Mary Wore a Red Dress

Descending submediant arpeggio, Mi\Do\La (Em),
vocal slur, and beamed eighth notes.

Description

Grade: Kindergarten
Origin: USA – Virginia Folk Song
Key: C Major
Time: 2/4
Form: ABAC
Rhythm: beginners: | ta ti ti | ti ti ti ti | ta (ta) |
| ta ta |
Pitches: intermediate: So La Do Re Mi So
Intervals: intermediate: La/Do, Mi/So8\Mi, So8\Re, Mi\Do\La descending submediant arpeggio (Em)
Musical Elements: notes: quarter, eighth; rest: quarter; vocal slurs, beamed eights, clapping a steady beat, submediant arpeggio
Key Words: USA geography: Virginia; colors, clothing, red dress, hat, shoes, red bird

Easily adapts to a children’s game using each student’s name, clothing, hats, and shoes of different colors; where all students clap during the chorus.

**“Mary Wore a Red Dress”**

	Verse
1.	Mary wore a red dress, red dress, red dress, Mary wore a red dress, all day long.
	Chorus
	Let’s all clap for Mary, Mary, Mary, Let’s all clap for Mary, all day long.
3.	Mary wore a red hat, red hat, red hat, Mary wore a red hat, all day long.
	Chorus
4.	Mary wore her red shoes, red shoes, red shoes, Mary wore her red shoes, all day long.
	Chorus
5.	Mary was a red bird, red bird, red bird, Mary was a red bird, all day long.
	Chorus

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Mary, Mary Quite Contrary

A very old rhyme for your best readers!
Advanced rhythms, pitches, and intervals
create a very challenging composition.

Description

Grade: Kindergarten
Origin: England – Nursery Rhyme
Key: C Major
Time: 2/4
Form: ABCD
Rhythm: advanced: | ti ti ti ti | ti ti ri ti ti | syncopation, | ta/ ti | syncopation, | ti/ ri ti ti |
syncopation, | ti/ ri ti ti ti ri | syncopation, | ta/ (ti) |
Pitches: advanced: Do Re Mi Fa So La Ti Do – the pitches of the major scale
Intervals: intermediate: So\Mi/So, So\Re, Fa/La, So/Do, Do\La, Ti\So, Do\Fa
Musical Elements: notes: dotted quarter, dotted eighth, sixteenth; rest: eighth rest; double beamed sixteenth notes
Key Words: world geography: England; farming, contrary, garden, grow, silver bells, cockleshells, pretty, maids, row

**“Mary, Mary Quite Contrary”**
Mary, Mary, quite contrary, How does your garden grow? With silver bells, and cockle shells, And pretty maids all in a row.

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Mary Had a Little Lamb

Introducing the dotted eighth and sixteenth syncopation
and adding the tonic to the beginning Orff interval.

Description

Grade: Kindergarten
Origin: USA – 19th-century Nursery Rhyme
Key: C Major
Time: 2/4
Form: ABAC
Rhythm: intermediate: | ti/ ri ti ti | syncopation,
| ti ti ta | ti ti ti ti |
Pitches: beginners: Do Re Mi So
Intervals: beginners: Mi/So\Mi
Musical Elements: notes: half, quarter, dotted eighth, sixteenth, introducing sixteenth divisions, excellent for building from the beginning Orff interval, So\Mi to the tonal center, Do
Key Words: USA history, American nursery rhyme, school days, farming, character education, fleece, white, snow, school, rule, laugh, play, eager, children, cry, teacher
Keyboard: beginners: four finger exercise for right, left, and two hands together

A true story about children in Sterling, MA, USA, the original rhyme was first published by Sarah Josepha Hale on May 24, 1830. The rhyme was also the very first words recorded in the history of recorded sound by Thomas Edison.

**“Mary Had a Little Lamb”**

	1.	Mary had a little lamb, Little lamb, little lamb, Mary had a little lamb, Whose fleece was white as snow.

	2.	And everywhere that Mary went, Mary went, Mary went, And everywhere that Mary went, The lamb was sure to go.

	3.	It followed her to school one day School one day, school one day, It followed her to school one day, Which was against the rules.

	4.	It made the children laugh and play, Laugh and play, laugh and play, It made the children laugh and play To see a lamb at school.

	5.	And so the teacher turned it out, Turned it out, turned it out, And so the teacher turned it out, But still it lingered near.

	6.	And waited patiently about, Patiently about, patiently about, And waited patiently about Till Mary did appear.

	7.	“Why does the lamb love Mary so?” Love Mary so? Love Mary so? “Why does the lamb love Mary so,” The eager children cry.

	8.	“Why, Mary loves the lamb, you know.” The lamb, you know, the lamb, you know, “Why, Mary loves the lamb, you know,” The teacher did reply.

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Mary Had a Baby

Ascending and descending melodically to the dominate, So, phrases ending with a rest on the fourth beat, and descending
arpeggios: Mi\Do\So, Mi\Do\La, La\Mi\Do.

Description

Grade: Third
Origin: USA – African American Spiritual
Key: F Major
Time: 4/4
Form: AaBC
Rhythm: beginners: | ti ti ti ti ta ta | ta/a ta (ta) |
| ta ta ta (ta) | ta/a ta (ti) ti | syncopation,
| ti ti ti ti ti ti ti ti | ta ta ta/a |
Pitches: intermediate: So Do Re Mi So La – pentatonic scale
Intervals: intermediate: Mi\Do\So descending tonic arpeggio, Mi\Do\La descending arpeggio, Mi/La, So\Mi, Mi\So, La\Mi\Do descending arpeggio, Do/Mi
Musical Elements: notes: half, quarter, eighth; rests: quarter, eighth, syncopation, arpeggios; contrasting the second staff with third staff, each passing La to reach So (ascending and descending)
Key Words: sacred, Christmas, spiritual, Mary, Jesus, manger, born, stable, shepherds, singing, birth of Jesus, holiday, Lord, African American history

1.Mary had a baby, Yes, Lord,
Mary had a baby, Yes, my Lord,
Mary had a baby, Yes, Lord,
The people keep a-coming and the train has gone.

2.What did she name him? Oh, Lord,
What did she name him? Oh, my Lord.
What did she name him? Oh, Lord,
The people keep a-coming and the train has gone.

3.She named him Jesus, Yes, Lord,
She named him Jesus, Yes, my Lord,
She named him Jesus, Yes, Lord,
The people keep a-coming and the train has gone.

4.Oh, where was he born? Oh, Lord,
Oh, where was he born? Oh, my Lord,
Oh, where was he born? Oh, Lord,
The people keep a-coming and the train has gone.

5.Born in a stable, Yes, Lord,
Born in a stable, Yes, my Lord,
Born in a stable, Yes, Lord,
The people keep a-coming and the train has gone.

6.And where did she lay him? Oh, Lord,
And where did she lay him? Oh, my Lord,
And where did she lay him? Oh, Lord,
The people keep a-coming and the train has gone.

7.She laid him in a manger, Yes, Lord,
She laid him in a manger, Yes, my Lord,
She laid him in a manger, Yes, Lord,
The people keep a-coming and the train has gone.

8.Who heard him singing? Oh, Lord,
Who heard him singing? Oh, my Lord,
Who heard him singing? Oh, Lord,
The people keep a-coming and the train has gone.

9.Shepherds heard him singing, Yes, Lord,
Shepherds heard him singing, Yes, my Lord,
Shepherds heard him singing, Yes, Lord,
The people keep a-coming and the train has gone.

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Mary Ann

Excellent for reviewing notes and their values, alone or tied.
Introducing a Calypso syncopated rhythm.

Description

Grade: First
Origin: West Indian Calypso
Key: F Major
Time: 4/4
Form: ABab
Rhythm: intermediate: | ta/a ta/a | ta/a ta ta |
| ta ti ti-a/a | ta/a/a/a | – syncopation
Pitches: beginners: Ti Do Re Mi Fa So
Intervals: intermediate: Mi/So, So\Do, Re/Fa, Fa\Ti, Ti/Re, Do/Mi
Musical Elements: notes: whole, half, quarter, eighth; tied notes, calypso rhythms, syncopation
Key Words: geography, tongue twister, calypso, Caribbean, seashore, shifting, children, band, sand

**“Mary Ann”**
All day, all night, Miss Mary Ann, Down by the seashore shifting sand. Even little children join in the band. Down by the seashore shifting sand.

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The Marine’s Hymn

Syncopation in 2/2, cut time, tonic octave skip
Do/Do, tonic arpeggios, subdominant arpeggio, and eight
measure phrases promote breath support for voice and recorder.

Description

Grade: Fifth
Origin: USA – Marine Corps Hymn, circa. 1917
music: Jacques Offenbach’s “Geneviève de Brabant,” revised 1867
Key: C Major
Time: 2/2 cut time
Form: AABbA
Rhythm: intermediate: | ta ta | ta/ ti | syncopation, | ti ta/ | syncopation, | ta/a |
| ta (ta) ta ta | ta ti ti | ta (ta) ti/ ri | syncopation,
| ta ti/ ri | syncopation
Pitches: intermediate: Do Re Mi Fa So La Ti Do
Intervals: intermediate: Do/Mi/So ascending tonic arpeggio (I, C), So/Do8 (P4) Do8\So\Mi descending tonic arpeggio (I, C), Do/Do8 ascending tonic octave skip, La\Fa (M3), Fa/La/Do ascending subdominant arpeggio (IV, F), So/Do8\So (P4)
Musical Elements: notes: whole, dotted half, half, dotted quarter, quarter, eighth; rest: quarter; pickup beat, tied notes, 2/2 – cut time syncopation, tonic octave skip, tonic arpeggios, subdominant arpeggio, eight measure phrases promote breath support
Key Words: USA history, USA Armed Services, US Marines, Marine Corps Hymn, “Rhymes of the Rookies” published in 1917 by W.E. Christian, world history/geography: Jacques Offenbach ( 1819-1880) German Romantic composer, Halls of Montezuma, Tripoli, patriotism, patriot, freedom, honor, proud, claim, title, United States Marines, unfurled, breeze, dawn, tropic scenes, always, health, serve, strife, nerve, Army, Navy, guarded; contractions: flag’s (flag is) , here’s (here is), we’ve (we have); abbreviations: clime (climate) , possessive: Heaven’s
Recorder: intermediate: C/C tonic octave skip, C/E/G, C\G\E tonic arpeggios, and F/A/C subdominant arpeggio, note: eight measure phrases promote breath support

**“The Marine’s Hymn”**

	1.	From the Halls of Montezuma, To the shores of Tripoli; We fight our country’s battles In the air, on land, and sea; First to fight for right and freedom And to keep our honor clean: We are proud to claim the title Of United States Marine.

	2.	Our flag’s unfurled to every breeze From dawn to setting sun; We have fought in every clime and place Where we could take a gun; In the snow of far-off Northern lands And in sunny tropic scenes; You will find us always on the job The United States Marines.

	3.	Here’s health to you and to our Corps Which we are proud to serve; In many a strife we’ve fought for life And never lost our nerve; If the Army and the Navy Ever look on Heaven’s scenes; They will find the streets are guarded By United States Marines.

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The May Basket

Introducing the horizontal accent with a perfect fifth.

Description

Grade: First
Origin: Emilie Poulsson, Eleanor Smith
Key: E Major
Time: 4/4
Form: ABAC
Rhythm: intermediate: | ta ti ti ta ti ti |
| ti ti ta ta ti ti | ti ti ti ti ta/ ti | ti ti ta ta (ti) ti |
Pitches: intermediate: Do Re Mi Fa So La Do
Intervals: intermediate: Do/So, So\Mi, Mi\Do, Do/Fa, La/Do, Do\So, Fa\Re, Re/So
Musical Elements: notes: dotted quarter, quarter, eighth; rest: eighth; horizontal accent (play/sing the note louder), pickup beat, repeat signs, multiple endings
Key Words: Easter, holiday songs, Spring songs, flowers, basket, posies, leaves, green, sugar-plum, May Day, secret, right well, seasons

**“The May Basket”**

		1.	A-tisket, a-tasket, A pretty May basket, All filled with gay posies and leaves of fresh green. A-tisket, a-tasket, The pretty May basket, As pretty a basket as ever was seen.

		2.	A-tisket, a-tasket, What’s hid in the basket? A letter, a trinket, or big sugar-plum? A-tisket, a-tasket, The pretty May basket, It brings the glad message that May-day has come.

		3.	A-tisket, a-tasket, Who sent the May basket? Oh! that is a secret that no one must tell. A-tisket, a-tasket, The pretty May basket Was sent you by someone who loves you right well.

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The Man on the Flying Trapeze

Beginning syncopation with an interval of a minor sixth.

Description

Grade: Third
Origin: USA, words: Joe Saunders (stage name: George Leybourne – music: Gaston Lyle
Key: G Major
Time: 3/4
Form: ABAC*
Rhythm: beginners: | ta ta ta | ta/a ti ti | syncopation, | ta ti/ ti | syncopation, | ta/a/a |
Pitches: beginners: So La Ti Do Re Mi Fa
Intervals: intermediate: So/Do, Fa\La (m6), La/Re,
Re\So, Do\La
Musical Elements: notes: dotted half, half, dotted quarter, quarter, eighth; pickup beat, tied notes
Key Words: ballad, circus acts, through, greatest, ease, daring, trapeze, actions, graceful, stolen away; contraction: he’d (he would)

* Chorus of 19th century popular song.

**“The Man on the Flying Trapeze”**
He’d fly through the air with the greatest of ease. The daring young man on the flying trapeze, His actions are graceful, all girls he does please, And my love he has stolen away.

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Mango Walk

Advanced descending interval: Fa\So, ascending arpeggio So/Ti/Re, and syncopated African rhythms make this Calypso
challenging and lots of fun!

Description

Grade: Third
Origin: Jamaica – Calypso Song
Key: F Major
Time: 4/4 – common time
Form: ABAb
Rhythm: intermediate: | ti ti ti ti ti ti ti ti |
| ti ta ti ta ta | syncopation, | ti ta/ (ta) ta | syncopation
Pitches: intermediate: So Ti Do Re Mi Fa So La
Intervals: advanced: Do/Mi, Mi\So, So/Do, Do/So, Re/Fa, Fa\So, So/Ti/Re ascending arpeggio
Musical Elements: notes: dotted quarter, quarter, eighth; rest: quarter; pickup beat, syncopation, ascending arpeggio
Key Words: world geography, Jamaica, Trinidad, calypso, African rhythms, harvesting mangos, deed (did); family relations: father, mother, brother, sister, uncle, aunt, cousin; abbreviation: ‘leven (eleven), multi-cultural music

**“Mango Walk”**

		1.	My mother deed-a tell me that you go mango walk, go mango walk, go mango walk. My mother deed-a tell me that you go mango walk, and eat all the number ‘leven.
		2.	My father deed-a tell me that you go mango walk, go mango walk, go mango walk. My father deed-a tell me that you go mango walk, and eat all the number ‘leven.
		3.	My brother deed-a tell me that you go mango walk, go mango walk, go mango walk. My brother deed-a tell me that you go mango walk, and eat all the number ‘leven.
		4.	My sister deed-a tell me that you go mango walk, go mango walk, go mango walk. My sister deed-a tell me that you go mango walk, and eat all the number ‘leven.
		5.	My uncle deed-a tell me that you go mango walk, go mango walk, go mango walk. My uncle deed-a tell me that you go mango walk, and eat all the number ‘leven.
		6.	My aunt she deed-a tell me that you go mango walk, go mango walk, go mango walk. My aunt she deed-a tell me that you go mango walk, and eat all the number ‘leven.
		7.	My cousin deed-a tell me that you go mango walk, go mango walk, go mango walk. My cousin deed-a tell me that you go mango walk, and eat all the number ‘leven.

		*Calypso*: West Indian (originally Trinidadian) music in syncopated African rhythms.
		*Mango Walk*: refers to harvesting mangos from the mango orchard.
		*Number Eleven*: a variety or grade of fruit.

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MacNamara’s Band – New

Feeling of duple meter in 6/8.

Description

Grade: Fifth (5)
Origin: Ireland – Music: Shamus O’Connor – Words: John J Stamford – circa 1889
Key: F Major
Time: 6/8
Form: ABAbCBDb
Rhythm: intermediate: | ta ti ti ti ti | ta ti ta ti | ti ti ti ti ti ti | ta/a/ ti | ta ti ta ti | ta/ ta/ | ti ti ti ta/ ti | ta/ ta ti |
Pitches: advanced: So Do Re Mi Fa So
Intervals: intermediate: So\Mi (m3), Do\So (P4), So/Mi M6), So8\Do (P5)
Musical Elements: • notes: dotted quarter, quarter, eighth; rests: none; running eighth notes, syncopation, feeling of duple meter in 6/8 where one beat is equal to a dotted quarter, tied notes, rhythm changes with verse syllables
Key Words: • Ireland, St. Patrick’s Day, leader of the band, although, finest, wakes, weddings, funerals, march from Saul, rehearsing, affair, annual, celebration, gentry, General Grant, Uncle Yulis, Sweden, march, ladies, grand, shout, Irish band, bunch, shamrocks, uniform, funniest, Swede, McCarthy, O’Brians, Ryans, Sheehans, Meehans, Hennessey, Tennessee, yimminy, clang, credit, blaze, pumps, tootles, musical instruments: bass drum, drums, cymbals, bazoon, bagpipes, flute

**“MacNamara’s Band”**

	1	Oh!, me name is McNamara, I’m the leader of the band, Although we’re few in numbers we’re the finest in the land. We play at wakes and weddings, and at every fancy ball, And when we play at funerals we play the march from Saul.

		Chorus:
		Oh! the drums go bang, and the cymbals clang, and the horns they blaze away, McCarthy pumps the old bazoon while I the pipes do play; And, Hennessey Tennessey tootles the flute, and the music is somethin’ grand, A credit to old Ireland is McNamara’s Band!

	2	Right now we are rehearsin’ for a very swell affair, The annual celebration, all the gentry will be there. When General Grant to Ireland came, he took me by the hand, Says he, “I never saw the likes of McNamara’s Band.”

		Chorus

	3	Oh my name is Uncle Yulis and from Sweden I have come, To play with McNamara’s Band and beat the big bass drum, And when I march along the street the ladies think I’m grand, They shout “There’s Uncle Yulis playing with an Irish band.”

	4	Oh! I wear a bunch of shamrocks and a uniform of green, And I am the funniest looking Swede that you have ever seen. There’s O’Briens and Ryans and Sheehans and Meehans, they come from Ireland, But by Yimminy I’m the only Swede in McNamara’s Band.

		Chorus

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