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TUNES 2017

[ Complete Tunes Index ]


DaphneMoonriseThe Parson in the SudsAn Dro and Laride  | Braye's Magott  | Marriage March from Central France  | Danza Dos Palillos  |  I saw the wolf, the fox and the weasel  |


Daphne

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A wonderful example of how versatile a simple tune can be, as a dance, song and concert piece.
The dots are from Playford Dancing Master First edition 1651, most certainly an Elizabethan era tune and dance, possibly originally a pavane, even attributed to John Downland, or his peers. It also appeared in the 1644 edition of Der Fluyten Lust-hof by Jacob van Eyck, a dutch carillon player who produced three editions of this book with variations on well known melodies for solo recorder over two octaves.

Played by Frans Bruggen
Original Score available here
There are lyrics for it under the name "When Daphne from Fair Phoebus Did Fly". Song

				When Daphne from faire Phoebus did flie, 
				The West winde most sweetly did blow in her face: 
				Her silken Scarfe scarce shaddowed her eyes,  
				The God cried, O pitie, and held her in chace, 
				Stay Nimph, stay Nimph, cryes Apollo, 
				Tarry, and turn thee, Sweet Nimph stay, 
				Lion nor tyger doth thee follow: 
				Turn thy faire eye and look this away. 
				O turn O prettie sweet, 
				And let our red lips meet: 
				Pittie O Daphne, pittie O pitty me.  
				Pittie O Daphne pittie me.

				She gave no eare unto his cry, 
				But still did neglect him the more he did mone; 
				He still did entreat, she still did denie, 
				And earnestly prayes him to leave her alone.  
				Never never cryes Apollo, 
				Unlesse to love thou do consent: 
				But still with my voice so hollow, 
				Ile crie to thee, while life be spent.  
				But if thou turn to me, 
				I will praise thy felicitie. 
				Pitty O Daphne, pittie O me,  
				Pitty O Daphne, pitty me.

				Away like Venus dove she flies, 
				The red blood her buskins did run all adowne, 
				H[is] plaintiffe love she now denies 
				Crying, help help Diana and save my renowne: 
				Wanton wanton lust is neare me. 
				Cold and chaste Diana aid,  
				Let the earth a virgin beare me: 
				Or devoure me quick a maid: 
				Diana heard her pray, 
				And turned her to a Bay. 
				Pittie O Daphne, pittie, O pittie me,  
				Pitty O Daphne, pittie me.

				Amazed stood Apollo then, 
				While he beheld Daphne turn'd as she desired, 
				Accurst I am above Gods and men,  
				With griefe and laments my sences are tired. 
				Farewel false Daphne most unkinde, 
				My love is buried in this grave, 
				Long have I sought love, yet love could not finde. 
				Therefore is this my Epitaph 
				This tree doth Daphne cover, 
				That never pitied lover,  
				Farewell false Daphne, that would not pittie me, 
				Though not my Love, yet art thou my Tree.

Happy Playing, David Jacobs

notation: Daphne

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Moonrise

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I only know this tune from playing for Ragged Morris around Brisbane, It appears to have been imported by Joyce and Eric from their side Wild Morris in the UK.
The dancers are not your normal hanky and cricket whites, but from a way rougher and wilder tradition known as "bedlam" Morris based loosely on the "Border" tradition from the English side of the Welsh border, Shropshire, Herefordshire way.
Border dances traditionally dress in coats made of strips of different materials or tatter coats, heavy boots and usually masks or face paint.
So if anyone ever reads or plays this tune and knows more about it do let me know, no prizes except we can play it at the next session in a key of your choosing.

This is link to a Tassie side The Mad Tatters dancing and playing it, an alter ego for The Mad Hatters Morris side.
The Mad Tatters dancing

Happy Playing, David Jacobs

notation: Moonrise

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The Parson in the Suds

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Two slightly different versions of the same tune, The originals can be viewed here: Yarker's MS, 1797, Cumbria Yarkers1797/5234/p7 Rev.R.Harrison's MS, c1815,Cumbria Harrison/18473/p76 This is the second submission in a sometimes series of parson’s tunes. All editions of this tune is in personal, handwritten manuscripts, and from the same area, Yarkers circa 1797 being the earliest, The second variant is from Rev Harrisons’ circa 1815. It would seem possible that they may have played the tunes socially, in what we’d call a session, then take them home. Alternately they may have been taught the tunes by their music teacher? Without empirical evidence we will never know the circumstances how these tunes were played or communicated.

Happy Playing, David Jacobs

notation: The Parson in the Suds

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An Dro and Laride

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Two Breton dance tunes from Brittany in the North West of France. These dance tunes are simple yet open for so much elaboration and improvisation..yet keeping the same rhythm, and essential playing for dancers. These tunes are often sung, always by two people, alternating between parts and repeats. The dances are circle or line dances, linking little fingers, no need for a partner…often the dancers will sing a chorus to the tune, that soon turns into to complex harmonies along the lines. For Peter Thornton, friendship, is a quality, not a quantity. A wonderful musician, with a joy for music, these two we almost had in common, going to miss you at the festivals… I hope they let you play your melodeon up there!

Happy Playing, David Jacobs

notation: An Dro and Laride

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Braye's Magott

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From Thomas Bray’s Country Dances 1699 p26. The Original can be found: HERE

Magotts were a popular type of tune, often defined as something that was not definable, however the style has stayed on in the colloquial music term as "an earwom" or a tune that gets stuck. We know little of Bray except for this early published book of country dances. Being a dance book the tunes also have their dance steps included. Most of the tunes are in two parts, if you look at the original you can see the Bass line is printed upside down. The treble and bass players would sit on opposite sides to read their respective parts, negating the need to purchase or print separate parts. It can also be assumed the music was on a flat table not on a music stand.

Given the name it can be assumed this was one of Bray(e)’s own compositions rather than a "collected" example. It should also be noted the print is not the "modern" type, but individual notes, it was not until several years later moving type allowed music to be printed as we see today.

Happy Playing, David Jacobs

notation: Braye's Magott

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Marriage March from Central France

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First came across this wonderful 6/8 jig in Mel Stevens 1987 Massif Central Tune Book Vol 1, around the same time Blowzabella also put it in their first tune book.
The original source is a 1979 album Vielleux du Bourbonnais, of hurdy gurdy and bagpipes. This tune is the third one of this set at about 2 minutes HERE

A wonderful way to celebrate with youse all, me and Katia getting married in May.

Happy Playing, David Jacobs

notation: Marriage March

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Danza Dos Palillos de Anceu

Two Stick Dance from Anceu

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As it's almost Mayday I thought I'd put in an almost Morris Tune. Long before the predominantly male folk of the Cotswolds donned their whites and baldricks while brandishing sticks or hankies, the women and men over the sea in Galicia, Northern Spain were brandishing two sticks in mixed sets and doing this HERE Very much like Morris dances in England, there are slight variations in the tunes and dances from village to village. The tune below is correct in it's own right, but from the Youtube there is an A part.\

The Source for this version is from Os Segedos da Gaita, the text book and tune book for the Galician Bagpipe College in Ourense Spain.

For playing on instruments without the lower C# play it up an octave.

Happy Playing, David Jacobs

notation: Danza Dos Palillos de Anceu

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J'ai vu le loup, le renard et la belette

I saw the wolf, the fox and the weasel

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This month another tune and song from the Cajun, Breton and Central French traditions. The theme can be dated back to the 15th Century in France. I first learnt it as a dance tune for pipes ' and hurdy gurdy off a dance troupe from the Berry region in Central France. I was surprised later ' dancing to it played as Cajun two step.

This clip of Balfa Tourjours playing a stonking cajun version in A: HERE

Lyrics in French and English
Chorus :
J'ai vu le loup, le renard et la belette
J'ai vu le loup et le renard danser
J'ai vu le loup, le renard et la belette
J'ai vu le loup et le renard danser
 
Je les ai vue taper leurs mains
Je les ai vue taper leurs mains
Je les ai vue taper leurs pieds
Je les ai vue taper leurs pieds
(Chorus 2x)
Je les ai vue qu'ils s’embrassaient
Je les ai vue qu'ils s’embrassaient
Je les ai vue qu'ils se caressaient
Je les ai vue qu'ils se caressaient
(Chorus 2x)
Je les ai vue avec une enfant
Je les ai vue avec une enfant
Merci bon dieu c'était pas la mienne
Merci bon dieu c'était pas la mienne
(Chorus)
Chorus:
I saw the wolf, the fox and the weasel
I saw the wolf and the fox dancing
I saw the wolf, the fox and the weasel
I saw the wolf and the fox dancing
 
I saw them tap their hands
I saw them tap their hands
I saw them tap their feet
I saw them tap their feet
(Chorus 2x)
I saw them kissing
I saw them kissing
I saw them stroking
I saw them stroking
(Chorus 2x)
I saw them with a child
I saw them with a child
Thank you god it was not mine
Thank you god it was not mine

Happy Playing, David Jacobs

notation: wolf, fox, weasel

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