Difference between revisions of "Take 6 Transcription Programme: The Butterworth Archive, MS 7c"
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| − | ''Notes on GB/7c/9'' | + | ''Notes on GB/7c/9'' See Notes on GB/7c/9C below. |
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| − | ''Notes on GB/7c/9A'' | + | ''Notes on GB/7c/9A'' See Notes on GB/7c/9C below. |
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| − | ''Notes on GB/7c/9B'' | + | ''Notes on GB/7c/9B'' See Notes on GB/7c/9C below. |
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[[File:GB-7c-9C.xml]] | [[File:GB-7c-9C.xml]] | ||
| − | ''Notes on GB/7c/9C'' | + | ''Notes on GB/7c/9C'' These 4 tunes, GB/7c/9, GB/7c/9A, GB/7c/9B and GB/7c/9C give insights into tune variation and the folk process. All of these versions were collected in West Sussex at around the same time, and they are all members of the same group of tunes as the Copper Family’s “Two Brethren.” It is sometimes assumed that changes caused by the folk process are largely involuntary, caused by mishearing, bad memory, or the passage of time. Here, however, there is evidence that sometimes the process may be more dynamic than that. The differences between these versions may have occurred because the singers actively changed the tune to suit their own individual styles of singing. In other words, what we have here may not be a mere negative, attritional form of change but a positive, creative one in which the tune was truly alive. |
Revision as of 15:49, 17 March 2012
Link to Take 6 Transcription Programme Home Page
GB/7c/1 Lord Carter Is My Name
GB/7c/2 Mole-Catcher, The
GB/7c/3 Botany Bay Version 1 of 2
Notes on GB/7c/3 The tune is identical to that of GB/6/38.
GB/7c/3A Botany Bay Version 2 of 2
Notes on GB/7c/3A The key has been changed from C to G to eliminate most of the accidentals. The tune, which is similar to that of GB/6/39, is unaltered.
GB/7c/4 Fair Maid Walking Down in the Garden, A, Version 1 of 3
Notes on GB/7c/4 The tune is similar to that of GB/6a/70.
GB/7c/5 Fair Maid Walking Down in the Garden, A, Version 2 of 3
Notes on GB/7c/5 The tune is similar to that of GB/6a/68.
GB/7c/5A Fair Maid Walking Down in the Garden, A, Version 3 of 3
Notes on GB/7c/5A The tune is similar to that of GB/6a/69.
GB/7c/6 Highland Soldier Version 1 of 2
Notes on GB/7c/6 The tune is similar to that of GB/6a/96.
GB/7c/6A Highland Soldier Version 2 of 2
Notes on GB/7c/6A The tune is similar to that of GB/6a/97.
GB/7c/7 Irish Girl, The, Version 1 of 2
Notes on GB/7c/7 The tune is similar to that of GB/6a/92.
GB/7c/7A Irish Girl, The, Version 2 of 2
Notes on GB/7c/7A The tune is identical to that of GB/6a/95.
GB/7c/8 Lord Bateman Version 1 of 2
Notes on GB/7c/8 The tune is similar to that of GB/6a/121.
GB/7c/8A Lord Bateman Version 2 of 2
Notes on GB/7c/8A
GB/7c/9 Come All You Jolly Ploughboys Version 1 of 4
Notes on GB/7c/9 See Notes on GB/7c/9C below.
GB/7c/9A Come All You Jolly Ploughboys Version 2 of 4
Notes on GB/7c/9A See Notes on GB/7c/9C below.
GB/7c/9B Come All You Jolly Ploughboys Version 3 of 4
Notes on GB/7c/9B See Notes on GB/7c/9C below.
GB/7c/9C Come All You Jolly Ploughboys Version 4 of 4
Notes on GB/7c/9C These 4 tunes, GB/7c/9, GB/7c/9A, GB/7c/9B and GB/7c/9C give insights into tune variation and the folk process. All of these versions were collected in West Sussex at around the same time, and they are all members of the same group of tunes as the Copper Family’s “Two Brethren.” It is sometimes assumed that changes caused by the folk process are largely involuntary, caused by mishearing, bad memory, or the passage of time. Here, however, there is evidence that sometimes the process may be more dynamic than that. The differences between these versions may have occurred because the singers actively changed the tune to suit their own individual styles of singing. In other words, what we have here may not be a mere negative, attritional form of change but a positive, creative one in which the tune was truly alive.