"The Maltman Comes On Monday" X 2 ~ G Major & Bb Major (Cdor for 3 flats)
The first take given avoids dipping below the D, the second is, except for the 1st and 2nd endings, taken from a now out of print collection. How valued by me, fool that I am, it has goose fat on it from using it in the kitchen as if it were a cookbook while I fixed dinner ~ 😏 ~ with roast potatoes ~
"A Northern Lass: Traditional Dance Music of North-West England"
compiled and edited by Jamie Knowles
Dave Mallinson Publications
Maybe if we pestered him he’d reprint it?
"Sir Roger De Coverly" ~ all in the family
Key signature: G Major
Submitted on December 11th 2002 by Gra5ity.
In the past I had managed to chase up several copies of "A Northern Lass: Traditional Dance Music of North-West England" for others, but have exhausted those few sources where I’d found it still in stock… That doesn’t mean there aren’t still copies out there to be found… Good luck…
I just hope this is considered significantly different enough from its smaller and better known relative to survive on its own…
That should keep you out of mischief for awhile… 😉
I have a version of this from Alistair Anderson’s E.Concertina Tutor LP and book. That one has only (!) 8 parts and is in D which pushes it up into the dusty bits at the top d’.
😀 ~ No, not 16!
Spin, it is only 8 parts, these are two different takes, two different keys… I also have an 8-part version from Alistair…
"The Malt Man Comes on Monday" ~ alright, you asked for it Spin
T: The Malt Man Comes on Monday
S: Alistair Anderson
N: a take based his way with it
R: slip jig
K: D Major
|: BB/c/d dAb afd | cee eB/c/d c2 A | BB/c/d dAb abc’ | d’2 d ded c2 A :|
|: afa bgb afd | c2 e eBd c2 A | af/g/a bgb abc’ | d’2 d ded c2 A :|
|: FAF GBG FAF | E2 g BB/c/d c2 A | F/G/AF G/A/BG FAD | Egf edc d3 :|
|: afd bge afd | efg Bcd c2 A | afa bgb c’ac’ | d’2 d ded c2 A :|
|: d3 B3 AF/G/A | B2 e efd c2 A | d3 B3 AFA | Bgf edc d3 :|
|: adb abg fed | ee/f/g Bed c2 A | fad gbe abc’ | d’2 d ded c2 A :|
|: BdF GBE FAD | EG/A/B eg/a/b c2 A | GbG FaF Egf | efd cA/B/c d3 :|
|: af/g/a dfa dgb | ee/f/g Bcd c2 A | af/g/a dgb eac’ |[1 d’2 d ded c2 A :|[2 d’dd edc d3 |]
Whoops I miscounted (I thought you had 2 x 10 parts there!)
Thanks for the push in the direction of T d coverley, I hadn’t linked the two until now, but it’s obvious when pointed out 😉
I must confess, I’ve never had the energy to learn all 8 parts. Reminds of the way the 3/2 hornpipes get carried away with massive numbers of variations.
There is actually a system to many of these, something like the great Balkan epics, would you believe, built in repeats within the structure, sometimes covered up by slight variations… For example, the support beams are bars 2 & 4, on the whole, which are or can be the same, so all 2nd bars of every part, and all final bars, are there to keep you grounded, with the possibility of slight but simple variations. Then the twists, bars 1 and 3, are with each part interlinked, related, so for the 1st part bars 1 & 3 are basically identical, with only a change on the 3rd beat of bar 3, in this instance. That relationship carries through with each new part, though sometimes bar 3 goes on a joy ride of variation… So, all that really changes from one part to the next, is the first bar… So what’s the problem?
Are you confused? Did you sleep during the lectures about Homer and the epic cycle, the oral tradition that still has fragments of practice in the Balkans? Or have they stopped studying the work of A.B.Lord, "The Singer of Tales"… 😉
Re: The Maltman Comes On Monday
The mautman comes on Monday,
He craves wondrous sair,
“Come dame gie me my sillar,
Or maut ye’se get nae mair;
For maut ye’se get nae mair,
Gin a’ your deuks sud die;
Gif I dinna get my sillar,
Ye’se get nae mair frae me.
The Scottish Minstrel, Vol.6, 1820.