ith a
double pull in each. In the following example, the pulls are marked
[music accent symbol].

[Music illustration: REUBEN RANZO

SOLO. Oh pity poor Reuben Ranzo,
CHORUS. [accent] Ranzo, boys, [accent] Ranzo,
SOLO. Oh poor old Reuben Ranzo,
CHORUS. [accent] Ranzo, boys, [accent] Ranzo.]

It is easy to see how effective a collective pull at each of these
points would be, while the short intervals of solo would give time for
shifting the hands on the rope and making ready for the next combined
effort.

When the sail was fully hoisted and the gear taut, a much stronger
pull was necessary in order to make everything fast, so the shanty was
then changed for a 'sweating-up' one, in which there was only one
short chorus and one very strong pull:

[Music illustration: HAUL THE BOWLIN'

SOLO: We'll haul the bowlin', so early in the morning,
CHORUS: We'll haul the bowlin', the bowlin' [accent] haul.]

So much effort was now required on the pull that it was difficult to
sing a musical note at that point. The last word was therefore usually
shouted.

SOURCES OF TUNES

The sailor travelled in many lands, and in his shanties there are
distinct traces of the nationalities of the countries he visited.
Without doubt a number of them came from American negro sources. The
songs heard on Venetian gondolas must have had their effect, as many
examples show. There are also distinct traces of folk-songs which the
sailor would have learnt ashore in his native fishing village, and the
more familiar Christy Minstrel song was frequently pressed into the
service. As an old sailor once said to me: 'You can make anything into
a shanty.'

Like all traditional tunes, some shanties are in the ancient modes,
and others in the modern major and minor keys. It is the habit of the
'folk-songer' (I am not alluding to our recognized folk-song experts)
to find 'modes' in every traditional tune. It will suffice, therefore,
to say that shanties follow the course of all other traditional music.
Many are modern, and easily recognizable as such. Others are modal in
character, such as 'What shall we do with the drunken sailor?' No. 14,
and 'The Hog's-Eye Man,' No. 11. Others fulfil to a certain extent
modal conditions, but are nevertheless in keys, e.g. 'Stormalong
John,' No. 10.

Like many other folk-songs, certain shanties--originally, no doubt, in
a mode--were, by the insertion of leading notes, converted into th