X:5
T:Upon a Summers Day
T:The Garland
M:6/8
L:1/8
Q:116
R:Jig
W:Souldier:
W:My dearest deare adue, since that I needs must goe
W:my
W:fortunes to pursue against some Forraine Foe
W:Being that it is so, I
W:pray thee patient be
W:and doe no kilt thy Coat, to goe along with
W:me
W:Pegge:
W:Alas my dearest heart, if that thou leave me
W:here
W:Death kills me with his dart, as plainly may appear
W:For
W:sorrow griefe and smart will quickly make me dye
W:Therefore lie kilt
W:my Coat, and goe along with thee
W:--Pepys, Ballads, I,296
K:GDor
d|d2d B2G|d3-d2 e/f/|g2f g2a|b3-b2 B|B2B A2G|f3 g3|a2B A2G|G3-G2||
a|a2a f2d|a3-a2 f|g2f g2a|b3-b2 B|B2B A2G|f3 g3|a2B A2G|G3-G2||

X:10
T:Blew Cap
M:6/8
L:1/8
Q:110
R:Jig
H:Refers to the Scottish bonnet
K:F
F|BBf bbd|c2B G2d|BBf ddf|c>fe f2:|
f|ddB ccG|F2d _e2g|ffd fga|bfd c2f|ddB ccG|F2d _e2g|ffd fga|bfd c2:|

X:15
T:The Night Peece
M:6/8
L:1/8
Q:100
R:Jig
K:D
f2d a2f|d2A df2|eg2 f>ed|Bde/2f/2 g2a||
bbg aag|f>ed e2A|ddc ddA|fe2 d3|bbg aag|f>ed e2A|ddc ddA|fe2 d3|bbg aag|
f>ed e2A|ddc ddA|fe2 d3||

X:20
T:Boateman
M:6/8
L:1/8
Q:95
R:Jig
N:Alan Ramsey's song The Bonny Scot (1728) is set to this tune
W:Ye gales that gently wave the sea
W:And please the canny
W:Boat-man
W:Bear me frae hence, or bring to me
W:My brave, my bonny
W:Scot-man
W:In haly bands we join'd our hands
W:Yet may this not
W:discover
W:While parents rate a large estate
W:Before a faithfu'
W:lover
K:C
GE2 G2G|GE2 G2G|c2c B2A|d3 D3|GE2 G2G|GE2 G2G|c2d e2d|c3 C3||
c2d e2d|c2B A2G|F2F E2D|d3 D2D|GE2 G2G|GE2 G2G|c2d e2d|c3 C3||

X:25
T:The Begger Boy
M:6/8
L:1/8
Q:90
R:Jig
N:This tune is in the rare Phrygian mode--suggested chords are given
H:The tune name may derive from the song "The Begger Boy of the North"
H:(c. 1630)
W:From ancient pedigree, by due descent
W:I well can derive my
W:generation
W:Throughout all Christendome, and also Kent
W:My calling
W:is known both in terme and vacation
W:My parents old taught me to be
W:bold
W:Ile never be daunted, whatever is spoken
W:Where e're I come,
W:my custome I hold
W:And cry, Good your worship, bestow one
W:token!
W:--Roxburghe Ballads
K:APhry
"Am"AAA "Dm"f2f|"Am"ec2 "Bb"d2c|"Dm"AF2 "C"G2G|"F"A2B"Am" cA2|
"Am"AAA "Dm"f2f|"Am"ec2 "Bb"d2c|"Dm"AF2 "Gm"G2G|"Dm"A2B "Am"cA2||
"F"AAA f2f|"C"ec2 "Bb"d2c|"F"Ac2 "C"ede|"F"fA2 "C"G3|
"F"Acc "C"e>dc|"Bb"dfg/2f/2 efd|"F"cAF "Gm"G2G|"Dm"A2B "Am"cA2||

X:30
T:Parsons farewell
M:C|
L:1/8
Q:200
H:This tune was an instrumental piece known as "Bourrée" in Europe in the
H:first half of the 17th century.
K:DAeol
f2d2 d2ef|g2c2 c3c|def2 e2 d2|1 c2 A2 A4 :|2 A2 A4 a2||
f4 f2a2|f4 f2a2|fga2 fga2|g2e2 e4|efg2 efg2|f2d2 defg|a2gf ede2|1 d6 a2:
|2 d8||

X:35
T:Bobbing Joe
M:6/8
L:1/8
Q:110
R:Jig
K:AAeol
A2e e2d|e>fg B>AG|A2B c>dB|Ae2 A3||
Bd2 G3|Bd2 G2G|A2B c>BA|c>de A3||

X:40
T:The New Exchange
M:6/8
L:1/8
Q:100
R:Jig
H:One of two tunes commemorating a large commercial building built in
H:1609 in competition with the Royal Exchange.  Because there was another
H:tune by this title, it was renamed "The New New Exchange" (1665) and
H:"The New Royal Exchange" (1670).
W:I'll go no more to the New Exchange, there is no room at all
W:It is
W:so throng'd and crowded by the gallants of Whitehall
W:But I'll go to
W:the Old Exchange, where old things are in fashion
W:For now the Kew's
W:become the shop of this blessed Reformation
W:Come, my new Courtiers,
W:what d'ye lack?  Good consciences?  I you do
W:Here's long and wide,
W:the only wear, the straight will trouble you
K:GDor
D|G3/2A/2B/2c/2 BA2|G3 G2G|A>Bc cB2|A3 A2A|A>Bc d2G|FFE F2D|G3/2A/2B/2c/
2 BA2|G3
G2||

X:45
T:The Whish
M:6/8
L:1/8
Q:100
R:Jig
K:GMix
d|B>cd A2G|G2g g2g|f>ge d>ef|g2G B>AG|A3 e3|dB2 A2G|G3 G2:|

X:50
T:Stingo
T:The Oyle of Barly
T:Cold and Raw
M:6/8
L:1/8
Q:110
R:Jig
H:Many lyrics were set to the tune, all having in common the metaphorical
H:themes of strong ale, and of "selling barley", the feminine equivalent
H:of "sowing wild oats"
H:In 1688 a "new Scotch song" set to the tune
H:appear.  Written by D'Urfey, it began "Cold and raw the North did
H:blow".
W:Be merry, my friends, and list a while
W:Unto a merry jest
W:It may
W:from you produce a smile
W:When you heare it exprest
W:Of a young man
W:lately married
W:Which was a boone goode fellow
W:This song in's head
W:he alwaies carried
W:When drink made him mellow
W:I cannot go home,
W:nor will I go home
W:It's long of the oyle of Barly
W:I'le tarry all
W:night for my delight
W:And go home in the morning early
W:--Humour,
W:Wit and Satire (1647)
K:GDor
G2G d2B|cA2 F2F|G2G d2B|G3 B3:|
B2B B2A/2B/2|c2c c2c|d2d g2g|d3 f3|B2B B2A/2B/2|c2c c>d_e|dc>B cA2|G3 B3
||

X:55
T:The Wherligig
M:6/8
L:1/8
Q:110
R:Jig
K:DDor
A2A d2e|f>ga e>fg|fa2 A>Bc|df2 e3||
eg2 gaf|e>fg c>fe|d>cB A>ag|f3 e>ag|eg2 ce2|d>cB A>fe|f>ga b>ag|ae2 d3||

X:60
T:Picking of Sticks
M:6/8
L:1/8
Q:120
R:Jig
H:A variant of an older tune called "Whoop, do me no harm", a salacious
H:song which Chappell could not bring himself to print.
K:GMix
G|B>cd d>cd|c2A A2A|A>Bc c>dc|B2G G2G|B>cd d>cd|c2A A2A|A>Bc c>dc|B2G G|
|

X:65
T:The Old Mole
M:6/8
L:1/8
Q:120
R:Jig
K:G
G2G E>FG|A2F D2D|G2G E>FG|A3 d3|B2G E>FG|A2F D2D|E>FG F>EF|G3 G3||

X:70
T:Grimstock
M:6/8
L:1/8
Q:95
R:Jig
H:The A strain appears titled "CLIV Courante" in Michael Praetorius's
H:"Terpsichore" (1612).
K:G
g2f g2d|e>fg f2d|B>cd e2d|cdB c2B|g2f g2d|e>fg f2d|B>cd e2d|c>BA G3||
GGA BGA|BGA BGA|GGA BGA|BGA G3||

X:75
T:Wooddicock
M:6/8
L:1/8
Q:110
R:Jig
K:DAeol
d2d f>ed|c2A c2c|d2d f>ed|1 cAA A3:|2 cAA A2d||
c2B c>BA|BGG G2G|AAA A>Bc|1dDD D2d:|2 dDD D3||

X:80
T:Greenwood
M:6/8
L:1/8
Q:110
R:Jig
K:GDor
f2f f2c|d2c A3|B>cd d>ef|g2f e2d|f2f f2c|d2c A2f|e2d c>BA|B3 G3||

X:85
T:The Saraband
M:6/8
L:1/8
Q:110
R:Jig
K:G
afa geg|fdf e2A|cde fga|gaf g2f|afa geg|fdf e2A|cde fga|gaf g2f||
ccc c>BA|agf e2A|cde fga|gaf e2d|ccc c>BA|agf e2A|cde fga|gaf e2d||

X:90
T:Hit and misse
M:6/8
L:1/8
Q:100
R:Jig
K:C
c2d ecA|G> AB/2c/2 dBG|e2f gec|fdB cGE||
ccc cd/2e/2f|e3 e>dc|B>cd d>ef|g3 e2c||
ed2 B2G|gf2 e2c|e2d f2e|g3 e2c||

X:95
T:Confesse, his tune
T:The Court Lady
M:6/8
L:1/8
Q:105
R:Jig
H:Mr. Confesse was a court dancing master active in the early 17th
H:century..
K:GAeol
G2A B2c|d2d d2d|e3 d2d|g3 ^f3||
a2f b2g|af2 d2e|fd2 c2d|dc2 d3|B2c d>ed|ed2 c3|d2g ^f2g|a^f2 g3||

X:100
T:Mage on a Cree
M:6/8
L:1/8
Q:120
R:Jig
H:The dance is a progressive round, one of the earliest types found in
H:TDM.  No one has been able to explain the meaning of the title, and
H:from the entries in old books, it seems it was not clear then.  It may
H:have been Irish. When the title was first used for a ballad in 1633,
H:the tune name was "Magina-cree".
K:GDor
G> cd/2e/2 f2c|A2F c2A|B>cd d>cd|B>AG d2G|G> cd/2e/2 f2c|A2F c2A
|B>cd e>fg|^f>ef g2G||

X:105
T:A Health to Betty
M:6/8
L:1/8
Q:110
R:Jig
K:GDor
G|G>AG ^F2D|B3 Ad|d>ed c2A|f d4 e|fd2 B>cd|cA2 F2F|G>AG ^F2D|B3 A2||

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

X:115
T:The Spanish Jeepsie
M:6/8
L:1/8
Q:110
R:Jig
K:D
A|d>ef d>ef|d3-d2A|d>ef d>ef|d3-d2 e|f2e d2c|B3 A3|A2F A2G|F6 ||
F2G A2A|B2A d2D|F2G A>GF|E2D D3:|

X:120
T:Lady Spellor
M:6/8
L:1/8
Q:110
R:Jig
K:GMix
d2d d2d|d3 B3|c2B c2d|e3 c3|A2A A2B|c2d e2c|d2c B2A|B3 G3||
d2d d2d|d3 B3|c2B c2d|e3 c3|A2A A2B|c2B c2d|e2c d2c|B3 G3||

X:125
T:Kemps Jegg
M:6/8
L:1/8
Q:110
R:Jig
K:DAeol
d>ed d>ed|c>de e>dc|d>ef e2d|c3 A3:|
F3 G3|A6|F3 G3|A6|F2E F2G|A2A A>GF|E2D E>FE|D3 D3||

X:130
T:The Cherping of the Larke
M:C|
L:1/4
Q:120
K:F
f2e d/2e2/|fFFd|cBAG|AFF2||
f>fee| L:1/8 dfed c2 A2|Bcd2 cde2|d4 d4||

X:135
T:If all the World were Paper
M:6/8
L:1/8
Q:110
R:Jig
K:C
G|A2G A2B|c3 C3|E2D E2F|G3-G2 E|F2E F2G|A2F D2c|d2G A2B|c3-c2 ||

X:140
T:Adsons Saraband
M:6/8
L:1/8
Q:110
R:Jig
H:John Adson (d. 1640) may have written the original music for the dance.
H: English-born, he began his career in France, but eventually joined the
H:English court band in 1625.  He also played several instruments at the
H:Blackfriar's Theatre.  In 1634 he was appointed music teacher to
H:Charles I.
K:D
f2f e2d|fga e2d|cde fBc|dcB A2G|FGF FFA|Bcd c2B|Aef gBc|def e2d||

X:145
T:Nonesuch
M:C|
L:1/8
Q:120
N:Almost the same as "A la Mode de France"
H:Nonesuch was built in 1538 by Henry VIII over the demolished property
H:of the village of Cuddington, near Epsom Wells in Sussex, to be the
H:most ostentatious hunting lodge ever made.  At the very end of her
H:life, Elizabeth I visited Nonesuch, as a guest of Lord Lumley,
H:son-in-law of the Earl of Arundel, and it was reported that "there is
H:much dancing of country dances in the privy chamber at Nonesuch, before
H:the Queen's majesty, who is exceedingly pleased therewith".
K:DDor
a|afga|f e/2f/2 da|afga|f2 fa|afga|f e/2f/2 da|afga|f2 de||
ecde|f e/2f/2 de|ecde|f2 de|ecde|f e/2f/2 de|ecde|f2 d||

X:150
T:Daphne
M:6/8
L:1/8
Q:100
R:Jig
H:An early 17th century song retells Ovid's myth of the pursuit of
H:Daphne, who was turned into a laurel tree to prevent violation by
H:Apollo.  Bernini's spectacular sculpture of the moment of Daphne's
H:transformation had been created in Tome in 1622-24, the subject being
H:popular in baroque art.  Apollo was also known as Phoebus.
W:When Daphne from fair Phoebus did fly
W:The west wind most sweetly did
W:blow in her face
W:Her silken scarf scarce shadowed her eyes
W:The
W:God cried, O pity! and held her in chace
W:Stay, Nymph, stay, Nymph,
W:cries Apollo, tarry and turn thee, Sweet Nymph, stay
W:Lion nor Tiger
W:doth thee follow, turn thy fair eyes, and look this way
W:O turn, O
W:pretty sweet, and let our red lips meet
W:O pity me, Daphne, pity me,
W:&c.
W:--Chappell
K:DAeol
D|:F2G A2d|c>de d2 A/2B/2|cAF GEC|1 DFE D2D:|2 DFE D3||
f2f e2e|d>ed cA2|c>BA G2F|FE2 F3|ccd cAF|cd/2e/2f gec|A>GF E2D|ddc dAA|c
>BA GDF|E>FE D3||

X:155
T:The merry merry Milke Maids
M:6/8
L:1/8
Q:120
R:Jig
H:One of the verses in "The Milkemaid's Life" describes an 18th century
H:May Day custom in which the milkmaids and the sweeps dance in the
H:street with a garland.
W:Upon the first of May, with garlands fresh and gay
W:With mirth and
W:music sweet, for such a season meet
W:They pass their time
W:away
W:They dance away sorrow, and all the day thorow
W:Their legs do
W:never fail
W:They nimbly their feet to ply
W:And bravely try the
W:victory
W:In honour o' th' milking pail, in honour ...
W:--Chappell
K:CMix
c|c>dc G2g|e3-e2 c|cdc G2B|A3-A2 F|F3/2 G/2A/2B/2 c2d|d3/2 c/2B/2G/2 G2g
|
e>fg d2c|c3-c2 ||
c|e>fg g>fg|e>fg g>fe|f2g a2b|c'6|c'2a e>fg|a2f d>ef|g2e c>de|d2B G>
AB|c2c A>Bc|d2c B>AG|e>fg d2c|c3-c2 ||

X:160
T:Mill-field
M:6/8
L:1/8
Q:110
R:Jig
K:G
G|A2B c>BA|B>AG d2B|A2F D2G|F>EF G2||
G|A2F D2d|B2G G2B|A2F D2G|F>EF G2||

X:165
T:The fine Companion
M:6/8
L:1/8
Q:110
R:Jig
K:DAeol
d2f dda|c>de f>ed|a2g aag|ae4 d|eee e2d|c>de A2e|f2d c>de|1 d3 f3:|2 d
3 f2d||
cAA e2d|cAB A2e|fde fde|f3 g3|aaa c>de|ffe fda|ccd eca|d3 f3||

X:170
T:Skellemesago
M:6/8
L:1/8
Q:110
R:Jig
N:Another Irish title?
K:GMix
Bcd d2d|Bcd d2d|efg g2G|B>cB A2B|c>dc B>cd|A>BG E2G|DDG GBG|GBG G3||

X:175
T:Cast a Bell
M:C|
L:1/8
Q:180
K:DDor
FG A2 f2ed|g2ed e2E2|FG A2 f2ed|dGFE F2D2:|

X:180
T:The Spanyard
M:6/8
L:1/8
Q:100
R:Jig
K:DMix
fdd dc/2d/2A|ddc/2d/2 e2A|fdf fe/2f/2d|fgf/2g/2 a3||
eee cB/2c/2A|fe/2f/2d g2a|bag a>2 gf/2e/2|fed/2e/2 d3||

X:185
T:Rose is white and Rose is red
M:6/8
L:1/8
Q:110
R:Jig
K:GMix
B2B B>AG|A2A c>BA|B2B B>AG|B3 d2e/2f/2|g>fe d>cB|A2A e>dc|B2B B>AG|B3 d3
||

X:190
T:Have at thy Coat old woman
M:C|
L:1/8
Q:180
K:GMix
Bc|d3B d3B|c2A4 Bc|d3c B3A|B2G4 ef|gfed edcB|c2A4 Bc|d3c B3A|B2 G4||

X:195
T:Drive the cold winter away
M:6/8
L:1/8
Q:110
R:Jig
K:DAeol
D|F>ED A2d|c>BA f2F|G2A B>cB|A6 ||
d|c>BA c2c|B>AG B2B|A>GF E2D|f3-f2d|c>BA c2c|B>AG B2B|A>GF E>DE|D3-D2||

X:200
T:The Gun
M:6/8
L:1/8
Q:110
R:Jig
K:Bb
B2B A2F|B3 c3|d2d c2A|d3 e3|f2f g2f|fe2 f3|d2e f>gf|e2d d3||
f2d f2g|f2e e3|c2A B>BA|G2F F3|A2F B2c|d2e f3|d2c dB2|e2f g3|d2e f>ed|c2
B B3||

X:205
T:Peppers Black
M:6/8
L:1/8
Q:100
R:Jig
K:D
c2A e2e|c>BA e2A|ded e> fg/2a/2|f3 d3||
efg g>ag|efg g>fg|f2g a> bg/2a/2|f3 d2d||

X:210
T:The Maid peept out at the window
T:The Frier in the Well
M:6/8
L:1/8
Q:110
R:Jig
N:Key later changed to G Mix
H:"The Friar in the Well": The story is an old one, and one of the many
H:popular songs against monks and friars.  D'Urfey included the song in
H:"Pills to Purge Melancholy" (1719).
W:As I lay musing all alone, a merry tale I thought upon
W:Now listen a
W:while and I will you tell
W:Of a fryar that lov'd a bonny lass
W:well
W:He came to her when she was going to bed
W:Desiring to have
W:her maidenhead
W:But she denied his desire
W:Saying that she did fear
W:hellfire
W:Tush tush, quoth the fryer, thou need's not
W:If thou wert
W:in hell I could sing thee out
W:Why then, quoth the maid, thou shalt
W:have thy request
W:The fryer was as glad as a fox in his nest ...
K:GDor
D|G2G G>AB|A2G E3|B2B c>de|d2B G2:|
G|B2c d>ed|c2B A2G|F2E F2G|A>GF E3|D2D G2G|F>EF E2E|D2G F>GA|G3-G2 :|

X:215
T:Halfe Hannikin
M:6/8
L:1/8
Q:110
R:Jig
K:G
B>cd d2c|B>cB A2G|B>cd d>cB|A>GF G3||
B3 c3|B3 A2G|B>AB c2B|A>GF G3|B>AB c>Bc|B>AB A2G|B>AB c2B|A>GF G3||

X:220
T:Lord of Carnarvans Jegg
M:C|
L:1/8
Q:210
K:GMix
B2G2 Bcd2|c2A2 ABcd|B2G2 d2ef|1 g4 d4:|2 g4 d2ef||
gfed g3B|A2A2 c2dc|B2G2 b3a|g4 d4||

X:225
T:Irish Trot
M:C|
L:1/8
Q:180
K:EAeol
efgf e2B2|defe d2cd|eedc B2d2|G2A2 B4|Bcde dBG2|FGAB AFD2|EFGA B2e2|defg
e4||

X:230
T:Faine I would
T:The King's Complaint
T:Parthenia
M:6/8
L:1/8
Q:90
R:Jig
H:Original instructions:  "As at Oxford"  Having lost London to Cromwell,
H:Charles I convened a royalist parliament in Oxford in 1644.  A
H:supporter of Charles I, John Playford continued a royalist at heart and
H:again served as printer to the king at the restoration of Charles II.
W:Faine I would, if I could
W:By any means obteine
W:Leave of my best
W:Masters to sit with them againe
W:But my blest Parliment ˙
W:Will
W:never give consent
W:They say tis such a thinge
W:Ffor the worst of
W:them's a Kinge
W:Wee will rule still ˙
W:In spight of Cavalieres
W:O
W:brave house of Commons
W:O brave house of Peeres
W:Religion you have
W:pull'd downe
W:And soe you have the crowne
W:My laws & Kingdome
W:too
W:I think the Devill's in you
W:Else you'll not endure
W:Such a
W:constant flood
W:All of childrens teares
W:And theire dead Fathers
W:blood ...
K:GDor
g3 ^f3|g3 b3|a2g g>ag|f3-f2  d/2e/2|f>gf ed2|c3 d3|c2B B>cA|B3-B2|
F|F2G A2B|c3-c2 A|d2c B> cd/2e/2|f3-f>gf|ed2 c2B|A3 b3|a2d g>a^f|g3-
g2||

X:235
T:Once I loved a Maiden faire
M:C|
L:1/4
Q:150
K:D
fff2|efd c/2d/2|eeef|e2d2||
Bcd2|efd c/2d/2|eeef|e2d2||

X:240
T:The Irish Lady
T:Anniseed-water Robin
M:6/8
L:1/8
Q:100
R:Jig
K:DDor
def efg|c2c c2d|e> fe/2d/2 cde/2d/2|1 cAA A3:|2 cAA A2G||
FFF F>ED|fff f>ed|e2f g> fe/2f/2|d2A d3||

X:245
T:All a Mode de France
M:C|
L:1/8
Q:110
N:Very similar to "Nonesuch"
H:The title was derived from a ballad probably written in 1642-3 while
H:the Queen was in Holland raising money and troops to support Charles I.
H: Called "The French Report", it is set in the conventionalized
H:"foreigner's accent".
W:Me have of late been in England
W:Vere me have seen much sport
W:De
W:raising of de Parliament
W:Have quite pull'd down de Court
W:De King
W:and Queen dey seperate
W:And rule in ignorance
W:Pray judge ye
W:Gentlemen, if dis
W:Be a la mode de France
K:DMix
a|afga|f>eda|afga|f3||
f|eAde|f>edf|eAde|f3f|eAde|f>eda|afga|f3||

X:250
T:My Lady Cullen
M:C|
L:1/8
Q:120
K:DAeol
A2A2 f3f|gfed ^c3c|d2d2 A2f2|e4 d4||
A2A2 c3c|F3G A3c|B2G2 G2A2|B^c d6||

X:255
T:The Bath
M:C|
L:1/8
Q:120
K:GMix
g3d g3d|gfed g2B2|c2A2 d2d2|A4A4|GGGG GABc|ddde d2B2|cdec d3c|B8||

X:260
T:Goddesses
M:C|
L:1/8
Q:120
K:GDor
G2G2 B2AG|A2A2 c2BA|G2G2 B2AG|d2d2 d4||
f2d2 B3d|c2A2 F3A|B2G2 F3A|G2G2 G4||

X:265
T:Jog on
M:6/8
L:1/8
Q:110
R:Jig
K:D
d2A d2e|f>gf ecA|ded a2g|f3 e3|-e2f g>ag|f>gf e>dc|ded cBc|B3 A3||

X:270
T:Hearts Ease
M:6/8
L:1/8
Q:100
R:Jig
H:There are two distinct tunes named "Heartsease" and considerable
H:differences of opinion as to whether any of the known lyrics fit either
H:of them. The earliest lyric is "a songe to the tune of hartes ease"
H:from Thomas Richardes' play on an Italian model, called "Misogonus" (c.
H:1560).  Although it scans well, the text is arranged in short verses
H:which would only use half the dance tune, implying that an earlier tune
H:by this name may have had only one strain.
H:
H:Richard Dering's
H:catch "Cries of London" is set to the A strain.
H:
H:Hearts-ease in
H:16th century herbal culture was the little wild pansy, known today as
H:Johnny-jump-up.  It was also called "Love in Idleness".
W:Misogonus:
W:Singe care away with sport & playe
W:Pasttime is all our
W:pleasure
W:Yf well we fare, for nought we care
W:In mearth our
W:constant treasure ...
W:
W:Dering:
W:A cooper I am, and have been
W:long, and hooping is my trade
W:And married man am I to as pretty a
W:wench as ever God hath made
K:GDor
G|G>AB A2G|^F2G A2D|G2A B2c|1 d3-d2  :|2 d3-d2	d||
ABc cdc|f2c c2A|B2A Bc2|d3-d2 d|c2B A>Bc|B2A dAB|A2G ^F>EF|G2||

X:275
T:The Health
T:The Merry Wasel
M:C|
L:1/8
Q:180
H:Chappell cites a song which certainly fits the title.  Probably
H:originally from a play, it has a number of specific personal
H:references.  The reference to Wickham may be a seafaring one, as that
H:village is very near Portsmouth, a major port, particularly for
H:military operations.
W:Come, faith, since I'm parting
W:W:And that God knows when
W:W:The
W:walls of sweet Wickham I shall see again
W:W:Let's e'en have a frolic,
W:and drink like tall men
W:W:Till heads with healths go round
W:W:Till
W:heads with healths go round
K:G
B/2c/2|dd d>c|B G2 c/2d/2|ee B>c|d3 A/2B/2|cc BA|B2AG|AB A>G|G3||

X:280
T:Jack Pudding
M:6/8
L:1/8
Q:110
R:Jig
K:GAeol
D|G2G A2F|BG2 c2A|dB2 A2G|G3-G2||
g|fd2 e2c|dB3 c2A|BG2 AF2|B3-B2 B|cA2 d2A|^FD2 B2c|dB2 cA2|G3-G2||

X:285
T:Prince Ruperts March
M:C|
L:1/4
Q:140
R:March
K:DDor
L:1/4˙
A|dAde|f>gff|edd^c|d3|
L:1/8˙
d2|e3d efg2|c3d c2c2|f2f2 gaga|f6f2|e3d efg2|c3d c2f2|e2d2d2^c2|d6 |

X:290
T:Argeers
T:The Wedding Night
M:C|
L:1/8
Q:230
H:No convincing explanation has been found for the title.  The North
H:African territory of Algiers was much in the news in the 1660s.
K:D
defg e2d2|c2A2 A4|a2e2 a3g|f2d2 d4|defg e2d2|c3d e2A2|Bcd2 cdef|d8||
cde2 cde2|a2e2 a2e2|cde2 cde2|a2e2 a2e2|a2gf g2ag|f2ed e3A|Bcde cdef|d8|
|

X:295
T:Dissembling Love
M:6/8
L:1/8
Q:90
R:Jig
K:DAeol
D|D2E F2G|A3 A2d|c2A B2G|A3 A2||
B/2c/2|d2A AB2|c3 F> GA/2B/2|GAF/2G/2 E> DE/2F/2|D3 D2||

X:300
T:The London Gentlewoman
T:The Hemp-Dresser
M:6/8
L:1/8
Q:110
R:Jig
K:G
B>cd d2c|B>cd D>EF|G2G G2A|B3 c3||
B>AB G>AB|A>GA D>EF|G2G G2A|B3 c3||

X:305
T:Lavena
M:6/8
L:1/8
Q:120
R:Jig
K:DAeol
d|d2d ^c>=Bc|d2d A2d|d3 ^c>=Bc|d3 A2B|B>dc B>cB|A>BA G>FE|F>GA G>AF|E3 D
2||

X:310
T:Mayden Lane
M:C|
L:1/8
Q:140
K:GMix
d3c BAG2|g2^f2 g2d2|g2^f2g2 dc|B2A2 G4|ABcd e2A2|c2B2A2e2|e2e2e2 dc|BABc
A4|
d2 Bc d2 Bc|dcBA B2G2|d2 Bc dedc|B2A2 G4||

X:315
T:Jack a Lent
M:C|
L:1/8
Q:150
K:G
d4 d2 cB|AGAB c2 BA|G2G2G2g2|f4e4||
B3c d2 cB|AGAB ABcd|BcBA G2ga|fefg e4||

X:320
T:Chirping of the Nightingale
M:6/8
L:1/8
Q:110
R:Jig
K:G
g2g g>fe|f2g a>ba|g>ag g>fe|d2c BG2||
B>cd e2d|g2d BG2|B>cd e2d|g2d BG2|B>cd efd|g>fe dec|B>AB A2G|G6||

X:325
T:A Souldiers life
M:6/8
L:1/8
Q:110
R:Jig
K:D
d|f>ga f>ed|e2c A2e|f>ga d>ed|e3-e2  e|f>ga f>ed|e2c A>GF|GAB A>Bc|d3-d2
||

X:330
T:Saint Martins
M:C|
L:1/8
Q:140
H:The old church of St. Martin, Ludgate, named for the patron saint of
H:the vintners, described as "a proper church and lately new built", was
H:destroyed in the Great Fire and rebuilt in 1673-1684 from the designs
H:of Sir Christopher Wren.
K:ADor
E2|ABc2 Bcd2|c4 c2d2|efg2 f3e|e6 ef|g2fe d2de|=f2ed c2cd|e2dc B3A|1 A6:|
2 A8||
B2e2 B2c2|B3A GFE2|cdef d3e|c6 ef|g2de=f2cd|e2Bc d2cd|e2dc B3A|A8||

X:335
T:Cuckolds all a row
M:6/8
L:1/8
Q:110
R:Jig
W:Come bachelors and married men, and listen to my song
W:And I will
W:shew you plainly then, the injury and wrong
W:That constantly I do
W:sustain through my unhappy life
W:The which does put me to great pain,
W:by my unquiet wife
K:G
a2a a2g|f2g a2d|e2e f>ef|1 g6 :|2 g3-g2B||
cdc BAB|A2A fef|g2d ed2|B3 G>AB|c>dc B>AB|A2A f>ef|g2d ed2|B3 G3||

X:340
T:Petticoat wag
M:6/8
L:1/8
Q:110
R:Jig
K:GDor
d2c B>cA|G2A ^F3|G2A B3|-B2c d3|dfe f>ga|g2g f2d|d>ed c2A|B2c d3||
f2g a>ga|b2d f3|A2B c>Bc|d2e f>ed|g3-g2e|a3-a2f|b>ag g>a^f|g3-g3||

X:345
T:Pauls Steeple
M:C|
L:1/4
Q:140
K:GDor
GGGG|B3 c/2B/2|AFFF|F3F|GGGA|B3c|dddd|d3c|BBBB|B3B|cccc|c3c|d2cB|AGA2|=B
GGG|G4||

X:350
T:Rufty tufty
M:C|
L:1/8
Q:180
H:The title means swaggering, casual, or helter-skelter.
K:G
d2de|f2ef|ggf>e|1 d4:|2 d3 e/2f/2||
gfed|dcB>c|ddcB|A2G2||
B>cdd|ecd2|B>cdd|ecd B/2c/2|ddcB|A2G2||

X:355
T:All in a Garden green
M:C|
L:1/8
Q:120
N:The first four bars are the same as "Gathering Peascods".
H:For a kissing dance
K:G
d2dd|B>c dd|edcB|A3B|c>d e/2f/2 g|G>A B/2c/2 d|cB A/2G/2A/2B/2|G4||
d d/2d/2 dd|efg2|B B/2B/2 BG|AB c2|B>A G/2A/2B|c>B A/2B/2 c|
d>c B/2c/2 d|e>d c/2d/2B/2c/2|AGGF|G4||

X:360
T:Sedauny
T:Dargason
M:6/8
L:1/8
Q:120
R:Jig
H:With two titles of Welsh derivation, both of which escape convincing
H:explanation, this unique progressive dance is paired with a 16th
H:century double-tonic circular tune of haunting familiarity.  The title
H:of the song also connects the tune to Wales, Shropshire lying in the
H:foothills on the English side of the border.
W:Chappell quotes the first of 16 verses set to this tune in the 17th
W:century:
W:The Shrop-shire Wakes, or hey for Christmas, being the
W:delightful sports of most countries, to the tune of
W:Dargason.
W:
W:Come Robin, Ralph, and little Harry
W:And merry
W:Thomas to our green
W:Where we shall meet with Bridget and Sary
W:And
W:the finest girls that e'er were seen
W:Then hey for Christmas a once
W:year
W:When we have cakes, with ale and beer
W:For at Christmas every
W:day
W:Young men and maids may dance away
K:F
A2F F2F|A2B c>BA|B2G G2G|B2c d>cB|A2 F F2F|f2f e>dc|B2G G2G|g2f e>dc:|

X:365
T:The Punks Delight
M:4/4
L:1/8
Q:120
K:D
A>AA>A A2F2|G>BA>G d2B2|A>Bc>c f2F2|G>BA>G d2B2|A>FD>B A>FD>D|G>BA>G d2B
2
|A>FD>B A>FD>D|G>BA>G d2B2||

X:370
T:Aye me
T:The Simphony
M:C|
L:1/8
Q:200
H:Symphony in this period means a harmony or concord, rather than a
H:specific musical form.
K:C
g4 e4|d2 BA G2AB|c2c2 d2d2|e6 ee|e2 fg a2 cc|c2 de f2 AA|BG e2 d3c|c8||
A2 AB c2 Bc|d2G2 G2 ee|e2 de efed|d6 gg|a2 ee f2 ^ff|g2 dc B2 gg|a2 e2 d
3
c|c8||

X:375
T:Broome
T:The bonny bonny Broome
M:4/4
L:1/8
Q:200
H:The tune "The Broom of Cowdenknows" was listed in 1632 with a ballad
H:entitled:
H:The lovely northern lasse, who in the ditty here
H:complaining shews what harme she got milking her Daddies
H:ewes.
H:Cowdenknows was a Scottish estate and barony on the east bank
H:of the river Leander, 32 miles SE of Edinburgh, close to the English
H:border.  The broom, a shrub which blooms with spikes of small golden
H:flowers, once grew plentifully of its hillsides but was stripped away
H:for turnip farming in the 19th century.
K:G
d3e d3e|dcBA G4|g2 ga bagf|e6 f2|g3a b2 ab|g2 GA B2 AG|A2A2 e3c|A8||

X:380
T:The Milke-Mayds Bobb
M:6/8
L:1/8
Q:110
R:Jig
K:G
dde ddB|cAc B2G|dde e>ga|geg f2d||
dgd e>cA|eae f>ed|dgd g>ab|b>ag g3||

X:385
T:An Old man is a Bed full of bones
M:6/8
L:1/8
Q:110
R:Jig
K:C
eee e2e|ecA c2c|d2c d2c|d2e f2d|eee e2e|ecA c2e|f2f e>dc|d2e f>ed:|

X:390
T:Newcastle
M:4/4
L:1/4
Q:200
H:Simpson feels that the surviving tune is not the one which had some
H:currency in Elizabethan days.  He points out that wrenchings of accent
H:are necessary to accomplish the fit of Playford's dance tune to a
H:curious fragment of text found in the 18th century Percy folio MS, a
H:source of dubious authenticity itself.
H:Came you not from
H:Newcastle?
H:Came yee not there away? &c
H:It is quite possible that
H:this dance was inspired by William, Duke of Newcastle, a royalist who
H:remained in London and bent his interests towards the theatre during
H:the interregnum.
K:G
BdGA|G>AGD|BdGd|eg2 f/2e/2|dBAG|Ee2 d/2c/2|dBA>G|1 G4:|2 G3 e/2f/2||
L:1/8
gfed g3B|A2 g4 A2|G3A B2F2|E2 e8 f2|gfed g3B|A2A2 c3d|e2B2 A3G|G8||

X:395
T:Cherily and merrily
M:6/8
L:1/8
Q:90
R:Jig
K:F
c/2B/2AF G/2A/2GD|F2F g2g|gec d/2e/2dB|c> ed/2e/2 c3||
cd/2e/2f dcA|G> AB/2c/2 d2c|cAF G/2A/2GD|F> AG/2A/2 F3||

X:400
T:The Countrey Coll
M:6/8
L:1/8
Q:110
R:Jig
K:G
g2d gdG|B>cd e2d|efg fga|dge f2d||
e3 d2B|cde d2B|gd2 B>cd|gd2 B>cd|Aa2 b2g||

X:405
T:Saturday night and Sunday morn
M:6/8
L:1/8
Q:110
R:Jig
K:D
f|fed g2A|eee e2g|fed g2A|ddd d2:|
c|B>AG FED|eee