Difference between revisions of "Take 6 Transcription Programme: The Butterworth Archive, MS 7d"
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[[File:GB-7d-1.xml]] | [[File:GB-7d-1.xml]] | ||
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[[File:GB-7d-2.xml]] | [[File:GB-7d-2.xml]] | ||
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''Notes on GB/7d/2'' The tune is identical to that of GB/6b/12. | ''Notes on GB/7d/2'' The tune is identical to that of GB/6b/12. | ||
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[[File:GB-7d-3.xml]] | [[File:GB-7d-3.xml]] | ||
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[[File:GB-7d-4.xml]] | [[File:GB-7d-4.xml]] | ||
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[[File:GB-7d-5.xml]] | [[File:GB-7d-5.xml]] | ||
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''Notes on GB/7d/5'' In the MS the bar lengths are inconsistent. To resolve this the anacrucial crotchet has been split into | ''Notes on GB/7d/5'' In the MS the bar lengths are inconsistent. To resolve this the anacrucial crotchet has been split into | ||
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[[File:GB-7d-6.xml]] | [[File:GB-7d-6.xml]] | ||
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[[File:GB-7d-7.xml]] | [[File:GB-7d-7.xml]] | ||
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''Notes on GB/7d/7'' The tune is identical to that of GB/6b/25. | ''Notes on GB/7d/7'' The tune is identical to that of GB/6b/25. | ||
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[[File:GB-7d-8.xml]] | [[File:GB-7d-8.xml]] | ||
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[[File:GB-7d-9.xml]] | [[File:GB-7d-9.xml]] | ||
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[[File:GB-7d-10.xml]] | [[File:GB-7d-10.xml]] | ||
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[[File:GB-7d-11.xml]] | [[File:GB-7d-11.xml]] | ||
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[[File:GB-7d-12.xml]] | [[File:GB-7d-12.xml]] | ||
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[[File:GB-7d-13.xml]] | [[File:GB-7d-13.xml]] | ||
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[[File:GB-7d-14.xml]] | [[File:GB-7d-14.xml]] | ||
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[[File:GB-7d-15.xml]] | [[File:GB-7d-15.xml]] | ||
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[[File:GB-7d-16.xml]] | [[File:GB-7d-16.xml]] | ||
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[[File:GB-7d-34.xml]] | [[File:GB-7d-34.xml]] | ||
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''Notes on GB/7d/34'' An F has been inserted into the key signature and the flats have been removed from all of the Bs; this fine Mixolydian tune is simplified but unaltered by this. | ''Notes on GB/7d/34'' An F has been inserted into the key signature and the flats have been removed from all of the Bs; this fine Mixolydian tune is simplified but unaltered by this. | ||
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[[File:GB-7d-35.xml]] | [[File:GB-7d-35.xml]] | ||
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''Notes on GB/7d/35'' A redundant flat has been removed from the key signature, which is F and in the Dorian mode; the tune is unaltered by this. Fermatas have been added on the final minim in each of the three verses (at the ends of the second, fouth and sixth lines) to bring out the unusual and beautiful shape of the tune. The "cannon ball" interpolation clearly relates to a variation in the tune specific to that particular verse. | ''Notes on GB/7d/35'' A redundant flat has been removed from the key signature, which is F and in the Dorian mode; the tune is unaltered by this. Fermatas have been added on the final minim in each of the three verses (at the ends of the second, fouth and sixth lines) to bring out the unusual and beautiful shape of the tune. The "cannon ball" interpolation clearly relates to a variation in the tune specific to that particular verse. | ||
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[[File:GB-7d-36.xml]] | [[File:GB-7d-36.xml]] | ||
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[[File:GB-7d-37.xml]] | [[File:GB-7d-37.xml]] | ||
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[[File:GB-7d-38.xml]] | [[File:GB-7d-38.xml]] | ||
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[[File:GB-7d-39.xml]] | [[File:GB-7d-39.xml]] | ||
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[[File:GB-7d-40.xml]] | [[File:GB-7d-40.xml]] | ||
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[[File:GB-7d-41.xml]] | [[File:GB-7d-41.xml]] | ||
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Revision as of 23:07, 31 May 2014
Link to Take 6 Transcription Programme Home Page
GB/7d/1 Painful Plough
abc notation
GB/7d/2 Now We've drunk Our Master's Health
abc notation
Notes on GB/7d/2 The tune is identical to that of GB/6b/12.
GB/7d/3 We Poor Labouring Men
abc notation
GB/7d/4 Young Girl Cut Down In Her Prime
abc notation
GB/7d/5 Horn Fair
abc notation
Notes on GB/7d/5 In the MS the bar lengths are inconsistent. To resolve this the anacrucial crotchet has been split into two quavers and a forward repeat has been inserted between them.
GB/7d/6 Dido & Spandigo
abc notation
GB/7d/7 Madam I'll Present
abc notation
Notes on GB/7d/7 The tune is identical to that of GB/6b/25.
GB/7d/8 "Banks of Sweet Dundee"
abc notation
GB/7d/9 Planxty Conor
abc notation
GB/7d/10 The Blackbird (Dance)
abc notation
GB/7d/11 Bonny Light Horseman
abc notation
GB/7d/12 Week Before Easter
abc notation
GB/7d/13 'Twas Down in Yonder Valley
abc notation
GB/7d/14 The Servant Man
abc notation
GB/7d/15 Merry Broomfield
abc notation
GB/7d/16 Tree in the Wood
abc notation
GB/7d/17 Bucknell Morris Tunes 1 of 8: Bonny Green
abc notation
X:17
T:GB/7d/17 Bonny Green
T:Bucknell Morris Tunes 1 of 8
C:Will Rolfe, 1912
L:1/8
M:6/8
I:linebreak $
K:C
G | cB c ded | cB A GAB | cB c AGF | EFD C2 :: z | DE F EDC | DE F GAB |$ cB c AGF | EFD C2 :| z |
[M:3/8] C3 |[M:6/8] c2 B c3 | d2 e d3 | c2 B A3 | G2 A B3 | c2 B c3 | A2 G F3 |$ (2:3:2EF D3 |
C3 C3 | c2 B c3 | d2 e d3 | c2 B A3 | G2 A B3 | c2 B c3 | A2 G F3 | (2:3:2EF D3 |
C4- !fermata!C |]
Notes on GB/7d/17 The Bucknell Morris Tunes have been thoroughly researched and published by Lionel Bacon in his "A Handbook
of Morris Dances" published by the Morris Ring.
GB/7d/18 Bucknell Morris Tunes 2 of 8: Queen's Delight
abc notation
X:18
T:GB/7d/18 Queen's Delight
T:Bucknell Morris Tunes 2 of 8
L:1/8
M:6/8
I:linebreak $
K:G
d2 G dcB | cBc ABc | d2 G d2 c | BcA G3 :| cBc cBc | ABc def | gfg eag |$ gfe def | g2 g gfe |
dec ABc | d2 G d2 c | BcA G3 ||"^Uprights" cBc cBc |[M:9/8] ABc d2 e f3 |$[M:6/8] g2 f g3 |
(2:3:2ea g3 |[M:9/8] g2 f e3 def |[M:6/8] g2 g gfe | dec ABc | d2 G d2 c | BcA G3 |]
Notes on GB/7d/18 The Bucknell Morris Tunes have been thoroughly researched and published by Lionel Bacon in his "A Handbook
of Morris Dances" published by the Morris Ring.
GB/7d/19 Bucknell Morris Tunes 3 of 8: Bonnet So Blue
abc notation
X:19
T:GB/7d/19 Bonnet So Blue
T:Bucknell Morris Tunes 3 of 8
L:1/8
M:6/8
I:linebreak $
K:F
C | F>E F ABc | C>C C CDE | FA d cAF | GA G G2 A | F>F F FGA |$ C>C C C2 d | cB A GAG | F3 F2 :|
F | EF G GAG | C>C C C2 F | EF G GAB |$ c3 c2 B | A2 G F2 E | D2 E F2 G | AB A GFE | C3 D2 C |
F>F F FGA |$ C>C C C2 F | EF G GAB | c3 c2 B | A2 G FGA | Bc d c2 d | cB A GFE | F3 F2 ||$
[M:3/8]"^Capers" C3 |[M:6/8] F2 E F3 | A2 B c3 | C2 D C3 | C2 D E3 | F2 A d3 | c2 A F3 |$ G2 A G3 |
[M:3/8]"^? should be A music." G2 B |[M:6/8] A2 G FGA | Bcd c2 d | cBA GFE | F3 F3 |]
Notes on GB/7d/19 The Bucknell Morris Tunes have been thoroughly researched and published by Lionel Bacon in his "A Handbook
of Morris Dances" published by the Morris Ring.
GB/7d/20 Bucknell Morris Tunes 4 of 8: Saturday Night
abc notation
X:20
T:GB/7d/20 Saturday Night
T:Bucknell Morris Tunes 4 of 8
L:1/8
M:6/8
I:linebreak $
K:G
BAG Gdd | dAA A3 | BAG EEE | AGF G3 :| ADD D3 | AAB c3 | BAG Bcd |$ DGF G3 | ADD D3 |
[M:9/8] AAB c2 B c3 |[M:6/8] B2 A G3 | B2 c d3 | (2:3:2DG F3 |[M:3/8] G3 |]
Notes on GB/7d/20 The Bucknell Morris Tunes have been thoroughly researched and published by Lionel Bacon in his "A Handbook
of Morris Dances" published by the Morris Ring.
GB/7d/21 Bucknell Morris Tunes 5 of 8: Room for Cuckolds
abc notation
X:21
T:GB/7d/21 Room for Cuckolds
T:Bucknell Morris Tunes 5 of 8
L:1/8
M:6/8
I:linebreak $
K:F
F>FF C2 C |"^(a)" D>Fd cBA | F>FF C2 C | D2 G F3 ::$"^(b)" A2 F A2 F | AFA G3 | A2 F D2 D |
GFE F3 ::$ F>FF C2 C |"^(a) var." D>Fd cAF | F>FF C2 C | D2 G F3 ::$"^(b) var." AGF A2 F |
ABA G3 | A2 F D2 D | GFE F3 :|
Notes on GB/7d/21 The Bucknell Morris Tunes have been thoroughly researched and published by Lionel Bacon in his "A Handbook
of Morris Dances" published by the Morris Ring.
GB/7d/22 Bucknell Morris Tunes 6 of 8: Old Woman
abc notation
X:22
T:GB/7d/22 Old Woman
T:Bucknell Morris Tunes 6 of 8
L:1/8
M:6/8
I:linebreak $
K:C
C2 C C>AA | AGF EGC | FEF G3 | A>CC C3 :: ccc Gcc | Gcc cBA |$ GGG G2 G | GAF EFG | C2 C CAA |
AGF EGC | FEF G3 | A>CC C3 :|
Notes on GB/7d/22 The Bucknell Morris Tunes have been thoroughly researched and published by Lionel Bacon in his "A Handbook
of Morris Dances" published by the Morris Ring.
GB/7d/23 Bucknell Morris Tunes 7 of 8: Old Black Joe
abc notation
X:23
T:GB/7d/23 Old Black Joe
T:Bucknell Morris Tunes 7 of 8
L:1/8
M:6/8
I:linebreak $
K:F
CFF FEF | GAG G2 G | Fcc cBA | GAG BAG | F3 D3 | GFE F3 :|$ BAB c2 c | dBd c3 | BAB c2 c |
dBd c3 | cBA AGF |$ GAG G2 G | Fcc cBA | GAG BAG | F3 D3 | GFE F3 |]
Notes on GB/7d/23 The Bucknell Morris Tunes have been thoroughly researched and published by Lionel Bacon in his "A Handbook
of Morris Dances" published by the Morris Ring.
GB/7d/24 Bucknell Morris Tunes 8 of 8: Trunkles
abc notation
X:24
T:GB/7d/24 Trunkles
T:Bucknell Morris Tunes 8 of 8
L:1/8
M:4/4
I:linebreak $
K:F
c3 A B2 d2 | cABG A2 F2 | c3 A B2 d2 | cBAG F4 :| c3 =B c2 f2 |$ ddd=B c2 f2 | dd (3dc=B A2 B2 |
c4 c2 fe | d2 _B2 BABd |$ c2 A2 AFAc | B2 G2 GFGB | A2 F2 F2 c2 | B2 AG F2 G2 | F4 F4 |]
Notes on GB/7d/24 The Bucknell Morris Tunes have been thoroughly researched and published by Lionel Bacon in his "A Handbook
of Morris Dances" published by the Morris Ring.
GB/7d/30a Escrick Sword Dance Tunes 1 of 2: Fisher Laddy
abc notation
X:30
T:GB/7d/30a Fisher Laddy
T:Escrick Sword Dance Tunes 1 of 2
L:1/8
M:4/4
I:linebreak $
K:F
A2 AF A2 AF | A2 AG FEFG | A2 A2 BAGF | EFGE F4 ::$ c2 cA d2 d2 | BGAB c4 | A2 A2 BAGF |
EFGE F4 :|
GB/7d/30b Escrick Sword Dance Tunes 2 of 2: Oyster Girl
abc notation
X:31
T:GB/7d/30b Oyster Girl
T:Escrick Sword Dance Tunes 2 of 2
L:1/8
Q:1/4=144
M:6/8
I:linebreak $
K:G
d | ded B2 G | A2 F D3 | GFG BAG | d2 B A2 d | ded B2 d |$ g2 e c2 e | edc dcA | G3- G3 ||
BBB B2 A | B2 c d3 |$ AAA A2 G | A2 B c3 | BBB B2 A | B2 c d2 g | fed cBA | G3 g3 |]
GB/7d/31a Winlaton Sword Dance Tunes 1 of 2: Song
abc notation
X:32
T:GB/7d/31a Song
T:Winlaton Sword Dance Tunes 1 of 2
L:1/8
M:6/8
I:linebreak $
K:Am
g/^f/ | eA A cBA | E A2- A2 d | de d dBc | d3- d2 d | eA A cBA |$ E A2- A2 B | cd e dcB |
A3- A2 || A | A^c e ggg | ^f e2- e2 d |$ de d eBG | d3- dg^f | eA A cBA | E A2- A2 B | cd e dcB |
A3- A2 |]
GB/7d/31b Winlaton Sword Dance Tune 2 of 2: Jig Tune
abc notation
X:33
T:GB/7d/31b Jig Tune
T:Winlaton Sword Dance Tunes 2 of 2
L:1/8
M:6/8
I:linebreak $
K:Am
e | eA A eAA | BA B GBd | eA A eAA | g^f g2 ed |$ eA A eAA | BA B GAB | cd e g2 B | cAA A2 |]
Notes on GB/7d/31b This is a rapper dance. See [1] for a performance of this dance in 1920; the musician and the dancers were probably the same individuals that Butterworth witnessed. This footage illustrates just how hard rapper tunes are to notate without recording equipment.
GB/7d/34 A Story, A Story
abc notation
Notes on GB/7d/34 An F has been inserted into the key signature and the flats have been removed from all of the Bs; this fine Mixolydian tune is simplified but unaltered by this.
GB/7d/35 On the First of November Last
abc notation
Notes on GB/7d/35 A redundant flat has been removed from the key signature, which is F and in the Dorian mode; the tune is unaltered by this. Fermatas have been added on the final minim in each of the three verses (at the ends of the second, fouth and sixth lines) to bring out the unusual and beautiful shape of the tune. The "cannon ball" interpolation clearly relates to a variation in the tune specific to that particular verse.
GB/7d/36 Scarbro' Town
abc notation
GB/7d/37 Oh Father, Dear Father (Fragment)
abc notation
GB/7d/38 On the 1st of November
abc notation
GB/7d/39 Saucy Ward
abc notation
GB/7d/40 Crystal Stream
abc notation
GB/7d/41 Gipsy Laddy
abc notation