Folkopedia - User contributions [en]

User talk:Richard Spencer

2026-04-15T17:47:25Z

Anahata: Welcome!

'''Welcome to ''Folkopedia''!'''
We hope you will contribute much and well.
You will probably want to read the [https://www.mediawiki.org/wiki/Special:MyLanguage/Help:Contents help pages].
Again, welcome and have fun! [[User:Anahata|Anahata]] ([[User talk:Anahata|talk]]) 17:47, 15 April 2026 (UTC)

User:Richard Spencer

2026-04-15T17:47:25Z

Anahata: Creating user page for new user.

I have been a singer of traditional song for 50 years and still enjoy singing in gatherings of like minded people. I have recently started researching English traditional singers. I am the current secretary of the Traditional Song Forum

MediaWiki:Requestaccount-text

2026-04-14T19:00:12Z

Anahata: Updated JA's email address

'''Complete and submit the following form to request a user account'''.

Make sure that you first read the [[Folkopedia:Terms_of_Service|Terms of Service]] before requesting an account.

Here at Folkopedia we take direct responsibility for our contributions. We therefore ask that as a contributor you use your real name for your user ID. When you've registered, please email john_adams@gmx.co.uk to request that your editing rights are activated. Once the account is approved, you will be emailed a notification message and the account will be usable at [[Special:Userlogin]].

Many thanks in advance for your help in improving Folkopedia.

Temporary Store

2026-04-14T10:08:27Z

Anahata: Update JA's email address

To use this temporary store............

* enter the edit page

* decide the title for your new page and put it at the bottom of the list in double square brackets. <nowiki> [[New Page]]</nowiki>

* put a sentence of explanation by it

* save the edit

* click on the title which will be highlighted in red

* start to make your new page and when it's done.....

* alert john_adams@gmx.co.uk and we'll put it on the list for placement.

* when your page is in place the title will be highlighted in blue.

==New Contributions List==

[[Meere]] A music publisher mention in Frank Kidson's directory

[[John Meredith]] Australian Collector

[[Old England She Needs Soldiers]] military recruiting song collected 1992.

[[Take 6 Transcription Programme]]Rationale, Outcomes and Methods

[[The Bailiff's Daughter of Islington]] from Percy's Reliques

[[Songs of the Midlands]], Roy Palmer, EP Publishing, 1972. A collection of 70 traditional songs from the counties of Shropshire, Staffordshire, Warwickshire and Worcestershire

----

[[sandbox]]

[[Argo Records]] UK record label (1951-80) with significant folk music output

Frequently asked questions

2026-04-14T10:07:26Z

Anahata:

* '''Why is there no 'edit' tag on the pages?'''

Are you logged in? Only registered users can be editors and they need to have editing rights confirmed by a system administrator. Send an email to john_adams@gmx.co.uk to request edit rights.

* '''I am registered and logged in but some of the pages don't have an edit tag. '''

This is probably because their content is not for public editing and they have been 'locked' by an administrator. In some cases, senior editors might lock pages that are considered complete and definitive.

* '''I think some of my contribution should lead to further pages in the future. Should I 'wikify' them?'''

Probably. It's easy to 'wikify' a page as you go along. If you see the possibility for a link from your page then just put it in <nowiki>[[square brackets]]</nowiki> and when saved it will show up in red providing a later opportunity to produce a new page. '''BUT''', please be careful what you 'wikify'. The following points may help.

** People may have already started that topic. Check by looking at [http://folkopedia.efdss.org/Special:Allpages http://folkopedia.efdss.org/Special:Allpages]
** Don't reserve general terms for one particular section. For example, if you are editing 'Step Dancing' and wanted a special page listing particular steppers, you wouldn't produce a link to 'Dancers' because then the Clog dancers would not be able to use the term. Your new page should be more specific like ''Step Dancers'' or even ''Dartmoor Step Dancers''
** Don't make new entries too long and be aware of what people have already done and what they might want to do in the future.

* '''An article already exists in Wikipedia. Should I copy it across?'''

Probably not. If the Wikipedia article looks authoritative then the best thing to do is to copy across the first paragraph as illustration and then add a statement to say that it has been copied and that the full article can be read on Wikipedia. Then link to the relevant Wikpedia page. In many cases, the Wikipedia article may be a stand-alone piece and not relate to any others. If this is the case, it would be good to enter Wikipedia and add a link back to Folkopedia so that people can find similar or related information. Thus, Folkopedia becomes a focussing point for related information on Wikipedia without being in competition. For example, our page on [[Sarah Makem]] links to Wikipedia [http://en.wikipedia.org/wiki/Sarah_Makem here] where you will find a link back to [[Irish Source Singers]] in Folkopedia.

Folkopedia Policy

2026-04-14T10:05:43Z

Anahata: Update JA's email address

Although this project is rooted in England, in the same way that music and traditions are no respecter of national boundaries, there is room for this database to encompass related traditions wherever they may be and to whoever they belong. It's a big world and we all learn off each other.

Anyone is welcome to apply to contribute to Folkopedia as long as they accept the principle of a peer reviewed resource. The intention is to create a resource which can be used not only by folk enthusiasts but also by children and students, with confidence that the content is accurate and can be safely referenced in essays and articles.

{| cellpadding="5" cellspacing="0" align="center"
!width="20"; bgcolor="red" | ƒ 
!width="500" bgcolor="white" | <big>IMPORTANT!</big>
----
Here at Folkopedia we take direct responsibility for our contributions. We therefore ask that as a contributor you use your real name for your user ID. This should be both family name and forename.

This is important because the User ID appears in the attributions list.

To become a contributor to Folkopedia simply create an account [[Special:RequestAccount|here]], respond to the email asking you to verify your email address and send an email to john_adams@gmx.co.uk asking us to activate your editing rights.

Johnny Adams:- Folkopedia Director.

!width="20"; bgcolor="red" | ƒ 
|}

<blockquote><big>[[Special:RequestAccount|Register]]</big></blockquote>

Contributors

2026-04-14T09:58:59Z

Anahata: Correct JA's email address

The information in Folkopedia is input by registered users recruited from all the diverse areas of the folk scene.

This information contained is reviewed and moderated by Section Editors under the supervision of Category Editors. The reason for this system is that we hope to produce a database that can be referenced with confidence in academic and educational contexts.

We welcome contributors from all areas of the folk community.

== Category Editors ==

Category Editors are appointed to oversee particular bodies of information and use their experience to review
the material and assess its accuracy, authenticity, etc. They will be people with recognised expertise in their subject area.

== Section Editors ==

Section Editors take direct responsibility for sub sections within the categories. They work under the direction of
the Category Editors to assist contributors in producing accurate and authenticated information.

== Contributors ==

Contributors input information according to their interests and experience. There are no anonymous contributors
in Folkopedia and everyone is expected to take reponsibility for their contributions.

If you apply for a contributor's User Name and Password, use your own name (upper or lower case but remember which, ie. john england or Jane Lancashire) and select your own password.

React to the email asking you to confirm your email address and then send us an email to john_adams@gmx.co.uk requesting that we activate your editing rights.

User:Anahata

2023-09-09T18:30:46Z

Anahata:

Anahata is the webmaster for folkopedia and runs a small web hosting business used by some folk performers and organisations, including Folkopedia.
He was for several years the editor of Mardles, an East Anglian folk magazine published by Suffolk Folk, which has now gone on line as a web site: [https://mardles.org mardles.org].
He plays melodeon, concertina and cello and performs arrangements of traditional songs and tunes with Mary Humphreys.
Anahata and Mary have been musicians for various dance teams and still play ceilidhs in various bands.
Now living in West Yorkshire, he also hosts and maintains the web site for [https://tykesstirrings.org.uk TykesStirrings] quarterly folk magazine, the [https://ryburn3step.org.uk Ryburn 3Step] folk promotion organisation, [https://baccapipes.org.uk Bacca Pipes Folk Club] and several other local folk organisations, performers and other businesses.

[http://www.treewind.co.uk Anahata]

[http://www.maryanahata.co.uk Mary Humphreys and Anahata]

User:Anahata

2023-09-09T18:27:51Z

Anahata:

Anahata is the webmaster for folkopedia and runs a small web hosting business used by some folk performers and organisations, including Folkopedia.
He was for several years the editor of Mardles, an East Anglian folk magazine published by Suffolk Folk, which has now gone on line as a web site: [https://mardles.org mardles.org].
He plays melodeon, concertina and cello and performs arrangements of traditional songs and tunes with Mary Humphreys.
Anahata and Mary have been musicians for various dance teams and still (lockdowns permitting) play ceilidhs in various bands.
Now living in West Yorkshire, he maintains the website for [https://tykesstirrings.org.uk TykesStirrings] quarterly folk magazine as well as hosting the web site for the [https://ryburn3step.org.uk Ryburn 3Step] folk promotion organisation, [https://tykesstirrings.org.uk TykesStirrings magazine], [https://baccapipes.org.uk Bacca Pipes Folk Club] and web sites for several other folk organisations, performers and businesses.

[http://www.treewind.co.uk Anahata]

[http://www.maryanahata.co.uk Mary Humphreys and Anahata]

Full English Transcription Programme: The Vaughan Williams Archive at the British Library, MS RVW2/3

2023-03-11T23:17:55Z

Anahata:

Link to the Home Page of the Full English Transcription Programme (formerly known as the [[Take 6 Transcription Programme]])

'''For playbacks of these transcriptions that are linked to their original MSS enter the filenames [LEB/2/1/1 or whatever] in the search box here. [[http://www.vwml.org/]]'''

'''RVW2/3/2 Forty Miles'''

[[File:RVW2-3-2.mid]]

[[File:RVW2-3-2.pdf]]

[[File:RVW2-3-2.xml]]

'''RVW2/3/3 There Was An Old Man (Green Broom)'''

[[File:RVW2-3-3.mid]]

[[File:RVW2-3-3.pdf]]

[[File:RVW2-3-3.xml]]

'''RVW2/3/4 Young William'''

[[File:RVW2-3-4.mid]]

[[File:RVW2-3-4.pdf]]

[[File:RVW2-3-4.xml]]

'''RVW2/3/5 The Miller And His Three Sons'''

[[File:RVW2-3-5.mid]]

[[File:RVW2-3-5.pdf]]

[[File:RVW2-3-5.xml]]

'''RVW2/3/6 A Yacre Of Land'''

[[File:RVW2-3-6.mid]]

[[File:RVW2-3-6.pdf]]

[[File:RVW2-3-6.xml]]

'''RVW2/3/7 In Fylingdale's Parish'''

[[File:RVW2-3-7.mid]]

[[File:RVW2-3-7.pdf]]

[[File:RVW2-3-7.xml]]

'''RVW2/3/8 Billy O'Rooke'''

[[File:RVW2-3-8.mid]]

[[File:RVW2-3-8.pdf]]

[[File:RVW2-3-8.xml]]

'''RVW2/3/9 I Married A Wife'''

[[File:RVW2-3-9.mid]]

[[File:RVW2-3-9.pdf]]

[[File:RVW2-3-9.xml]]

'''RVW2/3/10i The Farmer's Boy (i)'''

[[File:RVW2-3-10i.mid]]

[[File:RVW2-3-10i.pdf]]

[[File:RVW2-3-10i.xml]]

'''RVW2/3/10ii The Farmer's Boy (ii)'''

[[File:RVW2-3-10ii.mid]]

[[File:RVW2-3-10ii.pdf]]

[[File:RVW2-3-10ii.xml]]

'''RVW2/3/11 A Brisk Young Farmer'''

[[File:RVW2-3-11.mid]]

[[File:RVW2-3-11.pdf]]

[[File:RVW2-3-11.xml]]

'''RVW2/3/13 Careless Solly Reel'''

[[File:RVW2-3-13.mid]]

[[File:RVW2-3-13.pdf]]

[[File:RVW2-3-13.xml]]

'''RVW2/3/14 Hornpipe [Manchester Hornpipe?]'''

[[File:RVW2-3-14.mid]]

[[File:RVW2-3-14.pdf]]

[[File:RVW2-3-14.xml]]

'''RVW2/3/15 Butter'd Peas'''

[[File:RVW2-3-15.mid]]

[[File:RVW2-3-15.pdf]]

[[File:RVW2-3-15.xml]]

'''RVW2/3/16 The Devil's Dream'''

[[File:RVW2-3-16.mid]]

[[File:RVW2-3-16.pdf]]

[[File:RVW2-3-16.xml]]

'''RVW2/3/17 Tarry Woo''''

[[File:RVW2-3-17.mid]]

[[File:RVW2-3-17.pdf]]

[[File:RVW2-3-17.xml]]

'''RVW2/3/20 Erin's Lovely Home'''

[[File:RVW2-3-20.mid]]

[[File:RVW2-3-20.pdf]]

[[File:RVW2-3-20.xml]]

'''RVW2/3/21 William And Phillis'''

[[File:RVW2-3-21.mid]]

[[File:RVW2-3-21.pdf]]

[[File:RVW2-3-21.xml]]

'''RVW2/3/23 The Farmer's Daughter'''

[[File:RVW2-3-23.mid]]

[[File:RVW2-3-23.pdf]]

[[File:RVW2-3-23.xml]]

'''RVW2/3/25 In Jessie's City'''

[[File:RVW2-3-2.mid]]

[[File:RVW2-3-25.pdf]]

[[File:RVW2-3-25.xml]]

'''RVW2/3/26 Come All You Jolly Ploughmen'''

[[File:RVW2-3-26.mid]]

[[File:RVW2-3-26.pdf]]

[[File:RVW2-3-26.xml]]

'''RVW2/3/27 Golden Glove'''

[[File:RVW2-3-27.mid]]

[[File:RVW2-3-27.pdf]]

[[File:RVW2-3-27.xml]]

'''RVW2/3/28 Horn Fair'''

[[File:RVW2-3-28.mid]]

[[File:RVW2-3-28.pdf]]

[[File:RVW2-3-28.xml]]

'''RVW2/3/29 As I Was Walking (Handfuls Of Roses)'''

[[File:RVW2-3-29.mid]]

[[File:RVW2-3-29.pdf]]

[[File:RVW2-3-29.xml]]

'''RVW2/3/30 The Week Before Easter'''

[[File:RVW2-3-30.mid]]

[[File:RVW2-3-30.pdf]]

[[File:RVW2-3-30.xml]]

'''RVW2/3/31 Maria Martin'''

[[File:RVW2-3-31.mid]]

[[File:RVW2-3-31.pdf]]

[[File:RVW2-3-31.xml]]

'''RVW2/3/32 Salisbury Plain'''

[[File:RVW2-3-32.mid]]

[[File:RVW2-3-32.pdf]]

[[File:RVW2-3-32.xml]]

'''RVW2/3/33 William And Sally'''

[[File:RVW2-3-33.mid]]

[[File:RVW2-3-33.pdf]]

[[File:RVW2-3-33.xml]]

'''RVW2/3/34 The Ship's Carpenter'''

[[File:RVW2-3-34.mid]]

[[File:RVW2-3-34.pdf]]

[[File:RVW2-3-34.xml]]

'''RVW2/3/35 The Trees They Do Grow High'''

[[File:RVW2-3-35.mid]]

[[File:RVW2-3-35.pdf]]

[[File:RVW2-3-35.xml]]

'''RVW2/3/36 Adieu To Lovely Nancy'''

[[File:RVW2-3-36.mid]]

[[File:RVW2-3-36.pdf]]

[[File:RVW2-3-36.xml]]

'''RVW2/3/37 John Reilly'''

[[File:RVW2-3-37.mid]]

[[File:RVW2-3-37.pdf]]

[[File:RVW2-3-37.xml]]

'''RVW2/3/38 Orange And Blue'''

[[File:RVW2-3-38.mid]]

[[File:RVW2-3-38.pdf]]

[[File:RVW2-3-38.xml]]

'''RVW2/3/39 Robin Hood And The Pedlar'''

[[File:RVW2-3-39.mid]]

[[File:RVW2-3-39.pdf]]

[[File:RVW2-3-39.xml]]

'''RVW2/3/40 Foggy Dew'''

[[File:RVW2-3-40.mid]]

[[File:RVW2-3-40.pdf]]

[[File:RVW2-3-40.xml]]

'''RVW2/3/41 Cupid's Garden'''

[[File:RVW2-3-41.mid]]

[[File:RVW2-3-41.pdf]]

[[File:RVW2-3-41.xml]]

'''RVW2/2/3/42 Spencer The Rover'''

[[File:RVW2-3-42.mid]]

[[File:RVW2-3-42.pdf]]

[[File:RVW2-3-42.xml]]

'''RVW2/3/43 Tom Block'''

[[File:RVW2-3-43.mid]]

[[File:RVW2-3-43.pdf]]

[[File:RVW2-3-43.xml]]

'''RVW2/3/44 [Wraggle Taggle] ?'''

[[File:RVW2-3-44.mid]]

[[File:RVW2-3-44.pdf]]

[[File:RVW2-3-44.xml]]

'''RVW2/3/46 Georgie'''

[[File:RVW2-3-46.mid]]

[[File:RVW2-3-46.pdf]]

[[File:RVW2-3-46.xml]]

'''RVW2/3/47 Lord Bateman'''

[[File:RVW2-3-47.mid]]

[[File:RVW2-3-47.pdf]]

[[File:RVW2-3-47.xml]]

'''RVW2/3/48 It Was One Morning'''

[[File:RVW2-3-48.mid]]

[[File:RVW2-3-48.pdf]]

[[File:RVW2-3-48.xml]]

'''RVW2/3/49 Bold Carter'''

[[File:RVW2-3-49.mid]]

[[File:RVW2-3-49.pdf]]

[[File:RVW2-3-49.xml]]

'''RVW2/3/50 The Foxhunt'''

[[File:RVW2-3-50.mid]]

[[File:RVW2-3-50.pdf]]

[[File:RVW2-3-50.xml]]

'''RVW2/3/52 Trip To The Cottage'''

[[File:RVW2-3-52.mid]]

[[File:RVW2-3-52.pdf]]

[[File:RVW2-3-52.xml]]

'''RVW2/3/53 Gipsies In The Wood'''

[[File:RVW2-3-53.mid]]

[[File:RVW2-3-53.pdf]]

[[File:RVW2-3-53.xml]]

'''RVW2/3/54 Low Backed Car [Cow]'''

[[File:RVW2-3-54.mid]]

[[File:RVW2-3-54.pdf]]

[[File:RVW2-3-54.xml]]

'''RVW2/3/55 Ladies' Triumph'''

[[File:RVW2-3-55.mid]]

[[File:RVW2-3-55.pdf]]

[[File:RVW2-3-55.xml]]

'''RVW2/3/56 Lord Lovel'''

[[File:RVW2-3-56.mid]]

[[File:RVW2-3-56.pdf]]

[[File:RVW2-3-56.xml]]

'''RVW2/3/57 The Red Barn'''

[[File:RVW2-3-57.mid]]

[[File:RVW2-3-57.pdf]]

[[File:RVW2-3-57.xml]]

'''RVW2/3/58 The Streams Of Lovely Nancy'''

[[File:RVW2-3-58.mid]]

[[File:RVW2-3-58.pdf]]

[[File:RVW2-3-58.xml]]

'''RVW2/3/59 As I Was A Walking'''

[[File:RVW2-3-59.mid]]

[[File:RVW2-3-59.pdf]]

[[File:RVW2-3-59.xml]]

'''RVW2/3/60 Green Bushes'''

[[File:RVW2-3-60.mid]]

[[File:RVW2-3-60.pdf]]

[[File:RVW2-3-60.xml]]

'''RVW2/3/61 Lincolnshire Farmer [Yorkshire Bite]'''

[[File:RVW2-3-61.mid]]

[[File:RVW2-3-61.pdf]]

[[File:RVW2-3-61.xml]]

'''RVW2/3/62 Young Jockey'''

[[File:RVW2-3-62.mid]]

[[File:RVW2-3-62.pdf]]

[[File:RVW2-3-62.xml]]

'''RVW2/3/63 Deeds Of Napoleon'''

[[File:RVW2-3-63.mid]]

[[File:RVW2-3-63.pdf]]

[[File:RVW2-3-63.xml]]

'''RVW2/3/64 The Prentice Boy (Captain's Apprentice)'''

[[File:RVW2-3-64.mid]]

[[File:RVW2-3-64.pdf]]

[[File:RVW2-3-64.xml]]

'''RVW2/3/65 Ward The Pirate'''

[[File:RVW2-3-65.mid]]

[[File:RVW2-3-65.pdf]]

[[File:RVW2-3-65.xml]]

'''RVW2/3/66 As I Was A-walking One Midsummer Morning'''

[[File:RVW2-3-66.mid]]

[[File:RVW2-3-66.pdf]]

[[File:RVW2-3-66.xml]]

'''RVW2/3/67 The Dragoon And The Lady'''

[[File:RVW2-3-67.mid]]

[[File:RVW2-3-67.pdf]]

[[File:RVW2-3-67.xml]]

'''RVW2/3/68 The Yorkshire Farmer'''

[[File:RVW2-3-68.mid]]

[[File:RVW2-3-68.pdf]]

[[File:RVW2-3-68.xml]]

'''RVW2/3/69 John Reilly'''

[[File:RVW2-3-69.mid]]

[[File:RVW2-3-69.pdf]]

[[File:RVW2-3-69.xml]]

'''RVW2/3/70 Basket Of Eggs'''

[[File:RVW2-3-70.mid]]

[[File:RVW2-3-70.pdf]]

[[File:RVW2-3-70.xml]]

'''RVW2/3/71 Van Dieman's Land [Young Henry The Poacher]'''

[[File:RVW2-3-71.mid]]

[[File:RVW2-3-71.pdf]]

[[File:RVW2-3-71.xml]]

'''RVW2/3/72 Erin's Lovely Home'''

[[File:RVW2-3-72.mid]]

[[File:RVW2-3-72.pdf]]

[[File:RVW2-3-72.xml]]

'''RVW2/3/73 Sheffield Apprentice'''

[[File:RVW2-3-73.mid]]

[[File:RVW2-3-73.pdf]]

[[File:RVW2-3-73.xml]]

'''RVW2/3/75 Dream Of Napoleon'''

[[File:RVW2-3-75.mid]]

[[File:RVW2-3-75.pdf]]

[[File:RVW2-3-75.xml]]

'''RVW2/3/76 On Board A '98'''

[[File:RVW2-3-76.mid]]

[[File:RVW2-3-76.pdf]]

[[File:RVW2-3-78.xml]]

'''RVW2/3/77 Napoleon's Farewell'''

[[File:RVW2-3-77.mid]]

[[File:RVW2-3-77.pdf]]

[[File:RVW2-3-77.xml]]

'''RVW2/3/78 Come People All [Spurn Point]'''

[[File:RVW2-3-78.mid]]

[[File:RVW2-3-78.pdf]]

[[File:RVW2-3-78.xml]]

'''RVW2/3/79 Princess Royal'''

[[File:RVW2-3-79.mid]]

[[File:RVW2-3-79.pdf]]

[[File:RVW2-3-79.xml]]

'''RVW2/3/80 Loss Of The Ramillies'''

[[File:RVW2-3-80.mid]]

[[File:RVW2-3-80.pdf]]

[[File:RVW2-3-80.xml]]

'''RVW2/3/81 Erin's Lovely Home'''

[[File:RVW2-3-81.mid]]

[[File:RVW2-3-81.pdf]]

[[File:RVW2-3-81.xml]]

'''RVW2/3/82 Raven's Feather'''

[[File:RVW2-3-82.mid]]

[[File:RVW2-3-82.pdf]]

[[File:RVW2-3-82.xml]]

'''RVW2/3/83 Creeping Jane'''

[[File:RVW2-3-83.mid]]

[[File:RVW2-3-83.pdf]]

[[File:RVW2-3-83.xml]]

'''RVW2/3/84 The Irish Girl'''

[[File:RVW2-3-84.mid]]

[[File:RVW2-3-84.pdf]]

[[File:RVW2-3-84.xml]]

'''RVW2/3/85 It's Of An Old Lord'''

[[File:RVW2-3-85.mid]]

[[File:RVW2-3-85.pdf]]

[[File:RVW2-3-85.xml]]

'''RVW2/3/86 Hares In The Plantation'''

[[File:RVW2-3-86.mid]]

[[File:RVW2-3-86.pdf]]

[[File:RVW2-3-86.xml]]

Full English Transcription Programme: The Vaughan Williams Archive at the British Library, MS RVW2/3

2023-03-11T23:15:53Z

Anahata: Test

Full English Transcription Programme: The Vaughan Williams Archive at the British Library, MS RVW2/3

2023-03-11T23:11:52Z

Anahata:

Midgley Pace Egg

2021-04-14T17:54:53Z

Anahata:

Midgley is a village overlooking the Calder Valley in Yorkshire. Its Pace Egg play, performed each Good Friday, attracts visitors from far and wide.

Originally performed by the schoolboys of the village, the play is now put on by the lads of Calder High School, who are significantly older.

Archival films of the play in the 1960s show that the verse was 'declaimed' or 'recited', whereas now the play is 'acted' and has a vastly different character. [https://www.yfanefa.com/record/2383 Yorkshire Film Archive]

No longer confined to Midgley, the play tours the Calder Valley throughout the day, visiting Mytholmroyd, Hebden Bridge and Heptonstall, where it performs in contrast to the [[Heptonstall Pace Egg]], performed by local theatricals.

[[Image:Midgleyall1.JPG]]

Hebden Bridge Post Office, Good Friday, 2002.

[[Image:Midgleytosspot1.JPG]][[Image:Midgleytosspot2.JPG]]

2002. Tosspot character, seen right carrying the 'Old Tally Wife', abandoned in recent years.

[[Category:Custom]][[Category:Yorkshire]][[Category:Mummers]]

User:Anahata

2021-02-21T23:22:07Z

Anahata:

Anahata is the webmaster for folkopedia and runs a small web hosting business used by some folk performers and organisations, including Folkopedia.
He was for several years the editor of Mardles, an East Anglian folk magazine published by Suffolk Folk, which has now gone on line as a web site: [https://mardles.org mardles.org].
He plays melodeon, concertina and cello and performs arrangements of traditional songs and tunes with Mary Humphreys.
Anahata and Mary have been musicians for various dance teams and still (lockdowns permitting) play ceilidhs in various bands.
Now living in West Yorkshire, he maintains the website for [https://tykesstirrings.org.uk TykesStirrings] quarterly folk magazine as well as hosting the web site for the [https://ryburn3step.org.uk Ryburn 3Step] folk promotion organisation.

[http://www.treewind.co.uk Anahata]

[http://www.maryanahata.co.uk Mary Humphreys and Anahata]

User:Anahata

2021-02-21T23:13:02Z

Anahata:

Anahata is the web master for folkopedia and runs a small web hosting business used by some folk performers and organisations, including Folkopedia.
He was for several years the editor of Mardles, an East Anglian folk magazine published by Suffolk Folk, which has now gone on line as a web site: [https://mardles.org mardles.org].
He plays melodeon, concertina and cello and performs arrangements of traditional songs and tunes with Mary Humphreys.
Anahata and Mary have been musicians for various dance teams and still (lockdowns permitting) play ceilidhs in various bands.
Now living in West Yorkshire, he maintains the website for [https://tykesstirrings.org.uk TykesStirrings] quarterly folk magazine as well as hosting the web site for the [https://ryburn3step.org.uk Ryburn 3Step] folk promotion organisation.

[http://www.treewind.co.uk Anahata]

[http://www.maryanahata.co.uk Mary Humphreys and Anahata]

Regional

2021-02-09T22:03:28Z

Anahata: /* East Anglia */

==North-East==

'''''Folkworks''''' is probably the best known of the regional folk development organisations. Based at The Sage in Gateshead it runs a variety of projects and has links with the degree in folk music at Newcastle University. [http://www.thesagegateshead.org/folkworks/index.aspx Folkworks] [http://www.ncl.ac.uk/undergraduate/course/W340/Folk_and_Traditional_Music Folk Degree]

'''''The Lowland and Border Pipers' Society''''' was formed in 1982 by a group of enthusiasts who were interested in reviving the bagpipes of the Scottish lowlands and border region. These pipes are bellows-blown with their drones issuing from a common stock, and have been played in Scotland since at least the 17th Century.

Although here filed under ''Regional'', over recent years, the Society has grown to become an international organisation, with members in many far flung places. There are now a number of well established professional makers producing pipes of the highest quality, and the instrument has been adopted by numerous folk groups.

[http://www.lbps.net/ web site]

'''''The Northumbrian Pipers Society''''' was established in 1928 to promote the indigenous bagpipes of the North-East of England - the Northumbrian Smallpipes and the Half-long or Border pipes. Over the intervening 80 years, the Smallpipes have achieved great popularity, both in their home region, and around the world. The society has a membership of over 800 members worldwide, most of whom own a set of Northumbrian Smallpipes.

[http://www.northumbrianpipers.org.uk/ web site]

==North-West==

'''''Folkus''''' is a folk arts development organisation funded by ACE and Lancashire County Council to support folk activity in their region. [http://www.folkus.co.uk/home.htm web site]

'''''Furness Tradition''''' is a voluntarily run folk arts facilitating organisation based in Ulverston, South Cumbria. Furness Tradition also runs an annual festival in Ulverston in July. [http://www.furnesstradition.org.uk web site]

==Yorkshire==

'''''Yorkshire Folk Arts''''' state ''Every one of the 5 million people in Yorkshire and the Humber should be aware of folk arts and have a chance to take part; and every child in every school in the region should have the chance to learn traditional music, song and dance.'' [http://www.folk-now.co.uk/yfa/ web site]

'''''Ryburn 3 Step''''', based in Ripponden in the Pennines, run a staggering number of events each year, a large proportion of which are classes for local people. [http://www.ryburn3step.org.uk/ web site]

'''''Yorkshire Dales Workshop''''' founded by Geoff and Liz Bowen and based in Glusburn between Keighley and Skipton. Ran a variety of projects for schools and the public but ceased operation in 2008. [http://www.ydw.org.uk/ web site]]

'''''Yorkshire Garland Group''''' Established in 2006 by Steve Gardham and Mike Parsey primarily to promote traditional Yorkshire Folk Song. Main resource is the [http://www.yorkshirefolksong.net website] but the group is also involved in taking Yorkshire Folk Song into schools and the community at large, and organising workshops at all the main Yorkshire festivals.

==East Anglia==

'''''East Anglian Traditional Music Trust''''' operate out of their headquarters in Stowmarket and run a comprehensive programme of events, workshops, school and community projects, etc. [http://www.eatmt.org.uk/ web site]

'''''Suffolk Folk''''' promoted folk dance and song in Suffolk and contiguous counties. It no longer exists as such, but the name of the quarterly magazine '''Mardles''' lives on in a web site containing an online version of the magazine, with listings, reviews and articles on folk dance, song and music in the region. [https://www.mardles.org/ web site]

==South-East==

'''''South East Folk Arts Network''''' (SEFAN) are active in their area, '' "offering an
information, advisory, co-ordinating and networking service
for the traditional arts in the region" ''. [http://www.sefan.org.uk/AboutUs.html web site]

'''''Electric Voices''''' is a folk arts organisation based in Guildford, Surrey, and is run by Lawrence and Linda Heath. Concerts are based in the Electric Theatre,Guildford,(from where the organisation derives its name, and the main site where concerts have now been held for 10 years since 1997 ), Cranleigh Arts Centre, and Farnham Maltings. Electric Voices also organise the Music Institute Folk Club in Guildford, and the Godalming Borough Hall (GBH) Ceilidhs (which have now been running for over 30 years).They have now been hosting the "Maypoles to Mistletoe" show at the Electric Theatre for 10 years, which holds the record for longevity at that venue (as it also does at Hawth in Crawley, Sussex where it has been running even longer !) [http://www.electricvoices.org.uk/ web site]

==South-West==

'''''Wren Trust''''' based in Okehampton, run workshops and schools projects based on local traditions and songs. [http://www.wrenmusic.co.uk/ web site]

'''''Folk South West''''' ''Folk South West is the folk arts development organisation for the South West of England - working to stimulate enjoyment, participation and creativity in the music, song, dance and traditions of the South West.'' [http://www.folksw.org.uk/ web site]

==Midlands==

'''''The Traditional Arts Team''''' runs a range of traditional performance arts events and training in the Midlands. Its Birmingham-based music events provide opportunities for storytelling, singing, dancing and making music in an informal and friendly environment. The Team runs regular traditional music and song sessions, storytelling events, ceilidhs and barn dances, while the [http://www.moseleyvillageband.org.uk Moseley Village Band] welcomes all musicians, plays at local events and enjoys occasional day workshops with inspirational tutors.

[http://www.tradartsteam.co.uk/ web site]

Scales and Musical Modes in Celtic, Anglo-American and English Folk Songs

2021-02-07T11:16:21Z

Anahata:

This article should be studied in conjunction with the article [[Tune Analysis: How To Dissect, Interpret and Categorize Anglo-American, Celtic and English Folk Melodies]]

== Metre ==
 
Note that a tune's metre or time signature (3/4, 4/4, 6/8 etc.) does not affect its scale or mode, but is important in determining tune similarities, tune differences, and tune families.
 
 

== Authentic and Plagal Scales ==

Celtic, Anglo-American and English folk melodies can be defined as either authentic or plagal. Tunes are divided into these two categories according to where their keynote (almost always their last note) is positioned in relation to the other notes. In an authentic scale the keynote is at the extreme end (usually but not always at the bottom end) of the scale. In contrast, plagal scales have a keynote that is positioned about half way between the lowest and highest notes in the scale. [Roud, Steve and Bishop, Julia (2012) ''The New Penguin Book of English Folk Songs'', pp. lii-liv.] Analysis is complicated, however, because, in Celtic, Anglo-American and English folk song, tunes that present as authentic may have one or more notes that dip below or, more rarely, above the keynote. Such tunes are best categorised as mainly authentic, and such notes are best described as sub-keynotes if they are below the keynote, and super-keynotes if they are above the keynote. A further complication is that the judgment as to whether a tune is mainly authentic or plagal is subjective and can be difficult to call.

Authentic and plagal scales, like metre or time signatures, have no effect on which notes comprise a scale or mode; but, again like time signatures, they are important when analysing tune families and melodic similarities and differences. 
 
 

== Major and Minor Scales ==
 
A scale or mode is major if it has a major third, that is to say if the interval between its first and its third notes is two tones (i.e. four semi-tones). Thus, the Ionian, Mixolydian and Lydian scales are major mode scales. A scale or mode is minor if it has a minor third, that is to say if the interval between its first and its third notes is one and a half tones (i.e. three semitones). Thus, the Dorian, Aeolian, Phrygian and Locrian scales are minor mode scales.
 
 
== Modern Scales and Traditional Modal Scales ==
 
There are three scales commonly used in modern popular and art music: the major scale, the harmonic minor scale, and the melodic minor scale. In their ascent all three of these scales have a semitone at the top of their scale as their seventh interval. In their descent the major scale and the harmonic minor scale retain this semitone as their seventh interval; however, the descending melodic minor scale is identical to the descending Aeolian or natural minor scale and has a tone as its seventh interval.

There are four scales commonly used in Celtic, Anglo-American and English folk songs: the major scale (also known as the Ionian scale), the Mixolydian scale, the Dorian scale and the Aeolian (also known as the natural minor) scale. Three of these four scales, namely the Mixolydian, the Dorian and the Aeolian or natural minor scale, have a tone as their seventh interval.

With the development of modern harmony around the early seventeenth century the Mixolydian, Dorian and Aeolian scales fell into decline in popular and, more especially, in sophisticated art music since their whole tone or flattened sevenths were not well suited to harmonisation. As Cecil Sharp and other early collectors noted, however, many of the unaccompanied traditional folk songs that they harvested were in the old modal scales of Mixolydian, Dorian and Aeolian.
 
 

== Full Scales and Gapped Scales ==
 
When analysing a folk melody we need to ascertain the number of notes in the scale. A full scale is heptatonic, or, in plain English, it has seven notes. A gapped scale has fewer than seven notes. If the scale is hexatonic it has six notes. If the scale is pentatonic it has five notes. When determining the number of notes in a scale count two notes that are an octave apart as one note. For example if a tune has notes at 6 different pitches, but two of the notes are an octave apart, for example, one is C (C) and another is upper C (C'), it has a pentatonic scale or mode. 

== Full Heptatonic Scales ==

Heptatonic scales can be defined in accordance with the classification system of Glarean, who refers to them as modes. 
 
Heinrich Glarean (in Latin Henricus Glareanus) was born in 1488 and died in 1563. His most famous work, the Dodecachordon, was published in Basle, Switzerland, in 1547 and it established him as a famous and influential musical theorist. [''The Dodecachordon'' (in Latin) and other works by Glarean are available from the International Music Score Library Project at http://imslp.org/wiki/Category:Glareanus,_Henricus] The following is partly based on Glarean’s ideas. 
 
In an octave of music there are twelve notes, separated by semitone intervals. These, marked off by commas, are: 
 
A, A# (or Bb), B, C, C# (or Db), D, D# (or Eb), E, F, F# (or Gb), G, G# (or Ab). 
 
Some avant-garde composers in the twentieth century, notably the Austro-American Arnold Schoenberg (1874-1951) developed a so-called chromatic scale that included all 12 of these notes. Most composers, however, employ scales of 8 notes, although they may sometimes modulate to a different key without changing the key signature, or add accidental sharps, flats and naturals to give a pleasing or interesting sound or dissonance. In classical music there are three main scales: the major, the melodic minor and the harmonic minor. In Celtic, Anglo-American and English folk melodies the melodic and harmonic minors are not usually used, but the major, as will be seen, is common. 
 
It was Heinrich Glarean who gave to the seven heptatonic scales the names of Ionian, Aeolian, Mixolydian, Dorian, Phrygian, Lydian and Locrian modes. He believed that this was what they were called in the ancient world. He was quite wrong in this belief, but his nomenclature has nevertheless been retained. 
It should be noted that each of Glarean's seven heptatonic scales is diatonic; that is to say that it is a heptatonic or seven note scale with its notes separated by five whole tones (or, in the usage in the USA, whole steps) and two semitones (or, in the US usage, half steps) in each octave. The seven notes C-D-E-F-G-A-B are known as natural notes and they can be played on the white notes of a keyboard. A sequence starting with any one of these seven notes and ending an octave higher on the same note that began the sequence generates a seven note diatonic scale. In all seven of these scales the two semitones are separated from each other by either two whole tones (four semitones) or three whole tones (six semitones). The most important note in a diatonic scale is the keynote or tonic, and the second most important note is the fifth note or dominant. Thus, in the key of C major, C is the most important note and G is the second most important. 
 
The four modes or scales most usually encountered in Celtic, Anglo-American and English folk song are as follows: 
 
 
'''1. Ionian/Major Heptatonic Scale''' 
 
The Ionian mode, which is identical to the Major scale, was, according to Glarean, the one most frequently used by composers in his day. It has also been the most common scale among classical composers. In his analysis in "English Folk Songs from the Southern Appalachians", Cecil Sharp characterises this scale as Mode 1a+b Heptatonic. 
 
The notes of the C Ionian or C Major scale are C, D, E, F, G, A, B, C’ and you get them by playing upwards from C to C’ on the white notes of a piano, or if, in tonic solfa, you sing the familiar scale of “do, re, mi, fa, so, la, ti, do”. Note the distribution of tone and semitone intervals in this scale: 
 
C-(TONE)-D-(TONE)-E-(SEMITONE)-F-(TONE)-G-(TONE)-A-(TONE)-B-(SEMITONE)-C’ 
 
The above is known as the C Ionian mode because the starting note is C. However, the critical point about any mode is that it always has its semitone intervals in the same place. Indeed, every mode is defined by the position of its semitone intervals. So if, for example, we want to sing the Ionian mode but start on the note of G, we still sing "do re mi..." as before, but start on the G note. However, when we play just up the white keys of a piano we get: 
 
G-(TONE)-A-(TONE)-B-(SEMITONE)-C-(TONE)-D-(TONE)-E-(SEMITONE)-F-(TONE)-G’ 
 
...and of course that is wrong, as can be seen by comparison with the previous example, because the second semitone is now in the wrong place. To fix this, we have to use F# (a black key on the piano) instead of F, which gives us the desired result: 
 
G-(TONE)-A-(TONE)-B-(SEMITONE)-C-(TONE)-D-(TONE)-E-(TONE)-F#-(SEMITONE)-G’ 
 
This is called the G Ionian mode, or G Major scale. In fact, we can sing the Ionian mode (or indeed any mode) starting on any note we like. Our starting note is called the key, or tonic. The system of singing "do, re, mi.." is called solfa, thus the system of singing a consistent "do, re, mi..." starting on any tonic is called '''tonic solfa'''. It is ''not'' the same as the alternative fixed-do system called '''solfège''', which does not concern us here. Tonic solfa is very useful when considering modes, and since the positions of the two semitone intervals are critical to identifying the mode, it is worth noting that they always (and only) occur after the -i words, shown emphasised here: "do, re, '''mi''', fa, so, la, '''ti''', do". 
 
 
'''2. Aeolian/Minor Heptatonic Scale''' 
 
The Aeolian mode is similar to the modern minor scales in their melodic and harmonic forms but without the accidentals that sharpen, naturalise or flatten some of the notes of those scales. Sharp characterises this scale as Mode 5a+b Heptatonic. The notes of the Aeolian mode in tonic solfa are sung as “la, '''ti''', do, re, '''mi''', fa, so, la”. The A Aeolian notes are A, B, C, D, E, F, G, A’, and you get this scale on a piano when you play upwards from A to A’ on the white keys. Note the distribution of the tone and semitone intervals in this scale: 
 
A-(TONE)-B-(SEMITONE)-C-(TONE)-D-(TONE)-E-(SEMITONE)-F-(TONE)-G-(TONE)-A’ 
 
 
'''3. Mixolydian Heptatonic Scale''' 
 
Sharp characterises the Mixolydian mode as Mode 4a+b Heptatonic. The notes of the Mixolydian mode in tonic solfa are sung as “so, la, '''ti''', do, re, '''mi''', fa, so”. The G Mixolydian notes are G, A, B, C, D, E, F, G’, and you get this scale on a piano when you play upwards from G to G’ on the white keys. Again, note the distribution of the tone and semitone intervals in this scale: 
 
G-(TONE)-A-(TONE)-B-(SEMITONE)-C-(TONE)-D-(TONE)-E-(SEMITONE)-F-(TONE)-G’ 
 
The Mixolydian mode differs in but one note from the Ionian: the seventh note is flattened to make the final interval of the scale a tone instead of a semitone, and the one before it a semitone instead of a tone. 
 
 
'''4. Dorian Heptatonic Scale''' 
 
Sharp characterises the Dorian mode as Mode 2a+b Heptatonic. The notes of the Dorian mode in tonic solfa are sung as “re, '''mi''', fa, so, la, '''ti''', do, re”. The D Dorian notes are D, E, F, G, A, B, C, D’ and you get this scale on a piano when you play upwards from D to D’ on the white keys. Once more, note the distribution of the tone and semitone intervals in this scale: 
 
D-(TONE)-E-(SEMI-TONE)-F-(TONE)-G-(TONE)-A-(TONE)-B-(SEMI-TONE)-C-(TONE)-D’ 
 
 
'''Other Scales''' 
 
There are three other modal scales. One is the '''Phrygian''' mode. Sharp characterises this scale as Mode 5a+b Heptatonic. Its notes in tonic solfa are “'''mi''', fa, so, la, '''ti''', do, re, '''mi'''”. The E Phrygian notes are E, F, G, A, B, C, D, E’ and you get this scale on a piano when you play upwards from E to E’ on the white keys. Here is the distribution of the tone and semitone intervals: 
 
E-(SEMITONE)-F-(TONE)-G-(TONE)-A-(TONE)-B-(SEMITONE)-C-(TONE)-D-(TONE)-E' 
 
Another is the '''Lydian''' mode. Sharp characterises this scale as Mode 3a+b Heptatonic. Its notes in tonic solfa are “fa, so, la, '''ti''', do, re, '''mi''', fa”. The F Lydian notes are F, G, A, B, C, D, E, F’ and you get this scale on a piano when you play upwards from F to F’ on the white keys. Here is the distribution of the tone and semitone intervals: 
 
F-(TONE)-G-(TONE)-A-(TONE)-B-(SEMITONE)-C-(TONE)-D-(TONE)-E-(SEMITONE)-F' 
 
Finally there is the '''Locrian''' mode. Its notes in tonic solfa are “'''ti''', do, re, '''mi''', fa, so, la, '''ti'''”. The B Locrian notes are B, C, D, E, F, G, A, B’ and you get this scale on a piano when you play upwards from B to B’ on the white keys. Here is the distribution of the tone and semitone intervals: 
 
B-(SEMITONE)-C-(TONE)-D-(TONE)-E-(SEMITONE)-F-(TONE)-G-(TONE)-A-(TONE)-B' 
 
The Phrygian mode is rarely encountered in Celtic, Anglo-American and English folk song (though common in Iberian folk music, for example), however, and the full Lydian and Locrian modes scarcely appear at all. 
 

== Gapped Hexatonic and Pentatonic Scales ==

In 1911 the ''Folk Song Journal'' published a collection of Celtic folk melodies. Anne G. Gilchrist assigned each tune to its respective scale or mode and wrote a note to explain how and why she had done this.[Gilchrist, Annie G., "Note on the Modal System of Gaelic Tunes," ''Journal of the Folk-Song Society'', Vol. 4, No. 16 (Dec., 1911), pp. 150-153.] Immediately after this note was a gloss from Lucy Broadwood. [Broadwood, Lucy E., "Additional Note on the Gaelic Scale System," ''Journal of the Folk-Song Society'', Vol. 4, No. 16 (Dec., 1911), pp. 154-156.] Both Gilchrist's note and Broadwood's gloss dealt with the question of gapped scales. 
 
Cecil Sharp dedicated two chapters of ''English Folk Song: Some Conclusions'' (1907) to a study of the various scales in which English folk songs have come down to us. These are Chapter 5, “The Modes,” and Chapter 6, “English Folk-Scales,” and the topic is also treated elsewhere in that book. Then, in his Introduction to English Folk Songs from the Southern Appalachians (1917) Sharp includes a section entitled “Scales and Modes.” [Campbell, Olive Dame and Sharp, Cecil J. (1917) ''English Folk Songs from the Southern Appalachians'', pp. xv-xviii.] This begins: 
 
Very nearly all these Appalachian tunes are cast in “gapped” scales, that is to say, scales containing only five, or sometimes six, notes to the octave, instead of the seven with which we are familiar, a “hiatus” or “gap” occurring where a note is omitted. 
 
Sharp then goes on to discuss the prevalence of pentatonic and hexatonic scales in Appalachian music at that time, drawing parallels with Scottish and Irish tunes, and invoking the aid of Gilchrist’s “very clear exposition of this matter” in her note of 1911. He also, most helpfully for later scholars, categorises the musical scale of every tune in the book in accordance with his modified version of Gilchrist’s criteria, as Pentatonic (5 note), Hexatonic (6 note), and Heptatonic (7 note). 
 
It is a useful heuristic and analytical exercise to do as Sharp does. Firstly, to simplify and clarify his analysis he assumes that tunes have been transposed to eliminate the sharps and flats from their key signatures. Secondly, he links gapped scales to their corresponding full scales. If we follow Sharp's method, therefore, we should not consider hexatonic and pentatonic tunes to be in separate hexatonic and pentatonic scales. Instead we should look at them as modal melodies--Ionian/Major, Aeolian, Dorian, Mixolydian, Lydian (a mode included by Sharp despite its rarity as a full scale) and (very occasionally occurring) Phrygian--in which the singers and performers have eschewed one or two of the notes that were theoretically available to them.
This then poses the problematic question as to which notes the singers would have sung if they had used the full seven note scale. Sometimes, as will be seen, this can be deduced, but sometimes it cannot. In some cases we have to make guesses as to what the missing notes would have been. Sometimes we can never definitively know, and this uncertainty, as will be seen, leads to a number of conclusions. 
 
Gapped hexatonic scales in Celtic, Anglo-American and English folk song are all '''hemitonic''' or, in other words, they contain a semitone. All gapped pentatonic scales, however, are '''anhemitonic'''--i.e. they contain no semitones. 
 
 
'''1. Ionian/Major Hexatonic and Pentatonic Scales''' 
 
''1.1 Ionian Hexatonic Scale (Type 1a)''. This is the Ionian/Major Heptatonic scale with the 3rd (E) note missing. Sharp characterises this scale as 1a Hexatonic. 
 
C-(TONE)-D-(TONE)-E [missing]-(SEMITONE)-F-(TONE)-G-(TONE)-A-(TONE)-B-(SEMITONE)-C’ 
 
Thus the notes of the scale are: 
 
C-(TONE)-D-(1.5 TONES)-F-(TONE)-G-(TONE)-A-(TONE)-B-(SEMITONE)-C’ 
 
If a tune transposes to what seems to be C Ionian/C Major but is hexatonic and has no Es there is only one possibility. If the Es were natural, the tune would be C Ionian/C Major. If the Es were flattened the scale would be unviable. The tune must therefore be C Ionian/C Major with a missing 3rd. 
 
''1.2 Ionian Hexatonic Scale (Type 1b)''. This is the Ionian/Major Heptatonic scale with the 7th (B) note missing. Sharp characterises this scale as 1b Hexatonic. 
 
C-(TONE)-D-(TONE)-E-(SEMITONE)-F-(TONE)-G-(TONE)-A-(TONE)-B [missing]-(SEMITONE)-C’ 
 
Thus the notes of the scale are: 
 
C-(TONE)-D-(TONE)-E-(SEMITONE)-F-(TONE)-G-(TONE)-A-(1.5 TONES)-C' 
 
If a tune transposes to what seems to be C Ionian/C Major but is hexatonic and has no Bs in it there are two possibilities. If the Bs were natural, the scale would be C Ionian/C Major. If the Bs were flattened the scale would be C Mixolydian. The tune must therefore be either C Ionian/C Major or C Mixolydian with a missing 7th. 
 
''1.3 Ionian Pentatonic Scale''. This is the Ionian/Major Heptatonic scale with the 3rd (E) and 7th (B) notes missing. Sharp characterises this scale as 1 Pentatonic. 
 
C-(TONE)-D-(TONE)-E [missing]-(SEMITONE)-F-(TONE)-G-(TONE)-A-(TONE)-B [missing]-(SEMITONE)-C’ 
 
Thus the notes of the scale are: 
 
C-(TONE)-D-(1.5 TONES)-F-(TONE)-G-(TONE)-A-(1.5 TONES)-C’ 
 
If a tune transposes to what seems to be C Ionian/C Major but is pentatonic and has no Bs and also no Es in it there are three possibilities. Firstly, if they had been there, the B and the E might both have been natural to produce a C Ionian/C Major scale. Secondly, the B might have been flattened to produce a C Mixolydian tune. Thirdly, both the B and the E might have been flattened to produce a C Dorian tune. 
 
 
'''2. Aeolian/Minor Hexatonic and Pentatonic Scales''' 
 
''2.1 Aeolian Hexatonic Scale (Type 5b).'' 
 
This is the Aeolian/Minor Heptatonic scale with the 5th (E) note missing. Sharp characterises this scale as 5b Hexatonic. 
 
A-(TONE)-B-(SEMITONE)-C-(TONE)-D-(TONE)-E [missing]-(SEMITONE)-F-(TONE)-G-(TONE)-A' 
 
Thus the notes of the scale are: 
 
A-(TONE)-B-(SEMITONE)-C-(TONE)-D-(1.5 TONES)-F-(TONE)-G-(TONE)-A 
 
If a tune transposes to what seems to be A Aeolian/A Minor but has no Es in it there is only one possibility. If the Es were natural the scale would be A Aeolian/A Minor. If the Es were flattened the scale would not be viable. This hexatonic scale can thus be accurately categorised as an A Aeolian/Minor scale with the fifth (E) notes missing. 
 
''2.2 Aeolian Hexatonic Scale (Type 5a).'' 
 
This is the Aeolian/Minor Heptatonic scale with the 2nd (B) note missing. Sharp characterises this scale as 5a Hexatonic. 
 
A-(TONE)-B [missing]-(SEMITONE)-C-(TONE)-D-(TONE)-E-(SEMITONE)-F-(TONE)-G-(TONE)-A 
 
Thus the notes of the scale are: 
 
A-(1.5 TONES)-C-(TONE)-D-(TONE)-E-(SEMITONE)-F-(TONE)-G-(TONE)-A 
 
If a tune transposes to what seems to be A Aeolian/A Minor but has no Bs there are two possibilities. If the Bs were natural the scale would have been A Aeolian/A Minor. If the Bs were flattened the scale would have been A Phrygian. 
 
''2.3 Aeolian Pentatonic Scale (Type 5).'' 
 
This is the Aeolian/Minor Heptatonic scale with the 2nd (B) and 5th (E) notes missing. Sharp characterises this scale as 5 Pentatonic. 
 
A-(TONE)-B [missing]-(SEMITONE)-C-(TONE)-D-(TONE)-E [missing]-(SEMITONE)-F-(TONE)-G-(TONE)-A’ 
 
Thus the notes of the scale are: 
 
A-(1.5 TONES)-C-(TONE)-D-(1.5 TONES)-F-(TONE)-G-(TONE)-A’ 
 
If a tune transposes to what seems to be A Aeolian/A Minor but has no Bs and Es in it there are three possibilities. If the Es and the Bs were both natural the scale would be A Aeolian/A Minor. If the Bs were flattened and the Es were natural the scale would be A Phrygian. If both the Bs and the Es were flattened the scale would be A Locrian. 
 
 
'''3. Mixolydian Hexatonic and Pentatonic Scales''' 
 
''3.1 Mixolydian Hexatonic Scale (Type 4b).'' 
 
This is the Mixolydian Heptatonic scale with the 6th (E) notes missing. Sharp characterises this scale as Mode 4b. 
 
G-(TONE)-A-(TONE)-B-(SEMITONE)-C-(TONE)-D-(TONE)-E [missing]-(SEMITONE)-F-(TONE)-G’ 
 
Thus the notes of the scale are:
 
G-(TONE)-A-(TONE)-B-(SEMITONE)-C-(TONE)-D-(1.5 TONES)-(SEMITONE)-F-(TONE)-G’ 
 
If a tune transposes to what seems to be G Mixolydian but has no Es in it, there is only one possibility. If the Es were natural the scale would be G Mixolydian. If the Es were flattened the scale would not be viable. This hexatonic scale can thus be accurately categorised as a G Mixolydian scale with the sixth (E) note missing. 
 
''3.2 Mixolydian Hexatonic Scale (Type 4a).'' 
 
This is the Mixolydian Heptatonic scale with the 3rd (B) notes missing. Sharp characterises this scale as Mode 4a. 
 
G-(TONE)-A-(TONE)-B [missing]-(SEMITONE)-C-(TONE)-D-(TONE)-E-(SEMITONE)-F-(TONE)-G’ 
 
Thus the notes of the scale are: 
 
G-(TONE)-A-(!.5 TONES)-C-(TONE)-D-(TONE)-E-(SEMITONE)-F-(TONE)-G’ 
 
If a tune transposes to what seems to be G Mixolydian but has no Bs in it there are two possibilities. If the Bs were natural the scale would be G Mixolydian. If the Bs were flattened the scale would be G Dorian. 
 
''3.3 Mixolydian Pentatonic Scale (Type 4).'' 
 
This is the Mixolydian Heptatonic scale with the 3rd (B) and 6th (E) notes missing. Sharp characterises this scale as Mode 4. 
 
G-(TONE)-A-(TONE)-B [missing]-(SEMITONE)-C-(TONE)-D-(TONE)-E [missing]-(SEMI-TONE)-F-(TONE)-G’ 
 
Thus the notes of the scale are: 
 
G-(TONE)-A-(1.5 TONES)-C-(TONE)-D-(1.5 TONES)-F-(TONE)-G’ 
 
If a tune transposes to what seems to be G Mixolydian but has no Bs and no Es in it there are three possibilities.. If the Bs and the Es were both natural the scale would be G Mixolydian. If the Bs were flattened and the Es were natural the scale would be G Dorian. If both the Bs ad the Es were flattened the scale would be G Aeolian. 
 
 
'''4. Dorian Hexatonic and Pentatonic Scales''' 
 
''4.1 Dorian Hexatonic Scale (Type 2a).'' 
 
This is the Dorian Heptatonic scale with the 2nd (E) notes missing. Sharp characterises this scale as Mode 2a. 
 
D-(TONE)-E [missing]-(SEMITONE)-F-(TONE)-G-(TONE)-A-(TONE)-B-(SEMITONE)-C-(TONE)-D’ 
 
Thus the notes of the scale are: 
 
D-(1.5 TONES)-F-(TONE)-G-(TONE)-A-(TONE)-B-(SEMITONE)-C-(TONE)-D’ 
 
If a tune transposes to what seems to be D Dorian, but has no Es in it there is only one possibility. If the Es were natural the scale would be D Dorian. If the Es were flattened the scale would not be viable. This hexatonic scale can thus be accurately categorised as a D Dorian scale with the sixth (E) notes missing. 
 
''4.2 Dorian Hexatonic Scale (Type 2b).'' 
 
This is the Dorian Heptatonic scale with the 6th (B) notes missing. Sharp characterises this scale as Mode 2b. 
 
D-(TONE)-E-(SEMITONE)-F-(TONE)-G-(TONE)-A-(TONE)-B [missing]-(SEMITONE)-C-(TONE)-D’ 
 
Thus the notes of the scale are: 
 
D-(TONE)-E-(SEMITONE)-F-(TONE)-G-(TONE)-A-(1.5 TONES)-C-(TONE)-D’ 
 
If a tune transposes to what seems to be D Dorian, but has no Bs in it there are two possibilities. If the Bs were natural the scale would be D Dorian. If the Bs were flattened the scale would be D Aeolian. 
 
''4.3 Dorian Pentatonic Scale (Type 2).'' 
 
This is the Dorian Heptatonic scale with the 2nd (E) and 6th (B) notes missing. Sharp characterises this scale as Mode 2. 
 
D-(TONE)-E [missing]-(SEMITONE)-F-(TONE)-G-(TONE)-A-(TONE)-B [missing]-(SEMITONE)-C-(TONE)-D’ 
 
Thus the notes of the scale are: 
 
D-(1.5 TONES)-F-(TONE)-G-(TONE)-A-(1.5 TONES)-C-(TONE)-D’ 
 
If a tune transposes to what seems to be D Dorian, but has no Es and no Bs in it there are three possibilities. If the Es and the Bs were both natural the scale would be D Dorian. If the Es were natural and the Bs were flattened the scale would be D Aeolian. If both the Es ad the Bs were flattened the scale would have been D Phrygian. 
 
 
'''5. Lydian Hexatonic and Pentatonic Scales''' 
 
Despite the rarity of Lydian heptatonic scales in Celtic, Anglo-American and English folk melodies, Sharp includes the Lydian heptatonic scale, together with the hexatonic and pentatonic scales that are derived from it, in his listing of tune scales found in Appalachian music, designating them as "Mode 3." 
 
''5.1 Lydian Hexatonic Scale (Type 3b).'' 
 
This is the Lydian Heptatonic scale with the 7th (E) notes missing. Sharp characterises this scale as Mode 3b. 
 
F-(TONE)-G-(TONE)-A-(TONE)-B-(SEMITONE)-C-(TONE)-D-(TONE)-E [missing]-(SEMITONE)-F' 
 
Thus the notes of the scale are: 
 
F-(TONE)-G-(TONE)-A-(TONE)-B-(SEMITONE)-C-(TONE)-D-(1.5 TONES)-F' 
 
Note that this scale contains a semitone, or, in other words, it is hemitonic. 
 
If a tune transposes to what seems to be F Lydian but has no Es in it there is only one possibility. If the Es were natural the scale would be F Lydian. If the Es were flattened the scale would be unviable. This hexatonic scale can thus be accurately categorised as an F Lydian scale with the 7th (E) notes missing. 
 
''5.2 Lydian Hexatonic Scale (Type 3a).'' 
 
This is the Lydian Heptatonic scale with the 4th (B) notes missing. Sharp characterises this scale as Mode 3a. 
 
F-(TONE)-G-(TONE)-A-(TONE)-B [missing]-(SEMITONE)-C-(TONE)-D-(TONE)-E-(SEMITONE)-F' 
 
Thus the notes of the scale are: 
 
F-(TONE)-G-(TONE)-A-(1.5 TONES)-C-(TONE)-D-(TONE)-E-(SEMITONE)-F' 
 
If a tune transposes to what seems to be F Lydian but has no Bs in it there are two possibilities. If the Bs were natural the scale would be F Lydian. If the Bs were flattened the scale would be F Ionian/F Major. 
 
''5.3 Lydian Pentatonic Scale (Type 3).'' 
 
This is the Lydian Heptatonic scale with the 4th (B) and the 7th (E) notes missing. Sharp characterises this scale as Mode 3. 
 
F-(TONE)-G-(TONE)-A-(TONE)-B [missing]-(SEMITONE) C-(TONE)-D-(TONE)-E [missing]-(SEMITONE)-F' 
 
Thus the notes of the scale are: 
 
F-(TONE)-G-(TONE)-A-(1.5 TONES)-C-(TONE)-D-(1.5 TONES)-F' 
 
If a tune transposes to what seems to be F Lydian, but has no Bs and no Es in it there are three possibilities. If the Bs and the Es were both natural the scale would be F Lydian. If the Bs were flattened and the Es were natural the scale would be F Ionian/F Major. If both the Bs and the Es were flattened the scale would be F Mixolydian. 
 
 
'''6. Phrygian and Locrian Gapped Scales''' 
 
Sharp makes little or no mention of these, presumably since he did not encounter them in the Appalachians, but also perhaps because they do not fit neatly into his system. Certainly Phrygian and Locrian heptatonic scales are very rare in Celtic, Anglo-American and English folk melody. However, for the sake of completeness, and since the classification of pentatonic tunes in particular is problematic, clarification is needed. Essentially, the difficulty is caused by the elimination of semitone intervals. We can see this most clearly by looking again at the gapped scales, but this time in tonic solfa. Sharp's system essentially takes out '''mi''' ''or'' '''ti''' for the hexatonic forms, and '''mi''' ''and'' '''ti''' for the pentatonic forms, as shown below: 
'''Ionian full:''' do re '''mi''' fa so la '''ti''' do 
'''Ionian hexatonic:''' do re -- fa so la '''ti''' do ''or'' do re '''mi''' fa so la -- do 
'''Ionian pentatonic:''' do re -- fa so la -- do 
'''Aeolian full:''' la '''ti''' do re '''mi''' fa so la 
'''Aeolian hexatonic:''' la -- do re '''mi''' fa so la ''or'' la '''ti''' do re -- fa so la 
'''Aeolian pentatonic:''' la -- do re -- fa so la 
'''Mixolydian full:''' so la '''ti''' do re '''mi''' fa so 
'''Mixolydian hexatonic:''' so la -- do re '''mi''' fa so ''or'' so la '''ti''' do re -- fa so 
'''Mixolydian pentatonic:''' so la -- do re -- fa so 
'''Dorian full:''' re '''mi''' fa so la '''ti''' do re 
'''Dorian hexatonic:''' re -- fa so la '''ti''' do re ''or'' re '''mi''' fa so la -- do re 
'''Dorian pentatonic:''' re -- fa so la -- do re 
'''Lydian full:''' fa so la '''ti''' do re '''mi''' fa 
'''Lydian hexatonic:''' fa so la -- do re '''mi''' fa ''or'' fa so la '''ti''' do re -- fa 
'''Lydian pentatonic:''' fa so la -- do re -- fa 

That is all well and good, but what happens when the mode starts with '''mi''', as it does with Phrygian, or '''ti''', as it does with Locrian? Clearly, we cannot take out the tonic notes! Instead, to get rid of the semitone intervals we have to remove '''fa''' in the case of Phrygian and '''do''' in the case of Locrian. That means that we potentially now have two pentatonic forms for each of these modes, whereas there is only one such form for the other modes. Here are the gapped scales for these two modes.
 
'''Phrygian full:''' '''mi''' fa so la '''ti''' do re '''mi''' 
'''Phrygian hexatonic:''' mi -- so la '''ti''' do re mi ''or'' '''mi''' fa so la -- do re '''mi''' 
'''Phrygian pentatonic:''' mi -- so la -- do re mi [''or'' mi -- so la ti -- re mi] 

In practice, the second form of the pentatonic Phrygian would not be used because it lacks '''do''', the note that underpins the entire tonal system, thus there is really only one form. 
'''Locrian full:''' '''ti''' do re '''mi''' fa so la '''ti''' 
'''Locrian hexatonic:''' ti -- re '''mi''' fa so la ti ''or'' '''ti''' do re -- fa so la '''ti''' 
'''Locrian pentatonic:''' [ti -- re -- fa so la ti ''or''] ti -- re mi -- so la ti 
With Locrian, however, there is no choice; '''do''' has to go, which is the reason why Locrian sounds so strange to our ears, because we have lost that underpinning note, thus the scale seems unstable. In the first pentatonic form, though, the gaps are really too close for comfort, being separated by only one note ('''re'''), so in practice the second pentatonic form would be used. 

As pointed out earlier, when considering the other modes, there are alternative interpretations of the pentatonic forms if we insert sharpened or flattened notes in the gaps. For completeness, we need to consider both pentatonic forms in each of the Phrygian and Locrian too. 

In the Phrygian first form, if we restore the '''fa''' and sharpen it ('''fi''') and restore the '''ti''', we get a transposed form of the Aeolian: mi '''fi''' so la '''ti''' do re mi, which we can see from the positions of the semitone intervals marked by the notes in bold. (Please refer to the full list above, and remember that it is the relative positions of the semitones that determine the mode). The same thing happens in the second form if we restore the '''fa''' and sharpen it ('''fi''') and restore the '''do'''. 
Alternatively, if in the first form we restore the '''fa''' without sharpening it and restore the '''ti''' and flatten it ('''ta'''), we get a transposed version of the Locrian: '''mi''' fa so '''la''' ta do re '''mi'''. 
Additionally, for the Phrygian second form, if we restore the '''fa''' and sharpen it ('''fi''') and restore the '''do''' and sharpen it ('''di'''), we get a transposed form of the Dorian: mi '''fi''' so la ti '''di''' re mi, again revealed by the semitone positions. 

In the Locrian second pentatonic form, if we restore the '''do''' and then restore the '''fa''' and sharpen it ('''fi'''), we get a transposed form of the Phrygian: '''ti''' do re mi '''fi''' so la '''ti'''. 
Alternatively, if we restore the '''do''' and sharpen it ('''di''') and restore the '''fa''' and sharpen it ('''fi'''), we get a transposed version of the Aeolian: ti '''di''' re mi '''fi''' so la ti. 

The above ambiguities mean that it can be extremely difficult if not impossible to establish exactly what the mode of a gapped scale is. 

== Scales, Modes and Key Signatures ==

There are 15 possible key signatures and, in theory, 21 possible keynotes (A, A#, Ab; B, B#, Bb; C, C#, Cb; D, D#, Db; E, E#, Eb; F, F#, Fb; G, G#, Gb).
Of the 15 x 21 =315 scales that it is possible to generate, however, 43 are either unviable or duplicates. For example, any D# key (Major, Minor or whatever) contains exactly the same note pitches as its equivalent Eb key. Here is a table of the theoretical possibilities, with the unviable and duplicate scales indicated in red text:

[[File:Tune Analysis Table 1 of 4-Full Unredacted Table of Scales and Modes.pdf]]

And here is another table with the unviable and duplicate scales edited out:

[[File:Tune_Analysis_Table_2_of_4-Table_of_Scales_and_Modes_First_Redaction.pdf]]

In addition, it is very rare for Celtic, Anglo-American and English folk songs to be notated in remote keys with more than 4 sharps or flats in them; here is a table with the remote keys edited out:

[[File:Tune_Analysis_Table_3_of_4-Table_of_Scales_and_Modes_Second_Redaction.pdf]]

With regard to Celtic, Anglo-American and English folk songs the question can be further simplified. There are practically no Locrian or Lydian scales and the Phrygian scale is rare. Furthermore most Celtic, Anglo-American and English folk songs are notated into keys with no sharps or flats in the key signature (i.e. keys such as C# minor, Bb Major, etc. are usually avoided). Here is a simplified table that is applicable to nearly all Celtic, Anglo-American and English folk songs:

[[File:Key_Signatures_of_the_Commoner_Folk_Song_Scales.JPG]]

A PDF version of the above table is available here.[[File:Tune Analysis Table 4 of 4-Key Signatures of Common Scales and Modes.pdf ]] 
 
Remember, however, that, as explained, it might not be possible to allocate a single definitive mode to gapped scales. 
 
Note that the scale or mode of a melody does not affect its pitch. This is determined by the key. For example, the keys of C Major and F Major have the same scale or mode, but F Major is 2.5 tones higher in pitch than C Major. It follows that the key signature is not relevant to the analysis of tune similarities and differences. To facilitate such analysis (for example, when investigating possible tune families of similar melodies) computer software can be used to alter the pitch of the melodies by removing the sharps and flats from their key signatures. 
 

== Summary and Conclusions ==

It is useful heuristically and analytically to follow the practice of Cecil Sharp and link gapped (hexatonic and pentatonic) scales to the full (heptatonic) scales with which they are associated. 
 
If gapped scales in Celtic, Anglo-American and English folk melodies are transposed to remove the sharps and flats from their key signatures the following is true. 
 
1. All hexatonic scales contain a semitone and are thus hemitonic. 
 
2. No pentatonic scales contain a semitone and are thus all anhemitonic. 
 
3. The hexatonic scales that can be linked to the Ionian/Major, Aeolian/Minor, Mixolydian, Dorian and Lydian heptatonic scales lack either their B notes or their E notes and the pentatonic scales lack both their B notes and their E notes. 
 
4. Hexatonic scales that can be linked to the Ionian/Major, Aeolian/Minor, Mixolydian, Dorian and Lydian heptatonic scales and that lack their E notes can be characterised as being in one possible mode; this is the same mode as the heptatonic scale created if an E natural is added to the existing six notes. 
 
5. Hexatonic scales that can be linked to the Ionian/Major, Aeolian/Minor, Mixolydian, Dorian and Lydian heptatonic scales and that lack their B notes can be characterised as being in two possible modes. This is either the same mode as the heptatonic scale created if a B natural is added to the existing six notes; or it is the same mode as the heptatonic scale created if a B flat is added to the existing six notes. 
 
6. Pentatonic scales that can be linked to the Ionian/Major, Aeolian/Minor, Mixolydian, Dorian and Lydian heptatonic scales and that lack both their B notes and their E notes can be characterised as being in three possible modes. This is either the same mode as the heptatonic scale created if a B natural and an E natural are added to the existing five notes; or it is the same mode as the heptatonic scale created if a B flat and an E natural are added to the existing five notes; or it is the same mode as the heptatonic scale created if both a B flat and an E flat are added to the existing 5 notes. 
 
7. Given the rarity of the Phrygian heptatonic scale in Celtic, Anglo-American and English folk melody it is probably appropriate to classify gapped scales that could theoretically be linked to the Phrygian heptatonic scale as linked instead to the Aeolian/Minor or Dorian heptatonic scales. 
 
8, Given the rarity of the Locrian heptatonic scales in Celtic, Anglo-American and English folk melody it is probably appropriate to classify gapped scales that could theoretically be linked to the Locrian heptatonic scale as linked instead to the Aeolian/Minor heptatonic scale. 
 
Thus gapped scales can be linked to all of the full heptatonic scales identified by Glarean, namely Ionian/Major, Aeolian/Minor, Mixolydian, Dorian, Phrygian, Lydian and Locrian. Moreover, every pentatonic scale can be theoretically linked to 3 different heptatonic scales. 
 
 

== Addendum: Percy Grainger and the Modes ==
 
In 1908 Percy Grainger wrote:
My conception of folk-scales, after a study of them in the phonograph, may be summed up as follows: that the singers from whom I recorded do not seem to me to have sung in three different and distinct modes (Mixolydian, Dorian, Aeolean), but to have rendered their modal songs in one single loosely-knit modal folk-song scale, embracing within itself the combined Mixolydian, Dorian and Aeolean characteristics. [Percy Grainger, ‘Collecting with the Phonograph’, ''Journal of the Folk Song Society'', 3 (1908), 147-242 (p. 158).]
 
Beneath this there came a reply: 
 
The Editing Committee …wish to point out that the general experience of collectors goes to show that English singers most rarely alter their mode in singing the same song. [Ibid., p. 159.] 
 
On both sides the debate was courteous and respectful, with Grainger adding that his suggestion was “put forward in all tentativeness,” and his editors praising his “most careful observations.” But the question is raised: who was correct? 
 
In 2013 Lewis Jones analysed a random sample of 103 tunes from the Butterworth MSS. [Jones, Lewis (2015) "Modal Scales in English Folk Song: An Analysis with Reference to the George Butterworth Collection," ''Proceedings of the English Folk Dance and Song Society, Folk Song Conference 2013'', pp. 157-165.] Of these 86 were purely modal (Major/Ionian, Dorian, Mixolydian or Aeolian). Of the remaining 16 tunes 13 modulated between Major/Ionian and Mixolydian. This, argued Jones, was explicable by the similarity of the two scales--they are identical except for one note (the seventh) of each scale. Of the remaining 3 tunes 2 were Aeolian with Dorian influence and 1 (for a single note) was Dorian with Mixolydian influence. 
 
Thus, on the basis of this sample, Grainger would appear to be wrong and the editors of the Folk Song Journal correct. Jones found little evidence of Grainger's "one single loosely-knit modal folk-song scale, embracing within itself the combined Mixolydian, Dorian and Aeolian characteristics." 
 
The Mixolydian, Dorian and Aeolian scales share 5 common notes, namely the first (keynote), the second, the fourth, the fifth and the seventh. The notes that vary in pitch in these three modes are the third and the sixth. 
 
One way to investigate Grainger's claim is to transpose modal heptatonic tunes to remove the sharps and flats from their key signatures. This exercise has three possible outcomes. 
 
1. Mixolydian tunes will display G as their keynote. We can then see whether any of the thirds (the Bs) are flattened. If they are the tune modulates between Mixolydian and Dorian. If, in addition, any of the sixths (the Es) are flattened, the tune modulates between Mixolydian, Dorian and Aeolian. 
 
2. Dorian tunes will display D as their keynote. We can then see whether any of the thirds (the Fs) are sharpened. If they are the tune modulates between Dorian and Mixolydian. If, in addition, any of the sixths (the Bs) are flattened, the tune modulates between Dorian, Mixolydian and Aeolian. 
 
3. Aeolian tunes will display A as their keynote. We can then see whether any of the sixths (Fs) are sharpened. If they are the tune modulates between Aeolian and Dorian. If, in addition, any of the thirds (Cs) are sharpened, the tune modulates between Aeolian, Dorian, and Mixolydian. 
 
To systematically test whether Grainger is correct we would need to investigate whether or not such tunes exist, not only in MSS collections but also in audio records that are as yet unconverted to musical notation.

Scales and Musical Modes in Celtic, Anglo-American and English Folk Songs

2021-02-07T11:16:07Z

Anahata:

This article should be studied in conjunction with the article [[Tune_Analysis: How To Dissect, Interpret and Categorize Anglo-American, Celtic and English Folk Melodies]]

== Metre ==
 
Note that a tune's metre or time signature (3/4, 4/4, 6/8 etc.) does not affect its scale or mode, but is important in determining tune similarities, tune differences, and tune families.
 
 

== Authentic and Plagal Scales ==

Celtic, Anglo-American and English folk melodies can be defined as either authentic or plagal. Tunes are divided into these two categories according to where their keynote (almost always their last note) is positioned in relation to the other notes. In an authentic scale the keynote is at the extreme end (usually but not always at the bottom end) of the scale. In contrast, plagal scales have a keynote that is positioned about half way between the lowest and highest notes in the scale. [Roud, Steve and Bishop, Julia (2012) ''The New Penguin Book of English Folk Songs'', pp. lii-liv.] Analysis is complicated, however, because, in Celtic, Anglo-American and English folk song, tunes that present as authentic may have one or more notes that dip below or, more rarely, above the keynote. Such tunes are best categorised as mainly authentic, and such notes are best described as sub-keynotes if they are below the keynote, and super-keynotes if they are above the keynote. A further complication is that the judgment as to whether a tune is mainly authentic or plagal is subjective and can be difficult to call.

Authentic and plagal scales, like metre or time signatures, have no effect on which notes comprise a scale or mode; but, again like time signatures, they are important when analysing tune families and melodic similarities and differences. 
 
 

== Major and Minor Scales ==
 
A scale or mode is major if it has a major third, that is to say if the interval between its first and its third notes is two tones (i.e. four semi-tones). Thus, the Ionian, Mixolydian and Lydian scales are major mode scales. A scale or mode is minor if it has a minor third, that is to say if the interval between its first and its third notes is one and a half tones (i.e. three semitones). Thus, the Dorian, Aeolian, Phrygian and Locrian scales are minor mode scales.
 
 
== Modern Scales and Traditional Modal Scales ==
 
There are three scales commonly used in modern popular and art music: the major scale, the harmonic minor scale, and the melodic minor scale. In their ascent all three of these scales have a semitone at the top of their scale as their seventh interval. In their descent the major scale and the harmonic minor scale retain this semitone as their seventh interval; however, the descending melodic minor scale is identical to the descending Aeolian or natural minor scale and has a tone as its seventh interval.

There are four scales commonly used in Celtic, Anglo-American and English folk songs: the major scale (also known as the Ionian scale), the Mixolydian scale, the Dorian scale and the Aeolian (also known as the natural minor) scale. Three of these four scales, namely the Mixolydian, the Dorian and the Aeolian or natural minor scale, have a tone as their seventh interval.

With the development of modern harmony around the early seventeenth century the Mixolydian, Dorian and Aeolian scales fell into decline in popular and, more especially, in sophisticated art music since their whole tone or flattened sevenths were not well suited to harmonisation. As Cecil Sharp and other early collectors noted, however, many of the unaccompanied traditional folk songs that they harvested were in the old modal scales of Mixolydian, Dorian and Aeolian.
 
 

== Full Scales and Gapped Scales ==
 
When analysing a folk melody we need to ascertain the number of notes in the scale. A full scale is heptatonic, or, in plain English, it has seven notes. A gapped scale has fewer than seven notes. If the scale is hexatonic it has six notes. If the scale is pentatonic it has five notes. When determining the number of notes in a scale count two notes that are an octave apart as one note. For example if a tune has notes at 6 different pitches, but two of the notes are an octave apart, for example, one is C (C) and another is upper C (C'), it has a pentatonic scale or mode. 

== Full Heptatonic Scales ==

Heptatonic scales can be defined in accordance with the classification system of Glarean, who refers to them as modes. 
 
Heinrich Glarean (in Latin Henricus Glareanus) was born in 1488 and died in 1563. His most famous work, the Dodecachordon, was published in Basle, Switzerland, in 1547 and it established him as a famous and influential musical theorist. [''The Dodecachordon'' (in Latin) and other works by Glarean are available from the International Music Score Library Project at http://imslp.org/wiki/Category:Glareanus,_Henricus] The following is partly based on Glarean’s ideas. 
 
In an octave of music there are twelve notes, separated by semitone intervals. These, marked off by commas, are: 
 
A, A# (or Bb), B, C, C# (or Db), D, D# (or Eb), E, F, F# (or Gb), G, G# (or Ab). 
 
Some avant-garde composers in the twentieth century, notably the Austro-American Arnold Schoenberg (1874-1951) developed a so-called chromatic scale that included all 12 of these notes. Most composers, however, employ scales of 8 notes, although they may sometimes modulate to a different key without changing the key signature, or add accidental sharps, flats and naturals to give a pleasing or interesting sound or dissonance. In classical music there are three main scales: the major, the melodic minor and the harmonic minor. In Celtic, Anglo-American and English folk melodies the melodic and harmonic minors are not usually used, but the major, as will be seen, is common. 
 
It was Heinrich Glarean who gave to the seven heptatonic scales the names of Ionian, Aeolian, Mixolydian, Dorian, Phrygian, Lydian and Locrian modes. He believed that this was what they were called in the ancient world. He was quite wrong in this belief, but his nomenclature has nevertheless been retained. 
It should be noted that each of Glarean's seven heptatonic scales is diatonic; that is to say that it is a heptatonic or seven note scale with its notes separated by five whole tones (or, in the usage in the USA, whole steps) and two semitones (or, in the US usage, half steps) in each octave. The seven notes C-D-E-F-G-A-B are known as natural notes and they can be played on the white notes of a keyboard. A sequence starting with any one of these seven notes and ending an octave higher on the same note that began the sequence generates a seven note diatonic scale. In all seven of these scales the two semitones are separated from each other by either two whole tones (four semitones) or three whole tones (six semitones). The most important note in a diatonic scale is the keynote or tonic, and the second most important note is the fifth note or dominant. Thus, in the key of C major, C is the most important note and G is the second most important. 
 
The four modes or scales most usually encountered in Celtic, Anglo-American and English folk song are as follows: 
 
 
'''1. Ionian/Major Heptatonic Scale''' 
 
The Ionian mode, which is identical to the Major scale, was, according to Glarean, the one most frequently used by composers in his day. It has also been the most common scale among classical composers. In his analysis in "English Folk Songs from the Southern Appalachians", Cecil Sharp characterises this scale as Mode 1a+b Heptatonic. 
 
The notes of the C Ionian or C Major scale are C, D, E, F, G, A, B, C’ and you get them by playing upwards from C to C’ on the white notes of a piano, or if, in tonic solfa, you sing the familiar scale of “do, re, mi, fa, so, la, ti, do”. Note the distribution of tone and semitone intervals in this scale: 
 
C-(TONE)-D-(TONE)-E-(SEMITONE)-F-(TONE)-G-(TONE)-A-(TONE)-B-(SEMITONE)-C’ 
 
The above is known as the C Ionian mode because the starting note is C. However, the critical point about any mode is that it always has its semitone intervals in the same place. Indeed, every mode is defined by the position of its semitone intervals. So if, for example, we want to sing the Ionian mode but start on the note of G, we still sing "do re mi..." as before, but start on the G note. However, when we play just up the white keys of a piano we get: 
 
G-(TONE)-A-(TONE)-B-(SEMITONE)-C-(TONE)-D-(TONE)-E-(SEMITONE)-F-(TONE)-G’ 
 
...and of course that is wrong, as can be seen by comparison with the previous example, because the second semitone is now in the wrong place. To fix this, we have to use F# (a black key on the piano) instead of F, which gives us the desired result: 
 
G-(TONE)-A-(TONE)-B-(SEMITONE)-C-(TONE)-D-(TONE)-E-(TONE)-F#-(SEMITONE)-G’ 
 
This is called the G Ionian mode, or G Major scale. In fact, we can sing the Ionian mode (or indeed any mode) starting on any note we like. Our starting note is called the key, or tonic. The system of singing "do, re, mi.." is called solfa, thus the system of singing a consistent "do, re, mi..." starting on any tonic is called '''tonic solfa'''. It is ''not'' the same as the alternative fixed-do system called '''solfège''', which does not concern us here. Tonic solfa is very useful when considering modes, and since the positions of the two semitone intervals are critical to identifying the mode, it is worth noting that they always (and only) occur after the -i words, shown emphasised here: "do, re, '''mi''', fa, so, la, '''ti''', do". 
 
 
'''2. Aeolian/Minor Heptatonic Scale''' 
 
The Aeolian mode is similar to the modern minor scales in their melodic and harmonic forms but without the accidentals that sharpen, naturalise or flatten some of the notes of those scales. Sharp characterises this scale as Mode 5a+b Heptatonic. The notes of the Aeolian mode in tonic solfa are sung as “la, '''ti''', do, re, '''mi''', fa, so, la”. The A Aeolian notes are A, B, C, D, E, F, G, A’, and you get this scale on a piano when you play upwards from A to A’ on the white keys. Note the distribution of the tone and semitone intervals in this scale: 
 
A-(TONE)-B-(SEMITONE)-C-(TONE)-D-(TONE)-E-(SEMITONE)-F-(TONE)-G-(TONE)-A’ 
 
 
'''3. Mixolydian Heptatonic Scale''' 
 
Sharp characterises the Mixolydian mode as Mode 4a+b Heptatonic. The notes of the Mixolydian mode in tonic solfa are sung as “so, la, '''ti''', do, re, '''mi''', fa, so”. The G Mixolydian notes are G, A, B, C, D, E, F, G’, and you get this scale on a piano when you play upwards from G to G’ on the white keys. Again, note the distribution of the tone and semitone intervals in this scale: 
 
G-(TONE)-A-(TONE)-B-(SEMITONE)-C-(TONE)-D-(TONE)-E-(SEMITONE)-F-(TONE)-G’ 
 
The Mixolydian mode differs in but one note from the Ionian: the seventh note is flattened to make the final interval of the scale a tone instead of a semitone, and the one before it a semitone instead of a tone. 
 
 
'''4. Dorian Heptatonic Scale''' 
 
Sharp characterises the Dorian mode as Mode 2a+b Heptatonic. The notes of the Dorian mode in tonic solfa are sung as “re, '''mi''', fa, so, la, '''ti''', do, re”. The D Dorian notes are D, E, F, G, A, B, C, D’ and you get this scale on a piano when you play upwards from D to D’ on the white keys. Once more, note the distribution of the tone and semitone intervals in this scale: 
 
D-(TONE)-E-(SEMI-TONE)-F-(TONE)-G-(TONE)-A-(TONE)-B-(SEMI-TONE)-C-(TONE)-D’ 
 
 
'''Other Scales''' 
 
There are three other modal scales. One is the '''Phrygian''' mode. Sharp characterises this scale as Mode 5a+b Heptatonic. Its notes in tonic solfa are “'''mi''', fa, so, la, '''ti''', do, re, '''mi'''”. The E Phrygian notes are E, F, G, A, B, C, D, E’ and you get this scale on a piano when you play upwards from E to E’ on the white keys. Here is the distribution of the tone and semitone intervals: 
 
E-(SEMITONE)-F-(TONE)-G-(TONE)-A-(TONE)-B-(SEMITONE)-C-(TONE)-D-(TONE)-E' 
 
Another is the '''Lydian''' mode. Sharp characterises this scale as Mode 3a+b Heptatonic. Its notes in tonic solfa are “fa, so, la, '''ti''', do, re, '''mi''', fa”. The F Lydian notes are F, G, A, B, C, D, E, F’ and you get this scale on a piano when you play upwards from F to F’ on the white keys. Here is the distribution of the tone and semitone intervals: 
 
F-(TONE)-G-(TONE)-A-(TONE)-B-(SEMITONE)-C-(TONE)-D-(TONE)-E-(SEMITONE)-F' 
 
Finally there is the '''Locrian''' mode. Its notes in tonic solfa are “'''ti''', do, re, '''mi''', fa, so, la, '''ti'''”. The B Locrian notes are B, C, D, E, F, G, A, B’ and you get this scale on a piano when you play upwards from B to B’ on the white keys. Here is the distribution of the tone and semitone intervals: 
 
B-(SEMITONE)-C-(TONE)-D-(TONE)-E-(SEMITONE)-F-(TONE)-G-(TONE)-A-(TONE)-B' 
 
The Phrygian mode is rarely encountered in Celtic, Anglo-American and English folk song (though common in Iberian folk music, for example), however, and the full Lydian and Locrian modes scarcely appear at all. 
 

== Gapped Hexatonic and Pentatonic Scales ==

In 1911 the ''Folk Song Journal'' published a collection of Celtic folk melodies. Anne G. Gilchrist assigned each tune to its respective scale or mode and wrote a note to explain how and why she had done this.[Gilchrist, Annie G., "Note on the Modal System of Gaelic Tunes," ''Journal of the Folk-Song Society'', Vol. 4, No. 16 (Dec., 1911), pp. 150-153.] Immediately after this note was a gloss from Lucy Broadwood. [Broadwood, Lucy E., "Additional Note on the Gaelic Scale System," ''Journal of the Folk-Song Society'', Vol. 4, No. 16 (Dec., 1911), pp. 154-156.] Both Gilchrist's note and Broadwood's gloss dealt with the question of gapped scales. 
 
Cecil Sharp dedicated two chapters of ''English Folk Song: Some Conclusions'' (1907) to a study of the various scales in which English folk songs have come down to us. These are Chapter 5, “The Modes,” and Chapter 6, “English Folk-Scales,” and the topic is also treated elsewhere in that book. Then, in his Introduction to English Folk Songs from the Southern Appalachians (1917) Sharp includes a section entitled “Scales and Modes.” [Campbell, Olive Dame and Sharp, Cecil J. (1917) ''English Folk Songs from the Southern Appalachians'', pp. xv-xviii.] This begins: 
 
Very nearly all these Appalachian tunes are cast in “gapped” scales, that is to say, scales containing only five, or sometimes six, notes to the octave, instead of the seven with which we are familiar, a “hiatus” or “gap” occurring where a note is omitted. 
 
Sharp then goes on to discuss the prevalence of pentatonic and hexatonic scales in Appalachian music at that time, drawing parallels with Scottish and Irish tunes, and invoking the aid of Gilchrist’s “very clear exposition of this matter” in her note of 1911. He also, most helpfully for later scholars, categorises the musical scale of every tune in the book in accordance with his modified version of Gilchrist’s criteria, as Pentatonic (5 note), Hexatonic (6 note), and Heptatonic (7 note). 
 
It is a useful heuristic and analytical exercise to do as Sharp does. Firstly, to simplify and clarify his analysis he assumes that tunes have been transposed to eliminate the sharps and flats from their key signatures. Secondly, he links gapped scales to their corresponding full scales. If we follow Sharp's method, therefore, we should not consider hexatonic and pentatonic tunes to be in separate hexatonic and pentatonic scales. Instead we should look at them as modal melodies--Ionian/Major, Aeolian, Dorian, Mixolydian, Lydian (a mode included by Sharp despite its rarity as a full scale) and (very occasionally occurring) Phrygian--in which the singers and performers have eschewed one or two of the notes that were theoretically available to them.
This then poses the problematic question as to which notes the singers would have sung if they had used the full seven note scale. Sometimes, as will be seen, this can be deduced, but sometimes it cannot. In some cases we have to make guesses as to what the missing notes would have been. Sometimes we can never definitively know, and this uncertainty, as will be seen, leads to a number of conclusions. 
 
Gapped hexatonic scales in Celtic, Anglo-American and English folk song are all '''hemitonic''' or, in other words, they contain a semitone. All gapped pentatonic scales, however, are '''anhemitonic'''--i.e. they contain no semitones. 
 
 
'''1. Ionian/Major Hexatonic and Pentatonic Scales''' 
 
''1.1 Ionian Hexatonic Scale (Type 1a)''. This is the Ionian/Major Heptatonic scale with the 3rd (E) note missing. Sharp characterises this scale as 1a Hexatonic. 
 
C-(TONE)-D-(TONE)-E [missing]-(SEMITONE)-F-(TONE)-G-(TONE)-A-(TONE)-B-(SEMITONE)-C’ 
 
Thus the notes of the scale are: 
 
C-(TONE)-D-(1.5 TONES)-F-(TONE)-G-(TONE)-A-(TONE)-B-(SEMITONE)-C’ 
 
If a tune transposes to what seems to be C Ionian/C Major but is hexatonic and has no Es there is only one possibility. If the Es were natural, the tune would be C Ionian/C Major. If the Es were flattened the scale would be unviable. The tune must therefore be C Ionian/C Major with a missing 3rd. 
 
''1.2 Ionian Hexatonic Scale (Type 1b)''. This is the Ionian/Major Heptatonic scale with the 7th (B) note missing. Sharp characterises this scale as 1b Hexatonic. 
 
C-(TONE)-D-(TONE)-E-(SEMITONE)-F-(TONE)-G-(TONE)-A-(TONE)-B [missing]-(SEMITONE)-C’ 
 
Thus the notes of the scale are: 
 
C-(TONE)-D-(TONE)-E-(SEMITONE)-F-(TONE)-G-(TONE)-A-(1.5 TONES)-C' 
 
If a tune transposes to what seems to be C Ionian/C Major but is hexatonic and has no Bs in it there are two possibilities. If the Bs were natural, the scale would be C Ionian/C Major. If the Bs were flattened the scale would be C Mixolydian. The tune must therefore be either C Ionian/C Major or C Mixolydian with a missing 7th. 
 
''1.3 Ionian Pentatonic Scale''. This is the Ionian/Major Heptatonic scale with the 3rd (E) and 7th (B) notes missing. Sharp characterises this scale as 1 Pentatonic. 
 
C-(TONE)-D-(TONE)-E [missing]-(SEMITONE)-F-(TONE)-G-(TONE)-A-(TONE)-B [missing]-(SEMITONE)-C’ 
 
Thus the notes of the scale are: 
 
C-(TONE)-D-(1.5 TONES)-F-(TONE)-G-(TONE)-A-(1.5 TONES)-C’ 
 
If a tune transposes to what seems to be C Ionian/C Major but is pentatonic and has no Bs and also no Es in it there are three possibilities. Firstly, if they had been there, the B and the E might both have been natural to produce a C Ionian/C Major scale. Secondly, the B might have been flattened to produce a C Mixolydian tune. Thirdly, both the B and the E might have been flattened to produce a C Dorian tune. 
 
 
'''2. Aeolian/Minor Hexatonic and Pentatonic Scales''' 
 
''2.1 Aeolian Hexatonic Scale (Type 5b).'' 
 
This is the Aeolian/Minor Heptatonic scale with the 5th (E) note missing. Sharp characterises this scale as 5b Hexatonic. 
 
A-(TONE)-B-(SEMITONE)-C-(TONE)-D-(TONE)-E [missing]-(SEMITONE)-F-(TONE)-G-(TONE)-A' 
 
Thus the notes of the scale are: 
 
A-(TONE)-B-(SEMITONE)-C-(TONE)-D-(1.5 TONES)-F-(TONE)-G-(TONE)-A 
 
If a tune transposes to what seems to be A Aeolian/A Minor but has no Es in it there is only one possibility. If the Es were natural the scale would be A Aeolian/A Minor. If the Es were flattened the scale would not be viable. This hexatonic scale can thus be accurately categorised as an A Aeolian/Minor scale with the fifth (E) notes missing. 
 
''2.2 Aeolian Hexatonic Scale (Type 5a).'' 
 
This is the Aeolian/Minor Heptatonic scale with the 2nd (B) note missing. Sharp characterises this scale as 5a Hexatonic. 
 
A-(TONE)-B [missing]-(SEMITONE)-C-(TONE)-D-(TONE)-E-(SEMITONE)-F-(TONE)-G-(TONE)-A 
 
Thus the notes of the scale are: 
 
A-(1.5 TONES)-C-(TONE)-D-(TONE)-E-(SEMITONE)-F-(TONE)-G-(TONE)-A 
 
If a tune transposes to what seems to be A Aeolian/A Minor but has no Bs there are two possibilities. If the Bs were natural the scale would have been A Aeolian/A Minor. If the Bs were flattened the scale would have been A Phrygian. 
 
''2.3 Aeolian Pentatonic Scale (Type 5).'' 
 
This is the Aeolian/Minor Heptatonic scale with the 2nd (B) and 5th (E) notes missing. Sharp characterises this scale as 5 Pentatonic. 
 
A-(TONE)-B [missing]-(SEMITONE)-C-(TONE)-D-(TONE)-E [missing]-(SEMITONE)-F-(TONE)-G-(TONE)-A’ 
 
Thus the notes of the scale are: 
 
A-(1.5 TONES)-C-(TONE)-D-(1.5 TONES)-F-(TONE)-G-(TONE)-A’ 
 
If a tune transposes to what seems to be A Aeolian/A Minor but has no Bs and Es in it there are three possibilities. If the Es and the Bs were both natural the scale would be A Aeolian/A Minor. If the Bs were flattened and the Es were natural the scale would be A Phrygian. If both the Bs and the Es were flattened the scale would be A Locrian. 
 
 
'''3. Mixolydian Hexatonic and Pentatonic Scales''' 
 
''3.1 Mixolydian Hexatonic Scale (Type 4b).'' 
 
This is the Mixolydian Heptatonic scale with the 6th (E) notes missing. Sharp characterises this scale as Mode 4b. 
 
G-(TONE)-A-(TONE)-B-(SEMITONE)-C-(TONE)-D-(TONE)-E [missing]-(SEMITONE)-F-(TONE)-G’ 
 
Thus the notes of the scale are:
 
G-(TONE)-A-(TONE)-B-(SEMITONE)-C-(TONE)-D-(1.5 TONES)-(SEMITONE)-F-(TONE)-G’ 
 
If a tune transposes to what seems to be G Mixolydian but has no Es in it, there is only one possibility. If the Es were natural the scale would be G Mixolydian. If the Es were flattened the scale would not be viable. This hexatonic scale can thus be accurately categorised as a G Mixolydian scale with the sixth (E) note missing. 
 
''3.2 Mixolydian Hexatonic Scale (Type 4a).'' 
 
This is the Mixolydian Heptatonic scale with the 3rd (B) notes missing. Sharp characterises this scale as Mode 4a. 
 
G-(TONE)-A-(TONE)-B [missing]-(SEMITONE)-C-(TONE)-D-(TONE)-E-(SEMITONE)-F-(TONE)-G’ 
 
Thus the notes of the scale are: 
 
G-(TONE)-A-(!.5 TONES)-C-(TONE)-D-(TONE)-E-(SEMITONE)-F-(TONE)-G’ 
 
If a tune transposes to what seems to be G Mixolydian but has no Bs in it there are two possibilities. If the Bs were natural the scale would be G Mixolydian. If the Bs were flattened the scale would be G Dorian. 
 
''3.3 Mixolydian Pentatonic Scale (Type 4).'' 
 
This is the Mixolydian Heptatonic scale with the 3rd (B) and 6th (E) notes missing. Sharp characterises this scale as Mode 4. 
 
G-(TONE)-A-(TONE)-B [missing]-(SEMITONE)-C-(TONE)-D-(TONE)-E [missing]-(SEMI-TONE)-F-(TONE)-G’ 
 
Thus the notes of the scale are: 
 
G-(TONE)-A-(1.5 TONES)-C-(TONE)-D-(1.5 TONES)-F-(TONE)-G’ 
 
If a tune transposes to what seems to be G Mixolydian but has no Bs and no Es in it there are three possibilities.. If the Bs and the Es were both natural the scale would be G Mixolydian. If the Bs were flattened and the Es were natural the scale would be G Dorian. If both the Bs ad the Es were flattened the scale would be G Aeolian. 
 
 
'''4. Dorian Hexatonic and Pentatonic Scales''' 
 
''4.1 Dorian Hexatonic Scale (Type 2a).'' 
 
This is the Dorian Heptatonic scale with the 2nd (E) notes missing. Sharp characterises this scale as Mode 2a. 
 
D-(TONE)-E [missing]-(SEMITONE)-F-(TONE)-G-(TONE)-A-(TONE)-B-(SEMITONE)-C-(TONE)-D’ 
 
Thus the notes of the scale are: 
 
D-(1.5 TONES)-F-(TONE)-G-(TONE)-A-(TONE)-B-(SEMITONE)-C-(TONE)-D’ 
 
If a tune transposes to what seems to be D Dorian, but has no Es in it there is only one possibility. If the Es were natural the scale would be D Dorian. If the Es were flattened the scale would not be viable. This hexatonic scale can thus be accurately categorised as a D Dorian scale with the sixth (E) notes missing. 
 
''4.2 Dorian Hexatonic Scale (Type 2b).'' 
 
This is the Dorian Heptatonic scale with the 6th (B) notes missing. Sharp characterises this scale as Mode 2b. 
 
D-(TONE)-E-(SEMITONE)-F-(TONE)-G-(TONE)-A-(TONE)-B [missing]-(SEMITONE)-C-(TONE)-D’ 
 
Thus the notes of the scale are: 
 
D-(TONE)-E-(SEMITONE)-F-(TONE)-G-(TONE)-A-(1.5 TONES)-C-(TONE)-D’ 
 
If a tune transposes to what seems to be D Dorian, but has no Bs in it there are two possibilities. If the Bs were natural the scale would be D Dorian. If the Bs were flattened the scale would be D Aeolian. 
 
''4.3 Dorian Pentatonic Scale (Type 2).'' 
 
This is the Dorian Heptatonic scale with the 2nd (E) and 6th (B) notes missing. Sharp characterises this scale as Mode 2. 
 
D-(TONE)-E [missing]-(SEMITONE)-F-(TONE)-G-(TONE)-A-(TONE)-B [missing]-(SEMITONE)-C-(TONE)-D’ 
 
Thus the notes of the scale are: 
 
D-(1.5 TONES)-F-(TONE)-G-(TONE)-A-(1.5 TONES)-C-(TONE)-D’ 
 
If a tune transposes to what seems to be D Dorian, but has no Es and no Bs in it there are three possibilities. If the Es and the Bs were both natural the scale would be D Dorian. If the Es were natural and the Bs were flattened the scale would be D Aeolian. If both the Es ad the Bs were flattened the scale would have been D Phrygian. 
 
 
'''5. Lydian Hexatonic and Pentatonic Scales''' 
 
Despite the rarity of Lydian heptatonic scales in Celtic, Anglo-American and English folk melodies, Sharp includes the Lydian heptatonic scale, together with the hexatonic and pentatonic scales that are derived from it, in his listing of tune scales found in Appalachian music, designating them as "Mode 3." 
 
''5.1 Lydian Hexatonic Scale (Type 3b).'' 
 
This is the Lydian Heptatonic scale with the 7th (E) notes missing. Sharp characterises this scale as Mode 3b. 
 
F-(TONE)-G-(TONE)-A-(TONE)-B-(SEMITONE)-C-(TONE)-D-(TONE)-E [missing]-(SEMITONE)-F' 
 
Thus the notes of the scale are: 
 
F-(TONE)-G-(TONE)-A-(TONE)-B-(SEMITONE)-C-(TONE)-D-(1.5 TONES)-F' 
 
Note that this scale contains a semitone, or, in other words, it is hemitonic. 
 
If a tune transposes to what seems to be F Lydian but has no Es in it there is only one possibility. If the Es were natural the scale would be F Lydian. If the Es were flattened the scale would be unviable. This hexatonic scale can thus be accurately categorised as an F Lydian scale with the 7th (E) notes missing. 
 
''5.2 Lydian Hexatonic Scale (Type 3a).'' 
 
This is the Lydian Heptatonic scale with the 4th (B) notes missing. Sharp characterises this scale as Mode 3a. 
 
F-(TONE)-G-(TONE)-A-(TONE)-B [missing]-(SEMITONE)-C-(TONE)-D-(TONE)-E-(SEMITONE)-F' 
 
Thus the notes of the scale are: 
 
F-(TONE)-G-(TONE)-A-(1.5 TONES)-C-(TONE)-D-(TONE)-E-(SEMITONE)-F' 
 
If a tune transposes to what seems to be F Lydian but has no Bs in it there are two possibilities. If the Bs were natural the scale would be F Lydian. If the Bs were flattened the scale would be F Ionian/F Major. 
 
''5.3 Lydian Pentatonic Scale (Type 3).'' 
 
This is the Lydian Heptatonic scale with the 4th (B) and the 7th (E) notes missing. Sharp characterises this scale as Mode 3. 
 
F-(TONE)-G-(TONE)-A-(TONE)-B [missing]-(SEMITONE) C-(TONE)-D-(TONE)-E [missing]-(SEMITONE)-F' 
 
Thus the notes of the scale are: 
 
F-(TONE)-G-(TONE)-A-(1.5 TONES)-C-(TONE)-D-(1.5 TONES)-F' 
 
If a tune transposes to what seems to be F Lydian, but has no Bs and no Es in it there are three possibilities. If the Bs and the Es were both natural the scale would be F Lydian. If the Bs were flattened and the Es were natural the scale would be F Ionian/F Major. If both the Bs and the Es were flattened the scale would be F Mixolydian. 
 
 
'''6. Phrygian and Locrian Gapped Scales''' 
 
Sharp makes little or no mention of these, presumably since he did not encounter them in the Appalachians, but also perhaps because they do not fit neatly into his system. Certainly Phrygian and Locrian heptatonic scales are very rare in Celtic, Anglo-American and English folk melody. However, for the sake of completeness, and since the classification of pentatonic tunes in particular is problematic, clarification is needed. Essentially, the difficulty is caused by the elimination of semitone intervals. We can see this most clearly by looking again at the gapped scales, but this time in tonic solfa. Sharp's system essentially takes out '''mi''' ''or'' '''ti''' for the hexatonic forms, and '''mi''' ''and'' '''ti''' for the pentatonic forms, as shown below: 
'''Ionian full:''' do re '''mi''' fa so la '''ti''' do 
'''Ionian hexatonic:''' do re -- fa so la '''ti''' do ''or'' do re '''mi''' fa so la -- do 
'''Ionian pentatonic:''' do re -- fa so la -- do 
'''Aeolian full:''' la '''ti''' do re '''mi''' fa so la 
'''Aeolian hexatonic:''' la -- do re '''mi''' fa so la ''or'' la '''ti''' do re -- fa so la 
'''Aeolian pentatonic:''' la -- do re -- fa so la 
'''Mixolydian full:''' so la '''ti''' do re '''mi''' fa so 
'''Mixolydian hexatonic:''' so la -- do re '''mi''' fa so ''or'' so la '''ti''' do re -- fa so 
'''Mixolydian pentatonic:''' so la -- do re -- fa so 
'''Dorian full:''' re '''mi''' fa so la '''ti''' do re 
'''Dorian hexatonic:''' re -- fa so la '''ti''' do re ''or'' re '''mi''' fa so la -- do re 
'''Dorian pentatonic:''' re -- fa so la -- do re 
'''Lydian full:''' fa so la '''ti''' do re '''mi''' fa 
'''Lydian hexatonic:''' fa so la -- do re '''mi''' fa ''or'' fa so la '''ti''' do re -- fa 
'''Lydian pentatonic:''' fa so la -- do re -- fa 

That is all well and good, but what happens when the mode starts with '''mi''', as it does with Phrygian, or '''ti''', as it does with Locrian? Clearly, we cannot take out the tonic notes! Instead, to get rid of the semitone intervals we have to remove '''fa''' in the case of Phrygian and '''do''' in the case of Locrian. That means that we potentially now have two pentatonic forms for each of these modes, whereas there is only one such form for the other modes. Here are the gapped scales for these two modes.
 
'''Phrygian full:''' '''mi''' fa so la '''ti''' do re '''mi''' 
'''Phrygian hexatonic:''' mi -- so la '''ti''' do re mi ''or'' '''mi''' fa so la -- do re '''mi''' 
'''Phrygian pentatonic:''' mi -- so la -- do re mi [''or'' mi -- so la ti -- re mi] 

In practice, the second form of the pentatonic Phrygian would not be used because it lacks '''do''', the note that underpins the entire tonal system, thus there is really only one form. 
'''Locrian full:''' '''ti''' do re '''mi''' fa so la '''ti''' 
'''Locrian hexatonic:''' ti -- re '''mi''' fa so la ti ''or'' '''ti''' do re -- fa so la '''ti''' 
'''Locrian pentatonic:''' [ti -- re -- fa so la ti ''or''] ti -- re mi -- so la ti 
With Locrian, however, there is no choice; '''do''' has to go, which is the reason why Locrian sounds so strange to our ears, because we have lost that underpinning note, thus the scale seems unstable. In the first pentatonic form, though, the gaps are really too close for comfort, being separated by only one note ('''re'''), so in practice the second pentatonic form would be used. 

As pointed out earlier, when considering the other modes, there are alternative interpretations of the pentatonic forms if we insert sharpened or flattened notes in the gaps. For completeness, we need to consider both pentatonic forms in each of the Phrygian and Locrian too. 

In the Phrygian first form, if we restore the '''fa''' and sharpen it ('''fi''') and restore the '''ti''', we get a transposed form of the Aeolian: mi '''fi''' so la '''ti''' do re mi, which we can see from the positions of the semitone intervals marked by the notes in bold. (Please refer to the full list above, and remember that it is the relative positions of the semitones that determine the mode). The same thing happens in the second form if we restore the '''fa''' and sharpen it ('''fi''') and restore the '''do'''. 
Alternatively, if in the first form we restore the '''fa''' without sharpening it and restore the '''ti''' and flatten it ('''ta'''), we get a transposed version of the Locrian: '''mi''' fa so '''la''' ta do re '''mi'''. 
Additionally, for the Phrygian second form, if we restore the '''fa''' and sharpen it ('''fi''') and restore the '''do''' and sharpen it ('''di'''), we get a transposed form of the Dorian: mi '''fi''' so la ti '''di''' re mi, again revealed by the semitone positions. 

In the Locrian second pentatonic form, if we restore the '''do''' and then restore the '''fa''' and sharpen it ('''fi'''), we get a transposed form of the Phrygian: '''ti''' do re mi '''fi''' so la '''ti'''. 
Alternatively, if we restore the '''do''' and sharpen it ('''di''') and restore the '''fa''' and sharpen it ('''fi'''), we get a transposed version of the Aeolian: ti '''di''' re mi '''fi''' so la ti. 

The above ambiguities mean that it can be extremely difficult if not impossible to establish exactly what the mode of a gapped scale is. 

== Scales, Modes and Key Signatures ==

There are 15 possible key signatures and, in theory, 21 possible keynotes (A, A#, Ab; B, B#, Bb; C, C#, Cb; D, D#, Db; E, E#, Eb; F, F#, Fb; G, G#, Gb).
Of the 15 x 21 =315 scales that it is possible to generate, however, 43 are either unviable or duplicates. For example, any D# key (Major, Minor or whatever) contains exactly the same note pitches as its equivalent Eb key. Here is a table of the theoretical possibilities, with the unviable and duplicate scales indicated in red text:

[[File:Tune Analysis Table 1 of 4-Full Unredacted Table of Scales and Modes.pdf]]

And here is another table with the unviable and duplicate scales edited out:

[[File:Tune_Analysis_Table_2_of_4-Table_of_Scales_and_Modes_First_Redaction.pdf]]

In addition, it is very rare for Celtic, Anglo-American and English folk songs to be notated in remote keys with more than 4 sharps or flats in them; here is a table with the remote keys edited out:

[[File:Tune_Analysis_Table_3_of_4-Table_of_Scales_and_Modes_Second_Redaction.pdf]]

With regard to Celtic, Anglo-American and English folk songs the question can be further simplified. There are practically no Locrian or Lydian scales and the Phrygian scale is rare. Furthermore most Celtic, Anglo-American and English folk songs are notated into keys with no sharps or flats in the key signature (i.e. keys such as C# minor, Bb Major, etc. are usually avoided). Here is a simplified table that is applicable to nearly all Celtic, Anglo-American and English folk songs:

[[File:Key_Signatures_of_the_Commoner_Folk_Song_Scales.JPG]]

A PDF version of the above table is available here.[[File:Tune Analysis Table 4 of 4-Key Signatures of Common Scales and Modes.pdf ]] 
 
Remember, however, that, as explained, it might not be possible to allocate a single definitive mode to gapped scales. 
 
Note that the scale or mode of a melody does not affect its pitch. This is determined by the key. For example, the keys of C Major and F Major have the same scale or mode, but F Major is 2.5 tones higher in pitch than C Major. It follows that the key signature is not relevant to the analysis of tune similarities and differences. To facilitate such analysis (for example, when investigating possible tune families of similar melodies) computer software can be used to alter the pitch of the melodies by removing the sharps and flats from their key signatures. 
 

== Summary and Conclusions ==

It is useful heuristically and analytically to follow the practice of Cecil Sharp and link gapped (hexatonic and pentatonic) scales to the full (heptatonic) scales with which they are associated. 
 
If gapped scales in Celtic, Anglo-American and English folk melodies are transposed to remove the sharps and flats from their key signatures the following is true. 
 
1. All hexatonic scales contain a semitone and are thus hemitonic. 
 
2. No pentatonic scales contain a semitone and are thus all anhemitonic. 
 
3. The hexatonic scales that can be linked to the Ionian/Major, Aeolian/Minor, Mixolydian, Dorian and Lydian heptatonic scales lack either their B notes or their E notes and the pentatonic scales lack both their B notes and their E notes. 
 
4. Hexatonic scales that can be linked to the Ionian/Major, Aeolian/Minor, Mixolydian, Dorian and Lydian heptatonic scales and that lack their E notes can be characterised as being in one possible mode; this is the same mode as the heptatonic scale created if an E natural is added to the existing six notes. 
 
5. Hexatonic scales that can be linked to the Ionian/Major, Aeolian/Minor, Mixolydian, Dorian and Lydian heptatonic scales and that lack their B notes can be characterised as being in two possible modes. This is either the same mode as the heptatonic scale created if a B natural is added to the existing six notes; or it is the same mode as the heptatonic scale created if a B flat is added to the existing six notes. 
 
6. Pentatonic scales that can be linked to the Ionian/Major, Aeolian/Minor, Mixolydian, Dorian and Lydian heptatonic scales and that lack both their B notes and their E notes can be characterised as being in three possible modes. This is either the same mode as the heptatonic scale created if a B natural and an E natural are added to the existing five notes; or it is the same mode as the heptatonic scale created if a B flat and an E natural are added to the existing five notes; or it is the same mode as the heptatonic scale created if both a B flat and an E flat are added to the existing 5 notes. 
 
7. Given the rarity of the Phrygian heptatonic scale in Celtic, Anglo-American and English folk melody it is probably appropriate to classify gapped scales that could theoretically be linked to the Phrygian heptatonic scale as linked instead to the Aeolian/Minor or Dorian heptatonic scales. 
 
8, Given the rarity of the Locrian heptatonic scales in Celtic, Anglo-American and English folk melody it is probably appropriate to classify gapped scales that could theoretically be linked to the Locrian heptatonic scale as linked instead to the Aeolian/Minor heptatonic scale. 
 
Thus gapped scales can be linked to all of the full heptatonic scales identified by Glarean, namely Ionian/Major, Aeolian/Minor, Mixolydian, Dorian, Phrygian, Lydian and Locrian. Moreover, every pentatonic scale can be theoretically linked to 3 different heptatonic scales. 
 
 

== Addendum: Percy Grainger and the Modes ==
 
In 1908 Percy Grainger wrote:
My conception of folk-scales, after a study of them in the phonograph, may be summed up as follows: that the singers from whom I recorded do not seem to me to have sung in three different and distinct modes (Mixolydian, Dorian, Aeolean), but to have rendered their modal songs in one single loosely-knit modal folk-song scale, embracing within itself the combined Mixolydian, Dorian and Aeolean characteristics. [Percy Grainger, ‘Collecting with the Phonograph’, ''Journal of the Folk Song Society'', 3 (1908), 147-242 (p. 158).]
 
Beneath this there came a reply: 
 
The Editing Committee …wish to point out that the general experience of collectors goes to show that English singers most rarely alter their mode in singing the same song. [Ibid., p. 159.] 
 
On both sides the debate was courteous and respectful, with Grainger adding that his suggestion was “put forward in all tentativeness,” and his editors praising his “most careful observations.” But the question is raised: who was correct? 
 
In 2013 Lewis Jones analysed a random sample of 103 tunes from the Butterworth MSS. [Jones, Lewis (2015) "Modal Scales in English Folk Song: An Analysis with Reference to the George Butterworth Collection," ''Proceedings of the English Folk Dance and Song Society, Folk Song Conference 2013'', pp. 157-165.] Of these 86 were purely modal (Major/Ionian, Dorian, Mixolydian or Aeolian). Of the remaining 16 tunes 13 modulated between Major/Ionian and Mixolydian. This, argued Jones, was explicable by the similarity of the two scales--they are identical except for one note (the seventh) of each scale. Of the remaining 3 tunes 2 were Aeolian with Dorian influence and 1 (for a single note) was Dorian with Mixolydian influence. 
 
Thus, on the basis of this sample, Grainger would appear to be wrong and the editors of the Folk Song Journal correct. Jones found little evidence of Grainger's "one single loosely-knit modal folk-song scale, embracing within itself the combined Mixolydian, Dorian and Aeolian characteristics." 
 
The Mixolydian, Dorian and Aeolian scales share 5 common notes, namely the first (keynote), the second, the fourth, the fifth and the seventh. The notes that vary in pitch in these three modes are the third and the sixth. 
 
One way to investigate Grainger's claim is to transpose modal heptatonic tunes to remove the sharps and flats from their key signatures. This exercise has three possible outcomes. 
 
1. Mixolydian tunes will display G as their keynote. We can then see whether any of the thirds (the Bs) are flattened. If they are the tune modulates between Mixolydian and Dorian. If, in addition, any of the sixths (the Es) are flattened, the tune modulates between Mixolydian, Dorian and Aeolian. 
 
2. Dorian tunes will display D as their keynote. We can then see whether any of the thirds (the Fs) are sharpened. If they are the tune modulates between Dorian and Mixolydian. If, in addition, any of the sixths (the Bs) are flattened, the tune modulates between Dorian, Mixolydian and Aeolian. 
 
3. Aeolian tunes will display A as their keynote. We can then see whether any of the sixths (Fs) are sharpened. If they are the tune modulates between Aeolian and Dorian. If, in addition, any of the thirds (Cs) are sharpened, the tune modulates between Aeolian, Dorian, and Mixolydian. 
 
To systematically test whether Grainger is correct we would need to investigate whether or not such tunes exist, not only in MSS collections but also in audio records that are as yet unconverted to musical notation.

List of historical tunebooks, some of which are available on the internet

2021-02-07T10:41:05Z

Anahata:

Within Britain and Ireland cultural boundaries have never been the same thing as our present 'national' borders. Overlain onto that, or even part of it, have been a series of fashionable enthusiasms for rural pastimes, which sometimes appear more novel, even desirably savage, the further from London they claim (not always justly) as their origin.

This list presently concerns itself with the effect of this on English popular dance music, which even from the earliest times can be seen to reflect reality by including influential music from elsewhere - branles, passepieds etc.

Parallel lists, not identical but equally leaky, could be made for 'Elsewhere'.

For example:-

* [[Books containing tunes from the Welsh Repertoire|Books containing tunes from the Welsh Repertoire]]

* [[Books containing tunes from the Scottish Repertoire|Books containing tunes from the Scottish Repertoire]]

Chris Partington,

For an overview of the various publishing houses responsible for the following books go to [[Music Publishers]]

Where there are multiple links to PDFs on external sites, it is generally to mirrored copies of the same file.

* ANON; ''A Companion to the Reticule'', Arranged for the Piano Forte, A collection of Scottish country dances; Unidentified publisher, n.d.(ca.1840); [http://imslp.org/wiki/A_Companion_to_the_Reticule_%28Various%29 Petrucci], [http://archive.org/details/companiontoretic00rugg Internet Archive]

* [[James Aird|AIRD,James]]; ''A Selection of Scotch, English, Irish and Foreign Airs'' Adapted for the Fife, Violin or German Flute; Generally referred to as Aird, this series of tune books had various editors and publishers.6 Volumes, 200 pieces each in Vols.1-5, 180 in Vol.6 ; 1180 pieces in total; ca1802-1810 [http://imslp.org/wiki/A_Selection_of_Scotch,_English,_Irish_and_Foreign_Airs_%28Aird,_James%29 Petrucci], [http://www.campin.me.uk/ ABCs on Jack Campin's website]

* ALEXANDER, James; ''Alexander's New Scrapbook'' Containing 1000 Favorite Airs for the Flute, Violin, or Flageolet; J.Alexander & Co, London, early 19thC; Popular airs and dance music of the day, containing 168 tunes + index; Vol 6. [[File:Alexandervol6web 2.pdf]], [http://archive.org/details/AlexandersNewScrapBookOf1000AirsCa1830Vol6 PDF at Internet Archive]

* [[James Alexander|ALEXANDER, James]]; ''Alexander's Fifty New Scotch and Irish Reels & Hornpipes'' Arranged for the violin or Flute by an Eminent Professor; J.Alexander 101 Leadenhall Str, London, ca1820-30; [[File:ALEX50.PDF]]; [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html vmpABCs]

* ALEXANDER, James, ''Alexander's Complete Preceptor for the Flute'', 47pp, London, The Author/G.E.Blake, 1821, Entirely on a New Principle, by which the Art of Playing the Flute is Rendered So Easy, as to be Obtained by the Learner Independent of Any Other Assistance, for a One, Four Or Six Keyed Flute. To which are Added Upwards of Seventy Easy Duettinos ...

* ALEXANDER, James, ''Alexander's Improved Preceptor for the Flute'', London, J.Sandford, c1830

* [[John Anderson|ANDERSON'S]] ''Budget of Strathspeys, Reels and Country Dances'', Vol 1.; Edinburgh: J. Anderson, n.d.(ca1820); [http://archive.org/details/andersonsbudgeto00rugg Internet Archive], [http://imslp.org/wiki/Anderson%27s_Budget_of_Strathspeys,_Reels_and_Country_Dances_%28Various%29 Petrucci], [http://trillian.mit.edu/~jc/music/book/AndersonsBudgetV1/ JCs ABCs]

* [[John Anderson|ANDERSON'S]] ''Budget of Scotch English & Irish slow airs'', For the German-flute or violin; Vol 1; Edinburgh : Printed for & sold by J. Anderson, ca. 1827.; [http://digital.nls.uk/special-collections-of-printed-music/pageturner.cfm?id=87897442 NLS]

* ARBEAU, Thoinot, alias Jehan Tabourot; ''Orchesographie'' (1589); [http://memory.loc.gov/cgi-bin/query/h?ammem/musdibib:@field%28NUMBER+@band%28musdi+219%29%29 Facsimile] at Lib.Con., [http://anamnese.online.fr/abc/arbeau.abc ABC] at Anamnese, [http://anamnese.online.fr/site2/abc/arbeau_renaissance.pdf PDF] at Anamnese; A summary and a different [http://graner.net/nicolas/arbeau/ ABC] by Nicolas Graner

* BARSANTI, Francesco; ''A Collection of Old Scots Tunes''; Edinburgh: Alexander Baillie, 1742; [http://imslp.org/wiki/A_Collection_of_Old_Scots_Tunes_(Barsanti,_Francesco) PDF], [http://trillian.mit.edu/~jc/music/book/Barsanti/ JC's ABCs]

* BEWICK, Robert; ''Pipe Tunes''; 1st pub 1876? N'land. reprint by Dragonfly; [http://www.mail-archive.com/nsp@cs.dartmouth.edu/msg03634.html NSP website], [http://en.wikipedia.org/wiki/Robert_Bewick Wikipedia]

* [[William Blackman|BLACKMAN, W]]; ''Blackman's Selection''.A Selection of the most favorite Hornpipes for the Violin. NB. Most of these Hornpipes are within the Compass of the Flute. Price 1s; London. Published by W. Blackman, Music Seller. 15 Union Strt. Southwark, ca1810-22. [[File:Blackman's Hornpipes.PDF]]; [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html vmpABC's]

* [[Anne Bland|BLAND,Anne]]; ''Twenty four country dances for the year 1791'' : with proper tunes and directions to each dance, as they are performed at court, Bath, and all public assemblys. London : Printed & sold at A. Bland's Music Warehouse. Jackson Library, Uni. of North Carolina[http://library.uncg.edu/]

* [[Anne Bland|BLAND,Anne]]; ''Twenty four country dances for the year 1792'' : with proper tunes and directions to each dance, as they are performed at court, Bath, and all public assemblys. London : Printed & sold at A. Bland's Music Warehouse. Jackson Library, Uni. of North Carolina[http://library.uncg.edu/]

* [[Anne Bland|BLAND,Anne]]; ''Twenty four country dances for the year 1793'' : with proper tunes and directions to each dance, as they are performed at court, Bath, and all public assemblys. London : Printed & sold at A. Bland's Music Warehouse. Jackson Library, Uni. of North Carolina[http://library.uncg.edu/]

* [[Bland & Weller|BLAND,John]]; ''Twelve country dances for the year 1793'' : with basses and directions to each dance as they are performed at court, Bath, and all public assemblys. London : Printed & sold by F. Bland at his Music Warehouse, (ed.- F.Bland appears to be a misreading for J.Bland); Jackson Library, Uni. of North Carolina[http://library.uncg.edu/]

* BINGLEY,J. 1840s, see STRANGE

* [[Bland & Weller|BLAND & WELLER]]; ''24 Favorite Country Dances for the Year 1797'', with their proper figures. For the violin & German flute etc. British Library, accession number '''a.251.(3.)'''

* [[Bland & Weller|BLAND & WELLER]]; ''24 Favorite Country Dances for the Year 1798'', with their proper figures. For the violin & German flute etc. British Library, accession number '''b.55.o.(2.)'''

* [[Bland & Weller|BLAND & WELLER]]; ''24 Favorite Country Dances for the Year 1799'', with their proper figures. For the violin & German flute etc. British Library, accession number '''g.49.f.(1.)'''

* [[Bland & Weller|BLAND & WELLER]]; ''24 Favorite Country Dances for the Year 1803'', with their proper figures for the German flute or violin. As performed at court and all public assemblies. London, Bland & Weller; [[File:Bland&Weller24 1803.PDF]], [http://archive.org/details/BlandWellers24CountryDancesForTheYear1803 PDFs at Internet Archive], [http://imslp.org/wiki/24_Country_Dances_for_the_Year_1803_%28Various%29 PDFs at Petrucci], [http://trillian.mit.edu/~jc/music/book/DftY/1803/Bland_Weller/ JC's ABCs]

* BRAY,Thomas; ''Country Dances'' (20, with treble and bass); Printed by William Pearson, 1699; 'Sold by Mr. Plaiford. at the Temple Change', Fleet Street; Reprinted in 1988 by Hellwig & Barron, England, third part added to each tune; [http://www.dhds.org.uk/conference/ocg3abstracts.html Brief Introduction], [http://trillian.mit.edu/~jc/music/book/ThomasBraysCountryDances1699/ JC's ABCs] A scanned manuscript is available online at [http://www.vwml.org/browse/browse-collections-dance-tune-books/browse-bray1699 JPEGs VWML] It does however seem to be out of page order. The ABC transcripts do not match up.

* [[Robert Bremner|BREMNER,Robert]]; ''The Caledonian Pocket Companion'' by James Oswald,'being a collection of the favourite Scotch tunes for the German flute', London:Bremner(1771), Vol 2 [http://archive.org/details/caledonianpocket00stua PDF], [http://trillian.mit.edu/~jc/music/book/JamesOswald/CPC/ JC's ABCs]

* [[Robert Bremner|BREMNER,Robert]]; ''A Collection of Scots Reels or Country Dances'', With a Bass for the Violincello [sic] or Harpsichord. In Playing these Basses on the Harpsichord, their Octaves may be also struck, as represented by small Notes in the Fyket Page 6.; London: Robert Bremner, n.d. (1757); [http://imslp.org/wiki/A_Collection_of_Scots_Reels_or_Country_Dances_%28Bremner,_Robert%29 Petrucci]; [http://trillian.mit.edu/~jc/music/book/ JC's ABCs]

* [[Robert Bremner|BREMNER,Robert]]; ''The Delightful Pocket Companion for the German Flute'', Containing A Choice Collection of the most Celebrated Italian, English, and Scotch Tunes, Curiously Adapted to that Instrument; 2 Vols, 6 books in each; London: Robert Bremner, n.d.(1763); [http://imslp.org/wiki/The_Delightful_Pocket_Companion_for_the_Flute_%28Various%29 Petrucci] [http://archive.org/details/delightfulpocket01rugg Internet Archive]

* BREWER & Co; '' New Instructions for the Clarinet'', An early 19th century English tutor for the five-key clarinet, with a selection of English, Scottish and Irish popular and folk tunes to play on it, [http://www.campin.me.uk/Music/Brewer/index.html PDFs], [http://trillian.mit.edu/~jc/music/book/Brewer/ ABCs],

* BRIDE,Richard; ''Favorite Collection of 200 Select Country Dances'', 3 vols; London, Longman Lukey & Broderip, ca1775; VWML.QS 35.4 7288

* BRODERIP & Wilkinsons ''Selection of the Most Admired Dances'', reels, waltz’s strathspeys & cotillons. With their proper figures no danced at the Court of St. James’s Bathe & other polite assemblies. Adapted for the harp, piano forte, violin, or tabor & pipe. Book 9; London, Printed for the editors, (1801) [http://catalog.loc.gov/cgi-bin/Pwebrecon.cgi?v1=2&ti=1,2&Search_Arg=Selection%20of%20the%20Most%20Admired%20Dances&Search_Code=GKEY^*&CNT=100&type=quick&PID=cg4c5_HU6Hz6uJ2od8ZLDeMh7&SEQ=20121002082833&SID=1 Lib.Con ref]

* BRUCE,John Collingwood & STOKOE,John; ''Northumbrian Minstrelsy''; Society of Antiquaries of Newcastle upon Tyne, 1882; [http://archive.org/details/ACollectionOfTheBalladsMelodiesAndSmall-pipeTunesOfNorthumbria PDF at Internet Archive], [http://en.wikipedia.org/wiki/Northumbrian_Minstrelsy Article at Wikipedia], [http://trillian.mit.edu/~jc/music/book/NorthumbrianMinstrelsy/ JC's ABCs],

* BUTTON and WHITAKER, ''24 CDs with Figures For the Year 1809, adapted for the violin, german flute or oboe'', London. [http://www.vwml.org/browse/browse-collections-dance-tune-books/browse-button1809 JPGs at VWML with ABC Transcriptions], [http://trillian.mit.edu/~jc/music/book/DftY/1809/Button_Whitaker/ JC's ABCs]

* BUTTON and WHITAKER, ''24 CDs with Figures For the Year 1810, adapted for the violin, german flute or oboe'', London. [http://www.vwml.org/browse/browse-collections-dance-tune-books/browse-button1810 JPGs at VWML with ABC Transcriptions], [http://trillian.mit.edu/~jc/music/book/DftY/1810/Button_Whitaker/ JC's ABCs]

* BUTTON and WHITAKER, ''24 CDs with Figures For the Year 1813, adapted for the violin, german flute or oboe'', London. [https://archive.org/details/ButtonWhitaker24CD1813 PDF at archive.org], [http://trillian.mit.edu/~jc/music/book/DftY/1813/Button_Whitaker/ JC's ABCs]

* BUTTON and WHITAKER, ''Le Sylph, an elegant collection of 24 CDs, adapted for the violin, german flute or oboe'', 1818, London. [http://www.vwml.org/browse/browse-collections-dance-tune-books/browse-button1818 JPGs at VWML with ABC Transcriptions], [http://trillian.mit.edu/~jc/music/book/DftY/1818/Button_Whitaker/ JC's ABCs]

* BUTTON and WHITAKER, ''Twelve Elegant New Dances for the year 1810''. arranged for the Harp or Piano Forte, with correct Figures as Danced at Court, bath, Brighton & all Polite Assemblies. London: the Editors (Button & Whitaker), 1810. "This elegant Selection is Printed Quarterly, on Sheets, & paged onward for the convenience of Binding. Nos. 1 to 14 are already Published." [http://imslp.org/wiki/Button_and_Whitaker%27s_Elegant_New_Dances_for_1810_%28Various%29 PDF at Petrucci], [http://trillian.mit.edu/~jc/music/book/Button_Whitaker/12ElegantNewDances_1810/ JC's ABCs]

* BUTTON and WHITAKER, ''Selection of Dances, Reels and Waltzes''. for the Piano Forte, Harp, Violin & German Flute. With Figures. London: the Editors (Button & Whitaker), n.d.(ca.1815). Annual(?) collection, numers 8,9,11,18. [http://imslp.org/wiki/Button_and_Whitaker%27s_Selection_of_Dances,_Reels_and_Waltzes_%28Various%29 PDF at Petrucci], [http://trillian.mit.edu/~jc/music/book/Button_Whitaker/SelectionOfDancesReelsAndWaltzes/ JC's ABCs]

* [[Thomas Cahusac|CAHUSAC,Thomas]]; ''Twenty Four Country Dances for the Year 1758''; [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html vmpABCs] with dance instructions

* [[Thomas Cahusac|CAHUSAC,Thomas]];[[1796 Twelve Country Dances for the year 1796... T.Cahusac|''Twelve Country Dances for the Year 1796'']]; and others

* [[Thomas Cahusac|CAHUSAC,W.M.]]; ''Annual Collection of 24 favorite Country Dances for the Year 1809'' with proper Directions to each Dance, as they are Performed at Court, Bath, and all Public Assemblies; London Cahusac; [http://imslp.org/wiki/24_Country_Dances_for_the_Year_1809_%28Various%29 Transcription at Petrucci], [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html vmpABCs], [http://trillian.mit.edu/~jc/music/book/DftY/1809/Cahusac_JC/ JC's ABCs with transcriptions of the dances]

* CAMERON,George; ''Cameron's Selection of Violin Music''; containing all the most popular national airs, marches, strathspeys, reels, hornpipes, jigs, country dances, quicksteps, quadrilles, polkas, &c. &c. &c. Glasgow: George Cameron, 1859. [http://imslp.org/wiki/Cameron%27s_Selection_of_Violin_Music_%28Cameron,_George%29 PDF at Petrucci]

* CAMPBELL,William; ''Twenty four fashionable country dances, for the year 1791'' : with their proper figures, as performed at court, Bath, Willis's, and all public assemblys. [London] : Printed for Wm. Campbell; Jackson Library, Uni. of North Carolina[http://library.uncg.edu/]

* CHAPPELL,William; ''Old English Popular Music''; First published 1838-40 as "A collection of national English airs" which was afterwards expanded into his "Popular music of the olden time" (1859, 2 vols.) Part of the latter edition was published under title "The ballad literature and popular music of the olden time."; London Chappell & Macmillan; Vol 1 This ed 1893 [http://archive.org/details/oldenglishpopula01chapuoft PDF at Internet Archive]; Vol 2 This ed 1893 [http://archive.org/details/oldenglishpopula02chapuoft PDF at Internet Archive]

* CHAPPELL & Co; ''Chappell's One Hundred Scotch Melodies'' arranged for the concertina by [http://bibliolore.org/2010/03/09/carlo-minasi/ Carlo Minasi]. One of a series arranged for various instruments; London Chappell & Co., mid/late 19thC?; [https://www.dropbox.com/s/7btcqhk8hn24nci/Chappell%27s%20One%20Hundred%20Scotch%20Melodies%20-%20Scans.pdf Scans], [http://dl.dropboxusercontent.com/u/44657832/Chappell%27s%20One%20Hundred%20Scotch%20Melodies.abc ABC by Peter Dunk], [http://dl.dropboxusercontent.com/u/44657832/Chapple%27s%20100%20Scotch%20Melodies%20with%20Index.pdf PDF of abc file]

* COLE: 1000 Fiddle Tunes; Cole Publishing Company 1940, USA; See RYAN's.

* CONVERSE,Frank B; ''230 easy pieces for the banjo'' : comprising a choice collection of polkas, waltzes, clog hornpipes, reels, jigs, walkarounds, songs, etc., etc., in both the "guitar" and "banjo" styles of execution; New York Benjamin Hithcock 1887; [http://archive.org/details/230easypiecesfor00conv PDF at Internet Archive]

* CRAIG; ''Empire Violin Collection of Hornpipes''; Aberdeen: Thomas Craig, n.d.(ca.1890); [http://imslp.org/wiki/Empire_Violin_Collection_of_Hornpipes_%28Various%29 Petrucci] [[Craigs EmpVioCollABCs|ABCs]] [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html vmpABCs]

* CRAWHALL.Joseph; ''Smallpipe Tune''s; Newcastle, for the Author, ca1877; [http://www.farnearchive.com/ Farne]

* DABNEY/DOBNEY,Michael; ''Twelve Minuets and Twelve Dances''; see Thompson,C&S

* [[Joseph Dale|DALE,Joseph]]; ''Selection of the most favorite country dances, reels &c''. with their proper figures, for the harp, harpsichord & violin, as performed at the Prince of Wales, Bath, & other Grand Balls, & Assemblies, N.B. This Collection contains every Popular Dance & Reel in Use; London: [[Joseph Dale]], n.d.(ca.1800); [http://imslp.org/wiki/Dale%27s_Selection_of_the_most_favorite_Country_Dances_and_Reels_%28Various%29 Petrucci] [https://urresearch.rochester.edu/institutionalPublicationPublicView.action?institutionalItemId=18475&versionNumber=1 University of Rochester]

* DAVIS,T; ''24 Country Dances for the Year 1748'',with a thorough bass for harpsicord with figures or directions to each dance composed for the Entertainment and Diversion of gentlemen and ladies who are lovers of English Dancing; London, H.Waylett; [[File:T.Davies 1748.pdf]], [http://archive.org/details/T.davies24CountryDancesFortheYear1748 PDF at Internet Archive] [http://imslp.org/wiki/24_Country_Dances_for_the_Year_1748_%28T.Davies%29_%28Various%29 PDF at Petrucci], [http://trillian.mit.edu/~jc/music/book/DftY/1748/TDavis/ JC's ABCs]

* DITSON, Oliver; ''The Boston Collection of Instrumental Music'': containing Marches, Quicksteps, Waltzes, Airs, Cotillons, Contra Dances, Hornpipes, Quadrilles, arranged with figures, Scotch and Irish Jigs, Reels, and Strathspeys, arranged for Brass, Wooden, & Stringed Instruments; Boston: Oliver Ditson, n.d. (ca.1850); [http://imslp.org/wiki/The_Boston_Collection_of_Instrumental_Music_%28Various%29 Petrucci], [http://archive.org/details/bostoncollection00bost Internet Archive], [http://trillian.mit.edu/~jc/music/book/BostonCollection/ ABCs]

* DOBNEY/DABNEY,Michael; ''Twelve Minuets and Twelve Dances''; see Thompson,C&S

* FALKNER & CHRISTMAS's; ''Popular Collection of Country Dances'' reels, waltzes, minuets, &c. for the present year : danced at Bath, Willis's and the private & public assemblies; London, Published by Falkner & Christmas ... 9 Pall Mall at the Opera Music Warehouse, (1813?) formerly M.Kelly; [http://blogs.law.harvard.edu/houghton/2012/12/12/country-dancing-peninsular-wars-style/ Article] and some images at Houghton Library, Harvard; Bound 5th in a volume of 6 British social dance imprints, published between 1800 and 1815, [http://lms01.harvard.edu/F/8A9K29BA1FE9J6S9T68LKNCY4RKBBG84HJPNTVXLMXR59H4C4B-21047?func=item-global&doc_library=HVD01&doc_number=013496361&year=&volume=&sub_library=].

* FISHAR,J. ''Sixteen Cotillions, Sixteen Minuets, Twelve Allemands and Twelve Hornpipes'' Composed by J. Fishar. London: John Rutherford, ca. 1780; [http://lccn.loc.gov/unk84081145 Lib.Con.ref]

* FITZWILLIAM; ''The Fitzwilliam Virginal Book''; The Fitzwilliam Virginal Book is a manuscript primary source of keyboard music from the late Elizabethan and early Jacobean periods in England, many remained in use. 297 pieces. Published Leipzig: Breitkopf & Härtel, 1899, Reprinted:New York: Dover Publications, 1963/79 et al; [http://imslp.org/wiki/Fitzwilliam_Virginal_Book_%28Various%29 PDFs at Petrucci]

* FORRESTER,George; ''The Flute Player's Pocket Companion''; Being a Select Collection of Dances, Waltzes, Quadrilles and Airs, with variations, arranged as duetts for the German Flute; 3 vols; pub. J. Sutherland, Calton St. Edinburgh; part of composite volume, item number 112 in [http://digital.nls.uk/special-collections-of-printed-music/archive/91459064 Glen Collection]

* GALLINI,G.A.. ''A New Collection of Forty-four Cotillons, with Figures Properly Adapted'';London ca. 1780; http://books.google.com/books?id=ipV0y26Vq8EC PDF at Google Books], [http://trillian.mit.edu/~jc/music/book/Gallini/NewColl44Cot/ JC's ABCs]

* GEOGHEGAN,J, ''The Compleat Tutor For the Pastoral or New Bagpipe'', John Simpson,London (1746) PDF at Ross's Music Page [http://www.cl.cam.ac.uk/~rja14/music/index.html]

* [[Goulding and Co|GOULDING & Co]]; ''24 Country Dances for the Year 1808'' with proper tunes and directions to each dance; London Goulding & Co; [http://petrucci.mus.auth.gr/imglnks/usimg/9/91/IMSLP31539-PMLP71783-Country_Dances_1808.pdf Transcription at Petrucci], [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html vmpABCs], [http://trillian.mit.edu/~jc/music/book/DftY/1808/Goulding/ JC's ABCs that include the dances]

* [[Goulding and Co|GOULDING & D'ALMAINE]]; ''24 Country dances for the Year 1811'', [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html vmpABCs]

* [[Goulding and Co|GOULDING & D'ALMAINE]]; [[1826 Twenty Four Country Dances for the year 1826 - Goulding and D'Almaine|''Twenty Four Country Dances for the year 1826'']], [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html vmpABCs]

* [[Goulding and Co|GOULDING,PHIPPS & D'ALMAINE]]; ''The Man of Feeling, or the Gentleman's Musical Repository for the Flute or Violin.'' Consisting of an elegant selection of the most admired Airs from the modern Operas, Opera Dances, Songs, Sonatas & every other description of fashionable Music, chiefly taken from the extensive Catalogue of Messrs. Goulding & Co., under the immediate inspection of that celebrated Flute Composer Gaetano Brandi; London n.d.(late 18thC); [http://imslp.org/wiki/The_Man_of_Feeling,_or_the_Gentleman%27s_Musical_Repository_%28Various%29 PDF at Petrucci], [http://trillian.mit.edu/~jc/music/book/MoF/ JC's ABCs]

* GRAY,J; ''Twenty Four Country Dances for the Year 1812'', with proper tunes and directions for each dance as they may be performed at Court, Bath, and all Public Assemblys; Printed and sold by J. Gray, Bury St Edmunds; [http://www.eatmt.org.uk/gray_1812.htm Article and PDFs at EATMT website], [http://trillian.mit.edu/~jc/music/book/DftY/1812/JGray/ JC's ABCs including the dances], see also some of THOMPSON's 24 Country Dance books, also composed by Mr Gray

* HAMILTON'S ''Universal Tune-book'' ed James Hanson, a collection of the melodies of all nations, adapted for violin, flute, clarinet, etc.; Glasgow, W.Hamilton(1853), [http://archive.org/details/hamiltonsunivers00ingl PDF], [http://trillian.mit.edu/~jc/music/book/Hamilton/ JC's ABCs]

* HARDING'S ''All-Round Collection'' of Jigs, Reels and Country Dances, for Piano, Violin, Flute or Mandolin; New York: Harding's Music House, 1905; [http://imslp.org/wiki/Harding%27s_All-Round_Collection_of_Jigs,_Reels_and_Country_Dances_%28Various%29 Petrucci]

* HODSOLL & Goulding; ''The Gentleman's Musical Companion'', Being A Collection of Favorite Airs, Rondos, Marches, Songs, Glees, Dances & Duets Composed or Selected from the New Musical Publications And Adapted for the Flute or Violin; London: W. Hodsoll, & Goulding & Co., n.d. after 1791; [http://imslp.org/wiki/The_Gentleman%27s_Musical_Companion_%28Various%29 Petrucci]

* HOWE; ''The Musician's Companion'', 1850; part I. First Part of the Musician's Companion: containing 18 setts of cotillions arranged with figures, and a large number of popular marches, quick-steps, waltzes, hornpipes, contra dances, songs, &c. several of which are in three parts - first, second, & bass, for the Flute, Violin, Clarionett, Bass-Viol [i.e. Cello or Double Bass - not gamba viol], &c. Also, several New and Popular Pieces in 6 and 8 parts, for a Brass Band, viz. Eb Bugle, Bb Bugle, Bb Post Horn, Bb Cornopean, Tenor Trombone, Bass Trombone, First Orphecleide [sic], Second Orphecleide, &c. containing in all over 300 pieces of music, more than 100 of which are original. Compiled by Elias Howe Jr. and arranged by Messrs. A.F. Knight and H. Seipp, of the Boston Brigade Band. [http://archive.org/details/firstthirdpartof01howe PDF at Internet Archive], [http://trillian.mit.edu/~jc/music/book/EliasHowe/MusiciansCompanionP1/ JC's ABCs including the dances]; part II. Second Part of the Musician's Companion: containing 36 setts of cotillions arranged with figures, and a large number of popular marches, quick-steps, waltzes, hornpipes, contra dances, songs, &c. several of which are in three parts - first, second, & bass, for the Flute, Violin, Clarionett, Bass-Viol, &c. containing in all over 400 pieces of music, more than 100 of which are original. Compiled by Elias Howe, Jr. [http://archive.org/details/firstthirdpartof02howe PDF at Internet Archive], [http://trillian.mit.edu/~jc/music/book/EliasHowe/MusiciansCompanionP2/ JC's ABCs including the dances]; part III. Third Part of the Musician's Companion: containing 40 setts of cotillions arranged with figures, and a large number of popular marches, quick-steps, waltzes, hornpipes, contra dances, songs, &c. several of which are in three parts - first, second, & bass, for the Flute, Violin, Clarionett, Bass-Viol, &c. containing in all over 500 pieces of music, more than 150 of which are original, or have never before been published in this country. Compiled by Elias Howe, Jr. Boston; Elias Howe, 1842 etc. various subsequent publishers; [http://imslp.org/wiki/The_Musician%27s_Companion_%28Howe,_Elias%29 Petrucci], [http://archive.org/details/firstthirdpartof03howe PDF at Internet Archive], [http://trillian.mit.edu/~jc/music/book/EliasHowe/MusiciansCompanionP3/ JC's ABCs including the dances].

* HOWE; ''New Violin Without a Master'', containing New and Complete Rules and Exercises, and all necessary Instruction, together with upwards of five hundred pieces of music, embracing Scotch and Irish Airs, Polkas, Waltzes, Marches, Quicksteps, Contra and Fancy Dances, Quadrilles, &c.; Boston: Elias Howe, 1870; [http://imslp.org/wiki/Howe%27s_New_Violin_Without_a_Master_%28Howe,_Elias%29 Petrucci] [http://archive.org/details/howesnewviolinwi00howe Internet Archive]

* HOWE; ''School for the Clarinet''; containing new and complete instructions for the Clarionett, with a large collection of favorite marches, quick-steps, waltzes, hornpipes, contra dances, songs, and six setts of cotillions, arranged with figures, containing over 150 pieces of music. ed. Elias Howe, or perhaps Henry Tolman? Boston: Oliver Ditson, 1851. [http://imslp.org/wiki/Howe%27s_School_for_the_Clarinet_%28Howe,_Elias%29 Petrucci] [http://archive.org/details/schoolforclarine00howe Internet Archive]

* HOWE; ''School for the Flageolet'', containing new and complete instructions for the Clarionett, with a large collection of favorite marches, quick-steps, waltzes, hornpipes, contra dances, songs, and six setts of cotillions, arranged with figures, containing over 150 pieces of music. ed. Elias Howe Boston, or perhaps Henry Tolman?; Elias Howe, 1843; [http://imslp.org/wiki/Howe%27s_School_for_the_Flageolet_%28Howe,_Elias%29 Petrucci] [http://archive.org/details/howesschoolforfl00howe Internet Archive]

* [[Johnson, John|JOHNSON]]; ''24 Country Dances for the Year 1766'' With proper tunes and directions to each dance, as they are performed at Court, Bath, Tunbridge and all Publick Assemblys; London, Johnson; [[File:JOHNSON 24 1766.PDF]], [http://imslp.org/wiki/24_Country_Dances_for_the_Year_1766_%28Various%29 Petrucci] (says 1776 in error), [http://trillian.mit.edu/~jc/music/book/DftY/1766/Johnson/ JC's ABCs]

* [[Johnson, John|JOHNSON]]; ''Caledonian Country Dances'' - See WALSH & JOHNSON below.

* [[Johnson, John|JOHNSON]]; ''Choice Collection of Favorite (200) Country Dances''. Vol.1; London: perhaps after c1750?; Similar but not identical to Wright's ''Complete Collection of (200) Celebrated Country Dances''. Vol. 1, whose stock Johnson seems to have acquired; See below under WRIGHT. [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html vmpABCs]

* [[Johnson, John|JOHNSON]]; ''Choice Collection of Favorite (200) Country Dances''. Vol.2; London: perhaps after c1750?; Similar but not identical to Wright's ''Complete Collection of (200) Celebrated Country Dances''. Vol. 2, whose stock Johnson seems to have acquired; See below under WRIGHT. [hhttp://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html vmpABCs]

* [[Johnson, John|JOHNSON]]; ''Choice Collection of Favorite (200) Country Dances''. Vol.3; London: 1744; BritLib. Bodleian Library (Oxford)fax. [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html vmpABCs]

* [[Johnson, John|JOHNSON]]; ''Choice Collection of Favorite (200) Country Dances''. Vol.4 ; London: 1748; Mitchell Lib.fax. BritLib. [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html vmpABCs]

* [[Johnson, John|JOHNSON]]; ''Choice Collection of Favorite (200) Country Dances''. Vol.5 ; London: 1750; Mitchell Lib-fax. LibCong.MT 960.C485 [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html vmpABCs]

* [[Johnson, John|JOHNSON]]; ''Choice Collection of Favorite (200) Country Dances''. Vol.6 ; London: 1751; Bodleian Library Oxford. fax Harding Mus F.346 [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html vmpABCs]

* [[Johnson, John|JOHNSON]]; ''Choice Collection of Favorite (200) Country Dances''. Vol.7 ; London: 1756; BritLib.VWML

* [[Johnson, John|JOHNSON]]; ''Choice Collection of Favorite (200) Country Dances''. Vol.8 ; London: 1758; VWML. University of Birmingham.Shaw-Helier285; [http://www.vwml.org/browse/browse-collections-dance-tune-books JPGs at VWML with ABC Transcriptions] [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html vmpABC], [http://trillian.mit.edu/~jc/music/book/JohnJohnson/V8/ with JC's transcriptions of the dances]

* JONES, Edward; ''Musical and Poetical Relicks of the Welsh Bards'', Musical and Poetical Relicks of the Welsh Bards: Preserved by Tradition, and Authentic Manuscripts, from Remote Antiquity; Never Before Published. To the Tunes are added Variations for the Harp, Harpsichord, Violin, or Flute. With a Choice Collection of the Penillion, Epigrammatic Stanzas, or, Native Pastoral Sonnets of Wales, with English Translations. Likewise a History of the Bards from the Earliest Period to the Present Time: And an Account of their Music, Poetry, and Musical Instruments, with a Delineation of the Latter. ; London: The Author, 1784; [http://imslp.org/wiki/Musical_and_Poetical_Relicks_of_the_Welsh_Bards_%28Jones,_Edward%29 PDF at Petrucci]

* KAUNTZE; ''Kauntze's Collection of the most favorite Dances''. Reels. Waltzes. &c. for the Piano Forte or Harp. London Kauntze n.d.(late 18thC); [http://imslp.org/wiki/Kauntze%27s_Collection_of_Dances,_Reels,_Waltzes_etc._%28Various%29 PDF at Petrucci], [http://trillian.mit.edu/~jc/music/book/Kauntze/ JC's ABCs]

* KERR'S ''Merry Melodies'' 4 vols; Glasgow; Kerr, late 19thC, still in print; Excellent collection of Reels, Strathspeys, Hornpipes, Jigs, Waltzes, Country Dances etc. 445 tunes in each volume. [http://trillian.mit.edu/~jc/music/book/Kerr/ JC's ABCs]

* [[Frank Kidson|KIDSON,Frank]]; ''Old English Country Dances'' gathered from scarce printed collections, and from manuscripts. With illustrative notes and a bibliography of English country dance music. Collected and Edited by Frank Kidson; London: William Reeves, 1890; [http://imslp.org/wiki/Old_English_Country_Dances_%28Kidson,_Frank%29 Petrucci] [http://archive.org/details/oldenglishcount00kidsgoog Internet Archive], [http://trillian.mit.edu/~jc/music/book/OldEnglishCountryDances/FC/ AKuntz's ABCs], [http://trillian.mit.edu/~jc/music/book/OldEnglishCountryDances/ JChambers ABCs]

* KILVINGTON,Thomas; ''Twelve Country Dances with their Proper Figures''; by T.Kilvington of York (Dancing Master), printed by Preston, London; c1810-12; Reprint available from [http://theyorkwaits.org.uk/emm2.html York Waits]

* KöHLER; ''Violin Repository of Dance Music'', comprising Reels, Strathspeys, Hornpipes, Country Dances, Quadrilles, Waltzes &c. Edited by a professional Player. ([[W.B.Laybourn]]); Edinburgh: Ernest Köhler & Son, n.d.(1885); [http://digital.nls.uk/special-collections-of-printed-music/pageturner.cfm?id=97129438&from_row=51 NLS], [http://imslp.org/wiki/K%C3%B6hler%27s_Violin_Repository_of_Dance_Music_%28Anonymous%29 Petrucci], [http://archive.org/details/klersviolinrepos01edin etc.Internet Archive], [http://trillian.mit.edu/~jc/music/book/Kohlers/ ABCs by John Chambers]

* LONGMAN & CO; ''24 Country Dances for the Year 1770'', With proper Directions to each Dance as they are Perform'd at Court & Almacks, Bath, Scarborough, Tunbridge, & all other Publick Assemblys; London, Longman & C0; [http://imslp.org/wiki/24_Country_Dances_for_the_Year_1770_%28Various%29 Petrucci], [http://trillian.mit.edu/~jc/music/book/DftY/1770/Longman/ JC's ABCs]

* LONGMAN & CO; ''24 New cotillions or French Dances, as performed at court and all polite assemblies'', 1770, 26 Cheapside, London. Note: All with Bass parts and dance steps; [http://www.vwml.org/browse/browse-collections-dance-tune-books JPGs at VWML with ABC transcriptions][http://folkopedia.info/images/f/fd/Longmans_24_Cotillons.txt Folkpedia ABCs]

* LONGMAN & BRODERIP; ''24 American Country Dances as Danced by the British during their Winter Quarters at Philadelphia, New York, & Charles Town''. Collected by Mr. Hezekiah Cantelo Musician at Bath, where they are now Dancing for the first time in Britain, with the addition of Six Favorite Minuets now performing this present Spring Season; London Longman & Broderip 1785; [http://imslp.org/wiki/24_American_Country_Dances,_1785_%28Various%29 Petrucci]

* LONGMAN & Broderip's ''Compleat Collection of 200 Favorite Country Dances''; London: 1781; Brit.Lib

* LONGMAN & Broderip's (first- ) ''Selection of the Most Favorite Country Dances'', reels, &c., with their proper figures, for the harp, harpsichord and violin; London, Printed by Longman and Broderip n.d.(178?) [http://catalog.loc.gov/cgi-bin/Pwebrecon.cgi?Search_Arg=Selection+of+the+Most+favorite+country+Dances&Search_Code=GKEY^*&PID=DB-dRUm0zVvs2GIsPUqF4qpOxcnL&SEQ=20121014180109&CNT=100&HIST=1 Lib.Con.ref]

* LONGMAN & Broderip's ''Fifth Selection of the Most Admired Dances'', Reels, Minuets & Cottilons; London: Longman & Broderip, ca. 1786.

* LONGMAN and Broderip’s ''Sixth Selection of the Most Admired Dances'', reels, minuets & cotillons with their proper figures ...; London, The editors (178-?) [http://catalog.loc.gov/cgi-bin/Pwebrecon.cgi?v1=1&ti=1,1&Search_Arg=Selection%20of%20the%20Most%20Admired%20Dances&Search_Code=GKEY^*&CNT=100&type=quick&PID=cg4c5_HU6Hz6uJ2od8ZLDeMh7&SEQ=20121002082833&SID=1 Lib.Con.ref]

* LONGMAN & LUKEY; ''24 New London Contra Dances for the Year 1776'' with proper tunes and directions to each dance as they are performed at Court Bath and all Publick Assemblys, the figures or directions by the most eminent masters; 26 Cheapside, London; Evidently the fourth in a series as it goes from tunes 73 to 96; Mitchell Library, Glasgow.

* LONGMAN, Lukey & Broderip; ''A Pocket Book for the Guitar'', With Directions Whereby ev'ry Lady & Gentleman may become their own Tuner, To which is Added suitable to the refin'd Taste of the present Age and Entertaining Collection of Songs, Duets, Airs, Minuets, Marches, &c.; London: Longman, Lukey & Broderip, n.d. (ca.1775); [http://imslp.org/wiki/A_Pocket_Book_for_the_English_Guitar_%28Various%29 Petrucci]

* MACLEOD; ''Collection of Airs, Marches, Waltzes & Rondo's''; Carefully arranged for the German Flute; 3 vols; pub. J. Sutherland, Calton St. Edinburgh; part of composite volume, item number 112 in [http://digital.nls.uk/special-collections-of-printed-music/archive/91459064 Glen Collection]

* MARSDEN, Thomas; ''Collection of Lancashire Hornpipes'', 'A collection of original Lancashire Hornpipes old and new containing divisions upon each for the treble violin being the first of its kind'; London, 1705; republished as part of Three Extraordinary Collections, Early 18th century dance music for those who play publick; Pete Stewart; [http://www.hornpipemusic.co.uk/3xcolls.html Hornpipe Music], Pencaitland, 2007; A review on [http://www.mustrad.org.uk/reviews/3hpe_col.htm Mustrad], Pete has made [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html vmpABCs] available

* MAY, John Alexander; ''A Selection of the Most Favorite Songs, etc''. (ed. May, John Alexander)comprising of:- 1. Theatrical Music.A Miscellaneous Collection of Favorite Airs. A Complete Set of Marches, Quick Steps, &c. Favorite Airs Arranged for Three German Flutes &c: 2. A Select Collection of Original Scottish Airs, according to the most approved style: 3. A Collection of the Most Favorite Irish Airs: 4. A Select Collection of Original Welch Airs; Glasgow: J.McFadyen, n.d. (ca1810); [http://imslp.org/wiki/A_Selection_of_the_Most_Favorite_Songs,_etc._%28May,_John_Alexander%29 Petrucci], [[J.A.May Selection, Contents|Contents list]]

* McGIBBON,William; ''A Collection of Scots Tunes'', some with Variations for a Violin, Hautboy, or German-Flute: with a Bass for a Violoncello or Harpsichord; first pub. ca1742-46-55 by Richard Cooper, Edinburgh, three oblong folio vols/bks ; then six Octavo books by Rutherford later 1750s, and then oblong quarto by Bremner in 1760s; Bks 1-3 Octavo edition,London: [[David & John Rutherford|D. Rutherford]], n.d.; [http://imslp.org/wiki/A_Collection_of_Scots_Tunes_%28McGibbon,_William%29 Petrucci] [[William McGibbon, Collection 1760 index|Contents list]]; Bks 1-4 2nd or later (with additions by Bremner) oblong quarto edition, London: [[Robert Bremner]], n.d.(ca.1760)

* O'FARRELL; ''Pocket Companion for the Irish or Union Pipes'', Being a grand selection of favorite Tunes both Scotch and Irish, Adapted for the Pipes, Flute, Flageolet and Violin. Some of which was never before Published. With some favorite Duetts for the above Instruments; Unidentified publisher, n.d. also London: Goulding & Company, n.d. (1806); [http://imslp.org/wiki/O%27Farrell%27s_Pocket_Companion_for_the_Irish_or_Union_Pipes_%28Various%29 Petrucci] [http://archive.org/details/ofarrellspocketc00rugg Internet Archive]

* OSWALD,James; ''The Caledonian Pocket Companion'', containing all the Favourite Scotch Tunes with their Variations for the German Flute with an index to the whole By James Oswald; London; variously books or volumes, various publishers including J.Simpson, Straight and Skillern, [[Robert Bremner]] ca1750, and beginning with himself; Vols 1-8 [http://imslp.org/wiki/The_Caledonian_Pocket_Companion_%28Oswald,_James%29 Petrucci] [http://archive.org/details/acompositemusi174760mcdo etc Internet Archive], Vols 8,11,12 [http://archive.org/details/caledonianpocket00unse Internet Archive], Six Volumes [http://digital.nls.uk/special-collections-of-printed-music/pageturner.cfm?id=90413846 NLS], [http://trillian.mit.edu/~jc/music/book/JamesOswald/CPC/ JC's ABCs]

* Oude en Nieuwe Hollantse Boerenlieties en Contredansen, Anon, 1700-16, Holland, 996 tunes in PDF and ABC form, from the same period as the later Playford's, might make an interesting comparison from our near neighbour, maritime rival, and I believe William of Orange originated from there. [http://www.simonplantinga.nl/oude-en-nieuwe-hollantse-boerenlieties-en-contredansen/ Simon Plantings website]

* PARRY,John; ''Two thousand Melodies, selected from the works of eminent English and Foreign authors ... Arranged for the Flute, Violin, Oboe, or Clarionet, most of which may be played on the Cornet à piston, Keyed Bugle, or Accordion'' ... Edited by J. Parry, etc. D'Almaine and Company, 1841. An interesting mixture of popular simple light classical and folk melodies. [https://books.google.co.uk/books?id=BcR1TGfCvDoC&dq=John+Parry+melodies&source=gbs_navlinks_s Google Books]

* PEACOCK,John; ''Favorite collection of tunes'' with variations adapted for the Northumberland small pipes, violin or flute; 'Printed by W. WRIGHT at His Music Shop, High Bridge' Newcastle 1800-05; [http://www.farnearchive.com/ Farne], [http://www.cl.cam.ac.uk/~rja14/musicfiles/manuscripts/peacock.pdf facsimile]; Johan Van der Elst transcriptions in [https://musescore.com/user/69096/sets/5099236?fbclid=IwAR2n9dNfS81hCbqL4ozh1vDyk3e8DHAvrsasfK3A0daWt3oBiNNGq0kuvXg Musescore]

* PETRIE,Robert; ''A Collection of Strathspeys, Reels & Country Dances'' with a Bass for the Violoncello or Harpsichord; 1790 [http://imslp.org/wiki/A_Collection_of_Strathspeys,_Reels_and_Country_Dances_%28Petrie,_Robert%29 Petrucci] [http://www.heallan.com/petrie.html Highland Music Trust]

* PLAYFORD,Henry; ''A Collection of Original Scotch-tunes'', (full of the highland humours) for the violin : being the first of this kind yet printed : most of them being in the compass of the flute; London, printed by Wm Pearson for H.Playford, 1700; [http://archive.org/details/collectionoforig1700ingl PDF]

* [[John Playford|PLAYFORD]],John; ''An Introduction to the Skill of Musick'', in three books : The first contains the grounds and rules of musick, according to the gam-ut, and other principles thereof. The second, instructions and lessons both for the bass-viol and treble-violin. The third, the art of descant, or composing musick in parts: in a more plain and easie method than any heretofore published. Originally published in 1654 as: A breefe introduction to the skill of musick;[http://archive.org/details/introductiontomu00play 1664] edition; This 2nd Ed London 1694; [http://archive.org/details/introductiontosk00play PDFs at Internet Archive]

* [[John Playford|PLAYFORD]],John; ''Apollo's Banquet'': containing Instructions, and Variety of New Tunes, Ayres, Jiggs, and several new Scotch Tunes for the Treble-Violin. To which is added the tunes of the newest French Dances, now used at Court and in Dancing Schools; London: John Playford, 1669; [http://imslp.org/wiki/Apollo%27s_Banquet_%28Playford,_John%29 Petrucci] [http://archive.org/details/apollosbanquetco01rugg Internet Archive], [http://trillian.mit.edu/~jc/music/book/Playford/AB/ JC's ABCs]

* PLAYFORD,John et al; ''The Dancing Master'', 3 Vols. A complicated and longlasting work, more detail below. See Robert M.Keller's [https://www.cdss.org/elibrary/dancing-master/Index.htm Illustrated Compendium] for images of many of the surviving editions, [http://en.wikipedia.org/wiki/The_Dancing_Master Wiki], An overview by Andew Kuntz - [http://www.ibiblio.org/fiddlers/Surviving_Playford.htm], An exhaustive collection, catalogue, and index of all dances published in editions of the Dancing Master, 1651-1728 is on Scott Pfitzinger's [http://playforddances.com/ website]

* PLAYFORD,John et al; ''The Dancing Master'',''Vol.1'' or, Directions for dancing country dances, with the tunes to each dance, for the treble-violin, ; 17 editions, London: John Playford, Henry Playford, John [[John Walsh Senior|Walsh]], 1651-1728 ; See Robert M.Keller's [https://www.cdss.org/elibrary/dancing-master/Index.htm Illustrated Compendium], vmpABCs available at [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html CGP's website], transcribed from Jeremy Barlow's book "The Complete Country Dance Tunes From Playford's Dancing Master" ; see Johan Van der Elst transcriptions of the tunes varying between editions for [https://musescore.com/user/69096/sets/5100812?fbclid=IwAR2n9dNfS81hCbqL4ozh1vDyk3e8DHAvrsasfK3A0daWt3oBiNNGq0kuvXg Musescore]; 2nd ed. 1653, The second Edition, Enlarged and Corrected from many grosse Errors which were in the former Edition [http://www.shipbrook.net/jeff/playford/index.html J.Lee's HTML version]; 10th ed.Printed by J.Heptinstall, for H.Playford,1698 [http://imslp.org/wiki/The_Dancing_Master_%28Playford,_John%29 Petrucci] [http://memory.loc.gov/cgi-bin/query/h?ammem/musdibib:@field%28NUMBER+@band%28musdi+004%29%29 Lib.Con]; 14th ed 1709 [http://imslp.org/wiki/The_Dancing_Master_%28Playford,_John%29 Petrucci] [http://archive.org/details/dancingmasterord00play Internet Archive]; 18th ed., containing 358 of the choicest old and new tunes now used at court and other publick places. The whole work rev. and done on the new-ty’d note, and much more correct than any former editions; London: Printed by W. Pearson; [S.l.] : Sold by E. Midwinter and J. Young, 1725?; [http://lccn.loc.gov/84121337 Lib.Con.ref]; There are many other editions available as PDF at the Petrucci site - beware some very large files!

* PLAYFORD,John et al; ''The Dancing Master'',''Vol.2'' or, Directions for dancing country dances, with the tunes to each dance, for the treble-violin, containing 360 of the choicest old and new tunes now used at court, and other publick places. ,See Robert M.Keller's [https://www.cdss.org/elibrary/dancing-master/Index.htm Illustrated Compendium], 1st edition probably ca.1710; London: Henry Playford; 4th ed., The whole work revised and done on the new-ty’d-note, and much more correct than any former editions; London, Printed by W. Pearson and sold by J. Young, 1728 [http://catalog.loc.gov/cgi-bin/Pwebrecon.cgi?v1=11&ti=1,11&SEQ=20121002091235&Search_Arg=the%20dancing%20master&Search_Code=GKEY^*&CNT=100&type=quick&PID=UVnCbKRvDXXDqakpD1R2pf8Aho&SID=1 Lib.Con.ref], [http://memory.loc.gov/cgi-bin/query/h?ammem/musdibib:@field%28NUMBER+@band%28musdi+233%29%29 Lib.Con], [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html vmpABCs] of Vol 2, 4th ed. complete with dance instructions

* PLAYFORD,John et al; ''The Dancing Master'',''Vol.3'' or, Directions for dancing country dances, with the tunes to each dance, for the treble-violin, , ca1713-26; London: Henry Playford, See Robert M.Keller's [https://www.cdss.org/elibrary/dancing-master/Index.htm Illustrated Compendium], [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html vmpABCs] of Vol 3, 2nd ed., complete with dance instructions

* PLAYFORD,John; ''The Delightful Companion: or, choice new lessons for the Recorder or Flute'', no date, [http://imslp.org/wiki/The_Delightful_Companion_%28Playford,_John%29 Petrucci]

* PLAYFORD,John; ''The Division Violin'': Containing A Collection of Divisions upon several Grounds for the Treble-Violin. being the first Musick of this kind made publick; 2nd edition; London:John Playford, 1685; 3rd edition London:Henry Playford, 1688; 6th edition London: John [[John Walsh Senior|Walsh]], n.d.(1705);[http://imslp.org/wiki/The_Division_Violin_%28Various%29 Petrucci] [http://nanki-ml.dmc.keio.ac.jp/N-05_11_R062/ Nanki] [http://archive.org/details/firstpartofdivis00rugg Internet Archive]

* PLAYFORD,John; ''Musick's delight on the cithren'' : restored and refined to a more easie and pleasant manner of playing than formerly ; and set forth with lessons al a mode, being the choicest of our late new ayres, corants, sarabands, tunes, and jiggs, (1666), [http://archive.org/details/musicksdelighton00ingl PDF]

* [[Preston and Son|PRESTON & Son]]; ''24 Country Dances for the Year 1791'': with proper tunes and directions to each dance as they are performed at Court, Bath, and all assemblys. London : Printed & Sold by Preston & Son, Jackson Library, Uni. of North Carolina [http://library.uncg.edu/]

* [[Preston and Son|PRESTON & Son]]; ''24 Country Dances for the Year 1792'': with proper tunes and directions to each dance as they are performed at Court, Bath, and all assemblys. London : Printed & Sold by Preston & Son; Jackson Library, Uni. of North Carolina [http://library.uncg.edu/]

* [[Preston and Son|PRESTON & Son]]; ''24 Country Dances for the Year 1793''; London, Preston; [http://www.vwml.org/browse/browse-collections-dance-tune-books/browse-prestons1793 JPGs at VWML with ABC Transcriptions], [http://trillian.mit.edu/~jc/music/book/DftY/1793/Preston/ JC's ABCs]

* PRESTON & Son; ''24 Country Dances for the Year 1794''; London, Preston; [http://www.vwml.org/browse/browse-collections-dance-tune-books/browse-prestons1794 JPGs at VWML with ABC Transcriptions], [http://trillian.mit.edu/~jc/music/book/DftY/1794/Preston/ JC's ABCs]

* PRESTON & Son; ''24 Country Dances for the Year 1796''; London, Preston; [http://www.vwml.org/browse/browse-collections-dance-tune-books/browse-prestons1796 JPGs at VWML with ABC Transcriptions], [http://trillian.mit.edu/~jc/music/book/DftY/1796/Preston/ JC's ABCs]

* PRESTON & Son; ''24 Country Dances for the Year 1798''; London, Preston; [http://www.vwml.org/browse/browse-collections-dance-tune-books/browse-prestons1798 JPGs at VWML with ABC Transcriptions], [http://trillian.mit.edu/~jc/music/book/DftY/1798/Preston/ JC's ABCs]

* PRESTON & Son; ''24 Country Dances for the Year 1799''; London, Preston; [http://www.vwml.org/browse/browse-collections-dance-tune-books/browse-prestons1799 JPGs at VWML with ABC Transcriptions], [http://trillian.mit.edu/~jc/music/book/DftY/1799/Preston/ JC's ABCs]

* PRESTON,Thos; ''24 Country Dances for the Year 1800''; London, Preston; [http://www.vwml.org/browse/browse-collections-dance-tune-books/browse-prestons1800 JPGs at VWML with ABC Transcriptions], [http://trillian.mit.edu/~jc/music/book/DftY/1800/Preston/ JC's ABCs]

* PRESTON,Thos; [[1801 Preston's Twenty Four Country Dances for the Year 1801|''24 Country Dances for the Year 1801'']]; With proper tunes and directions to each dance, as they are performed at Court, Bath and all Public Assemblies.; London, Thos Preston; Private collection;[http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html vmpABCs]

* [[Preston and Son|PRESTON,Thomas]]; ''24 Country Dances for the Year 1803'', With proper tunes and directions to each dance, as they are performed at Court, Bath and all Public Assemblies.; London, Preston & Co, 1803; [[File:Preston 24 1803.PDF]], [http://trillian.mit.edu/~jc/music/book/DftY/1803/Preston/ JC's ABCs], [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html vmpABCs]

* [[Preston and Son|PRESTON,Thomas]]; ''24 Country Dances for the Year 1804'', With proper tunes and directions to each dance, as they are performed at Court, Bath and all Public Assemblies.; London, Preston & Co, 1804; [[File:Preston 24 1804.PDF]], [http://trillian.mit.edu/~jc/music/book/DftY/1804/Preston/ JC's ABCs]

* [[Preston and Son|PRESTON,Thomas]]; ''24 Country Dances for the Year 1805'', With proper tunes and directions to each dance, as they are performed at Court, Bath and all Public Assemblies.; London, Preston & Co, 1805; [[File:Preston 24 1805.PDF]], [http://trillian.mit.edu/~jc/music/book/DftY/1805/Preston/ JC's ABCs]

* [[Preston and Son|PRESTON, & Son]]; ''New and complete tutor for the violoncello'' : wherein the present much improv'd method of fingering is clearly & fully explained, shewing by sections of the fingerboard the various modes of fingering in different keys, as used by the most eminent masters : to which is annexed for the improvement & practice of the student a selection of admired Italian, French, English, Scotch, & Irish airs : and also by permission of the patentee a drawing of the new invented patent fingerboard; London, 1785; [http://archive.org/details/newcompletetutor00lond PDF]

* PRESTON,John; ''The Compleat Tutor for the Violin'', The Entire New and Compleat Tutor for the Violin, containing the easiest and best Methods for Learners to obtain a Proficiency with some useful Directions, Lessons, Graces &c. by Geminiani. To which is added a favourite Collection of Airs, Marches, Minuets, Song Tunes &c.; London: John Preston, n.d. (ca1778); The mention of Geminiani on the title-page is little more than a lure for the buyer of this small method; there is no music by Geminiani, and only a few passages in the text can be traced back to Geminiani's Treatise on the Violin; [http://archive.org/details/entirenewcomplea00gemi PDF at IA], [http://imslp.org/wiki/The_Compleat_Tutor_for_the_Violin_%28Anonymous%29 PDF at Petrucci]

* RIDDELL, Robert; ''A Collection of Scotch, Galwegian and Border Tunes''; 1794; Although the tunes are set for fiddle and harpsichord, they include a number of variation sets and other tunes that became popular in the Northumbrian piping tradition, plus the fiddle pibroch Mackintosh's Lament; [http://www.cl.cam.ac.uk/~rja14/musicfiles/manuscripts/riddell/ PDF]

* RANDALL,William; ''24 Country Dances for the Year 1771'', With proper Tunes and Directions to each Dance as they are Performed at Court, & All Polite Assemblys Set for the Violin, German Flute or Hautboy; London Wm Randall; [http://imslp.org/wiki/24_Country_Dances_for_the_Year_1771:_Randall_%28Various%29 Petrucci], [http://trillian.mit.edu/~jc/music/book/DftY/1771/Randall/ JC's ABCs]

* RANDALL,William; ''24 Country Dances for the Year 1776'', With proper Tunes and Directions to each Dance as they are Performed at Court, & All Polite Assemblys Set for the Violin, German Flute or Hautboy; London Wm Randall; [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html vmpABCs] including dance descriptions

* RUTHERFORD ''Twelve Selected Country Dances for the Year , with figured basses for the harpsichord for the year 1772. With proper Tunes and Directions to each Dance as they are Performed at Bath,Court, & All, [http://www.vwml.org/browse/browse-collections-dance-tune-books JPGs at VWML with ABC Transcriptions] [http://folkopedia.info/images/1/15/RutherfordSelect_1772.txt ABCs as text file ]

* RUTHERFORD ''Complete Collection of 200 Country Dance''s Vol.1; London: David & John Rutherford 1756; National Library of Ireland. Dublin. JM 5745, [http://www.vwml.org/browse/browse-collections-dance-tune-books/rutherfords-compleat-vol-1 JPGs at VWML with ABC Transcriptions], vmpABCs available at [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html CGP's website]

* RUTHERFORD, John ''Complete Collection of 200 Country Dances'' Vol.2; London: David & John Rutherford 1759; National Library of Ireland. Dublin. JM 5745, [http://www.vwml.org/browse/browse-collections-dance-tune-books/rutherfords-compleat-vol-2 JPGs at VWML with ABC Transcriptions],vmpABCs available at [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html CGP's website]

* RUTHERFORD ''Complete Collection of 200 Country Dances'' Vol.3; London: David & John Rutherford 1775; National Library of Ireland. Dublin. JM 5740

* RYAN's ''Mammoth Collection of Fiddle Tunes''; Boston, Massachusetts 1884; c1000 tunes, English, Irish, Scottish and American, [http://www.melbay.com/Products/95359/ryans-mammoth-collection-of-fiddle-tunes.aspx Reprinted 1995]; [http://trillian.mit.edu/~jc/music/book/ryan-cole/ ABCs]

* [https://www.bl.uk/people/ignatius-sancho SANCHO, Ignatius]; ''Minuets Cotillons & country Dances for the Violin, Mandolin, German Flute, & Harpsichord. Composed by an African''. Published:1775, London; [https://www.bl.uk/collection-items/minuets-cotillons-and-country-dances-by-ignatius-sancho Brit. Lib], [http://trillian.mit.edu/~jc/music/book/IgnatiusSancho/ JC's ABCs]

* SHAW, Oliver; ''A Selection of Marches, Airs, Minuets, etc.'', For the gentlemen. A favourite selection of instrumental music: calculated for the use of schools and musical societies. Consisting principally of marches, airs, minuets, &c. Written chiefly in 4 parts, viz. two clarionetts, flute and basson; or two violins, flute, and violoncello. Likewise, the musical characters, with the scales, or gamuts for the several instruments, to which the music is adapted. ; Dedham, [Mass.]: H. Mann, 1807.; [http://imslp.org/wiki/A_Selection_of_Marches,_Airs,_Minuets,_etc._%28Shaw,_Oliver%29 Petrucci], [https://urresearch.rochester.edu/institutionalPublicationPublicView.action?institutionalItemId=11236&versionNumber=1 Sibley Library]

* [[John Simpson|SIMPSON,John]];J Geoghegan, ‘The Compleat Tutor For the Pastoral or New Bagpipe’, John Simpson, London (1746)

* [[Thomas Skillern|SKILLERN,Thomas]]; ''Twelve country dances & cotillons for the year 1792'': with basses and their proper figures, for the harpsichord, harp, violin, & Ger. flute : perform'd at court, Almacks, the Pantheon, &c. London : Printed for T. Skillern. Jackson Library, Uni. of North Carolina [http://library.uncg.edu/]

* [[Thomas Skillern|SKILLERN,Thomas]]; ''24 Country Dances for the Year 1780''; London, Skillern; [http://www.vwml.org/browse/browse-collections-dance-tune-books/browse-skillerns1780 JPGs at VWML with ABC Transcriptions], [http://trillian.mit.edu/~jc/music/book/DftY/1780/Skillern/ JC's ABCs]

* SKILLERN,Thomas; ''24 Country Dances for the Year 1781''; London, Skillern; [http://www.vwml.org/browse/browse-collections-dance-tune-books/browse-skillerns1781 JPGs at VWML with ABC Transcriptions], [http://trillian.mit.edu/~jc/music/book/DftY/1781/Skillern/ JC's ABCs]

* SKILLERN,Thomas; ''24 Country Dances for the Year 1782''; London, Skillern; [http://www.vwml.org/browse/browse-collections-dance-tune-books/browse-skillerns1782 JPGs at VWML with ABC Transcritions], [http://trillian.mit.edu/~jc/music/book/DftY/1782/Skillern/ JC's ABCs]

* SKILLERN,Thomas; ''24 Country Dances for the Year 1791''; with proper directions to each dance as they are performed at court, Almacks, Bath, Pantheon, and all publick assemblies. London, Skillern; Jackson Library, Uni. of North Carolina [http://library.uncg.edu/]

* SKILLERN,Thomas; ''24 Country Dances for the Year 1792''; with proper directions to each dance as they are performed at court, Almacks, Bath, Pantheon, and all publick assemblies. London, Skillern; Jackson Library, Uni. of North Carolina [http://library.uncg.edu/]

* SKILLERN,Thomas; ''24 Country Dances for the Year 1793''; with proper directions to each dance as they are performed at court, Almacks, Bath, Pantheon, and all publick assemblies. London, Skillern; Jackson Library, Uni. of North Carolina [http://library.uncg.edu/]

* SKILLERN,Thomas; ''24 Country Dances for the Year 1799''; London, Skillern; [http://www.vwml.org/browse/browse-collections-dance-tune-books/browse-skillerns1799 JPGs at VWML with ABC Transcriptions], [http://trillian.mit.edu/~jc/music/book/DftY/1799/Skillern/ JC's ABCs]

* SKILLERN,Thomas; ''Skillern's Compleat Collection of Two Hundred & Four Reels...Country Dances''; London 1780; Mitchell Library, Glasgow, Scotland,F acs

* SMART,G; ''New Collection of Favorite Country Dances, set by Monsieur Boutmont''; pub G.Smart, Oxford St. London circa 1775; 24 tunes and dances; Mitchell Library, Glasgow

* SMART,G; ''A New collection of twenty four country dances, for the year 1791'' : for the violin and Ger[ma]n flute, as they are performed at court, Bath, & all public assemblys : Jackson Library, Uni. of North Carolina [http://library.uncg.edu/]

* SMART,G; ''A New collection of twenty four country dances, for the year 1792'' : for the violin and Ger[ma]n flute, as they are performed at court, Bath, & all public assemblys : Jackson Library, Uni. of North Carolina [http://library.uncg.edu/]

* STEWART,N; ''A Select Collection of Scots, English, Irish and Foreign Airs'', Jiggs & Marches, with some of the Newest & most Fashionable Reels &c Adapted for the German Flute, Violin & Fife; Edinburgh: N. Stewart, n.d. (1784); University of Glasgow, Glasgow, Scotland; [http://imslp.org/wiki/A_Select_Collection_of_Airs,_Jigs,_Marches_and_Reels_%28Various%29 Petrucci], [http://trillian.mit.edu/~jc/music/book/Stewart/SCAJMR/ JC's ABCs]

* STRAIGHT,Thomas (Jnr); ''24 Favourite Dances for the Year 1779'', With Proper Directions to each Dance, as they are performed at Court, Bath, and all Publick Assemblys; London 1779; [http://www.vwml.org/browse/browse-collections-dance-tune-books/browse-straights1779 JPGs at VWML with ABC Transcriptions], [http://trillian.mit.edu/~jc/music/book/DftY/1779/Straight/ JC's ABCs]

* STRAIGHT,Thomas (Jnr); ''24 Favourite Dances for the Year 1783'', With Proper Directions to each Dance, as they are performed at Court, Bath, and all Publick Assemblys; London 1783; [http://www.vwml.org/browse/browse-collections-dance-tune-books/browse-straights1783 JPGs at VWML with ABC Transcriptions], [http://trillian.mit.edu/~jc/music/book/DftY/1783/Straight/ JC's ABCs]

* STRAIGHT,Thomas (Jnr); ''24 Favourite Dances for the Year 1784'', With Proper Directions to each Dance, as they are performed at Court, Bath, and all Publick Assemblys; London 1784; [http://www.vwml.org/browse/browse-collections-dance-tune-books/browse-straights1784 JPGs at VWML] (last 4 pages only), [http://trillian.mit.edu/~jc/music/book/DftY/1784/Straight/ JC's ABCs]

* [[Straight & Skillern|STRAIGHT & SKILLERN]]; ''The Caledonian Pocket Companion'', see Oswald.

* [[Straight & Skillern|STRAIGHT & SKILLERN]]; ''Minuets for the Year 1777''; London, Straight & Skillern; [http://www.vwml.org/browse/browse-collections-dance-tune-books/browse-straight1777 JPGs at VWML with ABC Transcriptions], [http://trillian.mit.edu/~jc/music/book/DftY/1777/Straight_Skillern/Minuets/ JC's ABCs]

* STRAIGHT & SKILLERN; ''204 Country Dances'' Perform'd at Court, Almacks, the Pantheon, and most Publick Assembly's, with the newest and best directions for Dancing each. Set for the Violin, German Flute and Hoboy; Vol:1.; London: Straight & Skillern, n.d. ca.1775;[http://imslp.org/wiki/204_Favourite_Country_Dances_%28Various%29 Petrucci]; [http://trillian.mit.edu/~jc/music/book/Straight_Skillern/ JC's ABCs] (with dance notation)

* STRANGE,W; London, "Musical Bouquet" periodical 1845 - 1917. Paternoster Row, London; [http://www.musicalbouquet.co.uk/home website]

* SUTHERLAND,J; ''Edinburgh Repository of Music'', Containing the most select English, Scottish & Irish Airs, Reels, Strathspeys &c. arranged for the German-Flute or Violin ; Edinburgh n.d.; [http://imslp.org/wiki/Edinburgh_Repository_of_Music_%28Various%29 Petrucci], [http://trillian.mit.edu/~jc/music/book/ERM/ JC's ABCs]

* THOMPSON; ''24 Country Dances for the Year 1762'' With proper Tunes & Directions to each Dance, as they are Perform'd at Court, Bath, & all Publick Assemblys; London Thompson; [http://www.vwml.org/browse/browse-collections-dance-tune-books/browse-thompsons1762 JPGs at VWML with ABC transcriptions], [http://trillian.mit.edu/~jc/music/book/DftY/1762/Thompson/ JC's ABCs]

* THOMPSON; ''24 Country Dances for the Year 1765'' With etc; London Thompson; [http://www.vwml.org/browse/browse-collections-dance-tune-books/browse-thompsons1765 JPGs at VWML with ABC transcriptions], [http://trillian.mit.edu/~jc/music/book/DftY/1765/Thompson/ JC's ABCs]

* THOMPSON; ''24 Country Dances for the Year 1767'' With etc; London Thompson; [http://www.vwml.org/browse/browse-collections-dance-tune-books/browse-thompsons1767 JPGs at VWML with ABC transcriptions], [http://trillian.mit.edu/~jc/music/book/DftY/1767/Thompson/ JC's ABCs]

* THOMPSON; ''24 Country Dances for the Year 1771'' With etc; London Thompson; [http://imslp.org/wiki/24_Country_Dances_for_the_Year_1771_%28Various%29 Petrucci], [http://trillian.mit.edu/~jc/music/book/DftY/1771/Thompson/ JC's ABCs]

* THOMPSON; ''24 Country Dances for the Year 1772'' With etc; London Thompson; [[File:Thompson 24 1772.PDF]], [http://trillian.mit.edu/~jc/music/book/DftY/1772/Thompson/ JC's ABCs]

* THOMPSON; ''24 Country Dances for the Year 1774'' With etc; London Thompson; [http://www.vwml.org/browse/browse-collections-dance-tune-books/browse-thompsons1774 JPGs at VWML with ABC transcriptions], [http://imslp.org/wiki/24_Country_Dances_for_the_Year_1774_%28Various%29 Petrucci], [http://trillian.mit.edu/~jc/music/book/DftY/1774/Thompson/ JC's ABCs]

* THOMPSON; ''24 Country Dances for the Year 1776'' With etc; London Thompson; [http://www.vwml.org/browse/browse-collections-dance-tune-books/browse-thompsons1776 JPGs at VWML with ABC transcriptions], [http://trillian.mit.edu/~jc/music/book/DftY/1776/Thompson/ JC's ABCs]

* THOMPSON; ''24 Country Dances for the Year 1778'' With etc; London Thompson; [http://www.vwml.org/browse/browse-collections-dance-tune-books/browse-thompsons1778 JPGs at VWML with ABC transcriptions], [http://trillian.mit.edu/~jc/music/book/DftY/1778/Thompson/ JC's ABCs]

* THOMPSON; ''24 Country Dances for the Year 1779'' With etc; London Thompson; [http://www.vwml.org/browse/browse-collections-dance-tune-books/browse-thompsons1779 JPGs at VWML with ABC transcriptions], [http://trillian.mit.edu/~jc/music/book/DftY/1779/Thompson/ JC's ABCs]

* THOMPSON; ''24 Country Dances for the Year 1780'' With etc; London Thompson; [http://www.vwml.org/browse/browse-collections-dance-tune-books/browse-thompsons1780 JPGs at VWML with ABC transcriptions], [http://trillian.mit.edu/~jc/music/book/DftY/1780/Thompson/ JC's ABCs]

* THOMPSON; ''24 Country Dances for the Year 1782'' With etc; London Thompson; [http://www.vwml.org/browse/browse-collections-dance-tune-books/browse-thompsons1782 JPGs at VWML with ABC transcriptions],[http://trillian.mit.edu/~jc/music/book/DftY/1782/Thompson/ JC's ABCs]

* THOMPSON; ''24 Country Dances for the Year 1791'' With etc; London Thompson; [http://imslp.org/wiki/24_Country_Dances_for_the_Year_1791_%28Various%29 Petrucci], [http://trillian.mit.edu/~jc/music/book/DftY/1791/Thompson/ JC's ABCs]

* THOMPSON; ''24 Country Dances for the Year 1792'' With etc; London S.A.P.Thompson; [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html vmpABCs]

* THOMPSON; ''24 Country Dances for the Year 1793'' With etc; London S.A.P.Thompson; Jackson Library, Uni. of North Carolina [http://library.uncg.edu/]

* THOMPSON; ''24 Country Dances for the Year 1796'' With etc; London Thompson; Library of Congress, Washington, DC, M1450.T45.1796 Case,Facs

* THOMPSON; ''24 Country Dances for the Year 1797'' With etc; London Thompson; Yale University Library, New Haven, CT, -M:U:S,RARE M1450 T97 1790,Facs

* THOMPSON; ''24 Country Dances for the Year 1798'' With etc; London Thompson; Library of Congress, Washington, DC, M1450 T45 1798 Case,Facs

* THOMPSON; ''24 Country Dances for the Year 1799'' With etc; London Thompson; New York Public Library, Performing Arts, New York, NY,MUS.RES.+MGS(ENGLIS

* THOMPSON; ''A Favorite Collection of Country Dances for the Year 1800'' With etc; London Thompson; Central Library, Cardiff, Wales, Facs ; item #152 in [http://digital.nls.uk/special-collections-of-printed-music/archive/102743070 Glen Collection], [http://trillian.mit.edu/~jc/music/book/DftY/1800/Thompson/ JC's ABCs]

* THOMPSON; ''24 Country Dances for the Year 1802'' With figures to each dance as they are performed at Court, Bath and all Publick Assemblys; London Thompson; [[File:Thompson 24 1802.PDF]], [http://trillian.mit.edu/~jc/music/book/DftY/1802/Thompson/ JC's ABCs]

* THOMPSON; ''24 Country Dances for the Year 1803'' Composed by Mr Gray. Adapted for the violin, german flute, obe etc., with figures; London Thompson; [[File:Thompson24 1803.PDF]], [http://archive.org/details/Thompson24CountryDancesForTheYear1803 PDF at Internet Archive], [http://imslp.org/wiki/24_Country_Dances_for_the_Year_1803:Thompson_%28Various%29#IMSLP255152 PDF at Petrucci], [http://trillian.mit.edu/~jc/music/book/DftY/1803/Gray_Thompson/ JC's ABCs]

* THOMPSON; ''24 Country Dances for the Year 1804'' With etc; London Thompson; [[File:Thompson24 1804.PDF]], [http://trillian.mit.edu/~jc/music/book/DftY/1804/Thompson/ JC's ABCs]

* THOMPSON; ''24 Country Dances for the Year 1805'' With etc; London Thompson; [[File:Thompson 24 1805.PDF]], [http://trillian.mit.edu/~jc/music/book/DftY/1805/Thompson/ JC's ABCs]

* THOMPSON; ''24 Country Dances for the Year 1805'' Composed by Mr Gray. Adapted for the violin, german flute, obe etc., with figures; London Thompson; [[File:ThompsGray 24 1805.PDF]], [http://trillian.mit.edu/~jc/music/book/DftY/1805/Gray_Thompson/ JC's ABCs]

* THOMPSON; ''Collection of Quick Marches'' with Basses, as perform'd by the Guards, Light Horse, and other Regiments, collected by Captn. Robert Hinde ... adapted for the German Flute, Violin, or Hoboy, and Piano Forte; London: C. & S. Thompson, n.d.(between 1764-1776); [http://imslp.org/wiki/Thompson%27s_Collection_of_Quick_Marches_with_Basses_%28Various%29 Petrucci]

* THOMPSON; ''Compleat Collection of 120 Favorite Hornpipes''; London; C & S Thompson n.d.(between 1764-1776), [http://www.amazon.co.uk/Thompsons-compleat-collection-favourite-hornpipes/dp/1170968783 Amazon]; [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html vmpABCs]

* THOMPSON; ''Compleat Collection of Country Dance Tunes'' Vol.1; London: Peter Thompson 1751-57; Bodleian Library (Oxford)..VWML.QS 35.4 2291; [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html]; [http://www.village-music-project.org.uk/pcroom.htm PDF] of transcription

* THOMPSON; ''Compleat Collection of Country Dance Tunes'' Vol.2; London: Thompson 1758-64; Bodleian Library (Oxford).VWMLQS 35.4 2274; [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html vmpABCs], [http://www.village-music-project.org.uk/pcroom.htm PDF] of transcription

* THOMPSON; ''Compleat Collection of Country Dance Tunes'' Vol.3; London: Thompson 1765-72; Bodleian Library (Oxford).Forbes Library. NorthamptonMA. V4DF.T37MA; [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html vmpABCs], [http://www.village-music-project.org.uk/pcroom.htm PDF] of transcription

* THOMPSON; ''Compleat Collection of Country Dance Tunes'' Vol.4; London: Thompson 1773-80; Bodleian Library (Oxford).British Library. a.223.g; [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html vmpABCs], [http://www.village-music-project.org.uk/pcroom.htm PDF] of transcription

* THOMPSON; ''Compleat Collection of Country Dance Tunes'' Vol.5; London: Thompson 1788; Bodleian Library (Oxford).Harding Mus 229.e.8; [http://www.amazon.co.uk/Thompson-Revisited-Boyd-Rothenberger/dp/1419663011/ref=sr_1_1?s=books&ie=UTF8&qid=1370523368&sr=1-1&keywords=thompson+revisited Thompson Revisited] A reprint (2007), revision and translation of 'Thompson's Compleat Collection of 200 Favourite Country Dances' Volume 5, published in London, England in 1789. Containing music and dance instruction for all 200 dances covering the years 1781 through 1788.

* THOMPSON; ''Compleat Collection of Country Dance Tunes'' Vol.6; London: Thompson n.d.; assumed to have existed!

* THOMPSON,C&S; ''Twelve Minuets & Twelve (country) Dances'' 'for a Violin, Hautboy and Harpsichord composed by Michael Dabney of Northampton' (later spelt Dobney) ; London: C&S Thompson n.d.(between 1764-1776); [http://imslp.org/wiki/12_Minuets_and_12_Dances_%28Dobney,_Michael%29 Petrucci], [http://trillian.mit.edu/~jc/music/book/ JC's ABCs]

* THOMPSON,C&S; ''Third Collection of Quick Marches with Basses''; adapted for German Flute, violin, or hoboy; 1775; item #399, [http://digital.nls.uk/special-collections-of-printed-music/archive/87814786 Glen Collection]

* THOMPSON; ''Forty Eight English, Irish and Scotch Airs with Variations'' by Burke Thumoth; London Thompson, Samuel, Ann and Peter, n.d. (between 1780-92); British Library, London, England,:E.341.:A,Facs

* THOMPSON; ''The Hibernian Muse''; London Thompson, Samuel, Ann and Peter, n.d. (between 1780-92); [http://trillian.mit.edu/~jc/music/book/ JC's ABCs]

* THOMSON; ''Collection of the Songs of Burns'', Sir Walter Scott Bart. and other eminent lyric Poets Ancient & Modern united to the Select Melodies of Scotland, and of Ireland & Wales with Symphonies & Accompaniments for the Piano Forte by Pleyel, Haydn, Beethoven &c. the whole composed for & collected by George Thomson; London: Preston & co, c.1822-1825; [http://imslp.org/wiki/Thomson%27s_Select_Melodies_of_Scotland,_Ireland_and_Wales_%28Various%29 Petrucci]

* THUMOTH,Burke; ''Forty Eight English, Irish and Scotch Airs with Variations'' see Thompson.

* TOPLIFF,Robert; ''Selection of the Most Popular Melodies of the Tyne and the Wear'' consisting of 24 original airs peculiar to the counties of Durham and Northumberland, three of which are harmonized with appropriate words, symphonies and accompaniments and the remainder variously arranged for the piano forte; London Holborn Topliff, 1815; [http://www.farnearchive.com/ Farne]

* URBANI & LISTON; ''A Selection of Scotch, English, Irish and Foreign Airs''; Edinburgh for U&L, ca1800, [http://www.vwml.org/browse/browse-collections-dance-tune-books/browse-urbani1800 JPGs at VWML] (with many missing pages), [http://trillian.mit.edu/~jc/music/book/Urbani_Liston/1800/ JC's ABCs]

* [[John Walsh Senior|WALSH]],John & JOHNSON.J; ''Caledonian Country Dances'' with a Thorough Bass for the Harpsicord, Being a Collection of all the Celebrated Scotch and English Country Dances now in Vogue, with Proper Directions to each Dance. Perform'd at Court, and Publick Entertainments. For the Harpsicord, Violin, Hoboy, or German Flute; London. This collection is hardly more 'Caledonian' than other ordinary collections, containing much the same selection. First published by J.Walsh and then by J.Johnson, early 18thC; Bk1- 1731, 2nd ed.- 1735, 3rd ed.-1737; Bk2-ca1736, 1737; Bk3- ca1740; Bk4- ca1744, 2nd. ed.- ca1745. (List in Gore's SFMI. W3: = book 5 of above, or also called Vol. 2, part 1.) [http://imslp.org/wiki/Caledonian_Country_Dances_with_a_Thorough_Bass_%28Various%29 Petrucci] [http://archive.org/details/acompositemusicv01rugg Internet Archive], [http://archive.org/details/caledoniancountr00ingl Internet Archive], [http://trillian.mit.edu/~jc/music/book/JohnWalsh/ JC's ABCs]

* WALSH; ''Composite Music Volume''. This item, number 108 in the Glen Collection, contains some Caledonian Country Dances (distinctly un-Caledonian!) and also an unidentified small volume. [http://digital.nls.uk/special-collections-of-printed-music/archive/90246498]

* WALSH; ''The Celebrated Comic Tunes to the Opera Dances as Perform'd at the King's Theatre in the Hay Market.'' To which is added several of the most Celebrated Dances perform'd at both Theatres by Sigr. Sodi, Sigr. Auretti, &c. Never before Printed. For the Harpsicord, Violin, or German Flute. Compos'd by the most Eminent Italian Authors. London, J.Walsh, n.d.(18thC); [http://imslp.org/wiki/The_Celebrated_Comic_Tunes_to_the_Opera_and_Theatre_Dances_%28Various%29 PDF at Petrucci], [http://archive.org/details/celebratedcomict00hass PDF at Internet Archive]

* [[John Walsh Senior|WALSH]],John; ''The Compleat Country Dancing-Master''; The 1718/9 editions (called here Series1) were "issued in the precise style of the later copies of Playford's ' Dancing Master ' ; the contents in fact were almost identical to, and no doubt intended to intercept the sale of, the original," F.Kidson; Beginning again in 1731, Walsh issued a set of country dance books with 300 dances, two to a page(called here Series2). In the 1740s he started a new series of 204 dances, reusing many of the older plates in new sequences (called here Series3). He advertised the 6-book set in 1754. A fuller explanation is here at [http://www.colonialdancing.org/Easmes/Index.htm EASMES]. This is a complicated and confusing series consisting of books, volumes, editions etc, briefly something like as follows...(and I know for sure there are inconsistences in this list, which I will gradually eliminate)

** series1,vol.1; 1718 Particularly those perform'd at the several Masquerades; 364 tunes; London; British Library. a.4.(1); Library of Congress, Washington, DC, M1450.A2C7 Case,Facs

** series1,vol.2; 1719; The Second Book of the Compleat Country Dancing Master-(different from Playford Vol 2nd), 376 tunes; London; British Library. a.4.(2.); Library of Congress, Washington, DC, M1450.A2C7 Case,Facs

** series2,vol.1; 1731 ed; 300 tunes; London; British Library. a.4.a; Same as the following? 1735ed; 300 tunes; London; British Library. a.4.d;1760ed; Same as the following? 300 tunes; London; Birmingham University Library. Shaw-Hellier 279

** series2,vol.2; 1736; 3rd Ed? ; London; Birmingham University Library. Shaw-Hellier 280; Same as the following? The Second Book of the Compleat Country Dancing Master; The British Library, London, England, O:XU,MUS.5373,Facs

** series2,vol.3; 1735; The Third Book of the Compleat Country Dancing-Master; 3rd book of..300 tunes; London; X-Conant(?)

** series2,vol.4; Fourth Book of the Compleat Country Dancing-Master(ed); 204 tunes; Bodleian Library, Oxford, England, MUS.5374,Facs

** series3,vol.1; n.d.ca.1740; This edition is called 4th ed. on the first frontispiece and the book called Volume the Fourth on the next, then at the end of the volume it says End of the First Volume, illustrating the difficulties underlying the whole set; Being a Collection of all the Celebrated Country Dances now in Vogue. Perform'd at Court, the Theatres, Masquerades, and Publick Balls With Proper Tunes and Directions to each Dance. The Tunes fitted for the Violin, Hoboy, or German Flute; London: John Walsh, 204 tunes; This volume re-uses many old plates with the tunes crudely re-numbered; University of Birmingham. Shaw-Hellier, 279. Smith and Humphries, 514; This and the following volume can be found bound together in - 18thC collections online Newcastle Uni.; [http://imslp.org/wiki/The_Compleat_Country_Dancing-Master_%28Various%29 Petrucci], [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html vmpABC file] by Peter Dunk

** series3,vol.2; 1749; The Second Book of the Compleat Country Dancing-Master, Containing Great variety of dances, both Old and New, Particularly those performed at the several Masquerades, together with all the Choicest and most Noted Country Dances, the Third Edition; 204 tunes; This volume re-uses many old plates with the tunes crudely re-numbered; University of Birmingham. Shaw-Hellier, 280. Smith and Humphries 514 ;This and the preceding volume can be found bound together in - 18thC collections online Newcastle Uni.; [http://imslp.org/wiki/The_Compleat_Country_Dancing-Master_%28Various%29 Petrucci]; [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html vmpABC file] by Peter Dunk

** series3,vol.3; 1749; 204 tunes; London;University of Birmingham. Shaw-Hellier, 281. Smith and Humphries 514 ;

** series3,vol.3; (1755ed.); 202 tunes; London; Birmingham University Library. Shaw-Hellier 282;

** series3,vol.4 1747; 204 tunes; London; University of Birmingham. S-H, 282. S-H, 514. Missing pgs. from Bodleian; National Library of Ireland. Dublin. JM6078 (1755ed.)

** series3,vol.5; 1754; 204 tunes; London; British Library. a.9.w; University of Birmingham. Shaw-Hellier, 283. Smith and Humphries, 514

** series3,vol.6; 1756; 204 tunes; London; University of Birmingham. Shaw-Hellier, 284. Smith and Humphries, 514 ; [http://www.village-music-project.org.uk/pcroom.htm PDF of Paul Tennant's transcription] and [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html vmpABC file] by Peter Dunk

* WALSH; ''The New Country Dancing Master'' 2nd Book 1710; London, Walsh, I. and P. Randall; 155 tunes; Sandeman Public Library, Perth, Scotland. Smith, 372; Dated from advertisement in "The Tatler", Nov. 14-16, 1710. "The First and Second Volumes of the New Country Dancing-Master are reprinted."

* WALSH; ''The New Country Dancing Master'' 3rd Book 1728; London, Walsh, I. and Ioseph Hare; 160 tunes; The British Library a.8. Smith and Humphries 515

* [[John Walsh Senior|WALSH]],John; ''Country Dances Selected'' As Perform'd at Court and all Publick Assemblies and Entertainments. For the Harpsicord, Violin, German Flute, or Hoboy. with proper Directions to each Dance. 2 Vols, 74pp; London: John Walsh, n.d.ca1748; [http://imslp.org/wiki/Country_Dances_Selected_%28Various%29 Petrucci] [http://archive.org/details/acompositemusicv01rugg etc.Internet Archive], [http://trillian.mit.edu/~jc/music/book/JohnWalsh/ JC's ABCs]

* [[John Walsh Senior|WALSH]],John; Some Walsh collections are being ABC'd by John Chambers [http://trillian.mit.edu/~jc/music/book/JohnWalsh/ here]

* [[John Walsh Senior|WALSH]],John; ''Third Book of the Most Celebrated Jiggs, Lancashire Hornpipes'', 'The Third Book of the most celebrated jiggs, Lancashire hornpipes, Scotch and Highland lilts, Northern frisks, Morris's and Cheshire rounds with hornpipes the bagpipe manner, to which is added the Black Joak, the White Joak, the Brown,, the Red, and the Yellow Joaks. With variety of whims and fancies of diff'rent humour, fitted to the genious of publick performers.'; London, 1730; republished as part of Three Extraordinary Collections, Early 18th century dance music for those who play publick; Pete Stewart; [http://www.hornpipemusic.co.uk/3xcolls.html Hornpipe Music], Pencaitland, 2007; A review on [http://www.mustrad.org.uk/reviews/3hpe_col.htm Mustrad], Pete has made [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html vmpABCs] available

* WATLEN,John; ''The Celebrated Circus Tunes Perform'd at Edinburgh this Season'', With The Addition of Some New Reels and Strathspeys Set For The Piano Forte or Violin and Bass [cello] by John Watlen; Edinburgh: for the Author, n.d. (ca.1790); [http://imslp.org/wiki/The_Celebrated_Circus_Tunes_Perform%27d_at_Edinburgh_%28Various%29 Petrucci]

* [[Thomas Westrop|WESTROP,Thomas]]; ''120 Country Dances, Jigs, Reels, Hornpipes, etc''. for the Violin; unknown publisher, ca.1900; [http://imslp.org/wiki/T._Westrop%27s_120_Country_Dances,_Jigs,_Reels,_Hornpipes,_etc._%28Various%29 Petrucci] [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html vmpABCs]

* WHITE, Jean; ''100 Popular Hornpipes, Reels, Jigs and Country Dances for Violin'; Boston: Jean White, 1880; [http://www.loc.gov/item/sm1880.09124/ Facsimile] at Library of Congress, [http://trillian.mit.edu/~jc/music/book/JeanWhite/100_Popular_HRJCD/ JC's ABCs]

* WILSON,Thomas; ''A Companion to the Ball Room'', containing a choice collection of the most Original and Admired Country Dances, Reels, Hornpipes, Waltzes, and Quadrills, &c &c with appropriate Figures to Each. The Etiquette and a Dissertation on the State of the Ball Room; London: D. Mackay, n.d. (ca.1816); [http://imslp.org/wiki/A_Companion_to_the_Ball_Room_%28Wilson,_Thomas%29 Petrucci] [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html vmpABCs]

* [[Daniel Wright|WRIGHT,D]]; ''Extraordinary Collection of Pleasant and Merry Humours'','An Extraordinary collection of pleasant and merry humours never before published containing hornpipes, jiggs, North Country Frisks, Morris's,Bagpipe hornpipes, & rounds with severall additonal fancis added, fit for all those that play publick'; London 1713; republished as Three Extraordinary Collections, Early 18th century dance music for those who play publick; ; Pete Stewart; [http://www.hornpipemusic.co.uk/3xcolls.html Hornpipe Music], Pencaitland, 2007; A review on [http://www.mustrad.org.uk/reviews/3hpe_col.htm Mustrad], Pete has made [http://www.cpartington.plus.com/Links/ChrisPartingtonsLinksPage.html vmpABCs] available

* [[Daniel Wright|WRIGHT,D]]; ''Compleat Collection of (200) Celebrated Country Dances''; Both old and new that are in vogue, with the newest and best directions to each dance, the whole carefully corrected; Vol 1; London Printed for J.Johnson n.d.(c1740); Mitchell LibM9114; New York Public Library [http://www.vwml.org/browse/browse-collections-dance-tune-books/browse-wrights JPGs at VWML with ABC transcriptions] [http://trillian.mit.edu/~jc/music/book/DanielWright/CCCCD/ JC's ABCs],

* [[Daniel Wright|WRIGHT,D]]; ''Compleat Collection of (200) Celebrated Country Dances''; Both old and new that are in vogue, with the newest and best directions to each dance, the whole carefully corrected; Vol.2; London: 1742; Mitchell LibM9115-fax,

'''The Great Agricultural Depression c.1870-1914'''

2021-02-07T10:38:41Z

Anahata:

For a paper that puts this topic into a wider context see here [[http://folkopedia.info/images/d/db/Decline_of_Modal_Melodies.pdf Decline of Modal Melodies]]

The great collectors before World War I were driven on by a sense of urgency. The members of the Folk Song Society realized that the time was short, and that vigorous efforts at rescue archaeology were needed if the old folk songs were not to be lost forever. The ''Prospectus of the Folk Song Society'', referring to “folk songs, ballads and tunes,” remarked that “great numbers of these exist which have not been noted down, and which therefore are in danger of being lost.” [June 1908. Folk-Lore 19 (2): 147-8 (147).]

The Society’s ''Leaflet Issued to Clergy'' continued the theme: “We need hardly point out the historical and antiquarian importance of folk songs, but, in addition to this, their intrinsic musical beauty makes it imperative that they should be preserved. You would do a great national service by helping our search.” [June 1908. Folk-Lore 19 (2): 150-152 (151).]

In the Preface to ''English County Songs'' Lucy Broadwood and JA Fuller Maitland wrote:

In all parts of the country, the difficulty of getting the old-fashioned songs out of the people is steadily on the increase, and those who would undertake the task of collecting them ...should lose no time in setting to work. In almost every district, the editors have heard tantalizing rumours of songs that ‘Old So-and-So used to sing, who died a year or two back.’

Fuller Maitland, speaking of Lucy Broadwood, affirmed:

I well remember various experiences in her company, and the fearful job we had to take down these songs, both of us working with pen and pencil as hard as we could go. But it always strikes me that they are in such dreadful danger of disappearing altogether. We hear them always from the very old people in the villages. ...These old people are the great source of folk song; and they are dying out fast! We do not know how many songs we have lost. ...It is like a sort of race against time. ...It does behove everybody to do all they possibly can. [Broadwood, Lucy E. March 1905. “On the Collecting of English Folk Song.” Proceedings of the Royal Musical Association 31: 89-109. Fuller Maitland’s comments, which came in the discussion after Lucy Broadwood had delivered her paper, are on page 108.]

The theme was continued by Cecil Sharp in his ''One Hundred English Folk-Songs'' {1916). All were agreed that England’s traditional rural society was dying.

Since before the middle of the eighteenth century rural England had been going through a long process of change and depopulation. Oliver Goldsmith’s poem The Deserted Village was published in 1770 at the time of the so-called Enclosure Acts. These Acts, promoted by the landed classes, privatised common land and ended public rights to graze animals on it. You can read the poem here: [https://www.poetryfoundation.org/poems/44292/the-deserted-village]

These are two of its more well-known couplets:

Ill fares the land, to hastening ills a prey, 
Where wealth accumulates, and men decay. 
 
But a bold peasantry, their country's pride, 
When once destroyed, can never be supplied. 
 
The ills enumerated by the poet include extensive non-cultivated park lands attached to country mansions, abandoned farmsteads, a tavern defunct, the parson and schoolmaster gone, and the former inhabitants lost to the towns, cities and colonies. For a fuller analysis go here[https://en.wikipedia.org/wiki/The_Deserted_Village]

The poem gives an overly romanticised and sanguine account of life in the old village, but it graphically illustrates a phenomenon that went on to destroy both rural society and the rural culture that produced our old folk songs.

The Great Agricultural Depression started in the early 1870s, and, in conjunction with associated factors such as the mechanisation of agriculture, it had, by 1914, largely completed the destruction of the rural society from which our traditional folk songs sprang.

At the end of the Napoleonic Wars in 1815 influential landed interests were responsible for the passing of the Corn Laws. These imposed high tariffs on imported grain to protect British farming from foreign competition. By the 1830s, however, industrial interests, given added influence by the Great Reform Act of 1832, argued for the repeal of the Corn Laws. The Anti-Corn Law League, headed by John Bright and Richard Cobden, conducted an escalating campaign. In 1846, at the height of the Irish potato famine, the Corn Laws were repealed by the Conservative government of Robert Peel.

This was seen by landed interest Tories as a betrayal and, with Benjamin Disraeli as their most effective spokesman, they brought down Peel’s Conservative administration and ushered in a further period of Whig or Liberal rule.

Landed interests feared that the repeal of the Corn Laws would lead to a flood of cheap food imports. In the short term this did not occur. However, by the early 1870s the development of steam ships and locomotives, especially the building of large steam powered merchant ships, and the construction of transcontinental railways in Canada and the USA, opened up Britain to a flood of agricultural imports, particularly of grain, the staple crop of British farmers. Arable farming suffered a severe decline that lasted until the onset of the First World War and was exacerbated after 1900 when newly invented petrol driven tractors led to massively increased outputs of grain from Canada, the USA, and other countries that had a lot of land and a shortage of labour. The free trade orthodoxy of the British Liberal Party was challenged in the 1906 General Election by the Conservative and Unionist parties, fronted by Joseph Chamberlain. They argued for Imperial preference and for fair trade not free trade. The Liberals, however, with their images of the Big Loaf of free trade as against the Small Loaf of protectionism, won a large parliamentary majority.

The agricultural depression that began around the time of the 1870s has generated a large literature that cannot be adequately summarised or discussed here. The Wikipedia article entitled “Great Depression of British Agriculture” is currently (November 2018) rather brief and inadequate but it cites useful scholarly sources. An old (1937) but still valid treatment can be found in R.C.K. Ensor’s England 1870-1914, a classic text that is now freely downloadable as PDF images from the Internet Archive. Ensor summarises what he refers to [p. 115] as “the disaster to agriculture” from 1870 to 1886. He concludes that “the motto over the door of Dante’s Inferno might have been truthfully posted at the entrance of a typical English village” [p. 118]. (The motto, of course, “Abandon hope all ye who enter here.”) Then, in the period from 1886 to 1900, continues Ensor [p. 284], “agriculture was ruined a second time over.” Wheat prices plummeted still further and by 1900 the acreage under wheat was little more than half what it had been in 1870. In the early 1890s a Royal Commission on Agriculture generated useful data for the historian but did nothing to solve the problems. In the period from 1901 to 1914 some sectors of agriculture, such, for example, as the rearing of livestock on imported grain, flourished; but agriculture’s percentage share of GDP kept on falling as the industrial revolution continued apace, embracing new technologies and new industries. The rural areas were depopulated and towns and cities grew rapidly. By 1914, concludes Ensor [p. 513],

Farming had ceased to be of any real consequence in the life of the nation, and the days (still so recent) when a good or bad harvest meant a good or bad season for trade in general seemed as dead as Queen Anne.

Ensor might have added that English folk song, lauded by Cecil Sharp, in ''English Folk Song: Some Conclusions,'' as "a great peasant art," in its original and traditional manifestation, also died with the society that had produced and supported it.

'''The Great Agricultural Depression c.1870-1914'''

2021-02-07T10:38:22Z

Anahata:

For a paper that puts this topic into a wider context see here [[http://folkopedia.info/images/d/db/Decline_of_Modal_Melodies.pdf|Decline of Modal Melodies]]

The great collectors before World War I were driven on by a sense of urgency. The members of the Folk Song Society realized that the time was short, and that vigorous efforts at rescue archaeology were needed if the old folk songs were not to be lost forever. The ''Prospectus of the Folk Song Society'', referring to “folk songs, ballads and tunes,” remarked that “great numbers of these exist which have not been noted down, and which therefore are in danger of being lost.” [June 1908. Folk-Lore 19 (2): 147-8 (147).]

The Society’s ''Leaflet Issued to Clergy'' continued the theme: “We need hardly point out the historical and antiquarian importance of folk songs, but, in addition to this, their intrinsic musical beauty makes it imperative that they should be preserved. You would do a great national service by helping our search.” [June 1908. Folk-Lore 19 (2): 150-152 (151).]

In the Preface to ''English County Songs'' Lucy Broadwood and JA Fuller Maitland wrote:

In all parts of the country, the difficulty of getting the old-fashioned songs out of the people is steadily on the increase, and those who would undertake the task of collecting them ...should lose no time in setting to work. In almost every district, the editors have heard tantalizing rumours of songs that ‘Old So-and-So used to sing, who died a year or two back.’

Fuller Maitland, speaking of Lucy Broadwood, affirmed:

I well remember various experiences in her company, and the fearful job we had to take down these songs, both of us working with pen and pencil as hard as we could go. But it always strikes me that they are in such dreadful danger of disappearing altogether. We hear them always from the very old people in the villages. ...These old people are the great source of folk song; and they are dying out fast! We do not know how many songs we have lost. ...It is like a sort of race against time. ...It does behove everybody to do all they possibly can. [Broadwood, Lucy E. March 1905. “On the Collecting of English Folk Song.” Proceedings of the Royal Musical Association 31: 89-109. Fuller Maitland’s comments, which came in the discussion after Lucy Broadwood had delivered her paper, are on page 108.]

The theme was continued by Cecil Sharp in his ''One Hundred English Folk-Songs'' {1916). All were agreed that England’s traditional rural society was dying.

Since before the middle of the eighteenth century rural England had been going through a long process of change and depopulation. Oliver Goldsmith’s poem The Deserted Village was published in 1770 at the time of the so-called Enclosure Acts. These Acts, promoted by the landed classes, privatised common land and ended public rights to graze animals on it. You can read the poem here: [https://www.poetryfoundation.org/poems/44292/the-deserted-village]

These are two of its more well-known couplets:

Ill fares the land, to hastening ills a prey, 
Where wealth accumulates, and men decay. 
 
But a bold peasantry, their country's pride, 
When once destroyed, can never be supplied. 
 
The ills enumerated by the poet include extensive non-cultivated park lands attached to country mansions, abandoned farmsteads, a tavern defunct, the parson and schoolmaster gone, and the former inhabitants lost to the towns, cities and colonies. For a fuller analysis go here[https://en.wikipedia.org/wiki/The_Deserted_Village]

The poem gives an overly romanticised and sanguine account of life in the old village, but it graphically illustrates a phenomenon that went on to destroy both rural society and the rural culture that produced our old folk songs.

The Great Agricultural Depression started in the early 1870s, and, in conjunction with associated factors such as the mechanisation of agriculture, it had, by 1914, largely completed the destruction of the rural society from which our traditional folk songs sprang.

At the end of the Napoleonic Wars in 1815 influential landed interests were responsible for the passing of the Corn Laws. These imposed high tariffs on imported grain to protect British farming from foreign competition. By the 1830s, however, industrial interests, given added influence by the Great Reform Act of 1832, argued for the repeal of the Corn Laws. The Anti-Corn Law League, headed by John Bright and Richard Cobden, conducted an escalating campaign. In 1846, at the height of the Irish potato famine, the Corn Laws were repealed by the Conservative government of Robert Peel.

This was seen by landed interest Tories as a betrayal and, with Benjamin Disraeli as their most effective spokesman, they brought down Peel’s Conservative administration and ushered in a further period of Whig or Liberal rule.

Landed interests feared that the repeal of the Corn Laws would lead to a flood of cheap food imports. In the short term this did not occur. However, by the early 1870s the development of steam ships and locomotives, especially the building of large steam powered merchant ships, and the construction of transcontinental railways in Canada and the USA, opened up Britain to a flood of agricultural imports, particularly of grain, the staple crop of British farmers. Arable farming suffered a severe decline that lasted until the onset of the First World War and was exacerbated after 1900 when newly invented petrol driven tractors led to massively increased outputs of grain from Canada, the USA, and other countries that had a lot of land and a shortage of labour. The free trade orthodoxy of the British Liberal Party was challenged in the 1906 General Election by the Conservative and Unionist parties, fronted by Joseph Chamberlain. They argued for Imperial preference and for fair trade not free trade. The Liberals, however, with their images of the Big Loaf of free trade as against the Small Loaf of protectionism, won a large parliamentary majority.

The agricultural depression that began around the time of the 1870s has generated a large literature that cannot be adequately summarised or discussed here. The Wikipedia article entitled “Great Depression of British Agriculture” is currently (November 2018) rather brief and inadequate but it cites useful scholarly sources. An old (1937) but still valid treatment can be found in R.C.K. Ensor’s England 1870-1914, a classic text that is now freely downloadable as PDF images from the Internet Archive. Ensor summarises what he refers to [p. 115] as “the disaster to agriculture” from 1870 to 1886. He concludes that “the motto over the door of Dante’s Inferno might have been truthfully posted at the entrance of a typical English village” [p. 118]. (The motto, of course, “Abandon hope all ye who enter here.”) Then, in the period from 1886 to 1900, continues Ensor [p. 284], “agriculture was ruined a second time over.” Wheat prices plummeted still further and by 1900 the acreage under wheat was little more than half what it had been in 1870. In the early 1890s a Royal Commission on Agriculture generated useful data for the historian but did nothing to solve the problems. In the period from 1901 to 1914 some sectors of agriculture, such, for example, as the rearing of livestock on imported grain, flourished; but agriculture’s percentage share of GDP kept on falling as the industrial revolution continued apace, embracing new technologies and new industries. The rural areas were depopulated and towns and cities grew rapidly. By 1914, concludes Ensor [p. 513],

Farming had ceased to be of any real consequence in the life of the nation, and the days (still so recent) when a good or bad harvest meant a good or bad season for trade in general seemed as dead as Queen Anne.

Ensor might have added that English folk song, lauded by Cecil Sharp, in ''English Folk Song: Some Conclusions,'' as "a great peasant art," in its original and traditional manifestation, also died with the society that had produced and supported it.

'''The Great Agricultural Depression c.1870-1914'''

2021-02-07T10:37:39Z

Anahata:

For a paper that puts this topic into a wider context see here [[http://folkopedia.info/images/d/db/Decline_of_Modal_Melodies.pdf]]

The great collectors before World War I were driven on by a sense of urgency. The members of the Folk Song Society realized that the time was short, and that vigorous efforts at rescue archaeology were needed if the old folk songs were not to be lost forever. The ''Prospectus of the Folk Song Society'', referring to “folk songs, ballads and tunes,” remarked that “great numbers of these exist which have not been noted down, and which therefore are in danger of being lost.” [June 1908. Folk-Lore 19 (2): 147-8 (147).]

The Society’s ''Leaflet Issued to Clergy'' continued the theme: “We need hardly point out the historical and antiquarian importance of folk songs, but, in addition to this, their intrinsic musical beauty makes it imperative that they should be preserved. You would do a great national service by helping our search.” [June 1908. Folk-Lore 19 (2): 150-152 (151).]

In the Preface to ''English County Songs'' Lucy Broadwood and JA Fuller Maitland wrote:

In all parts of the country, the difficulty of getting the old-fashioned songs out of the people is steadily on the increase, and those who would undertake the task of collecting them ...should lose no time in setting to work. In almost every district, the editors have heard tantalizing rumours of songs that ‘Old So-and-So used to sing, who died a year or two back.’

Fuller Maitland, speaking of Lucy Broadwood, affirmed:

I well remember various experiences in her company, and the fearful job we had to take down these songs, both of us working with pen and pencil as hard as we could go. But it always strikes me that they are in such dreadful danger of disappearing altogether. We hear them always from the very old people in the villages. ...These old people are the great source of folk song; and they are dying out fast! We do not know how many songs we have lost. ...It is like a sort of race against time. ...It does behove everybody to do all they possibly can. [Broadwood, Lucy E. March 1905. “On the Collecting of English Folk Song.” Proceedings of the Royal Musical Association 31: 89-109. Fuller Maitland’s comments, which came in the discussion after Lucy Broadwood had delivered her paper, are on page 108.]

The theme was continued by Cecil Sharp in his ''One Hundred English Folk-Songs'' {1916). All were agreed that England’s traditional rural society was dying.

Since before the middle of the eighteenth century rural England had been going through a long process of change and depopulation. Oliver Goldsmith’s poem The Deserted Village was published in 1770 at the time of the so-called Enclosure Acts. These Acts, promoted by the landed classes, privatised common land and ended public rights to graze animals on it. You can read the poem here: [https://www.poetryfoundation.org/poems/44292/the-deserted-village]

These are two of its more well-known couplets:

Ill fares the land, to hastening ills a prey, 
Where wealth accumulates, and men decay. 
 
But a bold peasantry, their country's pride, 
When once destroyed, can never be supplied. 
 
The ills enumerated by the poet include extensive non-cultivated park lands attached to country mansions, abandoned farmsteads, a tavern defunct, the parson and schoolmaster gone, and the former inhabitants lost to the towns, cities and colonies. For a fuller analysis go here[https://en.wikipedia.org/wiki/The_Deserted_Village]

The poem gives an overly romanticised and sanguine account of life in the old village, but it graphically illustrates a phenomenon that went on to destroy both rural society and the rural culture that produced our old folk songs.

The Great Agricultural Depression started in the early 1870s, and, in conjunction with associated factors such as the mechanisation of agriculture, it had, by 1914, largely completed the destruction of the rural society from which our traditional folk songs sprang.

At the end of the Napoleonic Wars in 1815 influential landed interests were responsible for the passing of the Corn Laws. These imposed high tariffs on imported grain to protect British farming from foreign competition. By the 1830s, however, industrial interests, given added influence by the Great Reform Act of 1832, argued for the repeal of the Corn Laws. The Anti-Corn Law League, headed by John Bright and Richard Cobden, conducted an escalating campaign. In 1846, at the height of the Irish potato famine, the Corn Laws were repealed by the Conservative government of Robert Peel.

This was seen by landed interest Tories as a betrayal and, with Benjamin Disraeli as their most effective spokesman, they brought down Peel’s Conservative administration and ushered in a further period of Whig or Liberal rule.

Landed interests feared that the repeal of the Corn Laws would lead to a flood of cheap food imports. In the short term this did not occur. However, by the early 1870s the development of steam ships and locomotives, especially the building of large steam powered merchant ships, and the construction of transcontinental railways in Canada and the USA, opened up Britain to a flood of agricultural imports, particularly of grain, the staple crop of British farmers. Arable farming suffered a severe decline that lasted until the onset of the First World War and was exacerbated after 1900 when newly invented petrol driven tractors led to massively increased outputs of grain from Canada, the USA, and other countries that had a lot of land and a shortage of labour. The free trade orthodoxy of the British Liberal Party was challenged in the 1906 General Election by the Conservative and Unionist parties, fronted by Joseph Chamberlain. They argued for Imperial preference and for fair trade not free trade. The Liberals, however, with their images of the Big Loaf of free trade as against the Small Loaf of protectionism, won a large parliamentary majority.

The agricultural depression that began around the time of the 1870s has generated a large literature that cannot be adequately summarised or discussed here. The Wikipedia article entitled “Great Depression of British Agriculture” is currently (November 2018) rather brief and inadequate but it cites useful scholarly sources. An old (1937) but still valid treatment can be found in R.C.K. Ensor’s England 1870-1914, a classic text that is now freely downloadable as PDF images from the Internet Archive. Ensor summarises what he refers to [p. 115] as “the disaster to agriculture” from 1870 to 1886. He concludes that “the motto over the door of Dante’s Inferno might have been truthfully posted at the entrance of a typical English village” [p. 118]. (The motto, of course, “Abandon hope all ye who enter here.”) Then, in the period from 1886 to 1900, continues Ensor [p. 284], “agriculture was ruined a second time over.” Wheat prices plummeted still further and by 1900 the acreage under wheat was little more than half what it had been in 1870. In the early 1890s a Royal Commission on Agriculture generated useful data for the historian but did nothing to solve the problems. In the period from 1901 to 1914 some sectors of agriculture, such, for example, as the rearing of livestock on imported grain, flourished; but agriculture’s percentage share of GDP kept on falling as the industrial revolution continued apace, embracing new technologies and new industries. The rural areas were depopulated and towns and cities grew rapidly. By 1914, concludes Ensor [p. 513],

Farming had ceased to be of any real consequence in the life of the nation, and the days (still so recent) when a good or bad harvest meant a good or bad season for trade in general seemed as dead as Queen Anne.

Ensor might have added that English folk song, lauded by Cecil Sharp, in ''English Folk Song: Some Conclusions,'' as "a great peasant art," in its original and traditional manifestation, also died with the society that had produced and supported it.

Take 6 Transcription Programme

2021-02-07T10:35:02Z

Anahata:

== The Full English Transcription Programme: Rationale, Outcomes and Methods ==

'''Rationale'''

The aim is to make the EFDSS’s online Full English archives more accessible and useable, for example for those with limited musical skills and/or who find it difficult to decipher a raw MS.

'''Outcomes'''

It is intended to support the Full English MSS with the following:

MIDI files of the melody line;

GIF and/or PDF files that display sheet music of the songs;

abc notation. To convert abc notation to abc files copy and paste it to a text editor and save it to a file with the file extension .abc. abc files can be displayed as sheet music, played as audio, and edited with free software such as abcExplorer [http://stalikez.info/abc/abcex.php], abcNavigator [http://abcnavigator.free.fr/], and Nils Liberg's excellent EasyABC [http://www.nilsliberg.se/ksp/easyabc/]. You can also create your own abc notation with EasyABC by dragging and dropping Music XML files (see below) into the "ABC code" box. Alternatively, you can generate abc files from Music XML files online at Wim Vree's excellent webpage here [https://wim.vree.org/js/xml2abc-js.html]. To convert abc files to Music XML files import them into the free, open source cross-platform WYSIWYG music notation programme MuseScore [http://musescore.org] and save them as Music XML files.

Enhanced text files, such as Rich Text files (.rtf), containing transcribed text from the MSS (e.g. song lyrics), notes on the songs and tunes, etc.;

Industry standard Music XML files of the sheet music that can be loaded into most music notation software programmes and altered and edited by the user.

'''Notes on Music XML files.''' If you open these at the Folkopedia website all you will get is a page of hyper text markup language (HTML). So download the files and open them with a music notation programme such as MuseScore (see above). The Music XML download pages display the following notice underneath the file link--'''''Warning''': This file may contain malicious code, by executing it your system may be compromised.'' So run virus scans before opening Music XML files. Some Music XML files may have data missing. So check their content against that of the PDF images.

'''Methods'''

The filenames are the Full English MSS references with dashes substituted for the forward slashes (e.g. GB-6a-39 for GB/6a/39).

Note as of December 2014 many of the Butteworth files listed below have transcriptions along side the original manuscripts at vwml.org

To view the original MSS images that are here transcribed, and to access their catalogue records:

1. Go to the EFDSS Full English Search Page at http://www.vwml.org.uk/browse/browse-collections-full-english

2. Type the MS reference into the Search Box immediately above the Submit Search button. The MS reference is the file name of one of the transcriptions without the file extension and with forward slashes substituted for the dashes. Thus for GB-6a-39.MID type GB/6a/39 into the Search Box. If there are letters (preceded, perhaps, by a dash or hyphen) added to the numbers at the end of the filename and before the file name extension remove them from your search term. For example, there are two versions of GB/2/9, namely GB-2-9a and GB-2-9b. In both cases type GB/2/9 into the search box. Likewise, GB-6a-18-alt is an alternative version of GB/6a/18 so type GB/6a/18 into the search box.

3. Click on the "Submit Search" button.

4. This should display "Search produced 1 result(s) [1 of 1]" with the MS link underneath.

5. Click on the right facing arrow to the left of the MS link. This displays the MS's catalogue details and, beneath these, a small GIF image.

6. Click on the GIF image to enlarge it.

7. Save the GIF image to your computer. Do not save until you have enlarged the image or you will save a small image.

'''The Broadwood MSS'''

[[Full English Transcription Programme: The Lucy Broadwood Manuscript Collection, MS LEB/2/1]]

[[Full English Transcription Programme: The Lucy Broadwood Manuscript Collection, MS LEB/2/5]]

[[Full English Transcription Programme: The Lucy Broadwood Manuscript Collection, MS LEB/2/26]]

[[Full English Transcription Programme: The Lucy Broadwood Manuscript Collection, MS LEB/2/29]]

[[Full English Transcription Programme: The Lucy Broadwood Manuscript Collection, MS LEB/2/46]]

[[Full English Transcription Programme: The Lucy Broadwood Manuscript Collection, MS LEB/2/60]]

[[Full English Transcription Programme: The Lucy Broadwood Manuscript Collection, MS LEB/2/65]]

[[Full English Transcription Programme: The Lucy Broadwood Manuscript Collection, MS LEB/2/66]]

[[Full English Transcription Programme: The Lucy Broadwood Manuscript Collection, MS LEB/2/68]]

[[Full English Transcription Programme: The Lucy Broadwood Manuscript Collection, MS LEB/2/72]]

[[Full English Transcription Programme: The Lucy Broadwood Manuscript Collection, MS LEB/5/223]]

'''The Butterworth MSS'''

At present transcription of the Butterworth MSS is limited to songs and tunes collected by [[George Butterworth]] himself, and by his associates such as [[Francis Jekyll]], from the mouths and musical instruments of the people; it omits material that Butterworth copied into his notebooks from printed sources such as Barrett, Chappell and the ''Journal of the Folk Song Society''.

[[Take 6 Transcription Programme: The Butterworth Archive, MS 2]]

[[Take 6 Transcription Programme: The Butterworth Archive, MS 6a]]

[[Take 6 Transcription Programme: The Butterworth Archive, MS 6b]]

[[Take 6 Transcription Programme: The Butterworth Archive, MS 7a]]

[[Take 6 Transcription Programme: The Butterworth Archive, MS 7b]]

[[Take 6 Transcription Programme: The Butterworth Archive, MS 7c]]

[[Take 6 Transcription Programme: The Butterworth Archive, MS 7d]]

[[Take 6 Transcription Programme: The Butterworth Archive, MS 7e]]

'''The Vaughan Williams MSS'''

[[Full English Transcription Programme: The Vaughan Williams Archive at the British Library, MS RVW2/1]]

[[Full English Transcription Programme: The Vaughan Williams Archive at the British Library, MS RVW2/1 Part 2]]

[[Full English Transcription Programme: The Vaughan Williams Archive at the British Library, MS RVW2/1 Part 3]]

[[Full English Transcription Programme: The Vaughan Williams Archive at the British Library, MS RVW2/2]]

'''The Hammond MSS'''

For information on the Hammond MSS and the collectors who created them, go to [[H.E.D. Hammond]]

[[Take 6 Transcription Programme: The Hammond Archive, MS 5]]

'''The Blunt MSS'''

[[Take 6 Transcription Programme: The Blunt Archive, MS 12A]]

'''The Collinson MSS'''

[[Take 6 Transcription Programme: The Collinson Archive, Vol 1]]

[[Take 6 Transcription Programme: The Collinson Archive, Vol 2]]

[[Take 6 Transcription Programme: The Collinson Archive, Vol 3]]

[[Take 6 Transcription Programme: The Collinson Archive, Vol 4]]

[[Take 6 Transcription Programme: The Collinson Archive, Vol 5]]

'''The Baring Gould MSS'''

[[Take 6 Transcription Programme: The Baring Gould Archive, MS 1 Part 2]]

Take 6 Transcription Programme

2021-02-07T10:34:01Z

Anahata:

== The Full English Transcription Programme: Rationale, Outcomes and Methods ==

'''Rationale'''

The aim is to make the EFDSS’s online Full English archives more accessible and useable, for example for those with limited musical skills and/or who find it difficult to decipher a raw MS.

'''Outcomes'''

It is intended to support the Full English MSS with the following:

MIDI files of the melody line;

GIF and/or PDF files that display sheet music of the songs;

abc notation. To convert abc notation to abc files copy and paste it to a text editor and save it to a file with the file extension .abc. abc files can be displayed as sheet music, played as audio, and edited with free software such as abcExplorer [http://stalikez.info/abc/abcex.php], abcNavigator [http://abcnavigator.free.fr/], and Nils Liberg's excellent EasyABC [http://www.nilsliberg.se/ksp/easyabc/]. You can also create your own abc notation with EasyABC by dragging and dropping Music XML files (see below) into the "ABC code" box. Alternatively, you can generate abc files from Music XML files online at Wim Vree's excellent webpage here [https://wim.vree.org/js/xml2abc-js.html]. To convert abc files to Music XML files import them into the free, open source cross-platform WYSIWYG music notation programme MuseScore [http://musescore.org] and save them as Music XML files.

Enhanced text files, such as Rich Text files (.rtf), containing transcribed text from the MSS (e.g. song lyrics), notes on the songs and tunes, etc.;

Industry standard Music XML files of the sheet music that can be loaded into most music notation software programmes and altered and edited by the user.

'''Notes on Music XML files.''' If you open these at the Folkopedia website all you will get is a page of hyper text markup language (HTML). So download the files and open them with a music notation programme such as MuseScore (see above). The Music XML download pages display the following notice underneath the file link--'''''Warning''': This file may contain malicious code, by executing it your system may be compromised.'' So run virus scans before opening Music XML files. Some Music XML files may have data missing. So check their content against that of the PDF images.

'''Methods'''

The filenames are the Full English MSS references with dashes substituted for the forward slashes (e.g. GB-6a-39 for GB/6a/39).

Note as of December 2014 many of the Butteworth files listed below have transcriptions along side the original manuscripts at vwml.org

To view the original MSS images that are here transcribed, and to access their catalogue records:

1. Go to the EFDSS Full English Search Page at http://www.vwml.org.uk/browse/browse-collections-full-english

2. Type the MS reference into the Search Box immediately above the Submit Search button. The MS reference is the file name of one of the transcriptions without the file extension and with forward slashes substituted for the dashes. Thus for GB-6a-39.MID type GB/6a/39 into the Search Box. If there are letters (preceded, perhaps, by a dash or hyphen) added to the numbers at the end of the filename and before the file name extension remove them from your search term. For example, there are two versions of GB/2/9, namely GB-2-9a and GB-2-9b. In both cases type GB/2/9 into the search box. Likewise, GB-6a-18-alt is an alternative version of GB/6a/18 so type GB/6a/18 into the search box.

3. Click on the "Submit Search" button.

4. This should display "Search produced 1 result(s) [1 of 1]" with the MS link underneath.

5. Click on the right facing arrow to the left of the MS link. This displays the MS's catalogue details and, beneath these, a small GIF image.

6. Click on the GIF image to enlarge it.

7. Save the GIF image to your computer. Do not save until you have enlarged the image or you will save a small image.

'''The Broadwood MSS'''

[[Full English Transcription Programme: The Lucy Broadwood Manuscript Collection, MS LEB/2/1]]

[[Full English Transcription Programme: The Lucy Broadwood Manuscript Collection, MS LEB/2/5]]

[[Full English Transcription Programme: The Lucy Broadwood Manuscript Collection, MS LEB/2/26]]

[[Full English Transcription Programme: The Lucy Broadwood Manuscript Collection, MS LEB/2/29]]

[[Full English Transcription Programme: The Lucy Broadwood Manuscript Collection, MS LEB/2/46]]

[[Full English Transcription Programme: The Lucy Broadwood Manuscript Collection, MS LEB/2/60]]

[[Full English Transcription Programme: The Lucy Broadwood Manuscript Collection, MS LEB/2/65]]

[[Full English Transcription Programme: The Lucy Broadwood Manuscript Collection, MS LEB/2/66]]

[[Full English Transcription Programme: The Lucy Broadwood Manuscript Collection, MS LEB/2/68]]

[[Full English Transcription Programme: The Lucy Broadwood Manuscript Collection, MS LEB/2/72]]

[[Full English Transcription Programme: The Lucy Broadwood Manuscript Collection, MS LEB/5/223]]

'''The Butterworth MSS'''

At present transcription of the Butterworth MSS is limited to songs and tunes collected by [[George Butterworth]] himself, and by his associates such as [[Francis Jekyll]], from the mouths and musical instruments of the people; it omits material that Butterworth copied into his notebooks from printed sources such as Barrett, Chappell and the ''Journal of the Folk Song Society''.

[[Take 6 Transcription Programme: The Butterworth Archive, MS 2]]

[[Take 6 Transcription Programme: The Butterworth Archive, MS 6a]]

[[Take 6 Transcription Programme: The Butterworth Archive, MS 6b]]

[[Take 6 Transcription Programme: The Butterworth Archive, MS 7a]]

[[Take 6 Transcription Programme: The Butterworth Archive, MS 7b]]

[[Take 6 Transcription Programme: The Butterworth Archive, MS 7c]]

[[Take 6 Transcription Programme: The Butterworth Archive, MS 7d]]

[[Take 6 Transcription Programme: The Butterworth Archive, MS 7e]]

'''The Vaughan Williams MSS'''

[[Full English Transcription Programme: The Vaughan Williams Archive at the British Library, MS RVW2/1]]

[[Full English Transcription Programme: The Vaughan Williams Archive at the British Library, MS RVW2/1 Part 2]]

[[Full English Transcription Programme: The Vaughan Williams Archive at the British Library, MS RVW2/1 Part 3]]

[[Full English Transcription Programme: The Vaughan Williams Archive at the British Library, MS RVW2/2]]

'''The Hammond MSS'''

For information on the Hammond MSS and the collectors who created them, go to [[H.E.D._Hammond]]

[[Take 6 Transcription Programme: The Hammond Archive, MS 5]]

'''The Blunt MSS'''

[[Take 6 Transcription Programme: The Blunt Archive, MS 12A]]

'''The Collinson MSS'''

[[Take 6 Transcription Programme: The Collinson Archive, Vol 1]]

[[Take 6 Transcription Programme: The Collinson Archive, Vol 2]]

[[Take 6 Transcription Programme: The Collinson Archive, Vol 3]]

[[Take 6 Transcription Programme: The Collinson Archive, Vol 4]]

[[Take 6 Transcription Programme: The Collinson Archive, Vol 5]]

'''The Baring Gould MSS'''

[[Take 6 Transcription Programme: The Baring Gould Archive, MS 1 Part 2]]

Francis Jekyll

2021-02-07T10:31:22Z

Anahata:

'''Francis Jekyll''' (1882-1965)

Francis Jekyll (pronounced 'Jeekyl') [1882-1965] was an associate of the folk song collector [[George Butterworth]] in the early twentieth century. The Roud database records more than thirty items from printed (i.e. non-manuscript) sources that were wholly or partly collected by Francis Jekyll, most of which were published in the early editions of the ''[[Journal of the Folk Song Society]]''. He appears in the ''[[Penguin Book of English Folk Songs]]'' as the collector of a Hampshire version of “[[Young Girl Cut Down in Her Prime, The|The Young Girl Cut Down in Her Prime]].” '''1''' The Preface to George Butterworth’s ''Folk Songs from Sussex'' (1912) states that Jekyll, whom Butterworth thanked “for his enthusiastic co-operation,” had noted four of those eleven songs. These were: 'Yonder stands a lovely creature'; 'A lawyer he went out'; 'A brisk young sailor courted me'; and 'Tarry Trowsers'. Andrew King (''Folk Music Journal'', 2010, "Resources in the Vaughan Williams Memorial Library") notes that the [[Ella Mary Leather]] Manuscript Collection (MS EML/1/) contains songs collected by Jekyll in Herefordshire in or before the year 1907, and that a MS in the Broadwood Collection (LEB/5/222-22 5) "consists of a second set of Francis Jekyll's Herefordshire transcriptions from William Colcombe, giving the same songs as in the Notebook" of Ella Leather "but in subtly different versions." The Butterworth MSS contain songs noted by Jekyll, either alone or jointly with George Butterworth. These MSS are now posted online as part of the EFDSS's ''Take 6'' project at [http://library.efdss.org/archives/index.html] with transcriptions and support materials available from Folkopedia's [[Take 6 Transcription Programme]]. A ''Take 6'' Search for Jekyll as Collector list 64 items, all of them in the Butterworth MSS.

Francis Jekyll was born in the last quarter of 1882 in Farm Street in the parish of St. George's, Hanover Square, London, W. '''2''' The 1911 Census records that, as a single 28 year old male, he was the sole resident of 38 Bedford Court Mansions, London, W.C., and employed as an Assistant in the Department of Printed Books at the British Museum.

Michael Dawney’s article on "George Butterworth’s Folk Music Manuscripts" '''3''' records that Jekyll went to Eton (1895) and to Oxford (1901)'''4''' and that he worked at the British Museum (1906-14). Dawney also tells us that Jekyll joined the Folk-Song Society in 1907 (it was actually 1905--see below) and the English Folk-Dance Society in 1911. He was, Dawney adds, “solely or jointly responsible for the collecting of fifty-seven songs,” as well as folk dances from County Limerick.'''5''' After Butterworth died on the Somme in 1916 Jekyll wrote: “Some of my happiest days were those we spent together, tramping the Sussex Downs and collecting songs.”

The Eton Register for 1893 to 1899 tells us that Jekyll arrived there in September 1895 and left in December 1900. In 1897 he was in Fifth Form Upper Division B3 VIII, and in 1899 in Fifth Form A12 II. He was Newcastle Scholar in 1900. (Butterworth went to Eton in 1899 and left in 1904.)

Jekyll appears in [[Lucy Broadwood]]’s manuscript diaries at the Surrey History Centre. He had tea with Lucy Broadwood on 6 September 1899, and again on 30 October 1905. On 11 February 1906 he took supper with her. On 19 October 1906, he “came to tea and [to] play …his Hereford tunes.” On 12 November 1906 he called again. On 28 May 1907, with 52 others, he attended a musical party at Lucy Broadwood’s flat. On 21 November 1907 he “came after tea to show me folk-tunes etc.,” and he was one of 29 guests at a tea party on 14 April 1908. On 12 December 1908, Lucy Broadwood records: “Mr. Francis Jekyll called, had a long F(olk) S(ong) S(ociety) talk, stopped to dinner, and listened to phonograph-songs.”

The ''Journal of the Folk Song Society'' regularly published listings of the names and addresses of Folk Song Society members. "Jekyll, Francis W. Esq." first appears in these listings in March 1905 where his address in given as 3 Green Street, W., London. (Butterworth seems to have joined the Society later than Jekyll; his first listing is for May 1907.) Jekyll appears again in May 1907, but no address is given. In November 1908 Jekyll is listed as living at 38 Bedford Court Mansions, London, W.C., and he remained there until January 1913. In June, 1915 he was living at 56 Great Queen Street, Kingsway, W.C., London, and from November 1916 to November 1918 at 10 Lancaster Place, Strand, London. From January 1920 to August 1926 Jekyll's address was 14 Trevor Street, London, S.W.7. For September 1927 and December 1928 no address is given. Then, in December 1929 and December 1931, Jekyll was recorded as living at Munstead House, Godalming, Surrey. After the merger of the Folk Song Society the ''Folk Dance and Song Society Journal'' published no lists of members but we know from family and other sources that Jekyll remained at Munstead until his death in 1965.

The Balliol College Register tells us that Jekyll worked for the Ministry of Information from 1917 to 1920.

Sally Festing’s biography of Gertrude Jekyll notes that Francis (known to family and friends as ‘Timmy’) was the nephew of the famous lady gardener. (He wrote a memoir of his aunt,'''6''' but this makes no mention of folk song.) Sally Festing adds that under Timmy’s stewardship the famous garden was not maintained, and that soon supplies to customers from the nursery were fitful. She quotes two local librarians who “remember the elderly Timmy Jekyll as a quiet, self-contained, rather dour man who made evening visits to borrow books and sometimes fell asleep in one of the chairs.”'''7'''

In June 2000 an article by Lewis Jones, "Francis Jekyll (1882-1965) Forgotten Hero of the First Folk Song Revival," was published in ''English Dance and Song''. (The text of the article is available at [[File:Francis_Jekyll.pdf]] the sheet music for the illustrative song at [[File:Tarry_Trowsers.pdf|Tarry_Trowsers.pdf]] and the MIDI for the illustrative song at [[File:Tarry_Trowsers.mid|Tarry_Trowsers.mid]].) This article cites a letter to the author from Mrs. Primrose Arnander, Francis Jekyll’s great niece.'''8''' After consulting with her father, David McKenna, Mrs. Arnander wrote (original letter dated 3 June 1999, letter containing minor amendments dated May 25 2011):

''Francis Jekyll …was an Assistant in the Printed Books Department of the British Museum from 1906-1914. He worked under Barclay Squire (1885-1920) in the Printed Music Section, and after two years service was recommended by Fortescue, the then Keeper, to the Trustees as a possible successor to Barclay Squire. In Fortescue’s words he had ‘excellent abilities’ and was ‘a student of musical literature and bibliography.’ He went on to say: ‘It is desirable that there should be at least one Assistant capable, in the course of time, of succeeding Mr. Squire’s duties, and in this respect Mr. Fortescue hopes that Mr. Jekyll may at some future date be of special service to the Library.’ In 1911 Francis Jekyll helped Squire with the removal of the King’s Music from Buckingham Palace, and made a rough catalogue of it which is still extant.''

''The above information comes from a letter to my father written in March 1978 by Alec Hyatt King who was engaged at that time in writing a history of the Printed Music in the British Museum which he hoped to have published.'''9''' …Mr. Hyatt King also wondered why, after such a promising start, Francis Jekyll should have resigned in 1914 and thereafter sunk into obscurity.''

''I am sure that there was an initial nervous breakdown which must have led to recurring clinical depression, an illness well understood, accepted and treated nowadays but little understood then…''

''In 1932 Gertrude Jekylll died and left Munstead Wood and its contents to her sister-in-law, Agnes Jekyll, Francis Jekyll's mother. In 1937 Agnes Jekyll died and Munstead Wood passed in toto to Francis Jekyll. He did not live there for very long, but tried to keep her nursery garden going and was still fulfilling orders up to the war time. Around 1939 Francis Jekyll moved into the Hut, a smaller house in the grounds, and Munstead Wood was let and finally sold. There was a sale of all the contents in 1948; this included books and chattels from Munstead House that had been left to Francis and also, in that sale, he must have sold all his music and books for the contents of the sale included books, scores and periodicals which showed an interest in music that would have been far beyond Gertrude Jekyll. Timmy lived on in the Hut with a housekeeper until his death in 1965. He was a sad and rather lonely figure at the end and was never really able to shake free of his debilitating depression. He attended concerts and festivals of music, but never returned to an active role in the field. '''''10'''

The following image of the elderly Francis Jekyll is posted by kind permission of Mrs. Primrose Arnander:

[[File:Francis_Jekyll_elderly.jpg| thumb| none]]

Information concerning Francis Jekyll’s death is to be found at the Family Records Centre: Jekyll, F.W., aged 82, died in Surrey S.W. registration district in the first quarter of 1965, ref. SG1155. The death certificate records that Francis Walter Jekyll died on 27 March 1965 at Munstead Wood Hut, Busbridge, in the Sub-District of Haslemere. A number of causes of death were cited, including senile myocordial degeneration.

According to the obituary in the ''Guildford Times & News'''''11''' Francis Jekyll was a “member of a well-known West Surrey family, …the son of the late Sir Herbert and Lady Jekyll, …a bachelor and a scholar” who “had travelled extensively.” The funeral at Busbridge Church, on 1 April 1965, was followed by a cremation at Woking.

1 Williams RV and AL Lloyd (1959): 108.
2 Ancestry.com - England and Wales, FreeBMD Birth Index, 1837 - 1915 (accessed 31-03-2011)
3 ''Folk Music Journal'' Vol 3 No 2 (1976): 99-113. There is a paragraph about Jekyll on p. 100.
4 His college was Balliol.
5 These folk dances, Dawney tells us, are in the Butterworth manuscripts held at the Vaughan Williams Memorial Library.
6 Jekyll, Francis, ''Gertrude Jekyll: A Memoir'' (Cape 1934).
7 Festing, Sally ''Gertrude Jekyll'' (Penguin Books 1993): 306. The book was first published by Viking in 1991.
8 Mrs. Arnander cites another source of information about Timmy Jekyll and his family. This is:
Tooley, Michael and Primrose Arnander [eds] (Michaelmas Books 1995) ''Gertrude Jekyll: Essays on the Life of a Working''
''Amateur''. This book reproduces the following painting of Timmy as a young boy by the famous artist and family friend
Edward Burne-Jones(1833-1898). It is posted by kind permission of Mrs. Arnander.

[[File:Francis Jekyll young.jpg| thumb| none]].

Mrs Arnander also points out that Walter Jekyll, the author of ''Jamaican Song and Story'' (1907)--posted, together with
support audio and MusicXML files, on Project Gutenberg at [http://www.gutenberg.org/ebooks/35410]--was Francis Jekyll's
uncle.

Mrs Arnander recommends ''Gertrude Jekyll: the official website of the Jekyll''
''Estate'' at [http://gertrudejekyll.com/].

9 King, Alec Hyatt (1979) ''Printed Music in the British Museum: An Account of the Collections, The Catalogues and Their''
''Formation up to 1920''.
10 Mrs. Arnander appended details of some of the Sales Lots. Among these are back copies of the ''Journal of the Folk Song''
''Society'' (1899-1921) and of the ''Journal of the English Folk Dance and Song Society'' (1932-1947). These and other items
indicate that the collection that was sold off did indeed, as Mrs. Arnander states, contain Francis Jekyll’s music books.
11 2 April 1965.

[[Category:Collector]]

Francis Jekyll

2021-02-07T10:29:45Z

Anahata:

'''Francis Jekyll''' (1882-1965)

Francis Jekyll (pronounced 'Jeekyl') [1882-1965] was an associate of the folk song collector [[George Butterworth]] in the early twentieth century. The Roud database records more than thirty items from printed (i.e. non-manuscript) sources that were wholly or partly collected by Francis Jekyll, most of which were published in the early editions of the ''[[Journal of the Folk Song Society]]''. He appears in the ''[[Penguin Book of English Folk Songs]]'' as the collector of a Hampshire version of “[[Young Girl Cut Down in Her Prime, The|The Young Girl Cut Down in Her Prime]].” '''1''' The Preface to George Butterworth’s ''Folk Songs from Sussex'' (1912) states that Jekyll, whom Butterworth thanked “for his enthusiastic co-operation,” had noted four of those eleven songs. These were: 'Yonder stands a lovely creature'; 'A lawyer he went out'; 'A brisk young sailor courted me'; and 'Tarry Trowsers'. Andrew King (''Folk Music Journal'', 2010, "Resources in the Vaughan Williams Memorial Library") notes that the [[Ella Mary Leather]] Manuscript Collection (MS EML/1/) contains songs collected by Jekyll in Herefordshire in or before the year 1907, and that a MS in the Broadwood Collection (LEB/5/222-22 5) "consists of a second set of Francis Jekyll's Herefordshire transcriptions from William Colcombe, giving the same songs as in the Notebook" of Ella Leather "but in subtly different versions." The Butterworth MSS contain songs noted by Jekyll, either alone or jointly with George Butterworth. These MSS are now posted online as part of the EFDSS's ''Take 6'' project at [http://library.efdss.org/archives/index.html] with transcriptions and support materials available from Folkopedia's [[Take 6 Transcription Programme]]. A ''Take 6'' Search for Jekyll as Collector list 64 items, all of them in the Butterworth MSS.

Francis Jekyll was born in the last quarter of 1882 in Farm Street in the parish of St. George's, Hanover Square, London, W. '''2''' The 1911 Census records that, as a single 28 year old male, he was the sole resident of 38 Bedford Court Mansions, London, W.C., and employed as an Assistant in the Department of Printed Books at the British Museum.

Michael Dawney’s article on "George Butterworth’s Folk Music Manuscripts" '''3''' records that Jekyll went to Eton (1895) and to Oxford (1901)'''4''' and that he worked at the British Museum (1906-14). Dawney also tells us that Jekyll joined the Folk-Song Society in 1907 (it was actually 1905--see below) and the English Folk-Dance Society in 1911. He was, Dawney adds, “solely or jointly responsible for the collecting of fifty-seven songs,” as well as folk dances from County Limerick.'''5''' After Butterworth died on the Somme in 1916 Jekyll wrote: “Some of my happiest days were those we spent together, tramping the Sussex Downs and collecting songs.”

The Eton Register for 1893 to 1899 tells us that Jekyll arrived there in September 1895 and left in December 1900. In 1897 he was in Fifth Form Upper Division B3 VIII, and in 1899 in Fifth Form A12 II. He was Newcastle Scholar in 1900. (Butterworth went to Eton in 1899 and left in 1904.)

Jekyll appears in [[Lucy Broadwood]]’s manuscript diaries at the Surrey History Centre. He had tea with Lucy Broadwood on 6 September 1899, and again on 30 October 1905. On 11 February 1906 he took supper with her. On 19 October 1906, he “came to tea and [to] play …his Hereford tunes.” On 12 November 1906 he called again. On 28 May 1907, with 52 others, he attended a musical party at Lucy Broadwood’s flat. On 21 November 1907 he “came after tea to show me folk-tunes etc.,” and he was one of 29 guests at a tea party on 14 April 1908. On 12 December 1908, Lucy Broadwood records: “Mr. Francis Jekyll called, had a long F(olk) S(ong) S(ociety) talk, stopped to dinner, and listened to phonograph-songs.”

The ''Journal of the Folk Song Society'' regularly published listings of the names and addresses of Folk Song Society members. "Jekyll, Francis W. Esq." first appears in these listings in March 1905 where his address in given as 3 Green Street, W., London. (Butterworth seems to have joined the Society later than Jekyll; his first listing is for May 1907.) Jekyll appears again in May 1907, but no address is given. In November 1908 Jekyll is listed as living at 38 Bedford Court Mansions, London, W.C., and he remained there until January 1913. In June, 1915 he was living at 56 Great Queen Street, Kingsway, W.C., London, and from November 1916 to November 1918 at 10 Lancaster Place, Strand, London. From January 1920 to August 1926 Jekyll's address was 14 Trevor Street, London, S.W.7. For September 1927 and December 1928 no address is given. Then, in December 1929 and December 1931, Jekyll was recorded as living at Munstead House, Godalming, Surrey. After the merger of the Folk Song Society the ''Folk Dance and Song Society Journal'' published no lists of members but we know from family and other sources that Jekyll remained at Munstead until his death in 1965.

The Balliol College Register tells us that Jekyll worked for the Ministry of Information from 1917 to 1920.

Sally Festing’s biography of Gertrude Jekyll notes that Francis (known to family and friends as ‘Timmy’) was the nephew of the famous lady gardener. (He wrote a memoir of his aunt,'''6''' but this makes no mention of folk song.) Sally Festing adds that under Timmy’s stewardship the famous garden was not maintained, and that soon supplies to customers from the nursery were fitful. She quotes two local librarians who “remember the elderly Timmy Jekyll as a quiet, self-contained, rather dour man who made evening visits to borrow books and sometimes fell asleep in one of the chairs.”'''7'''

In June 2000 an article by Lewis Jones, "Francis Jekyll (1882-1965) Forgotten Hero of the First Folk Song Revival," was published in ''English Dance and Song''. (The text of the article is available at [[File:Francis_Jekyll.pdf]] the sheet music for the illustrative song at [[File:Tarry_Trowsers.pdf]] and the MIDI for the illustrative song at [[File:Tarry_Trowsers.mid]].) This article cites a letter to the author from Mrs. Primrose Arnander, Francis Jekyll’s great niece.'''8''' After consulting with her father, David McKenna, Mrs. Arnander wrote (original letter dated 3 June 1999, letter containing minor amendments dated May 25 2011):

''Francis Jekyll …was an Assistant in the Printed Books Department of the British Museum from 1906-1914. He worked under Barclay Squire (1885-1920) in the Printed Music Section, and after two years service was recommended by Fortescue, the then Keeper, to the Trustees as a possible successor to Barclay Squire. In Fortescue’s words he had ‘excellent abilities’ and was ‘a student of musical literature and bibliography.’ He went on to say: ‘It is desirable that there should be at least one Assistant capable, in the course of time, of succeeding Mr. Squire’s duties, and in this respect Mr. Fortescue hopes that Mr. Jekyll may at some future date be of special service to the Library.’ In 1911 Francis Jekyll helped Squire with the removal of the King’s Music from Buckingham Palace, and made a rough catalogue of it which is still extant.''

''The above information comes from a letter to my father written in March 1978 by Alec Hyatt King who was engaged at that time in writing a history of the Printed Music in the British Museum which he hoped to have published.'''9''' …Mr. Hyatt King also wondered why, after such a promising start, Francis Jekyll should have resigned in 1914 and thereafter sunk into obscurity.''

''I am sure that there was an initial nervous breakdown which must have led to recurring clinical depression, an illness well understood, accepted and treated nowadays but little understood then…''

''In 1932 Gertrude Jekylll died and left Munstead Wood and its contents to her sister-in-law, Agnes Jekyll, Francis Jekyll's mother. In 1937 Agnes Jekyll died and Munstead Wood passed in toto to Francis Jekyll. He did not live there for very long, but tried to keep her nursery garden going and was still fulfilling orders up to the war time. Around 1939 Francis Jekyll moved into the Hut, a smaller house in the grounds, and Munstead Wood was let and finally sold. There was a sale of all the contents in 1948; this included books and chattels from Munstead House that had been left to Francis and also, in that sale, he must have sold all his music and books for the contents of the sale included books, scores and periodicals which showed an interest in music that would have been far beyond Gertrude Jekyll. Timmy lived on in the Hut with a housekeeper until his death in 1965. He was a sad and rather lonely figure at the end and was never really able to shake free of his debilitating depression. He attended concerts and festivals of music, but never returned to an active role in the field. '''''10'''

The following image of the elderly Francis Jekyll is posted by kind permission of Mrs. Primrose Arnander:

[[File:Francis_Jekyll_elderly.jpg| thumb| none]]

Information concerning Francis Jekyll’s death is to be found at the Family Records Centre: Jekyll, F.W., aged 82, died in Surrey S.W. registration district in the first quarter of 1965, ref. SG1155. The death certificate records that Francis Walter Jekyll died on 27 March 1965 at Munstead Wood Hut, Busbridge, in the Sub-District of Haslemere. A number of causes of death were cited, including senile myocordial degeneration.

According to the obituary in the ''Guildford Times & News'''''11''' Francis Jekyll was a “member of a well-known West Surrey family, …the son of the late Sir Herbert and Lady Jekyll, …a bachelor and a scholar” who “had travelled extensively.” The funeral at Busbridge Church, on 1 April 1965, was followed by a cremation at Woking.

1 Williams RV and AL Lloyd (1959): 108.
2 Ancestry.com - England and Wales, FreeBMD Birth Index, 1837 - 1915 (accessed 31-03-2011)
3 ''Folk Music Journal'' Vol 3 No 2 (1976): 99-113. There is a paragraph about Jekyll on p. 100.
4 His college was Balliol.
5 These folk dances, Dawney tells us, are in the Butterworth manuscripts held at the Vaughan Williams Memorial Library.
6 Jekyll, Francis, ''Gertrude Jekyll: A Memoir'' (Cape 1934).
7 Festing, Sally ''Gertrude Jekyll'' (Penguin Books 1993): 306. The book was first published by Viking in 1991.
8 Mrs. Arnander cites another source of information about Timmy Jekyll and his family. This is:
Tooley, Michael and Primrose Arnander [eds] (Michaelmas Books 1995) ''Gertrude Jekyll: Essays on the Life of a Working''
''Amateur''. This book reproduces the following painting of Timmy as a young boy by the famous artist and family friend
Edward Burne-Jones(1833-1898). It is posted by kind permission of Mrs. Arnander.

[[File:Francis Jekyll young.jpg| thumb| none]].

Mrs Arnander also points out that Walter Jekyll, the author of ''Jamaican Song and Story'' (1907)--posted, together with
support audio and MusicXML files, on Project Gutenberg at [http://www.gutenberg.org/ebooks/35410]--was Francis Jekyll's
uncle.

Mrs Arnander recommends ''Gertrude Jekyll: the official website of the Jekyll''
''Estate'' at [http://gertrudejekyll.com/].

9 King, Alec Hyatt (1979) ''Printed Music in the British Museum: An Account of the Collections, The Catalogues and Their''
''Formation up to 1920''.
10 Mrs. Arnander appended details of some of the Sales Lots. Among these are back copies of the ''Journal of the Folk Song''
''Society'' (1899-1921) and of the ''Journal of the English Folk Dance and Song Society'' (1932-1947). These and other items
indicate that the collection that was sold off did indeed, as Mrs. Arnander states, contain Francis Jekyll’s music books.
11 2 April 1965.

[[Category:Collector]]

Francis Jekyll

2021-02-07T10:28:27Z

Anahata:

'''Francis Jekyll''' (1882-1965)

Francis Jekyll (pronounced 'Jeekyl') [1882-1965] was an associate of the folk song collector [[George Butterworth]] in the early twentieth century. The Roud database records more than thirty items from printed (i.e. non-manuscript) sources that were wholly or partly collected by Francis Jekyll, most of which were published in the early editions of the ''[[Journal of the Folk Song Society]]''. He appears in the ''[[Penguin Book of English Folk Songs]]'' as the collector of a Hampshire version of “[[Young Girl Cut Down in Her Prime, The|The Young Girl Cut Down in Her Prime]].” '''1''' The Preface to George Butterworth’s ''Folk Songs from Sussex'' (1912) states that Jekyll, whom Butterworth thanked “for his enthusiastic co-operation,” had noted four of those eleven songs. These were: 'Yonder stands a lovely creature'; 'A lawyer he went out'; 'A brisk young sailor courted me'; and 'Tarry Trowsers'. Andrew King (''Folk Music Journal'', 2010, "Resources in the Vaughan Williams Memorial Library") notes that the [[Ella Mary Leather]] Manuscript Collection (MS EML/1/) contains songs collected by Jekyll in Herefordshire in or before the year 1907, and that a MS in the Broadwood Collection (LEB/5/222-22 5) "consists of a second set of Francis Jekyll's Herefordshire transcriptions from William Colcombe, giving the same songs as in the Notebook" of Ella Leather "but in subtly different versions." The Butterworth MSS contain songs noted by Jekyll, either alone or jointly with George Butterworth. These MSS are now posted online as part of the EFDSS's ''Take 6'' project at [http://library.efdss.org/archives/index.html] with transcriptions and support materials available from Folkopedia's [[Take 6 Transcription Programme]]. A ''Take 6'' Search for Jekyll as Collector list 64 items, all of them in the Butterworth MSS.

Francis Jekyll was born in the last quarter of 1882 in Farm Street in the parish of St. George's, Hanover Square, London, W. '''2''' The 1911 Census records that, as a single 28 year old male, he was the sole resident of 38 Bedford Court Mansions, London, W.C., and employed as an Assistant in the Department of Printed Books at the British Museum.

Michael Dawney’s article on "George Butterworth’s Folk Music Manuscripts" '''3''' records that Jekyll went to Eton (1895) and to Oxford (1901)'''4''' and that he worked at the British Museum (1906-14). Dawney also tells us that Jekyll joined the Folk-Song Society in 1907 (it was actually 1905--see below) and the English Folk-Dance Society in 1911. He was, Dawney adds, “solely or jointly responsible for the collecting of fifty-seven songs,” as well as folk dances from County Limerick.'''5''' After Butterworth died on the Somme in 1916 Jekyll wrote: “Some of my happiest days were those we spent together, tramping the Sussex Downs and collecting songs.”

The Eton Register for 1893 to 1899 tells us that Jekyll arrived there in September 1895 and left in December 1900. In 1897 he was in Fifth Form Upper Division B3 VIII, and in 1899 in Fifth Form A12 II. He was Newcastle Scholar in 1900. (Butterworth went to Eton in 1899 and left in 1904.)

Jekyll appears in [[Lucy Broadwood]]’s manuscript diaries at the Surrey History Centre. He had tea with Lucy Broadwood on 6 September 1899, and again on 30 October 1905. On 11 February 1906 he took supper with her. On 19 October 1906, he “came to tea and [to] play …his Hereford tunes.” On 12 November 1906 he called again. On 28 May 1907, with 52 others, he attended a musical party at Lucy Broadwood’s flat. On 21 November 1907 he “came after tea to show me folk-tunes etc.,” and he was one of 29 guests at a tea party on 14 April 1908. On 12 December 1908, Lucy Broadwood records: “Mr. Francis Jekyll called, had a long F(olk) S(ong) S(ociety) talk, stopped to dinner, and listened to phonograph-songs.”

The ''Journal of the Folk Song Society'' regularly published listings of the names and addresses of Folk Song Society members. "Jekyll, Francis W. Esq." first appears in these listings in March 1905 where his address in given as 3 Green Street, W., London. (Butterworth seems to have joined the Society later than Jekyll; his first listing is for May 1907.) Jekyll appears again in May 1907, but no address is given. In November 1908 Jekyll is listed as living at 38 Bedford Court Mansions, London, W.C., and he remained there until January 1913. In June, 1915 he was living at 56 Great Queen Street, Kingsway, W.C., London, and from November 1916 to November 1918 at 10 Lancaster Place, Strand, London. From January 1920 to August 1926 Jekyll's address was 14 Trevor Street, London, S.W.7. For September 1927 and December 1928 no address is given. Then, in December 1929 and December 1931, Jekyll was recorded as living at Munstead House, Godalming, Surrey. After the merger of the Folk Song Society the ''Folk Dance and Song Society Journal'' published no lists of members but we know from family and other sources that Jekyll remained at Munstead until his death in 1965.

The Balliol College Register tells us that Jekyll worked for the Ministry of Information from 1917 to 1920.

Sally Festing’s biography of Gertrude Jekyll notes that Francis (known to family and friends as ‘Timmy’) was the nephew of the famous lady gardener. (He wrote a memoir of his aunt,'''6''' but this makes no mention of folk song.) Sally Festing adds that under Timmy’s stewardship the famous garden was not maintained, and that soon supplies to customers from the nursery were fitful. She quotes two local librarians who “remember the elderly Timmy Jekyll as a quiet, self-contained, rather dour man who made evening visits to borrow books and sometimes fell asleep in one of the chairs.”'''7'''

In June 2000 an article by Lewis Jones, "Francis Jekyll (1882-1965) Forgotten Hero of the First Folk Song Revival," was published in ''English Dance and Song''. (The text of the article is available at [[http://folkopedia.efdss.org/File:Francis_Jekyll.pdf]] the sheet music for the illustrative song at [[http://folkopedia.efdss.org/File:Tarry_Trowsers.pdf]] and the MIDI for the illustrative song at [[http://folkopedia.efdss.org/File:Tarry_Trowsers.mid]].) This article cites a letter to the author from Mrs. Primrose Arnander, Francis Jekyll’s great niece.'''8''' After consulting with her father, David McKenna, Mrs. Arnander wrote (original letter dated 3 June 1999, letter containing minor amendments dated May 25 2011):

''Francis Jekyll …was an Assistant in the Printed Books Department of the British Museum from 1906-1914. He worked under Barclay Squire (1885-1920) in the Printed Music Section, and after two years service was recommended by Fortescue, the then Keeper, to the Trustees as a possible successor to Barclay Squire. In Fortescue’s words he had ‘excellent abilities’ and was ‘a student of musical literature and bibliography.’ He went on to say: ‘It is desirable that there should be at least one Assistant capable, in the course of time, of succeeding Mr. Squire’s duties, and in this respect Mr. Fortescue hopes that Mr. Jekyll may at some future date be of special service to the Library.’ In 1911 Francis Jekyll helped Squire with the removal of the King’s Music from Buckingham Palace, and made a rough catalogue of it which is still extant.''

''The above information comes from a letter to my father written in March 1978 by Alec Hyatt King who was engaged at that time in writing a history of the Printed Music in the British Museum which he hoped to have published.'''9''' …Mr. Hyatt King also wondered why, after such a promising start, Francis Jekyll should have resigned in 1914 and thereafter sunk into obscurity.''

''I am sure that there was an initial nervous breakdown which must have led to recurring clinical depression, an illness well understood, accepted and treated nowadays but little understood then…''

''In 1932 Gertrude Jekylll died and left Munstead Wood and its contents to her sister-in-law, Agnes Jekyll, Francis Jekyll's mother. In 1937 Agnes Jekyll died and Munstead Wood passed in toto to Francis Jekyll. He did not live there for very long, but tried to keep her nursery garden going and was still fulfilling orders up to the war time. Around 1939 Francis Jekyll moved into the Hut, a smaller house in the grounds, and Munstead Wood was let and finally sold. There was a sale of all the contents in 1948; this included books and chattels from Munstead House that had been left to Francis and also, in that sale, he must have sold all his music and books for the contents of the sale included books, scores and periodicals which showed an interest in music that would have been far beyond Gertrude Jekyll. Timmy lived on in the Hut with a housekeeper until his death in 1965. He was a sad and rather lonely figure at the end and was never really able to shake free of his debilitating depression. He attended concerts and festivals of music, but never returned to an active role in the field. '''''10'''

The following image of the elderly Francis Jekyll is posted by kind permission of Mrs. Primrose Arnander:

[[File:Francis_Jekyll_elderly.jpg| thumb| none]]

Information concerning Francis Jekyll’s death is to be found at the Family Records Centre: Jekyll, F.W., aged 82, died in Surrey S.W. registration district in the first quarter of 1965, ref. SG1155. The death certificate records that Francis Walter Jekyll died on 27 March 1965 at Munstead Wood Hut, Busbridge, in the Sub-District of Haslemere. A number of causes of death were cited, including senile myocordial degeneration.

According to the obituary in the ''Guildford Times & News'''''11''' Francis Jekyll was a “member of a well-known West Surrey family, …the son of the late Sir Herbert and Lady Jekyll, …a bachelor and a scholar” who “had travelled extensively.” The funeral at Busbridge Church, on 1 April 1965, was followed by a cremation at Woking.

1 Williams RV and AL Lloyd (1959): 108.
2 Ancestry.com - England and Wales, FreeBMD Birth Index, 1837 - 1915 (accessed 31-03-2011)
3 ''Folk Music Journal'' Vol 3 No 2 (1976): 99-113. There is a paragraph about Jekyll on p. 100.
4 His college was Balliol.
5 These folk dances, Dawney tells us, are in the Butterworth manuscripts held at the Vaughan Williams Memorial Library.
6 Jekyll, Francis, ''Gertrude Jekyll: A Memoir'' (Cape 1934).
7 Festing, Sally ''Gertrude Jekyll'' (Penguin Books 1993): 306. The book was first published by Viking in 1991.
8 Mrs. Arnander cites another source of information about Timmy Jekyll and his family. This is:
Tooley, Michael and Primrose Arnander [eds] (Michaelmas Books 1995) ''Gertrude Jekyll: Essays on the Life of a Working''
''Amateur''. This book reproduces the following painting of Timmy as a young boy by the famous artist and family friend
Edward Burne-Jones(1833-1898). It is posted by kind permission of Mrs. Arnander.

[[File:Francis Jekyll young.jpg| thumb| none]].

Mrs Arnander also points out that Walter Jekyll, the author of ''Jamaican Song and Story'' (1907)--posted, together with
support audio and MusicXML files, on Project Gutenberg at [http://www.gutenberg.org/ebooks/35410]--was Francis Jekyll's
uncle.

Mrs Arnander recommends ''Gertrude Jekyll: the official website of the Jekyll''
''Estate'' at [http://gertrudejekyll.com/].

9 King, Alec Hyatt (1979) ''Printed Music in the British Museum: An Account of the Collections, The Catalogues and Their''
''Formation up to 1920''.
10 Mrs. Arnander appended details of some of the Sales Lots. Among these are back copies of the ''Journal of the Folk Song''
''Society'' (1899-1921) and of the ''Journal of the English Folk Dance and Song Society'' (1932-1947). These and other items
indicate that the collection that was sold off did indeed, as Mrs. Arnander states, contain Francis Jekyll’s music books.
11 2 April 1965.

[[Category:Collector]]

Ionian

2021-02-07T10:26:52Z

Anahata:

Link to '''[[Ionian, Mixolydian, Dorian and Aeolian: Samples and Examples of the 4 Main Musical Scales in Celtic, Anglo-American and English Folk Songs| Samples and Examples of Modes in Folk Song]]'''

The notes of the C Ionian or C Major scale are C, D, E, F, G, A, B, C’ and you get them by playing upwards from C to C’ on the white notes of a piano, or if, in tonic solfa, you sing the familiar scale of “do, re, mi, fa, so, la, ti, do”. Note the distribution of tone and semitone intervals in this scale:

C-(TONE)-D-(TONE)-E-(SEMITONE)-F-(TONE)-G-(TONE)-A-(TONE)-B-(SEMITONE)-C’

The Ionian (or the familiar do, re me) scale is the most important scale in most types and genres of Western music. Bertrand Bronson writes:

The Ionian scale …has been from time immemorial designated as the mode of popular song—the modus lascivus of ecclesiastical execration—and …in bulk, it is by far the predominating mode in the extant folksong record—at least in British-American tradition. (Bronson, Bertrand H., “Folksong and the Modes,” The Musical Quarterly, Vol. 32, No. 1 (Jan., 1946), pp. 37-49. The quotation is from p. 43.)

Likewise, Frank Purslow remarks that the majority of the tunes collected by George Gardiner (65 percent, or a total of 755) are Ionian; indeed, Purslow ridicules the obsession that he claims to discern, among the great collectors of the early twentieth century, with tunes in the other 3 modes:

To say …that these modes are the modes of English folk song is absolute nonsense. The English peasant has always preferred to sing in the Ionian mode. (Purslow, Frank, “The George Gardiner Folk Song Collection,” Folk Music Journal, 1967, pp. 129-157. The quotations are from pp. 133-5.)

Purslow’s claim that Gardiner’s non-Ionian tunes are attributable to Irish influence is contestable and problematic, but his main claim would seem to be true. The Ionian scale has been the dominant scale of Western music. Glarean noted its preponderance way back in the sixteenth century, and it is dominant in classical and art music. Some of our most characteristic, iconic and beautiful folk melodies are Ionian. Below you will find a sample of them.

'''03 The Knight and the Shepherd's Daughter''' (Cecil J. Sharp, 1916, ''One Hundred English Folk Songs'')

Link: http://folkopedia.efdss.org/wiki/03_The_Knight_and_the_Shepherd%27s_Daughter

Tune Analysis: G Ionian, Heptatonic, Plagal

'''Cruel Father and Affectionate Lovers Version 1 of 3''' (GB/6a/56)

Link: https://www.vwml.org/search?q=GB/6a/56&is=1#

Tune Analysis: G Ionian, Heptatonic, Plagal.

Ionian

2021-02-07T10:26:19Z

Anahata:

Link to '''[[Ionian, Mixolydian, Dorian and Aeolian: Samples and Examples of the 4 Main Musical Scales in Celtic, Anglo-American and English Folk Songs| Samples and Examples of Modes in Folk Song]]''' [[http://folkopedia.efdss.org/wiki/Ionian,_Mixolydian,_Dorian_and_Aeolian:_Samples_and_Examples_of_the_4_Main_Musical_Scales_in_Celtic,_Anglo-American_and_English_Folk_Songs]]

The notes of the C Ionian or C Major scale are C, D, E, F, G, A, B, C’ and you get them by playing upwards from C to C’ on the white notes of a piano, or if, in tonic solfa, you sing the familiar scale of “do, re, mi, fa, so, la, ti, do”. Note the distribution of tone and semitone intervals in this scale:

C-(TONE)-D-(TONE)-E-(SEMITONE)-F-(TONE)-G-(TONE)-A-(TONE)-B-(SEMITONE)-C’

The Ionian (or the familiar do, re me) scale is the most important scale in most types and genres of Western music. Bertrand Bronson writes:

The Ionian scale …has been from time immemorial designated as the mode of popular song—the modus lascivus of ecclesiastical execration—and …in bulk, it is by far the predominating mode in the extant folksong record—at least in British-American tradition. (Bronson, Bertrand H., “Folksong and the Modes,” The Musical Quarterly, Vol. 32, No. 1 (Jan., 1946), pp. 37-49. The quotation is from p. 43.)

Likewise, Frank Purslow remarks that the majority of the tunes collected by George Gardiner (65 percent, or a total of 755) are Ionian; indeed, Purslow ridicules the obsession that he claims to discern, among the great collectors of the early twentieth century, with tunes in the other 3 modes:

To say …that these modes are the modes of English folk song is absolute nonsense. The English peasant has always preferred to sing in the Ionian mode. (Purslow, Frank, “The George Gardiner Folk Song Collection,” Folk Music Journal, 1967, pp. 129-157. The quotations are from pp. 133-5.)

Purslow’s claim that Gardiner’s non-Ionian tunes are attributable to Irish influence is contestable and problematic, but his main claim would seem to be true. The Ionian scale has been the dominant scale of Western music. Glarean noted its preponderance way back in the sixteenth century, and it is dominant in classical and art music. Some of our most characteristic, iconic and beautiful folk melodies are Ionian. Below you will find a sample of them.

'''03 The Knight and the Shepherd's Daughter''' (Cecil J. Sharp, 1916, ''One Hundred English Folk Songs'')

Link: http://folkopedia.efdss.org/wiki/03_The_Knight_and_the_Shepherd%27s_Daughter

Tune Analysis: G Ionian, Heptatonic, Plagal

'''Cruel Father and Affectionate Lovers Version 1 of 3''' (GB/6a/56)

Link: https://www.vwml.org/search?q=GB/6a/56&is=1#

Tune Analysis: G Ionian, Heptatonic, Plagal.

Dorian

2021-02-07T10:25:18Z

Anahata:

Link to '''[[Ionian, Mixolydian, Dorian and Aeolian: Samples and Examples of the 4 Main Musical Scales in Celtic, Anglo-American and English Folk Songs|Samples and Examples of Modes in Folk Songs]]'''

The notes of the Dorian mode in tonic solfa are sung as “re, mi, fa, so, la, ti, do, re”. The D Dorian notes are D, E, F, G, A, B, C, D’ and you get this scale on a piano when you play upwards from D to D’ on the white keys. Note the distribution of the tone and semitone intervals in this scale:

D-(TONE)-E-(SEMI-TONE)-F-(TONE)-G-(TONE)-A-(TONE)-B-(SEMI-TONE)-C-(TONE)-D’

The Dorian scale is the same as the Mixolydian scale except that the third note is flattened by a semitone. To convert a Mixolydian to a Dorian key signature, add a flat to, or remove a sharp from, it. Likewise, to convert a Dorian to a Mixolydian key signature, remove a flat from, or add a sharp to, it.

To convert a Dorian to an Ionian key signature add 2 sharps to, or remove 2 flats from, it. Likewise, to convert an Ionian key signature to a Dorian key signature, add 2 flats to, or remove 2 sharps from, it.

Below you will find a sample of tunes in the Dorian scale.

'''01 Henry Martin''' (Cecil J. Sharp, 1916, ''One Hundred English Folk Songs'')

Link: [[01_Henry_Martin]]

Tune analysis: Key signature is D Aeolian but the single B (7th) is naturalised to produce a Dorian scale. Heptatonic, Authentic. If the single B were a Bb the scale would be Aeolian; if it were absent the scale would be a Hexatonic Dorian/Aeolian hybrid.

'''02 Bruton Town''' (Cecil J. Sharp, 1916, ''One Hundred English Folk Songs'')

Link: [[02_Bruton_Town]]

Tune Analysis: D Dorian, Heptatonic, Mainly Authentic (3 Cs dip blow the keynote).

'''Basket of Eggs Version 1 of 2''' (GB/6a/17)

Link: https://www.vwml.org/search?q=GB/6a/17&is=1

Tune Analysis: Key signature is E Aeolian but all of the C naturals (7ths) are sharpened to produce a Dorian scale. Heptatonic, Mainly Authentic (2 Ds dip below the keynote).

'''Bold Thresherman Versions 1 of 2 and 2 of 2''' (GB/6a/28 and GB/6a/29)

Links: https://www.vwml.org/search?q=GB/6a/28&is=1 and https://www.vwml.org/search?q=GB/6a/29&is=1

Tune Analysis (both versions): F Dorian, Heptatonic, Mainly Authentic (1 E dips below the keynote).

Bonny Blooming Highland Jane (GB/6a/30)

Link: https://www.vwml.org/search?q=GB/6a/30&is=1#

Tune Analysis: F Dorian, Heptatonic, Mainly Authentic (several Es dip below the keynote). The consistent 5/4 time signature is rather uncommon.

'''Green Bushes Version 2 of 5''' (GB/6a/79)

Link: https://www.vwml.org/search?q=GB/6a/79&is=1#

Tune Analysis: F Dorian, Heptatonic, Mainly Authentic but there are some Es that dip below the keynote.

Aeolian

2021-02-07T10:24:01Z

Anahata:

Link to '''[[Ionian, Mixolydian, Dorian and Aeolian: Samples and Examples of the 4 Main Musical Scales in Celtic, Anglo-American and English Folk Songs|Samples and Examples of Modes in Folk Songs]]'''

The Aeolian scale is similar to the modern minor scales in their melodic and harmonic forms but without the accidentals that sharpen, naturalise or flatten some of the notes of those scales. The notes of the Aeolian mode in tonic solfa are sung as “la, ti, do, re, mi, fa, so, la”. The A Aeolian notes are A, B, C, D, E, F, G, A’, and you get this scale on a piano when you play upwards from A to A’ on the white keys. Note the distribution of the tone and semitone intervals in this scale:

A-(TONE)-B-(SEMITONE)-C-(TONE)-D-(TONE)-E-(SEMITONE)-F-(TONE)-G-(TONE)-A’

The Aeolian scale is the same as the Dorian scale except that the sixth note is flattened by a semitone. To convert a Dorian to an Aeolian key signature, add a flat to, or remove a sharp from, it. Likewise, to convert an Aeolian to a Dorian key signature, remove a flat from, or add a sharp to, it.

To convert an Aeolian to a Mixolydian key signature add 2 sharps to, or remove 2 flats from, it. Likewise, to convert a Mixolydian to an Aeolian key signature, add 2 flats to, or remove 2 sharps from, it.

To convert an Aeolian to an Ionian key signature add 3 sharps to, or remove 3 flats from, it. Likewise, to convert an Ionian key signature to an Aeolian key signature, add 3 flats to, or remove 3 sharps from, it.

Below you will find a sample of tunes in the Aeolian scale.

'''05 The Wraggle Taggle Gypsies, O!''' (From Cecil J. Sharp, 1916, ''One Hundred English Folk Songs'')

Link: http://folkopedia.efdss.org/wiki/05_The_Wraggle_Taggle_Gypsies,_O!

Tune Analysis: D Aeolian, Heptatonic, Authentic.

'''10 Lady Maisrie''' (From Cecil J. Sharp, 1916, ''One Hundred English Folk Songs'')

Link: http://folkopedia.efdss.org/wiki/10_Lady_Maisrie

Tune Analysis: E Aeolian, Heptatonic, Mainly Authentic but the pick up note (anacrusis) and several Ds dip below the keynote.

'''35 The Cuckoo''' (From Cecil J. Sharp, 1916, ''One Hundred English Folk Songs'')

Link: http://folkopedia.efdss.org/wiki/35_The_Cuckoo

Tune Analysis: C# Aeolian, Heptatonic, Mainly Authentic but 4 of the Bs are immediately below the keynote.

'''As I Roamed Out''' (GB/6a/5)

Link: https://www.vwml.org/search?q=GB/6a/5&is=1#

Tune Analysis: G Aeolian except in variant (a) where 2 of the Bbs are naturalised (Dorian influence), Heptatonic, Plagal

'''Cupid the Ploughboy, Version 3 of 3''' (GB/6a/61)

Link: https://www.vwml.org/search?q=GB/6a/61&is=1

Tune Analysis: G Aeolian, Heptatonic, Plagal.

Aeolian

2021-02-07T10:23:37Z

Anahata:

Link to '''[[Ionian, Mixolydian, Dorian and Aeolian: Samples and Examples of the 4 Main Musical Scales in Celtic, Anglo-American and English Folk Songs|Samples and Examples of Modes in Folk Songs'''

The Aeolian scale is similar to the modern minor scales in their melodic and harmonic forms but without the accidentals that sharpen, naturalise or flatten some of the notes of those scales. The notes of the Aeolian mode in tonic solfa are sung as “la, ti, do, re, mi, fa, so, la”. The A Aeolian notes are A, B, C, D, E, F, G, A’, and you get this scale on a piano when you play upwards from A to A’ on the white keys. Note the distribution of the tone and semitone intervals in this scale:

A-(TONE)-B-(SEMITONE)-C-(TONE)-D-(TONE)-E-(SEMITONE)-F-(TONE)-G-(TONE)-A’

The Aeolian scale is the same as the Dorian scale except that the sixth note is flattened by a semitone. To convert a Dorian to an Aeolian key signature, add a flat to, or remove a sharp from, it. Likewise, to convert an Aeolian to a Dorian key signature, remove a flat from, or add a sharp to, it.

To convert an Aeolian to a Mixolydian key signature add 2 sharps to, or remove 2 flats from, it. Likewise, to convert a Mixolydian to an Aeolian key signature, add 2 flats to, or remove 2 sharps from, it.

To convert an Aeolian to an Ionian key signature add 3 sharps to, or remove 3 flats from, it. Likewise, to convert an Ionian key signature to an Aeolian key signature, add 3 flats to, or remove 3 sharps from, it.

Below you will find a sample of tunes in the Aeolian scale.

'''05 The Wraggle Taggle Gypsies, O!''' (From Cecil J. Sharp, 1916, ''One Hundred English Folk Songs'')

Link: http://folkopedia.efdss.org/wiki/05_The_Wraggle_Taggle_Gypsies,_O!

Tune Analysis: D Aeolian, Heptatonic, Authentic.

'''10 Lady Maisrie''' (From Cecil J. Sharp, 1916, ''One Hundred English Folk Songs'')

Link: http://folkopedia.efdss.org/wiki/10_Lady_Maisrie

Tune Analysis: E Aeolian, Heptatonic, Mainly Authentic but the pick up note (anacrusis) and several Ds dip below the keynote.

'''35 The Cuckoo''' (From Cecil J. Sharp, 1916, ''One Hundred English Folk Songs'')

Link: http://folkopedia.efdss.org/wiki/35_The_Cuckoo

Tune Analysis: C# Aeolian, Heptatonic, Mainly Authentic but 4 of the Bs are immediately below the keynote.

'''As I Roamed Out''' (GB/6a/5)

Link: https://www.vwml.org/search?q=GB/6a/5&is=1#

Tune Analysis: G Aeolian except in variant (a) where 2 of the Bbs are naturalised (Dorian influence), Heptatonic, Plagal

'''Cupid the Ploughboy, Version 3 of 3''' (GB/6a/61)

Link: https://www.vwml.org/search?q=GB/6a/61&is=1

Tune Analysis: G Aeolian, Heptatonic, Plagal.

Dorian/Aeolian Gapped Scales and Hybrids

2021-02-07T10:21:54Z

Anahata:

Link to '''[[Ionian, Mixolydian, Dorian and Aeolian: Samples and Examples of the 4 Main Musical Scales in Celtic, Anglo-American and English Folk Songs|Samples and Examples of Modes in Folk Songs]]'''

The Aeolian scale is the same as the Dorian scale except that the sixth note is flattened by a semitone. To convert a Dorian to an Aeolian key signature, add a flat to, or remove a sharp from, it. Likewise, to convert an Aeolian to a Dorian key signature, remove a flat from, or add a sharp to, it. The Dorian and Aeolian scales are thus quite similar to each other, and there are quite a few Dorian/Aeolian gapped scales and quite a few Dorian/Aeolian hybrids. Here are some examples.

'''04 Robin Hood and the Tanner''' (Cecil J. Sharp, 1916, ''One Hundred English Folk Songs'')

Link: [[04_Robin_Hood_and_the_Tanner]]

Tune Analysis: D Dorian key signature but one of the Bs (6th) is flattened to produce a Dorian/Aeolian hybrid. Heptatonic, Mainly Authentic but there is a C that dips below the keynote.

'''06 Lord Bateman''' (Cecil J. Sharp, 1916, ''One Hundred English Folk Songs'')

Link:[[06_Lord_Bateman]]

Tune Analysis: G Aeolian key signature but no E (6th). Hexatonic G Dorian/G Aeolian gapped scale, Plagal.

'''09 Geordie''' (Cecil J. Sharp, 1916, ''One Hundred English Folk Songs'')

Link: [[09_Geordie]]

Tune Analysis: A Aeolian key signature but no F (6th). Hexatonic G Dorian/G Aeolian gapped scale, Plagal.

'''12 The Coasts of High Barbary''' (Cecil J. Sharp, 1916, ''One Hundred English Folk Songs'')

Link: [[12_The_Coasts_of_High_Barbary]]

Tune Analysis: E Aeolian key signature but no C (6th). Hexatonic E Dorian/E Aeolian gapped scale. Mainly Authentic but the pick up notes (anacrusis) and some Ds dip below the keynote.

'''As I Roamed Out''' (GB/6a/5)

Link: https://www.vwml.org/search?q=GB/6a/5&is=1#

Tune Analysis: D Aeolian key signature but some of the Bbs (6ths) are naturalised to produce a Dorian/Aeolian hybrid. Heptatonic, Plagal.

'''Basket of Eggs Version 2 of 2''' (GB/6a/18)

Link: https://www.vwml.org/search?q=GB/6a/18&is=1#

Tune Analysis: The key signature is E Aeolian but two of the Cs are sharpened to produce a Dorian/Aeolian hybrid. Heptatonic, Authentic.

'''Cupid the Ploughboy Version 1 of 3''' (GB/6a/59)

Link: https://www.vwml.org/search?q=GB/6a/59&is=1

Tune Analysis: G Aeolian key signature but scale is Hexatonic with no Es (6th). If the Es are presumed to be natural the scale is Dorian, if flattened Aeolian. Plagal.

Mixolydian

2021-02-07T00:25:12Z

Anahata:

Link to '''[[Ionian, Mixolydian, Dorian and Aeolian: Samples and Examples of the 4 Main Musical Scales in Celtic, Anglo-American and English Folk Songs | Samples and Examples of Modes and Scales]]'''

The notes of the Mixolydian mode in tonic solfa are sung as “so, la, ti, do, re, mi, fa, so”. The G Mixolydian notes are G, A, B, C, D, E, F, G’, and you get this scale on a piano when you play upwards from G to G’ on the white keys. Again, note the distribution of the tone and semitone intervals in this scale:

G-(TONE)-A-(TONE)-B-(SEMITONE)-C-(TONE)-D-(TONE)-E-(SEMITONE)-F-(TONE)-G’

The Mixolydian scale is the same as the Ionian scale except that its seventh note is flattened by a semitone. To convert an Ionian to a Mixolydian key signature add a flat to, or remove a sharp from, it. Likewise, to convert a Mixolydian to an Ionian key signature, remove a flat from, or add a sharp to, it. Many Celtic, Anglo-American and English folk melodies are Ionian/Mixolydian hybrids. There may be a seventh that is sometimes flattened and sometimes not. Or the tune may be hexatonic, with no seventh at all.

The Mixolydian scale is a major scale in that it has a major third. Where it differs from all of the 3 scales common in classical and art music (the Ionian major, the harmonic minor, and the melodic minor), and what it has in common with the Dorian and Aeolian minor scales, is that, in its ascent, it concludes with a tone rather than a semitone.

There are many well-known Celtic, Anglo-American and English folk songs that have a Mixolydian scale. Here is a selection of them.

'''All Around My Hat''' (GB/6a/1)

Link: https://www.vwml.org/search?q=GB/6a/1&is=1#

Tune Analysis: G Mixolydian, Heptatonic, Plagal.

'''Dabbling in the Dew Version 1 of 3''' (GB/6a/62)

Link: https://www.vwml.org/search?q=GB/6a/62&is=1#

Tune Analysis: D Mixolydian, Heptatonic, Authentic.

Mixolydian

2021-02-07T00:23:59Z

Anahata:

Link to '''[[Ionian, Mixolydian, Dorian and Aeolian: Samples and Examples of the 4 Main Musical Scales in Celtic, Anglo-American and English Folk Songs]]'''

The notes of the Mixolydian mode in tonic solfa are sung as “so, la, ti, do, re, mi, fa, so”. The G Mixolydian notes are G, A, B, C, D, E, F, G’, and you get this scale on a piano when you play upwards from G to G’ on the white keys. Again, note the distribution of the tone and semitone intervals in this scale:

G-(TONE)-A-(TONE)-B-(SEMITONE)-C-(TONE)-D-(TONE)-E-(SEMITONE)-F-(TONE)-G’

The Mixolydian scale is the same as the Ionian scale except that its seventh note is flattened by a semitone. To convert an Ionian to a Mixolydian key signature add a flat to, or remove a sharp from, it. Likewise, to convert a Mixolydian to an Ionian key signature, remove a flat from, or add a sharp to, it. Many Celtic, Anglo-American and English folk melodies are Ionian/Mixolydian hybrids. There may be a seventh that is sometimes flattened and sometimes not. Or the tune may be hexatonic, with no seventh at all.

The Mixolydian scale is a major scale in that it has a major third. Where it differs from all of the 3 scales common in classical and art music (the Ionian major, the harmonic minor, and the melodic minor), and what it has in common with the Dorian and Aeolian minor scales, is that, in its ascent, it concludes with a tone rather than a semitone.

There are many well-known Celtic, Anglo-American and English folk songs that have a Mixolydian scale. Here is a selection of them.

'''All Around My Hat''' (GB/6a/1)

Link: https://www.vwml.org/search?q=GB/6a/1&is=1#

Tune Analysis: G Mixolydian, Heptatonic, Plagal.

'''Dabbling in the Dew Version 1 of 3''' (GB/6a/62)

Link: https://www.vwml.org/search?q=GB/6a/62&is=1#

Tune Analysis: D Mixolydian, Heptatonic, Authentic.

Song

2021-02-07T00:22:01Z

Anahata:

''Category Editor: Dr Vic Gammon''

There are many thousands of songs. There are many song collections and many versions of the same song. Where to start looking? That's the problem.

All songs currently in Folkopedia are listed on the [[Category:Song| Song Category Page]]

Note. Our intention is not to restrict this initiative to English Song, but to use the present headings as a starting point to view whatever develops from wherever it comes.

==The Take 6 Transcription Programme==

Take 6 (also more recently, and in an augmented form, known as The Full English) is a major initiative from the English Folk Dance and Song Society to put online some of the major manuscript collections of folk songs and folk music. Check it out here [http://library.efdss.org/archives/]

The Take 6 Transcription Programme is an initiative hosted by Folkopedia to make the content of these manuscripts available as PDF sheet music, MIDIs, MusicXMLs and abc files. Check it out here: [[Take_6_Transcription_Programme|Transcription_Programme]]

==Traditional Songs by Theme==

It's often difficult to categorise a song. Is the song of a Thames Bargeman a sea song or an industrial one? Likewise a Fishing song. Many industrial or rural songs had a political dimension. It doesn't do to worry too much about it - the categories are really just a rough guide to get to something that fits the browser's interest and in the spirit of the Wiki might lead to somewhere altogether unexpected!
Some [[Song Books]] are arranged by theme.
Here are some of the common themes in folk song:

'''[[Songs of Love and Marriage]]''' ''romantic, unrequited, happy and unhappy wedlock, spinsters and batchelors, broken tokens''

'''[[Songs of Seduction]]''' ''brief, bawdy, passionate and tragic

'''[[Songs of Country Life]]''' ''millers, blacksmiths, cobblers''

'''[[Songs of Good Company]]''' ''drinking, carousing, conviviality''

'''[[Hunting and Poaching Songs]]''' ''the fox, the hare, transportation''

'''[[Sea Songs]]''' ''press gangs, men o' war, fishing & whaling, jack on shore''

'''[[Soldiers' Songs]]''' ''the king's shilling, bloody battles''

'''[[Songs of Comedy and Diversion]]''' ''comical tales, legendary animals, marvels''

'''[[Ritual Songs]]''' ''folk ceremonies, mummer's plays''

'''[[Songs of the Road]]''' ''travellers, gypsies and journeymen''

'''[[Political and Historical Songs]]''' ''rebellion, reform, great events''

'''[[Ballads]]'''

'''[[Children's Songs]]''' ''rhymes, game songs''

'''[[Songs of Heroes and Villains]]''' ''Highwaymen, scoundrels, and adventurers, real and fictitious''

'''[[Industrial Songs]]''' ''pits and mills''

English ballad broadsides by theme at the [https://digital.nls.uk/english-ballads/archive/74896726#?c=0&m=0&s=0&cv=0&xywh=-4049%2C0%2C10597%2C5906 National Library of Scotland]

==Traditional Singers==

==='''[[English Source Singers]]'''===

==='''[[Scottish Source Singers]]'''===

==='''[[Irish Source Singers]]'''===

==='''[[North American Source Singers]]'''===

==='''[[Australian Source Singers]]'''===

==Performance==
''section editor Chris Coe''

This is a tricky section to think of including. One doesn't always associate folk song and 'performance' but some of the techniques applied by the traditional singers can bear scrutiny, especially by those who want to sing the same sort of songs.

The intimate fireside delivery of [[Walter Pardon]].......

[[Lizzie Higgins]] taking a deep breath, expanding to be a 'giant' and setting forth..........

[[Johnny Doughty]] turning his cap sideways and singing the [[Herring's Head]].....

And any one who has seen [[Jock Duncan]] perform the [[Two Sisters]] will have a vivid understanding of song delivery with gestures....

Watch this space.

--[[User:JohnnyAdams|JohnnyAdams]] 22:46, 14 March 2007 (UTC)

==Scales and Musical Modes in Celtic, Anglo-American and English Folk Songs==

The great folk song collectors, such as Cecil Sharp and Lucy Broadwood, were interested in the musical scales and modes (such as Ionian, Mixolydian, Dorian and Aeolian) in which Celtic, Anglo-American and English folk songs have come down to us. To read more about scales and modes click on this link: [[Scales_and_Musical_Modes_in_Celtic,_Anglo-American_and_English_Folk_Songs |Scales and Modes in Folk Songs]].

==Tune Analysis: How To Dissect, Interpret and Categorise Anglo-American, Celtic and English Folk Melodies==

To learn how to analyse Anglo-American, Celtic and English folk song melodies click on [[Tune_Analysis:_How_To_Dissect,_Interpret_and_Categorize_Anglo-American,_Celtic_and_English_Folk_Melodies | this link]].

==Ionian, Mixolydian, Dorian and Aeolian: Samples and Examples of the 4 Main Musical Scales in Celtic, Anglo-American and English Folk Songs==

For samples and examples follow this link [[Ionian,_Mixolydian,_Dorian_and_Aeolian:_Samples_and_Examples_of_the_4_Main_Musical_Scales_in_Celtic,_Anglo-American_and_English_Folk_Songs| Samples and Examples]]

==Folk Song: Definitions, Concepts and Controversies==
What is "folk song," "authenticity," "revival," and so on? To find out follow [[Folk_Song: Definitions, Concepts and Controversies| this link]].

==West Gallery Music==

For information and links on West Gallery Music go to [[West Gallery Music]]

==Resources==

===Recordings===

Record labels produce recordings of both song and instrumental music, and a list of these can be found [[Recordings|here]]

=== Books & Bibliographies===
Books of and about folk songs abound and seem to increase at an exponential rate. It is ironic that computerisation and digitalisation, which make this site possible, also make it much easier and cheaper to publish new books. In addition, many rare and inaccessible books from the past have been scanned and placed on the web in recent years, which has helped more and more people to find songs and contribute to scholarship and discussion. Probably the most complete and recent listing of books is the one given immediately below. After that, there follows a short selection of some important books.

====Bibliographies====

[http://www.efdss.org/songbib3.pdf English Folk Song Bibliography: An Introductory Bibliography Based on the Holdings of the Vaughan Williams Memorial Library, Third Edition, edited by David Atkinson]

* Margaret Dean-Smith, ''A guide to English Folk Song Collections 1822 - 1952'', Liverpool: University Press of Liverpool, in Association with EFDSS (1954) - An earlier attempt at a bibliography but with substantial descriptions and publishing details of the books as well as an alphabetical index of the songs included in these collections. Still a valuable reference - particularly when used in conjunction with the Roud index.

====Books====

Probably the most important thing to know is what is available and in print now. The most up to date list is probably to be found at the [http://www.tradsong.org Traditional Song Forum web site] in the form of a list by publisher Dave Herron. Look on the [http://www.tradsong.org/Library.htm library pages] for Dave Herron's Chapbook.

Below is the place to put detail of ALL the folksong books that ever there were.

* [[Books before 1900]]

* [[Broadside ballads]]

* [[Song Books]]

* [[Folk Song Scholarship]]

===Indexes===

* The [[Vaughan Williams Memorial Library]] [http://library.efdss.org online index] including
** [[Cecil Sharp]]
** [[Ralph Vaughan Williams]]
** [[Maud Karpeles]]
** [[John Broadwood]]
** [[Lucy Broadwood]]
** [[H.E.D. Hammond]]
** [[Francis Collinson]]
** [[George Gardiner]]
** [[Percy Grainger]]

* [[Francis J Child]]

The site also gives you access to the [http://library.efdss.org/cgi-bin/textpage.cgi?file=aboutRoud&access=off Roud Index], compiled by Steve Roud.

The Roud Folk Song Index is a database of 143,000+ references to songs that have been collected from oral tradition in the English language from all over the world. It is the most important finding aid for traditional song ever compiled, and not even the most casual researcher can afford to do without it.

George Butterworth

2021-02-07T00:15:00Z

Anahata:

From Wikipedia:

''Although Butterworth was born in London, his family moved to Yorkshire not long after his birth. He received his first music lessons from his mother, who was a singer, and began composing at an early age. However, his father intended for him to be a solicitor, and he attended Eton College, from there continuing on to Trinity College, Oxford. While at Trinity he became more focused on music, for there he met the folk song collector Cecil Sharp and composer and folk song enthusiast Ralph Vaughan Williams. Butterworth and Vaughan Williams made several trips into the English countryside to collect folk songs, and both saw their compositions strongly influenced by what they heard. Butterworth was also an expert folk dancer, being particularly fond of Morris dancing.''

[http://en.wikipedia.org/wiki/George_Butterworth Read the full article]

George Butterworth's work as a folk song and dance collector was immensely important. His manuscripts and notebooks, held at the Vaughan Williams Memorial Library[http://library.efdss.org/cgi-bin/home.cgi] have been digitised as part of the Take 6 Project and are available online here[http://library.efdss.org/archives/index.html]. Transcriptions of them can be accessed from here: [[Take_6_Transcription_Programme|Transcription Programme]].

This is a list of titles along with direct url to transcribed manuscripts by Lewis Jones and Simon Furey on vwml.org [[file:Butterworth_Titles.txt‎]]
All of the transcribed ABC files on the VWML.org now have an F: field with a direct link back to their original VWML.org manuscript.

== Links ==

* Article at [http://www.rubecula.com/Butterworth/Butterworth.html http://www.rubecula.com]

[[Category:Collector]]

NIXON,T,

2021-02-07T00:13:23Z

Anahata:

From Framingham History [http://www.framinghamhistory.org/framinghamhistory/Default/index.htm website] :-

'' Thomas Nixon Jr. (1762-1842) was thirteen years old when he accompanied his father to the fighting at Concord and Lexington. He served as fifer in his uncle's brigade during battles in and around New York and left the army in 1780, returning to Framingham where he built a house that still stands on Edmands Road. At some point during his military career, probably in 1778, he acquired a tune book that had been compiled by a fellow fifer, Joseph Long. Sixty-two pages of tunes and a musical tutor made up the book when it came into Nixon's hands; he added another 42 pages of music. Fife and drum music was used to communicate commands to soldiers through "duty calls" like regular and quick marches, reveille, and retreat. The book also contains funeral music, dance music, and a "Rogues march" used to make fun of cowards and other undesirables. This is one of about twelve known tune books from the Revolutionary War. It contains melodies familiar in other sources as well as many unique songs.''

''Anne Livermore Rookey studied the tune book thoroughly for her Masters thesis at Brandeis University in 1997. She also photographed each page, and Aldo Abreu later scanned the pages to edit and create the images used here.''

back to [[Tune_Manuscripts_List|Manuscript List]]

Ionian/Mixolydian Gapped Scales and Hybrids

2021-02-07T00:12:06Z

Anahata:

Link to '''[[Ionian, Mixolydian, Dorian and Aeolian: Samples and Examples of the 4 Main Musical Scales in Celtic, Anglo-American and English Folk Songs]]'''

The Mixolydian scale is the same as the Ionian scale except that its seventh note is flattened by a semitone. To convert an Ionian to a Mixolydian key signature add a flat to, or remove a sharp from, it. Likewise, to convert a Mixolydian to an Ionian key signature, remove a flat from, or add a sharp to, it. Many Celtic, Anglo-American and English folk melodies are Ionian/Mixolydian hybrids. There may be a seventh that is sometimes flattened and sometimes not. Or the tune may be hexatonic, with no seventh at all. The Ionian and Mixolydian scales are thus quite similar to each other, and there are quite a few Ionian/Mixolydian gapped scales and quite a few Ionian/Mixolydian hybrids. Here are some examples.

'''08 Little Sir Hugh''' (Cecil J. Sharp, 1916, ''One Hundred English Folk Songs'')

Link: [[08_Little_Sir_Hugh|Little Sir Hugh]]

Tune Analysis: G Ionian key signature but no F (7th). Hexatonic G Ionian/G Mixolydian gapped scale, Plagal.

Ionian/Mixolydian Gapped Scales and Hybrids

2021-02-07T00:09:48Z

Anahata:

Link to '''[[Ionian, Mixolydian, Dorian and Aeolian: Samples and Examples of the 4 Main Musical Scales in Celtic, Anglo-American and English Folk Songs]]'''

The Mixolydian scale is the same as the Ionian scale except that its seventh note is flattened by a semitone. To convert an Ionian to a Mixolydian key signature add a flat to, or remove a sharp from, it. Likewise, to convert a Mixolydian to an Ionian key signature, remove a flat from, or add a sharp to, it. Many Celtic, Anglo-American and English folk melodies are Ionian/Mixolydian hybrids. There may be a seventh that is sometimes flattened and sometimes not. Or the tune may be hexatonic, with no seventh at all. The Ionian and Mixolydian scales are thus quite similar to each other, and there are quite a few Ionian/Mixolydian gapped scales and quite a few Ionian/Mixolydian hybrids. Here are some examples.

'''08 Little Sir Hugh''' (Cecil J. Sharp, 1916, ''One Hundred English Folk Songs'')

Link: http://folkopedia.info/index.php?title=08_Little_Sir_Hugh

Tune Analysis: G Ionian key signature but no F (7th). Hexatonic G Ionian/G Mixolydian gapped scale, Plagal.

Ionian/Mixolydian Gapped Scales and Hybrids

2021-02-07T00:08:59Z

Anahata:

Link to '''[[Ionian, Mixolydian, Dorian and Aeolian: Samples and Examples of the 4 Main Musical Scales in Celtic, Anglo-American and English Folk Songs]]'''

The Mixolydian scale is the same as the Ionian scale except that its seventh note is flattened by a semitone. To convert an Ionian to a Mixolydian key signature add a flat to, or remove a sharp from, it. Likewise, to convert a Mixolydian to an Ionian key signature, remove a flat from, or add a sharp to, it. Many Celtic, Anglo-American and English folk melodies are Ionian/Mixolydian hybrids. There may be a seventh that is sometimes flattened and sometimes not. Or the tune may be hexatonic, with no seventh at all. The Ionian and Mixolydian scales are thus quite similar to each other, and there are quite a few Ionian/Mixolydian gapped scales and quite a few Ionian/Mixolydian hybrids. Here are some examples.

'''08 Little Sir Hugh''' (Cecil J. Sharp, 1916, ''One Hundred English Folk Songs'')

Link: http://folkopedia.info/wiki/08_Little_Sir_Hugh

Tune Analysis: G Ionian key signature but no F (7th). Hexatonic G Ionian/G Mixolydian gapped scale, Plagal.

Ionian/Lydian Gapped Scales and Hybrids

2021-02-07T00:05:12Z

Anahata:

Link to '''[[Ionian, Mixolydian, Dorian and Aeolian: Samples and Examples of the 4 Main Musical Scales in Celtic, Anglo-American and English Folk Songs]]'''

The Lydian scale is the same as the Ionian scale except that its fourth note is sharpened by a semitone. The Lydian scale has a major third and is thus, together with the Ionian and Mixolydian scales, a major scale. To convert an Ionian to a Lydian key signature add a sharp to, or remove a flat from, it. Likewise, to convert a Lydian to an Ionian key signature, add a flat to, or remove a sharp to, it. Note, however, that, although the above is theoretically correct, heptatonic Lydian scales are virtually unknown in Celtic, Anglo-American and English folk melodies.

'''07 Barbara Ellen''' (Cecil J. Sharp, 1916, ''One Hundred English Folk Songs'')

Link: http://folkopedia.efdss.org/wiki/07_Barbara_Ellen

Tune Analysis: E Ionian key signature but no A (4th). If the A were natural the scale would be Ionian, if sharp Lydian. Hexatonic E Ionian/E Lydian gapped scale, Authentic.

Ionian/Lydian Gapped Scales and Hybrids

2021-02-07T00:04:16Z

Anahata:

Link to '''[[Ionian,_Mixolydian,_Dorian_and_Aeolian:_Samples_and_Examples_of_the_4_Main_Musical_Scales_in_Celtic,_Anglo-American_and_English_Folk_Songs]]'''

The Lydian scale is the same as the Ionian scale except that its fourth note is sharpened by a semitone. The Lydian scale has a major third and is thus, together with the Ionian and Mixolydian scales, a major scale. To convert an Ionian to a Lydian key signature add a sharp to, or remove a flat from, it. Likewise, to convert a Lydian to an Ionian key signature, add a flat to, or remove a sharp to, it. Note, however, that, although the above is theoretically correct, heptatonic Lydian scales are virtually unknown in Celtic, Anglo-American and English folk melodies.

'''07 Barbara Ellen''' (Cecil J. Sharp, 1916, ''One Hundred English Folk Songs'')

Link: http://folkopedia.efdss.org/wiki/07_Barbara_Ellen

Tune Analysis: E Ionian key signature but no A (4th). If the A were natural the scale would be Ionian, if sharp Lydian. Hexatonic E Ionian/E Lydian gapped scale, Authentic.

Garland

2021-02-06T23:56:14Z

Anahata:

An important article by Tony Barrand on Garland Dancing, originally posted in The American Morris Newsletter, Volume 28, Number 2, September 1, 2008 is now hosted at the American Morris News [http://www.americanmorrisnews.org/pastissues/sept2008v28n2/tonybarrandv28n2garlanddancinginthedvra.html website]

Back to [[Dance]]

Folk Song: Definitions, Concepts and Controversies

2021-02-06T23:54:56Z

Anahata:

Link to Song page [[Song#Folk_Song:_Definitions.2C_Concepts_and_Controversies]]

'''Folk Song'''

'''Provenance'''

'''Authenticity'''

'''Continuous, Uninterrupted Oral Transmission'''

'''The Great Collectors'''

[['''The Great Agricultural Depression c.1870-1914''']]

'''The Peasantry'''

[['''The Folk Song Revival of the 1950s and '60s''']]

Mixolydian/Dorian Gapped Scales and Hybrids

2021-02-06T23:53:47Z

Anahata:

Link to '''[[Ionian,_Mixolydian,_Dorian_and_Aeolian:_Samples_and_Examples_of_the_4_Main_Musical_Scales_in_Celtic,_Anglo-American_and_English_Folk_Songs]]'''

The Dorian scale is the same as the Mixolydian scale except that the third note is flattened by a semitone. To convert a Mixolydian to a Dorian key signature, add a flat to, or remove a sharp from, it. Likewise, to convert a Dorian to a Mixolydian key signature, remove a flat from, or add a sharp to, it. The Mixolydian and Dorian scales are thus quite similar to each other, and there are quite a few Mixolydian/Dorian gapped scales and quite a few Mixolydian/Dorian hybrids. Here are some examples.

Green Mossy Banks of the Lea, Version 2 of 2 (GB/6a/77)

Link: https://www.vwml.org/search?q=GB/6a/77&is=1#

Tune Analysis: D Dorian but one of the Fs is sharpened to produce a Mixolydian/Dorian hybrid. Heptatonic, Plagal.

Take 6 Transcription Programme: The Blunt Archive, MS 12A

2021-02-06T23:48:27Z

Anahata:

Link to [[Take 6 Transcription Programme]] Home Page

'''JHB/12A/8 ''' [[As_Shepherds_watched_their_fleecy_care]]

[[File:JHB-12A-8.pdf]]

[[File:JHB-12A-8.MID‎]]

[[File:JHB-12A-8.xml]]

Take 6 Transcription Programme: The Blunt Archive, MS 12A

2021-02-06T23:45:18Z

Anahata:

Link to [[Take 6 Transcription Programme]] Home Page

'''JHB/12A/8 As Shepherds Watched Their Fleecy Care'''[[As_Shepherds_watched_their_fleecy_care]]

[[File:JHB-12A-8.pdf]]

[[File:JHB-12A-8.MID‎]]

[[File:JHB-12A-8.xml]]

Take 6 Transcription Programme: The Blunt Archive, MS 12A

2021-02-06T22:51:44Z

Anahata: Reverted edits by Anahata (talk) to last revision by Andyturner

Link to [[Take 6 Transcription Programme]] Home Page

'''JHB/12A/8 As Shepherds Watched Their Fleecy Care'''[[http://folkopedia.efdss.org/As_Shepherds_watched_their_fleecy_care]]

[[File:JHB-12A-8.pdf]]

[[File:JHB-12A-8.MID‎]]

[[File:JHB-12A-8.xml]]

Folkopedia - User contributions [en]

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Full English Transcription Programme: The Vaughan Williams Archive at the British Library, MS RVW2/3

Full English Transcription Programme: The Vaughan Williams Archive at the British Library, MS RVW2/3

Full English Transcription Programme: The Vaughan Williams Archive at the British Library, MS RVW2/3

Midgley Pace Egg

User:Anahata

User:Anahata

Regional

Scales and Musical Modes in Celtic, Anglo-American and English Folk Songs

Scales and Musical Modes in Celtic, Anglo-American and English Folk Songs

List of historical tunebooks, some of which are available on the internet

'''The Great Agricultural Depression c.1870-1914'''

'''The Great Agricultural Depression c.1870-1914'''

'''The Great Agricultural Depression c.1870-1914'''

Take 6 Transcription Programme

Take 6 Transcription Programme

Francis Jekyll

Francis Jekyll

Francis Jekyll

Ionian

Ionian

Dorian

Aeolian

Aeolian

Dorian/Aeolian Gapped Scales and Hybrids

Mixolydian

Mixolydian

Song

George Butterworth

NIXON,T,

Ionian/Mixolydian Gapped Scales and Hybrids

Ionian/Mixolydian Gapped Scales and Hybrids

Ionian/Mixolydian Gapped Scales and Hybrids

Ionian/Lydian Gapped Scales and Hybrids

Ionian/Lydian Gapped Scales and Hybrids

Garland

Folk Song: Definitions, Concepts and Controversies

Mixolydian/Dorian Gapped Scales and Hybrids

Take 6 Transcription Programme: The Blunt Archive, MS 12A

Take 6 Transcription Programme: The Blunt Archive, MS 12A

Take 6 Transcription Programme: The Blunt Archive, MS 12A