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The Traditional Tunes of the Child Ballads, Volume 4: With Their Texts, according to the Extant Records of Great Britain and America

The Traditional Tunes of the Child Ballads, Volume 4: With Their Texts, according to the Extant Records of Great Britain and America

Copyright Date: 1972
Pages: 594
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  • Book Info
    The Traditional Tunes of the Child Ballads, Volume 4: With Their Texts, according to the Extant Records of Great Britain and America
    Book Description:

    With this volume, incorporating Ballads 244-305, Bertrand Harris Bronson completes his epic task of providing the musical counterpart to Francis James Child's collection of English and Scottish ballads. As in the previous volumes, the texts are linked with their proper traditional tunes, systematically ordered and grouped to show melodic kinship and characteristic variations developed during the course of oral transmission.

    Originally published in 1972.

    ThePrinceton Legacy Libraryuses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

    eISBN: 978-1-4008-6752-3
    Subjects: Music

Table of Contents

  1. Front Matter
    (pp. i-iv)
  2. Table of Contents
    (pp. v-viii)
    (pp. ix-xii)
    Bertrand H. Bronson
    (pp. xiii-2)
  5. CHILD NO. 245. Young Allan
    (pp. 3-10)

    For this ballad four fairly distinct tunes, or tune-families, have been recorded. Christie’s tune, which he says he can trace back to eighteenth century tradition, is unique, so far as the record goes. The characteristic fourth phrase is found as the opening of other ballads: e.g., cf. Nos. 32 (ante, Vol. I), 86, 97 (ante, Vol. II), 209 (Kinloch, ante, Vol. III, variant 38).

    The second type occurs in a dozen examples collected by Greig and Duncan. The tune is usually π³, authentic, but occasionally includes also the plagal range.

    The third type consists of but one example, which may...

  6. CHILD NO. 246. Redesdale and Wise William
    (pp. 11-12)

    The only trace of a tune for this ballad is the note that Mrs. Harris sang Child B to “Johnnie Brod” (Child, 1882-98, IV, p. 386). Although that version has been printed,ante, Vol. Ill, No. 114 (variant 4), it is repeated here for convenience....

  7. CHILD NO. 247. Lady Elspat
    (pp. 13-14)

    The proper tune of this ballad is not that which is printed for it in Child's Appendix of Ballad Airs (1882-98, V, p. 422), but a quite different one. The proper tune is an authentic π8, of which all four phrases have a cadence on the tonic.

    The only other tune in the record is that of Christie, given (in two strains) from his father’s papers. It has an inflected VII (if the final be tonic, otherwise IV). There might well be question whether the tune have not a fallen close, its true tonic being G. In the latter case,...

  8. CHILD NO. 248. The Grey Cock, or, Saw You My Father?
    (pp. 15-23)

    The text of this ballad is in no very satisfactory state. As it stands in the first printed form, Herd's of 1769, there are but four stanzas (one, four, six, and seven of the text printed by Child) and it can hardly be maintained that the three added in 1776 are a great improvement, or do more than bridge the most palpable gaps in the readiest way. We still do not guess why the lassie asks after her father or mother—unless to throw some one off the track, or to make the conventionalthree, the first two of which...

  9. CHILD NO. 250. Henry Martyn
    (pp. 24-46)

    “The ballad,” Child remarks, “must have sprung from the ashes of ‘Andrew Barton,’ of which name Henry Martyn would be no extraordinary corruption" (1882-98, IV, p. 393).Mustis more thanmayto so cautious a scholar and the observation would at first glance seem tantamount to saying that No. 250 is a secondary form of No. 167. Nevertheless, it is obvious that he regarded them as distinct ballads, or he would not have given them separate places in the canon.

    On what grounds, however, is not at all easy to determine. We should be able to assume that in...

  10. CHILD NO. 251. Lang Johnny More
    (pp. 47-57)

    All the variants of this simple piece of Scottish pride belong together. Nearly all are plagal π¹, or virtually π¹, tunes in a quick duple rhythm with a refrain. The mid-cadence is usually on V, the first cadence on II. Two subtypes may be distinguished, according as the tune uses the full authentic plus plagal range, or only the plagal.

    The tune, as Keidi notes, has already appeared with “Earl of Errol” (No. 231) and “Clyde’s Water” (No. 216). There is a tune in Blaikie’s MS. (NL Scodand MS. 1578, No. 109, p. 34), without words, but called “It fell...

  11. CHILD NO. 252. The Kitchie-Boy
    (pp. 58-59)

    The Brown copy of this ballad differs from the rest in its metrical scheme, being in tetrameter quatrains (LM) instead of “ballad-metre” (CM). Mrs. Brown’s tune has not survived, but presumably it would have been in a different line of tradition from those we have.

    The first strain of Christie’s tune—which is all we can depend on—is an authentic π⁸ tune, but the second strain (and the graces in the first) supply a minor third, making the tune D/Æ. Greig’s second tune is nearly the same, but once includes an unaccented Dorian sixth (variant 2 below). It is...

  12. CHILD NO. 253. Thomas o Yonderdale
    (pp. 60-61)

    Christie alone has preserved a tune for this ballad, which he says came from family tradition, his “maternal grandfather.” His tune is a plagal π1, which he has stretched into a second strain. It would be better to bar it one beat later throughout—a correction which I have ventured to make. The tune itself is undistinguished, like the text; but unlike the text, does not suggest any obvious parallels. Child, in his headnote, Vol. IV, p. 409, considers the ballad a late fabrication out of Nos. 53, 62, 73.

    The tune given from Duncan’s MSS. carries words of a...

  13. CHILD NO. 254. Lord William, or, Lord Lundy
    (pp. 62-63)

    The only tune preserved for this clumsy piece is that printed by Motherwell, a plagal major which Andrew Blaikie of Paisley secured for him. If it suggests any relations, they lie among Sharp’s variants of “The Unquiet Grave” (No. 78); but it is chiefly in the third phrase that the resemblances are found.

    Since the stanza quoted with the tune is found verbatim in the ballad, Motherwell’s full text is given here....

  14. CHILD NO. 255. Willie’s Fatal Visit
    (pp. 64-65)

    A tune for this “medley,” as Child calls it, made out of Nos. 248, 69, 70, 216, is preserved by Christie, this time from his “paternal grandmother.” It is an authentic π¹ tune, with Christie’s usual second strain. He compares it to his tune for No. 243 (cf.ante, Vol. Ill, p. 494); and it seems to have a fortuitous resemblance to the recendy popular Irish tune to Yeats’s “Down by the Sally Gardens.” Recendy, a second tune has been recovered in the same region; its second half is obviously related to the first phrases of Christie‘s. The text of...

  15. CHILD NO. 256. Alison and Willie
    (pp. 66-66)

    The only tune for the ballad is from Mrs. Harris, inaccurately reproduced in Child’s Appendix of Airs (1882-98, V, p. 423), “My Iuve she lives in Lincolnshire.” It is a beautiful Dorian authentic tune, resembling those already met as Mrs. Brown’s No. 247 (ante, variant 1) and Greig’s first tune for No. 252 (ante, variant 3)—both π³ tunes.

    There is said to be a tune for this ballad in the Bunyan MS., 1877, p. 121 (cf. Gray-Muir MS., NL Scodand MS. 2254). Recently, there has been an attempt to interpret the cryptic stanza 7 as a signal of supernatural...

  16. CHILD NO. 257. Burd Isabel and Earl Patrick
    (pp. 67-67)

    Christie obtained the only surviving tune for this piece of modern high life from “Jenny Meesic,” of Buckie, Banffshire who learned her songs from her father, a famous ballad-singer in his district. Jenny died at the age of eighty in 1866. Her tune is probably Mixolydian, plagal plus authentic, and ending on the fifth. To the editor's ear, it has much more of a Mixolydian than a Dorian feeling, in spite of the final...

  17. CHILD NO. 258. Broughty Wa’s
    (pp. 68-69)

    Mrs. Harris’s tune, in the absence of other variants, leaves us uncertain of its mode. The simplest solution is also the most natural: to regard the tonality as major, with a final on the third. To take the final as tonic is to go counter to the feeling of fully half of the tune; and other choices are arbitrary in almost equal measure.

    A tune is accredited by the Gray-Muir MS. (NL Scotland MS. 2254) to the Bunyan MS., 1877, p. 121.

    In spite of the dramatic subject-matter, the ballad, in its matter-of-fact specificity of detail and moral platitude sounds...

  18. CHILD NO. 260. Lord Thomas and Lady Margaret
    (pp. 70-70)

    The only tune for this ballad derives again from Christie’s “paternal grandmother”—Buchan tradition reaching back into the eighteenth century. It has points in common with both Christie’s and Greig’s tune for “The Kitchie-Boy” (No. 252). It is worth noting that there is between the A and B texts of the present ballad the same metrical divergence as occurs between those of the former: that is, both CM and LM texts appear. The present tune would be turned into CM by simply omitting the notes occurring on the first beat at the end of the second and fourth phrases (and...

  19. CHILD NO. 264. The White Fisher
    (pp. 71-71)

    A VERY different light is thrown on this story by the copies recovered by Greig in the present century. The lady is shown to be faulty before marriage, while the new husband considerately conceals her lapse. Cf. Greig and Keith,Last Leaves of Traditional Ballads and Ballad Airs,1925, pp. 207-10.

    Greig failed to recover a tune for the ballad, and none has yet been printed. James M. Carpenter, however, in the twenties collected one in Scotland which he may in time disclose....

  20. CHILD NO. 265. The Knight’s Ghost
    (pp. 72-73)

    Christie’s is the only tune that has been preserved for this pointless ballad. It is an undistinguished major, made out of common materials, and authentic except for the initial upbeat on the plagal lower fifth. For general pattern, cf. the familiar outlines of “Died for Love” (“In London city,” etc.).

    Christie’s full text is given here since, although it is in all likelihood only an edited copy of Buchan’s, Child has not included its variant readings. Its presence in Christie’s book is at least evidence that the ballad was traditionally sung in the last century, whether or no, as Child...

  21. CHILD NO. 266. John Thomson and the Turk
    (pp. 74-74)

    The only tune that has survived for this ballad is Christie’s fine Mixolydian pipe tune from Buchan tradition. This is a somewhat unusual, but not unique, type of tune to go with ballad texts. We may compare with it theScots Musical Museumtunes for “Sir Patrick Spens” (Johnson, V [1796], No. 482, p. 496 [repr. 1853])—which, however, is very dubiously traditional in that context—and for “The Battle of Harlaw” (ibid., VI [1803], No. 512, p. 528), and also for “O’er the moor to Maggy” (ibid., I [1787], No. 55, p. 56). Other comparable tunes are “Gray Steel,”...

  22. CHILD NO. 267. The Heir of Linne
    (pp. 75-78)

    So far as a melodic tradition can be made out for this ballad, it seems to lie adjacent to the “Cowdenknowes” tunes. Christie’s tune, which he claims to follow back into the eighteenth century, is another one of those with ambiguous finals. The second half is doubdess Christie's drawing-room variation of the first half. The range is implausible. If the final be tonic, the tune is a plagal π²; but the final might, if the “Cowdenknowes” pattern were more closely followed, be A: then possibly π³ authentic. Christie quite properly refers to “O Mary turn awa” (Scots Musical Museum, No....

  23. CHILD NO. 269. Lady Diamond
    (pp. 79-81)

    The melodic tradition for this ballad is probably single, though there is considerable variety in the four recorded tunes. It cannot, however, be claimed that there is much individuality in any of them.

    The oldest copy has not, so far as I know, been printed before. If we should take it as I/Ly, mixed, with tonic Bъ and its final on the sixth, it might appear to relate to the later tradition more closely than if we regard the final as tonic and class the tune as D/Æ. But as the latter it makes good musical sense, and the other...

  24. CHILD NO. 270. The Earl of Mar’s Daughter
    (pp. 82-82)

    Christie’s is the only tune for this ballad. It is I/M, using both authentic and plagal ranges. As has been noted in connection with the preceding ballad, it is a variant of that family, most closely related to Greig’s second tune (ante, No. 269, variant 4). Christie properly calls attention to its connections, further, with his “The Place where my love Johnnie dwells” (Christie, I, 1876, p. 144; cf. Child No. 218).

    A tune for the present ballad is said to appear in the Bunyan MS., 1877, p. 137 (cf. Gray-Muir MS., NL Scotland MS. 2254). One cannot but regret...

  25. CHILD NO. 271. The Lord of Lorn and the False Steward
    (pp. 83-83)

    All the good broadsides of this ballad are of the second half of the seventeenth century; but the Percy Folio copy doubdess derives from an earlier broadside than any which has survived, and the ballad was licensed as early as 1580 (again in 1624). The broadsides all note that the ballad is to be sung to the tune of “Greensleeves.” For copies of that tune in earlier and later forms, together with much information about it, cf. Chappell,Popular Music[1855-59], PP-227ff. A great deal more can be learned from Claude M. Simpson,The British Broadside Ballad and Its Music,...

  26. CHILD NO. 272. The Suffolk Miracle
    (pp. 84-91)

    All the oldest broadsides of this ballad are directed to be sung to the tune of “My Bleeding Heart.” I have not identified a copy of this tune. To judge by its use with broadside ballads, it accommodated best the iambic tetrameter quatrain in couplet rhymes, and was most favored in the latter part of the seventeenth century. But it may be Elizabethan, for all that. The name, as noted by Rollins,Pepys Ballads, III, 1930, p. 21, comes from the first line of a broadside called, “A Warning to All Lewd Livers . . . . To the tune...

  27. CHILD NO. 273. King Edward the Fourth and a Tanner of Tamworth
    (pp. 92-94)

    The earliest extant broadsides of this ballad name no tune, but speak of “an excellent new tune”—the usual meaningless formula. That there was a favorite tune associated with the ballad in Elizabeth's day is clear from a passage quoted by Chappell (Popular Music[1855-59], P- 392) fromNoctes Templariae, in the Harleian MSS., dated (he says) 1599: “Poet Natazonius saluted him to the tune ofThe Tanner and the King”; but no tune has survived under that name.

    For the tune which Chappell arbitrarily assigns to the ballad, on the strength of the opening verbal phrase, “In summer time,”...

  28. CHILD NO. 274. Our Goodman
    (pp. 95-129)

    The melodic stuff of this ballad is so fluid that it is difficult to handle. It keeps taking the shape of, or borrowing phrases from, other and more familiar tunes, most of them popular, but not ballad, tunes. Especially in the American variants, traces will be noted of “Uncle Ned,” “Susanna,” “Ain’t goin’ to rain no more,” “Polly-wolly-doodle,” “Son of a Gambolier,” “Jingle Bells,” “The Derby Ram.” Yet it hardly seems necessary to separate the variants into different families, or to regard them as belonging to truly unrelated traditions. The Scottish, English, Manx, Irish, and American copies appear to show...

  29. CHILD NO. 275. Get Up and Bar the Door
    (pp. 130-139)

    It seems very odd that this ballad has acquired no traditional currency in England. It has been popular in Scotland and is known in various forms,fabliauor folk-tale, in many parts of Europe and the Near East. From Scotland it has been brought to the United States, probably before the present century. It has been collected north and south in this country, and as far west as the Ozarks and Oklahoma. The tune which Burns contributed toThe Scots Musical Museumwith six stanzas (“Johnie Blunt,” No. 365, variant 3 below) strikes us as closely akin to several of...

  30. CHILD NO. 276. The Friar in the Well
    (pp. 140-142)

    The seventeenth-century broadsides of this ballad designate the melody not by name but descriptively: “To a merry tune.” This is reassuring, but not of much help. Better service is rendered by the stanza-pattern and refrain, which are identical with that of “Sir Eglamore,” a song already met in connection with “Sir Lionel” (No. 18). The tune of “Sir Eglamore” was very popular in the later seventeenth century, and many texts were set to it. It is usually a plagal major.

    In Playford’sDancing Master,1651, and thereafter in successive editions till 1684, according to Chappell,Popular Music[1855-59], I, P....

  31. CHILD NO. 277. The Wife Wrapt in Wether’s Skin
    (pp. 143-173)

    It appears sensible to make several classes among our materials for this still living and lively ballad. The first two are Scots tradition; the last three English (and American). In nearly all cases the verbal refrain has remained steady enough to locate it in one or another melodic tradition—a laudable if uncommon virtue in refrains.

    Class A corresponds with Child’s A and B texts and appears to have died out, giving way in Scotland to the “Cooper of Fife” form with its highly characteristic refrain. It may be observed in passing that Child's Ab (from Miss Agnes Macmath) belongs,...

  32. CHILD NO. 278. The Farmer’s Curst Wife
    (pp. 174-212)

    Of the various styles of verbal refrain exhibited in the copies of this still favorite ballad, it does not appear that any demarcate a strong and separate musical tradition. The majority of variants are four-phrase tunes, with the second and fourth phrases carrying nonsense syllables. About a third of the total are five-phrase tunes, with refrains of the same style, extended to a fifth line. About one-seventh elaborate into six-phrase tunes, of which a majority have refrains on the second, fifth, and sixth phrases, and fewer on the third and sixth. About a quarter of the total, also, give over...

  33. CHILD NO. 279. The Jolly Beggar
    (pp. 213-226)

    CHILD, curtly dismissing the attribution of this piece to James V of Scotland, refuses to decide whether its antecedents belong more properly to Scotland or to England. He notes the existence of a seventeenth-century English broadside, but remarks that the Scottish form, although it makes its first appearance a century later, is “far superior.” At any rate, clearly, the ballad, in one form or another, has been current for at least three hundred years, and has been well liked in England, Scotland, Ireland, and latterly in this country. The oral and printed traditions are impossible to disentangle, and especially in...

  34. CHILD NO. 279. APPENDIX The Gaberlunyie-Man
    (pp. 227-249)

    Child has relegated this favorite song to an appendix of “The Jolly Beggar.” It is difficult to guess why. The melodic tradition of the two, at any rate, lends no support to this determination, and on grounds of metrical and stanzaic pattern, as well as of plot, there would seem to be better justification for making the present ballad No. 280, and reducing Child’s 280 to a later redaction of “Gaberlunyie-Man.” Indeed, Child himself calls his 280 “a sort of ‘Gaberlunyie-Man’ with a romantic conclusion.”

    The present ballad has had a long life, both textual and melodic. The earlier melodic...

  35. CHILD NO. 280. The Beggar-Laddie
    (pp. 250-256)

    This ballad, so far as the record shows, seems to have had a very limited circulation, almost entirely confined to the northeast of Scotland. Neither can its tradition be followed back beyond the nineteenth century, though Christie says the air has been a great favorite, sung from “time immemorial.” In connection with the preceding ballad, it was suggested that the present one, a “romantic” “Gaberlunyie-Man,” from which one of its stanzas “is taken almost bodily,” as Child remarks (1882-98, V, p. 116), might better be considered a derivative or secondary form of the “Gaberlunyie-Man” than an independent piece.

    Nevertheless, the...

  36. CHILD NO. 281. The Keach in the Creel
    (pp. 257-277)

    This ballad has lived mainly in Scotland, but has been found also in Northumbria, Ireland, and in the northeast of the U. S. and Canada. Considering its subject matter, and the early analogues infabliauxpointed out by Child’s infallible finger, it is rather odd that we have no fuller traditional record.

    The melodic tradition appears to be at least double, and exceptional variants in Scodand, Northumbria, and Ireland make one wonder about other branches. One type is comparatively steady, I/Ly or major, with a range confined within the octave from lower to upper mediant. The time is 2/4, and...

  37. CHILD NO. 282. Jock the Leg and the Merry Merchant
    (pp. 278-281)

    To borrow Child’s expression, used of Henry Martin” (No. 250), this ballad “must have sprung from the ashes” of the Robin Hood cycle. It is at any rate a late northern avatar of a greener original, somewhat soiled by a touch of industrialism. Child dates it from the last half of the eighteenth century, and consigns it to the pack of Autolycus.

    With the exception of Christie’s somewhat fancy copy, Greig’s, Duncan’s, and Ewan MacColl’s from Galloway are the only known examples of the melodic tradition. They fall into two fairly distinct groups, neither of which has much in common...

  38. 283. The Crafty Farmer
    (pp. 282-302)

    In his concern with story, Child paid very little attention to metrical considerations; but these may be significant where one is tracing lines of traditional descent. It is of considerable importance to the melodic tradition of the present family of ballads that each of the three types mentioned by Child has a different metre, to which it has pretty faithfully clung.

    “The Crafty Farmer,” or “Saddle to Rags,” is in quatrains of three-stressed lines, basically dactylic or anapaestic, and with or without an end-refrain or burden. The first and third lines do not ordinarily rhyme. “The Farmer’s Daughter,” or “Maid...

  39. CHILD NO. 284. John Dory
    (pp. 303-305)

    The earliest copy of this ballad, both text and tune, is that in Thomas Ravenscroft’sDeuteromelia,1609, sig. B, No. 1. From that copy, apparendy, all later versions derive. But Ravens croft’s version was extended into a three-part song, or “Freemans Song of 3 voices”; and it is consequently a question whether the phrases of the tune have not been modified for the purposes of harmonization, quite apart from being dislocated from the stanzaic arrangement.

    Child quotes Chappell ([1855-59], I, p. 67) to the effect that “I cannot eat but little meat,” inGammer Gurton’s Needle,was sung to “John...

  40. CHILD NO. 285. The George Aloe and the Sweepstake
    (pp. 306-311)

    The early broadsides of this vigorous song are directed to be sung to “The Saylor’s Joy.” Child (after Ebsworth) notes that a ballad of that name was registered January 14, 1595; but neither ballad nor tune appears to have survived (Child, V, p. 133n)·

    There is no musical record of our ballad earlier than the present century, wherein it has been collected on both sides of the Atlantic.* Its most typical style is a plagal D/Æ tune, in duple time (6/8 or 4/4), with a characteristic refrain rhythmically consistent with the earliest copies, on the second and fourth phrases. A...

  41. CHILD NO. 286. The Sweet Trinity (The Golden Vanity)
    (pp. 312-362)

    Judging by the number of copies secured in this century, the present ballad was never more vigorously alive than now. It appears more than likely that, with the possible exception of a few intrusions of other (usually recognizable) tunes, a single melodic idea governs the whole tradition. To be sure, this as sertion is open to challenge; yet perhaps it will seem especially questionable rather to those who have most acquaintance with a song-literature protected from rough handling than to those familiar with such flotsam as the melodic stuff here collected. The rhythmic element is perhaps the most constant part...

  42. CHILD NO. 287. Captain Ward and the Rainbow
    (pp. 363-368)

    This ballad has been a favorite of the broadside press, and the nineteenth-century collectors, Buchan, Kinloch, Baring-Gould, found it in traditional copies. But the melodic tradition is scat tered and thin, hardly convincing one that there is any real core. The tunes that have been collected have litde in common, and remind one too much of other songs.

    Barrett’s English copy (variant i below) is clearly derived from “Prince Rupert’s March,” found in Playford, 1651 (ed. Dean-Smith, 1957, p. 49). Barrett notes it as a variant of “Strike up you lusty gallants.” If he means only the text, why, so:...

  43. CHILD NO. 288. The Young Earl of Essex’s Victory over the Emperor of Germany
    (pp. 369-369)

    The only surviving tunes for this thoroughly English piece are two Scottish variants of the same melodic tribe. The one from the Blaikie MS. has not, I believe, been hitherto printed. It is a plagal Æolian tune, and a very fine one, making provision for an end-refrain of only one line. As it happens, our texts are either for a six phrase tune or a four-phrase, not one with five phrases. Greig’s tune in its stanza-phrases is in duple time (4/4), but in its burden goes to 6/8; if the whole be reduced to 6/8 the resemblance with Blaikie’s tune...

  44. CHILD NO. 289. The Mermaid
    (pp. 370-387)

    The musical tradition of this still favorite ballad has been unusually constant and widespread in one of its two main branches. Sung to varieties of the same tune-type, the piece is known in Scotland, England, and in many parts of America. It is nearly always an authentic major, and the great majority of copies have mid-cadences on V, a first cadence on I. There is difference in the treatment of refrain or burden. A common style has a fifth phrase with the last line repeated, with a bridge leading into the repetition. Some copies then repeat the whole tune, slightly...

  45. CHILD NO. 290. The Wylie Wife of the Hie Toun Hie
    (pp. 388-388)
  46. CHILD NO. 292. The West-Country Damosel’s Complaint
    (pp. 389-389)
  47. CHILD NO. 293. John of Hazelgreen
    (pp. 390-401)

    The musical tradition—let alone the surprisingly widespread circulation—of this rather too literary piece is somewhat puzzling. There appear to be two distinct lines, and a number of unrelated separate tunes.

    The line which seems to have had least to do with print is a simple л¹ plagal four-phrase tune, not very interesting, but perhaps worn down from richer materials analogous to the beautiful “Drowsy Sleeper” tradition (for which cf., e.g., Sharp and Karpeles, 1932,I, pp. 358ff.: “Awake, awake”). Kinloch’s (variant i below) is the earliest example of this, an I/M tune going to Child B. It is the...

  48. CHILD NO. 295. The Brown Girl
    (pp. 402-422)

    This is a very interesting ballad for the student of melodic variation. Reckless though it seem, it hardly belies the homogeneity of musical feeling to set the whole assemblage in one large class; but the differences are none the less striking.

    The English and in part the New England tradition rather favors duple time; the Appalachian generally prefers a triple time, and allies the tune with the type associated with “Lord Randall” (No. 12) in this country, and also with “Lamkin” (No. 93). Yet it is impossible to make a significant differentiation on grounds of rhythm, and it has seemed...

  49. CHILD NO. 298. Young Peggy
    (pp. 423-423)

    Christie is our sole repository of a tune for this piece of cheerful romanticizing. He notes it as sung also to “Lescraigie, or Sandy Fraser,” a piece I do not remember to have seen. Apart from the second strain, which is probably Christie’s own, the timing appears also to be questionable: the uneven phrase-lengths and awkward mating of words to notes give evidence of editorial interference....

  50. CHILD NO. 299. Trooper and Maid
    (pp. 424-436)

    All the copies of a tune for this tale of careless love appear to be related. To judge by the extant variants, the center of musical tradition in the U. S. inclines to the Æolian mode, in the authentic range; that of Scots tradition a little earlier is plagal, and closer to the Dorian. But latterly in Scotland a cheerful major form, oftenest hexatonic and authentic, seems to have swept the field.

    One American variant has struck off in the always beckoning direction of “Boyne Water” (Barry’s New Brunswick copy, variant 14 below). Two variants, one from Maine and one...

  51. Addenda to Volumes I-IV
    (pp. 437-514)
    (pp. 517-524)
    (pp. 525-532)
    (pp. 533-543)
    (pp. 544-557)
    (pp. 558-562)
    (pp. 563-572)
    (pp. 573-576)