Robert
Burns Lives!
Robert Burns’ Songwriting
Prosody – Why His Tunes Matter by Andrew Calhoun
Edited by Frank R. Shaw, FSA Scot, Greater Atlanta, GA, USA
Email: jurascot@earthlink.net
Born in New Haven, Connecticut in 1957,
Andrew Calhoun is a Chicago singer-songwriter, folksinger, author and
founder/operator of Waterbug Records, an artists’ cooperative folk label
since 1992. At age seven, Andrew memorized W. B. Yeats' "Song of
Wandering Aengus," thus earning a nickel from his mother. He got his
first guitar in 1967 and began writing songs at twelve. By the late
seventies, he was performing in the Chicago folk scene. He has toured
internationally, performing at folk clubs and festivals, pubs and house
concerts. Andrew is passionate about Robert Burns and his songs, not
just his poetry. His recordings have been released on Hogeye, Flying
Fish and Waterbug Records. Recent projects include Rhymer’s Tower,
Ballads of the Anglo-Scottish Border, a double CD of historical ballads
on Waterbug Records, and Warlock Rhymer, an English Translation of
Robert Burns’ Scots Poems, published by Artemis Books. In addition to
several releases of his own songs, his revival of traditional
call-and-response folk spirituals is represented on the Bound to Go CD.
He is at work on a Robert Burns songbook, Glorious Work, a selection of
173 songs with guitar chords, TABS, translations and background. He
performs solo and in a duo with daughter Casey Calhoun. In October 2012,
Andrew was given the Lantern Bearer Award for twenty-five years of
service to the folk arts in the Midwest by the Folk Alliance Regional
Midwest. In 2014, he was awarded a Lifetime Achievement Award by the
Woodstock Folk Festival in Illinois. He lives in Glen Ellyn, Illinois,
with his nonagenarian father.
It is indeed a pleasure to welcome Andrew and his writings to our
website. Hopefully he will notify us when his new book on the songs of
Burns is published.
Robert Burns’ Songwriting Prosody – Why His Tunes
Matter
by Andrew Calhoun
… untill I am compleat master of a tune, in
my own singing, (such as it is) I never can compose for it. — My way is:
I consider the poetic Sentiment, correspondent to my idea of the musical
expression; then chuse my theme; begin one Stanza; when that is
composed, which is generally the most difficult part of the business, I
walk out, sit down now & then, look out for objects in Nature around me
that are in unison or harmony with the cogitations of my fancy &
workings of my bosom; humming every now & then the air with the verses I
have framed: when I feel my Muse beginning to jade, I retire to the
solitary fireside of my study, & there commit my effusions to paper;
swinging, at intervals, on the hind-legs of my elbow-chair, by way of
calling forth my own critical strictures, as my pen goes on. — Robert
Burns, letter to music publisher George Thomson, September 1793
Robert Burns wrote his first song lyric, “Handsome Nell,” at the age of
15, to the favorite fiddle tune of Nelly Kilpatrick, his partner in the
harvest field. Burns danced, played fiddle, field-collected songs and
tunes, and acquired every song and tune book he could find: James
Oswald’s Caledonian Pocket Companion; Patrick MacDonald’s Collection of
Highland Vocal Airs; Allan Ramsay’s Tea-Table Miscellany, etc. He did
not write melodies, but wrote to melodies. His level of mastery in
matching lyrical imagery to melodic figures is unsurpassed by any poet
in history.
Yet it’s possible – even likely, for a
casual listener to encounter several famous Burns songs yet never hear a
single one sung to the tune to which he composed it. The following songs
are currently in circulation with tunes which have nothing to do with
their author’s intended melody:
1. A Red, Red Rose
2. Flow Gently, Sweet Afton
3. Silver Tassie
4. Song—Composed in August (Now Westlin Winds)
5. Ae Fond Kiss
6. My Heart’s in the Highlands
7. A Rose Bud By My Early Walk
8. Auld Lang Syne
9. Rantin Rovin Robin
Imagine if you’d heard a half dozen Joni Mitchell songs in your life,
with none sung to her melody. Imagine musicians had replaced the tunes
to “Both Sides Now,” “Amelia,” “River,” “Big Yellow Taxi,” “Coyote” and
“Woodstock,” and performed and recorded them without acknowledging this.
That’s what we have done to Robert Burns.
If you haven’t heard his songs to their
tunes, Robert Burns is an exponentially greater song artist than you
know. A Van Gogh. A Bach. I’m going to make a case for a revival of
Burns songs’ original tunes here, illustrating how Burns is working with
what the songwriting field now terms “prosody” – or image matching. He
was centuries ahead of us.
Burns’ choice for “A Red, Red Rose,” is a
Neil Gow tune called “Major Graham.” It features a surprising octave
skip eight notes in. Here’s what the poet does with it: “O, my love’s
like a red, red, rose”. The rose leaps an octave, then: “that’s newly
sprung in June.” The octave spring of the rose does not occur with the
commonly sung melody, in which the rose droops - a shadow of its former
self. With “Major Graham,” the melodic shape of the lyric’s beginning is
echoed by its ending in the most incredible way. Burns begins by
stressing “My,” rather than “love,” an emphasis running counter to
common practice. Why emphasize “My”? It sounds possessive. But he has a
reason: “O,” begins on the 6th, dropping the interval of a second to
“my,” which is held for a full note, followed by “love.” This brings out
the sound of “mile, contained in the words, “my love.” The lyric ends
with “ten thousand mile,” with the word “mile” dropping the interval of
a second to the keynote. Thus the ending sound of “mile” formally echoes
and suggests a return to the beginning, of “My l…”! Love is portrayed as
an infinite circle. That’s the level of engagement at which Burns is
working; so much is lost to his lyric when it is parted from Gow’s tune.
There is yet more purely lyrical prosody at work in these ecstatic
lines: “My love’s like the melody.” “My love” is like, and sounds like,
the word “melody.” The sounds of “So fair art thou, my bonie lass”
return in the last phrase – “ten thousand mile.” Thou’s and my love is
like a red, red rose.
My family had “Flow Gently, Sweet Afton” in
our Fireside Book of Folk Songs, as well as William Cole’s Folk Songs of
England, Ireland, Scotland and Wales. As I child I disliked the song,
thinking it a sentimental idyll. The melody with which it was printed,
composed by American composer J.E. Spilman in 1837, reduces its message
to bathos. Perhaps in reaction to this, Chris Thile made up a more
appropriate tune for it; he likely never heard the original. Thile’s
tune does not approach its quality. Burns wrote his lyric to a violin
air called: “Afton Water.” A piercing flat 7th note entering at the top
of the third line breaks each verse’s tranquility, lending the scenes a
penumbra of terror: by this we sense that the love held in these
beautiful moments is too fragile to last. With “Afton Water” as the
vehicle, when “noon rises high,” noon hits the melody’s highest note,
emphasizing not the verb, “rises,” but the subject; noon; as with the
rose, it creates a striking prosodic effect that is distinctively Burns.
“Thou green-crested lapwing, thy screaming forbear” takes the “lapwing”
on notes rising from the 5th to 6th scale steps to a repeated high
octave note for “thy screaming.” The high sung “eeeee” sound enables us
to feel the apprehension caused by that screaming. This singular,
flowing melody provides the framework for a meditation on mortality.
Listen to the “w”s flow like the waves through this last verse:
Thy chrystal stream, Afton, how lovely it glides,
And winds by the cot where my Mary resides,
How wanton thy waters her snowy feet lave,
As gathering sweet flowerets she stems thy clear wave.
This imagery was inspired and influenced by the very tune to which it
was written.
Burns wrote “My Bonie Mary,” (also called
“Silver Tassie”) to James Oswald’s “The Secret Kiss,” which features a
brisk sixteenth-note run at the top of the tune’s B part; in the first
pass, it matches “the boat ro-o-o-ocks at the pier o’ Leith”; in the
second, “it’s not the ro-o—o-oar o’ sea or shore.” The boat rocks. A
wave crashes and recedes. With “the glitt’ring spears are ranked ready,”
we see the “glitt’ring spears” raised and held in place with a walk up
the scale’s 3rd to 5th to 1. The lyric’s imagery is thus fitted to the
shape of a unique melody. In most cases, singers have no idea the
original tune even exists. “My Bonie Mary” was first published in The
Scots Musical Museum. Later Burns sent the lyric to George Thomson’s
Select Melodies of Scotland, suggesting he put it with the tune “Waes My
Heart That We Should Sunder.” James C. Dick (Songs of Robert Burns,
1903) and Thomas Crawford (Burns: A Study of the Songs and Poems, 1960)
have argued that this implies Burns was unsatisfied with his original
choice. Burns’ publisher was more concerned with music than with lyrics;
that Burns suggested putting “Bonie Mary” with another tune in no way
implies that he was not happy with his original choice. There are no
image matches illuminating the imagery of “My Bonie Mary” when set with
“Waes My Heart That We Should Sunder.” It was just a way to get a lyric
that would fit a tune which Thomson wanted to publish.
Scholars have made the same mistake with
“Song—Composed in August,” or “Now Westlin Winds.” Burns wrote the first
draft at age 17, to the tune of a humorous Ayrshire ballad, “I Had a
Horse, I Had Nae Mair,” later published as #185 in The Scots Musical
Museum. A decade after its composition, Burns indicated “Horse” as the
tune in both versions of his Poems, Chiefly in the Scottish Dialect. He
later sent the lyric to James Johnson for inclusion in the Museum,
suggesting the harp air “Port Gordon” for it. James C. Dick, Donald Low
and Carol McGuirk have all printed the song with the “Port Gordon”
melody, concluding that Burns had come to prefer it. James Johnson and
Burns preferred not to reprint melodies in The Scots Musical Museum;
that’s the reason for the switch. There is simply no evidence to
conclude that, because Burns could be flexible, he was unhappy with the
first melody – the one to which he composed it. And now we come to an
interesting problem.
Caterina Ericson-Roos wrote an exceptional
doctoral thesis called The Songs of Robert Burns, A Study of the Unity
of Poetry and Music, University of Uppsala, 1977. She notices several
instances of image-matching in the songs, though her focus is more on
the emotional expressiveness in the unity of lyric and melody. She has
trouble with “Song—Composed in August,” complaining of prepositions and
conjunctions occurring on the emphatic high notes. We have achieved a
critical mass of agreement, spanning a century, against using Burns’
original choice. Perhaps the seventeen-year-old Burns didn’t really know
what he was doing.
Then again, perhaps he did. There is no
other example of such clumsiness in his work. In his submissions to the
Scots Musical Museum, Burns would at times suggest adjustments in
“crochets and quavers” (dotted 8th notes paired with 16th notes) to get
the tunes to match his lyric; or would trust musical director Stephen
Clarke to do so. It takes only a minor adjustment – simply hold the
second syllable for a quarter note, combining the first crochet and
quaver - to have every internal rhyme in the stanzas’ first two lines
fall on the melody’s “feature notes.” “Song—Composed in August” when
paired with “Horse” offers the earliest examples of Burns’ artful
image-matching: a double grace note serves to illustrate “now waving gra-a-ain,
wide o’er the plain.” Notice again, it is the subject, “grain,” and not
the verb, “waving,” that gets the match (First Commonplace Book version
has it as “now waving cro-o-ps, with yellow tops”).
Avaunt away! the cruel sway,
Tyrannic man’s dominion;
The sportsman’s joy, the murd’ring cry,
The flutt’ring, gory pinion.
“The flutt’ring gory pinion” flutters down four sixteenth notes to the
ground note and lingers on “gory,” and then rises briefly before it
falls to the minor third below tonic for “pinion.” This image,
highlighted by its thoroughgoing unity with the melodic shape, becomes
central to the song’s feeling only when this tune is applied to it. With
the feature notes matched to the internal rhymes, the moorcock truly
“springs” on whirring wings. “Port Gordon” is an exquisite tune that can
be mated to the syllables of these lyrics; yet it does not integrate
with them to create pictures or suggest kinesthetic effects. We learn
from “My Bonie Mary” and “Song—Composed in August” that even Burns could
not part a lyric from the tune for which he composed it without losing
essential moments from its prosody. Could Paul McCartney compose another
tune for “Yesterday” that would be more fitting than the one the lyric
was written for? The version of “Now Westlin Winds” revived by the great
folk artist Dick Gaughan and now in circulation is the rare alternate
tune to a Burns song which serves its message, if not as specifically as
the original – which has yet to be recorded.
I learned “Ae Fond Kiss” in my youth and
sang a lovely one-part melody to the lyric for thirty years. When I
heard the original sung by Mae McKenna (Linn Records Complete Songs of
Robert Burns, Volume 8), I fell on the floor. With the two-part harp
tune, “Rory Dall’s Port,” the repeated first verse comes back at a
higher pitch of intensity. It is a greater song than I knew – with the
familiar melody currently in circulation, the song is poignant; with the
original, transcendent. McKenna’s definitive recording proves both
note-perfect and soulful. A thousand more singers will learn the
familiar version, as I did, not knowing of Burns’ intent, and none will
match the power flowing from Mae McKenna’s fidelity to the source. It is
the difference between the lightning and the lightning bug.
“My Heart’s in the Highlands” presents a
stiff vocal challenge – it makes a showpiece for a fine singer. The tune
is “The Musket Salute,” whose large range with high and low trills,
wandering runs and skips portrays complex emotion. Dotted eighth notes
alternately rise and fall as they step jaggedly down the pentatonic
scale tracing the shape of “the hills of the highlands” before jumping
to “forever I love.” With “Farewell to the forests, and wild-hanging
woods,” “hanging” walks down eighth notes from the 6th to the 5th, then
to a grace-note down to a dotted eighth with a trill all on the word
“woods,” where it lingers on the low 3rd before dropping to the 2nd –
the woods are pictured hanging from the low 3rd. A rare, vocally
demanding musical effect reflects the surprise we feel when we see a
clump of trees thriving in the side of a cliff.
“A Rose Bud By My Early Walk” was written to
a melody called “The Rosebud,” by a friend and running mate from Burns’
youth, David Sillar (recipient of the “Epistle to Davie”). Critics have
denigrated the melody; the lyric is now commonly sung to a different
tune. “The Rosebud” does seem a plodding, dull air on the page; but when
harmonized in the Dorian mode (natural minor scale with sharp 4th – the
mode of “Parsley, Sage, Rosemary and Thyme”) it brightens into the
perfect vehicle for the song’s message of a child’s blossoming. I have
it on youtube:
Published on Apr 25, 2016
Arranged in the Dorian mode and performed by Andrew Calhoun. Burns
composed this tribute to Janet Cruikshank and her parents, his hosts for
four months in Edinburgh in 1787-8. The tune is "The Rosebud," by Burns'
friend David Sillar - recipient of two verse "Epistles to Davie" from
Burns. The lyrics were composed specifically to fit this melody. Andrew
Cahoun performs web concerts regularly at Concert Window, including an
annual Burns concert. Click the link to follow:
https://www.concertwindow.com/11396-a. ..
"corn-enclosed bawk" - grain (oats, wheat or rye, not American maize)
enclosed balk, an unploughed strip of land between crops.
A Rose-bud by my early walk,
Adown a corn-enclosed bawk,
Sae gently bent its thorny stalk,
All on a dewy morning.
Ere twice the shades o' dawn are fled,
In a' its crimson glory spread,
And drooping rich the dewy head,
It scents the early morning.
Within the bush her covert nest
A little linnet fondly prest;
The dew sat chilly on her breast,
Sae early in the morning.
She soon shall see her tender brood,
The pride, the pleasure o' the wood,
Amang the fresh green leaves bedew'd,
Awake the early morning.
So thou, dear bird, young Jeany fair,
On trembling string or vocal air,
Shall sweetly pay the tender care
That tents thy early morning.
So thou, sweet Rose-bud, young and gay,
Shalt beauteous blaze upon the day,
And bless the parent's evening ray
That watch'd thy early morning.
A beautiful tune which has come to replace
Mr. Sillar’s “The Rosebud” fails to draw the dramatic contrast between
brooding and blooming expressed in each verse pair that Sillar’s music
was specificallyl chosen to depict.
“Auld Lang Syne” had the tune of another
song collected by Burns, “O Can Ye Labor Lea,” applied to the lyric by
the Select Melodies of Scotland publisher George Thomson after Burns’
death. The warmth of the original tune better reflects the meditative
nostalgia of the verses. As well, it’s an easy sing. The last “syne” of
the chorus has a wee affirming leap back to the key note.
“Rantin Rovin Robin” was written to a tune
called “Dainty Davie.” It’s currently set to a different melody, which
had been set to the words of another song called “Dainty Davie.” That
tune is “The Gardener’s March,” the air to which Burns wrote “The
Gardener Wi’ His Paidle.” “The Gardener’s March” is prettier, the
“Dainty Davie” tune more bouncy and rambunctious.
Its chorus drops below the pitch of the
verses for six measures before rising up for the last repetition of
“rantin rovin Robin.” “But ay a heart aboon them a’.”
In addition to tunes being discounted and
replaced wholesale, we also have occurrences of essential moments of
prosody missing from songs due to the adoption of simplified melodies:
1. A Man’s a Man for A’ That
2. Willie Brew’d a Peck o’ Maut.
3. Their Groves o’ Sweet Myrtle
My introduction to Robert Burns songs came
in early childhood when my parents acquired Ewan MacColl’s Songs of
Robert Burns, a 1959 Folkways LP with research by Ralph Knight,
accompaniments by Peggy Seeger. It’s a brilliant rendering of
twenty-three Burns songs, if not a representative one, as it avoids all
of the battle and Jacobite songs. Each note of every song is expertly
sung with one exception: a low sixteenth note run in the last line of
each verse of “A Man’s a Man For a’ That” (as printed in Scots Musical
Museum #290) was omitted. MacColl’s version – probably taken from James
Aird’s Selection of Scotch, English, Irish and Foreign Airs (1782),
which leaves out the run - is everyone’s version now. It makes each last
line sound like a pious summation. The low run effectively punches each
verse’s climactic idea —
The man’s the gowd for ‘a that .
Is king o’ men for a’ that.
He looks and laughs at a’ that
Are higher rank than a’ that.
Shall brothers be for a’ that.
— with a flurry and a couple of belly blows.
With the downward run to the 5th below tonic, these lines are heard not
as pronouncements but as fightin’ words. It is the most interesting part
of the melody.
“Willie Brew’d a Peck o’ Maut” has been
afforded a cartoon melody which well adapts it for performance by
amateurs at Burns Nights. This is all in good fun, but sadly, there is
nowhere for people to go to hear the real thing; every version you hear
now is of the ringer.
O Willie brew’d a peck o’ maut,
And Rob and Allan cam to see.
That’s Willie Nicol, Rob Burns, and Allan
Masterton - the man who wrote the original tune. Violinist/composer
Masterton also co-wrote “Strathallan’s Lament,” “Bonie Ann,” and “The
Braes o’ Ballochmyle” with Burns. The verse tune for “Willie” survives,
albeit without its wonderful strathspey snaps, but in the currently
circulating version we lose the original effect of the cock crowing,
which is matched to the melody. A sixteenth note an octave and a fifth
above the root, dropping swiftly to a dotted 8th note 10 steps up, gives
the sudden strike and decrescendo of a cock’s crow. A characteristic
effect of Burns, the musical action occurs again on the subject – “the
cock may craw.” It is the only instance in the 370-some Burns songs in
which the highest note in the tune is a sixteenth note. This ingenious
effect has become too much trouble even for professional singers.
Unknowing audiences, assuming they are getting the real Burns, are
served with “Willie Brew’d a Peck o’ Maut for Dummies.” Look for it on
youtube – even among the recordings by professionals, you will not find
one singer who’s taken care to master the eloquent strathspey that Allan
Masterton contributed to his sterling co-write with Robert Burns.
One of the loveliest lines in Burns is in
“Their Groves o’ Sweet Myrtle”:
Far dearer to me yon lone glen o’ green
breckan
Wi’ the burn stealin under the lang yellow broom.
A pair of unusual low sixteenth note runs in
the broom line underscore the beauty and enduring influence of humble,
hidden things – the song’s theme. Burns keyed on the tune’s unique
moment and matched it – the melodic line winds lowly, like the burn
(brook). Folk and even some classical singers have, inexplicably,
omitted this run.
Such moments of sublime beauty stream from
Burns’ songs like sunlight. The angel is in the details. There’s freight
of meaning held in a seemingly insignificant note value in “Ay Waukin,
O”:
Simmer’s a pleasant time, (summer)
Flowers of every color;
The water rins o’er the heugh (runs o’er the crag)
And I long for my true lover.
I’ve heard this phrased, as is sensible by anyone wanting to emphasize
the action word, with the whole note on the verb, as: I long for my true
lover. But that’s not the given melody, which gives the whole-note
emphasis thusly: I long for my true lover – emphasis on the subject, not
the verb.
An emphasis on “long” relegates the first
three lines to mere scenery. With the tune’s indicated stress, the “I”
is set as parallel to the water; the water does what it does, I do what
I do. The unity with nature, the oneness with the blooming flowers, is
felt.
A different sort of prosody occurs in the
“Queen Mary’s Lament of the Return of Spring.” Its one-part melody ends
each cadence on the fifth step of the scale, an effect whose sameness
and lack of resolution becomes as repetitive and dull during fourteen
grieving, raging verses as – Mary’s day in the Tower. Burns risks boring
us in order to bring us inside of Mary’s experience.
Burns also employed prosody in his revisions
of existing folk material. Here’s the first verse of “The Ploughman” in
the folk version published in David Herd’s Ancient and Modern Scottish
Songs (1776):
The ploughman he’s a bonny lad,
And a’ his wark’s at leisure,
And when that he comes hame at ev’n,
He kisses me wi’ pleasure.
Burns’ first verse:
The Ploughman he’s a bonny lad,
His mind is ever true, jo,
His garters knit below his knee,
His bonnet it is blue, jo.
Using the existing song’s melody, Burns matches an unusual downward
nine-step melodic skip in the third line to the phrase “below his knee”
(skip down to sing low note on “knee”) in his first verse, directing our
mind’s eye to the Ploughman’s strong legs. The legs appear again in
Burns’ verse 5:
Snow-white stockins on his legs,
And silver buckles glancin;
A good blue bonnet on his head,
And O but he was handsome!
Here is the verse Burns added to “The Dusty Miller”:
Hey the dusty Miller,
And his dusty sack;
Leeze me on the calling
Fills the dusty peck:
Fills the dusty peck,
Brings the dusty siller;
I wad gie my coatie
For the dusty Miller.
Here’s a translation:
Hey the dusty Miller,
And his dusty sack;
How I love the driving
Fills the dusty peck:
Fills the dusty peck,
Brings the dusty silver;
I would give my coatie
For the dusty Miller.
Wed to this barely disguised copulation metaphor, the tune goes through
repeating figures which rise in pitch until, like the Miller, it
climaxes on the word “Brings.” So there’s a prosodic match on a verb –
which modifies the later occurring noun, the “dusty siller.” “Jumpin
John” does this on the chorus: The word “Jump” starts with a quaver on
the 6th and “jumps” to the crochet on the octave, the highest note in
the tune. “The lang lad they ca’ Jumpin’ John beguiled the bonie
lassie.”
“To account for the great compass of many of the Scottish melodies, it
is necessary to know that the “falsetto” voice was used much among the
peasantry.” –James C. Dick
According to his teacher, John Murdoch,
Burns did not have a good musical ear as a child. He developed one by
steady application, due to his love of music. He worked his songs out
with singers: his wife Jean Armour Burns; Janet Cruikshank, the
twelve-year old “rose bud” in Edinburgh, “my Jeany fair, on trembling
string and vocal air;” Kirsty Flint, the mason’s wife with the strong
pipes in Dumfries; and Jessie Lewars, his last muse, sang. With rare
exceptions, Burns did not compose lyrics to tunes that couldn’t be sung.
Nor did he publish them expecting people not to bother with the tricky
parts; as we’ve seen with “Their Groves o’ Sweet Myrtle,” that’s where
the gold is. There is no reason why singers ought to be less capable in
the 21st century than they were in the 18th. The original tunes do take
some time, but with some deep breaths, even I can sing “My Heart’s in
the Highlands” on a good day. With the occasional falsetto burst, a
competent singer can deliver almost any Burns song. You don’t need to
belt out the octave spring on “A Red, Red Rose;” it’s actually more
effective to sing it quietly. In these days of studio and live mics, you
can add a fifth to your range by singing entire songs quietly. This
makes songs like “Again Rejoicing Nature Sings” and “Blue-Eyed Lassie”
singable by those of us with average vocal ranges.
People have felt entitled to replace Robert
Burns’ song tunes ever since his Thomson thought he could find a better
tune to “Auld Lang Syne” than “Auld Lang Syne.” Perhaps it has to do
with Burns’ peasant background. We make a cult of the Ayrshire ploughman
even as we undercut his artistic authority. Two centuries in, no one has
yet improved on the prosody of the original connections. You don’t make
Burns songs your own by replacing or altering the tunes. Make them your
own by learning them. The field is wide open for young singers to
interpret Burns, as even his famous songs remain uncharted territory.
For a fine singer to record the first dozen songs discussed here with
their authentic melodies would be a radical breakthrough.
Many Burns masterpieces have escaped popular
notice: “Bess and Her Spinnin Wheel,” to its circular melody; “The Auld
Man’s Winter Thought,” with its shifting time signatures; “The Wren’s
Nest,” a melody redolent with bird-calls; the somber portrait of
battle-ready patriots in “The Song of Death.” The well is deep.
There is a need for a site where there are
accurate recordings of the original melodies (including possible
variants) and scores with the lyrics beneath them, to provide ear
musicians with reliable models from which to work. I know of no reliable
reference source for the song tunes other than musical notation – which
is tricky enough. The Linn Complete Songs of Robert Burns has alternate
melodies to several of Burns’ better-known songs, including “A Red, Red
Rose,” “Silver Tassie,” “A Rose Bud By My Early Walk,” “Now Westlin
Winds,” and “Rantin Rovin Robin.” Jean Redpath recorded nearly a hundred
Burns songs on three CDs on her own label, solo, with admirable
fidelity; simply called Songs of Robert Burns, look for the flowers on
the covers. Singers and arrangers who seek to engage Burns’ song legacy
need tools, and access. It should be possible to check on whether a tune
one hears is the one Burns intended with a search and click. I’ve found
James Johnson’s The Scots Musical Museum to be the most reliable source
for accuracy and that it also provides the best versions of tunes for
the Burns songs even when they are presented as the music to other
writers’ songs. For example, the tune to “Again Rejoicing Nature Sees”
is “Jockey’s Grey Breeks;” some publishers have printed a variant which
suits Mr. Burns’ lyric less well than the tune as published with song
#27 in the SMM, “The Gentle Swain.” However, as James Johnson, Burns and
musical director Stephen Clarke preferred not to repeat melodies,
several Burns songs were printed in SMM with melodies different from the
ones to which he’d written the songs: “Robin Shure in Hairst,” “The
Rantin Dog, the Daddie O’t,” “Now Westlin Winds,” “No Churchman am I,”
and “The Bonny Banks of Ayr”were all printed there to alternate tunes.
James Chalmers Dick (Songs of Robert Burns, 1903) did a great deal of
research to match the tunes with the poet’s intentions. Dick tracked
down and published several missing tunes with their lyrics for the first
time. He also made some mistakes. His notion of what to do with “A Red,
Red Rose” compromised the song’s unity. He dropped the pick-up note’s
“O” to improve the phrasing of the first line, thus marring the larger
prosodic effect Burns was after, and made a cockamamie suggestion about
repeating verses to fill out the tune’s structure. It is a typical Burns
structure, four verses to a two-part tune, which was misprinted using
only one ‘A’ part in the Museum, leaving a dangling verse. The lyric
lays out exactly as Neil Gow printed the tune; Serge Hovey publicized
his discovery of the correct form in the 1970s. James Dick marks “Elegy
on Peg Nicholson” as “tune: Chevy Chase (adapted).” All publishers since
have used his one-part melody; the “B” part, taken from William
McGibbon’s Collection of Scots Tunes (1768) is searchable, and adds
considerable drama and musical interest. Again, with “Peg Nicholson,” we
have four verses to a two-part melody – a standard form for Burns. You
have to go out of your way to mess this up. I don’t blame JC Dick for
having a bad day; I do resent subsequent scholars who make him an
authority and don’t take the trouble to look at the legacy with fresh
eyes. The Scots Musical Museum remains the most reliable source for
tunes (other than the tune books Burns is know to have owned), and it is
available both in a reprint edited by Donald Low, and online. Many songs
missing from that can be found in James C. Dick’s work, Songs of Robert
Burns, now published with their original melodies: A Study in
Tone-Poetry (1903), also online, with extensive notes. The task of
sourcing and publishing all of the tunes from the likely sources Burns
was working with remains to be done. I would be surprised if there were
one case in which prosody did not tell us which variant Burns was
humming to spark his Muse. A hint on “Corn Rigs are Bonie”: it’s never
been published with the lyric, but the variant in James Oswald’s
Caledonian Pocket Companion sets up the song much better than the one
commonly printed. My ninety-year-old father, who has heard me sing three
other variants, heard me sing this for my daughter earlier today, and
walked in from the other room: “That’s a better tune.”
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