<H2>Tunes in Ballad Operas Published With Music:</H2>

Titles of Tunes in Ballad Operas Published With Music:

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File BALOP.HTM, Latest additions/corections, Nov. 13, 1998

A more extensive index: Tunes are stress-note and scale degree coded in the microfiche National Tune Index, 1980. Search by tune title, or by ballad opera. This index also includes ballad operas that cite tune for songs, but doesn't print them.


More information about the tunes than given here will be bound in Carolyn Rabson and Kate Van Winkle Keller's National Tune Index, but this index will show you what tunes are available and what ballad operas to find them in.

This is a new listing of tunes in ballad operas that printed the tunes called for. A previous listing was given by Wm. Barclay Squire in The Musical Antiquary, II, pp. 1-17, 1910, but he wasn't careful to note when a title is sometimes a different tune than the usual one, eg., "Butter'd Pease" in The Female Parson is not that in other ballad operas, but see that title in index for identification of that mistitled tune. 'There was a jovial beggar-man' in Sylvia is not 'Jovial Beggar' that appears in other ballad operas. Barclay Squire has also not cross-referenced in several cases the same tune under different titles, e.g., 'Bonny Jean' and 'My bonny Jean,' or 'Past one o'clock' and 'At past one o'clock'. "Bonny Bush", "Peggy grieves me" and "Hear me ye nymphs" are the same tune as "The Bush aboon Traquair". Barclay Squire gives as #20 in Flora 'Ranting Roaring Willy' which is actually called for as #20*, for which no tune is given, #20 being 'Come open the door sweet Betty,' which he does not list for Flora. There will certainly be some deficiencies here also.

There is no possibility of getting everything correct. Some ballad operas underwent revisions during their runs, and contents of various editions varied slightly. For many ballad operas the music is given along with text, but words are not given directly under the music lines, and in many cases the music is from a stock engraving. One sees the same engraving many times in ballad operas printed by John Walsh. For others the music was newly engraved and bound in at the end.

The tune as given, is, in some cases, not in an arrangement that will fit the song given at all well. This is particularly the case in "She got money by the bargain," #7, in Flora, 1729, for the song commencing "The terrible law" (tune also in LOR). This was remedied by a revision of the tune in the following year for its appearence in Songs in Flora's Opera (Folger Shakespeare Library, a pirated reissue of 1737 is Songs in Flora, Library of Congress). Now this tune, originally appearing as "The Jockey" in The Dancing Master of 1688, with the later additional title "Four pence half-penny farthing," becomes the obvious original of the Scots "Over the Water to Charlie" or the Irish "Shambuy" (Sean Buidhe). Thus when Captain Morris in the late 1780's cited the tune "The Terrible Law, or Shawnbuee" for "The Plenipotentiary" he undoubtably took these as English and Irish names for the same tune. (The very slender evidence that Captain Morris was himself an Irishman is discussed in O'Donoghue's The Poets of Ireland.)

Barclay Squire does not index untitled airs, and I have here only partially done so. Sources of some, but not all, untitled airs are here given in a supplementary list, after the main index. The following ballad operas are not in Barclay Squire's source list; The Wedding, The Jovial Clown, the condensed one act version of The Devil to Pay, Henry Carey's The Honest Yorkshireman, and The Mock Lawyer. The latter is not in any list I have seen of ballad operas printed with music, but C. M. Simpson in The British Broadside Ballad and Its Music, pointed out several tunes in it. Nineteen unnumbered and untitled tunes (for twenty-two songs) are given at the end of copies in the Library of Congress, and the Huntington Library. BUCEM lists no copy with music in the British Isles. I have not seen copies of a very few ballad operas, and the contents of these are taken from Squire's listing. These are noted in the source listing below.

Some tune citations in the ballad operas call for tunes not by the earlier popular title but by the opening line of a song in an earlier ballad opera, and I am sure I have not caught and correctly identified all of these. There are instances of mistaken tune titles also in the ballad operas, and I have at last found that the reason for the strange tune title "Jockey has gotten a wife" for the tune "Butter'd Peas" (Reel of Stumpie) in The Female Parson, 1730 and the strange tune there for "Butter'd Peas" is that the titles of the two tunes were switched around.

A three or four letter key is used as a source code, and the number following it is the number of the tune if such is given, and the page number if not. A few ballad operas start tune numbering anew in each act, and in these cases the act number is added to the source key, as, for example, BWD3 for Act 3 of The Beggar's Wedding.

Notes placed in brackets refers to the original tune and/or its song, not the song in the ballad opera.

Many of these tunes were used for 17th century broadside ballads, and the reader is referred to C. M. Simpson, The British Broadside Ballad and Its Music, 1966, cited here as BBBM . Simpson's index is so well cross- referenced, so I have given page number references or alternative title only when absolutely required. For 18th century tunes Wm. Chappell's Popular Music of the Olden Time, two vols., n.d (1855-9), cited as PMOT, is still often useful. Much of this has been superseded, but not all in any one source.

Many of the tunes here are from songs of c 1700-30, and appear in songbooks with and without music, and some of these are moderately well known. Many also apparently first appeared as single sheet songs with music, but these can rarely be dated with any accuracy. BUCEM has estimated dates for all of these, but it is obvious that some of BUCEM's dates are in error by many years, sometimes being put much too late, as for "To the hundreds of Drury I write," in the index. Early single sheet song with music issues cited are from copies in the Folger Shakespeare Library unless otherwise noted.

Sources: The Ballad Operas printed with Music.

The copies examined and listed in parenthesis below contain the music unless otherwise noted. For some ballad operas where there is only one known edition. Most of the copies in the Library of Congress, Rare Book Division, are in a multi-volume collection of plays with up to about six bound together into a single volume. It appears that for most ballad operas with music bound in at the end, the music was stripped off before binding it together with the other works.

BOP: The Beggar's Opera, 1728. John Gay. 69 Airs. London: J. Watts (Folger, Library of Congress, Music Div.)

COP: The Cobler's Opera, 1728. [Lacy Ryan]. 30 Airs. Tune listings here from Dublin ed. of 1729, without music. (Folger). London: T. Wood and sold by J. Roberts, 1729, 31 airs - Huntington Lib.

PEN: Penelope, 1728. [John Mottley and Thomas Cooke]. London: Tho. Green and Charles Davis. 14 airs. (Folger and Lib. of Congress, Rare Book. Latter copy not examined.)

QOP: The Quaker's Opera, 1728. [Tho. Walker] 26 airs. London: J. Watts (Folger and Lib. of Congress, Rare Book. Latter copy not examined.)

PLY: Polly, 1729. Written by Mr. [John] Gay. 54 airs. London: Printed for the Author. (Folger, without music, Lib. of Congress, Music Div., with music)

LRD: Love in a Riddle, 1729. Written by Mr. [Colley] Cibber. London: J. Watts. 18 airs [unnamed] (Folger) Here, as Barclay Squire did, the first lines of the songs are listed. Squire indexed afterpc. version, Damon and Phillida , 1765, but contents seem to be the same. (Folger)

VOP: The Village Opera, 1729. [Johnson]. London: J. Watts. 63 airs + a new song. (my own, Folger and Lib. of Congress, Rare Book)

FLR: Flora, 1729. John Hippisley. 25 airs. S14. (Here from 5th edit., London: J. Jones. 1736. Folger.) Tunes are better arranged to fit the songs in Songs in Flora's Opera, (1730), but this deletes tunes listed here as #2, #19, 20*, #21, and #22. (Folger) and Songs in Flora, 1737. (Lib. of Congress)

WED: The Wedding, 1729. By Mr. [Essex] Hawker. London: W. Mears ...sold by S. Birt. 23 airs. (Folger)

PAT: The Patron, n.d. [1729]. By Mr. [Thomas] Odell. London: W. Pearson for John Clarke. 20 airs. Music is much more elegantly engraved than in any other ballad opera, with song lines below staff as in songbooks with music. (Folger and Lib. of Congress, Rare Book. Latter copy not examined)

LOP: The Lover's Opera, The Third Edition. 1730. By Mr. [Thomas] Chetwood. London: John Watts. 32 airs. (Folger. A 1729 edition in Lib. of Congress, Rare Book, does not contain music. This 3rd edit. seems to be earliest to contain the music.)

BWD: The Beggar's Wedding, 4th ed., 1729. By Mr. Chas. Coffey. London: John and James Knapton. 54 airs. (Folger) For Act 3, #20, there is no song or tune in this edition. BUCEM lists apparent 1st edition, with music, printed by N. Rich. 2nd edition, printed by the Knaptons, does not contain music. 5th edition, 1733, does not contain music. BUCEM also lists two editions of Songs in.. Beggar's Wedding.]

MTF: Momus turned Fabulist, 1729. [Eben. Forrest] London: J. Watts. 42 airs. (Lib. of Congress, Rare Book) CMD: The Chambermaid, 1730. [Edw. Phillips] [condensation of VOP]. London: J. Watts. 28 Airs. (Folger)

FLD: The Fashionable Lady; or Harlequin's Opera, 1730. by Mr. [James] Ralph. London: J. Watts. 68 airs. (Folger and Lib. of Congress, Rare Book. Latter copy not examined.)

PPG: Patie and Peggy: or, The Fair Foundling, 1730. [Theo. Cibber's recasting of Allan Ramsay's The Gentle Shepherd] London: J. Watts. 22 airs. (Folger and Lib. of Congress, Rare Book.)

FPR: The Female Parson: or Beau in the Suds, 1730. By Mr. Charles Coffey. London: Printed for Lawton Gulliver,... and Fran. Cogan. 28 airs. (Folger)

POP: The Prisoner's Opera, 1730. [Edw. Ward] Printed at the [Sadler's] Wells. 11 unnamed airs.

GFM: The Generous Free-Mason: or, The Constant Lady, 1731. By the Author of The Lover's Opera [Tho. Chetwood], London: J. Roberts, 25 airs. (Lib. of Congress, Rare Book.)

RHD: Robin Hood, 1730. [Anon.] London: J. Watts. 19 Airs. (Folger and Lib. of Congress, Rare Book. Latter copy not examined.)

SYL: Sylvia, or the Country Burial, 1731. [George Lillo] London: J. Watts. 63 airs. (Folger)

JCN: The Jealous Clown: or, The Lucky Mistake, 1730. By Thomas Gataker. London: Henry Parker. 12 airs. (Lib. of Congress, Rare Book, but without the music at the end.)

JCW: The Jovial Crew, 1731. Anon. London: J. Watts. 51 airs. (Folger)

HFR: The Highland Fair, or Union of the Clans, 1731. Written by Mr. [Joseph] Mitchell. London: J. Watts. 51 (Scots) airs. (Folger and Lib. of Congress, Rare Book. Latter copy not examined.)

DPY: The Devil to Pay, 1731. Chas. Coffey. London: J. Watts. 42 airs. Not found. Titles from Squire's list. BUCEM lists two copies of the long original version in the British Isles. It was soon shortened to a one act afterpiece version, of which there are many copies and editions. This latter is listed as DPZ below.

DPZ: The Devil to Pay, 1732. (One act afterpiece version) [Theoph. Cibber] London: J. Watts. 16 airs. (Folger. Late edition, 1771, in Lib. of Congress is without music. BUCEM lists an edition of the songs.)

LTY: The Lottery, 2nd ed., 1732. [Henry Fielding] London: J. Watts. 19 airs. (Lib. of Congress); 3rd. edit., 1732 (Folger). Songs in the Lottery. #300, np., nd, (1730. #300 is the catalogue number of John Walsh. Lib. of Congress copy of this latter is bound with Vol. II of Merry Musician.) LTY, 1st edition, 1732, listed in BUCEM, also contains music.

SFL: A Sequel to Flora, 1732. [John Hippisley] 15 airs. London: A. Betesworth, C. Hitch and T. Wood (Folger)

MKD: The Mock Doctor, or the Dumb Lady. 2nd ed. with additional songs, 1732. [Henry Fielding] London: J. Watts. 9 airs. (Folger) [BUCEM lists 1st and 4th editions plus two late ones.]

DDK: The Devil of a Duke: or, Trapolin's Vagaries, 1732. [Robert Drury] 21 airs. 2nd edition, 1732. (Lib. of Congress, Rare Book, copy title page says with music, but probably bound in at end and stripped off in rebinding with other works. BUCEM lists apparent 1st edit. only). Music also in Songs in...The Mock Doctor with music for Devil of a Duke, 1732, which I have not found.

BSL: The Boarding-School, or, The Sham Captain, 1733. [Chas. Coffey] London: J. Watts. 23 airs. (Folger)

ACH: Achilles, 1733. John Gay. London: J. Watts. 54 airs. (Lib. of Congress, Music Div.)

LRK: The Livery Rake, 1733. [Edw. Phillips] London: J. Watts. 18 airs. (Folger and Lib. of Congress, Rare Book. Latter copy not examined)

MLR: The Mock Lawyer, 1733. [Edw. Phillips] London: T. Astley. 19 unidentified tunes for 22 songs. (Lib. of Congress, also in Huntington Library. BUCEM lists no copy with music in British Isles.)

ICM: The Intriguing Chambermaid, 1734. By Henry Fielding. London: J. Watts. 12 airs. (Folger and Lib. of Congress, Rare Book. Latter copy not examined.)

DQX: Don Quixote in England, 1734. By Henry Fielding. London: J. Watts. 15 airs. (Folger. Lib. of Congress has 1754 issue, with music, by same publisher, John Watts.)

OMTW: An Old Man taught Wisdom, (1735) 3rd ed. 1742. Henry Fielding. London: J. Watts. 12 airs. (Folger) [BUCEM lists single copy of 2nd edition, 1735, with music.]

PLT: The Plot, 1735. [John Kelly] London: John Watts. 10 airs. (Folger)

MCB: The Merry Cobler: or, the Second Part of The Devil to Pay. 1735. By Mr. [Charles] Coffey. London: John Watts. 17 airs. (Lib. of Congress, Rare Book)

TFT: Trick for Trick, 1735. By R. Fabian. London: John Watts. 10 airs. (Folger and Lib. of Congress. Latter copy not examined)

HYK: The Honest Yorkshireman, (1736) 1763. Henry Carey (who composed and/or compiled 21 airs.) London: T. Lounds. Songs with music published in 1736 by J. Walsh in Songs in the new farce call'd The Honest Yorkshireman . Not seen. BUCEM lists a single copy in British Isles. Tunes here from 1763 issue without music (Folger and Lib. of Congress, Rare Book)

LOR: The Lover his own Rival, (1736) 1753. By Mr. [Abraham] Langford. London: J. Watts. 17 airs. I have not seen the 1736 issue for which BUCEM lists two copies in the British Isles. The second issue, 1753, by the same publisher, also contains the music (copies in Folger and Lib. of Congress, Rare book. Latter copy not examined.)

DEC: The Decoy, 1733. [Henry Potter] London: Printed for.. T. Osborn. 52 airs. Untilted tunes are #'s 2, 4, 8, 9, 15, 24, 25, 33, and 50. Huntington Library copy, 1733, is missing the music. WHM: The Whim, or the Miser's Retreat, 1734. London: J. Watts. 13 airs.

BSH: Britons Strike Home, 1739. Edward Phillips. London: J. Watts. 8 unnamed airs. (Folger and Lib. of Congress, Rare Book. Latter copy not examined. BUCEM lists only one copy in the British Isles.)

[Untitled tunes and many descriptive titles in separate list at end, e.g., March, Cotillon, Minuet, Dance, etc.]

Index - Alphabetical Listing of Tunes Printed in Ballad Operas

Abbot of Canterbury [BBBM]; PEN 8: A Cobler there was; BOP 56: The Abbot of Canterbury; VOP 19: Abbot of Canterbury; BWD3 6: A Cobler there was, &c.; FLD 1: The Abbot of Canterbury; DPY 9: Abbot of Canterbury; BSL 14: Abbot of Canterbury; LOR 7: A Cobler there was; MLR 5:

Abroad as I was walking; ACH 20:

Ah how sweet's the cooling Breeze [D'Urfey song, tune by Mr. Croft. Pills, I, 137, 1719]; SYL 62:

Ah! poor Cimon! Dud a cry?; LRD3 14:

Alas! I own, with weeping Eye; LRD3 7 [same tune as, My simple heart is fled away; LRD3 6]:

Alas! what mean I foolish Maid? [BBBM]; SYL 34:

Alexis shunn'd, &c [his fellow swains. SS song, words by M. Prior music Mr. Gouge. wo music in The Hive, I, 72, 1724]; FLD 6:

All in a misty morning [Tune is "The Friar and the Nun". BBBM]; BOP 23: All in a misty Morning, &c; JCW 20: A Beggar got a Beadle, A; HYK 18: The merry Songster; PLT 5:

All in the Downs, &c. [the fleet was moored]; BOP 34: All in the Downs, by Mr. Leveridge; VOP 50: All in the downs, by Mr. Leveridge; CMD 21: Black-ey'd Susan; RHD 9:

All you that must take a leap, &c. [in the dark. SS song set by Ramondon. Song on an excution, also in Pills]; BOP 68:

[Ally Croker. Untitled. By Larry Grogan, see T. Crofton Croker's Popular Songs of Ireland. Later, Alicia Croker's last name changed to Croaker in S. Foote's An Englishman in Paris], 1753, and mostly found under that title later, but early SS issue (BUCEM) gives it as Croker, and a song by G. A. Stevens calls for tune as 'Ally Croker.' Familiar as tune for G. Colman's "Unfortunate Miss Bailey," and S. Woodword's "The Hunters of Kentucky"/ [Untitled, song comm: No more, vain Virgins, boast your Pow'r [Wm. Chappell's identification, but is it correct?]; LRD2 11:

Almanza [Battle of ?]; VOP 10: Almanza, &c.; CMD 3: ? Battle of....[Title incomplete]; COP 17:

Altro Giorno in compagnia; ACH 23:

Amante fuggite cadente belta; PLY 32:Pills, V, 105, 1719. Broadside version in Crawford collection, now on loan to NLS]; LOP 31: Among the Pure ones all; RHD 10:

An Ape a Lyon a Fox & an Ass; PEN 6:

An old woman cloathed in gray [BBBM]; BOP 1:

An Old Woman Lame and Blind, &c, [BBBM]; VOP 18: An old Woman poor and blind; FLD 2:

An the Kirk wad let me be [Scots, "The blithsome Bridal" (I am a silly old man) BBBM, also on single sheets of "The Scotch Wedding" (Blythsome Bridal). Simpson failed to connect the rarer Scots tune title "I am a silly old man" with that on "The Scottish Contract," an undated broadside, c 1675, Euing #323. This contains some of the Scots "The Blithsome Bridal" earlier than found elsewhere.]; PPG 15: An the Kirk wad lat me be; HFR 31: Wully Honey [This is "An the kirk]; OMTW 2:

An thou wert mine ain Thing/ Gin thou wert mine awn thing; BOP 17: An thou wert mine ain Thing; PPG 21: Wert thou but my ain Thing; HFR 16: Gin thou wert mine ane Thing; BSL 20:

And never be drunk again, see To Old Simon the King.

Around the Plains, my Heart has rov'd; LRD3 10: Around the Plains; GFM 4: Arthur a Bland [BBBM]; JCW 2:

As Chloris full of harmless, &c [BBBM]; VOP 51 D 3/4 667 1H76: As Chloe full of harmless Thought, &c; BWD1 4: As Cloris full of harmless, &c; CMD 22:

As Dolly sat milking; SFL 7:

As down in a meadow [I chanced for to pass. The oft printed "original" 18th century song for this tune title has recently proved to be not completely original. See "The Dairy Maid's Tragedy," c 1689-1701, in Pepys Ballads, III, p. 320, 1987]; COP 11: Down in a Meadow; PLY 48: As down in a Meadow, &c.; PPG 6: As down in the Meadow, c.; JCW 29: As down in a Meadow, &c.; ICM 5:

As fair Dorinda sitting was; FLD 32:

As I beneath a Myrtle Shade lay musing; BWD3 13:

As I gang'd down to yonder Town, see Katherine Ogie; BWD3 7:

As I sat at my Spinning Wheel, see Spinning Wheel.

As I walk'd along Fleetstreet; ACH 25:

As I was walking [I heard a maid talking? SS song.]; COP 28: As I was walking; BSL 11:

As I was walking thro' Hydepark [BBBM]; FLR 5:

As I went over London Bridge [This doesn't seem to fit either early copy of the Child ballad "Geordie"]; FLD 42:

As Jockey and Jenny together were laid; BWD2 13: As Jockey and Jenny, &c.; PPG 11: As Jockey and Jenny together were laid; TFT 3: As Jockey and Jenny; DEC 17: Jocky and Jenny; HFR 38: [SS song w/music. Orig. song is also with music in The British Musical Miscellany, II, 55, n.d. (1734), where tune is attributed to Mr. Goughe.]

As love-sick Damon; DEC 35:

As the Snow in Valleys lying [orig. song wo music in The Hive, I, 241, 1724. With music it is in The British Musical Miscellany, I, 62, n.d. (1734). Single sheet song edition names composer as John Weldon.]; LOP 15: As the Snow in the Vallies lying; GFM 1:

As Tipling John, see Tipling John.

At Noon on a sultry Summer's day [SS song, set by Ramondon]; FLR 1:

At past one o'Clock, and a cold frosty Morning, see past one o'Clock.

At Rome there is a terrible Rout, see Which nobody can deny [Greensleeves]

At Winchester was a Wedding, see Winchester Wedding.

Auld lang Syne; HFR 15:

Auld Rob Morris; PPG 10: Auld Rob Morrice; HFR 48:

Away, away Despair!; LRD1 11:

Away, away, we've Crown'd the Day; RHD 7:

Away with Suspicion; LRD2 8:

[Aye, marry, and thank you too. BBBM #] I live in the Town of Lynn; SYL 16: The Bark of Tempest tost; RHD 15:

Bacchus m'a dit; PLY 38:

Bacchus one day gayly striding [orig. song wo music in The Hive, IV, 158, 1732, and with music in The British Musical Miscellany, IV, 90, n.d. (1735), where tune is said to be a minuet by Handell]; DPY 17:

The Baily's Daughter of Islington [BBBM]; JCW 12:

Bark in Tempest tost, See Aye, marry, and thank you too.

Bartholomew Fair [BBBM]; QOP 12: Bartholomew-Fair; WED 5: Barthelomew Fair; BSL 10: Bartholomew Fair; HYK 14:

Bath Medley [used by Tony Aston for song of same title, for which BUCEM lists two single sheet editions as c 1715, and it appears in songbooks later. His song commences "The spring's a coming." The tune had appeared in the Neal's A Choice Collection of Country Dances, Dublin, c 1726, but most of these were not Irish tunes. It was identified as Irish in Vol. I of P. O'Farrell's Pocket Companion for the Irish or Union Pipes, c 1806.]; WED 6: Bath Medley; DPY 28: The Spring's a coming; BWD1 17: Spring's a coming; ICM 8: The Spring's a coming; DEC 21:

Battle of...., [Title incomplete], see Almanza.

Be Valiant still [Scots, from broadside ballad to tune "To Daunton me"]; HFR 24:

Beaus of Pleasure, see Ye Beaus of Pleasure.

A Beggar got a Beadle, see All in a misty morning.

Beggar's Opera. Hornpipe [this tune is not one given in BOP, but place where the hornpipe might have been played has been suggested for this tune]; ACH 34:

Behold, and see thy wounded Lover!; LRD3 12:

Believe my Sighs and Tears, my Dear; TFT 7: [Orig. song with music in The British Musical Miscellany, II, 39, nd (1734). A single sheet edition calls it 'A favourite Scotch Song.]

Bell Chimes; SYL 7:

The Bells shall ring; SYL 13:

Bessy Bell/ O Bessy Bell, &c. [BBBM]; BOP 49: Bessy Bell and Mary Grey; HFR 28: Bessy Bell; MKD 1: Bessy Bell; OMTW 6: Bessy Bell; PLT 4:

Bessy's Haggice; HFR 47:

Birth of Harlequin; DDK 3:

Bishop of chester's Jig [BBBM]; MTF 16:

Black-ey'd Susan, see all in the downs

Black Joke/ Coal-black Joak [Tune of bawdy Irish song for which there are early single sheet issues in Glasgow, Harvard- Marshall, and Folger collections. Harvard copy has been published in facsimile in Music in Colonial Massachusetts, I, p. 26, 1980); BWD1 10: Coal black Joak; FLD 59: Black Joke; LTY 3: Black Joak; GFM 11: Black Joke; ACH 12: Black Joke; DQX 10: Black Joke; WHM 1:

Blith Jockey young and gay; PLY 63: Blith Jockey, young and gay; VOP 48: Blyth Jockey, young and gay; CMD 19: Blythe Jockey young and gay; SYL 3:

blithsome Bridal, see An the Kirk wad let me be.

Blow on ye Winds; SFL 12:

Blowzabella [my bouncing doxie.? Tunes not compared with extended one for D'Urfey's song and with that on a single sheet song "Blowzabel . A Song" commencing "Of Anna's charms let others tell."]; MTF 9: Blowzabella; DEC 52:

Boarding School, see Make your Honours miss

Bob of Dumblain; HFR 4:

The Bob-tail Lass [bawdy song in Farmer's Merry Songs.]; ACH 46:

Bobbing Joan [BBBM. The 17th century English dance tune, not Scots "Key of the Cellar" = Irish "Bob and Joan" or "The Rakes of Stoney Batter".]; PLY 15:

Bonniest Lass in all the World; HFR 36:

bonny Boatman, see Canny Boatman.

Bonny Broom, see O the broom.

Bonny Bush, see Bush aboon Traquair.

Bonny Dundee [BBBM]; BOP 57: Bonny Dundee; HFR 35: Bonny Dundee; BSL 22:

The Bonny gray-ey'd morn [BBBM]; BOP 2: The bonny grey-ey'd Morn; PPG 1: 'Tis Woman that seduces, &c [all mankind, title from song in Beggar's Opera]; MLR 10: [Untitled]; POP 11:

Bonny Jean [of Aberdeen, Scots. "My bonny Jean where hast thou been." In NLS MS 6299, Roxburghe collection]; VOP 25: Bonny Jean; CMD 12: My Bony Jean; FPR3 7:

Bonny Kate of Windsor; MCB 5:

Bonny Lad, come lay thy Pipe down [BBBM]; BWD3 19:

Bonny Lassie, take a Man; HFR 10:

Bonny Nanny O, see Nanny O.

Bright Aurelia, see When Bright Aurelia

Bright Gold may be too dearly bought; LRD3 5:

Brisk Tom and jolly Kate; COP 9:

Britons strike Home; BOP 60: Britons strike home; QOP 26:

[Britons, strike home] Untitled; BSH 1:

The Budgean it is a fine Trade [PMOT]; FLD 22: [Untitled. Budgeon is a delicate trade. The song in QOP mentions Bowman Prig, Is this merely a reference to a pick-purse, or the song "The Bowman Prigg's Farewell", commencing "To the hundreds of Drury I write"? Tune in DDK.]; QOP 8: The Budgeon it is a fine trade; DPY 35:

Buff-coat [BBBM]; PLY 69: Buff-Coat; LOP 5: Buff-Coat; FLD 15: Buff-Coat; LTY 17: Buff-Coat; OMTW 5: Buffcoat; LOR 11: Buff- Coat; DDK 6: Excuse me [mistitled]; GFM 20: Excuse me [mistitled]; ICM 7:

Bump her Belly [in Dancing Master]; SFL 15:

Bury Fair [in Dancing Master]; PLY 14: Bury Fair; WED 3: Bury Fair; FLD 8: Bury Fair; DDK 15:

The Bush a boon Traquair; PLY 13: Bush of Boon [Traquair]; LOP 22: Peggy grieves me; BWD1 20: Peggy grieves me; FLD 10: Bush aboon Traquair; PPG 19: Bush aboon Traquair; HFR 5: Bush of Boon; ICM 2: Bush of Boon; OMTW 11: Bonny Bush; QOP 22: Hear me ye Nymphs [1st line of orig. song]; COP 18:

Bush of Boon, see Bush aboon.

Butter'd Pease [Scots Stumpie, also No man's/ Nobody's Jig]; FLD 68: Jockey has gotten a Wife [in this ballad opera title is switched with "Butter'd Peas" (II) below.]; FPR3 8: Butter'd Pease; BSL 13: Butter'd Pease; ACH 21: Butter'd Pease; DEC 16: Butter'd Pease; WHM 13:

Butter'd Peas [II. Title switched in this ballad opera. This tune is "Jockey has gotten a wife" in incorrect 6/4 time rather than 9/8. 9/8 in the Neals' A Choice Collection of Country Dances, Dublin, 1726. According to John Glen's note in Early Scottish Melodies, the time is an incorrect 6/8 in Walsh's Caledonian Country Dances.]; FPR2 8:

Canny Boatman; FLD 35: The bonny Boatman; HFR 26: Bonny Boatman; MCB 13:

Canst thou not weave Bonelace [BBBM, Chappell reprinted this tune, Roxburghe Ballads III, p. 496]; SYL 51:

Cappe de nbonne Esperance; PLY 40:

Captain Mc.Can [Irish tune, previously printed in Dublin by Neals. Tune is that for quite bawdy Irish song on Capt. McCann or Mckean in NLS MS 6299.]; BWD2 1: Captain Mac Can; MCB 4:

Catherine Ogye, see Katherine.

Cavilly Man, &c [BBBM]; VOP 58:

Cease, cruel tyrannizing; TFT 2:

Cease your funning [1st line of Gay's song to a tune untitled in Beggar's Opera, see Constant Billy.]

Celadon when Spring came on [D'Urfey song in Pills]; DPY 19:

Charles of Sweden. BBBM/ Untitled [Charles of Sweden]; VOP 26: Charles of Sweden; DPY 10: Charles of Sweden; DPZ 2: Glorius first of August; BWD1 9: [Earlier known as Frisky Jenny, Or The tenth of June, and in the third volume of The Dancing Master, c 1728, as The Constant Lover]

Charming is your Face [Single sheet song entitled "The Polish Minuet"]; SYL 5:

Charming is your Shape and Air [orig. song wo music in The Hive, I, 211, 1724. BUCEM lists single sheet issue.]; JCW 22:

Charming Sally; DPY 23: Charming Sally; DPZ 9: Charming Sally; MCB 17:

The Charms of Florimel; HYK 4: [BUCEM lists single sheet issue. Song with music attributed to Dr. Greene in The British Musical Miscellany, II, 97, n.d. (1734)] Cheshire-rounds; PLY 12:

Chevy Chase [BBBM. incomplete, 6/8]; BOP 61: Chevy Chace [6/4]; PLT 3: Chevy Chace [6/4]; TFT 9:

Children in ye Wood, see Now ponder well.

Chloe be kind [no more perplex me. Orig. song wo music in The Hive, I, 92, 1724. BUCEM lists two single sheet issues.]; DPY 11:

Chloe is [proves] false, but still she is charming [orig. song in The Hive, IV, 144, 1732. Song with music attributed to Handell in The British Musical Miscellany, III, 45, n.d. (1735). Single sheet issue, the words by A. Bradley]; LTY 4: Chloe proves false; WED 22: Cloe proves false; RHD 3:

Chloe, why do you slight me? [Song wo music in The Hive, 4th edit., III, n.d. (1733-4); SFL 6: My Chloe why d'you slight me; COP 12: My Chloe, why d'ye slight me; FLD 57:

Christ-Church Bells; PLY 11: Christ-Church Bells; VOP 21: Christ- Church Bells; CMD 8:

The Clarinette; ACH 37:

Clasp'd in my dear Melinda's arms; PLY 58:

Clock had struck, see, Joan to the Maypole.

Cloe be wife, &c; VOP 2: [wise?]

Cloe proves false, see Chloe.

A Clown in Flanders once there was, [probably for a version of "The Cowardly Clown of Flanders Cuckolded," of which there are more than one]; ACH 1:

Coal-black Joak, see Black Joke.

Cobler there was, see Abbot of Canterbury.

Cockamyeari She, see Great Lord Frog.

Cold and raw, &c. [BBBM]; BOP 3: Cold and raw, &c.; DQX 12: Cold and Raw; WHM 11:

The collier has a daughter; PLY 60: Collier's Daughter; BWD3 5: The Collier had a Daughter; LRK 6:

Come all you pretty Maidens; BWD3 17:

Come, be jolly, fill your Glasses [BUCEM lists single sheet issue]; PAT 11:

Come boys fill around; BSL 15:

Come, brave Boys; LOP 32: Come brave Boys, let's charge, &c; DDK 16:

Come follow, follow me [BBBM]; WED 16: Come follow, follow me; FLD 67: Fairy Elves; ACH 17: Come follow, follow me; DEC 36:

Come from the Groves; JCW 37:

Come hither good People, see Yorkshire Tale.

Come let us prepare [BBBM]; DPY 24: Tune to the Free-Masons Song; VOP 54: Come let us prepare; BWD2 4: Tune to the Freemasons Song; CMD 25: Come let us prepare; DPY 24: Come, let us prepare; DPZ 11: Free-Mason Tune; LTY 2: Free Masons Tune; LOR 13:

Come my brave Hearts; JCN 1:

Come Neighbours now we've made our Hay; BWD2 15:

Come open the Door, sweet Betty [BBBM]; FLR 20: Open the Door sweet Betty; COP 29: Come open the Door sweet Betty; ACH 22: Fly, fly from the Place, fair Flora; LRK 11:

Come sound up your Trumpets; FLR 19:

Come, sweet Lass [BBBM]; BOP 51:

Conferso Escossa; BWD3 11: Con forza Scoza; WED 13:

Constant Billy [Dancing Master, Vol. III]/ Cease your funning [1st line of Gay's song]; BOP 37: Cease your Funning; FLD 30:

Contented Country Farmer [SS song, 'What care I for affairs of state,' set by H. Carey]; DPY 13: Contented Country Farmer; DPZ 6:

Corn Riggs are bonny [BBBM]; PPG 7: Corn Rigs are bonny; HFR 29: Corn Riggs; LRK 3: Corn Rigs are bonny; MCB 3:

Country Bumpkin; COP 30: Country Bumpkin; MTF 40: Country Bumpkin; RHD 2: Country Bumpkin; DQX 15:

Country Farmer [BBBM, King James Jig]; PAT 1: The Country Farmer; MTF 23: Country Farmer; JCN 7:

Country Garden [later "Vicar of Bray," see H. E. Wooldridge's Old English Popular Music, II, p. 122, as Percy Grainger's setting.]; QOP 20:

A Country Life is sweet; SYL 39: [Song with music in The British Musical Miscellany , IV, 118, n.d. (1735).] Courtiers, courtiers think it no harm [BBBM]; BOP 26:

Cruel Creature, must I languish!; LRD2 14:

Cupid, God of pleasing Anguish; FLD 31:

Cupid! entreat her; LRD1 14:

Cupid, help a Swain's Despair!; LRD2 22:

[Cupid's Trepan]/ A Damsel I'm told, [of delicate mold, SS song, Sung by Mr. Pack. The Twitcher, or Maid's Twitcher. BBBM]; BWD3 14: A Damsel I'm told; FPR3 3: The Twitcher; PEN 12: The Twicher; FLD 55: The Twitcher; DPY 3: The Twitcher; DPZ 1: I have left the World as the World found me; FLR 13:

Cymball Tune; MTF 41:

Dainty Davy; LOP 21: Dainty Davy; HFR 39: Dainty Davy; DDK 9:

Dame of Honour. [BBBM]/ When I was a Dame of Honour; FLD 3: A Dame of Honour; SYL 50: Dame of Honour; JCW 4: Dame of Honour; DPY 29: When I was a Dame of Honour; DPZ 13: Dame of Honour; LOR 1: Dame of Honour; DEC 19: Since all the world's turn'd upside down; PLY 33:

Damsel I'm told, see Cupid's Trepan.

Dear Catholic Brother [BBBM; QOP 17: Dear Catholick Brother, &c; VOP 32: Dear Catholic Brother, &c.; CMD 16: Dear Catholic Brother; FLD 19:

Dear Picaniny [BBBM]; SYL 32: Dear Pickaniny; DPY 20:

Dear pretty Maid; WED 10:

Death and the Lady [BBBM]; COP 6: Death and the Lady; FLD 44:

De'el take the Wars [BBBM]; COP 1: De'el take the Wars; LOP 9: Deel take the Wars; BWD1 13: Deel take the wars; DEC 29:

Dicky's Walk in Dr. Faustus; ACH 29:

Did ever Swain a Nymph adore [Single sheet song, Robin's Complaint]; BWD3 12:

Did you not hear of a gallant sailor [BBBM]; BOP 65: Did you not hear of a gallant Sailor; ACH 3: Inconstant Woman [true to no man, has gone and left me bird alone]; SFL 8:

Did you not hear of a Spanish Lady, see Spanish Lady.

Did you not hear of Boccough ['Bacach = lame,' Gaelic for a begger. Tune is Irish "The Lame Yellow Beggar"]; BWD3 21:

Dimi Caro; OMTW 8:

Diogenes surly and proud, &c [BBBM]; VOP 1: Diogenes surly and proud; LOP 1: Diogenes surly and Proud; BWD1 1:

The dissapointed widow [from song "Slow men of London", in Pills with tune "Jamaica," which this is not. See BBBM footnote 3, p. 377. Tune here also in Vol. III of Dancing Master, under "dissapointed widow" title and is that with song in Musical Miscellany, II, p. 74, 1729.. Curiously it is also found as "The Humours of Dublin"]; PLY 1:

Do not ask me charming Phyllis, see Pinks and Lillies.

Don't you rumple my Touzy [not tune in Pills VI, 55, 1720 for "Do not rumple my Top-knot."]; WED 11:

Down in a Meadow, see As down in a meadow.

Down in the North Country [tune of "The Farmer's Daughter of Merry Wakefield". Latter song is a shortened version of a broadside in Manchester Coll'n, entered in 1624. Reprinted by J. W. Ebsworth in Roxburghe Ballads, VIII, lxxxvii* and clxxii*, with reference to this tune as on p. 381, rather than p. 281, of Wm. Chappell's Popular Music of the Olden Time. C. M. Simpson in BBBM did not note connection of the two songs, and failed to (tentatively) identify the tune here as that for the early broadside, but, p. 6, related this tune to "Ah, cruel bloody fate.]; BOP 45: 'Twas down in the North Country; MCB 8:

Draw, Cupid, draw; SYL 41: Draw, Cupid, draw; MCB 7:

Dutch Skipper, Second Part of the; FLD 49: Dutch Skipper [common and 6/4 strains.]; SYL 63: Dutch Skipper. Second Part; LTY 19: Dutch Skipper, first part; ACH 10: Dutch Skipper, 2nd part; ACH 11:

Dying Swan; DDK 13: Dying Swan; MLR 18:

Ellen a Roon [Aileen a Roon]; BWD3 18:

Enfield-Common [Pills> song, "On Enfield common I met.."]; QOP 5:

Europa fair; DDK 12:

Ev'ry Man take his Glass in his Hand, &c. [and drink a Health to our King. SS song with music, entitled "A Health to all Honest Men". Song wo music in The Hive, I, 207, 1724.]; JCW 1:

Excuse me [BBBM]; PLY 43: Excuse Me; MLR 7:

Fair Iris and her Swain; FPR1 7:

[Fairest Isle, all isles excelling. Song wo music in The Hive, I, 160, 1724] Untitled; BSH 7:

Fairy Elves, see Come follow, follow me.

Fanny blooming Fair, &c. [SS song, tune by Boyce, probably the most often reprinted song of the whole 18th century.]; ICM 3: Fanny blooming fair; WHM2:

Fanny Knap [Single sheet song with music. Also wo music in The Hive, IV, 249, 1732, and in Orpheus, Vol. II = The Thrush, 1749. In The Spinnet, 1750, it is printed with music and said to be by a Gentleman of Oxford, with tune by J. Sheeles (tune not compared with that here)]; RHD 18:

Farewel Chloe [parts I and II]; COP 14:

Farewel, dear faithless Charmer; RHD 1:

Farewel, my Calista, &c [Farewell fair Armida, see BBBM, pp. 182-3]; VOP 56:

Farewel, thou false Philander; FLD 61:

Farewell ye Hills and Vallies; MLR 6:

Fie, pretty Doris; FLD 12:

Fie, see also, fye.

Fill ev'ry glass, &c.; BOP 19:

Flocks are Sporting, &c; VOP 28: Flocks are sporting, &c.; CMD 14: Flocks are sporting; SYL 21:

Fly, Cupid, fly and give my lover pain; DDK 18:

Fly, fly from the Place, fair Flora, see Come open the door.

Fly, fond Nymph, these Rural Plains; LRD3 8:

Fly, when she charms thee; LRD1 8:

Fond Echo ['The forsaken maid. Set by Mr. Gouge.' - Merry Musician, 2nd. edit. II, n.d., c 1730. Not related to much earlier "Fond Echo, I thee summon."]; SYL 29: Fond Echo; GFM 16: Fond Echo; TFT 5:

Four and twenty Highwaymen; DPY 38:

Free-Masons Song/ Tune, see Come let us prepare.

From Aberdeen to Edenborough [Dancing Master]; LOP 8: From Aberdeen to Edinburgh; DQX 6:

From me to thee she turns her Eyes [Contemporary popular song.]; WED 12: From thee to me she turns her Eyes; FLD 4:

Fy Gar rub her o'er with Straw; PPG 3: Fye! gar rub her o'er with Straw; JCW 13: Fy gar rub her o'er with Strae; HFR 11: Fy gar rub her o'er with Straw; ACH 33:

Fye now pr'ythee John; FLD 65: Fie nay prythee John; DPY 4:

Fye, see also, fie.

Gamiorum; PAT 17: Gami' orum; SYL 2: Gamiorum; DDK 11: [Not "Gambioram" in R. A. Smith's The Irish Minstrel, 1825]

Geminiani's Minuet; ACH 48: Geminiani's Minuet; FPR1 9: Gimmiani's [sic] Minuet; PEN 1: Giminiani's Minuet; DQX 13: Geminiani's Minuet; MLR 15:

Gently touch the warbling Lyre [SS song, words by A. Bradley, tune from Geminiani.]; WED 1: Gently touch the warbling Lyre; FLD 11: Gently touch the warbling Lyre; MLR 20:

Ghosts of every Occupation [from song in Masque of Dr. Faustus]; QOP 25: Ghosts of e'ery Occupation; WED 18: Ghosts of ev'ry Occupation; FLD 45:

Gilderoy; JCW 9:

Gillian of Croydon, see, Moll Peatly.

Gilly-Flow'r, gentle Rosemary; HYK 10:

Gin thou wert mine awn thing, see An thou wert.

Give me a Lass with a Lump of Land; HFR 6:

Give over your Love, you great Loobies; LRD3 15:

Glorius first of August, see Charles of Sweden.

Go build me a House in the Moor; PAT 10:

Go vind the Vicar of Taunton-Dean [D'Urfey song in Pills]; FLR 16:

The Goddesses [BBBM]: ACH 14:

Good morrow Gossip Joan [a note with a Bodleian MS copy of a subsequent answer, says Swift wrote "Gossip Joan," (which is in Pills with music) and is not unreasonable.]; BOP 38:

Good Night, and God be wi ye [Scots, later Irish "Cruskeen Laun"]; HFR 51:

Grand Lewis, let thy Pride be abated, &c [D'Urfey song in Pills.]; VOP 4:

Great Lord Frog/ Cockamyeari She [approximation to burden of D'Urfey's "Great Lord Frog", Pills]; MTF 37: Great Lord Frog, and Lady Mouse; SYL 31: Lord Frog and Lady Mouse; ACH 41: Cockamyeari she; DEC 47:

Green sleeves; BOP 67: Which no Body can deny; PEN 9: Which no body can deny; JCW 42: Which no Body can deny; MCB 15: At rome there is a terrible rout; SYL 28:

Greenwood Tree, see Under the Greenwood Tree.

Grim King of the Ghosts, &c. [BBBM]; BOP 8: Grim King of the Ghosts; DPY 36:

Groom's Complaint; ACH 8:

The Groves the Plains [orig. song wo music in The Hive, I, 19, 1724]; FPR2 7:

Gudgeon's Song; ACH 2:

Hendal's [sic] Hornpipe; FPR3 6:

Handell's Minuet; CMD 20:

Hap me in thy Peticoats; HFR 43:

Happy Groves; BOP 58:

Happy Hours all Hours excelling [SS song, set by Mr. Holcombe. wo music in The Hive, IV, 101, 1732.]; MLR 21:

Happy the youthful Swain; FPR1 6:

Hark! away, 'tis the merry-ton'd Horn [SS song with music- Sung by Mrs. Roberts in Cephalus and Procis. Set to music by Mr. Carey]; HYK 3:

Hark how the trumpet calls to Battle; FPR1 2:

Hark, the thun'dring Cannons, &c [D'Urfey song in Pills. BBBM]; VOP 57: Hark, the thund'ring Cannons, &c.; CMD 26: Hark how the thund'ring cannons roar; WHM 8:

Hark ye Cock crows [D'Urfey song set by J. Clarke, in Pills]; PEN 14: Hark, the cock crow'd, &c; VOP 60: Hark, hark, the Cock crows; LOP 27: Hark, Hark the Cock Crows; MTF 7: Hark, hark, the Cock crows; ICM 4:

Have you heard of a frolicksome ditty, see The Rant.

Haymakers dance in Faustus; MTF 4:

He that wears a Heart [The Clear Cavalier, BBBM]; LRD1 2:

He's Lord of all the Clan, &c [D'Urfey song]; VOP 35:

A Health to all those; SFL 9:

[A] Health to Betty [BBBM]; PLY 39:

Hear me weep and wail; SYL 56:

Hear me ye Nymphs, see Bush aboon Traquair.

[Hemp-Dresser, or London Gentlewoman. BBBM.] Jone stoop'd down; PEN 13: The Sun had loos'd his weary teams; BOP 29:

Here is a Pennyworth of Wit; BWD1 14:

Here's to thee, my boy, &c; QOP 3: Here's to thee my Boy; BWD2 5:

Hey Boys, up go we, &c. [BBBM]; PAT 2: Heigh Boys up go we; SYL 42: Hey, boys up go we; DPY 42: Hey Boys up go we; DPZ 16: [untitled]; POP ?:

Hey ho! Who's above [a grenadier, song]; SYL 11: Hey ho! Who's above?; BSL 19:

The Highland Dance; MTF 33:

Highland Lilt; BWD1 15:

Highway to Dublin; BWD2 6:

How blest are Lovers!; SFL 10:

How blest are Shepherds, &c [BBBM]; VOP 47:

How can I be sad on my Wedding-Day; HFR 49:

How happy are we, &c. [when we meet with a beauty]; BOP 30:

How happy are you and I; ACH 32:

How happy are Young Lovers [tune later called, Come and listen to my ditty, Hosier's Ghost, Welcome, welcome brother debtor (a song originally in Prisoner's Opera with different tune). Charles Coffey and another have been identified as author of "Welcome" which appears later as a single sheet song with music, and in several songbooks to about 1780). "What is greater joy or pleasure" is opening of naval ballad of 1747, and is not earlier name for tune (Crum-Index, W 517), as Chappell puts it in PMOT.]; RHD 11: How happy are young Lovers; SYL 48: Oh how pleasant are young Lovers; WED 7: ["The Sailor's Complaint" (Come and listen to my ditty) is with music in The British Musical Miscellany, IV, 49, n.d. (1735)]

How happy's the Man, that like you, Sir; LRD2 17: How happy's the Man that like you, Sir [tune title here from song in LRD]; PLT 7:

How helpless are we Orphans made; LRK 8:

How, inhumane faithless Creature!; LRD2 15:

[How pleasant a sailor's life passes. Sailor's Ballad in Persues and Andromeda according to SS issue. wo music in The Hive, IV, 152, 1732. MS copies in Bodleian, Crum-Index, H1496, imitatiton, H 1497) Untitled; BSH 3:

[How smoothly glides- T. A. Arne] Untitled; BSH 6:

How vile are the sordid [intreagues of the town. BBBM], &c.; JCW 41:

Hunt the Squirrel [Dancing Master]; PLY 34: Hunt the squirrel; GFM 22: Hunt the Squirrel; FLD 33: Hunt the Squirrel; SYL 10:

I am a poor Shepherd undone [= Hey ho my honey. BBBM]; BOP 54:

I am come to your House; ACH 36:

[I am the Duke of Norfolk. BBBM] My Wife she is dumb; COP 27:

There was a bonny Blade; JCW 44: There was a jolly Blade; LRK 1: There was was a bonny Blade; LOR 15:

I had a pretty Girl, &c., see, There was a pretty girl.

I have left the World as the World found me, see, Cupid's Trepan.

I live in the Town of Lynn, see Aye, marry, and thank you too.

I love thee, by Heav'n!; JCW 24:

I mun smug up on Tuesday, &c; VOP 33: [Tune in Dancing Master as "I mun be married a Tuesday." See Journal of the Folk-Song Society, II, p. 51-2, (1905) for song.]

I often for my Jenny Strove [BBBM]; JCW 51:

I once believ'd, ere she could hate; LRD1 7:

I, who was once Great, now little am grown [Multum in Parvo, Merry Musician, III.]; FLR 3:

I wish my Love were in a Mire; HFR 42:

I'm Ormond the Brave; SYL 60:

I'll gar ye be fain to follow me; HFR 33:

I'll never leave thee; PPG 20:

I'll range the World, where Freedom reigns; LRD2 10:

I'll rove and I'll range; FLD 18:

I'll strip the Garden; COP 25:

I'll tell you a Story, &c.; JCW 33: [Reprinted in connection with "Green Bushes" variants in JFS, V, p. 74, 1914. Is this from the first line of "The Snipe" "I'll tell you a story, a story that's true", with tune direction "The Abbot of Canterbury" (qv., = Derry Down,)? - The Hive, IV, 212, 1732, and elsewhere.]

Ianthe the lovely, &c. [the joy of her swain. SS song entitled "The Happy Pair". BBBM]; BOP 55:

If I live to grow Old, &c [BBBM]; VOP 59:

If Love the virgin's heart invade; DPY 32:

If Love's a sweet passion, &c. [BBBM]; BOP 41:

If Phyllis denies me Relief; JCN 4:

If Powers above cou'd mind; FPR2 5:

The Impertinent; JCW 50:

In a Bank of Flowers, see On a bank of flowers.

In ancient days, in Britan's Isle [SS song with music, entitled "Henry and Katherine." Single sheet copies in Folger and Lib. of Congress. Song with music attributed to Dr. Greene in The British Musical Miscellany, III, 130, n.d. (1735)]; BWD3 8:

In Kent, so fam'd of Old; MTF 20: In Kent, so fam'd of old; SYL 53:

In our Country ["The Country Wake". Variant of tune in Pills, III, 196, 1719.]; VOP 17: In our Country; LOP 14:

In Pity, O! my Pain relieve!; LRD3 9:

In Taunton Dean; FLR 17: Taunton Dean; JCW 18:

In the fields in frost and snow [SS song, D'Urfey's, from Kingdom of the Birds]; PLY 64: In the Fields in Frost and Snow; LOP 19:

In the Highlands of Scotland; DPY 7:

In the Merry Month of June; BWD2 2: In the merry month of June; MTF 25: In the merry month of June; DEC 41:

In the pleasant Month of May [Pills, V, 101, 1719. 'Words to a Tune of Mr. Barret's, call'd the Catherine'.]; COP 16: In the pleasant Month of May. &c.; JCW 6: In the pleasant Month of May; DDK 2: In the pleasant month of May; DEC 46:

In vain, dear Cloe, &c.; HYK 2: In vain, dear Cloe; DEC 32: In vain dear Chloe; DEC 32: [Song with music in The British Musical Miscellany, II, 69, n.d. (1734). Tune by Carey, 'Words by unknown hand'. With music in NLS MS 17799]

Inconstant Woman, see Did you not hear of a gallant sailor

Iris la plus charmante; PLY 50:

The Irish ground [Dancing Master]; PLY 2:

Irish Howl [The Merry Mountebank, 1732, for Vanburghe's song commencing "Remember Damon you did tell." Also as SS with music issue in Huntington Lib.]; BOP 39:

Irish Trot [Dancing Master]; BOP 36:

Jack's Health [Dancing Master]; VOP 11: Jack's health; CMD 4:

The Jamaica, [BBBM. I noted source this title, 1655, in note in Folk Music Journal, 1973]; PLY 66:

The Jealous Clown; JCN 2:

The Jewel in the Tower [BBBM]; VOP 53: The Jewel in the Tower; CMD 24:

Jig-it-o'foot [Dancing Master, Compleat Country Dancing Master]; PLY 18:

Jone stoop'd down, see Hemp-Dresser.

[Joan to the Maypole. BBBM] The Clock had struck [tune from D'Urfey song, 'The Disappointment' to tune 'Joan to the Maypole']; COP 23: The Clock has struck I can't tell what; FPR3 10:

Joan's Placket [BBBM]; MTF 17: Joan's Placket; ACH 15: Joan's Placket, &c.; PLT 2: Joan's placket; DEC 23: When I follow'd a Lass, that was froward, and shy; LRD2 5:

Jocky and Jenny, see As Jockey and Jenny together; HFR 38:

Jockey has gotten a Wife, see Butter'd Peas I and II.

Jocky's fu, and Jenny's fain [Jocky was na ill to gain. Scots song]; HFR 8:

John Anderson, my Jo [BBBM, who avoids mention of any copy of original song before that in Merry Muses, 1799]; ACH 19: John Anderson, my Jo; WHM 6:

John of Bow; SYL 9:

John went suiting unto Joan; ACH 7:

Johny, Lad, cock up your Beaver [BBBM]; HFR 19: To Horse, to Newmarket, &c; VOP 29:

Jolly Roger Twangdillo, &c. ["Hobby Horse," BBBM]; JCW 11: Jolly Roger Twangdillo; LRK 7:

Jovial Beggar [BBBM]; QOP 10: There was a jovial Beggar; PLY 51: Jovial Beggar; LOP 17: There was a jovial Beggar; BWD1 8: There was a Jovial Beggar, &c.; DQX 8: The Jovial Beggars; DEC 10: ["There was a Jovial Beggar- man", in Sylvia, is a different tune, qv.]

Joy to Great Caesar [D'Urfey song to "Farinel's (sic) Ground". BBBM. See here "The medley"]; BOP 63:

Katherine Ogie [BBBM]; QOP 2: Catherine Ogye; PLY 36: Katherine Ogie; LOP 28: Katharine Ogie; PPG 13: Katharine Ogie; HFR 13: As I gang'd down to yonder Town [Katherine Ogie, somewhat altered and elaborated]; BWD3 7:

King's Old Courtier, see Queen's Old...

La Villanuella; PLY 22:

The Lady's New-Year's Gift [Song in Pills]; ACH 26:

The Lass of Livingstone; HFR 44:

Lass of Lynn, see Aye, marry, and thank you too

The Lass of Patie's Mill; BOP 40: The Lass of Patie's Mill; PPG 16: The Lass of Patie's Mill; HFR 20: The Lass of Patie's Mill; ICM 11:

The Lass with the Nut-brown Hair; FLR 10: The Lass with the nut brown hair; WHM 12:

The last time I went o'er the Moor; BOP 52: Last time I came o'er the Muir; HFR 9:

Lay aside the Reap-hook, &c. [SS song with music identifies it as sung in The Mountebank or the Country Lass, with tune by Leveridge.]; PAT 19:

Le printemps rappelle aux armes; BOP 13:

Les rats; PLY 55:

Lestrum pone [6/8 pipe tune for dancing, two strains of 4 measures here. 8 strains in earlier Irish dance collection. Also called, Laustrum ponia, Lastrumpony, and corrupt Eng. MS, title Lass's Trumpancy. Phonetic Gaelic not yet translated. From rhyme in song 'Larry Grogan', 'pone' is pronounced as English 'pony,' but 'pone' is not Gaelic word for pony. Still known, and now called Langstern's/Langstrom's pony.]; BWD2 7:

Let Ambition fire thy Mind [orig. song wo music in The Hive, II, 47, 1724. In 4th edition, 1733, it is said to be from The Judgement of Paris.]; JCN 11:

Let Burgundy flow [SS song, "Joy after sorrow made to the Duke Aumends Minuet by T. D.]; MTF 18: Let Burgundy flow; FLD 66: Let Burgundy flow; JCW 17:

Let Other Beauties; MTF 28:

Let Wealth and Power enslave the Great; LRD1 3:

Let's be merry, fill your Glasses; BWD3 9: Let's be jovial, fill our Glasses; FLD 41:

Like gentle Turtles cooing, &c.; JCW 52:

Lilliburlero [BBBM]; BOP 44: Lillibulero; LRK 4: Lillibulero; DQX 9: Lillibullero [sic]; LOR 4:

The Logan Water [BBBM]; VOP 3: The Logan Water is so deep; FLR 11: Logan Water; GFM 18: The Logan water; CMD9: Logan Water; HFR 2: The Logan Water; WHM 4:

London is a fine Town, see O London...

London Ladies [both wealthy and fair. BBBM as "Ladies of London."]; BOP 33:

London Apprentice [Blow the Candle Out, Pills, VI, 1719. BBBM]; DPY 2:

Look from Your Window; QOP 18:

Lord Frog and Lady Mouse, see Great Lord Frog and Lady Mouse.

Lottery is a Taxation [?tune named from song in Fielding's The Lottery]; MLR 17:

Love is the Cause of my Mourning; HFR 25:

Love's a Dream of mighty Treasure [orig. song wo music in The Hive, I, 7, 1724; The Vocal Library , 1818, and with music in The British Musical Miscellany, I, 106, n.d. (1734). SS issue in Folger attributes tune to a Mr. Peters]; PAT 8: Love's a Dream of mighty Pleasure; ACH 39: Love's a Dream of mighty Treasure; DDK 14:

Love's a Tempest, Life the Ocean; LRD1 5:

Lovely, Charming Woman; QOP 7:

A Lovely Lass to a Friar came, [SS song entitled The Fryar and the Nun. Continued popular and still in anthologies]; BOP 27: A Lovely Lass to a Fryar came; PAT 5:

A lovely Nymph and Swain; LRD1 12:

Lovely turtle! once more Cooe!; LRD3 3:

The Loving Landlady; COP 24:

The Lucky Hit; FLD 26:

Lumps of Pudding [BBBM]; BOP 69: Lumps of Pudding [with prelude]; LOR 17:

Mad Moll [pipe tune related to: Virgin Queen, Yellow stockings, qv. BBBM]; PLY 61: Mad Moll; JCN 12: Shall I be sick for Love; MTF 35:

Mad Robin; PLY 56: Mad Robin; LOP 3:

Mad Tom [of Bedlam, SS issues. BBBM]; PEN 3:

Maggie's Tocher; DEC 39:

Maggy Lawder, see Moggy.

Maidens Fresh as a Rose [BBBM]; MTF 6:

Maid's Twitcher, see Cupid's Trappan.

Make ready, fair Lady, tonight, &c [Song in Windsor Drollery]; VOP 52: Make ready, fair Lady, tonight, &c.; CMD 23:

Make your Honours, Miss [BBBM. D'Urfey song on country dance with some dance directions, as is first line here, in Pills. BBBM]; LOP 11: Boarding School ["Make your Honours miss." There is an early Irish broadside of this title in NLI]; BSL 8:

The Man, for life; LRD2 1:

Man in Imagination; FLR 4: Man in Imagination; LOR 5:

The Man that is drunk, &c. [is void of all care. Song]; ACH 51:

Margaret's Ghost [BBBM]; VOP 39: When all was wrapt; DPY 25:

The marlborough; PLY 54: [Dancing Master, Compleat Country Dancing Master]

May Fair; DEC 14:

The Medly, [Farinel's Ground, BBBM #139. See here "Joy to great Caesar"]; PEN 7:

The merry Milk-Maids [BBBM, p. 6]; MTF 31:

merry Songster, see All in a misty morning (The Friar and the Nun)

Midsummer Wish; SYL 47: Midsummer Wish; MLR 8: The Midsummer Wish; JCN 13:

Millers Dance in Cephalus [unpub. masque by H. Carey]; LOR 8:

Mio Caro Ben [Air in Astarses]; TFT 10:

Mirleton; PLY 29: Mirleton; FLD 16: Mirleton; DEC 22:

Moggy Lawther; QOP 11: Moggy Lauther on a day; BWD1 6: Moggy Lawther; PPG 9: Maggy Lawder; HFR 17: Maggy Lawther; ACH 40: Moggy Lowther; DEC 37: Maggy Lawder; WHM 7: [Untitled] BSH 2:

Moll Peatly; ACH 18: Moll Peatly; DEC 5: Gillian of Croydon [D'Urfey song to tune 'Mall Peatly.' BBBM]; FLD 46: Gillion [sic] of Croydon; JCN 6:

Molly Mog [Song probably by Gay, but also attributed to Pope, on SS with music and in songbooks]; OMTW 10: Molly Mog of the Rose; MLR 3:

Molly St. George [Irish]; BWD3 16:

The Morning Break; FLD 9:

Mother, quoth Hodge; LOP 4: Mother, quoth Hodge, shall I have a Wife; MTF 22: Mother, says Hodge; BSL 5: Mother, quoth Hodge; DQX 7: Mother says Hodge; MCB 12:

Much I lov'd a Charming Creature [SS with music]; MTF 19:

Muirland Willy; VOP 40: Muirland Willy; GFM 5: Muirland Willy; PPG 22: Muirland Willy; HFR 30: Muirland Willy; SFL 11:

Musing, I late on Windsor Terras sate, see Windsor Terras.

Must I despair; LRD2 16:

My Bony Jean, see Bonny Jean [of Aberdeen].

My Chloe, see Chloe

My Daddy's a Delver, &c.; JCW 36: [Song and tune in Orpheus Caledonius]

My dame hath a lame tame crane [son and tune in Folger MS V.a. 409]; ACH 47:

My Days have been so wondrous free [SS song, 'Love and Innocence,' by Dr. Parnell, with same music in The Spinet, 1750. Also with music in The British Musical Miscellany , IV, 95, n.d. (1735). Song later reset. Song wo music in The Hive, I, 230, 1724.]; MLR 2:

My Dilding, my dalding; ACH 31:

My Father he left me a wealthy Estate; FLR 9:

My Maid Mary [BBBM]; MCB 14:

My Mother's ay glowrin o'er me; HFR 12: [A health to Betty]

My Name is Old Hewson the Cobler [PMOT. A very rare old song that I have not found. James Dick, Notes on Scottish Songs by Robert Burns, p. 121, said it was in The Vocal Miscellany, Dublin, 1738. It is not in either vol. of the 2nd edition, London, 1734. Some circumstance of Hewson's life and a small fragment of the song I have found strongly suggest it is the source of traditional "(My name 'tis) Dick German/Darling the cobbler." Randolph, Ozark Folksongs, Revised Edition, I, p. 385, 1980, "Fagan the Cobbler" in P. Kennedy's Folksongs of Britain and Ireland, #222. 1975, (with references and another text pp. 529-30, and elsewhere. Tune is very similar to Irish "Moll Roe in the Morning" (extended title in Moore's Irish Melodies, Part 5, 1813) used in Irish ballad opera of 1748, Jack the Gyant Queller, and (mis)identified by Robert Riddell (Dick, Notes, p. 70) as tune for Robert Burns' "Tam Glen," whose tune is now identified as "Old Hewson." "Moll Roe" was not printed with its title until the early 19th century and seems to have been unfamiliar to Dick and John Glen in Early Scottish Melodies, 1900. For traditional version of "Old Hewson" tune and its use for fragments of a "Moll Roe" song, see Randolph/ Legman's Roll me in Your Arms, I, #18, and #164, 1992. Legman was also unaware of Irish "Moll Roe" title and tune.]; JCW 19:

My simple heart is fled away; LRD3 6 [same tune as, Alas! I own, with weeping Eye; LRD3 7]:

My time, O ye Muses; ACH 35:

My Wife she is dumb, see, I am the Duke of Norfolkl.

My Wife's a wanton Wi Thing; HFR 41: My wife's a wanton Withing; MCB 16:

My Wife's a Whore and a Drunkard; JCW 46:

Nancy's to the Green Wood gone; PPG 8: Untitled, [Nancy's to the greenwood gane?] ACH 43: Scornful Nancy; HFR 27:

Nanny-O [BBBM]; HFR 3: Bonny Nanny O; MCB 11:

Nathan leap'd from the Boat; ACH 38: [See No sooner had Johnathan...]

Near the famous town of Reading; VOP 14, [16]:

Near Woodstock Town in Oxfordshire [BBBM]; VOP 46: The Oxfordshire Tragedy [mis-numbered 17]; SYL 18:

New Rigadoon [Cf. Rigadoon]; FLD 37:

A New Scotch Tune [Song is "My Peggy is a young thing", which, in Gentle Shepherd is to 'Wawking of the Faulds,' to which this is similar.]; PPG 2:

No more, Florella, see Why will, Florella.

No more, vain Virgins, boast your Pow'r, see Ally Croker

No more, ye happy Swains, upbraid; LRD3 2:

No, no, my heart; LRD1 10 [same tune as, What tho' her colder Eyes may grieve me; LRD1 9]:

No, no, to pardon, were but approving; LRD1 13:

No scornful Beauty; SFL 1: No scornful Beauty e'er shall boast; JCN 3:

No sooner had Johnathan leap'd from the Boat; ACH 38: [Nathan? qv]

Noel Hills; PLY 3:

Northern Nancy; PLY 31:

Now comes on the glorius Year [BBBM]; FLR 18: Now comes on the Glorius Year; LOP 30: Now comes on the Glorius Year; FLD 5: Now comes on the glorious Year; GFM 6: Now, now comes on the glorious Year; SYL 26:

Now ponder well, ye parents dear [Children in the Wood. BBBM]; BOP 12: The Children in ye Wood; PEN 4: Now ponder well, &c.; JCW 35: Now ponder well; DPY 9: Now ponder well, ye Parents dear; DPZ 10: Now ponder well, ye Parents dear; LTY 18: Now ponder well; OMTW 4: O ponder well, be not severe; GFM 10:

Now Roger, I'll tell thee, because thou'rt my son; BOP 48: A Nymph of the Plain [from Love in a Riddle?]; SYL 58:

The Nymph that undoes me [orig. song wo music in The Hive , I, 25, 1724]; HYK 16:

O Bessy Bell, see Bessy Bell and Mary Grey.

O cara Speme Minuet; WED 8: O Caro Spene; FPR2 1:

Oh Cruel Tyrant Love; FLD 25:

O dear Mother, what shall I do; PPG 5:

O gentle Orpheus! tune Harmonius; LRD3 1:

Oh how pleasant are young Lovers, see How happy are young lovers.

O, how sweet's the Month of May; FPR2 6:

O Jenny come tye me [my bonny cravat. BBBM]; PLY 8:

O Jenny, O Jenny where hast thou been; BOP 9: O Jenny, O Jenny, where hast thou been?; FLD 34:

Oh let her go!; LRD2 18:

Oh London is a fine Town [BBBM]; BOP 7: Oh London is a fine Town; MKD 3: London is a fine Town; HYK 6:

O Mother, Roger [with his kisses. BBBM.]; MLR 14:

O Nymph of Race Divine, &c; VOP 27: O nymph of Race Divine, &c.; CMD 13:

Oh, oh, I've lost my Love; SYL 8:

Oh Pity an Inocent Maiden; MTF 5:

O ponder well, be not severe, see, Now Ponder well.

O raree Show, O bravee Show [BBBM]; FLD 14: O rare Show; PLT 9:

Oh that I was, and I wish that I were; SYL 12:

O the bonny Moggy; COP 2:

O the bonny Shoemaker; FPR2 3: [Pier of Leith?]

O the broom, &c. [of Cowdenknowes. BBBM]; BOP 18: Bonny Broom; HFR 7: O the Broom; DEC 38:

O the charming Month of May; COP 8: O the Charming Month of May; SYL 23: [Single sheet song, BUCEM]

O Waly, Waly, up the bank; PLY 7: Wale', wale' up yon Bank, &c.; JCW 27:

O what a Plague is love [Phillida flouts me! BBBM]; LRD3 13: Phillada flouts me; QOP 4:

Of a noble Race was Shenkin [D'Urfey song. BBBM]; BOP 31:

Of all comforts I miscarr'yd, &c. [D'Urfey song in Pills]; PAT 15: Of all the Comforts; MTF 1: Of all comforts I miscarry'd; DPY 12: Of all Comforts I miscarry'd; DPZ 5: Of all Comforts I miscarry'd; LOR 9:

Of all the girls that are so smart [Sally in our Alley. H. Carey]; BOP 59:

Of all the simple thing we do, &c. [SS with music entitled "The Mouse Trap" BBBM]; BOP 5: Of all the simple things we do; GFM 21: Of all the simple things we do, &c.; PAT 13: Of all the Simple, &c.; OMTW 9:

Of all the World's Enjoyments [D'Urfey song set by Leveridge, in Pills]; QOP 21:

Oft on a Troubled Ocean's Face [long, 16 measures each of common and 6/8 strains]; LOP 20:

Old King Cole; ACH 28:

The Old-Man's Wish [BBBM]; PAT 7:

Old Orpheus tickl'd, see When Orpheus.

The Old Wife she sent to the Miller her daughter [BBBM]; PAT 18: The old Wife she sent to the Miller her Daughter; DDK 19:

On a Bank of Flowers [in a summers day. Orig song wo music in The Hive, III, 200, 1725]; COP 5: On a Bank of Flowers; BWD2 9: On a Bank of Flowers, &c.; FLD 43: On a bank of flowers; DEC 43:In a Bank of Flowers; DDK 5:

On Sunday at St. James Prayers [D'Urfey song, Pills, I, 10, 1719.]; MTF 32:

On yonder high Mountain [BBBM]; COP 20: On yonders high Mountain; MTF 29: On yonder high Mountain; SYL 38:

Once I had a Sweet-heart; BWD1 16: [Copy from Wright Tutor, 1733, in JFSS, V, p. 64, 1914.]

Once I lov'd a charming Creature; FPR1 3: Once I lov'd a Charming Creature; SYL 22: Once I lov'd a Charming Creature; MLR 19:

Once I lov'd a Lass with a rowling Eye [? 17th cent broadside, Euing Collection, #50, starts identically, with answer to it in Roxburghe Ballads, VII, p. 340.]; FPR2 2:

Once I was a Fool enough to love a Woman; BWD3 2:

One April Morn when from the Sea; BWD1 19:

One evening as I lay; PLY 68: One Evening as I lay; SYL 27: One Evening as I lay, &c.; JCW 30: [Single sheet song listed in BUCEM]

One evening having lost my way; BOP 47: [Single sheet song, word by Burkhead]

One Night, when all the Village slept [orig. song wo music in The Hive, II, 134, 1724]; SYL 49: [BUCEM list only copy of c 1755]

One Sunday after Mass [Tune by Leveridge. Song in Pills]; JCW 39:

Open the Door sweet Betty, see Come open---.

The Ordnance on board [Song in Pills, VI, 1720. Song by Escourt, tune by Weldon. Also with music in Merry Musician. 2nd. ed., I, 1730.]; PAT 3:

Our nymphs on the plains; LRD1 4:

O'er Bogie with my Love [BBBM]; HFR 1: O'er Bogie; ACH 9:

Over the hills and far away [BBBM]; BOP 16: Over the Hills and far away; FLD 48: O'er the Hills and far away; PPG 12: Over the hills and far away; DPY 21: O'er the Hills, &c.; PLT 1:

The Oxfordshire Tragedy, see Near Woodstock town.

Packington's Pound [BBBM]; BOP 43: Packington's Pound; SFL 14: Packington's Pound; MLR 4:

A Painter once took great Delight [This is 1st line of 3rd verse of H. C.'s 'A certain Cure for Jealousy,' a single sheet song version of the very old 'Hans Carvel's Ring' tale. (Also in songbooks) The tunes are different, but that here also fits the song well.]; RHD 4:

Parson upon Dorothy [BBBM]; PLY 59: Parson upon Dorothy; MTF 42: Parson upon Dorothy; SYL 24:

Past one a Clock in a cold frosty, &c [earlier know by Gaelic title in Irish and Scots collections. Title translated is 'I am asleep, and don't waken me.' A very late song with the Gaelic title as burden (by Hector MacNeill) is in Encyclopedia of Comic Songs, London, 1819. Tune copies here are rudimentary.]; BWD2 10: At past one o'Clock, and a cold frosty Morning; FLR 6:

Peggy grieves me, see The Bush aboon Traquair.

Peggy I must love thee [BBBM]; JCW 38: Peggy I must love thee; HFR 18:

Peggy in Devotion [D'Urfey song in Pills]; QOP 16:

Peggy of Wandsworth [This 6/8 tune is not that given in Pills, II, 1719, for D'Urfey's song "Pretty Pegg of Wandsor"]; JCW 26:

Peggy's Mill [Scots, Mill, mill O, and song with music under this title in British Musical Miscellany, and as single sheet song.]; PLY 42: Perseus and Andromeda (These not compared)/ In Perseus and Andromeda; LTY 7: Air in Perseus and Andromeda; DEC 3, 28, 49:

Phillada flouts me, see O what a plague is love.

Pierot's Dance; ICM 10:

Pierrot Tune; MTF 2:

Pinks and Lillies [or Phillis at a Nonplus. Single sheet song with music, commencing "Do not ask me charming Phillis." Song wo music in The Hive, I, 13, 1724.]; VOP 20: Pinks and Lillies, &c.; CMD 7: Pinks and Lillies; MKD 4: Do not ask me charming Phyllis; FPR3 11:

Pinky House; HFR 32:

Plarakanarorka [Compressed phonetic Gaelic. English title: O'Rourke's Feast, by Irish harper/composer T. O'Carolan. English metrical translation of the song is by Jonathan Swift.]; FPR1 8:

The Play of Love, &c. [SS song, tune by Leveridge]; VOP 8: The Play of Love; JCN 10:

Plus inconstant quie l'Onde & le Nuage; FLD 24:

Polwart on the Green; PLY 20: Polwart on the Green; VOP 12: Polwart on the Green; BWD1 5: Polwart on the Green; CMD 5: Polwart on the Green; PPG 4: Polwart on the Green; RHD 16: Polwart on the Green; SYL 25: Polworth on the Green; HFR 45: Polwart on the Green; ICM 9:

The poor Shepherd; JCW 32:

Pray, fair one, be kind; BOP 15: Pretty Sally; FLD 36:

Prince Eugene's March; PLY 53:

Prince George; PLY 62: [Dancing Master, Compleat Country Dancing Master]

Puddings and Pies; VOP 38: Puddings and Pies; ACH 30: [Dancing Master, Compleat Country Dancing Master]

Puppet-Show Trumpet Tune; ACH 27:

Quakers Wedding; LOP 24:

The Queen's old Courtier [BBBM]; FLD 56: The King's Old Courtier [Song comm: 'When mighty roast beef was the Englishman's food,' which was later a popular song.]; DQX 5:

Quoth Jockey to Jenny, can'st love [rather, "wu'st love me". Song wo music in The Hive, II, 237, 1724.]; TFT 4:

Quoth Roger to Will, see Says Roger to Will.

The Rant/ Have you heard of a frolicksome ditty [BBBM]; BOP 35: Have you heard of a frolicksome ditty, &c.; DQX 11:

Ranting roaring Billy [Scots, but tune not printed, and not in Songs in Flora's Opera.]; FLR 20*:

Rare Doings at Bath, A Ballad; FLR 14: Rare Doings at Bath; BSL 23:

Recruiting Officer; DEC 12: [Dancing Master] Red House; PLY 9: Red House; FLR 23: Red House; LOP 2: Red House; FLD 50:

Richmond Ball; ACH 42:

Rigadoon [Cf. New Rigadoon]; PLY 25:

Robin and Nanny; BSL 7:

Rock and a wi Pickle-Tow; HFR 37:

Roger a Coverly [PMOT. Scots "Maltman comes on Monday." J. Glen, Early Scottish Melodies, #433, 1900, didn't consider tune to be Scots. Tune is in Cumming MS, 1723, as "The Maltman or Roger the Cavalier."]; PLY 37: Roger de Coverly; RHD 5:

Room, Room for a Rover [BBBM]; SYL 37: Room, room for a Rover; JCW 49:

Round and round, the Mill goes round; JCW 5: Round, round the Mill; OMTW 3:

Ruben [Dancing Master, III. Scots- My Jo Janet]; PLY 44: The Rummer; VOP 55: The Rummer; PLT 10; [Dancing Master, Compleat Country Dancing Master]

St. Martin's Lane; PLY 21: [Dancing Master, Compleat Country Dancing Master]

Saw you not my Maggy [or "Peggy," Scots]; BSL 18:

Sawmey was tall, and of noble race [BBBM]; PLY 30: Sawney was tall, &c; VOP 9: Sawney was tall, &c.; CMD 1: Sawney was tall; DPY 33:

Says Roger to Will [D'Urfey song, Pills, I, 1719]; MTF 26: Quoth Roger to Will [labeled 9 by mistake]; MCB 10:

The Scheme [Later, as dance tune, "The Star, (at Lewis)"]; ACH 50:

Scornful Nancy, see Nancy's to the greenwood gone]

Scots Guards March (French Horns.) [from Purcell's The Indian Queen]; RHD 6:

Se Guacci; DDK 1:

See! behold, and see!; LRD3 16:

See, see, my Seraphina, &c [song by Vanburghe. SS song with music. wo music in The Hive, II, 44, 1724.]; VOP 42: See, see, my Seraphina comes, &c.; PAT 16: See, see, my Seraphina comes; FLD 27:

See Yonder where she lies; MTF 15:

Send back my long stray'd Eyes [I have not compared songs and tunes here. The original song by John Donne, c 1620-30, is "The Message" in John Shawcross' The Complete Poetry of John Donne, with the original tune by Cooperario. As "The Message. by Mr. Leveridge" it is in The Merry Musician, 2nd edit. I, 1730. With title as the only heading, the song without music is in The Hive, II, 53, 1724. As "The Reproach" it is a single sheet song with music c 1725, with music attributed to Anthony Young, and with Leveridge's added below Young's.]; WED 9: Send home my long-stray'd Eyes; SYL 57: Send home these long-stray'd eyes; DPY 15: Send home my long-stray'd Eyes; DPZ 7:

Shall I be sick for Love, see Mad Moll.

She got Money by th' Bargain; FLR 7: She got Money by the Bargain; LOR 16: [See note in heading here]

She wou'd not die a Maid [burden of Maiden's Resolve, SS song with music by H. Carey, commencing "Twas when the sun began to shine." Copy without music in Bodleian MS Eng. poet. d. 152, f. 86]; MTF 11: She would not die a maid; DEC 6:She would not die a maid; DEC 6:

A Sheep-Shearing Ballad [Tune apparently much revised form of D'Urfey's 'Twas when the sheep were shearing,' Pills]; VOP 63: A Sheep-Shearing Ballad; CMD 28:

Shepherd Adonis [being weary of sport. Copper family of English singers do it as "Shepherd of the downs.". Song on broadside and in songbooks]; MTF 38:

A Shepherd kept sheep, &c. [on a hill so high]; BOP 46: A Shepherd kept Sheep, &c.; LRK 17:

Si Caro Minuet [from Handel's Admeto]; WED 21:

Si vous vous moquez de nous; ACH 4:

Since all the World is distracted in Wars; BWD1 2:

Since all the World's in Strife; SYL 1:

Since all the world's turn'd upside down, see Dame of Hounour.

Since Celia's my Foe [BBBM. Chappell gave this tune, Roxburghe Ballads, III, p. 384. This is 'Lochaber' in Scotland and 'Limerick's Lamentation' in Ireland, and in two Scots MMS as 'King James March to Ireland.' It is not the original tune for T. Duffett's song]; LOP 23:

Sir Guy [of Warwick. BBBM]; RHD 12:

Sir Thomas, I cannot, see Thomas, I cannot.

Slaves to London; MTF 14: Slaves to London; BSL 21:

Sleepy Body [Earliest printing of Scots tune?]; FLD 28:

Soft Harmony dispences; DEC 42:

A Soldier and a Sailor [Congreve's song, Eccles' tune. BBBM]; BOP 11: A Soldier and a Sailor, &c; MLR 11:

Soldier Laddy; ICM 1:

Some say Women are like the Winds [like the seas. Orig. song wo music in The Hive, I, 43, 1724. Single sheet copy attributes it to James Graves ]; MTF 3: Some say Women are like the Sea; FLD 51: Some say Women, &c.; JCW 40:

Sometimes against a Craggy Rock; MTF 30:

Son Confuso [from Handel's Poro]; LTY 11:

Sortez des vow retraites; PLY 6:

South-Sea Ballad [SS song with music]; BOP 42: South-Sea Ballad; LTY 16: South-Sea Ballad; SFL 4:

Sowr Plumbs of Gallashiels; HFR 14:

Spanish Lady [BBBM]; QOP 23: Did you not hear of a Spanish Lady, &c.; JCW 34:

[Spinning-Wheel. The song for this tune, from a 17th century broadside, was much immitated in the 18th century, but the Pills version (not D'Urfey's, the other) was reprinted in songbooks into the early 19th century. BBBM, mentions but does not give this tune.]; Still I turn'd my Wheel about; JCW 14: As I sat at my Spinning Wheel; SYL 17: Spinning-Wheel; MCB 9:

Spirit's song in Macbeth; DPY 16: The Spirit's Song in Macbeth; DPZ 8:

Spring's a coming, see Bath Medley.

Stand by clear the Way [-the burden of the song. Sung in Provoked Husband, with SS song version as the "Country Lass." It commences "What tho' they call me country lass."]; FLD 39: With a Stand-by, clear the way; LOR 12:

Stand, who comes there [H. Purcell's? Song commenences "Who comes there? Stand and..." - The Hive, II, 88, 1724]; FLR 21:

The State of Man; SYL 14:

Still I turn'd my Wheel about, see Spinning Wheel; JCW 14:

Strephon, when you see me fly; SYL 44:

Such Commands o'er my Fate [Fond Boy, BBBM #143]; VOP 5:

The Sun had loos'd his weary teams, see Hemp-Dresser.

The Sun was just setting [Pills, III, 236, 1719]; SYL 55:

The Sun was sunk beneath, &c.; VOP 31:

Sure Marriage is a fine thing; RHD 8:

A Swain long tortur'd with Disdain; PLY 16:

A Swain of love despairing; WHM 10: A swain of love; DEC 48:

Sweet are the charms, &c [SS song, words by Barton Booth, tune by Leveridge]; QOP 1: Sweet are the Charms of her I love, &c; VOP 13: Sweet are the Charms of her I love; CMD 6: Sweet are the Charms of her I love; FLD 47: Sweet are the charms of her I love; WHM 5:

Sweet if you love me come away; FLD 58: Sweet, if you love me, &c.; LRK 10: [Single song listed in BUCEM]

Sweet Nelly, my Heart's Delight [SS song entitled "The Farmer's Son." PMOT. wo music in The Hive, III, 79, 1725. Single sheet issues listed in BUCEM]; LOP 10: Sweet Nelly my Heart's Delight; FPR2 4:

Sweet's the little thing; FPR1 4:

Sweetheart, think on me; PLY 4:

Take a kiss or twa; DPY 39: Take a kiss or twa; MCB 6:

Talk no more of Whig or Tory; BWD2 8:

Talk not so much to me of love; WHM 9:

Taunton Dean, see In Taunton Dean.

T'amo tanto; PLY 47: Tamo Tanto; WED 23: T'amo Tanto; DEC 26:

Tell me Philly, tell me roundly; LRD2 6 [same tune as, While you both pretend a Passion; LRD2 7]:

Tell me, tell me, charming Creature; LOP 16:

The temple; PLY 71: [Dancing Master, Compleat Country Dancing Master] Tenant of my own, see There was a pretty girl.

Then why should we study for Riches; BSL 3:

There lives a Lass upon the Green; JCW 10:

There liv'd long ago in a Country Place [SS song, tune by Lampe. An American broadside text of c 1775 is given in facsimile on p. 286, Music in Colonial Massachusetts, I, 1980]; ACH 52: [Orig. song with music in The British Musical Miscellany, VI, 19, n.d. (1736)]

There was a bonny Blade, see, I am the Duke of Norfolk.

There was a jovial Beggar, see Jovial Beggar.

There was a Jovial Beggar-Man; SYL 6: [Not Jovial Begger]

There was a Knight was drunk with Wine [for Child ballad. BBBM]; SYL 54:

There was a maid in the West [version of Nobe's Maggot, according to Chappell, PMOT II, 595]; DPY 34: There was a Maid in the West; MCB 2:

There was a poor Couple; BWD2 14: [ballad whose source I've misplaced]

There was a pretty Girl [and a tennant of my own. PMOT]; BWD3 3: A Tenant of my own; GFM 19: There was a pretty Lass, and a Tenant, &c.; JCW 28: A Tenant of my own; LOR 14: There was a pretty girl; DEC 27: I had a pretty Girl, &c.; LRK 14:

There was a Swain full fair; LRK 5:

There was an old man, and he lived [Song in Pills, "Green Broom," quasi-traditional]; PLY 49: There was an old Man, he liv'd in a Wood; FPR3 2: There was an old man; DPY 8:

There was an old woman, &c.; BOP 64: There was an Old Woman liv'd, &c. [1st line of, and tune from, 'The Trooper Watering his Nag,' Pills, V, p. 13, 1719.]; JCW 45:

There was three Lads, &c [BBBM, p. 377, footnote 3]; GFM 8:

There's my Thumb; HFR 23:

There's not a Swain; LRD2 2:

This great World is a Bubble; BWD2 3: [Leveridge tune from Jupiter and Europa?] Thomas, I cannot [BBBM], &c.; BOP 10: Sir Thomas, I cannot, &c; GFM 15: Thomas I cannot; MKD 6: Thomas, I cannot; OMTW 1: Sir Thomas, I cannot; LOR 10:

Tho' cruel you seem to my Pain; BWD2 12:

Tho' my Grief is severe; LRD 21 [same tune as, Was ever than mine; LRD2 19]:

Tho' you by Constraint; BSL 17:

Tho' you, perhaps, my lovely Fair; LRD2 12:

A thousand Ways, to wean my Heart; LRD3 11:

The Three merry Men of Kent [BBBM]; JCW 3:

Three Sheep-skins [Country dance tune]; PLY 24: Three Sheep Skins; DPY 37: Three Sheep-skins; JCN 5:

Thro' the wood laddy [BBBM}; PLY 57: Thro' the Wood Laddie; FLD 64:

Thus Fidlers and Archers; BSL 16:

Thus the plaintive Exile sighs; LRD1 15:

Thus we to Virtue give; LRD3 18:

Tipling John ["As tipling John on the riot night." Song with music in The Merry Musician, 2nd edit. I, 1730. wo music in The Hive, III, 118, 1725. Sung in The Provoked Wife according to a Dublin print of about 1808. Set by Mr. Aldrich on single sheet issue.]; QOP 15: As Tipling John; GFM 17: As Tipling John; LOP 26: Tipling John on the Riot Night; Walsh's Compleat Country Dancing Master, II, 225, 1719: Tipling John on the Riot0 Night; Dancing Master, 203, Vol. II, 4th ed., 1728:

'Tis my Glory; WED 17:

'Tis Woman that seduces, &c, see bonny Grey-eyed morn

To all the Ladies now at Land [BBBM]; COP 7: To all you Ladies; PEN 5: To you fair ladies; PLY 52: To you fair Ladies now on Land; LOP 12: To all ye Ladies now at Land; BWD3 1: To all you Ladies now at Land; RHD 13: To you, fair Ladies, now at Land; JCW 16:

To Arms; COP 15: To Arms; WED 19:

To Daunton me, see Be valiant still

To Hanover from Edinbro' [? From Aberdeen to Edenborough, qv.]; DEC 18:

To Horse, to Newmarket, see Johnny, lad, cock up your beaver.

To old Simon the King [BBBM]; BOP 62: And never be drunk again; COP 4:

To see the Troopers all come home; PAT 12:

To the Hundreds of Drury I write [1st line of "The Boman Prigg's Farewell", single sheet song with music, curiously dated too late, c 1740, in BUCEM. "Bowman Prig" (a pick-purse) is mentioned in song to untitled "Budgeon" in QOP, qv. This is original tune for Irish song of 1780's, "The Night before Larry was stretched" and variants of this tune are found in Irish collections under the Irish title]; DDK 4:

To the Priest away, to bind our Vows; LRD3 17:

To you, my dear, and to no other; ACH 6:

Tom and Will were Shepherds twain [Shepherd swains. BBBM]; ACH 45:

Tom Tinker's my true love, &c. [BBBM]; BOP 53:

Tomorrow is St. Valentines Day [Tune for Ophelia's song. BBBM]; COP 19: To-morrow is St. Valentines Day; QOP 13:

Ton humuer est Catherine; PLY 26:

Transported with Pleasure; COP 3:

Trip to the Landry [Laundry in some later dance collections]; ACH 24: Trip to the Landry; TFT 6:

Troy Town [BBBM]; PLY 45: Troy Town; DPY 14:

True love shall never; DPY 1:

'Twas down in the North Country, see Down in the North Country.

'Twas on a sultry Summer's Day; FLD 38:

'Twas on a Sun-shine Summer's Day; FLR 22:

'Twas when the Sea was roaring; BOP 28: [Gay's song]

'Twas when the sun; DPY 6:

'Twas within a furlong [of Edinboro town. D'Urfey song. BBBM]; PLY 5: 'Twas within a Furlong, &c; VOP 30: 'Twas within a Furlong, &c.; LOP7: 'Twas within a Furlong, &c.; CMD 15: 'Twas within a furlong; DPY 30: 'Twas within a Furlong, &c; DPZ 14:

Tweed Side; PLY 67: Tweed-Side; PPG 18: What Beauties does Flora disclose [Tweed Side]; RHD 17: Tweed Side; SYL 4: Tweed-side; HFR 21: Tweed Side; DQX 2: Tweed Side; OMTW 7: Tweed-side; DEC 31: Tweed-Side; MLR 16: Tweed Side; JCN 8:

The 23d of April; SYL 15:

The Twitcher, see Cupid's Trepan.

Under the green wood tree [BBBM]; COP 13: Under the Greenwood Tree; VOP 44: Under the Greenwood tree; MTF 13: Under the greenwood Tree; JCW 53: Under the greenwood tree; DPY 5: Greenwood Tree; DDK 20: Under the greenwood tree; DEC 40:

Upbraid me not, capricious Fair [orig. song wo music in The Hive, I, 92, 1724]; DDK 7:

Vain Belinda; FLD 53: Vain Belinda; FPR1 1:

Virgin Queen [see also, Mad Moll,. BBBM]; DEC 1:

Virgins, beware how you fix on a Lover!; LRD2 13: Virgins beware; LTY 20:

Waes my Heart, that we shou'd sunder; PPG 17: Waes my Heart, that we shou'd sunder; HFR 22:

Waly, Waly, see O Waly, Waly, up the bank.

Wap at the Widow, my Laddie; HFR 46:

Was ever than mine; LRD2 19, [same tune as, Tho' my Grief is severe; LRD 21]:

Wawking of the Faulds, see New Scotch Tune

We all to conquering beauty bow [BBBM]; DPY 18:

We Dragoons lead merry lives; PAT 9:

We oft have drank stinking Water; COP 26:

A Wealthy Merchant's Son; SYL 45: We've sail'd the Seas for many a League; BWD3 15: We've sailed the seas for many; DPY 40:

We'll learn to be merry and wise; FLR 8:

Wert thou but my ain Thing, see An thou wert.

What Beauties does Flora disclose, see Tweed Side.

What need I to care how the World goes; FLD 13:

What shall I do to show how much I love her [BBBM]; BOP 6:

What tho' her colder Eyes may grieve me; LRD1 9 [Same tune as, No, no, my heart,; LRD1 10]:

What tho I am a country lass [SS song with music. BBBM]; DPY [1748, 12] 31: What tho' I am a Country Lass; DPZ 12: What tho I am a country lass; DEC 7:

What Woman could do, I have try'd to be free [Song is wo music in The Hive, 4th ed, III, 17, n.d. (1733-4); LRD2 4: What Woman could do [from LRD2 4]; SFL 5: What Woman could do, &c.; LRK 12: What woman could do; DEC 20:

What ye wha I met yestreen; HFR 40:

The Wheel of Life; JCN 9:

When all was wrapt, see Margaret's Ghost.

When Beauty will its Power pursue; BWD1 12:

When bright Aurelia tripp'd the plain [orig. song wo music in The Hive, I, 179, 1724; PLY 41: When bright Aurelia; WED 4: Bright Aurelia; FLD 21:

When Cloe we ply [orig. song wo music in The Hive, III, 20, 1725. Single sheet issue]; SYL 36:

When Delia on the Plain appears [Song wo music in The Hive, 4th edit., III, 264, n.d. (1733-4). Very late single sheet issues-BUCEM]; TFT 8:

When first I laid siege to my Chloris [BBBM]; BOP 25:

When first I saw my Nancy's Face; BWD3 4: When first I saw my Nancie's face; FPR1 5:

When Flora she had deck'd; SYL 52:

When forky lightning flies amain; RHD 19:

When I follow'd a Lass, that was froward, and shy, see Joan's Placket.

When I was a Dame of Honour, see Dame of Honour

When my Love the other Day; DDK 8: When my love the other day; DEC 13:

When once I lay with another man's wife [BBBM]; BOP 24:

When Orpheus tickled his harp; DPY 41: Old Orpheus tickl'd, &c [single sheet song. Theme of Farmer's Curst Wife. Soon imitated by one with new tune by Boyce as single sheet, and with music in Universal Harmony, 1745]; PLY 10:

When Palatines came o'er; FLD 63:

When Philada milks her Cows; LRD2 3:

When the bright God of Day, &c [SS song entitled "The Vocal Grove" words by William Monlass, set by Charles Young. Also with music in The British Musical Miscellany, I, 42, n.d. (1734)]; VOP 24: When the bright God of Day, &c.; CMD 11: When the bright God of Day; PLT 6: When the bright God of Day; HYK 5: When the bright God of Day: MLR 1:

When the good Man's from Home [H. Carey]; MLR 22:

When the Kine had given, &c [D'Urfey song]; VOP 15: When the Kine had giv'n a Pailful; LOP 6: When the Kine had given a pailful; MTF 12: When the Kine had given a Pailful; JCW 31: When the kine had given a pailful; DEC 45:

Which no body can deny, see Greensleeves.

While Groves alone hear me complain; LRD2 20:

While I fondly view my Charmer; FLD 23:

While my Love was a Secret, no Swain; LRD1 6:

While you both pretend a Passion; LRD2 7 [same tune as, Tell me Philly, tell me roundly, LRD 6]:

While you pursue me; LRD2 9:The Hive, I, 178, 1724.]; PLY 65: Whilst I gaze on Cloe trembling; FLD 52: Whilst I gaze on Chloe; SYL 46: Whilst I gaze on Chloe trembling; DPY 26: While I gaze on Chloe trembling; MLR 12:

Whilst the town agrees with Polly; DPY 27:

Whilst the Town's brim full of Folly; WED 2: Whilst the Town's brim-full of Folly; PAT 14: Whilst the Town's brimfull of Folly; MTF 39: Whilst the town's brim full of Folly; FPR3 1: [Single sheet issue listed in BUCEM]

White Joak; GFM 3: White Joak; RHD 14: White Joak; LTY 14: White Joak; LRK 9: White Joke; DEC 30:

Who comes there?, see Stand.

Why are my eyes still flowing [BBBM #520]; BOP 66:

Why is your faithful slave distain'd; BOP 4:

Why so cold, so coy, my fair? [Purcell's "I am come to lock all fast" BBBM]; LRD3 4:

Why Soldier, why, &c. [How stands the glass around, see Chappell, PMOT, II, p. 666]; PAT 4:

Why will Florella when I gaze [No more, Florella, when I gaze. song wo music in The Hive, III, 50, 1725. With music in NLS MS 17799, but BUCEM notes several settings]; FLD 7: Why will Florella, &c.; DQX 3: Why will Florella, whilst I gaze; DDK 17:

The Widows shall all have spouses [Burden of song in Pills]; MTF 21:

Willey was a wanton Wag [earliest printing of tune?]; FLD 20:

Winchester Wedding [Song by D'Urfey to King's Jig. BBBM]/ At Winchester was a Wedding; QOP 24: Winchester Wedding; FLD 40: Winchester Wedding; JCW 21: Winchester Wedding; HFR 50: Winchester Wedding; MKD 2: Winchester Wedding; LOR 2: Winchester Wedding; DDK 10:

Windsor Terras [D'Urfey]; QOP 6: Windsor Terras; FLD 54: Musing, I late on Windsor Terras sate; SYL 35:

With a Stand-by, clear the way, see Stand by clear the Way.

With tuneful Pipe, &c [SS song, sung by Mrs. Redding, called Scotch, and oft printed later with title, The Deceiver, and as Scots song even by David Herd]; VOP 62: With tuneful Pipe and merry Glee; BWD1 7: With tuneful Pipe, &c.; CMD 27: With tuneful Pipe and merry Glee; FLD 60: With tuneful Pipe; HFR 34:

Woman's Work is never done [BBBM as only tune associated with title "The Doubting Virgin."]; MTF 10:

Wooly is gone to France; FPR3 4: Woolly is gone to France; BSL 4:

Wou'd Fate to me Belinda give [SS song, set by Wilford. wo music in The Hive, II, 268, 1724, with music in The British Musical Miscellany, V, 24, n.d. (1736).]; BOP 50: Would Fate to me Belinda give; FLD 29:

Would you have a young Virgin, &c. [from D'Urfey song in Modern Prophets. Tune was said to be "Poor Robin's Maggot", but apparently not previously printed under that or any other known title.]; BOP 21: Would you court a young Virgin, &c; GFM 13: Wou'd you have a young Virgin, &c.; LRK 2: Would you have a young Virgin, &c.; LOR 3:

Wully and Georgy now beath are gean, &c [D'Urfey song]; VOP 37: Wully and Georgy now beath are gean, &c.; CMD 18:

Wully Honey, see Ann the kirk wad let me be

Ye Beaus of Pleasure [D'Urfey song, Pills, I, p. 11-12, 1719]; FLR 2: Beaus of Pleasure; PEN 2: Ye Beaux of Pleasure; LOP 25: Ye Beaus of Pleasure; FPR3 5: Ye Beaux of Pleasure; JCW 25:

Ye Commons and Peers, &c [BBBM]; VOP 7: Ye Commons and Peers, &c.; CMD 2: Ye Commons and Peers; TFT 1:

Ye Jacks of the Town; FLD 17: [Tune from D'Urfey's "The Fart," Pills I, 28, 1719]

[Ye Medley of Mortals. Tune is untitled, and is the last in The Lottery. I here correct some wide-spread but mistaken history. Fielding's song here commences "That the world is a Lottery, what man can doubt" It has been overlooked that the chorus of Fielding's song here is the source of the tune title "Sing Tantararara, Fools all, Fools all." The tune was used for the "The Masquerade Song" commencing "Ye medley of Mortals." A copy of this song from The Gentleman's Magazine, 1749, is photographically reproduced on p. 123 of Music in Colonial Massachusetts, I, 1980. The song with music is also in the Universal Magazine of the same year. A single sheet issue in the Folger Shakespeare Library gives the tune and names it "Sing tantararara Fools all" There is a another issue in the Library of Congress Music Division's small collection mistitled "A collection of old ballads." BUCEM attributed the tune to Wm. Defesch, and this attribution has been followed by C. M. Simpson in BBBM, p. 665, 1966, and others later. However, the tune of "The Masquerade Song" is that in The Lottery, and latter's date of 1732 makes it too early to have been composed by Defesch. The tune was slightly revised to better fit Fielding's verses in Songs in The Lottery (1732).]; LTY 22:

Ye nymphs and sylvan gods; PLY 27: Ye Nymphs and Sylvian [sic] Gods, &c.; PAT 6: Ye Nymphs and Sylvan Gods; LOP 13: Ye Nymphs and Sylvan Gods, BWD1 11: Ye Nymphs and Sylvan Gods; JCW 8: Ye Nymphs and sylvan gods; DEC 11: [tune by Eccles for D'Urfey song in Don Quixote, 1694]

Ye Nymphs, and Swains; LRD1 1: Ye Nymphs and ye Swains [from LRD]; MTF 36: Ye Nymphs and ye swains; DEC 44:

Ye Shepherds and Nymphs [Simpson, BBBM p. 804, notes this is not Yellow hair'd Laddie]; ACH 13:

Yellow-hair'd Ladie; PPG 14: Yellow-hair'd Laddie; JCW 15: Yellow hair'd Laddie; MLR 9:

Yellow Stockings [pipe tune related to Mad Moll, Virgin Queen, qv. diff. setting on single sheet issues of Swift's? 'My Kitten.' This early copy, and one printed earlier by the Neals in Dublin, is overlooked in an article giving many examples of the family (of pipe tunes) by R. D Cannon in Folk Music Journal, pp. 176-219, 1972. Further members of the family have been added from Irish music by Breandan Breathnach, in an article on Walker 'Piper' Jackson's tunes]; BSL 9:

Yorkshire Ballad, same as Yorkshire Tale, qv.

The Yorkshire Lady; COP 10:

Yorkshire Tale [SS song by Leveridge, commences "Come hither good people both aged and young." With music, in Merry Musician, 2nd edition n.d. (c 1730) and Musical Miscellany, III, p. 76.]; BSL 6: Yorkshire tale; DPY 22: Yorkshire tale; DDK 21: Yorkshire Tale; WHM 3: Yorkshire Ballad [same engraving as BSL]; QOP 14: The Yorkshire Ballad; OMTW 12: Come hither good People, &c [1st line of Leveridge's song.]; GFM 2:

You gallant Ladies all [Franklin is fled away, BBBM #146]; JCW 47:

You Love and I Love [misnumbered as 21]; SYL 19:

You'll think e'er many days ensue [first line of Gay's song to untitled tune, traditionally connected to Ophelia's "How should I your true love know"]; BOP 32: You'll think ere many Days ensue; GFM 7:

Young Corydon and Phillis [Pills, V, 126, 1719, with music. The Hive, II, 137, 1724, without music. I have misplaced note as to author.]; SYL 43:

Young Damon once the lovliest swain [orig. song wo music in The Hive, II, 26, 1724]; PLY 35: Young Damon, once the happiest Swain, &c; VOP 23: Young Damon once the happy Swain; BWD1 18: Young Damon, once the happiest Swain, &c.; CMD 10: Young Damon once the happiest Swain; MLR 13:

Young I am, and yet unskilled [how to make a lover yield. (T. Campion's?)]; SYL 20:

Young Jemmy was a Lad, &c [BBBM. Song on Monmouth]; VOP 22:

. Young Jockey blith and gay; BWD2 11:

Young Philander woo'd me long [SS song 'set by Daniel Purcell,' but incorect. Henry Purcell's "Ah cruel bloody fate," BBBM]; VOP 6: Young Philander woo'd me long; SYL 30: Young Philander lov'd me long; JCW 23:

Young Philaret and Celia met; BWD1 3: Young Philoret; FLD 62: Young Philoret and Celia met; SYL 59:

Descriptive Titles and Untitled Tunes:

.. A French Tune; VOP 34:/ French Air; WED 14:/ French tune; JCW 43:/ French tune; DEC 34:/ An Irish Tune: VOP 43:/ To an Irish Tune; FLR 12:/ An Irish tune [Original of Adeste Fideles?]; BWD3 20:/ An Italian Ballad; PLY 70:/ A Scotch Tune; MTF 8:

Duet; LRK 15:/ Duetto; DPZ 15:

Cotillon; BOP 22:

[Dance]/ The Highland Dance; MTF 33/ Dance in Sorcerer; MTF 34/ Mrs. Le Gard's Dance in Perseus and Andromeda; SYL 33/ Gavotte of Corelli; ACH 49/ Saraband of Corelli; ACH 54/ Gavot in Otho; FPR3 9/ Gavotte of Corelli; ACH 49/ Minuet, by Mr. Fairbank; VOP 45/ Monsr. Denoyer's Minuet; VOP 49/ French Minuet; VOP 61/ Minuet; PLY 19/ Minuet; PLY 28/ Saraband of Corelli; ACH 54:

Minuet/: Handell's Minuet; CMD 20/ Minuet; SYL 61/ Masquerade Minuet; JCW 7/ A Minuet; ACH 5/ Minuet of Corelli in the Ninth Concerto; ACH 44/ Minuet of Corelli; ACH 53/ Bath Minuet; PEN 11:

March/ March in Rinaldo, with Drums and Trumpets; BOP 20/ Dead March in Coriolanus; PLY 23/ March in Scipio; QOP 9/ March in Scipio; PLY 17/ March in Scipio; WED 20/ March in Floridante; WED 15/ Scots Guards March (French Horns.) [But used a song tune]; RHD 6:

Untitled, composer stated:

Carey: Set by the Author [H. Carey]; HYK 7, 8, 9, 11, 12, 15, 19, 20: Set by Mr. Hen. Carey; GFM 25:/ Compos'd by Mr. Henry Carey; GFM 12:/ Compos'd by Mr. Henry Carey; GFM 9:
Charke: Set by Mr. Charke; GFM 14:/ Composed by Mr. Charke; LOP 29:
Handel: By Mr. Handel; HYK 17:
Porpora: By Signior Porpora; HYK 1:
Seedo: Set by Mr. Seedo; LTY 1, 5, 6, 8, 9, 10, 12, 13, 15, 21:/ Set by Mr. Seedo; BSL 1, 2, 12:/ Set by Mr. Seedo; DPZ 4:/ Set by Mr. Seedo. Song comm: "Like me, the tender Dove laments.'; LOR 6: Set by Mr. Seedo. Song comm: 'O cursed Power of Gold.'; MKD 5: Set by Mr. Seedo. Song comm: 'Thus, lovely Patient, Charlotte sees.'; MKD 7: Set by Mr. Seedo. Song comm: 'If you hope by your Skill.'; MKD 8:
Sheeles: Set by Mr. J. Sheeles; GFM 24:/ Set by Mr. J. Sheeles; GFM 23:

Untitled, anonymous:

[Untitled tune] COP 21, 22:/ QOP 19:/ MTF 24, 27:/ FLR 24:/ LRK 13, 16:/ Air;
[Untitled, Nancy's to the greenwood gane?] ACH 43:
[Untitled tune] Song comm: 'Sol declining, Cynthia shining.']; SFL 2:
[Untitled tune] Song comm: 'I have lost my Niece, and store of Gold.']; SFL 13:
[Untitled tune, See Ye Medley of Mortals]; LTY 22:
[Untitled tune] Song comm: 'When Modesty sues for a Favour.'; ICM 6:
[Untitled tune] Song comm: 'My tender Heart me long beguil'd.'; ICM 12:
[Untitled tune] Song comm: 'Rogues there are of each Nation.'; DQX 1:
[Untitled tune] Song comm: 'Oh hasten my Lover, dear Cupid.'; DQX 4:
[Untitled tune] Song comm: 'Thus the Merchant, who with pleasure.'; DQX 14:
[Untitled tune] Song comm: 'Useless is the Man's Endeavour.' BSH 4:
[Untitled tune] Song comm: 'Arm, arm, you Sons of Britain, Arm.'; BSH 5:
[Untitled tune] Song comm: 'Come, my Lads, with Souls befitting.'; BSH 8:
[Untitled tune] Song comm: 'Hither turn thee, hither turn thee.'; VOP 36: CMD 17:
[Untitled tune] Song comm: 'A Faggot, Thou, of pointed Thorn.'; VOP 41:
[Untitled]; No song or title for tune in 4th ed.]; BWD3 10:
[Untitled and tune not given] Song comm: 'vy shou'd Englis grumble.'; PLT 8:
[Untitled, addition to 2nd act, ptd. before 1st text page. Sung by Miss Raftor (Kitty Clive)] VOP viii:
[Untitled tune] Song comm: 'Zure never was zeen such a Rebel.'; FLR 15:
[Untitled tune] Song comm: 'Here's a good health to the King.'; DPZ 3: