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THE ART OF THE SHANTYMAN
Marr, etc. Great names like Napoleon, Santiana, General Taylor, Mister Tapscott, and Daniel O'Connell—great and fairly great in their respective fields—all were included in his songs. He sang of places with romantic names like Shenandoah, Rio, the Broomiclaw, Mobile Bay, Valparaiso and Essequibo, and Hilo. Strangely enough he rarely sang of a famous ship by name—the Dreadnought was one of the few exceptions. Peculiar expressions, too, many of them Negro or of minstrel
source, dotted his stanzas—^Yaller Gals, Bulgines, Round-the-Corner Sallies, Queens-in-the-Forest, and the mysterious Wild Goose Nation. In fact Sailor John sang of everything and anything. *
* *
For many years several English and American books about shanties have been on the market. In the Yankee ones the shanties have been mainly drawn from the east coast. In the English books, Northumber- land and the Tyne, the Bristol Channel ports and London have been the collecting grounds of the writers concerned. It has always struck me as rather strange that Liverpool, the
greatest of all sailing-ship ports, should have contributed so little to the existing data on shanties. The nearest to a Liverpool collection is the work of Professor J. Glyn Davies, but then again he added to the existing tunes words in Welsh which he himself composed and which were never sung at sea; but he gives, in the prefaces to his works,
formation about the shanties as they were sung by Welsh seamen sailing out of the port of Liverpool. Of course the tunes and words varied among seamen from
different ports and even in different ships out of the same port. Glyn Davies declares that the Welsh versions of the shanties were more 'conventional musically' than those in Terry's and Whall's collections, and he rather thinks that the Welsh versions were based unconsciously 'on hymn models'., and that the not-so-musical versions of the English were due to the 'bungling of English crews who usually did not know how to sing hymns or anything else'! He believed that there was a greater uniformity of shanty singing in Welsh ships (like in the Swedish 'family ship'), since the crews came from the small area of the three western counties of North Wales. The same men came from, the same village, signing on the same ship voyage after voyage, a consistent state of affairs which he contrasts with the
. . . complete stampede of a crew from an English starvation hulk and the signing-on of a new set of riff-raff, who, like the thunder winds, came from all round the compass. . . . 1 Both published by the Oxford University Press. 35
Cerddi Huw Puw and Cerddi Portinllaen,^ much valuable in-

Shanties From The Seven Seas,

Titel:

Shanties From The Seven Seas

Naam uitgever:

MYSTIC SEAPORT MUSEUM

Jaar van uitgave:

First Published 1961

Taal:

Engels

Aantal pagina's:

430

Plaats van uitgave:

Connecticut

Auteur:

Collected by Stan Hugill

Voorbeeld : Klik op de tekst voor meer

Organisatie: Shanty Nederland

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049 Shanties From The Seven Seas

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THE ART OF THE SHANTYMAN A suggestion is also made by many writers that the solos alone
were dirty, the choruses being fit for anyone's ears. Terry^ declares: 'The Rabelaisian jokes of the shantyman were solos, the sound of which would not travel far beyond the little knot of workers who chuckled over them. The choruses—shouted out by the whole work- ing party—would be heard all over the ship and even penetrate ashore if she were in port. Hence, in not a single instance do the choruses of any shanty contain a coarse expression.' It is fairly obvious that sailor's working songs did contain a great
amount of gross obscenity, but many versions of the same shanty were either quite clean by comparison or else the dirt was disguised (even if Miss Colcord and others don't agree) in a nautical double entendre. One version o{ Blow the Man Down is a good example of this. Nearly every shanty had its dirty version—there were some excep- tions—and two or more shanties had a dirty version only. Some shanties—not a great number—were entirely devoid of anything obscene or even coarse. Some writers believe that all homeward- bound songs were free of filth but this is not true, as I will endeavour to prove elsewhere. Also I disagree with Terry's statement that the shanty choruses were always clean. Jamboree had a chorus that was invariably roared out in all its anatomical lustiness, and this was a homeward-bound song. Others were. The Girls of Chile, Hog-Eye Man, Saltpetre Shanty, one version of Rio, Sacramento, and Miss Lucy Long. For the student who can understand French, proof of the bawdy
singing of French shanties can be found in a now out-of-print volume. Chansons de la voile 'Sans Voile^ by Jean Marie le Bihor (a pseudonym for Captain A. Hayet). *
* *
Of what did the shantyman sing? Well, naturally, he sang of the girls; of his kind of love . . . such
as was to be found down the Barbary Coast, Schiedamschedyk, Ship Street, the Bowery, San PauH, Reeperbahn, Schipperstraat, RatclifTe Highway, and other unsavoury streets and quarters of the ports he visited; of beer and rum and whisky; of tough ships and hungry ships; of bucko mates and shanghaiing. But he also sang of irrelevant things like soldiers and inland waters, of revolutions and railways and huckleberries. And he sang of people, true and other- wise; more often than not about legendary figures like Reuben Ranzo, Lucy Loo and Lucy Anna, Stormalong, Hanging Johnny, Eliza Lee and Susiana, Sally Brown and Shallow Brown, and Johnny Boker; but also of only-too-real figures, like the shanghaiing crimps—Shanghai Brown, Rapper Brown, Mother Shilling, Larry ' R. R. Terry. The Shanty Book (a parts), London (J. Curwen & Som, Ltd.),
1921, 1926. 34

Shanties From The Seven Seas,

Titel:

Shanties From The Seven Seas

Naam uitgever:

MYSTIC SEAPORT MUSEUM

Jaar van uitgave:

First Published 1961

Taal:

Engels

Aantal pagina's:

430

Plaats van uitgave:

Connecticut

Auteur:

Collected by Stan Hugill

Voorbeeld : Klik op de tekst voor meer

Organisatie: Shanty Nederland

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049 Shanties From The Seven Seas

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jobs, very often in the middle of a verse. The cease action order when heaving at the capstan was "Vast Heaving!' For halyards, 'Belay!' or 'Belay that!' or 'Well enough!' And for the pumps—after one of the men had advised the officer that the pumps were dry by a yell of 'Suck-O!'—"Vast pumping there!' And the customary words to stop the end-of-the-voyage shanty, Leave 'er, Johnny, Leave 'erJ, was 'That'll do, men!' Expressions such as 'Well there, the brace!', 'Up behind!', or 'Belay all!' would bring to a halt sing-outs at brace, tack, and sheet.
* Ik *
Much has been written about obscenity in the shanties. Some declare they weren't as dirty as shore folk like to imagine. Clements says: 'Sailor John, I admit, called a spade a spade, but that's a virtue not a vice. The most outspoken of them all is not a whit more indecent than many songs in an Elizabethan book of plays. And these latter are literature; sailors' songs never claimed to be that. . . . Not in the chorus of one single shanty was there anything that would be impermissible in a drawing-room' {A Gipsy of the Hom). Victor Slocum in Cornell's Sea Power^ by W. M. Williamson says, 'Contrary to the present impression the words of a chanty were never ribald though they may have been elemental and often uncouth. I have never heard an indecent word or allusion in a chanty on a ship's deck.' But Bullen writes: 'Many a Chantyman was prized in spite of his
poor voice because of his improvisations. Poor doggerel they were mostly and often very lewd and filthy, but they gave the knowing and appreciative shipmates, who roared the refrain, much oppor- tunity for laughter.'^ Sampson snys: 'I think that the alleged coarse- ness of the Shanties has been greatly exaggerated.' And Whall writes: 'Seamen who spent their time in cargo-carrying sailing ships never heard a decent shanty; the words which Sailor John put to them when unrestrained were the veriest filth. But another state of things obtained in passenger and troop ships; here sailor John was given to understand very forcibly that his words were to be decent, or that he was not to shanty at all. (As a rule, when the passengers were landed, and this prohibition was removed, the notorious Hog-Eye Man at once made its appearance.)' Miss Colcord^ feels that many of the words were gross but not suggestive like many music-hall ditties used to be, and she points out that there was always a decent set of words with one or two exceptions. She writes about the grossness: 'it was jovial, forthright, almost wholesome obscenity. . . .'^
• 1942.
- Frank T. BuUcn. Songs of Sea Labour, London (Swan & Co.), KJ14. ' Joanna C. Colcord. Songi of American Sailormen, New York (W. W. Norton &
<^o-)> 1938. 33

Shanties From The Seven Seas,

Titel:

Shanties From The Seven Seas

Naam uitgever:

MYSTIC SEAPORT MUSEUM

Jaar van uitgave:

First Published 1961

Taal:

Engels

Aantal pagina's:

430

Plaats van uitgave:

Connecticut

Auteur:

Collected by Stan Hugill

Voorbeeld : Klik op de tekst voor meer

Organisatie: Shanty Nederland

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049 Shanties From The Seven Seas

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(in a hauhng song), normally two, although at times the pull would come on one word only. A short space would come between the two pulls sufficient for the crowd to shift their grip on the halyard. In the case of sheet shanties the haul would not come until the laist word of the refrain, which was usually shouted out. The method of pulling was 'down and out'—a downward drag of the whole body and then backward fling, a holding of the rope with one hand while the othe sought a fresh grip further for'ard without letting go altogether. Th whole art of pulling was to keep the body low. All British and American and most Scandinavian, French, anc
German shanties had a theme or pattern telling some sort of con- secutive story, only in typical Negro shanties were the first two oi three verses so-called 'regulation' and the remainder improvised in the manner of calypso singing. Normally in an English-worded shanty the fact that the shantyman improvised, used verses from other shanties, or repeated the solos twice in each stanza, showed that he had an imperfect memory. Of course in a very long hoist the regulation verses would often run out and then stock phrases or verses from such a shanty as Handy, Me Boys would be utilized. The process of repeating the solos was referred to as 'stringing out'. Many shantymen would, of course, improvise even if they knew the real words, particularly if the ship was a 'hungry bitch', the voyage a tough one, or the afterguard a set of bullies. Improvising, they would bring out these tribulations in their solos, and, strangely enough, rarely did the afterguard victimize the shantyman or the crowd on account of it—it was an unwritten ruling of the sea that a sailor could 'growl' only through the medium of his shanties. Of course in some ships this unwritten rule was set at naught and it was better to sing the regulation words and leave improvisation for the final shanty of the voyage—Leave 'er, Johnny, Leave 'er—sung when tying up or pumping out for the last time. It was on occasions such as Captain Frank Shaw refers to in his
book Splendour of the Seas^ that sly digs at the afterguard would be substituted for the regular words.
Toadying types of mates—those who crept to superior authority—would
keep the hands on the run. . . . Sour-souled enthusiasts who would in the Sunday 6 to 8 dog-watch get the hands 'sweating up'. Maybe a dry pull on the royal halyards—which in fine weather could be hauled taut by a man and a boy—would bring out the whole watch plus idlers—cook, carpenter, sailmaker, etc. They would all tail on to the fall . . . and then someone would strike up a shanty. The singing would go on—a direct insult to those aft—until the mate purple-faced would yell from the poop, 'Belay all that! That'll do the hands!'
A shanty would be brought to a full stop by the officer of the
watch loudly giving the command, different phrases for different ' London (Edward Stanford, Ltd.), 1953. 32

Shanties From The Seven Seas,

Titel:

Shanties From The Seven Seas

Naam uitgever:

MYSTIC SEAPORT MUSEUM

Jaar van uitgave:

First Published 1961

Taal:

Engels

Aantal pagina's:

430

Plaats van uitgave:

Connecticut

Auteur:

Collected by Stan Hugill

Voorbeeld : Klik op de tekst voor meer

Organisatie: Shanty Nederland

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049 Shanties From The Seven Seas

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THE ART OF THE SHANTYMAN
rare. In the refrains the bass and baritone voices of the men and the trebles of the boys alone would be heard. At halyards the shantyman would stand at the 'forehand', i.e. in
front of the lead block where the fall of the halyard comes down vertically from aloft. With him would stand the bosun or a leading hand or even the second mate. The rest of the hands would face the
shantyman and haul on the part of the halyard beyond the lead block, i.e. they would pull, with their backs bent, on the horizontal part of the rope. The shantyman would, after several 'dry pulls' to stretch the flapping sail, burst forth into a 'hitch', a breaking yelp in his voice, and then roar forth the solo line; before he sang the last note, the crowd would come in with the refrain, and before the last note of the refrain was completed the shantyman would start his next solo. This overlapping of the last note with the first note of the refrain was common in many kinds of folk singing. At the pumps the shantyman would be at one of the handles,
the main part of the crowd tailing on the 'bell-rope', one of each of which would be looped over the handles of the pump's flywheels. 'Roll the water-wheel!' would be the cry, and 'Who wuz drunk last?' would be the query, followed by the shantyman breaking forth into something like Lowlands or Stormalong. As various suitable shore- songs were often sung at the pumps, to while the weary hours away at this back-breaking job (particularly in wooden ships), others besides the regular shantyman would start a song. This was also true when taking in sail. Here various groups of men would handle the different buntlines, clewlines, and downhauls, and each group would have its singer-out, irrespective of whether he was a shantyman or not. And each group leader would sing his own sing-out, making a tremendous babel of sound rising above the howling of the wind. There was one more job at which the shantyman or any suitable member of the crew would sing out and that was on the yard when furling the sail. After being 'clewed up' from the deck by means of buntlines and clewlines, the men had to fight their way aloft and muzzle the hard still-bellying canvas on the yard. To get the bulk of the sail rolled on to the yard a collective heave was necessary and this was timed by the wild elemental cries of the bunt shanty known as Paddy Doyle's Boots. When going "bout ship' or 'tacking' the men would grasp the braces with their backs to the lead block and stamp away up the deck. The stamp-'n'-go, walkaway, or runaway songs they raised were sometimes sung in chorus. Such, then, were the jobs at which the shantyman sang his songs. In the solo part strict time was not absolutely necessary, the shantyman could slow down or speed up according to his fancy, and, incidentally, a good shantyman was an expert at putting in far more words than the original notes catered for. But with the refrairl strict tempo had to be kept. The pull came on certain words in the refrain 31

Shanties From The Seven Seas,

Titel:

Shanties From The Seven Seas

Naam uitgever:

MYSTIC SEAPORT MUSEUM

Jaar van uitgave:

First Published 1961

Taal:

Engels

Aantal pagina's:

430

Plaats van uitgave:

Connecticut

Auteur:

Collected by Stan Hugill

Voorbeeld : Klik op de tekst voor meer

Organisatie: Shanty Nederland

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049 Shanties From The Seven Seas

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THE ART OF THE SHANTYMAN
this Style of singing, and write of the grace notes, flourishes, and variations with which a good shantyman would embeUish his sing- ing.
This pecuhar breaking of the voice was also to be found in the lookout's cry of'Aaaall's well!', and sometimes is to be heard even today in the cry of the leadsman: 'By the dee-ip nine!' *
* *
In ages long past the shantyman was probably a person of some substance, on a higher level than the seamen (see the extract from Felix Fabri's Voyage on page 3), and even in the days of the Black- wall frigates he held a fair post, standing at the knightheads or near the halyards, or else sitting on the capstan crown as he sang his solos, and being relieved of the arduous work of hauling and heaving, ranked with the idlers of the ship—i.e. bosun, carpenter, sailmakcr, etc. But in the later sailing ships, and particularly in the latter days of sail when ships got bigger and crews smaller there was no such rank as shantyman—he didn't sign on as such at the shipping office. He was usually an older hand, a good seaman, one with an extensive repertoire, a retentive memory, and a good powerful voice, who would automatically take his position as shantyman on sailing day at the capstan. Sometimes there would be two, one in each watch. He was essential to the easy working of the ship. His song, as Shaw puts it, was the 'war-cry of the non-combatant but ever-fighting seaman of the spacious days of sail'. And the sailor's adage declared,
'A good song was worth ten men on a rope.' But, naturally, there were many voyages and many ships in which a shanty was never raised—black, blood-boat passages when men were hazed from port to port. Of course the 'modern' shantyman didn't always 'pull his weight' on a rope, he merely went through the motions, saving his wind for the song. At the capstan he 'rode the bars'. On sailing day the capstan would be the first object the half-
soused fo'c'sle crowd would come in contact with, either to heave the anchor or warp the vessel out through the locks. Once the cry was raised 'Man the caps'n!' the crowds would lumber up, take the bars from the rack, ship them in the pigeon holes in the head of the cap- stan, and start heaving. From the mate would come the questioning shout, 'What about a song there?' or 'Who's the bloody nightingale aboard this packet?' And there and then the self-appointed shanty- man would roar forth the opening solo of his shanty. From then on he would keep his job until the final tying up of the packet at the end of the voyage. Sometimes he would start the shanty by singing first the chorus of the song to give the gang a clue as to which shanty was to be raised. This was done also when hauling at the halyards, so much so that many shanties now in print are accepted as starting with the chorus. Normally harmony didn't exist, and tenors were 30

Shanties From The Seven Seas,

Titel:

Shanties From The Seven Seas

Naam uitgever:

MYSTIC SEAPORT MUSEUM

Jaar van uitgave:

First Published 1961

Taal:

Engels

Aantal pagina's:

430

Plaats van uitgave:

Connecticut

Auteur:

Collected by Stan Hugill

Voorbeeld : Klik op de tekst voor meer

Organisatie: Shanty Nederland

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049 Shanties From The Seven Seas

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THE ART OF THE SHANTYMAN
pull coming on the final syllable. Of course, here agzdn, a verse or two of a bowline or foresheet shanty would do equally well. When hoisting a heavier stays'l, after a few sing-outs in hand-over-
hand fashion, the final tautening of the luff would be performed by means of a bowline or foresheet shanty or even by a few stanzas of a short haul shanty such as Boney. Royals, in some ships, would need no more than a sing-out to set them; in others Boney or a similar song would do the job. When it came to t'gans'ls and tops'ls the real haul- ing song came into its own, although here again the slack of the fall, before the wind filled the sail, would be taken in by a few yells or grunts. Very often this procedure was referred to as a 'dry pull', meaning that a shanty was not used. Once the wind bellied the sail away from its creased and stowed confines the shantyman would raise his halyard song—something in the nature of Whisky Johnny if a t'gans'I, or Blow the Man Down if a tops'l. Although a division did exist between the shanties used at tops'ls and t'gans'ls, normally they were interchangeable. The usual method of spilling the wind partly from the sail so as to
make the job of hoisting it lighter was for the ship to be 'luffed'— brought closer to the wind. A common line in hauling songs was *Hey-ho, rock 'n' shake 'er!', a sly dig for the officer of the watch to give the helmsman the order to 'luff' and thereby ease the strain. In all these better-developed shanties, however, the wild yells
still persisted. In fact this yell was the very essence of the shantyman's art. Strangely enough few, if any, of the early collectors mention it in regard to the shanties, referring to it only in connection with singing out. These yells had no real functional value except, in certain cases, to stimulate the crowd for the next pull. Nearly every verse of a hauling song would commence with one, and, although sometimes omitted from the first solo line, it was invariably sung at the com- mencement of the second. Also in the capstan songs these yells would sometimes be heard in the choruses. The German shanty-book Knurrhahn has this yell identified in its title which means both a 'cockerel with a sore throat' and 'a fish which grunts'. One of the reasons why Negro shantymen were so good at their job was because of their ability to handle these wild falsetto 'yodels' (hardly the correct term though!) much better than white men. Sailors called these yells 'hitches' and they were performed either by a break or several breaks in the voice on a certain note, or else by emitting a high yelp at the end of a solo line. Most people find their voice 'breaks' when they don't want it to, but this was a systematized breaking of the voice on definite notes. I don't think 'grace note', used by some collectors, is the right word to describe it. Grace notes, appogiaturas, and demi-semiquavers have been used by some collec- tors, but one has to hear such a 'hitch' to appreciate it properly. Doerflinger and Miss Colcord, American collectors, both refer to 29

Shanties From The Seven Seas,

Titel:

Shanties From The Seven Seas

Naam uitgever:

MYSTIC SEAPORT MUSEUM

Jaar van uitgave:

First Published 1961

Taal:

Engels

Aantal pagina's:

430

Plaats van uitgave:

Connecticut

Auteur:

Collected by Stan Hugill

Voorbeeld : Klik op de tekst voor meer

Organisatie: Shanty Nederland

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049 Shanties From The Seven Seas

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THE ART OF THE SHANTYMAN
words were followed by three short jumps. It was very infrequently heard and always came to an abrupt end after the first line, in obedience to an angpry order from the mate—'Stop that!'
A shanty once used entirely for 'ceremonial'—the only shanty composed for amusement^was the Dead Horse, but in later years, as the custom of 'paying off the dead horse' died out, the shanty took its place as a normal hauling song.
In the foregoing classification of the shanties we can see the develop- ment of the shanty through the ages, showing how, from the rude, seaguU-Hke cries and yells of the earliest hauhng song the shanty grew until it became the musical, 'true' song of the latter-day anchor- shanty.
SHANTY DEVELOPMENT
Hauling ist stage: Hey, holly, hilly, oh! Hey, ro, ho,yu! (sing-out) and stage; Hand, hand, hand-over-hand, Divil run away with a Liver- pool man, etc. (chant)
3rd stage: Cheer'ly Man, Boney, Handy, Me Boys (rather tuneless short hauls and sweating-up songs)
4th stage: Blow the Man Down, A Long Time Ago, etc. (tuneful hauling songs)
Heaving ist stage: Yo ho, heave ho! (sing-out) 2nd stage: Round come roundyfor Liverpool Town (chant) 3rd stage: To heave ho, round the caps'n go, etc. (rather tuneless heaving song)
4th stage: A-rovin\ Shenandoah, Rio (tuneful heaving songs) *
* *
The wild yells, mentioned several times in the foregoing paragraphs, have always been part and parcel of a sailor's life when working ship, from dim, remote times. And, although others may disagree, I believe that among white men the finest exponents of the art of singing out were German and Scandinavian seamen. Of course the Negro was the singer-out j&ar excellence. When hoisting aloft a light jib or stays'1, the shantyman would keep up a running cry of meaning- less sounds to time the hand-over-hand movement of the hauling men—'rather to guide the grip of the hand than to encourage the pull' (Bone). This was the sing-out. When stamping away at the braces as a ship was 'put about' a sing-out of slightly different tempo would be used, unless a proper stamp-'n'-go song was raised. Also final pulls on brace, sheet, tack, and halyard would elicit a sing-out, such as Ho-yu!, Hee-lay-ay!, Fiddle-string 'im!. Two block 'er!, the 28

Shanties From The Seven Seas,

Titel:

Shanties From The Seven Seas

Naam uitgever:

MYSTIC SEAPORT MUSEUM

Jaar van uitgave:

First Published 1961

Taal:

Engels

Aantal pagina's:

430

Plaats van uitgave:

Connecticut

Auteur:

Collected by Stan Hugill

Voorbeeld : Klik op de tekst voor meer

Organisatie: Shanty Nederland

laatste wijziging 07-02-2023

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049 Shanties From The Seven Seas

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THE ART OF THE SHANTYMAN The songs sailors sang when off-watch—forebitters or, as the
Yanks called them, main-hatch songs—if they had a good chorus were often utilized for capstan and pump, in particular for the pumps. Then again, although in theory there was a strict division between the various types of shanty, in fact, one cannot be too dogmatic about the matter, as many halyard songs were sung at capstan and pump, many windlass and capstan songs were inter- changeable, and many pumping songs were used for anchor-heaving. One ruling however held—anchor songs were recognized as out- ward- and homeward-bounders, and very rarely were they used on the wrong passage. As well as the above shanty divisions there were also special
shanties for special trades. They weren't 'special' in the sense that they were only used in these trades, but in the sense that certain capstan and hauling songs, as used deep-sea, were often singled out for use when working special cargoes in different ports of the world. We have seen how certain shanties were used by the hoosiers—the cotton-stowers—of the American Gulf ports. Another important trade was that of carrying timber. Timber ships were known as 'droghers' (a term also used for sugar-carrying ships in the West Indian Trade) and nearly all these ships had large square ports in their bows through which lengthy logs could be launched. Capstans and tackles were used in the process of loading and discharging the logs and at the work both dockers and seamen (who in many ports in the days of sail had to work the cargo of their ship) raised shanties to lighten the labour. Many shanties, particularly those of the 'Hieland Laddie' family, were used by timber workers. Canadian and North American ports (of both seaboards) were centres of the timber trade, as well as West Indian and Central American ports. Also aboard the Baltic 'onkers', or sailing ships in the pit-prop trade, manned by Scandinavian seamen—Danes, Finns, Norwegians, and Swedes—many shanties and shore-songs were sung when working the cargo. It is quite possible that this close alliance of lumbermen, steve-
dores, and seamen did, in this trade, help to infuse new shore-songs, suitable for use at work, into the already extensive repertoire of the shantyman. As one writer puts it, 'a real seaman of the days of sail wouldn't
pick up a rope-yam without raising a song'. And Rex Clements, in his fine book A Gipsy of the Hom,^ writes:
There was even a shanty for doing nothing at all. It was like the others
with solo and chorus and was sometimes started by a discontented crowd who felt they were having their old iron worked up unnecessarily. One of the men would begin: 'I've got a sister nine foot high' and was taken up by the chorus, "Way down in Cuba!' but instead of heaving, the
' London (Heath Cranton Ltd.), 1924. 27

Shanties From The Seven Seas,

Titel:

Shanties From The Seven Seas

Naam uitgever:

MYSTIC SEAPORT MUSEUM

Jaar van uitgave:

First Published 1961

Taal:

Engels

Aantal pagina's:

430

Plaats van uitgave:

Connecticut

Auteur:

Collected by Stan Hugill

Voorbeeld : Klik op de tekst voor meer

Organisatie: Shanty Nederland

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A shanty was, in general, of two forms—one with two single solo lines and two alternating refrains, and one with a four-line verse and a four- or more line chorus. Of course exceptions are to be found to these two general descriptions. The first of these two main types was that used for hauling, the
second for heaving, although many heaving songs also had a four- line pattern (i.e. Sally Brown). These two main types were sub-divided into the following:
I. Hauling Songs (A) Halyard or 'long drag' songs (for tops'ls and t'gallants). (B) Short haul or 'short drag' songs (for t'gallants and royals). (c) Sweating-up, fore-sheet, or bowline shanties (for boarding tacks and sheets, etc.).
(D) Bunt shanty (for stowing a sail on the yard). (E) Hand-over-hand songs (for jibs, stays'ls, and braces). (F) Walkaway or stamp-'n'-go songs (braces, etc.).
II. Heaving Songs (A) Main capstan or windlass songs (for heaving the anchor). (B) Capstan songs (for hoisting sails, etc., by 'mechanical' means, and warping in and out of dock).
(c) Pump shanties. The first group were used for an intermittent operation, the second
for a continuous process. Taking the latter group first, the reader will notice as he wades through this book that many of them are in 4/4 time, many of them are shore matching songs, and many of them are not sufficiently camouflaged to hide their shore origins. On the other hand, the shanties that come under the hauling-song group arc in 6/8 time, usually less musical than the heaving songs and so 'salty' that their shore origins have been long forgotten. Of course all the heaving songs are not marches, although the first
tramp around the capstan was usually a march (taking in the slack of the cable, in other words, heaving the ship to her anchor). At the time of the American Civil War many army marching songs such as John Brown's Body, Dixie, The Battle Cry of Freedom, Maryland, and Teller Rose of Texas were roared out on the fo'c'sle-head, and Masc- field has pointed out how the Crimean War march Ckeer, Boys, Cheer was used in similar manner. But, as noted by Bone, apart from the early stamp-around, marches were too fast to be used for the entire job of heaving the 'hook'. After the slack chain was aboard the shantyman would, instinctively, alter the tempo, and a slower tunc like Shenandoah or Stormalong would be raised. The quicker capstan songs too were often used at the maindeck capstans for setting sail, when the halyard would be taken to the capstan instead of being handed by the crowd.
26

Shanties From The Seven Seas,

Titel:

Shanties From The Seven Seas

Naam uitgever:

MYSTIC SEAPORT MUSEUM

Jaar van uitgave:

First Published 1961

Taal:

Engels

Aantal pagina's:

430

Plaats van uitgave:

Connecticut

Auteur:

Collected by Stan Hugill

Voorbeeld : Klik op de tekst voor meer

Organisatie: Shanty Nederland

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049 Shanties From The Seven Seas

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of sail, in the large 'four-posters', these would be made of wire and then they would be hauled tight by means oïmaindeck capstans. Tops'ls also, and other sails with yards, would be taken to these capstans and hoisted by their semi-mechanical help. A capstan was a vertical barrel revolving round a centre 'axle', pushed by men who inserted bars called handspikes into the mushroom head of the barrel and stamped around quickly or slowly, depending on the nature of the 'heave'. Pawls were fitted so as to prevent the barrel 'walking back'. Whenever a capstan was used a capstan shanty would be raised, but for work at the heavier and sturdier anchor capstan or windlass situated on the fo'c'sle-head (the raised part of the deck at the bow) a slower type of capstan shanty or windlass shanty would be used.^ The pumps of a sailing ship were usually situated by the fife rail
of the main or mizen masts, and at the back-breaking toil of 'pump- ing ship' a pump shanty would be raised. In the last of the big squareriggers a new type of semi-mechanical
aid was installed—the Jarvis brace winch and the Jarvis halyard winch. At this type of winch, which lessened the arduous job of setting sail and the dangerous job of hauling on the braces—dangerous, because the brace most often hauled on was the lee brace, i.e. that on the side of the ship nearest the water as she heeled over, and often an area smothered in water neck-deep—capstan shanties were sometimes raised, as the handles were turned by four or more seamen.
* * iK ' I will here try to clear up the mix-up many shanty collectors appear to en-
counter with the words Capstan and Windlass. Some write that the capstan superseded the windlass, others declare that the
windlass is modern and used only in the latter days of sail. Whall, writing about Goodbye, Fare You Well, says that the reference to a capstan makes the shanty at least fifty years old and that merchant ships built after this were nearly all fitted with a windlass—'"wilderness", as John always called it'. Doerflinger and others point out that the barrel of a windlass was horizontal, whereas that of the capstan was vertical, and that windlasses were ousted on deep-water ships by capstans from 1870 onwards. Both of these statements are correct but misleading to the reader, and often to collectors as well. The fact is the latter group describe the tyi>e of windlass used from the time of Drake and even earlier, one with a horizontal barrel, hove round by means of spokes, and later by 'brakes', whereas the windlass Whall writes about was the new-fangled device, placed beneath the fo'c'sle-head ciipstan, so that the cable, instead of going round the barrel, as it did in the earlier windlasses and capstans, went over a cable-holder or 'gipsy' as it does in a modern steamer's windlass, straight down into the chain-locker. It was to this type of windlass Maseficld refers when he writes: 'It is a glorious thing to be on the fo'c'sle-head, heaving at a capstan bar, hearing the chain clanking in below you to the music of a noisy shanty' (italics are mine). This type of windlass was, at times, connected by a chain 'messenger' to a steam-
driven 'donkey' situated in a house abaft the foremast, and the anchor would then be hoisted by steam-power, but owing to the small amount of coal and fresh water windjammers could carry this mechanical aid was rarely used, and Armstrong's Patent was the rule rather than the cxcf ptioii.
25

Shanties From The Seven Seas,

Titel:

Shanties From The Seven Seas

Naam uitgever:

MYSTIC SEAPORT MUSEUM

Jaar van uitgave:

First Published 1961

Taal:

Engels

Aantal pagina's:

430

Plaats van uitgave:

Connecticut

Auteur:

Collected by Stan Hugill

Voorbeeld : Klik op de tekst voor meer

Organisatie: Shanty Nederland

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049 Shanties From The Seven Seas

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THE ART OF THE SHANTYMAN
second mast from the bow they are called mainsail, main lower tops'l, etc., and on the third mast, mizen-sail (usually called the crojik), mizen loiver tops'l, etc. The fore- and main-sails are sometimes called fore course and main course. If it is the yard we are talking about, then it would be the fore yard, fore lower tops'l yard, etc. The fore, main, and mizen yards are fixtures and their sails are set by hauling down on the sheets after the gaskets are loosed. Gaskets are ropes that confine the rolled-up sails to the yards when they are not being used. If one bottom comer of the fore-, main-, or mizen-sail is pulled out towards the bow the rope that pulls it out is called the tack; the rope that pulls the other corner of the sail towards the stern of the ship is called the sheet. The lower tops'l yard is also a fixture and the sail is set by hauling down on the sheets, but the upper tops'l is set by hauling on the halyard, a wire or chain pendant that runs from the yard down to the deck where it has a purchase in the form of two three-fold blocks, the hauling part of which leads through a lead block to the belayin'-pin in the pin rail or fife rail and is there made fast. Nearly all the in- numerable ropes of a sailing ship lead eventually to the deck and are made fast around belayin'-pins—halyards, sheets, braces, etc. The upper tops'l is one that needs a halyard shanty to hoist it. The
lower t'gans'l is—like the lower tops'l—a fixture, and set the same way, but the upper t'gans'l and royal are set by hauling on a halyard, like the upper tops'l. Strictly speaking a royal is partly pulled down and partly hoisted. A short drag shanty would often be used on a royal. The yards are turned from one side of the ship to the other,
following the direction of the wind, by means of braces. These are wires and rope tackles (rope and blocks) which run from the ends of each yard cither down to the deck or to the next mast. Other ropes for pulling the sails up to the yards when taking in sail were bunllines and clewlines, and downhauls were used to haul the movable yards down. All these would be hauled on to wild sing-outs. Between the masts supporting them are wire supports called stays
and on many of them sails called stays'ls are hoisted. Other stays'ls, along With jibs, are set on the wire stays that run from the foremast down to the wooden or metal spike that sticks out from the bow of the ship, known as the bowsprit ovjibboom, depending on whether it is in three sections or one. To hoist stays'ls or jibs either a wild sing-out or a hand-over-hand song would be raised. Braces too, in going about ship (i.e. putting the ship from one tack to the other, or bringing the wind from one bow to the other), would need a lively sing-out, or a stamp-'n'-go chorus. Every so often the sheets, tacks, halyards, and braces would need
a hefty pull to stretch them all the more. This task was called sweatin' up, and to aid the job a. foresheet shanty would be used. In regard to lower sheets, however, this only applied in the days when sheets were made of four-inch hemp rope, but in the latter days 24

Shanties From The Seven Seas,

Titel:

Shanties From The Seven Seas

Naam uitgever:

MYSTIC SEAPORT MUSEUM

Jaar van uitgave:

First Published 1961

Taal:

Engels

Aantal pagina's:

430

Plaats van uitgave:

Connecticut

Auteur:

Collected by Stan Hugill

Voorbeeld : Klik op de tekst voor meer

Organisatie: Shanty Nederland

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049 Shanties From The Seven Seas

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THE ART OF THE SHANTYMAN
sugar boilers ashore by means of tackles through the surf, after they had first been floated shorewards from deep-sea vessels lying in the roadstead. In the West Indies too, particularly in Jamaica, until recent times it was possible to hear shanties sung—such as Sally Brown and its variants—while Negro loggers with peevie and hand- spike rolled the logwood waterwards. 'Roll de mutu!' was a common shout heard when singin' out only. But whether these sailor work- songs started life among these loggers years ago is difficult to say. Doerflinger writes that there is no evidence to prove that seamen acquired their work-songs from lumbermen. He also is emphatic in denying that loggers ever sang at their job—that is in the Maine woods—except perhaps in isolated instances. However modern skiffle has brought to life many old 'axe-cutting' songs from the States such as July Ann {Julian) Johnson. Colcord on the other hand believes that shanties were used by lumbermen as work-songs. I am rather inclined to believe that Theory i has much in its
favour, but it is, I'm afraid, rather difficult to prove. Theory 3 I feel has little to support it—the only shanty that may
have stemmed from the vqyageurs is Shenandoah. Theories 2, 4, and 5 have some stronger claims perhaps, but No. 2 is rather weak. Quite possibly Theory 5 is the right one—that 'shanty' came from the Old English word 'chant', with modified sound as the usage of the word grew. Or perhaps again all these theories are wrong and, like C. F. Smith says, the word 'just growed'! Whatever is the secret of the origin of the word I'm afraid it is lost for all time and we must take it as it stands.
* « 1|C
And now a very simplified explanation of the nautical terms used in connection with shantying—to describe all the parts of a square- rigger in detail would turn this work into a seamanship manual! Taking a single mast of a squarerigged sailing ship we find that normally it consists of three parts—the lower-mast, the topmast, and the t'gallantmast. This mast, like every bit of gear attached to it, is prefaced by the word fore, main, or mizen, depending on its position from the bows. Across each mast are several spars of wood or steel to which the upper edge of the square sail is fastened (or 'bent'). These are called yards. The two bottom corners of the square sail have ropes, wires, or chains attached to them called sheets, these in every case, except those of the bottom sail, lead through pulleys (blocks) in the end of the yard beneath, then into the middle of the yard and down alongside the mast to the deck. Starting at the bottom sail (on the front-, that is the fore-, mast)
the sails are called foresail, fore lower tops'I, fore upper tops'I, fore lower f gans'I, fore upper t'gans'l, and fore royal (usually the highest, although some ships did sport skys'ls above the royals). If they are on the 23

Shanties From The Seven Seas,

Titel:

Shanties From The Seven Seas

Naam uitgever:

MYSTIC SEAPORT MUSEUM

Jaar van uitgave:

First Published 1961

Taal:

Engels

Aantal pagina's:

430

Plaats van uitgave:

Connecticut

Auteur:

Collected by Stan Hugill

Voorbeeld : Klik op de tekst voor meer

Organisatie: Shanty Nederland

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049 Shanties From The Seven Seas

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THE ART OF THE SHANTYMAN Chanter. To utter certain sounds, words, and rhythmical cries which
help sailors, working as a body, to make simultaneous effort in order to obtain the best effect. Sometimes a single sailor sings and then he is called the Chanteur; sometimes the Chanteur gives voice and the other seamen respond, and sometimes all the seamen sing at the same time.
And now let us tackle the problem as to the origin of the word
'chanty' or 'shanty' by setting forth all the existing theories. Theory i. Years ago, in the West Indies, the Negroes, who lived in 'clinker-built' huts called 'shanties', when desirous of shifting domi- cile, moved their huts intact, by the process of lowering them from the stilts on which they were perched (the space beneath the huts serving as a store-room and chicken-run) on to rollers. As the hut was moved by the men hauling on ropes attached to the hut the after roller would become clear and would then be placed under the for'ard end. A man was seated on top of the shanty—and he was called a 'shantyman'—and he would sing improvised verses whilsi the haulers, the 'crew', sang the chorus and hauled on certain words in the chorus. Some writers state a platform on wheels was used. {R. R. Terry, Captain T. P. Marshall.) Theory 2. The word 'shanty' comes from the drinking shanties of
Mobile and other Gulf ports where Negroes and white seamen congregated—in particular the white and coloured cotton-stowers or 'hoosiers'. The name for the drinking dens, a shanty, was applied to the working songs of the 'hoosiers' and thence copied by seamen, in the same manner that the music-hall gave its name to music-hall songs. {L. G. Cart Laughton.) Theory 3. The word comes from the boat-songs of the old French voyageurs of the New World. These were called chansons. {L. A. Smith, C. F. Smith.) Theory 4. The word comes from the French chantez, 'sing'; either
by way of Norman French, Modern French, or the French Gumbo dialect of New Orleans. Norman French gave us many of our sea- faring words and phrases. {Bone, C. F. Smith.) Theory 5. The word is merely a derivation of the English word
'chant'. As 'chaunt' this word was often used to designate 'nigger' songs of the Southern States.
{Nordhojf, Doerflinger, Brown, Son &
Ferguson Ltd.) Theory 6. The shanty has some connection with lumbermen's songs which often start with 'Come-all-ye brave shanty-boys'. {Colcord.) (The authorities and collectors mentioned in brackets do not
always agree with these theories: they merely refer to them.) These are the theories. Let us examine them. In regard to Theory i, the West Indies was undoubtedly a
breeding ground of shanties. In the thirties when I gained many 'new' shanties from West Indian shantymen it was still possible to hear them being used in places like Tobago, where they hauled 22

Shanties From The Seven Seas,

Titel:

Shanties From The Seven Seas

Naam uitgever:

MYSTIC SEAPORT MUSEUM

Jaar van uitgave:

First Published 1961

Taal:

Engels

Aantal pagina's:

430

Plaats van uitgave:

Connecticut

Auteur:

Collected by Stan Hugill

Voorbeeld : Klik op de tekst voor meer

Organisatie: Shanty Nederland

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writing of a voyage in the mid-forties, states that the mate of the Yankee ship he sailed in would often sing out 'Give us a shanter', a word that Doerflinger thinks, and I agree, was an intermediate form between the 'chant' of Nordhoff and the 'chanty' of Clark. It will be noticed that in these early references the word is spelled with a 'ch' and not an 'sh'. The Oxford English Dictionary reference is to an article in Chambers's Journal (1869) where the writer spells the word 'shanty'. His full title, however, was 'Shanty Songs' and not just 'shanty' alone. Whall told Laugh ton that in 1861 when he went to sea these work-songs were called 'shanties', and Messrs. James Brown, Whall's publishers, informed Laughton, on what proof I do not know, that still earlier they were called 'shanty songs'. But in my edition of Whall (Preface to the Sixth Edition) the publishers state: 'As to the spelling of shanty, the earliest collection • known to us, published about 1875, calls these ditties "Shanty Songs", meaning, we suppose, songs from the shanties.' In the seventies (Adams On Board the Rocket) and early eighties (Admiral Luce) the spelling 'shanty' was popular, and then Davis & Tozer (1887) and L. A. Smith (1888) and others reverted to the 'chanty' spelling. After this both spellings were used equally by seamen-writers and landsmen alike. It seems fairly obvious that the 'chant', 'chanter', and 'chanty'
forms became slurred into 'shant', 'shanter', and 'shanty'—sailors as a race being given to the distorting of words, and in particular to the shortening and softening of nautical words and phrases. And the fact remains that whichever speUing may be deemed 'correct', seamen always pronounced it 'shanty'. Of course the defenders of the French origin of the word may say that it was always pronounced with a soft 'ch', being derived from the French verb chanter (shontay) 'to sing', and from 'shontay' it is an easy step to 'shanty'. This brings us to the question of the origin of the word, but before
we move on I would like to point out a reference Captain Hayet has made in his book Chansons de Bord^ to the French word chanter as given in the dictionary De Marine a Voiles published in the year 1847 (Bonnefoux et Paris, M. le vice-amiral baron de Mackau, ministaire de la Marine et des Colonies).
songs are called 'cotton-packin' songs' and two examples are given, the tunes of which are little more than chants. One, consisting of nothing more than a repeti- tion of the line 'Screw dis cotton, hehV, was sung by a Negro called James Scott, who said that at the grunt 'heh!' the screws would be turned. The word'header' was also used for the leader of a Negro gang working in the mines (Virginia) where 'hammerin' songs' were sung. These songs, in structure, are all \ory like my shanty, Dan-dan (page 440). A West Indian word for shantyman is 'lead-man'. It has been heard recently in the West Indian work-song sung by Harry Belafonte in the film Island in the Sun:
the first line runs: 'Lead-man holler, oh, oh, oh. All men foUer . . .' ' Edition, Eos. Paris, 1927.
21

Shanties From The Seven Seas,

Titel:

Shanties From The Seven Seas

Naam uitgever:

MYSTIC SEAPORT MUSEUM

Jaar van uitgave:

First Published 1961

Taal:

Engels

Aantal pagina's:

430

Plaats van uitgave:

Connecticut

Auteur:

Collected by Stan Hugill

Voorbeeld : Klik op de tekst voor meer

Organisatie: Shanty Nederland

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049 Shanties From The Seven Seas

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THE ART OF THE SHANTYMAN
imitative Dutch, Spanish, etc., and some Mediterranean sources.
7. White American folk-songs; from songs of the backwoods- men, rivermen, lumbermen, vojageurs, army, and mountain men.
8. From the emigrant songs of various countries and, possibly, from hymns sung by these emigrants. 9. From Oriental and Kanaka origins.
And of course shanties resulting from a mixture of any two or more
of the foregoing were common—particularly Irish-Negro. To quote an expression of G. F. Smith: 'All was fish to the shantyman's net.' Some shanties are even reminiscent of children's nursery rhymes! After i860 few shanties were 'invented'; old ones often had new
themes fitted to them, and different methods of singing them by different shantymen brought forth a few new variants, but the great hey-day of shanty-producing was finished. From i860 to 1880 was the period of their greatest use, and from 1880 onwards a change came about in the tasks for which they were used. The old-fashioned windlass shanties became capstan songs, the stamp-'n'-go choruses were used for hand-over-hand hauling as the crews became smaller, and the up-and-down pump songs had their timing adjusted to suit the 'modem' flywheel pump. *
* *
Now a little about the word shanty, chanty, or chantey. Many suggestions have been put forward about the origin of the
word and when it w£is first applied to the work-songs of sailors. Taking the latter problem first, it is pretty certain that prior to the middle or late forties in the last century the term was unknown. As Doerflinger has pointed out, Melville, Olmstead, Dana, and other nautical writers of the thirties and early forties did not use the word. The Oxford English Dictionary (which prints it 'shanty') declares that the word never found its way into print until 1869. But this is wrong. Doerflinger's researches prove that the word was used in the fifties. Nordhoff used the word 'chantyman' (the leader of the 'hoosier' gang) in his book The Merchant Vessel, a narrative dealing v/ith the life of a seaman in the fifties. Doerflinger also uses G. E. Glark's work. Seven Years of a Sailor's Life^ as further proof Glark uses 'chanty', 'chanty-man', and 'chanty-gang' (stevedores) many times throughout his work, the latter term apparently being the usual one at this time for the cotton-stowers of the Gulf ports.* E. I. Barra,
> Boston, 1867. * J^egro Folk Songs by Natalie C. Burlin (G. Schirmer, Inc., N.Y., 1918) gives
some interesting information regarding the singing of 'chants' by Negro wharf gangs in Savannah, etc., when stowing cotton. The title of the leader of the singing is given as a 'header'—the screw-gangs in this case being those of Savannah. The 20

Shanties From The Seven Seas,

Titel:

Shanties From The Seven Seas

Naam uitgever:

MYSTIC SEAPORT MUSEUM

Jaar van uitgave:

First Published 1961

Taal:

Engels

Aantal pagina's:

430

Plaats van uitgave:

Connecticut

Auteur:

Collected by Stan Hugill

Voorbeeld : Klik op de tekst voor meer

Organisatie: Shanty Nederland

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049 Shanties From The Seven Seas

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PREFACE
HE bulk of the shanties in this book I carried around for years, safely stowed away in the saltwater
^^^^
Ê recesses of my figurehead, and they would never have been unloaded if it had not been for the interest shown
and pressure applied by Dr. Kurt Hahn, headmaster of Gordon- stoun, the famous public school near Elgin in the north of Scotland. Being brought up in a seafaring environment I was made familiar
with shanties and sea-songs even when very small. Pictures of merchant and naval sailing ships lining the walls of our living-room once caused my mother to remark, 'A good gust of wind in here would make us take off!' Not only did my sailor father, in a fine bass-baritone voice, accompanying himself with a button-type accordion, frequently render sea-songs and shanties, but my mother, a sailor's daughter, would sing them too when working about the house or rocking the babies to sleep—my younger brother always needed The Lowlands Low to make him doze off. (Strangely enough, the first melody to fascinate my own small son was the melancholy Slormalong, or rather the 'Ay! ay! ay!' part of its refrain.) On my obviously choosing seafaring as a career I soon picked up
from older shipmates, men who had spent their lives under sail, many variants, of both words and music, of those songs I had learnt at my father's knee. I had the opportunity also to ship in some British and foreign sailing vessels before the demise of sail, on the decks of which ships I at times enacted the role of shantyman. In coastal sailing ships of Britain, New Zealand, and Australia, too, I had the opportunity to acquire 'new' shanties. Then I spent some time in the Windward Islands of the West Indies and was lucky enough to rope in many shanties which are to be seen in print in this book for the first time. I was fortunate, too, in having for my tutors men from the two main sections of seafarers from which the bulk of the shanties siemmed— Irish Merchant Johns from Liverpool, New York, and Ireland her- self, and West Indian coloured seamen. All my own material was collected in the main during my first twenty years at sea.
XI

Shanties From The Seven Seas,

Titel:

Shanties From The Seven Seas

Naam uitgever:

MYSTIC SEAPORT MUSEUM

Jaar van uitgave:

First Published 1961

Taal:

Engels

Aantal pagina's:

430

Plaats van uitgave:

Connecticut

Auteur:

Collected by Stan Hugill

Voorbeeld : Klik op de tekst voor meer

Organisatie: Shanty Nederland

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SHANTIES FROM THE SEVEN SEAS

Shanties From The Seven Seas,

Titel:

Shanties From The Seven Seas

Naam uitgever:

MYSTIC SEAPORT MUSEUM

Jaar van uitgave:

First Published 1961

Taal:

Engels

Aantal pagina's:

430

Plaats van uitgave:

Connecticut

Auteur:

Collected by Stan Hugill

Voorbeeld : Klik op de tekst voor meer

Organisatie: Shanty Nederland

laatste wijziging 07-02-2023

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049 Shanties From The Seven Seas

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v~- S^ i ^^ y JHfT ««K fi ) i' t .:iii
Shipboard work-songs and songs used as
kVll l • ^'^Bwill • 12 • •••11 1 great days of sail
BELËM Collected by Stan Hugill
t^aÊt0^ ^'^S*"*!^? Iff' .^ M wmmmmmtmmmmmmimmmmimmimmm •w •* « t
hanties from the Seven

Shanties From The Seven Seas,

Titel:

Shanties From The Seven Seas

Naam uitgever:

MYSTIC SEAPORT MUSEUM

Jaar van uitgave:

First Published 1961

Taal:

Engels

Aantal pagina's:

430

Plaats van uitgave:

Connecticut

Auteur:

Collected by Stan Hugill

Voorbeeld : Klik op de tekst voor meer

Organisatie: Shanty Nederland

laatste wijziging 07-02-2023

1 gedigitaliseerd

056 Nederlandse Liedjes Van Water Schepen En Varen

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Met op de Monsterrol. Ir
Ankie van der Meer en Nanne Kalma en Het Harlinger Klompschippers Grootkoor
€9,95 7 Jederlandse Ledies
^■ v d Hcijdi^ n Waler Schepen

Nederlandse Liedjes Van Water Schepen En Varen,

Titel:

Nederlandse Liedjes Van Water Schepen En Varen

Naam uitgever:

Windrose Music

Jaar van uitgave:

2004

Omschrijving:

Verantwoording

Aantal pagina's:

Paginanummer:

Taal:

Nederlands

Plaats van uitgave:

Drachten NL.

Auteur:

Ankie Van Der Meer & Nanne Kalma, Liereliet En Kat Yn 't Seil

Voorbeeld : Klik op de tekst voor meer

Organisatie: Shanty Nederland

laatste wijziging 07-02-2023

1 gedigitaliseerd

056 Nederlandse Liedjes Van Water Schepen En Varen

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44
De Wind waait m tf * hij ^^ ^ D
W ß ti
Ncinne Kalma
W-
^p ^ ^
Al tijd be zig met zaag en ha mer, met zeil doek, touw en verf. A
¥r F r F r I r=f ^ E
van zijn va der in 't schuur A
^P ^ A E i m die dan
m^ M
$ F*m ^ E ¥ f e F r tf ^
m- m t
E W' ^
te wa ter in een kik ker sloot. Oe, A
F*m
m p m fc=*
^
bol. Daar vaart een klomp rich ting ho ri zon. Oe, hoe! De wind waait! Daar gaat een klomp die net bc Ft: m
Ft m ^ 1*—!»■
gon aan zijn tocht, heel de we reld rond. Ftm
F«m E #
m -II I -^ E
D firr r Tir E Ftm t E # E 11. 112.
De koers be paeild, het zeil ge zet, Firn
m D fiF r r fi f ^ l
Altijd bezig met zaag en hamer; met zeildoek, touw en verf. De kneepjes leerde hij van zijn vader in 't schuurtje achter huis; zij noemden dat hun klompschipwerf. Hke klomp die hij te pakken kon krijgen, verbouwde hij tot boot. Voorzien van roer en mast en zeilen liet hij die dan, te water in een kikkersloot.
refrein Oe, hoe! De wind waait! En blaast de zeilen bol. Daar vaart een klomp richting horizon. Oe, hoe! De wind waait! Daar gaat een klomp die net begon aan zijn tocht, heel de wereld rond.
Jaren vervlogen, het bleef er bij; hij kwam er niet meer aan toe. Met andere zaken druk was hij, tot zijn eigen zoon, hem op een dag om een scheepje vroeg. Ze togen naar de zolderkamer; begonnen aan een boot. Spoedig doopten zij tezamen hun eersteling het begin van hun klompschipvloot.
De koers bepaald, het zeil gezet, het vaantje bovenin. Nog even, dan begint de pret: het spel met schuim en wind. De lading wordt aan boord gebracht, voordat de tocht begint. Naast fantasie gaan mee als vracht, de dromen van het kind.
ê
' r' ^ F' het
ê
vaan tje bo ven in. Nog e ven, dan be gint de pret: het spel met schuim en wind. De la ding wordt aem E
E Si- boord gebracht voor dat de tocht be gint. Naast fan ta sie gaein mee als vracht, de dro men van het kind. ^ E hoe! P^PP^
refrein ptm p
feE P- m De kneep jes leer de hij E ^ ^ tje ach ter huis. Zij noem den dat hun klomp schip ?
C#m -O-
D ^ z De wind C*m D r r r I r F werf. E ke ö
klomp die hij te peik ken kon krij gen, ver bouw de hij tot boot. Voor zien vcin roer en mast en zei len liet D
r fr r waait! En blaast de zei len

Nederlandse Liedjes Van Water Schepen En Varen, De Wind Waait

Titel:

Nederlandse Liedjes Van Water Schepen En Varen

Ondertitel:

De Wind Waait

Naam uitgever:

Windrose Music

Jaar van uitgave:

2004

Omschrijving:

Bladmuziek en Liedtekst

Taal:

Nederlands

Aantal pagina's:

Paginanummer:

Plaats van uitgave:

Drachten NL.

Auteur:

Ankie Van Der Meer & Nanne Kalma, Liereliet En Kat Yn 't Seil

Voorbeeld : Klik op de tekst voor meer

Organisatie: Shanty Nederland

laatste wijziging 07-02-2023

1 gedigitaliseerd

056 Nederlandse Liedjes Van Water Schepen En Varen

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Nederlandse Liedjes Van Water Schepen En Varen, De Klompschip-Schipper

Titel:

Nederlandse Liedjes Van Water Schepen En Varen

Ondertitel:

De Klompschip-Schipper

Naam uitgever:

Windrose Music

Jaar van uitgave:

2004

Omschrijving:

Bladmuziek en Liedtekst

Taal:

Nederlands

Aantal pagina's:

Paginanummer:

Plaats van uitgave:

Drachten NL.

Auteur:

Ankie Van Der Meer & Nanne Kalma, Liereliet En Kat Yn 't Seil

Voorbeeld : Klik op de tekst voor meer

Organisatie: Shanty Nederland

laatste wijziging 07-02-2023

1 gedigitaliseerd

056 Nederlandse Liedjes Van Water Schepen En Varen

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42
Wij gaan u verlaten (Curagao) D
'"^ ^ j^ij. Cu ra fao, $ •—m-
sta ne mij niet aan. G
D * ^ D G D * Nee, al
je lo ze stre ken die sta ne mij niet aan. D A D D Refrein
Q É * Pa ra ma ri bo o bo o
n II J J J lp- p r tf bo bo bo! Wij gaan u ver
Refrein Oh, oh, oh, oh, oh! Wij gaan u verlaten Paramaribooooooo! Wij gaan u verlaten Paramaribo!
'k Kwam laatst met haast al door het Herenstraatje, men sprak: "Mijn lieve maatje, kom zet je hier toch neer. En drink een lekker glaasje en rook een pijp tabak". Maar ik bedankte ras en hield het geld in mijnen zak.
Een zoen kan doen de hele nacht te blijven, dan hoor je niet het kijven van onze officier. Zo raken wij aan 't dwalen zo dronken als een zwijn, het schip ligt aan de palen, aan boord moeten wij zijn.
Gooi los de tros, de voor en achtertouwen, en laten wij aanschouwen; wij gaan naar Holland toe. Waar is het beter leven dan bij je eigen vrouw, 'k verzeg er alle meisjes voor van 't land van Curasao.
Curagao m c -M—•_ L;L;I ' WAii m la
om ga ik ver trek ken naar waar ik kom van daan. Oh, oh, oh, oh, oh! Wij gaan u ver A
!^ ten Pa ra ma ri bo!
Curasao, 'k heb jou zo menigmaal bekeken, en al je loze streken die stane mij niet aan. Nee al je loze streken die stane mij niet aan, daarom ga ik vertrekken naar waar ik kom vandaan.
Daar ^
r F r r ^ A
'k heb jou zo me nig maal be ke ken en al je lo ze stre ken die G
} j. j.iri JMH n fJ
D ^ ^
trad. ■•— ' nn J a * • #
la ten D
trad. / Balmer nr. 7 = ^ ^ I |P. 'N p . S \m ^ ^ ß » p ^ G C G M
G C ^
^ ^
P J M-

Nederlandse Liedjes Van Water Schepen En Varen, Wij Gaan U Verlaten (Curacao)

Titel:

Nederlandse Liedjes Van Water Schepen En Varen

Ondertitel:

Wij Gaan U Verlaten (Curacao)

Naam uitgever:

Windrose Music

Jaar van uitgave:

2004

Omschrijving:

Bladmuziek en Liedtekst

Taal:

Nederlands

Aantal pagina's:

Paginanummer:

Plaats van uitgave:

Drachten NL.

Auteur:

Ankie Van Der Meer & Nanne Kalma, Liereliet En Kat Yn 't Seil

Voorbeeld : Klik op de tekst voor meer

Organisatie: Shanty Nederland

laatste wijziging 07-02-2023

1 gedigitaliseerd

056 Nederlandse Liedjes Van Water Schepen En Varen

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Skipper oh Skipper D CD C
D m * Refrein
Inez Timmer / Nanne Kalma C D D C D C D C
Mei in trek- sak op 'e rech en de han- nen fol gi- taar, komm' wij hjir yn 'e ha- ven mei in soad mis- baar. Der CG D
n\ .nin.nJ . }\nn^ CGD C
D
j'lPi^^j'jpi.i^^j.pi.i ^ n pn\j D
P D m m G DC D jjjj i
leit net iens in plan- ke, hoe kom- me wij der op? De skip- per stiet fer- heard te sjcn en skuod- det mei de kop. D
Skip- per, o skip- per hjir hast wat bij de hän; fan in skip ün- der seil hat net C
jij i .n J ^i'f Lf r ü'i"Lr ^^^f ^\S]nnDyi^^^.n\iJ.\\i,m
binn' net los fer- troud op it wal- jen- de wiet; wij binn' de sjon- gers en de spi- Iers fan it 'Lie- re- liet'!
Mei in treksak op 'e rêch en de hannen fol gitaar komm' wij hjir op 'e haven mei in soad misbaar. Der leit net iens in planke, hoe komme wij der op; de skipper stiet ferheard te sjen en skuoddet mei de kop.
"Binne jim wol wis dat jimme hirre wêze moatt'? Ik ferwachtsje in bemanning, yn elts gefal in part. 't Komt der wol op oan as it skip aanst silen giet, mar as ik jim sa stean sjoch dan krij ik it kalde swit."
Refrein
Skipper, oh skipper hjir hast wat bij de han: Fan in skip under seil hat net ien fan us ferstän. Wij binn' net los fertroud op it wäljende wiet - Wij binn' de sjongers en de spiiers fan it 'Liereliet'.
Sit dêr mar net oer yn, wij binn' fan alle merken thus, mei in slokje en in sankje is der neat foar üs in krüs. Sis mar wat wij dwaan moat'; it komt allegear wol goed en üs gebrek oan ynsjoch wurdt fergoede troch üs lud."
Wij lüke oan alle touwen dy't wij fine op it dek; fuortdaliks krijt de skipper in grutte balke yn syn nek. It anker en it roer alles bine we goed fest; as in flagge wappert it grutseil hiel'ndal boppe yn 'e mest.
It slingert en it stampt en wij fiele üs wat wee. Wie spek mei bakte aaien no wol sa'n goed idee? It skip leit op ien ear, dat oan 'e loefkant gean' wij stean; Tsjin 'e wyn yn oer de reling: wij krij' alles oer de klean.
Dêr hast al wer in haven en it skip moat foar de wal. De skipper raast: 'Tink om 'e wyn, want dit giet fierste mal!"
Dy wyn dy moat fuortdaliks mar in feilich plakje ha, dat wij dOke wer yn 't foaründer: alle wyn nei binnen ta.
It skip dat hat in bloedgong en wij sykje om 'e rem; der lukt ien ocin in pookje, mar dat pookje dat sit klem. Wij skuorje mei üs allen en mei donderjend geraas komt dan de hiele mest omleech - 't is spitich, mar eilaas!
In dukdalf stiet ynienen samar midden yn it skip; hjir en dêr brekt bran üt - it eindigt wol wat sip. Wij sinke gau, mar gauwer noch skriuwt ien fan üs in liet en sjongend gean wij under yn it wêdjende wiet.
ien fan us fer- sten. Wij D C D
}\nn D jyj '

Nederlandse Liedjes Van Water Schepen En Varen, Skipper Oh Skipper

Titel:

Nederlandse Liedjes Van Water Schepen En Varen

Ondertitel:

Skipper Oh Skipper

Naam uitgever:

Windrose Music

Jaar van uitgave:

2004

Omschrijving:

Bladmuziek en Liedtekst

Taal:

Fries

Aantal pagina's:

Paginanummer:

Plaats van uitgave:

Drachten NL.

Auteur:

Ankie Van Der Meer & Nanne Kalma, Liereliet En Kat Yn 't Seil

Voorbeeld : Klik op de tekst voor meer

Organisatie: Shanty Nederland

laatste wijziging 07-02-2023

1 gedigitaliseerd

056 Nederlandse Liedjes Van Water Schepen En Varen

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