The+great+northern+tunebook+william+vickers+collection+of+dance+tunes+ad1770+free ~upd~ -
What Is It?
This is a modern scholarly edition of one of the most important English manuscript tune books from the 18th century. William Vickers, a gentleman from Newcastle upon Tyne (or possibly Wylam, Northumberland), compiled this manuscript around 1770. It contains over 500 dance tunes, making it the largest known English country dance manuscript from its period.
What is "The Great Northern Tunebook"?
Let’s dissect the keyword. "The Great Northern Tunebook" is a colloquial nickname given to a specific bound manuscript housed originally in the archives of the Society of Antiquaries of Newcastle upon Tyne.
The official title is "William Vickers Collection of Dance Tunes, AD 1770."
- Who was William Vickers? Very little is known about the man himself. Historians believe he was likely a professional or semi-professional musician—perhaps a fiddler, a dancing master, or a clerical land steward with a passion for music. He lived in the North East of England, near Newcastle.
- What is in the book? The manuscript contains approximately 500 tunes. This is a staggering number for a personal manuscript of the 18th century.
- What kind of tunes? The content is a glorious hybrid. You will find:
- Northumbrian smallpipe tunes (many unique to this source).
- Border ballads and airs.
- Country dances popular in London (including works by Handel, adapted for folk use).
- Jigs, reels, and hornpipes from Scotland and Ireland, filtered through an English ear.
Six Gems You Will Find Inside
To give you a taste of the gold within the Great Northern Tunebook, here are six standout tunes that are impossible to find elsewhere in such raw form: What Is It
- "Jacky Layton" – A bizarre, hypnotic tune in 6/8 that modulates unexpectedly. Folk-rock bands have covered this in recent years.
- "The Keel Row" (early version) – An ancestor of the famous Northumbrian anthem, but with a grittier bass line.
- "Fy, let us a' to the Bridal" – A classic Border pipe tune, complete with Vickers’ unique grace notes.
- "Miss Forbes’ Farewell to Blackness" – Despite the Scottish title, this appears only in Vickers, suggesting a lost cross-border connection.
- "The Duke of York’s March" – A military-style piece that doubles perfectly as a processional for country dancing.
- A unnamed "Waltz" – One of the earliest appearances of the waltz rhythm in an English manuscript, written just as the dance was scandalizing Europe.
11. Conclusion
The Great Northern Tunebook: William Vickers' Collection of Dance Tunes, c.1770 is a treasure of 18th-century dance music. Thanks to the open-access decision by Matt Seattle and the Northumbrian Pipers’ Society, a fully edited, scholarly version is freely available to all. This resource is invaluable for folk musicians, dancers, ethnomusicologists, and anyone interested in historical popular music of the British Isles.
End of Report
It was a brisk winter evening in 1770, and the snowflakes gently fell onto the bustling streets of Newcastle upon Tyne. Inside a cozy tavern, a young musician named William Vickers sat by the fire, his fingers deftly dancing across the strings of his fiddle. He was a collector of tunes, and his passion was to gather the most lively and enchanting dance melodies from the North of England. Who was William Vickers
As he played, the patrons of the tavern couldn't help but tap their feet to the rhythm. William's music was a reflection of the region's rich cultural heritage, with influences from Scottish, English, and Irish folk traditions. He had spent years traveling throughout the countryside, attending ceilidhs and dance gatherings, and jotting down the tunes that caught his ear.
William's collection, known as "The Great Northern Tunebook," was growing to be one of the most extensive and impressive repositories of dance tunes in the land. He carefully transcribed each tune by hand, often adding his own notes and annotations about the melody, its origins, and the type of dance it was intended for.
As the night wore on, a group of traveling musicians arrived at the tavern, seeking refuge from the cold. They were a lively bunch, and soon they were swapping stories and tunes with William. One of them, a grizzled old fiddler from the Scottish Highlands, began to play a lively reel. William's eyes lit up, and he quickly scribbled down the melody in his notebook. Northumbrian smallpipe tunes (many unique to this source)
The old fiddler noticed William's interest and smiled. "Ah, ye'll be the one collectin' the tunes o' the North, laddie?" he said. William nodded eagerly, and the old fiddler began to share tales of his own musical journeys. As they talked, William learned that the reel was known as "The Glasgow Highlanders," and it had been composed by a Scottish musician who had served in the British army.
Inspired by the encounter, William spent the rest of the night playing and transcribing tunes with his new friends. As the evening drew to a close, he packed up his fiddle and notebook, feeling grateful for the chance to add to his collection.
Years would pass, and William's "Great Northern Tunebook" would become a legendary resource for musicians and dancers throughout the region. And though the original manuscript would eventually be lost to time, its contents would live on, influencing generations of musicians to come.
But on that cold winter's night in 1770, William Vickers knew that he was onto something special. He had a vision of preserving the musical traditions of the North, and sharing them with the world. And as he drifted off to sleep, his mind was already racing with plans for his next musical adventure.
