|:d2c BAG|c2A B2G|d2c BAG|A2D G3:|
|:g2d BGB|cAc BAG|g2d BGB|1 ADF G3:|2 ADF G2A||
|:BAB cBc|d3 d2c|BcB ABA|1 G3 G2A:|2 G3 G3||
|:g2G g2G|ABA B2G|g2G g2G|1 ABA G3:|2 ABA G2A||
There are 2 recordings of this tune.
Blowzabella has been added to 2 tune sets.
Blowzabella has been added to 33 tunebooks.
The Man In The Brown Hat reminded me of this,the old English tune that Blowzabella took as their name.Not one of the deathless tunes,just fun to play.
An old tune.An extract from “Some Account Of The English Stage” by John Genest,published in 1832,discussing D’Urfey’s play “The Rise and Fall of Massaniello”,1699
“D’Urfey begins with the breaking out of the insurrection—
in the 3d act, Blowzabella, Massaniello’s
wife, enters awkwardly dressed in the Duchess of
Mataloni’s jewels—the Duchess is brought in in a
mean habit—Massaniello falls in love with the Duchess —
Blowzabella takes a fancy to the Prince of Bissig-
nano—a bandit shoots a pistol at Massaniello, but
misses him—Perone and the other banditti are carried
off—the Duke of Mataloni assumes the disguise
of a bandit—in the last scene of the 5th act, he
contrives to carry off the Duchess.
In the 2d part, there is a scene in the Cathedral,
according to the history—Blowzabella gives an entertainment
to the Vice-Queen &c.—Massaniello resumes …..”
This gets played in various modes. For instance the same notes can be played with one flat instead of one sharp, putting the tune into G dorian.
I found the tune in the famous Cecil Sharp House library in 1978 when Jon Swayne and I were searching for suitable English tunes to play on bagpipes (i.e within an octave). The melody was perfect for a raucous dance piece with as many musicians as possible cranking and blowing away.
C# was a treasure trove of melodies.
The John Offord collection “John of the Green, The Cheshire Way” has a five-part version, the first four parts of which are essentially the same as the version above, the fifth part being a repetition of part three. There are other differences in that the triplets are often a dotted rhythm, as in the first bar of the first part where we have B>AG instead of BAG. Such rhythms are within the style of the period and would not necessarily be written out in manuscript; musicians would play them as they saw fit without being told. Likewise, there are differences in lead-in notes between parts and between first and second time bars, but these differences are normal and could change from performance to performance. It therefore does not appear necessary to submit the Offord version here as a distinct version.
However, for those who are interested, here are the bars of the Offord version that have the dotted triplets:
Part 1 bars 1, 3
Part 2 bar 2 (2nd beat)
Part 3 bar 1 (2nd beat), bar 3 (both beats)
Part 4 bars 2, 4
Part 5 bar 3 (both beats)
Note the rhythmic differences between Parts 3 and 5, which are otherwise the same as regards notes.