Difference between revisions of "Take 6 Transcription Programme: The Butterworth Archive, MS 6a"
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[[GB-6a-1.abc]] | [[GB-6a-1.abc]] | ||
| − | ''Notes on GB/6a/1'' The tune is | + | ''Notes on GB/6a/1'' The tune is in the Mixolydian mode (root G) in the key of C major. |
| Line 411: | Line 411: | ||
| − | '''GB/6a/64 Dabbling in the Dew Version 3 of 3 (i. with | + | '''GB/6a/64 Dabbling in the Dew Version 3 of 3 (i. with grace notes as appoggiaturas)''' |
[[File:GB-6a-64ap.mid]] | [[File:GB-6a-64ap.mid]] | ||
| Line 420: | Line 420: | ||
| − | '''GB/6a/64 Dabbling in the Dew Version 3 of 3 (ii. with | + | '''GB/6a/64 Dabbling in the Dew Version 3 of 3 (ii. with grace notes as acciacciaturas)''' |
[[File:GB-6a-64ac.mid]] | [[File:GB-6a-64ac.mid]] | ||
| Line 428: | Line 428: | ||
[[File:GB-6a-64ac.xml]] | [[File:GB-6a-64ac.xml]] | ||
| − | ''Notes on GB/6a/64'' The tune is | + | ''Notes on GB/6a/64'' The tune is in the Mixolydian mode (root G) in the key of C major. |
| Line 457: | Line 457: | ||
[[File:GB-6a-70.xml]] | [[File:GB-6a-70.xml]] | ||
| − | ''Notes on GB/6a/70'' The tune is | + | ''Notes on GB/6a/70'' The tune is in the Dorian mode (root D) in the key of C major. |
| Line 468: | Line 468: | ||
[[File:GB-6a-74.xml]] | [[File:GB-6a-74.xml]] | ||
| − | ''Notes on GB/6a/74'' The key | + | ''Notes on GB/6a/74'' The tune is in the Dorian mode (root E) in the key of D major. |
| Line 479: | Line 479: | ||
[[File:GB-6a-76.xml]] | [[File:GB-6a-76.xml]] | ||
| − | ''Notes on GB/6a/76'' The tune is | + | ''Notes on GB/6a/76'' The tune is in the Aeolian mode (root D) in the key of F major. |
| Line 490: | Line 490: | ||
[[File:GB-6a-77.xml]] | [[File:GB-6a-77.xml]] | ||
| − | ''Notes on GB/6a/77'' The tune is modal. All occurrences of B are natural, so if the accidentals naturalising the Bs are removed the key signature is C, not F as in the | + | ''Notes on GB/6a/77'' 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. |
| Line 501: | Line 501: | ||
[[File:GB-6a-78.xml]] | [[File:GB-6a-78.xml]] | ||
| − | ''Notes on GB/6a/78'' All occurrences of E are flattened, so the key is Bb, not F as written, and the root is F, so | + | ''Notes on GB/6a/78'' 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. |
| − | the tune is in the Mixolydian mode | ||
| Line 513: | Line 512: | ||
[[File:GB-6a-79.xml]] | [[File:GB-6a-79.xml]] | ||
| − | ''Notes on GB/6a/79'' All occurrences of D are natural, so the key signature is | + | ''Notes on GB/6a/79'' 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. |
| Line 524: | Line 523: | ||
[[File:GB-6a-80.xml]] | [[File:GB-6a-80.xml]] | ||
| − | ''Notes on GB/6a/80'' This tune | + | ''Notes on GB/6a/80'' This tune has exactly the same characteristics as 79: the key signature is Eb major, the root is F and the mode is Dorian. |
| Line 535: | Line 534: | ||
[[File:GB-6a-81.xml]] | [[File:GB-6a-81.xml]] | ||
| − | ''Notes on GB/6a/81'' As in GB/6a/79 and GB/6a/80 the key signature is | + | ''Notes on GB/6a/81'' As in GB/6a/79 and GB/6a/80 the key signature is Eb major, the root is F and the mode is Dorian. |
| − | |||
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[[File:GB-6a-82.xml]] | [[File:GB-6a-82.xml]] | ||
| − | ''Notes on GB/6a/8'' This tune is similar to that of GB/6a/78: the key signature is | + | ''Notes on GB/6a/8'' This tune is similar to that of GB/6a/78: the key signature is Bb, the root is F and the mode is Mixolydian. |
| Line 567: | Line 565: | ||
[[File:GB-6a-87.xml]] | [[File:GB-6a-87.xml]] | ||
| − | ''Notes on GB/6a/87'' The tune is | + | ''Notes on GB/6a/87'' The tune is in the Mixolydian mode (root D) in the key of G major. |
| Line 596: | Line 594: | ||
[[File:GB-6a-90.xml]] | [[File:GB-6a-90.xml]] | ||
| − | ''Notes on GB/6a/90'' The tune is | + | ''Notes on GB/6a/90'' The tune is in the Dorian mode (root D) in the key of C major. |
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[[File:GB-6a-96.xml]] | [[File:GB-6a-96.xml]] | ||
| − | ''Notes on GB/6a/96'' In the MS all the Ds are naturalised, so, in effect, the key signature is not | + | ''Notes on GB/6a/96'' 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). |
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[[File:GB-6a-97.xml]] | [[File:GB-6a-97.xml]] | ||
| − | ''Notes on GB/6a/97'' In the MS all the Es are flattened, so, in effect, the key signature is not | + | ''Notes on GB/6a/97'' In the MS all the Es are flattened, so, in effect, the key signature is not F major (1 flat) but Bb major (2 flats). The tune is in the Mixolydian mode (root F). |
| Line 745: | Line 743: | ||
[[File:GB-6a-107.xml]] | [[File:GB-6a-107.xml]] | ||
| − | + | ''Notes on GB/6a/106'' Like the 4 versions of "'Twas by the Town of Weddingmore" this tune is in the Dorian mode, but in this case we have the key of G major with root A instead of C major with root D. | |
| − | ''Notes on GB/6a/106'' Like the 4 versions of "'Twas by the Town of Weddingmore" this | ||
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[[File:GB-6a-108.xml]] | [[File:GB-6a-108.xml]] | ||
| − | ''Notes on GB/6a/108'' All 3 versions of "'Twas of a Brisk and Lively Lad" have the key signature | + | ''Notes on GB/6a/108'' 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). |
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[[File:GB-6a-109.xml]] | [[File:GB-6a-109.xml]] | ||
| − | ''Notes on GB/6a/ | + | ''Notes on GB/6a/109'' 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). |
| Line 779: | Line 776: | ||
[[File:GB-6a-110.xml]] | [[File:GB-6a-110.xml]] | ||
| − | ''Notes on GB/6a/ | + | ''Notes on GB/6a/110'' 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/111 Jolly Fellows that Follow the Plough Version 1 of 2''' | ||
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[[File:GB-6a-118a.xml]] | [[File:GB-6a-118a.xml]] | ||
| − | ''Notes on GB/6a/118a'' The | + | ''Notes on GB/6a/118a'' The tune uses the Hypoionian mode (root G) in the key of G major. |
| Line 857: | Line 853: | ||
[[File:GB-6a-1.xml]] | [[File:GB-6a-1.xml]] | ||
| − | ''Notes on GB/6a/118b'' The | + | ''Notes on GB/6a/118b'' The tune uses the Hypodorian mode (root G) in the key of F major. |
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''Notes on GB/6a/119'' The notator has put a question mark over the second quaver in the sixth full | ''Notes on GB/6a/119'' The 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 | 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). | |
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[[File:GB-6a-120.xml]] | [[File:GB-6a-120.xml]] | ||
| − | ''Notes on GB/6a/120'' The tune is in D major, also known as D | + | ''Notes on GB/6a/120'' The tune is in D major, also known as the Ionian mode with root D. |
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[[File:GB-6a-121.xml]] | [[File:GB-6a-121.xml]] | ||
| − | ''Notes on GB/6a/121'' In the MS all of the F sharps indicated in the key signature are naturalised in the score. Effectively, therefore, the key signature is | + | ''Notes on GB/6a/121'' 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). |
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[[File:GB-6a-125.xml]] | [[File:GB-6a-125.xml]] | ||
| − | ''Notes on GB/6a/125'' The tune is in C major, also known as C | + | ''Notes on GB/6a/125'' The tune is in C major, also known as the Ionian mode (root C). |
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[[File:GB-6a-126.xml]] | [[File:GB-6a-126.xml]] | ||
| − | ''Notes on GB/6a/126'' The only B in the tune (in the fifth full bar) is flattened, so effectively the key signature is | + | ''Notes on GB/6a/126'' 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). |
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[[File:GB-6a-142.xml]] | [[File:GB-6a-142.xml]] | ||
| − | ''Notes on GB/6a/142'' The flat has been removed from the key signature and the naturalisations from the Bs; the tune remains unaltered | + | ''Notes on GB/6a/142'' 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. |
| Line 1,038: | Line 1,034: | ||
[[File:GB-6a-145.xml]] | [[File:GB-6a-145.xml]] | ||
| − | ''Notes on GB/6a/145'' For all 3 versions of Salisbury Plain the flat has been removed from the key signature | + | ''Notes on GB/6a/145'' 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. |
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[[File:GB-6a-146.xml]] | [[File:GB-6a-146.xml]] | ||
| − | ''Notes on GB/6a/146'' 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 | + | ''Notes on GB/6a/146'' 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''' | '''GB/6a/147 Salisbury Plain Version 3 of 3''' | ||
| Line 1,060: | Line 1,055: | ||
[[File:GB-6a-147.xml]] | [[File:GB-6a-147.xml]] | ||
| − | ''Notes on GB/6a/147'' 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 | + | ''Notes on GB/6a/147'' 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. |
| Line 1,089: | Line 1,084: | ||
[[File:GB-6a-151.xml]] | [[File:GB-6a-151.xml]] | ||
| − | ''Notes on GB/6a/151'' | + | ''Notes on GB/6a/151'' 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. |
| Line 1,122: | Line 1,117: | ||
[[File:GB-6a-156a.xml]] | [[File:GB-6a-156a.xml]] | ||
| − | ''Notes on GB/6a/156a'' This is the first of two tunes, both listed as GB/6a/156 in the Take 6 catalogue. As notated by Butterworth the tune is in the Lydian mode, which is very, very rare. The | + | ''Notes on GB/6a/156a'' This is the first of two tunes, both listed as GB/6a/156 in the Take 6 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. | + | 1. Butterworth accidentally left it out, and |
| − | 2. | + | 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 | + | 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. | 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. | ||
| Line 1,138: | Line 1,133: | ||
[[File:GB-6a-156b.xml]] | [[File:GB-6a-156b.xml]] | ||
| − | ''Notes on GB/6a/156b'' This is the second of two tunes, both listed as GB/6a/156 in the Take 6 catalogue. In the second full bar the pitch of the second crotchet in the upper variation, here transcribed as an E, is unclear; the | + | ''Notes on GB/6a/156b'' This is the second of two tunes, both listed as GB/6a/156 in the Take 6 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. |
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[[File:GB-6a-164.xml]] | [[File:GB-6a-164.xml]] | ||
| − | ''Notes on GB/6a/164'' This version of "Sweet Primroses" was sung in Sussex in the 1970s alongside the more pervasive Copper Family version. | + | ''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. |
Revision as of 22:02, 23 December 2010
Link to Take 6 Transcription Programme Home Page
GB/6a/1 All Round My Hat Version 1 of 2 (for Version 2 see GB/7a/71)
Notes on GB/6a/1 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
File:GB-6a-5.MID (tune)
File:GB-6a-5a.MID (tune and tune variants)
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
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
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 (i. with grace notes as appoggiaturas)
GB/6a/64 Dabbling in the Dew Version 3 of 3 (ii. with grace notes as acciacciaturas)
Notes on GB/6a/64 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 2
GB/6a/69 Fair Maid Walking down in the Garden Version 2 of 2
GB/6a/70 Fair Maid Walking II
Notes on GB/6a/70 The tune is in the Dorian mode (root D) in the key of C major.
GB/6a/74 God Rest You Merry
Notes on GB/6a/74 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
Notes on GB/6a/76 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
Notes on GB/6a/77 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
Notes on GB/6a/78 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
Notes on GB/6a/79 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
Notes on GB/6a/80 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
Notes on GB/6a/81 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
Notes on GB/6a/8 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
Notes on GB/6a/87 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
Notes on GB/6a/90 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
Notes on GB/6a/96 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
Notes on GB/6a/97 In the MS all the Es are flattened, so, in effect, the key signature is not F major (1 flat) but Bb major (2 flats). 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
Notes on GB/6a/103 All 4 versions of "'Twas by the Town of Weddingmore" are in the Dorian mode.
GB/6a/104 'Twas by the Town of Weddingmore Version 2 of 4
Notes on GB/6a/104 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
Notes on GB/6a/105 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
Notes on GB/6a/106 All 4 versions of "'Twas by the Town of Weddingmore" are in the Dorian mode.
GB/6a/107 In the Famous Town of Nottingham
Notes on GB/6a/106 Like the 4 versions of "'Twas by the Town of Weddingmore" this tune is in the Dorian mode, but in this case we have the key of G major with root A instead of C major with root D.
GB/6a/108 'Twas of a Brisk and Lively Lad Version 1 of 3
Notes on GB/6a/108 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
Notes on GB/6a/109 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
Notes on GB/6a/110 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
Notes on GB/6a/115 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/118a A Lawyer He Rode Version 1 of 2
Notes on GB/6a/118a The tune uses the Hypoionian mode (root G) in the key of G major.
GB/6a/118b Version 2 of 2
Notes on GB/6a/118b The tune uses the Hypodorian mode (root G) in the key of F major.
GB/6a/119 Lord Bateman Version 1 of 3
Notes on GB/6a/119 The 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
Notes on GB/6a/120 The tune is in D major, also known as the Ionian mode with root D.
GB/6a/121 Lord Bateman Version 3 of 3
Notes on GB/6a/121 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
Notes on GB/6a/125 The tune is in C major, also known as the Ionian mode (root C).
GB/6a/126 On Christmas Night All Christians Sing Version 1 of 2
Notes on GB/6a/126 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
GB/6a/134 Phoebe and the Dark-Eyed Sailor
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
Notes on GB/6a/138 The MIDI file plays the tune through twice, the first time with the basic version and the second time with all 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
Notes on GB/6a/142 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
Notes on GB/6a/145 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
Notes on GB/6a/146 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
Notes on GB/6a/147 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 (Continued)
Notes on GB/6a/151 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
Notes on GB/6a/154 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
Notes on GB/6a/155 The MIDI plays through the tune twice with the variant in the second half.
GB/6a/156a Young Caley Version 1 of 2
Notes on GB/6a/156a This is the first of two tunes, both listed as GB/6a/156 in the Take 6 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/156b Young Caley Version 2 of 2
Notes on GB/6a/156b This is the second of two tunes, both listed as GB/6a/156 in the Take 6 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
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
GB/6a/160 Sweet Primroses Version 1 of 5
GB/6a/161 Sweet Primroses Version 2 of 5
GB/6a/162 Sweet Primroses Version 3 of 5
File:GB-6a-162.MID (tune)
File:GB-6a-162a.MID (tune and tune variant)
GB/6a/163 Sweet Primroses Version 4 of 5
File:GB-6a-163.MID (tune)
File:GB-6a-163a.MID (tune and tune variant)
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
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.