UBC Library Digitization Centre Special Projects

UBC Song Book Morton, David C. 1948

Item Metadata

Download

Media
specialp-1.0065934.pdf
Metadata
JSON: specialp-1.0065934.json
JSON-LD: specialp-1.0065934-ld.json
RDF/XML (Pretty): specialp-1.0065934-rdf.xml
RDF/JSON: specialp-1.0065934-rdf.json
Turtle: specialp-1.0065934-turtle.txt
N-Triples: specialp-1.0065934-rdf-ntriples.txt
Original Record: specialp-1.0065934-source.json
Full Text
specialp-1.0065934-fulltext.txt
Citation
specialp-1.0065934.ris

Full Text

     1
■ëi
_£h 'Preposterous ass, that never read so far
To know the cause why music was ordairíd!
Was it not to refresh the mind of man
After his studies or his usual pain?"
The Taming of the Shrew III, i.
Copyright, Canada, 1948,
by the
Alma Mater Society
of the
University of British Columbia Although one of the youngest members of the collegiate
brotherhood, the University of British Columbia has already
achieved the reputation of a great academic institution. Owing,
however, to the amazing rapidity of its growth, it is somewhat
lacking in the traditional atmosphere of student "camaraderie"
and "esprit de corps", which exists in the more venerable seats of
learning. It is, therefore, with a great many hopes, not unmixed
with some fears, that the Editors offer this Song Book to the student body. The need for a collection of songs, which could be
sung by the students when they were gathered together, has long
been realized. It is hoped that by supplying this need, the present
volume will be a step forward in the development of a University
Spirit and at the same time, it will, in years to come, serve to
revive old memories for those who have bid farewell to their
Alma Mater.
In many ways, this Song Book is a new venture. Not only is
it the first to be published for the use of the students of the University of British Columbia, but it is also, as far as is known, the
first pocket-sized Song Book to be produced on this continent.
During the process of compilation, the Editors examined the song
books of innumerable universities and came to the conclusion that
what was needed, was not a large volume, but rather one which
could be slipped into a pocket or purse, ready for any occasion. r
Because of its compact size, it was deemed necessary to abbreviate,
wherever possible, the music and verses of the songs. In this
respect, the Editors have taken as their models the excellent pocket-
size university song books which are used everywhere by the students in Europe.
In an attempt to include only those songs which would find
favour with the student body, the Editors sought the assistance of
a Compilation Committee. This Committee consisted of O Nora
I. Clarke, President of the Women's Undergraduate Society, 1947-
48; Jerry MacDonald, President of the Literary and Scientific
Executive, 1947-48; John Fish, President of the Musical Society,
1947A9; Dave Hayward, President of the Jokers, 1945-47; Buzz
Walker, Student Council Coordinator of Social Activities, 1946-
47 ; and Don Ferguson, Editor-in-Chief of the Publications Board,
1947-48. The Committee spent a great deal of time and care
selecting the songs which were chosen with the object of providing
the greatest possible variety, suitable for every singer and any
occasion. With this in mind, not only the old favorites were included, but also songs which, although unknown to most students
of the University, are nevertheless well-tried and popular elsewhere.
It is sincerely hoped that the students will accept these songs with
the same enthusiasm with which they regard the old favorites.
In order to maintain a certain degree of continuity, the
disposition of the songs in their various sections may, at times,
seem somewhat unprecedented. There are some who may be
startled to find a nonsensical song like "A Capital Ship" linked
with the classics of the sea or translations of German student
songs among the traditional British student songs. However, the
Editors feel that the unity resulting from the classification of the
songs according to subject matter more than compensates for
what some may consider to be a lack of good taste. n
The Editors are only too well aware of the many imperfections which this Song Book contains. They can but off et as their
excuse, the fact that this is the first attempt that has been made
along these lines, and, like all first attempts, is necessarily rather
crude and unfinished. To posterity must be left, the task of adding
the polish and finesse which the present volume may lack.
The Editors are deeply grateful to all those who have been
kind enough to offer them advice and encouragement. They are
particularly indebted to Miss Virginia L. H. Bullied, at all times
a willing guide and counsellor, whose knowledge enabled them to
cut the Gordian Knot of copyrights, and to Mr. Alexander Bor-
rowman, whose assistance and technical knowledge of printing
have greatly simplified their task. The Editors wish to express
their gratitude to those members of the Faculty, especially the
Professors of the Language Departments, who have been so generous with their advice and encouragement. They also*wish to thank
those Universities who were kind enough to put their Song Books
at the disposal of the Editors.
Every effort has been made to include various copyrighted songs, which, it was felt, would add greatly to the
value of the book. Some publishers, however, remained adamant
and, in spite of numerous requests, refused the necessary permission. To the following firms, therefore, the obligation is the
greater for their courtesy, in permitting the Editors to include
songs to which they hold the copyrights.
Ascherberg, Hopwood 6r Crew, Ltd.; Edwin Ashdown, Ltd.;
Koosey & Hawkes, Ltd.; Chappell & Co., Ltd.; M. M. Cole
Publishing Co.; Colonial Music Publishing Co. Inc.; J. B.
Cramer & Co., Ltd.; Francis, Day & Hunter, Ltd.; Edward
B. Marks Music Corporation; Carl Fischer Inc.; The Peter
u Maurice Music Co., Ltd.; G. Ricordi & Co.; W. Paxton &
Co., Ltd.; The Scottish Students' Song Book Committee Ltd.;
Southern Music Publishing Co. Inc.; Southern Music Publishing Co. (Canada) Ltd.; Gordon V. Thompson, Ltd.
The editors also wish to acknowledge the permission granted
by Simon & Schuster, Inc., to use Miss Margaret Boni's editorial
notes from the "Fireside Book of Folk Songs."
Both the Editors and the publishers alike have made every
effort to guard against any infringement of copyright. If they
have been unfortunate enough, to make an unintentional error,
they offer their sincerest apologies and. if notified, will be happy
to rectify the mistake in future editions.
■^«^a £. 'Wtss
ß/.rfae.
December, 1948 Songs oí the
Blue and Gold Hail, U.B.C I
Harold King, Education '32 Harold King, Education '32
fc
-£
m^ =4^t^^LJ^i^=^^^
We   wear    the    blue    and    gold  of    the    viotors,  We   are the men    of    the
=¿3
l^"7^^^TT^p=R J i  J j
U.   B.   C.
^¥
All    o   -   ther    men    ac   -   know  -   ledge    us mas - ters
m
-j* j» j j
m.
í
f
#=—#
We    are    strong    in    ad   -   ver- -si   -   ty.    There's   work    for    the    day    and
y^M-p-i^^FEX^
■
Í
work    for    the mor   -   row, We    are ones   who   will    do   our    share.
itó
g=E r r ftp g r j r H? p r rTn
é
Shouting    in    joy   and     si-lent    in    sor
Chorus :
-   row,   Bra^ver«- y      conquers   care.
32
"CSE
f~_r f ~*fr~ i r   p
Hail!
U.       B. C.
Our    glor  - ious    Un
i   -
áfe
1
O
ver
si      -   ty.
You
stand for        aye
l$*JÈpJLJ_£_fJ^P
33E
^^
be*tween    the    moun   - tains        and the        sea.
i
i
ä
=0¡:
i
*r [ r   J
AH
through    life's   way
we'll    sing    "Kla   -   how   - yah
J?:
m
Tu   -   um    Est'
wins   the
r r ir \r   im^
mm
._«*" —"*< :
And   we'll    push   on
8
to   vfc   -   to   -   ry. Toast to U.B.G
D. C. Morton, Arts '49
Traditional Student Song
4-J^'J.   J1^
PP
1.   Comrades,   ga - ther round   and    join    us       In   a toast   to   stu  -  dent
§ i j- j' i
N     h    n
Ö
¥==*=#= =#
days.      To   our   col   -   lege    by   the mountains, Where the   fires   of   sun - set
m
j: i j
«   #
blaze.      Drink   a    toast   to    Love   and    Beau-ty,     As   they   did    in   days   of
m
j» j-if p r pit1 *ç% Jii >^
yore,     Let   the    Flame   of Youth    light   up The    Halls   of   Wis -    dorn   once
i
r *p''p Jij. «N'i
J   «M'TT
¿=¿
more. Let   the    Flame   of Youth light   up The    Halls   of   Wis  -   dorn once more.
2.
1
When the evening shadows lengthen
On the steps of old Brock Hall,
Then the ghosts of long-gone students
Gather on the silent Mall.
For the Thunderbird is beating
On the drums of victory,
And beneath their Sunset Banners
March the men of U. B. C.
And beneath their Sunset Banners
March the men of U. B. C.
In their crucibles the sages
Muttered charms of alchemy,
In the days when minstrel pages
Sang the songs of chivalry;
But in our hands all the past joy
In our goblets' depth appears,
Now transmuted to a golden
Promise for the future years,
Now transmuted to a golden
Promise for the future years.
Comrades, on your feet and join us!
Lift your brimming goblets high!
Let the toast roll out like thunder!
Let the echoes crack the sky!
In the shadows of the mountains
High above the Western sea,
Comrades, one and all, come join us
In a toast to U. B. C.
Comrades, one and all, come join us
In a toast to U. B. C.
Ü High on Olympus
D. C Morton, Arts '49-. J. C. F. Haeffner
Convocational Antbem of the University of British Columbia.
$c r r p r—¿ i J
i
1.   High   on   O  -   lym  -  pus, where   dwelt       A  -     the   -   ne.
$
J J'lJ   J» J! m
^^^
Sing        we   the   song   that   the   gods   sang   of old
ft r   r p r^^ t r   r g   r   r.   i
While   from    the    foun   -  tain drink we   the nee  -  tar
igm
mmm ^
p^=p
Streams   that   the   life - gh» -  ing        know -      ledge   un  -  fold.
4 J    J'  i
fa*-   O -i
í
Men   from   the    moun   -   tains» men from   the val  -  leys,
it j -j »j j   j   i r   P p u* r
Men   from     the      o  -  cean,
men   from   the   ci
ties,
4 j J- j j • j  i j   > j< j   j
Come   to        the   West  -  era Sea,   where        the      set  -  ting
*   Fine
j»j j j'  r^^ï^^ p- p f~Ti
Sun   spreads   hit   warm       bur   -   nished man   -   tie        of     gold.
ft Jj. J? I f '
J   J'  J I.J
^i'i i- J
In   the        glo  -   ry of   the   sun  -       set   Wave   the   ban-ners where
ftj. J- Jl«!? J' p r j. jif   J J- Ji
Youth   joins   with Wis  -  dorn   a  -  gain.       And   the   ech  -  oes   rise   like
ft '•' J j. j^Ti. j i j' tí j J: ^ j»
thun  -  der     In   the     halls   where   the   gods once held   judgment   on men.
10 1
b
J- J-
When    Zeus    his    light   -   ning    hurl'd      Up   -   on    the    night- bound   world.
&, t tg ms* J^e
t
h     h
è      ■
J
t>
And    A  -   the   -   ne    sprang    forth    ful   -   ly     arm'd    with Wis-dom's    sword,
3   3
o
a
J=£^
$'
From    its        gleam   -   ing    through    the        dark     -      ness       Shone    the
DC. Al Fine
flame    of the    torch
è=Éi
ä
we     were
giv   -   en to   ward.
Alma Mater
Prof H. T. Coleman
4
**
i
*=*=¥
IS
P
p^
D. O. Durkin, Arts '40
Hâ
1.   Al - ma    Ma-ter,    by   thy dwell-ing     There    is   set   the   west  -   em    sea,
^ .^mñy i /j j N jjj?tfir j
Moun - tains   shed    their   ben   -  e    dic-tion   On    the hopes   that rest   in    thee.
2.   Alma Mater, to thy children
In the spring-time of their years,
Grant the faith that grows from knowledge,
Courage that makes light of fears.
3.   Alma Mater, thou hast kinship
With the great of by-gone days,
And the voices of our fathers
Join with ours to sing thy praise.
Il Prof's Song
Anon.
Air founded on "The Dutch Company"
p|
EE
S
^m
1.   Here's   to   the    Pres - i »dent,   come    to   see     The   stu   - dents   of   this
ft * j i j • t|j j i j «n j i j   j i r    ^
Var   -   si
ty;
Head   o'er   all
p) r irrpi
the   Profs   and   we,
Chorus:
The
m
b-n   N   N
m
$
might
nest   he
in
the    Var -
J   J' J'
si
With   a   kai, ai, ai, ai, ah! With a
p p p IT   T-1J   J N -3
*
kai,   ai,   ai,   ai,   ah!   With   a   kai,   ai    ai,   ai,   ai,       ai,     ai,     ai,     ah!
2. Here's to the Prof of Humanity,
Likewise the Prof of Philology;
Latin to him is a mystery,
Without the aid of an English key.
3. Here's to the Prof of Geometry,
The latest expounder of a, b, c;
But oh! that he and his a plus b
Were sunk in the sea of nonentity!
4. Here's to the Prof of Philosophy,
The mystic sage of the 'Varsity,
The man of darkness—the man at sea
In the maze of Responsibility.
5. Here's to the Prof who has come to we,
To cram us in Psychology;
Rare boy he, and rare boys we.
The best in all the 'Varsity.
6..   Here's to the Prof, of Physiology,
Famous for his jocularity;
Listen to him when he tells a story.
But don't trust its credibility.
7.   Here's to a Prof of Divinity,
A man of wondrous ubiquity;
Where'er you be you're sure to see
This man of curiosity. _
By permission from The Scottish Students Song Book. Ten Green Fresh
Adapted by
D. C. Morton, Arts '49
men
Air: "Ten Green Bottles"
,m j  j   J> J: jL-U   J ^^
1.  Ten   green    Fresh   -  men,
sit  -  ting   on      the      wall,
ï   j    J».  JT^r^'f   f
ÉsÉ:
j+-iri\
*
One   prêt - ty   co-ed
comes   walk  -   ing    down the MalLAnd    if
t r r l~^
7-s j j> j
^^
s
one   green   Fresh  -   man   should   ac   -   ci   -   dent   - 'ly   fall,      There'd   be
b N :
s r   p
m
nine   green    Fresh   -   men,        a   -   sit   -     ting   on
Whistled
the   wal
e=^ -¿n .i=a
2.   Nine green Freshmen, sitting on the wall,
Another pretty co-ed comes walking down the Mall,
And if one green Freshman should accident'ly fall,
There'd be eight green Freshmen a-sitting on the wal
Same as previous verse for eight, seven, six, etc.
Last verse:
One green Freshman, sitting on the wall,
One pretty co-ed comes walking down the Mall,
And if that green Freshman should accident'ly fall—
There'd be nothing but their school-books a-sitting on the
wall.
13 My Girl's a Hullabaloo
Anon.
Traditional
m
i- j» j j j
r   p J J ^
i^P
*
1.   My    girl's   a    Hal- la   -   ba   -   loo,        She    wears    the   Gold   and    Blue;
<ft } j  J jtj> j- j  i j> j  j- J' ;■ o i
m
She   goes     to   Var   - si       ty   too, Just   like   the   oth - ers   do.
Chorus:
PI
^
aEÖ
^í
And   in        my   fu  -  ture   life
She's   goin' to   be   my   wife.
p p   i_-i-ç-±^-L_L_Li_^mjm
How   in   the   world   d'ja   find   that   out?
2. She goes to all the games
Just like the other dames.
I fork out all the change
Just like the others do.
3. She goes to all the shows,
Wears all the latest clothes,
Powders her little nose,
What for, nobody knows.
4. When we go walking,
She does the talking,
I do the squeezing,
She does the teasing.
5. As we grow older
She will grow bolder,
And she will hold her
Head on my shoulder.
She   told   me   so. Anon.
The Freshman's Dirge
Traditional
p
*£
«L   J  | J   J -i~T7~^
ä=l
E3E
1.   A   poor        lit  -   tie    Fresh   -   man    lay        dy  -   ing.
and
m
r r i r
m
as on    his       death   -   bed   he lay,
To    the
|A   J       J    ^
m
Ê
§
stu   -   dents    a   -   round       him    all      sigh
mg,
p
These
Chorus:
f—t—£
«M
last   dy   -   ing
words   he    did
say:
Wrap   me
{¡fAj    J    J   I:J     f
I
1
up
in     my        old    sheet   of      fools   -   cap,
And
m
B
■
Ö
say
a    poor duf   -   fer      lies   low,
And
«■
I
3
^s
«h—-e»
six   venge   -  ful        profs   all    shall       car   -   ry
me,
With
m
w
m
ju   -   bi   -   lant
fa 1  ces        a   -   glow.
^^.
2.   Had I the brains of blue stockings
To honours first-class would I soar,
For the Governor-General's Gold Medal,
A classical genius what's more.
Chorus :
Wrap me up in my Latin Lambics, etc.
3.   Then get you my poor, plucky papers,
Put them down at my head and my toe,
And an "Eversharp" get you and scratch there,
"Here lies a poor duffer below."
Chorus :
Wrap me up in my old Greek alcaics, etc.
15 In the Caí
Anon.
fe
Air: "In the Quartermaster's Stores"
ï y.l±J[±_A-2lLstE=i4^£m%
1.  There   was   cheese,   cheese   with   shock-ing  dir      ty knees, In   the   Caf,   in   the
_£k±
^m
t^rir-j-j.
m
*
6  S
Caf.   There   was   cheese,cheese with shock-ing dir-ty   knees, In the Caf   at   U.   B.
Chorus :
#
Ï^T11TTT=ÏT1=&
ä
m
c.
My   eyes   are   dim,      I   can - not   see,     I   have   not   brought   my
i .J,* t=3=ï=^_Mi±-iJûjÊm m
specs   with    me,      I    have not        brought   my   specs        with    me.
2. There we/e eggs, eggs that walk about on legs,
3. There was steak, steak to keep us all awake,
4. There was bread, bread like great big lumps of lead,
5. There was butter, butter, the scrapings of the gutter,
6. There were kippers, kippers that walk about in slippers,
7. There were cakes, cakes to give us stomach aches,
U.B.C Toast
j
à
BE
^^=^kj_i. j -4-1 Jz^AjL^JLTrTi
A   toast   to        him   we   all   will     drink;
A  toast to him we all wil
Ä
mm
m
drink;
A   toast,
a   toast,
16
to him    we'll
drink.
:—: Songs oí the
Faculties Agriculture
Dr. Charles Kennedy
Air: "A wee Wifkie"
f
? j ■ ' j
h        h       S        N        S       J*
é> o?        #        J é ^
O
1.   You'l
find
me
in each       glass      of
m
milk        you
P^P
-f *
T
5:
take       in   your in   -   side,
And
iffr Jiy
ev'   -   ry    ba   -   by's   bot - tie
5=5
m
#
is a        place       where
?
£
ê
bide;
p—2
flour   -    ish       so on        lac    -    tose   when
W
I    get       there   in   ad -
^
r f r f J rip^
vanee
That 0   -    t'her   mi   -   cro   -   or   -    gan    -    isms, they
¡iüesü
ty it r t j ^^
don't   have    half a chance, With    the    Lac   -   tic    A   -   cid
*
^N' j 1 j f rr f f c>'
Ba - cil   -  lus,   the    Lac tic   A   -   cid    Ba   -   cil   -   lus    Of    the old milk can.
2. I do my little best to free the milk of each bad germ
From byre or cow or pail or can or milk-maid's epiderm;
I'd do it in my own quiet way that don't need any study
If humans wouldn't boil me or nip me in the Budde
With Hydrogen Peroxide, Hydrogen Peroxide
Or. scalding in a pan.
3. With Coli, Streps and Staphys I'm familiar every day
And now and then a Deppy or a Typho comes my way,
But T.B.'s are a trial for if we only knew
That Bovine's more infectious, then we might know what
to do.
I'm a very knowing Bacillus, a Lactic Acid Bacillus
Of the old milk can.
18 4.  Alas! we're whiles caught napping in the good old
Summertime,
When cheeky Enteritis snap their thumbs at me and mine,
And sometimes, I admit it, we are taken unawares
When Scarlatina finds that milk is quite the best of fares,
And laughs at this old Bacillus, and laughs at this old
Bacillus
Of the old milk can.
m *r
5. For butter and for cheese I used to be the only spell,
Till other things were found that seemed to do the trick
as well,
I don't so much mind rennet, but them acids that they
use
To make the butter come, are almost fit to give the blues.
I'm a decent-minded Bacillus, a self-respecting Bacillus
Of the old milk can.
6. They've found out now that Buttermilk's a cure for all
the ills,
■  But won't have me "au naturel," they serve me up in pills,
And call me lots of funny names, not thinking when I'm
dry
I'm nothing like so lively as the growing Baccili.
I'm a dry and flaccid Bacillus, dull and torpid Bacillus
Of the old milk can.
7. So now if you would sup on milk that's innocent of harm
Confide in me and cleanliness and never take it warm,
But wait until it turns a bit and pray don't pasteurize.
Just give me time to do the trick and then you'll see how
wise
fis the Lactic-Acid Bacillus, the Prophylactic Bacillus
Of the old milk can.
«r*
Y I
a*
-
By permission from The British Students Song Book.
9
19 Air :   "Doin' What Come* Naturally"
We're all Aggies, yesiree,
Out to get some learnin'
'Bout calf and chick and soil and tree.
We do it Agriculturally.
We ain't so much on boozin' but
I think we're safe in statin'
Forty beers are but child's play
Doin' it Agriculturally.
Homer Quincy may be rough
But he is always ready;
And he'll find one, wait and see
That's "broke  in" Agriculturally.
Brother Bill has built a still,
Up there in the Bac lab.;
Course he isn't making tea,
It's done Agriculturally.
The cow she has her udder, but
That's not why we are here.
Because at milk we shudder and
We think much more of beer.
Our farmer's dog, caught in a bog,
Felt the call of nature;
When he couldn't spy a tree.
He swore  Agriculturally.
Applied Science
Air:   "Marines' Hymn"
We are one united faculty,
Engineers of U. B. C.
With all our strength we hope to be
Men of great integrity.
Our aim in life a noble one:
To serve with all our skill.
One and all we're mighty proud to be
Engineers of U. B. C.
20 Air:   "John Brown's Body"
1. Godiva was a lady who thro' Coventry did ride,
To show all the villagers her lovely bare-white hide.
The most observant man on earth—an Engineer, of course,
Was the only one to notice that Godiva rode a horse.
Chorus:
We are, we are, we are the engineers;
We can, we can demolish forty beers;
Drink rum, drink rum, drink rum and follow us,
For we don't give a damn for any old man
Who don't give a damn for us.
2. "Oh I have' come a long long way and the man will go as far
Who gets me off this          horse and leads me to
a bar."
The man who took her off the horse and stood her to a beer,
Was a bleary-eyed surveyor and a of an engineer.
3. Sir Francis Drake and all his men sailed down to Calais Bay,
They'd heard a Spanish rum fleet was sailing by that way;
The engineers beat them there by a night and half a day,
And though as drunk as , there's one thing still
they'd say.
Air:   "Put on Your Old, Grey Bonnet"
1. Put on your old red sweater
'Cause there isn't any better,
And we'll open up another keg of beer,
'Cause it ain't for knowledge
That we come to college
But to raise —- while we're here.
2. Put on your old grey bonnet
With the gin stains on it,
And we'll break up another pile of junk;
Then we'll drive like fury
To the Capilano Brewery,
And boy! will we get drunk.
21 Air:   "Casey Jones "
1. Come all you freshmen if you want to hear
The story of a brave engineer;
He started to college in the fall of thirty-three,
Why he took up engineering is a mystery to me.
Chorus :
Casey Jones couldn't hold his liquor,
Casey Jones couldn't hold his beer,
Casey Jones never got through college
He never got through college 'cause he couldn't hold his beer.
2. Casey Jones was the engineer's pride
In football or hockey he always saved his side
He was a whiz in classwork, his reports were always clear,
But he never got his parchment 'cause he couldn't hold his beer.
3. Casey's career looked free from want or need
The dean would pat him on the back and say, "You're bright indeed."
He came to grief as all youths do, ne'er became an engineer,
And the reason for his failure was, he couldn't hold his beer.
4. - The grand class held their dinner in the Red and White hall,
They all got pickled tight that night and Casey worst of all.'
They wired to his folks next day, the message read, "Come here,
Your son cashed in his chips last night; he couldn't hold his beer.
5. Casey said, just before he died,
To the engineers who mournfully were standing by his side:
"Erect a tablet in the halls, engrave these letters clear:
Never come to college if you cannot hold your beer."
22 J#
c
ommerce
Air:   "The Desperado"
When we were the freshmen just new to Varsity
We wanted to join the bestest faculty.
We saw the Science sweaters
And we saw the Artsmen's books,
But then we heard the Commerce give their War Whoop.
Chorus :
For we are bold bad men,
We are the men of Commerce,
Drinking rye and gin and any booze around us,
And stagger home with the sun upon us.
So come along and help us give our War Whoop.
We heard of Economics
*
And of Commerce 1 to 5,
The ledgers and the stat labs.
Kept us busy in our stride.
But when the day is over and the books are laid aside,
The Mall resounds with the Commerce War Whoop.
But now we are the Undergrads,
Another year has passed;
Keep plugging at the balance sheets,
The exams will soon be passed.
Then from east to west and from north down to the south,
You'll hear the men of Commerce give their War Whoop.
23 Air:    "John Brown's Body'
1. Oh, all the men of the Commerce Faculty
Will drink wine and live in luxury,
And all the girls will secretaries be
And they'll sit upon the boss's knee.
Glory, Glory, Hallelujah!
Glory, Glory, Hallelujah!
Glory, Glory, Hallelujah!
They'll sit upon the boss's knee.
2. Henry Ford'll give us, all a Lincoln Zephyr car;
Henry Ford's a Commerce man—he knows what men we are;
And in the Lincoln we will have a private bar
With a girl to serve us wine and caviar.
Glory, Glory, Hallelujah!
Glory, Glory, Hallelujah!
Glory, Glory, Hallelujah!
With a girl to serve us wine and caviar.
24 Adaption by
Prof. J. Stuart Blackie
L
aw
Traditional
$
*ft--f==g
u Lfir
*
^
1.  0
IIS
ten
of
Com-  mon    and    Stat-ute   Law    Doc-tors   all.
frr\ r a a
So - li   -   ci     -      tors,
mm
^^
-«
#
gents,   Ac   -   count-ants,   to    me;
m
j j i r
j j ipf
lis
ten,   of    strifes    and    of
law
suit   con - coc - tors    all,
P
#    #
^
:ß
And
I
give    to
Chorus:
poor    starv
ing    law   -   yer    a
• Spoken
fee.
* Ji J>
T=5==F=i
PP
^to
Give
fee,
Give    a    fee,   Give a fee!     O
give
fee.
By permission from The Scottish Students Song Book
poor    starv   -   ing law   -   yer
2. The soldier and sailor they dash on and splash on,
And, sure of their pay, scour the land and the sea;
But we peak and pine here, and long, long years pass
Before our eyes blink at our first dollar's fee.
3. The Church is an Eden of violets and roses,
The Bishop its Adam, from drudgery free;
The big burly priest on his soft down reposes,
While we must still fag on, and cry, "Give a fee!"
4. The quack he sells wholesale his pills universal,
And straight waxes richer than the sagest M.D.;
But we still must con o'er the same dull rehearsal,
And leave one or two old stagers to pocket the fee.
5. Here sit I, all frozen; my youth's glowing visions,
See-saw like a Chinese joss or a Turkish Cadi;
I seek for no learning beyond its decisions,
And my soul's proud ideal is a bright shining fee.
25
on, N
ursing
Air:   "When Johnny Comes Marching Home"
The nurses' Undergraduate Society,
The essence of unlimited propriety,
when exams are done and merits won
We'll integrate and we'll correlate
And we'll clarify the aims of the Nurses of U. B. C.
Oh-h-h-h ! ! ! (a deep groan)
We're the clever nurses of the N. U. S. B. C.
We're the dames that keep the patients from eternity,
We study hard for six long years
With blood and sweat and tears,
And then we write R. N.'s.
Lectures are abominations, k
Bac. and Zo. are - tribulations,
Finally examinations,
But the hospital beats them all,
By hec! (loud)
26 Pre-Medicine
H. M. Spoor
Traditional
5r#
ö '"    "^»
1.   I've    been   for
year   at   this       Var - si -   ty;
know
$1
^
32
I
just   what    I
did    when
I    came;
I    have   -   n't   an
£
1
m
£
hon   -   our's   cer   -   ti - f i
"CT
cate.
!*
Chorus :
I       ■ .        II      ^
J.      'J   »   "J^
>r   a
sin
gle    D.
1=
P. to my   name.
And    I'm
going    to   get
$1
tp
tti
ploughed    in A
na
to
-X3
my,
■
I'm    going    to   come
m
X*
g
?
waí    -    lop in    Phys.
I'm    going    to    get    pipped    in    Ma -
jfrJ' J' J     IJ  J J J*U   J  J IJ
ä
te   -   ri   -  a,
Z?	
It's    a    ter   -    ri- ble    nuisance    it    is,       it  is.
2. I really can't think what the matter is,
For I work very hard, yes I do,
Start work every morning at one o'clock,
Have an hour for lunch, leave off at two.
3. I'd do big things in Physiology,
If I only could think now and then,
If the Stannius Heart is a Rheocord
Or a who or a what or a when.
4. I've just had an oral from Cowan,
And soon told him all that I knew,
Said the Femoral Vein was Astragalus
And he said 'Thank you. Sir, that will do."
By permission from The British Students Song Book'. •
2R Air:   "The Broken Ring "
My Opsonic Index is negative,
I greatly fear I must die;
öfter*  require  a   restorative
Of Scotch, or Irish or Rye. ,
My leucocytes are not digestive
Of Staphylococci.
There's a boil no bigger than half a crown,
Tho' it feels as big as a score,
it makes me sit up when I try to sit down,
It is so terribly sore.
And 'tis sad to tell that I try to drown
My sorrows in nips galore.
A Bacteriologist came one day
With sterilized lancet and all;
He pricked it and he carried away
Some matter from that boy.
"A little fatter," I heard him say,
'To grow on another soil."
He planted it Hi a jelly dish;
It flourished under his eye;
Said he, when I asked him, "What is this?"
'They're Staphylococci"
"Yes, yes," he murmured "What more could one wish
Than Staphylococci
Those germs in strange serum with nicely washed
Leucocytes he now incubated,
And with oil immersion lens brought into view
The fact that each Polymorph fed
On a portion of Cocci, and so one drew.
An "Index Opsonic," he said.
Then serum from me for his Leucos he asked,
A meal of my germs to prepare,
Bet they smiled at him as in sunshine they basked.
For not one Opsonine was there.
The Cocci smiled blandly as Polymorphs passed
With stolid amoeboid stare.
By permission from The British Students Song Book.
28 With the ghost of a chuckle he gazed on the sight,
Then took of a Rivary Syringe
To dose one with Cocci cream cooked "a fa" Wright,
And told me my welfare would hinge
On whether my Leucocytes still took fright
At Cocci of golden tinge.
My wretched Opsonine will 'not revive,
No matter how often we try;
The boil is much better, but can I survive
If the man with the Cocci reply,
"You can only get well if your Leucocytes thrive
On Staphylococci."
And now I could do with a drop of Scotch—
I  like it much better than hy-
Podermic injections of Coccial hotch, potch,
And fain with my boil would I fly
To   regions  obscure  where   there's   no  one   to   tor-
Ture me with pickled Cocci.
Publications Board
Air: "The Son of a Gambolier "
There's a thriving kindergarten
In the depths of old Brock Hall,
Where they feed the kids on bottles
From the time that they are small.
They sleep on gin-soaked Ubysseys,
And is the lord
Of the illegitimate children
Of the Publications Board.
29 { Soirés oî the
Greeks â
Alpha Delta Pi
Founded at Wtsleyan College, Georgia, in 1851.
He'll be down to get you in his fraternity buggy.
Better be ready 'bout a quarter of nine;
Now, sister, look your best, 'cause,
He's got a frat pin on bis chest.
Oh, sing those songs the fraternities love
And roll your eyes to the heaven's above,
For when he wants that certain styl«.
He'll get it in an A.D. Pi smile.
Tonight the moon will shine, little A.D. Pi, little A.D. P
Alpha Gamma Delta
Founded at Syracuse University in 1904.
Floating down the river on a keg of brine,
Along came George Washington afloatin' down behind.
'I'm cross in' the Delaware," says he to me,
'To see my wife in Jersey who's an A.G.D."
Why should I wear the D.G. anchor?
Why should I wear the Kappa key?
Why should I wear the Pi Phi arrow,
When I can wear the pearls and be an 'A.G.D.?
The Styx was mighty dark as I floated along,
When up came Beelzebub a-singing a song.
Says I to him "Where'd you get that tune?"
'I got it from the Kappas when they rented their room."
I climbed the golden stairs a-feelin' forlorn.
There sat Gabriel a-tootin' on his horn.
I asked him for a tune and he played The Reverie,
For every little angel was an A.G.D.
32 Alph
micron
Founded at Barnard College, New York, in 1897
Now when I came to college just a —
I met the cutest, little, sweetest little
They call 'em wonder babies.
They're as neat as da bies.
short time ago
— Alpha 0,
They're the
And when it
You should -
They're a
cutest gals on the hill.
- comes to dancin',
see them prancin',
solid bunch of hep cats
Alpha Phi my own fraternity,
In all the years to come
Let me show the silver and bord eau,
Under the shining sun.
Greek letters bold,
To have, to love, to hold.
I love you, Alpha Phi.
Now talk about your cutíes, those gals are really beauties,
And when they walk by how the boys do sigh.
Now that I'm an active in the A.O. Pi's,
I know I'll be a true and loyal member until I die,
Oh, how I love those gals we're the best of pals,
We'll be friends forever I know.
Alph
Founded at Syracuse University, New York in ¡872 Delta Gamma
Founded at Lewis School, Mississippi, in 1874.
I have found my dream girl;
She's as sweet'as she can be.
I have found the one I love;
She's all the world to me,
She wears the golden anchor
And the bronze, the pink, and blue.
Delta Gam—I love you
And to you I will be true.
College memories linger,
Never fade or disappear,
Anchored till eternity
With lasting love so dear.
Wherever I may wander
All my thoughts will turn to thee,
Delta Gam—my dream girl,
You're the only one for me.
Delta Phi Epsilon
Founded at New York University in 1917.
We are in college,
The very finest college,
But our hearts are pledged to D. Phi E.
We love her forever.
Break faith with her never,
0, her honours are plain to see.
For friends that are truest,
And visions that are bluest,
And bonds that last eternally.
So we drink up to college,
We drink up to knowledge.
And we drink up to D. Phi E.
34
w Gamma Phi Beta
Founded in Syracuse, New York, in 1874.
I much prefer the peanut to the pear or artichoke,
I'm very fond of olives, much more than other folk,
I much prefer the crescent to the full moon, don't you see?
Because it is the symbol of my sorority.
So when I die, just put me in the ground,
And plant pink carnations all around,
For in the Panhellenic world there's none so gay as I,
The reason is it's plain to see, that I'm a Gamma Phi.
Il
Kappa Alpha Theta
Founded at Depaw, Indiana, in 1870
Come sit beside the hearth with me,
In the firelight's ruddy glow,
And we'll dream of the lasting friendship
That only Thetas know.
And when your hand slips into mine,
Our hearts will throb anew,
For each, for all, at the Theta call,
With a constancy more true.
Then here are greetings from all the Thetas
From the heart for any call,
From far and near we welcome her,
Whom Black and Gold enthralls.
And when the embers fade away,
And the night steals into day,
In your tender eyes that shine,
I will know that you are mine.
With a love that's always true,
Our hearts will pledge anew,
For each, for all, at the Theta call
With a constancy mpre true.
35
I if
Kappa Kappa Gamma
Founded at Monmouth College, Illinois, in 1870.
We are the actives of K.K.G.,
Someday good graduates we hope to be,
D.G. anchor, Theta kite
Bid us but we just weren't their type,
Gamma Phi Beta and Alpha Gam,
For them we simply don't give a dam.
So give three cheers for K.K.G., the bestest fraternity.
RAH RAH RAH
The blue and the blue are the colours Ve wear,
The fleur-de-lis is seen everywhere,
Phi G's, Phi Delta's, Psi U's, Zetes,
Always take Kappa's for their dates,
From Eastern Maine to our Varsity,
All campus belle's wear small golden key,
So give three cheers for K.K.G.,
The bestest fraternity.
Phrateres
Founded at the University of California in 1924.
A toast now to Phrateres,
That's a toast to you.
Let us pledge allegiance,
To the Gold and Blue.
Our friendships for each other
Let us now renew,
A toast now to Phrateres,
That's a toast to you.
36 ty>l i i11 r il* J' j j
zCJ
To      the   Blue      and   the   Gold      of      Phra    -    te    - res, To      the
$Ü
S=5
£
F?^
i^
1
spi rit     of     true  friend li    -    ness, To      the    wealth   of     our
_j—&— 1 ^—j,— Alpha Delta Ph
i
Founded at Hamilton College, Ohio, 1832.
1. We Come, We Come, We Come with a shout, and a song,
Singing as we go marching on,
We are a merry happy-go-lucky throng
In Alpha Delta Phi, Phi, Phi, Phi.
2. We're the chosen band, united by true friendship's tie,
Swell the joyous strain, to meet the echoes from on high,
Listen to our song, we sing as we go marching by,
Rye, Rye, Alpha Delta Phi.
I
Alpha Tau Omega
Founded at the Virginia Military Institute, Richmond, Virginia, in 1865.
1. There are some who praise the diamond's blaze,
And the ruby's blood-red hue.
While others praise the opal's rays
Or the sapphire's deep, dear blue.
There are those who delight in the topaz bright,
Or the pearl with its quiet gloss;
But brighter far is each radiant star,
That we set in our Maltese Cross.
Chorus:
Oh, Alpha Tau Omega, our hearts are ever thine,
We set them as the jewels in the Maltese Cross to shine,
To these we pledge allegiance, our service true and bold,
And ever we'll be loyal to the Azure and the Gold.
2. There are hearts that shine with dazzling light,
While some burn clear and strong.
And each and all, both great and small,
To thy service shall belong.
So here at thy feet is an offering meet,
That is loyal, firm and free,
And here we swear by the cross we wear,
To protect and honour thee!
38 Beta Theta Pi
Founded at Miami University, Ohio, in 1839.
1. Ye sons of Beta, raise your voices,
Join one and all to swell the song!
While every loyal heart rejoices
The sounding chorus to prolong,
The sounding chorus to prolong.
In grateful praise your voices blending
To her whose radiant badge we bear.
And in whose mystic rites we share,
Worthy our grateful praise unending.
To Beta Theta Pi,
Beta Theta Pi,
A chorus ringing high,
ringing high,
A song, a song, a song, a song,
Full loud and long,
and long
To Beta Theta Pi.
2. Extol in song fair Beta's glory,
Her noble aims, her purpose high.
Let brothers young, and brothers hoary,
Give praise to Beta Theta Pi,
Give praise to Beta Theta Pi!
Her tender love and care untiring,
The peerless honor of her name;
The splendor of her spotless fame,
In every heart her song inspiring. if
Phi G
amma
Delt
a
Founded at Washington and Jefferson University in 1848.
When college songs and college lays
Are faded with their maker's days;
When Sol's swift wheels have made us old.
And college life's a tale that's told.
Phi Gamma Delta, still to thee our hearts will turn eternally,
Phi Gamma Delta, still to thee our hearts will turn eternally.
¿S,
#. ¡¡¡I
quqii)
Phi Kappa Sigma
Founded at the University of Pennsylvania in ¡850.
1. When all the world awakens with the silent dawn,
The moonbeams steal away before the rising hue,
Each little flower welcomes the hour,
That brings them the sunshine and you.
Dearest girl. My Phi Kap girl,
I love but you alone,
When you are near,
Blue skies appear,
Tell me that I may call you my own.
Within my heart, enshrined apart,
Your image seems to shine,
You'll always be a sweetheart to me,
Phi Kap girl of mine.
2. When song birds sing their melodies in summer time,
You wander in my Und of dreams the whole day through,
Tho' clouds arise, darken the skies,
Remember that I'm loving you.
40 Ou-
IL.
Kappa Sigma
Founded at the University of Virginia in 1869.
There's a vision ever present
When we're 'neath the Star and Crescent,
Of a girl whose loveliness is like a pearl.
Her smile and lilting laughter
Will light our lives hereafter,
And keep us always dreaming
Of a Kappa Sigma Girl.
You're my Kappa Sigma Dream Girl,
Queen of my castles in Spain,
Brightest star  that gleams 'neath the Crescent,
You're the rainbow that follows each rain.
Lovely Kappa Sigma Dream Girl,
Tell me, O tell me that soon,
Forsaking all others,
Save Kappa Sig brothers,
You'll be mine 'neath the Kappa Sig moon.
Phi Delta Theta
Founded at Miami University, Oxford, Ohio, in 1848.
Hail, Hail, Phi Delta Theta!
Hail to the Bond we love !
May peace and concord rule her,
Where'er her sons may rove.
Hail, Great Brotherhood, all hail!
Through thy years that shall not fail,
May thy growing greatness be robed in spotless majesty.
The years pass on as shadows;
Softly they sink to rest,
As one by one our brothers
Are folded close to nature's breast.
Yet as the sand of ages runs,
May a race of nobler sons,
Faithful as the stars above, raise the standard we love.
41 Delta Upsilon
Founded at Williams College, New Jersey in ¡834.
I
1. Come, brothers all, your glasses fill,
And drink this health with right goodwill;
For here's a toast both brave and true,
Our own beloved Delta U!
And he that will this health deny,
Down among the dead men, Down among the dead mon,
Down, down, down, down,
Down among the dead men let hint lie.
2. Now, here's to all throughout the land.
Who in our ranks fraternal stand;
Whose aims are high, whose hearts beat true,
Beneath the royal Gold and Blue!
3. And here's a health to ladies fair,
Who faithfully our colors wear;
May every blessing wait upon.
The girls of Delta Upsilon!
4. Now, brothers, here is one toast more,
The Delta U's of "Thirty-four,"
Who firm in truth and equity.
Established our Fraternity.
42 Psi Upsilon
^f
Founded at Union College in Schenectady, New York, in 1833.
Bold and ready, strong and steady,
Daylight is done,
Gather 'neath the old Fraternal Banner
Blazoned with Psi Upsilon.
Diamond and golden,
Gleams the badge our hearts joys,
New and olden.
Kindle with the grasp of love.
From the rattle, from the battle,
Now the restful peace of blest communion,
Victory is won;
At thy shrine, Psi Upsilon.
Pure, warm, and loyal,
Honor's soul and virtue's grown,
Each brother royal
Fighteth for a king's renown.
Sigma Chi
Founded at Miami University, Oxford, Ohio, in 1855.
1.  When the world goes wrong, as it's bound to do
And you've broken Dan Cupid's bow.
And you long for the girl you used to love,
The maid of long ago.
Why, light your pipe, bid sorrow avaunt,
Blow the smoke from your altar of dreams,
And wreathe the face of your dream girl there,
The love that is just what it seems. Chorus:
The girl of my dreams is the sweetest girl
Of all the girls I know.
Each sweet co-ed, like a rainbow trail,
Fades in the after glow.
The blue of her eyes and the gold of her hair
Are a blend of the western sky;
And the moonlight beams on the girl of my dreams,
She's the Sweetheart of Sigma Chi.
Ev'ry magic breeze wafts a kiss to you
From the lips of your "sweet sixteen",
And one by one the maids you knew
Bow to your meerschaum queen,
As the years drift by on the tides of time,
And they all have forgotten but you,
Then the girl of your dreams the sweeter seems,
She's the girl who is always true.
Si^ma Phi Delta
Founded at the University of Southern California in ¡926
We're Sigma Phi Delta,
We're the men who build the bridges and the piers;
We're Sigma Phi Delta,
We're the Engineers who drank the forty beers.
We always lead the way!
We always do or die!
So give three cheers for the Engineers,
The men of Sigma Phi!
44 Zeta Beta Tau
Founded at the College of the City of New York in ¡899.
Here's to our fraternity,
May it live forever.
May we always faithful be, '
And its bonds ne'er sever.
With our standard raised on high, boys,
We'll be loyal to our Z. B. T.,
Ever loyal to our Z. B. T.
Let us raise our glasses, boys,
And pledge our friendship ever,
Though life may have its cares and joys,
That friendship we'll ne'er sever.
In life's sorrow and its sad nessln its joys and in its gladness,
We'll be brethren of the Z. B. T.,
Always brethren of the Z. B. T.
Lord of Heaven and of Earth,
Keep watch o'er us ever,
Fill our hearts with love and mirth,
Let our bonds ne'er sever.
By the heav'n that smiles above us,
By the faith of those that love us,
God protect our Z. B. T.,
God protect our Z. B. T. r
Zeta Psi
Founded at New York University in ¡847.
1. Standing in the hall of mystery
Where the candle bright
Keeps the flame of friendship burning
In our hearts tonight
Hand to hand we form the chain
Loyal Zetes and true
Pledge we all our hearts fond memory
Zeta Psi to you.
2. Zealous for a Zete's tradition,
Proud to hold it high.
Love and honour inter-mingled
In our Zeta Psi.
Hand to hand we form the chain
Loyal Zetes and true;
Pledge we all our hearts' fond memery
Zeta Psi, to you.
46 Sonés of the
Gown Student Song
of the Middle Ages
Gaudeamus Igitur
Traditional
Tins is the great-grandfather of all student songs.   It originated in Germany during the Middle Ages, and
was carried by the medieval "wandering students" to every university in Europe.
)&^33^^LUJiAJi=±àgLt^=M
1.  Gau - de - a   -  mus    i      gi      tur, ju      ve- nes dum   su       mus:
6
trri \r.7^+^^ rr-~rj£ff—-^
Gau - de - a - mus      i   -   gi   -   tur, ju   -   ve - nes dum    su   -   mus:
m^T=fF=t
Post   ju -cun - dam      ju - ven - tu - tern,    post   mo -les - tarn     se- nee - tu - tem,
pé m ^fp r^
J *> I 4 J +
Nos   ha - be - bit   hu
mus,   nos     ha   - be   -   hit hu   -      mus.
2. Ubi sunt qui ante nos, in mundo fuere?
Ubi sunt qui ante nos, in mundo fuere?
Vadite ad su peros, transite ad inferos.
Ubi jam fuere, ubi jam fuere.
3. Vita nostra brevis est, brevi finietur;
Vita nostra brevis est, brevi finietur;
Venit mors velociter, rapit nos atrociter,
Nemini parcetur, nemini parcetur.
4. Vivat Academia, vivant Professores,
Vivat Academia, vivant Professores,
Vivat Me m brum quod I i bet, vivant membra quae Übet,
Semper sint in flore, semper sint in flore !
5. Vivant omnes virgines, faciles, formosae,
Vivant omnes virgines, faciles, formosae,
Vivant et mulieres, dulces et amabiles,
Bonae, laboriosae, bonae, laboriosae!
6. Vivat et respublica, et qui illam regit:
Vivat et respublica, et qui illam regit:
Vivat riostra civitas, Maecenatum caritas,
Quae nos hic protegit, quae nos hic protegí t!
48
7.   Pereat tristitia, pereant osores,
Pereat tristitia, pereant osores,
Pereat diabolus, quivis antiburschius,
Atque irrisores, atque irritores! Traditional
Amici
Air: "Annie Lisle'
VtJ-   i
fm
rr~jiJ >j ^
^
1.  Our   strong   band   can    ne'er   be    bro-ken  It   can    nev   -   er   die;
$
lltrJ.    J> 'J'pl
■)■   pr   «Il -1
Far    sur-pass   - ing    wealth    un-spo- ken    Seal'd    by    friend-ship's    tie.
Chorus:
flfr p g  f -JLii=g
J    J 1 J
Í
A   - mi   - ci,    us   - que        ad   -   a   -   ras,    deep   grav-en   on   each    heart,
$&l   )r   J'
4
a
j i '■ ,f r j
XX
Shall    be  .found    un -   wav -'ring,   true, When   we    from    lite   shall    part.
2.   College life is swiftly passing,
Soon its sands are run,
But while we live we'll ever cherish
Friendships here begun.
49 Oh, College Days
Traditional German Student Song
One of the oldest and best known German studtnt songs. According to tradition,'when the third
verse is sung the members of the Applied Science, Arts, Law, Theological and Medical Faculties
rise and sing their respective lines alone.
j J on
p^
wm^^m
1.  0
col
lege   days,    0    glo   -   rious    days,    That    lie    so    far    be
fflu j * J i j   jf fir
-hind
us.
How   free   -   ly   once   your    jo-cund ways, We trod, with none to
4*'J J HJI-J- J  J   r |çp^^
I
bind    us!
4
mmmm
But   now,   we   seek   for
you in   vain.      Nor
Chorus:
<Dw^m*im
hope    to   win   you
back       a   -   gain.        Oh   dear   -   o   - dear   -   o
^m r * ¿u.  J «n j > i j  j =i=i
-   dear        urn,
O    quae    mu   -   ta
2.   Now cap and gown lie in the dust,
The pigskin is forgotten.
The hoops are eaten up with rust,
The racket's strings are rotten!
Our famous deeds have had their day,
Our choruses have died away.
Oh dear-o-dear-o-dearum, etc
ti   -   o re  -  rum!
3.   There's one who spends his dreary days
In solving an equation,
One writes critiques of wretched plays.
One toils at litigation,
One thunders at the sinful soul.
And one its shattered house makes whole.
Oh dear-o-dear-o-dearum, etc
4. Then let us, comrades, now, and friends,
Join hand to hand, in token
Of loyalty that never ends,
And kindly words unspoken.
Then lift your sparkling cups on high;
Here's to the faith that shall not die,
Here's to a pledge unbroke
Here's to a pledge unbroken!
0°°© 0° °°°
By permission from The British Students Song Book
50 Words by
Dr. David Rorie
A Chequered Career
Air: "Oh, Dear, What Can
the Matter Be?"
¡^
Éü^
i   > J'i J»
*Nf
ï
1.  When    I
first   was   a ci   -   vis     I   stu   -   died   Hu - man.   i  ty,
Í
Í
m
m
Cos   and   Sine   show'd   me   Life's
ut
ter
in   - an
i   -   ty,
|
^
J'   J1   J»   J'e£
^=£
^
He   -   gel        and    Kant   prov'd   that   all   things       were   van  - i  -  ty,
fe
^
All   save
Chorus.
che   -   quer'd   ca
reer;
ife
Í
ffi
If   the   map   of   your   life        in   the   deuce   of a   tat  -  ter   be,
i ja J j r^
Ev'  -   ry   one   ask   -   ing,   "Pray,   who   may   your
hat   - ter    be?'
P
J»   /  J>   J  1^
£
For   -   tune   re   -   fu   -   sing   to   smile      and   to        flat   -   ter,      be
$
m
^
m
pleas'd   with    a
che   -   quer'd   ca  -   reer.
So I next had a shy at what men call Divinity, 4.
That sort of thing for me had no affinity,
B. D. I left for who chose to win it, I
Kept on my chequer'd career!
5.
Behold me now one of the Faculty Legal
And learning the Science of trick and inveigle,
But in it there's more of the vulture than eagle;
Much better a chequer'd career!
At note-book and pencil by no means a raw-bones,
I landed at last in the midst of the Sawbones;
Through hosts of smashed legs and excised upper
jaw-bones
I kept on my chequer'd career!
In dreams I oft wonder what next I may
chance to be—
Fiji Prime Minister?   Marshall of France to be?
Bashi Bazouk with a ten-foot-eight lance to be?.
Still on my chequer'd career!
By permission from The Scottish Students Song Book.
51 f
Riding Down From Bangor
Anon
Traditional
dfefe       S S * S ■!►-->»-* -4 S—S; r— — ï-y-x .      K      ï y-
m^-*-^1-**—*—é—•-*-:—+—¿^-^—ip-^-ï*-?-»-*-
1.   Rid-ing down • from    Ban-gor. On   an    east-   em    train,.    "Af- ter weeks of
i
Ö
^
hunt- ing In   the   woods   of   Maine;     Quite   ex  -   tens-ive   whis-kers,
4 P f jl J'lr^lj- j> j» /I ^' -J' * IJ1* j j* j*i ^ *■
Beard,   mous-tache   as   well,       Sat   a   stu-dent   fel-low, Tall and slim and swell.
2. Empty seat behind him.
No one at his side,
Into quiet village,
Eastern train did glide.
Enter aged couple,
Take the hindmost seat,
Enter village maiden,
Beautiful, petite.
3. Blushingly she falter'd:
"Is this seat engaged?"
Sees the aged couple,
¿Properly enraged.
Student's quite ecstatic,
Sees her ticket through,
Thinks of the long tunnel.
Thinks what he will do.
I
Pleasantly they chatted,
How the cinders fly!
TIN the student fellow
Gets one in his eye.
Maiden, sympathetic,
Turns herself abqut,
"May I, if you please, sir,
Try to get it out?"
Then the student fellow
Feels a gentle touch,
Hears a gentle murmur,
"Does it hurt you much?"
Whiz! slap! bang!
Into tunnel quite.
Into glorious darkness,
Black as Egypt's night.
Out into the daylight
Glides that eastern train,
Student's hair is ruffled,
Just the merest grain.
Maiden seen all blushes,
When then and there appeared
A tiny little ear-ring
In that horrid student's beard. When I Was a Student at Cadiz
Traditional
1
Traditional
m
j> i j» J' J*
L^JJAA
1.  When        was
a   stu
dent   at   Ca   -   diz.
m
I   played on   my
£
K=tF
js^Jry^a
«
I Span -   ish    gui   -   tar, ching,   ching!.   |    used    to    make    love    to    the    la-dies,
§^
^i
ÉÉÉ
Chorus:
think    of    them    still    from   a   -   far,        ching,    ching!
^
1^
^E*^
Ring,   ching,    ching!    Ring,    ching,   ching!       Ring    out, ye    bells!        Oh
t
*£
¥
i
=j?—in-^
¡
ring   out,   ye    bells!
Oh    ring    out,
ye bells!
P¡¡
I .LU?—J
fc==fr
Hä
^
Ring,    ching,    ching!    Ring,   ching,    ching!        Ring    out,   ye    bells!      As    I
íÉPeÉ
É
R_¿ I
Í
play
on
my   Spa   -   nish gui        tar,
ching,   ching!
2. I was four years a student at Cadiz,
Where nothing one's pleasure can mar, ching, ching!
And where many a beautiful maid is,
Oh I strumm'd and I twang'd my guitar, ching,ching!
3. Oh I sang serenades there at Cadiz,
Till I got an attack of catarrh, ching, ching!
Though no more I could serenadize,
Still I played on my Spanish guitar, ching, ching!
4. When at last the train bore me from Cadiz,      5.   I'm no longer a student at Cadiz,
The ladies all wept round the car, ching, ching!      But I play on the Spanish guitar, ching, ching!
Oh it grieved me to part from those ladies, And still I am fond of the ladies,
But I carried away my guitar, ching, ching! Though now I'm a happy papa, ching ching!
By permission of Chappel and Co. Ltd. Traditional
Meersch
eerscnaum
Pipe
Traditional
P
^
*
Oh,   who   will   smoke   my   meer - schäum pipe,   meer-schaum pipe,   Oh,
■^"J.    |r   J*   J <J'   i
f f r   ^
who   will   smoke    my   meer   -   schäum    pipe,   meer-schaum pipe,
Oh,
P
?=P
m
who        will   smoke
5
my
meer   -   schäum    pipe,
When
£
^-^
i
iOt
I am far a
2. Oh, who will go to see my girl?
3. Oh, who will take her out to r
4. Oh, who will squeeze her snow
5. Oh, who will trot
6. Oh, who will kiss
way?
°*-\¿?.
54 Traditional
Rosali
Traditional
$
fa
J J.  i
4j» j>ir ^r  f r ir   i3
O *
1.   I'm    Pi   -   erre   de    Bon-ton   de    Par   -   is,    de    Par- is,      I    drink   ze   di
*
lût
h:
J'J'ir r f
30t
vine
Eau   de   vie.       Eau   de      vie,     When    I   walk   in   ze   park,   All   les
i
J   J.   J
^
Í
i
dames   zay   re - mark. "Comment   ca   va,   mon    cher   a   -   mi?'
„. Chorus:
m
E
^
But    I   care    not   what   oth   -   ers   may   say,
S
Im
in
love   with
sa   -   lie,
$
fr   ^s-\
Prêt  -   ty    Rose,
charm».
mg
J     |   J       J      C    | J    "«^Hj
i
-€H
Rose,
I'm
in   love   with   my   sweet   Ro  -   sa  -   lie.
2.   I'm Pierre de Bonton de Paris, de Paris,
I'm called by les dames très joli, très joli,
When I ride out each day in my little coupe,
I tell you I'm somesing to see.
3.   I go to ze fête de Marquise, de Marquise,
I go and make love on my knees, on my knees,
I go to her père and demand for my own.
The hand of my sweet Rosalie. The Spanish Cavalier
W. D. Hendrickson
W. D. Hendrickson
Ö
Jj-^-J-
¡te
»
s
i
1.  A   Span   ish    cav   -   a   -   lier   stood    in
his     re  -  treat.       And
$Uu >r r ip if    J ï
^s
on   his   gui- tar   play'd   a    tune,       dear; The    mu  -   sic    so sweet,   would
$tf—t—*-jr}\j¿t*t$!>ft\¿     J
$1
of    - times re   - peat/The   bless« ing   of   my   coun-try   and   you,      dear.
Chorus:
£
6
m
^
Ï
^m
Say,   dar  -  ling,   say,   when    I'm      far   a   -  way,  Some-times you may think of
$
E
¿
m=p
i
r  f t r
me,   dear;
$
H^
Bright   sun * ny   days        will   soon   fade   a   -  way,      Re
*
jâ^^*f
mem   -   ber   what    I
say
and    be   true,
dear.
2.   I am off to the war; to the war I must go,
To fight for my country and you, dear;
But if I should fall, in vain I would call,
The blessing of my country and you, dear.
3.  And when the war is o'er, to you I'll return,
Back to my country and you, dear;
But if I be slain, you may seek me in vain,
Upon the battlefield you will find me.
56 The Hon. Mrs.
Caroline Norton
Juanita
^
Old Spanish Air
Originally an old Spanish ballad, the English words were composed by the grand-daughter of the famous
¡8th Century Irish playwright, Richard Brinsley Sheridan.
ffi%J_JtJ>rJ   J  * 1Jl^£3=J!|J> p^bí
1.  Soft   o'er   the   foun  -  tain,    Ling  -  'ring   falls   the   soutn • em   moon:
J
-JUI J   J  > I J' J» J   j
Far   o'er   the   moun  -  tain.     Breaks   the   day   too s000'
^m
^m
i
és
In   thy   dark   eyes'   splen  -  dour,    Where  the warm light loves   to dwell.
0* J>Éb^-g-LfuM^^^
ZU—L
Wea-ry   looks,   yet   ten - der, Speak   their   fond   fare - well!
Ni  -  ta!       Jua
ni  -  ta!.
i
Ask   thy   soul   if   we should part!
£
m
m?
^m
a ■
I
Ni   -   ta! Jua
ni  -  ta!
Lean   thou   on   my   heart.
2.  When in thy dreaming,
Moons like these shall shine again.
And daylight beaming
Prove thy dreams are vain.
Wilt thou not, relenting,
For thine absent lover sigh,
In thy heart consenting
To a prayer gone by?
Nita! Juanita!
Let me linger by thy side!
Ni ta! Juanita!
Be my own fair bride. ir
Words by Heinrch Heine
Translated by F. W. Farrar
The Lorelei
Musk by
Friedrich Si Icher
$Ê
j p J ¿ i m
1.   I        know
*
0-   m
ft—\—fe
S^
not   why,   but my   gtad ness Hath
3 J* f>^
FF??
»«ü»^
Í
ut  -  ter  -  ty   pass'd   a   -  way,
And   my   spi - rit   is   tUl'd        to
$
É
E^t
R=J>
J  '      il —^
fcS
sad   -   ness    With   the    lilt   of   an       old
en   lay.
The
*
1    J f J> -JLJI
Í
PP
air
is   dew  •   y   and   dark   -   ling,       And   calm  -   ly   flow«   eth   the
kj, J.._ J    J
^
^^
Rhine;
The   crest of   the
hills
is    spark
ling,
0
mm^
^^i
s^Z
In   the
ros  -  as
of
F
e       —
ven   -   shine.
There sitteth a maid in the gloaming,
A maiden divinely fahr;
'Mid the gleam of her gems sha is combing
The curls of her golden hair.
From a golden comb she is raining
Her tresses, and sings from on high,
A passionate, soul-enchaining,
Invincible melody.
The sailor, with wild pangs thrilling.
Is chain'd by the magic tone;
The breakers his skiff are filling;
But ha gazeth on her alone.
Ah ma! in the surge descending.
He is swept with his little boat;
And such is aver the ending
Of the Lorelei's witching nota.
By permission from Tb* Scottish Students Song Book
58 The Broken
Words by
Joseph von Eichendorff
Adaptation by F. W. Farrar
Ring
Melody from  F. Glück
1.   Where    loud       the   mill   -   wheel     roar     -   eth      A   mid    the   flash   -   ing
$n~FUTT ~r ¿m
*
m
foam,
*=    =*= =■
The   maid    my   heart       a   -   dor
'.'ÏL to
eth Had
^
1TTT^\
there   her      old
en
home.
The   maid   my   heart       a
^fc^£2^^ j i j—±^¿—-11 j\^j^a
dor
eth
Had   there
her   old   -   en   home.
2. She gave a true-love token.
She breathed a plighted vow;
That ring she gave is broken,
That troth is slighted now.
3. I long where blood is streaming
To clash in fiery fight,
And by the camp-fires gleaming
To lay me down at night.
4. I long to cleave the billow.
My wronged heart to beguile,
The heaving wave my pillow,
My port some lonely isle.
5. But when the mill-wheel boometh
No hope, no change can cheer;
Despair my soul consumeth,
And death alone is dear.
6. Death, of the friends I number
The kindliest and the best,
In thee the wronged ones slumber,
In thee the weary rest.
By permission from The Scottish Students Song Book
59 Hans Leip
Lili Marlene
N. Schultze
This song, the most popular in the German Army, was "liberated" by the British St h Army when they annihilated the German African Corps in the Libyern Campaign.
$*eï | m y j -j i j- ±±4 i
1.   Un   -   dewieath    the    Ian
tern
by   the   bar   - rack gate,
JT7X7 T~7' JI * J ^^
Dar
ling.
re
mem-   ber   the way   you  used   to   wait;
Twas
^m
p^^
^m^ =¡m
m
there   that   you   whis   - pered   ten   - der   -   ly. That   you    lov'd   me.    You'd
3
ï J   f
P
J
ways   be        My   Li
li   of   the
lamp   -   light.       My
own
Li
1     J-
m
li   Mar
lene.
2.   Time would come for roll-call, time for us to part,
Darling, I'd caress you and press you to my heart;
And there 'neath that far-off lantern light,
I'd hold you tight.
We'd kiss "Good-night,"
My Lili of the lamplight,
My own Lili Marlene.
Orders came for sailing somewhere over there,
All confined to barracks was more than I could bear;
I knew you were waiting in the street,
I heard your feet,
But could not meet
My Lili of the lamplight,
My own Lili Marlene.
Resting in a billet just behind the line,
Even tho' we're parted your lips are close to mine;
You wait where that lantern softly gleams.
Your sweet face seems
To haunt my dreams,
My Lili of the lamplight,
My own Lili Marlene.
I
By permission of The Peter Maurice Co. Ltd.
60 My Heart/ It Is a Bee-hive
Translated by
David, C. T. Mekie
German Folk Air
■f^ U±—j^M ^J' ' 'j
1.   My   heart
is    like   a    bee
hive;
The
ty   J-     F £ j> J1 J'
ï
maid   -   ens    there -  in   are    the    bees;
They
$
7r~r^=t
û
%
in   and    they   fly
out,
And,
wm
W^^
É
oh?
Chorus :
they    dear   -   ly    love
to
tease.
T-M^S
~\
=3=^
P^
So
in
^
the    cham   -   ber    of    my    heart,
They   buzz   and
*
#
i p f r
*
sting    me,   oh! Buzz    buzz,   and    sting    me,   oh!
They    buzz    and
0
=p=
m
W-
sting,
oh!    buzz    and    sting,
They   buzz   and
3^m
m
sting;      They buzz
and
sting.
2. They fly out and they fly in,
Those darling little bees that sting,
And yet upon their tender iips
The honey sweet they ever bring.
3. There's one I fain would call my Queen,
For her I love above them all.
If she would but return my love.
She'd reign alone—I'd be her thrall.
By permission from The British Students Song Book
61 Luigi Denza
Funiculi, Funicula
Luigi Denzà
A song written in ¡880 by the composer of "Santa Lucia" to commemorate the opening of the Funicular
Railway to the top of Mount Vesuvius.
Solo:
fo J>ir-   Tr    f  i    J'UUJl^LJ-I j t j
1.   Some   think
I
the   world   is   made      for   fun   and     frol   -   ¡c,	
Chorus: .Solo:
j jîU   \r *J ju-^-*i
TTir?
And   so        do    I!
And   so      do   I!
Some
0 V ^
think   Jm
To   pine   and    sigh,
it   well to   be        all   mel   - an   -     chol  -   ic,
 Chorus :  J'
I Solo:
pi
To   pine   and    sigh,
m ^m wm ^#j .mü^h
R«*     1                                             1     ÍOVe         *°     «p«"d     my     tim»     in
m                                                                                   Chorus:
\J               — —|-^ 1 '— 1-
sing           ing
Solo:
g^ ji-^^^si^^1^
some   joy  -   ous   song,
k| ¿J—KJ   j
Some   joy  -   ous   song;.
To
m   =m
J   J* J   J l J.    j.--i
set
the   air   with   mu  -  sic   brave  -   ly
Chorus:
ring   •   ing
J| C PÍ/T IH •	
$
Chorus:
Is   far   from    wrong!
is   far   from   wrong!
S
^
3
Lis  -  ton!
i^r-f^ F
J   i-late   üät
17
Lis  -   ton! Mu   • sic   from   a   -   far! Lit  -   ten!
l^l j-T-zir f^ZfGE^ m J P^
Lis   -   ten!      Mu   - sic   from    a   -   far! Tra*~ la   -   la   -   la.     Tra   -   la   -  la
Reprinted by kind permission of the copyright owner, G. Ricordi and Co. Full song copies with piano accompaniment
are obtainable through their agents Mettes. Whaley, Royce and Co. Ltd., Toronto.
62 i
la,      Tra   -   la   -   la   - la?
Tra
la
la   -   la,
i^ r   f   J   |? I J   ß
^P
Joy   ¡s ev   - 'ry   -   where,   Tra   -   la   -   la   -   la, Tra-   la -   la   -   la.
2.   Some think it wrong to set the feet a-dancing,
But not so I !
( Chorus )      But not so I !
(Solo)      Some think that eyes should keep from coyly
glancing
Upon the sly!
(Chorus) Upon the sly!
(Solo)       But oh! to me the mazy dance is charming.
Divinely sweet!
(Chorus) Divinely sweet!
(Solo)      And surely there is nought that is alarming
In nimble feet!
(Chorus)      In nimble feet!
(Solo)      Ah, me! 'tis strange that some should take to
sighing,
And like it well!
(Chorus) And like it well!
(Solo)     For me, I have not tho't it worth the trying,
So cannot tell!
(Chorus)      So cannot tell!
(Solo)       With laugh, and dance, and song, the day soon
passes,
Full soon is gone,
(Chorus) Full soon is gone;
(Solo)     For mirth was made for joyous lads and lasses
To call their own!
(Chorus)     To call their own!
fh*°
'Jk-fr
63 Abdul Abulbul Amir
Ali Baba
Frank Crumit
^m^^^m
LJfUL
P
1.  The   sons   of   the     Pro- phet   are   brave men    and   bold, And quite un» ac-
I
£
o-s-
7n~7Jg
cus- tomed   to   fear.
But   the   brav» est   by   far        in    the
te
r-JTj-¡~^J   JTTTTP
ranks   of     the   Shah
Was   Ab   -   dul     A  -   bul   -   bul   A
mir.
2. If you wanted a man to encourage the van
Or harass the foe from the rear,
Storm fort or redoubt, you had only to shout
For Abdul Abulbul Amir.
3. Now the heroes were plenty and well known to fame
In the troops that were led by the Czar,
And the bravest of these was a man by the name
Of Ivan Skavinsky Skavar.
4. He could imitate Irving, play poker and pool,
And strum on the Spanish guitar,
In fact quite the cream of the Muscovite team
Was Ivan Skavinsky Skavar.
5. One day this bold Russian had shouldered his gun,
And donned his most truculent sneer,
Down town he did go, where he trod on the toe
Of Abdul Abulbul Amir.
6. "Young man," quoth Abdul, "has life grown so dull
That you wish to end your career?
Vile infidel, know, you have trod on the toe
Of Abdul Abulbul Amir."
7. Said Ivan, "My friend, your remarks in the end
Will avail you but little, I fear,
For you ne'er will survive to repeat them alive,
Mister Abdul Abulbul Amir."
By permission of Ascherberg, Hopwood and Crew, Ltd., the owners of the coypright
64 8. "So take your last look at sunshine and brook,
And send your regrets to the Czar,
For by this I imply you are going to die,
Count Ivan Skavinsky Skavar.
9. Then this bold Mameluke drew his trusty skibouk,
With a cry of "Allah Akbar,"
And with murderous intent he ferociously went
For Ivan Skavinsky Skavar.
10. They parried and thrust, they side-stepped and cussed,
Of blood they spilled a great part;
The philologist blokes, who seldom crack jokes,
Say that hash was first made on that spot.
11. They fought all that night 'neath the yellow moon's light,
The din, it was heard from afar,
And huge multitudes came, so great was the fame,
Of Abdul and Ivan Skavar.
12. As Abdul's long knife was extracting the life,
In fact he was shouting "Huzzah,"
He felt himself struck by that wily Calmuck,
Count Ivan Skavinsky Skavar.
13. The Sultan drove by in his red-breasted fly.
Expecting the victor to cheer,
But he only drew nigh to hear the last sigh
Of Abdul Abulbul Amir. -
T4. Czar Petrovitch too, in his spectacles blue,
Rode up in his new crested car.
He arrived just in time to exchange a last line
With Ivan Skavinsky Skavar.
15. There's a tomb rises up where the Blue Danube rolls,
And 'graved there in characters clear,
Are, "Strangers, when passing, oh pray for the soul
Of Abdul Abulbul Amir."
16. A Muscovite maiden her lone vigil keeps,
'Neath the light of the pale Polar star,
And the name that she murmurs so oft, as she weeps,
Is Ivan Skavinsky Skavar. I Wish I Were Single Again
Traditional Traditional
#*f
h     fr     h
1   J„ J'l «^
E?
«
1.  Oh!   once    I   was   sin«gle,   and   then. Oh!   once   I   was   sin-gle,   and
j-1 r t t f ^ ;' i f f r jM
ai •       m
then/
Oh!   when    I   was   sin   -   gle    my   pock   -   ets   did jin   -   gle; I
Chorus:
N'    J'    ï-^ï     J* I J; J    |
is    h   is
^TT
wish       I   were   sin  -   gle      a   -  gain.
A »gain    and    a-gain    and    a
ff j. j f i ; j j ; i j> u-.  .J   j,
gain,
A  -  gain   and   a   -   gain   and   a   -   gain,
Oh!
tif-t   t   9   F   Jl   ^  '  F   F   I
when    I   was   sin  -  gle        my
pock  -  ets   did
flu
wish
jin   -   gle;
mm
II
I
were   sin  -  gle
I married a wife, oh, then
I married a wife, oh, then
I married a wife—the plague of my lift;
I wish'd I were single again.
Again and again and again.
Again and again and again.
I married a wife, the plague of my life;
I wish'd ^ were single again.
5.
My wife took a fever, oh, then
My wife took a fever, oh, thon
My wife took a fever; I hop'd 'twouldn't leave her;
I long'd to be single again.
Again and again and again.
Again and again and again.
My wife took a fever; I hop'd 'twouldn't leave her;
I long'd to be single again.
gain.
My wife, she died, oh, then
My wife, she died, oh, then.
My wife, she died, and I laugh'd till I cried
With joy to be single again.
Again and again and again,
Again and again and again.
My wife, she died, and I laugh'd till I cried
With joy to be single again.
I married another, oh, then
I married another, oh, then
I married another, far worse than the other,
And long'd to be single again.
Again and again and again,
Again and again and again.
I married another, far worse than the other,
And long'd to be single again.
By permission of Francis. Day and Hunter, Lid.
66 Anon.
IS
The King of the Cannibal Islands
Anon.
m
3^£
ü
h- h 'N   h
m j: jj.~rr*^B
mm
*-•—ei
1.   Oh, have you heard the sto - ry of    late    A * bout   the roy - ai    po - ten-ta te, For
^rfTr^^^^^^-f-ftf^
if   you    have    not   it's   in    my   pate, 'Bout   the King of    the Can-ni-bal Is-lands
Chorus:
£
t
wm
i
i
ei     *
Ho   -   key    po   -   key win   -   key   wong,     Par-ley    ma-goo    ga-goo    ga-gong;
Hang-a-ree    rang-a-ree ching-a-ree chong, The King of   the Can-ni-bal   Is-lands.
2. His kingdom stretched for miles and miles
Around about the surrounding isles,
And his subjects sharpened their teeth with files,
Like the King of the Cannibal Islands.
3. His Majesty was black as sin,
But that didn't seem to matter to him,
For that was the colour he'd always been,
Had the King of the Cannibal Islands.
67
His subjects hunted on the coast
For crocodiles to catch and roast,
And serve to him for tea on toast
To the King of the Cannibal Islands.
One day while waiting for his tea,
A coco-nut fell from a neighbouring tree,
And bonked his Cannabalic Majesty,
The King of the Cannibal Islands.
mammmm
■—■ Anon.
Johnny Verbeck
Anon.
^'cji ¿- f xir (?• g Ir c¡ ffa ¿~wß
1.  There   was      a    lit   -   tie    Dutch-man, His name   was   John-ny Ver-beck, He
lj,i)'J? J» I  J» J? J» J;   j>|j. ^^e
took    to    mak   -   ing   saus   -   a   -   ges   and    sau   -   er-kraut   and   speck..    He
ty-j> j j; j'¿ ç, r tir^Lp- h
made   the   fin-est   saus-   a   -   ges   that   e   -     var   you   did   see,        And
S
one   day   he   in  -  vent  -  ed       a   saus  -  age    mak-ing -ma- chine.
- Chorus:
k
u^m
F g ir íf'P
Oh,   Mis - ter,   Mis-ter   Johnny   Ver - beck,how   could   you   be   so   mean?
ty" a | J'.    J' j».    J J:   J' J'-   J>
L^J~-fl
I   told      you, you'd   be   sor   -   ry   for   in   -   vent-ing   that   ma-chine.   Now
$^^^=r g r it i~r^R' f "^^P
all   the   neigh-hours' cats   and   dogs   will   nev   -   er   more   be   seen, They've
^
■ZZZJMG—ZZTZZjBL-Z—Jad-L^Z. ~ »_
*=s
EE3
t=^£j ¿ r^t
all    been    ground    to    saus   -   age   meat  in    John-   ny   Ver-beck's   ma-chine.
2. One day a little Dutch boy came walking in the store,
He bought a pound of sausages and laid them on the floor.
He then began to whistle, he whistled up a tune,
And all the little sausages, they danced around the room.
3. One day the old machine broke down, the darned thing
wouldn't go,
So Johnny Verbeck, he crawled inside to see what made it so.
His wife, she had a nightmare, came walking in her sleep,
She gave the crank a beck of a yank, and Johnny Verbeck
was meat!
68 The Ground-Gopher's Hole
Traditional Traditional
p
^m
1.  Oh,       I
W^^
put   my      foot   in    the    ground   -go   -   pher's   hole, The Anon,
The Goat
Air: "And When I Die'
There   was   a    man*,    now    please    take    note;
There   was   a    man   who    had   a    goat,
He    loved    that   goat,   indeed    he   did.
He    loved    that    goat   just   like   a    kid.
2. One day that goat felt frisk and fine;
Ate three red shirts from off the line.
The man, he grabbed him by the back,
And tied him to a railroad track.
3. But when the train hove into sight,
That goat grew pale and green with fright.
He heaved a sigh, as if in pain,
Coughed up those shirts and flagged the train.
* Each phrase repeated, as in "And When I Die." Anon.
Johnny Fell Down the Bucket
Anon.
&
S
h    S    b    h
£
ai—m
f-f-f-p-^
#
I.   John-ny fell   down    the    buc-ket,   The    buc-ket   fell    down    the   well,      His
£LOaU£NT|
I   -I
wife   cut   the rope on the    buc - ket, And    John-ny   fell    down in -   to
( Chorus:
Ching-a- ling- a-ling, ching-a   -   ting - a   -   ling, Ha,    ha,    ha,    ha!
tyn J ^T^tttt-^T^^^}
These were   the words which we    heard    from   a-far;    Ching-a   -   ling -a - ling,,
JBSfefÉ
^^
*t
mm
ching-a   -   ling - a   -   ling,
m
te
Ha,   ha,   ha,   ha!      To   the
J     fJJ      |
tune    of   our
light   gui   -   tar.
"CT
Ha,   ha!
•   ' s
2.  When Johnny got down into "uh-uh/
He met with a terrible slam.
He stepped on a red-hot shovel,
And uttered the words: "I'll be —
3.  When Satan heard him a-swearin',
He clapped him right into a cell.
He said, "I'm a jolly good fellow,
But I don't allow swearing in !"
71 p
Adapted from
Longfellow's Poem
"Excelsior"
a ¡L Solo :
Upid
ee
j»
Traditional
^
¥
£   J>]>   i>
Chorus :
3=nj f  J   J'
^^
Solo:
1.   The   shades   of   night   were    fall   -   ing    fast,    (J. -   pi   -   dee, U- pi-da,  As.
Chorus: . Solo:
I
fefefc
J        I     J    j?     J   J»   J    77
through    an   AI   -   pine   vil   -   läge    passed,       U   -   pi   -   dee   - i   -   da, A
$
m^
J'   J1 ' f   f
ï=R
e
P
*
youth,   who    bore  'mid    snow   and    ice,  A      ban-ner   with   the strange de - vice :
u Chorus:
J=Z
M J ipftWlrfaë«;
4-f-P-f P P r= 	
U-pi-dee - i-dee- i   -da,      U-pi-dee,   U-pi-da!    U-pi-dee-i-dee-i-da, U-pi-dee-i-da!
*
;fm-jjjjjj.ShEm
r- r-r^-r- r * r- r- r-r* r-r-r- r-r- r*r - r -r-r-r- r-r-r-r-yah! yah! yah! yah!
U- pi-dee- i -dee- i -da,       U-P'-dee,   IKpi-da!
2. His brow was sad, his eye beneath
Flashed like a falchion from its sheath,
And like a silver clarion rung
The accents of that unknown tongue:
3. "0 stay," the maiden said, "and rest
Thy weary head upon my breast."
A tear stood in his bright blue eye,
But still he answered with a sigh:
4. At break of day as heavenward
The pious monks of Saint Bernard
Uttered the oft-repeated prayer,
A voice cried through the startled air:
5. A traveller, by the faithful hound,
Half buried in the snow was found,
Still grasping in his hand of ice
That banner with the strange device:
72
U - pi-dee«- ¡*dee- i-da, U- pi-dee-i-da ! Michael Finnigin
fflfcj. I J! J* j   i1   *   I f--P—^ J  J
PI
1.   There   was   an
S h
old    man       named    Mi   -   chael
Fin
m   -   gm,
PP
£
He    grew   whis - kers     on    his   chin
%  m       m       J* "ft     N  I—h K
gin, The   wind    came    up   and
(shout)
blew   them
i   -   gin,  Poor   old   Mi + chael    Fin
ni   - gin    begin-igin.
4.
5.
There was an old man named Michael Finnigin,
He got drunk through drinking ginigin.
Thus he wasted all his tinigin,
Poor old Michael Finnigin begin-igin.
There was an old man named Michael Finnigin,
He kicked up an awful dinigin,
Because they said he must not sinigin.
Poor old Michael Finnigin begin-igin.
There was an old man named Michael Finnigin,
He went fishing with a pinigin,
Caught a fish but dropped it inigin,
Poor old Michael Finnigin begin-igin.
There was an old man named Michael Finnigin,
Climbed a tree and barked his shinigin,
Took off several yards of skinigin,
Poor old Michael Finnigin begin-igin.
There was an old man named Michael Finnigin,
He grew fat and then grew thin-igin,
Then .he died, and had to begin-igin,
Poor old Michael Finnigin begin-igin.
73 -PW-.
Traditional
On Niela Moor Baht 'at
Traditional
In Yorkshire dialect "baht 'at" means "without a hat".  It is said that this song was written after a murder
had been committed on Ilkla Moor.   The only clue was that a strange man "without a hat" was seen in the
vicinity.
SoU>: Chorus:
Wê
mm
m
£
1.  Wheear   'as   tha   bin       sin'   ah   saw   thee?
Solo:
On    Ilk
-   la
h «U   J J
P^Ê
Ö
:oc
#
Moo
r.
baht
'at.
Wheear   'as   tha   bin   sin'   ah   saw   thee?
m
£^£
2
Chorus:
Wheear   'as   tha hin   sin'   ah   saw
thee?
^m^m^
PPEf¥P
On    Ilk   -   la   Moor   baht   'at,
On   Ilk   -   la   Moor   baht   'at.
f   r   \t'  |g
XJ:
On
Ilk   -   la
Moor    baht
'at,
2. Tha's bin a-coortin' Mary Jane.
3. Tha'll go and get thy deearth o' cowld.
4. Then we s'all 'av' to bury thee.
5. Then t' wormsll coom an' ate thee oop.
6. Then t' doocksll coom an' ate oop t' worms
7. Then we shall go an' ate oop t' doocks.
8. Then we shall all 'av' etten thee.
9. That's wheear we gets our oahn back.
74 Traditional        \Y/JaW:-~    kA^L'AJ* 19th Century
WaltZing    IViatllaa Australian Bush Song
In Australian bush slang,.a swag-man meant a hobo, a billabong was a water hole in a dried up
river bed, waltzing Matilda was the bundle tied on a stick by a hobo, a jumbuck was a small
lamb, a Coolibah tree was a Eucalyptus tree, a tucker bag was a knapsack, and a squatter was a
sheep farmer on a large scale.
$
te
P3.ULI J^Nr-Ip
1.   Once   a    jol  -   ly   swag   - man    sat   be  -   side    the bill-a-bong, Un-der the
$m
pTTp p r^F^^-^>i j. j
shade   ot   a    coo   -   li   -   bah    tree,
And    he    sang   as    he    sat   and
Ï
£~jr~Ñ
PP
*
?
wait
ed    by    the    bil
*
a   -   bong,    You'll   come   a   -   waltz   -   ing,   Ma   -
Chorus:
W£
w
^=p==p=ti
til   -   da, with    me.
Waltz   -   ing   Ma
til
da,   waltz   -   ing    Ma
|
ÉÊ
S
fr=>
Plgp^=P=i=PEÊEE£=fiP
til   -  da,    You'll   come
waltz  -   ing,   Ma
til
ir a
da, with    me, And    he
$
m
m$
*=*
^j» j i j j> J\
sang   as   he   sat and   wait  -  ed   by     the   bill-  a-bongíVou'll come  a
PP
Ï
-   waltz   -   ing,   Ma   -   til   -   da,   with    me."
2.   Down came a jumbuck to drink beside the billabong,
Up jumped the swagman and seized him with glee.
And he sang as he talked to that jumbuck in his tuckerbag,
"You'll come a-waltzing/Matilda, with me.
3.   Down came the squatter, riding on his thoroughbred,
Down came the troopers, one, two, three.
"Where's the jolly jumbuck you've got in your tuckerbag?
"You'll come a-waltzing/Matilda, with me.
4.   Up jumped the swagman and plunged into the billabong,
"You'll never catch me alive," cried he.
And his ghost may be heard as you ride beside the billabong,
"You'll come a-waltzinqfMatilda, with me.
Copyright 1936 by Allen and Co. Prop. Ltd., Melbourne, Australia. International Copyright secured.
This arrangement copyright 1941 by Carl Fischer, Inc., New York. International Copyrigh secured. Reprinted by permission.
75 Green Grow the Rushes, Ho!
Traditional
A   i       Solo:
J>
Traditional
Chorus :
&t=t*
m
s 1
p
SPP
mW
m     m
h—*■
1.   I'll    sing   you   one* ho! Green    grow   the    ruslves-ho!  What   is your one « ho?
Solo :
h     h    h
h    h    h
P P P f
f^
-•—#
One    is   one   and      all   a   -   lone   and       ev-er -   more   shall     be   so.
Chorus:
ae
J   j if    F"  F F  PP if   J
P
I'll   sing   you   two   -   ho! Green   grow   the   rushes, ho! What are your   two-ho?
Solo:
í^É
■     é^aT^à-
£
*si&
Two y two   the   IHy   white   boys,   cloth   -   ed   all        in   green  -   ho.
Chorus.
ñu vDorus:	
W p p e r j J1 J J1
h      N      P>      ^
at    ■   at
^=^f
One   is   one   and   all   a -   lone   and      ev   -   er -more   shall be   so.
Solo: Chorus :
É
j. If '>  E P-P f If «Nijlp
I'll    sing   you   three- ho!   Green    grow   the    ruslves-ho! What are your three-ho?
i. Solo: i Chorus :	
1     It    lj-f>
SE
1*=£^
ai e>
Three,   three    the    ri   -   vals,
Two,   two   the   li  -  ly   white   hoys,
* F ■ F  P  P
ppp^=£^=ï
•     aJ
Cloth -   ed   all      in    green   -   ho! One    is   one   and   all   a   -   lone   and
Solo: Chorus:
I^J'JJ1   J    J.    J If    J   J' J   ¿IfL-PlFip f
ev-er-more   shall    be    so.    I'll   sing   you    four-ho ! Green grow the rush-es-ho!
<^
^
76 tyk f J' J J - i  11 t g F f f  f
What   are   your   four  -  ho?
Chorus:
Four   for   the   Gos  -   pel   mak  -  ers,
/ P    f ■   F
m J- j j j> ^
Three,   three   the    riv      -     als,
Two,   two   the   lily   white   boys,
4£l   P   P   p -O   J  11?  P p F  J»-JU£ J* I
Cloth   -   ed   all in   green   -   bo!        One   is   one   and   all   a   -   lone   and
#
Soto/
if   J! J j T
¡
^^
ev   -   er   - more   shall     he       so.
I   i     Chorus :
IK
sing   you    five   -   ho!
p-   p r^—tr—r
í
ÜÜ|
I
Green   grow   the   rush   -  es   bo! What      »n      your     five  -  ho?
5. Five for the symbols at your door, and
6. Six for the six proud walkers,
7. Seven for the seven stars in the sky, and
8. Eight for the April rainers,
9. Nine for the nine bright shiners,
10. Ten for the Ten Commandments,
11. Eleven for the eleven went up to heav'n,
12. Twelve for the twelve Apostles.
77 Ben Jonson
(1573-1637)
Drink to Me Only
Traditional
The poem is based on expressions in the Letters of Philostratus written in the 3rd Century.   The origin of
the melody is unknown, but it was not used tsitb the poem until the middle of the 18th Century.
mm
*==+
*w#
$
1.   Drink   to   me     on   -   ly        with    thine   eyes,    And   I        will   pledge with
b.    . , in      K     K       I h  i   f-!     K     r-1     hi , r^    K   I       t i j
m
&=v
fr^n Mite
m    m
^9
mine;
P
*^m
Or    leave    a    kiss   but      in      the   cup  And    I'll    not look for
f=*m
f-f-f+f-f
wine
The    thirst   that   from    the   soul   doth    rise, Doth    ask   a drink di
L*r-n\* J' J» J    JlJ3 JT3:
vine:
But    might    I    of   Jove's    nee-tar   sup,   I would not change for thine.
2.   I sent thee late a rosy wreath.
Not so much honouring thee,
As giving it a hope that there
It could not withered be.
But thou thereon did'st only breathe,
And sent'st it back to me;
Since when it grows, and smells, I swear,
Not of itself, but thee. , The Lincolnshire Poacher
Traditional Old English
^^^pppp
wmm
1.  When    I   was   bound   ap  -   pren   -   tice,   in       fa   -   mous   Lin   -   coin
4       hi J      J'
fëf
J>|J  J'TTj'
^
Í
shire,
Full   well    I   serv'd   my   mas      te    ter   for   more than sev -   en
fon1^' r ■■ Flr"'F^"^'j jl;'j^
year, Till    I    took    up
Chorus:
to   poach   -   ing,   as   you   shall quick-i-ly
^=K
f^*
hear;      Oh,   'tis   my   de - light
=mm^
on
a   shin  -  ing   night,   in   the
i*=
J     J> J
sea   -   son   of
the   year!
2. As me and my companions were setting of a snare,
Twas then we spied the gamekeeper—for him we did not
care,
For we can wrestle and fight, my boys, and jump o'er
anywhere.
3. As me and my companions were setting four or five,
And taking on 'em up again, we caught a hare alive,
We took the hare alive, my boys, and through the woods did
steer.
4. I threw him on my shoulder, and then we trudged home.
We took him to a neighbour's house and sold him for a
crown,
We sold him for a crown, my boys, but I did not. tell you
where.
5. Success to every gentleman that lives in Lincolnshire,
Success to every poacher that wants to sell a hare,
Bad luck to every gamekeeper that wilt not self his deer.
79 -* Traditional
Early One Morning
Tradition;
H j  /JJ^LU i p i>i-r-7t-p^
1.   Ear   -   ly   one   morn   -   ing,   just as   the   sun      was   ris      ing      I
^ JL     J
heard   a    maid
Chorus:
=£ mr^m4
sing in    the val       •      ley   be        low:
j'  / J i O I
'Oh,    don't   de   -   ceive
me;
Oh,   nev   -   er
leave
me:
^J^J
How   could   you       use
poor
maid
en    so!
2. "Oh, gay is the garland, and fresh are the roses,
I've cull'd from the garden to bind on thy brow.
3. "Remember the vows that you made to your Mary,
Remember the bow'r where you vow'd to be true.
4. Thus sang the poor maiden, her sorrows bewailing,
Thus sang the poor maid in the valley below.
J The Lass of Richmond Hill
W' Upton J. Hook
*m
$
1.   On    Rich-mond    Hill    there    lives   a    lass, More    bright   than    May   -   day
i=i=     =r^= -r-  I    i       N     S      SI      r^H      F   I   ~~ft—
^^
morn.
Whose   charms   all   oth   -   er
Mi
maids
Chorus.
sur   -   pass,
*   I J   J'  J'
mj ti 'j
rose   with   -   out        a    thorn.
This    lass   so    neat,   with
ffi J1. j>   j>   J IV J   p_¿_U
V . * -M
smiles   so   sweet,      Has   won my      "right   good   -   will,
I'd
•
f   j | j»   J» ^^
P^P
crowns   re   -   sign   to
call   thee   mine,        Sweet   lass   of   Rich   -   mond
^
f>
àg=É
Ir^
Hill,
Sweet   lass
of       Rich   -   mond    Hill,
Sweet
ff-*-*-
ï\ï   i
P^P
lass   of
Rich   -   mond    Hill.
I'd    crowns   re   -   sign    to
rJN^P
I
m
X
call        thee   mine,       Sweet   lass
of
Rich   -   mond    Hill.
2.   Ye zephyrs gay that fan the air,
And wanton thro' the grove,
O whisper to my charming fair,
I die for her I love.
•-.■-.
3.   How happy will the Shepherd be
Who calls this nymph his own,
O may her choice be fixed on me.
Mine's fixed on her alone.
81 Traditional
82 Songs of Revelry
j Traditional
Solo:
Vive L'Amour
Traditional
^m
r r f f
s
p
1.   Let   ev  -  'ry   good        fei  -   low   now
Chorus: Solo:
fill    up   his      glass.
rf f P r
f   f  f f
ve    la   com
pa
gnie!
Chorus :
And   drink   to    the    health   of   our
Éi i norus : 
*¿ J J j   n7~f f i
glor       i
Chorus:
ous   class.
Vi   -   ve    la
com
pa
gnie!
r F r r r f
Vi   -  ve   la,   vi   -   ve   la,   vi
ve
mour!
Vi
ve   la,   vi   -  ve   la,
m
j\(f(f ■'ip F r r »liJ'JJ yp
£=zt
Vi-ve    l'a - mour!   vi-ve    l'a-mour! vi - ve    l'a-mour! Vi-ve    la com- pa - gnie!
2. Let every good fellow now join in a song,
Success to each other and pass it along.
3. Come all you good fellows and join in with me.
And raise up your voices in close harmony.
4. With friends all around us we'll sing out our song,
We'll banish our troubles, it won't take us long.
5. Let every married man drink to his wife.
The joy of his bosom and plague of his life!
6. Come fill up your glasses; I'll give you a toast.
Here's health to our friend,-—our kind, worthy host.
7. Since all with good humor you've toasted so free,
I hope it will please you to drink now with me.
8. Oh, why does a flea jump around with a flea?
'Cause one is a he and the other's a she.
84 There Is a T
ere is a tavern in
the T
own
Adapted from a Cornish
Folksong
Traditional
$&*±
v
$
1.   There    is
a   tav  -  ern      in   the
town,   in   the   town,      And
W
#
m^
¥
there   my   dear   love   sits   him   down, sits   him   down,
And
$
J.   l'\i   J J
m
 ^'~S	
r icJü"
^
drinks   his   wine   'mid       laugh       ter   free.    And   nev - er, ■ nev-er   thinks of
Chorus:.
J> j\  j>   J*   J*   J>   J*   j» m
me.
Fare   thee   well,       for   I        must   leave   thee,     Do   not
$
-* J'  J' «r
ji f  r  r  F
m
let   the   part   -   ing   grieve   thee, And   re   -   mem -   ber   that   the   best
*
I. JW' J*
P
of   friends    must   part.
must   part.       A  -   dieu,   a -dieu, kind friends, a
%
J-      J»
^
dieu, a   -  dieu,   a   -  dieu,       I
can
no
long   -   er   stay   with
^
^
mm
t^^t
wm
you,   stay   with    you,
I'll
hang   my   harp   on   a   weep-ing   wil - low
4  J-       (T    I    J-       *     *      J     *    ^^
tree,        And
may
the   world        go   well   with thee.
2.   He left me for a damsel dark, damsel dark,
Each Friday night they used to spark, used to spark.
And now my love, once true to me,
Takes that dark damsel on his knee.     3'  0h! di9 "* 9rave ^ wlde and deeP'wlde and deeP'
Put tomb-stones at my head and feet, head and feet,
And on my breast carve a turtle dove.
To signify I died of love.
85 Hères Health Unto His Majesty
Traditional
Jeremy Sa vi Ile   (1670)
É
A song popular during the Civil War between the Cavaliers and the Roundheads
SOU): t ft Chorus
j   j  J   JI J.   JJ7-M
1.   Here's   a     health    un
Solo:
-   to        his   Ma -   jes* ty,  With    a    fal    lal    la    la    la
Chorus:
3n
la       la!      Con  -   fu   -   sion    to        his   én-  e-mies,With a fal  lal   la la la
<l               5ofo.' 	
i$ff J   4 «■ ir F r r i f r r r'r^^
la       la!       And   he   that   will   not   drink   his   health,   I   wish   him   nekher
* i   ■    i   rii j   j   j  j   ■ j   j    nt-am,!
I jj\:j  j  J^fc
wit   nor   wealth,   Nor       yet        a    rope   to
bang   him   -   self.   With   a
ij£-«i «i  J J j> i J' J» J1 «i
fal   lal      la       la     la la,     la        la     fat       la
!» J   J   J
fal       lal      la la       la
2.  All Cavaliers will please combine,
With a fal lal la la la la la!
To drink this loyal toast of mine,
With a fal lal la la la la la!
If any-one should answer "No,"
I only wish that he may go
With Roundhead rogues to Jericho,
With a fal lal la la la la la la la la,
With a fal lal la la la la la.
Here's a health unto his Majesty,
With a fal lal la la la la la!
Success to all his policies,
With a fal lal la la la la la!
And he that will not drink this toast,
I only hope the traitor's ghost
Will go to whom the Roundheads roast,
With a fal lal la la la la la la la la,
With a fal lal la la la la la.
86 Down Among the Dead Men
John Dyer (1700-1758) Traditional
A song popular during the Georgian Period.
iftW j1 J11 r   p up r ^
^
1.  Here's   a   health   to   the  King      and   a   last   -      ing    peace,       To
4
È
^m
j >i r t r
^
fac   -   tion   an   end,      to   wealth       in   -   crease!   Come,   let's   drink   it
$
m
N     S
ff3=?
^
while   we   have   breath,    For   there's   no   drink - ing   af   -   ter   death. And
Chorus :
$_ï     || jT-jyt^f
t
f  »F  f_-g
I
ï
he   that   will   this        health   de   -   ny,
b-=fc
Down   among    the   dead    men,
mm
^
33
Down   a   -   mong    the   dead    men,     Down,       down.
down,
$
m
F   F'  <g=F
down,
 ¿3V_
1
^
Down   a   -   mong        the   dead
men
let
him
lie.
2. Let charming beauty's hearth go round,
In whom celestial joys are found,
And may confusion still pursue
The senseless woman-hating crew;
And they that woman's health deny,
3. In smiling Bacchus' joys I'll roll,
Deny no pleasure to my soul;
Let Bacchus' health round briskly move,
For Bacchus is a friend to love.
And he that will this health deny,
4. May love and wine their rites maintain,
And their united pleasures reign;
While Bacchus' treasure crowns the board
We'll sing the joys that both afford.
And they that won't with us comply,
87 Come, Landlord, Fill the Flowing Bowl
Traditional
Traditional
J' I p   J'   J1   J | j   J'  jHrTjr  r  F  F
1.  Come,   land   -   lord,   fill      the    flow   -   ing   bowl,  Un   -   til   it   doth
run
güp
* ~K
m
0      m
s*
o       ver.     Come,    land        lord,   fill   the        flow   -   ing    bowl,     Un   -
Chorus:
m
^^^^m
p^
til
it   doth
run
ver,
For    to   -   night   we'l
pm=£~4=^ r i F'  ? M-ig-M r-f^
mer   -   ry,   mer   -   ry    be,
EJ>bfrJ'.   J
For to-night   well    me*-ry,    meiwy    be,
m* } }\J aj
MM P-PP-^
For   to-night   well   mer-ry,   mer-ry   be,   To-mor «row   well  be   so - ber.
2. The man who drinketh small beer,
And goes to bed quite sober,
Fades as the leaves do fade,
That drop off in October.
3. The man who drinketh strong beer,
And goes to bed right mellow.
Lives as he ought to Ihre,
And dies a jolly good fellow.
4. But he who drinks just what he likes
And getteth half-seas over,
Will live until he die, perhaps,
And then lie down in clover.
5. The man who kisses a pretty girl,
And goes and tells his mother,
Ought to have his lips cut off.
And never kiss another.
88 ^
German Student Song
Translated by Oambambuli
Prof. J. Stuart Blaclue
Recipe for Crambambuli: "Take two bottles of light porter or ale and boil them in a pan. Then
put in half a pint of rum or arrac, and from half a pound to a pound of loaf-sugar. After this has
boiled for a few minutes, take from the fire and put into the mixture the white and the yellow of
from six to eight eggs, previously whisked properly into one homogeneous mass. Then stir the whole
for a minute or two, fill into a punch-bowl and drink out of tumblers. It tastes equally well cold
or hot."
m
w
m
ï^S
E
1.   Cram   -   bam   -   bu       -   li,
My      pan   -   a   -        ce-
that   is the
a's       in the
bea
quor    That
ker,       For
fires   the   blood,   makes
ev   -   'ry ill       that
bright
earth
the
con
brains,
-   tains.
At
$
mm
wm
0—0
morn   -   ing    bright,   at   noon,       at »night. Cram-bam-bu   -   li    is   my   de-light
i
m
$=$=m
r -i r ; - ■
Cram  - him  -  ba
m
bam   -   bu   -   íi,       Cram   -   bam   -   bu   -     li.
2. When on the road mine host receives me
Like some great lord or cavalier,
No fuming roast or boil deceives me,
"What, garçon, ho!—the cork-screw here!"r
Then blows the guard his taranti,
To my good glass Crambambuli,
CrambimbambambuK, Crambambuli.
3. When queasy qualms torment me sadly,
As some vile imp my soul possessed;
When heaped distempers goad me madly.
Colds in my head, coughs in my breast1—
Sir Doctor, devil take your drugs!
Why, don't you see our merry mugs
Bright with Crambambuli, Crambambuli.
4. Were I the Kaiser Maximilian,
A noble order in the land,
I'd make and write in bright vermilion "
This motto on a silver band—
By permission from The Scottish Students Song Book.       39
'Toujours fidèle et Sanssouci,
C'est l'ordre de Crambambuli,
Crambimbambambuli, Crambambuli."
Whoso at us Crambambulisten
Proudly turns up his churlish nose,
He is a heathen and no Christian,
For God's best gift away he throws;
The fool may bawl himself to death.
I will not give, to stop his breath,
One drop Crambambuli! Crambambuli!!! Brothers, Circle Round in Chorus
Translated by Melody by
Prof J. Stuart Blackie J. G. W. Schneider
&B
á
j I J- -j J i
3É
1.   Bro
thers.   cir
cle   round
in   cho
rus.
t
i*
s
i^P
J   I I J   J I
Sing
as sang
our   sires
he   -   fore
us,
to
^
^^
ä
as
Quaff
your   glass   -   es,
raise
your
ver   -   ces
ft» -L *
£
To
our
glo
^
:o
rious li
ber   -   ty!
^
2. To all lovely maidens fill we!
Chaste as charming may they still be!
Pour a sparkling bright libation —
To all maidens now drink we!
3. Men who moved our hearts to duty,
Taught us wisdom, showed us beauty,
Whom we honour, whom we follow,
Fill to them with three times three!
4. And, when life's harsh toils are over,
Under lime-trees' cooling cover,
Brother brave shall meet brave brother,
And remain for ever thus.
5. When I cross the dingy ferry,
Trusty Charon, in thy wherry,
O then, one last draught restoring
Give for my last obolus!
By permission from The Scottish Students Song Book.
90 Edite, Bibite
From bUII^    UIUIIC From
Kindleben's Studentenliedern Methfessel's Commers und Liederbuch
(1781) , ¡ (1818)
fe
j i j  n j
i
ä
"X
1.   Loud   let       the   glass   -   es clink,
Drink   deep, nor
tfft J1 i > -mM
i
r» #
iP^
spare   the   flow  -  ing   bowl!       The   man   who fears   to
Chorus:
drink
^ r - 0 w-Ff   * i r  J1 j -i J- J j j r r p
Has   no      true    soul.
E  -  di  -  te,    bi  -  bi  -  te, col  -   le  -  gi
jftfc r r » i—r—r r '^ J'Jij' «^u J'»
a   -   les,
Post   mul  -  ta   sae  -  cu  -  la,   po - cu  -  la nul   -   la.
2. This is the student's hour,
The stern professor's work is done;
We own no other pow'r
Save wine and song.
3.  Here rules the rosy god;
Exalt old Bacchus to his throne,
And, drawing round the bowl.
Serve him alone.
4.   Enjoy, while powers remain.
Life's pleasures in their prime;
Old age brings-not again
Youth's golden time.
By permission from The Scottish Students Song Book.
91 Translated by
D. G Morton, Arts '49
The F
armer
Norwegian Student Song
$
û
mM
3
*¥
x>
1.  There   was
jol   -   ly,  old      farm
er   once,
Who
$
m
m
m=^^m
was   go   -   ing   out af   -   ter   beer,
Who   was   go
^mM
m
Chorus:
mg
j j i r =
m
:0
out   af   -   ter       beer.
Who   was   go   -   ing   out   af
^
mg
ter
-M^ff
m
beer, af - ter beer,   af - ter hops
sa   -   sa,        Tra
h
ty ,)       J   | J^r^
I
â
W^^
la,
Who
wis   go
ing
out   af   -   ter   beer,
2. A student came to the farmer's wife 6.
While the farmer was out after beer,
White the farmer was out after beer,
While the farmer was out after beer, etc.
3. The student tickled her under the chin,
And kissed her and called her his dear,
While the farmer was out after beer,
While the farmer was out after beer, etc.
4. BUT the farmer stood behind the door,
Where everything he could hear.
He hadn't gone out after beer.
NO! he hadn't gone out after beer, etc
5. He took his wife and the student, too,
And throw them out on their ears,
And then he went out after beer,
YES,! then he went ont after beer, etc
The moral is: take your wife along
If you're going out after beer.
If you're going out after beer,
If you're going out after beer, etc.
92 The Devil
Swedish Student Song
Translated by
D. C. Morton, Arts '49
In order to get the full effect of this song the table should be struck thus Jï J^1 J    with one's tankard
or fist at the end of lines 1. 2, and 4,
^^
isi at me ena of m
mm*
JUL-    j-£
1.   When    you    wan   -   der   to    the    ta   -   ble    free     from    care,
—b srr
Ev
ry
Pm£
?
P^i
I
thing   your    hun - gry    stom   -   ach craves    is    there,
f^
And    to
ff r if r p j^jj- jij; i^mm^ß
quench    the    flames   of    thirst   that fire   your   throat   as   you draw near, Stands   a
iff r F r '.cm
#
pes
gleam   -   ing,    gol   -   den    row of       bot   -   tied
2. When at last the pangs of hunger you appease,
And your thirst has drowned itself in beery seas,
Then perhaps you feel contented, by no earthly ties you're
bound,
And you think the joys of heaven you have found.
3. But, my friend, I fear that you are far from right.
For your blackened soul can never know delight,
While down yonder, 'way down yonder, in your stomach's
murky deeps,
¡¡¡¡Waiting for a drink, a devil vigil keeps.
4. To the sound of happy songs and memories,
All restraint and inhibition swiftly flees,
And of glasses full of whiskey you have soon drunk half a
score,
But that devil down inside you still wants more.
5. In your glass the whiskey gleams like molten gold;
Ere you know it, 'neath the table you have rolled;
With a blissful smile the tender arms of Morpheus you seek,
With intoxication's roses on your cheek.
6. But next morning when you wake up pale and wan,
With a haggard face you greet the cold, grey dawn,
And that devil in your stomach, that last night made such
demands,
Now is beating in your skull on frying pans.
93
beer. I f
Son oí a Gambolier
Traditional
Traditional
m
PP J» J' j»_j ; i jT> ; Jjt^e^h
1.   Come,   join    my   hum-ble    dir-ty, from   Tip per* y   town    1    steer.
Like
ev -'ry   hon .est   fel - low, I    take   my      la  -  ger   beer,       Like
ev  -'ry   hon-est   fel-low, I        take   my    whis - key clear,    I'm   *
m i ä* /Ä \-£tj-j. ^mm »
s
ram    bling    rake    of    pov-er-ty   and      the    son   of   a    Gam   -   bo   -   lier;
Chorus
JUJgppj
Oh!    I'm     the   son   of   a,son   of   a, son   of   a, son   of   a   Gambolier, Oh!
I'm   the    son   of   a,   son   of   a,   son   of   a,   son   of   a   Gam-bo-lier.  Like
$*F- ï^^ç=^m*m*. I j *=sm
ev   -   'ry   hon - est   fel-low, I      take    my      whis - key   clear,   I'm   a
ram-bling    rake   of    pov - er.ty   and the      son   of   a   Gam   -   bo   -   lier,
2. I went into a public house, away down Horseshoe Ferry;
The landlord ask'd me what I wished, and I answered Tom
and Jerry."
He looked at me suspicious and my honesty did doubt,
Then they seized me by the slack of my pants and quickly
heaved me out.
3. I went on board a ship one day, as down at the dock she lay.
The captain on the upper bridge, he started shouting "Hey !
What does THAT want on board, my lads? And I answered,
"Hey to you !"
And then they flung me overboard and nearly drowned me
too.
94 4. I went into a village one day, a charming rural spot;
The local copper ups an' says, "Get out, you drunken sot!"
I caught him a smack on the left eyeball, and then he arrested me;
But what care I for a month in clink, when the food and the
lodging's free?
5. Had I a barrel o' whisky, and sugar three hundred pound,
The college bell to mix it in and the clapper to stir it round,
I'd make such a brew of whisky punch, V drink to friends
far and near. ^
I'm a rambling rake of poverty and the son of a gambolier.
6. Oh ! Ladies fair, beyond compare, oh, be ye maid or wife,
Oh, sometimes spare a thought for one who leads a wand'r-
ing life.
Think what it means, where'er I be, to whatever spot I roam,
There's no one cares a jot for me; there's no place I call
home.
95 ^
And When I Die
Traditional
And   when    I die.
Traditional
'i'1 , i P
¡>    f   M -^g^
1.   And   when    I die,
Don't   bu  -  ry   me   at
p
Don't   bû   -   ry   me   at       all
>   J   J» J» J JH-*-*
Just   pickJe   my
=ü=
T^^jp*^
all,
Just   pick  - le   my   bones
1
bones
In   al   -  co  -   hoi.
rt  r f
»    J   J -¡j—r^=*
In        al   -  co  -       hoi.
— Put   a   boMla   of
|S
«.
Put   a    bot   -   He   of   booze
mi j 11 j=é
booze
f ¡r g r r
x=aa
my   bead   and
o^
At   my   head   and   feet,
#¥
feet,-
T^^T
And   then    111   know   My bones will   keep.
=®c
^T^T^
sí
*
And    then    111   know
My    bones    will    keep. Hand Me Down My Walking Cane
Traditional
Iff i j* J lr
^
Traditional
Hand   me   down
m
±
P  p'p
• «i* >^
Ë
1.   Hand   me   down
t ji y   )
f      p  P '!'■
J J» i J*
my   walk   -   ing   cane,-
my   walk   -   ing
F   P   I?   glp
^ »J hJ
cane,                                      Hand   me   down                                         my   walk   -   mg
     H*"d   me   down ,«___—________  my   walk   -   ing   cane,	
Chorus: '         .     k        l        k     h    b
f'     «M F
Í
S £
S
¿ ;   u
?
cane,
Oh,   hand    me    down      my   walk- ing    cane, I'm   goin'    to   leave on    that
£
j, j. j. j. ■ jess
S
Ï
mid  -   night train,  'Cause   all    my   sins        are tak   -   en        a   -  way.
2. Hand me down my bottle of corn,
I'm a-goin' to get drunk as sure as you're born,
3. I got drunk and I got in jail.
And I had no wife to go my bail,
4. Beans was tough and the meat was fat,
.And oh, my Lord, I couldn't eat that,
.5.   If I had listened to what mama said,
I'd 'ave been sleeping on a feather bed,
6. Come on, mama, and a-go my bail,
And get me out of this bloomin' jail,
7. The devil, he chase me round a stump,
Thought he was gonna catch me at every jump.
8. Oh, hell is deep, and hell is wide.
And it ain't got a bottom, and it ain't got a side.
n\\
/
/
By permission of Francis, Day and Hunter, Ltd.
97
J 1.  Old   King   Cole        was   a mer   -   ry   old        soul,     And   a
y j j j
j j' j
i
-e>-^
mer   -   ry   old        soul   was he;
He   called for   his
*
J   i Jl I   HI
J   J t
h=fr
•—e>
pipe   and   he      called   for    his   bowl!  And    he   called   for   his   pri. vates
#
i   i   ¡r t î * \ í i i
0=±
three.
Now   ev   -   'ry   pri   -   vate      had   a ve  -  ry   fine
ty J    'j j i J1 J* **   r   r  i *L ^^
thirst.        And   a ve *   ry   fine   thirst had he;
»j»1 4    .*    i    0   I J    J» J> j   ¡
^^
i
Beer!    Beer!    Beer!    Beer!Beer!"   said   the   pH   -   vates,And    three    mer
ry
J-        ^ / |   r    f    J    J
men   are we
For   there's none   so rare   as
¿*J   ¿   J   ; J.l J    **   a*   .
^
can   com  -  pare     With   the       men of   the
98 Old King Cole was a merry old soul,
And a merry old soul was he;
He called for his pipe and he called for his bowl.
And he called for his corporals three.
Now ev'ry corporal had a fierce moustache,
And a fierce moustache had he;
"Left, right, left, right, left," said the corporate,
"Beer! Beer! Beer! Beer! Beer;" said the privates,
And three merry men are we!
For there's none so rare as can compare
With the . . . etc.
King Cote calls for other rank's, whose attributes may
be summarized as follows :
Now every sergeant had a very loud voice,
Now every subaltern had a fine grouse.
Now every captain was a hard-worked man,
Now every adjutant had a restive horse,
Now every major had a fine big swear,
Now every colonel had a very sore head,
Now every general had two red tabs,
Each verse runs backwards from the rank just mentioned to the first, so that the last one runs :
Old King Cole was a merry old soul,
And a merry old soul was he;
He called for his pipe and he called for his bowl,
And he called for his generals three.
Now'every general had two red tabs,
And two red tabs had he;
"We're all very great men," said the generals,
"What's the next word of command?" said the colonels,
"Blankety-blankety-blank!" said the majors,
"Won't anyone hold my horse?" said the adjutants,
"We want three months' leave!" said the captains,
"We do all the work," said the subalterns,
"Move to the right in fours!" said the sergeants,
"Left, right, left, right, left," said the corporals,
"Beer; Beer! Beer! Beer! Beer!" said the privates.
And three merry men are we!
For there's none so rare as can compare
With the . . .
99 Traditional
I've Got Sixpence
Traditional
A reminder of the days when sixpence a day was a soldier's pay t» the British A rmy
Ng=I
S
i   J   J>   J    \ß=m
I've   got six   -   pence, jol   -   \y,   jol   -   ly     sac   •   pence,
l|'¿   J   IjJ     JIJ   J)   JIJ    j,  j. I
I've    got eh  -   pence   to last   me all    my Kfe,      I've    got
kj,*7~ J    J* I J-    J   I j j
tup   -   pence    to    spend,    and tup   -   p<
/ J    J»
pence   to   spend,   and tup   -   pence   to   lend, And    tup-pence   to
ty:> / J J'l J j i J   Q\* J ij r I
send    un   -   to       my   wife,       poor    wife.
No       cares    have    I te
UV ■■'   N   j U i j jN   >JHJM
grieve
Ne   prêt  -  ty       lit   -   tie   girl to   de   -   corvo
ij* f   j. j.lJ> J» J» JN   J I j 4 If   Jg
me, I'm   aa   hap  -   py   as   a        hing,   be  -  lieve
ffj     J    |J./p=p^
me,       Aa
j  j \ 4 urn
we go
roll   -   ing,    roll   -   ing home,   dead      drunk.    Roll -
ing
0m
#
> i N    j   lj-^J'N   J J|
home,    dead    drunk,    roll   -   ing    home,    dead    drunk«     ly   the    light   of   the
j* ê  J^Ny^JVJr Ig m e'j   J' *l
sil   ••  ver  -  y   moon
Hap  -  py    it  the   day   when   the
rf.P   F   g FU   J I-J   Jljr^ J'l^   Jlil   »
sail  -  or
id   -   dier     ge*5    his    pay      As   we   go    roll - ing,   roll • ing    home, dead drunk.
air  -  man
100 Sones oí the
British Isles Wi1 a Hundred Pipers an1 a1
Lady Nairne Old Scottish Air
(1766-1845)
In ¡745, when Bonnie Prince Charlie occupied Carlisle on his triumphant march southwards, he entered
the castle preceded by 100 pipers.
jjftfl j j i J   j. j j j. i j   ï j   p i r   J
ffis%
1.  Wi'   a   hun  -  dred   pip- era   an'   a'
an'   a',
A   hun  -  dred
■■    4
I
i s
S
.J i.¿ 4-
fe
pip  -   ere   an'      a', an'   a',     We'll up
.*   _:*_   #
^
an    gi e    em   a   *.
P  P I f -    * J,/" J I J    i il
^
blaw,   a   blaw,      Wi   a        hun   -   dred   pip   ers   an'     a', an'   a*.
Ë5É
P   P  I?  P
3^
0,  it's       ow  -  er   the   Bor  -  der,   a  -  waj
a   - wai Ifs
li
w
m^
•r    ^
ow  -  er
wa,'
wai ^   lt*$
the   Bor  -  der,     a  -
^'   »   '   " F    F  ' f    p
P    P     P'N*"   P   ^
ow - er
a   - wa'
^ p j* ^=
to Car
lisle   ha',       Wi'   its
ï
yerts,
it's   cas  -   tie
an
•;
an'
Use first verse also as chorus as far as%
2.  0 our soldier lads they looked braw, looked braw,
Wi' their tartans, kilts, an' a', an' a',
Wi' their bonnets and feathers and glittering gear,
An' pibrochs sounding sweet and clear.
Will they a' come back to their ain dear glen?
Will they a' come back, our H ¡eland men?
Second-sighted Sandy looked fir* o wae,
An' mithers went IS they marched awa'.
102 O wha is foremost o' a', o' a'?
O wha does follow the blaw, the blaw?
Bonnie Charlie, the Prince o' us a', hurra'!
Wi' his hundred pipers an' a, an' a'.
His bonnet and feather he's waving high.
His prancing steed just seems to fly;
The nor' wind sweeps through his golden hair.
An' the pibrochs blaw wi' an' unco' flare.
The Esk was swollen sae red and sae deep,
But shouther to shouther the braw lads keep;
Two thousand swam o'er to fell English ground.
And danced themselves dry to the pibrochs' sound
Dumbfoundered the English they saw, they saw,
Dumbfoundered they heard the blaw, the blaw!
Dumbfoundered they a' ran awa', awa',
From the row of the pipers an' a', an' a'.
^
103 Loch Lomon
Lady John Scott
Lady John Scott
(1810-1900)
A. W. Tomlyn suggests that the words may refer to the hardships experienced by the Jacobites during the
revolution of ¡745. Lady John Scott is also believed to have composed the melody for "Annie Laurie".
^m
M
r   J     ¿J
I
5/
1.   By   yon
bon nie   banks   and   by
ypn   bon - nie   braes, Where   the
£i
p
sun   shines   bright        on   Loch Lo   - mon', Where
ftp rç J- Jl p ' * J' * J j ±*
me   and   my      tree
love   were   ev  -  er    wont   tae   gae,    On   the
p=mm
" r r    p
r4—
bon  -  nie,
Chorus:
bon   -   nie    banks
Loch
Lo
mon
^
r~j< j   y j-i J ^t^tj j, j
ye'll   tak'   the   high
road   and    111 tak'   the low   road,  And
ft. J   J J
I'll be   in
m
m^£
Scot  -   land
fore
ye,
But
ft r   p p «i J' .p i «* ■>' / i j j> i i
me
and   my   true   love       will   nev   -  er   meet   a   -   gain. On   the
ft j i  i f  r   p *
i
bon  -  nie,      bon  -  nie       banks        o'     Loch
2.  Twas there that we parted in yon shady glen.
On the steep, steep side o' Ben Lomon',
Where in deep purple hue, the Hieland hills we view.
And the moon comin' out in the g loa m in'.
U
mon.
3.  The wee birdies sing and the wild flowers spring,
And in sunshine the waters are sleeping;
But the broken heart it kens nae second spring again,
Tho' the waefu' may cease frae their greeting.
104 Ye Banks and Braes
Old Scottish Air
Robert Burns
(1759-1796)
In the days of Mary, Queen of Scots, the French and Scottish Courts were closely linked.  Norman songs
were known in Scotland and this Scottish Air has been found recorded in a French manuscript of the ¡7th
Century.
It is said that Napoleon, while* on St. Helena, remarked to a lady one day, "The music of England is execrable. They have only one good melody: 'Ye Banks and Braes of Bonnie Doon."
P
?=3>
v4
1
m
€m£
0^=m
1.   Ye   banks   and    braes
o'    bon   -   nie    Doon,       How    can
ye
m
J   Q\i  j» JJ AQ f
m
bloom    sae   fresh and    fair?      How   can ye   chant,       ye    lit   -   tie
f    f—7      hi  J~""^      h     P*-!        lI    ^     hi      ^  I 0      1
y j;j j' i o j' j^s
*
m
0 0
bird       And    I
sae   wea   -   ry, fu'   0'   care? Thou'll break my heart,
pu
¡2=5:
fjr J'l r? p
â
thou   warb   -   ling    bird.       That   wan  -  tons   thro'   the   flowery   thorn;Thou
#m
ö
Ü^
Ç3 h /\ j,
minds    me    o'
de   -   part  -   ed   joys, De  -   part  -  ed   nev
er
m
i
to
re  -  turn.
Aft ha'e I rov'd by bonnie Doon,
To see the rose and wood-bine twine;
And ilka bird sang o' its love.
And fondly sae did I o' mine.
Wi' lightsome heart I pu'd a rose,
Fu' sweet upon its thorny tree,
And my fause lover staw my rose,
But ah ! he left the thorn wi' me.
105 Annie Laurie
William Douglas of Fingland
(1685)
Lady John Scott
-(1810-1900)
The poem was written by young Douglas who was in love with Annie Laurie, the beautiful daughter of Sir
Robert Laurie, first baronet of Maxwellton.  The lady's hand, however, was given eventually to another
suitor.
iji11 i   L j '   M l_l_Uli^!. j_g^J
*
1.   Max - well - ton   braes   are   bon
nie,
Where   ear   -   ty   fa's
the
dew,
And   it's   there that   An   -   nie       Lau  -   rie Gi'ed
ft1 / j j. jii'j.    * y^T^TT P
me        her   prom   -   ise   true.
Gi'ed   me        her   prom   -   ise
ft r '    j i çmp=m çmmm=£=t -=
true,
Which   ne'er   for  -  got      will        be;
And        for
^*3*\¿i jf^ ii.j\¿,'\
bon •- -nie   An  -  nie   Lau  -  rie     I'd
2. Her brow it like the snaw-drift,
Her neck is like the swan.
Her face it is the fairest
That e'er the sun shone on,
That e'er the sun shone on,
And dark blue is her e'e;
And for bon nie Annie Laurie
I'd lay me doon and dee.
3. Like dew on the gowan lying
Is the fa' o' her fairy feet,
And like winds in summer sighing,
Her voice is low and sweet.
Her voice is low and sweet,
And she's a' the world to me;
And for honnie Annie Laurie
I'd lay me doon and dee.
by
me    doon    and   dee.
106 Comin' thro1 the Rye
Old Scottish Air
Traditional
(First, verse by Robert Burns)
The Rye is a shallow stream flowing over a stoney bed and it was the custom for the young men of the vil-
age to gather on its banks in the evening to exact a toll of a kiss from the girls as they crossed over on the
stepping stones.
ffnj;   J J. J1-   J-'^JlJL/    \}-r-p^§
1.   Qin   a    bo   -   dy   meet    a    bo   - dy> Comin'   thro'   the    rye,
If J: J Í r jl- J^ I J' ¿TT¿
Gin        a   bo   •   dy   greet   a   bo  -  dy Need   a   bo   -  dy   cry?
Chorus:        k     k ..      l       L
if r ¡, j j r j t *=nrr
£Ü
II  -   ka   las - sie   has   her   lad - die, Ne'er   a   ane   hae      I;
kRjf J J J'faN^^M
But
a'   the   lads   they   smile   on   me    When   com   -   in'   thro'   the   rye.
2. Gin a body meet a body,
Comin' frae the well,
Gin a body kiss a body
Need a body tell?
3. Gin a body meet a body,
Comin' frae the toon,
Gin a body kiss a body,
Need a body gloom?
4. Amang the train there is a swain
I dearly lo'e mysel';
But whaur his hame, or what his name,
I dinna care tae tell.
107 The Glen Whorple Hielanders
A regimental song of the Canadian Scottish. The Gaelic words "Slainte Mhorl" mean "Good Health", and
are only used when drinking.
1.  There's   a    braw   fine    reg- ¡-ment     as   il  -  ka «ten   should   ken, They   are
$t iM t f j> j i ;■ j j». j j ,ip
dee - vils   at   the    fech  -  ten,   they     ha'e   durad   a    sieht   o'   men. An'   ha'e
iff g * J ^r rift r m Jü
*
sup pit   muck  -  le   whus-ky   when   the   can  -  teen   they   gang   ben. Hie-Ian'
Chorus:
=1     J1  J     J
s= -g-c- r i r r fl
=o
men    frae   braw   Glen   Whor  -   piel    Hooch!   Glen   Wher-pie, Hie - Ian' men!
ff r    a   r J» i J»| J J Jr^
£
Great,   strong, whus - ky   sue  -  pin'   Hie   -  Ian' men,      For   they   were
¿Ui_¿J
Fg-iE-P-l
hard   -  workin',   hairy  - leggit    Hie-Jan   men  Slain-te    mhor,   Glen    Whor   -   pie!
2. They were foonded by McAdam, who of a' men wea the
faint,
He maided in Glen Eden, whaur he pipit like toe bent,
Wi' a fig leaf for a sporran, an' a pairfect Hielan' thirst,
Tul he stole awa' the apples frae Glen Whorple.
3. When the waters o' the deluge drookit a' the waurld o'er,
The Colonel o' the regiment, his name was Shaun McNoah,
See a muckle boat he biggit an' he sneckit up the door,
An' they sailed awa' frae dooned Glen Whorple.
4. But syne he sent a corporal, and gert him find the land.
An' he cam' back wi' an empty whusky bottle in his band,
See they kent the flood was dry in', he was fu', ye understand.
For he'd found a public house abune the water.
108 5. When the good King Solomon was ruler o' the Glen,
He had a hundred pipers and a thoosan' fechten men,
An' a mighty fine establishment I'H hae nae doot ye ken,
For he kept a sieht o' wives in auld Glen* Whorple!
6. Then there cam' a birkie bangster, wha was Chieftain o' the
Clan,
His name it was t' Wallace, an' he was a fechten mon.
When the bonnie pipes were skirlin', then awa' the Southron ran
Frae the dingin' o' the claymores o' Glen Whorple.
7. When the bonnie pipes are skirlin' an' the lads are on parade
In the braw Glen Whorple tartan, wi' the Claymore an' the
plaid,
When the Sergeant-major's sober, an' the Colonel's no7
afraid
O' seein' tartan spiders in Glen Whorple!
8. ; Eh, a bonnie sieht they mak', but gin the canteen ye gang
ben
When the morn't parade is over, she'll be fu' o' drinkin' men,
An' a thoosand canty kilties will be settin' doon the Glen
For they drink a power o' whusky in Glen Whorple!
¡
109 The Road to the Isles
Kenneth Maeleod Malcolm Johnson
1.  A.
far   croon  -  in'   is   pu Hin'   me   a   - way  As
IE
m
r=*
p-pFif    /Jir  cjn
tak'   I   wi'   my   cromak   to   the   road,
The   far Cool  -  ins   are
p* J J1 J» j- f iF r f 1' j» j'l J I.)     I
Dut-tin'   love   on   me As   step   I   wi'   the sunlight   for   my    load.
Chorus.
horns.  s     .        	
fM'IP /■ J- J1 P J: J: J'lJ,Jj!JJ {3
Sure,   by   Turn  - met   and Loch   Rannoch   and Loch - a - bar  I   will   go,    By
lr{>J>j J!   t*l  p P If    p-p|F J»J' jig
heather   tracks   wi'   heaven   in   then* wiles;     If   it's   think in' in your inner   heart
|ft)[r J J   J J' j ï f If g   (?■   J j J>¿ , JIU^NI
brag- garfs   in   my   step, You've   never   smelt   the   tangle   o'   the Isles. Oh, the
pr fn gi^ J/j rig ry j'J^JM1
far   Cool  -  ins   are   puffin' love on   me, As   step I wi'   my   cromak to the Isles.
2. It's by. She i I water the track is to the West,
By Ai Hort and by Morar to the sea,
The cool cresses I am thinkin' o' for pluck,
And bracken for a wink on Mother knee.
3. It's the blue Islands are pullin' me away.
Their laughter puts the leap upon the lame,
The blue Islands from the Skerries to the Lews,
Wi' heather honey taste upon each name.
By permtssion of Boosey and Hawkes, Ltd.
110 —
Robert Burns
(1759-1798)
Auld Lang Syne
Old Scottish Air
Like "Comin' through the Rye", the melody of this -ancient Scottish air is built upon the pentatonic or five-
toned scale, probably due to the early form of the bagpipe on which only these five tones could be played.
This scale antidates all written history and the Chinese are known to have used it in 2800 B.C. According to
tradition hands are clasped at the words "And there's a hand, my trusty fiere . . ."
fe
1 b       h     ^
•      w    l   ¿te      ^    *      *
i
1.  Should   auld   ac-quaint-anee       be   for   -   got. And    nev   -  er   brought   to
i$» f    p \f^mt
$
min'?        Should   auld      ac * quaint - anee   be        for-got,        And
Chorus :
^=?
»
days        of       auld   lang   syne?
For        auld
lang
^
mm
i
m
syne.
my   dear,       For   auld
lang
syne
We'll
m
j i j'
P j -T3IQ M
1
tak'
a   cup   o'       kind  -  ness   yet  For   auld
lang       syne;
2.  And here's a hand, my trusty fiere.
And gie's a hand o' thine;
And we'll tak' a rieht guid willie waught
For auld lang syne.
Ill
—i The Minstrel Boy
Thomas Moore Ow Irish Melody
¡ft"   I   I j.       J   iPPf
m¿
1.   The   Min  -   strel    Boy      to   the       wer
is    gone,
In   the
j   j jij. t^m
m
ranks   of   death you   will   find        him;   Hie   fath -er's   sword   he   has
r  p p iJ ^
^m
gird  -  ed   on.      And   his wild   harp   slung
be   -   hind   him.
pt   r   r   P^
J    j  ,j
"Land   of   song!"        said   the
war   -   nor
bard,    Though
ift ¿ j j ¡J i r p r   r i j,   j> O o
^
all   the   world      be       trays        thee,   One sword,   at   least,   thy
Ü^
P
rights   shall   guard,      One   faith   -   ful   harp
shall praise   thee.'
2.  The Minstrel fell! but the foemen's chain
Could not bring his proud soul under;
The harp he loved ne'er spoke again,
For he tore its chords asunder:
And said, "No chains shall sully thee,
Thou soul of love and bravery!
Thy songs were made for the pure and free,
They shall never sound in slavery."
112 Bendemeer*s Stream
Thomas Moore
Old Irish Melody
Like Robert Burns in Scotland, Moore introduced some of the loveliest ancient Irish Airs to the world by
means of bis eloquent poetry.
v* i; ' j.
m
1.  There's   a    bow   -   er   of      ro   -   ses        by   Ben   - de - meer's   stream,
^ J'  J' IJ   i  i 'i   J
ml
j&
i
And   the       night -  in  -  gale   sings   round   it       all       the   day   long;
i
J I J.    J J
i i ■ i   *
3D
In    the        time   of my   child   -   hood   'twas    like   a       sweet   dream
4b ¡   ' J    J    j   ' J.   J-    ^IJ-   J"3^
To
^
sit        in the
ro   -   ses   and   hear   the   bird's    song.
S3
i i i   r   r i r" r- r i ^
$
That        bow'r   and its    mu    -    sic I        nev    -   er      for   -   get,
£
Í
^^
But   oft
when   a
lone
Í^H
in   the   bloom   of the   year,
J   JIJ
*
3^£g
3^
I   think,
Is   the   night  - in   -  gale   sing   -   ing     there   yet?
fy i J'1 J   j j 'j   J   J '<=*      J <f'1'1 ^
Are   the   ro   -    ses   still   bright        by   the   calm        Ben   •
2.   No, the roses soon wither'd that hung o'er the wave,
But tome blossoms were gather'd while freshly they
shone^—
And the dew was distill'd from their flowers that gave
All the fragrance of summer—when summer was gone!
Thus memory draws from delight e'er it dies
An essence that breathes of it many a year;
Thus bright to my soul, as 'twas then to my eyes,
Is that bow'r on the banks of the calm Bendemeer!
118
de   -
meerr R
ose o
fTral
ee
E Mordaunt Spencer
Chas. W. Glover
|Ö
3
3
•      4
0   '    0
1. The   pale   moon   was        ris  -  ing   a  -  bove   the   green   mountain, The
■■ftN   J
g^Pi
^^
sun   was   de  -  clin  -   ing   be  -   neath   the    bl
#bj j j ir p > h j j
ue   sea,
When    I
^
stra/d   with   my   love to   the   pure      crys  -   tal   foun   -   tain     That
Chorus:
lj#j   r  fif  J j i j   J-J i J- i\Y:*\
stands   in the   beau   -tí  -  ful      Vale   of      Tra  -   lee.
She   was
$**£■ r- pi-'    J>u ff7?i|j j.7
love       ly and   fair as   the   rose   of the sum mer,  Yet
iftfr r j r i r r p ij- j' j i ~    j
'twas   not   her   beau   -   ty
a   -  lone   that $   won   me,
Oh,
$É
i* ;i r  p ¿
i
no! 'twas   the   truth
in   her
#j  r i
eye   e  -  ver   dawn  -  ing, That
r  J i J'i J =-r- p i'1 i
made   me   love
Ma
n,
the   Rose       of       Tra  -  lee.
2.  The cool shades of ev'ning their mantle were spreading,
And Mary all smiling was list'ning to me,
The moon thro' the valley her pale ray was shedding
When I won the heart of the Rose of Tralee
114 Cockles and Mussels
Traditional
Old Irish Melody
Pi
W^^^3^
î^è
1.   In    Dub  -   lin's   fair   ci  -  ty.      Where   the   girls   are   so   pret-ty,       I   !
ÍÜ
J J» J Ji.i
PP
«
first   set   my   eyes   on   sweet   Mol-ly      Ma-lone.    As   she wheel'd her wheel■
ff j r ju i J'i J- r
t=m
bar   -   row Thro'   streets   broad   and   nar-row, Cry-ing,"Cock-les   and   mus-sels!
Chorus :
ff r ir j'Jij pp
n
a  -  live,       a  -  live,   0!"      A -  live,   a  -  live,   O!        A -  live,   a  -  live
ff jy- j-j'ip r rip r r ir «M
0! Cry-ing, "Cock-les   and   mus  sels!   a  -  live,      a   -  live.   0!"
2. She was a fishmonger,
But sure 'twas no wonder.
For so were her father and mother before,
And they each wheel'd their barrow
Thro' streets, etc.
3. She died of a fever,
And no-one could save her,
And that was the end of sweet Molly Malone,
But her ghost wheels her barrow
Thro' streets, etc.
"V- Lilli Burlero
traditional
Old Irish Melody
This stirring tune became the symbol of the discontent of the Protestants in Northern Ireland with regard
to the policies of the Roman Catholic James II, who bad just appointed General Talbot Lord Lieutenant of
Ireland. It became the rallying song of the Glorious Revolution of 1688. Because of its associations, it was
not used in the British Army until recently for fear of offending the Catholics.
Solo: Chorus:
J' J*  J1  J
MjJ J
5*
1.  Ho!    bro  -  der   Teague,   dost   hear   de   de  -  cree? Lil-f¡    bur-Je-to,
Solo:
jr=fr
ö
J.    J    J. | J.   J>   J   J       J
bul   -   len   a   -  la,
Chorus:
rj-J-Ja1    JlJaM
Dat   we   shall   have   a new   dep  -  u  - tie,
wmmÊÊ
LU  -   li   bur -  le  -  ro,   bul  -  len   a   -  la.
Le  -  ro,   le  -  ro,
iffl  J'  a   Hf!    J -JUJLpJp
Epffej
HI  - li     bur  -  le  -  ro,   LH  -  li   bur -  le  -  ro,   but-len   a   -  la,
P j» J ■hyjjrjl
Le  -     ro,   le  -   ro,   HHi    bur   -   le   -   ro, LiMi   bur- le-ro,   bul len-a-la.
2. He! by Shaint Tyburn, it is de TaIbote :
And he will cut de Englishmen's troate,
3. For de good Talbot is made a lord.
And with brave lada is coming aboard.
4. Arrah! but why does he stay behind?
Ho! by my shoul 'tis a Protestant wind!
5. And now de heréticas all shall go down.
By Chrish and Shaint Patrick, do nation's our own.
6. Dere was an old prophecy found in a bog,
"Ireland shall be ruled by an ass and a dog."
7. And now dis prophecy is come to pass.
For Talbot's de dog, and James ¡a de ass.
116 G
Traditional
arryowen
Old Irish Melody
This rollicking old Irish Tune, was chosen by General Custer fot the regimental march of his Seventh Cavalry. He heard it for the last time as he rode out of Fort Lincoln to the battle of the Little Big Horn, where
he was to make his famous last stand.
S?5I
■■#
3^
^w
Let
Bac  -  chus'   sons
be
not   dis   -   mayed,   But
i¿ J-j
ty *>-'
I   I J     J'   £
join
with    me
each
jo   -   vial    blade;
Come,
$
^
booze and   sing,
and
lend
your   aid
To
#
W^
^m
me   with
the   chor   -   us
In  -  stead        of   spa   we'll
drink   down   ale,
And
pay   the   reck  -  'ning   on   the   nail,     No
man for   drink   shall    go to   jail, Be   he   from   Garry  -o-wen.
We'll break the windows and break the doors,
The watch knock down by threes and fours.
And let the doctors work their cures,
And tinker up our bruises.
We ire the boys that take delight in
Smashing the Limerick lights when lightin',
Through the streets (ike sporters fightin', ^r     3.  We'll beat the bailiffs out of fun.
And tearing all before us. S We'll make the mayors and sheriffs run,
We are the boys-no man dares dun
If he regards a whole skin.
Our hearts so stout have got us fame,
For soon 'tis known from whence we came,
Where'er we go they drink the name
Of Garryowen in glory.
117 MacNamara's Band
John J. Stamford Sharous aCoimor
ffftj>ir p r p'r p r p \rm
m
1.   My   name    is   Mac - na • ma - ra,    I'm    the    Lead-er   of   the   band,
y j»ir p r nr t r p iJ *N
Jt-
m
And   tho' we're   small   in   number   we're   the      best   in   all   the land.   Oh!
i
^^mmm^^mi
^P
I   am   the   Con - due - tor,   and   we   oft   -   en   have   to   play
With
Chorus:
frrr J,ir~p d ;ij p r «hJ-ij >
all   the   best   mu
m
si - cian - era   you   hear   a  -  bout   to - day: When   the
>
r   prpirprpir=m
m?
drams   go   bang,   the   cym   -   bals clang,   the   horns   will   blaze   a .way,
ff j>ir p r p ir f f  p i^^
Mac -Car»   thy   puffs   the   ould   bas  - soon      while    Doyle   the   pipes   wil
play; Oh!        Hen -nes- sy Ten -nes- sy    too-ties the   flute,   my   word,
(IP
j. j ji r r t ^q
'tis   some . thing   grand,    Oh !    a   cred -  it   to   Ovid Ire   - land,   boys,   it
Mac -na-ma- ra's   band!       Tra   b   la la    la     Tra la   la   la,    la Tra la
if j pff 'irf ■ pr «y • jTjn i-wt\¿¿
la la la la la la la la la    Tra la la f    la la Tra la la la la,
pi
ÎE5
• p y- j u  jy?. j    i
Tra      la    la    la    la       la    la   la       la   la       hi, Tra    la   la   h !
118 2.  Whenever an election's on, we play on either side—
The way we play our fine ou Id airs fills Irish hearts with
pride.
If poor Tom Moore was living now, he'd make yez
understand,
That none could do him justice like ould "Macnamara's
band.''
3.  We play at wakes and weddings, and at every county ball,
And at any great man's funeral we play the "Dead March
in Saul."
When the Prince of Wales to Ireland came, he shook me
by the hand.
And said he'd never heard the like of "Macnamara's band."
By permission of Edwin Ashdown, Ltd., and Ascberberg, Hopwood and Crew, Ltd.
119
——— Thomas Oliphant
Men of Harlech
Old Welsh Air
Llwyd, "The Bard of Snowden", claims that this song originated during the siege of Harlech Castle by
Edward IV in 1468. When asked to surrender, the staunch defender, Dafydd ap Ieuan, replied, "I held a
tower in France 'til all the old women in Wales heard of it; now all the old women in France shall hear how
I defend this castle." Finally, however,.he was forced by famine to make an honourable capitulation. The
castle of Harlech (meaning 'above the boulders') was built in the 6th Century and stands on a lofty rock
upon the seashore.
i^Mg^Lj^nzj
*
p^
1.     Hark!    I    hear   the   foe   ad   -  vane   -  ing,      Barb  -  ed   steeds   are
P  4       J       J ~\£$
r=jT3 j ■» i^
É
proud   - ly   pranc   -   ing;    Hel   -   mets   in       the   sun   -   beams   glanc   -   ing.
Ë
?
T" ?T7~r*r-yj;~jH=ï^kïé\
Glit  -   ter   through    the   trees.
Men   of   Har-lech,   lie   ye   dream-ing,
See   ye    not       their   fal   -   chions   gleam   -  ing,    While   their   pen   -   nons
gai  -   ly   stream  -  ing, Flut  -   ter in the       breeze?
ffiu   j j, jj^^i W^ f^mJl r r m
From    the    rocks   re   -   bound  -   ing, Let        the   war       cry   sounding
p t^f-1-JktL^A. > I O gO
1
Sum   -  mon   all       at   Cam-bria's   call,     The   haugh   -   ty foe   sur
p p ¿_l<l_j m
^^
i
round  -  ing.
Men   of    Har  -   lech,      on    to    glo   -   ry! See   your
IE
m--j— m=¿ i J-   mm3 m I
ban   -   ner fam'd    in sto   -   ry Waves   these    burn   -   ing
ii
words    be   -  fore    ye,
'Brit  -  ain    scorns
120
to   yield!' 'Mid the fray, see dead and dying,
Friend and foe together lying;
All around the arrows flying
Scatter sudden death!
Frighten'd steeds are wildly neighing,
Brazen trumpets hoarsely braying,
Wounded men for mercy praying
With their parting breath!
See, they're in disorder!
Comrades, keep close order!
Ever they shall rue the day
They ventured o'er the border!
Now the Saxon flees before us;
Victory's banner floateth o'er us;
Raise the loud, exulting chorus,
"Britain wins the field."
121 Thomas Oliphant
The Ash Grove
Old Welsh Aii
frfrjT^
J    I  J"      j-^l
m^
1.   Down   yon   -   der   green   val   -   ley   where     streamlets,  me  - an - der, When
$É
J i JI i j^
32t
?
twi  -  light   is        fad  -  ing,       I       pen  -   sive  -  ly rove;
Or
m
J   J N
3
^
at   the        bright   noon   -   tide,   in     sol   -   i   -  tude   wan  -  der,     A -
^
J   4   * '-i
^
:a
â
mid   the.
dark   shades   of the -      lone
P
m
iS=i
f*"^ -
hij rs
ly      Ash   Grove.     Twas
É
IP
ä
there,   while       the        black  -  bird   was   cheer -  ful  -  ly sing  -  ing,
first   met   that
dear   one,   the   joy of   my    heart!       A
round   us   for
glad - ness   the      blue  -  bells were   ring  -  ing;  Ah!
then   lit
tie thought   I       how   soon   we       should   part.
2.. Still glows the bright sun-shine o'er valley and mountain.
Still warbles the blackbird its note from the tree;
Stilt trembles the moonbeam on streamlet and fountain,
But what are the beauties of nature to me?
With sorrow, deep sorrow, my bosom is laden,
All day I go mourning in search of my love,
Ye echoes! oh tell me, where is the sweet maiden?
"She sleeps 'neath the green turf down by the Ash
Grove."
122 Harold Boulton
All through the Night
Old Welsh Air
The harp, mentioned in this song, plays a prominent part in Welsh Folk Music. The old models of the 13th
and 14th Centuries had only three strings and could be carried on horseback.   The harpist was greatly respected and no slave was allowed to learn to play the instrument.   According to the law, a gentleman's
wealth might be forfeit, but his harp might never be taken from him.
fc>«J.     J* J
3
m
Ë
1.  Sleep,   my   love,   and   peace at - tend   thee,    All   through
the
ï
m
m
xí
Guar  -  dian
will   lend   thee,
All
through   the   night;
Soft   the   drow»sy    hours   are   creeping.
J  j  mht=m
Hill   and   dale   in slum  -  ber   steep  -  ing,       Love   a  -   lone   his
fl» I    J'
m
x^
watch is   keep  -  ing— All
2. Though I roam a minstrel lonely,
All through the night;
My true harp shall praise thee only,
All through the night;
Love's young dream, alas, is over,
Yet my strains of love shall hover
Near the presence of my lover,
All through the night.
3. Hark! a solemn bell is ringing,
Clear through the night;
Thou, my love, art heavenward winging,
Home through the night;
Earthly dust from off thee shaken,
Soul immortal thou shalt waken.
With thy last dim journey taken
Home through the night.
through    the   night;
By permission of f. B. Cramer and Co. Ltd., London, Eng.
123  Sonés from
Abroad La Marseillaise
Rouget de Lisle
Rouget de Lisle
(1760-1836)
Composed in 1792 during the first and more peaceful days of the revolution to encourage the Armies of
France, the song was adopted by the Revolutionaries and became the symbol of the Republic. Ironically,
when Rouget de Lisle Jhimself a Royalist, refused to take the oath of allegiance to the new constitution, he
was imprisoned, barely escaping the guillotine, and the composer of the French National anthem eventually died in poverty.
4"'ii-ilJ ■
m
p
x
1.   Al   -   Ions   en   -   fants   de   la       pa   -   tri
e.       Le   jour de
£
J   f    * J»U
mî
gloire   est      ar   -   ri   -   ve..
Con   -   tre nous   de la    ty   -   ran
m
r r F' i
m^
=22
m
jp@
dard   sang
L'e -  ten - dard   sang - lant   est   le   -   vé", L'é* - ten -
lant   est   le   -   vé,
En - ten   - dez - vous   dans
dats?
¡P
*■ "Tr    t ger       nos   fils.
Ils   vien   -   nent,   jus - que   dans    nos   bras
^m Chorus.
'%
E   -   gor
s:
B   J'IJ    J a II r Fil;''    T
nos   com   -pa   -   gnes!
Irr
Aux   ar
j|N^
I     * 7- ; 11-' '   p- p j: J1^^
mes,   ci   -   toy   -   ens!
For   -   mez
vos   ba- tai - lions.
$
IOÍ
^
W
X*
mm
-    Mar  -   chons.
mar   -   chons
*Ç
|N
quun
sang   im -   pur
£
E
ä
A  -  breu
ve   nos
126
sil -    Ions. Que veut cette horde d'esclaves,
De traîtres de rois conjures!
Pour qui ces ignobles entraves.
Ces fers, dès longtemps préparés?
Ces fers, dès longtemps prepares?
Francais! pour nous, ah! quel outrage!
Quels transports il doit exciter!
C'est nous qu'on ose menacer
De rendre a l'antique esclavage.
Tremblez, tyrans et vous perfides,
L'opprobre de.tous les partis!
Tremblez, vos projects patricides
Vont enfin recevoir leur prix,
Vont enfin recevoir leur prix,
Tout est soldat pour vous combattre;
S'ils tombent, nos jeunes héros,
La France en produit de nouveaux,
Contre vous tous prêts a se battre.
Francais! en guerriers magnanimes,
Portez ou retenez vos coups;
Epargnez ces tristes victimes,
A regret s'armant contre nous;
Mais le despote sanguinaire,
Mais les complices de Bouille—
Tous ces tigres qui sans pitié
Déchirent le sein de leur mère.
Amour sacre de la patrie,
Conduis, soutiens nos bras vengeurs.
Liberte, Liberté chérie,
Combats avec tes défenseurs:
Sous nos drapeaux que la victoire
Accoure a tes maies accents,
Que tes ennemis expirants
Voient ton triomphe et notre gloire. Traditional
Sur le Pont d'Avignon
French Folk Song
The bridge was constructed across the Rhone in the 12th Century. As each arch was completed, a festival
was held. The bridge itself was swept away by a flood in the 17th Century, but the song which originated
in the I5tb Century bas outlived it and still commemorates the ancient festivals.
fe
1   J I J      J'   J | J      f   f |  |f    J   J"   J   I
1.  Sur   le pont   d'A   -   vi -   gnon       L'on   y dan   - se,   l'on   y
$=t=F=r=?T j    i ii J   ,
Pé
dan   -   se,   sur        le
mm
tout   en rond.
2. Les bell' mesdam' font comm'ca,
Et puis encore comm'ca.
3. Les militair' font comm'ca
Et puis encore comm
Les   beaux    mess-ieurs   font   comm'
m^
i
DjC. A1 Fine
puis   en   -   core    comm
128 Traditional
Marche Lorraine
French Folk Song
Used for hundreds of years as a country dance, it is said to have been sung by the soldiers of Joan of Arc,
who was herself born in Lorraine five hundred years ago. In ¡871, part of Lorraine was ceded to Germany
and the people were forbidden to sing the air. During World War I, the victorious allied soldiers, led by
Marshall Foch, marched into Metz, singing the Marche Lorraine. In World War II, it became the fighting
song of the Free French, as the Cross of Lorraine was their symbol^ In August, 1944, LeClerc's Units spearheading the Allied Drive, entered Paris singing this famous old song.
4¡s
Ü
m$
é        é :~P oT^^3"
^
1.   En    pas   •   ant   par   la      Lor   -   rain   -   e: A   -   vec    mes   sa  -   bots.
pj   i |f    il J    J'lj   j,\4
3s! J     J»
Ren-con   -   trai  trois   cap -i   -tai   -   nes      A   -   vec   mes   sa   -   bots,   don
$
j  «H à   ' jjl «Mj*7l
#
*-rr
dai   -   ne,    Oh!   oh!     oh!
A  -  vec   mes        sa- -  bots.
2. Rencontrais trois capitaines,
Ils m'ont appelé vilaine.
3. Ils m'ont appelé vilaine,
Je. ne suis pas si vilaine.
4. Je ne suis pas si vilaine,
Puisque le fils du roi m'aime,
5. Puisque le fils du roi m'aime.
Il m'a donné pour e trenne.
6. I' m'a donne pour etrenne.
Un bouquet de marjolaine.
7. Un bouquet de marjolaine,
S'il fleurit, je serai reine. .
8. S'il fleurit, je serai reine.
S'il y meurt, je perds ma peine.
129 1
Traditional
Au Clair de la Lune
J. B. Lully
(1632-1687)
Jean Baptiste Lully, the famous opera composer at the court of Louis XIV, knew Moliere "uell.
and composed the music for several of bis plays, e.g. "Le Bourgeois Gentilhomme". Thii well-
Jtnown song presents a charming little tableau from the reign of "Le Roi Soleil'
J_ I J   V-iäl | J-   ^
Mon    a   -   mi     Pier   -   rot,
#
Ma    chan   -   delle   est       mor -   te,
mm^m
Ou
vre   moi
ta
por
te,
Pour   é   -   crire    un   mot;
Je   n'ai   plus        de   feu,
pJ,sJ   J   J|J. *
Pour   l'a   -   mour   de   Dieu.
Z
Au clair de la lune,
Pierrot repondît:
"Je n'ai pas de plume,
Je suis dans mon lit.
Va chez b voisine,
Je crois qu'elle y est.
Car dans sa cuisine
On bat te briquet."
Au clair de la lune
S'enfuit Arlequin
Frapper chez la brune,
Elle repond soudain:
"Qui frappe de la sorte?"
Il dit à* son tour:
"Ouvrez votre porte
Pour le Dieu d'amour!"
Au clair de la lune
On n'y voit qu'un peu.
On chercha la plume,
On chercha du feu.
En cherchant de la sorte.
Je n'sais c'qu'on trouva:
Mais je sais qu' la porte
Sur eux se ferma.
130 Auprès de ma Blonde
Traditional
French Folk Song
j» IJ   i1 J   jm,-  }>^f   p r   ¡r i
1.   Dans      le     i jar       din   d'mon   per       e Les   li   -   las   sont   fleu   -
fyrr"pT¿rm-m-r-?
Dans   le   jar   -   din   d'mon    pèr       e   Las   If-    las   sont   fleu
Tous   les   eis - eaux   du   mon    -    de       y   vien - nent faire  leurs
Chorus
li*u ^
nids.
Au   -   près   de    ma    blon   -   de        Qu'il   fait   bon,   fait
?=m£:
mm^
Au
près       de    ma
blond
üHI^*i
Qu'il   fait   bon dor
2. La caille, b tourterelle
Et b jolie perdrix,
Et ma jolie colombe
Qui chante jour et nuit.
3. Qui chanté pour les fines.
Qui n'ont pas de mari.
Pour moi ne chante guère
Car j'en ai un joli.
4. Il est dans la Hollande,
Les Holbndais l'ont pris.
"Que donn'rez-vous, b belle,
Pour b voir revenir?"
5. Je donnerais Versailles,
Paris et Saint Denis.
Les tours de Notre Dame,
Les cloches de mon pays!
mir
IM MaN
ormanaie
di.
Traditional
French Folk Song
i. Q
m
Et
1.  Quand   tout   re   -   naît   a    l'es   •   per   -   an   -   ce.
que   l'hi   •   ver
fuit   bin        de    nous.      Sous   le   beau    ciel    de    no -tre
r~p •> -'jTFr J-  í 1^
:f=z=h
Fran   -   ce
Quand    le    so   -   leil de   -   vient   plus   doux,     Quand
^^^Êp
J   i- m J- J* a
pu
la    na   -   ture   est   rev   -   er   -   di   -   e,  Quand   lili   -   ron   -   délie   est
ftíl   jVJ  t  t  t  ('   f\ t  t 1 '
de    re   -   tour. J'ir   -   ai
re   -   voir   ma    Nor  -   man   -   di   -   e:
ïz^aJ ¿ $¿ i (?•  j 1 j ^mm
C'est   b pa   -   ys qui   m'a    don   -   né
2. J'ai vu bs lacs de l'Helvétie,
Et ses chalets et ses glaciers.
J'ai vu le ciel de l'Italie
Et Venise et ses gondoliers.
En saluant chaque patrie,
Je me disais: Aucun séjour
N'est plus beau que ma Normandie,
C'est le pays qui m'a donné b jour.
3. Il est un ige dans la vie,
Od chaque rave doit finir.
Un 'age od fame recueillie
A besoin de se souvenir;
Et quand ma muse refroidie
Aura fini ses chants d'amour,
J'irai revoir ma Normandie:
C'est b pays qui m'a donné b jour.
132
b     jour. Je tire ma révérence
Traditional
French Folk Song
m
JT9\  JrJ^U=p
8
1.  Je   tire   ma    ré -  ve   -   ren   -   ce.      Et   m'en   vais   au   ha - sard        Par
blJ?     K fc—£ h   1     p J h    |    K b    J>         h|   J    JH
W^-i1.—a*—ei«—aP ^ * •—éçh m*—|, e¿ ± il_
les   routes   de     la    Fran   -   ce,     La        France   et   la    Na   -   varre;     Mais
3
ifrfc nJ J
> j» i- «ft-^^
di   -   tes-   lui   quand • m£ - me
Sim-pie-ment   que   je    l'ai   -   me,    oh
frU J>J. iJî-Aju J» i i  |¡§
Dites-   lui,   voul-ez - vous,    Bon - jour   pour   moi,   et   voi   là      tout.
2. J'avais sa preference
J'étais son seul bonheur
Helas! les apparences
Et le sort sont trompeurs.
Un autre a pris ma place;
Tout passe, tout casse, tout lasse;
Deux grands mots, "oh pourquoi?
Donc dites-lui bonjour pour moi
3. Je n'ai plus d'espérance,
Je remporte mon coeur
Par les routes de la France,
La France ou bien ailleurs;
Mais dites-lui quandmême
Simplement que je l'aime,
Dites-lui, voulez-vous,
Bonjour pour moi, et voilà tout.
133 Il ¿tait un petit navire
Traditional
French Folk Song
jÜ^M-I^L-M^1   -" J' JJ' I J^^J
1.   Il    é -  tait       un   pe  -  tit   na   -  vi   -   re,
ffiV /? p rUp ^ Tlp-.f r f ' '
tait        un   pe* tit   na-
J1   JJv^
vi   -   re, Qui   n'avait ja  -   ja   -   ja  mats   na   -   vi   - gué',    Qui   n'a   -   vait
$-m< ¿*\ j- fg=i
B»
ja    -   ja   -   mais   na   -   vi   - gue.
2. Il entreprit un long voyage,
sur b mer Me- Me- Méditerranée.
3. Au bout de cinq à six semaines,
Les vivres vin- vin- vinrent a manquer.
4. On tira- z- a b courte paille,
Pour savoir qui, qui, qui serait mange.
5. Le sort tomba sur b plus jeune,
c'est donc lui qui, qui, qui fut designe.
6. Pendant que tous Us délibèrent,
Il monte sur, sur, sur b grand hunier.
7. Il fit au cbl une priera,
Interrogeant, -géant, -géant l'immensité.
8. O, St. Vierge, o, ma patronne,
Empêche-les, bs, les de me manger.
9. Au même instant un grand miracle,
Pour l'enfant fut, fut, fut realise.
10. Des p'tits poissons dans b navire,
Sautèrent par, par, par et par milliers.
11. Si cette histoire vous amuse,
Noua allons la, la, la recommencer.
hé,   O
hé.
134
— Malbrouclc
Traditional
French Folk Song
Originally the melody was an ancient crusaders' marching song. Whether it originated in France and was
taken to Palestine, or brought back by the crusaders, is unknown. It was sung as a cradle song by Marie
Antoinette and later inspired Napoleon's troops.
i_j> j' ^^=mm£
1.   Mal-brouck   s'en   va-t-en   guar   -   re, Mi-   ron • ton,   ton,   ton,   mi-ron
Fine
tain   -ne.    Mal-brouck   s'en   va-t-en   guer   -   re,Ne   sait   quand re-viendra.
Ne   sait   quand    re   -   vien    dra,        Ne   sait   quand    re- vien- dra.
2. Il reviendra- z- à Pasques,
Ou à la Trinité.
3. La Trinité se passe,
Marbrouck ne revbnt pas.
4. Madame a sa tour monte,
Si haut qu'elle peut monter.
5. Elb voit venir son page,
Tout de noir habille.
6. "Beau page, ah! mon beau page,
Quell nouvelle apportez?"
7. Aux nouvelles que j'apporte,
Vos beaux yeux vont pleurer.
8. Quittez vos habita roses.
Et vos satins broches.
9. "Monsieur Malbrouck est mort,
Est mort et enterré."
D.C.AlFine
135 Chevaliers de la Table Ronde
Traditional
French Student Song
im
t
fs=*
EEÏ
■  *  I el      K é  4
S
É
1.  Che   -   va   -   liers   de   la    ta   -   ble   ron   -   de, Goû-tons  voir si le vin est
^
te=b
£
ft—h
0        0
^
K-S-^H
bon.       Che • va -    liers   de    la   ta - ble   ron• de, GoQ -tons voir    si   le vin est
a Chorus:
yjif pur n'r  Mi
5==V
bon.        Goû -    tons   voir,   oui,   oui,   oui,      Goû • tons   voir,      non,   non,
t
> J    | J'Ij J   J'f f f N * P fljr   f a|
non,     Goû - tons     voir si   le   vin   est
4»f  r
bon.   Goû - tons    voir,   oui, oui,
K
Ur Vpp-fi
oui,  Goû -   tons   voir,      non,   non,   non, Goû • tons   voir,     si   le   vin est bon.
2. J'en boirais cinq a six bouteilles
Une femme sur les genoux.
3. Si je meurs, je veux qu'on m'enterre
Dans une cave ou il y a du bon vin.
4. Les deux pieds contre la muraille,
Et la tete sous b robinet.
5. Sur ma tombe je veux qu'on inscrive,
Ici-git le roi des buveurs.
6. La morale de cette histoire,
C'est de boire avant de mourir
136 Monsieur, vous êtes jeune homme
Traditional French Student Song
íft J     I i     J'    J'     J'   I   J'    j       J' I■*   i  J1 il j
1.  Mon   -   sieur,   vous   êtes   jeune   hom -me,      a   -   yez   du   sen- ti- ment.
$m
Pre   - nez   une   da   -   me   blon   -   de pour   vi   -  vre    plus   con
m
J J^    '[s    J^EEgt
tent.     Mais   non,   les   blon   -   des
sont   trop   pro   - fon   -   des,
J I J    j
11 J JIJE F g
fc
y~s
I
=fc=£
Mais   non,   les   blon   -   des,
Chorus:
je   nai
me
pas, je   n ai - me
ï
*
F=f>
P".
T~f*
Mais   non,   les       blon   -   des,
sont   trop   pro -  fon  - des,
£
d'~--K J^
^^M-
■
SÉ
Mais   non,   les     blon  - des ,
je   nai   -   me   pas.
2. Les noires sont trop bizarres.
3. Les rouges sont trop jalouses.
4. Les grises sont trop soumises.
,5. Monsieur vous êtes jeune homme, ayez du sentiment,
Prenez une dame brune pour vivre plus content.
Mais non, les brunes sont trop communes,
Excepte   une et c'est ma femme, et c'est ma femme,
Mais non les brunes sont trop communes,
Excepte   une et c'est ma femme.
137 O alte Burschenherrlichkeit
See Page 50
Eugen Höfling
(1825J
O, alte Burschenherrlichkeit,
Wohin bist du verschwunden?
Nie kehrst du wieder, goldne Zeit,
So froh und ungebunden!
Vergebens spähe ich umher,
Ich finde deine Spur nicht mehr.
0, jerum, jerum, jerum,
0, quae mutatio rerum!
Den Burschenhut bedeckt der Staub,
Es sank der Flaus in Trümmer,
Der Schläger ward.des Rostes Raub,
Erblichen ist sein Schimmer,
Verklungen der Kommersgesang,
Verhallt Rapier—und Sporenklang.
0, jerum, etc.
4.   Allein das rechte Burschenherz
Kann nimmermehr erkalten;
Im Ernste wird, wie hier im Scherz,
Der rechte Sinn stets walten;
Die alte Schale nur ist fern,
Geblieben ist uns doch der Kern,
Und den lasst fest uns halten,
Und den lasst fest uns halten!
3.   Da schreibt mit finsterm Amtsgesicht
Der eine Relationen,
Der andre seufzt beim Unterricht,
Und macht Recensionen,
Der schilt die sünd'ge Seele aus,
Und der flickt ihr zerfallnes Haus.
0, jerum, etc.
138 Drum, Freunde, reichet euch die Hand.
Damit es sich erneue,
Der alten Freundschaft heil'ges Band
Das alte Band der Treue;
Klingt an und hebt die Glaser hoch,
Die alten Burschen leben noch,
Noch lebt die alte Treue,
Noch lebt die alte Treue.
Heinrich Heine
(1823)
Die Lorelei
See Page 58
Ich weiss nicht, was soll es bedeuten,
Dass ich se traurig bin;
Ein Märchen aus alten Zeiten,
Das kommt mir nicht aus dem Sinn.
Die Luft ist kühl und es dunkelt,
Und ruhig fliesst der Rhein;
Der Gipfel des Berges funkelt
Im Abendsonnenschein.
Die schönste Jungfrau sitzet
Dort oben wunderbar«
Ihr goldnes Geschmeide blitzet,
Sie kämmt ihr goldenes Haar.
Sie kämmt es mit goldenem Kamme,
Und singt ein Lied dabei;
Das hat eine wundersame
Gewaltige Melodei.
Den Schiffer im kleinen Schiffe
Ergreift es mit wildem. Weh;
Er schaut nicht die Felsenriffe,
Er schaut nur hinauf in die Höh'.
Ich glaube, die Wellen verschlingen
Am Ende Schiffer und Kahn;
Und das hat mit ihrem Singen
Die Lorelei gethan.
139 Das zerbrochene Ringlein
Joseph von Eichendorff
(1812)
See Page 59
3.
In einem kühlen Grunde,
Da geht ein Mühlenrad;
Mein* Liebe ¡st verschwunden,
Die dort gewohnet hat,
Mein' Liebe ist verschwunden,
Die dort gewohnet hat.
Sie hat mir Treu'versprochen,
Gab mir ein'n Ring dabei,
Sie hat die Treu gebrochen,
Das Ringlein sprang entzwei,
Sie hat die Trau gebrochen,
Das Ringlein sprang entzwei.
Ich möcht' als Spielmann reisen
Weit in die Welt hinaus,
Und singen meine Weisen,
Und gehn von Haus zu Haus,
Und singen meine Weisen,
Und gehn von Haus zu Haus,
5.
Ich möcht'als Reiter fliegen
Wohl in die blut'ge Schlacht,
Um stille Feuer liegen
Im Feld bei dunkler Nacht,
Um stille Feuer liegen
Im Feld bei dunkler Nacht.
Hör' ich das MUhlrad gehen,
Ich weiss nicht, was ich will—
Ich möcht'am liebsten sterben,
Da war 's auf einmal still,
Ich möcht'am liebsten sterben,
Da war 's auf einmal still,
Das Bienenhaus
German Student Song
Mein Herz, es ist ein Bienenhaus,
Die Mädchen, sie sind die Bienen;
Sie fliegen ein, sie fliegen aus,
Wie man das macht im Bienenhaus.
In meines Herzens Klause,
Holdri-a holdri-ho,
Holdri-a holdri-ho,
Holdri-a Ho, Holdri-a  Ho,
Holdri-a Ho, Holdri-a Ho!
See Page 61
140 Lili Marlene
Hans Leip (1925)
See Page 60
Vor der Kaserne,
Vor dem grossen Tor,
Stand eine Laterne
Und steht sie noch davor;
So wolln wir uns da wiedersehn,
Bei der Laterne wolln wir stehn,
Wie. einst, Lili Marlene,
Wie einst, Lili Marlene.
Unsre beiden Schatten
Sahn wie einer aus,
Dass wir so lieb uns harten,.
Das sah man gleich daraus;
Und alle Leute solin es sehn,
Wenn wir bei der Laterne stehn,
Wie einst. Lili Marlene,
Wie einst, Lili Marlene.
Schon blies der Posten,
Sie bliesen Zapfenstreich;
"Es kann-drei Tage kosten!
"Kamerad, ich komm'ja gleich!
Dann sagten wir, "Auf Wiedersehn,"
Wie gerne wü'rd' ich mit dir gehn,
Mit dir, Lili Marlene,
Mit dir, Lili Marlene.
Deine Schritte kennt sie,
Deinen schönen Gang,
Alle Abend rennt sie,
Doch mich vergass sie lang.
Und sollte mir ein Leid geschehn,
Wer wird bei der Laterne stehn
Mit dir, Lili Marlene,
Mit dir, Lili Marlene.
Aus dem stillen Räume,
Aus der Erde Grund,
Küsst mich wie im Traume
Dein verliebter Mund.
Wenn sich die Abendnebel drehn,
Werd" ich bei der Laterne stehn,
Wie einst, Lili Marlene,
Wie einst, Lili Marlene.
i 1,41 Edite Bibite
From
Kindleben's Studentenliedern
(1781)
1.   Ça, Ça, geschmauset,
Lasst uns nicht rappelköpfisch sein!
Wer nicht mit hauset,
Der bleib' daheim.
Edite, bibite, collégiales!
Post multa saecula, pocula nulla!
Der Herr Professor
Liest heut' kein Collegium;
Drum ist es besser,
Man trinkt eins 'rum.
Auf, auf,  ihr Brüder!
Erhebt den Bacchus auf den Thron,
Und setzt euch nieder,
Wir trinken schon.
4.   Denkt oft, ihr Brüder,
An unsre Jugendfröhlichkeit,
Sie kehrt nicht wieder,
Die goldne Zeit!
See Page 91
Brüder, lagert euch im Kreise
German Student Song
See Page 90
1.   Brüder, lagert euch im Kreise,
Trinkt nach alter Vater Weise,
Leert die Glaser, schwenkt die Hüte,
Auf der gold'nen Freiheit Wohl!
2.. Mädchen, die mit keuschen Trieben,
Nur den braven Burschen lieben,
Nie der Tugend Reiz entstellen,
Sei ein schäumend Glas gebracht!
3.   Männern, die das Herz uns rühren,
Uns den Pfad der Weisheit führen,
Deren Beispiel wir verehren,
Sei ein dreifach Hoch gebracht!
142 4. Unter'm Schatten heil'ger Linden
Werden wir uns wiederfinden,
Wo sich Brüder froh umarmen
In dem Hain Elysiums.
5. Wenn ich deinen Kahn besteige,
Trauter Charon, O, dann reiche
Noch einmal den Labebecher
Mir für meinen Obulus!
Crambambuli
C. Koromandel
(ca 1800)
I.   Crambambuli, das ist der Titel
Des Tranks, der sich bei uns bewährt;
Das ist ein ganz probates Mittel,
Wenn uns was Böses widerfährt.
Des Abends spat, des Morgens früh
Trink ich mein Glas Crambambuli,
CHORUS: Crambimbambambuli, Crambambuli!
2.   Bin ich im Wirtshaus abgestiegen,
Gleich einem grossen Kavalier,
Dann lass'ich Brot und Braten liegen,
Und greife nach dem Pfropfenzieh'r;
Dann blast der Schwager tantranti
Zu einem Glas Crambambuli,
See Page 89
3. Reisst's mich im Kopf, reisst's mich im Magen,
Hab' ich zum Essen keine Lust;
Wenn mich die b'dsen Schnupfen plagen,
Hab' ich Katarrh auf meiner Brust:
Was kümmern mich die Medizi?
Ich trink' mein Glas Crambambuli,
4. War' ich zum grossen Herrn geboren,
Wie Kaiser Maximilian,
WâV mir ein Orden auserkoren,
Ich hängte die Devise dran:
"Toujours fidèle et sans souci,
C'est l'ordre du Crambambuli,"
143 5. Ist mir mein Wechsel ausgeblieben,
Hat mich das Spiel labet gemacht,
Hat mir mein Mädchen nicht geschrieben,
Ein'n Trauerbrief die Post gebracht:
Dann trink* ich aus Melancholie
Ein volles Glas Crambambuli,
6. Soll ich für Ehr' und Freiheit fechten,
FUr Burschenwohl den Schläger zieh'n,
Gleich blinkt der Stahl in meiner Rechten,
Ein Freund wird mir zur Seite steh'n;
Zu dem sprech' ich : "Mon cher ami,
Zuvor ein Glas Crambambuli,"
Ihr dauert mich, ihr armen Thoren,
Ihr liebet nicht, ihr trinkt nicht Wein;
Zu Eseln seid ihr auserkoren,
Und dorten wollt ihr Engel sein,
Sauft Wasser, wie das liebe Vieh,
Und meint, es sei Crambambuli,
8.   Crambambuli soll mir noch munden,
Wenn jede andre Freude starb,
Wenn mich Freund Hein beim Glas gefunden,
Und mir die Seligkeit verdarb;
Ich trink' mit ihm in Compagnie
Das letzte Glas Crambambuli,
Wer wider uns Crambambulisten
Sein hämisch Maul zur Misgunst rümpft,
Den halten wir für keinen Christen,
Weil er auf Gottes Gabe schimpft;
Ich gab' ihm, ob er Zeter schrie,
Nicht einen Schluck Crambambuli,
144 Cielito Lindo
Traditional
Mexican Folk Song
This Mexican Song has been sung on both sides of the Rio Grande for many generations. It was a great
favorite of the early pioneers of the South-west.
i
Í
m
£
£
m
1.   Pa   -  ja   -   ro, que^a-ban   -   do  -   na    su
pri  -  mer   ni  -  do     su
i
1
j  U   »r r
pri   -   mer   ni   -   do.
t|j  J   J
Si    loen - cuen  -   trajo-ciV- pa - do  cie
±=*=*
J    i     »i
Chorus:
li  -  to      Lin  -  do   bien
me
re  -  ci  -  do.
t
È
1
Eî
=C*
:ct
Ay,
ay,
ay,
ay,
01
\n
ta,y       no    llor   -   res,
^
-xx
Por fi que        can  - tan  -  do   se_a   -   le  -  gran  Cie
M
li  -   to
j ■ J   i   Li-
lin   -   do   los
cor  -  a   -   zo
nes.
2. De la Sierra Morena cielito
Lindo, vienen bajando.
Un par dewojitos negros cielito
Lindo de contrabando.
3. Una flecharen el aire, cielito
Lindo, lanzo cupido,
Yjesa flecha volando, cielito
Lindo, bien me ha herido.
4. Ese lunar que tienes, cielito
Lindo, juntóla la boca,
No se lo des a nadie, cielito
Lindo, que^a mf me toca.
14& E M. Cortázar
Ay, Jalisco
Manuel Esperon
"Ay, Jalisco, no te rajes," is a local native expression meaning "0, falisco, don't let us down."
The mariachis of this song are the picturesque ser ape and sombrero clad native troubadours who
will still serenade (for a few pesos ) the sweetheart of a young Mexican lover. Tequila is an inferior
bard liquor distilled by the natives from the maguey plant.
Ay!   Ja   -   lis  -  co,   Ja-lis -  co.   Ja - lis  -   co,   tu    rie   -   nes   tu
gus - rajes -cu - char    les    ma - ría - chis   can - tar      con    el
W
no   -   via    quejes   Gua   -   da   -   la   -    ja   -   ra—
al   -   ma      tus   lin   -   das   can   -   ció   -   nes.
r
¥
cha   -   cha    bo   -   ni   -   ta
ir        co   -   mo   sue   -   nan
la    per   -   la    mas ra   -   ra de
e   -   sos   gui   -   ta   -    rro   -   nes   y_e
PEE*
3
to   -   do   Ja   -   lis   -   co_es    mi   Gua   -     da   -   la   -   ja   -   ra.
char   -   mejin re   -   qui   -   la        con   los      va   -   len   -   to   -   nes.
1st  2nd      Chorus
Y   me    iAy!
Ja   -  lis -  co, no   te
ra   -  joi
nte    sa   -     le    del    al        ma
>■ 1'/ U    I'i')
gri   -   tar       con    ca   -   lor.
*fo ir p 11 i 1.11 i  i'iu
a   -   brir   to - dq_,el
1st
^
pe - cho   pale   -   char   es   -   te   gri   - to: ¡Que lin -do^es Ja--lis - co,   pa
^m
2nd
¥
la   -   bra    de ho   -   nor! Its   -   co,   pa -   ia  - bra    dejio   -   nor!
Bv permission of the owners of the copyright in Canada. Southern Musk Publishing Co. (Canada) Ltd.
146 Pa' mujeres Jalisco primero, lo mismo en los altos quewalla_
jen la canada,
Mujeres muy lindas, que rechulas de cara, asi son las hembras de Guadalajara.
En Jalisco se quiérela la buena, porquejss peligroso querer
a la mala,
Por una morena echar much bala y bajqjuna luna cantar
en Chápala.
Ay ! Jalisco, Jalisco, Jalisco, tus hombres son machos y son
cumplidores,
Valientes yjiriscos y sostenedores no^admiten rivales en
cosas de amores.
Es tu orgullo tu traje  de charro traer tu pistola fajadajen
el cinto,
Tener su guitarra pa'echar mucho tipo ya los que presumen
quitarles el hipo.
147 Alla'en el Rancho Grand
J. del Moral
E D. Uranga
Like Stephen Foster's songs or Denza's "Santa Lucia" this has become almost a Mexican folk
song.
I
^5
S
?   J f^H
Ilajen   el    ran   -   cho   gran   -   de,       A  -  IIa   don 'de   vi  -  vi  -  a,
ü
^^^
-jjT^—ir
i J' J^
its:
V   '   *
i^
Ha  -   biaju  -   na    ran   -  che   -   ri  -  ta    Que_a   -   le   -   gre   me   de-
1. Te voyajia- Ay, Ay, Ay,
Osman Perez Freiré Osman Perez Freiré
Like "Alla en el Rancho Grande" in Mexico this Chilean song of love has become almost a
national folk song.
1        I        — 1  TS 7Í2       i 1 ; er--—s
m
^
m^
s
m
4    *
^*
1.   A   -   so - ma-.te^a    la    ven   -   ta   -   na^Ay, Ay, Ay,   pa   -   lo   -   ma    del
$ J1 J' j   I j     v J1 J' J' i J r I r i i
al   -   ma
mi
A   -   so   -   ma -   te^a    la    ven - ta - na^y, Ay, Ay,
*
h—H-fr
^i
■<Ç\Ï${! Jl g
pa   -   lo   -   ma    del   al   -   ma    mi
Que    ya   la^au -ro- ra    te
m
4> r \p    if\ f ? ç * *' r \f     1
£
pra   -   ña.
H
y a    la^au   - ro   - ra
nos   vie   -    ne^a-nun    -   ciar   el    di.  —  a-
HE
tern - pra - naj\y, Ay,    Ay,      nos   vie -  ne^a-nun-ciar    el
te
*—t—«   í
ft   p   j>
'      (T     é-
m
I
di a Ay,   Ay,   Ay,   Ay,   Ay,
í
í
Ay,   Ay,     Ay,    Ay,   Ay,
-    "ir"Tr~'P3
Ay,   Ay,   Ay,    Ay,       Ay,    Ay,   Ay,
2.   Sijilguna vez en el pechojfy, Ay, Ay,
el cariño no lo abrigas,
si^alguna vez en el pechq_Ay, Ay, Ay,
el cariño no lo abrigas,
engáñalo cómoda un niño,
pero nunca se lo digas,
engáñalo cómoda un ninoj^y, Ay, Ay,
pero nunca se lo digas. Ay, Ay, Ay, Ay, Ay,
Ay, Ay, Ay, Ay, Ay, Ay, Ay, Ay, Ay,
Ay.
Copyrighted Edward B. Marks Music Corporation, R.C.A. Bldg., Radio City, New York. Used by permission
149
¡ C F. Vedani
Adiós, Muchachos
Sand
ers
H
This is probably one of the best known tangos, the famous national dance of Argentina.
Chorns:
^
E I I l  F
A -dios, mu- cha- chos, cow -pa - líe- ros   de   mi   vi   -   da,      ba.-rra   que-
I 1      et    f «TU1 g
Si
^s
Ë
«=?
p
mp
ri   -   da    deua - que - Nos   tiem - pos.    Me    tocaba    mi    hoy   emprender la re« tí
ra   -   da,       de-bo^a-le   -   jar ¿me    de    mi    bue-na   mu-cha -cha-da.A- dios, mu
»'g i ii fjli J,'f /IAIEg g'r^^
cha-chos,    ya    me    voy   y    me     re   -   sig   -   no ron - travel des ti - no    na-die  la
i
r«g g j¡ J j' j j jjjijiJ'jWj'ji
ta   -  lia,    se    ter - mi - na -  ron    pa - ra    mi    to-das   las    fa - rras, micuer-poen
byj> j j j. j, jij,^ j jy, ji g J- j,
-  fer -mo   no   re  -  sis  -  te    mas.    1. A eu  -  den   a   mi   men  -  te,   re
ö
J J    J '   '   -
rjyi» Ji % d-  j
euer   -dos    dej>       tros    tiem       pos,   de    los    be-líos    mo -ment—os    quedan
"''J'J M ir I? F g i g i F F g^ i
ta   - no   dis   - fru   - té.   Cer   - qui   -   ta    de    mi    ma - dre,   san   -   ta
vie
fe—y-fr
ff   p    _R i * _>
b      F      ■   t|«     ■
h-
1 1   J*    J1       j  J    j    ^^ft
ji    -   ta        y   de   mi    no   -   vie   -   cit   -   ta   que    tan   -   tqj   - do - la
É
«J  J! J'#i   i   I  g    J   J > J'^P
tre-     Se^a   - euer   - dan    que^e   -Va her   -   mo   -   sa,   mas    be - IIa    queu
na 1
m
¥
g   g   J   g  '   P^^
S
mp
s
zon,      mas    el    Se
nor,   ce
lo
so
de    sus    en   -    can - tos,  hun   -
fc
rnm^
t
&E
=**
dien   -   do
Han
to
mejsn    el
ï. Es Dios el juez supremo no hay quien se le resista,
ya estoy acostumbrado su ley a respetar,
pues mi vida deshizo con sus mandatos,
al robarme mi madre y mi novia también.
Dos lagrimas sinceras derramojen mi partida
por la barra querida que nunca mejolvido,    |
y al darle a mis amigos-mi adiós postrero,
le doy con toda el alma mi bendición
me    la
^^
He
vo.
Jv permission of the owners of the copyrifihl in Canada, Southern Musk Publishing Co. (Canada) Ltd.
151
J Luigi Denza
(184Ö-1922)
Santa Lucia
Luigi Denza
Santa Lucia is the patron Saint of the old Italian City of Naples.
#ü
¥
mmg
^
jD-
1.   Now'neath the     sil-ver     moon o    -   cean        is glow    -    ing,
1.   Sul    ma   -   re   lue - ci   - ca l'as   -   tro   (Tar   -     gen   -       to
m
4 hJ bo
J i   l J   J
O'er     the     calm     bil.   -    low soft     winds     are     blow    -    ing;
Pia   -   ci   -   da    è       l'on   -   da,        pros   -   per   -   Ojè^JI   ven   -   to.
m
n j
Mere     balm -   y     braez - es     blow.
Ve   -   ni   -   recall'   a   -   gi   -   le,
X3
pure
bar
joys
cher
m
ta
vite
mi
us,
a,
m
fr=ft
H* b d
^
=o
And     as     we     gent
San       ta       Lu      ci
■ ly     row,
a,
all     things     de    -    light     us.
San   -   ta Lu   -   ci   -   a.
z»   ,    Chorea:  . .	
^^
*
^^
Hark,     how     the     sai - lor's     cry
Con   que  -  sto      zef  -   fi   -   ro
joy - ous   -    ly e - choes     nigh:
co  -  si so  -  a ve,
,]■■■ ti n ¿j i c i
üü
m
"San    -    ta
Of       com
Lu    -    ci    -    a!
è bel   -   lo
San   -   ta
star   sul
Lu
la
Cl
na
ve!
Home     of     fair     Po   -   e   -   sy,
Su    pass   -   ag   •   gie ri,
Realm     of     pure     Har  -  mo - ny,
ve   -   ni   -   te
VI
rx
r ir p   »
San   -
ta
Lu
-   ci
-   a!
San    -
ta
San
-   ta
Lu   ■
■    Cl
-     a,
San
-   ta
Lu
U
Cl
ci
152 2.   When o'er thy waters light winds are playing,
Thy spell can soothe us, all care allaying;
To thee, sweet Napoli, what charms are given,
Where smiles creation, toil blest by Heaven.
Hark how the sailor's cry joyously echoes nigh:
"Santa Lucia! Santa Lucia!"
Home of fair Poesy, Realm of pure Harmony,
Santa Lucia! Santa Lucia!
153
-—■- Adaption by
D. Ç Morton, Arts '49
Stenka Razin
Russian Folk Song
$ê
^ mmmm
i
4EWW
w-^
1.
Where   the
is
-  lands
of
the
Vol
-   9*
Guard   the
1.
Iz   xa
0
-  stro  -
va
na
site  •
zhen,
Na   pro
f-lhT^
mm^
en   -   trance   to the   sea,
stör     rech   -   noi       vol   -   ny,
Come    the      ships   of   S ten   -   ka
Vy   -   ply   -   va   - yut      ras • pis
^
n~mt^rv\
And   the sounds   of   rev   -  el   -  ry,
Sten   -   ki Ra   -   »   -   na    chel   -   ny
Chorus:
m j»
Come   the
Vy   -   ply
-P-g-F   I r   ^..¿L«L_¿.^pJl
shios       of   Sten   -   ka
va       - yut   ras  -  pis
Ra   -   zin, And    the   sounds   of   rev-el ■  ry.
uy   -   e#   Sten   -   ki    Ra   -   zi   -   na    chel-ny.
It's his wedding celebration.
On a cask of Cossack wine,
Stenka holds his Persian princess,
Gazing in her eyes divine.
In their beards his Cossacks mumble,
"Stenka has forgot his men.
/Let him throw aside this woman,
Let him lead us once again!"
Stenka Razin hears their murmur
'Gainst the princess on his knee,
So he takes that lovely creature,
And he throws her in the sea.
By permission of Colonial Music Publishing Co., Inc.
154
Na pe red ne m Stenka Razin,
Obnyavshis sidit s knizhnoi.
Svadbu novuyu spravh/aet,
On vesyoly i chmelnoi.
Volga, Volga, mat rodnaya,
Volga, russkaya reka.
Ne vida la I ry podarka,
Ot donskovo kazaka. Traditional
WQ^m
Ochi Chornye
Russian Folk Song
^^^ËgË^Êl
1
1.   0 chi
Eyes    so
chor  -   ny  -  e,
dark    and    clear.
o  -  chi
Eyes   of
zhgu  -  chi  - e,
love    - and   fear,
^-r-^T^T^m^r^^^oi^^^m
O  -  chi stra  -  stny  -  e
Beau   -   ti   -   ful and   true,
i        pre   -   kras   -   ny  - e,
I'm   in love   with     you;
ï T~~r=Tfi
Kak    lyu   -   blyu
Gleam   -  ing   eyes
ya   vas,
of   love,
kak   bo   -   yus ya   vas;
As   the      stars       a   -  bove,
g^^ÊÊIÊ^^SÊÊÊÊm
Znat    u       -  vi   -  del   vas,
You   have   won        my   heart,
ya    ne       v  do   -   bry chas.
May   we    nev   -   er   part!
2.   Ne vstrechal by vas, yab ne muchilsa,
Ya by prozhii zhizn, pripyevayuchi, \
Vy zgubili menya, ochi chornye, \
Unesli navyek moyo schastie.
By permission of M. M. Cole Publishing Co.
/
155  Songs of the A - Roving
Traditional
Verses 2-4 by A. McLennan
Capstan Chanty
This is probably the oldest of the Capstan, or Heaving, Chanties which were sung while pulling up the
anchor before leaving port. The melody is an old Elizabethan tune.
m
m
K
ï
W
^
^
1.   At   number   three   Old Eng- land   Square, Mark   well   what    I    do
F  If  M1
I' J J1 J"
ffbr»
^=P^=?
say:
At    number    three    Old    Eng-land    Square, My    Nan-cy Daw-son
Ö
m
¿=^JÜ JJJ|£J" F
she    lived    there, And I'll    go   no more   a   -   rov
Chorus: i
ing, With you, fair    maid!
afe*
F Ir    J
m
f J> j j-
in. I'll
rov
inq!   a   .   rov •   ing! Since    rov- ing's   been my   ru
ft Jl     J    J     J' |    g^
go    no    more
rov
ing   with vou,
fair
maid.
2. My Nancy Dawson she lived there,
Mark well what I do say;
She was a lass surpassing fair,
She'd bright blue eyes and golden hair—
3. I met her first when home from sea,
Mark well what I do say;
Home from the coast of Africkee,
With pockets lined with good monie;—
4. 0, didn't I tell her stories true!
Mark well what I do say;
And didn't I tell her woppers, too,
Of the gold we found in Timbuctoo!—
5. But when we'd spent my blooming "screw,"
Mark well what I do say;
And the whole of the gold from Timbuctoo
She cut her stick and vanished too;—
158 The Rio Grande
Traditional
Capstan Chanty
Another Capstan Chanty which was used almost wholely when heaving up the anchor outward bound.   It
dates back to the period of the Mexican War when many Yankee ships were delivering contraband below
the Rio Grande.
Solo ' Chorus:
fy ï f 11 m ï^gmmm^LMt rß
1.   Oh,   say,   were   you   ever   in    Ri   -   o   Grande?   Way       ^    Ri   - o.
It's    there    that    the    riv   -   er   flows        down gold   -   en    sand   And    we're
m m ¿m
bound    for   the    Ri   -   o   Grande. Then   a   -  way,   love,    a   -  way.
$mm J1 f f r^r i Bill M| ||
Way down    Ri   -   o, So   tare ye   well, my
I^m=m^ j> m M i1 m*\mW
prêt   - ty   young   gel,      For   we're   bound    for   the    Ri   -   o   Grande.
2. And good-bye, fare you well, all you ladies of town,
We've left you enough for to buy a silk gown.
3. So it's pack up your donkey and get under way,
The girls we are leaving can take our half-pay.
4. Now you Bowery ladies, we'd have you to know,
We're bound to the Southward, O Lord, let us go.
159 Shenandoah
Traditional
Capstan Chanty
Shenandoah was a famous Indian Chief whose camp was situated on the banks of the Missouri River. This
is also a Capstan Chanty but in contrast to the longing for the open sea expressed in "A-Roving", the feeling here is one of wistful sadness at the thought of leaving home.  Captain Whall suggests that the song
originated among the Voyageurs.
Solo:
Q/orus:
1.  Oh        Shen-an   doah,      I    long   to   hear   you,    A  -  way   you   roll   -  ing
»a i      SqJoj    _ i       l.      .  r¿í3 . Cborut:
fcfflj* 7 lit F F r   «r JJIU  j
riv   -   er.     Oh        Shen • an- doah,       I    long    to hear   you, A   -
tpj- M-fHf   u», j»j.  ju 7~fn
way       I'm   bound   to   go,
2. Oh, Shenandoah, I love your daughter.
Oh, Shenandoah, I love your daughter,
3. Tis seven long years since last I see thee,
Tis seven long years since last I see thee,
4. Oh, Shenandoah, I took a notion
To sail across the stormy ocean,
5. Oh, Shenandoah, I'm bound to leave you,
Oh, Shenandoah, I'll not deceive you,
6. Oh, Shenandoah, I bug to hear you,
Oh, Shenandoah, I long to hear you,
'Cross   the   wide   Mis   -   sou
ri.
By permission, J. Curwen and Sons, Ltd., London. Eng. From Shanty Book. Part I, collected and eUtte&by
Sir Richard Terry. When Johnny Comes to Hilo
Traditional
Capstan Chanty
This is also a Capstan Chanty, but is of negro origin and was very rarely sung by white sailors.
%
te
g-g ; g r  f  i f p -P  ^^
^&
1.   I    neb-ber   see   de    hke   since
#È
*
I   been   born,
Chorus:
When   a
£
f^£
^
^
big   buck   nigger   wid    his   sea   - boots   on  Says, "Johnny, come   down    to
*7\
Í
PP
Hi   -   lo,
poor       old
man,
Oh,   wake    her,
oh.
l^fc^
^p^
I'     J?     j!
shake   her,        Oh,   wake   dat   gal   wid   de
blue   dress   on,   When
m$
mm
ä
John-ny   comes   down   to       Hi  -   Iq.
poor
old
man.
2. I tub a little gel across de sea.
She's a dark-eyed beauty and she sez to me,
3. Oh, was you ebber down in Orleans Bay?
Where dey totes de cotton on a summer day,
4. Did you ebber see de ole Plantation Boss
And de shorttailed filly and de big white boss?
161 KM
¡>
Traditional
Blow the man down
Halyard Chanty
A Halyard, or hauling, Chanty used when the sails were being raised. "Blow" was an old sailors' term for
"knock", and the third mate was endearingly termed the third "blower"
Solo:
3E
#=
. Chorus:
I.   Oh, blow   the   man   down,   bul- lies,   blow   the man   down! To   me
Solo: .Mfcjv'^
^=^=ff^jJZTJ^i
way aye,
_
blow   the   man   down.      Oh,   blow        the    man
Chorm:
down,   bul   -   lies,      blow.      him   a   -   way. Give    me   some
^IpPPpi^.
time
to    blow the    man    down.
2. As I was a walking down Paradise Street,
A pretty young damsel I chanced for to meet.
3. She was round in the counter and bluff in the bow,
So I took in all sail and cried, "Way enough now
4. So I tailed her my flipper and took her in tow,
And yard-arm to yardarm away we did go.
5. But as we were going she said unto me,
'There's a spanking full-rigger just ready for sea."
6. But as soon as that packet was clear of the bar,
The mate knocked me down with the end of a spar
7. And as soon as that packet had put out to sea,
Twas devilish hard treatment in every degree.
8. So I give you fair warning before we belay,
Don't ever take heed of what pretty girls say.
162 The Drunken Sailor
Traditional
Runaway Chanty
A Runaway, or "stamp and go", Chanty, it was usually sung by all hands as they ran down the deck with
the braces when swinging the yard's around while tacking ship.
i1 J ¿ JrpTT=y^t^.^g
1.   What   shall   we   do   with   the   drunken      sailor?     What   shall   we   do
®rrm[m-j~jmÈÊÊ
í
with   the   drunk  -  en   sail   -   or?        What   shall   we   do with   the
wmml
-m^rr^
#
drunk  -  en sail   -   or?      Ear  -   ly        in        the
Chorus:
morn   -   ing.'
pfcLJ-j^Jaj-^-i
Way,   hey,       and    up   she   ris  -   es,     Way,   hey,   and   up   she   ris   -   es
i
Way,   hey, and    up she    ris   -   es,       Ear   -   h/   in   the    morn   -   ing!
2. Put him in the long-boat till he's sober.
3. Tie him to the raff rail when, the yard goes under
4. Hoist him by the leg in a running bowline.
5. Put him in a leaky boat and'make him bail her.
6. That's what we'll do to the drunken sailor.
16S Anon.
A Capital Ship
Anon.
ç i? r r p (^^
^^
1.   A   cap  -   i   -  tal   ship   for   an o  -  cean    trip        Was   the
J J J   ii'J
3ÜÜ
^
Wal   -   lop  -  ing    Win   -   dow    Blind," No    gale        that    blew    dis
=J   J I J     ë^ë
r   ¿ ^t^^^g
may'd her   crew,   Or   trou   bled   the   cap - tain's   mind.
The
mm  j
p^^ï
man    at   the   wheel was made       to feel, Con  -
/SN /SN **n
5=1*
i
:	
tempt      for   the   wild  -  est blow  - ow  -     0w, . Tho'   it
£=£
J-   i i J» ^
e*=#
•^Pi i
oft   - en    ap   - pear'd,   when   the   weath   -  er   had   clear'd,       That   he'd
Chorus:
J1 J1 J.   jljL  ' d   'iJi   i
been       in    his   bunk       be   -   low.       Then       blow,   ye   winds,   heigh
HM'-^f
m m^ m
ho!
A   -   rov  I   ing    1   will    go! ' 111   stay no    more   on
m
mmm¿mm
>    >
Eng       land's   shore,     So   let the   mu      sic.     play      ay   -   ay!     I'm
j J-M i-i ■'*+* ^^+-t-l£: g
off   on   the   morn  -  ing   train, To   cross   the   raging   main!       I'm
tf> r r p r F FiJ-^ui- j.ij j i JO..
off   to   my   love   with   a   box -  ing   glove, Ten   thou sand   miles   a   -  way!
164 0M^g*mmmm^Bm&m*mm
2. The boatswain's mate was.very sedate.
Yet fond of amusement, too;
And he'd play hop-scotch with the starboard watch
While the captain tickled the crew.
And the gunner we had was apparently mad,
For he sat on the after rai-ai-ail,
And fired salutes with the captain's boots,   f
In the teeth of the booming gale.
3. The captain sat in a commodore's hat,
And dined in a royal way
On toasted pigs and pickles and figs
And gummery bread each day.
But the cook was Dutch, and behav'd as such;
For the food that he gave the crew-ew-ew
Was a number of tons of hot-cross buns
Chopp'd up with sugar and glue.
4. And we all fell ill, as mariners will,
On a diet that's cheap and rude;
And we shiver'd and shook as we dipp'd the cook
In a tub of his glue-some food.
Then nautical pride we laid aside,
And we cast the vessel asho-o-ore
. On the Gulliby Isles, where the Pooh-pooh smiles,
Arid the Anacazanders roar.
5. Compos'd of sand was that favor'd land,
And trimm'd with cinnamon straws;
And pink and blue was the pleasing hue
Of the tickle-toe teaser's claws.
And we sat on the edge of a sandy ledge.
And shot at the whistling bee-ee-ee;
And the Binnacle bats wore waterproof hats
As they danc'd in the sounding sea.
6. On rub-a-grub bark, from dawn to dark,
We fed till we all had grown
Uncommonly shrunk; when a Chinese junk
Came by from the torriby zone.
She was chubby and square, but we didn't much care,
And we cheerily put to sea-ea-ea;
And we left the crew of the junk to chew
The bark of the rub-a-grub tree. if
\4^^^ Sonés of the Hills
and the Plains Traditional
Down in the Valley
An old love song from the Kentucky mountains.
Traditional
ifrfl j i ¡
fefe£
PP
m=^
m^
1.   Down   in   the   val   -   ley, the   val- ley   so   low,
Hang   your   head
$
^
ver,   hear   the   wind   blow.
w
^
sa
t=:í
Hear   the wind blow, dear, hear the wind
fel
W
P^P
blow,
Hang   your   head   o   -   ver,   hear   the   wind   blow.
2.  Writing this letter, containing three lines,
Answer my question, will you be mine?
Witt you be mine, dear, will you be mine?
Answer my question, will you be mine?
3.   Roses love sunshine, violets love dew,
Angels in heaven, know I love you.
Know I love you, dear, know I love you,
Angels in heaven, know I love you.
168 Reuben and Rachel
Traditional
Traditional
@S
¿m
Nj  i J J'
nf
1.   Reu
Ra
J'   J   J   i J'
ben,   Reu   -   ben,      I've   been    think
chel,   Ra   -  chel,       I've   been   think
0
¿t
ing What   a    queer   world
ing What   a   queer   world
this   would   be,
this   would   be,
P i    j Í   ,
If
If
the   men   were
the   girls   were
£=£
all    trans
all   trans
oort   -   ed,
port  -  ed.
Far
Far
be
be
yond   the
yond    the
North   -  ern   Sea!
North  -  ern   Sea!
2. Reuben, Reuben, I've been thinking
If we went beyond the seas,
That the men would follow after
Like a swarm of humble-bees.
Rachel, Rachel, I've been thinking
If we went beyond the seas,
All the girls would follow after
Like a swarm of honey-bees.
3. Reuben, Reuben, stop your teasing,
If you've any love for me,
I was only just a-foolin',
As I think you plainly see.
Rachel, if you'll not transport us,
I will take you for my wife,
And I'll split with you my money
Every pay day of my life. I )
Wait for the Wagon
R. B. Buckley R. B. Buckley
JCJLJLLC—ri
m^
m
3Z3J3=^^
Sí
1.  Will   you   come   with   me.   my   Phyl  -  lis   dear.   To   yon   blue   moun-tain
Ü
rm^^
m
free?   Where   bios  -   soms   smell    the   sweet   -   est,  Come   rove   a   -   long   with
me.        It's   ev  -   'rv   Sun-day   morn   -   ing, dear,   When    I    am   by   your   side,
We'll   jump   in   -   to   the   wag   -   on. And   all take   a    ride.
Chorus:
*mm§
rjri p.
Wait       for   the   wag   -   en, Wait
for    the    wag   -   on,
^¿J^_¡Er^zJiP
Wait
for   the   wag   -   on,       And   we'll   all take   a    ride.
ii
2.  Where the river runs like silver,
And the birds they sing so sweet,
I have a cabin, Phyllis,
And something good to eat.
Come, listen to my story, now.
It will relieve my heart.
So jump into the wagon
And off we will start..
170 Traditional
The Quilting Party
Traditional
1.   In   the   sky   the    briqht   stars   glit-ter'd,
On    the    bank    the
ÍÜ
mm
rfTT
pale   moon    shone,
And   'twas       from
Aunt    Di   -   nah's
JIPFJ
quilt  -   ing
Chorus
par  -  ty        I    was      see   -   ing    Nel - lie
home.
¿JLi ¿U^4:fXiprf^
I   was        see - ing   Nel  -  lie   home;
I   was   see  -  ing    Nel -lie
$
mm^m
^S^EJgip
home,        And   'twas   from   Aunt   Di  -  nah's        «uilt -  ing par  -  ty
j^^f^mw
I    was see  -   ing    Nel   -   lie
/7S
home.
2. On my arm a soft hand rested,
Rested light as ocean foam;
3. On my lips a whisper trembled,
Trembled till it dared to come;
4. On my life new hopes were dawning,
And these hopes have lived and grown;
171
J —=-
I
Big Rock Candy Mountain
Traditional Traditional
4=
m§
&y~±mi
1.   On    a    sum   -   mer   day    in    the    month    of   May,        A   bur- ly    bum    came
Í
m
s
hik
ing     Down   a   sha   -   dy   lane, through    the   su   -   gar     cane    He   was
$
J     JU^fJI J     J      J   fr^
look
pp»
ing   for   nis   lik   -   ing;     As    he    roamed   a   -   long he   sang a song Of the
1
3
mm
s
land   of    milk   and   hon   -   ey,     Where   a
bum    can    stay
foi
I  J    J ~j
É
ma   -   ny   a
Chorus:
day     And    he   won't   need
W
i
an
money.
3
-±±±+
Oh!   the   buzz
in
of   the   bees   in    the     cig - a - rette   trees,   Near   the
m
^m
so
da    wa   -   ter   foun   -   tain      At    the    lem-on-ade    springs  Where    the
fill
m m
T=^J--i-^i
blue   -   bird   sings. On   the        Big    Rock        Can   -   dy
Moun
tain.
2. High up in the sky the clouds sail by,
And the birds are singing lightly,
And the rain and the snow and the wind don't blow,
And the sun is shining brightly.
If you just reach out to the bushes about 4.
You can pick a pound of candy,
And the chocolate cake by the ice-cream lake
In little heaps is standing.
3. Oh, the lollipops and the sugardrops
Grow all over the place like clover.
While the hot dogs race, and bark and chase
The ginger-bread cats all over.
If one stands on toe 'neath the trees that grow,
By the side of the soda fountain,
One can pick pea-nuts as much as one wants
And you never need to count 'em.
Now out on the run came the farmer and his son,
To the hay fields they were bounding.
Said the bum to the son, "Why don't you come
To that Big Rock Candy Mountain?"
So the very next day they hiked away,
All the mile posts they kept counting,
But they never arrived at the lemonade tide
On the Big Rock Candy Mountain.
172 Hallelujah I'm a Bum
Traditional
Traditional
George Milburn, in bis "Hobo's Hornbook", says that a version of the famous bobo song was found scribbled on the wall of the Kansas City jail where an old hobo known as "One-finger Ellis" had spent the night
recovering from an overdose of rotgut whiskey.
i
te
*
m
1.  Oh,   why   don't    I   work like   o   -   ther   men   do? How   the
Chorus:
ifj,^ f  j.  f\r   |*   J
J U      p  P
hell   can    I        work       when   the   skies   are   so   blue!*
Hal
ift, r , ji-jnj    p. gi r^
^
•* 1 g
É^
u   -   jah!    I'm   a    bum,
Hal   -   le   -   lu   -   jah!   bum   again, Hal-le-
T
lu  -  jah!   give   us   a   hand   -  out,     And   re   -   vive
us
gain.
2. Oh, I love my boss and my boss loves me,
And that is the reason I'm so hungery.
3. Oh, the springtime has come and I'm just out of jail,
Without any money, without any bail.
4. I went to a house and I knocked on the door;
A lady came out, says, "You been here before.
5. I went to a house, and I asked for a piece of bread;
A lady came out, says, 'The baker is dead."
6.   When springtime does come, oh, won't we have fun,
We'll throw up our jobs and we'll go on the bum.
By permission of Francis, Day and Hunter, Ltd.
178 Traditional
Casey Jones
Traditional
Many songs bave been sung about Casey Jones and the famous tram wreck of ¡909. At the time
of the tragedy, according to one legend, Casey, throttle puller of the Illinois Central's crack
"Cannonball", was driving No. 6)8, making a run for a friend who was ill. The train was wrecked
at Vaughan, Mississippi, and Casey died at the throttle.   Wallace Saunders, bis Negro engine
wiper, set down the story of bis death.
 1 ç—j^l
1.   Ceme   all   you   round   -   ers.   that
want
to     hear     The
tftr«l   4
Sto   -   ry   of
J    i J-   il¿
a brave    en   - gi   - neer.       Ca   -   sey   Jones   was   the
fL_j j. ¿iu^^^T^^p
round   -   er's    name,    On   a    big   eight-wheel - er,   boys,   he
won
his fame.
if^l? f    I   ;iJl
The   call - er   called   Ca -   sey       at
half   -   past    four,       He
/ J-   J'l E   MP
wm
kissed    his   *vrfe at   the   sta   -   tien    door,     He    mount   -   ed   to   the
l$ft' 'J > > 1 y  f f j J
ca   -   bin   with   the       or   -   ders    in
his    hand,
And    he
I     I    I     I     O'     *   .I^JJ-jrp1
took   his   fare   -   well trip
Chorus
to    that      pro   -   mised    land.
i   i.norus:
o j. j \f. p r y p r i j» j.   j ^
Ca   -   sey   Jones,       mount -   ed   to   his   cab -   in,
Ca   -   sey   Jones
jïj j \f p r y  f    i j ¿ «j i
wrth    his or   -   ders    in    his hand. Ca   -   sev   Jones
ty 9     ?    P     f     F    I     J' ' a*.'
Ca   -   sey   Jones
"   J   J   J'
mount -  ed    to
his   cab   -     in, And    he took    his    fare    -    well 2.   When he pulled up that Reno hill,
He whistled for the crossing with an awful shrill;
The switchman knew by the engine's moan
That the man at the throttle was Casey Jones.
He looked at his water and his water was low;
He looked at his watch and his watch was slow;
He turned to his fireman and this is what he said,
Boy, we're going to reach Frisco, but we'll all be dead.
Casey Jones— going to reach Frisco,
Casey Jones— but we'll all be dead,
Casey Jones— going to reach Frisco,
We're going to reach Frisco, but we'll all be dead.
So turn on your water and shovel in your coal,
Stick your head out the window, watch those drivers roll;
I'll drive her till she leaves the rail,
For I'm eight hours late by that Western Mail.
When he was within six miles of the place,
There number four stared him straight in the face.
He turned to his fireman, said, "Jim, you'd better jump,
For there're two locomotives that are going to bump."
Casey Jones— two locomotives,
Casey Jones— going to bump,
Casey Jones— two locomotives,
There're two locomotives that are going to bump.
4.   Casey said just before he died,
"There're two more roads I would like to ride,
The fireman said, 'Which ones can they be?"
"Oh, the Northern Pacific and the Santa Fe."
Mrs. Jones sat at her bed a-sighing
Just to hear the news that her Casey was dying.
"Hush up you children, and quit your cryin',
For you've got another poppa on the Salt Lake Line.'
Casey Jones—- got another poppa.
Casey Jones— on the Salt Lake Line,
Casey Jones— got another poppa.
For you've got another poppa on the Saft Lake Line.
175 IV'
I Been Wukkin' on de Railroad
Traditional
Traditional
Like "Sbe'tt be Coming Round the Mountain" and "Clementine'', this song was sung by the railroad gangs
during the construction of the first trans-continental railroad, "The Union Pacific, which was approved
by Lincoln as a war measure.
ffgj'U     i    j"
*~s=ft
S      s
EÉ
^m
fc=3fc
1.  Oh,    I   was   bo'n    in    Mo-bile    town,    I'm   wuk-kin'   on   de    lev   -   ee.
*
mwm
/ij- if
All   day      I   roll       de   cot       ton   down, A - wuk      kin'    on   de .  lev      ee.
Chorus:
fcflJ.   j. Ji-jr/ *\r~TTr- p J Jlfyñ
I    been   wuk   -   kin'   on   de   rail   -   road       all    de    live-long   day,
äj>*j-   j> J j? J- iip    J.   JiJ- ^J |>icJ._jJ5g
1     been   wuk- kin'   on   de   rail   -   road   to   pass  de    time
a  • way.
p
*=h
^-Jrr^-^-[-r=r=¡rr^^^
Doan'    yo'    hyar    de   whis  -   tie    blow   -   in?     Rise    up    so    ear   -   ly    in    de
tjlf^r i » \ ¿.   j» ■/■ j» «h / i j,   j
mawn.
Doan'
yo'   hyar   de   Cap
shout
in*,
m
f
f  j i ¿_^^m
'Di   -  nah,   blow   yo'   hawn!'
2.   I use' to have a dog name' till,
A-wukkin' on de levee.
He run away, but I'm here still,
A-wukkin' on de levee.
*j   —   3.   Dat li'i ole dog up an' beg,
A-wukkin' on de levee,
Till I done give him chicken lee
A-wukkin' on de levee.
176 Oh! Bury me not on the Lone Prairie
Traditional
Traditional
"ft* j J' i
jCSZ
m^^
jct
1.  Oh!   bu- ry   me   not
on   the    lone   prai   -    ríe
fl
S
1=
1
HCT
These   words   came   low
tyl j j*   J 5Í
and   mourn   -   ful   -   ly
From   the   pal - lid     li
jp
»
On    his   dy   -    ing    bed
2. Oh! bury me not on the lone prairie
Where the kyotes howl and the wind blows free
In a narrow grave just six by three
Oh! bury me not on the lone prairie.
3. It matters not I've oft been told
Where the body lies when the heart grows cold
Yet grant oh! grant this wish to me
Oh! bury me not on the lone prairie.
Oh! bury me not on the lone prairie
Where the wolves can howl and growl o'er me
Place a red, red rose o'er my lonely grave
With a pray'r to Him who my soul will save. Home on the Range
Traditional
Traditional
i^^^j^y^^^jd-^zfe^
19     Oh,   give   me a   home, where   the   buf  -  fa   -  lo   roam,
fflfrrri7- -i=?t j;- -7 j r,e ^F=%t
And    the   deer   and the   an   -   te  -   lope    play. Where
sel  -  dorn    is      heard a    dis  -  cour  -  ag  -  ing   word.      And    the
skies      are   not        cloud
C&oriM.'
«6=
all day.-
J-
p—[-J—r~J£»Efe^. p 11 jüé-J I
Home, home   on the    range,
where the deer   and the
S^B^
^ct
an   -   te   -   lope    play
^ OZffi^
Where   sei  -  dorn   is   heard   a   dis
FtfW
j- jjirrar^p
if
cour  -  ag -  ing   word,     And   the   skies   are   not   cloudy   all   day
m
2.     Oh,   give   me a    land   where   the   white   dia   -   mond   sand      Flows
0JL p r l4-J^B^
mer - ri - h/   down the   stream.      And   the   grace •  ful   white
£xr i r^-f-i- J ¡Up ? I r , ç.
swan goes   glid   -     ing   a      -   long, Like    a    maid in
fffa=F^ J.■;", i i -i,... jëbji
heav -  en
ly drea
D.C. A i Fine
m.
178 Where the air is so pure and the zephyrs so free
And the breezes so balmy and light,
That I would not exchange my home on the range
For all of the cities so bright.
Home, home on the range,
Where the deer and the antelope play,
Where seldom is heard a discouraging word,
And the skies are not cloudy all day.
How often at night, when the heavens were bright
With the light of the glittering stars,
Have I stood there amazed, and I asked as I gazed,
If their glory exceeds that of ours.
Then the stars looking down, answered me on the ground,
'There are many things wondrous and strange,
But surely the best is the peace and the rest
Which are found in a home on the range."
Home, home on the range,
Where the deer and the antelope play,
Where seldom is heard a discouraging word,
And the skies are not cloudy all day.
179 The Yellow Rose of Texas
Traditional Traditional
p*p
S
0        O
1.  There's   a   yel   -   low   rose    in   Tex   -   as, I'm   go   -   ing    there    to
§
m Jir r p
5
see, No   o   -   ther   fel   -   low   knows   her,       No   -   body,   on   -   ly
P
i» ir  f r ri f  f    J|j J j j
XÏ
me. She   cried   the   day I    left   her,        It   al - most   broke   her
|
4 v i r r r^
s
p   i
heart,
And   if.   we
ev   -   er   meet   a . -   gain      I    know   we'll    nev - er 2.  Where the yellow Rio's flowing
The stars are shining bright,
We walked down by the River
On a lovely summer night,
She said, "If you remember—"
We parted long ago,
I promised to come back again
And never leave her so.
I'm going back to find her.
My heart is full of woe,
We'll sing the songs together
That we sang long ago,
I'll strum the banjo gaily
And sing the songs of yore,
And the Yellow Rose of Texas
Will be mine for ever more.
II
Traditional
É
Red River Valley
Traditional
£
Ê
1.   From   .this   val   -   ley   they   say
Come   and    sit        by   my   side
you   are   go  - ing,
if   you   love   me,
—w	
We   will
Do    not
r r r
£W
122
jTh-f
3Ü
miss   your   bright   eyes   and   sweet  smile,
has   -   ten    to bid    me       a   -   dieu,
flf r ru.;ij
fc
For they   say   you are    tak-ing   the
But    re-memrber   the    Red    Ri-ver
S
f
3d
sun - shine,
VaHey,
That   bright       ens   our   path. - way   a   -   while.
And    the   girl    that   has   loved   you    so      true.
2. Won't you think of the valley you're leaving?
Oh, how lonely, how sad it will be,
Oh think of the fond heart you're breaking.
And the grief you are causing me.
3. From this valley they say you are going,
When you go, may your darling go, too?
Would you leave her behind unprotected
When she loves no other but you?
4.   I have promised you, darling, that never
Will a word from my lips cause you pain;
And my life, it will be yours forever
If you only will love me again.
181 Tradil
Whoopee-ti-yi-yo
lonal
Traditional
ÍÉ* ggör~r~M-iJ- /-JUM
1.  As      I    was   a   -  walk  •  ing   one   mom. -  ing   for   pleasure,       I
spied   a   cow  -  punch   -  er      all
-J=m^
rid   -   ing       a   -   lone,
His
iff m-f y-f=m^_ \ i  > J' j^ ^
hat   was    thrown    back    and    his
spurs   was   a   •   jing   -   ling,    And
Jf i? r   r " J* ■ iJ|- /~^^
i
'4
as
(.'bon»
he    ap   -   proached    he   was
sing   -   ing    this   song:
'-; ¡rrrT~g~^ i&^j / j- j- '
Whoo •   pee
Tï   Yi   Yo?
Git   a   -   long / lit -   tie    Do  -   gies, It's
m^j r^í  t ¿--J.rp[z~]
your   mis
for
tune    and    none
*
r m
of        my     own.      Whoo   -   pee
h
Ti
Yi
Yo!
Git
^^=gE=gE
3^ E=fc=fr
m
know   that   Wy
ming    wil
2. It's early in Spring that we round up the dogies;
We mark them and brand them and bob off their
We round up our horses, load up the chuck-wagon,
And then throw the dogies cut onto the frails. .
3. Some boys go up the trail for pleasure,
But that's where they gets it most awfully wrong;
For you haven't any idea the trouble they give us,
While we go driving them along. r
long    lit  -   He      Do   -   gies,   You
¿^4 mm:
be       your      new   home.
tails.
Your mother was raised away down in Texas,
Wham the jimson weed and sand-burrs grow,
Now well fill you up on prickly pear and cholla
Till you am ready for the trail to Idaho.
Oh, you'll be soup for Uncle Sam's Injuns,
"It's beef, heap beef," I hear them cry.
Git along, git along, git along, little dogies,
You'll be big beef steers by and by.
182 Chisholm Trail
Traditional
Traditional
The Chisholm Trail once wound all the way from San Antonio to Montana. The chorus is probably an imitation of an Indian war-cry, for the Indians taught the Mexicans how to tame and
ride the wild horses and the Mexican Vagüeros taught the Texas cowboys.
(feW
mm
sm
fe:
m
w
i
I.  Well,   come   a  -  long   boys,   and        list  -  en        to       my   tale, I'll
fe
f   f   f   g   f   ^^
£
±
tell   you   of      my   trou   -  bles   on   the
Chorus:
old       Chis   -   holm   Trail,
V5=$
W^
#
0     m
Come   a        ti.
y», Y»P
yip   - pi     yay,
Come       a
ti.
V.
y»p - P»#
yip
P"
yay.
2. A ten dollar boss and a forty dollar saddle,
And I'm goin' punchin' Texas cattle.
3. It's cloudy in the west, and it looks like rain,
And my damned old slicker's in the wagon again.
4. No chaps, no slicker, and it's pourin' down rain,
And I swear, by gosh, I'll never night-herd again.
5. It's rainin' like hell and it's gettin' mighty cold,
And these long-horned sons-o'-guns are gettin' hard to hold.
6. My feet in the stirrups and my seat in the saddle,
I hung on and rattled with them long-horn cattle.
7. We rounded 'em up and put 'em on the cars,
An' that was the last of the old Two Bars.
8. I'm goin' back to town to draw my money,
Then I'm goin' back home to see my Honey.
183 Walter G. Samuels
- Leonard Whitcup
and Teddy Powell
Boots and Saddle
Walter G. Samuels
Leonard Whitcup
and Teddy Powell
$É
mmF^F
mmm
m¡
<>   n i
w
1.  Take   me   back        to       my   Boots and   Sad        die,
Let   me   ram -ble a   -   long the   prair  -   ie—
Ooh-ooh -
Ooh - ooh
V
m$m
t
Û
wm
ooh, Ooh - ooh- ooh, Ooh   - ooh   -   ooh,
ooh, Ooh - ooh - ooh, Ooh   - ooh   -   ooh,
let   me
rop   -   in'
mm
w=m
t
f T   f  f
see   that   gen'
steers   on   old
ral   store, let   me   rid«   that   range   once   more,
"Bar   X" with   my   bud   -   dies,   Slim   and   Tex,
I
JTT~^.
1
mm
3
■&±
give   me
my   Boots
and    Sad   -   die—
^} l J*i f <% r g r f g i-fr 'g i—i
Z2I
Got   a    hank  -  er  -  in'   to   be   with   a     ban  -  jo on   my   knee,
J«
ff rn? t
f^
strum   -   min'   a   prêt   -   ty   west   -   ern   tune.
There's   a
fff'  g f f r    f  g I F    g  F'   F  f
gal   in   Cher   -   o   -   kee,    and   she's   wait   -   in'    there   for   me;
a
Vfn r f r r i¿ j j
^^
wait   -   in'   be - neath   a   Tex   -   as   moon,   so   take   me   back
to   my
Reproduced by kind permission Southern Music Publishing Co. Inc., New York, and Gordon V. Thompson, Ltd.,
Toronto.
184 4
í
Égg
Boots
i
and   Sad   -  die.
Ê
€g»W
Ê
Ooh - ooh      ooh/        Ooh-ooh -
5É
3
P
:Q=
ooh,
morn.
1
Ooh--  ooh    -   ooh,
ij,* ¿j-    «fr -jh r   j ~f^
Let   me    greet   each    blaz - in'
:qc
£m¿m$
on    the    ranch   where    I
was    born,
give    me    my
3
mmçm
^m
se
Boots
É
P-*-
ooh,
and   Sad   -   die-
^m
Ooh • ooh - ooh, Ooh    -    ooh
Si
Ooh    -   ooh   -   ooh.
185 Anon.
The Desperado
l±j J I J P  Pfl.r  ^^JLJ_i^
1.   Now there   was   once   a   Des - per  -  a  -  do from   the wild and wool-ly
if F fly / ;■ j* i j. .
West,     And   he   wore   a      big   sont-   brer-o    and   a   gun   be-neath    his
. j^ji [ m?-~f~f if J j7 j i J* J*
vest. He       came   to   New   York   Ci - ty   just   to   give    the  West   a
M--g-4-M^""^^U   UPI
rest, And   ev  - 'ry - where   he went   he   yelled   a      war  -  whoop.
Chorus:
He   was   a       bold,   bad   ban  - dit   was   this       des - per    a - do.  From
Anon.
"T7J J- «My«i   J'lJ- f   gl.
£=f_Lf   g  g   F  1 r T    g~~£^_f  g g
Crip  -   p(e   Creek   'way   out   in
A»      -    i   ^        h
e -    ra - do.    And   he
'iJf   giMFJl
wild   tor   - na   -  do,    And ev'ry -where he
mm
2.   He went to Coney Island just to take in all the sights.
He saw the hootchy-kootchers and the ladies dressed in
tights.
He became se excited that he shot out all the lights,
And at he left the place he yelled a war-whoop. 3. Hé found a mob of gangsters had cleaned out the banks
one day.
He twirled his she-guns, shot them up and took their swag
away.
And when the cops came all he said was: "Hell, this is child's
play!"
And as he galloped off he yelled a war-whoop.
4. At last he sighed, "It ain't no fun out hyar to do no wrong.
Ah'm goin' back tuh whar Ah know the opposition's strong.
Ah'm makin' tracks fer home, it's in the West that Ah belong!" *
And as he left New York he yelled a war-whoop. Great Grandad
Anon
Anon
^^
f=!Lü
mm
IÜ
1.  Great   Grand • dad,   when   the   West   was   young,   Barr'd   his   door   with   a
%
0 ar
m=m
^^
wag   -   on   tongue, For   the   times   was   rough   and   the    red-skins   mock'd,
frjJ-ii» é r ^
m
And   he   said   his   011/»   with   his
shot   -   gun        cock'd.
2. He was a citizen tough and grim.
Danger was "duck-soup"to him.
And he ate corn-pone and bacon fat,
And his great-grandson would have starved on that
3. Great Grand-dad was a busy man;
Cooked his grub in a frying pan.'
He picked his teeth with his hunting knife,
And wore the same suit all his life.
4. Twenty-one children came to bless
The old man's home in the wilderness.
Doubt this statement if you can.
Great Grand-dad was a busy man.
5. Twenty-one boys, and how they grew,
Tall and strong on the bacon, too.
Slept on the floor with the dogs and cats.
And banted the woods in their coon-skin caps.
188 Sones of the
South Traditional
Swing Low, Sweet Chariot
Negro Spiritual
// Kings 2:11, "Behold, there appeared a chariot of fire, and horses of ftre . . . ; and Elijah went up by a
whirlwind into Heaven".  This Old Testament story it the foundation of this spiritual m which the Negro
speaks of bis longing to go to Heaven in the same way.
Chorus.
#
Süp¡
m
^-g-¿JjU
Swing   low,   sweet   char  -   i   -  ot,        Com-in'   for   to carry   me   home.
Fine
f^Tr^îjjrTï-fî
^m
Swing    low,   sweet   char   -   i  -  ot, Com-in    for   to   car-ry    me    home;
Solo:
TfT fmm? vj>^mj~mm
1
1. I      look'd   o -  ver   Jor  -   dan   and   what'       did   I see.
2=à=&,£=t=tL-t    If       *tg_¿-M
Com   -   in'   for   to   car   -   ry   me
com  -in'   at  -  ter   me,
2. The gates of Heaven will open wide,
To let that chariot roll inside.
3. If you get there before I do;
Tell all my friends I'm comin' too.
home.
A    band    of   an  -  gels
DC. AI Fine
com   -   in'    for    to    car   -   ry    me    home, Traditional
Go down, Moses
Negro Spiritual
The origin is lost in mystery, but it is said to have been sung in Africa for many centuries. Scholars have
professed to hear in it a likeness to an ancient Jewish chant.
1
Solo:
w&
mmm
Chorus :
w
33
mm
4!m
1.   When    Is   -   rael   was   in
Solo:
E   -   gypt's   land, Let   my   people
Chorus,
w
i J.V'«1-
go!
$
Op   -   pressed    so   hard    they   could    not   stand. Let   my   people
m
:ü=
=Ö
10-^
no:
--flg-^L
*
go!
Go   down,        Mo   -   ses, 'Way down    in    E   -   gypt's   land,
^m
vJ1   o
Tell
old
WW
Pua   -   raoh,
'Thus saith the Lord," bold Moses said,
"If not, I'll smite your first-born dead."
The Lord told Moses what to do
To lead the children of Israel through.
No more in bondage shall they teil,
Let them come out with Egypt's spoil.
-JTff
~Ci
'Let   my   peo  -   pie   go!'
191 Traditional
Heav\Heav n
Negro Spiritual
^m
m     0
P   iMf7
0     0
i
1.   I've    got   a    robe,
<-=—
you've   got   a   robe,   All   of   God's   children   got   a
r F f f r ^
J J   J> J""3ê
robe,        When    I   get   to   Heav
en      Goin'   to   put   on    my   robe,
Chorus: Nobody Knows de Trouble I See
Traditional
Negro Spiritual
*    Chorus:
Ü^
5=£
m
No  -   bo  -  dy   knows   de   trou   -   ble    I   see.    No  -  bod -   y   knows   but
frj-«u  'JU^
r>=£
0      a
Je  -  sus;
(
mm3
No  -   bo   -   dy   knows   de   trou   -   ble    I    see,
Fine.*^ Solo:
^e
m
33
Glo  -   ry     hal   -   le       -   lu   -  jah !    1.   Some  -   times    I'm    up,   some
i r~
14WP—i
m
m——~
 H
SI	
__ j—j
k^—.
1—&-^ •»—
=t—-i 1 —-
times   I'm   down,        Oh, yes,   Lord; Some   -   times    I'm   al   -   most
$
^m
to      de   groun'.
Oh, yes.
D.C. A1 Fine
Lord.
2.  Altho' you see me goin' 'long so,
I have my trials here below,
193 Get on Board, Little Children
Traditional Negro Spiritual
ij/^J I J»   (f   *    I?   g (Tf J'^ If   F  (T ¿W J
1.  The   Gos  -  pel   train's   a  -  com  in', 4   hear   it   just   at   hand,
$1
^
f E g ErtE f /T P  f. r ^^
hear   the   car   wheels   rum-blhV       An'
Chorus
roll   -   in'   thro'   the    land.
$'îr i-'-  g~g f r ft r u. gg g r ^
Git   on board   lit-tie   chil   - lin'Git   on   board    lit - tie   chil-lin   Git   on
¡ÍÉÉ
g g g r   i7  ' ' -¿—£^^
board   lit  -  tie   chil  - lin'       There's room   for   ma  -   ny   more.
2. I hear the train's a-comin',
She's comin' 'round the curve,
She's loosened all her steam and brakes,
And strainin' ev'ry nerve.
3. The fart is cheap an' all can go.
The rich and poor are there.
No second class aboard this train,
No diff'rence in the fare.
194 Little David Play on your Harp
Traditional Negr0 Spiritual
i
Chorus:
^J       J» J'       |     £
w
IE
3t
m
Lit  -  tie    Dav  -   id, play   on
your   harp,    Hal   - le   -
harp, Hal   -  le  -   lu,
Lit-tie   Dav  -  id,   play   on   your
f j. j i'N' n
if jj j'J'
harp,       Hal  -  le   -  lu, '   Hal   -  le      lu,   Lit  -  tie    Dav  -  id,. play   on   your
Solo:
^=i
■hi? r
:CË
harp,  Hal
le -  lu,
1.   Da  - vid
was
a    shep- herd
D.C'.al Fine
He   kill'd   Go  - li   -   ath   and   shout - ed     for   joy.
Joshua was the son of Nun,
He never would quit till his work was done.
The trumpets of the Lord did blow,
And down went the walls of Jericho.
Oh, Samson was a mighty man,
He was the strongest in the land.
195. One More River
Traditional
Solo:
Traditional
i^Pf
Chorus:
*
£
*
1.  Old    No   -   ah   once   he   built   the   Ark, There's one    more   ri - ver   to
Solo. Looms:
£
^
^
cross. And    patched    it    up    with    hick-o-ry    bark,There's one.more ri-ver   to
P
m
?    m^~>
^ ¿ / j .H^^
cross.
One    more    ri   •  ver,
and    that's   the   ri-ver. of Jor
dan,
%
^^
m
One    more
ri
ver,
Th
ere s    one    more    ri
ver    to   cross.
2.   He went to work to load his stock,
He anchored the Ark with a great big rock,
! 3.   The animals went in one by one,
The elephant chewing a caraway bun,
¡4.  The animals went in two by two,
The rhinoceros and the kangaroo,
5. The animals went in three by three,
The bear, the flea and the bumble bee,
6. The animals went in four by four.
Old Noah got mad and hollered for more,
_7.  The animals went in five by five,
With Saratoga trunks they did arrive,
8. The animals went in sbx by six,
The hyena laughed at the monkey's tricks,
9. The animals went in seven by seven,
Said the ant to the elephant, who're you shovjn',
10. The animals went in eight by eight,
They came with a rush 'cause 'twas so late,
11. The animals went in nine by nine,
Old Noah shouted, "Cut that liner
12. The animals went in ten by ten,
The Ark she blew her whistle then,
13. And then the voyage did begin.
Old Noah pulled the gang-plank in,
14. They never knew where they were at,
Till the old Ark bumped on Ararat.
196 Oh, de Deacon went down
Traditional
Traditional
Ï
} }   i
Í
W
1.   Oh,   de   Dea
con
went    down    (Oh,   de    Dea   -  con   went   down)
f
s
1   >■   J>
^
^
in   de   'eel
lar
to   pray
(in    de   eel   -   lar    to    pray),
fy é" J
ra
Í   F rVJ» J J   J M F g P P
t
t
He   fell   a   -  sleep    (he   fell   asleep) an'   he stayed all day, (an'he stayed all day)
Chorus:
b'fcfrAfc
p g ir (Tg r r  i
«
Oh, de Deacon went down   in   de   eel  -  lai
to    pray,
He   fell   a
|ft |   j    |      |    |     |     .—4L- |    É    Jt     |
sleep   an'   he   stayed        all   day,
=ct
I    ain't
gon
na
grieve
my
Lord
no    more.
2. I grieved my Lord from day to day,
I left de straight and narrow way.
3. Oh, de Devil is mad, and I am glad,
He lost a soul he thought he had.
9. Dat's all dere is, an' dere ain't no more,
Like Saint Peter said, when he shut de door.
10. De re's one more thing, I forgot to tell,
If you don't go to Heaven, you'll go to Hell.
4. Oh, you can't get to Heaven in a rocking chair,
'Cause de Lord don't want no lazybones dere.
5. An' you can't get to Heaven on a pair of skates,
'Cause you roll right past dem pearly gates.
6. An' you can't get to Heaven in a limousine,
'Cause de Lord don't sell no gasoline.
7. If you get to Heaven before I do,
Just bore a hole an' pull me through.
8. Oh, you can't get to Heaven with powder an' paint,
'Cause it makes you look like what you ain't.
197 Old Folks at Home
Stephen Foster
(1826-1864)
Stephen. Foster
Foster wasn't particlular which river be used in this song as long as it was in the South and fitted the melody.
After looking through an atlas, be finally chose 'Swanee' after discarding first ' Yazoo' and then 'Pedee', thus
immortalizing a river be bad never seen.
'Way down upon de Swanee ribber,
Far, far away,
Dere's whar my heart is turning ebber,
Dere's whar de old folks stay.
All up and down de whole creation,
Sadly I roam,
Still longing for de old plantation,
And for de old folks at home.
All de world am sad and dreary,
Ebrywhere  I  roam,
Oh! darkies how my heart grows weary,
Far from de old folks at home.
Air round de little farm I wandered
When  I was young,
Den  many happy days  I  squandered,
Many de songs I sung.
When I was playing wid my brudder
Happy was I. ,
Oh! take me to my kind old mudder,
Dere let me live and die.
One little hut among de bushes,
One dat I love,
Still sadly to my mem'ry rushes,
No matter where I rove.
When will I see de bees a-humming
All round de comb?
When will I hear de banjo tumming
Down in my good old home? Massa's in de Cold, Cold Ground
Stephen Foster
(1826-1864)
Stephen Foster
fe
m
r   7 a
ï=
1.   Round   de   mead   -  ows   am   a
ring
ing
De
i
i
i  lJ-    I J «Ñ^
S
1
dark   -   ies'   mourn   -   ful    song,
While   de   mock- ing   bird   am
¡ÉË
m
* j  j i j.
£
*
sing
mg,
Hap
py
as       de      day        am    long.
if
■Hi
£
Where     de
-  vy
am
creep
ing,
feffa_J^T~j
5=
m
«^^
O'er
de   gras   -   sy   mound,
Dere   ole   mas  -   sa   am   a-
M
r * i p
■
^
#^
|p
sleep  -  ing,
Sleep   -   ing   in       de      cold,   cold   ground.
m
^
mm
£
-é^
Down
in      de        corn   -  field,
Hear   dat   mourn-ful   sound:
£
^
*
v
p^
All
de   dark  -   ies
am
a   -  weep
mg,
PP
a
Mas   -   sa's in de
When de autumn leaves were falling,
When de days were cold,
Twas hard to hear oie massa calling,
'Cause he was so weak and old.
Now de orange tree am blooming,
On de sandy shore,
Now de summer days are coming,
Massa nebber calls no more.
cold,
199
_cr_	
cold ground.
Massa make de darkies love him,
'Cause he was so kind;
Now dey sadly weep above him,
Mourning 'cause he leave dem behind.
I cannot work before tomorrow,
'Cause de tear-drop flow.
I try to drive away my sorrow,
Pickin' on de ole banjo. H. C. Work
(1832-1884)
Kingdom C
omm
H. C. Work
Work, who also wrote "Marching Through Georgia", composed this during the Civil War. It is said that
after Lee's surrender, the negro troops marched into Richmond singing this song.
tm
p
á
2=
m
1.  Say   dark  -  ies,   hab   you   seen   de   mas  -  sa    Wid de muff« stash on his
$
¥
=£
*=>
f r g. n g *m
face.
Go
'long   de   road   some   time      dis   morn  -   in'     Like   he
r~T~r e \r
J*, i1 J'p ii^^
gwine   to   leab      de    place? He   seen      a   smoke   way   up   de  ribber,
f
Whar   de    Link  -   um,gum   -  boats   lay,
w
m
He
took
his   hat
an
Í
lef    ber • ry   sudden,     An'   1
Chorus:
spec'  he's   run
way.
$
De
=3
mas  -  sa    run?    Ha,   ha!      De   dark.e y   stay?    Ho,   ho!     It mus'be now
12:
&»-
?=P
If I f •       »
de   King  -  dorn   comin'     An'   de year   ob Ju   -   bi   -   lo!
He six foot one way, two foot t'udder,
An' he weigh t'ree hundred pound.
His coaf s so big he couldn't pay de tailor.
An' it won't go half way round.
He drill so much dey call him Cap'n,
An' he get so drefful tann'd,
I spect he try an' fool dem Yankees
For to t'ink he's contraband. 3.   De darkies feel so lonesome libin'
In de log-house on de lawn,
Dey move der t'ings to massa's parlor
For to keep it while he's gone.
Dar's wine an' cider in de kitchen,
An* de darkies dey'll have some,
I s'pose dey'll be confisticared
When de Linkum sojers come.
De oberseer he make us trouble,
An' he dribe us round a spell;
We lock him up in de smoke-house cellar,
Wid de key t'rown down de well.
De whip is bst, de han'cuff broken,
But de massa'll hab to pay;
He's ole 'nough, big 'nough, ought to know better
Dan to went and run away.
Stephen Foster
(1826-1864)
Oh, S
usanna
^Stephen Foster
The first song to establish Foster's reputation. Within a year after its publication, it became the marching
song of the forty-niners and the pioneers of the West. W: C. Peters gave Foster $100 for a group of songs
including "Oh, Suzanna', and later made $10,000 from this one alone. It was sung for the first time, it is
thought, by minstrels at a song contest for the best sentimental so ng at Andrews Eagle Ice Cream Saloon
in Pittsburg, September lltb, 1847.
1. I come from Alabama wid my banjo on my knee;
l'se g wine to Lou'siana, my true love for to see.
It rained all night de day I left, de wedder it was dry;
De sun so hot I froze to def, Susanna, don't you cry.
Chorus: Oh! Susanna, do'nt you cry for me;
I come from Alabama wid a banjo on my knee.
2. I had a dream de udder night, when ebryting was still;
I thought I saw Susanna dear, a-comin' down de hill;
De buckwheat cake was in her mouf, dé tear was in her eye,
Says I "I'se comin' from de souf, Susanna,don't you cry."
3. I soon will be in New Orleans, an' den I'll look all 'round,
An' when I find Susanna I'll fall upon de ground.
But if I do not find her, dis darkey'll surely die,
An' when I'm dead and buried, Susanna,don't you cry. The Camptown Races
Stephen Foster
(1826-1864)
A few years after the publication of this nonsensical song, the town of Camptown, New Jersey, changed its
name to Irvington, supposedly in self-defence because of the noteriety incurred.
Stephen Foster
I
Solo:
Chorus:
3S
Solo:
m¿
*
1.   De   Camp-town    la   -   dies   sing   dis   song, Doo  -   dah!   doo  -  dah! De
ffe^=î)
m
t
M
Chorus:
P
Camp-town    race-track   five    miles   long, Oh!
Hoto:
7) * Ji j
j!_j'«hp ¡
doo   -   dah    day!
Chorus:
mjrm
i  s
W.
I    come   down    dah   wid    my   hat       caved    in, Doo-dah!   doo-dah!
Solo: , i ^ . *. Chorus:
U1
PF
J'     |>    i  J>
mm
=£ë£
^P^
I go   back   home   wid   a    pock - et   full   of   tin,       Oh!
doo - dah
rjfrj: T>j.
?• g r r
Gwine    to    run    all    night! Gwine    to    run    all    day!
I'll
bet   my   mon-ey   on   de    bob   -   tail
2. De long-tail filly and de big black boss,
Doo-dah! doo-dah!
Dey fly de track and dey both cut across,
Oh! doo-dah day!
De blind boss stick'n in a big mud hole,
Doo-dah! doo-dah!
Can't touch the bottom wid a ten-foot pole,
Oh! doo-dah day!
3. Old muley cow come on to de track,
Doo-dah! doo-dah!
De bob-tail fling her ober his back,
Oh! doo-dah day!
Den fly along like a railroad car,
Doo-dah! doo-dah!
And run a race wid a shootin' star,
Oh! doo-dah day! 202
nag,   Some - bo-dy    bet   on    de    bay.
4.   See dem flyin' on a ten-mile heat,
Doo-dah! doo-dah!
Round de race track, den repeat,
Oh! doo-dah day!
I win my money on de bob-tail nag,
Doo-dah! doo-dah!
I keep my money in an old tow-bag!
Oh! doo-dah day!
- Oh, dem Golden Slippers
1
James Bland
James Bland
Bland, the son of a former Virginia slave, was a fine singer and banjo player. Rejected as a minstrel because
of his color, he turned to writing songs which were eagerly accepted by the same managers who had denied
him a place as a minstrel.
P
1
Ê
Í
i
Oh!    dem   Gold   -   en   Slip  -  pers!      Oh!   dem   Gold  -  en    Slip  -   pers!
iff J1 ; J .J J
h     h     h
mmm
0 0
Gold  -  en   Slippers   I'm   gon -  na   wear   be  -  cause  dey   look   so   neat.
m
0     J   -^^
^
Oh!   dem   Gold  -  en   Slip  -  pers!      Oh!   dem   Gold  -  en   Slip  -  pers!
m
L^_4±M^-J,N'   7»
Gold  -  en   Slip  -   pers    I'm   gon   -   na   wear,   to walk   de   gold   -  en   street.
203 Traditional
Solo.-
Uil Liza Jane
Traditional
Chorus:
s       K
j j-i/ f^L i r r  >i p
Hon      ey,        will   you   be   mah   wife?
Solo:.
Li'l    Li
Chorus:
za    Jane.
'  ¿ J' jTT"f   |»    i y j ^
Ah   will   love   you all   mah   life.
Chorus:
Li'l Li   -   za        Jane.
fir i* irr Vt/nr >ir rn^Pi
-,   Li  -  za   Li'l   Li  -  za   Jane, Oh -   -,   Li  -  zali'l    Li  za Jane,
GW
*****
^05
« V1
<>*
»,
^^z«,
•*<>
204 Short'nin* Bread
Traditional
Traditional
4
I
Í^P
iE
m
Ê
é
m
tt^tt
¿=±
1.   Put   on duh    skil   -   let,   put   on   duh    led, Mammy's   gon na bake a lit-tie
J    J J'l f
á
3
^
Ê
short'  - 'nin    bread, Dat   ain't   al
she's   a   -   gon - na   do,
ÉM¡
rj J* i1 i j> j, j  i
m?
Mam - my's   gon - na    make   a    lit
Chorus.
tie
cof   -   fee,   too.
Ift-jj   ;   J-jLJlüp
p^
Mam   -   my's    lit   -   tie    Ba   -   by    loves  jjl  short   -    'nin'.    short
nin.
p
^
^Pf
ï
*
S
Mam    my's   lit   -   tie    Ba   -   by    loves
short
'nin'   bread.
^7j r r j' ^ r   i j  r—^^
Mam
m
my's    lit    -    tie    Ba    -    by    loves        short    - 'nin',   short
'nin',
^
m^
f
i
short
Mam    -    my's   lit   -    tie    Ba    -    by   loves
I.   Fo' li'l darkies a- layin' in bed,
Three wuz sick an' duh udder mos' dead!
Sent fo' duh doctor — duh doctor said,
"Feed dem darkies on short'nin' bread."
3. Ah slips in duh kitchen, Ah lif up duh led,
Ah stuffs mah pockets full-a short'nin' bread.
Ah stole dat skillet, Ah stole dat led,
Ah stole duh gal to make short'nin' bread.
4. Dey caught me wid duh skillet, dey caught me wid duh led,
Dey caught me wid duh gal, makin' short'nin' bread.
Paid six dollahs fo' duh skillet, paid six dollahs fo' duh led,
Spent six month's in jail, eatin' short'nin' bread.
205
—w~~
nin'   bread»
b .
Darling Nelly Gray
B. R. Hanby
B. R. Hanby
ft«j /ir  Q t * l
MM
1.  There's   a   long   green
val
ley   by   the   old    Ken - tuck - y   shore
ty11 p i r mm
â
^
Where we've   whil'd   ma   -  ny   hap  -  py   hours  *   -   way;
ft m af^/'J,í
sit  -  ting    and
sing
ing   by   the   lit  -  tie  cot
*
«
tage   door Where
Chorus:
£
£
dwelt
my   love   -   ly   Nel   -   ly   Gray.
Oh!    my
^ J    j J>  ¿-f~}
•      é
J>   i' J   jit
poor   Nel  -  ly   Gray,   they   have   tak
ftp MM ¿B
en   you   a   -   way, And    I'l
:Ö
nev
er   see   my   dar  -   ling   an  -  y      more,
/yipfi. r
I   am   sit - fing   by   the
ft* i Ï j   \*   •   f    I
riv • er   and    I'm
weep   -   ing   all   the   day,
For   you're
ftf    / f-t *   J' J'1 ¿- i
gOne   from   the   old       Ken   -   tuck   -   y   shore.
2. When the moon had climb'd the mountain and the stars
were shining too,
Then I took my lovely Nelly Gray. 4.  Oh! my eyes are getting blinded and
And I travell'd down the river in my little red canoe I cannot see my way;
While the banjo so sweetly I did play. Hark! there's somebody knocking at the door.
I hear the angels calling and I see my NeUy Gray
Farewell to my old Kentucky shore.
3. Oh, one night I came to get her, but she's gone, the
neighbours say,
The white man has bound her with his chain.
They have taken her to Georgia for to work her life away
Down yonder in the cotton and the cane.
206 Sones of the
North íw
En roulant ma Boule
French-Canadian Folk Song
French-Canadian Folk So
When Samuel de Cbamplain made the first permanent settlement on the St. Lawrence at Quebec in ¡608
also founded the first "Music Society" in North America—L'Ordre de le Bontemps—to cheer the men of
garrison.   These men sang the songs of old France and the voyageurs carried the songs with them as t
paddled through the wilderness. "En Roulant Ma Boüle" was one of the most popular of these song.
ipm
m*
^
R=^>
^
P3S
1.  En   rou   -   lant   ma   bou   -   le   rou   -   lant.
En     rou   -   lant   ma
F=*
£
3=5
bou
le.
Der  -  rier'   chez   nous      ya
t'un      4 -   tang,
m
-e*
mg
En        rou   -   lant      ma      bou
le.        Trois   beaux   can -   ards   s'
en
P
J I F  M
vont   baig   -   nant,    Rou   -  IL   rou  -   lant,   ma   bou   -   le   rou   -   lant.
|
fe
P ë   J
S=ï
r M ?
En   rou  -  lant   ma   bou -  le   rou - lant,       En   rou   - lant   ma   bou  -  'e.
2. Trois beaux canards s'en vont baignant.
Le fils du roi s'en va chassant,
3. Le fils du roi s'en va chassant,
Avec son grand fusil d'argent,
4. Avec son grand fusil d'argent,
Visa le noir, tua le blanc,
5. Visa le noir, tua le blanc.
O fils du roi, tu es méchant!
6. O fils du roi, tu es méchant!
D'avoir tué mon canary blanc,
7. D'avoir tué mon canary blanc,
Par dessous l'aile il perd son sang,
8. Par dessous l'aile il perd son sang,
Par les yeux lui sort'nt des diamants
9. Par les yeux lui sort'nt des diamants
Et par le bec Cor et l'argent,
10. Et par le bec l'or et l'argent,
Toutes ses plum's s'en vont au vent
11. Toutes ses plum's s'en vont au vent,
Trois dam's s'en vont les ramassant,
12. Trois dam's s'en vont les ramassant,
C'est pour en faire un lit de camp,
13. C'est pour en faire un lit de camp,
Pour y coucher tous les passant!, '
208 Un Canadien Errant
NA. A. Gerin-LaJoie
French-Canadian Chanson
ITA« revolts of 1837, led by Papineau and McKenzie, finally brought about the union of Upper and Lower
Canada. However, the leaders and some of their followers were banished as a result of the rebellion. This
song, composed in 1838, expresses the feelings of those banished forever from the land they loved.
> S S
3
£
n?~—ç-
1.   Un   Ca   -   na   -   dien er   -   rant,
Ban   -   ni   de   ses        foy
P
t ¿fir  fi
ers,
Ün    Ca   -   na   -   dien        er   -   rant, Ban - ni   de    ses   foy
m
w
wm
ers,
Par   -   cour   -   ait
i
^
en    pleur   -   ant,
S Is   =
Des   pa   -   ys
#
tran   -   gers.
Par   -   cour   -   ait
en
pleur
wm
ant,
Des pa
y«
é
tran
gers.
Un jour, triste et pensif,
Assis au bord des flots,
Au courant fugitif,
Il adressa ces mots.
"Si tu vois mon pays
Mon pays malheureux,
Va, dis à mes amis,
Que je me souviens d'eux
"O jours si pleins d'appas,
Vous êtes disparus,
Et ma patrie, hélas!
Je ne te verrai plus!
"Plonge dans les malheurs
Loin de mes chers parents
Je passe dans, les pleurs,
D'infortunés moments.
"Non, mais en expirant,
O mon cher Canada!
Mon regard languissant,
Vers toi se portera."
209 '.
:
Alouette
Traditional
French-Canadian Folk Song
Curiously enough, this is the only song which is popular and recognized as a Canadian song m every part of
the world A la claire Fontaine
Traditional
French-Canadian Chanson
Ernest Gagnon, in his "Chansons Populaires du Canada," says: "Depuis le petit enfant de sept
ans jusqrfau vieillard aux cheveux blancs, tout le monde en Canada sait et chante 'La Claire Fontaine'. On n'est pas Canadien sans cela".
m
J11 J' M' J
*
m
■¿f   m
LÀ   la    clai   -   re    fon   -   tai   -   ne,    M'en    al   -   lant    pro   - me   -   ner,
^
m
r «m i j j m
J'ai    trou   -   ve
Chorus:
l'eau    si    bel   -   le,       Que je    m'y   suis, baig   -   ne.
Lui   ya    long    -    temps   que    je    t'ai- me,   Ja   -   mais   je    ne   t'oub-lier-ai.
I.   J'ai trouve l'eau si belle,
Que je m'y suis baigne,
Sous les feuilles d'un chêne
Je me suis fait sécher.
3. Sous le feuilles d'un chêne
Je me suis fait sécher,
Sur la plus haute branche
Le  rossignol chantait.
4. Chante, rossignol chante,
Toi qui as le coeur gai;    .
5. Tu as le coeur a rire,
Moi, je l'ai-t-à pleurer.
6. J'ai perdu ma maîtresse,
Sans l'avoir mérité.
7. Pour un bouquet de roses,
Que je lui refusai.
8. Je voudrais que la rose
Fut encore au rosier.
A.
9. Et m.oi et ma maîtresse
Dans les mêm's amitiés. Vive la Canadienne
Traditional
French-Canadian Folk Song
■ftl f 19
■r flQgJ'f
1.  Vi-ve       la   Ca   -   na   -  dien - ne        Vo  -   le, mon coeur,   vo  -   le, Vi
I
m
T
s==v-
3^3=
m
Fine
V     é
^m?£
ve    la    Ca   -   na   -   dien   -   ne, Et   ses jo   -   lis   yeux   doux.
$
è
t-' J1 p r i p r M' H' J r
__■» f-ff||
D.C.al Fine
Et    ses   jo  -  lis yeux   doux,   doux,   doux,Et       ses   jo  -  lis-     yeux   doux.
2. Nous la menons aux noces.
Vole, mon coeur, vole,
Nous la menons aux noces,
Dans tous ses beaux atours.
3. Nous faisons bonne chère,
Et nous avons bon goût.
4. On danse avec nos blondes,
Nous changeons tour à tour Malbrouck
French-Canadian Folk Song
French-Canadian Folk Song
This version"appears in the McGill Students Song Book, but it is not the version sung in France or by most
French Canadians. John Churchill, 1st Duke of Malbörough, is one of the military geniuses of history. He
served for five years with the French against Holland and his exploits became legendary in the French
ranks. Later, as Commander of the English forces, he defeated Louis IV by a number of brilliant victories
culminating with Malplaquet in ¡709. He did not, however, die on the battlefield as the song would suggest,
but was stricken with appoplexy at the age of 72.
IM J   JJJ   J'i'l
brouck   s'en   va-1  -  en    guer   -   re,   Mi-ron-ton,    ton, ton.ton, Mi - ron-
m
tain
e#     Mal-   brouck   s'en    va-t-en   guer  -   re.  Ne   sait   quand re-vien
Chorus:
$j  p-grujir f r r i
i
í
"er
dra,    là   bas.
Cou   -   rez,   cou   -   rez,   cou   -   rez!        Pe  -   ti  -  tes
yr r r J,ii
r   t r   t
fill's   jeunes   et   gen  -  til   -  les,
Cou
rez.
cou   -   rez,   cou
m
^
£
wm
rez!       Ven  -  ez   ce soir
2. Il reviendra- z- à Pasques,
Ou à la Trinité.
3. La Trinité se passe,
Marbrouck ne revient pas.
4. Madame à sa tour monte,
Si haut qu'elle peut monter.
5. Elle voit venir son page.
Tout de noir habillé.
6. "Beau page, ah! mon beau page,
Quell' nouvelle apportez?"
7. Aux nouvelles que j'apporte,
Vos beaux yeux vont pleurer.
8. Quittez vos habits roses,
Et vos satins brochés.
9. "Monsieur Malbrouck est mort,
Est mort et enterré."
vous
mus  -  er.
213 Thomas Moore
A Canadian Boat Song
Voyageur's Song
Sung mostly by those voyageurs who made the Grande Portage by the Utojvas River. Sir Alexander McKenzie (¡755-1820), in his account of the Fur Trade, says:'attherapids ofSt. Anne, they (the voyageurs)
are obliged to take out a part, if not the whole of their lading. It is from this spot that Canadians consider?
they take their departure, as it possesses the last church on the Island which is dedicated to the tutelar Saint
of Voyagers".
$^m
1.  Faint- ly   as   tolls the   ev'  -   ning   chime. Our   voi-ces keep tune and our
iU!_.ii.
oars   keep time.        Our   voi   -   ces   keep   tune   and   our   oars   keep time,
»    -       . I é   ,    J.     I       i^Lg=^
^ F   F   ^ r  > I LT * J
%
Soon        as   the   woods   on   shore   look   dim,   We'll   sing   at   St.   Ann's   our
if r  r r i ' r r J~ i
ÏU3
part   -   ing   hymn! Row,   broth   -   ers,   row,     the   stream runs   fast,     The
flfrj j. j» i * p i r   r
^m
rap   -   ids   are   near   and   the
day   -   light's      past,
The
|j.r J  J',    j*-*    »    f    i r   =^\
rap  -  ids
are   near and        the
day   -    light's
past.
Why should we yet our sail unfurl?
There is not a breath the blue wave to curl,
There is not a breath the blue wave to curl.
But when the wind blows off the shore,
Oh sweetly we'll rest our weary oar.
Blow, breezes, blow, the stream runs fast,
The rapids are near and the daylight's past.
The rapids are near and the daylight's past.
3.   Utawa's tide! this trembling moon
Shall see us float over thy surges soon,
Shall see us float over thy surges soon.
Saint of this green isle, hear our prayers,
Grant us cool heav'ns and fav'ring airs.
Blow, breezes, blow, the stream runs fast,
The rapids are» near and the daylight's past,
The rapids are near and the daylight's past.
214 f  The Maple   Leaf Forever
Alexander Muir   (1830-1906) Alexander Muir
Written and composed in 1867, the btrthdate of the Dominion. The maple leaf as a Canadian emblem is of
French origin.
m
?
f-t—Z-
32
1.   In   days   of   yore,        from    Bri - tain's   shore,  Wolfe,   the   daunt-less
mm
m
m?
£
•      4
x—/
he   -   ro   came,    And    plant-ed    firm Bri   -   tan   -   nia's    flag,       On
dn
n
mi
m
*—4
33
Can  -  a  -  da's   fair do  -   main.      Here   may   it   wave,   our   boast,   our
^H
i
0 [■ 0
tztzt
pride,    And    joined    in    love    to   -   geth   -   er,      The    This-tie,    Sham- rock,
■
m
£
£
■
£
Rose   en   -   twine,   The   Ma   -   pie    Leaf
Chorus :
for   -  ev   -   er.
a        c oorus:
EpTT~j~j~?' -f |.j. r   J. -j>| j   j J
?-
The   Ma   -   pie    Leaf,   our       em   -   blem    dear,     The   Ma   -   pie   Leaf   for
-fí%-
ï
I
ev  -  er!
God
save    our    King
Ï
j    r   i
and        Heav
en    bless
£
»
F
The
Ma   -   pie Leaf
For
ev   - er!
2.  At Queenston Heights and Lundy's Lane,
Our bravé fathers, side by side.
For freedom, homes, and loved ones dear,
Firmly stood and nobly died;
And those dear rights which they maintained,
We swear to yield them never!
Our watch-word ever more shall be,
"The Maple Leaf forever!"
3.   On merry England's far famed land.
May kind Heaven sweetly smile,
God bless Old Scotland evermore.
And Ireland's em'rald isle!
Then swell the song, both loud and long,
Till rocks and forests quiver,
God save our King and Heaven bless
The Maple Leaf forever!
215 R. Stanley Wèir
(Î856-1926)
anada
Originally a hymn in honour of St. John the Baptist.
Calixa Lavallée
(1842-1891)
Ca   -   na   -  da!
Ca   -   na -   da!
Our   home,   our   na   -  tive   land,
fer      re       de     nos .     ai' -  eux;
True    pa  -  triot    love
Ton     front   est   ceint
in   all   thy   sons   com  -  mand,
de   fleu   -   rons   glo -  ri   - eux!
With
Car   ton
glow  -   ing   hearts   we
bras   sait   por   -   ter   l'á
see   thee   rise,    The   True   North   strong   and
pé        -       e, || sait   por  -   ter   la
free,     And stand   on   guard,   O Ca
Croix!    Ton   his  -  toire   est   un e  -  po  -  pe
da.
P
PSÊ
stand   on    guard
plus   bril   -   lants
for        thee,
ex   -  ploits.
Ca   -   na   - da!
ta   va  -  leur,
rious   and   free!
foi   trem  -  pe
e.
Ca
té
da!   We   stand   on
ra   nos   foy  -  ers
FIT'
JIP  jlp H
P
guard   for   thee,
et       nos   droits,.
O Ca - na -   da !   We stand on guard for thee.
Pro   -   te   -   ge   -   ra    nos   foy - ers   et    nos   droits.
216 «is -
God Save the King
Traditional
Traditional
The origin of the melody is lost in antiquity. A n ancient version is said to have been sung at the
crowning of Charlemagne in 800 A.D. Its great popularity in England dates from 1745, the year
of the second Jacobite rebellion led by Bonnie Prince Charlie, when it was used as the rallying
song of the House of Hanover. The origin of the words is also unknown, but a watchword of the
Navy as early as 1545 was "God save the King", and to this the countersign was "Long to reign
over us". The present poem is apparently a collection of familiar loyal phrases probably put together at a time of some national disturbance, such as the invasion of the Young Pretender.
God save our gracious King,
Long live our noble King,
God save the King.
Send him victorious,
Happy and glorious,
Long to reign over us,
God save the King.
217 Heiden /¡¿ ^dl&i
Abdul Abulbul Amir  ;     64
A Canadian Boat Sons:   214
A Capital Ship ,  164
A Chequered Career      51
Adiós Muchachos       15
A la Claire Fontaine  211
Allá en el Rancho Grande  148
All Through the Night  123
Alma Mater     11
Alouette    * ,: :  210
Amici     .„     49
And  When I Die     96
Annie  Laurie   ...T  106
A-roving  158
Ash  Grove,  Tbe ..' '..  12a|
Au Clair de la Lune  13fr
Auld Lang: Syne   Ill
Auprès de ma  Blonde    131
Ay,  Ay,  Ay   .:....:... : z. '.  149
Ay,   Jalisco    ,».«, :  146'
#
Beehive, The   ,     61
Bendemeer*8  Stream     Í18
Bienenhaus, Das  140
Big Rock Candy Mountain, The   172
Blow the Man Down   16&
Boots   and   Saddle  184
Broken Ring, The      59
Brothers, Circle 'Round in Chorus     90
Brüder, Lagert Euch im Kreise  «  142
Camp Town Races ....:        202
Casey Jones   174
Chevaliers de la Table Ronde  ,*.! «*  136
Chisholm Trail, The   188
Cielito Lindo  „~ i.  146
Cockles and Mussels _*¿»  115
Come, Landlord, Fill the Flowing Bowl ......¿......f     88
Comin' Thro' the Rye  107
Crambambuli   (English)        89
Crambambuli   (German)  14»*
Darling- Nellie Grey  »,  206
Desperado,   The   »» ti  186
Devil,   The   ;L¿ -•.     98
Down Among the Dead Men  *.¿ _     87
218 'S
INDEX   OF   TITLES-Continued
■Down  in  the Valley  168
IDrink to Me Only      78
Drunken Sailor, The   163
Early One Morning     80
Edite,  Bibite   (English)        91
iEdite,  Bibite  (German)      142
En  Roulant Ma Boule   208
'Farmer,  The        92
¡Freshman's  Dirge,  The       15
Funiculi   Funicula        62
Garryowen     , ¿,  117
Gaudeamus   Igitur   ^,  48
Get on Board, Little Children  ,.  194
Glen Whorple Hielanders, The   108
Goat, The   70
Go Down, Moses  191
ÍGod Save the King  217
Good   Night,   Ladies  82
Great Grandad   188
Green Grow the Rushes-Ho!  76
Ground Gopher's Hole, The   69
¡Hand Me Down My Walking Cane  97
Hallelujah,  I'm  a  Bum     173
Hail U.B.C  8
Heav'n,   Heav'n     192
Here's a Health Unto His Majesty   86
High on  Olympus    10
Home on the Range  *.  178
In the Caf   16
I've, Been Wukkin' on the Railroad   176
Il Etait un Petit Navire   134
I've  Got   Sixpence     100
I Wish I Were Single Again   66
Je Tire Ma Reverence   133
Johnny Fell Down the Bucket      71
Johnny Verbeck       68
Juanita        57
King of the Cannibal Islands, The     67
Kingdom  Comin'     200
Lass of Richmond Hill, The   81
Lilli  Bulero    116
Lili  Marlene   (English)     60
Lili Marlene  (German)    141
Li'l  Liza  Jane     204
Lincolnshire Poacher, The   79
219 INDEX  OF  TITLES-Continued
Little David, Play on Your Harp  195
Lorelei, The (English)       58
Lorelei, Die (German)     139
Loch   Lomon'     104
MacNamarra's Band   118
Ma   Normandie  132
Malbrouck    (French)      135
Malbrouck (French-Canadian)    213
Maple Leaf Forever, The   215
Marche  Lorraine    129
Marseillaise,  La   í  126
Massa's in de Cold, Cold Ground   199
Meerschaum Pipe, The     54
Men of Harlech    120
Michael Finnigan     73
Minstrel Boy, The   112
Monsieur, Vous Etes Jeune Homme   137
My Girl's a Hullabaloo      14
Nobody Knows the Trouble I See  193
O Alte Burschenherrlichkeit   138
O Canada  216
Ochi   Chornye    155
Oh, Bury Me Not on the Lone Prairie   177
Oh, College Days      50
Oh, de Deacon Went Down   197
Oh, Dem Golden Slippers   203
Oh,  Susannah     201
Old King Cole      98
Old Folks At Home    198
One More River    196
On Ilkla Moor Baht 'At  ;     74
Prof's Song, The
12
Quilting  Party,  The  171
Red  River  Valley,  The  181
Rio Grande,  The    159
Reuben and Rachel   169
Riding Down from Bangor   52
Rosalie  55
Rose of Tralee,  The  114
Road to the Isles, The   110
Santa   Lucia     152
Short'nin' Bread  205
Shenandoah  160
Spanish  Cavalier, * The    56
Son of a Gambolier, The   94
220 INDEX  OF  TITLES-Contmued
Stenka Razin   .-  154
Sur le Pont   128
Swing Low, Sweet Chariot   190
fTen   Green   Freshmen    l ~     13
There Is a Tavern in the Town      85
Toast  to U.B.C      9
;U.B.C. Toast      16
Upidee   _     72
*Jn Canadien Errant  209
¡Vive la  Canadienne   212
jjVive l'Amour    ...    *84
Wait for the Wagon  ..*,.„,  170
Waltzing Matilda    .,     75
When I Was a Student at Cadiz      58
When Johnny Comes Down to Hilo  161
Whoopee-ti-yi-yo  182
¡Wi' a Hundred Pipers an* a'   102
;Ye Banks and Braes   105
¡Yellow Rose of Texas, The  180
Zerbrochene Ringlein, Das    140
Undeœ, œl tf-itet lineé,
A capital ship for an ocean trip  164
Adiós, muchachos   150
A far croonin' is pullin' me away  110
A la claire fontaine  211
Allá en el rancho grande  148
Allons enfants  de la patrie  126
Aima Mater, by thy dwelling  11
And when I die  96
Alouette,  gentille  alouette., _  2IQ
A poor little Freshman lay dying  15
As I was a-walking one morning for pleasure „  182
Asómate a la ventana, Ay, Ay, Ay  149
A Spanish cavalier stood in hts retreat  56
At number three, Old England Square  158
A toast to him we all will drink _  16
Au clair de la lune  130
Ay,  Jalisco, Jalisco...- _  146
Brothers, circle 'round in chorus  90
221 INDEX  OF  FIRST  LINES-Continued
Brüder, lagert euch im Kreise  142
By yon bonnie banks and by yon bonnie braes  104
Ça, Ça, geschmauset  142
Chevaliers de la table ronde  136
Come all you rounders that want to hear  174
Come join my humble ditty  94
Come, Landlord, fill the flowing bowl  88
Comrades, gather 'round and join us  9
Crambambuli das is der Titel |  143
Crambambuli,  that is  the liquor  89
Dans le jardin d' mon père  131
De Camptown ladies sing dis song  202
Down in the valley ,  168
Down  yonder green valley.....  122
Drink to me only  78
Early one  morning  80
En passant par la  Lorraine,  129
En roulant ma boule  208
Faintly as tolls the evening chime  214
From this valley they say you are going  181
Gaudeamus igitur  48
Gin a body meet a body comin   thro' the Rye  107
God save oar gracious King  217
Good night, ladies .,  82
Great Grandad, when the West was young  188
Hand me down my walking cane  97
Hark! I hear the foe advancng ,  120
Here's a health to the King -  87
Here's a health unto His Majesty .,  86
Here's to the President, come to see  12
High on Olympus, where dwelt Athene  10
Ho, broder Teague, dost hear de decree  116
Honey, will you be mah wife? t  204
Ich weiss nicht, was soll es bedeuten  139
/ come from Alabama wid a banjo on my knee  201
/ know not why, but my gladness  58
// était un petit navire  134
I'll sing you one, ho!  76
I'm Pierre de Bonton de Paris   55
In days of yore  21 5
In Dublin's fair city  115
/ nebber see de like since I been born  161
In einem kühlen Grunde ,  140
In the sky the bright stars glitter'd  171
I've got d robe  192
I've got sixpence ,  100
222 INDEX  OF  FIRST  LINES—Continued
Je tire ma reverence  133
fohnny fell down the bucket ,  71
Let Bacchus' sons be not dismayed  117
Let ev'ry good fellow now fill up his glass  84
Little David, play on your harp  195
Loud let the glasses clink  91
■Malbrouck s'en va-t-en guerre  (French) 1  135
[Malbrouck s'en va-t-en guerre (French-Canadian)  213
Maxwellton  Braes are  bonnie  106
Mein Her?, es ist ein Bienenhaus |  140
Monsieur, vous êtes jeune homme  137
My girl's a hullabaloo  14
My heart is like a beehive  61
My name is MacN amarra  118
Nobody knows the trouble I see „  193
Now 'neath the silver moon  1 52
Now, there was once a desperado  186
O alte Burschenherrlichkeit   138
O Canada  - 216
Ochi  chornye  155
Oh, blow  the  man  down,   bullies  162
Oh, bury me not on the lone prairie-  177
Oh, col'ege dayL oh, glorious days  50
Oh, de Deacon went down  I°7
Oh, dem  golden  slippers  203
Oh, give  me  a  home  178
Oh, have you heard the story of late  67
Oh, I put my foot in the ground gopher's hole  69
Oh, I was bo'n in Mobile town  176
Oh, once I was single and then _  66
Oh, say were you ever in Rió Grande?  159
Oh. Shenandoah, I long to hear you  160
Oh, who will smoke my  meerschaum pipe?  54
Oh, why don't I work like other men do?  173
Old King Cole was a merry old soul  98
Old Noah, once he built the ark  196
On a summer day in the month of May '.  172
Once a joUy swagman sat beside a  billabong  75
On Richmond Hill there lives a lass  81
Our strong band can ne'er be broken  49
Pajaro que abondona su primer nido  145
Put on duh skillet, put on dub ledt  205
Quand tout renait a l'espérance  132
Reuben,   Reuben,  I've  been  thinking  169
223 INDEX  OF  FIRST  LINES-Continued
Riding down from  Bangor    5
'Round de meadows am a-ringing  19
Say, darkies,  hab you seen, de Massa   ~. 20
Should auld acquaintance be forgot ., 11
Sleep, my love, and peace attend thee ~ -   12
Soft o'er the fountain   ;   5
Some think the world is made for fun and frolic _  6
5«/ Mare Luccica ... 15
Sur le pont d'Avignon   12i
Swing low, sweet" chariot _  191
Take me back to m'y boots and saddle - -  18
Ten green freshmen sitting on a wall  1
The Gospel train's a-coming  19
The Minstrel Boy to the war bas gone _  11
The pale moon was rising above the green mountain  11
There is a tavern in the. town  8
There's a bower of roses by Bendemeer's Stream  11
There's a braw fine regiment as ilka mon should ken  10!
There's a long, green valley  20i
There's a yellow rose in Texas   181
There was a jolly, old farmer once  91
There was a little Dutchman  6!
There was a man, now please take note  71
There was an old man named Michael Finnigan  7:
There was cheese _  1<
The shades of night were falling fast  71
The sons of the Prophet  &
Un Canadien  errant '. _  20*
Underneath the lantern, by the barrack gate  6(
Vive la Canadienne „  21Í
Vor der Kaserne, vor dem grossen Tor .1  141
'Way down upon de Swanee Ribber   19i
Well, come along, boys, and listen to my tale  18:
We wear the blue and gold of the victors  „ |  í
What shall we do with the drunken sailor?  163
Wheear 'as tha bin sin' Ah saw thee? „  74
When I first was a civis I studied Humanity   ;  51
When Israel was in Egypt's land  191
When I was a student at Cadiz'.  53
When I was bound apprentice  79
When you wander to the table free from care ,    93
Where loud the mill-wheel roareth  59
Where the islands of the Volga  154
Wi' a hundred pipers an' a' \ „  102
Will you come with nie, my Phyllis dear  170
Ye banks and braes o' bonnie Doon _  105
iàV
224
BBül   {■   -,
li 

Cite

Citation Scheme:

        

Citations by CSL (citeproc-js)

Usage Statistics

Share

Embed

Customize your widget with the following options, then copy and paste the code below into the HTML of your page to embed this item in your website.
                        
                            <div id="ubcOpenCollectionsWidgetDisplay">
                            <script id="ubcOpenCollectionsWidget"
                            src="{[{embed.src}]}"
                            data-item="{[{embed.item}]}"
                            data-collection="{[{embed.collection}]}"
                            data-metadata="{[{embed.showMetadata}]}"
                            data-width="{[{embed.width}]}"
                            async >
                            </script>
                            </div>
                        
                    
IIIF logo Our image viewer uses the IIIF 2.0 standard. To load this item in other compatible viewers, use this url:
http://iiif.library.ubc.ca/presentation/cdm.specialp.1-0065934/manifest

Comment

Related Items