Some of these tunes were collected from other sources and some were input by Norman Bradley <normanb@ix.netcom.com>
X:21
T:A Health to Betty
R:Jig
M:6/8
L:1/8
Q:110
K:GDor
G|G>AG ^F2D|B3 A2d|d>ed c2A|f (d2d2) e|fd2 B>cd|cA2 F2F|G>AG ^F2D|B3 A2||

X:65
T:A Souldiers life
R:Jig
M:6/8
L:1/8
Q:110
K:D
d|f>ga f>ed|e2c A2e|f>ga d>ed|e3-e2 e|f>ga f>ed|e2c A>GF|GAB A>Bc|d3-d2||

X:28
T:Adsons Saraband
R:Jig
H:John Adson (d. 1640) may have written the original music for the dance.
H:English-born, he began his career in France, but eventually joined the
H:English court band in 1625. He also played several instruments at the
H:Blackfriar's Theatre. In 1634 he was appointed music teacher to
H:Charles I.
M:6/8
L:1/8
Q:110
K:G
f2f e2d|fga e2d|cde fBc|dcB A2G|FGF FFA|Bcd c2B|Aef gBc|def e2d||

X:49
T:All a Mode de France
R:Jig
Z:1998 by Norman Bradley <normanb@ix.netcom.com>
M:C|
L:1/8
Q:110
K:DMix
a2|a2f2g2a2|f3ed2a2|a2f2g2a2|f6||f2|e2A2d2e2|f3ed2f2|e2A2d2e2|f6f2|e2A2d2e2|f2>e2d2a2|a2f2g2a2|f6||

X:711
T:All in a Garden Green
Z:1997 by John Chambers <jc@eddie.mit.edu> http://eddie.mit.edu/~jc/music/abc/ modified 1998 by Norman Bradley <normanb@ix.netcom.com>
M:C|
L:1/4
Q:120
K:G
d2dd|B>cdd|edcB|A3B|c>d e/2f/2g|G>A B/2c/2d|cBA/2G/2A/2B/2|G4||
dd/2d/2dd|efg2|BB/2B/2BG|ABc2|B>A G/2A/2B|c>B A/2B/2c|d>c B/2c/2d|e>d  c/2d/2B/2c/2|AGGF|G4||

X:76
T:An Old man is a Bed full of bones
R:Jig
M:6/8
L:1/8
Q:110
K:C
eeee2e|ecAc2c|d2cd2c|d2ef2d|eeee2e|ecAc2e|f2fe>dc|d2ef>ed||
eeee2e|ecAc2c|d2cd2c|d2ef2d|eeee2e|ecAc2e|f2f e>dc|d2e f>ed||

X:58
T:Argeers
T:The Wedding Night
H:No convincing explanation has been found for the title. The North
H:African territory of Algiers was much in the news in the 1660s.
P:AABC
M:C|
L:1/8
Q:110
K:D
defge2d2|c2A2A4|a2e2a3g|f2d2d4|defge2d2|c3de2A2|Bcd2cdef|d8||
cde2cde2|a2e2a2e2|cde2cde2|a2e2a2e2|a2gfg2ag|f2ede3A|Bcde cdef|d8||

X:73
T:Aye me
T:The Simphony
H:Symphony in this period means a harmony or concord, rather than a
H:specific musical form.
M:C|
L:1/8
Q:200
K:C
g4e4|d2BAG2AB|c2c2d2d2|e6ee|e2fga2cc|c2def2AA|BGe2d3c|c8||
A2ABc2Bc|d2G2G2ee|e2de efed|d6gg|a2eef2^ff|g2dcB2gg|a2e2d3c|c8||

X:51
T:The Bath
M:C|
L:1/8
Q:120
K:GMix
g3dg3d|gfedg2B2|c2A2d2d2|A4A4|GGGG GABc|ddded2B2|cdecd3c|B8||

X:5
T:The Begger Boy
R:Jig
H:The tune name may derive from the song "The Begger Boy of the North"
H:(c. 1630)
N:This tune is in the rare Phrygian mode--suggested chords are given
M:6/8
L:1/8
Q:90
K:APhry
AAAf2f|ec2d2c|AF2G2G|A2B cA2||
AAAf2f|ec2d2c|Ac2ede|fA2G3|
Acc e>dc|dfg/2f/2 efd|cAF G2G|A2B cA2||
W:From ancient pedigree, by due descent
W:I well can derive my generation
W:Throughout all Christendome, and also Kent
W:My calling is known both in terme and vacation
W:My parents old taught me to be bold
W:Ile never be daunted, whatever is spoken
W:Where e're I come, my custome I hold
W:And cry, Good your worship, bestow one token!
W:--Roxburghe Ballads

X:2
T:Blew Cap
R:Jig
H:Refers to the Scottish bonnet
M:6/8
L:1/8
Q:110
K:F
F|BBf bbd|c2BG2d|BBf ddf|c>fe f2:|
f|ddB ccG|F2d_e2g|ffd fga|bfd c2f|ddB ccG|F2d_e2g|ffd fga|bfd c2:|

X:4
T:Boateman
R:Jig
N:Alan Ramsey's song The Bonny Scot (1728) is set to this tune
M:6/8
L:1/8
Q:95
K:C
GE2G2G|GE2G2G|c2cB2A|d3D3|GE2G2G|GE2G2G|c2de2d|c3C3||
c2de2d|c2BA2G|F2FE2D|d3D2D|GE2G2G|GE2G2G|c2de2d|c3C3||
W:Ye gales that gently wave the sea
W:And please the canny, Boat-man
W:Bear me frae hence, or bring to me
W:My brave, my bonny, Scot-man
W:In haly bands we join'd our hands
W:Yet may this not, discover
W:While parents rate a large estate, Before a faithfu' lover

X:7
T:Bobbing Joe
R:Jig
M:6/8
L:1/8
Q:110
K:Am
A2ee2d|e>fg B>AG|A2B c>dB|Ae2A3||
Bd2G3|Bd2G2G|A2B c>BA|c>deA3||

X:74
T:broome, broome, The bonny bonny Broome
T:Broome
T:The bonny bonny Broome
T:The Broom of the Cowdenknows
H:The tune "The Broom of Cowdenknows" was listed in 1632 with a ballad
H:entitled "The lovely northern lasse", who in the ditty here
H:"complaining shews what harme she got milking her Daddies ewes."
H:Cowdenknows was a Scottish estate and barony on the east bank
H:of the river Leander, 32 miles SE of Edinburgh, close to the English
H:border. The broom, a shrub which blooms with spikes of small golden
H:flowers, once grew plentifully of its hillsides but was stripped away
H:for turnip farming in the 19th century.
M:C|
L:1/8
Q:200
K:G
d3e d3e|dcBA G4|g2ga bagf|e6f2|g3a b2ab|g2GA B2AG|A2A2 e3c|A8||

X:35
T:Cast a Bell
M:C|
L:1/8
Q:180
K:DDor
FG A2 f2ed|g2ed e2E2|FG A2 f2ed|dGFE F2D2||
FG A2 f2ed|g2ed e2E2|FG A2 f2ed|dGFE F2D2||

X:78
T:Cherily and merrily
R:Jig
M:6/8
L:1/8
Q:90
K:F
c/2B/2AF G/2A/2GD|F2F g2g|gec d/2e/2dB|c>ed/2e/2 c3||
cd/2e/2f dcA|G>AB/2c/2 d2c|cAF G/2A/2GD|F>AG/2A/2 F3||

X:26
T:The Cherping of the Larke
M:C|
L:1/4
Q:120
K:F
f2e d/2e2/|fFFd|cBAG|AFF2||
f>fee|[L:1/8] dfed c2 A2|Bcd2 cde2|d4 d4||

X:85
T:Chestnut
T:Doves Figary
H:The tune is reminiscent today of the first phrase of "God rest ye
H:merry, gentlemen", and is a folk tune of widest distribution, the "tune
H:of luck-visit songs, wassails, harvest suppers, may carols and their
H:parodies, 'chestnut' having feminine symbolism. The second title may
H:be expalined by Deloney's ballad of 1600 on Dove's roguery with the
H:women. Although it is an awkward fit, repeating the last words of some
H:lines might make it work.
M:C|
L:1/8
Q:180
K:Dm
d2a2g2f2|e3d ^c2A2|d2e2f2f2|g2 fg a4||
a2 ab c'2 ba|g2 ga b2 ag|a2a2a2 gf|g3b f4|
a2 ba bagf|g2 ag agfe|f2d2d2g2|e3f d4||
W:Welcome to town, Tom Dove, Tom Dove,
W:The merriest man alive
W:Thy company stil we love, we love,
W:God grant thee well to thrive
W:All never will depart from thee
W:For better or worse, my joy
W:For thou shalt still have our good will
W:God's blessing on my sweet boy

X:64
T:Chirping of the Nightingale
R:Jig
M:6/8
L:1/8
Q:110
K:G
g2g g>fe|f2g a>ba|g>ag g>fe|d2c BG2||
B>cd e2d|g2d BG2|B>cd e2d|g2d BG2|B>cd efd|g>fe dec|B>AB A2G|G3-G3||

X:19
T:Confesse, his tune
T:The Court Lady
R:Jig
H:Mr. Confesse was a court dancing master active in the early 17th
H:century..
M:6/8
L:1/8
Q:105
K:Gm
G2A B2c|d2d d2d|e3 d2d|g3 ^f3||
a2=f b2g|af2 d2e|fd2 c2d|dc2 d3|B2c d>ed|ed2 c3|d2g ^f2g|a^f2 g3||

X:79
T:The Countrey Coll
R:Jig
Z:1998 by Norman Bradley <normanb@ix.netcom.com>
M:6/8
L:1/8
Q:110
K:G
g2d gdG|B>cd e2d|efg fga|dge f2d||e3d2B|cde d2B|gd2 B>ce|gd2 B>ce|Aa2b2g||

X:67
T:Cuckolds all a row
R:Jig
M:6/8
L:1/8
Q:110
K:G
a2a a2g|f2g a2d|e2e f>ef|1 g3-g3 :|2 g3-g2B||
cdc BAB|A2A fef|g2d ed2|B3 G>AB|c>dc B>AB|A2A f>ef|g2d ed2|B3 G3||
W:Come bachelors and married men, and listen to my song
W:And I will shew you plainly then, the injury and wrong
W:That constantly I do sustain through my unhappy life
W:The which does put me to great pain, by my unquiet wife

X:30
T:Daphne
R:Jig
H:An early 17th century song retells Ovid's myth of the pursuit of
H:Daphne, who was turned into a laurel tree to prevent violation by
H:Apollo. Bernini's spectacular sculpture of the moment of Daphne's
H:transformation had been created in Tome in 1622-24, the subject being
H:popular in baroque art. Apollo was also known as Phoebus.
M:6/8
L:1/8
Q:100
K:Dm
D|:F2G A2d|c>de d2 A/2B/2|cAF GEC|1 DFE D2 D:|2
DFE D3||f2f e2e|d>ed cA2|c>BA G2F|FE2 F3||ccd cAF
|cd/2e/2f gec|A>GF E2D|ddc dAA|c>BA GDF|E>FG D3||
W:When Daphne from fair Phoebus did fly
W:The west wind most sweetly did blow in her face
W:Her silken scarf scarce shadowed her eyes
W:The God cried, O pity! and held her in chace
W:Stay, Nymph, stay, Nymph, cries Apollo, tarry and turn thee, Sweet Nymph, stay
W:Lion nor Tiger doth thee follow, turn thy fair eyes, and look this way
W:O turn, O pretty sweet, and let our red lips meet
W:O pity me, Daphne, pity me,
W:&c.
W:--Chappell

X:59
T:Dissembling Love
R:Jig
M:6/8
L:1/8
Q:90
K:Dm
D|D2E F2G|A3 A2d|c2A B2G|A3 A2||
B/2c/2|d2A AB2|c3 F>GA/2B/2|GAF/2G/2 E> DE/2F/2|D3 D2||

X:39
T:Drive the cold winter away
R:Jig
M:6/8
L:1/8
Q:110
K:Dm
D|F>ED A2d|c>BA f2F|G2A B>cB|A3-A2||
d|c>BA c2c|B>AG B2B|A>GF E2D|f3-f2d|c>BA c2c|B>AG B2B|A>GF E>DE|D3-D2||

X:81
T:Dull Sir John
R:Jig
M:6/8
L:1/8
Q:120
K:GDor
G2^F G2A|B>AB cAF|B2A B2c|d3 d2c|d2c d2e|f>gf F2B|A2B c>dc|B3 B3||
d2c d2e|f>gf F2B|A2B cd=B|c3 c2f|d>cd c2A|Bb2 a2d|d2g g>a^f|g3 g3||

X:46
T:Faine I would
T:The King's Complaint
T:Parthenia
R:jig
H:Original instructions:"As at Oxford" Having lost London to Cromwell,
H:Charles I convened a royalist parliament in Oxford in 1644. A
H:supporter of Charles I, John Playford continued a royalist at heart and
H:again served as printer to the king at the restoration of Charles II.
P:AABB
M:6/8
L:1/8
Q:90
K:GDor
g3 ^f3|g3 b3|a2g g>ag|f3-f2 d/2e/2|f>gf ed2|c3 d3|c2B B>cA|B3-B2||
F|F2G A2B|c3-c2 A|d2c B>cd/2e/2|f3-f>gf|ed2 c2B|A3 b3|a2d g>a^f|g3-g2||
W:Faine I would, if I could
W:By any means obteine
W:Leave of my best
W:Masters to sit with them againe
W:But my blest Parliment
W:Will never give consent
W:They say tis such a thinge
W:For the worst of them's a Kinge
W:Wee will rule still
W:In spight of Cavalieres
W:O brave house of Commons
W:O brave house of Peeres
W:Religion you have pull'd downe
W:And soe you have the crowne
W:My laws & Kingdome too
W:I think the Devill's in you
W:Else you'll not endure
W:Such a constant flood
W:All of childrens teares
W:And theire dead Fathers blood ...

X:33
T:The fine Companion
R:jig
P:AABB
M:6/8
L:1/8
Q:110
K:Dm
d2f dda|c>de f>ed|a2g aag|ae2-e2 d|eee e2d|c>de A2e|f2d c>de|1 d3 f3:|2 d3 f2d||
cAA e2d|cAB A2e|fde fde|f3 g3|aaa c>de|ffe fda|ccd eca|d3 f3||

X:84
T:The Fryar and the Nun
M:C|
L:1/4
Q:140
K:D
dddd|d3d|eecd|e3g|fddd|dd2d|cAAB|=c3c|
|BGGA|B>cdd|AAFG|A3=c|BGGA|B>cdd|cde>d|d4||

X:96
T:Gathering Peascods
N:
N:J.Barlow p.22 #27
N:Barnes (in A)
N:Playford (in G)
N:Keller p.38 (in A)
N:Karpeles p.12 (in A)
N:Raven p.22 (in A)
O:1650
Z:John Chambers <jc@eddie.mit.edu> http://eddie.mit.edu/~jc/music/, 1998 redone in G by Norman Bradley <normanb@ix.netcom.com>
P:Play 3 times
M:C|
L:1/4
K:G
d2dd|B>cdd|edcB|A3B|AGGF|1 G4:|2 G3G
|:FDFG|A2BA|G/2A/2 BAG|F3F|EDE>D|1 D3G :|2 D3d||
BGG A/2B/2|c3c|BGG A/2B/2|c3d|BGG A/2B/2|c>de d/2c/2|B c/2B/2 A>G|1 G3d :|2 G3 z||

X:94
T:The Glory of the West
M:C|
L:1/8
Q:160
K:Gm
BABA G2G2|AGAG F2F2|B2 AB c2 Bc|d2 AB G2G2||
dcdc B2fe|dedc B2B2|f2fg c2c2|f2fg c2c2|g2ga f2fg|d2cd B2B2|
f2fg d2cB|cBAG F2F2|B2 AB c2 Bc|d2 AB G2G2||

X:52
T:Goddesses
M:C|
L:1/8
Q:120
K:GDor
G2G2 B2AG|A2A2 c2BA|G2G2 B2AG|d2d2 d4||
f2d2 B3d|c2A2 F3A|B2G2 F3A|G2G2 G4||

X:1031
T:Graies Inne Maske (part 1)
M:C|
L:1/8
Q:120
K:DDor
d2 de f2d2|a2A2 A4|A2 AB c2A2|d2d4d2|F3F G3G|ABcB A3A|Bcde f2 e2|d8||
defg a2a2|g2f2 e4|d2d2 c2B2|A8||
c2A2 e4|f2d2f4|e3f g4|f8||

X:1032
T:Graies Inne Maske (part 2)
R:Jig
M:C|
L:1/4
Q:120
K:DDor
f2ed|c4|a2gf|e4||^fffd|^fgaa|bbag|^f4:|
M:6/8 L:1/8
d|d>ef f>ga|A3 A2A|A>Bc c>de|G3 G2G|G>AB B>cd|F3 d2e|f>ga/2g/2 fe2|d3 d2||

X:16
T:Greenwood
R:Jig
M:6/8
L:1/8
K:GDor
f2f f2c|d2c A3|B>cd d>ef|g2f e2d|f2f f2c|d2c A2f|e2d c>BA|B3 G3||

X:14
T:Grimstock
R:Jig
H:The A strain appears titled "CLIV Courante" in Michael Praetorius's
H:"Terpsichore" (1612).
N:Playford in G
N:Playford Ball in A
O:Cecil Sharp, 1911
P:(AAB)3
M:6/8
L:1/8
Q:96
K:G
g2f g2d|e>fg f2d|B>cd e2d|cdB c2B|g2f g2d|e>fg f2d|
B>cd e2d|c>BA G3||GGA BGA|BGA BGA|GGA BGA|BGA G3||

X:40
T:The Gun
R:Jig
M:6/8
L:1/8
Q:110
K:Bb
B2B A2F|B3 c3|d2d c2A|d3 e3|f2f g2f|fe2 f3|d2e f>gf|e2d d3||
f2d f2g|f2e e3|c2A B>BA|G2F F3|A2F B2c|d2e f3|d2c dB2|e2f g3|d2e f>ed|c2B B3||

X:43
T:Halfe Hannikin
R:Jig
M:6/8
L:1/8
Q:110
K:G
B>cd d2c|B>cB A2G|B>cd d>cB|A>GF G3||
B3 c3|B3 A2G|B>AB c2B|A>GF G3|B>AB c>Bc|B>AB A2G|B>AB c2B|A>GF G3||

X:38
T:Have at thy Coat old woman
M:C|
L:1/8
Q:180
K:GMix
Bc|d3B d3B|c2A4 Bc|d3c B3A|B2G4 ef|gfed edcB|c2A4 Bc|d3c B3A|B2 G4||

X:55
T:The Health
T:The Merry Wasel
H:Chappell cites a song which certainly fits the title. Probably
H:originally from a play, it has a number of specific personal
H:references. The reference to Wickham may be a seafaring one, as that
H:village is very near Portsmouth, a major port, particularly for
H:military operations.
M:C|
L:1/4
Q:180
K:G
B/2c/2|dd d>c|B G2 c/2d/2|ee B>c|d3 A/2B/2|cc BA|B2AG|AB A>G|G3||
W:Come, faith, since I'm parting
W:And that God knows when
W:The walls of sweet Wickham I shall see again
W:Let's e'en have a frolic, and drink like tall men
W:Till heads with healths go round
W:Till heads with healths go round

X:54
T:Hearts Ease
R:jig
H:There are two distinct tunes named "Heartsease" and considerable
H:differences of opinion as to whether any of the known lyrics fit either
H:of them. The earliest lyric is "a songe to the tune of hartes ease"
H:from Thomas Richardes' play on an Italian model, called "Misogonus" (c.
H:1560). Although it scans well, the text is arranged in short verses
H:which would only use half the dance tune, implying that an earlier tune
H:by this name may have had only one strain.
H:
H:Richard Dering's catch "Cries of London" is set to the A strain.
H:
H:Hearts-ease in 16th century herbal culture was the little wild pansy, known
H:today as Johnny-jump-up. It was also called "Love in Idleness".
P:AABB
M:6/8
L:1/8
Q:100
K:GDor
G|G>AB A2G|^F2G A2D|G2A B2c|1 d3-d2 :|2 d3-d2 d||
ABc cdc|f2c c2A|B2A Bc2|d3-d2 d|c2B A>Bc|B2A dAB|A2G ^F>EF|G2||
W:Misogonus:
W:Singe care away with sport & playe
W:Pasttime is all our pleasure
W:Yf well we fare, for nought we care
W:In mearth our constant treasure ...
W:
W:Dering:
W:A cooper I am, and have been long, and hooping is my trade
W:And married man am I to as pretty a wench as ever God hath made

X:91
T:Hide Parke
R:jig
H:This short-lived dance may be associated with Shirley's popular play
H:"Hide Park" (1637), which contained a wedding scene with dancing. In
H:1668, Pepys attended a revival which included live horses brought on
H:stage, probably for the race scene in the fourth act. He was not much
H:impressed and considered it "a very moderate play".
P:AABB
M:6/8
L:1/8
Q:110
K:D
fga afd|fga e2d|fef gaf/2g/2|ae>d d3||
e>fe ecA|ABc cde|def fga|aga f>ed|efg g>ag|efg e>dc|dde ffg|ae>d d3||

X:18
T:Hit and misse
R:Jig
M:6/8
L:1/8
Q:100
K:C
c2d ecA|G>AB/2c/2 dBG|e2f gec|fdB cGE||
ccc cd/2e/2f|e3 e>dc|B>cd d>ef|g3 e2c||
ed2 B2G|gf2 e2c|e2d f2e|g3 e2c||

X:82
T:Hockley in the hole
R:Jig
M:6/8
L:1/8
Q:100
K:GMix
dBG dBG|g2e c>de/2f/2|dBG dBG|1 d2B G3:|2 d2B G2G|:
GAG G2B|ABA ce2|dBG GAB|1 A2G G2G:|2 A2G G2 z||

X:27
T:If all the World were Paper
R:jig
M:6/8
L:1/8
Q:110
K:C
G|A2G A2B|c3 C3|E2D E2F|G3-G2 E|F2E F2G|A2F D2c|d2G A2B|c3-c2||
W:If all the world were paper and all the seas were ink,
W:And all trees were bread and chease what would we have to drink.
W:If all the bottles leaked and none but had a crack,
W:And spanish apes ate all the grapes what would we do for sack.

X:48
T:The Irish Lady
T:Anniseed-water Robin
R:Jig
M:6/8
L:1/8
Q:100
K:DDor
def efg|c2c c2d|e>fe/2d/2 cde/2d/2|1 cAA A3:|2 cAA A2G||
FFF F>ED|fff f>ed|e2f g>fe/2f/2|d2A d3||

X:45
T:Irish Trot
M:C|
L:1/8
Q:180
K:Em
efgf e2B2|defe d2cd|eedc B2d2|G2A2 B4|Bcde dBG2|FGAB AFD2|EFGA B2e2|defg e4||

X:63
T:Jack a Lent
M:C|
L:1/8
Q:150
K:G
d4 d2 cB|AGAB c2 BA|G2G2G2g2|f4e4||
B3c d2 cB|AGAB ABcd|BcBA G2ga|fefg e4||

X:56
T:Jack Pudding
R:Jig
M:6/8
L:1/8
Q:110
K:Gm
D|G2G A2F|BG2 c2A|dB2 A2G|G3-G2||
g|fd2 e2c|dB3 c2A|BG2 AF2|B3-B2 B|cA2 d2A|^FD2 B2c|dB2 cA2|G3-G2||

X:95
T:Jenny pluck Pears
R:jig
H:Jenny is a common name for a rustic sweetheart and can be as
H:disreputable as Betty or Moll, a pear, or pear-tree has an oblique
H:meaning, and the whole may have much the same sexual significance as
H:"Green Sleeves".
P:AB
M:6/8
L:1/8
Q:120
K:GDor
G2G A>Bc|B>AG F2D|d2d c2A|B>AG F2D|E>FG F>EF|G3 G3||
M:3/4 L:1/4 Q:90
Gdc|B2A|Gdc|B2A|Gdc|B>AG|F>EF|G3||

X:53
T:Jog on
R:Jig
M:6/8
L:1/8
Q:110
K:D
d2A d2e|f>gf ecA|ded a2g|f3 e3-|e2f g>ag|f>gf e>dc|ded cBc|B3 A3||

X:25
T:Kemps Jegg
R:Jig
M:6/8
L:1/8
Q:110
K:Dm
d>ed d>ed|c>de e>dc|d>ef e2d|c3 A3|d>ed d>ed|c>de e>dc|d>ef e2d|c3 A3|
F3 G3|A6|F3 G3|A6|F2E F2G|A2A A>GF|E2D E>FE|D3 D3||

X:89
T:Kettle Drum
P:AABB
M:C|
L:1/8
Q:100
K:DDor
efgf e2d2|A2f2 A2f2|efgf e2d2|A2f2 d4||
efga g3a|g3a g2e2|fg a2 a2 ^g2|a6 fg|agfe defd|e4 A4|F2A2 A2 f2|d8||

X:50
T:My Lady Cullen
R:Jig
M:C|
L:1/8
K:F
A2A2f3f|gfed ^c3c|d2d2A2f2|e4d4||A2A2c3c|F3GA3c|B2G2G2A2|B^c d6||

X:92
T:Lady lye neare me
R:Jig
M:6/8
L:1/8
Q:100
K:F
A/2B/2cA GAF|dcf d2c||
f>ga/2g/2 ffc|ffg a2g|aag f>ga|cA2 G2F||

X:24
T:Lady Spellor
R:Jig
M:6/8
L:1/8
Q:110
K:GMix
d2d d2d|d3 B3|c2B c2d|e3 c3|A2A A2B|c2d e2c|d2c B2A|B3 G3||
d2d d2d|d3 B3|c2B c2d|e3 c3|A2A A2B|c2B c2d|e2c d2c|B3 G3||

X:61
T:Lavena
R:Jig
M:6/8
L:1/8
Z:1998 by Norman Bradley <normanb@ix.netcom.com>
K:F
d|d2d1 ^c>=Bc|d2>d2Ad|d3 ^c>=Bc|d3A2B|
B>dc B>cB|A>BA G>FE|F>GA C>AF|E3 D2||

X:60
T:The London Gentlewoman
T:The Hemp-Dresser
R:Jig
M:6/8
L:1/8
Z:1998 by Norman Bradley <normanb@ix.netcom.com>
K:G
B>cd d2c|B>cd D>EF|G2GG2A|B3c3||
B>AB A>GA D>EF|G2GG2A|B3c3||

X:44
T:Lord of Carnarvans Jegg
R:Jig
M:C|
L:1/8
Z:1998 by Norman Bradley <normanb@ix.netcom.com>
K:C
B2G2 Bc d|c2A2 ABcd|B2G2d2 ef|1 g4 d4 :|2 g4d2 ef||
gfed f3B|A2A2c dc|B2G2 b2>a|g4d4||

X:93
T:Lulle me beyond thee
R:Jig
N:A variant to "Stingo", "Oil of Barley" or "Cold and Raw", printed by Thomas
N:D"Urfey in 1686. He believed the tune to be Scots. Robert Burns made
N:a song on this title entitled "Craigieburn Wood".
M:6/8
L:1/8
Q:100
K:DDor
A2A f>ef|g>fg a3|A2A f>ed|^c3 d3:|
f2f g>fg|a>ba g2c|f2f g>fg|a3 g3|a>ba g>fe|f>ed a3|A2A f>ed|^c3 d3||

X:20
T:Mage on a Cree
R:Jig
H:The dance is a progressive round, one of the earliest types found in
H:TDM. No one has been able to explain the meaning of the title, and
H:from the entries in old books, it seems it was not clear then. It may
H:have been Irish. When the title was first used for a ballad in 1633,
H:the tune name was "Magina-cree".
M:6/8
L:1/8
Q:120
K:GDor
G>cd/2e/2 f2c|A2F c2A|B>cd d>cd|B>AG d2G|G>cd/2e/2 f2c|A2F c2A
|B>cd e>fg|^f>ef g2G||

X:42
T:The Maid peept out at the window
T:The Frier in the Well
R:Jig
H:"The Friar in the Well":The story is an old one, and one of the many
H:popular songs against monks and friars. D'Urfey included the song in
H:"Pills to Purge Melancholy" (1719).
N:Key later changed to G Mix
M:6/8
L:1/8
Q:110
K:GDor
D|G2G G>AB|A2G E3|B2B c>de|d2B G2||
G|B2c d>ed|c2B A2G|F2E F2G|A>GF E3|D2D G2G|
F>EF E2E|D2G F>GA|G3-G2||
W:As I lay musing all alone, a merry tale I thought upon
W:Now listen a while and I will you tell
W:Of a fryar that lov'd a bonny lass well
W:He came to her when she was going to bed
W:Desiring to have her maidenhead
W:But she denied his desire
W:Saying that she did fear hellfire
W:Tush tush, quoth the fryer, thou need's not
W:If thou wert in hell I could sing thee out
W:Why then, quoth the maid, thou shalt have thy request
W:The fryer was as glad as a fox in his nest ...

X:62
T:Mayden Lane
M:C|
L:1/8
Q:140
K:GMix
d3c BAG2|g2^f2 g2d2|g2^f2g2 dc|B2A2 G4|ABcd e2A2|
c2B2A2e2|e2e2e2 dc|BABc A4|
d2 Bc d2 Bc|dcBA B2G2|d2 Bc dedc|B2A2 G4||

X:31
T:The merry merry Milke Maids
R:Jig
H:One of the verses in "The Milkemaid's Life" describes an 18th century
H:May Day custom in which the milkmaids and the sweeps dance in the
H:street with a garland.
M:6/8
L:1/8
Q:120
K:CMix
c|c>dc G2g|e3-e2 c|cdc G2B|A3-A2 F|F3/2G/2A/2B/2 c2d|d3/2c/2B/2G/2 G2g|e>fg d2c|c3-c2||
c|e>fg g>fg|e>fg g>fe|f2g a2b|c'3-c'3|c'2a e>fg|a2f d>ef|
|g2e c>de|d2B G>AB|c2c A>Bc|d2c B>AG|e>fg d2c|c3-c2||
W:Upon the first of May, with garlands fresh and gay
W:With mirth and music sweet, for such a season meet
W:They pass their time away
W:They dance away sorrow, and all the day thorow
W:Their legs do never fail
W:They nimbly their feet to ply
W:And bravely try the victory
W:In honour o' th' milking pail, in honour ...
W:--Chappell

X:75
T:The Milke-Mayds Bobb
R:Jig
M:6/8
L:1/8
Q:110
K:G
dde ddB|cAc B2G|dde e>ga|geg f2d||
dgd e>cA|eae f>ed|dgd g>ab|b>ag g3||

X:32
T:Mill-field
R:Jig
M:6/8
L:1/8
Q:110
K:G
G|A2B c>BA|B>AG d2B|A2F D2G|F>EF G2||
G|A2F D2d|B2G G2B|A2F D2G|F>EF G2||

X:22
T:Millisons Jegge
R:Jig
M:6/8
L:1/8
Q:110
K:DDor
a|a>gf e2d|c2d e2a|a>gf e2d|c3 d2||
A|AcA AcA|AcA c2c|dfd dfd|dfd f2f|ege ege|ege g2a|a>gf e2d|^c3 d2||

X:90
T:Mundesse
M:C|
L:1/8
Q:140
K:G
G2 GG G2A2|B3A G2d2|c3B ABcd|B3A G2G2|A3G A2B2|c3d c2B2|A2G2 G2^F2|G8|:
G3A BABc|d3e d2 ef|g2f2 edef|1 d8:|2d6 f2|:
g2f2 g2e2|d6 ef|g2f2 g2e2|d6 e2|f2g2 f2g2|d6 c2|B2 AA GFGA|1 G6 f2:|2 G6 G2|:
B3c d2B2|e3d c2B2|A2G2 G2F2|1 G6 G2:|2 G8||

X:83
T:New Boe peep
R:Jig
M:6/8
L:1/8
Q:110
K:GMix
e/2f/2|g3 e3|ded B>cd|cdB A>GA/2B/2|G3-G2||
B|c>de e>dc|dB2 G2B|c>de e>dc|dB2 G2 e/2^f/2|g3-g2 ^f/2g/2|a3-a2 e/2^f/2
|g3-g2 ^f/2g/2|a3-a2 g/2a/2|b2e e2f|g2d Bcd|c2B A3|G2||

X:8
T:The New Exchange
T:The New Royal Exchange
R:Jig
H:One of two tunes commemorating a large commercial building built in
H:1609 in competition with the Royal Exchange. Because there was another
H:tune by this title, it was renamed "The New New Exchange" (1665) and
H:"The New Royal Exchange" (1670).
M:6/8
L:1/8
Q:100
K:GDor
D|G3/2A/2B/2c/2 BA2|G3 G2G|A>Bc cB2|A3 A2A|A>Bc d2G|FFE F2D|G3/2A/2B/2c/2 BA2|G3 G2||
W:I'll go no more to the New Exchange, there is no room at all
W:It is so throng'd and crowded by the gallants of Whitehall
W:But I'll go to the Old Exchange, where old things are in fashion
W:For now the Kew's become the shop of this blessed Reformation
W:Come, my new Courtiers, what d'ye lack? Good consciences? I you do
W:Here's long and wide, the only wear, the straight will trouble you

X:98
T:New New Nothing
M:C|
L:1/8
Q:140
K:Bb
d4d4|cdBc A2G2|B3c def2|g2d2c2B2|f4f4|f2 ga b2f2|gfed c2f2|gfed c2B2||

X:85
T:Newcastle
R:jig
H:Simpson feels that the surviving tune is not the one which had some
H:currency in Elizabethan days. He points out that wrenchings of accent
H:are necessary to accomplish the fit of Playford's dance tune to a
H:curious fragment of text found in the 18th century Percy folio MS, a
H:source of dubious authenticity itself.
H:__ Came you not from Newcastle? __
H:__ Came yee not there away? &c __
H:It is quite possible that this dance was inspired by William,
H:Duke of Newcastle, a royalist who remained in London and bent
H:his interests towards the theatre during the interregnum.
M:4/4
L:1/8
Q:200
K:G
B2d2 G2A2|G3A G2D2|B2d2 G2d2|e2g4 fe|d2B2A2G2|
E2e4 dc|d2B2 A2>G2|1 G8 :|2 G6ef||
gfed g3B|A2 g4 A2|G3A B2F2|E2 e4 f2|gfed
g3B|A2A2 c3d|e2B2 A3G|G8||

X:3
T:The Night Peece
R:Jig
M:6/8
L:1/8
Q:100
K:D
f2d a2f|d2A df2|eg2 f>ed|Bde/2f/2 g2a||
bbg aag|f>ed e2A|ddc ddA|fe2 d3|bbg aag|f>ed e2A|ddc ddA|fe2 d3|bbg aag|
f>ed e2A|ddc ddA|fe2 d3||

X:29
T:Nonesuch
O:Playford
P:(AABB)6+(CCDD)3+DD
H:Nonesuch was built in 1538 by Henry VIII over the demolished property
H:of the village of Cuddington, near Epsom Wells in Sussex, to be the
H:most ostentatious hunting lodge ever made. At the very end of her
H:life, Elizabeth I visited Nonesuch, as a guest of Lord Lumley,
H:son-in-law of the Earl of Arundel, and it was reported that "there is
H:much dancing of country dances in the privy chamber at Nonesuch, before
H:the Queen's majesty, who is exceedingly pleased therewith".
P:Nonesuch
M:C|
L:1/4
Q:120
K:DDor
a|afga|f e/2f/2 da|afga|f2fa|afga|f e/2f/2 da|
afga|f2de|ecde|f e/2f/2 de|ecde|f e/2f/2 de|ecde|f2d||

X:13
T:The Old Mole
Z:1998 by Norman Bradley <normanb@ix.netcom.com>
M:6/8
L:1/8
K:D
G2G E>FG|A2FD2D|G2G E>FG|A3d3|B2G E>FG|A2FD2D|E>FG F>EF|E3E3||

X:47
T:Once I loved a Maiden faire
M:C|
L:1/4
Q:150
K:D
fff2|efd c/2d/2|eeef|e2d2||
Bcd2|efd c/2d/2|eeef|e2d2||

X:6
T:Parsons farewell
N:Playford Ball
N:Cecil Sharp, 1911
P:(AABB)3
M:C|
L:1/8
Q:200
K:Dm
f2d2d2ef|g2c2c2>c2|de fed|1 c2A2A4:|2 A2A4 a2
|:f4f2a2|f4f2a2|fga2 fga2|g2e2e4|efg2 efg2|f2d2 defg|a2 gf edd2|1 d6a2:|2 d8||

X:69
T:Pauls Steeple
M:C|
L:1/4
Q:140
K:GDor
|GGGG|B3 c/2B/2|AFFF|F3F|GGGA|B3c|dddd|d3c|
|BBBB|B3B|cccc|c3c|d2cB|AGA2|=BGGG|G4||

X:86
T:Pauls Wharfe
R:Jig
M:6/8
L:1/8
Q:100
K:DMix
fd2 eBc|d>AF E2e|fd^c/2d/2 eB^c|d>FE D3||
FAF GB2|AdB ^ce2|fed eBc|d>FE D3||

X:41
T:Peppers Black
R:Jig
M:6/8
L:1/8
Q:100
K:D
c2A e2e|c>BA e2A|ded e>fg/2a/2|f3 d3||
efg g>ag|efg g>fg|f2g a>bg/2a/2|f3 d2d||

X:68
T:Petticoat wag
R:Jig
M:6/8
L:1/8
Q:110
K:GDor
d2c B>cA|G2A ^F3|G2A B3|-B2c d3|dfe f>ga|g2g f2d|d>ed c2A|B2c d3||
f2g a>ga|b2d f3|A2B c>Bc|d2e f>ed|g3-g2e|a3-a2f|b>ag g>a^f|g3-g3||

X:12
T:Picking of Sticks
R:Jig
H:A variant of an older tune called "Whoop, do me no harm", a salacious
H:song which Chappell could not bring himself to print.
M:6/8
L:1/8
Q:120
K:GMix
G|B>cd d>cd|c2A A2A|A>Bc c>dc|B2G G2G|B>cd d>cd|c2A A2A|A>Bc c>dc|B2G G|]

X:57
T:Prince Ruperts March
R:March
M:C|
L:1/8
Q:140
K:DDor
A2|d2A2d2e2|f3gf2f2|e2d2d2^c2|d6||
d2|e3d efg2|c3d c2c2|f2f2 gaga|f6f2|e3d efg2|c3d c2f2|e2d2d2^c2|d6|

X:72
T:The Punks Delight
M:4/4
L:1/8
Q:120
K:D
A>AA>A A2F2|G>BA>G d2B2|A>Bc>c f2F2|G>BA>G d2B2|
|A>FD>B A>FD>D|G>BA>G d2B2|A>FD>B A>FD>D|G>BA>G d2B2||

X:37
T:Rose is white and Rose is red
R:Jig
M:6/8
L:1/8
Q:110
K:GMix
B2B B>AG|A2A c>BA|B2B B>AG|B3 d2e/2f/2|g>fe d>cB|A2A e>dc|B2B B>AG|B3 d3||

X:103
T:Row well ye Marriners
R:Jig
M:6/8
L:1/8
Q:110
K:G
G|F2E F2G|A3 A2B|cdc BAB|A2G G2:|
d|ded A2B|cdB A2G|GAG F2G|AFD G3||
d3A3|d3A3|d2e d2c|B2A G3||

X:70
T:Rufty tufty
N:Two couples facing.
N:The title means swaggering, casual, or helter-skelter.
N:Playford Ball
O:John Playford 1651
Z:1998 by Norman Bradley <normanb@ix.netcom.com>
M:C|
L:1/4
K:G
d2de|f2ef|ggf>e|1 d4 :|2 d3 e/2f/2||gfed|dcB>c|ddcB|A2G2||
B>cdd|ecd2|B>cdd|ecd B/2c/2|ddcBA2G2||

X:66
T:Saint Martin's
H:The old church of St. Martin, Ludgate, named for the patron saint of
H:the vintners, described as "a proper church and lately new built", was
H:destroyed in the Great Fire and rebuilt in 1673-1684 from the designs
H:of Sir Christopher Wren.
O:English
Z:1997 by John Chambers <jc@eddie.mit.edu> http://eddie.mit.edu/~jc/music/abc/
M:C|
L:1/8
K:ADor
E2|ABc2 Bcd2|c4 c2d2|efg2 f3e|e6 ef
|g2fe d2de|=f2ed c2cd|e2dc B3A|1 A6 E2 :|2 A8||
B2e2 B2c2|B3A GFE2|cdef d3e|c6 ef
|g2de =f2cd|e2Bc d2cd|e2dc B3A|A8||

X:17
T:The Saraband
R:Jig
M:6/8
L:1/8
Q:110
K:G
afa geg|fdf e2A|cde fga|gaf g2f|afa geg|fdf e2A|cde fga|gaf g2f||
ccc c>BA|agf e2A|cde fga|gaf e2d|ccc c>BA|agf e2A|cde fga|gaf e2d||

X:80
T:Saturday night and Sunday morn
R:Jig
M:6/8
L:1/8
Q:110
K:D
f|fed g2A|eee e2g|fed g2A|ddd d2:|
c|B>AG FED|eee e2c|B>AG FED|ddd d2:|

X:99
T:Scotch Cap
T:Edinburgh Castle
R:Jig
H:Refers to the Scots bonnet.
M:6/8
L:1/8
Q:110
K:DDor
D2D d2d|e2d c2A|B2d B2A|1 B3 d3:|2 B3 d2 d/2e/2|:
f2A A2 d/2e/2|f2A A2 d/2e/2|f2A A2F|A3 d3|B2B A2F|G2G d2d|B2B AF2|E3 D3||

X:712
T:Sedauny
T:Dargason
R:Jig
H:With two titles of Welsh derivation, both of which escape convincing
H:explanation, this unique progressive dance is paired with a 16th
H:century double-tonic circular tune of haunting familiarity. The title
H:of the song also connects the tune to Wales, Shropshire lying in the
H:foothills on the English side of the border.
M:6/8
L:1/8
Q:120
K:F
A2F F2F|A2B c>BA|B2G G2G|B2c d>cB|A2 F F2F|f2f e>dc|B2G G2G|g2f e>dc||
W:Chappell quotes the first of 16 verses set to this tune in the 17th century:
W:The Shrop-shire Wakes, or hey for Christmas, being the
W:delightful sports of most countries, to the tune of Dargason.
W:
W:Come Robin, Ralph, and little Harry
W:And merry
W:Thomas to our green
W:Where we shall meet with Bridget and Sary
W:And the finest girls that e'er were seen
W:Then hey for Christmas a once year
W:When we have cakes, with ale and beer
W:For at Christmas every day
W:Young men and maids may dance away

X:101
T:Shepheards Holyday
T:Labour in Vaine
R:Jig
M:6/8
L:1/8
Q:100
K:Bb
d|d>ed g3|f3 e3|d>ed c2B|AGA B/2A/2B/2c/2d/2e/2|f>ed c2B|1 BA2 B2:|2 BA2 B2||
d|:d>ef dcB|d2B d3|B>cd BAG|d2^F d3|G>AB GFE|B c/2d/2e/2f/2 d> cB/2A/2|1 B>AG G2d:|2 B>AG G2||
W:Fie upon love! fond love! false love!
W:Great are the torments that W:lovers endure
W:It is a snare - brings care - bones bare
W:None can a W:remedy for it procure
W:Of all the afflictions that are incident
W:To us while we march under Time's regiment
W:There's nothing to man W:brings such discontent
W:As love unbeloved againe
W:It breaketh our sleep, it distracteth the wit
W:It make use doe things that for men are unfit
W:If I may but give a true censure on it
W:It shall be call'd "Labour in vaine".

X:34
T:Skellemesago
R:Jig
M:6/8
L:1/8
Q:110
K:GMix
Bcd d2d|Bcd d2d|efg g2G|B>cB A2B|c>dc B>cd|A>BG E2G|DDG GBG|GBG G3||

X:104
T:The Slip
M:C|
L:1/4
Q:130
K:D
dAde|f>gaf|ba g/2a/2 f|e2 d2||
e c/2d/2 eA|e c/2d/2 eA|efeb|f>e e2|f>gaf|gabB|Adcd|e>d d2||

X:23
T:The Spanish Jeepsie
R:Jig
M:6/8
L:1/8
Q:110
K:D
A|d>ef d>ef|d3-d2A|d>ef d>ef|d3-d2 e|f2e d2c|B3 A3|A2F A2G|F3-F3|
F2G A2A|B2A d2D|F2G A>GF|E2D D3|F2GA2A|B2Ad2D|F2GA>GF|E2DD3|

X:36
T:The Spanyard
R:Jig
M:6/8
L:1/8
Q:100
K:DMix
fdd dc/2d/2A|ddc/2d/2 e2A|fdf fe/2f/2d|fgf/2g/2 a3||
eee cB/2c/2A|fe/2f/2d g2a|bag a>gf/2e/2|fed/2e/2 d3||

X:87
T:Sta(i)nes Morris
H:First printed in the "William Ballet Lute Book" (1595). It is not known
H:that the town of Staines, on the Thames, had any connection with this tune.
N:Morris-dance tune.
N:There is much disagreement over which e's should be flat or natural. Older
N:books all show Eb throughout, but this could just be an result of using "proper"
N:classical notation. Current practice seems to be to play it mostly in Dorian
N:mode.
N:Barnes (dated 1650)
N:E. Hunt #32
N:Playford
N:Raven (in Em)
Z:1997 by John Chambers <jc@eddie.mit.edu> http://eddie.mit.edu/~jc/music/abc/
M:C|
L:1/8
K:GDor
d2g2 e2^f2|g2=fe d3e|fgf_e d2cB|AGAB G4||
Bcd_e d2cB|AGAB G4|Bcd=e d2cB|AGAB G4||
B2B2 F2F2|GABc d3e|fgfe d2cB|AGAB G4||

X:100
T:Step Stately
R:Jig
M:6/8
L:1/8
Q:100
K:F
fed c>BA|BGG G>de/2f/2|g2e cfc|AFF F3||
g2f e2d|df2 f>gf/2g/2|e2d cfc|cAF F3||

X:10
T:Stingo
T:The Oyle of Barly
T:Cold and Raw
R:Jig
H:Refer to the notes for "Lulle me beyond thee"
H:Many lyrics were set to the tune, all having in common the metaphorical
H:themes of strong ale, and of "selling barley", the feminine equivalent
H:of "sowing wild oats"
H:In 1688 a "new Scotch song" set to the tune appear. Written by D'Urfey, it
H:began "Cold and raw the North did blow".
M:6/8
L:1/8
Q:110
K:GDor
G2G d2B|cA2 F2F|G2G d2B|G3 B3||
B2B B2A/2B/2|c2c c2c|d2d g2g|d3 f3|B2B B2A/2B/2|c2c c>d_e|dc>B cA2|G3 B3||
W:Be merry, my friends, and list a while
W:Unto a merry jest
W:It may from you produce a smile
W:When you heare it exprest
W:Of a young man lately married
W:Which was a boone goode fellow
W:This song in's head he alwaies carried
W:When drink made him mellow
W:I cannot go home, nor will I go home
W:It's long of the oyle of Barly
W:I'le tarry all night for my delight
W:And go home in the morning early
W:--Humour,
W:Wit and Satire (1647)

X:88
T:Tom Tinker
R:Jig
M:6/8
L:1/8
Q:100
K:D
d|dfd egB/2c/2|d>cB A2g|f>ef/2g/2 afd|ecA d2:|
d|ef2 eg2|d>cB A2g|f>ef/2g/2 afd|ecA d2:|

X:97
T:Up Tailes all
M:C|
L:1/4
Q:140
K:GMix
d|d2B A/2B/2|ccAA|ddB>c|d3e|d2B2|c2A2|d2D2|G3||

X:1
T:Upon a Summer's Day
T:The Garland
R:Jig
N: Chords thanks in part to Peter Barnes
B:Barnes (Fm)
B:The Complete Country Dance Tunes from Playford's Dancing Master, Barlow, #101 p.36 (Gm)
O:Samuel Pepys, Ballads, I,296, 1650
Z: John Chambers <jc@eddie.mit.edu> http://eddie.mit.edu/~jc/music/
P:AABBB
M:6/8
L:1/8
Q:116
K:GDor
d|d2d B2G|d3-d2 e/2f/2|g2f g2a|b3-b2 B|
B2B A2G|f3 g3|a2B A2G|G3-G2||
a|a2a f2d|a3- a2f|g2f g2a|b3-b2 B||
|B2B A2G|f3 g3|a2B A2G|G3-G2||
W: Souldier:
W: My dearest deare adue, since that I needs must goe
W: My fortunes to pursue against some Forraine Foe
W: Being that it is so, I pray thee patient be
W: and doe no kilt thy Coat, to goe along with me.
W:
W: Pegge:
W: Alas my dearest heart, if that thou leave me here
W: Death kills me with his dart, as plainly may appear
W: For sorrow griefe and smart will quickly make me dye
W: Therefore lie kilt my Coat, and goe along with thee.

X:11
T:The Wherligig
R:Jig
M:6/8
L:1/8
Q:110
K:DDor
A2A d2e|f>ga e>fg|fa2 A>Bc|df2 e3||
eg2 gaf|e>fg c>fe|d>cB A>ag|f3 e>ag|eg2 ce2|d>cB A>fe|f>ga b>ag|ae2 d3||

X:9
T:The Whish
R:Jig
M:6/8
L:1/8
Q:100
K:GMix
d|B>cd A2G|G2g g2g|f>ge d>ef|g2G B>AG|A3 e3|dB2 A2G|G3 G2||
d|B>cd A2G|G2g g2g|f>ge d>ef|g2G B>AG|A3 e3|dB2 A2G|G3 G2||

X:15
T:Wooddicock
R:Jig
M:6/8
L:1/8
Q:110
K:Dm
d2d f>ed|c2A c2c|d2d f>ed|1 cAA A3:|2 cAA A2d|:
c2B c>BA|BGG G2G|AAA A>Bc|1dDD D2d:|2 dDD D3||