SOLOS FOR TREBLE INSTRUMENT

ESPECIALLY SOPRANO RECORDER

COLLECTION 7
MELODIES BY WOMEN COMPOSERS
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 7 has 100 solos, of which 46 of the finest do not appear here because they are
published commercially just google Solos for Soprano Recorder, Collection 7 (after
August 1, 2010).
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 7 and Google.

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

A percussionist can work wonders and manage your sound system.

Among melodies composed by women, at least three are among the worlds most
popular: Mildred Hills Happy Birthday (represented here in two arrangements using
the original name, Good Morning to You), Euphemia Allens Chopsticks, and Effie
Crocketts Rock-a-bye, Baby. The histories of these and the other melodies in
Collection 7 are fascinating so be sure to take a look at the Historical Notes 7.

PLAYING THE SOLOS

The fact that these solos are unaccompanied heightens the opportunities for individual
interpretation. The solos are free of dynamic markings, and considerable liberties may be
taken with the suggested tempo markings.
Feel free to delete or repeat sections of the solos, in order to match the occasion. For
example, if playing where sound dissipates quickly, initial segments of some solos,
pitched mostly in the lowest octave of the instrument, can be skipped. Repetition of
phrases or entire solos is appropriate when playing only a few solos over an extended
period of time, as in outdoor playing where the audience consists of strolling tourists.
Sections of some of the solos are intended to challenge the players ability to play quite
fast or high; these sections can be risky so they can be deleted or played at a tempo
slower than marked.
Mordents, indicated by a short wavy line above or below a note, as in Petite Gavotte,
usually mean three fast slurred notes, but where there is sufficient time and at the
performers discretion they may be stretched to five notes.
It is important, when soloing, to accent important notes in order to maintain a beat.
This is especially true when a downbeat-note is preceded by a higher note, as in
Josephine Waltz, Merry Heart Waltz, and North Western Railway Polka.

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.

Very high notes are best used in staccato playing, and then, sparingly, usually near the
end of a piece, as in Because Im Twenty Five and Chopsticks. A philosophical
approach to the high notes is that they should be cultivated for the simple reason that they

are there with their own kinds of musical possibilities, just as the notes on various
ethnic flutes offer their own special characteristics.
Many recorder players use a modern vibrato, based on diaphragm or throat motion, or
some combination of those two. Players 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. Tones 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 tone straight, then develop
vibrato gradually over a short time interval, until full vibrato is on.
At least two other special effects are practiced by many recorder players: chiff and
recorder-glissando. The word chiff (from the sound made by the chiff-chaff, a European
warbler) is often applied to sounds made on certain pipe organs, especially fine tracker
organs, as well as electronic organs that explicitly offer a chiff option. While chiff is
possible on almost all the notes of a soprano recorder, it is fairly easy to produce truly
remarkable chiffs in the lowest octave. In fact, one may speak of octave-chiff for these
lower notes, obtained by plosive overblowing just right. 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; try it on the
accented notes in North Western Railway Polka.
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 e to g and e to a. Descending favorites are d to d and d to f. To
perform these, simply roll the fingers gradually from one fingering to the other.
Examples: Few Days and Rosebud. Recorder-glissando differs from ordinary
glissando, in which intermediate scale notes are rapidly fingered and slurred, as in
Chopsticks.
Chromatic flourishes, so useful for developing finger dexterity and smoothness of
transition from one note to another, occur especially in Affection Waltz and Snowflakes.

NOTES FOR FLUTE PLAYERS

Bottom C on a flute is middle C on a 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.
When the flute player encounters a straight segment between two notes, a slur or
glissando may be performed. The straight-segment notation is explained just above in a
paragraph on recorder-glissando.

ADDING PERCUSSION
Many of the solos lend themselves to the sort of accompaniment that skilled
percussionists can easily provide. Feel free to use your own recorded background sounds
(perhaps managed by your percussionist).

SWING STYLE
The words swing style and straight occur in some of the solos. For swing, play each
consecutive pair of eighth notes as a dotted-eighth followed by sixteenth in a loose sort
a way that you are probably already familiar with. Example: Hoosier Rag.

ARRANGEMENTS
In order to adapt melodies as originally published, certain techniques of arrangement
have been applied. One objective has been for each finished arrangement to occupy a full
page, and another has been that each arrangement should take advantage of special
characteristics of the recorder or flute. Perhaps the most obvious technique for such
purposes is upward transposition. See, for example, Because Im Twenty Five and The
Eighth of December.
A second technique is the contrasting segment; that is, a segment that separates
renderings of the main melody. Take a look, for example, at Rock-a-Bye, Baby: the
familiar melody occupies measures 1-16; then a contrasting phrase (17-32) bridges to a
second appearance of the melody (33-49). Another example: Snowflakes (another
catchy melody by the composer of the Happy Birthday song) has contrasting segments
(17-30) and (48-64).
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 effects, as in Blessed Assurance and Fly Away.

GROUPINGS
The solos can be grouped in various ways to indicate their origins, purposes, and
performance possibilities. One large grouping is dance-melodies, dating from times
when the waltz, polka, and other dances were new and swept across 19th century America
and Britain. These and other groupings are listed here:

Waltzes
Affection Waltz
California Waltz
Chesapeake Waltz
Chopsticks
Eglantine
Hollywood Waltz
Isle of Beauty
Iva Waltz
Josephine Waltz

Little Flirt Waltz

Maryland Waltz
Merry Heart Waltz
The Mignonetti Waltz
Periwinkle Waltz
Rosebud
Silver Cup Waltz
Tuna Valley Waltz

Wedding Waltz

Polkas
Bayadere Waltz
Blade of Grass
California Polka
Canisteo Polka
Fiddle Stick
First Violet Polka
Good as Gold
New Orleans Polka
North Western Railway Polka
St. Louis Polka
Shoe Tie Polka
Staccato Polka
Viola Polka
Wheatland Polka

Other dance melodies

Crescent City Mazurka
Dance of the Warriors (African)
The Eighth of December (reel)
Gavotte
General Jacksons New Orleans (march)
Ilfracombe LEte (Quadrille)
Ilfracombe La Trenise (Quadrille)
Ilfracombe Pantalon (Quadrille)
Mayflower Galop
New York Galop
Petite Gavotte

Comic melodies
Because Im Twenty Five
Chopsticks
Concert on the Roof
I Would Like to Change My Name
Katy Did, Katy Didnt
Lil Liza Jane
Rock-a-Bye, Baby

Texas Cowboy
You Pretty Little Giddy Flirt

Love melodies
Annie Laurie
As We Go Down the Pike
Faded Red Rose
A Fond Kiss
Jemmy of the Glen
Juanita
Lil Jasmine-Bud
A Smile and a Tear
Theres a Sigh in the Heart
Youve Hit a Home Run with Me

Political melodies
Come Join the Knights of Labor
Few Days
The Plan of Love
Womans Rights

Worship melodies
Blessed Assurance
Come Up Hither
Im on My Journey Home
Kelley
Pilgrims Way
The Promised Land
Roll On
Samaria
Star of Columbia

For a list of all the solos, consult Historical Notes 7, 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.

q.
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arr. Clark Kimberling

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arr. Clark Kimberling

AS WE GO DOWN THE PIKE

Copyright 2004 Clark Kimberling

Source: Levy Box145 Date 1903

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arr. Clark Kimberling

BAYADERE POLKA

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BLADE OF GRASS
arr. Clark Kimberling
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THE BLUE JUNIATA

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arr. Clark Kimberling

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Mary Austin Holley

arr. Clark Kimberling

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CALIFORNIA
POLKA
arr. Clark Kimberling
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CALIFORNIA WALTZ

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Louise J. Vorhis
arr. Clark Kimberling

CANISTEO POLKA
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arr. Clark Kimberling

CHESAPEAKE WALTZ

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Haddie Wise Andress

arr. Clark Kimberling

COME IN AND SHUT THE GATE

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arr. Clark Kimberling

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Source PattersonNine, p 22

Sallie C. Massie
CONCERT ON THE ROOF
arr. Clark Kimberling
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arr. Clark Kimberling

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arr. Clark Kimberling

DREAMS

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Source LC 1853

Flora Sullivan Stewart

arr. Clark Kimberling

EGLANTINE
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arr. Clark Kimberling

molto rit.

Copyright 2004, Clark Kimberling

Source LC 1877

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arr. Clark Kimberling

FIRST RED ROSE

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13

&

.
J

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19

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.

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.

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#
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25

. . .
.

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>
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31

37

&

41

&

# # m .
##

# #

J

# n

big breath

# # # n N

&
46

. #
m
.
#

Copyright 2004, Clark Kimberling

Source:LC (1881)

.
J

arr. Clark Kimberling

FIRST VIOLET POLKA
q
.
.
.
.
.
.
.
.
# 2 . # . . # .
& 4
Elise E. Bower

sub. leg.

subito legato
8

&

. . . . . . . # .

.
. . # . . .

# #
& . . . . . .
. .
. .
22

#
3
&
4
15

sub. leg.

.
.
.

&

&

# . . . . # .

&

. . . . .

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#

. . .

sub. leg.

58

&

. .
m

. # .
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J

.
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sub. leg.

65

n 2
4

&
. .

sub. leg.

. . . . . . . .

# . . j

43

50

.
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. . . . ....
m

. .
.

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&
29

36

m. . . m.
.
.

m. . . m.
.
.

# .
. . . . . .
.
.
. . # . . .
. .
.
.
.

.
.

v
Copyright 2004 Clark Kimberling
Source: LC sm1880

A FOND KISS

Anna Preston
arr. Clark Kimberling

h rubato


. J

2
&b 2

&b
7

#
&b
13

# m
n

m
#

&
19

25

&

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&
31

&

45

&

# ##

# # # m

# ##

&
36

41

# # # . .

# . # .

.
#

.
J
J
Copyright 2006 Clark Kimberling
LC "White's 100 Popular ...Violin" no. 20, cr 1880

GENERAL JACKSON'S NEW ORLEANS

Marie Annette V. Thompson

arr. Clark Kimberling

q
. . . . . . . . . .
. . .
# 4 . . . . . . . . . . .

& 4
. . . .
. . . .
3
3
3
.
.
.
.

6
.
.
.
.

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# . . . .

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.
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.
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11
.

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16

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.

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.
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21

. . .
.
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.

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&
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36

41

&

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. . . .

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>
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. 4 m. . . . . . . .
. . . . . . . . . .
# # # # 6

.
&
4
4
. . . 3
51
. .
. . . . . . . . . . .
. . . . . . .
#

& . . . .
. . .
m
46

Copyright 2004, Clark Kimberling

Source:LCAmerMemory 1833

GOOD AS GOLD
q . . .
j . j . . . .

J
J

# 2
& 4

.
.
.
J

#
. .
&
8

# . .
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&

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. .

14

Florence Norvell
arr. Clark Kimberling

j . . . .

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###

.
# # # . b . .
.

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&
32

&

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44

&

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3

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55

.
#

#
.
J
. .

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& J
J
37

49

. . . . b . . .
. . .

..
..

. . .
. .

20

26

. .
3

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

. . .
3

Copyright 2004, Clark Kimberling

Source:LC 1883

. . .
.
.

.
J

Mrs. M. Yates
arr. Clark Kimberling

ILFRACOMBE LA TRENISE

q
. .
# .
2
.
& 4 #
3
.
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6

&

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. . .
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3

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.

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11

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.

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3

26

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32

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37

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43

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3

.
.

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&
48

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.

# .
#

&

~~~

53

3
Copyright 2006, Clark Kimberling
Source: Levy Box 033 1830s

q


& 24
6

&

&J
11

&

#
&
&

31

&

&

45

&

##

>
> >

#
#

Copyright 2006, Clark Kimberling

Source: Levy Box 033 1830s

.

. . . . . #
. . .

>
## >

&
>
##

. . . . . .

35

40

21

26

>
>

16

>

Mrs. M. Yates
arr. Clark Kimberling

ILFRACOMBE L'ETE

q
.
#
& 42 .

. .

# j
j

&

# #
.

&
# > # . n

&
16

> # n . .
. .
.

. .

&

#

# # # . .

&
26

# # # j
j

&

# ## #

&

# ## #
&

rit.
> # . molto
n

36

40

&

49

&

# # # # # # .

j
#

n - u
.

. .

a tempo

. j

. #

> . .
# n . .

> # . n - - n

Copyright 2006, Clark Kimberling

Source: Levy Box 033 1830s

###

. .

.
.
#

31

44

11

21

Mrs. M. Yates
arr. Clark Kimberling

ILFRACOMBE PANTALON

I'M ON MY JOURNEY HOME

# 2 h
& 2
. .

& . .
w
9

b .
b
&
J
17

Sarah Lancaster
arr. Clark Kimberling

nbb

. J

b . j
b
w
&
24

. .

.
J

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#

n
.

## . .
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-
&
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31

n#

. . .
.

& . . . . .
. . . . . J .j 32 . . . . . 22 . . . . .
...
.. .
...
40

# . . . .
& . .
..

##
. . . . . . . . . . .

J J

...
. . w
.
53
. . . .
# # . . . . . . . . . . . . . . . . . . .
. . 2
3

&
2
46

. .
.
# # 2 . . . . . . . . . . . . . . . . . . . . .
& 2
58

& #
64

. . . . .
. . . .

32
22 . . .

. . . . . . . . .
. .

. . . . 3 - - - - 2 w

2
2

Copyright 2004, Clark Kimberling

Source: SacredHarp p393

no vibrato

h.
3
b
& 4
8

15

21

&b
&b
&b

&b
27

33

&b

n b

.
.

.
.

. .
.

& #
39

&b
59

&b

.
.

. N
J

j
. #

. .
J

.
J

b b

. . .

& #
J
46

53

. .

.
. J

.
. J

.
. J

Elise S. Hamilton
arr. Clark Kimberling

ISLE OF BEAUTY
. . #

. .
J

Copyright 2004 Clark Kimberling

Source: LC sm1870

.
. J

.
J

h.
## 3
& 4
8

&

##

##

&
&

26

&

##

##

#
& #
31

36

&

# j .
&
41

46

&

.
.

. . . .
.

b
J

14

20

Carrie Calvin
arr. Clark Kimberling

IVA WALTZ

Copyright 2005, Clark Kimberling

LC 1885

#n

Miss Ouri
arr. Clark Kimberling

I WOULD LIKE TO CHANGE MY NAME

q

& 24 .

. .
7

&

. . .
m
. .

&
13

19

&
25

&

##

& # . . . .
.
42

##
&

47

53

&

59

&

## .

##

&
&

31

37

. . .
. .
.
.

.
J

.
. . .
. .
~~~~

.
. . .
T

.

J
##

Copyright 2006, Clark Kimberling

Source: Levy Box 050 cr 1856

q
#
& 42

#

&

Effie A. Parkhurst
arr. Clark Kimberling

KATY DID, KATY DIDN'T

. .

. . . .

&

13

&

19

&

25

31

&

37

&

. .

. .
. .

. .
~~~~~~

&

J
43

49

&

# .
&
55

61

&

Copyright 2006, Clark Kimberling

Source: Levy Box 052 cr 1864

# 2 h
& 2
10

&

Amanda Burdette Denson

arr. Clark Kimberling

KELLEY

&
w
19

&b
29

n .
J

&
38

47

& .

j
#

. # J w
&
&w

n - -
. b n

. n
#

56

65

j
#

. #

. # . >

q
-

b
n

faster:

. . . . . .
. . . . .

b
n

n
J

w
.
&

83


.
&
74

91

&

100

&

Copyright 2004, Clark Kimberling

Source: SacredHarp1991, #426

Lily Strickland
arr. Clark Kimberling

LI'L' JASMINE-BUD

# # # 4 q
6 . 4 j
j

& 4
J J 4 . J
4

J
8

&

# ##

.
. J J

# # # ~~~~~~~~~~

& w

.
. J J

. .

J
J

15

j j
j j

. J . j

# # # J
n n nb b . 6
j 44

.
.
&

J
4

J
J J
.
22

bb 4

.
J
& 4
J J
29

b
&b
36

. J
. J

j j
j j . j
.

.
J

. J
bb

&

.
43

2
J n 2

.
.

J
J J J . J
&
J J .
50

.
.

&
J
J
58

.
. J J

faster:

j j . J .
J J

J
J

&
.
65

Copyright 2004, Clark Kimberling

Source:J. Fischer 1921

LI'L LIZA JANE

q
# 2
.

& 4 . . . . .
J
J
. .
7
.
# j
. .

j
& .
J

Ada De Lachau
arr. Clark Kimberling

# .
& J
19

&

#
& J

. . . . . . .
&

~~~~

&

. .

.
. . . . . .

big breath

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

~~~

~~~

. . .
&
.
.

.
. . . . . . . . . . . .
&

61

.
J

51

56

n . . . . . . . ~~J.
~

38

.
&J

. . . . . . . .
. . .
. . J

31

44

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

~~~~

24

~~~

&

# .

~~~~

14

~~~~

~~~~

. . .
. . .
. m
.

Copyright 2004, Clark Kimberling

Source: Levy Box 096 Date 1916

LITTLE FLIRT WALTZ

h.
3
&4
.

&
.
8

&
15

.
. .
&

~~~~~ . . .

~~~~~

. .

& #

>
b
n
&

> . . #
#
J

29

36

22

Miss H. Gardner
arr. Clark Kimberling

>
b

.
>

J
3

. .
> b >

>

>

&b
43

51

&

58

&

. .
.

Copyright 2004, Clark Kimberling

Source: LC 1871

Mrs. Bloodgood
MARY HAY
q
arr. Clark Kimberling

j

j
.
& 24

&

10

. # # j

.

&J
18

27

&

##

j
. .
j

. . . .

# # . . n # . .

& J
J
44
m .
# m
#
.

&
J
53
# . .
&
J

62
# m #
. . # # # # . .
&
J
J
3
3
70
. . . .
. . . .
# # # # j. .

.
&

J
J
.
35

# # # # . . . . . . . . . .

&
80

. n # . . .
n

.
n n n
J

. .
j
.
.

. .

.
.

.
.
.
.
. . . . .
# . . . . .
J

&
J
. .

.

96
.
# . . . . . . . .
&
3

87

Copyright 2004 Clark Kimberling

Source: Levy Box 122 1833

. . . . .

h.

## 3
& 4
7

&

##

##

&

13

19

&

25

&

##
##

# n
.

# n

n n b N #

&
37

n A
#
&b
J
43

J
#

&

T
49
.
.

#
#

#
n
J

J . J
&b
m
57
## T
. J . # J m . .

&
J
31

##

Miss Spicer
MARYLAND WALTZ
arr. Clark Kimberling

>
>
>

#
J

##

&

73
##

& #
J
78

##

. .

&

67

Copyright 2004, Clark Kimberling

Source Levi 1847

THE MIGNONETTI WALTZ

arr. Clark Kimberling
h.
or faster
. # n

# #
3
&4

Miss Pocock

# n .
& #
6

.
J

# . . . .

n . . . . # . . . . . . . .
#
n
&
11

. . # . .

& #
15

19

&b

& b n b . .
.
27

&b
23

&b
31

# . . n
. .

n b
. . .

# n
n

# # # n .
& #
36

41

&
46

&

.
J

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

n #

.
. . # .

Copyright 2006, Clark Kimberling

Source: Levy Box 026 cr 1856

MY LINDY LOU

q
.
.
4

#
&b 4
.
swing style

& b . .

j
J

>
>
>

&b
J > J J J
19
> > >
.
j

b

& J
#
J J
.
>

#
25

b w
b
J
b
J
&
13

b m.
b
b
&
30

b .
b
&

j
# . #
#
&
.

# .
&
J

# . > > . >

& J J
J J
61

n .
J
>
J J .

> .

# .

.
#

.
.
# # . . .
J

h
. .
#
2

n 2
#
.
.

48

54

.
#

. b m.
#

J J
J

b w
b
&b
35

41

Lily Strickland
arr. Clark Kimberling

faster:

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

>

~
.
# . . ~~
J
> >

Copyright 2004, Clark Kimberling

Source: GSchirmer1920

Mrs. H. W. Hills
arr. Clark Kimberling

NEW YORK GALOP

q
# 2 . . . . . .

& 4

. . . . . .

#
&

. .
. . . . .

# . . .
.
&
.

. . . . . .

11

&
&

.
.

j
#

. . . .

.
~
~~

m. . m. .

. m. . m. . . .
. . . .

##

. . . .
. .

~~

~~

20

. .
.
. . .

~~

16

. . . . . .

. . . .
.

. m. . m.

.
##
&
26

m
# # . . m. . . . n n b . . . . . .
b
&
b
&b

. . . . . .

bb . . . . . .

.
.
bb . . . .
&

41

&

45

. . . .

. . . . .

31

36

j
#

. .
.
. . .
.
. . .

. . . . .
. .

Copyright 2006, Clark Kimberling

Source LC1846

OVER THE GREAT DIVIDE

q
#

j
j
& # 42
9

&
17

&

##
##

J J

J b
J

m
j
j

## .

#
# #

&
J
J
25

33

&

41

&

##
##

& b N
49

# b .

j #

j #

nn

j
J

&b
J
57

Edna Williams
arr. Clark Kimberling

.
J b b

J
J

&b

J
65

.
.

m
# . # # J
J
.
b
&
J
73

Copyright 2004, Clark Kimberling

Source Levi Box 58 1913

PILGRIM'S WAY

# 6
& 8

q.
j j .

# 6
j

.
& 8
6

Irene Parker Denson

arr. Clark Kimberling

6
98 .

J
8
J

j
J .

j j

j
# .
j
j
j
.

&

12

18

n .

J
.

& .

6
.
&8 J
24

9 6
. 8
J J 8

J .

. j j .

& J

J
29

.
&
J

35

. . . . . . . . . . .

.
J

.
&J
41

# # m .
&
J
47

53

&

59

&

## .
##

.
J
J
. . . . . . . . . . .

.
J
J

J
.

j
j .
J

. #

J
##

.
J

m .

J

J
J

. .
.

m
.

J J
J .
Copyright 2004, Clark Kimberling
Source: SacredHarp1991, p545

& b 42

Jane Sloman
ROLL ON SILVER MOON
arr. Clark Kimberling
q

. j J J

b
&
10

# j j
& J J .
19

#
J

&
28

&
37

#
# j n n

j

#

. b J j

J
j

J J
J

# j n b b >
.

J
& n
J
J
55
b
bb b

J
&

46

b J J
b #

J
b . b

J
J J

b
# # b

J J
J J

bb J
& J

64

74

&b
85

&b

b
b

bb j n n n > . J
&

J
J
J

104

. b

J

&J
J

95

Copyright 2004, Clark Kimberling

Source: Tick, also LC 1841

SAMARIA
# 6
& 8

q.

#
j .
&

J
7

.
&
13

#
#

& .
19

&

j J .

.
&
37

50

&

J
J

q.
n j

J
.
faster:

j j j .

. J
J
J
J

.
& J

43

J
J

j .
J
J

&
J
J .

j j

j j
J

J
.

25

31

Maggie Denson-Cagle
arr. Clark Kimberling

J
J J

j
JJ
J J . .
m
Copyright 2004, Clark Kimberling
Source: SacredHarp1991, p26

Clelia Solito
SCHERZO
arr. Clark Kimberling
q.
j
& b 68 # # n #

b
& b # n j n J . n J J
7

.
n n

&b

J
J

13

j
& b # n # # n n j
19

b
b

A

& .
J . n n
25

- . b bb # n

&
J
31

bb j # # n j n J . n
&

J J
37

b
n
n
J

b
J
&
43

b . # n n # n j #
b
&
J
49

big breath

# # . # #
#

&
J J

J
61
. # m #
.
J
&
J
J
55

Copyright 2006, Clark Kimberling

Source LC 1851

q
.
. . . # .
. . . .
.
.
2 . . . .

.
&4
. # . . .

7
.

&
.

Allie W. Sweet
arr. Clark Kimberling

SHOE TIE POLKA

13

&

19

&

# j j
&

25

#

&
31

#
j

.
.
#

. #

&
J
J
.
43
#
# n

. #
.

&
J
37

.
# n

&
J
49

&
.

62
.

J

&
.
55

Copyright 2005, Clark Kimberling

LC 1870

. J
.

Julia C. Howe
arr. Clark Kimberling

SILVER CUP WALTZ

h.
3
&4

. .
&
J
7

. .

. .
J

. .
J

..
.
.

.
.
J
&

J
J
..
23
.

>

.
.

J
&

J
J
15

31

&

. .
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Copyright 2004, Clark Kimberling

Source:LC (1872)

Harriet Abrams
arr. Clark Kimberling

A SMILE AND A TEAR

# 2
& 4
9

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28

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Copyright 2004, Clark Kimberling

Source: Levy

. . . .
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Miss M. D. Nightingale
ST.
LOUIS
POLKA
arr. Clark Kimberling
q
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61

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.

Copyright 2004, Clark Kimberling

Source: LC/sm

Mrs. Luther B. Wyman

SWEET POETRY
arr. Clark Kimberling
q.
j
J

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slightly faster
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67
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60

Copyright 2004, Clark Kimberling

Source LeviC 1846

SWEET ROSIE O'GRADY

Maude Nugent
arr. Clark Kimberling

h. rubato
a tempo
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75
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66

Copyright 2004, Clark Kimberling

Source, Scriptorium.lib.duke

THERE'S A SIGH IN THE HEART

Anne Fricker
arr. Clark Kimberling

q.
.
.
6

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50

58

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n J J
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& b J .
66

Copyright 2004, Clark Kimberling

Source Levi 1853

Anna M. Beechlin-Robertson
arr. Clark Kimberling

TUNA VALLEY WALTZ

# 3 h.
& 4

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.
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3
3
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.
69
.

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.

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62

Copyright 2004, Clark Kimberling

Source:LC (1882)

## 4
& 4
5

&
9

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13

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17

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21

25

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29

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33

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37

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Emilie Langlotz
arr. Clark Kimberling

TWENTY YEARS AGO

m
#

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n# .
3

.
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3

Copyright 2006, Clark Kimberling

Source LC 1852

.
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n . .

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J
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# .

Ellen C. Morant
WHEATLAND POLKA
arr. Clark Kimberling
. .
q

# 2

& 4

marcato
. .
.
7

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13

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bb # # n # # n n #
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52

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38

60

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68

&

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. . .
.

. .

Copyright 2004, Clark Kimberling

Source:LC (1857)

. .

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YOU PRETTY LITTLE GIDDY FLIRT

## 4
& 4

q
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##

&
8

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Miss Clennell
arr. Clark Kimberling

.
J
j

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11

20

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J n #
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J

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j .
j .
#

&
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26

Copyright 2006, Clark Kimberling

Source: Levy Box 115 1830s

Edna Williams
YOU'VE HIT A HOME RUN WITH ME arr. Clark
Kimberling
h..

.
3

b
b

& 4

b
b

&
#
10

&b
19

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28

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37

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55

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64

m
#

.
.
. .
. # . . #m .

J
&b
73

Copyright 2004, Clark Kimberling

Source Levi Box 27 1911

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