ࡱ> Root Entry>  0Z= @Contents.  #$%'*+-015679<Root Entry>  V @Contents. !"&(),./2348:;$(,dddgO> D D G 000042423500!@@!16,2,4,5,7,9,10,11,12,14,16,17,19 E A D G *002025303500d'0u0ux 1100UL Treble 1100UL Bass 26100UL Tab130100UL Percussion 42100UL Alto 58100UL Tenor 34100UL Bass TabeS16,0,0,0,700,0,0,0,0,3,2,1,34,Arial!@!15,0,0,0,700,0,0,0,0,3,2,1,18,Times New Roman#14,0,0,0,500,0,0,0,0,0,0,0,25,Arial#16,0,0,0,700,0,0,0,0,3,2,1,34,Arial/13,0,0,0,700,255,0,0,0,3,2,1,18,Times New Romd +@fd > D D G 000042423500!@@!16,2,4,5,7,9,10,11,12,14,16,17,19dZ KLineGroupS34100UL Bass TabeS16,0,0,0,700,0,0,0,0,3,2,1,34,Arial!@!15,0,0,0,700,0,0,0,0,3,2,1,18,Times New Roman#14,0,0,0,500,0,0,0,0,0,0,0,25,Arial#16,0,0,0,700,0,0,0,0,3,2,1,34,Arial/13,0,0,0,700,255,0,0,0,3,2,1,18,Times New Rom$(,dddgO> D D G 000042423500!@@!16,2,4,5,7,9,10,11,12,14,16,17,19 E A D G *002025303500d'0u0ux 1100UL Treble 1100UL Bass 26100UL Tab130100UL Percussion 42100UL Alto 58100UL Tenor 34100UL Bass TabeS16,0,0,0,700,0,0,0,0,3,2,1,34,Arial!@!15,0,0,0,700,0,0,0,0,3,2,1,18,Times New Roman#14,0,0,0,500,0,0,0,0,0,0,0,25,Arial#16,0,0,0,700,0,0,0,0,3,2,1,34,Arial/13,0,0,0,700,255,0,0,0,3,2,1,18,Times New Rom$(,dddgO> D D G 000042423500!@@!16,2,4,5,7,9,10,11,12,14,16,17,19 E A D G *002025303500d'0u0ux 1100UL Treble 1100UL Bass 26100UL Tab130100UL Percussion 42100UL Alto 58100UL Tenor 34100UL Bass TabeS16,0,0,0,700,0,0,0,0,3,2,1,34,Arial!@!15,0,0,0,700,0,0,0,0,3,2,1,18,Times New Roman#14,0,0,0,500,0,0,0,0,0,0,0,25,Arial#16,0,0,0,700,0,0,0,0,3,2,1,34,Arial/13,0,0,0,700,255,0,0,0,3,2,1,18,Times New Roman#12,0,0,0,700,0,0,0,0,3,2,1,34,Arial hTimes New RomanBMonotype CorsivaTimes New RomanTimes New Roman 1ZKStrLinedZan#12,0,0,0,700,0,0,0,0,3,2,1,34,Arial eTimes New RomanuI_LZKStrLineddddTHE SILVER SWANddV Orlando Gibbons (1583-1625) was an The following example is from:dp The Magic Dulcimerdt by Lorraine Leedt 1983, Lorraine Lee Elizabethan composer of both sacred and seculard^music. During the Elizabethan period in music (approximately 1550-1620) madrigals were a veryd`popular form. Madrigals are complex arrangements for unaccompanied voices using secular themes.d_Orlando Gibbons set "The Silver Swan," an anonymous verse, as a five-voice madrigal. The shiftdhfrom five voices to three strings is a considerable one, but it is a fine ddx Yellow Moon Press, 1725 Commonwealth Ave., Brighton MA 02135da If you like this example, please buy this book!dk-----------------------------------------------------------------------------------------------------------ddTHE SILVER SWANddulcimer piece, and the lyricsdare exceptional.ddb This arrangement makes frequent use of the 6 (6+) fret, but don't abandon the piece if you dodenot have the extra fret. Rather, consider the options in the footnotes. Only footnote #2 alters thedbgiven melody. As for footnote #1, you may find it easier to play than the tab, whether or not youdbhave the 6 (6^ Orlando Gibbons (1583-1625) was an Elizabethan composer of both sacred and seculardf music. During the Elizabethan period in music (approximately 1550-1620) madrigals were a verydh popular form. Madrigals are complex arrangements for unaccompanied voices using secular themes.dg Orlando Gibbons set "The Silver Swan," an anonymous verse, as a five-voice madrigal. The shiftd+) fret. Footnote #3 offers an alternative to playing 6 (6+) on the second string.dd Arr. 1983, Lorraine A. LeedZ KStaffLinedZKChordggji ji ji       $p from five voices to three strings is a considerable one, but it is a fine dulcimer piece, and the lyricsd are exceptional.ddj This arrangement makes frequent use of the 6 (6+) fret, but don't abandon the piece if you dodm not have the extra fret. Rather, consider the options in the footnotes. Only footnote #2 alters thedj given melody. As f   $   $d Z KExtendedObj ' '3 1ZKTabLine@fggFSjTjUUU  gj$hjj$ijj$UFSTjUjor footnote #1, you may find it easier to play than the tab, whether or not youdj have the 6 (6+) fret. Footnote #3 offers an alternative to playing 6 (6+) on the second string.dd Arr. 1983, Lorraine A. LeedZ KStaffLinedZKChordggFFUUgj$hjj$ijj$d > D D G 000042423500!@@!16,2,4,5,7,9,10,11,12,14,16,17,19dd $      $$ji ji ji       $  $   $` Z KExtendedObj3 1, , de The sil - ver swan, who, liv - ing, had no note,ZKTabLine@fggFSjTjUjjdFUU  gj$hjj$ijj$FUFSTjUjFFUUgj$hjj$ijj$F` ,b*029,0,0,0,700,255,0,0,0,3,2,1,18,Times New Roman,an#12,0,0,0,700,0,0,0,0,3,2,1,34,Arial hTimes New RomanBMonotype CorsivaTimes New RomanTimes New Roman 1ZKStrLinedZ The following example is from:dp The Magic Dulcimerdt by Lorraine Leedt 1983, Lorraine Leedx Yellow Moon Press, 1725 Commonwealth Ave., Brighton MA 02135da If you like this example, please buy this book!dk-----------------------------------------------------------------------------------------------------------ddTHE SILVER SWANdd^ Orlando Gibbons (1583-1625) was an Elizabethan composer of both sacred and seculardf music. During the Elizabethan period in music (approximately 1550-1620) madrigals were a verydh popular form. Madrigals are complex arrangements for unaccompanied voices using secular themes.dg Orlando Gibbons set "The Silver Swan," an anonymous verse, as a five-voice madrigal. The shiftdp from five voices to three strings is a considerable one, but it is a fine dulcimer piece, and the lyricsd are exceptional.ddj This arrangement makes frequent use of the 6 (6+) fret, but don't abandon the piece if you dodm not have the extra fret. Rather, consider the options in the footnotes. Only footnote #2 alters thedj given melody. As for footnote #1, you may find it easier to play than the tab, whether or not youdj have the 6 (6+) fret. Footnote #3 offers an alternative to playing 6 (6+) on the second string.dd Arr. 1983, Lorraine A. LeedZ KStaffLinedZKChordggji ji ji       $   $   $d Z KExtendedObj , ,3 1de The sil - ver swan, who, liv - ing, had no note,ZKTabLine@fggFSjTjUjjdUU  gj$hjj$ijj$UFSTjUjFFUUgj$hjj$ijj$d ,b*029,0,0,0,700,255,0,0,0,3,2,1,18,Times New Roman, "*** ***> D D G 000042423500!@@!16,2,4,5,7,9,10,11,12,14,16,17,19d $      $$d de When Death approach'd u "*** ***> D D G 000042423500!@@!16,2,4,5,7,9,10,11,12,14,16,17,19d $      $$d de When Death approach'd un - locked her si - lent throat. Lean - ing her breast,1@fUFSTjUjFFSTjUj U  STjUjUSjTjUFFFSTjUjSjTjUFFUSTjUjd , "*** ***, "*** ***> D D G 000042423500!@@!16,2,4,5,7,9,10,11,12,14,16,17,19d $    $   i  $ d d_ lean - ing her breast n - locked her si - lent throat. Lean - ing her breast,1@fUFSTjUjFFSTjUj U  STjUjUSjTjUFFFSTjUjSjTjUFFUSTjUjd , "*** ***, "*** ***> D D G 000042423500!@@!16,2,4,5,7,9,10,11,12,14,16,17,19d $    $   i  $ d d_ lean - ing her breast a - gainst the reed - y shore,1@fSTjUjFFUF gj$hjj$ijj$jjdF USTjUjjjdFUSjTjUjjdFFFFghjijjjdFFd , b*029,0,0,0, a - gainst the reed - y shore,1@fSTjUjFFUF gj$hjj$ijj$jjd USTjUjjjdUSjTjUjjdFFFghjijjjdFd , b*029,0,0,0,700,255,0,0,0,3,2,1,18,Times New Roman,b*029,0,0,0,700,255,0,0,0,3,2,1,18,Times New Roman,b*029,0,0,0,700,255,0,0,0,3,2,1,18,Times New Roman, "*** ***,b*029,0,0,0,700,255,0,0,0,3,2,1,18,Times New Roman> D D G 000042423500!@@!16,2,4,5,7,9,10,11,12,14700,255,0,0,0,3,2,1,18,Times New Roman,b*029,0,0,0,700,255,0,0,0,3,2,1,18,Times New Roman,b*029,0,0,0,700,255,0,0,0,3,2,1,18,Times New Roman, "*** ***,b*029,0,0,0,700,255,0,0,0,3,2,1,18,Times New Roman> D D G 000042423500!@@!16,2,4,5,7,9,10,11,12,14,16,17,19d          $ d ,$" ************db Thus sang her first and last and sang no more:1@fU,16,17,19d         $ d ,$" ************db Thus sang her first and last and sang no more:1@fUFSTjUjU STjUj U STjUjFFSTjUjjjdFFFFSTjUjd ,b*029,0,0,0,700,255,0,0,0,3,2,1,18,Times New Roman, "*** ***> D D G 000042423500!@@!16,2,4,5,7,9,10,11,12,14,16,17FSTjUjU STjUj U STjUjFFSTjUjjjdFFFSTjUjd ,b*029,0,0,0,700,255,0,0,0,3,2,1,18,Times New Roman, "*** ***> D D G 000042423500!@@!16,2,4,5,7,9,10,11,12,14,16,17,19d$      $  i  $ d do Fare - well all joys, fare well all joys; O death, come close mine eyes. 1@f,19d$       $  i  $ d do Fare - well all joys, fare well all joys; O death, come close mine eyes. 1@fSTjUjFFUFSTjUj U SjTjUUgj$hjj$ijj$jjdUSTjUjjjdUSTjUjjjdFFFghjijjjdFd ,b*STjUjFFUFSTjUj U SjTjUUgj$hjj$ijj$jjdFUSTjUjjjdFUSTjUjjjdFFFFghjijjjdFFd ,b*029,0,0,0,700,255,0,0,0,3,2,1,18,Times New Roman,b*029,0,0,0,700,255,0,0,0,3,2,1,18,Times New Roman,b*029,0,0,0,700,255,0,0,0,3,2,1,18,Times New Roman, "*** ***,b*029,0,0,0,700,255,0,0,0,3,2,1,18,Times New Roman> D D G 000042423029,0,0,0,700,255,0,0,0,3,2,1,18,Times New Roman,b*029,0,0,0,700,255,0,0,0,3,2,1,18,Times New Roman,b*029,0,0,0,700,255,0,0,0,3,2,1,18,Times New Roman, "*** ***,b*029,0,0,0,700,255,0,0,0,3,2,1,18,Times New Roman> D D G 000042423500!@@!16,2,4,5,7,9,10,11,12,14,16,17,19dd        $ d , "******d` More geese than swans now live, more fools than wise. 1@fUFSTjUjUSTjUj U STjUjFFSTjUjjjdFFF{|j}jd ,b*029,0,0,0,700,255,0,0,0,3,2,1,18,Times New Roman, "*500!@@!16,2,4,5,7,9,10,11,12,14,16,17,19dd        $ d , "******d` More geese than swans now live, more fools than wise. 1@fUFSTjUjUSTjUj U STjUjFFSTjUjjjdFFFF{|j}jd ,b*029,0,0,0,700,255,0,0,0,3,2,1,18,Times New Roman, "*** ***> D D G 000042423500!@@!16,2,4,5,7,9,10,11,12,14,16,17,19ddY Footnote:d1@fxjjd{|j}jFxjjd}F xjjd{|j}jd ,b*029,0,0,0,700,255,0,0** ***> D D G 000042423500!@@!16,2,4,5,7,9,10,11,12,14,16,17,19ddY Footnote:d1@fxjjd{|j}jFxjjd}F xjjd{|j}jd , could be:,b*,0,3,2,1,18,Times New Roman, could be:,b*029,0,0,0,700,255,0,0,0,3,2,1,18,Times New Roman,b*029,0,0,0,700,255,0,0,0,3,2,1,18,Times New Roman> D D G 000042423500!@@!16,2,4,5,7,9,10,11,12,14,16,17,19ddZ KLineGroup029,0,0,0,700,255,0,0,0,3,2,1,18,Times New Roman,b*029,0,0,0,700,255,0,0,0,3,2,1,18,Times New Roman,b*029,0,0,0,700,255,0,0,0,3,2,1,18,Times New Roman> D D G 000042423500!@@!16,2,4,5,7,9,10,11,12,14,16,17,19ddZ KLineGroup