British Melodies To Recorder

SOLOS FOR TREBLE INSTRUMENT
ESPECIALLY SOPRANO RECORDER
COLLECTION 6
BRITISH MELODIES
Arranged/composed by Clark Kimberling
Here youll find a treasure of free sheet music! Use the music however you wish but
always keep these two things:
the attribution to arranger/composer (top of page)
the copyright notice (bottom of page).
Collection 6 has 240 solos, of which 46 of the finest do not appear here because they are
published commercially just google Solos for Soprano Recorder, Collection 6 (after
August 1, 2010).
The solos are arranged especially to show the amazing capabilities of the soprano
recorder, but they also play well on violin, flute, clarinet, oboe, and other instruments.
Many of the solos include newly composed contrasting segments, especially in cases of
very short originals. The arrangements develop melodies through upward transpositions,
ornamentations, and additions of note not found in the original melodies. To locate
original versions, use Historical Notes 6 and Google.
When performing these arrangements, use a sound system and/or a percussionist.

A percussionist can work wonders and manage your sound system.
Loosely speaking, recorders thrived from 1400 to 1650 and were forgotten from 1700 to
1900, when Arnold Dolmetsch in England and others in Europe began performing on
recorders and manufacturing them.
The metallic transverse flute has more notes and more dynamic range than the recorder
and is thus better suited for use with modern orchestral instruments. On the other hand,
the sound of the recorder has a delicate sweetness of its own and is particularly well
suited to soloing. Add to this the remarkable possibilities of enhancement by a sound
system and occasionally some light percussion, and you have the possibility of a bright
future for this ancient instrument.
Much of the music that originated during 1700-1920 has not been played on recorder
until recently, and even then, most published arrangements dont do enough in the
sense that they dont call for the amazing capabilities of the instrument.
These solos are advanced for recorder and intermediate for flute. They provide excellent
material for developing the techniques of multiple-tonguing, extended breath-control, and
in the case of recorder, the playing of high notes. Interestingly, most advanced music for
soprano recorder is published outside the United States, and even then, not in large
collections. Yet, there are millions of soprano recorders in the United States and the
United Kingdom, and many of their owners will welcome this opportunity to learn and
play some advanced music.
Arrangements of other melodies which are British or near-British are found in Collection
3 (Irish), Collection 4 (Americana to 1865), and Collection 7 (Melodies by Women).
Several of the worlds best known English melodies are published in Collection 2
(Christmas Carols).
WHERE THESE SOLOS CAME FROM

Among the composers of music for dance are James Paisible (Pastorall) and members of
the Dow family of Scottish fiddlers, most notably Nathaniel Dow (Cheap Mutton, Mrs.
Weyme of Cuttlehill, Penny Wedding). Theatre and opera composers include Sir
Arthur Sullivan, as in Gilbert and Sullivan (When I Was a Lad).
Master composers represented in this collection include Giles Farnaby (Quodlings
Delight), Henry Purcell (Minuet, The Sailors Dance), and George Frederic Handel
(Courante, O Ruddier than the Cherry). However, many of the solos are based on
folk songs, of which the composers will probably never be known. These include worldclass melodies, such as Greensleeves (which was probably not composed by Queen
Elizabeth) and The Gaberlunzie Man (which was probably not composed by King
James V of Scotland). The solo Gentil Prince was arranged from a part-song that
possibly really was composed by King Henry VIII.
Solos composed specifically for this collection have names beginning with the letter Z.
These solos extend characteristics of British melody in new ways especially suited to the
capabilities of recorder and flute. Several were composed during visits to England and
Wales.
PLAYING THE SOLOS

Feel free to delete or repeat sections of the solos in order to match the occasion. For
example, if playing where sound dissipates quickly, initial segments of some solos,
pitched mostly in the lowest octave of the instrument, can be skipped. Repetition of
phrases or entire solos is appropriate when one is playing only a few solos over an
extended period of time, as in outdoor playing where the audience consists of strolling
tourists. Sections of some of the solos are intended to challenge the players ability to
play quite fast or high; these sections can be risky so they can be deleted or played at a
tempo slower than indicated by the tempo marking.
Both recorder and flute are capable of a wide spectrum of articulation, ranging from
slurring to extreme staccato-with-chiff, or staccatissimo so short as to be useful as a kind
of pianissimo playing. In some of the solos, passages are marked staccatissimo but
the interpretation of this and other articulations may vary greatly from one player to
another. For staccatissimo, take a look at George Skenes Mixolydian Reel. Another
opportunity is found at measures 18-33 of Greensleeves and Yellow Lace. (An
arrangement of Greensleeves by itself is in Collection 2: Christmas Carols.) Still other
opportunities occur in Kiss Me Quick My Mothers Coming.
Mordents, indicated by a short wavy line above or below a note, as in Sleepy Maggie,
usually mean three fast slurred notes, but where there is sufficient time and at the
performers discretion they may be stretched to five notes, as in the last measures of
Easter Hymn and Pastorall.
NOTES FOR RECORDER PLAYERS

Very high notes on a soprano recorder, beginning at high C (thats c3, printed two lines
above the treble-clef staff, pitched an octave higher), are listed here with fingerings.
These are all played with half-open thumb hole.
Note
c3
c#3
d3
d#3
e3
f3
f#3
g3
a3
c4 (highest note on a piano)
Left hand
2
2,4
2,4
3,4
3
3,4
3
2
2
3
Chart copyright Mel Bay Publications, Inc. 2004. Used by permission.
Right hand
2,3
2,4,5
2,4
3,4
all open
3,4,5
3
2
2,4
2,4
Many recorder players use a modern vibrato, based on diaphragm or throat motion, or
some combination of those two. They apply vibrato to music composed after 1800 in
much the same way that flutists, violinists, and vocalists do. Well-modulated vibrato is
highly recommended for the solos in this collection. Notes that are held for more than one
second, such as a high note at the end of a phrase and especially at the end of a piece,
may be played in the manner of many vocalists: start the tone straight, then develop
vibrato gradually over a short time interval, until full vibrato is on, as in measure 48 of
Bonny Banks of Loch Lomond and the last measures of Kingsfold. Complete
abstinence from vibrato can be regarded as a special effect, as called for in Agincourt
Hymn.
Recorder-glissando is denoted by a straight segment between two notes. Ascending
recorder glissandi work especially well between certain pairs of notes, such as e to g
and e to a. Descending favorites are d to d and d to f. To perform these, simply roll
the fingers gradually from one fingering to the other. Examples: At the Foot of a
Willow, Mrs. Weyme of Cuttlehill, and Zelda. Recorder-glissando differs from
ordinary glissando, in which intermediate scale notes are rapidly fingered and slurred, as
in Colonel Bogey.
The solos specifically composed for this collection that is, the Z-solos at the end are
meant to allow the recorder to do things that were not much called for in early music.
Aside from very high notes and recorder-glissando, you will find challenging chromatic
passages, as in Zingazetti and Zizzle, as well as Joy to the Person of My Love.
Another feature is rhythmic variation that would have been most uncommon in olden
times take a look at Zhickadee and I Wish You Would Marry Me Now. Other
features not found often in early music are extended slurring, as in All Through the
Night and Small Birds Sweetly Singing.
INVITE A PERCUSSIONIST
Feel free to invite a percussionist to extemporize during highly rhythmic solos. Foottapping can also be useful. On some occasions, use a sound-system, and perhaps let you
percussionist double as a sound-system manager.
NOTES FOR FLUTE PLAYERS

Bottom C on flute is middle C on piano, but when a soprano recorder plays the same
written note (the lowest on the instrument), the sound is actually an octave higher. In
other words, loosely speaking, the recorder plays an octave higher than the flute.
Consequently, music written for soprano recorder, when played on flute, is pitched a bit
lower than most flute music. When played as written on flute, the solos in this collection
have a pleasing low effect and, in some cases, may be regarded as specialized flute
music, especially if amplified by a sound system.
ARRANGEMENTS
Each melody is arranged as a solo, but in their original forms, the melodies were of a
variety of types, intended for solo voice, choral, piano, accompanied solo instrument, or
solo for fiddle or bagpipes. In order to arrange the melodies for recorder or flute, a
number of liberties have been taken. This is especially true in cases where the original
melody was too short or too long to fill a single page.
One technique of arrangement is transposition, often in conjunction with variations in
articulation or tempo, as in Bonny Banks of Loch Lomond and Johnnie Cope.
A second technique is the contrasting segment; that is, one that separates renderings of
the original melody. Take a look at Earl Grey, in which a contrasting segment occupies
measures 10-17.
A third technique is chording. With a one-note-at-a-time instrument, chords, in the usual
sense, are not available. However, playing the notes of chords rapidly in succession can
achieve chord-like effects, as well as enhancing a melody in other ways. Examples:
Bunessan, measures 20 and 22; Kingsfold, 50-56; My Eyes Are Fully Open, 18-19; and
Waltzing Matilda, 32-47.
GROUPINGS
English Dances
All Alive; Amarillis; Apley House; Ballet; Bath Carnival; The Beggar Boy; Brigid of the
Fair Hair; Chelmsford Assembly, Cockle-Shells; Daniel Cooper; Daphne; English Dance;
Faithful Shepherd; Female Saylor; Fiddlers Morris; The Friendship; The Frog Galliard;
Hunsdon House; Ill Touzle Your Kurchie; Jacks Health; Jacks Maggot; Katharine
Ogie; Kiss Me Quick My Mothers Coming; Knole Park; Mad Robin; The Merry Doctor;
Morpeth Rant; Mouse in a Trap; Purcells Hornpipe; The Touchstone; Trip to Bath; The
Whisgig
English Folk Songs

A-Roving; At the Foot of a Willow; British Grenadiers; The Cheshire Man; Country
Gardens; Cupids Courtesy; The Death of Parcy Reed; The Derby Ram; Dover Pier; For
Hes a Jolly Good Fellow; Green Grow the Rushes, Oh!; Greensleeves and Yellow Lace;
Highland Mary; Kemps Jig; Ladies of London; Paisibles Hornpipe; Parsons Farewell;
Shepherds Hey; Shepton Hornpipe; Such a Wife as Willie Had; The Sprig of Thyme
English Theatre/Opera Songs and Instrumental Pieces

Andrew and Maudlin; The Baffled Knight; Cold Frosty Morning; Flowers of the Forest;
Good Morrow, Gossip Joan; Handels March; Minuet; My Eyes Are Fully Open; O
Gentlemen, Listen I Pray; The Sailors Dance; Steadfast Shepherd; When I Was a Lad
Hymn Tunes
Aberystwyth; Agincourt Hymn; The Ash Grove; Birstal; Brother James Air; Bryn
Calfaria; Bunessan; Coburg; Easter Hymn; Englands Lane; Kings Lynn; Kingsfold;
Llanfair; O Waly Waly; Royal Oak; St. Denio; Welcome, Happy Morning
Marches
Colonel Bogey; Handels March; Zamarche
Melodies Said to Be Composed Royalty

Coburg (Prince Albert), The Gaberlunzie Man (King James of Scotland), Gentil Prince
(King Henry VIII), Hlas Madame (King Henry VIII), Pastime with Good Company
(King Henry VIII)
Scotish Dances and Songs

Auld Lang Syne; Balquhidder Lasses; Banks of Esk; Banks of Inverness; Bonny Banks
of Loch Lomond; Cheap Mutton; Comely Garden; Dukes Retreat; Dunkeld Harmitage;
Dunse Dings; Earl of Dalkeith; The Fife Hunt; The Gaberlunzie Man; George Skenes
Mixolydian Reel; Gilderoy; Hes Aye Kissing Me; Highland Dance; I Wish You Would
Marry Me Now; Jenny Nettles; Johnnie Cope; Joy to the Person of My Love; Katrin
Hoggie; Kelvingrove; Kilecrankie; Knit the Pocky; Lady Shaftsbury; Lament for Mrs.
Oswald of Auchincruive; Loch Earn; Miss Clementina Loughman; Miss Coulston; Miss
Jessy Stewarts Strathspey; Mr. Blairs Jig; Mrs. Graham of Balgowan; Mrs. Horston of
Rosehalls Favorite; Mrs. MacDouall Grant; Mrs. Weyme of Cuttlehill; O Waly Waly;
Ostend;The Outlandish Knight; Penny Wedding; Prince of Orange; Push about the
Jorum; Rothesay Country Dance; Scottish Hornpipe; Scottish Reel; Shackley Hay;
Sleepy Maggie; The South Bridge of Edinburgh; Sward House; Waltzing Matilda; Whare
Wad Bonie Annie Lie; The Yellow-Haired Laddie
For a list of all the solos in Collection 6, consult Historical Notes 6, which includes
Internet links and provides access to all 12 collections in this series:
Collection 1:
Collection 2:
Collection 3:
Collection 4:
Collection 5:
Collection 6:
Collection 7:
Collection 8:
Collection 9:
Collection 10:
Collection 11:
Collection 12:
African-American and Jamaican Melodies

Christmas Carols
Irish Melodies
Americana to 1865
Americana after 1865
British Melodies
Melodies by Women Composers
Eastern European and Jewish Melodies
American Indian Melodies
Latin American Melodies
African Melodies
Western European Melodies
This work is licensed under the

Creative Commons Attribution 3.0 License.
To view a copy of the license, visit http://creativecommons.org/licenses/by/3.0/
or send a letter to
Creative Commons
171 Second Street, Suite 300
San Francisco, California, 94105, USA.
6
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English Traditional
ALL ALIVE
arr. Clark Kimberling
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Copyright 2005, Clark Kimberling

Source: Fleischmann p. 53 tune 278 John Young , London, 1713
AMARILLIS
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Source: Simpson p21
English Traditional
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BALQUHIDDER LASSES
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Source: Fleischmann p. 75
English Traditional
BATH CARNIVAL
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BELIEVE ME IF ALL THOSE ENDEARING YOUNG CHARMS
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BIRSTAL
Traditional
BOLD BRENNAN ON THE MOOR arr.English
Clark
Kimberling
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&
..
22
j
.
# . # . . . N .

j
&
m
26
. . . .
# . . . # .
# .

&
18
.
.
j
# N .

&
J
m
36
. . m
# .

&
J
31
. . . . j
#

.
&
41
# . . . . . j .
&
46

Chappell vol 2? Traditional p124
BONNY CHARLIE
# 4 h
& 4
fl
fl
7
#
.
&

fl
13
.
#
&
fl
19
.
#

&
J
#

&
25
. .

J
. 6 q.
8 J j
fl
37
#
.
j
.
.
&
J
J

&
31
j .
&
44
j j 98
J
# 9 . # # 4 h

J
& 8
4
fl
.
56
##
&
50
##
&
63

English Traditional
BRIGID OF THE FAIR HAIR
q. j
j
j
& b 68 j . j . j . J
~~~
8
. .
. .
&
.
.
&b
21
.

&b
.
14
~~
.

b
#
b
.
J

b #
.
J j .
&
J J
.
J
35
..

bb . .
. . j
&
28
m . . . m
J J
& b .
42
b . n n # N
b
J
. J
&
J
49

#
. .
J
.
&
J
.
61
# . . . . . . . . . . .
.
&
. . . .
68
.

# J

&
55

Source: Fleischmann p. 282 tune 1486 footnote (see Index), Rutherford coll., London 1756
m
m
.
J
English Traditional
BRITISH
GRENADIERS
arr.
Clark Kimberling
# 4 q
j
& 4
#
&

.
.

J . J
J
14
&
20
&
# ##
n
j ###
n
n
# ## .

J

&
m
31
q.j
n
# ## n
j
j
#
. .
6
&
8 .
J
3
26
## . .
&
J
36
.
j . . J .
J
J
# # . J J . j j
J
J J
&
J
J RJ
J
41
## . . . 4
&
4
J
47
. . . m

tempo primo (or slightly slower)
ben marcato
. . m
. m .
.
##

&
J
53
m
# # m . . .
. . . . . .
&
60
BROTHER JAMES' AIR

h
## 3
& 2 . .
6
&
11
&
##
. .
##
.
.
# ##

&
16
21
&
# ##
.
.
.
.
.
.

. .
J. L. Macbeth Bain
.
.
.
.
###
.
.
.
.
. .
n n nbb

bb

w
&
bb
w
&
26
legato
30
b . .
b
&
34
. . . . . .
. . . . . .
BRYN CALFARIA
h
bb 3
& 2
ben marcato
William Owen (Welsh)

b
b
. 22
&
32
b 3 > > .
n
b
. . . .
& 2
. n n
13
&
18
> . . > . . > .
2
3
.

& .
2
2
24
29
&
>
3
3 # . j

b
n
&
3
37
3
.
n #
J . j
&b
33

&b
41
44
&b
22

32
. .
.
.
. n #
BUTTERED PEASE
q or faster
# 2

& 4
#
&
#

&
13
#

&
19
# .

&
25
nb b #
#

&
31
bb #
&
j
bb #
&
43
49
&
j
#

&
&
j
#
# .
#

55
61
37
Traditional English
3
Source Kidson Morris #11
nn
THE CARMAN'S WHISTLE
h.
6
&4
6
& #
m
j
. .
William Byrd
&
j
.
& . j
-
. J
11
16
.
& J
21
.
m
## .
&
J
26
30
&
34
&
38
&
##
##
##
# # . J .
J
. . .

J
J J
.
J
-
##
.
#
.
&
J
43

Source: Chappell 253 (Fitzwilliam)
English Traditional
CHELMSFORD ASSEMBLY
q.
# 6
J
J J

& 8
J
J
.
.
# .
&
J
8
J
J
.
.
J
J
# J . J
&
15
# . j
J
J
&
22
n a # J J
J J
J
n
# .
J
J
&
29
36
&
43
&
# .
n a # J
J J
J
# . J
J
J .
# .
# . J
J
J .
J
&
J
J
.
.
49
# # .
&
J
55

J
J
J
& .
J
61
67
&
# a #
n n J
J
.
J
J
J
J
J
J
q
b 4
& b 4 j
b
&b
6
English Traditional
THE CHESHIRE MAN

. J .
j
.
. .

j
#
#
J
J
b
b
& .
11
j . # .
J n m
bb j .
n # -
&
#
- #
J
16
21
&
bb
. # #
#
n
.
j
.
J
# n
J
J
# # . N J . .

J
#
#
&
J
J
26
## .
&
31
-
. # #

J
# #
##
&
36
. # #
#
J
# # - -
#
&
40
# #

.
J
-.
. j
# #
##
#
# .
&
44

Source: Broadwood and Maitland p 29
THE CLEAN CONTRARY WAY
q
2
&4
#
.
&
#
14
&
. # Nm
.

&
7
21
English Traditional
b 2 #
m
. 3
&
4
4
27
&b
35
. n
#
Nm A
. #
&b
41
. 3
4
&b
48
. # . # 2 . . # .
n 4
# . . # .
&
54
60
&
# . .
Source: Simpson p109
. .
Prince Albert
COBURG
q
#
& 44
6
&
~ ~
#

&
11
# 6
& 4 .
16
46
# ## 4
#
# ##

&
21
# ##
&
26
# ## 6
&
4 .
31
.
& .
36
40
&
nn n 4
>
> . >
>

#
>

> > > > > > > > > >
>
&
44

Source: Methodist Hymn Book (British, 1904)
English Traditional
COCKLE-SHELLS
# 2 h
j
j

.
& 2
.
m
ben marcato
#
j

&

.
m
7
#
j
.
&

13
#

&
m
25
m
&
19
m
m
&
32

#
n .

&

J
37
j .
&
J
43
.
.
&
J
J
49
. . . . . . . .
&
55
. .
. .
&
61

.

J

COLD FROSTY MORNING
English Traditional
3
q.
& 68 j J j . . j J
.
.
.
&
7
N . #
j . .
J
.
3
N .
N .
j j

&

J
J
12
N . #m N .
N .
j 9
&
8
J
J
J

q
25
. .
j
#
.
.
9 . # 2
. .
.
.
&8

4
. . .
.
. .
fl
. . . . # N . . . . .
. . . .
32
.
N
N

##
.
.
& .
.
39
. . . . # N . . . . .
.
N
.
##
.

. .
&
.
18
.
. . 4
# # N . . . .
.
. .
&
4 -
.
46
>
. .
j
.
&
>
>
3
56
b.
. .
j

& .
>
3
j
61 j .
.
. b . J . . .
&
51
j

>
.
J
q.
n n 6 >
8 .
J
>
. J j
. . b .
J

# ## 4
& 4
David Dow
COMELY GARDEN
q
n
n m n
n
# # # n > n n
&
n
5
# ## n
&
9
. n n J n
J
# ## n . n n j n
&
J
13
17
&
# ##
a n m
# # # a m n
.

.
&
21
m a m
# # # a m nm m
n
&
m
25
n . n nfaster:
n 4 q
b
# ## n . 6
n 4
4

&
29
b b
b.
&
33
b.
b 6 b .
b
&
4
37

Source: N Gow (Carlin) tune 410
CUPID'S COURTESY
# 3 h.
& 4
8
&
15
. . . . . J #
&
m
# #

&
~~
.
# #
& #
#
&
37
44
&
52
&

m
h
# n 2 .
4
# # 3 j h.
.
# # . J. . . J #
&
66
# # m
&
59
# # # #
23
30
English Traditional
## # #
&
73

English Traditional
DANIEL COOPER
h
.

& 22
m
8
&
. J . J
.
. J J
. .
. .
. . . . . .
. .
.

.
22
m
. . . . . . . . . . . . .
& .
.
29
. . . . . . .

.
&
. .
36
. .
##
. . . . . . . . . . .
. . .
&
.
.
.
44
m . .
.
.
##

J

J
&
w
&
15
##
&
53
~~~~~~~~~~~~~~~
m
.
.

J J w
. .
. .
. .
. . . . . . . . .
# # . . . . . . .
.
&
m m
m m
66
# # . . . . .

.
&
. .
73
# # . . . . . . . . . .
.
&
60
79
&
##
.
. . . .

DAPHNE
English Traditional
q.
# 6 j
j
j
& 8
J
J
J
ben marcato
J . J j
.
&
J
J
9
J j j
.
&
J
J J
.
J
17
j
# J
n b
J . b J J
&
J
J
25
. .
b J
J
J

J
& J
J
33
bb . . J
J
&
J
J
40

J
bb J
J
&
J J J
J .
47
bb J
n
n J J
.
&
J
J
J
54
. .
J
J
&

J
61
.
&
J
68
. . . .
. . . . . . .
J
. . .
.
J
English Traditional
THE
DEATH
OF
PARCY
REED
arr.
Clark Kimberling
q
#
.
& 44
J
6
&
. J 46
j .
J
&
.
11
44 . j
j
J
### 4
. 6
&
4
J 4
16
# ## .
. J 46
&
J
21
# ## 4
& 4
. J
26
44
# ## j
. 6 n nn n 4
& J
4

J 4
J
31
. 6
.
J

J 4
&
36
6
&4
41
.
4
.
J J J . J
J
4
J
J
&
J
J
46

Source: Northumbrian Minstrelsy (1882) p42
6
J 4

THE DERBY RAM

q..
. .
> .
6
j
J
b
J
& 8 J
J
J . J

b
& J
7
.
j .
J
. .
.
& b . j .
12
17
&b
>
j
.
>
j
.
English Traditional
. J . J
j
.
j
.
.
J
j .
. . . J
. . . . . . . . . .
. . . . # > n . .
J
.

J
.
. . . . . . . . .
j
. j
j
.
.
b
. j
&
. . .
.
>
22
. . . j . . .
j
j
.
. . . . .
&b
. . .
.
>
32
. . . . . . . .
.
.

n .
&b J
27
j . . . . J
.
. . .
.
.
.
.
>
.
. . . . . . . .
>
# # J n
j
&
J
J
37
. . . . . . . . .
.
>
j
. . .
& . . .
J
J
J
.
42
47
&
.
# . . .

.
.
J .
.
English Traditional
DOVER PIER
q

2 j
j j
&4

J J
j j
&
J

J J
9
.
&J
17
J
&
26

.
J
& J .
33
.
b
j
bb
n .
bb . .
& b
40
n #m N
J
bb b . n n
&
48
##
& J
56
n j n n n # # j
J
. . .
# # m
&
63
# # J
&
71
. . .
.

j

DUKE'S RETREAT
q or faster
# 2
.
& 4 . . .
.
.
. .
&
.
. .
.
8

&
. .
15
. .
#

&
. .
22
# .

&
. .
29
. .
. .
. . . .
. . . . . m .
#
&
36
. . m .
# .

&
.
43
50
&
n
. .
. .
. . . . .
&
56
. .
.
& .
62

English Traditional
DUKE UPON DUKE
q
.

2
&4

8
&
ben marcato
15
& .
22
&

&
29
36
&
&
&
# .
#
.
&
53
#
&
59

j m
j
.
42
48
# #

DUNKELD HARMITAGE
Niel Gow
q (fast)
#
& 44 . .
ben marcato
& . .
5
# . .

&
9
# .

&
13
. a
.
j
&
17
21
&

j n b b
b . .
n
b
n
&
25
J #
.
.
&
29
# .

&
33
# .

&
37

DUNSE DINGS
# # # 4 q
.
n
& 4
J
n
J
ben marcato
n
# ## .
n
&
J
J
# ##

&
9
n n n
J
# ## n
n
n
&
J
13
17
&
21
&
# ##
# ##
m
a n m
m
a n m
n
# # # . . . .
n
&
J
J
25
n
# # # . . .
n
&
J
J
29
n
# # # . . . . . . . . . . . . . . . . . . . . . . n .

&
n
J
33
# # # . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

&
37

EARL OF DALKEITH
& 4
.

&
.
m
6
.
. m m

&b
.
11
& b .
16
b . b

.
m
b
.N
m
b
.
b
&
.
21
.
b

&
.
m
26
N. .
b

&b
.
31
bb
bb .
&
36
. .
. .
.
.
.
b
&
41
.
.
. .
m . .
b

.
&b
45

ENGLAND'S LANE
# # 2 h

& 2

6
&
##
English Traditional
## .
3
&
2

J
11
## 3
& 2 .
16
21
&b
nn 2 N #

b 2

N
. j

&b
26
3
2 .
&b
31

b
&
35
&b

. j
. .
22
. .
. . #

b

&
39
44
.
.
. J

Source: Simpson p203 and H82#88
ENGLISH DANCE
q (fast)
#
.
& 42
ben marcato
#
& 43 .
7
&4
25
#
&
29
& 24
33
# n
&
&
43 .
2
&4
41
n 2
4
43
37
45
24
43
.
.
&
19
24
.
& 43 .
13
English Traditional
.
3
4

Source: EH Jones
42
.
42
Traditional English
FAITHFUL
SHEPHERD
arr.
Clark Kimberling
q
.
# 2
~
& 4

ben marcato
#
~
& ~
7
#
~
#
&
13
#
~
& ~
# . . . .
19
25
&
31
&
. .

# . .
. .
&
37
~
~
&
43
49
&
#
~
&
&
~
~
~
~
55
61
~
~

Source Kidson Morris #14
s .
~
~~ ~
Glis
English Traditional
THE FEMALE SAYLOR

h
. . .
bb 2 . . . .

. #
& 2
. .
9
&
bb
. . .
. . . .
.
. # .
. .
.
. .
.
68
q.
.
.
# .
.
.
N j j . n #
b 6 J #
J
b
J J J
J
J
J
J
& 8
h
25
> n
2
bb j j .
2
.
. .
&
2
2
2
J J
17
bb 2 > n > n Nn
& 2
31
> n
32
bb 3 2 > n > n n 3
& 2
2
2
36
. . .
2

&2
41
. . .
&
49
. . .
#
3
q.
. # .
57
6
J J
&8
N J

.

.
3

# # .
J
J J
J
J
j
. # . N
#m
J
J J
. .
&
J J J J
63

. . .
.
.
n n 22
68
.
J .
FIDDLER'S MORRIS
Traditional English
. .
2
b

& 4 . .
. .

. . . . . . . .
..
7
.
.
.
.
.
.
.
.
.
&

.
. . . . . . . .

&b
. .
13
19
& b . .
. .
. .
3
# n
j

3
2
&b 4 4
25
n
&b
31
& b #
37
. # n
n #
# n
n#
3
4
. # n
n #
n 42
. >
. >
.
2 . . . . .
&4
43
. # #
.

&
50
56
&
. > .
. . . .

. > .
. > .

&
J
62

Source Kidson, Morris, #5
q
j
4
&4
ben marcato
William Gow
THE FIFE HUNT
.
# J .
J
j
JJ
J
.
j
# J .
&

J J
J
6
j
# j #
J
&
J
J
10
j
.
# j # J
J
J
&
J J
14
.
.
. . . . . . . . . . . . #m. . . n . . . . . . . . . . . . .
J
&
. .
18
staccatissimo

##

J
#
&
22
subito legato
# # m .

&
26
ben marcato
j # J J
J
j J
# # m .
# .

j J
&
J J
30
## # j # n
J
&
J
J J
34
# # m # j #
J
&
JJ
J
38

# ## 2
& 4
8
&
# ##
q
j
. .
j
# ##
. .
&
15
James Hook
FLOWERS OF THE FOREST
. .
. .
# ##
&
22
.

J
# # # j
.

n
&
J
~ .
36
n
.
# ##
#

& .
29
~ .
.
. .
##
&
44
~~ .
j .

~~ .
.
. . .
##
&
51
58
&
##
j
# # j
J
&
65
.
n
. ~~
##
. .
&
72

Source: Levy Box 109
THE FRIENDSHIP
h
b 2

b
& 2
6
&

bb n
. n
James Paisible

n n
J
&b

11
bb
&
16
~~~~~~~
# n
J
& .
. . . .
26
m
b
b
.
&b
J
21
bb
b
b
&
J
32
~~~~~
# n

.
bb . J b . . . .
J
&
J
36
b
b
&
41
bb . n
J
&
47

n n

bb
n
&

52

Source: http://memory.loc.gov/music/125/0003.gif (1713)
q
# 3
& 4
9
&
THE FROG GALLIARD

j .
j
. .
J
#
&
25
j
. . J
j
.
.
J
.

&
33
41
&
# .
j
.
. . J
J
.
. .

& . J
17
English Traditional
faster:
. . j
. J . J .
. . # . N
j
.
J
J
&
J
49
57
&
65
&
73
&
81
&
89
&
##
##
##
##
.
h.

. .
J

J
faster:
##
. m .
J
3
m .
.
.
J
J
m .
.
J # . NJ .

J
J
. . J .
.

J
Chappell p275
GEORDIE
h
2
&b 2
English Traditional
.

J
& b . .
. n . J
.
J

n n# #
&

.

13
. J
&

19
25
&
# .
&
31
. # . J . .

n # . J
# #
. .
&
37
. .
J
&
43

Chappell vol 2? Traditional tunes p25
GILDEROY
q
.

& 4 . J
m
. . J

&
7

&
m
13
.
. J .
46

&
19
m
m m

#
4
&4
m
m m
31

#
&
25
.
.

J b J
&
m
. . .
43

. .
m
j
&b
37
m
.

b
j
&
J

. . .
.
55
&b J
49
. . . .

6 .
.
J
b
&
4
3
61

THE GIRL I LEFT BEHIND
q

4
&b 4
j
&b
6
&
12
18
&b
&b
J
23
&b
&
41

. J
.
# . n #
# .
. .
T
m . . .
. .
.
&b
33
37
. J . j
28
English Traditional
&
faster
#
j
&

46

Chappell vol 2 p187
& b 44
English Traditional
GOOD MORROW, GOSSIP JOAN
q
. .
. . . J .
b
. . .
&

8
&b
14
&b
19
j .
. .
.
.
.

J
&
25
31
&b
m. . - .
q
~~~~n # N .
.
faster:
Gliss
.
.
.
# m

J
&

. .
43
.
. . . .
.
#

&
m
49
.
# # m m
~
~
&
~
m
~~
37
m

.
61
.
.
.
~ . J
&
# .
&
55

Chappell vol 2 p98

m
.
GRAMERCY PENNY
h
.
# 2
.

& 2

English Traditional
& .

.
7
13
&

#
. .
#

&
19
&

25
. . .
faster
.
. .
n
N
& . . . J J
m.
37
.
.
. .
&
. . . . .
43
.
.
.

&
31
#
&
49
&

m
. . .
61

. . .
&
J
m
55

GREEN GROW THE RUSHES, OH!
# # 4 q

& 4
# # . . . . .

&
English Traditional
. . . . . . . .
j
# # . . . . m m
. . . .
5
4
&
. . . . 4 . . . . 4
. .
13
~
~~~
## 4

& 4
##
&
17
m m m
~~~
.
.
. .
## 6
& 4 . . . .
21
. . . . 46
. . . .
nnb 4 N
.

4
.
J
&b
25
&b
29
~~~
~~~
. . . m m
&b
.
33
. . . . . . . . . . . . . . .

&b
37
~~~

m m
. . .
& b .
41
. . . . . . . . . . . .
. .

HANDEL'S MARCH
h
# 2
& 2 . . . . .
ben marcato
~~~~
8
#

&
. . .
~~~~
15
#

&
.
. .
George Frederic Handel

.
.

.
.

. . . .
.
.
.
#
j
j
# . J
. . . .
&
. . .
22
.
#
. j . j
. .
&
u
.
.
.
.
36
T
.
.
.
.
.
.
.
.
.
## .
.
&
29
# # ~~~ . . . . .
&
43
T . . . . . .
>
# # > ~~~ . .
.
&
50
# ##
m
.
. . >
>
. . .
~
. .
# # # > . . . . 3

&
57
## .
&
64
- - - - - - - - - - - - - - ~ - - .
HLAS MADAME
# # 2 q. . .
& 4
##
&
9
# # . . . . . m
#
&
17
##
&
25
. . .
#
J
.
J
## . j
&
J #
# j
J
m
#
J
j
j J # J
J
# j
J
J
J
33
Court of King Henry VIII

n n . .
b
# n #
. . j #
j m m .
&b
41

b
&
50
. . .
. m j
m j
.
.
.
.
# J n
#
J
# m #
&
58
63
&
70
&
# m #
#
.
. # # . . m
m m
m
. m
.
.
.
.
#
Source: EH Jones
# # 2 q j
& 4

8
&
15
&
##
##
>
>
# # . .
&
. . . . m .
&
##
j
m
22
29
HE'S AYE KISSING ME
. . .
.

j . .
.
q.
>
#
j n 68 . .
faster:
. >

# >
.
&
m J
35
.
# . j .

.
&
J
J
m
42
j > . > . > .

& .
49

> . > .
J
.
J
3
# >
j . j
&
J
J .
.
61
.

#
& .

55
> .
.
>
J

J
j .
-

HIGHLAND DANCE
q.
.
.
.
6 . . . . . . . . .
. . . . . . . . . . . . . . .
&8
J
J .
J
fl
> . . . .
. . . # > . .
.
.
.
.
#
.
.
6
9
. J
& . . . J 8 .
8
J .
J
J fl .
8
. . .
. . .
.
.
.
.
.
.
.
. . . .
.
.
.
9
6
J
.
. 8 .
&
8
J
J ..
J
fl .
q
22

. . . . . . . .
9
2

& .
J . . . J 8 .
4
15
legato
29
&
. # #
3 j
2 #
4
. #
&
4
35
q.
.
3 j 6 . . . . . . . .
. . . .
J .
&4
8
fl
47
> . .
.
#
. . . .
9
6
&
J . . . J 8 .
8
J
41
.
. . . . . . . .
J
. . .
. . . .
J fl . .
. . . . # > . . . . .
. 6 . . . . .
.
.
&
J
J
8
J . . . J 8
53
.
.
.
. . .
. . . . . . . . . . . . . . .
9
&
J .
J
J . . . J 8 .
fl
59

HIGHLAND MARY
bb 4 q
. . j
& 4

J
b

.
b
&
J
7
13
&
bb
. .
q.
n
6
6 j

.
j
j
j
J

&
J
J
19
25
& .
31
&
.
J
J
j .
J
J
. J .

&b
J
36
&b
41
47
&b

h or faster
b 22
. .
J

THE HUNDRED PIPERS

# ## 6 j
j .
& 8

J
7
&
# ##
j
J
# ## . j
j
J
.
&

J
13
19
&
25
&
# ## .
# ##

J
J .
J
J
n## j

j j

J
#

J
# # J .
&
J
31
J
j

## j
nn j
&

J
J J
J
37
& J
J
43
& .
49
J j J .
J
& J
J .
55
61
&
j J

J
J

J
J
Source Johnson ...(or Internet)
J
J
.
J
&
7
&
##
##
English Traditional
HUNSDON
HOUSE
arr.
Clark Kimberling
q.
>
.
j j
6 j j
J . .
j
j
8 . J
J
. J >
>
.
ben marcato
. >
. >
. > .
JJ
JJ
J J .
J
J
# # . >
&
JJ
13
j J .

. >
JJ
. >
# # >
.
J
&
J
J
J J
nn
19
j
J
#
J
&b
25
. .
J
&b
J
31
&b
>
JJ
&b
37
44
. >
JJ
&b
50
.
. . . . . .
. .
J
J
.
J .
&b
&b
>
J J
61
. . >
JJ
>
J J
.
J
. . . J .
j


> j
J J J
>
>
j
JJ
J J J
.
J >
J
J
56
# . . . # .
q
4
& 4 . J
6
&
11
&
John Stafford Smith

THE HUNTER'S SONG
. .

.
J

J
J
<
<
.
. j
3
.
J
. . . .

m
16
&
21
&
.
J
. J

<
<
. .

J
. J
##
##

. . . .
&
29
. m . . . .
# # . . . . m
.
&
25
33
&
##
# # . . . . m

&
37
m
J
##

. . . .
&
.
45
. m
# # . . . m
.
&
41

Source: U FL library (rare)

. . .
..
. . .
# 6
& 8
English Traditional
I'LL TOUZLE YOUR KURCHIE
q.
m . . . . .
j
.
. . .
J . . . . . . . . .
m . . .
. .
. .
J
& . . . . . .
J . . . . . .
. .
. . .
6
.
# m . . . . . . . j

J
J
& . . .
. . . . . .
. . .
11
# m . . . . .
. . . . . .
&
J . . .
. .
. . . .
.
. . .
21
. m . . . . . 9
#
J
& J
8 . . . . . 8
J . . .
.
16
#

&
.
#
J
26
# .
& J
31
j
. n . . .
. . .
& . J # J
.
36
. . . J . . . . . . J
&
J . . .
42
J .
&
J
J
48
.
J J

.
J
English Traditional
q.
# 6 . n . . a
j . n
& 8 J
JACK'S HEALTH
m
# . . .
n
. .
&
j . n . . J J .
&
13
# J J # .
&
j j
25
J J
#

& .
J
19
. # #
n m . a
# .
J
.
& J
31
# # # . # n m . n m . . a
j
. n
.
&
37
43
&
# # # m m
j m . n m . . a J
# # # . . . # .

J
&
. . . . . .
.
55
.
# ##
j
J
j
J
.
&

49
rit. >
# # # m . .
J > .
J
&
J
61

Source: Fleischmann p. 94 tune 486 footnote, Neal coll., Dublin 1726
English Traditional
JACK'S MAGGOT
h
## 2
.
J
& 2

ben marcato
## .
&
7
13
&
##
.
##
## . . .
&
J J
31

. J . J .
## .
&
&
. .
19
25
subito legato
# .
#
& b n
37
.
nn b
#
n #
marcato

## .
&
43
48
&
##
n nn
b
legato
&b
54
59
&
. J .
J
## .
# .
# # .
#
marcato

. J . J .
JENNY
NETTLES
q
. #
. # .
.
.
.
.

& 44 .
.
.
. # j
# .
. .
.
&
#m
j . .
&
12
.
m #m
.
j #
.
&
16
m # .
# . #

&
20
# #
. #
.

. .
# . .
&
24
.
.
# # # . . . # m . . #
. .
&
J
29
## . #
. .
&
J
m
39
.
#
## . #
&
J
. #
m
43
m #
.
##

&
.
.
47
.
.
.
##

N

&
35

English Traditional
JOAN TO THE MAYPOLE
arr.
Clark Kimberling
q or faster
#
j
& 44 . .
> # . > > # .

#
&
. J
J . J
8
> # .
# >
& J . J
14
>
> # .
. .
#
j 6
.
.
&
4

19
.
. .
# 6
j
.
J
& 4 . 4 J
25
# . j
# . . J . j # #
&

31
# . . . . .
6 . ## 4
J
&
4
4
J
m
3
43
m
.
# # . m .

&
J
37
> # . > > # .
# # . >J # . >J >J # . .
J
J . J

.
&
49
55
&
>
## .
. m .
. m
## .
.

&
J
61
m m
.

Chappell vol 2 p100
KATHARINE OGIE
4
&4
q
. . J . .
J
J
&
7
m
.

.
&
13
.
#
&
19
25
&
. . .
N
# .
.
&
m #
31
46
6 b 4 . . J . .
4
J
J
&4
37
&b
43
. . .
. .
.

&b
49

Source:Keller p39
2
&2
KATRIN HOGGIE
h
. J .
. . . .
.
&
8
21
& .
.
&
# # . > .
J
.
&
46
&
51
&
33
# # . . . . .
&
27
40
. J
. J .
. . . .

& . J
15
John Young
>
. . J
. > . J .
##
. > . # . .
J
##
#
N
. .
# # # N
&
rit.
. .
61
. . . . . . . . .
##

& . .
no vibrato
56

KELVINGROVE
Scottish Tradtitional
q or faster
# 4

& 4
.
.
#

&
# .
&
13
.
J J
. .
###
# # # . .
. . . . . . . .
. > . .
&
.
. .
..
..
.
.
>
.
24
. . . . . . .
. . . . . . .
# # # . .
.
.
&
. .
. >
>
29
# # # . . . .
n nn
. j
J
. J J
.
&
J
.
34
.
. . . . . . . .
. . . . . . .
.
&

.
. . . . . . . .
37
.
.
.
. . . . . . . .

&
18
. .
. . . .

&
41
. J .
J
J J
&
45
KEMP'S JIG
. .
.
& 24
.
&
7
. .
English Traditional
. . . . . . . . . . . . . .
b
.
& . . .
m
13
. . . . . . . .
. . . . . .
. . .
& b
.
m
19
25
&
33
&
. .
.
&
.
m
42
&
48
. .
. . . . . . . . . . . . . .
b
.
& . . .
m
54
. . . . . . . .
. . . . . .
. .
& b
m
60

Source: EH Jones p34
KILECRANKIE
q
# 2
& 4 J
#
j
&
7
#
& J
19
& n
# j
& .
25
.
.
# # . . . . . . . . m
&
J
##
& J
42
&
##
.
. .
.
.. .
. . . . . . .
. . . . . . . . m
.
.
. . . . . . n . . n . . . . . .

.
# # . n . . . . . . . . . m
&
J
48
##
&
. . . . . . . . . . . . . . m . . . . . . . m . . .
. # # q
. faster:
32
38
j
m
13
53
m
J
. . . . . . n .

.
. . . . . n . . n . . . . . .

.
.
. . . . . n . . n . . . . . . . . . m

J
KING'S LYNN
q
. j

# 4
& 4
# .
&
8
& . .
15
21
&
bb
English Traditional
n b
j
b .
n .
b J .
b
&
J
26
faster
bb
.
nb
& J
J
J .
m
35
m

.
&
3
fl fl
.
39
n .
. . . .
&b
31
. n .
.
J
J
&b
43
. . . >
.
&b
47
. . >

fl fl
. .
. . . .
.
.
3
KNIT THE POCKY
q
. . . . . .
.
.
# 4 j . . . . . . . .
. j J
& 4 J
. . . .
.
6
. . . . . .
. . . . . .
.
.
.
.
# . . . .
. j J
&
. . . .
.
.
11
. . . . . . . . . . . . . . .
# . . . . . . . . . . .
&
. .
.
.
j J
.
. . . . . . . .
.
. . . . . . .
. .
m
.
# . j m
j m
j
j
&
. J
. j
J
J
16
# j . J
& J
23
. . . . .
.

N . . . . .
#
j n j J
.
.
J
&
.m
30
. . . . . . . . . . .
. . . . . . . . .
. . . .
j J
. . . j J
j J
&.
.
.
35
40
&
.
. .
.
. .
. .
.
.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
. . . . .
. .
45
&
no vibrato
KNOLE PARK
q
. . .
. . . . m .
## 2
& 4 . . .
. .
.
7
. . .
# # . .
.
.
&
.
13
. . .
. . .
##
& . . .
>
# # m . . m .
.
&
.
.
. .
25
# # . . . . . .
&
19
31
&
##
. . . . . .
.
. . . . .
.
m . m . m .

n nb
English Traditional
. . .
. .
.
>
. . . . m .
. .
. . . . . .
.
.
.
. ... .
. - .
.
.
.
.
.
.
.
.
.
# n
. A N
subito legato
# #

b
A
.
&
37
m m

m m
#
# #
b
&

43
49
&
55
&
61
&
##
##
##
. . . m .
. N . a
.
3
.
. . . .
. . .
.
.
.
.
. . .
. .
.
n##
. . .
. .
. . >
. .
. .
. m . m . m .
.
.
m .
.
. . . .
. .
j

Source: Playford Hall p. 62
LADIES OF LONDON
English Traditional
# # 6 q.
& 8 j . J
##
& # .
7
13
&
##
m
J J # .
J
n n 6 . . . .
j
9
8 . . . . . b 8
. . .
.
.

J

& b # . J n #
J
18
.
. . . . . .
.
.
.
b
&
. J
25
. m
.
.
# # .
.
& b J
J
31
. N bb
bb . . J
&
J
38
44
&
bb n .
J J #m .
. . .
.
bb m . .
&
50
9 . . . . .
8
J

J
.
LADY ELIZABETH COLE'S DELIGHT
q..
j
.
6
.
&8 J
J
#
J
J
J
J
>
.
7
. . . . . . . . .
#
J
. J
&
J
J
J
J
13
. .
. . . . . . . . . . . . . .
J
J .
& .
>
19 .
. . . . . . . . . . . . .
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Source: Gore #15
.
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LADY SHAFTSBURY
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LAMENT FOR MRS. OSWALD OF AUCHINCRUIVE
q
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THE LASS OF PATTIE'S MILL

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Robert Williams
6
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nb 2
b 2

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32
English Traditional
THE MERRY DOCTOR
q.
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q
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N . . 12 N . . # .
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8
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Nathaniel Gow
MISS CLEMENTINA LOUGHMAN arr. Clark
Kimberling
q
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MISS
COULSTON
q
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39

Nm .
.
MISS JESSY STEWART'S STRATHSPEY
Scottish traditional
q
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bb 4
.
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Source: Fleischmann 793
William Shield
MORPETH RANT
h
.
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.
.
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7
. . . . . . .
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2
nb 2 J J
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37
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J
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31
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.
48

. b .
&b
.
43
53
&b
> >
. . . . . . . . . . b . . m >
staccatissimo
Source: Jig,Reels&Hornpipes EH Jones p6
English Traditional
MOUSE IN A TRAP
# 6 q.
. j . j. j
. j . j. j
& 8 J
#
. j . j . j
. j
&
n
# . j . j . .
&
13
h
. . .
. . .
.
.
& n J
4
19
# . . . . . . . . 6 . . . . . . . . . . . . . . . . . . n .
J 8
&
26
.
44 . . .
# . . . . . . . . . . . . 6 . . . . . . . . . . . . . . . . . . 9
J 8
&
8
33
# 9 . . . # # 6 . . a . . .
& 8
8
J J
J J
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39
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45
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51
. . . . . . . . . . .
. . .
.
.

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# # . n . J
.
&
J
staccatissimo
57

MRS. GRAHAM OF BALGOWAN
Donald Dow
h (fast)
## 2
n
& 2

5
&
9
&
##
m

J n
##
m n n N N #
J b

#
J
&b

13
m
n## n

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a
17
21
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rit.
a tempo
.
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31

q j
& b 44
5
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. . . .
.
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9
13
&b
. . . .
MRS. HORSTON OF ROSEHALL'S FAVORITE
Nathaniel Gow
. . . j .
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>
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m
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. rit.
.
# . . .
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3
39

Nathaniel Gow
MRS. MACDOUALL GRANT
#
& # 42
7
&
13
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##
##
25
&
31
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j
j

m m J
##
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q
j

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37
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~~ . .
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49
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&
55
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~~~

43 j
&
61

NIEL
GOW'S
BONNY
CHARLIE
arr.
Clark Kimberling
q
3
4
j
& b 4 .
ben marcato
&b
r .

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11
16
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j
.
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#
n 4
J # J
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22
n 4
4
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faster:
q
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l
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>
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. . . . . . . . . . . . # . . . . n . 6 .
J
&
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4
36
> >

O GENTLEMEN, LISTEN I PRAY
q.
.
bb 6 J. n . . b . # . . . n . .
& 8
Arthur Seymour Sullivan

.
. n . . .
J
J
b
J
b . n .
n . n n .
. .
A
#
b
.
&
J
J
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. . .
7
bb b . . . . . n . . . . .
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13
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bb
# . . n . . .
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&
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25
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J
&
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31
37
&
N . .
b b
. . . . . # . . . . .
J
. j
~~~~~~~~~~~~~~~~~~~ . . .
.
. # # . . . . . . . . # . m . .

J
& J
43
> .
&
49
.
. .
J

Source: Trial by Jury
>
J
English Traditional
ONE VERY KEEN WINTER
q
b 3
# . n n
b
& 4

7
&b
b n
b
&
12
b
& b .
17
.
.
#

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n nn
22
27

.
m
j
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#
& .
J

3
32
## #
.
&
3
3
38
##
#
&
43
49
&
##

THE ORIGINAL HIGHLAND LADDIE
q
# 2 j
& 4 . . .
#
. . .
&
M
13
. . . .
#
.
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&
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20
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26
32
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3
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52
.
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.

3

OSTEND
h
4 . . . . . . . . . . . . . . .
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.
.
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.
.
.
.
& . . . .
.
13
. . . . . . . . . . . . . .

&
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7
.
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19
25
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. . . . . .
. . .
.
. .
32

&
37
. . . . . . . . . . . . . . .
.
&b 4
42
. . . . . . . . . .
.
&b
.
54
. . . . . . . . . . . . . . .
&b
48
. . . . . . .
.
.
. . .

#
&
31
. . .
. . .
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b 44
faster
.
. . . . . . . . . . . . . . .
. . . . . .
. . .
.
. . .
. . . .

#
&b
60

THE OUTLANDISH KNIGHT
h
## 2
& 2 n . J .
8
&
##
##
.
&
# . j
.
&
# .
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bb .
&
bb .
&
&
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.
J
h
#n # # nm . J .
n n
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m
faster:
55
61
.
J # .
43
bb .
&
.
j n b b J
36
49
m
n# .
22
29
n. .
15
English Traditional
nm .
m
English traditional
Clark Kimberling
O WALY WALY
h
# 3
& 2
.
&
6
10
&
# ##
# ##

&
#

#
j
.
& .
24
###
# ## .
&
29
###
n#

n
slightly faster
3
n
slightly faster
&
14
19
.
.
.
. n
3
3
> . 3 >
.
&
34
3
&
39
nnn
James Paisible
PAISIBLE'S HORNPIPE
q (fast)
# 3 # . # . # .
& 4
J
# . .
.
&
.
9
# . # .
#
.
#
&
J
5
# . .
.
&
.
17

#
#

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&
13

&
21
.
#. # #

#
.
#
.
&
25
#
&
29
.
# . # #
# m # # . # .
J
&
J
33
# .
.
&
. .
41
# m
. # .
J J
&
45
. .
# .

&
37

Source: http://memory.loc.gov/music/125/0003.gif (1713)
English Traditional
PARSON'S FAREWELL
m. .
.h
. .
. . .

&b 2
.
.
. . . . . .
J
J
b

&
7
. . . . . . . .
. . . . . .
&b
13
. . . . . . . . .
&b
19
# m
&
25
# . .
J
J
&
31
37
&
44
&
# m .
# .
. . . .
m . .
. .
.
#

##

&
&
.
# # # .
m. . . .
m . . . .
52
58
#
n

Source: Playford Ball p.83
U
w
King Henry VIII

PASTIME WITH GOOD COMPANY Courtarr.ofClark
Kimberling
q
j
j
.
& 44 . . J . . J . # . J J .
m
j
j
j
j
.
.
& J
# n . J .
m
7
j ## .
.
.
&
#
m
13
# # . .
j . j
.
.

J
&
19
j
## .
j
&
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25
nn

# .
& b n #
29
33
&b
# n

J
. . .
J .
.
.
.
b
&
J
37
# n . . . . . . . .
J
&b
J J J
41
# .
&b
J
J
45

Source: EH Jones
Malcolm MacDonald
PERTH
RACES
q.

>
### 6 j
& 8
. J j
m
# # # . j j

&
>
13
# ## >
& . J j
m
19
>
# # # . . . . . . . . . . . .
J
&
.
7
. . . . .
.
. . .
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>
.
. .
.
. . . . .
. . .
. . . . . .
>
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. .
.
# # # . j J . . . . . . . . . . . . . . .

&
>
31
n . .
# # # J J .
n
. . n b
&
J
25
&b
38
3
.
2
m
# .
&b
2
44
.
&b
50
#
2
#
#

2
. n # # # > j
. J
m
# # # . j j
&
>
63

>
# ##
.
J
& . J
m
57

Source: Gore #67
q
# 3
. . .
& 4 . . . .
..
8
# .
. . . .
&
English Traditional
PHYLLIS THE LOVELY
15
&
# . . .
23
&b
nb
. .

. . . .
#m

n#
~~
.
.
. > . .
n
. . . .
J
..
38

# .
. . . . m
&

b
&
31
44
&
. . . . m . . .
. m
m
J
& b #
52
b
n
&
59
b N
#
n . . . .
~ ~
.
.
. . .
>
&
J
. .
73
# . . . . m . . . . m . . .
&
66

THE POLITICK LADY

.
q.
.
6 . . . .
&8
.
. .
&
# . .
6
11
&
English Traditional
.
.
b # j
.
. .
.
j
.
98

.
.
.
9 . . # 6 . # .
&8
. .
8
16
& . .
21
# . # .
.
&
.
26
31
&
36
&
# .
## .
.
.
. # #
.
.
.
# # . . . .
. .
.
##
#
n
&
41
# # . . .
&
45
j
.
j
.
#
.
j . . 9 .

PRETTY POLLY OLIVER
q

3
&b 4

&b
9
& b .
b bb . j
b
&
b b b . J .
b
&
T
#
... .
T
nn n n # . . . . . T
. . . . . . . . . #T
. J n n n
32
&
bbbb
j
24
j

.
16
39
English Traditional
T . . . . . . .
T
T
.
.
.
#
44
.
&
45
# 4
& 4 51
- - # # # 3 . . . . . .
. .

4
. .
.
# # # . . . . #
. . . .
.
# # # . . . .
&
J
m
.
J
. .
57
&
63

Chappell vol 2 p181
PRINCE OF ORANGE
John MacGill
q. or faster
j
& b 68 J J j J
j
.
&

.
7
~~
. .

j
.
&
J .
14
20
&b
27
& b .
. j .
. #
n J j J

J
J
faster
ben marcato
.
#
& .
48
j
j
.
. . . . .
b
J . j .
&
.
&b
~~
.
~~
. m J j
. j
34
41
~~
.
~~
.
.
~~
.
~~
.
#

&
J J .
m
~~
60
.
# .
J
j .
&

54

Source: Scottish Country Dance Book 6, #8
THE PRINCESS ROYAL
q
.
. . .
bb 2
. .
& 4 . .
&
# . #
>
.
14
.
.
bb . . . .

&
# # J
>
7
bb 3 . . . . . .

&
28

.
.
bb

J
&
# #
>
35
.
m
.

J
& b
21
b
&b
43
.
. . .
&
50
57
&
63
&
.
n

faster
. .

# #
. >
. . . . .

.

# # J
>
3
# . .
.
.
.
# #
&
#
>
3
3
69

PRINCE WILLIAM OF GLOS'TER'S WALTZ

h.
.
.
.
# 3

& 4
English Traditional
.
.
J
#
&
10
#
&
19
# . j .

&
J
28

&
37
#
# # . J #
&
46
56
&
. . . . . .

#
&
63
&
72
m .
faster
.
n
.
m
.
&
81
.
. J
.
m . .
. . . .
&
90

Source: Playford Hall p.88
PURCELL'S HORNPIPE
h
# 3 >. >
j
. . j .
& 2 J
>
> >
>
>
>
>
>
>
5
j
# .
&
.
J
.
Henry Purcell
# . #.
. .
J
J
&
J
j
#
j
.
& . . . J
17
# . J # . J # .
&
13
# . J # . J .
&
# . N
# .
&

21
25
# . # . J .
& J
29
.
.
. NJ . . . . . .
. J
&
J
37
.
.
. J . . . . . .
. J
&
J
41 .
. . . #m . . . . . .
J
J
J
&
33
. .
.
. .
.
. . .
.
.
J
& . J
J
45

#

#
q.
# 4
& 4 J
PUSH ABOUT THE JORUM
.
. . .

.
m .
& .
J

6
11
&
# .j .
.
&
.
>
16
n b A
N .
#

& J b
21
. . .
. . .

bb
&
26
bb N .
& #
31
.
. >

.
b n #
&

36
.
>
. .
.
& b J .
41

English Traditional
RED
JOAK
arr.
h
. . >
. . >
. . >ClarkKimberling
. J
. J
. J
# 2

& 2
# >
&
7
. .
.
.
J
J
. . . J . . . .
& .
13
.
.
.
.
.
.
j

&

19
b n b .
b
&
25
b
& b
31
.
. .
bb . . . . J # n
&
37
&
43
#

&
48
53
&
# .
.
n .
n#
faster
. n .
.

.
il s~s~~
2 .
2
~G~~
.
John Riddell
.
.
# 6 q.
& 8 j . . J . . J
ROTHESAY COUNTRY DANCE
.
.
& . . . J . . J
9
-
-

& .
17
. . . . . . . . . .
. . . . . . . . .
.
.
.
.
.
.
.
.
.
.
.
.
.
.
& . . .
. .
staccatissimo
.
32
# . . . . . # # . . a # J . .
J
.
&
.
25
subito legato
40
&
##
. .
#
j . .
J
.
#
. .n # . .
n
&
. J
56
.
.
#
#
#
& . . J . # . . J
64
-
.
n
# ##
#

& . . J . n n
48
##
j . .
- . . . . .
-
#
.
.
.
.
#

. .
&
. . .
71
staccatissimo
. .
.
# # # . . . . . .
. . . . . . . . . . m . . J
&
. . .
78

English Traditional
ROYAL OAK
q
.
.
. . .

. .
# # 4 . . .
.
.

J .
& 4
3
6
# # m .
. J J

&
.
# # . . . . . . . . . . # n .
&
3
11
##
&
16
. . . .
.
.
.
.
. .
. . . . . .
# # . . . . . . . . . . . . . . . . . . . . .
&
19
. .
.
.
. #
&

.
. . . .
.
.
~
.
.
29
# # # . . . .
## # #
#
&
24
##
.
.
##
. . . . .
&
3
.
. . . . . . .
34
# ##
.
.
.
&
. .
. . . .
. .
. .
. . .
.
43
.
#
& #
38
. . . . . .
.
# ##
.
&
46
>
> .
q.

n
j J
& b 8 j
J J

SAILOR'S JIGG
&b
# .
n
j
J
J
J J
& b n n J
>
19
. . . . .

# .
&b
13
. . . . . . . . . . . . . . . . . . . . . . . . . . . # . .
&b
26
33
&b
39
&b
46
&b
j .
j
.
#
.

.
..
..
..
.
.
J
.
. .
. .
. .
.
.
.
9 . . # 6 faster

#
J
J 8
J n 8 j J J
# .

j J J
#
& j J

53

# > #
.
J J
& J

.
.
.
69
. . . . . . .
# # .
&

.
75
# . . . . . . . . . . . . . . . . . . . . . . . . # . .
&

61

SCOTTISH HORNPIPE
q
.
. .
.
j
4
.

. J
&b 4
J
.
.
ben marcato
.
. .
.
J
b
&
.
7
. .
.
j
.
b
J
.
&
13
6
.

. J
4
J
&b

J
19
. . . . . . . . . . .
6
4
. 4 .
&b 4
.
31
. . . . n . . . . . . . . . . . .
&b
25
. .
. . . . . .
faster
. . . . . . . . . . 6 . # 4 .
n 4
&b
4
. .
J
37
. .
. .
. J
#
.

J
&
.
J
43
. .
# .
.
&
.
J
J
55
. J . .
.
#

&

J
J
49
61
&
.
. J

J
q
& 44 N
SCOTTISH REEL

. .

&
. . . . . .
6
. . . . . . . .
. . . .
& . . . . . . . . . . . . . . . . . . . .
16
. . . . . . .
& . . . .
. . .
sub. legato
11
#
& #
26
31
&
##
46 # # 44
...
. . . .
.
.
.
.
.
.
.
.
44 . . . . . . . . . . . . . . . . . . . . .
...
... .
. . . . . . .
..
.
. . . . . . .
.
. .
.
.
.
.
.
.
. .
. . . .
. . . .
...
& . . .
21
. . . .
.
. . .
. . . . . . .
. . . . . . .
# # . . . . . . . . . . . .
.
.
.

. . . . .
. . . .
&
. .
41
. . . .
# # . . . .
. . .
&
. .
.
45
# # .
&
36
# # . . . . . . . . . . . . . .
. . . . . . . . .
.
.
.
&
. . .
...
49
. . . # .
.
.
# # j . . . . . . . . . . . .
.
.
.

.
&
. . . . .
54

2
&2
7
&
SHACKLEY HAY
h

. J
&

&
19
& .
25
J
J

.
&
&
43
&b
49
.
. J
b
J

. .

&b
.

J
faster
&b
54
. J
31
37
.
J
13
English Traditional
. . . . . .

. .

SHEPTON HORNPIPE
h
# 2 . . . . . .
& 2
J
ben marcato
.
& J J .
7
. . . .
J
. . .
j . .
. .

.
# n # m. . .
&
.
13
. .

&
19
b 2
&b 2
25
subito legato
English Traditional
. . . .
. . . .
nbb 2
3 .
2
J J 2 .
J

J
J
faster
. . . .
38
.
bb J
n
&
J
J
b
&b
32
.
&
44
. . . .
. .

J J
J
ben marcato
b . . . . . b . .
. b . . . .
j
J J

J J
&
J
49
55
&
.
# # . . . . .
J
.
.
.
# # . J J
&
61

Source: Morris (Karpeles) p6
m. .
THE SOUTH BRIDGE OF EDINBURGH
# 6 q.

& 8

.
J
&
J J .
6
#
.
&
J
11
#
& .
16
21
&
. J

J
J J
.
J
J
# J
J
. . . . .
&
fl . fl
faster
31
# . . . . . . . . . . . . . . n
J
&
J
26
36
&
& .
41

.
&
46
.
J

.
J

Source Johnson ...Scottish Fiddle 18th cent., p229

.
J
English Traditional
THE SPRIG OF THYME
# 4 q
j

& 4 . . J

J
3
& . .
# .
&
J
.
.

13
b
&b
19
. .

J

.
J
&
36
&
. . J

J
. .
.
.

& J
.
.
& J
47
&
nn .
41
53
. J .
bb . .

&
J J
bb
nbb .
. J
J
25
31
.

J

.

3

q
& 43
>

&
8
ST. DENIO
>
>

& . . .
15
Welsh traditional

>
>

. . . . . . . . . . .
.
>

# # # >
# # >
&
J
>
28
##
. . . . . . . . . . . .

&
22
32
&
##
44
.
. . n . . . .
.
.
# # . . . . . . . . . . . . . . .
. . . .
n
&
. . . .
36
## 3
&
4
40
##
&
46
>
n n >

> >
&b
53
60
&b
. . . . . . . . . . . . . . . .
James Hook
STEADFAST SHEPHERD
q.
# 6
j
j
j
& 8
j
j
j
.
9
6
& 8
8 # #
J
m
6
# .
&
11
j
j.
.
.
. .

.
j
&
.
j .
18
# 2 h
. j
.
& 2
25
32
&
# .
# . .
# .
&
. .
38
2
2

. j #

. j .
. .
q.
.
.
n 6
8
J
J .
J
9 #m . 6 . . .
. . . #
m
J
8
J
J
&
8
J
J
45
51
&
. . . . . . .
.
&
58
. .
.
.
.
. .
J
J
j .
J

Source: JamesHookEightSongs (Pilkington)
English Traditional
ST. MARTIN'S
h
~~
&2
6
&
&
11

&
16
~
#
.
. j
#
&
26

&
&b
n m # .
b
&
41
j
#
31
36
# N
& .
21
m
# #
# N
b
faster
n n b
n m # .
> n
A> > > > > >
&b
46

Source: Playford Ball p.94
> .
SUCH
A
WIFE
AS
WILLIE
HAD
arr.
Clark Kimberling
h
2

&2

&
7
&
13
& . J
19
J
&
25
J
&
31
37
&b
faster
&b
. J
&
55

&b
43
49

# 6
& 8
John Clark
SWARD HOUSE
q.
j
J
#
j J .
&
. J
j .
& j
J
13
# m

&
19
# .
&
25
nb b
. J
m
J
q
# . j
# .
44
bb N . # # .
&
35
bb 4 # #
& 4
30
64 N 44
.
# .
# . N
q.
bb
&
4
J 8
#
j
40
44
&
bb
b
b
&
49
.
J
bb j

J
&
54

Source: Gore #68
English Traditional
THOMAS, YOU CANNOT
q.
## 6
j
j
j
j
.
j
j
& 8
.
J
J
8
&
##
j .
j j
#
n nn
. . . j j .
j
b
& # J
J J . . . . .
. . . .
14
# n
j #
b
j
&
J J
J
20
j j
m # n
#
&
J J
J

26
faster
#
j
#
n
&b
J
J
.
3
32
# ##
j
.
&
38
J

J
J
3
# # # . J J . J
&
J
43
# ## .
j j
J

&
49
j .
J

Source: Wooldridge II 17
English Traditional
TIT FOR TAT
# 6 q.j j
j
j
j
& 8 . . J J . j .
.
.
j 9 j
j 6 . j . j
j
& . 8 .
8
J
7
# .
&
13
.
j
j j J j j
. .
J
.
j
j
j
j
& J . j . .
.
25
q
. . . . . . . . .
. .
.
.
.
.
&4
. . . . .
. . .
19
3 . .
&4
32
37
&
. .
. .
. .
. ..
. . . .
. .
. . . . . m.
2
4
J
. .
. . J . . . 3 . .
# # . . . . . . . . . . .
j
&
J.
.
49
## 6
J
& 8
J
43
# # J .
&
55
61
&
##
9 j . j n 2
8
4
. .
J
q.
# # 6 .
j
.
8 J .
. . . . . . 9 . 6
8 J
8
J
.
J
J
J J
J

. .
. . .
.
. .
. . .
.
. . . 43
. .
.
J
9 .
8
J
J

q.
.
# # 2 . .
& 4
##
&
6
English Traditional
THE TOUCHSTONE
. . . . . . . . . . . . . . . . . .
.
.
.
.
. .
# # . . . .
&
##

&
. . . .
11
16
##
&
. .
m
# # . . . . .
&
31
&
.
# .
.
.
. . . . .
.
21
26
. . . . . . . . .
.
. . . . .

.
. . .
.
#n .
. .
. . . . . .
. .

m . m .
. . . . . .
.
. .
. .
.
. . . . . . . . .
. . . . . .
. .
#
&
.
. . .

.
41
.

#

. . . .
&
. . . . .
~~~~~

.
46
. . .
.
&
36
52
&
# . .

Source: Playford Hall p.103
. . . . . .

.
#
& # 68
TRIP TO BATH
English Traditional
q.
j j j j
legato
## .
j
j
&
## j
.
&
13
19
&
##
j j
9

J

J 8
.
.
. .
.
.
## 9
. n . n n b 6 . . # . . . . . . . . . . # .
& 8 .
8 . .
J
30
. . . . . . . . . . . . . . . . . . . . . . . . . .
. . # .
& b . . . # .
.
36
. . . . . # . . . # . . . . . . . . . . . . . 9 .
# 6
.
.
b
.
&
8 J
8
. .
J
25
# 6

J
& 8
J
J
legato
49
m
# m .

j
&

J
J
55

# m .

&

42
61
&
J .

J
3
English Traditional
WANTON SEASON
h
#
2 # # # #
b
& 2
#
#
&b
11
&b
. #
. # #
m
## a
&b
16
.
## .
# #
&
21
# # #
&
26
30
&
# # . #
# #
&
34
# #
# #
&
38
# #
.
.
#

#

Source: Chappell 272
English Traditional
WATKIN'S ALE
q.
j
j
j
j
& b 68 J J J j . . .
J J
J
j j
j
. J >
&

.
7
j j j j
j j
& J
13
19
&b
. . n b .
j
j
h
faster:
.
.
. . . . .
#
. .
#
j
9
2
n b . 8 .
n 2
&b
25
. . . . . . . . . . . . . . .
# . . . . . . . . .
&
.
30
. . b
. .
. .
. . . . . . . . . . . . J J . . . . . . . . . . .
& .
J
.
.
.
43
.
.
.
.
.
.
.
.
.
. . . . . . .
# . .
n 6
.
& . . .
8
.
q.
. . . .
. . . .
49
.
.
. .
6
J
J J J J
J J J
J
&8
J J
J
37
> .

J
J
J
& J J J
56
.
&J
62
.
J
rit.

J
J J
J
Source: Chappell 265 (Fitzwilliam)
Seymour Sullivan
WELCOME, HAPPY MORNING Arthur
h
#
>
## 2

.
& 2
>
# ##
&
7
13
&
# ##
# #
# ##
.
&
n n n >
> # .
&
# # # #
25
31
&
N .
. J # .
> N
.
&
37
bb .
b
&
43
b
&bb
48
bb b > . .
. .
.
>
n .
nm # #m n
.
bb . n .
b
&
J
54
>
19

>

Source: H82 #179
Welsh Traditional
WELSH
QUICK
STEP
q.

& 8
. . .
&
. .
7
.
. .
.
.
& . . .
13

. . . .

&
. . .
19
.
j
j
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Source: Scots Musical Museum no. 324
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ZELLY ZING
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ZENAZOE
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Clark Kimberling
ZEPTUNE
q
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6
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34
38
&
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3
3
3
3
ZESTINA
q.
# 6 . . . . . . . . .
& 8
# . . . j . . . . . .
&
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9
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.
. . . . . . . . . . molto
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.
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ZESTNUT
q
# 4 .

& 4
m .
ben marcato
6
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11
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Clark Kimberling
nm
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31
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21
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46

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41
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49
Clark Kimberling
ZETUNIA
q.
j . >
## 6
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J
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& 8
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7
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q.
# 6 . .
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Clark Kimberling
. G~~lis~s~
ben marcato
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52
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q.
> b > > >
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10
& 8
Clark Kimberling
> b > > # > >

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10
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&
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4
b #
& 4 # b
15
44
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~~~~~~~~~ U ,
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26
34
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b -
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ZICAH
Clark Kimberling
q
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2
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Clark Kimberling
ZICKELPICKEL
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45
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41
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Clark Kimberling
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q
4 # # .
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& . . . .
7
13
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19
25
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30
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45
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faster
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m .
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ZIFFORD
q.
# 6

& 8 J
.
Clark Kimberling
&
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7
13
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55
ZIGG
q.
# 6 . . .
& 8
Clark Kimberling
# m

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&
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m
13
.
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&
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ben marcato
#
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19
25
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Clark Kimberling
ZILIEA
q. (fast)
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55
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4
ZILLIPPIPPI
h.
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33

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n b .
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n
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41
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Clark Kimberling
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n
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55 m
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48
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nn
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q
# 4 # # #
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J J
Clark Kimberling
# . J . # #
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40
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Clark Kimberling
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ZIMPASOODLE
.q

& 44
Clark Kimberling
b
b
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39
43
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b
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b
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ZINDIDOAH
q.
# ## 6
J .
& 8
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&
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Clark Kimberling
m j
j
J
J
# # # . m m j
. J
&
m
19
# ##
m . nm
J
J
J
J
&
J
13
# ## . # n # # .
J
J
J
&

25
# # . n n n b A .
J
&
J
31
m m m

.
.
n# J
J
J
&b
37
43
&
## .
m
J m m
J
.
. .
## .
J
&
J . .
J
49

m .
##
J
& . .
J

55
61
&
## .
Clark Kimberling
q animato
ZINGAZETTI
. # . j #
4
. J
& 4

J
. .
#
. . #
&
. . . .
m
13
. . b >
&
7
. . . # . . # . . . .
.
.
.
....
b b
. . . # .
. . . .
.

J
# . #
&

J
19
. .
. . . j
#
. J
& J .J
J
25
. m
. .
.J
&
J
. J
32
39
&
# . j
6 . 4

.
# 4
4

.
. . . # . . # .
# # # # # . . .
.
.J
&
. # . . .
.
. .
..
51 .
. . . . . b . . >
. .
.
.
.
. .
.
& . . . . . . .
. .
56
. b . . b .
. # . j
&

J
45
m #
.
&
61
h. or faster
.
# 3
& 4
6
&
#
&
&
. .
& .
21
. .
. .
#

&
# N

&
31
&
41
&
46
&
.
. .
m
#
# b
26
36
11
16
Clark Kimberling
ZINGOWALTZ
q. . . . . ZINNIA
. . . . . . . . . . . . . . . . .
.
.
6
J

8 J
J
. .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
J
Clark Kimberling
&
7
&
13
&
19
&
#
#
#
#
. . . . . . . . . . . . . . .
.

. . . . . . .
.
J
J
J
. .
#
. . n bA
N
J
#
b
subito legato

. #
bb
.
&
#
25

N
. #
& #
#
. .
. . . . . . . . . . . . . .
.
.
37
. .
.
.
bb
& . n n
J
. .
. . . . . . . . . . . . . . . . . . . .
.
43
.
.
. . .
#
J . J
&
31
49
&
55
&
60
&
bb
#
#
#
. .
.
.
J
J
. .
. .
J
. .
. .
. . . . . . . . . . . . . . . . . . . .

J
. . . . . . . . . . . . . . .
.
.

. .
. . . .
.
.
J
ZINNINNINNI
q or faster
14 > > . . . 7 > 6 w
6
J 8 J
&4 J 8
4
J J
14 > > . . . J 7 > 6 w
& 8 J J
8 J
4
5
Clark Kimberling
J
14
8
78
J 88
. . . . . .
. > # . > # .
.
# 7
6 #
78
12
& 78
8
8 J
8
9
>
>
>
# 7 > > > > > > > m . m
& 8
. > > > > > >
>
m
18
>

9
# >
&
8
>
>
> > >
23
12
4
# 9
5
& 8
4
8
8
13
# 12 m
& 8
28
> > . . . 7 6
n n n 14
J 8
8
4
J J
J
& 46 w
> > . . . J 7 6
J 14
8
4
8
J
J
J
w
6
&4
6 # # 7
7
J 88
8
8
8
31
34
. > # .
> . . .

>
.
7
11 J
8 J #
&8
8
8
38
. . . b
15
& 12
8 J
8
41
r
#
. . . . . . . . .
. 46 w
12
8
Clark Kimberling
ZINORAH
q.
. . . .
# 6 . . . . > .
J
& 8J
j J
J
# > .
&
j J .
7
12
&
# .
.
# # J .
&
22
&
27
&
##
##
2
##

&
2
J
2
#n . . . . > .
# # . . . . > .
j .
J
&
J
J
47
# # # . . . . m .
j J
&
42
.
# # # . . . m .
&
51
.
J
# # m .
&
J
37
#
J #.
32
17
.
J
###
Clark Kimberling
ZIPALO
q.

# 6
j
J .
& 8
J
J
J
J
m
# j
j
J
J
.
J
& J
7

# .
.
&
J
13
.
. j
J

& J
J
m
19
n b J .
j
J
& . b J
J
25
>
bb J
J j
.
&
J

31
bb . > J j
&
J
.
37
&
J
44
n#
.
faster
. . m
#
j
J
&
.
49
. . m
# .
.
&
J
55
.
J
4
&b 4
ZIPPA ZAPPAZAROO
q
> # > > > . .

> > >
>
> # > > > . .
>
> >
Clark Kimberling
.
.
. .

&b
>

9
. .

&b
5

. .

&b
13

>
&b
17
sub. molto legato

>
&b
21
25
&b
>
>
>
>
# >
>
>
>
>
>
>
>
>
>
> >
#
a
b
&
> > > > > > > > >

> >
33
> # > > > . . .
&b
> > > >
37
> # > > > . . .
&b
> > > >
29
>

> >
.
.
ZIPPLE ZOPPIT
h (fast)
> . j >
j
2 j j
j
j
b
& 2 . J n J
.
>
>
> .
j
j
j
b
& . J n
>
11
. . . . . . . . . . .
.
.
.
& b .
6
j >
J
Clark Kimberling
j j
.
>
. . . . . . . . . . .
. . . . . . . . . . . . . . . . . . .
.
. . . .
. . . . . . . . 3 . . . . 2 . . . . . . . . . . . . . . . . . . . . . . .
J 2
.
&b
2 .
16
staccatissimo
. . . . . . . . . . . . . . . . . . .
. . . . . . . . 3 . .
. .
& b .
2 .
..
26
. . . . n
.
J J
. J
&b 2 J
J J
22
21
. . . n . . . .
J
J
n . . . . . . A . . . .
. . . . . . .
.
&b
> >
47
. n . . . . .
& b
> >
.
53
. . . . . n . .
.
&b
> >
.
.
& b J
31
n . . . . . . . . . . . A. . n . . . . . . A . . . . n . . . . . .

b
&
36
41
. . .
> >
n . . .
.
.
.
.
Clark Kimberling
ZIPPOLITO
q.

j
# 6 #

# n
& 8
J
ben marcato
&
#
&
13
#
j
# n
J J . J
# N

&
J
20
m # N
# m # N

&
25
& J
31
#
&
37
# .
&
44
J . J
j .

# # j # n

&
J
49
&
.
55
# j
&
60
3
&4
&
3 .
.
& b 42
19
2
&4
44
43 .

& .
13
25
(with vibrato)
Clark Kimberling
ZIPPORAH
j 43 b
3
4

.
.
4 3
&4
4
43
N 3
34
2
b
4
4
2

4
#
N 3
42
&4
4
N
.
& 44
b b b 42
31
37
4
4
#
#
3
4
44
44

3
#

4

4
big breath
b
3 # b
&4
.
49
& 24
56
42
4
rit.
,
43 42 43 .
&
6
&
#
#
Clark Kimberling
ZIP ZAP TOE TAP
q
44 # J
j
j .

J

Toe-tap every beat to meas. 18
.

# J n
J
J

J
J J
.
# #
&
J J
11
17
&
# .
~
>
b b > b #
. .
# # j #
J
. .
# j #
J
(Stop toe-tap)
22
# . . N j
J #
#
&
J
J
. .
. .
.
. .
.
. .
# . . . . # J. . . . . . m . J . # . # .
& J
27
. . .
.
.
#
.
# J
.
j
j
J

Toe-tap to meas. 49
38
.
# # J n
J
# J J
J

&
J
32
&

.
#
&
J J
43
49
&
# .
~
>
b b > b #
> b> > > # > n > > > m. .
Heel-tap aggressively
Clark Kimberling
ZIP ZIP ZIDDI ZOCK
h
.
2 .

J
&2
&
7
# 3 J .
.
J
2
22 J J
32
.
# 3 J .
2
3
22
2 J J

. 2
& 2
J
.
11
# 2 J 3 J .
. 22 .
& 2
J
2
J
15
N .
&J
20
.
J
j J
& J
J
j . .
j J . J
J
J
J
. . b .
33 b
. b . b
J J
J J
&
27
b . b .
J J
&
38
43
&b
#

n
49
. . . . . . . .
.
m
.
.
# a
54
&
&
. . . . . . . .. .

R
Clark Kimberling
ZOCTA VIA
q.
bb 6 j j 9 J J 6 J J
& 8
8
J J
J J 8
bb
j
J 68 J J
8

J
.
&
J
J
J
b . nb

b
&
J J
J J
J
J
J
13
. . . . .
. . j
j
b
J
J
&
J
19
. . . . . . .
j
98
J J
&b
J J J J
25
.
9
6
& b 8 J J 8
2
2
2
31
37
&b

&b
2
43
J J #
J
J
J
J
&
J
. . . .
.
55

. . . .
J
J
J

&
2
49
#
J
&
60

J
J
.
. . . .
.
#
& 44
Clark Kimberling
ZOLAIRE
molto legato
j
& . . j .
6
# .
j
&
.
J
11
16
&
21
&
.
bb
b
&b
26
&
41
.

.
.
J
J
&
46
&
## .
## .
.

J
-
j
j
b
b
j
&
.
.
.
##
.
.
nb

j
.
j
b

J
>
31
36
nn##
m
.
.
J
J
m
.
.
J
J .
.
J
.
J
.
J
# . N
J
. b
J
h.
3
&4
9
&
17
&
&
25
31
&
37
&
43
&

b
&
57
# N b
b
b b b

& .
49
Clark Kimberling
ZOLARI
#
. J
b
&
64
n
n
n
n
3
- . . . . . n - . . . . . A - . . . . .
b

- . . . . . b - - b - - b - - - b - .

b
&b
70
legato
ZOLLIE
q .
.
.
4 . . . . . . . . . .
. . .
&4

Clark Kimberling
. . .
& .
6
.
. . .
m
. . . .
&
11
. .
&
16
. . .
. . .
.
. . . . . . .
j
#
. . n
.
. . .
b b b # # # # # n N
&
21
> >
b b b # # # # N b
&
25
. . . . . .
.
& .
.
. . .
m
.
33 . .
.
.
.
.
.
m

. . . .
&
.
.
. .
&
. .
. .
. .
29
38
. .
&
44
. . . . . . . . .
.

.
.
. . . . . . . . . .

&
49
. . . .

.
. . . . m
q
b 4 . . . .
b
. . . . .
& 4
ZONETTA
b
b
&
.
8
Clark Kimberling
. ..
. . . . .
J n
.
J J
J

.
bb b . b . . . .
&
. b . . . # n .
14
bb . .
&
19
b j
& b J .
24
. . . .
-.
n
# #
# # . #
#
n
#
n n # #
.
# # # # > .
. j J .
& #
J
29
. . . . . .
.
&
..
35
41
&
.
n . n n n n n
faster
. . . . . . .
m
J #
J
. . b b b . .
b
&
47
U .
.
# # # n
b
&
51
h
2 j
&2
Clark Kimberling
ZONETTO

#
n
#
b
b -
b b # # b
&
5
&
# U
rit.
j # b n - b
- b 78
a tempo
> b > b > N > #

b
>
>
>
b
&8
14

3 J .
4

. . J 2
b b
&
2
n
#
#
18
b b b #
b #
& #
23
big breath
. b . . . . .
b # . . . # . . n . . # . . . . . # . b . n . . # . . b . .
b . b . n b . 5
&
4
27
staccatissimo
> .
.
.
.
.
b
#
.
. . n . . b j 2 b . >
5
&4
. . . . # - 2 . . . .
31
h
2 . .
&2
.
.
6
&
. .
.
ZOOBLE
Clark Kimberling
j # .
. .
J
.
. .
J J
# .
J
.
J
.
. .
.
. # .
j
j # # .
.
.
J J
. #
.
& J
.
16
# m . #
# J

J
&J
J #.
11
m #
# . J . J
J J
J J
&

21
26
&
# .
N .
. # n #
. # # #
J
#
J
&
3
3
31
#
#
faster
. . .
.
.
# # . . .
j
&
.
. J
.
J
J
35
# # J
&
40
#
J
j
#
# # #

J
J
.
47
. # #
##
J #. .
J J
&
J J
##
& J
44
Clark Kimberling
ZOON CHO
q
. .
. .
4 . . . . . . N . . . . . . . . . . . . . . . .
&4
. .
5
&
. .
. . . . . . . . . . . . .
.
&
9
13
17
. .
21
&
&
&
. .
&
25
&
. . . . . . . . . . .
. .
.
.

. .
. .
. .
> . > . > . >

... .
. 46 . .
. . . . . . . . . . . . .
&
.
37
> . > . > . >

.
. . . . . .
. .
4 . . . . . . . . . . . .
&4
. .
. .
29
33
. .
. . . . . . .
.
.
.

.
.
. .
. .
. . . . . . . . . . .
. .
.
44
Clark Kimberling
ZSI ZSI
h (fast)
. .
.
.
J
. . . #
.
2
J
& 2 . . .
.
# # n j .
&
. .
.
. .
. .
.
.

. .
.
13
.
#
. .
J
J
#
&
19
&
# . .
#
#

# #

&

25
3 .
#
#
2
&

2
2

32
#
n
&
.
. .
46
#
. . . # . J
.
J
& . .
#
39
.
.
.
j

&
# . . n . . . .
. . .
.
.
60
.
. J
&J
# .
53
q
4 . .
&4
ZUMMINNY
. .

..
.

& .
4
Clark Kimberling
. . . .
.
. . . .
.
. .
. . .
&
. .
#
#
b
&b
. . # #
12
& b n #
16
#n # . .
. .
N
.
N
. .
.
.
. . . . .
. .
.
# # # . . . . .

& .
20
24
&
##
. m. .
. . . n . . . . . . . . m . n . . . . . . . . n
J
## n

&
28
m m
##

&
31
.
#n . N . .
# . . . . . . . . . #
&
35
38
&
.
#
. .

. .
. m. .
ZWALES 1
Clark Kimberling
q
# 4 # n # n
# n # # n # n
& 4 J
# # n
# n # . . .
#
& #
. .
5
. . . . . # . . .
# . . . # . . .
# . . .
# . . .
&
. .
10
. . . . . # . . . 6
# . . . # . . .
. .
# . . .
&
4 # . .
.
4
4
14
# 4 #
& 4
18
# m #
&
22
. # n
J
#.
#
J
# # n N b
N # n # .
. . . . . # . . .
# . . . # . . .
# . . .
# . . .
&
. .
30
. . > b > b > > # .
# . . . # . . .
J
# . . .
&
26
# # n # n
# n # n
&
. . . . .
.
.
.
.
.
.
.
38
#
#
#
.
# # n # n
#
&
34
8/5/05 in Wales
Clark Kimberling
ZWALES 2
h. (fast)
. # m #
# 3 . . # #
& 4
.
.
# . . . # . . n .
.
.
. . .
.
14
# # . . . # . n . . . # . # . N m
&
. # .
#
.
&
. . .
8
20
&
. .

. .
.
&
.
# .
26
&
32
&
38
44
&
50
&
# #
#
.
&
. . .
56
. .
. .
.
. .
. .
m #
. . #
.
.
# . . . # . . n .
.
. .
#
. . # . . . # . n . . # . # . # .
&
.
. .
61
8/5/05 in Wales
Clark Kimberling
ZWALES 3
h.
. . .
# 3 j
.
. .
& 4 . .
.
> .
> .
#
# # # j

&
. .
. .
. . .
. .
J
. n
.
.
.
11
. . #
.
& . .
6
16
> > >
# # n
21
# m
&
&
#
&
26
.
.
. .
.
.
# . .
#
&
. .
31
. .
j . .
.
. .
. . .
&
. .
. .
. .
36
.
.
# # #
j . . .
&
J
.
.
. .
> > >
. n
.
.
.
46
# n
&
41
8/5/05 in Wales
ZYLEIA
h
# 2 .
& 2
J J
#
.
&
7
Clark Kimberling
# 2 J
# .
& 2
J
#

&
.
J J
.

.
J 3
22
# J
2
J
J
13
19
.
J J
.
~
~
.
~~
J J
q.
# 6 #
.
& 8
J
25
6
8

J J
J

h
37
.
j

#
9
2
8
J J
&
2
J
. .
# J m .
&
J
31
#
&
43
J J .
# # .
. 3 2
J J
& J J
2
2
J J
49
#
.
#
&

54
60
&
# ##
.
###
J J
.
~
~
~
J J
J .
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41

British Melodies To Recorder

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British Melodies To Recorder

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SOLOS FOR TREBLE INSTRUMENT

ESPECIALLY SOPRANO RECORDER

When performing these arrangements, use a sound system and/or a percussionist.

WHERE THESE SOLOS CAME FROM

PLAYING THE SOLOS

NOTES FOR RECORDER PLAYERS

Chart copyright Mel Bay Publications, Inc. 2004. Used by permission.

NOTES FOR FLUTE PLAYERS

English Folk Songs

English Theatre/Opera Songs and Instrumental Pieces

Melodies Said to Be Composed Royalty

Scotish Dances and Songs

African-American and Jamaican Melodies

This work is licensed under the

Copyright 2005, Clark Kimberling

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Copyright 2004, Clark Kimberling

THE ASH GROVE

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Copyright 2005, Clark Kimberling

THE BEGGAR BOY

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BELIEVE ME IF ALL THOSE ENDEARING YOUNG CHARMS

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William Crotch (?)

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John Wesley's Sacred Harmony

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BROTHER JAMES' AIR

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William Owen (Welsh)

> . . > . . > .

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THE CARMAN'S WHISTLE

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THE CHESHIRE MAN

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THE CLEAN CONTRARY WAY

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COLD FROSTY MORNING

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Copyright 2005, Clark Kimberling

THE DERBY RAM

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Copyright 2005, Clark Kimberling

Copyright 2005, Clark Kimberling

Copyright 2005, Clark Kimberling

THE FEMALE SAYLOR

Copyright 2005, Clark Kimberling