The Tablature for Diatonic Cittern from the Robert Edwards Commonplace Book, Circa 1650, Dundee, Scotland

Total Page:16

File Type:pdf, Size:1020Kb

The Tablature for Diatonic Cittern from the Robert Edwards Commonplace Book, Circa 1650, Dundee, Scotland The tablature for Diatonic Cittern from the Robert Edwards Commonplace Book, circa 1650, Dundee, Scotland Reintabulated by Rob MacKillop using Fronimo v.3, April, 2006 Dedicated to the cittern discussion group, initiated by Doc Rossi: http://www.mail-archive.com/cittern%40cs.dartmouth.edu/ I have merely set down the original tablature in an easy to read format, without any editing whatsoever. The tablature contains many mistakes and no time signals, and requires players of imagination and flair to make the most of this beautiful repertoire. Robert Edwards was a kirk minister for the parish of The Murroes, just north of Dundee (my home town) on the East Coast of Scotland. He was also a member of the Dundee town council. The only other surviving Scottish cittern manuscript also belonged to a minister of the Kirk. This might strike some as odd, yet the Wedderburn Brothers of Dundee had recently printed 'The Guid and Godlie Ballads', putting new words, reflecting the message of the Reformed Kirk, to common folk tunes. This book was as popular in Scotland as the Bible. It 'legitimised' folk music and set the foundation stone for traditional music to beome the national music of Scotland. Rob MacKillop, Edinburgh, 29th April, 2006 Laydie Louthians Lilte Robert Edwards Commonplace Book ad a a a a cd c aca a c 4 6 d adgeda ad d a a a a a / a a / / ca a c / / 4 / 11 a adeg d a a adeg e geda a a a a a a a 4 a c 16 adege da a a a a / cac / /· Its worse nor death to pairt withe the a a a a a cd d cacd 4 4 6 ad a a a a a c 4 a d d dd 11 a ab a a a a cacd d cacd 4 16 d ba b a a a a a a c a a / d d d / /· Come sueit love let soroue ceasse d c d e dcacd f f e d d c e fhe f a a a a d a a e d d a a a a d e d d d a a a c a e c a d d d a a c / e e e d 4 c a c a a c e e a c c a / a g a e b / 4 dcedgec acd a a d a a c a e c a / e a c a a c / / Joy to the persone of my love e ac d abd a a a c a a c a 4 a dd dca 6 e a eg h h a a c e c / a e ca a / acd d 4 / 11 g g e ac d a a a a a a a c a c a 4 a / a cd d d / / 16 d a d cde a a a c c a c a a a d d d ad d dca 21 e a c / ca a / 4 /· Sueit smyling katie loves me a a aa a d a aa a dd a a a 6 a a d d da a a a a a a a / a a d d a / d 4 / 11 d a a d ed a a a a a a a a a a a a 4 a 16 d ed a d a a a a a a a a a a 4 a d d d 21 a a / a / / 4 · The Isle of Rea e eg h g e d a d de a a a a 4 4 a 6 g e d a d e eg h g a a a a a a a 11 e d a a a a a 4 a c a aaa 4 16 a d a a a a 4 a aa a c ca 21 e d a a a c ca aa 26 adeg ed adad a a 4 / c c a / / 4 · Amyntas on a Summers day d d gk g ecc c k k gegk d d gk a a a a a a a a a a a a a a a a a a a a a a a a a a a a 5 g ecc c k k gegk d egg e d d a a a a a a a a a a a a a a a c a4 a a a a a a a4 a a · Quhat if a day d c de d efh fe f ef h gh a a d a a c d a e a c d a d e d d e c a a c e a a e a 5 k k h f e d k k h h a a d a d a a a e e a a d d d a a a e e k k a d a c k k a a 9 f f e f h k a m a a d a e a a k d d e d e a k m e e a e a k m a 13 k f h k e f h d e f h fed a a e a d a e a d a e d a a d e a e d e a e d e e a k e a k a e a c a e a a c · Bonie Jean Lyndsay a a d e d a a a a a a a a a a a c a 7 d f da ad a a a a a a a a c ac c 13 d d d c a d eged a a c a ac a a a 19 d d dca a c c caa a a a a a c aa a c a c a 25 a a a a a 4 c cc c 4 cac c a a aa a 31 ad a a a a a a a a c a aa a a a 37 e edca a · Over the mountaines k h ekh g e d d cd a e a a a4 c4 a / e a c / / 6 e ged e de g e d a a a a a c c a 4 a a 11 e gg k dca c de g e d d a a aa a a a c4 a 4 a 4 a a a c Till I be Lulled beyond the g da a a a a d d d cd 6 ged a d d eg h m kgegk a a a a a a a a / a a / / 11 g h m g k d eg h m a a a e a a 16 kgegk kg e da d a a d a a a a a a 4 a a · Shoe rouid me in hir aprone d d c ac c c e c a a a a a a a c c c 4 c a a a 6 ac a d a a a 4 / a a a e / ca ca acc / 11 a d eg a a a a a a a a a a a ca ac 16 d c a a a a a a a c c c a 4 · The Saraband c ca c aa a 4 4 4 4 4 a d d d c c ac 7 dd d dee d bda a c a 4 / d / d d / 13 dba dd a a a dd a 4 4 / 4 a 4 a / d c a / 19 dba a a 4 4 4 acd d Hey the day dauis a d ded e aaa c a a c a c / a d d c a a a / d d / 7 d a e ac acdd e d a a a a a a a c d dca 13 d d c acd e gh k de a a a a a a a a a a c a ca c 4 19 g e d d g e d c acd cdedc acd a a a a a a a a a / a c c c / a a / 25 e a c a g edhge k hk m gh a a a a a a a 4 a a a e 31 k de g e d d a a a a a a 4 a c · Goe where thou wilte goe a a a a a a a 4 d d d 6 e a d a a a a a a 4 d d d 11 ah ad ef edb a a a 16 a e ad ehe d a a a c d a 21 a a d a a a a a d d a · Wilte thou be gone d d d e g e d d d eg h a a a a a a e a 4 4 a / a 4 c c / / 8 d eg e g a d eg e d d a a a a a a a a 4 a a 4 a / / /· The king's posie a b abd e eg h g a c ac a a d d a a a e a dcd dd a 6 e dd d h g e d d a ad a a a a a a a a a 4 a a a 4 a 4 a d 11 a ac d a a c a a a c a 4 a d 4 d d d · Buckinghames branle e e d ca e c d e e d ca a a a a a a a c a c c c a a a a a 7 e c a c d a a a a a a a a c c a c a a dca a a 13 e c d a a a a a c c a dca a a · Sueit smiling Katie in a different key a d d a ad e g a a a a a a a a a a a 6 d eg a e eg k k kged a a a a a 4 / a e / / 11 a d e eg k mk g kg e a a a a a 4 a a a 4 16 e eg k k kged k g e ge a a a a a a 21 d egd a a a a a · The buffins ddd a a a d ddd c ccc d ddd a a c c a a a a a a a a a a a a a a a a c c c a a a c c d c c c c a a a c c c 6 a aaa d d c c d ddd f fff c c c a a a a a a a a a a a a a a a c c a a a d d d d d d c c a a c c c e e e 11 e eee d ddd c ccc f fff e fee d d d a a a a a a a a a d d d e e e a a a c c c d d d e e e a a a c c c a a a e e e a a a 16 d d c c d ddd a a a a a a a a a c c a a a c c a a c c c · put on your sark on monenday ac d c ac d d d c a e ac a a a a a a a a a c a a c c aa c a c a 8 d d dd d d c ac e c a a a a a a a a a a a a c c 4 c c c a a 15 ac a d a a a a aa a 4 / a a a a e / ca ca acc c / 22 d ec a d ac a a a a a a a a a a a 4 ca ac c a · John come kisse me noue d degeg h hhh d dedca e eeee d degeg a e e e e a a a a a a e a a e e e a a c c c a a c c g g g c c a a a c c 6 h hhh g edcde c d degeg h hhh d degeg e e e e a e e e e a e e e e a a a e e e a a g g g c c e g g g c e 11 k caa d degeg h hhh g edcdec d g g g a e e e e e a g g g a a e e e a a i i i c e g g g c c ·.
Recommended publications
  • View Or Download Full Colour Catalogue May 2021
    VIEW OR DOWNLOAD FULL COLOUR CATALOGUE 1986 — 2021 CELEBRATING 35 YEARS Ian Green - Elaine Sunter Managing Director Accounts, Royalties & Promotion & Promotion. ([email protected]) ([email protected]) Orders & General Enquiries To:- Tel (0)1875 814155 email - [email protected] • Website – www.greentrax.com GREENTRAX RECORDINGS LIMITED Cockenzie Business Centre Edinburgh Road, Cockenzie, East Lothian Scotland EH32 0XL tel : 01875 814155 / fax : 01875 813545 THIS IS OUR DOWNLOAD AND VIEW FULL COLOUR CATALOGUE FOR DETAILS OF AVAILABILITY AND ON WHICH FORMATS (CD AND OR DOWNLOAD/STREAMING) SEE OUR DOWNLOAD TEXT (NUMERICAL LIST) CATALOGUE (BELOW). AWARDS AND HONOURS BESTOWED ON GREENTRAX RECORDINGS AND Dr IAN GREEN Honorary Degree of Doctorate of Music from the Royal Conservatoire, Glasgow (Ian Green) Scots Trad Awards – The Hamish Henderson Award for Services to Traditional Music (Ian Green) Scots Trad Awards – Hall of Fame (Ian Green) East Lothian Business Annual Achievement Award For Good Business Practises (Greentrax Recordings) Midlothian and East Lothian Chamber of Commerce – Local Business Hero Award (Ian Green and Greentrax Recordings) Hands Up For Trad – Landmark Award (Greentrax Recordings) Featured on Scottish Television’s ‘Artery’ Series (Ian Green and Greentrax Recordings) Honorary Member of The Traditional Music and Song Association of Scotland and Haddington Pipe Band (Ian Green) ‘Fuzz to Folk – Trax of My Life’ – Biography of Ian Green Published by Luath Press. Music Type Groups : Traditional & Contemporary, Instrumental
    [Show full text]
  • Scottish Traditional Music Syllabus
    London College of Music Examinations Scottish Traditional Music Syllabus Qualification specifications for: Step, Grades, Recital Grades, Leisure Play, Performance Awards, Ensemble Examinations and Performance Diplomas Valid from: 2020 until further notice For Teaching Diplomas, please refer to the: Music Performance and Teaching Diplomas Syllabus (from 2019) © 2019 University of West London v20190819 Contents 1. Information and general guidelines 1.1 Introduction 2 1.2 Syllabus validity 3 1.3 Changes to the syllabus 3 1.4 Exam options 3 1.5 Exam entry 4 1.6 Exam durations 4 1.7 Assessment and results 4 1.8 Exam regulations 5 1.9 General guidelines 5 2. Summary of subject content 2.1 Step examination 7 2.2 Graded examinations 7 2.3 Recital Grades 7 2.4 Leisure Play 8 2.5 Performance Awards 8 2.6 Ensemble examinations 9 3. Grade descriptions 3.1 Introductory examination 11 3.2 Graded examinations 11 4. Exam requirements 13 5. Sample repertoire: Step and Grades 18 6. Assessment 6.1 Assessment domains 24 6.2 How marks are awarded 24 6.3 Awards of Pass, Pass with Merit or Pass with Distinction 28 7. Performance Diplomas 7.1 DipLCM in Scottish Traditional Music Performance 29 7.2 ALCM in Scottish Traditional Music Performance 30 7.3 LLCM in Scottish Traditional Music Performance 31 7.4 FLCM in Scottish Traditional Music Performance 32 8. Regulated qualifications 8.1 Regulated qualification information 33 8.2 RQF levels 34 8.3 UCAS tariff points 34 1. Information and general guidelines 1.1 Introduction London College of Music Examinations (LCME) External examinations have been awarded by the London College of Music since the institution’s founding in 1887.
    [Show full text]
  • The Scottish Medieval Lute ©Rob Mackillop, 2002
    The Scottish Medieval Lute ©Rob MacKillop, 2002 [This essay is one outcome of my researches into the medieval lute within Scotland, for which I was granted study leave by the Royal Scottish Academy of Music and Drama, and the ancient and contemporary oud practices in Morocco and Turkey made possible by a Churchill Travelling Fellowship. Thanks go to both institutions. Other related outcomes include: three commissions of new compositions (financed by the SAC and the Hope Scott Trust), one for oud (Edward McGuire ~ The Oud Player of Rosslyn), the others for 12-course lute (John Maxwell Geddes ~ The Rosslyn Oud, and John Purser ~ The Old Composer Remembers); my own composition, ‘The Healing’; and arrangements for medieval lute of some of the music mentioned in this text, first performed at Boarhills in Fife, 1st February, 2002.] Introduction In October 1996, I recorded a CD called Graysteil for Dorian Recordings (DIS- 80141). The musicians were William Taylor (clarsach and harp), Paul Rendall (tenor voice), Andy Hunter (traditional ballad singer) and Rob MacKillop (medieval and renaissance lutes). My experience of performing medieval music had been minimal and largely based on intuition, but the recording proved seminal and propitious in its choice of venue: Rosslyn Chapel. Lying some ten miles south of Edinburgh at the village of Roslin, is the ancestral home of the St Clair (Sinclair) family, Rosslyn Castle, which is connected via the interestingly named ‘Minstrals Walkway’ to the famous Rosslyn Chapel. The name Rosslyn is Gaelic in origin, ross – ‘a rocky promontory’, lynn – ‘a waterfall’. The Chapel is decorated with a profusion of engravings which are on the receiving end of much revelatory academic attention.
    [Show full text]
  • Metrical Psalmody in Print and Practice for My Parents Metrical Psalmody in Print and Practice
    Metrical Psalmody in Print and Practice For my parents Metrical Psalmody in Print and Practice English ‘Singing Psalms’ and Scottish ‘Psalm Buiks’, c. 1547–1640 TIMOTHY DUGUID Texas A&M University, USA © Timothy Duguid 2014 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Timothy Duguid has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Ashgate Publishing Company Wey Court East 110 Cherry Street Union Road Suite 3-1 Farnham Burlington, VT 05401-3818 Surrey, GU9 7PT USA England www.ashgate.com British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library The Library of Congress has cataloged the printed edition as follows: Duguid, Timothy. Metrical psalmody in print and practice : English ‘singing psalms’ and Scottish ‘psalm buiks’, c.1547–1640 / by Timothy Duguid. pages cm. – (St Andrews studies in reformation history) Includes bibliographical references and index. ISBN 978-1-4094-6892-9 (hardcover : alk. paper) – ISBN 978-1-4094-6893-6 (ebook) – ISBN 978-1-4094-6894-3 (epub) 1. Psalms (Music)–England–16th century–History and criticism. 2. Psalms (Music)–England–17th century–History and criticism. 3. Psalms (Music)–Scotland–16th century–History and criticism. 4. Psalms (Music)–Scotland–17th century–History and criticism. 5. Church music– Protestant churches–16th century. 6. Church music–Protestant churches–17th century.
    [Show full text]
  • Edwards, W. Seventeenth-Century Scotland: the Musical Sources. in Porter, J
    Edwards, W. Seventeenth-century Scotland: the musical sources. In Porter, J. (Eds) Defining Strains. The Musical Life of Scots in the Seventeenth Century, pages pp. 47-71. Bern: Peter Lang (2007) http://eprints.gla.ac.uk/3809/ Deposited on: 9 November 2007 Glasgow ePrints Service http://eprints.gla.ac.uk WARWICK EDWARDS Seventeenth-Century Scotland: The musical sources* In this article I attempt a comprehensive survey of known primary musical sources associated with seventeenth-century Scotland, sum- marizing knowledge to date, calling attention to errors of fact or logic, offering some new observations, and suggesting areas for future enquiry. The purpose is to provide a single point of reference and to lay a secure foundation for further study and evaluation. To place the sources in some kind of context related to the musical life of Scots, I have adopted a broad geographical classification, beginning with Aberdeen and the north-east, and proceeding to Glasgow and the south-west, before considering those of uncertain provenance, and finally sources of Scots material compiled beyond Scottish borders. Aberdeen Almost all sources from the north-east are closely connected with the city and royal burgh of Aberdeen. Two brothers, David and Andrew Melvill, played leading musical roles there in the early decades. David first comes to our notice as copyist of three extant music books. One is a bassus part-book that bears his name at the foot of each page and contains a sizeable collection of English, Continental and local pieces * I am grateful to the Peter Lang Publishing Group for permission to publish this article here in advance of its appearance as a chapter entitled ‘The Musical Sources’ in Defining Strains.
    [Show full text]