English Folk Songs Mandolin Tabs
Mostly English folk songs in easy to play keys such as D and G. As the Fiddle is tuned the same as the mandolin, this tab will also work for the Violin.
Page two of the English folk tabs for mandolin / Tenor Banjo .
Page two of the English folk tabs for mandolin / Tenor Banjo .
A Begging I Will Go
"A Beggin' I Will Go" is a traditional English folk song that celebrates the free and easy life of a beggar. It's a prime example of a song that idealizes a marginalized lifestyle, presenting begging not as a misfortune but as a deliberate choice and a kind of "trade" superior to others.
Origins and Historical Context
The song's origins can be traced back to a 17th-century ballad opera called A Jovial Crew, or the Merry Beggars by Richard Brome, first performed in 1641. The chorus of a song from this play, often referred to as "The Beggar's Chorus," is the direct ancestor of the folk song we know today.
However, the song's popularity was not limited to the stage. It spread through oral tradition and broadside ballads (cheaply printed sheets of paper with lyrics), with various versions and new verses being added and changed over time. The theme of a beggar's life resonated with people, particularly during times of economic hardship and social upheaval in England and Scotland. The song offered a romanticized escape from the harsh realities of poverty, the strictures of the Poor Laws, and the grueling conditions of factory work.
Themes and Lyrics
The lyrics of "A Beggin' I Will Go" are a testament to the beggar's supposed freedom and contentment. They often feature:
Variations and Modern Legacy
Like many traditional folk songs, "A Beggin' I Will Go" has countless variations. Different versions have surfaced in England and Scotland over the centuries, with local references and unique verses.
In the modern folk revival, the song has been a staple, performed by artists such as Martin Carthy, Ewan MacColl, and Bob Davenport. These artists have helped to preserve the song's defiant and romantic spirit, re-introducing it to new generations and reminding us of a time when song was a means of both protest and escape.
As the Fiddle is tuned the same as the mandolin, these tabs will also work for the Violin.
Origins and Historical Context
The song's origins can be traced back to a 17th-century ballad opera called A Jovial Crew, or the Merry Beggars by Richard Brome, first performed in 1641. The chorus of a song from this play, often referred to as "The Beggar's Chorus," is the direct ancestor of the folk song we know today.
However, the song's popularity was not limited to the stage. It spread through oral tradition and broadside ballads (cheaply printed sheets of paper with lyrics), with various versions and new verses being added and changed over time. The theme of a beggar's life resonated with people, particularly during times of economic hardship and social upheaval in England and Scotland. The song offered a romanticized escape from the harsh realities of poverty, the strictures of the Poor Laws, and the grueling conditions of factory work.
Themes and Lyrics
The lyrics of "A Beggin' I Will Go" are a testament to the beggar's supposed freedom and contentment. They often feature:
- A contrast with other trades: The song often begins with a line like, "Of all the trades in England, a-beggin' is the best." This immediately sets up a comparison, arguing that begging offers a life of leisure and independence that a laborer or tradesman could only dream of.
- The freedom of a vagabond life: Verses often celebrate the ability to "lay him down to rest" whenever tired, to "heed no master's bell," and to live without paying rent. The beggar is presented as a free spirit who is beholden to no one.
- Humor and self-deprecation: The beggar is often portrayed with a wink and a smile, a clever character who feigns lameness or blindness ("I've been deaf at Duckinfield and I've been blind at Shaw") to earn a living. The patched clothes and worn-out possessions are worn with pride, not shame.
- A challenge to social hierarchy: A common and powerful verse in the song is, "I fear no plots against me, I live in open cell / Who would be a king then when beggars live so well?" This line turns the social order on its head, suggesting that the beggar, with their freedom from responsibility and care, lives a better life than a king burdened by power and fear.
Variations and Modern Legacy
Like many traditional folk songs, "A Beggin' I Will Go" has countless variations. Different versions have surfaced in England and Scotland over the centuries, with local references and unique verses.
In the modern folk revival, the song has been a staple, performed by artists such as Martin Carthy, Ewan MacColl, and Bob Davenport. These artists have helped to preserve the song's defiant and romantic spirit, re-introducing it to new generations and reminding us of a time when song was a means of both protest and escape.
As the Fiddle is tuned the same as the mandolin, these tabs will also work for the Violin.
Adieu To Old England
"Adieu To Old England" is a traditional English folk song with a rich and somber history. It's a classic example of a "transportation ballad," a subgenre of folk songs that became popular in the 18th and 19th centuries, chronicling the plight of convicted criminals who were "transported" to overseas penal colonies, primarily in Australia.
Origin and Theme
The song's origins can be traced to at least the early 19th century, with some versions appearing on broadside ballads (cheaply printed song sheets) around the 1820s under titles like "The Transport's Farewell." The song is a lament sung from the perspective of a person, often a formerly well-to-do individual, who has lost everything and is being sent into exile.
The central theme is a stark and sorrowful comparison between the singer's past life of comfort and their new reality of hardship. The lyrics contrast:
Collection and Modern Revival
"Adieu To Old England" was widely collected by folklorists in the late 19th and early 20th centuries, particularly in the West Country of England. Noted collectors like Cecil Sharp and Ralph Vaughan Williams documented several versions from traditional singers, including the famed Norfolk singer Harry Cox.
The song was a staple of the British folk revival, and its powerful and melancholic tune has been recorded by numerous folk artists. A notable version is Shirley Collins's 1974 album, also titled Adieu to Old England, which brought the song to a wider audience. The album, like the song itself, serves as a farewell to a fading rural England and its traditions, capturing a sense of loss and change.
While the song is a historical artifact of the transportation era, its themes of loss, regret, and the harsh consequences of social and economic choices remain timeless and resonant.
Origin and Theme
The song's origins can be traced to at least the early 19th century, with some versions appearing on broadside ballads (cheaply printed song sheets) around the 1820s under titles like "The Transport's Farewell." The song is a lament sung from the perspective of a person, often a formerly well-to-do individual, who has lost everything and is being sent into exile.
The central theme is a stark and sorrowful comparison between the singer's past life of comfort and their new reality of hardship. The lyrics contrast:
- Luxury and Poverty: "Once I could ride in my coach with horses to draw me along, but now I am stirrup and stirrup so strong and in irons and chains I am bound." The singer recalls a time of fine food, drink, and a soft feather bed, contrasting it with a hard crust, spring water, and a bed of straw.
- Freedom and Captivity: The song mourns the loss of freedom, with the final verses often placing the singer "in prison, in prison so strong, not knowing which way to turn."
- Regret and Fate: The chorus, "Here's adieu to Old England, adieu, and adieu to some hundreds of pounds—if the world had been ended before I was born, my troubles I never should know," expresses a profound sense of regret and fatalism. The singer wishes they had never been born to experience such a cruel turn of fate.
Collection and Modern Revival
"Adieu To Old England" was widely collected by folklorists in the late 19th and early 20th centuries, particularly in the West Country of England. Noted collectors like Cecil Sharp and Ralph Vaughan Williams documented several versions from traditional singers, including the famed Norfolk singer Harry Cox.
The song was a staple of the British folk revival, and its powerful and melancholic tune has been recorded by numerous folk artists. A notable version is Shirley Collins's 1974 album, also titled Adieu to Old England, which brought the song to a wider audience. The album, like the song itself, serves as a farewell to a fading rural England and its traditions, capturing a sense of loss and change.
While the song is a historical artifact of the transportation era, its themes of loss, regret, and the harsh consequences of social and economic choices remain timeless and resonant.
Admiral Benbolt
"Admiral Benbow" is a traditional English folk song and sea shanty that tells the dramatic and tragic story of Vice-Admiral John Benbow (1653-1702). The song is a testament to his bravery and a commemoration of his final battle.
The Historical Story
The song is based on a real-life naval engagement that occurred in 1702 during the War of the Spanish Succession. Admiral Benbow, a highly respected and popular figure who had risen through the ranks from an ordinary seaman, was in command of a British fleet in the West Indies. He sighted a French squadron under the command of Admiral Jean-Baptiste du Casse.
Benbow ordered his ships to engage the enemy, but what followed was a shocking act of cowardice and insubordination. Most of his captains refused to fight, turning their ships away in a "fright" and leaving Benbow's flagship, the HMS Breda, and only one other ship, the HMS Ruby, to face the French squadron alone.
Despite being severely outnumbered, Benbow fought on for several days. During the battle, his leg was shattered by a chain-shot. Even with a mortal wound, he famously insisted on being brought to the quarterdeck in a cradle so he could continue to command his men, urging them to "fight on, my English lads."
The battle ended when Benbow, realizing he could not defeat the French alone, called off the pursuit. He returned to Port Royal, Jamaica, where he had the disloyal captains court-martialed for cowardice and desertion. Two of the captains, Richard Kirby and John Wade, were found guilty and executed. Benbow himself died from his wounds shortly afterward.
The Song's Purpose and Legacy
The folk song "Admiral Benbow" served several purposes in its time and beyond:
The Historical Story
The song is based on a real-life naval engagement that occurred in 1702 during the War of the Spanish Succession. Admiral Benbow, a highly respected and popular figure who had risen through the ranks from an ordinary seaman, was in command of a British fleet in the West Indies. He sighted a French squadron under the command of Admiral Jean-Baptiste du Casse.
Benbow ordered his ships to engage the enemy, but what followed was a shocking act of cowardice and insubordination. Most of his captains refused to fight, turning their ships away in a "fright" and leaving Benbow's flagship, the HMS Breda, and only one other ship, the HMS Ruby, to face the French squadron alone.
Despite being severely outnumbered, Benbow fought on for several days. During the battle, his leg was shattered by a chain-shot. Even with a mortal wound, he famously insisted on being brought to the quarterdeck in a cradle so he could continue to command his men, urging them to "fight on, my English lads."
The battle ended when Benbow, realizing he could not defeat the French alone, called off the pursuit. He returned to Port Royal, Jamaica, where he had the disloyal captains court-martialed for cowardice and desertion. Two of the captains, Richard Kirby and John Wade, were found guilty and executed. Benbow himself died from his wounds shortly afterward.
The Song's Purpose and Legacy
The folk song "Admiral Benbow" served several purposes in its time and beyond:
- Heroic Ballad: It memorialized Benbow as a naval hero and a man of the people, celebrating his courage in the face of both the enemy and the treachery of his own officers.
- Cautionary Tale: The song also served as a stark warning to naval officers about the consequences of cowardice and insubordination. The betrayal of Kirby and Wade is a central part of many versions of the song.
- Enduring Popularity: The song's memorable tune and powerful story ensured its survival in oral tradition. It was a favorite among sailors and was collected by folklorists in the 19th and 20th centuries. It's been performed by numerous folk singers and shanty groups, and it was even featured in the video game Assassin's Creed IV: Black Flag.
All through the night
"All Through the Night" is a traditional Welsh folk song with a beautiful and enduring melody. The song is best known in English-speaking countries as a gentle lullaby, but its original Welsh lyrics have a much deeper, and more spiritual, meaning.
Welsh Origin: Ar Hyd y Nos
The song's original Welsh title is Ar Hyd y Nos, which literally means "The Live-long Night." The tune was first published in 1784 in a collection by the Welsh harpist and musicologist Edward Jones. The most commonly sung Welsh lyrics were written later by the poet John Ceiriog Hughes (1832-1887).
Unlike the lullaby version, Hughes's lyrics are a profound meditation on life, death, and the beauty of the natural world. They speak of the stars as guiding lights, a "heavenly family" that watches over us in the darkness. The verses touch on themes of old age, illness, and the hope of a peaceful afterlife. The song's contemplative and spiritual nature made it a favorite of Welsh male voice choirs.
English Adaptations
The tune's popularity led to several English lyrical adaptations over the centuries. The most famous and widely sung English version was written by Sir Harold Boulton in 1884. This version transformed the song into a gentle and comforting lullaby. The lyrics, "Sleep my child and peace attend thee, All through the night," are now synonymous with the song's melody.
Another English version, which is more of a romantic ballad, also exists. It speaks of a lover's promise to stay and keep watch over their beloved "all through the night."
Cultural Legacy
"All Through the Night" has become a cultural touchstone far beyond its Welsh origins. Its versatile melody has been used for:
Welsh Origin: Ar Hyd y Nos
The song's original Welsh title is Ar Hyd y Nos, which literally means "The Live-long Night." The tune was first published in 1784 in a collection by the Welsh harpist and musicologist Edward Jones. The most commonly sung Welsh lyrics were written later by the poet John Ceiriog Hughes (1832-1887).
Unlike the lullaby version, Hughes's lyrics are a profound meditation on life, death, and the beauty of the natural world. They speak of the stars as guiding lights, a "heavenly family" that watches over us in the darkness. The verses touch on themes of old age, illness, and the hope of a peaceful afterlife. The song's contemplative and spiritual nature made it a favorite of Welsh male voice choirs.
English Adaptations
The tune's popularity led to several English lyrical adaptations over the centuries. The most famous and widely sung English version was written by Sir Harold Boulton in 1884. This version transformed the song into a gentle and comforting lullaby. The lyrics, "Sleep my child and peace attend thee, All through the night," are now synonymous with the song's melody.
Another English version, which is more of a romantic ballad, also exists. It speaks of a lover's promise to stay and keep watch over their beloved "all through the night."
Cultural Legacy
"All Through the Night" has become a cultural touchstone far beyond its Welsh origins. Its versatile melody has been used for:
- Lullabies: It's a staple in nurseries around the world, known for its soothing and serene quality.
- Hymns: The tune has been adapted for various Christian hymns, including "Go My Children With My Blessing."
- Film and Television: The song has been featured in numerous movies and TV shows, from the classic film The Corn Is Green to more contemporary productions.
- Classical Music: Composers like Joseph Haydn and Cyril Scott have incorporated the tune into their works.
Apple tree wassail
"Apple Tree Wassail" is a traditional English folk song that is part of a much older ritual known as wassailing. This practice, particularly common in the cider-producing regions of England (such as Somerset, Devon, and Herefordshire), is performed to ensure a good apple harvest in the coming year.
The Wassailing Tradition
The term "wassail" comes from the Old English phrase waes hael, meaning "be in good health." It was a toast and a blessing, and the tradition of wassailing eventually split into two main forms:
The Song and Its Lyrics
"Apple Tree Wassail" is not a single, standardized song but rather a collection of verses and traditions that vary from village to village. The lyrics are a direct reflection of the wassailing ritual's purpose. A common set of verses might include:
Modern Legacy
While the wassailing tradition nearly died out in the 20th century, it has been revived in recent decades as a way to celebrate local heritage and community. "Apple Tree Wassail" remains a favorite of folk musicians and has been recorded by artists such as the Watersons, helping to preserve a song that is as much a living prayer for a good harvest as it is a historical artifact. It's a testament to a time when people's lives were more directly tied to the rhythms of the seasons and the land.
The Wassailing Tradition
The term "wassail" comes from the Old English phrase waes hael, meaning "be in good health." It was a toast and a blessing, and the tradition of wassailing eventually split into two main forms:
- House-wassailing: The more familiar form, which evolved into modern Christmas caroling. Wassailers would go from house to house singing and offering blessings in exchange for food, drink, or money.
- Orchard-wassailing: The subject of the "Apple Tree Wassail" song. This ritual takes place on a cold winter's night, often on Twelfth Night (January 5th) or Old Twelfth Night (January 17th). Villagers would gather in an orchard to "wassail" the apple trees.
- Singing: The most important part of the ceremony is the singing of the wassail song, which is a blessing and a toast to the health of the trees.
- Offerings: Toast soaked in cider is often placed in the branches of the oldest tree as an offering to the tree spirits or to the robins, which are believed to represent the good spirits of the orchard.
- Noise-making: The wassailers would make a loud racket by banging on pots and pans, shouting, or even firing shotguns into the air. This was done to "awaken" the trees from their winter slumber and to scare away any evil spirits that might be lurking and threaten the future harvest.
- Cider: Cider would be poured on the roots of the trees as a further offering and a symbol of fertility.
The Song and Its Lyrics
"Apple Tree Wassail" is not a single, standardized song but rather a collection of verses and traditions that vary from village to village. The lyrics are a direct reflection of the wassailing ritual's purpose. A common set of verses might include:
- A call to the apple tree itself: "Old apple tree, we'll wassail thee, and hoping thou wilt bear..."
- A list of the bountiful harvest hoped for: "Hatfuls, capfuls, three-bushel-bagfuls, and a little heap under the stairs." (The "heap under the stairs" is a humorous reference to the immense number of apples they hope to harvest).
- A toast to the trees: "To blow well and to bear well, and so merry let us be, let every man lift up his cup, and health to the apple tree!"
Modern Legacy
While the wassailing tradition nearly died out in the 20th century, it has been revived in recent decades as a way to celebrate local heritage and community. "Apple Tree Wassail" remains a favorite of folk musicians and has been recorded by artists such as the Watersons, helping to preserve a song that is as much a living prayer for a good harvest as it is a historical artifact. It's a testament to a time when people's lives were more directly tied to the rhythms of the seasons and the land.
A Shantyman's Life
"A Shantyman's Life" is a traditional folk song that provides a stark and realistic glimpse into the world of the shantyman, but it's important to note that it's not a sea shanty in the strictest sense. While it's about the life of a "shantyman," the song itself is not a work song designed to be sung on a ship to coordinate labor. Instead, it's a "forebitter" or "off-watch song"—a song about the maritime experience, sung for entertainment and reflection during a sailor's downtime.
The Role of a Shantyman
To understand the song, one must first understand the role of a shantyman on a sailing ship. The shantyman was a highly valued member of the crew, chosen for his powerful voice, vast memory of songs, and ability to improvise. His job was to lead the crew in singing sea shanties—the rhythmic work songs used to synchronize tasks like hauling on ropes, raising sails, and weighing anchor. The shantyman would sing the verses, and the crew would respond with a powerful chorus at key moments in the work. This not only made the hard, monotonous labor more bearable but also made it more efficient. A good shantyman was often exempt from the most grueling physical tasks and might receive other privileges.
The Song's Content and Themes
"A Shantyman's Life" delves into the perceived contradictions of this role. The opening line, which can vary, often sets the tone: "A shantyman's life is a wearisome one, though some say it's free from care." This single line encapsulates the song's central theme: the romantic notion of the shantyman's life versus the difficult reality.
The lyrics of the song, like many folk ballads, vary widely, but they generally explore the hardships of a sailor's life, even for a "privileged" shantyman:
Legacy
The song "A Shantyman's Life" has been recorded by many folk artists, including Dave Van Ronk and The Wakami Wailers. It has helped to preserve the memory of the shantyman's role and the difficult life of the working sailor. It is a powerful reminder that while sea shanties were born out of a need for rhythm and morale on the high seas, the songs themselves often carried the weight of a deeper, more personal narrative.
"A Shantyman's Life" is a traditional folk song that provides a stark and realistic glimpse into the world of the shantyman, but it's important to note that it's not a sea shanty in the strictest sense. While it's about the life of a "shantyman," the song itself is not a work song designed to be sung on a ship to coordinate labor. Instead, it's a "forebitter" or "off-watch song"—a song about the maritime experience, sung for entertainment and reflection during a sailor's downtime.
The Role of a Shantyman
To understand the song, one must first understand the role of a shantyman on a sailing ship. The shantyman was a highly valued member of the crew, chosen for his powerful voice, vast memory of songs, and ability to improvise. His job was to lead the crew in singing sea shanties—the rhythmic work songs used to synchronize tasks like hauling on ropes, raising sails, and weighing anchor. The shantyman would sing the verses, and the crew would respond with a powerful chorus at key moments in the work. This not only made the hard, monotonous labor more bearable but also made it more efficient. A good shantyman was often exempt from the most grueling physical tasks and might receive other privileges.
The Song's Content and Themes
"A Shantyman's Life" delves into the perceived contradictions of this role. The opening line, which can vary, often sets the tone: "A shantyman's life is a wearisome one, though some say it's free from care." This single line encapsulates the song's central theme: the romantic notion of the shantyman's life versus the difficult reality.
The lyrics of the song, like many folk ballads, vary widely, but they generally explore the hardships of a sailor's life, even for a "privileged" shantyman:
- Loneliness and Isolation: The song highlights the loneliness of life at sea, away from family and loved ones. A shantyman, despite being surrounded by crewmates, is still "transported... from a lady so fair."
- Harsh Conditions: The song doesn't shy away from the physical discomforts of the sea. The lyrics describe the biting cold, the dampness, and the "long winter's day" spent on the ship.
- Disillusionment: The song suggests that the freedom often associated with a shantyman's life is an illusion. The sailor is not truly free; they are bound to the ship and its endless tasks.
- The Power of Song: Despite the hardships, the song acknowledges the crucial role of music. The shanties, led by the shantyman, were a form of "medicine" that helped the crew overcome difficult challenges and pass the time.
Legacy
The song "A Shantyman's Life" has been recorded by many folk artists, including Dave Van Ronk and The Wakami Wailers. It has helped to preserve the memory of the shantyman's role and the difficult life of the working sailor. It is a powerful reminder that while sea shanties were born out of a need for rhythm and morale on the high seas, the songs themselves often carried the weight of a deeper, more personal narrative.
Babes In The Wood
"Babes In The Wood" is a traditional English folk song with a long and intriguing history. It's a ballad that tells a tragic story, and its roots go deep into English folklore and morality tales.
The Story Behind the Song
The song's narrative is based on a popular tale that first appeared in a broadside ballad in 1595, titled "The Norfolk gent his will and Testament and howe he Commytted the keepinge of his Children to his own brother whoe delte most wickedly with them and howe God plagued him for it."
The story unfolds as follows:
The Song and Its Variants
Like most traditional folk songs, "Babes In The Wood" has many lyrical and melodic variations that have evolved over centuries of oral transmission.
Modern Legacy
"Babes In The Wood" has been collected by countless folklorists, and its melody and lyrics have been recorded by numerous artists, from traditional family singers like the Copper Family to modern folk revivalists like Shirley Collins and Maddy Prior. The story has also been adapted into a popular pantomime, though these theatrical versions often have a much happier, less morbid ending.
While a dark tale, the song "Babes In The Wood" is a vital piece of English heritage, a musical and narrative artifact that reflects the values and anxieties of its time.
"Babes In The Wood" is a traditional English folk song with a long and intriguing history. It's a ballad that tells a tragic story, and its roots go deep into English folklore and morality tales.
The Story Behind the Song
The song's narrative is based on a popular tale that first appeared in a broadside ballad in 1595, titled "The Norfolk gent his will and Testament and howe he Commytted the keepinge of his Children to his own brother whoe delte most wickedly with them and howe God plagued him for it."
The story unfolds as follows:
- An orphaned brother and sister are left in the care of a wicked uncle.
- The uncle, greedy for their inheritance, plots to have them killed. He hires two ruffians to take the children into the woods and murder them.
- As they walk, one of the ruffians is so moved by the children's innocence that he cannot go through with the act. He argues with the other ruffian, and they fight, resulting in one of the villains being killed.
- The surviving ruffian, unwilling to murder the children but still not a hero, abandons them in the woods.
- The children, left to wander alone, eventually succumb to hunger and exposure.
- In a final, poignant act of nature's kindness, the local robins bring strawberry leaves and cover the children's bodies, giving them a symbolic burial.
The Song and Its Variants
Like most traditional folk songs, "Babes In The Wood" has many lyrical and melodic variations that have evolved over centuries of oral transmission.
- The Lullaby Version: One of the most common and well-known versions is a condensed, almost lullaby-like version that focuses solely on the tragic fate of the children and the robins' kindness. It's often simplified for children, with a chorus like, "Poor babes in the woods, poor babes in the woods / O don't you remember the babes in the woods?" This version, despite its grim subject matter, has an almost mournful, soothing quality.
- The Full Ballad: Older and more complete versions of the song retain the full narrative, including the wicked uncle's plot and his eventual downfall. This version is more of a full-fledged ballad, recounting the entire story from beginning to end.
Modern Legacy
"Babes In The Wood" has been collected by countless folklorists, and its melody and lyrics have been recorded by numerous artists, from traditional family singers like the Copper Family to modern folk revivalists like Shirley Collins and Maddy Prior. The story has also been adapted into a popular pantomime, though these theatrical versions often have a much happier, less morbid ending.
While a dark tale, the song "Babes In The Wood" is a vital piece of English heritage, a musical and narrative artifact that reflects the values and anxieties of its time.
Billy Boy
"Billy Boy" is a traditional folk song that, while now primarily known as a children's nursery rhyme, has a more complex and sometimes humorous history. It's an excellent example of a song that has been adapted over time, shifting its meaning and audience.
The Question-and-Answer Format
The song is structured as a question-and-answer dialogue between an unnamed narrator (often a mother figure) and a young man named "Billy Boy" or "Charming Billy." The narrator asks Billy a series of questions about a girl he is courting, and Billy provides often-comical or ironic answers.
Key Themes and Verses
The verses of "Billy Boy" usually follow a similar pattern and touch on a few recurring themes:
Origins and Connections to Other Ballads
The exact origins of "Billy Boy" are somewhat debated. It has been suggested that the song is a lighter, more modern variant of a much older and darker ballad known as "Lord Randall."
Modern Legacy
"Billy Boy" is a staple in children's songbooks and has been recorded by numerous folk artists, including Burl Ives, Pete Seeger, and Martin Carthy. The song's simple melody and engaging, call-and-response format make it ideal for teaching children.
While its modern form is lighthearted, the song retains its cleverness and its roots in traditional folk storytelling, where humor and irony were often used to navigate the complexities of courtship and domestic life.
"Billy Boy" is a traditional folk song that, while now primarily known as a children's nursery rhyme, has a more complex and sometimes humorous history. It's an excellent example of a song that has been adapted over time, shifting its meaning and audience.
The Question-and-Answer Format
The song is structured as a question-and-answer dialogue between an unnamed narrator (often a mother figure) and a young man named "Billy Boy" or "Charming Billy." The narrator asks Billy a series of questions about a girl he is courting, and Billy provides often-comical or ironic answers.
Key Themes and Verses
The verses of "Billy Boy" usually follow a similar pattern and touch on a few recurring themes:
- Seeking a Wife: The song begins with the question, "Oh, where have you been, Billy Boy, Billy Boy?" to which he replies, "I have been to seek a wife..."
- The "Young Thing": The central refrain in many versions is that the girl "is a young thing and cannot leave her mother." This line, repeated at the end of each verse, is a source of both humor and irony.
- Domestic Abilities: The narrator tests the girl's suitability as a wife by asking about her domestic skills. The most famous verse is: "Can she bake a cherry pie, Billy Boy, Billy Boy?" to which he answers with a boastful and often exaggerated claim, "She can bake a cherry pie, quick as a cat can wink her eye." Other verses might ask if she can make a feather bed or cook a pudding.
- The Punchline: The song's final verse is typically the most ironic. When asked about the girl's age, Billy gives a convoluted and seemingly nonsensical answer, such as "She's three times six and four times seven, twenty-eight and eleven." If you do the math, this adds up to a surprisingly high number (85), which makes the repeated line "she's a young thing" a clever and humorous punchline.
Origins and Connections to Other Ballads
The exact origins of "Billy Boy" are somewhat debated. It has been suggested that the song is a lighter, more modern variant of a much older and darker ballad known as "Lord Randall."
- Lord Randall: This is a tragic murder ballad in which a young man returns home after being poisoned by his lover. The question-and-answer format is similar, but the tone is grim and foreboding. While the lyrical and structural similarities are present, the definitive link between the two songs is a subject of scholarly debate.
Modern Legacy
"Billy Boy" is a staple in children's songbooks and has been recorded by numerous folk artists, including Burl Ives, Pete Seeger, and Martin Carthy. The song's simple melody and engaging, call-and-response format make it ideal for teaching children.
While its modern form is lighthearted, the song retains its cleverness and its roots in traditional folk storytelling, where humor and irony were often used to navigate the complexities of courtship and domestic life.
Blow Away The Mountain Dew
"Blow Away The Mountain Dew" is a traditional English folk song with a fascinating and sometimes raucous history. It's a ballad of cunning and wit, often referred to by the more scholarly title, "The Baffled Knight."
The Narrative of the Song
The song's central plot is a classic morality tale of a woman outsmarting a man. The story, which has countless regional variations, generally follows this outline:
The Refrain
The song's title comes from its evocative and somewhat mysterious refrain, which often includes lines like: "And sing, 'Blow away the morning dew, the dew and the dew,' 'Blow away the morning dew, how sweet the winds do blow.'" This chorus gives the song its lyrical and poetic quality, contrasting the harsh, explicit narrative with a sense of pastoral, natural beauty. The meaning of "blowing away the morning dew" could be interpreted as a symbol of clearing away innocence or taking a direct, unburdened approach to life.
Collection and Modern Legacy
"Blow Away The Mountain Dew" is one of the most widely collected folk songs in the English-speaking world. The ballad was first printed in Thomas Ravenscroft's Deuteromelia in 1609, making it one of the few early ballads for which a matching tune has survived. It was later collected by many prominent folklorists, including Francis James Child (who numbered it as Child Ballad 112, "The Baffled Knight") and Cecil Sharp. Sharp, in particular, found many versions with "saucy texts" and often "re-wrote" them to be more suitable for his school curriculum.
The song has been a staple of the folk revival and has been recorded by numerous artists, including the Clancy Brothers and other prominent performers. Its enduring popularity is a testament to its clever narrative and the timeless appeal of a story where wit triumphs over brute force and foolishness.
"Blow Away The Mountain Dew" is a traditional English folk song with a fascinating and sometimes raucous history. It's a ballad of cunning and wit, often referred to by the more scholarly title, "The Baffled Knight."
The Narrative of the Song
The song's central plot is a classic morality tale of a woman outsmarting a man. The story, which has countless regional variations, generally follows this outline:
- The Encounter: A knight, a shepherd, or a farmer's son (depending on the version) encounters a young woman, often in a rural setting like a field or by a stream. He makes a direct and forward proposition.
- The Witty Reply: The woman, rather than directly rejecting him, feigns willingness but with a clever condition. She persuades the man to take her to a more comfortable or private location, often her father's hall, with the promise that she will then be his.
- The Deception: The man, taken in by her promise, agrees. They ride together like siblings or friends to her home.
- The Escape and Taunt: As soon as they reach her father's house, she slips inside, locks the door, and then taunts the man from the safety of the interior. She mocks him for his foolishness, lamenting that he "had not the face" to take what he wanted when he had the chance.
- The Moral: The song often concludes with a moralistic or satirical punchline, either from the woman, the man, or an omniscient narrator. The most famous of these is the proverb, "If you will not when you may, you shall not when you would." This is a timeless piece of advice that has been applied to everything from courtship to missed opportunities.
The Refrain
The song's title comes from its evocative and somewhat mysterious refrain, which often includes lines like: "And sing, 'Blow away the morning dew, the dew and the dew,' 'Blow away the morning dew, how sweet the winds do blow.'" This chorus gives the song its lyrical and poetic quality, contrasting the harsh, explicit narrative with a sense of pastoral, natural beauty. The meaning of "blowing away the morning dew" could be interpreted as a symbol of clearing away innocence or taking a direct, unburdened approach to life.
Collection and Modern Legacy
"Blow Away The Mountain Dew" is one of the most widely collected folk songs in the English-speaking world. The ballad was first printed in Thomas Ravenscroft's Deuteromelia in 1609, making it one of the few early ballads for which a matching tune has survived. It was later collected by many prominent folklorists, including Francis James Child (who numbered it as Child Ballad 112, "The Baffled Knight") and Cecil Sharp. Sharp, in particular, found many versions with "saucy texts" and often "re-wrote" them to be more suitable for his school curriculum.
The song has been a staple of the folk revival and has been recorded by numerous artists, including the Clancy Brothers and other prominent performers. Its enduring popularity is a testament to its clever narrative and the timeless appeal of a story where wit triumphs over brute force and foolishness.
Canadee-i-o
"Canadee-i-o" is a traditional English folk song with a story that exemplifies a popular folk ballad theme: a woman who disguises herself as a sailor to follow her true love to sea. However, it's also a song with several unexpected twists and a happy ending, which sets it apart from many other, more tragic ballads.
The Plot of the Song
The narrative of "Canadee-i-o" typically follows this sequence of events:
Origins and Related Ballads
The song's origins are a subject of debate, with some versions appearing on 19th-century broadsides. It's considered a hybrid folk song, combining the motif of a girl following her love abroad with the myth of the "shipboard Jonah"—someone on board who is believed to bring bad luck.
The tune and story of "Canadee-i-o" are related to other, older folk songs. It's often linked to the Scottish song "Caledonia," and the plot of a woman in disguise is a common theme in many other folk ballads, such as "The Female Smuggler" or "Jackaroe."
Modern Popularity
"Canadee-i-o" is a beloved song in the folk revival tradition, largely due to a masterful and highly influential recording by the English folk singer Nic Jones on his 1980 album, Penguin Eggs. Jones's intricate and rhythmic guitar accompaniment, combined with his unique vocal delivery, has made his version the definitive one for many listeners.
This recording was so well-regarded that it was famously borrowed by Bob Dylan for his 1992 album, Good as I Been to You. While Dylan's version is distinct, it helped introduce the song to an even wider audience. "Canadee-i-o" continues to be performed and recorded by many artists, and its blend of adventure, danger, and a surprisingly cheerful resolution makes it a timeless story told through song.
"Canadee-i-o" is a traditional English folk song with a story that exemplifies a popular folk ballad theme: a woman who disguises herself as a sailor to follow her true love to sea. However, it's also a song with several unexpected twists and a happy ending, which sets it apart from many other, more tragic ballads.
The Plot of the Song
The narrative of "Canadee-i-o" typically follows this sequence of events:
- The Fair Maiden's Plan: The song begins with a young woman who falls in love with a sailor boy. Desperate to be with him, but not knowing how to get on a ship, she comes up with a plan.
- The Bargain: She approaches a sailor and, "for a piece of gold," convinces him to let her aboard. He dresses her in sailor's clothes and hides her in the ship's hold.
- The Discovery and the Threat: Once at sea, the crew discovers her. In keeping with the old superstition that having a woman on board is bad luck, they become enraged. The sailors want to "tie her hands and feet... and overboard we'll throw her."
- The Captain's Intervention: The captain, upon hearing the news, comes to her defense. He argues with the crew and declares that she will stay on board, still in her sailor's clothes, and that she will see the port of "Canadee-i-o."
- The Happy Ending: The final verses diverge from the expected tragedy. After reaching their destination, the captain falls in love with the disguised girl and marries her. She is then "dressed in silks and satins" and becomes "the finest of the ladies down in Canadee-i-o."
Origins and Related Ballads
The song's origins are a subject of debate, with some versions appearing on 19th-century broadsides. It's considered a hybrid folk song, combining the motif of a girl following her love abroad with the myth of the "shipboard Jonah"—someone on board who is believed to bring bad luck.
The tune and story of "Canadee-i-o" are related to other, older folk songs. It's often linked to the Scottish song "Caledonia," and the plot of a woman in disguise is a common theme in many other folk ballads, such as "The Female Smuggler" or "Jackaroe."
Modern Popularity
"Canadee-i-o" is a beloved song in the folk revival tradition, largely due to a masterful and highly influential recording by the English folk singer Nic Jones on his 1980 album, Penguin Eggs. Jones's intricate and rhythmic guitar accompaniment, combined with his unique vocal delivery, has made his version the definitive one for many listeners.
This recording was so well-regarded that it was famously borrowed by Bob Dylan for his 1992 album, Good as I Been to You. While Dylan's version is distinct, it helped introduce the song to an even wider audience. "Canadee-i-o" continues to be performed and recorded by many artists, and its blend of adventure, danger, and a surprisingly cheerful resolution makes it a timeless story told through song.
Captain Kid's Farewell To The Sea
"Captain Kidd's Farewell to the Sea," more commonly known as "The Ballad of Captain Kidd," is a traditional English folk song that serves as a powerful and enduring "goodnight" ballad. It's a classic example of a song created almost immediately after a famous historical event to serve as a moralistic warning.
The Historical Figure
The song is about Captain William Kidd (c. 1645-1701), a Scottish sea captain who, after a career as a respectable privateer, was accused of piracy and murder. His trial in London was a political spectacle, and despite his pleas of innocence, he was found guilty and hanged at Execution Dock on the River Thames on May 23, 1701. The song, along with countless broadside ballads, appeared within weeks of his execution.
The Song's Narrative and Themes
The ballad is written from Captain Kidd's perspective, a common style for "goodnight" songs that were meant to be the condemned person's final words. The lyrics are a stark and unrepentant confession of his crimes. The song's structure and recurring refrain give it a powerful, rhythmic quality:
The Song's Legacy
The ballad's popularity was immense and immediate. It spread from England to the American colonies and beyond, becoming a staple of oral tradition. Its simple, haunting melody has been adapted for countless other songs, including the American folk hymn "What Wondrous Love Is This."
"Captain Kidd's Farewell to the Sea," more commonly known as "The Ballad of Captain Kidd," is a traditional English folk song that serves as a powerful and enduring "goodnight" ballad. It's a classic example of a song created almost immediately after a famous historical event to serve as a moralistic warning.
The Historical Figure
The song is about Captain William Kidd (c. 1645-1701), a Scottish sea captain who, after a career as a respectable privateer, was accused of piracy and murder. His trial in London was a political spectacle, and despite his pleas of innocence, he was found guilty and hanged at Execution Dock on the River Thames on May 23, 1701. The song, along with countless broadside ballads, appeared within weeks of his execution.
The Song's Narrative and Themes
The ballad is written from Captain Kidd's perspective, a common style for "goodnight" songs that were meant to be the condemned person's final words. The lyrics are a stark and unrepentant confession of his crimes. The song's structure and recurring refrain give it a powerful, rhythmic quality:
- Confession and Defiance: The song often begins with a line like, "My name is Captain Kidd, as I sailed, as I sailed." The use of the first person draws the listener in, as Kidd proceeds to list his wicked deeds.
- A List of Crimes: The verses catalog his various transgressions, including the murder of a seaman named William Moore, which was a central charge in his trial. Other verses describe his acts of piracy and his disregard for God's laws.
- The Inevitable End: The final verses focus on his capture, imprisonment, and eventual execution. The song often concludes with a grim farewell to the sea, his life of crime, and the world itself. The lines "To Execution Dock I must go" leave no doubt as to his ultimate fate.
The Song's Legacy
The ballad's popularity was immense and immediate. It spread from England to the American colonies and beyond, becoming a staple of oral tradition. Its simple, haunting melody has been adapted for countless other songs, including the American folk hymn "What Wondrous Love Is This."
- A Cautionary Tale: The song's main purpose was to serve as a cautionary tale. It was a way for society to condemn lawlessness and remind people of the harsh consequences of a life of crime. The fact that it was sung from the pirate's point of view gave it a chilling sense of authenticity and regret, even if the historical Kidd maintained his innocence to the end.
- Modern Recordings: "The Ballad of Captain Kidd" has been recorded by many folk artists over the years, including traditional singers like Bob Roberts and contemporary groups like Great Big Sea and Waterson:Carthy. It has also appeared in popular culture, from the TV series Black Sails to being mentioned in the writings of Washington Irving.
Captain Ward
"Captain Ward," also known as "Ward the Pirate," is a traditional English folk ballad about the real-life pirate John Ward (c. 1553-1622). The song, which has many variations, is a classic example of a "sea-fight ballad," romanticizing the life of a rogue hero who defies authority and lives by his own rules.
The Historical Figure
John Ward was a prominent English pirate who operated in the late 16th and early 17th centuries. Born in Faversham, Kent, he was a fisherman and then a privateer during the war with Spain. After the war ended and he was left without employment, he was forced to turn to piracy. He was a highly successful and daring pirate, eventually establishing a base of operations in Tunis, North Africa, from which he led raids on merchant ships in the Mediterranean. His exploits made him a folk hero in England, despite the government's official condemnation.
The Song's Narrative and Themes
The ballad of "Captain Ward" often tells the story of a famous naval battle, or a series of them, between the pirate and the King's ships. A common and very popular version focuses on the ship The Rainbow, which the King sends to apprehend Ward.
The song's key themes and plot points include:
Legacy and Modern Recordings
"Captain Ward" has been a staple of the folk revival, recorded by countless traditional and contemporary artists. It has been a favorite of English folk singers, with notable recordings by artists like Ewan MacColl, Peter Bellamy, and Spiers & Boden. Its powerful melody and engaging narrative have ensured its place in the canon of English folk music. The song remains a testament to the enduring appeal of the pirate legend and the folk tradition of celebrating figures who stand apart from the established order.
"Captain Ward," also known as "Ward the Pirate," is a traditional English folk ballad about the real-life pirate John Ward (c. 1553-1622). The song, which has many variations, is a classic example of a "sea-fight ballad," romanticizing the life of a rogue hero who defies authority and lives by his own rules.
The Historical Figure
John Ward was a prominent English pirate who operated in the late 16th and early 17th centuries. Born in Faversham, Kent, he was a fisherman and then a privateer during the war with Spain. After the war ended and he was left without employment, he was forced to turn to piracy. He was a highly successful and daring pirate, eventually establishing a base of operations in Tunis, North Africa, from which he led raids on merchant ships in the Mediterranean. His exploits made him a folk hero in England, despite the government's official condemnation.
The Song's Narrative and Themes
The ballad of "Captain Ward" often tells the story of a famous naval battle, or a series of them, between the pirate and the King's ships. A common and very popular version focuses on the ship The Rainbow, which the King sends to apprehend Ward.
The song's key themes and plot points include:
- Defiance of the King: The ballad often opens with a grand declaration of Ward's fame and a direct challenge to the authority of the English king. The song's most famous couplet, "Go home, go home, and tell your King from me / That he reigns King on all dry land, but I'll reign King at sea," encapsulates this defiant spirit.
- The Battle: The song vividly describes the sea-fight between Ward's ship and The Rainbow. The battle is often portrayed as a long and arduous one, with the royal ship suffering heavy losses and ultimately failing to defeat the pirate. This serves to elevate Ward's status as a master sailor and a formidable fighter.
- The Rogue Hero: While a pirate and a criminal by law, Ward is presented in the song as a clever and courageous figure. His wit and skill are emphasized over his criminality, making him a character to be admired rather than condemned. The song captures the popular romanticism of piracy, portraying the pirate's life as one of freedom and adventure, in contrast to the rigid, hierarchical life of the King's navy.
- A Broadsheet Ballad: Like many folk songs of the period, "Captain Ward" was widely distributed on broadsides—cheaply printed sheets of paper sold in the streets. This helped to spread his legend and ensured the song's survival.
Legacy and Modern Recordings
"Captain Ward" has been a staple of the folk revival, recorded by countless traditional and contemporary artists. It has been a favorite of English folk singers, with notable recordings by artists like Ewan MacColl, Peter Bellamy, and Spiers & Boden. Its powerful melody and engaging narrative have ensured its place in the canon of English folk music. The song remains a testament to the enduring appeal of the pirate legend and the folk tradition of celebrating figures who stand apart from the established order.
Colter's Candy
Come All Ye Fair And Tender Ladies
"Come All Ye Fair and Tender Ladies" is a classic American folk song, often categorized as an Appalachian ballad. It is a heartfelt lament from a woman who has been betrayed in love. The song's simple, direct language and its beautiful, mournful melody have made it an enduring classic of the American folk tradition.
Themes and Lyrical Content
The song's core theme is a warning to other women about the fickle and unreliable nature of men. The narrator, who has experienced heartbreak, offers a piece of advice based on her own bitter experience.
The verses typically follow a narrative arc:
Origins and Variants
The song's origins are somewhat murky, but it is believed to have English or Irish roots that were brought to America and adapted into the unique style of Appalachian music. It is often considered a variant of an older British ballad, "The Cruel Mother," although the lyrical connection is not always direct.
Like most traditional folk songs, "Come All Ye Fair and Tender Ladies" exists in many versions, with slight variations in the lyrics, melody, and rhythm. It was collected by numerous folklorists, including Cecil Sharp, who documented many versions in the Appalachian mountains in the early 20th century.
Modern Legacy
The song has been a favorite of countless folk artists and has been a staple of the American folk revival. Notable recordings include those by:
"Come All Ye Fair and Tender Ladies" is a classic American folk song, often categorized as an Appalachian ballad. It is a heartfelt lament from a woman who has been betrayed in love. The song's simple, direct language and its beautiful, mournful melody have made it an enduring classic of the American folk tradition.
Themes and Lyrical Content
The song's core theme is a warning to other women about the fickle and unreliable nature of men. The narrator, who has experienced heartbreak, offers a piece of advice based on her own bitter experience.
The verses typically follow a narrative arc:
- The Opening Warning: The song begins with the well-known opening line, "Come all ye fair and tender ladies, take a warning from a friend." This immediately establishes the song as a cautionary tale.
- The Betrayal: The narrator describes how her lover has left her and found someone new. She doesn't describe the details of the betrayal, but her pain is evident in the quiet sorrow of her words.
- The Metaphor of Love: The most famous verse uses a powerful metaphor: "Love is a jewel when it is new, but as it grows older, it grows cold and fades away just like a morning dew." This is the song's central message—that the initial passion of love can be a fleeting thing.
- The Symbolism of Nature: The song uses natural imagery to reflect the narrator's emotional state. The metaphor of the "morning dew" that fades away is a perfect example. Another common verse speaks of the narrator wishing she was a "little bird" to fly away and escape her sorrow.
- The Chorus: The chorus, which often varies, is a simple, repetitive lament that serves as the emotional heart of the song. A common chorus is "Oh, love is a flower so sweet and so gay / But it's plucked in the morning, and withers away."
Origins and Variants
The song's origins are somewhat murky, but it is believed to have English or Irish roots that were brought to America and adapted into the unique style of Appalachian music. It is often considered a variant of an older British ballad, "The Cruel Mother," although the lyrical connection is not always direct.
Like most traditional folk songs, "Come All Ye Fair and Tender Ladies" exists in many versions, with slight variations in the lyrics, melody, and rhythm. It was collected by numerous folklorists, including Cecil Sharp, who documented many versions in the Appalachian mountains in the early 20th century.
Modern Legacy
The song has been a favorite of countless folk artists and has been a staple of the American folk revival. Notable recordings include those by:
- Joan Baez: Her version on her 1960 debut album helped to introduce the song to a wider audience.
- The Kingston Trio: A slightly more uptempo version that also helped to popularize the song.
- Doc Watson: A well-known traditional musician who performed the song with his signature fingerpicking style.
- Pete Seeger: A renowned folk artist who often performed the song as a sing-along with his audience.
Haul away Joe mandolin sheet music with chords
Over the hills and far away mandolin tab with chords
"Over the Hills and Far Away" is a traditional English song with a long and varied history, dating back to at least the late 17th century. Its enduring melody and evocative title have allowed it to be adapted for a wide range of purposes, from military marches to love ballads and even children's rhymes.
Origins and Early Variations
The tune and title of "Over the Hills and Far Away" first appeared in print in the late 1600s and early 1700s, often with different sets of lyrics. The song's versatility is evident in its early forms:
Modern Interpretations
The song's legacy continues through its many modern adaptations, which have brought the classic tune to new audiences:
Origins and Early Variations
The tune and title of "Over the Hills and Far Away" first appeared in print in the late 1600s and early 1700s, often with different sets of lyrics. The song's versatility is evident in its early forms:
- Recruitment Song: One of the most famous versions was featured in George Farquhar's 1706 play, The Recruiting Officer. The lyrics here were directly tied to military life, with a sergeant enticing young men to join the army with promises of adventure and freedom from their mundane lives. The chorus, "Over the hills and over the main / To Flanders, Portugal, or Spain," paints a vivid picture of a soldier's journey to distant lands.
- Love Ballad: Another version, found in John Gay's 1728 ballad opera, The Beggar's Opera, re-contextualizes the song as a romantic duet. The lyrics describe two lovers dreaming of escaping together to a paradise "over the hills and far away."
- Nursery Rhyme: The tune is also the one associated with the well-known nursery rhyme "Tom, Tom, the Piper's Son." This version, with its simple and repetitive lyrics, has cemented the melody in the minds of generations of children.
Modern Interpretations
The song's legacy continues through its many modern adaptations, which have brought the classic tune to new audiences:
- The Sharpe Series: The song gained immense popularity in the 1990s as the theme song for the British TV series Sharpe, starring Sean Bean. The version used in the show, with lyrics written by John Tams, is heavily based on the military recruitment theme and has become the definitive version for many viewers.
- Led Zeppelin: The rock band Led Zeppelin released a song titled "Over the Hills and Far Away" on their 1973 album, Houses of the Holy. While it shares the name, and the opening acoustic riff has a folk-like quality, it is a new composition by Jimmy Page and Robert Plant. The lyrics are not from the traditional song and reflect a more contemporary, introspective theme.
- Gary Moore: The Irish musician Gary Moore also released a song with the same title in 1987. His version is a hard rock track with a Celtic feel, telling the story of a man imprisoned for a crime he didn't commit to protect his alibi—his best friend's wife, with whom he was having an affair. The Finnish symphonic metal band Nightwish later famously covered this version.
