the purple cow - John Kilpatrick`s Home Page

THE PURPLE COW
John Kilpatrick
words by Gelett Burgess
SATB (div)
with optional piano accompaniment
©1999, 2003 John Kilpatrick
To my Mother, who introduced me to The Burgess Nonsense Book
1. The Purple Cow
John Kilpatrick
words by Gelett Burgess
 
  

Piano
   

1
Andante
 
  
  
 





 
 
  
   

 
   
 
     
4



I

  
I
  
somewhat dreamily
 
9
   
I



  
I



 13
 
  

  
I



saw,








  

ne - ver

 

    



ne - ver




saw



  
 
 
 
I
ne - ver hope
to
I
ne - ver hope
to
   
 
saw

 

I
ne - ver
hope,
I
ne - ver
hope,
cow,
I
ne - ver
hope,
I
ne - ver
hope, I
    

© John Kilpatrick 1999, 2003

 

 




pur
pur
a
pur

   
 


-2-

ne - ver
ne - ver hope


-
-

ple


 

 
ple

 
ple

ple
    
  
 
 




 


     

  
pur -




-

a

   

 
-
-

see,
  
 
  
 
see,
cow,
 
a





  
 


  
saw
ne - ver
   
  


a
 

 

saw
ne - ver
saw,

    
   


nev - er




I
saw,
nev - er


 
  


ne - ver



   





  
cow,

ne - ver

saw,




cow,
 

      
       
  

   
  




  
  
 
 


  
 
 


 

 
   

I
 
hope
ne - ver hope
to

to
to

see,

to
see,
to


    



to




17
 


see
one.
see

one.
see
one.
 


see
   
  


  
21 

 

 

  
one.

I
 
can

 
 

   

  



you,
 


  
 
   
an - y - how,
   
  
how,


how,
 
  
   

   
 
 
 
rit.
 
I
 
can


tell
you,
can

tell
you,


I
can
tell,
But
I
can
tell,

 
an
-
an
-
 
an


 I'd


I'd


   


tell

you,
tell
  
y
 
- how,
y
- how,
y
- how,



 
you,
tell
you,




y
-
y
-
 
    



 
 
-


an
-
 
-
an
an

see,
I'd
see
be
see,
I'd
ra - ther
  
than
ra - ther

ra - ther
see
be
ra - ther
see,
I'd
ra - ther

than
see
than
be








 
 



a tempo




 
 
 
-3-

 














than

ther

see
-
see,

ra - ther
  


ther
 
I'd

you,
you,

tell
   


 


tell
 
 
  

   
 

an - y - how,

you,
   




   

  


tell

  


 
     


 

 
 
 a tempo
 
I'd
  ra  

I'd
ra  
   

   
an - y - how,
  

can
 
-
an - y - how,
 
 
But
   
 
an - y - how,
you,
rit.
how,
But

  

   

25
  

you,
tell
tell

 

tell you,
tell


I
But
     

  

   
 
but

 

  

  



 
 




be




 
y

 
one.

 
one.

 
one.

 
one.










2. The Purpil Cowe
 allegro

 
1
soli
S
T












 







 
 

  
  






     








... ...





Narrator




A















tenor solo

 

     




La




la




la




la


la
la
la
   
  

 

Mayde there


was, seme

- ly



...


...


and
...
 
meek en-



 




 




 






       



...







-4-

La

      


La la la la




La la la la ... ...


 
 





 
     




 



 allegro
 

piano
    
 
7


 


B

  
 
 
 
A

To be sung throughout with modern English pronunciation, where possible.
 
     

a - milk - en
of
      
 






 
 
 




















   


Maye,

 

 

 
 


 

 

12
ow,
 
 





















 












  


 



Ro - sy hire Cheke








 

  
  


sate



she

  
17







as












-5-
pur - pil
a



in
the
 
 
 
Month




of




Cowe:








  


















22








And sik - er - ly her
 
 

   
          













     


   
in
ooh

ooh
ooh

 

 










 








Ooh

Ooh




two.



ooh
ooh
ooh


ooh
ooh






ooh
ooh
ooh
ooh
ooh


ooh
ooh

ooh

ooh
ooh




 
      




-6-
ooh


ooh


ooh
 


 


ooh




Like Shene of Sterres, sperk - led hire Ey - en
Larke up - rist,
Ooh

    





 
Ooh

Dewe;


  
the
 
ooh
ooh

of



  


ooh
  




wash - en

As

 
 

gay



was


  
27
Songe

 


mer - ry

  
ooh

ooh



ooh



  
  
  
  
34


 











 
 
La

 


  
  
la
la
...
  
  



...








    

     
La la la ... ...
La la la ... ...
  
        

  







40


  
Way







a
la
...
  
...


Knight
 


 



 

 
 


  










 




The


Now
       













in
mor
-
wen - ing


 
 













 
 








-7-

      





       


that





 

   


Mayde es - pi - en
 
came ther by





 
  
hen - dy
 
 

la

 
  

La









45


  

Light.
A
 
     



 
 







 




   
51

     
 
Berd
 
 
and





 









    













Co - rage





       



  











  

    


 




 


 




-8-
With lus - ty



 

trewe
   







ro - dy Hewe.



       


  
 



of
  
   



Chekes of

  
   




      



  
Per - son he was
 


faire











rit.





 

 

 

  
   
Knight
57




  

Dere
slower

    
I

   
I
   
  
I
I
  


 



    
 
slower
    
64
Con- trie made


   
ple
   
ple

bass solo
La - dye



 
  


  
ne
  
far
  
-
-
ne
-

saw
ver
saw
 

 
  


 
cow



 

poco ritard



a tempo
 
 
 
 
Ah

 
Ah

Ah

   
  
 

 

a tempo
-9-

 
 
a
a
pur

 
I

vowe

  
 

ah
I
I

I

 
 
 

 


  

 
 
 
 
ah

-
pur
-
  
Ere -whiles I
 
ah
pur
 
 
ah
-

  
 
 

  
-
pur


Par - dé
 
Ah
 

a
 
a


in straunge
 

ver


Un -couthe Ad - ven - ture
saw
-

 
 
 


cow
 

  

saw
ver
Ware.

 
ne
Fro Ber -wicke un - to

 
ver
  
 

and wide I've straied
 
 


poco ritard
  


 
 
 

cow
 
    
(quod he)

ple

 
ne

   

   


(quod he)

cow
ple

I

71




ne - ver saw
   
ne
-
  

ne
-
  
ne
-
 
 
ne
-
    

 
 
a
ver
 
hope
ver
 

  
ver
 
 
Ah

  
Ah
    
  
 
me

I

pray


 



 
 






 
knowe
to
how
Ca - tel
 
 
 
 
see

  
 
 
 
see
one
hope
to
see
one
 
 


 
 

 
to
  


you,



of

yore


 
  
 

cour - te - sie!

 
 
 
 
 




 
 

- 10 -

 
 
 
can

 

thus

one



one
see



I

to
 



 



Fayne wold




 

hope



 
  

Ah
Cowe!
  
  
      
 
pur - pil

hope
Tel
Ah
 
ver

be?

 
 
77

 

 
 
 


 

 
  
  

 

 
  

 
83
  atempo
 
 
 





 
 
 




 atempo
   

     
   
88






  




 




la
....
la
la
....


la
la
....
   

      
    
    










     

  


  
 



  

 
   


   






The
Mayde
hire



     

The
The

The
   slower
 



    

- 11 -
      


   slower

      


 



   






   






 

...

      

...

 

...

 
...

     

la
....

 
   

La
la
la
la
La


La
 
La


      





Mayde
hire


Mayde

Mayde



 
Mil - ken


Mil - ken

 

stent.

stent.

hire

Mil - ken
hire

stent.
Mil - ken
stent.


 
 








 
 
92


Maid
  

 
alto solo
In free time
     
 Good
Sir
 andante


 
Mm
the


   
  
 
Mm

 
 
(she saide) mm

  
 
mm
mm






In free time
95
...

  
...

  
...
 
  
...

   

  

 

De - crees
 

that
on
in

 
these
us
y - laid


mm

mm





 
    
mm

andante

  
ment
(she saide) mm

   


  
 

Man - de -

Mm

  
Mas - ter's
   

mm

Mm

  
  

 
y - clept
gil
-








- 12 -

den
  
Houres
  
Hys


Kyne
 
shall

ete,


  
97

his

   
   
Kyne

  

shall
ete,
  


   




 
  


  



    

 



    
100
Vy -


   
-
 
-

  
-
-

shall ete
of
nought
but










  






 
   

let,



  


   

 
   


    

   
  



- 13 -
(ad lib.)
 
Vy -

-

let


Floures!















30/8/97
3. Confession

S

  
 
 
A

  
  
B
piano


 
 
T

Forcefully
moderato

  


moderato

 

Ah yes,
  
 
Ah yes,
yes, I
 
Ah





 
   
wrote it.
But



   
wrote it.
    


I wrote

Ah
But
wrote
the
yes, I

wrote


the




 
  
   
  
     
(i.e. B major)
but
I
can tell
 
can


tell
 
 

 

 
 
   
Pur - ple Cow.
 
Pur
-
Pur
-

 
can
tell
 
 



I'm

I'm
-
ple Cow. I'm
sor
-


an -
y - how,
I'll
I

     

ry
I
now

   
ry
now
I
ry
now
I
   
an -
y - how,
I'll
an - y - how,
I'll


 
      

       
   
if you quote it.
kill you
 

  
      
        
   


- 14 -
 
now

 
 
          
 


         
 

-
sor
sor

 
you
 
ple Cow. I'm


you
sor - ry
 

 
you
    

  


  
  
   

   
can tell you


Pur - ple Cow.
   
    
   
But I







I
the




 
I



  

 


  
   

wrote it.

Ah yes I wrote the
But I,
 



 
   



      

 
    
wrote it.


  
1

  

          



   
   



4



an - y - how,
I'll



   
    

 



 

   
kill you
kill you
 

 

 


   
if you quote it.
if you quote it.

 
      
kill you

 





  

if you quote it.

 



 






 
 


The Purple Cow
Words by Gelett Burgess from “The Burgess Nonsense Book”
also published by Dover Publications, Inc., in “The Purple Cow and Other Nonsense”
set to music by John Kilpatrick
Unaccompanied version, August 1999 - first performed by the Lydian Singers, Sheffield.
Version with piano accompaniment, January 2003.
1. The Purple Cow
p. 2
2. The Purpil Cowe
p. 4
Narrator in G - Knight in F - Maid in Eb
3. Confession
p. 14
the above are intended to be performed as a suite
The work may be sung unaccompanied by making omissions as follows:
No. 1.
Bars 1 to 8
Omit the piano introduction.
Bars 17 & 18
Omit the second half of bar 17, and the first half of 18; insert a comma, or a pause on the word
“one.”
No. 2.
Bars 1 to 4
Omit the 4 piano bars.
Bars 32 to 34
The Tenors and Basses should start the “la la la” two bars early (in bar 32), and bars 33 & 34
should otherwise be omitted.
Bars 55 & 56
Omit. A small rallentando and pause may be added to bar 54.
Bar 83
The Tenors and Basses sing one extra bar of “la la la” where the piano would otherwise provide
this rhythm.
No. 3.
Bar 0
Omit the piano run-in.
Bar 4
No change except for the omission of the matching piano run.
- 15 -
Other Works by John Kilpatrick
With words by Gelett Burgess, from the Burgess Nonsense Book
The Knave of Hearts (SATB)
With words by Edward Lear
The Jumblies (SATB div.)
The Dong (SATB div.)
Words and music by John Kilpatrick
My Briefcase (SATB div., piano acc.)
The Purple Cow
January 2003
John Kilpatrick, 135 Twentywell Lane, Sheffield S17 4QA
[email protected]