Go Tell Aunt Rhody Suzuki Cello Book1 Sarnia School of Music Free Lessons.

hi tail tellers welcome to a little class for go tell aunt rodie uh this is suzuki book one for cello and we're looking at another folk song that's very interesting we've just done a folk song song of the wind hang on let's let's just before you play any piece of music there are two things you must do you must listen to it and then you must look at the music okay and you must really study the music and understand where you're going with it and one of the other exercises i ask all my students to do is to play the tune and use your finger and point to the notes on the score as you go along as the music's playing okay and you might need somebody to help you do this you might not really important a really good way of getting to know it especially when there's quick bits and i can see in going to long roadie there's a very quick bit it's actually two very quick bits bars one two three four and the final bar have this group of four notes four quavers all stuck together how interesting now also if you look at it it's got that funny c at the beginning what does that mean do you know it means common time and that means four four so there are four beats four quarter notes in each bar but they're divided up even more with these quavers how interesting so we're going to be you could count one and two and for those if it helped but actually the best way to understand this rhythm is to listen to it and then finally to play along with it and that's why it's important to have the tracks i'm not allowed to play the actual suzuki versions you'll have to look at those on youtube

but it's a very famous piece and you probably know it already so let's just have a look at the starting note is that f sharp

all very straightforward until you get to

this last bar which is a bit tricky so for practicing this i would suggest over and over again short little bits of bow and then you join them all up

okay and you you can get faster and faster but don't rush it and the rule is when you get it right then you can speed it up don't speed it up until you've got it dead right okay what else do i notice i would

uh be quite light a little bit heavier there and then lighter on the um the the pairs of quavers just be like keep your use gravity don't push in too hard don't push into the string it doesn't need it keep it light okay it's a folk song we don't need to plod with heavy feet okay remember also in bar eight uh this open a

we've got what we've got here is a very different rhythm to all the other bars that we've played so far we're we're slowing this we're coming to the end of an introductory

so phase rush it and even you can almost make light of something and make it sound less rough less rushed without actually slowing it down how do you do that you make it less intense so you uh get off the pressure a bit so even on the open a

as you come out of that lift the pressure from the bow a bit okay and it gives everybody a sense that it's ended rather than this okay we don't want that i don't want a sudden end

a gradual end okay it's going to turn much much better if you do that

so the practice points for this

really looking into making that a beautiful and coming to an end

you can hear it ring you see you don't have to do this and the groups of four quavers there especially in the last bar where it's very important that you get things right just keep keep it really light and practice very slowly the notes individual

okay you don't want any slurry

be defined okay a contrast to the to what i said for the a's the open uh a's i think you need to define those notes okay so that's your practice help i'm going to get our strings robot to do a recording vapor punk for this and get that up as soon as i can it's going to do some of...

Go Tell Aunt Rhody Suzuki Cello Book1 Sarnia School of Music Free Lessons.

hi tail tellers welcome to a little class for go tell aunt rodie uh this is suzuki book one for cello and we're looking at another folk song that's very interesting we've just done a folk song song of the wind hang on let's let's just before you play any piece of music there are two things you must do you must listen to it and then you must look at the music okay and you must really study the music and understand where you're going with it and one of the other exercises i ask all my students to do is to play the tune and use your finger and point to the notes on the score as you go along as the music's playing okay and you might need somebody to help you do this you might not really important a really good way of getting to know it especially when there's quick bits and i can see in going to long roadie there's a very quick bit it's actually two very quick bits bars one two three four and the final bar have this group of four notes four quavers all stuck together how interesting now also if you look at it it's got that funny c at the beginning what does that mean do you know it means common time and that means four four so there are four beats four quarter notes in each bar but they're divided up even more with these quavers how interesting so we're going to be you could count one and two and for those if it helped but actually the best way to understand this rhythm is to listen to it and then finally to play along with it and that's why it's important to have the tracks i'm not allowed to play the actual suzuki versions you'll have to look at those on youtube

but it's a very famous piece and you probably know it already so let's just have a look at the starting note is that f sharp

all very straightforward until you get to

this last bar which is a bit tricky so for practicing this i would suggest over and over again short little bits of bow and then you join them all up

okay and you you can get faster and faster but don't rush it and the rule is when you get it right then you can speed it up don't speed it up until you've got it dead right okay what else do i notice i would

uh be quite light a little bit heavier there and then lighter on the um the the pairs of quavers just be like keep your use gravity don't push in too hard don't push into the string it doesn't need it keep it light okay it's a folk song we don't need to plod with heavy feet okay remember also in bar eight uh this open a

we've got what we've got here is a very different rhythm to all the other bars that we've played so far we're we're slowing this we're coming to the end of an introductory

so phase rush it and even you can almost make light of something and make it sound less rough less rushed without actually slowing it down how do you do that you make it less intense so you uh get off the pressure a bit so even on the open a

as you come out of that lift the pressure from the bow a bit okay and it gives everybody a sense that it's ended rather than this okay we don't want that i don't want a sudden end

a gradual end okay it's going to turn much much better if you do that

so the practice points for this

really looking into making that a beautiful and coming to an end

you can hear it ring you see you don't have to do this and the groups of four quavers there especially in the last bar where it's very important that you get things right just keep keep it really light and practice very slowly the notes individual

okay you don't want any slurry

be defined okay a contrast to the to what i said for the a's the open uh a's i think you need to define those notes okay so that's your practice help i'm going to get our strings robot to do a recording vapor punk for this and get that up as soon as i can it's going to do some of...

hi tail turners welcome to a suzuki lesson for um song of the wind and we're just going to look at working on a bit of expression today and this new thing we have here for this song which is involves keeping the first finger down if you look ahead to bar three there's a one and a long line and it says underneath keep the first finger down it's a bit of a giveaway isn't it let me turn that down a little

now what what does that mean oh it's not confusing don't worry i'll explain all first of all are we tuned should we check a next note do you remember what the next note is it's a d

and the next note what i'm going towards my ear

g well done and a big deep sea

nice and slowly on the sea don't need to be so quick on the sea it's much thicker it vibrates differently are you fed and watered is your tummy drawn slightly in have you shaken your rubber hands to get rid of all the stress let's do it now not the one with your bow in and then swap though to the other and shake rubber hands when you shake your rubber hands don't shake your whole arm just shake your hands shake your uh elbow if you like but then just do your rubber hands because it's the hands where you build up tension you see so are you feeling today are you feeling okay never never practice when you don't feel that you're going to enjoy it because usually you won't if you're not in the mood if you're not in the frame of mind to do a practice it's probably best that you don't do it of course sometimes when you listen to me waffling on you can get in the frame of mind so that's that's the wonderful thing about one-to-one teaching or having a teacher listening to somebody that you enjoy listening to and hopefully you're here anyway so you're enjoying me waffling on about things so let's have a look at this song of the wind i i like to think of this as um it's a folk song which probably means it's not uh an um amer indian american american indian um song but i like to think of it as that for some reason it i suppose some of the wind sounds like um the name of an indian and so for me it conjures up that sort of idea and i like to play it with that in mind moderator so it's a steady piece um hopefully you've got access to the suzuki recordings um it's it's quite important with this method that you have the recordings as they intend them to be as the suzuki project and method intends the recordings to be okay so of course my versions not not on the cello but when vapour punk who's our strings robot when vapor punk records vapour punk uses all sorts of electronica and then we've got our other robots who use synthesizers and electronic drums and they're fine to listen to they're really good that's how our orchestra works but you'd really benefit from having the recordings and guess what they're all on youtube so that's pretty helpful for us isn't it now we're in d major so we've got these two sharps that's nice to know and the first note is a d and it's an open string and the second note is knee with first finger

and third finger and fourth finger and then open we've got four opens

and then we're gonna put first finger down on that b so we've got a string crossing there now keep that first finger down and play the four this is a new thing we haven't done that before so a string crossing and keeping a finger down on that b the first finger on the a

string crossing and then move the fourth across and remember to move it across slightly diagonally because your cello is not completely horizontal is it so four still got the first finger on that b oh look that's why so we can play it now let me tell you something i've got a little tip where possible when playing keep your fingers down or keep them near say the piano if you start moving your fingers all over the place how are you going to find your way back you're putting risk unnecessary risk in your way and if you can keep a finger down even better so

hi tail turners welcome to a suzuki lesson for um song of the wind and we're just going to look at working on a bit of expression today and this new thing we have here for this song which is involves keeping the first finger down if you look ahead to bar three there's a one and a long line and it says underneath keep the first finger down it's a bit of a giveaway isn't it let me turn that down a little

now what what does that mean oh it's not confusing don't worry i'll explain all first of all are we tuned should we check a next note do you remember what the next note is it's a d

and the next note what i'm going towards my ear

g well done and a big deep sea

nice and slowly on the sea don't need to be so quick on the sea it's much thicker it vibrates differently are you fed and watered is your tummy drawn slightly in have you shaken your rubber hands to get rid of all the stress let's do it now not the one with your bow in and then swap though to the other and shake rubber hands when you shake your rubber hands don't shake your whole arm just shake your hands shake your uh elbow if you like but then just do your rubber hands because it's the hands where you build up tension you see so are you feeling today are you feeling okay never never practice when you don't feel that you're going to enjoy it because usually you won't if you're not in the mood if you're not in the frame of mind to do a practice it's probably best that you don't do it of course sometimes when you listen to me waffling on you can get in the frame of mind so that's that's the wonderful thing about one-to-one teaching or having a teacher listening to somebody that you enjoy listening to and hopefully you're here anyway so you're enjoying me waffling on about things so let's have a look at this song of the wind i i like to think of this as um it's a folk song which probably means it's not uh an um amer indian american american indian um song but i like to think of it as that for some reason it i suppose some of the wind sounds like um the name of an indian and so for me it conjures up that sort of idea and i like to play it with that in mind moderator so it's a steady piece um hopefully you've got access to the suzuki recordings um it's it's quite important with this method that you have the recordings as they intend them to be as the suzuki project and method intends the recordings to be okay so of course my versions not not on the cello but when vapour punk who's our strings robot when vapor punk records vapour punk uses all sorts of electronica and then we've got our other robots who use synthesizers and electronic drums and they're fine to listen to they're really good that's how our orchestra works but you'd really benefit from having the recordings and guess what they're all on youtube so that's pretty helpful for us isn't it now we're in d major so we've got these two sharps that's nice to know and the first note is a d and it's an open string and the second note is knee with first finger

and third finger and fourth finger and then open we've got four opens

and then we're gonna put first finger down on that b so we've got a string crossing there now keep that first finger down and play the four this is a new thing we haven't done that before so a string crossing and keeping a finger down on that b the first finger on the a

string crossing and then move the fourth across and remember to move it across slightly diagonally because your cello is not completely horizontal is it so four still got the first finger on that b oh look that's why so we can play it now let me tell you something i've got a little tip where possible when playing keep your fingers down or keep them near say the piano if you start moving your fingers all over the place how are you going to find your way back you're putting risk unnecessary risk in your way and if you can keep a finger down even better so

A lesson for beginners on any instrument.

hi tail tellers welcome to our first preliminary class for twinkle twinkle little star now this kind of works for the cello school and the piano school so either instrument um can listen to this class and we're going to be playing momo and the space um flies version in a bit and i know you're probably waiting to hear that but what i want you to do today is if you can read music have the read the music in front of you and point to the notes as momo sings the words okay and just follow it with your fingers and if you've got a teacher there or somebody who's perhaps better at reading music they can show you how to do it okay and the other thing i want you to do i want you to play it more than once i want you to play it as many times as you really well not as you want five times there we go homework play it five times so the first time just listen to it and enjoy it the second time i want you to dance to it okay i want you to understand where it's going is it going higher or lower is it going around in a circle does it make you feel like going around in a circle does it make you feel like jumping like a punk rocker up and down all of these things i want you to make up a dance it doesn't have to stay the same every time you play it i just want you to feel the movement okay move your arms in the air wave your hands around while momo sings okay then i want you to clap can you do that it's quite interesting isn't it you'll find you're clapping to a rhythm and then i want you to mime an instrument so if you're a cellist you could mime the cello to it if you're a pianist you could mime the piano and then when you've done all of those things i want you to think about how you would play it and i want you to imagine that you're singing it or playing it or dancing to it in front of an audience this is your special performance now if you're really shy and you would hate to perform this performance is a performance to yourself in the mirror mirrors are very important to musicians mirrors do a couple of things they help you imagine that somebody's watching which makes you more comfortable when people are watching because you've even got to be comfortable with your teacher okay and sometimes people get very shy even in front of their teachers is it quite difficult if you can only play on your own it's going to be much more fun if you learn to be able to play with somebody else in the room okay so a mirror helps you imagine that there's somebody else there the other thing a mirror does is it makes sure that your posture is correct okay so if you're a pianist you need to have a straight back well actually all instrument instrumentalists have to have a straight back it's very very important um but also if you're a string player it helps make sure that your um your bow is straight okay so i recommend that you have a mirror in front of you now there are several classes available today for um twinkle twinkle little star for piano and cello so if you just when you're searching through um just pop in twinkle twinkle uh into the search menu and if you hopefully you've got the app there's lots of apps there's a spreaker app an itunes app um a spotify app you can get me on alexa all of these places so you just need to look up tail telekids or telltale club and then look up when you've got there look up twinkle twinkle twinkle twinkle little star or suzuki okay or actually probably momo and the space flies so i'm going to leave you now with momo and you know if you don't want to do any of that it doesn't matter you can just listen because momo's fabulous we absolutely love momo so um i'll be back soon with our first class which isn't a twinkle twinkle we're going to move to one of the other tunes because we've already done all the twinkle twinkles that we can do okay so just sit back and enjoy and then try and do those things that i suggested you do

robot okay i'm mobo and i'm going to...

A lesson for beginners on any instrument.

hi tail tellers welcome to our first preliminary class for twinkle twinkle little star now this kind of works for the cello school and the piano school so either instrument um can listen to this class and we're going to be playing momo and the space um flies version in a bit and i know you're probably waiting to hear that but what i want you to do today is if you can read music have the read the music in front of you and point to the notes as momo sings the words okay and just follow it with your fingers and if you've got a teacher there or somebody who's perhaps better at reading music they can show you how to do it okay and the other thing i want you to do i want you to play it more than once i want you to play it as many times as you really well not as you want five times there we go homework play it five times so the first time just listen to it and enjoy it the second time i want you to dance to it okay i want you to understand where it's going is it going higher or lower is it going around in a circle does it make you feel like going around in a circle does it make you feel like jumping like a punk rocker up and down all of these things i want you to make up a dance it doesn't have to stay the same every time you play it i just want you to feel the movement okay move your arms in the air wave your hands around while momo sings okay then i want you to clap can you do that it's quite interesting isn't it you'll find you're clapping to a rhythm and then i want you to mime an instrument so if you're a cellist you could mime the cello to it if you're a pianist you could mime the piano and then when you've done all of those things i want you to think about how you would play it and i want you to imagine that you're singing it or playing it or dancing to it in front of an audience this is your special performance now if you're really shy and you would hate to perform this performance is a performance to yourself in the mirror mirrors are very important to musicians mirrors do a couple of things they help you imagine that somebody's watching which makes you more comfortable when people are watching because you've even got to be comfortable with your teacher okay and sometimes people get very shy even in front of their teachers is it quite difficult if you can only play on your own it's going to be much more fun if you learn to be able to play with somebody else in the room okay so a mirror helps you imagine that there's somebody else there the other thing a mirror does is it makes sure that your posture is correct okay so if you're a pianist you need to have a straight back well actually all instrument instrumentalists have to have a straight back it's very very important um but also if you're a string player it helps make sure that your um your bow is straight okay so i recommend that you have a mirror in front of you now there are several classes available today for um twinkle twinkle little star for piano and cello so if you just when you're searching through um just pop in twinkle twinkle uh into the search menu and if you hopefully you've got the app there's lots of apps there's a spreaker app an itunes app um a spotify app you can get me on alexa all of these places so you just need to look up tail telekids or telltale club and then look up when you've got there look up twinkle twinkle twinkle twinkle little star or suzuki okay or actually probably momo and the space flies so i'm going to leave you now with momo and you know if you don't want to do any of that it doesn't matter you can just listen because momo's fabulous we absolutely love momo so um i'll be back soon with our first class which isn't a twinkle twinkle we're going to move to one of the other tunes because we've already done all the twinkle twinkles that we can do okay so just sit back and enjoy and then try and do those things that i suggested you do

robot okay i'm mobo and i'm going to...

Introduction to Suzuki Method Vapor Punk Long Long Ago Sarnia Music School.

hello gorgeous people of the internet welcome tale tellers from around the world i am sonia saria de la mori from the tale teller club and i'm a teacher i'm a teacher for general musicianship for cello for piano and i teach from suzuki method books and from the abrsm books which i don't believe you have in america i'm not 100 sure but i believe that's a very british thing correct me please correct me if i'm wrong about anything that i say now i'm about to embark on a series of in-depth classes we're starting with book one suzuki and grade one abrsm for cello and piano and we're going to be doing really in-depth classes with full recordings each day until we complete all the books so that's grade 8 for the abrsm and i think book 10 for uh suzuki method so we're going to be working our way through so this is an introduction really but what i want you to do is if you're thinking about playing an instrument this is your first class and i'm going to number everything okay so that um there'll be a code there'll be some sort of code so that you can actually start at the beginning and work with me through daily so there are a few things we're going to talk about we're going to talk about suzuki's manifesto for uh um ability development he came up with five conditions for ability development um and these were for uh any instrument at all and i'm going to um well let's discuss them first of all you see i don't believe that you have to be a young child with money to learn an instrument but i do know that finance is a massive massive problem but we'll talk about that so the five conditions that suzuki put down in his manifesto were firstly an early start well i don't agree that people who adults cannot learn older people will not learn as well as children i don't agree with that i teach adults and they if they're on fire if they want to learn they are on fire and actually adults prove to be much more committed than children their lifespan in terms of physicality may be slightly more problematic but we'll talk about that in a minute okay so an early start i would say is not necessary i really think it's much more important to be committed than young the next thing he said was a superior environment now i do agree with that but what does what do you think he meant well i'll tell you what i think i would mean by that i would recommend to and i do recommend to all my students that you immerse yourself in music once you decide that you're going to learn an instrument or perhaps learn a skill you know some people want to learn conducting or some people want to learn theory you immerse yourself in it your environment becomes so powerfully dominated by music that you just learn by osmosis you you it's always there you're not even thinking about it so the minute you get up in the morning you're putting on alexa playing classical music or playing blues or jazz or whatever your genre is or all genres you know but you're there you're listening you're you're stuck you it really i promise you you'll start to understand things like rhythm and um technique and style and instrumentation without actually studying it because you've immersed yourself in this environment that is all about music what else do i mean by superior environment i think your body is an environment your body is an environment for learning it's a physical encasing okay and that it needs to be a superior environment in terms of physically and mentally you need to be in tip-top condition it's almost impossible to play an instrument if you're physically impaired if if you're long-term disabled you you need to find an instrument that works for you let's not beat around the bush here it's going to be difficult for you certain instruments will be difficult others will be easy so choose your instrument wisely make sure your body is the perfect environment for the instrument of your choosing if you've...

Introduction to Suzuki Method Vapor Punk Long Long Ago Sarnia Music School.

hello gorgeous people of the internet welcome tale tellers from around the world i am sonia saria de la mori from the tale teller club and i'm a teacher i'm a teacher for general musicianship for cello for piano and i teach from suzuki method books and from the abrsm books which i don't believe you have in america i'm not 100 sure but i believe that's a very british thing correct me please correct me if i'm wrong about anything that i say now i'm about to embark on a series of in-depth classes we're starting with book one suzuki and grade one abrsm for cello and piano and we're going to be doing really in-depth classes with full recordings each day until we complete all the books so that's grade 8 for the abrsm and i think book 10 for uh suzuki method so we're going to be working our way through so this is an introduction really but what i want you to do is if you're thinking about playing an instrument this is your first class and i'm going to number everything okay so that um there'll be a code there'll be some sort of code so that you can actually start at the beginning and work with me through daily so there are a few things we're going to talk about we're going to talk about suzuki's manifesto for uh um ability development he came up with five conditions for ability development um and these were for uh any instrument at all and i'm going to um well let's discuss them first of all you see i don't believe that you have to be a young child with money to learn an instrument but i do know that finance is a massive massive problem but we'll talk about that so the five conditions that suzuki put down in his manifesto were firstly an early start well i don't agree that people who adults cannot learn older people will not learn as well as children i don't agree with that i teach adults and they if they're on fire if they want to learn they are on fire and actually adults prove to be much more committed than children their lifespan in terms of physicality may be slightly more problematic but we'll talk about that in a minute okay so an early start i would say is not necessary i really think it's much more important to be committed than young the next thing he said was a superior environment now i do agree with that but what does what do you think he meant well i'll tell you what i think i would mean by that i would recommend to and i do recommend to all my students that you immerse yourself in music once you decide that you're going to learn an instrument or perhaps learn a skill you know some people want to learn conducting or some people want to learn theory you immerse yourself in it your environment becomes so powerfully dominated by music that you just learn by osmosis you you it's always there you're not even thinking about it so the minute you get up in the morning you're putting on alexa playing classical music or playing blues or jazz or whatever your genre is or all genres you know but you're there you're listening you're you're stuck you it really i promise you you'll start to understand things like rhythm and um technique and style and instrumentation without actually studying it because you've immersed yourself in this environment that is all about music what else do i mean by superior environment i think your body is an environment your body is an environment for learning it's a physical encasing okay and that it needs to be a superior environment in terms of physically and mentally you need to be in tip-top condition it's almost impossible to play an instrument if you're physically impaired if if you're long-term disabled you you need to find an instrument that works for you let's not beat around the bush here it's going to be difficult for you certain instruments will be difficult others will be easy so choose your instrument wisely make sure your body is the perfect environment for the instrument of your choosing if you've...

Lanark The Scottish Chiefs by Jane Porter Public Domain Kids Audiobooks Free Download

chapter 3 of the scottish chiefs by ms jane porter this is a librivox recording all librivox recordings are in the public domain for more information or to volunteer please visit librivox.org recorded by shirley ellen

chapter 3 ellersley halbert returned to the house and entering the room softly into which marion had withdrawn beheld her on her knees before a crucifix she was praying for the safety of her husband may he o gracious lord cried she soon returned to his home but if i am to see him hear no more oh may it please thee to grant me to meet him within my arms in heaven here her blessed son of mary ejaculated the old man she looked round and rising from her knees demanded of him in a kind but anxious voice whether he had left her lord in security in the way to it my lady answered halpert he repeated all that wallace had said at parting and then tried to prevail on her to go to rest sleep cannot visit my eyes this night my faithful creature replied she my spirit will follow wallace in his mountain flight go you to your chamber after you have had repose that will be time enough to revisit the remains of the poor earl and to bring them with the box to the house i will take a religious charge of both for the sake of the deer and trust her halbert persuaded his lady to lie down on the bed that her limbs at least might rest after the fatigue of so harassing a night and she little suspecting that he meant to do otherwise than to sleep also kindly wished him repose and retired her maids during the late terror had dispersed and were nowhere to be found and the men too after their stout resistance at the gates had all disappeared some fled others were sent away prisoners to lanark while the good hamilton was conversing with their lady halbert therefore resigned himself to await with patience the rising of the sun when he hoped some of the scared domestics would return if not he determined to go to the cotters who lived in the depths of the glen and bring some of them to supply the place of the fugitives and a few with stouter hearts to guard his lady thus musing he sat on a stone bench in the hall watching anxiously the appearance of that orb whose setting beams he hoped would light him back with tidings of william wallace to comfort the lonely heart of his marian all seemed at peace nothing was heard but the sighing of the trees as they waved before the western window which opened toward the lanark hills the morning was yet gray and the fresh air blowing in rather chilly halbert rose to close the wooden shutter at that moment his eyes were arrested by a party of armed men in quick march down the opposite declivity in a few minutes more their heavy steps sounded in his ears and he saw the platform before the house filled with english alarmed at the site he was retreating across the apartment toward his ladies room when the great hall door was burst open by a band of soldiers who rushed forward and seized him tell me daughter cried their leader a man of low stature with gray locks but a fierce countenance where is the murderer where is sir william wallace speak or the torture shall force you halberd shuttered but it was for his defenseless lady not for himself my master said he is far from this where i know not thou shalt be made to know thou whorey-headed villain cried the same violent interrogator where's the assassin's wife i will confront ye seek her out at that word the soldiers parted right and left and in a moment afterward three of them appeared with shouts bringing in the trembling marion alas my lady cried halbert struggling to approach her as with terrified apprehension she looked around her but they held her fast and he saw her led up to the merciless wretch who had given the orders to have her summoned woman cried he i am the governor of lanark you now stand before the representative of the great king edward...

Lanark The Scottish Chiefs by Jane Porter Public Domain Kids Audiobooks Free Download

chapter 3 of the scottish chiefs by ms jane porter this is a librivox recording all librivox recordings are in the public domain for more information or to volunteer please visit librivox.org recorded by shirley ellen

chapter 3 ellersley halbert returned to the house and entering the room softly into which marion had withdrawn beheld her on her knees before a crucifix she was praying for the safety of her husband may he o gracious lord cried she soon returned to his home but if i am to see him hear no more oh may it please thee to grant me to meet him within my arms in heaven here her blessed son of mary ejaculated the old man she looked round and rising from her knees demanded of him in a kind but anxious voice whether he had left her lord in security in the way to it my lady answered halpert he repeated all that wallace had said at parting and then tried to prevail on her to go to rest sleep cannot visit my eyes this night my faithful creature replied she my spirit will follow wallace in his mountain flight go you to your chamber after you have had repose that will be time enough to revisit the remains of the poor earl and to bring them with the box to the house i will take a religious charge of both for the sake of the deer and trust her halbert persuaded his lady to lie down on the bed that her limbs at least might rest after the fatigue of so harassing a night and she little suspecting that he meant to do otherwise than to sleep also kindly wished him repose and retired her maids during the late terror had dispersed and were nowhere to be found and the men too after their stout resistance at the gates had all disappeared some fled others were sent away prisoners to lanark while the good hamilton was conversing with their lady halbert therefore resigned himself to await with patience the rising of the sun when he hoped some of the scared domestics would return if not he determined to go to the cotters who lived in the depths of the glen and bring some of them to supply the place of the fugitives and a few with stouter hearts to guard his lady thus musing he sat on a stone bench in the hall watching anxiously the appearance of that orb whose setting beams he hoped would light him back with tidings of william wallace to comfort the lonely heart of his marian all seemed at peace nothing was heard but the sighing of the trees as they waved before the western window which opened toward the lanark hills the morning was yet gray and the fresh air blowing in rather chilly halbert rose to close the wooden shutter at that moment his eyes were arrested by a party of armed men in quick march down the opposite declivity in a few minutes more their heavy steps sounded in his ears and he saw the platform before the house filled with english alarmed at the site he was retreating across the apartment toward his ladies room when the great hall door was burst open by a band of soldiers who rushed forward and seized him tell me daughter cried their leader a man of low stature with gray locks but a fierce countenance where is the murderer where is sir william wallace speak or the torture shall force you halberd shuttered but it was for his defenseless lady not for himself my master said he is far from this where i know not thou shalt be made to know thou whorey-headed villain cried the same violent interrogator where's the assassin's wife i will confront ye seek her out at that word the soldiers parted right and left and in a moment afterward three of them appeared with shouts bringing in the trembling marion alas my lady cried halbert struggling to approach her as with terrified apprehension she looked around her but they held her fast and he saw her led up to the merciless wretch who had given the orders to have her summoned woman cried he i am the governor of lanark you now stand before the representative of the great king edward...