Buckleys Banjo Guide
Short Description
Banjo instructional manual....
Description
^ cX9%&bX\\i
t
filOEEIICAL A5D TECIIICAIi MVSIC B§®13 Boo.1'8
on Musical Theory.
3AKER'S THEORETICAL and PRACTICAL HARMONY JOHNSON'S NEW METHOD OF'HARMONY JOHNSON'S NEW METHOD OF THOROUGH BASS
OLIVER'S
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PETERS' BURROWES' THOR. BASS PRIMER and COMPANION..
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HICHTER'S COUNTERPOINT. With Appendix by J. C. D. Parker. RlCHTER'S MANUAL OF HARMONY. Translated by J. C. D. Parker RICHTER'S TREATISE ON FUGUE. Translated by Arthur W. Foote
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SARONI'S
THEORY OF HARMONY
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SOUTHARD'S THOROUGH BASS and HARMONY WEBER'S MUSICAL COMPOSITION WOHLFAHRTS MANUAL OF MOCULATION
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PRACTICE.
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UARX'S GENERAL MUSICAL INSTRUCTIONS
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PHRASING, as applied to Piano Playing. By A. W. Marchant. PLAIDY'S PIANO TEACHER. Translated by John S. Dwight TUNER'S GUIDE. For the Piano-forte, Organ and Meiodeon RITTER'S STUDENT'S HISTORY OF MUSIC Dictionaries, Primers and Catechisms. MOORE'S ENCYCLOPEDIA OF MUSIC STAINER &. BARRETT'S DICTIONARY OF MUSICAL TERMS BUCK'S DICTIONARY OF MUSICAL TERMS FIVE THOUSAND MUSICAL TERMS. By J. S. Adams LUDDEN'S PRONOUNCING DICTIONARY OF MUSICAL TERMS.... LENHART'S ELEMENTS OF MUSIC JOUSSE'S CATECHISM VUSIC EXPLAINED TO THE WORLD. By F. J. Fetis...... CLARKE'S MUSICAL CATECHISM PETERS' BURROWES' PIANO PRIMER BROWN'S PUPIL'S FIRST PRIMER. By F. H. Brown
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OUTLINE OF MUSICAL FORM. By W. S. B. Mathews PESTALOZZIAN MUSIC TEACHER. By Mason & Seward
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OSTON ACADEMY'S MANUAL By Dr. unveil Mason CALCOTT'S MUSICAL GRAMMAR HOODS MUSICAL MANUAL HOW SHALL TEACH By Dr. Lowell Mason...
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MATER'A MUSICA. By J. C. Engelbrecht ^MUSICAL SCALE. By Horace P. Biddle OLIVER'S TEXT BOOK
& COHPAlY,
LYON & HEALY,
Chicago,
BOSTOH. (41)
J. *.
omos
\2M Chestnut S*~ VUla.
ft
Oft*
5.00 4.00
45 75 1.25
50 20 1.50
S3
M M
BUCKLEY'S @
OOHTAIlTIITa'
THE ELEMENTAEY PKIMPLES OE MUSIC, .
|
s
-
-TOGETHER WITH
ANI3 A
/}
GREAT VARIETY OP
MANY OF THEM NEVER BEFORE PUBLISHED. d BOSTON:
NEW
YORK:
O.
Entered according to Act of Congress, In the year 1868, by Oliver Ditsok
&
H.
DITSON &
CO.
Co., in the Clerk's Office of the District Court for the District of MassachuMtti.
-
I
This book will be found lo be greatly superior to any former publication, in the number, variety and beauty of
melodies.
its
It
has been carefully put together by Mr. James Buckley, (father of " Buckley's Serenaders,")
twenty-six years experience as teacher and player,
and. 'lias
1
'improved the .Batfjb/ By applying screws, and in other ".• ••• *•*
To perform
When
'*• ;*,
.*.::,.
ways.
who has had
;
...
well upon this instrument, one should' Be* 'able 'both : to -'pick ahd'-tb strike, Hke guitar players.
the bridge of a Banjo
Having once found the proper Those who wish
to
make
is
in the
right place, the 12th fret
fiosition for the bridge,
their
own
banjos,
it
is
would be well
are referred to
just half to
mark
way between
the bridge and nut.
the place with a pencil.
Mr. Buckley's former work for directions
be here added, that goat-skin should be used in preference to calfskin, as the latter
is
liable to shrink.
;
it
may
RUDIMENTS OF MUSIC. All music preceded by the Treble Clef can be used by the Violin, Flute, AccorAll musical sounds vary according to pitch or tone ; and in order to express a that may be high or low, we use what is called deon, and other high-toned instruments : it is used, also, for the right hand in all
sound
STAFF
music written
\
E
for the
Piano Forte.
The Bass Clef
is
used only for the Violon-
Bassoon, and other low-toned instruments, also for Bass voices in vocal
cello,
music, and for the
left
hand
Thus,
music for the Piano Forte.
in
it
will
be ob-
used to indicate the low tones, and the Treble Clef to
served, the Bass Clef is This Staff consists of five parallel lines, and all tones are expressed by characexpress the higher sounds. them. .ters written either upon them, or the spaces between
The under line is designated as the first line, and the space between the first and second line, as the^r^ space. There are five lines and four spaces, which are
named
as follows
-fifth line,
is
written for the Piano Forte
^fourth space. _third space, "second space. .first space,
-fourth line, -third iine.
-second line,
I-
Music that
-first line,
express a sound that may be higher or lower than those which occur upon the Staff, we use what are termed
required to constitute a score, and I more Treble Clefs
ADDED OR LEGER LINES.
therefore two or
may
be connected, as well as any
number
I used either above or below the
we wish to indicate. At the left hand of every
Staff,
in the following
;
As every sound staff
we use a character called a Clef. There are two same by and the Bass Clef, which are used as shown
varies in regard to duration,
we
are required to express the
characters called notes.
the Treble Clef,
examples
TREBLE, OR
OR CHARACTERS USED TO EXPRESS THE LENGTH OF SOUNDS.
according to the pitch or
tcne
Clefs in general use
of Bass parts.
3 NOTES,
lines are
always connected by a Brace, the
The Brace is also used to connect any number of staves that may be
When we wish to
These
is
Treble Clef always being situated above the Bass.
:
G
:
The BASS, OR
CLEF.
:i
m
F
CLEF.
longest sound in general use
this character
{&
Other notes, with
j
table.
), the
is
called a whole note,
sound of which
their relative value,
is
which
continued while
names,
etc., will
is
expressed by
we can count
four.
be found in the following
RUDIMENTS OF MUSIC. Minim, or half notes. Crotchets, or quarter notes.
Semibreve, or whole note.
\--A— T5>"
-JZt
1234
12 34 Count two to each.
Count four to each.
A.11
thirty-second notes
stems, thus jjH
00
A single eighth only
it is
note
:
N
by an for
or
f
J
when a
3
additional bar across the
HH ;
["""l^^i
Sixty-fourth notes.
a Sixteenth thus,
5
,
four.
POSITION AND
METHOD OP HOLDING THE BANJO.
The performer should
sit
body
of the
in a natural, easy,
and
erect position.
The hoop
S s and 4
the
or
Banjo should rest on the right thigh, close to the body, so that the
or
first
must be held
The arm
finger bent over the first string. still
;
the
hand must be limber
or handle of the Banjo should rest in the
^J S=—
4 4 4 4
1 2 Count one to every
wristof the right will come directly over the bridge, the thumbover the
/
V.
or
4 at
Count one to every two.
succession of similar notes appear that they are tied with bars
from stem to stem, thus,
notes Semiquavers, emiquavers, or sixteenth notes.
2
1
Count one to each.
and thus
written thus,
is
iZZTi—4
12
notes of shorter duration are expressed
Quavers, or eight eighth notes,
=1-
finger, usually
fifth string,
at the joint of the wrist
at the joint of the wrist.
The neck,
hand, between the thumb and
left
ftrst
termed the fork of the hand.
The matters not whether the stems be made to turn upward or downward. Like all other instruments the Banjo can be played in all keys ; but some are frequently observe situation of the body of the note determines its tone. The most suitable are the keys more particularly adapted to it than others. them written as in the foregoing examples, but in vocal music each syllable is parIt.
We
ticularly provided for
by a
HOW The
strings should
A
precise division of the stems or ties.
and
Eij
:
F§ Minor
is also
a very good
key
:
and C$ Minor.
TO STRING THE BANJO. For the
be the same distance apart as on a Guitar.
strinc get a very fine 1st Violin string
;
for the
second a very small 2d
;
first
for the
HOW TO TUNE THE BANJO CORRECTLY BY EAR OR NOTE.
you The first thing particularly requisite is to have the Banjo in tune ; to get the would be better, It u correct tone and volume of sound, and have it best adapted to the voice where practicable, to get harp strings, the violin strings requiring more care in pitched to play in the key of E, four sharps, and A, three sharps, which are the selecting, owing to the thickness not varying so much, from the fact of the violin natural keys for the Banjo, although it can be played in any other key, but not being tuned in 5ths, whereas the Banjo is tuned in 3rds and 4ths. with the same ease.
third get either a small 3rd, or a large
can
;
the
fifth
must be a
little
HOW
2d
;
for the fourth get the smallest 4th
thicker than the
first string.
If.
TO FRET THE BANJO.
G
The distance between the nut and The bass, or fourth string, must be A, the third string E, the second string Great care must be used in doing this. After putting your first fret on, then sharp, the first string B, the fifth or thumb string, E, an octave higher than the bridge must be divided into 18 equal parts. putting your again divide the space between this and the bridge into 18 parts third string, and is the same note as the first string on the Violin. second fret on, then again divide from the second fret to the bridge into 1 8 parts, and so on until you have as many frets on as you require. The bridge, of course, Commence tuning the short, or thumb spring to E, or as near as you can get must alway be kept stationary. The frets are all to be put the entire width of the it. Then place the second finger of your left hand on the first string at the fifth finger-board, with the exception of the 2nd, which only crosses the 2nd, 3rd and marked On the 1st string you must have a small fret, an eighth of an inch mark, or fret, from the nut across the finger-board, which is E, (and is ;
4th strings. nearer the first
fret.
for the
second finger,) and tune
it
to
sound
like the short string.
EUDIMENTS OF MUSIC. Place the second finger on the second string, at the third mark across from the ber of bars, signifies repeat ; it is sometimes accompanied with dots at the bars, and tune it to the first open string, then your second, first, and fifth strings always with a line that embraces the entire strain which needs repetition, thus : will be in tune. nut,
Bis.
it
Place the second finger on the third string, at the fourth mark across, and tune to the second open string.
iES
=1:
Place your second finger on the fourth string, or bass, at the seventh mark, it to the third open string, and your banjo will be in good tune.
and tune
When
the banjo
is
A
in tune, the following no'es are
E
Git
BE
made on the open
string.
Ifllllll
1
-9-
2nd open.
3rd open.
lit open.
5th open.
Thumb
4th string open.
string
NOTES, CHARACTERS, &c, USED IN MUSIC. These notes, Musical sounds are expressed by certain characters called notes. seven in number, are denominated by the first seven letters of the alphabet, viz : A, B, C, D, E, F, Gr, and are placed on a stave composed of five lines and Sometimes the four spaces, either on the Hue or in the spaces between the lines. notes extend above or below the stave; the additional lines that are used are called ledger lines above or below the stave.
NOTES ON THE LINES. To
strings accordingly
;
D
tune the thumb string to D, and the other which will bring Gr, D, F sharp, and A, at the nut.
play in the keys of
and
first finger,
NOTES
SPACE.
Gr,
N. B. In playing banjo style, the notes must not he picked up with the finger; they must be made by striking down with the back or side of the finger nail of the
m
Si=N=i=^S ADDITIONAL, OR LEDGER LINES.
the side next the middle finger.
-m-
D
sharp, on the
times with the
This mark
first
^
return to where
it
sometimes made with the little hand, as the tunes may require.
first striug, is
of the
left
mw
and some-
called a Sign, when it occurs for the second time, previously occurred, and proceed to the paused which
is
over a double bar at the conclusion of the piece.
A
finger,
Semibreve.
:sz
Minim.
=st
-O-
m
we must is
placed
3
The word Bis over any num-
Crotchet.
Quaver.
Semiquaver.
Demisemiquaver.
—
— RUDIMENTS OF MUSIC.
6
THE LENGTH AND PROPORTION NOTES BEAR TO EACH OTHER ARE AS FOLLOWS. A
is as
semibreve
long as two minims,
or as four crotchets,
I
I
r
-\
A
~
I
minim
~|
y
A
is
as long as two crotchets,
crotchet as two quavers,
x---
I
or eight quavers,
m
P=*
or sixteen semiquavers,
w
—
p
:?:
it:
-P-
~~|
-I—
±z
,
«_p_^pzzz7i:=pzzzp:zzzpzzzpzzrpzzrpz=p=zrp:
A
quaver as two semiquavers,
m
A
semiquaver as two
hg=^ipzpipzprg ipipzpzg:pi pzpzpigzp-pipip=pzpi3izprpzpzpzizgzp=pz
thirty-two demisemiquavers.
Demisemiquavers.
|
DOTTED NOTES. A
dot increases a note half
A
dotted
r-ffi~
semibreve, thus
:
R&v
its
length, for |
^--
-I
example
:
equal to | y 3 minins : \~ fc\
is
~ ~^~~
—^ -I
A
dotted minim,
thus:
The Rest
3F
(^
— "H A dotted
crotchet
is
equal to 3 quavers
h
A dotted quaver
is
equal to three semiquavers.
is
jz^iil
sua mmM
TABLE OP RESTS.
implies silence to the performer, agreeable to the quality of duration of the rest.
&—
Hemibreve
i
s^
equal to 3 crochets
n
~
rest.
Minim
rest.
Crotchet rest.
~-
1
Quaver
rest.
Semiquaver
rest.
Demisemiquaver
:»z ]/
=P
9m~
rest.
RUDIMENTS OF MUSIC. MEASURES AND BARS. Every piece of music
is
divided into short and equal portions called measures,
by small bars drawn perpendicularly Repeat this
Bar
bar.
across the stave, or
A
piece of music
is
When
Bis.
Repeat.
p— i^=si £z:
-
,
__^_
after the
show
that the previous strain
double bar, that the strain following
is to
THE SHARP,
When
divided into strains by the use of the double bar.
dots are placed before the double bar, they
repeated.
staff.
Bar
Measure
i
i:
EXAMPLES OP TIME. 2 12 3 4 1
1234
is to
be
be repsated.
PLAT,(l2)
(jf)
AND NATURAL.
(Jj)
The sharp is a sign which raises a note a semitone,andthe/?a< lowers a note a semitone, and the natural restores a note that has been effected by a sharpor flat to its original sound. sharp or fiat placed before a note, is called an accidental,
A
Double
Double bar with dots
bar.
before.
Double bar with dots
after.
iiili §lHii
iiiia
and
affects all the notes of the
When
curs.
sharps or
flats
same name throughout the measure
same name throughout the piece. beginning of a piece, are called the signature.
effect all the notes of the at the
There are as many sharps and
The sharps
TIME.
ing,
There are three kinds, of time, viz: common time, when each measure contains two, or four equal parts, and triple time, when each measure contains three equal parts, and compound time, when each measure contains six, or more parts. Common time is marked by the letter _£t and by figures. Triple and compound time
by
figures only.
The
letter .£*. signifies that
each measure contains the value of
figures are used, they signify that each
part of a whole note as the figures indicate, thus
kind of note
The pause
it
oc-
The flats
The
sharps or
flats
as there are notes.
F
sharp,
by
are placed, beginningwith
fifths
B
flat,
ascending and by by fourths ascend-
descending.
THE PAUSE,
&c.
^
is placed over notes and rests, and denotes that the performer When a pause is placed dwell upon the note as long as he thinks proper. Capo, or D.C., indicates over a double bar, it shows the end of the piece. that the performer must begin the piece again, and end at the first double bar, or
may
measure contains such fractional
figure
to
shows the nnmber of
each part, or count.
continue to the word fine.
:
turn to the
parts, or counts
first
sign and
ft
''£
The upper
fifths
which
Da
a whole note.
When
and by
flats
are placed, beginning with
fourths descending.
in
are placed at the beginning of a piece of music, they
:£. ;
sign, in the
$J1 indicates that the performer
must
re-
DC.
THE FINGERING.
1
the lower figure the
The end as
The The
X
has reference to the thumb.
figures
and
letters
above the staff have reference to the right hand, and
those below have reference to the
left.
RUDIMENTS OF MUSIC.
8
GAMUT IN THE KEY OP Fourth
Fifth string. Left hand. Open.
Open.
2d.
A ft__ MS mJq. "¥-
m
Right hand-
X
thumb,
4th.
2d.
3=
—-a-
-4-
THREE SHARPS.
Third string. Open. 2d.
string.
f.
A,
I
A
D
C#
B
IN"
G#
F#
E
I
thumb
To make
of the
left
hand
down
is
never used, when the
first
finger
F#
E
and thumb
j
2d.
4th.
I
!
Third position. 4th. 2d.
'0~l~W-
is
A
B
C#
D
( I
i F#
G#
POUR SHARPS.
E,
!
the
4th.
2d.
t=":
THE KEY OP
D#
Open n.
1st.
5EEJ:
:;e}
Second position.
First String.
string.
0-
lt.'finger,
GAMUT
As
Second
|Open.
Second Open.
G#
string. 1st.
A
First
I '
Open.
mentioned, the performer will
2d.
4th.
£=E=tEt
£
D#
F#
C#
B
Second position.
string. 2d. 4th.
know
it is
E
Third position. 4th.
2d.
-0-
1 A
G#
intended for the right hand.
FIRST EXAMPLE, LEPT HAND. mark, or fret, marked A on the second string, the second finger on the
second fret and first string, marked Right hand have the wrist directly over the bridge, touch the first string with the back of the nail of the first finger, and the thumb-string immediately after with the end or ball of the thumb,Xraise *be fingers up and repeat the strike. To the first strike count one two; to the next three four, and so on. To the half strike, count one, two, or three, four.
C
a strike, fingers
sharp.
the
;
first
finger atthe
first
:
A strike. down.
JS
l8t
Count 1
A strike.
A strike
Up or
down.
Open \
2*1
A strike.
A strike.
A strike.
\
3d
.J^LJ^
A strike.
A strike.
A strike.
|^
Up ^
2«1
A strike,
down.
down.
down.
|S
Up
\
2d \
-
Up
\_
X 2
SECOND EXAMPLE; A STRIKE AND A HALF. Give the the fingers
strike the
up and
same as
in the last
A strike
Half
4r-t li .nil. lfing X Count. 1 2
lUshr
first
with fingers
repeat, at.
Left hand. Down.
i
example,
1
St
3 4
A strike
Half.
down
;
make another
nota with the
first
finger of the right
hand on the
first string,
4£
raise
—
—
RUDIMENTS OF MUSIC. A
scale, generally speaking, is a succession of
seven notes ascending or descending, which consists of
Tone.
Tone.
Tone.
3
-7*
-&-
-r±
-3-
Tone.
Semitone.
—
=
five tones
—
H
and two semitones.
Semitone.
:zd—
1-
&
22:
:^—
II
BUCKLEY'S JUBA. Strike
down, strike
tllf
200
2041200
1
up 2
1
5th pos.
o
2
:±Si-=tzz-mzE zbfc± EE±=£=rfztdb* _-- |—^j— L~EBEz 1X1 XI XI x" 1**X 1 XI XI
a:
3=t
r|z=p±: 1~X
IX
1
X
2
2
M. 1
x
X
I
CHROMATIC SCALE 2
1
4
3
£ 12
3
2
i
4
¥
'
*
2
14
,13
15
-»- fc-
4
EXERCISE IN TWO -POUR TIME Strike.
Pull
^ IX
IX
IT"
EXERCISE IN SIX-EIGHT TIME. pull
Stt
2
#~L; 1™
puU 1400000102021202 pull
2
S2
pull
rt r-F-t — ^^f-r-^-i— *^j*+ ^~^J X IX X X X~l™l V 1
1
1
1
*
1
** I
42
—
0102121242000202 420
*~ m
pull
1
*-*+-* — — X1XX
** ji" K-Zl xi x™ X1X1X11 +IXXXX1
^
1
g
—
I
— 10
Xl -A. Jj
JLb
U
J.
EXERCISES FOR THUMB, X Thumb.
One dot ( . )
1st Finger.
Two
dots
(
2d Finger.
. . )
Jj
1st,
k,
*
2d
&
3d FINGERS.
Three dots (...) 3d Finger.
No.
H-»
W
1.
,_ T _ _?_ #
#-i-f-i-«-l-j-»—r-i-T-«
-:-.-tt-.-t-»
x~
x
.
No.
:
2.
4 _=—=5-j— —i— =q_d_q=d_; — —g:===n=;—gzjzzQzqr:fcq=3z=jz:^q=fi—Til -I"
,_ H
j
|
•
"2*
•
•
•
X
No.
ifbirrdzid— dz4==d— "* /m lip Lzzi
— ——
•
3.
±^=q^^j No.
—
J
*
H
:j
^Jf
4.
=EE*EiE3=Bfe^EEE3EE3^?Efe^|E^E?E^EE!E3EIE!E^EfE^E±E?E3ElESfl '-3-
*
XXX zezzi]— *—
J—
if" X"
_*:z;j:
No.
5.
No
6.
x
q=»In*—xte?— i: -x
x
x
Safe -
—~
—
—
WHEN
I
M
ir_# _r_#
—,
a
>pE£* t:_i:&tg^::
—
^^^^
4ft
—
•-
—
— ——
—
—
11
— r W—m\ eglzz^»^f:gx==5i=?t^::E=^fit:.-tl I
i=zzz:*V
i-r^i
r
—
SAW SWEET NELLIE HOME.
-
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p _pu:p
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5th pos. othpos.
ZTIliTfz^i?;]
-#-
-•-
--#*?
/
'
If
5th position.
10th position.
4 2 4 2
tf"
'
L
-I
r
-—
1-
#
1
-
ZjZZ±-.*ZM_4
t.|Z
1
1
f
t_t "IP-
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— p_J
1
— n
48
—
—
h
JAMES BUCKLEY.
JJLY. (MAZUEKA.)
!
*±*
—
i-g-'-ptt'-p-
If: -
tf
i
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i-n
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n
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w
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1
JAMES
EXCELSIOR EONDO,
& &
zz'zizfctzz':
BUCKLEY. FINE.
:
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fc^^ ^" 1
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i-^-,-^-^- J -< ^-^^--j z t -#-^-#--f-y- IEjz
11 :
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•
3
EMPIEE HORNPIPE.
49
^^^^feg^K
W-t-0-F-0
|g|±==5^«^zz~rz—=fez=^^3zpr&r|-tf-p-r-f
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r -P
— "'-'
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tit^-qizpzprrzj:
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jitzzfziiizzzzr:
JOE MURPHY'S
i
2iigl^Sifel
JIG.
f-—
^
-9-0
fezz^^^^zfa-rrd:
#-pr-
fe-
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:fe-t
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VIVA LA AMERICA. r*> -J
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4-
Q
ft*
H^
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i
;
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^i-^EE|3K*St'|=etts3iE^(S 3=33= a r
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=-1
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Mftr:
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=•=-,•
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*
SPALDING'S
50 Tune
.,
„
JIG.
thus.
No.
1. ft
-ra5l
fan'
^a^glSi
'
to 3K^^^^ass frS&ft^ — -^^rr~^FIzftfc^feiEfcf Jj^&z-Z^-— ^ ^fcfcl
-itSt**zJSi
:p
— zflfl:
—
Me=3e£b
^fei&fd^EftiS
eh™ -• 0-
u.H_l. .
t
Jt?z = ? =p zg^fz:
A
No.
3.
:tz^:
zzzzz'zzzzf
?==prB!5=K=P=^
^pJi^iiliiii^iiiiliB ^S5u
SiiliiiilSil^iiiiimglBigi-^Slli
z^s:3
V
SPALDING'S JIGS. No.
—
-
51
Concluded.
5.
g
te=04=4=fr&tt=^g=£==* rl^-' =g =tf^gJgLt^_. g^SEfc £Ki^zFpzHzzvz: asfca ^ !
__^_^
^ •z:jzi1zzz£iplp?pizpz»z£zpzizp
^zazfzp: :ftzzt|iz±z'
SHERIDAN'S HOENPIPE.
qzzfezzSz^z^zzzz^zfc^ — -i
1_
2*210
-#-4-0-
&
2
^_
BUCKLEY'S
i—*
•
1-#-
ir.'rr.
£—M }JiJL 4 _?
12
2 4
1
*-»
2^.1
2
t
422
=|=fzr^.z^^zE^=fi: r
45434514
——
i;
-4—J--J-
^^-Z-h-h-^
U^zpzttzpz
s-*~T-*-a
ml<
^: i— +-a-L
i
HOENPIPE. BZpZIZfzp rzpz^zgzaz^— zzzrzzzp^zz^^z^zzzzzzzTz.
333***^
J*
-#
2
FEED.
4-
-#
5
4
5
—'
4
2
1
7
5
4
—
"
3—4
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3
T~-
—
4
2
2
a
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40420
pip:
765
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i
—— .
7
—
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——
J--F-I I
I
I
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p-
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1-
-"
BEN COTTON'S CLOG DANCE.
52
^if^h^F^ ^=PI^E ,*v
~
=^"««sel
X -0-J
1
e*
j^^gjji :3=d=3iiz^rpr^
^
3
«
-r=c=t: re
s
fel^"SiLf^^^^^=^#"^F^
l^^p^g^^^pg^g^g^^^^^ifl Tane
the 4th string
up
to B.
HATES' CLOG HORNPIPE.
ARR. BY
J.
BUCKLEY.
*P 4
4
-y*
-#-
4
III
-«
-«
—
'-•4-.I-4
.-4
-*»-
t-
J-*
#
:
—
i
5.
"
MY MOTHER
LONELY SINCE
I'M Composed by H.
—
THOMPSON.
i
53
DIED. Arranged by
NAPOLEON
3—
"W.
GOULD.
-\-
A-
9—1--&-
> Oh,
3.
you
A miaul inn.
who have
—
moth-er
a
Let
dear,
—
*^N
—
i-
|
—N-dv *— a — — H^-g ——^-{--tg-x-i-
•
.-*,.
i
ly since ray
not
deem
0—1.-0
it
-0-
J._ a
ne'er
will
q
1
have the
like a
-
Then when
gain,
i
she's called from
Or Can
sigh, love.
^5g~| '-j" g— l
stay
the silent heart-felt tear,
Of
tell
the pain of my sad
Could I
——
- 4y
friends she
but
call
-*-N:N
1
-0—
-&-
was the -
£>
-oIn
tide,
you need not with me
pain
E3333
q3: Oh
guide
I'd
side,
best,
My
gain,
And
—
1zJz±1VN:: tt: er
-
i£afc
t#
do
not smile because I
love
her bet-ter than be
—=- x*
!--*•-
X
ring, youthful steps to
down by her
kneel once more I
say,
::^s^z:
-&-
VI'm
weep, -
lone
ly since
^
—
I
o
—S
0-TF-
my mother
died.
fore.
4 th Barre.
1±-
X
A-cross Death's dark and troubled
you away
her back a
m
1-0
S,
i%^Pl^l^%^yiii^^
f.
-p-F-p
ft-fi
earth
those,
i
-0-1
tiH"
woe.
not check the ris-ing who've lost a mother's
can
I
But
B
1
*E*=a£H —$ht*i
,§)_._.
her with your
:=|:
N-N-Ni
i
ish, love
-
&:
Though Friends and kindred gather near, To let these tears so often flow,
died,
strong,
cher
N-fr-ft-N-N
tet!^i:g:=:
1
moth-er brave or
-j
You
life,
i^
I
But
a word or act give pain,
not
EEE=p$!E3ES —— * W-
I
*
-0-0r -0-
"n ==
l
— — i—
I
1
—
H
LONELY SINCE
I'M
—•— — — n —
> CHORUS. SOPRANO, !V^ kWr-i-i i
I
—
or
I'm it
—+
1
-&-&-
-
ly since my
mother
i!
1
Concluded
""=?=
Tho' friends and kindred gather
died,
TENOR.
Isfep
DIED.
j-p-j
h
g
lone
MY MOTHEE
AIR.
-j
i-d-»- —flr How
me, way,
My
—— —i-J3
J
i
-*-*
3-
-v-Vhappy I would be, heart would beat with joy,
Oar
To
-
ol
see
-
ing all the day, thee once a - gain,
r_^ life
would be a
when the moon 3d B Al! liE
i*-
is
L-J
pleas-ure,
beam-ing,
My O'er
mind would be
at
dis-tant grove
and
rest,
If
lea,
And
-*
\
*r~
-
ly
blest
sor-row
y
—
to
i/—
with my on - ly joy - ous stars are
2d B
i*~
on
If
Thy
u
\
with thee, al
-
loy,
Be For
-
guil-ing time a cherish'd
i
thy
-
wav, name,
Then
And
j
treas-ure,
gleaming,
This heart was
Then would
HUH.
L—
is
!*•
lj
I
ev were
i
-
er blest, with thee
**
Oh,
a *-
WOTTLD
I
i** — *E33 h— I
were
a
;
That
bird,
I might fly
And
breathe a lov-ing
zTzzlzzz^zziz* *^-
j^j
-^-
-^
i^j
*-
To
word,
:rj=;
i*— •—*— ftr^i
"
zzzfzfzazzzzz'z- tzz f ztzzz
thee,
to
—
v
Concluded.
:^i^ 1=* -^ Er£ -/— *— V-
hj— Ft
would
—
— WERE A BIRD. *
-
rj
3=«£
zrc
#j-
one
so
me.
dear to
zzCTzzz^zizzffqzzizzi-j **-
-*-
THE LITTLE BROWN COT ON THE HILL. Composed by B. B.
Arranged by N. "W. Gould.
Isiacs.
Stm.
Ip£33z£^ tzZlS— i-M-i.?—
—a
zzizzz:
3=izz:==£l=l^z=izz=fc^d r
-*
-#
:
r-
— =2 — *zz^ztezizzzzzr^z:$i—izz—j^zzft ?jzfaqfel>_: -^izE^jz^z^rizzr^zzj*:-:fcJZZZ£zzi i
-—
I
-— T
v—\
z*zz^z;j|zlz*z I
1.
2.
re -
Long a It
-
is
zz-Nz^z:
zzzzz'i:
brown cot on the bill, Where T lived in the bright long a brown cot I was born, And there passed all my boyhood a ed my friends at its door, When I left them to wan-der a
JizzzbztEirf zzfczzf zzfzz*£jz
;
mem-ber
the
lit - tie
-
go,
go
the
lit - tie
-
way, way.
years
in
since
I
part
-
-
And the mu -sic - al sound of the On its porch I would sit from the And I sigh when I think that they'd
A^dLz -ye1=*=^ih->mur-mur-ing first
rill.
That be
1 * =-'-
6ide the
-i-
brown
cot used to flow
blush of morn, Till the close of the long
meet me no more, For they sleep
_i
*zzizz?z
in the
jzzzpzjzzz=i-i=!-pzj
5s?
Mr.
Tho'
:
#_. :zpqzz;zzi
lLj
=p
to
-zzziiQzzzzbzzz*— *zzz=zzzt oth
-
Or I'd play But al-though
churchyard to-day
—
ir-fci rr~ zgzzg zzzzzz^zzzjzzzpzzzjzzzzzzNzzN
:ta
summer day,
9
*
ir-
—
era
no
beau
in
the
cool
in
this
world
:«zzzzz
m
i=====
i iii i
-
ty
sha I'll
in
it
z»
i.i
might
ap
- pear,
dy woods that were not meet them a -
i'f
——
near, gain,
»
That could
And my I
will
zzz
a=a=a btaa=
i
—
—
THE LITTLE BROWN
58
— ——
N
-sMf
N-
T
—
;
i
i
Concluded
COT.
-^v
N~
-*—*— V/sv
:fc*
m
rt
-9=9* wake
in tbeir
bo-soms
a
cher-ish
Buff
' i
their
'
i
'
a
Yet
thrill,
shout would ring merry and
memo - ries
there's nothing
Till
shrill,
And
still,
—I^miwt h?TT^
'
J-
S;
fa
-
re-membrance
T
on earth
tigued I'd re-turn
— zgz
for-
\
ev
-
to
my my
er
for
to
heart was
Moth-er
me
will
—
Jtr
so dear,
As
remain,
lit - tie
brown
cot
lit - tie
brown
cot on the
hill,
tie
brown
cot
on the
hill.
that
so dear, In the
Of the
lit -
—0—M--
-**&
=*zse
-j
-
i zgzzjz
on the
hill,
zjzzciZLZJzdz^ m
—
|
[-1
^+0
1
CHORUS.
•^^T^ ^"M"t"^T^^~M~ir~^T"r~r~r^^~rr^ r
It
was low and was
cold, And in
winter was drear,
And the winds
could assail
it
z~*t
f*
^ ^ f*
!l
i±£zfczftzzzfdEr^fei?rc
at will, Yet there's nothing on earth to
».
j vfr rl
—
ii
my heart was so dear, As the little brown cot on the hill.
-^-Nr^r^-N-t—
zizzizzidzzfcik; :z* j^qzzl
l/-/~L 0-0-0-0-0.-0.- 1 0-0-0-0-0-0
K • • -0-0-0-0-0-0 /.
1
i
1
1
1
i^Mii^iiizlz:. zzzz£: zzMzzzzrzizziz:
*—**
+ 1
L
0-0-0 y • r -#-
0-0-000
0.0-0 0- # -f H • ? -0~
Ji
—
j
PRETTY LITTLE SARAH.
ARR. BY
1.
My
heart
2.
The
first
is
like
time that
a I
pumpkin, met her,
Swol-len
In
a
big with love,
The
pouring rain, I
fair
-
est girl
her
proffered
in
a
ere
all
my arm
and
nm-be
ft
— —K tv
+t-»~A~^-^S~N
,ff
ought said
to
he
I'd see
— t+
—\—^£ ^^
—
\
\~\~H»-»—-NN— NVi
above : Her a beau-ty is a credit to her home, She thanked me with a voice so low and
s
I
na
la,
low.
N- t
Her
F^Z?±Z±^Z$Z^l9^ zjzjjjzfor this pretty Sarah, of
2d Barre.
fa
-
ther has ar-rived
a,
at
-Nr-WV^
-
for
EfeJ
\ \
said
the she'd
\ *
—Nt
N\
V
Brighton me ask
road,
And
in,
Her
1
P"
S3f doing
3*-
I
-9——^—»
on
farm out home, she
smile,
Bar re
2d 2
No doubt she thought me rich, Of course I needn't speak, For I was
-j--i
J
\ \i— — —N—\ —d^-tH-t-"**
lovel'vegot a load, I'd spend a fortune on her, Ofthat I needn't speak, For what a
parents they were poor; said I poverty's no sin.
3
And
man,
J
i—0—0-s-
r*«
»—
too good for
is
N-
ft
When we
I
-z*-h-$r-ztez*
59
took them with a
*
—
- tion.
mel
AN
—
N
She She
tion,
rel
-#— B-fra
BUCKLEY.
J
^-A^?
-«-*-9
Iflfe?
'
A
.ZTMl
24-ZZzlzZZ
-
tunc I must have on
my
heav
-
y
on
lars
a
week,
seven dol -lars
a
week.
seven dol
-
— PRETTY LITTLE SARAH.
60 u ffi
ik
/T\
AIR.
j N
V
fr
"g—fr—-fr—T
^T"iT~fr
—— fr
—
•
Concluded.
C~— —
iT
—
N
— -
N
ft
—
fc
fc
ft;
ft
1-
_:j-E_^_S_.g__£^ lit
-
g Sa
tie
J /
»
Her
man
If -
rah,
gold
Love-ly
-
en
hair,
g — — T^T — — — — F — Z£ —g — SU— g~~g g — — —g — g~t ^»~ —a —~»TV— »~ =*
gjjTiT
~rv
r>?
gr
—
12;
"TV
TV
-
ner
-j
'f
BASS?
«
f jJ _ZC _ is ——z*z~^ziv
Jra' 11
jj.
zfc:
—*-— g
—
:*vzz!~ zzzfc
-
ing,
gals
er
She
JV-T
:*=#£ izjzzzz^
izjzzzzzzzzzd:
m-
v -zziz-zn
~g~T p • zzc
—
oth
zz]z zzj:
N—
*r -fc—IE _Z3. *Z ZF g S_g_EIg ^z~^ zB:z^~z" "Tzr~ft "Ngzaz^j*'
T^
f>
— ——
zi «
—
zzjz
to
re
1
-tt
gives
i>
~
—z^3z ^S —ZZ
- ^ zi
zt
tzzzzgzzzqrzi^iz^izjzz^ztziiiz'zzqziiiqzzNfz^zNgzizazazgzgzizJzz^zzrtzzii - . -j- jpr - - -9- -^- *r -•- -*. -9 -sw 9 *-tt""* sriought
to
he
an
an
- gel,
Miles up
in
the
air,
To
marry her I'd like to-morrow morn
ing.
^-^zzNzzfczpz-zNr-^-^-^-ifezNifeT-^^^i^^^^rt r=a-:
jjizizzgiz^zzfc^i^^ I
-*- zdz zzzjzzt
L
in*
# **-**-+
1
* p*»lp»»r
^pj=S==^^zzp^z^==iJz iJ-HJ E^E"-?
...
.
l,
m rwT
'^
i-j-T7^1=^5Z^zzfcn ..
little ancle, she's got a little foot, her pretty little fingers running taper, waist is round and small, her mouth is best of all, with ruby lips not twice as thick as paper, She's always drest in silk, her notions they are high, altho' her stature's small, her bearings in the sky When she belongs to me, of course I never speak, what lots of silks she'll get from me on seven dollars a week. Cho.— Oh, &c.
3 She's got a
The
4 Her parents they are poor, but she's a milliner, and earns large wages in the city. Some she gives her mother for her keep and board, the rest she spends on clothes to make her pretty. She never saves a cent, tho' to me she says she will, to save the expense of marriage is a sugar-coated pill. And should we have a family, but too soon I must not speak, a wife and fourteen children on seven dollars a week
Cho.—Oh, &c
"
—
—
b
.... —
MEET THE AT THEE LANE.
I'LL by BLAHPHIN.
Sym.
5th barre.
—Z0—0—0 %0 — »
„ Iff-
61 Arranged by napoleon w. GOULD.
±*—0— *-_ 20
4p_ •-—* U
—
-ris
3«-
——
**
-E-rrr -
—
thee
leave
3. I'll
the
at
when
lane
the
clock
strikes
ten,
strikes strikes
nine, nine.
a
i
And
faith
-
ful
fc=tzz m~-»
a -f-m
i
tr-
1
x
—]—#-•>•- —
-0-
**-
-a-
clothes
af
-¥—
;:g
#-
-y— ?— *— ?—£•
garden
on
it,
Had
the
v—*—*pret-ty
my dear Lucinda, She's the yel-low me
as
gal that
winked
at
me.
gal that winked at me.
She's the yel-ler gal that winked at me.
life,
=j=l!
CHORUS,
my,
she
look'd
--f— — —
so
And
sweet,
j
+
:ir-^
r
—
she
dressed
•-
P
*r~
so
neat,
:=l==t
*=*
With
her
tilt
-
ing hoops
and
iirj— razzza=^z=zq>zi d=3
—
:
THE TELLER GAL.
—
h
i
k
65
Concluded.
gutf-K— \-N— >— —Vi — — —N— N-tt— U-
z=
I
;
,
,
»—0—0—0^
pret-ty
lit
-tie
feet,
As
she went skipping a
-
Pret-ty
long.
lit -
:ti=pr q— urn —Tlr*
:=1—1=:
#
—\
yel-lar
Sfeqi fe5El=a:
me,
As
I
—/
^—
/-
And
was walking,
9=
she
=£:
N i— -— » — • —
-k — «:s$=$=fei= ^-f-^H-r
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