1908        Broadwood, Lucy E., Percy Grainger, Cecil J. Sharp, Ralph Vaughan Williams, Frank Kidson, J.A. Fuller-Maitland, and A.G. Gilchrist. "[Songs Collected by Percy Grainger]." _Journal of the Folk-Song Society_ 3(12) (May 1908): 170-242.

Some chanties come towards the end of the article.

MR. STORMALONG has the flip-flop of choruses here. Several melodic phrases variants, and details of ornamentation, are noted in the accompanying score.
//
STORM ALONG. Wind'us (Windlass) Chanty
Collected and noted by H.E. Piggott and Percy Grainger
Sung by Mr. John Perring, of Dartmouth, at Dartmouth, Jan. 18th and 25th, 1908.

Old Stormy's dead and [/aden] in his grave.
A, a, a, Mister Stormalong.
Stormy's dead and in his grave.
With me a-yo [/To me way hey we'll] stormalong.
//

About the demand for good chantymen, it says:
//
Mr. Perring has been a deep-sea sailor to most shores of the world, in the capacity of chantyman; often merely singing for the others while they did the actual work. He tells tales of sea-captains vying with each other in their efforts to secure for their own ships any renowned chantyman, sure that his enlivening presence would stir their crews to unwonted briskness…
//

On regulation verses, improvisation, and non-narrative character of lyrics:
//
Mr. Perring explained that, as the length of a chanty depends upon the duration of the shipboard work to which it is sung, only a few of its verses are fixed and wide-spread, the remainder being made up on the spur of the moment. Thus the words are often devoid of any real plot or story, each verse frequently painting a separate picture of its own, or lightly recalling some striking situation of the sailing days. He says he has always been in the habit of extemporizing the bulk of his verses. Therefore it is not surprising that two performances by him of the same chanty differ widely as to text, and considerably as to musical variants.

Thus, on January 18th, I908, he sang the words of "Storm Along" as follows:

(1) As above.
(2) Old Stormy here and Stormy there.
Stormy here and Stormy there.
(3) Our captain said: "We shall sail to-day."
Our captain said: " We sail to-day."
(4) To India that's far away.
What we don't see ev'ry day.
(5) And a place we don't see every day.
A place, etc.
(6) Old Stormy said, in the Biscay Bay. (twice).

while on January 25th, I908, they ran:

(1a) Oh, Stormy's dead and in his grave.
Stormy's dead, etc.
(2a) We'll dig his grave with a golden spade. (twice)
(3a) And lower him down with a silver thread. (twice)
(4a) Oh, storm to-day and storm no more.
Storm to-day, etc.
(5a) Until we reach our native shore. (twice)
(6a) I wish I was old Stormy's son. (twice)
(7a) I'd build a ship five thousand ton. (twice)
(8a) I'd build a ship to go round Cape Horn. (twice)
//

Gilchrist adds the note,
//
"Storm Along," "Tom's gone to Hilo," and "Lowlands" are all chanties which strike me as negro in character, if not in origin. A. G. G.
//
She does not say why it strikes her so.

Another MR. STORMALONG
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STORMY. (PumpingChanty.)
Noted by Percy Grainger, July 24th, 1906.
Collected and sung by Mr. Charles Rosher.

1. Old Stormy he is dead and gone.
Hi, hi, hi, as we storm along.
Sormy he is gone below.
To my way O [/ho] storm along.

2. We'll dig his grave with a golden spade,
We'll lower him down with a silver chain.

Mr. Rosher has collected a rich-store of fine sea-chanties, learning to sing them in real sailor fashion when at sea.
//

//
LOWLANDS.
(or: DOLLAR AND A HALF A DAY.)
(WINDLASS CHANTY.)
Noted by Percy Grainger, July 24th, 1906.
COLLECTED AND SUNG BY MR. CHARLES ROSHER.

[w/ score]

A dollar and a half is a poor man's pay.
Lowlands, lowlands away, my John.
A dollar and a half it won't clear my way.
My dollar and a half a day.
//

It goes on to give another example of LOWLANDS AWAY that is evidently taken from the _Yachting Monthly_ of Oct. 1906. Not having seen it myself, I am aware that article was wriiten by Whall, but evidently it was unsigned. They give his version with the notes "American chanty" and "A windlass chanty, 1862." The notation differs slightly from what appeared in Whall's later book, speaking to the difficulty of notating the rhythm of Lowlands.

Another version. Its melody is unfamiliar.
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DOLLAR AND A 'ALF A DAY.
(CAPSTAN CHANTY.)
Collected and noted by H. E. Piggott and Percy Grainger.
SUNG BY MR. JOHN PERRING, AT DARTMOUTH, JANUARY 18TH, 1908.

[w/ score]

1. Five dollars a day is a white man's pay.
Way…
Five dollars a day is a white man's pay.
My dollar and a 'alf a day.

2. But a dollar and a half is a nigger's pay. (twice)

3. The nigger works noth night and day. (twice)

(4) But the white man, he works but a day. (twice)

Mr. Perring said this is a "tipical" Negro chanty, sung by black sailors in the
East Indian trade, in complaint at their being harder worked and lower-waged than
white seamen.
//

Gilchrist notes a stevedore's song she evidentily heard from a friend, without music notation, "Tapiocum":
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Another negro chanty, "Tapiocum," (learnt on shipboard by a friend from the
singing of an old coloured seaman), is of a more cheerful cast. It describes the
happy darkies hauling in the cargo "on de lebby " (levy = river embankment or
wharf), with a gay chorus of

"Working on de cotton-boat, ten bob a day, oh,
Pompey, can yo prick upon de banjo"? etc.
A. G. G.
//

Two versions of SANTIANA
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SANTA ANNA.
(WINDLASS CHANTY).
Noted by Percy Grainger, JuIy 24th, 1906.
COLLECTED AND SUNG BY MR. CHARLES ROSHER.

[w/ score]

Santa Anna's dead and gone.
Away, Sante Anne.
O Sante Anne is gone below.
All on the plains of Mexico.

SANTA ANNA.
SECOND VERSION.
Collected and noted by Hon. Everard Feilding, London, June 19th, 1908.
SUNG BY MR. ROYSTON CLIFFORD.
[w/ score]
Far away there's a land they say.
Heave away, Sante Anna.
Sante Anna won the day.
On the banks and plains of Mexico.

Mr. Clifford sometimes reverses the order of succession of the first and second
half of the tune. He remembers no other verse but the following, which he says
is the last verse:

Thought I heard the chief mate say:
        By the banks, etc.
One more pull and then belay.
        Heave away, etc.
//
So, the reversal was evidently somewhat common.

Kidson makes the following VERY INTERESTING note about the age and geographic origins of chanties:
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When the history of the Sailor's Chanties comes to be written a great many difficult problems will have to be faced. For instance, it will have to be asked how it comes about that so many are, obviously, of American origin. Also, how it is that so many seem to centre round Mexico, or have place-names belonging to that quarter of the American Continent. Also, why we do not find any English, or other European coast or port included in the random rhymes which are strung together in chanties. Miss Gilchrist's note [a melody comparison to High Barbaree] is of considerable interest, but I doubt very much the "Coast of Barbaree's " connection with the American chanties. It seems exceedingly strange that among, the great number of chanties lately noted there are none that we can confidently assign to a period as early as the 18th century.
//
Why was it so strange? Why was it so difficult? It would only seem so if it was assumed chanties were English/European and prior to the 19th century. But who says that was to be assumed? Who started that assumption on track, such that Kidson would be faced with the "difficulty" of placing chanties in the Gulf/Mexico rather than just saying, "Hey guys, there are lots of songs focused here so, if anything, let's assume they started there"?

TOMMY'S GONE. Note the unusual pumping and capstan ascriptions.
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TOM'S GONE TO ILO.
(PUMPING CHANTY.)
Noted by Percy Grainger, April 3rd, 1907.
COLLECTED AND SUNG BY MR. CHARLES ROSHER.

[w/ score]

1. Tom has gone, and I'll go too.
Away, haul e Ilo.
O Tom has gone and I'll go too.
Tom's gone to Ilo.

(2) Tom he was my dearest friend. (twice)
(3) Tom has gone to Dixie's land. (twice)

Mr. Rosher says that the verses from "Storm Along," "We'll dig his grave, etc.," and "We'll lower him down, etc.," often got worked into this chanty.
…
TOM'S GONE TO ILO.
(CAPSTAN CHANTY.)
SECOND VERSION.
Collected and noted by H. E. Piggott and Percy Grainger.
SUNG BY MR. JOHN PERRING, AT DARTMOUTH, JANUARY 18TH, 1908.

[w/ score]

(1) Tom is gane (gone) and I'll go too. (twice)
(2) Tom is gane, what shall I do? (twice)
(3) He's gane away across the sea. (twice)
(4) When he comes back he'll marry me. (twice)
(5) And he'll no longer go to sea,
    But stay at home along with me.

This is one of the most interesting and characteristic variants I have seen, and strikes me as distinctly negro in flavour. The avoidance of the leading-note is worth noting. Gapped scales-with one or sometimes two notes missing-are noticeable amongst other negro melodies, such as the plantation-hymns of the Jubilee singers. This fact has led to the assumption that such negro tunes are of Scottish extraction. -A. G. G.
//
OK, so Gilchrist has expanded on the sort of reason for her earlier comments.

SHALLOW BROWN
//
SHALLOW BROWN.
(HAULING CHANTY.)
Collected & noted by H. E. Piggott & Percy Grainger.
SUNG BY MR. JOHN PERRING, AT DARTMOUTH, JAN. 18TH AND 25TH, 1908.

[w/ score]

1. Shallow Brown, you're going to leave me.
Shallow, Shallow Brown.
Shallow Brown, you're going to leave me.
Shallow, Shallow Brown.

(2) Shallow Brown, don't ne'er deceive me. (twice)
(3) You're going away across the ocean. (twice)
(4) But you'll ever be my heart's devotion. (twice)
(5) For your return my heart is burning. (twice)
(6) When you return, we'll then get married. (twice)
(7) I'll not regret I ever tarried. (twice) etc.

This is supposed to be sung to Shallow Brown, as his ship is weighing anchor, by a woman standing on the quay, Mr. Perring said.
//