Songs of Ireland, arranged by Margaret Hargest Jones (Boosey & Hawkes)

• Songs of Wales, arranged by Margaret Hargest Jones (Boosey & Hawkes)

• Folk Songs of England, Ireland, Scotland & Wales, edited by William Cole (Warner)

• Complete Folk Song Arrangements by Benjamin Britten (Boosey & Hawkes)

In your preparation to work this question, consider the following points:

• Determine the tonality – is the extract major, minor or modal?

• Phrase the melody (if this is not given), taking note of rests in the vocal line. This will give you thecadence points. The cadences within the song should be varied, and will usually end with aperfect cadence.

• Study the figures in the given piano part and try to incorporate them into your answer. Thesefigures may be varied melodically, but the rhythm should be maintained. They can also be usedin other registers of the piano.

• Remember to vary the dynamics, bearing in mind the words which are given. If it is appropriate,indicate where the pedal should be used.

Link to practice exercisesLink to accompaniment figurations

Link to cadences in folk songs

Link to modality

Below we give various examples with comments which we hope you will find helpful.

1

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# # #

42

42

42f

In march time

‰

œ œ‰

∑

œ œ œ œ œ œ œœœ œœ

fŒ œ œWhen

œ œ œ œ Jœ ‰œœ J

œœ ‰

œ œ œ œon Ram - il - lies'

‰ jœœœ ‰jœœœ

œœ œœ

.œ œ œ œblood - y field The

œœ Œœœ Œ

œ œ œ œbaf - fled French were

‰ jœœœ ‰jœœœ

œœ œœ

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# # #

# # #

6 œ œ œ œforced to yield, The

..œœ œ œ

..œœ Jœœ

œ œ œ œ œvic - tor Sax - on

‰ jœœœ ‰jœœœ

œœ œœ

.œ œ œ œ œ œback - ward reel'd Be -

‰ jœœ ‰ jœœœœœ œœ

œ œ œ œfore the charge of

œœœ œ œœœ œœ œœ

œ œ œClare's men. The

œ œ œ œ jœ ‰œ œœ

Jœœ ‰

&

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# # #

# # #

11 œ œ œ œflags we con - quer'd

‰ Jœœ.jœœ. ‰

œ œ œ œ Jœ ‰

.œ œ œ œin that fray Look

‰ jœœ.jœœ. ‰

œ œ œ œ Jœ ‰

œ œ œ œlone in Y - pres'

‰ jœœœ.jœœœ. ‰

œ œ œ œ Jœ ‰

œ œ œ œ œ œchoir they say; We'll

‰ jœœœ. ‰jœœ.

œ œ œ œetc.

œ œ œ œwin them com - pa -

œ œ œ œ Jœ ‰œœ œ œœ œ

2

Example 1 Clare's Dragoons (Vive Là).Condensed from a poem by Thomas Davis.

Note bar 3 – LH crotchet on the beat, RH quaver off the beat – as this pattern recurs. The piano introduction is derived from the semiquavers in the melody in bar 8. The rate of harmonic change is 2 chords per bar. In bar 11 the semiquaver pattern now appears in the LH. Rests are used effectively, and the music remains in the tonic key throughout. You should bear in mind that modulation in folk songs is usually quite simple.

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42

42

42

Moderately Slow

p

∑

œ œ œ .œ œœœ œ œ œœ œœ

∑

œ œ œ œ œœ œ œ œ˙

P

Con ped.

œ œ œ .œ œMax - well - ton braes are

œœ œ œ œ œ

œ œ œœ

œ œ ‰ jœbon - nie, Where

œ œ œ œ

œ œ œœ

.œ œ œ œ œear - ly fa's the

œœ ‰ œœ ‰

œ œ œ œ œ œ œ œ

&

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6 jœ œ œ œdew, And it's

œ œ œ œ œ œ œœ œ œ ‰ Jœ

.œ œ .œ œthere that An - nie

rœ œ œœœ œ œ œœ œ

œ œ ‰ jœLau - rie Gie'd

rœ œ œ œ œœ œ œ

.œ œ .œ œme her pro - mise

œ œ œ œœœ œ œœ œ

œ ‰ jœtrue; Gie'd

œœ Œ

œ œ œœ œ œ œ œ

&

&?

11 .œ œ .œ œme her pro - mise

‰ jœ ‰ jœ>œ œœ œ œ œ œ œ œ œ

œ ‰ jœtrue. Which

.œ> ‰œ œ œ œ œ œ œœ œ œ œ J

œ ‰

a little slowercresc.

cresc.

.œ œ .œ œne'er for - got will

œ œœ œ>œ œ œ

œ œ œ œ œ œ œœ

S f In time

f

œ œ œbe; And for

.œ> ‰œ œ# œ# œ œ œ œ

œ œ œœ Jœ ‰

&

&?p

15 œ œ œ œ œbon - nie An - nie

œœ ‰ Jœœœ œ œ œ œ œ œ œ

œ œ .œ œLau - rie I'd

œœ .œ œœ œ œ œœ œ œ œ œ œ

p slower

œ œ œ .œ œlay me doon and

≈ œ œœ œ ≈ œ œ œœœ œœ

.œU ‰

dee.

rœ œœU

œ œœ

3

Example 2 Annie LaurieWords founded on an old poem by Lady John Scott

Melody by Lady John Scott

This Scottish folk song begins with an introduction based on the first phrase of the melody. The music begins in the tonic key – C major – and modulates to A minor before returning to C major. The harmony is one, or occasionally two, chords per bar, and the chords are presented in arpeggio form throughout. The cadences (bracketed) are clearly defined. Note how the arpeggio figure is used to maintain forward movement at these points.

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b

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86

86

86p

Con ped.

Cheerfully‰

jœ

∑

œœ

œ œœ jœ

FŒ . Œ jœIn

The

œœ

œ œœ ‰

F

.œ œ œ œ Jœpraiseloung -

ofers

thethat

use -go

fulin

œœ

œ œœ ‰

.œ œ jœplough,

silk,FromAnd

œœ

œ œœ ‰

.œ œ œ œ œ œboffall

theof

tenthat

a -i -

cre field'sdleœœ

œ œœ ‰

&

&?

b

b

b

6

.œ œ jœbrow,ilk.

LetTheirœœ

œ œœ ‰

.œ œ œ œn œ jœlass -dain -

esties

andso

lads,fine

LetWashœœ

œ œœ ‰

.œ œ œ œ œ Jœdamesdown

andwith

letred

dadswine,

BeAnd

œœœ œ

œ ‰

.œ œ œ œ jœlift -

mockingat

theirplain

voi -bread

cesand

œœ ‰ œœ ‰œ ‰ œœ ‰

.œ œ jœnow!milk;

ForYet

..œœ œœ ‰

..œœ œ ‰

&

&?

b

b

b

11 .œ œ œ .œ œ œhowen -

could wevy

thrivequite

OrThe

œ œ œ

œ œœ

.œ œ œ .œ œ œev-ap -

en sur-pe -

vivetite

ForAnd

œ œ œ

œ œœ

œ Jœ œ Jœwanthealth -

ofy

storecheek

a -and

œ œ œ

œ œœ

.œ œ Jœnewbrow

OfAnd

œ œ œ

œ œœ

œ Jœ œ œ œdrinkthat

andsweet

meat.sleep,

HowSo..œœ ..œœ

.œ .œ

œ Jœ œ œ œshoecalm

ourand

feet,deep,

OrThat..œœ ..œœ

.œ .œ

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b

b

17 œ jœ œ œ œclotheo'er

andthe

housetoil -

thro'worn..œœ ..œœ

.œ .œ

œ jœ œ œ œcoldlimbs

andwill

heat,creep,

With -Of..œœ ..œœ

.œ .œ

œ jœ œ œ œout

thosethethat

use -guide

fulthe

..œœ- ..œœ-

..œœ- ..œœ-

.œ œ œ œplough,plough,

Lack -Those

ing thethat

..œœ- ..œœ-

..œœ- ..œœ

œ œ œ œ jœplough,guide

thethe

use -use -

fulful

œœ. ‰œœ. ‰

œ. ‰ œœ. ‰

.œ œplough?plough.

..œœ œœ

..œœ œ

4

Another arpeggio-style accompaniment, in 6/8 time. Notice that bars 1-4 and bars 11-14 are based on the root position of the tonic chord. From bar 15, dotted crotchet chords are used on the beat to harmonise the melodic sequence above. Bars 19-20 are based on a tonic pedal (F in the bass). The bracketed cadence (bars 9-10) is a V9 – I cadence; this progression is used again for the final cadence. The accompaniment has a clear texture and does not intrude upon the lively and moving melodic line.

Example 3 The Useful PloughPoem by A P Graves

English 16th Century

&?b

b

c

cp

In brisk time

œŸ œ. œ.˙˙

œŸ œ. œ. œ

Ÿ œ. œ.˙ ˙˙ ˙

œŸ œ. ˙>

œ œ œœ Œ œ œœ Œ œœ œœ

œ œ œ œœ jœœ ‰jœœœ‰Jœ ‰

jœœ ‰ œ œjœ ‰ jœ ‰

&

&?

b

b

b

P

P

4 Ó .œ jœWhere the

œœœ Œ .œ jœ˙

œ Œ œ. œ.

œ œ œ œbee sucks there suck

œœ œœ œœ œœ

œ. œ. œ. œ.

˙ Œ œ œI; In a

œœœœ. œœ. œœ.œœ œœ

œ Œ Ó &

œ œ œ œ œ œcow - slip's bell I

œœ œœ œœ œœ œ œœŒ > œ

&

&

&

b

b

b

8 ˙ .œ jœnlie: There I

œœœ œœ Jœœ ‰ jœœn ‰

œ Œ Œ Jœ ‰?

A

.œ jœ .œ jœcouch when owls dojœœ ‰ jœœ ‰ jœœ ‰ jœœn ‰

Jœ ‰ jœ ‰ Jœ ‰ jœ ‰

.œ jœ .œ jœcry, when owls do

jœœ ‰œ œ œ œ Jœ ‰ Œ

jœ ‰ œœ œœ œœ

.œ jœ .œ jœcry, when owls do

Œ œ œ œ œ Jœ ‰ Œœœ œœ œœ œœn

&

&?

b

b

b

p

p

12

˙ Œ œ œcry. On the

Œ œ œ œ œ Jœ ‰ jœœœ ‰

œœ Œ Œ Jœœ ‰

œ œ œ œ œn œbat's back I do

jœœ ‰ jœœ ‰jœœœ ‰jœœœn ‰

Jœœ ‰ Jœœ ‰ Jœœn ‰ Jœœ ‰

œ œn œ œ œ œ œ œfly,jœœ ‰jœœœn ‰ Jœœœ ‰ jœœ ‰

Jœœ ‰ Jœœ ‰ Jœœ ‰ jœœ ‰

etc.

œ œ œ œ œ œ œ œI dojœ ‰ jœœ ‰ J

œœœ ‰jœœœ ‰

jœœ ‰jœœ ‰jœœ ‰jœœ ‰

5

Example 4 Where the Bee SucksPoem by Shakespeare

Music by Thomas Arne

This accompaniment is a mixture of chords and rhythmic patterns. Note the quaver movement at the cadence in bar 6. Note the quaver – quaver rest pattern (bracket A), and the decorative 'bird call' effect of the semiquavers in bars 10-12. The quaver – quaver rest pattern returns to accompany the melodic run on the word 'fly' (bars 14-15). At bar 6 the music moves to the dominant key, for the remainder of the extract.

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86

86

86

Quick

f

‰

jœJœ

∑

.œ œ œ œ œ œœœ.

.œ œ œ œ œV

œ.

fŒ . Œ jœWhen

...œœœ œœœ ‰

I

..œœ œœ ‰f

.œ œ œ .œ œ œmigh - ty roast beef was the

œœ ‰ œœ ‰

I

œœ ‰V

œ ‰

&

&?

Vb

4 œ œ œ œ œ œEng - lish - man's food, It en -

..œœ œœ ‰

I

..œœ œœ ‰Ib

.œ œ œ .œ œ œno - bled our hearts and en -

œœ ‰ œœ ‰œ ‰

V

œ ‰

œ œ œ# œ jœrich - ed our blood; Our

..œœ œ ‰

V

..œœ#I in G

œ ‰

&

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7 œ œn œ .œ œ œsol - diers were brave, and our

.œ œ jœ.œ œ Jœ.œ œ Jœ

œ œ œ*.œ

court - iers were good.

.œ œ jœ#.œ œ Jœ

.œ œ jœœ Jœ œ Jœ

ƒ

ƒ

.œ œ œ .œ œ œOh, the roast beef of old

...œœœ ...œœœ

.œ .œ

&

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Ib

10 .œ œ jœEng - - - land! And

...œœœ œœ jœ

.œ œ Jœ

.œ œ œ œ œ œoh, for old Eng - land's roast

.œ œ œ œ œ œœœ

.œ œ œ œ œ œ

.œ Jœ ‰U

beef!

...œœœ œœœU

..œœ œU

6

This vigorous and almost patriotic-style song is mostly accompanied by chords on the strong beats. Notice that the introduction is derived from similar figures in the melodic line. Beginning in C major, the music moves to the dominant key (G major) in bar 6, and returns to C major at bar 10, after a brief reference to D minor at *. The chords are tonic/dominant orientated – see the chord symbols marked in the score.

V7d ib V7d in Cin D minor

Words and music by Richard LeveridgeExample 5 The Roast Beef of Old England

Ic __________ V I

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#

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22

22

22

..

..

..Tenderly ∑

œœ œœ ..˙

œ œ œ œ

∑

œœ œœ ..˙˙œ œ œ œ

∑

œœ œœ ..˙

œ œ œ œ

∑

œœ œœ ..˙

œ œ œ œ

œ œ œ œ œHush

Iflit -

thattle ba -

mock -bying

œœ œœ ..˙

œ œ œ œ

&

&?

#

#

#

..

..

..6 œ œ œ ˙don'tbird

saywon't

a word,sing,

œœ œœ ..˙˙œ œ œ œ

œ œ œ œ œ œ œMam -Mam -

my'smy's

goin'goin'

toto

buybuy

youyou

aa

œœ œœ ..˙˙œ œ œ œ

œ œ ˙mock -dia -

ingmond

bird.ring.

œœ œœ ..˙

œ œ œ œ

∑

œœ œœ ..˙

œ œ ˙

œ œ .˙

7

Example 6 The Mocking Bird Song

Southern Folksong

The interesting thing about this accompaniment is its sheer simplicity. The accompaniment is built over an arpeggio ostinato figure. The RH figure pre-empts the quavers in the melody. The gentle 'rocking' effect enhances this lullaby, which is based on the pentatonic scale.

&

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b

b

b

43

43

43

..

..

..PlaintivelyŒ ‰

..œœœ œ œ Jœ

jœ œ œI'm going to

jœ œ œ

‰ Œ

.œ œ œ œ œleave old Tex - as

..œœ œ œ œ œ

œ œ œœ Œ

.œ jœ œ œnow, They've no more

..œœ jœ œ œœ œ œ œ Œ

&

&?

b

b

b

4 .œ œ œ œ œuse for the long horned

.œ œ œ œ œ˙ œœœ œ œ

œ œ

œ ‰ jœ œ œcow, They've plowed and

œœ ‰ jœ œ œœ œ œ œ Œ

.œ œ œ œ œfenced my cat - tle

..œœ œ œ œ œ

œ œ œœ Œ

&

&?

b

b

b

..

..

..7 .œ œ œ œ œrange, And the peo - ple

..œœ jœ œ œœœ œ œ œ œœ

.œ œ œ œ œthere are all so

.œ œ œ œ œ˙ œœœ œ œ

œ œ

.œstrange.

..œœœ œ œ jœ

œ œ

8

This is another pentatonic melody based on F. (Notice that the 4th note (Bb) and the 7th note (E) are missing in the melody line.) Notice also how the figure is used in the accompaniment in both RH and LH, and how it is used to maintain the movement when long notes appear in the melody. Note the dominant 7th and 11th effects at the bracketed cadences.

Example 7 Old TexasAmerican

&?bb b

b b b

42

42P espressivo

Largo all'ongarese

œ œ˙˙

.œ jœ˙˙

*

œ .œ*

œ .œœ Œœ œ#˙

˙n˙

œ œ˙˙

&?bb b

b b b

6

*

.œ jœ˙˙

œ .œ*œ .œ˙

˙˙˙

œœ œœœ˙nn

...œœœjœœœ

..œœ Jœœ

&?bb b

b b b

11 œ .œ*œ .œ˙

˙œœ œœœnœœ œœ

....œœœœjœ

˙

*œ œ˙˙˙˙

œ .œ œ .œœ œnœ œ

˙˙

9

Example 8 Csak egy szep lany van a vilagonTraditional

i ib VI aug 6th V i

ivb V in Eb major I Vb7 in C minor i VI

This mid-European folk song is harmonised here with simple chords in a version for piano solo. It includes an augmented 6th chord, and moves from C minor to Eb major. Note the use of accented passing notes (appoggiaturas), marked *. The final cadence is interesting – the two melody notes falling by step (here Eb and D semiquavers) may rise by step before moving to the next harmony note.

V7 I V7 VI iib7 ic V7d iin Eb major in C minor

&?bb b

b b b

42

42 œœœœœœœ

œœœ

œœ

œ

œœœ

œœ#

œ

œœnœ

œœœ

&?bb b

b b b

42

42Œ œœ œœœ œ œ œ Œ

Œ œœ œœœ œ œ œ Œ

Œ œœ œœ#

œ œ œ œ Œ

Œ œœn œœnœ œn œ œ Œ

&?bb b

b b b

42

42‰ œ œ œ œ œ

.

œ œ œ œ

‰ œ œ œ œ œ.

œ œ œ œ

‰ œ œ œ œ œ œ#

œ œ œ œ

‰ œ œn œn œ œ œ

œ œ œ œ

&?bb b

b b b

42

42

3œ œ œ 3œ œ œ∑

..œœ œœ œœ

..œœ œœ œœ

3œ œ œ3

œ œ œ#∑

...œœœn œœœ œœœ

..œœ œœ œœ

10

NB Dynamics will be dictated by the mood of the words, and should be included in your answer.

Example 9

Example 10

Example 11

Example 12

Accompaniment figurations

Below are some examples of accompaniment figurations which could be used, based on the chords of the first 4 bars of Example 8. They are self-explanatory and demonstrate the construction of patterns by the 'injection' of rhythm and gesture into the chords. Play them, listening carefully for the basic harmony outline as in the original.

&?

#

#43

4343

43.œ jœ œœ

œœ

.˙ .˙

.˙ .˙.œ jœ œœ

œœ

.˙ .˙

.˙ .˙

&?

#

#.œ jœ œœ

œœ

.˙ .˙

.˙ .˙

&?

#

#.œ jœ œœ

œœ.˙˙ œ.˙ .˙

&?

#

#*

.œ jœ œœ œœœ

.˙ .˙

.˙ .˙

11

Cadences in folk songs

All regular cadences are of course featured in folk songs. Modal cadences are dealt with below. Other cadences arising from 19th century harmonic procedures may be used in arranging folk songs.

Example 13

a) b)

iiib I iiib + 7th I or V13

Where the melody ends Me – Doh (or mediant to tonic) the use of iiib to replace Va is common. Example 13b (above) shows the same chord incorporating the 7th of the dominant (V) in the tenor. It could also be described as a dominant 13th.

Example 14

Example 15

Example 16

Example 14 demonstrates the use of the Phrygian cadence, which occurs in early music – it is particularly effective in minor keys.

Example 15 demonstrates the use of a dominant 9th. Note the 4-3 suspension in the alto, which helps maintain the movement on the dotted minim D.

The dominant 9th (*) is used as an accented passing note.

V9

V9

IVb V

&?

#

#

.œ jœ œœœœ

.˙ .˙˙ œ.˙

& wwww wwww wwww wwww wwww wwww wwww wwww

& 7th

w w w w w wN w# w

& 6th

w w w w w wb wN w

12

Example 17

This shows the use of the dominant 11th retained to become the tonic in I.

The use of the dominant 9th and 11th is fully explained in the LCM theory handbooks for grades 7 and 8.

Modality

Modes are used in harmonising folk tunes, as the melodies predate tonal harmony.

R. O. Morris, a distinguished scholar, wrote that reference to modal harmony is erroneous. Morris rightly draws our attention to the fact that modality is purely a melodic procedure; the chords are derived from the melody. Example 18 shows chords based on the notes of the Dorian mode. Refer to the LCM Theory Handbook Grade 5 for illustrations of Lydian, Mixolydian, Ionian and Aeolian modes.

Example 18

Pre-18th century composers derived chords in this way, but they found they needed to alter the 6th and 7th degrees by using accidentals. This process is known as 'musica ficta' (literally 'fictional' or 'feigned' music). Modes in their 'pure' form are determined by the position of semitones; when musica ficta is used it destroys the original number and order of semitones, and the mode loses its original character.

Often the 'Tierce de Picardie' was employed, where a minor chord has a sharpened 3rd, thus changing it into a major chord. It is said that 'the 3rd of Picardie' was first used by the early French composer of that name.

The examples below show the use of musica ficta – i.e. the use of accidentals to alter the pitch of the 6th and 7th notes in both ascending and descending forms of the Dorian mode.

Example 19

Example 20

V11

& 6thw wN wb w w w w w

& 7thw w# wN w w w w w

& wwww wwww#

&?42

42

œ œ œ œ œ œb œ œ œ#œœœ

˙˙#˙

&?42

42œ œ œ# œ œb œœ

œ œœb

˙˙#˙

13

All of these examples produce a mixture of both D melodic minor and D major, and if used without the accidentals, also the Dorian mode. Therefore, three distinct areas of tonality are employed. Note the avoidance of Bb – C#, an augmented interval found in the harmonic minor scale.

The chords formed in these examples are freely available in all positions as in normal harmony, as are all the elements of unessential harmony (e.g. passing notes, accented passing notes, auxiliary notes and suspensions).

In a modal context, accidentals are needed in both chords of a perfect cadence, as shown in Example 24:

Example 24

V (#7th) I (#3rd)

Similarly with the Phrygian cadence:

Example 25

ivb (b6th) V (#3rd)

(Dorian Mode)

(Dorian Mode)

Example 21

Example 22

Example 23

Final chord of Dorian Mode Here with #3rd (Tierce de Picardie)

&?

*˙ ˙ ˙˙ ˙ ˙˙ ˙ ˙˙ ˙ ˙

**.w .w.w.w

&?

˙ ˙ ˙˙ ˙ ˙˙ ˙ ˙˙ ˙ ˙

* .w .w.w .w

14

Note in both examples the doubled 7th degree, indicated with a dotted line.

If using musica ficta, it would be possible to add G# in chords marked *, and C# in the chord marked **. In both cases this would form simple examples of modulation.

All cadences can be decorated by the use of suspensions. Cadences in inversion are available, and also iib – V and iib – I. Avoid iiib – I in a modal context. Always take care over accidentals, and avoid moving by diminished and augmented intervals.

Other progressions and cadences can be used employing chords from the original mode. In this case, the 7th note in the Dorian mode would be a C natural, and may be doubled as it is not the sharpened leading note, as in normal harmony. So the following would be acceptable:

Example 26

Example 27

&

&?

#

#

#

43

43

43P

Œ

œœ œ

∑

œ œ œ œœœ œ œœ œ œ œ œ

∑

œ œ œœ œ œ

˙ œ

∑

œ œ œ œ.œ Jœ œœ œ œ

PŒ Œ œStill

œ œ œœ œ œ˙ œ œ

&

&?

#

#

#

A

œ œ œ œshows the bright

œœ

œ œ œsun - shine o'er

œ œ œ œ œval - ley and

œ œ œmoun - tain, Still

&

&?

#

#

#

B

œ œ œ œ œwar - bles the

œ œ œblack - bird its

œ œ œnote from the

˙tree.

15

Practice exercises

Bracketed sections marked A and B indicate the kinds and lengths of portions of extracts which candidates will be asked to complete in the DipMusLCM examination.

Complete the following piano accompaniments. Remember that the style of the opening should be maintained and/or developed.

1.Welsh folk melody

&

&?

bbbb

bbbb

bbbb

43

43

43

Andante

P

∑

œ œ œ œn œ œ˙ œœ˙ œœœ

∑

œ œ œ œ œ œnœœ œœ œœ œ œ œ

p espress.A

œ œ œ œ œ œNear me, in

œ œ œœœ Œ Œ

&

&?

bbbb

bbbb

bbbb

œ œn œsi - lence, my

œ œœ œ

œ œn œ œ œ œharp lies un - - -

˙ œstrung,

&

&?

bbbb

bbbb

bbbb

B

œ œ œWeak are my

œœœœ

œ œ œ œfin - gers, and

œ œ œ œ œfalt' - ring my

.˙tongue!

16

2. Welsh folk melody

&

&

&

bbb

bbb

bbb

42

42

42

Allegretto

P

Œ

œ œ

Œ

∑

.œ Jœ

‰ œ œ œ

∑

œ œ

œ œ œ œp

∑

Jœ jœ œ œjœœ Jœ œ œ?

p

PŒ œ œWill you

œœ œ œœœœ œœ œ

&

&?

bbb

bbb

bbb

A.œ jœlove me,

..œœœœ œ œ œ

œ œ œ œpret - ty one as

œ œI love

œ œ œthee? I'll be

&

&?

bbb

bbb

bbb

B.œ Jœtrue and

.œJœ œ..œœ

œ œ œ œlov - ing if you're

œ œ œ œ œtrue to me.

˙˙

17

3. French folk tune

&

&?

c

c

c

Allegro

f

Œ

œ œœœ

∑

œ œ œ œ œ œ˙ œ œ

˙ œ œb

∑

œ. œ. œ. œ œœœ œœ# œ œnœ œœ œœ œœb

∑

œ œ œ œ œ> œ>œ œ œ œœœ œœ œ œ

FÓ ‰ jœ œ œGood Ro - bin

.- Œ

.˙ Œœ. œ. œ.

&

&?P

œ œ œ œ œoft gave chase to the

Œ œœœ Œ œœ˙ ˙

A œ œ œ œ œ œ œmonks with sul - len face, till he

œ œ œ œmade them drop their

.˙ œ œgear. And their

œœ œœœœ

&

&?

B œ œ œ œ œhearts would quake And their

œ œ œ œ œ œlus - ty limbs would shake, if

œ œ œ œ œ œgal - lant Ro - bin Hood was

.˙near.

18

4. English folk tune

&

&?

86

86

86

Vivace

P

∑

œ œ œ. œ œ œ.œ Jœ œ jœ

cresc.

∑

œ œ œ. œ œ œ

œœ Jœœ œœ Jœœœ

P

FŒ. ‰ ‰ jœAs

œ> œ œ œ œ œœœœ Jœœ œœ Jœ

Aœ Jœ œ œ œme and my com -

œ œ œ

œ Jœœ

&

&?

œ jœ œ jœpan - i - on were

œ Jœ œ Jœset - ting four or

.œ œ jœfive And

&

&?

Bœ Jœ œ Jœtak - ing on 'em

‰ œœ œœ

œ Jœ

œ Jœ œ Jœup a - gain, we

œ Jœ œ œ œcaught a hare a -

.œ œ ‰live.

19

5.

(Cadence in G)

English folk tune

&

&?

##

##

##

43

43

43

Con moto

F

∑

Œ œœœ œœœ

œ Œ Œ

∑

Œ œœœ œœœœ Œ Œ

fŒ Œ œThen

œ œ œ. œœœœ œ œ

œ œ. œ

Aœ œ œup spoke the

œœœ

œ Œ œ

&

&?

##

##

##

œ œ œ œser - geant one

œ œ œ œday at his

˙ œdrill "Now

&

&?

##

##

##

Bœ œ œwho's good for

œœœœ#

˙

œ œ œ œ œnurs - ing? A

œ œ œ#cap - tain, he's

˙ Œill".

Œ

Œ

20

6. English folk tune

&

&?

#

#

#

43

43

43

Andantino

P espress.

con ped.

∑

œ- œ# œ œ˙#

œ œœ# œ

p

pŒ Œ œTake

œ- œ# œœ#˙ œ œ

œ œ œ œ

.œ jœ œthis for my

Œ œ œ#˙œ œ œ œ

œ œ

n m

m

A

œ œ œfare - well and

&

&?

#

#

#

.œ jœ œlat - est a -

˙ œdieu. Sing

.œ jœ œ œwil - low wil - low

œ œ œwil - low, write

œ. œ. œ œœ

œ œ œ œ

&

&?

#

#

#

Bœ œ œthis on my

œ œ œ œtomb, that in

.œ jœ œ œlove I was

.˙true.

21

7. English folk tune

(Ending adapted)

&

&?

b

b

b

86

86

86

Allegretto

P

‰

Jœ

‰

∑

œ jœ œ jœ.œ .œ..œœ ..œœ

Œ . ‰ ‰ Jœ'Twas

œœb jœœ œœ ‰

œœn Jœœ œœ ‰

œ jœ œ jœin the month of

.˙ .œ .œ

.œ .œ.˙

A jœ œ œ œ œAu - gust or the

&

&?

b

b

b

jœ œ œ jœmid - dle of Ju -

.œ œ Jœly One

‰

‰

Bœ jœ œ jœeve - ning I went

œ jœ.œ..œœ

&

&?

b

b

b

jœ œ œ œ œwalk - ing a fair

jœ œ œ jœmaid - en I did

.œ jœ ‰spy.

22

8. American folk melody

&

&?

bbb

bbb

bbb

43

43

43

Andante ∑

œœ ˙

œ œ œ œ œ œ

Œ ‰ jœ œ œI dreamed a

œœ ˙

œ œ œ œ œ œ

A.œ jœ œ œdream the oth - er

œœ œœ

œ œ œ œ

.˙night,

&

&?

bbb

bbb

bbb

44

44

44

43

43

43

œ ˙low - lands,

œ .œ œ œlow - lands a -

œ œ .œ jœ œ œway my John, my love she

jœ œJœ œœ œœnJœ œ œ

&

&?

bbb

bbb

bbb

43

43

43

B .œ Jœ œ œcame dressed all in

˙ œ œnwhite. My

˙ œ œlow - lands a -

.œ ‰ Œway.

23

9. Scottish folk tune

&

&?

#

#

#

86

86

86

Andante espressivo

P

con ped.

‰

œ œ

‰

∑

œ œ œ œ œ œ

≈ œ œ œ œ œ ≈ œ œ œ œ œ

PŒ. ‰ ‰ œ œThere is

.œ œ œ œ œœ œ œ œ Jœ≈ œ œ œ œ œ Jœ

A.œ œ œ œ œ œnot in the wide world a

œœJœ œ

&

&?

#

#

#

œ œ œ œ œ œval - ley so sweet. As the

œ œ œ œ œ œ œvale in whose bo - som the

œ œ œ œ œ œbright wa - ters meet; O the

œ œ

‰

&

&?

#

#

#

B

œ œ œ œ œ œ œlast rays of feel - ing and

œœœ

œ œ œ

œ œ œ œ œ œlife must de - part, Ere the

.œ œ œ œ œ œbloom of that val - ley shall

œ œ œ œfade from my heart.

24

10. Scottish folk tune

(Ending adapted)

&

&?

86

86

86

Allegro brioso

F

∑

.œ .œ

Œ . .œ

∑

œ œ œ œœœbn>‰

.œ œ jœ.

fœ œ œ œ jœO - li - ver rose and

‰ ‰ jœœœb .‰ ‰ jœœœb .

œ ‰ œ ‰

A

œ œ œ œ ‰gave her a drop.

&

&?

ƒ .œ> .œ>Hee - haw

Fœ œ œ œ Jœ

gave her a drop, which

œ œ œ œ œ œmade the old wo - man go

œ œ œ œ ‰hi - pe - ty hop.

Œ . œœ œœ œœœ jœ œ ‰

&

&?

∑

‰ ‰ Jœœœb . ‰ ‰ J

œœœb .

œ> ‰ œ> ‰

BŒ . ‰ œ œIf you

œ œ œ œ œ œwant an - y more you can

œ œ œ œ ‰sing it your - self!

∑

25

11. English folk tune

(adapted)

&

&?

#

#

#

86

86

86

Allegretto

F

∑

‰ ‰ jœ œ jœœ Jœ œ Jœ

FŒ . ‰ ‰ jœOne

‰ ‰ jœ œ jœ

œ Jœ œ Jœ

A

œ jœ œ jœman shall mow my

jœ œ œ jœmea - dow, Two

&

&?

#

#

#

œ jœ rœ rœ jœ jœmen shall ga-ther it to -

jœ œ œ ‰ge - ther,

Bœ jœ œ jœTwo men one man,

‰ ‰ jœœ.œ

œ Jœ œ Jœand one more shall

&

&?

#

#

#

fœ Jœ œ Jœshear my lambs and

œ Jœ œ jœewes and rams, And

jœ jœ jœ œ jœga - ther my gold to -

œ jœ œ jœ.œ .œœ jœ œ jœ.˙

jœ œ œ ‰ge - ther.

œœ ‰ œœ. ‰œœ ‰ œœ. ‰

26

12. Somerset folk song