BETHAM, Matthew ms ABC | The Village Music Project

%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: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: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: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: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: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: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: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: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: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: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: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: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: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: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: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: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: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: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: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: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 |]