%abc
\n%%abc-alias Docker\/Betham
\n%%abc-creator ABCexplorer 1.6.1 [12\/02\/2015]
\n%%abc-edited-by www.village-music-project.org.uk
\n%The Docker\/Betham MS, Towcett, Cumbria, 1815
\n%kept in VWML, C# House
\n%ABC for VMP by Hugh Taylor, March 2012
\n%comment added to #67 12\/2\/15<\/p>\n
X:01
\nT:Russian Dance. MBe.01, The
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:2\/4
\nL:1\/8
\nQ:1\/2=80
\nC:”Let Thy Head Rule”
\nN:The name of this dance has been copied out in a different hand
\nN:along with the inscription ‘Let thy head rule’.
\nK:G
\nDG|B2 DG|B2 DB|dcBc|A2 DF|A2 DF|A2 DA|Bc AB|”^sic”G3:|
\n|:dc|B2 BA|G2 gf|e2 ed|e2 AB|AG FA|d2 F2|GF GA|”^sic”G3:|<\/p>\n
X:02
\nT:Haul Away the Hawser. MBe.02
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nT:Torryburn Lasses,aka. MBe.02
\nT:Seymore’s Reel,aka. MBe.02
\nT:Ladies Wattle,aka. MBe.02
\nT:Tadie’s Wattle,aka. MBe.02
\nT:Comely Jane Downing,aka MBe.02
\nM:C
\nL:1\/8
\nQ:1\/2=100
\nR:.Reel
\nN:Quite different to the tune of the same name in Vickers MS
\nN:Someone in a different hand has been copying out the name of the previous tune – The Russian Dance – as if
\nN:practicing writing.
\nN:NB-The A in the final bar of the B music may be dotted, but I think it’s a blot.
\nK:G
\nD|G2 BG BddB|c2 ec eg g2|G2 BG Bddg|edcB A2 G:|
\ng|g2 bg afed|edef gdBG|g2 bg afed|edef g2 a2|
\nbagf gfed|edef gdBG|cBcd efge|dBgB “^NB”A2 G|]<\/p>\n
X:03
\nC:Page 02
\nT:Labarynth. MBe.03, The
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nT:Labyrinth. aka. MBe.03, The
\nT:We Won’t Go Home Till The Morning,aka. MBe.03
\nM:6\/8
\nL:1\/8
\nQ:3\/8=120
\nR:.Jig
\nK:G
\nG\/A\/|B2 B BAB|c3 cBc|A2 A AGA|B3 {d}cBA|
\nG2 G GFG|A3 A2 G|FED DEF|(G3 G2)||
\nB\/c\/|d2 d dcd|e2 d {c}cBc|A2 A Adc|B3 {d}cBA|
\nG2 G GFG|(A3 A2 G)|FED DEF|G3- G2|]<\/p>\n
X:04
\nC:Page 02
\nT:Ap Shenkin. MBe.04
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nT:Tempest,aka. MBe.04, The
\nM:6\/8
\nL:1\/8
\nQ:3\/8=120
\nR:.Jig
\nN:This note could be either ‘c’ or ‘B’
\nK:D
\nA\/G\/|F2 F Fdc|B2 B Bcd|ABA AGF|FEE EAG|
\nF2 F Fdc|B2 B Bcd|ABA GFE|D2 D D2!fine!:|
\nd\/e\/|f2 d e2 c|dcB AGF|GAB AdF|FEE E2 d\/e\/|
\nf2 d e2 c|dcB edc|fed cd”^NB”B|Adc BAG!D.C.!|]<\/p>\n
X:05
\nC:Page 03
\nT:Death of Parker. MBe.05
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nT:President Parker,aka. MBe.05
\nT:Constant Billy,aka. MBe.05
\nT:Cease Your Funning,aka. MBe.05
\nM:6\/8
\nL:1\/8
\nQ:3\/8=100
\nR:.Jig
\nN:See the song of the same name in the Hammond & Gardiner collection
\nK:G
\nD|G2 G GBd|c2 A AFD|B2 G E2 D|DEF G2 D|
\nG2 G GBd|c2 A AFD|B2 G E2 D|DEF G2||
\nc|cBc e2 c|ABc dBG|GBd d^cd|AB^c d2 e|
\ndBG GBd|c2 A AFD|B2 G E2 D|DEF G2|]<\/p>\n
X:06
\nT:Braes of Arranmore. MBe.06
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nT:Some Say the Devil’s Dead,aka. MBe.06
\nT:Braes of Mar,aka. MBe.06
\nT:Love Won’t You Marry Me,aka. MBe.06
\nT:Sir Alexander McDonald,aka. MBe.06
\nM:C
\nL:1\/8
\nQ:1\/2=80
\nR:.Reel
\nK:D
\nA|FAAB defe|dB (c\/B\/A) dB (c\/B\/A)|FAAB defe|edf”^dotted in MS”d e2 d:|!\\
\n“rest added”z|faag fdad|gbbd gebe|faag fdad|gbfa e3 d|!
\nfaaf fdad|fbbf gebe|faef deBd|BdF”^dotted in MS”f E2 D|]<\/p>\n
X:07
\nC:Page 04
\nT:Millers Wife of Droan. MBe.07
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nT:Miller of Drone, aka. MBe.07
\nM:2\/4
\nL:1\/8
\nQ:1\/2=60
\nR:.Reel
\nC:Nathaniel Gow
\nN:No Key signature in MS, but usually found in a major key.
\nK:D
\n“No Key sig. in MS”f\/e\/|dBBd|ABAF|Ddgf|e2 fe|
\ndBBd|ABAF|Adce|d2:|
\n|:f\/g\/|affd’|”semi-qu’s in MS”aa (b\/a\/g\/f\/)|affd’|b2bd’|
\naffd’|”semi-qu’s in MS”aa (b\/a\/g\/f\/)|gefd|B2 Bb|
\naffd’|”semi-qu’s in MS”aa (b\/a\/g\/f\/)|affd'”poss bar missing”|”sic”(d’\/c’\/b\/) (a\/b\/c’\/)|
\nd’abf|gefd|B2:|
\n\\<\/p>\n
X:08
\nC:Page 04
\nT:Nancy Dawson. MBe.08
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:6\/8
\nL:1\/8
\nQ:3\/8=120
\nR:.Jig
\nK:G
\nD|G2 G G>AB\/c\/|d2 B G2 B|A2 B A2 B|A2 G FED|
\nG2 G G>AB\/c\/|d2 B G2 B|A2 G F2 E|”^dot added”D3 D3:|
\n|:A2 B G2 B|A2 B AFD|B2 c d2 e|d2 e dBG|
\nc2 B c2 d|e2 f gfe|dcB AGF|”^dot added”G3 G3:|<\/p>\n
X:09
\nT:Dear Tobacco. MBe.09
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nT:Tobacco’s Dear,aka. MBe.09
\nM:C
\nL:1\/8
\nQ:1\/4=140
\nR:.Reel
\nN:Someone in a different hand has written “Dear Tobacco” beside the title.
\nK:D
\nBEEF (G\/F\/)(E\/D\/) F2|BEEc dcBA|BEEF G\/F\/E\/D\/ F2|D>EDc dcBA:|
\n|:Beef g\/f\/e\/^d\/ e2|Beef gefd|Bdde (d\/c\/)(B\/c\/) d2|FAAF dcBA:|<\/p>\n
X:10
\nT:Rose Tree. MBe.10
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:2\/4
\nL:1\/8
\nQ:1\/4=100
\nR:.Reel
\nN:NB1-The 7th bar of the A has the 4 semi-quavers written as quavers
\nN:NB2-The 7th bar of the B has 5 semi-quavers. I have assumed that the first one is a crotchet.
\nK:D
\nf\/e\/|dB AG|A>BAc|d2 f\/e\/d\/e\/|fe e\/g\/f\/e\/|
\ndB AG|A>BAc|d2 “^qu’s in MS”f\/e\/d\/e\/|edd:|
\n|:g|fefg|f\/g\/a gf|eaag|ae ef\/e\/|
\ndB AG|A>BAc|”^NB2″d2 f\/e\/d\/e\/|fdd:|<\/p>\n
X:11
\nC:Page 06
\nT:Garland of Roses. MBe.11
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:6\/8
\nL:1\/8
\nQ:3\/8=60
\nR:.Air
\nN:Garland of Roses = the Catholic Rosary
\nN:The B part has 10 bars
\nK:G
\nd|d>Bd dga|bag gfe|dBd d>ed|d>gc {B}A2 d|
\ndBd dga|b>ag d’>bg|efg {fe}dfB|AGA G2:|
\n|:g\/a\/|b>ag gBd|b>ag gBd|b>ag fab|eag fd d|
\ngfg ece|dBg d{c}B{A}G|gfg ece|dBg d c\/B\/A\/G\/|
\nGBd gbd’|d>ef g2:|<\/p>\n
X:12
\nC:Page 06
\nT:Merrily Dance the Quakers….. MBe.12
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nT:Merrily Dance the Quakers Wife, aka. MBe.12
\nT:Merrily Kissed the Quakers Wife, aka. MBe.12
\nM:6\/8
\nL:1\/8
\nQ:3\/8=120
\nR:.Jig
\nK:G
\nD|GAB D2 B|c2 B A2 G|GAB D2 D|E3 G2:|
\n|:D|G2 B d2 B|e2 c d2 B|G2 B d2 c|B3 d3|
\ne2 c ABc|d2 B GAB|GAB D2 D|E3 G2:|<\/p>\n
X:13
\nC:Page 07
\nT:Paddy O’Carroll. MBe.13
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:6\/8
\nL:1\/8
\nQ:3\/8=120
\nR:.Jig
\nN:NB-The first E is not written dotted. I have made it dotted.
\nN:A widespread tune, inc. a version in Rook from Wigton very similar to this one.
\nK:D
\n(A\/G\/)|(FD).D FDD|F>GF FED|AFF dFF|”^NB”E>FE E2 (A\/G\/)|
\n(FD).D FDD|F>GF FED|AFF dFF|E>FE D2||
\na\/g\/|(fd)d (ec)c|BdB AGF|fda eca|dB^g a2 (a\/g\/)|
\nfdd ecc|BdB AGF|AFF dFF|E>FE D2|]<\/p>\n
X:14
\nC:Page 07
\nT:Tekeli. MBe.14
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:6\/8
\nL:1\/8
\nQ:3\/8=120
\nR:.Jig
\nN:Someone in a different hand has written “Tekeli” after the title.
\nK:G
\nd|g2 g gfg|e2 g d2 g|def gab|c’2 a f2 d|
\ng2 g gfg|e2 g d2 g|def gab|c’af g2:|
\n|:g2 a a3|bc’b (a2 g)|(a2 g) (a2 g)|(a2 g) a2 b|
\ng2 a b3|bc’b a2 g|a2 g a2 b”^barline added”|g3 g2:|<\/p>\n
X:15
\nC:Page 08
\nT:Ellen of Rosenby. MBe.15
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:C
\nL:1\/8
\nQ:1\/2=80
\nR:.Reel
\nN:NB1-These three notes are written as a triplet. I have made them into a tuplet.
\nN:NB2-The D note looks like it is written as a quaver. I have made it a crotchet.
\nK:G
\n~BABG FEFD|”^NB1″(3(GBA) G2 FA d2|~BABG FEFD|GBAc BG G2:|
\n|:d~gfe dBGB|cedB AF “^NB2″D2|d~gfe dBGB|cedB G2 G2:|<\/p>\n
X:16
\nC:Page 08
\nT:Jenny Nettles. MBe.16
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:C|
\nL:1\/8
\nQ:1\/2=100
\nR:.Reel
\nN:A widespread tune. See versions in both Jackson, H.S.J (Winder) and Harrison collections.
\nN:NB1-Lots of splodges makes this first bar difficult to decipher. Notes given are as commonly played, and
\nN:fit in with bar 3.
\nN:NB2-This bar is as written making an odd length bar. The B section has only 3 bars. I’m leaving it to the
\nN:player to decide on a satisfying correction.
\nK:Am
\n“^NB1″c2 B2 A2 a2|efge dBGB|c2 B2 A2 a2|gedf e2 A2:|
\n|:cded cded|dBGB dBGB|”^NB2″a2 fedf e2 A2:|<\/p>\n
X:17
\nC:Page 08
\nT:Lord Mcdonalds Reel. MBe.17
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:C
\nL:1\/8
\nQ:1\/2=100
\nR:.Reel
\nN:See a version in Harrison.
\nN:NB-G note written as a crotchet. I have changed it to a quaver.
\nK:G
\nB|d3 e dBgB|dBgB aAAB|d3 e dBgB|A\/B\/c BA BGG”^Fine”||
\nz|”^rest added”DGBG AGBG|DGBG AGEF|DGBG AGBG|dedc BGG “^NB”G|
\ndgbg agbg|dgbg ageg|agfe gfed|efga bggg”^D.C.”|]<\/p>\n
X:18
\nC:Page 09
\nT:Hero(e)s of Salamanca. MBe.18
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:6\/8
\nL:1\/8
\nQ:3\/8=100
\nR:.Jig
\nN:The battle of Salamanca was fought in 1812 in Spain, so the book must be later than this.
\nN:NB1-These first two semi-quavers were written before the repeat mark. I have deleted the repeat mark.
\nN:NB2-The last bar of the A has two crotchets written. I have changed the first to a dotted crotchet.
\nK:D
\n“^NB1″A\/G\/|!segno!F2 F {A} GFG|AFD DFA|BAB dcB|ABG FGE|
\nF2 F {A} GFG|AFD DFA|Bgf eac|”^NB2″(d3 d2)!fine!:|
\n|:(c\/d\/)|e2 c Ace|f2 d Adf|g2 e f2 d|{cd}e2 c A2 c\/d\/|
\n{f} e2 c Ace|{g} f2 d Adf|efd cdB|ABG FGE!D.C.!:|<\/p>\n
X:19
\nC:Page 09
\nT:Del Caros Hornpipe. MBe.19
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nT:Madame Del Caro’s Hornpipe, aka. MBe.19
\nM:2\/4
\nL:1\/8
\nQ:1\/2=80
\nC:John Field
\nR:.Hornpipe
\nK:G
\nG>Bd>g|f>ed>e|d>cB>A|B>c d2|
\nG>Bd>g|f>ed>c|B>AG>F|G2 G2:|
\n|:G>Bd>g|”^NB”(e\/\/f\/\/g3\/2) (e\/\/f\/\/g3\/2)|D>FA>c|(B\/\/c\/\/d3\/2) (B\/\/c\/\/d3\/2)|
\nG>Bd>g|(e\/\/f\/\/g3\/2) (e\/\/f\/\/g3\/2)|B>AG>F|G2G2:|<\/p>\n
X:20
\nC:Page 10
\nT:God Save the King. MBe.20
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:3\/4
\nL:1\/8
\nQ:1\/2=60
\nR:.Air
\nN:Repeats were written after 6 bars and at the end. I have ignored them
\nN:NB-These notes weren’t written dotted. I have made them dotted.
\nK:D
\n[V:1 name=”Primo”]d2 d2 ed|c3 d e2|f2 f2 g2|f3 e d2|
\n[V:2 name=”Secundo”]d2 D2 F2|A3 B c2|d2 D2 B2|A3 G F2|
\n[V:1 name=”Primo”]e2 d2 c2|{d}”^NB”d6|a2 a2 a2|a3 g f2|
\n[V:2 name=”Secundo”](3(GAB)A2 A2|f6|f2 f2 f2|f3 e d2|
\n[V:1 name=”Primo”]g2 g2 g2|g3 f e2|f2 gfed|f3 g a2|
\n[V:2 name=”Secundo”]e2 e2 e2|e3 d A2|d2 edcB|A3 G2 F|
\n[V:1 name=”Primo”](3(bag)~f2 ~e2|d6|]
\n[V:2 name=”Secundo”]G2 F2 E2|”^NB”F6|]<\/p>\n
X:21
\nC:Page 10
\nT:Maggy Lowther. MBe.21
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nT:Maggie Lauder,aka. MBe.21
\nT:Maggie Laider,aka. MBe.21
\nM:C
\nL:1\/8
\nQ:1\/4=60
\nR:Air
\nN:Someone has written in a different hand “Lauder” after the title.
\nN:The Lowther family is the local landowner, but the title is probably a corruption of Lauder.
\nN:It appears in Rev. Harrison as ‘Maggie Lawder with Variations’.
\nK:D
\nd>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|
\ngagb 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:|<\/p>\n
X:22
\nC:Page 11
\nT:Johnny Cope. MBe.22
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nT:Donald, Where’s your Troosers?aka. MBe.22
\nM:2\/4
\nL:1\/8
\nQ:1\/4=100
\nR:.Reel
\nN:Well known Scottish song, though this version is quite different to the song’s normal air.
\nK:Em
\nG| “Em” EAA G\/A\/| “Em” BAAA| “G” DGG B\/d\/| “G” d\/B\/d\/B\/ G\/A\/B\/G\/|
\n“Em” EAA G\/A\/| “D” BAAf| “D” edeg| “Em” BAA:|
\n|:d| “Em” e>de>g| “Em” e>de>g| “G” d>Bdg| “G” d\/B\/G\/B\/ dg|
\n“Em” e>de>g| “Em” gbge| “D” d>Ag>A| “Em” BAA:|<\/p>\n
X:23
\nC:Page 11
\nT:Haste to the Wedding. MBe.23
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nT:Rural Felicity,aka. MBe.23
\nM:6\/8
\nL:1\/8
\nQ:3\/8=120
\nR:.Jig
\nK:D
\nAFA Ade|fde fdB|AFA AdF|GFF F3|
\nAFA Ade|fde gdB|AFA faf”^barline added”|ded d2:|
\n|:”^Crs in MS”f\/g\/|afa afa|bgb bgb|afa agg|gee “Qu in MS”e2f\/g\/|
\na3 f3|ede fdB|AFA faf|ded d2:|<\/p>\n
X:24
\nT:Murphy Delany. MBe.24
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:6\/8
\nL:1\/8
\nQ:3\/8=120
\nR:.Jig
\nC:in margin-‘Matthew Betham Towcett’
\nK:G
\n“G” GFG GFG| “D” GFG Bcd| “G” GFG GFG| “D” ABG FED|
\n“G” GFG GFG| “D” GFG Bcd| “C” efg dcB| “D” ABA FED:|
\n|: “Em” Bcd ded| “Em” ded dcB| “D” cde efe| “Em” efe edc|
\n“Em” Bcd ded| “D” ded def| “C” gfe dcB| “D” ABG FED:|<\/p>\n
X:25
\nT:Squeeze me Softly. MBe.25
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nT:Haul Away the Hawser,aka. MBe.25
\nT:Seymore’s Reel,aka. MBe.25
\nT:Ladies Wattle,aka. MBe.25
\nT:Tadie’s Wattle,aka. MBe.25
\nT:Comely Jane Downing,aka. MBe.25
\nM:C
\nL:1\/8
\nQ:1\/2=100
\nR:.Reel
\nC:in margin-‘M.Betham Towsett’
\nN:NB-No time signature written. Common time assumed
\nN:NB1-The E and the 2 G notes are written as a triplet. I have changed them to a crotchet and 2 quavers.
\nN:NB2-The final G is written as a quaver. I have changed it to a crotchet.
\nK:G
\nG2 BG Bd e2|c2 ec “^NB1″egg2|G2 BG Bd d2|ecBA A2 G2:|
\n|:g2 bg aedg|egfa gage|g2 bg afdf|egfa g2 g2|
\ngbge fafd|egfe dBAG|cBcd efge|dgBG A2 “^NB2″G2:|<\/p>\n
X:26
\nC:Page 13
\nT:No 5 by Mr Ware. MBe.26
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:C
\nL:1\/8
\nQ:1\/2=80
\nR:.March
\nN:NB-Bar line added
\nK:D
\nEA|d2 d>d dAFA|D2 D>D D2 cd|e2 e>e edcB|A2 A>A A2 FA|
\nd2 d>d dAGF|E2 E>E E2 A2|Bdcd AGFE|D2 D>D D2:|
\n|:fg”^NB”|a2 a>a agfe|d2 d>d d2 cd|e2 e>e edcB|A2 AA AGFE|
\nDEFD EFGE|FGAF GABG|dcde fedc|d2 d>d d2:|<\/p>\n
X:27
\nC:Page 13
\nT:White Cockade. MBe.27
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:2\/4
\nL:1\/8
\nQ:1\/4=100
\nR:.Reel
\nN:Well known in the district as a tune to play for Westmorland Style step dancing.
\nN:Not the same as White Cockade MBe.43 on page 22
\nK:G
\nG\/A\/”^bar line added”|BB {c}BA\/G\/|BBBg|dB (c\/B\/A\/G\/)|FA AG\/A\/|
\n(.B.B) (c\/B\/A\/G\/)|ABg>a|b\/a\/g\/f\/ e\/f\/g\/e\/|dBB:|
\n|:B\/c\/|dB gB|ddd>e|{e}d{c}}B {f}gf\/g\/|aAA G\/A\/|
\n(.B.B) (c\/B\/A\/G\/)|AB~g>a|b\/a\/g\/f\/ e\/f\/g\/e\/|dBB:|<\/p>\n
X:28
\nT:O dear what can the matter be. MBe.28
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:6\/8
\nL:1\/8
\nQ:3\/8=100
\nR:.Jig
\nN:NB-Symbol written like a volta bracket, but with no number
\nK:G
\nd3 d3|dBg dBG|c3 c3|cAc cBA|
\nd3 d3|dBg dBG|EGc BcA|G3″^NB”:|
\n|:d2|dBc dBc|dBg dBG|cAB cAB|cAB cBA|
\ndBc dBc|dBg dBG|EGc BcA|G4:|<\/p>\n
X:29
\nT:Mrs Mc.Leod. MBe.29
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:C
\nL:1\/8
\nQ:1\/2=100
\nR:.Reel
\nK:G
\nB|G2 g2 edeg|B>BB>A B2 c>A| G2 g2 edeg|A>AA>G A2 AB|
\nG2 g2 edeg|A.AA>G B2 z “^cr in MS”d|efed e2 de\/f\/|g2 dB (c2 c):|
\n|:B”^barline added”|GGBG dBBe|B>BB>A B2 Bg|GGBG dBBd|A>AA>G A3 B|
\nGGBG dBBg|B>BB>A B2 cd|efed e2 de\/f\/|g2 dB (A2 A):|<\/p>\n
X:30
\nT:Calder Fair. MBe.30
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nT:Cawdor Fair, aka. MBe.30
\nM:C|
\nL:1\/8
\nQ:1\/2=100
\nR:.Reel
\nK:D
\ndcBA Bc\/d\/ “sic”E2|AAAF A2 AB\/c\/|dcBA Bc\/d\/ F2|EEFA B2 B:|
\n|:c|d2 df dddf|eeed e2 ef|gfed dcBA|Bdce d2 d2:|<\/p>\n
X:31
\nT:First of August. MBe.31
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nT:Glorious First of August,aka. MBe.31
\nT:Weaver’s March,aka. MBe.31
\nT:Frisky Jenny,aka. MBe.31
\nT:Come Jolly Bacchus,aka. MBe.31
\nT:Charles of Sweden,aka. MBe.31
\nM:C
\nL:1\/8
\nQ:1\/2=80
\nR:.Reel
\nC:in margin-‘M.B.’
\nK:D
\nd2|”^Key sig G in MS”ABAG F2 F2|GABG A2 A2|dedc B2 B2|g2 f2 e2 a2|
\nABAG F2 F2|GABG A2 A2|Bcdc cdeg|f2 e2 d2:|
\n|:z2″^rest added”|fagf e2 dc|dfed c2 BA|dedc B2 B2|g2 f2 e2 a2|
\nABAG F2 F2|GABG A2 A2|Bcdc cdeg|f2 e2 d2:|<\/p>\n
X:32
\nC:Page 16
\nT:Lady Ann Hopes Reel. MBe.32
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:2\/4
\nL:1\/8
\nQ:1\/4=100
\nR:.Reel
\nK:G
\n“^cr.in MS”c|(B\/c\/d\/B\/) GB|EG DG|FA (A\/B\/A\/G\/)|”^Semi-qu’s in MS”FDDc|
\n(B\/c\/d\/B\/) GB|EG DG|(e\/f\/g\/e\/) (f\/g\/a\/f\/)|gGG:|
\n|:d|gbgd|gbgd|ea (a\/b\/a\/g\/)|fddd|
\ngbgd|gbgd|egfa|gGGd|
\ngbgd|gbgd|ea (a\/b\/a\/g\/)|fddg|
\nbgaf|gedc|BgAf|gGG:|<\/p>\n
X:33
\nC:Page 16
\nT:Girl I Left Behind Me. MBe.33, The
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:C|
\nL:1\/8
\nQ:1\/4=100
\nR:.Reel
\nK:G
\ng|dcBA BGEF|GGGB d2 Bg|dcBA BGEF|EADF G2 G:|
\n|:c|Bdef gdBG|Bdef g2 ge|dcBA BGEF|FADF G2 G:|<\/p>\n
X:34
\nC:Page 17
\nT:Lord Lowdens March. MBe.34
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nT:London March,aka. MBe.34
\nM:C
\nL:1\/8
\nQ:1\/2=60
\nR:.March
\nC:in a different hand-‘William Docker Newby Head’
\nK:D
\nF2 F>F F2 E2|D>FA>d B2 A2|B>dA>d G>dF>d|EDEF E2 D>E|
\nF2 F>F F2 E2|D>FB>d B2 A2|B>dA>d c2 d>e|gf e2 d4:|
\na>gf>g aag>f|e>fgg f3 e|ddde fffg|aag>f f2 e2|
\na>gf>g aag>f|e>fgg f3 e|ddde fffg|aag>f f2 e2|
\nf2 f>f f2 e2|d>fA>d B2 A2|B>dA>d G>dF>d|EDEF E2 DE|
\nF2 F>F F2 E2|D>FB>d B2 A2|B>dA>d c2 d>e|g2 f2 e2 d2|]<\/p>\n
X:35
\nC:Page 17
\nT:High Dance. MBe.35
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:6\/8
\nL:1\/8
\nQ:3\/8=120
\nR:.Jig
\nN:The A part is on page 17, and the B part follows on page 18.
\nK:G
\nd|dgd ege|dBG G2 B|A2 B GDG|A2 B A2 d|
\ndgd ege|dBG G2 B|A2 B GDG|A2 B G2:|
\n|:d|{dg}} b2 g dBd|e2 g B3|cde G2 G|A2 B D2 d|
\n{dg} b2 g dBd|e2 g B3|cde dBG|cAF!fermata!G2:|<\/p>\n
X:36
\nC:Page 18
\nT:My ain Kind Dearie. MBe.36
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nT:Lea Rig, aka. MBe.36
\nT:Lollipop Man,aka. MBe.36, The
\nM:C
\nL:1\/8
\nQ:1\/4=100
\nR:.Reel
\nK:G
\nB\/A\/|{G\/A\/} BD DE\/F\/ G>AGB|A>B c\/B\/A\/G\/ {G\/A\/} BE E”Qu’s in MS”B\/A\/|
\n{F\/A\/} GD DE\/F\/ G>A G”Qu’s in MS”g\/f\/|e>d e\/f\/g\/d\/ BGG:|
\n|:d|(e\/d\/e\/f\/) gB (c\/B\/c\/d\/) eG|A>B c\/B\/A\/G\/ “^NB”{G\/A\/} BE EB\/A\/|
\n{G\/A\/} BD DE\/F\/ G>A G”Qu’s in MS”g\/f\/|e>d e\/f\/g\/d\/ BGG:|
\n|:e\/f\/|(g\/d\/).B\/.d\/ (e\/d\/).B\/.d\/ (g\/d\/).B\/.d\/ (e\/d\/).B\/.d\/|\\
\n(g\/f\/).e\/.d\/ (c\/B\/).A\/.G\/ BA Ae\/g\/|
\n(g\/d\/).B\/.d\/ (e\/d\/).B\/.d\/ (g\/d\/).B\/.d\/ (e\/d\/).B\/.d\/|e>d e\/f\/g\/d\/ BGG:|<\/p>\n
X:37
\nC:Page 19
\nT:London March. MBe.37, The
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nT:Lord Lowden’s March,aka. MBe.37
\nM:C
\nL:1\/8
\nQ:1\/2=60
\nR:.March
\nK:G
\nB2 B>B B2 A2|G>A”^sic”d>g ~e2 d2|e>gd>g c>gB>g|A>GA>B A2 A>A|
\nB2 B>B B2 ~A2|G>A”^sic”d>g ~e2 d2|e>gd>g c>fg>b| b2 a2 !fermata!g4″^Fine”:|
\n|:d>cB>c d>dc>B|A>Bc>A ~B2 A2|G>GG>A B>BB>c|d>dc>B ~B2 A2|
\nd>cB>c d>dc>B|A>Bc>A ~B2 A2|G>GG>A B>BB>c|d>dc>B B2 A>A”^D.C.”:|<\/p>\n
X:38
\nC:Page 19
\nT:Capt. Mackintosh’s Fancy. MBe.38
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nT:Captain Macintosh, aka. MBe.38
\nT:Captain McIntosh, aka. MBe.38
\nM:2\/4
\nL:1\/8
\nQ:1\/4=100
\nR:.Reel
\nK:D
\nA|d>ed>f|dAAA|d>ed>f|a3 f|
\nbgge|affd|efge|dcBA|
\nd>ed>f|dAAA|d>ed>f|a3 f|
\nbgge|affd|geec|d2:|
\n|:d|a>ba>b|geeg|g>ag>a|f3 d|
\n(Ad\/e\/ fd)|B(e\/f\/ ge)|bgfe|dcBA|
\nd>ed>f|dAAA|d>ed>f|a3 f|
\nbgge|affd|geec|d2:|<\/p>\n
X:39
\nT:Untitled. MBe.39
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:6\/8
\nL:1\/8
\nQ:3\/8=100
\nR:.Jig
\nN:These 8 bars also appeared on page 18, and are assumed to be the B part of High Dance.
\nK:G
\nd|{dg}} b2 g dBd|e2 g B3|cde G2 G|A2 B D2 d|
\n{dg} b2 g dBd|e2 g B3|cde dBG|cAF!fermata!G2:|<\/p>\n
X:40
\nC:Page 20
\nT:Willy Brew’d a Peck o’ Maut. MBe.40
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nT:Miss Forbes’ Farewell to Banff,aka. MBe.40
\nT:Bill Halls #2,aka. MBe.40
\nM:C
\nL:1\/8
\nQ:1\/2=100
\nR:.Reel
\nK:G
\nGA|B2 Bd cBAG|B2 d2 e2 g2|d2 de dBAG|B2 A2 A2 GA|
\nBABd cBAG|B2 d2 e2 g2|d2 de dBAG|B2 G2 G2:|
\n|:ef|gega gfed|efge edcB|c2 ce cBAG|B2 A2 A2 “crots in MS”G\/A\/|
\nBABd cBAG|”^Qu’s in MS”B2 d2 e2 g2|”^NB3″d2 de cBAG|B2 G2 G2:|<\/p>\n
X:41
\nC:Page 20
\nT:Heel & Fling. MBe.41
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nT:Highland Fling,aka? MBe.41
\nM:Am
\nL:1\/8
\nQ:1\/2=100
\nR:.Reel
\nN:No time signature given, Common Time assumed.
\nN: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
\nN:page 21
\nN:NB1-The first, second, and third bars of the B music are obviously incorrect as they only have 7 quavers
\nN:instead of 8, but I’m leaving it to the player to interpret.
\nN:NB2-This bar was written as 2 triplets. I have changed them to what you see here.
\nK:C
\nA2 AB G2 GB|A2 AB cdec|A2 AB G2 GB|cABG EA A2:|
\n|:”^NB1-3 bars as written”cdeg fde|gedc BGG|cdeg fde|e2 a2 a2 g2|
\n“^NB2″ge e2 fd d2|ec c2 BG G2|AcBd cedf|gedB cA A2:|<\/p>\n
X:42
\nT:Weathercock Hornpipe. MBe.42
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:C|
\nL:1\/8
\nQ:1\/2=90
\nR:.Hornpipe
\nN:At the top of the page is written in a different hand “Weather Cock Hornpipe Jane Betham Towcett Hall(?)”,
\nN:though the H in Hall looks like a B.
\nN:There is also some child’s scrawling at the top of the page which I can’t make out.
\nN:The title is similar to a place name nearby called ‘Weathery Crook’ in Sleagill Parish.
\nK:D
\nAG|FGAF D2 d2|cdec dcBA|BddB ABAG|F2 E2 E2 AG|
\nFGAF D2 d2|cdec dcBA|BcdB Agec|d2 d2 d2:|
\n|:fg|afdA FADf|gfed e2 f2|gfed cdef|edcB A2 A\/B\/c|
\ndBBd cAAc|BGGB AFdA|BcdB ABAG|A2 D2 D2:|<\/p>\n
X:43
\nC:Page 22
\nT:White Cockade. MBe.43, The
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:2\/4
\nL:1\/8
\nQ:1\/4=100
\nR:.Reel
\nN:Well known in the district as a tune to play for Westmorland Style step dancing
\nN:Not the same as the White Cockade MBe.27 on page 13
\nK:G
\ng|dB BA\/G\/|BBBg|dB BA\/G\/|BA AG\/A\/|
\nBB BA\/B\/|{A}G”sic”G>ga|(b\/a\/g\/f\/) (a\/g\/f\/e\/)|dB BB:|
\n|:c|{e}dBgB|ddde|{e}dc\/B\/ {a}~gf\/g\/|gA AG\/A\/|
\nBB BA\/B\/|GGga|(b\/a\/g\/f\/) (a\/g\/f\/e\/)|dB BB:|<\/p>\n
X:44
\nC:Page 22
\nT:Leather Bottle. MBe.44, The
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:2\/4
\nL:1\/8
\nQ:1\/2=100
\nR:.Reel
\nW:The notes shown are as written, leaving them to the player to interpret.
\nK:D
\n“^As written”DFA|D2 FA|dfed|dcBA|dfdf|
\ndfed|cABc|d2:|
\n|:cd|ecA|ecA|gfed|cBAG|
\nFGAB|Afed|cABc|d4:|<\/p>\n
X:45
\nC:Page 23
\nT:Hearts of Oak. MBe.45
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:C
\nL:1\/8
\nQ:1\/2=100
\nR:.Air
\nK:D
\nA2 d2 dd d2|fe d2 dB A2|A2 B2 Bc d2|e2 f2 ge f2|
\nBc d2 FG A2|Bc d2 FG A2|g2 f2 ed fa|Bd e2 ec A2||
\ncd e2 cd e2|ag f2 de f2|dc BB c2 dB|AB AG FD G2|
\nFD FG A2 fg|a2 A2 c2 d2|]<\/p>\n
X:46
\nC:Page 23
\nT:Irish Washerwoman. MBe.46, The
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:6\/8
\nL:1\/8
\nQ:3\/8=120
\nR:.Jig
\nK:G
\ne\/d\/|BGG DGG|BGB dcB|cAA EAA|cAc efg|
\nBGG DGG|BGB dcB|cBc Adc|BGG G3:|
\n|:g\/a\/|agg dgg|bgb c’ag|afd dfd|dfa agf
\negg dgg|cgg Bgg|cBc Adc|BGG G3:|<\/p>\n
X:47
\nC:Page 24
\nT:Go to the Devil and Shake Yourself. MBe.47
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:6\/8
\nL:1\/8
\nQ:3\/8=120
\nR:.Jig
\nN:NB-The decoration in the first bar has been repeated here and then crossed out.
\nK:D
\nAdd {d} dcB|ABA AFA|Add d2 e|fdB “Qu in MS”B2 A|
\nAdd “^NB” dcB|ABA AFA|dfd ege|fdd d2:|
\n|:{fg}afd dcd|BGG G3|{ga}bge ede|cAA A3|
\nGdd dcB|ABA AFA|dfd ege|fdd d2:|<\/p>\n
X:48
\nC:Page 24
\nT:Moll in the Wood. MBe.48
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nT:Moll in the Wad. MBe.48
\nT:Moll in the Wadd, aka. MBe.48
\nM:6\/8
\nL:1\/8
\nQ:3\/8=120
\nR:.Jig
\nN:in a different hand is ‘Wad’
\nK:Dmix
\nc|BAB G2 F|E2 F G2 A|BAB G2 B|AFD D2 c|
\nBAB G2 F|E2 F G2 A|BcB dcB|AFD D2:|
\n|:c|BGB d2 c|BGB d2 c|BGB dcB|AFD D2 c|
\nBGB d2 c|BGB def|gfe dcB|AFD D2:|<\/p>\n
X:49
\nT:Devil amangst the Taylors. MBe.49, The
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:C
\nL:1\/8
\nQ:1\/2=100
\nR:.Reel
\nK:G
\nd2|g2 dg g2 dg|g2 dg edcB|BeAe BeAe|ceAg fgaf|
\ng2 dg g2 dg|g2 dg edcB|ecBA dBAG|D2 F2 G2:|
\n|:d2|BdGd BdGd|BdGg edcB|ceAe ceAe|ceAg fgaf|
\nBdGd BdGd|BdGg edcB|ecBA dBAG|D2 F2 G2:|<\/p>\n
X:50
\nT:Richers Hornpipe. MBe.50
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nT:Richie’s Hornpipe, aka. MBe.50
\nM:C
\nL:1\/8
\nQ:1\/2=100
\nR:.Hornpipe
\nN:Similar to, but not the same as, Ricketts Hornpipe
\nN:Virtually note for note the same as in the Harrison mss.
\nK:D
\nfg|afaf d2 ef|ecec A2 GF|GABc defg|ecAc e2 fg|
\nafaf d2 ef|ecec A2 GF|G2 b2 afge|d2 d2 d2:|
\n|:de|fdec B2 ga|b2 e2 e2 cd|ecdB A2 fg|a2 d2 d2A2|
\nBcdB AFAF|BcdB AFAF|G2 b2 afge|d2 d2 d2:|<\/p>\n
X:51
\nC:Page 26
\nT:Paddy Whack. MBe.51
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:6\/8
\nL:1\/8
\nQ:3\/8=120
\nR:.Jig
\nN:NB-The A part as written was only 7 bars. However, the tune is virtually note for note as that in
\nN:O\u0092Farrell (Pocket Companion for the Irish or Union Pipes, vol. 1), c. 1805; pgs. 26-27, and I have
\nN:taken the liberty of adding notes from that source to the end of bar 6 and the start of bar 7,
\nN:to make 8 bars. The 6th bar was originally |ceg cAd| and the 7th bar BGG G2:| with no 8th bar.
\nK:G
\nD|GBd gfg|edc BAG|GBd eag|fdd def|
\ngag fdB|ceg “^NB……………………………………….”dBG|\\
\nGBd cAd|BGG G2:|
\n|:d\/c\/|BBB ceg|dBB c2 B|Bcd eag|fdd def|
\ngag fdB|cec dBG|GBB cAd|BGG G2:|
\n|:D|GBd Bdg|e\/d\/c\/B\/A\/G\/ AFD|dBB eca|fdd d2 g|
\nb\/a\/g\/a\/b\/g\/ a\/g\/f\/g\/a\/g\/|g\/f\/e\/f\/g\/e\/ dBG|GBd cAF|BGG G2:|
\n|:B\/c\/|dBB ecc|dc\/B\/A\/G\/ A2 G|dGG ea\/b\/a\/g\/|fdd def|
\nga\/g\/a\/g\/ fa\/f\/a\/f\/|eg\/f\/g\/e\/ dBG|GBd cAd|BGG G2:|<\/p>\n
X:52
\nC:Page 27
\nT:Bonny Westmorland. MBe.52
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:2\/4
\nL:1\/8
\nQ:1\/4=120
\nR:.Reel
\nC:’Matthew Botham’s Book 1815′
\nN:At the foot of the page is written, in a similar hand, and someone has
\nN:added in a different hand (in an attempt at clarifying the date?)
\nN:NB1-These two notes are difficult to interpret. They look like a pair of semi-quavers with the
\nN:first of the pair being A, and the second of the pair being higher, but there is no mark.
\nN:Underneath this pair are two blobs, possibly indicating 2 F semi-quavers?
\nN:NB2-Repeat marks written (and included here) but were they intended?
\nN:Key sig as in MS, though C# implied in B part
\nK:G
\nADFB| ADFG| BAFG| E2 E2|
\nADFB| ADFG| BEFG| D2 D2:|
\n|: dA dB| dA FG| BAFG| E2 E2|
\ndA dB| dA FG| BEAF| D2 D2|
\ndfdB| dAFG| BFAE| FGBF|
\nAfed| cdFG| AEAF| D2 D2:|<\/p>\n
X:53
\nC:Page 27
\nT:Bonny Cumberland. MBe.53
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:2\/4
\nL:1\/8
\nQ:1\/4=120
\nR:.Reel
\nN:At the foot of the page is written, in a similar hand, “Matthew Bethams Book 1815” and someone has
\nN:added in a different hand (in an attempt at clarifying the date?) “? 1815”
\nN:NB-As written, the A part has only 7 bars. I have added this 7th bar, to make the A part 4 bars repeated.
\nN:Key sig as in MS, though C# implied in B part
\nK:G
\nAD “^Key sig as in MS”FD|AD Fd|AD FD|EFGB|
\nAD FD|AD Fd|”^NB-bar added”AD FD|EFGB:|
\n|:D2 dd|e\/f\/e\/d\/ cd|D2 dd|B\/F\/D EF|
\nD2 dd|e\/f\/e\/d\/ cd|f\/e\/d\/c\/ dA|FDEF:|<\/p>\n
X:54
\nC:Page 28
\nT:Drunk at Night & Dry in the Morning. MBe.54
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nT:Whistle and I’ll come to you, my lad,aka. MBe.54
\nM:6\/8
\nL:1\/8
\nQ:3\/8=100
\nR:.Jig
\nN:Someone in a different hand has written alongside the title “Oh, whistle and I’ll come to you, my lad”
\nN:The 14 bar B part is unusual, though another version from elsewhere has a 10 bar B part.
\nN:NB-The middle note of the second triplet looks like a correction from an ‘e’ to an ‘f’.
\nK:D
\nd\/e\/|fdB AGF|Eee e2 d\/e\/|fdB AFA|Bdd d3:|
\n|:A|dfa d”^NB”fa|dfa afe|dfa dfa|bee e2 f\/e\/|
\ndfa dfa|(dfa a2) g|fdB AGF|Eee e2 d\/e\/|
\nfdB AFA|Bdd d2 F|GA\/G\/A\/G\/ FA\/F\/A\/F\/|Eee e2 d\/e\/|
\nfdB AFA|Bdd d3:|<\/p>\n
X:55
\nC:Page 28
\nT:Self. MBe.55, The
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nT:Sylph,aka. MBe.55, The
\nM:6\/8
\nL:1\/8
\nQ:3\/8=120
\nR:.Jig
\nN:Someone has written in a different hand alongside the title, “Sylph”
\nN:Sylph is a mythological creature in the Western tradition, associated with invisible beings\/Fairies etc
\nN:A reference that may be of interest. “More than 40 members of [the] Lakeland Dialect Society attended the
\nN:first meeting of the year, at Greenodd, near Ulverston. Miss Clara Boyle, of Ambleside, pressed for the
\nN:inclusion of Cumbrian dances and eventually in 1932 the Westmorland Six Reel was accepted, however it was
\nN:renamed ‘The Sylph.’ much to the disgust of a man from Bowness who wrote a letter of protest in dialect to
\nN:The Westmorland Gazette” [the local weekly newspaper].
\nK:D
\nA|AFA dfa|agf e2 g|fag fed|cee e2 A|
\nAFA dfa|agf e2 g|fad egA|edd d3:|
\n|:g|fad’ d’c’b|bag f2 d|fad fad|cee e2 g|
\nfad’ d’c’b|bag f2 d|fad egc|edd d3:|<\/p>\n
X:56
\nC:Page 29
\nT:Honey Moon. MBe.56
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:C
\nL:1\/8
\nQ:1\/2=100
\nR:.Reel
\nN:Someone has written in a different hand alongside the title, “Honeymoon”
\nN:NB-This ‘a’ could be a ‘g’
\nK:G
\ndggg gbbd’|c’bag fa d2|dggg gbbd’|c’ba”^NB”a g2 g2:|
\n|:gd d2 efge|dBAG FA A2|gd d2 efgg|gc’ab g2 g2:|<\/p>\n
X:57
\nC:Page 29
\nT:Kitty of Coleraine. MBe.57
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:6\/8
\nL:1\/8
\nQ:3\/8=60
\nR:.Jig
\nN:Someone has written in a different hand, prior to the tune title, “Kitty of Coleraine”
\nK:D
\nA\/G\/|FAd dfa|e\/f\/g\/f\/e\/d\/ ceA|dfa dgb|b\/a\/g\/f\/e\/d\/ {f}e2 A\/G\/|
\nFAd dfa|e\/f\/g\/f\/e\/d\/ ceA|dfa dgb|ABc d2:|
\n|:f\/g\/|afd ecA|afd ecA|afd (f\/e\/d\/c\/B\/A\/)|Ea^g !fermata!a2 A\/G\/|
\nFAd dfa|e\/f\/g\/f\/e\/d\/ ceA|dfa dgb|ABc d2:|<\/p>\n
X:58
\nC:Page 30
\nT:Celebrated South Downs Quickstep. MBe.58
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:2\/4
\nL:1\/8
\nQ:1\/4=100
\nR:.Reel
\nN:There is no key signature written, and C sounds awful, so I have assumed D.
\nN:NB1-These 4 pairs are written as a dotted crotchet and a quaver, not connected. Still doesn’t
\nN:read well
\nK:D
\nA|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:|
\n|: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|
\n“^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:|<\/p>\n
X:59
\nC:Page 30
\nT:Newcastle Hornpipe. MBe.59
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nT:Kirkgate Hornpipe,aka. MBe.59
\nM:C
\nL:1\/8
\nQ:1\/2=100
\nR:.Hornpipe
\nN:Misses the modulation into D of most versions.
\nK:D
\nd’a|f2 f2 fgdc|d2 d2 defg|afaf bagf|fede dcBA|
\nf2 f2 fagb|a2 a2 ac’d’a|gfed cdBG|A2 A2 A2:|
\n|:ce|g2 g2 g2 ce|gfed dcBA|FAdf bc’d’b|aege dcBA|
\nb2 b2 bc’d’b|afd’a fadf|egbg face|d2 dd d2:|<\/p>\n
X:60
\nC:Page 31
\nT:Wounded Hussar. MBe.60
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:C
\nL:1\/8
\nQ:3\/4=30
\nR:.Air
\nN:NB-These 3 notes were written as a quaver and 2 semiquavers, but I’ve made them the same as the 5th bar.
\nK:Am
\nA\/G\/|”^NB”EAB c2 B\/A\/|B\/c\/d\/c\/B\/A\/ GAB|cec e\/d\/c\/B\/A\/G\/|EAA A2 A\/G\/|
\nEAB c2 B\/A\/|B\/c\/d\/c\/B\/A\/ GAB|g>^fe dBA|EAA A2:|
\n|:A\/B\/|cee e2 d\/c\/|Bdd d2 g\/f\/|e>ag !fermata!a2 b\/c’\/|eag a2 a\/b\/|
\nc’ba gfe|e\/d\/c\/B\/g GGB\/B\/|cec e\/d\/c\/B\/A\/G\/|EAA A2:|<\/p>\n
X:61
\nC:Page 31
\nT:Soldiers Joy. MBe.61
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:C|
\nL:1\/8
\nQ:1\/2=100
\nR:.hornpipe
\nN:Well known in the district as a tune to play for Westmorland Style step dancing
\nK:D
\nFG|AFDF AFDF|A2 d4 cB|AFDF AFDF|G2 E4 FG|
\nAFDF AFDF|A2 d4 fg|afdf gece|d2 d4:|
\n|:e2|fefg fagf|edcd efge|fefg fagf|edcB A2 e2|
\nfefg fagf|edcd efge|afdf gece|d2 d4:|<\/p>\n
X:62
\nC:Page 32
\nT:Earl Moira’s Welcome to Scotland. MBe.62
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nT:Loudon’s Bonnie Banks and Braes,aka. MBe.62
\nM:C
\nL:1\/8
\nQ:1\/4=120
\nR:.Reel
\nN:Someone has written after the title, in another hand, “Loudon’s bonnie banks and Braes”
\nN:NB4-The ‘g’ note is written as a quaver, not a semiquaver
\nN:NB5-The ‘d’ note is written dotted, and I have removed it.
\nK:G
\nD2|:!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:|
\nfgb<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\/|
\nc'<ab>g ageg|e\/d\/c\/B\/ g>B c\/B\/A\/G\/ A>B|\\
\nG<GG<G (B<“^NB5″d) d2|f>g .f\/.g\/.a\/.f\/ a\/g\/f\/e\/ d\/c\/B\/A\/!D.S.!|]<\/p>\n
X:63
\nC:Page 32
\nT:Lady Caroline Lees Waltz. MBe.63
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:C
\nL:1\/8
\nQ:3\/4=40
\nR:.Waltz
\nN:Someone has written at the bottom of the page, in a different hand,
\nN:”cf Kitty of Coleraine”, to which it bears only a pssing resemblance in the first part.
\nN:The third word in the tune title is difficult to interpret, but based on other collections
\nN:(eg Thomas Sands)I have inferred it to be ‘Lees’, or even ‘Leigh’.
\nN:NB-There is blob here so the ‘A’ note could be a ‘c’
\nK:D
\nD|F\/G\/AA|B\/c\/dd|E\/F\/GG|G2 F|\\
\nE\/e\/d\/c\/B\/A\/|dfa|ABc|d2:|
\n|:f|a\/f\/ee|e\/c\/AA|a\/f\/dd|Adf|\\
\na\/f\/ee|ecA|ABc|d2:|
\n|:F\/G\/|AGF|dcd|BAB|G2E|\\
\nF>GA|”^NB”AGF|FEE|E2F\/G\/|
\nAGF|dcd|BAB|G2E|\\
\nFGA|AGF|E E\/D\/E\/F\/|D2:|<\/p>\n
X:64
\nC:Page 33
\nT:Sweet Jessie the Flower of Dunblane. MBe.64
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:6\/8
\nL:1\/8
\nQ:3\/8=60
\nR:.Air
\nN:The title is not easy to interpret, and someone has written over the title in a different hand, “Jessie”
\nN:Yes the B part is 13 bars long! The tune was written by R A Smith before 1816, to fit words by the Scots
\nN:poet Robert Tannahill (1774-1810) written in 1808, and I suspect bars 9 – 13 in the B music were intended
\nN:as a ‘fill’ between verses. As normally sung, there are no repeats.
\nN:The song was widely sold on penny sheets, and can also be found in The Union Imperial Songbook, printed
\nN:in Edinburgh in 1815.
\nN:NB-These ‘d’ notes were written as crotchet’s. I have made them dotted.
\nK:D
\nd\/e\/|f>gf e>af|d>cd e\/c>dB\/|A>BG F>Ad|d>ef e2 d\/e\/|
\nf>gf e>af|d>cd e\/c>dB\/|A>BG F>Ad|e>Bc d2:|
\n|:f|f>de f>ba|f>de f>de|e>cd e>af|e>cB A2 A\/d\/|
\nd>fe f>de|f>af g>ef|g>ab a>fd|e>Bc “^NB”d3|
\n“^NB”d3 c>dB|”Qu’s in MS”ABG F2 A\/d\/|f>af g>ef|g>ab a>fd|e>Bc d3:|<\/p>\n
X:65
\nC:Page 33
\nT:Lady Montgomery’s Reel. MBe.65
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:C
\nL:1\/8
\nQ:1\/2=100
\nR:.Reel
\nC:Colonel Hugh Montgomerie, 12th Earl of Eglintoun
\nN:NB1-As well as the ‘d’ note being dotted, both notes are written as semiquavers.
\nN:NB2-The 2 ‘d’ notes and the ‘A’ note are all written tied.
\nN:NB3-The ‘f’ note is not written dotted.
\nK:Em
\nd2 d>A F>GAF|d2 “^NB1″d>B cdef|”^NB2″d2 d>A F>GAF|EeeB c>def:|
\n|:d<dad f<d a2|d<ead f<ga>b|d<da>d f>da>d|g>fe>d c>de>f|
\ndda>d “^NB3″f>d a2|d<dag f<ga>b|g>f g<e f<de>c|d>BA>F E>e e<f:|<\/p>\n
X:66
\nC:Page 34
\nT:Mr Gibson’s Favourite. MBe.66
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:6\/8
\nL:1\/8
\nQ:3\/8=120
\nR:.Jig
\nN:No time signature given, 6\/8 assumed
\nN:No key signature given, and D assumed.
\nN:NB-The G is written as a crotchet.
\nK:D
\n“No key sig in MS”A|d2 c e2 d|f2 e gec|d2 d dfd|B2 A B2 c|
\nd2 c e2 d|f2 e gec|def gec|d3 d2:|
\n|:A|FGA FGA|BGA Bcd|ege e2 d|cdB A2 “^NB”G|
\nFGA FGA|BGA Bcd|efe cAc|d3 d2:|<\/p>\n
X:67
\nC:Page 34
\nT:Hopkinson’s Favourite Dance. MBe.67
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:6\/8
\nL:1\/8
\nQ:3\/8=120
\nR:.Jig
\nN:Time signature was written as 2\/4 but I’ve changed it to 6\/8.
\nN:NB1-This bar is as written
\nW:No key sig in MS, Eminor assumed
\nW:F major is at least as likely (ed.CGP)
\nK:Em
\n“No key sig in MS”A|:”_repeat mark added”dfd f2 d|\\
\nA2 F F2 A|dfd f2 d|”^sic NB1″g z2 e f2|
\ndfd f2 d|A2 F FAd|f2 a agf|gfg e2 f:|
\n|:d2 a agf|gab a2 f|d2 a agf|g2 e e2 f|
\nd2 a agf|gab a2 f|bag agf|gfg e2 f:|<\/p>\n
X:68
\nC:Page 34
\nT:Miss Shuplands(?) Dance. MBe.68
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:6\/8
\nL:1\/8
\nQ:3\/8=120
\nR:.Jig
\nC:Name partly (Shup) illegible
\nN:NB-What could be the same hand has written “c” above the ‘c’ note
\nN:The last 4 bars of the B part are continued on the top of page 35
\nK:G
\n(B\/A\/)|G2 D DED|DED D2 G|F2 G A2 B|cBA dBG|
\nG2 D DED|DED D2 G|FGA cAF|G3 G2:|
\n|:B\/c\/|d2 B d2 B|g2 e dBG|dcB d”^NB”cB|”sic”B2 A2 (Bc)|
\nd2 B d2 B|g2 d g2 b|bag fge|”cr in MS”d3 d2:|<\/p>\n
X:69
\nC:Page 35
\nT:Calgarth Hornpipe,aka. MBe.69
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:C|
\nL:1\/8
\nQ:1\/2=100
\nR:.Hornpipe
\nC:untitled in MS
\nN:William Irwin has this tune as the Calgarth Hornpipe, but in the key of F
\nN:Calgarth Hall is situated at Troutbeck Bridge on the shore of Windermere.
\nN:NB-These ‘g’ notes are written dotted: I have undotted them.
\nK:G
\ndc|B2 G2 G2 AB|c2 A2 A2 dc|Bdgf edcB|A2 D2 D2 dc|
\nB2 G2 G2 AB|cBcd efga|bc’ab fdef|g2 b2 “^NB”g2:|
\n|:ga|bgdg Bgdg|bgdg c’bag|afdf Bfdf|afdf afef|
\negdg cgBg|ABcd efga|bd’ab fdef|g2 b2 “^NB”g2:|<\/p>\n
X:70
\nC:Page 35
\nT:Favourite Irish Air. MBe.70, A
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nT:Garry Owen,aka. MBe.70
\nM:6\/8
\nL:1\/8
\nQ:3\/8=100
\nR:.Jig
\nN:NB-Someone has written after the title, in another hand, “Garry Owen”
\nK:Ador
\ng\/f\/|(edc) (BAG)|(B>cA) Bge|(edc) (BAG)|A>AA A2g\/f\/|
\nedc BAG|B>cB B2 d|cde g2 c|A>BA A2:|
\n|:c|(B\/\/c\/\/d3\/2)B (B\/\/c\/\/d3\/2)B|(B\/\/c\/\/d3\/2)B d2 g|\\
\n(c\/\/d\/\/e3\/2)c (c\/\/d\/\/e3\/2)c|(c\/\/d\/\/e3\/2)c e2 f|
\ng2 a b2 a|ge(e dBA)|(def) g2 B|A>BA A2:|<\/p>\n
X:71
\nC:Page 36
\nT:Mrs Harrisons Favourite. MBe.71
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:6\/8
\nL:1\/8
\nQ:3\/8=100
\nR:.Jig
\nK:C
\ng|g2 e e2 c|c3 G2 G|ABc cBA|GGG G2 g|
\ng2 e e2 c|c3 G2 c|ABc dcB|ccc c2:|
\n|:e|d2 G G2 e|d2 G G2 c|Bdg BcA|GGG G2 e|
\nd2 G G2 e|d2 G G2 c|Bdg BcA|GGG GBd|
\ng2 e e2 c|c3 B2 B|ABc cBA|GGG GBd|
\ng2 e e2 c|c3 G2 G|ABc dcB|ccc c:|<\/p>\n
X:72
\nC:Page 36
\nT:Mrs Spiers. MBe.72
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:6\/8
\nL:1\/8
\nQ:3\/8=100
\nR:.Jig
\nN:Key signature written as “D” but I’ve changed it to G as it sounds better.
\nK:G
\nd\/c\/|B2 B cBc|d2 Bg2 e|dBG GFG|AFD D2 d\/c\/|
\nB2 B cBc|d2 Bg2 e|d2 B GAB|G3-G2:|
\n|:F\/G\/|A2 A ABc|d2 B G2 G\/F\/|E2 E EFG|A2 F DFG|
\nA2 A ABc|d2 B g2 e|dBG AGA|G3-G2:|<\/p>\n
X:73
\nC:Page 37
\nT:Whitehaven Volunteers. MBe.73
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:2\/4
\nL:1\/8
\nQ:1\/4=100
\nR:.Reel
\nN:Someone in a different hand has wrote underneath the title “Whitehaven Volunteers”.
\nN:See also a version in Rook from Wigton.
\nN:Has similarities to Petronella, esp the A part.
\nK:G
\nd\/c\/|BB B\/c\/A\/B\/|GGGD|GBdB|e\/d\/c\/B\/ Ad\/c\/|
\nBB B\/c\/A\/B\/|GGGD|EcAF|G2- G:|
\n|:d\/c\/|Bdd e\/f\/|gd d\/e\/d\/c\/|BddB|A\/G\/A\/B\/ Ad\/c\/|
\nBdd e\/f\/|g\/f\/g\/a\/ gd|BG B\/A\/G\/F\/| G2 G:|<\/p>\n
X:74
\nC:Page 37
\nT:Lady Mary Ramseys Strathspey. MBe.74
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:Ador
\nL:1\/8
\nQ:1\/2=100
\nR:.Reel
\nC:Nathaniel Gow
\nN:The exact position of many of the slurs is not clear: this is my best guess.
\nK:G
\nB|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:|
\n|: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\/|
\n(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:|<\/p>\n
X:75
\nC:Page 38
\nT:Lady Harriet Hope’s Reel. MBe.75
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:C
\nL:1\/8
\nQ:1\/2=80
\nR:.Reel
\nK:G
\nGBdg edcB|”^Cr in MS”gbag aA A2|GBdg edcB|cAdB G\/G\/G G2:|
\n|:(gdg)a (3(gab) ag|fdge adbd|gdga (3(gab) ag|dgfa g\/g\/g g2|
\ngdga (3(gab) ag|agab c’bab|gedc Bdge|dBcA G\/G\/G G2:|<\/p>\n
X:76
\nC:Page 38
\nT:Bang-Upp Hornpipe. MBe.76
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nT:Bang Up Hornpipe, aka. Mbe.76
\nM:C
\nL:1\/8
\nQ:1\/2=100
\nR:.Hornpipe
\nN:No key signature written. C sounds very modal, and most versions seem to be in D, so that is assumed here.
\nN:NB1-This ‘F’ was written as an ‘E’ which sounds wrong, and doesn’t match the ‘F’ in the 5th bar of the A
\nN:part. I have therefore alteted it to an ‘F’.
\nN:NB2-These two bars are both written with 4 quavers,and no repeat marks. I have altered them both to
\nN:3 crotchets, but left the repeat marks out.
\nK:D
\nA\/B\/c\/”^No key sig in MS”|dA”^NB1″FA DFAd|fdAd FAdf|gfge fefd|edcB ABcA|
\ndAFA DFAd|fdAd FAdf|gfge face|”^NB2″d2 d2 d2 ||
\n“^in MS”AG|FAdA FAdA|GBdB GBdB|Acec Acec|dfaf gecA|
\nFAdA FAdA|GBdB GBdB|Aceg face|”^NB2″d2 d2 d2 |]<\/p>\n
X:77
\nC:Page 39
\nT:Hornpipe. MBe.77, A
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:2\/4
\nL:1\/8
\nQ:1\/4=100
\nR:.Hornpipe
\nW:All notes shown are as written, leaving the player to interpret.
\nN:Key signature clearly written as D, but G seems to makes more sense.
\nK:D
\nd\/c\/”^key sig should be G?”|BdGG B\/G\/|FADD d\/c\/|BdGG d2|e\/g\/f\/a\/ g\/e\/d\/c\/|
\nBdGG B\/G\/|FADD d\/c\/|B\/d\/e\/f\/ g\/d\/e\/c\/|B2 GG:|
\n|:ga|b b2 a\/f\/d\/f\/|a a2 g\/f\/e\/d\/|e\/f\/g\/e\/ a\/g\/f\/g\/|fdd ga|
\nb b2 a\/f\/d\/f\/|a a2 g\/f\/e\/d\/|e\/f\/g\/e\/ d\/e\/c\/d\/|B2 GG:|
\n|: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\/|
\nd\/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:|<\/p>\n
X:78
\nC:Page 39
\nT:Fife Hunt. MBe.78, The
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:C
\nL:1\/8
\nQ:1\/2=90
\nR:.Reel
\nC:William Gow
\nK:C
\nf|ec ~c2 GE ~E2|Dddc d2 df| ec ~c2 GE ~E2|DcBd c2 c:|
\n|:”^cr in MS”f|ecgc acgc|Add^c d3 f|ecgc acgc|GcBd c2 cf|
\necgc acgc|Add^c d2 df|egce fadB|(GcBd) c2 c:|<\/p>\n
X:79
\nC:Page 40
\nT:Chinese Dance. MBe.79, The
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:3\/4
\nL:1\/8
\nQ:3\/4=50
\nR:.waltz
\nW:No key signature written, D assumed.
\nN:No time signature written.
\nK:D
\n“^Qu in MS.no key sig in MS”A2|dcdfec|dfBecA|dcdfeg|fagbaf|
\ndcdfec|dfBecA|dBGBAF|D2 d2″Fine”:|
\n“Qu in MS”A2|AGABcA|dcdefd|gfgefd|ecAcBG|
\nAGABcA|dcdefd|gfgefd|”^a3 in MS”a4″D.C.”|]<\/p>\n
X:80
\nC:Page 40
\nT:New Highland Man. MBe.80, The
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:6\/8
\nL:1\/8
\nQ:3\/8=120
\nR:.Jig
\nN:NB-These two notes are written as semiquavers.
\nK:D
\n“as written”F\/E\/|DED FDF|ABc d2 e|fed B2 d|”sic”F\/E\/ E2 E F|
\nDED FDF|ABc d2 e|fed B2 d|AF D D2:|
\n|:d|fed faf|ede d2 F|GAB AdF|”sic”FE E2 F g|
\nfed faf|ede d2 F|GAB GBA|FD D D2:|<\/p>\n
X:81
\nC:Page 41
\nT:Peace. MBe.81
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:C
\nL:1\/8
\nQ:1\/4=120
\nR:.Strathspey
\nN:NB1-Not sure whether these notes have trills over them, or whether they are just splodges. I have assumed
\nN:splodges, as the last bar of the B part has the same notes with no trills.
\nK:Am
\n(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:|
\n|:(3(cdc) e>c g>cec|g>cec (3(GAG) BG|(3(cdc) e>c g>cec|[ce][Bd][Ac][GB] A2 A2:|<\/p>\n
X:82
\nC:Page 41
\nT:Scotch Quick Step. MBe.82
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:2\/4
\nL:1\/8
\nQ:1\/4=100
\nR:.Reel
\nN:I’ve made a number changes between Crotchet, Quavers, and Semiquavers. The length of the note that was
\nN:written is shown above the current note as Crot or Quav.
\nK:D
\nF|”^Key sig. G in MS”D>F A\/B\/A\/F\/|AddB|A\/B\/d\/e\/ fe\/d\/|eEEF|
\nD>F A\/B\/A\/F\/|AddB|A\/B\/d\/e\/ f\/g\/e\/f\/|dDD:|
\n|:d\/e\/|f\/e\/d\/B\/ A\/B\/d\/”Crot”A\/|BddF|GB A\/G\/F\/”Quav”G\/|Eee a\/g\/|
\nf\/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:|<\/p>\n
X:83
\nC:Page 41
\nT:Inness? Jigg. MBe.83
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:6\/8
\nL:1\/8
\nQ:3\/8=120
\nR:.Jig
\nN:NB-All these crotchets were written dotted, and I have made them undotted.
\nK:G
\nD|GAG BAG|”^NB”d2 G”^NB”e2 g|edc BAG|EAA A2 B|
\nGAG BAG|”^NB”d2 G”^NB”e2 G|gfe dec|BGG G2:|
\n|:d|gdB GAG|DED GAG|edc BAG|EGA ~A “^NB”F2|
\ngdB GAG|ecA FED|gfe dec|BGG G2:|<\/p>\n
X:84
\nC:Page 42
\nT:Perth Hunt – Scotch Jigg. MBe.84
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:4\/4
\nL:1\/8
\nQ:1\/2=100
\nR:.Reel
\nN:No time signature written: I have assumed 4\/4
\nN:No key signature given, but C sounds wrong and other versions are in a major key, so D assumed.
\nN:Many errors, but a common tune
\nK:D
\nB|”As written”A2 FA DAFA|DAFA BEEB|A2 FA DAFA|faeg gdd:|
\nQ:1\/4=100
\n|:A|d2 (f\/e\/d\/) a\/d\/f\/d\/|A\/d\/ (f\/e\/d\/) b\/(e\/e\/f\/)|\\
\nd2 (f\/e\/d\/) (a\/d\/) (f\/e\/d\/)|(Ad) (c\/d\/e\/) f\/d\/d\/A\/|
\nd2 (f\/e\/d\/) a\/d\/ (f\/e\/d\/)|A\/d\/ (f\/e\/d\/) b\/e\/e\/f\/|\\
\nd\/f\/B\/d\/ B\/d\/F\/d\/|ABde f\/d\/ d2:|<\/p>\n
X:85
\nC:Page 42
\nT:Lady of the Lake. MBe.85, The
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:6\/8
\nL:1\/8
\nQ:3\/8=120
\nR:.Jig
\nN:The key signature is clearly written as ‘D’ though most versions are in ‘G’.
\nN:NB-All these notes were written dotted, and I have undotted them.
\nK:G
\nd\/c\/|”^NB Key sig D in MS”B2 B BcA|”^NB”B2 c def|g2 f e2 d|dcB ABc|
\n“^NB”B2 B BcA|”^NB”B2 c def|”^NB”g2 e “^NB”a2 g|fge d2:|
\n|:B\/A\/|”^NB”G2 D “^NB”E2 D|”^NB”G2 D “^NB”E2 D|”^NB”G2 B AcB|dec BcA|
\n“^NB”G2 D “^NB”E2 D|”^NB”G2 D “^NB”E2 D|”^NB”G2 A BcA|G2 G2:|<\/p>\n
X:86
\nC:Page 43
\nT:Morgiana in Scotland. MBe.86
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:6\/8
\nL:1\/8
\nQ:3\/8=100
\nR:.Jig
\nK:D
\nA|AFA f2 e|dcB A2 B|AFA dcd|fed e2 A|
\nAFA f2 e|dcB A2 B|AFA dcd|edc d3:|
\n|:c\/d\/|efe dcB|ABA g2 e|f2 A\/A\/ e2 A\/A\/|f2 A\/A\/ e2 A\/A\/|
\nefe dcB|ABA g2 e|f2 A\/A\/ e2 A\/A\/|fed BAG|
\nFDE F2 A|FDE F2 A|G2 B F2 A|FFF F2 A|
\nFDE F2 A|FDE F2 A|B2 d c2 e|d3 d3:|<\/p>\n
X:87
\nC:Page 43
\nT:Morgiana in Ireland. MBe.87
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:6\/8
\nL:1\/16
\nQ:3\/8=100
\nR:.Jig
\nN:NB-I have added a rest here.
\nK:G
\nD4 D2 G4 G2|A2G2A2 B4 E2|D4 D2 G4 G2|B4 c2 B2G2E2|
\nD4 D2 G4 G2|A2G2A2 B4 e2|e2d2c2 B2c2A2|G4 A2 B2G2E2:|
\n|:d4 d2 d2c2B2|e4 f2 g6|d2c2d2 d2c2B2|e4 f2 g6|
\nd4 d2 d2c2B2|e2f2e2 e2f2g2|d2e2c2 B2c2A2|G2F2G2 B2G2E2:|
\n|:G2F2G2 Bd2 z3|A2G2A2 ce2 z3|G2F2G2 A4 B2|B4 c2 B2G2E2|
\nG2F2G2 Bd2 z3|ce2 z3 Bd2 z3|dg2 z3 B2d2″^NB”z2|G4 A2 B2G2E2:|<\/p>\n
X:88
\nC:Page 44
\nT:Morgiana in Spain. MBe.88
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:6\/8
\nL:1\/8
\nQ:3\/8=100
\nR:.Jig
\nK:D
\nF2 G A2 d|F2 G A2 d|B2 B e2 d|ced cBA|
\nF2 G A2 d|F2 G A2 d|B2 e cBc|d2 d d2!fine!:|
\nf|e2 d c2 f|e2 d c2 f|e2 d c2 B|A2 A A2 f|
\ne2 d c2 f|e2 d c2 f|efd cdB|ABG FGE!D.C.!|]
\n\\<\/p>\n
X:89
\nC:Page 44
\nT:Ulverstone Volunteers. MBe.89
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nT:Ulverston Volunteers. MBe.89
\nM:6\/8
\nL:1\/8
\nQ:3\/8=100
\nR:.Jig
\nN:Ulverston is a town some 46 miles to the west. It had 4 infantry companies of volunteers raised around
\nN:1804, and were later disbanded between 1813 & 1816.
\nK:G
\nd|BGG dGG|e2 f g2 e|dGG eGG|FAA A2 d|
\nBGG dGG|e2 f gfe|dBG AGA|BGG G2:|
\n|:d|g2 d B2 G|efg dBG|ceB BdA|AGA A2 d|
\nBGG dGG|e2 f gfe|dBG AGA|BGG G2:|<\/p>\n
X:90
\nC:Page 44
\nT:Off she goes. MBe.90
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:6\/8
\nL:1\/8
\nQ:3\/8=100
\nR:.Jig
\nN:The last 3 bars of the B music are on the next page – ie page 45
\nN:Someone has added, in another (modern) hand, something like “to Merrimashee”
\nN:-which is an entirely different tune.
\nK:D
\nF2 A G2 B|ABc d3|F2 A G2 B|AFD E3|
\nF2 A G2 B|ABc d3|def agf|edc d3:|
\n|:faf d2 f|eae c2 e|faf d2 f|ecA A3|
\nfaf d2 f|eae c2 e|faf gec|d3 d3:|<\/p>\n
X:91
\nC:Page 45
\nT:Italian Monfrina. MBe.91, The
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:6\/8
\nL:1\/8
\nQ:3\/8=100
\nR:.Jig
\nN:No time signature, 6\/8 assumed.
\nC:in margin “Matthew Betham Towcet”
\nK:G
\n“Cr”D|GAB BcA|AGG G2 d|dFF FGA|ABG G2 D|
\nGAB BcA|AGG G2 G|FDF FGA|AGG G2:|
\n|:”Cr”g|gfg afd|cBc d2 g|gfg afd|cBc d2 g|
\ngfg gfg|ece efg|ded cBA|AGG G2:|<\/p>\n
X:92
\nC:Page 45
\nT:Mc Donalds Rant. MBe.92
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:2\/4
\nL:1\/8
\nQ:1\/4=100
\nR:.Reel
\nN:Both the A part and the B part have only 7 bars each.
\nN:No time signature given, and Have assumed 2\/4.
\nN:”Matthew Betham Towcet” is written at the foot of the page.
\nK:C
\n“^As written”d\/c\/|(B\/c\/d\/) dB|(c\/d\/e\/) ec|(B\/c\/d\/) BG|FAAc|
\n(B\/c\/d\/) dB|(c\/d\/e\/) e2|d\/B\/c\/A\/ G2:|
\n|:d|gaba|dg b2|agbg|ea a2|
\ngabg|dg e2|d\/B\/c\/A\/ G2:|<\/p>\n
X:93
\nC:Page 46
\nT:Miss McDonald’s Reel. MBe.93
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:2\/4
\nL:1\/8
\nQ:1\/4=100
\nR:.Reel
\nN:No time signature given, and 2\/4 assumed.
\nN:As written, the B part has only 6 bars. I have shown this and then taken the liberty of showing a
\nN:re-constructed B part by changing the semiquavers to quavers and moving the bar lines appropriately. This
\nN:then gives an 8 bar B.
\nK:Gmix
\n“^As written”G|DGBG|dGBG|DGBG|cAAB|
\nDGBG|dGBG|AGAB|G2 G2:|
\n|:d|g\/g\/b\/g\/ d\/d\/ d|g\/g\/b\/g\/ e\/e\/ e|gbeg|dgBg|
\nBABc|GG G2:|
\nK:C
\n“^Re-construction by H.T.”G|DGBG|dGBG|DGBG|cAAB|
\nDGBG|dGBG|AGAB|G2 G2:|
\n|:d|ggbg|dd d2|ggbg|ee e2|
\ngbeg|dgBg|BABc|GG “Crot”G:|<\/p>\n
X:94
\nC:Page 46
\nT:New Dash. MBe.94, The
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:6\/8
\nL:1\/8
\nQ:3\/8=100
\nR:.Jig
\nN:I have altered 2 crotchets to quavers and noted the changes in the abc.
\nK:G
\nD|GAG DcB|GAG FAD|GBG DcB|AcF G2:|
\n|:F\/G\/|AFD BGE|cAA dBG|AFD BGE|cAF G2:|
\n|:”^Cr”d|gfe dcB|cAA BGD|gfe dBB|cAF G2:|
\n|:”^Cr”d|dBe c2 A|FDd c2 A|dBe c2 A|FDF G2:|<\/p>\n
X:95
\nC:Page 46
\nT:Seven Stars. MBe.95
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nT:Moon and Seven Stars. MBe.95, The
\nM:6\/8
\nL:1\/8
\nQ:3\/8=100
\nR:.Jig
\nN:NB-This note was written as a crotchet, and I’ve changed it to a dotted crotchet
\nK:D
\nd2 A A2 F|GAB A3|Bcd efg|fed cBA|
\nd2 A A2 F|GAB A3|Bcd efg|ABc “^NB”d3:|
\n|:e2 A A2 f|efa ~f3|efg fed|cde A3|
\nBGB AFA|BGB AFA|Bcd cde|Adc d3:|<\/p>\n
X:96
\nC:Page 47
\nT:Bang Upp. MBe.96
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:6\/8
\nL:1\/8
\nQ:3\/8=120
\nR:.Jig
\nN:NB-These two notes d notes were written as a crotchet and a dotted crotchet. I have swapped them round.
\nK:D
\nA|d2 d f2 f|a2 a f2 d|g2 e f2 d|cde ABc|
\nd2 d f2 f|a2 a f2 d|g2 e f2 d|cBA d2:|
\n|:A|F2 A E2 A|F2 A d2 c|B2 d A2 d|G2 e cBA|
\nF2 A E2 A|F2 A d2 c|Bcd ABc|”^NB”d3 d2:|
\n|:A|f2 e d2 c|B2 A G2 F|G2 A B2 e|dcB A2 A|
\nf2 e d2 c|B2 A G2 F|G2 B A2 F|GFE D3:|<\/p>\n
X:97
\nC:Page 47
\nT:Miss Jane Bruce’s Jigg. MBe.97
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:6\/8
\nL:1\/8
\nQ:3\/8=100
\nR:.Jig
\nK:D
\nA\/G\/|FAd dcd|Adf fef|afd afd|cee e2 A\/G\/|
\nFAd dcd|Adf fef|afd gec|ddd d3:|
\n|:f\/g\/|afd dcB|ABA A2 A|gab afd|cee e2 f\/g\/|
\nafd cBe|dce a2 g|f\/g\/af gec|ddd d3:|<\/p>\n
X:98
\nC:Page 48
\nT:Salt Fish and Dumplins. MBe.98
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:C
\nL:1\/8
\nQ:1\/2=100
\nR:.Reel
\nN:Someone has written in a different hand “Salt Fish” above the title, presumably to clarify.
\nK:G
\nB\/A\/|G3 A B3 c|d3 f dBAG|c3 e dcBG|FGAB A3 B|
\ncBcd efge|dBAG {G} F2 ED|GBAc BdAc|B2 G2 G3:|
\n|:ge|dBGB d3 e|dBGB d2 cB|cBcd efga|f2 d2 d2 cB|
\ncBcd efge|dBAG {G} F2 ED|GBAc BdAc|B2 G2 G3:|<\/p>\n
X:99
\nC:Page 48
\nT:New Rigg’d Ship. MBe.99
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:6\/8
\nL:1\/8
\nQ:3\/8=100
\nR:.Jig
\nN:I expected an ‘A’ note here, but a ‘G’ is written.
\nK:D
\nA|d2 d ~d2 f|d2 d ~d2 f|ecA A2 c|ecA ABc|
\nd2 d d2 f|d2 d ecA|B>cd ecA|d3 d2:|
\n|:f\/g\/|a2 f a2 f|d2 ~d dfa|b2 g b2 g|e2 ~e efg|
\na2 f a2 f|d2 d ec”^NB”G|B>cd ecA|d3 d2:|<\/p>\n
X:100
\nC:Page 48
\nT:Paddy Whack. MBe.100
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:6\/8
\nL:1\/8
\nQ:3\/8=100
\nR:.Jig
\nN:See also a 4 part version of this tune on page 26
\nN:The last 2 bars of the A part, and the B part are on page 49.
\nN:Page 49 is torn, so the B part is incomplete.
\nK:G
\nD|GBd gfg|edc BAG|GBd gfg|fdd def|
\ngfg fdB|cec dBG|GBd cAc|BGG G2:|
\n|:d\/c\/|BBB ccc|dBA ~A2 G|Bcd efg|fdd def|
\ngfg fdB|GBd:”>torn page”yyyy|<\/p>\n
X:101
\nT:Horse and away at Newmarket. MBe.101
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nT:Horse and Away to Newmarket, aka. MBe.101
\nM:6\/8
\nL:1\/8
\nQ:3\/8=100
\nR:.Jig
\nN:The page is torn and the music is incomplete.
\nK:Ador
\ng|edc BAB|GBG B2g|edc BAG|cAB c2g|edc BAG|GBG B2G|cde gdB|ABA c2:|\\
\n|:g”>page torn”:
\nAAa f2g|GGc BBg|Ggd B2G|cde gdB|ABA c2:|\\
\n|:e|ggd eec|ddG B2G|ffd eec”>page torn”:
\ncde 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”:<\/p>\n
X:102
\nT:Kiss my Lady. MBe.102
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:6\/8
\nL:1\/8
\nQ:3\/8=100
\nR:.Jig
\nN:The page is torn and the music is incomplete. Key sig lost.
\nK:None
\n:”>page torn”yyyyd2 B3A|G2A d2e| g2e d2f\/g\/|abg fge|dcd B2A|G2Ad2e|f2d d2:|
\n|:c’|d’2d f2d|d’2d f2d|c2e efe|\\
\n:”>page torn”yyyyd|A2d f2d|f3 d2:|
\n|:g|fga b2b|f2a b2a|b2a g2f|ecA A2g|fga b2b|f2a b2a|b2a b2c’|d’2d d2:|<\/p>\n
X:103
\nT:? Eye. MBe.103
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:4\/4
\nL:1\/8
\nQ:1\/4=100
\nR:.Reel
\nN:The page is torn and the title and music are incomplete.
\nK:D
\n:”>page torn”yyy:ef dBBd|ABAF ABde|faef d2d:|
\n|:g|fa a2 gb b2|agfe dB B2|fa a2 gb b2|d’c’ba b2b2|
\n:”>page torn”yyy:ef dBBd|ABAF ABde|faef dd2:|<\/p>\n
X:104
\nT:Recovery. MBe.104, The
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:2\/4
\nL:1\/8
\nQ:1\/4=100
\nR:.Reel
\nN: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.
\nN:The page is torn and the title and music are incomplete.
\nK:D
\nAd Ad|e\/d\/e\/f\/ e2|agec|d\/c\/d\/e\/ d2|\\
\nAd Ad|e\/d\/e\/f\/ e2|agec|d2 d2:|\\
\nagec|d\/c\/d\/e\/”>page torn”:
\nd\/c\/d\/e\/ dA|GG G\/F\/E\/F\/|D2D2:|\\
\n|:ff\/f\/ ff|f3g|fedc “^sic”d\/c\/d\/e\/|ee\/e\/ ee|\\
\ne3f|”^sic”edcB Aa|agec”>page torn”:<\/p>\n
X:105
\nT:Bonniest Lass in all (?the world?). MBe.105, The
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:C|
\nL:1\/8
\nQ:1\/2=100
\nR:.Reel
\nN:The page is torn and the title and music are incomplete.
\nN:Harrison has a tune “Bonniest Lass of aw the World”
\nK:G
\nGA|B2D2E2G2|”^As written”cBAG E2DE|GG gd|ecef|gfed efgB|cBAG E2DE|G2g2 decd:”>page torn”|
\ndf|gfed efge|agfe fgaf|gfga agab|e4 defa|bage defB|cBAG E2DE|G:”^page torn”|<\/p>\n
X:106
\nT:12th of August. MBe.106, The
\nS:Matthew Betham MS, Towcett Cumbria, 1815
\nO:England;Cumbria;Towcett
\nZ:VMP – Hugh Taylor, 2012
\nM:6\/8
\nL:1\/8
\nQ:3\/8=100
\nR:.Jig
\nC:in margin ‘Matthew Betham Towcett’
\nN:The page is torn and the music is incomplete.
\nN:Someone has written, possibly in the same hand, “Matthew Betham Towcett”.
\nN:There is some other writing at the bottom of the page that I can’t interpret.
\nK:G
\nd|B2A B2A|GdB G2d|e2d e2f|gfe d2f|
\ngfe dcB|edc BAG|G2F A2:”>page torn”yyyy|
\nd|g2d e2d|efg d2d|g2d e2d|gfe d2d|
\ng2d e2d|efg d2d|g2d a2d|b3:”>page torn”yyyy|<\/p>\n
X:2
\nT: The Tip-Top
\nR: polka
\nM: 2\/4
\nL: 1\/8
\nK:Dmaj
\nM: 4\/4
\nFG |A2 A2 A2 B2 | F2 F2 F2 DE | F2 F2 F2 A2 | E6 EF |
\nG2 G2 G2 B2 | E2 E2 E2 EF | G2 G2 E2 A2 | D2 D2 D2 ||
\nBc |d2 B2 B2 Bc | d2 A2 A2 DE | F2 F2 E2 D2 | A2 A2 A2 Bc |
\nd2 B2 BA Bc | d2 A2 A2 EF | GF GB A2 c2 | d2 d2 d2 |]
\nK:GMaj
\nBc |d2 d2 ^cd e2 | B2 B2 B2 GA | B2 B2 Bc d2 | A6 AB |
\nc2 c2 cd e2 | A2 A2 A2 AB | c2 c2 AB d2 | G6 ||
\nef |g2 e2 e2 ef | g2 d2 d2 GA | B2 B2 AB G2 | d6 ef |
\ng2 e2 edef | g2 d2 d2 AB | cBAG F2 d2 | G6 |]<\/p>\n","protected":false},"excerpt":{"rendered":"
%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 … Continue reading BETHAM, Matthew ms ABC<\/span>