FolkWorld #68 03/2019
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Auld Lang Syne

Mairi Campbell: Auld Lang Syne

Artist Video »Robert Burns is said to have first heard Auld Lang Syne sung by an old man in a pub in Dumfries in 1795. He added three verses to the original, then when he sent the song to his publisher Thompson in Edinburgh, they recommended he change the tune to the one we know today. But the first tune hasn't been forgotten… definitely not. In fact, I'll be singing it during my new show. It's also in the new album, an exciting mix of acoustic songs and kickass tracks that all feature in the show. We were also featured recently in The List: The show also speculates on Auld Lang Syne's hidden meanings. 'There's a very old tradition in India [of relating] different vowel sounds to different parts of the body,' says Campbell. 'That is something that interests me in terms of music and well-being. I realised the three words, Auld Lang Syne, if you take the consonants out, those three vowel sounds relate to the belly, the heart and the head. The vowels carry a lot of emotion for us, through us.'« (Mairi Campbell)

Mairi Campbell

Artist Video Mairi Campbell @ FROG

www.mairicampbell.scot

"Auld Lang Syne" (Scots pronunciation: [ˈɔːl(d) lɑŋˈsəin]: note "s" rather than "z") is a Scots-language poem written by Robert Burns in 1788 and set to the tune of a traditional folk song (Roud # 6294). It is well known in many countries, especially in the English-speaking world, its traditional use being to bid farewell to the old year at the stroke of midnight on New Year's Eve. By extension, it is also sung at funerals, graduations, and as a farewell or ending to other occasions. The international Scouting movement in many countries uses it to close jamborees and other functions.

The poem's Scots title may be translated into standard English as "old long since" or, more idiomatically, "long long ago", "days gone by", or "old times". Consequently, "For auld lang syne", as it appears in the first line of the chorus, might be loosely translated as "for the sake of old times".

The phrase "Auld Lang Syne" is also used in similar poems by Robert Ayton (1570–1638), Allan Ramsay (1686–1757), and James Watson (1711), as well as older folk songs predating Burns. Matthew Fitt uses the phrase "in the days of auld lang syne" as the equivalent of "once upon a time" in his retelling of fairy tales in the Scots language.

History

Robert Burns sent a copy of the original song to the Scots Musical Museum with the remark, "The following song, an old song, of the olden times, and which has never been in print, nor even in manuscript until I took it down from an old man." Some of the lyrics were indeed "collected" rather than composed by the poet; the ballad "Old Long Syne" printed in 1711 by James Watson shows considerable similarity in the first verse and the chorus to Burns' later poem, and is almost certainly derived from the same "old song".

To quote from the first stanza of the James Watson ballad:

Should Old Acquaintance be forgot,
and never thought upon;
The flames of Love extinguished,
and fully past and gone:
Is thy sweet Heart now grown so cold,
that loving Breast of thine;
That thou canst never once reflect
On old long syne.

Chorus:
On old long syne my Jo,
On old long syne,
That thou canst never once reflect,
On old long syne.

It is a fair supposition to attribute the rest of the poem to Burns himself.

There is some doubt as to whether the melody used today is the same one Burns originally intended, but it is widely used in Scotland and in the rest of the world.

Singing the song on Hogmanay or New Year's Eve very quickly became a Scots custom that soon spread to other parts of the British Isles. As Scots (not to mention English, Welsh and Irish people) emigrated around the world, they took the song with them.

Lyrics

The song begins by posing a rhetorical question: Is it right that old times be forgotten? The answer is generally interpreted as a call to remember long-standing friendships. Thomson's Select Songs of Scotland was published in 1799 in which the second verse about greeting and toasting was moved to its present position at the end.

Most common use of the song involves only the first verse and the chorus. The last lines of both of these are often sung with the extra words "For the sake of" or "And days of", rather than Burns' simpler lines. This allows one note for each word, rather than the slight melisma required to fit Burns' original words to the melody.

Burns' original Scots verse
English translation
(minimalist)
Scots pronunciation guide
(as Scots speakers would sound)
IPA pronunciation guide
(Burns' own Ayrshire dialect)

I
Should auld acquaintance be forgot,
and never brought to mind?
Should auld acquaintance be forgot,

and auld lang syne*?

Chorus:
For auld lang syne, my jo,
for auld lang syne,
we'll tak' a cup o' kindness yet,
for auld lang syne.

II
And surely ye'll be your pint-stoup!
and surely I'll be mine!
And we'll tak' a cup o’ kindness yet,
for auld lang syne.

Chorus

III
We twa hae run about the braes,
and pou'd the gowans fine;
But we've wander'd mony a weary fit,
sin' auld lang syne.

Chorus

IV
We twa hae paidl'd in the burn,
frae morning sun till dine;
But seas between us braid hae roar'd
sin' auld lang syne.

Chorus

V
And there's a hand, my trusty fiere!
and gie's a hand o' thine!
And we'll tak' a right gude-willie waught,
for auld lang syne.

Chorus

I
Should old acquaintance be forgot,
and never brought to mind?
Should old acquaintance be forgot,
and old lang syne?

Chorus:
For auld lang syne, my dear,
for auld lang syne,
we'll take a cup of kindness yet,
for auld lang syne.

II
And surely you'll buy your pint cup!
and surely I'll buy mine!
And we'll take a cup o' kindness yet,
for auld lang syne.

Chorus

III
We two have run about the slopes,
and picked the daisies fine;
But we've wandered many a weary foot,
since auld lang syne.

Chorus

IV
We two have paddled in the stream,
from morning sun till dine;
But seas between us broad have roared
since auld lang syne.

Chorus

V
And there's a hand my trusty friend!
And give me a hand o' thine!
And we'll take a right good-will draught,
for auld lang syne.

Chorus

I
Shid ald akwentans bee firgot,
an nivir brocht ti mynd?
Shid ald akwentans bee firgot,
an ald lang syn*?

Chorus:
Fir ald lang syn, ma jo,
fir ald lang syn,
wil tak a cup o kyndnes yet,
fir ald lang syn.

II
An sheerly yil bee yur pynt-staup!
an sheerly al bee myn!
An will tak a cup o kyndnes yet,
fir ald lang syn.

Chorus

III
We twa hay rin aboot the braes,
an pood the gowans fyn;
Bit weev wandert monae a weery fet,
sin ald lang syn.

Chorus

IV
We twa hay pedilt in the burn,
fray mornin sun til dyn;
But seas between us bred hay roard
sin ald lang syn.

Chorus

V
An thers a han, my trustee feer!
an gees a han o thyn!
And we'll tak a richt gude-willie-waucht,
fir ald lang syn.

Chorus

I
[ʃɪd o̜ːld ə.kwɛn.təns bi fəɾ.ɡot ǀ]
[ən nɪ.vəɾ brɔxt tɪ məin ǁ]
[ʃɪd o̜ːld ə.kwɛn.təns bi fəɾ.ɡot ǀ]
[ən o̜ːl lɑŋ səin ǁ]


Chorus:
[fəɾ o̜ːl lɑŋ səin ǀ mɑ d͡ʒo ǀ]
[fəɾ o̜ːl lɑŋ səin ǀ]
[wiːl tɑk ə kʌp ə kəin.nəs jɛt ǀ]
[fəɾ o̜ːl lɑŋ səin ǁ]

II
[ən ʃeːr.li jiːl bi juːɾ pəin.stʌup ǁ]
[ən ʃeːr.li ɑːl bi məin ǁ]
[ən wiːl tɑk ə kʌp ə kəin.nəs jɛt ǀ]
[fəɾ o̜ːl lɑŋ səin ǁ]


Chorus

III
[wi two̜̜ː heː rɪn ə.but ðə breːz ǀ]
[ən puːd ðə ɡʌu.ənz fəin ǀ]
[bʌt wiːv wɑn.əɾt mʌ.ne ə wiːɾɪ fɪt ǀ]
[sɪn o̜ːl lɑŋ səin ǁ]


Chorus

IV
[wi two̜̜ː heː pe.dlt ɪn ðə bʌɾn ǀ]
[freː moːɾ.nɪn sɪn tɪl dəin ǀ]
[bʌt siːz ə.twin ʌs bred heː roːrd]
[sɪn o̜lː lɑŋ səin ǁ]


Chorus

V
[ən ðeːrz ə ho̜ːn ǀ mɑ trʌs.tɪ fiːɾ ǁ]
[əŋ ɡiːz ə ho̜ːn ə ðəin ǁ]
[ən wiːl tɑk ə rɪxt ɡɪd wʌ.lɪ wo̜ːxt ǀ]
[fəɾ o̜lː lɑŋ səin ǁ]


Chorus

dine = "dinner time"
ch = voiceless velar fricative, /x/, at the back of the mouth like /k/ but with the mouth partly open like /f/. Similar to "Bach" in German
* syne = "since" or "then" – pronounced like "sign" rather than "zine".

Melody

The tune to which "Auld Lang Syne" is commonly sung is a pentatonic Scots folk melody, probably originally a sprightly dance in a much quicker tempo.

Stamp: Should ....

English composer William Shield seems to quote the "Auld Lang Syne" melody briefly at the end of the overture to his opera Rosina', which may be its first recorded use. The contention that Burns borrowed the melody from Shield is for various reasons highly unlikely, although they may very well both have taken it from a common source, possibly a strathspey called The Miller's Wedding or The Miller's Daughter. The problem is that tunes based on the same set of dance steps necessarily have a similar rhythm, and even a superficial resemblance in melodic shape may cause a very strong apparent similarity in the tune as a whole. For instance, Burns' poem Coming Through the Rye is sung to a tune that might also be based on the Miller's Wedding. The origin of the tune of God Save the Queen presents a very similar problem and for just the same reason, as it is also based on a dance measure. (See the note in the William Shield article on this subject.)

In 1855, different words were written for the Auld Lang Syne tune by Albert Laighton and titled, "Song of the Old Folks." This song was included in the tunebook, Father Kemp's Old Folks Concert Tunes published in Boston, Massachusetts in 1860. For many years it was the tradition of the Stoughton Musical Society to sing this version in memory of those who had died that year.

Songwriter George M. Cohan quotes the first line of the "Auld Lang Syne" melody in the second to last line of the chorus of You're a Grand Old Flag. It is plain from the lyrics that this is deliberate.

John Philip Sousa quotes the melody in the Trio section of his 1924 march "Ancient and Honorable Artillery Company"

In the Sacred Harp choral tradition, an arrangement of it exists under the name "Plenary". The lyrics are a memento mori and begin with the words "Hark! from the tomb a doleful sound". Another Christian setting, using the name "Fair Haven" for the same tune, uses the text "Hail! Sweetest, Dearest Tie That Binds" by Amos Sutton.

The University of Virginia's alma mater ("The Good Old Song") is also sung to the tune of "Auld Lang Syne".

Uses

At New Year

"Auld Lang Syne" is traditionally sung at the conclusion of New Year gatherings in Scotland and around the world, especially in English-speaking countries.

Robert Burns

Robert Burns @ FROG

www.robertburns.org

At Hogmanay in Scotland, it is common practice that everyone joins hands with the person next to them to form a great circle around the dance floor. At the beginning of the last verse, everyone crosses their arms across their breast, so that the right hand reaches out to the neighbour on the left and vice versa. When the tune ends, everyone rushes to the middle, while still holding hands. When the circle is re-established, everyone turns under the arms to end up facing outwards with hands still joined.

In countries other than Scotland the hands are often crossed from the beginning of the song at variance with Scottish custom. The Scottish practice was demonstrated by the Queen at the Millennium Dome celebrations for the year 2000. The English press berated her for not "properly" crossing her arms, unaware that she was correctly following the Scottish tradition.

Other than New Year

As well as celebrating the New Year, "Auld Lang Syne" is very widely used to symbolise other "endings/new beginnings" – including farewells, funerals (and other memorials of the dead), graduations, the end of a (non-New Year) party, jamborees of the Scout Movement, the election of a new government, the last lowering of the Union Jack as a British colony achieves independence and even as a signal that a retail store is about to close for the day. The melody is also widely used for other words, especially hymns, the songs of sporting and other clubs, and even national anthems. In Scotland and other parts of Britain, in particular, it is associated with celebrations and memorials of Robert Burns. The following list of specific uses is far from comprehensive.

In the English-speaking world

In non-English-speaking countries

"Auld Lang Syne" has been translated into many languages, and the song is widely sung all over the world. The song's pentatonic scale matches scales used in Korea, Japan, India, China and other East Asian countries, which has facilitated its "nationalisation" in the East. The following particular examples mostly detail things that are special or unusual about the use of the song in a particular country.

Use in films

The strong and obvious associations of the song and its melody have made it a common staple for film soundtracks from the very early days of "talking" pictures to the present—a large number of films and television series' episodes having used it for background, generally but by no means exclusively to evoke the New Year.

Notable performances

Live and broadcast

Recordings

As a standard in music, "Auld Lang Syne" has been recorded many times, in every conceivable style, by many artists, both well-known and obscure.


Auld Lang Syne

The Gothard Sisters: Mountain Rose
 Listen to Auld Lang Syne from:
       The Cast, Clàrsach, Claymore, The Gothard Sisters, Na Leanaí Sands, Jim Malcolm,
       Ewan McLennan, Noel McLoughlin,  Orion, Pur, Whisky Trail

 Watch Auld Lang Syne from:
       The Cast (Mairi Campbell, David Francis), Celtic Woman (Lisa Lambe), The Gothard Sisters,
       Dougie MacLean, Jim Malcolm, Ewan McLennan, Na Leanai, Sarah Noëlle



From Wikipedia, the free encyclopedia [en.wikipedia.org/wiki/Auld_Lang_Syne]. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

Text is available under the Creative Commons Attribution-ShareAlike License.

Date: February 2019.


Photo Credits: (1)-(2) Mairi Campbell, (3),(5) Auld Lang Syne, (4) Robert Burns, (6) The Gothard Sisters: Mountain Rose (unknown/website).


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