GRADE 5 SONGSGrades 5-6 All the Pretty Little Horses Arirang, MM Banuwa, WOM Eric Canal, MM Fifty Nifty United States, SM Hava Nagila (TG) Hey, ho! Nobody Home, WOM Vs the B'y, MC Lift Ev'ry Voice, SM/MC Mango Walk, SM ‘Simple Gifts, SPM Swing Low, Sweet Chariot, SM ‘The Water is Wide, WOM There's a Gumtree This Land is Your Land, MM This Train, MM. Tunes and Grooves for Music Education 17 ALL THE PRETTY LITTLE HORSES ( United States Em D c 87 Em Hush - a - bye, dont you ery, Go to sleep my litte ba - by, Em D SG 87 Em ‘Wheo you wake, ‘you shall have, All the pretty lit = tle hor = ses. 6 c cS B Em Blocks and bays, ddap-ples and grays, coach and six-a- little hor - ses. Em D S B7 Em Hush - a - bye, don't you ery, Go to sleep my ba = by. The Tune Lullabies like “AU the Pretty Little Horses,” a slumber song that is widespread in North America, continue to be alive and well as they are passed from parent to child. The Music Culture Lulling a child to sleep by song is a universal phenomenon that knows no historical or cultural boundaries. The soothing sound of a lullaby emanates from those parents, grandparents, and others who are entrusted with the care of an infant, toddler or small child. Melodies of lullabies are typically tonal, of a small range (an octave or less) and with fewer pitches overall than other song types, and undulating—rising and falling in a subtle rocking feeling. ‘They tend to move quietly and gently in duple or triple meter, and their lyrics are about the familiar: mother and fa: the, animals, the cradle, rib, or créche. Well-known lullabies in North America include “Mockingbird” ("Hush lit, {le baby, don't say a word”), “Rock-a-bye Baby,” Johaimnnes Brahms’s song “Wiegenlied,” and the French traditional berceuse. Lullabies are likely to be sung by women more than men (although this could be changing as men take on the challenges of child care), and are prized because of their potential to communicate to the wee ones in a direct, intimate, and intense manner. “All the Pretty Little Horses,” long thought to be Anglo American in origin, is in fact rooted in an African-American lullaby that has been embraced by North Americans across the color divide. The Experiences *+ Sing the song on a nevtra syllable such as a soft “bah,” and with solfege syllables (starting on “Ia”) or scale num- bers (starting on 6"), \ Sing the song withthe lyrics, articulating on the quick descending segments of each phrase. Campbell, P. S. Tunes and Grooves for Music Education. Pearson, 2008,hth Wert by Ac Frpay Fs Song tro Koes Arranged by Gort ators Liltingly E SSS + a E v nn r Pr - ? A= fis rang ko ge =r uh muh - kan ~ de, Over the his hg i = = Se ie a = SS Soe = 4 & SSS Tt r ‘Chung - chun ha - nul - en Voic ~ es call me from b pe — E SSS SSS S55 | - SS 2 eee P r meh ka = Sem en su sim=do man - ta must fol = low 1 can mot tay —_ = Ee Se 4Banuwa @ © ag tm ina to Layering : _T Ba-nu eve ba aw en bas mv-¥a yo feature, ® Semen beemew Mem we fe I Nebo as kee a Seen as b> © © perenne won 5 Rhythm Complex CN- Heqkhdrum [x 3x Sw 7 & Lowdrum | x x 4 x x 78 Cabasae tx 34 xX 6X 8B * Cowbell 1ZxxS56Oxe Koluba xX 2x 4k & xX Xx Tsctrreben HX HX L HHX WORLD OF MUSIC © 1988, SILVER, BURDETT 9 GINN INC. ALL RIGHTS RESERVED. USED BY PERMISSIONMMS Element: MELODY sel] a In the move westward, Americans frequently traveled along rivers and ‘canals. Great cities often grew where the rivers came together. The Erie’ Canal, built in 1825, linked the Great Lakes and the Atlantic Ocean. Sing "Erie Canal.” Identify how the melody changes in the refrain. 2 co 128 Erie Canal Folk Song trom the United States =, wo got a mule, her name is Sal, 2 Git up there, Sal," we passed that lock, ; Chorus Dm — = (eas SSS “oe oe oe 4 Ff - teen miles. on the = E = fie Ca. nal Solo Dm om a =, She's a good old work- er and a good old___pal, And we'll make. Rome ‘fore six. o! clock, ’ Choris 4 ‘our day, we'll 90 We've hauled some bar - es in Just one more trip, © and back 159wo UE The 50 states that make up the United States are each special in their own way—from Alaska, the northernmost Z state, to Hawaii, the southernmost. However, one thing that many of the states have in common is a name with Native American origins. The name Alaska, for example, came from alakshak, an Inuit word for “peninsula,” “great lands,” or “land that is not an island.” da- ho, M-li- nois, In- di- B 7 Ken- tuck-y, Loui - si ae bm New Jer-sey, Min- ne - so- ta, Mis- sis - sip- pi, pee ee c cr Ne- vad - a Gm New Hamp-shire, B New Mex-i- co, New York, North Car-0- "7 cm — i gueeee 0; Ok- la - ho-ma, Or-e-gon, Bem Dm cm cm? —s Fe Penn- syl- va- nia, Rhode Is- land, South Car-o- li na, South Da-ko- ta, e eA A | |errr 2nd time rt. B cidim Dm 6 Se est \ar-gin-ta, Wis “con sin, Wy - o-ming. A- @ Tempel; am om © cams, © Cam pot = ~ i -—- == = Gewese e Ge North, south, © east, west, in our calm, caim © ‘ob- jec-tive o- pin-ion, (name of F pm eae home state) “is the Fif- ty nif - ty Dm G7 o giv-en a day to F —- : ae FH e Shout ‘em, scout ‘em, Tell all a-bout ‘em, One by Dm or fy === oa oe Z e e © = Se Celebrations Patriotic Days 289 La156. Tanes and Grooves for Music Education HAVA NAGILA Israel ve = nig ome = ba Ha-vo ne - m-ne-m, a a+ chim, u-ru a chim be be = chim be = lev sa mis 2 Usa = chin lev-sa mais U-m a-chim Uma a-chin be - lev-sa m Let's be happy. Let's sing and be happy. Rise up, brothers and sisters, with happy hearts. ‘The Tune “Hava Nagila” is a popular song of celebration among Jewish people. It is performed at weddings, folk dance, and other festive gatherings. ‘The Music Culture “The Hebrew words to “Hava Nagila” are a straightforward declaration of happiness, of rejoicing in song, and awak- cening in the joy of being alive, It isthe best known of Jewish folk songs by those who are not Jewish, and is heard at various occasions in Jewish communities across the world. It is particularly known as dance music, and is played- A. Kounain inree raris Listen to the recording of this round. Something happens to the texture of the music as each part is added. Can you tell what it is? Concept Harmony Objective To distinguish individual (arts in a round by moving wfaterials Record 6B, Band 6; bells Vocabulary texture Gene 1, As students listen to the recording, help them discover the following: + The melody is first sung alone; the sound is thin. + As each part is added, the sound be- ‘no. 3meax. Hey, Ho! Nobody Home @ 0 Bagh an u pepe - —¥ oS SS SS ee eS a No-bod-y home. Mest nor drink nor mnon-ey have I none, comes thicker. Hey, Hol + As each part finishes the round, the " sound becomes thinner. war a = 2 = DEVELOPIN is Q “ ot Sil Twill be merry, very mera, Hey, Hol No-bod-y home 2. When students sing the song as a three- part round, have each group stand as their part enters and sit when their partis fin- ished. CLOSING 3. Add movement to the performance. + Walk the beat while singing the melody. + Walk the beat in three concentric circles while singing the three-part round. (As each part enters, the appropriate circle [ “ns to move.) 1 1 u Add a Part coc ‘Add one or both ofthese parts toa perfrmance ofthe song. —~ 1 ey tl fy —_Z ur Cee © tending the Lesson Have small group of singers and/or bell players add the ostinatos notated on the pupil’s page. Hey. bol Hey, bo! 162 swing Muse Class Mgt. Sp. Leamars 4 Special Resources Put It All Together When “Hey, Ho! Nobody Home" is used as part of @ larger program, you may find the following performance suggestions helpful + Walk the beat, sing in unison. + Walk the beat, sing as a round. + Walk the beat in coiicentric circles, sing round. 162 Sharing MusicL “T’se the B’y” (Folk Song from Newfoundland) Beak 8s “Lam” and “B'y" is “boy” in Newfoundland dialect, However, “b’y” means “man”, Even old men address each other in Newfoundland as “me b’y” (“my boy”). the by mat catches fhe fish end takes themhome to "Li - ger, Chorus: . ’ —— a ae —— iF iF ( Hip yourpart - nes, Sal-ly THb- bo, Hip YOU part ner, Sal = ly Brown! a == = i * Mer-ton's Har Dour, All dstound the cir . cle, 2. Sods and tind to cover yous flake, (Cakes and ta for supper, (Codfsh inthe spring o” the year Fried in mapgoty butter hon 3.1 don’t want your maggoty fs, That's no good for winter; ‘could buy as good a that Down in Bonavista Chorus:( “PSE THE B'Y," P. 180 formation: Each gil chooses a partner. The partner stands to her right. Couples form a circle, facing toward the center, Verse 1 Measures 1-4: Girls take 4 bouncy steps forward: 4 bouncy steps back to place (B beats), Measures 5. Boys do the same (8 beats). Refrain Measures 1-4: Partners swing right elbows (8 beats), Measures 5-8: Partners swing let elbows (8 beats) Verse 2 Measures 1-4: With hands joined, all move 8 steps counterclockwise (@ beats), Measures 5-8: All move & steps clockwise (8 beats). Repeat refrain Verse 3 Tormang'ts Joined and facing toward the center, al take 4 steps sonata, ralsing ams as they go: 4 steps back to place lowe arms as they go (8 beats). Measures 1 Measures 5-8: Repeat measures 1-4 (8 beats). Repeat refrain, bowing to partner at the very end “THE ROCKING CAROL," P, 210 Formation: Children stand in a circle, arms at sides. R means right foot; L means left foot, uP [omard RL R ralsing arms above head: step backward t, Phrase 1: RL lowering arms to sides (6 beats), Phrase 2: Repeat phrase 1 (6 beats) Phrase Extending the right arm to lead the body, turn clockwise in a small circle R, L,R, L, R, close (6 beats), Phrase 4: Peeing the left arm to lead the body, turn counterclockwise LBL RL, close (6 beats), Phrase 5: Repeat phrase 1, Phrase 6; Repeat phrase 2c Lift Ev'ry Voice and Sing vm ty nna spat tan Majestically VW ‘he road we trod, —bit-ter the chas - tring ‘od Felt in the 1 ev-'ty voice and sing, till earth and heav - en ring, Ring with the 2, Ston-y V. har = mo - nies of lib = er-ty, Let our re - joic - ing rise high as the ays when hope un = born had died. Yet with » stead ”- y beat have not our lis = ning skies, Let it re- sound —joud as. the roll ing sea. wea - ry feet Come to the place for which our fa thers died.wi ————— © SF SSS = - We hale 202 ‘tll of the fat that the dark past hes taught us; Wwe have come —o-ver a way that with tears hes’ bean a! tered; : — = SSS Sag SSS ee | oz SSS SSS SS) SS =——+$ # ——S gt SS a a —— We hae 2209 ill of the hope that the pres ent has broughe Me _heve come _tead-ing our path through the blood af the. seu 4 (ie 3 day be = gun, Let us march on stand — at___last Where the white gleam 3 t = hts f- Ss pS Ee | —he ». lade 5 n = ae - a = === SSS SS ——— aecomin om pros pge 4 Introduce Mango Wal" C3. Lenty ‘the rhythm pattern, a Have students: od Pla + Read about the song on pope 56 > Say he word “Fung Alaa” (age 55) wile pating ett af sha oh, with lteratig hands: Repeat he eno stn BS PP ing Word 9 man goa > + Lien o Mango Walk ollowing the nou Soa, td sing on eon {UIEENVA 2 Informal Assessment * Lise 0 “Mango Walk" wire closed and clap each time yy) Gp) Inloriaic, where this aps song was > # Read page 57 and recognize thatthe rhythm forgo man-go walk is syncopated, Practice ) Jp J “Mango Walk? Have stadents: * Say the chythm pater shown in Playing In- -truments (onthe botom of page 57) a8 they ‘atthe rhythm with altemating hands ‘ Play the pattem on drums, starting on the owmbeat. (Cal anention to the upbeat Count Off measure before so they can star acct COMPARE the rhythm of the tinted measures with the ( rately) ‘rhythm of abshay, ahshay to “Funga Alafia” Thy ae sane ¢.Form two groups, Group | singing “Mango ‘Walk as Group 2 plays the shythm on drus, 2 with MEETING INDIVIDUAL NEEDS ALTERNATE TEACHING STRATEGY Pounded with a sledgehammer until the desired pitches Tesineacsantes tstheoeracona sy eee Sl ms ly py fs BACKGROUND: Stee! Drums ENRICHMENT: Rhythmic interludes Have groups of four or five students create rhythmic interludes for “Mango Walk.” Pu the patems and directions on the board, (Use Resource Master 2 1.) Stadent amange aay four rhythms into a 16-beat interlude, remembering to use both Fepetition and contrast. You might assign roles inthe group s0 ach student has a responsibility, Steel drums are percussion instruments of several sizes that are often used in Caribbean music: They were orginally ade from the tops or bottoms of ofl containers (oll drums). To make a low-pitched steel drum, the entre oil drum was used, To make higher-ptched steel drums, nore ofthe side of the oil drum was cut off The end was 56 tenon oRUMS! A@AannnaeET SET ut how many times you hear a syncopated shythm pattem.” Have stents, 4.Listn 2 you clap the rhythm of “Mingo Walk” 60139 and show wih ther ingen how rary ies he pares PN Ch) was heard, (5) »* Sing “Mango Walk” on page 56, and lap J DS (2) eschtime icccours “You've leamed to recogaize this common syncopated pattem when you beast Today oul practice ceding the pater and leat ‘ead yet another rhythm pater. Leaming recognize and perform rhythm pattems con help you develop sil in reading all Lincs of MOVE t0 "Mango Walk" a Jaaicon fon song, using the steps listed. After some practic, you'll probably beable te pated, you *epping on the stendy beat © tour seps forward EVELOP Osean movements to “Mango Walk sien lave rae omemcnion | g "Walco he et ashy sing “Mang wae” © ecg | comers ‘in place, toweh \~ '* Look at the movement directions on page 69, © etna And practice the steps tothe beat, Meas I: Four ses forward sep mother) Measure 2: Side, close, side, touch wo one side Measure 3: Side, los, se, touch tothe other side Measure 4: Tree sep circling in place, touch Measines 5-8: Repeat above, moving back wads replacing the circling steps with stomp and tre laps: Jy > *Sing the song, and do the movemonss © sides toch © sides teuch © sump tveecops ‘MOVE facing a partner to realty get into the calypso spirit Move in ‘opposite directions, Uni 2 Pomerat 69 MOVEMENT: “Mango Walk” BACKGROUND: “Mango Walk nea sidents are comfortable with he dance steps for ‘Tre, words to this song mean: My mother told me to walk ” nae and arm gestures may.be added. For among ti was and eat all he best quality ma Fat and forward and beck (right hand forward SESOrr 10 Mango Walk Calypso Song tom jamaica Jd. + 3bo —— oe —— And when we find our-seives in the place just righ es a = ashamed, be our de - light, Till by SS] > ing we come ‘round right.The Ohio River joins the Mississippi River, which flows all the way to New Orleans. “Swing Low, ‘Sweet Chariot” comes from the ‘southern part of our country. Itis in verse-refrain form. ’ The words to the verse change, There. 4 frainis the part of the song that stays S ~ thesame. g Find the repeated words in “Swing Low, Sweet ‘ Chariot.” These words are Part ofastylecaliled ce call and response. The call is often a solo and." —_ the response is sung by a group. The response ah usually is a repeated phrase, e / LOW, a SWEET CHarrey sin nec sie Refrain 6 com «6 oy 5 =o = Ef x fr oe eee +f ae a ‘Comin’ for to car-ty me home, ‘Swing low, sweet char - i- ot, na 6 coop « D7 G Fine > SSS} + =| eT set =——y o i= Swing— low, sweet char - i- ot Com: in’ for to carry me home 162 223 Universi of tichiaan-Ann Arbor "MUSED 341*“1 took'd 0 - ver Jor-dan an’ what did 1 see, 2 you get there— be - fore—_ 1 do, — } 3.1m —some- times up and some - times down, Group or tender A band of an - gels coma fr to car-ry me tome, {re "My tens Pt oat stn y “lel te Grow v7 oe Dd? GDGalFine f= sss x com: in’ af - ter _me—— com-in' there— too, heayin = ly bound — Com- in’ for to car-ry me home. The phrase comin’ for to carry me home is a repeated musical mo- tive. Make an upward arc with your arm as a “movement motive” ‘on the words comin’ for to carry me home in the refrain. Change the way you do the movement each time by choosing a different arm, level, or facing. SING Verse 1 of “When the Saints Go Marching In” as a partner song with the refrain of “Swing Low, Sweet Chariot.” Unit 4 Sea to Shining Sea 163by yyays eur sens sem Nany The Water Is Wide @ Concept ‘Harmony Objective A To create harmony by 7 singing echo parts B To create harmony eaersion One) by adding @ countermelody eo . 7 . Mey~'als Record 7B, Bands 4 and 5; au- =; — wt 6 eae ‘ocapulary harmony, melody, counter- 3 = relody SY Mevmeny, melody, count Lie waster wie 2°) cancect yee Oe) se Los STARTING =: ov + =— -° 1, Before students open their book, play And nei = ther have Tesh) 1 wings to. By, (echo) the recording of “The Water Is Wide,” ver- ® : 7 . oe sions 1 and 2 z « Inwhat way arethe wo versions alike? | Spee — 5 {The melody isthe samne in both versions.) om = + In what way are they different? (The Oh, go and get! me some it - tle boat (eho! harmony pare is different in each version) pt . ° . SS DEVELOPING 2. Ask students to follow the music (p. 168) as they listen to version 1 again, + How is the harmony created in this ver~ sion? (While one group holds the long note at the end of every other measure, a sec- ond group echoes what has been sung.) To car-y cer ——1ecbo) my ene “love and 1, abo) 2. There i a ship sling on the sea, 3. Ob, love is handsome and kone i fine. ‘She's loaded deep as deep can be, ‘And love is charming when iti tue But ot 20 deep atin love T am As it grows alder it grows cold eae 20¢ ff sink oF swim And fades way hike morning dew. The Water Is Wide @ (Version Two) Fete Soe em Enh cLosinG A 3, ARer students have learned the melody nn version 1, divide the class into two soups. The larger group will sing the the smaller group will sing the eno ort, Yote|’ dents may enjoy singing the echo ngs atated in the Special Resources 1 The waster wide, 1. can-not get ove 2 There is a ship adeing on the sea 3 Oh love is handsome and love is fine 168 pecial Resources Kodaly 16° Yoice & ther Echo Songs © Rays nerd ey es Old Texas (American Cowboy Song) 3. Te my base, take my 56, ‘And bitte trad upon lope Sey ete 0 the Ale ‘nd tam my head toward Mico, WOM ——————_—_——No wings to Al Ce no wings, — —— And sei-ther have twinge toy, She's loaded seep 8 deep can be, ‘And love i chur - Ing when ie true, Extending the Lesson 1. Let students take turns playing the ‘autoharp chords to accompany “The?™=ter Is Wide.” : + Students should become aware that the chord progression is the same in each ver- sion of the song. 2. Choose a small group to learn the countermelody in version 2 of “The Water Is Wide.” cLosine B 3. On another day, have students sing the melody of “The Water Is Wide” with the recording of version 2. + How is harmony created in this version? (A melody and a countermelody are sung simultaneously.) To carry oer my love and ( ow r & f - To cur-y my true Jove and 1 —___ T cure not if sink or— swim ‘And fades a = way: like mor -ing— dew, ow is harmony created in version one of “The Water Is Wide"? ow is harmony created in version two? ‘The Goat (American Folk Song) Do oo =: i He ved that oat OS) junk tke whi SPO? 2. One day that gat ft risk and fine, ‘Ae tho rd sits from off he line ‘The man, he grabbed im by the back, ‘Ad tind hi to riod Wack, ‘4. But wh the train hove into aight “That goat grew pale and green with fight ‘He heaved igh ifn pain, Coaphed op thove shirts and agged tho tala. t Sharing Music 169See ‘Thereare millions of gum trees in ‘Australia, What does it matter ifwe cut one down orlet one die? Maybe | youll eal differently after you sing thls song that lists some ofthe native animals that depend on a ‘gum tee for theirsurvival. Sing it for the environment. ey Theres a Gumtree D A D 1. There's a gum tree grow-ing on a hill, And a G D G D kook-a~ bur-ra sits there laugh-ing at the sun —~ rise.— A Bm D And if the gum tree dies, then the G A DG Kook - a - bur- ra fie 2.There’'s a2 gum tree grow-ing on a hill, And a D G D ge SSS = = Se Sa Ss ‘a 1oo hops thereand lis-tens to the sound, while the (3) snake slides by, look-ing for his break’- fast A (4)ea = glesoars high up a-bove the leaves, A (je © mustands in the beau - ti- ful shade, An G D G D. < ise. kook-a~bur-ra sits there and laughs at the sun __: 1 = SSS ii tree dies, then theG G A D = kook-a-bur-ra_ flies a = way. ‘There's a Last Verse A D _—— === EE = SSS = oe + ers (gum tree grow-ing on a hill, We've got to G D G D Keep it grow - ing there, not chop it down, Or the c D G D mu won't stand, nor the ea - gle fly, or the G D G D by, or the kang-a- 100 hop, while the snake slide c D G D A Bm. D oe JF ——— And if the gum tree dies, then the Sas > kook-a-bur-ra flies. 2 - way.—REFRAIN This land Maine to CCountermolody (ing last time only) & This land is your land, F this land this land is my des ert ‘Words and Msi by Woody Guth ‘Countermelody by Ruth Tutt: land, to the FomCal-i- for ~ ni Yo theNewtork is tnd F Bb F ! a SSS 4 re ' shor, We ing tat thisland is your ind, thland ; o SS — ev T —— From the redwood for - tothe Gulf Stream wa - ters;mine, Yes, it's This land cn was made for you and = =e As 1 was ve roamed and When the sun walk ing ram - bled comes shin - ing that and) and 7 1 2 3 F & — 1 sw a- bwe —— tethe spar-kling sands —— And the wheat-fields wav of Fr a —— 1 saw be - low And all a - round —— Asthe fog was lift - me. a ing a rE & made made made for you for you that her ing and the dust clouds roll that gold - en fib-bon of followed my high foot stroll __ end-less sky dia-mond des F val - fey, sound - ing, chant - ing, for you and and andC Student Page 116 With Spirit Mecterine Masri. gr © This Land Is Your Land this land is, that’ rib-bon of land, to the New York that end - less 2 0 -© Capri 196 (ree 258 eee Calon Mann, rk WE Und ih Pri Words nd tte by Woot ute ‘Counter 6 a aan ‘Araged by dames Roker my high = slyVV shore, We sing that this land is your land, this land is — Fromthered-wood for - est_______to the Gulf Stream wa - ters. 1 saw be - low me that_ gold-en vals - ey, (= VV mine, Yes, it's This land was made for you and me, This land was_made for you and me. ( Per RSF 2. I've roamed and rambled and | followed my footsteps 3. When jhe sun comes shining and I was strolling ‘Tethe sparkling sands of her diamond deserts, ‘And She wheatfields waving and the dust clouds roling, ‘And all around me a voice was sounding, ‘As the fog was liting a voice was chanting, “This land was made for you and me." Refrain “This land was made for you and me.” Refrain 7a, 1. This train is bound for glo - ry, this train. _ 2. This train don't pull no sleep-ers, this train. — 3, This train don't take your mon-ey, this train. — EB — r — This train is bound for glo - ry, this train, _ This train don’t pull no sleep-ers, this train. — This train don’t take your mon - ey, this train, B a Thistrain is boundfor glory, don'tcar - rynone but the good and ho - ly. This train don't pull_no sleepers, Don’t pull _nothin’ but_ the right-eous peo-ple. This train don’t take yourmon-ey, Pay your— way with milk and hon-ey. Et This train bound for This tain is bound for This train bound for son Response Response SS Create and perform new response melodies for “Bound for South Australia,” page 22. Choose your notes from the C-pentatonic scale (C-D.| TOOOOCOPO ROBE OER OKEeoOn Seer ne The Wheel of the Water sh on ese em in ‘rents V. ve oe SSS - 7 ‘The ae ——— \. * - = 2S See Se oS : SSS SS SS SS r= =S5—] wheel of the wa-ter go ‘round and’roohd, And the wheel of ‘waster go ‘round. And the Vis — V eS = SS SS SS Wa-ter flow down, down, trickle, trick-le down, wn to the o - cean, trick-le, trickle down. Vroes fF a as a = — See the va-pors rise. See them loud the Skies, Vows bE SS SE] Clouds rain m. Thun - der and tight - nin, sound, Vous Ss === = de SS 5 Fs =] ‘Springs bub-ble, bub-ble up. Springs bub-ble, bub-ble up. Fined = : S44 a SSS SSS : . 7 : rappin tl pe ge | sehr SS SS qo Se o o o oe Teeana £eaoeg