Bluegrass Messengers

AFS L 5:
BAHAMAN SONGS, FRENCH BALLADS AND DANCE TUNES, SPANISH RELIGIOUS SONGS AND GAMES
Recorded in the Bahamas, 1935; Louisiana, 1934; southwest U.S., 1934-40, by John and Alan Lomax and others. Edited by Alan Lomax.

1."Dig My Grave," "Round the Bay of Mexico", and "Bowline", sung by David Pryor and Henry Lundy
2."Sail, Gal", led by Elizabeth Austin
3."Hallie Rock", sung with drum by group
4."Bimini Gal", sung and played by Nassau String Band
5."Le Plus Jeune des Trois", sung by Julien Hofpauir
6."Sept Ans sur Mer", sung by Elida Hofpauir and her sister
7."Les Clefs de la Prison", sung by Elida Hofpauir
8."Acadian Waltz" and "Acadian Blues", played on fiddle by Wayne Perry
9."Petite Fille à Albert Moreau", sung with fiddle by Eddie Segura
10."O Chère 'Tite Fille", sung with accordion by Ogdel Carrier
11."Joe Férail", sung with fiddle by Eddie Segura
12."Songs from `Los Pastores'", sung by Franquilino Miranda and group
13."Songs from `El Niño Perdido'" and "El Tecolote", sung by Ricardo Archuleta
14."La Batalla Del Ojo De Agua", sung with guitar by José Suarez
15."Mexican Children's Games", sung by Josephine Gonziãles and group

Song Notes:

ETHNIC MUSIC OF FRENCH LOUISIANA, THE SPANISH SOUTHWEST & AND THE BAHAMAS

AI-DIG MY GRAVE (Spiritual)
Sung by David Pryor and Henry Lundy at Nassau, Bahamas, 1935. Recorded by Alan Lomax and Mary Elizabeth Barnicle.
The Bahaman Negro, because of his isolated life and lack of education, is much nearer to the old Afro-American slave culture than are the Negroes of the United States. His dances, work songs and spirituals are of the type that would be called antebellum, if collected in this country. Versions of the same songs may be found in the Bahamas and along the coast of Georgia, and contemporary Bahaman folksongs corresponds to those collected by Mrs. Parrish near Brunswick, Georgia, from the oldest Negroes.
There are several types of spirituals to be found in the Bahamas, but perhaps the most beautiful are those called anthems, sung by small groups of men for amusement in the evenings. The style of these anthems reminds one much of Negro quartet singing in the South, yet there is a basic difference. Negro quartet singing in America is basically an adaptation of nineteenthcentury stage quartet harmony, while the Bahaman anthem singing seems to stem from a contrapuntal fuguing style. "Dig My Grave" is a favorite on the sponge boats which work off the western side of Andros Island.
For transcriptions of and references to some of these songs and others of similar character see pages 79 ff., John A. and Alan Lomax, Our Singing Country (New York: Macmillan Company, 194]). This applies to the material on cuts Al through A6.

Go and dig my grave both long and narrow,
Make my coffin neat and strong.
Dig my grave both long and narrow,
Make my coffin neat and strong.
Two, two to my head, good Lord,
Two, two to my feet,
Now but two, two to c.arry me, Lord, when I die.

Now my soul's gonna shine like a star,
(Bass): My soul's gonna shine like a star,
My Lord, my soul's gonna shine like a star;
Lord, I'm bound to heaven when I die.

(The same words are then sung Over with various changes introduced by the various parts of the group.)
A2-ROUND THE BAY OF MEXICO (Sea Shanty). A3-BOWLINE (Sea Sbanty).
Sung by David Pryor and Henry Lundy at Nassau, Bahamas, 1935. Recorded by Alan Lomax and Mal}' Elizabeth Barnicle.
Before the hurricane season begins in the months of August and September, the sailors of Andros Island haul their small sailboats up on the beach out of danger of the coming stormy weather. In November the boats must be launched again, and thereupon the whole community descends to the bright beach and bends its back to the launching rope. A good singer raises a launching song and, as the group joins the chorus, the whole community heaves on the cable, dragging the boat a little way back toward the water. Sometimes "the music is so. sweet," as one singer put it, "that the women forget their pretty dresses and walk out into the sea right up to their necks." The two launching songs included on t~is record are both versions of old British sea shanties. Compare them with songs on AFS L2, A1 and A2.
For further material on A2, see page 84 and page 91, Joanna C. Colcord, Songs of American Sailormen (New York: W. W. Norton, 1938); and page 42, for A3.
A2-ROUND THE BAY OF MEXICO
Round the bay of Mexico. CHORUS: o round the bay of Mexico,
Ay-ay, Suzianna,
Mexico is the place I belong in,
Round the bay of Mexico.
1. 0 Mexico ;s the place I belong in, Ay-ay, 0 Suzianna, Mexico is the place I belong in, Round the bay of Mexico. 2. Then why those yallow gals love me so? 'Cause I don' talk ev'ything I know. 3. Those Nassau girls ain't got no comb, o they comb they head with a whipper back bone.
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4. Them ... girls ain't got no comb, They comb they hC<lds with a whipper backbone. CHORUS A3-BOWLINE I. .. go along, my boys, You cannot make a bowline, 0-0, boys, bowline, o. 2. Whyn't you chase along, my boy, You cannot make a bowline. 0-0, boys, bowline, o. 3. The bowline. the bowline. You cannot make a bowline. 0-0, boys. bowline, o. 4. 0 boys, 0 boys, 0 boys, sit down, You cannot make a bowline. 0-0, hoys, bowline, o.
A4-SAIL, GAL (Ring Game). Lcd by Elizabeth Austin at Old Bight, Cat Island, Bahamas, 1935. AS-HALLIE ROCK (Jumping Dance). Sung with drum by group at Nassau, Bahamas, 1935. A6-BIMINI GAL.
Sling and played by Nassau String Band at Nassau, Bahamas. 1935. All recorded by Alan Lomax a~d Mary Elizabeth Barnicle.
In N,ISS<lU one may converse with old folks who can name thc African tribe from which their parents wcre descended. In 1935 I was ilble to record the repertory of a woman who knew morc than a dozen songs in an African dialect. One is not surprised. therefore, to find many Afric;.ln clements in the dances and dance songs or the islands.
The young folks gO to the beach in the evening <lIld ligllt a littk fire of palm leaves. As it blazes up, the drummer tunes his goatskin drum by passing it back and fonh ov~r the flames. Then the shrill-voiced girls begin a ring.-play chorus (sec A4) The group joins in, the boys singing the refrain, the girls, the stanzas; all clap; the drum signals for the dance to beoin
- .
~
Hnd a boy steps out into the ring of singers.
After a few steps around the ring alone, he stops before one of the girls and gestures her into the ring for his partner. They dance to\!cther for a few moments. a dance of frank cOl~rtship. The drum signals again; the boy slips back into his place in the circle and now the Q.irl chooses her partner. So the ring play runs -for five or ten minutes until the IC<lclcr tires of the tunc. Here the form of the dance and the melody of the song have been partly European in feeling, although the content and the style arc heavilv African. In
a few minutes, however. our young singing leader will t<lkc up a different refrain. generally of shorter compass Hnd wilh a melodic quality that is somcwhat strange; the drum follows with a new broken rhythm; now our first dancer leaps into the circle in an angular pose, his legs wide apart, his arllls akimbo. Each rush of thc drum sends him spinning and leaping abollt the circle in a wide arc of rapid and complex leaps at the end of which the drum jerks him backward into another angular posture. Presently he is sign<llcd out of the ring and his final leap carries him before a young girl whom he violently gestures to begin. She spins out into the circle alone and with whirling skirts makes her solo "move" following the drum. This is the "jumping dance" (sec A5).
Recently the songs of these IwO dance forms have been adapted by the string hands which have recently taken Nassau by storm with their fox-trot and two-step rhythms. rn crowded shanties b<lck of the hill in Nassau one finds the young folks performing the rather formal American couple dance to the music of a strin\!ed band of mandolins ancl guitars. Bahaman ~lIsic is ?egi.nning to acquire sophisticatioll. but as yet It stIli h<ls a delightfully fresh and pristine character.
A4-SAIL, GAL I. Mama's in the kitchen conkin' Got a piece to sai I: ' Sail, gal, sail, gal, Got a piece to sail. CHORUS: Sail, gal, sail, gal, Got a piece to sail; Sail. gal, sail, gal, Got a piece to sail.
8
Repeat 3. 0 worried mama s lD the kitchen cookin',
Got a piece to sail;
Sail, gal, sail, gal,
Got a piecc to sail.
4. My mama's in the kitchen cookin',
Got a piece to sail;
Sail, gal. sail, gal,
Got a piece to sail.
AS-HALLIE ROCK The only words distinguishable here are the words of the refrain: "Hallic, rock, Hallie, rock."
A6-BIMINI GAL CHORUS:
0' whcn I go down to Bimini,
Never get a Jickin' till I go down to Bimini.
I. Bimini gal is a rock in the harbor, Never get a Jickin' till I go down to Bimini. (This sl(ll7;:.a and chorus are repeated over and orer.)
A7-LE PLUS JEU E DES TROIS.
Sung by Julien Hofpauir at ew Iberia, Louisiana, 1934. Recorded by John A. and Alan Lomax.
From Beaumont, Texas, driving east along highway 90 clear to New Orleans, you ride through a country of cane, rice, swampland and of a population that is predominantly Frenchspeaking. These people are known as the "Cajuns" or, more politely, the "Acadians." They have not forgotten that they arc descended from Evangeline's pcople who came to Louisiana from Nova Scotia (then known to the French inhabitants as Acadia) in 1765. They are proud folk and cling to their French speech, their thrifty peas~lI1t ways, their songs, and their dances. Herc is a fine example of a medieval French ballad: the story of a maiden, kidnapped by wandering knights, who prefers death to dishonor. This ballad is still sling in Canada, as well as in Louisiana.
For another transcnptlon of this ballad, see page 182, Lomax and Lomax, 011I' Singing COllnIry. For further information sec page 40, Marius Barbeau and Edward Sapir. Folk Songs of French Canada (Yale University Press, 1925). For back around material see hene Therese Whitfield, Louisiana French Folk Songs (Baton Rouge: Louisiana State University Press. 1939). I. "Montez, montez, la belle. Dessus mon cheval gris; On logit chcz man pere, Je vous amcnerrai." Repeal 2. Quand-e la bcll'-z-entend, Elk s'c:st mitc aplcurezc. R1'1)1'(([ ;;Soupcz, soupez, la belle.
Prenez. Qui, z-appctit.
Auprcs ell! eapitainc
Va' passercz b nuit."
Repeat
3. Quand-e la bcll'-z-entend La bcllc cst tombee morte. Repeal "Sonne2, sonncz, les cloches,
Tambours, violons, marchez,
M'amillionctle est marte.
J'en ai Ie cocur elolen!."
Repeat 4. "Et Oll 1\:ntcrreront-ils'P' "Dedans I' jardin el' son perc, SOliS Ics trois fcuilles de lys; NOliS prierons Dieli, chers ft'crcs, Qu'clle aillc en Paradis." Repew 5. Au bout-c de trois jours La bell' frappe ala porte. Repeat "Ouvrcz, ouvrez la porte,
Cher pere et bien-aime,
]'ai fait la marl trois jaurs
Pour sauveI' 1110n honneur."
Repeat
9
1. "Climb up, climb up, my beauty,
Upon my gray horse;
We'll stay at my father's house,
I'll take you there."
Repeat 2. When the beauty heard that
She began to weep.
Repeat "Dine, dine, my beauty,
Show some appetite,
Beside the captain
You will spend the night."
Repeat 3. When the beauty heard that
She fell down dead.
Repeat "Sound, sound, bells,
Drums, violins. Marchi
My darling is dead,
And I have a grieving heart."
Repeat 4. "And where will they bury her?" "In the garden of her father, Under the fleur de lys; We will pray to God, dear brothers, That she will go to Paradise." Repeat 5. At the end of three days The beauty knocked on the door. Repeat "Open, open the door,
Dear father and beloved,
I played dead for three days
To save my honor."
Repeat
AS-SEPT ANS SUR MER.
Sung by Elida Hofpauir and her sister at New Iberia, Louisiana, 1934. Recorded by John A. and Alan Lomax.
Julien Hofpauir has taught his young daughters how to sing the old ballads, too. Here they
sing a version of what Marius Barbeau calls "one of the most extensively travelled songs of the European folk repertories." Thackeray wrote a parody of it in "Little Billee." In older versions little Jean sees the "towersof Babylon" (Cairo) shining in the distance. For other transcriptions of songs AS and A9, see pages] 80 and 191, Lomax and Lomax, Our Singing Country. For further references on A8 see pages 125 fl., Barbeau and Sapir, Folk Songs of French Canada. ]. On a reste six ans sur mer
Sans pouvoir border la terre.
Repeat 2. Au bout de la septieme annee On a manque de provisions. Repeat 3. On a mange souris et rats Jusque le touvre du navire.
Repeat 4. On a tire la comtc paiile Pour voir lequel qui serait mange. Repeat 5. "En voila, p'tit Jean, s'il tombe-z-au cas, (:a serait p'tit Jcan qui serait mange. o voila, p'tit Jean, qu'il tombe sur toi,
(:a serait p'tit Jean qui serait mange.
6. "0 p'tit Jean, 9a fait du mal."
II erie, "Courage, mes camarades."
Repeat 7. "Je vois la terr' sur toutes cotes, Trois pigeons blancs qui s'a voltige. Repeat 8. "Je vois aussi trois fiUes du pere
Qui se promenaient au bard du rivage.
Repeat 9. "0 si jamais je mets pieds sur terr' La plus jolie je I'epouserai." Repeat
10
1. We stayed at sea six years
Without being able to land.
Repeat 2. At the end of the seventh year
We ran out of food.
Repeat 3. We ate mice and rats
Down to the hold of the ship.
Repeat 4. We drew straws
To see who would be eaten.
Repeat
5. "There, little Jean, if the lot so falls,
It will be little Jeau who will be eaten.
o there, little Jean, it falls to you, It will be little Jean who will be eaten. 6. "0 little Jean, we feel so bad."
He cries, "Courage, my comrades."
Repeat 7. "I see land on three sides,
And three white pigeons circling."
Repeat 8. "I also see three daughters of the father
Who were walking on the shore."
Repeat 9. "0, if ever I set foot on land, I'll marry the prettiest." Repeat
A9-LES CLEFS DE LA PRISON.
Sung by Elida Hofpauir at New Iberia,
Louisiana, 1934. Recorded by John A.
and Alan Lomax.
So far as we know, this is an indigenous song. Its clipped, colloquial style, its syncopation, its lines from "The Boston Burglar" indicate its fairly recent origin. The precision of phrasing, the lighthearted bitterness of the lines, and the remarkably deft use of dialogue remind one 'Of Villon. A swift and acid dialogue between a condemned man and his father and mother, it stands alone of its kind among American folk songs.
1.
THE BOY:
[Chere mom!
On vient m' donner les clefs,]
Les clefs de la prison,
Les clefs de la prison.
2.
HIS MOTHER:
Gar'-tu'
Comment dis-tu-te donne
Les clefs de la prison,
En quant les officiers
Les a crochees dans l'cou,
Les a crochees dans l'cou.
3.
THE BOY: Chere mom! lis vont m' venir chercher, Maisaneuf heures asoir, Mais oui, c'est pou' me pend', Mais adix heures en nUit, Mais adix heures en nuit.
4.
Chere mom! C'est ce qui m' fait plus d' peine, C'est de savoir rna mort Aussi longtemps d'avance, Aussi longtemps d'avance.
5.
Son pere, Mais qui s'est mis agenoux En s'arrachant les cheveux, En s'arrachant les cheveux.
6. HIS FATHER: Gar'-tu l Comment j'ai pu t' quitter C'est pou' fen aller Mais dans un grand prison. 7. THE BOY: Cher pop! Comment tu voulais j' fais Et quand les officiers ~taient autour de moi Avec les carabines, Avec les carabines? 8. Chere mom! C'est ce qui m' fait plus d' peine C'est de savoir rna mort Aussi 10ngtemps d'avance, Aussi longtemps d'avance.
11
9. a mom'
lis vont m' venir chercher
Maisaneuf heuresasoir,
Mais oui, c'est pou' me pend',
Mais adix heures en nuit,
Mias adix heures en nuit.
10. Chere mom! Oui, c'est, c'est toi qui m'amenc, Oui, oui, man corps au terre Avec man beau ch'val cannclle, Avec rna bell' voiture noire, Avec les quat' roues rouges, Avec 1es quat' roues rouges. Repeat
1. THE BOY: Dear Mom l They're going to give me the keys, The keys to the prison, The keys to the prison. 2. HIS MOTHER: My boy! what, How could they give you The keys to the prison When the officers Have them around their necks, Have them around their necks. 3. THE BOY:
Dear Mom'
They'll come to get me,
At nine o'clock this evening,
But yes, to hang me,
At ten o'clock tonight,
At ten o'clock tonight
4. Dear Mom!
What hurts me most,
Is to know I'm to die
So long before my time,
So long before my time.
5. His father
Fell on his knees
Tearing his hair,
Tearing his hair.
6. HIS FATHER:
My boy!
How could I leave you
For you to go
Into a great prison.
7. THE BOY:
Dear Pop!
What did you want me to do
When the officers were around me
With their rifles,
With their rifles']
8. Dear Mom!
What hurts me most,
Is to know I'm to die
So long before my time,
So long before my time.
9. Dear Moml
They'll come to get me,
At nine o'clock this evening,
But yes, to hang me,
At ten o'clock tonight,
At ten o'clock tonight.
10. Dear Mom! Yes, it's, it's you Who brings my body to earth, With my handsome cinnamon horse With my handsome black carriage, With its four red wheels, With its four red wheels.
Repeat
AIO-ACADIAN WALTZ. All-ACADIAN BLUES. Played on the fiddle by Wayne Perry at Crowley, Louisiana, 1934. A12-PETITE FILLE A ALBERT
MOREAU.' Sung with fiddle by Eddie Segura at Delcambre, Louisiana, 1934.
A13-0 CnERE 'TITE FILLE. Sung with accordian by Ogdel Carrier at Angola, Louisiana, 1934. Al4-JOE FERAIL.l
Sung with fiddle by Eddie Segura at Delcambre, Louisiana~ 1934. All recorded by Jobn A. and Alan Lomax.
In the "Cajun" (Acadian) country of southwestern Louisiana, the people call their dances "fais-do-dos." This term is said to reflect their habit of bringing their babies to the dances and putting them to sleep in a room convenient to the dance floor. The instruments of the dance
12
are the fiddle, the concertina, the triangle, and sometimes, nowadays, the guitar; their music consists of French waltzes, polkas, and, lately, a form of the fox-trot. The people are very romantic and passionate by nature; their young ladies are extraordinarily fresh, beautiful, and well chaperoned; and a "fais-do-do" takes place in an atmosphere of tense emotion. The young men have a habit of giving high faJsetto yells at intervals during the dance-cries like a panther's -which carry far through the hot night. Wayne Perry, the fiddler on A I0 and 11, plays a typical waltz and next a polka. A 12 is a piece of "faisdo-do" music typical of the area. A13 is a Negro adaptation of the white "fais-do-do" style. A14 is a contemporary white imitation of the "Cajun" Negro blues style, giving a portrait of the legendary Joe Ferail, who sold his wife for a bushel of potatoes.
For much good material and general background on these selections see Whitfield, Louisiana French Folk Song.
A13-0 CHERE 'TITE FlLLE 0-1 chere 'tite fille, chaque fois tu mets a genoux prie done pou' ton neg'. o hol 0-1 c'est pas si dur, <fa qu' est plus dur, ton neg' Ie merite pas. O! cha-cha! O-! rappelle-toi la dernicre fois ton vieux neg' fa quitte. O-! my dear little girl, each time you bend your knee, pray for your dear. o ho! O-! It's not so hard. That which is harder [is that] your dear doesn't deserve it [your prayer). 0 1 clla-cha l 0-1 Remember the last time your old dear and you parted. 1 Transcriptions of these texts were unavailable.
Bl-3-S0NGS FROM "LOS PASTORES."
Sung by Franquilino Miranda and group at Cotulla, Texas, 1934. Recorded by John A. and Alan Lomax.
B4-6-S0NGS FROM "EL NINO PERDIDO." Sung by Ricardo Archuleta at Cerro, New Mexico, 1940. Recorded by Juan B. Rae\. The Spanish mystery plays, "Los Pastores" and "El Nino Perdido," are still performed by the Mexican folk of the Southwest. The entire scripts-words, tunes, and stage directionshave been handed on by word of mouth from father to son in a number of communities. On
BJ-B3 the singing was done by the "Los Pastores" group which performs the play every Christmas in Cotulla, Texas, a little cattle town down in the mesquite thickets of south Texas near the Mexican border. It is obvious that the melodies are of much more recent origin than those on B4-B6 which were recorded in New Mexico. There Spanish-speaking communities have lived in relative isolation from the rest of the Spanish-speaking world since the Spanish conquest of the Southwest.
For another transcription of B2, see page 16, Gustavo Duran, ]4 Traditional Spanish Songs from Texas (Music Division, Pan American Union, 1942). For further background see M. R. Cole, Los Pastores, American Folk-Lore Society Memoirs, vol. IX (New York: American Folk-Lore Society, agent, G F. Stechert, 1907); Charles A Dickinson, Las Posadas (Claremont, California, 1935).
Bl 1. . .... a casa del Ave Maria, pidiendo posada par un solo db, pidiendo posada par un solo dla. 2. Yaqui, cn esta casa, posada no damas, que es mucha familia y apenas entramos, que es mucha familia y apenas entramos.
3. Posada pedimos par esta ocasi6n, y a mi esposa amada tener un rinc6n, y a mi esposa amada tener un rinc6n.
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4.
Posada no damos
por esta ocasion;
paseo ade1ante,
que hay otras mejor,
pasen adelante,
que hay otras mejor.
5.
Hermosos los pobres, no tenemos dinero ni prendas valiosas para el mesonero, ni prendas valiosas para el mesonero.
1.
.......... to the house Of the Ave Maria, Asking for room For only one day, Asking for room For only one day.
2.
And in this house We do not have room, We have a lot of family And there's hardly room for us, We have a lot of family And there's hardly room for us.
3.
We ask for room to stay On this occasion, And for my beloved wife Just to have a corner, And for my beloved wife Just to have a corner.
4.
We won't give rooms On this occasion; Keep on going, There are other better places, Keep on going, There are other better places.
5.
How beautiful the poor, We don't have any money Nor any valuable jewelry To give to the innkeeper, Nor any valuable jewelry To give to the innkeeper.
B2
1. Y adios, nino chiquitito, mi vida, y adios, divino portal; y a tus pies esta postrado mi vida, dispidiendose,2 Cabal. i Y adi6s, adi6s!
2.
Y adi6s, nino chiquitito, mi vida, de tf ya no te preciso; y a tus pies esta postrado, mi vida, dispidiendose, Melillo. jY adios, adios!
3.
Y adi6s, nino chiquitito, mi vida, yen el corazon te tengo; de tu vista se despide, O1i vida, quien ha roto vingo y vengo." iY adi,6s, adios!
4.
Y adi6s, nmo chiquitito, mi vida, te llevo en el corazon; de tu vista se despide, mi vida, Tulo, Bato y Cucharon. j Y adios, adios!
5.
Y adios, nino chiquitito, mi vida, yo me despido lIorando; y a tus pies esta postrado mi vida, dispidiendote, Lisardo. j Y adios, adios!
1.
And goodbye, little boy, My whole life, And goodbye divine portal; At your feet I put my life Saying goodbye, now. And goodbye, goodbye!
2.
And goodbye, little boy, My whole life, I don't need you any more; At your feet I put my life, Melillo says goodbye here. And goodbye, goodbye!
3.
And goodbye, little boy, My whole life, I have you in my heart; I will not see you, My life, I'll come and go.... And goodbye, goodbye!
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4. And goodbye, little boy,
My whole life,
I keep you in my heart;
I will not see you,
My life,
Tulo, Bato and Cuchar6n.
And goodbye, goodbye!
5. And goodbye, little boy,
My whole life,
I say goodbye crying;
At your feet I put my life,
Lisardo is saying goodbye.
And goodbye, goodbye!
• Dispidiendose: despidiendose.
, Vingo y vengo: meaningless garbled words.
B3 1. . donde yo durmiendo estaba; y si dispertar, no pude levantar bien 1a pestana. 2. Y 01 una voz que deda de esta manera cantaba: "Pastorcillo, que durmiendo siestas en vuestra cabana, 3. "Camina para Belen, veras la gloria y la fama, que esta el Salvador del mundo tirado entre bumildes pajas. 4. "Y hoy por ...4 Ypor el hombre, hoy nacio de madre amada; la que concedida en gracia y aquella que fue anunciada." 1. . Where I was sleeping; I couldn't wake up Or open my eyes.
2. I heard a voice Singing in this manner: "Little sheperd, Taking a nap in your cottage, 3. "Go towards Bethlehem, There you will see glory and fame, The Savior of the world Is lying on a bed of straw.
4. "And today ... for mankind,
-Born of a beloved Mother;
The one conceived in grace
As it had been announced."
B4
Atenci6n, senado ilustre,
que ya se comienza el auto
en que obro el Nino Jesus
un descuido yean cuidado.
Repeat
Attention, illustrious senate,
For the play now begins
With the Child Jesus as central character
With dedication and care.
Repeat • Two-syllable word ending in vowel, unintelligible.
BS 1. Dh, dulcisimo Jesus, a quien me amparo hasta aqui, para el avariento entrar al Senor de MaspirmL 2. La grande misericordia del cielo vino hasta aqul, vino a buscar a las almas
el Senor de Maspirmf.
3. Si por mis grandes pecados y estas en la cruz por mi, el perdon me ha de entregar (?) el Senor de Maspirm!. 4. El jardin que ahf 10 vi y veneramos aquf, es la rosa mas frondosa del Senor de Maspirmi. 5. Entre las imeve y las diez y el Calvario recibi, con las tres necesidades del Senor de MaspirmL 1. Oh, sweet Jesus, From whom I seek protection, So the avaricious may enter The presence of Our Lord of MaspirmL 2. The great mercy Of heaven reached right here, The souls came to get Our Lord of Maspirmi.
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3. If for my great sins You have been crucified because of me, Forgiveness will be given to me (?) By our Lord of MaspirmL 4. The garden I saw there And we venerate here, Is the prettiest rose garden Of Our Lord of MaspirmL 5. Between nine' and ten And I received Calvary, With the three requests From Our Lord of MaspirmL B6 1. El mejor hombre del mundo y en una ctuz fue Glavado, primero en Jerusalen, iAlabado y ensalzado! 2. Siempre alabando el bendito del divino Sacramento; danos luz y entendimiento para que mi alma se salve.
3. EI angel quedo llorando desde la cuenta que di6, y una mas tenia a su cargo y el malo se la llevo. 4. La Virgen Ie dice al angel: "No Hares, nino varon, que yo Ie pedin~ a Cristo que esta ,alma tenga perdon." 1. The best man in the world Was nailed on a cross, First in Jerusalam, Venerated and blessed be He! 2. Always venerating the blessed one Of the Divine Sacrament; Give us light and understanding To save my soul. 3. The angel was crying After the accounting was made, He had one more [soul] to care for And the devil took it [the soul] 4. The Virgin Mary telIs the angel: "Don't cry little boy, r will ask Christ To forgive this soul."
B7-EL TECOLOTE (Spanish-American Ring Game). Sung by Ricardo Archuleta at Cerro~ New Mexico~ 1940. Re.corded by Juan B. Ra~l. "EI Tecolote" (the owl) is a Mexican ring game in traditio:nal Spanish style. For background see references on B9. 1. Tecolote i, de onde vienes? Repeat Del pueblo descolorido,
del pueblo descolorid6, uh!
2. Vengo a traerte la noticia Repeat que tu arnor esta perdido,
que tu arnor esta perdido, uh!
3. Pajaro, eu, cu, eu, pobrecito animaIito, tiene hambre el tecolotito, uh! 4. Tecolotito valiente Repeat que cantastes en enero,
que cantastes en enero, eu!
5. i, Por que no se juntan todos Repeat y hacen un tecolotero,
y haeen un tecolatero, uh?
1. Owl, where do you come from? Repeat From the faded village,
From the faded village, oahl
2. I've come to bring you the news Repeat That you have lost your love,
That you have lost your love, ooh!
3. Little bird, coo, coo, coo, Poor little thing, The little owl is hungry, ooh! 4. Brave little owl Repeat You Who sang in January,
You who sang in J~nuary, ooh!
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5. Why don't you all get together Repeat And form an "owl coop," And form an "owl coop," ooh? B8-LA BATALLA DEL OJO DE AGUA (Mcxi,can Corrido). Sung with guitar by Jose Suarez at Brownsville, Texas, 1939. Recorded by John A. and Ruby T. Lomax. Blind Jose Suarez walks the streets of Brownsville, Texas, visiting bars and restaurants and singing for all who will listen. His stock of songs in made up mainly of the baJJads of the border country along the Rio Grande. These modern corridos concern bandit raids, train robberies, wrecks on the raiLroad, and other matters of present interest. They represent the style of narrative song most popular among the Mexicans of Texas. For a transcription of this couido see page 2, Duran, 14 Traditional Spanish Songs from Texas, where it is titled "Corrido de Jose Mosquera." For general background see Vicente T. Mendoza, El Romance Espanol y EI Corrida Mexicano (Mexico, D. F.: Ediciones de la Universidad Nacional Autonoma, 1939).
1. EI diecinueve de enero,
que el pueblo se alborotocuando
fue el primer asa1to
que Jose Mosquera dio.
2. Gritaba Jose Mosquera
can la pistola en la mano:
"Tumbamos el ferrocarril
en terreno americano."
3. Gritaba Jose Mosquera
con la pisto!a en la mano:
"Turnbamos el ferrocarril
en terreno americana."
4. Dedan los americanos:
"i Que mejicanos tan crueles'
Dejaron el ferrocarril
bailando fuera 'e los rieles."
5. En el rancho de 1a Larga,
y 'onde ,. se vi6 10 bonito;
adonde hicieron correr
a1 Senor Santiago Brito.
6. Mas alia, en el ca1abozo,
donde se via 10 muy fino;
adonde hicieron correr
al diputado Justino.
7. Un dia, Jose Mosquera y en esa lorna trotaba: "Pues, a correr, compai'ieros, porque ahf viene la platiada." 6 8. DeciD Simon Garcia
y en un caballo melado:
"Vamos a asalter dinero
todos para el otro lado."
9. Deda Don Esteban Salas,
como queriendo Horar:
"Par haber hecho los yerros,
tambien me van a Jlevar."
10. Deda Don Esteban Salas: "Y esto les voy a decir: par haber hecho los yerros dos aiios voy a sufrir." 11. A Simon no 10 aprendieron, pues no se deja anes tar; a1 estado de Sonora se fue para vacilar. 12. A Simon no 10 aprendieron, pues no se deja arrestar; al estado de Sonora se fue dinero a gastar.
13. Ya con esta me despido, y al sal,ir a una vereda, pues el que ha tumbado eJ tren se llama Jose Mosquera. 14. Mosquera, yo ya me vay, mi compafiero se queda; pues el que ha tumbado eI tren se llama Jose Mosquera. 1. The nineteenth of January,
The village rebelled-
It was the fint assault
By Jose Mosquera.
2. Jose Mosquera yelled
With a gun in his hand:
"We'll bring down the train
on American soil."
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3.
Jose Mosquera yelled
With a gun in his hand:
"We'll bring down the train
on American soil."
4.
The Americans retorted:
"How cruel, these Mexicans'
They left the train
teetering outside its tracks."
5.
In the la Larga ranch
There was some fun;
They sure made
Mister Santiago Brito run.
6.
Yonder, at the jail,
Where he looked quite well;
They sure made
Councilman Justina run.
7.
One day Jose Mosquera
Was roaming on the hills:
"Let's run on, friends,
For here comes the police."
8.
Simon Garcia said
While sitting on a bay horse:
"Let's get some money
then all run the other way."
9.
Don Esteban Salas said,
Wanting to cry:
"For having made mistakes
They will take me too."
10.
Don Esteban Salas said: "I'll telt you this much: For having made mistakes I will suffer two years."
11.
They did not catch Simon, Because he did not allow it; He went to the state of Sonora To hide his trail.
12.
They did not catch Simon, Because he did not allow it; He went to the state of Sonora To spend money.
13.
With that I'll say goodbye, And r will go to the sidewalk, The one who brought down the train Is named Jose Mosquera.
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14. Mosquera, r will leave now,
My companion will stay;
The one who brought down the train
Is named Jose Mosquera.
• 'Onde: donde. Q La platiada: la plateada, the police force.
B9·B14-MEXICAN CHILDREN'S GAMES.
Sung by Josephine Gonzales, Aurora Gonzales, Pearl Menchaco, Ad-ela Flores, and Belia Trujillo at San Antonio, Texas, 1934. Recorded by John A. and Alan Lomax.
One afternoon in the Mexican quarter of San Antonio, a group of little girls recorded their game songs for the Library of Congress. As they sang, they danced before the microphone, their bright gingham dresses colorful in the sun. The listener will note that they sing popular songs as well as traditional Spanish games and Mexican dances of the last century. The song B12 is known in Spain as "La Viuda del Conde Laurel."
For general background and further material, see The Work Projects Administration of New Mexico, The Spanish-American Song and Game Book (A. S. Barnes, 1942); Mela Sedillo Brewster, Mexican and New Mexican Folk Dances (University of New Mexico, 1937).
B9
1 ya tiene mujer;
manana sabremos
10 que sabe hacer.
2. Levantese Usted: sera de costumbre lavar la cocina y soplese la lumbre. 3. Levantese Usted, vieja remoiona, que ya me canse de ser senorona. 4. iHijo, hijo, mira a tu mujer! iLlevala al infiemo, no la puedo ver! 5. Callese, mama; dlJese, por Dios, porque agarro un palo y Ies pego a las dos.
1.
. You now have a wife; Tomorrow we'll know What you can do
2.
Please get up: It is customary To wash the kitchen and To light the fire.
3.
Please get up, Lazy old lady, That I may grow tired Of being the grand lady.
4.
Son, son, Look at your wife! Take her away to hell I can't look at hert
5. Be quiet mother; For God's sake be quiet, If not I'll take a stick And hit both of you.
BIO
1.
La viborita, la viborita can su cascabel, ya se 10 pisa, ya se 10 pone para jugar can el.
2.
Tengo mi rorro, tengo mi rorro, mi rorro frances. Vengan a verlo, vengan a verlo 10 bonito que es.
1.
The little snake, The little snake With its rattle; It steps on the rattle, Wears it, Plays with it.
2.
I have my baby, I have my baby, My French baby. Come see him, Come see him, See how pretty he is.
Bll
Serian las dos,
sedan las tres,
serian las cuatra, cinco 0 seis de la manana
cuando estaba con mi Julia
platicando en la ventana.
Sale su mama
tratadome de grosero.
Y ami ~ que valiente,
porque traiga mi dinero?
Sale su papa
tratandome de borracho.
Y a mi ~ que valiente,
me va a rechazar tus brazos')
Cuando tuve,
te mantuve
y te quise y te di.
Hoy no tengo,
no mantengo
ni te quiero ni te day.
Buscate a otro
que te quiera,
que te tenga y que te de.
Hoy no tengo,
no mantengo,
ni te quiero ni te doy.
It could be two,
11 could be three,
ft could be four, five or six in the morning
When I was with Julia
Talking through the window.
Her mother comes out;
Tells me I have no manners.
What do I.,care?
Should 1 bring my money?
Her father comes out;
Te))s me I am drunk.
What do Teare?
Are you going to stop loving me?
When I had a lot
T gave you a lot
I loved you a lot
Today I have nothing
I can't give a thing
I can't love or give.
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Find someone else Who can love you, Who has things to give you. Today I have nothing I can't give a thing I can't love or give. BI2 1. Esta es la viudita de Santa Isabel, gue quiere casar y no halla can guien. 2. EI mozo del cura Ie manda un papel; Ie manda a decir que se case con el. 3. Corriendo, corriendo, me eli un tropezon; par dade la mano, Ie di el coraz6n. 4. Me gusta la leche, me gusta el cafe, pero mas me gustan
los ojos de usted. 1. This is the little window Of Saint Isabel, Who would like to marry But can't find a man. 2. The priest's helper Sends ber a note; Lets her know He wants to marry her. 3. Running, running, I stumbled; Instead of giving a hand
I gave my heart.
4. I like milk, I like coffee, But I like better still Your eyes.
BI3 \. Compadre i., de d6nde vienes? Compadre, del trabajo. Compadre i., que cuanto ganas? Compadre, no mas un real.
2. Compadre (, y quien 10 emplca? Compadre, una muchacha. Compadre i., y es bonita? Compadre, como la plata. 3. Cuatro pa, cuatro pa,
cuatra palomitas blancas.
Cuatra pa, cuatra pa,
cuatro palomitas blancas.
4. Del cielo cay6 un pafiuel0
cubierto de puras flores,
y en una esquina deda:
"Matilde de mis amores."
5. Cuatro pa, cuatro pa,
cuatro palomitas blancas.
Cuatro pa, cuatra pa,
cuatro palomitas blancas.
6. Del cielo cay6 un panuelo
can veinticuatro limones.
Los hombres son los plomos,
las mujeres son lascivas.
7. Cuatro pa, cuatra pa,
cuatro palomitas blancas.
Cuatro pa, cuatro pa,
cuatra palomitas blancas.
8. Senora, su periquita
me quiere llevar al rlo,
y yo Ie digo que no,
porque me muero de frio.
9 Cuatro pa, cuatro pa,
cuatro palomitas blancas.
Cuatro pa, cuatro pa,
cuatro palomitas blancas.
10. Paseo a tomar atole todos los que van pasando, que el atole esta caliente, la atolera se est{l agriando. Repeat I. Friend, where do you come from? From work, my friend. Friend, how much cia you make? Friend, only about a dollar. 2. Who do you work for, friend'!
A girl, my friend.
Friend, is she prctty'7
As pretty as silver, my friend