CHAPTER 1
COURTING SONGS
1
A PAPER OF PINS
A
'The Paper of Pins.' Sung by Clarice Burleson. Recorded at Crossnore, Avery county, August 8, 1940. F. C. B. notes: "I think that although Clarice's home is near Asheville, she learned most of her songs at Crossnore." The beginning certainly reminds one of the same of 'Gran'ma Grunts' (F-155). The sequence of the gifts in this version is: Paper of pins; Dress of red; Little grey dog; Key to my chest. Traditional answer given by maid: "I'm determined to be an old maid." At the conclusion the young man says: "I will remain a bachelor and I won't marry her." For additional texts cf. SharpK II 45, No. 92A, also SCFS 41-3 and 70-1; and JAFL xlix (1936), 260-2.
For melodic relationship cf. **OFS III 41, No. 354, where the melodic tendency is the same as in our version; *SharpK II 45, No. 92A, beginning only.
Scale: Tetratonic (2), plagal. Tonal Center: e-flat. Structure: abed (2,2,2,2).
E
'A Paper of Pins.' Sung by Bascom Lamar Lunsford. Recorded at Turkey Creek, Buncombe county. Additional title given 'Little Lap Dog.' The only other versions using "Madam" in addressing the lady are SharpK II 45, No. 92F; SCSM 301 (c); SCFS 42; BSO 124-5, No. 39D; and BSM 507. For reference tracing the song back to medieval times cf. TFS 174.
For melodic relationship cf. **AMS 52, measures 1-4; FFS 422; SharpK II 45, No. 92A; JAFL xxviii 266 ('Chase that Squirrel'); TFS 174, general melodic line of first four measures; *SFQ vi 225.
Scale: Mode III, plagal. Tonal Center: f. Structure: abac (2,2,2,2).
H
'Paper of Pins.' Sung by Miss Pearl Webb. Recorded at Pineola, Avery county, 1921. Another title given is 'Little Lap Dog.' Cf. SharpK II 45, No. 92A, stanza 7. Our recording gives only this one stanza. The peculiar tonal juxtaposition of the two characters speaking is interesting. When the man is speaking, the melody moves in the dominant realm although it cadences in the tonic key. The answer of the girl begins in the latter, deviates momentarily into the dominant region, only to cadence with the same formula as the previous phrase. As only one stanza was recorded, it cannot be stated definitely whether this distinction is intentional or not, or, what is probably more likely, the singer having made a wrong start, corrects herself in the second part of the melody. One needs only to compare the last six measures with measures 3-8 to convince himself that this assumption is more than a good guess.
For melodic relationship cf. **SharpK II 45, No. 92A; BSO 120, No. 39A; ABFS 323 with our last eight measures. TFS 174, measures 1-2 with our 9-10, also the melodic tendency of measures 3-4 with our 11-12; the latter also in GSAC, No. 5; FSF 422; EAS, No. 46; and AMS 52, measures 1-4 with our 9-12.
Scale: Hexatonic (4), plagal. Tonal Center: g. Structure: aa1baa1b = mm1n plus mm1n (2,2,4,2,2,4) = bar plus bar.
MADAM, WILL YOU WALK?
A
'Madam, Will You Walk?' Sung by an anonymous singer to Mrs. Sutton at Forest City, Rutherford county, 1927. Recorded as MS score. For a different textual version cf. FSCSG 88, No. 4; also Newell (GSAC) 55-6.
Scale: Heptachordal. Tonal Center: e-flat. Structure: mm1nnn1 (2,2,1,1,2) = mm1n (2,2,4); n1 is terminally incremented. The tonal center is the lowest tone.
B
'Madam, Will You Walk?' Sung by Miss Emeth Tuttle at Lenoir, Caldwell county. Recorded as MS score, May 1921. The text supposedly like the first stanza of 2A (III 9-10) is given here as found in the MS score.
For melodic relationship cf. ***OFS III 42, No. 354B.
Scale: Hexachordal, plagal. Tonal Center: g. Structure: mm1n (2,2,4) = bar.
3
THE COURTING CAGE
A
'Kind Sir, I See You've Come Again.' Sung by Miss Jewel Robbins, at Pekin, Montgomery county, in 1922.
For melodic relationship cf. ***SCSM 437B; OFS III 53, No. 361; SharpK II 250, No. 177B.
Scale: Tetratonic (2,4) plagal. Tonal Center: e-flat. Structure: aa1abb1 (2,2,2,2,2).
B
'If You Will Only Be My Bride.' Sung by C. K. Tillett at Wanchese, Roanoke Island, December 29, 1922. There are some melodic similarities with 3A. This version is based on the Midgett text. Second stanza (cf. variations) : "Kind sir, I know you have a very fine ship."
For melodic relationship cf. **SCSM 436; SharpK II 250, No. 177B and OFS III 42, No. 354B, first six measures. There is a surprising similarity between the beginning of this song and that of 'The House Carpenter,' IV 40, by the same singer.
Scale: Mode III. Tonal Center: d. Structure: aa1a2bb1 (2,2,2,2,2). The tonal center is the lowest tone.
7
SOLDIER, SOLDIER, WON'T YOU MARY ME?
C 'Soldier, Soldier, Won't You Marry Me?' Sung by J. W. Lawrence at Zionville, Watauga county, in 1915. Recorded as ms score by A. J. Burrus. Like 7B, the structure of our melody demands two of the stanzas as given in III 15, 7A. The text is that of Mrs. R. D. Blacknall.
For melodic relationship cf. **BSO 211, No. 89A, last two measures like our 8-69; BSO 212, No. 89B, measures 1-2 and 5-6; JAFL XXVIII 158 and OFS I 289, No. 65, measures 1-2.
Scale: Mode III. Tonal Center c. Structure: abcca1d (4,3,2,2,3,2). The a1 shows an interesting contraction of the first two measures into one, rhythmically altered. Circular tune (V). The tonal center is the lowest tone.
D
'Soldier, Soldier, Won't You Marry Me?' Sung by Miss Jean Holman at Durham, 1922. Text by Mrs. R. D. Blacknall. The structure of the melodic line demands two stanzas as given in III 15.
For melodic relationship cf. ** BSO 212, No. 89B, measures 1-2 and 5-6 and the same in our version; JAFL XXVIII 158 and OFS 289, No. 65, measures 1-2; *SHP 51, first measure only.
Scale: Heptachordal, plagal. Tonal Center: g. Structure: aba1bcc1c2b (2,2,2,2,2,2,2,2) = aa1bb1 (4,4,4,4).
9
THE OLD MAN'S COURTSHIP
'The Old Man.' Sung by Miss Gertrude Allen. Recorded at Durham, July 26, 1923. For additional texts cf. BMFSB 8 and FSoA 22.
For melodic relationship cf. **BMFSB 8, melodic line of first four measures with that of our first three; BSO 132, No. 42 A, and the melodic line of first two measures with that of our first three; *SharpK II 95E, measures 3-4 and our chorus; FSoA 22, measures 3-4 and ending with same in our version.
Scale: Hexatonic (4), plagal. Tonal Center: e-flat. Structure: nmm (4,2,2) = inverted bar. Circular tune (V).
10
WHEN I WAS A YOUNG GIRL
'When I Was a Young Girl.' Sung by Miss Catherine Cox of Salisbury, Rowan county. No date given. For additional texts cf. GSAC 88, No. 25 and FSoA 154. The same song occurs also in Traditional Games of England, Scotland, and Ireland by Gomme, II 362. Cf. also Games for the Playground, Home, School, and Gymnasium, by Jessie H. Bancroft; FSCSG 86; FSF 204-5; incidentally, the melody of the latter is that of the German folk song: 'O, Du Lieber Augustin.'
For melodic relationship cf. **SFLQ II 151, beginning and ending.
Scale: Pentachordal, plagal. Tonal Center: g. Structure: mm1n (2,2,4) = bar.
12
MADAM, I HAVE GOLD AND SILVER
'Seven Long Years.' Sung by a Negro servant, Maria McCauley, as reported by Mrs. R. D. Blacknall of Durham. No date. Compare the melodic outline of this with that of 'A Pretty Fair Maid, Down in the Garden' 92A(2), IV 170, including the variation of measures 5-7.
Scale: Mode III. Tonal Center: c. Structure: aa1bb1 (2,2,2,2). The tonal center is the lowest tone.
13
ONE MORNING IN MAY
'One Morning in May.' Sung by Mrs. Myra Barnett Miller. Recorded August 1939, 1940, or 1941 at Lenoir, Caldwell county. This melody is closely related to that of the anonymous version (F-14) which follows. There, the singer alters some of the text: "One was a lady, the other a soldier, He served in the war ..." (see under variations, measures 5-7). Speaking of 'One Morning in May' (NCFL in, No. 10) the author states "not in Brown Collection." It is however, to be found in III 24, and our present tune will be found practically identical with that quoted in the article. For additional text variants cf. FSoA 48; AFM, No. 16 and SharpK II 212, No. 157B.
F-13
For melodic relationship cf. **BSO 230, No. 103 and JFSS (1905-6) 9, first two measures, general melodic line, with ours. This holds likewise true for all the other versions.
Scale: Mode III. Tonal Center: c. Structure: abb1a1 (2,2,2,2). The tonal center is the lowest tone.
A(I)
'One Morning in May.' Anonymous contribution without date or place. There are slight melodic as well as metrical differences in this recording which are given under variations. In spite of the very strong similarity to the Miller version, it can be observed here what a rhythmical alteration can do to a tune. This melody assumes a sort of restless driving quality. There is a slight difference between the ms score and the recording. The melodic line, measure 6 (in the score 3/8, measures 11 12) is a-c-a instead of g-c-a as in the score, and rhythmically, the quarter g and dotted eighth c in the score is found in the recording as given below. The "who has" of the text requires two sixteenth notes instead of the one in the score. Almost the entire tune is identical with that of G-16.
For melodic relationship cf. ***OFS I 269, No. 58E. Our first two measures are identical with all that is given there.
Scale: Hexatonic (4). Tonal Center: c. Structure: abb1a1 (2,2,2,2). The tonal center is the lowest tone.
C
'One Morning in May.' Collected by Dr. W. Amos Abrams at Boone, Watauga county, September 1937. No singer given. In one stanza, the first two measures are repeated before continuing; in another, measures 3-4 are repeated. This tune is closely related to the Miller version (13A) as well as the anonymous version, 13A(1). It is interesting to observe what can happen to a melody at the hands of various singers.
For melodic relationship cf. **As 136A, beginning and ending. Scale: Mode III. Tonal Center: c. Structure: abb1a1 (2,2,2,2). The tonal center is the lowest tone.
D
'One Morning in May.' Sung by Miss Lizzie Fincher. Recorded at Monroe, Union county in 1922. Both this and the following version, in their initial measures, show some relationship with the preceding tunes. Between themselves there is additional similarity in the endings. The ms score and the recording differ in one slight detail: the third beat of measure five is d" in the recording and c" in the MS score.
For melodic relationship cf. **OFS I 266, No. 58A and SharpK II 193, No. 145C; *SFLQ 11 154.
Scale: Hexatonic (4). Tonal Center: c. Structure: abb1a1 (2,2,2,2). Every phrase cadences on I. The tonal center is the lowest tone.
E
'One Morning.' Set down by Owen Wister, June 7, 1915, no place given. Excepting one evident error of omission on the part of the copyist, the anonymous version as given on MS score 197 is identical with that of another MS giving Owen Wister as the author. The latter version, according to a note by Dr. Newman I. White, was discovered among old papers, but "too late for cataloguing." The note also states: "Not of N.C. provenience." This, no doubt, refers to the text of that version. The other version spoken of above was catalogued and the source given as anonymous. The only text given is that of the beginning: "Good morning, good morning." This is the second stanza of version A as given in III 24. As the handwriting in both ms scores is definitely that of two different copyists, the mystery deepens when we consider the fact that both melodies were noted in the key of A (here transposed) and show a tempo indication of Allegretto. The text of both, as stated above, is different. This would eliminate the assumption that one is merely a copy of the other. One more factor. There is another version by Miss Lizzie Fincher (13D), the first two measures of which are identical with those of this version (13E) and closely related to the two remaining versions. Still two more factors must be mentioned. The structures of all five versions are identical, and melodically (excepting the Owen Wister version), the second and last measures are identical in all.
For melodic relationship cf. ***SFLQ 11 154; **OFS I 266, No. 58A, first six measures; BSO 230, No. 103 and BSM 241, No. D.
Scale: Hexachordal. Tonal Center: c. Structure: abb1a1a2 (2,2,2,2,2) = abb1a1 (2,2,2,4). The tonal center is the lowest tone.
14
NO, SIR
B
'No, Sir.' Sung by Jessie Hauser of Pfafftown, Forsyth county. Recorded at Durham, July 26, 1923. In the basic melodic outline all three versions F-18, F-19, and F-20 are alike. F19 is the only one that does not repeat the phrase of the chorus.
These are the actual sounds produced while the singer states an emphatic "No" in the fourth measure of the chorus.
For melodic relationship cf. ***OFS III 104, No. 385.
Scale: Hexatonic (4). Tonal Center: c. Structure: abacdd1 (2,2,2,2,4,4) = aa1bb1 (4,4,4,4). The tonal center is the lowest tone.
B(I)
'No, Sir.' Also with the title 'The Spanish Merchant.' Sung by Mrs. Ewart Wilson. Recorded at Pensacola, Yancey county, September 1929. Excepting the chorus, F-18 is almost identical with this version.
For melodic relationship cf. **OFS III 104, No. 385.
Scale: Heptachordal. Tonal Center: c. Structure: abacd (2,2,2,2,6) = aa1b (4,4,6) =mm1n = bar. The tonal center is the lowest tone.
D
'No, Sir.' Sung by Miss Aura Holton. Recorded at Durham in 1921 or 1922. First two measures remind one of 'Last Rose of Summer.'
For melodic relationship cf. *OFS III 104, No. 385.
Scale: Heptachordal. Tonal Center: c. Structure: abacd (2,2,2,2,8) = aa1bb (4,4,4,4). The tonal center is the lowest tone.
17
I WOULDN'T MARRY
H
'I'm Determined to Be an Old Maid.' Sung by Mrs. Ewart Wilson. Recorded at Pensacola, Yancey county, in 1929. The ms score taken down by Miss Vivian Blackstock as mentioned in III 32H, could not be found. The tune for the stanza also serves for the chorus. For additional varied text cf. FSF 156-7.
For melodic relationship cf. ***Texas FS 218, measures 4-8; **DD 160, first and last two measures.
Scale: Hexachordal, plagal. Tonal Center: f. Structure: abcd (2,2,2,2).
L
'I'm Determined to Be an Old Maid.' Reported by Mrs. Sutton as heard at Lenoir, Caldwell county, in 1917. Name of singer not given. This version gives only the melody for the chorus. No additional tune is given for the stanza, but the latter can be sung to the melody of the chorus. The score given below represents a revision of the MS score. In the original, the first c in the second measure was a dotted half-note. Thus, not only the textual rhyme of "shade" and "maid" came on a different beat in their respective measures, but also the melodic correspondence of measures 1, 3 and 5 was obliterated. Having said this much, it was not deemed necessary to place a hold above the c which was shortened in the process.
Scale: Tetratonic (4). Tonal Center: c. Structure: aa1a2b (2,2,2,2).
M
'An Old Man.' Sung by Mrs. Ephraim Stamey. Recorded at Altamont, Avery county, July 14, 1940. Also called The Old Man.' Our first stanza is the third as given in III 34M. Our second is the first, but altered, our third is the fourth as given there.
For melodic relationship cf. *BSSM 420, first measure and our first two.
Scale: Hexatonic (4), plagal. Tonal Center: g. Structure: aa1bb1a2a3ab1 (2,2,2,2,2,2,2,2) = abaa1b1 (4,4,4,2,2). The a1 and b1 represent the first two measures of a and the last two measures of b respectively.
2nd stanza (first in 17M, but altered):
I'd rather marry a young man,
I tell you the reason why:
His face is never.....,
His chin is always dry.
3rd stanza (4th in 17M):
The old man he comes poking in,
'I'm tired of my life';
The young man he comes skipping in,
'Come kiss me, my dear wife.'
O
'Old Maid's Song.' Sung by Alexander Tugman. Recorded at Todd, Ashe county, in 1922. The notation of the ms score was changed from 4/4 to 2/2 This tune will also fit the text of 'I Won't Marry at All' (17J) by the same singer. Compare the beginning with that of the anonymous version (17L). The first two measures are the same as in the song 'Oh, it Ain't Gonna Rain No Mo'.'
Scale: Mode III. Tonal Center: e-flat. Structure: abcd (2,2,2,2). The tonal center is the lowest tone.
R
'I Wouldn't Marry.' Contributed by Thomas Smith of Zionville, Watauga county, in 1915. Singer's name is not given. The notation of the MS score has been changed from 4/4 to 2/2. The text in the fifth measure is missing. For an additional text cf. SharpK II 381, No. 272. The beginning somewhat resembles that of version 17M.
For melodic relationship cf. *BSSM 420, No. 174, first two measures; SharpK II 381, No. 272, melodic line of first two measures of chorus.
Scale: Heptachordal, plagal. Tonal Center: g. Structure: aa1ba1cd (2,2,2,2,4,4) = Reprisenbar + strophe.
19
WHEN I WAS SINGLE
I
'I Wish I Was Single Again.' Sung by Miss Jewell Robbins. Recorded at Pekin, Montgomery county, in 1922. Cf. remarks to F-27.
For melodic relationship cf. ***PTFLS, No. VI 232, first six measures; FSF 154, and OFS III 66, last four measures and chorus; *ABFS 156 B; MemM 78, last three measures.
Scale: Heptachordal, plagal. Tonal Center: g. Structure: [??] : aa1bb1 (2,2,2,2): .
J
'When I Was Single.' Sung by J. C. Knox. Recorded at Leland, Brunswick county, between 1922 and 1924. MS score notation has been changed from C to 2/2. The last four measures are almost identical with those of the J. Robbins version (F-26).
