Difference between revisions of "Take 6 Transcription Programme: The Butterworth Archive, MS 7b"
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| + | '''GB/7b/25 ''' | ||
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| + | '''GB/7b/25A ''' | ||
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| + | '''GB/7b/26 ''' | ||
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| + | '''GB/7b/27 ''' | ||
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| + | '''GB/7b/28 ''' | ||
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| + | '''GB/7b/29 ''' | ||
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Revision as of 20:40, 18 October 2011
Link to Take 6 Transcription Programme Home Page
GB/7b/1 Oxford City
Notes on GB/7b/1 The tune is similar to that of GB/6a/132.
GB/7b/2 The Seeds of Love Version 1 of 2
GB/7b/2A The Seeds of Love Version 2 of 2
Notes on GB/7b/2A The tune is identical to that of GB/6a/149.
GB/7b/3 The Dark-Eyed Sailor Version 1 of 3
GB/7b/3A The Dark-Eyed Sailor Version 2 of 3
abc notation
X:3
T:GB/7b/3A The Dark-Eyed Sailor Version 2 of 3
T:"Chummy," Filby, Norfolk, IV. 10
T:F.W. J(ekyll) & G.S.K. B(utterworth)
M:3/2
L:1/8
K:FLyd
C2 | A2 A2 A4 G2 F2 | G2 A2 D6 DE | FGA=B c4 d3 c | =B2 cB A4 d4 | c2 AG F4 E2 D2 | [M:4/4]G2 A2 _B4 |
A3 G A2 D2 | [M:3/4]D2 C4 | [M:4/4]F3 G A=B c2 | d2 c2 d2 A=B | c2 A2 G2 G2 | F6 |]
Notes on GB/7b/3A This tune is in the rare Lydian, or to be precise Hypolydian, mode except for one note: the single instance of a B flat in the sixth full bar when all of the other Bs are natural.
GB/7b/3B The Dark-Eyed Sailor Version 3 of 3
GB/7b/4 The Bonny Bunch of Roses, O Version 1 of 5
GB/7b/4A The Bonny Bunch of Roses, O Version 2 of 5
Notes on GB/7b/4A The tune is identical to that of GB/6a/35. In the library catalogue record for GB/6a/35 Mr. Hoare's name is unclear and/or incorrectly recorded.
GB/7b/4B The Bonny Bunch of Roses, O Version 3 of 5
Notes on GB/7b/4B The key signature is different but the tune is identical to, and at the same pitch as, that of GB/6a/36.
GB/7b/4C The Bonny Bunch of Roses, O Version 1 of 5
Notes on GB/7b/4C The tune is identical to that of GB/6a/37.
GB/7b/4D The Bonny Bunch of Roses, O Version 5 of 5
GB/7b/5 Seventeen Come Sunday Version 1 of 5
GB/7b/5A Seventeen Come Sunday Version 2 of 5
GB/7b/5B Seventeen Come Sunday Version 3 of 5
GB/7b/5C Seventeen Come Sunday Version 4 of 5
GB/7b/5D Seventeen Come Sunday Version 5 of 5
GB/7b/6 A Brisk Young Sailor Courted Me Version 1 of 2
GB/7b/6A A Brisk Young Sailor Courted Me Version 2 of 2
GB/7b/7 William the Waterboy Version 1 of 2
GB/7b/7A William the Waterboy Version 2 of 2
GB/7b/8 The Undaunted Female
Notes on GB/7b/8 The tune is identical to that of GB/6a/171.
GB/7b/9 William Taylor Version 1 of 3
Notes on GB/7b/9 The tune is identical to that of GB/6a/178.
GB/7b/9A William Taylor Version 2 of 3
GB/7b/9B William Taylor Version 3 of 3
GB/7b/10 Cupid the Ploughboy Version 1 of 2
Notes on GB/7b/10 The tune is similar to that of GB/6a/59.
GB/7b/10A Cupid the Ploughboy Version 2 of 2
Notes on GB/7b/10A The tune is identical to that of GB/6a/61.
GB/7b/11 Our Captain Calls Version 1 of 2
Notes on GB/7b/11 The tune is similar to that of GB/6a/130.
GB/7b/11A Our Captain Calls Version 2 of 2
Notes on GB/7b/11A The tune is similar to that of GB/6a/131.
GB/7b/12 The Basket of Eggs Version 1 of 2
Notes on GB/7b/12 The tune is similar to that of GB/6a/18.
GB/7b/12A The Basket of Eggs Version 2 of 2
GB/7b/13 New Garden Fields Version 1 of 2
GB/7b/13A New Garden Fields Version 2 of 2
Notes on GB/7b/13A For anyone trying to learn/perform this piece it is important to note the exact words of George Butterworth as transcribed onto the PDF file (GB-7b-13A.pdf posted above). In particular his words "the same, from phonograph record" are important because the MS gives wonderful evidence of (a) the difficulty of notating source singers and (b) the differences between a field notation (GB/7b/13 above) and a field recording of what is allegedly the same thing (this tune, GB/7b/13A). The comment immediately below the sheet music that "most of the F's lie between sharp and natural--& the same often with the C's" is also very illuminating. The piece is longer than average because Butterworth and Vaughan Williams transcribed many (but not all) of the variants in full. This transcribed version also includes the rest of the variants; it needs to be checked against the original MS, which is unclear in places.
GB/7b/14 A Sailor in the North Countree
Notes on GB/7b/14 This possibly belongs to the same tune family as "The Curragh of Kildare."
GB/7b/15 Admiral Benbow
GB/7b/16 The Blacksmith
Notes on GB/7b/16 The version of the "Blacksmith" in the Penguin Book of English Folk Songs is from Mrs. Powell in Herefordshire and has a melody closely related to that used by Mrs. Verrall for the "Valiant Sailor"; this latter was collected by Ralph Vaughan Williams and used as the hymn tune "Monks Gate"/"To be a Pilgrim." This version of the "Blacksmith" from Mrs. Verrall clearly belongs to the same tune family but is quite distinguishable from her "Valiant Sailor."
GB/7b/17 Flora and Henry
GB/7b/18i Fourteen Years of Age Version 1 of 2
Notes on GB/7b/18i In the Take 6 Catalogue this is the first of two tunes listed as GB/7b/18.
GB/7b/18ii Fourteen Years of Age Version 2 of 2
Notes on GB/7b/18ii In the Take 6 Catalogue this is the second of two tunes listed as GB/7b/18.
GB/7b/19 It's of a Farmer All In This Town
GB/7b/20 Jack and the Game Version 1 of 3
GB/7b/20A Jack and the Game Version 2 of 3
GB/7b/20B Jack and the Game Version 3 of 3
GB/7b/21 Constant Billy (Dance)
Notes on GB/7b/21 This violin tune differs from Constant Billy (Filkins Morris Dance) (GB/2/4).
GB/7b/21B (No Title Given)
Notes on GB/7b/21B This violin tune is a version of Jockey to the Fair.
GB/7b/21C (No Title Given)
Notes on GB/7b/21C This violin tune is a version of Trunkles.
GB/7b/22 The Rambling Sailor
GB/7b/23
GB/7b/24 Jack Williams
GB/7b/25
GB/7b/25A
GB/7b/26
GB/7b/27
GB/7b/28
GB/7b/29
GB/7b/30 The Tinker
GB/7b/31 Twankydillo
GB/7b/32 The Lads of Kilkenny