Take 6 Transcription Programme: The Butterworth Archive, MS 6a
Link to Take 6 Transcription Programme Home Page
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For playback, abc files, and midi files, of these transcriptions that are linked to their original MSS enter the filenames [LEB/2/1/1 or whatever] in the search box here. [[1]]
Sheet Music Tune Book of Melodies from Butterworth MS 6a
File:Butterworth MS 6a Tune Book.pdf
GB/6a/1 All Round My Hat Version 1 of 2 (for Version 2 see GB/7a/71)
Editorial note: The tune is in the Mixolydian mode (root G) in the key of C major.
GB/6a/4 American King
GB/6a/5 As I Roamed Out Version 1 of 2
GB/6a/6 As I Roamed Out Version 2 of 2
GB/6a/9 Banks of Green Willow Version 1 of 2
GB/6a/10 Banks of Green Willow Version 2 of 2
GB/6a/12 Barbara Allen Version 1 of 4
GB/6a/13 Barbara Allen Version 2 of 4
GB/6a/14 Barbara Allen Version 3 of 4
GB/6a/15 Barbara Allen Version 4 of 4
GB/6a/17 The Basket of Eggs Version 1 of 2
GB/6a/18 The Basket of Eggs Version 2 of 2
Alternative Version: GB/6a/18 The Basket of Eggs Version 2 of 2
Editorial note: The crotchets with fermatas are written as minims without fermatas in the original MS.
This editorial change is to make the overall rhythm clearer without distorting the original significantly.
GB/6a/21 The Bold Fisherman Version 1 of 3
GB/6a/22 The Bold Fisherman Version 2 of 3
GB/6a/23 The Bold Fisherman Version 3 of 3
GB/6a/28 The Bold Thresherman Version 1 of 2
GB/6a/29 The Bold Thresherman Version 2 of 2
GB/6a/30 Bonny Blooming Highland Jane
GB/6a/31 Bonny Blue Handkerchief Version 1 of 2
GB/6a/32 Bonny Blue Handkerchief Version 2 of 2
GB/6a/33 Bonny Bunch of Roses, Oh! Version 1 of 5
GB/6a/34 Bonny Bunch of Roses, Oh! Version 2 of 5
GB/6a/35 Bonny Bunch of Roses, Oh! Version 3 of 5
GB/6a/36 Bonny Bunch of Roses, Oh! Version 4 of 5
GB/6a/37 Bonny Bunch of Roses, Oh! Version 5 of 5
GB/6a/38 Botany Bay Version 1 of 2
GB/6a/39 Botany Bay Version 2 of 2
GB/6a/42 Brisk Young Sailor Version 1 of 3
GB/6a/44a Brisk Young Sailor Version 2 of 3
Editorial note: For a version of this song in 6/4 time see GB/7b/6. It is located between
GB/6a/44 and GB/6a/45, and on the same page, of the VWML Archive MS.
GB/6a/45 Brisk Young Sailor Version 3 of 3
GB/6a/48 Come All You Little Streamers
GB/6a/51 Come My Own One Version 1 of 4
GB/6a/52 Come My Own One Version 2 of 4
GB/6a/53 Come My Own One Version 3 of 4
GB/6a/54 Come My Own One Version 4 of 4
GB/6a/56 Cruel Father and Affectionate Lovers Version 1 of 3
GB/6a/57 Cruel Father and Affectionate Lovers Version 2 of 3
GB/6a/58 Cruel Father and Affectionate Lovers Version 3 of 3
GB/6a/59 Cupid the Ploughboy Version 1 of 3
GB/6a/60 Cupid the Ploughboy Version 2 of 3
GB/6a/61 Cupid the Ploughboy Version 3 of 3
GB/6a/62 Dabbling in the Dew Version 1 of 3
GB/6a/63 Dabbling in the Dew Version 2 of 3
GB/6a/64 Dabbling in the Dew Version 3 of 3
Editorial note: The tune is in the Mixolydian mode (root G) in the key of C major.
GB/6a/68 Fair Maid Walking down in the Garden Version 1 of 3
GB/6a/69 Fair Maid Walking down in the Garden Version 2 of 3
GB/6a/70 Fair Maid Walking down in the Garden Version 3 of 3
Editorial note: The tune is in the Dorian mode (root D) in the key of C major.
GB/6a/74 God Rest You Merry
Editorial note: The tune is in the Dorian mode (root E) in the key of D major.
GB/6a/76 Green Mossy Banks of the Lea Version 1 of 2
Editorial note: The tune is in the Aeolian mode (root D) in the key of F major.
GB/6a/77 Green Mossy Banks of the Lea Version 2 of 2
Editorial notes: The tune is modal. All occurrences of B in the MS are natural, so if the accidentals naturalising the Bs are removed the key signature is C major, not F major as in the MS. This leaves one accidental, in bar 9 (an F#), but this would seem to be a passing note. The root is D, suggesting Dorian as the mode; but the D above middle C is in the middle of the range of the tune, so this is not the (authentic) Dorian mode but the (plagal) Hypodorian.
GB/6a/78 Green Bushes Version 1 of 5
Editorial note: All occurrences of E in the MS are flattened, so the key is Bb major, not F major as written, and the root is F, so the tune is in the Mixolydian mode.
GB/6a/79 Green Bushes Version 2 of 5
Editorial notes: All occurrences of D in the MS are natural, so the key signature is in fact Eb major, not Ab major as written in the MS. The root is F, so the tune uses the Dorian mode. Note the subtle difference between this version and GB/6a/78, in that this one uses Ab whereas GB/6a/78 uses A natural.
GB/6a/80 Green Bushes Version 3 of 5
Editorial note: This tune has exactly the same characteristics as 79: the key signature is Eb major, the root is F and the mode is Dorian.
GB/6a/81 Green Bushes Version 4 of 5
Editorial note: As in GB/6a/79 and GB/6a/80 the key signature is Eb major, the root is F and the mode is Dorian.
GB/6a/82 Green Bushes Version 5 of 5
Editorial note: This tune is similar to that of GB/6a/78: the key signature is Bb, the root is F and the mode is Mixolydian.
GB/6a/86 Henry Martin Version 1 of 5
GB/6a/87 Henry Martin Version 2 of 5
Editorial note: The tune is in the Mixolydian mode (root D) in the key of G major.
GB/6a/88 Henry Martin Version 3 of 5
GB/6a/89 Henry Martin Version 4 of 5
GB/6a/90 Henry Martin Version 5 of 5
Editorial note: The tune is in the Dorian mode (root D) in the key of C major.
GB/6a/92 The Irish Girl Version 1 of 4
GB/6a/93 The Irish Girl Version 2 of 4
GB/6a/94 The Irish Girl Version 3 of 4
GB/6a/95 The Irish Girl Version 4 of 4
GB/6a/96 Highland Soldier Version 1 of 3
Editorial notes: In the MS all the Ds are naturalised, so, in effect, the key signature is not Ab major (4 flats) but Eb major (3 flats). The tune is in the Dorian mode (root F).
GB/6a/97 Highland Soldier Version 2 of 3
Editorial note: The tune is in the Mixolydian mode (root F).
GB/6a/98 Highland Soldier Version 3 of 3
GB/6a/99 Isle of France Version 1 of 3
GB/6a/100 Isle of France Version 2 of 3
GB/6a/101 Isle of France Version 3 of 3
GB/6a/103 'Twas by the Town of Weddingmore Version 1 of 4
GB/6a/104 'Twas by the Town of Weddingmore Version 2 of 4
Editorial note: All 4 versions of "'Twas by the Town of Weddingmore" are in the Dorian mode.
GB/6a/105 'Twas by the Town of Weddingmore Version 3 of 4
Editorial note: All 4 versions of "'Twas by the Town of Weddingmore" are in the Dorian mode.
GB/6a/106 'Twas by the Town of Weddingmore Version 4 of 4
Editorial note: All 4 versions of "'Twas by the Town of Weddingmore" are in the Dorian mode.
GB/6a/107 In the Famous Town of Nottingham
Editorial note: Like the 4 versions of "'Twas by the Town of Weddingmore" this tune could be described as in the Dorian mode, but in the key of G major with root A instead of in the key of C major with root D. Alternatively, all the closes are on E so the tune could also be described as E Aeolian, and it is recorded as such in the abc notation above.
GB/6a/108 'Twas of a Brisk and Lively Lad Version 1 of 3
Editorial note: All 3 versions of "'Twas of a Brisk and Lively Lad" have the key signature of A Major and can also be interpreted as being in the plagal Hypoionian mode (root A).
GB/6a/109 'Twas of a Brisk and Lively Lad Version 2 of 3
Editorial note: All 3 versions of "'Twas of a Brisk and Lively Lad" have the key signature of A Major and can also be interpreted as being in the plagal Hypoionian mode (root A).
GB/6a/110 'Twas of a Brisk and Lively Lad Version 3 of 3
Editorial note: All 3 versions of "'Twas of a Brisk and Lively Lad" have the key signature of A Major and can also be interpreted as being in the plagal Hypoionian mode (root A).
GB/6a/111 Jolly Fellows that Follow the Plough Version 1 of 2
GB/6a/112 Jolly Fellows that Follow the Plough Version 2 of 2
GB/6a/113 Just as the Tide was Flowing Version 1 of 4
GB/6a/114 Just as the Tide was Flowing Version 2 of 4
GB/6a/115 Just as the Tide was Flowing Version 3 of 4
Editorial note: In the transcription the MS's introductory dotted crotchet has been changed to a quaver with fermata. This equalises bar lengths and is in keeping with a performance style common among source singers.
GB/6a/116 Just as the Tide was Flowing Version 4 of 4
GB/6a/118 A Lawyer He Rode Version 1 of 2
Editorial note: The tune uses the Hypoionian mode (root G) in the key of G major.
GB/6a/118 A Lawyer He Rode Version 2 of 2
Editorial note: The tune uses the Hypodorian mode (root G) in the key of F major.
GB/6a/119 Lord Bateman Version 1 of 3
Editorial note: The MS notator has put a question mark over the second quaver in the sixth full bar. He may have expected the note to be naturalised as in the first crotchet of the second full bar, which would have made the tune modal (Mixolydian with root D).
GB/6a/120 Lord Bateman Version 2 of 3
Editorial note: The tune is in D major, also known as the Ionian mode with root D.
GB/6a/121 Lord Bateman Version 3 of 3
Editorial note: In the MS all of the F sharps indicated in the key signature are naturalised in the score. Effectively, therefore, the key signature is C major with no sharps or flats, and the mode is Dorian (root D).
GB/6a/125 On Christmas Night All Christians Sing Version 1 of 2
Editorial note: The tune is in C major, also known as the Ionian mode (root C).
GB/6a/126 On Christmas Night All Christians Sing Version 2 of 2
Editorial note: The only B in the tune (in the fifth full bar) is flattened, so effectively the key signature is F major and the mode is Mixolydian (root C).
GB/6a/130 Our Captain Calls Version 1 of 2
GB/6a/131 Our Captain Calls Version 2 of 2
GB/6a/132 Oxford City
GB/6a/133 Phoebe and Her Dark-Eyed Sailor Version 1 of 2
GB/6a/134 Phoebe and Her Dark-Eyed Sailor Version 2 of 2
GB/6a/135 Ploughboy's Glory Version 1 of 5
GB/6a/136 Ploughboy's Glory Version 2 of 5
GB/6a/137 Ploughboy's Glory Version 3 of 5
GB/6a/138 Ploughboy's Glory Version 4 of 5
Editorial note: The MIDI file plays the tune through twice, the first time with the basic version and the second time with all the variants, as is the editors' customary practice for demonstrating the variants.
GB/6a/139 Ploughboy's Glory Version 5 of 5
GB/6a/141 It's of an Old Miser in London Did Dwell
GB/6a/142 Pretty Ploughboy
Editorial note: The flat has been removed from the key signature and the naturalisations from the Bs; the tune remains unaltered. Also catalogued with this tune at GB/6a/142 is another version of the Pretty Ploughboy; this is in 6/8 time and was collected by Cecil Sharp.
GB/6a/145 Salisbury Plain Version 1 of 3
Editorial note: For all 3 versions of Salisbury Plain the flat has been removed from the key signature along with the naturalisations from the Bs given in the MS. The tune remains unaltered; it is in the Dorian mode (root D) in the key of C major.
GB/6a/146 Salisbury Plain Version 2 of 3
Editorial note: The MIDI file plays through the tune twice to pick up the variations. For all 3 versions of Salisbury Plain the flat has been removed from the key signature along with the naturalisations from the Bs given in the MS. The tune remains unaltered; it is in the Dorian mode (root D) in the key of C major.
GB/6a/147 Salisbury Plain Version 3 of 3
Editorial note: The MIDI file plays through the tune twice to pick up the variations. For all 3 versions of Salisbury Plain the flat has been removed from the key signature along with the naturalisations from the Bs given in the MS. The tune remains unaltered; it is in the Dorian mode (root D) in the key of C major.
GB/6a/148 Seeds of Love Version 1 of 2
GB/6a/149 Seeds of Love Version 2 of 2
GB/6a/151 Seventeen Come Sunday
Editorial note: The editors believe that there is a sharp missing from the key signature in the MS, and this has been inserted in the transcription. The tune is in the Dorian mode (root E) in the key of D major. At the beginning, to balance up the notes, the dotted crochet has been replaced by a quaver with a fermata. The MIDI plays through twice, with the variant in the second half.
GB/6a/154 Sovay Version 1 of 2
Editorial note: This tune has an irregular rhythm which has been well notated by Butterworth to capture the rhythmic freedom of the singer. The transcription retains Butterworth's notation rather than trying to put the tune into the straitjacket of a simplified regular rhythm.
GB/6a/155 Sovay Version 2 of 2
GB/6a/156 Young Caley Version 1 of 2
Notes on GB/6a/156 This is the first of two tunes, both listed as GB/6a/156 in the VWML archive catalogue. As notated by Butterworth the tune is in the Lydian mode, which is very, very rare. The editors have inserted a Bb into the key signature on the assumptions that: 1. Butterworth accidentally left it out, and 2. this is exactly the same tune as 154, with the very minor differences in the tune accounted for by the freedom of the singer already alluded to in the notes on 154. See also Roud S317072 which indicates that "Young Caley" is a version of "Sovay." In the MS there seem to be at least two pieces of paper, indicated in the poor lining-up of the manuscripts; there thus seem to be two notations: the original transcription and a later copy.
GB/6a/156a Young Caley Version 2 of 2
Notes on GB/6a/156a This is the second of two tunes, both listed as GB/6a/156 in the VWML archive catalogue. In the second full bar the pitch of the second crotchet in the upper variation, here transcribed as an E, is unclear; the justification for interpreting the note as an E is that there are other instances in the MSS where the note head does not clearly join the stem. Again, this tune seems to be a copy (or the original) of 155; the only difference is the time signature, which in this case does not alter the tune.
GB/6a/157 Spanish Ladies Version 1 of 2
abc notation
X:157
T:GB/6a/157 Spanish Ladies Version 1 of 2
C:Sung by Mr Cooper, Washington, Sussex, XII. 07
P:Noted by F.W. J(ekyll) & G.S.K. B(utterworth)
Z:Transcribed by Simon Furey and Lewis Jones
L:1/4
M:3/4
I:linebreak $
K:Caeo
G | c c G | c2 c/d/ | e d c |"^(a)" B !fermata!G G | c c G | c2 d | e f d | c2 c |$ e d e |
f e f | g e c | c !fermata!G !fermata!g/f/ | e d c | c/B/ G F | G e d | c2"^(a) var." |]
c !fermata!G G |
Notes on GB/6a/157157: The MIDI plays through the tune twice with the variant in the second half.
GB/6a/159 Spanish Ladies Version 2 of 2
abc notation
X:159
T:GB/6a/159 Spanish Ladies Version 2 of 2
C:Mr. Verrall VI. 09
Z:Transcribed by Simon Furey and Lewis Jones
L:1/4
M:3/4
I:linebreak $
K:Am
A |: E A3/2 G/ | A2 A/B/ |1 c B A | A/G/ E A :|2 c d B || A2 A/B/ | c B A |$ d c d | e A3/2 B/ |
A/G/ E2 | z !fermata!e3/2 d/ | c B A | G ^F D | E c B | A2 |]
GB/6a/160 Sweet Primroses Version 1 of 5
abc notation
X:160
T:GB/6a/160 Sweet Primroses Version 1 of 5
C:Sung by Mr. Colcombe, Weobley, Herefordshire. IX. 06
P:Noted by F.W. Jekyll & G.S.K. Butterworth
Z:Transcribed by Simon Furey and Lewis Jones
L:1/4
M:3/2
I:linebreak $
K:G
D | G G G2 A B/c/ | B A/G/ G D z A/B/ | c c B A G E | F G A2 z A |$ c e d2 G A | B A/G/ G D z B |
A D G B d c | B A G3 |]
GB/6a/161 Sweet Primroses Version 2 of 5
abc notation
X:161
T:GB/6a/161 Sweet Primroses Version 2 of 5
C:Sung in the Workhouse, Battle, Sussex, IV. 07
Z:Transcribed by Simon Furey and Lewis Jones
L:1/8
M:3/2
I:linebreak $
K:G
D2 | G2 D2 G6 AB | cBAG G4 D2 B2 | d2 e2 d4 G3 E | F2 G2 A4 z2 AB |$ cded d4 G3 A |
B2 A2 G4 D2 A2 | GFED G2 B2 d2 c2 | B2 A2 G6 |]
GB/6a/162 Sweet Primroses Version 3 of 5
File:GB-6a-162.MID (tune)
File:GB-6a-162a.MID (tune and tune variant)
abc notation
X:162
T:GB/6a/162 Sweet Primroses Version 3 of 5
C:Mr. H. Webb, Stanton St. John, Oxon., May, 1907
Z:Transcribed by Simon Furey and Lewis Jones
L:1/4
M:3/2
I:linebreak $
K:G
D | G D G2 d2 | c A F D z A/B/ | c c B A G E | F G A2 A3/2 B/ |$"^(a)" c/d/e/d/ d2 G3/2 A/ |
B A/G/ G2 !fermata!D A/G/ | E D G B d c | B A G3 |]$"^(a) var." c e d2 G3/2 A/ |
GB/6a/163 Sweet Primroses Version 4 of 5
File:GB-6a-163.MID (tune)
File:GB-6a-163a.MID (tune and tune variant)
abc notation
X:163
T:GB/6a/163 Sweet Primroses Version 4 of 5
C:Mr. Dick Anthony, Stanford Bishop, Herefordshire, August 1907
Z:Transcribed by Simon Furey and Lewis Jones
L:1/4
M:3/2
I:linebreak $
K:G
D | G F G3 A/B/ | c B A (D D) D | G F G2 A3/2 B/ | c d A3 A |$"^(a)" c/d/e/d/ d2 G3/2 A/ |
B A !fermata!G (D D) D | G A G3 A/B/ | c B G3 |]$"^(a) var" c e d2 G3/2 A/ |
Notes on GB/6a/163 There is a transcription error in the EFDSS Take 6 online catalogue which cites "Standord Bishop" instead of "Stanford Bishop" as the collection place.
GB/6a/164 Sweet Primroses Version 5 of 5
abc notation
X:164
T:GB/6a/164 Sweet Primroses Version 5 of 5
C:Sung by an inmate of the workhouse, Shoreham, Sussex
Z:Transcribed by Simon Furey and Lewis Jones
L:1/4
M:3/2
I:linebreak $
K:G
D | G F G3 A/B/ | c A F D- D B | c c B3/2 A/ G E | F G A3 B |$ c e d2 G A | B A G2 D2 |
A3/2 G/ F D G d | c B/G/ A G2 |]
Notes on GB/6a/164 This version of "Sweet Primroses" was still being sung in Sussex in the 1970s alongside the more pervasive Copper Family version.
GB/6a/166 Tarry Trowsers
abc notation
X:166
T:GB/6a/166 Tarry Trowsers
C:Sung by Mrs Verrall, Horsham XI. 08
Z:Transcribed by Simon Furey and Lewis Jones
P:Noted by FW J(ekyll)
L:1/4
M:4/4
I:linebreak $
K:Edor
E E B B | G E F D | E E/F/ G G | A A B2 | B B/c/ d e |"^(a)" A/A/A/A/ c d | G E d B | A B E2 |]$
"^(a) var." A A c d |
Notes on GB/6a/166 The notator's key of G has been changed to D because in the MS C is always C#. The tune is unaltered; it is in the Dorian mode, root E, in the key of D major. The MIDI plays through twice to accommodate the variant.
GB/6a/171 The Undaunted Female Version 1 of 2
abc notation
X:171
T:GB/6a/171 The Undaunted Female Version 1 of 2
C:Sung at Abingdon, Berks. October 1906
Z:Transcribed by Simon Furey and Lewis Jones
L:1/4
M:4/4
I:linebreak $
K:D
A | D D E F | G2 A A |"^(a)" G F D D | D3 A | A d B B | c B A A | E E F G | A3 A |$ A d B B |
c A B G | E E d B | A3 A | D D E F | G2 A A | G F D D | D3 |]$"^(a) var." E F D D |
Notes on GB/6a/171 The tune is in the Ionian mode, root D, in the key of D major. The MIDI plays through twice to accommodate the variant.
GB/6a/172 The Undaunted Female Version 2 of 2
abc notation
X:172
T:GB/6a/172 The Undaunted Female Version 2 of 2
C:Sung in the Workhouse, Battle, Sussex, IV. 07
Z:Transcribed by Simon Furey and Lewis Jones
L:1/4
M:4/4
I:linebreak $
K:D
A | D D E F | B2 A F | G F D D | D3 A | d d B d | c A B B | E E F G | A3 A |$ d d B d | c A B c |
d d c B | A2 F E | D D E F | G B A F | G F D D | D3 |]
Notes on GB/6a/172 The tune, as with the first version, GB/6a/171, is in the Ionian mode, root D, in the key of D major.
GB/6a/175 When Righteous Joseph Wedded Was Version 1 of 2
abc notation
X:175
T:GB/6a/175 When Righteous Joseph Wedded Was
T:Version 1 of 2
C:Sung by Mrs Cranstone, Billingshurst, VI. 07
Z:Transcribed by Simon Furey and Lewis Jones
L:1/8
M:4/4
I:linebreak $
K:E
E2 | F3 E D2 E2 | F2 GF E2 E2 | A2 A2 AB c2 | B6 B2 | c2 A2 AB c2 | BcBA GF E2 | A2 B2 F2 GF |$
E6 E2 | A2 A2 ABcA | B6 AB | c2 A2 AB c2 | BcBA GF E2 | A2 B2 F2 GF | E6 |]
Notes on GB/6a/175 The tune is in the Ionian mode, root E, in the key of E major.
GB/6a/176 When Righteous Joseph Wedded Was Version 2 of 2
abc notation
X:176
T:GB/6a/176 When Righteous Joseph Wedded Was
T:Version 2 of 2
C:Sung by Mr Ruff, Sutton, Petworth, VII. 07
Z:Transcribed by Simon Furey and Lewis Jones
L:1/8
M:4/4
I:linebreak $
K:E
EF | G3 F E2 F2 | G2 AG F2 GA | B2 B2 G2 c2 | B6 AB |$ c2 A2 AB c2 | B3 A GF E2 | A2 B2 F2 GF |
E6 EF | G2 E2 E2 c2 |$ B6 B2 | c2 A2 AB c2 | B3 A GF E2 | A2 B2 F2 GF | E6 |]
Notes on GB/6a/176 176: The tune, as with the first version, GB/6a/175, is in the Ionian mode, root E, in the key E major.
GB/6a/177 William Taylor Version 1 of 3
abc notation
X:177
T:GB/6a/177 William Taylor Version 1 of 3
C:Sung by Mr Colcombe, Weobley, Herefordshire, IX. 06
P:Noted by FW J(ekyll) & GSK B(utterworth)
Z:Transcribed by Simon Furey and Lewis Jones
L:1/4
Q:1/4=120
M:4/4
I:linebreak $
K:G
"^Rather quick" E | G F E F/G/ | B A F !breath!D | A3/2 G/ A B/c/ | d G d z/ A/ |$ d B G d |
c B A D/D/ | G B/d/ E/F/G/A/ | B A G |]
Notes on GB/6a/177 The tune is in the Ionian mode, root G, in the key of G major.
GB/6a/178 William Taylor Version 2 of 3
abc notation
X:178
T:GB/6a/178 William Taylor Version 2 of 3
C:Sung by Mr Whitehead, Heslington, Yorks, VII. 07
Z:Transcribed by Simon Furey and Lewis Jones
L:1/4
M:4/4
I:linebreak $
K:Dmix
D | F F/E/ F G/A/ | B3/2 A/ F D | A3/2 F/ G A | d d A3/2 A/ |$ d d F B | A A F/E/D/E/ | F F G A |
B A D |]
Notes on GB/6a/178 This handsome tune is in the Mixolydian mode, root D, in the key of G major.
GB/6a/179 William Taylor Version 3 of 3
abc notation
X:179
T:GB/6a/179 William Taylor Version 3 of 3
C:Sung by Mr Jim Bull, Bishop's Frome, Herefordshire IX. 07
Z:Transcribed by Simon Furey and Lewis Jones
L:1/4
M:4/4
I:linebreak $
K:Dmix
"^(a)" (3D/E/F/ | G F E F/G/ | B A F !fermata!D | G G G A/B/ | c B !fermata!A (3A/B/c/ |$
"^(b)" d d G B/d/ | c A F D/D/ | G3/2 F/ E/F/G/A/ | B A !fermata!D |]$"^(a) var." D ||
"^(b) var." d d G A/B/ |
Notes on GB/6a/179 This tune, like the second version, GB/6a/178, is in the Mixolydian mode, root D, in the key of G major. The MIDI plays through twice to accommodate the two variants.
GB/6a/180 Yonder Stands a Lovely Creature
abc notation
X:180
T:GB/6a/180 Yonder Stands a Lovely Creature
C:Sung by Mr Martin, Fletching (Sussex) 09.
Z:Transcribed by Simon Furey and Lewis Jones
L:1/4
M:4/4
I:linebreak $
K:Dmix
G G A B | d d c/B/ A | d A A F | G A E2 |$ E F/G/ A B | A D B, D | E F/G/ A B | A/G/ E D2 |]
Notes on GB/6a/180 The tune is Mixolydian, root D, key G major.
GB/6a/182 William the Waterboy Version 1 of 2
abc notation
X:182
T:GB/6a/182 William the Waterboy Version 1 of 2
C:Sung by Mr William Smith, of Broseley, Shropshire, IX.07
Z:Transcribed by Simon Furey and Lewis Jones
L:1/4
Q:1/4=66
M:6/4
I:linebreak $
K:Cdor
"^Slow" C/C/ | C C/D/ E E- E C |[M:4/4] B B2 D | F/D/ C2 F |[M:6/4] G G c3 d/c/ | c/B/ G c3 B/c/ |$
d/c/B/G/ c3 B/G/ | F D/E/ F G- G c |[M:4/4] c2 B c |"^(a)" G F C3/2 D/ |[M:6/4] C C C3 |]$
"^(a) var." G F D3/2 D/ | C C C3 |]
Notes on GB/6a/182 The key signature, which is Eb major in the MS, has been changed to Bb major. The tune remains unaltered; it is in the Dorian mode, root C, in the key of Bb major.
GB/6a/183 William the Waterboy Version 2 of 2
abc notation
X:183
T:GB/6a/183 William the Waterboy Version 2 of 2
C:Sung by Mrs Whiting, of Broseley, Shropshire, IV. 08
Z:Transcribed by Simon Furey and Lewis Jones
L:1/8
Q:1/4=120
M:6/4
I:linebreak $
K:Cdor
"^Rather fast" FD |[M:6/4] C2 DE F2 DD BB !fermata!D2 |[M:4/4] FD C4 F2 |
[M:6/4] G2 c2 d2 c2 B2 G2 | cB G2 c6 Bc |$ dcBG c6 BG | FEDE F2 G2- G4 |[M:4/4] c3 A B2 cB |
G3 F DC D2 |[M:6/4] ED CD C6 |]
Notes on GB/6a/183 The key signature, which is Eb major in the MS, has been changed to Bb major. The tune remains unaltered; it is in the Dorian mode, root C, in the key of Bb major.
GB/6a/184 You Seamen Bold Version 1 of 4
abc notation
X:184
T:GB/6a/184 You Seamen Bold Version 1 of 4
C:Sung b y Mr H. Akhurst, Lower Beeding, Sussex VI. 07
Z:Transcribed by Simon Furey and Lewis Jones
L:1/4
M:5/4
I:linebreak $
K:G
d | G F G A B | c B A B c | d e =f d3/2 c/ | B A G2 d | G F G A B |$ c B A B c | d g d3/2 c/ B |
A A G2 G | d e =f2 d |[M:3/2] =f g f/e/ d- d g |[M:5/4] =f e d3/2 c/ B |$ c d A2 d | G F G A B |
c B A B c | d g d3/2 c/ B | A A G2 |]
Notes on GB/6a/184 This interesting melody, in the key of G major, is not modal at all, although there is a family resemblance to the more usual tune.
GB/6a/185 You Seamen Bold Version 2 of 4
abc notation
X:185
T:GB/6a/185 You Seamen Bold Version 2 of 4
C:Sung by Mr Harwood, Watersfield, Pulborough, VII. 07
Z:Transcribed by Simon Furey and Lewis Jones
L:1/4
M:5/4
I:linebreak $
K:Gdor
d | G F G2 A |[M:6/4] B G A B2 c | d g f2 d3/2 c/ | A B G2 :| G/A/ |[M:5/4] B f f2 d |$
[M:6/4] g g f d2 d |[M:5/4] g g f e d | d/c/ B/c/ d2 d | G F G2 A |[M:6/4] B G A B2 c |
d g f2 d3/2 c/ | A B G2 |]
Notes on GB/6a/185 The key signature, which is Bb in the MS, has been changed to F. The tune remains unaltered; it is in the Dorian mode, root G, in the key of F major.
GB/6a/186 You Seamen Bold Version 3 of 4
abc notation
X:186
T:GB/6a/186 You Seamen Bold Version 3 of 4
C:Sung by Mr Dearling, West Burton, Pulborough, VII. 07
Z:Transcribed by Simon Furey and Lewis Jones
L:1/4
M:5/4
I:linebreak $
K:Gdor
d | G F G2 G/A/ | B G A B c | d g f d c/B/ | A B G2 :| G/A/ |$ B/c/d/e/ f2 d |
[M:6/4] g g f/e/ d2 g | g g f e2 d |[M:4/4] d B/c/ d d |$[M:5/4] G F G2 G/A/ |
[M:4/4] B A/G/ A/B/ c | d g f d/c/ | A B G2 |]
Notes on GB/6a/186 The key signature, which is Bb in the MS, has been changed to F. The tune remains unaltered; it is in the Dorian mode, root G, in the key of F major. The Penguin Book of English Folk Songs uses this excellent tune, communicated by Mr Dearling, as the melody for its version of "The Ship in Distress," wrongly citing Mr Harwood´s version (GB/6a/185) as its source. This version from Mr. Dearling is also familiar from the singing of Martin Carthy.
GB/6a/187 You Seamen Bold Version 4 of 4
abc notation
X:187
T:GB/6a/187 You Seamen Bold Version 4 of 4
C:Sung by Mr Lockley, High Ercall, Shropshire, III. 08
Z:Transcribed by Simon Furey and Lewis Jones
L:1/4
M:5/4
I:linebreak $
K:G
d | d d G2 A |[M:6/4] B A B c2 d |[M:5/4] g g e d c | B A G2 :| d | e f g3/2 f/ (3e/f/g/ |$
[M:6/4] g g f/e/ d- d g |[M:5/4] g f e d B | c B A2 !fermata!e | d d G2 G |[M:6/4] B A B c2 d |
[M:5/4] g g e d d/c/ | B A G2 |]
Notes on GB/6a/187 This interesting version is in the Ionian mode, root G; i.e. the key is G major.