The Bay Tree waltz

There are 2 recordings of a tune by this name.

The Bay Tree has been added to 37 tunebooks.

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Seven settings

X: 1
T: The Bay Tree
R: waltz
M: 3/4
L: 1/8
K: Gmaj
GA |: B3 BAB | d3 dBA | AGF GAd | BAA AGA |
B3 BAB | d3dBA | AGFGAB |1 D3DGA :|2 D4 D2||
|: B2G DGB | c2E Gce | d2F Adg | e3 d2c |
B2G DGB | c2E Gce | d2F Adg | e2d d2c :|
X: 2
T: The Bay Tree
R: waltz
M: 3/4
L: 1/8
K: Cmaj
|: B4 AB | d4 BA | G2 FG Ac | B2 A2 GA |
B4 AB | d4 BA | G2 FG AB |[1 A3 :|[2 A4 GA ||
|: B2 GD GB | c2 AF Ac | d2 BG Bd | e4 dc |
B2 GB dB | c2 Ac ec | d2 BG Bd |[1 e4 dc :|[2 e6 |]
X: 3
T: The Bay Tree
R: waltz
M: 3/4
L: 1/8
K: Gmaj
|: "G" B3 B AB | "D/B" d3 d BA | "C" G2 FG AB | "D" B2 A2 GA |
"G" B3 B AB | "D/B" d3 d BA | "C" G2 FG AB |[1 "D" D6 :|[2 "D" A4 GA ||
|: "G" B2 GD GB | "C/A" c2 EG ce | "D/B" d2 ^FA dg | "C" e3 e "D" dc |
"G" B2 GD GB | "C/A" c2 EG ce | "D/B" d2 ^FA dg | "C" e3 g "D" dc :|
X: 4
T: The Bay Tree
R: waltz
M: 3/4
L: 1/8
K: Gmaj
|: g>f |e2 ee de | g4 ed | c2 Bc dg | e2 d2 cd |
e2 ee de | g4 ed | c2 Bc de | G4 :|
|: GG |e2 cG ce | f2 Ac fa | g2 Bd gc’ | a2 g2 f2 |
e2 cG ce | f2 Ac fa | g2 Bd gc’ | a4 gf :|
X: 5
T: The Bay Tree
R: waltz
M: 3/4
L: 1/8
K: Gmaj
|: GA |B3 B AB | d3 d BA | AG FG Ad | BA AA GA |
B3 B AB | d3 d BA | AG FG AB | D3 D :|
|: D2 |B2 GD GB | c2 EG ce | d2 FA dg | e3 d- dc |
B2 GD GB | c2 EG ce | d2 FA dg | e2 dd- dc :|
X: 6
T: The Bay Tree
R: waltz
M: 3/4
L: 1/8
K: Gmaj
GA |:B3 B AB | d3 d BA | AG FG Ad | BA AA GA |
B3 B AB | d3 d BA | AG FG AB |[1 D3 D GA :| [2 D4 D2 ||
|: B2 GD GB | c2 EG ce | d2 FA dg | e3 d- dc |
B2 GD GB | c2 EG ce | d2 FA dg |[1 e2 dd- dc :|[2 e2 d2 |]
X: 7
T: The Bay Tree
R: waltz
M: 3/4
L: 1/8
K: Gmaj
|: DG |BA B2- BA | d3 d BA | AG FG Ad | BA- AB GA |
B3 B AB | d2 dB BA | AG FG GB |[1 d2 FD :| [2 D4 D2 ||
|: B2 GD GB | c2 EG ce | d2 FA dg | e3 d- dc |
B2 GD DB | c2 EG Ge | d2 FA Ag |[1 e2 dd- dc :|[2 e2 d2 |]

Thirty-three comments

The Bay Tree

This waltz is one of Andy Cutting’s very well-known compositions, and has been recorded by The Poozies and Eaton & Cutting (maybe others also). And I *have* heard it played at sessions before!!

A 6/8 waltz!! There have been so many of these on the session.
M: 3/4
L: 1/4
That’s how it should be I think. And then the bar lines have got to be in the right place.

Posted by .

You tell ‘em hetty… ;-)

“The Bay Tree” ~ by Andy Cutting

This isn’t a tune I know or am familiar with, but I have a standing appreciation of Steven Mansfield and he has transcribed it, so here is his and another take in C that is floating about on the Internet, to compare ~

X: 1
T: Bay Tree
C: Andy Cutting
Z: Steve Mansfield
M: 3/4
L: 1/8
R: waltz
K: G Major
|: B4 AB | d4 BA | G2 FG Ac | B2 A2 GA |
B4 AB | d4 BA | G2 FG AB |[1 A3 :|[2 A4 GA ||
|: B2 GD GB | c2 AF Ac | d2 BG Bd | e4 dc |
B2 GB dB | c2 Ac ec | d2 BG Bd |[1 e4 dc :|[2 e6 |]

X: 2
T: Bay Tree
C: Andy Cutting
Z: Steve Mansfield
N: modified, and chords added, by Moshe Braner, after workshop with Andy Cutting
M: 3/4
L: 1/8
R: waltz
K: G Major
|: "G" B3 B AB | "D/B" d3 d BA | "C" G2 FG AB | "D" B2 A2 GA |
"G" B3 B AB | "D/B" d3 d BA | "C" G2 FG AB |[1 "D" D6 :|[2 "D" A4 GA ||
|: "G" B2 GD GB | "C/A" c2 EG ce | "D/B" d2 ^FA dg | "C" e3 e "D" dc |
"G" B2 GD GB | "C/A" c2 EG ce | "D/B" d2 ^FA dg | "C" e3 g "D" dc :|

X: 3
T: The Bay Tree
C: Andy Cutting
M: 3/4
L: 1/8
R: waltz
K: C Major
|: g>f |
e2 ee de | g4 ed | c2 Bc dg | e2 d2 cd |
e2 ee de | g4 ed | c2 Bc de | G4 :|
|: GG |
e2 cG ce | f2 Ac fa | g2 Bd gc’ | a2 g2 f2 |
e2 cG ce | f2 Ac fa | g2 Bd gc’ | a4 gf :|

& using those as a guideline to make sense of your transcription:

X: 1
T: Bay Tree, The
C: Andy Cutting
M: 3/4
L: 1/8
R: waltz
K: G Major
|: GA |
B3 B AB | d3 d BA | AG FG Ad | BA AA GA |
B3 B AB | d3 d BA | AG FG AB | D3 D :|
|: D2 |
B2 GD GB | c2 EG ce | d2 FA dg | e3 d- dc |
B2 GD GB | c2 EG ce | d2 FA dg | e2 dd- dc :|

Except the final bar ~ | e2 dd- dc :| ~ back to your 1st & 2nd endings:

X: 2
T: Bay Tree, The
C: Andy Cutting
M: 3/4
L: 1/8
R: waltz
K: G Major
GA |:
B3 B AB | d3 d BA | AG FG Ad | BA AA GA |
B3 B AB | d3 d BA | AG FG AB |[1 D3 D GA :| [2 D4 D2 ||
|: B2 GD GB | c2 EG ce | d2 FA dg | e3 d- dc |
B2 GD GB | c2 EG ce | d2 FA dg |[1 e2 dd- dc :|[2 e2 d2 |]

The version

The version that I’ve written out is how it is in the Blowzabella tune book, directly written by Mr Cutting himself, so this time you can’t go telling me that my ABC’s wrong…:P

The version

Well said mehitabel! Teaches people to flood the comments section with other abcs

Posted .

Just because someone writes a good tune doesn’t mean they know how to annotate it. If it is written as a waltz and intended to be played that way then it should be in 3/4. Notating in 3/4 means that you group notes (if L:1/8) together in pairs (AG FG Ad) rather than in threes (AGF GAd).
Anyway we should all be learning by earin any case.

Donough

Just checked your myspace…lovely playing…i’ll show it to my dad…he plays guitar albeit not much folk stuff!

The composer may have wanted it written that way…chances are a composer of a good tune KNOWS how to annotate their piece.

Posted .

It is in 3/4, it’s always played that way and danced that way, often players just put the fourth quaver of the bar as a grace note! If you count it in 6/8 then the emphasis always goes on number 2 of the second three quavers, which sounds stupid, IMHO. The way it is written by Andy Cutting is the way it’s been learned by everyone who’s ever played it. I’m sure Cutting is perfectly able to notate his own tune exactly as he likes, and we should maybe respect that…Is it totally necessary to post all of these slight variations? And why the version in C? It has never, ever been played in C.
[/rant]

Learn by ear

Learn by ear by all means. I do it all the time but when I decide to give my tune to someone else using a particular format then there is no excuse to not do it right. Donough you are right and mehitabel you have got to show what you intend. There are times when you need to tie notes. For example in bar 1 where you write; B3 BAB, as a jig you should try; | B2-BB AB | or in bar 3 where you have AGF GAd (jig format) you should have | AG FG Ad | as Donough has already said. In bar 1 of the ‘B’ music you should have written B GD GB . The spacing between the groups of notes in abc is important. It is after all a language. By the way this is not aimed at just you because there are many who contribute to the session who need to watch thier ABC’s as well as their p’s & q’s.
You would not count a waltz in 6/8 but as "1and 2 and 3 and" retaining the emphasis on 3 main beats in the bar but allowing
you to count the half beat.

Posted by .

Last bar of the ‘B’ music

The last bar of the ‘B’ music should be | e dd-dc |

Posted by .

“Encyclopaedia Blowzabellica: The Blowzabella Tune and Dance Book”

Music transcribed by Dave Shepherd
Dragonfly Music, 1987

This is the one I know of and have as "The Blowzabella Tune Book", and it isn’t in it…unless I’m blindsided and keep missing it in a page turn and scan of the index…

The ABCs as given previously, as I’d said and shown, those are not my notations but what I could find online that made more sense than the way it is given here, given in the hopes they might help. I suspect the one in C was probably a player with a single row C melodeon, not uncommon, especially way back when.

There isn’t and shouldn’t be tyranny with regards to what key a tune is played in, and I can’t imagine Andy Cutting getting shirty over his melody being played in another key than G, say Eb, taking in a third lower… Besides, whatever you’ve created, once you’ve released on the water, well, it will go where it chooses, and how others adopt it and make it their own. If it is wanted to be fixed in concrete, well, for starters, that isn’t ‘tradition’… Sometimes after being knocked about over time a thing can come back better than where it started, but it can go the other way too…

I think there was another book in circulation that was compositions by the members, dance tunes, over 100? I’m not sure and I haven’t that at hand… Shepherd’s notation of waltzes is atypical, as he had a tendency to merge beats 2 & 3 in his transcriptions ~ | e2 egfe | ~ …

Hetty - yes, I did realise afterwards that I should have tied those beats…sorry about that, my theory teachers would be thoroughly ashamed of me :)

Ceolachan - I have the Blowzabella "Tunes for Dancing" book in front of me, and it’s in here. Sorry if I sounded a bit p*ssy earlier, I was just a bit annoyed at coming back to my tune to find it flooded with alternatives, implying that my version was not right. I see now that it’s all in good faith.

Thanks guys for the pointers!

You "p*ssy", I never imagined that… So you have moods do you?

I love seeing alternative takes on a tune, all part of the magic of ‘tradition’ that I savour and that makes me smile…

That’s the tunebook I’d heard of but haven’t got, sadly… The lads did the best they could, but don’t profess to be professional transcribers, either in practice or in results… A good melody has the ability to often expose itself through whatever notational diddling might impede it’s bounce and flow, and I’ve seen some mighty peculiar attempts, dots and ABCs…

For whatever the reason, having a dotted note for the start of a bar in 3/4 doesn’t seem to be a problem, is acceptable, meaning ~

|: B3 B AB | ~ the lengthening of the first beat of a measure with a dot…

But the same allowance doesn’t hold for those beats that follow, in this case numbers 2 & 3 of a 3/4 tune ~

~ | e2 dd- dc :|

Me? Moods? Never, I am like the buddha, sitting in silence and smiling, not thinking, not wanting, not waiting, just existing. :)

But, amongst best practice is to keep the identity of the 3 beats of 3/4, as hetty illustrated…

Hey mehitabel, you don’t need Buddhism, I do, you’ve got needlework… ;-)

So cruel, ceolachan, needlework is much more stressful and bloodthirsty than you could possibly imagine…I nearly got tetanus from needlework. And that’s not even a lie.

Crossing beats ~

Clarity, if I can manage that, it is about crossing the beat. If it is an extension of a primary beat you could choose to dot the note, so ~ just fooling around with notes ~ these are all possibilities, examples:

|: B3 B AB | ~ |: BA B3 A | ~

But starting from the middle or second half of one of those beats, no ~ in other words:

|: BA- AB AB | ~ not ~ |: B A2 B AB | ~

~ | e2 dd- dc :| ~ not ~ ~ | e2 d d2 c :|

I hope that makes a little sense? OOOOHHHMMMMM!!!

Sorry, i meant to say oooohhhmmmmm…

Needling ~ ;-)

Maybe it’s just the cross-stitch that I do which is relaxing… I guess someone forgot to teach me the stressful parts of it. Also, crochet is cool as is patchwork, but it might depend on the materials you work with? Or maybe it’s whether or not you were taught tension with the needling? I’m too damned tense with the knitting needles, haven’t managed that yet… Now I’m missing it. I haven’t crocheted or done patchwork in ages now…

Maybe you need an eye checkup? :-P

Don’t worry, I know exactly what you mean and I know what I should have done. I know my theory, i just tend to keep it for the exam room, and make sure that it doesn’t inhibit my creativity and free spirit ;)

TETANUS!? ~ You’re kidding? Switch to bamboo!!!

cross-post..

All these kinds of needlwork you speak of…very therepeutic, very "occupational therapy". No, my kind of needlework involves big, noisy sewing machines, huge lengths of fabric, and most often a time limit.

Well the tetanus was a one-off…sewing hundreds of flags in the middle of the desert, with needles, I realise in retrospect, that I probably should have not been using. I was very lucky…that would have been a bad way to die…

Horrible! But where do you find a ‘dessert’ on this island? And flags for what, prairie schooners? semifore? :-/

You don’t find many deserts on this island…but there are other islands…:)
And flags because…some places a flag is enough to make someone’s day, especially if they are colourful, and symmetrically arranged…
However, for me, flags bring up images of "death by tetanus".

In general when writing or transcribing tunes, the beaming or grouping of the notes should reflect the time signature. When there is a bar that wants to be grouped differently, it should stand out as being different so that the player can make the most the tune going across the beat. If the majority of the tune is across the beat of the time signature, it is probably the time signature that needs changing. For example, I met someone the other day who played me one of her tunes that she’d written as a slip jig- very nice it was too- but virtually every single bar was tied across in such a way that the tune worked much better in 18/8 than 9/8, that is three groups of 6- a sort of slip-slide (what a great name for a tune type!).

Despite what mehiatabel25 says, none of the versions on this page are what is notated in the 2nd Blowzabella book.

X: 2 ~ X: 7 “The Bay Tree” ~ C: Andy Cutting

# Added by ceolachan - November 10th & 11th, 2007

brunokev ~ A different version in the 2nd Blowzabella Book!? Please consider submitting it. Is it a completely different melody, or is it just a different take on the same?