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, and thereby convert them into art-songs indistinguishable from the “composed” songs of the day.

Surely, it would be wiser to limit ourselves in our accompaniments to those harmonies which are as independent of “period” as the tunes themselves, for example, those of the diatonic genus, which have formed the basis and been the mainstay of harmonic music throughout its history, and upon which musicians of every age and of every school have, in greater or less degree, depended; and further, seeing that the genuine folk-air never modulates, never wavers from its allegiance to one fixed tonal centre, to avoid modulation, or use it very sparingly. Personally, I have found that it is only by rigidly adhering to these two rules—if I may so call them—that I have been able to preserve the emotional impression which the songs made upon me when sung by the folksingers themselves. This, at any rate, is the theoretic basis upon which the accompaniments in this volume have been constructed.

After what has been said above with regard to the “editing” of folk-music, it is, perhaps, scarcely necessary to remark that the tunes in this volume are presented precisely as they were originally taken down from the lips of the singers, without any alteration whatsoever. Logically, the words should be accorded the same treatment. But this, unhappily, it is not always possible to do. Indeed, it has reluctantly to be confessed that owing to various causes—the doggerel -versions of the songs that have been disseminated throughout the country for the past several centuries; lapse of memory; corruptions arising from the inability of the singer to understand words and phrases which have come to him from other parts of the country; the varying lengths of the corresponding lines of the several stanzas of the same song; the free and unconventional treatment of some of the themes, etc.,—the words of many of the songs are often very corrupt, and sometimes unintelligible. It has therefore been necessary to make alterations in the words of many of the songs in this volume. Although archaic words and expressions have been retained, no attempt has been made to preserve local peculiarities of speech, it being the custom among folksingers to use each his own particular dialect. I have only to add that whenever alterations have been made in the text, the fact is mentioned in the notes.

Before bringing these remarks to a conclusion, it is necessary to say something about the singing of folksongs. Traditionally, folksongs are sung not only without gesture, but with the greatest restraint in the matter of expression; indeed, the folksinger will usually close his eyes and observe an impassive demeanor throughout his performance. All who have heard him sing in this way will, I am confident, bear witness to the extraordinary effectiveness of this unusual mode of execution.

Artistically, then, it will, I think, be found that the most effective treatment to accord to the folksong is to sing it as simply and as straight-forwardly as possible, and, while paying the closest attention to the clear enunciation of the words and the preservation of an even, pleasant tone, to forbear, as far as may be, from actively and deliberately attempting to improve it by the introduction of frequent changes of time,, and other devices of a like character.