Take 6 Transcription Programme: The Butterworth Archive, MS 7d

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GB/7d/1 Painful Plough

File:GB-7d-1.mid

File:GB-7d-1.pdf

File:GB-7d-1.xml

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GB/7d/2 Now We've drunk Our Master's Health

File:GB-7d-2.mid

File:GB-7d-2.pdf

File:GB-7d-2.xml

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Notes on GB/7d/2 The tune is identical to that of GB/6b/12.


GB/7d/3 We Poor Labouring Men

File:GB-7d-3.mid

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GB/7d/4 Young Girl Cut Down In Her Prime

File:GB-7d-4.mid

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GB/7d/5 Horn Fair

File:GB-7d-5.mid

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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 two quavers and a forward repeat has been inserted between them.


GB/7d/6 Dido & Spandigo

File:GB-7d-6.mid

File:GB-7d-6.pdf

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GB/7d/7 Madam I'll Present

File:GB-7d-7.mid

File:GB-7d-7.pdf

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Notes on GB/7d/7 The tune is identical to that of GB/6b/25.


GB/7d/8 "Banks of Sweet Dundee"

File:GB-7d-8.mid

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GB/7d/9 Planxty Conor

File:GB-7d-9.mid

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GB/7d/10 The Blackbird (Dance)

File:GB-7d-10.mid

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GB/7d/11 Bonny Light Horseman

File:GB-7d-11.mid

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GB/7d/12 Week Before Easter

File:GB-7d-12.mid

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GB/7d/13 'Twas Down in Yonder Valley

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GB/7d/14 The Servant Man

File:GB-7d-14.mid

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GB/7d/15 Merry Broomfield

File:GB-7d-15.mid

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GB/7d/16 Tree in the Wood

File:GB-7d-16.mid

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GB/7d/17 Bucknell Morris Tunes 1 of 8: Bonny Green

File:GB-7d-17.mid

File:GB-7d-17.pdf

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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

File:GB-7d-18.mid

File:GB-7d-18.pdf

File:GB-7d-18.xml

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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

File:GB-7d-19.mid

File:GB-7d-19.pdf

File:GB-7d-19.xml

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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

File:GB-7d-20.mid

File:GB-7d-20.pdf

File:GB-7d-20.xml

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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

File:GB-7d-21.mid

File:GB-7d-21.pdf

File:GB-7d-21.xml

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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

File:GB-7d-22.mid

File:GB-7d-22.pdf

File:GB-7d-22.xml

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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

File:GB-7d-23.mid

File:GB-7d-23.pdf

File:GB-7d-23.xml

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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

File:GB-7d-24.mid

File:GB-7d-24.pdf

File:GB-7d-24.xml

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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

File:GB-7d-30a.mid

File:GB-7d-30a.pdf

File:GB-7d-30a.xml

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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

File:GB-7d-30b.mid

File:GB-7d-30b.pdf

File:GB-7d-30b.xml

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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

File:GB-7d-31a.mid

File:GB-7d-31a.pdf

File:GB-7d-31a.xml

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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

File:GB-7d-31b.mid

File:GB-7d-31b.pdf

File:GB-7d-31b.xml

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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

File:GB-7d-34.mid

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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.


GB/7d/35 On the First of November Last

File:GB-7d-35.mid

File:GB-7d-35.pdf

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.


GB/7d/36 Scarbro' Town

File:GB-7d-36.mid

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GB/7d/37 Oh Father, Dear Father (Fragment)

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GB/7d/38 On the 1st of November

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GB/7d/39 Saucy Ward

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GB/7d/40 Crystal Stream

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GB/7d/41 Gipsy Laddy

File:GB-7d-41.mid

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File:GB-7d-41.xml

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