PROGRAM-NOTE oN “LINCOLNSHIRE POSY” English Folksongs gathered in Lincolashire (England) by Lucy E. Broadwood and Percy Aldridge Grainger and set for Wind Band (Military Band) by PERCY ALDRIDGE GRAINGER 1. “Dublin Bay” (Sailor's Song) 4. “The brisk young Sailor” 2. “Harkstow Grange” (returned to wed his True Love) (oarrating local history) 5. “Lord Melbourne” (War Song) 3. “Rufford Park Poachers” 6. “The Lost Lady found” Poaching Song) (Dance Song) With the exception of military marches almost all the music we hear played on wind bands (military bands) was originally composed for other mediums (for orchestra, for piano, for chorus, as songs for voice and piano) and afterwards arranged for wind band—and as good as never by the composer. (Notable exceptions are: Wagner's “ Huldigungs- marsch””; Henry Cowell's “Celtic Set”; R. Vaughan Williams's “ Folksong Suite” and “ Toceata Marziale” (Boosey & Hawkes) ; Gustav Holst’s two “ Suites for Band ” and “ Hammersmith ”; Hindemith’s “ Concert Musie for Wind Band” (Schott, Mayence) ; Emnst Toch’s “ Spiel”; Florent Schmitt's ““ Dionysiaques "; Respighi’s “‘Hunting-Tower Ballad ’"; several compositions by Leo Sowerby.) Why this cold-shouldering of the wind band by most composers ?_Is the wind band—with its varied assort- ments of reeds (so much richer than the reeds of the symphony orchestra), its complete saxophone family that is found nowhere else (to my ears the saxophone is the most expressive of all wind instraments—the one closest to the human voice. And surely all musical instruments should be rated according to their tonal closeness to man's own voice !), its army of brass (both wide-bore and narrow-bore)—not the equal of any medium ever conceived ?_ As a vehicle of deeply emotional expression it seems to me unrivalled. “Lincolnshire Posy,” as a whole work, was conceived and scored by me direct for wind band early in 1937. Five, out of the six, movements of which it is made up, existed in no other finished form, though most of these move- ‘ments (as is the case with almost all my compositions and settings, for whatever medium) were indebted, mor or less, to unfinished sketches for a variety of mediums covering many years (in this case the sketches date from 1905 to 1937). These indebtednesses are stated in the scores. The version for two pianos was begun half a year after the completion of the work for wind band, This bunch of “ musical wildflowers ” (hence the title “ Lincolnshire Posy “) is based on folksongs collected in Lincolnshire, England (one noted by Miss Lucy E. Broadwood ; the other five noted by me, mainly in the years 1905-1906, and with the help of the phonograph), and the work is dedicated to the old folksingers who sang so sweetly tome. Indeed, each number is intended to be a kind of musical portrait of the singer who sang its underlying melody— ‘a musical portrait of the singet’s personality no less than of his habits of song—his regular or irregular wonts of rhythm, his preference for gaunt or ornately arabesqued delivery, his contrasts of legato and staccalo, his tendency towards breadth or delicacy of tone. For these folksingers were kings and queens of song! No concert singer I have ever heard approached these rural warblers in variety of tone-quality, range of dynamics, rhythmic resourcefulness and individuality of style. For while our concert singers (dull dogs that they are—with their monotonous mooing and bellowing between mf and f and with never a pp to their name ') can show nothing better (and often nothing as good) as slavish obedience to the tyrannical behests of composers, our folksingers were lords in their own domain—were at once performers and creators. For they bent all songs to suit their personal artistic taste and personal vocal resources : singers with wide vocal range spreading their intervals over two octaves, singers with small vocal range telescoping their tunes by trans awkward high notes an octave down. a by transposingBut even more important than these at skills and personality impresses (atleast to Australias land that must upbuild itself in the next few hundred years, a land that cannot forever be content to imitate clockwork running down) is the heritage of the old high moods of our race (tangible proofs that “ Merry England "—that is, agricultural England —once existed) that our yeoman singers have preserved for the scrutiny of mournful, mechanised modern man. Up to the time of the Norman Conquest—in spite of the roaming of Danish armies over the English land— English art showed the characteristics we might expect of a proud Nordic people : in its heathen and half-heathen sms the glorification of race-redeeming, mankind-rescuing, blind-to-gain saviour-heroes such as Beowulf ; in its Extistian literature the veneration of true Chistian meekness, studioushess, culture. It was only after the Norman Conquest that these high ideals gave place to a week-kneed tolerance of (indeed, sly admiration for), such vices as adventurousness, opportunism and luck-chasing, and that the “ inferiority complex " of a defeated people revealed itself in the mock-heroics, flighty ism, self-belittlement, South-worship and Continent-apery so distressing (from an Australian standpoint) in Spencer, Chaucer, Shakespeare, Milton, Byron, Keats, Tennyson, Swinburne and much other English art. (It is upheartening to note that this defeatist self-effacement, this indescriminate grovelling before things foreign is blessedly absent from American poetry such as Walt Whitman's and Edgar Lee Master's and from such Australian art as Barbara Bainton’s prose and the drawings, paintings and novels of Norman Lindsay. Here we meet again the affirmative life-worship and robust selfhood so characteristic of Scandinavian art (of all periods) and of pre-Norman English art. Perhaps it is not too much to hope that America and Australia are in process of de-Normanising, re-Anglo-saxonis ng and re-Scandinavianising themselves ') ‘Yet in spite of the defeatist pessimism so rampant in the more courtly, townified and university-bred branches ‘of English art during the last 900 years our ‘yeoman-artists have been able to hand down to us a large body of proud English moods, qualities and feelings : grandeur, sturdiness, stocialness, unmatched sweetness (what folktunes are so meltingly sweet as the English ?), wistfulness,istand-minded mildness (for a nation without land-frontiers is, naturally, ‘a stranger to continent-bred harshness and intolerance). And it is this yeomanship (this ability to stubbornly remain. immune to all sorts of upstart un-English influences) that I wished to celebrate in my “ Posy”. ‘These musical portraits of my folksingers were tone-painted in a mood of considerable bitterness—bitterness at memories of the cruel treatment meted out to folksingers as human beings (most of them died in poor-houses or in other down-heartening surroundings) and at the thought of how their high gifts oftenest were allowed to perish unheard, unrecorded and unhonoured. Iti obvious that all music lovers (except a few “cranks ”) loathe genuine folksong and shun it like the plague. No genuine folksong ever becomes popular—in any civilised land. Yet these same music-lovers entertain a maudlin affection for the word "folksong ” (coined by my dear friend Mrs. Edmund Woodhouse to translate German “ volk- slied”) and the ideas it conjures up. So they are delighted when they chance upon half-breed tunes like * Country Gardens” and “ Shepherd's Hey ” (on the borderline between folksong and unfolkish “* popular song") that they can sentimentalise over (as being folksongs), yet can listen to without suffering the intense boredom aroused in them by genuine folksongs. Had rural England not hated its folksong this form of music would not have been in process of dying out and would not have needed to be." rescued from oblivion " by townified highbrows such as myself and my fellow-collectors. As a general rule the younger kin of the old folksingers not only hated folksong in the usual way, described above, but, furthermore, fiercely despised the folksinging habits of their old uncles and grandfathers as revealing social backwardness and illiteracy in their families. And itis true ! the measure of a countryside's richness in living folksong is the measure of its illiteracy ; which explains why the United States is, to-day, the richest of all English-speaking lands in living folksong. There are, however, some exceptions to this prevailing connection between folksong and illiteracy. Mr. Joseph Taylor, the singer of" Rulford Park Poachers "who ines more fllcong than any of my ater falksingsis sed sang his songs with “purer ” folksong traditions—was neither illiterate nor socially backward. And it must also be admitted that he was a member of the choir of his village (Saxby-All-Saints, Lincolnshire) for over 45 years—a thing ‘unusual in a folksinger. Furthermore his relatives—keen musicians themselves—were extremely proud of his prowess asa folksinger. Mr. Taylor was bailiff on a big estate, where he formerly had been estate woodman and carpenter. $e was the perfect type ofan English yeoman : sturdy and robust, yet the soul of sweetness, gentlenes,courteousmess and geniality. At the age of 75 (in 1908) his looks were those of middle age and his ringing voice—one of the loveliest T ever heard—was as fresh as a young man’s, He was a past master of graceful, birdlike ornament and relied more ‘on purely vocal effects than any folksinger known to me. His versions of tunes were generally distinguished by the beauty of their melodic curves and the symmetry of their construction. His effortless high notes, sturdy rhythms and clean unmistakable intervals were a sheer delight to hear. From a collector's standpoint he was a marvel of beipfumess and understanding and nothing could be more refreshing than his hale countrifed looks ana the happy itMr. George Gouldthorpe, the singer of ‘* Harkstow Grange " (born at Barrow-on-the-Humber, North Lincoln- shire, and aged 66 when he first sang to me, in 1905) was a very different personality. Though his face and figure were gaunt and sharp-cornered (closely akin to those seen on certain types of Norwegian upland peasants) and his singing voice somewhat grating, he yet contrived to breathe a spirit of almost caressing tenderness into all he sang, said and did—though a hint of the tragic was ever-present also. A life of drudgery, ending, in old age, in want and hardship, had not shorn his manners of a degree of humble nobility and dignity exceptional even amongst English peasants nor could any situation rob him of his refreshing, but quite unconscious, Lincolnshire independence. In spite of his poverty and his feebleness in old age it seemed to be his instinct to shower benefits around him. Once, at Brigg, when I had been noting down tunes until late in the evening, I asked Mr. Gouldthorpe to coms back carly the next morning. At about 4.30 I looked out of the window and saw him playing with a colt, on the lawn. He must have taken a train from Goxhill or Barrow, at about 4.0 a.m. I apologised, saying“ I didn’t mean that early, Mr. Gould- thorpe.”” Smiling his sweet kingly smile he answered: “ Yuh said: ‘Coome eearly. So I coom’d.”” Towards the end of his life he was continually being pitch-forked out of the workhouse to work on the roads, and pitch-forked back into the workhouse as it was seen he was too weak to work ("When Ah gets on to the roids feel thaht weeik |”) But he was very anxious to insist that no injustice was done to him, In the midst of recti his troubles he would add quickly, impulsively : “" Aw, boot Ah'm nawt cumplaainin’! They're verra kab tummut (kind to me) at the workkus; they're verra kan’ tummuh !”” His child-like mind and unworldly nature, seemingly void of all bitterness, singulariy fitted him to voice the purity and sweetness of folk-art. He gave out his tunes in all possible gauntness, for the most part in broad, even notes; but they were adorned by a richness of dialect hard to match. In recalling Mr. Gouldthorpe I think most of the mild yet lordly grandeur of his nature, and this is what I have tried to mirror in my setting of “ Harkstow Grange.”” Mr. George Wray (the singer of “ Lord Melbourne ") had a worldlier, tougher and more prosperously-coloured personality. He too, was born at Barrow-on-Humber, and was eighty years old when he sang to me in 1906. From the age of eight to seventeen he worked in a brick yard, after which he went to sea as cook and steward, learning some ‘of his songs aboard ship. After that he again worked at a brick yard, for forty years ; and, later on again, he sold coals, taking them to Barton, Barrow, Goxhill, etc., in his own ship, and also carrying them round on his back (in “ scootles "), as much as twenty tonsaday. This he did to the age of seventy-three, and then he ‘give over.” In his old age he enjoyed independence, and said : ““ And thaay saay (they say) a poor mahn ‘ahsn’t a chahnce |" He used to bea great dancer. (Yet, in spite of this association with strict rhythm, his singing was more irregular in rhythm than any T ever heard.) He took a prize—a fine silver pencil—for dancing, at Barton, at the age of fifty-four, per- forming to the accompaniment of a fiddle, which he considered " better than anything to dance to.” His brother was a " left-handed ” fiddler (bowing with his left hand, fingering with his right). Mr. Wray held that folksinging had been destroyed by the habit of singing in church and chapel choirs, and used to wax hot on this subject, and on the evils resultant upon singing to the accompaniment of the piano. He was convinced that most folks could keep their vigour as late in life as he had, if they did not overfeed. He lived alone, surrounded by evil-smelling cats. I asked him if he often went to town, and he answered : “It’s too temptatious for a mahn of my age!" A consciousness of snug, sel-earned success underlay the jaunty contentment and skittishness of his renderings. His art shared the restless energy of his life. Some of his versions of tunes were fairly commonplace (not “' Lord Melbourne,” however ), yet he never failed to invest them with a unique quaintness—by means of swift touches of swagger, heaps of added “ nonsense syllables,” queer hollow vowel- sounds (doubtless due to his lack of teeth) and a jovial, jogging stick-to-it-iveness in performance. He had an amazing memory for the texts of his songs.“ Lord Melbourne (actually about the Duke of Marlborough) is a genuine war- song—a thing rare in English folksong. ‘Mrs. Thompson (the singer of ‘‘ The Brisk Young Sailor"), though living in Barrow-on-Humber, North Lincolnshire, came originally from Liverpool. The first number in my set, “ Dublin Bay,” was collected under characteristic circumstances. In 1905, when I first met its singer—Mr. Deane, of Hibbaldstowe—he was in the workhouse at Brigg, N.E. Lincolnshire, I started to note down his“ Dublin Bay,” but the workhouse matron asked me to stop, as Mr. Deane’s heart was very weak and the singing of the old song—which he had not sung for forty years— brought back poignant memories to him and made him burst into tears. I reluctantly desisted. But a year or so later, when I had acquired a phonograph, I returned to get Mr. Deane’s tune “ alive or dead”. I thought he might as weil die singing it as die without singing ifound him in the hospital ward of the workhouse, with a great gash in his head—he having fallen down stairs. He was very proud of his wound, and insisted that he was far too weak to sing. ““ All right, Mr. Deane,” I said t. hhim, “ you needn't sing yourself ; but I would like you to hear some records made by other singers in these part He had not heard half a record through before he said, impulsively : “I'l sing for you, yong man.” So the phono- ‘graph was propped op on his bed, and in between the second and third verse he spoke these words into the record : Ss pleasein’ muh.” Which shows how very much folksinging is part of the folksinger's natural life. ‘The last number of my set (” The Lost Lady Found ”) isa real dance-song—come down to us from the days when voices, rather than instruments, held village dancers together. Miss Lucy E. Broadwood, who collected the tune, ‘writes ofits origin as follows, in her " English Traditional songs and Carols ” (Boosey & Co.) “ Mrs, Hill, an old family nurse, and a native of Stamford (Lincolnshire), learned her delightful song, ‘when a child, from an old cook who danced as she sang it, beating time on the stone kitchen-floor with her iton pattens.’ The cook was thus unconsciously carrying out the original intention of the " ballad,” which is the English equivalent of the Italian “ baletta” (from balla," to dance "), signifying a song to dance- ‘measure, accompanied by dancing.’ PERCY ALDRIDGE GRAINGER, August, 1939. SOURCES OF THE FOLKSONGS USED IN “LINCOLNSHIRE POSY.” Printed notations of some of the folk-tunes used may be consulted as follows : “The Duke of Marlborough " (freely altered into a counter-melody in the "* Dublin Bay " setting) and The Lost Lady Found” in English Traditional Songs and Carols by Lucy E. Broadwood (Boosey & Co., 1908). “ Rufford Park Poachers” (notation of a phonograph record of the singing of Mr. Joseph Taylor on Aug. 4, 1906) in “Journal of the Folk-Song Society, No. 12 (May, 1908). On July 11, 1908, Mr. Joseph Taylor recorded this song for the London Gramophone Co. The following shows his (combined) divergencies, from his earlier (recorded in the above-mentioned Folk-Song Society Journal), on that occasion : mp Zo nyfmp f P_ pp ™p ka mp uss 2 uo Practically all of Mr. Taylor's variants appear in my setting. “Lord Melbourne” in Journal of the Folk-Song Society, No. 12 (May, 1908). My notation of the folksongs underlying the “" Dublin Bay”, " Harkstow Grange ” and "The Brisk Young Sailor ” settings are not yet published ; but they are almost identical with the tunes as they appear in the settings. Percy ALDRIDGE GRAINGER, August, 1939.[Dedicated wo the foltainger who ang so sweetly toe a compunincntoeroy"sustnn| PERCY ALDRIDGE GRAINGER (Lepaener tame (Barriga FoUx-music SETTINGS nee 1, [Pisyenton of “Outing” Pe cow etm oa] NE 34. “LINCOLNSHIRE POSY” | tertteary sand (scored sun. Toca’ Tote bere or Feb. 90) lean oehoot lcohipaat Ae t Basel on Baglih Fotaongs gure in Lnealabice from thw reottoem hich Pg oy oy pe! : wear tone-eroush for Wind fe: hrm Noam, es FOR MILITARY BAND ‘Sivome (June-July 1931), on Tome ~ Secs shecches for chor. ting erin on ty a trom Prch 1, 1906. rr eeeea eae 1. “DUBLIN BAY” (Sailor's Song) | Secreto Noted down by Percy Alisidge Grainger (1905) fom the singing of wean x Dene (of Hibbléowe, Linclsie, England) and het for demtattacng ae paced : PERCY ALDRIDGE GRAINGER COMPRESSED FULL SCORE Brisk, J.- about we, with plenty of lilt (which means: Beats 1 and 4 much heavier TRUMPETS, HORN: than beats 3.and 6). pela pe muted mf detached aI, Hat mated) i 10) M\ 18) \— WOOD-WIND,SAXS BS detached Tm) /P Ons LAltsaxDm/|detacked GRITS iw daseched (Basa CL Bean Tes. Bar Saxe Bay CREDIT o enice K-DRUMS Copyright 1940 by Percy Aldridge Grainger S.& Co. Ltd. 6009KetiBer se) (pieced) = — os —= Uf detached Ba) 3 4 ; Q an 7 ee EQ (atau) Sop Sax. SaCLBee RI, detached ‘Bar Sao, Euph eS = (Giskses ) detache = 7 Wf detached LOW REEDS 7p S.# Co.Ltd. 6008HORNS, BARIT. irae nd = SS SSS SS aan % = ae 50) a ST TT aaa oo ad 1 _———, CI.Cla LU . Y Giads tT al = & 1 pada ee 3 SSS cam) Tory Fe mp — fucked t LOW REEDS —— S$. Co.Ltd. 8009mp 2 Horns —_ (Cutt stops) RATED (EbCI.Cis.tt weep on) louden | es luph Tubas stop) P SSasasqaqaaaS LOW BRASS LOW REEDS, LOW SAXS, = LOW BRASS Slow . . off . . slightly. -. 2 2 2 soften slightly av <_ #2 ct Sestingly GEE) LOW SAXS added ARCTEDN SaeBepe\ | Footing ly S. Co.Ltd. 50092nd movement of “Lincolnshire Posy” 2. «HARKSTOW GRANGE” [ine ate root form of chissacing. from which the (The Miser and his Man—a local Tragedy) ees English fttsong, noted down by Perey Aldridge Grainger (im 1908) | (S00 Briah Folk Music fiom the incing. of George Gouldshorpe (of Gorhil, North | Setdngs” Nr 35-2) lsan oft. Lincolneire, England) and set for shoot. Set, March 1904—Fab. 1, 1907. MILITARY BAND y PERCY ALDRIDGE GRAINGER COMPRESSED FULL scoRE Slowly flowing, J = avout 76 Cpanatian) tite. HORNS ——— wv ooo in, (roSee) ay sceety —— iis="7 LOW REEDS,LOW SAXS s——_ ¥ ———— \ _————4—- —— sp 0) om HIGH REEDS Cy eral > ae Se N Ge san) > since Ser ABE 4 4 ‘Low Reeds, Low Saxe keep om S.& Co.Ltd.n00817} 2 |F 19 3 4 7. ern kee rey ae | soften 8 (ErGs.,JBASS CL.,BSNS. seep on zo rae poy FULL BAND = SI Bee low. - off. 25] Minger 1] ga ie = é SS =—— a aa t =; Caerey, 4 3 4 Y. eS te = porns we Ls HORNS ~~ tet f =? Bo 3 is ; =a! wo i = 2 Wor tenth ioe a Gemstar] is =——— | Tandon = CYMB. sottdram stict “2-95 jonasn 5.4 Co.Ltd. 5008Slightly slower, J=08 Slacken slightly almost cltngingly 5 ol) am london w- a CYMBAL Be. o etiam ack? po = Slightly slower still J=6s 34] be z> me FES 9 ae ——E , rit? te 4 r 4 —_—t es 27 ~~ — if ow [5 4 Le ro a lone ——— = 4. J — S.& Co.Ltd. 800942 ‘rd movement of “Lincolnshire Posy” Ts w the roorform of «RUFFORD PARK POACHERS” |i setsng. trom which the panes vert or pe aa : 3 z (00 Beltish Folk-Muste| agith Fog ted doen by Psy ie Grief 108 eee thom the singing of Joep Taylor (of Saxby-AllSaints, Lincolaeice, | S06#” NO 35-3) toh Sb tenes PERCY ALDRIDGE GRAINGER COMPRESSED FULL SCORE N.B. Ifyou have & soprano usopbosiat who can play the solo om bar 19 to bar 48 LOUDLY, piercingly. felingly and vibratingly. oe version B. WC not, thie solo may be played on 4 Flagelborn (or Trumpet. of (Cornet) im which cane use Version A. The Bandmaster should be carfal to let the band know which version in wo be played Flowingly J - «bout 122 nel TH oy pm, . ho Seiociart pp VERSION A ir tne mate SotoGia] to (Eal)is played on} Flowingly 4 = about 192 Pee, ee 8.& Co.Ltd. 5009,. Le 1300) \ —, \ f- Snorsam wrosm Woisuan mor S.&Co.Ltd.5000“ FLUGELHORN, ramoruoetareet ne lito the fore, PI = rey Fclngy ro SION A net = | csr LARS! = Guilg ¢ ¥ x VE Sere ve Ss p= | a freuen ‘VERSION & = el OE $—| Bac ~ a A VERSION A sto ———— iagelhora | « -Tuetugeinorn or Soprano Sazophoce Soloist may ithe litesjuse hls own expression marks,in place of thove printed. Bice —_~ —~.- y - —- em 3 Fisch) pan seta DS VERSION B S.& Co.Ltd. 5009VERSION A VERSION B \ VERSION A VERSION B TRPT ML Sas 7 [_— st as? SEE Sota. 50509VERSION A VERSION B j Linger Linger |In time In time 40) > Ser a)? . 40] 4 8 mas RPT. I mp uted Beg He, = a RS a a —= S.& Co.Ltd, 5008VERSION A VERSION B 46) Slow off slightly Quicken slightly In time _—————__ & ——_—____ —_—E- mY Pe Horns|?? “«den Nias ii : re 'ROMBS 1,1) led p= Tept.tN, lar 11 “ ft Quicken slightly In time ~ tonden lots. ‘$3 TROMBS ——— DER uN SY Tubas added Sax'v,Oboee Horne ttt, 1¥ 8.6 Co.Ltd.600918 3 4 = a i ioe CLARS.HORNS,BARIT. —- . b, F |W “CLARS. HORNS ——— TRPTS BARIT Gay SN fee Fe She. Sle ay Page storey) Gan VERSION A TL louder ‘Trombe.added Sr BASS DRUM —4-+ mn ,TRPTS.TROMBS. =2HORNS cn ae ILL 4 == 4 CLARS. BARIT. Che" lest, n et eee 3 ‘Trombe., I added 4 VERSION B — ton ete iy bree K- DRUMS 355 CYMBAL! ott drum tick louder Touden BASS DRUM* ———— 7 8.4 Co.Ltd.600819 Somewhat faster, J= avout so. (254 SPEED) Triple-tongue as fast a pousbile (no aot numberof note to the beat) 54) a v s (Sita, wenale x nes. # ti oe HORNS 5 = Lr a 2 < 2 & | woo || woop-winp g z a 5 a : Be 7 a5 LOW REEDS, LOW BRAS: ome sottirua tiie p —— 8 — = S.& Co.Ltd. 600920 Ss = = =a 63) Slow off slightly? 7 low off slightly? 4 LS * ag NSAID TROMBS.BARIT. SP (ER) wf Gat Ee ehe ie (see below) —_ — ao HORNS douden Jouden lots Nf = ‘Strg Bass, low reeds, Sax 0 Le = can, CLARS. Inti S. Slow off in time, TRPTS. quam eR | __Slow Ronit = oie y wi Lp ins) 3 HORNS aig PBASS, Gam 4 Tonden lots BASS DRUM S.& Co.Ltd, 5008a (68) 2nd speed, but waywardly (Tempo rubato) d= about76 BARIT, SAXS. 3 eines 2 2 4 4 TRUMPETS 1,11 mp muted WOOD-WIND FL1.091 P ——= Gra oa 4 3 4 owe J itoCiar) bp ? Bas Tabas, String B =—— 2 TROMBS.: d — LT Eb lar) Fir eho i (Ob. zt — — | a * cpt Gat F ap Jouden nw UPH. i Sexa-aitoct eavin Bap String Base 8.4 Co,Ltd. 500922 Gem —— ——* Sa eumpett 4S mau 2 tT" 7 SS» F1.1.06.1,Eb Char. Sea FLO. fondow 5 p= ———— yp iF i FE t =_ Slow offlots. . . . - ist speed J: about 432 Tendon. a \ 7 g— 4 , —S==r —— fFRePe pert Tothe fore == TY, = _E = # 4S bi = E Tae Srp Base > eae S.& Co.Ltd. 6009* : _ sence ees Pc. Tr? r) ? == Eb CLAR. cuca] hocurtareton B pop | PP. 2 — 4 9 § RPT ag —— 7 S.& Co.Lta.500924 Playing-tive: 1.45 mine, 1th movement of “Lincolnshire Posy" Tht te the root form of this seing, thought out for 4. “THE BRISK YOUNG SAILOR” |itiary sand in Maren 937 cored March 1-16. 1837) (who returned to wed his True Love) Seapeeecar a Ceaimes etches for Union Chorus Engh Follning muted down by Perey Aldnge Grainger (in 1806) fiom the singing of Mra. Thompson born in Liverpool, bat living in Barton oo: Humbe. Lingle, England) and set for Miliary Band yy PERCY ALDRIDGE GRAINGER eee Muleary Band. COMPRESSED FULL SCORE Sprightly, J- avoatss CLAR. CHOIR Cine = a tT TP Crey Conn TRPTS.@? P TUBAS,STRG.BASS givcxea) \ FLUTES, OBOES: CBD ER gS Tags ™P SAXS BS, CLARS. «1,0 st | (mp LOW REEDS, LOW SAXS S.& Co.Ltd. 600925 Fino Sax) nated — > (Cle. Alto & Bass Cl HORNS «1 ee ar Catan, i} tached nu ‘Sing Bas (plucked) octave lower =— = yorns & => (AoW etdists Bai) | PICC. FLUTES, CLAR. Piccolo octave higher fev (Aico Bawa Clnaaa sss TUBAS iso strg Base (ptuckea) S.& Co.Ltd. 500826 louden i] lp, 7 cd == TUBAS, STRG.BASS (uae Bs OBOE soto Ss (ated),Clar1, Alto Sar.) mp SS BASSOONS, BARIT. SAX. Tg en 8.4 Co.Ltd. 6009FLS, id LAR.) ——— Tp LIT reef ‘npLOW CLARS., 2 exj—— ua) W gq ALL, WooD-wIND ‘Tepts Hae Basie, j dog EUPH. (Low Reeds hecpon) ” TUBAS acaca (no slackening) 4 /WOOD-WIND, SAXS (Tepes. stop) ‘SIDE DRUMY S.& Co.Ltd, 8009Siwoff. . . . . B33 . WOOD-WIND In time we _——— we. ™, ‘CLARS. I, II SAXS JS [hem mp, etn ow Rewte = HIGH SAXS | soften yp Felina HORNS = NS? ——— 7 eee LOW SAXS ~ ‘Tubas, Strg.Base ‘often Strg Base octave lower = FLUTES LOW REEDS a S.& Co.Ltd.500929 5th movement of " Lincolnshite Posy” 5. «LORD MELBOURNE ” PERCY ALDRIDGE GRAINGER COMPRESSED FULL SCORE In the passages marked “Free Time” (between the sign @ and the next bar-line) the bandleader should slightly vary his beat-lengths with that rhythmic elasticity s0 characteristic of many English folksingers - and especially characteristic of George Wray. the singer of ths song. Thus the opening | phrase may be tab for equally well as follows for in any other suitable arrangement of slightly varying beat lengths. The bandleader should give free rein to his rhythmic fancy. ust at folksingers do, arrow above it may be beaten with a down beat. Regular beat-lengths and conventional @ taken up wherever there are bar-lines and time-signatures, maa . ePrints Heavy, Fieree, J- seat se-i0 oP EG ety an a ; = = well : he Slee 7 Hes wll oe Ee = vai TE HAH 4 ft = BRASS Fairly clingingly ‘Faph Tune Tong t 3 } 7 at maa £ ¢ 8.4 Co.Ltd. 5009i Lively, d = about 100 Strict time TRL ae hee wis ech) "Gs HORNS @Free ara HO] Strict time, d - avout 100 qo OS fig i : tog> “hy, TRPTS. _ + 3 8 =I TBN. 7 4 aw BRASS 2 tm 4 Ho Ta an Weg t © Bras: a Brass 4 Toe, ra, Ga er ‘Low Brass us = Lively, playful J - aout ox Slow off [14] ee a = : . - SAXS HORNS czars 1, 11,01 g A PI = . LOW REEDS © 2. 4 “"| 2 SO ap S.& Co.Ltd. 5009[19] rt ~ Gn, GE K-DRUMS —— SIDE DRUM | i i BASS DRUM * >-—vyv v CLARS, B L SAXS (Saxs stop) mp a LOW REEDS}; CX SAX SS saxs— Sete LOW REEDS(Gs:s sop)| rrpts a Taba Basatbowed) K-DRUMS SIDE DRUM 7—=r BASS DRUM wv 8. Co.Ltd. 6009CLARS.I, U1, 111 WOOD-WIND or me a cis only x Bo ' q Co Low Reeds Bara Bass Sasaadéee — TRPTS, > ay RF A® as yo E a iss fates, * SIDE DRUM ~ . Intime J: avoutee woopwinp Slgwoff-“S . - PICO gas a A ra Sol P OBOE} ey ‘Sole = 4SAXS SRASS | anonns | S| Rare 5 a =a LF oxMBA 4e- Sir i a BASS DRUM ‘$-¢-——t eee S.& Co.L44. 5009a] Lingeringly J- avout oo bom louden all youlcan i ‘LARS OBS 2 F Lt jouden all you can —5 Ey ed aa tt eG Sue Sugine x SIDE DRUM ro + a Louden hugely bit by bit = Coes) TRPT. Free time J: sboutss-t20 Slighth a BOS erititsd sigtey Slow off... ws a © BRASS ony 4 A— iemmpaiye EA S CIE crass. nop) GPT 7 (dow Conden) > A 2) nuh T Sldows souden) K- DRUMS f oa 8.8 Co.Ltd. 5009Strict time J=50 [SO] ie ocaeicher Quicken . - . Slow. - off. . - Gey i . Coes f Le, ars Wow. ¢ HIGH SAXS TRPTS. 1,11 FULL 3 BRASS te eat i 2 _,BANB/O (Hes. GENS, 2 3 A, a body ii Saxe low Brass Steg Bast K-DRUMS a SIDE DRUM a « P- coms] & Goteaeap [5G] Strict time J= about 7 gd og RAR = Blane Ber) JIB cms h wT, i NowSgaatronhonee LewRecte 3, StrgBasn(elcxed) 127 Brass Sing Baneboved) Ae SIDE DRUM §~’ S| CYMBAL $f” Gok aren atin) Gk * ea | BASS DRUM ! (crash) S. Co.Ltd, 400835 6th _morement of jincolnshire Posy” [This wean tor Pry 6. «THE LOST LADY FOUND ” | ser icon un. 9), (Dance Song) teem a tle tags och "Bagh fltnng noted down by sey F, Broadwood, tom she | arce"arg ayer men Ene ct Emceoante Sie HiSndtt toe sates and canbe mac ten 10) (ne bah PERCY ALDRIDGE GRAINGER Fot-Pune Secinge” Ne) OMPRESSED FULL SCORE ‘The weight of the body talling heavily on the tet be with fan wprard lt of the Body ow the bed Beat (bate 1-0, L617, 190-187, te) 2. Aight step with one foot on the Int beat of the bat and 3 more of lest rater tek forwards ime the ar, with the other tot on Ure Sed beat tm the hora, BB-Ai im the Hovws 08-180" 2 Jemp tthole weight of the body) on bath fort on {ct of the 3 Bens of the bar (bar 84-96) Fast, but sturdily .: about a ‘Obees, Bb Clare.Clare. 1,1, I Sop. x Alto Saxs, REEDS, / ehort = OSAXS. iN (18) v Capri Tl * very sharp BRASS CL Dara (fon Taba ive CP aettv, \ CBr] ol CE Ea 3 GS $.& Co.Ltd, 600836 HIGH WOOD-WIND Gea ay feteced HORNS Gi mip FP, Tier Sata t) | Gata TSB ‘ange ——Lotaekes iouden= ? Tit ft Tepe, er? Ere Jouden a? Barit Bop, ops \ (50) PICO.tcued ito Fiat) Solo’ P eerily SAX.SOLI ‘Alto (cued into Clas. 1,BbClar. Hora) Tenor] (cued into Clar-l,Horn 1) ALTO OLAR (cue no banecies) louder slightly Poe S & Co.Ltd.5009‘soften slightly louden slightl =\ LOW REEDS, LOW SAXS. nr Jouden slightly soften slightly i) a) G3) ooo soften slightly Gi ad + > > ape + SAXS.HGRNS,TENOR BRASS TEN Que aoe EAT) _[roudem bt by bit To the fore Touden lots bit by bit > Touden lots bit By bit (Low seederlow Sars. keep 00), S.& Co.Ltd.5009Jouden bit by bit — * Calta Sax ia V.Tbe GERD ecole octave beher > zzs sec Soz > =e ui (ai Lo SS> = Opi CLi pa Ait Sass)p very heary 'TRPTS. |p erry sharg| LOW BRASS Low Recds Low [Stx4, Low Brase, | = very sharp] 3 “wT k-paums = A ee eee geo Fie S.& Co.Ltd. 500839 HIGH WOOD-WIND Fi. Be 414) donden bit Oks, Sop. (vito Suzasfepey mf detached Louden bit TRUMPET I Brve Das Bagh 19f detached Louden bit (fo C14 Hea Tone jouden bit |) Base Cl. Bari SIDE DRUM +*4 \ op 8 AT) (Saxitepe be me ‘by bit Louden bit by Bit S.& Co.Ltd. 600840 123] XY LOPHONE, GLOCKENSPIEL Jiounding 2 octaves higher) ap > = > a > TRPTS. 1,11 Ef orientty (ae TS bel Bea) HORNS, rane Com Bars Cis Touden ar CYMB. soft dram stick SaaS inden i} ents are not available, play on piano (in & unding instrument. ‘yonp ( *1f these Tuneful Percussion TBO) octaves) or on other percust TUNEFUL PERCUSSION (Glock. xy1o.tand Bells (in 2 octaves if possible), in or 4 octaves Tubular Chimes,ete.+) SVT (no trem) Tort STRPTS- [Af every note sharp and heacy =< ee eigen arg nd ry z= ty at D-Boa Tube tt (| Steg. Baal bowed) K-DRUMS S.& Co.Ltd. 5009wn hammeringly NS TRIS: Slow. - . ~ off. [wayjpardiings 7} 9.111, Raph Orr “ | HORNS Side Drum Cymbal (oft dram stick) “Bach trumpet and baritone player shoul this bar with individualistic freedom of 6 ‘without indication fr the conductor. The high| Bass Drum hed by allat the same i S.& Co.Ltd. 6000 ‘Printed England by Anne i Alm Lan, London, 4