ONE HUNDRED ENGLISH FOLKSONGSTHE MUSICIANS LIBRARY seventy, SONG VOLUMES* JOHANNES BRANLMS FORTY SONOS ‘Eeied by James Hancher ROBERT FRANZ: FIFTY SONOS ied by liam Parr Apchrp ‘Bed by Bly. Finck ‘GzoRGE FRIDERIC MANDEL YOU 1.S0NGS AND AIRS FOR HIGH VOICE YOU li, SONGS ARD|AIRS FOR LOW VOICE ‘Eted by Blew? Prat -ABOLP JENSEN : FORTY sons ‘Elie iy Wiliam Fer Apts ‘Elie by Corl Armiraser ‘Baied by Hey T. Finck ROBERT SCHUMANN : FIFTY SONOS ‘Eid by W. J. Heneron RICHARD STRAUSS FORTY SONGS “Edied by James Hancer ‘ated by Tams Hench RICHARD WAGNER: LTRICS FOR SOPRANO Eled by Carl drmbrater : a (Eated by Cork RICHARD WAGNER LYRICS FOR BARITONE AND BASS. "Edied by Carl rire ‘Mugo wou? :mirry sonas ‘tad by Brmet Newman Edad by Hoy T. Finch TITY SHAKSPERE SONOS eed by Charles Vincent MODERN PRENCH SONGS VOL. 1. BEMBERG TO FRANCK ; VOL. Il. GEORGES TO WIDOR ‘Elied by Philp Hale lied by Crd 9. Sharp ‘ONE HUNDRED FOLKSONGS OF ALL NATIONS Elite by Creme Batok ‘OME HUNDRED SONGS OF ENGLAND “Eted by Grane Bato ‘seventy scorrisi sonas Eel ith accompaniments, by Helen Hope SURTY Inisit SONGS ied by Wilias drm Fisher IRTY PATRIOTIC SONGS OF ALL NATIONS Ebted by Cramvile Batock SMATY FOLESONGS OF Pmance ued by Jain Tern x voLUMES IssuzD ‘Eded by Rupert Hag her SONGS FROM THE OPERAS FOR SOPRANO ‘Sons FROM THE OPERAS FOR MEZZO SOPRANO SONGS PROM THE OPERAS FOR TENOR ‘SONGS FROM THE OPERAS FOR BARITONE AMD BASS ‘Eled by HB. Krehbe PIANO VOLUMES JOHANN SEBASTIAN BACH YOU 1 SHORTER PLANO COMPOSITIONS ‘iad by Ebenxer Prt LUDWIG.YAN BEETHOVEN ; VOLS. IIL PIANO COMPOSITIONS Eiited by agen ¢ Albert JOHANNES BRAHMS: SELECTED PLANO COMPOSITIONS ‘Edad by Rafael Jordy ‘rtotnic CHOPIN: FORTY PIANO COMPOSITIONS ‘Edited by Yom Haneer ‘rtpénic CHOPIN: THE GREATER CHOPIN ‘Edad by James Haseler &. COLERIDGE-TAYLOR TWENTY-FOUR NEGRO MELODIES ‘Trawtribed forthe fame ‘Elted by Bertha Fring Tapper EDVARD ORIEG : PIANO LYRICS AND SHORTER COMPOSITIONS “Eéed by Bethe Feiring Tapper PRAME JOSEPH HAYDN: TWENTY PIANO COMPOSITIONS ‘Edited by Xaver Scharsaenba [FRANZ LISTT TWENTY ORIGINAL PIANO COMPOSITIONS. “Edad by August Spomath RANE LISZT TWENTY PIANO TRANSCRIPTIONS ‘Raid by Augut Spend FRANZ LISZT: TEN HUNGARIAN RHAPSODIES “Elle by August Spanath and Johu Orth FELIX MENDELSSOHN THIRTY PIANO COMPOSITIONS. Eeted by Porgy Gatichins, WOLFGANG AMADEUS MOZART: TWENTY PIANO COMPOSITIONS Baad by Cart Reneche RANE SCHUBERT: SELECTED PLANO COMPOSITIONS ‘Eid by Auguit Sperath ‘Ebel by Xever Scharwenba RICHARD WAGNER ; SELECTIONS FROM THE MUSIC DRAMAS Arranged forte pias by Ott Singer VOL. HARLY COMPOSERS VOL. Il. MODEEN COMPOSERS "Edited by lis Pip ANTHOLOGY OF GERMAN PIANO MUSIC VOL. 1 EARLY COMPOSERS VOL. Il. MODERN COMPOSERS Edad by Morse Marche EARLY ITALIAN PIANO MUSIC Baied by M. Epis MODERN RUSSIAN PIANO MUSIC VOI. |, AKIMENKO 70 KORESTCHENKO "Vol. I, LIADOFF TO WRANGELL Edied by Coitntin oon Sternberg ‘A110 voles ae ined for eth igh 3 Low Vole exept where ether ste, Price of each ouleme, paper, cloth bac, $1.5 5 full lth, gil, $2.50. Prats include pusage.ONE HUNDRED ENGLISH FOLKSONGS EDITED BY CECIL J. SHARP FOR MEDIUM VOICE THE [eS wusicians Exc] BOSTON : OLIVER DITSON COMPANY NEW YORK: CHAS. H. DITSON & cosiicaco : LYON & HEALYCOPYRIGHT, 1916, BY OLIVER DITSON COMPANY, INTERNATIONAL COPYRIGHT SECURED Maus $35. +4 War 5 1965 EDA KUHN LOEB MUSIC LIBRAK: D. B. UPDIKE, THE MERRYMOUNT PRESS, BOSTONTo Mus, JAMES JACKSON STORROWCONTENTS BALLADS 1, Henry Martin 2. Bruton Town 3. The Knight and the Shepherd's Daughter 4 Robin Hood and the Tanner 5. The Wraggle Taggle Gipsies, O! 6. Lord Bateman 7. Barbara Ellen 8. Lite Sir Hugh 9. Geordie 10, Lady Maisry 31. The Outlandish Knight 12, The Coasts of High Barbary 13. The Cruel Mother 14. The Golden Vanity 15, Lord Thomas of Winesberry 16. The Green Wedding 37. The Briery Bush 18. Lord Rendal 19. Blow away the Morning Dew 20. The Two Magicians 21. The Duke of Bedford 22, Death and the Lady 23. The Low, Low Lands of Holland 24. The Unquiet Grave, or Cold blows the wind 25. The tees they do grow high 26. Lord Lovel 27. False Lamkin 28. Lord Thomas and Fair Ellinor 2g, The Death of Queen Jane SONGS go. Farewell, Nancy 34. Sweet Kitty 32. The Crystal Spring 33: The Scods of Love 34. The Sprig of Thyme 35. The Cuckoo 36. Blackbirds and Thrushes 437. The Drowned Lover 38. The Sign of the Bonny Blue Bell 39.0 Waly, Waly 40. Green Bushes 41. Bedlam 42. The Bold Fisherman 43. The Rambling Sailor 44 Dabbling in the Dew 45. The Saucy Sailor 10 n m 76 19 82 86 88 90 92 96 98 100 10246. 7 8 49. 50. st 52. 530 53h St 55 57 38. 59 61. 62, 64. 65. 66. 67. 68. 69. 70. me pm 73 1 75 1 78. 79 Bo. ar. 82, 83. 8s, 86. 87. 88. 89. 90. on 9. 93 CONTENTS Fanny Blair Arise, arise ‘Searching for Lambs Green Broom ‘The Bonny Lighter-Boy ‘The Sweet Priméroses My Bonny, Bonny Boy ‘As I walked through the meadows, (First Version) ‘As I walked through the meadows. (Second Verse Erin’s Lovely Home The True Lover's Farewell High Germany Sweet Lovely Joan My Boy Willie Whistle, Daughter, Whistle Mowing the Barley I’m Seventeen come Sunday The Lark in the Mora Hares on the Mountains Sally, my dear Gently, Jonny, my Jingalo ‘The Keys of Canterbury My Man John ONo, John! The Brisk Young Bachelor Ruggleton’s Daughter of Tero William Taylor Sweet William The Watchet Sailor Scarborough Fair Brimbledon Fair, r Young Ramble-Away Bridgwater Fair The Crabfish The Beggar ‘The Keeper The Three Sons Jack Hall Driving away at the Smoothing Iron ‘The Robber John Barleycorn Poor Old Horse Botany Bay Admiral Benbow Bold Nelson’s Prise Spanish Ladies ‘The Ship in Distress Come all you worthy Christian men Wassal Song I's a rosebud in June ’) rot 106 108 na 14 16 120 mm 14 6 17 130 oy 134 136 138 m4 ua 44 146 48 150 154 156 158 160 162CONTENTS 94: A Brisk Young Sailor (95: The Sheep-Shearing ACCUMULATIVE 96. The Twelve Days of Christmas 97-The Ten Commandments 8. The Tree in the Wood 99. The Barley-Mow 100. One man shall mow my meadow ix 220 24 226 230 232 235,Admiral Benbow Arise, arise ‘As I walked through the meadows. (First Verten) ‘As I walked through the meadows. (Second Fer~ bate Een Barley-Mow, The Bedlam Beggar, The Blackbirds and Thrushes Blow away the Morning Dew Bold Fisherman, The Bold Nelson’s Praise Bonny Lighter-Boy, The Botany Bay Bridgwater Fair ery Bush, The Brimbledon Fair, r Young Ramble-Away Brisk Young, Bachelor, The Brisk Young Sailor, A Bruton Town Coasts of High Barbary, The Cold blows the wind, er The Unquiet Grave Come all you worthy Christian men Crabiish, The Crue] Mother, The Crystal Spring, The Cuckoo, The Dabbling in the Dew Death and the Lady Death of Queen Jane, The Driving away at the Smoothing Iron Drowned Lover, The Duke of Bedford, The Erin’s Lovely Home False Lamkin Fanny Blair Farewell, Nancy Gently, Johnny, my Jingalo Geordie Golden Vanity, The Green Broom Green Bushes Green Wedding, The Hares on the Mountains Henry Martin High Germany 106 122 20 232 on 176 8 6 96 198 172 2 170 156 220 2 1% 35 7 82 52 68 184. 86 se 124 62 104, 7° 146 36 92 42 137 INDEX I'm Seventeen come Sunday Ie's a rosebud in June Jack Hall John Barleycorn Keeper, The Keys of Canterbury, The Knight and the Shepherd's Daughter, The Lady Maisry Lark in the Mom, The Little Sir Hugh Lord Bateman Lord Lovel Lord Rendal Lord Thomas and Fair Ellinor Lord Thomas of Winesberry Low, Low Lands of Holland, The Mowing the Barley My Bonny, Bonny Boy My Boy Willie My Man John O No, Jobat O Sally, my dear O Waly, Waly One man shall mow my meadow Outlandish Knight, The Poor Old Horse Rambling Sailor, The Robber, The Robin Hood and the Tanner Ruggleton's Daughter of Tero Saucy Sailor, The Scarborough Fair Searching for Lambe Seeds of Love, The Shocp-Shearing, The Ship in Distress, The Sign of the Bonny Blue Bell, The Spanish Ladies Sprig of Thyme, The Sweet Kitey Sweet Lovely Joan Sweet Priméroses, The Sweet William ‘Ten Commandments, The Three Sons, The ‘Tree in the Wood, The Trees they do grow high, The is a 26 a4 ” 65 38 136 116 132 150 154 4 9° 335 29 196 187 158 102 167 108, 76 208 88 205, ” 2 130 14 162 226 180 230xii True Lover's Farewell, The ‘Twelve Days of Christmas, The ‘Two Magicians, The ‘Unquiet Grave, The, er Cold blows the wind ‘Wassail Song INDEX Watchet Sailor, The Whistle, Daughter, Whistle William Taylor Wraggle Taggle Gipsies, O! The ‘Young Ramble-Away, or Brimbledon Fair we 134 169 3 170ONE HUNDRED ENGLISH FOLKSONGS 'HE first serious and sustained attempt to colleét the traditional songs of the English peasantry was made by the Rev. S. Baring-Gould some thirty years ago in the West of England. Itis true that the Rev. J. Broadwood had made a small colleétion of Sussex songs and published them privately among his friends as far back 2s 1843, and that Miss Mason's Nursery Rlymes sand Country Songs (1877) and Northumbrian Mine sirelsy (1882) had both previously been given to the public; nevertheless, the issue in 1889 of the First Part of Songsand Balladsof the West marked, chink, the real starting-point of the movement, which has had for its aim the systematic collec- tionand publication oftthefolk-musicof England. Prior to that date the knowledge that folksongs existed in this country was confined to very few, and it was popularly assumed that the English peasant was the only one of his class in Europe ho had failed to express himself spontaneously in song and dance. How, in the face of the faéts which have since been brought to light, such an amazing misconception could have obtained ere- dence and escaped disproof is an enigma which has never been properlysolved. Happily, thisgro- tesque error was exposed before it was too late to make amends for the contemptuous negle& with which our predecessors had treated their national musical heritage. A few years later, with. the passing of the last survivors of the peas- ant class, it would have been quite impossible to have recovered anything of real value, and the produéts of a great peasant art would have been irrevocably lost. It may be thought that, owing to the late hour at which the interest in our folk- music came ultimately to be aroused, it is but a shrunken harvest that has been garnered, But I do not think this sso. That the postponement has added very materially to the difficulties of the colleGtor—by compelling him, for instance, to take down his songs from aged and quavering throats instead of from young, fresh-voiced sing- ‘ ers—is, of course, true enough. Nevertheless, I do not think that this has appreciably affected ither the quality or the abundance of the recov- cries. Indeed, our belated conversion has even had some aétual advantages. For the investiga tions have thereby come to be made at a period when the scientific spirit is abroad, and conse- quently the work has been conduéed with thor- ‘oughness,accuracy,and honesty of purpose. And this is scarcely the way in which it would have beni done a century or more ago. For the 18th century musician had other notions, and was littledisposed to trouble himeelf with ethical con- siderations where the colledting of the people's ‘music was concerned. Fortunately, the present day colle@or has set up a very different stand- ard, and has realized that his first and chief obli- gation is to record just what he hears, no more and no less, and that the esthetic as well as the scientific value of his work depends wholly upon the truthfalness and accuracy of his transcrip- tions. And if the investigations have throughout been conduéted in this spirit—and it is a claim that may, I think, justly be made—thisis owing in no small degree to the influence exercised by the Folk-Song Society (founded in 1898) and the example which, by means of its Journal, it has set to collettors. There are two theories respediing the origin of the folksong. Some hold that folksongs were composed in the past by individuals, just like other songs, and have been handed down to us more or less in-correétly by oral tradition; that they were the fashionable and popular songs of 1 bygone day, the compositions of skilled musi- cians, which found their way into the country villages and remote neighborhoods where, al- though long forgotten in the towns and cities of their origin, they had since been preserved. To put it in another way, the folksong, it is con- tended, is not a genuine wild flower, but, in the Jargon of the botanist, a “garden-escape.”xiv ONE HUNDRED ENGLISH FOLKSONGS The opponents of this school, however, im- pressed by the fact that the essential charaéter- iotice of the folksong—its freshness, sponta- neity, naturalness, and unconventionality —are thevery qualities which areconspicuously absent from the popular song-music of the past, main- tain that folksongs are the produé’s not of the individual, but of a people or community, and that we are indebted to the process of oral tra- dition not merely for preserving them, but for moulding, developing, and, in @ sense, creating them as well. This is not the occasion to enter into a lengthy discussion upon an abstruse and highly contro- versial question of this sort. Suffice it to say that the writer is a stout upholder of the communal theory of origins that he believes that the nature ofthe folksong and its history can be satisfaétorily explained only on that hypothesis; that the most typical qualities of the folksong have been la- boriously acquired during its journey down the ages, in the course of which its individual angles andirregularities have been rubbed andsmoothed away, just as the pebble on the seashore has been. rounded by the aétion of the waves; that thesug- gestions, unconsciously made by individual sing- ers, have at every stage of the evolution of the folksong been weighed and tested by the com- munity, and accepted or rejeéted by their ver- ict; and that the life history of the folksong has been oneof continuousgrowth and development, always tending to approximate to a form which should be at once congenial to the taste of the community and expressive of its feelings, aspira- tions, and ideals. The careful preservation of its folk-music is to a nation a matter of the highest import. Art, Tike language, is but a method of human expres- sion, due to the development and specialization of qualities that are natural and inborn. If, there- fore, itis to fulfil this funétion efficiently, it must never be divorced from, but must always faith- fally refle€, those qualities which are peculiar to the nation from which it proceeds. A nation’s music, for instance, must, at every stage of its development, be closely related to those sponta- ‘neous musical utterances which are the outcome of a purely natural instinét, and which proceed, it will always be found, from those of the com- munity who are least affected by extraneous edu- cational influences— that is, from the folk. The penalty that must inevitably be paid when this principle is ignored is well exemplified by the vicissitudes through which music in England passed after the death of Purcell. Prior to the Restoration, musical England held a proud and foremost position among the nations of Europe, a preéminence, however, which it completely lost in the two following centuries, and has never since regained. This very remarkable change was clearly brought about by, or at any rate synchro- nized with, the open disparagement—at first by the educated classes, and later on by the musi- cians themselves—of our native music, and the corresponding exaltation ofall that was of foreign manufaGture. In other words, music in England, which had hitherto been distinétively and demon- strably English in charaéter, fell from its high pedestal immediately it became divorced from the national tradition, The colleétion and preservation of our folk- music, whatever else it has done, has at least restored the Englishman's confidence in the inherent ability of his nation to produce great music. Adverse conditions, political, economic, sociological, or what not, may for a time prevent him from making the fullest use of his national inheritance, and postpone the establishment of a distinétive school of music worthy of the tra- dition of his country; yet, sooner or later, given favorable conditions, English music will assur- edly be reborn and once again assume that posi- tion which it held before the Restoration. ‘The greatest care has been exercised in the seledtion of the songs for this volume, in order that the colledtion may be thoroughly represen- tative of the subject and contain one or more ‘examples of each of the chief types of English folksong. With this end in view, it has been found necessary to limit the seleétion to folk- songs proper, and to exclude carols, sea-chi teys, children’s games, nursery songs, etc.ONE HUNDRED ENGLISH FOLKSONGS twill be seen that more than half of the tunes here presented are cast in one or other of the ancient diatonic modes (excluding the major, oF “Tonian”), the forerunners of our modern scales, Hitherto, musicians have regarded these modes as relics of a bygone era, which were employed in the early days of the history of music in de- fault of something better, but were eventually discarded (circa 1600) in favor of a scale-system better suited to modern requirements, But the diatonic mode is the natural idiom of the Eng- lish peasant, not one, be it noted, originally ac- quired from without, but one which he evolved from his own instinét. That the mode has always been, and is still, his natural vehicle of melodic expression, and that it should not, therefore, be regarded in any way as evidence of antiquity, is shown by the manner in which the folksinger will frequently translate into one or other of the modes the “composed” songs which he takes into his repertory. The modal charaéer of so many folksongs has no doubt brought this ques- tion very prominently before musicians. For here wwe have scores of melodies which, although cast in scales long since discarded by the art-musi- cian, nevertheless throb with the pulse of life and make a strong appeal to modern musical taste and feeling. Manifestly, such tunes as these can- not be quietly dismissed as medieval survivals ‘and relegated, as such, to the lumber room. They reveal, rather, a new species of melody suggest- ing many possibilities to the composer of the present day. The modes commonly used by the English peasant are the Holian (typified by the white- note scale of A), the Dorian (white-note scale of D), and the Mixolydian (white-note scale of G). ‘The Phrygian (E) and the Lydian (F) he uses but rarely ; a dozen tunes in the former mode and less than half that number in the latter are, pethaps, as many as English colleftors have as yet unearthed. Of the songs in this colledtion, twenty-seven are in the AZolian mode, twenty in the Dorian, and nine in the Mixolydian, while four, though modal, are irregular and cannot be concisely classified. ~v ‘What form the ideal accompaniment to a folk- song should take is « question upon which many divergent views may legitimately be held. With the purist, a simple solution is to dispense with an accompaniment altogether, on the ground that an anachronism, But this is surely to handi- cap the folk-tune needlessly and to ite detri- ment. For justas it takes an artist to appraise the value of a pidure out of its frame, so it is only the expert who can extraét the full flavor from an unharmonized melody. Musically, we live in & harmonic age, when every one, consciously or subconsciously, thinks in chords; when even the man in the strect is under the influence—if only he knew it—of the underlying harmonies of the popular air he is whistling. And herein lies one of the fundamental distinétions between folk and art-song. The former, in its purest form, being the produétof those in whom the harmonic sense is dormant, is essentially a non-harmonic tune; whereas the latter, of course, is demon strably construéted upon a harmonic basis. If, then, the need of an instrumental setting to the folksong be granted, we have next to con- sider what is its ideal form; and this, likewise, is largely a matter of individual taste. Sir Charles Stanford, for instance, advocates a frankly mod- ern treatment, “The airs,” he says, “are for all time, their dress must vary with the fashion of a fradtion of time.” Personally, I take a differ- ent view—and Sir Charles admits that there are two sides to the question, For it seems to me that of the many distinétive charaéteristics of the folk-air one of the most vital—at any rate, the one I would least willingly sacrifice—is that which makes itimpossible to put a date or assign 4 period to it, which gives to the folk-air the quality of permanence, makes it impervious to the passage of time, and so enables it to sat- isfy equally the artistic ideals of every age. Now, if we follow Sir Charles Stanford’s advice and frankly decorate our folk-tunes with the fashion able harmonies of the day, we may make very beautiful and attraétive music,—as Sir Charles has undoubtedly done, — but we shall effectually rob them of their most charaéteristic folk-qual-xvi ities, and thereby convert them into art-songs indistinguishable from the “composed” songs of the day. Surely, it would be wiser to limit ourselves in our accompaniments to those harmonies which are as independent of “period” as the tunesthem- selves, for example, those of the diatonic genus, which have formed the basis and been the main- stay of harmonic music throughout its history, and upon which musicians of every age and of every school have, in greater or less degree, de- pended; and further, secing that the genuine folk-air never modulates, never wavers from its allegiance to one fixed tonal centre, to avoid mod- ulation, or use it very sparingly. Personally, I have found that it is only by rigidly adhering to these two rules—if I may so call them—that I have been able to preserve the emotional impres- sion which the songs made upon me when sung by the folksingers themselves. This, at any rate, is the theoretic basis upon which the accompani- ments in this volume have been construéted. After what has been said above with regard to the “editing” of folk-music, it is, perhaps, scarcely necessary to remark that the tunes in this volume are presented precisely as they were originally taken down from the lips of the sing- ers, without any alteration whatsoever. Logically, the words should be accorded the same treat- ment. But this, unhappily, it is not always possi- ble to do. Indeed, it has relu@antly to be con- fessed that owing to various causes—the dog- gerel broadside-versions of the songs that have been disseminated throughout the country for the past several centuries; lapse of memory; cor- ruptions arising from the inability of the singer to understand words and phrases which have ONE HUNDRED ENGLISH FOLKSONGS ‘come to him from other parts of the country; the varying lengths of the corresponding lines of the several stanzas of the same song; the free and unconventional treatment of some of the themes, etc.,—the words of many of the songs are often very corrupt,and sometimes unintelligi- ble. It has therefore been necessary to make alter- ations in the words of many of the songs in this volume. Although archaic words and expressions have been retained, no attempt has been made to preserve local peculiarities of speech, it being the custom among folksingers to use each his own particular dialeét. I have only to add that when- ever alterations have been made in the text, the fa6: is mentioned in the notes. Before bringing these remarks to a conclu- sion, it is necessary to say something about the singing of folksongs. Traditionally, folksongs are sung notonly without gesture, but with the great- est restraint in the matter of expression; indeed, the folksinger will usually close his eyes and observe an impassive demeanor throughout hi performance. All who have heard him sing in this way will, I am confident, bear witness to the extraordinary effedtiveness of this unusual mode of execution. Artistically, then, it will, I think, be found that the most effedtive treatment to accord to the folksong is to sing it as simply and as straight- forwardly as possible, and, while paying the closest attention to the clear enunciation of the words and the preservation of an even, pleasant tone, to forbear, as far as may be, from atively and deliberately attempting to improve it by the introduétion of frequent changes of time, cres- cendos, diminuendoes, and other devices ofa like charaéter.NOTES ON THE SONGS No. 1, Henry Martin ERSIONS of this ballad, with tunes, are in Mr. Kidson’s Tradisional Tunes (p. 30); in Songs of the West (No. 53, 2d ed.); and in the Journal of the Folk-Song Society (volume i, P. 162). The words are on a Catnach broadside; and, in Percy's Religues, there is a long and much edited ballad, called “Sir Andrew Barton,” with which, however, the traditional versions have nothing in common. In English and Scottish Ballads, Child prints the versions in Traditional Tunes and Songs of she West, and gives, in addition, four other sets— one from Motherwell’s MS., two traditional copies obtained from residents in the United States, and a Suffolk fragment contributed by Edward Fitzgerald to Suffolk Notes and Queries (Upswich Fournal, 1877-78). In these several versions, the hero is variously styled Henry Martin, Robin Hood, Sir Andrew Barton, Andrew Bodee, Andrew Bartin, Henry Burgin, and Roberton. Child suggests that “the ballad must have sprung from the ashes of ‘Sir Andrew Barton’ (Percy's Religues), of which name ‘Henry Mar- tin’ would be no extraordinary corruption.” The Rev. S. Baring-Gould, in his note to the ballad in Songs of the West, differs from this view and contends that the Percy version is the ballad “as Tam inclined to agree that the two versions are quite distin, “Sir Andrew Barton” deals with the final encounter between Barton and the King’s ships, in which Andrew Barton's ship is sunk and he himself killed; whereas the tradi- tional versions are concerned with a piratical raid made by Henry Martin upon an English mer- chantman. It is true that in Songs of the West, Henry Martin receives his death wound, but, as, Child points out, this incident does not square with the rest of the story and may, therefore, be an interpolation. Unlike somany so-called historical ballads, this ‘one is really based on faét. In the latter part of the 15th century, a Scottish sea-officer, Andrew Barton, suffered by sea at the hands of the Portu- ‘guese, and obtained letters of marque for his two sons to make reprisals upon the trading-ships of Portugal. The brothers, under pretenceof search- ing for Portuguese shipping, levied toll upon English merchant vessels. King Henry VIII ac- cordingly commissioned the Earl of Surrey to rid the seas of the pirates and put an end to their illegal depredations. The earl fitted out two ves- sels, and gave the command of them to his two sons, Sir Thomas and Sir Edward Howard. They soughtout Barton’sships, the Lionand the Union, fought them, captured them, and carried them in triumph up the river Thames on August 2, ast. T have noted down in different parts of Eng- land no less than seventeen variantsof this ballad, and from the several sets of words so colleéted the lines in the text—praétically unaltered— have been compiled. ‘The air is in the Dorian mode. No. 2. Bruton Town ‘Tux tune, which is a very striking one, Dorian mode. The singer varied the last phrase of the melody in four different ways (see English Folk Song : Some Conclusions,p. 23). For two other versions of this ballad, “Lord Burlington's Sis- ter” and “In Strawberry Town,” see the Jour- al of the Folk-Song Society (volume ii p. 423 vol- ‘ume ¥, pp. 123-127), where the ballad has re- ceived a very searching analysis at the hands of Miss Lucy Broadwood. It will be seen that the story is the same as that of Boceaccio’s “Isabella and the Pot of Basil” in the Decameron, and of Keats's poem of the same name, It is true that “Bruton Town” breaks off at the wiping of the dead lover's eyes, and omits the gruesome inci- dent of the planting of the head in the flower- pot; yet up to that point the stories are nearly identical. The song was popular with the minstrels of the Middle Ages, and was made use of byxvii Hans Sachs, who derived his version from“ Cento Novelli.” a translation of the Decameron by Stein- héwel (1482). Hans Sachs names his heroine Lisabetha and retains the Italian tradition that ‘Messina was the town where the rich merchant and his family dwelt. It is interesting to observe that this ballad is one of the very few that succeeded in eluding the notice of Professor Child, ‘The words of both the versions that I have colleéted were very corrupt, so that the lines given in the text have received some editing. For the original sets the student is referred to the ‘Journal of the Folk-Song Society, quoted above. No. 3. TheKnightand the Shepherd’ s Daughter ‘Two versions of this ballad, under the above title, arein the Rexburghe Calleion and in Percy's Re- Higues, Percy states that his versions “given from an old black-letter copy with some corre@ions,” and that it was popular in the time of Queen Elizabeth, being usually printed with her picture beforeit.” The fifth verses quoted in Fletcher's comedy of The Pilgrim (1621). Buchan gives two traditional forms of the bal- lad, “Earl Richard, the Queen's Brother,” and “Earl Lithgow” (volume ii, pp. 81-91, ed. 1828). Seealso Motherwell’s Minstrelsy (p.377); Chris- tie’s Traditional Ballad Airs of Scotland (volume i, p. 184); and Kinloch’s Ancient Scostish Ballads (pp. 15 and 25). Kinloch says: “The Scottish language has given such a playful narvezé to these ballads that one would be apt to suppose that version to be the original, were it not that the invariable use of English titles, which are retained in all Scot- tish copies, betrays the ballad to have emanated from the south, although it has otherwise as- sumed the charaéter of a northern produdion.” I have colleéted. several variants of this bal- lad, four of which may be seen in the Yournal of the Folk-Song Society (volume v, pp. 86-90). For two other versions see the third volume of the same publication (pp. 222 and 280). The words in the text have been compiled from the several sets in my possession. With the NOTES ON THE SONGS exception of the lines in the second stanza, they are printed pradtically without alteration, No. 4. Robin Hood and the Tanner ‘Tuts was sung to me by a blind man, eighty- two years of age, who told me that he learned it when a lad of ten, but that he had not sung it, or heard it sung, for forty years or more. He varied the several phrases of the tune, which is in the Dorian mode, in a very free and interest ing manner (see English Folk Song: Some Conclu- sions, p.21). 1 have chosen from these variations those which seemed to me to be the most charac- teristic, Except for one or two minor alterations, the words are given in the text precisely as they were sung to me. ‘The Robin Hood ballads, which, centuriesago, were extremely popular (although they were con- stantly denounced by the authorities), are now but rarely sung by the country folk. Those that have recently been colleéted are printed in the Journal of the Folk-Song Society (volume i, pp. volume ii, p. 1555 volume iii, pp. ind volume v, p. 94). The words in the text follow with astonishing accuracy the corresponding stanzas of a black- letter broadside, which formerly belonged to An- thony & Wood, and is now preserved in the Bod leian Library. A copy of this broadside is printed in Ritson’s Robin Hood, by Child (No. 126), and also on two 17th century Garlands. The full title on the black-letter is: “Robin Hood and the Tanner; or, Robin Hood “met with his Match. A merry and pleasant “song relating the gallant and fierce combat “fought between Arthur Bland, tanner of Not- “tingham, and Robin Hood, the greatest and “noblest archer in England. Tune is, Robin “Hood and the Stranger.” The first verse runs: in Natingham there lotsa jelly tanner With a hey downy dwn, a dwn, down, His name ts Arthar-a-Bland, There it never a igure in Nottinghamshire Dare bid bold Arthur rand.NOTES ON THE SONGS Ritson gives a tune which, however, bears no resemblance to the Somerset air, in the text. Robin Hood is said to have been born in Locksley in Nottinghamshire about 1160, in the reign of Henry II. He was of noble blood, and his real name was Robert Fitzooth, of which Robin Hood is a corruption. He was commanly reputed to have been the Earl of Huntingdon, and itis possible chat in the latter years of his life he may have had some right to the title. Hee led the life of an outlaw in Barnsdale (Yorks), Sher- ‘wood (Notts), and in Plompton Park (Cum- berland), and gathered round him a large num- ber of retainers. His chief lieutenants were Little John, whose surname is believed to have been ‘Nailor; William Scadlock (Scathelock or Scar let); George-a-Green, pinder or pound keeper of Wakefield; Much,amiller’s son;and Friar Tuck. Tis said thathe died in 1247, at the age of eighty- seven, at the Kirkleys Nunnery in Yorkshire, whither he had gone to be bled, and where it is supposed that he was treacherously done todeath. The Robin Hood ballads were no doubt founded upon the French srowvére-drama, “Le Jeu de Robin et Marion,” which, in its turn, was only a dramatized version, largely etiological, of the Nature myth, Robin and Maid Marian being the lineal descendants of the King and Queen of the May-day ceremonies. In this con- nedtion itis interesting to note that country sing- rs invariably call “Robin Hood,’"“Robin o' the “ood,” that is, of the wood, No. 5. The Wraggle Taggle Gipsies, O! Compane this song with “The Gipsy Countess” (Songs of the West, No. 50, 24 ed.) and “The Gipsy” (4 Garland of Country Song, No. 32). A Scottish version of the words isin Ramsay's Tea- ‘Table Miscellany (volume iv); see also “ Gypsie Laddie,” in Heerd’s Ancient and Modern Scottish Songs (volumeii,p.95,ed.1791).In Finlay’s Seot- 1ish Ballads (1808), the ballad appears as “John- nie Faa,” and in Chambers's PiZture of Scotland, a valiant effort is made, after the manner of Scot- tish commentators, to provide the story with a historical foundation. ‘The tune is in the AZolian mode. I no less than eighteen variants. have noted No. 6. Lord Bateman Tuts, again,is a very popularballadwith English folksingers, and I have noted down nineteen dif- ferent versions of it. The singer of the Holian tune given in the text was the old man who gave me “Robin Hood and the Tanner,” and here again he constantly varied his phrases in the sev- ceral verses of the song (see English Folk Song. Some Conclusions, p. 22). The words that he sang ‘were virtually thesame as those printed on broad- sides by Pitts, Jackson, and others. For versions of this ballad, with tunes, see English County Songs (p.62); Mr. Kidson’s Tra~ ditional Tunes (p.32); Northumbrian Minstrelsy (p-64)5 the Journal of the Folk-Song Society (vol ume i, p. 2405 volume iii, pp. 193-200); Sussex Songs (p. 43); Kinloch’s Ancient Scottish Ballads (p. 260 and appendix); English Folk Songs for Schools (No. 11); and George Cruikshank’s Lov- ing Ballad of Lord Bateman. For words only, see Jamieson’s Pepular Bal- Jads (volume ii, p. 17); Garret’s Newcastle Gar- lands (volumei); and the broadsides above mentioned. The ballad is exhaustively analyzed in Child’s English and Scottish Popular Ballads (“Lord Beichan,” No. 53). The story of Lord Bateman, Beichan, or Bekie, is very similar to the well-known and ancient legend concerning Gilbert Becket, fa- ther of Saint Thomas the Martyr. This has sug- gested to some the derivation of the ballad from the legend; but Child thinks that this is not s0, although he admits that the ballad has not come down to us unaffeéted by the legend. He points ‘out that there is a similar story in the Gesta Romanorum (No. §, Bohn ed.), of about the sume age as the Becket legend; that there are beauti- fal repetitions of the story in the ballads pf other ‘ions; and that it has secondary affinities with “Hind Horn.” The hero's name, allowing for >= M.That thing shall not be, says bold Rob-in Hood, For a he - 10 50 bold; For ho has bost play, he is mas-ter of his trade And by he be con - troll, *5 13 THE WRAGGLE TAGGLE GIPSIES, O! ‘Collected and arranged by CECIL J. SHARP Allegro moderato a VOICE 1. There were three gip- sies a - she pull off her PIANO. come to my door, And down stairs ran this a - la - dy, O! silk fin isd gown And put © on hose of Teath- er, 0! The — One sang high and an- oth-er sang low And the oth-er sang bonny, bon-ny rag-ged, rag-ged rags a - bout our door Shek gone _—_with the Wrag-gle tag- gle = cay, gip - sies, Conreignt MCMXVI by Giver Ditson Company be -arae-aaslate last night, whon my lord came home, En - quir - ing for his a ~ makes you leave your house and land? What | makes you leave your oy ta - dy, The ser - vants said, on ev - ‘ry hand: She's mon - ey, What makes you leave your new wed-ded lord, To gone with the wrag-gle tag-gle gip go with the wrag-gle tag-gle gip - ay milk - white ated, Go and fetch me my for my house and my land? Whit care 1 fer omy ‘staccato anis-ma5gone with the wrag-gle off with the wrag-gle tag - gle tag - gle he rode high ho rode night you slept goose -feath- er low, He bed; With the Us- - til he And to - night you'll came to an sleep in a cop - ses too, brave - ly, O! rode sheet turnd down ° cold bride, Who is lord? Pm ‘through woods and so - pe field, And o- pen field, A - anis-ma5there he es - pied Tong with the wrag-gle tag - gle ®.What care T for a ~ goose-feath- er bed, With the sheet turnid down so__ MSL brave- ly, 0? For to - aight I shall sleep in a cold o- pen field, A - Jong with the wrag-gle tag-gle gip-sies, O! anis-ma56 7 LORD BATEMAN Collected and arranged by CRCIL J. SHARP Moderato maestoso mp ‘VoICE Lord Bate - man was 4 The Turk he had one 7. She took him to her 10. Now sev-enlong years are PIANO no- = ble lord, A no-ble lord of high de-gree. on-ly dangh - ter, Tho fair-est crea - ture that ev-eryowdsee. Sho stole the keys of her fatherscel - lar And gave to him the best-of wine, And ey - ‘ryhoalth that she gone and past And four-teendays, well known to me; She pack-ed up all her He shipp@him-self all a - board a great ship, Some for-eign coun- try to. go fa ther's pris- -0n, And sworeLord B. man sho would drank un - to__ him: I wish,Lord Bate- - man,that you ay. cloth - ing, And sworeLord Bate- = man shed go ‘Copyrignt MOMXVI by Olver Dituen Company18 sail - ed East, he sail - ~edWest, He sailed un - to proud Turkey. There. have youlands? 0, have you liv ~ ings? And does Nor-thumbi-tand be- long to thee? © What aevenlong years we'll make. a vow, For sev'n long. years welll keep it strong; If when she came toLord Bateman’s cas - tle, How bold-ly she did ring the bell. Who's he was taken and put in pris - on, Ua - til his life—was quite weary. will you give to a fair youngla - dy, If out of pris - onshelll set youfres. you will wed with no oth- er wo - manThen I will wed with no other man, there?Whosthere?criod the young proud por - terWho'sthere?Wh'sthere?” Come quickly tell. TERE, FLL in this prisa there grew. a tree, It grew so stout, it grew sostrong Hewas T've got lands and Pve got liv - ings, And half Northumb'clandbe-longs to me; I'l took him to her father's har - dour, Sho gave to him a ship of fame: Far called Lord Bate-man’s cas - tle? And is his lord - ship herewith- in? = O_ _— > anis-ma5chain-ed up by yes! © yes! —_criedthe ie 13. ‘You tell him to send me a slice of bread, And a bottle of the best of wine; ‘And not forgetting. that fair young lady ‘That did release him when close confined, 14. Away, away went the young proud porter, Away, away, away went he, Until he came to Lord Batoman’s chamber, ‘Down on his bended knees fell he. 15, What news, what news, my young proud porter? What news, what news hast thou brought tome? ‘There is the fairest of all young ladies ‘That ever my two eyes did se 16. Sho has got rings round every finger, Round one of tem she haw got thee. She has gold enough all round her middle To buy Northumbrland that belongs to thee the mid-dle Un - give it all to a fair young la - dy, If woll, fare-well to you, Lord Bi til his life was out of pris - on shéll set me al - most gone 19 fr fear 1 nev - ershall see you again. 1. She tells you to send her a slice of bread, And 2 boitle of the best of wine; ‘And not forgetting that fair young-lady, ‘That did release you when close confined. 18, Lord Bateman then in a passion flew, He broke his sword in splinters threes Half will I givo of my fathers portion If but Sophia have a-crossed the sea. 19, 0 then up spoke the young bride’s mother, ‘Who was never heard to speak so free: ‘You'll not forget my only daughter If but Sophia have a-crossed the sea. 20. Towa I made a bride of your daughter; She's neither the better nor worse for me. Sho came to me on a horse and saddle; She may go back in a coach and thre Lord Bateman prepared another marriage, ‘And both thi hearts were full of glee. I will range no more to a foreign country Now since Sophia have a-crossed thi ea. Young proud por - ter, He has just now ta - kenhis young bride in. anis-ma520 7 BARBARA ELLEN Collected and arranged by CECIL J, SHARP Allegretto a Pp VOICE A.In— Scot-land 1 was 2. He— sent hin ser - vant 3.So_ slow-ly she___put aA dy -ing ° PIANO and bred, In. Scot. = land T was dwell - ing, When a to her house To the place where sho was dwell - ing, Say - ing: on her clothes, So slow - ly she came to him, ‘And dovt say so, Forone kiss from you _will core me, One _—_—— Er er S. dim. P. young man on his death - bed lay sake of Bar - bra El - ten. You must come to my mas - ter’ hous name is Bar - bea BL - ten, when she came to his bedside, said:Young man, you're dy - ing. kiss from me. you. nevershall have your poor heart is break - ing. CConyrignt MCMXVI by Ostver Ditton Companyat P 5. If youlook up— at my bed-head You will see my watch a - Here's @. If you look down at my bedefoot Youwill see a bowl a - And 7 As I was walk-ing down the fields, I heard some birds a - And 8. As_ I was walk-ing downthe lane, I heard some bells a - tol-ling, And t (fl ett Z am 2. ring— and smy_ gold chain 1 i. the blood T've shed For the sang— they seem to say: Hard_ told they seem to say: Hard_ pcolla voce 9. 1. ‘As Twas walking up the groves Come, mother, come, make up my bed, ‘And met his corpse a-coming: Make it both long and narrow; Stay, stay, said sho, and stop awhil My true love died for me yesterday, ‘That I may gaze all on you. Pil die for him tomorrow. 10. 12, ‘The more she gazed, the more she smiled, And he was buried in Edmondstono, Till she burst ont a-laughing, And she was baried in Cold Harbour, And her parents cried out: Fie, for shame, ‘And out of him sprang roses red, Hard hearted Barbra Ellen, And out of her sweet briar. 43. It grew and grew so very high Till it could grow no higher; And around the top growed a true lover's knot ‘And around it twined sweet-briar. anis-ma522 8 LITTLE SIR HUGH Collected and arranged by CROIL J. SHARP Allegretto grazioso VOICE Ait rains, it rains met - ry Lin -coln, n0,— 0 m0, dare not a-come when the school was 0 - - ver, head is heav-y can -not get up, PIANO rains both great_ and small, When _—all__the boys_ come out —_to play, ‘To out my play - mates. too; For if__my mother should be at the door’ She would mothercame out for to call, With a lit- tle rod un-der her a-pron To grave it is__ so deop;____ Bo - sides a pen-knifosticks in-to my heart, So ee — t play and toos— their ball. 2. They tossll_ their ball___so high cause my “poor heart’ to rue, 5. The first she off-erd him was, deat her son with - al, 8. Hi up— T can - not gel 11. Go home, go home, my moth - er dear, CCorrrignt MCKVI vy Otter Ditzea Compesytosed their ball so next a fin - or knock -ed loud at the pareme a wind - ing lows ‘thing ring? 0, sheet; mf all the fine that en tet your bod - y and Jews — = tie- ed him i moth - er mine. shall be - tow. meet, ae Jews daugh -ter, gil - ty chair, Jews wife said, at my head, lit -te Sir dress - er onthe they pass Hugh, board green by ‘Yea stat ‘And May dress - ed gave— him is_— not gram - mar have stabbd They The For to-mor - ‘ it 0 -ver third a cher -ry red ti Sir Hugh— you row morn-ing be - fore the Jews him not my out was a up in a here__—_the pray = er - book —_—— Come in;— come in, my ‘She laid. him ont on a day; Hes with his school-fel_- tows = That all imy school fol- tows as al— in su = gar here to - at— ay a: your ball him Keep-ing this highhol- i - read— them for my ike a day.. sake24 9 GEORDIE Collected and arranged by CECIL J. SHARP Andante VOICE 1. Come bri- dle me my six pretty babes that Judge “he look - ed Geor = die hang in PIANO white steed, Come, bri - me ay 1 have got, The nev = enth Ii in down on kim And said) Pm sor - ry for. thee. gold - en—chains. (His crimes w ney - er man = - - a aa 1 may ride to fair Lon-don town To plead for my | Geor = die.__ free - ly part with them ev - ‘ry one, _If you'll eparome the life of Geor- die. thine owmcon-fos - sion hath hang- ed thee, May: the Lord have mer-cy up - on thee. cause he came of ray - al Blood And —court-ed a vir-tu-ous la - dy. ‘Copyright MCMXVI by Otter Ditgon Compas anis-ma525 _ 2 And when sho en. ~ tered in the hall There were = 4.Then — Geor = die took - ed round the court, And _ @ 0 Geor - die stole nor cow nor calf And he = wish 1 were in yon - der grove, Where — —_——.., lords and ty. Down on her knees she saw his ty; He said: = My dear, you've nev - er y, But he stole six - teen of the times 1 y% With my broad sword = and my 3 did_ fall To plead for the life of —$-—as too— late, For Pm con - demnd al - ————__B. Then the white steeds And sold them in. Bo - ———_ 7 Let tol too Pd fight for the life of y anis-ma526 : 10 LADY MAISRY Collected and arranged by Allegretto con moto CECIL J. SHARP VOICE 4. She call-ed to her lit-tle pageboy, Who was her brothers son. She. when hecame tothe new cas- tell, The lord was set at meat; told him as quick as he could_ go, To bring her lord safe home. 2. Now the you were to know. 2s much_as__I, How lit tle wouldyou eat! ° ag ver = y first imile would walk And the soc-ond he would run, is my tow - er fall-ing,fall-ingdown, Or does my bow-er burn? 13 a when he came to a broken,brokenbridge, He bent his breast and swum. 8, And is mygay Ia - dy__put__to___ bed With a daughter or a ‘Conrrignt MCMXVL by Otter Diteen Companyno; your tow-er is not fall-ing down, Nor does your bow- ei burn; — ar Pr we are a-fraid ere you ro - turn Your. lady.will be dead and gone. —_~ teed, Come saddle my po- ny too,—w when he came to the old__cas- tell, He heard a big boll toll, times he kissed her red. ru-by lips, Nine times he kissed her chin. t then he saw_. eight no- ble, no- ble men, A - bear-ing ofa pall. 8 Lay times he kissed her snow-y, snow-y breast, Where love did on - ter in, 10. Tho a tPF down, lay down that gen-tle, gen-tle corpse, As it lay fast a - sleep, That Ja - dy was bur-ied on that Sun - day, Be - fore the prayer was done; And the [First time \ Second fime 7A I may kiss her_ red ru-bylipsWhich I used to kiss_ so swoet.9.Six lord he died onthe next Sun-day, Be - fore the prayer be- gun, ?i THE OUTLANDISH KNIGHT Collected and arranged by CECIL J. SHARP Moderato VOICE = 1.An out-land- ish knight came from thenorth lands, And he came woo-ing to off, light off thy —_—milk - white steed; De - liv-er it up un-to cut thou a-way the brim-bles so sharp, The brim-blesfrom off‘ the PIANO said he would take me to for - eign lands, And six pret-ty maid-ens have © I. drown'd here, And they may not tan- gle my | cur - ly locks, Nor there he would mar - ry me. fetch me some of thou the. sev-enth shall be. off, dof off scratch my’ lil y-white skin. - tam-ed 2 - round Conrrignt MEMXVI by Ottver Diteon Company anis-ma530 = And some of your moth - er’ liv - er them up un- to o-ver the fa = thers gold, sik - en things, De - And bent down back to her two of the best nags from out of ‘the sta- ble, Where there stand thir- ty and think that they look too rich and too gay To rot all in the salt the mid-die so small And bun-died him in - to the caught him a - round he on his dap - ple thy backun-to hhe came to the 8. She mount-ed up- on her _milk-white steed, And 6. If must doff off my silk en things, Pray turn 9. He drop - ped high, he drop-ped low, Un - til nf staccato anis-ma534 = ‘They rode i they came un = to the sea side, Three For it isnot fit - ting such a af - fian A Catch hold of |= my hand, my fair pret’ ty maid, And Four times Last time, was day. 4. Light should see. 2. And my bride, 0, Lie, -ry____ 10. Lie there, tie there, you false-hearted man, Lie there instead of mes For six pretty maidens hast thou a-drowned here, ‘The seventh hath drown-ed thee. Mt She mounted on her milk-white steed, And led the dapple-grey; She rode till she came to her father’s house, ‘Throe hours before it was day. R . ‘The parrot hung in the window so high, ‘And heard what the lady did say: ‘What ails thee, what ails thee, my pretty lady, ‘You've tarried so long away? 43. ‘The king he was up in his bed-room so high, And heard what the parrot did say ‘What ails thee, what ails thee, my pretty Polly, ‘You prattle so long: before day? Ty It’s no laughing matter, the parrot did say, ‘That loudly I call unto thee; : For the cat has a-got in the window so high, 1 fear that sho will have me, 15. Well turn-ed, well turned, my pretty Polly; ‘Well turned, well turn-ed for me; ‘Thy cage shall be made of the glittering gold, And the door of the best ivory. anis-ma532 12 THE COASTS OF HIGH BARBARY Collected and arranged by _. CECIL J. SHARP Con spirito VOICE 1 Look a - head, look a - starn, look the back up your quar = ters! for wea - ther and the —itee. Blow highl__ Blow — low! and heave your ves - sel to, Blow high! Blow = lowl____—and sau - cy pi - rate ried. Blow —highl____Blow_lowl____and we. T see 8 wrock «to wind- ward anda we—— For we have got some let - ters to___ be we The quar- ters that we show them was_ to oof lof - ty ship to lee, A- sail- ing down all the coasts of High car - ried home by you. A. sail- ing down all the coasts of High sink them in the tid A sail- ing down all the coasts of High Copyright MCMXVI by Oliver Ditaon Company anis-ma55 — ry, 2 Then hail, her, our cap - tain he call - ed oer the side; Blow ry. 5. Well back up our top - ails and heave our ves - sel to; Blow ry. 8. With cut - lass and gun 0 we fought for hours___ three; Blow so sail - ed we, hight Blow low! And Oo are you a hight Blow low! And so sail - ed we. But on - ly some hight Blow lowl____ And s0___ sail - ed we. The ship it was their ae P. pi - rate ora man - o - war, he cried? A - sail - ing down all har- bour and— a - long the side of you A sail - ing down all cof - fin, and_ their grave it was the sea. A sail - ing down all ——— —7 | dim. the coasts of High 3. on the coasts. of High = Bar - ba - ry. 6. For broad - side for the coasts of High «= Bar- ba - ry, 9. But O it was a |_e_ coepi- -rate or man ~ o?- war, ried Blow high broad - side, they fought all on’ the Blow hight. ora - el sight and griev-ed us full Blow high!__ lowland .. © nol Im not a pi- rate bat a low! and Un - til at last the fri- gate shot. the low!, and To seo them all a - drown-ing as they man - 0) - war, cried he, A - sail - ing down the coasts of pi- rates mast a - way. A - sail- ing down all onthe coasts of tried to swim to shore, A = sail- ing down all onthe coasts of . +—rer SSS SS — —_ = SSS SF ee SSeS ttc Ai OES 4 SS ay £ an- gry man was he, He re-quest-ed of his daugh-ter dear shun his com-pan-y. To my father his like-wise, Un - til shecried: I am un-done!and tears fell from her ey sailedand thas dig) say 0" 1 may deprive him of hisbride all on Ble wedding ‘wed-ding Pll re-pair, O my dear-est dear Dil have you yet in spite of allthalsthere. To my ‘sin-gle man rode he;) ‘Then all the way tothe wed-dlagchal went the com- pany dress in gree SSS SSS gts Fe a | Conrrignt MCMXVI by Otter Ditsea Compenyal ral = ly, dal -1y, ral = ly, dal - ly, ral - ly, dal -ly, ral - ly, dal -ly, ral - ly, dal -ly, ral -ly, dal-ly, day. ral - ly, dal - ly, day, ral ly, dally, day. ral ~ ly, dally, day. ral = ly, dally, day, PT, cE So Be : =F - ae a bempo Eight times Last time day. day. day, day. day. ——__————_ icon fuoco os ow ie = ‘When he came to the wedding-hall, they unto him did say You are welcome, Sir, you'te welcome, Sir, where have you spent the day? He laughed at them, he scorned at them, and unto them did say: ‘You may have seen my merry men come riding by this way. t:To my rally, dally, dido, Rally, dally, day. 2 ite he took a glass of wine and filled it to the brim Here is health unto the man,said he,the man they call the groom; Here’ health unto the man, said he, who may enjoy his bride — ‘Though another man may love her too, and take her from his side, 4 To my rally, dally, dido, Rally, dally day. 4 ‘Then up and spoke the farmer’s so%, an angry man was he: Ifit is to fight that you come here, ‘tis I'm the man for thee! Its not to fight that I am here, but friendship for to show; So let me kiss your bonny bride, and away from thee I'l go. to my cally, dally, cdo, Rally, daly, day. He took her by the waist ao small, end by the grass-green slee ‘And he Led het from the wedding-ball of ao ote asking leave. The band did play, the bugles sauad ost glorious to be seeny ‘Ad all the way to Headlagbourue Town weal the company dresedin green. ve To my rally, daly did, Rally dally day. anis-ma542 voIcr PIANO Por I Or But Allegretto semplice $4 17 THE BRIERY BUSH Collected and arranged by CECIL J. SHARP thy hand, my — gold? not brought thee gold, hang - man, stay fa- ther, have you stay it for Tre ‘can you set I cant set fan-ey 1 are 1 you come fa-ther A-com-ing a - hhave come @ me bung — thee hung— cross the oa the on the yon - der gal = lows gal = lowe AIL All r oF 40 Ccopyrigmt MCMXVI by Ottver Ditton Company anis-ma5pricks my heart #0 nev-er get in an-y The other relatives, e. g. “mother,” “broth of the“ true-tove’ as follows: — 5. © hangman,stay thy hand, And stay it for a while, For I fancy 1 see my true-love a-coming Across the yonder stile. 6. 0 true-tove, have you my gold? And can you set me free? Or are you come to see me hung All on the gallows tree? DS.ad tb, Last time a 43 once get out of the bri- ery bush, Til hove verses are repeated ad libitum, with the substitution of sister,” ete. for "brings the song to a close 2 © yes, I've brought thee gold, And T can set thee f ‘And T've not come to see thee hung All on the gallows tree. 8. © the briery bush, That pricks my heart s0 sore; Now I've got out of the briery bush, Tit never get in any more anis-ma54A 18 LORD RENDAL Collected and arranged by CECIL J. SHARP Andante con moto P VOICE 4. Where have you been all the day, 2 What have you been eat - ing, 3. Where did she get them from, PIANO Ren - dal, my son? Where have you been all the day, my pret-ty one? Ren - dal, my son? What have you been eat - ing, | my pret-ty one? Ren - dal, my son? Where did she get them from, my pret-ty one? to. my sweet-heart, — moth-er, to my sweet-heart, and eel broth, —moth-er, and oct broth, ges and ditch - es, moth-er, = gesandditch - es, Sa. « Fa * Fa * CConrrignt MCMXVI by Oliver Ditaon Companyesso tempo make my bed soon, make my bed soon, make my bed soon, 4. ‘What was the colour on their skin, Rendal, my son? ‘What was the colour on their skin, my pretty one? O spickit and sparkit, mother, make my bed soon, For T'm sick to my heart and I fain would lie down, 8 ‘What will you leave your father, Rendal, my son? ‘What will you leave your father, my pretty one? My land and houses, mother, make my bed soon, For I'm sick to my heart and I fain would lie down, 45 For I'm sick to my heart For I'm sick to my heart For Im sick to my heart RF F ‘Seoen Himes Last time a 6 What will you leave your mother, Rendal, my son? What will you leave your mother, my pretty one? My gold and silver, mother, make my bed soon, For I'm sick to my heart and I fain would lie down, x What will you leave your brother, Rendal, my son? What will you leave your brother, my pretty one? My cows and horses, mother, make my bed soon, For I'm sick to my heart and 1 fain would lie down. 8 ‘What will you leave your lover, Rendal, my son? ‘What will you leave your lover, my pretty one? Arope to hang her, mother, make my bed soon, For I'm sick to my heart and I fain would lie down, anis-ma546 YoICE PIANO he there “if you 19 BLOW AWAY THE MORNING DEW Collected and arranged by CECIL J. SHARP Con brio A.There was a far - mors 2. He look-ed high, he B. Cast o- ver me my 4. If you comedown to my 5, He mounted on a — ra son Kept sheep all on_— the hin; And look - ed low, He cast an oun - der ook; And man - tle fair And pin it oer omy gown; And, fa - ther’ house, Which is wall - ed all. «= a= round, Then milk - white steed And she up = on an. =_ oth ej And ror walk’ out one May morn - ing To see what she could —_ ill © he saw a fair pretty maid Be - side the wa - try brook you will, take hold my hand, And = Twill, «be your own. Shall have a kiss from me And = twen = ty thou~ sand pound. they rode a - long the lane Like sis - ter and like —_broth-er. r — oe Copyright MCMXYE by Oliver Ditton Compasy anis-ma5a7 ‘And sing blow a-way the morn- ing dow re Blow a-way the morn - ing dew, How sweet the winds 6 As they were riding on alone, ‘They saw some pooks of hay. is not this a very pretty place For girls and boys to play? And sing blow away the morning dew, ‘The dew and the dew. Blow away the morning dew, How sweet the winds do blow. Chores 2 8 But when they came to her father’s gate, We have a flower in our garden, So nimble she popped in: ‘We call it Marigold: ‘And said: There is a fool without And if you will riot when you m And'here’s a maid within. You shall not when you wolde. Chorus, And sing blow away efc, Chorus, And sing blow away etc. anis-ma548 20 THE TWO MAGICIANS Collected and arranged by Vivace CECIL J. SHARP P VOICE £0 She tookld out of the win-dow as white as an-y PIANO He look in-to the win-dow as black as an-y silk — Hul- loa, hhul-loa, ul - toa, black smith! you have done erese nf nev-ef shallchange my maid-ennamethat I have kept so lony—— If rather die & Copyright MCMXVI by Olver Ditwon Company49 maid, Yes, but then she said, And be bur-ied all in my grave.than TH have such a nas - ty, St dusk - y, must - y, fusk - y, coal black smith olla voce Finer P. 2. Then she be - came 8. Then she be - camo .. 4% Then she be-came Fine 7 duck all on the he be-came a wa-ter-dog And fotchd her back a - gain hare up-on the he be-came a grey-hounddog And fetch'd her back a = gai fly all inthe ai; And he be-came a spi - der And fetch her to his lair Ps DS. _ anis-ma5bo 21 THE DUKE OF BEDFORD Collected and arranged by Lento CECIL J. SHARP ‘VOICE Lords went a - hunt-ing Down ty the No - ble Duke of Bed-ford The sea had up - him 1 did wor- ship, Who no_more will PIANO ie) oF ‘side, And they spied a dead bod- y Washid a - way. by the tide. 2. They throwa,'Twas the 0 - ble Duke of Bed-ford. The sea_had up - thrown, 5. But speak” To kkin - dred and. Who gaze on the form 8. Of the Ny ee" took him to Ports-mouth, The place he as some folks dis - pu - ted The hunt - men’s bare no - ble Dukeof Bed - ford In his cof - fin of z= <= a straight a-way to Lon-don To the place he wes bers, 3. They 0 - pend his til a grand la - dy ‘Tis_ my dear lord. 6. Sho Knee’ down be - no - ble Duke of Bed-ford cof-fin of stone. 9 With - in Wo - burn a ans ce Coprrignt MCMXVI by Olver Ditton Company51 bow- els And stretod out his feet, And gar - nish him all O7- ver With— side him And kiss’ his cold cheek- And «sad - ‘ly did mar-mur: My ‘Ab-bey His bod - y _was_ laid, A--—smongst___ his ameestors, Whose AN ——> First & second times 1 ast time Ul - tes so sweet. 4.’Twas the 10.And a weird rush of poor heart will break. 7. For deeds are not pe im == Fp tegato heard to this day, When ano - ble Duke of + Bed-ford Is ———=. St” 22 DEATH AND THE LADY Cottecte and arranged by CECIL TL SHARP Andante sostenuto . VOICE — Las IT walkd out one day, one day, Tet. ana - ged man said: Ol¢ man, what man are you? What coun-try do you be - give you gold, give you pearl, PN give you oost- ly rich. —_———_. * PIANO = = ty the way, His head was bald his beard_ was. gray. His long— un- to? My name is Death, hast. heard of me’ all robes. to wear, If you will spareme a lit - tle while, And — ———.. deta J ctoth-ing made of the coldearth-ea—clay, His cloth-ing made of the cold earth-en Kings and prin-ces bow down un- tome, And . you, fair maid, must come a-long with ive me time my life to a- mend, And give me time my life to a —_ oF = = CConyrignt MCMV by ov[First and Second times ll Third time lay, 4TH have 0 want mo cost- ly rich to this be put on my wear, 1 tomb-stone, she cried: Here lies a a mend, Nor a- way, Her while Nor maid; Jost. ny give you time your life to hher bloom she was snatch- ed —— dim. ald P life. to a - mend. cold_earth - en oF gold, TL me. six months’ time this can- not spareyon a oor, 5B have no pearl, 1 fair maid died. Let eS lit - tle dis - tress - ed give you time your clothing made of the54 23 THE LOW, LOW LANDS OF HOLLAND Collected and arranged by ECHL J. SHARP Moderato 4 ‘VOICE 1. The ver - y day sdT ways mar - ried, Hol - land isa. cold place, build my fovea gal lant ship, A__ moth - er to__ daugh =~ ter: What_ swaithe round my waist, PIANO night = Ts lay ons my beds A press gang came place where grows no green, And Hol - land is. a ship of mo ~ ted fame, With four and twen - ty makes you to la - ment? © — there are fords, and comb goes. in = my_——halr, Neither fire - = light. nor J = my bed - side These words, «to me they A: cold place For my love. «= to. wan. - der Thoagh seamen bold “To -—box_—sher_ on__the Theyit dukes and squires Can ease. your heart con But_ can - dle - light Can— hearth des And— Copyrignt MCMXVE by Oliver Ditvon Company anis-ma5so, a - fisme a - fits, young man, And come a ~ Tonge with Towey ted” teak taper eae AT SR rant and roar, in spar-kling glee Where-some ev - er they. do nev - er will I mars ried be Un - ti the day— 1 nev - er will I mar- ried be. Un - til the day_ 1 with To the me, me, tow, tree, the tree, Yet be - fore Td time to. turns my - self = My go, do go, To the low, low ands of __ Hot = land, To die, I die, Since the tow, low lands of __ Hol - land) Have die, I die, Since the tow, "Cast fim 6 face your en- @ = ay. Jove as stoP’a from me. 2. But face the dar - ing foe. 3. Tn part-ed my love and =m 4. Says the part-ed my love and me. 5. There's - dim, anis-ma556 24 : THE UNQUIET GRAVE or COLD BLOWS THE WIND Coliected and arranged by CECIL J. SHARP Andante m VOICE blows the wind to my_ true love, And RViL_ do as muchfor —my_ewoet-heart As When thetwelve-monthand one day was past, The one thing that 1 wanteweet-heart,There’s — 1.Co1d * PIANO Wr geo iy dros the calnp 1 nevcer | GRE tat encawmsttuat, ace Ge SY gouge man auyi Yi at and arn all ont ner'gaeve For phost tee gree to pei Why att tent ere all ontmy. pre, And ace’ ting Sn. TGs Aad et “hak Ron jor ittyaite Spee’ ea — ~— greenwood she_ les slain, And in green-wood she twelve-month and a day, Fora twelve-month and_ a day. will. not tet me 2 And wil. not et me sleep? TIL. go from your grave, Thea PIL go from_ your grave, ‘Coprrignt MCKXV1 by otter Diteon Company57 SMy breast it is ss Sold as clay, | My breath smetis Garth = ty 6.G0 fetch mo wa- - ter from the desert, And blood from out of a 7.0 down in yon- -der _—gravejsweetheart, Where you and 1 would She stalk is with-erd and dry,_awoot-heart, And the flow-erwill nev-er re- When shall we meet a - galnyewoet-heart? When shall we mest a= c <= + strong; And if you kis my cold clay tips, stone; Go fetch me milk from a fair maidh breast That walk, The first. flow-er that ev-er 1 Is. turn;—— And = since. «Eos. my own sweet- What — gain When the oak - en leaves. that fall from the Are —. —— t days they worst be days they wort young man nev-er had knowa,—— That a young man nev -er had with -erd toa stalk, Ts. with - erd_ to. a stalk. —— cn I do but mourn? What can 1 do—— but mourn? green_and spring up a - gain, Are green andspring up a - gain. ¥ anis-ma558 25 THE TREES THEY DO GROW HIGH Collected and arranged by CEOIL J. SHARP P Allegretto espressivo VOICE 4. The trees they do grow high, and the leavestheydo grow B. Well send him to the col - lege for one year or 5. I made my Lovea shroud of the hol-land,O so PIANO P But the time is gone and past, my Love,that you and I have seen, Its a he may grow, I will green; ‘two, And then per-haps in time, my Love,a "man ~rystitch T put! in it__'the tearscame trink-ling down; And. fine, And ev a a. dim. cbld Pwin- tere night, my Love, when you and I must bide a-lone. ‘The bon- ay lad was ‘buy you white rib'- bons’ to. te a-bout his bon-nywaist, To let the ladies Twili sit and mourn his fate un; til the day that 1 shalldie, And watch all clr his fa - ther, dear fa - ther, I 2 ‘atthe age of six - teen 0 he 60 now my Love is dead and__ young, but a - grow-i ‘know that he’s mar - ried. child while ith — grow-in Copyright MCXEVE by Oltver Dison Company anis-ma5fear youve done ‘ne in his’ grave doth Iie,” fear he is too young. fa - ther of a ‘son, grow- eth up so __ high. if you stay at grave it was a now I have got growing. grow-ing.— hat Yuh home with me A grow- ing green, And so never a Firet and second times Third Hime married me toa At the ‘age of sev - en ~ ‘The green grass that O—— —daugh -ter, dear - At the age of 0. once 1 had La- dy you shall she ‘saw the one,’ So fare you well, my TT je ‘bon - p bat L 7 teon o- ver was tho him it so ADE. ey r while he end of his own true Love, for60 26 LORD LOVEL Collected and arranged by CECIL J SHARP Moderato +—+—+ + voice rz: SSS ——s 7 1.Lord Lov-el he stood at his own cas-tle gate, A - long you'll be gone Lord Level? she said; How rode ‘and he rode on his milk ~ white steed, Till he or-derd the grave to be o-per’d a - wide, And the ‘one was bur- ied inthe low-er chan-cel, The PIANO comb- ing his milk-white steed, When up came La-dy Nan - cy Bolle To long you'll be gone? cried she. In. a year or two, of threo atthe most, Vl re- eame— to Lon - don Towa; And there he heard the church - bells ring’ And the shroud fo be turn’d a - round; And then he. kissd her cold clay cheeks Till the oth = er was bur-ied in the high’, From one sprang out a gal-lant red rose, From the wish her lov-er good spe wish her lov-er good speed, good speed, To . turn to my La-dy Nan-cy, ‘cy, -cy, I'll re-turn to my La-dyNan-cy. 4. He peo-ple all mourn-ing a- round, around, And the peo-ple all_mourn-ing a- round. @. Abt tears came trick ~ ling down, down,down, Till the tears came trick - ling down. 8. La~dy oth-er a gil- ly flow- er, flower, Fromthe oth-er a gil-ly flow-er. 10.And = Copyright MCMEXVE 2y Oltver Dison Company anis-ma561 there— they grew— and turd and twined Till they gi where are you go-ing,Lord Lov-el? she said, 0 where are you go- ing?cried hhad not been gone but’ a year and a day, Strange coun - tries for to who— is dead?_ Lord Lov-el he cried, Ah! who is’ dead? cried Nan-ey she died as it might be to-day,” Lord Lov-el he died as to "d_ the chan ~ cel Atte = hg r = 65553 ie t i + see, When a strange thought came in - to his head, Held he. ‘An old wo-man said: Some la-dy is dead, They mor-row;— La-dy Nancy she diedoutof pure, pure grief, Lord top, And there they grew and turd and twined And St ++ aa she: I'm go-ing, my La - dy Nan- cy Belle, Strange coun- tries for— to go and see La~dy Nan- call-ed her La-dy Nan - Lov-el he died out of tied in a true lov- ers p22 # ty + =>, - —= ? Es & ale ¥ £- f= r t: , SS Knot, knotknot, And tied ina true lov-ers PF Fowr times Last time sor - row, row, Lord Lov-el he died out of sorrow. 9. The see, see, Strange countries for to see. 3. How cy, -oy cy, Held go and see La-dy Nan - cy, 5. He cy, cy, -oy, They called her La-dy Nan - cy. 7. He anis-ma562 27 FALSE LAMKIN Collected and arranged by CECIL J. SHARP Moderato VOICE 1.The Lord said to” the La- dy, Be % fore he went durst I go. down in the dead of the ‘me your daugh-ter Bet - sy, She will do me some PIANO out: Be - ware of false Lam-kin, Heh a- walk - ing a - bout. 2 Whateare night? Where there’ 00 kin-died, No can - dle a - light.6 As good; | Shewill _holdthe ba- sin’ To catch her own hearth blood. 10 Pret a —— The a I for false Lam = kin Or an-y of his kin? When the doors aro shewas a - go-ingdown, And think - ing no harm, False-_ Lam-kin Bet-sy, be-ing up— At the win - dow so high, Saw her _own dear - iota of Copyright MCMXVT by Oitver Dison Company anis-ma5bolt = ed And the windows close pinnld. 8.At the back kitch - en win - dow False caughther Right tight in his arm, 7, 0 spare myllife! O_ sparomylifel My fa ~ ther Come a - rid-ing close by. M.Dear fa - ther! dear fa - ther! 0 7 =— =~ wt Lam -kin crept in; And he prick-ed one of the el-der babes With a bright sil - ver life that’s so sweet; Youshall have as many bright guin - eas As stones in the diame not of me; For it____ was false Lam - kin Mur-derd ba - by and —— — = pin. 4. 0 Nurse - maid! O_ Nurse - maid! How sound you do sleep Catt_you street, 8 © spare my life! O spare my life! Till one of the clock; You. shall she. 12,Hereh blood inthe ‘kitchen, Heres blood in the hall, Heres —s anis-ma564 (First @ second meal Third time hear one of those el-derbabes A - try - ing to weep? 5. How 18, False have mydaugh-ter_____ Bet - sy, She's the flow'r of the flock. 9. Fetch blood in the par - Tour, Wherethe La - dy did fall. r id Lam-kin shall be hung On the gal-lows so high; While his bones shall be— fire close by. anis-ma528 65 LORD THOMAS AND FAIR ELLINOR Collected and arranged by CECIL J. SHARP Moderato VOICE A.Lord Thomas he was a bold for- enter, And way he flew to fair E1~ li- uorsbow'r And Fiddle, my mother, come rid- dle, she said, Come El-li- nor dress in her rich ar ray, Her PIANO keep-er of our king's Hl-li-nor she was a gay ta - dy, Lord tio-gled so loud at the one was so read-y as fair Bl - li- nor To rid-dle it un - to I to Lord Thomas -’s weddingshall go, Or merry men all in ev "ry town that she rode through They Thom-as he loved her dear, 2.-Now rid-dle my rid-dle,dear moth-er, said she, And let Lord Thom-as in. 5. What news, what news, what news? she cried, What wheth-er I stay with thee, 8. Its hun . dreds are___your —_friends,daugh-ter, And took her for some queen, 1. She rode till she came to Lord Thomas-'s house; She Conrrignt MCMXVI by Olver Ditton Company anis-ma566 rid dle it news hast thou brought un - to aro thous - ands tin - gled so loud brown girl, my — wedding, all mybleseing ‘Thom-as him-self hous ‘To Lord Thom-a8-'s es and land, -El-ti-nor she an - y such thing Should friends, moth er; Mi = y-white hand And Whether I mar- ry the Tam come bid thee to There. - fore beg thee with ‘There was none read- y as Lord El- li - nor — hom 8. The brown girl she syo- a-more tree. 6 0, God for - bid wed-ding don't go. 9, Ite thous - ands are El-li-nor in, 42. He took her by has none; Wilere’- fore I charge you up - ev-er pass by my side; I _—_thought that thou wouldst have hun = dreds are my foes; So bo-tide my life, and be - Jed herthrough the hall, And sat her down in the67 Six mes Wiest time | oa my bess- ing To been my bride-groom And tide__ my death, To Lord Thom bring 7s, 13. Is this your bride, Lord Thomas? she said, Methinks she looks wonderfully brown; ‘When you could have had the fairest lady ‘That ever trod English ground. 1a, Despise her not, Lord Thomas then said, Despise her not unto me; For more do I love thy little finger ‘Than all her whole body. 15. ‘The brown girl had a little penknife, Which was both long and sharp; “Twit the small ribs and the short she pricked Fair Ellinor to the heart. the brown Tehould have been girl home. thy bride 7. Come wod-ding ' go. 10. Fair no - blest chair A - mongst the Ia i all, 13. Is 16. ‘Ob! what is the matter, Fair Ellen? he said, ‘Methinks you look wondrous wan; ‘You used to have as fair a colour ‘As ever the sun shone ou. 2 On! are you blind, Lord Thomas? she said, Ob! can you not very well see? ‘On! can you not see my own heart's blood Come trinkling down my knee? 18, Lord Thomas he had a sword by his side, ‘As he walked through the hall; He took off the brown girl's head from her shoulders, ‘And flung it against the wall. He put the handle to the ground, The sword unto his heart. No sooner did three lovers meet, No sooner did they part. Make me a grave both long and side, Spoken } And tay fair Ellinor by my side — ‘And the brew girl af my feet. 20. ‘Lord Thomas was buried in the church, Fair Ellinor in the choir; ‘And from her bosom there grew a red rose, And out of Lord Thomas the briar, at. ‘They grew till they reached the church tip top, ‘When they could grow no higher; And then they entwined like a true lover's knot, For all true lovers to admire. anis-ma568 . Ro THE DEATH OF QUEEN JANE scted and arranged by CECIL J. SHARP Allegretto VOICE 1.Queen Jane was in ta -P nour For - Hen-ry was a - sent for, King Jane, my love, Queen Jane, my love, Such a Hen - ry went mourn- ing And PIANO. of r x7 six days or more, Till her men got __tired___ And’ wished it © were Hen-ry did come home For to with Queen Jane: My love Your eyes do look so thing wasnev-er known, If_ you your right side o - pen’d Youwill lore your dear ba- so did his men And did his dear ba - by ForQueen Jane did di - a 7 Ts, oer. 2. Good wo F men, good vo- men, Good wo-men if you be, Will you dim. 4. King Hen- ry, King Hen-ry, King Hen-ry if you be, If you by. 6. Will you buildyourlove a cas- tle And Ii down so deep For to en. 8. How deop_ was the mourning How wide were the bands, How aa ~ a t rf Copyright MCMXVS by Otter Ditton Company anis-ma569 Ths ree times send for King Hen- ry, For King Hen- ry 1 must see, 8. King have my ight side o - pend You will find my dear ba - by. 5. Queen bu - ry my bo - dy And christen my dear -ba - by. 7. King , yel-low,yel-low were the flam - boys They car- ried in their =. 4 Ns hands. 9. There was fid - dling, there was dan- cing On the day the babe was << ~~ leo? = While the roy-al Queen Jane be-loved Lay oold as a anis-ma57 30 ‘ FAREWELL, NANCY Collected and arranged by CECIL J. SHARP VOICE Des sn ley ceed mole aw bbe oe 3. Your pret'- ty lit- tle hands cart han dle aur_ — PIANO Teave you; Un - to the salt_ seas I am bound for to go; Bat tack - le, And your pret - ty lit-tle feet on_ our top - mast cant go; And the let my long ab - sence be_ no trou- ble to you, For_ I shall re - cold storm-y weather, Love, you neler can_ en - dure, Therefore, dear co nf (Copyright MOMXVI by Otter Dit0n Company anis-ma5turn in the springyas you. know. 2. Like some pret - ty lit - tle Nan- cy, to the seas do not. go. 4. So fare~ well, my dear-est Ce = = sea-boy, I will dress and go_ with you; Ip the deep - est of_ dan- ger, 1_ Nan- cy, since must now leave you; Un - to the salt seas Lam t. Ynarcato a SS shall stand your friend; In the cold storm- y weath-er, when the winds are a - pound for to go, Wherethe winds do blow high and the __ seas loud do aa jing, My dear, I shall be will-ing to wait on You then. roar; So make your-self con-tent-ed; be kind and stay on shore. ee anis-ma5R 31 SWEET KITTY Collected and arranged by ‘CRCIL J. SHARP Moderato VOICE 4, As he owas a - rid ing, anda - 2 1 gave her a wink and sho Come sad - dle my horse and a ~~ 4. Six times he rode round her, but __ ——~ PIANO Play 4 times = J ad dt jd ing one day, ‘He ~— met swith sweet Kit - ty all onthe high - roll'd her black eye; ‘Thinks I to my - self Tl be there by and way I will ride To _—smeet_ with sweet Kit - ty down by the sea - he did not know; She smiled in his face and said: There goes my —— — Sing fol the did-dle de- ro, the did-dte de- ro, Sing ———— CCoprrignt MCMXVI by Otter Dison Company anis-ma55. 1 said: Pret-ty maid - en, don't. 6. If you'd know my name, you must 7-Come, all pret-ty maidens, who pan d i emile in my face, do not in - tend to stay long in this go and en - quire, I was born in old Eng-- land, brought up in York- ev - er you be, With —rov = ing young fel - lows’ dont make your - self a Sing fol the did-dle do - 10, We de ~ ro, Sing ———_ aw (First &2d timesl Last time = day. anis-ma5% 82 THE CRYSTAL SPRING Con espressione Collected and arranged by CECIL J. SHARP P ‘VOICE by some crys - tal young = men I PIANO spring where the night - in - gales sing, Most plea - sant it know, great kind - ness will show, ‘They will of - i ere i Sete 7 = eae Ss sea - son, to hear the groves__ ring. prof - fer’ much more than they'll do 7 a young cap - tain pi - ed, En - troat-ing of his a maid - en ‘kind, "With Jaugh - ing and— aaa * Fa. * ‘Copyrignt NCAOXVI by Otter Ditaon Company oe -a7ae-aas15 2. Dear Phyl - lis, says__he, A. But if der I prove false to my ——_. true love, for to be his bride. chaff- ing’ they'll change like the wind: in your soft bow-ers a crownit shall ocean turn den ert; and the el- © - ments ‘You shall take no____pain, 1__ will you main - tain, My ’ For wher - ev - er I shall be, PH be con-stant to thea. — Like a — 2. First Hime ‘Second time = foad-ed, just_ come in from Spain. 8. There are I will wan-der and_— swim through the* 338 THE SEEDS OF LOVE Collected and arranged by CEOIL J. SHARP Andantino VOICE LT sow the Seeds of Love, gar - den wasplant-ed well with Gar - ener wasstand-ing by; And Vi-o-tet I did not like, Be - Janetherewas_a red Rose - bud, PIANO iN s IN Ss res pe = > vt iS flow - ers ev - ry But I had not the -ty to that ig the flows for = me. oft - en-times have _pluck’é that — = —— =} oF =F at oF $ tte crr dim r PF ad = 7 . eS ae — i mora = ing birds so sweet -ly sing, choose for my-self Of the flowrs that I love so dear, Of the Lil-y and the Pink, But those 1 re- fused all three, But real-iy 0 - ver-think, So I vowd that I would wait till June, So 1 red Rose - bud’ Till I gain - ed the wil- low - tr Tn 1 ——= Copreigat MCMXVI by OUrer Dison Company anis-ma5Foyr times Fifth time small birds soaweet ~ ly sing, flow-rs that I love so dear, those I re-fused all three. vowlthat I wouldwait till June. 5. gains - é4_the will - low - - = tree, And the wil - low-tree will twine‘ that young man’s arms That once had the heart of /+——mine, anis-ma578 once had the heart of 7 Come, all you false young men, ef oy Teave me here to com - plain For the grass that has oft - en -times been 4. | SL z tram-pled un-der foot, Give it time, it will rise up jy time, it will iso up a - gain. —— i |= = 244 anis-ma534 79 THE SPRIG OF THYME Collected and arranged by ‘CECIL J. SHARP Andante con moto VOICE once Thad thyme * of my Jone,thefe was a red- a-r0- sy PIANO: in__ my own gar - den it grew, that seemd the flow - er for me; — ‘dim. used to know the place— where my thyme it did grow, But now it is cov~ erd with oft - en-times ['snatch-ed at the red- a-ro- sy bud, Till I gain-ed thewil- low, ? r rue, with rue, But__ now itis cov ord with rue. wil - low tree, Till gain- ed the wil - lon tree. r* fil? “L*s ‘Copyright MCMXVTI by Otter Dit Companya flour - ish ing thing, It flour-ish-es by night and by low treo it will twist, And the wil lov, wil- low tree— it will —~ day; So be - ware_ of 2 young mama. flat - ter - ing tongue, He will ‘twine; And_ so it was that young and false - heart- ed man When he —=——~, — thyme a - way, a-way, He will steal your_/ thyme a - of mine, When he gain - ed thisheart of __ steal your gain ed. thisheart Gf mint ot et my gar - den full of a pre - clous, pre - cious anis-ma5But the small birds they car ried them a - way On the road that the sun__ shines up - on; April, May and in Juno like - wise, When the small birds "sing all thyme it is "@ thing that will Bring you to an end, And that's how my time has ee oS —— day, all day, When the small ‘birds_— sing has gone, And that's how my time gone,82 3B THE CUCKOO Andante dolente * Collected and arranged by CECIL J.SHARP VOICE 1. 0 the cuc-koo she's a a tems —. PIANO. Pr SS “ pret-ty bird, she e flies. She—bring-eth good tid-ings, she— tell-eth no— —— sing-eth as ~ F Ro — suck - eth white flow-ers, for to keep her voice clear; And the _———_—_ cue = koo, the sum- mer draw-eth near. rr r ‘Copyright MOMXVI by OttverDitson Company ad83 7 Ss > Qas— I was a - walk-ing and a - talk~ing one day, 8.1 wish I were a _schol-ar and could han-dle the — pen, ate SS met my own true__love, 8. he came —that__ way. write to my lov - er and to all. ro'- ving men. Ss _ ao eee eee _ moet him was a plea / sure,thoughthe court-ing was a wor For, 1 tell "them of the grief and woe, that -at - tendon their lies, 1—would D.S.al Fine would kiss. me and go. on the flow - er when it dies. DS.al FineCollected and arranged by CECIL J. SHARP Andante affettuoso voice 84 36 BLACKBIRDS AND THRUSHES | | i | LAs) [was a - walk-ing for 8 Her chooks blushed like ro - ses, her | PIANO gr [tre lr tr itre lr ft rit rr my re - cre - a -tion, A - down by the gar -dens I si lent - ty arms full of po -sies, She stray in the mead -ows and, __weep ~ing she 2 2 a —— stray’, I heard a fair maid. mak- ing great la - men - ta - tion, Cry-ing: My_ heart it ix__ach - ing, _my poor heart is break- ing, For 2 2a colla voce Jim-my will be slain in wars Tima Jim-my will be slain in wars Tm a =<————_ J. r r 2—— [F4 Conrrignt MCMXVI vy Olther Dison Company be -arae-aasblack -birds and Jim - my te thrush - es, = turn with his 2, The 4.When larks seem’ to mourn for this Nan = cy all dead inher _—_——- wood-doves and found his doar bush - es; The burn -ing, He lov = er: 0 break - ing, 0 = cern -ing her song that she poor heart is cried; Ym for - sang was con sa-ken, my r r the wars I'm a - fraid. had left this fair nev - er maid! rrr dim. sang colta voce ——— 2 [Fay [1 in the green heart full of Jim-my will be would that ¥ First time Second time86 37 THE DROWNED LOVER Andante doloroso Collected and arranged by CECIL J. SHARP. orese, voice LAs oT was a | walk ing dowi_ in Stokes Bey, 1 put her Srms_a found hist, say-iog: © © my deat Sic z PIANO r beach as lay: And as drew thou - sand oer. 0 1 am con - sigh him, it mee Copyrigmt MCMXVI by Oliver Ditson Company 2-1 gecrese. 87 ~s P 2As he was a - sail - ingfromhis own dear shore, Wherothewavesand the 4.And all in the_ churchyard these_ two were laid, And_a stone for re - 2 Lt zy dil- lows so loud-ly do roar, 1 said to my— true Love: 1_| membrance was laid on her grave: © My joys are all end - ed, my —~_ = aT SS ee rr ly ir din pp => So— fare - well, my— dear - est, | you're the This_ grave that) I tie in’ is ay =, aa lla voce dim. P P [Lest time tad. Ta - dore, new mar-ried bed. = F ry lim, be -arae-aas88 38 THE SIGN OF THE BONNY BLUE BELL Cotected and arranged by BCI. J. SHARP Allegretto voice PIANO walk-ing one mom ing in Spring To _hear the birds whis-tle and the night-in-gale her and thus 1 did say: Pray tell me your age and whereyou be - maid, youareyoung for to mar-ry, Til leave you the oth-er four years for to night when 1 go there | To pow-der my locksand to cur-dle ay morn-ing the belis they shall ring And threepret-ty maid-ens so sweetly shall TF P oO r r i she TP ace 2 tic dam ae, a0 eret — ty aap ty feng To econg fo the Slee a” he Bon ay Blue Bal Foy vee pth ae ML Rh wie 7 theewecie pret omadTow Ter me Swat ng fino Sea gaye io ap geld en see rr it (Copyright MCEVE by time Dison Company anis-ma589 cs 1 heard a fair well, 1 be-long to the years T've been sin - gle a - gainst © my own will, You — speak like a 1 will be mar - ried on a Tues - daymorn - ing; There werethree pret - ty IT shall be —mar- ried on a. Tues - daymorn - ing, So neat and 80 — dam-sel, so sweet - ly sang shes sign of the Bon - nio Blue Bell; man—— with - out an - y kills maid—ens for me a - wait - ing, gay. is my’ gold- en ring, mar- ried on a = teen and you sin- gle a- - mar-ried on a mar-ried on a [Four times WU Last time ‘Tuesday morn - ing: keow ver-y well gainst my own will, “Tues -day morn - ing. Tues-day morn = = ing. QD a anis-ma5