Folk Song for January 2025: Keys Of Canterbury

"The Keys of Canterbury” (some versions say “to Canterbury”) is a dialogue song from England, similar to “A Paper of Pins,” a song which is better known in the United States and which you can read about here.  The verses are often performed in turn by a male and a female singer. The song is sometimes titled “Madam, Will You Walk?”

Lyrics 

This version is from the Contemplator folk song website.

O Madam, I will give you
The keys of Canterbury,
And all the bells in London
Shall ring to make us merry.
If you will be my joy, my sweet and only dear,
And walk along with me, anywhere.

I shall not, Sir, accept of you
The keys of Canterbury,
Nor all the bells in London,
Shall ring to make us merry.
I will not be your joy, your sweet and only dear,
Nor walk along with you, anywhere.

O Madam, I will give to you
A pair of boots of cork,
The one was made in London,
The other made in York,
If you will be my joy, my sweet and only dear,
And walk along with me, anywhere.

I shall not, Sir, accept of you
A pair of boots of cork,
Though both were made in London,
Or both were made in York.
I will not be your joy, your sweet and only dear,
Nor walk along with you, anywhere.

O Madam, I will give you
A little gold bell,
To ring for your servants,
And make them serve you well.
If you will be my joy, my sweet and only dear,
And walk along with me, anywhere.

I shall not, Sir, accept of you
A little gold bell,
To ring for all my servants,
And make them serve me well.
I will not be your joy, your sweet and only dear,
Nor walk along with you, anywhere.

O Madam, I will give you
A gallant silver chest,
With a key of gold and silver
And jewels of the best.
If you will be my joy, my sweet and only dear,
And walk along with me, anywhere.

I shall not, Sir, accept of you
A gallant silver chest,
With a key of gold and silver
And jewels of the best.
I will not be your joy, your sweet and only dear,
Nor walk along with you, anywhere.

O Madam, I will give you
A broidered silken gownd,
With nine yards a-drooping
And training on the ground,
If you will be my joy, my sweet and only dear,
And walk along with me, anywhere.

O Sir, I will accept of you
A broidered silken gownd,
With nine yards a-drooping
And training on the ground,
Then I will be your joy, your sweet and only dear,
And walk along with you, anywhere.

Video Links

We recommend the following videos:

Lisa Theriot’s recording 

This slightly slower version, from the album Nevermind Catherine's Chants Of Love And Death (2009)  . The Youtube video shows performers from the dance studio “Kadans.” 

Families with younger children may enjoy this less “arty” but very fun Wiggles video, titled “Madam Will You Walk,” from The Emma and Lachy Show. (Note that it refers to the “keys of Cheshire” rather than Canterbury.)

One upbeat (more contemporary) recording is by the folk group Show of Hands from their album Arrogance Ignorance and Greed, but we add the caution that they insert an original verse which contains mild profanity.

Our helpful intro post is sure to liven up your folk song adventures.

For more information on our folk songs, and for Amazon affiliate 

links to purchase individual songs, see our AO Folk Songs page.

These affiliate links help support AmblesideOnline. 

Folk Song for November 2024: I's the B'y

“I’s the B’y” (sometimes spelled “I’se the B’y”) is a dance song from the Canadian province of Newfoundland. Its authorship is unknown; it became widely known in the mid-twentieth century after it was published in at least two collections of folk songs. The title, for anyone not understanding the Newfoundland dialect, means “I’m the Boy” or “I’m the Guy.” 

It is not necessary to define all the vocabulary used in the song, or turn the places named into a geography lesson, but it is important to point out that the words are not nonsense but words relating to life in Newfoundland, particularly the business of fishing. There is an interesting article with definitions here. You can also read more about the song here.

Lyrics 

1. I's the b'y that builds the boat

And I's the b'y that sails her

I's the b'y that catches the fish

And brings them home to Liza

Chorus: Hip yer partner, Sally Thibault

Hip yer partner, Sally Brown

Fogo, Twillingate, Moreton’s Harbour

All around the circle!

 

2. Sods and rinds to cover your flake

Cake and tea for supper

Codfish [caught] in the spring o’ the year

Fried in maggoty butter.

(Chorus)

3. I don't want your maggoty fish

They're no good for winter

I could buy as good as that

Down in Bonavista.

(Chorus)

4. I took Liza to a dance

As fast as she could travel [or, Faith, but she could travel]

And every step that she did take

Was up to her knees in gravel.

(Chorus)

5. Susan White, she's out of sight

Her petticoat wants a border

Old Sam Oliver in the dark

He kissed her in the corner.

(Chorus)

Video Links

We suggest the following recordings:

Great Big Sea

Ryan’s Fancy, from their album Times to Remember 

“I’se the B’y” is included in Sharon, Lois and Bram’s “Newfoundland Jig Medley.” 

Our helpful intro post is sure to liven up your folk song adventures.

For more information on our folk songs, and for Amazon affiliate 

links to purchase individual songs, see our AO Folk Songs page.

These affiliate links help support AmblesideOnline.

Folk Song for October 2024: Early One Morning

“Early One Morning” is an English folk song apparently dating to the eighteenth century, yet which sounds like it belongs to an even earlier time, perhaps of minstrels with lutes. (Canadians over a certain age may associate it with the sound of harps and recorders, as it was the theme of the Friendly Giant children's T.V. show.)

Someone has commented that it’s a very cheery song in spite of its tale of lost love, and perhaps that has contributed to its longevity. Nineteenth-century music publisher William Chappell wrote that “If I were required to name three of the most popular songs among the servant-maids of the present generation, I should say, from my own experience, that they are Cupid's Garden, I sow'd the seeds of love, and Early one morning.” However, its popularity was not limited only to servants;  composers such as Benjamin Britten and Percy Grainger also arranged the song as a choral work, and it was incorporated into longer pieces such as the Nell Gwyn Overture by Edward German.

Lyrics

As with many folk songs, this song has different versions. These are the lyrics most typically heard.

Early one morning,
Just as the sun was rising,
I heard a young maid sing,
In the valley below.

CHORUS:
Oh, don't deceive me,
Oh, never leave me,
How could you use
A poor maiden so?

Remember the vows,
That you made to your Mary [made to me truly],
Remember the bow'r,
Where you vowed to be true,
Chorus

Oh gay is the garland,
And fresh are the roses,
I've culled from the garden,
To place upon [bind on] thy brow.
Chorus

Thus sang the poor maiden,
Her sorrows bewailing,
Thus sang the poor maid,
In the valley below.
Chorus

Video Links

We suggest these recordings: 

Nana Mouskouri, from her album Quand tu chantes. Nana’s lyrics are a bit different from those we have given above.

This acapella arrangement from the CD “Early One Morning” by Diane Sutherland and Bruno “Elevteros” Libert.

The Celtic Ladies have an arrangement that we think might have met with the approval of our friend and Advisory colleague Lynn Bruce. 

Our helpful intro post is sure to liven up your folk song adventures.

For more information on our folk songs, and for Amazon affiliate 

links to purchase individual songs, see our AO Folk Songs page.

These affiliate links help support AmblesideOnline.

Folk Song for September 2024: The Whistling Gypsy (Gypsy Rover)

“The Whistling Gypsy” or “Gypsy Rover” is an example of a folk song written by one composer, Leo Maguire, but which has its roots in much earlier Irish songs that were transported to Appalachia. In earlier versions, a married woman is abducted by someone posing as a “Gypsy,” and things do not end well. However, Maguire set out to write a song with a happier ending. Here is an article with more background information (please preview before sharing with children). 

The song was first recorded in 1952, and became well known through that decade and the next because of the increasing popularity of folk music. The running joke about this song is that you don’t ask which folk group recorded it, you ask which ones (if any) didn’t. You really cannot go very wrong with any recording, from the Clancy Brothers to the Irish Rovers to the Seekers, or even the Wiggles.

It seems important to point out that the word “Gypsy” is not without its controversy, even though the “Gypsy” in question turns out to be a wealthy landowner in disguise, and not a member of the Roma/Travellers/Gypsy people. As the Limeliters pointed out in the introduction to their 1961 recording, his real attraction may have been his talent for whistling.

This song is especially dear to those who were taught to sing it by our friend and Advisory colleague Wendi Capehart.

(Photo of Wendi at our first AO conference in Dallas, 2005)

Lyrics 

As the song is under copyright, we suggest using the lyrics on Tommy Makem's website. (Updated July 2024)

Video Links

The Clancy Brothers and Tommy Makem perform the song for a 1962 PBS T.V. special

The Irish Rovers from their album Gems

The Seekers (with lyrics)

 And here is one more lively version:

Bernie Heaney, from her album Pictures in the Clouds

Our helpful intro post is sure to liven up your folk song adventures.

For more information on our folk songs, and for Amazon affiliate 

links to purchase individual songs, see our AO Folk Songs page.

These affiliate links help support AmblesideOnline. 

Introducing the AO Folk Songs for 2024-2025

 TERM 1

The Whistling Gypsy (Gypsy Rover)

Early One Morning

I’s the B’y

TERM 2

Keys of Canterbury

Mairi’s Wedding

All Through the Night (Welsh: Ar Hyd y Nos)

TERM 3

When You And I Were Young, Maggie

Leave Her, Johnny (sea shanty)

Nobody Knows the Trouble I’ve Seen

Some of you may remember these songs from the last time we worked our way through the cycle of folk songs. But if you're new here, and even if you're not, we think you'll get more out of these songs if you read the blog posts we've put together for them.

For selected video links, please visit our Folk Songs page at AmblesideOnline.org. 

We are also featuring each folk song on its very own post here on Archipelago, linked in the list above. These posts will be linked from the AO Folk Songs page, too. This way, when you start preparing to introduce a new song, it will be easy as pie to click straight to that song's blog post. Be sure to check out each song's post for recommended lyrics and recordings, and interesting info about each song.

And Now For A Few Helpful Hints

If you’re new around here (and if so, welcome and we’re so glad you’re here!), please (we beg you!) read/re-read Wendi Capehart’s post Folk Songs: Some Back Story. It'll do you good.

Then read her brief but terrific introductory comments here, where she shared some of her easy but brilliant ideas for living the folk singing life.

You may also enjoy this essay by Lynn Bruce: Folk Songs, Unplugged. 

And if you’re still not quite sure why we AO folks make such a fuss about singing, please read Folk Songs: Some Real Life Experiences for a hearty dose of encouragement. 

Here's to another great year of singing! 

For Me

by Donna-Jean Breckenridge

When my oldest daughter Bethany was just about six years old and our 'only,' I had begun using the 'Picture Study' that is one of the many hallmarks of a Charlotte Mason education. Simply put, it's to show a child a print of a great work of art (usually doing around six works of the same artist, over several weeks), letting them see it silently for a minute or two, and then having them, without looking at it, tell back what they've seen. That process is called narration - and that's it. No lecture, no added biography or lessons, no big teaching, just that. The painting speaks to the child. Then the print is usually hung nearby for that next week or so. 

We were doing Rembrandt. I had gotten prints from a respected family-company, and there were some interesting notes that went with it that helped me understand a bit more about Rembrandt. So one day at lunch, which was when we always had Picture Study, I showed her the large print I had gotten of Rembrandt's "Raising of the Cross." 

It's not a happy picture - Christ's nearly naked body is lit up on a diagonal, as the cross is being raised upright. There aren't the usual gashes or streaks of blood, but it's intense, nonetheless. Surrounding the cross, in increasing darkness, there are people - most notable is a man helping to lift the wood in place. He's dressed in clothes that don't fit Bible times - he's got a blue beret, and it's easy to understand that it's a self-portrait. Rembrandt put himself at the scene of the cross as one of the very people who crucified Jesus. It's jarring, haunting, even disturbing, and I admit that I wondered if I was introducing something too intense to my little girl.

There's another dominant figure in the painting - though not as significant as Christ and the self-portrait of Rembrandt. It's a man on a horse - like a centurion - looking official and noble. He's looking directly at the viewer - which is very different, even troubling - and his hand is outstretched. He's got something in his hand - and it appears to be a sword. But - the sword is held backwards - he's extending it hilt side out - so that you, the viewer, would grab it as if to use it yourself. Rembrandt seems to be saying, "I was there, I'm the reason Christ died, my sin is what crucified him - and now take the sword because you're a part of it, too."

Several days after this Picture Study moment, Bethany asked if she could paint. I always felt reluctant to get out the paints - it seemed as though I'd set up the easel in the kitchen, find the paints and brushes, spread newspaper on the floor, and her art time would take less than the time it took me to put it up and clean it afterwards. But that day I didn't make an excuse or try to distract her, and instead I found something else to do (no doubt something I thought was so vital at the time, but probably was very insignificant) while she fussed with her own art time. 

After a little while, I saw her painting. On her own, with garish, bold colors and with stick figures, she painted a kind of narration of Rembrandt's Raising of the Cross. There was Christ, hanging on the tree, and beside him was a little girl, her long yellow braids evident, holding her own sword, with a tearful face. 

The 27-year-old Dutch master had spoken across three hundred and fifty years to help my little girl see her part in Christ's death on the cross. There is no junior Holy Spirit. God speaks to children, too - and uses means we often think are too hard, too difficult, too complicated. 

I've never forgotten that - and the power of the truth of Good Friday. I have sometimes struggled with Good Friday services that focus on intense medical analyses of the torture Christ suffered - but I know I need to hear it. So I sit through whatever is presented, whether the details of the crucifixion, a dramatic or choral portrayal (grateful - or wishing - I was in it), or even an afternoon of the seven last words from the cross (like when I was a kid) - to remember that this is what Jesus did for me. I was there, because I was on His mind. It's all for me. 

I know it from the Gospels, from Rembrandt, and I know it from my own child. 

Connecting and Coffee

by Anne White

A few years ago, my husband and I bought an electric coffee percolator. We usually make a potful in the late morning, and spend our “coffee break” together before going back to whatever we’re working on. I had thought for awhile that it might be nice (and a bit Mitfordish) to grind our own beans, so when we saw not one but three different electric grinders at the thrift store, we picked out one that looked clean and sturdy. It even came in its original box, which we thought was a good sign.

However, packaging isn’t everything.

We bought a bag of coffee beans, watched someone’s “unboxing” video online, and prepared to grind. We plugged it in, the motor ran, and a few of the beans got a bit chewed up, but it obviously wasn’t working properly.  Did we have one of the parts in upside down? Was anything jamming the works? No, everything seemed fine. My husband, ever ready with the screwdriver, took the thing apart, and he saw the problem: the drive shaft was broken, so the grinding burrs wouldn’t turn. It didn’t matter how clean or new it looked, what kind of coffee we used, or for what grind we set it. Without that main connection, the machine was useless. My husband snipped off the cord (those often come in handy) and put the rest aside as e-waste.

Is there an educational metaphor in a broken grinder? In a Herbartian view of education, we might ourselves be viewed as machines in need of replacement parts. Should we say that students (or other people) who lack drive are useless, and, worse, unrepairable? Perhaps yes to the first, but no to the second. Since we hold to a more organic view of the mind, we can also take confidence in the work of the Spirit that strengthens both our “drive” and our ability to connect, to see and form relationships.

I think we got more out of our dud coffee grinder than just an extra cord.

P.S. I heard an interesting thought about the quality of coffee beans, too, but I'll save that for another post.