“When the Saints Go Marching In” - Flute
“When the Saints Go Marching In” Melody
F
4 w w
&b 4 œ œ œ Œ œ œ œ Œ œ œ œ In this arrangment, the trumpet
and flute play the melody.
5 F C7
&b ˙ ˙ ˙ ˙ w Œ œ œ œ This is the melody to “When the
Saints Go Marching In” in its
simplest form; the song can be
˙™
9 F F7 B¨ B¨‹
played as written or interpreted
& b ˙™ œ ˙ œ œ œ Œ œ œ œ freely, with melodic and
rhythmic embellishments.
13 F C7 F
&b ˙ ˙ ˙ ˙ w ∑
Chord Changes/Arpeggios
F
4 œ œ œ œ
&b 4 œ œ œ œ œ œ œ œ œ œ œ œ Chord changes is another term
for chord progession. Both
refer to the chord structure of
5 F C7
œ œ œ œ œ a song (specifically, what the
œ œ œ œ œ
&b œ œ œ œ œ œ chords are called and how long
each chord lasts before moving
to the next).
9 F F7 B¨ B¨‹
œ œ bœ œ œ œ œ bœ œ œ
&b œ œ œ œ œ œ While pianists and guitarists are
able to play these sets of notes
simultaneously, anyone playing
13 F C7
œ œ œ F
&b œ œ œ œ œ œ œ œ œ œ œ œ œ a melodic instrumet (trumpet,
clarinet, etc) will need to learn
chords by playing arpeggios.
Arpeggios take all the notes in a
chord and play them as a
sequence instead of all at once.
Copyright Preservation Hall Foundation. All rights reserved.
Lesson materials may be reproduced for educational purposes at all levels.
Call and Response and Harmony
Some songs feature a “call and response” element where the melody is echoed back by a
secondary instrument. This song has a more common form, where there is a brief period of call and
response, followed by harmonies and countermelodies flowing freely in the secondary instrument.
Here is an example of starting with call and response and moving into harmonizing the melody.
melody: F
4 w w
&b4 Œ œ œ œ Œ œ œ œ Œ œ œ œ
response/harmony:
4 w w
&b 4 ∑ Œ œ œ œ Œ œ œ œ
5 F C7
&b ˙ ˙ ˙ ˙ w Œ œ œ œ
&b ˙ ˙ ˙ ˙ Œ
œ œ œ w
F F7 B¨ B¨‹
˙™
9
& b ˙™ ˙ œ œ œ Œ œ œ
œ œ
&b w bw w bw
13 F C7 F
&b ˙ ˙ ˙ ˙ w ∑
&b ˙ ˙ ˙ ˙ w ∑
Copyright Preservation Hall Foundation. All rights reserved.
Lesson materials may be reproduced for educational purposes at all levels.