Seventeen come Sunday
X: 1 T:Seventeen Come Sunday M:4/4 L:1/8 K:Ador E2|C2A,2B,2G,2|A,2A,2A,2(B,C)|(D2B,2)G,2B,2|D2E2(E3F)| [M:3/2]G2E2G4A4|G2E2G6F2|[M:4/4]E2D2C2A,2|E2F2G2B,2| C2B,2A,4|B,B, B,B, A,4|A,2E2E2D2|(C2B,2)A,4-|A,4z2|] w:As I walked out one May morn-ing One_ May_ morn-ing ea-rly 'Twas_ then I spied a pret-ty maid So hand-some and so clev-er With my rue, rum, ray Fol the rid-dle ay Whack fa loo-ra li_do_
SEVENTEEN COME SUNDAY. AKA and see "As I Roved Out (2)." England, Ireland, Scotland; Air. The title is a maid's "most modest" reply to a question about her age in this popular British Isles song and air, which Albert L. Lloyd states (quoted in Cazden, et al, 1982) is a testimony to the permissive, almost pagan spirit surviving in British folkways that is probably the commonest and most popular folk song found in the British Isles today.
A portion of the tune is thought to be based on the old melody "Boyne Water (1)," and though Lucy Broadwood traces the melody to the dance tune "Collier's Bonnie Lassie (The)," printed in William Thompson's Orpheus Caledonius (1725), Cazden finds the resemblance quite remote. The tune appears as the vehicle for a number of folksongs in the English-speaking world, including the Catskill Mountain (New York) collected "Where Are You Going, My Pretty Fair Maid?"