XIV ADDITIONAL SONGS [Under Construction]
[I'm attaching individualy songs to this page; See on left hand column below this page- click to open]
XIV. ADDITIONAL SONGS- Contents
659. I Wonder Where's the Gambling Man
660. Old Scotch Drinking Song
661. Scottish Drinking Song
662. Come All Ye Young Ladies
663. The Drunkard's Home
664. I Have No Mother Now
665. I Have No Mother Now
666. I Have No Mother Now
667. Morality
668. The Old Armchair
669. Woodman, Spare That Tree
670. Chewing Gum Song
671. Mississippi Lawyer
672. Negro Song
673. Sally Ann
674. Twinkle, Twinkle, Little Star F-573 4I5
675. Lullaby F-574 4i6
676. Mr. Bull Frog F-575 417
677. Ridin' Of A Goat, Leadin' of a Sheep F-576 417
678. Trip, Play-Mo-Blay F-577 418
679. What Makes the Wild Cat Wild? F-578 419
680. The Keeper F-579 419
681. Venison F-580 420
682. Away on a Hill F-581 421
683. Childhood Days F-582 422
684. Enoch Arden F-583 422
685. Essie Dear F-584 423
686. Sweet Evelina F-585 424
687. Faithful Friend F-586 424
688. Flitting Away F-587 425
689. Goodbye F-588 427
690. Goodbye, John F-589 428
691. I'll Be All Smiles Tonight F-590 429
692. I'll Give You My Love F-591 430
693. I Loved You Better Than You Know F-592 430
694. In the Shadow of the Pines F-593 431
695. In the Shadow of the Pines F-594 433
696. I Want to Be Somebody's Darling F-595 434
697. Just Give Him One More as He Goes F-596 434
698. Leap Frog John F-597 435
699. The Letter That Never Came F-598 436
700. Little Bunch of Roses F-599 437
701. The Little Logwood Cabin F-600 437
702. The Little Log Cabin in the Lane F-601 439
703. Lula Falls F-602 440
704. Lula Wall F-603 441
705. Many Miles Apart F-604 442
706. Maple on the Hill F-605 443
707. Mary, Weep No More For Me F-606 443
708. Molly Darling F-607 444
709. Molly Darling F-608 445
710. My Hair Was Black as Ribbon F-609 446
711. My Pretty Quadroon F-610 446
712. Old and Gray F-611 447
713. The Old Stepstone F-612 448
714. Over the Garden Wall F-613 449
715. Pretty Bessie F-614 450
716. Riding in a Sleigh F-615 451
717. Rosalie, the Prairie Flower F-616 451
718. Sadie Ray F-617 452
719. Sadie Ray F-618 453
720. Seven Long Years F-619 453
721. Sparking on a Sunday Nightt
722. Standing by the Old Cabin Door
723. Standing by the Old Garden Gate
724. The Stars Shine Bright
725. Sunny Tennessee
726. Sweet Bunch of Daisies
727. Sweet Forget-Me-Not
728. Sweet Long Ago
729. Singing in the Lane
730. Surely I Can Do
731. Hole in the Bucket
732. Hop Along
733. I Don't Let the Girls Worry My Mind
734. Snuff Box
735. Behind Those Walls of Gray
736. Rainbow Division
737. When I Am Far Away
738. Coonshine
739. Dis Morning
740. Down at Widow Johnson's
741. Gwine 'Round Dis Mountain
742. Hikin' Down de Main Line
743. Honey Babe
744. How I Love Them Pretty Yellow Gals
745. Hump-back Mule
746. I'm Going Down the Mobile Line
747. I'm Going Home
748. I'se a-running
749. Mike and Jerry
750. The Nigger and the Bee
751. Oh! I Had a Good Woman
752. Old Folks Better Up and Git to Bed
753. Such a Gittin* Up-stairs
754. Yonder Come a Yaller Gal
755. Blow Gabriel
756. Drunkard's Dream
757. Dry Bones
758. Gimme Oil in My Lamp
759. Got to Cross Jordan
760. O Bear Me Away on Your Snowy White Wing
761. Oh, Where Shall I Be?
762. The Road Is Rocky
763. Star in the East
764. Storm Bird
765. Tell My Mother
766. There's a Place Prepared
767. Thorny Desert
768. Was You There When They Crucified Jesus?
769. The Watchman's Call
770. Way Back in Heaven
771. Wayfaring Stranger
772. When in Death I Calmly Recline
773. Wondrous Love
774. A Plea for Mercy
775. Hell Broke Loose in Georgia
776. Goodbye to the Cracking of the Pistols [Dying Cowboy of Rim Rock Ranch]
777. Jimmie Suttonton
778. Blow the Man Down
779. Hanging Johnnie
780. Haul Away, Joe
781. Hullabaloo Balay
782. Lanky, Lucy, Lister
783. What Shall We Do with a Drunken Sailor?
784. When Johnnie Comes Down to Hilo
785. Whiskey Johnny
786. No title
---------------------------------------------------------------
659 I Wonder Where's the Gambling Man
'I Wonder Where's the Gambling Man.' Anonymous female singer. No place or date given. For additional versions cf. NAB 261 ('I Wonder Where's the Gambler') which refers to SSSA 96-7; also SharpK n 204, No. 152.
tell you of a poor young man, who gam - bled night and day. —
And he was ta - ken ver - y sick, He tried but could not say. —
Tell me who's the gam - bling man. Tell me where he's gone. —
Tell me who's the gam - bling man, Tell me where he's gone. —
Scale: Mode III. Tonal Center: c. Structure: aba1b1 (4,4,4,4). The tonal center is the lowest tone.
----------------------------------------
660 Old Scotch Drinking Song
'Old Scotch Drinking Song.' Sung by Miss Jewell Robbins (Mrs. C. P. Perdue) to this editor at her home in Gastonia, Gaston county, July 31, 1954. Unfortunately, Mrs. Perdue could not recall any of the words, which in itself is a rather rare phenomenon. She told this editor that Mr. Alexander P. Leach (father of Mrs. Perdue's brother-in-law) taught it to her when he was eighty-five years old. His father had come from Scotland in 1812. His brother, Archibald Leach, born in Scotland, also sang it. They were Baptist Scotch or Primitive Baptists.
F-559
Scale : Mode HL Tonal Center : c. Structure : nmm (4,2,2) 1= inverted bar-form. The tonal center is the lowest tone.
------------------------------------------------------
661 Scottish Drinking Song
'Scottish Drinking Song.' Sung by Miss Jewell Robbins, Pekin, Montgomery county, 1921-22. This is another drinking song from Scotland which had come down to the singer from her forefathers. The tune exhibits a characteristic of many others which are called 'primitive songs,' namely, the descending tendency from an initial high tone to the lowest.
F-560
'is - ter Mc Clag - gle,
Sagala ga - la gu rum,
Sa val la ga dine - tum,
Tharang, thang a non e o,
Tha rang, thang a non e o.
Scale: Heptachordal. Tonal Center: c. Structure: nmm (6,2,2) = inverted barform. The tonal center is the lowest tone.
---------------------------------------------------------------
662 Come All Ye Young Ladies
'Come All Ye Young Ladies.' Sung by Mrs. James York, Boone, Watauga county, August 8, 1940. Contributed by Dr. Amos Abrams. Another title: 'Time Enough Yet.' Our stanza is the last stanza in OFS iii 75-6 version B. Cf. also JAFL xxxix 182-3; BSM 197-8; JAFL lix 468.
F-S61
Come all ye young la - dies while sweet-hearts are plen - ty,
Be you'll always regret
The time you fore - said was time e - nough yet.'
Time e - nough yet, time e - nough yet,
The time you fore - said 'time e - noueh yet.'
For melodic relationship cf. **CRS Kit 48, 16, our initial four measures and the refrain given there; *OFS in 75, No. 369.
Scale: Pentachordal. Tonal Center: c. Structure: aaia2 (4,4,4); the only change in the three phrases consists in the variation of the first measure in the second and third phrases. The tonal center is the lowest tone.
-----------------------------------------------------------
663 The Drunkard's Home
2;he Drunkard's Home.' Sung (as a duet) by Mrs. J. and Mr. N. Church, Heaton, Avery county, August 10, 1939. All the words that could be understood are given.
No sun shines bright no smil - ing face,
No lov - ing words to cheer and bless.
But on - ly woe and deep dis - tress.
No —peace, no joy, or songs of love.
To — a - bove.
But is there and woe and gloom,
With - in the wretch-ed drunk-ard's home.
Scale: Mode III. Tonal Center: f. Structure: ababcciab (2,2,2,2,2,2,2,2) := aaba (4,4,4,4) = Reprisenbar. The tonal center is the lowest tone.
-----------------------------------------------------
664 I Have No Mother Now
'I Have No Mother Now.' Sung by Miss Jewell Robbins, Pekin, Montgomery county, recorded at Durham in 1921. For additional texts cf. JAFL lix 442; OFS IV 46, No. 612, title only, and FSV 117, reference only; no text or music given there.
hear the soft winds sigh - ing,
Through ev - 'ry bush and tree,
Where my dear moth - er's ly - ing
So far a - way from me.
Tears from mine eyes are start - ing,
And sor - row shades my brow,
Oh, wea - ry was our part - ing, I have no moth - er now.
Scale : Heptachordal, plagal. Tonal Center : a-flat. Structure : abacdbac (2,2,2,2,2,2,2,2) = aa^bai (4,4,4,4) = Reprisenbar. The ending of b is the same as that of a.
--------------------------------------------------------
665 I Have No Mother Now
'I Have No Mother Now.' Anonymous singer. No place or date given. This is a version from the collection of this editor, made a considerable number of years ago. Our stanza is almost identical with the third stanza given by Miss Jewell Robbins. Melodically (cf. F-563) there are some important differences, as can already be seen from the two scales. Measures 3 and 7 represent idioms that occur frequently either identically or similarly. (Cf. 'Tom Dooley', IV 324-6.) Interestingly, in spite of the melodic differences, the structures are identical.
My heart now ev - er lone - ly,
My life drear and sad.
'Twas her dear pres - ence
That made my spir - it glad.
From morn - ing un - til evening.
Care rests up - on my brow,
She's gone from me to heav - en —
I have no moth - er now.
Scale: Mode III, plagal. Tonal Center: g. Structure: abacdbac (2,2,2, 2,2,2,2,2) = aa1ba1 (4,4,4,4) = Reprisenbar. Here too, the ending of b is like that of a.
------------------------------------------------------
666 I Have No Mother Now
'I Have No Mother Now.' Sung by Miss Susie Hageman, Beech Creek, Avery county, in 1922. For another version cf. OFS iv 46, No. 612.
Tears from mine eyes are start - ing — ,
And sor - row shades my brow.
Oh wea - ry was our part - ing —
I have no moth - er now.
Scale : Hexachordal, plagal. Tonal Center : c. Structure : aba1c (2,2,2,2) = aa1 (4,4).
-----------------------------------------------------------
667 Morality
'Morality.' Sung by Mrs. Alice Cooke, Boone, Watauga county, in 1922. This song shows interesting use of a closely related melodic idiom. Cf. Beggar's Opera, 'Song of Lucy,' No. 46, the middle section of the air : 'The Happy Clown.'
While beau - ty and youth are in their full prime,
And fol - ly and fash - ion af - feet our whole time;
O let not the phan - tom our wish - es en - gage;
Let us live so in youth — that we blush not in age.
For melodic relationship cf. ***DESO 149, No. 138 (identical text and tune) ; SOH 44; SAH 136; WSSU 149. No. 79; here the second half of our tune is missing.
Scale: Heptachordal, plagal. Tonal Center: f. Structure: aa1baS (4,4,4,4) =: Reprisenbar.
--------------------------------------------------
668 The Old Armchair
'The Old Armchair.' Sung by Dr. I. G. Greer at Boone, Watauga county. The MS score was set down June 3, 1915. by Miss Alice Henely. SCSM ascribes this song to British origin. EASM 148 credits the words to Miss Eliza Cook, the music to Henry Russell. The song was published by Oakes and Swan, Boston, 1840. Cf. also WSMML 205; OFS in 224, and JAFL Lxix 456. For an interesting variety of pronunciation and sometimes misunderstood words compare OFS III 224 version A: "I'll declare" with version B "Ida Clair," and in SCSM 373 "I declaire." F-567
My grand-moth - er she, at the age of eight - y - three,
One day in May was tak - en ill and died;
And af - ter she was dead, the will, of course, was read
By the side.
law - yers as we all stood side by
To my broth - er, it was found, she had left a hun-dred pounds,
The same un - to my sis - ter, I do de - clare;
But when it came to me, the law-yer said,
'I see, she has left to you her old arm - chair.'
Then how they tit-tered and how they chaffed,
And how my broth-er and my sis - ter laughed,
When they heard the law - yer de - clare.
'Gran - ny has left you her old arm - chair.'
For melodic relationship cf. *WSMML 205, especially in chorus.
Scale : Heptachordal, plagal. Tonal Center : d. Structure : abaca1bacded1c1 (2,2,2,2,2,2,2,2,2,2,2,2) = aa1a1aibb1 (4,4,4,4,4,4) ; d is derived from the same basic idea as a. Over-all form : mm1n (8,8,8) := barform.
----------------------------------------------------------------
669 Woodman, Spare That Tree
'Woodman, Spare That Tree.' Sung by C. K. Tillett, Roanoke Island, December 29, 1922. This song originally was composed by Henry Russell, the words were credited to Geo. P. Morris. Our text conforms completely to that of this author, but our tune is entirely different. For additional versions cf. RaW 23-4 and SoA 38-9. Dr. White says : "Common in the 19th-century song-
books and readers." Cf. remarks in EFSSC no.
Wood - man, spare the tree ! —
Touch not a sin - gle bough
In youth it shel - tered me,
And I'll pro - tect- it now. —
Scale: Mode III. Tonal Center: f. Structure: abab (2,2,2,2) = aa (4,4). Every phrase cadences on I. The tonal center is the lowest tone.
----------------------------------------------
670 Chewing Gum Song
'Chewing Gum Song.' Sung by J. T. C. Wright, Boone, Watauga county, in August 1922. For additional texts cf. APPS 274 (the text quoted there is the text of our fourth stanza) ; JAFL lix 431.
Oh once had a pret - ty lit - tie girl,
The pret - tiest I ev - er did see.
Her age it was but sev - en - teen,
And dear - ly she loved me,
And dear - ly she loved me, —
And dear - ly she loved me.
Her age it was just sev - en - teen
And dear - ly she loved me.
For melodic relationship cf. **OFS iii 74, No. 368-B, measures 2-4, 7-8, and 15-16.
Scale : Heptachordal, plagal. Tonal Center : g. Structure : aba1bcc1a1b (2,2,2,2,2,2,2,2) = aa1ba1 (4,4,4,4) = Reprisenbar.
-------------------------------------------------------
671. Mississippi Lawyer
'Mississippi Lawyer.' Sung by Miss Jewell Robbins, in Durham, 1921. The title is that given in the catalogue. It takes a Philadelphia lawyer to unearth the fact that this individual is no lawyer at all but a Mississippi sawyer! Cf. Ford 183-4, who calls it "one of the rare old tunes of American fiddle lore." There is no text given anywhere besides the remark : "Jog — no
words." For a similar beginning cf. J. S. Bach Cantata No. 208.
F-570
For melodic relationship cf. **Ford 32.
Scale : Heptachordal, plagal. Tonal Center : e-flat. Structure : aa1bcdedc (2,2,2,2,2,2,2,2); d is related to b. Over-all form: abcc1 (4,4,4,4) = nmml = inverted barform.
---------------------------------------------------
672 Negro Song
'Negro Song.' Sung by Miss Jewell Robbins, Pekin, Montgomery county, 1921-22. The singer used the same tune, with negligible variations for her version of 'I Got a Girl' (F-413). At the time when this editor was occupied with the transcription of all the tunes not all of the text could be understood and the singer, then Mrs. C. P. Perdue of Gastonia, when asked about it
could recall no more of the words. Later on, having lost her husband, she moved to 13 Charlton Drive, Hampton, Va., and this editor on July 7, 1958, received a letter from her giving the additional text found below.
F-571
Let's sing
What you gon do
Tie a - round a string.
For melodic relationship cf. TNFS 156, second half of measure two.
Scale: Heptachordal, plagal. Tonal Center: f. Structure: abcb (2,2,2,2) =: ab (4,4). In this latter subdivision, the endings of both phrases are the same. Every phrase cadences on L Text supplied by singer :
Sing, sing, what you gon'er sing?
Doodle bug, doodle bug, tied on a string.
------------------------------------
673 Sally Ann
'Sally Ann.' Anonymous singer and MS score. No place or date given. The text is identical with that of SharpK 11 351, No. 240 (Jig). Cf. also JAFL xxviii 183; ibid., xli 575, No. viii, and lix 462.
F-572
O, where are you go - ing, - ly Ann?
O, where are you going Sally Ann?
I'm go - ing to the wed - ding, Sal - ly Ann.
O, shake that lit - tie foot, Sal - ly Ann,
O, shake that Ut - tie foot, Sal - ly Ann,
O, shake that lit - tie foot, - Sal - ly Ann,
You're a pret - ty good danc - er, Sal - ly Ann.'
Scale: Mode III, plagal. Tonal Center: g. Structure: aa1a2a (4,4,4,4).
-----------------------------------
674 Twinkle, Twinkle, Little Star
'Twinkle, Twinkle, Little Star.' Sung by Miss Hattie McNeill, Ferguson, Wilkes county, in 1922. No text is given in the ms score. For additional texts cf. Ford 401; Owen 102; BTFLS 1923, 43, and APPS 337. No. 113 (first stanza and chorus). The tune of the chorus resembles very closely that of a Czechish Dance : Polka.
F-573
For melodic relationship cf. *Ford 5.
Scale: Heptachordal, plagal. Tonal Center: g. Structure: ababcc (2,2,2,2,2,2) = aab (4,4,4) = rnmn = barform. In the smaller subdivision, b shares the initial measure with a.
------------------------------------------------------------
675. Lullaby
'Lullaby.' Sung by J. Hauser of Pfafftown, Forsyth county; recorded at Durham, July 28, 1923. Additional titles : 'O Birdie' and 'Put Me in My Little Bed,' BSM 279-80; also for text of second stanza of 'Molly Darling,' the chorus of which has identical text (ibid. 608).
F-574
I'm tired birdie, now,-
I do not care to hear you sing.
You sang your hap - py songs all day, — now put your head be-neath your wing.
Come sis - ter, come kiss me good-night, for I my ev-ening
prayer have said, I'm tired now and sleep - y too ; —
put my lit - tie bed.
For melodic relationship cf. ***Ford 330; the stanza here has eight additional measures which our version lacks.
Scale : Heptachordal, plagal. Tonal Center : f. Structure : abab^cdab^ (2,2,2, 2,2,2,2,2) = aa^ba^ (4,4,4,4) = Reprisenbar.
--------------------------------------------------
676 Mr. Bull Frog
'Mr. Bull Frog.' Sung by C. G. Knox, Durham, 1922-24, ms score. No text is given there. Same tune as 'Little Brown Jug.' The tonal material represents merely the upper tetrachord of a scale which presumably would be G major.
F-575
Scale: Irrational (2,3,4), plagal. Tonal Center: g. Structure: ab (2,2).
The tonal center is the highest tone.
---------------------------------------------------
677. Ridin' of a Goat, Leadin' of a Sheep
'Ridin' of a Goat, Leadin' of a Sheep.' Sung by Miss Beulah Walton, of Morrisville, Durham county; recorded at Durham, July 25, 1923. For additional text cf. ANFS 301, No. 31. In our version, the goat changes place with sheep in contrast to the version quoted.
F-576
Rid - in' of a goat and lead - in' of a sheep,
Rid - in' of goat and lead - in' of sheep,
Rid - in' of a goat and lead - in' of a sheep,
I won't be back 'till the mid - die of the week.
Scale : Mode III, plagal. Tonal Center : f. Structure : aa1ab (2,2,2,2) = aa1 (4,4) ; the ending of b is identical with that of a1. Circular tune(V).
-------------------------------------
678. Trip, Play-Mo-Blay
'Trip, Play-Mo-Blay.' Sung by Mrs. Mittie Ellis Henley, Raleigh, Wake county, in 1931. There are two ms scores, which, however, are identical. N. I. White notes : "The singer said she learned this from her mother and her uncle, Rev. Wm. B. Jones, about 50 years ago." The score was transcribed by the Rev. E. McNiel Poteat, Jr. In the opinion of this editor, there is
definitely a chorus which, however, should begin with the second half of the twelfth measure. The ms score gave the tune as noted.
F-577
One Sun - day morn - ing ear - ly,
My pon - y I be - strode,
And by Miss An - na's cot - tage I took the well known road.
It was my great - est pride That she should see me ride,
Trip trip, trip pon - y,
Trip, trip, trip, trip,-
Trip play - mo - blay.
Trip, trip, trip pon - y,
Trip, trip, trip, trip, —
Trip, play - mo - blay.
drip - ping home I go.
Scale: Hexachordal (only the third stanza is heptachordal). Tonal Center: c. Structure : aba1cbbdd (2,2,2,2,2,2,4,4) ; d is related to b. If the chorus begins as suggested above, then the first twelve measures could be reduced to aa1b.
But this would not be a barform, as the 'epode' is merely a repetition of a1. If, however, we take these same measures as epode, then we have an inverted barform: nmm (12, 4, 4). The tonal center is the lowest tone.
-------------------------------------
679. What Makes the Wild Cat Wild?
'What Makes the Wild Cat Wild?' Sung by R. D. Ware from Albemarle, Stanley county; recorded at Trinity College, Durham, August 3, 1922. N. I. White notes : "Popular at Trinity College as a campus song. I learned it there about 1911." For a similar kind of song cf. JAFL xxvi 136.
F-S78
What makes the wild cat wild, boys?
What makes the wild cat wild?
What makes the wild cat wild, boys?
What makes the wild cat wild?
I'll ask you gam per - son - al friend
What makes the wild cat wild?
Scale : Mode III, plagal. Tonal Center : f. Structure : aa1aa1bc (2,2,2,2,2,2) =: mm1n (4,4,4) = barform.
---------------------------------------
680 The Keeper
'The Keeper.' Sung by James York, at Boone, Watauga county; recorded by Dr. Amos Abrams, September 8, 1940. This is an English folksong: 'Warwickshire.' The other stanzas of our version differ in their numerical occurrence and, to some degree in text as well, from other versions. For example, our second stanza is fourth in FSCSG, our third is the same there, our fourth is new, but has some similarity with three. In the chorus, the short phrases : "Jackie, boy" or "Master," etc., are sung by alternating voices. Both then come together in "Among the leaves, so green, O."
F-579
A keep - er did a - shoot - ing go,
And un - der his cloack he car - ried bow,
All for to shoot at the mer - ry lit - tie doe,
A - mong the leaves so green, O.
Jack - ie, boy! Mas - ter! Sing you well? Ver - y well.
Hey down! ho down! Der - ry, der - ry down,
A- mong the leaves so green,
To my hey down, down!
To my ho down, down! Hey down! ho down!
Der ry, der - ry down, A - mong the leaves so green, O.
For melodic relationship cf. ***CRS Kit 24, No. 100; FSCSG 42; SCFS 68-69, I.
Scale : Hexachordal. Tonal Center : c. Structure : aabcdb1c1d1b1c (2,2,2, 2,2,2,2,2,2,2) = aabcb1c1b (2,2,4,2,4,2,4) = nmmi (8,6,6) = inverted bar-form, of which the epode in itself is in barform. The tonal center is the lowest tone.
----------------------------------------------------
681 Venison
'Venison' (Hunting Song). Sung by Otis Kuykendall, Asheville, Buncombe county, July 18, 1939. The words at the beginning could not be understood. Cf. here AnFSC 34-5. Melodically, compare the first two measures with those of IV 331, No. 316 and measures 5-6 with the corresponding initial measures of 'Swing Low, Sweet Chariot.' For a similar refrain cf. EFSS 50-1
No. 24, and PMOT 346.
F-S80
'Twas Sun - day morn - ing.
And the ground all cov-ered in snow,
I put my shoul - der to my gun
And a hunt-ing I did,
And a hunt-ing I did go.
fif - teen and twen - ty
Ten thou-sand I did Ten-
The mon - ey that I got For ven - 'son and skin, I
For melodic relationship cf. **AnFSC 34-5, measures 1-6.
Scale: Irrational (2,4), plagal. Tonal Center: f. Structure: abed (2,2,2,4); It is mostly built of a contraction as well as development of a.
---------------------------------------------
682 Away on a Hill
No title given. Anonymous female singer. No place or date given. The beginning reminds us somewhat of the artillery song and the ending of 'He Done Her Wrong.' No other version or reference could be found. Cf., however, HI 495, No. 412 and editorial note, as well as OFS iv 388, No. 860; MSON 43-5 and 136-7. Not all the words could be recognized.
F-581
Away on a hill, a sun - ny moun-tain side,
When we part - ed
On the ny moun-tain - side.
Car - ry me back to old Virginny
Scale : Heptachordal. Tonal Center : d. Structure : nmmi (6,4,4) = inverted barform. The epode is in itself an application of the bar-form principle. The tonal center is the lowest tone.
------------------------------------------
683. Childhood Days
'Childhood Days.' Sung by Mrs. G. L. Bostic, Mooresboro, Cleveland county, in 1939. Another title given was : 'Sweet Nell.' Cf. 'Swinging in the Lane' (F-628).
F-582
2. The boys and girls I used to know
Went fish - ing in the brooks
With spools of thread for fish - ing lines,
And bend - ed pins for hooks. —
Scale: Hexachordal, plagal. Tonal Center: f. Structure: abed (2,2,2,2) = ab (4,4).
------------------------------------------
684. Enoch Arden
'Enoch Arden.' Sung by Mrs. N. T. Byers, Zionville, Watauga county. The text for the ms score was furnished July 24, 1922. The score gives only the chorus, but the same tune repeated will also serve for the stanza.
F-583
Chorus
Good - bye, An - nie dar - ling,
Break off from thy sor - row,
'Tis sad that our part - ing must be; —
I'll sail the seas o - ver,
I'll cross the wide o - cean,
I'll sail the seas o - ver for thee. —
Mode III, plagal. Tonal Center: g. Structure: abab (2,2,2,2) = aa (4,4). Circular tune (V).
--------------------------------------------------
685. Essie Dear
'Essie Dear.' Sung by Bascom Lamar Lunsford, Turkey Creek, Buncombe county. No date given.
F-S84
I am wait - ing in the wild - wood, Es - sie, dear, Be -
side the streams that mur - mur sweet and low,
In nook we've known from child - hood, Es - sie, dear,
Where we of - ten roamed in, man - y days go.
Where the birds are sing- ing in the trees —
Where joy-ous car-ols ech - o through the dell
And the vi-olets are smil-ing in the breeze.
Their hap - py, hap - py tale of love they tell.
Scale: Hexatonic, (4) plagal. Tonal Center: b-flat. Structure: abacdeac (2,2,2,2,2,2,2,2) = aa1ba1 (4,4,4,4) = Reprisenbar.
-----------------------------------------
686. Sweet Evelina
'Sweet Evelina.' Sung by Dr. I. G. Greer, us score, Boone, Watauga county, in 1922. There is also a recording. For an interestingly different version, of which the text is well known, cf. here ABS 211, No. loi ; also ETWVMB 87; JAFL Lix 466 ('Sweet Evalena'), and JFSS V 315 ('My Dear Evleen; Arah').
F-585
Way down in the val - ley where the lil - ies first bloom-
And the winds of the moun- tains nev - er ruf - fled rose,
There lived E - ve - lin the dear lit - tie dove,
She's the pride of the val - ley and the girl that I love.
Dear E - ve - lin - a, Sweet E - ve-li - na,
My love for thee — will nev - er, nev-er die.
For melodic relationship cf. **Ford 142, measures 1-4 and 9-12 of stanza; also 3-4 of our chorus and the first two of the quoted version; *BTFLS 94, III, No. 4.
Scale : Mode III. Tonal Center : b-flat. Structure : aba1ca2c1 (4,4,4,4,4,4) ; b is closely related to a. One might reduce this to: aa1a1 (8,8,8). The tonal center is the lowest tone.
---------------------------------------------------------------------
687 Faithful Friend
'Faithful Friend.' Sung by Mrs. Alice Cooke, Boone, Watauga county, 1921 or 1922. There is also a ms score. Not all of the text could be understood. For a similar text cf. OFS iv 305, No. 792.
When first I saw yo«r smil - ing face
And youth was in its prime.
When like turn to like set free. —
And ev - er since I've found you've been a faith - ful
friend to me. — It mat - ters not wher - e'er I am,
Wher-er you may be-
If I have had a friend you've been that friend to me.
Scale : Heptachordal, plagal. Tonal Center : f. Structure : ababcb ('4,4,4. 4,4,4) ; the second half of c is closely related to a.
---------------------------------------------
688. Flitting Away
'Flitting Away.' Sung by Mrs. Arizona Hughes, recorded at Upper Hinson's Creek, P. O. Spear, Avery county, August 27, 1939. The first two measures and related parts are identical with those of "Last night as I lay on my pillow" from the old song 'My Bonnie Lies Over the Ocean.' The cadences of the various phrases also match those of the latter song. Our song furnishes
another good example of the fate of a tune through all its travels. Not all the words could be understood.
F-587
I'm long - ing- for the flow - ers that have bios - somed and fled.
For the hearts that are burst - ing with long - ing-
For the grass that's all with - ered and dead-
Beau-ties I thought ne'er would per - ish-
One by one fad - ed a-way. —
The — bless - ings of earth that we cher - ish,-
That is lov - ing and true that will stay.
Flit - ting — flit - ting- a - way
All that we cher - ish most dear, —
There's noth - ing on earth that will stay-
Ros - es must die with the year.
Scale: Hexatonic (4), plagal. Tonal Center: g. Structure: abacddac a1b1ac (2,2,2,2,2,2,2,2,2,2,2,2) = aaiba1a1ai (4,4,4,4,4,4). As aa1ba1 is a Reprisenbar comprising the stanza, the over-all form would then be : Reprisenbar plus strophe, a compound form.
2nd stanza:
are sleeping,
Are the beautiful dreams of the past,
And the eyes of the weary with weeping-
Or the hopes that we fancied might last.
Lovingly, longingly, sighing,
Over the ashes we sit.
While the roses about us are dying
And the moments
3rd stanza:
There were eyes that were gleaming.
There were lips that ,
That the mold of the grave now is dimming
In silence unbroken
------------------------------------------------------------
689. Goodbye 'Goodbye.' Sung by C. E. Buckner, Asheville, Buncombe county, May 1920. Among numerous other songs, this also belongs to the group known as Folk-lyric. Cf. 'Little Bunch of Roses' (F-S99). The typewritten sheet states: "From the mountains of western N. C." For similar text see F-599.
F-588
Darling, have come t o tell you
iThough this mes - sage breaks my heart.
By the dawn - ing of to - mor - row,
You and I, my love, must part.
Scale: Hexatonic (4), plagal. Tonal Center: f. Structure : abab1 (2,2,2,2) = aa1 (4,4).
2nd stanza :
Take this little bunch of roses
That you gave me long ago,
I have kissed them and I've blessed them,
But I'll kiss them never more.
3rd stanza :
When the whippoorwill is singing
On some sad and lonesome sea,
Tell me, oh my darling, tell me.
Won't you sometimes think of me?
4th stanza:
When the golden sun is setting
On some calm and distant sea;
When of others you are thinking
Won't you sometimes think of me?
5th stanza:
You may go and court another,
Try and win her for your bride.
Not a tear shall fall in silence,
Love can never conquer pride.
6th stanza:
When you think that you have gained her.
Cast one lingering thought on me.
Think of her who prayed in secret,
Think of her who died for thee.
7th stanza:
You have wrecked the heart that loved you,
You have broken every vow.
You have learned to love another.
And my heart is broken now.
8th stanza:
Goodbye, little darling, I must leave you,
Though it fills my heart with pain,
I must say, "Goodbye, God bless you,"
We may never meet again.
9th stanza:
When my eyes in death are closing
And my lips are pale and cold,
Don't forget me, little darling.
For I love you best of all.
----------------------------------------------------
690. Goodbye, John
'Goodbye John.' Sung by Miss Laura M. Cromartie, Garland, Sampson county. No date given. Beginning is slightly like that of 'Little Brown Jug.'
F-589
Good-bye, John, Don't stay long.
But come back home to your own chick - ie - bid - die,
My — heart
to see you go,
Don't for - get your dar - ling.
Scale: Heptachordal, plagal. Tonal Center: b-flat. Structure: abac (2,2.2,2) = aa1 (4,4). The tonal center in this song is the lowest in frequency. Text and tune do not conform structurally.
----------------------------------
691. I'll Be All Smiles Tonight
'I'll Be All Smiles Tonight.' Sung by Dr. I. G. Greer. No place or date given. The singer remarked: "Sentimental song of about 30-50 years ago." For identical or related texts cf. OFS iv 334; Ford 414-15; JAFL lix 442. Compare our melody with that of F-63S, which, melodically speaking, 13 closely related.
F-590
I'll deck my brow with ro3 - es. The loved one may be
there. The gems that oth - era gave me, Will shine with -
my hair. And e - ven them that know me, Will
think my heart is light,
Though my heart will break to-mor - row.
I'll be all smiles to - night.
I'll be all smiles to night, love,
I'll be all smiles to - night.
Though my heart may break to - mor - row,
I'll be all smiles, to - night.
For melodic relationship cf: ***MemM 117; Texas FS 138-40; also 295 (editor says: "song published 1879") ; **PTFLS 333, No. xiii; Ford 137, the general outline of the melody in both versions is quite alike. It is interesting to observe what the same tonal material as well as progressions results in when handled by different singers. Note the change in meter.
Scale: Heptachordal, plagal. Tonal Center: c. Structure: aba1cac (4,4,4, 4,4,4) =: aa1a1 (8,8,8). The first two measures of c are identical with those of b.
---------------------------------------
692. I'll Give You My Love
'I'll Give You My Love.' Sung by Mrs. H. G. Herring, of Tomahawk, Bladen county, no date given. Although the ms score gives no text, nevertheless, judging from all evidences, melodic and rhythmical, this tune seems to belong to the series of 'Paper of Pins.' (Cf. F-1.)
F-591
Scale: Heptachordal, plagal. Tonal Center: g. Structure: abed (2,2,2,2).
-----------------------------------------
693. I Loved You Better Than You Know
'I Loved You Better Than You Know.' Sung by Miss Hazel Halsey, Piney Creek, Allegheny county, in 1922. A practically identical text can be found in OFS IV 215, No. 738. The Ozark version has a chorus, while ours has none. The very beginning of our tune is a slight variation of 'Home, Sweet Home.'
F-592
Our hands are clasped the last for - ev - er,
Perhaps we'll nev - er meet a - gain,
I loved you as I loved no oth - er,
this part - ing fills my heart with pain.
You-ask and free - ly I for - give you,
This hap - py past I must for - get,
And as wan - der on in sor - row,
I hope that you'll be hap - py yet.
Scale : Heptachordal. Tonal Center : c. Structure : abcdabcd (2,2,2,2,2,2,2,2) = abab (4,4,4,4). The tonal center is the lowest tone.
----------------------------------------------
694. In the Shadow of the Pines
'In the Shadow of the Pines.' Sung by Bascom Lamar Lunsford, Turkey Creek, Buncombe county. No date given. There was another version credited to Miss Hattie McNeill, but this record was destroyed in transit to the Library of Congress. The typewritten text, however, which was to go with that tune is almost identical with that of our present version. Another text given by Miss Pearl Webb of Pineola, Avery county, has two additional stanzas. The beginning of our tune to the chorus reminds somewhat of 'Les Preludes' by Liszt.
F-S93
We wan - dered through the shad - ow of the pines, my love and I,-
As the wind was blow - ing fresh - ly from thesea;
When the sud - den, fit - ful dark-ness stole a cross the sum-mer sky.
And the shad - ow came between my love and me.
Some hast - y words were spo ken and al - most im - a-wares,
Hast - y an-swers to unthink - ing an - ger — led.
And our hearts felt bit - terlong - ings, and our weep - ings and our prayers
Ne'er canmake those false and cru-el words un - said.
Come back to me, sweet -heart, and love me as — be - fore. —
Fly back to me, sweet-heart, and leave me nev - er more;
In life'sdark path-way the sun no long - er shines,
Come, love, — and meet me, in the shad-ow of the — pines-
Scale : Heptachordal, plagal. Tonal Center : e-flat. Structure : abacdeacfgf1g1 (2,2,2,2,2,2,2,2,2,2,2,2) = aa1ba1cc1 (4,4,4,4,4,4). As the stanza aa1ba1 is a Reprisenbar, the over-all form again is a compound structure : Reprisenbar plus strophe. Additional text furnished by Miss Pearle Webb:
2nd stanza :
You took the ring I gave you, nor cast a glance at me,
As you lield the jeweled trinket in your hand;
And then you turned and tossed it in the waters of the sea,
When the waves were splashing idly on the sand,
You went your way unheeding the tears I could not hide,
You went your way and not a word was said.
But my stubborn heart was breaking underneath its mask of pride
And the pine trees sobbed in pity overhead.
3rd stanza:
I awoke from bitter dreamings, but to call aloud your name;
I sleep again to dream of you once more;
And my stubborn pride has left me, I admit I was to blame,
Forgive me, dear, and love me as before.
For tlie future is o'ershadowed with the darkness of despair,
In the sky of life love no longer shines,
And I'd give the whole world gladly once again to meet you there.
Reunited in the shadow of the pines.
-------------------------------------------------
695. In the Shadow of the Pines
'In the Shadow of the Pines.' Anonymous singer. No place or date given. Only the chorus is given, which closely resembles that of F-593 (cf. remarks there) ; the difference is that our present chorus is less melismatic in its melodic line.
Chorus F-594
Come back to me sweet-heart and love me as be - fore
r back to me
sweet - hea
and leave me nev- er -more,
In life's dark path - way, the sun no long - er shines,
- in the shad-ow of the pines.
Tonal Center : f. Structure : abaca1ba1d
Come love, and meet me
Scale: Hexatonic (4), plagal (2,2,2,2,2,2,2,2) = aaia2a3 (4,4,4,4). In the latter division, the a1 is considerably modified; the beginning of each phrase, however, is the same or almost so.
--------------------------------------
696. I Want to Be Somebody's Darling
'I Want to Be Somebody's Darling.' Sung by C. E. Buckner, Asheville, Buncombe county, May 6, 1920. Cf. Ill 320, No. 272; one line of our text can also be found ibid., 412-13, No. 350 A, B, and C.
F-595
to be some - bod - y's dar - ling-
I'm tired of liv - ing a - lone
To be queen o - ver somelit- tie king - dom,
To be queen o - ver some lit - tie home.
Scale: Heptachordal, plagal. Tonal Center: e-flat. Structure: abed (2,2,2,2) c is quite related to a. Over-all form: ab (4,4)-
697. Just Give Him One More as He Goes
'Just Give Him One More as He Goes.' Sung by Dr. I. G. Greer, Boone, Watauga county, 1915-16; ms score. For similar text cf. OFS III 88,
'I'll Give You One More as You Go'; also known as 'Sic Him, Towse.'
F-596
My sweet-heart's a kind - lit - tie miss, —
And I love her most dear - ly you know, —
But when I ask for kiss-
She gives me just one and no more. —
She gives me just one and no more, —
She gives me just one and no more, —
But when I ask for a kiss —
She gives me just one and no more. —
Scale: Hexachordal. Tonal Center: f. Structure: aba1cab1ac (2,2,2,2,2,2,2,2) := aa1aa1 (4,4,4,4). The tonal center is the lowest tone.
698. Leap Frog John
'Leap Frog John.' Sung by Mrs. Eliza Sanders, Jonas Ridge (Rip Shin Ridge), Caldwell county, June 30, 1940. Mrs. Sanders is the mother of
Estalina Graybeal and Millie Ann Sanders. Our first four measures are identical with the first two of 'Little Musgrove and Lady Barnard' (IV 56, No. 26G). Our first two measures are also identical with the first measure of 'Down Under the Hill' (V, F-52) ; this measure is repeated in our present tune, but not in the former. The second measure of F-52, however, modified, is the third in our tune, and our seventh measure is the fourth there. The cadence in both is the same. Our first eight measures are closely related to the first four measures of 'Maid Freed from the Gallows' (IV 77, No. 30A) and the general melodic progression of IV 331-2, No. 316.
F-597
A poor lit - tie man liv - ing un - der the hill And his
name is — Leap frog John-
Old man is eo joy - ous and
eas y to please As a - limp - ing on his way he goes.
Scale: Heptachordal, plagal. Tonal Center: f. Structure: abed (4,4,4,4).
2nd stanza:
He's out at the elbow, and lame in the knees,
And he talks through his nose.
Old man is so joyous and easy to please
As a-limping on his way he goes.
3rd stanza :
When he shuts up the shop and the sun sets low
And the cows from the pasture come,
Oh ! He's playing for .... along with his bow
As he fiddles taw, tee, taw, tum.
--------------------------------------------------------
699. The Letter That Never Came
'The Letter That Never Came.' Sung by Miss Ruth Black, Piney Creek, Allegheny county, 1921.
F-508
let - ter here for me?' Was the ques - tion that he ask'd
Of the mail - man at the close of day.
He turned sad - ly with a sigh,
While a tear stood in his eye,
Then he bowed his head and slow - ly walked a - way.
Was it from grey hair'd moth - er, sis - ter or
broth - er? Had he wait - ed all those man - y years in
vain? Yet from ear - ly morn-ing's light He would watch with spir -
its light, But the let - ter that he longed for nev - er came.
For melodic relationship cf. *WSMML 36, compare melodic idioms at
certain words : "he ask'd," "a sigh," and "morning light."
Scale: Heptachordal. Tonal Center: d. Structure: abab1cc1a1bi (2,2,2, 2,2,2,2,2) = aa1ba1 (4,4,4,4) = Reprisenbar. The tonal center is the lowest tone.
------------------------------------------------
Little Bunch of Roses
'Little Bunch of Roses.' Sung by Mrs. Ephraim Stamey, Altamont, Avery county, July 16, 1940. The rather unusual structure of three measures per phrase is due, no doubt, to the singer's inability to sustain the otherwise held tone at the end of each phrase. Cf. F-588, and JAFL lix, 448. Not all the words could be understood. For similar text see F-588.
F-599
Dar - ling, I have come to tell you
How this sage breaks my heart,
For I'm go - ing out tomor - row,
You and I, my love, must part.
Scale: Hexatonic (4), plagal. Tonal Center: f. Structure: abab^ (3,3,3,3).
2nd stanza :
'Take this little bunch of roses
That you gave me years ago;
Often, darling, I have
I'll never kiss no mo' (re).
3rd stanza :
When you're in bed a-sleeping.
Sleeping on
I am your true love broken hearted.
Listening to the wind that mourns.
----------------------------------------------------
701. The Little Logwood Cabin
'The Little Logwood Cabin.' Sung by Bascom Lamar Lunsford, Turkey Creek, Buncombe county. As the original recording was of very poor quality, this editor asked the singer, who visited him in Chapel Hill in 1952, to sing the song once more.
F-600
There's a lit - tie log - wood cab - in way down in
Ten-nes - see Where the mom - ing glo - ries creep a - round the
door. There's a lit - tie yel - ler girl - ie, she's wait - ing
there fo' me, She's been my lad - y love year or
When we were littie Pick - anny
long go We of - ten played to - geth - er in the
sand. In the eve - ning when the sun was sink - ing low,
of - ten tell her while I held her hand:
My hon - ey, — I more than love you.
Cast dem big eyes up - on me.
Gim-me your Ut - tie brown hand. If you will be my miss - us,
We'll live on po'k an' kiss-es. Hon - ey, does you love your man?
Scale: Hexachordal, plagal. Tonal Center: d. Structure: aba1cdhH1b1be1g (2,2,2,2,2,2,2,1,2,2,2,2). Over-all form: aa1bb1cc1 (4,4,4,3,4,4). In measures 14 and 15 there is an evident shortening of values with consequent shifting of the melodic line. (Compare measure 11: "we often played together" with measures 14-15: "I often tell her, while . . . .") Thus the over-all structure is shortened to 23 measures.
--------------------------------------------
702. The Little Log Cabin in the Lane
'The Little Log Cabin in the Lane.' Sung by Bascom Lamar Lunsford, Turkey Creek, Buncombe county. No date given. The singer stated that this was the version his mother used to sing. Our melody is closely related to that of 'My Little German Home Across the Sea' as found in OFS iv 396, No. 870A. The statement of the editor of the latter volume that the "given text is sung to the same familiar tune, except that the chorus is lacking," seems strange indeed. Previously the same editor referred to this tune of 'The Little Old Log Cabin' as written by Will S. Hays^ (cf. Ford 281), but from the melody which he gives with the text quoted above, one would judge that
he either never saw the composed tune, or never took the trouble to compare the latter with the tune which he affixed to his text. Neither has anything in common with the other.
F-601
I am grow - ing old and fee - ble,
And I can - notwork no more;
I have laid the rust - y - blad - ed hoe to rest.
My ole' mass - a and ole' miss - us sleep-in' side by side
And my friends are now all num-bered with the blest.
My — old log cab - in in the lane,
My old log cab - in the lane,
And the on - ly friend that's left me that little dog
In cabin the lane.
my lit - tie old log
For melodic relationship cf. ***CRS Kit S3, i6, first half of chorus is diflferent; OFS iv 306, No. 870 A, except chorus; OPS 11 220, No. 197 A; **ASb 89; PSL 378, except chorus; BTFLS rv-v 78, no chorus, however; *Ford 281; CS 187-9 (1938).
Scale: Hexachordal, plagal. Tonal Center: f. Structure: abacdeac (2,2,2, 2,2,2,2,2) = aa1ba1 (4,4,4,4) = Reprisenbar. In another, older recording by the same singer, we find quite a different text, all of which, unfortunately, cannot be understood:
I am growing old and feeble And
And my work along the years is nearly done.
My old Massa has departed
And I soon will follow him.
All my friends and one by one.
Chorus: Oh, he said to me, goodbye,
You'll I'll never see those good old times again,
And I think
That I fondly used to hear
In my little old Log Cabin in the Lane.
1 Morrison, Songs We Love, 1903, p. 299.
---------------------------------------------------
703. Lula Falls
'Lula Falls.' Sung by Otis Kuykendall, Asheville, Buncombe county, July 18, 1939. Cf. OFS III loi. No. 383; the second stanza is very similar to ours. Also JAFL lix 451.
F-602
2nd The oth - er eve - ning just at dark,
As I walked down through the park,
She was sit - ting in the hall — all a -lone
I bowed and tipped my hat,
Then we both be
gan to chat, She's an ag - gra - vat - ing beau-ty , Lu - la
WaU.-
Ev - ery ht - tie while she greets me with a smile,
She'll in - vite me to her hap - py home to call — If she'll
on - ly be my wife, I'll be hap - py all my life,
She's an ag - gra - vat - ing beau - ty, Lu - la Wall. —
Scale : Heptachordal, plagal. Tonal Center : e-flat. Structure : abcdefc^d^
(2,2,2,2,2,2,2,2) = abcb1 (4,4,4,4).
--------------------------------------
704. Lula Wall
'Lula Wall.' Sung by Bascom Lamar Lunsford, Turkey Creek, Buncombe county. No date given. Cf. OFS iii loi, No. 383. Our version, however, has no chorus.
F-603
a maid - en bright and fair,
She has love - ly gold - en hair,-
She's as pret - ty as an an - gel from on high.
She has stole my heart a - way.
She has left in sad dis- may,
She's an ag - gra - vat-ing beau-ty, Lu - la Wall.
Scale : Heptachordal, plagal. Tonal Center : e-flat. Structure : abaic (2,2,2,2)
= aai (4,4).
------------------------------------------------------
705. Many Miles Apart
'Many Miles Apart.' Sung by Miss Hattie McNeill, Ferguson, Wilkes county. A subtitle is: 'We are Many Miles Apart.' The text was furnished by S. M. Holton, Durham; no date. Compare our text with that of F-599 in this volume. The second stanza of F-599 is identical with the first of this version, and the text of the chorus is very similar. Likewise, the text of F-588 is like that of the above mentioned versions. Our tune is indicated as chorus, therefore it seems logical that the other two should likewise be considered as such. The tune of the chorus will fit the text of the stanza. Cf. also 'Lady Alice' for second stanza, II 131, No. 28, versions B, D, F, I, K.
F-604
Chorus: Sad, oh sad, my dar - ling
Oh, this mes - sage breaks my heart:
And be - fore this time tomor - row, —
We'll be man - y miles a - part.
Scale : Heptachordal. Tonal Center : e-flat. Structure : abed (2,2,2,2) = ab (4,4). The tonal center is the lowest tone.
1st stanza:
Take this little bunch of roses
That I gave you years ago.
I have kissed them dearly, darling;
Those I'll never kiss no more.
Chorus: (as in score above)
2nd stanza:
Oh, don't you see those mourning doves
Flying from pine to pine?
They are weeping for their true loves
Just like I do weep for mine.
3rd Stanza:
When you hear those whip-poor-wills hollowing [sic]
On some dark and lonesome sea;
When you are thinking of your darling,
Will you one time think of me?
4th stanza :
Oh, my darling, gone forever,
No more in this wide world to me,
For tonight he is with another ;
He no longer cares for me.
------------------------------------------------
706. Maple on the Hill
'Maple on the Hill.' Sung by Bascom Lamar Lunsford, Turkey Creek, Buncombe county. No date given. This song belongs to the group of songs under the general title: 'Will You Love Me When I'm Old?' (F-271). There is, however, no melodic relationship involved. For another text cf. JAFL Lix 452.
F-605
Come, lis - ten now, me dar - ling, lean your head up -on my breast, As we lis - ten
to the mur - mur of the rill.
Will you al - ways love me dar-ling, as you did thatstar - ry night. As we sat be-neath the ma - pie on the hill.
Scale: Mode III, plagal. Tonal Center: a. Structure: nmm1 (4.2,2) = inverted barform.
--------------------------------------
707. Mary, Weep No More for Me
'Mary, Weep No More for Me.' Sung by C. K. Tillett, Roanoke Island, December 29, 1922. Another title given : 'Mary and Sandy' ; cf. FSRA 72. The text was furnished by J. B. Midgett, of Wanchese, Roanoke Island. He probably is the uncle of P. D. Midgett, Jr., a Trinity College student who wrote F. C. Brown in 1920 from Wanchese that his father knew about
five hundred songs. Cf. BSO 201-2; FSF 137-9; also BTFLS vi-vii 35
and ibid, xvi-xvii 51.
F-606
The moon had climbed the high - est hill
That ris
over the source so deep.
And from its east - em sum-mit
ItS shed sil - verlightver tow - er - ing trees.
When Ma - ry laid her down to rest,
Her thoughts on Sand far at sea,
When soft and low a voice she heard,
Say - ing, Ma - ry, weep no more for me.
For melodic relationship cf. ***FSRA 72 ; observe, however, the change of meter.
Scale : Mode III, plagal. Tonal Center : g. Structure : abcbabcb (2,2,2,2,2,2,2,2)
= abab (4,4,4,4). This represents two stanzas.
--------------------------
708. Molly Darling
'Molly Darling.' Sung by Miss Jewell Robbins, Pekin, Montgomery coun-
ty, 1921-22. For additional versions cf. Ford 330; FSoA 82; BSM 279-80;
other titles: 'Put Me in My Little Bed' and 'O, Birdie.'
F-607
Won't you tell me, Moll - ie darling,
That you love none else but me?
For I love you Moll - ie dar - ling,
You are all this world to me.
Moll - ie fair - est, dear - est,
Look up dar-ling, tell me this If you love me.
Moll - ie dar - ling, Let your an-swer be a kiss.
For melodic relationship cf. *FSoA 82, second and third measures only.
Scale : Heptachordal. Tonal Center : e-flat. Structure : abacdeac (2,2,2,-
2,2,2,2,2) = aa^ba^ (4,4,4,4) = Reprisenbar. The tonal center is the lowest
tone.
--------------------------------------
709. Molly Darling
'Molly Darling.' Sung by Mrs. G. L. Bostic, Mooresboro, Cleveland county,
September 7, 1939. This song, recorded about seventeen years after the
Jewell Robbins version, is nevertheless almost identical with it. There are,
however, two differences : the ending of the stanza and the lack of a chorus
in the later version. There is another text furnished by Miss Katherine Bernard
Jones from Raleigh, which can be sung to the Bostic tune. Since Ford 330
gives the second of this version as chorus, the whole would have to be sung
to the Robbins tune (F-607). The same title can be found in JAFL Lix
453- F-608
Won't you tell me, Moll - ie darling
That you love no one but me?
For I love you Moll - y
dar - ling. most frequently
Scale : Hexatonic (4) , plagal. Tonal Center : d. Structure : abac (2,2,2,2)
— aai (4,4).
-----------------------------------------
710. My Hair Was Black as Ribbon
'My Hair Was Black as Ribbon.' Sung by Mrs. Minnie Lee, Alliance, Pamlico
county, 1927, and recorded with the co-operation of Julian P. Boyd. Not all
the words could be understood.
F-609
My hair was black as rib - bon, My eyes were spark - ling blue
Scale : Mode III, plagal. Tonal Center : c. Structure : abcdbc1 (2,2,4,2,2,4)
= abcb^ (4,4,4,4) ; the endings of a and c are alike.
-------------------------------------------
711. My Pretty Quadroon
'My Pretty Quadroon.' Sung by Dr. I. G. Greer, Boone, Watauga county,
1921-22. There are two ms scores, besides the recording. For additional
texts cf, SMLJ 217; JAFL lix 454.
F-610
Oh, who was as hap - py as I?-
She'd a brow like the bios - som - ing pea
And the light of her vi - o - let
blue-eyes Nev - er shone on a dark - y like me.
my pret - ty qua - droon,- The flow - er
that fad - ed so soon, — This heart like the strings on my banjo
Am broke for my pret - ty qua - droon.
Scale: Heptachordal, plagal. Tonal Center: f. Structure: abcdabcd (2,2,2,
2,2,2,2,2) = abab (4,4,4,4).
2nd stanza:
Her face was exceedingly fair.
She'd a cheek like the wild rose of June,
And the ringlets of her dark, glossy hair
Was the pride of my pretty quadroon.
---------------------------------------
712. Old and Gray
'Old and Gray.' ('When I am Old and Gray'). Sung by Dr. I. G. Greer,
Boone, Watauga county, in 191 5 or 1916. This also belongs to the "Will
You Love Me in December?" category.
F-611
'Tis thee and not the ros - es, dear,
That I have learned to love,
Though now thine eyes are bright and clear,
And gen - tie as a dove.
Yet should thine eyes grow dim with age
I'll love thee all the way,
For 'tis the head and not the heart
That shall grow old and gray.
And I shall love thee and more As years shall passway.
We'll know each oth - er bet - ter, dear,
When we are old and gray.
Scale : Hexachordal. Tonal Center : d. Structure : aa1ba1ba1 (4,4,4,4,4,4) =
abb (8,8,8) ; the second half of b is the same as that of a. The whole is
based on inverted barform = nmrn1. The tonal center is the lowest tone.
---------------------------------------------
713 The Old Stepstone
'The Old Stepstone.' Sung by Bascom Lamar Lunsford, Turkey Creek, Buncombe county, 1921. The singer learned this song from Lila Ammons of Robbinsville, Graham county, the fifteen-year-old daughter of the sheriff. The song is also known as 'The Old Doorstep.' For additional version of the text and remarks in OFS iv 381. The fourth and second stanzas there are combined in our version. This is made mandatory by our tune.
F-612
O 'tis sad to be part - ed from those that we love,
Strange fa - ces — we see ev - 'ry day.
Each heart-string of mine is bro - ken in — time,
When I think on those dear ones at home.
Good - bye, dear old step-stone, good - bye to my
home, God bless those I leave with sigh,
I'll cherish fond mem - 'ries when I'm-farway
To wan - der o'er this wide world a - lone.
Scale : Hexachordal, plagal. Tonal Center : b-flat. Structure : abaicdea^c
(2,2,2,2,2,2,2,2) ^ aa^ba^ (4,4,4,4) = Reprisenbar. In the smaller subdivision,
c is somewhat related to a.
-------------------------------------------------------
714. Over the Garden Wall
'Over the Garden Wall.' Sung by Mrs. Ewart Wilson, Pensacola, Yancey county, September 1929. For additional texts cf. OFS iv 392, No. 867 ; JAFL Lix 458; SFLQ IV 180-1. According to the information given in OFS iv, this song was sung in England when Charles J. Finger was a boy.
F-613
once stood un - der alac tree
O - ver the gar - den wall.
She whis-pered and said she'd be true to me,
O - ver the gar - den wall. She had beau - ti - ful eyes and
beau - ti - f ul hair; She was not ver - y tall, so she
stood on a chair And man - y a times I kissed her there.
O - ver the gar - den wall.
Over the garden wall,
The pret - ti - est girl of all
nev - er shall for get how her kiss - es felt
O - ver the gar - den wall.
Scale : Heptachordal. Tonal Center : c. Structure : abcded (4,4,4,4,4,4) ; e is
slightly related to b. The tonal center is the lowest tone.
--------------------------------------------
715. Pretty Bessie
'Pretty Bessie.' Sung by Mrs. J. J. Miller, Lenoir, Caldwell county, in
1921 ; MS score, without words. In a note Frank C. Brown says: "Cf.
'Charlie and Bessie,' to see if this air will sing to it. No words yet, June 21,
1922." Our tune does not "sing to" the text quoted (cf. IV 148, No. 71B),
except with considerable changes. There is no record for this tune nor have
any words been found. For additional text cf. PMOT 159-160 i, title and
ending of stanza.
F-614
Scale: Mode III, plagal. Tonal Center: f. Structure: abed (2,2,2,2) = ab (4,4)-
------------------------------------------------
716. Riding in a Sleigh
'Riding in a Sleigh.' Sung by G. L. Bostic, Mooresboro, Cleveland county,
August 7, 1939. Melodically, the chorus begins like 'Tramp, Tramp, Tramp,
the Boys are Marching.'
F-615
And then she asked me how man - y bridg - es
On our jour-ney lay,
And then I an-swered prompt-ly
Rid- ing in a sleigh.
Hitch her up, hold your hors-es!
Or they'll get a - way-
Oh, is - n't it pleas - ant to kiss your sweet - heart
Rid - ing in a sleigh?
For melodic relationship cf. **CRS Kit 53, 22 'Riding in a Sleigh.'
Scale: Hexatonic (4), plagal. Tonal Center: f. Structure: abab1cbab1 (2,2,2, 2,2,2,2,2) = aa^bai (4,4,4,4) = Reprisenbar.
2nd stanza :
Coming o'er the ridge,
I turned around and lightly kissed her
Coming o'er the bridge.
3rd stanza:
On a certain
I'll not name the day.
We'll have a preacher with us
Riding in a sleigh.
--------------------------------------
717. Rosalie, the Prairie Flower
'Rosalie, the Prairie Flower.' Sung by Mrs. Alice Cooke, Boone, Watauga
county. No date given. Frank C. Brown notes : "Published 50 years ago in sheet music form." Actually, this song by Wurzel (Geo. F. Root) was published by Nathan Richardson at Boston, in 1855. C£. EASM 150. For this title cf. JAFL lix 461. Only a few words could be understood in such a poor recording.
F-616
O'er the dis - tant prai - rie
Fair as the li - ly
Ev - 'ry one who knew her
As Ros - a - lie the Prai - rie Flow'r.
Scale : Heptachordal, plagal. Tonal Center : g. Structure : aba1cdea1c (2,2,2, 2,2,2,2,2) = aa1ba1 (4,4,4,4) = Reprisenbar.
------------------------------------------------
718. Sadie Ray
'Sadie Ray.' Sung by Miss Eula Fletcher, Mabel, Watauga county, 7, 1922. MS score. The text, which is almost identical with the
version, was furnished August 17. For other versions cf. OFS JAFL LIX 462.
August Midgett IV 282;
F-617
'Neath the cool and shad wood - land
Where the rip - pling stream-lets flow,
Dwelt a maid - en kind and love - ly,
It the long go.
Scale: Mode III, plagal. Tonal Center: g. Structure: abab1 (2,2,2,2) = aa1 (4.4).
------------------------
719. Sadie Ray
'Sadie Ray.' Sung by C. K. Tillett, Roanoke Island, December 29, 1922. Midgett text. For another version with almost identical text but not tune cf. OFS IV 282.
F-618
In the cool and shad - y wood - land
Where the rip - pling stream - lets flow,
Dwelled a maid - en fair — and love - ly,
It was in the long — a - go. '
Scale: Mode III. Tonal Center: b-flat. Structure: abab1 (2,2,2,2) = aa1 (4,4). The tonal center is the lowest tone.
---------------------------------------------------
720. Seven Long Years
'Seven Long Years.' Anonymous singer. This melody was found on the back of a MS score containing a pencil copy of 'Sally Ann.' The words "Seven Long Years" at the beginning of the third phrase gave the only indication as to the nature of the song. The identical tune, also by an anonymous singer, is the ballad 'Young Edwin in the Lowland, Low' (IV 153, No. 79). The only difference is that the latter begins with the additional phrase "Seven Long Years." The ballad tune skips from there to the last four measures of our present melody; the second stanza, however, begins with just this omitted phrase.
F-619
Sev - en long years
Scale: Mode IV. Tonal Center: d. Structure: aa^baia^ (4,4,4,4,4), basically a Reprisenbar plus coda; The latter is actually a mere repetition of the preceding four measures. Excepting the third phrase, every other cadences on II.
721. Sparking on a Sunday Night
'Sparking on a Sunday Night.' Sung by Mrs. Alice Cooke, Boone, Watauga county, 1922. MS score and record. No more text available. For additional texts cf. OFS III 228, No. 468- Ford 296; JAFL lix 465.
F-620
Sit - ting in the cor - ner spark-ing on a Sun - day
( eve With her ta - pered fin - gers rest - ing on my sleeve.
up - on me so bright
Oh, bless me ain't it pleas-ant spark - ing on a Sun-day night.
Spark-ing, spark - ing, spark - ing spark-ing on a Sun-day night,
Oh, bless me ain't it pleas - ant, spark-ing on a Sun-day night?
Scale: Hexatonic (4), plagal. Tonal Center: g. Structure: aba1b1a-b2 (4,4,4,4,4,4).
----------------------------
722. Standing by the Old Cabin Door
'Standing by the Old Cabin Door.' Male singer with banjo accompaniment. No place or date given. The only words that could be understood are those of the title; they conclude the song. For other versions cf. FSoA 32 ('Rosalee'), last line only; RAS 111-12; FSUSA 210-11, stanzas 3 and 8.
F-621
Stand-ing by the old ca - bin door.
Scale: Hexatonic (4), plagal. Tonal Center: g. Structure: ah (4,4"). It should be noted that the melodic line of b is very closely related to that of a. The difference lies in the rhythmical formation of both.
723. Standing by the Old Garden Gate
'Standing by the Old Garden Gate.' Sung by Miss Arlie Jonas, Ready Branch, Wilkes county, 1921. The ms score contained no text. As there was, however, also a recording, it was possible to glean at least the words given in the score below. No more could be gotten. For additional text cf. OFS IV 324-6 ; the words of the chorus are similar.
F-622
I've loved you al - ways, yes, I've been true,
My heart has al - ways longed just for you sweet - heart,
be - lieve me far cross the sea
In Ufe in death, love, faith - ful I'll be.
Scale: Heptachordal. Tonal Center: d. Structure: abacdd1ee1 (2,2,2, 2,2,2,2,2) =aa1bc (4,4,4,4) ; (e is somewhat related to d). Over-all form: mm1no = barform plus coda.
---------------------------------------------
724. The Stars Shine Bright
'The Stars Shine Bright.' Sung by Mrs. Ewart Wilson, Pensacola, Yancey county, 1929. For additional version with similar stanza and almost identical chorus cf. OFS iv 216-17.
F-623
The stars shine bright
And the moon gives her light.
And the eve - ning in - vites me to stay.
In vain do I sigh for the bride-groom I've lost.
For I'm here and I can't a - way.
Oh, there's some - bod - y wait - ing, wait - ing,
Some - bod - y wait - ing, wait - ing,
Some - bod - y wait - ing for me,
Oh, there's some - bod - y wait - ing, wait - ing.
Some - bod - y wait - ing, wait - ing.
Some - bod - y wait - ing for me.
Scale: Hexatonic (4), plagal. Tonal Center: f. Structure: abab1ab2ab1 (2,2,2,2,2,2,2,2) = aa1a2a3 (4,4,4,4).
-----------------------------------------
725. Sunny Tennessee
'Sunny Tennessee.' Sung by Bascom Lamar Lunsford, Turkey Creek, Buncombe county. No date given, but probably 1921. Frank C. Brown says "In Print." Cf. OFS iv 2,2,2, also JAFL lix 466.
F-624
On a morn-ing bright and clear
To my old home I drew near,
just vil - lage down in Sun - ny Ten - nes - see.
speed - ing on a train
That would bring me back a - gain
To my old home that was wait - ing there for me.
I could hear the dark - ies sing - ing
As she said fare - well to me
Far a - cross the fields of cot - ton-
My dear old home I could see,
Where the moon rose in its glo - ry,
There I told my sweet - est sto - ry
To the love girl in Sun - ny Ten - nes - see.
For melodic relationship cf. ***OFS IV 332, the first halves of the stanzas are almost identical and the second half of our stanza is identical with the chorus of the quoted version.
Scale: Heptachordal, plagal. Tonal Center: f. (2,2,2,2,2,2,2,2) = aa1bb1 (4,4,4,4). Structure : aba1b1cdc1b1
------------------------------------
726. Sweet Bunch of Daisies
'Sweet Bunch of Daisies.' Sung by the late Mrs. I. G. Greer, Vilas, Watauga county. MS score and record, 1921-22. The text was furnished by Miss Annie Smith; a note in handwriting of Thos. Smith: "popular here fifteen years ago." Dr. White says : "Same as 'Sweet William.' " for another version ct. J A PL Lix 466.
F-625
Sweet bunch of dai - sies,
Oh, how dear to me.
Oft -I hear them
Whis - p'ring love of thee.
Mur - mur - ing soft - ly
In si - lent theme
Of love's bright mom - ing,
Now one sad, sweet dream.
Sweet bunch of dai - sies,
Brought from the dell;
Kiss me one, dar - ling
Dai - sies won't tell.
Give me your prom - ise
Oh- sweet-heart do
Dar - ling, I love you
Won't you be true?
Scale: Heptachordal, plagal. Tonal Center: a. Structure: aba1caba1c (2,2,2, 2,2,2,2,2) = aa1aa1 (4,4,4,4), In the smaller subdivision, the beginning of b is the same as that of a.
----------------------
727. Sweet Forget-Me-Not
'Sweet Forget-Me-Not.' Sung by Dr. I. G. Greer, Boone, Watauga county, 1915-16. MS score. The whole song seems to be somewhat hazy reminiscing on old favorites like "Little Annie Rooney,' 'In the Good Old Summertime,' and 'Let Me Call You Sweetheart.' For another version (Negro text) with the same title but different text cf. JAFL xxiv 287.
F-626
Oh, fan - cy brings a thought to me,
A flow - er rich and rare—
Of grace and beau - ty these com-bined,
A fade-less flow - er rare-
So like a maid - en that I knew,
It was my hap - py lot
She dropped a flow - er, I picked it up,
A Sweet For-get - me Dot.
Grace -tul and as charm -ing as
The li - lies of the pond,-
For time doth glide so swift - ly by
While with her I'm so fond. —
The ros - es and the vio - lets, too,
They clus - ter round the spot.
When we part - ed and she whis-pered
'Oh, you'll for - get me not.' —
Scale: Hexachordal, plagal. Tonal Center: b-flat. Structure: (one strophe only) abacabde (2,2,2,2,2,2,2,2) = aa1ab (4,4,4,4).
------------------------------------
728. Sweet Long Ago
'Sweet Long Ago.' Sung by Miss Jewell Robbins, Pekin, Montgomery county, 1921. For another version cf. JAFL lix 466 (text and title).
F-627
There's mys the gold shore Where thesurg - es er - more
Break in mu - sic the strand soft and low.-
I can hear the cease - less hymn, I can see the head-land dim
Of the gold shores of sweet long a - go-
Long ago, sweet long ago-
On the gold - en shores of sweet long a - go.-
Long A - go, sweet long a - go. —
On the gold - en shores of sweet long a - go.
Scale: Hexatonic (4), plagal. Tonal Center: g. Structure: abab1cbcb1 (4,4,4,4,4,4,4,4) = aa1bb1 (8,8,8,8).
------------------------------------------
729. Singing in the Lane
'Singing in the Lane.' Sung by Miss Jewell Robbins, Pekin, Montgomery county, 1921-24. The singer obtained this version from her English grandmother, Mrs. Belinda Horton, born in Moore county, of English parents. The beginning of the melody is similar to that of 'Should Old Acquaintance Be Forgot.' Cf. also ASb 114-5 ('Rosie Nell'), also F-582 'Childhood Days' ('Sweet Nell').
F-628
The boys and girls I used to know went fish - ing in the brooks.
With spools of thread for fish - ing lines
And bend - ed pins for hooks.
Swing -ing in the lane,
Swing-ing in the lane,
I nev - er, nev - er shall for - get
The swing - ing in the lane.
For melodic relationship cf. **OFS rv 397 (except chorus).
Scale: Mode III, plagal. Tonal Center: e-flat. Structure: abcdbecd (2,2,2,2,2,2,2,2) = abed (4,4,4,4). In the smaller subdivision the e is somewhat related to c. In the over-all form, the beginning of c is like the ending of a.
-------------------------------
Surely I Can Do
No title. Anonymous male singer with banjo accompaniment. No place or date given. Only a fraction of the text could be understood. Cf. here, however, FSoA 154, second stanza.
F-629An - y a - mount
Stanza 2
Sure - ly I can do.
fine. C!ourt - in', court - in', court - in',IS mine.
Scale: Heptachordal. Tonal Center: b-flat. Structure: abed (2,2,2,2) = ab (4,4). The tonal center is the lowest tone.
-------------------------------------------------
731. Hole in the Bucket
'Hole in the Bucket.' Sung by Claire Burleson and Joe Powles, Crossnore, Avery county, August 8, 1940. For international relations refer to the remarks in PSL 83 and 266; VTWL 48, No. 82 'Wenn das Pott aber nun en Loch hat?'
F-630
There's a hole in the buck - et
zah, li - zah,
There's a hole in the buck - et,
li - zah, there's a hole. Then mend it, dear Georg - ie, dear
Georg - ie, dear Georg - ie, Then — mend it, dear
Georg; - ie, dear Georg - ie, mend the hole.
Scale: Mode HI, plagal. Tonal Center: g. Structure: aa^aa^ (4,4,4,4).
Every phrase cadences on I.
2nd stanza:
With what shall I mend it, Eliza, Eliza?
With what shall I mend it, Eliza, with what?
(answer)
With a straw, then, dear Georgie, dear Georgie, dear Georgie,
With a straw, then, dear Georgie, dear Georgie, with a straw.
3rd stanza:
If the straw be too long, Eliza, Eliza,
If the straw be too long, Eliza, then what?
Then cut it, dear Georgie, dear Georgie, dear Georgie,
Then cut it, dear Georgie, dear Georgie, cut the straw.
4th stanza:
With what shall I cut it, Eliza, Eliza?
With what shall I cut it, Eliza, with what?
With a knife then, dear Georgie, dear Georgie, dear Georgie,
With a knife then, dear Georgie, dear Georgie, with a knife.
5th stanza:
If the knife be too dull, Eliza, Eliza?
If the knife be too dull, Eliza, then what?
Whet the knife then, dear Georgie, dear Georgie, dear Georgie,
Whet the knife then, dear Georgie, dear Georgie, whet the knife.
6th stanza:
With what shall I whet it, Eliza, Eliza?
With what shall I whet it, Eliza, with what?
With a stone then, dear Georgfie, dear Georgie, dear Georgie,
With a stone then, dear Georgie, dear Georgie, with a stone.
7th stanza:
If the stone be too rough, Eliza, Eliza ?
If the stone be too rough, Eliza, then what?
Then smooth it, dear Georgie, dear Georgie, dear Georgie,
Then smooth it, dear Georgie, dear Georgie, smooth the stone.
8th stanza :
With what shall I smooth it, Eliza, Eliza?
With what shall I smooth it, Eliza, with what?
With water, dear Georgie, dear Georgie, dear Georgie,
With water, dear Georgie, dear Georgie, with water.
9th stanza:
In what shall I fetch it Eliza, Eliza?
In what shall I fetch it, Eliza, in what?
In a bucket, dear Georgie, dear Georgie, dear Georgia,
In a bucket, dear Georgie, dear Georgie, in a bucket.
loth stanza:
There's a hole in the bucket, Eliza, Eliza,
There's a hole in the bucket, Eliza, there's a hole.
-------------------------------------------
732. Hop Along
'Hop Along.' Sung by Blake B. Harrison, Trinity College, Durham, in
1919. (Negro fragment.) Cf. ANFS 134, No. 7. Our song is a parody of the
church song: 'You Must Be A Lover of the Lord, If You Want to Go to Heaven, When You Die.'
F-631
You'll have to be the lev - er of an un - der - tak - er'a
daugh - ter If you want to get a cof - fin when you
die. — Hop a - long, sis - ter Mol - ly, hop a - long, hop along,
Hop a - long, sis - ter Mol - ly, hop a - long.
Scale: Pentachordal, plagal. Tonal Center: g. Structure: aba^b (2,2,2,2)
= aai (4,4).
------------------------------------------------------
733. I Don't Let the Girls Worry My Mind
'I Don't Let the Girls Worry My Mind.' Sung by H. J. Beaker, Boone, Watauga county, August 1939, 1940, or 1941.
F-632
Lit - tie fish the er, — big fish swim in the sea,
But there ain't no use for the girls wor - ry - ing me.
Nev - er was ar - rest - ed, paid fine-
'Cause don't let the girls wor - ry my mind.
You take this- you take that,
And I'll take all I can get,
Stand - ing out in the rain,
But I don't ev - er get wet.
I don't want your whisk - ey,
And I don't drink your wine,
'Cause I don't let the girls wor - ry my mind.
Scale : Heptachordal, plagal. Tonal Center : g. Structure : abcab1cded'1e'1a1b1c (2,2,4,2,2,4,2,2,2,2,2,2,4) = abaibccia^b (4,4,4,4,4,4,4,4) = aa^ba^ (8,8,8,8) = Reprisenbar.
--------------------------------------------------
734. Snuff Box
'Snuff Box.' Sung by Miss Beulah Miller. No place or date given. The original recording was made by Dr. Amos Abrams. For another text of.
JAFL III 290. Still another text, sung to this editor in person by Mrs. James York of Mocksville, Davie county, June 17, 1956, which she learned from her father, John P. Weatherman of Davie county, is given below.
F-633
I'm al - ways put - ting pep - per in my dad - dy's
snuff box And it sight for to see.
He coughs and he sneez - es and I thought he'd take a fit,
Moth - er swore that's what was al - ways tick - el - ing me.
Tick - el - ing me, tick - el - ing me,
Moth - er swore that's what was al - ways tick - el - ing me.
Scale: Heptachordal, plagal. Tonal Center: f. Structure: abacddc1 (2,2,2, 2,1,1,2) = aa1b (4,4,4) = mmin = barform. The ending of n is like that of ml ; by itself, it is a miniature barform.
I've been tickled by a wasp,
I've been tickled by a yellow bee.
The way he cut a shine
It was a sight to see.
Well, he coughed and he sneezed
And I thought he'd have a fit.
Then he took me out and then he tickled me.
-----------------------------------------------
735. Behind Those Walls of Gray
'Behind Those Walls of Gray.' Sung by W. and Clarence Greene. No place or date given. Recorded by Dr. Amos Abrams through whose courtesy we are able to offer some of these songs. This song is a good example for the powerful influence of the leading tone.
F-634
He's locked up in pris - on for crime,
He's locked up in prison to serve out his time.
He's some - bod - y's ba - by,
He's some - dad - dy's son,
Oh please don't mis - treat him for what he has done.
Scale: Hexatonic (4), plagal. Tonal Center: f. Structure: abab (2,2,2,2)
= aa (4,4).
-------------------------------------
736. Rainbow Division
No title. Tentatively : 'Rainbow Division.' Anonymous male singer with banjo accompaniment. No place or date given. This song is added as an example of a newer creation in balladry. There is no text except what could be got from the recording. Judging from the text alone, there is no chorus; judging from the tune, however (compare the cadences), there is a chorus. The song begins (the real beginning is missing) with the last four measures of what, musically considered, would be the chorus. But the words are of anything but chorus character. The melodic relationship with our tune 'I'll Be All Smiles Tonight' (F-590) is evident. This is just another case where an
old, remembered melody serves for a new song. The song of sixteen measures is actually a compound of slight variations of the first four measures. The cadences are the cause for the most obvious changes.
F-63S
And I'm one a - mong the dy- ing, youth, not yet
a man, from the old -bow di - vi -sion,
And a boy from Dix - ie - land.'
His broth - er knelt be- side him to hear what he might say,
He hung his head in pit - y,- as his life - blood ebbed way.
The dy - ing boy looked up,
And he whis - pered,' Broth - er Jack,
Give this mes - sage to moth - er,-
If you ev - er get back.
Oh, Jack,
As he clasped his broth-er's hand,
He of - fered to hear the mes - sage to take to Dix - ie - land.
Chorus 5-8
The sun was slow - ly sink - ing, It soon will be shut down.
And night was soon to hud-dle o'er a blood - y bat - tie ground.
Chorus also: ^
Scale: Hexatonic (4), plagal. Tonal Center: c. Structure: aba1b1a-b1a'1b1
(2,2,2,2,2,2,2,2) = aa'a1a'1 (4,4,4,4).
----------------------------------------------
727. When I Am Far Away
'When I Am Far Away Somewhere in France.' Sung by Mrs. B. M. Moody, Shull's Mills, Watauga county, 1921. For another version cf. OFS iii 310-11. This song, too, is a mixture of remembered fragments of other tunes. The first measure with up-beat as well as measure 8 curiously have the same melodic turn as measures 6 and 8 in the German folksong 'Muss I denn, muss I denn zum Stadtele 'naus.' Measure 3 occurs also in 'There is a Tavern in the Town' and measures 7-8, as a melodic line, derive from 'There's No Place
Like Home.' The leading tone, in this song, occurs but once, and then only as what is known as "passing tone."
Scale: Heptachordal. Tonal Center: e-flat. Structure: abcdea (2,2,2,3,1,2) = abc (4,5,3), a rather unusual structure. The tonal center is the lowest tone.
----------------------------------------
738. Coonshine
'Coonshine, Ladies, Coonshine.' Sung by Thomas Litaker, Trinity College, Durham, December 5, 1919, MS score and record. For another tune, but identical text cf. ANFS 181.
F-637
y Coon - shine, la - dies, coon - shine.
Coon-shine on the floor.
1 O, my pa don't 'low me to coon - shine
And my ma don't 'low me to try.-
Git up in the de sly. mom - ing 'fore day,
Coon - shine on
Scale: Tetratonic (4). Tonal Center: g. Structure: abcb1c1b2 (2,2,2,2,2,2) = abb (4,4,4) = nmm1 = inverted barform. The epode partakes of the ending of m and m1. The tonal center is the lowest tone.
-------------------------------------------
739. Dis Morning
'Dis Morning.' Sung by Walter J. Miller, Trinity College, Durham, December 5, 1919. (Negro fragment). "Heard at a minstrel show a few years ago." Cf. also ANFS 222.
F-638
Dis gets up and puts on my Sun - day clothes, —
And down de street I goes. meets old Broth - er Mose;
He hits me on my nose, And down I goes, And dat's all knows.
Scale: Irrational (2,4), plagal. Tonal Center: b-flat. Structure: abbe (4,4,4.2)
:= nmmo = inverted barform plus coda. Every phrase cadences on I. The tonal center is the highest tone. Circular tune (V).
----------------------------------------------------
740. Down at Widow Johnson's
'Down at Widow Johnson's.' Sung by Bascom Lamar Lunsford, Turkey Creek, Buncombe county, 1902. The singer learned this tune from Lula Black in 1902 while teaching school at Dogget's Gap, between Buncombe and Madison counties. In order to get a better recording, the singer repeated the song for this editor while he was visiting Chapel Hill in 1945. In his performance it was interesting to observe the influence of the more recent jazzy rhythm on such a veteran mountaineer (measures 2 and 15).
F-639
Down at wid - ow John-son's the oth - er night —
Did a lit - tie court - in' out of sight.
Down on my knees my love I was tell - ing,
My old girl on the out - side yelling
'You can't fool me Char - lie,
You can' fool me Char - lie,
You've tried ev - 'ry man - ner for to fool your
lit - tie Han-nah, Mm. You can't fool me, but you can.'
Scale : Hexachordal, plagal. Tonal Center : g. Structure : abb1a1ccde (2,2,2,2,2,2,2,2). It is easy to see the compound structure built upon the principle of inverted barforms plus strophe. Over-all form, however (ignoring the rhyme scheme of the text) = abed (4,4,4,4) ; b is somewhat related to a. The heterogeneous elements of this tune are held together by repetitions of some parts, as well as similarities of some of the material used. This additive principle is familiar from the period of motets and madrigals, as well as the later Classic period, for example, the operatic arias of Mozart.
-----------------------------------
741. Gwine 'Round Dis Mountain
'Gwine 'Round Dis Mountain.' (Cotton Picking Song.) Sung by Miss Jewell Robbins, Pekin, Montgomery county, 1921-24. For other versions cf. WaS 45; FSoA 115. As only one stanza was recorded, it is impossible to say how the second stanza could be sung to this tune.
F-640
Gwine 'round dis moun - tain,
To Geor - gia I'm a gwine.
Set - tin' by that pret - ty lit - tie gal
Broke dis heart o'mine.
Car - 'lin - a gal can't you 'mem-ber me
Fal dal did - die did - die dey.
Some day, some day you'll reimem - ber me.
Fal dal did - die did - die dey.-
Scale : Hexachordal, plagal. Tonal Center: g. Structure: abacded1e1 (2,2,2,2,2,2,3,3) = aa1bb1 (4,4,4,6). In the smaller subdivision, d1 is not only considerably modified but also initially incremented ; likewise of course, b1 in the over-all form. The same holds true of e^ and b^, with the difference that instead of initial there is terminal increment.
2nd stanza:
Goner hew dis mountain down, my love.
Goner hew dis mountain down,
Goner hew dis mountain down, my love,
'Fore the sun goes down.
Work all day
And git no pay,
Fal-dal-diddle-diddle-dey.
----------------------------------------
742. Hikin' Down de Main Line
'Hikin' Down de Main Line.' Sung by Thomas Litaker, Trinity College, Durham, 1919. The singer learned this from a Negro on his father's place in Cabarrus county. For similar texts cf. ANFS 298, and F-648.
F-64I
Hikin' down the main line, Gas - o - line
bum - er don't stop here, don't stop here.
Scale: Tetratonic (4). Tonal Center: g. Structure: abc (2,2,2); c is
augmentation of the last measure of b. Every phrase cadences on I. The
tonal center is the lowest tone.
------------------------------------------
743. Honey Babe
'Honey Babe.' Sung by Miss Hattie McNeill, Ferguson, Wilkes county, 1922. The MS score has no text and the typewritten sheet statins:: "Words and air by Miss Hattie McNeill" also has a note by Newman I. White saying: But the words are missing." Cf., however, NWS 145, 'Honey Baby' from which our text was derived; also JAFL lix 440; and for a different text, Mellows 180-3.
F-642
If I could lay my head on yo' sweet breas', — Hon - ey
ba - by, could fin'
Sweet res', I could
Cm' sweet res',Hon - ey babe, I could fin' sweet res'.
Scale : Mode HI, plagal. fairly unusual structure.
Tonal Center: f. Structure: abb^c (4,4,3,3), a
----------------------------------------
744. How I Love Them Pretty Yellow Gals
'How I Love Them Pretty Yellow Gals.' Anonymous singer. No place or date given on ms score. Negro fragment. Certainly minstrel in origin,
probably more modern.
F-643
How love them pret - ty yal - ler gals One named
Beck - y and the oth - er named Sal. Soon there'll be
wed - ding in the cot - tage o - ver yon - der, And
I'll be hap - py ev - er - more. Soon there'll be great
In the kit - chen on the floor. times in danc - ing
Scale: Heptachordal, plagal. Tonal Center: g. Structure: aa^bcde (2,2,2,
2,2,2) = abc (4,4,4). In the smaller subdivision e is somewhat related to
c; therefore, in the over-all form the ending of c is related to that of b.
-----------------------------------
745. Hump-back Mule
'Hump-back Mule.' Sung by Bonnie Wiseman, Upper Hinson's Creek, Avery county, August 26, 1939. For the beginning of the first stanza cf. Ill 500-1, No. 415D and E. For the last line, ibid. 353-4. No. 298. The tune of the stanza is almost identical with the melodic line of F-386. For another text cf.
NWS 179-
F-644
If I had a pret - ty lit - tie wife,
Tell you what I'd tr-
do, I'd send her off to the bar - room house And pad -die
is:Rid - ing on a hump - back
hump-back mule, And the on - ly
For melodic relationship cf. *TNFS i86, endings of both stanzas and choruses.
Scale: Irrational (2,3), plagal. Tonal Center: c. Structure: aba^b^ (4,4,4,4).
The tonal center is the highest tone.
--------------------------------------
746. I'm Going Down the Mobile Line
'I'm Going Down the Mobile Line.' Anonymous singer, with banjo ac-
companiment. No place or date given.
F-64S
I'm go - ing down the Mo - bile-
I'm go - ing down the Mo - bile line,
I'm go - ing down the line to see that girl of mine,
I'm goin' down the Mo - bile line.
Scale : Hexachordal, plagal. Tonal Center : a. Structure : abb^c (2,2,2,2) ; a is somewhat related to b.
-------------------------------------
747. I'm Going Home
'I'm Going Home.' Anonymous singer with banjo accompaniment. No place or date given. Owing to more than ordinary poor diction and the noisy banjo accompaniment, it is not possible to get more of the text. The incredible
enthusiasm with which the singer intones 'I'm Going Home' is absolutely
contagious. The freedom of treatment with regard to the holds (which are
very long), and the abandon exhibited by the banjoist (probably the same
person), give this song, in performance, a rhapsodic character. Cf. here
SS 84, which has different text; also Guy B. Johnson's Tracking Down a
Negro Legend, 1929, 74-5, and 105. The chorus with up-beat is really a
free fantasy based on the general melodic outline of measures 5-10 of the
stanza.
F-646
Two long years have I been a - driv - ,in'
I'll hang my ham - mer up - on the wall. I'm a - go - in'
home-
I'm a - goin' home.
I'm a - go - in' home, I'm a - go - in' home-
Lord, I'm gon - na leave-these hills.
Scale: Mode III, plagal. Tonal Center: e-flat. Structure: abcdecM^ei
(2,2,2,2,2,2,2,2) = abbi (4,6,6) = nmmi = inverted barform. The art of
free, extemporaneous improvisation of a variation on a given tonal material
finds a masterly example in c^diei. The editor uses "extemporaneous im-
provisation" advisedly, as he has witnessed other performances, where on
several occasions the organist followed a well-prepared "recipe" in his "im-
provisation."
748. Ise A-Running
*I se A-Running.' Sung by Mrs. W. L. Pridgen, Durham, July 25, 1923. Only the words of the title can be understood.
F-647
I'se run - nin
I'se run - nin'
Scale: Mode III. Tonal Center: c. Structure: abcabc (2,2,2,2,2,2) ^ aa (6,6). A rather unusual structure of a six-measure phrase repeated. Circular tune (V). The tonal center is the lowest tone.
---------------------------------
749. Mike and Jerry
'Mike and Jerry.' Sung by W. H. Lander, Trinity College, Durham, December 5, 1919. MS score and record. The singer comes from Greenwood county, S. C. The words in parentheses are spoken, and are only approximately in the pitch suggested by the stems without actual notes attached to them. For a related text cf. F-641.
F-648
isIt
Mike and Jer - ry go
ing down the mam line (South-em)
Oh, they saw it come by (here) nev - er got no coal
noi (water) Must - 'uv' been a gas
line (bum - er)
For he never stopp'd by (here).
Scale: Ditonic (2). Tonal Center: f. Structure: aa^a^a^aZa^ (2,2,2,2,2,2) == aa^aS (4,4,4). Every phrase cadences on III. The tonal center is the lowest tone.
The Nigger and the Bee
'The Nigger and the Bee.' Anonymous singer. No place or date given on MS score. This is, no doubt, of minstrel origin, but no print or reference to it could be found. Compare, however, a similar song in ANFS 400 : 'Did You Eber Go A-Fishin' On a Hot Summer Day?' The rather complicated structure would certainly strengthen the opinion with regard to the origin of the song. Otherwise, the tune is full of melodic 'innuendos' ; for instance, the beginning borrows from 'Turkey in the Straw'; others, like measures 7, 11 etc., certainly acknowledge their acquaintance with a bow ! ^ ,
Did you e - her heah tell of de nig - gar an' de bee?
Yes, I did, 'deed I did. How de bee stung de nig
ger an' den he stung me? Yes, he did — deed he did. Dat
nig - ger he said to de bee, 'Dere's sights in de gar - den
fo' to see. You suck de blos-soms an' get all de hon-ey,
An I'll be 'roun' an' get all de mon - ey.' An' to
s if N N s if
de nig - ger 'twas fun - ny, — Fo' to rob de bee of his hon-ey,-
But de bee laid fo' him An' oh,
such fun, Good-ness gra-cious! how de nig -ger did run.
Dat bee, dat bee, dat'le honey bee
He lit stung dat nig - ger
hard Till de nig - ger could - n't
scarce-ly see. Dat bee, dat bee, dat li - 'le hon - ey bee.
Scale: Heptachordal. Tonal Center: c. Structure: aaibbicdd^cefe (2,2,1,
1,2,1,1,2,2,2,2) ; the f is closely related to e. Thus we have a compound struc-
ture of strophe, barform, barform, strophe. The over-all form, however,
would be: abed (4,4,4,6). Here, b as well as c share in the same ending. The
tonal center is the lowest tone.
----------------
751. Oh ! I Had a Good Woman
'Ohl I Had a Good Woman.' Sung by K. W. Litaker, Trinity College, Dur-
ham, December 5, 1919; ms score and record. Note on score states: "Sung
in cotton fields in Cabarrus county within the last two years." Negro frag-
ment. Cf. ANFS 315; also JAFL xtiv 28, No. 26. With the exception of
the final cadence, the whole consists of a twice repeated measure.
F-650
Oh!
had good worn - an, Oh! I had a good wom - an,
And the fool laid down and died.
Scale: Irrational (4,5,6), plagal. Tonal Center: f. Structure: aaa^ (1,1,2).
Every phrase cadences on I.
-----------------------------------
752. Old Folks Better Up and Git to Bed
'Old Folks Better Up and Git to Bed.' Sung by Thomas Litaker, Trinity College, Durham, December 5, 1919. MS score and record. Singer said: "This is a Work Song from Cabarrus county." (Negro fragment.) Cf. ANFS 299.
F-65I
Old folks bet - ter up and git to bed
Be- Wfore the young folks git the de - bil in their heads.
Scale: Mode III, plagal. Tonal Center: g. Structure: ab (4,4).
---------------------------------
753.
Such a Gittin' Up-stairs
'Such a Gittin' Up-stairs.' Sung by Dr. Bradley, Blowing Rock, Watauga
county, September 3, 1939. Cf. EASM 53, which gives G. Willig, Jr., of
Baltimore (n.d.) as publisher. A song of the same title but not content nor
melody can be found in SRA 73-4. Cf. also the remarks about this song
in AFS Ch 53. Bascom Lamar Lunsford told this editor that he heard his
father sing this song. In 1925 'Doc' Sams sang it to him also. For ad-
ditional versions cf. APPS 98, 187; SBPPG 32; SFLQ vi 3-4, No. i;
NFMNS I, 242-4, ibid. 11 167-8. For the same title cf. PTFLS (1916) 86,
No. I. For the beginning phrase cf. Ill 210, No. 165, first line of second
stanza. There are many other songs with this line: cf. TNFS 107; JAFL
xLiv 425 ; ANFS 243 ; FB 163. Melodically the tune resembles that of 'Some
Love Coffee, Some Love Tea' (Virginia).
F-652
night 'fore last the
old cow died
old cow come to the Ufe a -gain,
Such a git - tin' up -stairs,
you nev - er saw a -like,
Such a git - tin' up - stairs.
you nev - er saw a -gain. Such a git - ting up - stairs, you nev - er saw a -
like, Such a git- ting up- stairs you nev-er see a - gain.
For melodic relationship cf. **Wolford (iqSQ) I53, general melodic line,
compare our measures 9, ii, 13, I5. with 5, 7, and 9 there.
Scale: Heptachordal, plagal. Tonal Center: f. Structure: aaibb^bbi (4,4.2,
2,2,2) =r abb (8,4,4) = nmm = inverted barform.
--------------------------
754
Yonder Come a Yaller Gal
'Yonder Come a Yaller Gal.' Sung by N. I. White, Durham, July 1922. For
similar text cf. ASb 313 B.
F-653
Yon - der come a yal - ler gal.
All dressed up in red —
Well, I wish my wife was dead, Well, I wish my wife was dead!
For melodic relationship cf. ***ANFS 411, slightly changed rhythmically.
Scale: Mode III. Tonal Center: e-flat. Structure: abb (4,2,2) = nmm =
inverted barform. The tonal center is the lowest tone.
--------------------------------------
755 Blow Gabriel
'Blow Gabriel.' Sung by Dr. Bradley, Blowing Rock, Watauga county,
September 3, 1939. For other texts cf. NS 86-7; SSGSI 87-8; ANS 209-10
(chorus) ; SS 3 (chorus) ; NSSUS 116 (same chorus). Our chorus resembles
somewhat 'Oh, Susanna.'
F-654
1. Oh, when I was lost in the wil- der -ness.
King Je -sus hand- ed the can - dies down,
And I hope that trum - pet gwin' a blow me home To the
New Je - ru - sa - lem. Blow, Ga - briel, Blow your trum-pet
loud - er, And hope that trum - pet gwin' a
blow me home To the New Je - ru - salem.
For melodic relationship cf. ***SS 3, chorus.
Scale : Hexachordal, plagal. Tonal Center : f. Structure ; abb^1cdb1c (2,2,2, 2,4,2,2). Over-all form: abcb1 (4,4,4,4).
2nd stanza:
When Moses smote the water with his rod,
It rose right back, and we crossed dry-shod;
And I hope that trumpet gwin'a blow me home
To the New Jerusalem.
3rd stanza :
And when I escaped from the Red Sea flood,
I looked, an' thar King Jesus stood.
And I hope that trumpet gwin' a blow me home
To the New Jerusalem.
4th stanza:
When Joshua ordered the sun stood still,
King Jesus smiled on the highest hill ;
And I hope that trumpet gwin' a blow me home
To the New Jerusalem.
---------------------------------------------
756
Drunkard's Dream
'Drunkard's Dream.' Sung by Mrs. Minnie Church with accordion accompaniment, Heaton, Avery county, August 10, 1939. The Churches live on Dark Ridge, End of Nowhere Branch, Beech Creek. (Mrs. Minnie Church's address is now 1511 Calvary Street, Detroit, Michigan.) For other text cf. JAFL Lix 434, also F-33. The first two and a half measures are identical with 'The Wearing of the Green,' the first two of the chorus with 'There's No Place Like Home.' Not all of the words could be understood.
F-655
The lit - tie child was dy - ing, She called her fa - ther there.
And- on his arm re - clin - ing She whis-pered in his ear,
'I'm goin' home to glo - ry, A gold - en crown* to wear;
Meet me, oh, meet me. Meet me o - ver there.'
Scale: Hexatonic (4). Tonal Center: b-flat. Structure: ababcc1c1b (2,2,2, 2,2,2,2,2) = aabb1 (4,4,4,4) ; b1 shares the ending with a. The tonal center is the lowest tone.
2nd stanza:
Our father was no Christian,
His sins were unforgiven,
3rd stanza :
The angels came and took her,
The angels are not there,
They bore her up to heaven
She whispered as
------------------------------------------
757. Dry Bones
'Dry Bones.' Sung by Bascom Lamar Lunsford, Turkey Creek, Buncombe county. No date given. For similar texts cf. JAFL xxxv 242 ; Mellows 53; also NS 102 (different text).
F-656
Dry Bones — in the val - ley
Get up and take a littie walk.
The deaf could hear,
And the dumb could talk
I saw the hght from
heav - en
Stanza 2
the light come down.
Scale: Mode III, plagal. Tonal Center: f. Structure: abc (2,3,3), certainly not a common structure.
2nd stanza:
'Old Enoch he lived to be
Three hundred and sixty-five
When the Lord come and took him
Back to heaven, alive, I saw,
I saw the light come shining
I saw the light come down.'
------------------------------------
758. Gimme Oil in My Lamp
'Gimme Oil in My Lamp.' Sung by Will ("Shorty") Love, Trinity College and Duke University janitor, December 9, 1939. For a similar idea cf. FSOA 168.
F-657
Gim - me oil in my lamp, keep shin - in' and look
down. Gim - me oil in my lamp I will pray ev - ery
day. Gim - me oil in my lamp, keep sliin - in' and look
down
Un - til-the break -of day.
Scale : Hexachordal. Tonal Center : g. Structure : abacabd (2,2,2,2,2,2,4) = aa^ab (4,4,4,4). The tonal center is the lowest tone. The only change in the text of the various stanzas takes place wherever "Gimme oil" occurs. This is replaced by : "I have oil" ; "You'll need oil" ; "You need's oil."
-------------------------------------
759. Got to Cross Jordan
'Got to Cross Jordan.' Anonymous singer, ms score without text. No place or date given. For additional version cf. ASb 486.
F-658
Scale: Tetratonic (4). Tonal Center: f. Structure: aa^baS (2,2,2,2) —
Reprisenbar. The second half of b is related to that of a. The tonal center
is the lowest tone.
--------------------------------------------------
760. O Bear Me Away on Your Snowy White Wing
'O Bear Me Away on Your Snowy White Wing.' Sung by Thomas Litaker, Trinity College, Durham. He gave the text in 1919; the tune, however, was recorded either in 1920 or in 1921. Newman I. White notes: "This is a line from a hymn sung by white people." A Negro fragment. It was sung by a negro tenant on a farm in Cabarrus county. Our tune is incomplete as it has only the second group of two lines given in ANFS 125. The melodic line of the first two measures is the same as that for 'Hanging Johnnie' in this volume, F-678.
F-6S9
0+t
bear me a - way on your snow- y - white wing,
bear me a - wav on your snow - y - white wing.
Scale: Hexatonic (4). Tonal Center: g. Structure: aa^ (2,2). (Fragment.) Circular tune (V).
--------------------------------------
761. Oh, Where Shall I Be?
'Oh, Where Shall I Be?' Anonymous singer. MS score, about 1919 or 1920. No place given. For additional related texts cf. ANFS 80; JAFL xxvi 155, and XXVII 257; *0h, where shall I be when the first trumpet sounds?' The latter version^ was collected in Tennessee and edited by Mrs. Anna Kranz Odum. The beginning of our tune recalls 'You take the high road and I'll take the low road.'
F-660
Chorus: Oh, where shall I be when that last trum - pet sounds? Oh,
where shall I be when it sounds loud?
When it sounds so loud as to wake up the dead.
Oh, where shall be when it sounds so loud?
For melodic relationship cf. ***NASb 14; BANS i 136; RFSN 172; FSRA 147-9; WNS 206-7, No. 85, chorus; ASoWS 17, No. 30, chorus; note the Irish final cadence.
Scale: Mode III, plagal. Tonal Center: g. Structure: aa1ba1 (2,2,2,2) = Reprisenbar.
1 The author refers here to another version from Mississippi previously published by Dr. Howard W. Odum.
------------------------------------
762. The Road is Rocky
'The Road is Rocky.' Sung by a road gang. MS score. No place or date given. Negro fragment. Cf. ANFS 112 and 264, also F-542.
F-661
The road is rock - y, Lord - y,-
But it won't be rock - y long.-
Scale : Triadic, plagal. Tonal Center : g. Structure : ab (4,4) ; both phrases share the same ending. Every phrase cadences on V. Circular tune (V).
---------------------------------------------
763. Star in the East
'Star in the East.' Sung by Miss Jewell Robbins, Pekin, Montgomery county. No date given. Frank C. Brown notes : "Cf. Southern Harmony 16. This is different air. Many of these sung at Blackwood's Chapel, Montgomery county." There is, however, some similarity of melody with our version. Cf. also the Episcopal Hymn 'Brightest and Best.' The use of the natural and sharpened seventh suggests a characteristic quality of the Mixolydian mode.
F-662
Hail the blest morn, see the great Me - di - a - tor ^
Dovm from the re - gions of glo - ry de - scend. Shep-herds, go
wor - ship the babe in the man - ger! Lo, for his
the bright an - gels at - tend.
Bright-est and best of the sons of the mom - ing,
Dawn on our dark - ness andlend us thine aid.
Star in the East, the ho - ri - zon a-
dorn - ing, Guide where our in - fant Re - deem - er is laid.
For melodic relationship cf. ***DESO 189, No. 183; **ASoWS 181, No. 327.
Scale: Hexatonic (6), plagal. Tonal Center: g. Structure: abaibcdeb (4,4,4, 4,4,4,4,4) = aabc (8,8,8,8) ; the second half of c is the same as that of a.
-----------------------------------
764. Storm Bird
'Storm Bird.' Sung by C. K. Tillett, Roanoke Island, December 29, 1922. Catalogue says: "Midgett text," but no text can be found except what could be got from the recording. For a related text cf. WNS 187.
F-663
The storm-bird hves up - on the rock. The an - gry surg - es roar —
temp-est o'er. —
Scale: Mode III, plagal. Tonal Center: g. Structure: abed (4,4,4,4).
------------------------
765. Tell My Mother
'Tell My Mother.' Sung by Miss Jewell Robbins, Pekin, Montgomery county, 1921-22. Newman I. White says: "Submitted as a Negro Spiritual." The typewritten text gives "study" instead of "steady," but from the recording, the latter is, no doubt, correct. Our chorus is almost identical with that of F-546 by the same singer. For a related text cf. NSNH 46.
F-664
Tell — my — moth - er, Tell — her for
me,To meet me in the morn - ing at Gallee,
Oh, you bet - ter walk stead - y,
Je - sus list - enin' ;
Oh, you bet - ter walk stead - y.
Je - sus died,
Oh, you bet - ter walk stead - y, listenin ,
All-daylong.
Scale : Heptachordal. Tonal Center : c. Structure : aa1abcc1cb (2,2,2,2,2,2,2,2) = aa1bb1 (4,4,4,4) ; here, a1 and b1 share the same ending. The tonal center is the lowest tone.
--------------------
766. There's a Place Prepared
'There's a Place Prepared.' Sung by E. C. Lovell, Trinity College, Durham, December 5, 1919. MS score and record. (Negro fragment.) For a related text cf. ANFS 121.
F-665
There's a place pre-pared by my Sav - iour's side Jus'
o - ver in the glo - ry land. There's a place pre -
pared for the Sane - ti - fied Jus' over in the glo - ry
land. Jus' o - ver in the gloryland.
jine the hap - py an - gel
Just o - ver in the band Jus' gloryland.
There's a place pre - pared by my Sav - iour's side
Jus' o - ver in the glo - ry land.
Scale: Hexachordal, plagal. Tonal Center: a. Structure: aaba (4,4,6,4) = Reprisenbar.
--------------------------------------
767. Thorny Desert
'Thorny Desert.' Sung by Miss Jewell Robbins, Pekin, Montgomery county. No date given. Frank C. Brown notes : "See Southern Harmony p. 85. This is different air. Many of these sung at Blackwood's Chapel, Montgomery county." Nevertheless, the song, with the exception of the initial live measures of the chorus, is identical with the version in Southern Harmony, p. 83, as quoted in ASoWS 146.
F-666
Rough and thorny— IS the desart,
Need - y pil - grims make their way.
But be - yond this vale of sor - rows,
Lie the fields of end - less day.
Fiends, loud howl - ing through the des - ert
Make them trem - ble as they go;
And the fiery darts of Satan
Oft bring their age low.
For melodic relationship cf: **ASoWS 146, No. 250.
Scale : Mode III, plagal. Tonal Center : g. Structure : aaba (4,4,4,4) = Reprisenbar.
-----------------------------------------------------
768. Was You There When They Crucified Jesus?
'Was You There When They Crucified Jesus?' Sung by Mrs. Nora Hicks, Mast's Gap, Watauga county, September 5, 1940. For other versions cf. JAFL X 116 and lix 470 (Index).
F-667
Was you there when they went to Gal - ilee,-
Was you there when they went to Gal - i - lee.-
Oh-some-times it caus - es me to trem - ble, — trem - ble,-
Was you there when they went to Gal - i - lee.
For melodic relationship cf. **WNS 221 ; ANS 105 ; Dett, Appendix vi,
first eight measures. *BANS 11 136, beginning only; FSSH 415.
Scale: Mode III, plagal. Tonal Center: e-flat. Structure: abca (4,4,4,4).
-------------------------------------------
769. The Watchman's Call
'The Watchman's Call.' Sung by Mrs. Manassa Wiseman, at the foot of Buck Hill, near Spear, Avery county, September 7, 1939. The singer was then seventy-nine years of age.
F-668
The watch - man blows the—trum - pet loud.
Come lis - ten to the trum-pet's sound.
And be as - sured there's dan - ger there.
How man - y are pre - pared to die?
Your days head will soon be o'er
And time to you re - turn no-more,
Oh, soul to save
What will — I have be - yond the grave?
Scale: Mode III, plagal. Tonal Center: e-flat. Structure: ababcca^b (2,2,2,
2,2,2,2,2) = aabai (4,4,4,4) := Reprisenbar.
----------------------------------------------
770. Way Back In Heaven
'Way Back In Heaven.' Sung by Miss Jewell Robbins, Pekin, Montgomery county, 1921-22.
F-669
heav'n don't you want to go?
Way back in — heav'n, don't you want to go?
Way back in —heav-en, don't you want to go? —
Oh, yes, I want to go.
Scale: Mode III, plagal. Tonal Center: a. Structure: abab1ab1c (2,2,2,2,2,2,2) = aa1a1b (4,4,4,2). Whether the psychological urge to "go" caused the singer to contract the last phrase, is, of course, not possible to state.
------------------------------
771. Wayfaring Stranger
'Wayfaring Stranger.' From Dr. W. A. Abrams' recording of the singing of Horton Barker from Chilhowie, Virginia, at Boone, Watauga county, September 14, 1941. Jackson's version of this song (No. 40 in SFSEA), together with some remarks about the latter, presents quite a problem. To begin with, the signature shows one sharp, but there is not even one f to accommodate this demand. The scale is simply the second mode of the pentatonic scale. The d-sharps of both cadences, functioning as leading tones, must be credited to more recent environmental influences to which the singer undoubtedly was exposed. How the d-flat in the score, mentioned by Dr. Jackson, could possibly be "an intrusion of Dorian influence" as he says, is difficult to understand. Aside from this, it would prove highly interesting to observe a singer, trained and experienced in modal music, wrestling with such unholy intervals. Worse than 'diabolus in musica.'
F-670
I'm just a poor way - far - ing stran - ger,
Wan-'dring through this world of woe
There's do sick - ness, pain, or sor - row
In that bright world to which I go.
I'm go - ing back to meet my fa - ther,
I'm go - ing back, no more to roam.
I'm go - mg o - ver — » —
justJor - dan, I'm a - going over home.
For melodic relationship cf: ***OSC 37; FSUSA 346; SOCG 48 (in ^!); **NASb 47; WNS 197-9; SHP 54; SFSEA 71 (note remarks). In
addition to this, there is an unexpected relationship involving a certain melodic idiom to be found in the Easter Sunday Sequence 'Victimae Paschalis Laudes,' a hymn and air by Wipo (1050).! The melodic equivalent of "Agnus redemit oves," as well as "Mors et vita duello," will be found to be identical with the phrase in our chorus: "to meet my father, I'm going." Furthermore, in a hymn 'O Thou Great God' dating from the Minnesingers of the fourteenth century, we find the same melodic progressions as in our chorus to the words
"I'm only going over Jordan," in measures 8-12 of the chorus of this hymn. 2
Scale: Mode II, plagal. Tonal Center: d(m). Structure: aa^ba^ (4,4,4,4) =
Reprisenbar.
1 Liber Usualis, Solesmes Edition, 1934, published by Desclee et Cie, Tournai,
Belgium.
2 Hans Joachim Moser, Geschichte der Deutschen Musik, Cotta, Berlin und Stuttgart, 1921-28, p. 77.
--------------------------------
772. When in Death I Calmly Recline
'When In Death I Calmly Recline.' Sung by Miss Jewell Robbins, Pekin, Montgomery county, 1921 or 1922. For a related text with quite a few peculiarities cf. ASoWS 84, No. 129.
F-671
I calm - ly When in death-cline,-
bear my heart to my mis - tress dear; I tell her it
lives- on smiles and wine — Of the bright -est hue while she
lingers near. Bid her not shed one tear of sor-row, To
sul - ly heart bril - liant and light;
But bear me drops ofthe red grape bor - row And
bathe the rel
From morn till night. —
For melodic relationship cf : ***ASoWS 84, No. 129; **ASb 155.
Scale: Hexatonic (4), plagal. Tonal Center: f. Structure: ababcdc'b (2,2,2,
2,2,2,2,2) ; d is related to c. Over-all form: aabb^ (4,4,4,4), the ending of b^
is the same as that of a.
-----------------------------------------
773. Wondrous Love
'Wondrous Love.' From Dr. W. A. Abrams' recording of the singing of Horton Barker from Qiilhowie, Virginia, at Boone, Watauga county, September 14, 1941. Cf. here SFSEA 114-15, No. 88, where Dr. Jackson says: "I have heard the county folk sing this tune with the Dorian raised sixth." Our singer does likewise. To this should be added that the raised, or should we say the natural sixth, is always characteristic of Dorian, although frequently the sixth is lowered. For a related text cf. WNS 177. For remainder of text consult the various Baptist tune books or SFSEA 114.
F-672
What won-drous love is this, O my soul! O my
soul! What won-drous love is this, O mysoul! What
won-drous love is this! That caused the Lord to send, To
soul, send such per - feet peace to my
to my
to ray soul?
soul, To send such tht - fort peace
For melodic relationship cf: ***TFH 4, No. 2; SFSEA 114, No. 88; FSUSA 348-9-
Scale: Dorian, plagal. Tonal Center: d(m). Structure: abca^b (4,3,4,4,3); c is related to a. Over-all form: aba^ (7,4,7). This is not a three-part song form, especially as b is related to a and has, in varied form, the same cadence. The well-known phenomenon of cutting a sustained tone short causes each of the first and last phrases to drop one measure at the end. What would otherwise be three regular phrases of 8,4,8 measures respectively, turns out to be 7, 4, and 7, the elision being in the seventh and eighteenth measures.
----------------------
774 . A Plea for Mercy
No title. Anonymous female singer. No place or date given. Measures 4-5 are identical with the third and fourth of F-61. There is evidence of some real, economical exploitation of melodic material : measures 8-9 with up-beat, 10-12, 13-14 with up-beat and the transformation of measures 3-5 by repetition and extension into the last four measures with up-beat. No more of the text
could be understood.
F-673
In a plea for mer - cy Near their Fa-ther's dwell-ing go,
Where poor sin-ners are con-fess-ing All
:Bi - ble an-oth - er plan.
There is
noth - ing but the Bi - ble of man.
Go my daugh - ter. you are
Second stanza: Go my daughter, you are able
To destroy
Both in sermon and in song.
Scale: Mode III, plagal. Tonal Center: g. Structure: abed (5,4,5,4).
--------------------------------
775. Hell Broke Loose in Georgia
'Hell Broke Loose In Georgia.' Sung by Bascom Lamar Lunsford, Turkey Creek, Buncombe county, to this editor. Lunsford said that his great-uncle, S. O. Deaver, Madison county, sang it more than sixty years ago, and called this tune also 'Mush Ice,' so that he could talk about it in "polite society." For a related text cf. CRS Kit 47, 16.
F-674
Ain't no hell in Georg - ie-
Ain't no hell in Georg - ie
Ain't no hell in Georg -ie-
Ain't no hell in Georg - ie.
Lit - tie In - dian goes Georg - ie,
Lit - tie In - dian goes Georg - ie,
Lit - tie In - dian goes Georg - ie.
Lit - tie In - dian goes Georg - ie.
Scale: Hexatonic (6), plagal. Tonal Center: f. Structure: aba1bcdcd1 (2,2,2,2,2,2,2,2) = aa1bb1 (4,4,4,4).
--------------------------------------
776. Goodbye to the Cracking of the Pistols
No title. Anonymous male singer with banjo accompaniment. Through
patient search a song was found which, melodically as well as textually is
almost identical with our version. Cf. CS (1938) 98-9, 'The Dying Cowboy
of Rim Rock Ranch.' Our stanza is the second there. The chorus is practically
the same. Owing to the poor 'dubbing,' some of the words could not be
understood. No doubt, the end of our second line should read "spur" instead
of "fur." The missing word of the second line is supplied there.
F-675
morn - ing
Good - bye to the wild life of fur.
For I'm rid - ing a - way on the last round - up
Where the sun is a - sink - ing- low. Yes I'm rid - ing a - way
on the last round-up Where the sun is a - sink - ing low.
For melodic relationship cf. ***CS 98-9.
Scale : Heptachordal, plagal. Tonal Center : b-flat. Structure : abacaib^a^c (2,2,2,2,2,2,2,2) = aa^a^a^ (4,4,4,4).
Third stanza:
Goodbye to the lurching of the coyote,
Goodbye to the call of the dove,
Goodbye to the Rim Rock Ranch,
Goodbye to the girl that I love.
---------------------------------------
777
JiMMIE SUTTONTON
'Jimmie Suttonton.' Sung by Miss Hattie McNeill, Ferguson, Wilkes county, 1922. MS score and record. The latter produces nothing but noise, and contrary to the catalogue, there is no text. The variations given are those noted on the MS score, which, however, had a question mark attached. The whole song actually consists of two measures which, through repetition and pitch variation, furnish all of the melodic line. Rhythmically, there is, with the exception of the final cadence, no difference whatsoever. A related title 'Old Jimmie Sutton' in FSSM 46-7 is not related textually or melodically.
F-676
Scale: Tetratonic (4). Tonal Center: c. Structure: aaabb1 (2,2,2,2,4); b is very closely related to a. There is an evident elision between the sixth and seventh measures ; the final note of the third phrase is also the first of the next phrase. The same holds true for the eighth and ninth measures. The tonal center is the lowest tone.
-----------------------------------
778. Blow the Man Down
'Blow the Man Down.' Sung by Thomas Leary, Olin, Iredell county, August 24, 1939. The version in ABFS 491 furnishes an interesting example of what can happen to a tune on its melodic odyssey. Musically speaking, our version seems much more satisfying. The author of BoS 50, refers to the melodic relationship of the beginning to the well-known 'Silent Night, Holy Night.' For another text cf. IMWS 45.
F-677
One day I was walk - ing down Win - ches - ter
Street With a - weigh, heigh, blow the man down! A
come - ly young dam - sel I hap - pened to find, Oh,
give some time to blow thp man down.
For melodic relationship cf. ***TFS 123; Ford 329; EFC 44; FSONE 129; TAS 83; **FB 157; JAFL xliv 298, and lix 109; compare in these
three versions our first eight and last four measures with the first eight and last four or two measures there. Also BoS 50; RG 14; ASb 404 and PC 4.
Scale : Heptachordal, plagal. Tonal Center : f. Structure : aba^c (4,4,4,4) =: aai (8,8).
----------------------------------
779. Hanging Johnnie
'Hanging Johnnie.' Sung by Thomas Leary, Olin, Iredell county, August 24, 1939. Cf. also BoS 44; RG 27; and IMWS 81.
F-678
They call me hang - ing John - nie — , A - way — boys, a -
way, — They say I'll hang for mon - ey, — Hang boys, hang. —
l_a (once)
For melodic relationship cf. **FSCSG 102, measures 3-4; EFC 56; SSGSI 204.
Scale: Hexachordal, plagal. Tonal Center: e-flat. Structure: abac (2,2,2,2) = aai (4,4).
--------------------------
780. Haul Away, Joe
'Haul Away, Joe.' Sung by Thomas Leary, Iredell county, August 24, 1939. All of this singer's eight chanties were learned near Glouster, Massachusetts. There are some melodic variations from the known versions, particularly in measures 3 and 11. Cf. also TFS 1 12-13; FSONE 138; PC 18, No. 7, and IMWS 92.
F-679
Solo
3. King Louis was the King of France be - fore the Re - vo -
Chorus
lu - tion. Way, haul a - way,- we'll haul a -way — Joe!-
But then he got his head cut off, which spoiled his con - sti tu
tion. Way, haul a - way, we'll haul a - way Joe. —
For melodic relationship cf. ***RG 3; **EFC 32; PSB 31.
Scale: Hexatonic (2). Tonal Center: c. Structure: abacabac (2,2,2,2,2,2,2,2)
1= aa^aa^ (4,4,4,4). The tonal center is the lowest and highest tone.
--------------------------------------
781. Hullabaloo Balay
'Hullabaloo Balay.' Sung by Thomas Leary, Olin, Iredell county, August 24, 1939- There is a game-song with the title 'Hullabaloo Balay,' which has no connection with our song. Cf. HOSFG 6.
F-680
Me mith - er ran the board - in' house, Hul - la - ba-loo, be-
lay; Hul - la - ba - loo, ba - la, be - lay. Me fa - ther
ran the hoard - in' house, Hul - la - ha - loo, be - lay.
For melodic relationship cf. ***BISB 138-9; *OFS 11 59, No. 140.
Scale: Irrational (2,6). Tonal Center: c(m). Structure: abb^ac (2,2,2,2,2) = aa^ (6,4). The tonal center is the lowest tone.
-------------------------------------
782. Lanky, Lucy, Lister
'Lanky, Lucy, Lister.' Sung by Thomas Leary, Olin, Iredell county, August 24, 1939. 'Lanky, Lucy, Sister' is given in catalogue although the singer distinctly sings : "The lanky, Lucy, Lister."
F-681
The Ian - ky, Lu - cy, List - er, Oi - yo, di - o, di -
I never even kissed her, Oi -yo,di - o, di
Lanky, Lu cy Lister,
ven kissed her, But
I se-duced her sis - ter, Oi - yo, di - o, di - o.
Scale: Heptachordal, plagal. Tonal Center: e-flat. Structure: ababcciab
(2,2,2,2,2,2,2,2) = aaba (4,4,4,4) = Reprisenbar.
-----------------------------
783. What Shall We Do with a Drunken Sailor?
'What Shall We Do with a Drunken Sailor?' Sung by Thomas Leary, Olin, Iredell county, August 24, 1939. For additional versions of. BISB 136; EFC 8; Ford 74; CRS Kit Q 32; and APPS 218-19. The last two measures are identical with those of the stanza of score 135 (IV 89, No. 37G), The tune for the stanza will serve the chorus as well.
F-682
What shall we do with a drunk - en sail - or, What shall we
do with a drank - en sail - or. What shall we do with a
drunk - en sail - or, So ear - ly in the
mom - ine?
For melodic relationship cf. ***RG 30; the only difference is that our tune is in Dorian with natural sixth degree, there the sixth is flattened ; **EFC 8, our version lacks the chorus.
Scale: Dorian, plagal. Tonal Center: d(m), barform. Structure: mm^n (2,2,4) =
-----------------------------------------
784. When Johnnie Comes Down to Hilo
'When Johnnie Comes Down to Hilo.' Sung by Thomas Leary, Olin, Iredell county, August 24, 1939. Cf. RG 46, the chorus as noted there is musically incorrect. ABFS gives another title: 'Shanty Man.' For another text cf. IMWS 83.
F-683
big buck nig - ger with his sea - boots on, When John-ny
comes down to Hi- lo, — Poor old man! Oh, wake her, oh,
shake her, Oh, wake that gal with a blue dress on! When
John-ny comes down to Hi - lo, — Poor old man!
For melodic relationship of. ***ABFS 484; FSCSG 105; **EFC 19;
compare also measures 3-6 of stanza and chorus with measures 1-4 of OFS in
352-4 ('The Girl I Left Behind Me').
Scale: Hexatonic (4), plagal. Tonal Center: d. Structure: abcdaib^cd (2,2,2,2,2,2,2,2) — abaifa (4,4,4,4).
2nd stanza:
Did you ever see the plantation boss
With the long-tailed whip and a short-tailed hoss?
When Johnnie comes down to Hilo,
Poor old man.
--------------------------------
785. Whiskey Johnny
'Whiskey Johnny.' Sung by Thomas Leary, Olin, Iredell county, August 24, 1939. For additional versions cf. JAFL xix 19; EM 39- ABFS 486- FSONE 15, and IMWS 82.
F-684
2. O, whis - key killed me poor old dad, Whis - key John-nie! And
whis - key drove me mith - er mad, Whis - key for my John - nie !
7 and frequently
For melodic relationship cf. **BoS 37, first four measures; EFC S3; *JAFL Lix 113, final measures; RG 6; ASb 403; in the last two versions measures 3-4 only.
Scale: Heptachordal, plagal. Tonal Center: f. Structure: abed (2,2,2,2); b is slightly related to a.
-----------------------
786. No Title
No title. Sung by Miss Pearle Webb. No place or date given. Compare this tune with the very closely related melodic line of 'Poor Naomi,' (IV 320-1, No. 300A, score 474)-
F-685
Scale: Hexachordal, plagal. Tonal Center: f. Structure: ab (4,4). Circular tune (V).