buckley 1860

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. O rig ina l In B r o w n Un iv e rs ity L ib ra ry

C o p y p r o v i d e d f o r p e rs o n a l r e s e a r c h on ly .N o t to b e p erfo rm e d p ub lJ cfy w ith ou t o bta in in g

a ll appropr ia te wrIt tM pe rmiss ions .

•

B U CK LEY'S

. '

aOlfTADfIl(G

F U L L IN D " O M P L E T E IN S T R 1 J C T IO N S FGa L E I R N IN G T O P L I I T B E

E A N J O W I ~ H , · O R W I T H O U T A T E A C H E P . ;ALSO, .A . VERY OHOIOE. "OLLEOTI('I~ OJ'

PO PU LA R SONG S AND BA LLAD S ,

P L A N T A T IO N S O N G S , J IG S . R E E L S , W , A .L K · A R O U N D S ,

H { ) r n p i p e s , P o l k a s , W a l t z e s , B a n j o S o l o s , & c . ,

ARRANGED EXPRESSLY FOR THE USE OF PUPILS AND AMATEURS;

~,ing th t lltr )l h tst jtltd io n o 1 r ~an jo ~usit tl1tr pr tstn ftd to th t i u h 1 i t : .

COMPILED, ARRANGED AND COMPOSED

By J ' AMES BUCKLE.Y,.OTB.-llaar olth. 11,., ••• 1., and other Dane.. In thl. bookDan b. pla," upon the VloU.

BOSTON:

OLIVER DITSON &. COMPANY.N ew Y ork : C . H . D IT SO N & CO . C hicago : L Y O N & HEALY . Ph i l a . : J. E . D IT SO N & CO .

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- - - - " - ~ - - - - - - - ~ - - - - - - - - - - - - - ~ , --~--------- - . . . . .

Entered according to Act of Congress in the year 1860, by

F'IRTH, POND & Co.,

. in the Clerk's.office of the United State" District Court, of the Southern Distriot of New York.

-

•O r ig in a l In B ro w n U n iv e rs ity lfb ra ry

C op y p ro vid ed fo r p e rs on a l re se a rc h o n ly •No t to b e p e rfo rm e d p u b"c ly w ith o ut o b ta in in g

a ll a p p ro p ria te w r it te n p e rm i ss io n s .

8/3/2019 Buckley 1860


• ".

:;;Aw~:,/J3?-6',7//a

PREFACE.

0.. late years, no instrument ba a beoome more suddenly popular than the Banjo. It may be added that few are so

IttI.8 understood, or properly played, or are so capable of producing the pleasure always derived from a correct per-

ormance.

The objeot of the present work is to provide for a great want which has heretofore been experienoed in this respect,

and afford a system of instruction so simple and effective, that any person wishing to learn the Banjo, can understand

Its fundamental principles at once, and beoome an adept performer in a very short time.

The long experience of the author, who is the father of the BUCKLEYS'ERENADER8,is success with hundreds ofpu-

pils, also the faot that the great THALBERG,when in this country, gave the instrument and Buckley's method of instruo-tion, a considerable portion of his time and praetice, is the most conclusive evidence of his ability, both as author and

teacher, and he believes this opinion wi l l be fully borne out by the reception and result of the present work.

THE AUTHOR.

O r ig in a l In B ro w n U n iv e rs ity lib ra ryC op y p ro vid ed fo r p ers on a l re se arc h o n fy .

N ot to b e p e r fo rm e d p ub lic ly w ith ou t o b ta in in ga ll a p p ro p r ia te w r it te n p e rm is s io n s .

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O r ig in a l in B ro w n U n iv e rs ity l ib ra ryCo py p ro v'd ed fo r p e rs on al re se arc h o nry .

Not to be performed publicly without obtaininga ll a p pro p ria te w r itte n p e rm i ss io n s,

T A B L E O F C O N T E N T S .

Rudiments or Music, • • ·!) Harper's Jig,. • • - 21 Leavitt's Waltz, 55Directions for making Banjos, 6 Cane Brake J~,. • . 22 Dixie's Land, - 56How to strin~ the Banjo, - • • 6 Philadelphia alk Around, - 22 The G1endyBurk,. - 58How to fret t e Banjo, - • • 6 Parker's Jig, _. . 22 Hard Times are come again, . 60Position and method of holding the Banjo, 6 Buckley's J~, ·3 Leavitt's Irish Jig, - 61How to tune the Banjo, 6 Whelpley's ig, 23 The Poor Wandering Boy, - 61Notes and characters used. in Music, · '1 Hobson's Jig, ·3 Bonny Jean, 62Complete finger-board for the Banjo, • '1 Buckley's Danish Wa.ltz, • 23 The Selim Smiter, - 63Length or proportion of Notes, • · 8 Spanish Du.nce, . ·4 Ha.rd Times, 64

Dotted Notes,8

Campbell's Jif' • • 24' One Stri~ Wa.ltB; . 64'rable or Res t s , · 9 Essence of 01 Virginia, ·24 Spanish altz, 65Measures and Bars, . 9 Raccoon Jig, 25Tillie, · Corn Husking Jig, - · 25 Viol in Jigs, RuU, &1to t t iMJu 211 , 1 Ho r n p I p e s.Bxam~les of Time, • • . 9 Clark's Waltz, - 26The S iarp, Flat, and Natural, 9 Waltz with Vari,.··· ..s, • ·26 R. Bishop's Hornpipe, • · 65'l'he Pause, - · Varsovienne, 27 J a.keBacchus' Jig, • 66Fingering, - • 9 Japanese Grand :.. :t d, · 28 Dr. Hecock's Jig, - 66Gamut in the Key of .A, • 10 Tobacco Jake Jlr:. • 28 Dutehman's Corner Jig, 67Gamut in the Key of E, • 10 Money Musk Reel, ·9 Gantz Jig,. • ·67First and second Example, - 10 Betsey's Night Cap, 29 Gas Light Jig, • 68Positions, 11 Arkansas 'l'raveler, ·30 Fisher's Jig, · 8Common Chords, • 11 Harmonic Waltz, 30 Major'o JiJ' • 68Lessons on Time, 12 Rapahanock Jig. . ·30 Butcher's igo, · 69Abbreviations, . ·13 Violet Mazurka, 31 Fireman'S Jig, • 69Buckley's Juba, • 13 Buckley's March, • • ·2 Newton's Jig, - 69Chromatic Seale, • 13· Wild Flower Mazurka, 32 Power of Music, 70

Exercise in two-four Time, . 13 Hail Columbia, ·33 Sanford's Jig, • · 71.. " six-eight 'l'imo, • 13 Unsworth's Giggle Toot, • 33 Great Eastern Jig, 71Jubes, - • • 14 Marsellaise Hymn, ·35 Pea Patch Jig, ·71Lesson on Harmonics, ·4 Leavitt's Polka; 34 Hall's Jig, 72Ramsey's Waltz, • 14 I'm off for Brighton, · 35 Aunt Sall1'l Jig, • ·2}latthew's Waltz, ·14 Rail Road Polka, • 35 Jeffrie'sJlg, • '13Bill Newcomb's Jig, - 15 James Buckley's Fancy Solo, ·6 Bunch Jig, • - 73Tom Brig!'s Jig, • · 15 The Tycoon Jig, - 36 Empire Hornpipe, • 73Leverett ig, - • 15 Dan Bryant's Waltz, ·7 J. Mullin's Schottisch, · 4Bell Jig, - - - 15 Picayune Butler's Harmonic Jig, 37 Dick Sliter's Reel 74Lincolnshire Jig, 16 Original Essence, • • • ·7 Phil Isaac's Jig, • - 75Stephen in search of his Mother, . ·6 Ever of Thee, 38 Jake Bacchus' Reel, 75Solo variatlcns on Positions, 16 Strawberry Girl, ·39 Gotham Jig, • - 75Yankee Doodle, · 17 Ninth )lvenueJig, 40 King of all Reels, • 76Price's Waltz, • 17 The Deep Blue Sea, ·0 Bacchus' Favorite Jig, ·6Jig lIornJ;ipe, . · 18 Come dwell with me. 42 Japanese Tomm"s Reel, 76Parker's est, . 18 Land or Canaan, -

·43 Root Hog or DIe, • 77

Jig from French Quadrilles, . · 18 KiBBme quick and go, 44 New London Reel, 77Stop Jig, 19 Rail Road Conductor, . - 45 Peel's Jig, • • • · 7Bryant's.Jig, • ·9 Walk along Joe, 46 Bennett's Favorite Reel, 78Rattlesnake Jig, 19 Deacon Buckley's Jig,. • - 47 Simmon's Reel, ·8Buckley's or Green Corn Jig, ·9 Buckley'S Copenhagen Reel, 47 Camptown Reel, 78Fancy Dance, 20 Peeping through the Cellar Door, • - 48 Connecticut Reel, · 7 I IIBoston Jig, ·0 Old Dan Emmett's Waltz, - 49 New York Reel, 79Skiowa Jig, 20 Molly Bawn, ·0 Walk Around, · 79Joe Sweeney's Jig, - 20 Chuckle Jig, 51 Hoboken Reel, • 80

Jim Crow Jig, 21 Where are now the hopea, ·2 Buckley's Favorite, · 80

Fairy Dance, 21 Leavitt's Duff Polka, 53 'l'ullocbgorum, 80

Prince's Jig, 21 I'd choose to be 0. Daisy M

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O r ig in a l in B ro w n U n iv e rs ity l ib ra ryC op y p ro v id e d fo r p e rs on a l re se a rc h o n ly .

N ot to b e p e rfo rf !1 ed p ~b lic ly w ith o ut o b ta in in ga ll a p p ro p r ia te w n t te n p e rm i ss io n s .

R UD IM E ·N ·T S OF MUSIC .

--~ALL musical sounds Vtlry according to pitch, or tone;

and in order to expre~s a sound that may be high or low, weuse what is called

A sTAFr.

]This Staff consists of five parallel lines, and all tones

are expressed by characters written either upon them, orthe spaces between them.

The under line is designated as the first line, and thespace between the first and second line as the first space.There are five lines and four flpaces, which are named asfollows:

t f.arth a.e.:".3 t1l1'" a.ace.2 •.,c.ad a.ac.,.

~ Ilntapac.,.

When we wish to express a sound that may be higher.or lower than those which occur upon the staff, we usewhat are termed

ADDED, OR LEGER LINES.

These lines are used either above or below the staff, ac-cording to the pitch or tone we wish to indicate.

At the left hann of ~very staff we use a character calleda Clef. There are two Clefs in general use; the TrebleClef, and the Bass Clef, which are used as shown in thefollowing examples:

TREBLE, OR G CLEF. BAlIS; OR F CLE:r.

t~ ¢1(2:

1An music preceded by the Treble Clef can be used bythe Violin. Flute, Accordeon, and other high-toned instru-ments: it is used, also, for the ri~ht hand in all music writ-ten for the Piano Forte. The Bass Clef is used only forthe Violoncello, Bassoon, and other low-toned instruments,also for Bass voices in vocal music, and for the left handin music for the Piano Forte. Thus, it will be observed,the Bass Clef is used to indicate the low tones, and theTreble Clef to express t.he higher sounds.Music that is written for the Piano Forte is always con-

nected by a Brace, the Treble Clef always being situatedabove the Bass.

~

~:I The Brace is also usedlo connect any number ofstaves that may be requir-ed to constitute a score,

(

and, therefore, two ormore

~

~~~~~Treble Clefs may be con-nected as well as anynumber of Bass parts.

~--N otes, o r C haracte rs use d to ex press the L ength of S ounds.As every sound varies in regard to duration, we are re

quired to express the same by characters called notes.The longest sound in general use is called a whole note,

which is expressed by' this character (151). the sound ofwhich is continued while we can count four. Other notes,with their relative value, names, etc., will be found in thefollowing table.

8emlbren, or wholen(l'''' Minim,or hal(note.. Crotchets,or quarter notes, Quavers, or elghtb note.. SemlquaTera, or 11:ltteenthotH.

l~:=rz=~t--;r-+ l~ .l4:~~~;gt~~~";=m"J::~iI~ID- 4 r 1 2 3 ~ 1 2 3 , 1 2 3 ~ 1 2 3 ,

1 2 :t__ .. C' • ._ -.~b Count one to eacb Count on. to nery two. Count one to ..... '1four.0uwI\ fOllr to _..... oun__11 '0 . .. ~ - • •

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6 R u d im e n ts o f M u s i c .

string; for the second a very small 2d; for the third gdeither a small 3d, or a large 2d; for the fourth get thesmallest dth you can; the fifth must be a little thicker thanthe first string. It would, be better, where practicable, to

use harp strings, the violin strings requiring more care inselecting, owing to the thickness not varying so much,

from the fact of the violin being tuned in 5ths, whereasthe Banjo is tuned in 3rds and 4ths.

A ll notes of shorter duration are expressed by an addi-

tional bar across the stems, thus ~ .. thirty-second notes,;

and thus fo r ~ sixty-fourth notes. A single eighth note8. • ~ ~..

is written thus, tor ;"; a sixteenth thus, ~ or ~ '; It IS

only when a suocesaion of similar notes appear that they

art'! tied with bars from stem to stem, thus, J J ~ J or

~ . .Itmatters not whether the stems be made to turn up-

ward or downward, the situation of the body of the notedetermines its tone. We frequently observe them writtenas in the foregoing examples, but in vocal music each syl-lable is partic~larly provided for bya precise division of

the stems or ties.

H ow to F re t the B anjo.

D i r e c t i o n s f o r m a k in g B a n jo s .

Great care must be used in doing this. The distancebetween the nut and bridge must he divided into 18 equalparts. After puttingyour first fret on, then again dividet~e space between this ~.d the bri.dge. i!lto 18 parts; put-tmg your second fret on.ithen agam divide from the second

fret to the bridge into 18 parts, and so on until you haveas many'frets on as you require. The bridge, of course,must always be kept stationary., The frets are all t~ beput the entire width of the finger-board, with the excep-tion of the 2nd, which only crosses the 2nd, 3rd and 4thstrings. On the lt string you must have a small fret an~th of an inch nearer the first fret.The wire, made expressly for frets, can be obtained only

of the publishers of this book.

The length from the extreme edgt'! of drum to the nutto be 34 inches; from the thumb peg 8 inches. This pegshould be placed in the handle from the side, instead of un-dcrneath, making it easier in playing on the positions.The handle must be perfectly straight, and 1~inches wident the nut; the finger-hoard must be perfectly level, or thestrings will jar on it. The drum must be 14 inches indiameter, and 31 inches in depth: the screws around thedrum should not exceed ~th of an inch in thickness, andbe 1 4 in numbe r : the th ickness of the iron band around itto be about the substance of a ten cent piece. In makingthe bridge be careful to have the feet turn towards thecentre, instead of the way t h e y are generally made. Thiswill add considerably to the sound, and place it one inchnearer the tail piece than the centre of the drum. Nomore pressure should be used on it than is necessary tokeep it in its place. The sk"in should he a premature calf-a;kin,-this being extremely thin and transparent. Alwaysselect a thin skin, as it is impossible to obtain a good tonefrom a thick one. This should be drawn over the drumso tisrht that the bridge will not indent it. By roundingthe edges of your drum, it will enable you to draw theskin much tighter, without fear of cracking.The bridge should he made of soft pine wood, as the yi-

bration is much better, Capo d'Astros are used when it isrequisite to put the Banjo higher, and tune the 5th stringaccordingly,

P o s i t i o n a n d M e t h o d o f h o l d in g t h e B a n j o .

TUEperformer should sit in a natural, easy, and erectposition. The hoop, or hody of the Banjo should rest on

the right thigh, close to the body, so that the wrist of theright will come directly over the bridge, the thumb overthe fifth string, and first finger hent over the first string.The arm at the joint of the wrist must be held still; thehand must be limber at the joint of t.he wrist. The neck,or handle of the Banjo should rest in the left hand, be-tween the thumb and first finger, usually termed the forkof the hand.Like all other inst: uments the ~anjo can be p lay -d in

all keys; hut some are more particularly adapted to itthan others. The most suitable are the keys A and E Q :F # Minor is also a \'ery good key: and C # Minor"

--~~--H o w to t u n e t h e B a n j o c o r r e c t l y by , E a r o r by N o t e .

---::~.--- THE first. thing particularly requisite is to have the Ban-jo in tune; to get t.he correct tone and volume of sound,und have it hest adapted to the voice. It is pitched toplav in the key of E. four sharps. RII~l A, three sl.lllrps,which are the natural keys for t.1lP.BanJO, although Itcanhe played in any other key, but. not with the same ease.

H ow to s t r i n g t h e B a n j O .

The strinz- shouldbe the same distance apart as on a'~ui:tar. F ~ I the ! l r s t , string get a very fine Tst Violin

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R u d im e n t s o f M u s i c .. ~

'Thebass, or fourth string. must be A. the third string.E,second string G sharp. the first string B~, t.he fifth, or

'thnrn,h string, E~.lln octave higher than the third string, andis the same note as the first string on the Violin.

Commence tuning the short, or thumb string to E~.oras near as you can get it. Then place' the second fingerof your left hand on the first string at the fifth mark, orfret, from t.he nut acrcsa the finger-board, which isE b,(andis marked for the second finger,) and tune it to sound likethe short string.I Place the second finger on the second string at the t.hirdmark across from the nut, and tune it to the first openstring, then your second, first, and fifth strings will be intune.Place the second finger on the third string, at the fourth

mark across, and tune it to the second open string.Place your second finger on the fourth string, or bass, at

the seventh mark, and tune it to the third open string, and

your banjo will be in good tune.When the Banjo is in tune, the following notes are madeon the open string:

. 1 1 0 A E G~ B E

iif = = . l . - . - . - . . . : - - : E - -:J--I--~--l~~::±-.l---I-- -- l = • _ - -- ~ - - = = - - . - - . _ _ _ ~ - . - - - - - --+ 3rd open. 2nd open. lit open. 5th open,

4tL t I. Thumblrlnll"... rol l' epen

. To play 10 the keys of D and G, tune the thumb stringto D , and the other st.rings accordingly; which will bringG, D, F S l I lHP , and A, at the nut.N. B. In playing banjo style, the notes must not be

picked IIp with the finger; they must be made by strikingdown with the hack or side of the finger nail of the first, fin-

ger, the side next the middle finger.D sharp, on the first string, is sometimes made with the .

little finger, and sometimes with the first of the left hand,as the tunes may require,

This mark · S . is called a Sign, when it occurs for thesecond time, we must return to where it previously occur-red. and proceed to the pause ..-:-..which is placed over adouble bar at. the conclusion of the piece. The word Bis

over allY number of bars, signifies repeat; it is sometimesaccompanied with dots at the bars, _. __ __!!!~ _

always with a line that embraces the E ~ _ ! _ = 1 = : : U : t : E ! : Jentire strain which needs repetition, E .~.:it=~..~=•.tthus: - ----. ---

N otes, C haracte rs, & c., used in M usic.

Musieal sounds are expressed hy certain characters calledlIote~. These notes, seven in number, ~re denominated hythe first seven letters of the alphabet, VIZ: A. B, C, D. E,F, G. and are placed on a stave composed of five lines andfour 8pncl':O;, either Oil the line or in the spaces between thelines. Sometimes the notes extend above or helow thestave ; the additional l im-a that are used arc called ledger

lines above or below the stave.

7

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8 R u d im e n ts ' o f MU S I C .

.A M m f b _ . JOIlIa. Crotcbet. Quayer.

II i".:l t ;j I W I 1

.A D D I TJ O N .A L , O K L E D G J:B L IN J :I

E DE;t:. -.

J lI .

1 A C EC

I!Iemlq1l&Yel' • n-lMmlq1l&'feI',

I } I J . ¢ 4 1 )

NOTEB ON THE LIDS. NOTES IN THI: BPACEB.

l i ; J J . J E .r - t l f lW J r E O I 1 t i ~ .¥~ ~

T h e L e n g t h a n d P r o p o r t i o n t h e y b e a r t o e a c h o t h e r ' a ( " $ u , f o l l e w a ~

.A qUaYer" .&wo,,,.ann

D o t t e d N o t e s .

A dot increases a note half its length, for exampIe: A dotted eroteb" l ~ - = r 'J I. equJ 10S qUay.. 1 5 + t - f r g j

;~~:' ' ' ' ' IF=3'.::I:'-~ij-E= r= = §1 .

~

II equal to three

~

-- . ~ A . dotted qllanr -' I.,,>lqua.,..n

e " miDI ... ,E =~a II equal to E ?==-_~=::I:I = =thul I E =t:=3- a cl'lltchetl E - I I =::Ii

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· . ' I.· · · · ~ · · · c• . . . •

• • • • • • • •

t '

II

i...."'t';

'ij

R u d im e n ts o f M n s i c ~ 9

. T ab le . o f .R e st s.

The Rest implies silence to the performer, agreeable to the quality of duration of the rest.

1 I 1I l1 1 l1 1 1 "1 ' . .. .eIDlhrn ••• Millis red. Oroeehe t reel. Qlllte'rett

i'!J a = = r I:t~I : C- - - - - - ~

. ,

a = - : ~ti E . I m " c I...._..lP-'~lgr a l r(r r r : J - - ~ ~ .~

Meuu r e s a n a Bars .

Every piece of music is divided into short and equalportions called measures, by small bars drawn perpendicu-

" larly across the stave, or staff; .

nepeat thl. Bar. Bar. X.... re. Bar.

A piece of music is divided into strains by the use of thedouble bar. When dots are placed before the double bar,they show that the previous strain is to be repeated. Whenafter the double bar, that the strain following is to be re-peated.

Double bar. Doublebar with 40t. betore.

fi-@ I ~ :H

Double bar with 40t. after.

I i I ETime.

. There are three kinds of time, viz: cOmQlon time, wheneach measure contains two, or four equal parts, and tripletime, when each measure contains three equal parts, andcompound time, when each measure contains six, or moreparts, Common time is marked by the letter - e - and byfigures. Triple and compound time by figures only. Theletter -e signifies that each measure contains the value ofa whole note.

When figures are used, they signify that each measurecontains such fractional part of a whole note as the figuresindicate, thus:

IThe upper figure shows the number of parts, or counts;

the lower figure the kind of note to each part, or count.

Examples of T ime.

T he S harp,~) F lat, < p ) a nd N a tu ra l( q . )The sharp is a sign which raises a note a semitone, and

the flat lowers n note a semitone, and the natural restoresa note that has been effected by a sharp or fiat to its orig-inal sound. A sharp or flat placed before a note, is calledan accidental, and affects all the notes o f the same namethroughout the bar in which it occurs. When sharpsor flats are placed at the beginning of a piece of music,they effect all notes of the same name throughout the piece.

The sharps or flats at the beginning of a piece, are calledthe signature. .There are as many sharps and flats as there are notes.The sharps are placed, beginning with F sharp, by fifths

ascending and by fourths descending: The fiats are placed,beginning with B fiat, by fourths ascending, and bv fifth.descending .

--<-~-The P ause , & e .

The pause""=' is placed over notes and rests, and denotesthat the performer may dwell upon the note as long as he!hinks proper. When a pause is placed over a douhle bar,It shows the end of the piece. Da Capo or D. C., indiocates that the performer must begin the piece again, and

end at the first double bar, or continue to the word fine.The sign,. · S . indicates that the performer must return tothe first sign and end as in the D. C.

_«o~.._-

T he F inge ring.

The x has reference to the thumb.The figures and letters above the staff have reference to

the right hand. and those below have reference to the left

hand

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1 0 R u d im e n t s o f M U S IC . ;

G a m u t i n t h e K e y o f· A , t h r e e S h a r p s .

G am u t I n t h e K e y o f E , f o u r S h a r p s .

As the thumb of the left hand is never used, when thefirst finger and thumb is mentioned, the performer wi l lknow it is intended for the right hand.

second finger on the second fret and first string, marked Csharp. Right hand: have the, wrist directly oyer. thebridze touch the first string with the back of the nail o(the 6r:t finger, and the thumb-string immediately after withthe end, or~han of 1he thumb, X raise the fingers up andrepeat the strike.

To the first strike, count one two; to the nest three

four, and so on. To the half-strike, count one, two, orthree, four.

F i r s t E x a m p l e , L e f t H a n d .

To make a strike, fingers down; the first finger at thefirst mark, or fret, marked A on the second string, the

1.t x lat X lit X

S e c o o n d E x a m p le j A S t r i k e a n d a H a l f .

of the right hand on the first string, *raise t h f " fingers U JGive the strike the same as in the last example, first and repeat. *.,~\h fingers down; make another note with the first finger

.]J. strike n~ A ~trlke B&lf

Ldt hanel Down· f ' \ : Un " " " ~i~~4_2df _,;.: 2~~_~= * 24 '2ol_ '()'p I' D.~- Sol

F~ :_~ "" fI = t - - ~ = . F: . * - ~ L = = : ; J -~= • r i3=i--.._--. 1 1 _ = : : = = 1E~~nel .. ~-i : :=r=r - - - - -F=t=- -f.---- --::E:E~_- __==±=!;&? = : t = = 1 _ : : : : : : : I_

1st lIog X . lot Itt. X 1st l o t . Xl,,· 11K )< 10\ 10\,.. at(:OllNT 1 2 3..

8/3/2019 Buckley 1860


R u d i m e n t s o f M u s i c • . 1 1

2d POSITION•

.

~. : l= J J : J J J

j

C r r I i ! nI: r . . , ; " t o ~.0 1 a ~. ·1 I. 4. ,

1

j •

3rd POSITION.

tr~b~ltj J Jj j J J r r r PiB

2 a '4 . a 1 • a1 2 a

, , 1

4th POSITION.

l I fI

Jj J J J J r : : r F E::~tD

. .:I ~ '1 • • 4 • a 1 4-

, .•

5th POSITION.

Ilf- J g; J J J J il r r E ! ! D3 4 - 1 1 :I 1 :I 1 3

1

6th 1'0SITIOlf.

l t~$4

~ 1 = f l~ tt¢J j

r E r r : r2 3 (- 1 a (- 1 • 1 4

'1th 1'0SITION.

If-#a J 4 L J r r r r b i! J ]" " '3 4 . 1 1 a 1 1 1 4- I

8th POSITION.

,$ .E~~~_::t - I IEF- -= iT -== -== " r

~ .. ~ . •-E- =_1_- - = - - - - - 1 t l Io . 0

COMMON ClIORDS •

. . 1 f - - ~ ; s l I" PM.

E~~it_._~ =:+-::.;---~J--~_* : i k = M I~ 8 51 ?2 ~--e-6I- - -~ s ~~

cH i t 2-r..T 0 i9 0~ 2-";- : : ; ; 5 : : 1,.;;i- .

4th1'... 5thP... 11th1'... 7thPoe. 8thP... 5l1tP... 5thP.. 7th 1 ' . . . . 8,1lP...

3dI'... J _ . ! ~ . 4~ I I" _j .~

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--- Q-~---t~---rl?---~ . -+~-:- - o.;--\~--1r--f!iI- 0

8/3/2019 Buckley 1860


1 2 R u d im e n ts o f ' :Mu s i c :

L E S S O N S O N T IM E .

Count four to each measure.

hl'lbm. .M.""I . Cntellleta Qua,.enlnncaln"en1 J r - . 12 3 4 1 2 3 ... 1 2 3 4 1 "I. 3. ...

f l t - c " " 4 F E I r r r · r U -t r r;#¥ffft-=-bt{-r-rttffit

I II

~.4 1·:1 34 12 3 f 1 :I 3 ... 1 :I 3 f 1 :I 3." 'I' 3 "

J I#-~t t - t=FtE r r ~ r r ¥ I1 ¥ f?4t=l t- ' t=H4r; ;~l

1 I 3 4 1 2 II" 1 3," 1 2 3. 4 1. It f ,

§S r = r = r = [ k = r - f 1 - = t t r - y I L j - r = - - - - r r = F f r - t - ¥ 2 1 = r -=rg§

1 2 :I "1 2 3 ... 1 23

~~~IJi~~~r r r-t~ r

4 1 234

fUfr r - r rr . f§ ~4+ 2 3 4 1 2 3 .. 12

l~ r \ r . ~ E J j 2 1 -34 1.2 34

FIr- -.. 1 • 3

f 1 2 0 = = ' C ' C

8/3/2019 Buckley 1860


R u d im e n ts .o f . N Iu s i c . 1 3ABBREVIATIONS.

In many successions of s imi la r notes, we use abbreviations, that not onlyfacilitate the reading of many pusagel,ou t save milch space and time in giving them expression ;, and are particularly useful, in preparing manwicript music.

EXAMPLEft.

Wrlttea Pla,e4 Wrltte.

1 ' 1 : ! . e 4Wrlite. Pia,."

' l ! - = : = I L l " - w J n=~t~~iUJjJj J : I I ? , I , J , 4 ; tl

I~1Dm~~= ; f ·W l J l . $ J jJ~jmThis chi racter, :::: placed after a groupof notes, sig;ifies repetition.. .

~

wrltte., Pla,ed., , , 'PI"I ~ . WrU_ a,ea ,' I I ' !'" .' :::)::' '00; ~ '~ ~ E' . .~~~~-=;::44#~-:P;~~:~F-i=:pi;-Q~-f'~

A, scale, generally speaking, is a succession of seven notes ascending or ,descending, which consists of five tone.sud two semitones.

Toae. TODe. SemltoDe.

• 1 1 .

~ , ' I I1X

CHROMATIC SCALE.

j J ~d1)x x x

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1 4 JUBA. R u d im e n ts o f M u s i c ..,j 00 d'" ,..

(~=gfF-L~-Fi=F-~'p t t ~ - ~ r - I - . . . ~ . - + - -. . . . . .~~ ~ F f ~ J E 2 ~ E § 1 § - P ~ f ~ 'x x J . X X Xl x·x k i x x

JUBA.I 11& .'rl"e·-.- -1" --2 -4 . -t r -Ik-e . - -- r -I -, -'r71:""-. --"'--.-'r-::-"Ike-.-'Ir--.-tr l"::--ke .--' ••r lke . 1 .trlke.. I . ,r lke. I~ 0 ·'0 o . 0 0 I 0 0 O~ 1

f i¥1= :~ e JF - t~ - - : {=L=e :q :4 Q i : C -8t:1J •

L e s s o n o n H a rm o n i c s .Harmonics are produoed by pressing the fingers very lightly ,over the strings with only suffioient force to prevent the

strings from vibrating as if open. They are produced on the 7th, 5th, 4th, 12th and 18th frets.

B . . . . . . . . . . . . " . m '~ ..... . 1 . ' .~ Rt@;=t4~_~I

8/3/2019 Buckley 1860


.... -, '..,_ ~ l \,

\ ~ " " "I' ~. ,_

. - ~ -. - .. . _ . . . . . . .

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a ll a p pro p ria te w r itte n p e rm is sio n s.

I

t B il l N e w c o m b ' s Jig. 1 5

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Fir ,liEf t C l~ I U ' " Ic : ; r l IE t ; :@P mI)l' HT om B riggs' J ig.

: I F 6da P.. .' ... PM

~ a~ jltmIffl ; a ~lffl21j1aj" , i j J f I t - r I

1-I- 1 P ~ * t I lH. 3 J ! 3 ~ bc cl.. e. I I : : . ~ ~ ~ : ~ _ I

E J ! J~ . t ? · :aqgr - f t r= f j r S i I i i E f i Z i ~I f}~=e- . - . :§Dt : : : = : 1 ~ = = = = = a ... ~ ~ ~

L~~~ n~ ~~ffliP J ln~_ J lfl Jw ffliliU I

. ~ ~. . . . . . .

p p

f=tlr~-~li'CICjtJIB_Plr' S i r ' CICj#ff?23J

ti· [ r ' C I r r t rItJ E d ' t t lr IJ E J s O ~ jm ·illT h e B e l l Jig.

A. s, LEAVITT.

~-;;:1 P l¥J f - J 4 J P . t ~ I;;J mid 23J - , L I............ p E

~ {~C = E F FJ £ 5 1 i l l J~ I O J : : i $ ! i j r £ 2 = 1

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_ . ._ .. 1 '-. :1 Ms.


Not to be performed publicly without obtainingall appropriate written permissions.

1 6

S te p h e n i n s e a r c h .o fh i s M o th e r .

Wb~ JI~~JtF~li£r3~S. A.. LZL'P'ITT.

S o l o V a ri a t i o n s o n P o s i t i o n s .

The secondpart of this tune is played by puttin~ the 2d finger upon the 2d string and 2d fret, and slidingup on eachfret until you reach the 8th, striking alternately the 1st and 2d string; then returning and playing over again.

SA.S. BUCKLEY.

~!~5 · A d r M = ~ F G I-J]_~.~1 X X ' x

8 x' . - p' . UP,., 3dP... 4th P . . . jUh P•••

LV ft!~r f g~M~~x 1 1 1 x 1 X 1. X 1 X 1 J

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Y a n k e e D o o d l e . 1 7 .

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1 8 J i g H o r l l p i p e .

1fIg~~eii51J H J ~ - ~ r l 1 9 ~ _

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Not to be performed pub!icly without obtainin;

all appropria+elt,r'tten permissions.

2 0 F a n c y D a n c e .IUbP.·. = ' = ~ 0b~ "_),. _~

~~~_@-ffi}1¥$~~ 1 X 1 1 1 X X X 1 X •• x 1 X 1 1 1 1

1 1 I' 1 I 1 J.. ~_).T' ' _$ ',' x ~ t::3_PUU.

I r ttrtr~~~£IPOO ~ J £lit= . " ~

,,~ ~ Pull. ~ ~ ~. r - = Pull .' .

~ ~ ~ ~~ = l- r - · ~iI£-~wr~ - ¥ - . _ 9 1 1_x 1~:!: ' :; 1 ~x :;:· ~

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J i r n C r o w J i g , 2 1

-i~ ~ a1 1 # I·~~ff fr j. I -+-I". ._ -- - ;;

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I=t--~ - _- "f ~ _ _ - ~ ~ .. ~ .~ - . -. . , . _ . . . .

L ~ -

M~?¥ f ·&E · - ? = L - A P -h--31·1 ' W I jX r J = ;G j : n

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• all appropriate written permissions.

C a n e . b r a k e J I g . '

~8=P~~b~~~~ ~ ~> > ~

~ i : . ~f'4~- •.--~ . l: l: ~H~ f l:E I 1!M flf3 ..~ £~ t~ff-r-r = ; ; _ : - f { f §t91~ ,

f riLlB#.~~~~~~

2 2O. SWAINE BUCK LEV.

. .

0: SWA.INE BUCK.LEY.

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all 8PproGr!~t~lJfitt8n nsrrnissions.

B u c k l e y ' s J i g . . o.•WAlKE JlUC1tI.EY. 2 3. . p p p .

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8 )(. .

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E s s e n e e o f O l d V irg i n n y . SAL .VCSLET.

f lBfj tD ~I t 1 ' 0J.' Id_:QiL~wItjR B l ¥ : t g - . . . ; & , ! p . = pJ.$~§~ ~* CIlorctamarked thu. x to p 2 Y e d with the thumb.

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E s s e n c e o f O ld V i r g in n y . C o n c l u d e d . 2 6~ ~ ~z .

f¥iaE-r-re;r:eIFff ' , iffimFifiEEH mJ adI

In:n IJ .n3 pi"e I [""!r¢t~;4ill :J:t' II

R a c c o o n J i g .t a 6 ~ • _ .~ • ._J _JT~~__L~

IItl_f\fclli'~t~'+ . t ; : . . X Xl+ L •

E.-" r A · . . .r ' ! 1 .?;~.JJ .3£ 4 ± . . . . . ~.- l~~~£i!! l I tH±~j~g~19·~~mI : : = f = r ~ 9- ; -c ~!- -: -r ~ 9- ~qIiv!::: - ~~~~~..~

o p a ' . .

Ig'ifiJ I", h i ~.l@~~F9@H. ~

fiJ'ii Y i c = U ' F c : i / 1 3 ~ [-iEjlts illpC o r n - h u s k i n g J i g .

llPt~njlkr r d . t : R u = - t m t = i : t 1=t~-l£Ix Iji~ ; ~ x x ~ X 1 X X X X x

l i ' ~ = E rS{~ @ [ld I4 " 4 p,-t~ij.$l_iJcgx x

. 6......

Fi r , Ifi r , F F J P l { f t J J J 3 J-1+a-rj;n } t+fI> 1 / . 1

14$t{l!_f~t4fRU::im~dI

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' V a l t z w i t h V a r i a t i o n s , C o n t i n u e d . 2 7 .- eR1A'l'ION.

~~f4wrJamUrf~. ~

FCttt~m J im r t 4 F ¥ t ~ - c : w 1 b m ~ f f = ¥ ~ J j

f f 1 t r J J J 9 J 0 W * d t Jm-T-#3 J 11~SJ~~~-+. . .

V a r s o v i c n l f e ,

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-+ l . , . . . . ' . -+ ... -+. . . - _. ..

f_ CODA

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. . . . . ~

f---9--- ~-----i--,,-,,--t--'-~.J!.-J!.----,-~--IT:--,,-- --- --II---'11-11--- ---~~=::Jl---

===~~-!l=~=-- : : : : : : ;=~=:I!-.--- = = =~= :~:--.------ -. - .. -~~II [.__.- -r~LJ- - : . . - = r - = - --....J" .

~ I . . . .

• -t·~=---:tl--"":0- t:t:=_ll. r

x . x

T o b a c c o J a k e J i g ., 1 1 0 9 ; e a . ' " ~ W. II. GAlIilllNER.

(i$~1 . 1==1="~ -~ - i $~ - lE~~.-- = - :: ; ; ; : : : : : : J I I : : ' I - j~ _ _§ ~-:--- -l !' - --:.t. ---.~ - - - - = l - = t -"""1- - - - : j I f _ - - - = + = - - - ~ - , - ; - " ' " -I I-;-J Io . _ _ " -. ~t. . ! . . .2=t=! .- . --- ---- ..- -.". -- - - --1---t-- ;-----IjIII--I-- I -.--____ ...._-~-t--'--t- -... ~- __ -. ----'i?--l--~.-x---.- - --l---l-.--~v- 1 : ::J -f---woI---I--~-'-' '"x x x'. ~;. x X 1 A I . . . --

XX· 1 X

_ ~ 3 3 ; = E T f : ~ " : : : 3 a = ~ d . ¥ t ~ :- - ~ -~ I f J ~ -A== l = l r ~ , k f - · ~= I"-"",,;-l.-l-.a' ++ -~- -----""--t:- + . " - , _ " , ! , , ~ - ~ . - - -;---.--:i-;-.-lI..::' --;- ~~.: . . . t - - -=z-l.:_ _ _ f ! l ._ - ; _ ' ; I r _ ,,:;::1 ::t:::t".!::~-::.---~=t= h; i-:"- ==~-==--=----'- -11-9--------~-....~.. ~ c:;:::;. ~

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C ? ? y ~rovid~d for pe:s~)nalr~searchonly... . ; b~ perto: rned PUOI1C l y without obtalr

T o b a c c o . J a k e J i g . C o n c l u d e d . ~ :,'c W? ": 2 9

~ ~~

o i l Ert~-~~t~~. '''PM , .~ , .~ . a ~ ~ . ~ ~

Erarr1:II_.Vt1 =-~--;hJ :l.,

L FE ~\~~ ._o x ~ ~:i1~ r r=r - J Jw' S " * o ~ ' : : : ! E : : t _ o . _ . ~ " - ]

= '

M o n e y M u s k R e e l .

~it§-~=~~=fI~ -l-- -x- -.~-*- ----~-~~-±x x x x '" ,. 1 X

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3 0

r- . O r ig in a l in B ro w n U n iv ers ity L ib ra ry

, ,J oPY p ro vid ed fo r p ers on al re se arc h o nly ,~Jct to be performed publicly without obtainlno

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r-~r-~~'3C~~~~~:::aE-=--.L=li=tl_:~=r:~-~-: r : - - - ~ : : t : ' _ - - ± : = ± E - 9 ' : r - - - - - + - i= - + - - + . : .-_ _ . : ~-.--,.t--- !j--- ' 11 . : . m ~ : ; : = j - - "rJ-- tI--.- -_-;-....J-.~-_._• I t::!!:.. _ ~ ~ I- -( --.- - - ~-~- - -(---- - - - - -211- - -._ -:- - - . - ... E e --_ ._ - .,. ,. I -111:---

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3 2 n c c y S l U a r c · us, DlICJtLE~ •., T e m p o di marcia. , ' I· ~ .::J!_ d J I I : ! ' .

··_~~~i~~~4ix ... x : : i _ · ' 4 - ) ( . . . .

s!qf.~~ rw~m . S J . ~ ~ f 1 j .pU~4 ..... 4' ...- - - - - - . ' .

,

~-=~¥.~fl-~·~- .

I~-i!i~a~~_J·~fttf@£j 1 : 1 1,...~ ....... .... ~ iff ~

W i l d - f l o 'v c r M a z u r k a . lAS. BUCKLEY.

I ; i ~ ! - a : - ~ ~ = l - - - I - I - - r - : : , , - - - l - J - - - Y - t - = E S ~ ~ · ~ L=h- . ~ ~ - = - ~ = " I . ~ ~ J i = t -: = = j=j~~~- i :E . = 3::~= -= .-!- -:-4- -~ ~~~e:t~------.- -1---- -.-~--=~- + = . - " " '-1 - - _ . - - . -. -+ ~' , , -=+ -+-+. . . < ; - . . . f ; - . . . . . . . . . . .

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, • N Co p y p ro v Id e d fo r personal r , e s ea rCh only,

W I d - f l M k at J . 9 be_l f~ r fpr : i led publiCly w i t h o u t obtai 'l O w e r a z u r a . U f I l 4 t 1 0 0 C U 9 t e written pe r r : r i s s i ons , ' 3 3 "

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. , L e a v i t ' s P o l k a .. 6--'

i~~_=~-F ~ = ~ ~ _ ~ = ~ I 2 = P -9~-4 -__ -I---~~-:f-~r-_ _ __ . _ 3 = _ . . . . _ . - .g..--l- - --k---+-it--- ---tl· =--......1-----Ir-.a- -- II - --I-=--~--4- -tl-~ . -

171" 1 e i

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...... . 1 ...

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L e a v i t t ' s P o l k a .

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C o n c l n a ~ e o : r o p r i a t e w r i t t e noerrnssions 3 515thrM lIarm •• te,

~ - = F§ ;J t - ~ ~F-;;;;_~ib:::;-iii!;;-~- t - I i i lith PM 7tlt PM ~ 12 til I'M.

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I ' l n o f f fo r B ri g h to n .

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T h e T y c o o n J i g .An.Dled by Doll'f EMMET'!'.

3 3

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D a n B r y a n t ' s W a l t z : a ll a p p ro p ria te w r itte n p e rm i S S io n ~7

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P i c a y u n e B u t l e r ' s H a r m o n i e J i g .

.J . . . . . ' ~ar, - 4t1l ItriZ'

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VOICE.

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E v e r o f T h e e .

II~! ~.-- ,E i . - -~~_l" J ~ , - ; ~ ~=§I - " _ - - ~ I ;r.- < 0 0 0 : . . . . . ~=

E v • e r o f the e I 'm fond • Iy dream-ing , Thy ge n. - t~ e v o ice my

.&rraDplltr J'AS. BUCKLEY.3 8

BANJO.

spir - it can cheer, Thou wert the star that mild - ly beam-ing Shone o'er my path, when

"~Bllij j: IT!· ~ Q j j'-'"

1\ 1 bird flies to thee; Ah! nev -. er till life and mem' - ry per - ish, Can I for - get how

1~-LjJJ-~1=~~. . . . . . . . . . . . ."" . . . __"." . . . . . . . . . ._ . . . . . ..._...

\1 ~ ~==7 ~ -- \ r,L- \ ~ -_. -;t-

1 \ dear thou art to me; Morn, noon and night, where - e'er T may be,

'\~~J-..e~; -~~~- --I-I-~~;l--~t- IT1-l--l--l-::j-dJ--·~~r .--!t'-- -~ - -=.-- : = - =: j~-r=-::::1- ~-£"':- _IC: ~:t~- FI-::C-...._·...\ __ __ _ __ • ~ __ ~_ _ __ W\--. _ ~ = = _ . . . . _E-- _ _.,.__K..- -___ --- --.--- --1--.- - -~-.- .. -.- - - ..----

- _" -+ -+ .. . ._/ . . . .

8/3/2019 Buckley 1860


E v e r o f T h e e .

Origina,' in Brown University L i b ra r y

. Co py prOVIded fo r personal research on ry .

CNott q ~1p,rfor~ed P~bliclywithoutobt~gOnCm(f80~opnate wr i t ten permissions; tJtI

.. ~

i~~~ ~C . ~ t !~ .g q ~ h ~ = t : ! i j = ~ ~ =.~=:-~·*t~~'~§lr~S=i~·r~~-~I Fond - ly I'm. dream - ing ev - er of thee,

:r-~~~""'~-Jj~!P~~=r~Fond - ly I'm dream - ing ev - er of thee.

2 Ever of thee when sad and lonely,Wandering afar my soul joy'd to dwelt;

Ah! then I felt I lov'd thee only,All seem'd to fade before affection's spell,

Years have not chill'd the love I cherish,True as the st.ars, hath my heart been to thee;

Ah! never till life and memory perish,

Can I forget, etc.

'AS. UNSWORTU.

PROFESSOR PRICE.

8/3/2019 Buckley 1860


. 4 0


T h D B I' sNot to ,be perfor~ed p~blicly with?u! obtaininge e e p ' ; n e , e a . fill appropriate written permissions .

YOICE. ~!- :~===:4Jt j~ -When the bre e ze is 80ft •

. .

ly s igh -ing ••••• ~ •• ov • er the

Irtr---B~--'=--=~=_F=t-I rdeep blue sea .••••...••••••••••• And the ves - per bell is ring-ing, ••••

tt-~.~~·~.-tt.I

~ »:>

~ =} ~ + V - ~ ~ , b ! ! A i i i i i ; ; ; t : = ·t : r : t : : f ~= = = = ~ ~ : : 5 f ] . . : t t 4 : = = ~ -• . • • • • • • • • I'll steal-, •• '. a - way to thee,

~ ~ 1 !1~~=W-=]-=f f l_- t - m 1 - j -@=-F=~... ~- ~... J

J J 1 r cI t nto thee.

~=j-~ij :±m 9. . .

to thee, I'll steal a •

wi l y From a world whose i ro n ohain.... •

\ ~ 4 d ~tj-'IF;2ij--,-**=E~=--==b~----~~~=--~l . . . . . Sit. he. - vy on my from many •

li~1L-j=f-¥l3~d~=~-I'm--=k=t=J-i=-~~- • - ---=4 .-. '. --I- ::t:::t=~- -=t=:. - •= - = -l ! I~ --+-

8/3/2019 Buckley 1860


.... Onglnal in Brown University LibraryGOpy p rov i ded for personal research only.

T h D B I SNot to ~e peqo r9 1 e9 publicly without obtainr-p

e e e p ae e a . ~ O n l 0 l 1 M @ l f .written permissions. 4 1

~_ t., ~ 4ij==-~W:~-&~~@i we.· ry pain be· yond my w,Rk...... con -- trol, -:-.. Oh!

, ~ ~ : i@ = ~ ~ = n f1 t ~ r r f~ I~ ; i I : !

~ r = 3i_S ~f ~----3r7 -~~=; :iljl~ when it'e breeze is sing - mg. • . . • 0 _ ver the

'. ..'-'. - ~ . . . . . . . . . . . _ _ ~ - . . . . . . . . . . . .

I i : i : i i . _ j . iii : ~ '"

lii~~;g==1--f~~i-3~:::d-+~J ! ~ - - - i = = l ~ - - ~ ' : " - = - 1 = = = = - " ? : = - ~~-1---~ ... - -:J=--"'==+ -It jf-~- - r - ; - ~ - . - " -.----.+=.:.--1 1 ' . !Ir. IE !Ir._. . _E , '-r--t--f--!"" --"-f--f--!--"

,I. I" II . . : : : ! . • :::1.-11---. --11- ~ ' - F T - 1 " - , - 1 " ' " - ' - 1 - '::;t .,._ .. .,._ 1 I : ~ =1 : 1 : : : : I

- - _ . . C : : ' _ _ ,

deep blue sea, • __ .• _... __. __• _ And the VI'S - per bell

! ~ ~ , - L~ ~~-- - = - - - - . _ ~ - - . .: ! : l ~ ± = S ~ - r j = j d ~ : : : ; I - : ; : : J ~ ~ ~ - - Ii:~'1 r = = r = t b - ~ - f - r r ~ p = r t n ~ F ~ t f ~ ~ ~ ~! I t : i d = r s ~ ----1~--- _,,_'~fi - = ~ - = ~ = : I ~ ~ = ~ :f~= ~'~_I,~_-1!'=-r--f it: ~==f~--:X:=--~--:~-.r--[,l==:L=---~-.fII..... ------ come love to thee, toi rinz - ing, • . . . I'll my .....---..

i 0 ..r -.../ '" -.. ...- '" -.. ~' I . ~ I~ ~ " ,",' •.l f

l!l~tW=~L-~~ = e * r ~F-ffiW~~7 N I. . . . , ' 1 : : : : : : : : : : 1 I,-- .,_.. b: 1

J I o ~ - - - - - ~ +=1-... -II~ . ~ i 1 L - . II-~ 1~~-?5--§-=---=,,-- .•. = = = = = + = . = : . - . _ : : nI' -11'--1- ~ " I - " . - - - ==4==

II -§=th~==-~I'll come m-y -love tn thee.....

\

ef', ,_. -.. ~"

iiJl.,J ~ = = 1-~ -~ -- - = E E ~ t ~ .¥ - - -I I l~ . II = ·, ,-:I : ;=~~I~?:~~~f=~-:\'!$======e=l=-.-~ ~-,..- ~ •. ~ = ~ = - i : = : t : = , _ : : t+-+--+--t--t-- -_j_---: = = - ; = f = g = f = r rift I L; i ! ' I t I ! , ; . . .

The glow of h~alth, \~,11 "!cct U8

, n the sweet C" ":n~~uir,

The sparking waves will greet U8 h' & c . :,Vith n murm'r ing welcome there. 0 .

lS

Away to the shining watersRipplin~ over the land,

A.way to the rocks .of CoralA.long the moonlit a:wd.

8/3/2019 Buckley 1860


4 2

,', Original in Brown Univers i ty Libraryl . I opy provided for personal research only.

C ' d I I . N t ~ tto be perforf!1ed publicly without obtainingo r n e w e W I n mepppropnate written permissions.

A.rrIlIlIIe. bF JA.MES BVCltLEY.

~t~-,,- ~- ~ - = ! ~ . - ; ~ . -u1 ,~= = = 4= i= F t= = : ~ -~ ~~:±7 ~ I- " -...-It-t- i:±I

! 1. Corne dwell, come dwell with me And our home shall be, our home shall be A

l :~-#{ir f=e~~ - -vti@3!at"~~:: :;:I I.J :;;:-I - I ! _j - 10 7 c . . . . J 1 _ F-r_, c : : : : J

la ,_ ~ t:, ' ... ....

: 'd~l I=I '=! ' Eclt~~ ~~~ ~- r - - E I: iW====~ ,== I : t ===41" '~..=;t ~ ~ It ~Ii' '

I I pleasant cot In a tranquil spot With a distant view of the changing sea, M y

:l l i~ ~ - 1 - - ~' -;-----J=.-.-:: .= - - 1 = - = = _1=1__S=t=l _;- =-==+- - {I: = t j-iJ· tJ·- = c r-iJ--oJ-p-!'- D- -~ -

'1~~#!:='=-'--O-S~:i~~:P=--,,---~~ -~-~E"

:1

1

cottage is a magic scene, 'The shelt'ring boughs seem ev-er green,, ~ ,

'~~--------I t ~- - - $ - " --.-ii F--·- ---._.--.--.--.- '.~-,,_---~-= 1 -: 1 - - - - - - - . - . -

- u · - - - . - . _ - e - ' _--i -.--- -'----·----t- - - --. I" I:;J t--r- t - r - p=r---L ! s · r l L - I-J ~I t- I

The

' 1 1 ~ f = e = c = i : : ! : '===~=fI . ' - t t~-~-~-t~~~·~=r~·~S~ I~~ : : t z=~R~~-?11 streamlet as it flows a -long Is murm'ring forth a fai-ry song. The

" ~ ~ ~ = ; - - : c - = - b - -- : : ~ - ; J ~ - ~ - T - ~ : r - - - = - @ = = = F = E F = E f ! = @ - - < - ~ - T g 8 - - lj

_ ~ b - - - - - -

8/3/2019 Buckley 1860


C O l n e - D w e l l w i t h m e .

fl'~¥h~~.= ; ; b ; ~ _ ~ ~ . ~ 4 JE~ ' ~ ~ r ~ ~ r ~ ~ J t ~ ~ _ ~ _ ~ t: f -~~I ' dwell with me, come dwell with me, come, come, come, come,

U(,r , , , - . - , r

lU! Id: IY j I 3 r ' " »- ')"_. ....J I, \ . _ ) v v ~ ' j _) ;" "\ il /C .., .. . ., '~ - "

vupy provided fo r " , ' vl.,)!:} libraryNo t to b e pe r f o rmed pe~s.onal~ e se a rc h o n ly .

OaJ .1 . .a~QD}· t p~ ilc ly Withoutobtaffl9

O n u r U U O O ! a e w r it te n p e rm i s sio n s . 4~

come

dwell wi t h me, come dwell wi t h me, come dwell wi t h me.

2. The tendrils o f a vineAround the rustic porch shall twine

The woodb i n e and the wi lei rose flow'rShall make each easement seem a bow'r

[ w ill not let thee once regretThe gay saloon where first we met,

T 'w ou ld h e my p r id e to hear thee sayLove makes this valley far more gay

T'would be my pride to hear thee sayLove makes this valley far more gay

C om e dwell &0.

L a n d o f C a n a a n .

8/3/2019 Buckley 1860


VOICE.

Original in Brown University Library

Cop y prov ided for personal research only.

I 'I Not to be perfor~~d p~blicly without obtaining

K I S S m e Q U I c k . andllgB~roPriate written permissions.

. Am•••• b, lAS, BUCKL".

!~:=-_~4= '-<l§T h e o th • e r lI i~ h t a s I w a s sp a rk -in g sw e e t T u r • Ii • n a Sp r ay, T h e

~EJ1~-'

4 4

BANIO.

~ ~ - c 1-=1_J'~d~~~~-'~= t = t t ~f@=-~- 1. -._ f:;C:::~_li-_g:I

I more we whis-per'd our love, talk-ing the more we had to say, The old folks and the

! it~# t~I--F -*tJ~U i= -f ;s~~= tfi;= T != J{~~~ . ;=::.J .-I i~ __ --3.--11-- ___::=_- '""i--'--===l- .S- -+- --+ - . ~ - - + - . . . -.r. . . . . . . . . . . . . . . . . ' . . .

r,!,~-~L~--.---f_IEI ~~5 ~-I~-=r=E~-!E-.-::r~--=I1 • , • .3". t J !:::IE t ;z :: ~ -·--it:I~==t:-~--'I" j i l l " , . , .

.\ lit - tIp. folks we thought were fast in bed, We heard a foot step on de stairs and

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~' ~ . . . . . _ _.,,~

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II what do you think she said 1 Oh kiss me quick and ~o my hon - e y, Kiss me quick and;' ,..-....

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c;;i i - - - _ _ _ . . . . . . _ _ _ _ . . . - . . . . _ _ . . " _ _ _ _ ,. _ _ _ _ . . . , . _ _ _ . . " ,

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;! , go, To cheat sur- prise and pry - ing eyes, Oh kiss me quick and go.

1,it:ll'-~------=~~--;III--=-~I~~T~ .~--r:;:-=-.~::::;3)

!,,~~~GW~ffi=·=~~~~~~=ii~y~TJ-., . . . . _ _ . . . . . . . . - - - _ _ _ . . . . . . . . . . ~ . . . ._ _ _ . . . . . . . . . _ _ _ . . . . . . . . . = = ' - - - -

Soon after dnt I gih Turlina One ~nnd!\y night we Rat togetherA moonshine promenade, Sighing side-hy aide,

At last we fetched lip to de doorstep Just like two wilted leafs of cabbageWhere de old folks staid. two In de sunshine fried.

De clock struck twelve her heart struck to' My heart with love was nigh to split,And peeping over head. 0 To ask her for to wed,

We saw a nightcap raise de blind Said I, shall I go for de priestA.nd what dy'e think she said. A.nd what dy'e think she said.CJlIJTu.f.-Kis8 me quick and go, kll. Chonu-Kill8 mc quick and go, & C .

8/3/2019 Buckley 1860


VOICE.

r O r i gma . 1 in Brown U n iv ers ity L ib ra ry

, , vopy provided fo r p ers o na l re s e arc h o nly :, N o t to be performed publicly without obta in; "

R a i l - r o a d COndnCt6~.appropnate written permissions. 4~LEAVITT.

n1~-#~-~ ::::;:~ - !-I: -

p~#::~i=l-=tk§f=$n=t~_t=fJ = - = = ; = : f (~_"~~{0 white folks your at· ten· tion, I'll sing a . lit • tle song, Its

It's all a· bout a ladle's man, The hand>

som - est -by far, He

. ·~ l - i=OO:J4&i~m=-~;6 J J J d = f J _ i l v J = - m _ . I+ -+ ~ _. _ ,,-r,_ ,. . . -._.;;;....- . . .__.. , , ,__.. . . . .._... .._..

BA.NJO.

Chorus.

f-LJ. 1@g:;--f=f=;=t{;J-§b=fd=@=tb-.-I-·tI car. He had -,uch handsome whig· kers, Such pret - ty cur - ly hair,

I'

6.tJ ~-~,I'I ·

: l ~ - = = - ; - : ~ t l = _ , - t : ! = . -gg:Jj. . . . ~

He

~ - - - . : : : : : - = 3 i = = ! ' = - ; - - - - = l i -f9~~~~~~;§~ggg,--l--t-t¥ Jw = • R ! 3 _ ~= II -r; ,.I

'! d t In a 01· - ty rail - road car.as a gay con - uo - or.

2 U p comes a pretty lady.With pouting lips so sweet, .

He puts his arms around her waist,He helps her to 1 1 seat,

Then comes the poor old woman,That has not ~ot much tin,

He takes a chaw of tobacco,

And he never helps her in.

Cho r u s .

~

±= t t = , ~ . : . . + - _ Q _ _ . ~ _ . f ~ _ ~ - - " f ~ % i _ _ . t = . - - 1 - r1 - ~ - 1 - F

g_l__'_.'~ ~ I J

-+ -+ --

. . . . . - - -3 Miss Angelina Pretzels

One day she took a ride,This gallant conductor,He sat down bv her side.

He made a bad ilnpression,For she told her dear mama,

She smelt R cask of whiskeyIn 11 city railroad car.

Chorus.

8/3/2019 Buckley 1860


Ina! in Brown University L ib r a r yprovided for personal research only:

t\Jot to be pe r f o rmed publicly without ob ta in i~g

W · a l k A l o n g . J o e : 1 Iappropriate written permissions.

ArraNed '" J'AS. BVCELEr.

~I~4ft~ ~~~ t t~Wid de coon on my back and de ban -jo on ' m y a rm I m oved a • long to d e

!~~-4P 3 ~ ~ tJ l O O t t u t 6 s i F I

4 . 6

~ f ~4= =t @)'*~J,~~~~I~'f:~~1i~~j~~

Iold mon', bam . I put him in d. barn right

l~~~k#E_#lli$P ijt p } J ~r= f Iin a-mong de hay A nd I

r l . lL~$' . - . 1 fJ l. . ! o. - - . , , -=-=-• ~-.r,=---~ - ~ - - c::

\:1 Ten - ne - see if I cotch a coon he be - longs to me.

:\~. j!.~-Ih - ~ __ .~ __ ..L__~m ~.'_ 1 ! '~ ':-r.: ._ --." ~----'--~---_"'::::C--'-=r=-- = : l : : : : : l :A-!f---·:..it='!!-t-.-4i--·--!'f--=:£=e-l-_I- I - - : : 1 : L : - - ± _ - _ - " - - ==-_·"--T- ---I -+--I---+--J--Y -I---I-~ . , = = : : : : ; ; ; ; ; . r - : : :....= ;~... - - =

8/3/2019 Buckley 1860


:1 , Lj ,'JtliJ ,/'c;I':" lj Library

, Iided fo r personal research only.

t~ De performed p~blicly without obtainingall appropnate written permjssions.

W a l k A l o n g J o e . C o n c l u d e d . ' · 4 7

· l =~~ .m_~=~? : ~~¥L= s= t k - *~ i l l2 I w en t in d e w ood s de od » e r d ay r sa t r igh t d ow n and be • gan fo r to p la j: I

charm'd de wood-chuck from dar holes and de could'nt get back to sabe dem souls,

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P , , _ , ~ ~ p = Sli---,}

f- : = . . · = : : : ; ~ - : . . : } . ; ; : ~ = t = i : " : ~ : i ! = - ; : ' ~ ; a : : 'r - - p . : 1 = ~ : - - : - = - - = · " : - 1 7 - : : J 3 : ~ F ! = ·g . = : E - r ~:l-;;;I----~-,.- -.--::r'i- - t - S f : r-t- _ W ' _ : . . : _ - _ . - . . - - - . - - g:::;:!-iii ._ ---1-- - -4 1 - - ,_ - - -~ - - _ - : : : - - - - - - - - . - - - . . . -+-~-_----- -----.-- _ -- . . . .

~ P -l 3 !~:::::l : : J - f = l I : -~-_j 1 - - : = : : : = 1 )

f~ ~ " " =:~ C : = - f : . = ~ . = = - = " - ~ = = ! ~ 3 - ; = : : 1 = + = 2 : : : l = . = : : : 1 - = t - - - · ~ · - - - = · : ' : : = 3 ·_ _ . . = - ' - " ; : . . - - 1 = 1 1 = ::t:::t:_c+-~)~-I-.--=i--- __ :::::

II--_-_;;__ ... -" -~--- C i ! ~ = ! J

8/3/2019 Buckley 1860


4 8 .

, < r : ()r;gini3!ln Brown University L i b ra r y; , v~ fJY provided for personal research onry.'Jot ,0 ~e performed publicly without obtaininc

a ll appropriate written pe rm iss io ns . "

P ~ e p i n g t h r o u g h · d e :C e l I a r d o o r .Ar,. •• e eI '" .lAS. Jll1CKLE'I'.

VOICE.

lit1ZI9 s4-t=cn~~::£ ~ I ~ J = J - · ! BOne night us I was tote-ing a big I. tub up· on my head, I

~4=fj~ l 1 E f l i Af! ! = ~; _ _ _ _ _ ~ _ I ~ 1 E P - i c g; , . : : f

- 0 -

BANJO.

thought I heard a fe - male sing a song called Un - ole Ned, I

1 J

•

turn'd a - round to list - en my heart was in a fiut - ter,

~-:~--J=--~~~~~:=:j~~~:~~ng~·E:2J~~:J~-§it~t~$£ 4~

D e

8/3/2019 Buckley 1860


Onglnal In Brown University library

'JoPY provided for pe rsona l research only.

be performed publicly without obtalnlnc,

P e e p i n g t h r o u g h d e C e l l a r , d o o r : 8 P U O n C l n a e a ~ n oerrnissions. , { O '

! Dsee here is de morning peep - ing through de eel _ 'lar

j :?- :¥~~f j~ Ii:; t o r S I

door.

,~F~ IJ J I, I I

= • •. 2. Next night I went down to her house

To give a serenade, 'A pail of yaller white washCame fight slap upon my head,

The lime it burnt off all my woolWhich made me feel so sore,

Say I, my pretty yaller galDont do dat any more •. CIwnu.

3. When I went to see Miss Cloe againI felt 11 little shy,

I slipp'd and fell upon de floorRun a knot hole in my eye; ,

She said dat she did pity meFelt sorry for my woes,I thought she was gwine to kiss me

• When she took and pull'd my nose. Cho r u s .

O ld D a n E m m e t t ' s W a I tz .

~¥Jr E~~~td¥Li#mr I

E

8/3/2019 Buckley 1860


Original in Brown Un ive r ; : . , ,~vu t ) ra r /Copy provided for persona) r r ) ; f JCJ (Cr ' :)"!/

Not to be performed publicly };!",T)' r;r>',,"

all appropria~e vr;'rt8' Y;_C Cj' r:

5 0 " 'M o l ly B a w n ,Am .. ed b, lAS. BOCLt.n.

Y o , e . c ' l ' i t = t - - - E J f J-~Fr$~-EE*." .'. •o M o l -l y Bawn, why leave me p i - ning, Or lone - ly wait-ing here for

P i f ~ ~ ~ ' ~ ~ . ~f= ~ ~-1 '-~---~-!f-- -~----- ~~ -. 4=-t-'± = = = --~=t:.il~-i -------=-- ---~.. L : : : . > . . _ . . . _ . . . ' £ : : : : : . . - - : , --.-N- -

;J.' -,i -,i . rI do, The flow-ers late were op - en keep - mg. To try a ri - val blush with

\ ; i ~ ~ ~ ~ ~ ~ =t=i=-i--FffFrj ~ ~-+ 7. . . .

1 1 1 - * I ~~-~ IS ~ - ~ ~gg ~ ---==fi -~=-_. r 01_·-· C ~ = - ~ ~Itij L. - : -=--=11 lit B fI , - - , - - - ~ - - . I - = s ~ - - - -I ...... -+ ..

~ . . .you, But there, Moth-er, na - ture, kept them sleep - ing, With their ro ,- 8y fa - ees wash'd ill

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Onglnal In Brown University Libr~ryCopy provided for personal research on'x·

Not to be performed publicly without obtaining

M 1ail ~p{:fofjriate written permissions.

o I y B a w n . C o n C l u u e o . · ' 5 1

.~d . ~.' II~ _",

I~'~ • •. . . . . . - . . .

you While the stars a .bove are bright - ly shi :. . n ing , Be -

~il.t ; - t ] g f~ ~

I!f , ,: 5 = 7 !

'f f I.~ ~, ~

~~!,; .;0 ~~~Oh, !dolly· Bawn, ••

} 5 1 . I} I . J

Mol -Iy, Mol- Iy Bawn.

2

The pretty flowers were made to bloom, dear,And the pretty stars were made to shine;

The pretty girls were made for the boys, dear,And may be you were made for mine.

The wicked watch-dog here is snarling-He takes me for Ilthief, d'ye see T

For he knows I'd steal you, Molly, darling,O h , Molly. &0.

8/3/2019 Buckley 1860


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t: '. ," ungln~lln BrownUnivers i ty Library/~~?Y provided for personal research on l .

/\Iul 'U o~ ?;~fO:~~d PI)~IiClywithO'J~obtaj~nq3 . / . 1 i J ; O,Ui,8.eNr!u0n oermlSs!,)ns

. n o w ' ; th e 'H o pe s ' I·' c h e r i s h e d .Fnm tbe0'1eraof N_ ••

Arnlll.ed bJ AS, BUCILLEY,

'~J '=p . 'U.:gffj_ J .-&:-lIl-.-4;$Wher e ar e now the hopes J c her - ish ed 1 And· the' joys that once wer e

~-; I j J1 9 ~9h1¥=P14Bfb~. ...

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.,; . . . .Look a-

J

8/3/2019 Buckley 1860


W h e r e , a r e . n o w , t h e

~r -h= r~=~- -4~ : t . _ _ _ - _ _ _ , _ , . t f F DI • gain, and look ex - ult « ing, On 'the ru - in thou, hast made: •••••

~~ i i¥ e F ( p I r r f t = J - f t $ t · f '

" 5 3

, I I

2Canst thou think, as thou dost listen. To thy children'.' artless songs,Of that moment when their fond hearts,First shall feel their mother's wrongs?

Ha l thou shrinkest like the lightning,To thy bosom fell remorse shall.dart,

And t.houyet shalt know the anguishWhich hath' broken my poor heart;And'thou yet shalt know the anguishWhich hath broken my poor heart.

L e a v i t t ' s D l l f f P o l k a .

lIf~:s_ r~E J d i j ! ¥ P w $;;IF] 5 9 E ± F ~ I T I. . . . . . . . . ,

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VOICE .

t-# trDlICf .. ar, tune Banjo eDe D~er

' 1 - # = $ 1 = £ t - 2 I = - - - = t

O rig in al in B ro wn U n iv e rs ity L ib r8 ryprr"j\jided fo r p ers on a : re Cie arc n o n ly

, ': \el! 0bta'~'

I ' d c h o o s e , to b e a D a i s y ~ ' " : ~ ' ~,!:. ",~: :~r~~Dled~~~~N' GOULD.

I ¥ r:s¥ij ,- ~-§

6 4:

• A .l 'f .J O

dai - sy, If I might be a flow - er, My pe - tals olos - ing soft - ly, At

~ ,lS i J + Iij1m ij j ij-i j-j-~ . . .

twi -light's qui - et hour, And wak - ing In the morn-ing, When falls the ear - ly

dew, To wel-come heav'ns bright sun-shine, And heav'ns bright tear-drops too. I'd

8/3/2019 Buckley 1860


I ' d c h o o s e t o b e a

Onqinal in Brown University Library

Cop y provided fo r personai r8Search on1y.. f ,j L" I . "icr) , '+ ' " 'h+.-"r ,n '!'~ot'o be per orrneG pur;W;i'j '././:,1~:), :Cl' .• , ',

D a i s y . e m r t t u n e d : ; t ' c ; , - Ci';w,,-;:~r;f](. . 5 5

Iclos - mg soft - 11, At tw i - light's qU i - et hour.

J love the gentle lily, it looks 80 meek and fair

But daisies I love better, for they grow eve'rywhere ;The lilies bloom so sadly, in sunshine. or in shower,

But daisies still look upward, however dark the hour.

I'd choose to be a daisy if I might be a flower,My petals closing softly, at twili~ht's quiet hour.

. • J

8/3/2019 Buckley 1860


Onginal Hi Growl. UiiiVe(~itj U()(2,j

Copy provideo for pe:~?nal r~)eEHcr l , GillY, c

Not to be performed publicly Wltrl,out ornamn '8

a ll a pp ro pr ia te w rit te n p errm s sro ns .

_ , . 0 1 1 : . . I ..p

BA.RIO. __'_4 : 41 ·., . . - . J . . . . . .

--I, ~ " ' = -i ; f f

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rFE·aI"'" ' "

O ld times: dar -a m not for - got-ten ; Look a - way!

I w i s h I w a s i n ' : D i x i e ' s L a n d .~ A lle gr o . p 1= : :

i¥i -Sf~ ! : : _ t - t tDA.N'. EMMET'I'.

YOleE

I wish

:../

I was in de land ..: of' eotv

ton,

. .

Look a - way! Look a >

_ d .I way! DIX - ie land. In Dix - ie land whar I was born in, Ear - 1y on one

It# ,

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Dirie Land.ty morn-in, Look a - way! Look a-way! . Look a -way!

~ Chorus

~M~\ F.!t:::P 3

Den I wish

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I w i s h I

C)nglnal :r! 8rov'vr~;j~ ii8rS!tj :_~:U: : : : 1 : f

Cop y provided fo r p e rs o na l j

No t to b e p e r fo rm ed p u b lic ly wi thc )u t uotd,rur is

a ll a pp ro pr ia te w r it te n p erm is s io ns .

w a s i n D i x i e ' s L a n d . C o n c l u d e d . 5 7

D lx .. ie lan d I 'll took m y l tand , T o llb d" D ' •n Ie In I X • ie , A - way, A - way:, A-,

~~:~-$:~Fe l · i H ~ !~-_I:JUf1--

way down south in Dix-ie, A - way, A • way, A way down south in D i x - i e .

2 . 4 .

Old Missus marry IIWill-de-weaber,"

Willium was a gay deceaber ;Look away! &0.

But when he put his arms around 'er,He smiled as fierce as a ' forty-pound'er.

Look away! &0.Ohonu, Den Iwish Iwas in Dixie, &0.

Now here's a health to the next old' Missus

And all de galls dat want to kiss us;Look away! &0,But if you want to drive 'way sorrow,Come an hear dis song to-morrow.

• Look away! &0.Chorus, Den Iish Iwas in Dixie, &0.

3 .5 .

His face was sharp as a butcher's oleaber,But dnt did not seem to greab 'er;

Look away! &0.Old Missus acted de foolish part,

And died for a man dat broke her heart.Look away! &c.Chorus, Den Iwish Iwas in Dixie, &0.

Dar's buck-wheat oakes an IIngen' batter,Makes you fat or a little fatter;

Look awsy !&0.Den hoe It down an scratch your grabble,

To Dixie land I'm bound totrahble.

Look away! &0.Oboru«, Den I wish I was in Dixie. &0.

8/3/2019 Buckley 1860


, , , ..-j~ :_)(.__/1 .

' , , _ ; ~ { J P Y p ro vio eo to r ~tjrSUfkij ()f; j' •

Not to be performed 'publiciy without otJtali.if!8a ll a p p ro p ria te w r it te n p e rm i s sio n s .

5 8 · T h e G le n d yB n rk .

VOICE.

STEPHE~ C rOSTER.

D.AN10.

,

- t - I t _ ! _ fD e

J:h~ , I F-1:

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~ ~ - ; G - - r u - - ;= c d~ _ ,-=c==u t~ - tII Glen - dy Burk is a mighty fast boat Wid a mighty fast cap - tain too; He

l ; l~#~r 1-=fcl~--i==i==i-fj=-:o~~ -~ a _ !_+__.__ _ ... ___ __. -:--o_±3:

(t!_k~E$ '~~~~ld: s = c. \ sits up dah on de hur-ri - cane roof, And he keeps his eye

1~~! Jg t@~ tt 3~ ~_ ... . .- .r ;t;

I

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"

hard; I'm bound to leave dis town; I'll

\1 •, . )I. __ _ __~ __ ... ., .'. .!L;w--;;;=----. I I . i - 1 _

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•Cop y p ro vid ed fo y p ers or .a : re:)r~

Not to be performed pubiicty vvi:nout. a ll a pp ro p r ia te w r it te n permissions

T h e G l e n d yB u rk . C o n c lu d e d . 6 9

-i-1)

take my duds and tote 'em on my back When de Glen - dy Burk comes down

3 - d

I~ S S E ; rfor Lou' 81 - an - a! I'm bound to leave diso! town; I'll

- - - - .~ .-. . . . .

take my duds and tote 'em on my hack- When de Glen - dy Burk comes down.

2. De Glendy Burk has a funny old orewAnd dey sing de boatman's song,

Dey burn de pitch and de pine knot too,For to shove de boat along.

De smoke goes up and de ingine roars,And de wheel goes round and round,

So fair you well! for I'll take n little ride

When de Glendy Burk oomes down. Chorus.

~.I'llwork all night in de wind and storm.I'llwork all 'day in de rain,

Till I find myself on de levy dockIn New Orleans again.

Dey make me mow in de hay field hereAnd knock my head wid de flail,

I ' l l go w hu dey work w id de iugar and the cane

And role 00 the cotton bele. Ol i o r u s

4. My lady love is 8S pretty as a pink,I'll meet her on de way

', I'll take her back to de sunny old southAnd dah I'llmake her stay

So dont you fret my honey dear,Oh !dont you fret Miss Brown

I'll take you back 'fore de middle of the weekWhen de Glendv Burk comes down. Choru.

8/3/2019 Buckley 1860


()nqlV·ja::j::,,·jv'iJ;~y :,-_!CI 'j> l'

Copy o rD v ic J r }~ j t o r g . r esed rc~': f , - ) : '

Not to be performed pUrJ i i c iY w i tn oi.t o ota

all appropriate written permissions

"OICE.

H a r d . T i m e s c o m e , a g a i n n o · m o r e .

I~"'im~~~~-~~)I . . .

, i ~ & F ! i 3 ¥ ~ 1- - I.~,.. F=-9J

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BAN.JO.

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: Hard Times, come a - gain no more. 'Tis the song, the sigh of the

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wea - - ry, Hard Times, Hard Times, come a - gain no more; Ma- ny

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~ Y ~

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Ong1n8 !" iV:'.-"',\ ' .. .GOpy proviCerj tor

Not to be perfor'!led PU8';Cij

H a r d T im e s . ' - C o n c l u d e d l• appropr:ate:llritteri pe( r r i sc j ! (Y~61

~1§~mt~£f4-1m- j 4S!~===E))d l tY s yo u h ave lin ge r e d a - ro und my cab - in doo r , O h H ard T im e . com e aga in no m o re .

~'-m-M@--fflitj-~m=~ I j~d~.. , , . . " . : J : - ~ . . " . " . . " .3. While we seek mirth and beauty and music light and gay

There are frail forms fainting at the door,Though their voices are silent, their pleading looks will say,Oh! Hard Times come again no more.

Chorus. "Tis the song, &c.

4. There's a pale drooping maiden who toils her life away,With a worn heart whose better days are o'er;

Though her voice would be merry, 'tis sighing all the day,Oh! H a r d Times, come again no more.

Chorus. 'Tis the song,'&c.

5. 'Tis a sigh that is wafted across the troubled wave,'Tis a wail that is heard upon the shore,

'Tis a dirge that is murmured around the lowly grave,-Oh! Hard Times, come again no more.

Chorus. 'Tis the song, &0.

L e a v i t t ' s I r i s h J i g .

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(')nq!na! lrl Brown Urllv-:;(Slty Lit/dry

iyc)\Jlded for per:;Orl8) r2{:,e~J":t oruy

pe r f o rmed publicly w ' t r - : O i ) l

:10 c)rooria te\J/!";t+~r: n;:::;i"r'--::;:-/-~

6 2 · . B o n n y J e a n .callu ••• o•• OI\1'(E.

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song, And the stream - let, as it soft - ly mur . - murs, So

'~~ ~ ~---1 ~; .. f ORVO

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_ ..' ( , 'C .; ,_~,L' t.:fSllj l ibrary'18i I e . . L '. . .' }Jt;r~unal research o r

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love to wander With my heart's true QUE-en, My bonny, bonn-y Jean'

i~ := l~ 8 ~ ~ = 1 F - = i= ~ = - ~ = ! = = 1 : : : l " = : J : : E = l= ± - - H ~ - ' " ~

~ ~ ~ - - + ~ - . - -~~_::3~-~~:±j3:~-Ij=f~ ~ d 1

. . . .2. Yet, 'tis not the rosy tint of summer,Nor the song-birds' joyous lay,

Nor the streamlet's soft and murmuring music,That makes my heart feel gay;

, Tis her smile that beams upon me,'Mid each flowery scene;While I fondly wander,With my heart's true Queen,M y bonnie, bonnie Jean.

2. " Bonny Jean," your smiles are always with meWhen absent, love, from thee,

Making joy and sunshine round my pathway,Wherever I may be.

May they ever beam upon me,In this mortal scene,While I fondly wander, .With my heart's true Queen,My bonny, bonny Jean!·

T h e S e l i m S m i t e r .

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B,. Q. s. B1JClCLEY.

O n e S t r i n g W a l t z .

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;{! dnj\Nn un IVers ! t y l ibrary,~JC;fJy provided tor personal research only.i \ JC1 to be per f o rmed peblicly without obtalnin;

. S p a n i s h W a l t r . 1 1 appropriate written permissions. 6 5

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Not to be f e or pers?nal research only,_: per or~ed publicly without obtainin

. 7 2 H a l l ' s J ig . . ".I appropriate w'itten Pnrmissions, . 9

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• Original in Brown University LibraryCopy provided fo r persona! research only.

Not to be performed publicly without cnt;:Jininggil .approoriate \ftrHe." ~~ .'

T h e J e f f r i e s ' J i g . 7 3

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• O rig in al in B ro wn U n iv e rs ity L ib ra ry

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7 4 . J . M u l l e n 's S c h o t t i s c h . .

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