Difference between revisions of "Take 6 Transcription Programme: The Butterworth Archive, MS 6a"
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[[File:GB-6a-154.xml]] | [[File:GB-6a-154.xml]] | ||
| − | ''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 | + | ''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. |
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[[File:GB-6a-155.xml]] | [[File:GB-6a-155.xml]] | ||
| − | ''Notes on GB/6a/155'' | + | ''Notes on GB/6a/155'' The MIDI plays through the tune twice with the variant in the second half. |
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[[File:GB-6a-156a.xml]] | [[File:GB-6a-156a.xml]] | ||
| − | ''Notes on GB/6a/156a'' | + | ''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 transcription has inserted a Bb into the key signature on the assumptions |
| + | 1. that Butterworth forgot to do this, and | ||
| + | 2. that this is exactly the same tune as 151, with the very minor differences in the tune accounted for by the freedom of the | ||
| + | singer already alluded to in the notes on 151. 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. | ||
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[[File:GB-6a-156b.xml]] | [[File:GB-6a-156b.xml]] | ||
| − | ''Notes on GB/6a/156b'' | + | ''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 justfication for interpreting the note as an E is that there are other instances in the MS 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 melody. |
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[[File:GB-6a-157.xml]] | [[File:GB-6a-157.xml]] | ||
| − | ''Notes on GB/6a/157'' | + | ''Notes on GB/6a/157''157: The MIDI plays through the tune twice with the variant in the second half. |
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[[File:GB-6a-159.xml]] | [[File:GB-6a-159.xml]] | ||
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Revision as of 22:44, 21 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 modal and the key is G Mixolydian.
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 Appogiaturas)
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 modal and the key is G Mixolydian.
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 modal and the key is D Dorian.
GB/6a/74 God Rest You Merry
Notes on GB/6a/74 The key is D Major, also known as D Ionian.
GB/6a/76 Green Mossy Banks of the Lea Version 1 of 2
Notes on GB/6a/76 The tune is modal and the key is D Aeolian.
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 are natural, so if the accidentals naturalising the Bs are removed the key signature is C, not F as in the MSS. This leaves one accidental, in bar 9 (an F#), but this would seem to be a passing note. The root is D, suggesting D 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 are flattened, so the key is Bb, not F as written, and the root is F, so the tune is in the Mixolydian mode; sometimes it is sung to different words (for example by the Spinners), and is then known as "The Cutty Wren."
GB/6a/79 Green Bushes Version 2 of 5
Notes on GB/6a/79 All occurrences of D are natural, so the key signature is the same as for Eb major, not Ab major as written, and the root is F and the mode is F Dorian. 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 is exactly the same as 79: the key signature is the same as for Eb major, the root is F, the mode is F 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 the same as for Eb major, the root is F and the mode is F 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 the same as for Bb, the root is F and the mode is F 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 modal (D Mixolydian).
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 modal (D Dorian).
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 equivalent to Ab major (4 flats) but to Eb major (3 flats). The tune is modal (F Dorian).
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 equivalent to F major (1 flat) but to Bb major (2 flats). The tune is modal (F Mixolydian).
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 melody is in the Dorian mode.
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 equivalent to A Major (3 sharps), and their mode is A (plagal Hypoionian).
GB/6a/109 'Twas of a Brisk and Lively Lad Version 2 of 3
Notes on GB/6a/108 All 3 versions of "'Twas of a Brisk and Lively Lad" have the key signature equivalent to A Major (3 sharps), and their mode is A (plagal Hypoionian).
GB/6a/110 'Twas of a Brisk and Lively Lad Version 3 of 3
Notes on GB/6a/108 All 3 versions of "'Twas of a Brisk and Lively Lad" have the key signature equivalent to A Major (3 sharps), and their mode is A (plagal Hypoionian).
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 melody is modal (G Hypoionian).
GB/6a/118b Version 2 of 2
Notes on GB/6a/118b The melody is modal (Bb Hypoionian).
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 make the tune modal (D Mixolydian).
GB/6a/120 Lord Bateman Version 2 of 3
Notes on GB/6a/120 The tune is in D major, also known as D Ionian.
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 the same as for C major with no sharps or flats. The tune is modal (D Dorian).
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 C Ionian.
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 the same as for F major. The melody ends on the keynote of C and the tune is modal (C Mixolydian).
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. It is in the mode of D Dorian except that the F is sharpened in the fifth full bar. 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 and the naturalisations from the Bs. The tune remains unaltered; it is in the mode of D Dorian.
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 and the naturalisations from the Bs. The tune remains unaltered; it is in the mode of D Dorian.
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 and the naturalisations from the Bs. The tune remains unaltered; it is in the mode of D Dorian.
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 There is a sharp mising from the key signature in the MS; the tune is in the key of E Dorian (which has the same key signature as D Ionian or 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 transcription has inserted a Bb into the key signature on the assumptions 1. that Butterworth forgot to do this, and 2. that this is exactly the same tune as 151, with the very minor differences in the tune accounted for by the freedom of the singer already alluded to in the notes on 151. 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 justfication for interpreting the note as an E is that there are other instances in the MS 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 melody.
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 sung in Sussex in the 1970s alongside the more pervasive Copper Family version.