the folk song iii

8/6/2019 The Folk Song III

http://slidepdf.com/reader/full/the-folk-song-iii 1/13

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I The Folk-Song Sight Singing Series !

I

EDGARCROWE, ANN~O~~~~~~~::~ ~ GILLIESWHITTAKER I IA COLLECTION of Folk Tunes of many countr ie s. careful ly graded for school s and

coll eges, with notes and advice as to use . In a ll cases phra~lI lg and express ion marks

are added. and the or ieu i of th e tune stated.

! BOOK 1 (110 tlllltS) lOOK 6 (90 fllrltS) ioh chord Jnd scale ,.-.,

Leaps of> rhrrd Ins oh .nd f .h cho rdJ. C ! C .r and ~ r ~

!0 ,- F i1\0[(1 and reJeS: t iC's. Scnllqulvcn not stcpwue.

r o - . If d' t e E.uy tunes with ~ a s beat. I~~t:P:I~(::~w::S)'nqUlt sue . Mod.I'UIlCI.

~ Le .. <>oy Ule of ba and K and of

§ Leap. r -f for; ,11 4 ,h • • nd S in s i n ehe ChrUI11 ' I IC1. Ithree chief chords. -.. Furth", uiodul anon wuh keys "ated.

~

~:: very easy Ie.ps I- C .l and C C ~ ~ U r ' dunc, i>I,d, r<s lS •• nd I1 ",n vrry ... y p''''le •.

Fl ucmy i n quaver-scale p.... g... lOOK 7 (91 tlmts)1\ f ew ••• y tunrl III t he Miuor mode.

More d,tflCuh lelp,. Practice in pre-BOOK 3 (1 00 IllIIrs ) VIOU' ma r e . . . 1 u sed '" more dlffi-

~

Iu. cult w.y.. Modulauon without

Le.!'. m-r.: '-1 ,: all 4,h. and S I on s tatemen t of key .

r.y and bh chord. Vonoul muccllaneous d..tflculti .. :fe III<J I Iep" '.K· m-s e- t ond -e ., y 4 tl u

I111 nunor. Fond F " al be...

~ scalewise only. II~ r' IIU' IIU.I,f II&c.

BOOK" ( 1 C X 1 rUrlts) BOOK 8 (50 rUrlts)

Lops d -1 : f -t ,: t ,- f: '1-': [,-m. Two- pa rr: < >l y f ol k t un c. w it h . ,' Yu U(,p~Ist; ba-se 111mi n~ d"·UlI1lS. ludivrdua! h n C 's o f about

, the diffICulty of Book. I. II .• nd III.

Euy IIw lll : _; .- IIWI IE asy c ompoun d IIm< 1\ W r ' !

~

I

LOXFORD UNIVERS ITY PRES S· M US IC DEPARTM ENT I

EW YORK AND OXFORD ~

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

BOOK 9 (50 /mltS)

Two-part: n l (\ dc rl t, ly d if fi cu lt folk

tunc with dCSClIlU. Indrvrdual

Itnt. of .b,)ut th. ditflCw,y of

Hook. III .nd I V.ny Ji.1.fOIUC lup wuhm an octave,

and s ome oct ave p rs cuce .

f -se, se-f. a nd s e- ba in mmoe

E•• y chrornarics Simple modulotion

with keys S Ia ted

I I~ . , I I" ~ I I and eas y E : : J~ ~ an compound time.

BOOK 10 (S O tllrltS)

Two- ru t: f ol k. tunn with descants.

more d, f faculC'.

ISBN 0 19 330253 5

The Folk Song

Sight Singing Series

Book III

Compiled and Edited by IDGAit c:aOWI

ANNII LAWTON, and w. GILLIIS WHITTAItDt

Price $3.50

OXFORD UNIVERSITY PRESS



PREFACE TO BOOK III

KEYS

The edi tors can see no justif icat ion for restr icting early sight-&inging to key C, with a ,radual addition of other keys. Their

reasons are as follows:I) The chief cause of hesitat ion and inaccuracy has nothingto do with key: it is due to uncertainty as to the pitch of thenotes to be sung. A fluent application of the solfa syllablesto the staff does away with this difficulty. Therefore, what isneeded is a grading of this application in a manner suitable forall keys. That iswhat this Series sets out to supply.2) C isnot the easiest key ineither the treble or the bass stave( It is the easiest key for the piano, certainly, but the mentalprocesses of sight-singing, especially in the earliest years, aretota lly different from those Involved in playinl a keyboardinstrument.)3) Although early result s may be quicker if C key is adheredto at first, succeeding staaes are rendered more difficult:ultimately, the most fluent reading issecured by variety of keysfrom the beginning.4) Solonl asthere are no accidenta ls , pitch names are only anencumbrance to the mind and a hindrance to readinl. Thelessthe pianoforte keyboard isthoulht about the better.

KEY SIGNATURES

There is no need for beginners to know the ful l meaning of keysignatures, The following two simple rules are all that isnecessary:I)Where there are sharps at the be,inninl of the line. the lastsharp, that furthest to the right. is t ;d' i sa step above, I , the keynote of the minor, a step below.2) Where there are flats at the be,inning of the line, the laltf iat . that furthest to the right , i sf ; d 15 three steps down, f m r d;I is two steps up, fs I.Pitch names need not bethought of at all .Practice should precede theory; knowledge of unessential detailsshould be left over until progress justifies their introduction.When feis introduced (Section VI) the meaning of the accidentalmust be explained.

PRELIMINARY SOLFA TRAINING

Itisassumed that preliminary solfa training has been sound, andthat all the common chords of both major and minor modes arefamiliar. To attempt to apply solfa names to the staff withoutthorough and systematic modulator practice previously isto courtdisaster. Reading to laa is usually mere guess-work. No certaintycan be obtained without a constant use of the sol fa syllables. Ifa good foundation of solfa has been laid most easy leaps are



prepared for. Reading from solfa notation also is an invaluableand necessary aid to securing fluency in the use of the syllables.Material for this will be found in Books XI and XII. which con-tain solfa notation only: they are intended to be prepa ra to ry andcomplementary to the s ta ff books .

GRADING

No collection of sight-singing examples can possibly meet allneeds, or suit everybody's plan of grading. To secure sufficientvariety. and to maintain interest in class, it is necessary to employvarious forms of reading practice by use of the modulator, writtenexamples and printed tests. Teachers should be ready to invent.and write on the board, additional melodies giving practice inany special difficulties of either time or tune which may arise in alesson.All new time divisions should be prepared by time exercisesalone before being used in time and tune combined. I n Book III

the only new time element is "=':{ used stepwise only.

It must not be assumed that every tune in these books is neces-sarily more difficult than those immediately preceding it. Ex-cepting for the new factor. the first tunes in each section aresometimes easier than those at the end of the previous section.

But the sections are a rranged in order of difficulty, and the tunesgraded within each section.With tune. the primary difficulty is to attain speed in thinkingout the solfa names of the notes, but facility in this is merely ama tter of careful grading and we ll di rected pract ic e. Progre ssionscommonly in use should be systemat ic ally int roduced and pract ic el imited to those unt il they a re mastered.itis sometimes overlooked that an interval which is easy to singmay be difficult to read. It requires systematic practice and eyetraining to name the second note of certain intervals withouthesitation, and the grading of these books has been planned withthis in mind. Eye training is an important factor in sight-singingpractice, and the Notes at the beginning of each Section aredesigned to show the best line of thought in that direction.

SUGGESTED PLANS FOR READING

In the early stages of reading it is suggested that each tune maybe sung in all of the following ways:

I) To solfa without time.2) In monotone (a) to t ime names, (b) to doh.3) Combined time and tune to solfa.4) Combined time and tune to laa, twice if necessary, and thenonce at least with all expression marks observed (and to anaccompaniment where the teacher is sufficiently skilled toimprovise one).

11

The class should alway? beat time or tap each beat silently. It isdesirable to use tapping in the early stages but to proceed tobeating as soon as the class is ready.When the class is sufficiently advanced each test should be sunga t lea st three t imes, a s fo llows:

I) To solfa.2) To laa.

3) With all expression marks observed (and to an ac compani-ment whe re the teacher is sufficien tly sk il led to improv ise one ).After the earliest stages of note to note reading, classes mustlearn to think in phrases. As an aid to this, phrasing is marked inall tunes, and cases of irregular rhythmic structure are noted.Observat ion of these points of cons truc tion not on ly he lps towardsintel ligent reading. bu t a lso inc rease s the inter est o f the lesson.All repeats should be observed: expression marks in bracketsre fe r to the seeond t ime.Tempo and other indications mayor may not be attended to ona first reading, according to the capacity of the singers. but ata later sta ge all indications should be observed in order that sight-singing may be linked up with musical-enjoyment. There is toooften a tendency to divorce sight-singing from music, and oneobject of this collection is to provide material which is at oncemusical and useful, and which will help towards making this partof the singing lesson a delight to the class.To add interest, the nationalities of the tunes are given. Very

slight alterations have been made occasionally in order to bringtunes within the limitations of a particular section; all such casesare indicated by a •The proportion of tunes containing certain leaps, e.g., I,-m and

rn-I, in the major mode, is not the result of an arbitrary choicebut of an analysis of some hundreds of simple folk tunes.This ana lysis has revealed that much sight-singing that has beenbased upon theoretical plans is not in line with the findingsresultant upon the arranging of a large number of folk-tunes inorder of difficulty. Itmay be argued therefore that the basis of thescheme followed in these books is a natural and not an artificialone. The collection thus becomes a compendium of the diffi-cul ties l ikely to be me t wi th in e lementary reading.

III



INDEX

No' ,n: : Each of the Secticns I-VIII contains some fresh interval or time elemaat

Sectjon IX provides additional practice in the material ot Book fi, but iu. moredifficult tunes, for purposes of cultivating fluency. It is recommended that it

be practised parallel with the other Sections.

'throughout the work of thjs book eye training should be continued in nam·ing intervals from note to note l~nds. 3rdS. 4ths. 5ths.) with an immediate appli·

Cit ion of the solfa names.

SECTION l.Nos. 1-9.Leaps mot. and s-t•.

SECTION 11.Nos. 10-19.Leaps r-l, and I.-r.

SECTION III.Nos. 20-30.Leaps r-I and I-r,

SECTION IV. Nos. 31-43.Leaps m-l and l-m.

SECTION V. Nos. 44--49.Leaps l.om amd mol•.

SECTION VI. Nos. SG-S9.Chromatic note fe,

SECTION VII. Nos. 6O-6S.No new interval.

New time division tl:l:I used scalewise only.SECTION VIII . Nos. 66-80.

Minor mode: leaps m-se-t and easy 4ths.SECTION IX. Nos. 81-100.

Practice for ftuency in usinl the materia l of Book II in more

difficult ways.Note.-The Editors wish to express their indebtedness to MessrsBela Ranok and Karol Hlawiczka for kind permission to usemany fine Hungarian and Polish tunes from their col lec tions. I tmay be noted that in these , as well as inso~ other mclodic~, .thephrasin, seems unusual, but it has been dictated by the originalwords.

SECTION I. Nos.1-9

Leaps rrI-t. and s-t•.These leaps are easily read, as t. is on the

lineorin the space immediately below doh.

Allegretto Bflti~h

I '~ fffllr- 1 m I~JJ lEnd}, I~.~, I}J Jt'ggitro ...._ _.. cresco dim.

Andante (3 phraa.,. of 4 ban)

2 ~~#lin;J J I J J J I J J E Dl'

Latin

iflIJ II f ' J ; J Ir r IF J] J J J Ir r J IJ.

IV

C 19H. Odcml UDiYe ndy ' - . .. . .. .. ._. . ia U.S.A. 1961 Printed in U.s.A.



2 3German

Allegretto moderato-a s et s o f z b ar s, f" lI l,wl 'd by Z grou}l1 t of 3 set.)

II , U U U J iF l j I J h J j J J J : l m r lr r r I t f W b~ lIiflP) 5 -

, . i J J J 0) I J iJ J iF n I J C ijJ J a I J jj J im I===~~ P dim. PP

Andantino ~h

12iiiJilt r o J_JJU J J I J J J J I O i I I~ "if P ==-

Graz ioso cxore the seq llPncc l Austrian

1 3 & " 2 , J f l J J I J e r n I S J I j : J J i J J J I J E t n l s J ) J J I I~ II!! P

he r : 1 f 1 i D . I J tiD W S - j- I J - e r - - O I U - J j; J I I~lIif P cresco lIif

And a n te, 4 ba.r phr~! 'b , lonc lude d by «ue of 6 b.. r~) French

7

r2fl I J O J IJ J r In I r a IJ O JIJ dUtA//1 = = = = -

,.a Ir r F IJ J J Ii) I O J J J IJ ·H I £ n o I ndim. P crcsc,

~fIr ~ F iJrJJ 1 i ; J . I J. 1 [ ' t F I r P D · 5 1lIif crt'SC. f

SECTION 11.NOS.IO-19

Leaps of the 4th.I,r and r-I,The ray is read as one note above doh and lah as a third below,

Andante (Thr ..ephrast'sof4bar8' ~

l O t i ! J]J J J IE r r IWP ; ; I IJ JfUJIIlf

'~F p u 0 F I J J I J . ] 3 1 IIdi p1111.

Andante (4 bill 'S .1~"'l ... by 5) German

16~1DJ J I J " H O J 1 5 1 r r it;) :Qp =- if

,. a r r itrr J In J J I n J J i l 5 J 1 3dim. P



4

AlIa poJacca'4 +4+4+2' r01i'h

1 7 #;;62 j j o L l I ; 3 J J I r r r r l e g E B i J I ~ ~ J I : r m~ p

~tt;J f f i J I b n w w w I c ! U lC B H(nsc. f

Allegretto German

21 ~H f I E F ; nle ~J l t t r oW lfJJI crcsc;

w < E r $ o j 1t20 r 1 J ; 8M • Icrcsc, mf

Allegretto Brit ish

IS ~. utilJ J J J I J h tfi r E lw t : 0PI"l )

Allegretto French

2 3 1 2 J a J I r - J I J Ji;j J G J I J J IJ]J] t I

, tenIr - J I J ffi J

EJ I J ~ I~

T liI

c r es c . "if

Allegretto h-ltjrr,~ 11211.ililllt British

19-plH·irl~.d~ ~ir fJMil:~, , ! ! " P lIif ~

' < J y i VJJ@)jll M I J J @ I J i s 1 ? 1 t : J j J J I I>-

SECTION III. Nos.20-30

Leaps of the 5th r-I and l-rThese should be read 48 the outside notes ofthe ray chord ,Iinr-Iiue mibsing a line, or

,pilce-Spll.ce missing a space,

ModeratO(4+4+1+.'ii ~erman

20 j ! ! 2 J Q J In J IJJJ IJ J Ii J Inj10 J Ij J lP 1'/1 crcsc,

" n J I J J i D ri r r I J r J I J J :£ J I J m n"if

Andante British

25 '~tjJIJ r r nlff~ jj,J r r T lp =

~l' r i l J e r r B lib jjlJ J ~ ib. Icresco dIm. PP

Andante espressivor i+4+:;) German

2 6 I 1 n j I 5 7 J & D . l l r - i j t l J il r J l i r J u d l np



6 7

Allegro(s Ids of2 bars) German

27 '~tJD J J J IFn00 r r o l !urrri

'~1{ff- Irq C ! IEJ:J rjJ r n J * IIcresco "if

Moderato (Note t he sequcuces ) Norwegian

29

P2 JiUJJIJJJIJl i jJJJIUJJIJJrIJJJo,i tIII} cresc, dim. pp

~~ ~ IJm rF IiEIJ J r IJm , IIcresco m f

SECTION IV. Nos. 31-43Leaps of the 4th ",-1 and 1-",

(Theeele.paoee."...,d illt"c Minor Sec t ion of Bk.II. They are here used in the Major.)

- J . j Moderato British

31 i.,_iSliP·J 1 J J J 5 t l . j U J J i f P · J f ! J r c + a r ' Ip crete. -r



8

Andantino (N'ott" th.. drnl'pin~ 5th" ill t.h.. las t "h.s..) British

FrenchAllegretto (2 har phr a, ;"s,conclud . .d by on" of 3 bar". Not" the three 5lqU'Il(" I

41 ~gu g & 1 4 M lf ir rr lr ·& l :llm 1 m I~~ ~ __p----

~~s,J i r r IrrEE1m Ii:) IJ · jj IJ J~JjiJ) IIcresco 'if dim; pp

Andante French

42 ~~ t}ijIj J Ir J IJ 3 J IJ J J I~ J Itr t J . I

~ \ F F r IJ J IF ~ IIIJ 131J Ij J Ig J . D · Icresco "if

4~31~lj J lr J IJ JJ IJ JJ I~ J IJJ l}11dim. P dim.

..___----- -_

I

•I

J

9

AIle gretto British

43PiJf iJJrldt i fErJrlJAlJUJJrl f i jF1"if Jl crcsc,

~*Er J [ p o f f l J J J r I m n Q~"if dim.

4 w w a . r 1 E rr r1@J j1 3 J J J Joj)o ]p cresco r

SECTION V. Nos.44-49Lea ps of the 5th 1,-", and ",-1.

These may be read al the outside Dote. of the lah chord.

All eg ro (~+ 2+2+:~.Note the inveraion of the 1st phrase J German

44 ,. t tij r F f I t t F r i r r r r r I r hF lP cr cs c ,

I£ fb iJ

P%l jMJ J

r I F r r r W : JI I

Allegretto(tH,4+4+2,4) French

45 i f#t:JWP J I J J J J f ; i : l lo J J i J l gr I J W t 1 00~ "!! (jJ) lIif - - = = = ~ = = - : : ; ; ; ; . . . _

£~~j jJJJijlJlJiijJJjd Jig I J JJIJJm· n~ P "if

Moderato (!\ote the Il'quence) German

4 6 £ - 1 J U J l J J J l n A r r r C f ' P . JjjJrrr@JJj~ p ,rese,"if

~.l·J~rmrfr;ffl-JJ-JllfJjffi])·11~ r dim. Ji

Waltz-time German

47i¥1 J O U J I J J U I J J li i ] J ll r r l J r r IJ j J U J ~l~ P c re sc , "if

~ff n u f r I J J I r r J I J U J U r r I J ~ r I J J J R : 1W f(p) dim~dim.) p(PP)



Allegro(:?+2+2+2,:l+2+~) German

4 8 4 1 i Bin J J l E E r jJtJ dii LN J JJ I./' :> :::..::> p cre.c.

4 & 111JjJ Jm ( i1J J J IJ ftJ g"if >- >- :::..

II

Allegro (Not..the uten~i,'n of the final phrase 10 3 bar.) British

53 ~W'llijlilJJi}JI: IJililiorJiiE Ip ..:::- cresco mf

,, .. . J jJ lErr f'lrJWW' @ J J i p . J[ jJJIJ J1 ~ Udim, P

IO

Allegretto French

49 41f ! A f t - IJW.I* 1JfJ iJJm.1 * J~nIp p dim. pp

'W 1 ,J i j 'l r d f t r If*j~ U~r IIlIif P crcsc, n!f

SECTION VI. Nos.S0-59Chromatic note fe

Allegro (r-;ot~ partially sequential tre~ment of 1st ~hrasd Poli~h

50;!;JIJ jJJ~lr f l f l iJIJJJDJJII-r . _____....,. f dim. .~

>- >-

Allegretto ~ Croatian

55 f!ifflf]iJ. ) jrF#rSrl:J·MrltEtl"10m"if

Andante Scandinavian

5 6 ~ . , ~ E P J IJ J IJ _ i Q 3 J lu JU IJ ~ I", ~g I I

4~JP W r Ie rrAlrr nr J IJ' l j l f . J ~ Icresco "if == -

'~inr r I F ' J e rfJ Ira I r J 2 IJ ' ) j j jJ,Jcrcsc, dim. P

Allegro (3 phras~8 of 4 bars) Polish

57 '&2j1J J IF Q rIUM r IN I f l G J J IJTI"if

Allegretto (No te that a ll ph r&8~s h .. gin a like) French

5Z I & ! f i i E F IJ JJ J IJ aU qlJJllr i I t iiP cresc , fdim.

~ -- »~& O F r ~ I J J Jj I J iJI W r l o i C E J I J U J J I F J I U ]

Jr p



SECTION VII. Nos.6o-65

New time division Jm, in repeated note and stepwise passages only.

Allegretto (4 + 2 + 5 sets of 4) ~

6 o ' t Z r f l J 7 1 r r IJ]j 1 r r m ; ; T f ' r I~~IF IJ ]p ::>::> _ = = = = - cresco ::>

,~- >~.~~'V # J ItEr ItT r I J j J d r I r IF r I 4 J J F I

::> lIif

~b~ -w i t r ~Ir t 1($ iI i i e IU r I@HdIm.

13

Polillb

I J 5 J J t o t I[r~)2

Moderato (5-bar rhytl1m) Hungarian

59,&!}-tj I; oQ Ieelj elF el; 1

* _ & tB r ICJ J Id J J J ! O J i-IJ ~ I I~ - - = = = = = = "if

I IFrench

SECTION VIII. Nos.66-80

Minor mode: leaps IIl-se-t and easy 4ths.

Moderatou,» :~ods of ~.+:O German

66 '~2jD r I E E t p Sa J I T . i 1 J Jj

,~1;fiiJ J IijJTQ E M J I~ :audim. PP

Allegro Polish

62

'tfi:ql E@ld rrr;ldE : E t ! 1 ~ J

n~ I

1 I ! 1<P )

Adagio British

67W ! T [ b J · Jd r I F "IIW · ~ ; D

, r ; jin IJ · ,N E IE4Zr'6·~J fro. Icr e sc , lIif

Allegro Polish

631! ;G JnJlffJ IGHJJlnJ I I

,-'II:j ;E£J IJ J Jj ~ I~ : 1 1

P(f'if)



ISModerato British

- : : : i _ I -- ~ ~ ~ ---..75 w w ~ t tt J J I J J J J I ; ; J J J IJ J J J I J J J J I J J J J IJ J J J I

.. p , pp ::::::=3 set s of 2bars

'~'j33D I l f f f i r r W f t E W r r f f l n c r lJ J D H= = = = ~ , Fine cresc."Jf dim, D.C.

Allegretto (3-bar rbythm) Russian

7(; ~! §F I r O ! l f i J I G l l E E r 1 m I

~-h- ~ ~

@ 4 + ~ J . J IJ GrlnJ I.J J IJ trlSJOdi m, p

7LIt~$c r l r r I f w lJ J l t u l r r I f E W

,!fl. J i I # 3 J I J # 3 I J in@# 3 I J # W 1cresc . nif dim; p

Andante (The middle aection ia; in the relative major) British

781 J 1 t : 3 J J : o I , m 1 m J ; J 1j) : 1 1 i 5 J 3 a m 1p (pp) :::::::--- cresc,

& l I J !w n J I J D ~ J j 5 I J J J J J _ I D . - Inif dim PP

Allegro French

79 .¢'t a If J ? J J I J # J a IJJJ#i ljlJ J I J # J a I JJPp : : = : - " l / '___:.----

,rl-ltiRr' i f f r r r l r : J J j J J J I J # 3 3 I J J J W nf dim; p

Maestoso (4+4+4+3) Russian



SECTION IX.Nos.81 -100

J7Allegretto (Nol. Ih. "~."") Brrtish

85 , I I j n l i P i 3 J I J i c i ~ J J I J J Z l l i P ; Q I J j J E E lp. ~

, 1 1 W e J J I E i B r 6 if UiCtcrllRf] Icresc, f

Allegretto German

86 ~I!,jl l J J) Ier e r T J · 1ft c E r 1 & & 1mf(pj

~q J l i[lVir E r I c C ~ I J J lli 'I- d

M.oderato giocoso (Note the sequence) Swedish

87 ,~!t i lP J I f lJ iE U t f C ir lJ . l J I E r u l 1"'P cresco fAndante British

8S , ... 2 J i J · J i P i 1 J J i r b t r i d P i J Q o P j J j j d lP :>pp ==-

Allegretto Russia n

89 '~tM r JlIDJ D In c · p I~ r o nlIif = p

f ~ 2 i b r ')Ifi4

D I~Wresco n fI' .

Moderato ('+6+'+4+1+6) British

90 ,r,f If i e r J l J J J G . li J i r rC I J J I r r r l J iQ W nFine

f V V r e n r n r r d Y I r J J J I J e r l iO J J m nn f I ' D . C .

Practice for fluency in the use of the material of Book II



Allegretto (S+6HH) Spanish

91 , . # # £ ; Q r r r l r r r l r S ' I # J I : m 4 ~ 1"'f -- p

, f i•giIijJ;o~ J i0 1 ? I r F ! 4 3 J Icrcsc. m f' pp

Allegro (Sote the sequenct) Po lih

92 ~f! M e F l o I J J $ J IWe F I J j J J J J Ip pp

~. 1 1;~T r Itn I{~ ;.m f' (. f) PP(p)

19Moderato IJriti~h·

96 ' · ' ' ' 1 pi; I J U li . jlfl fflJlS1]I , cr t~c . "If

"ilt urrLJPIQiPtiIfl!JJh Idim,

Andante (3 ,('II o( 2 bara. Note the ,rql"ncf') Slovakian

97 "11;00 [email protected] cresco mf P

Moderato Fte rnish

98 4 ' ; ' !:J@jbJJlmJIJl;(j:NJJJPjJji'J ~Ip(PP} ccresc., (pj

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In hornpipe style ~Note the .equfOncea) Briti"h

100 'I i E i H J O I 4 H n l J 4 J O O I J ] J 5 T I n n l1 1 / • .:> ']I .

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OXFORD UNIVERSITY PRESS

Moderato ~Note the sequen t ia l treatment) Swedish

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Lento Dutch

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the folk song iii

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