THE ENGLISH COUNTRY DANCE GRADED SERIES CONTAINING THE DESCRIPTION OF THE DANCES TOGETHER WITH THE TUNES BY CECIL J. SHARP Epitep By Maup Karprtes VOL. VIL. (ADVANCED, Loxvon: NOVELLO AND COMPANY, Livttep. New York: THE H. W. GRAY CO, Sous Aozsrs ror tie USAThis series has been compiled at the request of the English Folk Dance Society, and i: introduction to the Country Dance. For a fuller and more intended to serve as an detailed description of the Country Dance and an account of its history the dancer is referred to The Country Dance Book, Parts 1—6 (Country Dance Tunes, Sets I.—XI.), which contains the notation of 177 dances.CONTENTS TECHNICAL TERMS AND SYMBOLS, MOVEMENTS AND FIGUR 6 GENERAL INSTRUCTIONS. 9 NOTATION: 1 Jack’s Macaor " 2. Tue Becoar Boy R 3. Linu Berner 1B 4. Noxesuew Mt 5. ARGEERS 5 16 6. Dick's Maccor 18 c 1. Jack's: Macaor 20 ‘Tue Brecar Bor Tattr Burvero Noxexvent ARGEERS By 6 Diex’s Maccor 25TECHNICAL TERMS AND SYMBOLS. INTRODUCTION. TECHNICAL TERMS AND SYMBOLS. oO ed at the head of the notation of each dance shows the initial position of the dancers, n of the page representing the top of the room and the right margin the bottom, the upper and lower sides representing the right and let walls of the room respectively. ‘The top of the room ix called the Presence. an; C=woman, ‘The General Set, or the Set, denotes the area enclosed by the 4 In dances, or figures, in which only two couples are engaged, the term contrary is used to denote the man or woman other than the part To pass by the right is to pass gt shoulder to right shoulder; dy the left, left shoulder to left shoulder. of the roo ‘To move up or down is to move toward the top or the bottor ‘To more is to dance forwards. ‘To full back is to dance backwards. man leads his partner he takes her right hand with his right hand if she is on hi her left hand with his left hand if she is on his left. ight, and To cast off is to turn outward and dance outside the General Set. ‘To cust up or east down is to turn outward (nnless already so facing) and dance up or down outside the General Set. ofe To make a thole-turn is to make a complete revolution series of n changed A Progressive dance consists of the repetition for an indefinite number of times of ovements, called the Complete Figure, each repetition being performed by the dancers positions. ‘The perfor f each Complete Figure is ealled a Iownd. A Progressive movement or figure is one, the performance of which leaves the dancers relatively in different positions. A neutral d neer is one who, in a progressive dance, is not nguged in the performance of a Round. PROGRESSIVE LONGWAYS DANCES. the progression is effected by the transference in every Round of the top couple from of the General Set, the rest of the couples moving up one place. ‘The duple minov-set dance is one in whi simultaneously by subsidiary groups (known as win Iy the whole-set dan the top to the botton the Complete Figure in each Round is performed -sels) of two adjacent eouples.6 THE COUNTRY DANCE BOOK. During the course of ea the former moving down one the fall ia } Round the upper and lower couples of the latter up. ‘This will necessitate a rearrangement of the vl this is effected by each upper couple making a new minor-set put it in another way—each lower couple making a new tely above. In this way every couple, as the danee proceeds, of the Set to the other, the upper couples down, the lower ones up. ing either end of the Set must remain neutral during the next round, after will again enter the dance and progress in the diree had sly been moving (upper couples becoming lower couples, ch minor-set_change places, on opposite to that in wi ul vice versa). STEPS ‘Tw et, easy spring executed with a flexible ankle on the bull of the foot. The legs should be straight; the knees loose, but not bent; and the feet should take the ground directly under the body. runningestep (rs) is a ‘The walking-step (w.s.) is a modified form of the running-step in which the spring, though present, is scarcely noticeable, ‘The skipping-step (sk.s.) is the usual step- \l-hop on alternate feet. ‘The hop must be a small one. The slipping-step (sls) is a and spring as in the skipping-step. ‘The polka-step is three steps on alternate feet and a hop. deways step, the feet_moving scissor-wise with the same rhythm ‘There are, normally, two steps to whether the time be simple or compound. ach bar, falling, respectively, on the first and middle beats, MOVEMENTS AND FIGURES Tue Dovnnr. Tue donbdle is three steps forward or backward, followed by a closing of the feet—four steps in all, Tur Tors. ‘Two dancers face each other, join both hands with arms outstretched, swing round once clock- wise (rs. or sks), separate and return to places. The dancers should face each other throughout the ‘movement, and lean back slightly so as mutually to give and receive support. ‘Tue Swixa. is the same as the preceding movement exeept that the dancers swing round more than once before separating, and, on occasion, lace to place. ‘Tue Howour, ‘This is a formal obeisanee made by partners to one another at the conclusion, and sometimes in the course, of the dance, ‘The man bows, head ereet, making a slight forward inclination of the body from the hips; the won one foot behind the other, makes a quick downward and upward movement by bending and straightening the knees, Tue Sixare, On the first beat of the bar a spring ix made, forwarts, or sideways, on to one foot, say the right ; the left foot ix then brought up beside it, the weight wholly or in part momentarily supported upon it, and, on the second beat of the har, transferred to the right foot in position. Tue Ser. Th novement of courtesy, addressed by one dancer to another, or more frequently by two dancers to each other simultancously. It consists of a single to the right sideways, followed by a single to the left buck to position (two bars)MOVEMENTS AND FIGURES. 7 Ser-axp-Hoxour, This consists of a single to the right and honour, followed by a single to the left (four bars). nd honour ‘Tue Sie. ikewise, is a movement of courtesy. ‘Two dancers fuee, move forward a double (r.s.), pass by 1n counter-clockwise on the third step and faee one another as they bring their fect togethe (two bars). This movement is then repeated to places, the dancers returning along the same tracks, ives, passing hy the right, turning clockwise on the third step and facing one another as they bring their foet together. Ans wirt tHe Rrowr (on Leer) This, again, is a movement of courtesy. ‘Two dancers face, meet, link right (or left) arms, swing round a comple counter-clockwise), unlink arms and full hack to pkices (four bars). ‘The arn and, as in the Turn, the dancers must feel each other's weight. ‘rele (v.s,) clockwise (or should be linked at the elbows ‘Tury Sivane. The dancer makes a whole turn on his own axis, clockwise, foot. ‘The performer should be careful to make a slight spring frm his movement so that all four steps are needed to complete the revoln Four steps, es foot to foot at: n (two bars). Ricur (on Lert) Hawps-acnoss. ‘This is performed by four dancers standing in a square. Each dancer joins ri the dancer diagonally opposite. Holding their hands close together, (or counter-clockwise). (or left) hands with igh, all dance round clockwise Hanps-Tunee, Hanps-Four, E hands a little above waist-level, amd to he understood that one complete Three or more dancers, as directed, form a ring, extend arms, joi dance round. In the absence of specific instructions to the contrary it cireuit is to he danced, clockwise, the performers fue Finst Coupe Leaps pown THe Mippit AND BACK AGAIN AND Casts ONE. First man, taking his partner by the right hand with his own right hand, leads her down the middle (w.s.)5 he then raises his partner's right hand over her head, and they both make a half-turn counter- clockwise and face up (four bars). They skip hack to places with erossed hands and then, releasing hands, ‘east off round second couple into second couple's place, second couple moving up into first couple's place (four bars). Hate-Pousserre, T Each man faces his part very nearly shoulder high. First man, pushing his partner before him, moves forwanl four steps and then falls buck four steps into the second couple's place, pulling his partner after him. Simultaneously, second man, pulling his partner with him, falls back four steps and then moves forward four steps into the first couple’s place (four bars). s is performed hy two adjacent couples. and takes her by both hands. The arms must he held out straight, and When the half-poussette is followed by a complementary repetition of the sime movement, each couple deseribing a complete circle or ellipse, the figure is called the whole-poussette,Borrow, No. 1 faces down, Nox. 2 and 3 up. All simultaneously describe the figure eight, as shown in the above diagram, and return to places, passing along the unbroken line as they move down, and along the dotted line as they move up. At the beginning of the movement, therefore, No. 1 will dance along a 4, No. 2 along dc, and No. 3 along g ¢, ., Nos. 1 and 2 will pass by the right, Nos. 1 and 3 by the left. In omer that the dancers may not obstruct one another the two lobes of the figure should be made as broad as time and space will p ‘Tue Srratcur Hey ror Four (ow wore) Daxcens. Tor. Borrom. Odd numbers face down, even numbers up. All simultaneously dance along the track shown in the diags the unbroken line when going down, and along the dotted line wher It will thus be seen :— and return to phices, moving along going up ig by the right. Is by turning ro . he. clockwise, to the ri sion of a left pass regular sequence of right and left passes is broken by the of the turn at either end. ‘Tue Crecutan-Hev, This movement is the sume as the Grand Chain in the Lancers, except that the dancers do not take hands as they pass each other alternately by the right and left.THE COUNTRY DANCE BOOK, 9 GENERAL INSTRUCTIONS. MOTION IN THE DAN ly a figure dance, depending in the main for its «spr x upon the ted evolutions rather than upon intricate steps or elah dy-movement alysis of the way in which the traditional folk-lincer moves shows that it is based upon two m principles (1) The weight of the body in motion must always he supported wholly on one foot. or never earried on both feet at the same monn this it follows that the tr step to step, ée,, the transference of the weight from one foot to the other, effected by spring. (2) The motive foree, alth gravity, brought The funet the other, am ived in part from this foot-spring, ix nto play by the inclination of the hoy from the a. ion of the legs is to support the bolly rather than to help to move i notion being set up, regulated, and directed hy the sv not, however, he ess it is carried essentially in ist, or sag at the knees, id balance of th ulin this way, that is to set up and ne from heal to foot, without bend at the skating. ‘The body moti at the wa THE TECHNIQUE OF FIGURE-DANCING. ‘The first requisite of the fig with complete control over dir dancer is the eapacity to move hither and thither, freely and easily, tion ani speed. Having attained this power he must then learn (1) to iy; (2) to phrase them in aeeoriance with the musie; (3) to blend th ant without halts or hesitations; and (4) to execute the movements aceur yous moven his fello Timing. of the carefully to the t Iengths of the seve As the movements and the figures of the dance jc which accompanies them, the dancer whe ne, and, if possible, memorise it, In particular the number of steps th It is just as necessary for the dancer to ph re Tek the trv earnings a du terms of bodily ce shoul first of all he should note the number ean be dn wwe his steps: and movements as it is for the th notes and strains, or for the writer to punetu to define and make intelligible what would otherwi fed dance-steps, musical sounds, or verbal syllables, conveys: no meaning until by of stronger accents the steps, sounds, or words, are separated ne sort of rekitionship established between th sentences, purpose in A series of equally ace the periodie ry co-ordinated, and s nto groups, ‘Technically, the dancer phrases his movements by gradating the aceents which he imparts to his steps, usually giving the strongest accent to the first step of a group and the weakest to the last. ‘The ngth of the ste pon foot-spring, but mainly upon bod + that is to say, les upon the strength of the spring for uupon the momentum sgenerated and controlled by the inclination of the boily in the direetion of motion. re, the dancer should nt on to one foot and adjust the est step of hixphrase may he made with the requisite emphasis, The dan ike any movement in the danee, however insigniti i.e., executed rhythmically in accord with the music. This injunetion n movements as to steps. For instance, in giving or taking a hand, he shoud begin the movement in_ ple of time—two or three beats beforchand —and raise and move the arm in rhythm with the 1 ‘The arms, when not actively employed, should hang loosely by the sides and be allowed to swing or move as they will. t never mit, that is not phrased, he held to apply as much to19 THE COUNTRY DANCE BOOK. ns given in the notation are divided into Parts, figures, &e., only for the sake of clearness of description. ‘The aim of the dancer should be to et t to call attention to, the aly ‘The dance should be regarded ax one continuous movement as complete str the movements of a symphon ted dance has not only to consider his: own is companions in the dance, ‘The expert. fig: of his fellow-dancers than of his own ; indeed, h leteness with which he effaces his own Concerted Movement. individual movements, but to rel probably far more conse as theirs, depenils very largely upon the eon The performer in acon them to those of of the mover and loses himself in the da STYLE, explanations will, it is hoped, enable the reader to interpret the figures deseribed in ¢ presently to follow. ‘The dancer should, however, he techn proficiency has no value except as an aid to artistic expression, and indeed, if it he not so used, the dance ical exercise. will never rise above the level of a phy Although in the nature of things it is impossible to instruct the d fnew to movements, there are certain general com may profitably he dl physic . ‘The folk-dance, owing to its corporate, unconscious origin, ix essentially an impersonal dance, a nstrament for the expression of those ideas and emotions that are held and felt collectively, but y r the exploitation of personal idiosynerasies. ‘The folk-dance, therefore, is wy of those self-conscious airs and graces, fanciful posings and so nore conventional order. ‘The dancer must put these aside unique dance itself. The dom therefore, he exeented quietly, e1 of the Country Dance is its * wily, and with economy of mot ‘a simple, unaffected manner. The Country Dance is, moreover, a ered dance, gentle and gracious, formal in a simple, straightforward way, but above all gay and sociable. ‘The spirit of merriment, however, although never wholly absent from the dunce, is not always equally obvions Every movement shoul ions of the dance will be fo the accompanying musi action, of the music upon whic n of the text. ‘The style of the dance is but the woven, just as the melody of th therefore, deter by the character of its tune. It should be added that any spectacular qualities that the or, rather, the inevitable outcome of the perfect fashioning of m needs no. artificial embellishment. An elaborate th setting would be as irrelevant and impertinent as for the dancers to deck themselves in rich and fanciful costumes. All that the dancers need is plenty of space, an even, non-slippery floor, and dresses which will allow to the body and complete freedom of action, nee may possess are forte toa end. Its beauty, being implicit,Al BL B2 NOTATION. Mu NOTATION. JACK’S MAG Longways for as Oo @ @ BB... muste, MOVEMENTS. Dupze Mryor-Ser. 1.8 rst man erosses over and goes the hey with the two women (passing second wi | by the right) (r.s.). 1-8 | First woman does the same with the two men (passing second man by the left) (r.s.). 1-4 First and second couples right-hands-aeross (sk.s.). 5-8 First and second couples left-hands-aeross (sk.s.). 1-2 | First man changes pliees with second woman (r.s.). B+ | First won 5-6 | Hands-four half-way round (¢.s.). 7-8 | First couple casts off into second place, second couple leading up into first place (r.s.) (progressive).iby THE COUNTRY DANCE Book. THE BE Longways for six, Gl @ © & neste wove: Running-step (or watking-step) throughout the dance. | ust Pane. A Al lead up a double and fall back a double to places. ‘That again, BI First and third men face the left wall, move forward a double, and fall back a double to phiees; while first and third women face the right wall and do the same. Simultaneously, second man and second woman advanee a double and fall back a double to places. Men hands-three, once round; while the women do the sume on their own side, B2 as BL. — | - - Secoxp Parr. A 1 58 BI 14 couple faces down and third couple up; they change plaees, the first couple } passing between the third man and the third woman; while the second man and the second woman fall back st double and move forward a double to phiees. 5-8 | ‘Third and second couples hands-four, once round ; while first man and first woman set jan tum singe B2 18 | Repeat B1, to places. i timp Pann. A | Partvess arm with the right, rtners arm with the lett, BI AIL fall buck a double and then move forward a double to phices. Men the half-hey’s while the women do the same on their own side, B2 Repeat BI, to phices.A 1-4 BL 12 B2 12 NOTATION. 13 LILLI BURLERO. Longways for as many as will, MOVEMENTS, Dupre Mior-Ser. First man and first woman lead down the middle below second couple, east up and return to places (s! Second man and second woman lead up the middle, east down and return to pliees (sks). st man and second wonzan change places (F.s.). First woman and second man ehange phiees (r.8.). All fall baek a double (¢. All move forward a double, turning single as they do so (e.s.). th First and second men eross over and change places with their partners (r..). First and second mon move backward each into the other's place; while first and second.do the same (rs). they, three changes, partuers facing (sk.s.) (progressive).THE COUNTRY DANCE BOOK. NONESUCH ; on, A LA MODE DE FRANCE. it Longways for ¢ MovEMENTS, Finer Par. Al 14 | All lead up a double and fall back a double to places (r.s.)- 58 | That again. BI 1 | Partners set and turn single. 58 | Thatag: Al 14 frst man and first woman face and move forward two steps ; joining han« 3 releasing hands, first n turns counter-clock clockwise to face second man, while first won second wor tm: takes second man by both hands and pushes him obliquely upward and outward four steps, and then draws backward four steps, leay | the top place, he himself falling into the second place (.8.) ; simultaneously, fir | and second women do the same (progressive). BI 14 All four, facing front, fall back a doubl First and second men turn their partners (1 i move forw: :). male (r.s.). Tamp Par, Al Partners side (the first half of the figure, passing left shoulders). All turn single, | Partners side (the second half of the figure, passing right shoulilers). All turn single. BI | First man slips diagonally up and toward the right wall, and stands midway between the two lines, fueing down, First wo ps in front of her partuer and stands fa Second nd second oman do the same. 5-8 | Third couple does the same; and then the fourth couple,| AL 14 38 | | BL 14 | 58 AL Bart Bar2 a4 | 58 BI and B2 Fourrn Paxr. Partners arm with the right, Partners arm with the left. Men dance four slips towards the right wall and four slips back again ; while women dance four slips towards the left wall, and four slips hack a ‘Men dance four slips towards the left wall and four slips hack again; while women dance four slips towards th Fiern Pant. vl towards the left wall in his original place, and faces front. First woman slips, in like manner, into her own pha nid man does the mes then second woman, ‘Third couple the sume; then the fourth. ‘The eireukar-hey, danceil progressively, all handing as they pass (r.s.). First man and first woman begin the mosement by passing each other hy the right. ‘The other dancers face up and start th they are approached hy the first man, or first woman, Upon completing the first man and first woman stay in their places while the rest of the dancers continue heying to places.Al A2 BL B2 Al BL B2 svste, 38 14 38 14 38 12 38 THE COUNTRY DANCE BOOK. ARG RS, For fou 2 © Oo MOVEMENTS, Finer Par. dn ‘The two couples move forward a double cond woman by both ands, moves two slips to his left and two 5 while second man does the sime with first won Each man changes phices with the contrary woman: whereupon partners and-a-half round and change places (sk.s.). mee ‘rst man turns second woman once-and-a-half round to phices; while second ‘Then each man turns his partner (sk.s.). does the same wi Ke 1 cross over and change places whilst first and second womer (ves.). First and second two steps back and then do the ss ners set and t single, First and second women eross over and change places; while first and second men. ke two steps back and then do the same (r.s.). Secoxp Parr. an up a double and falls back a double; while second nd falls baek a double (r.s.). a double to places (1 Partners set and t at behind his par + while each woman moves four slips to her left four slips hack again to her pliee. (sk.s.). Bach a an turns the contrary wo ‘The two women move forward a double (r..). ‘The two women fall back a double to plu ); while the two men pass each other hy the right, go counter-clockwise round their contrary partners, pass each other by the left, and go clockwise round their own partners, and return to places (sk.s).NOTATION. "7 ARGEERS—continued, asic. MOVEMENTS. | ‘Tur Parr. Al 14 | First man, second woman by both hands, pushes her back, moves to his right and falls back into his partner's place; while second man does the same with first woman (F..). 5-8 | Partners set and turn single, Az 1-4 | Same as A1 to places, moving to the left. 5-8 | Partners set and turn single. BL 1-4 | First man casts off to his left and, followed by his partner, returns to his place ; while second woman, followed hy second man, casts off to her right and returns to her place (sk.s.). 5-8 | First woman casts off to her right and, followed by her partner, returns to her place while second man casts off to his left and does the same (sk.s.). B2 1-4 | Cireular-hey, half-way round, two changes, each man facing the contrary woman (sks) 5-8 | Each man turns his partner ; all four face up and, standing in line, with hands joined, the second couple on the left, honour the Presence,aw THE COUNTRY DANCE BOOK. DICK’ MAGGOT. Longways for as many as Oo @ BB Bw © ®@ @ @-°<::: vate, | MOVEMENTS. Dupte Mixor-Ser. N.B.—The tune is in triple time, i.e., three ateps to the bar. A Bar 1 | First man changes places with his partner. place. 3-4 | Partners fall back three steps, cross over and change places. Bar 5 | Second man changes places with his partner. Bar 6 | Second couple leads down into second plice; while first couple casts up into first place. Partners go back-to-back. First and second couples circular-hey, three changes, partners facing (sk.s.) Bar 2 | First couple leads down into second place; while second couple casts up into first | (progressive). 1 5-8 | Partners turn twice round (sk.s.).ay MUSIC. NOTES FOR MUSICIAN ‘Tae dances to which the tunes in this volume belong are divided into two or more parts of equal length. ‘The music in the text is in each case that which is required for the accompaniment of a single part. In non-progressive dances, therefore, the musie with the repeats as printed, must be played as many times as there are parts, When, however, a part is progressive, the musie to that part must be repeated as often as the dancers direct. For the guidance of the musician the number and character (i.., progressive or otherwise) of the parts, into which euch dance is divided, are given in the score, ‘Metronome figures are given only in those eases where there is traditional authority upon which to compute them. ‘The fenpo mast always depend upon the character of the tune and of the dance and, to certain extent, upon the disposition of the dancers and the accompanist. M.M. c) or #, = 116—138, as a general guide. being based upon the custom and practice of reeent years, may, perhaps, be gi The edition and date at the head of the tune refer to the collections of John Playford entitled “The English D: icing: Master.”* JACK’S MAGGOT. Long ways for as many as will; progressive dance in one part cazt® Ea. 1708.) Arranged by Cecil J. Sharp. Als2 —~ ae? ——~ Copyright, 4922, by Novello § Company, Limited.. THE BEGGAR BOY. «ast Ba. 1650) Arranged by Cecil J. Sharp Copyright, 1911, by Novello # Company, Limited.LILLI BURLERO. (stb Ea. 1690.) Arranged by Cecil J. Sharp. A Longways foras many as will; Copyright, 1918, by Novello & Company, Limited.NONESUCH a or ‘Longways for Eight; in five parts, Fi la mode de France. papier eer ‘The B music is repeated inthe fifth aud last part Arranged by Cecil J. Sharp. ‘ast Ed. 1650) Al Jad oe id Copyright, 1911, by Novello ¢ Company, Limited.24 ARGEERS. ror Four; in three parts. (st Ed. 1650.) Arranged by Cecil J. Sharp. Al Copyright, 1912, by Novello Company, Limited.DICK'S MAGGOT Longways for as many as will; progressive dance in one part. Gath Ed. 1708) A. Arranged by Cecil J. Sharp. —___ = —— 7 = td'd dl) aan ee a Copyright, 1922, by Novello § Company, LimitedFOLK-SONG AIRS SOMERSET ARRANGED FOR THE PANOFORTE BY CECIL J. SHARP. Price Two Saino aN SWvHRER exc BOO Book I. rs Boox IL. Wt Tse tary Poorer atl wing. Batch ase the Lag oO Q Say, my dear. The seeds of Love.” Sone, ou worthy Chrtan Rol eed an the Taner The ope Dew ‘Germany The iP peat Jef eck Tay THe the bie, Se elect primrones Boos 1 Boox 11 . ton Cam ‘A Farmer's Son 0 sweet. Yanko the Sotond's March, he ite Tule Doves Sin wowa's Baty Midsummer Fa 12) Faces Nevlis Detighe ‘The Keys of Canterbu March. fae le pana Ht aeaty The Watchet Salle. March (:8°2ula's Day Sreet Europe weet (Homeiee a's Lovely Home, Nareing oop Clcia Mowing the Barey, Saag ee Blow vay the Moraing Dew. Siaying Se Soars, Hares'on the Mouneaing ExO7EN Coagueray Hero (+ Judas Maccabrss”) ‘As I walked through the meadows, Soldier's March. The Cuckoo too ‘Admiral Besbow. The Selle Boye OXFORDSHIRE, GLOUCESTERSHIRE, DEVONSHIRE, SOMERSET anp DERBYSHIRE ARRANGED FOR THE PIANOFORTE BY CECIL J. SHARP. Paice Four Swinuin Comrarrs Constant Billy (Morris dance 01a Heddon of Faw is aancey Green Sleeves (Morris Bacce pipe Jig) Fiaating ‘the Squirrel (Gera, dance). ‘he uardage Vou (ors eee) Beryl bots Rea The Tums, of este yout Lovers Stators fe ‘county ine), London BAS (ori dance radon i | Batik Mar Bases Fock 86 aie (ors Tie) | ee Mi lense dance) ‘Princess ‘Royal (Morris dante) My Grandmothers Jig. FOUR FOLK-AIRS SOMERSET AND ARRANGED FOR THE VIOLIN AND PIANOFORTE BY CECIL J. SHARP. Prick Tunes Suittines wer. Cowra Jenny 00, he Moor “he Larkin the Mors, Sinn) ketene, | The green Wedding. Loxpox: NOVELLO AND COMPANY, Limite, July, 1929-1000THE COUNTRY DANCE BOOK Epitep sy CECIL J. SHARP. ae PART rn, srrumes secttndteSprndFigums Covina ect ne Demi: Come pai Thay ran Corte termtis Crim Ads nc atone are Cha Py Wc, at Steen in Pur 1 ae pero are ped seems ncn st a seiner te, SST a 1G Stren Dave Toren Sari ed Iv Cooney Danton, Patt gear gee Coarse fz ace Comme « dip of, Tae Hoe Cat ut a es erase ty Ce 7. Sh ae oad Be Pe sopan "ie tn ah eget FR Sint "he pita’ ad Va pte te red en Sih ta VPoehcee oberon setts a Couto Dante Teves: see X aed Sis Coon Dace tome PRICE FOUR SHILLINGS EACH PART CLOTH, FIVE SHILLINGS AND SIxPENcE Each PART COUNTRY DANCE TUNES (Arranceo with PiaNororte AccomPANIMENT) PRICE TWO SHILLINGS AND SIXPENCE EACH SET The following Dances, which are issued separately, will be found us-ful as supplements to the Graded Series: Cadden fal be Wald wore paper Newcastle Sao, porto ue er eee "heap on, The Efstetotbe Wetting Je Pack Pear ESPRR ne Spel fe Wd cae Te spe aa orore ie Lagos seeliat Gathering Paes Hyae Par Shas Cae Eo + Blemectary Totem EAdeaeed| Price NINEPENCE EACH EACH NUMBER CONTAINS THE NOTATION AND THE Music 12 COUNTRY DANCE TUNES Anranceo ror Brass or Miuitary Bano ey GORDON JACOB Teg oaty “Hite foe Weng Gaerne reese" Hey Bor Hsngewagtncerar “Sunes Rae Sepa Rests sansena HEBEE nag RSE Bay IN THREE SETS PRICE FOUR SHILLINGS AND SIXPENCE EACH SEPARATE PARTS, THREEPENCE EACH THE MORRIS BOOK A History oF Moris Daxcivc wir 4 Drscriprioy OF DANCES AS PERFORMED RY THE MoRnisMeX oF ENctaxp By CECIL J. SHARP ano HERBERT C. MACILWAINE PART PART ML, Conpnne ncaa (Comiitiad Guifat Pacoioeie Mom Basee Poses. (CoRgrang & SPRswionsy’ Moams Basce Tessa. PRICE FOUR SHILLINGS EACH PART CLoTH, Five SHILLINGS AND SIXPENCE EACH PART MORRIS DANCE TUNES (Arrancep with Pianororte AccoMPANIMENT) PRICE THREE SHILLINGS EACH SET SworRD DANCES or NortHern Encianp By CECIL a SHARP Part t TH Pant a, Coprsmmmchienetaese Omunre, suc ot Ge Scop aed Conran, dae ef We Su and wid Tae Hone bases or Ansors baokesy. | SoNes Dance = Aina, © Sores™- "ars Dance + Aten Price Four SHILLINGS EACH PART CLOTH, FIVE SHILLINGS AND SIXPENCE EACH PART SONGS AND DANCE AIRS (Arrancep wits Pianororte Accompaniment) PRICE THREE SHILLINGS EACH Book LONDON: NOVELLO AND COMPANY, LIMITED (tay 1920)FOLK-SONGS for use in Schools COLLECTED AND ARKANGED By CECIL J. SHARP AND OTHERS ‘Staff Notation and Tonic Sol-fa combined. Nine Sets PRICE ONE SHILLING EACH [Also published in Scparate Numbers, price 2d. ead Children’s Singing Games EDITED BY ALICE B. GOMME & CECIL J. SHARP Staff Notation and Tonic Sol-fa combined. Five Sets PRICE ONE SHILLING EACH ‘Also published in Separate Numbers, price 3d. each NURSERY SONGS ACCOMPANIMENT FROM THE APPALACHIAN MOUNTAINS ARRANGED WITH PIANOFOR By CECIL J. SHARP ILLUSTRATED IN SILHOUETTE RY ESTHER B, MACKINNON ‘Two Seeiss, Paper Boards PRICE SIX SHILLINGS EACH SERIES First Series SECOND SERIES ‘he Frog and the Movse Poor Old Maid Nottamun Town ‘The Poor Couple {he Salle Back The Old Grey Goose Roving Sailor Carrion Crow “The Little Pig Charlio's Sweet Twonderwhere Maria'sgone ‘The Crow-Fish Man ‘The Swapping Song Some love coffee Phosbe and her Petticoat Early Sanday Mornin Soldier, Soldier, won't you Will you wear red? Reap, Boys, Reap, Kitty alone and T Cocky iobin. "[imarey me? Cripple Creek Ground Hog Billy Boy. Good Ol Stan The Jack-tsh ‘The Dead Woman's ‘The Old Black Duck ‘The Bird Song ‘The Tottenham Toad Courtship ‘The Derby Ram The Squire Whatllwedo with the Baby? | Soldier Boy Up she Rises| Complete Catalogue of Folk-Song and Dance Publications sent on application LONDON: NOVELLO AND COMPANY, LIMITEDTHE ENGLISH COUNTRY DANCE GRADED SERIES CONTAINING THE DESCRIPTION OF THE DANCES TOGETHER WITH THE TUNES wv CECIL J. VOL. 1. (ELEMENTARY BRIGHTON CAMP. GALOPEDE. NANCY'S FANCY. THE BLACK NAG GATHERING PEASCODS, RUFTY TUFTY. VOL. 2. (ELEMENTARY RIBBON DANCE. GODDESSES. THE MARY AND DOROTHY. IF ALL THE WORLD WERE PAPER. PICKING UP STICKS. HASTE TO THE WEDDING. VOL. 3. (ELEMENTARY) | pOXNETS SO BLUE. (winpow. THE MAID PEEPED OUT AT THE, CHRISTCHURCH BELLS, HEY, BOYS, UP GO WE. SELLENGER’S ROUND. THE MERRY, MERRY MILKMAIDS, VOL. 4. (ELEMENTARY INTERMEDIATE) SAGE LEAF. EPPING FOREST, CHILDGROVE. THE OLD MOLE. HIT AND MISS, NEWCASTLE, SHARP. VOL. 5. “TRRMEDIATED POP GOES THE WEASEL. THE FINE COMPANION. THE TRIUMPH. OAKEN LEAVES. BROOM, THE BONNY BONNY BROOM APLEY HOUSE, VOL. 6. (INTERMEDIATE™ADVANCED! THE 29TH OF MAY SCOTCH CaP. INDIAN QUEEN, THE BOATMAN, MAIDS' MORRIS. PARSON'S FAREWELL VOL. 7. lapvasceDt JACK'S MAGGOT. THE BEGGAR BOY. LILLI BURLERO. NONESUCH. ARGEERS. DICK’s MAGGOT. VOL. 8. THE GEUD MAN OF BALLANGIGH. SHEPHERD'S HOLIDAY. OLD NOLL'S JIG. THE MAID IN THE MOON. THE PHOENIX. MR, BEVERIDGE’S MAGGOT Price THREE SHILLnes EACH VOLUME. Loxpon: NOVELLO AND COMPANY, Luwtep.