Americana To 1865 PDF

SOLOS FOR TREBLE INSTRUMENT
ESPECIALLY SOPRANO RECORDER
COLLECTION 4
AMERICANA TO 1865
Arranged/composed by Clark Kimberling
Here youll find a treasure of free sheet music! Use the music however you wish but
always keep these two things:
the attribution to arranger/composer (top of page)
the copyright notice (bottom of page).
Collection 4 has 220 solos, of which 45 of the finest do not appear here because they are
published commercially just google Solos for Soprano Recorder, Collection 4 (after
August 1, 2009).
The solos are arranged especially to show the amazing capabilities of the soprano
recorder, but they also play well on violin, flute, clarinet, oboe, and other instruments.
Many of the solos include newly composed contrasting segments, especially in cases of
very short originals. The arrangements develop melodies through upward transpositions,
ornamentations, and additions of note not found in the original melodies. To locate
original versions, use Historical Notes 4 and Google.
When performing these arrangements, use a sound system and/or a percussionist.

A percussionist can work wonders and manage your sound system.
These melodies represent American music from colonial times until the end of the Civil
War. The melodies reflect, in the way that only music can, characteristics of the people
who sang them and danced to them. Those Americans were a wonderfully diverse
people, and so was their music.
WHERE THESE SOLOS CAME FROM

There are several sources of the melodies that have been arranged here for solo
instrument:
Folk songs (composer unknown)

Popular music (composer known)
Dance melodies, originally for violin or keyboard
Hymn tunes
Minstrel songs
Patriotic songs and marches
Solos composed for this collection by Clark Kimberling
During the first decades of music publishing in America, many favorite melodies were
brought over from the British Isles. These included very American melodies such as
America and Hail to the Chief. During the 1830s, and continuing for several decades,
a particularly American kind of musical performance developed, called minstrelsy. From
this era, we have Blue-Tail Fly, Buffalo Gals, Dixie, and the songs of Stephen Collins
Foster.
During the middle of the nineteenth-century, dances from Europe swept across America,
and many waltzes and polkas, as well as marches, quicksteps, quadrilles, galops, and
schottisches, were composed by Americans. The Library of Congress offers several
magnificent websites pertaining to historic American music. A good way to start is to
type Greatest Hits, 1820-60 into Google.
PLAYING THE SOLOS

Both recorder and flute are capable of a wide spectrum of articulation, ranging from
slurring to extreme staccato-with-chiff, or staccatissimo so short as to be useful as a kind
of pianissimo playing. In a few of the solos (such as Arkansas Traveler and Zaccato),
passages are marked staccatissimo but the interpretation of this and other articulations
may vary greatly from one player to another.
INVITE A PERCUSSIONIST
PERCUSSIONIST
Many percussionists are able to supply drum beats and other effects extemporaneously.
A snare drum can be especially effective in performances of patriotic songs, such as
Yankee Doodle and When Johnny Comes Marching Home. When playing without a
percussionist, foot-tapping is effective during highly rhythmic solos, especially those
descended from fast dances, and especially the five-beat pieces. (Just try playing
Zantadiega up to tempo without tapping your foot! youll find that tapping helps
establish that steady and amazing 3+2 feel that makes five-beat music so much fun to
play and hear.)
NOTES FOR RECORDER PLAYERS

Very high notes on a soprano recorder, beginning at high C (thats c3, printed two lines
above the treble-clef staff, pitched an octave higher), are listed here with fingerings.
These are all played with half-open thumb hole.
Note
c3
c#3
d3
d#3
e3
f3
f#3
g3
a3
c4 (highest note on a piano)
Left hand
2
2,4
2,4
3,4
3
3,4
3
2
2
3
Right hand
2,3
2,4,5
2,4
3,4
all open
3,4,5
3
2
2,4
2,4
Chart copyright Mel Bay Publications, Inc. 2004. Used by permission.
Many recorder players use a modern vibrato, based on diaphragm or throat motion, or
some combination of those two. Performers apply vibrato to music composed after 1800
in much that same way that flautists, violinists, and vocalists do. Well-modulated vibrato
is highly recommended for the solos in this collection.
On the subject of vibrato, notes that are held for more than one second, such as a high
note at the end of a phrase and especially at the end of a piece, may be played in the
manner of many vocalists: start the note straight, then develop vibrato gradually over a
short time interval, until full vibrato is on.
At least two special effects should be cultivated by recorder players: chiff and recorderglissando. The word chiff (which derives from the sound made by the chiff-chaff, a
European warbler) is often applied to the sound at the beginnings of notes played on
certain pipe organs, especially fine tracker organs and electronic organs that explicitly
offer a chiff choice. While some chiff is possible on all the notes of a soprano recorder, it
is fairly easy to produce a truly remarkable chiffs in the lowest octave. In fact, one may
speak of octave-chiff for these lower notes, obtained by careful plosive overblowing. As
the name suggests, the attack on the note actually causes the note an octave above to
sound briefly, like an accented grace-note. Chiffing can add quite an intriguing
percussive effect, as called for in Zaccato.
The other special effect, recorder-glissando, is denoted by a straight segment between

two notes. Ascending recorder glissandi work especially well between certain pairs of
notes, such as e2 to g2 and e2 to a2. Descending favorites are d2 to d1 and d2 to f1 To
perform these, simply roll the fingers gradually from one fingering to the other.
NOTES FOR FLUTE PLAYERS

Bottom C on flute is middle C on piano, but when a soprano recorder plays the same
written note (the lowest on the instrument), the sound is actually an octave higher. In
other words, loosely speaking, the recorder plays an octave higher than the flute.
Consequently, music written for soprano recorder, when played on flute, is pitched a bit
lower than most flute music. When played as written on flute, the solos in this collection
have a pleasing low effect and, in some cases, may be regarded as specialized flute
music, especially if amplified by a sound system.
ARRANGEMENTS
In order to arrange the melodies for recorder or flute, a number of liberties have been
taken. This is especially true in cases where the original melody was too short to fill a
page. One obvious technique of arrangement, used repeatedly in these solos, is
transposition. The original key may have been relatively unfriendly; for example, a piano
piece in D-flat may lend itself easily to lowering to the key of C. Transposition from one
key up to another, perhaps several times, has been used repeatedly as a means of musical
development. See, for example, Amazing Grace, where one of the objectives is to let
the recorder play in some venturesome keys.
A second technique can be called the contrasting segment; that is, one that separates
renderings of the original melody. Take a look, for example, at Advice to the Ladies:
Hewitts melody occupies measures 1-41, and then a contrasting segment bridges to a
final appearance of the melody.
Another technique is chording. With a one-note-at-a-time instrument, chords, in the
usual sense, are not available. However, playing the notes of chords rapidly in
succession can achieve desirable harmonic effects, as well as enhancing a melody in
other ways. Examples: America, Bangor, and The Star-Spangled Banner.
GROUPINGS
Hymn tunes, especially suitable for use in church: Amazing Grace, Bangor, Battle
Hymn of the Republic, Beach Spring, Coronation, Morning Song, Nettleton, Simple
Gifts, Wondrous Love.
Patriotic melodies: America, American Chivalry Quick Step, Battle Hymn of the
Republic, Hail to the Chief, The Star-Spangled Banner, When Johnny Comes
Marching Home, Yankee Doodle.
Melodies by Stephen Collins Foster: Beautiful Dreamer, Camptown Races, Gentle
Annie, Jeanie with the Light Brown Hair, Oh! Susanna.
For a list of all the solos, consult Historical Notes 4, which includes Internet links and
provides access to all 12 collections in this series:
Collection 1:
Collection 2:
Collection 3:
Collection 4:
Collection 5:
Collection 6:
Collection 7:
Collection 8:
Collection 9:
Collection 10:
Collection 11:
Collection 12:
African-American and Jamaican Melodies

Christmas Carols
Irish Melodies
Americana to 1865
Americana after 1865
British Melodies
Melodies by Women Composers
Eastern European and Jewish Melodies
American Indian Melodies
Latin American Melodies
African Melodies
Western European Melodies
This work is licensed under the

Creative Commons Attribution 3.0 License.
To view a copy of the license, visit http://creativecommons.org/licenses/by/3.0/
or send a letter to
Creative Commons
171 Second Street, Suite 300
San Francisco, California, 94105, USA.
ACRES OF CLAMS
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j
. . j
J . . J
&
J
13
.
&

25
m
##
.

&
19
##
# # n n b b n a m

n

&
31
# # - n # ,

&
37
.
# . . .
.
.
&
J
43
# . j . . J . . J . . .
.
&
J
J
J
J -
.
55
.

# .
j
J

&
49
# .
&
61

Source Levi (1825)
A. Reinagle
THE
CHESAPEAKE
q
m
r

# ## 2 r

& 4
# ##
&
7
13
&
20
&
25
&
# # # m
# ##
# ##
n a .
nnn
& #
#
31
37
&

&
&
m

&
53
43
48

Source: Levy Box 003 Item 077 undated
James Bellak
CHESNUT STREET POLKA

q
. . . .

2

&4
&
&
11
.
J
m. . . .
. . . .
. # . . . .
. . .
&
16
# . . . .

&
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21
m. . . .

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.
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.
.
. . . .
. . . . .
.

&
26
# n #
&
31
# # . . . .
##
. . . .
&
36
41
&
46
&
##
j
#
##
. . n . . # #
.
. . . .

Source LC 1849
.
J
.
J
. . . .
.
J
CHILDREN OF HUNGER
q
. .
4
& 4 .
Irish-American
. . .
J
.
. .

&
.

6
b
. . . J . J
&
J
11
6 . .
&
4
16
b b b b b 44
J
. .
bb b
&

21

.
.
bb b

&

26
.
bb b . n n b . . . J
&
31
.
. . . J . .

&b
36
. .
. . . J
&b
41
b
b n . .
&b
46

Joyce #41
W. C. Rayner
CINCINNATI HOP WALTZ

q.
# 3
. .
j
& 8 .
#
&
7
#
&
12
17
&
#
&
27
37
&
.
&
42
# .
. # .
.
.
. .
. .
#
J
n .
. # .

Source LC 1850
# .
.
m
J
.
&
46
#
J
# n
&
&
22
32
CINDY
### 2
& 4
q
.

J
# ##
j
&
# ## j
& J .
15
. .
n nn b .

b
J
bb b j
&
22

J
J
.
# .
#
bb
j
n
#
J
n n
&
. . J
29
# ##
n nnn b .
###
n
n
b j j
&
3
36
43
&
# ##
n b n n nb b
j .
j
J
.
.

J
3
nn
J

b
&
J
50
&
57
allarg. ,
3
b b 3
b
&J
64
j
. . .
.
j J
a tempo

Source: Lomax p 233
.
J
British-American
COLLEGE HORNPIPE
h
.
.

.
.

& 22
.
.
8
.
.
.
.
.
.

&

.
.
15
&
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.
.

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&
.
22
. . . .
& .
.
29
. # # n n . . . . . . . .
.
. . 45 j 22
& .
36
# # # n n
5
2
&2
42
legato
# .
# n
j 2
&4
2
. . #
.
49

#
.
&
.
#
55
61
&
. .
.

Source: Robbins200Jiggs...
Traditional American
COLONEL CROCKETT
q
# 2
. .
. .
& 4
&

.
.
&
6
&
#
10
14
#

&
18
n n

. .
.
26
. . # .
&
#
&
22
.
. . .
&
30
.
#
&
35
.
&
40
&
45
. .
J

Source: Levy Box 041 undated
CONNECTICUT SHAKER DANCE

q.
j
6
&b 8
.
b
&
7
J
j
>
j J

J .
j
.
&b J
J
13
.
&b
19
25
& b .
.
.
j
.
b
&

J
32
.
w
b
&
J
40
# j J .
&
47
Shaker Dance
j # 6 J .
n 8
faster

. .
m
J .
#
j J
. .
&
J
m
j > > .

> > m
> >
62
> > > > > > . U . , >
# j >
j

.
.
.
&
m
> > > m
55

Source PattersonNine, p 18
allarg.
j
4
&b 4
James Hook
CONTENTED SHEPHERD
q
. . . . . .
.
. . .
. .
.
. .
.
. . . . .
. . . . . .
.
J
b
.
&
.
7
legato
. j n b . . . .
b
. .
&

. . . . . . . .
18
6 . .
6
4
J 44
& b 4 4
4
13

. .
4
#
J
J
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22
28
&b
.
# n # n j .
# . j
. .
# . . #
n n
.
.
&
J
J
.
33
. .
# . . . . . . . .

&
. .
. .
39
. . . . . .
# . . . . . .
&
J
44
legato
# . # n . . . .
. . . .
&
.
J
. .
.
54
. .
# 6
4
6
J
&
4 4
4
49

William Jarvis Wetmore

COUSIN CARRIE
q.
# 6 . j
. . . . . . j . #
& 8 J
J
J
. .
J
# . . j . . .
.
.
&
J
. .
J
8
# .
&
J
16
. j . # J
J
j #
j

. # J #
# J
# # . . N . j
. . . . .
&
J
J J J
. .
. j
J
# . # . . j . . .
.
.
&
J
J
. .
J
23
30
.
# # # . . N
& J
38
.
# . . . . . . . b N
&
46
. . . . . . .
. . # J
J
. . . . . . . . . . .
J
.
# J
.
.
.
# J . . . . . . b N . J . # # #
&
52
# # # . j . . . . .
.
.
&
J
. j . # J .
J
# # # . J m # m. . m. .
. .
J
&
m
b J j .
58
66

Source Levi 1849
DETROIT
# 4
& 4
#
q
. j
.
&
7
13
& .
. j
.
.
J
.

J

J .
b
b
&
19
American, 1820
n b q
.
b

J
faster:
.
. .
J
J
b .
b
J
&
.
25
. J 6
bb 6 # j n # n n # # 4 . .
& 4w
4
J
-
31
. J
## .
-

&
J
37
.
##

. .
&
J
J
43
A. Couse
DETROIT
SCHOTTISCHE
h . .
. . . .
## 2
. .
.
. . . . .

.
.
& 2
. ..
.
# # . . . .
. . .
&
. .. ..
11
.
. . . .
##
.
& . . . . . . . . . . .
.
6
. . .
. . . .
.
.
.
. .
. . . . . . .
. . . .. ..
. . . . . .
# # . . # j j #
.
.
. . .
.
.
# . .
&
J
. .
22
. . . .
. . .
.
.
# # j # j j #
.
.
.
.
# . .
.
&
J
J
.
17
~~~
~~~
~~~
~~~
##
. . . .

~~~
. . . . . . . .
.
&
. . . . .
. . . .
.
31
. . n n # . . . . . # .
##
.
.
& . . . . . .
. ..
.
36
.
.
# N . . . . . . # .

&
27
. . n n
N .
#
j
.
#
#

&
42

. . . .
. . - faster
#
.
&
. m.
53
. . . .
. . .
# . . . . . .
.
&
.
. . . . . . . .
m
48

Source: LC 1854
. . . .
.
.
.
. .
.
. .
EXULTATION
b 4
&b 4
q

.
& b J J .
7
13
&
bb
nn

& J J j J .
& .
# J J m m .
&
#
& .

J J

J J

m
m m
# #
#
J J
31
37
19
25
.
.
m
J J J J

##
J J
#
j J .
& # J J
43
J m
## n nnb
J J

&
49
j .
J
&b J J
55
J J .

Source:Buchanan page 20
Samuel Wakefield
FADING FLOWERS
h
2

&b 2
sempre molto legato
&b
17
&b
bb
&bb
b
& b bb
42
&
-
&
b
&b
67
&
75
&
.
bb
bb

n

n
. b bbb
nn n n
50
59
26
34
w
.
FAREWELL EARTHLY GLORY

q
bb 3 2
& 4
4
>
4
4
b 3 . 2 3
b
& 4
4
J 4
7
2
4
b
& b 43 . J 42 43 .
Shaker Hymn
>
42 43
>
4
2
3
4
. J 4 4
n n 42
>
13
. 2
42 > 43
43
J 4
& 24 43
19
>
2
4
3 . 2
3
&4
J 4 4 .
. J 4 4
25
3
2
&2
4
32
& 24
38
44
3
4
& 4 4
44
44 42
44 42 .
22 43
42
3
4 .
2
2
44 43
J
44
42
44 42 44
2
b b b b 42 44
4
bb 2 3 2 3 . J 2 3
& b 4
4
4
4
4
4
4
4
bb . 2 3 . J 2 3 .
& b
J 4
4
4
4
51
58

Source PattersonNine, p 16
FASHIONABLE COTILLION 1
q
# 2
& 4
.
J
.
. . . . . . . . . . . . . . . . . .
.
13
.
~

& . . . . . . . . . . . . . . . ~ ~ J
.
7
&
&
19

&
25
# nbb
#
&
31

b
b
&
. # .
37
# #
bb
&
. # .
43
nn
&

49
&
55
.
J
. .
.
.
. .
. . .

&
.
60
. . . . . . . . .
.
.
. .
.

. . . . . .
.
. . . . . ~~~~ J
s
Glis
# 2 q

& 4 . .
# n
#
&
6
. . .
& . . # n
11
.
# . . . .

&
16
.
& . .
.
21
# . . . . . . . . . .

&
staccatissimo
# . .

&
31
. . .
.
. . .
. .
.
.. . . . .
.

. .
. . . . . .
~G~~li~ss
26
. . . . . . . .
. .

&
36
.
# . .
n
&

. .
.
46

J

&
41

q
. .
2 j .
. .
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.
&
. .
# . .
.
.
. . # . .
&
.
11
. .
&
16
26
31
&
.
.
. .
# # # . . # . .
&
## .
&
. N
. .
. . . . # . . # . .
##
&
46
# # . . . .
36
41

&
21
&
. m .

FIGHT ON
q
# 3
& 4
#
&
9
17
&
25
&
b
&b
33
40
&
47
&
bb
bb
>
>
b
&b
55
J. P. Rees
. j .
j
. .

.
.
.
J .

J
.
.

J
>
>
>
.
J
> >
>
>
. J
> . > .
J

Source: Sacred Harp p276
nb b
. j
> .
>
> .
A. F. Winnemore
THE FLAG OF TEXAS
q
j
## 3

& 4

# # . .
&
8
##
. .

&
J
&
##
##
j b
. .

&
J
j

&

36
&b
b
&
57
b

faster
nn
. .
J
&b
50
29
43
15
22
&b J
64

Source:LCAmerMemory 1836
.
J
h.
& 43
big breath
&
13
&
19
&
44
&
& .
50
57
&
##
##
&
63
. .
.
J
. . .
J
. .
J
. . .
. .
J
.
J
. . .
big breath
#
J
.
J
. . .
##
. .
&

. . .
31
.
&
&
25
38
J. C. Miszner
FLOWER OF GEORGIA

Source LC1850
FOUNDATION
q
# 4
& 4 . .
. .
. .
. .
#
& . . J J . . J J
faster: q
11
j
#
n
6
4

& 4 J 4

6
&
J J

16
J J .
&J J
46 J J
21
m .
. J
4 .
&4

faster: q
m
31
#
. . # . . . . . .
j
#
J
& j
.
.
. .
36
# . . . . . J J . . . . . . . . . . .
&
26
44

J J
. .
. .
. .

. . . .
J J
. .
#

&
41
rit. 6 J .
# J J J
J
J
&
4
46
q.
# 6
& 8
THE FOX HUNT

J
&
.
J J
J
m
6
j
#
&

.
J J
m
3
12

j
&
18
J .
&
24
# J .
&
30
.
J
J
j .

.
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36
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J
3
42
.
#
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m
48
54
&
. . . . . . .
.
.
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.
.
j

.
J
q
#
#

& # 44
# ##
&
5
.
m
. . . . . . .

.
.
m
. .

m
# # # . . . .

&
8
11
&
# ##
A. Reinagle
GAVOTTA
. . . . . . . .
. . .
.
.
# # # m
&
m
14
17
&
20
&
###
# ##

. . .
&
. .
.
. .
26
#
. .
##
-
&
23
# ##

# # # m

&

30

B. R. Lignoski
GEORGIA QUADRILLES
q . . . .
. # . .
.
.
.
#
# #

2
&4
. # . . # . . . . . . # # n . . # .
&
7
# n . . # n . . .

&
J
13
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19
# n
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31
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37
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43
. # . . .
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.
#
& J
49

# n . . # .
. # . . # . . . . . . #
&
55
.
#
&
61
# n . .

Source: LC1851
# n
. J
J
James Pierpont
GERALDINE
q
3 . j
b
& 4

sempre molto legato
8
&b
16
&b
24
&b
.
J
j

.
>
. .
b bb
31
&b
b > .
b
&
37
43
&
bb
b b
b > .
b
&b
49
> n
>
bb n
&
54
b .
b
&
60

Source: LC 1854
rit.
q
# 2

& 4 . . . . . . . .
GIVE US BACK OUR OLD COMMANDER
#

&
8
Septimus Winner
. . . . .

. . . .
j
#
. .
j
#
. .
j . .
.

. .
q.
22
# # j . .
6 j j # . .
.
.

&
8
J
J
& .
15
. j j #
J
J J
. . . .
36
.
# n #
# n j .
2
. .
&
4
J J
J J
. . .
.
.
.
42
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# . .

&
# # n # N # n j . .
&
J
J
29
47
&
.
# . # .
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52
57
&
j
#
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T . .
. . . . . . .
.
.
.
#

# .
# n
. . . . . . .
. . . . .
#
&
62

source Levy Box 88
j
#
. . . .
GOD BLESS AMERICA!

# 4 q
j . .
& 4

.
# . . . .

&
J
7
Robert Montgomery Bird

. j . j #
#
. . .
&
J
13
. . .
3
4 . .
#
. .
&
4
4
3
25
. . ~
#
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&
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20
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.
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&
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37
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31
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&
J
43
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#
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J
3
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##
J
&
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49
.
# # . . m
&
56
. . . .
. . .
. .
.
..
. . .
.
.
# # . . 6
4 . .
&
4
4 3
61

GONE TO ALABAMA
Edwin Pearce Christie

# # # 2 q
. .

& 4
. .
J
7
&
# ##
n . .
. . . . . . J
m
# # # n .
&
. . .

m. .
12
# ##
n n n . . . . . .
&

17
. . .
&
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&

27
32
&
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#
#
##
&
37
22
. . . .
. . . .
J
n . .

##
&
42
46
&
##
. .

Source: LC1847
q.
6 j
&8
6
&
GONE TO BALTIMORE

J

J

J
j

j .
J
J
&
J
11
.
J
.
J
E. C. Phelps
98 j . 68
J
J
6
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J
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16
22
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27
&
32
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j

.
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.
. . . . . . .
. . . . .
b
.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .
&b
36
.
b
&
41
. . . .
. . . . . . . . . . . . . . .
. . . . . 9
.
.
&b
8
J
46
68

Source: LC 1853
.
J
A GRACE OF NORTH CAROLINA

h.

. j
3
&4
&
m
13
&
#
&
19
.
# . . .
&
25
31
&
37
&
# # m
## N
&
43
. . .
60
&
##
##

Source: LC1841
m.
. . .
.
.
. . . .
. . . # .
. . .
. .
. .
# # . . . . . .
&
. .
# # . .
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&
.
# . . .
49
54
J. F. Brandt
HAMPTON FIVE-STEP WALTZ
J. A. G'Schwend
q
or faster
.
.
.
5 . . . . . . . # . . . . . . . . . . # . . . . . . . . . . . # . n . . .
&4
sempre 3+2
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# . . n . .
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.
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.
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HEY, DANCE TO THE FIDDLE AND TABOR
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HONEY MOON
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Source: Klocko-Ingalls p 40-41
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INDEPENDENCE DAY
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INDIANA WALTZ
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JEFFERSON
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Source: SacredHarp1991, p51
JUST AS I AM
William B. Bradbury
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KEDRON
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KENTUCKY PRIDE
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KNOWLEDGE OF JESUS
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LOVED ONES AT HOME
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Source: LC 1855
MARCHING TO THE PROMISED LAND
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9
.
. . . . # . . . . J # J
&
. .

# .
& J J
17
# . . # > #
j
&
J
J J >
.
. . . .
25
33
&
bb
b
b
&
41
nbb
b

J
J
j
J
. .
# # . > > > . # J .
J
&
J
J
>
. .
# # . # . . > > > . # J . J
J
&
> J
66
&
## #

J J
. n
. n
. . . . .

>
. . . . . . # J # > j
J J

. # . n . n # . . . . # .
n #
49
57
. .
. .
MOUNT VERNON POLKA
q
# 2 j j
#
#
& 4
7
&
19
&
25
#
#
&
# j
&

31
37
j > > .
&
m
43
# > .
&
#
j # j #
j # j #
# j
J
&
#

13
Hauser
>

J
J
m
j

j
j # j #
& # #
55
# m m m
j # j #
&
49
61
faster
&

Source Ford p 166 and LC1850s
Henry Rowley Bishop

MY HEART AND LUTE
q .
.
.
2
j
.
& 4
sempre molto legato
-.
.
.
.
.
n
n 43

&b
J
9
. .
3
2
.
& b 4 A J 4
17

43
J
. .
j
3
2
.
& 4
4
25
.
. 3 j n# 2
b
&
4
4

33
.
# 2 . .
j
.
.
& 4
J
42
-.
# .
.
.

#
# 43

J
&
51
J
. .
4 J 4
3

.

J
.
~~ U
.
rit.
# 3 N 2 . .
J 4
.
& 4
57
64
&
71
&
77
&
#
#
#

Source: Levy 1830 LC gr.hit.1830
# ## 4
& 4
Henry Rowley Bishop

MY PRETTY JANE
q rubato
.
.
sempre molto legato
j
# ## .
.
#
.
J
&
J
6
11
&
# ##
# ##

&
16
j j
j

J
. j j 6
4
J
J
# ## 6 . b . 4 . 6
. j 4
j n##
& 4 J
4 u .
J 4 J
21
5

.
.
## .
#
- # J
&
J
26
## .

#
&
31
##
&
36
##
&
41

- -
j
. j 6 . b J .
J J
J J J
4
~
# # 4 . J 6 .
.
4
4
& 4
4
J
3
3
46

Source: Levy c1830
- - - .
J 44
Edwin P. Christy
NANCY TEASE
q
2
.
& 4 . .

. .
ben marcato
&
. . .

&
14
.
.
&
20
26
&
. .

&
. .
&
43
&
49
&
## .
##
61
&
##
.
m
. .
. . .
.

.
. . . . . . .
.
# # . .
&
55
.
## .
.

.
##
. . .
31
37
.
.
.
. .

. .
. .

Source LC1848

. .
NASHVILLE SULPHUR SPRING WALTZ
q
>
J J
b
& b 43
bb >J
&
6
j

J >
b > A
b
& J
j
b
fl
j j n

>
11
b j . .
b
&
J
>
b
b
& b
b
&bb
26
j j
J
>
. .
J
>
j j # J
>
. .
j
b
b b b
J
16
21
j

J >

J >
J n
Carl Heinrich Weber

>
J
>
n
J
>
J
n j n n n # # j >
J J
J
>
. .
36
>
>
# # >
j
j
J b

& J J J
J
J fl
>
>
41
>
## j j # J
> j >

J
J j
&
J
J
>
46
>
>
## j
J

& #
J
J J
J
J
>
50
b .
> >
## j
J
J
&
J
>
bb
b
&
31

Source LC1841
NEW UNION
q.
.
# 6 j

.
& 8 J
J
J
J
J
J
J
#
j .
&
J
.
13
nb
#
j .
A
&

J J
.
19
bb J
j

&
J
J
.
25
bb
J
& . J
J
J J
7
J
J
J
.
n### 6
b j
j
9
n
8 . .
&
8 J J
J . .
37
.
# ## a
.
J
J J
&
J
J
J
31
43
&
49
&
55
&
61
&
67
# ##
# ##
& .
j . j
nnn
.
J

.
.
J
J
.
J J
J
J

.
.
J
.
J
j
.
NEW YORK LADIES 1

q
## 4
. # . #
& 4
#
J
J
m
6
&
10
&
14
&
18
&
22
&
26
&
30
&
34
&
38
&
. #
J
William Dressler

#
n
.
##
#
m
##
. #
#
J
##
# # #
#
#
##
. #
J

##
# #
# n
.
j
J n
#
J
# .
##
#
m
. #
J
##
#
m
. #
J
##
. #
#
J
##
# . # #
#
J
. #
J

Source LC1851

#
n
.
# #
# n
William Dressler
NEW YORK LADIES 2
b 4 # n
#
b
& 4
animato
b n .
b
&
b
&b
8
j
#
bb #
&
j
n
b n .
. . . n . . . . b . . . .
J
. . . . . . . . . . . . . . .
n
bb . n .
.
J
.
&
J
J
16
j
#
bb A. . . . . . . . . . . . . . . .
.
&
20
. . . .....
bb . . . .
&
23
27
&
bb
bb . . . n . . . . b . . . .
&
31

n .
. n .
12
. . . n . . . . b . . . .

. n .

j
#

b

&b
. . . n . . . . b . . . .
38

Source LC1851
j #
b n .
b
&
34
# n
n .
j
#
j
n
b n .
J
j
#
. n .
Aaron J. R. Conner
NEW
YORK
POLKA
WALTZ
arr.
Clark Kimberling
q
#
& 42
#
j
.
&
.
.
7

&

13
# . . # . . . .
&
19
.
j . . . . . . b . . . .
.
# . . . . . . . . . . . # . . . .
b
&
25
. .
.
# . .
&
31
. . . . . . .
.
b
.
.
J
. . . .
.
j
b
. .
. . . .
&
#
42
# n . . .
&
3
47
j

&
. . .
37
j
.

n . . . .
. . . . . . . .
. . .
m. .
. . . .
.
.
.
.
. . . . . . . . j
&
.
.
59

&
53

Source LC1846

.
. J
J
H. Craven Griffiths
NIAGARA SCHOTTISCH
h (fast)
# 2 . . . . . . . . . . . . . . . . . . . . . . . . . . # . . . . . . . .
# .
& 2 . . .
.
3
3
. . . . . . . .
T
.
. . # . . . . n .
.
.
.
. #
. . .
& . # . .
6
11
&
16
&
#
#
#
. . .
.
. . . . . . . . . .
.
.
..
3
.
. . . . . . . . . . . . . # . # . . . . . . . . . . . . . . . . . .
.
. .
. # . .
3
3
3
.. .
.
.
.
.
.
.
.
.
# # . . a . . . . .
. . . . . .
. . .
.. .
3
3
21
&
##
. . . . . . . # . . . . # . . . . . . . . . . . . . . . . . .
. . . . . .
# # . . . . . . . . . . . . . . . . . . . . # . . . . # .
&
26
.
.
.
# # . . . . . . . . . . . . n n . N. . . . . . . . . . . . . . . . . . . . .
&
3
31
.
. # . . . . . . . . # . . . . . .
. . . . . # .
&
36
. . # . . n . # . . . . . . . . . . . . . . .
&
3
&
. . . . . # .
. . . . . . . . . . .
.
40
44
.
. . . . . . . .
3
.
. # . . . . . . . . . . . . . . . . . . . . . . . . . . .
#
.
. .

Source Levi 1852
OH TAKE ME BACK TO TENNESSEE
#
& 68
q.

.
J . J . J
Charles H. Chandler
J . J
& . J . J
7
13
& .
&
.
19
25
& .
.
.
.
. . . . . . . . j .
. .
. .
.
.
. . . . . . .
# . . .
. .
.
& . . . . .
36
# . .
J
&
30
.
##
. . . . . . . . J J .
.
.
# # .
.
.
J J
&
J . J . J
J
##
.
.
&
48
##
.

&
60
&
## .
j
.
.
J
42
54
. . . . . . . . . . .
.
J
Source Levy box 023
.
J
John H. Hewitt
OK GALLOPADE
.
# # 2 q
J
& 4 J
. .
>
>
7
.
# # . . . .

&
J
J
. .
>
13
. . .
##
# . N
. .
n
&
J
>
.
.
19
.
# # # . # . . .
. . b n n . # . J
&
.
. .
.
. .
.
#
. # #
. .
#
. .
&
25
31
&
# b n n . # .
.
J
##
# # # .
&
J
.
43
. b .
# # # # . . .
j
&
.
3
3
.
49
.
N

.
J
&
.
. .
55
>
.

# .
3
2
n

.
&b 4
4J
.
.
. . . .
61
.
.
#
J J
&
37
##
J m

Source: Levy Box 041 - 1840
n nn
43
OLD JIM RIVER

q . . . .
2

& 4 J
Daniel Decatur Emmett

. . . . . . . . . . .
&
. .
&
.
&
. . . b . . . b
14
21
27
&
33
&
. .
. .
b
. .
.
m
##
j #
#
# # .
.
&
38
# # . .
&
45

.
.
. .
## #
&
51

Source: Nathan p313
OMEGA
q
.
4
&4

.
&
8
.
&
J
## .
&
14
20
Oliver Holden
##
m
m
.
##
&
.
27
. .
. b . b
##
n
n
&
34
. N
. b .
## n
a
&
40
# # n b n n . n . . n n b
&
46
&b
52
. . .
&b
59
. . . . ~~
. .
J
PAUVRE GENEVIEVE
q
#
& 68 j J J J J j .
James L. Hewitt
J J
#
j j
j .
&
.
J
7
#
# .
#
#
. . .
J J
&
13
# ##
j j
&
.
J
J J
J J
19
# ##

j .
& .
J
m
faster: q.
31
###
n nn
. n
&
25
&
J
37
.
& J
43

&
49
# # . m m
&
55
# # J .

&
61

Source: Levy Box 111 - undated
Valentine Dister
PENNSYLVANIA COTILLION
q. .
.

bb 6 J
J
J
J
& 8
J
J
J
ben marcato
bb J . . J J
&
J
J
J
J J
7

bb .
J
&
J
.
19
.

.
.
J
&b
. .
. .
14
.
. . .
.
. .
.
25
. . b .
J .
b
J
&b
J
J J
J
bb J . b b b
&
J
J
31
b b . . n nb b A n
b
&
J
37
bb A n n
&
J
43
J A n A n
bb
J
&
J
J
J
48
bb .
&
54
b
b
&
59

J
.
m
.

J
. J
J
J
J
J
Source LC1846
James Bellak
PHILADELPHIA LIONS
q
. .
. .
. .
## 2 j
& 4 . . . . . .
##
. . j . .
&
. . . . . .
.
.
8
15
&
22
&
##
.
j
.
m .
##
##

&
29
36
&
##
.
.
j # # # . . .
# # # . . . . . . . . . .
j
&
.
J
43
# # # . . . . . . . . . . . . .
J
. J
&
m
58

nn
# ##
n
J
&
50
66
74
&
&

J
J

J
J


Source: LC 1849
.
J .
W. Newland
PHILADELPHIA RONDO
q
# 2
& 4
8
&
15
&
#

&
23
31
&
#
> >
3
45
. . .
.
.
.
.
.
.
.
.
#
n
.
.
#

& #
.
52
. . .

. . # . . . n . . . . . # . . . . . # . . . n . . . . . . .
.
.

# .
&
.
.
> > >
58
.
.
. . . . . . . . .
&
..
38
&
&
&
66
74

PISGAH
h

bb 2
j
3
& 2 .
2
2
b
& b .
7
bb 3 2
& 2
2
.
13
b .
b
&
19
j j .
J J J J
j j
J J
bb . nslightly
n
nfaster

32 22
&
m
31
2 .
&2

25
3
2
2
2
&
37

>

&
.
43
&
49
2
. 3
2
2
slightly faster

.
2
b
& 2
55

. 3
2
&
2
2
61

PRESIDENT WASHINGTON'S MARCH
# 4 q
& 4 .
.
#
&
.
.
8
# . . . . . . . m

&
.
.
3
3
20
. . . . . . . . m
# . . . . . .
&
.
14
# . . . .
.
&
m
26
.
. . . . .
. . .
# . .
. . . . . . . . .
.
&
33
. m # . .
. . . . . . . . .
& . .
39
n . . # . . . . .
.
.
.
& . .
45
. .. . 6
n 4
4
&
. .
4
.
m
56
.
.
&
51
faster
..
. . . . . . . . .
&
63

Source Levy before1800
PRIMROSE
# 3 h
& 2

2 #
2
# 3
& 2
7
&
2
13
19
&
25
&
# ##
# ##
slightly faster
&
37
&w
43
&
##
w
-
faster
3
2
###
3
2
n
2
nn n

&
3 n
2
n w
50
56
2 #
2
# ## 2
& 2
3 n
2
w
31
##
>
>
32

>
22 #
w
q
>
# 3
& 4 . .
. . .
# . . . . . . #
&
.
J

. . . . .
.
# . . . . . . .
&
> . . .
37
#m
&
&
48
&
54
&
.
J
. . .
#~~~~
.
J
. .
~
. .
.
.
. . n
. . . . . . .
.
. . .
. . .
. . >
.
# #
&
43
.
J
25
31
~~~

&
13
# .
&
. . .
.
.
.
.

.
. . > .
19
PRINCETON SONG
.
. . . . . . .

Source:Keller p26
REDEEMING GRACE
>
# 3 q
j
& 4

>
>
>
>
7
> >
# > m
J
&
>
>
>
13
&
>
>
>

>
J
>
#
j

&

19
> > >

j n

&

>
>
31
> > > > > >
J
&
25
> > >

> j
# # 8 > . > . .
&
8
J
>
> . .
. . . . . . . . . .
43
.
. .
##
. .
&
. . .
fl .
. . . . . . . . . .
. . . . . . . . . >
47
#
.
J
J
& #
37
.
.
# # . . . . . 3 . . .
J
J
&
4
52

Source: Buchanan p 26
Jeremiah Ingalls
YOUTH REJOICE
h
# 2
j
.
& 2

#

&
8
# . J
# . J .
# . j
&

w
.
14
bb
b
&b
20
&
26
. J
bb .
&

J .
&
##
##
&
41

j
n
b
b
.
31
36
n # nn##
##
nn
n
&
47
.
.
#
J
J

&
54
&
61
. #
w
J.
m
RESTORATION
Southern Harmony, 1835

q
4

&4
&
m
7
q.
>
> >
.
b
6
6
J
& 4 b b b 8 J
J J
>
13
bb b J j 9 . .
8
&
6 J
8
19
bb b j .
&
J
25
&b
31
&b
37
.
& b 46
43
46
. J
4
J J
3
3
. . . . . .

b

&
48
53
&b
n n b 4 q

4
REUNION POLKA 1
# 2 q
. .. .
& 4 . . . . . . . .
. . .
7
m
#
.
.
.
& . . . . . . . . .
.
..
. . . . . .

E. J. Xaupi
. . . . . . . .
. . . .
.
.
.
.
. . .
. . . . . .
. . . . . . . .

.
.
. . . . . . . .
.
subito legato
19

#
&
# . .
&
13
25
&
# J
&
31
.
. n . n . . .
.
. . . .
.
.
. . . . . . . . . . . . . . # n . .
.
.
.
.
.
# n
. .
. .
&
36
. . . .
.
.
.
. . .
&
41
. . . # . .
. . . .
. . . . . . .
# . . . # . . . . .
.
.

&
. . .
. . . . . .
52
. . . .
.
.
. . . .
.
.
.
&
.
.
.
57
# . . . n . . . . . . . . # n . . . . . . .

&
J
46

Source: LC sm1851
E. J. Xaupi
q
. .
. .
. . J
## 2
. .
#
#
& 4 . .
. .
REUNION POLKA 2
# # . . . .
#
&
7
13
&
##
m. N
# # . . . . J
.
&
.
.
. . . . .
25
.
.
# . . .
&
19
31
&
. . . . . . . .
#
.
.
# . . .
&
36
41
&
##
. .
#
. .
. . . . n n #
. .
#
.
.
. . . . .
.
.
.
. . .
. .
. . .
. .
. . . . .
. . . . . . . .
J .
. .
. .
#
. .
. . J
##
. .
. . . .
# # . .
#
#
&
46
53
&
##
# N
m.
# # . . J
&
60
. .
. .
. .
. .
. .
. .
. .
J
Source: LC sm1851
RONDO FANFARE
#
& 42
q
j #
. .
&
. . .
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Anthony Philip Heinrich

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Copyright 2004 Heinrich(DaCapo) p159
. .
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ROSA LEE

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Source: Levy Box 17; 1847-8
. .

. . . . . . . . . . . . . .
. .
Alfred Squire
ROSE OF TENNESSEE
q
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Source LC1852
ROSE ON THE MOUNTAIN
q
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SALVATION
# 2 h
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Kentucky Harmony
Clark Kimberling
# . j
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68
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molto rit.

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SAVANNAH
q
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Foundery Collection, 1742

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Source UMHymnal 562
Irish-American
SIEGE OF PLATTSBURG
q
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nn #
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Source: J&ALomax p510
SION'S SECURITY
# 3 q
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q
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James Hook

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SOCIETY IN HEAVEN
# # 6 q.j
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Samuel Wakefield
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Henry Rohbock
SOUNDS FROM KENTUCKY
q
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59
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Source LC1851
James B. Taylor
SPARKLING
AND
BRIGHT
arr.
Clark
Kimberling
h
.
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.
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46
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32 # n 22
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52
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#
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Source: Levi (on LC hit list for 1830
SPIRIT OF THE NORTH

# 2 h
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Patrick S. Gilmore
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SWEET FLORIDA GOOD BYE

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James G. Drake
j m
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Source: Levy Box 122 1835
q
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THE SYLPHIDE FIVE-STEP WALTZ
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Source: LC sm1850
Gustave Blessner
TEXAS
QUICK
STEP
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Source Levi 1842
. . . . . .
3
.
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3
THE NORTH OF AMERIKAY
q
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& 4 . . . .
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# #

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4
25
29
&
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3
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b 4
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b
33
36
&

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n
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. . .
46
3
Joyce #15
THOUGH RIVERS BETWEEN US ROLL
Samuel Wakefield
h
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F. A. Wagler
TIPPECANOE
HORNPIPE
arr.
Clark
Kimberling
h

2
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3
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2

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49
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61

Source: Levy undated
TURKEY IN THE STRAW
. . . . . .
. .
2
&2
. .
.
.
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& . .
7
. . . .
.
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. J . b b b b 3 h.
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51
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&
57
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&
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VERMONT
William Billings
# 2 h
.
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22
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65

Source, WBCollectedWorks p 180
VERNON
q
j j
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88
n
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C. A. Lpke
q
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THE VIOLET FIVE-STEP WALTZ
&
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.
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17
25
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30
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. . . . .
40
. . . .
.
#
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.
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&
35
. . - . . . .
.
.
.
# . . . . .

. . . #
&
.
45

Source: LC sm1850
3
&b 4
7
&b
British-American
VIRGINIA
& b #
# n

13
25
&b
. . .
#
.
.
b
n
&
. .
&b
37
&
43
# . n . . . # #
&
&
# #
.
.

Source: JWesley Sacred Harmony as Hemmings
. .
. . . .
. .

~~~~
#
. .
49
. . . .
. # . #
31
55
. .
#
& b # n
19
. . . .
A. Reinagle
THE VIRGINIA REEL
# # # 4 q. . . . . . . . . . . . .

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& 4J
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.

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.
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. .

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&
36
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41
45
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# # # 4 . . . . . . . . . . . .
. . . . . . . . . . . .

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. . . . .
J
# 2 h .
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&
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15
&
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#

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22
William Billings
. .

. . . . . . . . . .

. . . . . .
# . .

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29
. . . . . .
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# . . >

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.
. . . . . .

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63
. . . . . .

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& J

50
57
. . . . . . . . .
.
.
.
.
. . . . . . . . . . . .
.

Source, WBCollectedWorks p 227
WHAT A WONDER!
q
bb 2
. .
& 4 . . . . .
. .

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b

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9
subito legato
b
n # # # # . .
b
n
#
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17
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# ###

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# # N a

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nn #
##
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##
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.
& J . .
50
. .

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&
60

J
subito legato
..
n . . n n b . . .
J
. . . .
. .

.
&b
. . . . . . . . . .
75
.
b
&
69

WHO KILLED COCK ROBIN?
h molto chiff
j .
2
#
b
& 2

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ben marc.
j
& b . . # . . n j .
7
English-American
.
. . . . . . . . . .
....

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43
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P. A. Smith
YALE POLKA
.
.
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. . . . . . . . . . . . .
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&
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#
J

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&
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.
. . . . . . .
# . .
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&
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Source Levy 1849
h
# 2
& 2
ZAMARACK
Clark Kimberling
j j
#
j j

&
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n
j
J J
& J J
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11
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16
21
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m j
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26
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31
36
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41
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n n

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46
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6
&
ZAMON
# >
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11

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Clark Kimberling
> n

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>

21

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51
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h
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& 22
ZANDY BEACH
j j
j j
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11
16
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Clark Kimberling
# 2 #

& 2
20
j
j

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32 #
22
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54
60
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19
31
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Clark Kimberling
. #
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~~~
h.
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ZANGLEWOOD
. # J
q

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Clark Kimberling
ZANNETTA
m . m .
.
5
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J
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m
ZANTABARBARA
( 5 ; ) = 72
# 5

& 8
&
6
#
&
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&
16
j
j
58
38 .
11
Clark Kimberling

J J
j n

# 3

&
21
n 5 #
8
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&
26
3
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31
36
&

J J

&
41

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5
8
- .

J J
. . .
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Clark Kimberling
ZANTACLARA
( 5 ; ) = 80
5 # # 3
&8
# 8
& 38
8
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85
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8
15
22
&
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8
3
8
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J J j J J J j j R
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.
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40
J
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50
J
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58
5 #
8

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J R
8
J
J
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&
8
67
5
8
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#
# 38
&
74
# 3
& 8
80
5
#
8
#
J
ZANTAFAYA
Clark Kimberling
~~~
.
# 5 q
N
#
n
& 4 #

.
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5
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9
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21
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25
29
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.
N
n
&
~~~~
33
.
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&
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37
Clark Kimberling
ZANTAJOANNA
e.
. . .
# 5 # . . . . . . . . . # . . . . .
.
. .
& 8 R
# . . . . . . . . . j j # . . . . . . . b . . . . .
&
R
7
# . # . . . . . . . # 6 . . N . j 5
. .
.
&
8
8 J
13
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19
23
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.
j # . . . . .
.
R
# . . . . . . . . . . # . . . . . . . . . . . . . . 3
8
&
27
5
8

# 5
& 8
legato
. . . . m.
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.
.
.
41
.
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#
.
.
J
&
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34
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.
&
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47
# . . . . . . . . . . . . . . j j # . . . . . . . b

&
R
54
# . . . . . . # . . . . . . . # 6 . . N . 5 .
&
8
J 8
60
Clark Kimberling
ZANTALOUIS
( 5 q ) = 60
5 #
&4
sempre 3 + 2
. j

&
. b
##
&

13

##

43
&
19
q=q
## 3

& 4
25
. J

# # . n . # . N . .
&
J
J
J
34
43
&
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J
J

J
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.
&
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J
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51
q=q
5
4
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#
&
58
##
n
nb
&
63
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#

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68
ZANTALUCHEEA
q
.
5
.
.
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Clark Kimberling
j
. . . .
&
# n . # n
# n
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.
&
.
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. .

&
13
17
&
.
.
.
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&
##
21
25
&
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.
.
. .
faster
.
# # # . . . . . . . . . . .
.
&
29
.
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33
37
&b
faster
.
.
.
.
&b
41
. . . .
nn
e ) = 60
ZANTAMARGRETTA
#
& # 85
(5
## 5
& 8
7
. # 48
## 4 . 5
b 8 j
&
8

13
19
&
bb
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48 .
&
37
&b
nn b
b
R b 85
48
58
85
. #
48 .

25
31
Clark Kimberling
R n n 58

. #
j

. b 5
.
.
4

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8
8
42
5

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47
.
. .
&b
52
ZAPPA ZETTA
Clark Kimberling
q
# 4 . . . .
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j
.
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& 4
J
7
&
m.
. . . .

# . . . . . .

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J
&
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13
##

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&
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18
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.
#
#
&
24
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&
30
36
&
41
&
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m # # # . . . .
j
. # . . . .
j
J
.

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. . . .
# # # . . . . . .
j
&
.
46
ZATALPA
Clark Kimberling
q
# 4 . .

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# . .
46
&
J 44
# 4 . n
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10
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14

n
n

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18

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22
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26

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30
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34
6 m
# # . .
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4
38
Clark Kimberling
ZEBULON
q.
# 6 j #. j
j j
J J
J J j
& 8
J
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8

.
j
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j
J .
J

J
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15
j

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28
.
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32
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&
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38

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J
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41
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51

J
j

.
j # .
J
j
.
68
j
J

j # .
J
J
J

J

J
q
# 4 . .
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&
5
&
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Clark Kimberling
ZEENERY
.
.
# # . .

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&
13
# . .
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21
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17
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&
39
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.
# # . . . J . m . .
&
44
29
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&
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25
34
Clark Kimberling
ZESTIMMINNY
. . . .
# 4 .q
. . .
& 4

J

6
&
. .
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# 6
4
& 4
4
10
#

&
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15
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.
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20
# .
.
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25
n . . . .
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&
30
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44
J 4
&
35
. . . .

J J
&
39
. . . . . . . . . . . . . . . . . . . . . . .
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J
45
50
&
. . . .
. .

Clark Kimberling
ZICCAPADICCLE
N . .
.
2
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.
# .
3 .
j
j

22 . # . # #
&
2
j
j # N. .
N
.
#.
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J J
11
16
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21
25
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.
N
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35

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30
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.
44
.

32 .
&
40
#
.
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q.
#
j .
& 68
ZIDDLE ZACK
. j
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J
Clark Kimberling
j .

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j j .
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7
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j .
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&
J
J

13
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j . j j . . j . J . j . j j
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25
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31
37
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43
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49
j
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.

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55
61
.
J
.
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J
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.
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j .
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J
&
6
&
#
#
Clark Kimberling
ZIGGIDDY ZING
h
2 j j
3 j j
2 j j
2 2 2
>
>
>
3
22
J
J
.
# 2
& 2

11
# ##

&
16
20
&
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3 > j
2
###

>
2
2
>

nn n #
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24
&b
28
&b
32
#
n

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>
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b b 46 44
J J
J J
J J
42
bb
32
J
&
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37

. . .
.
.
bb 3 J
.
.
2

& 2
2
47
Clark Kimberling
ZILKIE
. . .
. . .
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.
# . n
&

7
. . . . . . . . . . . . . .
# #
&
#
13
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&
.
18
# . # n
&
23
&
28

. . . .
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38
. . .
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.
33
43
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&
48
. . . # # . . . n .
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.
# # . . # n . . . J
&
53
q
#
## 3
.
& 4
# # # .
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6
11
&
16
&
ZILLA ZEE DEE
. .
# #

# ##
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&
21
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&
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J
&
41
&
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&

47
. .
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31
36
26
Clark Kimberling
. .
# J
J
J

# #

The name is pronounced in the rhythm of measure 1.
~~
Clark Kimberling
ZINGBERRY
# 6 q.
. . . . . # . .
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. . m
# . J . . . . . .
&
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fl
m
.
.
11
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16
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26
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.
31 .
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J . . . .
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21
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9 . # 6
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8
8
36
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41
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J
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m
.
.
51
# . m # J . # .
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46
j
.
~
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J
Clark Kimberling
ZIPLEY HILL
h
## 2
& 2
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7
13
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19
25
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30
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35
40
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52
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31
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55
60
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3
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j
N .
n # # . .
&
38
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19
25
Clark Kimberling
ZIPPA ZOLA
j
# .
> . .
>
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ZISSISSIPPI
q.
# 6 .
.
& 8
J J
# .
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6
j .

J
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j .
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21
&
26
31
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J
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46
&

J
J

#
J
.
n n
# .
J
J
36
41
# .
11
16
Clark Kimberling
.
. . . . . . . . . . . . . . . . . . . # . . . . n . # .

. . . . . . .
.
J
q
4 # . . . . . # . . # J # . . . . . #
&4
. . .
Clark Kimberling
ZIVA
. . . # . . . . . # # . . . # #
# #
&
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J
.
.
13
#n
# . . . # . . . . . . . . .
&
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.
19
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# n .
.
.

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&
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.
7
25
&
30
&
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.
# n . # # n

j
.
&
J
37

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. # . j 6 .
J

&
4
43
# # 44
# # 4 # . . . . . # . . . . . # # . . . . . #
& 4
49
. . . .
# # # . .
&
# # . . . . # # . .
.
J
.
.
60
# n . .
# # # # # .
.
&
55
Clark Kimberling
ZIZZIGI
h.
# 3
.
& 4

J
8
ben marcato
&
>
15
&
# #
#
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q= q . >
. # . . . >
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.
.
>
.
.
.
.
5
#
# 4 N
#
. .
.
21
# . . . . . . . > . . > n . . n . . . >
. . >
J
&
J
..
(3 + 2)
q=q
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.
>
.
.
.
.
.
.
a . . . . . > 3
# . n > . . . . # . .
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&
4
J
27
# n n
.
J
J
&
33
&
>
47
# # #m
&
40
5 N >
>
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J # # # > # j . # # . .
&
J
>
58
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N >
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J

&
.
.
53
. # . . # . .
&
62
. . .
. .
j
.
.

J
#
ZOBBIT
Clark Kimberling
q
## 4

& 4
6
&
##

. .
46
m
44
## 4

& 4

10
14
&
##
m. .
m.
m. . .
m
# # . . . . . .
.
.
&
19
m. . . m
# # . . . . . .
.
.
&

23
# # . . . . m. . 6 m
&
4
27
#
n n 44
J

# 4 . .
.

& 4
31
# . . m m 6
&
4
m
35
44
m
m
# 4 . .

& 4
39
.
# m. m. .
&
43
Clark Kimberling
ZOCKADOODLE
# 2 h
.
& 2 .
6
&
11
&
##
. .
#
n J n .
.
# .
& .
21
. .
# .
#
&
J
# # . .
&
22
n . .

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J
&
36
32 .
26
31
# # . .
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#
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&
16
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# # . .

&
41
. .

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&
45
;
. . . . . .
5

&8
Clark Kimberling
ZOILEA
. .
. . . . . . . . # .
.
. .
fl . .
. . . . . .
.
.
.
. . . . . .
. .
7 .
.
.
.
#
N . 3
.
.
5
4
5
&
8 J
8
8
8
. . . . . . . .
. . . . . . . . . . # .
13
. .
.
5
3 j
5
&8
8
. . . . 8
.
. . . . . . .
. . . . . . . .
19
.
# 4
. .
. 5
3
58
&
8
8
. . . . 8
.
25
. .
.
. . . . . . . # .
5 . . . . . .
.
&8
. . . .
fl
. . . .
. . .
.
31 .
.
.
.
.
. . 3 . . . 5
. . .
N . 3
b
.
bb 8
&
8
8 8
( 5 ) = 60
. . . . . . .
. . . .
.
b 5
.
3
&bb 8
8
37
. . . .
.
.
.
# 3
.
b . #
b
&
.
8
42
b
& b 38
48
.
. 5 . . . . . . . . # . . N . . . 3
.
. 8
J 8
. N . . . . . . .
. . . . # . .
.
58
. .
38
. . . . . . .
.
bb 5
. # . . N . . . . 3
8
& 8
.
53
. .
bb . . . 3 . . .
& b
8
59
. N . . . . .
n b b 85
85
.
.
.
.
.
.
. .
b b b 85
. . . . . . . . . . . . .
58
.
38
.
J
ZOLLY MAY
# 4 q
j j
j
& 4

m
6
&
# 2
& 4
10
# 2
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SOLOS FOR TREBLE INSTRUMENT

ESPECIALLY SOPRANO RECORDER

When performing these arrangements, use a sound system and/or a percussionist.

WHERE THESE SOLOS CAME FROM

Folk songs (composer unknown)

PLAYING THE SOLOS

NOTES FOR RECORDER PLAYERS

Chart copyright Mel Bay Publications, Inc. 2004. Used by permission.

The other special effect, recorder-glissando, is denoted by a straight segment between

NOTES FOR FLUTE PLAYERS

African-American and Jamaican Melodies

This work is licensed under the

Copyright 2004, Clark Kimberling

increase vibrato ..........

increase vibrato ..........

subito molto legato

increase vibrato ..........

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Copyright 2004, Clark Kimberling

Karl Gotthilf Glser

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Samuel Wakefield, 1854

BEHOLD A LOVELY VINE

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Joseph Labitzky, 1850

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The United States Sacred Harmony

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CHARRUAUD'S FIVE-STEP WALTZ

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CHESNUT STREET POLKA

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CINCINNATI HOP WALTZ

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CONNECTICUT SHAKER DANCE

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William Jarvis Wetmore

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sempre molto legato

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FAREWELL EARTHLY GLORY

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