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Men of Wight

Musicians’ handbook

Listings of tunes for the Men of Wight’s repertoire plus guidance notes for musicians developing the skills of playing for dancing

Version 3.2

February 2016

Index:sortedbyTradition,thentunetitle:

1 Adderbury BlackJoke2 Adderbury BluebellsofScotland3 Adderbury ConstantBilly4 Adderbury Ladsa’Bunchum5 Adderbury Landlord(FlowingBowl)6 Adderbury Postman'sKnock7 Badby BroadCupid8 Badby Trunkles9 Bampton BonnyGreen10 Bampton HighlandMary11 Bampton NuttingGirlJig12 Bampton RoseTree13 Bampton Shepherd'sHey14 Bledington Cuckoo'sNest15 Bledington IdburyHill16 Bledington Ladies'PleasureJig17 Bledington LumpsofPlumPuddingJig18 Bledington OldWomanTossedUp19 Bledington Skirmishes20 Bledington Trunkles21 Bledington William&Nancy22 Bledington YoungCollins23 Brackley JockietotheFair24 Brimfield BrimfieldStickDance25 Bucknell Queen'sdelight26 Bucknell RoomFortheCuckoo27 Bucknell SaturdayNight28 Ducklington JockeytotheFair29 Ducklington LollipopMan30 Ducklington OldTaylor(OldTyler)31 Ducklington PrincessRoyal32 Evesham FannyFrail33 Eynsham CockoftheNorth34 Fieldtown BalancetheStraw35 Fieldtown BanksoftheDee36 Fieldtown DearestDicky37 Fieldtown LassofRichmondHill38 Fieldtown NuttingGirl(jig)39 Fieldtown Signposts(Shepherd'sHey)40 Fieldtown Valentine41 Headington ConstantBilly42 Headington LaudnumBunches43 Hinton Shooting44 Ilmington MaidoftheMill45 Lichfield Abnalls46 Lichfield Castlering47 Lichfield Ringo'Bells48 Lichfield Sheriff'sRide49 Lichfield VandalsofHammerwich50 Longborough SwaggeringBoney51 MenofWight ElusiveSquirrel52 MenofWight FourCross53 MenofWight NineMan'sMorris54 MuchWenlock NotforJoe55 Sherbourne Goand'ListforaSailorJig(MoW)56 Sherbourne Goand'ListforaSailorJig(Trad)57 Sherbourne OrangeinBloom58 UptononSevern StickDance59 Wheatley Wheatleyprocessional

GuidancenotesforthemusiciansMorrisismainlyabouthavingfun,andthisappliestothemusiciansaswellasthedancers.Ofcoursethemusiciansarefar,far,moreimportantthanthedancers(butdon’ttellthemthat,theywillgetpetulant).Soit’sincumbentonthemusicianstogetthetunesright,sothattheycanthenrelaxandenjoythespectacleunfoldingbeforethem.

Gettingthemusicrightisnotjustaboutlearningthetunes;it’saboutmakingthetunesdanceable.Gettingthatskilladdsanotherdimensiontothemusicians’art.

HistoryoftheMorrismusicMorrishasalwaysusedspecifictunesforspecificdancesasfarasweknow.OnereasonisthattunesplayedforMorrishavetofollowthepatternandspecificsteppingtoeachdance,anddancestendtohavetheirowndistinctcharacters.LearningthesepeculiaritiesispartofthefunofMorrismusic.

Itappearsthattraditionaldancesides,i.e.thosethatwerearoundduringorbeforethe'1900’s,usedtunesthatwerewellknowntotheiraudiences;inVictorianEnglandthatwouldhavebeenmusichallsongsaswellastraditionaltunesforinstance.Ofcoursetuneswerenotreadilyavailableasnow,musicianswouldpickuptunestheyheardatfairsandinthepub,takethemhomeandtrytoreproducethemfrommemory.OftenthesetuneswereaddedtotherepertoireoftheMorrisside.

WhenMorrisdancesbecamenoteddowninearnestbythelateVictoriancollectors,thedancesandtunestheysawandheardwerethoseperformedataspecificpointintime.Moreover,Morriswasnota“standardised”activity,andteamsfromseparatevillageswouldnothaveevenrecognisedeachother’sdances.Onlywhenthecollectedmaterialwassanitised,altered,“improved”andthenpublisheddidweseethestylesandrepertoiresthatweknowtoday.

AsanexampleofthediversityofMorrisbeforestandardisationitisworthreadingtheintroductiontothe“EsperanceMorris”booksbyMaryNeal,againpublishedintheearly1900’s,wheresheexplainsthatdancersfromdifferentvillagesdidnotevenrecognisethedancesandsteppingfromadjacentvillagesasbeingMorris!

ThankfullyMorristodayisdoingwhatithasalwaysdone,thatistoevolve.MostCotswoldMorrisisperformedbyalargenumberofteamswhohavelearnedfromthestandardisedmaterialsuchastheMorrisBookspublishedbySharpandMacIlwaineintheearly1900’sandmorerecentlymighthaveused“TheBlackBook”compiledbyFrancisBaconandpublishedbyTheMorrisRing,soitisimportantthatMorrismusiciansareabletoplaythestandardtunesinthesamestyleasalltheotherMorrissides.ThisgivestheMorrismusicianalargerchallenge,astheyhavetoplaytotheirownsidewhichmayhaveevolvedtheirdances,re-interpretedtheoldpublicationsorinventednewones,butalsobeabletoplaywithothersides.

LearningtunesItisbestthatthebasicsofatunearefirstlearnedinthequietofone’sownroomorwithfellowmusicians.Gettingthetunerightisthefirststep,butthemusicisanintegralpartofanyMorrisperformance,sopracticenightsareaboutintegratingthemusicwiththedance.Thedancersandmusicianshavetopracticetogethertoperfecttheperformances.

Don’tgotoyourteamspracticenighttolearntunes;thereisnothingworsethanmusiciansdesperatelytryingtolearnatunewhilethepoorforemanisshoutingabovetheirnoisetotrytoteachthedance.Ofcoursetheforemanisobligedtogivewarningofanynewdanceshewantstointroduce.

IpersonallyhavegreatproblemsinplayingMorristuneswithouttheteaminfrontofme.Asanex-dancerthephrasingofatuneisinextricablylinkedinmymindtothemovementsoflegsandarmsthatIrememberfrommydancingdays.

RhythmsMusicnotationintheusualtrebleclefstylegivesatbestonlyavaguecluetotheactualrhythmsandtimingneededforeachdance.Gettingtunes‘on-line’usingabcnotationisevenworse.Learningfromexperiencedmusicianswithgooddancersisalwaysthebestway.

CotswoldMorrisusescommonrhythms,thereel,themarch,thejig,andveryoccasionallythetriplejig.Toemphasisethepointmadeearlier,theserhythmsgiveonlyasmallcluetotheactualphrasingofthemusic.Forinstance,thesteppingofmostMorrisdancesisone-two-three-hop.Howeverinonetraditionatleastitisone-hop-three-four.Thisgivesadifferentfeeltothedanceandthemusichastofollowthisdistinction.Don’tdispair,thereareloadsoftuneswhichhavequitesimplerhythmsandthesearetheonestolearnfirst.

StartingandstoppingAdanceonlystartswhenthesetislinedupandtheleaddancer(usuallyinNo1position)givesanodtothemusicians.Don’tstartbeforethen.Hopefullyhewouldhavetoldthemusicianswhichdancetheyaredoinginadvance,butbepreparedtoask“whatareyoudoing?”sometimes.Inapublicperformancemakeajokeofthis,astheaudienceareexpectingsomethingtohappen.

InCotswoldMorris,themusiciansneverplayasthesetmovesonandofftheperformancearea.Theonlyexceptiontothisiswhenaprocessionaldanceisusedtogetthesideintotheperformancearea.

ThereareonlytwowaysofstartingatuneforMorris,theonetousedependsonthedance.ThefirstwayistoplaytheA-musicofthetunethroughonce;thedancersknowthisas“oncetoyourself”.Thesecondwayistogivetwoorthreenotesataslowtempo.Thisisalmostexclusivelyusedwhenthedancestartswithasongandthepurposeofthistypeofintroductionistogetthedancersintune.Atwo-notestartisalsousedforsomeLitchfielddances.

Itsquitepermissibletoendthelastphraseofthetuneinaslightlydifferentway,e.g.asarunofascendingnotesprovidedyoukeeptothetempo.Thelastnoteorchordshouldbeextendedonlyslightly,DONOTplayasequenceoftrillsoranyothertypeofembellishmentasyoumightinatunesession.

Thedancerssignaltheendthedancebyremainingintheirlastposeforashorttimeafterthemusichasendedandwhiletheywaitfortheaudience’sapplause.Soitisthedancerswhoendthedance,notthemusicians.

SequencesIncommonwithsocialdancing,thetunesusedforMorrisareusuallymadeupofseveralparts,usuallyreferredtoastheA-music,theB-music,etc.Thesequenceofthesepartsfollowstheformatofthedance,soforinstance,intheusual6-mandances,theremaybe“figure”and“chorus”movements.Thenumbersofchorus

movementswilldependonthedanceandcanbetwoorthree.Soatypicalsequencemightbe2A.2Bor2A.3B.

SlowsAnotherpeculiarityofCotswoldMorrisisthatsomefiguresaredancedathalf-speed(orthere-about).Thesemovementsareknownasthe‘slows’,andthetuneisusuallythestandardB-musicwithallorpartofitplayedathalftempo.Somedanceshaveadifferenttunefortheslowssotheyrequirea3-parttune,e.g(2A.2B)+(2A.2C)oraparticularrepetitionofpartstomakeupthesequence.

Thisisoneofthefactorsthathavetobelearnedbyplayingwiththedancersinpracticesessionswherethemusicianscanlearnthesequenceofthedance.

TempoThemostcommonproblemwithplayingfordancingisspeed.It’simportanttofirmlyfixinyourmindthatyouareplayingforthedancers,notforanaudienceinapub.Thespeedofadancesetsthecharacteroftheperformance.Speedwillneedtobevarieddependingonthevenue,largespacesneedslowertunessothedancerscanmoverfurtherforinstance.Alsotheabilitiesofthedancersneedtobeconsidered.

Younghealthydancersneedslowertunesastheyaremorelikelyforbeleapinghigherintheairandtravellingfurtherthanolderdancers.

Speedsforeachdanceneedtobeagreedwiththeteamatpracticenights.CotswoldMorrisalsorequiresthatthetempobeadjustedduringthedance;thereareseveralreasonsforthis.Individualdancersmayhavedifferentabilitiessocertainofthemoredifficultorathleticmovesmaybeexecutedatdifferentspeedstotherestoftheteam.Theterrainonwhichtheperformanceistakingplacemayhaveadifficultsurfaceanditmightbenecessarytocompensateforslipsandtripsthataffecttherhythmofthedance.

Itisinevitablethat,atleastinmyMorrisside,thatthedancersspeedupwhendoingstickclashing.Therearetwooptionsforthemusicians:firstlywecanignorethemandkeepplayingataneventempo,orsecondlywecanfollowtheirtempoduringtheclashing,butrevertbacktothe“proper”tempoforthenextmovement.Thethirdoptionistooawfultocontemplatebutitdoeshappen–themusiciansspeedupduringtheclashingbutcontinueatthattempo;thenextsetofclashingspeedsupevenmore!!!……andsoon.Theremaybemovementsinthedancethatrequirethedancerstoleaphighormakelargemovementsthatnecessitateanadjustmentoftempo.Whenhighleapsareinvolvedthebestmethodisforthemusicianstoobservethedancerandtimethebeatsofthemusictocoincidewiththemreachingthegroundagain.

Withasideofmixedabilitythiscanleadtooddchangesintempobutit’sbetterthanthewholesidegettingoutofstepwiththemusic.Directionstothedancersoftensayto‘leapashighasthemusictellsyou’.Realityisthatthemusiciansfollowthedancers.

LiftOnefeatureofCotswoldMorrisisthatthedancersspendagooddealoftheirtimeofftheground,inotherwordstheyareexpectedtostepandjumpwithoutdraggingtheirfeet.Tohelpthedancers,themusiciansmustlearntoaddlifttotheirmusic.Thisisanartthatisdifficulttoexplain,classicaldancerscallthistheanacrusis,atermalsousedinpoetry.Themainpointisthatthemusicdoesnot

placeheavyemphasisonthedown-beat,butforinstancethemusicbeatcouldbe‘and-one-two-three’.

Insometraditionsthedancersdescribetheirfirststepas“jumpingoveralog”onthe‘and’partofthebeat(theanacrusis).Unlessyouhavedanceexperiencethenthesetermsaredifficulttocomprehend,soIwouldalwaysrecommend,wherepossible,thatMorrismusiciansbecomedancersfirstsotheyobtainthemusclememoryofthebeatsandtempos.

Togivelifttomusic,oneontheweaponsinthemusician’sarsenalistoshapethenotesofatune.Shapingby,forinstance,cuttingnotesoffslightlyshortgives‘attack’sothatthenotesdonotflowintoadjacentnotes.Notesplayedinaflowingwaymaybegoodforaconventionalwaltz,butclippednotesgivelifttomusicwhenusedintheappropriatepointsofthetune.

JigsAjigisadanceperformedbyasoloMorrisman,orsometimestwo.Thejigisanopportunityforadancertoshowoff,sotheywillbedoingtheirbiggestcapersandwidestside-stepsandthisrequiresthemusictofollowthedancerveryclosely.Consequently,jigshaveaveryspecialrelationshipbetweendancerandmusician.Itisalmostmandatorythatasolomusicianplaysforajig.Asamusicianyoushouldlearnacoupleofjigtunes;thatwayyouwillgettheopportunitytoshowoffaswell.Ifyouareaskedtoplayforajig,andyouhavenotplayedforthatdancerbefore,makesureyourunthroughwiththemsomewherequietandawayfromtheperformanceareafirst.

Becauseoftheextrapressureonthedancerwhenperformingajig,theyaremoreliabletomakemistakes.Iftheydo,don’tstopthemusic,theymayrecoverquicklyandtheymaypickupthedanceagain,ortheymayimproviseforawhile.Aslongasyoudon’tstopthentheaudiencewillprobablynotnoticethatanythinghasgonewrong.

PlayingtogetherTheessenceofplayingasagroupofmusiciansistolisten.Thereshouldbealeadmusicianwhoseroleistosetthespeedandtempoofthemusicandtowatchthedancers.Theothermusiciansshouldfollowtheirleadatalltimesandthatmeansbeingabletoseeandhearwhattheyaredoing.It’sessentialtoplayasagroupandthatmeansstandingclosetogethersoyoucanlistentoeveryoneelse.

Ifyouplayinagroupit’snouseplayingatthebackbecauseyouarenotsureofthemusic.Ifyouarenotsureofthemusicthendon’tplay,youwilljustputeveryoneelseoff.Makeanoteofthetunesyouarenotsureofandlearnthemforthenexttime.

Thetimeforlearningisinyouowntime,thetimeforrehearsingwiththedancersisthepracticeseason,notduringaliveperformance.

PublicperformanceNormallythemusiciansdonotplayinbetweendances.InapublicperformancetheSquirewillbeannouncingdancestotheaudienceandgenerallykeepingsomechatgoing.Alsothetimesbetweendancesarewhenthecharactersoftheside(thefool,hobbyhorse,etc)entertaintheaudiencesotheydonotwantthemusiciansinterferingwiththeirperformances.

Howevertherearecircumstanceswhenanembarrassingsilencefallsandsomethinghastobedone.Themusicianscanoffertheirservicesattimeslike

this,butmakesuretheSquireandtheaudienceknowwhatyouaregoingtodofirst.Aboveallifyouenjoyplaying,thenthiswillreflectintheoverallperformanceandtheenjoymentofthedancersandtheaudiences.

MikeButler,Feb2016

1. Black Joke, Adderbury,MoW version

A(A2B)6 First and last clashes sing "Hi Ho Fiddle de Dee"= 120

A

86

B

2. Blue Bells of Scotland, AdderburyO.(AB)6

= 140O (music silent apart from 3 intro notes)

Oh Where and Oh where has m y High land las sie gone?Oh Where and Oh where has m y High land las sie gone?

1 2

44

A

B

Oh Where and Oh where has my Highland lassie gone?Oh where and Oh where has my Highland lassie gone?

3. Constant Billy, AdderburyO.A(AB)6

= 120O A

86

B

3

(Walking round) Oh! my Billy, my constant Billy, When shall I see my Billy again?Oh! my Billy, my constant Billy, When shall I see my Billy again?(Clashing) Billy again! Billy again! Billy again! Billy again!Oh! my Billy, my constant Billy, When shall I see my Billy again?

4. Lads a Bunchum, AdderburyO.A.(BC)6

= 160O 2 note intro A (singing, music silent)

G Em Am D D7 G

44

BG Em Am D D7 G G1 2

CC G Em C Bm Am Em D7 G

C G Em C Bm Em D7 G

Oh dear mother, what a fool I be!Six young Maidens came a-courting me.Three were blind and the others couldn’t see.Oh dear mother, what a fool I be!

5. The Flowing Bowl (Landlord fill...)

= 120A.(A.B)6.B last B faster

1st 2 notes slow 1st time

44

B

Landlord fill the flowing bowl, until it doth flow overCome Landlord fill the flowing bowl, until it doth flow over

6. Postman’s Knock, Adderbury(sing in D, dance in G)

O.(AB)6.B last B faster= 90

O Singing, 2 note intro then music silentD G D D A A7

86

D G D D Bm A7 D

A G C G Em D

G C G Em A7 D

G Em D

G C Am D D7 G

B G C G G D D7

G C G G Em D7 G

Every morning as true as the clockSomeone hears the postman’s knock,Every morning as true as the clockSomeone hears the postman’s knock

7. Badby Broad CupidA.(AB3)4

= 150A

42

1 2

B

8. Badby TrunklesMoW version of tune

A(A2B3C3)4.A2= 150

A

44

B

C

9. Bonny Green Garters, BamptonO.A4.BC A music repeated at Squire’s discression but last figure is a rounds to the A music,

= 70O (singing, long D note to start, then music silent)

86

= 75A 1 2

B

C

Here’s to the stocking, and here’s to the shoe, and here’s to the Bonny Green GartersA pair for me and a pair for you and a pair for the one who comes after

Notes: at start of C music musicians enter the centre of the rounds, play as many times as requested

10. Highland Mary, BamptonA.(AB2)4

= 160A

31 2

44

B3

11. The Nutting Girl, Jig, BamptonA.AB.(CB)2

= 150A

344

3

B

3 3

33

C Slows

3

12. The Rose Tree, BamptonNote: Banbury Bill and The Rose Tree are the same dance

A(AB3)3A= 140

A3

44

B

3

3

13. Shepherds’ Hey, BamptonA.A6.(BA)3 The B music covers the three corner figures

= 150A

22

B

14. Cuckoo’s Nest, BledingtonA.(AB)2.(AC)2.A Key: E Dorian

= 150A

44

B

C Slows

15. Idbury Hill, BledingtonA(AB)4

= 140A

44

B

16. Ladies’ Pleasure, Jig, BledingtonA.AB.(CB)2

= 85A 1 2

86

B

C Slows

1 2

17. Lumps of Plum Pudding, Jig, BledingtonAAB(CB)2

= 120A

86

B

C

83

86

83

86

18. Old Woman Tossed Up, BledingtonA.(AB)4

= 85A

86

B

19. Skirmishes, Bledingtontune: British Grenadiers

A.(AB)4= 160

A

44

B

20. Trunkles, BledingtonA.(AB3C3)2.(AB3D3)2.A

= 150A

22

B

C

D slows

42

22

42

22

21. William and Nancy, BledingtonA(AB)2(AC)2

= 120A

86

B

C Slows

2

22. Young Collins, BledingtonA.(AB)4

= 160A

22

B

23. Jockie to the Fair, BrackleyA.(A2B3)4

= 90A

86

B

24. Stick Dance, BrimfieldPete Flynn’s set

A.A8.(B.C.B C2.(BC)4.C : final C music played strongly and very slightly faster= 90

A (This Old Man)

44

B (Donkey Riding A)

C (Donkey Riding B)

Notes: Sequence: OY:Napping: Fig8 (Ho): N: Set: N: 8: N:Arming: (change tune) N: 8: N: HA (2 B’s): N: 8: N: Swing: N: 8: N: N

25. Queen’s Delight, BucknellTowersey Fair

A(AB3)4(AC3)2= 120

A

86

B

C

283

86

83

86

26. Room For the Cuckolds, BucknellA.(AB2)3.A

= 90A

86

B

27. Saturday Night, BucknellA(AB)6 for the 6-man version

= 130A

86

B

2

2

2

83

44

Notes: Timing of the 5th & 6th bar of the B-music not quite right but it’s as close as I can get.The sequence repeats for much longer when it’s dancedas a column dance, usually at a Ring meeting informal session

28. Jockey to the Fair, DucklingtonJig or set

A.(A3B)2.C3B= 90

A

86

B

C

42

41

83

86

42

41

83

86

Notes: Sort out the kick caper timings

29. Lollipop Man, DucklingtonO.A.(AB3)3.A First A walk round singing

= 150O A

44

B

Oh the lollipop man has a great big stick, he only charges a penny a lickHe gets it out whenever he can, he’s a dirty old bugger is the lollipop man

30. Old Taylor (Old Tyler), DucklingtonA.(AB3C3)2.(AB3D3).A

= 140A

44

B

C

= 240D Slows

= 140

31. Princess Royal, DucklingtonA(AB)2CB

= 130A

44

3

B

3

C

43

44

46

44

3

43

44

32. Fanny Frail, EveshamTrad.A.(AB)2.A.C2

= 170A

44

B

C

33. Cock of the North, EynshamA3BA2B2A2B3AB2

= 130A

86

B

Notes: note the unusual sequence of A’s and B’s

34. Balance the Straw, FieldtownA(AB)4

= 120A

86

B

35. Banks of the Dee, FieldtownPlay this lyrically with almost no down-beat

A(AB)2(AC)2:= 100

A

86

B

C Slows

2 2 2

22

2 2

36. Dearest Dicky, FieldtownA.(AB3)2.(AC3)2

= 80A

86

B

C

2 2 2 2 2

2 2

37. Lass of Richmond Hill - FieldtownO.(A.B.C)2.(A.B.D)2

= 160O Intro

44

A

B

C

D Slows (bars 5,6,7,8 slower for leapfrogs)

38. Nutting Girl (jig), FieldtownAAB(CB)

A

44

B

C

39. Signposts (Shepherd’s Hey), FieldtownA(A2B)4 Flowing style. The E note at the end of the A and B musics is held as long as the dancers require

= 120A

44

23

B

3

3 3

22

23

40. The Valentine, FieldtownA.(AB3)2.(AC3)2.A . Play smoothly

= 70A

86

B

C

2 2 2

41. Constant Billy, HeadingtonA(AB)4

= 120A

86

B

42. Laudnum Bunches, HeadingtonA(AB3)2(AC3)2

= 130A

86

B

C

89

86

89

86

43. Shooting, HintonA(A2B3A2)3A2

= 130A

89

B

44. Maid of the Mill, IlmingtonA(AB2)4A

A

86

B

45. Abnalls, LichfieldO.(AB)4.A2B

= 120O (Intro) A

86

B

3Notes: This dance was taught to us by Green Man sometime in the 1970’s.

It does not appear on any of the standard Litchfield lists of the "original"teams (Stafford or Green Man) and is not in the Black Book.We were told it was named after a Borstal type school and I’ve found that there was a Truant Schoolon Beacon Road, Lichfield at its junction with Abnalls Lane, which had a Morris team up to 1907.The assumption is that the dance was composed sometime after that dateThe tune under this name does not appear on any tune site so this is constructed from the way I’ve played it

46. Castlering, LichfieldO.A(AB)3A2B

= 80O A

42

B

47. Ring o’ Bells, LichfieldO(AB)2.A2B2 (Dancers hold position at end, music pauses then extra AB at end for dance-off)

= 85O A

1st 2 notes 1st time only42

B

Notes: For the 4-man version, the hey has only one A-music

48. Sheriff’s Ride, LichfieldO.(AB)4.A2B (2 notes intro)

= 140O (intro) A

44

B

49. Vandalls of Hammerwich, LichfieldO.(AB)4.A2B

= 160O A

1st 2 notes slow

44

B

50. Swaggering Boney, LongboroughA.(AB3)2.A (knock-out & revival before final A)

= 80A

86

B

51. The Elusive Squirrel, Men of WightMusic composed by M. R. Howley 2004

© Men of Wight MorrisO.(AB)3.AC= 80

O

86

A

B 1 2

C

Notes: The original music has a slows part which is not used in this dance

52. Four Cross, Men of WightFieldtown-style

Music Mike Howley© Men of Wight MorrisO.(AB)2.(AC)2.A

= 78O (intro)

86

A

B

C Slows

22 2

2

53. Nine-Man’s Morris, Men of WightBased on the Stanton Harcourt Tradition

A(AB)4A= 160

A

44

B

Notes: Devised March 1986

54. Not for Joe, Much WenlockThis is the country dance tune, B music differs from manuscript

(AB)8= 150

A

44

B

1 2

55. Go and ’List for a Sailor, Jig, SherbourneRick Jones’ variation of the tune

A.(AB)2.CB= 150

AEm G D

44

Em D Em

BEm G D Am

Em Bm D Em

C SlowsEm G D

Em D Em

Notes: For the tradiaitonal (and more boring) version see the next tune

56. Go and ’List for a Sailor, Jig, SherbourneTraditional version of the tune

A.(A2)2.BA= 150

AEm G D

44

Em D Em

B SlowsEm G D

Em D Em

57. Orange in Bloom, SherborneA(AB3)2(AC3)2A

= 40A

86

B

C note: play first 4 bars stacato for first set of corners and slow for the second set

44

86

58. Stick Dance, Upton-on-SevernA.(AB)6

= 90A

86

B

59. Processional, WheatleyA.(AB) (repeated for as long as necessary)

= 170A

44

B