The Frank C. Brown Collection of NC Folklore: Vol. V: The Music of the Folk Songs 9780822382850

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The FRANK C. BROWN COLLECTION

of

NORTH CAROLINA FOLKLORE THE

FOLKLORE

OF

LINA FOLKLORE

NORTH

CAROLINA

1912

TO

1943

SOCIETY

OF

WHICH

DUllING THE YEARS

COLLECTED

BY

DR. FRANK

C.

HE

WAS

SECRETARy-TREASURER

1913-1943

IN SEVEN VOLUMES General Editor NEWMAN IVEY WHITE

Associ ate Editors HENRY M. BELDEN WAYLAND D. HAND

PAUL G. BREWSTER ARTHUR PALMER HUDSON

JAN PHILIP SCHINHAN STITH THOMPSON

BROWN

IN COLLABORATION WITH THE NORTH CAIlO.

ARCHER TAYLOR

BARTLETT JERE WHITING

GEORGE P. WILSON

PAULL F. BAUM

Wo od Engravings by CLARE LEIGHTON

DURHAM, NORTH CAROLINA

DUKE UNIVERSITY PRESS

Volume I GAMES AND RHYMES • BELIEFS AND CUSTOMS . RIDDLES PROVERBS· SPEECH· TALES AND LEGENDS

Edited hy PAUL

G.

BREWSTER,

ARCHER

GEORGE

P.

TAYLOR,

BARTLETT JERE

WHITING

WILSON, STITH THOMPSON

Volume II FOLK BALLADS FROM NORTH CAROLINA

Edited hy HENRY

M.

BELDEN

AND

ARTHUR

PALMER

HUDSON

Volume III FOLK SONGS FROM NORTH CAROLINA

Edited hy HENRY

M.

BELDEN

AND

ARTHUR

PALMER

HUDSON

Volume IV THE MUSIC OF THE BALLADS

Edited hy JAN PHILIP SCHINHAN

Volume V THE MUSIC OF THE FOLK SONGS

Edited hy JAN PHILIP SCHINHAN

Volumes VI and VII SUPERSTITIONS FROM NORTH CAROLINA

Edited hy D. HAND

WAYLAND

COTTON CHOPPERS

The FRANK C. BROWN COLLECTION of

NORTH CAROLINA FOLKLORE VOLUME FIVE

THE

MUSIC OF THE

FOLK SONGS Edited by

JAN PHILIP SCHINHAN

DURHAM, NORTH CAROLINA

DUKE UNIVERSITY PRESS

19 62

©

1962,

BY THE DUKE UNIVERSITY PRESS

Library oj Congress Catalogue Card Ntt1nber 57-8818

ISBN 0--8223-0257-8 Second printing, 1977

PRINTED IN THE UNITED STATES OF AMERICA

CONTENTS xxiii

EDITOR'S PREFACE

xxv

INTRODUCTION

xxxi

ABBREVIATIONS USED IN THE NOTES FOLK SONGS

1.

COURTING SONGS

I. A PAPER OF PINS 2. MADAM, WILL You WALK?

3.

THE COURTING CAGE

7.

SOLDIER, SOLDIER, WON'T You MARRY ME?

g. THE OLD MAN'S COURTSHIP

10. 12. 13. 14. 17.

TUNE

PAGE

F-I-3 F-4,5 F-6,7 F-8,g

3 5 6 8 9 10

F-IO

WHEN I WAS A YOUNG GIRL MADAM, I HAVE GOLD AND SILVER ONE MORNING IN MAY No, SIR I WOULDN'T MARRY

Ig. WHEN I WAS SINGLE

F-II F -12 F-13-17 F-18-20 F-21-25 F-26,27

I I

II

15 17 21

II. DRINK AND GAMBLING SONGS 20. THE DRUNKARD'S HELL 21. THE DRUNKARD'S DOOM 22. THE DRUNKARD'S DREAM (I)

25. 27. 28.

THE DRUNKARD'S LONE CHILD BE HOME EARLY I WISH I WAS A SINGLE GIRL AGAIN

2g. SEVEN LONG YEARS I'VE BEEN MARRIED 31. I'M ALONE, ALL ALONE

32. 33. 36. 37. 38. 40.

OLD ROSIN THE BEAU LITTLE

BROWN JUG

I'LL NEVER GET DRUNK ANY MORE SHOW ME THE WAY TO Go HOME, BABE PICKLE My BONES IN ALCOHOL JUST KICK THE DUST OVER

My

COFFIN

41. THE HIDDEN STILL

46. A LITTLE MORE CIDER Too 47. SUCKING CIDER THROUGH A 49. THE JOURNEYMAN 50. JACK OF DIAMONDS

STRAW

51. SHOOT YOUR DICE AND HAVE YOUR FUN

F-28-3 0 F-3 1 F-3 2 ,33 F-34 F-35 F-36,37 F-38 -4° F-4 1 F-42 -44 F-45 F-46 F-47,48 F-49,SO F-SI F-S2 F-53,S4 F-SS F-S6 F-S7-S9 F-6o

23 24 25 26 27 28

29 32 32 35 35 36 38 39

40 41 42 43 44 45

CONTENTS

viii III. HOMILETIC SONGS

53· 60. 62. 64.

WHEN ADAM WAS CREATED WHO Is My NEIGHBOR? THE WICKED GIRL ADVICE TO SINNERS

TUNE F-61,62 F- 63 F-64,65 F-66

PAGE 46 47 47 49

F-67,68 F- 6 9-7 1 F-7 2 F-73 F-74 F-75 F-76 ,77 F-78 F-79,80 F-81 F-82 F-83 F-84-90 F-9 I ,9 2 F-93-95 F-96 F-97 F-98 F-99 F-Ioo F-IoI F-I02 F- I 03 F- 104 F- I 05,lo6 F- 107,lo8 F-Iog F-Ilo F-III,112

5° 51 53 54 54 55 55 56 57 59 60 61 61 67 69 7° 71 71 72 73 73 74 74 75 76

F- II 3,II4 F- 11 5 F-II6 F- 11 7 F-118 F -119-128 F- I2 9 F- 130

81 81 82 83 84 85 94 95

IV. PLAY-PARTY AND DANCE SONGS 67. 69. 70. 74. 75. 76. 78. 80. 81. 82. 84. 85. 86. 88. 89. 90. 91. 92. 94. 96. 98. 99. 103. 104. 105. 107. 108. 109. I I I.

WEEVILY WHEAT JENNIE JENKINS OH, PRETTY POLLY THE NEEDLE'S EYE THE MILLER BOY IN AND OUT THE WINDOW COFFEE GROWS ON WHITE OAK TREES PIG IN THE PARLOR BUFFALO GALS OLD DAN TUCKER CAPTAIN JINKS Hop LIGHT, LADIES OLD JOE CLARK THE FARMER'S BOY SALLY GOODIN DOCTOR JONES SHE LOVES COFFEE AND I LOVE TEA I Do LOVE SUGAR IN My COFFEE 0 TURKEY IN THE STRAW THE DOLLy-PLAY SONG OH, LOVELY, COME THIS WAY THE DUKE OF YORK DARLING, You CAN'T LOVE BUT ONE PAGE'S TRAIN RUNS So FAST TURKEY BUZZARD Too YOUNG TO MARRY POOR LITTLE KITTY PUSS FARE You WELL, My OWN TRUE LOVE WISH I HAD A NEEDLE AND THREAD

76 78 78 79

V. LULLABIES AND NURSERY RHYMES 112. BYE BABY BUNTING 114. KITTY ALONE 115. HUSH-A BYE, DON'T You CRY 116. Go TO SLEEP, My LITTLE PICKANINNY 117. POOR LITTLE LAMB CRIES 'MAMMY!' 120. THE FROG'S COURTSHIP ApPENDIX I. KITCHIE KI-ME-O ApPENDIX 2. KITCHIE KI-ME-O

CONTENTS

ApPENDIX 3. KITCHIE KI-ME-O 121. BILLY BOY 122. OH, DEAR, WHAT CAN THE MATTER BE? 123. TAFFY WAS A WELSHMAN 124. BARNYARD SONG 125. McDONALD'S FARM 128. Go TELL AUNT PATSY 129. THE Fox AND THE GOOSE 130. THE OLD WOMAN AND HER PIG

ix TUNE

PAGE

F- I 31 F- I 3 2 - I 3S F- 1 3 6,137 F- 1 38 F- 1 39- 1 4 1 F- I 42 - I 44 F- I 45 F- I 46 F- 1 47

96

132. BOBBY SHAFTOE

F- 1 48 F- 1 49 F- I 50

133. THE PRETTY PEAR TREE 135. THERE'S A HOLE IN THE BOTTOM OF THE SEA 136. JOHN BROWN HAD A LITTLE INJUN

145. WHISTLING GIRLS AND CROWING HENS

101 102 104 106 107 107 108 108 109 110 110

137. BINGO 139. THE VOWELS 142. OLD WOMAN ALL SKIN AND BONES

97

99

F- 1 51

110

F-15 2 -I54 F- 1 55

III

F- I 56 F- I 57 F- I 58 F- 1 59

147. How I LOVE THE OLD BLACK CAT 149. THE COBBLER 150. SCOTLAND'S BURNING 151. STEAM SHIP

112 113 114 115 115

VI. JINGLES ABOUT ANIMALS F-I60

117

F -161,162

117

152. BIRDS COURTING 156. SAID THE BLACKBIRD TO THE CROW

F- 163

119

162. DE RACCOON AM A CUNNING THING

F-164- 166 F- I6 7

119 121

163. THE RACCOON HAS A BUSHY TAIL

F-I68, I69

122

167. OLD MOLLY HARE (MR. RABBIT)

F- 1 7° F- I 71 F- I 72 ,I73 F- 1 74 F- 1 75 F- I 76 F- 1 77 F- 1 78 F- 1 79

158. CHICKEN IN THE BREAD TRAY 16I. POSSUM Up A 'SIMMON TREE

172. THE WEASEL AND THE RAT 173. MOLE IN THE GROUND 175. THE OLD GREY MARE 178. THE OLD SOW 180. THE ANIMAL FAIR 183. LULU 189. WAY DOWN YONDER IN PASQUOTANK 192. Two LITTLE FLEAS

123 124

124126 127 128

129 13° 130

VII. WORK SONGS 194. OLD BOB RIDLEY

F-I80- I83

131

196. SHEEP SHELL CORN BY THE RATTLE OF HIS HORN

F-184

135

203. THE OLD TURKEY HEN 204. RUN, SALLIE, My GAL

F-185 F-I86 F- 187

135 136

209. SALLY, MOLLY, POLLY

136

x

CONTENTS TUNE

PAGE

212. PICKIN' OUT COTTON

F-188

137

213. THE HUMBLE FARMER

F- I89

137

216. THE MAN WHO WOULDN'T HOE HIS CORN

F-IgO

138

F- 1 9 I F- I 92- I 96 F- 1 97

139 140

219. THE WILD ASHE DEER 221. THE GROUND HOG 222. I'LL FIRE DIS TRIP

143

229. ALPHABET OF THE SHIP

F-Ig8

143

230. WHIP JAMBOREE

F- I 99

144

231. I HAVE A FATHER IN My NATIVE LAND

F-200

145

233. THE HEATHEN CHINESE

F-20I

145

234. WORKING ON THE RAILROAD

F-202,203

236. REUBEN'S TRAIN

F- 2 04- 2 06 F- 20 7

146 148

239· A SOUTHERN JACK 240. I BEEN A MINER

151

Mo'

F- 2 09 F-2IO

15 2

241. SOME OF THESE DAYS, AND IT WON'T BE LONG 242. I AIN'T A-GONNA WORK A No

IS°

F-208

151

243. ROLL DOWN DEM BALES 0' COTTON

F-211

15 2

244. I WISH My CAPTAIN WOULD Go BLIND

F-2I2

153

246. RUN HERE, DOCTOR, RUN HERE QUICK

F- 2I 3

153

F-21 4-2I 8

154

VIII. FOLK LYRIC 248. THE INCONSTANT LOVER 249. THE TURTLE-DoVE 250. THE WAGONER'S LAD 251. SOURWOOD

MOUNTAIN

252. PRETTY SARO 253. OLD SMOKY 254. LITTLE SPARROW

F-21 9

157

F -220-22 5

157

F-226-232

162

F-233-238 F-2 39- 2 45

166

F-2 46- 2 48

170 173

255. KITTY KLINE F-2 49-2 54 256. ALL ROUND THE MOUNTAIN, CHARMING BETSY F-255-257

175 180

258. THE FALSE TRUE LOVER

F -258-260

181

259. I'LL HANG My HARP ON A WILLOW TREE

F-26I,262

183

260. RED RIVER VALLEY

F -263-265

185

263. THE PALE WILDWOOD FLOWER

F-266-268

187

267. THE WEEPING WILLOW 272 . I'M TIRED OF LIVING ALONE

F-269,270

189 190

273. WILL

You

LOVE ME WHEN I'M OLD?

275· SOMEBODY 276 .

You, You, You

F -271-274

190

F- 2 75,276

194

F-2 77

195

277· COLD MOUNTAINS

F-278,279

196

278. My HOME'S ACROSS THE SMOKY MOUNTAINS

F-280,28I

197

280. RED, WHITE, AND BLUE

F-282,283

198

F-284

200

283. IN THE PINES, WHERE THE SUN NEVER SHINES F-285-287

201

284. BONNIE BLUE EYES

203

281. DOWN IN THE VALLEY (BIRMINGHAM JAIL)

F-288-290

xi

CONTENTS TUNE

PAGE

285. THE MIDNIGHT DEW 286. FLV AROUND, Mv BLUE-EvED GIRL 288. BILLV Mv DARLING

F-2 9 1 F- 2 9 2 - 2 95 F-296

205 208

290. TROUBLED IN MIND 292. LONESOME ROAD

F- 2 97- 2 99 F-300

209 210

295. 298. 299. 301. 302. 304. 305. 307. 309. 310.

F-30I,302

211 21 3

S"VEET BIRDS I WISH THAT GIRL WAS MINE CRIPPLE CREEK HIGH TOPPED SHOES WHO'S GONNA LOVE You, HONEV? LIKE AN OWL IN THE DESERT THE LONESOME DOVE I LOVE LITTLE WILLIE, I Do, MAMMA POOR MARRIED MAN THE BLACK-EvED DAISY

F-3 0 3 F -304,305 F-306,307 F-308 F-309 F-3 IO F-3 I1 -3 1 3 F-3 14-3 16 F-3I7

311. BLACK-EvED SUSIE 312. A HOUSEKEEPER'S TRAGEDY 313. 314. 316. 319. 320. 321. 322. 324. 326.

IX.

F-3 I 8 F-3 I 9

KISSING SONG My MAMMY DON'T LOVE ME Mv MAMMY TOLD ME THE GARDEN GATE SUSV GAL JOSEPHUS AND BOHUNKUS LEATHER BREECHES KINDLING WOOD RIVER'S Up AND STILL A-RISING

213 2 15 216 216 21 7 21 7 21 9 222 223 223

F-320 F-32I F-322

224 224 225 226

F-323

226

F-3 2 4 F-3 2 5 F-326

227 227 228

F-327

228

F-328

229

F -329 F-330 -333 F-334,335 F-336 ,337 F-33 8 ,339

229 230 233 235

SATIRICAL SONGS

328. THE CAROLINA CREW 3 2 9. 331. 335. 337.

CUMBERLAND GAP ARKANSAS TRAVELER (II) TWENTV (FORTY, SIXTY) YEARS AGO WHEN YOUNG 1rfEN Go COURTING

338. 340. 341. 342 •

JOHNSON Bovs THE WOOD HAULER WALK IN THE PARLOR PREACHER IN THE PULPIT

F-340-342 F-343

346. JONAH AND THE WHALE 347. JESUS LOVER OF My SOUL 349. LORD, I NEVER WILL COME BACK HERE

X.

205

No Mo'

F-344-346

242

F-347 F-348

244 245

SONGS OF PRISONERS AND TRAMPS

350. 351. 358. 360.

THE PRISONER'S SONG SEVEN LONG YEARS TALE OF A TRAMP THE DYING HOBO

237 238 238 241

F-349

xii

CONTENTS

XI. MARTIAL, POLITICAL, AND PATRIOTIC SONGS

367. 370. 372. 374. 375. 376. 377. 381. 382. 383. 386. 390. 391. 393. 394. 395. 400. 401.

TUNE THE JOLLY SOLDIER F-35 I THEN WE'LL HAVE A NEW CONVENTION F-352 ROOT HOG OR DIE F -353 THE SOUTHERN WAGON F-354 RED, WHITE, AND RED F-355 THE SOLDIER'S FAREWELL F-356 EARLY ONE MORNING IN THE MONTH OF JULY F-357 PRETTY PEGGY F-358,359 NEVER MIND YOUR KNAPSACK F-360 BUSHWHACKER'S SONG F-36I SORGHUM MOLASSES F-362,363 WHEN THIS CRUEL WAR Is OVER F -364 THE GOOD OLD REBEL F-36 5,366 BROTHER GREEN F -367,368 HE NEVER CAME BACK F-369,370 GOODBYE, My BLUE BELL F-37 I THE SWEET SUNNY SOUTH F-372 BLUE RIDGE MOUNTAIN BLUES F-373

PAGE 248 249 250 25 1 252 252 253 254 255 256 257 258 259 261 262 264 264 265

XII. BLACKFACE MINSTREL AND NEGRO SECULAR SONGS 4 0 4. 405. 406. 408. 409. 410. 4 1 1. 412. 413. 4 15. 420. 421. 423. 425. 426. 427. 428. 429. 430. 432. 433. 435. 437.

CINDY F-374-376 DEAREST MAE F -377 MASSA HAD A YALLER GAL F-378 OH, SUSANNA! F-379 NANCY TILL F-380 MISS JULIE ANN GLOVER F-381 KITTY WELLS F -382,383 ELLA RHEE CLARE DE KITCHEN F-384,385 LYNCHBURG TOWN F-386-389 UNCLE NED F-390,39I WAY DO\VN ON THE OLD PEDEE F -392 SOME FOLKS SAY THAT A NIGGER WON'T STEAL F-393 THE PREACHER AND THE BEAR F-394 F-395 I WAS BORN ABOUT TEN THOUSAND YEARS AGO HAVE A LITTLE BANJO BEATING F-396 THE TRAVELING COON F-397 THE VOODOO MAN F-398 AIN'T GONNA RAIN No MORE F-399-401 BOIL THEM CABBAGE DOWN F -402 BRODER ETON GOT DE COON F-403 THE DUMMY LINE F-404 F-405,406 ELIZA JANE (II)

2 67 269 270 271 272 273 273 276 276 277 280 282 282 283 284 285 286 287 288 290 291 291 292

xiii

CON TEN T S TUNE

PAGE

F-40 7 F-408 F-40 9 F-4IO F-411 ,412 F-4 13

294 297 297 298 298

438. 441. 443. 446. 447.

EVERYBODYS GAL Is My GAL IJM GOING DOWN THE ROAD FEELING BAD I'D RATHER BE DEAD IF You MEET A WOMAN IN THE MORNING IF You DONJT BELIEVE rM SINKING

448. 449. 450. 451.

I GOT A GIRL I'M GWINE AWAY TO GEORGIA F-414,41 5 THE Y ALLER GAL F-416,417 I WENT DOWN TO My GUL'S HOUSE LAS' NIGHT F-4 I 8

299 299 301 301

454. 457. 458. 459. 460. 461. 462. 463. 464. 465. 466. 467. 469. 470. 47 2 .

OH, DAT WATERMILION F-419 RUN, NIGGER J RUN F-42 0 SALLY WENT TO PREACHIN' F-421 SATURDAY NIGHT AND SUNDAY Too F-422 SHE'LL BE COMING 'ROUND THE MOUNTAIN F -42 3 SHORT'NIN' BREAD F-42 4-42 6 SING POLLY WOLLY DOODLE F-42 7 STICK My HEAD IN A PAPER SACK F-428 THATJS WHERE My MONEY GOES F-42 9 THERE WAS A WATERMELON F-430 TRAIN . • . RUN SO FAST F-43 I Two LITTLE NIGGERS BLACK AS TAR F-432 WAY DOWN YONDER ON CEDAR STREET F-433 WHAT You GWINA Do WHEN DE WORLD'S ON FIRE? F-434

302 303 303 304 304 305 307 308 309 309 310 310 311 311 3 12 3 13 3 14 3 15 3 16 3 17 3 18 3 19 3 20 3 21 3 21 3 22 3 22 323 323 325 32 5 325

GUINEA NEGRO SONG F-435,436 474. COLD FROSTY MORNING F-437 475. HUNG My BUCKET ON DE WHITE FOLK'S FENCE F-438

477. WHITE GAL, YALLER GAL, BLACK GAL F-439-44I 478. You SHALL BE FREE F-442 4 82. SUGAR BABE F-443 485. SHADY GROVE F-444 487. OLD AUNT DINAH F-445,446 490. RAIN COME WET ME F -447 493. RAILROAD DINAH GAL F-448 496. JINGER BLUE F-449 497. MAMMY IN THE KITCHEN F -450 498. IJVE BEEN TO THE 'BAMA AND I JUST GOT BACK F-45I 499. RAISE A RUCKUS TONIGHT F-452 500. 502. 503. 504. 507.

GEORGIA BUCK F-453-455 WENT DOWN TOWN F-45 6 STANDIN' ON DE STREET DOIN' No HARM F-457 A THIRTY-TWO SPECIAL ON A FORTY-FOUR FRAME I GOT DE HEZOTATION STOCKINGS AND DE HEZOTATION SHOES F-458 510. SHARE 'EM F-459 512. JOHNSON'S MULE F-460 513. THE KICKING MULE F-46 I

3 26 3 26 327 328

CONTENTS

xiv XIII. RELIGIOUS SONGS 517. 518. 523. 524. 526. 527. 529. 530. 534. 536. 537. 538. 539. 540. 542. 543. 545. 547. 549. 550. 55I. 552. 553. 554. 555. 557. 558. 559. 562. 564. 566. 569. 570. 571. 572. 576. 577. 579. 581. 584. 586. 588. 589. 591. 593.

TUNE SOME OF THESE DAYS F-462 LONG WHITE ROBE F-46 3,464 CREATION F-46 5 DANIEL IN THE LION'S DEN F-4'66 DARK WAS THE NIGHT DON'T You GRIEVE AFTER ME F-467 THE GOSPEL TRAIN F-468 HICKS' FAREWELL F-469 IN THE V ALLEY F-47° JACOB'S LADDER F-47 1-473 JESUS BORN IN BETHLEHEM F-474 JOHN SAW THE HOLY NUMBER JOHN SAW DE HUNDRED AND FORTY-FOUR THOUSAND F-475 JOHNNY WAS A BAPTIST F-47 6 THE LONE PILGRIM F-477-479 MARY WORE THREE LINKS OF CHAIN F-480 PHARAOH'S ARMY F-481 ROCK OF AGES F-482 -484 AIN'T GONNA WORRY My LORD No MORE F-48 5 ALL GOD'S CHILLUN GOT SHOES F-486 ALL My SINS BEEN TAKEN AWAY F-487 ANGELS ROLL DEM STONES AWAY F-488 As I WENT DOWN IN THE VALLEY TO PRAY F-489,490 BABE OF BETHLEHEM F-49 I BAPTIST, BAPTIST Is My NAME F-492 CAIN AND ABEL F-493 CAN'T CROSS JORDAN F-494 CHRIST WAS A WEARY TRAVELER F-495 COME, THOU FOUNT OF EVERY BLESSING F-496 DIDN'T IT RAIN? F-497,498 DOWN BY DE RIBBERSIDE F-499,500 GOING TO HEAVEN BY THE LIGHT OF THE MOON F-501 Go DOWN, MOSES F-502 GOLDEN SLIPPERS F-S03 GOOD NEWS-CHARIOT'S COMIN' F-so4 GWINE DOWN JORDAN F-5 0 5 HEAR THAT RUMBLING F-so6-so8 HEAVEN Is A BEAUTIFUL PLACE F-509 I AM BOUND FOR THE PROMISED LAND F-Slo I DON'T LOVE OLD SATAN F-SII I Do WONDER Is My MOTHER ON THAT TRAIN F-5 1 2 I HAVE LONG SINCE BEEN LEARNED F-5 13 I AM STANDING IN THE SHOES OF JOHN F-5 1 4 I'M GOIN' TO RIDE IN PHARAOH'S CHARIOT F-5 15 INDIAN SONG: AH, PORE SINNER F-5 16

PAGE 329 33° 33 1 33 2 333 333 333 334 335 335 337 337 337 338 338 34° 34 1 342 344 345 346 347 348 349 35° 35 1 35 2 354 355 356 358 359 360 361 362 36 3 364 366 36 7 368 368 37° 37 1 37 1 372

CONTENTS

XV

TUNE

598. 599. 600. 604. 60S. 607. 609. 610. 612. 613. 614. 616. 623. 624. 627. 628. 631. 632. 633. 635. 636. 637. 640. 641. 644. 647. 6SI. 6S4. 658.

I WANTER JINE DE BAN' F-S I 7 I W AS ONCE IN A DARK AND LONESOME VALLEY I WONDER As I WANDER F-SI8 JOHN, HE BAPTIZED JESUS F-S I9 JOHN JASPER F-S20 LILY WHITE ROBE F-S21 LITTLE DAVID, PLAY ON YOUR HARP F-S22 F-S23,S24 THE LITTLE FAMILY MOSES SMOTE THE WATERS F-S2S AND MUST I BE TO JUDGMENT BROUGHT? F-S26 F-S27,S28 THE NEW BURYING GROUND F-S29,S30 No HIDIN' PLACE THE OLD SHIP OF ZION F-S31-S3S OLD SATAN'S MAD F-S36-S38 OUR FATHERS, THEy'LL BE THERE F-S39 POOR OLD LAZARUS F-S40 ROLL, JORDAN, ROLL F-S4I ROUGH, ROCKY ROAD F-S42 SHOUT ALONG AND PRAY ALONG F-543 SOMEBODyJS KNOCKING AT YOUR DOOR F-S44 SOON AS My FOOT STRUCK ZION F-S45,S46 STANDING IN THE NEED OF PRAYER F-S47,S48 THAT OLD-TIME RELIGION F-S49,SSO THERE'S A LITTLE WHEEL A-TURNING F-S51 TREE IN PARADISE F-5S2-554 F-555 WE ARE MARCHING ON WE'LL SAIL AWAY TO HEAVEN F-S56 WHERE My LORD WENT TO PRAY F-S57 CHEROKEE HYMN

PAGE 372 37~

373 374 37S 376 377 378 379 380 380 381 383 387 389 389 390 391 392 392 393 395 397 398 399 402 402 403 404

XIV. ADDITIONAL SONGS 6S9. 660. 661. 662. 663. 664. 665. 666. 667. 668. 669. 670. 671. 672. 673.

I WONDER WHERE'S THE GAMBLING MAN OLD SCOTCH DRINKING SONG SCOTTISH DRINKING SONG COME ALL YE YOUNG LADIES THE DRUNKARD'S HOME I HAVE No MOTHER Now I HAVE No MOTHER Now I HAVE No MOTHER Now MORALITY THE OLD ARMCHAIR WOODMAN, SPARE THAT TREE CHEWING GUM SONG MISSISSIPPI LAWYER NEGRO SONG SALLY ANN

F-SS8 F-S59 F-S60 F-S61 F-S62 F-S63 F-S64 F-S6S F-S66 F-S67 F-S68 F-s69 F-S70 F-S7 1 F-S72

405

406 406 407 407 408 409 410 410 4 11 4 12 412 413

4 14 4 14

xvi

CONTENTS

674. TWINKLE, TWINKLE, LITTLE STAR 67S. 676. 677. 678. 679. 680. 681. 682. 683. 684. 68S. 686. 687. 688. 689. 690. 691. 692. 693. 694. 695. 696. 697. 698. 699. 700. 701. 702. 703. 704. 705. 706. 707. 708. 709. 710. 711. 712. 713. 714. 715. 716. 717. 718. 719. 720.

LULLABY MR. BULL FROG J RIDIN OF A GOAT, LEADIN' OF A SHEEP TRIP, PLAy-Mo-BLAY WHAT MAKES THE WILD CAT WILD? THE KEEPER VENISON AWAY ON A HILL CHILDHOOD DAYS ENOCH ARDEN ESSIE DEAR SWEET EVELINA FAITHFUL FRIEND FLITTING A WAY GOODBYE GOODBYE, JOHN I'LL BE ALL SMILES TONIGHT I'LL GIVE You My LOVE I LOVED You BETTER THAN You KNOW IN THE SHADOW OF THE PINES IN THE SHADOW OF THE PINES I WANT TO BE SOMEBODY'S DARLING JUST GIVE HIM ONE MORE AS HE GOES LEAP FROG JOHN THE LETTER THAT NEVER CAME LITTLE BUNCH OF ROSES THE LITTLE LOGWOOD CABIN THE LITTLE LOG CABIN IN THE LANE LULA FALLS L ULA WALL MANY MILES APART MAPLE ON THE HILL MARY, WEEP No MORE FOR ME MOLLY DARLING MOLLY DARLING My HAIR WAS BLACK AS RIBBON My PRETTY QUADROON OLD AND GRAY THE OLD STEPSTONE OVER THE GARDEN WALL PRETTY BESSIE RIDING IN A SLEIGH ROSALIE, THE PRAIRIE FLOWER SADIE RAY SADIE RAY SEVEN LONG YEARS

TUNE

PAGE

F-S73 F-S74 F-S7S F-S76 F-S77 F-S7 8

415

F-S79 F-S80 F-s81 F-S82

41 9

F-S83 F-S84 F-S8S F-S86 F-S87 F-S88 F-S89 F-S90 F-S9 1 F-S9 2 F-S93 F-594 F-S9S F-S96 F-S97 F-S98

F-S99 F-6oo F-60I F-602

F-603 F-604 F-60S F-606 F-607 F-608 F-609 F-61o F-6II F-6I2 F-6I 3 F-61 4 F-6 1 5 F-616 F-6 I 7 F-6I8 F-61 9

416 417

41 7 4 18 41 9 420 421 422 422 423

42 4 42 4 42 5 42 7 428 42 9 43 0 43° 43 1 433

434 434

435 43 6 437 437 439

44° 44 1 442 443 443

444 445 446 446

447 448 449

45° 4S 1

45 1 4S 2

453 453

xvii

CON TEN T S

721. 722. 723. 724. 725.

726.

SPARKING ON A SUNDAY NIGHT STANDING BY THE OLD CABIN DOOR STANDING BY THE OLD GARDEN GATE THE STARS SHINE BRIGHT SUNNY TENNESSEE SWEET BUNCH OF DAISIES

727. SWEET FORGET-ME-NoT 728. SWEET LONG AGO 729. SINGING IN THE LANE 730. SURELY I CAN Do 731. HOLE IN THE BUCKET 732. Hop ALONG 733. I DON'T LET THE GIRLS WORRY My 734. SNUFF Box 735. BEHIND THOSE WALLS OF GRAY 736. RAINBOW DIVISION 737. WHEN I AM FAR AWAY 738. COONSHINE 739. DIS MORNING 740. DOWN AT WIDOW JOHNSON'S 741. GWINE 'ROUND DIS MOUNTAIN 742. HIKIN' DOWN DE MAIN LINE 743. HONEY BABE

744.

How

I

MIND

LOVE THEM PRETTY YELLOW GALS

745. HUMP-BACK MULE 746. I'M GOING DOWN THE MOBILE LINE 747. I'M GOING HOME 748. I'SE A-RUNNING 749. MIKE AND JERRY 750. THE NIGGER AND THE BEE 751. OH! I HAD A GOOD WOMAN 752. OLD FOLKS BETTER Up AND GIT TO BED 753. SUCH A GITTIN' UP-STAIRS

754.

YONDER COME A Y ALLER GAL

755.

BLOW GABRIEL

756.

DRUNKARD'S DREAM

757. 758.

GIMME OIL IN

759.

DRY BONES

My

LAMP

GOT TO CROSS JORDAN BEAR ME AWAY ON YOUR SNOWY WHITE WING

760. 761.

a

762.

THE ROAD

763. 764. 765. 766.

STAR IN THE EAST

THERE'S A PLACE PREPARED

767.

THORNY DESERT

OH, WHERE SHALL

Is

I

BE?

ROCKY

STORM BIRD TELL My MOTHER

TUNE

PAGE

F-620 F-621 F-622 F-62 3 F-624 F-6 2 5 F-626 F-62 7 F-628 F-629 F-630 F-63 I

4S4 455 455 45 6 457 458 459 460 461 462 462 464

F-632 F-633 F-6 34

465

F-635 F-63 6 F-637 F-638 F-6 39 F-640 F-64 I

F-642 F-643 F-644 F-64S F-646 F-647 F-648 F-649 F-650 F-65 I F-6S2 F-6S3 F-654 F-6 55 F-6S6 F-657 F- 6 58 F-6 59 F-660 F-661 F-662 F- 663 F-664 F-665 F-666

464 466

467 469

469 47° 47 1

472 47 2 473 473 474 475 475

477 477 478

479 479 480 481 481 482 483

484

485 485

486 487 487 488 488 489 49°

CONTENTS

xviii 768. 769. 770. 771. 772. 773. 774. 775. 776. 777. 778. 779. 780. 781. 782. 783. 784. 785. 786.

WAS You THERE WHEN THEY CRUCIFIED JESUS? THE WATCHMAN'S CALL WAY BACK IN HEAVEN WAYFARING STRANGER WHEN IN DEATH I CALMLY RECLINE WONDROUS LOVE A PLEA FOR MERCY HELL BROKE LOOSE IN GEORGIA GOODBYE TO THE CRACKING OF THE PISTOLS JIMMIE SUTTONTON BLOW THE MAN DOWN HANGING JOHNNIE HAUL AWAY, JOE HULLABALOO BALAY LANKY, LUCY, LISTER WHAT SHALL WE Do WITH A DRUNKEN SAILOR? WHEN JOHNNIE COMES DOWN TO HILO WHISKEY JOHNNY No TITLE

TUNE F-667 F-668 F-669 F-670 F-67 1 F-67 2 F-673 F- 674 F-675 F-676 F-677 F-678 F- 679 F-680 F-68I F-682 F-683 F-684 F-685

PAGE 49 1 49 1 492 493 494 495 496 496 497 4gB 499 499 5°0 5°1 501 502 502 503 5°4

G-I

507

G-2 G-3 G-4 G-5 G-6

508 508 509 509 510

CHILDREN'S GAMES AND RHYMES BATTLE GAMES YANKEE SOLDIERS DRAMATIC GAMES JENNIE JONES OLD WITCH LAZY MARY LADY IN THE DINING ROOM GREEN GRAVEL FORFEIT OR PENALTY GAMES TWELVE DAYS OF CHRISTMAS MISS SUSANNA JANE

511 G-7

511

G-8

512

G-9

51 3

GAMES OF CHASE CHASE THE SQUIRREL IMITATIVE GAMES WHEN I WAS A YOUNG GIRL

CONTENTS GREEN TREES BENDING OATS AND BEANS AND BARLEY

xix TUNE G-IO G-II-13

PAGE 513 514

G-14 G-15-18 G- 19 G-20 G-21 G-22 G-23 G-24 G- 25 G-26 G-27 G-28-30 G-3 I , 32 G-33 G-34,35 G-36 G-37

5 16 517 520 521 521 522 522 523 524 524 52 5 52 5 527 52 8 529 53° 53 1

G-3 8 ,39 G-40, 4 1

53 2 533

G-42 G-43,44 G-45

535 535 536

G-46 G-47 G-48

537 537 538

G-49

539

G-5 0

540

COURTSHIP AND MARRIAGE GAMES RANCHY, T ANCHY, TEEN HOG DROVERS SKIP TO My Lou WEEVILY WHEAT NUTS IN MAY THE JOLLY MILLER KING WILLIAM WAS KING JAMES'S SON KING WILLIAM WAS KING GEORGE'S SON MARCHING TO QUEBEC MARCHING ROUND THE LEVEE QUAKER COURTSHIP GREEN LEAVES IT RAINS AND IT HAILS RIG-A-JIG LITTLE SALLY WATERS Go ROUND THE MOUNTAIN LITTLE SISSY TUG OF WAR GAMES LONDON BRIDGE DRAW A BUCKET

OF

WATER

GAMES OF SMALLER CHII..DREN FROG IN THE MIDDLE FARMER IN THE DELL RING AROUND THE ROSY DANCING GAMES BINGO GOING DOWN THE RAILROAD LOOBY Loo MISCELLANEOUS GAMES HAPPY LAND TEASING RHYMES OH, DEAR DOCTOR

CONTENTS

xx

DERISIVE RHYMES NIGGER, NIGGER NEVER DIE

TUNE G-5 1

PAGE 54 1

LULLABIES BAA, BAA, BLACK SHEEP

542

RECITATIONS OLD RACCOON

G-5 2

543

MISCELLANEOUS RHYMES GRANNY, WILL YOUR DOG BITE? A PARODY RAIN COME WET ME RUN, NIGGER, RUN Go TELL AUNT RHODA

G-53

544 544 544 544 544

ADDITIONAL GAME SONGS ALL AROUND THE RING FLUTE SONG HERE WE Go IN A RING MARY'S MAD MISS Lucy PEAS IN THE POT, HOE CAKE A-BAKIN' ROLL STEAL AWAY SHOE My LOVE TOONEY 0 TRUE LOVE WIND THAT BALL YES, MA'AM

G-54 G-55 G-56 G-57 G-5 8 G-59 G-60 G-6I G-62 G-63 G-54 G-65 G-66

545 545 546 546 547 547 548 548 549 549 55° 55° 55 1

ApPENDIX A: MUSICAL ANALYSES OF THE FOLK SONGS AND GAMES ApPENDIX B: SCALES OF THE FOLK SONGS AND GAMES

555 568

INDEX OF SINGERS INDEX OF TITLES AND VARIANT TITLES

615 618

INDEX

627

OF

FIRST LINES

ILLUSTRATIONS COTTON CHOPPERS

frontispiece

WEEDING THE TOBACCO SEEDBED

facing page

MOUNTAIN HAYSTACKS

facing page 366

152

PREFACE WITH all the influence of phonograph, radio and television even on the most remote rural communities, the soil and the conditions from which folk music sprang have rapidly been changing. What we should like to think of as folk song, a humble, homely expression of shared experience and emotion, has certainly undergone considerable changes. But we also have. changed and it is more and more evident that in classical music as in the other creative arts we cannot hope to recover the attitude of the generation from which it sprang. The same, of course, is true of folk music, but we can love it nonetheless. Today, more than ever before, we are aware of the need of understanding other peoples and cultures as well as our own. We come closer to our progenitors when we become familiar with stories they made up, the songs they created and sang. Stephen Vincent Benet, who has given us many a story based on folklore, wrote once: "It's always seemed to me that legends and yarns and folktales are as much a part of the real history of a country as proclamations, and provisos and constitutional amendments.... they tell a good deal about what people admire and want, about what sort of people they are." Folk song keeps on flowing from the n1inds of the people. As the primitive wall paintings in the caves near Altamira in Spain and others in southern France, folk song was the fulfilment of a human ne.ed for expression, so we find that the unlettered and the untraveled have not only the desire but also the ability and imagination to express themselves through whatever means seem appropriate to the idea or emotion. As Wiora has abundantly shown in his Europiiische Volksmusik~ folk song, like other creative efforts of the folk, is not the work of wholly untrained minds, nor is it, as some have thought, merely "gesunkenes Kulturgut."l The quatrain so common in English ballads, finds its counterpart in musical forms, particularly our Reprisenbar; and if we remember the dominating influence of the Roman Church from its be.ginning upon the life of the people, we shall not wonder that the musical idiom of the Chant heard day after day also became a part of the musical vocabulary of the people.. The appreciation of the importance and value of popular lore has a long history. Charlemagne, at the beginning of the ninth century, ordered a collection of folkloristic material, but Pope. Leo III, who crowned his benefactor as enlperor in 800, after Charlemagne had subdued the Roman insurrection, insisted upon the destruction of all such material, and the empe.ror so ordered. Although such setbacks have frequently occurred, there was decided progress when, in 1630, Gustavus of Denmark ordered a collection of all sorts of such material to assist him in the govern1 For a similar proof in English literature cf. Albert B. Friedman, Ballad Revival (Chicago, 19(1), chap. III.

xxiv

PREFACE

ment of his country. He was the first to require that the music as well as the words of the folk songs be preserved. More than a century later, Goethe's friend Herder in Germany and Percy in England devoted themselves to this work. The efforts of recent decades to save whatever could be recovered are like a last-minute attempt, but they are better than none. In this spirit the task of editing volumes IV and V of the Brown Collection was undertaken. There was never any idea of establishing, ex cathedra, a methodology which would be a law and sacrosanct. It was felt, however, that there was a need for at least trying to bring some order into a rather confused state of affairs. It was the hope of this writer that whatever he might contribute to the cause would serve as a stimulus to other workers in the field. Should someone find a more satisfactory terminology or way of treating the material, so much the better. It is again a pleasure to acknowledge the understanding and co-operation shown me at all times by Dr. Paull F. Baum of Duke Unive.rsity as editor, as well as by Mr. Ashbel Brice, the guiding spirit of the Duke University Press. I shall never be able to show all the gratitude I feel towards my wife, Elizabeth Logan Schinhan, for all she has been to me through all these years.

}. P. S. Kannapolis, May 1961

INTRODUCTION VOLUME V contains the melodies which belong to the texts in the companion volume III. While it is often difficult to make a sharply defined distinction between ballads and folk songs proper, one thing is certain: ballads tell of happenings in the life of people usually well known to their contemporaries. These stories are always told objectively, whether they deal with domestic tragedies, murde.red lovers, outlaws, incidents of war, or occupational pursuits. Not so, however, with folk songs. Here the subjective definitely enters and in many cases goes to the extreme of gross sentimentality. It must be admitted that some of these songs, like many of our popular songs of today, are not exactly admirable manifestations of a part of our national character. As Hubert G. Shearin has said: "They are hardly worth preserving, even by title, save for the fact that in spite of the pseudo-literary tang, they are fellow travelers by oral traditions with the true folksongs and song-ballads."l One British author, Miss Anne G. Gilchrist, regards them as expressing "the peculiar type of sentimentality which seems distinctly American." Besides 557 songs and their variants, covering all the classifications given in volume III, there are. 128 songs not contained in that volume. These songs deal with a variety of types: Drinking, Negro, Love, Hunting, Religious Songs, Chanties, and such, dating from the First World War. Of the 66 children's game songs, a small nun1ber also appear in the first group, as they do in volume III. When they occur again among the game songs, they are referred to by the number of the music score. The texts to these songs are to be found in volume I. Anyone interested in more than getting a tune of a ballad or folk song is requested to study the introduction found in volume IV before perusing either volume IV or V. Some features of the folk songs, which considerably outnumber those of the ballads, seem unexpecte.dly different. In the latter, the plagal scales outrank the non-plagal three to one, whereas in the former, the number of the plagal scales is less than two and a half times that of the nonplagal. As in the ballad tunes, so in the folk songs, the most frequent scales are the third pentatonic with 208, and the heptachordal scales with 170, not including, however, the Church modes. Next come the hexachordal with 90, and the hexatonic (4) with 89. A like relationship is found between the pentachordal wi th 3 I, and the tetratonic (4) with 30. Noteworthy also is the overwhelming use of the third pentatonic mode as conlpared with all of the other four: 208 as against 10. It may be surprising to find forty scales classified as irrational. While there is not much difference betwee.n the beginnings on I and V in either the ballads or the folk songs, the. start on the third degree, being more than twice as frequent in the folk songs, should be mentioned. 1 Hubert G. Shearin and Josiah H. Combs, A Syllabus of Kentucky FolkSongs (Lexington, Ky., 1911 ), p. 29.

xxvi

INTRODUCTION

Could this be due to the influence of the major tonality? The number of ballads and folk songs beginning on the weak beat (not counting those with repeated first tone) shows only a majority of one, in the ballads, whereas the beginnings on the strong beat gives the folk songs a majority of better than four to one. The descending progressions after a repeated first tone in the folk songs surpass those in the ballads by 13 I. The preponderance of the first degree as final tone is even more evident in the folk songs. In the ballads we find a meter of % only sixty-three times, in the folk songs, the number is two hundred, as is likewise that of the mete.r %. A striking dissimilarity is that between % and %. In the folk songs, the number of the former is almost three times as large, for the latter, better than two times. Strangely enough, the number of circular tunes is the same in both. For this term and its application see Phillips Barry, "Folk Music in America," JAFL XXII (19°9),77. Of the most frequent structures we find the following: BALLADS

FOLK SONGS

aa 1 109 115 Barform 29 95 abcd 60 76 ab 94 56 Reprisenbar 36 50 In the folk songs, the barforms and the Reprisenbars taken together show the barforms outranking any other form used. Progressions by skips as against steps show, as in the ballads, a preference for the former: 1,112 in 744 songs. The only exception occurs in the additional folk songs, where out of 128 songs 65 use more steps, as compared with 59 using more skips, and four having an equal number of each. The range of all the melodies varies from a major third to a major thirteenth. The most frequent are the octave (252), the major sixth (107), maj or ninth (99), minor seventh (54), maj or and minor tenth (43 each), and fifth and eleventh (40 each). If we wish to have the rather young science of ethnomusicology accepted into the fraternity of strict sciences, it will behoove us to use concise, accurate, and logical terms and, in our discussions, use care in making statements, being certain that they will stand the test of scientific analysis. In doing this, the present writer has always felt that there was no need to change any terms which have been in use for a long period of time and have measured up to the requirements stated above. I. With regard to a fermata ret or ~ , used to indicate an extended, or respectively shortened duration of a tone, the present editor, together with Cecil Sharp, Phillips Barry, and numerous other scholars in the field has used the sign 1.'1 generally to indicate an extens~on of one half of the value of the note above which the sign was placed. There are, however, quite a few cases in the ballads as well as the folk songs where this limit is exceeded. This is a purely individual matter, for there is no law governing the absolute limit one way or another. 2 2 For a contemporary example in operatic singing, cf. Irving Kolodin's criticism of Dino Formichini's singing of La Boheme~ end of act I, Saturday Review~

April 29, 1961, p..37.

INTRODUCTION

xxvii

2. Scales. In beginning the numerical series of the pentatonic modes thus: c d f g a, where the interval of a third occurs from two to three, the practice of Hugo Riemann and numerous leading musicologists like Robert Lach, Curt Sachs, Gustave Reese, and others has been followed. See especially Curt Sachs's The Rise of Music in the Ancient ~Vorld East and West, New York, 1943, p. 124. In acknowledging the necessity for clear and logical terms we should reject a statement saying that a series of six tones in a gapped scale lies within a sixth. And it might prove rather embarrassing to try to explain how a series of tones, say from the lower V to III above the tonic, can contain a run of six consecutive notes. The occurrence of a third, major or minor, in no way affects the series as being hexachordal or hexatonic. It does, however, affect the quality of the tonal row; and it is interesting to compare the tunes of the ballads with those of the folk songs. In the former we find that out of 517 scales 43 have minor thirds from the tonal center, two have both major and minor. In the scales of 744 folk songs, this relationship is twenty-one to seven. As mentioned in the Introduction in volume IV, the present writer only reluctantly used the term plagal for scales extending below their normal range and he would gladly replace it with 'mixed scales.' Unfortunately, the latter has already been accepted in musical terminology to designate a scale covering the complete range of an authentic and the corresponding plagal mode. Should there be, as the.re well might, one or two tones missing in this series, this would then se.em to leave the problem where it was. At any rate, the term 'plagal' was not always confined to a scale one fourth below the tonal center, and the distinction betwe.en authentic and plagal, considered as normal by the theorists of the tenth up to the twelfth centuries, breaks down in the development of the sequences. Something needs to be said to clarify the term 'irrationality' and its use. As in Greek and Latin prosody 'irrational' was used to indicate that the normal ratio between arsis and thesis was not preserved, so it may fittingly be used to indicate that the normal ratio of inte.rvals, as understood when speaking of a given Church mode or of a major or minor scale, is not observed. 'Irrational' is merely a general term to indicate the abnormality of a phenomenon. If for statistical reasons it is desired to break down the occurrences of whole and halfsteps, this distinction can ve.ry easily be indicated. But no matter what the relationship between the individual tones may be (the ones missing are always indicated), if this does not conform to our normal or rational concept of what a Dorian, Phrygian, minor or major or pentatonic scale is, the relationship is not normal, not rational, and therefore 'irrationa1.' 3. Range. The difference in range or ambitus betwe.en the melodies of the ballads and those of the folk songs is but slight. In both, the largest span is that of a thirteenth, or one octave and a sixth. The smallest range in the ballads is a fourth, in the folk songs a major third. Numerically, in the latter, the highest in frequency is the octave (252), next, the major sixth (107), major ninth (99), minor seventh (54), major and minor tenth (43 each) and fifth and eleventh (40 each).

xxviii

INTRODUCTION

4. Melodic Line, or Interval Succession in Pitch. For a detailed discussion of this tern1 see volume. IV, pp.xxviii-xxxi. In 744 folk songs and games, the preference. for progressions by skips is evidenced by a majority of I I 12. Noteworthy is the phenomenon of common intervallic progressions, which, however, are functionally totally different. Compare, for example, F-4I4 and 31 FSSM No. 40. In the. ballads, there are some modal melodies or melodies with a modal 'flavor' which chose not to adhere to one mode; in the folk songs the modes being very much in the minority, there is le.ss of this tendency. In view of the strong influence of the Church and its music, we should not wonder at this, especially, if we recall some melodies in the M usica Enchiriadis and other early treatises. These anticipate Ockeghem's fifteenth-century C'atholica. The melodic relationship of tunes in this Collection is given, except in a few cases where the relationship is obvious, in the notes following the music scores. The reason why this editor hesitated to quote melodies from various publications can best be shown by referring to JAFL XLIV (1931), 419, 'Lullaby.' This is one of the most atrocious assaults on musical intelligence ever encountered. For what not to do, see SharpK II, No. 118, all versions. Cf. here F -246 and remarks. 5. Meter, or Interval Succession in Time. Nothing needs to be added to what was given in volume IV, pp. xxxi-xxxiv. 6. Structure, or Gestalt: Over-all Rhythm. The methodology used for the analysis of the various musical forms is that of Alfred Lorenz,3 which is followed by all the leading European scholars. The exte.rnal appearance of the Mastersinger strophe and the form of the French troubadour lyric are very much alike, but the latter, as F. Gennrich has shown, (Grundriss, 188, 223, 240, 245) goes back to entirely different roots. Nevertheless, the music of the widely traveled troubadours as wen as that of the Roman Church, as mentioned before, certainly influenced the music of the people, just as the reverse, is true. At any rate, we find the first evidence of barform in vocal music in the hymns of the late Antique as well as the Syrian Madhrase, which are related to the former. In most cases, the songs have be.en broken down into their smaller units, although these were finally compounded into what was called IGestalt' or 'Over-all Rhythm.' The present writer accepts wholeheartedly the idea that, in any artistic creation, the whole is more than merely the sum of its parts. The unpsych0logical viewpoint that music is a compound of tones, is supported by the notation. . . . It abstracts from the living, instantaneous nuance which, if at' all, it can render only in remote terms, and through laborious circumscription. Thus it places the emphasis . . . on the physical fact; the tones and their acoustical and temporal relations which, in the manner of all theory, it simplifies and schematizes. 4

Referring to the IConclusion' in volume IV, p. xxxviii as his 'Credo,' the present writer cannot join any scholar who blindly follows Aristotle's 8

~

Cf. volume IV, p. xix, n.!.; also MGG, I 1259-67. E. von Hornbostel, "Melodie und Skala," JMP XIX (1912), 13.

INTRODUCTION

xxix

dictum,5 "If you want to understand the invisible, look carefully at the visible," and stops at the latter. One. can have a minute description of all physical characteristics and observable habits and still find himself baffled when confronted by the enigma of a human being. Without denying the value of Me.tfessel's Phonophotography, one cannot help asking: "Is music an auditory or a visual experience?" when he reads: "The sound waves in singing can be analyzed only by v£sual methods, because as soon as the ear picks them up, certain fundamental changes take place, which are due to the sluggishness and varying sensitivity of the ear itself."6 Should we now apply the same idea to the well-known peculiarities of the human eye and its pe.rception of things by using a color organ to represent in tones the colors contained in a painting? When we consider the psychological fact that no two persons see or hear the same thing alike, it would be. well to remember Dr. Johnson's saying: "It ought to be the first endeavor of a writer to distinguish nature from custom; or that which is established because it is right, from that which is right only because it is established." Almost thirty years ago the present writer expressed hitnself on this subject: Merely to classify these songs as strophic forms of varying content is always the most palpable solution, but does not do justice to the native genius and the intuitive and unerring artistic instinct of these peoples. Music being the expressed emotion, is a psychological phenomenon, and its appeal, as well as its effect, is determined by factors which are distinctly a part of the psychological make-up of man. 7

As attitudes as well as moods vary, and as man is constantly affected by new experiences, the stimulus of music will find a different response at different times. This is equally true of an analysis that goes beyond the most obvious facts. Varying aspects of the same phrase will be found at different times. What at one time appears to be perfe.ctly satisfactory or the only choice available, will, at another time, take second or third place in comparison. 8 For this reason, in most analyses, the various possibilities of divisions and subdivisions of phrases are given, which the study of these melodies unfolded. All these suggested analyses are not only perfectly possible, but they are based on logically developed arguments, furnishing ample proof for every claim made. It is not expected that all of them will be accepted by all scholars at all times; in such cases it is merely submitted that the psychological facts referred to above are thereby manifested. Nevertheless, let us all join ranks in furthering the work to be done always remembering Goethe's words: "Gepragte Form, die lebend sich entwickelt." 5 Aesthetics III, (b). • Milton Metfessel, Phonophotography in Folk Music (Chapel Hill, 1928), pp. 27-28. 'I Jan P. Schinhan, "The Music of the Papago and Yurok" (Structures), Dissertation submitted to the Philosophical Faculty, University of Vienna, 1933. 8 H. Th. Moore, "The Genetic Aspect of Consonance and Dissonance," Psychological Monographs XVII, NO.2 (1914), 1-68; p. 63.

ABBREVIATIONS ABFS ABS AFM AFSC AFSCh AIM AMS ANA ANFS AnFSC ANS APPS APPSSG As ASh ASB

ASM ASoWS ATB Bancroft BANS

American Ballads and Folk Songs. By John Avery Lomax and Alan Lomax. New York, 1934. American Ballads and Songs. By Louise Pound. New York, [1922]. American Folk Music. By George Pullen Jackson. Boston, [1947] · American Folk Songs for Christtnas. By Ruth Crawford Seeger. New York, 1953. American Folk Songs for Children. By Ruth Crawford Se.eger. New York, 1948. Ancient Irish Music. By P. W. Joyce. Dublin, 1912. American Mountain Songs. By Ethel Park Richardson and Sigmund Spaeth. New York, [1927]. A Nonsense Anthology. By Carolyn Wells. New York, 1902 . American Negro Folk-Songs. By Newman 1. White. Cambridge [Mass.], 1928. Ani111.al Folk Songs for Children. By Ruth Crawford Seeger. New York, 1950. American Negro Songs. By John W. Work. New York, 1940. The Alnerican Play-Party Song. By Benjamin A. Botkin. Lincoln, Nebraska, 1937. Alamance Play-Party Songs and Singing Games. By Fletcher C. Collins. Elon College, N. C., 1940. America Sings. By Carl Carmer and Edwin ,John Stringham. Ne.w York, 1942. The American Songbag. By Carl Sandburg. New York, [192 7] . Ancient Songs and Ballads. By Joseph Ritson. London, 1829. 2 vols. Vol. I. Ancient Scotish Melodies. By William Dallney. Edinburgh, 1838. Another Sheaf of White Spirituals. By George Pullen Jackson. Gainesville, Fla., 1952. The America,n Tune Book. Charlotte, N. C., 1950 (Reprint). Games for the Playground) Home) School and Gymnasium. By Jessie N. Bancroft. New York, 1910. The Book of American Neg'ro Spirituals. By James Weldon Johnson and Rosamund Johnson. New York, 1944. 2 vols.

xxxii BB BBM BFSSNE BISB BKH BLSTL

BM BMFSB BNAF BoS Botsford Bowman BS BSI BSM BSO BSS BSSB BSSM BSSN

BSSNS BSUS BT

ABBREVIATIONS

Ballads of Britain. By John Goss. London, 1937. British Ballads from Maine. By Phillips Barry, Fannie H. Eckstorm, [and] Mary W. Smyth. New Haven, 1929. Bulletin of the Folk-Song Society of the Northeast. Cambridge [Mass.], 1930-37. The Burl Ives Songbook. New York, [1953]. Ballads of the Kentucky Highlands. By Henry Harvey Fuson. London, 193 1 . Ballads, Love-Songs and Tragic Legends, from the Southern Appalachian Mountains. By John Jacob Niles. New York, 1938. Ballad Makin' in the Mountains of Kentucky. By Jean Thomas. New York, 1939. Twenty-Nine Beech Mountain Folk Songs a,nd Ballads. By Mellinger Henry and Maurice Matteson. New York, 1936. A Bibliography of North American Folklore and Folk Song. By Charles Haywood. New York, 1951. A Book of Shanties. By C. Fox Smith. Boston & New York, 1927. Botsford Collection of Folk Songs. By Florence A. Botsford. N ew York, 1930. John Henry. By James Cloyd Bowman. Chicago, 1942. BaUads and Songs. By G. L. Kittredge, 1917. (JAFL xxx, No. CXVI.) Ballads and Songs of Indiana. By Paul G. Brewster. Bloomington, Indiana, 1940. Ballads and Songs Collected by the Missouri Folk-lore Society. By H. M. Belden. Columbia, Missouri, 1940. Ballads and S;ongs from Ohio. By Mary O. Eddy. New York, [1939]. Bahama Songs and Stories. By Charles L. Edwards. New York,1895. Reprint MAFLS III, New York, 1942. Ballads and Songs of the Shanty-Boy. By Franz Rickaby. Cambridge [Mass.], 1926. Ballads and Songs of Southern Michigan. By Emelyn E. Gardner and Geraldine J. Chickering. Ann Arbor, 1939. Ballads and Sea Songs from Newfoundland. By Elizabeth Greenleaf [and] Grace Y. Mansfield. Cambridge [Mass.], 1933· Ballads and Sea Songs from Nova Scotia. By W. Roy MacKenzie. Cambridge [Mass.], 1928. BaUads Surviving in the United States. By C. Alphonso Smith. New York, 1916. The Ballad Tree. By Evelyn Kendrick Wells. New York, [195 0 ].

ABBREVIATIONS

BTFLS CCIM CH Christie CPS CRS CS

CSV DD Dean

DESO Dett DFW DL EAS EASM ECS EFC EFSS EFSSC EM Em EPG

xxxiii

Bulletin of the Tennessee Folklore Society. Maryville, Tenn., 1935-· The Complete Collection of Irish Music. By Geo. Petrie. (Ed. C. V. Stanford). London, 1902-05. Church Harmony. By William Walker. Chambersburg, Pa., 1841. TraditionaZ Ballad Airs. By W. Christie. Edinburgh, 1876188r. 2 vols. Cabin and Plantation Songs. By Thomas P. Fenner. New York, 190r. (3rd ed.) Cooperative Recreation Service Publications. Kit: 0; P; Q; R; T; 24; 47; 48; 53; 54· Cowboy Songs and Other Frontier Ballads. By J. A. Lomax and Alan Lomax. New York, 1938. (In a few cases the earlier edition, 1910, is cited.) Country Songs of Verm,ont. By Helen H. Flanders [and] Helen Norfleet. New York, [1937]. Devil's Ditties. By Jean Thomas. Chicago, 1931. Flying Cloud and One Hundred and Fifty Other Old Time Songs and Ballads. By M. C. Dean. Virginia, Minn., n.d. Down-:East Spirituals, and Others. By George Pullen Jackson. New York, [1943]. Religious Folk Songs of the Negro. Ed. R. Nathaniel Dett. Hampton, Va., 192 7. Drawn fr01n the Wood. By Frank Shay. New York, 1929. Deutscher Liederhort. By Ludwig C. Erk and Franz M. Bohme. Leipzig, 192 5- 3 vols. Early American Songs. By Margaret and Travis Johnson. New York, [1943]. Early American Sheet Music. By Harry Dichter and Elliot Shapiro. New York, 1941. English County Songs. By Lucy Broadwood and J. A. F. Maitland. London, 1893. English Folk Chanties. By Cecil J. Sharp. New York, n.d. English Folk Songs for Schools. By Baring Gould and Cecil J. Sharp. London, n.d. English Folk-Song, Some Conclusions. By Cecil J. Sharp. London, 1907. English Music. By W. J. Turner. London, 1947. English Melodies from the 13th to the 18th Century. By Vincent Jackson. London, 1910. Education by Plays and Games. By Geo. Johnson. New York, 1907.

xxxiv

ABBREVIATIONS

The Everybody Sing Book. Ed. Kenneth S. Clark. New York, 1930. English Traditional Songs and Carols. By Lucy Broadwood. ETSC London, 1908. ETWVMB East Tennessee and Western Virginia Mountain Ballads. By Celeste P. Cambiaire. London, 1935. FB Frontier Ballads. By Charles J. Finger. New York, 1927. FBSE Folk Ballads of Southern Europe. By Sophie Jewett. New York and London, 1913. FdDG Follow de Drinkin' Gou'd. Ed. J. Frank Dobie. Austin, Texas, 1928. Folk Games of Jamaica. By Martha W. Beckwith. PoughFG] keepsie, 1922. (Folk-Lore Foundation's Publications.) Folk Hymns of America. By Annabelle Morris Buchanan. FHA New York, 1938. Folklore from Iowa. By Earl J. Stout. New York, 1936. FLI S onte Materials for Physical Education £n Florida Elementary Florida Schools. Bulletin 21. Folk Music in America. By Phillips Barry. National ServFMA ice Bureau, [New York], 1939. "Folk Music of Northeastern England," in Collected Essays. FMNEE By W. Gillies Whittaker. London, 1940. Trad£tional Music of America. By Ira W. Ford. New York, Ford 1940. Folk-Songs of America. By Robert W. Gordon. National FSA Service Bureau, [New York], 1938. Folk Songs, Chanteys and Sing'£ng Games. By Charles H. FSCSG Farnsworth and Cecil J. Sharp. New York, 19°9- 12 . Folk-Songs of England. Ed. Cecil J. Sharp. Books I, II, FSE III, IV, V, various editors. London, 1908-12. Folk Songs of Europe. Ed. Maud Karpeles. For the InterFSEK national Folk Music Council. London, [1956]. Folksongs of Florida. By Alton C. Morris. Gainesville, FSF Fla., 1950. Folk Song and Folk Poetry as Found in the Secular Songs of FSFP the Southern Negro. By Howard W. Odum. JAFL xxxv. FSFS Folk Songs of the Four Seasons. By Harvey Officer. New York, 1929. FSKH Folk-Songs from the Kentucky Highlands. By Josiah H. Combs. N ew York, 1939. FSKM Folk-Songs of the Kentucky Mountains. By Josephine McGill. New York, [1917].

ESB

xxxv

ABBREVIATIONS

FSM FSmWV

FSN FSoA

FSONE FSRA FSS FSSH FSSM

Folksongs of Mississippi and Their Background. By Arthur Palmer Hudson. Chapel Hill, N. C., 1936. Folk-Songs Mainly from West Virginia. By John H. Cox. National Service Bureau of the Federal Theatre Project. W.P.A. New York, 1939. Folk Songs from Newfoundland. By Maud Karpeles. [London], 1934. Folksongs of Alaba.ma. By Byron Arnold. University, Ala., 1950. Folk Songs of Old New England. By Eloise Hubbard Linscott. New York, 1939. Folk-Songs of Roanoke and the Albemarle. By Louis W. Chappell. Morgantown, W. Va., 1939. Folk-Songs of the South. By John Harrington Cox. Cambridge [Mass.], 1925. Folk-Songs front the Southern Highlands. By Mellinger E. Henry. New York, [1938]. 30 and I Folk Songs froln the Southern Mountains. By B. L. Lunsford and L. Stringfield. New York, 1929.

FSSom

Folk Songs fron~ Sonxerset. By Cecil J. Sharp and Charles L. Marson. London, 1904-09. 5 vols. in I.

FSUSA

Folk Song U. S. A. I I I Best American Ballads. By John A. Lomax and Alan Lomax. New York, 1948.

FSV

Folk-Songs of Virgin1:a. A Descriptive Index. Kyle Davis. Durham, N. C., 1949.

FTM

Folk Tunes from Mississippi. By Arthur Palmer Hudson and George Herzog. National Play Bureau Publication No. 25, July 1937. The Golden Book of Favorite Songs. By John W. Beattie et ale Chicago, 1923.

GBFS

By Arthur

GCS

A Garw'l1d of Country Song. By S. Baring-Gould, and H. Fleetwood Sheppard. London, 1895.

GGMS

A Garland of Green Mountain Song. Flanders. Boston, 1934.

Gomme

The Traditional Games of England, Scotland, and Ireland. By Alice Bertha Gomme. London, 1894-98.

GOS

The Good Old Songs. By C. H. Cayce. Martin, Tenn., 19 1 3. The Gold Rush Song Book. By Eleanor Black and Sidney Robertson. San Francisco, 1940.

GRSB GSAC

By Helen Hartness

Games and Songs of American Children. By William Wells Newell. New York, 1883; enlarged ed., 19°3,19 11.

xxxvi HCSB HFLB HOSFG IMWS

lOA ISB JAFL JEFDSS JFSS LFFS Logan

LT

MAFLS McLendon Mellows

MHITB MIOH MM MemM

MMP MPFDC MQ MSFSH

ABBREVIATIONS

The Home and Commu,nity Song Book. By Thomas W. Surette and Archibald T. Davison. Boston, 1931. Hoosier Folklore Bulletin. Bloomington, Ind., 1942-45. Thereafter : Hoosier F olklore.-HFL. Hullabaloo an-d Other Singing Folk Games. By Richard Chase. Boston, 1940. Iron Men and Wooden Ships. By Frank Shay. Garden City, N. Y., 1924. In Old Alaba,ma. By Anne Hobson. New York, 1903. Irish Street Ballads. By Colm O'Loughlin [0 Lochlainn]. London, 1939. Journal of Am,erican Folklore. 1888-. The Journal of the English Folk Dance and Song Society. London, 1931-. Successor to JFSS. The Journal of the Folk-Song Society. London, 1899-1931. Louisiana French Folk Songs. By Irene Therese Whitfield. Baton Rouge, La., 1939. Sketches of the Broad River and Kings Mountain Baptist Associations from 1800-1882. By John Randolph Logan. Shelby, N. C., 1887. Lonesome Tunes. Folk Songs from the Kentucky Mountains. By Loraine Wyman and Howard Brockway. New York, [1916]. Memoirs of the American Folklore Society. No. xxix is "Folk-Lore from Iowa," by Earl J. Stout, 1936. A Finding L1~st of Play-Party Games. .By Altha Lea McLendon, SFLQ viii (1944), 201-34. Mellows: A Chronicle of Unknown Singers. By R. Emmet Kennedy. New York, 1925. The Music Hour Intermediate Teacher-'s Book. By Osborne McConnally et ale New York, 193 1, 1938. Music in Our History. By Maude M. Slawson. Dubuque, Iowa. 19SI. Minstrelsy of Maine. By Fannie H. Eckstorm and Mary W. Smyth. Boston, 1937. M emory Melodies. By Lucien L. and Flora L. McDowell. Smithfield, Tenn., 1947. Mountain Ministrelsy of Pennsylvania. By Henry W. Shoemaker. Philadelphia, 1931. A revision of NPM. My Pious Friends and Drunken Com,panions. By Frank Shay. New York, 1927. Musical Quarterly. New York, 1915-. "More Songs from the Southern Highlands." By Mellinger E. Henry. JAFL xliv (1931),61-115.

ABBREVIATIONS

MSHF MSNC MSON MWS

NAB NASb NASB NCFL

Newell NFS NFSSLB

NFMNS NGMS

NPM

NS NSNH NSOB NSSUS NWS NYFLQ OASPS OBC

xxxvii

More Songs of the Hill Folk. By John J. Niles. New York, [1936]. Mountain Songs of North Carolina. By Marshall Bartholomew and Susannah Wetmore. New York, 1926. Minstrel Songs Old and New. Oliver Ditson Company, Boston. n.d. Maine Woods Songster. By Phillips Barry. Cambridge [Mass.], 1939. Nat£ve American Balladry. By G. Malcolm Laws, Jr. Philadelphia, 1950. New American Songbag. By Carl Sandburg. New York, 195°· The New Amer£can Song Book. By Marx and Annie Oberndorfer. Chicago, 1933. North Carolina Folklore, Chapel Hill, N. C. Vols. I-VII. Publication of the. N. C. Folklore Society and the U. N. C. Folklore Council. See GSAC Negro Folk Songs. By Natalie Curtis Burlin. New York, 1918- 19. 4 vols. Negro Folk Songs as Sung by Lead Belly. By John Avery Lomax and Alan Lomax. New York, 1936. Negro Forget Me Not Songster. 2 vols. Library of Congress. The New Green Mountain Songster. By Helen Hartness Flanders, Elizabeth Flanders Ballard, George Brown and Phillips Barry. New Haven, 1939. North Pennsylvania Minstrelsy. By Henry W. Shoemaker. 2nd ed., Altoona, Pa., 1923. The Negro and His Songs. By Howard W. Odum and Guy B. Johnson. Chapel Hill, N. C., 1925. The Negro Sings aNew H eave'n. By Mary Allen Grissom. Chapel Hill, N. C., 1930. Negro Singer's Own Book. Philadelphia, (I846?). Negro Slave Songs in the United States. By Miles Mark Fisher. Ithaca, N. Y., 1953. Negro Workaday Songs. By Howard W. Odum and Guy B. Johnson. Chapel Hill, N. C., 1926. New York Folklore Quarterly. 1945-. The Ozarks.· An American Survival of Primitive Society. By Vance Randolph. New York, 1931. The Oxford Book of Carols. By Percy Dearmer, R. Vaughan Williams, and Martin Shaw. London, 1928, 1951.

xxxviii ODNR OFS OHEFS 100 EFS OHFFS

OIFMS

osc OSSG Owens PC PMOT PSB PSL PTFLS R RAS

RaW RFSN RG Rimbault 'SA SAH SAS SBML SBPPG

ABBREVIATIONS

The Oxford Dictionary of Nursery Rhymes. Ed. lona and Peter Opie. Oxford, 1951. Ozark Folksongs. Colle.cted and edited by Vance Randolph. Columbia, Mo., 1946, 1948, 1949, 1950. 4 vols. One Hundred English Folk Songs. By Cecil J. Sharp. New York and Boston, [1916]. see also OHEFS One Hundred-Forty Folk Songs. By Archibald T. Davison and Thomas Whitney Surette. Boston, 1917. Old Irish Folk Music and Songs. By Patrick W. Joyce. London, 190 9. 3 parts. Our Singing Country. By John A. Lomax, Alan Lomax, and Ruth Crawford Seeger. New York, 1941. Old Songs and Singing Games. By Richard Chase. Chapel Hill, N. C., 1938. Swing and Turn: Texas Play-p'arty Songs. By William A. Owens. Dallas, 1936. Pulling Chanties. By Cecil J. Sharp. London, n.d. Popular Music of the Olden Time. By W. Chappel. London, [1859]. 2 vols. PeopleJs Song Book. By Waldemar Hille. New York, 1948. Pennsylvania Songs and Legends. By George G. Korson. Philadelphia, 1950. Publications of the Texas Folk-Lore Society. Austin, 19 1 6-. The Revivalist. By Joseph Hillman. Troy, N. Y., 1869. Rolling Along in Song. By Rosamund Johnson. New York, 1937· Read Em and Weep. By Sigmund Spaeth. New York, 1945. (New and revised edition.) Religious Folk Songs of the Negro. By Thomas P. Fenner. Hampton, Va., 1924. RoZZ and Go. By Joanna C. Colcord. Indianapolis, 1924. Nurse'ry RhymesJ with Tunes. ... By Edward F. Rimbault. London, n.d. Singing America. By Augustus D. Zanzig. Boston, n.d. Sacred Harp. Ed. J. L. White.. Atlanta, Ga., 1911. Songs of American Sailormen. By Joanna C. Colcord. New York, 1938. (Revised edition of Roll and Go.) Songs and Ballads of the Maine Lumberjacks. By Roland Palmer Gray. Cambridge [Mass.], 1924. The Source Book of Play-P'arty Games. By M. Katherine Price. Minneapolis, 1949J

ABBREVIATIONS

SCB SCFS SCS SCSM

SFLQ SFSEA

SFSPP SG SharpK Shearin

SHF SHIS SHMC SHP SJS SKMT 5MBFS SMLJ SNE SNS

SNSAM SO SoA

xxxix

South Carolina Ballads. By Reed Smith. Cambridge, [Mass.], 1928. A Selection of Collected Folk-Songs. Vol. 1. Arr. by Cecil J. Sharp and R. Vaughan Williams. London, 1951. Thirty-six South Carolina Spirituals. By Carl Diton. New York, 1928. A Song Catcher in Southern Mountains. By Dorothy Scarborough. New York, 1937. Southern Folklore Quarterly. Gainesville, Fla., 1937-. Spiritual Folk-Songs of Early America. By George Pullen Jackson. New York, [1937]. Studies in Folksong and Popular Poetry. By Alfred M. Williams. London, 1895. The Scotish Gael. By James Logan. Hartford, 1855. (5th American Ed.) English Folk Songs from the Southern Appalachians. By Cecil J. Sharp and Maud Karpeles. London, 1932. 2 vols. A Syllabus of Kentucky Folk-Songs. By Herbert G. Shearin and Josiah Combs. Lexington, Ky., 1911. Transylvania Studies in English II. Songs of the HiU-Folk. By John J. Niles. New York, [1934] . Saint Helena Island Spirituals. By Nicholas George Julius Ballanta. Ne.w York, 1925. Southern Harmony and Musical Companion. By William Walker. W.P.A. repr., New York, 1939. Songs of the Hills and Plains. By Harry Robert Wilson. Chicago, [1943]. The Story of the Jubilee Singers (with Their Songs). By J. B. T. Marsh. Boston, 1881. Seven Kentucky Mountain Tunes. By John Jacob Niles. New York, 1928. HStilI More Ballads and Folk-Songs from the Southern Highlands." By Mellinger Henry. JAFL xlv (1932), 1-176. Songs of the Michigan Lumberjacks. By Earl C. Beck. Ann Arbor, 1941. Seven Negro Exultations. By John Jacob Niles. New York, 192 9. Seventy Negro Spirituals. By William Arms Fisher. Boston, 1926. Seventeen Nursery Songs from the Appalachian Mountains. By Cecil J. Sharp. London, 1955. Scottish Orpheus. By Adam Hamilton. Edinburgh, n.d. Songs of America. By David Ewen. Chicago, 1947.

~

SOCG SOCH

ABBREVIATIONS

Songs of the Old Ca,mp Ground. By Lucien L. McDowell. Ann Arbor, Michigan, 1937. The Social Harp. By John G. McCurry. Philadelphia, 1855, 1859.

SoG SOH

SRA

5S SSGSI SSLKFS

SSSA STA TAFL Talley

Songs of Grace. Ed. E. S. Lorenz and 1. Baltzell. Dayton, Ohio, 1879. The Southern Harmony a,nd Musical Companion. Compiled by William Walker, Spartanburg, S. C. (Printed in New Haven, Conn. 1835.) Songs of the Rivers of America. By Carl Carmer and Dr. Albert Sirmay. Ne.w York, 1942. Slave Songs of the United States. By William F. Allen. New York, 1867 (reprinted 1929). Slave Songs of the Georgia Sea Islands. By Lydia Parrish. New York, 1942. A Selection of Som,e Less Known Folk-Songs. Vol. 2. Arr. by Cecil J. Sharp, R. Vaughan Williams, and others, compiled by Cyril Winne London, 1951. Songs Sung in the S'outhern Appalachians. By Mellinger E. Henry. London, [1934]. Singing through the Ages. By Roy Harris and Jacob Evanson. Music ed. Edwin J. Stringham. New York, 1940. A Treasury of American Folklore. By B. A. Botkin. New York, [1944]. Negro Folk Rhymes. By Thomas W. Talley. New York, 1922.

Tanner

T AS TBSSG TBmWV

TBV TChC Texas FS

A Game Program in Physical Education for the Elementary School and Junior High School. By Jessie Rand Tanner. New York, 1929. Treasury of American Songs. By Olin Downs and Elie Siegmeister. New York, 1943. Traditional Ballads~ Songs and Singing Games. By Richard Chase. Chapel Hill, N. C., 1935. Traditional Ballads Mainly from West Virginia. By John Harrington Cox. National Service Bureau, 75 5, 1939. (American Folk Song Publications NO.3; mimeographed.) Traditional Ballads of Virginia. By Arthur Kyle Davis. Cambridge [Mass.], 1929. Ten Christmas Carols from the App'alachian Mountains. By John Jacob Niles. New York, 1935. Texas Folk Songs. By William A. Owens. Austin, Texas, 1950.

T 55 CS

Twice SS Community ton, 1923.

Songs~

NO.2. The Green Book. Bos-

ABBREVIATIONS

T 55

pes

TFH TFS TKMS TNEFL

TNFS TSFL

TSNS TSSI

TT TTCB VBFB VFSB

VGS VTWL

VSBS WaS WCIYS Whittaker WNS Wolford

WSMML WSSU ZfMW

xli

Twice SS PZus Community Son,gs. By Peter W. Dykema et ale Boston, 19 I 9. Twelve Folk Hymns. By A. Buchanan and John Powell. New York, 1934. A Treasury of Folk Songs. By Sylvia and John Kolb. New York, 1948. Twenty Kentucky Mountain Songs. By Loraine Wyman and Howard Brockway. Boston, [1920]. A Treasury of N e-w England Folklore. By B. A. Botkin. New York, 1947. On the Trail of Negro Folk-Songs. By Dorothy Scarborough. Cambridge [Mass.], 1925. A Treasury of S'outhern Folklore. By B. A. Botkin. New York, [1949]. Traditional Songs from Nova Scotia. By Helen Creighton and D. H. Senior. Toronto, 1950. Tales and Songs of Southern Illinois. By Charles Neely. Menasha, Wis., 1938. Traditional Tunes. By Frank Kidson. Oxford, 1891. Traditional Tunes of the Child Ballads. By Bertrand Harris Bronson. Princeton, New Jersey, 1959. The Viking Book of Folk. Ballads. By Albert B. Friedman. Ne.w York, 1956. Vermont Folk-Songs and Ballads. By Helen H. Flanders and George Brown. Brattleboro, Vt., 1932. 2nd ed. V ocal Gems of Scotland. By Ernest Haywood, London, 1938. 266 Volks- Trink- und Wanderlieder. By Hugo Hartmann. Darmstadt, n.d. Vagabond Songs and Ballads of Scotland. By Robert Ford. London, 1899. Work and Sing. By Elie Siegmeister. New York, n.d. What Call it} You Say. By Samuel Walker Catts. Montgomery, Alabama, 1957. See FMNEE White and Negro Spirituals. By George Pullen Jackson. New York, [1944]. The Play-P'arty in Indiana. By Leah J. Wolford. Indianapolis, 1916. Weep Some More My Lady. By Sigmund Spaeth. New York, 1945. White Spirituals in the Southern Uplands. By George Pullen Jackson. Chapel Hill, N. C., 1933. Zeitschrift fur Musik Wissenschaft (vol. VI).

I

COURTING SONGS

I

A

PAPER OF PINS A

'The Paper of Pins.' Sung by Clarice Burleson. Recorded at Crossnore, Avery county, August 8, 1940. F. C. B. notes: "I think that although Clarice's home is near Asheville, she learned most of her songs at Crossnore." The beginning certainly reminds one of the same of 'Gran'ma Grunts' (F-155). The sequence of the gifts in this version is: Paper of pins; Dress of red; Little grey dog; Key to my chest. Traditional answer given by. maid: "I'm determined to be an old maid." At the conclusion the young man says: "I will remain a bachelor and I won't marry her." For additional texts cf. SharpK II 45, No. 92A, also SCFS 41-3 and 70-1; and JAFL XLIX (1936), 260-2.

F-I

'I'll

give

to

you

a

pa ... per

pins-

of

1:\

~ ~~I------=-~---=-J"---_-----J_Ftttt-3,-----J t4-.t= That's the

way

our

love

be - gins-

If

you

will

~J §=;=t~ ~ mar ... ry

me,

o

me,

if

you will

mar... ry

me.'

~ l j~~.~J¥14,~~.-----+-/-'J_~ ~.t~ __ J jgj For melodic relationship cf. *·OFS III 41, No. 354, where the melodic tendency is the same as in our version; *SharpK II 45, No. 92A, beginning only. Scale: Tetratonic (2), plagal. Tonal Center: e-flat. Structure: abed (2,2,2,2).

4

NORTH CAROLINA FOLKLORE E

'A Paper of Pins.' Sung by Bascom Lamar Lunsford. Recorded at Turkey Creek, Buncombe county. Additional title given 'Little Lap Dog.' The only other versions using HMadam" in addressing the lady are SharpK II 45, No. 92F ; SCSM 301 (c); SCFS 42; BSO 124-5, No. 39D; and BSM 507. For reference tracing the song back to medieval times cf. TFS 174. F-2

@tra

J~

,J~

'Ma - dam, I'll

buy

you

~-J,--=---'.~ •~ f § that's

~

t'·

the way that love

,J~

Ee+f+! pa - per

a

}-q 1 be - gins, If

rggo

~-f~s_...J-J\----t~ me,

me,

me,

If

you

will

~

of

J\.

§

pins,

And

~ J\

@

"----

will- mar - ry

you

t=§. ~ =II

mar - ry

me.'

l. }~

~ J' £tg;j. ;I~(l ~\ f ij ~ l ;~tm e l f ~'; f l 1 ~ For melodic relationship cf. **AMS 52, measures 1-4; FFS 422; SharpK XXVIII 266 ('Chase that Squirrel') ; TFS 174. general melodic line of first fOUf measures; *SFQ VI 225.

11 45. No. 92 A; JAFL

Scale: Mode III, plagal.

Tonal Center: f.

Structure: abac (2,2,2,2).

H

'Paper of Pins.' Sung by Miss p'earl Webb. Recorded at Pineola, Avery county, 1921. Another title given is 'Little Lap Dog.' Cf. SharpK II 45. No. 92A, stanza 7. Our recording gives only this one stanza. The peculiar tonal juxtaposition of the two characters speaking is interesting. When the man is speaking, the melody moves in the dominant realm although it cadences in the tonic key. The answer of the girl begins in the latter. deviates momentarily into the dominant region, only to cadence with the same formula as the previous phrase. As only one stanza was recorded, it cannot be stated definitely whether this distinction is intentional or not, or, what is probably more likely, the singer having made a wrong start, corrects herself in the second part of the

COURTING SONGS

5

melody. One needs only to compare the last six measures with measures 3-8 to convince himself that this assumption is more than a good guess.

F-3

t. ffl¥¥}£J~ ~==-----......'I'll

give

you

to

J~

go

with

lit - tIe lap dog,

a

~l }~i you when you go

J'. i$5P

a-broad,

If

To

1 t. )ij$#L

you will mar - ry me, me, miss,

~ ~.i~~J'i~r~ If

you will mar - ry

'I'll

me.'

not

ac - cept the

~"""'"'--.---~~I::J--?---~_:-~~t=mtJ lap dog

To

go

with

me when

I

go

lit - tie

i$ J~. i~ a - broad; And

'l~J~ I'll not mar - ry

you, you, sir, And I'll not mar - ry

you.'

For melodic relationship cf. **SharpK II 45, No. 92A; BSO 120, No. 39A; ABFS 323 with our last eight measures. TFS 174, measures 1-2 with our 910, also the melodic tendency of measures 3-4 with our 11-12; the latter also in GSAC, NO.5; FSF 422; EAS, No. 46; and AMS 52, measures 1-4 with our 9-12. Scale: Hexatonic (4), plagal. Tonal Center: g. mm1n plus mm1n (2,2,4,2,2,4) = bar plus bar.

Structure: aa1baa1b

=

2 MADAM, WILL

You

WALK?

A

'Madam, Will You Walk?' Sung by an anonymous singer to Mrs. Sutton at Forest City, Rutherford county, 1927. Recorded as MS score. For a different textual version cf. FSCSG 88, NO.4; also Newell (GSAC) 55-6.

~------J,-: will

give

you

---1lt¥# ; a

pa-per

of

pins,

For

6

NORTH CAROLINA FOLKLORE

~l J" l C~-~~ is

that

how my

love

be - gins.

Ma - dam, will you walk,

rA==e-~ a----e J ; ~[=&D Ma-dam, will you talk, Ma - dam,will you walk and talk with me?' Scale: Heptachordal. Tonal Center: e-flat. Structure: mm 1nnn 1 (2,2,1,1,2) == mm1n (2,2,4) ; n1 is terminally incremented. The tonal center is the lowest tone. B

'Madam, Will You Walk?' Sung by Miss Emeth Tuttle at Lenoir, Caldwell county. Recorded as MS score, May 1921. T'he text supposedly like the first stanza of 2A (III 9-10) is given here as found in the MS score.

F-S

&iH-~-l---,~----&tE£~ 2. '1

will

give

you

a

i=f±l ltttF£ hors - es

as

coach

and- six

fEgH\ J

black as- pitch.

And

six white

l€kfFE

Ma-dam, will you walk,

rna-dam,

~~? ~_4J-J-H will you talk,

Ma - dam, will you walk

For melodic relationship cf. ***OFS Scale: Hexachordal, plagal. bar.

III

and

talk with

me?'

42, No. 354B.

Tonal Center: g.

Structure: mm1n (2,2,4)

3 THE COURTING

CAGE

A

'Kind Sir, I See You've Come Again.' Pekin, Montgomery county, in 1922.

Sung by Miss Jewel Robbins, at F-6

J?' ~ ~-------.+&4 'Kind

Sir,

I

J?'

J tj J

~

see you've come a - gain. Pray tell me what it's

COURTING SONGS

for.- For when we

part - ed

on

7

JM-§-=ttlLt to come no more, more, more, II

T I

I

told you

tt14¥¥D

told you to come

For melodic relationship cf. ***SCSM 437B; OFS 250, No. I77B.

Scale: Tetratonic (2,4) plagal. (2,2,2,2,2) .

tJIi=k=

yon - ders hill

no

'-" more.'

III

53, No. 361; SharpK

Tonal Center: e-flat.

Structure: aa1abb 1

B

'If You Will Only Be My Bride.' Sung by C. K. Tillett at Wanchese, Roanoke Island, December 29, 1922. There are some melodic similarities with 3A. This version is based on the Midgett text. Second stanza (cf. variations) : "Kind sir, I know you have a very fine ship." F-7

~~..J-----1-r---­ s IJ J

---!!!t

'Kind miss,

~

I

have a

ver - y

fine

ship,

Jg=#g=ij=#-Lr ~

a - cean

wide, And

she can

J S b8J ~------on - ly

be

be

J\

J

She plows the

S-..Jt----:l~~.----.@

at your com-mand

If you'll

1@ s ~ be my bride.'

my bride, bride, If you'll on - ly

For melodic relationship cf. **SCSM 436; SharpK II 250, No. 177B and III 42, No. 354B, first six measures. 'There is a surprising similarity between the beginning of this song and that of 'The House Carpenter,' IV 40, by the same singer.

o FS

Scale: Mode III. Tonal Center: d. tonal center is the lowest tone.

Structure: aa1 a 2 bb1 (2,2,2,2,2).

The

8

NORTH CAROLINA FOLKLORE

7

You

SOLDIER, SOLDIER, WON'T

MARRY

ME?

c 'Soldier, Soldier, Won't You Marry Me?' Sung by J. W. Lawrence at Zionville, Watauga county, in 1915. Recorded as MS score by A. J. Burrus. Like 7B, the structure of our melody demands two of the stanzas as given in III IS, 7A . The text is that of Mrs. R. D. Blacknall.

F-8

Sol - dier,

tl~ ~.~S /' tH J? -

won't you mar - ry

sol - dier,

me

with your

~-

---+--

sword and

itt

~.

wear'l'

how

can

girl

wear,

as

you

wear,

And

And I've

mar

ry

such

I've

got

got

no

no

hat

~

for

to

for

hat

~

~ J She

ran

to

the

~~t ~ ; pd fast

I

l l If=i.=¥ l§ J J I:

pret - ty

wear,

'Oh,

gun?

~ a

as

she could

go,

hat - ter's

shop

~

She brought the

best

as

e there

~~'J~

was there- Cry - ing, 'Sol dier, here is one. For melodic relationship cf. **BSO 211, No. 89A, last two measures like our 8-9; BSO 212, No. 89B, measures 1-2 and 5-6; ]AFL XXVIII 158 and OFS 1 28g, No. 65, measures 1-2. Scale: Mode III. Tonal Center c. Structure: abcca1 d (4,3,2,2,3,2). The a 1 shows an interesting contraction of the first two measures into one, rhythmically altered. Circular tune (V). The tonal center is the lowest tone. D

'Soldier, Soldier, Won't You Marry Me?' Sung by Miss Jean Holman at Durham, 1922 . Text by Mrs. R. D. Blacknall. The structure of the melodic line demands two stanzas as given in III IS.

COURTING

SONGS

9

F-g

~--4-J'---+-J'.------.§Et-~~~---...:---=:rJ~===~ 'Sol - dier,

sol - dier, won't you mar - ry

~ ~ ¥JEt t;~ ri - fle,

fife,

and

me

With your

EJ ;;" ~ ~

~"J."3 :3

mar-ry such a

drum?' '0, how can I

~~}'~~~~ I t J ,J~ •~ J~ ~

~~1 pret - ty

~ J.

on?'

girl

88

A - way

you, When I've

she

flew

to

got

the

no

hat - ter's

~~~.~ J~ f=t fast

as

she

could

And bought

run,

cap

J\

!

a

cap

to

put

shop,

As

the

of

~-...-J\-J..J-?---+-=-J~-~-----~t-J-+-'\~ best,

ver - y

And

the

sol - dier

on.

it

put

For melodic relationship cf. ** BSO 212, No. 89B, measures 1-2 and 5-6 and the same in our version; JAFL XXVIII 158 and OFS 289, No. 65, measures 1-2; ·SHP 51, first measure only. Scale: Heptachordal, plagal. Tonal Center: g. (2,2,2,2,2,2,2,2) aa1 bb 1 (4,4,4,4) .

=

Structure: aba 1 bcc1 c2 b

9 THE OLD MAN'S COURTSHIP C

'The Old Man.' Sung by Miss Gertrude Allen. Recorded at Durham, July 26, 1923. For additional texts cf. BMFSB 8 and FSoA 22. F-IO

@fI?J My

S

~

moth - er

S S brought an

q old

~ man

t J' Home

to

m

see

10

NORTH CAROLINA FOLKLORE

~~~~~-j-+==~ I. ~] ~ • ----fi---¥--"--~---With his

me

grey beard

old

a - flop - ping. 1':\

~~-~l. ;" A¥_~_~ I

would - n't

have

him,

I

would - n't have

him.

For melodic relationship cf. **BMFSB 8, melodic line of first four measures with that of our first three; BSO 132, No. 42 A, and the melodic line of first t\\·o measures with that of our first three; *SharpK II 9SE , measures 3-4 and our chorus; FSoA 22, measures 3-4 and ending with same in our version. Scale: Hexatonic (4), plagal. Tonal Center: e-flat. == inverted bar. Circular tune (V) .

Structure: nmm (4,2,2)

10 WHEN

I

WAS A YOUNG GIRL

'When I Was a Young Girl.' Sung by Miss Catherine Cox of Salisbury, Rowan county. No date given. For additional texts cf. GSAC 88, No. 25 and FSoA 154. The same song occurs also in Traditional Games of England, Scotland, and Ireland by Gomme, I I 362. Cf. also Games for the Playground, H orne, School, and Gymnasium, by Jessie H. Bancroft; FSCSG 86; FSF 2045; incidentally, the melody of the latter is that of the German folk song: '0, Du Lieber Augustin.' F-II

&1 fFis-ttM!~4fLl When I

was

a

~=7~

young girl, young girl, young girl, When I

was a

~ s tggL---f¥¥t'~'~s~~~-elL-·--+-@ young girl, then,

oh

then

With

a

ha

ha

this - a - way,

~t~t~ ha

ha

that - a - way,

This - a - way, that - a - way then.

For melodic relationship cf. **SFLQ

II

·151, beginning and ending.

Scale: Pentachordal, plagal. Tonal Center: g. bar.

Structure: mmln (2,2,4)

COURTING

SONGS

II

12 MADAM,

I

HAVE GOLD AND SILVER

'Seven Long Years.' Sung by a Negro servant, Maria McCauley, as reported by Mrs. R. D. Blacknall of Durham. No date. Compare the melodic outline of this with that of 'A Pretty Fair Maid, Down in the Garden' 92A(2), IV 170, including the variation of measures 5-7. F-I2

i= ~ ~2 ~ '0

@¥g. I've

rna - dam, I've

J\

both gold and

~ J

J'"

; #Et~-----4J~'J~\

both house and land,

~r----~~ ~- ...

]'

-

J~ 0

sil - ver,

§ rna - dam,

0

rna - dam,

J )J~ I have this world of

1E±2b ...-.~~~'--ID

treas - ure And you may use them at your com - mand.' Scale: Mode III. Tonal Center: c. Structure: aa 1bb 1 (2,2,2,2). The tonal center is the lowest tone.

13 ONE MORNING IN MAY A

'One Morning in May.' Sung by Mrs. Myra Barnett Miller. Recorded August 1939, 1940, or 1941 at Lenoir, Caldwell county. This melody is closely related to that of the anonymous version (F-I4) which follows. There, the singer alters some of the text: "One was a lady, the other a soldier, He served in the war . . ." (see under variations, measures 5-7). Speaking of 'One Morning in May' (NCFL III, No. 10) the author states "not in Brown Collection." It is however, to be found in III 24, and our present tune will be found practically identical with that quoted in the article. For additional text variants cf. FSoA 48; AFM, No. 16 and SharpK II 212, No. 157B. F-13 ~

One morn-ing,

one morn - ing,- one morn-ing

JJ.~

in

"-'"

May-

I

{g:::::=' J....I-~~S~C~§.~;~S----+1-'t@g4· ~ ~ spied

a

fair

cou.- pie

'==

a - mak - ing their

waYi-- But

NORTH CAROLINA FOLKLORE

12

~d4§--+-C---f"'L§=F-C--+--J~~)~ one was

~

a

Is - dy

-'='

_

.u.91

sol - dier-

-1~

I

"

fit

+ in

~

~

the

~

• +. + '-'"'" free vol - un - teer.-

~

wars,--

==u =t=U

l'

----IJ-'~e-J--:--~~-~-.+-~'>.-=-{.-+-~_?Ti=J

_ _-.::::.-u

Who'd

a

and the oth - er

a

~

6-6

~U4JP1Sf-ffe~ For melodic relationship cf. **BSO 230, No. 103 and JFSS (190 5-6) 9, first two measures, general melodic line, with ours. This holds likewise true for all the other versions. Scale: lvIode III. Tonal Center: c. Structure: abb1a 1 center is the lowest tone.

(2,2,2,2).

The tonal

A(I) 'One Morning in May.' Anonymous contribution without date or place. There are slight melodic as well as metrical differences in this recording which are given under variations. In spite of the very strong similarity to the Miller version, it can be observed here what a rhythmical alteration can do to a tune. This melody assumes a sort of restless driving quality. There is a slight difference between the M S score and the recording. The melodic line, measure 6 (in the score 3/8, measures 11-12) is a-c-a instead of g-c-a as in the score, and rhythmically, the quarter g and dotted eighth c in the score is found in the recording as given below. The "who has" of the text requires two sixteenth notes instead of the one in the score. Almost the entire tune is identical with that of G-I6. F-I4

:i R !£} t=td ~-e ~ One--

~

morn-jng, one morn-jng,

one morn - ing

~ ~ 1 '-5-Ccou - pIe

spied

a

fair

@+t

f

hi

one

J:\4J4g-Pr-/~~\a---:---I-~-+-' ~

t

were

a

1&

S

-

a

t'

in

t

May

I

~

j

mak - ing their way;

But (r.'\)

-

s g ;gj s dy

@ 1 ;~1 t' :J Who had fought in the

and

the

;:"

oth - er

:bc a

I':'-

J' J'

J;ff1

i

wars,-

a - free

vol

~

~

........,./

sol - dier

~

~

- un - teer.

COURTING

13

SONGS

For melodic relationship cf. ***OFS I 269, No. S8E. Our first two measures are identical with all that is given there. Structure: abb1a1 (2,2,2,2).

Scale: Hexatonic (4). Tonal Center: c. tonal center is the lowest tone.

The

C

'One Morning in May.' Collected by Dr. W. Amos Abrams at Boone, Watauga county, September 1937. No singer given. In one stanza, the first two measures are repeated before continuing; in another, measures 3-4 are repeated. This tune is closely related to the Miller version (I3A) as well as the anonymous version, I3A (I). It is interesting to observe what can happen to a melody at the hands of various singers. F-15

i:&=fP¥4-t-==L~~@t-J-I--?' ---+-l-J\--ll ~ ... -.One morn-ing, one morn - ing,- one morn-ing in May-

...

-.

j

"-"

I

J? met

a

fair

cou - pIe--

8

-

msk - ing their

way;- And

@ J' one was

a maid - en-

t---l J~-J~'

J+---'

oth - er

a

801 -

so

bright and

so

fair- And the

~f8dI

dier-

and a

"-"

brave vol - un - teer.-

tD For melodic relationship cf. **As I36A, beginning and ending. Scale: Mode III. Tonal Center: c. Structure: abb1a1 (2,2,2,2). The tonal .center is the lowest tone.

14

NORTH CAROLINA FOLKLORE D

'One Morning in May.' Sung by Miss Lizzie Fincher. Recorded at Monroe, Union county in 1922. Both this and the following version, in their initial rneasures, show some relationship with the preceding tunes. Between themselves there is additional similarity in the endings. The MS score and the recording differ in one slight detail: the third beat of measure five is d" in the recording and c" in the M S score. F-16

=_H=A

~

=!' : }\~

~ =~ One

~ :::::::R==F l~~ ~-+--!

mom - ing, one morn - ing, one

morn - ing

tfEt-·~~--4-,-S~fu;a2§~S s • spied

One

~

a

fair

e

~

was

a

cou - pie

a

in

as-

---I§?8

wan- d'ring

fair

I

May

----j\

j'" 10. - dy

---

-+-:-s-

as

a - way;

~

could be, ;0:0-

jd The 1:'\

~@t~~-+-?--+J?~'-~-b+-;---t)¥t-+-i---Pt;=}~lr---=;!?t--:.-I. -0 oth - er was a sol - dier and a brave lad was- he. For melodic relationship cf. **OFS I 266, No. S8A and SharpK II 193, No. 145C; *SFLQ I I 154. Scale: Hexatonic (4). Tonal Center: c. Structure: abb1a 1 (2,2,2,2). phrase cadences on 1. The tonal center is the lowest tone.

Every

E

'One Morning.' Set down by Owen Wister, June 7, 1915, no place given. Excepting one evident error of omission on the part of the copyist, the anonymous version as given on MS score 197 is identical with that of another MS giving Owen Wister as the author. The latter version, according to a note by Dr. Newman 1. White, was discovered among old papers, but "too late for cataloguing." The note also states: "Not of N.C. provenience." This, no doubt, refers to the text of that version. The other version spoken of above was catalogued and the source given as anonymous. The only text given is that of the beginning: "Good morning, good morning." This is the second stanza of version A as given in III 24. As the handwriting in both MS scores is definitely that of two different copyists, the mystery deepens when we consider the fact that both melodies were noted in the key of A (here transposed) and show a tempo indication of Allegretto. The text of both, as stated above, is different. This would eliminate the assumption that one is merely a copy of the other. One more factor. There is another version by Miss Lizzie Fincher (I 3D ), the first two nleasures of which are identical with those of

COURTING

15

SONGS

this version (I3E) and closely related to the two remaInIng versions. Still t\VO more factors must be mentioned. The structures of all five versions are identical, and melodically (excepting the Owen Wister version), the second and last measures are identical in all.

F-I7

P4P J J:2t4t m-,J-R---~~J'-J--f"I'aOO 'Good mor - row, good mor - row, good mar - row,' said she.

~

@¥t. see

s

-

tJ-F2fd~

~

J'

are you go - ing,

where

go

e

Is.

fair

m

J' ing

to

the bank, to

~ ~ ~--f\-~ ,; .4 ~

the

~

he.

'1

am

J' S j: :} Lo

lee

~

For to

~

wa - ter glid - mg, hear the night - in - gale sing,

&3. . £E:;~ . J -.~ see

said

bank of

-t.~J~~-----}j 1

~

• the

- dy?'

'And

For to

f¥j t ~j] ~-

the wa - ter glid - mg, hear the night - in - gale sing.'

For melodic relationship cf. ***SFLQ II 154; **OFS 1 266, No. S8A, first six measures; BSO 230, No. 103 and BSM 241, No. D. Scale: Hexachordal. Tonal Center: c. Structure: abb 1a 1a 2 (2,2,2,2,2) abb1a 1 (2,2,2,4). The tonal center is the lowest tone.

=

14 No,

SIR

B

'No, Sir.' Sung by Jessie Hauser of Pfafftown, Forsyth county. Recorded at Durham, July 26, 1923. In the. basic melodic outline all three versions F18, F- I 9, and F-20 are alike. F-I9 is the only one that does not repeat the phrase of the chorus. r These are the actual sounds produced while the singer states an emphatic "No" in the fourth measure of the I chorus. sir. No,

~

E

tW

---

~

16

NORTH CAROLINA FOLKLORE

F-18

2. 'My

~. fore

fa - ther

he went to

to

And,

sea - man,

Span - ish

a

be-

~)~"I" ll~=td =: .:4' j.

t

sea,

all

you

said to

~1~ no,

no, sir,

Told me

to

be sure and an - swer Faster

!;=t-,1¥.1 J

tt--.---)~lEt 'N0'

was

sir,

For melodic relationship cf.

me. '

No, sir,

no,

***OFS

III

~ ~

j

No,

sir,

sir,

no,

sir,

no.

no, sir,

104, No. 385.

=

Scale: Hexatonic (4). Tonal Center: c. Structure: abacdd1 (2,2,2,2,4,4) aa1bb 1 (4,4,4,4). The tonal center is the lowest tone.

B(I) 'No, Sir.' Also with the title 'The Spanish Merchant.' Sung by Mrs. Ewart \Vilson. Recorded at Pensacola, Yancey county, September 1929. Excepting the chorus, F-18 is almost identical with this version. F- I 9

~ 2 1 J§~~==.=4'

~J\:::t::1~J'==-+--~.i--'-~~ ~? t§

J:==\:=!::J?=='

2. 'Fa - ther

lEf· fore

a

Span - ish

--

mer - cha.nt,

be

And,

J?"

~--+-~-----,~_.~

-

J\

- -

he went to

an - swer

no,

was

•

sir,

'No'

no,

to

sea,

sir,

me

to

be

sure a.nd

~

you said to

all

For melodic relationship cf.

Told

No

me.'

No,

sir,

CSlJI~

··OFS

no,

III

104, No. 385.

sir.---

COURTING

17

SONGS

= aa1b

Scale: Heptachordal. Tonal Center: c. Structure: abacd (2,2,2,2,6) (4,4,6) =tnm1n bar. The tonal center is the lowest tone.

=

D

'No, Sir.' Sung by Miss Aura Holton. Recorded at Durham in 1921 or 1922. First two measures remind one of 'Last Rose of Summer.' F-2o

•• 'Tell

me

:=@=-r';;;J: why

iJ' 0 oh tell

why,

r\ ~

~

§) J

me

tru

- ly,

Tell

me

J\ ~----t----------., ~ ~

J,...---?

you scorn me

ques - tion,

No,

.

•§ ~

That each

I

time

ask

a

££J-+--J-k£-t--I .... ~~~x!::=1 an

al - ways

You

sir,

so.

No?'

J~

sir.

no,

- swer

no,

sir,

sir.

no,

For melodic relationship cf. ·OFS III 104, No. 385. Scale: Heptachordal. Tonal Center: c. Structure: abacd (2,2,2,2,8) aa1bb (4,4,4,4). The tonal center is the lowest tone.

17

I

WOULDN'T MARRY H

'I'm Determined to Be an Old Maid.' Sung by Mrs. Ewart Wilson. Recorded at Pensacola, Yancey county, in 1929. The MS score taken down by Miss Vivian Blackstock as mentioned in III 32H, could not be found. The tune for the stanza also serves for the chorus. For additional varied text cf. FSF 156-7. F-2I

_


~.~. t Jd. J'~ ba - by--

~ They

~

They-

~

chris - tened

chris-tened me Ros - in

E==J me

Ros

the

a=r77 r ' /' J\ and a chick chick there, And

chick chick here

l°S

LULLABIES AND NURSERY RIIYMES

@ •~ •~ here

iF

!

J'

J' ~ Old Mc - Don - aId had

Scale: Mode III, plagal. == aaba (4,4,4,4)

chick.

chick

where

i

E

farm,

For melodic relationship cf. *OFS 2,2,2,2,2)

- 'ry

~ .. e ..

Iil.

J? a

~

~

~

ev

chick,

chick, there

a

f}

J~

III 211,

o.

No. 457; GBFS 126.

Tonal Center: g. Structure: ababcc1ab Reprisenbar or "rounded chanson."

==

(2,2,2,

c 'Oh, Grandma Had Some Very Fine Geese.' Sung by Mrs. Minnie Lee at Alliance, Pamlico county, in 1927. The beginning of our tune is identical with that of 'Yankee Doodle.'

F- I 43

f¥t

J ~d==1

Grand-rna

has some

ver - y

fine

lbl J

stock That

Ma - ry

~ ~l-+----lIE.--_;_~_;_~ } }~- .J-~--1,,-'feeds

~

in

the filt.

£

quick - quack

~

mom - ing. With a

l there

J\ I And

~ ~~--s: Iil.~ t--jt---~~

quick-quack here

~~ • •ev • then a• ~

~

.. .. 'ry

and

~

quick

a

J\ and

.~\ EE=t==-~ l ==

~

ev - try now a quack, And quick, quack, quack in the mom - ing.

Scale: Mode III, plagal. Tonal Center: g. Structure: abatcd is the internal incrementation of the second phrase.

(2,2,2,2,2); C

D

'The Merry Green Fields of the Low Lands.' Sung by Miss Elizabeth Walker at Boone, Watauga county, in 1936. In the printed text of this version (III 176) the fifth line of the stanza given in the MS score was omitted.

106

NORTH CAROLINA FOLKLORE

F-I44

F~rss~t=tJL~ My

grand - fa - ther has some

ver - y

fine ducks

t tag §ELLJ-J,------mer - ry

green

fields

~=J

of

1:

quack - quack here

and

- lands. ~

He r

quack - quack there

a

the

td

i'"

~

low

the

In

With

a

ffiSF

And

here

a

t~ G C C ~:::::t;-s~-=-----=--~~----1l"'quack

and

there

quack.

a

And

ev

-

'ry

now

and

~-I--~-LJ-C-C-C s ] then

a

quack. Oh,

say,

bon - ny

will

las - sie,

you

~I-t~~ go

with me

To the bon - ny green fields

For melodic relationship cf.

**OFS

Scale: Hexatonic (4), plagal. (2,2,2,2,2,2) aa1 a 2 (4,4,4).

III 211,

Tonal

=

of the

low -lands?

No. 457, measures

Center: c.

1-8.

Structure: aba1 ca2 b1

128

Go

TELL AUNT

PATSY

'Old Grey Goose.' Sung by Miss Clara Hearne at her home near Pittsboro, Chatham county, for this editor in May 1954. The text variations are given below. For the source of this tune cf. WSSU 173-4. F- I 45

~! ]11 Go

~

Go

tell Aunt "-

J'

J

Pat - sy,

l$j

tell Aunt

Pat

J~'.

-

sy

~t-==l~~i' ~ ----c--~ ...I j Go

tell Aunt

~ J\

The

:j.l"

j\

Pat -

~'

old gray: goose is

sy,

~ dead.

LULLABIES AND NURSERY RHYMES

1°7

For melodic relationship cf. ***WSSU 173; Texas FS 263; OSSG 3; SharpK II 345, No. 236; SNSAM 3. Scale: Pentachordal. Tonal Center: c. Structure: abalc (2,2,2,2) (4}4). The tonal center is the lowest tone.

= aa1

2nd stanza: The one she's been saving To make a feather bed. 3rd stanza: The old gande.r's mouring Because his wife is dead. 4th stanza: The goslings are weeping Because their mother is dead. 129 THE

Fox

AND THE GOOSE A

'The Fox and the Goose.' Sung by Mrs. A. J. Greene at Heaton, Avery county, in 192 1. The tune very nluch resembles that to 'Little Brown Jug.'

F-I46

~I----+-J---J-m::::::::~J\==:::J\::==~~.~ lJ The

fox marched forth

one

moon - shin - Y

&a_I. ;~-lI;J~?--.J-;~ C· stood

up - on

e

his hind - legs,- much

night;

He

§~@

a - bout right;

'Some

J meat, some meat

I

must have

this

night

Be - fore

I

~·t£EjJ~ leave this town - e -

0,

Be - fore

I

Scale: Heptachordal, plagal. Tonal Center: c. ab (4,6) ; b is terminally incremented.

=

leave this town - e - 0.'

Structure: abcbld (2,2,2,2,2)

130 THE OLD WOMAN AND HER PIG B

'The Old Woman's Little Pig.' Sung by Mrs. Mattie E. Buckner at Asheville, Buncombe county, in 1920. There is another recorded version of this tune

108

NORTH CAROLINA FOLKLORE

sung by H. Eggers, which is identical with this. The only difference is in the singing. In the latter version the male singer very noticeably closes his lips when singing Mm-Mm-Mm. The only variations other than that are the slight rhythmical modifications due to the varying text. F-I47

~EjdL.-E.-l~--.z. a=Ff+m There

was

=ih ~

an

old

m

::r=:::±:: hE~~.

There

rom-rom-rom

~~ jJ:' had

wo - man who

was

J\ J\ J\ ~

had

a

lit - tIe

~

pig,

C

r=-t-E?§j

an

old

wo - man who

~-----L§

a

lit - tIe

pig,

Did - n't

eat

for

much

it

~l~m ~ was - n't

ver

-

y

big,

For melodic relations cf. ***SharpK

mm

II

-

mm

-

rom.

343, No. 23SA; SHP 8; AFSCh

102.

Scale: Mode III. Tonal Center: d. Structure: abcab (2,2,2,2,2) (4,2,4) . The tonal center is the lowest tone.

==

aba!

132 BOBBY SHAFTOE

Record destroyed in transit to Library of Congress. Cf. remarks in III 183. The earliest title of the tune is 'Brave Wully Forster.' Cf. Whittaker 20.

133 THE PRETTY PEAR TREE

'The Pretty Pear Tree.' Sung by Mrs. Ervil1e Ingram Chamberlain. Secured in 1924 by Mrs. M. M. Moore at Raleigh. For additional texts cf. JFSS III 276, FSEK 6-7; PSL 73-5; FSF 4 19. The MS score had to be changed to bring order into the musical structure. As given below, the total melody covers the first and second stanzas as printed in III 184, No. 133. This then, naturallYt had to be the basis for our analysis of the scale as well as structure. F- I 48

tt=J

What

~ is

~

out

~ in

~ ~

yon

field?

There- stands

a

pret- ty

LULLABIES AND NURSERY RHYMES

~__j4~~~_J_JI

j pear tree, Pret - ty

~

tree?

A

pear tree with

ve - ry

1°9

leaves.

pret - ty

limb,

What

is

on- the

M¥ttt1J Limb on

the tree,

~-----!t J Tree

in

in the beau - ti - ful

the ground. Out

~ tl~

field

There

tdd J ~

stands a pret - ty pear tree, Pret - ty pear tree with leaves. For melodic relationship cf. **JAFL XI 272, measures 1-4 of chorus only.

Scale: Tetrachordal. Tonal Center: g. Structure: abaacab (3,5,3,3,2,3,5). Structurally, one of the most unusual melodies. Whether or not three initial measures (9-11) have been omitted (measures 12-14 certainly are identical with the first phrase) cannot be asserted. Nor can one be certain whether or not the eighth measure was shortened. In any case, the melody as it was given in the orginal score defied any really musical structural analysis.

135 THERE'S A HOLE IN THE BOTTOM OF THE SEA

'There's a Hole in the Bottom of the Sea.' date given.

Sung by G. Smith.

No place or F- 1 49

~~~-+--j--+~~-'~----+~---P.-J'=g--t-~. There's

~ There's

a

hole

in

the

. .

bot - tom

of

-~~JJ---\--!I---.---~_~~~I .'~ ....' ~ ---::.

----"-~!!

- - - - - E . - - - ' I ! < . - _- - - - - - -

a

hole

in

the

bot - tom

• -

of

the

sea,

~ ~ ~~--6

the

•

sea.

~~i~E-~s~--'!-'----~-'=OO-.

§

--+-J-----,'

There's a

There's

hole,

a--

hole,----

~. ft1==t---t~,--..Jr--~---~----t~ There's a

hole

in

the

bot -tom

of

the

sea.

110

NORTH CAROLINA FOLKLORE

Scale: Heptachordal, plagal. Tonal Center: g. Structure: aabc (2,2,2,2). Taking bc as 'concluding song,' we have mm 1n (2,2,4) = barform.

136 JOHN BROWN HAD A LITTLE INJUN A

'John Brown Had a Little Injun.' Anonymous singer. given.

No place or date

F-ISo ~

~

~-'-~-'J-ml------+-~---1 John Brown

&f J\ had

had

lit - tIe

a

In - jun,

r1-~ a

lit - tIe

In -

jun,

lit - tIe

In - jun,

For melodic relationship cf.

Had

a

;gg-4JI-~

John

t~_LL-§\ l i

John Brown

Brown

9

lit - tIe

had

a

J §~ In -

jun

***Ford 74; APPS 219; JAFL

boy. XLIV

9.

Scale: Irrational (4,6), plagal. Tonal Center: e-flat. Structure: abac (2,2,2,2)

= aa1 (4,4). 137 BINGO

No record of Dr. Kemp B. Battle's singing (cf. III 187) and no MS score has been found. A tune can, however, be found in the group of Games in the present volume (G-46) .

139 THE VOWELS

'The Vowels.' Sung by Miss Jean Holeman at Durham, in July 1922. The phrase of eight measures is repeated for the remaining four lines given in III 188, No. 139. Likewise, of course, for the rest of the alphabet.

LULLABIES AND NURSERY RHYMES

III

F-151

,~~B - aba,

b - e

B - i

be,

bick - a - bi,

B -

bo,

0

@P=fB$?~ l rw~~ bick -a - bi - bo,

B - u

For melodic relationship cf.

bu, bick-a - bi - bo - bu.-*OFS

IV

402; FSoA 141.

Scale: Hexatonic (6), plagal. Tonal Center: f. Structure: abc (2,2,4). One of the instances where the last four measures cannot be subdivided only to force one more cadence. procedure.

The text, however, would readily lead to such

142 OLD WOMAN ALL SKIN AND BONES

A

'There Was an Old Woman.' in 1920.

Sung by Miss Tina Fussell at Trinity College,

F- I 52

~---J~-.-~ There was

an

old

wo - man

all

skin and bones

00-

00-

~~ !~J.~;tD 00And she was full of pains and groans. 0 0 - 0 0 For melodic relationship cf. *FSONE 45, beginning only.

Scale: T'etratonic (4), plagal. Tonal Center: g. Every phrase cadences on 1.

= aa1 (4,4).

00.-

Structure: aba1b

(2,2,2,2)

B

'There Was an Old Woman All Skin and Bones.' This is a second version sent by Miss Tina Fussell. Although the informant says, "But this revised text does not really differ much from A," the melody certainly does. F-IS3

@§ j£l t J'

p

There was

an

C ~ she

was full

old

wo - man

00

of

pains-

all skin "-

I'

and- bones

And

~

and groans.

00-

00-

00.-

112

NORTH CAROLINA FOLKLORE

For melodic relationship cf.

*FSONE 45, beginning only.

Scale: Mode III, plagal. Tonal Center: g. unusual six measure phrase.

Structure: abc (2,2,2).

An

F

'Old Skin and Bones.' Sung by Miss Jennie Belvin at Durham, between 1921 and 1922. The beginning reminds of 'Maryland, My Maryland' or the German '0 Tannenbaum.'

F-I54

There

was

an

old

wo - man

~ j _J~_.~~:~~ skin and bones,

~/ ....a==t. -

There

was

all

skin and bones

"'"""""

old

wo

skin

and bones,

All

~f~

f

~ J\ l' an

all

~ - man

um--------

ltd all

J\ J\ ~ skin

and bones,

~ All

-,sfJ~~d~ um-------skin and bones,

all

skin

and bones

,-Tttx3=E==~ -.And

she

went

to

the

For melodic relationship cf. **FTM 43, measures 3-6 with our 4-5; *FSONE 45, beginning only. Scale: Mode II, plagal; Tonal Center: d (m). Structure: abcabc (2,2,2,2,2,2,)

= aa (6,6).

145 WHISTLING GIRLS AND CROWING HENS

'Grandma Grunts.' Sung by Miss Claire Burleson and Joe Powles at Crossnore, Avery county, on August 8, 1940. F.C.B. notes: "I think that although Clarice's home is near Asheville, she learned most of her songs at Crossnore. She is about fourteen years old." The best reason why boys may whistle and girls should sing is found by listening to this recording. The proverb "In unity is strength" should here be changed to "unison."

LULLABIES AND NURSERY RHYMES

113

F-I55

~_-4t-4-~-~+--?- ..~?_'-;--~---}& t~ Grand - rna Grunts said

a

cur - ious thing: Boys can whis - tIe,

J~ J f ~ I

girls must sing. That is what

but-

heard her

say,

~t~bJ--b-~-Pr?-J-f\-?-J+-?-;-Pt-~----flllr-1~ } f.

t"----I3rt--PI]'..--..J-S8j ; 'Twas

·~o

no

long - er than yes - ter - day.

whistle

-.-/

Girls

must-

For melodic relationship cf.

!

§go. _

"

)~

sing

Boys can whis - tIe

......./

J' • =--:-----i-----i__ ~

tra-

Is - Is - la.

***MSNC 36.

Scale: Tetratonic (4). Tonal Center: e-flat.

Structure: ababab 1

(2,2,2,2,2,2)

== aaa 1 (4,4,4). The tonal center is the lowest tone.

1 47

How I

LOVE THE OLD BLACK CAT

'How I Love the Old Black Cat.' Sung by Miss Mary Strawbridge at Durham in 1921.

F-IS6

t, J' J'" l' it" ~ ~~ _-+-I_t-=-----:---~.:::--~~_1III~l-i~ }\ " -~_-.JII~-.JII~-_-.JII~---4J-------4J-----'-&=-+-~-'

~ -t

•

Who

so

~

full

of

fun

~J

and glee?

Hap - pyas

e Et

J\ J~ •~ J\ - ~ -.----,.J-----:.~~--+-J~

can

be,

Pol- ished sides

so nice and

fat,

@~ l l- l ~~) old black cat!

Yes,

I

do.

a

---

How I

t

C-

Poor- Kit - ty,

love

cat

~ the

k¥=¥= oh, poor

~--;-J~ --+J-.-J'~E~- f=t222U ~ kit - ty,

Sit - ting

so

co - zy- close

by

the

fire,

NORTH CAROLINA FOLKLORE

114

,

1":'\

§ ~? l' J\ I :J

~P e t E l t ---

Pleas - ant, purr - ing,

pret - ty

,

puss - y,

J\ full

Frisk - y,

of

1":'\

@P J:

J'

fun

and

~

J?

How

I

F=M fuss - y,

;J

love

J'

the

J\

J'

old

~§

"

~'~~

rat,

of mouse and

full

Mar - tal

t· 1

~

J\ ~. '1

I~

black cat!

Yes,

~

Jt4J

I

do.

Heptachordal, plagal. Tonal Center: f. Structure: aabcc1a1ab (2,2,1,2,2,2,2,1) = aba 1 (5,4,5). The refrain "Yes I do" of both stanza and chorus extends each phrase one measure, 9 and 5 respectively. Scale:

149 THE COBBLER

'Walking Up and Down One Day.' Sung by Carl G. Knox at Durham in 1923. "Rap-a-tap-tap-tap" seems to be the refrain. There are no more stanzas given. F-I57

Walk - ing

up

and

down one

day,

I

peeped in

the

)~ win - dow

0

-

ver

the

through and through, There sat

way.

a

Push - ing

nee - dle

his

J~

cob - bIer

mak - ing

a

shoe.

&J:~J:~ 'Rap - a - tap - tap - tap,

way

to

make

a

tick - y - tack - y - too,

shoe.

This

is

the

Rap - a - tap - tap - tap,

LULLABIES

115

AND NURSERY RHYMES

~1~J~ This

tick - y - tack - y - too,

is

the way

Scale: Tetratonic (4), plagal. Tonal Center: g. (2,2,2,2,2,2,2,2) aha 1b (4,4,4,4) .

=

to make a

shoe.'

Structure: aa1 hcaa 2hc

150 SCOTLAND'S BURNING

·Scotland's Burning.' Anonymous singer.

No date or place given. F-IS8

~J~J~ Scot-land's burn-ing, Scot-land's burn - ing, Look out,

Fire! Fire!

Fire! Fire! Pour

For melodic relationship cf. ures.

on

wa - ter,

pour on

look out,

wa - terl

.·.FSONE 283, except the last two meas-

Scale: Tetratonic (4), plagal. Tonal Center: f. Structure: abcd (2,2,2,2).

151 STEAM

SHIP

·Steam Ship.' Sung by Miss Kate S. Russell at Roxboro, Person county, in July 1923. F.C.B. notes: "Tune-Goodbye, My Lover, Goodbye." For text of refrain cf. Victor Herbert's ·1 Can't Do the Sum.' First eight measures are almost identical in melodic line with that of ·Polly Wolly Doodle.' The tune takes in three stanzas of the version given in III 197. There is a definite elision in measures 19 and 22. Judging from the fairly complicated structure, this does not seem to be a real folk song. F-IS9

~L----f""E--tCl---t--r----1 a

If

,

j

steam - ship weighed ten - thou - sand tons

JJ

sailed five

And

id~1-------~~-~~~_J_\

t hou - san

ml es-

Load - ed down with boots and

NORTH CAROLINA FOLKLORE

116

~

PC lR>~) } ~

ltr

shoes And

lots

of

oth - er

things;

If

the mate

was each

~-J,---------.,itJ-----+---~-~--+-~-£1 J,~

take

;i' J\

~ J\

~ ~~

a

~ be;

my

bird

as

can

I

J~

!¥ ~

~

the

top

of

I

I

4 i ' -~-fI--.--

yon

tree

,~ l l J~ J\ I ~ D ~ ~. r£E..-.E...-..--E--E------.-~--t---7+-:-Where

the

bad

boys

can

nev - er

both - er

Scale: Pentachordal, plagal. Tonal Center: f. Structure: aa 1 (6,8).1

2,2,2,2)

=

me.

a 1bcaa2b1c1 (2,2,2,

From the first cadence of the stanza (on II), it is quite evident that the real first phrase somehow was lost sight of. This is borne out by the chorus, which is a regular eight-measure phrase. Further proof is the text of version H as given in III 296. Therefore, it was decided to classify the actual first phrase in the score as a 1 of a potential a. 1

NORTH CAROLINA FOLKLORE

180

256 ALL ROUND THE MOUNTAIN, CHARMING BETSY

B

'Charming Betsy.' Sung by Andy McGee of the Forks of Sandy Mush. No date given. Two, three, and two four-measure phrases; the elisions in the third and sixth measures are evident. Compare measures 7-10 with measures 56 of F-250 and with measures 13-14 and 17-18 of F-262. Likewise measures 7-10 with 5-6 of F -253. F-2 55

l J~J\-t-I-f"'"-s---J~---J\--J-t->--\Eb--~ ~~

_

-=1--9

It's

all 'round the moun - tain, charm - ing Bet - sy,

It's

'!1++F+§~b- f'""S-- ,.Jt-\~-----J~ all 'round

the

moun - tain, Co - ra

~~

Lee;

if

And

~+-.

I

~

~~-~-t:-i=J~ r~ nev - er

more see

you,

For melodic relationship cf.

Dear love,

*OFS

III

me.--

185-6, beginning only.

Tonal Center: a.

Scale: Hexachordal, plagal.

re - mem - ber

Structure: abcd (3,3,4,4).

c 'All Round the Mountain.' Anonymous male singer of Alliance, Pamlico county, 192 5. F- 2 56

~~~

•~ ~

!02 b

~!>_.

~

"'

~_.--_._-_--:--=--.::::..:::-_--~----~---.--~--~

(.)

Go

in' round

the

moun - tain,

charm - ing

~ - :-..~.-~----~~----J\_+--+J-'-J-I?---.J"-'-..J.-?Bet - sy,---

Go - in' round

the

moun-tain, Co - ra

{I j M J\ ~,±l) @Ftt---~~ Lee,--

And-

if

I

can't

ev

-

er

J?"

J\

J?'"

see you an

- y-

181

FOLK LYRIC

~

j more,

tb!kSid-t=O LJ=it1§S3J

Then-

pray, Lord,

Scale: Hexatonic (4), plagal.

re - mem - ber

Tonal Center: g.

me.---

Structure: abcd (4,4,4,4).

D

cGoin' Round the Mountain.' Sung by Mrs. M. M. Sutton, of Lenoir, Caldwell county, in 1926. The elisions after measures 3, 6, and 9 are evident. Note the four three-measure phrases. F-2S7

t=w J

Miftl S C~

Goin'round the moun-tain, charm - ing

Bet - sy,

~-----f-'-'s s LLJ J\ J moun - tain,

CO

-

ra

Gain' round

Lee;

Goin'round the

J\

pL J\

the

moun- tain,

~l J.ll: ~J ~ charm - ing Bet - sy, When I'm dead and gonp,. t.hink "f me. Scate: Hexatonic (4), plagal. Tonal Center: f. Structure: aa 1ab (3,3,3,3).

258 THE FALSE TRUE LOVER B

cAs I Walked Out Last Christmas Day.' Sung by C. K. Tillett at Wanchese, Roanoke Island, on December 29, 1922. For additional texts cf. SharpK II 115, No. 1I4E; BT 119; BB 44; AFM No. 23; JAFL LXVII 383; FSRA 128 (observe here the wrong time signature: 6/8 instead of 3/4). For a parody of the second stanza cf. Texas FS 234-5. F-2S8

-

~

f As

~ last Christ-mas

I walked out

day,

EE

A - drink - ing

j

51

of sweet

~t-+J=

@d. wine,

j

I twas

there-

1-- spied that pret - ty

lit - tIe girl

NORTH CAROLINA FOLKLORE

Em That-

-----F~ J mine. She heart of

~

stold this

~

F441

looks just

like some

~~JP~·J~ in - stru-ment That's just been put

:J:=i.

11~-~

~

in

tune;

She

~~

I

looks

just-

--==+=:=f-===Il

~-r-~~-~~lJ'~n-~ like some pink or

a rose

That blooms in the month of

June.

For melodic relationship cf. *FSEK 45, No. 29, first two measures. Scale: Mode III, plagal.

Structure: abab (4,4,4,4).

T'onal Center: g. D

'Should I Prove False to Thee.' Sung by W. and Clarence Greene. No place or date given. The recording was kindly supplied by Dr. Amos Abrams. For additional texts cf. SharpK II 96, No. I09A (The sixth stanza is similar); ibid. No. 1I4A and II4E. F- 2 59

~Ecl4!

II

I

roved,

~ ...

I

R I~.

of

J 21Jj

J?

-fl-

~

all

j

~

-

-t

win

•~ a

A - court - ing

l' t=;@l.

miss Who broke this heart

of

~

- ter night

roved

sweet wine,--

~lJ ...

t

.

I "-""

]JJ-~ A - drink - ing

~ ___$J~===l pret - ty lit - tIe

~~ j oJ-

J\

~

~

mine.-Though storms may roll the

@l~-~ o - cean,- The

heav-ens may cease

to

be,-- This earth would

to-J1J~-4b~.~ D lose

its

mo - tion, my love, Should I

prove false

to

"'-"'"

thee.-

FOLK LYRIC

Scale: Heptachordal. Tonal center: c. Structure: Reprisenbar. The tonal center is the lowest tone.

aa 1 ba 2

(4,4,4,4)

=

2nd stanza: 'Oh! Who's goin' to shoe my pretty little feet, Oh, who's goin' to glove my hand, And who's going' to kiss my ruby lips When you're in far off land?' E

'Who Will Shoe My Pretty Little Feet?' Sung by Mrs. N. T. Byers of Zionville, Watauga county, July 24, 1922. There is no tune for the chorus, but the latter, with negligible adj ustments, can be sung to the tune of the stanza. For additional text cf. SharpK II 113, No. 1I4A.

F-260

~j

~

2. 'Who's

;~

~

1

gon - na

shoe

19~:.--,.~J..t--:-~7-~ s e

my

pret

-

ty

lit - tIe

feet,

~b1~f-Jl Who's

gon - na glove your hands,-

@gt -; red,

Who's gOll - na kiss

; J m==?

ros - y cheeks, When I'm

For melodic relationship cf.

in

;~ J a

far

j'~ off

your

~ land?'-

***Texas FS 59.

Scale: Tetratonic (4). Tonal Center: f. Structure: abac (2,2,2,2) = aa 1 (4,4) . The tonal center is the lowest tone.

259 I'LL HANG

My

HARP ON A WILLOW TREE B

'I'll Hang My Harp on a Willow Tree.' Sung by Dr. 1. G. Greer, Boone, Watauga county. No date given. Compare measures I -2 and 5-6 with 'There is a Tavern in the Town.' F-261

@-mr' I'll

hang

my harp

on

a wil - low

trep,

A - dieu, kind

NORTH CAROLINA FOLKLORE

t~=-lj.~ friends, a

weep - ing

dieu,

a

dieu.

wil - low tree

I'H hang my harp

And may

on

a

the world go well with thee. Structure: abcb 1 (2,2,2,2) . The

Scale: Hexatonic (4). Tonal Center: c. tonal center is the lowest tone.

B(I) 'I'll Hang My Harp on a Willow Tree.' Sung by Dr. 1. G. Greer, of Boone, Watauga county. No date given. This is a second and totally different version given by this informant and consists of stanza and chorus. Compare measures 13- 1 4 with 5-6 in F-250, F-251, F-252, and F-253. F-262 CHORUS

_J_.-.-~~ -===S~i~} }~_i I'll

hang

~--

my

harp-

the

on

wil - low

~

J }} j ~ B---==-±=:a ~-.IE~_--lE.-J!----,J!~. ~.~ off

to

the war

~~

The

bat - tIe - field

no

I'll

be

=a FJ

l=+-:J"

a - gain.- My peace - ful

-='~-4-~J'J..-A@ charm for me;

J

tree;

'-home- has

no

I

Ia-dy

pain.- The

~

~~i tiiiii-~t-=jEjj---4J--=-?~~~~•~ ~ ~ love- will

soon

be

t4

a bride with a

di- a - dem on

~

her

,~

¥JE=~I----~l~±8l----f1L.r~s-J-Pr-.----I~~_.J~? brow.-

Oh, why

did she flat - ter

my

boy - ish pride? She is

~~.j~f ~_...>IL--,--_.. '""",,).~c---"(-~~ goin'

~

boy

to

leave

~===J'~

- ish

,

me I':"'-

'"

~

pride? She

now.-

Oh, why

did she flat - ter

gJ

t=i' J?~

is

to

goin'

le~e

Jp\ me

my

~ now.-

FOLK LYRIC

Scale: Heptachordal, plagat. Tonal Center: g: Structure: ababcdefef (2,2,2, 2,2,2,2,2,2,2) == aabcc (4,4,4,4,4) = strophe plus inverted barfonn, or vice versa.

260

RED

RIVER VALLEY A

'Laurel Valley.' Sung by Bascom Lamar Lunsford, of Turkey Creek, Buncombe county, probably in 1921. Another title given by singer: 'Sherman Valley.' For additional text cf. MAFLS XXIX 74-5. F-263

~-t R~-s---I"'"-~-E&l f~ ttl 3. I

have wait - ed

a

long time, my

dar - ling,-

~~e~S-4-~-S=:=S[_J -Wt-S~S _e

word

you nev - er would say,

But

For the

r_s=::a±€

-1--1

a - las,

my poor heart

_ l l ~---nt§f-------J\J:----J~S~~~~ it

is break - ing,

For they say you are go - ing a - way.

l§ Then con - sid - er

~# S r

has - ten

to

bid

a while ere you leave me.-

me

a - dieu,

But

Do not

re - mem - ber the bright

~#=tSMt7;s l 1 §2l I J Laur - el Val - ley- And the

girl who has loved you so

true.

For melodic relationship cf. ***Texas FS 190-3; **SRA 177-8 ; PSL 463; ASh 130-1; OFS IV 201-4; *SHP 45-6; FSUSA 620, No. 65. Scale: Hexachordal, plagal. Tonal Center: a. 2)2,2,2,2) = abab (4,4,4,4).

Structure: abcdabcd (2,2,2,

B

'Sherman Valley.' Sung by Miss Addie Hardin, Nick's Creek, Buncombe county, July 1922. The chorus of this version is not a mere repetition of the stanza as in the previous version.

186

NORTH CAROLINA FOLKLORE

F-264

~-gl From this

me you are

val - ley they tell

go - ing.--

tr-~..,.J....--J\ j-----l~r\--J,..l-:'~*-l~ How I'll miss

your blue eyes

For

and bright smiles!

you

~;~-~f car - ry

with you all

the sun - shine-

That has bright-ened

f1ti

4:1J

l ~-x-t--f-g::ggc ~ §

my

path- for

a

while.

~-4tt-~t=,J

"1

ere you leave me.-

a while

Let's con - sid - er

;¥4M J l ~ Do

not has - ten

to bid

me

a-

~ .;cJ-~-~.---/Ilr-!,-ml-

When you're far,

far

a - way from this

l tJ

val - ley-- And you're

FOLK LYRIC

~-----1:--~~----+-r~s-+#¥@~·---c~sm c , think - ing

of loved ones at home,

~ ~ \ l~ I. ;:-~

J--:-J

Re - mem-ber that you left

~ l-8 l ~ ~D ~~------EEB

one be - hind you- That will love you wher-ev - er you'll

roa~.

For melodic relationship cf. ***Texas FS 190-3; **OFS IV 203, measures 1-4; SHP 45-6, measures 1-4; BTFLS III 93, NO.4; *ASb 130; SRA 177-8. Scale: Hexachordal, plagal. ab (4,4).

Tonal Center: g.

Structure: abed (2,2,2,2)

==

263 THE PALE WILDWOOD FLOWER A

'Raven Black Hair.' Sung by Dr. 1. G. Greer at Boone, Watauga county, June 24, 1921. Another title: 'A Frail Wildwood Flower.' F-266

~

~

~~~J 1=j·W ~ I'll

twine with these locks

of-

ra - yen black hair

The

~

ros - es

80

~

J?'

J\

red

and

the

§t3 Ii

-

lies

.-e 80

y==?¥j

fair,

The

~

sg.....-----+or-~JJd myr - tIe

so bright with its

em

- er - aId hue,

And the

==~J\===:~~'J===~~}+¥l pale

Ar - me - ta

with eyes

of

dark blue,

And the

~-.~J\-J~\--I-~_--II---E~m==-1-~...""--~ jggj pale

Ar-me-ta

with

its

eyes

of

dark blue.

For melodic relationship cf. **BMFSB 49, the basic melodic line only. Scale: Heptachordal, plagal. Tonal Center: d. Structure: aabcc1 (2,2,2,2,2).

188

NORTH CAROLINA FOLKLORE C

'The Frail Wildwood Flower.' Sung by Miss Beulah Walton of Morrisville. Recorded at Durham, July 24, 1923. Observe the reversal of the melodic content of measure 3 in measure 6. F-267

@!!f§J l g~~l~ I'll think

of

i-. l=

~ ~ cease

fF

him nev - er, I'll

s=----t

this wild weep - ing,

be

wild-

and- gay;

l'~ :~

I'll drive Bor - row

yet

to

see

j=! won

him re - gret

El-

ne - glect

and

-

;$,

the

....9El

a - way.

t~~--t:t

live-

~

j

I'll

I'll

t l

dark- hour When he I':'

f ~ i

Ill..

-./

ed

frail-

this

~

wild - wood flower.

For melodic relationship cf. **OFS IV 316, No. 798A; compare melodic line of our last four measures with the second half there. Scale: Heptachordal. Tonal Center: c. Structure: abcd (2,2,2,2); d is related to a. The tonal center is the lowest tone. E

'The Frail Wildwood Flowers.' Sung by Mrs. W. W. Hughes of Jonas Ridge (Rip Shin Ridge), Caldwell county, June 30, 1940. Our text is a variation of the first stanza of the B version. There is considerable melodic relationship with the melody of F-266. F-268

~-----J---Js-§-_.-I~'--i--J -J-+---}fd I'll

fF

twine

mid

the

ring -

lets,

the

ray - ing

dark

J ~~j§ZL~

J-----f-. hair,

The

rOB - es

so

red

and

the

Ii - lies

so

FOLK LYRIC

J.

fair,

t J. hue,

The

myr - tIe

so

bright with

its

em -

J~

...I §.

A

The sweet

- rin -

J~

j

with eyes

thus

of

er - aId

dark

blue.

For melodic relationship cf. *BMFSB 48. Scale: Hexachordal, plagal. is related to a (ending) .

Tonal Center: c. Structure: aa1bc (4,4,4,4); c

267 THE WEEPING WILLOW

A

'The Weeping Willow.' Anonymous singer from Nags Head, Dare county. No date given. Contributed by L. W. Anderson.

is

f- ~~~E ~~

bro - ken,- I'm

in

sor - row, Weep - ing

~~\~r·~~ for the one

I

love;

I

know, I nev - er more shall see- him

~. J!-=f-) Jp. Till

we meet

in heaven a - bove.

~

~

m

J'@

Then bur - y

~ J j i i J' \

me

be-

~~

4f3¥i+t=t=t=

neath the wil - low, 'Neath theweep-ing wil-low tree. And when he

~LMJ.JlJ~ knows where I

am

sleep-jng, Then, per-haps, he'll weep for

me.

For melodic relationship cf. ***Texas FS 144-5; *BMFSB 40: AMS 56, beginning only; OFS IV 228-30, measure 2 only. Scale: Hexatonic (4), plagal. Tonal Center: g. (2,2,2,2,2,2,2,2) aha1b (4A,4,4).

=

Structure: abcda 1 bcd

NORTH CAROLINA FOLKLORE

19°

H

'The Willow Tree.' Sung by Miss Hattie McNeill at Ferguson, Wilkes county, in May 1920. The first line of the stanza is the same as that of the C version. F-27°

~. ~ _.

l\ly

_

J J-J-~ .-.--.-.

-

heart

is

sad

±=:~

i

~

~~

-,.I-.--~---f-J'_ _ - .I--

and

I

am

lone - ly

For

my

~St~-~~ Ie

___

sweet - heart's gone-

a - way.

He's

gone,

he's gone, he's

~~ ~~ ~~E:=~~~m=$D gone

for - ev - er,

He

no

long - er cares for

me.

For melodic relationship cf. ***BMFSB 40. Tonal Center: f.

Scale: Heptachordal, plagal. aa 1 (4,4).

Structure: aba 1 c (2,2,2,2)

272 I'M

TIRED of LIVING ALONE

The editor of III 320 says "With the tune." Record 10, however, which cOlltained this tune, was destroyed in transit to the Library of Congress.

273 You

WILL

LOVE ME WHEN

I'M

OLD?

A

'Will You Love Me When I'm Old?' Sung by Dr. I. G. Greer at Boone, Watauga county. No date given. For parody of this song cf. SSSA 30. F-271

I would ask

of

you my

~ fi~§-·4 I -/

low

That gives

go.

me man-y

Your love,

ques - tion soft and

t:J If J. ~ ~ a

heart-ache

As the mo - ments

~~f J. ~ S ~

.......,I

come and

A

dar-ling,

I

know,

is

truth-fuI,

Yet the

FOLK LYRIC

~ J ~#t-T-J J ~.~ ~ -~. tru - est love grows cold.

It

is

this

that I would ask you:

i== ;==m-.ettE J. 1 J"14d J § ~... ~...-./ Will you love

me when I'm

old?

Life's

mom will soon be

~"'

~.

14-·

S=L~=t~4-~

wan -ing

~

~. And its

heart will know no

C ~

ev - ening bells

sad-ness

~:1

be

If you'll love

Scale: Mode III, plagal. Tonal Center: f. (2,2,2,2,2,2,2,2,2,2,2,2) aaa l (8,8,8).

=

J~

d

And my

tolled,

me when I'm

old.

Structure: aba 1 caba1 ca1 ba t c

A(I) 'Will You Love Me When I'm Old?' Sung by Mrs. G. L. Bostic, near Mooresboro, Cleveland county, August 7, 1939. The text is identical with that of the A version. F-272

~ ~,-,tJJ4=l r 9 I would ask

of you, my dar - ling,-

low- That gives me man - y

a

~ T~~ ~3=pt come and go.--

Your love,

I

A ques - tion soft and

heart - ache-

f¥H±t know, is

As the rno-ments

j~ j ;,

truth-ful,-

i-J

But the

~--4-J~' ~ ~t~~kj¥; ~ tru - est love grows cold.-

It is

on - ly this my dar - ling:-

NORTH CAROLINA FOLKLORE

£ij£-flr--lj-t------t-L---ll~~~td"------+---"l -.I~

Will you love me when I'm

old?-

Life's

morn will 800n be

~-'~+--I.~-+-----N-~~l~ ~tiJ ~ -- ,. T=r wan - ing-

And its

ev - ening bells

be

tolled,- And my

'J~F!I@-~ heart will know no

sad - ness- If you'll love me when I'm old.-

Scale: Heptachordal, plagal. Tonal Center: g. (2,2,2,2,2,2,2,2,2,2,2,2) = aa 1aa 1 aa 1 (4,4,4,4,4,4).

Structure: aba 1caba1caba1c

c 'Will You Love Me When I'm Old?' Sung by Mrs. C. K. Tillett of Wanchese, Roanoke Island, December 20, 1922. The text is the same as that of the A version. F-273

_JJIJ.!~-~ I would ask

of you, my dar - ling,-

A ques - tion 8oft- and-

.

@~~ low

That gives me man-y

J

'-"

a heart - ache- As the mo - ments

~ lj -.fF:¥f=¥JJ. 1- ~ . ""-

come and

~.

go.

Your love,

I know, is

4;00. ; ~\ ""-

tru - est love

grows cold. And it's

"'-""

truth-ful,- Yet the

-.

this that I would ask you:-

. J ~-.J E-j@ Will you love

me when I'm

old? Life's morn will soon be

FOLK LYRIC

~f

'-"'"

wan - ing-

And its

II J ~

t

j§j;Em·

193

"-

eve - ning bells

be- tolled, And my

~j.I~!f§~ sad - ness- If you'll love me when I'm old.

heart will know no

Scale: Heptachordal, plagal. Tonal Center: e-flat. Structure: abcda1b1c1d1 ab1c1d1 (2,2,2,2,2,2,2,2,2,2,2,2) = aba1b1a 2 b1 (4,4,4,4,4,4). E

'Will You Love Me When I'm Old? Sung by Miss Hattie McNeill of Ferguson, Wilkes county, in 1922. Same text as in previous version. F-2 74

~tl Jffl I would ask

of

J

&t4~

you, my

dar - ling,

A

ques-tion soft and

_~.i£¥tJ~ low

..J

That gives me man - y

a

hearl-ache As the

mo-menta

~~Jlj·~SI come and

go.

Your love,

I

know, is

truth - ful, But the

~#r~~SS~ tru - est love grows cold.

I would ask of

you my

dar - ling:

~liEEFt r~ Will you love me when I'm old?

Life's mom will soon be

'~L!-bi4f ~ c H wan - ing

And

its

eve - ning bells

be tolled,

But my

f#ggrr~r~

heart will know no sad - ness If you love me when I'm old. Scale: Heptachordal, plagal. Tonal Center: a. Structure: abacdefgdefg (2,2,2,2,2,2,2,2,2,2,2,2) = aa1bcbc (4,4,4,4,4,4). This is indeed an outstanding

194

NORTH CAROLINA FOLKLORE

example for the fact that the musical structure in many cases does not conform to that of the text. Here, musically considered, we have an inverted barform, the first 'Stollen' of which constitutes the second half of the stanza.

275 SOMEBODY B

'Somebody.' Sung by Miss Gertrude Allen of Taylorsville, Alexander county. and recorded at Durham, July 26, 1923. F-275

~l-

;

Some - bod - y's

SI----1~~I----.l-~"d tall

and

hand - some,-

Some -

Some - bod - y's hair

is

~ ~_i~r~,~Ij>~~< bod - y's

fond

and

true,--

~==:J\=.z:...-S~~J---.," ~...:-.---;~_:...-J?----~'--ti~

...

~

rath - er

dark, And som.e - bod - y's

For melodic relationship cf. ***NASh 46; Scale: Heptachordal. Tonal Center: c. tonal center is the lowest tone.

eyes- are

too.--

** ASh 464-5.

Structure: abcd (2,2,2,2).

The

C

'Somebody's Tall and Handsome.' Sung by Miss Jewell Robbins of Pekin, Montgomery county, between 1921 and 1923. In the text given in III 325 C "very dark" has here become "rather dark."

'~g l f=§g-----4--~-~-+--!t¥b+@t 3. Some - bod - y's

tall

and

Some-

hand - some,-

"-'-"~~b --+-S-~~f §----.3!:S~J\ bod - y's brave and

true,--

Some - bod - y's hair

is

~P J f rath - er

dark,- And

some-bod - y's

eyes- are

blue.-

195

FOLK LYRIC

Scale: Heptachordal. Tonal Center: f. Structure: aab (2,2,4) barform. The tonal center is the lowest tone.

= mmn =

276 You, You, You 'You, You, You.' Sung by Miss Aura Holton at Durham. No date given. This editor would attribute such songs to the tidal wave of so-called 'semiclassics' published in the period of the First World War and thereafter. These rhymsters and songsmiths-as they still d24¥f; Is 1 i -} ~$D For melodic relationship cf. ***Ford 94; FSSM 53; *SharpK 247, first two measures only.

II

358, No.

21 5

FOLK LYRIC

Scale: Heptachordal, plagal. -= aal (4,4).

Tonal Center: d.

Structure: aa 1a 2 b

(2,2,2,2)

301 HIGH TOPPED

SHOES

A

'Those High Topped Shoes.' Sung by Herman Houck, Jefferson, Ashe county. No date given.

,

F-306

4. 'Oh, where'd you get those

~~ fits

fI?

so

J\. man

~ 'I

fine?'

And

high topped shoes, That

dress that

M=4i~ got those shoes

iti£==$ =; my dress from

from

a

rail- road

J\ J\ J\ J\ driv - er

a

in

gg:=o

the

Scale: Mode III. Tonal Center: b-flat. Structure: abalc (4,4) · The tonal center is the lowest tone.

mines.'

(2,2,2,2)

== aa 1

B

'High Topped Shoes.' Sung by Houston and Wiseman, Upper Hinson's Creek, Avery county, August 26, 1939. Compare our measures I, 3, and 5 with 5-6 and 11-12 of F-215 and observe the different use made of the same melodic idiom. F-307

~'---4-JttS~3'-I-f' -",~ "................. 'Oh, where'd you

get

your

high-topped shoes

And

l fl J dress

you wear

so

fine,

my

love, And the dress

the

4tJ-= you-

216

NORTH CAROLINA FOLKLORE

~JJJ wear

80

fine,- my love, And the dress

Scale: Mode III. Tonal Center: b-flat. tonal center is the lowest tone.

you-

wear

so

fine?'

Structure: aa1ab (2,2,2,2).

The

302 WHO'S GONNA LOVE

You,

HONEY?

'Who's Gonna Love You, Honey?' Sung by Miss Doris Overton, of Greenville, Pitt county. Recorded at Durham in 1922. F-308

_I-~i----J~.------iJj--:--\1 l ~ Who's gon - ns.

love you, hon - ey, when I'm

a - way?

~llJ~ Who's gon - ns,

~ J

stay and

J i J'

Who's gon - ns, look

say sweet things ev - 'ry

day?

t JEW. ~

in - to your eyes

di - vine? Who's gon - ns.

~l~J~ kiss those lips that

I

call

mine?- Whose gon - ns.

do those

~~~

Jll~ things I've done for

you? Whose gon - na love you when I'm gone?

Scale: Hexatonic (4), plagal. Tonal Center: g. Structure: abab1cd (2,2,2, aa1b = mm1n = barform.

2,2,2)

=

3°4 LIKE

'The Owl in the Desert.' county, March II, 1915-

AN

OWL

IN

THE DESERT

Sung by Mrs. Peggy Perry, Zionville, Watauga F-309

~~

--l

~

~-==

~ ~ ~ Like an owl in the des - ert 1'11- weep, mourn, and 1":\.

FOLK LYRIC

21 7

~·tl~ J JF?=i~ If-

cry;

love should o'er - take me

I

sure - Iy would die.

Scale: Mode III, plagal. Tonal Center: b-flat. Structure: aa1 (4,4). Circular Tune (V).

305 THE LONESOME DOVE

'The Lonesome Dove.' Sung by Mrs. Joseph Miller, Zionville, Watauga county, about 1922. Parts of our text can be found in SharpK II 197, No. 147 and in OFS IV 39-40 where, besides additional stanzas, the missing lines of the second and fifth stanzas can also be found. Another source for this is J AFL xxv 276, second stanza. F-3 IO

i= ~ J' s ~ ~r---...r---r-One

I§'

head

day while

a

in

a

lit - tie dove;

lone - some grove

For her lost mate

coo. It made me think For melodic relationship cf. *·JAFL the first four measures with our first two. Scale: Mode III, plagal.

Sat

XLV

Tonal Center: f.

o'er

H

my

to

be - gan

of my love, too. 83 and FSSH 267-8, in both

Structure: abcd (2,2,2,2).

3°7 I

LOVE LITTLE WILLIE,

I Do,

MAMMA

c 'Don't Tell Pa.'

Sung by Miss Jean Holeman, Durham, 1922. F-3II

~=;gt:~-'------+-'-J~-;-1-'----'" J?---im-.K--_J:K.--'--z-~~---fll~..---I --R-

I

have

t--~~ have

a

a ;~

new sweet-heart,

7~~ -.

new sweet-heart,

I

have,

.dd

a

ha,

mam -rna,

I

J'"

J

J\

ha,

ha,

I

218

NORTH CAROLINA FOLKLORE

~ -r have

a

)~

fff---L§

1= l

new sweet-heart, but

don't you

tell

Pa,

For

you

~~-""--i~ ~ ~ ~---?l ~ ;=--.--.--r=---~~~ J J :n know I can't helD it.: now can I Ma? For melodic relationship cf. ***BTFLS III 96, NO.4; **SHF 10; PTFLS VI, 227, the last three measures; *SHP 34; ABFS 327; EAS No. 32. The idiom of the second and fourth measures can also be found in F -312 and F313·

Scale: Hexachordal. Tonal Center: d. Structure: abac (2,2,2,2) = aa1 (4,4) . The tonal center is the lowest tone. E

'Sweet Willie.' Sung by Another similar to that in EAS strange mixture of 'tonal 1922 and 1924.

Carl G. Knox at Trinity College, Durham, between title given is: 'Don't Tell Pa.' Our text is very No. 32. Our melodic rendition manifests a rather thinking.' F-312

~Ei=Fw~ l !'==:J±=:E=E::;iB--t=I--\' ~tt=p=-------.-==-t=t--.-. --__~ I

love sweet Wi! - lie,

I

do, mam - rna.)

~;~.r~ J~J Wil - lie,

I

do,

mam - rna,

I

love sweet

R r \ ~ ~, ;~ hJr-----+-~-~~---c-~~ . . ----PJ?lr---.i I

love sweet Wi! - lie,

~ :+~1T-t

but

t l L~

don't you tell pa - pa, for he won't like it you know.Scale: Heptachordal, plagal. Tonal Center: c. Structure: abcd (2,2,2,2); all phrases, however, have something in common. Unusual beginning on II. The tonal center is the highest tone.

'Don't Tell Pa.' Anonymous singer. Neither place nor date are given. Another title given is 'I've Got a New Sweetheart.' This version is very closely related to F-3II. F-313

~~'-'~l~q 2. I'm

goin'

to

be

mar - ried,

ha,

ha,

rna - rna,

I'm

FOLK LYRI C

~

gain'

!71~ ~

~

•

be

to

~\

I

21 9

t'.

19

J?

~

but don't you

mar - ried,

tell

I'm

pa,

~ E=t=$d--J'-+--~--4--~§ goin'

~

to

J\ how

be

ha,

mar - ried,

Wi

J'

j'

help

it,

how

I

can

ha,

rna - rna,

Q -:

~

~?'"

I,

can

For

rna - rna?

For melodic relationship cf. **BTFLS III 96, No. 4· Scale: Hexachordal. Tonal Center: d. Structure: abab1 (4,4) . The tonal center is the lowest tone.

(2,2,2,2)

= aa1

309 POOR MARRIED MAN A

'Poor Married Man.' in 1922.

Sung by Alexander Tugman at Todd, Ashe county, F-3 1 4

~tL You

may talk

~ They are

~

~ ~

J\

ev - 'ry

J\

~

the joys

U

nice,

~ most

of

J - gree,

I'll

a

~

m

J'

II J

soon

~

'" j' • ~

to

be - gin;

m

the sweet

J\ J' while they

~

case they're done

with the things of the past. ~

of

too

j£j

I

•

hon-ey-moon;

tj last;

J\ J\ I But

al-

j£+&=

soon And

num-bered

'" J' ~

~

~?

M

The trials and the trou-bles are

J' §

Al - though you may do

j''~j what you

can,

220

NORTH CAROLINA FOLKLORE

~ '-+4 llW~ You'll wish

you were out

of the clat - ter and the din That

~ ; " J t l $.Ei+~ fol - low

~

the poor mar - ned man.

With the rack - et and the

l l [--+-J~----+-~~--+--+--t t' ~

muss

and the

troll - hIe

and

the

.~

fuss,

His

l' f tt=e c _llJ§_.~ hag - gard and

~i-§§ ev - er

he

You can

wan,

tell

t+¥@

j

goes That

he

is

J\

by

~

face

all

~

~

his clothes wher ~

~

J\

8EI

a poor mar -ned man.

Scale: Hexachordal. Tonal Center: d. Structure: abacabdc1abdc1 (2,2,2, == aa1abab (4,4,4,4,4,4). The tonal center is the lowest tone.

2,2,2,2,2,2,2,2,2)

A(I)

'Poor Married Man.' Sung by Miss Mamie Mansfield, at Durham, about 1923. Line 5 in our version differs from that of the A version.

F-3 1 5

~lj}~~ You may talk a - bout the joys

of the sweet hon - ey - moon;

~I }j=t==j l J ~ They are

nice,

I'll

a - gree, while they

last; - -

But

S1~lJ~J~l~ al - most ev - ery case they're done- too soon

~~l § w= ~~J with the things of

the

And num-bered

t t=) t+£j

past.- When trou-bles and sor - row are

FOLK LYRIC

sure to

~.

muss

be - gin;

221

Al - though you may do what you can,-

~~~, ~,~~ J and the

. .

trou - ble

and the fuss,

~\~ ~~? ""--

His

E.------'----

face-

all

~~~_lJ hag - gard and

wan-

You can tell

~---pg=#j l ev - er

he goes That

by

l l l

he

is

his clothes wher-

~~J D

a poor mar - ned man.-

Scale: Heptachordal, plagal. Tonal Center: d. Structure: aa1aa1aa1 (4,4,4, 4,4,4). B

'Poor Married Man.' Sung by Miss Beulah Walton, Durham, 1923. The beginning is the same as 'Old Kentucky Home.' F-316

~ J t==i ;IJ It

gives

j" E-§

him the blues when they're cry - ing

for shoes,

~ j~ jtt}dl---J+--.-iJ---r-,-1--1, Tho'

he

~ tell

by

does the

J? -~

ver - y

his clothes

best

that he

t----m

J

ev - ery-where that

can.

You can

~

he goes

That

222

NORTH CAROLINA FOLKLORE

£' he

and

is

~

fk§.. 1 1 ~

~

I

•

- ned

poor mar

a

the muss

and

the

man.

With

trou - ble

and

the

the

rack - et

fuss,

His

~~ J ). ].~,----Lj~ face

all

hag-gard and wan,

You can tell by

his clothes wher-

@~~~ ev - er

he

goes That

is

he

Scale: Pentachordal. Tonal Center: c. tonal center is the lowest tone.

poor mar - ned man.

a

Structure: aa 1aa1 (4,4,4,4).

The

3 10 THE BLACK-EYED DAISY

'The Black-Eyed Daisy.' Sung by Miss Jennie Belvin, Durham, in 1920 or 1921. This tune presents an interesting phenomenon: two different singers and two different songs. And of all the different versions of 'The Gypsy Laddie,' (IV 84-91) there is one which uses the almost identical melodic line as our present song. But what a different use of the same material! Cf. IV 84-5, No. 37 B. For textual reminiscenses cf. III 340, No. 286B, last line of first stanza and 286C, last line of chorus; also J AFL XLIV 424. F-3 1 7

~~ 7--f Send

;

~

for

the

~ ~ -)~

,J~

send

for

and

fid • dIe

~f)G'~ Send

It?

for the black - eyed Dai ~

./'

.J~

mid - die

of

~=1::=:- £d. ~ra

zy,

-

the week.

J~

~ • Al - most

It's ~

....-

run

J' •~

ffi

Don't reach here by the

sy.

JEj-¥d

J\ J\

1 ~ bow,

the

J\ al

~

- most

...-"3

ron

-+

~

~

me

cra

zy.

me

~

FOLK LYRIC

223

Scale: Mode III, plagal. Tonal Center: d. Structure: abacc l

(2,2,2,2,2).

3 11 BLACK-EvED SUSIE B

'Black-Eyed Susie.'

The recording is unintelligible.

3 12

A

HOUSEKEEPER'S TRAGEDV A

'A Housekeeper's Tragedy.' Sung by Obadiah Johnson, Crossnore, Avery county, July 14, 1940. For a similar idea cf. FSE IV 30-1. The use of the tonal material is interesting. The first measure is inverted in the second, and the latter form, in a sequential pattern, serves again for the beginning of the chorus. F-3I8

~---+-J?-'--i0~1~-~-~ -:---..J--_ .•_---.!JE-\_·S4@--~---i-~ J'~ One

day

as

I

wan-dered I

heard a

com - plain - ing

.-1=7'-~~~---fiIlIi':---J-~\---fllJ~r---IE}--f~r:~1-;'1-'-rs-~ And

saw

a

poor

wo - man,

the

pic - ture

of

gloom.

~----1?-----lJ~-'--+-~?' ~~f--'-19 J l !--t-F She glared at

the mud

was

~

t'

her wail

on

as

her door - step-'twas rain - ing-

,

she wield - ed

~

her broom: 'Oh,

==-}' S S' j ~ ~ toil-

life

is

j"

J'

J\

beau - ty

will

~

fade

and

love

M and

is

J~

a

trou - ble

t ;: J

rich -es

will

flee;

And

~

And

NORTH CAROLINA FOLKLORE

224

~ ~

J'

pIea- sures

And

~ ;

~f\

J?

and

they dwin - dIe

noth - ing

pric

- es

they

Jf\

dou - hIe, r.-.

~\

J\

is

what

Scale: Heptachordal, plagal. Reprisenbar.

J\ I 1 J? ~

~\ I

would wish

Tonal Center: g.

it

be.'

to

Structure: aaba (4,4,4,4)

=-

31 3 KISSING SONG

'Kissing Song.' Sung by]. T. C. Wright, Appalachian Training School, Boone, Watauga county, in 1922. The text extracted from the recording differs somewhat from the printed version in III 369. F-319

gave

me

one,

kiss - es

kiss - es

one,

~-J~\---+-~-J§§~s-t-S~S~J:~~gave me

I=t

And

kiss - es

one

be - gun;

l~'~i §---+-~~)(U we

kept

kiss - ing

For melodic relationship cf. **·OFS Scale: Heptachordal, plagal.

= barform.

said 'twas well

And she

on, III

kiss - ing

on.

90.

Tonal Center: g.

Structure: aa1 b

= mm1n

314

My MAMMY DON'T LOVE ME 'My Mammy Don't Love Me.' Sung by Miss Pearle Webb, Pineola, Avery county, about 1921. Cf. also JAFL XXVIII 184.

FOLK LYRIC

-=r

F-3 20

r

•

Come here,

tell

J~

me

€LJ...

no - bod - y,

done,

done.

I've

J

done

I've

what I've

me what I've

tell

hon - ey,

t===t

killed

J ~

l §J

2. Come here, hon - ey,

I 4-

225

no

hang - ing

crime,

-1

~l~·t@ I've killed no - bod - y,

I've done no hang - ing

-H

crime.

Scale: Tetratonic (4), plagal. Tonal Center: a-flat. Structure: abcb (3.3, 3,3) ; a and b have the same initial measure; c is related to a.

3 16 My

MAMMY TOLD

ME

A

'My Mammy Told Me.' Sung by Miss Fronde Kennedy, Durham, between 1920 and 1922. Our version is practically identical with the Sutton version (316C). The minor differences are given under variations. Cf. I 197. Textual differences can be found by referring to the two versions in III 370. F-321

~l~J r;g§ . My mam - my

told

me

long years

a

J\ son, don't

spend

~

all

you

i" your

no

mar - ry

~ mon

~

-

ey,

gal

J¥?¥¥§ wear

out

you

S

-

go,

b....

know.

W.

your clothes,

~ 'My

j She'll

~ And

~~:~~-z.M--,- }_: ;~---iJ_,-_" , - -4;'- ~ ~ what will

be - come of

you-

the Lord on - Iy

knows.'

226

NORTH CAROLINA FOLKLORE

~~~~~'J~~

Scale: Hexachordal. T'onal Center: c. The tonal center is the lowest tone.

Structure: abab (4,4,4,4) = aa (8,8).

3 19 THE GARDEN GATE

'Just Down to the Gate.' Sung by Miss Pearle Webb of Pineola, Avery county, in 1922. For other versions and similar ideas cf. JAFL XXIX 177 and VTWL 40, No. 69. F-322

~----n=~t.j'aMl gEl] Just

down

to

the

gate,-

dear mam - ma,-

Just

~--+- ~ =--~ ~ w:=tt1-PC S %~ bE=E3 down

to

the

gar - den gate.- The moon shines bright and

=TtE$ ) ~

J

to ~ ++-~ e ~ jL=3I

such a

nice

night,

Scale: Heptachordal, plagal.

I'll just

go

Tonal Center: d.

do';rn-

to the gate.-

Structure: abcd (2,2,2,2).

320 SUSY GAL

'Susy Gal.' Sung by Miss Beulah Walton, Durham, July 24, 1923. The melody reminds one very much of 'Little Brown Jug.' F-323

~ .-t-t-t--'-'~~JJ-l.\----lIJE-~_...!IL:_~-.!IIIJL-~_.!E-1 l_~--E~_~2iB$-.-Pt~-.-Pt~ .~Su - sy

licked the

la - dIe

An' ,er

dol - ly rocked the

~} t~-::.Jf-\ ----flLs--PE:-e-r-e~.·~---:J-·-r l cra - dIe.

Good - bye,

Su - sie

gal,

I'm

gone

gg::j a - gain.

~~ i } 1 ~ ; I

fell

in

the

gut - ter

and my heart be - gan

to

FOLK LYRIC

~~ Hut - ter.

227

~ ~ S-------e---9 • • ~ gal, I'm

Bu - sie

Good - bye,

ED

~

gone

a

-

gain.

Scale: Hexatonic (2), plagal. Tonal Center: d. Structure: abab (2,2,2,2) aa (4,4). The tonal center is the highest tone.

=

321 JOSEPHUS AND BOHUNKUS A

'Old Grimes Is Dead.' Sung by Miss Zilpah Frisbie of McDowell county; recorded in Durham, July 24, 1923. For different textual versions cf. BSM 259; JAFL XXVI 125-6 and Texas FS 224-5. F-32 4

~ ... ~

J\

-

Old Grimes

-t

dead,

is

t@t

J~ that

good

old

He

used

}1d

~ man;

We

~f ne'er shall see him no

m6re.---

to

wear

a

~-----..,r-;.~ttJ-----~-----1~ long - tf-l,iled coat

AlJ-

Scale: Hexachordal, plagal.

hut - toned down

Tonal Center: f.

he - fore.---

Structure: abcd (2,2,2,2).

322 LEATHER BREECHES

'Leather Breeches.' Sung by Miss Pearle Webb, Pineola, Avery county, in 1922. A song by the name of 'Leather Britches' can be found in Ford 48. For another version cf. also DD 134. F-325

~ ~ t:=rgggt~ I

went down

~

sir to

town And

I

wore my leath-er breech - es.

~ ~l~

I cOllld-n't see the peo - pIe For look-ing at the peach - es. Scale: Mode III. Tonal Center: c. Structure: ab (4,4). The tonal center is the lowest tone.

228

NORTH CAROLINA FOLKLORE

32 4 KINDLING WOOD B

'My Name is Dinah, From South Carolina.' Sung by R. D. Ware of Albemarle, Stanly county; recorded at Trinity College in 1922. Our version, conforming to version B, has no chorus; the missing line of the printed version was recovered from the recording. Cf. also JAFL XXXIII 1 2 7. F-326

_.J-~t-:--~~ My

&'l

And

name

is

Di -

From South Car' - Ii -

nah

~ ing

I'm ~

J?

sell -

kind-ling wood

m===@ . t'

won't you

buy

some,

to

na,

get

a - long.

you

buy

J\

Oh, won't

some,

~..J.----+-:-J\-J~\~;-~---t-w For I'm sell - in,,; kind - ling wood to get a - long. Scale: Heptachordal, plagal. Tonal Center: g. Structure: abab (2,2,2,2) = aa (4,4).

326 RIVER'S

Up

AND STILL A-RISING

'River's Up and Still A-Rising.' Sung by Miss Mary Barbour of Raeford. Holt county, in 1922. Interesting wanderings of an idea; cf. III 134-5, No. 98. Melodically the beginning reminds one very much of the night watchman's song in Richard Wagner's Mastersingers.

&'2 }l Riv-er's

F-327

J. up

and still a -

ris - ing;

Just got back from a

&,i~£l~J ~ ne - gro hap - tiz - ing.

Fare - well,- mourn-ers,-

fare - well,

~~l m#@ 1....,»=$1 J. ~

mourn - ers,-- Good - bye,- l'se gwine- to leave you be - hind. Scale: Mode III. Tonal Center: d. Structure: abcc1 c2 (2,2,2,2,2). The tonal center is the lowest tone.

IX SATIRICAL SONGS

328 THE CAROLINA CREW

'The Carolina Crew.' also SharpK II 6-8.

Sung by Miss Jean Holeman, Durham, in 1922.

Cf.

F-328

~r----.--J----~--4-~-..lJ-~ I

had

a

lit - tie

cow

and

I

milked her

J § the

in

~_._Hl J~EffiFb~~J ~__Z.___ gourd.

~

with a

I

set

it

board. That

in

is

the

cor - ner and

the-

way we

it

kiv - ered

used ter

do

When

~J~J~ I

lived a - long

with

the

Car -

0

-

Ii - na

crew.

Scale: Hexachordal, plagal. Tonal Center: g. Structure: abcd (4,4,4,4). There is ·some relationship between the individual phrases, however.

32 9 CUMBERLAND GAP

'Cumberland Gap.' Sung by Lamar Lunsford, Turkey Creek, Buncombe counFor additional versions cf. SRA 82-3 and ABFS 274-5. This stanza Lunsford received from Herman Houck of Allegheny.

ty, probably in 1921.

F-329

~

J