A third melody, “Dives and Lazarus” (Roud 177, Child 56) then enters in the lower instruments. This tune comes from the collection of Vaughan Williams himself: he notated the song “The Red Barn”, set to a variant of the well-known “Dives and Lazarus” melody, from a Mr John Whitby in Norfolk in 1905. The arrangement here 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. This third theme is repeated, then leads straight back to the second theme. Finally, the first theme is repeated in a Da Capo al Coda. The form of this movement can be represented by A–B–C–B–A (Arch form).Boosey & Hawkes published a revised edition of the piece in 2008. This edition features a computer-engraved full score and parts, incorporating corrections to engraving errors evident in the original edition. Other changes include the addition of rehearsal numbers to the score and parts, the titles of the folk songs added where they occur in the music, the horns notated in F in the score instead of in E-flat, the separation of the string bass from the tuba into its own part, and the percussion split into two parts. This melody is followed by “Pretty Caroline” (Roud 1448) as a quiet air for solo clarinet or solo cornet (clarinet only in orchestrated version), which is also repeated. This tune was derived from a recording made in 1908 by Ella Mary Leather from Ellen Powell of Westhope, Herefordshire, using a phonograph loaned to her by Vaughan Williams. He later transcribed the song from the recording, which is publicly available online. Vaughan Williams noted on his score that “My Bonny Boy” was taken from the book English County Songs while the “Green Bushes” melody seems to have been adapted from two versions collected by Cecil Sharp, one in the Dorian and one in the Mixolydian mode, the modal ambiguity being reflected in the composer’s harmonization.
The part titled “concert flute and piccolo”, although singular, requires at least two players since the flute and piccolo parts are simultaneous for much of the suite, and the final movement includes split parts. Other parts that require two players are the oboes and B-flat trumpets. The E-flat clarinet part has divisis in the final movement only, most of which is already doubled in the solo/first B-flat clarinet voice, making the second E-flat clarinet not entirely necessary. Solo and 1st B-flat cornets are printed on one part (originally titled “1st cornet”), but one player is required for solo and one for 1st. The part for B-flat baritone is actually for a baritone saxhorn, no longer present in the military band (not the euphonium) and this part disappears from later editions of the set, with the only evidence being cued notes on the euphonium part.
Seventeen Come Sunday opens after a four-bar introduction with the principal melody – the folk song “Seventeen Come Sunday” (Roud 277) – played by the woodwind section (flutes in orchestrated version). This melody is repeated, and the woodwind is joined by the brass (violins in orchestrated version). The phrasing is irregular – the melody lasts for thirteen bars. Vaughan Williams appears to have used two alternative versions of this song from Cecil Sharp’s collection, one from the Traveller Kathleen Williams in the Forest of Dean, and the other from his prolific source Lucy White of Hambridge, Somerset.
What are the 4 forms of English folk music?
The four modes or scales most usually encountered in Celtic, Anglo-American and English folk song are as follows:Ionian/Major Heptatonic Scale. … Aeolian/Minor Heptatonic Scale. … Mixolydian Heptatonic Scale. … Dorian Heptatonic Scale.
“My Bonny Boy” (Roud 293) opens with a solo in F Dorian for the oboe (sometimes doubled or played by solo cornet) on the tune of the folk song of the same name, which is repeated by the low-register instruments. Midway through the movement, a Poco Allegro begins on “Green Bushes” (Roud 1040), first sounded by a piccolo, E-flat clarinet, and oboe in a minor harmonic context, then repeated by the lower brass with major harmony. The first melody is played again in fragmented form before the close of the movement.The suite consists of three movements: March, Intermezzo and another March. The first march is called “Seventeen Come Sunday”, the Intermezzo is subtitled “My Bonny Boy” and the final movement is based on four “Folk Songs from Somerset”.
The suite was arranged for Brass Band by Frank Wright and published by Boosey & Hawkes in 1956 as English Folk Songs Suite (this follows the orchestral version in adding ‘English’ to the title but it also pluralises ‘Songs’). The music is transposed down (by a perfect fourth) presumably to make it fit more comfortably within the register of the brass band. The arrangement uses the standard British brass band scoring for 25 brass players and 2/3 percussionists (see British brass band for details of transpositions and numbers of players per part). Rehearsal numbers were added to the score and parts but the individual folk tunes remain unnamed. This edition remains a staple of the Brass Band repertoire.
“Folk Songs from Somerset” is based on the melodies of four folk songs from the eponymous collection published in five volumes by Cecil Sharp with Charles Marson, based on fieldwork they had carried out in the county during the early 1900s. It opens with a light introduction of four measures before a jaunty major melody, “Blow Away the Morning Dew” (Roud 11, Child 112) collected from Lucy White and Lucy Hooper in Hambridge in 1903, is introduced on solo cornet (clarinet in orchestration). This melody is then dovetailed around the band/orchestra before finishing with a fortissimo reprise. A second melody in the Aeolian mode, “High Germany” (Roud 904), from Mrs Lock of Mulcheney Ham then takes over. This is played in the tenor and lower register with trombones prominent, while the remaining instruments provide an on-beat chordal accompaniment.
English Folk Song Suite is one of English composer Ralph Vaughan Williams’ most famous works. It was first published for the military band as Folk Song Suite and its premiere was given at Kneller Hall on 4 July 1923, conducted by Lt Hector Adkins. The piece was then arranged for full orchestra in 1924 by Vaughan Williams’ student Gordon Jacob and published as English Folk Song Suite. The piece was later arranged for British-style brass band in 1956 by Frank Wright and published as English Folk Songs Suite. All three versions were published by Boosey & Hawkes; note the use of three different titles for the three different versions. The suite uses the melodies of nine English folk songs, six of which were drawn from the collection made by Vaughan Williams’ friend and colleague Cecil Sharp.
The suite was arranged for full orchestra by Gordon Jacob, one of Vaughan Williams’ pupils, and published in 1924 by Boosey & Hawkes as English Folk Song Suite.As this second melody dies away, the original melody is heard once again with a tutti reprise. This leads into the trio, with a key change and a time change to 6/8, introducing a more delicate modal air played by the woodwind with a light accompaniment. In the past this melody has been identified erroneously as “The Trees They Do Grow High” (Roud 31), but more recent research has found a much closer correspondence with the song “Whistle, Daughter, Whistle” (Roud 1570), as sung by Walter Locock of Martock. This melody continues until the time signature changes back to the original 2/4, with the entry of a robust major melody, John Barleycorn (Roud 164), originally taken down by Sharp from Robert Pope of Minehead. This enters in the lower instruments (trombones and double basses in orchestrated version) while the cornets play decorative features above. The trio is then repeated in full before a D.C. is reached and the first two themes are revisited. The form of this movement can be represented by A–B–A. (ternary form)
It originally had a fourth movement, “Sea Songs”, which was played second, but the composer removed it after the first performance and published it separately, with his own orchestration.
Ursula Vaughan Williams, die Tochter des Komponisten, schreibt in der Biographie über ihren Vater: Die English Folk Song Suite war eines der Werke, welches mein Vater besonders gern in Angriff nahm, weil es ihm Freude machte, mit einem neuen Medium zu arbeiten. Ein Militärblasorchester war eine willkommende Abwechslung von seinen üblichen Arbeiten. Ausserdem war es noch nicht so lange her, als er in seiner eigenen Militärdienstzeit zur Genüge die vielgespielten, seichten Unterhaltungsstücke gehört hatte. Er dachte, wirkliche Musik zu spielen, müsste für die Militärmusiker eine angenehme und willkommene Erfahrung sein’.Folk-rock uses acoustic guitar, electric instruments, and other instruments like mandolin and banjo. “Like a Rolling Stone” by Bob Dylan, “Mr Tamborine Man” by The Byrds, and “Norwegian Wood” by The Beatles are some of the greatest folk-rock songs.
What are the 7 types of folk songs?
In this article, we will look at some of the most popular types of folk music from around the world.Traditional Folk. This is the type of folk music that most people think of when they hear “folk music”. … Country Folk. … Acoustic Folk. … Roots Folk. … Celtic Folk. … Bluegrass Folk Music. … Old-timey Folk. … Folk Rock.
Roots folk music is a mix of traditional folk music, country-folk music, and rock music. It is called roots because it was the foundation of many popular music genres that developed in the United States, including jazz, R’n’B, and rock n roll.Acoustic folk music is a modern form of folk music typically played on acoustic instruments such as guitars, banjos, and fiddles. It is folk music rooted in traditional folk music, but it often incorporates elements of rock, blues, and jazz. Popular acoustic folk artists include Bob Dylan, Woody Guthrie, and Joni Mitchell.
“Robin Hood” is a popular hero folk song that tells the story of the legendary outlaw who stole from the rich and gave to the poor. Another popular villain folk song is “John Henry,” which is about a guy who worked hard all his life but died in the end.
Folk-rock is a subgenre that combines folk music and rock music. It developed in the United States in the 1960s and was popularized by folk singers such as Bob Dylan and Joan Baez.
Regional folk music is folk music specific to a certain region or country. It often reflects the culture and traditions of the people who live there. For example, Appalachian folk music is folk music that originated in the Appalachian Mountains of the United States.
This type of folk music often has a feeling of sadness or nostalgia. Some popular old-timey folk songs are “In the Pines”, “Keep On the Sunny Side”, and “The Wreck of the Old 97”.Just to let you know, this post contains affiliate links. That means that if you make a purchase after clicking on a link I may earn a small commission at no extra cost to you.
Neofolk fuses folk music with industrial music, and it emerged from the punk rock music scene in the 1980s. Neofolk is typically characterized by its use of acoustic instruments, folk lyrics, and dark or melancholic themes.
Skiffle folk music is a type of folk music that originated in the United Kingdom in the 1950s. It had influences from jazz, blues, and rock and roll, and musicians like Lonnie Donegan popularized it. Skiffle folk music is typically played on acoustic instruments, and it is often quite upbeat and cheerful.
It uses modern instruments like electric guitars and synthesizers and an experimental approach to songwriting. Bands like Current 93 and Death in June are considered pioneers of the neofolk genre.
What is folk song suite?
Vaughan Williams’ English Folk Song Suite is a work in three movements that weaves nine folk songs into what Grainger would later call a “posy,” or “collection of musical wildflowers.” At first, the suite included an additional movement, Sea Songs, which was performed as the second movement, but composer removed it …
Many murder folk songs are based on real events, and they often have a moral lesson to them. One popular murder folk song is “Omie Wise”, about a woman her lover kills.
Why was English Folk Song Suite written?
The existence of military bands was something he recognised as being crucially important to the UK’s cultural and community life. so, in 1923, he composed his English Folk Songs Suite for them.
Event or location-related folk music is folk music that is specific to a certain event or location. For example, Cajun folk music is folk music that originated in Louisiana among the French-speaking people who settled there. It is characterized by its use of the fiddle, accordion, and guitar.
What are the three English folk songs?
Three contrasting English folk songs, “Green Bushes”, “Lord Randel’” and “Coasts of High Barbary” are masterfully blended into a superb arrangement for your young groups.
Folk music is one of the oldest and most diverse forms of music globally. Traditionally, it is an acoustic form of music played on guitars, banjos, and fiddles. It is typically characterized by its simple melodies and lyrics and often tells the story of the people who perform it.Folk metal is a genre of heavy metal music that combines elements of folk music. It developed in the 1990s in Europe and was popularized by bands such as Korpiklaani, Ensiferum, and Finntroll. Folk metal uses folk instruments like the accordion, violin, and bagpipes and traditional metal instruments such as electric guitars, drums, and bass.Instruments commonly used in old-timey folk music include the banjo, harmonica, and fiddle. The lyrics are often about simple things such as love, nature, and work.
How many folk songs are in folk song suite?
nine English folk The suite uses the melodies of nine English folk songs, six of which were drawn from the collection made by Vaughan Williams’ friend and colleague Cecil Sharp. CachedSimilar
Country folk music developed in the Southern United States in the early 20th century; it is a mix of traditional folk music and popular country music. This type of folk music is often characterized by its simple melodies and lyrics about the everyday lives of the people who perform it. Patriotic folk music promotes patriotism and national pride. It makes you feel proud to be a part of your country. One popular patriotic folk song is “God Bless America” by Irving Berlin, about the beauty of America and its people. Old-timey folk is a North American folk music genre that developed in the 1900s. It has its roots in the traditional music of the British Isles (England, Scotland, Ireland) and Africa. It is typically played on acoustic instruments and has a mellower sound than other types of folk music.A popular folk love song is “Lass of Glenshee”, which tells the story of a king falling in love with a woman in saw while riding his horse through the towns.There are many different types of folk music, each with its unique history and style. In this article, we will look at some of the most popular types of folk music from around the world.Anti-war folk music sings about war and its effects on people. It often has a sad and somber tone, which can be quite depressing. Folk music drove an antiwar movement in the 1960s and 1970s, and many folk singers wrote songs about the Vietnam War.
Instruments commonly used in bluegrass music include the banjo, mandolin, fiddle, and acoustic guitar. Some popular bluegrass singers are Alison Krauss, Earl Scruggs, and Lester Flatt.Celtic folk music is a type of folk music that developed in Ireland, Scotland, Wales, and Brittany (a region in France). It is characterized by its use of traditional Celtic instruments such as the Bodhran (a type of drum), the fiddle, bagpipes, tin whistle, and accordion.
Bluegrass folk music is a type of folk music that developed in the Appalachian Mountains in the United States. Music legend Bill Monroe popularized it in the 1940s. Bluegrass is typically characterized by its fast tempo and improvisation, creating excitement.Another example is Mariachi folk music, which is folk music that originated in Mexico. It is typically played by a group of musicians called a Mariachi band, and their sound is festive.Love folk music is specifically about love. It tells stories of love and romance, and they are easy to relate to because many people share similar experiences. Love folk music is often cheerful and optimistic, and it makes you feel happy and nostalgic.Anti-folk emerged in the New York City folk music scene in the 1980s and was popularized by folk singers such as Beck. This genre incorporates unconventional instruments such as electric guitars, drums, piano, and bass.
For example, the folk music of the American Southwest was created by cowboys and railroad workers. Work folk music is often upbeat, and it makes you feel motivated and inspired.
Hero and villain songs are traditional ballads that chronicle the exploits of a hero or a villain. They are used to teach lessons about bravery and values.
Folk music is a genre of music that is based on traditional songs and melodies. It often tells stories about the people and cultures that it comes from, and it can be quite diverse. There are many different types of folk music, and each one has its unique sound. Folk music is often easy to relate to, and it can be quite emotional.
This is the type of folk music that most people think of when they hear “folk music”. It is the oldest form of folk music and is typically passed down through the generations. A traditional folk song tells a story about the history and culture of those who sing it. Some popular songs include “The Wabash Cannonball”, “Oh Susanna”, and “She’ll Be Comin’ Round the Mountain”.It has been around for many centuries and has gained worldwide popularity. Celtic folk music is often played at festivals and dancing events such as ceilidhs (pronounced “kay-lee”).One popular anti-war folk song is “Where Have All the Flowers Gone” by Pete Seeger, which is about a soldier who dies in battle and the futility of war.A lot of English Folk Music is considered traditional in origin, meaning music that is passed along over generations, but might change to reflect the changes within the community over time. The knowledge of who first wrote or played the tune has been lost through time. The tunes have lived on through being played and appreciated by musicians and listeners over the decades and centuries. Traditional music has also been a focus for ‘collectors’ who have recorded and transcribed music in efforts to preserve it for posterity, and to make it available to others.
There is now also a lot of English Folk Music that is contemporary – the composers are known, and may be still living, composing and playing. Contemporary folk tunes, songs and dances may use the styles, forms and structures of the traditional material for inspiration, as well as being influenced by other traditions and other types of music.Donations provide immediate support. But even more than that, they prove that so many people value what we do – helping us to secure funding from partner organisations.
English Folk Music encompasses strong regional traditions that are evident through differences of style, form, purpose and instrumentation. There is rarely one ‘true’ version of a tune. One tune will have different variations in rhythm, pitch and melody depending on the place in which you hear it, and how the tune is used e.g. if it is being used for accompanying dancing, or it is being played on its own. Tunes also vary depending on how folk collectors transcribed them, and subsequently shared them in publications etc. The diversity and variety of tunes is an important characteristic of the music.
You can hear English Folk Music at sessions and concerts, at social dances (ceilidhs/barn dances) and with performance dance (morris, rapper, clog, longsword etc.) and at festivals, competitions and celebrations (religious and secular).
What is English folk song style?
English Folk Music is often recognised as being music that contains elements passed on from one generation to another often with some element of oral (or aural) transmission – that is, it is passed from one person to another learning by ear rather than from books or recordings or written notation.
English Folk Music is often recognised as being music that contains elements passed on from one generation to another often with some element of oral (or aural) transmission – that is, it is passed from one person to another learning by ear rather than from books or recordings or written notation. That is only one aspect of folk music though, and nowadays (and in the past) many people learn music and songs from recordings of other singers or find material in books.English Folk Music is a diverse and broad genre made up of songs and tunes from across the country. There are also strong connections with related traditions of the British Isles, Europe, America, and further afield. There are 15 possible key signatures and, in theory, 21 possible keynotes (A, A#, Ab; B, B#, Bb; C, C#, Cb; D, D#, Db; E, E#, Eb; F, F#, Fb; G, G#, Gb). Of the 15 x 21 =315 scales that it is possible to generate, however, 43 are either unviable or duplicates. For example, any D# key (Major, Minor or whatever) contains exactly the same note pitches as its equivalent Eb key. Here is a table of the theoretical possibilities, with the unviable and duplicate scales indicated in red text: This article should be studied in conjunction with the article Tune Analysis: How To Dissect, Interpret and Categorize Anglo-American, Celtic and English Folk Melodies
Celtic, Anglo-American and English folk melodies can be defined as either authentic or plagal. Tunes are divided into these two categories according to where their keynote (almost always their last note) is positioned in relation to the other notes. In an authentic scale the keynote is at the extreme end (usually but not always at the bottom end) of the scale. In contrast, plagal scales have a keynote that is positioned about half way between the lowest and highest notes in the scale. [Roud, Steve and Bishop, Julia (2012) The New Penguin Book of English Folk Songs, pp. lii-liv.] Analysis is complicated, however, because, in Celtic, Anglo-American and English folk song, tunes that present as authentic may have one or more notes that dip below or, more rarely, above the keynote. Such tunes are best categorised as mainly authentic, and such notes are best described as sub-keynotes if they are below the keynote, and super-keynotes if they are above the keynote. A further complication is that the judgment as to whether a tune is mainly authentic or plagal is subjective and can be difficult to call.
In addition, it is very rare for Celtic, Anglo-American and English folk songs to be notated in remote keys with more than 4 sharps or flats in them; here is a table with the remote keys edited out:
With regard to Celtic, Anglo-American and English folk songs the question can be further simplified. There are practically no Locrian or Lydian scales and the Phrygian scale is rare. Furthermore most Celtic, Anglo-American and English folk songs are notated into keys with no sharps or flats in the key signature (i.e. keys such as C# minor, Bb Major, etc. are usually avoided). Here is a simplified table that is applicable to nearly all Celtic, Anglo-American and English folk songs:
There are four scales commonly used in Celtic, Anglo-American and English folk songs: the major scale (also known as the Ionian scale), the Mixolydian scale, the Dorian scale and the Aeolian (also known as the natural minor) scale. Three of these four scales, namely the Mixolydian, the Dorian and the Aeolian or natural minor scale, have a tone as their seventh interval.It is very unlikely that this work is public domain in the EU, or in any country where the copyright term is life-plus-70 years. However, it is in the public domain in Canada (where IMSLP is hosted) and other countries where the term is life-plus-50 years (such as China, Japan, Korea and many others worldwide). As this work was first published before 1928 or failed to meet notice or renewal requirements to secure statutory copyright with no “restoration” under the GATT amendments, it is very likely to be public domain in the USA as well.
Content is available under the Creative Commons Attribution-ShareAlike 4.0 License • Page visited 127,395 times • Powered by MediaWiki • Switch back to classic skinIt was originally commissioned by the band of the Royal Military School of Music and called just Folk Song Suite. The following year, when the piece was arranged for full orchestra, it acquired the word ‘English’ at the beginning of the title.
What are all the folk songs in English Folk Song Suite?
Adkins conducting. In three movements, the suite contains many different folk songs from the Norfolk and Somerset regions of England, including Seventeen Come Sunday, Pretty Caroline, Dives and Lazarus, My Bonny Boy, Green Bushes, Blow Away the Morning Dew, High Germany, and The Tree So High.
Vaughan Williams was a proudly British composer. He adored his homeland, having been born in the idyllic Gloucestershire village of Downampney. Alongside his fondness for native landscapes, Vaughan Williams was also rather sentimental about Britain’s musical history. The existence of military bands was something he recognised as being crucially important to the UK’s cultural and community life. so, in 1923, he composed his English Folk Songs Suite for them.The Suite contains many different folk songs from the counties of Norfolk and Somerset, including ‘Seventeen Come Sunday’, ‘Pretty Caroline’, ‘Dives and Lazarus’, ‘My Bonny Boy’, ‘Green Bushes’, ‘Blow Away the Morning Dew’, ‘High Germany’, and ‘The Tree So High’.
The three movements are a ‘March’, an ‘Intermezzo’, and another ‘March’ based on four folk songs from Somerset. It originally had a fourth movement, ‘Sea Songs’, which was played second, but the composer removed it after the first performance and published it separately.An important part of core literature for concert band, this three-movement suite treats traditional melodies with remarkable originality and subtle charm. The movements are titled March: Seventeen Come Sunday; Intermezzo: My Bonny Boy and March: Folksongs from Somerset. Now available with newly edited and engraved full score and parts.
The second movement is Intermezzo: My Bonnie Boy which opens with an oboe solo to the tune of My Bonnie Boy and is interrupted by the tune Green Bushes which is more upbeat and dance-like than the slow, emotional opening. The movement ends with a fragment of the original melody. The third movement is a march called Folk Songs from Somerset which opens with a light introduction of four measures before the first melody, the folk song Blow Away the Morning Dew, played by a solo cornet. The second melody, High Germany, is played by the lower instruments and transitions into The Tree So High’ and John Barleycorn before repeating back to the beginning of the movement.
Folk Song Suite was commissioned by the band of the Royal Military School of Music. It was premiered on 4 July 1923, at Kneller Hall, H.E. Adkins conducting. In three movements, the suite contains many different folk songs from the Norfolk and Somerset regions of England, including Seventeen Come Sunday, Pretty Caroline, Dives and Lazarus, My Bonny Boy, Green Bushes, Blow Away the Morning Dew, High Germany, and The Tree So High. Historically, the suite is considered (along with Gustav Holst’s two suites for military band) to be a cornerstone work in the literature, and one of the earliest “serious” works for the wind band.
What are the characteristics of English folk song?
English Folk Music is often recognised as being music that contains elements passed on from one generation to another often with some element of oral (or aural) transmission – that is, it is passed from one person to another learning by ear rather than from books or recordings or written notation.
The older version published by Boosey & Hawkes is full of errata, both minor and major. The following errata applies to the 2008 revised edition published by Boosey & Hawkes and distributed by Hal Leonard.Both folk songs used in the Intermezzo deal with love betrayed, and Vaughan Williams’s keen sense of orchestration is on full display throughout this movement. My Bonny Boy begins the movement in a lonely F dorian with sparse accompaniment. The mood shifts slightly to the folk song Green Bushes set as a somewhat playful scherzando. The pace of this folk song belies the fact that the tonal center has remained F dorian, and thus never really feels happy or jovial.
The third movement, Folk Songs From Somerset, uses four different folk songs dealing loosely with unattainable love. Blow Away the Morning Dew, describes a country boy attempting to seduce a girl who quickly outwits him. The second folk song, High Germany, is about a young English woman’s lover and her three brothers being called off to war in Germany. Thirdly, Vaughan Williams modified a version of “The Trees They Do Grow High” which deals with a young woman who has been wed by her father to a much younger boy. The final folk song is John Barleycorn which is an allegory representing the harvesting of barley, and the imbibing of its final form (beer and whisky). accompaniment in upper winds.Ursula Vaughan Williams, die Tochter des Komponisten, schreibt in der Biographie über ihren Vater: Die English Folk Song Suite war eines der Werke, welches mein Vater besonders gern in Angriff nahm, weil es ihm Freude machte, mit einem neuen Medium zu arbeiten. Ein Militärblasorchester war eine willkommende Abwechslung von seinen üblichen Arbeiten. Ausserdem war es noch nicht so lange her, als er in seiner eigenen Militärdienstzeit zur Genüge die vielgespielten, seichten Unterhaltungsstücke gehört hatte. Er dachte, wirkliche Musik zu spielen, müsste für die Militärmusiker eine angenehme und willkommene Erfahrung sein”. If you agree, we’ll also use cookies to complement your shopping experience across the Amazon stores as described in our Cookie Notice. This includes using first- and third-party cookies, which store or access standard device information such as a unique identifier. Third parties use cookies for their purposes of displaying and measuring personalised ads, generating audience insights, and developing and improving products. Click ‘Customise Cookies’ to decline these cookies, make more detailed choices, or learn more. You can change your choices at any time by visiting Cookie Preferences, as described in the Cookie Notice. To learn more about how and for what purposes Amazon uses personal information (such as Amazon Store order history), please visit our Privacy Notice. Some promotions may be combined; others are not eligible to be combined with other offers. For details, please see the Terms & Conditions associated with these promotions.To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyses reviews to verify trustworthiness.He took me upon his assembled knees And looked me quite hard in the face, He gave unto me one sweet smile and a kiss But his heart’s in another girl’s breast.O Polly dear, O Polly dear, The rout has now begun And we must march away At the beating of the drum: Go dress yourself all in your best And come along with me, I’ll take you to the cruel wars In High Germany. O Harry, dear Harry, You mind what I do say, My feet they are so tender I cannot march away, And besides, my dearest Harry, Although I’m in love with thee. I am not fit for cruel wars In High Germany. I’ll buy you a horse, my Love, And on it you shall ride, And all of my delight shall be Riding by your side; We’ll call at ev’ry ale house, And drink when we are dry, So quickly on the road, my Love, We’ll marry by and by. O cursed were the cruel wars That ever they should rise And out of merry England Press many a lad likewise! They press’d young Harry from me, Likewise my brothers three, And sent them to the cruel wars In High Germany.
