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'       THE  ELEMENTAEY  PKIMPLES  OE  MUSIC, 

.  |    s       -  -TOGETHER    WITH  /} 


ANI3   A   GREAT   VARIETY   OP 


MANY  OF  THEM  NEVER  BEFORE  PUBLISHED. 

d 

BOSTON: 


NEW   YORK:      O.    H.    DITSON   &    CO. 

Entered  according  to  Act  of  Congress,  In  the  year  1868,  by  Oliver  Ditsok  &  Co.,  in  the  Clerk's  Office  of  the  District  Court  for  the  District  of  MassachuMtti. 


-   I 

This  book  will  be  found  lo  be  greatly  superior  to  any  former  publication,  in  the  number,    variety  and  beauty 
of  its  melodies. 

It  has   been    carefully  put  together  by  Mr.  James  Buckley,    (father  of  "  Buckley's  Serenaders,")   who  has  had 

twenty-six  years  experience  as  teacher  and   player,    and.  'lias  'improved  the1  .Batfjb/  By  applying  screws,  and  in  other 

".•  •••  *•*     '*•  ;*♦, 
ways.  .*.::,.        ; ... 

To  perform  well  upon  this  instrument,  one  should' Be* 'able 'both :  to -'pick  ahd'-tb  strike,  Hke  guitar  players. 

When  the  bridge  of  a  Banjo  is  in  the   right  place,  the  12th  fret  is  just  half  way  between  the  bridge  and  nut. 
Having  once  found  the  proper  fiosition  for  the  bridge,  it  would  be  well  to  mark  the  place  with  a  pencil. 

Those  who  wish  to  make  their  own  banjos,    are  referred  to   Mr.  Buckley's  former  work  for  directions ;   it  may 
be  here  added,  that  goat-skin  should  be  used  in  preference  to  calfskin,  as  the  latter  is  liable  to  shrink. 


RUDIMENTS    OF   MUSIC. 


All  musical  sounds  vary  according  to  pitch  or  tone  ;  and  in  order  to  express  a 
sound  that  may  be  high  or  low,  we  use  what  is  called 


STAFF 


E 


\ 


This  Staff  consists  of  five  parallel  lines,  and  all  tones  are  expressed  by  charac- 
.ters  written  either  upon  them,  or  the  spaces  between  them. 

The  under  line  is  designated  as  the  first  line,  and  the  space  between  the  first 
and  second  line,  as  the^r^  space.  There  are  five  lines  and  four  spaces,  which 
are  named  as  follows  : 


I- 


-fifth  line, 
-fourth  line, 
-third  iine. 
-second  line, 
-first  line, 


^fourth  space. 
_third  space, 
"second  space. 
.first  space, 


When  we  wish  to  express  a  sound  that  may  be  higher  or  lower  than  those  which 
occur  upon  the  Staff,  we  use  what  are  termed 

ADDED    OR    LEGER    LINES. 


I 


3 


These  lines  are  used  either  above  or  below  the  Staff,  according  to  the  pitch  or 
tcne  we  wish  to  indicate. 

At  the  left  hand  of  every  staff  we  use  a  character  called  a  Clef.  There  are  two 
Clefs  in  general  use  ;  the  Treble  Clef,  and  the  Bass  Clef,  which  are  used  as  shown 
in  the  following  examples  : 


TREBLE,  OR  G  CLEF. 


BASS,  OR  F  CLEF. 


:i    m 


j 


All  music  preceded  by  the  Treble  Clef  can  be  used  by  the  Violin,  Flute,  Accor- 
deon,  and  other  high-toned  instruments  :  it  is  used,  also,  for  the  right  hand  in  all 
music  written  for  the  Piano  Forte.  The  Bass  Clef  is  used  only  for  the  Violon- 
cello, Bassoon,  and  other  low-toned  instruments,  also  for  Bass  voices  in  vocal 
music,  and  for  the  left  hand  in  music  for  the  Piano  Forte.  Thus,  it  will  be  ob- 
served, the  Bass  Clef  is  used  to  indicate  the  low  tones,  and  the  Treble  Clef  to 
express  the  higher  sounds. 

Music  that  is  written  for  the  Piano  Forte  is  always  connected  by  a  Brace,  the 
Treble  Clef  always  being  situated  above  the  Bass. 


The  Brace  is  also  used  to  connect 
any  number  of  staves  that  may  be 
required  to  constitute  a  score,  and 
therefore  two  or  more  Treble  Clefs 
may  be  connected,  as  well  as  any 
number  of  Bass  parts. 


I 


NOTES,    OR    CHARACTERS    USED    TO    EXPRESS    THE    LENGTH    OF    SOUNDS. 

As  every  sound  varies  in  regard  to  duration,  we  are  required  to  express  the 
same  by  characters  called  notes. 

The  longest  sound  in  general  use  is  called  a  whole  note,  which  is  expressed  by 
this  character  {&  ),  the  sound  of  which  is  continued  while  we  can  count  four. 
Other  notes,  with  their  relative  value,  names,  etc.,  will  be  found  in  the  following 
table. 


RUDIMENTS     OF     MUSIC. 


Semibreve,  or  whole  note.     Minim,  or  half  notes.  Crotchets,  or  quarter  notes.     Quavers,  or  eighth  notes, 


T5>" 


-JZt 


\--A— 


1234  12  34 

Count  four  to  each.    Count  two  to  each. 


12  3 

Count  one  to  each. 


=1- 


or  eight 


Semiquavers,  or  sixteenth  notes 


iZZTi— 4 


1  2 

Count  one  to  every  two. 


4 


at 


emiquavers,  or  sixteenth  notes. 


1  2     , 

Count  one  to  every  four. 


A.11  notes  of  shorter  duration  are  expressed  by  an  additional  bar  across  the 
stems,  thus  jjH    thirty-second  notes  :  and  thus  for  HH     Sixty-fourth  notes. 

A  single  eighth  note  is  written  thus,     N     or  f    ;  a  Sixteenth  thus,   5  or  S 
00  J         V.  /     4s 

it  is  only  when  a  succession  of  similar  notes  appear  that  they  are  tied  with  bars 
from  stem  to  stem,  thus,        ["""l^^i  or  ^J 

4  4  4  4       S=— 
It.  matters  not  whether  the  stems  be  made  to  turn  upward  or  downward.     The 
situation  of  the  body  of  the  note   determines  its  tone.     We  frequently  observe 
them  written  as  in  the  foregoing  examples,  but  in  vocal  music  each  syllable  is  par- 
ticularly provided  for  by  a  precise  division  of  the  stems  or  ties. 


HOW    TO    STRING    THE    BANJO. 

The  strings  should  be  the  same  distance  apart  as  on  a  Guitar.  For  the  first 
strinc  get  a  very  fine  1st  Violin  string ;  for  the  second  a  very  small  2d ;  for  the 
third  get  either  a  small  3rd,  or  a  large  2d  ;  for  the  fourth  get  the  smallest  4th  you 
can  ;  the  fifth  must  be  a  little  thicker  than  the  first  string.  If.  would  be  better, 
where  practicable,  to  get  harp  strings,  the  violin  strings  requiring  more  care  in 
selecting,  owing  to  the  thickness  not  varying  so  much,  from  the  fact  of  the  violin 
being  tuned  in  5ths,  whereas  the  Banjo  is  tuned  in  3rds  and  4ths. 

HOW    TO    FRET    THE    BANJO. 

Great  care  must  be  used  in  doing  this.  The  distance  between  the  nut  and 
bridge  must  be  divided  into  18  equal  parts.  After  putting  your  first  fret  on,  then 
again  divide  the  space  between  this  and  the  bridge  into  18  parts  ;  putting  your 
second  fret  on,  then  again  divide  from  the  second  fret  to  the  bridge  into  1 8  parts, 
and  so  on  until  you  have  as  many  frets  on  as  you  require.  The  bridge,  of  course, 
must  alway  be  kept  stationary.  The  frets  are  all  to  be  put  the  entire  width  of  the 
finger-board,  with  the  exception  of  the  2nd,  which  only  crosses  the  2nd,  3rd  and 
4th  strings.  On  the  1st  string  you  must  have  a  small  fret,  an  eighth  of  an  inch 
nearer  the  first  fret. 


POSITION    AND  METHOD    OP    HOLDING    THE    BANJO. 

The  performer  should  sit  in  a  natural,  easy,  and  erect  position.  The  hoop  or 
body  of  the  Banjo  should  rest  on  the  right  thigh,  close  to  the  body,  so  that  the 
wristof  the  right  will  come  directly  over  the  bridge,  the  thumbover  the  fifth  string, 
and  the  first  finger  bent  over  the  first  string.  The  arm  at  the  joint  of  the  wrist 
must  be  held  still ;  the  hand  must  be  limber  at  the  joint  of  the  wrist.  The  neck, 
or  handle  of  the  Banjo  should  rest  in  the  left  hand,  between  the  thumb  and  ftrst 
finger,  usually  termed  the  fork  of  the  hand. 

Like  all  other  instruments  the  Banjo  can  be  played  in  all  keys  ;  but  some  are 
more  particularly  adapted  to  it  than  others.  The  most  suitable  are  the  keys  A 
and  Eij  :  F§  Minor  is  also  a  very  good  key  :  and  C$  Minor. 


HOW  TO  TUNE  THE  BANJO  CORRECTLY  BY  EAR  OR  NOTE. 

The  first  thing  particularly  requisite  is  to  have  the  Banjo  in  tune ;  to  get  the 
correct  tone  and  volume  of  sound,  and  have  it  best  adapted  to  the  voice  It  u 
pitched  to  play  in  the  key  of  E,  four  sharps,  and  A,  three  sharps,  which  are  the 
natural  keys  for  the  Banjo,  although  it  can  be  played  in  any  other  key,  but  not 
with  the  same  ease. 

The  bass,  or  fourth  string,  must  be  A,  the  third  string  E,  the  second  string  G 
sharp,  the  first  string  B,  the  fifth  or  thumb  string,  E,  an  octave  higher  than  the 
third  string,  and  is  the  same  note  as  the  first  string  on  the  Violin. 

Commence  tuning  the  short,  or  thumb  spring  to  E,  or  as  near  as  you  can  get 
it.  Then  place  the  second  finger  of  your  left  hand  on  the  first  string  at  the  fifth 
mark,  or  fret,  from  the  nut  across  the  finger-board,  which  is  E,  (and  is  marked 
for  the  second  finger,)  and  tune  it  to  sound  like  the  short  string. 


EUDIMENTS     OF     MUSIC. 


Place  the  second  finger  on  the  second  string,  at  the  third  mark  across  from  the 
nut,  and  tune  it  to  the  first  open  string,  then  your  second,  first,  and  fifth  strings 
will  be  in  tune. 

Place  the  second  finger  on  the  third  string,  at  the  fourth  mark  across,  and  tune 
it  to  the  second  open  string. 

Place  your  second  finger  on  the  fourth  string,  or  bass,  at  the  seventh  mark, 
and  tune  it  to  the  third  open  string,  and  your  banjo  will  be  in  good  tune. 

When  the  banjo  is  in  tune,  the  following  no'es  are  made  on  the  open  string. 

A  E  Git  BE 


Ifllllll 


-9- 
3rd  open. 


1 


2nd  open. 


lit  open. 


4th  string  open. 


5th  open. 
Thumb  string 


To  play  in  the  keys  of  D  and  Gr,  tune  the  thumb  string  to  D,  and  the  other 
strings  accordingly  ;  which  will  bring  Gr,   D,  F  sharp,  and  A,  at  the  nut. 

N.  B.  In  playing  banjo  style,  the  notes  must  not  he  picked  up  with  the  fin- 
ger; they  must  be  made  by  striking  down  with  the  back  or  side  of  the  finger  nail 
of  the  first  finger,  the  side  next  the  middle  finger. 

D  sharp,  on  the  first  striug,  is  sometimes  made  with  the  little  finger,  and  some- 
times with  the  first  of  the  left  hand,  as  the  tunes  may  require. 

This  mark  ^  is  called  a  Sign,  when  it  occurs  for  the  second  time,  we  must 
return  to  where  it  previously  occurred,  and  proceed  to  the  paused  which  is  placed 
over  a  double  bar  at  the  conclusion  of  the  piece.     The  word  Bis  over  any  num- 


ber of  bars,  signifies  repeat ;  it  is  sometimes  accompanied  with  dots  at  the  bars, 
always  with  a  line  that  embraces  the  entire  strain  which  needs  repetition,  thus  : 


Bis. 


iES 


=1: 


m 


NOTES,    CHARACTERS,    &c,    USED    IN    MUSIC. 

Musical  sounds  are  expressed  by  certain  characters  called  notes.  These  notes, 
seven  in  number,  are  denominated  by  the  first  seven  letters  of  the  alphabet,  viz  : 
A,  B,  C,  D,  E,  F,  Gr,  and  are  placed  on  a  stave  composed  of  five  lines  and 
four  spaces,  either  on  the  Hue  or  in  the  spaces  between  the  lines.  Sometimes  the 
notes  extend  above  or  below  the  stave;  the  additional  lines  that  are  used  are  called 
ledger  lines  above  or  below  the  stave. 


NOTES    ON   THE   LINES. 


NOTES 


SPACE. 


Si=N=i=^S 


ADDITIONAL,    OR    LEDGER   LINES. 


-O- 

m 


-m- 


3 


A  Semibreve. 


Minim. 


Crotchet. 


m 


w 


:sz 


=st 


Quaver. 


Semiquaver. 


Demisemiquaver. 


6 


RUDIMENTS     OF     MUSIC. 

THE  LENGTH  AND  PROPORTION  NOTES  BEAR  TO  EACH  OTHER  ARE  AS  FOLLOWS. 


A  semibreve 
is  as  long  as  two  minims,      r 
or  as  four  crotchets,       I 
or  eight  quavers, 


I 


I 


■x--- 


-\  A  minim  is  as  long  as  two  crotchets, 
~y        ~|A  crotchet  as  two  quavers, 


I 


it: 


:?: 


p 

±z 


-I— 


-P- 


,  ~~|  A  quaver  as  two  semiquavers, 


or  sixteen  semiquavers, 


w  thirty-two  demisemiquavers. 


m 


P=* — «_p_^pzzz7i:=pzzzp:zzzpzzzpzzrpzzrpz=p=zrp: 


m 


hg=^ipzpipzprgipipzpzg:pipzpzpigzp-pipip=pzpi3izprpzpzpzizgzp=pz| 


A  semiquaver  as  two 
Demisemiquavers. 


DOTTED    NOTES. 

A  dot  increases  a  note  half  its  length,  for  example  : 

A  dotted           r-ffi~                     |  is  equal  to  |    y      ~               ~  n 

semibreve,  thus  :  R&v — ^-- -I  3  minins  :    \~fc\~^~~ — ^ (^ — "H 


A  dotted  crotchet 


-I h 


A  dotted  minim, 
thus: 


s^ 


is  equal  to 
3  crochets 


jz^iil 


A  dotted  quaver 


is  equal  to  3  quavers 


is  equal  to  three 
semiquavers. 


sua 


mmM 


i 


TABLE    OP    RESTS. 

The  Rest  implies  silence  to  the  performer,  agreeable  to  the  quality  of  duration  of  the  rest. 
Hemibreve  rest.  Minim  rest.  Crotchet  rest.  Quaver  rest. 

3F  & — ~- — 


Semiquaver  rest. 


Demisemiquaver  rest. 


1 


=P 


:»z 


]/ 


9m~ 


RUDIMENTS     OF    MUSIC. 


MEASURES    AND    BARS. 


Every  piece  of  music  is  divided  into  short  and  equal  portions  called  measures, 
by  small  bars  drawn  perpendicularly  across  the  stave,  or  staff. 


Repeat  this  bar. 


i: 


i 


Bar        Measure 

Bar 



__^_ 

Bis.    Repeat. 


i^=si 


-p— £z:  , 


A  piece  of  music  is  divided  into  strains  by  the  use  of  the  double  bar.  When 
dots  are  placed  before  the  double  bar,  they  show  that  the  previous  strain  is  to  be 
repeated.     When  after  the  double  bar,  that  the  strain  following  is  to  be  repsated. 


Double  bar. 


Double  bar  with  dots  before. 


Double  bar  with  dots  after. 


iiiia  iiili  §lHii 


TIME. 


There  are  three  kinds,  of  time,  viz:  common  time,  when  each  measure  contains 
two,  or  four  equal  parts,  and  triple  time,  when  each  measure  contains  three  equal 
parts,  and  compound  time,  when  each  measure  contains  six,  or  more  parts.  Com- 
mon time  is  marked  by  the  letter  _£t  and  by  figures.  Triple  and  compound  time 
by  figures  only.  The  letter  .£*.  signifies  that  each  measure  contains  the  value  of 
a  whole  note. 

When  figures  are  used,  they  signify  that  each  measure  contains  such  fractional 
part  of  a  whole  note  as  the  figures  indicate,  thus  : 


''£■ 


ft 


:£. 


1 


The  upper  figure  shows  the  nnmber  of  parts,  or  counts ;  the  lower  figure  the 
kind  of  note  to  each  part,  or  count. 


1234 


EXAMPLES    OP    TIME. 
12  3    4  1  2 


THE    SHARP,  (jf)    PLAT,(l2)    AND    NATURAL.  (Jj) 

The  sharp  is  a  sign  which  raises  a  note  a  semitone,andthe/?a<  lowers  a  note  a 
semitone,  and  the  natural  restores  a  note  that  has  been  effected  by  a  sharpor  flat  to 
its  original  sound.  A  sharp  or  fiat  placed  before  a  note,  is  called  an  accidental, 
and  affects  all  the  notes  of  the  same  name  throughout  the  measure  in  which  it  oc- 
curs. When  sharps  or  flats  are  placed  at  the  beginning  of  a  piece  of  music,  they 
effect  all  the  notes  of  the  same  name  throughout  the  piece.  The  sharps  or  flats 
at  the  beginning  of  a  piece,  are  called  the  signature. 

There  are  as  many  sharps  and  flats  as  there  are  notes. 

The  sharps  are  placed,  beginning  with  F  sharp,  by  fifths  ascending  and  by 
fourths  descending.  The  flats  are  placed,  beginningwith  B  flat,  by  fourths  ascend- 
ing, and  by  fifths  descending. 


THE    PAUSE,    &c. 

The  pause  ^  is  placed  over  notes  and  rests,  and  denotes  that  the  performer 
may  dwell  upon  the  note  as  long  as  he  thinks  proper.  When  a  pause  is  placed 
over  a  double  bar,  it  shows  the  end  of  the  piece.  Da  Capo,  or  D.C.,  indicates 
that  the  performer  must  begin  the  piece  again,  and  end  at  the  first  double  bar,  or 
continue  to  the  word  fine.  The  sign,  $J1  indicates  that  the  performer  must  re- 
turn to  the  first  sign  and  end  as  in  the  DC. 


THE    FINGERING. 

The  X  has  reference  to  the  thumb. 

The  figures  and  letters  above  the  staff  have  reference  to  the  right  hand,  and 
those  below  have  reference  to  the  left. 


8 


RUDIMENTS     OF     MUSIC. 

GAMUT  IN  THE  KEY  OP  A,  THREE  SHARPS. 


m 


Fifth  string. 
Left  hand.    Open. 

A  ft__ 

mJq. MS 


Open. 


Fourth  string. 
2d.    f. 


2d. 


4th. 


Third  string. 
Open.  2d. 


I    Second  string. 
|Open.  1st. 


Open 


First  String.  Second  position.       I  Third  position.    ( 

n.    2d.         4th.        j     2d.  4th.       !    2d.  4th.    I 


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X    thumb,      — 


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A 


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C#  D  E  F#         G#  A  B        C# 

GAMUT    IN"    THE    KEY    OP    E,    POUR    SHARPS. 


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i 


D 


F#         G# 


I    Second    string.     I    First    string. 
!    Open.  1st.       '  Open.    2d.       4th. 


Second  position. 
2d.  4th. 


Third  position. 
2d.  4th. 

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D#  E  F#       G#  A  B        C#       D#  E  F#  G#  A 

As  the  thumb  of  the  left  hand  is  never  used,  when  the  first  finger  and  thumb  is  mentioned,  the  performer  will  know  it  is  intended  for  the  right  hand. 

FIRST    EXAMPLE,    LEPT    HAND. 

To  make  a  strike,  fingers  down  ;  the  first  finger  atthe  first  mark,  or  fret,  marked  A  on  the  second  string,  the  second  finger  on  the  second  fret  and  first  string,  marked 
C  sharp.  Right  hand  :  have  the  wrist  directly  over  the  bridge,  touch  the  first  string  with  the  back  of  the  nail  of  the  first  finger,  and  the  thumb-string  immediately  after 
with  the  end   or  ball  of  the  thumb,Xraise  *be  fingers  up  and  repeat  the  strike. 

To  the  first  strike  count  one  two;  to  the  next  three  four,  and  so  on.     To  the  half  strike,  count  one,  two,  or  three,  four. 

A  strike.  A  strike.  A  strike  A  strike.  A  strike.  A  strike.  A  strike.  A  strike.  A  strike.  A  strike, 

down.  Up  or  down.  down.  down.  down. 

JS Open    \  2*1  \  .J^LJ^  3d       |^  Up    ^  2«1    |S  Up      \ 2d    \         -    Up \_ 


l8t       X 

Count    1         2 


SECOND    EXAMPLE;    A    STRIKE    AND    A    HALF. 

Give  the  strike  the  same  as  in  the  last  example,  first  with  fingers  down  ;  make  another  nota  with  the  first  finger  of  the  right  hand  on  the  first  string,  4£  raise 
the  fingers  up  and  repeat,  at. 


i 


A  strike  Half 

Left  hand.  Down. 


A  strike 


Half. 


4r-t 


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Count.  1         2 


1  St 

3  4 


RUDIMENTS     OF    MUSIC. 

A  scale,  generally  speaking,  is  a  succession  of  seven  notes  ascending  or  descending,  which  consists  of  five  tones  and  two  semitones. 

Tone.        Tone.  Semitone.  Tone.        Tone.  Semitone. 


0 


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EXERCISE    IN    TWO -POUR    TIME 

Strike.  0 


Pull 


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IX  IX  IT" 

EXERCISE    IN    SIX-EIGHT    TIME. 

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EXERCISES  FOR  THUMB,  1st,  2d  &  3d  FINGERS. 

X  Thumb.     One  dot  ( . )  1st  Finger.    Two  dots  ( .  . )  2d  Finger.    Three  dots  (...)  3d  Finger. 

No.  1. 


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Every  8  bars,  to  be  repeated  Piano,  to  sound  like  Echo. 
4      3       2       1 


Arranged  for  the  Banjo,  by  N.  W.  Gould,  June  10th,  1863. 


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fczLEzi- ~ 


:H-*:*-?-&»- 


S     S      S     N 


it 


=  nfl-ir-NT— , 
-.0     _J-_! — rt 


fc   fc    &   fc 


-2r:zzjz— _7^=^_^iT-^rt--i^zqf5.izgi— zzjizi^zizzj— ^zfz;i==i^r^iiJ:pi~q:q^:r-J=^!ii^57 


:S^=^: 


F=5=2S3Sz3z^zBzz^zd:  :zzSzjzz+^E&l-«ziz^|:  fgSdbfcfl:  l=f =f 


— «i-»-*4* — i^ 


-fi»- 


-^i^z^ziz^:(gg-^z^i::|:r:r-a:   ifzz/tfetpEii 
•zjzzi'z  —  «z r^ ^^z^-^-^-lzzi: 


Fftt 


d: 


^^|pll 


-<S>- 


CHARLESTON  GALLS. 


Ut 


¥*W=££i 


--■=&=* 


^ — zzN-i * 

1 — ^~ 


rf^»^FF-g^:.%r»±- 


J 


-#— 0 

zzzzt 


-*  —i — — — -L-«|*w- 


P-«— „- 


SOAP  FAT  MAN. 

:?ilzi^z5Izf???I?zN— ^Izrin^^F^z^~~F5: 
^  JLf  jczziz :  :±fz*z*zf  zHzzczi: zj-izzHzzp:  :zzztz£z^z±zz!: 
- ii-#-i* s_B_^_B  zn — g-#-#-i^>-*NNj— J-^- 


-•—•—■d- 


M|zzzzzzzzz-#,ZTz»z=::zzdzzz^i=z|z:zNzizzz-zrzzzz^zzzz 


z*zzjz:-* 
tf-zi  zz«zz«:zi 


tfi- 


20  PICCAYUNE  BUTLER. 


ft 


=§ 

y*"0^ 


c-4MT-#-#-f--#-i»-| — 


^g=p^t= 


I*        ft         fe  *  *        *         $        *         fc  * 


DAELING  NELLY  GRAY. 


z^:  =j-  "h  W*~         V*~ 


-ft-*?-  /€-€-€-  «-•-«  -H--1- 


-'if— 


0  0  0- 


*=i±& 


3E 


JAMES   BUCKLEY. 


NINE  O'CLOCK  BELL,  (JIG.) 

-ywirt^-*--^ — T-* — ct— ffr-j* — T--j— -T^-j^«^-    r  -        -       " 

\ — — - % — I — '-^ ^  -  g — b~i — ' !^—  —    t — I —    — i— — ; — *— h— f — ■ — I ^,^: — *~' — — ^*^z:iz 


!> 


r-  ==i~ 

■      -#- 


ZE=E« 


— t— l"% 


$■ 


zn 


'^•zzizzzjz: 


l] 


ANNIE  LISLE. 


-«-        v«-  -*--  2*    ©#-  -0-        xtf- 


•^=t:J:i -Szzzzzzjzz'z 


*fc 


CHORUS. 


-y. 


EING,  BOYS,  RING. 


* 


Z^ZZz/§ZZ?Z 

-0 — \a 


=P=* 


-^zzzzf^-zzzz^zz*— *~T+-^- 

-« — «j—     —4- — »—       —  0 — 0-l-Gi- 


'0 0- 


?; 


zzzzc: 
—rtr~ 

— ~<5>— 

1- 

-&- 


i>         -3- 


21 

I 
I 


M|gz^==-^izz^^==^z-i~i=q=S— -pij^zzzzzz^pfzzzzzz* 
±i|zzjz£y^ 


S     •  \  N  I 

K        K IS  I 

:»z£zp-»Zgzpz^z^-zi:^gz* 


H-M~  ■-•-I 


N  N 


M 


t£&53^ 


ftzlzz! 


ipt^zzz A 


J 


#-#-»-F+&#--  -« — cm— 5-f— "-f-«-"+q»---b — f**+-ifl*— -'-•-■-fTI* — » r**--!! 

t=m:j!rzfz£c:^^ 


ABRAHAM'S  DAUGHTER. 


yt 


jp^^^j-z^zzzpz^ 


^ESzrBzt; 


IzJz^zzzf^rizZ 


-0- 

5th  Position. 


I  2 


/C\    /T\ 


QUICKER. 


# 


33=Z3? 

0- 


zMzzz*z:*i*: 


-#— *-^#  -  -Z #- *-■ -2S=r_ is—g- 


tzzjzzzj-*-;: 
Mzzizzzzzzz 


a=«=i 


*-»•-# 


.  -_ZI__, 


=t 


izjzlzzr*  -0  z^zzz^zzzzzTzzizzzZzzH 


22 


WILLIE  WE  HAVE  MISSED  YGU,  f  JIG.) 


li|^^5i=^i^^^i^l^NEiEg;gggg3 


ciiii^ 


:a3=±izzzzf^zzzzj 

— c- 


-ft 1 ! f  — I •— ^— I *—0—^ *  —  -|-i-    !— *—- \—  9 s ' n 1--*-        - 


.t=~: 


ii   ft    2  S*         \-ff-  2       S2       V2       S2       R 

AfcfcpfSzr^tzrj iZi-pEpzp^zp^ 

r- If  — I — e> — I — ■£- — h-— f--;  F-H-l — I — I — i — I — j— ■ 


ft  ft  2      ft2      ft2      ft3      *2      ft£      ftS-    ,*— ^  , 


VILLIKINS  AND  HIS  DINAH. 


•j ifer — ^~T"1  — ^~! — =1" 
ztt  J«J. pi-  :zd zzzzz±: 


z^zzzz^zzzz:j:fz:jzzz=pz^ 


pzzzpzzz^ 


I 


ift-fi^,: 


zizir=bq_«_^_^_i 


-P 


zzzpzIrgizzzr^-IEjzzzz^i^^z^ztfazzil-TT  >,  LyJ 
zzz£zizg:zzzg3±$zzz*:zz:?z^ 


BULLY  FOR  ALL. 


vilzg/r  ±*zMi-  -  [k*-°  *-  -3z*z?z?z*r   <-•-•-  •-*-+  /j—ai -•—*-  -3— d** 

—&[«- J  a- z±=* __IZ*Z „ 1  g- iz#- ■■ 


t^^tp 


-9-4—9-—1 


I 


iry 


^01 


TENPENNT  BIT,  (Irish.) 


23 


v 
!-T~ K 


:*=!*: 


0 1 -- 1 1 J  —  0—J 1 1  y- 


z-j—zvz-_. 

itzzzzfczzzzE: 


rfz=E*E?E$k: 


-i/=±:L 


ssi 


-^4- — k — I — — *- 


2    1         2 


4    2    1  S4 


■+- 


DE  OLD  LAME  HORSE. 


— *3? 


Ijffgzqg^z?— z=pf:z=ziz^^ 


l — b-p — *— i — p* -^rf ~t~~j'  ii~  :iLz*~t-: 

S         N 
N  \ 

^z=— qz  rzzzzzzztigjzjizozi 


JAMES    BUCKLEY. 


*ti     ^  ^  =^       FINE*        ft     ft    ft      ft    ft 

-H> HH-^-"-» — B-F-+-b~f--  •— — d — I-    — — »-i — ff--         —I — +ffl — I — F-| — •-■-•- 


fe     *    ft    ^      r~. 


-— ---•+2?'i — 


::3p= 


LOR  BEES  DE  LADIES. 


JAMES  BUCKLEY. 


-0 •- 


'tzjzzzpzrzm 

-! — H-"-1 1 — (- 


-^-fh-%- — ^ ^  r->»i_ 
gz1;^=JIgzjrrgzpr^; 


■-  .  '  —m-     z~\  \    '     '    I — j — I — r     i* — ;s==:  *    ':| 


■     IM^II       II     I 


.==     -F 

-j  I  ,         '-- T-l 1 


MzT^zmz4ztzfiz^zwzz^ 


-#- 


24 


SUGAR  IN  DE  GOURD. 


JAMES   BUCKLEY. 


l-f^^i-^*£ 


3 


—I 


-^4*~      4-  _.._>rr-J      -3=    --ji 


^^  5th  Position. 

h^^Tj     P^1",""  i  ]'■■  ■■ !■■  4     i        _n^i  i  p 

ifZZL^j-frJzfeiz:^ 
5th 5th. 5th 

— _j_ —b»i— ' — L-«iJ — *-a — — i    — r --— t-j — zzli? * zqz ^*—*m — L-  ED— # zzjz 


THE  NIGGER'S  FROLIC.  James  bucklet. 

I^zzfezzzzzzzzfe-^ 

-#-  -*-  -m-  ~m-  '*  n  • 


•flj — ^ — ^ —  A1-  ^T--r^=q- . -t m- -N-r-TTq th — ■-.*  t 

p?f-jt:t:zz— Ez=«z^^ 
^iizzpzVzzJzip^ 

fezttzZ^Jz^fz^rzfEzVzirtzztzztzztzziiihzz^rztzz  •zzzzzLz:  :§zzzzzzz*zztzz*zz=b:r:  :zz==z:zizzzt:  zzzzzczziM 


g^EgZ^^El^Z^E^i^^Z^^E^^SZ^^Izg^Z-jZgEjE^J 


*     LES  SYLPHIDES.    (Mazonrka.) 

„  fc  7thfret-  fe 


MMES   BUCKLEY. 


25 


h 


*fe*£z 


m^^m? 


P4- 

3F 


D 

:|rpiz^iT/4;=/J— z^rza 


:fe7j 


A 


u 


6th  position 8th  position. 

4m  m  4«       -Cr- 

~7»,       gj;~ 


1- 

i — 

-0- 


6th  position 8th  position. 


-F^~F-     /4iS — 


,--4-4- 


J«: 


— i- 

e#-  - 


^e-±(sEfea±/!E-fe 


-g — FF-^ 


7th  fret. 


i l  l  ' ZJ 


*r 


*r 


nt  =fcj     N     I    J 


PEA  NUT  GIRL. 

*  ft   r 


5-flP 


Tth  fret.  \ 


£j 


^==3E 


-«^- 
* 


--Z 


=3: 


-* — 


11 


W.    H.    GASSNER. 


5=wi 


I, 


^EE=?EE££E£ 


!-J 


15  1^  ^te~,      1-3— r-a  M»»  15  15     _L_     _ 

^  z^-^-#-=^z      fi^--w    £-£— 'sis    ts±d  ^- 


3d  position  • 


fc«=»cfc 


*p^4=V 


II 


26 


KATE  KEARNY  WALTZ. 


VON    BONHORST. 


9th  fret.  9th  fret. 

u  *  4  &     '  fc4  4  fc  -i  b 

-8-fejr—- *-*-*-t- ^— zTzi""-r.=~-T j^zgzi — '-* — t p — r  '— '     "!~t —      H      t 

EzzzSzgzczf^zizjz'zrzzEz^^^ 


K 

A 


-*-! I— |— I— -f~ 


_,AJZ=zzL 


H_H— ZHZTZ^ 


s^a^ 


Ui..i...J 
9th  fret. 


XT 


--¥?----< 


•4S 


KATE  KEARNY. 


z*z*zzU-rfzi-^rzpzt=c 

*~2  W-HHH 


■  "d-zj_J_z|_j.__i — | — | — \—0 — ,_.!._■ — 1_| 

^-#-g 0- J Hr-rj » #-t -.  — 


-f- 

— I- 


ztzi-zzzi±::zzQzzzt:^-* 


zir- 

0 


7th  fret. 


fe.* 


:zjz:: 


zzz---^=:Tz4^z5izzzpzzzzzTzzzrH'n=J=J==p!zz| 

^^bzz|zzEzzbJF-;z:gzipz|zzgzz^zgzz|zzgzzzz^zzt 


5th  fret. 


-T-*~ 


:-r-+^- 


4  %*— 


c#- 


S*Tf4# — F  —  •~T/-^ 1—  *-+  •■ 

&L-  I        I         \o-i- "  1- 


— # — f — » — i 

i — ' — i 


¥==■ 


fc4 

J^F 


Zi i-j-o*  J~<-\ 0-\ — -O0-- '—  /#-t-a-P-+ #-| — 9 : ;ZZMZg_3zz_.J --#-1 y—\\ 

:1^i!fcz^ziziz£rfztz^ 


SBsSsJSiSi    2* 


#      -? 


LAZY  JOE,  ( Jig,) 

--4-S5^s —   _pS-^& — 

zz4zdzzzz^z-?ztzizjzzzzz|z?zPii 


':=iz- 


■a-1 


-V 


^fi-0 


ir_S.  i_ 


r-^a; 


^7azz:zzz::-z^ziz|^^:^«|^:^t^:^ 

Iztz-T '  ■  i  ■?  f -T:1— ^"  ^tdr-yS^ bP 


&s 


8=  ^ 


LAZY  JOE.    Concluded  27 

ii  J*  I03  I  "1    1™?^  w  1?*  R  ,    '■'  Fq    

-3 — 000-000  000-020-0-0 i--\--^ — 1 --i- 1 a — *>mi  000-000-000-  000-0-0- 1 — 1 — 1  -1— 0 f i 0-  *  -4#  — i — 1— «^ — '  —  II 

z^ifz^z:^1— zz :  *-±^=«i?  adhi= izzzjtz J  ifiEEzzz  zzitSi  M-t-r^M — fa+^-^fid  f  gis-zz; *hr-  •-^--i- II 


T< Oj    .WANDA  H0MPIP£7 


■»zz=z:  «:?:«d  f  H-i-— .—         !  z.  *  izzzzj:  H 


JAMES    BUCKLEY. 


lilpl^"^— ^ 


:§££ 


-P*y.Kr 0—i— 


l_zzz^: 


zg3^i^3Z^Z^ZfZpE^|SaiZ?Z^^S 


; * a #_ 


■FT-=fi:*  -J=  --t-t-W 


ifcEa 


#q= 


:.J=" 


5j±s=33~: 


:lJzi==;=z^=z^:izzz^^^^55: 


Tth  fret. 


-0-0  0- 


F 


s 


izzi  -  zzz3_zf z£±l£j 


ztz- 


-h- ~F=S-t 


5-1-5  fc 


Fz± 


rp_, — •--j-h-#: 


immii  ■■ 0 


CONGO  JIG. 


(IP 

^0^0-0- 


U-ffl 


z?zSzit-_:  zM^pizz  33z*r.  :zz! 
1* i-E— J-  - 1-»#  -*  *  — «^- — r — |. 


5th  fret. 


JAMES    BUCKLEY. 


R     £^-f 


Ebb  :izbtSz3^i*i:  zf 


J-^--zJr-z3z 


2zzzp+ 
zizt 


E-Zzzzzipi^z?.^ ziz#z*z*zJ =S5=i: 


rziz-tz: 


£ 


rtz=zF=z!:zz%=^ 


-tf.»-— I-f-h  -f--W  5--BM-J) s-»_p^»-i-z_*z ,_»— T:t =zzzzpi»ziz*zpz»:p: -^-»_zT»z_  »z:zwziz»iiz#:* #:»z^zzi 

>•-  -p*  jJ-      "tea  5thret-      _==^  :      asa"   ^" " d    ' 

■■m  9th  fret. 


28 


PEARL  WALTZ. 


-Q ,-g.C 


-0-  xo<s?-  -m- 


:p4l=Mi: 


7tn  fret. 

-T-JV- — Trfc*M= 


JAMES   BUCKLEY. 


»■** 0- 


z5z 


XI 


zp: 


ijzigji^— -^'zizzzLgz^jzi 

1 ± i ===^-« — x <5> # — ■■ 


jjjf*"  «     'fl^'j/i^zz-zJzzzJ 


1 — ^— — f 


—  0 — y-T-0- 

^zzzjgzjzz 


N  —  __JS 


7th  fret. 


1-i-oJv-J 


YARGINNY  TOBACCO  PLANT,  (JIG.) 


— 1     I    I  en-  — U 

■0-\ L^1  ©#-  -#- 


I  ft  L-feJSfe-J^fe— ^**- 


3_*i?zzz  :~!z*z*zzz!! Jtzzfzaijz:  3~Jidn)zzr=zi| 

r — ^=^ >=^ :=: *_  J  0±.0-g  -|  -  -| — 1__ 1_ 


^ZpTj-ZJZI 


JAMES  BUCKLEY. 

3 


4— --^#-      —  — 

5th  position. 

u,  j*  2  a    $    fc    ft    ^^,    ^^        ^s?  i  1  1  1  ^ 

fo!l=3=^3:3-PS?^  -tja3^==-  zgz*  jzzR^Izfezqizlzztz:  :z-ft^=5=Ui=P=:  =«E=SEEfir: : 

5th  position.                                      ^ 
SZEZ— t": ?i »iJ-I_H •-J 1-^-+ F«— '.^J i-r««»i«s=t— *J **-0-*--0-S **.S -** 


zt*    zz\z^-0 


0^  **** 

BLUE  BELL  VALSE. 


-4-*-a — /  —I — ■» F  -  n^-Jr-1 — «* — ■-]- — * s — 0- i-J- — '-# **^»  —    — Zj~ 


JAMES  BUCKLEY 

5th  position. 


7th  fret.  5th  position.  5th  position. 

,*?-5_ —-b^-t 1 - T — — 1—       .      I-T — i #©J- — T — ^*H — l-T-J-y-*^**.-T-/4#-/'»-#-4-0 


^3p 


N 


-#= 


-0- 


BLUE  BELL  VALSE.     Concluded. 

7th  fret. 


29 


(tg=Sl||5^ES 


SaSffli 


a-,-^|yii> 


:fe^==: 


CHICEAHOMINY  JIG. 


23(3^ 


"*    **~  *- 


pr* 


cr 


zt 


-=4 


JAMES   BUCKLEY. 


f-l l---J= 


N  N  5th  position.  5th, ....  O 


r 

CONTKABAND  JIG. 


-3— « — I — I — r*- — f— n — i— a— ■*•-£& — t  F-i 


a — 


JAMES    BUCKLEY. 


FINE. 


jSU?C.  Fin 


„  jSUTC.  Fine. 

- — ^uJ tssid ^f  SL  r_      fc— "        1L>  I  —  tissl ^f  *t  £jt^3~\~\ — ^ — * 


30 


AUNT  DINAH'S  SAUCE  FAN. 


JAMES   BUCKLEY. 


5th  pos 8th  pos 

4    3 

H™1-^-;r *-»-s#— I— F*# 


5th  pos . 


te= 


4    -0 


8th  pos . 
4    3 


izzzprzir 

4th  pos 


•4th  pos 

4I1 


-•— * 


Tune  the  Bass  string  one  note  higher,  thus. 


zqr 


II 


WRECKER'S  DAUGHTER. 


rl*|J.TI»T     y. 1^, i ^^_J__i^ i K L 


7th  pos  12th  fret  7th  pos  12th  fret.  6th  pos,  4th  pos. 
U    if         <pU«-    |-^F-2    2°   lN»    4nN4 


7th  fret. 
4  f| 


7th  pos  .... 

nan 


-*** 
** 


-** 


7th  pos. ... . . .        4th  pos.  - . . 

"J  ^ 

-     -— -/4?-»    ^ 


j»  ft        «3 


/*» I-Z9-B    r-0-+ 77: 


-H — H 1 


^zpzgzzzp3=:pz!^==-zj 


fcUJ 


tizzzzzlzzz— zzzzzzz: 
~P~ 


H=i:d-z=J== 
-*— b»*" — « 


fcfc 


r  o#- 


5th  pos 9th  pos 

gpr^p-t— ;rp=t  *•:  • 
bzzz^fe;trprS-t:-t:\rt-i\E: 


5th  pos •;. . 3d  pos 


u-s^r 


~ri — *-- 1 — aiTi — in i— *T 

,  _l  ._  v —  fl_, — ^-_ gi-H  -U  -5_i — — #  -i — u  -j — • 0— I*** 1-»- 

- —  I— '-*-**• — #-i-"*-J  #-h«* — i-^— te L — I-*- 


Z^Z^-H=rfpj^iz*ZZ ^Zilti»=^lJ  I*Zd-Z#  *4fl 

jzzidlzzJ-EEfazi; =*Jtj  izzzz^zzjzj]  zzzfE^Efzzta] 


WOOD  UP  QUICK  STEP. 


JAMES  BUCKLEY. 


31 


jkA , ^ , 

j§3S#(tf*: 


5th  position. 


1 37*8— r/*5— r-    +§— *^*l#-*--h — I — #— p. 


5th  position 5th  position 5th  position 

'00-  -0-  -0-  \o0-         I  00- 


5th  position. 


ULll  pUSlUUJU ..••••••• 

-ff— I 1 g — *~-* — =P— H~^— *—  /ti — t  r^~ r"  t* 

*O0- 

ife35t:n=;T-£q 
ff  .  I  d  *  0-*M~t-7ri. 


^ 


:p=* 


0- 


i^^ 


5th  position 


-  ^»-^-^  -*Tzz| y — — — L 

60- 


S^=irfcrri-T-J> 


fei-ffi 


.^: 


5th  position 


-| ■-pt/-2*-#-yfl-»--lS-*-»I« m-M~9 1 1 — |-~ l-=-=-F--l20-0-|0' 

©0-  I 


i 


JS_ 


5th  position 


o0- 


"~t 


40-   -0- 


-0-  -0-    -0     -0- 

■2 —  iM—d—g- 


I 


00     -0-    -0- 


14th  fret. 

20- 

la 


4  0 

:zlzzxzztz=rz 
-=j- it: 

©0-  o#- 


40- 

[zzjz 

00- 


11 


32 


ANVIL  CHORUS. 


JAMES  BUCKLEY. 


!    N 


— I'fl    i|.    !--- 1 — ff  --F— FVB F--  F F-F-r»-s-~+hM — 1-#  J— I— i — I — |-i—<—l — |-H-=-= — ^ — FF-— i — FF — ff — I—cf-* — ( 

Ez»f»^z*j:fc<^_*zzt*«lj^ 


fczizzpfczizi,— iz^ 


J  312  |S       |S 


- -5— -'.    I    L^LzzlzzFHfcii^1 — ! — 1 — 1-=^ — hza±dl=rtzj:zffi£zt£:pz: 


zizjq-j 
_ziJztzLi 


12  1  3 


<5?- 


-y 


-<S>- 


1     3 


I 
13     12 


-0000000- 


■% 


-! — ! — h^i — h- 


-fS>- 


pzz> 


1* 


'-^^-^-1 ^-1 h-h-!<^^--}=^-h-l^^^=-!-d=:^i=' 


— #— i — #a( —  — 


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zzzzzzitzzz: :  /gzzzz/gzzzz:  /Sizzzzf  z  /izzzzzzzizztzzz^z  (gtzzztzi  $zzzj!: 

zjz    zjz       ^      \g:       ^i  y      f     |  fi  -V= 


Jzzrzzrzt 

— i — l  2r^ 1 — i — a 

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4 


ztzpzizzzzrzzzzzzzzjzzi 
^zSzzz 


tirzzzzz^Ti-rz^jz^zzzziJ-^zzzzzJzirfzjzzzzi    *    «_i-^gz3:z! 
^zJzzz^^rj-lzlzzzzii^-^ag-fe-^8 ll==^? — jg-if^4- 


=£ 


#8 


-g — 


Hi 


SCOTCH  JIG. 


VON   BONHORST. 


MINOR. 


^        i—i— v«5    I  ^    i  ■< 


-U-T-T- 


6 


33 


-eg* 


X 


=PTh: 


s=a 


SS3t= =C*=i-— - 


10th  fret.  8th  fret. 


8th  fret-    5th  fret. 


£  ♦  fiftf--  rf  f-fr  fir  >.-ri!  J J 


& 


i 


■  »■■■■■!  ■  ^ "-■ 


■fr-t- 


SNAPPING  TUETLE  JIG. 


-1-J-— — ^^r-^^rtpir—   -«-TO 


JAMES    BUCKLEY. 

— ll^' 


-S 


t^ 


iili=^lii3 


=e   ^-3 


i 1 1- 


-     -"1 1— H-f — i—  •— 1 # — 3— 

#— j— -I — I--H — 


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di:::J=z=J=: 


E==* 


1 


34 


JAMES   BUCKLEY. 


TOE  DE  MARK  JIG. 


u 


zzi^zzlzzi 

-0  -j  -a-~     -* 


•-      -^-  -•-  .  -#-  «—  -0-i  *-      -0-  -0-      -*- 

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0-1 0 

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MAY-FLOWER  SOHOTTISCHE. 


JAMES   BUCKLEY. 


<  ft      »      N   ^  PH  PI  &     n 

i?#o:z?ztpiz-rfz:5s^ZKZ^^;:qzMzx:zz: 


B^ 


izzfzhiEztiS^-Jzz^.Szzlqz 


-> 


5th  position,  barbe  . 


:jt*:=i=rfrf:: 


z^z?  •  Jzz:  qz^zzizzz.*:  'zziz^ztz^t: 

7th  position 


-J: 


lE§iizS3i§|i^g^ 

■onm.-1 # #TH-^= ! J  #-* — i' 0 l 


5th  position. 


J*  ft,,    1        J         ,    3    1      K3  L    .1.^1    1    I     R.        a,m  m, 

fl>  S-F-F-a-5-F »-«-F— *-»  — r "~ — 1-  1 — \~S0-1 0-t-or-\S0-\ — i — * \--~ 

-*f -tf-K«f— ftt-p-P-H- 1 — 1—  W  0  0  0^0-0^,-^-  £J-tf"mL.-0-^--i--  E#£-  r_z_^_#_|Z^__0. . 


j,    7th  pos. 


»i»zz.,p?: 


i-y — ~mz~9.     tz! 


*& 


t2^£*$ 


i  r~i —  r~i — * 


.-— * 


^^~P^\^^W=f^W=^i 


7th  position. 
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i7ZpZZ^Z=tZ^fZ_ 


loco 


_>_JL * 


fc 


7th  position,    loco. 


^=* 


^zl|] 


YORKTOWN  POLKA. 


Pz=z43zzfz£i:zzz^z?z±z*ziz*|iz^z 


C (ZB_#  _#_#  _  3 


-  -xdz±*_-?; 


J^=n=- 


JAMES   BUCKLEY. 


c*—zzcq=zpzn=^^:F#^—  -— P n— zzzzz* 

E^zzz3zzzEf.z^z^z^Ezzfz?zz^zzl.pzEBz^qzzzl 


Z~ 

0- 


YORKTOWN  POL£A.     Concluded. 

5th  position.  8th  position 


35 


5th  position.  8th  position 5th  position. 

Liz zpza# — ^-^4  ±4  VH-* «»»^^-!- — 1— M-jTi — £-p  "— r1* ^-h-o C^Sij- v 


10th  pos.    7th  pos 5th  pos 


10th  pos.        7th  pos 5th  pos . 


a  #¥=4  M- .  4-     r,     .  „  ^  >-  n  =?=,-  ^1-    i      r,  i 


^pE^;ie^^i 


^E*z?f] 


SALLY  COME  UP. 


;|fe=3;=^~-fe^-j- 


=S35=|=P^f 


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zlzzz- 


zzzzrzp±:b£zc— b^^^^-F^-h^^-^-h-'^-^-N-^ g-^-R^I-h-^d-j-^-^^-'- f^rHh. 


=r?=^E*'zizz£zzfe 

■^■■■i  ^^-^         ^,^^^-w  i^-  ■■■mar  ^     W* 


rizpzizzzzjzzpz: 


llfl 


DONT  TOU  HEAR  DE  BULGINE. 


J* JL__j=rir A J| l™ 

Pzjrf4zz]zgzt:  j  zj«  jggggflS  fe  ±ij  M  p  jzbifzi;' 


z^rtitr^rit+.ijt 


^zzJizzfEfibzizzzj^^ 


36  G.  SWAIN  BUCKLEY'S  CELEBRATED  MINOR  JIG. 

Dedicated  to  S.  Thalbeeg. 


-M-^rt-Q — — i"n-i7H — l-ri 


;i~;. 


^==q:*r;~-±c£ 


Fked.  Buckley. 

I — 1-4«— 1/«   #-i 


A: 


— I- 


=1 
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PTq  n    Pn  n 


i  hii     ri       "u  i  m    i.  r  i  ^    '    i       pii   f   i       Fii   r  i       hii     ii 

-a-       -a-        g«-        *  «g        -a-      -9-       -m-      -•-      -»-      g#-        *        #3*  • 

2  iff  1  •  29  Tl 


IE=P= 


3 


-k+m 


a:£*E^^ft=^Efe:i^i^B 


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lb-j — i a  •-*-*—*• — #-•-• — #_«-0-J  -g — -j-J— I — •i#— >--•— •--!--# — ^•.-#-J- — L-  # — 1-#— x 

-#      -g-  -#-        -p-s- 

r  i      ""i    .    i 


^ 


t&fit^S^tj.? 


^ggl 


-.y 


STAE  SPANOILED  BANNER. 

Tune  the  Bass  string  one  note  higher,  (to  Bb|) 
3  ^-^*- 


-*- *~e J  -4=* J- -— I— -*-  — I J~  w 1  \ 9. — i — I — *-*=**-■ b*» l — *-■  ^ 


--• — * — i 

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*    -«?- 


ft  %     -g- 

V    V  V  -^-     g-    i 


±S=  fc:=fc=U= H 


T— I- 

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i^zpi— iz-gzp 


=b5 

0- 


— i— 
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"  =3J±t 


L« 


•■  ^Efetii 


I:!s=?=*z;;eeeEe^Ee! 


II 


JOHNNY  CAMPBELL'S  JIG. 


37 


Jk-V> 


:^gi^ 


:zzEIz^Iz^z:z:zzg:*-izz]z^^ 


it 


irftizz'.zzz* 

-0 


THE  OTOE. 

N 


0 — ^-v — — y—\ — *--■• — --j— •--y-z— ^ — • — ^— / 


« _,#_f-=rz_rST=d=zzNz— zzN;z 
-bzzttizjzztjzzzi 


I— 


SzEESzzt 


rtt-ff-i — b— 1~— r-:  zz'zzffzz^z-1 
^j2 !z_!:_v_i 


ztzzbz 


siztzz^zz^zp^zzzz 
■  -pztz=E=bzz:zE=t=£: 


y_i_ 


:tzt: 


.tzztzt: 


zsz^-zzzj 


,tzzzt:zt: 


tzmzzJiIz*zzzzz#zzzfzijizzizzzJj 


GENEKAL  BTONSIDE'S  JIG. 


—  _l_c, — I m-m-       w-m—\--\ 1 — i 1 1 f*-#         F-# 

i%zEzEr-E-i:i:^=-!^-=':ii:*ri-ri=±-^-i^= 


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%ZpzzE^ziE^EBq^"Efe=;5=^.^^ 

EitzEz^!zz^z^:zz?z^zIz^z*zz^d^z_iz#.-jzzz_4 


zfcSJgzzzp/zzzplV^z:^ 
feziz&zz^ 


38 


*fc 


ztz 


JN  U    UJN  Jj    JL  U    JjU  V  Xli  dy  permission  of  Lee  &  Walker. 

g*=ft«=zdt*==^ ! ■--'    -  --■- 

„  j*  ft 


— r 1- 

-d  —  «- 

j— tf— tf-1 !    ■■•-'  - 


g-l 


0 — w 


zJzz'zz'zzzzjzzfzz'zzz: 
zj_,.._^izzj__,_#_t_zj_#_#:L#  —j — J — *-•  -r-  r^zj- 


:^zz# 


-*—*- 


-9 — *- 


H l-T 


it 


fhm 


:it 


3    ==fer3SsS=^i 

^.i I_ZL* I-t-- — i-Cd=- 


FINE. 


^^=z^^&E*^m 


D.C, 


•:f:dizfzfrt-c=tilzrr= 


II 


3E»lrf 


JE£ 


— ! — I— 


— I-  #-«- 

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-0-0- 


:s: 


'  JEDEDIAH'SCLOG-  HOKNPIPR 


zfcfzl 


t-e-0-0 
iizzz: 


it 


..:#.:^ZR2:±_:.#_#_# 

:itztzt:it=fczrzt:± 


pzzz=:i^zrzt:l-zzzzjj 


l§ieiiiissp 


fczz==zzF^LZ===--^S  »Jl-»-iA----T^^  >-^-- 

f    ■     #*-t»zz*§zz=: 


FRED.    BUCKLEY. 


_«.  -       '      0B hj;  -—  — 


$ 


Tune  thus. 


i 


DICK  SAND'S  CLOG  HOENPIPE. 


ALU. 1*  a-*- -1- 1 d  — fc»— 


:«3- 


:zh»«H— ,^ ' 

•a — H-H — U-1 

:"z*rizq:*zf 
-  -•-  z^z 


•*? — K- 


;>* 


&-«- 


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**1 


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r^iazzftzzzz^fzi^f 


JL 


E.   N.    COTLEN. 


*u_J_3 


,N  N 


m-M 


z^Sqzz^z—x^zzB^zzz^iz^ztt 

ZjZZZZZ3_Z^| ^H_#h*fr#_^HJ-_g..|«.| 

zz^^zjf^zpz^zz^J^t 


LET  ME  KISS  HIM  FOR  HIS  MOTHER. 


39 


% 


k  U       ** 


*._« 


I — ' 


.  9  .  _«•_ 


-9 0-9 — P  * 


-v-t-3 — ^t «T-t  ^-= zzzzzr  -1— r — ^T~1-"T^i~T 


%zpz,zzzPzz:gz:  iz^EMTzj"  zs£izz£zzz'z:  ::^2-^z  z^zpzzj  tz*z  - jzztz^z:  zzj-z-pzTZgZ  zzjzz^— I 

-zzzzt/zlz*zzt=zzzzzzlz|zz£zzhzz-£ziz^ 


t=5L 


:|JiZ5 — p#= 


g** 


^z-pzzzz:|z^'^zz^|:izz:; 


-.2  -'-  zzi — 9 — zzzzgi 


#^ 


^&zU 


JIM  LEE'S  JIG, 


*m-2 — 4— J-0-Z4--  yM—  yd-\  -bH — l*H — ks — •— j ~0-y^—yMz-y^~  \--0-*  —\-0.-J — ,**<--  ~±-0-yd--yA--y*~-  ■«* — yd-  - 1 — #4 


— J— 


:*z?=&— zfz^ziz* 

y«* «-J- — 


— ' — p^  — i-^ — i- 


SI 


FISHER'S  HORNPIPE. 


#  ft       fc  -*i  =a 


7th  position. 


-0 tf— 


*i  i-^J :  h 


_— ...p^...™,.  -..^'zzzz^zz&zSrz^zz^zzpztzii  t+t]fcifM:*— 1 


a  a 

7th  position. 


&-o 


^ 


0 ImlonJ- 


fc       it 

yyiml " 


?2?ZZZfZ^I 


tzzzf*: 


M* 
** 


;K1S 


40 


JACK  IS  THE  LAD. 


.-^zzz'i^U 

8th  position 


10th  position 


jg^^p^jjj^^^^^figi^iggi^l^jp^p 


g^lgl 


-0  0- 


OHIMES  ON  THE  BELLS. 


jig^iz^z^: 


SE3EES: 


ZIZZlZ^ 


■Bis. 


^^±-jZzz:zz^zpztaziTpj-^^ 
id-  : !  :z:jzi«zizfzg^^ 


•zi 


t: 


;feii 


F±S=JS& 


fc 


d-* — 1-- 1 1-|— K-+-I — I — ^-1 — •-*-■-• -J — I — '— H ' — i — u — -1-£j 0 1 


'Jtz|Eizj?zEi^r^^SESz^^z5g 
zzrr^-T *-* izzzzz«ZjEj5£ 


._£3 


— -- ,  im — \—0 — 


PAT  THE  BOY  JIG. 


STutzzfc  izizzzz:zzz1zzz]zzl"zz^zz)zz*l 
zz^z-zlua=i- — zzfejzizgzgz 


=|g^fg|f 


-'-j-li^zi1'- 


:=fzri=dzz^ 


?zfc?ZMZ^zifefiz93z^zzB: 


a^zfz^z^zz: 


— ! — I '!-- 


iH« 


iil 


^ — — i^j — J--  ^i^ ,v  j.  |    ;,   i.  ^  ;^j — i-C*!*1*! — (—  i^ — '  *^ii«J — ^>^ — ' *  -j—jrj-*        — " 


KETTLE   DRUM    POLKA. 


-CT- 


"SzIP?: 


FRED.    BUlKLEY. 


41 


-0rhsi^ 


-g;azf!^z^-zp^ 


F-r-l— 

u^ — 


9-0-9 

V0 -| 1 |_. 


*=P^== 


Ezrfzl 


*S 


:izzj 


-K-r  2- 


•=P= 


1- 


if@SE^2^S?zE 


*w 


fj^p!j^£g£gga 


-fty: 


C*3E3 


-^=+r 


gg^2z|^zzfzzEz^ 


49-9-9-9 

-fe-fcs 


T*z«zteztez[:z*z»z*zi##ia: 

I i 1 p_z_«_p  _«_»_#  ^# . 


-*-#- 


_0-0—0—0-0_0. 


*  t- 


«_«_«_«_p_^ p__»_p T 

9-P-9-9-Z-9-  --W—.0—  P  -^_t 

9-9-9-  »-»-#-L-t — t — t- 1 


izizizizzs^itzzzpissiz  z^zezezezezez  zz~pzpzripzrzizpziziz«zp:  zz  Zzzfcarsz  zEzEzEzEzEzEz  zzpzzrzzr 

tt-t^z^p^p^^ 

#-»-#-»--»-*-#-       -—  b   I  bi«3      b>       -tf-l      9    9    0 0    fr    0    9-0*9-    b**       —      I         —>-J      b»  -9-    -0-   -0- 

■■■■■■■■■■  U"  .....  "a!^nB™  ^^■^■■^IM  O  UH^BS^^H 


5th  position. 
10th  position. 


7th  position. 


8th  position. 


^^z^gz^zzgzlgz|zz^Jzqzz^gzgz^z|^z5,4 


L. 


■=rM 


$j^m^m 


U  J+    y >-B^ ^_  P--^ 

^Z^»=EE3^fe5p3=pZ^^Z^i|iZZsZfc=-3f3zsz|z!zliEl: 


#— S  —  i  - 
L     !       I 


zz5pzzz»z:pz-pz 
:tz-.tzzztzzzz-4:zzrzl^-f->-p-^-1 

-9-   -9-   -0-   -9-     0±    9-      ■**—  b_l         | 


>ii_gZS. 


-Mzi 


0-0 0-B.sM. 

0.—W 0-9*0. 

0-0 — 9-9-9 


-9-  -0-   -0- 

:p_-p_*: 
P— P_ «_ P- 


.» 0 0 #. 

_• 0 O 0_ 

0 — • — 9 — 0- 


0-  -9-  -9- 

izzjizzi: 
P-p 


F=FzFT%=*zi=liM=MzE!z 

p_c_p_rzp  jzi  |  L_«_pzz^zz«zz^iz#ztziz5tzzPzi^z:^z:z:^zz-zzf!:zi^zzpzzpzTZi_zrrzzz 

nr^  i    -    -#-J    -»    •-  p-  -9-  -0-   0   -0-  -9' •-■•-  n'*— J      —      i       b_^_J      •>— — J      --»    •   -» 

^— '    b— ■        *zssks    La  '  ' 


I 


42 


NIAGARA    POLKA, 

-T5— T 


^  ^  « 


L__j | 1_ _  _^         -"  _L ^  _  ^ '~»mJ j^J 


L 1 | 1 —  ~—  J ;  LBWhJ 1^5 L 1 1 ■  — J- 


gH^i^tgj=f-^ 


n 


ta-3 


K* 


m 


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*  -f* 


3ZE-=^ 

0-  -S-  -#- 


7th  po,  PACIFIC    SCHOTTISCHE. 


\£t=r 


-0-. 


-*-4-t-0 


±J 


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± #-^=^-1 *-h=^~  J- — » — 


fesr 


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fe-izt=2£i=£EB^ 

^JZ *  _i — *~"^  ,1 ■*^_L \-0 1 ^_#_T 1 #-J3i^»  __C_^^ — ^ —  i 0-1—0 * 1 1 


1 e&» — ' — a 


-0 


-0- 


_„  J, 

— fez»~ 


5i| 


-0-   -0-   -0- 


_»_«  p_#         ^_j-,_«^^_z:^zizziiT| 


BANDUEAND    POLKA. 

1*5^^  *0^  — 1-4- 


43 


UkJ 


P== 


[ 0-~ — «^ — »^ — i — 0 *rr:    i-^h-'ifcB^-IZE1 


-^4^5- N-#-- — : 


4    4 


illilSiS^i 


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NAPOLEON   W.    QOTJLD',3    POLKA. 


JAMES   BUCKLEY. 


»-b-#- 


-#-f— r--,#-t— •" 


4  4 


— H — f-— ] 


E*3E5 


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fc    fc  *    *  fc     fc    *    *    *    fc    *  *    fc 


:^zp^z^z: 


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14  FRANK  CONVERSE'S  JIG, 

j£m. ;*. — \-\§ — *s* — l—*-l-*>i5}-0A0t0>—\ — \-a — 


m 


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4    2     1 


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4—1 — l-«-wg— 


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— h-i-^— I — i»^-T — ^-i-«i — 22^-r — E"1" — i777  "a' 


-• 0 0- 


iS^gE^z^Jg^E^^ 


fc4  * 


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ztzz!zzz±?33z±z^^l^z^E=± 


;5z^z*z?-pzrz^-zAzizz^: 


IeeSE 


_, k -| — j— r-g-h- -  - 

VON   BONHORST    JIG, 


fc,    &      N      fc  fc  tr      tr  fc      fc       fc      fc 


M 


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P^ 


A. 


ft 


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ft*       ft 


:zcr 
#- 


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« — 0 

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35 


0±M<0_ 

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0-0' 0 

REE 


ft      ft.  ft      ft 


Pit-*'!  i  ^IZZZ^Tf fc=Pp33  t^ZzSH 

^fifiz  ^#  #^z^fzi>zj^*d:"z»zzvz1| 


A  MINOK. 


UNION   JIG: 


I.    BUCKLEY. 


45 


^fe^|W:fer^E*Il 


■F*-»%F#v±3i 


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:z^zrzp,=f!zzzi 


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3rz£- 


P=P= 


p^^g^^^^^^^^^l^^^g^fe 


BUDWORTH    JIG. 


fc 


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•• 


trot 


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%%^^^=z^^£=^^^==^^I— J^^zz^^£=«— =zr 

— ^— r"*V-|--^*Hfc-« — dgzi zz*z:fo-iK£z« jzizjzigizz@zg -H-g—f- zzz*zHzgi'z;i 

fc      f  t    fc    k     ^    fc      fc      k    fc    k    fc    ^^k 

£zizi***:*iE3zdz:=^^ 

JJT4 ^»-  -J-7  -^         -*ffs ^S^ 


. en 1 E3 |maaB2i, 

z^i&^t-J-ZlS 


ggpfp 


46 


A 
-*-* 


DAN   BRYANT'S   JIG. 

N  K        3    ■  „ 


R. 


H 


-^^^^P^^^^ 


.WjIy^^j^Ll 


_-_  fc       fc       fc       fc  fc       fc     fc       fc  •     v        £^       fc       fc  &         fc 


— i- 


.  -1  JJtt^k. 


:LP=a=t5 


BUCKLEY'S    HORNPIPE, 


^^g^lil^|ggg^^EpE^| 


Sk__#_, 


PSP 


1^ 


_I_[Z>  B 


•J+»T« 


*"z» 


fe 


^g- 


*** 


i 


DAN   EMMETT'S    REEL. 

h  NT 


*P 


—  .V-'-'--llJ-^^.]:r-^^-^-?:B      *-*      _jLtf_^-rj  Cub-       ~  J  ** •-■ — •— 


STOEM    GALOP. 


Arr.  by  james  bdcklet. 


47 


ZZ£z^Z\9~ZZ\0^-0Z\zZ9Z\0ZZ)z* 


z*zZ- 


*Zi_^  J  ^  4 


_1_  [V  '  L# 


/     '  If    T 


r 


SZTLJE 

* za. 


EazizJzii: 


r: 


i  -#J  -0-0-' 

6th  position. 


-* 


gz: 


9th  position . 


— 1 


I"  — q  ii  i  ^      j 

i— i      r-i        ^        4  a        d        - ~ — *- 

L-^-_tt^z:     =*=  14  ---vH-4  =S=  £g=fc&=3 

6J-s3  tf-e 


T,, 


l-r — * — *-ftf— u-^tt— tr 


m 


9 


&Zz4 


&4  i  4 


=23  £ 


5£  arae^ffi 


:£J  :g-J  -ftJ  -g3 


It* 


-# LJ& 


;  =Z*£g 


10th  position. 


Kail.    Rail.  [    c»  |  I    *|  I 

-#-      --#*?        -•- 

0  /  '  If 


5th  posi.     Pull. 
5th  pos. 


othpos. 
ZTIliTfz^i?;] 


5th  position. 


4    2    4    2 


■tf" ' L  -I r-— 1-# 1 - ZjZZ±-.*ZM_4 t.|Z 1 1 f t_t y?—±0-9f — p_J  1 


"IP- 


48 


If: 


n   !  JJLY.    (MAZUEKA.) 


JAMES   BUCKLEY. 


*±* 


— i-g-'-ptt'-p- 


-tfi 


^^pE±E3Et&fe 


— i — F^ — i-»i — i  -^ 


jz[zzzr*z^2J-^--F4=^ 


•zzpzzpzzpzzp: 

i — i — i— 


J  H    I  ^-»-il 


^-•-s-"! 


-T — i-"i — i-n — i-^-T — i'  ■  '"<  " — i — h=?h — I — i — i-*~r-*^±H7i — -—i—i   ■   "       '  ■ 


1»Z» 


-f 


r 


r=^r 


&t^=^zzJzgziN=pz:^: 

j  _ ■_  j._^ 1 — 


& 


EXCELSIOR   EONDO, 


N     :  zz'zizfctzz': 


— i— h 


:*zz»: 


n 


:zp: 


— #- 


z£jfczzj)zL-£ 


w 


:~l-—fi=f^=\ 


JAMES     BUCKLEY. 


FINE. 


&^li±1z+z*zzzzz]zz^ 


? 


fc^^1^" 


tt^ 


I*Z?Z*ZZ*Z?Z 

*-=^$-E?lZ 


-r 

-» 
i 


f±=ca 


iSHSSgli^i^SffiS 


-d— 


jz£zi#z^zz^zij: 


***  \  m       m       m    m       m       m  *-O-0~  I""?"5  "f5  l""""!  ^    J    J       -    -    -       -*±    -#^ 

^zzh3z1«-|zz»-|»-J.'-1  -»zEzt= — ■i-^-,-^-^-J-<^-^^--jzt-#-^-#--f-y-IEjz  :  Iz11 


EMPIEE    HORNPIPE. 


49 


^^^^feg^K 


W-t-0-F-0 


|g|±==5^«^zz~rz— = fez=^^3zpr&r|-tf-p-r-f gr r-P — g £ 


"'-'  '" g-£f--g-*- 
3TZZl 


tit^-qizpzprrzj: 


ft^fes&p 


jitzzfziiizzzzr: 


— — Jg-fy— 


i 


2iigl^Sifel 


JOE  MURPHY'S    JIG. 


f-— 3 


^ 

#-pr- 


-9-0 


fezz^^^^zfa-rrd: 


"J 


fe- 


pzzizz^ 


:fe-t 


^^Epz 


VIVA   LA   AMERICA. 


r*>     ~-^ 


--■■^nZ2=I_IJZ3?H 


-u-l# 


^i-^EE|3K*St-r'|=etts3iE^(S 


-J — =-1 i  ;    ~ !/g-*-g-| g— • 


3=33= 


a 4- 

■H- 

Q 


-m- 
-e- 


*=* 


'  ft*  H^ **^  P E± Mftr: ' IP^r *—  -HP =•=-,• Z=i=- 


50 


SPALDING'S   JIG. 


Tune  thus. 


ft 


.,  „      No.  1. 

fan'       ' 


-ra5l 


^a^glSi 


to 


-itSt**zJSi 


^fcfcl 


frS&ft^ 


3K^^^^ass 


Jj^&z-Z^- — — * 


Me=3e£b 


:p  — zflfl: 


— ^ u.H_l. 0- 


.  eh™ -•■ 


-^^rr~^F 


Izftfc^feiEfcf zzzzz'zzzzf  ?==prB!5 =K=P=^ 


^ 


fei&fd^EftiS 


Jt?z=t?=p 

zg^fz: 


:tz^: 


^pJi^iiliiii^iiiiliB 


A 


No.  3. 


^S5u 


SiiliiiilSil^iiiiimglBigi-^Slli 


z^s:3 


No.  5. 


SPALDING'S   JIGS.       Concluded. 


51 


te=04=4=fr&tt- !  =tf^gJgLt^_.  g^SEfc  £Ki^zFpzHzzvz:  =^g=£==* 


rl^-' 


=g 


asfcag^ 


__^_^ ^ 

•z:jzi1zzz£iplp?pizpz»z£zpzizp 


^zazfzp: 


:ftzzt|iz±z' 


SHERIDAN'S    HOENPIPE. 


-i — 1_ 


qzzfezzSz^z^zzzz^zfc^ 

-#-4-0-  2*210 


^: 


-# — i — i—  +-a-L 


2        &■  ^_  2  -# 1-#-  •  i— ■*  ir.'rr.    i;     -4—J--J- 


4- 


FEED.  BUCKLEY'S  HOENPIPE. 


333***^ 


U^zpzttzpz 


BZpZIZfzp 


£ 


rzpz^zgzaz^— zzzrzzzp^zz^^z^zzzzzzzTz.      ^^-Z-h-h-^ 


2       4       0       2 


ml< — M s-*~T-*-a *-» t — '■■■■  — V ■ ■■    "■'"   "" T~- 3— 4      3 — -J- a 


J*    }JiJL4_?    12    2    4    1  2^.1        2 

=|=fzr^.z^^zE^=fi: 


2       422  4       2       1       40420 


r 


pip: 


45434514         5       4       5       765  7       5       4 


i — .  —  ■■— — L  '-■"■ J--F-I — I — p-    * — -1- -" 

7        5       4       7  I      I      ' 


52 


BEN    COTTON'S    CLOG   DANCE. 


~ =^"««sel X  -0-J 1 e* 


^if^h^F^ 


,*v 


^=PI^E 


:3=d=3iiz^rpr^ 


j^^gjji^re 


3         « 


-r=c=t: 


fel^"SiLf^^^^^=^#"^F^ 


s 


l^^p^g^^^pg^g^g^^^^^ifl 


Tane  the  4th  string  up  to  B. 

HATES'    CLOG   HORNPIPE. 


ARR.    BY   J.    BUCKLEY. 


*P 


4         -« 


4      -#- 


4  III  -« — '-•-  -*»- 


4-.I-4 


-y* 


.-4 t- 


J-* 


I'M   LONELY   SINCE   MY   MOTHER   DIED. 

Composed  by  H.  5.  THOMPSON. 


3.  Oh,     you 

A  miaul  inn. 


who  have  a     moth-er       dear, 


Arranged  by  NAPOLEON  "W.  GOULD. 

3 — " 


9—1--&- 


-\- 


A- 


53 


> 


Let 


*^N 


N-dv 


— i- 
-i- 


0 — i — .-*,. — I  • — i^ 1 — 

*— a  —  H^-g  — ^-{--tg-x- 

ly  since  ray  moth-er       died, 
not  deem  it  brave  or     strong, 


-0- 


not         a  word  or  act  give  pain, 

— | N-fr-ft-N-N 


But         cher    -     ish,  love  her  with  your 


tet!^i:g:=: 


:=|: 

&: 


Though  Friends  and  kindred  gather  near, 
To  let       these  tears  so  often  flow, 


I 

But 


can     -    not  check  the  ris-ing 
those,  who've  lost  a     mother's 


0— 1.-0 -j J._a 0 1 — 0 q 1 B S, 1-0 m X 


i 


life, 


You 


ne'er     will  have  the  like  a  -  gain, 


Then  when  she's  called  from  you  away 


A-cross  Death's  dark  and  troubled 


i ,§)_._. 


sigh, 
love. 


Or 

Can 


^5g~|l'-j"g— i 


tide, 


— f. 

-0-1 — £> 

-p-F-p 


In 


the  silent  heart-felt  tear, 
the  pain  of  my  sad     woe. 


*E*=a£H 


N-N-Ni 1 


■—$ht*i 


-&- 


-0— 


tt: 


-*-N:N 


1zJz±1VN:: 


i£afc 


X 


stay 
tell 


Of    earth  -  4 y  friends  she  was  the  best, 
Could  I         but  call  her  back  a  -  gain, 


My       er  -  ring,  youthful  steps  to 
And  kneel  once  more  down  by  her 
i  I 


-o- 

pain 


i%^Pl^l^%^yiii^^ 


guide : 
side, 


q3: 

Oh      do 
I'd     love 


you  need  not  with  me     say, 


E3333 


::^s^z: 


not  smile  because  I     weep, 
her  bet-ter  than  be  -  fore. 


V- 


-&- 


1 


I'm     lone 


tiH"          4  th  Barre. 
ft-fi 1±- — # t# — =- 


x* 


!--*•- 


EEE=p$!E3ES 


^ — I o — S 0-TF- W- — I —  *  * 


-0- 

-0r 
-0- 


ly  since  my  mother     died. 
I 

"n==l — i—  — i 


H 


I'M    LONELY   SINCE   MY   MOTHEE   DIED.    Concluded 

i    >       CHORUS.    SOPRANO,    or    AIR. 

kWr-i-i — I — !V^ — — -j h j-p-j 


■— 0 — •■*■  n  g — i-d-»- 


ALTO. 


•—•-•-j-a-g-1 — <&■ 


■flr- 


-&-&- 


— +■ 


""=?= 


-p-w- 


&i-yi**** 


I'm      lone  -  ly  since  my  mother  died, 
U   it       TENOR. 

Isfep 


i! 0 1 — | — i_^_a_«_ 


E3 


-0~fefe*~~h — l~^"Tl — ^T 


Tho'  friends  and  kindred  gather    near,      1        can -not  check  the  rising    sigh, 


"It 


j\— N-N^-ft 


s 


=±=i 


-a — <s- 


t^i^^! 


~£ 


-*r*rr-fr-N 


-a — i- 


.0-0- 


m 


-<Sh 


^a ua m» a Wi  _ 


"P "  v"dr^' 

K   K  ,S   S 


-0 — 0 


zPiiiio*: 


_    | 4- 

-g--3<S- 


_«_• 


-a-  " 


— I- 


a& 


Or    stay  the  silentheart-felt  tear. 


S=i$ztztq±z 

— i — j-  j  ji— a— ar~    — 


^5 


F-a--*a--«- 


#-p-#— a 


"       -J-9-9-   -9-1      I 


0}r9-9-0-Sr^-J—0-i 

^lj^trr9-    #h 


PADDLE   YOIJE    OWN    CANOE. 


U    Sj>       STM.        I1  I 


:p=^ 


i 


■» 


«3 


0<W-0-9 


II 


Z8^# 


Z±3 


It's      all     ve  -  ry    well    to      de  -  pend    on      a    friend,     That  is    if  you've  proved  him 

^--^-iv-Itzp— ZC± 


But  you'll  find        it    bet  -  ter       by      far     in  the    end.    to 


-Ha 1 1 0- 

V h— H—  ^ 


V^V.  V- 


t— N 


*-* 


But    found    it        bet  -  ter    in        eve    -    -    ry     clime      to 
But  the  whole  day  long  with    a      laugh  and    a        song       I 


p-± — Jp H- 

— w  •       — f . T~*~ 

zzfc=zzqJ==z=±3M_ 

L_#__ #_.# L-#— 


EE3Eiz3 


PADDLE     TOUR     OWN     CANOE,         Concluded. 


55 


*§: 


bor  -  row   is    dear 


Yoa 


=efc|=3F*=te«j: 


, — I 


Pad  -  die    my  own    ca 

L #__, #_T_L_#__a, L_#_4_ 

nev  -  er  will    sigh   if    you    -  On      -      ly    try 


'zz'zz'zftzzfz 


drive    a  -  way  strife  in    the 
Care-leas    of  wealth,  If    I've 


o  -  cean    of    life,  while  I 
on  -  ly    the  health        to 

.IS .N 


Pad  -  die  my        own 


Then  love    your      neigh  -  bor 


i : a — m— i- — m 1 


:S- 


yourself,  as    the 


-#-     «*- 


\^-Zh=^ZZMZZ- 


-a- 


^ 1— |~H — H — / — I b — i j    \  X ' ■ a 9~ 


K 


world    you    go    trav-el 

-,M— 


ling       through, 

>      -I      >    -I 


And      nev  -er    sit  down  with   a        tear       or 


\--i- 


H3:3 


-•-' — I— #- 


— I- 


£-± 


frown,  but      pad 


die 


0  _ 


afc=P 


I 


£ 


your    own 


noe. 


■tt" 


S 


— i- 


s 


4  If  a  hurricane  rise,  in  the  mid-day  skies,  and  the  sun  is  lost  to  view, 
Move  steadily  by  with  a  steadfast  eye,  and  paddle  your  own  canoe — 
The  daisies  that  grow  in  the  bright  green  fields,  are  blooming  so  sweet  for  you, 
So  never  sit  down  with  a  tear  or  a  frown,  but  paddle  your  own  canoe. — Cho. 


L—  —0- 


56 


0  WOULD  I  WERE  A  BIRD. 


Composed  by  Chas.  Blamphin. 


Arranged  by  N.  "W.  Gould. 


i  2*~  %r 


AND  ANTING-. 


V-J ^ — 1/ — h*-l 

Oh  !  would  I  were    a      bird, 
Oh  !  would  that  I  could    fly, 

j-iz* — * — 


-N— fr- 


-*i=M 


3 


Z3Z 

-0- 


:^::-?-p: 
3t±fctc 

That     I  might  fly     to      thee, 
This  bright  and  glorious    day, 

h        f- 

q__; — n=i=i=3t= 
■!—•—*-• »---# 


At 


"Nr:* 


N-- 


N-Tfe=Jr 


*E*33fi£ 


And  breathe  a  loving     word,  To 

To    give    a    sigh  for    sigh,  To 


fczfct 


-7  > 


one  so  dear  to 
thee  so     far    a 


me, 
way, 


How 
My 


-*-*■ 


e  -f — I— J — i— *-T — I-h — — i — i-J3 ■ J 


3- 


happy      I  would  be, 
heart  would  beat  with  joy, 


Oar  -  ol  -  ing  all    the      day, 
To      see  thee  once  a  -  gain, 


-v- V- 


If       on  -  ly   blest  with   thee,  Be  -  guil-ing   time   a    -     wav,  Then 

Thy    sor-row    to      al  -  loy,  For     cherish'd    is  thy       name,  And 


life  would  be   a       pleas-ure,     My  mind  would  be  at       rest, 
when  the  moon  is    beam-ing,     O'er    dis-tant  grove  and   lea, 

3d  B Al!  liE - 


r_^ — y — i/— — j 

If      with     my      on  -  ly      treas-ure,         This  heart   was       ev   -  er      blest,  Oh, 

And  joy  -  ous   stars  are     gleaming,       Then  would     I      were     with    thee 
2d  B  \  HUH. 


i*-     L-J   i*~    -*  \  *r~       u     L— i   !*•  lj     i       **■  a*- 


i* 


0  WOTTLD  I  WERE  A  BIRD.     Concluded. 


*E33 


*  —  h— hj— Ft 


Er£ 


:^i^ 


would   I   were    a      bird, 


-/— *— V- 


That      I  might  fly     to      thee, 


1=*-^ — zzzfzfzazzzzz'z-  tzz  f ztzzz 


i*— •—*— ft- 


zTzzlzzz^zziz* 


r^i    j^j    *^-    -^       -^-     *-       i^j    rj    #j- 
THE  LITTLE  BROWN  COT  ON  THE  HILL. 

Composed  by  B.  B.  Isiacs. 
Stm. 

Ip£33z£^ 

tzZlS— i-M-i.?— - 


And  breathe  a   lov-ing     word, 


To      one    so  dear  to        me. 


:rj=; 


zrc 


3=«£ 


zzCTzzz^zizzffqzzizzi-j 


**- 


-*- 


Arranged  by  N.  "W.  Gould. 


i 

-— v— \ — *T-— — 


?jzfaqfel>_:  -^izE^jz^z^rizzr^zzj 


3=izz:==£l=l^z=izz=fc^d 

r  I 


-# : 


zzizzz: 
-* — 


a 


r- 


=2 


— v 


*:-:fcJZZZ£zzi 

z*zz^z;j|zlz*z    zzzzz'i: 


*zz^ztezizzzzzr^z:$i—  izz— j^zzft 
zz-Nz^z:  ; JizzzbztEi rf  zzfczzf  zzfzz*£jz 


1.  I      re  -  mem-ber      the      lit  -  tie  brown   cot  on    the  bill, Where  T   lived     in  the  bright  long  a  -    go,         And  the   mu  -sic  -  al  sound  of  the 

2.  Long  a   -  go       in        the      lit  -  tie  brown    cot    I    was  born,  And  there  passed  all  my  boyhood  a   -  way,  On    its    porch  I  would  sit  from  the 
It      is  years    since     I      part  -  ed  my  friends  at   its  door,  When  I     left  them     to  wan-der     a   -  way.         And  I   sigh  when  I  think  that  they'd 


A^dLz 


-y- 


e1=*=^ih- 


■>- 


*  =-'-1*zzizz?z 


Mr. 


:ta 


■ir-fci 


* rr~ — zgzzg 

zzzzzz^zzzjzzzpzzzjzzzzzzNzzN 

-zzziiQzzzzbzzz*— *zzz=zzzt 


mur-mur-ing   rill.  That  be  -  6ide  the  brown  cot  used  to  flow  : 
first  blush  of  morn,  Till  the  close  of  the  long   summer  day, 
meet  me   no  more,  For  they  sleep  in  the  churchyard  to-day ; 


Tho'  to  oth  -  era  no  beau  -  ty 
Or  I'd  play  in  the  cool  sha 
But  al-though  in       this     world   I'll 


in     it     might    ap  -  pear,        That  could 
dy  woods  that  were   near,         And  my 
not  meet  them      a  -    gain,         I    will 


_i jzzzpzjzzz=i-i=!-pzj 9 — #_.  :zpqzz;zzi —  :«zzzzz m z»    —  — »         zzz " 

-i-  5s?  lLj  =p  ir-       i=====  iiiii  i.i  i'f  a=a=a  btaa=i 


58 


THE  LITTLE  BROWN  COT.     Concluded 


-sMf N — N- — —  T  -^v 


N~ 


:fc* 


-*—*— V/sv 


rt 


-9=9* 


wake   in  tbeir  bo-soms    a      thrill, 

shout  would  ring  merry  and   shrill, 

cher-ish   their  memo  -  ries     still, 


Yet  there's  nothing  on  earth  to    my  heart  was   so  dear,  As  that 

Till    fa  -  tigued  I'd  re-turn   to   my    Moth-er    so  dear,  In  the 

And   re-membrance  for-  ev  -  er  for     me  will   remain,  Of  the 


lit  -  tie  brown  cot  on  the  hill, 
lit  -  tie  brown  cot  on  the  hill, 
lit  -  tie  brown  cot  on  the  hill. 


Buff — i  '  '  '  i  a — I^miwt  h?TT^'  J- — T — i \ — i 


i 


S;       zgz     Jtr     zgzzjz 


—0—M-- 

=*zse 


m 


--**& zjzzciZLZJzdz^ 

-j ■ m — | [-1 ^+0 1 


CHORUS. 


•^^T^r^"M"t"^T^^~M~ir~^T"r~r~r^^~rr^ — z~*t  f*  ^  f*  !l^i±£zfczftzzzfdEr^fei?rc  ».  jvfrrl — ii 

It  was  low  and  was  cold,  And  in  winter  was  drear,  And  the  winds  could  assail  it  at  will,  Yet  there's  nothing  on  earth  to  my  heart  was  so  dear,  As  the  little  brown  cot  on  the  hill. 

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Iflfe? 


PRETTY   LITTLE    SARAH. 


ARR.    BY   J      BUCKLEY. 


59 


-«-*-9 ^-A^? 


1.  My  heart    is    like    a    pumpkin,     Swol-len    big  with  love,  The  fair  -  est  girl    in        all  ere 

2.  The    first  time  that    I    met    her,     In      a      pouring  rain,  I        proffered    her  my    arm    and    nm-be 


a 

rel 


tion,  She        is    too  good  for    man,    And 
la,    She      took  them  with  a      smile,    I 


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ought  to      he      above :  Her      beau-ty      is      a    credit  to      a        na 
said    I'd  see    her  home,  She  thanked  me  with  a  voice  so  low  and     mel 


-  tion.  Her      fa  -  ther  has    a, 
low.  When  we    ar-rived    at 


farm    out 
home,  she 


on      the        Brighton    road,    And 
said    she'd     ask     me      in,      Her 


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for  this  pretty  Sarah,  of      lovel'vegot  a  load,  I'd  spend  a  fortune  on  her,  Ofthat   I  needn't  speak,  For  what  a      for  -  tunc  I  must  have  on    seven  dol  -  lars     a    week, 
parents  they  were  poor;  said  I  poverty's  no  sin.  No  doubt  she  thought  me  rich,  Of  course  I  needn't  speak,  For  I  was  doing  my  heav  -  y       on         seven  dol -lars    a    week. 


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2d  Barre. 


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60 


PRETTY     LITTLE     SARAH.         Concluded. 


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_:j-E_^_S_.g__£^ 


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g  If       /       » 

lit    -    tie      Sa    -  rah,    Love-ly        gold  -  en      hair,    Her     man  -  ner     gives      to       oth  -  er 


gals 


ing,    She 


gjjTiTSU F — Z£ — r>? g — ~rv — T^T — gr — TV — "TV — 12; — TV re 

-tt — -j — g~~g — g — g — g —  g ~t  ^»~ 'f — 1 — a — ~» — »~ 


BASS? 


zzjz  zi  zz]z  zzj: 
« — « 0 — m- 


=* 


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f — g — ~g~T  p —  — v — • 

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Jra' — is  jj.  jJ  ZC     f>       T^   *Z  ZF   IE  Z3.  i>    g   S_g_EIg ^     ^S      ZZ 

11 — z*z~^ziv_zfc:_:*vzz!~  zzzfc — ^z~^_zB:z^~z"  "Tzr~ft  "Ngzaz^ j*'  ~-zi  — z^3z — zt 
tzzzzgzzzqrzi^iz^izjzz^ztziiiz'zzqziiiqzzNfz^zNgzizazazgzgzizJzz^zzrtzzii 
-9.  -j-    jpr  -w-  -9-  -^-     *r  -•-  -*.   *-tt-  sri-  -s-       -9 


""* 


ought    to    he      an    an  -  gel,    Miles  up    in    the  air,  To      marry  her  I'd  like  to-morrow  morn 


ing. 


^-^zzNzzfczpz-zNr-^-^-^-ifezNifeT-^^^i^^^^rt 

jjizizzgiz^zzfc^i^^ 

I         L  -*-  zdz  zzzjzzt    in*  #  **-**-+     * 


r=a-: 


1 


p*»lp»»r    "  mrwT  '^ 

^pj=S==^^zzp^z^==iJziJ-HJl,i-j-T7^1=^5Z^zzfcn 


E^E"-?         ...  .        .. 

3  She's  got  a  little  ancle,  she's  got  a  little  foot,  her  pretty  little  fingers  running  taper, 

The  waist  is  round  and  small,  her  mouth  is  best  of  all,  with  ruby  lips  not  twice  as  thick  as  paper, 
She's  always  drest  in  silk,  her  notions  they  are  high,  altho'  her  stature's  small,  her  bearings  in  the  sky — 
When  she  belongs  to  me,  of  course  I  never  speak,  what  lots  of  silks  she'll  get  from  me  on  seven  dollars  a  week. 
Cho.— Oh,  &c. 

4  Her  parents  they  are  poor,  but  she's  a  milliner,  and  earns  large  wages  in  the  city. 

Some  she  gives  her  mother  for  her  keep  and  board,  the  rest  she  spends  on  clothes  to  make  her  pretty. 
She  never  saves  a  cent,  tho'  to  me  she  says  she  will,  to  save  the  expense  of  marriage  is  a  sugar-coated  pill. 
And  should  we  have  a  family,  but  too  soon  I  must  not  speak,  a  wife  and  fourteen  children  on  seven  dollars  a  week 
Cho.— Oh,  &c 


I'LL   MEET    THE   AT    THEE    LANE. 

by    BLAHPHIN. 

Sym.     5th  barre.    .... 


Arranged  by  napoleon  w.  GOULD. 


61 


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3.  I'll    leave       thee       at 


- — a  -f-<-—- j* — m~-» 


the    lane 

fc=tzz 


when    the    clock 


strikes 


De-ceive  thee  I  will  never,    and  breath  must  from  me    sev  -  er,       If       I 


♦zzpzipziCzrfrzp: 


ten, 


And 


faith  -  ful 


strikes 
strikes 


nine, 
nine. 


In 
Thine 


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for  -  get    thee    ev  -  er,  My 


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Thy 


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^zfcfezzrizqzz^iJ^zzzz-*:] 


My  heart  for  thee  is  burning,  my    brain     is      al-most    whirling,  Thro'    lov-ing  thee    so    mad-ly,  My    sweet  mountain  rose,        When 
Thy  voice  its  love  tale  telling,  all        oth  -  er  thoughts  dispell-ing,    But      lov  -  ing  thee,  but    lov  -  ing  My    ....      The 

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Old     time 


grace      my 


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eve    -    ning  stars  are  peep  ,  -    ing,  Oh  then        will  be  our  meet  -  ing,  Old    time    too       swift  -    ly 

night    -    in    -        gale  shall  sing  love,  Sweet        flow'rs      to  thee  I  bring    love,  While      moments      quick  -  ly 

-E+r^r*-^'  Z  •VOL*  4-  •  -j^^-«-3:gr^^±:-«=+:-»:gz«:^-«:J=»I3r^-3=-^ 

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62 


I'LL   MEET   THEE   AT   TEE   LANE.       Continued. 


As      thee      my   moun  -  tain      rose. 


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The      hap  -    py    hours      a    -    way. 
One      hap  -    py    hour    with      thee. 


I'll    meet  thee    in    the      lane,        when  the   clock    strikes  nine, 


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In 


x_        ■_ 


Rilard. 


ex-ta-sya       gain,  love,  to        call    thee    mine,        My  heart  for  thee  is  burn-  ing,  My  brain  is  almost  whirling,  thro'    lov  -  ihg  thee  so  madly,  my  sweet  mountain  rose. 

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CHORUS,    AIR. 


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I'll      meet  thee  in     the  lane  when  the    clock  strikes  nine,  In     ex  -  ta  -    sy    a  -  gain,  love,    to       call    thee  mine.  My    heart     for      thee     is       bum  -  ing,    My 
U       TENOR.  S  \ 

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I'LL  MEET  THEE  AT  THE  LANE.    Conclude*. 

brain    is       al  -  most  whirling,   Thro'     lov  -  ing    thee    so      mad  -  ly,     My  sweet  mountain  rose. 
N        I  fc        N        S  tV\  /T\ 


3~nmi— ^— i— 3— izlzz]-zi— 3- 


s 


63 


31 


I^S 


I  ,       SYM.  81    ,,9     lO  i  I         I         I         I 

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3d  barre.  5th  bane. 


5th  barre.  3d  barre.  5th  barre. 


THE  YELLER  GAL  THAT  WINKED  AT  ME. 


Music  by  A.  M.  Hernandez. 
1    2    3 


Arranged  by  N.  W.  GotTU). 


ImIii.I-— t 1 5 


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Your     at  -  ten-tion      I         ask  for     a     while, 
im  -  me-diate  -  ly      asked  her         name, 
O     you  should  have  seen  her  on  her  wedding  day, 


:- ;t=U— prj 

To    a     song  I'm  go  -  ing  to   sing   you,         Its     a  -  bout    a   pret-ty     yel  -  low  gal,  I 
And         she  said    it     was  Lu  -  cin  -  da,  She  said     I    was    a    stunner,  And  that 

She  was   as     handsome  as    Ve  -  nus,     When  the     par-son  made  us  one,  Ah 


'fa 


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tit 


-* : 


64 


THE  TELLER  GAL  THAT  WINKED  AT  ME.    Concluded. 


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met  while  I     was  walking,     And  she   threw   such    a     glance   at      me, 

I     for   life  had  won  her,     And  mar  -  ried  we  should  be, 

then  the  thing  was  done,       And   I       never  felt     so  happy  in  my  life, 


3r 


* 


4S- 


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I 


She  was  pret-ty,  and  as  sweet  as  a  flow'r, 
So  I  dress  up  and  walk  to  her  house, 
So     I    bought  a      lit  -  tie  place  up  town, 


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clothes  you  nev-er  did  see,  She'd  a  dar-ling  lit  -  tie  bon-net  With  a  flow  er  garden  on  it,  Had  the  pret-ty  gal  that  winked  at  me. 
af  -  ter-noon  a  -  bout  three,  And  I  glanc-ed  up  at  the  win-dsr  for  to  see  my  dear  Lucinda, She's  the  yel-low  gal  that  winked  at  me. 
go   by,  stop   in      and   see,         You'll  be  welcome  by     a   wife,         That  is  dear  to  me   as   life,         She's  the  yel-ler  gal  that  winked  at  me. 


=j=l! 


CHORUS, 


my,     she    look'd     so      sweet, 


And      she   dressed    so        neat,    With      her     tilt  -  ing  hoops     and 


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razzza=^z=zq>zi 


THE  TELLER  GAL.     Concluded. 


65 


U- 


■gutf-K— \-N— >— I — Vi— , — ; — N— N-tt— , z= 


pret-ty     lit -tie   feet,  As    she  went  skipping  a  -  long. 


Pret-ty    lit  -  tie    yel-lar    gal     I      met  while  I     was  walking,  And  she 


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II 


threw  such  a  glance  at      me, 


Sfeqi 


fe5El=a: 


i-i-f— : : 


As  she  skipped  a-long  the  gut-ter,  My  heart  was  in     a     flut-ter   For  the   yel-ler   gal  that  look!d  at   me. 


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DANCE. 


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66 


MAGGIE  MAY. 


Composed  by  Moors. 

ait 

1, _d_^_. 


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Arranged  by  N.  "W.  GOULD. 

-I- 


E3=aEa5S=fc5Eg3^p|| 


-t— 


1.  The  spring  had 

2.  The  years  rolled 

3.  May  heaven  pro 

%-%  s 


come, 

on, 
-  tect 


the 
Yet 
me, 


flowers  in  bloom.  The  birds  sung  out  their 
still  I  loved.  With  heart  so  light  and 
For     her     sake  I     pray    both      night  and 


Down        by      the  lit      -      tie 

And       nev    -  er         will  this 

That  I        ere    -  long         may 


singing 

death  would  take  a 

though  I'm  far       a 


way 


MAGQIE  MAY.    Concluded. 


67 


SOPRANO  &  ALTO. 


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zzz*ztz"zzz:|zzzzz.zz:zziz»zzz^zzz.ii_ 


My      lit  -  tie         witching 


-HV-- 


Mag  -  gie,        Mag-gie,  Sing-ing      all      the     day,  Oh     how      I     loved   her   none   can      tell,    My 


TENOR  &  BASS. 


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IISTI3EX. 


Abraham's  Daughter 21 

Andrew  Leavitt's  Jig * .  13 

Annie  Lisle ••• • 21 

Anvil  Chorus •  32 

Aunt  Dinah's  sauce-pan    30 

Bandurand  Polka 43 

Ben  Cotton's  clog  dance 52 

Billy  Morris's  Jig 14 

Blue  bell  Valse 28 

Boby  Nickles'  Jig 12 

Bolton  Clog  Hornpipe 14 

Budworth  Jig 45 

Buckley's  Hornpipe 46 

Bully  for  All 22 

Charleston  gals 19 

Chickahominy 29 

Chimes  on  the  bells 40 

Clog  Hornpipe.  ....  • 11 

Congo  Jig 27 

Contraband  Jig, 29 

Converse  Jig 42 

Cure 37 

Dan  Bryant's  Jig 46 

Dan  Emmet's  Reel 46 

Darling  Nelly  Gray 20 

Dearest  Mae 18 

Dick  Sand's  Hornpipe 38 

Dont  you  hear  the  bulgine 35 

Do  they  think, 17 

Empire  Hornpipe 49 

Excelsior  Rondo 48 

Fandango 16 

Fisher's  Hornpipe 39 

Fred.  Buckley's  Hornpipe 51 

Gen.  Burnsides  Jig 37 


Gen.  Pope's  Jig 13 

Glory  Hallelujah 12 

G.  Swaine  Buckley's  minor  Jig 36 

Hayes'  clog  Hornpipe 52 

I'll  meet  thee  at  the  lane 61 

I'm   lonely  since 53 

Jack  is  the  lad 40 

Jedediah's  clog  Hornpipe 38 

Jim  Lee's  Jig 39 

Joe  Murphy's  Jig 49 

John  Anderson  Jig 17 

Johnny  Campbell's  Jig 37 

Kate  Kearny 26 

Kettle  drum  Polka 41 

Jubilee 15 

Ladies  in  de  parlor.     Reel. 18 

Lazy  Joe.     Jig 26 

Let  me  kiss   him 39 

Lily  Mazurka 48 

Little  brown  cot  on  the  hill 57 

Lon  Morris'  Jig 15 

Lor  bless  de  Ladies 23 

Maggy  May 66 

May  flower  Schottische 34 

Napoleon  W.  Gould's  Polka. 43 

Nelly  was  a  lady 18 

Niagara  Polka 42 

Nigger's  frolic 24 

Nine  o'clock  bell.     Jig 20 

No  one  to  love 38 

Old  lame  horse 23 

O  would  I  were  a  bird,    56 

Pacific    Schottische 42 

Paddle  your  own  canoe 54 

Pat  Malloy's  Jig 14 


Pat  the  boy's  Jig 40 

Pea-nut   girl 25 

Pearl  waltz 28 

Picayune  Butler 20 

Pretty  little  Sarah 59 

Ring,  boys,  ring 21 

Sally  come  up 35 

Savory's  Jig 13 

Scotch   Jig.... .'..  33 

Sheridan's  Hornpipe 51 

Soap  fat  man 19 

Snapping  turtle  Jig 33 

Spalding's   Jig 50 

Storm  Galop 47 

Sugar  in  the  gourd 24 

Sylpbides  Mazurka 25 

Tenpenny  bit 23 

Tiger  Jig 17 

Toe  de  mark  Jig 34 

Tonawanda  Hornpipe 27 

Turn  up  Jack.     Jig 19 

Uncle  Ned 19 

Union  Jig 45 

Varginny  tobacco  plant, 28 

Villikins 22 

Viva  la    America 49 

Von  Bonhorst's  Jig 44 

Waltz 12 

When  I  saw  sweet  Nelly 11 

Willie,  we  have  missed 22 

Wood  up  Quickstep .  .  31 

Wrecker's  daughter 30 

Yeller  gal 63 

Ybrktown  Polka 34 


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AMERICAN  ANTHEM  BOOK, 
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A  fine  collection  of  more  than  one  hundred  Anthems,  which  can  be  sung  by  any- 
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CHORUS  CHOIR.     ($1.50.)     By  Dr.  Eben  Tourjer 

This  is  a  collection  of  Anthems,  Motets,  Chants,  etc.,  selected  from  the  best 
works  of  the  most  eminent  composers.  It  is  more  particularly  intended  for  choirs, 
but  can  be  used  to  great  advantage  by  choral  societies  and  conventions. 

CLARION.     (50  cents.)      By  L.  Marshall. 

This  is  a  book  which  contains,  in  a  compact  form,  quite  a  large  number  of 
Am  hems,  Motets.  Sentences,  etc.,  chosen  from  the  works  of  eminent  composers, 
and  designed  for  the  opening  and  closing  of  Church  service. 

GEM  GLEANER.     ($1.00.)     By  J.  M.  Chadwick. 

A  collection  of  Anthems,  Motets,  etc.,  adapted  for  Chorus  Choirs.  The  greater 
portion  of  the  numbeis  are  by  the  author,  although  there  are  a  few  compositions 
and  arrangements  by  writers  of  equal  ability  and  reputation. 


EMERSON'S  ANTHEM  BOOK.     ($1.25.)     By  L.  O.  Emerson. 

A  new  anthem  book,  embracing  a  great  variety  of  new  music,  much  of  which  is 
original,  while  a  goodly  portion  has  been  selected  and  arranged  from  the  composi- 
tions of  the  best  known  authors  and  writers. 

DANKS'  ANTHEM  SERVICES.     (Boards  $2.00  ;  Cloth  $2.25.) 

This  is  a  collection  for  Choirs,  which  contains  a  great  variety  of  Anthems  for 
Church  service,  to  which  the  most  celebrated  composers  have  contributed,  and 
which  has  been  compiled  with  care  and  with  due  regard  to  the  wants  and  tastes  of 
Chorus  and  Quartet  Choirs. 

PERKINS'  ANTHEM  BOOK.     ($1.50.)     By  W.  O.  Perkins. 

This  is  another  book  of  Anthems,  preceding  the  publication  of  the  "Anthem 
Harp,"  by  the  same  author.  It  contains  a  choice  collection  of  Anthems  for  the 
opening  and  closing  of  service  as  well  as  for  all  public  occasions  where  such  a 
book  is  needed. 

SABBATH  GUEST.     ($1.50.)     By  Emerson  and  Morey. 

This  is  a  first-rate  collection  of  good  Anthems  and  Choruses,  of  moderate  difficulty, 
which  are  all  adapted  for  general  church  service.  There  is  a  large  variety  of 
opening  and  closing  pieces,  of  moderate  length.  Chants,  Responses,  pieces  for  sat 
occasions,  besides  selections  for  occasional  use  in  concerts  and  conventions. 

THE  CHURCH  OFFERING.     ($1.38.)     By  L.  O.  Emerson. 

This  book  was  originally  compiled  for  choir  use  in  the  Episcopal  service.  It  cob- 
tains  a  hundred  Anthems,  Motets,  etc.,  of  the  best  order,  is  a  good  book  for  any 
choir,  and  as  an  Anthem  book  is  extensively  used.  It  has  the  greatest  variety  of 
Anthems,  Venites,  Cantatas,  Jubilates,  Glorias,  etc.,  which  has  ever  been  <"-'nde4 
in  any  previous  work. 


.O-Any  of  the  above  books  will  be  mailed,  post-free,  on  receipt  of  retail  price. 

Published  by  OXiXVEXl '  BXTS©1?  &.  CO.,  Boston. 


C.  H. 


DITSON  <fe  CO., 
M3  Hroadwaf,  Nenr  York. 


LYON  &  HEALY, 
Chicago. 


*H 


J.  E.  DITSON  6  CO., 

1308  Chestnut  St.,  Philadelphia, 


INSTRUMENTAL  INSTRUCTION  BOOKS. 


The  following  books  are  among:  the  best  of  the  very  larsje  number  of  instruction  books  published  by  Ditson  &  Co.     The  smaller  and  cheaper  booki 
contain  good  introductory  courses  to  the  larger  and  higher  priced  ones,  which  ;^re  thoroughly  first-cjass  methods. 

Any  book  mailed,  post-free,  for  retail  price. 


FOR  THE  PIANO-FORTE. 

Richanl.onn  Slew  Method $3.25 

H*.  E.  Conservatory  Method 3.25 

Peters'  Eclectic  Piano  School 3.25 

Eebert  and  Stark's  Piano  School.    Farts  1  and  2,  each  $3;  PL  3,  $4 ;  Pt.  i,  6.00 

Mason  and  Hoadley'a  System  for  Reginners 3.25 

CSrone's  Sew  and  Progressive  Method 2.50 

Large  ami  complete  methods. 

Relink'*  Analytical  Method Paper  75  cts.;  Boards  1.00 

Sydney  Smith's  Piano  Method. 1.50 

Clarke's  (W.H.)  Dollar  Instructor 1.00 

Winner's  M«ir  School  for  tbe  Piano 75 

Fur  beginners  and  amateurs. 

Mason's  System  of  Technical  Exercises 2.50 

An  excellent  companion  to  any  instruction  book. 

FOR  PIPE,  REED  or  CABINET  ORGAN. 


Clarke's  (W.  II.)  Ha-  qsnic  School  for  the  Organ 

Clarke's  (W.  M.)  Slew  Method  for  Reed  Organ 

Clarke's  (BC.  A.)  Improved  School  for/  Parlor  Organ. 
Emerson  (The)  New  Method  for  Reed  Organ 


.........$3.00 

2.50 

2.50 

2.50 

Getze's  School  for  Parlor  Organ 2.50 

Kinkel's  Rfew  Method  for  need  Organ 2.50 

Root's  School  for  Cabinet  Organ  2.50 

Johnson's  (A.  IX.)  Parlor  Organ  Infraction   Rook 1.50 

First-class  methods,  with  thorough  systems  of  instruction. 


Bellak's  Method  for  the  Org-an .Paper  73  cts.;  boards,  |UI 

Clarke's  (W.  II  )  Reed  Organ  Companion ..  2.0* 

Johnson's  Parlor  Organ  Instruction  Rook.    (Abridged  ...  1.0C 

Mack's  Dollar  Analytical  Method  for  Cabinet  Organ 1.00 

Stainer's  Organ  Primer 1.00 

Winner's  H'ew  School  for  Melodeon 73 

Flementary  instruction  books  for  hpginneis. 

FOR   THE  VIOLIN. 

David's  Violin  School Part  1,  boards,  $2.60;  Part  2,  paper,  $3.00 

Hill's  Practical  Violin  Method 2.50 

Eistemann's  Method  of  Violin  Playing 3.00 

Wichll's  Voitng  Violinist,    (English,  German  and  French  text) 

Eessenden's  Modern  School  for  Violin 

Clarke's  Dollar  I  not  r  actor  for  Violin 

Winners   Vew  Nchool    for  the   Violin 

FOR  THE  VIOLONCELLO. 

Erles  anil  Suck's  Violoncello  Instructor 

Romberg-  »  Violoncello  School ■ 

Winner's  Easy  System  for  tbe  Violoncello 


..  3.08 
..     .75 


FOR  THE  CORNET. 

Arhurble's  Cornet    Instructor ..92.58 

Eaton's  Sfew  Method  for  Cornet 1.08 

Winner's  Jfew  School  for  Cornet 71 


PUMLU 

C   H    DITSON  &.  CO., 

843  Broadway,  New  York. 


LYON  &  HEALY,  Chicago. 


IBOSS'TOl^ 


J.  E.   DITSON  &  CO. 

1228  <^estnut  St..    Ph"« 


_ 


