"Too many pieces of music finish too long after the end."
AUTHOR: Igor Stravinsky
MEANING OF THE QUOTE:
"The secret to writing a good piece of music is not to
make it too short or too long. Timing is everything."
"The secret to writing a good piece of music is not to
make it too short or too long. Timing is everything."
COMPOSER:
RALPH VAUGHAN WILLIAMS
ENGLISH FOLKSONG SUITE
(FOLKSONG SUITE)
Sasd Concert Wind Orchestra
ENGLISH FOLKSONG SUITE
(FOLKSONG SUITE)
Conductor's Score
ENGLISH FOLKSONG SUITE
Orchestra Arrangement
Gordon Jacob, Transcriber
Sir Neville Marriner, Conductor
Academy of St Martin-in-the-Fields
1. MARCH: SEVENTEEN COME SUNDAY 0:00
2. INTERMEZZO: MY BONNY BOY 3:21
3. MARCH: FOLK SONGS FROM SOMERSET 6:40
 |
| Vaughan Williams |
The suite was written for the Royal Military
 |
premiered at that same venue, on July 4,
1923, conducted by Lt. Hector Adkins.
According to Vaughan Williams'
wife, Ursula Vaughan Williams,
 |
| Ursula and Ralph Vaughan Williams |
wife, Ursula Vaughan Williams,
he welcomed the opportunity to
Published in 1924, the English Folk Song
Suite was Vaughan Williams' first composition
for wind band. Along with Gustav Holst's
First Suite in E-Flat
GUSTAVE HOLST
FIRST SUITE FOR
MILITARY BAND IN E-FLAT
GUSTAVE HOLST
FIRST SUITE FOR
MILITARY BAND IN E-FLAT
https://www.youtube.com/watch?v=ngTnToAs4uU
and Second Suite in F
GUSTAVE HOLST
SECOND SUITE FOR
MILITARY BAND IN F
and Second Suite in F
GUSTAVE HOLST
SECOND SUITE FOR
MILITARY BAND IN F
https://www.youtube.com/watch?v=ovqFe9KhMj8
(composed in 1909 and 1911, respectively),
it was one of the first pieces of the 20th century
(composed in 1909 and 1911, respectively),
it was one of the first pieces of the 20th century
composed specifically for wind band. Originally,
Vaughan Williams' composition Sea Songs
Cleveland Symphonic Winds
Sea Songs is an arrangement of three British sea-songs based on
the songs "Princess Royal," "Admiral Benbow," and "Portsmouth."
was the second movement of the English
Folk Song Suite (making it four movements
total) but he removed it after the first per-
formance and published it separately (in-
cluding his own an orchestration) due to
its similarity in form and structure to the
first movement of the suite. There are
multiple folk songs in each of the move-
ments, with a total of nine folk songs used
in the composition. They are divided among
the movements each subtitled with
English folk song names as follows
(measure numbers indicated):
Folk Song Suite (making it four movements
total) but he removed it after the first per-
formance and published it separately (in-
cluding his own an orchestration) due to
its similarity in form and structure to the
first movement of the suite. There are
multiple folk songs in each of the move-
ments, with a total of nine folk songs used
in the composition. They are divided among
the movements each subtitled with
English folk song names as follows
(measure numbers indicated):
I. MARCH – "SEVENTEEN COME SUNDAY"
-"I’m Seventeen Come Sunday" (mm. 5-30)
-"Pretty Caroline" (mm. 33-63, 98-129)
-"Dives and Lazarus" or "The Red Barn" (mm. 65-97)
II. INTERMEZZO – "MY BONNY BOY"
-"My Bonny Boy" (mm. 3-42, 78-97)
-"Green Bushes" (mm. 43-77)
III. MARCH – "FOLK SONGS FROM SOMERSET"
-"Blow Away the Morning Dew" (mm. 5-28, 45-68)
-"High Germany” (mm. 29-44)
-"Whistle, Daughter, Whistle" (mm. 73-88)
-"John Barleycorn" (mm. 89-113)
Credited with the 20th-century revival of
English music, Ralph Vaughan Williams
was a champion of English folk songs.
Vaughan Williams began collecting folk
songs from his native homeland in 1903,
fastidiously noting who sang each song,
where and when they sang it, and record-
ing multiple versions of the same tunes.
His settings of these folk songs are found
in other works for wind band, brass band,
vocal pieces, and orchestras, reflecting the
influences of his friend Gustav Holst
English music, Ralph Vaughan Williams
was a champion of English folk songs.
Vaughan Williams began collecting folk
songs from his native homeland in 1903,
fastidiously noting who sang each song,
where and when they sang it, and record-
ing multiple versions of the same tunes.
His settings of these folk songs are found
in other works for wind band, brass band,
vocal pieces, and orchestras, reflecting the
influences of his friend Gustav Holst
 |
| Gustav Holst |
and his studies with French
 |
| Maurice Ravel |
 |
| A Letter from Ravel to Vaughan Williams |
Written in 1923 and published in 1924,
Vaughan Williams' English Folk Song Suite
for wind band is a masterwork of the wind
band repertoire and one of his most famous
works for military band. Although it is commonly
known by the title given above, it was actually
published with its original title as "Folk Song
Suite." In 1924, the piece was arranged for
full orchestra (and later for brass band) by a
student of his at the time, Gordon Jacob,
 |
| Gordon Jacob 1895-1984 (Early Years) |
 |
| Gordon Jacob (Later Years) |
to which was used the longer title,
presumably with the composer's
approval. It follows that performances
and recordings by orchestras always
use the later title, but those by wind
bands often use the original, shorter
title, even though bandsmen regularly
talk of the "English Folk Song Suite."
 |
| http://chrislandimusiceportfolio.weebly.com/student-teaching-spring-2010.html |
 |
| http://chrislandimusiceportfolio.weebly.com/student-teaching-spring-2010.html |
ENGLISH FOLKSONG SUITE
(FOLKSONG SUITE)
Movement 1 March:
Seventeen Come Sunday
Eastman Wind Orchestra
(FOLKSONG SUITE)
Movement 1 March:
Seventeen Come Sunday
Eastman Wind Orchestra
ANALYSIS CHARTS OF MOVEMENT 1
This movement, in A-B-C-B-A (Arch form),
includes three folks songs with each letter
of the form a separate folk song:
"A" is Seventeen Come Sunday
"B" is Pretty Caroline
"C" is Dives and Lazarus (The Red Barn)
After a four bar introduction, "Seventeen
Come Sunday" is presented as the first
melody (measures 5-30) A section. It is
followed by a two measure transition then
the B section melody, "Pretty Caroline"
(measures 33-63), enters as a quiet
melody for clarinets and/or solo cornet
(clarinets only in orchestrated version),
which is also repeated.
The C section begins the third tune
a 6/8 counter melody in the upper wood-
winds and repeated before leading straight
back to the second theme (measure 98)
again. The piece then transitions back to
the opening section, "Pretty Caroline," in a
Da capo al Fine ending with a two-
measure coda in F major.
four-bar introduction, with the principal
melody, the folk song Seventeen Come
Sunday, played by the woodwind
section (flutes in orchestrated version).
This melody, with its irregular phrasing,
lasts for thirteen bars and is then repeat-
ed with the woodwinds joined by the
brass (violins in orchestrated version).
The words of this English Folk Tune
were first published between 1838 and
1845 with the lyrics
speaking of a court-
ship of a young lady who will come of
age to be courted on
Sunday.
SEVENTEEN
COME SUNDAY
 |
| Jacques-Emile Blanche: Percy Grainger |
COME SUNDAY
Folk Song from
Lincolnshire and Somerset
John Eliot Gardiner, Choir Director
Monteverdi Choir
Monteverdi Orchestra
https://www.wikiwand.com/en/Seventeen_Come_Sunday
 |
 |
SEVENTEEN COME SUNDAY LINKS
Sometime about the 1850's
a broadsheet was printed in
England of Pretty Caroline
a broadsheet was printed in
England of Pretty Caroline
 |
| Possible Origin of the Tune |
whose lyrics tell of a young sailor's longing
for the young maid he left at home. Told in
six verses the story recounts the saga of the
lover who is recognized only by the token
that he brings back to a faithful sweetheart.
Young William was sent off to the sea by the
parents of his girlfriend, Caroline, to prevent
their courtship. After seven long years of
service on a man-o'-war, William returns
and tests the faithfulness of his pretty
Caroline whom he chances to meet
"One morning in the month of May
upon the banks of daisies gay."
She doesn't recognize him and rejects
his advances unless he can
"Produce the ring of braided gold,
and the lock of hair of mine."
for the young maid he left at home. Told in
six verses the story recounts the saga of the
lover who is recognized only by the token
that he brings back to a faithful sweetheart.
Young William was sent off to the sea by the
parents of his girlfriend, Caroline, to prevent
their courtship. After seven long years of
service on a man-o'-war, William returns
and tests the faithfulness of his pretty
Caroline whom he chances to meet
"One morning in the month of May
upon the banks of daisies gay."
She doesn't recognize him and rejects
his advances unless he can
"Produce the ring of braided gold,
and the lock of hair of mine."
This he does, of course, and
"when Caroline did it behold,
she said 'To church let’s go.'"
The sailor then
"blessed the month of May when
he met with Pretty Caroline."
"when Caroline did it behold,
she said 'To church let’s go.'"
The sailor then
"blessed the month of May when
he met with Pretty Caroline."
 |
| John Callcott Horsley: Lovers Under a Blossom Tree |
PRETTY CAROLINE
(An Earlier Version of the Folk Song)
In 1908, the composer
Ralph Vaughan Williams
collected the song Pretty Caroline
from a Mrs. Powell of Herefordshire.
Pretty Caroline
 |
| The Tune as Written by Vaughan Williams |
which may be based on Child Ballad 56,
Dives and Lazarus
(Child Ballad 56)
Rick Lee, Vocals
https://www.youtube.com/watch?v=BRnpvNxZiz4
http://www.traditionalmusic.co.uk/oxford-ballads/oxford-ballads%20-%200555.htm
http://www.traditionalmusic.co.uk/oxford-ballads/oxford-ballads%20-%200555.htm
a Christmas Carol,
 |
| https://archive.org/details/journaloffolkson02folk |
 |
| https://archive.org/details/journaloffolkson02folk |
 |
| https://archive.org/details/journaloffolkson02folk |
a song called "The Red Barn"
MURDER OF MARIA MARTEN
Shirley Collins and The Albion Band
Shirley Collins and The Albion Band
 |
or sometimes titled, "The
Murder of Maria Marten,"
(a ballad based on the true
and terrible story of the
 |
| Jaya King: Murder in the Red Barn |
MURDER IN THE RED BARN:
A PLAY
A PLAY
DOCUMENTARY:
THE RED BARN MURDER 1
THE RED BARN MURDER 1
DOCUMENTARY:
THE RED BARN MURDER 2
THE RED BARN MURDER 2
which is now very recently
thought to be the origin
of Vaughan Williams' tune
used in this third section of
the first movement),
thought to be the origin
of Vaughan Williams' tune
used in this third section of
the first movement),
http://singout.org/2013/02/25/murder-of-maria-martenthe-red-barn-murder/
https://archive.org/details/MurderInTheRedBarn1935
https://archive.org/details/MurderInTheRedBarn1935
"The Star of the Country Down."
THE STAR OF THE
COUNTRY DOWN
The Chieftains
With Van Morrison (1998)
 |
 |
 |
| http://www.traditionalmusic.co.uk/irish-folk-music/irish %20songs/Star%20Of%20The%20County%20Down.htm |
THE STAR OF THE COUNTRY DOWN LINKS
 |
|
Dives and Lazarus is a parable in the New Testament (Luke 16:19-31) that teaches
that riches on earth have to be paid for in eternity while the poor will enjoy their reward in heaven.
|
The lyrics of the Lazarus version
tell the story of the religious
parable of The Rich Man and Lazarus.
Vaughan Williams also composed an entire work
for orchestra based on this tune entitled
"Five Variants Of Dives and Lazarus."
tell the story of the religious
parable of The Rich Man and Lazarus.
Vaughan Williams also composed an entire work
for orchestra based on this tune entitled
"Five Variants Of Dives and Lazarus."
 |
| David Teniers the Younger: The Rich Man Led to Hell |
"DIVES AND LAZARUS"
For String Orchestra and Harp
Skaila Kanga, Harp
Bryden Thomson, Conductor
London Philharmonic Orchestra
The tune was published in the
Oxford Book of Ballads, 1910.
Oxford Book of Ballads, 1910.
 |
| http://www.traditionalmusic.co.uk/oxford-ballads/ballads-oxford-book-of.html |
 |
| Domenico Fetti: Dives and Lazarus |
 |
| ENGLISH COUNTRY SONGS LUCY E. BROADWOOD |
 |
| ENGLISH COUNTRY SONGS LUCY E. BROADWOOD |
 |
| Lazarus at the Rich Man's Door- The Rich Man at Dinner, c.1476 (Painted before the Reformation: Zierenberg, Protestant Church) |
DIVES AND LAZARUS
Martin Simpson, Vocals
This third tune is particularly interesting
for having a 6/8 rhythm played as a
counterpoint by the upper woodwinds,
against the straight 2/4 rhythm of the
saxophones and brasses.
In "Dives and Lazarus," the darkest of
the folksong settings for this movement,
Vaughan Williams conveys the inhumane
death of Lazarus and his ascent into
Heaven by utilizing a hornpipe in a 6/8
rhythm (compound meter) in the upper
woodwinds as a counterpoint against the
boldly stated melody in straight 2/4 rhythm
(simple duple meter) of the
saxophones and brasses.
 |
| James Tissot: The Rich Man Pleads with Abraham |
http://www.traditionalmusic.co.uk/oxford-ballads/oxford-ballads%20-%200555.htm
http://missjacobsonsmusic.blogspot.com/2015/09/monday-september-14-2015.html
http://missjacobsonsmusic.blogspot.com/2015/09/monday-september-14-2015.html
LISTENING MAP
MOVEMENT 1 MARCH:
SEVENTEEN COME SUNDAY
WORKSHEETS and LESSONS
MOVEMENT 1 MARCH:
SEVENTEEN COME SUNDAY
Mostly From The Sydney Symphony:
Bite Sized Music Lessons
 |
| Helen Allingham: Entering a Cottage |
(FOLKSONG SUITE)
Movement 2 Intermezzo:
My Bonny Boy
Eastman Wind Orchestra
ANALYSIS CHARTS OF MOVEMENT 2
The second movement, "Intermezzo:
'My Bonny Boy,'" which contains songs
songs that tell the tales of a young teens
who experience unrequited love, is in
three/four time and has an ABA form
based on the folk songs My Bonny Boy
(Melody A, measures 2-42) and Green
Bushes (Melody B, measures 43-77).
What is an intermezzo?
According to Webster's dictionary, an intermezzo is
"a movement coming between the major
sections of an extended musical work."
The beautiful setting of the intermezzo is
enriched by the gorgeous color and timbres
chosen by Vaughan Williams for the folk
tune, "My Bonny Boy." In a somber dorian
tune, "My Bonny Boy." In a somber dorian
mode, the solo oboe/cor anglais (sometimes
doubled or played by solo cornet) and
euphonium (which repeats the melody)
portray a young girl who lost her Bonny Boy
to another young woman. The elegy of lost
love is interrupted by a contrasting faster
melody, a Poco Allegro, representing fool's
love, thinking that gifts can win a young girl’s
 |
| Young Queen Victoria and Albert waltzing English-style at her coronation |
initially sounded by a piccolo, E- flat clarinet,
and oboe first in the minor context,
then repeated in the major with the lower-brass.
"My Bonny Boy," in fragmented form, returns
after the lilting setting of "Green Bushes" before
the close of the movement only to remind us of
the young girl’s lost love. However, each char-
acter of the story learns their lesson in the game
of love and vows never to make the same mis-
take, in which it is only appropriate that the last
chord ends the piece in a major tonality.
 |
| http://www.vwml.org/record/LEB/9/354 |
with the dark, agonizing character of
"My Bonny Boy." Lucy Broadwood
 |
| Lucy Broadwood |
tells the sad story of a young woman who loves a
boy, but finds him in the arms of another girl: her bonny
boy ''was locked in another girl's arms."
MY BONNY BOY
Anne Briggs, Vocals
https://www.youtube.com/watch?v=62yqrlzbTt
MY BONNY BOY LINKS
https://www.wikiwand.com/en/My_Bonny_Boy
https://mainlynorfolk.info/anne.briggs/songs/mybonnyboy.html
https://www.fresnostate.edu/folklore/ballads/FSC037.html
MY BONNY BOY LINKS
https://www.wikiwand.com/en/My_Bonny_Boy
https://mainlynorfolk.info/anne.briggs/songs/mybonnyboy.html
https://www.fresnostate.edu/folklore/ballads/FSC037.html
 |
| http://www.joe-offer.com/folkinfo/songs/821.html |
 |
| http://www.joe-offer.com/folkinfo/songs/821.html |
MY BONNIE BONNY BOY
 |
| http://www.sevenstring.org/forum/music-theory-lessons-techniques/257766-chord-progression-melodies.html |
 |
ENGLISH COUNTRY SONGS LUCY E. BROADWOOD |
 |
| ENGLISH COUNTRY SONGS LUCY E. BROADWOOD |
 |
| http://www.vwml.org/record/LEB/9/51 |
Green Bushes is an English folk song (Roud #1040,
Laws P2) with lyrics that tell the tale of a boy whose fair
damsel failed to meet him at their secret meeting spot
in the green bushes.This tune is featured in the second
(middle) movement of Ralph Vaughan Williams' English
Folk Song Suite, in Percy Grainger's Green Bushes
(Passacaglia on an English Folksong),
Laws P2) with lyrics that tell the tale of a boy whose fair
damsel failed to meet him at their secret meeting spot
in the green bushes.This tune is featured in the second
(middle) movement of Ralph Vaughan Williams' English
Folk Song Suite, in Percy Grainger's Green Bushes
(Passacaglia on an English Folksong),
 |
| Young Percy Grainger |
PERCY GRAINGER
PASSACAGLIA ON AN
ENGLISH FOLKSONG
(1906 VERSION)
(1906 VERSION)
GREEN BUSHES
Richard Hickox, Conductor
BBC Philharmonic Orchestra
"Themes from "Green Bushes" (1921)
North Texas Wind Symphony
THE BANKS OF GREEN WILLOW
By George Butterworth
By George Butterworth
PERCY GRAINGER
LINCOLNSHIRE POSY (1937)
VI. The Lost Lady Found
North Texas Wind Symphony
By Chumbawamba
https://www.youtube.com/watch?v=j3UdQzlXeho
CUTTY WREN LINKS
http://www.lyricsfreak.com/c/chumbawamba/the+cutty+wren_20178618.html
 |
| http://www.traditionalmusic.co.uk/political-songs/the-cutty-wren.htm |
 |
| http://abcnotation.com/tunePage?a=trillian.mit.edu/~jc/ music/abc/England/MendocinoECD/MendocinoECD/0035 |
http://www.lyricsfreak.com/c/chumbawamba/the+cutty+wren_20178618.html
http://www.mudcat.org/thread.cfm?ThreadID=47959
http://www.songfacts.com/detail.php?id=26066
http://www.traditionalmusic.co.uk/political-songs/the-cutty-wren.htm
http://www.songfacts.com/detail.php?id=26066
http://www.traditionalmusic.co.uk/political-songs/the-cutty-wren.htm
 |
| http://www.vwml.org/record/LEB/9/302 |
1820's or 1830's (before 1839 broadside:
Bodleian Johnson Ballads fol. 30) and
according to Roud and Bishop
"was an immensely popular song, collected many
times across England, although not so often elsewhere."
The lyrics of the song tell of a singer who
courts a girl he meets by chance, offering
her fine clothes if she will marry him.
Although clothes do not interest her, she
is willing to marry, even though she is
already pledged. Her former love arrives
and comments bitterly on her falseness.
GREEN BUSHES
Unaccompanied English Folk Song
Its popularity was hugely increased by a
popular melodrama play called
 |
| https://www.umass.edu/AdelphiTheatreCalendar/m44d.htm#FIG8 |
by John Baldwin Buckstone (1802-1879),
 |
| Adelphi Theatre Image, Published in 1840 |
(formerly known as the Sans
Pareil Theatre), London.
Pareil Theatre), London.
 |
| http://catalog.hathitrust.org/Record/010014242 |
The heroine of the play made repeated
reference to the song and sang a few
verses, with the result that the sheet
music was published soon after.
GREEN BUSHES
John McCormack, Vocals
GREEN BUSHES
 |
 |
| http://www.joe-offer.com/folkinfo/songs/148.html |
 |
 |
| ENGLISH COUNTRY SONGS LUCY E. BROADWOOD |
 |
| ENGLISH COUNTRY SONGS LUCY E. BROADWOOD |
GREENBUSHES LINKS
https://www.wikiwand.com/en/Green_Bushes
https://www.fresnostate.edu/folklore/ballads/LP02.html
http://www.liquisearch.com/green_bushes/lyrics
http://mudcat.org/thread.cfm?threadid=70578
http://mudcat.org/@displaysong.cfm?SongID=2406
http://sniff.numachi.com/~rickheit/dtrad/pages/tiGREEBUSH;ttWAGONLAD;ttGREEBUSH.html
http://www.trad.appspot.com/song/The_Green_Bushes
http://www.music-for-music-teachers.com/green-bushes.html
http://ingeb.org/songs/asiwwalk.html
WORKSHEETS and LESSONS
SECOND MOVEMENT INTERMEZZO:
MY BONNY BOY
http://webcache.googleusercontent.com/searchq=cache:xYWF3VwMu28J:rsjr.weebly.com/
uploads/1/1/8/3/11832367/silva_rodolfo.doc+&cd=14&hl=en&ct=clnk&gl=us
uploads/1/1/8/3/11832367/silva_rodolfo.doc+&cd=14&hl=en&ct=clnk&gl=us
 |
| John Constable: Wivenhoe Park, Essex |
ENGLISH FOLKSONG SUITE
(FOLKSONG SUITE)
Movement 3 March:
Folk Songs from Somerset
Eastman Wind Orchestra
(FOLKSONG SUITE)
Movement 3 March:
Folk Songs from Somerset
Eastman Wind Orchestra
ANALYSIS CHARTS OF MOVEMENT 3
Folk Songs from Somerset is a light, setting
of four contrasting folk songs, Blow Away
the Morning Dew, High Germany, Whistle,
Daughter, Whistle, and John Barleycorn
that all originated from Somerset
county in southwestern England.
Unlike the delicate second movement,
the three folksongs are infused with
counterpoint, contrasts in color, and
rhythmic fanfares radiating throughout the
band to give the folk suite a rousing end.
 |
| Moish Sokal: Sunrise Over Chiselborough |
After a light, four-measure dotted eighth note
introduction (like in the first movement), the
first part of the A section begins with the folk
song Blow Away The Morning Dew (also
known as The Baffled Knight; measures 5-28),
played with a dynamic of piano in the solo
cornet part (clarinet in the orchestration).
The ensemble answers with the second part
of the phrase, and the solo cornet plays a
phrase leading into a fortissimo section of the
entire ensemble with this melody dove-
tailed around the band/orchestra before
finishing with a fortissimo reprise.
introduction (like in the first movement), the
first part of the A section begins with the folk
song Blow Away The Morning Dew (also
known as The Baffled Knight; measures 5-28),
played with a dynamic of piano in the solo
cornet part (clarinet in the orchestration).
The ensemble answers with the second part
of the phrase, and the solo cornet plays a
phrase leading into a fortissimo section of the
entire ensemble with this melody dove-
tailed around the band/orchestra before
finishing with a fortissimo reprise.
A second melody, (High Germany measures
29-44) making up the B section, then takes
over, being played fortissimo by the tenor
and lower register woodwind and brass
instruments, while the remainder takes over
the on beat chordal structure. As this second
melody dies away the original melody is
heard once again with the tutti reprise.
 |
| Lucien Pissarro: The Hamlet of Hewoot, Somerset |
This then leads, two measures before the
(adding one flat) and meter (from 2/4 to 6/8)
and introduces a more delicate melody,
Whistle, Daughter, Whistle, played by the
woodwind with a light accompaniment. This
continues until the time signature changes
again, back to the original 2/4.The Whistle,
Daughter Whistle melody contrasts well with
the final heavy duple meter melody, John
winds (trombones and double basses in the
orchestrated version) while the cornets play
decorative features above in duple meter. After
this trio is repeated in full there is a da capo to
the beginning, and the ABA (ternary form)
section is again repeated, ending on the
beat before the 6/8 meter change.
 |
| Liz Wright: Somerset Apple Orchards |
"Blow Away the Morning Dew" is the first song
to be featured in the movement again another tale
to be featured in the movement again another tale
 |
| John Liston Byam Shaw: The Baffled Knight or Lady's Policy |
Child 112
Version A
Pills to Purge Melancholy, III, 37, 1719.
THE BAFFLED KNIGHT
City Waites and Lucy Skeaping, Vocals
City Waites and Lucy Skeaping, Vocals
 |
| https://songscouting.files.wordpress.com/2012/09/baffled-knight.pdf |
 |
| https://songscouting.files.wordpress.com/2012/09/baffled-knight.pdf |
THE BAFFLED KNIGHT LINKS
dates back to 1609.
BLOW AWAY THE MORNING DEW
Arranged for SAB Choir and Piano
Accompaniment Recording and Sheet Music
Accompaniment Recording and Sheet Music
 |
| http://mudcat.org/@displaysong.cfm?SongID=717 |
Joni Mitchell and Oscar Brand, Vocals (1965)
 |
 |
 |
 |
| https://archive.org/details/journaloffolkson02folk |
BLOW AWAY THE MORNING DEW LINKS
 |
| http://www.wargame.ch/wc/nwc/ newsletter/newsletter23/Songbook.html |
 |
| https://archive.org/details/journaloffolkson02folk |
 |
| https://archive.org/details/journaloffolkson02folk |
in the movement and it dates back to around
1780 as a
marching tune from the
 |
| The Seven Years' War (1756-1763) involved all of the major European powers of the period, causing 900,000 to 1,400,000 deaths. https://www.wikiwand.com/en/Seven_Years'_War |
 |
| Lucy Broadwood, 1901 |
HIGH GERMANY
(Oh Polly)
Luke Kelly, Vocals
https://www.youtube.com/watch?v=B3tUeMviMqk
http://www.irish-folk-songs.com/high-germany-song-lyrics-and-chords.html
http://www.irish-folk-songs.com/high-germany-song-lyrics-and-chords.html
 |
| http://www.joe-offer.com/folkinfo/songs/525.html |
The "High Germany" in the song is
a bit of an archaic term, which some
a bit of an archaic term, which some
readers may not recognize. It refers
to the mountainous southern part of
Germany, descended from the Latin
"Germania Superior." In old German,
it was called Hochdeutschland (a
name later considered for the name
of Austria, when the country
became a republic in 1918).
 |
| Old High German Language Area |
This song, set during the War of Spanish
Succession, was fought between blocs of
European powers from 1701-1714 over the
right to succeed Charles II to the Spanish throne.
 |
| Joshua Ross Jr: The Battle of Blenheim, Bavaria 1704 This was a decisive victory for the Grand Alliance |
As is often the case, this greater political
context is not important to the narrative of
the song- it is but a backdrop and a setting
for the real story, the personal one of two
lovers torn apart by the war; the tale of a
young man who's off to a war mostly fought
in 'High Germany.' Back then men were
often 'press-ganged' into the army and
camp 'followers,' (wives and girlfriends)
 |
| A Camp Follower Artist Unknown: British Infantrymen of a Royal Regiment in an Encampment, 1760 |
occasionally tagged along too. In this
song Willie tells Polly to get dressed
and come with him to the war but she
declines because she’s rather foot-
weary and just a tiny bit pregnant. This
song was not written by a military man
but presumably composed by an ordin-
ary English woman. The narrator in the
lyrics cares not for the machinations of
the powerful, save only to curse their
wars that press her loved ones from her.
The powerful may be forces that shape
her world, but they are not the center of
it- not even worth mentioning in her song.
There's a certain poetry in this. While the
kings and lords of Europe battled over
lands and crowns, it is not the rights of
Phillip V or the glory of Charles of Austria
that we sing about. It is William, and Polly.
Simply, this song is a 300 year old English
protest song reminding us how wars
destroy families and communities.
 |
| http://www.guitaretab.com/t/traditional-irish/257970.html |
HIGH GERMANY
(Oh Polly)
Pentangle, 1972
(Oh Polly)
Pentangle, 1972
http://gdaebouzouki.blogspot.com/2011_07_01_archive.html
HIGH GERMANY
(Oh Polly)
(Oh Polly)
The Folkstones
https://www.youtube.com/watch?v=gaBe33qLoo8
 |
 |
 |
HIGH GERMANY LINKS
 |
| http://www.beautifulchildrensrhymes.com/u-to-z---page-6.html |
This piece is about a young girl who
is impatient to get married. Her mother
preaches caution, and holds out the
prospect of owning sheep and cows
instead, but this doesn't go down very
well with the daughter. All ends well
when the mother capitulates.
WHISTLE, DAUGHTER, WHISTLE
For over half a century this tune has been
inaccurately identified as "The Tree So High" (or variants
of this title). Perhaps this might have occurred as a
result of a comment by Cecil Sharp
 |
| Cecil Sharp (1859-1924) |
(noted English folk music collector) who, in his note
from "Whistle, Daughter, Whistle, commented on certain
from "Whistle, Daughter, Whistle, commented on certain
points (compound time signature, Aeolian mode, and
similar melodic fragments) the song had in common with
similar melodic fragments) the song had in common with
the tune, "The Trees They Do Grow High."
THE TREES THEY GROW HIGH
The John Renbourn Group
The John Renbourn Group
 |
"Whistle, Daughter, Whistle," now considered to
be the true source of this third tune of the
English Folk Song Suite, was discovered
by the folklorist Martin Graebe.
 |
| Martin Graebe |
The following is what he stated:
 |
one of Ireland's leading authorities
on traditional song posted a thread on the
Mudcat Cafe discussion group
website concerning this
 |
 |
WHISTLE, DAUGHTER, WHISTLE
 |
 |
 |
| https://songscouting.files.wordpress.com/2013/04/whistledaughterwhistle.pdf |
 |
| https://songscouting.files.wordpress.com/2013/04/whistledaughterwhistle.pdf |
WHISTLE, DAUGHTER, WHISTLE LINKS
http://www.bluegrassmessengers.com/186-whistle-daughter-whistle-.aspx
http://www.gitarre-songs.gitarreweb.de/Whistle-Daughter-Whistle.html
http://www.gitarre-songs.gitarreweb.de/Whistle-Daughter-Whistle.html
(Roud 164), telling the story of an ancient
harvest ritual, is the final tune used in
this movement. There are at least
46 variants of this song.
JOHN BARLEYCORN (MUST DIE)
Steve Winwood, Guitar and Vocals
A solo acoustic version based on
the group Traffic's arrangement
the song lyrics is a personification of
the important cereal crop barley and
of the alcoholic beverages made
from it, beer and whisky.
In the song, John Barleycorn
is represented as suffering attacks, death
and indignities that correspond to the
various stages of barley cultivation,
such as reaping and malting.
JOHN BARLEYCORN
JOHN BARLEYCORN
John Langstaff, Vocals
Nancy Woodbridge, Piano
 |
 |
 |
 |
| FOLK SONGS FROM SOMERSET CECIL SHARP |
JOHN BARLEYCORN LINKS
https://andrewrumsey.wordpress.com/2015/03/23/john-barleycorn-must-die/
http://mudcat.org/thread.cfm?threadid=9265
http://mudcat.org/@displaysong.cfm?SongID=3228
http://mudcat.org/thread.cfm?threadid=9265
http://mudcat.org/@displaysong.cfm?SongID=3228
WORKSHEETS and LESSONS
THIRD MOVEMENT MARCH:
FOLK SONGS FROM SOMERSET
 |
| Richard Redgrave: An Old English Homestead, 1854 |
LINKS
