BRITISH AND AMERICAN CYRIL PÜSTAN SONGS VEB VERLAG ENZYKLOPÄDIE LEIPZIG © VEB Verlag Enzyklopädie Leipzig, 1971 ö., unveränderte Auflage 1983 Lizenz-Nr.: 434-130/203/83 LSV 8366 IlluBtrationskonzept: Cyril Pustan Illustrationen: Günter Gnauck Einband: Peter Zappe Printed in the German Democratic Republic Satz: INTERDRUCK Graphischer Großbetrieb Leipzig - 111/18/97 Druck und buohbinderische Verarbeitung: LVZ-Druckerei „Hermann Dunoker", Leipzig Grundschrift: Moderne Antiqua Best.-Nr.: 576428 7 DDR 12,- M Contents Foreword 9 How You Can Make The Best Use Of This Song Book 10 Note To Teachers And Advanced Students 11 Approximate English-German Phonetic Equivalents 12 Explanatory Notes To Vocabulary 14 Songs 15 Section 1 ANIMAL FAVOURITES 1 Bear Went Over The Mountain, The 16 2 Fox, The 18 3 Old MacDonald Had A Farm 21 4 One More River 22 5 Sow Took The Measles, The 25 Section 2 COWBOYS AND PIONEERS 6 Buffalo Gals 28 7 Clementine 31 8 Home On The Range 34 9 I Ride An Old Paint 36 10 Red River Valley 38 11 Streets Of Laredo, The 41 Section 3 HUNTING, RACING, DRINKING 12 Camptown Races, The 44 13 Come, Landlord, Fill The Flowing Bowl 46 14 John Peel 48 15 Little Brown Jug 50 \ Section 4 HUMOUR AND FUN 16 Billy Boy 17 Ilkley Moor 18 Let Him Go, Let Him Tarry 19 Michael Finnigan 20 Oil, Susanna 21 Old John Braddle-um 22 Tavern In The Town 23 There's A Hole In My Bucket Section 5 LOVE 24 All Through The Night 25 Annie Laurie 26 Barbara Allen 27 Careless Love 28 Down In The Valley 29 Foggy, Foggy Dew, The 30 Greensleeves 31 I Know Where I'm Going 32 Loch Lomond 33 Nelly Gray 34 On Top Of Old Smoky 35 Riddle Song, The 36 Ye Banks And Braes Section 6 NEGRO SPIRITUALS AND PROTEST 37 Blue-Tail Fly, The 38 Down By The Riverside 39 Joshua Fought The Battle Of Jericho 40 Michael, Row The Boat Ashore 41 Nobody Knows The Trouble I've Seen. 42 No MoTe Auction Block For Me , 43 Oh, Freedom! I 44 Selma Town 45 Sometimes I Feel Like A Motherless Child 46 Swing Low, Sweet Chariot 47 We Shall Overcome 48 When The Saints Go Marching In Section 7 SAILOR SONGS AND SEA SHANTIES 54 56 49 Drunken Sailor, The 59 50 Erie Canal, The 62 51 Good Night, Ladies 64 52 Haul Away, Joe 66 53 Johnny Todd 68 54 Mermaid, The 71 55 Shenandoah Section 8 SOCIABLE SONGS Section 9 WORKERS', FARMERS' AND PEACE SONGS 134 136 139 140 142 144 147 74 76 56 Auld Lang Syne 57 For He's A Jolly Good Fellow 150 78 153 81 58 Green Grass Grew All Around, The 155 83 59 Limerick Tune, The 158 85 60 More We Get Together, The 160 88 61 My Bonnie 161 91 62 My Name Is Bill Foster 163 93 63 She'll Be Coining Round The Mountain 164 95 64 Skip To My Lou 166 98 65 Ten Green Bottles 169 100 66 This Old Man . 171 102 106 67 Banks Of Marble, The 174 109 68 Drill, Ye Tarriers, Drill 177 111 69 Family Of Man, The 180 113 70 Farmer Is The Man, The 183 115 71 Hammer Song, The 186 117 72 H-Bomb's Thunder, The 188 119 73 Hold The Fort 191 121 74 Joe Hill 193 123 75 John Brown's Body 196 125 76 Kevin Barry 198 127 77 Mighty Song Of Peace 201 130 78 Strangest Dream 203 7 79 This Land Is Your Land 205 80 We Shall Not Be Moved 207 81 Which Side Are You On? 209 Section 10 XMAS AND OTHER SPECIAL SONGS 82 Canadian Exile, The 214 83 Hush, Little Baby 216 84= Jingle Bells 218 85 Twelve Days Of Christmas 221 Section 11 ROUNDS 86 Are You Sleeping, Brother John 226 87 Come To Dinner 227 88 ■ Don't Say No 228 89 Chairs To Mend ' 229 90 Heigh Ho, Nobody Home 230 91 Kookaburra 231 92 Oh, How Lovely Is The Evening 232 93 Sweetly Sings The Donkey 233 Foreword Some of the songs in this book are several hundred years old, others are not quite as old, while some are fairly new. All of them are popular. In one version or another they are loved and sung by people whose native tongue is English, whether it be in Britain, America, Canada, Australia, or elsewhere. The ninety-three songs in this book are but a few bars of a great symphony - the symphony of the people who work for their daily bread and constantly strive for a better life. They are the people who in their work and play create music, the music of the people. It is no easy task to select from the vast riches of hundreds and hundreds of beautiful melodies and texts the small number of songs that appear in this book. How many others could just as easily have been chosen in their place! Space limitations permitted less than a fifth of the number originally regarded as indispensable in a truly representative collection. The songs chosen for this first collection are mostly from the British Isles or America. I wish to thank my wife for her unstinted and valuable help in every phase of the book. My sincere thanks are also due to Mrs. Christine Patzer of the Sektion Sprachwissenschaft, Friedrich Schiller University, Jena, who generously gave of her time to assist with the manuscript, I also wish to thank Mrs. Teichmann, Jena, and Mr. Just of the Volkskunstschule, Jena, for their help with some of the musical transcriptions, and Dr. Rudolph Löwe of the Sektion Sprachwissenschaft, Jena, for his suggestion that a tune should be included which would fit any limerick. Above all, thanks are due to Dr. Friedrich Beer, of the Sektion Sprachwissenschaft Jena, whose cooperation was one of the most important factors in getting this book finished. Basically, however, this book owes its existence to the countless poets and musicians, folksingers and songwriters, known and unknown, who have given so much to the world's cultural heritage. Two records have been made containing excerpts from 44 of the songs in this book. (British and American Songs, VEB Verlag Enzyklopädie, Leipzig 1971. Sung by Cyril Pustan and the Student Chorus of the English Language Department, Friedrich Schiller University, Jena.) In this connection, special thanks are due to Professors Spitzbardt and Pohl of the Sektion Sprachwissenschaft for their support and encouragement; to Mr. Joachim Kirchhoff of the VEB Verlag Enzyklopädie Leipzig for his patience and cooperation in preparing both book and records; to Mr. Just, guitarist; to Mrs. Jahn (Volkskunstschule) and Mrs. Teichmann for the assistance they gave the student chorus and me with our singing; and, in particular, to Miss Goring (Volkskunstschule), who helped check the final proofs and also conducted the chorus. I hope this little booklet will bring you as many hours of pleasure as I had in compiling it. A song can only live-by being sung. It is otdy by singing the songs in this booklet that you can bring them to life. So sing them and give pleasure to yourself and others around you. Cyril Pustan How You Can Make The Best Use Of This Song Book 1. If you know English well and can read music at sight you can immediately begin to learn any song in this book without preliminary preparation. Otherwise, you can learn the songs most quickly and easily if you will work your way step by step as recommended below. This method has been tried and tested in my classes at the Friedrich Schiller University, Jena, for the past five years with good results. 2. Try to hear the song sung first of all before you begin work on it. This is necessary to get the right mental set, to have an overall impression of the melody, rhythm and spirit of the song, and to establish a vivid aural image towards which you can work. Records or tapes may be available. Or you may be able to prevail on a teacher to sing the song for you. The importance of a strong overall impression at the very outset cannot be overstressed. This is a basic principle and is well documented in research into the psychology of learning. 3. Learning the first verse and chorus is the key to success. Therefore concentrate on this alone in the first sitting. Once you have learned the first verse and chorus by heart, all the other verses will easily fall into the song pattern at a later sitting. (See paragraph 13 for exceptions to this rule.) 4. Begin by reading the first verse and chorus through aloud to get the meaning and rhythm of the song. Check on words and phrases that are not understood. Use the vocabulary. If necessary use a dictionary. Read any comments given on the song. A good understanding of the text and rhythm is basic to proper rendition of any song. This may seem self-evident, but in my experience students often can be reminded of it with profit. Remember, too, that silent reading has no great place in learning songs. The song has a direct road to the mind, and that road is through the ear. Therefore right from the start, read aloud and sing aloud. 5. Read the first verse and chorus aloud, paying special attention to the pronunciation and stress indicated for the individual words of the text. 6. Again read the first verse and chorus aloud, this time tapping in rhythm with finger, pencil or foot. 7. Now you are ready to sing the first verse and chorus. Sing aloud. Enjoy the song. Enjoy, too, the sense of accomplishment that comes with learning something new and doing a good, workmanlike job at it. 8. Again sing the same. This time while singing look away from the page from time to time. As you do so, try to picture the page in your mind - the arrangement of the page, the words, the music, and any illustration. 9. Repeat this (No. 8) at spare moments during the next few days. Keep the song book handy to refresh your memory. A quick glance will do. Soon you will find the tune and words firmly fixed in your mind. 10. Now you are able to sing the first verse and chorus by heart, you need only to Teinforce your achievement as follows. Sing your new song, by heart if possible, for your family, friends, neighbours and workmates. Sing it to them on all possible occasions. Remember, repetitidn aloud is the soul of song and language learning. 11. Your final step is to teach the song to others. Family, friends and workmates can then sing with you and double your pleasure. Children pick up songs with amazing ease. Teaching a song to others is the best possible way to learn -it yourself, a perfect example of personal benefit combined with the general good of all. 12. Now follow the same procedure with the additional verses of the same song. The major part of the job has been done. You will have the swing and feeling of the song so well in hand that the additional verses will easily fall into place. Now that you know the whole song do not fail to sing it for others and to teach it to them. 13. Exceptions to the rule (see paragraph 3): Several verses or the whole song may be tackled at one sitting where there is much repetition, as. in Good Night, Ladies, or where the sense of the song requires it, as in The Riddle Song. However, for longer or more difficult songs like The H-Bomb's Thunder, Nelly Gray, or Ye Banks And Braes, you will get better and faster results if you follow the steps suggested in the preceding paragraphs. Note To Teachers And Advanced Students The English Pronouncing Dictionary by Daniel Jones has served as a guide in the phonetic transcriptions. However, it will be noted that words like and, as, of, the, to, and others which may often have a weak or neutral form in rapid everyday speech have in this songbook frequently been given their full or nearly full vowel values. Singing is not everyday speech. In singing enunciation tends to be more exact, as the words of a song are generally sung more slowly than they would be spoken. This is true even in a song where the tempo is comparatively fast, Tbia gives the pronunciation of each word more of an individual character within the word group and therefore a pronunciation more approximate to the word in isolation. Furthermore, an open or partially open vowel sound lends ease to singing, aids resonance and helps listeners to understand what is being sung. In many cases if weak or neutral vowel sounds had been used the dictates of the musical notation would have caused these weak sounds to be unduly stretched, resulting in distorted language and song rendition, 10 11 Lack of attention to purity of vowel sounds and clarity in the enunciation of consonants is not an uncommon fault even among professional singers. Often enough, English concert singers are unintelligible to English audiences. To counter this defect on the part of the singers, at many song recitals the texts of the songs are printed in the programme. You will note in many of the songs the music requires enunciation of all syllables of the text. For the purpose of easier singing, especially for students not so familiar with English sounds, the syllabic consonants in such words as paddled ['psedld] [Avid Lang Syne), people ['pi;pl] (Strangest Dream), Uttte ['litl] (Little Brown Jug), etc., have been phonetically transcribed as ['psedold], ['pi:pol], ['lital], etc. In everyday connected speech for economy of effort and time, elision and liaison are frequent - words are run into one another, sounds are slurred, endings are clipped, vowels are strong or weak according to their stress position in the sentence. This is normal, and to give each vowel its full value or to sound every consonant in everyday connected speech would be pedantic. In song or poetry, however, the magic is interwoven with the beauty of vocal expression. Purity of sound of both vowels and consonants plays a greater role. Words may undergo changes to fit the mood of the song. Individual interpretation is given much greater scope with resulting variatidns from everyday connected speech. In this book British pronunciation has been used throughout. Approximate English-German Phonetic Equivalents CONSONANTS [tj] touch deutsch [J] shoe Schrtee [d3] injure Budget [3] measure Ingenieur [n] long Fang [J] yes Ja [6] path lisped "Nass" W case gross [d] father lisped "Faser" [v] very Vase M away similar to sound heard after A in Aue. To get [w], first practice saying [u:] instead of [w], then gradually shorten to [w]: [u;ei] -> [wei]. [a'urei] -*■ [a'wei]. 12 [i:] feet [i] big [e] less [«] man [a:] far [0] lot [or] before VOWELS Heb mit Bett More open than Ä in Äpfel or Ähre. Practice tightening throat and keeping mouth very wide open for this sound, wahr More open than o in Motte. Tongue is held as low down and as far back as possible, lips are not rounded. Komfort [u] could [u:] moon [a] love [9:] word [a] area Nuss Fuss Resembles sound in Katze, kommen, or Gott, but with Ups spread instead of rounded and with jaws wide apart. Longer, more open than ö in Goethe, Mörder, spoken with lips spread as for [i:] and with only little space between jaws. Last sound in bitte, when lengthened, is similar to [or]. Menge DIPHTHONGS [ei] name Resembles mehr or Meer but with added glide from [e] to [i]. Both vowels are pronounced. Keep lips spread or neutral. Distance between jaws is medium at start but diminishes during production of this diphthong. [ou] go Besembles o in Büro but with [u] added. Lips only slightly rounded at start. Lip rounding increases to produce sound of [ou]. [ai] like [au] house [oi] boy [ia] here [es] there [ue] poor leicht Maus treu hier resembles Bär or Krähe Kur 13 Explanatory Notes To Vocabulary 1. (Amer.) American - (Brit.) British - (colloq.) colloquial - (old) old fashioned -(si.) slang - (Scot.) Scottish - (ungramm.) ungrammatical - 2. CONTRACTIONS COMMON BOTH IN SONGS AND IN EVERYDAY MODERN SPEECH CAN'T cannot - DIDN'T did not -DOESN'T does not - DON'T do not -HAVEN'T have not - ISN'T is not - I'D I would - HE'D he would -THEY'D they would - I'LL I will - YOU'LL you will - I'M I am - IT'S it is - I'VE I have - THEY'VE they have - WE'VE we have - YOU'VE you have - LET'S let us - SHE'S she is - THAT'S that is - THERE'S there is - WHAT'S what is - WHO'RE who are - WON'T will not 3. TERMS COMMON IN SONGS BUT NOT IN EVERYDAY MODERN SPEECH A-COMING, A-S AILING, etc. coming, sailing - DOTH does - E'ER ever -'FORE before - HE'S FORGOT he has forgotten - TO BE FORGOT to be forgotten - FOR TO to - HATH has - NE'ER never - NIGH near - O'ER over - OFT often - THEE, THOU you - THINE your - 'TIS it is - THRO' through - 'TWAS it was - 'TWILL it will - YE you 4. DOUBLE SUBJECT USING BOTH NOUN AND PRONOUN Examples: A THIEF HE WILL ROB YOU (see On Top Of Old Smoky), BEER AND WATER THEY DON'T MIX (see Old John Braddle-um), a thief will rob you, beer and water don't mix, etc. 5. SCOTTISH TERMS A ULD LANG SYNE days gone by - BONNIE beautiful r BRAE hillside -FU' full - GLEN narrow valley - GOWAN mountain daisy - ILKA each -KEN to know - LOCH lake - O' of - SAE so BROKE penniless - GONNA going to 6. UNGRAMMATICAL TERMS AIN'T am not, is not, are not 7. COMMENTS Comments have been given on many of the songs in this book. This background information should prove especially useful to teachers and advanced students. 8. STRESS 'precedes accented syllable 14 Section 1 Animal Favourites 1 The Bear Went Over The Mountain da bea went 'ouva da 'mauntin +/A/s/" With enthusiasm D Favourite American sociable song D The bear went o:ver the moun-tain,The bear went o-ver the ba bea went 'ouva tia 'mauntin, ba b£a went 'ouva t»a ll| ' , M I • -s—s—I5—T- G h * . ■ 9> " ^ J J3=l -,1 J' -J moun-tain, The bear went o-ver the moun-tain, To 'mauntin, ba b£a went 'ouva ba 'mauntin, tu G D r p E see what he could see._ And all that he could see,_ And si: wot hi: kud si:. send o.l 'beet hi: kud si:, »nd D A* D all that he could see,. o;l bast hi: kud si:, Was the oth - er side of the w9z bi a&a said ov ba D -- A v S. i A' D l ->-* =5^ ±=^^ Lds-J I-J J 1 moun-tain, The oth - er side of the moun-tain, The 'mauntin, bi 'Aba said ov ba 'mauntin, bi oth- er side of the moun-tain, Was all that he could see._ Aba said ov ba 'mauntin, woz o:l baet hi: kud si:. 16 This is a light-hearted song that confirms the popular saying, "The grass always looks greener on the other side of the fence." The song is a great favourite at outings, parties, and all kinds of social occasions. The melody is the same as in the British For He's a Jolly Good Fellow. 4>V 2 Pustan, Songs 17 2 The Fox da foks + +/E/f Brisk and gay American version of an old English song ff fox went out one win - ter's night. He foks went aut wau 'wintaz nait. hi: m f FF prayed for the moon to give him light, For he'd preid fa: ba mu:n tu giv him lait, fo: hi:d C F? town 0, town 0, town 0. He'd man-y a mile to taun ou, taun ou, taun ou. hi:d 'meni a mail tu go that night Be-fore he reached the town G. got* baet nait bi'fo: hi: ri:tjt fca taun ou. man-y a mile to go that night Be-fore he reached the 'meni a mail tu gou beet nait bi'fo: hi: ri:tft ba řW^, h U J I.I 11 ?l 2. He ran till he came to the farmyard pen. hi: raen til hi: keim tu: da 'fa:tnja:d pen. The geese and ducks were kept therein, de gi:s send dAks wa: kept dear'in, "A couple of you must grease my chin o 'kApal ov ju: mAst gri:s mai tjin Before I leave this town 0, town 0, town 0, bi'fo:r ai li:v dis taun ou, taun ou, taun ou, A couple of you must grease my chin Before I leave this town 0." 3. He grabbed the grey goose by the neck, hi: grsebd da grei gu:s bai da nek, Threw the black duck over his back, 6ru: da blaek dAk 'ouva hiz baek, He didn't care about their quack, quack, quack hi: 'didnt kea e'baut dea kwsek, kwaek, kwaek And their legs all dangling down 0, down 0, down 0, and dea legz o:l deeplir) daun ou, daun ou, daun ou, He didn't care about their quack, quack, quack And their legs all dangling down 0. 4. The farmer's wife jumped out of bed. 0» 'fa:maz waif d3Ampt aut ov bed. Out of the window she stuck her head, aut ov da 'windou Ji: stAk ha: hed, Crying, "John, John, the grey goose iB gone, 'kraiiij, "d3on, djan, da grei gu:s iz gbn, And the fox is in the town 0, town 0, town 0," send da foks iz in da taun ou, taun ou, taun ou," Crying, "John, John, the grey goose is gone, And the fox is in the town 0." 5. He ran till he came to his cosy den. hi: rsen til hi keim tu: hiz 'kouzi den. There were his little ones, eight, nine, ten. dee wa: hiz 'lital wAnz, eit, nain, ten, They said, "Daddy, you'd better go back again, dei sed, "'daedi, ju:d 'beta gou baek a'gen, 'Cause it must be a mighty fine town 0, town 0, town 0,' koz it mAst bi: a 'maiti fain taun ou, taun ou, taun ou, They said, " Daddy, you'd better go back again, 'Cause it must be a mighty fine town 0." IS 2* ■6. The fox and his wife without any strife da faks send hiz waif wi'flaut 'eni straif Cut up the goose with a fork and a knife. kAt Ap de gu:s wid a fo:k send a naif. They never had such a supper in their life, dei 'neva h«d SAtJ a 'sApar in dea laif, And the little ones chewed on the bones 0, bones 0, bones 0, send da 'lital wahz tfu:d an da bounz ou, bounz ou, bounz ou, They never had such a supper in their life, And the little ones chewed on the bones 0. 1. HE'D he had - MANY A MILE many miles - 2. FARM YARD space enclosed by sheds, barn, etc. on farm - PEN small enclosure for poultry, sheep, or cattle -COUPLE a pair, two - WILL GREASE MY CHIN here: will be eaten by me -3. TO GRAB to make a sudden snatch at - TO CARE to be concerned, to feel interest - 4. TO STICK (stick, stuck, stuck) to put (quickly) - 5. DEN hole where an animal lives - DADDY child's word for father - MIGHTY FINE (old Amer. si.) very good - 'CAUSE because - 6. STRIFE argument - TO CHEW to work (food, etc.) between the teeth in order to crush it 20 3 Old MacDonald Had A Farm ould mak'donald hasd a fa:m +_/E/f/" Lively, with humour Traditional English v » x— fL* 7 ~ _ _ -*------9 -1—J 1-J |-J H-1-1 * 1. Old Mac-Don-aid had a farm, ould mak'donald had a farm, G C G 1 ai e 1: x ai o. And on this farm he had a cow, e-i-e-i-ou. and on tils fa:m hi: had a kau, i: - ai - i: - ai - G o. With a moo, moo here, And a moo, moo there, ou. wifr a mur, mu: hlar, send a ma:, mu: t>£9, j» J) J> J J) | J | J> J) J Here a moo, There a moo, Ev -'ry - where a moo, moo, hior a mu:, tiCar a mu:, 'evriwear a mu:, ma:, Chorus G C G J>7 G Old Mae-Don-ald had a farm, e-i-e-i - o. ould mak'donald heed a fa:m, i: - ai - 1: - ai - on. The song continues with different animals and objects and the noises they make being substituted for "cow" and "moo". Here are the moBt popular: SHEEP (baa) / HORSE (neigh) / PIG (oink) / DOG (bow-wow) / CAT (meow) / Ji:p (ba:) ho:s (nei) pig (oigk) dog ('bau-'wau) kset (mi:'au) DUCK (quack) / CHICKEN (cluck) / TURKEY (gobble) / DONKEY (hee-haw) / dAk (kwask) 't/ikin (klAk) 'te:ki ('gobel) 'dogki ('hi:-'ho:) CAR (rattle) ka: ('rsetol) 21 4 One More River wAii mo: + +/A/m/" Lively An American song of Negro origin 1. Old No - ah, once he built the ark, There's ould 'noua, tfAns hi: bilt U a:k, btaz E one more riv-er to cross, ^And patched it up with wad mo: 'rive tu kros, asnd pastft it Ap wib B7 hick-o - ry bark, There's one more riv-er to cross, ■hikori ba:k, otaz WAn mo: Viva tu kros, Chorus E A E B? One more riv-er, There's one more riv-er to cross, WAn mo: Viva btaz WAn mo: Viva tu kros, B? E One more riv-er, There's one more riv-er to cross. waii mo: Viva, bcaz WAn mo: Viva tu kros. 2. He anchored the ark to a great big rock, hi: 'aegked di a:k tu: o greit big rok, There's one more river to cross, deoz WAn mo: 'rivo tu kros, And then he began to load his stock, send den hi: bi'gssn tu loud hiz stok, There's one more river to cross, deoz WAn mo: 'rivo tu kros. 3. The animals went in one by one, There's ... di 'aenimolz went in wAn bai wAn The Elephant chewing a caraway bun, There's , di 'elifont 'tfuiij a 'kserawei bAn 4. The animals went in two by two ... tu: bai tu: The Crocodile and the Kangaroo ... da 'krokddail send 9a ,kfegga'ru: Chorus 5. The animals went in three by three .. 6ri: bai 0ri: The tall Giraffe and the tiny Flea .., da to:l d3i'ra:f send 5a 'taini fli: 6. The animals went in four by four ... fo: bai fo: The Hippopotamus stuck in the door . da .hipa'potomas stAk in da do: 22 23 7. The animals went in five by five ... faiv bai faiv The Bees mistook the Bear for a hive ... do bi:z mis'tuk do bes fo:r o haiv 8. The animals went in six by six ... siks bai siks The Monkey was up to his usual tricks... da 'mugki waz Ap tu: hiz 'ju^ual triks 9. The animals went in seven by seven ... ' sevan bai sevan Said the Ant to the Elephant " Who're you shoving?' sed di sent tu: di 'elifant "hu:a ju: 'fAvin?" 10. The animals went in eight by eight... eit bai eit Some were early and some were late ... a Am wa:r a:li aend 8Am wa: leit 11. The animals went in nine by nine ... nain bai nain They all formed fours and marched in line ... oei o:l fo:md fo:z send ma:tjt in lain 12. The animals went in ten by ten ... di: 'aenimalz went in ten bai ten If you want any more I will sing it' again ... if ju: want 'eni mo:r ai wil aig it a'gen Chorus 1. HICKORY North American hardwood tree - 2. TO LOAD STOCK to bring live animals on to a means of transport - 3. CARAWAY BUN small round cake made with caraway seeds - 6. HIPPOPOTAMUS large African mammal inhabiting rivers -TO BE STUCK to become wedged (in) - 8. TO BE UP TO (si.) to do, to be at -9. TO SHOVE (b1.) to push roughly - 11. TO FORM FOURS to make rows of four This rollicking, humorous song recallB the tale of Noah and the ark in the flood. It is a great favourite with young people, especially at holiday camps and on hikes. The chorus can be sung after the first, second, and last verse or after every verse, as you wish. Originally a Negro song of slavery days, this song exists in a number of dialect versions. As in many other Negro songs, the original chorus contains a reference to crossing the Jordan Biver, symbolic of death and rebirth but also of escape from slavery into freedom on earth: "One more river, / And that's the river of Jordan, / One more river, / There's one more river to cross," The different versions of the song eontain dozens of verses. 5 The Sow Took The Measles 3a sau tuk da + +/A/m/» Briskly, with humour Chorus F 'mi:zalz HumorouB tale of an early American pioneer's troubles ± How do you think I be - gan in the world? I hau du: ju: dink al bi'g'Seu in t>a wa:ld? ai 0» p £3 got me a sow and gat mi: ' o aau sand t> J h h \\ h h h sey-'ral oth - er things. The 'sevřel iaos flirjz. t>a C F 5=5 sow took the mea-sles, and she died in the spring, tuk tie 'mi;zelz, , »nd Ji: daid in oa sprirj. p J*J J iJ p p r p 1. What do you think I wot du: ju: Oirjk ai C made of her hide? The meld ov ha: haid? ba J' J' J' p IJ' J>J>^ ver-y best sad-die that you ev - er did ride, 'veri best Wdal test ju: 'eva did raid. V J' Jm Ji Ji J I Ji Sad-die or bri-dle or 'SEedal o: 'braidal o:r p p p r p an - y such thing, The 'eni SAtf eirj, t>9 24 25 Gl F /7\ T P P P i J> J> I i J> > M sow took the mea-sles, and she died in the spring, sau tuk t>9 'ml:zalz, send J*i: daid In t>a sprig. Section 2 Cowboys and Pioneers 2. What do you think I made of her nose? wot du: ju: 6igk ai meid ov ha: nouz? The very best thimble that ever sewed clothes, da 'veri best 'Oimbal dost 'eva soud kloudz. Thimble or thread or any such thing, '6imbal o: Ored o:r 'eni SAtJ Qig, The sow took the measles, and she died in the spring. Chorus 3. What do you think I made of her feet? wot du: ju: Oigk ai meid av ha: fi:t? The very best pig's feet that you ever did eat. da 'veri best pigz fi:t fleet ju: 'eva did i:t. Pickled or plain or any such thing, 'pikald a: plein o:r 'eni sAtf 6ig, The sow took the measles, and she died in the spring. Chorus 4. What do you think I made of her eyes? wot du: ju: 6ink ai meid ov ha:r aiz? The very best marbles that ever won a prize, da 'veri best 'ma,:balz d*t 'eva wAn a praiz. Marbles or pebbles or any such thing, 'ma:balz o: 'pebalz o:r 'eni SAtJ 9ig, The sow took the measles, and she died in the spring. Chorus Title: SOW female pig - TO TAKE here: to get, to fall ill with - MEASLES a contagious children's disease marked by fever and red spots on the skin - Chorus: J OOT ME I got (bought) myself - 1. HIDE animal skin - SADDLE leather seat for riding horseback - BRIDLE headgear with which a horse is governed - 2. THIMBLE (metal) finger cap for sewing - 3. TO PICKLE to preserve in vinegar and spices, as in making the popular pickled pig's feet - 4. MARBLES small round coloured glass balls used in children's game - PEBBLES small round stones, such as those found on the seashore or in a stream 26 6 Buffalo Gals "bAfalou gselz + +/A/m/" With a light beat C 19th century American folk Bong 1. As sez G7 I was i * 0 fr f řas walk - ing ai woz 'wo:kirj down the daun "ba street, stri:t, Down the street, down the street, A pret - ty girl I daun ba stri:t, daun fca stri:t, a 'priti ga:l ai G* C to meet, And we dan ^ J*l J J.N hi j * Í chanced to meet, And we danced by the light of the moon. t|a:nst tu mi:t, send wi: da:nst bai lait ov t»a mu:n. Chorus F Buf - fa - lo gals, won't you come out to - night, 'bAfalou gselz, wount ju: kAm aut tu'nalt, g» E Come out to-night, eome out to-night? Buf-fa-lo gals, won't you kam aut tu'nait, kam aut tu'uait? 'bAfalou gselz, wount ju: g7 c ?pj n >u n> J1 j' j i j, i eome out to-night, And dance by the light of the moon? kAm aut tu'nait, tend darns bai ba lait ov fca mum? 28 2. I danced with the girl with a hole in her stocking, ai da:nst wid da ga:l wid 8 houl in ha: 'stokirj. Her heels kept knocking and her toes kept rocking, ha: hi:lz kept 'nokiij send ha: touz kept 'rokiij. I danced with the girl with a hole in her stocking, ai da:nst wid da ga:l wid a houl in ha: 'stakirj, By the light of the silveTy moon, bai da lait ov do 'silvari mu:n. 3. I asked her if she'd stop and talk, ai a:skt ha: if ji:d stop send to:k, Stop and talk, stop and talk, stop send to:k, stop aend to:k, Her feet took up the whole sidewalk, ho: fi:t tuk Ap da houl 'saidwa:k, By the light of the silvery moon, bai da lait ov da 'silvan mu:n. 4. I asked her if she'd be my wife, ai a:skt ho: if Ji:d bi: mai waif. Be my wife, be my wife, bi: mai waif, bi: mai waif, And I'd be happy all my life send aid bi: 'htepi o:l mai laif If she would marry me. if Ji: wud 'maeri mi:. Chorus Chorus Chorus 29 1. DOWN along - TO CHANCE TO to happen to - Chorus: GALS (colloq.) girls -WON'T YOU will you not - 2, STOCKING women's leg covering, now made of synthetic material - 3. SIDEWALK (Amer.) pavement Buffalo Gals is the best known of many versions of the Negro dialect song Lvbly Fan written about 1844. John Hodges, a minstrel singer, sang it all over the USA with a group called the Virginia Serenaders. In "The Adventures of Tom Sawyer" by Mark Twain (Chapter 2), the little Negro boy Jim is mentioned as singing this song - Jim, came skipping out at the gate with a tin pail, and singing "Buffalo Gale". As the tune became popular the name was changed to fit dififerent localities. It entered the realm of folk song, and in 1944 became a popular hit again, this time under the title of Dance with a Dolly with a Hole in her Stocking. 7 Clementine ' klemantain + +/A/m/" Lively, but not too fast Popular American song about the California gold rush of 1849 p'i J) il 1. In cav - era, 'ksevan, in in a a can - yon, Ex - a& 'kasnjan, 'eksta - vat - ing for a mine, Lived a min - er, for - ty veitiij fo:r a main, livd a 'maina 'fo:tl IZZ nin - er, And his daug-h - ter Clem - en - tine. Wins, aend hiz 'do:ta 'klemantain. Chorus (Melody as above): Oh my darling, oh my darling, oh my darling Clementine, ou mai 'dadin, ou mai 'da:lir|, ou mai 'darlirj 'klemantain, You are lost and gone for ever, dreadful sorry, Clementine! ju: a: lost send gon fa:r 'eva, 'dredful 'sori, 'klemantain! 2. Light she was and like a fairy, lait Ji: woz send laik a 'fsari, And her shoes were number nine, send ha: Ju:z ws: 'nAmba nain. Herring boxes without topses 'herig 'boksiz wio'aut 'tapsis Sandals were for Clementine. Chorus 'saendolz wa: fo: 'klemontain. 30 31 3. Drove she ducklings to the water drouv Ji: 'dAklinz tu: da 'wo:ta Every morning just at nine, evri 'mo:nin djAst set nain, Struck her foot against a splinter, strAk ho: fut e'genst a 'splinta, Fell into the foaming brine, fel intu da 'foumii) brain. 4. Rosy lips above the water,, 'rouzi lips a'bAv da. 'wo:ta, Blowing bubbles mighty fine, 'blown 'bAbaJz 'maiti fain, But, alas, I was no swimmer, bAt, a'kes, ai woz nou 'swima, So I lost my Clementine. sou ai lost mai 'klemantain. 5. In my dreams she still does haunt me in xp,»i dri:mz fi: stil dAZ ho:nt mi: Dressed in garments soaked in brine, drest in 'ga:mants soukt in brain. Though in life I used to hug her, 5ou in laif ai ju:st tu hAg ha:, Now she's dead I draw the line, nau fi:z ded ai dra: 3a lain. Chorus Chorus Chorus 6. How I missed her, how I missed her, hau ai mist ha;, hau ai mist ha:, How I missed my Clementine, hau ai mist mai 'klemantain, Till I kissed her little sister til ai kist ' ha: 'lital 'sista And forgot my Clementine. > eend fa'got mai 'klemantain. Chorus 1. CANYON deep narrow valley with stream - TO EXCAVATE to dig (deep) -MINE deep underground passages where coal, iron, etc. are obtained - MINER worker in mine - FORTY-NINER gold miner in the California gold rush of 1849 -Chorus: DREADFUL (ungramm.) dreadfully, extremely - 2. FAIRY beautiful woman with magical powers - NUMBER NINE a very large size, the average being 6 or ft-TOPSES (ungramm.) tops - 3. BRINE salt water - 4. MIGHT Y FINE (old Amer. si.) very well - 6. TO DRAW THE LINE to stop at a certain point - 6. TO MISS to feel the lack of . As the irreverent humour indicates, this was originally a student song (by Percy Montrose). There is probably no English speaking person today who does not know the sad fate of Clementine. 32 3 Fitttau, Song* 33 8 Home On The Range houm on Öa reindä + +/A/S/" With an easy swing America's most popular cowboy song Words by Dr. Higley Brewster Music by Daniel E. Kelly 1. Oh, give me a home where the buf - fa - lo ou, gtv mi: a houm wta ba 'bAfalou p g7 c roam, And the deer and the an - te - lope play,- roum, send foa diar send t)i 'aentiloup plei, f Bt _ Where sel-dom is heard a dis - cour - ag-ing wea 'seldom iz ha:d a dis'kArid3irj Bbm f C F ' r p p iE ^=1 word, And. the skies are not cloud - y all day. wa:d send ba skaiz a: not 'klaudi oil dei. Chorus c c» f J'J 1,1. |,J Home, home on the range,_Where the deer and the houm, houm on ba reindg, wta "ba diar send oi G1 an - te - lope play,. 'aentiloup plei, Where sel-dom is heard a dis-wea 'seldam iz ha:d a dis - Bfc Bk cour-ag-ing word, And the skies are not eloud-y all day. 'kAridjlrj wa:d, tend ba skaiz a: not'klaudi o:l dei. 2. Wliere the air is so pure and the zephyrs so free wea 3i car iz sou pjuar aend da 'zefaz sou fri: And the breeze is so balmy and light send da bri:z iz sou 'bu:mi send lait That I would not exchange my home on the range dset ai wud not iks'tfeind3 mai houm an 5a reind3 For all of the cities so bright, fair a:I av da 'sitiz sou brait. ^3. How often at night when the heavens are bright hau 'ofan set nait wen da 'hevanz a: brait With the light from the glittering stars, wid da lait from 5a 'glitariij sto:z, Have I stood there amazed and asked as I gazed haev ai stud Sear a'meizd send u:skt sex ai geizd If their glory exceeds that of ours, if dea 'glo:ri ik'siidz dset ov 'auaz. Chorus Chorus Title: RANGE vast stretches of land used for cattle raising - 1. BUFFALO American bison originally found in huge herds on the great American western plains, slaughtered off by the white invaders and now practically extinct - TO ROAM to wander -DISCOURAGING here: unfriendly - ALL DA Y the whole day - 2. ZEPHYR (little used) light breeze - BALMY mild - 3. TO GLITTER to sparkle, to gleam - TO EXCEED to surpass Home on the Range expresses the nostalgic yearning of the cramped and harried city-dwelling average American to get out into the wide open spaces he knows so well from all the cowboy films. Originally written by a prairie doctor in the pioneer days of Smith County, Kansas, the song was published under the title of Western Home in 1873. It remained in obscurity, more or less forgotten for almost 40 years. In 1910 it was rediscovered and renamed Home on the Range by the well-known folklore expert, John A. Lomax. He heard it in San Antonio, Texas, from a Negro cook for a cowboy outfit. The song became a declared favourite of America's great president Franklin Delano Roosevelt. Its wide popularity earned millions of dollars for its publishers. Following a famous legal battle over the song's ownership, the court verdict placed Home on the Range in the public domain. 34 3* 35 9 I Ride An Old Paint ai raid an onld peint + +/A/8/" Relaxed, swinging One of the best known American cowboy songs f 1. I ride an old paint, I lead old Dan, Im ai raid sen ould peint, ai li:d C7 F ould dsn, aim -4' S J. J» J' i> ff go - ing to Mon - ta - na to throw the hoo-ley - aim. They 'gouin tu: Mon'tsena tu Orou "ba hurtiffin. "bei ^5 feed in the cou-lee, they wa - ter in the draw, Their fi:d in ta 'ku:li:, t>ei 'wo:tar in fca dro:, b£a 7 F 5 tails are all mat-ted, their backs are all raw, teilz a:r o:l 'msetid, "bta basks a:r o:l ro:. Chorus EES Ride a-round, lit-tle do-gies,ride a-round them slow. The raid a'raund, 'lital 'dougiz, raid aVaund bem slou. ba fier - y and the snuf-fy are rar-ing to go. 'faiari aend ba 'snAfi a: 'rterin tu g-ou. 2. When I die, take my saddle from the wall, x wen ai dai, teik mai 'saedal from da wo:l, Lead out my pony, lead him out of his stall, li:d aut mai 'pouni, li:d him aut ov hiz stD:l, Tie my bones to the saddle, turn his face towards the west, tai mai bounz tu: 3a 'ssedal, ta:n hiz feis ta:dz da west, And we'll ride the prairie, that we love the best. Chorus send wi:l raid da 'preari, dsafc wi: Iav da best. 1. PAINT wrong pronunciation of "pinto", Spanish for a horse with white and dark patches of irregular pattern - MONTANA western state between Wyoming and Canada - HOOLEYANN lariat or rope used to lasso cattle - COULEE narrow grass covered ravine - TO WATER to drink water (said of cattle) - DRAW shallow stream in a narrow valley - MATTED entangled - RAW inflamed, sore - Chorus: DOQIE motherless calf - FIERY spirited - SNUFFY impatient, snorting - RARING eager - 2. PRAIRIE flat treeless grassland, typical of American middle west' Every spring groups of cowboys drove huge herds of thousands of head of cattle north over a thousand miles (1600 km.) or more of rough winding trails and mountain passes. The trails led from Texas to Wyoming and Montana. The cattle had to leave Texas before the hot dry summer to reach the green pastures of the plateau country in Wyoming and Montana. The mournful and slow cowboy songs helped to soothe the cattle and prevent the much feared stampede. In stampedes the cattle suddenly became frightened and ran. Many of the herd would be injured or trampled to death before the cowboys could manage to stop the stampede. Sometimes cowboys were also trampled to death in a stampede. Cowboys and their songs flourished from about 1830 to 1870, then gradually lost out as the railroads began taking over great tracts of land and as the open prairies were ploughed under for wheat. There were many bitter struggles. The cattle barons finally lost their right to unlimited free grazing and free transportation over long distances for their immense herds of longhorns, under the sole guidance and care of the cowboys. The Iobb of the open range was overcome by the introduction of new breeds of beef cattle and new methods of raising and marketing them. Cowboys were no longer needed as before. Yet their mournful, nostalgic work songs have spread all over the English speaking world and their hold on us remains strong today. 36 37 10 Red River Valley red 'riva 'vseli + +/A/b Moderately slow, with feeling G American cowboy song J' Jl T FFT éW D Em 1. From this val - ley they say you are go-ing. from bis 'vwli bei sei ju: a: 'goulij. c We will wi: wil É g D7 m miss your bright eyes and sweet smile, For they mis jo: brait aiz send swi:t smail, fo: bei g7 . c F IF P ľ J J1 i say you are tak - ing the sun - shine That has sei ju: a: 'teikin ba 's An Jain bast haez pi g Chorals E bright - ened our path - ways 'brait and 'aua 'pa:9weiz D a - while, a'wail. Em Come and lum .send f F Ff .'7 sit by my side if you sit bai mai said if ju: * r, I J1* J1 J J> love me, Iav mi:, Do not du: not has-ten to bid me a - dieu. But 'heison tu bid mi: a'dju:. bit re-mem-her the ri'memba ba Red Ri-ver red 'riva 38 D7 PS Val-ley And the cow-boy who lov'd you so true. 'v»li eend bo 'kauboi hu: lAvd ju: sou tru: 2. It's a long time now I've been waiting its a Ion taim nau aiv bin 'weitin For those words that you never will say. fa: douz wa:dz dset ju: 'neve wil sei. And it's now that my fond heart is breaking, send its nau dsst mai fond ha:t iz 'breikig, For they say you are going away. fo: dei sei ju: a: 'gouin a'wei. Chorus 3. When you go to your home o'er the ocean wen ju: gou tu: jo: houm oe di 'oufan Oh, remember the many happy hours ou, ri'memba 3a 'meni 'haepi 'auaz That you spent in the Red River Valley, daet ju: spent in da red 'riva 'vseli, And the love- we exchanged midst its bowers. send da Iav wi: iks'tjeind^d midst its 'bauaz. Chorus 39 4. Do you think of the valley you're leaving? du: ju: Oink ov de 'vseli jua 'Ii:vhj? >. Oh how lonely and how dreary it will bi:. 'ou hau 'lounli send hau 'driari it wil bi:. Do you think of the kind hearts you're breaking, du: ju: 9ink ov da kaind ha:ts jua 'breikin, And the pain you are causing to me. aend'fla pein ju: a: 'ko:zin tu: mi:. 5. They will bury me where you have wandered, dei wil 'beri mi: we a ju: hsav 'wondad, NeaT the hills where the daffodils grow, nia da hilz wee do 'dsefsdilz grou, When you're gone from the Bed River Valley, wen jua gon from do red 'riva 'vseli, For I can't live without you, I know, fo:r ai ka:nt liv wi'daut ju:, ai nou. Chorus Chorus 1. PATHWA Y a narrow way or path made by people walking across fields, through woods, alongside a river, etc. - Chorus: ADIEU good-bye, (not commonly used in daily speech) - 2. FO&D loving - 3. O'ER poetical form of over - MIDST ITS BOWERS in the shade under the trees - 4. DREARY gloomy, dull, dismal Among others, there exists a Bed River in the southern state of Arkansas and another in the state of North Dakota. The song is a well known cowboy song. The melody was taken from an earlier nineteenth century love song, In the Bright Mohawk Valley. The Mohawk is a large river in upper New York state named after an Indian tribe, whose struggles against the invading white man were immortalised in the famous novels of James Fen i more Cooper, Another version of Red River Valley includes this verse: And should you ever return / To this lone prairie land of the West, / May the white girl you marry remember / That the red maiden loved you the best. 40 ll The Streets Of Laredo da stri:ts ov lse'reidou + +/A/S Slowly, freely A dying cowboy's last request Í3 r f1 if r 1. As -I—_ walked out in the streets of La : ai wo;kt aut in ba striits ov Ira C7 F C7 i re - do, As I walked out in La - re - do one Veldou, ffiz ai wo:kt aut In lse'reidou wjin * C7 F C? í1 I l"h I ' h I I day, I saw a young cow-boy all wrapped in white del, ai so: a jAt) 'kauboi o:l rsept in wait ŤffŽf Q1 lin - en, Wrapped in white Iin-en and cold as the clay, 'linin, rsept in wait 'llnin send kould sbz bo klei. , "I see by your outfit that you are a cowboy," "ai si: bai jo: 'autflt dset ju: a:r o 'kauboi," These words he did say as I boldly walked by. di:z wa:dz hi: did sei sez ai 'bouldli-wo:kt bai. "Come sit down beside me and hear my sad story, "kAm sit daun bi'said mi: send hio mai ssed 'sto:ri, Shot in the breast and I know I must die. Jot in da brest aend ai nou ai mAst dai. 41 3. "'Twas once in the saddle I used to go dashing, "'twoz wAns in 3a 'ssedal ai ju:st tu gou 'daefig, 'Twas once in the saddle I used to go gay. 'twoz WAns in da 'ssedal ai ju:st tu gou gei. First I went drinking and then to card playing, fa:st ai went 'drinkig send den tu: ka:d 'pleiirj, Shot in the breast and I'm dying today, jot in 9a brest send aim 'daiig tu'dei. 4. " Let six husky cowboys come carry my coffin, "let siks 'hAski 'kaubaiz kAin 'kseri mai 'kofin, Let six pretty maidens come carry my pall, let siks 'priti 'meidanz kAm 'kaeri mai pad. Throw bunches of roses all over my coffin, 6rou 'bAnt/iz ov 'rouziz o:l 'ouva mai 'kofin, Roses to deaden the clods as they fall, 'rouziz tu 'dedan da klodz aez dei fo:l. 5. " Oh, beat the drum slowly and play the fife lowly, "ou, bi:t 3a drAm 'slouli send plei 3a faif 'louli, And play the dead march as you carry me along, send plei 3a ded ma:tj aez ju: kEeri mi: a'log. Take me to the green valley and lay the earth over me, teik mi: 'tu: 6a gri:n 'vseli send lei 3i a:9 'ouva mi:, For I'm a poor cowboy and know I've done wrong." fo:r aim a pua 'kaubai send nou aiv dAn rag." 6. We beat the drum slowly and played the fife lowly wi: bi:t 3a drAm 'slouli send pleid 3a faif 'louli And bitterly wept as we carried him along. send 'bitali wept sez wi: 'kaarid him a'lorj. For we all loved our comrade, so brave, young and handsome, fo: wi: o:l lAvd 'aua 'komrid, sou breiv, JAg send 'hsensam, We all loved our comrade although he'd done wrong, wi: a:l lAvd 'aua 'komrid o':l'3ou hi:d dAn rag. Title: LAREDO town on the Rio Grande founded by the Spanish in the 1750's, taken by the USA in the Mexican War 1846-1848 - 2. OUTFIT clothing, equipment -4. HUSKY strong - PALL heavy cloth thrown over coffin - TO DEADEN to soften sound (of) - CLOD lump (of earth) - 5. FIFE small simple flute - LOWLY (old) softly - TO DO WRONG possibly here: to cheat at cards. In the 19th century cowboy code of behaviour, cheating at cards called for the immediate death penalty. The cheated player could at once shoot the cheater without fear of reprisal from the law or the dead man's family or friends. Section 3 Hunting, Racing, Drinking 42 O'.. 12 The Camptown Races da 'kíemptaun 'reisiz + + +/A/Í Lively tempo C Words and music by Stephen Poster One of the most popular American songs 1. The Camp-town la-dies sing this song, Doo-dahi Doo-dah! The us 'kaemptaun leidlz sin bis sorj, 'du:da:! 'du:da:t os a* C IV ft * é * S Camp-town race-track's five miles long, oh, Doo-dah day! 'ktemptaun 'rels'trffiks faiv mailss Ion, ou, 'du:da: del! G7 I ai ------ s came down there with my hat caved in, Doo-dah! Doo-dah! I'll keim daun ota wit) mai heet keivd in, 'du:da:l 'du:da:I ail E5 S G1 C EPS go back home with my pook-et full of tin, oh, Doo-dah day! g-ou bask houm wfl> mai 'pokit ful av tin, ou, 'du;da: dei! Chorus Qi p a Going to run all night, Going to run all day! III bet my 'goulrj ta tau o:l nait, 'gouirj to rAn o:l dei! all bet mai G-> C )'J1IJ' J J IJl ]^>J> Jljllj. II mon-ey on the bob-tail nag, Some-bod-y het on the bay. SnAni . on ba 'bobteil nag-, 'sAmbadi bet on ba bei. 44 The long-tail filly and the big black horse, Doodah, Doodah! da 'lan-teil 'fili and da big bltek ho:s, 'du:da:, 'du:da:! They fly the track and they both cut across, Oh Doodah-day! dei flai da track and dei bouG kAt a'kros, ou 'du:da:dei! The blind horse sticking in a big mud hole, Doodah, Doodah! da blaind ho:s 'stikig in a big mAd houl, 'du:da:, 'du:da:! Can't touch bottom with a ten-foot pole, Oh Doodah-day! Chorus ku:nt tAtJ 'botam wid a 'ten-fut poul, ou du:da:dei! Old muley cow comes ould'mjudi kau kAmz The bobtail flung her da 'babteil Aat) ha:r Then flew along like a den flu: a1 log * laik a Running a race with a 'rAnirj a reis wid a onto the track, Doodah, Doodah! 'antu: da treek, 'du:da:, 'du:da:! over his back, Oh Doodah-day! 'ouva hiz bsek, pu 'du:da:deil railroad car, Doodah, Doodah! 'reilroud ko:, 'du:da:, 'du:da:! shooting star, Oh Doodah-day!. 'fu:tig sta:, ou 'du:da:,dei! Chorus , See them flying on a ten-mile heat, Doodah, Doodah! si: dem 'flaiig an a 'ten-mail hi:t, 'du:da:, 'du:da:! Round the race track, then repeat, Oh Doodah-day! raund da 'reis-treak, den ri'pht, ou 'du:da:deil I win my money on'the bobtail nag, Doodah, Doodah! ai win mai 'mAni on 9a 'bobteil naeg, 'du:da:, ilu:da:! I keep my money in an old tow bag, Oh Doodah-day! ai ki:p mai'inaiii in an ould tou bseg, ou 'du:do:dei! Chorus 1. DOODAH nonsense refrain - RACE TRACK specially prepared path for sport of running horses in competition - WITH MY HAT CAVED IN (old si.) with very little money - TIN (si. old in USA, still current in England) cash, money - Chorus: BOBTAIL with tail cut short - NAG (si.) horse, often an inferior horse - BAY reddish brown (horse) - FILLY young female horse, usually under four years of age - TO STICK to be caught fast - CAN'T TOUCH BOTTOM WITH A TEN FOOT POLE even a stick or pole 3 metres long is too short to reach the firm ground beneath the mud hole (1 foot equals 30 cm.) - 3. MULEY mulish, obstinate - RAILROAD CAR a train consists of a number of railroad cars linked together - SHOOTING STAR a small meteor appearing like a star moving rapidly and disappearing - HEAT (sport) a race or contest - TOW (old) coarse eheap material made of broken flax or hemp Popular American song about horse racing and betting, full of good-natured exaggeration. Written shortly after the middle of the 19th century by the famous American songwriter Stephen Collins Foster (1826-1864), it earned fortunes for its publishers, while Foster received nothing for it. i 45 13 Come, Landlord, Fiji The Flowing Bowl kAm, ']senlo:d, fil da 'flouing boul + +/E/m A favourite drinking song of Rollicking British students 1. Come, land-lord, fill the flow-ing bowl Un - til it runs kAm, 'lsenlo:d, fil ba 'flouirj boul An'til it rAnz it' i i' i' 11, i' J' J' ij. y }> o - ver, Come, land-lord, fill the flow-ing bowl Un-'ouva, kAm, 'Isenloid, fil ba 'flouirj boul An - IH ji h jh m— g Chorus G - w g J J J ±= i- 4^ til it runs o - ver. For to-night we'll mer-ry be, 'til it rinz 'ouva. fo: tu'nait wl:l 'nieri bi:, For to-night we'll mer-ry be, For to-night we'll fo: tu'nait vwi:l 'meri bi:, fo: tu'nait wi:l d7 —s— s-1 K- ^— g - ^=1 ft p J P -g-^ ->—■ P— —i—1 »-• l" "I mer-ry be, To - mor-row we'll be so - ber. 'meri bi:, tu'morou w(:l bi: 'souba. 2. The man who drinks just small beer, And goes to bed quite sober, da maen hu: drinks djAst smo:l bia, send gouz tu:bed kwait 'souba, Fades as the leaves do fade, That drop off in October. Chorus feidz bbz da ii:vz du feid, daet drop o:f in ok'touba. 3. The man who drinks good strong beer, And goes to bed right mellow, da maen hu: drinks gud strog bia, aend gouz tu: bed rait 'melou, Lives as he ought to live, And dies a jolly good fellow. Chorus livz sez hi: o:t tu liv, aend daiz a 'd3o!i gud 'felou. 4. But he who drinks just what he likes, And then gets half-seas-over, bAt hi: hu: drinks d^Ast wot hi: laiks, aend den gets 'ha:f-si:z-'ouva, Will live until he die, perhaps, And then lie down in clover. Chorus wil liv An'til hi: dai, pa'heeps, send den lai daun in 'klouva, 5. The man who kisses a pretty girl, And goes and tells his mother, da maen hu: 'kisiz a 'priti ga:l, tend gouz aend telz hiz 'mAda, Ought to have his lips sealed off, And never kiss another. Chorus o:t tu haev hiz lips si:ld a:f, aend 'neva kis a'nAda. 1. LANDLORD keeper of an inn - BOWL deep round dish without handle, larger than a cup. Used now for soup or porridge, etc., but no longer for drinking - Chorus: MERRY happy, cheerful - SOBER not drunk, serious - 2. SMALL BEER weak beer - TO FADE to lose colour or freshness - TO DROP OFF to fall - 3. MELLOW slightly intoxicated, sociable - JOLLY (Brit, si.) very - 4. HALF-SEAS-OVER half drunk - JN CLOVER in great wealth and luxury - 5. SEALED OFF firmly closed, tightly fastened - The usual version is: ... ought to have his lips cut off... Well-known traditional drinking song, very popular with British male students. At British universities this means most of the student body. Formerly, a& everywhere else, no women students were permitted. Even today in Britain, however, women average only approximately one fourth of the student body. At Oxford the proportion is six men to one female student, and at Cambridge ten male to one female student. 46 47 ||:; I li U; i' i I 14 John Peel djon pi:l + + +/E/Í . Bright and strong Hunting song based on an old English melody D JU'U J J hj 1. Do ye ken John Peel with his eoat so gay, Do ye du: ji; ken dgon pí;l wib hiz kout son gei, du: ji: D ken John Peel at the break of day, Do ye ken John_Peel when he's ken dgon- pi;l wt í>a breik ov dei, du:ji: ken djon pi:I wen hfcss G D Em D A7 D b Jl lŕ» * J> fa^fera-wa^Withhis hounds and his horn in the morn-iiig? fa:, fa:r a'wel, wit hiz haundz tend hiz ho:n in ta 'mo:nhj? For the sound of his horn brought me from my bed, And the fo: ba saund ov hiz ho:n bro:t mi: from mai bed, ffind ba cry of his hounds which he oft-times led, Peel'suViewnal-loo" would a-kraiovhiz haundz witf hi:'ofttaimz led, pi:lz "vju: ho'lu:" wud a- A A7 G D Em D 3# m waken the dead Or the fox from his lair in the morn-ing. 'weikan ba ded o: ba foka from hiz lear in ba 'mo:nirj. 48 2. Yes, I ken John Peel and Ruby too, jes, ai ken d$on pi:l send 'ru:bi tu:, Eanter and Ringwood, Bellman and True, 'raento aend 'rinwud, 'belman send tru:, From a find to a check, from a check to a view, from o faind tu: a tjek, from 9 t/ek tu: o vju:, From a view to a death in the' morning. Chorus from a vju: tu: a de9 in da 'mo:nin. 3. Then here's to John Peel from my heart and soul, den hiaz tu: dgon pi:l from mai ha:t send soul, Let's drink to his health, let's finish the bowl, lets drink tu: hiz hel0, lets 'flnij da boul, We'll follow John Peel through fair and through foul, wi:l 'foloii d3»n pi:l 6ru: » fea aand 6ru: faul, If we want a good hunt in the morning. Chorus if wi: wont a gud hAnt in da 'ma:nig. Sing last verse softly and slowly: 4. Do ye ken John Peel with his coat so gay, du: ji: ken d^on pi:l wid hiz kout sou gei, He lived at Troutbeck once on a day. hi: livd set 'trautbek WAns on a dei. Now he has gone far, far away, nau hi: haaz gtm fa:, fa:r a'wei, We shall never hear his voice in the morning. Chorus wi:_Jffil 'neva hia hiz voia in da 'mo:nin. 1. DO YE KEN (old) do .you know - COAT Sd OA Y traditional bright red hunting jacket - HOUND hunting dog - VIEW HALLOO the shout made by a hunter on seeing the fox start from covert - LAIR den - 2. A FIND said of dogs finding the scent of the fox - A CHECK said of dogs making a pause, as on losing the scent -DEATH here: death of the fox - 3. THROUGH FAIR AND FOUL through good or bad, through thick and through thin - 4. ONCE ON A DAY (old) formerly, once -GONE FAR, FAR AWAY in other words, John Peel "has died The Oxford Companion to English Literature states of John Peel he was born at Caldbeck, Cumberland, in 1776, and for over 40 years ran the famous pack of hounds that bore his name. He died in 1854. The words of the song were composed by his friend John Woodcock Graves. The tune is based on that of an old rant called Bonnie Annie, and is the regimental march of the Border Regiment.' (The Times, 19. Oct. 1929.) Note: a rant is an old English dance of a character not now known. 4 Fustan, Songs 49 15 Little Brown Jug 'lital braun d^Ag + +/E/f Heartily Well known English drinking song Music by R. A. Eastburn 1. My wife and I live mai waif send ai liv all a - lone In a 0:1 a'loun in 3 H ^"J f lit - tie log1 hut we call our own. She loves gin and 'lital log hAt wi: ko:l 'auer oun. JI; Iavz djin tend J> 1 J> r J r'r ' r I love rum. I tell you what, we've lots of fun. ai Iav rAm. ai tel ju wot, wi:v lots ov fAn. Chorus C G7 É p p r vr Ha, ha, ha, you and me, Lit-tle brown jug, how I love thee! ha:, ha:, ha:, ju: tend mi:, 'lital braun d3Ag-, hau ai Iav bi.l G7 pi Ha, ha, ha, you and me, Lit-tle brown jug, how I love thee! ha:, ha:, ha:, ju: end mi:, lital braun djAg', hau ai Iav bi:! When I go toiling to my farm wen ai gou 'toilir) tu: mai fa:m I take little brown jug under my arm. ai teik 'lital braun d3Ag 'Anda mai a:m. I place it under a shady tree, ai pleis it 'Andar a 'Jeidi tri:, Little brown jug, 'tis you and me! Chorus 'lital braun dgAg, tis ju: send mi:! If I'd a cow that gave such milk, if aid a kau diet geiv sAtJ milk, I'd clothe her in the finest silk, aid kloud ha:r in 3a 'fainiat silk. I'd feed her on the choicest hay, aid fi:d ha:r an 3a 'tjoisist hei, And milk her forty times a day! Chorus send milk ha: 'fo:ti taimz a dei! , 'Tis you who makes my friends my foes, tiz ju: hu: meiks mai frendz mai fouz, 'Tis you who makes me wear old clothes, tiz ju: hu: meiks mi: wear ould klouSz. Here you are, so near my nose, hia ju: a:, sou nia mai nouz, So '"tip her up and down she goes! Chorus sou tip ha:r Ap tend daun Ji: gouz! 1. LOG HUT wooden-cabin - 2. TO TOIL to work hard - 3. CHOICEST finest 4. FOE enemy - TO TIP to tilt, to slant 50 4* 51 Section 4 Humour and Fun 16 Billy Boy 'bili bai + +/E/m/" Lightly and cheerfully C English humorous song G» C 1. Oh, where have you been, Bil-Iy Boy, Bil-ly Boy, Oh ou, wea h£ev ju: bin, 'bill boi, 'bili boi, ou G FF S5 r ij $ i ^ where have you been, charm-ing Bil - ly?_ W£3 hasv ju: bin, 'ya:mirj 'bili? I have ai hsev Chorus H» h h I'LL ŕ HWJ'l^p- J'i been to seek a wife, She's the joy of my life, She's a bin tu si:k a waif, Ji:z ba d30i ov mai laif, J"i:z a G7 J> 'J' J. young thing and can-not leave her moth-er. JArj 6in SEnd 'ksenat li:v ha: 'mAba. 2, Did she ask you to come in, Billy Boy, Billy Boy? did Ji: a:sk ju: tu kAm in, 'bili boi, 'bili boi? Did she ask you to come in, charming Billy? did Ji: o:sk ju: tu kAm in, 'tJo:mir| . 'bili? Yes, she asked me to come in, jes, Ji: a:skt mi: tu kAm in, There's a dimple in her chin, deaz a 'dimpal in ha: tjin, Chorus 3. Did she set for you a chair, Billy Boy, Billy Boy? did Ji: set fo ju: a tfea, 'bili boi, 'bili boi? Did she set for you a chair, charming Billy? did Ji: set fa ju: a tjea, 'tfa:mig 'bili? Yes, she set for me a chair, jes, Ji: set fo mi: a tjea, She has ringlets in her hair, Chorus Ji: hsez 'rights in ha: hsa, 4. Can she bake a cherry pie, Billy Boy, Billy Boy? keen Ji: beik a 'tjeri pai, 'bili boi, 'bili boi? Can she bake a cherry pie, charming Billy? kaan Ji: beik a 'tjeri pai, 'tja:mig 'bili? She can hake a cherry pie Ji; keen beik a 'tjeri pai In the twinkling of an eye, Chorus in da 'twirjklirj ov sen ai, 5. How old is she, Billy Boy, Billy Boy? hau ould iz Ji:, 'bili boi, 'bUi boi? How old is she, charming Billy? hau ould iz Ji:, 'tja:mirj 'bili? Three times six and four times seven, 6ri: taimz siks send fo: taimz 'sevan, Twenty-eight and eleven, Chorus 'twenti-eit send i'levan, 3. TO SET A CHAIR FOR SOMEONE to invite someone to sit down - RINGLET small curl {of hair) - 4. CHERRY PIE one of the most popular American bakeiy products, cherries baked in a flat dish between two layers of pastry - IN THE TWINKLING OF AN EYE in a second, in the wink of an eye There are numerous versions of this song, some from England and some from Ireland. Some regard Billy Boy as a parody on sentimental love songs. Billy Boy has also travelled to America and become popular there. Verse No. 4 is an American addition to the song. 54 55 17 Ilkley Moor 'ilkli mu9 +/E/m/" Gay and ironic ♦ A sample of Yorkshire humour and one of the best known English folk songs Chorus m 1. Where have you been this wet cold wea hsev ju: bin bis wet kould night? On nait? on Am D7 G Ilk - ley 'ilkll Moor bäht mua ba:t 'atT a:t. Where have you wea hsev ju: 3 Am f f r *t. r r p Where have you been this wet cold been this wet cold nig-ht? bin bis wet kould nait? Pip G Em G* '*r ^ night? Where have you been this wet Where have you been this wet eold night?_,_ wea . hsev ju: bin bis wet kould nait? Chorus G P T' r cold night? On Ilk - ley Moor iaht 'at, On on 'ilkli mua ba:t a:t, on Ilk - ley Moor iaht 'ilkli mua bait 56 W---- O->n- jrj-—- —n"- iy -- I ^_ ^-(9- _iL.,. ,- 1 -F--1 1 'at, a:t, On on Ilk - ley 'ilkli Moor baht mua bait a:t. 2. You've been out courting, Mary Jane, etc. ju:v bin aut 'ko:titj, "mean d3ein, 3. You'll go and catch your death of cold, etc. ju:l gou send ksetj jo: deO ov kould, 4. Then we shall have to bury you, etc. ften wi: Jael hsev tu 'beri ju:, 5. Then worms will come and eat you up, etc. den wa:mz wil kAm send i:t ju: Ap, 6. Then ducks will come and eat the worms, etc. Sen dAkfl wil kAm sendi:t,fla wa:mz, 7. Then we shall go and eat the ducks, etc. den wi: Jael gou send i:t da dAks, 8. Then we shall all have eaten you, etc. den wi: Jsel o:l hsev i:tan ju:, 9. That's where we get our own back, etc. fleets wea wi: get 'auar oun bsek, 10. Last verse There is a moral to this song, dear iz o 'moral tu: dis son, On Ilkley Moor baht 'at, an 'ilkli mua bo:t a:t, There is a moral to this song, dsar iz a 'moral tu: dis sog, There is a moTal to this song, dear iz a 'moral tu: dis son, Never go without your hat, 'neva gou wi'flaut jo: hset, Never go without your hat, neva gou wi'flaut jo: haet, On Ilkley Moor baht 'at. on 'ilkli mua ba:t a:t. 1. ILKLEY MOOR open ground near town of Ilkley in Yorkshire - BAHT 'AT without a hat (bar the hat) - 2, TO COURT to keep company with person of the opposite sex - 3. TO CATCH ONE'S DEATH OF COLD to die from a bad cold, probably pneumonia - 4. TO BURY to put under ground (as a dead body) - 9. TO GET ONE'S OWN BACK this may be intended as a pun, as two meanings are possible: to get back one's own property; to be revenged - 10. MORAL point This song has made the town of Ilkley 'famous. On Ilkley Moor baht 'at, as the song is also called, is sung wherever Englishmen get together. It is usually heard in the Yorkshire dialect. The final verse is a latter-day addition. In Yorkshire dialect "baht" is something like [ba :t], and "at" is between [a :t] and [set]. 58 18 Let Him Go, Let Him Tarry let him gou, let him 'tseri + + +/I/f/'-' Briskly and with spirit Popular Irish song illj. ji j, ji ip iKjJ J' I» 1.1 1. Fare-well to cold win-ter, 'fea'wel tu: kould 'winta, sum-mer's come at 'sAma.ü kAin at last. ^ Noth-ing have I gained, but my true love have I la:st. 'nAOig hsev ai geind, bAt mai tru: Iav haw ai 6 J) ]> J> , iJji ]E5 J- f»C lost. I'll lost. ait 1> J' J> 'P 1 sing and I'll be sir) and ail bi D7 hap - py, like the 'hsepi, laik ba mm birds up - on the tree, For since he de-ceivedme I baidz a'pon ba tri:, fo: sins hi: di'sisvd ml: ai G Chorus h h J) J> care no more for him. Let him kea nou ma: fo: him. let him G go, let him gou., let him 3=Ě tar - ry, let him sink or let him swim. He does - n't 'tasrf, let him siijk o: let him swim. hi: 'dAznt 59 p G h J> J> Ji IJ care for me, and I don't care for him. He can tea fo: mi:, and ai dount kea fo: him. hi: kan 1^ J' JM^ J' h go gou G and get an - oth-er that I hope he will en and get aWba bat ai honp hi: wil in J J', In J h '0301, For I'm going to mar-ry a far ni-Cer boy. (2. He) fo:r aim 'gouhj tu 'mseri a fa: Wise bai. He can go to his old mother now and set her mind at ease, hi: kan gou tu: hiz ould 'mAda nau and set ha: maind at i:z. I hear she is an old, old woman, very hard to please, ai hia Ji: jz on ould, ould 'wuman, 'veri ho:d tu pli:z. Always slighting me and talking ill, that's what she's always done 'odweiz 'slaitir) mi: and 'to:kin il, dsets wot Ji:z 'odweiz dAn Because I was courting her great big ugly son. Chorus bi'koz ai woz 'ko:tin ho: greit big 'AglisAn. Title: TO TABBY to stay -I. TO DECEIVE here: to be unfaithful - 2. BAD here: ill, sick - 4. TO SLIGHT to treat with disdain - ILL badly - TO COURT (Brit.) to keep company, to go out regularly with the same person of the opposite sex An independent minded young Irish girl says good riddance to her boy-friend. . He wrote me a letter saying he was very bad. hi: rout mi: a 'leto 'seiig hi: woz 'veri bsed. I sent him back an answer saying I was very glad, at sent him bsek an 'a:nso "seiin ai woz 'veri glsed. He wrote me another saying he was well and strong, hi: rout mi: a'nAda 'seiin hi: woz wel and stray, But I care no more about him than the ground he walks upon. bat ai kea nou mo: o'baut him dan da graund hi: wo:ks a'pon. Chorus . Some of his friends had a good kind wish for me, sAm ov hiz frendz haed a gud kaind wif fo: mi:, Others of his friends, they could hang me on a tree. 'Adaz oa hiz frendz, dei kud haej mi: on o tri:. But soon I'll let them see and soon I'll let them know h\t su:n ail let dem si: and sum ail let dam nou That I can get a new sweetheart on any ground I go. Chorus dat ai kan get a nju: 'swi:tho,:t on 'eni graund ai gou. 1 60 61 19 Michael Finnigan 'maiksl 'finigan +/W Lustily G h }\ Í) }> Humorous Irish traditional song D7 G 1. There was an old man called Mi-ehael Fin-ni-gan, &£a waz an ould msn ko:ld 'maikal 'finig-an, D7 1\ }\ Jl Jl I J> J> > He grew whis - kers on his chin - i - gin, The hi; gru: 'wiskaz on hiz 'tfinigin, öa G D7 h í) h G wind came up and wind keim Ap send D7 blew them blu: 6 em G m - i - gm, inigin, (Shouted) \ J) 1 J «P J iP J ŕ ifí Poor old Mi - chael Fin - ni - gan, Be - gin - i - gin. puar ould 'maikal 'finigan, bi'ginigin. (attacca D. C.) 2. There was an old man called Michael Finnigan, He got drunk through drinking ginigin, hi: got drAnk 6ru: 'drinkig ginigin, Thus he wasted all his tinigin, 6as hi: 'weiatid o:l hiz 'tinigin, Poor old Michael Finnigan, beginigin. 3. There was an old man called Michael Finnigan, He went fishing with a pinigin, hi: went 'fl/in wid a 'pinigin, Caught a fish but dropped it inigin, ko:t a fij bAt drapt it 'inigin, Poor old Michael Finnigan, beginigin. 4. There was an old man called Michael Finnigan, Climbed a tree and barked his shinigin, klaimd o tri: and ba:kt hiz 'Jinigin, Took off several yards of skinigin, tuk o:f 'sevral ja:dz av 'skinigin, Poor old Michael Finnigan, beginigin. 5. There was an old man called Michael Finnigan, He grew fat and then grew thinigin, hi: gru: feet and 5en gru: 'Oinigin, Then he died and had to beginigin, 3en hi: daid and heed tu bi'ginigin, Poor old Michael Finnigan, beginigin. I. WHISKERS beard - 2. TIN (Brit, si.) money - 4. TO BARK ONE'S SHINS to accidentally scrape the skin off the front of the leg below the knee - YARD 9/10 of a metre, or 0.9 in The nonsense syllables -igin added to chin, begin, tin, etc. look and sound somewhat like again and rhyme with Finnigan. 62 63 20 Oh, Susanna ou, su:'z33na + +/A/m Brightly Popular American song Words and music by Stephen Foster fyi n\x p p p ip J'ji MXi^m 1. I've come from Al - a - bam-a with my ban-jo on my alv kAm from .sela'baaino wib mai'bsendgciu on mai C7 p p"";> p i p p knee, I'm going to Lou - i - si - an - a my ni:, aim 'gouirj tu: lu^zi'sena • mai C7 I- J1 J> > .h U true love for to see. It tru: Jav fo: tu si:. it > p .'• Jl I j' J' J> Ji rained all night the reind o:l nait oa C7 t day I left, the weath - er was so dry, The del ai left, oa 'weba woz sou drai, Oa C7 i J' p p p I *"~-'' Ji J'I J'J' S' sun so hot I froze to death, Su-san-na, don't you SAn sou hot' ai frouz tu: ded, sui'ztena, dount ju: cry. krai. Chorus r r ip r p \vm C7 Oh, Su - san-na, oh, don't you cry for me, I've ou, su:'z£ena, ou, dount ju: krai fo: mi:, aiv 3> p p p Ip J'Ji ■MJ'J'S.HJ vi come from Al- a - bam-a with my ban-jo on my knee. kAm from eela'beema wib mai'bsendsou on mai ni:. I had a dream the other night, when everything was still, ai hsed a dri:m 9i 'Ada nait, wen !evri0ig woz stil, I thought I saw Susanna dear, a-coming down the hill, ai 0o:t ai so: su:'zsene dia, a-'kAmin daun 9a nil. The red, red rose was in her hand, the tear was in her eye, da red, red rouz woz in ha: haand, da tia woz in ha:r ai, I said, "I'm coming from the south, Susanna don't you cry." ai sed, "aim'kAmig fram da sau9, su:'zsena dount ju: krai.' Chorus I soon will be in New Orleans, and then I'll look all 'round, ai su:n wil bi: in ,nju o:'li:nz, send dan ail luk o:l raund, And when I find Susanna, I'll fall upon the ground, send wen ai faind su:'zeena, ail fo:l a'pan da graund. But if I do not find her, then I'll,surely die, bAt if ai du: not faind ha:, den ail ' Juali dai, And when I'm dead and buried, Susanna, don't you cry. send wen aim ded send'berid, sui'zaena, dount ju: krai. Chorus 1. ALABAMA state in southern USA -LOUISIANA state in southern USA, bounded by Mississippi River and Gulf of Mexico - 3. NEW ORLEANS capital of Louisiana - TO FALL here: to kneel Stephen Collins Foster, gifted composer of many of America's best loved songs, died alone and poverty stricken on January 13, 1864, in Bellevue Hospital, New York City. He was 38 years old. Because of his alcoholism, his marriage and career had already broken up. For the same reason he was often so poor he could not afford to buy music paper and even jotted down words and melodies on to ordinary brown wrapping paper. These songs were later published in millions of copies and sung the world over. Oh, Susanna was the most popular song of the year 1848 and became the theme song of the forty-niners in the California gold rush of 1849. 64 5 Pus tan, Songs 05 21 Old John Braďdle-um ould d3on 'brsedalam +/E/m/" Lively F 66 Traditional English song F Bl> 1. Num-ber One, Num-ber One, Now my song has nAmba win, Warn a wah, nau mai sorj hxz Gm 0» Chorus mm just be - gun. With a rum - turn - tad-die-urn, d3ASt bi'gAn. wi& a 'rwn - tum - 'tsedal - am, C7 C7 F za. Old John Brad- dle-um, Jol - ly coun-try folk are we. ould dgon 'brsedalam, 'd^joli 'kAntrl fouk a: wi:. 2. Number two, Number two, 'nAmba tu:, Some like boots and sOme like shoes. SAin laik bu:ts Bend BAm laik Ju:z. 3. Number three, Number three, 'nAmba 0ri:, Some like coffee and some like tea. SAm laik 'kofi send SAm laik ti:. 4. Number four, Number four, 'nAmba fo:, Some say nought but think all the more. SAm sei no:t bAt 6hjk oil 9a mo:. Chorus Chorus Chorus I 5. Number five, Number five, 'nAmba faiv, All must work to keep alive. ' Chorus o:l mAst wa:k tu ki:p a'laiv. 6. Number six, Number six, 'nAmba siks, Beer and water they won't mix. Chorus biar send 'wo:ta 5ei wount miks. 7. Number seven, Number seven, 'nAmba 'sevan, 1 Is just the same as number eleven. Chorus iz djASt 9a seim aez 'nAinbar i'levan. 8. Number eight, Number eight, 'nAmbar eit, I like a door but some like a gate. Chorus ai laik a do: bAt SAm laik a geit. 9. Number nine, Number nine, 'nAmba nain, I drink beer 'cause I don't like wine. Chorus ai drink bia koz ai dount laik wain. 10. Number ten, Number ten, 'nAmba ten, There are no women where there are no men. Chorus dear a: nou wimin w^^ deer a: nou men. 11. Number eleven, Number eleven, 'nAmbar i'levan, Much the same as Number seven. Chorus mAtf 5a seim sez 'numbs 'sevan. 12. Number twelve, Number twelve, 'nAmba twelv, If you want any more you can sing it yourself. Chorus if ju: wont 'eni mo: ju: kan sin it jo:'self. Chorus: RU M-TU M-TADDLE-UM nonsense syllables used as refrain - 4. NOUGHT nothing - 6. BEER AND WATER THEY (ungramm.) beer and water 67 22 Tavern In The Town 'tsevan in öa taun + + +/E/Í/" With a hearty swing C ^Favourite British student song, based on a Cornish folk song 1. There bear is iz a a tav - era. 'ta3van m In the ba town, in the town, And there my true love sits him taun, In ba taun, send d£a mai tru: Iav sits him G7 down, sits him down, And daun, sits him dauu, send drinks his wine 'mid drinks hiz wain mid G7 vr p pJ| p laugh-ter free. And ney - er, nev-er thinks of me fri:, send 'neva, 'neva Sinks ov mi: rla:fta Chorus G? p p p p J"' >jij>p p p Fare thee well, for I must leave thee, Do not let the part-ing fta bi: wel, fo:r ai mASt li:v bi:, du: not let ba 'pa:tir) i P ^ > Jl U} p p p p J' ^ p grieve thee, And re - mem-ber that the best of friends must gri;v bi:, and ri'memba best ba best ov frendz m.\st 68 p G7 C j' i j. i J1 > part, must part. pa:t, mAst pa:t. A - dieu, a-dieu,kind friends, a a'dju:, a'dju:, kaind freňdz, a h J> j * f> J' J> »Jl dieu, a-dieu, a-dieu, I can no long - er stay with 'dju:, a'dju:, a'dju:, ai ken nou 'lorjga - stei wib G G7 you, stay with you. ju:, stei wib ju:. I'll. hang my harp on a ail hsBrj mai ha:p on a a F_ Q_G7 _C $ p p p p j- p If p p j'j' p^^> weep-ing wil-low tree, And may the world go well with thee. 'wi:pin 'wilou tri:, send mei ba wa:ld gou wel wib bi:. He left me for a damsel dark, damsel dark, ( hi: left mi: fo:r a 'dsemzel da:k, 'dsemzel da:k, Each Friday night they used to spark, used to spark, i:tf 'fraidi nait flei ju:st tu spa:k, ju:st tu spa:k, And now my love, once true to me, send nau mai Iav, wAns tru: tu: mi:, Takes that dark damsel on his knee, teiks 5set da:k 'dtemzel on hiz ni:. Chorus Oh, dig my grave both wide and deep, wide and deep, ou, dig mai greiv bou6 waid and di:p, wide and di:p, Put tombstones at my head and feet, head and feet, put 'tu:mstounz set mai hed and fi:t, hed and fi:t, And on my heart carve a turtle dove, send on mai ha:t ko:v a 'ta:tal dAv, To signify I died of love, tu 'signifai ai daid ov Iav. Chorus 69 23 There's A Hole In My Bucket ôsaz a houl in mai 'bAkit +/E/m/" Plaintively m Popular folk song from Britain G C G ■-----*•• TJ 1. There's a hole in my buck - et, dear Li - za, dear btaz a houl in mai 'bAkit, dia 'laiza, dia m a G 5=5: attacca D. C. D7 G, ľ Li-za,There's a hole in my buck- et, dear Li-za, a hole. 'laiza, &e3z 9 houl in mai 'bAkit, dia 'laiza, a houl. Liza (brightly) 2, Then mend it, dear Georgie, dear Georgie, den mend it, dia 'd3o:d3i, die 'd3D:d3i, Then mend it, dear Georgie, dear Georgie, G.: 3. With what shall I mend it, dear Liza, ... wi5 wat Jsel ai mend it, die 'laiza.... L.: 4. With a straw , dear Georgie,... G.: 5. The straw is too long, dear Liza,... L.: 6. Then cut it, dear Georgie,... G.: 7. With what shall I cut it, dear Liza,... L.: 8. With a knife, dear Georgie,... G.: 9. The knife is too blunt, dear Liza,... L.: 10. Then sharpen it dear Georgie, ... G.: 11. With what shall I sharpen it,dear Liza,... L.: 12. With a stone, dear Georgie,... dear Georgie, dia 'd3o:d3i, mend it. with what? wifl wot? a straw, a stro:. too long, tu: Ion. cut it. kAt it. with what? a knife, a naif, too blunt, tu: blAnt. then sharpen it. 'Ja:pen it. with what? a stone, a stoun. 70 71 G.: 13. The stone is too dry, dear Liza,... L.: 14. Then wet it, dear Georgie,... G.: 15. With what shall I wet it, dear Liza, L.: 16. With water, dear Georgie,... G.: 17. In what shall I get it, dear Liza, ... in wot /eel ai get it, die laiza, ... L.: 18. In a bucket, dear Georgie,... O.: 19. There's a hole in my bucket, dear Liza, ... too dry. tu: drai. wet it. wet it. with what? with water, wifl 'wo:ta. in what? in wot? in a bucket, in a 'bAkit. a hole. \. BUCKET container with handle for water, milk etc. - TO MEND to fix, to repair • OEOROIE affectionate or familiar form of George Well known humorous duet between energetic wife and tired husband: 72 24 All Through The Night o:l 6ru: da nait + + +/W/8 Rather slowly, with feeling F Bfc Dm G7 Traditional Welsh melody Bt C7 I 1. While the moon her watch is keep - ing, All through the wail ba mum ha: wotj iz 'ki:pirj, o:I 6ru: &a B\> Dm G7 BE> C7 I2Z 5 night, While the wea-ry world is sleep-ing, All through the nait, wail oa 'wiarl wa:ld la 'sliipirj, o:l 6ru: ba Bb F7 B!> F7 Bb night, nait, O'er my bo - som gen - tly steal - ing, 'oua mai 'buz am 'd3entli 'stidirj, C7 F C G7 C Bt Dm Vi-sions of de - light re-veal-ing, Breathes a pure and 'vijanz ov di'Iait ri'vi:lirj, bri:bz a pjuar send G7 Bt C7 F m ho - ly feel - ing, 'houli 'fbllij, All through the night. o:l 6ru: ba nait. 74 Love, to thee my thoughts are turning, Iav, tu: 9i: mai 0o:ts a: 'ta:nig, All through the night, o:l 8ru: do nait, And for thee my heart is yearning, send fo: di: mai ha:t iz 'ja:nirj, All through the night. o:l 8ru: da nait. Though sad fate our lives may sever, dou ssed feit 'aua laivz mei 'seva, Parting will not last forever, 'pa:tig wil not la:st fa'reva, There's a hope that leaves me never, deaz a houp dset li:vz mi: 'neva, All through the night. o:l 8ru: da nait. 1. TO KEEP WA TCH to be on duty, to be on guard - BOSOM breast, heart - VISION thing seen in dream or imagination - TO REVEAL to show - 2. TO YEARN to long for - TO SEVER to cut apart, to separate 75 25 Annie Laurie 'seni 'lauri + + +/Sc/s Tenderly Well known Scottish love song D mm 0- ■# 1. Max - wel - ton braes are bon-nie, Where ear - ly falls the 'mseksweltan breiz a: 'boni,. w£ar 'a:li forla oa dew, And'twas there that An - nie Lau - rie gave dju:, send twos &£a oaet '»ni 'lo:ri . geiv ♦ P G7 G ■0*-0t me her pro-mise true, Gave me her pro-mise true, Which mi: ha: 'promis tru:, geiv mi: ha: 'promis tru:, witf A Am Dm E> G7 Am F_^ j r p i li i f. ir-]) Jrr Jl I ne'er for-got shall be, And for bon-nie An - nie ,n£a fa'got Ja»I bi:, send fo: 'boni 'asnl Lau - rie 'loiri I'd_ aid lay lei me down and mi: d aim send die. dai. 2. Her brow is like the snow-drift ha: brau iz laik da 'snou-drift Her throat is like the swan, ha: Orout iz laik da swan. Her face it is the fairest ha: feis it iz da 'fearist That e'er the sun shone on, dffit ea da SAn Jan on, That e'er the sun shone on, And dark blue is her eye, send da:k blu: iz ha:r ai, And for bonnie Annie Laurie I'd lay me down and die. 3. Like dew on the gowan lying laik dju: on da 'gauan 'laiirj Is the fall of her fairy feet.-iz da fo:l ov ha: 'feari fi:t. And like wind in summer sighing, aend laik wind in 'sAma 'saiin, Her voice is low and sweet, ha: vois iz lou send swi:t. Her voice is low and sweet, And she's all the world to me, send Ji:z o:l da wa:ld tu: mi:, And for bonnie Annie Laurie I'd lay me down and die. 1. BRAE (Scot.) hillside - BONNIE (Scot.) beautiful - 'TWAS (old) it was - NE'ER (poetic) never - FORGOT (poetic) forgotten - I'D I would - LAY MM DOWN (old) lie down - 2. BROW (poetic) - forehead - SNOWDRIFT snow blown into a high pile - E'ER (poetic) ever - 3. OOWAN (Scot.) mountain daisy In the original Scotch version the last word in each verse is DEE [di:] instead of DIE [dai]. The song can be sung either way. There actually was an Annie Laurie. Born in 1682 to Sir Robert Laurie of Maxwelton in Dumfriesshire, Scotland, she married Alexander Ferguson and lived to be over 80 years of age. Her unsuccessful suitor William Douglas wrote the verses of Annie Laurie. In 1835, a century and a half after the birth of Annie Laurie, the melody to Douglas's poem was composed by Lady John Scott (1810-1900). Sentimental though it is, the song remains one of the best loved Scottish songs. 76 77 26 Barbara Allen 'ba:bara 'selin + + +/E/S Free and with expression C Traditional British folk song 1. In Soar - let Town where in 'skailit taun wear I ai was born There woz bo:n b£a Dm was a fair maid dwell -ing,_ Made ev-'ry youth cry woz a feo meid 'dweltn, meid 'evri ju:G krai Am C F G* C Em "Well - a - Day." Her name was Barb - 'ra AI-len. "'welo'dei." ha: neim woz 'ba.bra SBlin. , All in the merry month of May o:l in da 'nieri mAn8 ov rriei When green buds they were swelling, wen gri:n bAdz dei wa: 'swelig, Young William Grove on his death bed lay JAg 'wiljam grouv on hiz de6 bed lei For love of Barb'ra Allen, fo: Iav ov 'ba:bra 'selin. . So slowly, slowly, she came up ■ sou 'slouli, 'slouli, Ji: keiro Ap And slowly, she came nigh him. send 'slouli, Ji: keim nai him. And all she said when theTe she came, aend 0:1 Ji: sed wen dea Ji: keim, "Young man, I think you're dying." "jaij maen, ai 9ink jua 'daiin." 4. When he was dead and laid in his grave wen hi: woz ded send leid in hiz greiv Her heart was struck with sorrow. ho: ha:t woz strAk wid 'sorou. "Oh, mother, mother, make my bed, "ou, 'inAda, 'mAdo, meik mai bed, For I shall die tomorrow. fo:r ai Jsel dai tu'morou. 5. "Farewell," she said, "Ye maidens all, '"fc&'wel," Ji: sed, "ji: 'meidonz o:l, And shun the fault I fell in. send jAn de io:lt ai fel in. Henceforth take warning by the fall 'hens'fo:6 teik 'wo:nirj bai de fo:l Of cruel Barb'ra Allen, ov krual 'ba:bro 'aelin. 6. "Father, father, go dig my grave. "'fo:do, 'fa:do, gou dig mai greiv. Go dig it deep and narrow. gou dig it di:p send 'nasrou. Young William died for me today, JAt) 'wiljam daid fo: mi: tu'dei, I'll die for him tomorrow." ail dai fo: him tu'morou." 7. They buried William in the old churchyard dei 'berid 'wiljam in di ould 't/a:t/'ja:d And Barb'ra in the new one. aend 'ba:bro in da nju: WAn, From William's grave grew a red, red rose, from 'wiljamz greiv gru: a red, red rouz, From Barbara's a briar. from 'ba:boraz o 'braio. 8. They grew and grew to the old church wall dei gru: send gru: tu: di ould tja:tj wo:l Till they could grow no higher, til dei kud grou nou 'haia, And there they tied in a true love-knot, send des dei taid in o tru: 'lAV-not, The red rose and the briar. da red rouz send do 'braia. 78 3. NIQH near - 5. TO SHUN to avoid - HENCEFORTH TAKE WARNING leam from my example - 7. BRIAR plant bearing thorns - 8. LOVE KNOT a decorative knot symbolic of love This ballad has been known for over 300 years and exists in many versions - Scottish, Irish, English, and American. In some versions the lover dies after a duel over the beautiful but hard-hearted Barbara Allen. Even in those versions Barbara Allen leaves him lying on his death bed. In all the versions, however, she regrets her cruelty and herself dies the next day or so. In his famous 17th century diary, Samuel Pepys recorded his 'perfect pleasure' bn hearing the 'little Scotch song of Barbery Allen'. Two versions of the ballad are included in Thomas Percy's monumental collection of old poems and ballads, "Reliques of Ancient English Poetry", first published in 1765. 27 Careless Love 'ksalis , Iav +/A/s/" With restrained rhythm Widely known American folk song based on a Negro packet-boat song Fffj m B" P i. Love, oh love, oh care-less love,. Iav, ou Iav, ou 'kealis Iav, Love, oh Iav, ou F#dira. Gm' C F F7 f r r ji/i. f iJ|J^ love, oh care-less love, Iav, on 'kealis Iav, Love, oh love, oh Iav, ou Iav, ou > 80 Chorus Btm p oare-less love, Oh, see what love has done to me__(i) 'kealia Iav, ou, si: wot Iav haez dAn tu: mi:. 2. When my apron strings were long, (3x ) wen mai eipron striijz wa: Ion, You passed my window with a song, ju: pa:st mai 'windou wi3 a son. 3. Now my apron strings won't tie, (3x ) nau mai 'eipran strirjz wount tai, You pass my cabin door right by. ju: pa:s mai 'ksebin da: rait bai. 4. I love my mama and papa too, (3 x ) ai Iav mai 'ma:ma send 'pa:pa tu:, I'd leave them both to go with you. aid li:v dem bouB tu gou wid ju:. 6 Pogtan, Songs 81 •1 5. Love has broken this heart of mine, (3x ) Iav haez 'broukan dis ha:t ov main, It will break that heart of yours sometime, it wil breik dset ha:t ov jo:z 'sAmtaim. 6.1 cried last night and the night before, (3 x ) ai kraid la:st nait send da nait bi'fa:, I'll cry tonight, then cry no more, ail krai tu'nait, den krai nou mo:. 1. CARELESS thoughtless, carefree - 2. APRON loose garment worn over front of dress to keep it clean - STRINGS ties, strips of material to fasten the apron in back -WON'T will not - 3. CABIN small house, hut in the country - RIGHT (colloq., adds emphasis), TO PASS RIGHT BY to ga directly past without stopping The American pronunciation of 'mama' and 'papa' is given in verse 4. The English pronunciation is [ma'ma:] and [pa'pn:], which would hardly fit in this song. According to Alan Lomax, Cardess Love is one of the first blues songs. As in the case of Careless Love, some of the early blues ran to sixteen bars and four lines, the twelve-bar three-line blues being a later development. 28 Down In The Valley daun in da 'vaeli +/A/s/" Smoothly, with feeling Popular American folk song,, probably a prisoner's lament /I F dttt—i-- ij j i i C J «==3 - Of - — 1. Down in the val - ley, daun in ba 'vseli, Val-ley so low,, 'vseli sou lou, ♦ r ir ir Late in the eve - ning, Hear the wind blow.. leit in oi: 'iivnirj, hia ba wind blou. Chorus F Hear the wind blow, dear, Hear the wind blow-hia ba wind blou, dia, hia ba wind blou. Late in the eve - ning, Hear the wind blow, leit in bi: 'i:vnin, hia ba wind blou. (S. I'm) ■■■■■■ 82 6* 83 2. If you don't love me, if ju: dount Iav mi:, Love whom you please, Iav hu:m ju: pli:z, Put your arms round me, put jo'r a:mz raund mi:, Give my heart ease, giv mai ho:t i:z. Give my heart ease, dear, giv mai ho:t i:z, dia, Give my heart ease, giv mai ho:t i:z, Put your arms round me, put ja:r o:mz raund mi:, Give my heart ease, giv mai ha:t i:z. 3."I'm writing this letter, aim 'raitig <3is 'leta, Containing three lines, kan'teinig 8ri: lainz. Answer my question, a:nsa mai 'kwestfan, Will you be mine? wil ju: bi: main? Will you be mine, dear, wil ju: bi: main, dia, Will you be mine, wil ju: bi: main, Answer my question, 'd:nsa mai 'kwestfan, Will you be mine? wil ju: bi: main? , Write me a letter, rait mi: a 'leta, Send it by mail, .send it bai meil. Send it in care of send it in kear ov Birmingham Jail, 'ba:migam djeil, Birmingham Jail, dear, 'ba:migam djeil, dia, Birmingham Jail, 'baimipam dgeil, Send it in care of send it in kear ov Birmingham Jail. 'ba:migam d3eil. 5. Roses 'rouziz Violets 'vaialits Angels 'eind3alz Know I nbu ai Know I nou ai Know I nou ai Angels 'eindjalz Know I nou ai love sunshine, Iav 'sAnJain, love dew, Iav dju:, in heaven in 'hevan love you, Iav ju:, love you, dear, Iav ju:, dia, love you, Iav ju:, in heaven in 'hevan love you. Iav ju:. 1. VALLEY stretch of land between hills or mountains, often with a river flowing through it - 2. WHOM YOU PLEASE any one you wish - 3. CONTAINING which has - 4. IN CARE OF used in addresses on letters and often abbreviated c/o-for example, Mr. John Smith c/o Birmingham Jail, Birmingham, Alabama - 5. VIOLETS small wild or garden plants with sweet smelling flowers of bluish purple colour Birmingham is the largest city in the southern state of Alabama, USA. It is also the name of the second largest city in England. (Amer.) ['bo:rmig'h3am] 84 29 The Foggy, Foggy Dew 3a 'fogi, 'fogi dju: + +/E/s Ereely, steadily G English folk song 1. When I was a bachelor, I lived all a-lone, I wen ai woz, o 'oset/ala, ai livd o.l a'Joun, ai D7 3=^ worked at the weav - er's wa:kt set ba 'wi:vaz And the tend bi ♦ on - ly, on - ly thing- that I did that was wrong Was to 'ounll, 'ounli din bat ai did bset woz ran woz tu woo a fair young maid. I wooed her in_ the wu: a fga jatj meid. ai wu:d ha:r In &a G D7 G winter - time And in the sum-mer, too; And the 'wintataim send In ba 'sAma, tu:; tend bi 1 ' ' i 1 i m.....,1 j ' i i on - ly, on - ly thing I did that was wrong Was to 'ounli, 'ounli Gin ai did baet woz roij woz tu 85 G J) J' J' h J> J> keep ki:p her from. ha: from the 09 fog - gy, 'fogi, fog - gy 'fogi dew. dju:. , One night she knelt close by my side, wAn nait Ji: nelt klous bai mai said, When I was fast asleep. wen ai waz fa:st a'sliip. She threw her arms around my neck, Ji: 6ru: ha:r a:mz a'raund mai nek. And then began to weep. send den bi'gsen tu wi:p. She wept, she cried, she tore her hair. Ji: wept, Ji: kraid, Ji: to: ha: hca. Ah me, what could I do? a: mi:, wot kud ai du:? So all night long I held her in my arms, sou o:l nait Ion ai held ha:r in mai o:mz, . Just to keep her from the foggy, foggy dew. d3Ast tu ki:p ha: from do 'fogi, 'fogi dju:. . Again I am a bachelor, I live with my son, a'gen ai aem a 'baetjala, ai liv wid mai SAn, We work at the weaver's trade; wi: wa:k fflt da 'wi:vaz treid; And every single time I look into his eyes send 'evri siijgal taim ai luk 'intu hiz aiz He reminds me of the fair young maid, hi: ri'maindz mi: ov da fea JAg meid. He reminds me of the wintertime hi: ri'maindz mi: ov da 'wintataim And of the summer too; send ov da 'sAma tu:; And the many, many times that I held her in my arms, send fla 'meni, 'meni taimz daet ai held ha:r in mai a:mz, Just to keep her from the foggy, foggy dew. djAst tu ki:p he: from da 'fagi, 'fogi dju:. Title: DEW moisture from the air condensed in small drops on cool surfaces from evening to morning - FOGGY beclouded, indistinct; (old) grass covered ground - 1. BACHELOR unmarried man - WE A VER'S TRADE occupation of making cloth - 2. KNELT to kneel, knelt, knelt - TORE to tear, tore, torn - 3. - EVERY SINGLE TIME emphatic for 'each time' At one time weaving was a male occupation. The weavers worked on their own wooden looms in their own cottages. The industrial revolution in England (1760) made it possible for women and children to take over this work in the newly opened textile factories, in which steam driven machinery replaced manual labour and skill. The wages paid in the factories were so low and the production so high that independent weavers were gradually forced out of existence. This song, a popular favourite of folk singers on both sides of the Atlantic, is believed to have come originally from Suffolk, England. There are many versions of the song. The version given here is probably one of the best known. 86 87 30 Greensleeves 'gri:nsli:vz ' + + +/E/s/" Slowly, with feeling Em English folk song first published in the 16th century Bm 1. A - las, my love, you a'laes, mai Iav, ju: do me wrong-, To du: mi: rot), tu Am B B? Em mj j1 G cast me off dis-eour-teous-lyj And I have loved ka:st mi: o:f dis'ko;tjasli; send ai hssv lAvd D Bm Em B* Em J' ji Ji J' IA Ji Ju h, h l> 1J J1' you so long, De-light - ing in your com-pa-ny. ju: sou Ion, di'iaitii] in jo: 'kAinpani. Chorus , G ^_^ D Green - sleeves was all 'gri:nsli:vz woz o:l Em C B* my joy,_ mai djoi, G g PPP om1 ' "=e Green - sleeves was my de-light, Green-sleeves was my 'gri:nsli:vz woz mai di'Iait, 'g>ri:nsli;va woz mai D Em B7 Em A Em heart of gold, And who but my La - dy Green-sleeves. ha:t ov gould, send hu: bit mai 'leidi 'gri:nsli:vz. 88 I have been ready at your hand ai haev bin 'redi aet jo: haend To grant whatever you would crave, tu gra:nt wot'eva 'ju: wud kreiv. I have both waged life and land, ai 'haev bouö 'weidjed 'laif send 'laend, Your love and goodwill for to have. Chorus jo: 'Iav aend 'gud'wil fo: tu 'haev. I bought thee kerchers to thy head ai bo:t di: 'ka:tfaz tu: dai hed That were wrought fine and gallantly; daet wa: ro:t fain send 'gaelontli; I kept thee both at board and bed, ai kept Öi: bou6 set bo:d send bed, Which cost my purse well - favour'dly. Chorus wit J kost mai po:s wel-'feivedli. , Thy smock of silk, both fair and white, dai smok ov silk, bou6 fea send wait, With gold embroidered gorgeously; wid gould im'broidad 'goid^osli; Thy petticoat of sendal right; dai 'petikout ov 'sendol rait; And these I bought thee gladly. Chorus aend di:z ai ba:t di: 'gleedli. , Well, I have wished with many a sigh, wel, ai haev wijt wid 'meni a sai, That thou my constancy might st see, daet dau mai 'konsten'si maitst si:, And that yet once before I die aend daet jet wAns bi'fo:r ai dai Thou wilt vouchsafe to love me. Chorus dau wilt vautf'seif tu Iav mi:. 89 Title: GREENSLEEVES here: name of girl - 1. TO CAST OFF to abandon, to discard - DISCOURTEOUSLY (old) impolitely - 2. TO CM A VE (literary) to desire -TO WAGE (old) to pledge as security - 3. KERCHER (old) kerchief, scarf - WRO UGHT skilfully made - BOARD AND BED (old) room and board, accommodations - WELL-FAVOUR'DLY (old) considerably - 4. SMOCK loose overgarment - PETTICOAT woman's undergarment - SEN DAL RIGHT (old) good material - 5. TO VOUCHSAFE (literary) to grant The topic of wealthy suitor and fickle and expensive mistress plus the flowery vocabulary indicate that this song was originally current among the nobility rather than the common people. Be that as it may, the plaintive melody and the familiar tale of scorned lovehavekept the song's popularity alive over the centuries. Published in 1580, the song is mentioned about 1600 in Shakespeare's "Merry Wives of Windsor". In recent years the song has enjoyed a wave of international popularity. 31 I Know Where I'm Going ai nou wear aim 'gouig + +/I/m Freely, with conviction G D* G Love song, originally from Ireland + 0 a r r r p p t 1. I know where I'm go-ing, And I know who's go-ing with me. ai nou wear aim 'gouirj, ffind ai nou hu:z 'gouig. wit mi:. G G» Em Am ufoJ r r r ie attacca D AC r r 1 v . And I know who I love, But the dear knows who I'll mar-ry. send ai nou hu: ai Iav, bAt ba dia nouz hu: 'ail 'mseri. 2. Feather beds are soft, 'feda bedz a: soft, And painted rooms are bonny, send 'peintid ru:mz a: 'boni, But I would trade.them all bAt ai wud treid 3em o:l For my handsome, winsome Johnny, fo: roai 'haensam, 'winsam 'djani. 3. Some say he's too poor, SAin sei hi:z tu: pua, But I say he's bonny. bAt ai sei hi:z boni. The fairest of them all 3a fearist ov beta o:l Is my handsome, winsome Johnny, iz ■ mai haensam, 'winsam 'dgoni. 90 91 4. I know where I'm going, ai nou wear aim 'gouig, And I know who's going with me. send ai nou hu:z 'gouin wid mi:, I know who I love, ai nou hu: ai Iav, But the dear knows who I'll marry. bAt 9a die nouz hu: ail 'majri. I. THE DEAR KNOWS goodness knows, I don't know - 2. BUCKLE (old) fasten -3. TO TRADE to exchange - WINSOME charming Irish settlers probably brought this love song to the mountain areas of the southern Appalachians during American colonial times. 32 Loch Lomond lox 'loumand + +/Sc/s Fairly slowly, with expression F? h J) J J> J> / A Scottish lover's farewell B!> 1. By bai C7 yon bon - nie banks and by yon bon - nie jon 'boni banks send bai jon 'boni J J J ^ C braes, Where the sun shines bright on Loch Lo-mond, Where breiz, we a ba sau Jainz brait on lox 'loumand, W£a Gm7 C7 me and my true love were mi: send mat tru: Iav wa:r t J> Ji J' ev-erwontto go, On the 'eva wount tu gou, on ba Chorus F C7 tí7 mm bon - nie, bon - nie banks of 'boni, 'bani besrjks ov F7 Loeh '■Lo - mond. Oh, lox. 'loumand. ou, A F_ F7 Bt C7 fy j J) J) J Ji Juj d j>j f you'll take the high road And ju:l teik ba hai roud send I'll take the low road, And ail teik ba lou roud, send Bi- C7 I'll he in Scot - land be - fore ail bi: in 'skotland bi'fo: you. ju:. But bat 92 93 f r p p f7 Bl, Gm» C7 me and my true love will nev-er meet a-gain On the mi: send mai tru: Iav wil 'neva mi:t a'gen on Oa Bk *C7 bon-nie, bon - nie banks of Looh Lo - mond. 'boni, 'boni baenks ov lox 'loumand. 2. 'Twas there that we parted in yon shady glen twoz dea daet wi: 'po:tid in jon JJeidi glen On the steep, steep side of Ben Lomond, on da sti:p, sti:p said ov ben 'loumand, Where in purple hue the Highland hills we view, wear in 'pa:pal hju: da 'hailand hilz wi: vju:, And the moon coming out in the gloaming. Chorus send da mu:n 'kAmig aut in da 'gloumiij. 3. The wee birdies sing and the wild flowers spring, da wi: 'ba:diz sin send da waild 'flauaz sprig, And in sunshine the Raters lie sleeping, send in 'sAnfain da Vo:taz lai 'slhpig. But the broken heart will ken no second spring again, bAt da 'broukan ha:t wil "ken nou 'sekand sprig a'gen, And the world does not know how we are grieving. • Chorus send da wa:ld dAZ not nou hau wi: a: 'gri:vig. Title: LOCH (Scot.) lake. LOCH LOMOND lies northwest of Glasgow, Scotland's largest city. This lake is the largest and one of the most beautiful of the Scottish lakes - 1. YON (old) yonder, those - BONNIE (Scot.) lovely - BRAE (Scot.) hillside - EVER always - WONT (old) accustomed - 2. GLEN narrow valley - BEN LOMOND mountain 3,192 ft. high at north end of Loch Lomond - HUE (literary) colour, shade - GLOAMING dusk, twilight - KEN (Scot.) to know Most authorities mention no author of Loch Lomond. However, a few believe that Lady John Scott, who wrote the music for Annie Laurie, may also have written the verses or music, or both, of the song ZocA Lomond. 94 33 Nelly Gray 'neli grei + +/A/s Fairly slowly and with feeling A story of Negro slave life based on actual events j^l J.......11 1^' 1 \ D7 • 1. There's a oeaz a G low lou green grl:n val - ley on an m the oi E7 p p r p p old Ken-tuck-y shore, There I've whiled man-y hap-py hours a -ould ken'tAki Jo:, tear aiv waild 'meni 'heepi 'auaz a - Em7 A A7 D D*_ t j! h I Ji Ji Ji . Ji h k way, 'wei, A-a- P sit-ting and a- sing-ing by the 'sit in send a- 'sinin bai ba p p r p p D A7 D J jJUt h > Kill lit-tle eot-tage door,Where lived my dar-lingNeMy Gray, 'lital 'kotida do:, wea Hvd mai 'da:lin 'neli grei. Chorus Lhorus a7 d Oh my poor Kel-ly Gray, they have tak-en you a ou mai pua 'neli grei, bei hsev 'teikan ju: a E7 Em7 A A» way, And I'll nev-er see my dar-lingan-y more. I'm 'wei, send ail 'ueva si: mai 'da:lirj 'eni mo:. aim 95 3' j' j' ^ i> ^ h n i y ji sit-ting by the riv-er and I'm 'sitirj bai 6a 'rivar send aim GBdim. weep-ing all the 'wi:pirj o:l 6a D uHuira. „ .i T, tu f*\ DA' D ř p p i j j^'^m^ij, li day, For you've gone from the olu^Ken-tuck-y dei, fo: ju:v gon fram hi ould ken'tAki shore. Jo:. . When the moon had climbed the mountain and the stars were shining too, wen 3a mu:n hsed klaimd 3a 'mauntin send da sta:.z wa: 'Jainig tu:, Then I'd take my darling Nelly Gray, 3an aid teik mai 'da:lin 'neli grei, And we'd float down the river in our little red canoe, send wi:d flout daun 3a 'rivar in 'aua 'lital red ka'nu:, While my banjo sweetly I would play. Chorus wail mai 'bsend30u 'swi:tli ai wud plei. the neighbours say, 3a 'neibaz sei, One night I went to see her, but "She's gone, wAn nait ai went tu si: ha, bAt"Ji:z gon," The white man bound her with his chain. 3a wait maen baund ha: wi3 hiz tjein. They have taken her to Georgia for to wear her life away, 3ei haav 'teikan ha: tu: 'd3o:d3Ja fo: tu wea ha: laif a'wei, As she toils in the cotton and the cane, sez Ji: toilz in 3a 'kotan send da kein. Chorus 1. KENTUCKY one of the southern slave-holding states until the American civil war of 1861-1865 - TO WHILE AW A Y to pass time pleasantly - COTTAGE Bmall house especially in the country, wooden hut - DARLING dear, precious, beloved - Chorus: WEEPING ALL THE DA Y crying all day long - 3. TO BIND, BOUND, BOUND to tie or fasten - GEORGIA state in the deep south, slave-holding until 1865 The conditions of work and punishment on the large plantations in the deep South were very severe and many slaves working on these plantations died an early death. The profitable cotton and sugar cane plantations were therefore constantly buying new slaves not only in the notorious New Orleans slave market, but also in the other slave holding Btates further north. Not infrequently raids were organized to steal slaves and to kidnap Negroes who were not in slavery. The captured victims were put in chains and taken to the deep South, where they fetched good prices on the plantations. 96 7 Pugtan, Songs 97 34 On Top Of Old Smoky on top ov ould 'amouki + +/A/S Heartfelt American folk song i J U J J 1. On top of old Šmok - y all cov-ered with on top ov ould 'smouki o:l 'kAvad wi& C G7 snow_ snou I lost my true lov ai lost mai tru: 'lAVa er from from Chorus TT Pil court - ing too slow, 'koitirj tu: slou. m Now court - ing is nau 'ko:tiij iz ♦ pleas - ure, and part-ing is grief,, 'plega, send 'pa:tin iz gri:f, And a send a G7 *-é false heart-ed lov - er is worse than a thlelTl— fo:ls J> iE gave my love a ba - by that's no geiv mai Iav a 'beibi b«ts nou How can there be a cherry that has no stone? hau ksen dea bi: a 'tjeri dset hsez nou stoun? How can there be a chicken that has no bone? hau keen dea bi: a 'tjikin dset hsez nou boun? How Gan there be a story that has no end? hau keen dea bi: a 'sto:ri dset hsez nou end? How can there be a baby that's no crying? hau ksen dea bi: a 'beibi flsets nou 'kraiin? - cry - ing. 'krailrj. 100 3. A cherry when it's blooming, it has no stone, a 'tferi wen its 'blu:min, it hsez nou stoun. A chicken when it's peeping, it has no bone, a 'tjikin wen its *pi:piij, it hsez nou boun. The story of our love, it has no end. da 'sta:ri av 'aua Iav, it hsez nou end. A baby when it's sleeping, there's no crying, a 'beibi wen its 'sli:pirj, deaz nou 'kraiin Title: RIDDLE problem given to be solved or guessed at - 1. STONE large seed of cherry, apricot, plum or peach - CHICKEN young hen or rooster - BONE part of the hard framework of the body - THAT'S NO CRY IN 0 (poetic) that does not cry -3. BLOOMING in blossom - TO PEEP to make a weak shrill sound, as of a newly hatched or baby bird. In some versions of this "song the text gives instead of PEEPING the word PIPPING, from TO PIP to hatch Songs in the form of question and answer, or riddle songs, were once widespread. In many of these songs the prize for answering the traditional three questions was marriage. Riddle songs had their counterpart in popular myths and fairy tales in which the hero or heroine had to carry out three difficult tasks or guess answers to three questions. In some, the penalty for failure was death. A variant was three chances at the same question or task. The Riddle Song given here, also known as I Gave My Love a Cherry, is one of the few riddle songs that are still widely sung today. Its simplicity and lovely melody never fail to appeal. In the third verse the end phrase, 'there's no crying', is traditionally sung very softly and fades away. 101 36 Ye Banks And Braes ji: bserjks and breiz + + + /Sc/s Slowly and tenderly P C7 Words by Robert Burns C7 w 1. Ye banks and braes o' bon - nie Doon, How ji: bserjks send breiz a 'boui du:n, hau Bl C Bl. F C7 F can ye bloom sae fresh and fair? How can ye chant, ye kffln ji: blu:m sei fref and fee? hau kaen ji: tfarnt, ji: C7 F Bt lit - tie birds, And I_ 'lital ba:dz, send ai F Bl. F sae wea - ry sei 'wiari Bt F Bl. F B!> F Jl ir p j'ir p Cj- ^ full o' care. Thou'lt break my heart, thou warb-ling bird, That ful a kea. bault breik mai ha:t, bau 'woiblin ba:d, bast C7 wan-tons thro' the flow-'ry thorn, Ye mind me o'_ de ■ 'wontanz 6ru: ba 'flauari 6o:n, ji: maind mi: a di - ' hV F F C7 F Bt C part-ed joys, De - part - ed nev - er to_ re-turn. 'pa:tid aVjaiz, di'pa:tid 'neva tu ri'ta:n. , Oft have I roved by bonnie Doon oft hsev ai rouvd bai 'boni du:n To see the rose and woodbine twine, tu si: 5a rouz send 'wudbain twain, And ilka bird sang o' its love, send 'ilka ba:d saej) a its Iav, And softly sae did I o' mine, send 'softli sei did ai a main. With lightsome heart I pulled a rose wid 'laitsam ha:t ai puld a rouz Full sweet upon its thorny tree, ful swi:t a'pan its '8o:ni tri:, But my false lover stole the rose bAt mai fo:Is 'lAva stoul da rouz And, ah, he left the thorn with me. send, u:, hi: left 5a 8o:n wi5 mi:. 1. BRAE hillside - DOON river in Ayr County, Scotland, which flows into Firth of Clyde - SAE so - CHANT sing - TO WARBLE to sing with many turns and variations - TO WANTON (old) to frolic about - FLOWERY THORN hawthorn or blackthorn, flowering shrubs bearing sharp pointed processes - TO MIND (old) to remind - TO DEPART to go away - 2. TO ROVE to wander - WOODBINE honeysuckle vine - TO TWINE to wind around, to interlace - ILKA (Scot.) every -LIGHTSOME (old) light - FULL (old) very - FALSE unfaithful The words to Ye Banks and Braes were written by Scotland's national poet, Robert Burns (Jan. 25, 1759—July 21, 1796) to the-tune of an older melody called The Caledonian Hunt's Delight, believed to be of Irish origin. Burns' song first appeared in print in 1792 under the title of The Banks o' Doon, Burns, the son of a poor farmer and himself a farmer, was put to work in the fields at an early age. By the age of 15 he was already a skilled ploughman. He made up some of his most famous poems and lyrics while working in the fields and wrote them down at night. Many of his best known verses level vitriolic satire at men (and women) of wealth or title and treat the common people with warm sympathy and good humour. His many tender love lyrics were often the fruit, of his personal experiences. Burns gave an enthusiastic welcome to the American Revolution and later to the French Revolution. He suffered material disadvantages because of his unorthodox opinions, but remained an outspoken independent thinker. Burns died at the age of 37, a victim of excessive physical labour, drink, and illness. In his well-known poem, "A Man's a Man for A' That", Burns predicted that one day the class differences which divided society would be ended: 'It's coming yet for all that, / That man to man the world o'er / Shall brothers be for a' that.' 102 103 37 TheBlue-TaüFly da 'blu:-teil flai + + +/A/m/" Bold and free in delivery 6m American folk song This story of a slave owner's sudden end has become widely popular C F i I. When I was young I used to wait On mas-ter and wen ai wsz jArj ai ju:st tu weit on 'ma:star send C7 Gm B Gm hand him his plate, And pass the bot-tle when he got dry, And hsend him hiz pleit, send pa:s ba 'botol wen hi: got drai, send C7 Chorus brush a-way the blue-tail fly. Jim-my crack corn, and brAJ" a'wei ba 'blu: - teil flai. 'd^imi krsek ko:n, »nd C7 I don't care. Jim-my crack corn, and I don't care, ai dount kca. 'djimi krak ka:n, send ai dount kea. F7 Bb C7 F ^ J1 J' V i MP P P J>IJ-I Jim-my crack corn, and I don't care, My mas-ter's gone a - way. 'djimi krsek kb:n, send ai dount kta, mai 'ma:staz gon a'wei. . And when he rode in the afternoon, send wen hi: roud in di o:fta'nu:n, I followed with a hickory broom, ai 'foloud wid a 'hikari brum, The pony being rather shy da 'pouni 'beii) 'ro:da Jai When bitten by the blue-tail fly. wen 'bitan bai 5a 'blu:teil flai. 3. One day he rode around the farm, wAn dei hi: roud a'raund da fa:m, The flies so numerous they did swarm, da flaiz sou 'nju:maras dei did swo:m. One chanced to bite him on the thigh, wAn tja:nst tu bait him on da 6ai, The devil take the blue-tail fly. da deval teik da 'blu:-teil flai. 4. The pony ran, he jumped, he pitched, da 'pouni rsen, hi: d3Ampt, hi: pitft, And tumbled master in the ditch, tend 'tAmbald 'ma:star in da ditf. He died, and the jury wondered why. hi: daid, send da 'djuari 'wAndad wai. The verdict was: the blue-tail fly. da 'va:dikt woz: da 'blu:-teil flai. 5. They laid him under a persimmon tree, dei leid him 'Andar a pai'siman tri:. His epitaph is there to see: hiz 'epita:f iz dee tu si: : Beneath this stone I'm forced to lie, bi'ni:9 die stoun aim fo:st tu lai, And all because of the blue-tail fly. send o:l bi'koz ov da 'blu:-teil flai. Chorus Chorus Chorus Chorus 106 107 Title: BLUE-TAIL FLY horsefly, a rather large fly whose bite is very painful -1. TO WAIT ON to serve food at the table - Chorus: CRACK COBN may refer to 'eorncracker', nickname for a native of the state of Kentucky; 'cracker' is also a contemptuous expression for a southern poor white, generally unable to afford eating much more than cracked corn, i.e. coarsely ground maize, or Indian corn - / DON'T CABE I'm not worried, it's all right with me - 2. HICKORY North American nut tree with tough, heavy wood - SHY anxious, skittish - 3. TO CHANCE to happen by accident - TO BITE (ON) to cut into, to nip with the teeth, here: to sting -THIGH upper part of leg - 4. TO PITCH to fling, to plunge -JURY group of persons sworn to make a decision on case in court, usually 'Guilty' or 'Not Guilty' -TO WONDER to be uncertain as to the reason - VERDICT jury's decision - 5. PERSIMMON tree in southern United States with yellow fruit which is extremely sour before ripening, very Bweet when ripe - EPITAPH verse engraved on a tombstone 'The history of this little ballad is that of so many of the best of the black-face minstrel songs. The refrain, a genuine bit of plantation song, was picked up by the abolitionist composer, John Work, and made into a song which became a favourite of many Unionists, among them Abraham Lincoln. Then the song passed back into folk currency among Negroes. Professor Dorothy Scarborough discovered this version in Louisiana in the 1920s; I found it in her book (" On The Trail of Negro Folksong " - CP.), taught it to the Golden Gate Quartet and to Burl Ives, who made it again into one of America's best loved songs.* (Alan Lomax, Penggin Book of American Folk Songs, middlesex, England, 1966) 38 Down By The Riverside daun bai öo 'rivasaid +/A/f/" With a steady swing Negro spiritual, now world famous as peace song 1HiiV;i j j) B7 i s— E ^— Y ft * "aj j1, j H--* i-.—s 1—j 1. I'm gon-na lay down my sword and shield Down by the aim 'gona lei daun mai so;d send ji:ld daun bai ba B7 5 riv-er-side, Down by the riv-er-side, Down by the 'rivasaid, daun bai ba 'rivasaid, daun bai ba B7 E E riy-er-side. I'm gon-na lay down my sword and shield 'rivasaid. aim 'gona lei daun mai so:d send J"i:ld tí B7 E #-rt Down by the riv-er-side, And stud-y war no more, daun bai ba 'rivasaid, send 'stAdi wo: nou mo:. Chorus E7 I ain't gon-na stud - y war no more, Ain't gon-na ai eint 'gana 'stAdi wo: nou ma:, efnt 'gona > j- j j B7 stud - y war no more, Ain't gon-na stud - y_ 'stAdi wo: nou mo:, eint 'gona 'stAdi 108 109 E7 war wo: no nou more. mo:. I ain't gon - na ai eint 'ganz E It stud-y war no more, Ain't gon-na stud-y war no 'stAdi wd: nou mo:, eint 'g-ana 'stAdi wo: nou 4 U. B7 E war no wo: nou more, ma:. more, Ain't gon-na stud-y,- ma:, eint 'gona 'stAdi 2. I'm gonna talk with my brothers ... aim 'gone to:k wid mai 'brAdaz ... 3. I'm gonna shake hands around the world aim 'gona Jeik hsendz a'raund da w.a:ld . 4. I'm gonna bury that atom bomb ... aim 'gona 'beri diet 'aetambom... 5. I'm gonna shout out the call of peace ... aim 'gona Jaut aut da ko:l ov pi:s ... 1. GONNA (ungramm.) going to - Chorus: AIN'T {ungramm.) am not, is not, are not - It ain't necessarily so (from the musical "Porgy and Bess"), 'Ain't' is often combined with another typical error of English grammar, the double negative: Ain't gonna study war no more; I ain't got nobody (the title of a hit song of the great American depression of the 1930's). Though widely used, 'ain't' is considered the hallmark of uneducated speech. The foreign student needs to understand the usages of 'ain't' but is well advised to steer clear of it himself. An exception must be made, of course, for this outstanding international classic, also popularly known as Ain't gonna study war no more. - 4. TO BURY to put under the ground, to put away *° 'A rousing hallelujah spiritual that has made many a sinner shout in church, this song also served as a drill march for Negro regiments in the Second World War, and it sounds fine with a New Orleans jazz band as well.* (Alan Lomax, ibid.) 110 39 Joshua Fought The Battle Of Jericho 'd^ofua fo:t da 'baetal av 'djerikou + +/A/f With a strong beat Chorus Em Militant Negro spiritual Kit J> J Josh - ua fought the bat-tie of Je-ri - cho, 'daojua fo:t ba 'baetal av 'd3erikou, É. Am ^ | Em • Je-ri - eho, 'd3erikou, Je - ri - oho, 'd^erikou, Am Josh-ua fought the 'c^ojua fo:t ba B7 Em Fine bat-tie of Je-ri-oho,And the walls came tumb-ling down, 'bffital ov 'd^erikou, send 6a wo:lz keim 'tAmblirj daun. Verse Em Bm p p p r r 'p.p r p p 1. You may talk a - bout the king of ju: mei to:k a'baut ba kit) ov Am Gi- de - on, You may 'gidian, ju: mei C B Em talk a-bout the man of Saul, There's none like good old to:k a'baut ba man av so:I, beaz has laik gud ould E Am Josh - ua 'cbjojua B7 Em At the bat-tie set ba 'bstal of Je-ri - cho. ov 'djerikou. 111 2. Up to the walls of Jericho Ap tu: do wo:lz ov 'dgerikou He marched with speaT in hand, hi: ma:tjt wid spiar in hsend. " Go blow those ram-horns," Joshua cried, "gou blou douz 'rsem-ho:nz," 'd3oJua kraid, '"Cause the battle is in my hand!" Chorus "'ko:z da 'bsetal iz in mai hsendl" 3. Then the lamb, ram, sheep-horns began to blow, den da lsem, rsem, ' fi:p-'ho:nz bi'gaen tu blou; The trumpets began to sound, da 'trAmpits bi'gsen tu saund, Joshua commanded the children to shout, 'dgojua ka'mamdid da 'tjildran tu Jaut, And the walls came tumbling down. Chorus send da wo:lz keim 'tAmbluj daun. 40 Michael, Row The Boat Ashore Title: JOSHUA famous military leader of ancient times - JERICHO ancient city north of the Dead Sea - Chorus: TO TUMBLE to fall suddenly and violently -3. GIDEON, SAUL Biblical heroes - 4. RAM a male sheep - CHILDREN here: the Jewish people, at that time slaves Negro spirituals were on the surface solely religious hymns. As such, they were acceptable to the slave owners and even regarded with contemptuous amusement. But in singing with such deep fervour of the suffering and final victory of an enslaved people who lived in a foreign land some thousands of years ago, the Negro slaves expressed through the medium of song their own longing for freedom. These spirituals helped them take heart for the future. - 112 'maikal, rou do bout a'jo: +/A/s/" Steady tempo i u íl E Gtfm E GS m E 1 'ľ' ■ p1 i"i ii 11 Negro spiritual and work song A Chorus Gfm E 3X 4 ü U E G#m E , A 1, Mi-ohael, row the boat a - shore, Hal-le - lu 'maikal, rou ba bout a|T0:> hseli'lu:- Chorus B» Ctím E B* jah, Mi-ehael,row the boat a-shore, Hal-le - lu - jah.{8.Tiie) ja, 'maikal, rou ôa bout a'Jb:, hsBli'loja. 2. Michael's boat is a music boat, Hallelujah, (2 x ) 'maikolz bout iz a 'mju:zikbout, hseli'Iu:ja, 3. Sister, trim the heavy sail, Hallelujah, (2x ) 'sista, trim da 'hevi seil, 4. Jordan's stream is wide and deep, Hallelujah, (2 x ) 'd3a:danz atri:m iz waid send di:p, 5. Brother, lend a helping hand, Hallelujah, (2x ) 'brAda, lend a 'helpin haand, 6. Michael's boat is freedom's boat, Hallelujah, (2x) 'maikolz bout iz 'frhdamz bout, 7. Jordan's stream is chilly and cold, Hallelujah, (2x ) 'd3o:danz stri:m iz 'tjili send kould, 8. The river's run and darkness come, Hallelujah, {2x ) da 'rivaz rAn send 'da:knis kAin, 9. Michael, row the boat ashore, Hallelujah, (2x ) 8 Puatan, SongB 113 1 l.TO BOW to propel with oars along the surface of the water - 3. TO TRIM to set a sail to suit the wind - 5. TO LEND A HELPING HAND to give aid with a job, to pitch in - 8. THE RIVER'S RUN the trip is safely over. This old slave song was both a work song and a spiritual. The typical two-part construction found in this and many other Negro songs is regarded by experts in the field as being derived from African commxinity singing. In the first part of the song the solo singer often makes a statement, as in this song. Or he may ask a question, as in other well known Negro spirituals. In the second part of the song the chorus answers. The reply may be a set phrase, as here. It may also be a repetition of part or all of the solo text, or some other variation. Nobody Knows The Trouble IVe Seen 'noubadi nouz da 'trAbal aiv si:n + /A/8 With dignity Chorus Negro spiritual No-bod -'noubadi nouz No-bod - y knows my sor-row. 'noubadi nouz inai 'sarou. Dm Bl. 5 No-bod - y knows the 'noubadi nouz ba Verse É trou-ble I've seen, Glo - ry, hal - le - lu - jah. i. Some-1 trAbal aiv si:n, glo:ri, .hsBli'luja. sam - Am Dm Dm 6m C* f r " ir 22 times I'm up, some-times I'm down, Oh yes, Lord. Some-'taima aim Ap, sani'talma aim daun, ou jes, lo:d. sam- Am Dm F times I'm al - most to the ground, Oh yes, Lord, 'taimz aim 'a:lmoust tu: ba graund, ou jes, Io:d. 114 8* 115 Although you see me going along, od'flou ju: si: mi: 'gouin a'lorj, Oh yes, Lord, I have my troubles here below, ai hsev mai 'trAbolz hia bi'lou, Oh yes, Lord. Chorus Chorus: TROUBLE grief - 2. TO QO ALONG (dialect) to get along, to manage in everyday life. The song begins and ends with the chorus, which is also sung between the two verses. In everyday speech 'nobody' is pronounced ['noubodi], but when singing this song ['nou'bodi]. Into the few simple lines of this spiritual are telescoped the Negro people's experiences in America over the past centuries. 'Although many slave spirituals took their start from the folk hymns of the whites, the qualities that gave them universal appeal were Negro. They are magnificent group songs, composed by a people having all the special African skills in singing and improvising in chorus. They reflect the African's intimate and personalized attitudes to celestial affairs. Most of all, they poignantly express the emotions of an enslaved people. In the official Southern view, if not always in practice, the Negro slave was regarded as no better than an animal. When it was convenient and profitable, slave families were broken up, mothers were sold away from their children and wives from their husbands. After freedom, the Negro was left to shift for himself, without land or place or roots. Out of such experiences came this lament, one of the most deeply moving of songs.' (Alan Lomax ibid.) 42 No More Auction Block For Me nou mo: 'o:kfen blok +/A/S Slowly D fo: Negro spiritual Chorus G Bm Em A7 1. No more auc-tion block for me, No more, no more, nou mo: 'o:kJan Mok fo: mi:, nou ma:, nou ma:, • Solo D o Bm Chorus Em A7 D O-;-----O— No more auo-tion block for me, Man-y thou-sand gone, nou mo: o:kfan blok fo: ml;, meni 'Oauzand g-on. No more driver's lash for me, nou mo: 'draivaz lsaj fo: mi:, No more, no more. No more driver's lash for me, Many thousand gone. 3. No more peck of corn for me, nou mo: pek ov ko:n fo: mi:, No more, no more, No more peck of corn for me, Many thousand gone. 4. No more pint of salt for me, nou mo: paint ov so:lt fo: mi:, No more, no more, No more pint of salt for me, Many thousand gone. HC 117 1. AUCTION BLOCK wooden platform on which slaves stood while being sold to the highest bidder - MANY THOUSAND GONE many people had gone before along this same road to slavery and death - 2. DRIVER'S LASH whip of the slave driver -3. PECK OF CORN measure of food rations of maize, or corn - 4. PINT OF SALT half litre of very salty water, which slaves were often forced to drink before being put on sale. The salt made them drink a great deal of water; this increased their weight and thus their sale price. This solemn yet deeply emotional song is a farewell to slavery. A slave who could say * goodbye to the auction block, the driver's lash, the peck of corn and the pint of salt stood either before death or before freedom. Except for the comparatively few who were freed by their own masters, the majority of the 4 million slaves living in the United States before the outbreak of the Civil War (1861-1865) could expect only death to set them free. Over a period of many years, a total of perhaps 75,000 slaves did succeed in the long and dangerous flight to the northern states of the USA or to Canada. This was done with the help of the secret "underground railroad" organized by escaped slaves, Quakers, Abolitionists and other opponents of slavery. Thus, the famous escaped slave Harriet Tubman (born about 1820, died 1913) conducted a total of over 300 slaves to freedom by way of the underground railroad. During the Civil War she served the Union cause as a nurse, laundress, and spy. As a result of the Civil War, all the slaves were set free. This song expresses their feelings. 43 Oh, Freedom on, 'frirdom +/A/m Strong, steady beat B Cjm Pi Militant Negro spiritual E G|tm 1. Oh,1, ou, free-dom! Oh,_ free-dom! 'friidamt ou, 'fri:daral Oh, ou, É°'m Ffm Chorus free-dom o-ver me. 'frlidam 'ouva mi:. And be-fore I'd be a send bi'fo:r aid bi: a E slave, 111 be bur-ied in my grave, And go sleiv, ail bi: 'berid in mai greiv, Hind gou J EAT i _ y- E 1 ■ II 1-1 -f.--J y— l—o-1 1 J II home to my Lord and be houni tu: mai lo:d tend bi; fri: 2. No segregation, no segregation, nou ^egri'geifan, nou .segri'geifon, No segregation over me. Chorus nou .segri'geijon 'ouvo mi:. 3. No more weeping, no more weeping ... nou mo: 'wi:piOi 4. No more mourning, no more mourning ... nou mo: 'mo:nhj, 118 11» 5. No more Jim Crow, no more Jim Crow .. nou mo: dgim krou, 6. Oh, what singing, oh, what singing ... ou, wot 'sinin, 7. Oh, what shouting, oh, what shouting ... ou, w»t 'Jautig, 8. Oh, freedom! Oh, freedom ... 2. SEGREGATION separation of the white and Negro races, with the Negroes being forced into inferior status by the whites (Verse 2 is a recent addition) - 4, TO MOURN to feel or show grief for the death of someone - 5. JIM CROW term used to denote discrimination against Negroes in USA. Jim Crow was originally the name of a stereotyped Negro figure in a song of the early 19th century. The average American, black as well as white, learns in school that most of the slaves were happy and care free 'on the old plantation*. Songs like No More Auction Block For Me and Oh Freedom, which were very popular among Negroes during the Civil War period, are not mentioned in the schools. Nor do schools or school books mention that thousands of slaves ran away from the plantations and joined the army of the North to fight against slavery. The average American would be amazed, perhaps incredulous, to hear this. The exact number of Negroes who fought in the Civil War is not known, bu$ estimates range from 100,000 to over 200,000. 44 Selma Town 'selma taun +/A/S Simply, directly Negro protest song based on Portland Town, by Derroll Adams A* DA» D ._£_. ' f ' , i . 1. I was born and bred in Sel-ma town, I was born and ai woz bo:n and bred iu 'selma taun, ai woz bo:n send A* D A7 D A7 jTJĽ ~*r—r bred in Sel-ma town, Yes, I was, Yes, I was. 4. They bred in 'selma taun, jesi, ai woz, Jes, ai woz. 5, They're 2.1 grew up and married in Selma town. (2x ) ai gru: Ap send 'masrid in 'selma taun. Yes, I did (2 x) jes, ai did 3. I had children one, two and three. (2x) ai heed 'tjildran wad, tu send 8ri:. Yes, I did (2x) jes, ai did 4. They lynched my children, one, two and three. (2x ) dei "lintft mai 'tfildran, wAn, tu: send 6ri:. Yes, they did (2x) jes, dei did 5. They're'not going to lynch our children any more, (2 x) dea not 'gouin tu lintf 'aua 'tjildran 'eni mo:. No, no more (2x) nou, nou mo: 6. We'll all live free in Selma town. (2x ) wi:l o:l liv fri: in 'selma taun. Yes, we will (2x) jes, wi: wil 120 121 1. TO BE BRED IN to be raised in, to be reared in - 4. TO LYNCH to murder a person by mob action. In the southern states of the USA the mob is white and the victim Negro. How many lynehings have taken place in the South of the United States will probably' never be fully known, since the local police often work hand in glove with or actually belong to the infamous secret society, the Ku Klux Klan, which organizes and carries out the lynehings. The Klan was founded in 1865 to maintain white supremacy by members of the Confederate Army, which had been defeated that same year after four years of warfare. The Klan, first established in Georgia, soon became powerful all over the South. It succeeded in establishing a system of complete Negro-white segregation, prevented Negroes from voting, and used lynching freely to get rid of Negroes who tried to assert their rights and even more to intimidate all Negroes. After the first World War, the Ku Klux Klan expanded and became active all over the United States to deal with returning Negro soldiers who had fought 'to save democracy' and now wanted their share. In recent years, the Negro civil rights movement has become widespread in the South. The secret opposition has also increased its activities. Not only Negroes but a number of white men and one white woman, all of them openly helping the civil rights movement in the South, have been found murdered. Their deaths to this day remain unpunished. But the weapon of secret—or open—terror can no longer stifle the demand for basic human rights for Negroes. The raised black fist at the 1968 Olympic Games in Mexico made this clear to the whole world. 45 Sometimes I Feel Like A Motherless Child BAm'taimz , ai £1:1 laik a 'mASalis tjaild +/A/s/" Quietly but with feeling I 6 Em Negro spiritual 6 i— *Jl r Jlr Em 1. Some-times I feel like a moth - er - less child, BAm'taimz ai fill laik a 'mAbales tjaild, G Am C J Em Some-times I feel like a moth - er - less child, BAm'taimz ai fi:l laik a 'niAbalas tjaild, Some-times I feel like a moth - er - less child, A BAm'taimz ai fi;l laik a Whales tjaild, a long way from home,_ A long way from ho me. log wei from houm, a lorj wei from houm. 2. Sometimes I feel like I'm almost gone (3x ) BAm'taimz ai fi:l laik aim 'o:lmoust gon A long way from home, a log wei from houm, A long way from home. 122 123 Sometimes I feel like a feather in the air SAm'taimz ai fi:l laik a 'fedar in 8i ea And I spread my wings and I fly, send ai spred mai wigz send ai flai, I spread my wings and I fly. (Sx; 1. MOTHERLESS without a mother, orphaned - 2. GONE here: dead - 3. TO SPREAD ONE'S WINGS to get ready to fly, to become free In everyday speech SOMETIMES is pronounced ('sAmtaimz] but in this song it is traditionally pronounced [sAm'taimz], Slave owners often sold children and their mothers to different buyers. Children 5 or 6 years old were already working on plantations without their parents. Many slaves thus grew up alone and never knew their families. 124 46 Swing Low, Sweet Chariot swin lou, swi:t 'tjeeriat +/A/s Slowly, with feeling Chorus G Negro spiritual Swing swfrj low, lou, sweet swi:t char - i 'tffflriat, ot,. Bm Em G7 m Com-ing for to car-ry me home, 'kAmiij fa: tu 'kseri mi: houm, Swing low, sweet swirj lou, swi:t C G D7 Fine m h h h h char - i - ot, 'tjariat, * j' j' -3* Com-ingfor to car-ry me home. 'kAmirj fa: tu 'kseri mi: houm. 1. I looked o-ver Jor-dan and what did I see, ai lukt buva 'djaidan tend wot did ai si:, Bm Em G7 Com-ing for to car-ry me home, A 'kAmirj fa: tu 'kaeri mi: houm, a mm band of an-gels baend av 'elndjalz D7 G com-ing af-ter me,. 'kAmirj 'a:fta mi:, É 3 m Com-ing for to car-ry me home. 'kAmin fa: tu 'kseri mi: houm. 123 If you get there before I do, if ju: get dea bi'fo:r ai du:, Coming for to carry me home, Tell all my friends I'm coming too, tel o:l mai frendz aim 'kAmir) tu:, Coming for to carry me home. I'm sometimes up and sometimes down, aim 'sAmtaimz Ap send 'sAmtaimz daun, Coming for to carry me home, But still my soul feels heavenly bound, bAt stil mai soul fl:lz 'hevanli baund, Coming for to carry me home. Chorus: SWING LOW (imperative form of the verb) here: come down from the sky to the ground - CHARIOT ancient two-wheeled horse-drawn vehicle - FOR TO (old) to - 1. JORDAN (see comment under When The Saints Go Marching In) - TO COME AFTER to come and get ThiB beautiful spiritual was first heard in Europe when a group of Negro students went on a singing tour of Europe in 1873. Their purpose was to raise fundB for higher education for Negroes in America. The money raised helped establish Fisk College in Nashville, Tennessee, as a great educational centre for Negroes at a time when white institutions of learning showed little interest in higher education for the millions of former slaves and their children in the South. The FiBk Jubilee Singers drew great crowds on their tour in Europe and opened the eyes of many Europeans to the realisation that the Negroes, despite slavery, had kept alive their great cultural heritage, Negro spirituals thus helped break down powerful prejudices ingrained through centuries of slave owner propaganda. The interest in Negro music aroused in Europe by the Fisk Jubilee Singers then and on later tours has continued to this day. One of the greatest exponents of Negro spirituals in modern times has been the outstanding Negro singer Paul Robeson. 47 We Shall Overcome Jtel .ouva'kAm +/A/s/" Slowly, with dignity C F Anthem of the American Negro civil rights movement F 1. We shall o wl: Jffil yer - come,. .ouva'kAm, we shall o - ver wi: Jael ,Ouva - come,_ We shall o - ver - come some day. 'kim, wf: J"bb1 ,ouva'kAm SAm dei. Chorus Qi C Dm G7 _ Oh,_ deep in my heart, ou, di:p in mai ha:t, I ai do be du: bi Am C G7 m lieve 'li:v -a- We shall o - ver - come some wi: Jsel ,ouva'kAm SAm day. dei. 2. We'll walk hand in hand (3x) some day. Chorus wi:l wo:k haend in hsend SAm dei. 3. We shall organize (3x ) some day. Chorus wi: Jsel 'o:ganaiz Chorus 4. We shall end Jim Crow (3x) some day. wi: Jsl end dyua krou 5. We shall walk in peace (3x) some day. Chorus wi: Jsel wo:k in pi:s 126 127 6. We shall build a new world wi: f»l bild a nju: wa:ld (3x) some day. Chorus 7. We are not alone wi: a: not e'loun (3x) today, ta'dei. Chorus 8, We are not afraid wi: o: not a'freid (3x) today. Chorus 9. Black and white together blaek aand wait ta'geda , (3x) now. Chorus 10. We shall overcome (3x) some day. Chorus Title: WE SHALL OVERCOME we will win (over great odds, in spite of powerful opposition) - SHALL expresses determination here. SHALL is not used much in modern American speech. WILL is widely used with all persons (usually '11) and serves as either simple future or to express determination. The coal miners of West Virginia expressed the hopes of millions of their fellow Americans when in the 1930's they wrote the verses of' We Shall Overcome. They set the words to an old Negro spiritual I'll Overcome Some Day. Millions of Americans at that time were unemployed, hungry and suffering severe hardship. After Franklin D. Roosevelt became President in 1932 he introduced the New Deal Policy, which many American workers and middle-class intellectuals believed would bring to realisation the "American Dream" of peace, prosperity and equality. The New Deal was an attempt to keep American capitalism on its feet. Public works projects were undertaken to create jobs for some of the millions of unemployed. Mild as the policy of the New Deal was, it was attacked by the big corporations as being too socialist. The American dream never materialised. The New Deal died. After the Second World War the U.S. emerged as the richest and most powerful capitalist country in the world. The progressive forces-in America had played a great role during the war to defeat fascism. After the war they became the victims of the cold war. McCarthyism ruled the day. 128 But if the New Deal was dead, if democracy had been trampled upon, the American Communist Party persecuted, and great Americans such as Paul Robeson refused the right to travel abroad, there was one thing which had not died-the people's spirit to resist these attacks. We Shall Overcome took on new meaning. It was sung at demonstrations for Negro rights. It has since become the anthem of the American Negroes in their fight for freedom and equality. Martin Luther King was murdered, but We Shall Overcome is still the battle-cry of the Freedom Fighters who follow in his footsteps. The song is sung at peace demonstrations throughout the USA and Britain. America's leading folk singers, Pete Seeger, Joan Baez, and others have spread the song across the world, adding new verses as the need arose. The first time I heard this song was after a peace demonstration in France in June, 1961.- It was being sung by three women in jail. One came from the USA, another from Britain and the third fropi West Germany. Q Puatan, Songa 129 48 When The Saints Go Marching In wen da seints gou 'ma:tfirj in +/A/m/" Brisk marching tempo F Negro spiritual F7 Bt 1. I am just a ai aim d3ASt a F Dm G7 lone - ly 'lounli C7 ľ ir r 'r pil - grim,, 'pilgrim, Plod-ding 'plodirj F7 through this world of sin. 9ru: bis wa:ld av sin. Bl> cit-y. 'síti Chorus But I want to build a DAt ai want tu bild a C7 F Am Dm C7 rfJ r 'r m: P uz where all peo-ple can march in. wear a:l 'pi:pal kaen ma:tf in. —Jř—b—1 ■ n-* v- 1--1 1-' *~ """M 4^4 M -* _L1_ — - 1 J r _* * _ Oh, when the saints_ ou, wen ba seints Am Dm go mareh-ing in,, g-ou 'maitjirj in, G7 C HC Oh, when the saints go mareh-ing ou, wen ba seints gou 'mcctfin in,-in, F7 Bl- Oh Lord, I want to be ou lo:d, ai wont tu bi: in that num - ber_ in bffit 'nAraba _When the saints go march-ing wen ba seints gou 'ma:tfirj in. in. 2. Eoll on Jordan, roll on high, roul on 'd30:dan, roul on hai. Roll one 'side as we go by. roul wah said sez wi: gou bai. There's a better world a-coming, draz a 'beta wa:ld a-'kAmirj, And the saints go marching in. Chorus send da seints gou 'ma:tjin in. 3. I am just a weary trav'ler, ai ssm dgAst a 'wiari 'traevla, Trav'ling through this world of woe, 'trsevlirj 9ru: dis wa:ld ov wou, But I'm working for that morning, bAt aim 'wa:kiij fo: dsat 'mo:nig, When there'll be peace down here below. Chorus wen deal bi: pi:s daun hia bi'lou. 4. Some say this world of trouble Sato sei dis wa:ld ov 'trAbal Is the only one we need, iz di 'ounli wah wi: ni:d, But I'm waiting for that morning bAt aim 'weitin fo: dset 'mo:nirj When the new world is revealed. Chorus wen da nju: wa:ld iz rj'vidd. 130 Additional popular choruses: 1. And when the sun begins to shine, send wen da SAn bi'ginz tu Jain, And when the sun begins to shine, Oh Lord, I want to be in that number When the sun begins to shine. 2. Oh, when the trumpets sound a call, etc. ou, wen do 'trAmpits saund o ko:l, 3. Oh, when the new world is revealed, etc. ou, wen de nju: wo:ld iz ri'vidd, 1, TO PLOD to walk heavily - Chorus: NUMBER company of persons - 2. JORDAN (see comment below) - 3. WOE (old) grief Jordan: To the Negro slaves Jordan was the gateway to a better world. Here on this earth all was sorrow and suffering for them, but once they had crossed the river Jordan they would find peace and happiness. Hence the many references to Jordan in so many Negro spirituals. 132 49 The Drunken Sailor da 'drArjkan 'seila + +/E/Í/" Lusty Dm British sea shanty fr¥ JV' J* ft J* J* I J' Ji J' 3'3 1. What shall we do with the drunk - en sail - or, wot Jrel wi: du: wib 6a 'drArjkan 'seila, What shall we do with the drunk - en sail - or, wot /ffil wi: du: wib ba 'drArjkan 'seila, What shall we do with the drunk - en sail - or, wot Jaal wi: du: wio ba 'drAnken seila, + Am C Dm Chorus Dm ^ I i' J. J> J> Ear-ly in the morn-ing? Hoo-ray and up she ris-es, 'a;lai In ba 'mo.-nin? hu'rei send Ap Jí: 'raiziz, Dm Hoo - ray and up she ris - es, Hoo - ray and hu'rei esnd Ap jí: 'raiziz, hu'rei send A_i_ Am L C_Dm up she ris-es, Ear - ly in the morn - ing. Ap Jí: 'raiziz, 'a:lai in &» 'mo:nin. 134 2. Put him in the long boat till he's sober (3x ) early in the morning. put him in da Ion bout til hi:z 'souba Chorus 3. Pull out the plug and wet him all over (3x ) early in the morning. pul aut da plAg send wet him o:l 'ouva Chorus i. Put him in the scuppers with the hosepipe on him (3 x ) early in the morning, put him in da 'skApaz wid da 'houzpaip on him Chorus 5. Heave him by the leg in a running bowline {3 x ) early in the morning. hi:v him bai da leg in a 'rAnig 'boulin Chorus 6. Tie him to tHe taffrail when she's yard arm under (3 x ) early in the morning, tai him tu: da 'tsefreil wen Jiz ja:d o:m 'Anda Chorus 7. Put him in a leaky boat and let him bale her (3x ) early in the morning, put him in a 'li:ki bout send let him beil ha: Chorus Nautical terms: 2. LONG BOAT the largest boat carried by a merchant sailing vessel -3, PLUG stopper - 4. SCUPPER an opening cut so that water falling on deck can flow overboard - HOSEPIPE flexible tube for carrying water from a faucet or hydrant - 5. TO HEAVE to throw, to cast - RUNNING BOWLINE a seamen's knot used when hoisting loads - 6. TAFFRAIL railing around a ship's stern - YARDARM cylindrical spar tapering to each end slung horizontally or diagonally across mast to support a sail - 7. LEAKY allowing water to enter or escape, here: in danger of sinking - BALE (also BAIL) to dip water out of a leaky boat using a bucket, etc. Note: The word EARL Y ['a:li] is traditionally pronounced ['a:lai ] in this song - Chorus: UP SHE RISES may refer to the sail being raised The well-known folklore authority A. L. Lloyd writes of the sailor's life in the 18th and 19th centuries, "Conditions afloat were notoriously hard: crowded quarters, weevilly food, little hygiene but plenty of lash, and perhaps a two years' wait for wages at the end of it all, for those who survived the dangers of battle, shipwreck, the fall from the yards, the epidemic in the fo'c'sle ... Admiral Vernon ... put the matter bluntly: 'Our fleets are defrauded by injustice, manned by violence, and maintained by cruelty.'" Under such conditions, sailors away at sea for from six months to two or three years might well be expected to go on a spree the moment they reached port. A. L. Lloyd gives a further explanation for the drunken sailor, especially in the late 19th century, "Companies whose ships had a reputation for being hard and hungry ..." could not get sailors to sign on and therefore arranged to get them another way. "The unscrupulous sailor boardinghouse master would render the seaman unconscious with drink, drug or blackjack, deliver the body to a waiting ship, and pocket his fee." 135 50 The Erie Canal fti 'iari ka'nsel + +/A/S/" Strong, steady beat Dm American traditional song 3** Gm A Dm I I' I I f M I I1 I J J|| 1. I've got a mule, her name is Sal, Fif-teen miles on the alv gat a mju:l, ha: nelm tz s Eel, i"if'ti:n mailz an bi A7 Dm E Er-ie Ga-nal. She's a good old work-er and a 'iarl ka'nasl. Jl:z a gud ould 'wa:kar send a Gm Dm ^5 A7 Dm h h I Ji h .h h good old pal, Fif-teen miles on the Er-ie Ga-nal. We're gud ould pael, 'flftitn mailz on 6i 'iari ka'nsl. wi:v C7 Dm hauled some bar-ges in our day, Filled with lum-her, ho;ld sam ba;'d5iz In 'aua del, flld wib 'lAmba, A7 Dm Gm eoal and hay, And we know ev - 'ry inch of the way From koul and hei, send wi: nou 'evri intf ov ba wei from Dm Gm Dm Gm Dm A7 Dm C7 j j> n j Ml -»■ ■ +"—é' é-" AI * ba - ny— to_ 'o:lbani tu: Buf - fa - lo. 'bAfalou. Chorus F, C* E Low bridge, ev - 'ry-bod- y down! Low bridge, for we're lou brids, 'evribodi daun! lou bridg, wia C7 J' J > A J J» P lP'^ P go -ing through a town> And you'll al -ways know your 'gouirj 9ru: a taun; and ju:l 'o:lwelz nou jo: C7 p r J) 'P' 'p p- jl ŕr p- p i neigh-bour, You'll al - ways know your pal, If you've 'neiba, ju:l 'o:lweiz nou ja: psel, if ju:v C7 p7 fib F I- J' Jl Ji Jl K J> 'K Jl I J> Jl ev - er nav - i - gat - ed on the 'eva 'na&vigeitid an' bi 2. Get up there, Sal, we paBBed a lock, , get ap bea, sael, wi: po:st a lok, Fifteen miles on the Erie Canal, 'fif'ti:n mailz on fti 'iari ka'nsel, And we'll make Borne 'fore six o'clock, send wi:l meik roum fo: aiks s'klok, Fifteen miles on the Erie Canal, 'fif'tim mailz on di 'iari ka'mel. Just one moTe trip and back we'll go d3A8t wAn mo: trip send bsek wi:l gou Through the rain and sleet and snow, 6ru: oo rein send sli:t send snou, 'Cause we know every inch of the way koz wi: nou 'eyri intj ov flo wei From Albany to Buffalo, from 'odbani tu: 'bAfalou. Er - ie Ca - nal. 'iari ka'nasl. Chorus 136 137 1. MULE offspring of mare and male donkey - MILE 1,6 km. - 15 MILES the distance the mule could pull the barge every day - TO HA UL to pull (heavy loads) -L UMBER planks and boards of wood - HA Y grass cut and dried for use as animal food - INCH 2,5 cm equals 1 inch - ALBANY capital of New York state. Starting point of Erie Canal - BUFFALO industrial city near Niagara Falls and Lake Erie. Endpoint of Erie Canal. - LOW BRIDGE a low bridge is ahead - TO NAVIGATE to sail, here: a humorous exaggeration - 2. TO MAKE to reach, to arrive at - ROME city in upstate New York, between Albany and Buffalo The Erie Canal in New York state extended from Albany to Buffalo. It was completed in 1825 and connected the Hudson River with Lake Erie. It helped make New York City the nation's financial centre and opened the road for farm products of the Great Lakes area to the cities of the Eastern Seaboard. The canal also helped foster emigration from the heavily populated Eastern Seaboard to the pioneer settlements in the Middle West. In the state of New York itself, many new cities sprang up along the route of the canal. 1 Good Night, Ladies gud nait, leidiz + /E/m/" Slowly a Traditional American British favourite A* ™ and ^ Good night, i. Good night, laj^es, ^ ^ 'gud nait, la - dies, 'leidiz) G* G Mer-rx-ly we ^ roul a ion, 'merili wl G G Mer-ri-ly we roll a-long, o'er the dark blue sea, 'merili wi: roul a'lon, o: fca da:k blu: si:. The phrase 'Good night, ladies' occurs three times in Verse 1. In Verse 2 and Verse 3 replace 'Good night, ladies' as follows: 2. Farewell, ladies (3x) We're going ... fte'wel, 'leidiz 3. Sweet dreams, ladies (3 x ) We're going ... swi:t dri:mz, 'leidiz FAREWELL (old) goodbye Originally a sea shanty, this easy going old favourite can be heard at holiday camps and all kinds of get-togethers. 139 138 52 Haul Away, Joe ho:l a wei, CI30U + +/E/b/" With a Btrong beat Dm British sea shanty of the sailing era Am Gm Am 1. When I was a lit-tle lad, so my moth-er told me, wen ai woz a 'lital lsed, sou mai 'mAba tould mi:, Chorus Dm 1^ Am Gm Am Dm Way, haul a - way, we'll haul a - way, Joe. (3. The) wei, ho:l a'wei, wi:I ho:I a'wei, d30u. 2. That if I did not kiss the girls my lips would grow all mouldy , Oset if ai did not kis Oa ga:lz mai lips wud grou o:l 'mouldi 3. The cook is in the galley making chow so handy ... da kuk iz in da 'gaeli 'meikin tjau sou 'hsandi 4. The captain's in his cabin pulling on his brandy ... 3a 'kaaptinz in hiz 'ksebin 'pulig on hiz 'brsendi 5. King Louis was the king of France before the revolution ... kig Tu:i woz da kig oV fra:ns bi'fa: oa ,reva'lu:j8n 6. King Louis got his head cut off and spoiled his constitution ... kig 'lu:i got hiz hed kAt o:f send spoild hiz ,konsti'tju:Jan 7. Way, haul away, we'll haul away the bowline ... wei, hod a'wei, wi:l ha:l a'wei fla 'boulin 8. Way, haul away, the packet is a-rolling ... wei, ho:l a'wei, fla 'paekit iz a-'roulig 9. Way, haul away, we'll haul for better weather ... wei, ho:l a'wei, wi:l ho:l fo: 'beta 'wefle 10. Way, haul away, we'll hang and haul together ... wei, ho:l a'wei, wi:l hseg fend ho:l ta'geda Title: TO HAUL AWAY to pull, to tug, as on a rope - 2. MOULDY overgrown with fungus (like old bread) - 3. GALLEY kitchen of a ship - CHOW (si.) dinner, food, meal(s) - HANDY here: skilfully - 6. CONSTITUTION physical makeup, shape -7. BOWLINE rope used to help keep a sail taut - 8. PACKET a fast sailing ship that carried mail - ROLLING (si.) moving fast Shanties, or chanties, were the work songs of sailors during the heyday of the merchant and naval sailing vessel in the 19th century. Shanties were typically English language songs because during this period American packet ships and clippers and - after the middle of the century - British clippers dominated the seas. The crews included men of many nations, and the rough, often ungrammatieal sailor's English served as the means of communication for all. Competition between ships became ever fiercer and speed more essential as the factories established in the Industrial Revolution in England, and later in other countries, began to pour out floods of cheap goods for which markets were sought all over the world. The shanties became more and more important as a means of securing precision timing and maximum efficiency in carrying out all the necessary manual labour involved. For this reason it was essential to have a good shantyman - a man who led the shanty singing and thus set the work pace aboard ship. There were many different kinds of shanties used for different kinds of jobs to be done. Way, Haul Away is a short haul shanty, used when the work gang had to give a short hard pull on a rope at regular intervals. The shantyman sang each verse, the gang joined in to sing the chorus and pull together on the rope. But even the utmost speed obtainable from streamlined sailing ship design, from driving the crew hard, and from the use of shanties to speed and synchronize effort could not keep the Industrial Revolution from conquering on sea as it had on land. As early as 1819 the first ocean going steamer, the "Savannah", still aided by sails, went from Savannah, Georgia, to Liverpool, England in 26 days. But the sailing ships of America's crack Black Ball Line were making it in 23 days. It was not until the Suez Canal opened in 1889 and the route to the Far East was thus shortened that steamers could carry both a pay load and enough coal to beat the sailing vessels' time. By 1880 the sailing vessels were on their way into history and with them went their work songs. The sailing ships have gone but the sea Bhanties still live on. 140 141 53 Johnny Todd 'clotri tod + + + /E/m Smoothly, freely E 1 Advice to a sailor A popular old sea shanty from the English port of Liverpool E John-ny 'd3oni Todd tod he hi: m li Fttm took a tuk a no-tion, 'noufan, For to fa: tu cross the kros bi Fttm o-cean 'oujan B7 wide, waid. E B And he left ie'nd hi: left B7 5 his true hiz tru: E I love be-hind him,Weep-ing by the Liv-er-pool tide. Iav bi'haind him, 'wi:pin bai 6a 'livapu:l taid. 2. For a week she wept full sorely, fo:r a wi:k Ji: wept ful sod), Tore her hair and wrung her hands, to: ha: hear send rAr) ha: haendz, Till she met with another sailor, til Ji: met wid a'nAda 'seila, Walking on the Liverpool sands. 'wo:kin on da 'livapu.-l ssendz. 3. "Why, fair maid, are you a-weeping "wai, fea meid, a: ju: a-'wi:pin For your Johnny gone to sea? fo: jo: 'dgoni gon tu: si:? If you'll wed with me tomorrow, if ju:l wed wid mi: tu'morou. I will kind and constant be. ai wil kaind send 'konstant bi:. . "I will buy you sheets and blankets, "ai wil bai ju: Ji:ts send 'blaegkits, I'll buy you a wedding ring, ail bai ju: a 'wedirj rig.1 You shall have a gilded cradle ju: Jsel haev a 'gildid 'kreidal For to rock your baby in." fo: tu rok jo: 'beibi in." . Johnny Todd came back from sailing, 'd3oni tod keim bsek from 'seilirj, Sailing o'er the ocean wide, 'seilig o: di 'oujan waid, And he found that his fair and false one send hi: faund dsst hiz fear Eend fo:ls wAn Was another sailor's bride, woz a'nAda 'seilaz braid. , All you men who go a-sailing o:l ju: men hu: gou a-'seilirj Save yourselves from grief and woe. seiv jo:'selvz from gri:f send wou. Don't you leave your love like Johnny -dount ju: li:v jo: Iav laik'd30ni- Marry her before you go! 'mseri ha: bi'fo: ju: gou! 1. HE TOOK A NOTION he decided - FOR TO (old) to - TO WEEP (literary) to cry - LIVERPOOL seaport on Mersey River, Lancashire, England. Greatest port in West Britain and one of the world's leading trade centres - TIDE rise and fall of sea level due to attraction of moon - 2. FULL SORELY (old) very much, very hard -3. TO WED {WITH) (old) to marry - CONSTANT faithful - 4. TO OILD to cover with gold leaf or gold-coloured paint - 5. FALSE untrue, unfaithful BRIDE newly married woman - 6. WOE (literary) sorrow, distress Adapted and edited with new material by Cyril Pustan (based on the traditional song) 142 143 54 The Mermaid Öa 'ma:meid + +/E/m/" Brightly Traditional English song 1. One Fri-day morn when we_ set_ sail, And our WAn 'fraidi mo:n wen wi: set seil, »nd 'aua Am C7 ff C Am C7 F U ť.pJ'iJ- Vr Pj^t ship not far from land, Wě_ there did es-py— a — Jip not fa: from lsend, wi: bta did Is'pai a Dm C7 F C Am7 Dm G7 fair—pret-ty maid, With a comb and a glass in her fta 'priti meld, wlb a koum send a gla:s in ha: ^ Am_ C F .C Dm G7 C F C hand, her hand, her hand, With a comb and a glass in her hand, haend, ha: hand, ha: hssnd, wib a koum send a gla.s in ha: hand. Chorus G7 C Dm C —*- While the wail 6a mm ra - ging 'reid3ín seas si:z did did roar, ro:, And the send oa Am C7 ■j j j r p-JuJipir. p- p p- > > jii storm-y winds did lsto:mi windz' did Mow, And we jol-ly sail-or boys were blon, rend wi: 'djoli 'sella bote we:r 144 Dm C7 F C Am Dm G7 up were up a-loft, And the land lub-bers ly - ing down be-Ap wa:r Ap a'loft, send 6a laend 'lAbaz 'laiin daun bi- Am Dm G7 j)J>JJ . P low,be-low, be-low, And the land lub-bers ly-ing downbe-low. 'lou, bilou, bi'lou, tend ba lend 'Ubaz 'laiin daun bi'lou. 2. Then up spoke the captain of our gallant ship, den Ap spouk de 'kaaptin ov 'aua 'gcelant Jip, And a well-spoken captain was he, send a wel'spoukan. 'kseptin woz hi:, "For the loss of our long boat we all shall be lost, "fo: da los ov "aua Ion bout wi: o:l Jssl bi: lost, And go to the bottom of the sea, the sea, the sea, send gou tu: da 'botom ov da si:, da si;, da si:, And go to the bottom of the sea." 3. Then up spoke the mate so sturdy for to view, don Ap spouk da meit sou 'sta:di fo: tu yju:, And a well-spoken mate was he, "I've married a wife in fair London town, " aiv 'mserid a waif in fea 'lAndon taun. And tonight she will weep for me, for me, for me, send tu'nait Ji: wil wi:p fo: mi:, And tonight she will weep for me." 10 Postali, Songs Chorus Chorus 145 , Then up spoke the little cabin boy, den Ap spouk da 'lital 'ksebin boi, And a well-spoken cabin boy was he, " I've a father and mother in fair Portsmouth town, "aiv a 'fa:da tend'mAda in fea 'po:tsma6 taun, And tonight they will weep for me, for me, for me, dei And tonight they will weep for me." Chorus Then three times round went our gallant ship, den 8ri: taimz raund went 'aua 'gaelant Jip, And three times round went she, aend 9ri: taimz raund went Ji:, And she gave one whirl, and she gave one twirl, aend Ji: geiv wah wa:l, send Ji: geiv wAn twa:l, As she sank to the bottom of the sea, the sea, the sea, boz Ji: ssegk tu: da 'batam ov da si:, da si:, da si:, As she sank to the bottom of the sea. Chorus 1. TO ESPY - TO SPY to catch sight of - GLASS looking glass, mirror - LANDLUBBER sailor's term for person not used to sea - LYING DOWN BELOW here: because of seasickness - 2. WELL-SPOKEN polite, refined, pleasant - LONG BOAT largest life boat carried by sailing ship - 3. MATE ship's officer below rank of captain - 4, CABIN BOY boy who waits on officers and cabin passengers of a ship -5. WHIRL rapid circular motion - TWIRL light quick turn According to sailor superstition, sighting a mermaid at sea was a sure omen of coming disaster. The landlubbers mentioned in The Mermaid may have been passengers. They may also have been men who had been kidnapped from the towns, on the highways, or from the local countryside to serve as sailors. Many historical documents and songs of the late 18th and early I9th century refer to the press gangs. These were detachments of armed men under command of an officer who had legal power to force men into military or, more commonly, naval service. Britain at this time was expanding its commerce and building up its world-wide empire. Men were needed to man the ships. But conditions on board were so bad and treatment so brutal that not enough men would go of their own free will. The famous Admiral Nelson, whose statue in Trafalgar Square is a landmark of London, led press gangs as a young naval officer. 55 Shenandoah Jenan'doa +/A/s/" Slowly, with expression American sea shanty Solo D Chorus G D G 1. Oh Shen-an-doah., I long tó hear you, A - way, youroll-ing ou Jenan'doua, ai Ion tu hia 4 ip p f- ftJ J' J' J> Chorus Bm Bm G ■ 5 riv-er__Oh Shen-an-doah, I long to hear you, A 'riva. ou ,Jenan'doua, ai lorj tu Main ju:, a ň A D_FEm G_Bm_ A7 D way,_ I'm hound to go, 'cross the wide Mis - sou - ri. 'wei, aim baund tu gou, kros ba waid mi'zuari. 2. Oh, Shenandoah, I long to see you ... ou, Jenan'doa, ai log tu si: ju: 3. Oh, Shenandoah, I love your daughter . ou, Jenan'doa, ai Iav jo: 'da:ta 4. The pale-face loved the Indian maiden . da 'peil-feis lAvd di 'indjan 'meiden With notions his canoe was laden ... wid 'noujanz hiz ka'nu: woz leidan 146 10* 147 5. Oh, seven long years since last I saw you . ou, sevan log jiaz sins la:st ai so: ju: '6, Oh, Shenandoah, I took a notion ... ou, Jenan'doe, ai tuk a 'noufan To sail across the stormy ocean ... tu seil a'kras da 'sto:mi 'oujan 7. Oh, Shenandoah, I'm bound to leave you .. on, ,/enan'doa, aim baund tu li:v ju: Oh, Shenandoah, I'll not deceive you ... ou, Jenan'doo, ail not di'si:v ju: 8. Oh, Shenandoah, I long to hear you ... 1. SHENANDOAH name of a large river in the states of Virginia and West Virginia, also name of a famous Indian chief - TO LONG to feel a strong wish, to yearn -4. PALE-FACE Indian term for a white man - NOTIONS various small useful articles, here for trading with the Indians - TO BE LADEN to be loaded - 6. TO TAKE A NOTION (old) to decide (to do something) - Amer.: [Jenan'doa] or [,jenan'do:] Shenandoah was one of the best known capstan and windlass shanties of the great sailing ship era. The capstan and windlass were heavy revolving drums or barrels for winding cable which was used to raise anchor, hoist heavy sails or move heavy loads. The machinery was made to turn by the crew's shuffling walk around it, pushing the attached heavy horizontal or vertical bars which operated as levers. The shantyman sang the verse solo, the crew joining in on the chorus to heave and push. Shenandoah's double chorus, with the second part extra long, was used to help create the powerful effort this heavy work demanded. With all due respect to the authoritative Daniel Jones Pronouncing Dictionary which gives the pronunciation of Shenandoah as [, Jenen'doua] all the British and American folk-singers that I have heard pronounce Shenandoah as [Jenan'doa] or [, Jenan'do;]. Section 8 Sociable Songs 11 ff 148 56 Auld Lang Syne 'oddlaen'sain + +/Sc/s Slowly, with sentiment P Dm g É Internationally known traditional Scottish song Gm C m 1. Should auld ae-quain-tance Jud ü:ld a'kweintans be for - got And bi: rVg-ot send FT k k F .Dm nev - er brought to mind? Should auld ac-quain-tance 'neva bro:t tu: maind? Jud o:ld a'kweintans Gm C Dm Gm7 C Gm7 G7 F Bb Chorus be for-got And days of aulď"Íang syne? For bi: fa'got »nd deiz ov 'o:ld Iffirj 'sain? fo:r Dm Gm BI. F7 Ute B\> auld lang syne, my dear, For auld lang syne, We'll 'odd lffirj 'sain, mai dia, fo:r 'o:ld lsetj 'sain, wi:l Dm Gm C7 Dm Gm7 C7 F E i take a cup of kind-ness yet, For auld lang syne. teik a kAp ov 'kaindnis jet, fo:r 'o:ld lierj 'sain. 150 We two have run about the braes wi: tu: hsev rAn a'baut 9a breiz And pulled the gowans fine, asnd puld da 'gatianz fain, But we've wandered many a weary foot bAt wi:v 'wondad 'meni e 'wiari fut Since auld lang syne, sins 'o:ldlaen'sam. We two have paddled in the brook wi: tu: heev 'paedald in da bruk From morning sun till noon, from 'mo:nit) sAn til nu:n, But seas between us broad have roared bAt si:z bi'twi:n as bro:d hsev ra:d Since auld lang syne, sins 'oddlaen'sain. 4. And here's a hand, my trusty friend, send hiaz a haend, mai 'trAsti frend, And give us a hand of thine, asnd giv as a hsend ov dain, We'll take a right good willie waught wi:l teik a rait gud 'wili wo:t For auld lang syne. fo:r 'o:ldlssn'sain. 5. Then here's until we meet again, den hiaz An'til wi: mi:t a'gen, Good health to thee and thine, gud helG tu: di: sand dain. My thoughts will ever be with thee mai 6o:ts wil 'eva bi: wid di: For auld lang syne. fo:r 'oldlserj 'sain. Chorus Chorus Chorus Chorus 151 6, When hair is white and backs are bent, wen hear iz wait send basks a: bent, And our years have seen their prime, send 'aua jiaz haev si:n dee praim, We'll still be comrades true, my friend, wi:l stil bi: 'komridz tru:, mai frend, For auld lang syne. fo:r 'oddlaen'sain. Chorus Title: A ULD LANG S YNE days gone, by old times - A CQ UAINTANCE friendship -FORGOT forgotten - 2. BRAE (Soot.) hillside - GO WAN (Scot.) mountain daisy -•4. TRUSTY (old) trusted, faithful - THINE (old) yours - WILLIE WAUGHT big drink - Amer.: ['ouldlseg 'sain] AvM Lang Syne has been one of the world's most popular songs for a century and a half. The melody is believed to be an ancient folk dance from the Strathspey district in northeastern Scotland. The words are partly traditional and partly by "Robert Burns, Scotland's national poet, whose version appeared in 1794. Verses 5 arid 6 are modern additions. Avid Lang Syne is traditionally sung at New Year's Eve and at the close of reunions and many other social gatherings. In Scotland, the first verse and chorus are sung with everyone holding hands in a circle. On the second verse, everyone crosses hands in front, giving his right hand to the person on the left and his left hand to the person on the right. Verses 5 and 6 are written by Cyril Pustan, © Jena 1971 152 57 For He's A Jolly Good Fellow fo: hi:z a 'dgoli gud 'felou +/e;s/" With energy and sentiment (Solo) F J J> J> h J) Popular English social song BI. F For he's a jol - ly good fo: hi:z a 'd^oli gud fel - low, For 'felou, fa: F7 fa i jŕji j'iJ, j jj i j j'j a he's a jol-ly good fel - low, For he's a jol-ly good hi:z a 'd3oli gud 'felou, fo: hi:z a 'd^ali gud (Chorus) fel - low, And so say all of 'felou, tend sou sei 9:1 ov us. as. And sand Bt. r p r nr r J ir P r i ♦ so say all of sou sei a:l ov (Solo) FC F us,_ And so say all of as, tend sou sei o:l ov us,_ For he's a jol - ly good fel - low, For as, fa: hi:z a 'dgali gud 'felou, fo: f7 ■ér-+ J J' J' > J> he's a jol - ly good fel - low, For he's a jol - ly good hi:z a 'd^oli gud 'felou, fo: hi:z a 'd^oll gud 153 1 (Chorus) J Jmi J'^a fei - low, And so say all 'felou, send sou sei o:l of ov us. AS. This is a sociable song sung at birthdays, anniversaries, weddings, and all sorts of celebrations. After singing the song, the group calls for three cheers for the person in whose honour the song has been sung. If the person's name is John Smith, for example, one person in the group calls out, "Three cheers for John Smith! Hip, hip ..." And the group immediately responds, "Hooray!" The caller then repeats, "Hip, hip ..." The group responds, "Hooray!" The third repetition of "Hip, hip ..." and "Hooray!" is followed by prolonged ap-plause. 58 The Green Grass Grew All Around do gri:n gra:s gru: o:l a'raund + +/E/f/" With vim and vigour English folk song 1. Once in a field there was a tree, The love-li-est WAns in 9 fi:ld 6e» woz a tri:, oa 'lAvliist B!> G7 Chorus tree That you ev-er did see. And the green grass grew alla-tri: bset ju: 'eva did si:. SBnd &a gri:n gra:s gru: a:l»- * F7 Bt P C round, all a-round, And the green grass grew all a - round, 'raund, a;l a'raund, send ba gri:n gra:s gra: o:l a'raund. 2. And on this tree there was a branch, The love-li-est send an bis tri: tea woz a bra:ntf, ba 'lAvliist BI. C F ^ J rp pppp a J Ji >JJg branch That you ev- er did bra:ntf beet ju: 'eva did see. The branch was on the si:. ba brarntj woz on ba Chorus tree, And the tree was in the field, And the green grass grew all a-tri:, send ba tri: woz in ba fi:ld, send ba gri:n grass gru: o:l e- 154 155 F7 Bl> F C7 J' J'ii p p p iJi J' J Ahnt round, all a-round, And the green grass grew all a - round. rauud, 0:1 a'raund, send ba gri:n gra:s gru: o:l o'raund. 3. And on this branch there was a twig, The love-Ii-est send on bis bromtf &&o waz a twig, bo 'Uvliist -ji j " t p p p p p lit A i i' twig That you ev - er did twig baet ju: 'eva did see. The twig was on the si:. 6a twig waz on ba Jl Jl lit 3' ^ branch, And the branch was on the bra:ntf, send ba bra:ntf woz on ba Chorus „ C7 tree, And the tri:, send ba C ^ J> J Jl J> J' J, J) Iii Ji > J>j tree was in the field, And the green grass grew all a tri: waz in &a fi:ld, send ba gri:n gra:s gro: o:l a • Bk F C7 F AS. J' J' J> JlJlläS round, all a-round, And the green grass grew all a - round, raund, o;l a'raund, send 5a gri:n gra:s gru: o:l a'raund. 4. And on this twig there was a nest, nest, The loveliest nest That you ever did see. The nest was on the twig, And the twig... 5. And in this nest there was an egg, eg, The loveliest egg That you ever did see. The egg was in the nest, , And the nest... 6. And on this egg there was a bird, ba:d, The loveliest bird That you ever did see. The bird was on the egg, And the egg .,. 7. And on this bird there was a feather, 'feda, The lovehest feather That you ever did see. The feather was on the bird, And the bird ...1 8. And on this feather there was a flea, fli:, The loveliest flea That you ever did see. The flea was on the feather, And the feather was on the bird, And the bird was on the egg, And the egg was in the nest, And the nest was on the twig, And the twig was on the branch, And the branch was on the tree, And the tree was in the field, And the green grass grew all around, all around, And the green grass grew all around. 1. YOU EVER DID SEE you have ever before seen - Chorus: ALL AROUND everywhere about - TWIG small thin branch This is a favourite campfire and hiking song in both America and Britain. It is a cumulative song. After each new veise, all the previous verses are repeated, then the chorus is also repeated. The song gradually gets faster, the last verse and chorus being sung at top speed. You will find this song a cross between a tongue twister and an endurance contest. 156 157 59 Limerick Tune 'limarik tju:n + +/E/m Fast and light In one of those ca - fes in Kew, in WAn av bouz 'kssfeiz in kju:, fx 'I r found a dead mouse in my stew, ai faund a ded mans in mai stju:. P. IP P P "tt Said the wait - er, "Don't shout And wave it a sed ba 'weita, "dount Jaut send weiv it a bout, 'baut, Or 3: the bi ft h u J> J' iJ'jpjg oth - ers 'Abaz will wil ask a:sk H for fa; one, WAn, too." tu:." Now have a go at this one: There was a young maid who said, ''Why flea woz a JAi) meid hu: sed, "wai Can't I look in my ear with my eye? ka:nt ai Juk in mai is wid mai ai? If I put my mind to it, if ai put mai maind tu: it, I'm sure I can do it. aim 'Jiiar aj kggn J> J'p IM' J» > J' f walk down the street, All the peo-ple I meet say, "Hel-wo:k daun ba stri:t, o:l ba 'pi:pal ai mi:t sei, "'he - lo, what's your name?" And I 'lou, wots jo: neim?" send ai say., sei.. GLOUCESTER county seat of Gloucestershire. Gloucester is an industrial city on the Severn River in the west of England - TEXTILE MILL factory for spinning thread or weaving cloth Text revised and adapted by Cyril Pustan, © Jena 1971 162 11* 163 63 She'll Be Coming Round The Mountain Ji:l bi: 'kAmig raund öa 'mauntin + /A/f/" With plenty of spirit American sociable song ^5 •—•____j 1. She'll be Ji:I bi: =3 com-ing round the moun-tain when she 'kAmirj raund ba 'mauntin wen Ji: comes, (when she comes), She'll be kAmz, (wen Ji: kAmz,), Ji:l bi: com-ing round the 'kAmirj raund ba D7 r j - f If feEp moun-tain when she comes, (when she comes) She'll be 'mauntin wen Ji: kimz, (wen Ji: kAmz) Ji:l bi: P P P.P i' Ji A h •-# com-ing round the moun-tain, She'll be com-ing round the 'kAmirj raund ba 'mauntin, Ji:l bi: 'kAmirj raund ba G j' I w j' h moun-tain, She'll be com-ing round the moun-tain when she comes, 'mauntin, Ji;l bi: 'kAmirj raund ba 'mauntin wen Ji: kAmz. 2. She'll be driving six white horses when she comes ... Ji:l bi: 'draivirj siks wait 'ho:siz wen Ji: kAmz 3. Oh, we'll all go to meet her when she comes ... ou, wi:l o:l gou tu mi:t ha: wen Ji: kAmz 4. We will kill the old red rooster when she comes ... wi: Vril kil 9i ould red ru:sta wen Ji: kAmz 5. We will all have chicken and dumplings when she comes , wi: wil 'o:l hsev 'tjikin send 'dAmpligz wen Ji: kAmz 6. She'll be coming round the mountain when she comes ... 4. ROOSTER male of domestic fowl - 5. CHICKEN barnyard fowl or its flesh used as food - 5. DUMPLING Bmall light mass of dough steamed or boiled with soup or stew 164 165 64 Skip To My Lou skip tu: mai lu: +/A/f/" Brisk and gay G American play party song 1. Bab-bit on the hill - side 'r sbit on 6a 'hil'said big as a mule, big- BBZ a inju:I, ' \ ji J' j' Bab - bit on the hill - side 'rasbit on 6a 'hil'said G ý p ^ ^ big big as a mule, sez a mju:I, p P p p p* m1 p 1 ^ P i Rab - bit on the hill - side on Ôa raebit 'hil'said G big big Chorus G as a mule, sez a mju:l, t * t p p Skip to my Lou, my dar-ling. Skip, skip, skip to my Lou, skip tu; mai lu:, mai 'da:lin. skip, skip, skip tu:mai Iu:, J J' J' r a Skip, skip, skip, skip, skip to my Lou, skip tu: mai lu:, Skip, skip, skip, skip, I skip to my Lou, Skip to my Lou, my dar - ling, skip tu: mai lu:, skip tu: mai lu:, mai 'da:Iin. 166 2. Flies in the buttermilk, shoo, shoo, shoo! (repeat 3x } flaiz in 5a 'bAtamilk, Ju:, Ju:, Ju:! Skip to my Lou, my darling. Chorus skip tu: mai lu:, mai "da:iin. 3. Flies in the sugar bowl, shoo, fly, shoo! (repeat 3x ) flaiz in da 'Juga boul, Ju:, flai, Ju:! Skip to my Lou, my darling. Chorus 4. Lost my best girl, what'll I do? (repeat 3x ) lost mai best ga':l, 'wotal ai du:? Skip to my Lou, my darling. Chorus 5. I'll get another, a better one too. (repeat 3x ) ail get a'nAde, a 'beta waii tu:. ' Skip to my Lou, my darling. Chorus 6. My girl wears a number ten shoe, (repeat 3x ) mai ga:l weaz a 'nAmba ten Ju:. Skip to my Lou, my darling. Chorus 7. When I go courting, I'll court you. (repeat 3x ) wen ai gou 'ko:tig, ail ko:t ju:. Skip to my Lou, my darling. Chorus 8. Cows in the cornfield, two by two. {repeat 3x ) kauz in da 'ko:nfi:ld, tu: bai tu:. Skip to my Lou, my darling. Chorus 9. We'll keep it up 'til half past two. (repeat 3x ) wi:l ki:p it Ap til ha:f ptust tu:. Skip to my Lou, my darling. Chorus 167 i ŕ: 10. Skip a little faster, that won't do. {repeat 3x ) skip a 'lital 'fa:sta, fleet wount du:. Skip to my Lou, my darling. 11. Little red wagon, painted blue, (repeat 3x) 'lital red 'wsegen, 'peintid blu:. Skip to my Lou, my darling. Chorus Chorus 1. TO SKIP to jump lightly and quickly - 2.FLIES plural of fly, here: the ordinary housefly - SHOO cry used for driving away birds, small animals, etc.-6. NUMBER TEN SHOE a size 44 shoe -7. TO COURT to try to win someone in marriage -8. CORN here: used with the American meaning of maize or Indian corn - 9, TO KEEP IT UP to continue, to go on - 10. THAT WONT DO that's not good enough A number of communities of settlers and pioneers forbade dancing on religious grounds. The musical instrument which was mostly used to accompany dancing was the fiddle. This instrument was considered by many of the religious elders to be the devil's instrument. Dancing and dance music were sinful. As they were not allowed to dance or have dance music, the young people invented the play party. This was mainly skipping accompanied by handclapping and singing. Skip to my Lou was one of the best-known play-party songs of frontier days and is still a great favourite as a song today. SKIP TO MY LOU: AH couples join hands in a circle and skip around one man in the centre, all singing the chorus. The circle stops and claps hands while the man in the centre skips around inside the circle, all singing the first verse. At the end of the verse, the centre man skips to the" girl of his choice. Her ex-partner skips to the centre instead. All couples again join hands and circle around the new man in the centre. All sing the chorus aa before. Again, the circle Btops and claps hands while-the man in the centre skips around inside the circle, all singing the second verse. At the end of the verse, the centre man skips to the girl of his choice, and her ex-partner goes to the centre. The game goes on as long as the verses last, and there are many more of them than could be given here. 168 65 Ten Green Bottles ten ' gri;n +/E/m/" With emphasis 'botolz English humorous song í JX Ji J\ 1. There were ten green bot-tles fits wa: ten grim 'botalz C hang-ing on the wall, 'hsrjirj on ba wo:l, Ten green hot-ties ten grl:n 'botala r" 'p' "P' P hang-ing on the wall, And if 'hferjlrj on ba wo:l, and if Gm7 J J) li > A J one green hot-tie should ac - oi-dent'- ly fall,1 There'd be wAn grim 'botal Jud .aeksi'dentli fo:l, bead bi: Dm 3S MM" Bt C7 F i) í A Ji J II nine green bot - ties nain gri;n 'botalz 2. There were nine .,. dee wa: nain 3. There were eight... eit 4. There were seven .. 'sevan 5. There were six ... siks hang - ing on the wall. 'hserjin on ba wa:l. 6. There were five-., faiv 7. There were four .. fo: 8. There were three . 6ri: 9. There were two .., tu: 169 Last Verse: There was one green bottle hanging on the wall, dea waz wAn gri:n 'botal 'biggin on 3a wo:i, One green bottle hanging on the wall, wAn And if that green bottle should accident'ly [raeksi'dentli] fall, There'd be nothing but the smell hanging on the wall, dead bi: 'nA0irj DAt da smel 'hsegig on da wo:l. In some versions the last line of the last verse is sung instead as follows: There'd be no green bottles hanging on the wall, dead bi: nou grim 'botalz 'hamig on da wo:l. 1. ACCIDENT'LY accidentally, by chance' T 66 1. NICKNACK PADDY WHACK nonsense syllables - Chorus: TO ROLL to wait unsteadily - 5. HIVE beehive, house for bees - 7. DEVON a red cow of the D evon County breed - 9. LINE clothesline Begin slowly, then speed up as you go along. Sing last verse at top speed. 170 This Old Man dis ould maen +/E/f With vigour P Well known English song Gm Gm1 , C7 1. This old man, he played one, He played nick nack on my dram, ols ould mien, bi: pleid WAn, hi: pleid 'nik nsek on niai drAm, 2. two, shoe, tu: 3. three, tree, Ori: tri: 4. four, door, fo: do: 5. five, hive, fafv haiv 6. six, sticks. siks stiks 7. seven Devon, sevan devan 8. eight, gate, eit geit 9. nine, line, nain lain 10. ten, hen, ten hen Chorus F Nick nack pad - dy whack, give a dog a bone, 'nik n»k 'psedi waek, giv a dog a boun, Gm7 m This bis old ould m man mam came keim roll - ing 'rouliij home, houm. 171 Section 9 Workers', Farmers', and Peace Songs 67 The Banks Of Marble da bsegks o v 'ma:bal + + +/A/m Lively tempo C G American workers' protest song, written during the depression of the 1930's Words and Music by Les Rice ' F 1. I've trav-elled_ a-round this eoun-try,- Prom shore. aiv 'travald a'raund 6is 'kAntri, from Jo: _ to shin-ing shore-- tu: 'Jainirj Jo:. real - ly made me 'rial! meid mi: won - der, 'wAnda, Chorus things. eins I heard and saw. ai ha:d send so:. -- But the banks are made of mar-ble,— With a DAt ba bserjks a: meid ov 'ma:bal, wib a guard_ at eve-ry door,_And the vaults are stuffed with ga:d set 'evri do:, send 5a vo:lts a: stAft wib G* C sil-ver_ That the peo - pie sweat-ed for. 'sllva oest ba 'pi:pal 'swetid fo:. 2. I saw the weary farmer ai so: da 'wiari 'fa:ma Ploughing sod and loam, 'plauig sad send loum. I saw the auction hammer ai so: oi 'o:kfan 'hsema Knocking down his home, 'nokig daun hiz houm. 3. I saw the tired housewife, ai so: da 'taiad 'hauswaif. She was standing in the store. Ji: waz 'staendirj in 9a sto:. I heard the grocer saying, ai ha:d da 'grousa 'seiig, " This is going to cost you more." "dis iz 'gouhj tu kost ju: mo:." 4. I saw the weary miner ai so: da 'wiari 'maina Scrubbing coal dust from his back. 'skrAbig koul dASt from hiz bsek. I heard his children saying, ai ha:d hiz 'tjildran 'seiig, "Got no coal to heat the shack," " got nou koul tu hi:t da Jsek." 5. I've seen my brothers starving aiv si:n mai 'brAdaz 'sto:vig Throughout this wealthy land. 8ru:'aut dis 'wel6i lsend. It's time we got together its taim wi: got ta'geda And together made a stand, send ta'geda meid a stsend. Chorus Chorus Chorus Chorus 174 175 Final Chorus 6. Then we'd own those banks of marble den wi:d oun douz bsegks ov 'ma:bal "With the guard at every door, wid do ga:d set 'evri do:, And we'd share the vaults of silver send wi:d Jeo do vo:lts ov 'silva That the people sweated for. dset do 'pi:pal 'swetid fo:. 1. SHORE TO SHORE here: coast of Atlantic Ocean to coast of Pacific Ocean -Chorus: GUARD armed sentry - VAULT special underground storage room - 2. SOD top layer of grass land - LOAM fertile soil - A UOTION sale of house or goods to the highest bidder - TO KNOCK DOWN to sell at auction - 3. STORE shop - GROCER owner of food store - 4. GOT (we) have - SHACK wooden hut - 5. TO GET TOGETHER to unite - TO MAKE A STAND to resist 1 68 Drill, Ye Tarriers, Drill dril, ji: 'taeriaz, dril + +/A-I/f/" With steady rhythm Am 19th century American work song 176 1. Ev'- ry morn-ing at sev - en o'- clock There are 'evri 'mo:nirj set 'sevon o'klok bear a: E1 4t é A J) MlJl Jl Ji. Jl J J> J> twen - ty tar - ri - ers— drill-ing at the rock. And the 'twenti 'tseriaz 'drilirj st bo rok. eend bo Am boss conies a-round and he says, "Keep still And bos kAinz o'raund send hi: sez, "ki:p stil send Chorus come down hea - vy on the cast iron drill." And kAin daun 'hevi on bo 'ka:st 'aian dril." send Am E7 Am 3-i Ji '» drill ye tar - ri-ers, drill! dril ji: 'tawiaz, dril! Drill, ye tar - ri-ers,, dril, ji: 'twriaz, 12 Fust&D, Songs 177 . Am F G Am G Am 4 'l j! pír rJ J''-■i'iAjij^.p^ drill! Oh, it's work all day for the dril! ou, its wa:k o:l del fo; t>a su-gar in your tea, 'Jiigsr in jo: ti:, E7 Am E7 Down Be-hind the rail - way. And drill ye daun bi'haind Oa 'reilwei. send dril ji: Am tar-ri-ers, 'tseriaz, f m i drill! dril! And send Mast! blci.st! And send fire! 'faia! The When 1. TARRIER construction worker who drilled holes and set off explosions in rock to clear the way for the railroad line - DRILL (noun) a pointed steel tool for boring holes - TO DRILL to bore holes - ROCK mountains through which the railroad line had to pass - TO COME DOWN HEAVY to strike hard - CAST IRON iron shaped by being run into a mould - Chorus: TO BLAST to blow up rocks, etc., with dynamite - TO FIRE to explode the dynamite - 2. FOREMAN a workman in charge of other workmen on a job - BLAME MEAN very nasty or small minded - PREMATURE too early - MILE 1,6 km. - 3. PA Y DA Y day when wages are paid, formerly Saturday - TO BE DOCKED to be paid less than the regular wages as punishment This Irish tall tale was first published in 1888 by Thomas F. Casey, a popular Irish singer who had once himself worked as a tarrier. Many Irishmen came to the United States because of the great potato famine in Ireland in the I8401s. It is estimated that in the five years from 1846 to 1851 approximately one million Irish died of starvation and disease and over 1,600,000 emigrated, mostly to the U.S.A. The immigrants had to take whatever work they could get. ThuB the dangerous job of tarrier was carried out all over the country by gangs of newly arrived Irish labourers. There was of course no question of work safety regulations or payment for injuries received at work. The song itself has remained popular ever since for its rollicking melody and sarcastic humour. 2, The foreman's name was John McCann. da 'fo:manz neim woz dgon ma'kaen. Oh, Lord, he was a blame mean man. ou, lo:d, hi: woz a bleim mi:n msen. Last week a premature blast went off 1 lo:st wi:k o'prema'tjua bla:st went o:f And a mile in the air went big Jim Goff. Chorus 3end a mail in di ea went big djim gof. 3. When next pay day it came around wen nekst pei dei it keim a'raund Jim Goff a dollar short was found, dgim gof a 'dola Ja:t woz faund. When he asked what for, came this reply, wen hi: a:skt wot fo:, keim dis ri'plai, "You were docked for the time you were up in the sky." Chorus "ju: we: dokt fo: da taim ju: war Ap in da skai." 178 12* 179 69 The Family Of Man da 'fsemili av m sen + + +/E/m/" With energy E Cflm ■V" ' By Karl Dallas One of the most widely sung songs of the British peace movement Fttm 1. I be - long to a fam-i-ly, the big-gest on the. ai bi'lorj tu: a 'fsamili, ba 'bigist on bi Cttm m7 earth. A thou-sand eve-ry day are com-ing to a:6. 3 'Oauzand 'evri del a: 'kAinlrj tu: Jthk )p J J q E Er A r=l=l j>. j> j, j j) J1 down, Yet the farm-er is the man who feeds them daun, jet ba 'fa:mar iz ba msen hu: fi:dz bem all. If you'll on - ly look and see, I_ o:l. if ju:l 'ounli luk send si:, ai think you will a-gree That the farm-er is the Girjk ju: wil a'gri: bset ba 'fa:mar iz ba E Chorus E p'p p'P r p"J'1 man who feeds them all. msen hu: fi.dz bem o:l. Gflm E The farm-er is the man, The ba 'fa.-mar iz ba men, ba B BT p" p p" p r i r r p~ p p" ^ farm-er is the man, Lives on ored-it till the fall. Then they 'fa:mar iz 6a mam, Uvz on 'kredit til ba fo:l. ben bei 182 183 take bim by the hand And they lead him off the teik him bai 69 hsnd send bei li:d him o:f ba J) I J) J) JI J- H land, And the mid-die-man's the man who gets it all. lsend, eend da 'midalmaenz 6a mean hu: gets It o:l, 2. Oh the lawyer hangs around ou 6a 'lo:J9 hasgz e'raund While the butcher cuts a pound, wail da 'but/a kAts a paund, But the farmer is the man who feeds them all. bAt 6a 'fa:mor iz da msen hu: fi:dz dem o:l. And the preacher and the cook send da 'prhtfer send da kuk Go strolling by the brook, gou 'stroulin bai da bruk, But the farmer is the man who feeds them all. The farmer is the man, The farmer is the man, Lives on credit till the fall, With the interest rate so high, wid di 'intrist reit sou hai, It's a wonder he don't die, its a 'wAnda hi: dount dai, For the mortgage man's the man who gets it all. fo: da *mo:gid3 msenz da msen hu: gets it o:l. 2nd Chorus 3. When the banker says he's broke wen da 'bsegka sez hi:z brouk And the merchant's up in smoke, send da 'ma:tjants Ap in smouk, They forget that it's the farmer feeds them all. dei fa'get dset its da 'fa:ma fi:dz dem o:l. It would put them to the test it wud put dem tu: da test If the farmer took a rest, if da 'fa:ma tuk a rest, Then they'd know that it's the farmer feeds them all. den deid nou daet its da ,'fo:ma fi:dz dem a:]. The farmer is the man, 3rd Chorus The farmer is the man, Lives on credit till the fall, His pants are wearing thin, hiz paents a: 'wearig 9in, His condition, it's a sin, hiz kan'dijan, its a sin, He's forgot that he's the man who feeds them all. hi:z fa'got deet hi:z da msen hu: fi:dz dem o:l. 1. WAGON (Brit. WAGGON) four-wheeled vehicle for carrying loads, pulled by horses - BROKEN DOWN worn to the point of breaking, a satirical reference to the farmers' generally old and patched up wagons - 1st Chorus: CREDIT here: Money borrowed from the bank, another satirical reference to the widespread system under which the farmers often had to borrow money in order to live until the autumn harvest - MIDDLEMAN dealer or agent who buys up crops as cheaply as possible and resells them at a profit - 2. TO HANO AROUND to idle about, to kill time -PREACHER minister, pastor, person who delivers sermons - 2nd Chorus: INTEREST RATE money paid for privilege of borrowing money, normally 6-7% but here much higher - HE DON'T (ungramm.) he doesn't - MORTGAGE transfer of ownership of property as security for debt, failure to repay on time resulting in loss of property -3. TO BE BROKE (slang) to be without money, to be penniless - FARMER FEEDS farmer (who) feeds - 3rd Chorus: PANTS (Amer.) trousers - HE'S FORGOT (ungramm.) he's forgotten 184 185 71 The Hammer Song da 'hsema sag +/A/m/" With steady beat Modern American progressive song Words by Lee Hays Music by Pete Seeger A7 1. If I had a ham-meiy if ai heed a 'hsema, D I'd ham-mer in the aid 'heemar in ba I t i Ji J' J' h |J. j\l morn - ing, 'momiäj, I'd ham-mer in the eve - ning. aid 'haemar in oi: 'i:vnln A7 D7 r p p ' r IE All o 3:1 'ouva - ver this land, öis lsend. D dan - ger, 'deindja, G I'd ham-mer out aid 'bmmar aut Bm m I'd ham-mer out. a warn - ing, aid 'haemar aut a 'wo:niij, D D A7 * 0 I'd ham-mer out love be-tween all of my broth-ers aid 'haemar aut Iav bi'twi:n o:l ov mai brAĎaz G D A7 D G D o - ver this 'ouva öis 2. If I had a bell [bel] I'd ring [rin] it in the morning, I'd ring it in the evening All over this land. I'd ring out danger, I'd ring out a warning, I'd ring out love between all of my brothers All over this land. 3. If I had a song [son] I'd sing [sin] it in the morning, I'd sing it in the evening All over this land. I'd sing out danger, I'd sing out a warning, I'd sing out love between all of my brothers All over this land. 4. Well, I've got a hammer and I've got a bell, wel, aiv got a 'hsema send aiv got o bel, And I've got a song to sing send aiv got a son tu sin All over this land. o:l 'ouva dis laend. It's the hammer of justice, it's the bell of freedom, its da 'haemar ov 'd^AStis, its da bel ov 'fri:dam, It's a song about love between all of my brothers its a sorj a'baut Iav bi'twim o:l ov mai 'brAdoz All over this land. 1. ALL OVER everywhere (in) - 2. I'D HAMMER OUT I would hammer out about -3. I'VE GOT A SONG TO SING I have a song that I must sing. Pete Seeger is a tall, lanky American with deep set eyes and a friendly open smile. He has been in the forefront of the progressive movement in the U.S.A. ever since his early youth, singing and playing his guitar at strikes, demonstrations and protest actions throughout the land. At one time he was occupied with the organization of a folk group known as The Almanac Singers. He worked together on this venture with the famous Woody Guthrie. Later Pete Seeger was responsible for the formation of The Weavers, a singing group whose fame spread across the English speaking world. Summoned before the powerful and much feared reactionary Un-American Committee in Washington, Pete Seeger courageously defended himself. Blacklisted by the USA's major radio and television networks, Pete Seeger's talents have nevertheless made him famous at home and abroad. The Hammer Seng, Wantonamera, We Shall Overcome and Good Night, Irene are only a few of the many songs he has launched to international success. Beyond this, Pete Seeger's unswerving loyalty to the working class through good times and bad has earned him the enduring respect and affection of millions the world over. 186 187 72 The H-Bomb's Thunder di 'eitjbornz '8Anda + + +/E/m/" Sustained, with feeling r> J' „ |J> Words by John Brunner Tune Miner's Lifeguard Song of the British Easter Marches ^ G7 Don't you hear the H-bomb's thun-der_ dount ju: hia hi 'eitfbomz 'dAnda Ech- O 'ekou C G like__ the crack of doom? While they rend_ the skies a-laik oa kreek or du:m? wail oei rend oa skaiz a - Em p r r p p A* sun-der,_ Fall-out makes the earth a tomb. 'sAnda, 'fo:laut meiks 6i a: 9 a tu:m. G7 Do you du: ju: want— your homes to tum-ble, Rise in smoke to-wards the wont jo: houmz tu 'tAmbal, raiz in smouk ta'wo:dz oa 5 Em sky? Will you let__your cit-ies orum-ble,_ Will you skai? wll ju: let jo: 'sitiz 'krAinbal, wil ju: D7 t G CAoru« G7 -6^ see — your chil-dren die? si: jo: 'tjlldran dai7 Men and worn-en,_ stand to-men send 'wimin, stffind ta - G p i"~r p Mr Pp A7 D geth-er._ Do not heed 'geoa. du: not hi:d G7 the men of war. Make your ba men ov wo:, nteik jo: C G D7 G i' j>lj>jj j^ip-p-Wij: II minds up now or nev-er,_Ban the bomb for ev-er-more. maindz Ap nau o: 'neva, ben ba bom fo:r 'eva'mo: . Tell the leaders of the nations, tel Oa 'li:daz ov 5a 'neijanz, Make the whole wide world take heed: meik da houl waid wa:ld teik hi:d: Poison from the radiations 'poizan from da ,reidi'eijanz Strikes at every race and creed, straiks sat 'evri reis send kri:d. Must you put mankind in danger, mAst ju: put maan'kaind in 'deindja, Murder folk in distant lands ? 'mo:do fouk in 'distant lsendz? Will you bring death to a strangeT, wil ju: brig de6 tu: a 'streind33, Have his blood upon your hands? hsev hiz blAd a'pon jo: hsendz? , Shall we lay the world in ruin? /bbI wi: lei da wa:ld in ruin? Only you can make the choice, 'ounli ju: ksen meik da tjois. Stop and think of what you're doing, stop send Sink ov wot jua 'du:ii), Join the march and raise your voice, djoin da ma:t/ send reiz jo: vois. Time is short, we must be speedy, taim iz fo:t, wi: mAst bi: 'spi:di. We can see the hungry filled, wi: ksen si: da 'liArjgi'i fild, Chorus 189 House the homeless, help the needy, hauz 9a 'houmhs, help da 'ni:di. Shall we blast, or shall we build? fa?l wi: blo:st, o: Jael wi: bild? Chorus 1. CRACK OF DOOM loud resounding noise of final world destruction - TO REND ASUNDER to split apart - FALL-OUT radioactive particles that poison the air and ground after a nuclear explosion - TOMB grave - TO TUMBLE to fall down suddenly - TO CRUMBLE to fall to pieces - Chorus: TO TAKE HEED OF, TO HEED to pay attention to - TO BAN to forbid - BAN THE BOMB slogan of the British peace movement - FOREVER MORE for all time, forever - 2. RADIATION waves of energy resulting from a nuclear explosion - CREED religious belief - MANKIND humanity, the human race - FOLK people - 3. MARCH the peace march at Easter and other demonstrations - TO BLAST to explode the H-Bomb, to destroy John Brunner, young London science fiction writer, wrote the words of this song for the first Easter peace march to Aldermaston. Brunner brought the text he had written to a meeting which was to discuss songs for the march. He read his verses to the group. With a few changes here and there the group collectively fitted the text into the melody of a stirring old Welsh hymn tune Cakm Lan. This tune was well known because Welsh coal miners, probably emigrants to America, had used it for the lively Miner's Lifeguard, a song which urged, 'Union miners, stand together, / Do not heed the owners' tale. / Keep your hand upon your wages, / And your eyes upon the scale.' Published in 1958, The H-Bomb's Thunder has practically become the anthem of the annual British peace marches, in which hundreds of thousands have taken part, coming from many parts of England and indeed from all over the world. In 1968 Brunner announced his establishment of a new peace prize. 73 Hold The Fort hould do fo:t + +/A/m/" Broadly, with emphasis American trade union song 1. We meet to-day in free-dom's cause and raise our voi-oes wi: mi:t tu'dek in 'fri:doma ko:z Eend reiz 'aua 'voisiz high. We'll join our hands in hai. wi:l d30in 'auo h tend z in tut - ion strong to 'ju:njan strorj tu Chorus C F hat - tle or to die. 'baetal o: tu dai. Hold the fort for hould ba fo:t fo: we are com - ing, Un - ion men be strong! wi: a: 'kAmirj, 'ju:njon men bi: stronl G7 m Side by side we'll bat-tie on-ward,Vic - to-ry wiU come! said bai said wi:l 'bsetal 'onwad, 'viktari wil kAm! 190 191 1 2. Look, my comrades, see the Union's banners waving high, luk, mai 'komridz, si: da 'ju:njanz 'bsenaz 'weivin hai, Eeinforcements now appearing, victory is nigh. Chorus ,ri:in'fo:smants nau a'piarig, 'viktari iz nai. 3. See our numbers still increasing, hear the bugles blow! si: 'aua'nAmbaz stil in'kri:sin, hie da 'bju:galz blou! By our union we shall triumph over every foe. Chorus bai 'aua 'ju:njan wi: Jael 'traiamf 'ouvar 'evri fou. 4. Fierce and long the battle rages but we shall not fear! fias send log da 'bsetal 'reid3iz bAt wi: Jasl not 'fla! Help will come whene'er it's needed, cheer, my comrades, cheer! Chorus help wil kAm wen'esr its 'ni:did, tjie, mai 'komridz, tfia! 74 Joe Hill d30u hil + +/A/S With expression C Words by H. Hayes Music by Earl Robinson World famous American workers' song # . 0 j j J- ;u ^ —-— i I dreamed I saw Joe Hill last night, A-live as you and ai dremt ai so: djou hil la:st nait, a'laiv sez ju: send Title: HOLD THE FORT keep fighting, don't give up. Now a popular expression in everyday speech - FORT originally a primitive military outpost built to fight the Indians in outlying areas - 2. REINFORCEMENTS additional troops, help - NIOH (old) near - 3. FOE enemy - 4. WHENE'ER (old) whenever The tune of Hold the fort was taken from a gospel hymn composed during the American Civil War (1861-1866). The text, however, is believed to have been written by British transport workers a quarter of a century later. 'J. -4 i- ■f=l ■ p - 1 r J -• ^=Ff -itf—1 |-' 1_|-1 me. mi:. G Says I, "But, Joe, you're sez ai, "bat, djou, jua G C G ten years dead." "I ten jiass ded." G» I nev - er died," says he. 'neva • daid," sez hi:. "I nev-er died/,' says he. "ai 'neva daid," sez hi:. 2. "In Salt Lake City, Joe," says I, "in so:lt leik 'siti, d30u," sez ai, Him standing by my bed, him 'stsendin bai mai bed, "They framed you on a murder charge.1 "dei freimd ju: on a 'ma:da tja:d3.' Says Joe, "But I ain't dead." sez d30u, "bat ai eint ded." Says Joe, "But I ain't dead." 192 13 Pustan, Songs 193 3. "The copper bosses killed you Joe, "da 'kopa 'bosiz kild ju: dgou, They shot you, Joe," says I. dei Jot ju:, dgou," sez ai. "Takes more than guns to kill a man." "teiks mo: dan gAnz tu kil a maen." Says Joe, "I didn't die." sez d3ou, "ai didnt dai." Says Joe, "I didn't die." 4. And standing there as big as life, send 'stasndhj dear sez big sez laif, And smiling with his eyes, send smailirj wid hiz aiz, Says Joe, "What they can neveT kill sez dgou, "wot dei ksen 'neva kil Went on to organize, went on tu 'o:ganaiz, Went on to organize." 5. "From San Diego up to Maine "from 'seen dh'eigou Ap tu: main In every mine and mill, in 'evri main send mil, Where workers strike and organize wea 'wa:kaz straik send 'o:ganaiz It's there you'll find Joe Hill, its dea ju:l faind djou hil, It's there you'll find Joe Hill." 6. Repeat the first verse very softly and slowly. 1. JOE HILL American union organizer - SAYS I (ungramm.) I said - 2. SALT LAKE CITY capital of Utah - HIM STANDING (ungramm.) as he was standing -TO FRAME to falsely accuse and convict -1 AIN'T (ungramm.) I am not, I'm not -3. COPPER BOSSES owners of the copper mines - TAKES it takes, it requires -5. SAN DIEGO California seaport on the Pacific Ocean, near Mexican border -MAINE state at northeast tip of USA, bordering on Canada and the Atlantic Ocean -MINE industrial excavation for metals, coal, salt, etc. - MILL factory, such as steel mill, cotton mill, etc Joe Hill was a young Swedish worker who emigrated to the United States in 1901 at the age of 22. He became a well-known strike leader and union organizer. In 1910 he joined the Industrial Workers of the World, a militant working class organization popularly known as the I.W.W., or the Wobblies. The I.W.W. was very active organizing workers during the first 20 years of the 1900*s, especially in the west of the U.S.A. Joe Hill also wrote many popular songs for the Wobblies. He paid for his organizing activities with his life. He was framed for murder and died on November 19,1915 before a firing squad in Salt Lake City, centre of the rich Anaconda copper mining interests. In a last letter from prison he wrote the now famous workers' slogan, "Don't waste time mourning—organize." 194 13* 195 75 John Brown's Body d3on braunz 'bodi +/W March tempo Anti-slavery song of the American Civil War 1861-1865 trn iJ^ p 1 P" p P" p ''r' t É 1. John Brown's bod-y lies a- mould-'ring in the grave, dgon braunz 'bad! lalz a- 'mouldrlrj In bo grelv, D Ji ji Ji j< i h. m f John Brown's bod - y Jies a- mould-'ring in the grave. d3an braunz 'bodi lalz 9- 'mouldrin in ba grelv. y C»....._g',™ l y John Brown's bod-y lies a-mould-'ringin the grave, But his dgon braunz 'bodi laiz a- 'mouldrirj in ba greiv, bit hlz 4 hi Bin E7 A Chorus A soul goes marchring on. Glo-ry, glo-ry, hal- le - lu - jah, soul gouz 'maitfir) on. 'glo:rJ, 'glo;ri, ,hie]l'lu:j9, 1 J'Ji J'J'JIJ J ž I J, Jyj, J, Jl p Glo-ry, glo-ry, hal-le - lu - jah, Glo-ry, glo-ry, hal-le-'glo:ri, 'glo:rl, ,haali'lu:j8, 'glo:rl, 'gla:ri, .heell - CK Fh m B m E7 lu - jah, But his 'lu:ja, bAt hiz soul goes march-ing on. soul gouz 'ma:tjirj on. 2. He 4. The 2. He captured Harper's Ferry with his nineteen men so true hi: 'kaeptjad 'hn:paz 'feri wid hiz nainti:n men sou tru: And frightened old Virginia till she trembled through and through, send 'fraitand ould va'd3inja til Ji: 'trembald 8ru: send Bru:, They hanged him for a traitor, themselves the traitor crew, dei hsegd him fo:r a treita, dam'selvz da 'treita kru:, But his soul goes marching on. Chorus 3. John Brown died that the slave might be free, djon braun daid dast da sleiv mait bi: fri:, ■ But his soul goes marching on. (3x) Chorus 4. The stars above in heaven now are looking kindly down, (3x ) da sta:z 9'bAV in 'hevan nau a: lukig 'kaindli daun, But his soul goes marching on. Chorus 1. TO MOULDER to decay, to turn into dust - 2. TO CAPTURE to take by force -HARPER'S FERRY town in Virginia (now West Virginia) where Shenandoah River flows into Potomac River FERR Y a place where a boat carries people across a river, lake, etc. - VIRGINIA large slave holding state in the South - TRAITOR person who betrayB a friend or cause On October 16, 1859, the United States government military arsenal at Harper's Ferry was attacked by the ardent abolitionist John Brown, a white man, and his 19 followers, including two of his own sons. They intended to obtain weapons and distribute them to the Negro slaves for an armed revolt. The project failed. John Brown's last words before he was hanged were, ' I pity the poor in bondage that have none to help. them. That is why I am here ...' Although he and his followers all paid for their courageous attempt to overthrow slavery with their lives, the end result was that opposition to slavery grew stronger in the North of the United States. Songs like John Brown's Body helped to crystallize anti-slavery feeling. In 1861 the American Civil War broke out. After four years of bloody and bitter fighting, the North defeated the ■ South and slavery came to an end. 196 197 76 Kevin Barry 'kevin 'bseri + + +/I/s Slowly, with feeling Irish resistance song of 1920 e 1. In Mount-joy Jail that bit-ter morn-ing, High up In 'mauntd^ol djeil bsBt 'bits 'mo:nirj, hai a - G? 77 on the gal-lows tree, Kev-in 'pan, oa 'gaelouz trl;, 'kevin Bar - ry gave his 'bieri geiv hiz 1,. Js J í— »■ t j j i i J J— young life For the cause of lib - er - ty. But a jaij lalf fa: ba ko:z ov 'libatl. bAt a ^^^^^^ lad of eight-een sum-mers, Yet there's no one can de - ny As he lted ov 'ei'ti'.n 'sAinaz, jet fteoz nouwAnksen di'nai sez hi: . Shoot me like an Irish soldier, Ju:t mi: laik an 'aiarif 'souk^a, Do not hang me like a dog. du: not hsen mi: laik a dag. For I fought for Ireland's freedom fo:r ai fa:t fo:r 'aialendz 'fri:dam On that bright September morn, on fleet brait sep'temba mom, All around the narrow side streets o:l a'raund da 'nserou said stri:ts Where we fought them hand to hand. wea wi: fo:t 5am hsend tu: hsend. Shoot me like an Irish soldier Ju:t mi: laik an 'aiarij 'souldga For I fought to free Ireland. fo:r ai fo:t tu fri: 'aialand. . On that morning when they put him on dset 'mo:nig wen dei put him In a dark and dreary cell in a da:k send 'driari sel British soldiers tortured Barry 'britij 'sould3az 'ta:tjad 'bseri Just because he would not tell. d3Ast bi'koz hi: wud not tel. "Name your comrades, name them to us! "neim jo: 'komridz, neim dem tu: ab! You'll be spared, we'll let you go. ju:l bi: spsad, wi:l let ju: gou. Turn informer and we'll free you." ta:n in'fo:ma send wi:l fri: ju:." Proudly Barry answered, "No!" 'praudli 'bseri 'o:nsad, f'nou!" G7 F G G7 3e walked to death that morn-ing, Proud-ly held his head up wo:kt tu: dee 6est 'mo:nirj, 'praudli held hiz bed Ap w high, hai. * 198 199 Calmly standing at attention 'ka:mli 'steendin set a'tenfen While he bade his last farewell wail hi: bsed hiz la:st 'fea'wel To his broken-hearted mother, tu: hiz 'broukan-'ha:tid 'mAde, Whose grief no one can tell, hu:z gri:f nou wAn keen tel, For the cause he proudly cherished fo: da ka:z hi: 'praudli 'tjerijt This sad parting had to be, flis seed 'pa:tig hsed tu bi:, Then to death walked softly smiling 3en tu: de9 wa:kt 'softli 'smailin That old Ireland might be free, dset ould 'aialand mait bi: fri:. 1. MOUNTJOY JAIL prison in Dublin, capital of the Irish Republic - GALLOW& TREE the wooden framework of the gallows, used for hanging - KEVIN BARRY, an 18 year old Irish student, hanged in Dublin, November 1, 1920, the first Irish patriot to be hanged in Ireland in 117 years. His death inspired many students to join the fight for Irish independence from Britain - 2. THEM the so-called Black and Tans, a specially recruited force of British stormtroopers - FOUGHT fight, fought, fought - 3. TO TORTURE to cause intense suffering - TO TELL here: to talk, to betray - 4. AT ATTENTION to stand upright - BADE to hid, bade, bidden he said his last goodbyes - CHERISH to hold dear, to love Adapted and edited with new material by Cyril Pustan (based on the traditional song) © Jena 1971. 77 Mighty Song Of Peace 'maiti son ov pi:s + /E/m/" With steady beat ^5 E r* A song of the British peace movement Words by John Hasted and Johnny Ambrose, based on a traditional tune B E 1. A might-y song of peace will soon be ring-ing) a 'maiti sarj av pi:s wil su:n bl 'rinirji Soon be ring-ing, soon be ring-ing, A might-y song of su:n bl 'rirjlrj, su:n bl 'rirjirj, a 'maiti sarj av E B 7 £7 1— #^ 'g ff r B; J — -J -J J j- peace will soon be ring-ing All o-verthis world. pi:s wll su:n bi 'rinln o:l 'ouva bis wa:ld. E7 E5 All o-verthis world, this world, All o-verthis a:l 'ouva bis wa:ld, Bis wa:ld, a:l 'ouva bis E B7 world, A might-y song of peace will warld, a 'maiti sat] av pi:s Wll 200 201 I soon Su:n be bi ring - mg 'rínin All 0:1 o -ver this 'ouva bis world. wa:ld. A mighty song of peace occurs above twice in the verse and once in the chorus. In the subsequent verses and chorus, this phrase is lengthened each time as shown below: 2. A mighty aong of unity and peace 8 'maiti san ov 'jurniti send pi:s 3. A mighty song of justice, unity and peace 'd^Astis 4. A mighty song of freedom, justice, unity and peace 'fri:dam 5. A mighty song of friendship, freedom, justice, unity and peace frend/ip 1. MIGHTY great, powerful - PEACE freedom from war - TO RING to sound, to resound, to summon - ALL OVER everywhere (in) - 2. UNITY union, oneness, state of being united - 3. JUSTICE fairness - 4. FREEDOM condition of being free -6. FRIENDSHIP being friends, the feeling between friends In this song each verse increases in length by one additional word. 78 Strangest Dream 'streind^ist dri:m + +/C/m ' Calm but rhythmic 0 Canadian peace song By Ed McCurdy 1. Last night I laist nait ai P had the stran-gest dream I'd heed bo 'etreindjlst dri:m aid 0 0» P nev - er 'nova * dreamed be - fore, dremt bi'fo:. 0 Am Dm I dreamed the ai dremt bo ' G7 C sf— world had all a - greed To pat an end to warľľT. wa:ld heed o:l a'gri:d tu put sen end tu: wo: G7 mm ^II. I dreamed I saw a might - y room, The room was at dremt ai so: 0 'maiti ru:m, ba ru:m woas t za mm full of ful ov men, men, And the pa - per they were send 5a 'peipe bel wa: Am P Em 3ě£ G7 sign-ing said They'd nev-er_ 'salnin sed beld 'neva fight a - gain fait a'gen 203 2. And when the paper was all signed, send wen da 'peipa woz a:l saind, And a million copies made, send a 'miljan 'kopiz meid, They all joined hands as brothers and friends, dei o:l d^oind hsendz sez 'brAdaz send frend«, And joyful songs were sung, send 'dgoiful sonz wa: saij. And the people in the streets below send da 'pi:pal in da stri:ts bi'lou Were dancing round and round, wa: 'da:nsii] raund send raund, And guns and swords and uniforms send gAnz send so:dz send 'ju:nifo:mz Were scattered on the ground, wa: 'sksetad an da graund. 3. And when I woke up, I made up my mind send wen ai wouk Ap, ai meid Ap mai maind That dream of mine to fulfil, daet dri:m ov main tu ful'fil, And so for peace I'm striving now send sou fo: pi:s aim 'straivig nau And fighting with a will. a?nd 'faitig wid a wil. Yes, peace must reign all over our world, jes, pi:s mAst rein o:I 'ouvar 'aua we:ld, That great dream must come true, dset greit dri:m mAst kAm tru:, Humanity shall live in peace hju'mseniti Jael liv in pi:s Beneath a sky so blue. bi'ni:6 a skai sou blu:. I. STRANGEST most unusual, most remarkable - 2. TO SCATTER to throw about -3. TO STRIVE to struggle - TO REIGN to rule This peace song, unique in text and melody, has attained wide popularity at peace demonstrations. New verses are often added to topical songs as they go on their travels. The third verse included here is one such recent addition, added by author. Verse 3 is written by Cyril Pustan, (gl Jena 1971 79 This Land Is Your Land dis lsend iz jo: lsend ■f +/A/m With energy and sentiment Chorus, F B!> Words and music by Woody Guthrie F 1. This land is your land,, bis lsend lz ja: lsend, ^5 this land is my land,, bl8 lsend iz mal lsend, F f From Cal - i - for - nia, from kaeli'fo:nja Bl> to the New York is - land,, tu: ba 'nju:jo:k 'ailand, From the red-wood for-est. from ba 'red'wud 'forist C r r 'p pp . to the Gulf Stream wat-ers,-tu: 6a gAlf stri:m 'wo:taz, 5j m _ This land was made for you and &ls lsend woz meid fo: ju; send (VeTses: same tune as chorus) 1. As I was walking that ribbon of highway, sez ai woz 'wo:kin dset 'riban ov 'haiwei, I saw above me the endless skyway, ai so: a'bAv mi: di 'endlis 'skaiwei, I saw below me that golden valley, ai so: bi'lou mi: dset 'gouldan 'vseli, This land was made for you and me. dis lsend woz meid fo: ju: send mi:. me. mi:. Chorus 204 205 2. I've roamed and rambled and followed my footsteps aiv roumd send 'rsembld send 'foloud mai 'futsteps To the sparkling sands of her diamond deserts, tu: da 'spa:klirj ssendz ov ho: 'daiamand 'dezats, And all around me a voice was sounding, send o:l a'raund mi: a vois woz 'saundin, This land was made for you and me. Chorus 3. When the sun was shining, and I was strolling, wen da SAn woz ' rainin, sen * J - wa - ter, 'wa:ta, We wl: shall not Jsel not be bi: moved. mu:vd. 207 'The union is behind us' occurs twice in the first verse. In the following verses replace the phrase 'The union is behind us' each time with the following: 81 Which Side Are You On? wit J said a: ju: on? 2. The union is a-marching fla 'juinjan iz a-'ma:tjii) 3. We're fighting for our children wia 'faitin fo:r 'aua 'tjildran 4. Black and white together blssk send wait ta'geo'a The words are sung clearly and with emphasis. When hundreds or thousands of voices ring out with this song at meetings and demonstrations, the meaning cannot fail to be understood. + +/A/m/" Moderately, with emphasis Well known American picket line song Am Em Am Em Am i 1. Come all of you good work-era, Good news to you I'll tell, Of kAm o:l ov ju: gud 'wa:kaz, gud nju:a tu: ju: all tel, ov Em Am Em G Am how the good old un - ion Has come in here to dwell, hau ba gad ould 'Jninjen hsez kAm In hia tu dwel. Chorus Am Am Em G Am Which side are you on, boys? Which side are yon on? witj" said a: ju: an, boiz? witj said a: ju: on? F Am Em G Am Which side are you on, boys? Which side are you onr" witj said a: ju: an, boiz? witj said a; ju: an? 208 14 Pus tan, Songs 209 2. My daddy was a miner mai 'dsedi wm a 'maina And I'm a miner's son, tend aim a'mainaz sAn, And I'll stick with, the union send ail stik wid da 'ju:njan Till every battle's won. til "evri 'bsetalz waq. 3. They say in Harlan County dei aei in 'ho:lan 'kaunti There are no neutrals there, dear a: nou 'nju:tralz dea. You'll either be a union man ju:I 'aida bi: a 'ju:njan msen Or a thug for J. H. Blair. o:r a 8Ag fo: d3ei eitj" blea. 4. Oh, workers can you stand it? ou, 'wa:kaz ksen ju: stsend it? Oh, tell me how you can. ou, tel mi: hau ju: ksen. Will you be a lousy scab wil ju: bi: a 'lauzi skseb Or will you be a man? o: wil ju: bi: a msen? Chorus Don't scab for the bosses, dount skseb fo: da 'bosiz, Don't listen to their lies. . dount 'lisan tu: dea laiz. Us poor folks haven't got a chance as pua fouks 'hsevnt got a t/n:ns Unless we organize. An'les wi: 'o:ganaiz. Chorus 1. UNION here TRADE UNION association of workers - 2. MINER worker in a mine - MINE underground excavations for obtaining coal or metal - TO STICK WITH to be faithful to - 3. HARLAN COUNTY name of district in the state of Kentucky - THUG gangster, hired strike breaker - J. H. BLAIR chief law enforcement official of Harlan County at the time - 4. TO STAND (SOMETHING) to endure, to bear (something) - LOUSY infested with lice, worthless, bad - 5, TO SCAB to be a strike breaker, to work at a place where the workers are on strike - US (here ungramm.) we Opinion differs as to whether this song was composed by Florence Reece, the 12 year old daughter of a Kentucky coal miner, or by her mother. The mother and her daughters sang the song at Btrike meetings during the Harlan County coal miners' strike of the early 1930's. The coal strike was one of the longest and bloodiest in United States history. The song has since become an international trade union and workers' song. The words were set to the tune of a traditional ballad. The original melody, according to Alan Lomax, was the English tune Jack Munro. Chorus Chorus 14' 211 Section 10 Xmas and Other Special Songs 82 The Canadian Exile da ka'neidjan 'eksail + +/C/8 Fairly slowly and with feeling a A French-Canadian song Em Am D r ir ^ r 'r r 1. From Ms Ca- na-dian home, Ban-ished a wan-d'rer came, from hlz ka'neidjan houm, 'bsenift a 'wondra keint. G Bm Am D7 G Home-sick and sad he roamed Coun-tries that stran-gers claim, 'houmsik send sad hi: roumd 'kAntriz beet 'streindjaz kleim. Am Home-sick and sad he roamed Coun-tries that stran-gers claim, 'houmsik send saed hi: roumd 'kAntriz best 'streind^az kleim. , Wandering on one day, 'wandariij on wAn dei, Down by the ocean's side, daun bai di "oufanz said, This poor Canadian boy dia pua ka'neidjan bai 1 Turned to 'the waves and cried, ta:nd tu: da weivz send kraid, This poor Canadian boy Turned to the Waves and cried: . "If you my land should see "if ju: mai lsend Jud si:, My so unhappy land, mai sou An'hsepi lsend, Say to my friends from me sei tu: mai frend3 from mi: They in my memory stand. 9ei in mai 'memari attend. Say to my friends from me They in my memory stand. "If in these lands ,1 die, "if in di:z hendz ai dai, Canada, weep for me, 'kaenada, wi:p fo: mi:, As in my dying hour, 86z in mai 'daiin 'aua, My eyes are turned to thee, mai aiz a: ta:nd tu: di:, As in my dying hour, My eyes are turned to thee." 1.T0BE BANISHED to be sent into exile ■ STAND to remain HOMESICK longing for home - 3. TO A song about a young French Canadian far from Canada and homesick for his native land. The original iB in French. In its English version, this, song was made popular through the singing of Paul Robeson. This song carries with it overtones of the long struggle waged by the French speaking minority against the English speaking government. 214 215 83 Hush, Little Baby hAj, 'lital 'beibi + +/A-E/s Soft and warm An American lullaby D7 p p m r 1. Hush, lit - tie ba - by, don't hAj", 'lital 'belbl, dount say aei a 9 word, w9:d, Ma-ma's go-ing to buy you a mock-ing - bird, 'ntaimaz 'gouirj tu bai ju: a 'makirjba:d. 2. If that mocking-bird won't sing, if dset 'mokig-ba:d wount sin, Mama's going to buy you a pretty ring. 'ma:maz 'gouig tu bai ju: a 'priti ritj. 3. If that pretty ring turns brass, if fleet 'priti rig ta:nz bra:s, Mama's going to buy you a looking-glass. 'ma:maz 'gouig tu bai ju: a 'hikin-gla:s. 4. If that looking-glass gets broke, if flset 'lukig-gla:s gets brouk, Mama's going to buy you a billy-goat. 'ma:maz 'gouig tu bai ju: a 'bili-gout. 5. If that billy-goat won't pull, if fleet 'bili-gout wount pul, Mama's going to buy you a cart and bull, 'matmaz 'gouig tu bai ju: a ko:t send bul. 6. If that cart and bull turn over, if Oaet ko,:t sand bul ta:n 'ouva, Mama's going to buy you a dog named Rover. 'mft:mez 'gouig tu bai ju: a dag neimd 'rouva. 7. If that dog named Rover won't bark, if fleet dog neimd 'rouva wount ba:k, Mama's going to buy you a horse and cart. 'ma:maz 'gouig tu bai ju: a ho:s send ka:t. 8. If that horse and cart fall down, if float ho:s aend ka:t fo:l daun, You'll still be the sweetest little baby in town. ju:l stil bi: Oa 'swi:tist 'lital 'beibi in taun. 1. HUSH be quiet (repeated to babies to get them to sleep) - MOCKING-BIRD American bird of the thrush family famous for its ability to mimic the song of other birds - 3. TURNS BRASS shows itself to be made of brass, not of genuine gold. Brass is a bright yellow metal made by mixing copper and zinc - 4. GETS BROKE (si.) becomes broken - BILLY GOAT male goat - 6. ROVER wanderer. Rover is a favourite name for a dog - 8. IN TOWN in the city A favourite lullaby. If the baby is still not aBleep when you finish the last verse, start over again. The song is of English origin, but has won far greater popularity in the U.S.A. The American pronunciation of 'mama' is given throughout the song. The English pronounce the word [ma'maj. 216 217 84 Jingle Bells 'dgirjgal belz + +/A/f/" With spirit a Traditional American song popular at Christmas and winter festivities 1. Dash-ingthrough the snow In a one-horse o-pen sleigh, 'dsBfln Bru: 6a snou In a 'wAn-ho:s 'oupan slei, pin O'er the fields we go, 'oa 6a fi:ldz wi: gou, Laugh-ing all the way. 'la:fin o:l oa wei. O 3^ Bells on bob-tail ring, Mak-ing spir - its bright. What beiz an 'bobteil rlrj, 'meiklij 'spirits brait. wot étt>p p D? O P P P V W P p fun it is to ride and sing A sleigh-ing song to - night, fun It iz tu raid send sin a : 'sleiirj son tu'nait. Chorus G p p r i p p r ip p Jl^'ir Jin-gle bells, jin-gle bells, jin-gle all the way. 'd3ingal belz, 'd^irgal belz, 'd^irjgel o:l tto wei. P P' P 'P P P P pip ^P Oh, what fun it is to ride in a one-horse o-pen ou, wot fan it iz tu raid in a 'wAn-'ho:s 'oupan li p p r 'p.p r 'p* sleigh. Jin-gle bells, jin-gle bells, jin-gle all the way. slei. 'dglngal belz, 'd3ii)gal belz, 'd3ingal a:l ba wei. G G ŕ7\ P P p-pipp P ppiP P P 9 Oh, what fun it is to ride in a one-horse o-pen sleigh, z. A ou, wot fan It Iz tu raid In a 'wan-bo: s 'oupan slei. A day or two ago a dei a: tu: a'gou I thought I'd take a ride, ai 6o:t aid teik a raid, And soon Miss Fannie Bright send su:n mis 'fseni brait Was seated by my side, woz 'si:tid bai mai said. The horse was lean and lank, da ho:s woz li:n send lsenk, Misfortune seemed his lot, ims'fo:tfen si;md hiz lot, He got into a drifted bank, hi: got 'intu a 'driftid bsenk, And we, we got upset. Chorus send wi:, wi: got Ap'set. 3. Now the ground is white, nau da graund iz wait, Go it while you're young, gou it wail jua jAg. Take the girls tonight, teik da ga:lz tu'nait, And sing this sleighing song, send Big dis 'sleiig sog. Just get a bobtailed bay, d.-jAst get a 'bobteild bei, Two forty for his speed, tu: 'fo:ti fo: hiz spi:d, Then hitch him to an open sleigh, Sen hitj him tu: an 'oupan slei, And crack, you'll take the lead. send krsek, ju:l teik da li:d. Chorus Title: TO JINGLE to make clinking or tinkling sounds, said of bells, keys, coins, etc. - 1. ONE-HORSE OPEN SLEIGH old fashioned large sled pulled by one horse -BOBTAIL horse with tail trimmed short - 2. TO BE SEATED to be sitting - LEAN AND LANK bony, skinny - LOT fate - DRIFTED BANK deep pile of wind-blown snow - UPSET turned over - 3. GO IT (old si.) go ahead - TO TAKE here: to take the girls sleighing - BAY horse of bay (tan) colour - TO'HITCH to fasten, to har-ness - TO TAKE THE LEAD to get ahead (in a race) The average American city dweller seldom sees a horse. He has probably never seen a one-horse open sleigh or any sleigh at all. But the song Jingh Bells is as popular as ever. When sung at winter festivities, glasses and plates are tapped with knives or forks in time to the rhythm. 220 85 Twelve Days Of Christmas twelv deiz ov 'krismas + +/E/Í Lusty (1.) The first day of Christ-mas my true love sent to 6a fa:st del ov 'krismas mai tru: Iav sent tu: me A par - te - ridge in a pear tree, mi: 9 'pa:tarid3 in a pea tri:. K h h h 4 (2.) The sec-ond day of Christ-mas my true love sent to me ba 'sekend dei ov 'krismas mai tru: Iav sent tu: mi: Bť p p J p p Two tur-tle doves and a par-te-ridge in a pear tree, tu: 'ta:tal dAvs send a 'pa:tarld3 in e pea tri:. i 1 f f ^5 3^ '3. The 6a third Sard day dei of Christ - mas 'krismas Bť I I 1 { I1 'II I I1 my mai ♦1 I true love sent to me tru: Iav sent tu: mi: 3. Three French hens, 9ri: frentf henz, 221 c7 p p J p p sempře D. S. Two tur-tle doves and a tu: 'ta:tal dAvs send a par-te-ridge in a pear tree. 'pa:tai'id3 in a pea tri:. In this song 12 Christmas presents are given. Bach day a new present is added to those already given on all the previous days. In each verse the singer names the new present and repeats in reverse order the list of all the presents, the lover has sent on the previous days. The list always begins with the last present sent and ends with the first present sent. The fourth fo:6 The fifth fife The sixth siksO day of Christmas my true love sent to me Four colly birds, three .. fo: 'kali ba:dz day of Christmas my true love sent to me Five gold rings, four ... faiv gould rig z day of Christmas my true love sent to me Six geese a-laying, five .. siks gi:s e-'leiii) 7. The seventh day of Christmas my true love sent to me 'sevonO 8. The eighth eite 9. The ninth nainO 10. The tenth tene Seven swans a-swimming. six ... 'seven swonz o-'swirriig day of Christmas my true love sent to me Eight maids a-milking, seven ... eit meidz a-'milkit) day of Christmas my true love sent to me Nine drummers drumming, eight , nain 'drAmoz 'drAmin day of Christmas my true love sent to me Ten pipers piping, nine ... ten 'paipaz 'paipig 11. The eleventh day of Christmas my true love sent to me ilevan9 Eleven ladies dancing, ten i'levan 'leidiz 'da:nsig 12. The twelfth day of Christmas my true love sent to me twelf6 Twelve lords a-leaping, \ twelv lo:dz 9-'H:pig, Eleven ladies dancing, Ten pipers piping, Nine drummers drumming, Eight maids a-milking, Seven swans a-swimming, Six geese a-laying, Five gold rings, Four colly birds, Three French hens, Two turtle doves. And a par-te-ridge in a pear tree. 1. PARTERIDGE incorrect spelling for PARTRIDGE kind of game bird - TURTLE DOVE kind of pigeon noted for cooing and affectionate behaviour - 3. FRENCH HEN possibly red-legged French partridge - 4. COLLY (dialect) black - 6. A-LA YING laying eggs - 10. PIPER bagpipe player - 12. A-LEAPING jumping This song is traditionally sung during the month of December. It is one of the most popular songs for the festive season. Once you know the melody and the introductory phrase ' The ... day of Christmas my true love sent to me you can use Verse No. 12 as a convenient memory jog arrangement for singing the whole song through from beginning to end. Also keep in mind that in this cumulative song the tempo increases from verse to verse. The last verse is sung at top speed. The Christmas season formerly was much longer, like the great pagan festival of the winter solstice on which it was originally based and which the church took over and transformed. The twelve days of Christmas are now familiar to us only in the title of this song. Twelfth Day, January 6, marked the close of the Christmas festivities. Twelfth Night has come down to us in the title of Shakespeare's comedy "Twelfth Night, Or What You Will", so called because it was performed for the Twelfth Night celebration at the court of Queen Elizabeth on the evening of January 5, 1601. Christmas gifts are no longer as lavish, either, as in the song Twelve Days tt] Christ-was, The modern custom in Britain is to give presents to those who live at a distance from one's own localitybefore Christmas, to family members living at home on Christinas Day, and to people living in the area on Boxing Day, December 26th. On Boxing Day, Christmas boxes are given especially to the postman, milkman who delivers milk to the house, and to others rendering services throughout the year. 222 223 Formerly a Christmas box was a box or package containing a Christmas present. Today, it is customary to say to the milkman or postman, "Here is your Christmas box," and to hand him a present of money instead of a box. In the United States, however, the Christmas season ends abruptly with Christmas Day, and gift giving is over on that day. In both countries, children hang up their stockings on Christmas Eve. Santa Claus, with long white whiskers and wearing a red suit and stocking cap, flies through the air driven by a team of reindeer on Christmas Eve. He comes down the chimney with his pack on his back and leaves the children their presents. Smaller gifts go into the stockings, larger ones under the Christmas tree. They are found by the children early on Christmas Day in the morning. In the USA both Christmas Day and New Year's Day are public holidays. In Scotland both days are holidays but New Year's Day is the major day of celebration. In England, however, New Year's Day is an ordinary working day. In recent years, English workers have been demonstrating their resentment over having to work on this internationally celebrated holiday by large scale absenteeism from work ori New Year's Day. 224 86 Are You Sleeping, Brother John? a: ju: 'sli:pig, 'brAda 03011? +/B/8 With a swing D Popular English four part round of French origin i G D G 1. Are you sleep-ing, are you sleep - ingy brb-ther John, a: ju: 'sli:plrj, a: ju: 'sli:pin, 'brAoa 03011, G D G p v p p r bro - ther John? Morn-ing hells are ring - ing, 'brAoa d3on? 'mo:nlrj belz a: 'rinlrj, D p p p p r G morn-ing bells are ring-ing. Ding, dong, belli Ding, dong, bell! 'mo:nln belz a: rinin. din, don, bell din, don, bell 87 Come To Dinner kAm tu: 'dina (Tune: Are You Sleeping, Brother Joknl) +/E/s Come to dinner, come to dinner, there's the bell, there's the bell. kAm tu: 'dina, kAm tu: 'dina, fleaz da bel, deaz da bel. Bacon and potatoes, bacon and potatoes, 'beikan sand pe'teitouz, 'beikan sand pa'teitouz, Ding, dong, dell! Ding, dong, dell! din, don, del! din, don, del! BACON thin slices of moderately fat pork fried until just crisp and beginning to curl. In the U. S., bacon and eggs are favoured for breakfast. The eggs are fried briefly in the sizzling bacon fat and are served 'sunny side up', that is with the yolks facing upwards and unbroken. Here is a round sung by holiday campers in Britain: 226 15* Here is a trade union recruiting round from Britain: 227 88 Don't Say No dount sei nou (Tune: Are You Sleeping, Brother J ohni) +/B/8 Are you sleeping, are you sleeping, brother John, brother John? a: ju: 'sli:pig, a: ju: 'sli:pin, 'brAfls dgon, 'brAba dgon? Come and join the union, come and join the union, kAm send djoin da ju:njon, kAm send djoin da 'jumjon, Don't say no, don't say no. dount sei nou, dount sei nou. i 89 Chairs To Mend tjeaz tu mend + /E/8/" Boldly Three part round /T\ b!> Chairs to mend, old chairs to mend? Mack- er - el, fresh tjeaz tu mend, ould tfz P mack - er-el! 'msekerell An-y old rags, an-y old rags? 'enl ould rsegz, 'eni ould raegzP TO MEND to repair - MACKEREL a Bea fish - SAGS old clothes and pieces of cloth The song consists of the cries of three street pedlars and was written down in 1776 by Dr. William Hayes, Professor of Music at Oxford. British trade unionists may well urge their non-union workmates to join the union. Since the wartime spurt from 6 to 9.3 million members growth has been slow, standing at 10 million at the close of 1964. Only 40% of Britain's 25 million workers are union members. Of the approximately 8 million women workers, less than one in four belongs to any union. Most women workers are paid half of what men get for the same job. The unions have not waged a great national battle on this issue. When and if they should enter on such a struggle, it seems likely that many of the other 6 million women workers will no longer say, "No!" In WO the Labour Government, then still in power, promised women workers equal pay, to begin in 1975. 228 229 90 Heigh Ho, Nobody Home 'hei 'hou, 'noubadi houm + /E/s Defiantly i Em Old English three part round Bm <7\ Em Bm >Em Heigh 'hei Bm ho, 'hou, Em no - hod - y home, 'noubadi houm, Bm Meat nor mi:t no: ,Em J> ]> drink nor drink na: Bm mon-ey have I none, 'niAni hssv ai ru.n, Em Bm Yet shall jet J»I Vi 1M 1 i 1 h 11 1 i he bi: mer ry. 'men. MEAT here: food - DRINK here: anything to drink- YET nevertheless This satirical fragment in the spirit of the 20th century blues is thought to date from the late Middle Ages in Britain. The demand for wool had made sheep raising so much more profitable than the old system of farming, using serf labour, that the nobility tore down peasant huts and forcibly drove thousands of peasants from the land they had lived on for centuries past. The land was then enclosed by the nobility and used for sheep raising. The now homeless and penniless peasants thronged to the cities or wandered through the countryside, begging and looking for work. For such vagrancy, severe penalties were dealt out, up to and including mutilation or hanging. 230 91 ..Kookaburra 'kukabara +/Au/s Gaily A four part round from Australia F /TV i P _Bt_ F /T\ j p p p p r Mir J rJ Koo - ka - bur - ra sits on the old gum tree, 'kukabara sits on M ould gAm tri; - % F L k Bl._ fy Jl Jl Jl Jl r ^ Mer-ry, mer-ry king of the 'merl, 'meri kirj ov ba Bt I bush is buf iz he. hi:. rpTP p if * Jl p p p Bl. Gay your life must be. gei jo: laif mAst bi:. Wah, wah, wah. wo:, wa:, wo:. KOOKABURRA Australian bird whose call sounds like loud laughter - QUM TREE eucalyptus ['ju:ka'liptas] tree in Australia - BUSH rough uncultivated area, wild country. Laugh! Koo-ka-bur-ra, laugh! Koo-ka-hur- ra, Ia:fl 'kukabara, la:f! 'kukabara, 231 92 Oh, How Lovely Is The Evening ou, hau 'IavH iz Si: i:vnin + /E/8 Flowing Old English three part round b!> f É b!> f Oh, how love - ly is the eve-ning, is the eve-ning, ou, hau 'IavH iz bi: 'l:vnirj, iz hi: 'l:vnirj, mm É bV f b!> f /7\ r irrJ ir w When the bells are sweet-ly ring-ing, sweet-ly ring-ing, wen tB belz a: 'swbtli 'rirjin, 'swi:tll 'rinirj, Bh f Ding, dong, ding, dong, ding, dong. din, darj, din, don, dirj, don. 93 Sweetly Sings The Donkey 'swi:tli sinz da 'dogki +/A/H1 With cheerful emphasis English three part round 1 D G Sweet-ly sings the don - key at the break of day. 'swhtli slrjz oa 'danki 83t ba breik ov dei. G ^-0 If he won't sing load-er, he will get no hay._ Hee-if hi: wount sin 'lauds, hi: wil get nou hei. 'hi:- haw, Hee-haw, Hee-haw, Hee-haw, Hee-haw. 'ho:, 'hi:'ha:, lhl:'ha:, 'hi:'ho:, 'hi:'ho:. BREAK OF DAY dawn, sunrise 232 233 Key To Guitar Chords (As Indicated On The Songs In This Book) The email o above a string indicates that the string is an open string and is sounded with the fingered strings. The small x above a string indicates that the string should not be sounded. The curved line above the strings indicates that a Barrl should be formed with the index finger. *> Minor 7th chord and diminished 7th chord see 4 Am7 Em7 o o o FJtm7 Gm7 •1 3<1> 0 F fl-dim A-dlm C-dim G-dim Ctt-dim E-dim Gjt-dim B-dim D-dim x x o o t' Hl Song Number Alphabetical Index Of Titles Section Classification 1 2 3 5 e Page $ ■3 > a a o 0k 24 All Through The Night 74 25 Annie Laurie 76 86 Are You Sleeping, Brother John? 225 56 Aula Lang Syne 150 67 Banks Of Marble, The 174 26 Barbara Allen 78 1 Hear Went Over The Mountain, The 16 • 16 Billy Boy 54 37 Blue Tail Fly, The 106 A S Buffalo Gala 28 12 Caniptown Races, The 44 A 82 Canadian Exile, The 214 27 Careless Love 81 89 Chairs To Mend 229 7 Clementine 31 13 Come, Landlord, Kill The Flowing Bowl 46 87 Come To Dinner 227 88 Don't Say No 228 38 Down By The Riverside 109 28 Down In The Valley 83 68 Drill, Ye Tarriers, Drill 177 49 Drunken Sailor, The 134 50 Erie Canal, The 136 A 69 Family Of Man, The 180 70 Farmer Is The Man, The 183 29 Foggy, Foggy Dew, The 85 57 For He's A Jolly Good Fellow 153 2 Fox, The 18 • 51 Good Night, Ladies 139 58 Green Grass Grew All Around, Tlie 165 A 30 Greens leeve s 88 71 Hummer Song, The 186 52 Haul Away, Joe 140 72 H-fSiniib'9 Thunder, The 188 90 Heigh Ho, Nobody Home 230 73 Hold The Fort 101 8 Home On The Range 34 A 83 Hush, Little Baby 216 A 31 I Know Where I'm Going 01 17 Ilkley Moor 66 9 I Ride An Old Paint 36 A 84 Jingle Bells 218 A 74 Joe Hill 193 75 John Brown's Body 196 53 Johnny Todd 142 14 John Peel 48 A 39 Joshua Fought The Battle Of Jericho 111 A A 3.2 «113 IS A A 5 4 00 I e Sä and Special b ŕ •3 Iii n t, B i- III Vocabulary Level Origin s n«nh A A A A Additional Notes Is 05 — PÍ ill as it 8<§ "I m ba + + + W s +• + + SC s • + E s + + 8« s • + + + A m + + + E s + A » " + + E ■n + + + A m + + A m + + + A f » • + + C s + A s • + E B + + A m + + E m • + E s A • + E B A + A í + A S • + + A, I f + + E f + + A B • + + + E m » • + + +• A m + +• E A + E t + + E t + E m + + E f " + + + B B • + A m + + E 8 M • + + + E m A • + E i • + + A m + + A » • + + A, E B + + I m + E m + + A ■ • + + A t • + + A t • + A B + + + E m + + + E f + + A f Song Number Page 76 Kevin Barry 198 91 Kookaburra 231 A IS Let Him do, Let Him Tarry 59 59 Limerick Tune 168 15 Little Brown Jug 50 A 32 Loch Lomond 93 54 Mermaid, The 144 10 Michael Flnnlgan 62 40 Michael, Row The Boat Ashore 113 77 Mighty 8ong Of Peace 201 60 More We Get Together. The 160 61 My Bonnie 161 62 My Name 1« Bill Foster 163 33 Nelly Gray 95 41 Nobody Knows The Trouble I've Seen 115 42 No More Auction Block For Me 117 43 Oh, Freedom 119 92 Oh, How Lovely Is The Evening 232 20 Oh,Susanna 64 21 Old. John Braddle-um 66 3 Old MacDonald Had A Farm 21 • 4 One More Elver 22 • 34 On Top Of Old Smoky 98 10 Bed River Valley 38 36 Riddle Song, The 102 44 Selma Town 121 63 She'll Be Coming Round The Mountain 164 A 55 Shenandoah 147 64 Skip To My Lou 166 A 45 Sometimes I Feel Like A Motherless Child 123 5 Sow Took The Measles, The 28 • 78 Strangest Dream 203 11 Streets Of Laredo. The 41 ii3 Sweetly Sings The Donkey 233 A 46 Swing Low, Sweet Chariot 125 22 Tavern In The Town 68 65 Ten Green Bottles 169 23 There's A Hole In My Bucket 71 79 This Land Is Your Laud 205 66 This Old Man 171 85 Twelve Days Of Christmas 221 SO We Shall Not Be Moved 207 47 We Shall Overcome 127 48 When The Saints Go Marching In 130 SI Which Side Are You On? 209 36 Ye Banks And Braes 102 Section Classification 1 2 3 II sc A Ii A A A A A A Is 11 * 3.2 A A A 1*2 ■•si ■a g a 6, an « 5> u MOto A A í ■3 Vocabulary Level AS + 's Ii S "o + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Origin ČS I-SS: iff osa 9 „«!.-. to bwC i Au I E E Sc E I A E E E E A A A A E A E E A A A E A A A A A A C A A A E E E A E E A A A A Sc Additional la o |C ip h Si*. m m f m li 'S s