Ever since antiquity, music transcription has been the intrinsic way of visual representation of sound, sometimes in detail and sometimes in the form of a guide. Throughout time, the visual capture of music has been the only way to store and preserve it over time, but also the exclusive means of reproducing it. In any case, visual transfer should be considered as an auxiliary tool, since oral dissemination and storage in the memory of artists have been the most timeless techniques for the diffusion of music through time and space. During Europe's so-called "classical" musical period, with its most powerful centers of production, such as today's Austria, Germany, France and Italy, and especially in its path towards Romanticism, music transcription, that is, the musical score, was considered by some composers as the very embodiment of their work.

Understandably, in the modern capitalist world, music transcription, as the primary tool for the substantialization of music, brought under its purview repertoires that were not connected, were not disseminated, and did not function on the basis of their transcription. This offered to the music product sales centers an additional tool to expand their action network: non-scholar musics acquired a convenient way of circulating them, enhancing their popularity, even in places very far from those of their original creation. At the end of the 19th century, however, the phenomenon of sound recording and reproduction rearranged relationships and disrupted the status quo of publishing houses, claiming a share of the market, offering a product that was extremely complete and immediate. The publishing houses tried to react with legal measures, but it became impossible to stop the dynamics of the new phenomenon: the prevalence of commercial discography was now a fact, for most of the 20th century.

As far as non-scholar music is concerned, commercial printed musical scores were publications of the musical texts of songs or instrumental pieces (for the publishing activity in Greece see Lerch-Kalavrytinos, 2003: 4-5). For the needs of musical scores, the songs were arranged mainly (but not only) for piano or for piano and voice, generally without complex performance requirements. Multi-instrumental or technically demanding orchestrations were systematically avoided. The lyrics were printed below the notes of the melodic development of the singing parts and, sometimes, their translations into other languages. For the most part, the musical scores were two or four pages long, and came with a themed front and back cover.

This musical score is included in the collection "Dimotika Tragoudia" (Folk Songs), collected and transcribed by Giorgos Theofilopoulos, and contains, under number 18, the song "Pou na vro 'go vasiliko".

The edition, which has 94 pages, includes, in addition to the musical scores of 160 songs, a foreword by M. G. Meraklis, Professor of Folklore at the University of Ioannina.

It is a musical score of a staff with the melody of the song and the lyrics below.

In Greek historical discography the song was recorded by Sotirios Stasinopoulos ("Pou na vro go vasiliko", Victor C-28778-2 – 68652-B, New York, October 26, 1923), by Petros Doukakis, Choir and Folk orchestra ("Pou na vro go vasiliko", His Master's Voice BJ 285-1 – AO 151, Athens, March 8, 1926), by Kyria [Mrs] Piko ("Pou na vro go vasiliko", His Master's Voice 0Τ-1720 – AO 1074, Athens, July 1934).

In 1956, the American composer of Armenian origin Allan Hovhaness [Alan Vaness Chakmakjian (Աական Հայիկան Պայաներեն), Somerville, Massachusetts, March 8, 1911 – Seattle, June 21, 2000] completed his work "Seven Greek Folk Dances, Op. 150". Hovhaness, who considered the Greek painter Ermolaos Ionidis (better known as Hermon di Giovannno) as his spiritual teacher while visiting Greece in the period 1953 – 1955, arranged seven Greek dances for harmonica and strings (or piano): 1. Hassapiko, 2. The Selybrian Syrtos, 3. Sweet Basil Green, 4. Karagouna, 5. Tsaconian dance, 6. Pastoral, 7. Sousta. The third, entitled "Sweet Basil Green" draws material from the tune we are examining. The work was presented in 1958 in Berlin by John Sebastian, harmonica, and Renato Josi, piano (see here), in 2001 in Athens by Christos Zerbinos, accordion, and the Athens String Orchestra conducted by Lefteris Kalkanis (see here), in 2003 in Tokyo by the Japanese Joe Sakimoto, harmonica, and Haruki Mino, piano (see  here), and in 2013 in Milan by the Italian Gianluca Littera, harmonica, and the Orchestra Stesichoros conducted by Francesco Di Mauro (see here).