irw itwa y i rwi 1 i * * • • ». « “ ClA^. / i Digitized by the Internet Archive in 2016 with funding from University of Illinois Urbana-Champaign Alternates https://archive.org/details/oldenglishdittieOOoxen VOL. I. OF OLD ENGLISH DITTIES, SELECTED FROM W. CHAPPELL’S “Popular JHustc of tftr #ltrrn Ctme WITH A NEW INTRODUCTION. THE LONG BALLADS COMPRESSED, AND OCCASIONALLY NEW WORDS WRITTEN, BY J. OXENFORD; THE SYMPHONIES AND ACCOMPANIMENTS BY G. A. MACFARREN. IN TWO VOLUMES. LONDON: CHAPPELL & CO., 50, NEW BOND STPvEET, W. 13603 A NEW EDITION OF €t)t popular JWuStc of tfte <&\ Den Ctmr. (under the title of) THE Old English Popular Music. BY THE LATE WILLIAM CHAPPELL, F.S.A A Collection of the best Song, Ballad, and Dance Tunes of England, from the earliest times to the end of the reign of George II., with the references to them contained in the contemporary literature, the original words (or extracts from them) in all cases where these can be discovered, and mention of such songs and ballads as are known to have been subsequently written to them. With a Preface and Notes, and the earlier examples entirely Revised , BY H. ELLIS WOOLD1UDGKE. Price. Demy 4to Edition, bound in buckram. 2 Vols. 2 Guineas net. Edition de Luxe, on large Hand-made Paper, bound in half- vellum, limited to 100 copies. 2 Vols. 4 Guineas net. “ Invaluable to the musician, and highly interesting to anyone with the least historical instinct.” — World. “Not only a work of great interest, but of permanent value.” — Academy. “ Certain to meet with ready appreciation from the students of folk music. ” — Athenceum. “ These old versions of the old songs are intensely interesting, artis- tically as well as historically.” — Guardian. CHAPPELL & CO., 50, NEW BOND STREET, LONDON, W. INTRODUCTION. ON THE EAELY AGES OF ENGLISH MUSIC AND SONG. lt History had its origin in poetry,”* savs an old Danish author, and this is un doubtedly true as to much of the early history of our own country. Without going so far as Lord Macaulay, who ranks Hengist and Horsa, Yortigern and Rowena, Arthur and Mordred, as “ mythical persons, whose very existence may be questioned,” we may, at least, point to many adventures of our ancient kings and heroes, which, if not altogether inventions of the poet, have undoubtedly reached us only through the medium of song. In the “Anglo-Saxon Chronicle ,” two complete historical ballads, and fragments of eight or ten others are inserted as integral parts of the Chronicle. While some of our earliest writers mix toge- ther truth and fiction, without attempting to distinguish between them, others, like William of Malmesbury, divide records for which there was some show of authority from those which were only derived from ballads sung about the country. In this way we learn the subjects of many of the legends and historical songs which delighted our ancestors for successive centuries. William of Malmesbury wrote his history in the reigns of Henry I. and Stephen, when King Arthur had been dead about six hundred years, yet he says : “ It is of this Arthur that the Britons fondly tell so many fables, even to the present day — a man worthy to be celebrated, not by idle fictions, but by authentic history” — “ The sepulchre of Arthur is no where to be seen, whence ancient ballads fable that he is still to come.” As a specimen of the miracles attributed to this king, he tells us that, “At the siege of Mount Badon, c relying on an image of the Virgin, which he had affixed to his armour, Arthur engaged nine hundred of the enemy single-handed, and dispersed them with incredible slaughter ! ” Even this bold fiction did not die away very rapidly, for Griraldus, the Welshman, who was chaplain to Henry II., improved the miracle, by adding that an image of the Virgin was fixed inside Arthur’s shield, that he might kiss it in battle. a “Historia initium sumpsit a poese.” — Bartholinus, De Contemptu Mortis apud Danaicos b “ Antiquitas neniarum adhuc eum venturum fabulatur .’ 1 — De Gestis Regum Anylorum (Lib. iii.) e Supposed by some to be Barmesdcwn, near Bath. 1Y INTRODUCTION. In his history of King Edward, son of Alfred the Great, William of Malmesbury says : “ Thus far I have written from authentic testimony; that which follows 1 have learned more from old ballads, popular through succeeding times, than from books written expressly for the information of posterity. I have subjoined them, not to defend their veracity, but to put my reader in possession of all I know.” d Again, after recounting the pride of Edgar, in compelling subject kings to be his oarsmen while he sat at the prow, William says : “For this he is justly blamed by history , but the other imputations, which I shall mention here' after, have rather been cast on him by ballads.” 6 A volume might be filled with the stories which these early chroniclers derived from ballads, and among them not a few that have descended to the present day. For instance, who has not heard of the deception practised upon King Edgar by the nobleman whom he commissioned to offer marriage to Elfrida, if her beauty should prove as remarkable as it was famed — of the disparaging report given to the king by his messenger, while he secretly w r ooed the lady for himself? This narra- tive, which ends in the discovery of the fraud, and the death of the betrayer at the hand of the enraged king, is one of the many for which, whether wholly true, partly true, or entirely fictitious, there is no higher authority than a ballad. We have three accounts of warriors who gained access to the camps of their enemies by disguising themselves in the dresses of minstrels. The first is of a Saxon chief, who entered York while it was closely besieged by King Arthur and his Britons ; the second of King Alfred in the Danish camp, and the third of Anlaf, the Dane, in that of Alfred’s grandson, King Athelstan, The second and third adventures are recounted by William of Malmesbury; but Asser, the friend and biographer of Alfred, takes no notice of his share in any such enterprise. It is therefore probable that the story has been transferred from one hero to another, if it be not altogether an invention, framed for the purpose of exalting the privileged character of the minstrel in the minds of his hearers. It must be admitted that British and early English kings, and knights, and all of gentle blood, were taught to play upon the harp; therefore, so far, there is no improbability in the adventure. There were then two orders of minstrelsy, between which no sufficient distinc- tion has hitherto been drawn. The first was the Scope (Anglo- Sax, scop sceop), the bard, or inventor, who combined the arts of poetry and music, singing songs of his own composition. To be a Scope was an honourable distinction, even to men of rank. The second was the Gleeman, who, deriving his name from gleo, (signifying glee y mirth , music , song ,) was a musician, and merry-maker, usually singing songs composed by others. d “ Sequentia magis cantilenis per successiones temporum detritis, quam libris ad in- structiones posteriorum elucubratis, didicerhn.” — (Lib. ii., cap. 6.) e 11 hide merito, jureaue, culpanfc eum liter* ; nam ceteras infamias. quas post dicam magis resperserunt cantilense.” — (Lib. ii., cap. 8.) INTRODUCTION. V Many of the clergy indulged in music and poetry, and with little restraint so long as their songs were on historical or other unobjectionable subjects. Aldhelm, first abbot of Malmesbury, and one of the most eminent churchmen of the seventh century, exercised himself daily in playing upon the various musical instruments then in use, “whether with strings, pipes, or any other variety.” (Here it may be remarked that the principal musical instruments* of the early English were the harp, the rote, the psaltery, the fiddle, (which is of English origin,) the cittern, and the organ. To these were added flutes, single and double, blown at the end — pipes, hornpipes, bagpipes, trumpets, cimbals, tabor, and drum). Aldhelm composed “trivial songs,” says his biographer, and stationing himself on the bridge, “like a professed minstrel,” he sang them to the people, in order to engage their attention, and having secured it, he gradually intermixed others on more instructive subjects. One of these trivial songs retained its popularity four hundred years, for William of Malmesbury says that it was sung about the country in his own time. The elevation of the ambitious Dunstan may be attributed to his skill in music, for it was by his harping and singing to the king, when wearied with affairs of state, that he first gained the royal favour. Dunstan was skilled in all “the vain songs ” of his nation, and sought to calm his excitable temperament by means of his harp. He kept it by him to the last, thinking with Bishop Gros teste, that — “The vertue of the harpe, with skyll aryght, Will destrye the fendy’s [fiend’s] might.” It appears however, that some of the clergy were apt to indulge in songs of too convivial a character, for, among the laws made in King Edgar’s reign (a.d. 960), the fifty-eighth is, “That no priest shall b6 a maker of ale-house songs” (literally, “ He shall not be an ale-scope, ealu scop”), “nor in anywise act the gleeman, whether alone or with others.” About the same date is a similar law for Northumbrian priests, “ If a priest indulge in drunkenness, or become a gleeman or ale-scope, let him make satisfaction.” One of Elfric’s Canons is curious as showing that early English funerals were conducted somewhat after the manner of modern Irish wakes. The 85th is as follows : “Ye ought not to make merry over dead men, nor to hunt after a corpse except ye are invited to it. When ye are invited, forbid the heathenish songs of f The portable Harp was strung with wire, the large Harp with sheep-gut. The Rote was a kind of lyre common to the old Saxons and early English. (An engraving of the Rote will be found at p. 767 of Popular Music of the Olden Time.) The Cittern (Citra or Citere ,) was of the lute kind, with four (single or double) strings, and strung with wire. The Fiddle had four strings and a bow, as now: its history is traced in Popular Music, p. 761 et seq. An early English Psaltery is engraved in Wackerbarth’s Music and the Anglo-Saxons. The Organ was in use in England in the seventh century — it is described in Aldhelm ’g Laus Virginitatis. g Leges Anglo- Saxonicae, ed. Wilkins, fol. 86. h Wilkins’s Concilia , vol. i. p. 218, canon no. 41 71 INTRODUCTION . laymen, and their loud cackling, and do not eat and drink over the body in then heathenish manner.” * 1 Some of these laws and canons give an insight of the times which could noi otherwise be obtained. In one council it is ordered that “neither bishops nor any other ecclesiastics shall keep female harpers, or players of other instruments ; neither are they to sanction plays or buffooneries by their presence. k In another, “ Priests are not to babble in the church like secular bards, nor to dislocate the sacred words by theatrical pronunciation:” and “Monasteries are not to be re- ceptacles of amusing arts — that is, of poets, harpers, musicians, and jesters — but honest retreats for the silent and quiet, and such as labour for God’s sake.” 1 We may assume that they were sometimes perverted to such uses, or else why make a law against it ? Specimens of early English music are still extant, and among them some that are probably of the 7th and 8th centuries, such as the music to “ The Praise of Virginity,” and to other poems by Saint Aldhelm. It is to be regretted that they are not intelligible to us, owing to the imperfection of the notation. The same system then prevailed throughout Europe. Over the words are placed certain accents, stops, hooks, and crooks, (like slanting pot-hooks and hangers,) and these were intended to guide the voice up and down to certain notes ; but as they are not written upon lines, it is impossible to decide with any certainty how far the voice should ascend or descend. Such notation could only have served with the assistance of a master, for a tune must necessarily be learnt by ear where the length of notes is undefined. 111 The same remark will apply to later specimens, for, although, about the latter half of the tenth century, a red line was used for F, and, subsequently, a yellow line for C, (the singing-marks, or neiunes, being written upon and between these lines,) still the time of all notes was as indefinite as before. It is curious that, under such disadvantages, any progress should have been made in harmony. Still the nation 'which used the harp and organ could not be without some practical knowledge of concordant sounds, and the English had organs of large size. One erected in Winchester Cathedral, in the tenth century, is fully described by Wulstan, a contemporary writer, and he states the number of pipes to have been four hundred. This same Wulstan was the author of a treatise “ On the Harmony of Tones,” a work which was in use for at least a hundred and fifty 1 Wilkins’s Concilia, vol. i. p. 255. k Concilium Romano-Britannicum, Wilkins’s Concilia , vol. i. p. 46 i Council of Cloveshoo, near Abingdon, a.d. 747. — Wilkins’s Concilia, vol i. p. 94. m Since this was written, the editor has found some early English Latin hymns with nota- tion on four lines and spaces in manuscripts written in the tenth century. These quite antedate anything of the kind yet known abroad, and they precede the time of Guido, who proposed only 'wo lines —a red line for F, and a yellow line for C. INTRODUCTION. vu years, for it was known to William of Malmesbury, who styles it “ a most useful book.” u He says, however, that Osberne of Canterbury (who flourished about a century after Wulstan, and outlived the Norman Conquest by about thirty years,) was indisputably the greatest of all musicians, not excepting any then living.” 0 The musical terms used in teaching boys in the tenth century, will be found in Archbishop Alfric’s vocabulary, and include Ansivege sang — Tune for instru- ment alone, Twegra sang — Duet, Hluddra sang — Chorus, Geftiveere sang — Harmony, and TJngesivege sang — Discord. The good monk who wrote the history of Ely has preserved a fragment of an Anglo-Saxon ballad without music, which he attributes to Canute the Great. This affords a specimen of the measure which this kind of poetry had attained in the early part of the eleventh century, although the language is rather that of the twelfth : — u Merie sungen the muneches binncn Ely, Tha Cnut ching reu ther by : Roweth, cnites, noer the land, And here we thes muneches sseng.” Merry sang the monks in Ely, When Canute, the king, was rowing by : Row, ye knights, near the land, And let us hear these monks’ song. English monks were often censured for singing too quickly in the church, and this habit sprung, not improbably, from the natural cheerfulness of disposition which was undoubtedly characteristic of the English. The people delighted in holidays, and, thanks to their numerous saints, these were frequent. Athletic sports, (such as hunting the wild boar and the stag, hawking, wrestling, and riding,) games, tricks, feasting, and music, were the favourite amusements, and as Layamon says, “ songs there were merry, and lasted very long.” “ The merry, free, and frank disposition of the old English,” says Camden, “ was thus described by Alfred of Beverley,” who died a.d. 1136 : ‘ England, full of sports, a free people, delighting in jokes.’ ” p William of Malmesbury says of the men of East Anglia : “ They are a merry, pleasant, jovial race, but apt to carry their jokes to an irritating excess.” 9 Neither was this character for cheerfulness confined to the North and East n “Fecit et aliud opus De Tonorum Harmonia, \ aide utile.” — Gesta Regum Anglorum, b. ii. c. 8. This is elsewhere entitled the “ Breviloquium Wulstani.' n 0 “ Plura et non contemnenda de viro [ Dunstano ] volentem dicere revocat Cantuariae cantor Osbernus, qui ejus vitam Romana elegantia composuit, nulli nostro tempore stylo secundus, musica certe omnium sine controversia primus.” ( Gesta Reg. Angl. b. ii. c. 8.) One of Osberne’s treatises v as De Re Musica , and a copy of a second, De Vocum Consonantiis , is stated by M. Fetis to be in the library of Corpus Christi College, Cambridge. If this manu- script could be found it might throw fresh light upon the music of the eleventh century. William of Malmesbury was always esteemed an impartial writer and unbiassed by nationality. One of his parents was English, the other Norman,) so that his unqualified praise of Osberne 3hould have excited the attention of musical historians. Osberne was born at Canterbury. p “ Anglia plena jocis, gens libera, et apta, jocari.” — Camden’s Remaines. « “Gens laeta et lepida, facetaque festivitate jocorum ad petulantiam pronior.” — Gesta Regum Anglorum, b. ii. c. 13. viii INTRODUCTION. of England. " Merry Michael, the Cornish poet, piped this upon his oaten pipe for merry England,” says Camden, 44 For money, dinners, varied drinks, no land will e’er be found Like England, famous England, where the fertile soil is crown’d With countless flocks and herds, and where all social joys abound.”* As to London, the first good description of the city and of its customs was written in 1174, by Fitz-Stephen, the friend and biographer of Thomas a Becket. He says that, in summer evenings, the young people danced till dark to the sound of the harp (or cittern), and that some of the maidens acted as musicians.* That, on festival days, the boys of the London schools attached to the three principal churches, “ contended with each other in verse,” and wound up their contests “ by recitations of epigrams, ballads, and rhymes, in which the foibles and frailties of their fellows were sarcastically exposed, hut without naming the individuals.” At this •* the auditors, who were prepared to enter into the jest, shook the assembly with peals of laughter.” The same author tells us that when a Becket went to Paris, as Chancellor to Henry the Second, he was accompanied by about two hundred and fifty English boys, who preceded him “in groups of six, ten, or more, singing something in their own language after the manner of their country.”* Fitz- Stephen does not elucidate the meaning of “ after the manner of their country,” but he intended, in all probability, that, while some sang the tune, others joined in an underpart in harmony to it. This manner of singing seems then to have been peculiar to the English. They had also another system, that of singing Rounds or Roundels, such as the watermen of London made of Sir John Norman, Lord Mayor of London, in 1458, and of which we have an earlier example in “ Summer is icumen in.” In both styles there is a burden or undersong for some to sing as a bass to support the upper voices. The harp (strung with wire) being an instrument of little power, when many persons met together, the accompaniment of voices was frequently used tc strengthen it. Our early songs and carols have commonly a burthen of two lines at the commencement, and not, as now, at the end of the stanza. This burden was intended to be sung by under-voices throughout the song, to support the tune. r “ Nobilis Anglia pocula, prandia donat, et aera, Terra juvabilis et sociabilis, agmine plena, Omnibus utilis, Anglia fertilis est et amcena.” — Camden’s Remaines. 3 “ Puellarum cithara choros ducit usque imminente luna, et pede libero pulsatur tellus.” — Descriptio Londonice , ed. T. Pegge, 4to, 1772. t “ Gregatim euntes sex vel deni, vel plures simul, aliquid lingua sua pro more patriae suae eantantes.” — Stephanides, Vita S. Thomce , Cantuar ., p. 21. INTRODUCTION. ii The airs and graces of church- singers were strongly reprehended at this time by John of Salisbury, and by Ailred, or Aelred, a Yorkshire abbot. Each alludes to the four qualities of voice— (treble, countertenor, tenor, and base,) and the former says that the parts were so consolidated or intermixed, that no one could distinguish one voice from another. “ If you could hear the effeminate modula- tions of their voices,” says he, “you would think them a concert of sirens, not of men.” Ailred says, “ Sometimes you may see a man with open mouth, not sing but, as it were, breathe out his last gasp : again, by a ridiculous interception of his voice, to seem to threaten silence ; then to imitate the agonies of a dying man 4 or the anguish of those who suffer : in the mean time the whole body is stirred up and down with theatrical gestures, the lips are twisted, the eyes turned round, the shoulders play, and the bending of the fingers answers to every note.” This reprehension proves, at least, that the art of recitation was mucn culti- vated by singers of the time. Both writers tell us that the people were delighted ; they complain only that attention was too much absorbed by the singing. Kecita- tion, as already shown, was then taught in the London schools, and we may fairly assume that singers of secular music were not behind those of the church in the art. An accomplished minstrel could secure an audience for fifty verses, but we now, occassionally, find it difficult to listen to three. The minstrel had some story to interest his hearers, and knew how to recite it to music ; but any ballad tune will cloy, if the words, which give it life and spirit, be inaudible. The study of music progressed greatly during the following century (the 18th), before the middle of which we find a round, or canon in unison, for four voices, with a foot or undersong for two more. It is accompanied by directions as to the proper way of singing, and by these the musical notation is incidentally explained. The melody stands first in the following pages, viz. “ Summer is icumen in.” It has been sung in public recently as a round, and with general approval. The undersong or burthen was omitted on these occasions (with one exception), because it makes a succession of fifths and octaves, in contravention of our laws of harmony. No such law existed at the time it was written, and, as there are still some who listen to Scotch tunes like Tullochgorum, which cause perpetual fifths and octaves, we cannot suppose that the burthen would, even now, be disagreeable to their less fastidious ears. With all its faults, “ Summer is icumen in,” is incomparably in advance of any music of the thirteenth century that the continent of Europe has produced, and it bears out the assertion of John Tinctor, the earliest Flemish writer on music, that Counterpoint had its origin among the English. At the end of this same thirteenth century there was a company or brother- hood established by the merchants of London, among themselves, for periodical festive meetings, and for the encouragement of musical and poetical composition, u to the end that the city of London might be renowned for all good things, and INTRODUCTION. X that mirth, peace, gaiety, and good fellowship might be maintained.” Each of the brotherhood paid sixpence as entrance fee, and twelvepence on the day of meeting unless he had composed a new song. In that case “ his song did acquit him thereof.” The constitution of their society resembled in many respects those of the present city companies. They had a Master (called a prince) and twelve companions, chosen anually ; also a clerk and a chaplain. They built a chape] “ in honour of God and Our Lady, near the Guildhall,” and called themselves The brotherhood of the Pui. To be elected prince of the year soon became an expensive honour, for one of the statutes complains that the munificence of the feasts had so increased from year to year, each prince endeavouring to surpass the other, and at his own cost, that limits thenceforth should be placed upon the expenditure, and the entire cost of the feasts be defrayed by the Company. The following extract from the statutes will best explain the objects of the association. “ And whereas the royal feast of the Pui is maintained and established principally for crowning a royal song ; inasmuch as it is by song that it is honoured and enhanced ; all the gentle companions of the Pui, by right reason, are bound to exalt royal songs to the utmost of their power, and especially the one that is crowned by assent of the companions upon the day of the great feast of the Pui. Wherefore it is here pro- vided, as concerning such songs, that each new Prince, the day that he shall wear the crown and govern the feast of the Pui, and so soon as he shall have had the blazon of his arms hung in the room where the feast of the Pui shall be held, shall cause to he set up beneath his blazon the song that was crowned, on the day that he was chosen as the new prince, plainly and correctly written without default. For no singer ought by right to sing any royal song, or to proffer the same, until he shall have seen the song that was last crowned in the year just passed, honoured according to its right, in the manner aforesaid.” “And that, for deciding as to the songs, there be chosen two or three, who well understand singing and music, for the purpose of trying and examining the notes and the points of the song, as well as the nature of the words composed thereto. For without singing no one ought to call a composition of words a song, nor and ought any royal song to be crowned without the sweet sounds of melody sung.”" The seat where the singers sang the royal song was covered with cloth of gold, and when the Company had given the crown to him who had produced the best song, all mounted their horses and rode in procession through the city, (the king of the day riding between the old prince and the new,) and then escorted their new prince to his house, where they alighted and had a dance, by way of a loath to depart. After the dance, they were, according to the statutes, to take but one drink, and then each to return tc his own house on foot. Secular music seems always to have been greatly in advance of sacred, and so Liber Cualumarum, edited by T. H. Riley, M.A., pp. 589, 590. INTRODUCTION. XI secular tunes were frequently appropriated as hymns. The case of St. Aldhelm, on the bridge, may not be strictly in point ; but vve may at least date the habit from the Norman Conquest. It is recorded of Thomas, Archbishop of York under William the First, that whenever he heard any song sung by Gleeman, he wrote immediately a religious parody upon the words, to be sung to the same tune. x There remains at Ossory a manuscript, known as the Red Book, which contains many Latin Hymns written to popular tunes by the English bishop of that see from 1318 to 1360. The original names are there given, such as “ Sweetest of all, sing.” “ How should I with that old man,” “ Do, do, nightingale, sing full merry,” “ Good day, my leman dear,” etc. These were all stage songs (Carmina Theatralia) and the good bishop substituted hymns to the airs in order that the throats of his clergy might not be defiled by singing “profane” words. Some writers have asserted that the popular tunes of different countries sprang from the church ; but this is mere assertion, without even an atom of proof. The better feelings of man have ever revolted at such appropriations. To sing them would have been thought the extreme of ribaldry. On the contrary, in all countries, the case has been reversed. In the Vatican library at Rome there are now eighty volumes of masses constructed upon popular tunes by composers of various countries. Our Scottish brethen have their “Compendious Book of Godly and Spiritual Songs, turned out of profane Ballads,” and, curiously enough, these are chiefly parodies upon English songs, such as “ John, come kiss me now,” and sung to English tunes. The custom of singing “ psalms to hornpipes ” has not died away even yet, for we may still point to instances whichever way we turn, and whether we look abroad or at home. A Latin proverb was current from the fourteenth to the sixteenth century, which professed to characterize the singing of the principal nations of Europe, and gave the English the palm for joyous songs. The proverb is supposed to be of French orign, because not only are the French placed first, but also, are said to be the only people who then understood the true art. Galli cantant, Angli jubilant , Hispani plangunt, Germani ulnlant, Itali caprizant. In English — “ The French sing, the English carol, the Spaniards wail, the German howl, the Italians quaver like goats.” We have no other verb by which we can translate the word “ jubilant ” except “ to carol,” although we have a more literally corresponding noun in the word “jubilee ” — Carols were songs for mirthful and festive occasions, to tunes fitted for dancing, such as : “ All you that love good fellows, Come listen to my song/’ &c. Even the semi-religious Christmas carols were in old times sung to tunes of this * “ Si quis in auditu ejus arte jocularia aliquid vocale sonaret, statim illud in divinas laudes effigiabat.”- W. Malrnes. De Gestis Pontiff col. 1709. xii INTRODUCTION. class. The earliest extant with music is to the tune of “ Bring us in good ale.* “ To carol ” meant also to sing a tune whilst others danced. All nations did not agree with this French estimate of themselves. The old English rendering of the proverb was “ The French pipe ,” in allusion to theii facility in executing vocal passages, and this seems still to be both characteristic and just. Pietro Arone took up the cudgels for the Italians in his Lucidario in Musica, and attributed the proverb to spite and malevolence, but it is still characteristic, in that tremulousness which many Italian singers intend as an ornament but carry to excess. The Germans, no doubt, thought it equally malevolent to them, although one of their writers (Jerom Turler), admits its justice when applied to “ some parts ” of Germany. The name of “Old England,” dates from the cival war between Charles the First and his parliament. Its first use in print seems to date from a pamphlet published in 1641 — just twenty-one years after the name of our colony of North Virginia had been changed to New England. Before that time the usual expres- sions were “ Fair England ” when applied only to the country, and “ Merry England,” when to both country and people. During the reign of puritanism England could no longer be appropriately called merry, and at last the national character became affected by that taint. The puritans decried maypoles as abomi- nations; the festivities of harvest home, (especially the figure of Ceres carried in the hock cart, ) were fearful idolatry ; and dancing on the village green in summer evenings, was “ galloping the broad way to hell.” Although a violent revulsion of public feeling ensued on the accession of Charles the Second, yet, much of this active heat expended itself after a time, and the puritan element remained unextin* guished. Before the time of Cromwell every parish in town or country, if moderately populous, had its resident musicians, called waits, who were sometimes dignified by the name of minstrels. As there was scarcely a sport or festivity unaccom- panied by music, these men found profitable employment. The evening dances on the village green w r ere from Whitsuntide to Lammas day. Harvest was then close at hand, and with harvest came rejoicings from farm to farm. Christmas furnished its indoor amusements and dances ; Easter its holiday gambols. Musicians were in request at Fairs, and especially so on famous old May Day, which, corresponding with our 13th of May, was more genial to outdoor amusement than May Day ac- cording to the new style. In the intervals the waits found employment at roadside inns, where they were engaged to do honour to visitors. Fynes Moryson says that it was a custom peculiar to England that, if a gentleman had company at a highway inn, he would be offered music (which he might freely take or refuse), and if solitary, the musicians would give him the good day with music in the morning, ( Itinerary , folio, 1617, book iii. p. 151.) Now, on the contrary, owing to an ab- surd piece of over-legislation in George the Second’s time, the innkeeper cannot INTRODUCTION. an have musiciai-s to sing or play in his house without the trouble and expense of annual application for license. We now give too little to relaxation, and the overtaxing of mental and bodily energies is not without its effect upon the national character. “ All work and no play,” proverbially “ makes Jack a dull boy.” The airs in the following volume belong in a greater proportion to “ Merry ” than to “Old” England, and we are rarely left to such doubtful evidence as tradition for proof of their antiquity. In numerous cases the original printed copies of the ballads are still to be found in public libraries, while the tunes may also be traced in some early collection of Country Dances. The sources from which all have been derived may be seen in Popular Music of the Olden Time. Some of the old ballads are so long that few would now venture to sing them. These have been compressed, and some have been partially or entirely rewritten, by Mr. Oxenford. In other cases, the old words were thought unsuitable to the drawing-room, and new songs have been substituted. In writing these Mr. Oxenford has admirably retained the character suggested by the airs. The accompaniments are entirely new, and Mr. Macfarren’s name will be a sufficient guarantee for their excellence and appropriateness. For the versions of the airs %nd their barring, the writer is alone responsible. W. CHAPPELL, F.B.*. INDEX TO VOL. I. A-hunting we will go A North Country maid up to London had stray’d A poor beggar’s daughter once dwelt on a green A poor soul sat sighing by a sycamore tree A soldier should be jolly A well there is in the West Country About an old abbot I’ll tell you anon Admiral Benbow Ah ! to me how dull and dreary Ah ! the sighs that come from my heart All hail to the days that merit more praise. All in the Downs the fleet was moor’d Amid the new-mown hay As down in the meadows I chanced to pass As it fell out, on a high holiday At her cottage door Mary stood and listened Autumn’s golden leaf Away to the maypole hie Away with all wine-drinkers NAMES OF THE TUNES. page The dusky night rides down the sky 144 Oh ! the oak, and the ash, and the bonny ivy tree ... 110 The blind beggar of Bethnal Green 36 Oh, willow ! willow ! willow ! 12 The buff coat hath no fellow 104 The well of Saint Key ne 216 146 62 10 Drive the cold winter away 28 Black-eyed Susan 118 With Jockey to the Fair 168 188 Little Musgrave and the Lady Barnard 68 New Wells 180 The gathering of peascods 58 06 Joan’s ale is new 64 Bailiff’s daughter of Islington (The) Barbara Allen Beggar boy (The) Begone, dull care The Queen’s Jig Beneath the willow tree I sow’d the seeds of love — Black-eyed Susan Blind beggar’s daughter of Bethnal Green (The) ... Ditto (Second part, and to the second tune) Blue Bell ” of Scotland (The) British Grenadiers (The) 26 116 90 240 138 118 34 36 212 60 Can love be controlled by advice P Carman’s whistle (The) Cease, rude Boreas Christmas comes but once a year Cold and raw’s the night without Cold’s the wind, and wet’s the rain Come, brave companions, gather round Come, companions, join your voices Come, cheer up, my lads, ’tis to glory we steer Come, lasses and lads, get leave of your dads.. Come, ye young men, come along Cupid’s garden 140 210 Come and listen to my ditty 152 Green sleeves 62 Stingo ; or, Oil of Barley 86 The cobbler’s jig 54 Hey, boys, up go we . . 230 Dulce Domura 76 Hearts of oak 170 Away to the Maypole 96 The Staines Morris Dance 20 234 Dear Kitty Sir Thomas, I cannot Dorothy’s a buxom lass Near the town of Taunton Dean Down among the dead men Dreaded hour, my dear love (The) Portsmouth Drink, boys, drink, for a soldier should be jolly The buff coat hath no fellow Drink to me only with thine eyes Drive the cold winter away * •• 82 174 182 136 104 94 28 INDEX TO VOL. I. Diilce Domum x/ Dusky night rides down the sky (The) Early one morning, just as the sun was rising Fair Hebe I left with a cautious design Fairies, haste, the summer moon is bright Farewell, Manchester \j Farewell and adieu to you all, Spanish ladies.. From Oberon to Fairyland NAMES OF THE TUNES. page Come, companions, join 76 A-hunting we will go 144 92 Pretty Polly Oliver 70 Sellenger’s Round 122 194 232 Dulcina 208 Gently is the fair stream flowing I live not where I love Girl I left behind me (The) Give me a lover, St. Valentine Golden slumbers kiss your eyes May Fair Great Orpheus was a fiddler bold Stingo ; or, Oil of Barley 62 172 186 156 236 Hearts of oak are our ships Here’s a health to the Queen, and a lasting peace /Here’s a truce to idle sorrow Hope the Hermit Hunt is up, the hunt is up 170 Down among the dead men 182 The glory of the North 220 Lady Frances Nevill’s delight 48 Old Tom of Bedlam 98 62 I’m call’d the jovial miller I live not where I love I’m lonesome since I cross’d the hills In good King Charles’s golden days I see the cottage clearly 1 sit upon the mountain side I wander’d through the garden In happy days, when fate look’d kindly In his barque merrily sings the boatman yonder In sad and ashy weeds In Scarlet town, where I was born In the spring-time of the year In summer-time, when flowers do spring It was a lover and his lass The girl I left behind me 172 The Vicar of Bray 162 The keel row 150 My father was born before me 132 Cupid’s garden 234 Northern Nancy 106 The boatman 218 52 Barbara Allen 116 The Poacher 142 Under the greenwood tree 120 14 Joan, to the maypole away ! 42 Jovial man of Kent (The) Joan’s ale is new 64 Keel row (The) King John and the Abbot of Canterbury Derry down Ladies, who shine like beams of light The beggar boy Lady, wake, bright stars are gleaming Now, O now, I needs must part Leather bottel (The) Legend of the Avon (The) The frog Galliard Let me list to the billows Admiral Benbow Let moon-struck cheats prognosticate When the King enjoys his own again Let’s dance and sing, and make good cheer Green sleeves Light of love Little Musgrave and Lady Barnard London Waits’ song (The) if Love me little, love me long Mad Robin )/ Love will find out the way ^ Lovely Nancy Lullaby of the Seventeenth Century Golden slumbers kiss your eyes Three merry men of Kent 150 80 90 20 192 20 146 112 32 84 68 176 124 114 214 156 May he who wears a sulky face.... Mermaid (The) Moon shall be in darkness (The) . 164 206 226 INDEX TO VOL. I. NAMES OF THE TUNES. My dearest love, why wilt thou ask ? I’ll never love thee more My dearest, look on me again Can love be controll’d by advice ? My little pretty one My lodging is on the cold ground. My own lovely Nancy Lovely Nancy My secret I will safely keep H. Carey’s “ Sally in our alley ” My song’s of a maid that charms our vale Dear Kitty Name of my true love (The) Tom Tinker’s my true love PAGE 100 140 4 148 214 190 82 102 Near Woodstock town, in Oxfordshire Northern Nancy Nought I prize beyond her Now, Robin, lend to me thy bow O come you from Newcastle O take me to your arms, my love Of all the girls that are so smart Oft my love reproaches me Oh, dear ! what can the matter be P Oh ! for a husband Oh, list to me, my only love Oh, mistress mine ! where are you roaming p Oh, well do I remember Oh ! what a plague is love 0 where, and 0 where is your Highland laddie gone ? Oh ! the oak, and the ash, and the bonny ivy tree . . . Oil ! the roast beef of Old England Oh ! weel may the keel row Oh, willow ! willow ! willow ! Old King Cole was a merry old soul On Friday morn, when we set sail Once I lov’d a maiden fair Once in a blithe greenwood Over the mountains, and over the waves Oxfordshire tragedy (The) Parting (The) The Oxfordshire tragedy Lull me beyond thee I sow’d the seeds of love Sally in our alley Lull me beyond thee .... The friar in the well In the spring-time of the year Phillida flouts me “ Blue Bell ” of Scotland The mermaid Lady Frances Nevill’s delight Love will find out the way ... Near Woodstock town Portsmouth 130 106 126 6 78 138 160 126 202 196 134 16 142 18 212 110 72 150 12 178 206 41 48 114 130 136 Past three o’clock The London Waits’ song Phillida flouts me Phillis on the new-made hay Amarillis told her swain Prince Charles Stuart’s farewell to Manchester 176 18 56 194 Queen of May (The), Upon a summer’s day 74 Roast beef of Old England (The) 72 Rouse thee, young knight The hunter in his career 88 Row, gallant comrades, row Row well, ye mariners 198 Sad, weary-hearted, soon to be parted Love lies bleeding Sally in our alley Saw you, my father Send me a lover, St. Valentine O mother, a hoop ! Since first I saw your face I resolved Sing a sweet melodious measure Dulce domum Some talk of Alexander, and some of Hercules The British Grenadiers Spanish lady’s love (The) Summer is a-coming in Sweet day, so cool, so calm, so bright Cheerily and merrily 238 160 204 186 30 76 60 46 66 2 40 Take me to the North Country The fickle Northern lass 222 The dreaded hour, my dear love Portsmouth 136 The girl I. left behind me 172 The moon shall be in darkness 226 INDEX TO VOL. 1. NAMES OF THE TUNES page Tom Tinker’s my true love. The name of my true love you’d fain have me tell The spring is coming, resolv’d to banish There was a blind beggar There was a jolly miller There was a maid the other day There was a maiden, well-a-day ! There was a simple maiden There was a youth, and a well-beloved youth / There was an old fellow at Waltham Cross There were three ravens sat on a tree Though to care we are born... Till Mary won my heart To carry the milking pail To-night let’s jovial be To the maypole haste away Blind beggar of Bethnal Green The budgeon it is a delicate trade Watkins’ ale Oh ! for a husband The noble shrieve Bailiff's daughter of Islington Hope the Hermit There was a pretty lass, The merry milkmaids.., Hey, boys, up go we..., Staines Morris Dance ... 102 66 34 154 200 196 108 26 128 22 48 166 50 230 24 Under the greenwood tree 120 Under the rose 224 Upon a time I chanced to walk along the Green The Queen of May 74 ^ Vicar of Bray (The) 162 Well of Saint Keyne (The) >y What, if a day, or a month, or a year When autumn skies are blue Joan’s ale is new W hen I survey the world around The leather bottel When mighty roast beef was the Englishman’s food When swallows dart from cottage eaves Jockey to the fair When the king enjoys his own again Why, brother soldiers, why? How stands the glass around ? W hy should we sorrow that summer’s golden ray Gathering of the peascods Why so wayward, fairest treasure Light of love Will you hear a Spanish lady? 216 158 64 192 72 168 112 228 58 84 46 Ye nymphs and sylvan gods The merry milkmaids Yes, to-morrow, my love will again be here Joan’s placket is torn. You gentlemen of England Sailors for ray money. You smile at the beaux who are forward and flattering.. Under the rose., Young Tom, the carman’s tongue was slow The carman’s whistle 50 184 38 221 210 2 SUMMER IS A COMING IN. THE AIR FROM A MANUSCRIPT SIX HUNDRED YEARS OLD. = 96 . Cheerfully. Words modernized. i? r fr i f PP 3 i EE 1 * m m ip welcome thee, Cuck-oo, That wak’st the world a-new. 1 1 ■ — a - ^5 h i f r • e?im. ^ i EB=5: 3 9-b-p - 4 MY LITTLE PRETTY ONE. = 126 . AIR FROM A MANUSCRIPT, TIMB OF HENRY VIII. ad lib. And play - ful be. a tempo With a beck thou com’st a - 5l=E ad lib. riti r~~ ,-k i-d 1 — r a — : m 1 m • t e i c — a m- TAX * P - , — L __} — Z r N - . i i i # J — - In a trice, too, thou art gone. Ar id I must sigh a 1 l i - loi ie, B r ut sighs are D_i / T7i* ft. ! a ■ I L 1 7T . C J M 3 [_=: < s i a j 1 rh -1 « J m _¥ g 1 tfcrl 1 « * 2 \ c _ y 3 a *4 cr -5 es. ft* 0 i J - m sf dim. • I 1 m • -] r 1 i 1 — i ra i ^ m - i i U tu ; v trz: — # 4- -4 1 1 L [**=*= — ir— a P (b — * — a lost — « m gj up - on thee. IIes— J ^ J rmr ^: 1 f ) •it u. /• .a. cres. - — £f 1 H : ^ 1 t 1 tnzn r: s f ^ It 1 1: : ± 1 ^ -1 1 --r-LJ M ~9 9 Art thou, my smi - ling one, Art thou, my pout - ing one, Art thou, my teaz - mg one, Ml -r — p- p r -p - ad lib. m a tempo S 9 • ** ~ — — • — - — * r With a frown thou wound’st my heart, A god - dess, elf, . . or grace? Ji ^ F i -- f f p i arc? lib. With a smile thou heal’st the smart, Why play the ty - rant’s part vVith such an 1^- — r-f-j S - i ;— i f- -:-i r 0 i sH — f — A — HI- Hh -4j cr — | J ^ F- !—L ' a. */ *'"• m M a tempo. in - no -cent face? i ftL LAA e /£ * cres. -<2. i 6— h- 6 NOW, ROBIN, LENT) TO ME THY BOW. Alii, BEFORE 1568. ^ i i < > twi N. - m ■■ 1 ’ M 51 ^ — S i | ft } ] f p r • * H g t fc A * - J - ^ \ L l ttJ IS ) ■ ' V. _ I must now a hm wing-ed too the ha: CL* r it - ing with in rt must be, tin 7 : Ly la-dy go, With my sweet la- dy go. it ’scapes the shaft Of my be-lov’d la - die. I n 7^ At J i r 1 / \ ft t+ * ? r - g r 1 J I 1 L 1 i | 1 1 ( 1 i i i 2 r J r J n 4 ftj •L nm m 1 v K * f _____ # m ] a* □L_y? i K ) -a )- * c -»L * j f * * j j 1 f \«^ ^ . - « 1 * TV-?,; 1 t r r r # r* r* i 1 _T JB ^ (1— i-l L U L H ^ N T- 1 1 i h. — FT"* 1 s J- ■ s ~~j N ■ A * " * grs 11 ^ J * 1 vi j ~ fl a jzri ~ __ r a w m • a i. i j i d My Dai - * - V r la-dy is an arch - er rare, And ir i Cupid is her master’s name, Full ai i the greenwood joy-eth she ; There ne-ver was a marksman l-cient is his pe - di-gree, His mother is a state - ly 17 'T v _ . _ _ - 1 , 1 . A . t K _ M J r 1 W* • z =£= -y — ¥ J • J.. ■ none that e’er took aim with Cupid’s piercing dart Could match with my la - die. i i * 3f£ i “ Sweet Wilkin pri-thee take my bow, And take my hawk and hound al - so, Right mer-ri-ly a hunt-ing p # — ^ (9 f p-“ P 1 — N* ... t — 1 S> f " T ^ r « 1 1 5 with thy la - die go, With thy sweet la - die go.’ 8 THE HUNT IS UP. AIR, TIME OF HENRY VIII. = 108 . Merrily. Words ancient. P 1 1 r f S££hf-.T.c£r / £ f-i-l.fr I nr ; as £ The hunt is up, The hunt is up, And it is well nigh day: And Harry, our King, Has gone huntingTo 3r£ it it SES -p- bring his deer to bay. The c "^r7r~J7. sl J^^rf = # !: m f .UJ '-9- m. : i i r J r; jJ-jnsjQ East igbrigKtWith morning light, And darkness'TT is fled: . The mer - ry horn Wakes up the morn To 9 10 AH! THE SIGHS THAT COME FRO’ MY HEART. ^ = 92. FROM A MANUSCRIPT, TIME OF HENRY VIII. Smoothly , and with expression. Words modernized. 11 H f h, 1 — k — Nr~ LJ r* ' 2 — — J — C — i s — vSB .a 0 9 — -T^r- L y W . • r— a ; » • * Now to me life ’s bright sun is i i 3et 1 w S. - mid the shades of end - less night, But -7 p 1 p — J — — p— j 1 ■ ^ 1 ! n “• m 1 1 1 1 f J . 1— . -J d * J # S — i — ! — ! - a - - ^ — ■ "i ■' h i a — | |— V-/ ft #■ V w — 0 — ■ "»■ ■ ■ f ~ 9 2 a 10 0 , fJ #■ ~d i ^ - y ~ -4; -t 9 -4- -J- _jJ- — ^ • m ^ r - »• — r — . * » / . > -f 2 . b 1 ” wr J V ± o - } 12 OH! WILLOW, WILLOW, WILLOW! WORDS AND MUSIC FROM A MANUSCRIPT OF SHAKESPEARE’S TIME. I* = 100. DesdemoncCs sony in Othello. llather slowly , and expressively. ^ ■ T -^V-| ... »** i=+ H-h- -4 k-r 1 /I n 1 1 - r A • J 4 J | ' 1 1 ?> \ - 1 - , ^ . *d- * 1 i , * r 2 P • • • j i r r~ 1 w 4 . J W ^ ^ 1 • ^ s — ^ P.u. 1 _ A -■ - ..Eh - ..ru ^ -p- -? pif' ^ * * 1 1 p i i • r * - : 7 1 f » /.*f * ) I L # i 1 — ^ m _ _ J j 1 >4 1 ' — 1 £1 m c. , (—1 — 1 - g r y9 ■ i - h-fn a 1 — I - i—f S k , v— jL J J - J .. r j J A A ^ S s ^ - ^ *s Is im w - • - A P P 1 T ' i 1 i w r— j ly -1 / willow! With his hand in his bo CL# 1 1 , ! , r -som, anc 1 his hea( V F I upon his knee ! Oh ! willo-v L J 1 r v, willow, willow, ( Tiff | i ^ rj 1 > Ha ] ! 1 i H 4 1 J id 1 if _jp J 4 — > . 2 4 • .. M _J 1 11 i 1 1 Vk y » . • J - .liT2 1 L J J < ) P p HV M -o > i w — H* / i - s* A ^ f 1 a r P 1 r 1 rii# i .. . ,, r 1 • l 1 V 1 m — i MM w i .dim. C wil-low, Oh ! willow, willow, willow, wil-low, My gar - land shall be, Sing, all a green wil-low, S'- pp f 3 E J ip 3 -d m- mm ¥ -sjU 5 P ir «/■ dim PP t =r 3 ^ 5 13 even. PP i — r wil-low, willow, willow, Ah! me, the green wil-low my garland must be. , colla parte, a tempo. i pp cres. VP m. m ; 3=* He sigh’d in his sing - ing, and made a great moan, Sing wil - low, willow, pp , I m f ^ ^ , / J J j J | J j r h | -[ 1 -1 - - -- t = — ? — | . — 1 _ — • d _ J. 1 -q L=q /3~p = r . f r *— willow, I am dead to all pleasure, My true love she is gone : Oh ! willow, willow, willow, j 4frj -4— J i rhjr. ■. _1. I. I' J I 42- .dim. PP wil-low, Oh ! willow, willow, willow, wil-low, My gar - land shall be, Sing, oh ! the green wil-low, ifcpj 5 1 1 j ^ . ... -xz it f *»■ «/ — r~ “ST ■r *p ff I £ cres. PP £ ■f^ wil-low, willow, willow, Ah! me the green wil-low my garland must be. colla parte, a tempo. pif ~p ' r I ^ ^ ^ «-« f §i PP 14 IT WAS A LOVER AND HIS LASS. PItINTED IN 1600. & — 96. From Shakespeare's “ As you like it Moderate time . no, That o’er the green corn-fields did pass, no, These pretty conn-try fools did lie J In spring time, in spring time, in spring time, The on-ly pretty m * * 7 : » •> . i I Od~fVL c l f^ 1- / jpillil f SE * ring time, When birds do sing 1 , Hey ding a ding a ding, Hey ding a ding a ding, Hey ding a ding a ding, Sweet ii i T 3 * a i6 ft / f 5 $ m 15 lovers love thespi -|l ingl i i t - tr -- : | |F ;* gl pi — — — -p -^41 1 Ff w | ‘ r P ST Si 7 .... JV *1 * H (3 " «. • £2 1 'V g P *1 He* ff==?= Pf f-- 4 — ■ ^ ±ig. . — .ft= 4 - ter- ziUJz : — J? ^ t • J p U dJ rf L . fl-i -■■•N-fe "■:- -N -H- * sr * _ * _ m m _! p — ; m m Nr-fc ^ R ^ • * r S 5 ^ 0 9 ,9 J S J • ::i J’l 1 F F 15 ! . ]/. Tj y FA 0 F * 0 • -n VT7^ . - - n r r ' F y^ l ^ 3. This 4. Then ca- rol they beg pretty lovers ta lr y r an that hour, With a hey, with a ho, with a he ike the time, With a hey, with a ho, with a h( sy lionny 3 y nonn) no, And a hey . nonnynoni r no, And a hey . nonny no ni I s r-&- iv. r ^ 7 i ! , J J ^3 m - 9 ■ 0 j , w , I y -»•*' , ^ a 0 J . Jl -^1 gm gj O n 1 1 F *1 • J . 2 0 . 3 - 0 9 i r 1 1 r T ^ 0 w i * JlAJa — jF. ^ - g ^ »/F 1 ^ l_ u L_r ' ■ppj — L -= a ' ^ * 1 • ■ w — 0 • 1 LTJl * 0 1 A rn. t* 1 ^ I T 1 • * a - 1 f rj H • 0 f "• . .... j j" ® a 0 -fir- ^hr ^ * K “O 3 f * 1 t K 0 p-fvn 0 Br wr j T T rw ip j * F » p F J J 1 EIV! r 9 a J _J_L b* 0 0 | L g si 7 1 . > j y ^ * y • no, no. , How that life was , For love is crowned but a flow’r, ) T . with the prime ) Ins P nn ?^ lnle , ln «l r - r pringtime,in springtime, The r i on-ly pretty r*- „ ( V\ . j -r -a — ; __ r 1 F „ ~a~ 1 1 /, a 0 0 ,0 0 9 a ^3 1 1 rr^i m 3 r j 9 * F 0 1 (r\\ J . 5 m m J_J 9 B 5 0 i i 1 r -*—5 * 4/ 1 y>\/ * 0 • 0 "9 a 1 n * 1 0 0 _ L 0 i : ^ 1 " 1 " ’ * -»- . . > * 0 -*L -a 1 « » » ; , l. r 9 f * j • r ^ V F W 0 * r a 1 b ■ ■ — 0 ‘ L F 1 : H _> ■■ . | Up “F — f — 3 0 Mins — Hi / >> F J J * 3 i> s r^n y 5 f f * ^ IS d L 0 ? i ,y ■ F — 0 -T y — ^ ^ y w r. v 0 — 3 ® 1 LJ - !> \A w.^ w 0 lie / 5 y 5r • 1 ^ ring time, When birds do sing, Hey d ✓ 1 ^ ' r ' ing a ding a ding, Hey ding a ding a di * r ' ng,Hey ding a ding a ding, Sweet i , 4 j 1 z 1 ✓ n 0 ; _i i __ f J 0 ■ *1 9 ^ *1 5 *1 H J 1 f,v a p 1 9 m n 1 — p =| F ~S 1 ^ fl 1 LJ 9 _ t_ s a ■ L . . ' . .. J . . 0 — • F— { f>. F~ i f-^P te ^ ► hF- fi - / n v • f 1 — ^ u F 1 L w I aJI,— 1 J? - - r r 4 *1 *1 b 9 0 *1 *1 s V - b— . r 1 cri F 1 n -Jr 1 1 ^ V y J-* 16 OH, MISTRESS MINE! PRINTED IN 1599 . P = 84 . From Shakespeare's u Twelfth Night.” ritard. 17 ritard. r LL — — » — — — (() -d-**-*— m 'will not endure. ( A— r^P]-r±= a tempo. i ■# -i-l zj= -l ™ 1 1 t * - i ff n rj | K. parte. ~* h H ■ . | — r !TT */IHZ== — i ~ try op — I - ■ — 1 ■ ■ 1 ■ ■ - 1 b&M • : -t ■'■■■—■ J • j t / » 1 -- — M 2 -- — ^jp: — W 18 *• = i52. > 9 Lightly , gracefully , and quick. > > m s ? PHILLIDA FLOUTS ME. POPULAR BEFORE 1612. & */ /oco ritard. -0~~ S ■ ■■ t-t-L qHn 0 ffl-l ■u'f' t ^ I ill t2_ti_ — L — « =3 As Effi: t=t= % 1. OTi^ what a plague is love ! ^ can - not bear 2. I of - ten heard her say, That she lov’d po wf s — v £ pp it, Slfe will in -constant prove, great-ly sies; In the last month of May I gave her S3 l~* r f t 3 — 3 = 4 ' - g ; : l / iv— -/ — V- — y- fear it; It so torments my mind, That my heart fail - eth, She wa- vers with the wind, As a ship ro - ses, Cowslips and gil - lyflow’rs And the sweet li - ly, I got to deck the bow’rs Of my dear m -■ ,*« • BE m poco rail. a tempo. poco rail. a tempo. f3EE^ sail - eth; Please her the best I may, She looks an - o - ther way ; A - lack and well - a-day ! Philli-da Phil - ly;She did them all disdain, And threw them back a-gain; Therefore, ’tis flat andplain,Philli-da 19 20 A LEGEND OF THE AVON. ^• = 68. air by dowland, 1597. Smoothly , and rather slowly. Written by George Macfarren. s m — P ft m (k$z±---±=^—*-z 0 1 t^=L-r_4d _* a — «— J — J- 3. Thus he sung, and thus he woo’d her Ma - ny a summer’s night un - blest, Love, at length, the m pp 3 = 21 \ l a tempo dim. 1 Nr— | jT — , >,■ 1 ■ : ; > — 1 H S-r—^1 S. J - m 1 V T~X 4 ~ m . w jf * — •» m ^ w i r m a ^ 2. In i. Sa< & my noise - less bark I’ll row thee C 1 and si - lent dawn’d the mor - row r dose lo t by yon - der he friends she hal-low’d shore, Glow-ing 1 visions left a - lone; Still they mourn with I rl f t i ~ _| L_*' J -J i_3 m • l r x sm - | M * s • 2 s I 1 2 _ d J ! I 1 v ) 9 j 9 3 • s ' J W - w . . i - # — s P p * ■ 1- * i L 4 ; • p -« c w - « • — ^ ; .-r»- | T 1 P m - 1 L r_ * tt # f • p V « — s ^ — L 9 m - -J- . 1 . £ k ~f T i — 1 22 = 69. THE THREE RAVENS. AIR EARLY IN THE SIXTEENTH CENTURY. 23 £ 9J 9 • neath his shield; With a down . were so red : With a down . SfcttE m A-gainst his feet his hounds you see, They She ten - der - lv the corse did take, She i ^-*- 3 . Fed. fe -f , . 1 -V— * — - — — - r* *1 £ r — £ — * — ^ — P-*- fl _ r | ■ hounds, such hawks, and such a friend. With a down,derry der-ry, der-ry down down. 24 TO THE MAYPOLE HASTE AWAY. TIME OF QUEEN ELIZABETH. Boldly and rather quick. m sa Bring your las - ses in Nor re - pay with coy 1 your hands, For ’tis that which love commands, dis-dain, Love that should be lov’d a- gain. | Then to the Maypole n n T^r -» r-f% , — --p^ ■ r ==P^— - J =}=f=g i — 3t=3=*h L l r i ^ g§pi W ff £ 4 = ^=3= is V * -J- 25 For ’tis now a ( /P tf « # rp i-ifr ho - li - day. =m=FF ■i |p#= [ ^ ^ J 3 ' ■ n' -l -^>-1 -* -r- .. - 4 > : ' ■ -22 - - - _ L^+Xl L-L-h 1 - ff 3 • -^H P is the choice time of the year, For the vio - lets now ap-pear; 4. When you thus have spent your time — Till the day be oast its prime, mE 26 THE BAILIFF’S DAUGHTER OF ISLINGTON. TUNIC FROM TRADITION. j* = 100 . Smoothly , and rather slowly. The old ballad condensed by J. Oxenford. Vrn 1 — ^ M* ii N — — c n i — M S p*! -a — f^-i * j- ! ^ ^ * ^ 1 JZJ 1 . ~m~ m f ~r r 17 < » ^ • • _*LZ A ^ • * fl r ! ■^2— Z&- 4 - i- ~ 1. There was a youth, and a well be-ioved youth, And he was a Squire’s son, He lov-ed the bailiff s 2. “Give me a pen-ny,thou pren - tice good, Relieve a maid for - lorn “Before I give you a 27 0 . !§ZJr £ - - .a tt I 1 - - 1 - - 1 - ! J 3 fJ so. f\ r go.” ^ P5L— • -n / ~T7-17 =r^— 4 = Ni h — J-J — *— | d-J- -J -rs- — \ f -- 1 — i— =t -a 'j i — i — j J a 1 ^ ) — i ~j k ff L a^ # ^ ) J i -J- g -J jt—i r—tr i f "" — v m — . . 0 i ^ f W~ s # ip 'g f t . ? I» _ I i_ _ni L " T- _L_ _L a I — r r g m . L, ^ V P-n r— — ", ~ ~ - L l l - ^ T i ._j i ! 1 ' J . in 7 — i- : .. : . . ^ ... e _#.... ii.- 3 m P J ~LI . -^ « UJ. J 9 — r.-__. _|B (■_■ _L f_,t_ rfv^-7 — 1 r -E r. C... . El r_ J, J 1 tree; : r* * a w w • w r - u_ xx, : l_u ^ - u l-j : — i l ^ ^ ^ r f When se - ven years had pass’d a - way, She put on mean at - ti “ If she be dead, then take my horse, My sad-dle and bri-dle al-s ✓ n l i I l 1 1-.^ *7^1 ire, And straight to London so, For I will to some / —p— T7 r s j_ n. P ^ 1 7nst d r i « J h* t* J a in* g-a - g J I M _JL . • 9 _S 9 t tz#_J r i 1 1 — — i S ■ 'g d aX n \ w a -& 1 S • * J J a r ^ > ^ ^-8- f g a l A • • ck Ti pf -t* 9 9 . j 1 1 1 1 « L g X m i i i J Lx 1 9-7 — — • n . 'M V — 1 ^ n l. i • — -±. — 1 — ^ «•* y . v r * LX. _ ] ! 12 _ r* j rK t/-p • ~§ - ■■ ■ | P I 1 - f f 1 Ck J 9 a * ® • a J v she dis / f) n 1 ■ — * r woidd go, A-bout him to enquire : - tant land, Where no man shall me know.” -> And as she went a • “ Oh, stay ! oh, stay ! thou ! ^ . i ( [7 7 m l r mr t y • .p J . TH | m W \ 1 -PL . m m • 1 1 -1# 1 1 r \ ’ t? g • w~ .. 1 A 1 i L _J UE.mLJL r..L -J a.zL-g-^-g l^Tqrt 1 \U/ a . ” - - i J d Ml L_ gi g-L mE. t. Lx 1 ar 1 N 'I' y “ a a " > PP aF r% • J -J- j /”V .— u ^ ' 1 ' zzzzczzz. r ■ r : a V TTTir^ 9 , r J2 T_ J i— P - F P f H. L. P A a « 1 1 J J 1 I L J 1 l -Pfrl - IT) • • g— r ^ ^ r^r— — 9 V > r» U A ^ L n «• p_ ^ rj L.W . ri a _ J • * g r ' ^ a -M rj - - -J * * *— , J | v: 7 • , L... 1 1 v w If 1 l. j * i - 9 X 1 — ' ~ Y — — 1 - long tne road, Thro’ we; good-ly youth, She stai ather hot adeth by and ( thy : '"T 1 Irv, SI side, Sh< le res-ted on 3 ’s here a-live, r w w * ' a gras - sy load, And her love came riding she is not dead, But rea-dv to be thy ( ~y — 7 — — — — r - IT -■ ' t i' _ 4 _u 44 J-L TIJfli* dJ -H I — P- --a a J4J1 •# -at- — W — 1^)- v * i= =t=: — •-* ■ 9 m J. r ■ 1 zH - Illf" FWr ^ J ^ ^ > V ^ -& V ^ 1 T* ^ r I m 9 T r T i ill | (/• 7 |«. 1 [■* K ■ p r a a u o w I Hi u ' L : 1 1 i _ JvT/| 1 F* 1 S xi_ r i ^ 1 V * — — ^ — : — ■ — — H 1 • . 7^ ■ 9 ' 28 DRIVE THE COLD WINTER AWAY. AN OLD CHRISTMAS SONG. Boldly and marked. Words and Tune of the Sixteenth Century. f zAfc 1 >«. V ■- i — =rfe! ^ - F " SSET" ^ rfcjy r r — — 7— ■ i -vi/ a i m . - 0 . rv j i t - - — i — 2 J ^ ff- '* ! * f VK-b-fi — ^ -a. a .a i- - -P- P-a- -+-x— — t=±s H =»r^ — r — fe-sr~F~ , s v-HS s | S ■ tw 1® J _k ^ r «*, fry- ft. s 4 .. - & 1 - . • ^ « • gr . ps n s iv „ r ^ J 4-1 ». k- 1 — j-r “is k. , rzrfc ^ 1,7 ^ — W L k r a ~d Is 5,1 d ahr^ ^ s . - U— C S w s * — MCnv ~* . a — „ • p-p- - a . j*~1 a a tbd — ]e -* . d hd^i* — * • a • • a ^ .j .... . m do-eth the best that he may, . .(Forgettingoldwrongs,)Witl: at a fit place they stay, . For a song or a tale, Ora g _l * sr • 9 a 1 c 7 ls 7 80n f S | To driTe the cold wink r ood cup of ale^ H k-, 1 -y ip. - 5 ■ • I® J *1 h* d j n .. y . , a ' 1 r 1 ~i it • — y- 2 i f n 1 1 1 ■ f . C — | -L- 1 A ) v g » a — J r , — ip--* | q ^ ’ HP P 1 w t Aj ♦w’ ^ -r -& ^js< co//a parte. l m l • kg.‘ — 1 rfv-ft : 1 ^ a *1 fs a m *1 _i^ m i— j " 51— I u Y-n is ■ Vm P- 1 1 F r 1 1 9 « — L— 1 — — i * 4— - — V — -1 -tAJ L. 29 ff Chorus, -Orb- s ~ s k k, 1 ^ y_ -f* *i r i* ^ | J j j L J A 1 st ) — -1 ^ • » # . ■ m 1 ^ J rr - 4 - • - 5 - # # • -f- - way, ; . To drive the cold win -ter a - way, . . / r\ « ! ~P~« i~P~ tr « - m L j IT i -tr 7 — : -s ’ — « • 5 4 l . at • 0 « 111 II r *• r m -»um. r. I j/f (7 U ^ • 0 J j V^] -r 1 — p | 9 *£—• g~ > 1 :. rzr "T^ . rt^ ' 1 - 0i# 4 53 P ■ — 1 "1 * F J ^ x i nr r I I L J _ J L I 1 FD r •• « J _ i . 1 J i L L_ j — m )t) \ a iem po. — LL ff / J 1 : , 1 \» L. P • * - i i • j J _j i — 1 5 }•■ 1 ? — *“ ^ P 4 J r e s u- a_ 4 vi 3 J _a 1 a 1 a * I hTT — n* ^4 9 j US 1 # LB 9. L 4 l 4 1 i * j i — yp-ar-^n — — r _ - . US _j J e J 1 j " w IW 1 t -* * : J : F 3 * ' HH ^ p 7- -h . .^zrfer, PL_. J J* i_ r l—J. m M . m w : ^ > k_ « C- gm • jm k 1 S k ^ Im) n _ - V |> _ js - l. a i - w v rr -j. ■ • • -d- — -4- 5 • -4- The courtier, in state, Sets o - pen his gate, And gives free welcome to all, The ci - ty likewise, Tlio’ ’Tis ill for the mind, To en - vy in -din'd, To think of in - ju-ries now ; If wrath be to seek, Ne’er - n n _ , , ) ft ^ -1 -1 9 K ^ 1 _ ® J i J a a j a_ V c _ . n » 1 {’ \ 3 U k. j 9 W - M t_ ii 1 c-) — n n i • or • ! g_. 4 J y». i - 1 .. _c ■. i • ^ y^t * * * £ - 0 - 0 • m I -m -4 *■ t * * « -4- ~ * -4- h 1 i- s & ~ F r Zi i p 1 - - IF - i \ i . 1 rir~ v -~m . : L V j 9 a : J Ai — _1 1 rl L M<~ \ f — P I 1 1 L kffl r P 0 r t ^ — - -- r 9H? — Fiv-irs , 'g — N~--g-N --f— v-K — \ - 4 K y > r i" J (*_ -0 . ^ P' £ 0 — ^ 1^ l3 A m r : r ® . g— J i j a t • * • - 9 • «' dn* _i' • 0 0 9 V / — 0 & ~ ^ / * * / — - - somewhat precise, Will help the great and the small ; But lend her thy cheek, Nor let her dwell on thv brow, Cross o_ u r*«k _ , , _ j? i yet by report, From ci - ty and court, The 3 out of thy books Ma-le -vo-lent looks, Which * i ^k i n rrv < t . p k a C. 2kJ Au J ' J 1 a J a_ —P-kw- d a r» 4 a r m 1 r rv^u m . m j i - r l 9 J •! Ill 4 A i • 1 v t7 — “• — d 4 J »-J I ■ ...1 M _ 1 1 _ i )- r r - • -t e - T“ - L i U ^ p ^ - m. <9« h* / ^ L s ~ ^ a _i a_ : : a_ 1 #yi r « 1 a ^ a t* Al. ! i I L Lv hfl I ilk i i tr :7 4. \ b 4 — — j ■ . Sit ’ s ^ v^ J 9 • 0 - ^ 'Jt— ^ I 1> © 9 • 4 J _ 4\ r t 9 a coun-try will gain the beau - ty and youth de • day . . More jo - vially spent, With bet-ter content,^, ^ - cay, . . And wholly consortWith mirth and with sport) : — " i , k 9 0 * ® 4 rive the cold winter a- / “T7TTT J ♦ ^ 1 ~n 1 7T7h n 0 a i- « j a r - « k S 1 TrW' \) 1 a L S 1 h , « 1 h «- —J r 1 1 fed r • * d L * m . zs • —4 _ * J j ’ ^ * np - -4- r-c 'jU v_ *r ^ < k — t+ *1 fF •f| i 1 H v1> r ^ ^ I rj 1 -P-T ^ ' J P ~T - ^ ^ 1 ~~»n J -F- ray, . To drive the cold win-ter a - wa .. ^ • « v. . . -p- lr P 1 D- r ( T7 — ’i i a « • S 9 , - • W - 1 1 a • r • r*rj# r, • T P— » US' • # S ^ 0- . ■■ ( i i p “r iid 9 s t » mz ! ! C T 1 r T mamaPumm P~ i _p r l i.u* 1 s CZ 1 r.4 - . 9 2 J Lj wmrmrwmntm ■j i "■ • \ t tempo. r ff .f _ 1 1 | ^ l, n i f 9 n r i P * * • Lb a i » a J a fl s a i *i l __a_* • _ 1 hj . 1 i p • p -S 4 5 ' 4 1 i i 1 ; 1 0 L»_ •' 1 ^ LT-g-. i 1 U UK . ^ J f m j4 *9 1 1 • v -C^ ■*jr - * i a -3- 30 SINCE FIRST I SAW YOUR FACE. COMPOSED BY FORD, AND PRINTED IN 1607. f =100. Smoothly. Originally a song with Lute accompaniment. 31 32 CHRISTMAS COMES BUT ONCE A YEAR. BEFORE 1580. j* * 100. Jovially. Words completed from a fragment, by G. Macfarren. — 1 9 — N — ^ — - 1 Rt ^ Nn — is s > J . in . i rs 9 • r. r hr? — r 1 s d e s h S, V r. r — ■ r7 d . d a a r J r S - 1 » J L J P i ~ V / > \J ) ' UP “ -d- -d- * • hoi - ly shall deck our household gearW rouse the old man from his drowsy moodWi ■ u zt ith its blooming win - ter cher-rj th the mistletoe bough, & its her - in r;W j: T] e’ll burntheYule log, many ben hey for a romp and a «*— 1 1 r : J a j *1 *i 53 t* IS — 1 *i _ — I 53 m S 53 a S 53 — 1 TX ? 1 1^. r j l n_ J 1 L_ _| 1 J s L_ 1 X ') — 0 a 2 J J i i ! )J J -• t • 5 J n t $ ] *- -4 r~ J H4— __ S3 tS S- 53 Z 53 f-*j _| 53 53 — K 1 J r A 1 1 i r i p L_ _ 1 1_ IS ±=B ■ ■ - • — 1 : pi * H fc—i tr g-e. -J |— I S 1 A ’ k m *_ hd 1 1 1 JM J JM «_K 0 m « — r s i : V ■■ .../ U L_ m 9 w a s X n — 9 J r i > r i kL __Le l l U_r ..Ad l. tJ r~ ^ -d- -d- V '/ . V * tapers we’ll light, And with heartsmore warm, and with looks more bright, We’ll put the cold w< shriek and a bound, A coun-try dance, and a mer - ry-go-round, And the Lord of Misrule r\ * 1 1 x - 1 lr ■ gather and i, as in i 7 : __ ___ « ^ c r 1 / ^P> *3 g W —5 l — 53 -m : _JJ* 53 J J m n • 53 H 1 I d z , ! * J 9- i e & w :!1. L j 1 7 fl S a jm u_j a ) z - 1 / v ^ . W L, - , I rn- ^ e? J - 53 J _L _J 53_ ... 1,1 S3 53 1 ^ 1 F a — m ! 9. a _J J „ J. L_ ( — F L_d : d — L-J * 1 33 “1 ~|s~T — - - ■ fe-fc - / K U N s s K ~ J . p S , s N: s . ss. 2 L_ # • r. » d i • 1 If 0 w i - S s s IS K i f 0 V ) 0 •04 14 r J P P _ 4 i . _ - i r £ / / U t ( , 1 i j/ ^ -0- -9- * * ' * thaw the blue tint from his frostbitten nose With a cup of mu - most a8deep,tho’ not quite so wide, As the Thames at ll’d sack and s Twickenham ^ 9 C her-ry; The fer - ry : 1 n the br ?hu? 1 r*1 - awn and roast b fes-tive and jo 1 V eef and the y-ful and J i i / i - i J 1 1 r* is *1 i 0 *5 f 4 *1 1 (( hrP" 1 J i m 11 r I 1 1 # » * i 1 1 V 1/ . 4 4 ! 1 i ~4 1 i fif r Z 1 1 i « * ^ • 1 * 3 0 - 4 l J A* I » / * ^ t s r IS - a ! - f •I *i f 7 . 1 1 4 1 1 I r i i • 1 r n 1 --t— 1 J V 9 - • : j_i d — y L 9 ' " ' * tur-key and chine, The padding, mince pie, and plum porridge di-vine, The stingo, the lambswool,the hear-ty and gay, Let’s strive to pro - long our vi - si-tors’ stay, ’Twill be wise for a month, in m m if :t dt i -J L s : # ' a tk ^ vt " — — LTV a ’ s rr. -^1 S — -] rr - . : ~ ^ • i r - 4Tj— ^ r ra -H r — 1 — tJ -9- -9-' 9 nuts and the wine Shall make old Christmas - stead of a day, To keep old Christmas / ! 1 r *- i mer - mer - ry- ry- _ 1 . Da Capo • Segno Jg I -it. , • —1 . — “ — f s > 1 -- p r* s 1 S 1 r~ ' Lj JT ’ L , h . 3 - ^ * j ' i , 1 J r. i ffi -ff- _ f / > f , I -4-5 m i *2~ — rr r t r~v ' I tJ- J *1 ** >. -f — i tv - - w — - vi ^ . I ik ■ II P~^ ^1 vi <■ M — * f — 1 s — "• 1 ^ ' 1 — - . i . a t “ : — 1 — r } l 1“^ s 1 i 1 -J- 34 THE BLIND BEGGAR S DAUGHTER OF BETHNAL GREEN. (Part the First.) * = 104. TUNE FROM TRADITION. m§ m 1. There was a blind beg-gar had long lost his sight, He had a fair daughter of beauty most bright, And 2. By ma-ny a sui -tor her love was extoll’d, Great gifts they did send her of sil-yer and gold; She .by ma m i g £ £ 3 pp- M i m W± 35 36 A POOR BEGGAR’S DAUGHTER ONCE DWELT ON A GREEN. {Second Part of the Ballad, “ The Blind Beggar’s Daughter ) = 104 . TIME OF QUEEN ELIZABETH. Moderate time , and ivith expression. The old ballad condensed by J. Oxenford. 37 (pte r " J | J .Hr _ a ~p- r =j -i * 1 ! 2? #. . r : M-f g * - -£f f P d , - f=: 1 -4- i - 1 1- — 1 1* — r — L r r 38 YOU GENTLEMEN OF ENGLAND. DATE, ABOUT 1630 . |» - 112 . Boldly . £ £: J f- -i — =n i ^ — i — \ rHg-/rJ -j i ' ~ ' ' y . j j ^\-A J 1 tz_3 1 v -r 2 ^ 4 > -J- J; 1 J 1 $ -*■ -W IJI 8 ■ 08 . ■. i :r 1 : h — =h r. — 4 - i i ■ ■' 1 r\ • _ X J m J « • v 7 • _ ^ ~a * • d a. J 9 * 1 . You gen - tie - men of En 2 . If e - ne - mies op-pos - c? # g - land, That live at home at ease, How lit - tie do you a us, And Eng - land is at war With a - ny fo-reign . fT~ _ , J _ 1 . , 1 7 i — I f? \ • a n a a 3 j 5 * 4 J J J p_J r a J d fl d § a d_ • _d L 5 . j J / 0 0 CP 0 1 0 -F- I 5 " ‘ r * ■) r 5 ^ TT ^£5 ®“d \ y 1 ! ' p 1 ^1 K ! i_*. I I tj.+f. M S .. r " je — 1 • 1 " r " n nr ^ i - ■ L Jl : a • ■■ w r J" tP f V ) tr l - 9 1 I H r J ¥f |S r i m A 1 d d • J — | f \ 9 4 9 L_ 9 w— vd 4 W • Q - 1 think na / 0 +r I lr 1 up -on The - tion, We - cp • m s dan-gers of the seas; Give ear un-to the ma - fear not wound or scar ; To hum - ble them, come on, Ir ri - ners, And lads, Thei 1 r 1 y W . ■ t P J i ^ ST - 0 — — J- — | 1 « - M ^ • ^ a w ^ f # i r r r- P • r 1 r 1 1 r V 0 -0 1 1 , I ■r Air 1 L 1 r r , 7 9 J is* i- J m J /Za r r • m rJ J • kd J _ • ! J m . ^ they t flag* v / _.n 4» *. 9 '-s vill plain-ly show, All the cares, An 1 the fears, When the sto] re’ll soon lay low — Clear the way For the fray, Though the sto: r-my winds do blow, r-my winds do blow. 1 / +t I T 1 Ti-i T ■*** 1 1 » ■ s 1 > i L 1 1 ^* L J 9 V 1 if’i a n « a^ r i . ^ 0 1 Sd • § - -M d —M. 0L _ J 9 d m- urn — r ; 1 4rsi V r > > L »/ 1 ( i i ^ j - 1 r 1 X - J j . i 1 1 m J H r J j - ^ : 2 r V * d | • d J d i I ! . : • ar 1 m +. _3. d i L v -W- ■i ^ A -J- 4 : J =t : * i =: -j L - J ■ 0 L 4 : "d - c-i r 1 =: ^ i -cr 39 \ (m g f-t- fcrfif p — _l p A But \ K 1 1 ^ 1 J •• ' }■■■■ j J 1 1 > J_l— =t > 3 • / / ;>;g - 1- — r htJ ■ j~'| ~T Z_r~~~l I TT — #- g -J • r - ~ 40 = 108 . Smoothly , and in moderate time. SWEET DAY, SO C00I, SO CALM, SO BRIGHT. POPULAR BEFORE 1652 . Words by George Herbert. i pr^/if — t i r ' c cj i r t B 5 of the earth and sky, sweets un - num - ber’d lie, The dews shall weep thy fall to ■ Not long thy fad - ing glo - ries -l i i • it ap? w^m 41 JOAN, TO THE MAYPOLE AWAY LET US ON. POPULAR IN THE REIGN OF CHARLES I. 1. Joan, to the Maypole away let us on, The time is swift and will be gone; There go the las-ses away to the 2. Do you not see how the Lord of the May Walks, a - lon g in rich a rray P There goes the lass that is on - ly - a. - s wm 4 f * m P i ^ r£ CftE -• S — , r ft ft -J J j* * — M-W- green Where their beauties may be seen; Bess, Moll, Kate, Doll, All the gay lasses have lads to at - his, See how they meet and how they kiss. Come Will, Bun Gill, Or dost thou list to lose thy m m as — i 0 P • il : V? - tend them, Hodge, Nick, Tom, Dick, Jolly brave dancers, who can amend them? Joan to the Maypole away let us la-bour P Kit crowd! Scrape loud ! Tickle up Tom with a pipe and a ta-bor. Joan to the &c. 43 (#«={ t=ff=l '=4= 9- L — I 1 3ra. 9—1 ?=£= l -£g-i. : - -ill W*=i - 1 1= */ *1 F= 9 - _ H t = - Da -I- "C Ca /70 a/ Segno.ffi V=~. 9 - . W — f Las i Verse. ■4 m #— * 9 — 9 Now, if we hold out as we dobe-gin, Joan and 1 the prize shall win, Nay, if we live till an-o - ther M V r): 3 — — : F^ri- r , r ■ j —d j #—9 • * 1 ® w~ - jrH ■ , 7 - * r ‘ . - ~1 -J*»-j SF g r — g g . ,1}TJ ,..AJ -3 day, I’ll mak« thee La - dy of the May ; Dance round, Skip, bound, Turn and kiss, and then for a (PUP & tW 9— r P m m t m % g r^- , h i+ j ^^ -fr-k ii s=*t if greeting. Now, Joan, we've done, Fare-thee-well ’till the next merry meeting! Joan to theMaypole away let us IP i / : TJP 9 p m m H m y poco ritenuto. on, The time is swift and will be gone, There go the lassos away to the green, Where their beauties may be seen. Mh Bfe-ri ■ , 1 I uJ - r^ m 5 p f • V m M ZJ m i 8vas. -F- -■ m •/ * 2 im p— 1 > *f £ 1 1 i 8ua. i .m & M 1 fe „ a m a -g=: Rf*- jP -B H ' ■ £ 1 1 -1— 1 -- r— H — n 9-3 k— Ns— ^ ^-r —M ft m m r t fe h N 7 r-" — i i « # F — 1 P - 0 — - — f — - 0 J • J s - r \ w a # • • • fl P L_ L _ £ , W WWW'"- rr7 __L ^ L _1 1 |* r Falsest words have spoken. Fare-thee-well, 1 faithless girl ! lr ^ I’ll not sc 1/ )r-row 1 for thee ; Once I held thee ns :ps J m -® i_J 1 i M L . r 1 / a | a J J m 8 -9 _S -4 • 9 ' - . m m 1 /? K vL, 9 & _ 5 2 - i J m a 1 ^ 2*— — 3 J? ^ fl * — 9 s • — ) f w • r i ' *^J pp £ 1 n • w i • I rrr< _ %i « . r r* J 1 • i r i _J L T J • ~~f j Vl y — i 1 46 Gracefully. M THE SPANISH LADY’S LOVE. SIXTEENTH CENTURY. The old ballad condensed by J. Oxenford. tp£| P i i w m. -J3L m+E. 1 -J • cm. v : fff/f dim.. *4 ^ 1. Willyouhear aSpanish La-dy, Howan English man she woo’d, Tho’ heheldher as his captive,- E-ver 2. “Itwouldbe ashame, fair la-dy, Should I bear a woman hence, Fnglish soldiers never car-ry A-ny M ■ I K i i -J-- r nru ."un i pp •Mi m •Ms E I ^ gen -tie was his mood, Tho’ by birth and pa-rentage of high degree, Much she wept when orders came to set her such without offence.” “ O.I’ll quickly ch ange myself, i f so it be, Like apage,wheree’er thou go’st I’ll follow -jjg-lT ■ J!! 5=c 0 * - ' J 3~- - P \ j. j- j 1 7 . t:r>- - X S=3t -* — f H — N- p — r- ^ free, thee.” “ Gallant cap - tain, shew some mercy To a la - dy in dis- “ On the seas are ma-ny dangers, Ma-ny tern - pests there a - 1 m i r i i - tress, Leave me not within this ci - ty, I shall die of hea-viness ; ’Tis an emp-ty mocke-rvtosetme - rise, Which to la-dies will be dreadful, Drawing tears from gentle eyes.” “Well in troth, willlendure extremi M i m r. m ■# — 0 T-i* 47 * HOPE, THE HERMIT. TUNE, LADY FRANCES NEVILL’s DELIGHT — SEVENTEENTH CENTURY. + = 132. Words by J. Oxenford. -j - , * = y-h ? 7 ” r • E - E IZZ O J J 9 ■. r' P> (\ J < r P • • * r . L__ J ! U _ 'V * rn ^ z, c - 1 . d ! 1 r r r IT 1 counsel sought, Knowing well that what he taught The dreariest of hearts would cheer.Tho’ his hair was white His can’t be cur’d Must with patience be endur’d; As cheaply can we laugh as cry.” And the peo-ple gaz’d, At o . 1 I 1 ZlJ 1 1 i L_ i zn/ d d V , j [_J ZS AJi X t* 5 J f* Id f* 8 FT rv 7 ' ■ J 1 Lk. j n o ■ L n j .1 L* 1 1 •r - i m 2 3_ 1 m L L* ! i 1 1 * ~ « A 1 ■ m _L A ft m a* ns > J. V 1 i m e* ft i »— F _ M n F — F — tr V 1 ft V U __P_ 49 * f ! i ' A * £3= $ t t f f MU? n.C.alS.% p i i § afcfczt 9= Last Vebse. & *— t- 5 . ji Pray, is the her - mit dead ? From the forest has he tied P No, he lives to coun-sel all Who an pt , 1 tit 5^ EE U i ?>- - n -t— * -1 N — S =n / i r f « 1 » r «, p F ar O .J _jP r ■\ y t X i r J j ■ f r P • a • ^ t 17 _ L - ' ' 5 F - r £ k L p • J . L> L L _ ” , ^ pr— r- ear will lendTo their wisest, truest friend, And Hope, the hermit’s name tin Q u 1 1 L ^ — - 1 1 ;y call $ Still he sits I ween, ’Mid n j d i F 5 a i' J ^ r* P h* p* 5 1 f \ } F ,j$ - lH -n i i F _P .1 1 if' F 1 fcT * i &» *r — f - P lL 1 v m / C 1 ^ * ^ p - p p^ p ... . / >• k 4 i F F '■ 0 _ ^ f . 7 r -7-3 — f 9- 1 — F - r* 1 9 r F» r ft r F r "i ^ — F - 1 r 1 hr P L . i 1 1 • _ 1 1 1 1 - r v ! ^ ! « ^ 1 h r^i — m 1 — nr — v~V r» K-N > -» F p J 0 F ! J F ■ w - — 1 — ±-; r- T" ^ — ~sr~~V' r p * J 0 1 ^ V!l | .- -4. v — 73 . •— J a ' J J branches ev - er green, Andoheerly you m ay hear him f%ay : “ Tho’ to 1 1 care we are bo _1 j— m - rii,Yet the dullest morn Often 1 7i\L 1 1 r 1 r— l 2 1 1 . . t* r* . ... j - a « g 1 - ^ (2 j K hF ^^Fi 1 r y i r * y i a I 0 a i ^ r ‘ 0 1 I 1 v j 5 . a « a n« ' ^ » s _J 8 J /«r 1 1 -m IHJ- - ST- ' 1 l I >• k m = __ I % ! Pft jP Pk / t/« V m (2 (2 e * 9 J •^F7a- J P* r I (£ ' 1 : w a r F_a 1 (L_X_ J_pU 0 • w 1 -O' fr r- KT ^ S -f-Kt a- 1 J trd k. S. K , . r* J J ; j . , J F ^ i ^ 1 a 1 * 1 ..n - n 1 1 1 1 V 7 F • P J . - — w ■* f 0 h a • p J r ! fJ heralds in thefaire / f) k ^ . >st day ! p Tho’ to care we are bo p F f- w — |T g- n n,Yetthe dullest morn Oft p 1 ■ * ^ en heralds in the fairest day - p - 1 1 1 "ortfl 1 /■ 7 1 _ [ n m • r p^i r 1 l > r« L J _ "5 h> S . h* • F , L PS c - a ■ J 1 ^ l -j. .a_pi a » ■ i v 1 5 F 1 ; — 1 ^ ^ ~i -m 1 r » □ F 1 1 Liz i * J L F| h F P ■ 1 1 9 0 3 J 7 ^ V . i'S - 1 _ . ... ^a t-s 1 r , r * T 1 M 1 1 | m 0 > r- I Ajl_U ^ .p... -J 9 m _ n » 1 ~ r J 0 s 9 00 m 1 ’/« Z - . 0 ° ' fF U h» « F • r*aj II 1 ----- s>— 1 * 1 3 — F ® F -J 2 — F -±- ~a *- - P M • j _ ^ m I c ‘I 1 W — 1 i • t irl 7 - n U ’ink L • -P- 1 i : 5 r t & i - ? s * ./ / I P 5 rwp - » — — — 1 -VT ^ S u S l. ^ a Hr — P-^F — — — — 1 loaz - - r p » ' 1 — -• 1- n — — i 1 1 ! i 1- o= , 1 — 1 1 * --I 1 i 1 r — i — , — 1 — — r— — 1 P 1 J C/ • ' 1 r-r , I — i 53 -- L * ^ :; f J > t 0 F 1 1 1 P T 1 LL- 4-2 ^ P L~ ~F La • P — * F 1 a « j ^ ^ — p 1 ■ r — 1 s 1 n =rr r:: ^ 1 ^ =’=F—' 3 : “ 50 TO CARRY THE MILKING PAIL. TUNE OF SHAKESPEARE’S TIME. Pastoral style and gracefully. y — ..^5 k ^5—0 - P-yLg p N , m. i n — ] n p k, tv _L My. * , ^ r 9 • 9 1 1 J ! ^ ^ W . P 1 ^ v d • y ^ M 1 ! !> a , nravnrT^fc d — ' ' " * V -J- * I" » Ye nymphs and sylvan gods, That love green fields and woods, Where Spring newly horn, Her- \ Li'' F “j j IN 1 i — 1 rn * i M# • ». ! 1 1 9x # — j 1 1 ST" i i Nr l w -LU uy.^r il a • > j ~ wz F « JpJ l~ _| J ! ■ -j - - ] 2) i 1 ^ i _ /n-« t • 9 ^3~7 • -#• 9 1 / AL 1 ^ ^ ^ ^ ^ ^ 7 ^ 7 ^ _ m ' m ~ 1 '7* ' r ' r ' r m ^ w w w ^ - r m w f t? p# • nr w] »n ¥ M ' ~M ! — Jr • r r i 1 ^ i 1 P4- pH F- n r i P - L ■r-E=^ Nr i — S - — n-rfl- - < — fn -7T-n r k m N m m*r w — j w m •—m Li 1 s r ! 'i — ; — (• — A _i r # -i tstr • - o * a i i 9 J V. > ^ zzTr.^J izj I 9 m ^ r v ✓ r f -self does a-dorn With flowers and blooming buds, Come sing in the praise, Whilst flocks do graze In r r\ N J ! 1 7 p — j T PL — * ^ — « 1 ^- — 9 • -f- 1 fr\V z. i“ — 1 -a-r-* — i K — ■ =hr S € • 9 • j • sL s i v ; — a — - ■ { f \jT j 2 • * fl 9 J fj x -*■ 'i ^ 5 t ^ ^ ^ " 1 W ~ — ” — ^ __ =rr 1 rrr — H %r * 7 m 7 r I L~a • m T' 9 ; — T1 9^1 1 ^ . — a — r i 1 i — i v ^ ^ * J LUJ cjj 51 52 IN SAD AND ASHY WEEDS. [This old ballad was the solace of Anne, Countess of Arundel, on the death of the Earl, her husband, who died a prisoner in the Tower of London, in 1595. A copy, in the handwriting of the Countess, is among the Howard papers in the Herald’s College.] f -= 126. Slow, and with expression. Date, about 1580. 7 f- .... t -rrt? r^?-= + N i all to jet and ■j . - J_ e-bon turn; My ^ i M- • — J— * va-t’ry e z—£z yes, Lib j — :e winter’s skies, My _4 jv L* J- O ^ r fur-row’d cheeks o’er-flo K • 1 w; Yet • 1 tv a j. 'Ji EL PP i—Jrr, — v- _ - 7* -J-r-r J- H t * -U j tM-tr M 1 wii- £ P pp ii all know why In grief Ilie,Andwhocanblamemy woe I * £=! T l -j- V-# 1 - j -pp f V mf cres I - cen • f/o. 3 ± Wr § ! 53 54 COLD’S THE WIND AND WET'S THE RAIN ABOUT 1600. JT f-~r m \m Whzf. Winter’s voice is sharp and rough, But quail not at the sound; By mer-ry laughs, if loud e-nough, The n IP ==£ ii ■ P sup 55 m m s grumbler’s threats are drown’d.Hey down hey down hev down a down, Hey der - ry der - ry down a down, 33 £ PP 4 4 4 ^: 5 feS z4 5g "j i^n 1 / i nr- 1 S i i r t \ * 9 # J J p m r V 7 L* 1 v *- JL* J - — — i: r ' i ^ w * w Down a down, hey down a down, Hey der - ry, dei CLM 1 1 ^ • 9 & ' - ry down. _ ^ 1 - m S : 4 1 !S 1 1 — i - — g-:, i m r~ • 1 — a r*~ -*r s_ r _ _ n 1 •4 a r i \r m — — 2 9 r r / :: J )*> L • ' — ~ -3* c f ere#. > /* i ! ^ i ff »j • • ! ^ 1 1 1 o > 1 n n 1 ST J fA ] • n- f - • CF O . 1 • 1 — “ — a - i i » • v ^ f a ^ — — •4 r ' ~ 3 r "> r 1 t* - - — w ’• • _ 4 -j 56 PHILLIS ON THE NEW-MADE HAY. TIME OF CHARLES I. P = 116. Smoothly, and in moderate time. Words altered. Hhb =N — TVT 1 -in k k « . 0 ^ J L j I - B B ' ~r m a jznzz ^ r~ S7" l ; v w 9 £ nJ 1 ^ June’s bright sun is beam - ing.” / _A_ .u 1 & . iS tjlfi h 0 - ^ 7TV ! J T-T i E a i s a • r. a i Jg__ a a P a P l r ^ c_ r_ ts_ . 1 fA 17 17 t f P J r J Li_ i— 1 ' JSc a- 1 - ■ - zc r )tr * 4 1 ) i- - '-^Ti - mf n > cr- • • s ss ra *=J / 4— i J 58 AUTUMN’S GOLDEN LEAF. TUNE, “THE GATHERING OF THE PEASCODS” — ABOUT 16O0. = 126 . Moderate time and sustained. The Modern Words by Gtirge Macfarren. ( -- , 7 |g |» l-f 8 # ; -'T* 19 gLii. lid ■ : — br+r-.d \ sf cres - X ± 1 e).fl / v _ m "m ' ^ ^ 1-1 g; dim. -_ r P M P 1 > Fed. * (— ^ — ^ >■ — — 59 60 THE BRITISH GRENADIERS. FOUNDED ON AN AIR OF THE SIXTEENTH CENTURY. 61 62 I LIVE NOT WHERE I LOVE. TUNE FROM TRADITION. * = 126 . * Moderate time and smoothly. The Modern Words by John Oxenford. pHN L 1 |=ffa=5 a 1 i \ ) ^ p/0 ten. j / ~ . -i — : E r P i 0^—" fl ! m » 1 £ f £-= j» '“f I • m 5E ^ & Ah, to me how dull and dreary Seems the gay and crowded town ! Ah, these masses make me weary. pp m m — # wm -F 3 ^- m =F? fe: It While I wan-der up and down. Nothing hoping, nothing seeking, Thro’ the bu-sy throng I rove, 3 & « — «- ^ -J V cres cew - - do * r 0 - +=J § ^0 £ m it — n- 63 i i mii pa^ -r-f i i" 1 —^ ! — ^ J ^ 1 6**i — ^ *V ir c TOS £ Tl-).-:; ■ew - - Jo. ^-3 <— 1 t—*— r- m St f=P= §E tz 64 WHEN AUTUMN SKIES ARE BLUE. AIR, “JOAN’S AI,K IS NEW” — SIXTEENTH CENTURY. f • = 104. Cheerfully. The Modern Words by John Oxenfoid. ! ' o £ f‘ f ' # r- 0 - i— 1 ■ 1 TlJIIT J? i . v p • F *1 i 1 F * fnv o i * B LJ F # — ' jr "F 1 - F w - at h M * 1 I !; r 1 F h - F — S ■ — > i : s- 1-Au F- 1/ r - 1/ IT ^ I F _ I i * J J ( | rd* r> r n i ~ # A i__J ''J 1 SJL • #>LL_L 1 V - U L - O : 2 -sm — ■ j •- * 1 i rT H Id- J j I JF .r. m 1 • 0 _ ■ i ‘ 1 p i f 7“ SjjJ! 0 1 s_ S | s l ^ ■ r | a l J _ J v | T — v r — (La n» r* l 4 C ' « 5 m - • r 1 * 1 X:2 . ! ! ' L w w * m 9 . J L b* — — i) { -A 9 9 r -9 1. “ A - way with all wine drin - kers, And such new-fan - gled thin - kers, And 2. The hop that swings so light - ly, The hop that glows so bright - ly Will it : 6 i # may they still be sure be ho-nor’d N 1 N -AL i J- — ! ^ 1 /f a» i* 3 f • j J a Sj 51_ i k | • — l rn * m S J 5 9 ! M J l 1 r 1 V/ 1 J - , 5 _S m s h h J J 9 t P f 4 • i 1 0 3= i i L Jj: J d | s i h. r i 1 m 2 1 J , “1 d 1 1 f / • S ih • i c | I — * fl ! *1 ’ *1 m *1 F a d - i tl» r _L : z * ._L Jszr. r i ■ « F F a i L i i ■ » 4 ^ 1 i r ■ k i 5 : P * 1 " * ^ 5 . 5 r-* ^ ^ -J- 6* shrin - kers From all good men and true.” right - ly By all good men and true; Thus said the jo - vial man of Kent As Let Frenchmen boast their straggling vine Which 3=t I fein 33 f f 65 66 r = i 62 . ✓ THE SPRING IS COMING. TUNE, “THE SPRING’S A COMING,” ABOUT 1700, PROBABLY EARLIER. The Modem Words by G. Maefarren. Gracefully , : — | F-- f- » » - =^^LF_L=t== c <> - j 1 - J ; T— 1— JV m # 4ij -t U~- | LiJ-- £ -» — *\- — =^j — F • — I # • =ft — - - : =1=-— >-F 1 -i 1 — 4 : * 67 68 LITTLE MUSGRAVE AND LADY BARNARD. * = 116. Moderate time , and gracefully. TRADITIONAL AIR. .... . — ^ , — J d 1 V- i / /it J ! -J 0 1 rh i / J i 3 d g— m 3 J 9 » _ - r n - 1 • J r £ « d d w ~ p jp W ~.tr* JZJ 99 I < to/ cm. | J> ^ m - 1 ' _ .. - — — 4 Z 5 1 ?/•&/* r- J ... . 1 * f l , t 1 L «-===--= — ‘ -H -■■■' — ^ o thers were clad in pall, lone and ma-ny a day, And then came in Lord Bar-nard’s love, The fair - est a-mong them And he has lov - ed her likewise, For so I heard him zffc 1 p p — | — | — 1 — i=L-T j- _:==.= pp =3Sj=tZ= b 2 , * — - — R- — J-J i-- ^1*- -J-^ * -- -9 -d— 9 m iT= m 1 1- 5 all. say.’ 1 She cast an eye on little Musgrave, A. Now when Lord Barnard heard the page, A mm pp P 9 J - * 3 ¥ / t ± '% : ?_ J.-Ed 7 m 1 -P— F- ee -I — iv u L^l bright as the summer sun, loud laugh laughed he, Ah, then, bethought him little Musgrave, This lady’s heart have I won And said, “ I know an hundred maids, Each one as fair as she. t ^ *\i # cres. & * * r p f ' P--P- r Qe.j I P fei ft 3 : Quothshe, “Ihavelostthee,littleMusgrave,Fulllongandmanya day,” “ And If lit - tie Musgrave wins her heart, The prize e’en let him wear. And 1 PP ^ ^ j-p — p- Q-f t£ fast fH m g I have lov’d thee, la - dy fair, But never a word durst say.” sad-dle thou my red war-steed, For I’ll goto wc* elsewhere.” Dal Segno. Jg 70 FAIR HEBE. /•TTKE OF “ PRETTY POLLY OLIVER. 7 p «= 100. Slowly and smoothly. Words completed from a fragment by G. Macfarr^n, = -fa rr /Thl ■ 9 d T 1 c* fn\V V ! Z J . r VT 7 f- ^ # -V J ! . ^ 1 " ^-- r 9 wine in my head, but still love in my h( woke — she’s a wo-man — what heart could wish n / _ A _1 i iart. lore P ■Z . . . #• 2 r J F 3 1 m s r P 1 J ! J i 7 kt, p # * p » F 9 r - ^ " « * i *, i . ' L — ■* # L*J 1 Y:-r~ S $ 1 • -S ' J L ^ ^ dim. \ V > C 76 *| •- S 1 o//a uoce. m m/fl ! tempo . ^ i TTj £ ! 1 ^ .Z- £ > z - i >• i 1 ' \» L. it '1 J r^z_ ■ 1 ♦ 7 . ~V ' i - » ? i . hi^.1 _ — zr ..... r —j „ - j j n : : 1 m ■4 t — — 1 71 i EEE m I sought, far a - way, to be - guile the sad hours Then, oh ! gen - tie He - be, be thine all my love, lit ’Mid the The if m m £ jEE 1 PP clt > w y rW 9 f — IZVZTZ— : i 1 1 r . __ -i r x 7 w r 01 - ? l, the Roast Beef of Old Eng - land! and oh, for Old Eng-land’s Ro ast k 7 m n ... . zl _ .... . _ , zr^ 1 7 v » ^ 4 H 5 1 S ^ ^ ' a 1 f \ m i w 1 J J 1 m i 1 ^ • m 8 • / ^ i i ^ ^ # - , 1 1* a 1 ri. • +\ j m *1 s 1 1 r # _ r 1 ^ 1 1 . j • ¥ • 1 =■ L_r j_j 73 74 THE QUEEN OF MAY. BEFORE 1650. = 72. Tune of u Upon a Summer's Day.” T-ft r lf~= g J U Queen : danc - ed In strife, to choose a Queen: Some homely dress’d, some handsome, Some pretty and some - came her, Although in poor at - tire ; Her carriage was as good . . As a - ny seen that 2 a r ^ ^ K i « • 0 ■f S *1 “ $ l i 8 d r- vy, lay. But And ^ ^ who excell’d in she was just - ly ^ ^ — < ->■- danc - ing Must 1 cho - sen To 1 J * be the Qr be the Qi |S ieen of leen of May. May. S — f— f- zft . .. ....... A ^ - r f- ) * h ' 1 - -T — *1 r~r- 0 »- IP -1 ; L r 1 _ r l— — «- j : s r=i *■ • -r • 2 5 Ur-- * & • - E . r ■ r =g_« * Lj t_ 75 COME, COMPANIONS, JOIN YOUR VOICES. (BULGE DO MUM.) SEVENTEENTH CENTURY. j* = 100. Tune attributed to John Reading. qj* [7Tf B e — s u. ^ - * — r~ v i ds. m - * urn ” PI w 1 IT A r ^ — 9_ m r Vc J — J ? L \JL c Come, com - pa-nions, join 3 Con - ci - na - mus, 0 1 1 four voi-ces, Hearts with plea-sure t 30 - da-les! E - ja, quid si - 1 1 1* >ound - ing, Sing we the le - musP No - bi - le J I 1 — — 7 m 0 J c J | if J • i 3 2 r 1 — 1 7 J L » ts m • £# w a 13 c A • 1 d — 1 If V r M • -4 _Jf ■ tT J L. W • 1 ^ T r 9 . ! i 72 / ^ r £ 1 r ) a 1 • f 1 1 1 w T| r * 1 | - m 1 rtrE— - L> t- 1 — . 0 W 1 r L F — ' /— i —j a — f -drH F 0 II m £5j=|5: m no-ble lay, Sweet song of ho-li-day, Joys of home, sweet home resounding, Home! sweet home, with ev’-rv can-ti-cum, dul - ce me - los, Domum, do - mum re - so - ne-mus, Domum! do-mum! dulce / 1 m mm 3* i pleasure, Home ! with ev’ - ry blessing crown’d! Home! our best de-light and treasure 1 Home ! the domum ! Dul - ce do-mum re - so - ne-mus. Do-mum ! domum ! dul - ce domum ! Dul - ce II pp -e>- 2 i=t P m m 77 HH m ESS — P - 9 pleasure, Home ! with ev’ - ry blessing crown’d ! Home ! our best de- light and treasure ! Home! the domura ! Dul - ce do-mum re - so - nemus. Do - mum ! domum ! dul - ce do-mum ! Dul - ce i— I i—i- - -: JV. ^-4- 4 ^ =r4r^ ff P 31E f f=^ 78 OH, COME YOU FROM NEWCASTLE. SIXTEENTH CENTURY. + = 132. Rather slowly. Words completed from a fragment by George Macfarren. r-r—i - 1 ' CJ j ' H — i JL j ___ S | | ■ i r p 1 T“ it 17 . 1 J 9 J ' _ J • j r~ V 7 » r 9 - i « ? a J «L j c Oh, come you from New - cos - tie, Come you not there a - way, And did you meet my My fa - ther, once his true friend, Now spurns him from our door; My mo-ther owns him / / , v • i i — j ! 1 i 1 t 7 k u. • p__ 1 t£ p -r g r 1 fr ■yfcn/ • j 1 1 1 1 S 2 J J 1 1 ^ s . i i - - M s M 2 ! ■ m J J / ^ y ' ■3 h ~ « '* 1 ' K • « m J 1 » /•, V • m a r .. CJ ... £2 m _ i at | P ■ p c 1 vi.r 1 m Y r f 1 J f 9 . j J V i -jhb- hv — 1 i ~ . p 1 - g (jy-H ...£1 gE3d -4— — 4 J -iP H — — P fA r _ ± d tr— J- -- 1 tP true Love Riding on — « — = — 4-1 a bon - ny — & bay? Whj r s L w ihould not J [ love ■ w my Love, Why wor-thv, Yet bids me love no more; The Squire, his boyhood’s playmate, His £ & T r p - i- Hhb— r r^T" r~ % rCs w — m — k ~\ — r J '~h -V — , l * 7D p— p--p — p -m _ j | H 1 _P _J > p — \Tf 1 ! i i i r ! r r - J J * 9 .1 -4J i 1 J L 9 . J I L_ s T m W d • # „ ~ m • # J ty There's not a stout-er yeo - man That treads the heath’ry But spite of blame and dan - ger, With Wil-lie I will o u ZZ 1 v \) # J # % _ J 1 __2 2 • r - — c> 5 f T 5 (: ~ ^ ' 1 i • h 9 r I i _ • r i f* a # m F r 1 - ■ 1 1 h> U ! 1 J J r r r 1 1 rJ 1 1 \ -M- ■* J — H -p— — ( - 1 I p-fr- / •— z*h P=- ^ 0 dM p r~ (9 m u ^ j d J K t* i T r a - __i to fy- 1/ , • 9 . P _j r~ 1 1 ^ ^ ^ J It 1 1 — ~ a • _ ty / con - stant, More ge fender, His bri Q__L ;n - tie or more pure, In childhooc east my hap - py home ! Why should not j - i r*l 1 we were plighted, And i I love my Love, Why {, 7Tv — a m ^ k u ' . 0 r.j i vn J r m m 9 i B 1 1 v ) L 1 ■ )v ^ > > ^ ' 1 3vp [ !) (i 1 W~U t ' F t r 5 1 yfr 7 _ t F* 1 I i ! tr» t* L r l 1 h u 1 1 L* La ' 1 L _ L 1 i_ I v V 1 - — -■— { . hv_L C p r P m ~ I ^ 9 I ^ c- rv'ir j : i i i J m 9 9 i ad P 1 ' j ^ . a w # J ; 1 1 ^ r w d . 9 ? i • ard ? t un - til death, we'll prove That gold, which conquers pride and pow’r, Can ne-ver shake our love, not my Love love me? Why should not we to - ge • ther roam, Since love to all is free? 1 colla parte, a tempo. ^ yH/ ^ ^ h ■ / h l | r* I 1- * r 4 P J ffi 9 | m yin * m 1 h P i 3 J d Z J 4 V ) 1 4 J L 1 V d • 9 -n 2 2- ' " HP- U rr 1 -p- — 1 <«/ s>- -S- t - u * i r CJ , . "^V 0 r » 1/ t* , I 1 P * a ' lul 1 1 | rJ i i 1 | 1 1 ^ 1 # 1 - 1 - ' - 80 *= 72 . Moderate time. KING JOHN AND THE ABBOT. TUNE OF THE SIXTEENTH CENTURY. Old ballad compressed by J. Oxen ford. £ - mous King John, And gain’d by his ri - ches whole world a - bout : A ques-tion more hard thou grief did im - part, “ Good Mas-ter,” quoth he, “ do migh-ty King John. “Now wel-come, Sir Ab - bot, tru - ly must tell.” “You think that be-fore you » ^ F such won - d’rous re - nown, The shalt an - swer as well — My not trou - ble your head, To I hope you’ve found out How the Ab - bot you see, A1 - £ i m King had him brought un - to fair Lon - don town, thoughts that I speak not thou tru - ly shalt tell.” Lon - don I’ll go, with - out fear, in your stead, soon I may tra - vel the whole world a - bout ?” - though his poor clown, ’tis my for - tune to be.” Derry down, down, d. wn, derry down. Derry down, &c. Derry down, &c. Derry down, &c. Derry down, &c. n $= TT3 — i -=\ — fiq — - J t/ . < •/ J rrr 1 t / •, *1 1 • 4 I « . . : ^ ^ =5* J. — m fl — = — J — - 1 . . i j i„ r. j : 4 • r L r ' t-i- & 81 82 DEAR KITTY. THE AIR POPULAR BEFORE 1605. ^ m F? (t- m 7 — -ft-- r ,,Vftl * — ! • '* E — 1— — wl — r V =4= all the world through, you’ll surely fail To find out a match for Kit -ty. Though bards of wond’rous 83 rr — 2. At night the full rose that bloom’d at noon Will close, is it not a pi - ty ? But 3. The stars o - ver head are gems of night, They sparkle o’er plain and ci - ty, But rf IPms ( ^ pp r £ i ii ^2 2A a £ I see Kitty dance beneath the moon, And beau-ti-ful still is Kit - ty. The snows of win - ter cold is their gleam, while love’s soft light Is seen in the eyes of Kit - ty. The flow’rs of spring may Fgg=3 a r t m rf-s— t * 1 — fr. _ • a a^-Nr- , -v j 0 m P P frW ^ , r • m _ L L JaJ c _X L / L L w i r w [0 * d -V— * d sadly are spread About the earth, when summer is dead, But snow that blushes with warm glowing red You’ll wither and pine, The stars fade out, and never more shine, I’ll be content if one treasure be mine, That 84 = 120. LIGHT OF LOVE. TUNE “ UGHT OF LOVE,” — MENTIONED BY SHAKESPEARE. Smoothly and slowly. Words by John Oxen ford. i 4-^g^r Why so way- ward, fai-rest trea-sure P Why to tea -zing so inclin’d? 5 Tis a wick*ed is i b— t- EB 1= m m Tins. -0 9 «• #— P- g$3> =t=?j :=*=*b: =§r 1 -a • -^- 9 - -4£-J £ m 2 H 1 - U 1.“ 85 c rs -TST-, ^N. ^ -y*= r E^=k_ 7 n h • »• F M * rl pi-ii — p -4- — # 1 — N w m—w — A -£=f •Is— 4 -d 1 - — f rs—U— -grf-W- L-5— ^ H ^ — -L-f-J- 2. On those lips 3. Of my bit . \S~9' of liv - ing co - ral Though a smile is sparkling - ter thraldom wea - ry, Once I cast a - side my < ^ 1 k — - — HP H now, jhain, 1 Yet I know you But with - out you l — T7 — 17 "i — i- > i s: H — ' 1 — 1 k — — c: ~hs M L 1 k S T i J j .... s_ 1 f/\\ ?~u • 0 d 0 J •1 i t 1 v-> . H • ~2 — ■ — : 9 ai ^ A *• M L m * J . 1 _T? ^ — IT . 7 . -J ; j 1 t . r • 9 *1 f ^ 1 & . . 1 \ . U S — ST - t. k»_j s J S L I f / •, (7 • ^ _j — s j .. J __c i__ ” 1 1 1 ^ L • - ~ J J r- - o S—0 l » m v m er i-t-hri si — L — 9 — b — I — pat — — fei t- k . 1^ S 1 k r-J ' % 4fi • * -i LJB '« r * » -j— 4— s (S- L jin j tvj > — — ^ • 9 W Ji - 1 -B 7 , • v 9 plan a quar-rel life was drea-ry, I 1 ly that wrin - kle on your brow. As the 1 [ be - came your slave a - gain. Smi-ling, fr me up - on the fea-ther owning, I a - dore you, i l7 — \; £ : p 1 r\ ft (-1 r 1 1 [ . M i J ' n — — i 1 WL. 0 • i 9 J- 1 * J J J 1* ^ ■ v • i • ) J i 1 s S 9 ■ ■ . * ■ L ii' r ^ "T ^ # j"'-z j ... W jH s 1 L ^ ! SI ■ % \ » . r i 1 » /•, p _ j i » » 10 0 10 C 1 - J J J J J / 1 r L f IV ly 1 j v 1 y» j J- 'H 86 COLD AND RAW’S THE NIGHT WITHOUT. TUNE OF “ STINGO,” — BEFORE 1640. Moderate time. Words by J. Oxenford. K — m — i* — P — f ^ ' jrz . - •■ ■ ■. n ( j marcat 1 ti j • ^ i ■ 0 . 4 « — cres. F#~T s T _i_ F -4 . ^ 0 jg *\ f+ *1 l- — — — V n — : FT” “N — ^ *v^ fg K ^ - r t fr* . l j ' ETY . - 3~ 9 • r ' i ^ • 1 vT7 » - ! ^ . IV j a.u ^ 9 y ry ^ snowflakes at his feet tl , r\» A iey fling, A carpet for "Ihis treading, it I _ i __ ! ' m £ * ftna |i p i i 1 A \ *i •i m mm * ff ^ 1 M * i #r A JJ. J W- hJ J Lv— +- - -a 50_ 1 THY - n 1 At * m 9 S 1 i — •1 L ! ■•ft# ^ * 9 9 m J i ■ • i- J 1 W" • I zm m = cr s iih r ~P * " 2 1- A ^ ■•#_J jj L / ^ P*~ ^ \ • cres. p ' l * / ^ m 1 ^ j i ./ - - H 9 v V ■> I I r? . j* i ^ i sr ^ n ! *1 f ~ 1 r - J r— n w~ . a a • - i r ■ i I 1 * -• a l — H m -i m w n v « » p ~ • TP • i 1 • 87 r~P~& F V . 1 s — 1 S' — 1 si — h S — N 1 — Vrr ' m SI 7 - IS a — I ! ^ — 1 ^ — — S ! — ! L ™ 1 - f . 9 A . m • 9 i 1 f(\ r •• A 0 • US , r ’ J_J « 4 ^ - * - - * t " “'*■* — k- - - " J crackling loud and cheerly. We ga-ther closely round the fire, The young of love are telling; The l r^f— ; — } l — a « a -p-j = -1 -j;— 1^- ^J— r~u--- 1-1 j -H-- A • ! > fp xrldur : s : — F _j — 4 g-r a_- :| t t - t=4b 0 _ ra — A • .. H ( -f 1 ^ ^ fc£=tU=!t 3=H=a 4p---j — h -_^= +— r „ r r # “ijha — p -p?, |, _ J a J. J i _p J r i % ! W | > S3 • -pi Jr fj . ^ ? old bring tales of goblin x n» i 1 is dire In haunted castles dwelling, s. 1 1 i / y ft 1 9 i — n n j | > a a^ . C i » a a H H u. Jr: ‘ — ! 1 4 a I a 1 A 1 n W j /» S d~ 1 •TL# w r« ’ * A « J , w # | 1 ULZ m « UHE 9 im 2 ys ■ 'J“r“A • -7^ _ 7 r **a _^£ u ) d p* " ** \ 1 cres. T ! - w I a ' / -• f- W 1 |"l > ^ 1 4 ,J * n I »J»d _| a a K 1 P ' a a H * A J a r a 1 A i r 1 1 • J A . g i i i V A '—4 < r » * d i _) m J! 1 4 . 88 ROUSE THEE, YOUNG KNIGHT.” TUNE, “ THE HUNTER IN HIS CAREER, — ABOUT 1600. j* - 132. With spirit. Words hy J. Oxenford. a Pi *o rr-rf * . “f . v'l “ I — w (T : i ■ f — f J - 4 - K — a — i — p-f- VMl . 1/ h 5 j i j d f rj # • w — i ar I . Rouse thee, young Knight, And 3. Mourn not, young Knight, Thy arm for the fight! Seethe sun from his pri - son la - dy so bright, But fan - cy she still is breaks ! The nigh ; To -T- 1 — »• ■■ _ ±=K=ZZ b— tr-na a u _ u n ^ _ j _ _ r? ~ l_i T7"\' / J 1 1 ~ J . K 1* 1 TgT~ • ^ 9 va7 — ■ m - . i m - j ^ w • _ Is 9 trumpet’s land song Thy 1 ieart with high thoughts will i cheer ! Fc >emen should quake, And the _i 1 1 vr "U ■ , 1 "1 ' | _l CS — m t2. 1 fn\ P - L 1 1 m ! i i ! 9 i a ! 1 Ifcrr — • 9 - ® J - n 1 ! 2 * -C i — + L--S d- -d c res. | r*^ * f- i ^ ^ # tj t . f t / • M r* _ .. . _ w ■ T 1 1 i r* L_ K t in r * i 1 O Wm | I I 1 1 p— j ___ .. ~ 2 ir^ ^ ^ • r r fl f i 5 r 89 90 THE BEGGAR BOY. TUNE, “ THE BEGGAR BOY,” — BEFORE 1620. Slowly and smoothly. New Words by J. Oxenford. i ^ -1 fs "fe F — ^ 0 « •— : — J n — 1 3-P l saz o ^ & s a 1 9 — — sjT ■ v\ 1 ^ ~ 0 ^ ! w 1 — « -v ^ d • - n j Z o d E d- i i —9 mm- - 1 - r r i ! r r d r d^-p-d- \ r * oJ La 7 _ ___ a • — r — — F — ; — v— - i - ^ r\# , 1 k T i ? . r^r ¥ . Nr * \ * ! H I ^ k r s m N — S — |S“0 d ¥T\ .. _ J U d 9 a , — — h — a a 1 1/ i . ■ - - 9 • d d a i. 9 0 — k V Ladies, who shine like beams of light, The jewels OH 1 1 I > of this wealthy ci - ty, Pause, for awhile ! you ( Lr> . — .» * — , Tw 1 LAUU.BMB gX 9 ; • 0 _• j j _ I | • | l J 9 ... d i J ci' S i — 3 — 9~^E ~ 9 ~ 9 — * jtt a a J J J d S 9 ^ ) U 9 9 p *~uj artzr s ^‘ _4_ J J 1 » j -S-S=S^ * 9 9 d d * - d d 9 I - • 0 1 .J \ i l r r i ~n E j aft , l ^ m m ^ ^ 4m . j . r r r r _ L L _L _L L L _ d • | ! | j n *t ' — d ’ " / 3 IX ^ g • k i k £M m IS ! K V u 9 J J hi 1 > | i ~ n g | ^ ^ r - __j _J ■ gfl li -J fr\ # r « _ • 0 L L J d 1 s*jd 9 m nd g; y 0 7, m m a a w i ^ ( r w v r- v L/ ^ would not slight The orphan, with his plain-tive dit-ty. SufF’ringand hardship sure -ly will Kind _A 4+ . — „ 1 1 . _ J N 1 W ■ P mmmm msaaawra m 1 I yf u « « 3 J J 0_uJ - « a 1 1 ! i i TL0 m ■ Ud - w S J j 4 g J J a 2 a u drns w. a 12 J * 45- 9 9 * - L 0 • w r 9 9 9 r • v a mf-=====^zziZ s f i 9 & 9 0 0 p H* a m .... r I i r gr r +f 5 • ^ r * / • ft , i. j | j ir r 9 m m > r 0 I • • • r L i +r — i ■ i i — 1 — — i F 1 | ~ 1 r 0 — V « r V- 1 TVT, lfc _ IS I === ^ ^T“ " _ji 0 0 7 it K " N 1 i ^ J 9 • m .9 r a y j pr * — — r w. ~h j 7^ A # 1 # a F __ ^ —i ^ / # • J • 0 v , — V. B K — t? - L-a 1 ( r- hearts with soft com - H9-S 1 r pas-sion fill : Brij — — -r-r^-r- ^ ^ r ^htest eyes gleam bright or still, when 1 1 i — i l 1 d . — a — i 1 — i — | — ^ j — 9~ r=g=j= J J m m m m- i (_ P_ UT7 m i • a • . .9 d 0 5 3 L — 9 0 0 * g- 0 1 , i 1 . . . . . .m . m. A «g- » v r rr i _ a ♦ Kg- — = ; 1 a a r “-“it — *'■ — 5 r • "T ■ ~i -t — : — H — *- 4- --I — -j — i ■ -' — 1 91 92 EARLY ONE MORNING. TRADITIONAL. * = 104 . i Moderate time, and gracefully . ( F^==x: -i— Hi t n-n 1 }"• 9 * j j -P- 1 1 p— P -rr4— , iJ—C , L_J rp~ i— ^ — r 1 f Y /i-p * - _ _ 9 ± ->€- - 4 p ^ ...» l Hi 35-p I 1 X.2 1 P P US JZ 1 1 \ ( > ^ ^ cres. \ t ^ J '|i ! -ik_ _ «r ">£ .# . 1 Zli Q n r 1 21 i . *i r - / t+ 1 h f k-/t r 1 1 1 h p ± ^=t 93 “Oh, gay is the gar - land, and fresh are the ro - ses, I’ve Thus sung- the poor maid - en, her sor - rows be - wail - ing. Thus 94 DRINK TO ME ONLY WITH THINE EYES. DATE UNCERTAIN. Very smoothly, and rather slow. Words by Ben Jonson. -(h > — -h— s- 1 . v s - P*- » - J ! i •n J i 1 ! i 9 f 0 J j H 1 J a J » m j j e m y — | “ » JL • W w w T~ v ask a drink di - vine, But might I o / A_u T5 f Jove’» nec-tar sip I 1 *i 1 -J—gj— J- r ^ f= T— t- 1 .1 m — — r— i 1 V 1 i 1 d — - - * » « -fl J ■ # -i 1 - 5 M a s s , n m m § g.. # i ' __ ^ / **" ^ ftp* ^ "** cres. J in- & - - • 1 n* ft — r * ® 1 Hr T p w - w l 1 » / • 1? i® • 1 " Pm r>^ « ^ ! j 1 r 1 ~,VL ! v * ‘ ... - IT * ~ /P P — P j i m K - i i# w » . J I I " l i i L L 1 r 9 j * * 95 — * — - — "kT — 3 1 S3 C2 S_ m mv&nj — » — p 3 ! i ' < i l u K ) -- — 1 3 — B • ~ w J would not change for thine ! ^ u_ 1 — t T~V ! > — 1 K. 1—5 _J J — -J-i-a * — Lh_ J ^ — i 1 pH n U jb 1 1 i n i i i i ^3 3 a i J J Js _ n , 1 i 5j_n l tA\ 9~v P — a m 1 — 3 3 #1 P P 1 fctr 3 3 s 3 : L_ ! § 3 . 3^* g A :3 S MI -2L__Lj!J -4 -□ ' « ’ 5 - t w ” * p -p V ’ r ere, 9. . m ►tfi- 5 1 ■4—=: yd- -m • ttF £• . =g-r ! v - 2 # « ■rf* 1 ..rig 1 ^ ! | 1 | 1 i 5® I * • J m p p- J- • , 1 I- * j J : ; i !: -* L. jm. __ 1 -J- -J- cres. 1 I n** i m i — ' 4 t .... - • * - J ^ m __ f — — F 1 1 .4! 1 « “ • " 1 | i — . — J m 1 J -i E • ■* t -9 “J j. • 9 - _ _ TT t i ? 1 f 9 !' 1 9 F :g— * t- « t jj „ , - f ■v J i j ^ Urn — d 1 J P H — • J / cares of sta mates bring gris ,te Ne’er plague my pate, I loathe all pax - ty brawl - ing. jt, All else, who list, May haunt the big house yon - der. i j l , _ , / 0-“ — i _ " □ i a =5 | — l / i i J | S i J - 1 fc K J 9 J R £ 9 9 A 9 9 1 V Id — • M J ! (2 m K r • V 4 ! - j" , i p 1 f 1 A* - ^ 9 L 1 T7 • r* 1 f -*■ — F 1 C J P i 9 L V P » ^ w r I 99 100 MY DEAREST LOVE, WHY WILT THOU ASK? TUNE, a fLL NEVER LOVE THEE MORE,” — ABOUT 1610. Slowly , and very smoothly. Words by J Oxenford. 101 , 1*- - iS I > Mr a _t- a ts rr\ r - * i i! J^_ J 0 1 —t 1 r VvX \r t own dear love That giv’st m / ^ .... . r iy life its charm. \T> „ 0 A m . ^ v _l : 4 p. |_ - | i ^r~ - m - 0 *1 m *1 a a 1 - m , J J J 1 rh 2 l* 1 H 1 t . J • " m ~ m' ~ '' m 1 VT7 * m U 0 U • 1 i 1 — # P m j a ■ 5 P. N fl | J ^ fc ■ 1 #* n" • # 1 r \ •** j n w • • » i *1 si — £ — _ — *- . *1 r # # - _j r j 1 ^ a | 1 ■ n ■ r 1 a * ; 1 r ■ i i lT - ~t ■ ; _L £ _ 1 1 . i ' Vit ^ F ' r j 1— T ^ 102 THE NAME OF MY TRUE LOVE. TUNE, ‘‘TOM TINKER’S MY TRUE LOVE,” — SEVENTEENTH CENTURY. = 152 . Words by J. Oxeiford. % , •_ k-f 1. The name of my 2. His face of the 3. A - gain, to his true love You’d fain have me tell, kind is That I love the best, sta - ture I do not ob - ject, I’ll His His give you his fi - gure looks eyes shine most t t r i * — i P ,S 7h i i t£ 1 | p V“ tr I : zzi -1 i gm ^ 1 5k L ^ : i ! 1 1 V ~ V p L t pic - ture, ’Twill gal - lant When - bright - ly When .-a*- do just as ■ e’er he’s well i me they re - -el- well ; dress’d ; fleet ; Nought shall in - Nought shall, &c. Nought shall, &c. duce me ; I’ ii 1 \ 7rt? r | ] | r* 1 1 r - 1 1 r 1 __ «. "| ;• i d l rrr h r . 1 J J [ j J 1 a t 2 J )J \ t l h J J J J ^ : rcm. J i t 1 A* 1 t /. r- t* J p p 1 f ^ a r F 9 F F — 4 r- r r~ | Qp 1 ^ apictcere. h — h S sr r ^ ,Vj /Js M yy i-uu I I_j -1 ..J3= 7 H d P — * ... ... - . *— .. ff. f _J | | fr ■vir m i —9 M— _ — ! 1 1 r 1 » * j i r ff ^ J 1 W 1 1 - r "y . * • » . r « 9 T— ne’er tell his name, But I’ll plain - lj A I 1 1 I r de-scribe him, ’Twill fea just the 1 , ( y> 7 I r i 1 ___i— -V Hi M \ "" ^ t* n p J J p « J.- (2 1 f A 9 1 jt 4 F ■| m 9 j 1 1 V -nd — — a _* i 5 1 1 3 Jl L •- 1 : V d 1 / i colUt'parte. i w. — A f f / • , , L [9 h* J h* r* ^ f* f* a i p * - B - - — U4« F F — — p — )- |- — • F F — r ^ r ^ M 103 Dal Segno. ^ Sfc g Vf =rr \ — “ 1* - m r\ (Ur- ■-r+A — 3ame. 1 1 k_i — U— » - a * f—m 1 a — : m — — =1 -i — h- r\ 1 bv * / 1 f£ M '.. Jit— a tempo. — F »!...;■■ !■■ J — L~ i 1 1— :ij- - g j — rrt -_ \ - P ... *= J =4= -% “ f=? =N rfc ! : VJ/ 104 = 100 . A SOLDIER SHOULD BE JOLLY. TUNE, “ THE BUFF COAT HATH NO FELLOW,” — ABOUT 1610. Eg t 3 = w — * grief there’s nought but fol-ly: grief there’s nought but fol - ly : Life’s but a bub-hle That’s puff’d up with trouble, A Here’s a buff jer-kin, To fright-en a Turk in, And i #=* 105 -i _ • 3 7^ K 51- - • J J IL_ k 3 think no more a - bout it. m at) and me to - gether. t i ,;r "S - t- fir Dal Segno. § r ff*- / — | 1 P 1 p J| c A u_ -IZ L . i -t» tr— — i P -5 *i z - 3-^1 5pjZ 3 a_ * - J? C -J3-S-I .53 i . 1 ff i L __L — 1 1 r 1 _L l 1 .0 1 ♦ . — j __ > LJ l_J LI LJ iLI 1 *J ~*h < *f i f J i , > I — 1 1 ST J p _J -I.— ■■ L__ .J —41 1 rt .5 * -\ 9 “■f # 53 a 5 1 J 53 f 5 31 ! *3 9 •> 5Y'.0 *3 • 1 1 L/ pr — 9 — j a 9 9 _rZTL-_. L__zj J_ 1 _0 L_ I J ’ .0 1 • 1 4f R 9 J _3 .1 *U v =T ' * ~ ■ Third Verse. a j+ it . _ i 4 ’ 1 5 1 1 ti ( i > J_L s r 53 CS 51 1 fr v - * v ; 4 1 i i 0 • i S7 ■ • i • - .- 1 Drink, boys , a* it r Tt . ^ drink deep, For a sol - dier should be jol-ly; Laugh, • 8 . -d- * boys, | - . i i/ >Lf .^1 0 /#h i -J- h -0- -J- -0 1 1 ' ^ -9- 9 • • • »«, J_ N__- ^ lr 1 fr J J _E _k_ U 1 ri.Z 2 n 1 *1 I t *3 *1 N *3 *1 i it r ! _i * I 1 \ d J_ J L_ r 3 )" ii f * 0 J 1 z yi J 4 V — h a* it _ ’ r j- V ^ d * 9 ^ k w ^ . K. v Ik _ Jr it ] s , 53 C- 53 1 1 1 J fn\ ■* 2 1 i 1 J ^ k 1 1 l Z • ~ i J z YT7 p W J rz « j _i^ zi: _k L z W tr pr- laugh / a » it i loud, For it ,,m a •»L # -k- i grief there’s nought but fol-ly. Brain to the bot-tomYour -its r - I U9 _LZ L_ lV it * *Z 9« . a 0 9 •3 r* *0 — 1 rV^ — < R 2 — — w 1 3 \ F j S * 1 r 1 ^ • m _j 1 / a s _ ^ _j r J 0 J eJ 'v — s k 1 > * 1 N n h - N L z 1 it P p * ^ m C J i T i *1 v 1 TL1 •] L_ 53 z L *3 r - J •3 J •3 I ■ pi 1 ^ n i □_ i I 1 i h_ ! | II 1 m n 1 I ^ J ! J » J zL ■ 1 r 5 #> k J- ^ * •r ■* ^ 2 -j- V- -P , - z • r h p yT u a S J ^ -P k- k ,T Z P * I |0 ^ ^ T t pi\ ^ ^ . J i * # • j z r 1 P F g J Z - S7 - z * / j Y 9 ^ cups, while you’ve got - ’em, There’s no such a bath f / -ait a ^ — _ — _ ^ ’or sor - row; Tl 3-t r y r iis day, dear brother, May J ■j — r~j~ 9 hr T^- ~ — d 1 FTT^ n j m i • r^_l 9 * . Z a n J _ r z 1 Vt7 n 9 1 9 9 ~ 9 1 \ „ i T i ^ " " 9 51 M *1 It l Fa • ^ n m 1 f i nil J 0 n/ ; i 9 r-i m 1 fe7 zr - —d' * Li . J m a • ~~r * *- - i — r — H ) «; ir» N / ? m 1 . r v, ff J , JT L . • J i - 1 1 • ft t i i « -9. , . | m r , r _ zr , - __ _ k ^ I rTVpp f P 1 53 1 53 t 1 l ! I Z i T *i m — 5TT V if L > * i L . * 1 — : — n rr l 1 -J- -+ -J- ztz^i — JZ • ^ l 106 NORTHERN NANCY. TUNE, “ NORTHERN NANCY,” — EARLY IN THE SEVENTEENTH CENTURY. = 60 . I Slowly and smoothly. New Words by J. Oxenford. cen r. do 33 pp -Q-rb — 1 * N r— =- — -V- 1 fl — f- — h i j a t • i i 1 L k. t 1 fl * A m w ■ fnv # • • r r f • fl — • d _ tz.^1 n r r ■ — a w „ : y » r — ? — ; Jj y nurt ( -Q-b ;urd blind-ly The faith that hath un-done me ; I vainly thong ^ ^ — c r— J N -h "1 ht love’s chain was fastWhen 1 pLJ ( ~r\ ^ *1 ~± 8 "t •i -> ® *1 r « *1 • — 8 A ^ J 1 If V ' ■ •! r ~ ^ 3 hfl fl • j 4 1 Z j j j . _ ! ftp _ tip 1: * # • • # ) Zj V I L i *3 -^»3i l I- V 7 A — ■ " V . 1 _Jk. k i W L. » I i |i i p _ _ m 1 m ■ ■ ^ rzZ^Z-t i r r a | a P F J i mm . i J • w 1 ^ r h • a * J ■ -¥-4 1-^=3 * -P ^ n 9-9- — -#r-p- ^ fr- /Ts / rrs - . 9 r . - r r i* m J ■ : p p. J? p Kr r r r l P 17 1 y v ■ r f V M i y t u / i r so - p i lemn vows were pligh - ted, Now daylight dawns, my dream is past — -*^1 _ . - i S ^ 1 Ij T~\) m r. * ^ I i I p 1 ft vl v~b - *i J 9 *> A 9 a r UL ! p d r si J i r |\ V ~ I "'B | 1 m I* I7b« L ■ J , f P I I 1 v ^ i HM— _fli ■ c_ . V J? I nZ , • Si J K t t 9 J9 w V p -j 1 n . L T- "m p 1 1 n 17 J *i •i 1 _ __ 1 it* _ 1 i _ ; -p 1 , I i H ^ ' 1 M — ■?- - - J— — 1 V TT 1. — j J 107 — i ^2 \ 1 * — i n si s v — i s _ * , | a 9 a J a* P ” A 1 H « • 0 1 1 u. i m 0 • L • 0 P T-i I • * FT irnd sz h- - -ft* — - L * )f x -^£— ^ 9 — c — .rrr^zzj Iler glance was bright whene’er I met her, But now she greets me cold - ly ; False girl ! I vow I (-&-b — r „r— ' r _ i _i ^ _i =3^1 1 =j FTr — — r J a T" 5 a \—m i i w ja ) -•1- 3 J 51 51 1 51 1 1 1 rr n n ^ L_« 3 In* 1 x. 1 1 3 - [7TT~ r ) ^ J-*' t i — i : s s : -t— S - ii $ y. - b - * • 9 9 » c — 1 r ~ q I TT^7. 51 |_ 51 1 51_ ____ r r LZ J LI 51 tu f 9- L_ 1 L - 1 1 J l— 2 1 L_J J — J — - V *-«— • ~P 1 L* • 1 i 108 THERE WAS A SIMPLE MAIDEN. j*« = 84. TUNE, “ THE NOBLE SHIRVE,” — SEVENTEENTH CENTURY. Gracefully, and not too fast. Words by J. Oxenford. — 1 teR - • - ' - r—| h— i ■*-, r-t— K— , y r* m * - r r m • m *1 J — p — f( r i # • w * - P v j . UH r i r . L ... 9 fy 1. There was a sim - pie mai - den, Long a - go, yes long a - go; Who; 2. Then did she die of griev - ing? No, no, no it was not so! Nov a* ! ! 1 - , k _ , _ se 7 / , Zltf • m m i y • ^3 s • • - M m j J *1 1 tc Y . v | S i • a i m • J ■ m • J 1 ) • i • 2 • __ # _ • * S • P J- pp — ^ f ,i 1 — m J n»L; i 1 A *1 - A *i 1 • J | 1 P 1 I • - L ' iiris — Si t i r- r / 4f f s 9 m i '""S ~ P 1 P P P • a P i i ^ 1 J m 9 (7 1 i Li i J 1 1 j xl A lL. | V: 1 ^ ^ ^ Mi _ • J. / , ■ 1 1 r i Knight who dwelt With-in the cas - tie yon - der, Kee down-cast eye, And learn’d the cause of sor - row, — “Me n* 1 N 1 J 1 > J j * 1 ;n was the pain she felt As li - den r no Ion ger sigh, I’ll L i £ 1 1 J-Vr 2 ! sr i 0 2 ~r r □ j l L ^ p • m ■ IP 9 P • J *i • I * t J * . \\ x J " X) -j ■] I u 1 __ 9 J 9 J # J. _ 1 tP' » j- -T+--P- -P-1 L # -S- * -J- 1 - r I — i ^ * — r p » • _ f ff .L3 # * r — ^ r 0 — 5 P_ 1 — . — (_ — I / — i-h L_| 1 109 -,^= • F =t — r ■ mar-ry thee to - mor - row. — N- Dal Segno % » fctzt =± col canto. mf 3W~ I Third Verse. t IP In man - ner she was home - ly J 4 You must know, yes, you must know ; But i pp * « ittz p — — 1 ~~j -f — 2 — [ — 4- • — 2 — i 1 — V ^ ^ L-g— — 5 =4 ^ - - d a =£ i — 1 H — J 110 OH! THE OAK, AND THE ASH, AND THE BONNY IVY TKEE. THE AIR POPULAR BEFORE 1650. = 100 . Rather slowly, and with expression. Old Ballad abbreviated by J. Oxenford. 1 m p as cress. j & rA n a iu. £i dim. & pp = =q :s -S=j=t=S Pv — J — *=it jp a. • 9 | ^tet: J » * — r-teH P 2. Of parks they may talk Where ’tis fashion to walk, I’ll own the gay throng is a wonderful sight, Bu* fez m 1221 H: PP & "g srt — 1* — W- 1 — — — 22 i*- H a -1— ^ ■ — F — 1/ • — « La ~d— i r.\- m K=t B tr «5=P= U / / wept and she sigh’d, And she bit-ter - ly cried, “ I wish once a - gain in the North I could be. Oh ! the nought have I seen Like the Westmoreland green, Where all of us danc’d from the morning till night.Oh!&c. m -t pp =#r a: ritard. f— J* » :| .p_g I — - - L-y-y ® =H: 3* -p — oak, and the ash, and the bonny i-vy tree, The}' flou - rish at home in my ow*i coun-try. a tempo. Ill -f-H — h — s — z — s h ^ & tr m m • If — r „ h“h r ^~kt i — rf ~i k -J \ Z N J ■ # _ J «- n j r „ V J H. *5 i L 1 <■ i r m w | __j 1 j # i ^7 - w r j w * w ; i ~ ■" r r 1 mai - dens and meadows are plea-sant and gay. Oh ! the oak, and the ash, and the bor car - ry me back to my North Country home. Oh ! &c. / A u 1 ___ J 1 P lr my i-vy tree, They 1 7TT7 ! , - __ 3 — i — 1 i i r^: ", i — 1 S hi r* r, m 9 „ r 1 1 8 # ' m 9 a I7p 2 r W — m 1 3 J HO * jtm L 9 9 r - ' 1 p ) tr— * ^ v ) ^ 9 ^ \ " " 1 f s — • S3- pp 1 ' \« U / » /« 7 # ci a ts_ r p 3 1 r, f < r ' i 1 1 1 u ! J i m t r — r — b r --- 1 112 WHEN THE KING ENJOYS HIS OWN AGAIN. SEVENTEENTH CENTUIIY. Boldly, and >n moderate time. Words abbreviated by J. O.venford. feE 113 3 nougb*;will be well Till the King en -joys his own a-gain. all will go well When the King en -joys his own a-gain. £ rf * *" mad a - stro - lo - ger by trade Can high - er soar, or deep - er wade, Or roy - al Charles re - gains his throne, And gives to ev’ - ry man his own, Then rr~T -- c “S a — f 2 — 1 n p 9 9 5—LI -1 ■ 3 * — d— 1 - -4 1 3m 1 — 1 — I ^-T r- 4 J _ [ j s^-_- - 1 * * r i -f — * • j — I ■ i-* 1 J- 1' J find by ga - ping at the stars, The cause of peace and ci - vil wars : The best ho-ro-scope Is all who tread on English earth, Shall live in free-dom, joy, and mirth: So let us all pray To f } t • \ i ■4 4 - m 5 fW iRb* — - not worth a rope, The planets shan’t distract mybrain ; For this I can tell, That nought will go well Till the seethe greatday When our own king shall o’er us reign : We sure-ly can tell, That all will go well When i m mm B a 1 4 9 P as -p — ^ 3 W ■r , i -P— T king en-joys his own a-gain. Charles comes home in peace a-gain. Dal Segno. $ 114 LOVE WILL FIND OUT THE WAY. EARLY IN THE SEVENTEENTH CENTURY. (• 116 . Smoothly, and not too fast. 115 Dal Segno. % J j-3 ^ ^ I n L / +r • i f . H i i ; - i j— r f P J J fr l\ 9 ~ i ■ - m i h m V I r ww 1 m y - -rr~ J _ t / i 4. So: 5. Y 0 +t me thhJt to lose him By having hi on may train tne ea - gle To stoop tc ! I 1 1 L_ im con - fin’d, And some do sup - ) your fist ; Or you may in - 1 l 1 I r i | 1 1 > (2 g 3 r 3 I m L_ 12 C2 m m K f 'X • * # r J 2 « J j r i 3 1 * 1 vT7 ; U 1 ■ « m "i ) fj r * P • -y y 7 * i • , • , PP i -T7*r; m r: m w I * /.*♦ . , f* r # J J r j t+ j f . F l r p # • m 9 1 | — 1 — m ^=* - rrss. P~ M— =*■ — | - ■■ j* 1 - E — Is : t ^ -f-f- * -* ^qp=S- -J « -• ■ — j t Z 1 r / V - -ta ■ 9 y L - J - pose him, (Poor thing!) to be blind; But if ne’er so close you wall him, Do the - vei - gle The phoe - nix of the East ; The lio - ness, you may move her To — P-g J ■— -d — i — t — ^ — T =J — p — 3 — ___j f — j — -J p — - J -p t L_* 3 # — 3S& j 1 — -r -.---rn-q r.'s J v s S r / j 1 j P A ? i m m ! M 9 til J W A / 9 ^ | p — fw W “1^ 4 J J £ > ty best that you may ; T give o’er her prey; Y r\& J _ . 1 | / w 9 Hind Love, (if so ye call him,) Will ou’ll ne’er stop a lov - er — He will ^-1 1 i _ 1 _ p r_i m \ J l h* J « -T3I m P m i J \ V V 3 H ® J 1 i J i J I 1 v J J _ y fl 2 4 1 ' p* r p-» J i r j i t2 d— 1 r + — -r — 1 =S ^ - * — h • 116 BARBARA ALLEN. TUNE FROM TRADITION. f = 88. 5=£ =F=t= is. h c* " r* c* a ~d=2==j±l=- death -bed lay, For love of 5= EE^ * • Barb’ - ra -J— 4 ~ 9 — 0 — i Al-len. rrrr^i cres. i i i : — S • • i * ft • r| .: {9*33 'gfiS b- 4 §*■ “1 T *u, - p *f r — r r~ _U. I i :K_t -* — » J * r 117 tMf . — r h S "K *r - ) ~*r— r l^-i / tt* h n r k, k, m — j P ^ m J 1 - a = J . . .. 9 -g .a r i • — • — - p 0 p- L ~i / if 2. Then 3. She, / n it - « • w ’ slowly, slow - ly she came up, And slow-ly she came nigh him, )n her death - bed as she lay, Begg’d to be bu - ried by him, And all si And sore : r be said, when re-pen - ted I J* ^ f f * 1 — J • 1 /£__£• | 1 t a i 1 fm *• 1 1 d J i 3 " • . i j a 1 2 ! 3 ] " n S # C ) i ^ cres - ] cen ^xdo. * J m f. ! */ yp (Z> 1 7*« • • i j HP w n w 1 s' ... .g ; — 1 E 1 r Tr^ r i IP ^ 4 9 r *. ^ • » a fa ZJ V ■sr • br r i i f f I 1 1 7 _K jy u - p m- -a 1 s ^ € e.y / -1 ^ * j •- there she came, of the day 04 * - 4 . 1_ , * “ Yoiu That -J ~ W * ig man I think you’re she did e’er de - 1 , i L 9 • dy-ing.” ny him.” 1 • r f l « — P- iH When : Fare- ( i ; — i n ^ bri f J- C- fe -8 1 — ' Br ~ )t r 4 — L -^ — ^ -it — 3 / ^ 1 I F )^=i : -E p — »- -# TS F~‘ dim. imp: 1 V ^3 • ^ h -dfe 3 fJ h-^ 3 — j— d 1 9 1 1 r-^ — 7 Wj — ;-T=r- K — : N— = =— N r.— T — in— . •tr — N r r N k k ps r f 0 0 1 m rr ^r— +t I j j ! J_ i " J a r a • a 1 \ L : j a T 1 W » d _ J j m t L/ _ ^ U r w 9 he was dead, and laid in gra - well,” said she, “ ye vir- gins al • » r ,ve, Her heart was struck with sor-row ; — “ Oh, mo-tl 1, And shun the fault I fell in ; Henceforth t ier!mo - ther! ake warn - ing ( jaa m ZZJ J p r_ ^r_j j _ re a ! 1 0 *1 1 1 • ■ 5 n j d 1 r h \ M m n ; \\ m lip J 1 . J « S 1 V U i 1 9 S m ?r\ j _ ^ # w . J ' ^ * . - 9 r_ 0 0 L ^ d t 1 F 1 P w r r v ^ ^ r I f /•*r,L L r —J p h a r* a r 1 1 H P 9 1 I w 1 r 1 l — M 1 1 w w *-J— - — 1 118 BLACK-EYED SUSAN. TUNE, Blf LEVEB1DGE. Words by Gay. Ife Iff F— | — : J i ^ — p -3 ■ • r cres. — P -J P bzt= * ( 1^4 — -1 1/1 * 1 J* ^ I'* | W " | " a . — — 1. All in the Downs the fleet was moor’d, The streamers way - ing iii the wind, When black-eyed 2. So the sweet lark, high pois’d in air, Shuts close his pi - nions to his breast, (If chance his 3. “ Believe not what the landsmen say, Who tempt with doubts thy con-stant mind, They’ll tell thee 119 120 UNDER THE GREENWOOD TREE. TUNE AND WORDS OF THE SEVENTEENTH CENTURA. f = 96. H hr- n~ ^ -| r^-- — I — " -r r 0 .J — m— p r d Uj Ji K \ • - L K m 9 9 1 a_ n 9 i m 9 # v-iy • ip V . l m 9. 1/ !a_ 9 J .... 7J 2. A •X* r ^ W r I n summer time, when flow’rs do spring, And birdssit on each tree, Let lords and knights say what they will, There’s ly lord’s son must not be for - got, So full of merry jest, He laughs to see the girls, I wot, And _ _ l . 1 1* □w; X *1 -1 M *1 - ' m 1 •] t* *5 J *i . *i *1 z *i p* *i . — ' *1 *1 fx *1 1 rh • 1 ; ~2 in F r j : 1 1 1 1 . ! ■ i 1 H _ a i 1 r i - .fMl 1 — i r- 1 w* _ ; B 9 L: i * m ; 9 K ■ > . t >' • CP > ,_h _ 1 r • m m ■ I * ) • ft • *| J p ri p* r. *1 *i t* ■ § *1 n a *1 *1 n Ji 2 *1 r* < A *1 *1 h» *i I • 1 f< ’Ml l r- 111 1 . 1 9 II • 1 1 j • 1 < 1 nil ' -« i i f i l ^ -J J-J H * v — -U J -iJ * — 9-S-t rr | s _1 k ■fnr S-m— ^ !■ -N- ■— =— r-l^ -srl 7 h ^ k, S n s ^ ■ . ■ J ^ f \ J Si i j , J • J a 0 A 9 9 9 9 A a 9 W £ - # s v 7 — — Mr J 8 1 w v W W W t ” • p TT 1 , ty * r - — e - - » ; . /i r ^ ^ i . * none so merry as we :There’sTom with Nell, Who bears the bell, And Willy with pretty Betty, 0 how they skip it, jumps it with the rest : No time is spent With more content In camp orcourtorei - ty,Solongasweskipit, j g n •j*] |iPi J n *i *i w *i n j *i *i s* n • 2 *i n v Lf 1 1 . k i i r j b 1 Mr 1 J 1 n S’ ' m i II I 8 . i * S 1 \ 4 j L§ L • # a p '* * i r' 5 1 ' ■ • » • P <9 cres. f \ • &S S r a 9 r f ° '•*f? Z *1 « — *1 *1 ! 1 - i *1 U *1 *1 t+ *1 p *i n inn L n nr** , i 4, . ^ * t r r 1 r ^ 1 r • — rn F H- - , n 1 p rn f 1 1 I f r -i— i I > H J W i Lh* L ^ L y L ^1 r~i-^ ^ — — -W-Mr* -i — sns~p: r J ■■> ryn- '-T >.1 f — p . t M r f P 9 • J ! .m J _ u. \ r 1 • p — -j — i ^ \9-p-r- i — b 1 w g J-~# ^ a , ^b-J^ — l— t _ 7_ L - bI J- Caper and trip it, Under the greenwood tree. In summer time when flow’rs do spring, And birds sit on each Frisk and trip it, Under the, &c. m 121 V — — n i—? — f tree, Let lords and knights say what they will, There’s none so merry as we Our music is a lit - tie pipe That can so sweetly play, We hire old Hal fromWhitsuntide Till ; lg;W e oft go to SirWilliam’s ground And a rich old cub is he, And there we dance around, around, But L j-p -L-y - — H-? h~p- p -*■ ^ s mr^r - 3 3 = 3 : 9 33 =t 33 : • H *33 -F 3 - wr- - i - =l=qc=i- -J 1 L s - j U p - L_ /J- 0 J never a penny we see: When the day is spentWith one consent A-gain we all a-gree To caper and skip it, - 3 j M- 3 -P — ^^^^- 3 - 3 = |[ »- 3 - 3 -P — = 3 =} = ^ j- 3 -g— 3-3 3 3 : -' 1 3 : K, ^ .. 71 - M —p — •— » — »- -=5^-C\ K * -.-"T- J P » — i 1 F- =t==l£=±==£_ -P -d- L. 33^ - # VH — - 1- - • *~~i Trample and trip it, Under the, &c. ps 1 g B p j ggj p ; 1 Ee: -J— * l— q- 3 - 3 : l=Ptc £=£ — IN 1 - 7Ja/ Segno. % p— k 1 : !- - -f-si f^- 3 -F tree, Let lords and knights say what they will, There’s none so merry as we. 122 FAIRIES, HASTE, THE SUMMER MOON IS BRIGHT. - — „ ,1 jg-~* g « ^.._ rs ... . A =. — 1 S e ri 1 -w-, 4 — £= 0 i • i — & f - 9 l*=d * . — 0 — -^p — — * - — 9 night; The fay . thatw ( A S ^ ^ /-T oul —1 1 d now be ; h — - 1 W-r *•*— ab-sent is £ S S A L t ;rai - to] "| 5 A -U IS( • — f sfromdozinj * K — r , Cease reposing w 1 . _ -fc -g :— s— ^ .. d-^-m ^ - -4=^- r *V, ~ J ' \ W 1 j ^ - £ .±- ■ - i . • «” : 1.1 jj a T=4 *^3= ■ •1 -jA 1 • 1 ( \ • • 0 L -r=^ — 1 — , 3 2 — w -a f r 4; r H*- 1 * 9 *s f >f- r i - JL2 — 1 V 1 *1 k-spi - ^stib -^PP *R- -r-^ R ^-*pp 1 — feUi i* — t ✓ — 0 — - — L_y 123 124 LOVE ME LITTLE, LOVE ME LONG. TUNE, u MAD ROBIN,” — SEVENTEENTH CENTURY. f = 104. Smoothly, and gracefully. From a MS. about 1610. rft— ri ~ 1 ■ — - j 1 ^-!~n .r. ■» . i . 2_eL_ _L_ ZL _ _1 • 0 „ P_ H I i p* P V\ } m J 1 1 1 _L 1 J \ Jt 9 M J !> ■* _l_ __u i e e • 9 rD 'W -SJ- ' r . of my song ; Love that is too hot and strong Burneth soon to waste ; Still I would not y 1111 r . i - .t* _ _j *1 • 1 — r — 1 — fix— 1 tr\\- ^ i r i a -a « J J L. m . J 1 j /c i rj*j * y | Z 1 \M7 5= ^ • L 2 . i 11 g 9 ^ r ) eJ y -&■ X ) T -f- r _ 4 « • - § 1 l r -r- , — */■£■ : ? ■ II i r 1 - J t* J H- J " # j J ^ I 5 * 1 l LJL P 1 F^- - - j rtr- rr > > ; > — — l — . — — | p — f — ? — f 1 i- E 1 i 1 h L — — j Hr have thee cold, or backward, or too hold, For love that last - eth till ’ tis dd, Fad-eth not in pp a- □£= r cres. ■P- 3 st st 125 feq»— . ]==#==+= =1= -\ — j— F- | - " . n := — j i i ^=3 id tbou must give or love in vain, So to thee fare-well. 126 NOUGHT I PRIZE BEYOND HER. TUNE, “LULL ME BEYOND THEE,’ EARLY IN THE SEVENTEENTH CENTURY. Moderately quick . Words by J. Oxenford. 127 s DacSegno.% # « **r- That I prize be-yond her. Whom I prize be-yond her. pp = 5 = =R=F -» — iU / 4H>-4 ~ IV n r ^~— f— ^-i -F- — b— J E_ =£ -P=-T — 1 n- h - 1 - _j 1 *- V- F —3 Third Verse. K- > — i— • not an - ger’d, dear - est love, IS Be Through my fan - cy’s stray - ing. J zzriz i__a. 1^ — K-— r^i - ii a J LI — | | a e i-zLzr- 1 — 3= — J— * a eEt rt r — — • PSS-K f) ^a*-* E 4 * fen- g - g — g-fl — gzi} v ^ ^ V — i k ^ One there is who reigns a -bove All this i - die play -ing: On my heart, as l T SEE ^=4====3=4 t£- • -J- n f IS 3t=t cm. m -t= r r r / r • » n on a throne 3- Sta - tion’d ne’er to wan - der, 3 Love's own queen, she reigns a-lone, 3F* I-* C -*i EE S / PP £3 e . Nought fc= prize be - yond her. ^ 3 : ritard. PP as ns * i 128 THERE WAS AN OLD FELLOW AT WALTHAM CROSS. TUNE OF THE SKVENTEENTH CENTURY. Jovially , and moderately quick. Words completed from a fragment by J. Oxenford. jr±fr|» f— : { f marcato j » • l |'f S’ M — - — - -- — — — — * — -I i ■J ■ -f_r - r — la * — 4±pf 11 =£ — — Lur : [ 1 H I"- ' ' ' 1 ~ L-= L* — — 1 — 1 — — F F la— b 1 - — ^ fc ST" t N ST ±=-| rH— te-t- t -J— ■ J -a i « — — F- «L. - — £= * 1. There 2. I c was ince an old had of fel - low at sil - verand ^ Waltham Cross, Who gold e-nough, But — i 1 k mer - ri-ly what was the — ( sung when he s use of the liv’d bytheloi trum-pe-rysti — ss, He uffPMy -1 -s i — 1 — m =h- -P R- i— si -J -*1- — P— V . - — 1 ^ 1 — L4_ : > 4 — :> > a 3— -F 5i_ — F 51 »— frrf * 5F F — M_ t- 51 1 p— ( — j ^-1 1 t s — is — s * -s— - S S — N — t— i m 9 r n j" j -X— ^ ^ - J nc: rTvPr 5 F F 5 p r r j _ 9 • 9 d i » . J 7 _ a a 9 r Ym7 ^3 ? )3 h 5 3 u f v v a W W M ne - ver would sigh orwou wish - es were large so my l — A— b — 1 1 Id murmur heigho, But mo-ney grew less, But r— 1 J i chant-ed it ou mirth with eachp( — 1 1 t with a m - ny I b( hey trol - li - lo : He DUght I con-fess: I 1 U- S_ —j - - ■*} -H 1 i "1 » * 1 If v ' * > 1 * 1 m 1 9 1 9 1 J l ■ 1 1 v- 1 2 r ______ ... 1 2 9 ; tr • 1 • * i b i i | M F / 1 ' U. - - F i I « /•. 1 / a *>1 r *i i 1 ' 1 *1 a 1 - 1 i® r ^1 r ^rtn I 1 i 1 1 1 • 1 1 1 f gj? 1 . -j 2-b- r s S -t 1£ T N 1 S-T S 1 5 r-u-' 1 — k is — t — ^ ^ — ^ — *s — — -r iv i j 'c ** w KP-p - !* Is — — -z I \ i ^ m — w -d 9 * m L __L_ S s 1 m * * '-*-*-* • cheer’d up his heart when his goods went to wrack With a hem boys hem and a cup of old sack, cheer’d up my heart when my wealth went to wrack With a hem boys hem and a cup of old sack. 129 Dal Segno. $ 3. When mo - ney was rife, I’d of friends a score, But all disappear’d when they heard I was poor, Yet 4. A beau - ti-ful dam - sel once own’d my heart, We both of us swore that we ne-ver would part, She 6. On nothing what-e - ver my mind I fix, I’m proof a-gainst fortune and all her mad tricks, I’ve * f « ^ P" -P- 3— g= & P \f ne - ver I veu-ture their con-duct to blame, I’m sure in their place I’d have done just the same, I fled to a - m, - ther, yet ne’er do I sigh, If she was in - con-stant, in-con-stant am I, I laugh’d as she smil’d, and I’ve laugh’d as she frown’d, In truth I care not how her wheel rat- ties round, I -1- £ t : *5 , o • * Chorus. f w cheer up my heart, tho’ my friend turns his back, With a hem boys hem and a cup of old sack, I cheer up my heart, tho’ a mis - tress I lack, With a hem boys hem and a cup of old sack, I cheer up my heart, on a white day or black, With a hem boys hem and a cup of old sack, I E Fg v -h E f M • .» r- i i VP~r ■ >11 s 3 4; m • 4 • up my heart, tho’ my friend turns his back, With a hem boys hem and a cup of old sack, up my heart, tho’ a mis - tress I lack, With a hem boys hem and a cup of old sack, up my heart, on a white day or black, With a hem boys hem and a cup of old sack. cheer cheer cheer IP £^§56 / ~±s& , t f 3 r'"f q-J ^ w . 7? Dal Segno . =g^L* pr- - 1 )a&=g- • i -- F$=$t==f 4 / — ■ — : f=?=T~=?=] -IS f J — = -4= r • J • r hi — 130 NEAR WOODSTOCK TOWN. TUNE, “ THE OXFORDSHIRE TRAGEDY,” — PROBABLY AN ANCIENT MINSTRRL TUNE. f = 66. Plaintively. Written on a fragment of the old ballad by J. Oxenford. 9~ 0 m k W frf-f k k 9 a iw is N ' * k i P • k z (it h r r l ■ a • — % i i - * - J h V J r U J • ? J df • fJ i " r 91 K 1 f -1 1 r ^ - n J P T# • fv * • J 1 Jj ii:b- ■ • j ~ r < V. 7 * • _J « a z _i 1 EC - w 5 r- *^3.“ Oh, let me die, — though I am young My span 0 s a 1 J * J f life has prov’d too 1 > 1 ong, — The tear that 1 1 1 1 ! 1 _ 7 ~n L 1 1 t n 3 — 1 7 *1 J » ■» m M 1 1 4 I p -s; — 1 — 5 i I j+i a J J 1 L 1 v^T i ! J J Urn tta 44 — F / 5 4 -p~ ^ 4 - ^9- • & -3- — 1 P ^ a 1 9 m _j j B 1 1 9 nr I t /. »t - L__g j 1 1 --j- : v a a — n r e 1 l_ ^ v T > > in S 5 K , u LL ■?r — r • a . s 1 s * j_ L ^ a P J 9 I - N ~ rrr-f - 1 i 2 . J p ' M ~ ^ _ E iL_ vd~7 * -v • - ■ w - j j • a _r comes too late to sav , n 1 | > e Perchance lie’ll drop up - on my grave, And if my spi-rit lingers 1 7f— ! 2 1 1 | 1 .7 *1 T a pH n~ 1 T/VT-2 9 j ' - h d | J 1 flj L_ 1 ! L . m. . 1 1 - 1 m | j 1 S i 1 - H® J * 1 1 0 i 01 JSi~m Z ] d r r 7 ^ | ^ 3- -4- ^ i - 1 ' i f « S- S Tt 4 9 J rcr] +» r r r r •J — < ■ B • 1 1 » ) • 1 , 1 . 9 m j r b r J — 1 f — i 1 1 _L J 1 L zA • a 1 1 1 1 L ’ L | I r i # [y az ■ m s & K M r— ny — * m . 9 r ^ p_ 1 B t zE # • ... 1 r r ■ a , * ^ u-.i a g . L / y. 1 fctr- 1 a c r » TW 9 * V w J ~ near, . " ^ ’ Twill thank him for that sim - pie tear, And h e will mourn the hap - less 1 L/ m - 1 J - m j— A 1 7T »i M gJ - 1 1 . - u -S— - 1 rv \ — l MM M uM M . 2 L- —4 J a J ^ 1- 1 tfer) 1 — - m a 1 Si —3 -M 1-Q-I 1 * 2 - — ” — ~ LUC- -Jg - J J * t- * * trji 0 P- 9 s/ 1 1 1 1 . ZZC ZJ. _ a 1 T*7. a r l e - a s I 2 l ' ' g 1 ' g 1 L i m M 1 v :=r 1 -Gh 1 h. 1^ T* . 7 1 .J ' • 1- TT\ 0* 1 J m 9 9 r Uf ' . vn — 9 • * 4 1. zzunz: L — L_i — . £: u r U fate Of one who lov’d but could not hate. , a _ I 1 - a f- 9 I l ztr 1 i . r _r . 1 » • - J . 1 7T 1 rlr 4 1 rt9^, 9^ 9im M r ^ . • 1 Trh — - a 1 r r r r P -j_2 1 1 vh- — • J a — rf ! '9 M _J E & * )ZT&- S-5FT ¥ ) i>.n. . f -4- ^ P- P- 1 1 1 • S/ f f--.fl-- gu 1 ir — V m, ^ 1 L n a f f • ’ . ^ ■ r g . . 1 1 — — i — itm ,• _J L_ w 1 1 — — ! . | ^ — tS # 1 l h*mm .by- 1 - 1 1 132 I SIT UPON THE MOUNTAIN SIDE. TUNE, “MY FATHER WAS BORN BEFORE ME,” TIME OF CHARLES II. 133 p- : 5'*i P -■ -^P 1 £ X } t — f 1— p— )P^— J e |i -t 1 ■ y f r j r ?f . r~r — r^r-trf-i — . ' pf'. r l — 1 — 134 OH, LIST TO ME, MY ONLY LOVE. TUNE, “THE FRIAR IN THE WELL,” — SIXTEENTH CENTURY. = 60 . Rather slowly, and gracefully. Words by J. Oxenford. rf* 1' =q — — j? i-_ J J S | p * r p j i»r fr \ f 1 < V J a a 9 9 i r £ T w w w y - j _L J ^ ^ 9 I 1. “Oh! list to me, my on - ly love, No star 2. “You’ll hear your doat-ing trou - ba-dour; Cold he’ll 3. a Oh, has - ten ! fas - ter falls the rain : Do I / n* _ _ s s P r 9 shines a-bove, With catch, I’m sure ; By sing in vain ? Thy * h K r rrc j r s it *1 Jt . Ht m it . J *i J i i *i • 1 FTC r ' F pi p p i p p i p r i n r r T in ! ] 1 , m s p 1 J L L __ L J J J J J J l j f. _3 g z J ♦ 9 P 1 9 5 | i 0 * P 9 9 * * f 9 9 1 r * 9 W W~ A W 9 9 J J j f 9 9 W 9 0 9 / *14 C ^ u*iu L *\ U a *i L i *1 P ® *1 fl i B *1 *i i - i *1 r i r i I r 'll I i 1 Li . 1. 1 1 i 9 1 / ! '/ r ' r r 1 -/ L L L L 5^/55 t / t t — ) n— s m 9 / ' _ J Pi - . ___ 9 r r r F ■ 1 Lf* I m rT z • » w • r ) wel - come ray m; yon - der moon, m heart is mar - bli y sight to cheer, W1 y heart is thine : Ah e, I’m a-fraid, Or lile ! |S t s I’m wf no mo( hou’rt de{ P r ir - bling here. This )n will shine. The if, sweet maid. Pray S s s | Z4+ t * is t i s r 1 / p 1 d- J *1 ^ S *1 S ! *1 t J i *1 5 *1 «T P *1 M 1 1 rr \ 1 m 1 M 1 S 9 r. * 1 ’ i \A 1 J 2 2 . 1 ! 1 T 9 f 9 1 w J « nil F . 2 5 ■ / ^ r • i- -4 -J L -5- 5 p j* t ‘ N p 'i ■ • a 9 1 l 1 « a 1 9 9 9 t 1 1 FTT}? p M 1 1 P s i * . *i " i r ^ i ^ •! V — r t -F i is l J 1 9 1 9 i i 1 p r 1 ^ U V , - u — d \P a A fl 1 > 9 n . H n - - -^9 - -r- / 1 ’ ' r j r « j s l r i p r' n — nt± F Fa J ! ^ W a J vT7 r TL—rf* v ZZC - ' P J"" 9~~ 9 • F „ t r — dis - m sky wi speak a ^ , w « al night, so damp and chill, A love, less warm than mine, would kill ; th clouds is o ver-cast ; The rain be - gins to driz - zle fast ; word to ease my woe, Or home to bed at once I’ll go, N P P __ k __ ___ _ k ytf s _ jfi m w t iW i > ^ * " n » *1 ~ J M P it “P *i P n J 1 /7'v — rn — n 1 — i 1 i i r i r 1 2 lTj 1 P 1 1 2 P 1 1 l Y i — nr 4 1 9 9 ly JZ liar J m *L 2 * 5 / ^ r — *t > ; o - £ -'l f 1 > 1 » . • > * » 9 p 9 i 1 1 j-i p w p p i 1 =T — « m r ti r •1 ^ : J 1 *1 t 1 .55 I 1 ^ 1 V - =1 ; « > > Ly L y L ^ L j r - y i y . 'j l ~ 1 4 : — *— 1 : r— * ^ 4 -J 135 136 THE PARTING. = 100 . TUNE, “ PORTSMOUTH,” — END OF THE SEVENTEENTH CENTURY. In moderate time , and with expression. Words by J. Oxenford. 137 EE Dal Segno. $ Time will not de - stroy. Art with i - ron bound P P m m SEES / r-v m Sri £ EE- g sPJ Pec?. * ill §1 ra - ther let me cope, love, Bold - ly with de - spair. Should thoughts that may de - ceive me With - in my heart be nurs’d: SF 221 f E§E *|=gf ■*- M m 5 ; 2E 138 BENEATH THE WILLOW TREE. TUNE, “ I SOW’D THE SEED 8 OF LOVE,” — TRADITIONAL. !*• = 100 . Plaintively , and in moderate time. -) i A 7*= ^- a — , 7 it • r • m J 1 ^"S , • jr 9 r - 9 r 9 V • 1 J r i p | V J • L. S ■ 1 .. a — > 1 ir" 1 1. C 2. S] 3. ] ^ w r~ >h, take me to your arm lie hears me not, nor heec [ once had wealth in stori s, For Is, She e, I keen the wind doth will not list to thought it ne’er would / 9 ■ 0 iz= t . m 1 1 s s - ■ | L “ 9 1 If A * • ld 9 Z J — & 0 It* f p p • it i r 1 v i J d • -fl 1 r * 9 L . K J • . J+ 23 • l ^ -i f i — i 1 ■ ■ • 9 *R "Z j J » ~ ^ I p 9 1 ■ 1 « i r r r— 1 — — H- 1- - a L ? — poco rail - - - J—j 7%- -=- T h j — i 7 9 — 9 » 9 a j J F • M. r i r i w - —j r 7 r ^ *5^ m % bio mt en< w ; Oh, take me to your arms, my love, 1 i, And here I lie in mi se ry 1 : I once had gold and sil - ver too, i i i ''or Be - I — — => — * - - - i * 7 j m r s «.® , J~ m a - ^ \ (T nr* J ! P PI -fid P J M 1 ^ 1 i — > —\ 9 P — «w ^ ^ ! m m J ^ r » 5 I r~T # • r cres. j 9 " — ' x | V */•* L _L ***** _ J J r - r — r- -=r 1 j .. # - - — d ■ 139 • . • ■ ¥ — P f — w— 1 My { — i — : ^ a j-, _J : wealth, my friend, are ^ l.._ k | ^ — ^ lost ; H- — My - ==£==== love is -! r— fled from |»-'i 11 L3 *L_ J T?= . fP i-‘ r Ff— r- =£ — 4^ r E r ■' 1 -• _J 1 — exHj i t r me, m And here I lie in mi - se - ry Be - neath the wil - low b -— 1 " / cres. W=* m =#■- at — *- 140 CAN LOVE BE CONTROLLED BY ADVICE? ABOUT 1680. ) TJ cres. ------ pp = ] 00 . With deep feeling. m Dull wis - dom but adds to our cares ; . . Bright 142 IN THE SPRINGTIME OF THE YEAR. TUNE, “THE POACHER,” —TRADITIONAL. » 5=2 M 1. Oh, well do I re - mem - ber That lone but love -ly hour, Whenthestarshadmet,Andthe 2. When all was still beneath the bright moon’s chaste and qui-et eye, Save the ceaseless flow Of the jpsm < ^ ppZ. 3F ' Vtt it *' T ns ^zk 4*- r * r • 143 144 THE DUSKY NIGHT RIDES DOWN THE SKY. f = 100. TUNE, ABOUT 1750. 8 5 3. The dus - ky night rides down the sky, And ush - ers in the morn; The hounds all join in The wife a-round her husband throws Her arms to make him stay — “My dear! it rains, it The uncavern’d fox like lightning flies, His cun-ning’s all a - wake, To gain the race he PH i m cres. f /• • — =i — ~F iT±=z=i Mfri t===r . | • 1 s * - M3 -•-* M - ±tf M-l 145 146 = 100 . LET ME LIST TO THE BILLOWS. TUNE, “ ADMIRAL BENBOW.” 147 148 MY LODGING IS ON THE COLD GROUND. SUNG BY MARY DAVIS, BEFORE KING CHARLES II., IN SIR W. DAVENANf’S PLAY, “THE RIVALS,” 1668 . ,»• = 116 . Sloivly and gracefully. /- n j. ^ j -! j f* . a f. . 1 — rP I* 4tH -*r%| ) 1 aifefi - ’ — . . ' crest. ^ 1 h >r" ! -gq^r : j — / -f-jT—jf -' =f i=iH rffr-g-rfrir-g— n [ - # R d 1 1? J ilk sill a _ v — • — _ My lod - ging is on the cold ground, And hard, very hard is my fare, But m i — 1 1 \- 0 1 1 ^ i a * 33 R=j PP S PS tempo. pp~ m i £z==*r that which grieves me more, is The cold - ness of my dear. Yet thou art the on - ly one, love, That art a - dor’d by me. t) mz mM j h j 1 1 ] 1 mi U " s f P "" P creb - I 3 m 149 150 = 104 . Cheerfully. OH. WEEL MAY THE KEEL ROW. “THE KEEL HOW,” NORTHUMBRIAN AIR, — EIGHTEENTH CENTURY. New Words by J. O.venford. 151 f± S weel mav the keel row, the keel row, the keel row, Oh. -ir^rr: weel may the u m m W. £5 if keel row, And safe my lad -die bring, £3 / s / g p| f=| M 1 * r-" " [L±==^m ^ ^ t 1 b=H w ~9 ±4=^ 152 88 . Ain. CEASE, RUDE BOREAS. COME AND LISTEN TO MY DITTY,” — SEVENTEENTH CENTURY. - - round us, Hark! what means that dreadful cry ? £==S=FF- f m P / sf 153 h* M* y 53 , t — now. tempo \mo. { i = = = i7 >- — r rpH i — i -1 F F IS^ )=*= ■= L= — P= p J-V Nr- -H 1 F>- L dim. ;> •i: 1 ; ; ; :— i— = a- 1 y — 1 pp : U=*= :' d • —j. d “•■■■ : • ^ • 154 THERE WAS A JOLLY MILLER ONCE. TUNE, “THE BUDGEON IT IS A DELICATE TBADE,’’ — SEVENTEENTH CENTUIIY. j* *= 88. * Jovially. Old Words. -1 w>— p] 1 — -J 4, z z i A r h 1 _ 1 J m H !_ s _. 1 ■ 1 !* 1 ■ ■ -w IL fr * J i*_ V £ r w m 71 * - 2 ~T i nr \j m H0 W v -w w tcb ty I 0 There 0 h 11 0 swas a jol - ly mil - ler once Liv’d < I . on the ri - ver Dee, . i 1 a 0 He work’d and sung from 0 I 7 J V H J ; ' -1 *1 ' *1 •1 _4I 53 J - n m *1 1 *3 vi V' 1 m ' i4- 1 1 9 1 01 9 1 l 1 rr r 1 ^ Lz . iti 1 m • ■ tta n f 13 K I -* J P ^ -« V l 1 3 -J 1 1= P L 4 i 1 »• u • | O *i_Z r _l_ 53 « 53 1 *1 J *1 _ *1 _ 53 r VI l *1 i 1 ^ I k 1 0 1 r 1 r ’ 1 i 1 r l 1 “ r —4- -J -i r r li 9-M -*— < rz- k ■ r a m m 3 a -J ^3 1 0 A _ m 0 J ® • # : m ’• 0 J 0^ — • — P — ~ m — t jL 3 • lii 1 v w r 1 l J moi 0 u m till night, No 1 ark more blithe than he, . . And this the bur - c J « |KJ r ' len of his song For J ..Kl ( ^ zri? — i — r i J 1 n •1 i *1 *3 s ■ ■ 1 » 4 * « 53 1 r v • 1 ! ! 1 LL« | 1 gm m i m i P \ " n 9 _ _ ® 0 j_ 1 v y - _ A i . 1 TUT t L_i W i 1 | l i 1 9 J L i- 'a ' r ut f , 1 7 jrn rj 1 1 U U 1 (7* / *3 . *1 — *3 r ' *i *3 - _r P - f k ... 1 f ’ 1 r F r - n i r (,r— » j S H 1 | w [ *r-* 3 3 >-n H H j» | i ^ | j 0" - - d ^ ^ — K . 1 J L * r — ; 0 "i TTj is h w w 0 V“ ry » n — — ^ m — jTjm * — / i e - ver use n l i id to be, — . . h. i 0 ^ ^ 0 “ I care for no - bo - dy, nr ), not I, If K ^ h n / “1 7" 7 p- ^ T | J — ft ^ rrr — d sj « _ a i i sj m — 1 r hr* * 9 s • ■ , L « iS - 1 i 2 Pm m I v h) w — — • . +ta i -m —1101 • s — K r p — ■ p P , i . — rr* 1 ■p* ^ cres r. -5 r * / ■ ^ ■ 1 % k. — f » /•, p i • ^ r- -E0 1 - ■ J — f tr — =} — m 1 — 0 = P — 0 a =| i ^ 0 *■■ 0 n 0 v f 1 9 — >• : •- “0 j t 5'. r-Q-b — S K — c — l ii. r ■ - i -i ^zz~ 7rt‘ — _ % — ^ s • *3 h » *3 “ t! ?3 K — rTw — ^ • 0 — 1 n r 1 r 1 r nl — 0 tta • • W T J n< d - bo-dy cares for me.” i _N_rsv B . ® HJ 1 w “ I Then, 0 l \) A) \ - j*. ^ ’ J o J ^ ! . J L m i -?rs - ^ . »i . ; l:.. • 05_j n * ” • ^ 1 0 i J a 1 , , 7m 9 i [— «S i « 9TM7U ha.. .. . ! ^ e! | j j ■ 1 ^ L | j.q0 # 0 p* 9 1 m H 1 - tJ 0- l m — r _ ■ m y. i p ■ S PS p L 1 vi ^ * vi ~i > si C sr* i “i m *3 +r2 1 J_ t a — 1 Tzr* 'H ^ - M=f 1 155 — fc. S i— e 1 ’ fr 1 r ■ I ■■ — k—\ : ri J fr L J. 9 J ;r 3 2 TZl IW 7 w - JIM 3 JEM 9 J 9 9 fr J ty / | ) Tt" 0 ^ * live by my mill, she is to me Like pa - rent, child, and wife, like themil-ler, bold and free, Let us re-joice and sing, r\ t. I i i i i I would not change my The days of youth were t ( t~v : 1 —J ~ L n i ! - m *1 ! * m *1 J • *1 1 fr ! I _P J 9 1 ~9 - m 9 1 m 1 1 1 V- J ", um 1 m 3 ILfl ” r I ” Tip \ i -g. .j 1 * * * * * \ t ; W £ 10 / d T-r- r ___ 1 P '■> '• 1 / rr *| g > 3 1 S3 j S3 L m S3 m S3 -i - r *i r _ si_j s ^ r * r Ip 1 " IP 1 r ^ P ! p ! — 9 L H i U L !■■ - ■ =3 — — r*~ f — f — fr^ - - --fr: p=^-^ - i/ 1 - * -W- 1=± sta - tion For a - ny other in life, made for glee, And time is on the wing. No law-yer, surgeon, or doc - tor, E’er The song shall pass from me to thee, And w i & 3IEE » - 1/ tr - / Mmm 3 — I ^ . ' _____ _ - : is 1 -» 2 ' 9 « I ^ r- ^ ^ -J 9 w j 0 1 ^ Wi 2 2 — 1 , K p* " r Y T — • • • kJz L_ L/ _ ( i 1 had a groat fr( roimd this jo - vi (U 1 1 >m me, al ring, ^ 1 And I care for no - bo - dy, no not I, If And all in heart and voice a - gree To _ _ __ _ _ 1 it *> _N l _J 7 17 ^ pr- r — — - 1 | r n 1 / O m *1 PL J ~ P 1 _l ^ 1 ( -T a _ a • .a > ^ n ri n I i 2 «L 2 1 V J i - - 1 • U 1 ■ TIP i P 3* fi p ■ * 1 1 i 1 t * * \cres f * • • / 1 9 i 1 t. f r 1 »/•, 7 | *3 1 - J *i i r j fr^ I H 1 1 9 . _____ __ • p m i 1 i J 9 l ^ a ^ . h n r ? 9 jl • 9 v r ^ 3 ' •_ si 1 f * ^ % r 156 GOLDEN SLUMBERS KISS YOUR EYES. Smoothly. A LULLABY OF THE SEVENTEENTH CENTURY. Tune oj the -seventeenth Century . 157 rf-HWs H — r- — i — — ss Jrz • J r r _j p * *1 n r \ .j # 1 1 1 \S 7 ^ ^ 0 ^ lul - la - by, / A L. : lul - la - bv. i a tempo. 00 ^r j _ j i-i L 7 ^ 4 >' 1 L-. ". ' M * M ClLJ m. • J 1 fr ; 1 • - , . i ^ l - l i fli h B uE • m L i m J J < ^ PP* * * 3 K . 1 1 ^ 9 • V 9 • -#- colla parte, mf s j • - 5 f * * J- 1 n«ir — j f- i — j - j r • ^ ' ' ^ ^ — 1 0 s ' * • ■ * 1 9 1 t m # & H I 1 J ; i j 1 , 7 -fJ 0 m a 0 9 9 1 9 V 1 i [ r i ■sbmsLmJ LbJ«h 158 WHAT IF A DAY, A MONTH, OR A YEAR. WORDS AND MUSIC, END OP THE SIXTEENTH CENTURY. p = 100. Rather slowly. J— 9-^ -rn— i n vi s 1 s h * s n~~v 7 • 1 i. | s r* i ^ is 1 -J J 5 » j # .... p i fl i 4 « J • A _LL J ^ ^ * * - r 2 » — JfP w w • ' r What if a day, or a month, or a year, Crown thy de - lights with a thousand sweet con- temtings, a What if a smile, or a beck, or a look, Feed thy fond thoughts with ma-ny vain conceivings, with a* _ . I . . 7* f • n . _j 1 V ' r | r H -P is J p m J- j i 1 r V • 1 1 1 r J 1 , 1 m S h • ® p J g * 1 V uM 2 xJ _2 ) ty ^ i H vr i- -5- r • * 1 ' “1 p-r-- ■ -v f i n I .. p “P p* m P 1 M _J • i L J L 1 1 ^ j 1 r l_ p 1 | p 4 V — M- ^ S ' 1 L| f — - 1 SS ~~W * Cross thy delights — L/— ^ " j « -* »Gi Si — * with as ma-ny sad tormen - tings, as ma - ny sad toi - men - tings? Tell thee, as well, they are all but false deceiv - ings, ( -Mr— -=s^ , 4-| -1— all but false de - ceiv - ings? ,S ^3 : ) r,ar3 J« . rn — r — •— m !— J — * -4 ■■■■-■ — -m — -= 1 -H* ^ 1 'pi -f « * f r, *|_p — _ l ^ 3 1 1 1 1 — tc£P — ^ 159 h r ,_] fc— | t* t - Tr ~d d — 3 fi -CJ. G J • m m i r \ — • — s • i 1 '• p _L L__ p 9 9 4 v 7 — 9 4 J 0%d m Ji id. L 1 L For - time, ho - nor, 1 Why should beauty )eau - ty, youth, be so proud In t I Are but blossoms dy hings of no sur-moun _n^n . j= - ing, - ting f r-T—i __ \ 1 p-i Wan - ton pleasure. All hei wealth is ~z j " ! [— j — J — ! — j — ■ .zLl i=td_2 — 1 tz “tih f v — • hi • a r ] J 1 ! J 9 --m 1 m . u-m wL rr i • j i d 9 j ■ 9 cJ r_ - * ... ! 1 t S *> “J ^ ^ ^ * mf > J , J 7 ( ^ , |> _i __j . i i rtT vn. p M ' i p ! J J , ■ ! p : J d 9 J 9 J J 1 1 ft 1 — “ — r 1 J— i i — 0#— , c r 1 — trH 1 , =| : i EP-J TO-- - 1 rg -Srt=l ) — 1 1 ’ 1 : X: doa - ting love, but a shroud, U_| Are but shadows No - thing of ac - < j 11 ri rrn 'i — t fly - in; coun - tin ?; g ; All our joys Then in this t c tempo. — m • are but toys, here’s no bliss — -R lit! — j— -d-#— < ■H * -H *-2 =- | — =d — — 1 1 — • — 0 9 “ — • — J= T' N? it — iJf- Efe jM fZjL ; PP ^ 1 *5 PP ^ % T> — r p= I ^ —Si > h sJ % 1 -0 r p i — | h — J I - f 9 r ■ " — — — f— - — — -f /I 1,1 ■ m ET • vT/ 3 rri __ __ _____ _ _ _____ _ Z) ^ r" - rea - ving. bri - die. 1 ^ ! 1 till Dal Segno. % i i i i i « ___ W* 9 0 a / i i J .Jj m a* «- • f( N 1 ! « * 0 9 0 J . ■ 0 0 - M • * — ^ M W ^ v 0 "ff'Ch#" » ~ P ' r. f~ 0' ^ •. tr - ' J w V v mf cres. ' i i tn i mjT 1 yj ^==~dim. p 1 • . ?/•< ^ £ > r* 1 id N— ar- H — f- — h k, r—j i i ^ fc— K 4 - 4 - -Jr J- — J ; T _Jafc^=±: ( -i LZ. dar day 9~b-4— — - ling of my that comes be r^l -J heart, - twi*t rl h And li A — J— — * — * * == * — 3 31 yes in our . al-ley: There is no Sa-tur-day and Monday : Oh, then I’m c . 1 : • la - dv in the Iress’d, all in my 1 ^ -d — ' — L 4=* r — * — * -fr f- gr L » — * — * — ^~ l jL — % L f * 7 pr - cres. I 1 -h» — F — ! — J 1 a t— — 4^J — * -4= — P — ■=! V- 51 . : _r — V ^ t- " ' — i — L kj- - * ' “_h 1 161 162 f = 112. Boldly . THE VICAR OF BRAY. TUNE, SEVENTEENTH CENTURY. Words % written about 1720. — g — al - ty no harm pery came in fash the na - tion’s grie of Eng-land’s glo rate men look’d big, te-stant sue - ces I 1. In good King Charles’s gol - den days, When loy 2. When roy - al James ob - tain’d the crown, And po - 3. When Wil - liam was our king de - clar’d, To ease 4. When gra - cious Ann be - came our queen, The Church 5. When George in pud-ding time came o’er, And mod’ - 6. The il-lus - trious house of Han - o - ver, And Pro meant. , A ion, The vance, With An - sir, I sion, To 0 '5 m WT m 3 I I t p 1 -f — f — r— r rp al f 3 — - ] — =r~ -|— -q - # " F — - 4- — i — b — R L4 ‘ — f — !— 1 1 J I * ■ -f * titw -4- J. ^ Eg ME zea - lous high-churchman was I, And so I got pre - fer - ment. To teach my Hock I pe - nal laws I hoot - ed down, And read the “De-cla - ra - tion.” The church of Rome I this new wind a - bout I steer’d, And vow’d to him al - le - giance. Old prin-ci-ples I - o - ther face of things was seen, And I be - came a to - ry. Oc - ca-sion - al con- turn’d a cat - in - pan once more, And so be -came a whig, sir; And thus pre-fer-ment these I do al - le-giance swear, While they can keep pos - ses-sion; For, in my faith and n TT j=E= =E EE E EEE Z=$i- T* i6a j — m ^5 *« -* ne - ver miss’d That Kings are by God ap - poin - ted, And lost are those that found would fit Full well my con - sti - tu - tion, And had be - come a did re -yoke, Set con - science at a dis - tance ; Pas - sive o-be - dience - for - mists base, I blam’d their mo - de - ra - tion, And thought the church in 1 pro-cur’d From our new faith’s de fen - der, And al - most ev’ - ry loy - al - ty, I ne - ver more will fal - ter, And George my law - ful I Hi Pr~^~J 1r r-f- . ==tr J__S J 9 J jj 1— t^f-1 ^ T~ w- 1 *- dare re - sist, Or touch Je - su - it But for was a joke, A jest dan - ger was By such day ab-jur’dThe Pope king shall be — Un - til $ the Lord’s a - noin - ted. And this is law that I’ll maintain Un - the Re - vo - lu - tion. And this is, &c. was non - re - sist - ance. But this is, &c. pre - va - ri - ca - tion. But this is, &c. and the Pre - ten - der. And this is, &c. the times do al - ter. And this is, &c. -J- 1 i I * — i ('Hi eSEES jEEjl: / i fai i 164 MAY HE WHO WEARS A SULKY PACE. p = 156. TUNE, “THREE MERRY MEN OF KENT,” — SEVENTEENTH CENTURY. Jovially. Words by J. Orenford =fS • :~ / »/ 3=*f 165 I - 4"4 Dal Segno. % i -fM boys. To be mer-ry a-nother year? May he who on - ly sips his glass (A era - ven soul is he) His life a - mong the — - - u~ r— r-F -f-f— f- a- - ^ — « ^ v --e • — • =&= • p- de-sertspass Of thirs -ty A - ra - by : 4 ^ Let him be mer-ry, merry, merry, there, And st ^pfp 5EE . • afl— * ^ -?■ f=t +^=fr t 3^&a S3 ^-4 h For who can know Where we may go To be mer - ry a - no-ther t =£ i we will be merry, m erry, here ; m yfcfc ' — - */ v * ' • • P- i i 4-4 year, brave boys, To be mer-ry a - no - ther year ? m m t. -p— -- TSr Sfc rrf^F at £ 166 TILL MARY WON MY HEART. TUNE, “ THERE WAS A PRETTY LASS,” — ABOUT’ 1700 . + = 108 . Gi'aceiully. Words by J. Oxenford. mu £ always us’d to laugh, And I never us’d to sigh, With a sad heigh ho, And a lack a well a day ! But changeful as the moon, She’s more fickle than the wind, With a sad heigh ho, And a lack a well a day ! But lets- her flout and pout, And he boldly goes his way, With a sad heigh ho, And a lack a well a day ! To fcfe £ t=& now I mope a-bout. And for mirth 1 donotcare, My sighs come ve-ry oft, And my laughs are very rare, With a smiles amid her frowns, And she frowns amid her smiles, But dowhate’ershewill She my fool-ishheartbeguiIes,Witha Ma-ry I con-fess That Colin’s much to blame, But in myheartlwish That I could do the 6ame,With a 167 A 1- sad heigh ho, And a lack a well a day ! I own that they are right, But to Mary I submit, With a sad heigh ho, And a !- U F3 | :. J = -jgi, | :~i — q^:-: i ■ k fl- S« jS-S-l-3^ ' S± P 5 at£ NE +H l~ f 7 ^ j* ^t4~ • p m =N=S =|* — j* — K-tH 4 - £ » > *=^7_ a =d • W mm 0" w — W- :t=i Jat za^ f lack a well a day ! She will not hold me fast, She will not let me go, Sure never mortal man wasplaguedand troubled Nr w :fc+ Ifepl PP > r : £ 3=3 I mf Pi r_*=«. -• •- 5 * * 168 AMID THE NEW-MOWN HAY. TUNE, “WITH JOCKEY TO THE FATR.” Cheerfully. * Words by Charles Maclay . 2zfe=H ] r *— *-r ■F — fUd . i I --M 0-J 0 IV T J 9 - _ i » L> y - /, i ~r r j • r r r JP r — f- n 1 YlZ o Jy j j • 1 h H Ns / */ i w w V | T _ > 1 )• k K 77 > t 1 1 iJftiJE li !z_ » 0 - — — — 7 “777 * ! fcl._U._Q - 7^ 1 ^ i * 0 I • J J < -w T : 1 i — — 1 4 * +~ 169 170 j® = 100. Majestically. HEART OP OAK. MUSIC BY DR. BOYCE, 1759. Words by David Gar nek, 1759. 1. Come cheer up, my lads! ’Tis to glo - ry we steer, The prize more than all to an 2. We ne’er see our foes but we wish them to stay, They ne - ver see us but they 3,' « £5* ::: *. — r P 1=^=1 = t* si 5=? M 1 1 —] * K — 5 $=£==* ^3? *3 «r « *— g- Eng-lishman dear; To ho - nor we call you, as freemen not slaves, For who are so free as the wish us a- way; If they run, why we fol-low,and run them ashore, For if they wont fight us we sons of the waves? Heart of oak are our ships, Heart of oak are our men, We al - ways are ready, can -not do more. Heart of oak, & c. -I cres ^ ♦ m -k m * » i* m i N • Mf Steady, boys, steady ! We’ll fight and we’ll conquer a - gain and a - gain. •' p cres. / ' f er«f. m 171 Dal Segno. $ Last Verse. gtl v~ W~W -W - 4 - 4 : 4 - puz^p^r p Still Bri - tain shall tri-umph.her v - »' m *£ r,: *- ,; r .. j : ?sr # ' / =? I ships plough the sea, Her standard be Justice, her watchword^ Be free Then cheer up, my lads, with one m -J- • ® heart let us sing, “Our sol - diers, oursai - lors, our states - men, our King!” Heart of :» — a -=qs— 5=q , . , —a P 3V-a— -a~H — P— P— f — ^ fafc — F ^~.-d ■■ F - -— r- — L~_ .-d. :Jy_ S- a « F ~ oak are our ships, Heart of oak are our men, We al - ways are ready, Steady, boys, steady! Well II Sterp^: S 3 a « a ' -PH- -s#- =gi mm ores. o- f —J- f Jt — {- ^ - 1 -± J V * >. — y N-* fight and we’ll con - quer a - gain and a-gain. Pirn J H f 7* 172 THE GIRL I’VE LEFT BEHIND ME. ENGLISH MARCH — EIGHTEENTH CENTURY. f =138 Smooth/y, and in Quick-step time. Date of Words, 1759. 173 i- i , j- , . pr^rr-T^=P^^:a:---:v = girl I’ve left be - hind me. ^ — \ - , n h * J- J J | #^TT ^ — ' — - Dal Segno. § |L> • ,* rv__|y-P — ^ ^ f HSH • — • — *- L L yT|I rj^r | rffz-|»-r>=4 -it b%H ( — v f»H ' i i-0- - 1 - 1 r I J : Last Vebse. ? 5 The bee shall ho - ney ta ste no more, The dove be - come a ran - ger, The ~*~ J i j j ■ ■ -* 1 - I - —II I . L - V*J at y 4- r - * - M i I St 174 DOROTHY’S A BUXOM LASS. TUNE, “ NEAR THE TOWN OF TAUNTON DEAN.” Words by J. Oxenford. -1 9- ^ > _ ' j -- * 1 r^-si “1 1 ^ >— m -- 7 -= — / S | _J m _J_— J 1 1 9 > r 9 w m m f — f lj. J jm i _ 9 ® • V L-J i S i P i \t V \J ** -1 - U L □ IF b w f ■ 1 filf my glass, And ’faith, I’ll fill it i Taunton Dean, And all the coun - try r< now ! Be - fore I si Dund. For her the r t -P- riw her ro - sy face I ed - dest rose is sought, For ( J 7 1 s 1 J "I J ,, 1 *1 * *1 5 9-9 T l 1 ft \\ m II I- fi! 1 ® •Hj 9 1 .. m. J □ krz i 2 9 fi 5 9 1 )i 1 ~ r ^' H . » i fit _ L r p i i r r A i- -S- i J i • -5 L fc_J c r f J r 1 «/ / | F > L-J— 1 1 * • 1 !*/»! J i & J f , 7. a yi .. 9 *1 J *i a d *1 i *i «r i i r i i ' i 1 J 1 ^ 1 1 1 1 1 11 1 1 JL. L 9 1 9 1 , j ' r ^ 1 90 Wl 175 Dal Segno, dif - ferent case:There’snone like her I vow! charms at nought Is mar-ble, I’ll be bound both a-gree To love each o - ther well. Fine birds on low - ly branches perch, The n ^ — ! — 5 — ^ “j a c- a m % ) ^ ^ — V- ^ 9 E -£= M 1 1 1 Taun-ton Churchill bear a- way the belle. ii i : * i |*-f*_ * *• ' * I * — S v — s f I±± ¥ f -n— p- : 176 PAST THREE O’CLOCK !— [THE LONDON WAITS.] TUNE, 11 LONDON WAITS,” — REIGN OF CHARLES II. ^ — 116 . Smoothly, and rather slowly. Words by J. Ou enf ord , retaininy the old burden. l ' 177 f m Dal Segno. % .1* 1 ■Hrff i — ■ -; - "I T ^ . =-)— -zzi=-- j f- ^r-. i Si j i b — -wJ =t ^ 1 i — 1= * — « 178 OLD KING COLE. TRADITIONAL AIR OF “ OLD KING COLE.” f = 120. Majestically . New Words by J. Ox Oxford. rte-fc— p=H h==— rd-~ j f— i - n Pf 1 # 1 * li • t 1 T ^ > J g ' « " \ u s /‘ -gSl T5— ■ f ^rb=t : ;=: -P 1 H- ^ P I ^ ^=- J — j £-fr. ■ N N~~k" ^ . s s 2 « « « L_ ’ 1 i ZZ~ 7* 5 - -■ *■■ -p- ■ . " ' 1 • "W K * r r 0 ■ - ] !ki 2 « a a L - 110 y i m w ^ n u u / 1. Old Ki 2. Old Ki I r 0 ng Cole was a merry old soul, And a merry ole ng Cole had a ge-ne - rous soul, No tax - es r 1 SOI] i e’e d was he r he lai , For he d ; In a / / i/» u I / m r* 1 t* _ , i _ 9 — , >■* 1 I \V » J in i if 1 —m | j F ! J u5 • J «/ 1 V * p i * 1- 1 . 1 - -m 1 1 P -9 -0 1 " L - 9 -J- \ jo marcazo. '“ = = :::=: - ___ S J 1 i • k» i m r "J ! - j h» 1 j — f* 1 u . 1 * ! « < F 1 • £j& | i S F f V . B | ! \ "1 w V 1 r 5 l ~9 ^ =i rg^ r • m s bright ho-li-day Throughout his broad do peo-ple laugh’d, And of mirth they had their fill ; m II ms £33 5=3 F=P= A m *T U Dull folks who sigh’d lie sent a way, Dull And m hen he died not a sub - j ert cried, And i ~w~ s f zzr m 179 £ tm folks who sigh’d he sent a- way, And they ne’er return’d a - gain, when he died not a sub-ject cried, But they went on laugh-ing still. Jr 1 m Dal Segno ; § * # T P eH m -f 2 — « — p- =F“ir $ Last Verse. ± 3 ^ » — m m Old King Cole was a wonderful soul, A King be-yond com - pare ; 8 va. _ _ . . Though when he liv’d I — p r i ~ m i r r SEES Ofeb 1 rn i — f — i — i— -j-?h f-P- r f b" i -i — • — 0 — 1 L 1 xJ *_ ■* ^ 5 *=**=* -it*: 0 Jt PrM 1 ^0^ ft. . r— i — riH r-T ^ £ ^_g _ ... j. € — -i — — i— ~i .rij — i- — — 9 — \m-9- — — «i — 1 - V- > 0~d — l--*. 1 -i _ . r L— *4J« L ® -#s # — £g era i— i— r . 1 i*- fcfc w p:=P=tr^=^ gr ^r 1 U J-I 1 — *-*- -y— sigh with-out control, When we work all day for too little pay,Whenwework all day for - f r r ' n Tt *5 I 5 S ritard. * * / & ■U * — * — r too lit-tle pay, A - las ! for Good King Cole ! &=f± 180 AT HER COTTAGE DOOR MARY. AIR, “NEW WELLS,” — END OF SEVENTEENTH CENTURY. Words by J. Oxenford . f = 88. 181 IS ® ns Sr k _ ™ Is — 1 P - » •~u Hs ^ 0 ft vn/ ‘ s p .j * i r r L / • , h l • a — • J — 1 V r. b *t j _ . _ _j> par sad ^ r - ted, Nought they meant be-side fool-ish mai - den - der, When up - on her ear fell a foot - step ' - 1* S pride ; Scorn - ful near, Mo - ment l ! S / n S m 1 A I k k r* -1 r 1 — i — s T 9 s ub *■ J p i r rrn? r ~ J i L ^ "1 na| i i F * 2 1 v \) m 2 2 a 9 9 # ‘'u b 9 K m m h 9 r ' * * — . cres - - t 1 f - 1 I 1 !• k r * P III ifl F t/». 17 *d p i M ® • *| | P r F 1 ! . ! i 1 T? K b 1 1 i 1 b h n |7 I A A d gf fj 0 1 V thfcrf ^ w m - / £ V w w w 9 9 m w \ K 182 DOWN AMONG THE DEAD MEN. SONG OF QUEEN ANNE’S REIGN. 183 a tempo. Dal Segno. 0 s Last V erse. i M f — ~ " I"" - p "J 7 — ■ -M — • .Vlm 1 Tn\v \7~2 — 3 1 — 1 1 • g Hr 4 d- 1(1) *-m — m — — - 1 1 all 9 1 1!L — L _ 9 i let him lie! letthem lie ! let him lie! r May love and wine their ! 1 ! 1 — ! 1 * * >11 - . 111^1 1 : • 1 1 ft > w ! ! P* f* 1 1 r #h«r i 1 PM m cs * p 1 J — J r-F-- ,= > bri 1 ! -J j __ A-* 1 m 1 « L__ 1 vt7 — f • — 1 • r - | f i _ S t l .2 2 jtf l-cf ‘ s. i 1 r ^* u » m m~w » l. i i i — r^rr r m m s r i r j / rh 7j E B | r i 1 T^r# ^rar J ! , 1 t } • -L PS . j e_ i S' l “3 1 w * ■ " r Irttr j • w t 9 i 1 _ f <7-04- — b — r — br , r ; ! — z^F u L J ~r W T f r r 1 r s/ ~~ *31 1 — f — y— b- — i— 1 r-i : 1 f— , _ . "FS^~ u ^ r* - 1 . wr~ — m _ i o_ f/r\ a 3 m i — r r : r ^ •~nL g l i—j y— ! rites maintain, And their u - ni - ted plea-sure reign ! While Bacchus’ treasures crown the board We’ll zfcfa 1 m . > . .■ . Z ,P r~ w /n*fh i rn 1 9 * Ha ■ r ^ ! w pi — ■ — pi j ^ a p p— ^ — # — g — 3~— h 1 J — • h — = ‘h — i H w 1 > 0 • — -* w tJ sing the joys that . T < * i i i both af- ford; And they that won’t with us comply, Down a-mong the dead men, ^ J I it. 1 1 a L 1 1 ^JT\ * -m m m r TTI 3 p PS BP* 2“ 1 7T k b'Jl ’P Z‘ » r 1 ® , U5 d • n^» d US I ply'yr • — b b~ ~ b 9 ® 1 - t — &• , ■ Bf — 2 ■ g ' .~"P — s -p p 1 T3T' . P" — i ; m — d — =» — • w — ■P B P' 1 i i i — i * • < / > 1 - 1 L * J J , , — i- • i* » b 1 ^ ! • K r 9 2 n n • — n *n k 1 • - a * 1 17* [T7 • 0 i ■! * !_ | . ( ^ m • p “t: d n ■* ; P UJ T L - --7. !■' g • — L gi 184 YES, TO-MORROW MY LOVE. TUNE, “JOAN’S 1 LACKET IS TORN.” — SEVENTEENTH CENTURY. £ = 12 ^. Slowly and expressively. Words by J. Oxenford. 185 186 SEND ME A LOVER, ST. VALENTINE! TUNE, “ OH, MOTHEU ! A HOOP ! *' — END OP SEVENTEENTH CENTURY. Cheerfully. Words by J. Oxenford. 187 188 ’* = 62 . AS DOWN IN THE MEADOWS. END OF SEVENTEENTH CENTURY. t» f P~-Jj .<■ ; . .31 sparkled like diamonds, or stars in the skies; And then, oh, her voice ! it was charming and clear, As there did we pass the soft minutes a- way ! And then was I kiss’d and set down on his knee, No leave her, and then she with me may complain, For naught is more certain, be - lieve me,” said Sue, “ Who iH r-r— w? air M 189 m Dal Segno $ ■ 4 H P- =*=4 sad - ly she sung for the loss of her dear man in the world was so lov-ing as he. once has been faith-less can ne - ver be true.” ip f= 3 t r 2 . “ VVhy 3 But 4 . She t= m f s i SS5?=^|=E3S±!8 r r fei -y-f_ 1 - -* 1— 4 m 5=5 j—. — — — - *=P =2 “ — * • ■■ • ~ v — * — n-nish’d her song, and rose up to be gone, When o - ver the mea-dow camejol-ly young John, Who £=3 P £ t s~:- * as w — m JTji :j h m : r -h->— v B m l~l told her that she was the joy of his life, And if she’d consent he would make her his wife. She ESS (Pffifi I T^r I I •_* Tl :e=i n * * i, . j J — ~ — ^ — Is - J - - J— F y— t * could not re-fuse him, to church s o the y went, Young Wil-Iy’s for - got, and young Susan’s content : Most f" • * & 3 it SF J J . • rr * e 3 h ‘S — n_ r* *1 fc / , \y~^ ' / 9 J” men are likeWilly,mosi Q f “ 1 f 1 > * " — > ; women like Sue — Ifn k-mmi Os nenwillbefah = £ = F- jeWhyshoi ild women be tru .e? f r |~ ( ^ [n « 3 M— 1 «!— 1 i- — s — J-J — = 1 — d — 1 ^ -JS- f=f 5 ) [> i i rrr -J- y J- fczt- ^ s i colla voce. /T> rh 1 — ~TT / f-J * • H h kJ- -T-- : -P 5 ? *j • 21 * o \ J p. L V -1 :— -:L— : L -J — ^ ✓ — = 1 — * ' F — H si- 1 j=i 190 MY SECRET I WILL SAFELY KEEP. TUNE BY HENRY CAREY, — ABOUT 1720. Rather slowly, and with expression. Words by J. Oxenford. 191 192 = 104 . THE LEATHER BOTTEL. TUNE, TRADITIONAL. Words, Seventeenth Century. 193 5 . Then what do you say of those flaggons fine ? Oh, they shall have no praise of mine ! For when a lord is about to dine, And sends them to be fill’d with wine, The man with the flaggon doth run away, Because it is silver most gallant and gay. So, I hope, &c. 7 . At noon the hay-makers sit them down, To drink from their bottles of ale nut-brown ; In summer, too, when the weather is warm, A good bottle-full will do them no harm. Then the lads and lasses begin to tattle, But what would they do without this bottle ? So, I hope, &c. 6 . A leather bottel we know is good, Far better than glasses or cans of wood, For when a man’s at work in the field, Your glasses and pots no comfort will yield, But a good leather bottle standing by, Will raise his spirits whenever he’s dry. So, I hope, &c. 8 . There’s never a lord, or earl, or knight, But in this bottle doth take delight, For when he’s hunting the fox or deer, He oft doth wish for a bottle of beer ; Likewise the man that works in the wood, A bottle of beer will oft do him good. So, I hope, &c. 9 . And when the bottle at last grows old, And will good liquor no longer hold, Out of the sides you may make a clout To mend your shoes when they’re worn out ; Or take and hang it up on a pin, Twill serve to put hinges and odd things in. So, I hope, &c. 194 PRINCE CHARLES STUART’S FAREWELL TO MANCHESTER IN 1745. TUNE, “FAREWELL, MANCHESTER ! ” New Words upon the old subject by J. Oxenford, d 9 . b o — i ; fc — 4 IT ^ 1 h r v Li 1_4 — ■ p /, 3 Q L 1 T~ ' Fare - well, Monches-ter ! i_ * ? . ^ I / l/o j i i I " S ~ - 0 - - - 10 n P — — rSr^rd^ i — ft -j-Piar — i 1 IZXZjLyY. i ^ = zl. ez. i i # i ' ri “» 1 N « 1 m f+ -f- * f t ^ ft ^ pp | i ' -u p r » 1 n I aJaJZ Z L 0 • | | | F i ^ j . 1 bh 4 i l' r u 1 1 ! -F * ==■ 195 196 - 84 . OH! FOR A HUSBAND. TUNE, “OH! FOB A HUSBAND,” — EARLY IN THE SEVENTEENTH CENTURY. Moderate time. Old Words remodelled by J. Oxenford. il m lot;— “A wife may mer - *y be and g a y> But maids, a - las! may grey: He talk’d to her of Cu - pid’s flame, And stole her heart a • day, She found her dear, her lord, her life, Was mean as well as came, But soon the weeds a - side she cast — Pray don’t the la - d y m £ £ ^ & — * 1 1 not. Full eigh - teen years have pass’d,” she said, “All lone - ly and for - way; Her mo - ther said, “Dont wed too fast, Lest you should soon re - grey; He grudg’d the price of cap and gown, Of vel - vet, and of blame : A se - cond lo - ■ ver sought her hand, Young, gen’-rous, brave, and j iteg -p — 197 -1 9- rifb -t — - P - , I Hj 1 r n d J f ■* 3 . I 9 j — , k p * r V 1 iLH* 1 r ■■I ,M ■ « “• ■ J J 1 I V L> J a i r L J 9 • 1 ! l ” -«f- . Still this was her song : u I will have a h Still this was her song : “ I will have a h What a life lead 1 1 Plague take such a h Thus is still my song : “ I will have a hi w - 0 - us - band! I’ll have a hus-band! us - band! I’ll have a hus-band! us - band ! Take such a hus-band ! as - band! I’ll have a hus-band! / _J 7~, j j j ] 1 / b i p* fi id — i i p* _ " J p* — j r* — I ! d * 3 r i r- a 1 1 s v d a ■ O ! t j j )v r i > r 1 ^ f ' J i i a i 1 J ’ • L_ r* 4 1 12 S E2 *>’ [2 - r M — -3- P E P * r 1 -P- r ^ i r I t- ' — ^ i i — - • • t ( j 9 J . J 1 — v - \ 7 \ 9 • • Be he old or young !” Be he old or young F’ Husband ! fie ! fie ! fie !” But he must be young !” PjS \ *f * * m TP >i=!=r L f m «/ P p i f = 60 . ROW, GALLANT COMRADES, ROW. TUNE, “ ROW WELL, YE MARINERS,” — SIXTEENTH CENTURY. P In rowinq time. New words upon the old subject by /. Oxen ford. i f — g Row, gallant comrades, row, The V m t=*=t mj eift rl? : ? 4 i-fr A -» — »- V— I — ^ r^r ■1 1=^ — « » * ? ; m m J=4 sun is near his western bed ; Up - on the wa-ters glow Unnumber’d gems of gorgeous red j The tet — ~^r~3rj± r * tnf i -I TT - I 2 5 i as ^1 t j=a m tst • . i stars that peep to ush - er night Scarce reveal their trembling light ; Be - fore the sil - ver 4 - i tJ et£ p A 7+ * * mf f JEE}. & =jt=at I m II moon we see Safe at home we all should be; Then row well, row well, No breath up-on the ry P mf i } V dig^g: i £ ,#g-j • , .. ,-N ^ rZvCirCi/* 3$==?- J a ^ ~ * * * A j i 1 wa - ter stirs, Then row well, row well, With all your might, y „ _ , , poco ritenuto. iKftN— Krftri . i rJ =\^=f£=m^—, e ma - ri - ners. rriaa — aq )w EEE ^f EE ^ EE m P-H’-b-M — rf ^ f 1 er j * g i — r— -f 1 199 ffi ■p — vr - *=*- =^= Row, gallant commdes, row, The — IV £= m V BE i I • v vj =W4 N— r pPP H I * ^ « :* log is crackling on the hearth, Kind voices, well we know, Will greet us with the sound of mirth; The rnmmm S i ? 7 / aie— — — * — s a__- • -» A 2- "V -^—=t=Zr ^ V J* ritard. - ter stirs, Then row well, row well With all your might, ye ma - riners. ! poco ritenuto. m i ppj — h "~i » PPI e j L-g- •tzbi jiT~~ar <5 / ft*' f ^ ear* -rrt= 4— - 4 — L — t — : I-: g-F= # ll 4- d-— E 1 . r M=r 4a -a—: 200 = 80. Moderate lime. THERE WAS A MAID THE OTHER DAY. TUNE, “ WATKIN’S ALE,”— SIXTEENTH CENTURY. £ *fp w i=£ / ^ >fp Words by J. Oxenford. I ■j /r> tk- ££_ki « 5 a i 1. There was a maid the o - ther day, Who 2. There was a youth the o - ther day, Who 3. Doubts and fears at once were fled, -1 fc-4 m rfc 5 i) - , 1 =1 — i = — F==S= -=-5 r^rti Is — i m '"‘j J-i-J — - song not sung by a - ny bird: — “What a sil - iy wight am I ! My ills that spring from bash - ful-ness ; Soon he heard a voice re - ply — (’Twas All a - bout that fo - rest walk ; How a ti - mid fait’ - - ring tongue, By 201 PL. . tJ grief I ee P I am a - fraid to tell ; Here a - lone I not the e - cho, nor the wind) — u Sil - ly swains de love and chance was bless’d with speech, How a song at m f c 3=- y sit and sigh, A - serve to sigh, Who ran - dom sung, Young — -K-j 1 w £ m far from her I love so well : Maiden dear, maiden dear, Here my feel a - fraid to speak their mind: Love and Fear, Love and Fear, Sor - ry beau - tv’s ten - der heart could reach. Love and Fear, Love and Fear, Strive not pas - sion part - ners Ion" for 4 £ i/ 202 = 80 . Cheerfully. OH, DEAR! WHAT CAN THE MATTER BE* TUNE AND WORDS, EIGHTEENTH CENTURY. 8 1. Oh ! dear ! what can the matter be ? Dear ! dear ! 2. Oh ! dear ! what can the matter be ? Dear ! dear ! p ! ! ♦ /•bp* -i fi -w- g~r=r z= *i * p S =y ■ 1 h si-f* =1- — =1 P =h-p — =h- -j T * 1 p-J^J fair . He fair. He L — * ' * ±±==± * ~ * - i «pi promised he’d buy me a fair-ingshould please me, And then for a kiss, oh! he promised he’d bring me a bas-ket of po-sies, A gar-land of li - lies, a fcb „ ~r— i ^ 1 3 i -J- ^ J ^ iJ=l W-* i — ^ — # si s, « r j — •ULj f *■ w " F f J- * 41 -J - 5 U -T-l r -i n* -i 9 r i q r , ( — “ r — ■! 1 -J- -9 1 ■ >- -9 t 1 | | J | 1 L " Jr 203 _ = 2 Hr * ~T — Is 1* ’v -f* K * h Sri* % K 9 I s — s v— ■ \ — — P . h u * T j P —j p i -j P ! 2 P * r j ^ s s" ^ hr C vsPfl # • ^3 9 • 2 4 • "3“ 5 * - - Hv 9 - -2 S - ^2 i • * # * - - ' — — - ~P“J — * * vow’d he would tease ine, He garland of ro - ses, A f -£--b Dromised he’d bring me a bunch of blue ribbons To i lit - tie straw hat, to set off the blue ribbons That * 9 tie up my bonny brown tie up my bonny brown l i&4- **’* 00 ~\ -==***■""! ^^——2 • - — ^»=Z__ 1 1 \ - ■ t n^*n J ■~r 0,tg *x—2 T 3 * - 1 ' -/r-J — p— t- , 1 l V. . , 1 9, r r- s s ! a_ •i I b u 1 1 i r 1 ■ i - i rL_m — __ — _ — i ji. • 1 Lv • -iJ j ® :3££ N— h— N-Svl — fs — o — p — hair. hair. IP And its oh ! dear ! what can the matter be ? Dear ! dear ! what can the matter be ? And its oh! &c. - ' ' -t — W-, •— d= J=3 : ?PeI P- m fin as m af- 4 )- - 4 H- P- -=) — I*- P ls£ time. ls=P ii Oh ! dear ! what can the mat-ter be ? Johnny’s so long at the fair, -b—f sn &r< *. - 1 - ^=1= t / 3 EF§ 3 — p- m Srzttezr 4 =H =*s± £ m * +=t = * &*■ ^t= F Dal Segno. § 2nc? time. F F== — . qH - ■■■ ■ : fair. t- ly fr* •• + J - 1 rJi-b-s 5i— a 5T- n — r 1 . ■ J ■ • Ff- ,-f4= ±j=i-2J =f! M — Ti F vr ^~S — *1 : 4==s -Eb^; 204 = 72 . Smoothly . SAW YOU, MY FATHER? TUNE, EIGHTEENTH CENTURY. Old Words altered hy J. Oxenford. 205 • r. 'TTt — =N P 5 *'- * — ; — b — w — ~d — -4^ J =t= , g f -* w- & * z±^L Lj - J^J & J J J.-1 See, dear - est mo - ther, There is iny r true love ° • 9 * m m John ; : ^T.. The =F\ moon is full and clear To - • X— r ■ w= kJ =F= L| .. — -4#fc •r -T f i { rii l . A ^=f=l =E '■■ ~ -< l4= =£=—£=?= LJ — L^u_ r -f= ^ P=J 206 THE MERMAID. AN OLD SEA SONG. = 144. Right jovially, and moderately fast. d^- mm -1 ■ - N - fc t N- -fe cJa- C-b— 1 j IP _1 J, Z3 a k. p ^ F w IL \ ^ • J J # • . P 9 9 • - 9 • J s P 9 ' P' - V z » d... , • i L • j — rr — L 1. One Fri - day morn, when we se 2. Then up spoke the cap - tain of our gj 3. And then up spoke the little a 4. Then three times round went our ga LL# i • 9 t sai il - lant sh i - bin bo il - lant sh 1, And our ship not far 1 ip, Who at once did our pe - y, And a fair - hair’d boy ip, And three times round y ril was went 1 J / +fu. • ___J i 1 -/t r it « r* ti_ J t? J (2 r* !+ | “ ^ “T 1 l( hv * • l < a 9 1 1 m r 1 _ 1 v L l 9 f |- ..... _ 4 P + ■ t i E 1 ' i 1 £_*•# • — J 1 “ 1 * • r a r* r a (2 m I £* ..u « 1 P 1 J 1 r 1 — ! r - r I 1! — 2 4 — g 1 4 - 1 -* * “j Mb — - . '1 s — — — s — s— ^ 1 / r it m • 9 r r 5 • 9 P t . S ~ f A* D • r Zt 1 !_rf Fa _j * • i J • 1 i r. sk 1Z L. 1 E K . 9 w ^ > tj / 1 r ' ^ land, We there did es - py a fair pret - ty maid, With a see, “ I have mar - ried a wife in fair Lon - don town, And this he; “I’ve a fa - ther and mo - ther in fair Portsmouth town. And this she ; For the want of a life - boat they both went down, As she _ 1 _ J . 1 i l i 1 / r it r r • ^ " 1 j - 9 J m r - 1 ( 1 . 1 1 1 m • \ \ J s r 1 v tr d . d J o w 1 p 4 r * : ■ • - * ! ^ J 1 ' r 1 f / • +4 A t* — i f it r F gi gj l i U — 4- J 9 9 a • • 1 J 4 — : 1 9-8—j k — r~ n “1 P* / < - D +t — 1 r S — ^ ^ 1 ; N n k N B f 0 J J S j * K ^ r 9 . ~S a . A — r — — s — n C ! J* a d # . S 9 » ^ Li p V ) — 9 — 9 - — ; — a~ ZT' 9 • w r r~ 9 v m • 9 tJ r *= M — 9 • 9 r ' — comb and a glass in her hand, her hand, her hand, With a comb and a glass in her night she a wi - dow will be, will be, will be, And this night she a wi - dow will night they will weep for me, for me, for me, And this night they will weep for sunk to the bottom of the sea, the sea, the sea, As she sunK to the bottom of the A LL ^ 7-» . H ^ m T r 1 h. i- J C2 . J p 2 r\ 1 ^ d F 000 > 1 J a dr a XT M 3 ^ 9 • — fi a * • < 3 r 9 It 9 • 9 * * — 9 9 J > l 1 i 1 L 1 ,4 . 3- — i r n* i=5 i r h K f2 I — £ F r- J 1 1 j r l «- — ■ — — w 9 m • A \ ! V - - —p i 207 m 535 £ 3 land lub - bers ly - ing down be - low, be-low, be-low, And the lands -men were all down be- (pilllitisi ( H i? r-5 1 .... j *-• 5t 208 FROM OBERON IN FAIRY LAND. TUNE OP “DULCINA,” — SIXTEENTH CENTUBY. .a 2 -# r>» — h- ^ - > s- t % »=» > -- — 5 — j -d §==± - *-=£ ^ ■ =5 * - * •- J 1. “From 0 - be-ron in fai-ry-land,The king of ghosts and shadows there, 2. Sometimeslmeetthemlikea man, Sometimes an ox, sometimes a hound, i ^.^1 ^ i=i r-> r-P^! ^ ■ ■ 4 - 55 5 55 “S □ J PP fc.lEE' .3 • : ’ • > -j^— ~ t=T= qp-STf^- - -« 1 — * — 1 — ^3 — d — « — J . . ,-E=^EtSH [ — — • 7 3, _3. 7> » ft- g p zqv— — .. ; , s ji; S 1 1 9J [y * — iM=g — Mad Robin I, at Or to a horse I -0 — P his command, Am turn me can, And P^. T~ =*— S~ sent to view the i trip and trot a - r-> 4 ■ "*i j =H“ — • iigh boi EE ® -J- • it-sportshere: Wha Lt them round ; J C ~ . J it re - vel rout is But if to ride my ) p— l=f= 4 - -i — ^ * — —3 — 3 — g — m~ 9 - -4 i —a « P L. -4 :==P 1 1 i — N s *r&=i i • • > Lv — ■ l— - | * ==i E±=^ t ^ p — ' N f-n* — =p-i r; i- E -is- \ ETZ5*» -jE TzfC— 1 Y-¥- kept a back th i — 9 p y~ & \ L - bout, In ev’-ry ey strive, More swift than vs =4=^=1 cor-ner rind a - > 8=n Eg " 1/ ^ l /~ ±Z where I go, I will o’ersee, And way I go, O’er hedge and lands, Thr< -J 1 -» ft P * - ^ J — ^ mer - ry be, And ^’pooleandponds, 1 | 1 <=FP if ■ •. : • ^t^F— . j. f_f- 1 w S :g3=i ! =— ^ j- 1= ../feL — , — l 1 — + : ^ J 209 n ls£. Dal Segno. Jj§| | 2nd. J ft ~ “% “Ns i [. 9 —j* j isa. .ik' jS <*_ ■* ■■ f r\ , . J... . • g ^ ~r~ N i • , N 1 r Lz_U ~ 5 _ w * . d ! 1 ; ^ send them home with an - swer nought but " 0 v ho, ho, ho ! 1 — • ho, ho, ho ! ^ P f*.* P. , -• I .. l — 0 -i - '■ — J - 1 1 ^ -h — ' i 1 — r~f~tF — : — * — W 1 - i ! M * - J r- ta— f 1 ' i b ' « w 9 X « L \ ' - • • ’ - : ! 5 * - * :? * ? S * 7 — i ' , > n * • > J J > • _ i i -p- 0-|_) 0 . _p • m r » l' _ p r • i ; —m m f ~r r ! * lL 9 ; I ♦ ! . p : WJ j (- b * ^ L i J - L i i _ » • v L L r 1 ~ — = '/ *- 9 •f r f 210 f * = 80 . THE CARMAN’S WHISTLE. TUNE, “THE CARMAN’S WHISTLE,” — SIXTEENTH CENTURY. New Words upon the old subject by J. Oxenford. J-&- iw — : rrr-i — t - (— 1 — r— = 7-n . k I . q / rr* — {*, -j — h — 1 h - rzJ hr— ■ J 5> 1 f* p_j p_j j iw * ® h d — id j N 2 9 ri rr • 9 — — d 9 • d — a ~ • d J ! 9 9 m J ' > ? J whistled, whistled, whistled dai - ly, Whether good or ill be -fell, lie whistled sad-ly, whistled, whistled, whistled gai - ly,His joy by whistling he would tell, And while he whistled, — k J 3 zq _4 — -1-j ~~I} — d ! A— d~—\ ~d— d—- ■ « • d—^—A d -j--- : 4—: : r ’ ^r : — ^ T- * S * 1 .. *■ n * r J 1 d ‘ * * : \ p=^==^\ b — I J ^ — L| « — L_1 * 211 212 THE “BLUE BELL” OF SCOTLAND. OLD ENGLISH BORDER SONG. = 104 . Gracefully. Tune composed by Mrs. Jordan , about 1799 . 213 dim. 214 LOVELY NANCY. TONE, ABOUT 1720. Rather slowly , and wiih expression. The old subject re-written by J. Oxenford. F (^rfcfcld - mTf S-l — — - Ffffte 4^5 = tt= -44- n-P-F - ^ dim. f^fS m m ^ pp =M=p — l l ^4^ — ^ -4— 1- -i-U- » 1 1 -T » £— • - H fd» ! , r^~ ^ *** - ^ »^zn t k*. ^ ~n r- ■ j — — r-”’ 1 “1 - 1 — r ~ - - » j nr/ i rgs ■ ^ r — — , - i ■ m • 0 _r r > 1 T — • * — « — ^ L 1_^ ^_L j j =*<_J - tone, love - ly Nan - cy, That made me re - joice : De - ceit - ful and 215 - r^S - r rl r- Dal Segno. $ SS feign* dear, The voice of true love, break, dear, The pro-mise they give. £E tt / / r dim. PP ±f: Last Verse ^ 53 = s=§ flown, love - ly Nan - cy, My fears far a - way : Oh, doubt thee I 216 THE WELL OP ST. KEYNE. OLD CORNISH AIR. = 100 . Cheerfully. m The old subject re-ivntten by Sout hey. « VI 1. A well there is in the 2. “ N o w art thou a bach - e-1 or, 3. “ If the hus-band, of this & *3 f s f l± m & F— *- 5 f -J • •i p — p- e L/ West Country, And a clear-er ne’er was seen a, There’s not a wife in theWest Country But has friend?” quothhe, “For an if thou hast a wife a, The happiest draught thou hast drank this day That gif - ted well Shall drink be - fore his wife a, A hap - py man thence-forth is he, For 5— p- -3— p- — p- heard of the well of St. Keynea; An oak and an elm tree stand be-side,And behind does an ash tree e’er thou did'stiuthy life; Or has your good woman, if one you have, In Cornwall e-ver he shall be master for life; But if the wife should drink of it first, God bless the husband m £ f s - *i « t - -•\9 grow a, And a willow from the banks a-bove To the wa - ter droops be - low a. been aPForan if she have, I’ll venture my life, She hasdrank of the well of St.Keyne a. then a,” The stranger stoop’ d To th e well of St.Keyne And drank of the wa-ter a-gain a. tt ■ ■ r— N IK r-J*- colla voce. a tempo. f 217 — s — * — s — - * -N — ph- ; s- I ! ! - b r i fj 1 . ! fr A ^ S S N N jJ 9 9 9 P . , - # * • e s dr- X 7 1 ^ □ d 9 w . , » 9 7T ts p p— p p-W p ^ to** ^ * he a, And he sat down Up - on the bank, Be-neaththe wil-low tree a; There ply a, “But how my draught Should be better for that To guess in vain I try a.” “St. said a;Buttherus - tic sigh’d As the stranger spake, And sad-ly shook his head a. “I r L+r is I I a ^ I r £ r- k *i r* _i *1 r I, J J ^ k— h S "i r * i i g| 1 r 1 i 1 v tr & 1 ; . 4> u r 9 m i J » * ; • • * s I V" A I g r* J *1 9 3 S r 1 £ P 1 P *1 p* 9 1 1 _P J J 1 l — -i — : 1 - 1 — 1 - r . = * L-p| * L i n PVf* — f* — h — trr ^ k— -s : . — ii--> pz^rzr* — 1 h |^rq d d (s — ; c S J’' 0 9 9 - ^ ^ fj 0 f 1 J fr v * * 9 * N 1 • i » P C/ ; 9 9 • 9 J □ s# 9_-' J j — 0 g 9 5 / , x* 9J i t ~ ^ ? ' 9 came a man from a neighbouringtown,Atthe well to fill his pail a, Up - on the side he Keyne, ’’quoth the countryman, “many a time Would drink of this crystal well a, And before the an - gels has-ten’d here, when the wedding was done, And left my wife in the porch a, But tru - ly shehadbeen o j+ t. it. k . N v it / " i P* - m P -. -i i- 1 - - *3 .. *1 N 5 jq J ri (2 m 53 0 J T at 1 2 1 ! 1 1 1 ! g g - 1 V ) P 9 d 1 d / ^ 9 9 • 1 ’ 9 -5- * » ^ it hk ^ ___ _ colla a ^ — » 9 r P m 1 * BS ; *i r g L i « *1 J *1 d, 53 S pi L .55 2 i “in i £ r • n ■ 1 PI!' ! ; i i n r . □ ^Z3 9 1 o 1 V ~Z ? ' 1 j 218 IN HIS BARQUE MERRILY. = 76 . TUNE, “ THE BOATMAN,” — POPULAR, IN AND AFTER 1650. Moderately slow , and very smooth. New Words upon the old subject by J Oxenford. 219 ritard. Some can hail the plea-sant hour, I think but of its fleet - ness ; Wi-ther’d I think the flower, 4 (p5=iiipi£ • — • m While I scent its sweet - _J L 220 HERE’S A TRUCE TO IDLE SORROW. TUNE, “THE GLORY OF THE NORTH,” — TIME OF CHARLES I. f =88. 7 2 — ■- m—0—j "ra k . m- — ISSf-p "feS! % Put off sigh-ing r=H C b & 'g? ' 1 till to - mor - row, _n^— p^- T . i* ,r J is the mer - ry first of May. Danc-ing, jumping, -p— — i . f =pt4 j ! \ h f £=Z=r=t=i ^ — 3—-i- • 1 »ri w ores. ^ W=^F -j — r -l { — — — f— * -•—w ^ — S=^E=?=^ L > ^=*=i L -hts 221 222 * = 44 . Slowly , and with pathos. TAKE ME TO THE NORTH COUNTRY. TUNE, “ THE NORTHERN .LASS,” — TIME OP CHARLES I. New Words upon the old subject by J. Oxenford . North Countrie, That’s the land where y would be — a lov - ing tale you tell, In the ci - ty Those who in the 223 5BE — 1 ■ — t i?— J — 4 === ^ Da/ Segno. $ t=t •> J'S % PP * ^ee?e5=5: i — tr-t- -58 ±t: 3H= •=*=i i n-E 1 n-J 224 UNDER THE ROSE. TUNE, “UNDER THE ROSE,” — TRADITIONAL. Cheerfully . New Words upon the old subject by J. Oxenford. ( h j/rz 9 ~rf^ _ a .~m IT ±iri± Vr J -*3 n 1 & m—Zi m J 0 ~ 0 ! u ! up.. _r j - 3 2 In l m ® m • r i P 9 i 1 i r wr™, r 2 t f d — 1 sz • • r : it r t— ”f" r h -j f- 1 — ! — f P~P At - W i i { * n — ~ " r ^ .j ff ** rr P ■ )• — . y - -i rn r 1 i f r ■— — p - ~r _-J^H p p _L J r"^ 3 — p-tJ » . . Lag* p _ 1 — - 9 — 1 L -4 1 r IT- JL ! f 1 L,_i 1 ✓ V 2 .J-P. 3 ^ 9 e s 1 j ftp? =zd — h~ - " "r — — h — -~te- nr N ] c — _□ — i a k J J B J J J .5 * X- • 1 J e g • JS J • m 9 • 9 0 ! J ~ S. KT“ v ' • P ml 9 * k “C « l 5 i ff- — *\ — L ^ — f - q l> q— 9 — • — =E- R B b — - > - F — p - - -3- -t — 1 — c 1 — ¥ — 1 - L i r L — ?= L^- J 4- ' -F— 1 j — -fc—r “sn ri N — r— i r^~n K S 7 ns - i » • n » • ^ fS ! ! N 1 P P p r* _S t* r \\V P r V. V 9 m • . S J L k J • 9 F n fcr t nt 4 / tr a • m 9 r P W M J | r ^ find me dis-cov - er-ing The thoughts that are best ut-ter’d none can dis-cov - er us, My thoughts I’ll con-fess to you n i 1 _ _ un - der the rose, un - der the rose. f-'f V i 3 g ■ J 1 l k k I i i 7 ft m d i • ! ! i t* ! h* ^ *1 t+ ^ *>1 S *1 1 m 1 1 r F i R • ■ 5 J r L_p F 1 _i 1 j Bl i p i l ^ 1 0 1 R • 1 i 4 r a a l » > t- ' 1 - , *-^ 7 **- i i i . r — 1 1— p ^ -J 5 — p- — J L -F ^ 1 -L J 226 THE MOON SHALL BE IN DARKNESS. TUNE, “ THE MOON SHALL BE IN DARKNESS,” — TRADITIONAL. B= c 1 mu — C" =j — =Ta=r : 7 L — p — p 1 •_ — i — — 9 txj. ^ v r * k i — ei a I 1 1 L 9 -m J V9 T -at- : J 1 H - * _ ~2 — | 1 d — FI vm; Ui- L L • 9 ■ w • • zr — 1 — . arl f — A 1 • -4- ~-4- 1. The moon shall be in darkness, And the stars shall cease to 2. I’ve lived through ma-ny years, love, I have roam’d in ma - nv - * ^5- j « 0. . haj -e * 1 - # & P£ F#f** 22 • □ ri P= 5r- :g3Eij — j F-- V -b.'bi kr-^gU .. —t why? We do not fear to die. How now, sigh - ing? fie ! m Be e • ver brave and £33 Pm Wi t= f | -* ire 3 S=F t=q: s i — 3!=J: lip jol - ly, boys : Cold hot, wet, and dry I > I A • like we will de - fy ! To £ d / - * i # 229 230 f =88. Jovially. TO-NIGHT LET’S JOVIAL BE. TUNE, “HEY, BOYS, UP GO WE,” — 1641. New Words by J. Oxenford. -V r r • J § # -d- I S -1“ -T=3— ■ 1 1 1 H h L. 4 LJ_ 1 ^ W 1 4 =) • > 5 — 9 — — | — > 1 — m s d • — ■4=3 r ->-r-T (• n tF ™ — — J — 4*- -d* — “ P n— J- L J -y ^-^=U~i 3=» : L * L 4 p— u *d- H c H » , . r . ■■ r-n • “ : J N J -i , H 1 | T- m • 3 ! — • d — d -i * L ^ — 0 4 jj “ " 11 — 1 w p 1 1 • u r _ —J * . 1 day are o’er, Our hearts are glad and free, Per-haps we’re d 30on, for all Are un - der fate’s de - cree, To-mor- row i it. i J _ 5 s — loom’d to we’ll o - \ ZPC a 1 m : =P- — d =1 -d =1 — l — i — 1 ! 1 — i • « 9 9 ~ 1 WrF d i « ! d— — i — — '—hM — ■ — 1 d — 4 d d ~ d — ibr. n ■ • 1 9 i =1 * , * ” ; C— -= j — R » — d— • — • — d — d— - r t j \ j 1 "" \ v.: 231 l=j ^T-±=q -- - - - k «n i* H - r ^ r 11 - bey her call, To-night let’s jo - rial be. A m M Fine, 3=S f 393 -&■ — ■=* - 3 -P- 232 FAREWELL AND ADIEU TO YOU ALL, SPANISH LADIES! OLD SEA SONG, <( FAREWELL, SPANISH LADIES,” — TRADITIONAL. P = 132 . With great spirit. New Words upon the old subject by J. Oxenjord. I r J tr-f r m =T If m m we’ve re-ceiv’d or - ders to sail for old England We trust that we short - ly shall ship will some day come a - cross the salt wa - ters And bring you your true Brit - ish I , M - - cert - do. —i- f M / f 3* m 233 fJ see you a - gain, sai-lors a - gain. Fine, Eg EH 3E t > -i — r f-r - -a * V S 3 v> :s * r 234 I WANDERED THROUGH THE GARDEN. tune, “cupid's garden,” — traditional. p ^ 72. 9rft ■- - 1 i— n - — 1 - n h “f• h i , — j — j j j ^ A -- a i w w W " " w i • . i_r r i o • m ■ ? d l " — 1 1 — 1 — r i* ¥= = "’'I 235 236 GREAT ORPHEUS WAS A FIDDLER BOLD. TUNE, “STINGO; OR, OIL OF BARLEY/’ — POPULAR BEFORE 1650 . • 96 . Gaily New Words by J. Oxenford, = j— f-f : -f y- -j — H m J n "-|-- 4- *- J 1 ft*' -+’ • m& : :Ep :: F- d £ • P TTT-f 1 -r f?-^H =fl : :-*= > : > ~ — i - - • ■ - - — t — s : ~ ~ Cl z • r r r j V 9 9 r • * r i ft A • J j ^ i i ^ » 1 m d 9 9 r J IT « * 9 1 . ^ U 1 w w — r t • _ / 1 1. Great Or - pheus was a fit 2, Like Or - pheus I’m a fi< CL# 1 1 1 - d 1 - d 1 r ^ r r ler bold, And all the world could please, Sir, Both ler bold, But when a tune I play, Sir, They , ___ J .1 _ _ i d pTt . 1 fli 1 i 1 « 1 ' ' p s ^ ^ l 7 r *i *i s a f J ! *i 9 a ! ! J • 9 *i 1 (( \ • i # ) g i 2 m 1 id n i 9 2 • I 1 L n • ^ • 9 9 9 * ° I L K r i * P L J i 7 y*# • m p 1 vd.ft-v r i J %j J 1 r 1 a # a h* *-1 f * 1 1 d 1 • 1 " 1 | m n y w f 1 r l 1 J t * t t d £H? i • ® • * » r— - - gq— < i IS — I "I s " 9 ^ H — h ~n "fi A k r r i r £ " d J J « ft V J U \ * \j r r » r J J ' # w r m • # J # • | V J 9 V / L v L/ . W W • t, ( d I sr » — n man and brute he led, I’m told, And like - wise all the tr do not fol - low, as of old, Oh no, they run a - w n* 1 1 , 1 . ees, Sir ; From stones he’d con - jure ay, Sir; A mul - ti-tude I /ft „ i r i l r j ^ ^ 1 7 \ *i 9 *i 4 . ( f ! *i J J i *1 4 | 53 1 53 __ I r \\ J ! d 1 ftg i 9 * 1 B 1 J * S* 1 2 1 m ' 1 v lt 9 S * 1 , 1 9 w • 9 j ^ d ' i ’ » 9 / ^ Llg U H m r . i P l L Sr r I » *1 i r | 1 L *1 • • 1 *1 r 1 53 5 L_ i 1 ' n n n 1 i 19 I r i 1 J 1 1 ... ^ _t L- 4 - tv- — P— = 9 L_J 9 n ~ 1 -r l> 1 M f — r-ri-t — i k 1 7 i N . m • r m . J J j _p vl ft i 9 J p 1 ~~A d~ 9 9 " V d • ■ J 1 1^1 V ) m l f W w r L r. 9 □ zhd tJ V tears and sm: soon dis-pej fi to , 9 9 T w iles, The mountains shake with laugh - ter, And if rse, Be ga-ther’d ne’er so ma - ny, They hi ? he walk’d some hundred miles, They ir - ry off, and, what is worse, Don’t 1 , yv : 1 p* ! m 1 1 ] i r J • 9 *3 4 J *1 ! r J *i r p / O T 2 1 - l ^ 1 n d m S 1 0 1 t r 1 l ± m i 9 9 J 5 * • F ^ 1 r~ p n '•# m *3 *3 r *i , 53 u a 53 C 2 2 J m 1 — I 1 “h i r f —] n r T- 9 ' 1 L L_ — L 1 1 1 1 — \— — c — 1 h 4_ . -r y 1 1 : — 1 _ L J 237 Dal Segno. $ 238 SAD, WEARY HEARTED! TUNE, “ LOVE LIES BLEEDING,” — TIME OF CHARLES I. j* =66. Slow and plaintive. New Words by J. Oxenford. 239 240 BEGONE, DULL CARE! TUNE, “ THE QUEEN’S JIG.” — ABOUT 1700. P* — 92. Cheerfully . Old Words , 17 th Century. rf— 2 F — H— ; 4 cfcH -f — h i)--—# ~ — 1 J • i ij ■ P i • ; ’ ~ i r — j w J J ' • r 1 L1IT . --Q B. J « 9 j L LA • L_ * 11 1 ~ #-■ u — t — r-i I 'Sty n I F ? 4 1 / r L _Zi 1 1 !> r • _ - -r Pd* bM . * i » # • 9 | ff • « r n-t : -fi- r r * 1 1 cres. Pz • 1 — kr ^ • • 'F * 0 j A - l_ m : : 9 • : # « i r if- 1 O-ft U f- *1 f- J \ . F . 1 ' ^T“ 1 Q_ r 1 r » • 1 m • ' ! • * 1 h tvt 0 — a — 1 • - m • 1 1 - L n r — t h 1- L — ^ W 3 241 m Too much will make a young man turn -J - - j — i — P Big J, - » i=j ilT — ^ ^ n-3 » — g- END OF VOL I. Henderson & Spalding, Printers, i, 3 and 5, Marylebone Lane, London, W. SECOND VOLUME OF OLD ENGLISH DITTIES.. SELECTED FROM W. CHAPPELL’S Popular JHttStc of tire #ltrrw Cunt THE LONG BALLADS COMPRESSED, AND OCCASIONALLY NEW WORDS WRITTEN, BY JOHN OXENFORD AND NATALIA MACFARREN; THE SYMPHONIES AND ACCOMPANIMENTS BY G. A. MACFARREN. LONDON: CHAPPELL & CO., 50, NEW BOND STREET, W.