Annotation:When she cam ben: Difference between revisions

Find traditional instrumental music
No edit summary
No edit summary
(10 intermediate revisions by 2 users not shown)
Line 1: Line 1:
=='''Back to [[{{BASEPAGENAME}}]]'''==
----------
----
{{TuneAnnotation
<p><font face="garamond, serif" size="4">
|f_tune_annotation_title=https://tunearch.org/wiki/Annotation:When_she_cam_ben >
'''WHEN SHE CAM BEN (SHE BOBBIT).''' AKA and see "[[Laird o' Cockpen]].” Scottish, Air (6/8 or 6/4 time, "andante con moto" or "brisk"). D Minor (Carolan): G Minor (Johnson): G Dorian (Johnson): A Dorian (Aird). Standard tuning. One part (Carolan): ABCDEF (Johnson): AABBCCDD (Johnson). The title in English means "When she came through to the parlour, she curtseyed.” Johnson (1984) says the tune is related (through its alternating 6/4 and 3/2 rhythms) to the 16th century English coranto, and was composed in passamezzo antico form, which was an imported style of accompaniment chord progression borrowed from 16th century Italy. The original words to the tune were bawdy or risqué, but around 1810 Lady Nairne (Caroline Oliphant) wrote new words to it, and since then it has often been known as "The [[Laird o' Cockpen]].” Her song was requested by Queen Victoria to be included in a concert programme during her 1842 visit to Taymouth Castle; John Wilson, then a famous singer of Scots songs, gave the recital. It appears in one of the earliest Scottish fiddlers MS repertory books, c. 1705, now in the private collection of Frances Collinson (1966).  
|f_annotation='''WHEN SHE CAM BEN (SHE BOBBIT).''' AKA and see "[[Laird o' Cockpen]]," "[[My Mother-in-Law]].” Scottish, Air (6/8 or 6/4 time, "andante con moto" or "brisk"). D Minor (Carolan): G Minor (Johnson): G Dorian (Johnson): A Dorian (Aird). Standard tuning (fiddle). One part (Carolan): ABCDEF (Johnson): AABBCCDD (Johnson). The title in English means "When she came through to the parlour, she curtseyed.” Johnson (1984) says the tune is related (through its alternating 6/4 and 3/2 rhythms) to the 16th century English coranto, and was composed in ''passamezzo antico'' form, which was an imported style of accompaniment chord progression borrowed from 16th century Italy.  
<br>
<br>
<br>
<br>
In 1792 the Scots national poet Robert Burns (1759-1796) revised the verses. His version goes:
The original words set to the tune were bawdy or risqué, but in 1792 the Scots national poet [[wikipedia:Robert_Burns]] (1759-1796) revised the old verses, a song of seduction. His song was printed in Johnson's '''Scots Musical Museum Vol. IV''' (Song 353, pp. 364-365) goes:
<blockquote>
<blockquote>
''O when she cam' ben she bobbed fu' law,''  (x2)<br>
''O when she cam' ben she bobbed fu' law,''  (x2)<br>
Line 23: Line 23:
''And lady Jean was never sae braw.''<br>  
''And lady Jean was never sae braw.''<br>  
</blockquote>
</blockquote>
</font></p>
[[wikipedia:Lady_Nairne]], Caroline Oliphant, penned a rather more egalitarian take on the Cockpen interaction around 1810 and since then it has often been known as "The [[Laird o' Cockpen]].” Her song was requested by Queen Victoria to be included in a concert programme during her 1842 visit to Taymouth Castle; John Wilson, then a famous singer of Scots songs, gave the recital.
<p><font face="garamond, serif" size="4">
<blockquote>
''Source for notated version'': the 1705 Bowie Manuscript (set by John McLachlan, c. 1700) and McGibbon's 1742 Scots Tunes (set by Willian McGibbon but very similar to Oswald's) [Johnson].
''The Laird o’ Cockpen, he’s proud and he’s great''<br>  
''His mind is ta’en up wi’ things o’ the State:''<br>
''He wanted a wife, his braw house to keep;''<br>
''But favour wi’ wooin’ was fashious to seek.''<br>
<br>
''Down by the dyke-side a lady did dwell;''<br>
''At his table-head he thought she’d look well—''<br>
''McClish’s ae daughter o’ Clavers-ha’ Lee,''<br>
''A penniless lass wi’ a lang pedigree.''<br>
<br>
''His wig was weel pouther’d and as gude as new;''<br>
''His waistcoat was white, his coat it was blue;''<br>
''He put on a ring, a sword, and cocked hat,—''<br>
''And wha could refuse the Laird wi’ a’ that!''<br>
<br>
<br>
''He took the grey mare, and rade cannily,''<br>
''And rapped at the yett o’ Clavers-ha’ Lee:''<br>
'' 'Gae tell Mistress Jean to come speedily ben,— ''<br>
''She’s wanted to speak to the Laird o’ Cockpen.' ''<br>
<br>
<br>
</font></p>
''Mistress Jean was makin’ the elder-flower wine:''<br>
<p><font face="garamond, serif" size="4">
'' 'And what brings the Laird at sic a like time?' ''<br>
''Printed sources'': Aird ('''Selection of Scotch, English, Irish and Foreign Airs, vol. II'''), 1785; No. 80, p. 29. '''Complete Collection of Carolan's Irish Tunes''', 1984; No. 205, pp. 138 139 (variations on the theme by Turlough O'Carolan). Johnson ('''Scottish Fiddle Music in the 18th Century'''), 1984; No. 15, p. 30 and No. 20, pp. 48 50. McGibbon ('''Scots Tunes, Book 1'''), c. 1746; p. 22. Oswald ('''Curious Collection of Scots Tunes'''), c. 1739; p. 40.
''She put aff her apron and on her silk goun,''<br>
''Her mutch wi’ red ribbons and gaed awa doun.''<br>
<br>
<br>
''And when she cam’ ben he bowed fu’ low;''<br>
''And what was his errand he soon let her know. ''<br>
''Amazed was the Laird when the lady said ‘Na’;—''<br>
''And wi’ a laigh and a curtsey she turn’d awa’.' ''<br>
<br>
<br>
</font></p>
''Dumfounder’d was he; but nae sigh did he gi’e,''<br>
<p><font face="garamond, serif" size="4">
''He mounted his mare, and rade cannily;''<br>
''Recorded sources'': <font color=teal> Maggie’s Music MM220, Hesperus – “Celtic Roots.”</font>
''And aften he thought as he gaed through the glen,''<br>
</font></p>
'' 'She’s daft to refuse the Laird o’ Cockpen!’ ''<br>
<br>
<br>
''And now that the Laird his exit had made,''<br>
'' Mistress Jean she reflected on what she had said;''<br>
'' 'Oh, for ane I’ll get better its waur I’ll get ten,''<br>
''I was daft to refuse the Laird o’ Cockpen.' ''<br>
<br>
<br>
----
''Next time that the Laird and the lady were seen,''<br>
=='''Back to [[{{BASEPAGENAME}}]]'''==
''They were gaun arm-in-arm to the kirk on the green;''<br>
''Now she sits in the ha’ like a weel-tappit hen,''<br>
''But as yet there’s nae chickens appeared at Cockpen.''<br>
</blockquote>
"When she cam ben" appears in one of the earliest Scottish fiddlers MS repertory books, c. 1705, now in the private collection of Frances Collinson (1966), and in the John Leyden lyra viol MS. See also John Young's related "[[Buckingham House (3)]]." See also the similar Playford air "[[Woodicock]]."
|f_source_for_notated_version=the 1705 Bowie Manuscript (set by John McLachlan, c. 1700) and McGibbon's 1742 Scots Tunes (set by Willian McGibbon but very similar to Oswald's) [Johnson].
|f_printed_sources=Aird ('''Selection of Scotch, English, Irish and Foreign Airs, vol. II'''), 1785; No. 80, p. 29. '''Complete Collection of Carolan's Irish Tunes''', 1984; No. 205, pp. 138 139 (variations on the theme by Turlough O'Carolan). Johnson ('''Scottish Fiddle Music in the 18th Century'''), 1984; No. 15, p. 30 and No. 20, pp. 48 50. McGibbon ('''A Collection of Scots Tunes, Book 1'''), c. 1746; p. 22. Oswald ('''A Curious Collection of Scots Tunes'''), c. 1739; p. 40. Oswald ('''Caledonian Pocket Companion, Book 1'''), 1760; p. 14.
|f_recorded_sources=Maggie’s Music MM220, Hesperus – “Celtic Roots.”
|f_see_also_listing=
}}
-------------

Revision as of 23:13, 13 November 2023




X:1 T:When she came ben she bobbed M:6/4 L:1/8 B:Alexander Stuart – “Musick for Allan Ramsay’s Collection part 4” B:(Edinburgh, c. 1724, pp. 96-97) F: https://digital.tcl.sc.edu/digital/collection/rbc/id/3036 Z:AK/Fiddler’s Companion K:Gmin V:1 D2|G4 G2 B3c d2|A2F2F2 F4 F2|G4 G2 g3 (aga)|^f2d2d2 d4 de| f2B2f2 f3ed2|c2f2c2 A3Bc2|d4 d2 d3edc|B2 (AG) G2 G4:| |:d2|g4 g2 g3a b2|a2 f2f2 f4 =e^f|g2B2d2 g3aga|^f2 d2d2 d4 e2| f2B2f2 f3e d2|c3f c2 A2B2c2|d4 d2|d3 ecd|B2AG G2 G6:| V:2 clef = bass z2|G,6G,,6|F,4A,,2 F,,4A,,2|B,,4G,,2 B,4G,2|D,4 z2 D,,4z2| B,,4D,2 B,4B,,2|F,4 A,,2F,,4A,,2|B,,4 D,2 G,4 C,2|D,4 D,,2 G,,4:| |:z2|G,4 D,2 B,,4F,,2|F,2C,2A,,2D,,4z2|G,,4G,,2 G,4B,2|D2A,2^F,2 D,4 z2| B,4D,2B,,4B,2|F,4C,2 F,,4A,,2|B,,4G,2 B,4C2|D4D,2 G,4G,,2:|



WHEN SHE CAM BEN (SHE BOBBIT). AKA and see "Laird o' Cockpen," "My Mother-in-Law.” Scottish, Air (6/8 or 6/4 time, "andante con moto" or "brisk"). D Minor (Carolan): G Minor (Johnson): G Dorian (Johnson): A Dorian (Aird). Standard tuning (fiddle). One part (Carolan): ABCDEF (Johnson): AABBCCDD (Johnson). The title in English means "When she came through to the parlour, she curtseyed.” Johnson (1984) says the tune is related (through its alternating 6/4 and 3/2 rhythms) to the 16th century English coranto, and was composed in passamezzo antico form, which was an imported style of accompaniment chord progression borrowed from 16th century Italy.

The original words set to the tune were bawdy or risqué, but in 1792 the Scots national poet wikipedia:Robert_Burns (1759-1796) revised the old verses, a song of seduction. His song was printed in Johnson's Scots Musical Museum Vol. IV (Song 353, pp. 364-365) goes:

O when she cam' ben she bobbed fu' law, (x2)
And when she cam' ben, she kiss'd Cockpen,
And syne denied she did it at a'.

And was na Cockpen right saucy witha'? (x2)
In leaving the daughter of a lord,
And kissin' a collier lassie an' a'!

O never look down, my lassie, at a', (x2)
Thy lips are as sweet, and thy figure complete,
As the finest dame in castle or ha'.

Tho' thou has nae silk, and holland sae sma', (x2)'
Thy coat and thy sark are thy ain handiwark,
And lady Jean was never sae braw.

wikipedia:Lady_Nairne, Caroline Oliphant, penned a rather more egalitarian take on the Cockpen interaction around 1810 and since then it has often been known as "The Laird o' Cockpen.” Her song was requested by Queen Victoria to be included in a concert programme during her 1842 visit to Taymouth Castle; John Wilson, then a famous singer of Scots songs, gave the recital.

The Laird o’ Cockpen, he’s proud and he’s great
His mind is ta’en up wi’ things o’ the State:
He wanted a wife, his braw house to keep;
But favour wi’ wooin’ was fashious to seek.

Down by the dyke-side a lady did dwell;
At his table-head he thought she’d look well—
McClish’s ae daughter o’ Clavers-ha’ Lee,
A penniless lass wi’ a lang pedigree.

His wig was weel pouther’d and as gude as new;
His waistcoat was white, his coat it was blue;
He put on a ring, a sword, and cocked hat,—
And wha could refuse the Laird wi’ a’ that!

He took the grey mare, and rade cannily,
And rapped at the yett o’ Clavers-ha’ Lee:
'Gae tell Mistress Jean to come speedily ben,—
She’s wanted to speak to the Laird o’ Cockpen.'

Mistress Jean was makin’ the elder-flower wine:
'And what brings the Laird at sic a like time?'
She put aff her apron and on her silk goun,
Her mutch wi’ red ribbons and gaed awa doun.

And when she cam’ ben he bowed fu’ low;
And what was his errand he soon let her know.
Amazed was the Laird when the lady said ‘Na’;—
And wi’ a laigh and a curtsey she turn’d awa’.'

Dumfounder’d was he; but nae sigh did he gi’e,
He mounted his mare, and rade cannily;
And aften he thought as he gaed through the glen,
'She’s daft to refuse the Laird o’ Cockpen!’

And now that the Laird his exit had made,
Mistress Jean she reflected on what she had said;
'Oh, for ane I’ll get better its waur I’ll get ten,
I was daft to refuse the Laird o’ Cockpen.'

Next time that the Laird and the lady were seen,
They were gaun arm-in-arm to the kirk on the green;
Now she sits in the ha’ like a weel-tappit hen,
But as yet there’s nae chickens appeared at Cockpen.

"When she cam ben" appears in one of the earliest Scottish fiddlers MS repertory books, c. 1705, now in the private collection of Frances Collinson (1966), and in the John Leyden lyra viol MS. See also John Young's related "Buckingham House (3)." See also the similar Playford air "Woodicock."


Additional notes
Source for notated version : - the 1705 Bowie Manuscript (set by John McLachlan, c. 1700) and McGibbon's 1742 Scots Tunes (set by Willian McGibbon but very similar to Oswald's) [Johnson].

Printed sources : - Aird (Selection of Scotch, English, Irish and Foreign Airs, vol. II), 1785; No. 80, p. 29. Complete Collection of Carolan's Irish Tunes, 1984; No. 205, pp. 138 139 (variations on the theme by Turlough O'Carolan). Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 15, p. 30 and No. 20, pp. 48 50. McGibbon (A Collection of Scots Tunes, Book 1), c. 1746; p. 22. Oswald (A Curious Collection of Scots Tunes), c. 1739; p. 40. Oswald (Caledonian Pocket Companion, Book 1), 1760; p. 14.

Recorded sources : - Maggie’s Music MM220, Hesperus – “Celtic Roots.”




Back to When she cam ben

0.00
(0 votes)