I Broke the Bed a song by Brent & Jonathan Hugh Moderate, = 96

Transcription

1

2 Piano 1 Broke Bed a song y Brent & Jonathan Hugh Moderate, = 96 dorian mode, triple sudivisions 1. Gmin fr. roke roke roke roke ed, car, couch, door, roke roke roke roke ed, car, couch, door, E roke roke roke roke C 5 ed, car, couch, door, roke roke roke roke ed, car, couch, door, roke roke roke roke ed, car, couch, door, and it it B C To Next Verse inal ending 8 now wont it made its go said, me dead. far. "Ouch!" sore. 2...

3 Broke Bed, page 2 5. roke wall, roke wall, roke wall, roke wall, roke wall, its now quite small. 6. roke ceilings, roke ceilings, roke ceilings, roke ceilings, roke ceilings, y hurt my feelings. 7. roke roof, roke roof, roke roof, roke roof, roke roof, it just went poof. 8. roke house, roke house, roke house, roke house, roke house, m a louse. 9. roke dirt, roke dirt, roke dirt, roke dirt, roke dirt, it made me hurt. 10. roke town, roke town, roke town, roke town, roke town, it made me frown. 11. roke city, roke city, roke city, roke city, roke city, it wasnt pretty. 12. roke state, roke state, roke state, roke state, roke state, was irate. 1. roke planet, roke planet, roke planet, roke planet, roke planet, just said, "Ban it!" 1. roke sun, roke sun, roke sun, roke sun, roke sun, and now m done. Jonathan and made this song one day when we sat down on ed and roke it. As with all Music Q Songs, most of fun is in making your own verses. The verses given here are just examples. When something makes you mad or hurts you, do you want to reak it? Or, when you reak something accidentally does it make you mad? Maye, instead of reaking something OR getting mad, you could just sing this song...

4 Broke Bed, page The Theory These songs for young people came aout as a result of my doctoral research at University of Missouri-Kansas City Conservatory of Music into music preferences of different age listeners. This research had some very surprising and interesting conclusions aout how to help young people ecome more natural and spontaneous musicians. Briefly, research showed that: Music preferences ecome more set with age; for general population of school children, music preferences seem to ecome quite set y age of 15 or so. However, students younger than this age are amazingly open to many different kinds of music. n general, younger student, more open student is to new kinds of music. This hardening of musical taste with age is surprisingly!) an important part of learning process. Without this development of definite musical preferences, refined taste and discrimination cannot develop. n some groups i.e., trained musicians) hardening of musical preference happens at a much slower rate. Musicians may e quite open to new musical styles, even into ir twenties and thirties. There are surprising enefits to developing an interest in a road range of musical styles. 1) Musical prejudice is strongly associated with social prejudice; reaking down musical prejudices is a powerful way to start reaking down cultural prejudices such as racism and sexism. 2) The musically cultured person in U.S. and, apparently, most Western/European countries) is no longer a classical music sno, ut a musical omnivore who appreciates quality in any kind of music from luegrass to eop to Baroque opera. Although hardening of musical taste with age is inevitale, it is advantageous to slow down hardening of preference as much as possile. This is way that roadest, deepest, most profound, and most detailed knowledge develops in music and in or areas of knowledge, as well). The reason for this is rar simple: knowledge is a "play of differences". The person with a road musical taste has a wide field of differences in which to place any new piece of knowledge; new knowledge is seen in comparison and contrast with many, many previous areas of knowledge. Because of this road range of similar ut contrasting knowledge, new knowledge is understood oth in greater depth and in greater detail. or instance, a first graders in a school were divided into three groups. Group 1: Trained to sing in major keys Group 2: Trained to sing in major & minor Group : Trained to sing in major, minor, modal scales. After a year of this training, students in Group sang songs in major keys etter than students in oth Groups 1 and 2--despite fact that Group had spent less total time singing songs in major keys. Group understood major keys etter ecause y had several similar ut slightly different things minor scales, modal scales) as a asis for comparison and understanding. A similar study involved students learning songs using different rhythms. Group 1: Sang in 2/, / Group 2: Sang in 2/, /, /, 6/8 Group : Sang in 2/, /, /, 6/8, 5/8, 7/8, changing meters Again, Group outperformed oth Groups 1 and 2, even in singing songs in 2/ and /. Group 1 was worst of three groups at singing songs in 2/ and /, despite fact that y had een "specializing" in singing se songs for an entire year. Research shows that children learn music exactly as y learn language. That is to say, learning starts with listening--for many hours and years. Learning n progresses during a long stage of listening, imitating, and experimenting, during which skills are progressively refined. n language development, this egins with "ay talk", progresses to simple sentences, more complex sentences, and ends with fluent speech. n musical development, imitating and experimenting stage of learning is est approached through singing--lots of singing, in many different scales, modes, and meters. Unfortunately, our popular and mass media musical culture favors a quite narrow range of music. Over 80% of music on radio, television, and movies is in major keys and in 2/ or / meter. Over 90% of music in elementary school music ooks surveyed was in major and 2/ or /. Over 90% of song topics on radio involve romantic love and/or sex not only is this topic of little interest to young children, ut even worse, fixation on this one area of life--admittedly a very interesting one to older age groups--locks out expression of dozens of human feelings and emotions that young children should have opportunity to feel through music). The Practical Application What are practical results of se ideas for parents and teachers? Young people need to e exposed to a wide variety of music, first y listening and n y singing. They should listen to and sing music in a wide variety of scales, modes, meters, rhythms, and tempos. They should listen to and sing music expressing a wide variety of feelings and emotions and from a wide variety of musical styles. Children should start listening to this variety of music at a very young age; older child more set preferences. Parents and teachers--who determine listening agenda for young children--are older and, so, almost always set in ir musical opinions. Adults should realize that much music ir children should e listening to is going to sound strange, izarre, off-eat, weird, or just not interesting to adult. Although adults who keep an open mind can develop new music preferences, too, and doing so is good for adult for same reason it is good for child.) World musics, jazz, classical music, musicals, religious music, folk music, popular music from different eras 190s, 50s, 60s, 70s, 80s, 90s) are all quite easily availale and can help to round out your childs listening. f you start when your child is young, you will find child surprisingly open to a variety of musical styles. You may find that it is easy to work a variety of music into your daily routine if you make music a functional part of your activities. or instance, whenever youre cleaning up front room, put on that "Classical Music of ndia" CD. When youre doing dishes, listen to a Big Band CD and while taking a ath, a Beethoven Symphony. Have certain songs you sing while youre getting ready for ed, coming hair, or getting dressed. "Music to help with an activity" is way most every culture throughout ages has used music, and you will find that using music in this way helps your child and you!) keep on task, regulate emotions, and enjoy routine or oring activities. Music in different modes and meters suitale for singing y children is quite difficult to find. Most childrens songs are in major keys and 2/ or / meters. There is nothing wrong with se songs, ut it would e ideal to have children sing and hear a wider spectrum of tonalities and rhythms. My study on changeaility of music preference involved 682 adults and pulic school students. Edwin Gordon has spearheaded innovative research some of which is mentioned aove) on language model of music learning and enefits of teaching young students to sing in a variety of scales, modes, rhythms, and meters. See My conclusions, summarized aove, rely on work of many, many researchers--far too many to e cited on this rief page. A complete list of studies cited can e found at oz.sunflower.org/~hugh/musiciq.spm.

5 Broke Bed, page The Songs With se ideas in mind, egan making a series of songs for my four-year-old son Jonathan. They are designed to e in a variety of scales, modes, rhythms, and meters-- ones found less often in usual childrens songs. They were made to fit specific interests of Jonathan, and in fact he helped choose topics and words for many of m. At same time, songs are designed to e flexile and adaptale, so that teachers, parents, and children in or situations can use tunes and adapt words to ir interests. n particular, have tried to give enough options to make songs useful at home, at school, and at camps. n addition, have tried to give options to make songs simple enough to e singale y younger children, yet fun and engaging for older children as well. Teaching this song You might try chanting words as well as singing m. Clapping or patsching clapping hands against legs) can also e fun. Teachers or parents who having difficulty mastering rhythm or melody of song should listen to recorded version of song several times daily for a period of days or a few weeks. The music, internalized in this way, will ecome much easier to grasp and to teach. Recordings of this and or Music Q Songs can e found at mp.com/musicq. The Accompaniment f left-hand accompaniment is difficult for you, you can play simple lock chords in left hand. The ree Music Philosophy This sheet music is distriuted under ree Music Philosophy see Permission to copy, modify, and distriute musical composition and lyrics in this sheet music is given for noncommercial use. Basically this means that this music is reproducile for any normal home, school, or camp use. You may make copies and give m to friends. You may post copies of music on internet, as long as you do not charge for downloads. You can make arrangements of music, record it, change or alter words, and so on, as long as it is on a non-commercial asis. or instance, schools, camps, or day-care centers can copy music, or just words, and give a copy to each student. f you wish to support composer of this music, est and easiest way to do so is to visit one of internet sites listed elow and listen to some music or purchase a CD. nternet Sites mp.com/musicq - free downloadalse Music Q recordings, CDs, free Music Q sheet music, and information. mp.com/rent_d_hugh - classical piano recordings y Brent Hugh mp.com/victorianchristmas - Victorian-era Christmas Carols oz.sunflower.org/~hugh/patic.spm - various sheet music, recordings, and or music-related items--many free for download--y Brent Hugh --Brent Hugh Text and Music Copyright 2001 y Brent & Jonathan Hugh 5916 Arlington Ave, Raytown, Missouri USA 61 hugh@oz.sunflower.org mp.com/musicq

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7 U V U V ]] ]] U V XW XW Y ] Y ]] ]] We Thank The Lord Today 1 Moderately, = Y a song y Brent Hugh dorian mode, triple rhythm with triple sudivision [ [ [ \ 1 1.We Piano We thank Lord to - day, We thank Lord to - day, 5 \ ^ ^ ^ ^ ^ 2 ^ ^ ^ ^ ^ ^ thank Lord today for thank Lord to- day for thank Lord to- day for thank Lord to- day for thank Lord to- day for all thats giv - en moun- tain, tree, and sun- shine, cloud, and fun food we we had have with to us, stream, rain, friends, eat, We We We We We thank Lord today for thank Lord to- day for thank Lord to- day for thank Lord to- day for thank Lord to- day for all thats giv - en us, We moun-tain, tree, and stream, We sun- fun we had withfriends, We shine, cloud, and rain, We food we have to eat, We We thank Lord to - day, We thank Lord to - day, 9 ^ ^ thank thank thank thank thank Lord Lord Lord Lord Lord ^ to - day to - day to - day to - day to - day for for for for for ^ all moun - sun - fun food thats tain, shine, we we giv - tree, cloud, had have en and and with to _ us. stream. rain. friends. eat. [ [ [ `\a 2.We.We.We 5.We We thank Lord to - day, We thank Lord to - day,

8 d eee eee We Thank The Lord Today, page 2 c 1e ee e ee eee e ee eee e ee eee e ee eee rit. e e ee eee e f ee ee E H Upper part: Middle part: Lower part: e ee eee A - A - men, men, A - a - e ee eee men, a - men, a - men, men, e ee eee A - a - men, men, a - a - e ee eee men, a - men, a - men, men, e ee eee A - a - men, men, a - a - e f ee ee men, a - men. a - men. men. The ground written on lower staff, "We thank Lord today, We thank Lord today... ") will, of course, e sung or douled) an octave higher than written if childrens or womens voices are used. The ground actually consists of three voices, and is meant to e performed like this: Upper Part Middle Part Lower Part g g g h h h h We thank 19h h We thank 19h h h We thank g i 21 g i i jh h h h h h h Lord to - day, h h h Lord to - day, Lord to - day, f this proves difficult, or if your group does not have enough voices to cover all three parts, Upper Part can e sung alone, and Middle and Lower Parts omitted. Group 1) We h h Group ) giv - en The main melody "We thank Lord today for all thats given us,...") can e sung as a two-, three- or four- part round. The first, second, third, and/or fourth parts enter at points marked 1, 2, and/or in score. At conclusion of each verse, song can e performed two ways: #1. Group 1 can immediately proceed to next verse, efore Groups 2,, and have finished ir verses. Group 1 follows notes and rests exactly as written in measures 11 and 12 of score.) #2. Group 1 can wait until Groups 2, and have completed ir verse, n egin next verse. t works out rar well if end of Group s verse and eginning of Group 1s following verse dovetail as shown in figure elow. t works out that Group 1 must rest two extra measures, eyond rests marked in score, after finishing ir verse in measure 11.) h jh h hk h hk ml thank Lord to - day for... us. Dovetailing end of Group s verse with eginning of Group 1s verse: The phrases "We thank our God" or "We give our thanks" can e sustituted for "We thank Lord"; one of se phrases may e more appropriate in some situations. or phrase "for all thats given us", you can sustitue "for all Hes given us". As with all Music Q Songs, verses given are only samples. eel free to make your own verses that fit your situation and inclinations. Here are some possile additional verses; We thank Lord today for friends and family. x) We thank Lord today for friendship that weve shared. x) We thank Lord today for eauty, love, and grace. x) or more amitious performing groups, words of ground ostinato) can e given at different speeds y upper, middle, and lower voices in ground: Upper: We thank Lord to - day, We thank Middle: We thank Lord to - day Lower: We thank U) Lord to - day, We thank Lord to - day M) We thank Lord to - day L) Lord to - day

9 We Thank The Lord Today, page The Theory These camp songs came aout as a result of my doctoral research at University of Missouri-Kansas City Conservatory of Music into music preferences of different age listeners. This research had some very surprising and interesting conclusions aout how to help young people ecome more natural and spontaneous musicians. Briefly, research showed that: Music preferences ecome more set with age; for general population of school children, music preferences seem to ecome quite set y age of 15 or so. However, students younger than this age are amazingly open to many different kinds of music. n general, younger student, more open student is to new kinds of music. This hardening of musical taste with age is surprisingly!) an important part of learning process. Without this development of definite musical preferences, refined taste and discrimination cannot develop. n some groups i.e., trained musicians) hardening of musical preference happens at a much slower rate. Musicians may e quite open to new musical styles, even into ir twenties and thirties. There are surprising enefits to developing an interest in a road range of musical styles. 1) Musical prejudice is strongly associated with social prejudice; reaking down musical prejudices is a powerful way to start reaking down cultural prejudices such as racism and sexism. 2) The musically cultured person in U.S. and, apparently, most Western/European countries) is no longer a classical music sno, ut a musical omnivore who appreciates quality in any kind of music from luegrass to eop to Baroque opera. Although hardening of musical taste with age is inevitale, it is advantageous to slow down hardening of preference as much as possile. This is way that roadest, deepest, most profound, and most detailed knowledge develops in music and in or areas of knowledge, as well). The reason for this is rar simple: knowledge is a "play of differences". The person with a road musical taste has a wide field of differences in which to place any new piece of knowledge; new knowledge is seen in comparison and contrast with many, many previous areas of knowledge. Because of this road range of similar ut contrasting knowledge, new knowledge is understood oth in greater depth and in greater detail. or instance, first graders in a school were divided into three groups. Group 1: Trained to sing in major keys Group 2: Trained to sing in major & minor Group : Trained to sing in major, minor, modal scales. After a year of this training, students in Group sang songs in major keys etter than students in oth Groups 1 and 2--despite fact that Group had spent less total time singing songs in major keys. Group understood major keys etter ecause y had several similar ut slightly different things minor scales, modal scales) as a asis for comparison and understanding. A similar study involved students learning songs using different rhythms. Group 1: Sang in 2/, / Group 2: Sang in 2/, /, /, 6/8 Group : Sang in 2/, /, /, 6/8, 5/8, 7/8, changing meters Again, Group outperformed oth Groups 1 and 2, even in singing songs in 2/ and /. Group 1 was worst of three groups at singing songs in 2/ and /, despite fact that y had een "specializing" in singing se songs for an entire year. Research shows that children learn music exactly as y learn language. That is to say, learning starts with listening--for many hours and years. Learning n progresses during a long stage of listening, imitating, and experimenting, during which skills are progressively refined. n language development, this egins with "ay talk", progresses to simple sentences, more complex sentences, and ends with fluent speech. n musical development, imitating and experimenting stage of learning is est approached through singing--lots of singing, in many different scales, modes, and meters. Unfortunately, our popular and mass media musical culture favors a quite narrow range of music. Over 80% of music on radio, television, and movies is in major keys and in 2/ or / meter. Over 90% of music in elementary school music ooks surveyed was in major and 2/ or /. Over 90% of song topics on radio involve romantic love and/or sex not only is this topic of little interest to young children, ut even worse, fixation on this one area of life--admittedly a very interesting one to older age groups--locks out expression of dozens of human feelings and emotions that young children should have opportunity to feel through music). The Practical Application What are practical results of se ideas for parents and teachers? Young people need to e exposed to a wide variety of music, first y listening and n y singing. They should listen to and sing music in a wide variety of scales, modes, meters, rhythms, and tempos. They should listen to and sing music expressing a wide variety of feelings and emotions and from a wide variety of musical styles. Children should start listening to this variety of music at a very young age; older child more set preferences. Parents and teachers--who determine listening agenda for young children--are older and, so, almost always set in ir musical opinions. Adults should realize that much music ir children should e listening to is going to sound strange, izarre, off-eat, weird, or just not interesting to adult. Although adults who keep an open mind can develop new music preferences, too, and doing so is good for adult for same reason it is good for child.) World musics, jazz, classical music, musicals, religious music, folk music, popular music from different eras 190s, 50s, 60s, 70s, 80s, 90s) are all quite easily availale and can help to round out your childs listening. f you start when your child is young, you will find child surprisingly open to a variety of musical styles. You may find that it is easy to work a variety of music into your daily routine if you make music a functional part of your activities. or instance, whenever youre cleaning up front room, put on that "Classical Music of ndia" CD. When youre doing dishes, listen to a Big Band CD and while taking a ath, a Beethoven Symphony. Have certain songs you sing while youre getting ready for ed, coming hair, or getting dressed. "Music to help with an activity" is way most every culture throughout ages has used music, and you will find that using music in this way helps your child and you!) keep on task, regulate emotions, and enjoy routine or oring activities. Music in different modes and meters suitale for singing y children is quite difficult to find. Most childrens songs are in major keys and 2/ or / meters. There is nothing wrong with se songs, ut it would e ideal to have children sing and hear a wider spectrum of tonalities and rhythms. My study on changeaility of music preference involved 682 adults and pulic school students. Edwin Gordon has spearheaded innovative research some of which is mentioned aove) on language model of music learning and enefits of teaching young students to sing in a variety of scales, modes, rhythms, and meters. See My conclusions, summarized aove, rely on work of many, many researchers--far too many to e cited on this rief page. A complete list of studies cited can e found at oz.sunflower.org/~hugh/musiciq.spm.

10 w We Thank The Lord Today, page The Songs With se ideas in mind, realized that a perfect venue for children to learn to sing songs in a wider variety of scales and rhythms is at camp. Many camps use songs extensively; camps are one of last holdouts in our culture to have a true oral folk song tradition. Many campers have a repertoire of dozens of complex songs, all learned in a natural, fun, and social way. With this solid ase of music-making as a starting point, if camps roaden ir musical spectrums even a little y including a few songs in modes and unusual rhythms, eneficial effect of camp singing will only e multiplied. Many camps have traditional "graces" y sing efore meals. This song is such a grace. Of course, camp songs can e used at home, church, or school, as well. Teaching this song You might sing melody as a simple song without ostinato or round) several times over a period of days efore trying it as a round and/or adding ostinato. You might introduce "simple" version of ostinato Upper Part only) for a few days efore complicating matters with three part ostinato. Teachers or parents who having difficulty mastering melody of song should listen to recorded version of song several times daily for a period of days or a few weeks. The music, internalized in this way, will ecome much easier to grasp and to teach. Recordings of this and or Music Q Songs can e found at mp.com/musicq. Each measure in this song has three eats and each eat is divided into a triplet rhythm. This three y three rhythm which in our musical notation can e written as 9/8 meter or as / meter with triplet sudivisions) is an ancient musical way of celerating holiest Three of all: God, His Son, and Holy Spirit. The ree Music Philosophy This sheet music is distriuted under ree Music Philosophy see Permission to copy, modify, and distriute musical composition and lyrics in this sheet music is given for noncommercial use. Basically this means that this music is reproducile for any normal home, school, or camp use. You may make copies and give m to friends. You may post copies of music on internet, as long as you do not charge for downloads. You can make arrangements of music, record it, change or alter words, and so on, as long as it is on a non-commercial asis. or instance, schools, camps, or day-care centers can copy music, or just words, and give a copy to each student. f you wish to support composer of this music, est and easiest way to do so is to visit one of internet sites listed elow and listen to some music or purchase a CD. nternet Sites mp.com/musicq - free downloadale MusicQ recordings, CDs, free Music Q sheet music, and information. mp.com/rent_d_hugh - classical piano recordings y Brent Hugh mp.com/victorianchristmas - Victorian-era Christmas Carols oz.sunflower.org/~hugh/patic.spm - various sheet music, recordings, and or music-related items--many free for download--y Brent Hugh --Brent Hugh o prq s 0Xn zr{ VL o,t 6Ru Qv ~ ƒ yœ JV O x y } z y ƒ y ~ y ˆ Š Ž z QH G~P L HQV~R L L PXVL R \ RXQ SHRS z H Text and Music Copyright 2001 y Brent Hugh 5916 Arlington Ave, Raytown, Missouri USA 61 hugh@oz.sunflower.org mp.com/musicq

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12 W X W X W X Y Y [ [[ [[ [[ [[ We Give Our Thanks Today 1 \ \ Moderately, d= \ a song y Brent Hugh dorian mode, triple rhythm with triple sudivision ^ ^ 1 ^ _] ] _] ] ` ] ] ` ] Piano ] ]] ]]] ] ]] ]]] ] ]] ]]] ] ]] ]]] 1.We give give give give give our thanks today our thanks to- day our thanks to- day our thanks to- day our thanks to- day ] ]] ]]] for for for for for We give our thanks to - day, We give our thanks to-day, We give our 6 ] ] ` ] ` ] ] ] ` 2 ] ] ` ] ` ] ] ` ] ] ] ` ] ` ] ] ] ` all moun - sun - fun food thats tain, shine, we we giv - tree, cloud, had have en and and with to ] ]] ]]] us, stream, rain, friends, eat, We We We We We give give give give give our our our our our thanks thanks thanks thanks thanks to - to - to - to - to - ] ]] ]]] day day day day day for for for for for all moun - sun - fun food thats tain, shine, we we giv - tree, cloud, had have en and and with to ] ]] ]]] us, stream, rain, friends, eat, We We We We We thanks to - day, We give our thanks to - day, 9 ] ] ` ] ` give give give give give our our our our our thanks thanks thanks thanks thanks ] ] ` ] to - day to - day to - day to - day to - day ] ]] ]]] for for for for for ] ] ` ] ] all moun - sun - fun food thats tain, shine, we we giv - tree, cloud, had have ] ]] ]]] en and and with to a us. stream. rain. friends. eat. ] ]] ]]] ^ ^ ^ _] c ] ]] ]]] 2.We.We.We 5.We We give our thanks to - day, We give our thanks to - day,

13 f j l m j m ggg ggg We Give Our Thanks Today, page 2 e 1 g g gg ggg g gg ggg g gg ggg g gg ggg rit. g g gg ggg g h gg gg E H Upper part: Middle part: Lower part: g gg ggg We We We give give our g gg ggg thanks our give to - thanks day, g gg ggg We to - day, our give our g gg ggg thanks We thanks to - day, give g gg ggg We our give thanks to - our g h gg thanks to - day. to - day. h gg day. The ground written on lower staff, "We give our thanks today, We give our thanks today... ") will, of course, e sung or douled) an octave higher than written if childrens or womens voices are used. The ground actually consists of three voices, and is meant to e performed like Upper Part Middle Part Lower Part i i We give our i j j j 19 j j j We give our j j j We give our 19 omitted. k k l i k 21 i thanks to - day. j j j j j j thanks to - day. j j j thanks to - day. f this proves difficult, or if your group does not have enough voices to cover all three parts, Upper Part can e sung alone, and Middle and Lower Parts Group 1) We j Group ) giv - en j j give our thanks to - day for... on j j j j us. The main melody "We give our thanks today for all thats given us,...") can e sung as a two-, three- or four- part round. The first, second, third, and/or fourth parts enter at points marked 1, 2, and/or in score. At conclusion of each verse, song can e performed two ways: #1. Group 1 can immediately proceed to next verse, efore Groups 2,, and have finished ir verses. Group 1 follows notes and rests exactly as written in measures 11 and 12 of score.) #2. Group 1 can wait until Groups 2, and have completed ir verse, n egin next verse. t works out rar well if end of Group s verse and eginning of Group 1s following verse dovetail as shown in figure elow. t works out that Group 1 must rest two extra measures, eyond rests marked in score, after finishing ir verse in measure 11.) Dovetailing end of Group s verse with eginning of Group 1s verse: As with all Music Q Songs, verses given are only samples. eel free to make your own verses that fit your situation and inclinations. Here are some possile additional verses; We give our thanks today for friends and family. x) We give our thanks today for friendship that weve shared. x) We give our thanks today for eauty, love, and grace. x) or more amitious performing groups, words of ground ostinato) can e given at different speeds y upper, middle, and lower voices in ground: Upper: We give our thanks to - day, We give our Middle: We give our thanks to - day Lower: We give our U) thanks to - day, We give our thanks to - day M) We give our thanks to - day L) thanks to - day

14 We Give Our Thanks Today, page The Theory These camp songs came aout as a result of my doctoral research at University of Missouri-Kansas City Conservatory of Music into music preferences of different age listeners. This research had some very surprising and interesting conclusions aout how to help young people ecome more natural and spontaneous musicians. Briefly, research showed that: Music preferences ecome more set with age; for general population of school children, music preferences seem to ecome quite set y age of 15 or so. However, students younger than this age are amazingly open to many different kinds of music. n general, younger student, more open student is to new kinds of music. This hardening of musical taste with age is surprisingly!) an important part of learning process. Without this development of definite musical preferences, refined taste and discrimination cannot develop. n some groups i.e., trained musicians) hardening of musical preference happens at a much slower rate. Musicians may e quite open to new musical styles, even into ir twenties and thirties. There are surprising enefits to developing an interest in a road range of musical styles. 1) Musical prejudice is strongly associated with social prejudice; reaking down musical prejudices is a powerful way to start reaking down cultural prejudices such as racism and sexism. 2) The musically cultured person in U.S. and, apparently, most Western/European countries) is no longer a classical music sno, ut a musical omnivore who appreciates quality in any kind of music from luegrass to eop to Baroque opera. Although hardening of musical taste with age is inevitale, it is advantageous to slow down hardening of preference as much as possile. This is way that roadest, deepest, most profound, and most detailed knowledge develops in music and in or areas of knowledge, as well). The reason for this is rar simple: knowledge is a "play of differences". The person with a road musical taste has a wide field of differences in which to place any new piece of knowledge; new knowledge is seen in comparison and contrast with many, many previous areas of knowledge. Because of this road range of similar ut contrasting knowledge, new knowledge is understood oth in greater depth and in greater detail. or instance, first graders in a school were divided into three groups. Group 1: Trained to sing in major keys Group 2: Trained to sing in major & minor Group : Trained to sing in major, minor, modal scales. After a year of this training, students in Group sang songs in major keys etter than students in oth Groups 1 and 2--despite fact that Group had spent less total time singing songs in major keys. Group understood major keys etter ecause y had several similar ut slightly different things minor scales, modal scales) as a asis for comparison and understanding. A similar study involved students learning songs using different rhythms. Group 1: Sang in 2/, / Group 2: Sang in 2/, /, /, 6/8 Group : Sang in 2/, /, /, 6/8, 5/8, 7/8, changing meters Again, Group outperformed oth Groups 1 and 2, even in singing songs in 2/ and /. Group 1 was worst of three groups at singing songs in 2/ and /, despite fact that y had een "specializing" in singing se songs for an entire year. Research shows that children learn music exactly as y learn language. That is to say, learning starts with listening--for many hours and years. Learning n progresses during a long stage of listening, imitating, and experimenting, during which skills are progressively refined. n language development, this egins with "ay talk", progresses to simple sentences, more complex sentences, and ends with fluent speech. n musical development, imitating and experimenting stage of learning is est approached through singing--lots of singing, in many different scales, modes, and meters. Unfortunately, our popular and mass media musical culture favors a quite narrow range of music. Over 80% of music on radio, television, and movies is in major keys and in 2/ or / meter. Over 90% of music in elementary school music ooks surveyed was in major and 2/ or /. Over 90% of song topics on radio involve romantic love and/or sex not only is this topic of little interest to young children, ut even worse, fixation on this one area of life--admittedly a very interesting one to older age groups--locks out expression of dozens of human feelings and emotions that young children should have opportunity to feel through music). The Practical Application What are practical results of se ideas for parents and teachers? Young people need to e exposed to a wide variety of music, first y listening and n y singing. They should listen to and sing music in a wide variety of scales, modes, meters, rhythms, and tempos. They should listen to and sing music expressing a wide variety of feelings and emotions and from a wide variety of musical styles. Children should start listening to this variety of music at a very young age; older child more set preferences. Parents and teachers--who determine listening agenda for young children--are older and, so, almost always set in ir musical opinions. Adults should realize that much music ir children should e listening to is going to sound strange, izarre, off-eat, weird, or just not interesting to adult. Although adults who keep an open mind can develop new music preferences, too, and doing so is good for adult for same reason it is good for child.) World musics, jazz, classical music, musicals, religious music, folk music, popular music from different eras 190s, 50s, 60s, 70s, 80s, 90s) are all quite easily availale and can help to round out your childs listening. f you start when your child is young, you will find child surprisingly open to a variety of musical styles. You may find that it is easy to work a variety of music into your daily routine if you make music a functional part of your activities. or instance, whenever youre cleaning up front room, put on that "Classical Music of ndia" CD. When youre doing dishes, listen to a Big Band CD and while taking a ath, a Beethoven Symphony. Have certain songs you sing while youre getting ready for ed, coming hair, or getting dressed. "Music to help with an activity" is way most every culture throughout ages has used music, and you will find that using music in this way helps your child and you!) keep on task, regulate emotions, and enjoy routine or oring activities. Music in different modes and meters suitale for singing y children is quite difficult to find. Most childrens songs are in major keys and 2/ or / meters. There is nothing wrong with se songs, ut it would e ideal to have children sing and hear a wider spectrum of tonalities and rhythms. My study on changeaility of music preference involved 682 adults and pulic school students. Edwin Gordon has spearheaded innovative research some of which is mentioned aove) on language model of music learning and enefits of teaching young students to sing in a variety of scales, modes, rhythms, and meters. See My conclusions, summarized aove, rely on work of many, many researchers--far too many to e cited on this rief page. A complete list of studies cited can e found at oz.sunflower.org/~hugh/musiciq.spm.

15 y We Give Our Thanks Today, page The Songs With se ideas in mind, realized that a perfect venue for children to learn to sing songs in a wider variety of scales and rhythms is at camp. Many camps use songs extensively; camps are one of last holdouts in our culture to have a true oral folk song tradition. Many campers have a repertoire of dozens of complex songs, all learned in a natural, fun, and social way. With this solid ase of music-making as a starting point, if camps roaden ir musical spectrums even a little y including a few songs in modes and unusual rhythms, eneficial effect of camp singing will only e multiplied. Of course, camp songs can e used at home, church, or school, as well. t can e used as a general song of thanks especially appropriate around Thanksgiving time, of course!) or to express thankfulness for a particular thing you may need to write appropriate verses). Teaching this song You might sing melody as a simple song without ostinato or round) several times over a period of days efore trying it as a round and/or adding ostinato. You might introduce "simple" version of ostinato Upper Part only) for a few days efore complicating matters with three part ostinato. Teachers or parents who having difficulty mastering melody of song should listen to recorded version of song several times daily for a period of days or a few weeks. The music, internalized in this way, will ecome much easier to grasp and to teach. Recordings of this and or Music Q Songs can e found at mp.com/musicq. The ree Music Philosophy This sheet music is distriuted under ree Music Philosophy see Permission to copy, modify, and distriute musical composition and lyrics in this sheet music is given for noncommercial use. Basically this means that this music is reproducile for any normal home, school, or camp use. You may make copies and give m to friends. You may post copies of music on internet, as long as you do not charge for downloads. You can make arrangements of music, record it, change or alter words, and so on, as long as it is on a non-commercial asis. or instance, schools, camps, or day-care centers can copy music, or just words, and give a copy to each student. f you wish to support composer of this music, est and easiest way to do so is to visit one of internet sites listed elow and listen to some music or purchase a CD. nternet Sites mp.com/musicq - free downloadale MusicQ recordings, CDs, free Music Q sheet music, and information. mp.com/rent_d_hugh - classical piano recordings y Brent Hugh mp.com/victorianchristmas - Victorian-era Christmas Carols oz.sunflower.org/~hugh/patic.spm - various sheet music, recordings, and or music-related items--many free for download--y Brent Hugh --Brent Hugh q 0Xp V u Lrts q,v 6Rw Qx ˆ ƒ {Ž JV ƒ O z { T} ~ { ƒ { { Š Œ ƒ QH G P L HQV R L L PXVL R \ RXQ SHRS H Text and Music Copyright 2001 y Brent Hugh 5916 Arlington Ave, Raytown, Missouri USA 61 hugh@oz.sunflower.org mp.com/musicq

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17 ]] ] YX YX YX YX Piano VW 7 [ VW]] 1 [ \ \ \\ \\ 1.Rings 2.Watch -.Hats.Socks _` Moving, = ntroduction \ go es go go VWX \ \\ \\ 1 [ \ Rings Watch - Hats Socks go es go go \ \ ^ \ VWX \ \ \ 19 Chorus Ev - ry - thing Rings Go On My inger \ \\ \\ X X X X X \ X\ \\\\ on go on on \ \ \\\\ on go on on my on my my \ \ \ \ has my on my my a \ \ \\\\ [ \ \ \\ \\ [ \ \ \\ \\ fing - arms, head, feet, [ \ \ \\ \\ fing - arms, head, feet, er, er, And And And [ \ C \ \\ \\ [ \ \ \\ \\ Rings Watch - Hats Socks [ \ C \ \\ \\ Bells tract - hon - cars go ors ey go [ \ m \ \ ^ \ ) \ \ \ \ ] \ \ place, now, Ev - go es go go ry - thing X X X X X X X X \ \ \ \\ \ \ \\\\ on go on on \ \ \ \\ on go goes on my on my my on on [ \ \ \\ \\ [ \ \ \\ \\ fing - arms, head, feet, [ \ \ \\ \\ ring - farms. read. street. \ \ \ \ \ ] \ \ has a song y Brent Hugh phrygian mode, +2+ meter a [ place, er, er.

18 f d dc c e ce c g d dc c ce c e i f ff ff i fff Rings Go On My inger, page 2 a 25 g gh g g g g g g C g g g g g Ev - ry - thing g g has a g g g i place,rom your toes g g g up g g to your g g g face. iii f 5. Glasses go on eyes, x) Swatters go on flies. or, Cherries go on pies.) 6. Gloves go on my hands, x) Newspapers in ruer ands. 7. Pants go on my legs, x) And cartons go on eggs. 8. Shirts go on my tummy, x) ce cream goes down yummy. 9. Pants go to waist, x) And pepper to taste. 10. Belts go under my elly, x) And read goes under jelly. 11. Arms come out of shoulders, x) Rocks come out of oulders. 12. Coats go on my ack, x) And ducks go on quack. 1. Wraps go on my neck, x) And cards go in a deck. 1. Coms go in my hair, x) And clouds go in air. or, for those with impossile hair: And hair goes everywhere.) 15. Brushes go on curls, x) And oysters go on pearls. 16. Earrings go on ears, x) And ullies go on sneers. 17. Bracelets on my wrist, x) And gorillas in mist. As in all Music Q Songs, verses given are examples only and singers are encouraged to alter verses or compose. This is an especially fun song to make your own verses to. You can pick your own topic and make up verses to go with that topic. The idea is that first line stays on-topic while second line is a nonsense phrase just to round out rhyme. You can also make a chorus to fit your particular suject. or instance, if picked topic "animal groups" might come up with this: 1. Birds go in flocks, x) Minerals go in rocks. 2. Buffalo go in herds, x) And earthworms go in irds. etc. chorus) Animals have ir place, now, Animals have ir place, Animals have ir place, So does human race. On suject "what things go on" you might sing something like this: 1. Big trucks go on wheels, x) Whiskers go on seals. 2. Horses go on hooves, x) Shingles go on roofs.. ishes go on flippers, x) Grandmas go in slippers. chorus) Everything goes on something, Hooves or wings or toes, Everything goes on something, Thats how world goes. f you like to have more words in each verse, you can sing it this fast-moving way: 1. Rings go on my finger, Phones go on ringer, Watches on my arm, And tractors on farm. 2. Hats go on my head, And honey on read, Glasses on my eyes, And cherries in pies,. Socks go on my feet, And cars go on street, Gloves go on my hands, Newspapers in ruer ands.. Pants go on my legs, And cartons on eggs, Shirts go on my ack, And ducks go on quack. 5. Coms go in my hair, And clouds up in air, Brushes on my curls, And oysters on pearls. 6. Earrings on my earloes, Judges in ir roes, Bracelets on my wrist, And gorillas in mist. etc.) chorus) Everything has its place, now, rom my toes up to my face, dont know how things got re, dont really care.

19 Rings Go On My inger, page The Theory These camp songs came aout as a result of my doctoral research at University of Missouri-Kansas City Conservatory of Music into music preferences of different age listeners. This research had some very surprising and interesting conclusions aout how to help young people ecome more natural and spontaneous musicians. Briefly, research showed that: Music preferences ecome more set with age; for general population of school children, music preferences seem to ecome quite set y age of 15 or so. However, students younger than this age are amazingly open to many different kinds of music. n general, younger student, more open student is to new kinds of music. This hardening of musical taste with age is surprisingly!) an important part of learning process. Without this development of definite musical preferences, refined taste and discrimination cannot develop. n some groups i.e., trained musicians) hardening of musical preference happens at a much slower rate. Musicians may e quite open to new musical styles, even into ir twenties and thirties. There are surprising enefits to developing an interest in a road range of musical styles. 1) Musical prejudice is strongly associated with social prejudice; reaking down musical prejudices is a powerful way to start reaking down cultural prejudices such as racism and sexism. 2) The musically cultured person in U.S. and, apparently, most Western/European countries) is no longer a classical music sno, ut a musical omnivore who appreciates quality in any kind of music from luegrass to eop to Baroque opera. Although hardening of musical taste with age is inevitale, it is advantageous to slow down hardening of preference as much as possile. This is way that roadest, deepest, most profound, and most detailed knowledge develops in music and in or areas of knowledge, as well). The reason for this is rar simple: knowledge is a "play of differences". The person with a road musical taste has a wide field of differences in which to place any new piece of knowledge; new knowledge is seen in comparison and contrast with many, many previous areas of knowledge. Because of this road range of similar ut contrasting knowledge, new knowledge is understood oth in greater depth and in greater detail. or instance, a school of first grade were divided into three groups. Group 1: Trained to sing in major keys Group 2: Trained to sing in major & minor Group : Trained to sing in major, minor, modal scales. After a year of this training, students in Group sang songs in major keys etter than students in oth Groups 1 and 2--despite fact that Group had spent less total time singing songs in major keys. Group understood major keys etter ecause y had several similar ut slightly different things minor scales, modal scales) as a asis for comparison and understanding. A similar study involved students learning songs using different rhythms. Group 1: Sang in 2/, / Group 2: Sang in 2/, /, /, 6/8 Group : Sang in 2/, /, /, 6/8, 5/8, 7/8, changing meters Again, Group outperformed oth Groups 1 and 2, even in singing songs in 2/ and /. Group 1 was worst of three groups at singing songs in 2/ and /, despite fact that y had een "specializing" in singing se songs for an entire year. Research shows that children learn music exactly as y learn language. That is to say, learning starts with listening--for many hours and years. Learning n progresses during a long stage of listening, imitating, and experimenting, during which skills are progressively refined. n language development, this egins with "ay talk", progresses to simple sentences, more complex sentences, and ends with fluent speech. n musical development, imitating and experimenting stage of learning is est approached through singing--lots of singing, in many different scales, modes, and meters. Unfortunately, our popular and mass media musical culture favors a quite narrow range of music. Over 80% of music on radio, television, and movies is in major keys and in 2/ or / meter. Over 90% of music in elementary school music ooks surveyed was in major and 2/ or /. Over 90% of song topics on radio involve romantic love and/or sex not only is this topic of little interest to young children, ut even worse, fixation on this one area of life--admittedly a very interesting one to older age groups--locks out expression of dozens of human feelings and emotions that young children should have opportunity to feel through music). The Practical Application What are practical results of se ideas for parents and teachers? Young people need to e exposed to a wide variety of music, first y listening and n y singing. They should listen to and sing music in a wide variety of scales, modes, meters, rhythms, and tempos. They should listen to and sing music expressing a wide variety of feelings and emotions and from a wide variety of musical styles. Children should start listening to this variety of music at a very young age; older child more set preferences. Parents and teachers--who determine listening agenda for young children--are older and, so, almost always set in ir musical opinions. Adults should realize that much music ir children should e listening to is going to sound strange, izarre, off-eat, weird, or just not interesting to adult. Although adults who keep an open mind can develop new music preferences, too, and doing so is good for adult for same reason it is good for child.) World musics, jazz, classical music, musicals, religious music, folk music, popular music from different eras 190s, 50s, 60s, 70s, 80s, 90s) are all quite easily availale and can help to round out your childs listening. f you start when your child is young, you will find m surprisingly open to a variety of musical styles. You may find that it is easy to work a variety of music into your daily routine if you make music a functional part of your activities. or instance, whenever youre cleaning up front room, put on that "Classical Music of ndia" CD. When youre doing dishes, listen to a Big Band CD and while taking a ath, a Beethoven Symphony. Have certain songs you sing while youre getting ready for ed, coming hair, or getting dressed. "Music to help with an activity" is way most every culture throughout ages has used music, and you will find that using music in this way helps your child and you!) keep on task, regulate emotions, and enjoy routine or oring activities. Music in different modes and meters suitale for singing y children is quite difficult to find. Most childrens songs are in major keys and 2/ or / meters. There is nothing wrong with se songs, ut it would e ideal to have children sing and hear a wider spectrum of tonalities and rhythms. My study on changeaility of music preference involved 682 adults and pulic school students. Edwin Gordon has spearheaded innovative research some of which is mentioned aove) on language model of music learning and enefits of teaching young students to sing in a variety of scales, modes, rhythms, and meters. See My conclusions, summarized aove, rely on work of many, many researchers--far too many to e cited on this rief page. A complete list of studies cited can e found at oz.sunflower.org/~hugh/musiciq.spm.