The Oral Tradition (note the capitals!) is one of the great successes of the folk music movement. Without it where would we be? What would happen to those great debates about the origin of songs? Or to the endless arguments about which version of a song is the oldest? And particularly, what would happen to those of us who have trouble on a bad day remembering our names, let alone recalling with clinical precision twenty-five verses of a ballad? And what about tunes. It sometimes seems remarkable that the Oral Tradition has not resulted in all tunes having a range of half an octave, to encompass the abilities of those who can't manage the top note, those who can't manage the bottom notes, and those who are not sure about the middle... Political correctness and non-discriminatory language, however admirable in ordinary life, have also wrought havoc in songs, sometimes with fascinating results. And of course, the inexorable re-writing of history has been normally to Scotland's advantage, rather than the other way round! So how does it work? Think of Chinese Whispers (Go on, you must have played it as a child!) Well, The Oral Tradition is a musical version. The song below was written as a tribute to Sangschule's efforts to carve out its own niche in the Oral Tradition, and was first performed at the Singers' Gathering in Livingston in 2000. And for those of you who wonder who we managed to surprise as explained in the third verse - the song was Sheena Wellington's Women o'Dundee, and we learnt an interesting version of the tune which surprised her no end when she came to tutor us for a couple of sessions. Still, our version wasn't wasted - it made a bonny harmony! And that's the power of the Oral Tradition! The Oral Tradition 1. The songs that we sing are a wonderful thing For they come in so many editions. And why should there be such a variety? It's all down to the oral tradition! Now sometimes you find there's a word in the line That's not right, or all out of position. There's no need to mind if you can't make it rhyme - It's all part of the oral tradition!
Ch. It's quite a relief that you just can't go wrong You change and refine your rendition, To put your own mark on a song that's not yours Give your thanks to the oral tradition!
2. We've a story to tell, but it won't sound too well If we failed in our war or sedition. There's nothing to stop Scotland coming out top. Make the most of the oral tradition! In love stories, too, lovers both win or lose, Or girls end in a certain condition, But if you want change, it's not hard to arrange With the help of the oral tradition.
Chorus
3. Our group sang a song, but it turned out all wrong, Though it seemed awful good at the time. When the songwriter heard it, she looked quite perturbed, said "A bonny wee tune, but no mine!" The point of my song is there's no right or wrong Just sing it the way that you choose. If you borrow a bit from a song that seems fit *It's your choice what tune that you use.
Chorus
4. The message you get is not quite what was set By the writer in years long since gone. By the time you have chopped at the words, tune and plot, It may seem like a quite different song. It may not make sense, but no one takes offence No matter how strange the construction, And if words don't fit, then just diddle a bit With a riddle ay diddle ay di do.
Chorus © Paul Streater 2000 Although there is a traditional tune for this song (i.e. a tune that is now several years old), it would seem quite appropriate for singers to use any favourite tune which more or less fits. The line marked * should be sung to the tune of a familiar but entirely inappropriate song. |
