Illustrations of the lyric poetry and music of Scotland .. originally compiled to accompany the "Scots musical museum" [by James Johnson] and now published separately, with additional notes and illustrations . this song very much. JOHN. This old air appears in Oswalds Collection. It seemsclearly to be the progenitor of the well-known tune called Lillibulero, which is claimed as the composition of HenryPurcell, who died in 1695.—See J. Stafford Smiths MusicaAntiqua, vol. ii. p. 185, and John Playfords MusicJis Hand-maid, published in 1678; in both of which it is called A newIris
Illustrations of the lyric poetry and music of Scotland .. originally compiled to accompany the "Scots musical museum" [by James Johnson] and now published separately, with additional notes and illustrations . this song very much. JOHN. This old air appears in Oswalds Collection. It seemsclearly to be the progenitor of the well-known tune called Lillibulero, which is claimed as the composition of HenryPurcell, who died in 1695.—See J. Stafford Smiths MusicaAntiqua, vol. ii. p. 185, and John Playfords MusicJis Hand-maid, published in 1678; in both of which it is called A newIrish Tune. Purcell, however, appears only to have made avery slight alteration on the second strain of the air. The tune CXXXVIII. JUMPIN JOHN. 129 of Lilliburlero was common both in Scotland and England be-fore Purcell was born; the title of the song was the pass-wordused among the Papists in Ireland at the horrible massacreof the Protestants in 1641. The tune itself was printed inPlayfords Dancing-Master in 1657, under the title of JoansPlacket, and Purcell was only born in the year 1658. Thenotes of the air are subjoined. JUMPIN JOHN; OR, JOANS Playfords Dancing-Matter, ^printed in To this air also an Anglo-Irish song, beginning Ho !broder Teague, dost hear the decree, was adapted in 1686,which made such an impression on the royal army, as to con-tribute greatly towards the Revolution in 1688. The two humorous stanzas, beginning Her daddie for-bad, to which the tune of Jumpin John are united inthe Museum, were communicated by Burns. They are afragment of the old humorous ballad, with some verbal cor-rections. CXXXIX HAP ME WITH THY PETTYCOAT. Mr Tytler, in his very ingenious and masterly Disser-tation on Scottish Music, observes, that the distinguish-ing strain (character) of our old melodies is plaintivemelancholy; and what makes them soothing and affect-ing to a great degree, is the constant use of the concordanttones, the third and fifth of the scale, o
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