BETHAM, Matthew ms ABC

%abc
%%abc-alias Docker/Betham
%%abc-creator ABCexplorer 1.6.1 [12/02/2015]
%%abc-edited-by www.village-music-project.org.uk
%The Docker/Betham MS, Towcett, Cumbria, 1815
%kept in VWML, C# House
%ABC for VMP by Hugh Taylor, March 2012
%comment added to #67 12/2/15

X:01
T:Russian Dance. MBe.01, The
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:2/4
L:1/8
Q:1/2=80
C:”Let Thy Head Rule”
N:The name of this dance has been copied out in a different hand
N:along with the inscription ‘Let thy head rule’.
K:G
DG|B2 DG|B2 DB|dcBc|A2 DF|A2 DF|A2 DA|Bc AB|”^sic”G3:|
|:dc|B2 BA|G2 gf|e2 ed|e2 AB|AG FA|d2 F2|GF GA|”^sic”G3:|

X:02
T:Haul Away the Hawser. MBe.02
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
T:Torryburn Lasses,aka. MBe.02
T:Seymore’s Reel,aka. MBe.02
T:Ladies Wattle,aka. MBe.02
T:Tadie’s Wattle,aka. MBe.02
T:Comely Jane Downing,aka MBe.02
M:C
L:1/8
Q:1/2=100
R:.Reel
N:Quite different to the tune of the same name in Vickers MS
N:Someone in a different hand has been copying out the name of the previous tune – The Russian Dance – as if
N:practicing writing.
N:NB-The A in the final bar of the B music may be dotted, but I think it’s a blot.
K:G
D|G2 BG BddB|c2 ec eg g2|G2 BG Bddg|edcB A2 G:|
g|g2 bg afed|edef gdBG|g2 bg afed|edef g2 a2|
bagf gfed|edef gdBG|cBcd efge|dBgB “^NB”A2 G|]

X:03
C:Page 02
T:Labarynth. MBe.03, The
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
T:Labyrinth. aka. MBe.03, The
T:We Won’t Go Home Till The Morning,aka. MBe.03
M:6/8
L:1/8
Q:3/8=120
R:.Jig
K:G
G/A/|B2 B BAB|c3 cBc|A2 A AGA|B3 {d}cBA|
G2 G GFG|A3 A2 G|FED DEF|(G3 G2)||
B/c/|d2 d dcd|e2 d {c}cBc|A2 A Adc|B3 {d}cBA|
G2 G GFG|(A3 A2 G)|FED DEF|G3- G2|]

X:04
C:Page 02
T:Ap Shenkin. MBe.04
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
T:Tempest,aka. MBe.04, The
M:6/8
L:1/8
Q:3/8=120
R:.Jig
N:This note could be either ‘c’ or ‘B’
K:D
A/G/|F2 F Fdc|B2 B Bcd|ABA AGF|FEE EAG|
F2 F Fdc|B2 B Bcd|ABA GFE|D2 D D2!fine!:|
d/e/|f2 d e2 c|dcB AGF|GAB AdF|FEE E2 d/e/|
f2 d e2 c|dcB edc|fed cd”^NB”B|Adc BAG!D.C.!|]

X:05
C:Page 03
T:Death of Parker. MBe.05
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
T:President Parker,aka. MBe.05
T:Constant Billy,aka. MBe.05
T:Cease Your Funning,aka. MBe.05
M:6/8
L:1/8
Q:3/8=100
R:.Jig
N:See the song of the same name in the Hammond & Gardiner collection
K:G
D|G2 G GBd|c2 A AFD|B2 G E2 D|DEF G2 D|
G2 G GBd|c2 A AFD|B2 G E2 D|DEF G2||
c|cBc e2 c|ABc dBG|GBd d^cd|AB^c d2 e|
dBG GBd|c2 A AFD|B2 G E2 D|DEF G2|]

X:06
T:Braes of Arranmore. MBe.06
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
T:Some Say the Devil’s Dead,aka. MBe.06
T:Braes of Mar,aka. MBe.06
T:Love Won’t You Marry Me,aka. MBe.06
T:Sir Alexander McDonald,aka. MBe.06
M:C
L:1/8
Q:1/2=80
R:.Reel
K:D
A|FAAB defe|dB (c/B/A) dB (c/B/A)|FAAB defe|edf”^dotted in MS”d e2 d:|!\
“rest added”z|faag fdad|gbbd gebe|faag fdad|gbfa e3 d|!
faaf fdad|fbbf gebe|faef deBd|BdF”^dotted in MS”f E2 D|]

X:07
C:Page 04
T:Millers Wife of Droan. MBe.07
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
T:Miller of Drone, aka. MBe.07
M:2/4
L:1/8
Q:1/2=60
R:.Reel
C:Nathaniel Gow
N:No Key signature in MS, but usually found in a major key.
K:D
“No Key sig. in MS”f/e/|dBBd|ABAF|Ddgf|e2 fe|
dBBd|ABAF|Adce|d2:|
|:f/g/|affd’|”semi-qu’s in MS”aa (b/a/g/f/)|affd’|b2bd’|
affd’|”semi-qu’s in MS”aa (b/a/g/f/)|gefd|B2 Bb|
affd’|”semi-qu’s in MS”aa (b/a/g/f/)|affd'”poss bar missing”|”sic”(d’/c’/b/) (a/b/c’/)|
d’abf|gefd|B2:|
\

X:08
C:Page 04
T:Nancy Dawson. MBe.08
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:6/8
L:1/8
Q:3/8=120
R:.Jig
K:G
D|G2 G G>AB/c/|d2 B G2 B|A2 B A2 B|A2 G FED|
G2 G G>AB/c/|d2 B G2 B|A2 G F2 E|”^dot added”D3 D3:|
|:A2 B G2 B|A2 B AFD|B2 c d2 e|d2 e dBG|
c2 B c2 d|e2 f gfe|dcB AGF|”^dot added”G3 G3:|

X:09
T:Dear Tobacco. MBe.09
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
T:Tobacco’s Dear,aka. MBe.09
M:C
L:1/8
Q:1/4=140
R:.Reel
N:Someone in a different hand has written “Dear Tobacco” beside the title.
K:D
BEEF (G/F/)(E/D/) F2|BEEc dcBA|BEEF G/F/E/D/ F2|D>EDc dcBA:|
|:Beef g/f/e/^d/ e2|Beef gefd|Bdde (d/c/)(B/c/) d2|FAAF dcBA:|

X:10
T:Rose Tree. MBe.10
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:2/4
L:1/8
Q:1/4=100
R:.Reel
N:NB1-The 7th bar of the A has the 4 semi-quavers written as quavers
N:NB2-The 7th bar of the B has 5 semi-quavers. I have assumed that the first one is a crotchet.
K:D
f/e/|dB AG|A>BAc|d2 f/e/d/e/|fe e/g/f/e/|
dB AG|A>BAc|d2 “^qu’s in MS”f/e/d/e/|edd:|
|:g|fefg|f/g/a gf|eaag|ae ef/e/|
dB AG|A>BAc|”^NB2″d2 f/e/d/e/|fdd:|

X:11
C:Page 06
T:Garland of Roses. MBe.11
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:6/8
L:1/8
Q:3/8=60
R:.Air
N:Garland of Roses = the Catholic Rosary
N:The B part has 10 bars
K:G
d|d>Bd dga|bag gfe|dBd d>ed|d>gc {B}A2 d|
dBd dga|b>ag d’>bg|efg {fe}dfB|AGA G2:|
|:g/a/|b>ag gBd|b>ag gBd|b>ag fab|eag fd d|
gfg ece|dBg d{c}B{A}G|gfg ece|dBg d c/B/A/G/|
GBd gbd’|d>ef g2:|

X:12
C:Page 06
T:Merrily Dance the Quakers….. MBe.12
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
T:Merrily Dance the Quakers Wife, aka. MBe.12
T:Merrily Kissed the Quakers Wife, aka. MBe.12
M:6/8
L:1/8
Q:3/8=120
R:.Jig
K:G
D|GAB D2 B|c2 B A2 G|GAB D2 D|E3 G2:|
|:D|G2 B d2 B|e2 c d2 B|G2 B d2 c|B3 d3|
e2 c ABc|d2 B GAB|GAB D2 D|E3 G2:|

X:13
C:Page 07
T:Paddy O’Carroll. MBe.13
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:6/8
L:1/8
Q:3/8=120
R:.Jig
N:NB-The first E is not written dotted. I have made it dotted.
N:A widespread tune, inc. a version in Rook from Wigton very similar to this one.
K:D
(A/G/)|(FD).D FDD|F>GF FED|AFF dFF|”^NB”E>FE E2 (A/G/)|
(FD).D FDD|F>GF FED|AFF dFF|E>FE D2||
a/g/|(fd)d (ec)c|BdB AGF|fda eca|dB^g a2 (a/g/)|
fdd ecc|BdB AGF|AFF dFF|E>FE D2|]

X:14
C:Page 07
T:Tekeli. MBe.14
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:6/8
L:1/8
Q:3/8=120
R:.Jig
N:Someone in a different hand has written “Tekeli” after the title.
K:G
d|g2 g gfg|e2 g d2 g|def gab|c’2 a f2 d|
g2 g gfg|e2 g d2 g|def gab|c’af g2:|
|:g2 a a3|bc’b (a2 g)|(a2 g) (a2 g)|(a2 g) a2 b|
g2 a b3|bc’b a2 g|a2 g a2 b”^barline added”|g3 g2:|

X:15
C:Page 08
T:Ellen of Rosenby. MBe.15
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:C
L:1/8
Q:1/2=80
R:.Reel
N:NB1-These three notes are written as a triplet. I have made them into a tuplet.
N:NB2-The D note looks like it is written as a quaver. I have made it a crotchet.
K:G
~BABG FEFD|”^NB1″(3(GBA) G2 FA d2|~BABG FEFD|GBAc BG G2:|
|:d~gfe dBGB|cedB AF “^NB2″D2|d~gfe dBGB|cedB G2 G2:|

X:16
C:Page 08
T:Jenny Nettles. MBe.16
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:C|
L:1/8
Q:1/2=100
R:.Reel
N:A widespread tune. See versions in both Jackson, H.S.J (Winder) and Harrison collections.
N:NB1-Lots of splodges makes this first bar difficult to decipher. Notes given are as commonly played, and
N:fit in with bar 3.
N:NB2-This bar is as written making an odd length bar. The B section has only 3 bars. I’m leaving it to the
N:player to decide on a satisfying correction.
K:Am
“^NB1″c2 B2 A2 a2|efge dBGB|c2 B2 A2 a2|gedf e2 A2:|
|:cded cded|dBGB dBGB|”^NB2″a2 fedf e2 A2:|

X:17
C:Page 08
T:Lord Mcdonalds Reel. MBe.17
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:C
L:1/8
Q:1/2=100
R:.Reel
N:See a version in Harrison.
N:NB-G note written as a crotchet. I have changed it to a quaver.
K:G
B|d3 e dBgB|dBgB aAAB|d3 e dBgB|A/B/c BA BGG”^Fine”||
z|”^rest added”DGBG AGBG|DGBG AGEF|DGBG AGBG|dedc BGG “^NB”G|
dgbg agbg|dgbg ageg|agfe gfed|efga bggg”^D.C.”|]

X:18
C:Page 09
T:Hero(e)s of Salamanca. MBe.18
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:6/8
L:1/8
Q:3/8=100
R:.Jig
N:The battle of Salamanca was fought in 1812 in Spain, so the book must be later than this.
N:NB1-These first two semi-quavers were written before the repeat mark. I have deleted the repeat mark.
N:NB2-The last bar of the A has two crotchets written. I have changed the first to a dotted crotchet.
K:D
“^NB1″A/G/|!segno!F2 F {A} GFG|AFD DFA|BAB dcB|ABG FGE|
F2 F {A} GFG|AFD DFA|Bgf eac|”^NB2″(d3 d2)!fine!:|
|:(c/d/)|e2 c Ace|f2 d Adf|g2 e f2 d|{cd}e2 c A2 c/d/|
{f} e2 c Ace|{g} f2 d Adf|efd cdB|ABG FGE!D.C.!:|

X:19
C:Page 09
T:Del Caros Hornpipe. MBe.19
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
T:Madame Del Caro’s Hornpipe, aka. MBe.19
M:2/4
L:1/8
Q:1/2=80
C:John Field
R:.Hornpipe
K:G
G>Bd>g|f>ed>e|d>cB>A|B>c d2|
G>Bd>g|f>ed>c|B>AG>F|G2 G2:|
|:G>Bd>g|”^NB”(e//f//g3/2) (e//f//g3/2)|D>FA>c|(B//c//d3/2) (B//c//d3/2)|
G>Bd>g|(e//f//g3/2) (e//f//g3/2)|B>AG>F|G2G2:|

X:20
C:Page 10
T:God Save the King. MBe.20
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:3/4
L:1/8
Q:1/2=60
R:.Air
N:Repeats were written after 6 bars and at the end. I have ignored them
N:NB-These notes weren’t written dotted. I have made them dotted.
K:D
[V:1 name=”Primo”]d2 d2 ed|c3 d e2|f2 f2 g2|f3 e d2|
[V:2 name=”Secundo”]d2 D2 F2|A3 B c2|d2 D2 B2|A3 G F2|
[V:1 name=”Primo”]e2 d2 c2|{d}”^NB”d6|a2 a2 a2|a3 g f2|
[V:2 name=”Secundo”](3(GAB)A2 A2|f6|f2 f2 f2|f3 e d2|
[V:1 name=”Primo”]g2 g2 g2|g3 f e2|f2 gfed|f3 g a2|
[V:2 name=”Secundo”]e2 e2 e2|e3 d A2|d2 edcB|A3 G2 F|
[V:1 name=”Primo”](3(bag)~f2 ~e2|d6|]
[V:2 name=”Secundo”]G2 F2 E2|”^NB”F6|]

X:21
C:Page 10
T:Maggy Lowther. MBe.21
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
T:Maggie Lauder,aka. MBe.21
T:Maggie Laider,aka. MBe.21
M:C
L:1/8
Q:1/4=60
R:Air
N:Someone has written in a different hand “Lauder” after the title.
N:The Lowther family is the local landowner, but the title is probably a corruption of Lauder.
N:It appears in Rev. Harrison as ‘Maggie Lawder with Variations’.
K:D
d>edf d>edf|”^NB”e>f g/f/e/d/ c2 e”qu’s in MS”f/g/|fddd “^NB”d>edg|”^NB”a>b “Qu’s in MS”a/b/a/g/ f2 a2|
gagb fgfa|”^NB”e>f g/f/e/d/ c2 e2|d/c/B/A/ B/A/G/F/ G/F/E/D/ Eg|fg/a/ ef d2 D2:|

X:22
C:Page 11
T:Johnny Cope. MBe.22
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
T:Donald, Where’s your Troosers?aka. MBe.22
M:2/4
L:1/8
Q:1/4=100
R:.Reel
N:Well known Scottish song, though this version is quite different to the song’s normal air.
K:Em
G| “Em” EAA G/A/| “Em” BAAA| “G” DGG B/d/| “G” d/B/d/B/ G/A/B/G/|
“Em” EAA G/A/| “D” BAAf| “D” edeg| “Em” BAA:|
|:d| “Em” e>de>g| “Em” e>de>g| “G” d>Bdg| “G” d/B/G/B/ dg|
“Em” e>de>g| “Em” gbge| “D” d>Ag>A| “Em” BAA:|

X:23
C:Page 11
T:Haste to the Wedding. MBe.23
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
T:Rural Felicity,aka. MBe.23
M:6/8
L:1/8
Q:3/8=120
R:.Jig
K:D
AFA Ade|fde fdB|AFA AdF|GFF F3|
AFA Ade|fde gdB|AFA faf”^barline added”|ded d2:|
|:”^Crs in MS”f/g/|afa afa|bgb bgb|afa agg|gee “Qu in MS”e2f/g/|
a3 f3|ede fdB|AFA faf|ded d2:|

X:24
T:Murphy Delany. MBe.24
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:6/8
L:1/8
Q:3/8=120
R:.Jig
C:in margin-‘Matthew Betham Towcett’
K:G
“G” GFG GFG| “D” GFG Bcd| “G” GFG GFG| “D” ABG FED|
“G” GFG GFG| “D” GFG Bcd| “C” efg dcB| “D” ABA FED:|
|: “Em” Bcd ded| “Em” ded dcB| “D” cde efe| “Em” efe edc|
“Em” Bcd ded| “D” ded def| “C” gfe dcB| “D” ABG FED:|

X:25
T:Squeeze me Softly. MBe.25
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
T:Haul Away the Hawser,aka. MBe.25
T:Seymore’s Reel,aka. MBe.25
T:Ladies Wattle,aka. MBe.25
T:Tadie’s Wattle,aka. MBe.25
T:Comely Jane Downing,aka. MBe.25
M:C
L:1/8
Q:1/2=100
R:.Reel
C:in margin-‘M.Betham Towsett’
N:NB-No time signature written. Common time assumed
N:NB1-The E and the 2 G notes are written as a triplet. I have changed them to a crotchet and 2 quavers.
N:NB2-The final G is written as a quaver. I have changed it to a crotchet.
K:G
G2 BG Bd e2|c2 ec “^NB1″egg2|G2 BG Bd d2|ecBA A2 G2:|
|:g2 bg aedg|egfa gage|g2 bg afdf|egfa g2 g2|
gbge fafd|egfe dBAG|cBcd efge|dgBG A2 “^NB2″G2:|

X:26
C:Page 13
T:No 5 by Mr Ware. MBe.26
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:C
L:1/8
Q:1/2=80
R:.March
N:NB-Bar line added
K:D
EA|d2 d>d dAFA|D2 D>D D2 cd|e2 e>e edcB|A2 A>A A2 FA|
d2 d>d dAGF|E2 E>E E2 A2|Bdcd AGFE|D2 D>D D2:|
|:fg”^NB”|a2 a>a agfe|d2 d>d d2 cd|e2 e>e edcB|A2 AA AGFE|
DEFD EFGE|FGAF GABG|dcde fedc|d2 d>d d2:|

X:27
C:Page 13
T:White Cockade. MBe.27
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:2/4
L:1/8
Q:1/4=100
R:.Reel
N:Well known in the district as a tune to play for Westmorland Style step dancing.
N:Not the same as White Cockade MBe.43 on page 22
K:G
G/A/”^bar line added”|BB {c}BA/G/|BBBg|dB (c/B/A/G/)|FA AG/A/|
(.B.B) (c/B/A/G/)|ABg>a|b/a/g/f/ e/f/g/e/|dBB:|
|:B/c/|dB gB|ddd>e|{e}d{c}}B {f}gf/g/|aAA G/A/|
(.B.B) (c/B/A/G/)|AB~g>a|b/a/g/f/ e/f/g/e/|dBB:|

X:28
T:O dear what can the matter be. MBe.28
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:6/8
L:1/8
Q:3/8=100
R:.Jig
N:NB-Symbol written like a volta bracket, but with no number
K:G
d3 d3|dBg dBG|c3 c3|cAc cBA|
d3 d3|dBg dBG|EGc BcA|G3″^NB”:|
|:d2|dBc dBc|dBg dBG|cAB cAB|cAB cBA|
dBc dBc|dBg dBG|EGc BcA|G4:|

X:29
T:Mrs Mc.Leod. MBe.29
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:C
L:1/8
Q:1/2=100
R:.Reel
K:G
B|G2 g2 edeg|B>BB>A B2 c>A| G2 g2 edeg|A>AA>G A2 AB|
G2 g2 edeg|A.AA>G B2 z “^cr in MS”d|efed e2 de/f/|g2 dB (c2 c):|
|:B”^barline added”|GGBG dBBe|B>BB>A B2 Bg|GGBG dBBd|A>AA>G A3 B|
GGBG dBBg|B>BB>A B2 cd|efed e2 de/f/|g2 dB (A2 A):|

X:30
T:Calder Fair. MBe.30
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
T:Cawdor Fair, aka. MBe.30
M:C|
L:1/8
Q:1/2=100
R:.Reel
K:D
dcBA Bc/d/ “sic”E2|AAAF A2 AB/c/|dcBA Bc/d/ F2|EEFA B2 B:|
|:c|d2 df dddf|eeed e2 ef|gfed dcBA|Bdce d2 d2:|

X:31
T:First of August. MBe.31
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
T:Glorious First of August,aka. MBe.31
T:Weaver’s March,aka. MBe.31
T:Frisky Jenny,aka. MBe.31
T:Come Jolly Bacchus,aka. MBe.31
T:Charles of Sweden,aka. MBe.31
M:C
L:1/8
Q:1/2=80
R:.Reel
C:in margin-‘M.B.’
K:D
d2|”^Key sig G in MS”ABAG F2 F2|GABG A2 A2|dedc B2 B2|g2 f2 e2 a2|
ABAG F2 F2|GABG A2 A2|Bcdc cdeg|f2 e2 d2:|
|:z2″^rest added”|fagf e2 dc|dfed c2 BA|dedc B2 B2|g2 f2 e2 a2|
ABAG F2 F2|GABG A2 A2|Bcdc cdeg|f2 e2 d2:|

X:32
C:Page 16
T:Lady Ann Hopes Reel. MBe.32
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:2/4
L:1/8
Q:1/4=100
R:.Reel
K:G
“^cr.in MS”c|(B/c/d/B/) GB|EG DG|FA (A/B/A/G/)|”^Semi-qu’s in MS”FDDc|
(B/c/d/B/) GB|EG DG|(e/f/g/e/) (f/g/a/f/)|gGG:|
|:d|gbgd|gbgd|ea (a/b/a/g/)|fddd|
gbgd|gbgd|egfa|gGGd|
gbgd|gbgd|ea (a/b/a/g/)|fddg|
bgaf|gedc|BgAf|gGG:|

X:33
C:Page 16
T:Girl I Left Behind Me. MBe.33, The
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:C|
L:1/8
Q:1/4=100
R:.Reel
K:G
g|dcBA BGEF|GGGB d2 Bg|dcBA BGEF|EADF G2 G:|
|:c|Bdef gdBG|Bdef g2 ge|dcBA BGEF|FADF G2 G:|

X:34
C:Page 17
T:Lord Lowdens March. MBe.34
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
T:London March,aka. MBe.34
M:C
L:1/8
Q:1/2=60
R:.March
C:in a different hand-‘William Docker Newby Head’
K:D
F2 F>F F2 E2|D>FA>d B2 A2|B>dA>d G>dF>d|EDEF E2 D>E|
F2 F>F F2 E2|D>FB>d B2 A2|B>dA>d c2 d>e|gf e2 d4:|
a>gf>g aag>f|e>fgg f3 e|ddde fffg|aag>f f2 e2|
a>gf>g aag>f|e>fgg f3 e|ddde fffg|aag>f f2 e2|
f2 f>f f2 e2|d>fA>d B2 A2|B>dA>d G>dF>d|EDEF E2 DE|
F2 F>F F2 E2|D>FB>d B2 A2|B>dA>d c2 d>e|g2 f2 e2 d2|]

X:35
C:Page 17
T:High Dance. MBe.35
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:6/8
L:1/8
Q:3/8=120
R:.Jig
N:The A part is on page 17, and the B part follows on page 18.
K:G
d|dgd ege|dBG G2 B|A2 B GDG|A2 B A2 d|
dgd ege|dBG G2 B|A2 B GDG|A2 B G2:|
|:d|{dg}} b2 g dBd|e2 g B3|cde G2 G|A2 B D2 d|
{dg} b2 g dBd|e2 g B3|cde dBG|cAF!fermata!G2:|

X:36
C:Page 18
T:My ain Kind Dearie. MBe.36
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
T:Lea Rig, aka. MBe.36
T:Lollipop Man,aka. MBe.36, The
M:C
L:1/8
Q:1/4=100
R:.Reel
K:G
B/A/|{G/A/} BD DE/F/ G>AGB|A>B c/B/A/G/ {G/A/} BE E”Qu’s in MS”B/A/|
{F/A/} GD DE/F/ G>A G”Qu’s in MS”g/f/|e>d e/f/g/d/ BGG:|
|:d|(e/d/e/f/) gB (c/B/c/d/) eG|A>B c/B/A/G/ “^NB”{G/A/} BE EB/A/|
{G/A/} BD DE/F/ G>A G”Qu’s in MS”g/f/|e>d e/f/g/d/ BGG:|
|:e/f/|(g/d/).B/.d/ (e/d/).B/.d/ (g/d/).B/.d/ (e/d/).B/.d/|\
(g/f/).e/.d/ (c/B/).A/.G/ BA Ae/g/|
(g/d/).B/.d/ (e/d/).B/.d/ (g/d/).B/.d/ (e/d/).B/.d/|e>d e/f/g/d/ BGG:|

X:37
C:Page 19
T:London March. MBe.37, The
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
T:Lord Lowden’s March,aka. MBe.37
M:C
L:1/8
Q:1/2=60
R:.March
K:G
B2 B>B B2 A2|G>A”^sic”d>g ~e2 d2|e>gd>g c>gB>g|A>GA>B A2 A>A|
B2 B>B B2 ~A2|G>A”^sic”d>g ~e2 d2|e>gd>g c>fg>b| b2 a2 !fermata!g4″^Fine”:|
|:d>cB>c d>dc>B|A>Bc>A ~B2 A2|G>GG>A B>BB>c|d>dc>B ~B2 A2|
d>cB>c d>dc>B|A>Bc>A ~B2 A2|G>GG>A B>BB>c|d>dc>B B2 A>A”^D.C.”:|

X:38
C:Page 19
T:Capt. Mackintosh’s Fancy. MBe.38
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
T:Captain Macintosh, aka. MBe.38
T:Captain McIntosh, aka. MBe.38
M:2/4
L:1/8
Q:1/4=100
R:.Reel
K:D
A|d>ed>f|dAAA|d>ed>f|a3 f|
bgge|affd|efge|dcBA|
d>ed>f|dAAA|d>ed>f|a3 f|
bgge|affd|geec|d2:|
|:d|a>ba>b|geeg|g>ag>a|f3 d|
(Ad/e/ fd)|B(e/f/ ge)|bgfe|dcBA|
d>ed>f|dAAA|d>ed>f|a3 f|
bgge|affd|geec|d2:|

X:39
T:Untitled. MBe.39
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:6/8
L:1/8
Q:3/8=100
R:.Jig
N:These 8 bars also appeared on page 18, and are assumed to be the B part of High Dance.
K:G
d|{dg}} b2 g dBd|e2 g B3|cde G2 G|A2 B D2 d|
{dg} b2 g dBd|e2 g B3|cde dBG|cAF!fermata!G2:|

X:40
C:Page 20
T:Willy Brew’d a Peck o’ Maut. MBe.40
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
T:Miss Forbes’ Farewell to Banff,aka. MBe.40
T:Bill Halls #2,aka. MBe.40
M:C
L:1/8
Q:1/2=100
R:.Reel
K:G
GA|B2 Bd cBAG|B2 d2 e2 g2|d2 de dBAG|B2 A2 A2 GA|
BABd cBAG|B2 d2 e2 g2|d2 de dBAG|B2 G2 G2:|
|:ef|gega gfed|efge edcB|c2 ce cBAG|B2 A2 A2 “crots in MS”G/A/|
BABd cBAG|”^Qu’s in MS”B2 d2 e2 g2|”^NB3″d2 de cBAG|B2 G2 G2:|

X:41
C:Page 20
T:Heel & Fling. MBe.41
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
T:Highland Fling,aka? MBe.41
M:Am
L:1/8
Q:1/2=100
R:.Reel
N:No time signature given, Common Time assumed.
N:The A part, and the first 4 bars of the B part are on page 20, with the second 4 bars of the B part on
N:page 21
N:NB1-The first, second, and third bars of the B music are obviously incorrect as they only have 7 quavers
N:instead of 8, but I’m leaving it to the player to interpret.
N:NB2-This bar was written as 2 triplets. I have changed them to what you see here.
K:C
A2 AB G2 GB|A2 AB cdec|A2 AB G2 GB|cABG EA A2:|
|:”^NB1-3 bars as written”cdeg fde|gedc BGG|cdeg fde|e2 a2 a2 g2|
“^NB2″ge e2 fd d2|ec c2 BG G2|AcBd cedf|gedB cA A2:|

X:42
T:Weathercock Hornpipe. MBe.42
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:C|
L:1/8
Q:1/2=90
R:.Hornpipe
N:At the top of the page is written in a different hand “Weather Cock Hornpipe Jane Betham Towcett Hall(?)”,
N:though the H in Hall looks like a B.
N:There is also some child’s scrawling at the top of the page which I can’t make out.
N:The title is similar to a place name nearby called ‘Weathery Crook’ in Sleagill Parish.
K:D
AG|FGAF D2 d2|cdec dcBA|BddB ABAG|F2 E2 E2 AG|
FGAF D2 d2|cdec dcBA|BcdB Agec|d2 d2 d2:|
|:fg|afdA FADf|gfed e2 f2|gfed cdef|edcB A2 A/B/c|
dBBd cAAc|BGGB AFdA|BcdB ABAG|A2 D2 D2:|

X:43
C:Page 22
T:White Cockade. MBe.43, The
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:2/4
L:1/8
Q:1/4=100
R:.Reel
N:Well known in the district as a tune to play for Westmorland Style step dancing
N:Not the same as the White Cockade MBe.27 on page 13
K:G
g|dB BA/G/|BBBg|dB BA/G/|BA AG/A/|
BB BA/B/|{A}G”sic”G>ga|(b/a/g/f/) (a/g/f/e/)|dB BB:|
|:c|{e}dBgB|ddde|{e}dc/B/ {a}~gf/g/|gA AG/A/|
BB BA/B/|GGga|(b/a/g/f/) (a/g/f/e/)|dB BB:|

X:44
C:Page 22
T:Leather Bottle. MBe.44, The
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:2/4
L:1/8
Q:1/2=100
R:.Reel
W:The notes shown are as written, leaving them to the player to interpret.
K:D
“^As written”DFA|D2 FA|dfed|dcBA|dfdf|
dfed|cABc|d2:|
|:cd|ecA|ecA|gfed|cBAG|
FGAB|Afed|cABc|d4:|

X:45
C:Page 23
T:Hearts of Oak. MBe.45
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:C
L:1/8
Q:1/2=100
R:.Air
K:D
A2 d2 dd d2|fe d2 dB A2|A2 B2 Bc d2|e2 f2 ge f2|
Bc d2 FG A2|Bc d2 FG A2|g2 f2 ed fa|Bd e2 ec A2||
cd e2 cd e2|ag f2 de f2|dc BB c2 dB|AB AG FD G2|
FD FG A2 fg|a2 A2 c2 d2|]

X:46
C:Page 23
T:Irish Washerwoman. MBe.46, The
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:6/8
L:1/8
Q:3/8=120
R:.Jig
K:G
e/d/|BGG DGG|BGB dcB|cAA EAA|cAc efg|
BGG DGG|BGB dcB|cBc Adc|BGG G3:|
|:g/a/|agg dgg|bgb c’ag|afd dfd|dfa agf
egg dgg|cgg Bgg|cBc Adc|BGG G3:|

X:47
C:Page 24
T:Go to the Devil and Shake Yourself. MBe.47
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:6/8
L:1/8
Q:3/8=120
R:.Jig
N:NB-The decoration in the first bar has been repeated here and then crossed out.
K:D
Add {d} dcB|ABA AFA|Add d2 e|fdB “Qu in MS”B2 A|
Add “^NB” dcB|ABA AFA|dfd ege|fdd d2:|
|:{fg}afd dcd|BGG G3|{ga}bge ede|cAA A3|
Gdd dcB|ABA AFA|dfd ege|fdd d2:|

X:48
C:Page 24
T:Moll in the Wood. MBe.48
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
T:Moll in the Wad. MBe.48
T:Moll in the Wadd, aka. MBe.48
M:6/8
L:1/8
Q:3/8=120
R:.Jig
N:in a different hand is ‘Wad’
K:Dmix
c|BAB G2 F|E2 F G2 A|BAB G2 B|AFD D2 c|
BAB G2 F|E2 F G2 A|BcB dcB|AFD D2:|
|:c|BGB d2 c|BGB d2 c|BGB dcB|AFD D2 c|
BGB d2 c|BGB def|gfe dcB|AFD D2:|

X:49
T:Devil amangst the Taylors. MBe.49, The
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:C
L:1/8
Q:1/2=100
R:.Reel
K:G
d2|g2 dg g2 dg|g2 dg edcB|BeAe BeAe|ceAg fgaf|
g2 dg g2 dg|g2 dg edcB|ecBA dBAG|D2 F2 G2:|
|:d2|BdGd BdGd|BdGg edcB|ceAe ceAe|ceAg fgaf|
BdGd BdGd|BdGg edcB|ecBA dBAG|D2 F2 G2:|

X:50
T:Richers Hornpipe. MBe.50
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
T:Richie’s Hornpipe, aka. MBe.50
M:C
L:1/8
Q:1/2=100
R:.Hornpipe
N:Similar to, but not the same as, Ricketts Hornpipe
N:Virtually note for note the same as in the Harrison mss.
K:D
fg|afaf d2 ef|ecec A2 GF|GABc defg|ecAc e2 fg|
afaf d2 ef|ecec A2 GF|G2 b2 afge|d2 d2 d2:|
|:de|fdec B2 ga|b2 e2 e2 cd|ecdB A2 fg|a2 d2 d2A2|
BcdB AFAF|BcdB AFAF|G2 b2 afge|d2 d2 d2:|

X:51
C:Page 26
T:Paddy Whack. MBe.51
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:6/8
L:1/8
Q:3/8=120
R:.Jig
N:NB-The A part as written was only 7 bars. However, the tune is virtually note for note as that in
N:OÂ’Farrell (Pocket Companion for the Irish or Union Pipes, vol. 1), c. 1805; pgs. 26-27, and I have
N:taken the liberty of adding notes from that source to the end of bar 6 and the start of bar 7,
N:to make 8 bars. The 6th bar was originally |ceg cAd| and the 7th bar BGG G2:| with no 8th bar.
K:G
D|GBd gfg|edc BAG|GBd eag|fdd def|
gag fdB|ceg “^NB……………………………………….”dBG|\
GBd cAd|BGG G2:|
|:d/c/|BBB ceg|dBB c2 B|Bcd eag|fdd def|
gag fdB|cec dBG|GBB cAd|BGG G2:|
|:D|GBd Bdg|e/d/c/B/A/G/ AFD|dBB eca|fdd d2 g|
b/a/g/a/b/g/ a/g/f/g/a/g/|g/f/e/f/g/e/ dBG|GBd cAF|BGG G2:|
|:B/c/|dBB ecc|dc/B/A/G/ A2 G|dGG ea/b/a/g/|fdd def|
ga/g/a/g/ fa/f/a/f/|eg/f/g/e/ dBG|GBd cAd|BGG G2:|

X:52
C:Page 27
T:Bonny Westmorland. MBe.52
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:2/4
L:1/8
Q:1/4=120
R:.Reel
C:’Matthew Botham’s Book 1815′
N:At the foot of the page is written, in a similar hand, and someone has
N:added in a different hand (in an attempt at clarifying the date?)
N:NB1-These two notes are difficult to interpret. They look like a pair of semi-quavers with the
N:first of the pair being A, and the second of the pair being higher, but there is no mark.
N:Underneath this pair are two blobs, possibly indicating 2 F semi-quavers?
N:NB2-Repeat marks written (and included here) but were they intended?
N:Key sig as in MS, though C# implied in B part
K:G
ADFB| ADFG| BAFG| E2 E2|
ADFB| ADFG| BEFG| D2 D2:|
|: dA dB| dA FG| BAFG| E2 E2|
dA dB| dA FG| BEAF| D2 D2|
dfdB| dAFG| BFAE| FGBF|
Afed| cdFG| AEAF| D2 D2:|

X:53
C:Page 27
T:Bonny Cumberland. MBe.53
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:2/4
L:1/8
Q:1/4=120
R:.Reel
N:At the foot of the page is written, in a similar hand, “Matthew Bethams Book 1815” and someone has
N:added in a different hand (in an attempt at clarifying the date?) “? 1815”
N:NB-As written, the A part has only 7 bars. I have added this 7th bar, to make the A part 4 bars repeated.
N:Key sig as in MS, though C# implied in B part
K:G
AD “^Key sig as in MS”FD|AD Fd|AD FD|EFGB|
AD FD|AD Fd|”^NB-bar added”AD FD|EFGB:|
|:D2 dd|e/f/e/d/ cd|D2 dd|B/F/D EF|
D2 dd|e/f/e/d/ cd|f/e/d/c/ dA|FDEF:|

X:54
C:Page 28
T:Drunk at Night & Dry in the Morning. MBe.54
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
T:Whistle and I’ll come to you, my lad,aka. MBe.54
M:6/8
L:1/8
Q:3/8=100
R:.Jig
N:Someone in a different hand has written alongside the title “Oh, whistle and I’ll come to you, my lad”
N:The 14 bar B part is unusual, though another version from elsewhere has a 10 bar B part.
N:NB-The middle note of the second triplet looks like a correction from an ‘e’ to an ‘f’.
K:D
d/e/|fdB AGF|Eee e2 d/e/|fdB AFA|Bdd d3:|
|:A|dfa d”^NB”fa|dfa afe|dfa dfa|bee e2 f/e/|
dfa dfa|(dfa a2) g|fdB AGF|Eee e2 d/e/|
fdB AFA|Bdd d2 F|GA/G/A/G/ FA/F/A/F/|Eee e2 d/e/|
fdB AFA|Bdd d3:|

X:55
C:Page 28
T:Self. MBe.55, The
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
T:Sylph,aka. MBe.55, The
M:6/8
L:1/8
Q:3/8=120
R:.Jig
N:Someone has written in a different hand alongside the title, “Sylph”
N:Sylph is a mythological creature in the Western tradition, associated with invisible beings/Fairies etc
N:A reference that may be of interest. “More than 40 members of [the] Lakeland Dialect Society attended the
N:first meeting of the year, at Greenodd, near Ulverston. Miss Clara Boyle, of Ambleside, pressed for the
N:inclusion of Cumbrian dances and eventually in 1932 the Westmorland Six Reel was accepted, however it was
N:renamed ‘The Sylph.’ much to the disgust of a man from Bowness who wrote a letter of protest in dialect to
N:The Westmorland Gazette” [the local weekly newspaper].
K:D
A|AFA dfa|agf e2 g|fag fed|cee e2 A|
AFA dfa|agf e2 g|fad egA|edd d3:|
|:g|fad’ d’c’b|bag f2 d|fad fad|cee e2 g|
fad’ d’c’b|bag f2 d|fad egc|edd d3:|

X:56
C:Page 29
T:Honey Moon. MBe.56
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:C
L:1/8
Q:1/2=100
R:.Reel
N:Someone has written in a different hand alongside the title, “Honeymoon”
N:NB-This ‘a’ could be a ‘g’
K:G
dggg gbbd’|c’bag fa d2|dggg gbbd’|c’ba”^NB”a g2 g2:|
|:gd d2 efge|dBAG FA A2|gd d2 efgg|gc’ab g2 g2:|

X:57
C:Page 29
T:Kitty of Coleraine. MBe.57
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:6/8
L:1/8
Q:3/8=60
R:.Jig
N:Someone has written in a different hand, prior to the tune title, “Kitty of Coleraine”
K:D
A/G/|FAd dfa|e/f/g/f/e/d/ ceA|dfa dgb|b/a/g/f/e/d/ {f}e2 A/G/|
FAd dfa|e/f/g/f/e/d/ ceA|dfa dgb|ABc d2:|
|:f/g/|afd ecA|afd ecA|afd (f/e/d/c/B/A/)|Ea^g !fermata!a2 A/G/|
FAd dfa|e/f/g/f/e/d/ ceA|dfa dgb|ABc d2:|

X:58
C:Page 30
T:Celebrated South Downs Quickstep. MBe.58
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:2/4
L:1/8
Q:1/4=100
R:.Reel
N:There is no key signature written, and C sounds awful, so I have assumed D.
N:NB1-These 4 pairs are written as a dotted crotchet and a quaver, not connected. Still doesn’t
N:read well
K:D
A|d>Ad/ B/A/G/F/|g>fg/ f/e/d/c/|d/A/F/A/ G/B/A/G/|F/G/E/c/ d2:|
|:A|”^NB1″A>B A/F/G/B/|”^NB1″A>B A/F/G/B/|A/B/d/e/ f/e/d/c/|d/c/d/f/ e3z|
“^NB1″A>B A/F/G/B/|”^NB1″A>B A/F/G/B/|A/B/d/e/ f/e/d/c/|d f2 d:|

X:59
C:Page 30
T:Newcastle Hornpipe. MBe.59
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
T:Kirkgate Hornpipe,aka. MBe.59
M:C
L:1/8
Q:1/2=100
R:.Hornpipe
N:Misses the modulation into D of most versions.
K:D
d’a|f2 f2 fgdc|d2 d2 defg|afaf bagf|fede dcBA|
f2 f2 fagb|a2 a2 ac’d’a|gfed cdBG|A2 A2 A2:|
|:ce|g2 g2 g2 ce|gfed dcBA|FAdf bc’d’b|aege dcBA|
b2 b2 bc’d’b|afd’a fadf|egbg face|d2 dd d2:|

X:60
C:Page 31
T:Wounded Hussar. MBe.60
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:C
L:1/8
Q:3/4=30
R:.Air
N:NB-These 3 notes were written as a quaver and 2 semiquavers, but I’ve made them the same as the 5th bar.
K:Am
A/G/|”^NB”EAB c2 B/A/|B/c/d/c/B/A/ GAB|cec e/d/c/B/A/G/|EAA A2 A/G/|
EAB c2 B/A/|B/c/d/c/B/A/ GAB|g>^fe dBA|EAA A2:|
|:A/B/|cee e2 d/c/|Bdd d2 g/f/|e>ag !fermata!a2 b/c’/|eag a2 a/b/|
c’ba gfe|e/d/c/B/g GGB/B/|cec e/d/c/B/A/G/|EAA A2:|

X:61
C:Page 31
T:Soldiers Joy. MBe.61
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:C|
L:1/8
Q:1/2=100
R:.hornpipe
N:Well known in the district as a tune to play for Westmorland Style step dancing
K:D
FG|AFDF AFDF|A2 d4 cB|AFDF AFDF|G2 E4 FG|
AFDF AFDF|A2 d4 fg|afdf gece|d2 d4:|
|:e2|fefg fagf|edcd efge|fefg fagf|edcB A2 e2|
fefg fagf|edcd efge|afdf gece|d2 d4:|

X:62
C:Page 32
T:Earl Moira’s Welcome to Scotland. MBe.62
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
T:Loudon’s Bonnie Banks and Braes,aka. MBe.62
M:C
L:1/8
Q:1/4=120
R:.Reel
N:Someone has written after the title, in another hand, “Loudon’s bonnie banks and Braes”
N:NB4-The ‘g’ note is written as a quaver, not a semiquaver
N:NB5-The ‘d’ note is written dotted, and I have removed it.
K:G
D2|:!segno! G<GG<G B<d-~d2|c>AB>G {F/G/} AGFD|G>GG>G B<d-~d2|e>g f/g/a/f/ g/a/b/a/ g<b:|
fgb<g a>gfd|ee{f}g<e d>cBG|f<g~b<g agf(d|e)>”^NB4″g f/a/a/f/ g2 ga/b/|
c'<ab>g ageg|e/d/c/B/ g>B c/B/A/G/ A>B|\
G<GG<G (B<“^NB5″d) d2|f>g .f/.g/.a/.f/ a/g/f/e/ d/c/B/A/!D.S.!|]

X:63
C:Page 32
T:Lady Caroline Lees Waltz. MBe.63
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:C
L:1/8
Q:3/4=40
R:.Waltz
N:Someone has written at the bottom of the page, in a different hand,
N:”cf Kitty of Coleraine”, to which it bears only a pssing resemblance in the first part.
N:The third word in the tune title is difficult to interpret, but based on other collections
N:(eg Thomas Sands)I have inferred it to be ‘Lees’, or even ‘Leigh’.
N:NB-There is blob here so the ‘A’ note could be a ‘c’
K:D
D|F/G/AA|B/c/dd|E/F/GG|G2 F|\
E/e/d/c/B/A/|dfa|ABc|d2:|
|:f|a/f/ee|e/c/AA|a/f/dd|Adf|\
a/f/ee|ecA|ABc|d2:|
|:F/G/|AGF|dcd|BAB|G2E|\
F>GA|”^NB”AGF|FEE|E2F/G/|
AGF|dcd|BAB|G2E|\
FGA|AGF|E E/D/E/F/|D2:|

X:64
C:Page 33
T:Sweet Jessie the Flower of Dunblane. MBe.64
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:6/8
L:1/8
Q:3/8=60
R:.Air
N:The title is not easy to interpret, and someone has written over the title in a different hand, “Jessie”
N:Yes the B part is 13 bars long! The tune was written by R A Smith before 1816, to fit words by the Scots
N:poet Robert Tannahill (1774-1810) written in 1808, and I suspect bars 9 – 13 in the B music were intended
N:as a ‘fill’ between verses. As normally sung, there are no repeats.
N:The song was widely sold on penny sheets, and can also be found in The Union Imperial Songbook, printed
N:in Edinburgh in 1815.
N:NB-These ‘d’ notes were written as crotchet’s. I have made them dotted.
K:D
d/e/|f>gf e>af|d>cd e/c>dB/|A>BG F>Ad|d>ef e2 d/e/|
f>gf e>af|d>cd e/c>dB/|A>BG F>Ad|e>Bc d2:|
|:f|f>de f>ba|f>de f>de|e>cd e>af|e>cB A2 A/d/|
d>fe f>de|f>af g>ef|g>ab a>fd|e>Bc “^NB”d3|
“^NB”d3 c>dB|”Qu’s in MS”ABG F2 A/d/|f>af g>ef|g>ab a>fd|e>Bc d3:|

X:65
C:Page 33
T:Lady Montgomery’s Reel. MBe.65
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:C
L:1/8
Q:1/2=100
R:.Reel
C:Colonel Hugh Montgomerie, 12th Earl of Eglintoun
N:NB1-As well as the ‘d’ note being dotted, both notes are written as semiquavers.
N:NB2-The 2 ‘d’ notes and the ‘A’ note are all written tied.
N:NB3-The ‘f’ note is not written dotted.
K:Em
d2 d>A F>GAF|d2 “^NB1″d>B cdef|”^NB2″d2 d>A F>GAF|EeeB c>def:|
|:d<dad f<d a2|d<ead f<ga>b|d<da>d f>da>d|g>fe>d c>de>f|
dda>d “^NB3″f>d a2|d<dag f<ga>b|g>f g<e f<de>c|d>BA>F E>e e<f:|

X:66
C:Page 34
T:Mr Gibson’s Favourite. MBe.66
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:6/8
L:1/8
Q:3/8=120
R:.Jig
N:No time signature given, 6/8 assumed
N:No key signature given, and D assumed.
N:NB-The G is written as a crotchet.
K:D
“No key sig in MS”A|d2 c e2 d|f2 e gec|d2 d dfd|B2 A B2 c|
d2 c e2 d|f2 e gec|def gec|d3 d2:|
|:A|FGA FGA|BGA Bcd|ege e2 d|cdB A2 “^NB”G|
FGA FGA|BGA Bcd|efe cAc|d3 d2:|

X:67
C:Page 34
T:Hopkinson’s Favourite Dance. MBe.67
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:6/8
L:1/8
Q:3/8=120
R:.Jig
N:Time signature was written as 2/4 but I’ve changed it to 6/8.
N:NB1-This bar is as written
W:No key sig in MS, Eminor assumed
W:F major is at least as likely (ed.CGP)
K:Em
“No key sig in MS”A|:”_repeat mark added”dfd f2 d|\
A2 F F2 A|dfd f2 d|”^sic NB1″g z2 e f2|
dfd f2 d|A2 F FAd|f2 a agf|gfg e2 f:|
|:d2 a agf|gab a2 f|d2 a agf|g2 e e2 f|
d2 a agf|gab a2 f|bag agf|gfg e2 f:|

X:68
C:Page 34
T:Miss Shuplands(?) Dance. MBe.68
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:6/8
L:1/8
Q:3/8=120
R:.Jig
C:Name partly (Shup) illegible
N:NB-What could be the same hand has written “c” above the ‘c’ note
N:The last 4 bars of the B part are continued on the top of page 35
K:G
(B/A/)|G2 D DED|DED D2 G|F2 G A2 B|cBA dBG|
G2 D DED|DED D2 G|FGA cAF|G3 G2:|
|:B/c/|d2 B d2 B|g2 e dBG|dcB d”^NB”cB|”sic”B2 A2 (Bc)|
d2 B d2 B|g2 d g2 b|bag fge|”cr in MS”d3 d2:|

X:69
C:Page 35
T:Calgarth Hornpipe,aka. MBe.69
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:C|
L:1/8
Q:1/2=100
R:.Hornpipe
C:untitled in MS
N:William Irwin has this tune as the Calgarth Hornpipe, but in the key of F
N:Calgarth Hall is situated at Troutbeck Bridge on the shore of Windermere.
N:NB-These ‘g’ notes are written dotted: I have undotted them.
K:G
dc|B2 G2 G2 AB|c2 A2 A2 dc|Bdgf edcB|A2 D2 D2 dc|
B2 G2 G2 AB|cBcd efga|bc’ab fdef|g2 b2 “^NB”g2:|
|:ga|bgdg Bgdg|bgdg c’bag|afdf Bfdf|afdf afef|
egdg cgBg|ABcd efga|bd’ab fdef|g2 b2 “^NB”g2:|

X:70
C:Page 35
T:Favourite Irish Air. MBe.70, A
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
T:Garry Owen,aka. MBe.70
M:6/8
L:1/8
Q:3/8=100
R:.Jig
N:NB-Someone has written after the title, in another hand, “Garry Owen”
K:Ador
g/f/|(edc) (BAG)|(B>cA) Bge|(edc) (BAG)|A>AA A2g/f/|
edc BAG|B>cB B2 d|cde g2 c|A>BA A2:|
|:c|(B//c//d3/2)B (B//c//d3/2)B|(B//c//d3/2)B d2 g|\
(c//d//e3/2)c (c//d//e3/2)c|(c//d//e3/2)c e2 f|
g2 a b2 a|ge(e dBA)|(def) g2 B|A>BA A2:|

X:71
C:Page 36
T:Mrs Harrisons Favourite. MBe.71
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:6/8
L:1/8
Q:3/8=100
R:.Jig
K:C
g|g2 e e2 c|c3 G2 G|ABc cBA|GGG G2 g|
g2 e e2 c|c3 G2 c|ABc dcB|ccc c2:|
|:e|d2 G G2 e|d2 G G2 c|Bdg BcA|GGG G2 e|
d2 G G2 e|d2 G G2 c|Bdg BcA|GGG GBd|
g2 e e2 c|c3 B2 B|ABc cBA|GGG GBd|
g2 e e2 c|c3 G2 G|ABc dcB|ccc c:|

X:72
C:Page 36
T:Mrs Spiers. MBe.72
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:6/8
L:1/8
Q:3/8=100
R:.Jig
N:Key signature written as “D” but I’ve changed it to G as it sounds better.
K:G
d/c/|B2 B cBc|d2 Bg2 e|dBG GFG|AFD D2 d/c/|
B2 B cBc|d2 Bg2 e|d2 B GAB|G3-G2:|
|:F/G/|A2 A ABc|d2 B G2 G/F/|E2 E EFG|A2 F DFG|
A2 A ABc|d2 B g2 e|dBG AGA|G3-G2:|

X:73
C:Page 37
T:Whitehaven Volunteers. MBe.73
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:2/4
L:1/8
Q:1/4=100
R:.Reel
N:Someone in a different hand has wrote underneath the title “Whitehaven Volunteers”.
N:See also a version in Rook from Wigton.
N:Has similarities to Petronella, esp the A part.
K:G
d/c/|BB B/c/A/B/|GGGD|GBdB|e/d/c/B/ Ad/c/|
BB B/c/A/B/|GGGD|EcAF|G2- G:|
|:d/c/|Bdd e/f/|gd d/e/d/c/|BddB|A/G/A/B/ Ad/c/|
Bdd e/f/|g/f/g/a/ gd|BG B/A/G/F/| G2 G:|

X:74
C:Page 37
T:Lady Mary Ramseys Strathspey. MBe.74
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:Ador
L:1/8
Q:1/2=100
R:.Reel
C:Nathaniel Gow
N:The exact position of many of the slurs is not clear: this is my best guess.
K:G
B|G3 e d<B B<~e|d<B e>c dB Bg|G3 e d<BB>e|e<F d>B A/A/A A:|
|:g/a/|b<gg>b b<gg>b|g<ee>g (dBB) ~g>a|b<(gg>)b b<fg>d|e<g d>B A/A/A Ag/a/|
(b<gg>b) (a<ff>a)|g>b(e>g) d<(BB>d)|g>(bf>a) e<gd>d|B<g d>B A/A/A A:|

X:75
C:Page 38
T:Lady Harriet Hope’s Reel. MBe.75
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:C
L:1/8
Q:1/2=80
R:.Reel
K:G
GBdg edcB|”^Cr in MS”gbag aA A2|GBdg edcB|cAdB G/G/G G2:|
|:(gdg)a (3(gab) ag|fdge adbd|gdga (3(gab) ag|dgfa g/g/g g2|
gdga (3(gab) ag|agab c’bab|gedc Bdge|dBcA G/G/G G2:|

X:76
C:Page 38
T:Bang-Upp Hornpipe. MBe.76
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
T:Bang Up Hornpipe, aka. Mbe.76
M:C
L:1/8
Q:1/2=100
R:.Hornpipe
N:No key signature written. C sounds very modal, and most versions seem to be in D, so that is assumed here.
N:NB1-This ‘F’ was written as an ‘E’ which sounds wrong, and doesn’t match the ‘F’ in the 5th bar of the A
N:part. I have therefore alteted it to an ‘F’.
N:NB2-These two bars are both written with 4 quavers,and no repeat marks. I have altered them both to
N:3 crotchets, but left the repeat marks out.
K:D
A/B/c/”^No key sig in MS”|dA”^NB1″FA DFAd|fdAd FAdf|gfge fefd|edcB ABcA|
dAFA DFAd|fdAd FAdf|gfge face|”^NB2″d2 d2 d2 ||
“^in MS”AG|FAdA FAdA|GBdB GBdB|Acec Acec|dfaf gecA|
FAdA FAdA|GBdB GBdB|Aceg face|”^NB2″d2 d2 d2 |]

X:77
C:Page 39
T:Hornpipe. MBe.77, A
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:2/4
L:1/8
Q:1/4=100
R:.Hornpipe
W:All notes shown are as written, leaving the player to interpret.
N:Key signature clearly written as D, but G seems to makes more sense.
K:D
d/c/”^key sig should be G?”|BdGG B/G/|FADD d/c/|BdGG d2|e/g/f/a/ g/e/d/c/|
BdGG B/G/|FADD d/c/|B/d/e/f/ g/d/e/c/|B2 GG:|
|:ga|b b2 a/f/d/f/|a a2 g/f/e/d/|e/f/g/e/ a/g/f/g/|fdd ga|
b b2 a/f/d/f/|a a2 g/f/e/d/|e/f/g/e/ d/e/c/d/|B2 GG:|
|:B/c/|d/B/B/B/ G/B/B/B/|d/B/B/B/ G/B/B/B/|c/A/A/A/ F/A/A/A/|c/A/A/A/ F/A/A/A/|
d/B/B/B/ e/c/c/c/|e/d/e/f/ g/f/g/a/|b/g/a/f/ g/e/d/c/|B2 GG:|

X:78
C:Page 39
T:Fife Hunt. MBe.78, The
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:C
L:1/8
Q:1/2=90
R:.Reel
C:William Gow
K:C
f|ec ~c2 GE ~E2|Dddc d2 df| ec ~c2 GE ~E2|DcBd c2 c:|
|:”^cr in MS”f|ecgc acgc|Add^c d3 f|ecgc acgc|GcBd c2 cf|
ecgc acgc|Add^c d2 df|egce fadB|(GcBd) c2 c:|

X:79
C:Page 40
T:Chinese Dance. MBe.79, The
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:3/4
L:1/8
Q:3/4=50
R:.waltz
W:No key signature written, D assumed.
N:No time signature written.
K:D
“^Qu in MS.no key sig in MS”A2|dcdfec|dfBecA|dcdfeg|fagbaf|
dcdfec|dfBecA|dBGBAF|D2 d2″Fine”:|
“Qu in MS”A2|AGABcA|dcdefd|gfgefd|ecAcBG|
AGABcA|dcdefd|gfgefd|”^a3 in MS”a4″D.C.”|]

X:80
C:Page 40
T:New Highland Man. MBe.80, The
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:6/8
L:1/8
Q:3/8=120
R:.Jig
N:NB-These two notes are written as semiquavers.
K:D
“as written”F/E/|DED FDF|ABc d2 e|fed B2 d|”sic”F/E/ E2 E F|
DED FDF|ABc d2 e|fed B2 d|AF D D2:|
|:d|fed faf|ede d2 F|GAB AdF|”sic”FE E2 F g|
fed faf|ede d2 F|GAB GBA|FD D D2:|

X:81
C:Page 41
T:Peace. MBe.81
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:C
L:1/8
Q:1/4=120
R:.Strathspey
N:NB1-Not sure whether these notes have trills over them, or whether they are just splodges. I have assumed
N:splodges, as the last bar of the B part has the same notes with no trills.
K:Am
(3(ABA) c>A e>Ac>A|(3(GAG) B>G B>GBG|(3(ABA) c>A e>Ac>A|”^NB1″[ce][Bd][Ac][GB] A2 A2:|
|:(3(cdc) e>c g>cec|g>cec (3(GAG) BG|(3(cdc) e>c g>cec|[ce][Bd][Ac][GB] A2 A2:|

X:82
C:Page 41
T:Scotch Quick Step. MBe.82
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:2/4
L:1/8
Q:1/4=100
R:.Reel
N:I’ve made a number changes between Crotchet, Quavers, and Semiquavers. The length of the note that was
N:written is shown above the current note as Crot or Quav.
K:D
F|”^Key sig. G in MS”D>F A/B/A/F/|AddB|A/B/d/e/ fe/d/|eEEF|
D>F A/B/A/F/|AddB|A/B/d/e/ f/g/e/f/|dDD:|
|:d/e/|f/e/d/B/ A/B/d/”Crot”A/|BddF|GB A/G/F/”Quav”G/|Eee a/g/|
f/e/d/f/ e/d/c/”Quav”e/|d/c/B/A/ B/A/G/”Quav”F/|”Quav”E/F/G/B/ A/G/F/E/|Ddd:|

X:83
C:Page 41
T:Inness? Jigg. MBe.83
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:6/8
L:1/8
Q:3/8=120
R:.Jig
N:NB-All these crotchets were written dotted, and I have made them undotted.
K:G
D|GAG BAG|”^NB”d2 G”^NB”e2 g|edc BAG|EAA A2 B|
GAG BAG|”^NB”d2 G”^NB”e2 G|gfe dec|BGG G2:|
|:d|gdB GAG|DED GAG|edc BAG|EGA ~A “^NB”F2|
gdB GAG|ecA FED|gfe dec|BGG G2:|

X:84
C:Page 42
T:Perth Hunt – Scotch Jigg. MBe.84
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:4/4
L:1/8
Q:1/2=100
R:.Reel
N:No time signature written: I have assumed 4/4
N:No key signature given, but C sounds wrong and other versions are in a major key, so D assumed.
N:Many errors, but a common tune
K:D
B|”As written”A2 FA DAFA|DAFA BEEB|A2 FA DAFA|faeg gdd:|
Q:1/4=100
|:A|d2 (f/e/d/) a/d/f/d/|A/d/ (f/e/d/) b/(e/e/f/)|\
d2 (f/e/d/) (a/d/) (f/e/d/)|(Ad) (c/d/e/) f/d/d/A/|
d2 (f/e/d/) a/d/ (f/e/d/)|A/d/ (f/e/d/) b/e/e/f/|\
d/f/B/d/ B/d/F/d/|ABde f/d/ d2:|

X:85
C:Page 42
T:Lady of the Lake. MBe.85, The
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:6/8
L:1/8
Q:3/8=120
R:.Jig
N:The key signature is clearly written as ‘D’ though most versions are in ‘G’.
N:NB-All these notes were written dotted, and I have undotted them.
K:G
d/c/|”^NB Key sig D in MS”B2 B BcA|”^NB”B2 c def|g2 f e2 d|dcB ABc|
“^NB”B2 B BcA|”^NB”B2 c def|”^NB”g2 e “^NB”a2 g|fge d2:|
|:B/A/|”^NB”G2 D “^NB”E2 D|”^NB”G2 D “^NB”E2 D|”^NB”G2 B AcB|dec BcA|
“^NB”G2 D “^NB”E2 D|”^NB”G2 D “^NB”E2 D|”^NB”G2 A BcA|G2 G2:|

X:86
C:Page 43
T:Morgiana in Scotland. MBe.86
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:6/8
L:1/8
Q:3/8=100
R:.Jig
K:D
A|AFA f2 e|dcB A2 B|AFA dcd|fed e2 A|
AFA f2 e|dcB A2 B|AFA dcd|edc d3:|
|:c/d/|efe dcB|ABA g2 e|f2 A/A/ e2 A/A/|f2 A/A/ e2 A/A/|
efe dcB|ABA g2 e|f2 A/A/ e2 A/A/|fed BAG|
FDE F2 A|FDE F2 A|G2 B F2 A|FFF F2 A|
FDE F2 A|FDE F2 A|B2 d c2 e|d3 d3:|

X:87
C:Page 43
T:Morgiana in Ireland. MBe.87
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:6/8
L:1/16
Q:3/8=100
R:.Jig
N:NB-I have added a rest here.
K:G
D4 D2 G4 G2|A2G2A2 B4 E2|D4 D2 G4 G2|B4 c2 B2G2E2|
D4 D2 G4 G2|A2G2A2 B4 e2|e2d2c2 B2c2A2|G4 A2 B2G2E2:|
|:d4 d2 d2c2B2|e4 f2 g6|d2c2d2 d2c2B2|e4 f2 g6|
d4 d2 d2c2B2|e2f2e2 e2f2g2|d2e2c2 B2c2A2|G2F2G2 B2G2E2:|
|:G2F2G2 Bd2 z3|A2G2A2 ce2 z3|G2F2G2 A4 B2|B4 c2 B2G2E2|
G2F2G2 Bd2 z3|ce2 z3 Bd2 z3|dg2 z3 B2d2″^NB”z2|G4 A2 B2G2E2:|

X:88
C:Page 44
T:Morgiana in Spain. MBe.88
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:6/8
L:1/8
Q:3/8=100
R:.Jig
K:D
F2 G A2 d|F2 G A2 d|B2 B e2 d|ced cBA|
F2 G A2 d|F2 G A2 d|B2 e cBc|d2 d d2!fine!:|
f|e2 d c2 f|e2 d c2 f|e2 d c2 B|A2 A A2 f|
e2 d c2 f|e2 d c2 f|efd cdB|ABG FGE!D.C.!|]
\

X:89
C:Page 44
T:Ulverstone Volunteers. MBe.89
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
T:Ulverston Volunteers. MBe.89
M:6/8
L:1/8
Q:3/8=100
R:.Jig
N:Ulverston is a town some 46 miles to the west. It had 4 infantry companies of volunteers raised around
N:1804, and were later disbanded between 1813 & 1816.
K:G
d|BGG dGG|e2 f g2 e|dGG eGG|FAA A2 d|
BGG dGG|e2 f gfe|dBG AGA|BGG G2:|
|:d|g2 d B2 G|efg dBG|ceB BdA|AGA A2 d|
BGG dGG|e2 f gfe|dBG AGA|BGG G2:|

X:90
C:Page 44
T:Off she goes. MBe.90
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:6/8
L:1/8
Q:3/8=100
R:.Jig
N:The last 3 bars of the B music are on the next page – ie page 45
N:Someone has added, in another (modern) hand, something like “to Merrimashee”
N:-which is an entirely different tune.
K:D
F2 A G2 B|ABc d3|F2 A G2 B|AFD E3|
F2 A G2 B|ABc d3|def agf|edc d3:|
|:faf d2 f|eae c2 e|faf d2 f|ecA A3|
faf d2 f|eae c2 e|faf gec|d3 d3:|

X:91
C:Page 45
T:Italian Monfrina. MBe.91, The
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:6/8
L:1/8
Q:3/8=100
R:.Jig
N:No time signature, 6/8 assumed.
C:in margin “Matthew Betham Towcet”
K:G
“Cr”D|GAB BcA|AGG G2 d|dFF FGA|ABG G2 D|
GAB BcA|AGG G2 G|FDF FGA|AGG G2:|
|:”Cr”g|gfg afd|cBc d2 g|gfg afd|cBc d2 g|
gfg gfg|ece efg|ded cBA|AGG G2:|

X:92
C:Page 45
T:Mc Donalds Rant. MBe.92
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:2/4
L:1/8
Q:1/4=100
R:.Reel
N:Both the A part and the B part have only 7 bars each.
N:No time signature given, and Have assumed 2/4.
N:”Matthew Betham Towcet” is written at the foot of the page.
K:C
“^As written”d/c/|(B/c/d/) dB|(c/d/e/) ec|(B/c/d/) BG|FAAc|
(B/c/d/) dB|(c/d/e/) e2|d/B/c/A/ G2:|
|:d|gaba|dg b2|agbg|ea a2|
gabg|dg e2|d/B/c/A/ G2:|

X:93
C:Page 46
T:Miss McDonald’s Reel. MBe.93
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:2/4
L:1/8
Q:1/4=100
R:.Reel
N:No time signature given, and 2/4 assumed.
N:As written, the B part has only 6 bars. I have shown this and then taken the liberty of showing a
N:re-constructed B part by changing the semiquavers to quavers and moving the bar lines appropriately. This
N:then gives an 8 bar B.
K:Gmix
“^As written”G|DGBG|dGBG|DGBG|cAAB|
DGBG|dGBG|AGAB|G2 G2:|
|:d|g/g/b/g/ d/d/ d|g/g/b/g/ e/e/ e|gbeg|dgBg|
BABc|GG G2:|
K:C
“^Re-construction by H.T.”G|DGBG|dGBG|DGBG|cAAB|
DGBG|dGBG|AGAB|G2 G2:|
|:d|ggbg|dd d2|ggbg|ee e2|
gbeg|dgBg|BABc|GG “Crot”G:|

X:94
C:Page 46
T:New Dash. MBe.94, The
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:6/8
L:1/8
Q:3/8=100
R:.Jig
N:I have altered 2 crotchets to quavers and noted the changes in the abc.
K:G
D|GAG DcB|GAG FAD|GBG DcB|AcF G2:|
|:F/G/|AFD BGE|cAA dBG|AFD BGE|cAF G2:|
|:”^Cr”d|gfe dcB|cAA BGD|gfe dBB|cAF G2:|
|:”^Cr”d|dBe c2 A|FDd c2 A|dBe c2 A|FDF G2:|

X:95
C:Page 46
T:Seven Stars. MBe.95
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
T:Moon and Seven Stars. MBe.95, The
M:6/8
L:1/8
Q:3/8=100
R:.Jig
N:NB-This note was written as a crotchet, and I’ve changed it to a dotted crotchet
K:D
d2 A A2 F|GAB A3|Bcd efg|fed cBA|
d2 A A2 F|GAB A3|Bcd efg|ABc “^NB”d3:|
|:e2 A A2 f|efa ~f3|efg fed|cde A3|
BGB AFA|BGB AFA|Bcd cde|Adc d3:|

X:96
C:Page 47
T:Bang Upp. MBe.96
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:6/8
L:1/8
Q:3/8=120
R:.Jig
N:NB-These two notes d notes were written as a crotchet and a dotted crotchet. I have swapped them round.
K:D
A|d2 d f2 f|a2 a f2 d|g2 e f2 d|cde ABc|
d2 d f2 f|a2 a f2 d|g2 e f2 d|cBA d2:|
|:A|F2 A E2 A|F2 A d2 c|B2 d A2 d|G2 e cBA|
F2 A E2 A|F2 A d2 c|Bcd ABc|”^NB”d3 d2:|
|:A|f2 e d2 c|B2 A G2 F|G2 A B2 e|dcB A2 A|
f2 e d2 c|B2 A G2 F|G2 B A2 F|GFE D3:|

X:97
C:Page 47
T:Miss Jane Bruce’s Jigg. MBe.97
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:6/8
L:1/8
Q:3/8=100
R:.Jig
K:D
A/G/|FAd dcd|Adf fef|afd afd|cee e2 A/G/|
FAd dcd|Adf fef|afd gec|ddd d3:|
|:f/g/|afd dcB|ABA A2 A|gab afd|cee e2 f/g/|
afd cBe|dce a2 g|f/g/af gec|ddd d3:|

X:98
C:Page 48
T:Salt Fish and Dumplins. MBe.98
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:C
L:1/8
Q:1/2=100
R:.Reel
N:Someone has written in a different hand “Salt Fish” above the title, presumably to clarify.
K:G
B/A/|G3 A B3 c|d3 f dBAG|c3 e dcBG|FGAB A3 B|
cBcd efge|dBAG {G} F2 ED|GBAc BdAc|B2 G2 G3:|
|:ge|dBGB d3 e|dBGB d2 cB|cBcd efga|f2 d2 d2 cB|
cBcd efge|dBAG {G} F2 ED|GBAc BdAc|B2 G2 G3:|

X:99
C:Page 48
T:New Rigg’d Ship. MBe.99
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:6/8
L:1/8
Q:3/8=100
R:.Jig
N:I expected an ‘A’ note here, but a ‘G’ is written.
K:D
A|d2 d ~d2 f|d2 d ~d2 f|ecA A2 c|ecA ABc|
d2 d d2 f|d2 d ecA|B>cd ecA|d3 d2:|
|:f/g/|a2 f a2 f|d2 ~d dfa|b2 g b2 g|e2 ~e efg|
a2 f a2 f|d2 d ec”^NB”G|B>cd ecA|d3 d2:|

X:100
C:Page 48
T:Paddy Whack. MBe.100
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:6/8
L:1/8
Q:3/8=100
R:.Jig
N:See also a 4 part version of this tune on page 26
N:The last 2 bars of the A part, and the B part are on page 49.
N:Page 49 is torn, so the B part is incomplete.
K:G
D|GBd gfg|edc BAG|GBd gfg|fdd def|
gfg fdB|cec dBG|GBd cAc|BGG G2:|
|:d/c/|BBB ccc|dBA ~A2 G|Bcd efg|fdd def|
gfg fdB|GBd:”>torn page”yyyy|

X:101
T:Horse and away at Newmarket. MBe.101
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
T:Horse and Away to Newmarket, aka. MBe.101
M:6/8
L:1/8
Q:3/8=100
R:.Jig
N:The page is torn and the music is incomplete.
K:Ador
g|edc BAB|GBG B2g|edc BAG|cAB c2g|edc BAG|GBG B2G|cde gdB|ABA c2:|\
|:g”>page torn”:
AAa f2g|GGc BBg|Ggd B2G|cde gdB|ABA c2:|\
|:e|ggd eec|ddG B2G|ffd eec”>page torn”:
cde gdB|ABA c2::e|dB/c/d dB/c/d|dB/c/d c2d|dB/c/d dcB|ABA c2e|dB/c/d dB/c/d|Gfe d”>page torn”:

X:102
T:Kiss my Lady. MBe.102
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:6/8
L:1/8
Q:3/8=100
R:.Jig
N:The page is torn and the music is incomplete. Key sig lost.
K:None
:”>page torn”yyyyd2 B3A|G2A d2e| g2e d2f/g/|abg fge|dcd B2A|G2Ad2e|f2d d2:|
|:c’|d’2d f2d|d’2d f2d|c2e efe|\
:”>page torn”yyyyd|A2d f2d|f3 d2:|
|:g|fga b2b|f2a b2a|b2a g2f|ecA A2g|fga b2b|f2a b2a|b2a b2c’|d’2d d2:|

X:103
T:? Eye. MBe.103
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:4/4
L:1/8
Q:1/4=100
R:.Reel
N:The page is torn and the title and music are incomplete.
K:D
:”>page torn”yyy:ef dBBd|ABAF ABde|faef d2d:|
|:g|fa a2 gb b2|agfe dB B2|fa a2 gb b2|d’c’ba b2b2|
:”>page torn”yyy:ef dBBd|ABAF ABde|faef dd2:|

X:104
T:Recovery. MBe.104, The
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:2/4
L:1/8
Q:1/4=100
R:.Reel
N:There is no key signature, but I assume D as the A part ends on D, and D is the usual key for this tune.
N:The page is torn and the title and music are incomplete.
K:D
Ad Ad|e/d/e/f/ e2|agec|d/c/d/e/ d2|\
Ad Ad|e/d/e/f/ e2|agec|d2 d2:|\
agec|d/c/d/e/”>page torn”:
d/c/d/e/ dA|GG G/F/E/F/|D2D2:|\
|:ff/f/ ff|f3g|fedc “^sic”d/c/d/e/|ee/e/ ee|\
e3f|”^sic”edcB Aa|agec”>page torn”:

X:105
T:Bonniest Lass in all (?the world?). MBe.105, The
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:C|
L:1/8
Q:1/2=100
R:.Reel
N:The page is torn and the title and music are incomplete.
N:Harrison has a tune “Bonniest Lass of aw the World”
K:G
GA|B2D2E2G2|”^As written”cBAG E2DE|GG gd|ecef|gfed efgB|cBAG E2DE|G2g2 decd:”>page torn”|
df|gfed efge|agfe fgaf|gfga agab|e4 defa|bage defB|cBAG E2DE|G:”^page torn”|

X:106
T:12th of August. MBe.106, The
S:Matthew Betham MS, Towcett Cumbria, 1815
O:England;Cumbria;Towcett
Z:VMP – Hugh Taylor, 2012
M:6/8
L:1/8
Q:3/8=100
R:.Jig
C:in margin ‘Matthew Betham Towcett’
N:The page is torn and the music is incomplete.
N:Someone has written, possibly in the same hand, “Matthew Betham Towcett”.
N:There is some other writing at the bottom of the page that I can’t interpret.
K:G
d|B2A B2A|GdB G2d|e2d e2f|gfe d2f|
gfe dcB|edc BAG|G2F A2:”>page torn”yyyy|
d|g2d e2d|efg d2d|g2d e2d|gfe d2d|
g2d e2d|efg d2d|g2d a2d|b3:”>page torn”yyyy|

X:2
T: The Tip-Top
R: polka
M: 2/4
L: 1/8
K:Dmaj
M: 4/4
FG |A2 A2 A2 B2 | F2 F2 F2 DE | F2 F2 F2 A2 | E6 EF |
G2 G2 G2 B2 | E2 E2 E2 EF | G2 G2 E2 A2 | D2 D2 D2 ||
Bc |d2 B2 B2 Bc | d2 A2 A2 DE | F2 F2 E2 D2 | A2 A2 A2 Bc |
d2 B2 BA Bc | d2 A2 A2 EF | GF GB A2 c2 | d2 d2 d2 |]
K:GMaj
Bc |d2 d2 ^cd e2 | B2 B2 B2 GA | B2 B2 Bc d2 | A6 AB |
c2 c2 cd e2 | A2 A2 A2 AB | c2 c2 AB d2 | G6 ||
ef |g2 e2 e2 ef | g2 d2 d2 GA | B2 B2 AB G2 | d6 ef |
g2 e2 edef | g2 d2 d2 AB | cBAG F2 d2 | G6 |]