Autoharp Quarterly Overflow – Autoharp Quarterly Overflow

Autoharp Quarterly Songbook Index, 1988 through 2008

admin — Thu, 27 Aug 2020 20:45:24 +0000

A Bicycle Built For Two, AS-77, Fall 1998, p.41

A Bird in a Gilded Cage, AS-64, Winter 1997, p.22

A Hot Time In the Old Town, AS-81, Spring 1999, p.41

A Mighty Fortress Is Our God, AS-22, Fall 1991, p.36

A Mighty Fortress Is Our God, AS-113, Spring 2003, p.47

Abide With Me, AS-9, Spring 1990, p.19

After the Ball Is Over, AS-36, Summer 1993, p.20

After The Ball, AS-79, Winter 1999, p.41

Alexander’s Ragtime Band, AS-55, Winter 1996, p.19

All Through The Night, AS-116, Fall 2003, p.48

All Through The Night, AS-18, Spring 1991, p.28

Alouette, AS-27, Summer 1992, p.35

Amazing Grace, AS-141, Winter 2007, p.51

Amazing Grace, AS-29, Fall 1992, p.11

America, AS-125, Winter 2005, p.47

America, AS-8, Winter 1990, p.40

America,AS-118, Winter 2004, p.48

An English Country Garden, AS-39, Winter 1994, p.19

Anchors Aweigh, AS-58, Spring 1996, p.20

Angels We Have Heard On High, AS-110, Fall 2002, p.48

Angels We Have Heard On High, AS-124, Fall 2004, p.48

Angels We Have Heard on High, AS-22, Fall 1991, p.36

Angels, from the Realms of Glory, AS-61, Fall 1996, p.21

Annie Laurie, AS-35, Summer 1993, p.19

Army Air Corps Song, The, AS-58, Spring 1996, p.20

As With Gladness Men Of Old, AS-94, Fall 2000, p.42

Ash Grove, The, AS-6, Fall 1989, p.36 Ash Grove, The, AS-112B, Summer 2003, p.48

Au Clair De La Lune, AS-20, Summer 1991, p.26

Auld Lang Syne, AS-140, Fall 2006, p.52

Aura Lee, AS-24, Winter 1992, p.30

Away in a Manger, AS-22, Fall 1991, p.36

Away In A Manger, AS-110, Fall 2002, p.48

Away In A Manger, AS-124, Fall 2004, p.48

Away In A Manger, AS-150, Fall 2007, p.51

Away In A Manger, AS-155, Fall 2008, p.54

Band Played On, The, AS-64, Winter 1997, p.22

Banks Of The Ohio, AS-69, Fall 1997, p.21

Barbara Allen, AS-79, Winter 1999, p.41

Battle Cry of Freedom, The, AS-19, Summer 1991, p.25

Battle Cry Of Freedom, The, AS-128, Spring 2005, p.52

Battle Hymn of the Republic, AS-3, Summer 1989, p.19

Battle Hymn Of the Republic, AS-113, Spring 2003, p.47

Be Kind To Your Web Footed Friends, AS-5, Fall 1989, p.35

Be Kind To Your Web Footed Friends, AS-131, Fall 2005, p.51

Bear Went Over The Mountain, The, AS-97, Spring 2001, p.41

Beautiful Brown Eyes, AS-33, Spring 1993, p.23

Beautiful Dreamer, AS-4, Summer 1989, p.20

Beautiful Dreamer, AS-111B, Summer 2003, p.47

Believe Me If All Those Endearing Charms, AS-9, Spring 1990, p.19

Bile Them Cabbage Down, AS-21, Fall 1991, p.35

Bile Them Cabbage Down, AS-95, Winter 2001, p.41

Bile Them Cabbage Down, AS-112, Winter 2003, p.48

Bill Bailey, Won’t You Please Come Home, AS-47, Winter 1995, p.21

Billy Boy, AS-89, Spring 2000, p.41

Black Is The Color, AS-74, Spring 1998, p.42

Blest Be The Tie That Binds, AS-72, Winter 1998, p.38

Blow the Man Down, AS-57, Spring 1996, p.19

Blue Bell of Scotland, The, AS-28, Summer 1992, p.36

Blue Tail Fly, AS-74, Spring 1998, p.42

Bowery, The, AS-47, Winter 1995, p.21

Brahm’s Lullaby, AS-69, Fall 1997, p.21

Bringing In The Sheaves, AS-14, Fall 1990, p.40

Bringing In The Sheaves, AS-130, Summer 2005, p.52

Bringing In the Sheaves, AS-137, Summer 2006, p.51

Bringing In The Sheaves, AS-139, Fall 2006, p.51

Brother John, AS-93, Fall 2000, p.41

Brother John, AS-154, Spring 2008, p.55

Buffalo Gals, AS-12, Summer 1990, p.24

Buffalo Gals, AS-122, Summer 2004, p.48

Buffalo Gals, AS-129, Summer 2005, p.51

Bury Me Beneath the Willow, AS-13, Fall 1990, p.39

Bury Me Beneath the Willow, AS-117, Winter 2004, p.47

By the Light of the Silvery Moon, AS-55, Winter 1996, p.19

Caissons Go Rolling Along, AS-58, Spring 1996, p.20

Careless Love, AS-33, Spring 1993, p.23

Carry Me Back to Old Virginny, AS-59, Summer 1996, p.23

Cat Came Back, The, AS-83, Summer 1999, p.41

Cherry Tree Carol, The, AS-70, Fall 1997, p.22

Chewing Gum, AS-97, Spring 2001, p.41

Christ The Lord Is Risen Today, AS-41, Spring 1994, p.21

Christmas Is Coming, AS-102, Fall 2001, p.44

Cielito Lindo, AS-38, Fall 1993, p.20

Clementine, AS-26, Spring 1992, p.28

Clementine, AS-151, Winter 2008, p.50

Come, Ye Thankful People, Come, AS-45, Fall 1994, p.29

Come, Ye Thankful People, Come, AS-109, Fall 2002, p.47

Come, Ye Thankful People, Come, AS-123, Fall 2004, p.47

Comin’ Through the Rye, AS-34, Spring 1993, p.24

Coventry Carol, The, AS-61, Fall 1996, p.21

Cradle Song, AS-31, Winter 1993, p.31

Cuddle Up a Little Closer, AS-51-Summer 1995, p.23

Cuddle Up a Little Closer, AS-105, Spring 2002, p.47

Daisy Bell, AS-10, Spring 1990, p.20

Danny Boy, AS-10, Spring 1990, p.20

Darling Nellie Gray, AS-15, Winter 1991, p.19

Darling Nellie Gray, AS-115, Fall 2003, p.47

Darling Nellie Gray, AS-134, Winter 2006, p.52

Darling Nellie Gray, AS-135, Spring 2006, p.51

Deck The Halls, AS-5, Fall 1989, p.35

Deck the Halls with Boughs of Holly, AS-62, Fall 1996, p.22

Deck The Halls, AS-132, Fall 2005, p.52

Deck The Halls, AS-140, Fall 2006, p.52

Dona Nobis Pacem, AS-35, Summer 1993, p.19

Down by the Old Mill Stream, AS-55, Winter 1996, p.19

Down By the Riverside, AS-91, Summer 2000, p.41

Down in the Valley, AS-25, Spring 1992, p.27

Down In The Valley, AS-114, Spring 2003, p.48

Down In The Valley, AS-153, Spring 2008, p.54

Down In The Willow Garden, AS-99, Summer 2001, p.47

Drink To Me Only With Thine Eyes, AS-6, Fall 1989, p.36

Drink To Me Only With Thine Eyes, AS-112B, Summer 2003, p.48

Early One Morning, AS-21, Fall 1991, p.35

East Virginia, AS-75, Summer 1998, p.41

Eddystone Light, The, AS-57, Spring 1996, p.19

Engine 143, AS-2, Summer 1989, p.18

Erie Canal, The, AS-17, Spring 1991, p.27

Erie Canal, The, AS-119, Spring 2004, p.47

Erie Canal, The, AS-126, Winter 2005, p.48

Every Night When the Sun Goes Down, AS-33, Spring 1993, p.23

Fair And Tender Ladies, AS-144, Spring 2007, p.48

Fairest Lord Jesus, AS-20, Summer 1991, p.26

Finiculi, Finicula, AS-38, Fall 1993, p.20

First Noel, The, AS-78, Fall 1998, p.42

First Noel, The, AS-156, Fall 2008, p.55

Flow Gently, Sweet Afton, AS-28, Summer 1992, p.36

For The Beauty Of The Earth, AS-6, Fall 1989, p.36

For The Beauty Of The Earth, AS-93, Fall 2000, p.41

For the Beauty Of the Earth, AS-109, Fall 2002, p.47

For The Beauty Of The Earth, AS-112, Summer 2003, p.48

For The Beauty Of The Earth, AS-139, Fall 2006, p.51

Four Marys, The, AS-79, Winter 1999, p.41

Fox, The, AS-18, Spring 1991, p.28

Fox, The, AS-116, Fall 2003, p.48

Fox, The, AS-138, Summer 2006, p.52

Friendly Beasts, The, AS-94, Fall 2000, p.42

Gaily the Troubadour, AS-50, Spring 1995, p.22

Girl I Left Behind Me, The, AS-43, Summer 1994, p.21

Give My Regards to Broadway, AS-67, Summer 1997, p.21

Give My Regards to Broadway, AS-82, Spring 1999, p.42

Glow Worm, AS-105, Spring 2002, p.47

Go Tell Aunt Rhody, AS-152, Winter 2008. p.51

Go Tell It On the Mountain, AS-23, Winter 1992, p.29

God Be With You Till We Meet Again, AS-32, Winter 1993, p.32

God Bless Our Native Land, AS-43, Summer 1994, p.21

God Bless Our Native Land, AS-106, Spring 2002, p.48

God Rest You Merry, Gentlemen, AS-62, Fall 1996, p.22

Goin’ Down the Road Feeling Bad, AS-92, Summer 2000, p.42

Golden Slippers, AS-35, Summer 1993, p.19

Good Night Sweetheart, AS-54, Fall 1995, p.20

Good Night, Ladies, AS-38, Fall 1993, p.20

Good Night, Ladies, AS-139, Fall 2006, p.51

Grandfather’s Clock, AS-11, Summer 1990, p.23

Grasshopper Sittin’ On A Sweet Potato Vine–see Soldier’s Joy

Great Speckled Bird, The, AS-48, Winter 1995, p.22

Green Grow The Lilacs, AS-10, Spring 1990, p.20

Green Grow the Rushes, AS-91, Summer 2000, p.41

Greensleeves, AS-7, Winter 1990, p.39

Greensleeves, AS-107, Summer 2002, p.47

Gypsy Love Song, AS-71, Winter 1998, p.37

Hard Times Come Again No More, AS-60, Summer 1996, p.24

Hard, Ain’t It Hard, AS-33, Spring 1993, p.23

Hark! The Herald Angels Sing, AS-61, Fall 1996, p.21

Harrigan, AS-88, Winter 2000, p.38

Has Anyone Here Seen Kelly?, AS-88, Winter 2000, p.38

Hello Ma Baby, AS-54, Fall 1995, p.20

Henry Martin, AS-76, Summer 1998, p.42

Here We Come A’Wassailing, AS-46, Fall 1994, p.30

Here We Come A Wassailing, AS-102, Fall 2001, p.44

He’s Got The Whole World In His Hands, AS-142, Winter 2007, p.52

Hold Fast to the Right, AS-48, Winter 1995, p.22

Home On The Range, AS-12, Summer 1990, p.24

Home On The Range, AS-122, Summer 2004, p.48

Home On The Range, AS-129, Summer 2005, p.51

Home, Sweet Home, AS-15, Winter 1991, p.19

Home, Sweet Home, AS-134, Winter 2006, p.52

Home, Sweet Home, AS-135, Spring 2006, p.51

How Can I Leave Thee, AS-28, Summer 1992, p.36

How Great Thou Art, AS-149, Fall 2007, p.50

Humoreske, AS-51, Summer 1995, p.23

Hush Little Baby, AS-80, Winter 1999, p.42

Hush Little Baby, AS-151, Winter 2008, p.50

I Ain’t Gonna Study War No More, AS-60, Summer 1996, p.24

I Don’t Want To Play In Your Yard, AS-83, Summer 1999, p.41

I Dream of Jeanie With The Light Brown Hair, AS-39, Winter 1994, p.19

I Heard the Bells on Christmas Day, AS-32, Winter 1993, p.32

I Heard The Bells On Christmas Day, AS-124, Fall 2004, p.48

I Heard the Bells On Christmas Day, AS-132, Fall 2005, p.52

I Know Where I’m Going, AS-30, Fall 1992, p.12

I Know Where I’m Going, AS-63, Winter 1997, p.21

I Know Where I’m Going, AS-95, Winter 2001, p.41

I Know You Rider, AS-2, Summer 1989, p.18

I Never Will Marry, AS-73, Spring 1998, p.41

I Ride an Old Paint, AS-25, Spring 1992, p.27

I Want A Girl Just Like The Girl, Summer 1990, p23

I Wonder What’s Become Of Sally, AS-85, Fall 1999, p.41

I Wonder Who’s Kissing Her Now?, AS-84, Summer 1999, p.42

Ida Red, AS-99, Summer 2001, p.47

Ida, Sweet as Apple Cider, AS-51, Summer 1995, p.23

If You Were The Only Girl In The World, AS-85, Fall 1999, p.41

I’ll Take You Home Again Kathleen, AS-71, Winter 1998, p.37

I’ll Twine ‘Mid The Ringlets, AS-144, Spring 2007, p.48

I’m Forever Blowing Bubbles, AS-52, Summer 1995, p.24

In My Merry Oldsmobile, AS-87, Winter 2000, p.37

In The Evening By The Moonlight, AS-5, Fall 1989, p.35

In The Evening By The Moonlight, AS-93, Fall 2000, p.41

In The Evening By The Moonlight, AS-131, Fall 2005, p.51

In The Gloaming, AS-16, Winter 1991, p.20

In The Gloaming. AS-120, Spring 2004,p.48

In The Gloaming, AS-127, Spring 2005, p.51

In The Gloaming, AS-133, Winter 2006, p.51

In The Gloaming, AS-136, Spring 2006, p.52

In The Good Old Summertime, AS-41, Spring 1994, p.21

In The Pines, AS-90, Spring 2000, p.42

In the Pines, AS-92, Summer 2000, p.42

In The Pines, AS-145, Summer 2007, p.50

In the Shade of the Old Apple Tree, AS-67, Summer 1997, p.21

In The Shade Of The Old Apple Tree, AS-73, Spring 1998, p.41

In The Sweet By and By, AS-49, Spring 1995, p.21

It Came Upon the Midnight Clear, AS-86, Fall 1999, p.42

I’ve Been Working On The Railroad, AS-98, Spring 2001, p.42

I’ve Got Rings On My Fingers, AS-88, Winter 2000, p.38

Jimmy Crack Corn, AS-26, Spring 1992, p.28

Jingle Bells, AS-62, Fall 1996, p.22

John B. Sails , AS-21, Fall 1991, p.35

John B. Sails, AS-112, Winter 2003, p.48

John Brown’s Body, AS-59, Summer 1996, p.23

John Riley, AS-69, Fall 1997, p.21

Jolly Old Saint Nicholas, AS-46, Fall 1994, p.30

Jolly Old St. Nicholas, AS-86, Fall 1999, p.42

Jolly Old St. Nicholas, AS-132, Fall 2005, p.52

Joshua Fit The Battle of Jericho, AS-40, Winter 1994, p.20

Juanita, AS-5, Fall 1989, p.35

Just A Closer Walk With Thee, AS-18, Spring 1991, p.28

Just A Closer Walk With Thee, AS-116, Fall 2003, p.48

Just A Wearyin’ For You, AS-105, Spring 2002, p.47

Keller’s American Hymn, AS-43, Summer 1994, p.21

Kentucky Babe, AS-101, Fall 2001, p.43

Kerry Dance, The, AS-104, Winter 2002, p.44

Kum Ba Ya, AS-153B, Summer 2008, p.54

Last Rose of Summer, The, AS-24, Winter 1992, p.30

Last Rose of Summer, The, AS-138, Summer 2006, p.52

Lavender’s Blue, A-13, Fall 1990, p.39

Lavender’s Blue, AS-117, Winter 2004, p.47

Let Me Call You Sweetheart, AS-55, Winter 1996, p.19

Let the Rest of the World Go By, AS-56, Winter 1996, p.20

Life’s Railway to Heaven, AS-80, Winter 1999, p.42

Listen to the Mocking Bird, AS-45, Fall 1994, p.29

Little Annie Rooney, AS-83, Summer 1999, p.41

Little Birdie, AS-1, Summer 1989, p.17

Little Brown Church in the Vale, The, AS-27, Summer 1992, p.35

Little Brown Jug, AS-17, Spring 1991, p.27

Little Brown Jug, AS-119, Spring 2004, p.47

Little Brown Jug, AS-126, Winter 2005, p.48

Little Brown Jug, AS-143, Spring 2007, p.47

Little Rosewood Casket, AS-13, Fall 1990, p.39

Little Rosewood Casket, AS-117, Winter 2004, p.47

L’ll Liza Jane, AS-30, Fall 1992, p.12

Loch Lomond, AS-15, Winter 1991, p.19

Loch Lomond, AS-115, Fall 2003, p.47

Loch Lomond, AS-134, Winter 2006,p.52

Loch Lomond, AS-135, Spring 2006, p.51

London Bridge is Falling Down, AS-142, Winter 2007, p.52

Londonderry Air, AS-24, Winter 1992, p.30

Lonesome Valley, AS-9, Spring 1990, p.19

Long Journey Home, AS-90, Spring 2000, p.42

Long, Long Ago, AS-27, Summer 1992, p.35

Long, Long Ago, AS-114, Spring 2003, p.48

Long, Long Trail, AS-56, Winter 1996, p.20

Loreley, The, AS-50, Spring 1995, p.22

Lorena, AS-19, Summer 1991, p.25

Lorena, AS-128, Spring 2005, p.52

Lovely Night (Tales Of Hoffman), AS-37, Fall 1993, p.19

Love’s Old Sweet Song, AS-31, Winter 1993, p.31

Ma, He’s Making Eyes at Me!, AS-56, Winter 1996, p.20

Mamma Don’t ‘Low, AS-30, Fall 1992, p.12

Man On The Flying Trapeze, The, AS-36, Summer 1993, p.20

Margie, AS-65, Spring 1997, p.21

Marine’s Hymn, AS-58, Spring 1996, p.20

Mary’s a Grand Old Name, AS-52, Summer 1995, p.24

Meet Me in St. Louis, AS-66, Spring 1997, p.22

Meet Me In St. Louis, Louis, AS-84, Summer 1999, p.42

Memories, AS-66, Spring 1997, p.22

Michael Finnigan (Tune: Ten Little Indians), AS-15, Winter 1991, p.19

Michael Finnigan (Tune: Ten Little Indians), AS-115, Fall 2003, p.47

Michael Finnigan (Tune: Ten Little Indians), AS-134, Winter 2006, p.52

Michael Finnigan (Tune: Ten Little Indians), AS-135, Spring 2006, p.51

Michael Row The Boat Ashore, AS-40, Winter 1994, p.20

Molly Malone, AS-30, Fall 1992, p.12

Moonlight Bay, AS-73, Spring 1998, p.41

Moonlight Bay, AS-85, Fall 1999, p.41

More We Get Together, The, AS-97, Spring 2001, p.41

My Bonnie, AS-28, Summer 1992, p.36

My Gal Sal, AS-47, Winter 1995, p.21

My Gal Sal, AS-67, Summer 1997, p.21

My Home’s Across The Blue Ridge Mountains (or The Smokey Mountains), AS-41, Spring 1994, p.21

My Horses Ain’t Hungry, AS-100, Summer 2001, p.48

My Old Kentucky Home, AS-44, Summer 1994, p.22

My Sweetheart’s The Mule In The Mines, AS-2, Summer 1989, p.18

My Wild Irish Rose, AS-8, Winter 1990, p.40

My Wild Irish Rose, AS-71, Winter 1998, p.37

My Wild Irish Rose, AS-118, Winter 2004, p.48

My Wild Irish Rose, AS-125, Winter 2005, p.47

Nearer My God to Thee, AS-32, Winter 1993, p.32

Nellie Bly, AS-44, Summer 1994, p.22

Nine Pound Hammer, AS-2, Summer 1989, p.18

Now Is The Hour (Maori Love Song), AS-75, Summer 1998, p.41

Now The Day Is Over, AS-12,Summer 1990, p.24

Now The Day Is Over, AS-96, Winter 2001, p.42

Now The Day Is Over, AS-122, Summer 2004, p.48

Now The Day Is Over, AS-129, Summer 2005, p.51

O Christmas Tree, AS-70, Fall 1997, p.22

O Come, Angel Band, AS-29, Fall 1992, p.11

O Du Lieber Augustine, AS-50, Spring 1995, p.22

O God Our Help in Ages Past, AS-49, Spring 1995, p.21

O, Come All Ye Faithful, AS-86, Fall 1999, p.42

Oh, Dear! What Can the Matter Be?, AS-50, Spring 1995, p.22

Oh! Susanna, AS-4, Summer 1989, p.20

Oh, Susanna, AS-111, Winter 2003, p.47

Oh! Susanna, AS-111B, Summer 2003, p.47

Oh! Susanna, AS-141, Winter 2007, p.51

Ol’ Texas, AS-25, Spring 1992, p.27

Olcott’s Lullaby. AS-104, Winter 2002, p.44

Old Dan Tucker, AS-98, Spring 2001, p.42

Old Folks at Home, AS-44, Summer 1994, p.22

Old Grey Mare, The, AS-89, Spring 2000, p.41

Old Joe Clark, AS-34, Spring 1993, p.24

Old Oaken Bucket, The, AS-27, Summer 1992, p.35

Old Time Religion, AS-48, Winter 1995, p.22

On A Sunday Afternoon, AS-103, Winter 2002, p.43

On The Banks Of The Wabash, AS-39, Winter 1994, p.19

On the Banks of the Wabash, AS-64, Winter 1997, p.22

On Top of Old Smoky, AS-65, Spring 1997, p.21

On Top of Old Smoky, AS-154, Spring 2008, p.55

Over The River And Through The Woods, AS-7, Winter 1990, p.39

Over The River And Through The Woods, AS-140, Fall 2006, p.52

Pack Up Your Troubles, AS-54, Fall 1995, p.20

Payday in the Army–see Soldier’s Joy

Peace Like A River, AS-154B, Summer 2008, p.55

Plaisir d’Amour, AS-8, Winter 1980, p.40

Plaisir d’Amour, AS-118, Winter 2004, p.48

Plaisir d’Amour, AS-125, Winter 2005, p.47

Polly Wolly Doodle, AS-98, Spring 2001, p.42

Precious Jewel, The, AS-99, Summer 2001, p.47

Precious Memories, AS-29, Fall 1992, p.11

Put On Your Old Grey Bonnet, AS-72, Winter 1998, p.38

Red River Valley, AS-25, Spring 1992, p.27

Red River Valley, AS-153, Spring 2008, p.54

Reuben and Rachel, AS-101, Fall 2001, p.43

Riddle Song, The, AS-90, Spring 2000, p.42

Riddle Song, The, AS-154B, Summer 2008, p.55

Rock-A-Bye Baby, AS-155, Fall 2008, p.54

Rose of Tralee, AS-24, Winter 1992, p.30

Round Her Neck She Wears a Yellow Ribbon, AS-53, Fall 1995, p.19

Sailor On The Deep Blue Sea, AS-146, Summer 2007, p.51

Sally Ann, AS-100, Summer 2001, p.48

Salty Dog, A-13, Fall 1990, p.39

Salty Dog, AS-117, Winter 2004, p.47

Santa Lucia, AS-31, Winter 1993, p.31

Scarborough Fair, AS-6, Fall 1989, p.36

Scarborough Fair, AS-112B, Summer 2003, p.48

School Days, AS-84, Summer 1999, p.42

Shady Grove, AS-34, Spring 1993, p.24

Shady Grove, AS-114, Spring 2003, p.48

She’ll Be Comin’ Round the Mountain, AS-23, Winter 1992, p.29

Shenandoah, AS-74, Spring 1998, p.42

She’s Only a Bird in a Gilded Cage, AS-47, Winter 1995, p.21

Ship That Never Returned, The, AS-143, Spring 2007, p.47

Shoo Fly, Don’t Bother Me, AS-49, Spring 1995, p.21

Sidewalks of New York, The, AS-68, Summer 1997, p.22

Sidewalks of New York, The, AS-81, Spring 1999, p.41

Silent Night, AS-78, Fall 1998, p.42

Silent Night, AS-150, Fall 2007, p.51

Silkie, The, AS-76, Summer 1998, p.42

Silver Threads Among the Gold, AS-64, Winter 1997, p.22

Simple Gifts, AS-3, Summer 1989, p.19

Sing A Song Of Sixpence, AS-156, Fall 2008, p.55

Skip To My Lou, AS-100, Summer 2001, p.48

Sloop John B.–see John B. Sails

Smiles, AS-56, Winter 1996, p.20

Softly Now the Light of Day, AS-52, Summer 1995, p.24

Soldier’s Joy, AS-42, Spring 1994, p.22

Soldier’s Joy, AS-106, Spring 2002, p.48

Somebody’s Waiting For Me, AS-103, Winter 2002, p.43

Standing In The Need Of Prayer, AS-40, Winter 1994, p.20

Stars of the Summer Night, AS-31, Winter 1993, p.31

Stewball, AS-75, Summer 1998, p.41

Storms Are On The Ocean, The, AS-1, Summer 1989, p.17

Storms Are On The Ocean, The, AS-96, Winter 2001, p.42

Storms Are On The Ocean, The, AS-131, Fall 2005, p.51

Streets of Laredo, AS-77, Fall 1998, p.41

Streets of Laredo, The, AS-89, Spring 2000, p.41

Sunny South, The, AS-41, Spring 1994, p.21

Sunshine Of Paradise Alley, The, AS-103, Winter 2002, p.43

Sweet Adeline, AS-84, Summer 1999, p.42

Sweet And Low, AS-12, Summer 1990, p.24

Sweet And Low, AS-122, Summer 2004, p.48

Sweet And Low, AS-129, Summer 2005, p.51

Sweet Betsy From Pike, AS-23, Winter 1992, p.29

Sweet Bunch Of Daisies, AS-101, Fall 2001, p.43

Sweet Rosie O’Grady, AS-16, Winter 1991, p.20

Sweet Rosie O’Grady, AS-120, Spring 2004,p.48

Sweet Rosie O’Grady, AS-127, Spring 2005, p.51

Sweet Rosie O’Grady, AS-133, Winter 2006, p.51

Sweet Rosie O’Grady, AS-136, Spring 2006, p.52

Sweet Sunny South, AS-14, Fall 1990, p.40

Sweet Sunny South, AS-130, Summer 2005, p.52

Sweet Sunny South, AS-137, Summer, 2006, p.51

Sweetest Story Ever Told, The, AS-87, Winter 2000, p.37

Swing Low, Sweet Chariot, AS-59, Summer 1996, p.23

Swing Low, Sweet Chariot, AS-152, Winter 2008, p.51

Ta Ra Ra Boom Der-e, AS-68, Summer 1997, p.22

Take Me Out To The Ball Game, AS-82, Spring 1999, p.42

Tell Me Why, AS-8, Winter 1990, p.40

Tell Me Why, AS-107, Summer 2002, p.47

Tell Me Why, AS-118, Winter 2004, p.48

Tell Me Why, AS-125, Winter 2005, p.47

Tenting Tonight, AS-49, Spring 1995, p.21

That’s An Irish Lullaby, AS-8, Winter 1990, p.40

That’s An Irish Lullaby, AS-96, Winter 2001, p.42

That’s An Irish Lullaby, AS-118, Winter 2004, p.48

That’s An Irish Lullaby, AS-125, Winter 2005, p.47

That’s Where My Money Goes, AS-39, Winter 1994, p.19

There Is a Tavern in the Town, AS-53, Fall 1995, p.19

There’s A Long, Long Trail, AS-87, Winter 2000, p.37

There’s Music in the Air, AS-46, Fall 1994, p.30

Till We Meet Again, AS-54, Fall 1995, p.20

Toyland, AS-66, Spring 1997, p.22

Turkey in the Straw, AS-26, Spring 1992, p.28

Twilight is Falling, AS-48, Winter 1995, p.22

Twinkle, Twinkle Little Star, AS-153B, Summer 2008, p.54

Under the Bamboo Tree, AS-53, Fall 1995, p.19

Up On the House Top. AS-102, Fall 2001, p.44

Vilia Song (Merry Widow), AS-37, Fall 1993, p.19

Wait Till the Sun Shines, Nellie, AS-14, Fall 1990, p.40

Wait Till the Sun Shines, Nellie, AS-130, Summer 2005, p.52

Waltz Song (Merry Widow), AS-37, Fall 1993, p.19

Wassail Song, The, AS-7, Winter 1990, p.39

Water Is Wide, The, AS-16, Winter 1991, p.20

Water Is Wide, The, AS-95, Winter 2001, p.41

Water Is Wide, The, AS-108, Summer 2002, p.48

Water Is Wide, The, AS-120, Spring 2004, p.48

Water Is Wide, The, AS-127, Spring 2005, p.51

Water Is Wide, The, AS-133, Winter 2006, p.51

Water Is Wide, The, AS-136, Spring 2006, p.52

Wayfaring Stranger, AS-9, Spring 1990, p.19

Wayfaring Stranger, AS-108, Summer 2002, p.48

Wayfaring Stranger, AS-146, Summer 2007, p.51

We Gather Together, AS-45, Fall 1994, p.29

We Gather Together, AS-123, Fall 2004, p.47

We Wish You A Merry Christmas, AS-78, Fall 1998, p.42

Were You There?, AS-72, Winter 1998, p.38

What A Friend We Have In Jesus, AS-145, Summer 2007, p.50

What Shall We Do With A Drunken Sailor, AS-11, Summer 1990, p.23

When Irish Eyes Are Smiling, AS-63, Winter 1997, p.21

When the Saints Go Marching In, AS-80, Winter 1999, p.42

When the Saints Go Marching In, AS-91, Summer 2000, p.41

When You And I Were Young, Maggie, AS-4, Summer 1989, p.20

When You And I Were Young, Maggie, AS-111, Winter 2003, p.47

When You And I Were Young, Maggie, AS-111B, Summer 2003, p.47

When You Were Sweet Sixteen, AS-66, Spring 1997, p.22

While Shepherds Watched Their Flocks, AS-61, Fall 1996, p.21

While Strolling Through The Park One Day, AS-34, Spring 1993, p.24

White Coral Bells, AS-65, Spring 1997, p.21

White Wings, AS-65, Spring 1997, p.21

Who Threw the Overalls In Mrs. Murphy’s Chowder, AS-81, Spring 1999, p.41

Wildwood Flower, AS-1, Summer 1989, p.17

Wildwood Flower–See I’ll Twine ‘Mid The Ringlets

Will The Circle Be Unbroken?, AS-3, Summer 1989, p.19

Worried Man Blues, AS-92, Summer 2000, p.42

Yankee Doodle Boy, The, AS-68, Summer 1997, p.22

Yankee Doodle, AS-8, Winter 1990, p.40

Yankee Doodle, AS-113, Spring 2003, p.47

Yankee Doodle, AS-118, Winter 2004, p.48

Yankee Doodle, AS-125, Winter 2005, p.47

Yellow Rose of Texas, The, AS-24, Winter 1992, p.30

You Are My Sunshine, AS-26, Spring 1992, p.28

You Tell Me Your Dream (I’ll Tell You Mine), AS-16, Winter 1991, p.20

You Tell Me Your Dream (I’ll Tell You Mine), AS-120, Spring 2004, p.48

You Tell Me Your Dream (I’ll Tell You Mine), AS-127, Spring 2005, p.51

You Tell Me Your Dream (I’ll Tell You Mine), AS-133, Winter 2006, p.51

You Tell Me Your Dream (I’ll Tell You Mine), AS 136, Spring 2006, p.52

You, You, In My Heart Living (Du, Du, Liegst mir im Herzen), AS-20, Summer 1991, p.26

You’re a Grand Old Flag, AS-77, Fall 1998, p.41

You’re a Grand Old Flag, AS-82, Spring 1999, p.42

Charles Whitmer Autoharp Tablature (parts 3-4)

admin — Tue, 10 Mar 2020 22:23:54 +0000

PART 3
As I stated yesterday, I feel that the format of Becky Blackley’s autoharp tablature is one that should continue to be used (for the reasons I previously mentioned) as a standard, but not necessarily the only standard.

Even within other instrumental traditions there are variations such as other string instruments that have books written in standard music notation whereas some are written in tablature alone and some even written using both. Just as those worlds have room for a FEW differing formats (not endless differing formats), I believe that our autoharp world has room for some variations as well.

What follows herein are my subjective opinions on the matter Pete d’Aigle brought up in his post concerning the problem of there being so many different formats being used and submitted, with everyone seemingly
creating a different format of their own. There is absolutely nothing wrong with anyone using a different format for their own teaching and/or their own use and distribution; but for an international magazine, that is
impractical. Will Smith’s post regarding there needing to be some standardizations of some sort is spot on in my opinion.

CHORD SYMBOLS
In Will’s post he states,
“The point is there needs to be a standardized form (like pretty much every other instrument has) of depicting what the accompaniment chord is and then what chord can be used to pick out the melody on the autoharp.”
I agree with him 100%. Here are my thoughts on this:

The accompaniment chords MUST stand out from the melody playing chords and be easily readable.
The melody playing chords must also be easily readable yet fully integrated with the accompaniment chords in some fashion.
My biggest criticism is the use of two different lines of chords – one for the accompaniment chords and another for the melody playing chords. It does not work well in my opinion for this reason: It’s extremely cluttered. It is not as easy to read because there are seemingly chord symbols all over the place on the page. I can’t think of any other mainstream instrument that has a format like that. If a song happens to have lyrics, it gets even worse as having chord symbols all over the place in addition to lyrics on the page makes the page look like an alphabet soup. It’s simply more difficult to read and is not as clean and readable as it should be.
My idea of the solution? The format that Becky Blackley created is the best in my opinion: have all chord symbols appear in a single line, both accompaniment chords and melody playing chords. She had all of the accompaniment chords circled or boxed and all of the melody playing chords uncircled or unboxed. That was a very elegant idea she came up with because it allows the accompaniment chords to stand out and you have to use the accompaniment chords AS melody playing chords anyhow when playing melody. So why not put them
all in a single line? A single line is much easier to read and reduces the extra clutter on a page.
Side note to those who use a notation program to write out chords: How to create a single line like this containing both circled/boxed accompaniment chords and uncircled/unboxed melody playing chords is not built into any notation programs of which I’m aware. You won’t find how to do this in any instruction manuals. I worked on this quandary for 3 years and I created a very easy way to do this that I am glad to share that I will put in a separate post either today or tomorrow. It’s fairly simple and short. My solution should work on most notation programs.
SYMBOLS: Pinches, Plucks, Strums, etc.
The bare bones basic function of tablature on most instruments is to show the player what to do with your hands when playing the instrument. It gives indications as to how to play the instrument.

In tablature this is where most of the differences in playing styles and techniques appear. In Becky Blackley’s “How To Read The Tablature,” about the tablature symbols she states, “They are used to give a general idea of
how a given tune MIGHT be played, the tab is just to get you started”. As I mentioned yesterday, tablature is not an end in itself and it should not be interpreted as showing how a tune must be played. It’s only a
suggestion. Standard music notation more accurately depicts a tune whereas tablature is just one possible way to play it. This gets back to my point that I view tablature only as a teaching tool.
Getting back to the issue of tablature in the songs presented in The Autoharp Quarterly, should then every song in every issue need to have such instructions? I personally don’t think it’s necessary. It certainly doesn’t hurt to have it there, but I don’t think it’s a necessity. What I believe is a necessity is to go back to Pete’s and Will’s original points in that the wide array of different formats should be corralled into something more uniform.

They’re all good in among themselves, but they just don’t belong in an international publication that reaches autoharp players of probably hundreds of different styles and techniques. A more universal format is needed.

I think the best place to start in this process is to start with a broad general format that is already in widespread
use in the music world. Since so many of us came to autoharp from other instruments and musical traditions, why would we want to start with anything that is not a standard? It’s simply better to start with something that is already “out there” that is a format that many musicians in general are already familiar. From there something that can be tailored for the autoharp can be constructed.

In my opinion I think that a line of standard notation with accompaniment chords is the best place to start. It’s one of the most common formats found in many music books. We as autoharp players will play melodies in the
styles that we know. We don’t need all of the fillers and fingerings. For those that do need them, that’s what the workshops at the festivals are for: instruction in how to do that. Instruction books, videos, private lessons, et al
can also do that job. I simply maintain that it’s generally not needed in a publication like AQ.

The only thing I feel that should be added to this format of melody on a staff and accompaniment chords is the simple insertion of the melody chords. A few accompaniment chords may need to be moved over in a few places where the chord change occurs in a place where the melody note is not a note in the accompaniment chord at that change, but Becky’s use of asterisks accurately takes care of that problem.

That’s it. It can be that simple. You may be wondering, “What about the by-ear only players?.” No matter what is on a page, a by-ear player is going to have to hear the tune in order to learn it whether it’s written out in
standard notation, tablature or lyrics and chords. There’s no getting around that. But I maintain that they could still learn a tune by ear from the simplified format I just described as if a song has lyrics, they can follow the
lyrics and use the chords written out above. Reading standard notation is not required to do that. Even on an instrumental tune with no lyrics, a by-ear player should still be able to learn a tune by listening to it at the same
time using the chords written out on the page.
Here is the format of 2 tunes I just wrote out that shows what I’m describing: one with lyrics and one a fiddle tune without lyrics:
https://drive.google.com/file/d/11n12B224yWfcIqNXrNGmHL16Q9B5rPBO/view?usp=sharing

Here are the advantages of this format:

It is MUCH less cluttered. It has a very neat, clean and concise appearance to it.
It does not specify any particular style or techniques to use. The musician is free to play it in any style they wish and use any techniques they are comfortable to use.

Accompaniment chords and melody playing chords are in a single unified line throughout.

This format is much easier and faster to write out in a notation program. Even writing it out by hand
would be much easier and quicker. Writing out even the Blackley tablature system is very time
consuming and cannot be done on most notation software programs.

Most notation software programs should be able to write out songs in this format. There are no special symbols that are required. The only unorthodox element to this is the writing out of the accompaniment
and melody playing chords in a single line with some being circled or boxed and some not being circled or boxed. Doing this is actually quite easy, which I will spell out and describe how to do in my next post.

The last side point I wish to make is that I don’t find it helpful to have songs that have just lyrics and chords in a publication. I do enjoy that format quite a bit when I’m teaching from it or using the various “fake books” I
have as I do use that format quite a lot. But when I encounter a song written out like that without a recording or someone to play it for me to hear, it’s just wasted space to me unless the melody is such a widely known one that most people might know, something like “Yankee Doodle” or “This Land Is Your Land.”

I look forward to hearing more ideas and feedback on this issue as Pete has a very valid point and many others
here have voice some great points.
Charles Whitmer
Conroe TX

PART 4 (Last Part)
How To Create A Single Line of Accompaniment & Melody Chords
The ability to do this in your notation software program or app depends on how much control your software will allow you to have with your text fonts and chord fonts. Try creating the accompaniment chords first, but try to
access the text styles or preferences where you can take control of your chord fonts. If possible, change the settings to either circle or box the chord symbols AND to have the chord symbols erase the background.

Next, try creating the uncircled/unboxed melody playing chords. Here’s where it gets tricky. Instead of using the chord symbols for these, use the “lyrics verse 2” function. The lyrics creation function works best because it
will allow you to assign a chord symbol to every single note, even notes on upbeats and in between the upbeats such as in 16th notes. The function for creating actual chord symbols normally won’t allow you to do that. This
is why a lyrics function needs to be used instead for these because the lyrics functions will allow you to do this.

This next part is optional. Before you begin, see if your software will allow you to access the text styles or preferences (controls). If it does, see if you can change the font used for lyrics to use the same font it uses for chord symbols. (If using Sibelius, change the Lyrics verse 2 default Times New Roman font to Opus Chord font). If you cannot do this part, it’s no problem as it can be skipped if you’re OK with using your program’s default lyrics font for these chord symbols.

Using the Lyrics verse 2 function, create the first uncircled/unboxed chord symbol under the note where it should appear. After creating that first unboxed chord symbol, grab it and move it up to the same level where the accompaniment chords are located and line it up so that it is in the same line with them. Double click the far right side of that first uncircled chord symbol to resume creation of the unboxed chords. VERY IMPORTANT: You must enter either a chord symbol under every single note, even if one is not supposed to go there because if you try to simply skip a note your program will draw a line to extend what it thinks is a syllable which you don’t want in the line of chords. Go ahead and enter any letter or character in those places and simply go back and delete them when you’re finished entering in all of the uncircled/unboxed chord symbols. If you were able to set the accompaniment chords to erase the backgrounds, they will cover up and hide those extra symbols you enter when you enter a symbol in those places.

If anyone needs any help with this, feel free to contact me off list and I’ll be glad to help if I can. Some programs may let you do all of this easily and some may not let you do parts of this. You’ll just have to give it a try if you want to create this type of single line of chord symbols. I know Sibelius and Finale will allow you to do all of this and I’d bet that a lot of other programs may allow you to as well. If not, there are other ways to accomplish these details I’ve found and I’ll be glad to help anyone find a way in their notation program to get this done with a little trouble shooting.

Charles Whitmer