B. WITH RUE MY HFART IS LADEN, Op. 2, No.

2
(A. E. Housman). r:mi.n (high) & Brnin
(low)J e'--f" & c#'--d"l Tess-M, 3/4(4/4, 5/4),
Andante cantabile, Length-2 PPI Diff-V/m, P/m.
FOR: any lyric voice.
MOOD: lyrical, melancholy poem about death.
VOICE: lyrical and sustained, irregular rhythms;
some elusive pitches.
PIANO: broken-chord figures throughout.
DIFF: rhythms and phrasing.
USES: fine recital song.
C. BESSIE BOBTAIL, Op. 2, No. 3 (James
Stephens). !Anin; c'--f"l Tess-rnL: 2/2
( 3/2, 5/2), Andante, un poco mosso; Length-4 pp;
Diff-V/m, P/m.
FOR: all voices except extremely low.
MOOD: dramatic; descriptive and narrative.
VOICE: dramatic; short phrases fragmented by
rests.
PIANO: chordal--m:>stly broken: scale fragments:
features contrary motion.
DIFF: requires considerable dramatic and
descriptive skill1 words spoken by Bessie
Bobtail are in a different musical style
and must be set off with the voice.
USES: effective song for the right singer.
113. SONGS, OPUS 10, NOS. 1-3 (James Joyce).
G. Schirmer, c1939, coli. #47, cl955.
A. RAIN HAS FALLEN, Op. 10, No. 1. X7
f'--g" & d'--e" (orig.); Tess-mil;
4/4(3/2), Moderato: Length-S pp; Diff-V/d, P/dd.
FOR: any lyric voice.
MOOD: lyrical love poem: nature i!Th:"lgery.
VOICE: very sustained, builds to dramatic
climax, then subsides.
PIANO: broken chords and arpeggiations; quite
chromatic7 independent of voice: evokes
picture of rain.
DIFF: high phrase ending--g"-f#" (e"-d#") with
cresc.7 pitches elusive7 rhythm requires
care.
USES: fine recital song for secure musician.
B. SLEEP NCM, Op. 10, No. 2. X; eb'--g" &
c'--e" (orig.)J Tess-M; 4/4(3/4, 5/8,
5/4), Andante tranquillo--Pih mosso e agitate:
Length-4 pp; Diff-V/d, P/dd.
FOR: all voices except extremely low.
MCOD: lyrical; cry for peace at heart.
VOICE: many skips and leaps; fragmented
phrases7 large dynamic contrasts.
PIANO: chordal and contrapmtal7 rather
chranatic7 32nd-note figures in middle
section.
DIFF: singer needs good sense of pitch and
great vocal expressivity to handle the
contrasts of drama and lyricism;
ensemble.
C. I HEAR AN ARMY, Op. 10, No. 3. Onin
(orig.) & Arnin: d'--ab" & b--f"; Tess-M;
4/4(2/4, 5/8, 3/4), Allegro con fuoco; Length-
7 pp; Diff-V/d, P/dd.
FOR: baritone or dramatic tenor.
22
MJOD: dramatic; descriptive; despairing love
song using battle imagery.
VOICE: disjunct, many dotted rhythms7 sustain4
at end; dramatic and PJWerful.
PIANO: contrapuntal figures; broken chords:
features a "hoof-beat" rhythrn7 large
reach helpful.
DIFF: requires great dramatic skill7 strong
middle voice needed; powerful, ringing
ab"(f"); for mature voices only.
USES: very effective for the right voice.
114. SONGS, OPUS 13, NOS. 1-4. G. Schinner.
cl9417 call. #47, cl955.
A. A NUN TAKES THE VEIL (Heaven-Haven), 0]
13, No. 1 (Gerard Manley Hopkins). D
& Bl:min (orig.); g'--g" & eb'--eb"; Tess-rnH: 3,
(4/4, 2/4), Broad and sustained, in exact rhytl
Length-2 pp; Diff-Vrn, P/rne.
FOR: any female voice.
MJOD: lyrical; philosophical; nature imagery
VOICE: mostly step-wise7 sustained phrases:
rather static movement.
PIANO: chordal, with many rolled chords7 larg'
reach helpful.
DIFF: sustained, hovering phrases.
USES: effective recital song.
B. TilE SEX:RETS OF THE OLD, Op. 13, No. 2
(William Butler Yeats). Onin & AI
(orig.): eb'--g" & c'--e"7 Tess-111 5/8(2/4, 3,
3/4), Allegro giocoso7 Length-4 pp; Diff-V,
P/m.
FOR:
MJOD:
VOICE:
PIANO:
DIFF:
USES:
mezzo-soprano or soprano.
rerniniscent7 descriptive7 somewhat
gossipy.
mostly conjunct with some skips; irreg
lar phrasing; sustained middle section
continuous 8th-note after-beat pattern
dlordal7 changing meters.
constantly shifting meters7 ensernble7
character delineation.
excellent song for a good musician.
C. SURE ON THIS SHINING NIGHT, Op. 13,
No. 3 (James Agee) Bl:l11aj & G
(orig.), d'--g" & b--e"7 Tess-M; 3/4(4/
Andante; Length-3 pp; Diff-V/m, P/rne.
FOR: all lyric voices.
MJOD: lyrical: philosophical, using nat1
imagery.
VOICE: broad, sustained phrases; several
phrases begin high.
PIANO: repeated chords throughout, with rnelod:
in canon with the voice and bits of
<X>unter411elody.
DIFF: high tessitura in middle section;
dynamics 1 breathing.
USES: good teaching song; excellent recital
song for a vibrant lyric voice.
D. NOCTURNE, Op. 13, No. 4 (Frederic
Prokosch). D#rnin & C#rnin7 d#'--ab"
c#'--f#"; Tess-MI 4/4(3/2, 5/4), Andante, un p:
rnosso; Length-6 pp; Diff-V/d, P/dd.
FOR: all voices except very low.
MOOD: lyrical; passionate love song.
VOICE: broad and sustained; somewhat disjunct,
sane difficult intervals; long phrases.
B. WI'I.li RUE MY HE1>.RT LS LMlEN.. 0?. '2., ~ ~ '2.
(A. E. Housman). r:roi.n (high) & Bmin
(low), e'--f" & c#
1
--d"7 Tess-M, 3/4(4/4, 5/4),
Andante cantabile, Length-2 PPI Diff-V/m, P/m.
FOR: any lyric voice.
M<X)D: lyrical, melancholy poem arout death.
VOICE: lyrical and sustained1 irregular rhythms:
some elusive pitches.
PIANO: broken-chord figures throughout.
DIFF: rhythms and phrasing.
USES: fine recital song.
C. BESSIE BOBTAIL, Op. 2, No. 3 (James
Ste];ilens). Dnin: c'--f"l Tess-mL7 2/2
(3/2, 5/2), Andante, un poco 110sso; Length-4 pp;
Diff-V/m, P/m.
FOR: all voices except extremely low.
MOOD: dramatic; descriptive and narrative.
VOICE: dramatic; short ];ilrases fragmented by
rests.
PIANO: chordal--rrostly broken1 scale fragments,
features contrary IOC>tion.
DIFF: requires considerable dramatic and
descriptive skill, words spoken by Bessie
Bobtail are in a different musical style
and must be set off with the voice.
USES: effective song for the right singer.
113. SONGS, OPUS 10, NOO. 1-3 (James Joyce).
G. Schirmer, c1939, coli. #47, cl955.
A. RAIN HAS FALLEN, Op. 10, No. 1. X;
f'--g" & d'--e" (orig.h Tess-mil;
4/4(3/2), Moderato1 Length-S pp; Diff-V/d, P/dd.
FOR: any lyric voice.
MOOD: lyrical love poem, nature imagery.
VOICE: very sustained, builds to dramatic
climax, then subsides.
PIANO: broken chords and arpeggiations; quite
chromatic, independent of voice, evokes
picture of rain.
DIFF: high ];ilrase ending--g"-f#" (e"-d#") with
cresc., pitches elusive, rhythm requires
care.
USES: fine recital song for secure musician.
B. SLEEP NOO, Op. 10, No. 2. X: eb'--g" &
c'--e" (orig.)J Tess-M; 4/4(3/4, 5/8,
5/4), Andante tranquillo--Pil'l nosso e agitato;
Length-4 pp; Diff-V/d, P/dd.
FOR: all voices except extremely low.
MCX)D: lyrical; cry for peace at heart.
VOICE: many skips and leaps; fragmented
phrases, large dynamic contrasts.
PIANO: chordal and contrapm!:c1l1 rather
chranatic1 32nd-note figures in middle
section.
DIFF: singer needs good sense of pitch and
great vocal expressivity to handle the
contrasts of drama and lyricism;
ensemble.
C. I HEAR AN ARMY, Op. 10, No. 3. Onin
(orig.) & Arnin: d'--ab" & b--f"; Tess-M;
4/4(2/4, 5/8, 3/4), Allegro con fuoco; Length-
7 pp; Diff-V/d, P/dd.
FOR: baritone or dramatic tenor.
22
MX>D: dramatic; descriptive: despairing love
song using battle imagery.
"lV1.CE: O.isjunct1 many dotted rhythms, sustained
at end; dramatic and powerful.
PIANO: contrapmtal figures; broken chords:
features a "hoof-beat" rhythm, large
reach helpful.
DIFF: requires great dramatic skill1 strong
middle voice needed: powerful, ringing
ab"(f"): for mature voices only.
U3ES: very effective for the right voice.
ll4. SONGS, OPUS 13, NOO. 1-4. G. Schinner,
cl941; coli. #47, cl955.
A. A NUN TAKES THE VEIL (Heaven-Haven), Op.
13, No. 1 (Gerard Manley Hopkins). r:roi.n
& Btmin (orig.); g'--g" & eb'--eb"; Tess-rnH: 3/4
( 4/4, 2/4), Broad and sustained, in exact rhythm;
Length-2 pp; Diff-Vrn, P/rne.
FOR: any female voice.
MX>D: lyrical; fhl_loso];ilical: nature imagery.
\UICE: 110stly step-wise1 sustained ];ilrases1
rather static 110vernent.
PIANO: chordal, with many rolled chords, large
reach helpful.
DIFF: sustained, hovering ];ilrases.
U3ES: effective recital song.
B. TilE SEX::REI'S OF TilE OW, Op. 13, No. 2
(William Butler Yeats). Onin & Arnin
(orig. h eb'--g" & c'--e" 1 Tess-111 5/8(2/4, 3/8,
3/4), Allegro giocoso1 Length-4 pp: Diff-V/d,
P/m.
FOR:
MXD:
VOICE:
PIANO:
DIFF:
U3ES:
mezzo-soprano or soprano.
reminiscent, descriptive, somewhat
gossipy.
mostly conjunct with sane skips: irregu-
la.r phrasing; sustained middle section.
continuous 8th-note after-beat pattern,
chordal 1 changing meters.
constantly shifting meters, ensemble,
character delineation.
excellent song for a good musician.
C. SURE ON THIS SHINING NIGHT, Op. 13,
No. 3 (James Agee). Bl:maj & Gmaj
(orig.)J d'--g" & b--e"l Tess-M; 3/4(4/4),
Andante; Length-3 pp; Diff-V/m, P/rne.
FOR: all lyric voices.
MXD: lyrical; philosophical, using nature
imagery.
\UICE: broad, sustained phrases; several
phrases begin high.
PIANO: repeated chords throughout, with melody
in canon with the voice and bits of
CXJunter-melody.
DIFF: high tessitura in middle section,
dynu.mics7 breathing.
U3ES: good teaching song; excellent recital
song for a vibrant lyric voice.
D. NOCTURNE, Op. 13, No. 4 (Frederic
Prokosch). Dihnin & C#min1 d#'--ab" &
c#'--f#"7 Tess-M7 4/4(3/2, 5/4), Andante, un pxo
mosso; Length-6 pp; Diff-V/d, P/dd.
FQR: all voices except very low.
M:XID: lyrical, passionate love song.
\UICE: broad and sustained; sanewhat disjunct;
same difficult intervals; long phrases.
t
1
f"7
th-
ut
s
1y,
1.
r
1.
{I
is.
lp.
?P1
VOICE:
PIANO:
DIFF:
USES:
235.
(with
P/m.
FOR:
MX>D:
VOICE:
PIANO:
USES:
skips and leaps, sanewhat chromatic, two
speakers.
chordal7 des=iptive prelude, interlude,
and postlude, trenolo; glissando7
specific articulations, tempo and dynamic
changes abrupt.
sane awkward pitches.
odd text7 short dramatic song, perhaps
useful as a surprise change of pace in
a group.
~ (Countee Cullen). Carl Fischer,
cl950. Bnin-r:maj, f#'--g"7 Tess-M; 6/8,
changes), Con moto; Length-3 pp; Diff-V/m,
soprano or tenor.
lyrical, elegy in reverse.
skips along chord lines, sane modulating
phrases, long tones at ends of phrases.
linear, arpeggiated figures in l.h.J
sane chordal sections, delicate.
lovely, sensitive song, good for lyric
voices.
BOOTT, FRANCIS
(b. Boston, MA, 18137 d. Boston, MA, 1904)
236. BREAK, BREAK AT THE FO:Jl' OF THY CRAGS,
0 SEA, fran Florence (Alfred Lord
Tennyson). c1957 & Cell. #23, c1875 & #51,
cl885. Fmin1 c'--f"7 Tess-M7 6/8, Andantino,
Length-4-1/2 PP7 Diff-V/m, P/e.
FOR: baritone or mezzo-soprano.
MXO: dramatic, sorrowful, declamatory,
lyrical.
VOICE: many skips and leaps of up to 6th7
strong climax on f", followed by leap
dCMn to c'.
PIANO: chords in after-beat patterns, voice
doubling, sane voice echoing, octave
doubling of melody.
DIFF: sane leaps.
USES: good for developing legato line in
declamatory style7 interesting com-
parison with setting by Sidney Haner.
237.
2/4,
P/e.
FOR:
MX>D:
JENNY KISSED ME (Leigh Hunt). Coll #52,
c1887 & cl902. Atrnaj7 eb'--ab"7 Tess-r17
Allegretto moderato, Length-2 PP7 Diff-V/e,
baritone or tenor.
playful.
VOICE: step-wise, with a few skips.
after-beat style7 some irodtation7 sane
doubling of voice.
PIANO:
USES: a clever, easy short song for an opening
group.
238. KING MACBETH (0.-ren Meredith). Coll.
#51, cl870. Onin7 c'--eb"7 Tess-M7 6/8,
Andantino con moto: Length-3 pp; Diff-V/me, P/e.
FOR: baritone specified.
MX>D: dramatic, ballad: dark and bleak.
VOICE: conjunct, with easy skips7 sane dotted
rhythms; one long-ranged phrase.
PIANO: open octaves and block chords; sane
doubling of vocal line7 register
43
USES:
differences for color.
easy ballad, good to teach ballad style7
effective.
239. THE SANDS OF DEE, fran Florence (Alton
Locke). Coll. #51, c1857 & clB85. Dmin7
a--d"J Tess-MJ 4/4, Andante con moto1 Length-
3 pp (4 stanzas); Diff-V/e, P/e.
FOR: canposer says alto; good for bass,
if taken dCMn 1/2-step.
MX>D: ballad of maiden and the sea.
VOICE: step-wise and easy skips7 repeated notes
and words7 dotted rhythms; declamatory
ballad style.
PIANO: chordal; sane octave trenolo in l.h.;
sane doubling of voice.
USES: good for developing e1e imagination for
ballad style7 program in a ballad group.
BOWLES
1
PAUL
(b. Jamaica, NY, 1910)
340. BLUE MJUNTAIN BALLADS (Tennessee
Williams). G. Schirmer, c1946J pili.
separately. M::ldal flavors & "blues" alterations
of keys; b--f#"7 Tess--mL-mH7 meters regular but
changing, varied tempos, Length-6:30; Diff-
V /me-nrl, P /m-rrrl.
FOR: mezzo-soprano best for set7 baritone
possible.
MXJD: lyrical, folk-like, descriptive, "blues."
VOICE: mostly step-wise, with easy skips7 easy
rhythms7 sane chromaticism, mostly
syllabic.
PIANO: predaninantly chordal7 folk and jazz
elements in harmonies, rhythms, and
spacing, large reaches.
DIFF: singer must feel at heme in e1is "folksy"
style; must be secure rhythmica.lly.
USES: useful group, could end a program.
a. HEAVENLY GRASS. (also in call. #41.)
b--e"7 Tess-M7 3/4 (with changes),
With flawing simplicity; Length-
2:00.
b. I..CNESCME MAN. db'--eb" 7 Tess-t17 4/8
(7/16), Very rhythmically7 4 pp.
c. CABIN. (also in call. #41)
d#'--c"7 Tess-mL7 6/8(9/8), Like
a ballad; 1:30.
d. SlhAR IN THE CANE. d'--f#"7 Tess-
M-mH7 4/4, In absolutely strict
tempo7 2:00.
341. DAVID {Frances Frost). Coll. #52, cl945.
Opening & closing center on D (with
chromaticism & hi-tonality), e'--d"7 Tess-M7 4/4,
Adagio, molto tranquillo7 Length-2:007 Diff-
V/nrl, P/me.
FOR: meditnn or law voice.
MOOD: quiet7 night-song, serene.
VOICE: almost always step-wise, chromatic, some
syncopation; syllabic.
PIANO: block chords; pedal-tones, rare doubling
of vocal line.
DIFF: syncopation; chromaticism.
USES: good song for well-prepared musician
with limited singing ability.
i2;
rro
aj
lL7
e,
Sf
s.
i
hn
VOICE:
PIANO:
DIFF:
USES:
long phrases7 some triplets.
partly chordal, partly rapid
arpeggiation.
contrasting moods require interpretive
facility.
good for young male singers.
432. WHEN I HAVE SUNG MY SONGS (Ernest
Charles). G. Schirmer, c1934. Fmaj
(high) & Dbnaj (lowl7 d'--g" & b-flat--eb"7 Tess-
M7 4/4, Galmly7 Length-2:157 Diff-V/me, P/m.
FOR: any voice.
MOOD: lyrical: love song.
VOICE: step-wise and small skips7 after-beat
PIANO:
USES:
phrase beginnings.
chordal, 5-6-voice block and broken
patterns, some doubling of voice.
text more suitable for mature singers
than young singers; somewhat sentimental;
encore, or use in a group of American
songs.
433. THE WHITE SWAN (Mona Bonelli). G.
Schirmer, c1941. Gnin-BI::maj (med.) &
anin-Dnaj (high), c'-f" & e'--a"l Tess-t17 4/4,
Dreamily, Length-2:00, Diff-V/m, P/rrrl.
FOR: mez7rsoprano or soprano, baritone
or tenor.
MOOD: descriptive, remembrance, dramatic
climax.
VOICE: step-wise and small skips7 2-note slurs7
syncopation, same dotted rhythms.
PIANO: chordal, broken and block; cross-hands;
does not double voice.
DIFF: some long phrases7 sustained f" ff.
USES: effective song; lyric, but with big
climax near end7 quiet ending.
CHENOWETH, WIILBUR
(b. Tecumseh, NE, 1899)
434.
5 PPI
FOR:
MOOD:
VOICE:
PIANO:
DIFF:
USES:
VOCALISE. Call. #14, c1962. Grnaj;
e'--b" 1 Tess-H7 6/8, Allegretto; Length-
Diff-V/d, P/me.
coloratura soprano.
lyrical.
very florid; numerous triplet figures;
grace-notes.
chordal; regular rhythm, supp::Jrts voice.
agility 1 high tones must be sung with
ease.
interesting shaw-piece for coloratura
soprano.
CHILDS, BARNEY
435. VIRTUE (George He..rbert). Call. #2,
cl982. Onaj7 c'--g"7 Tess-M7 unmetered,
Evenly steady, no rubato, all durations precise
( J =120), Length-ca.2:157 Diff-V/d, P/m.
FOR: soprano or mezzo-soprano (p::Jssibly high
baritone).
1-KXID: all things must perish, only the soul
survives.
VOICE: speech-like rhythms--very camplruq final
59
PIANO:
DIFF:
phrase uses entire range of song7
dynamics range fran p-ff 1 special
instructions for dynamics and timbre.
spare; staves appear only as needed and
are fragmentary, sometimes only one.
making durations precise as called for in
score (for both performers) 7 ensemble 1
possibly the unusual "look" of the score.
CHING, J. MICHAEL
(b. Honolulu, HI, 1958)
436. RIDDLES WITHIN RIDDLES. Four Settings of
Anglo-Saxon Riddles for Baritone and
Piano. Columbia Univ. Press, c1984. X7
(A)Bb--gb'; Tess-H; changing meters; Length-
7:3D-8:00; Diff-V/d, P/d.
FOR: baritone.
I>KXlD: riddles (musical as well as verbal) 7
answers for both given at end of set.
VOICE: many accidentals; many skips, same
awkward; various subdivisions of the
beat juxtap::Jsed7 mostly syllabic, some
speaking, each song bears a resemblance,
or contains a reference, to the answer
to the musical riddle (e.g., no. 1 opens
with patterning similar to Franz
Schubert's "St:indchen").
PIANO: many accidentals7 canplex rhythms in
no. 17 various subdivisions of beat
juxtaposed in all four songs; trills in
nos. 2 and 37 large reach helpful7
doubling of vocal line rare7 piano often
answers the riddle.
DIFF: canplexities of rhythm and pitch7
ensemble.
USES: interesting group for recital, for audi-
ence with sane musical sophistication.
a. I ("I saw a being "). X;
B--gb' 1 changing meters,
Moderately; 2:45; [TI1e moon and
the sun; Schubert: "Serenade,"
French overture style].
b. II ("It is a splendid thing when
one knows not its ways"). X;
(A)Bb--e'l 2/2 predaninates
(with changes), Moderately slow7
1: 35; [Shepherd's pipe; Debussy:
"Syrinx"].
c. III ("I have a puffed breast and a
9\\Dllen neck"). X; eb--e' 7 6/8
predaninates (with changes), Not
too fast7 1:167 [Weathercock,
Schubert: "Die Wetterfahne,"
fran Die lvinterreise].
d. IV ("A warr1or 1s woridrously brought
into the world "). X7 Bb--e"l
changing meters, Freely, 1:557
[Fire, Scriabin: "Vers la Flarrme,"
op. 72].
CITKOWITZ, ISRAEL
(b. Skierniewice, Russia [now in Poland],
19097 d. London, England, 1974)
437. FIVE S<H;S FRCM "CHAMBER MUSIC" (James
Joyce). Boosey & Hawkes, cl930. Poly-
~ J.
VOICE: many skips; accidentals; duplets and
triplets; syncopation.
PIANO: broken-chord pattern with sane counter-
melody; constant dotted rhythm;
accidentals; does not double voice.
DIFF: 3 in voice vs 4 in piano.
USES: effective song; light touch; could end
a group, but quietly.
647. I CARRY YOUR HEART (e. e. curmri.ngs ) G.
Schirmer, cl962. Centers on E; c'--g#";
Tess-M-mH; 6/8, Andantino; Length-2:00; Diff-
V/nrl, P/m.
FOR: soprano.
MCXlD: lyrical; love-song.
VOICE: skips; duplet and triplet subdivision
of beat; many accidentals.
DIFF: same intervals; 2 vs 3 in piano.
USES: nice lyric song; useful for a Duke group
or a group of cummings settings; easier
poem than cummings' usual style.
648. I RIDE THE GREAT BLACK HORSES (Robert
Nathan). G. Schirmer, c1949. Centers on
E; cb'-f#"; Tess-M; 4/4, With a firm tempo and
great rhythmic drive; Length-2:00; Diff-V/nrl,
P/nrl.
FOR:
MCDD:
VOICE:
PIANO:
DIFF:
USES:
baritone.
dramatic; pJWerful; intense.
many skips; dramatic high tones; dotted
rhythms; duplets vs piano triplets.
chordal; repeated-chord pattern in
triplets, some rolled chords; great
dynamic contrasts.
sustained high tones, dynamic control.
dramatic, exciting song; good program
ender.
649. I WATCHED THE Lli.DY CAROLINE (Walter de la
Mare). Coll. #41, c1961. X;
b-flat--eb"; Tess-M; unmetered, with flowing
rhythm and flexible tempo; Length-4 pp; Diff-
V/m:i, P/d.
FOR: baritone; contralto.
M:XD: lyrical; rather abstract; descriptive.
VOICE: flowing _r:hrases; much up and down
movement; same chrcrnaticism.
PIANO: 2-voice texture; chromatic.
DIFF: rhythm and meter; text.
USES: good teaching song.
650. IN THE FIELDS (Charlotte Mew). Carl
Fischer, cl960. Gnaj; a--e"; Tess-mL;
5/4 with changes, Slow and quiet; Length-2:15;
Diff-V/me, P/me.
FOR: low voices; good for contralto or bass-
MCDD:
VOICE:
PIANO:
DIFF:
USES:
baritone with warm, beautiful sound.
lyrical; prayerful; spring song.
many skips; speech rhythms; sustained.
block-chord texture with some counter-
melody; same large reaches; dynamic
control important; does not double voice.
ensemble; good dynamic control; sustained
Pu-ases.
excellent lyric song; good for recital.
92
651. JUST-SJ:'RING (e. e. curmU.ngs). Coll.
#39, cl954. X; d'--b-flat"; Tess-M;
2/4, Joyousr Length-1:30; Diff-V/d, P/d.
FOR: soprano.
MOOD: light-hearted and imaginative.
VOICE: disjunct; many large leaps; soft high
tonesr large dynamic contrasts.
PIANO: broken chords and rapid passage-work;
same complicated rhythms.
DIFF: messa di voce on b-flat".
USES: gOOd song to end a group.
652.
c1959.
Tess-M;
P/d.
FOR:
MOOD:
VOICE:
PIANO:
DIFF:
USES:
THE LAST ~ R D OF A BLUEBIRD (as told to
a child) (Robert Frost). G. Schirmer,
"For Louis Nicholas." Onin-ma j; a--f" 1
2/2, Strict tempo; Length-1:00; Diff-V/d,
mezzo-soprano; baritone; same sopranos
and tenors.
child-like; light-hearted; lightly
humorous; narrative.
many skips; duplets and triplets;
conversational.
broken-chord patterns; many arpeggios;
cross-rhythms and accents; articulations
important; does not double voice.
rhythms.
use for student who has trouble with
being expressive, as this song is easy
to make cane alive; good for a final
light group, or as an encore.
653. LOVELIEST OF TREES (A. E. Housman).
Call. #38, cl934. "To Lawrence Tibbett."
Ahnaj (high) & Fmaj (low), d#'--f" & c'--d";
Tess-mL; 2/4, Allegretto grazioso1 Length-6 PPI
Diff-V /me, P/m.
FOR: all lyric voices.
MOOD: lyrical; philosophical.
VOICE: many skips along chord lines; legato.
PIANO: broken-chord figuration throughout.
DIFF: good legato line.
USES: good for teaching legato line; excellent
recital song for a quiet mood.
654. LOVE'S SECRET (William Blake) Boosey &
Hawkes, cl955. rmin; a--f"; Tess-M; 6/8,
In gently rocking rhythm; Length-1:30; Diff-V/m,
P/m.
FOR:
MOOD:
VOICE:
PIANO:
DIFF:
USES:
baritone.
lyrical; sanber; nostalgic.
many leaps; sane long-ranged Iirrases.
broken and block chords; sane treroc>lo;
trills; thin texture.
irregular phrase lengths; ensemble; soft
dynamics.
good song; quiet ending.
655. LUKE HAVERGAL (Edward Arlington
Robinson). Coll. #15, c1948. Gnaj
(high) & Ebnaj (low); eb'--a" & b--f"; Tess-mH;
2/4, Sadly, tenderly; Lengtil-4:00; Diff-V/d, P/d.
FOR: tenor or soprano; baritone or mezzo-
soprano.
MOOD: lyrico-dramatic; philosophical; poem
about death.
VOICE: mostly step-wise movement; triplet
figures; sweeping phrases; dynamic
contrasts.
nking-song)
Gnaj
-c'; Tess-M;
ked rhythm;
ls.
aps useful
onq for a
n up a
lased on an
my, Pa.).
ev. c1970;
'; Tess-M;
ngth-1:30;
'one
triplets;
sonority
Is, sane
. cresc.-
:>n.).
. nr
legrettor
:o.
es1
Coll.
d'--f"7
>irited;
1
in
ones.
Lne
and
#72,
Tess-
mH, 2/2,
P/m.
Grandly--Lively; Length-2 PP1 Diff-V/m,
FOR:
l-DJD:
VOICE:
PIAOO:
DIFF:
USES:
sopranor tenor.
wry statement about birds; light.
small skips and step-wise motion;
syncopation; "Scotch-snap;" triplets;
final f" sustained 2-1/2 meas.; sanewhat
fragmented.
block chords with sane broken chords and
sane counter-melody; accidentals; sane
doubling of vocal line; accents; some
staccato; 4-meas. prelude.
mostly rhythmic.
use in a group of Hundley songs.
1052. ca1E READY AND SEE ME (,James Purdy).
Coll. #72, c1981; ccmp. 1971. Gl:rnaj;
db'-gb"; Tess-mH; 2/2, ( d =ca. 56) 1 Length-
4 PP7 Diff-V/m, P/m.
FOR: soprano.
OCOD: lyrical; straightforward.
VOICE: step-wise and skips along chords lines;
syncopation; sane triplets divisions of
beat7 legato; dynamics
PIAOO: arpeggiated patterns; sanet:i.mes canbined
with counter-melody, sane accidentals;
doubling of vocal line is incidental.
DIFF: rhythm is trickiest aspect.
USES: nice lyric song for a student; has
a "folksy" flavor.
1053. FOR YOUR DELIGHT (A Ranance) (Robert
Louis Stevenson). General, c1962.
Ebmaj 1 c' --f" 1 Tess-M; 3/4(4/4), Gracefully,
Length-S pp; Diff-V/m, P/m.
FOR: lyric baritone.
MOOD: lyrical; love song.
VOICE: conjunct with sane skips; sane sustained
tones at ends of .tfl.rases; ends on eb"
sustained softly for 15 beats.
PIAOO: linear-chordal canbination; open texture7
melodic interestr 10-meas. postlude.
DIFF: sane unexpected pitches.
USES1 nice songr useful for teaching young
singers.
1054. I DO (Ji'llli9S Purdy). Coll. #72, cl981;
canp. 1974. "To Paul Sperry." Dl:rnaj;
(f')gb'--ab"; Tess-H; 2/2, Allegro grazioso7
Length-2 pp; Diff-V/m, P/m.
FOR: tenor.
MOOD: light-hearted, jazzy marriage proposal.
VOICE: step-wise and skips along chord lines;
syncopation; sane triplet divisions of
beat7 sane poly-rhythms.
PIAOO: block chords and broken-chord p3tterns;
some staccato; some accidentals; doubling
of vocal line is incidental; 5-meas.
prelude.
DIFF: rhythms.
USES: "off-beat" love song.
155
FOR:
MCXJD:
VOICE:
PIAOO:
DIFF:
USES:
soprano or tenor.
epitaph; lyric and gentle.
many accidentals; many small skips;
triplets.
block chords; accidentals; spare
acccmpaniment; sane rolled chords;
does not double vocal line.
chranaticism in melody.
lovely song; group with "The
and "Bartholanew Green" for a short grot
of epitaphs, or group with other Hundle}
songs.
1056. Ml\IDEN SNa-1 (Kenneth Patchen). General,
cl96l; ccmp. 1960. "To Anna Hoffa.
Gnin; d'--g"; Tess-mH7 changing meters, Andant
sostenuto; Length-2 pp; Diff-V/m, P/e.
FOR: soprano or tenor.
MX>D: lyrical; tranquil7 introspective.
VOICE: mostly step-wise; sane wide skips; speed
rhythms.
PIAOO: 3-5-voice texture; chordal; sane
arpeggios; melody in interludes
DIFF: fluid rhythms.
USES: nice song for a recital group.
1057. MY MASTER HATH A GARDEN (anon.
Elizabethan verses) Coll. #72, c1981;
ccmp. 1963. Fm:tj; d'--g"; Tess-mH; 2/2 (witl.
changes), Brightly-- d =96-Sostenuto cantabile7
Length-4 pp; Diff-V/m, P/m.
FOR: soprano
MOOD: prayerful.
VOICE: many small skips; easy rhythms, although
changing meters create a few rhythmic and
accent ccmplications; syllabic with
2-5-note slurs
PIANO: block chordsr 3-5-voice texturer sane
stnccator 5-meas. prelude and 4-meas.
interlude7 some doubling of vocal line;
high notes are scrnewhat sustained.
DIFF: some rhythms.
USES: for young lyric soprano with easy
"floating" high notesr see other settings
of this text by Randall Thanpson and
Virgil Thcmson (in Praises and Prayers)
1058. POSTCARD FROO SPAIN (Richard Hundley).
General, c1964r comp. 1964. Ollaj;
f'--a"; Tess-H7 ITOstly 3/4, d, =66-freely,
Length-l:OOr Diff-V/m, P/e.
FOR: tenor.
M:JOD: lyrical; humorousr waltz song.
VOICE: many skips; sane syncopation,
fragmentary.
PIANO: waltz styler sane tremolo; sane 5/4
meas.r independent of vocal line.
DIFF: rhythms7 sustained g" at end.
USES: nice P.ncorer final song in a groupr
anywhere scmething light is needed.
1059. SOFTLY THE SUHMER. General, cl963; canp.
1957. Dl:rnaj7 f'--b-flat"; Tess-Hr 3/4,
Tempo a piacere (gently flowing); Length-3 pp;
Diff-V/m-md, P/m.
FOR: high soprano.
r-n:JD: lyrical; descriptive; lazy.
VOICE: several leaps of 6th and 7th; dotted
notes; repetitive rhythmic and melodic
patterns.
USES:
of the scenes, especially where
there is an imaginary dialogue."
very effective cycle for the right
singer; could end a recital (possibly
in songs not individually
titled, first lines given belO\v.
a. "Here we go--fasten your seat belt--
no Siroking--Gennany, here I come."
b. "Sprechen sie English, ja?."
c. "Ist das nicht ein sd10ner rcx:rn?"
d. "Just the city tour, please."
e. "Herr waiter--nore wine, please--
Danke schon."
f. "Excuse me, who is the conductor?
Oh, so das ist Karajanl"
g. "A call from overseas?"
1529. 0 YOU WHOM I OFTEN AND SILENTLY COME
(Walt Whitman). Seesaw, cl971. X;
<ll.J'--)J-J:lctl..'"; J.t::<>::>-1"1; 4/4(2/4
1
::J/4)
1
VcLy

Length-3-1/2 pp; Diff-V/dd, P/dd.
FOR: lyric tenor.
MOOD: lyrical; poem about love.
VOICE: highly chromatic and very disjunct;
includes falsetto, semi-spoken line;
fragmented; grace-notes.
PIANO: highly chromatic and dissonant; chordal;
grace-notes; broken-chord figures;
repeated chords.
DIFF: flexibility for large leaps; soft and
loud high tones; strong low tones.
USES: effective recital song; mature
performers only.
1530. RirnARD CORY (Edward Arlington Robinson).
Seesaw, c1971. X; b--a"; Tess-mH; 2/4
(3/4), Fast (with many changes); Length-5-1/2 pp;
Diff-V/dd, P/dd.
FOR: mezzo-soprano; some sopranos.
MOOD: lyrical; descriptive; a twist at the end.
VOICE: chromatic and disjunct; fragmented by
rests; many tempo changes.
PIANO: highly chromatic and dissonant; primarily
chordal with broken-chord patterns; some
complex rhythmic patterns.
DIFF: pitches; ensemble; requires highly-
skilled pianist.
USES: could be an effective recital song; see
also settings by John Duke and Charles
Naginski.
RHODES, PHILLIP
(b. Forest City, NC, 1940)
1531. MJUNT1\IN SONGS (A Ballad Cycle) (texts
from traditional folk sources). C. F.
Peters, cl979; camp. 1974. Commissioned by the
National Association of Teachers of Singing in
celebration of our National Bicentennial. Modal;
ab--b-flat"; Tess-M; changing meters; Length-
ca.20:00; Diff-V/md, P/md.
FOR: soprano specified.
MOOD: southern Appalachian folk poetry.
VOICE: wide-ranging melody with some large
leaps; rhytlnnically active with some
poly-rhythms and much syncopation;
234
no. 3 unmetered; no. 2 requires
whistling; mostly syllabic.
PIANO: no key signatures; many accidentals;
some awkward patterns; nimble fingers
required; whistling required of pianist.
DIFF: accidental-strewn score difficult to
read; some wide intervals; rhythmically
irregular.
USES: interesting cycle for advanced,
versatile, and espressive singer; other
voices might be used, as the five songs
seP..m unrelated as an actual cycle, e.g.,
nos. 1 and 2--tenor; no. 3--baritone;
no. 4--very lyric tenor.
a. THE GRAVE. Tritone
relationships throughout; d'--ab";
3/4(2/4, 3/8), Slow and eerie;
7 pp.
h nT.n MliH 1\l\JT) 'T'J.W nF\TTT.. Phrvaian
mode; d'--b-flat"; 6/8 (with
changes), Moderately fast (with
rn::>.ny cho.n'3co}, 9 pp.
c. GUIDE ME, OH THOU GREAT JEHOVAH.
Mixolydian mode; c'--f#";
unmetered, notated to resemble folk
inflections of singer (not the
familiar hymn-tune), Slowly and
freely (with majesty); 4 pp.
d. THE TRUE LOVER
1
S FAREWELL. Aeolian
mode; ab--ab"; 3/4 (with changes),
Slow; 6 pp.
e. BIRDIE WENT Mixolydian
mode; d'--b-flat"; 2/4(3/4), Fast
and exuberant; 7 pp.
RICH, GLADYS
(b. Philadelphia, PA, 1892)
1532. AMERICAN LULLABY (Gladys Rich). Coll.
#38, c1932. Fmaj (high) & Dmaj (low);
c--f" & a--d"; Tess-mL, mil; 4/4, Grazioso;
Length-4 pp; Diff-V/me, P/m.
FOR: any female voice.
MX)D: hUirorous lullaby with the flavor
of contemporary life.
VOICE: swinging rhythm with syncopation;
several large leaps; mostly conjunct.
PIANO: chordal; broken-chord after-beats;
DIFF:
USES:
chranatic scale Irotives; swinging rhytlun.
accurate rhythms.
good for young students; encore; use
in a group about contemporary life.
RIEGGER, WALLINGFORD
(b. Albany, GA, 1885; d. New York, NY, 1961)
1533. TilE DYING OF TilE LIGirr, Op. 59 (Dylan
Thanas). Coll. #3, c1956. Serial
technique; b--a"; Tess-M-H; 4/4 (with a few
changes), Slowly and with expression; Length-
S pp; Diff-V/d, P/d.
FOR: dramatic soprano or tenor.
MOOD: stormy; song of rage against death.
VOICE: some awkward intervals (serial
technique) ; non-repetitive speech
rhythms; dramatic, sustained high notes;
some spoken lines; tempo changes.