British traditional music

• Adam Bell, Clim of the Clough and William of Cloudeslee (lyrics). A long ballad of 170 verses about the second most famous band of English outlaws.
• All a green willow (lyrics, alternate version). This lesser-known willow song is probably the only one with an authentic folk tradition. The words are adapted from the ballad A lover’s complaint, but other willow songs also exist.
• All in a garden green (lyrics). Not to be confused with another tune of the same name below. Contrary to a common claim, the given ballad lyrics actually do fit the melody quite well.
• And will he not come again? (lyrics). A minor-key version of the first part of The merry milkmaids that has survived in theatrical tradition as the setting for Ophelia’s song in W. Shakespeare’s Hamlet.
• Barbara Allen (lyrics). The earliest known version of the tune, likely based on Sick, sick and too-too sick. Compare the opening lines of verses 1 and 4 with those of the first verse and chorus of the aforementioned ballad.
• Bessy Bell and Mary Gray (lyrics). Bessy and Mary were, of course, just flatmates.
• Broom of the Cowdenknows (lyrics). Also known as Bonny May.
• Come o’er the bourne, Bessy (lyrics). A version in the minor key.
• Dulcina (lyrics).
• Fain would I have a pretty thing (triple time version, lyrics). Set to the tune of Lusty gallant, nowadays best known for giving its name to a colour.
• Fair maid, are you walking?.
• The George Alow (lyrics). The lyrics given here, from J. Fletcher and W. Shakespeare’s Two noble kinsmen, fit the tune better than the broadside versions.
• Go from my window (lyrics). There is also a version from Norfolk (lyrics) dating to c.1780.
• Gernutus, the Jew of Venice (lyrics). The words are an example of traditional Elizabethan antisemitism; although perhaps we should blame Italian writers for this one.
• The God of love (lyrics). With words by W. Elderton to the tune of Turkeyloney, an English variant of the Italian Gentil madonna. The name has nothing to do with Turkey or turkeys: it is derived from tordiglione, a type of Italian galliard.
• Good morrow, valentine (lyrics). The tune was also known as Did you see Nan today?
• The Gypsies’ round (lyrics). Set to the words from the play The Spanish Gypsy by T. Middleton and others.
• The honour of a London prentice (lyrics). Set to the tune of All you that love good fellows, also known as Nancy or Sir Edward Noel’s delight.
• I am a young and harmless maid (lyrics).
• I have a mare, they call her Brock (lyrics). This otherwise unknown song was included in W. Cobbold’s New fashions. The lyrics belong to the I cannot come every day to woo ballad family.
• I wail in woe (lyrics). With words by G. Mannington to the tune of the Bandalashot galliard. The meaning and origin of the tune’s name are both unknown.
• The Jew’s dance. A bergamask whose connection with Jews is unclear.
• King Solomon (lyrics). To an English version of the tune Guerre, guerre gai.
• Long have mine eyes (lyrics). With words by T. Campion to the tune of O mistress mine, usually wrongly associated with W. Shakespeare’s song from Twelfth night.
• The merry milkmaids (lyrics). With words from the ballad The milkmaid’s life by M. Parker. The author clearly had a fetish for milkmaids.
• Monsieur’s almain. An arrangement of an old dance tune for a mixed consort.
• My mistress is pretty. Yet another variant of La mantovana.
• The old cloak (lyrics).
• Peggie Bell. Also known as Ca’ me, ca’ thee.
• Quoth John to Joan (lyrics). Melody probably derived from R. Nicholson’s song, with words by T. d’Urfey, likewise belonging to the I cannot come every day to woo family.
• The religious turncoat (lyrics). Set to the tune of London is a fine town, also known as Watton Town’s end. See also The vicar of Bray for another ballad on the same subject.
• Rowland (lyrics). The lyrics are a back translation of a German version, and originate from a stage jig.
• Sellenger’s round (another version). A dance tune of presumed French or Irish origin.
• Sick, sick and too-too sick (lyrics, alternate setting 1, alternate setting 2). With words from the ballad on Captain Ker by W. Ashton.
• A song of an outcast lover (lyrics). Set to the tune of All in a garden green, not to be confused with the song of the same name above.
• Tinternel. Also known as The short almain.
• Tomorrow is St Valentine’s Day (lyrics). Set to the tune of The soldier’s dance, also known as Who list to lead a soldier’s life. The tune was preserved in the theatrical tradition as the setting for Ophelia’s song in W. Shakespeare’s Hamlet.
• The vicar of Bray (lyrics). Initially sung to the tune of The religious turncoat (another ballad on the same subject), then to that of Bessy Bell and Mary Gray, it finally settled on the tune of Country garden, for which there are also morris and country dance versions.
• Walsingham (lyrics). With words by W. Raleigh. The tune was preserved in the theatrical tradition as the setting for Ophelia’s song (lyrics) in W. Shakespeare’s Hamlet, in both the 3/4 time and the 4/4 time versions.
• Western wind (lyrics). An early tune preserved in a mass by J. Taverner.
• A wooing song of a yeoman of Kent’s son (lyrics). A song on the theme of I cannot come every day to woo. The lyrics are in in Kentish dialect.

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