The music of Cry Havoc, a reference.

Music forms a core part of Cry Havoc Botley Morris. Of course, the musicians provide the music we dance to. And after every practice or dance-out, there is a music-playing session.

Havoc musicians come in all shades of experience and ability. This collection is intended to help those like me who are inexpert with instrument and folk music generally.

Being folk tunes, many of the tunes herein have many variations. The music presented here is my attempt at reflecting what is actually played at Havoc sessions. I'm in no way suggesting that they are in any way correct. This is just how we go about them.

The tunes we play tend to vary over time. So this collection is not static, but will change over time. Lesser used tunes, or simply tunes that I like but are not in general Havoc currency, are in the Library collection.

The majority of tunes here have no identifiable author, and are unquestionably in the public domain. Rather than litter the pages with Trad. or Anon., I have left them unattributed. Some, however, have an identifiable author or arranger and copyright unquestionably remains with that person. I believe these tunes to enjoy widespread currency on the folk music scene, and therefore there is at least tacit approval by the authors for their dissemination. If this is not the case, please contact me at the address below and I will remove the offending tune.

Tunes

The tunes are separated into tune collections.

But my instrument isn't suited for treble clef concert pitch!

Of course, not all instruments are suited to playing music written in concert pitch in the treble clef.

To help those with such instruments get started, I've done some simple transpositions for requested instruments. These are not proper arrangements; I lack the time and the knowledge or ability to do that. Instead, they are automatically generated from the concert pitch originals using a typically very simple method.

I hope you find them useful.

Cello

Transpose down one or two octaves depending on the range in the tune, and use the bass clef.

Horn in F

Transpose up a fifth, or down a seventh depending on the range in the tune. To avoid scaring less able horn players such as myself, the transposed score will prefer going below middle C to going above the top G on the stave. Able horn players can transpose in their heads anyway, so don't need this.

Alto recorder using C fingering

Transpose down a fifth, or up a seventh depending on the range in the tune. This allows players familiar with the descant recorder to use the fingering they already know when playing the alto recorder, rather than having to learn F fingering.

Who is responsible for this?

Found a mistake, missing a tune or just want something changed? Email Jim at dottes@cryhavoc.org.uk.

Acknowledgements

A few tunes here are from Paul Hardy's Session Tunebook. Many thanks to Paul for licensing it under permissive terms. I have followed his lead and used the same licence for the Booke of Dottes.

One icon on this website is courtesy of Creative Freedom. Thanks to them.

Above all, profuse and grateful thanks to all my fellow Havocs, and most especially to Jane. They have supplied the tunes, checked the renditions, and offered corrections and suggestions. Without them, this project couldn't have happened.

The collection of tunes that is Ye Crie Havock Booke of Dottes by Jim Hague is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 2.0 UK: England & Wales License.