INTRODUCTION

 TO ENGLAND AND THE CELTIC LANDS has been an adventure in music, culture and spirituality. Most of all, however, I assembled this book for two reasons: 1) because I  am enthralled by the traditions of the British Isles and the Celtic lands, the music and  dances of which have stood the test of time, and 2) because I believe that the joy and  inspiration from dances of yore can continue to uplift us all — regardless of our ages,  faiths or cultures of origin.  

 With over nine hundred tunes written over the past four decades, this book — in five  volumes — represents a large part of my musical experience, from childhood to the  present time, in the cultures of England, Ireland, Scotland, Wales, Cornwall, the Isle of  Man, the Isle of Wight and Brittany, through many eras of music and dance. In my  mother’s elementary school in New York City, I was introduced to English country  dancing, Morris dancing and sword dancing by May Gadd and Phil Merrill — disciples  of Cecil Sharp, who revived English folk music and dance and brought his vision of both  genres to the United States in the early 20th Century. Around the same time, my parents  introduced me and my brothers to their friend Carl Dolmetsch and his family; the  Dolmetsches have long been known for their recorders, harpsichords and viols, as well as  their fine musicianship. In addition, renowned lutenist Suzanne Bloch used to visit us to  play and sing songs from the Elizabethan era, and that was a great inspiration as well.  Furthermore, I remember going to medieval festivals in France, during which there were  great outdoor performances of French medieval music in the context of re-enactments of  life in the 13th and 14th centuries. For these reasons, my interest in early music began at  quite a young age. Shortly thereafter, I also became acquainted with the Irish and Scottish  forms of traditional dance.  

 It is, however, not just the music and dances of the Renaissance and baroque periods  that have inspired me. At a certain point I became interested in the origins of the many  dance forms of the British Isles, not solely out of curiosity but also because of many  years of having studied the traditions of the Isles, particularly Druidry — an ancient  spiritual practice in England and the Celtic lands, dating back thousands of years, which  has now been revived and expanded in a beautiful way. The druids were the priests and guides of the ancient Celtic world. I began to connect the dots in the many dance forms of  England and the Celtic lands, and found that there are many roots in the so-called pagan  societies of the past. The Maypole, for example, has its origins in the Celtic festival of  Beltane, one of eight festivals still honored today — four of which are represented in this  book. The longways dance goes back hundreds, if not thousands, of years — the only  differences being the styles of music as well as the dance steps that have succeeded one  another over the centuries. Circle dances exist in almost every culture on Earth and are  even more ancient. If one goes back far enough, the origin of many of these dances  probably dates back before recorded history. For this reason, I have included some tunes  that — in their character and intent — reach far back in time, for the purpose of  celebrating our cultural connections over the centuries — not just with the cultures of  England and the Celtic lands, but throughout many other parts of the world as well. The  vast majority of the tunes in this book, however, are centered around the European dance  traditions of the 16th, 17th and 18th centuries.  

 In writing this music, I have done my best to capture the cultural identity of England  and the Celtic lands. Brittany is included not only because of its Celtic origins, but also  because it became part of France, and is therefore connected to the long-standing French  influence on British culture — which began in the eleventh century with the Norman  invasion and the crowning of William the Conqueror as king of England.   Although there are a great many English country dance tunes in this book (hence two  volumes for this section), there are also cultural overlaps with Ireland, Scotland, Wales  and Brittany. The jig section, for example, represents all of those lands. A few tunes also  reflect German culture, as a large part of the British royal family’s heritage is from  Germany. The reels, rants and hornpipes, collected in their own section, are essential  parts of the dance cultures of the Isles, but also form a historical connection with  American culture — much of which was transplanted from the Isles. The strathspeys in  the Scottish section of this book are the first I have written and, along with the other tunes  in that section, constitute my respectful attempt to represent Scottish culture. There is no  specific section for Ireland, as Irish influence is strong throughout the jigs, slip jigs and  reels (in Volumes IV and V) — as evidenced, for example, by key Irish place names  being mentioned in many of the titles. Likewise, Brittany and Wales do not have their  own sections, but are represented in various areas of the book. In addition, there are  appropriate nods to Canada and Australia, as they are culturally related to the Isles, as well as to the United States — in which English, Irish and Scottish dancing have  achieved such great popularity.  

 I have also included a section of introductory tunes — ceremonial and processional  pieces — because such music may be called for at dances or other forms of gathering.  There is also a section of tunes intended to be played at the intermission of a formal  dance, or as background music at any formal occasion. Of course, any of these tunes may  be choreographed as well, if so desired.  

 At the end of the last volume, there is a Postlude section with tunes honouring the  flags of England, Ireland, Scotland, Wales and Brittany, as well as other celebratory  tunes. In addition, I have included a number of songs and hymns for general inspiration  and entertainment.  

 Throughout this book, there are many titles referring to beautiful places in the Isles —  not only to call attention to the high points for travelers but to express my admiration for  the beauty and elegance in that part of the world. Equally important are references to  various aspects of culture and life in the Isles, including several professions —  carpenters, chefs, doctors, gardeners, miners, musicians, postmen, and others. There are  many references to royalty as well.  

 Finally, I have included many tunes about nature itself — rivers, lakes, oceans, trees,  plants, herbs and flowers — as well as animals and birds, along with the seasons of the  year. Indeed, music and dance are closely entwined with life in all its forms — in  England, in the lands of the Celts, and beyond. In this light, it is my intention that every  tune in this book carry a spirit of inclusiveness, respect, and universal joy — now and  forever.  

May the dance begin!  

Roger Davidson 

June, 2022

Fresh material for choreographers

To England and the Celtic Lands: Music for Dancing and Celebration, by Roger  Davidson. In 5 volumes: (1) ‘Introductory tunes, marches and music for interludes  and entertainment’, (2) ‘English country dance tunes in 2, 4, 6/8 and 3/4’, (3)  ‘English country dance tunes in 3/2 (hornpipes)’, (4) ‘Jigs and slip jigs’, (5) ‘Reels,  rants and hornpipes, Scottish tunes, and a Postlude to all five volumes’. Musica  Universalis Publishing (2022). 

These five volumes, as their titles suggest, comprise tunes for traditional dances  from the islands of Britain and Ireland. But this is not an anthology of existing  tunes; the American composer and pianist Roger Davidson has composed them all  – more than 900 in total – and in doing so he enriches the traditions he has  followed. The tunes that I’ve sampled are strong and seem admirably suited for  dancing. What’s more, they’re underpinned with effective harmonies, indicated by  chord symbols. An acid test for a good tune is that it lingers in the mind and that’s  certainly the case here; ‘earworms’ now, many of the tunes would have deserved  the epithet ‘maggot’ if they had been written 300 years ago. Historical Dance  Society choreographers looking for fresh material will probably be most interested  in volumes 2 and 3 of the collection, where they will discover a cornucopia of 285  melodies, encompassing English country dances in a range of metres, including hornpipes in 3/2 and a few Morris dances. 

The composer’s website, https://rogerdavidsonmusic.com, reveals broad  musical interests, while his background includes connections with the early days of  the Historical Dance Society: ‘I grew up knowing Carl Dolmetsch and his children,  and playing the recorder with Carl and Joseph Saxby. That’s when I learned to play  “Newcastle” on my soprano recorder about 8 years old, among other tunes.’  

Davidson may be contacted at lightcircle1@yahoo.com.

Jeremy Barlow

For the Historical Dance Society (U.K.)

The Five Books

Volume I  

Volume II  

Volume III  

Volume IV  

Volume V  

Reviews

The fruits of a lifetime immersed in the music and dance of many cultures, this extensive collection of original compositions will provide musicians, choreographers, dancers, teachers, and casual listeners inspiration and pleasure for years to come. We can all look forward to the integration of this monumental product of Roger’s inclusive and generous creativity into the worlds of dance and music that so bless and enrich our lives.

Gene Murrow, English country dance teacher and founder / Gotham Early Music Scene, New York City

Like a museum full of mini-masterpieces, Roger Davidson’s “To England and the Celtic Lands” will delight all who visit even some of its richly adorned musical galleries. The five-volume set — product of a rare, seemingly inexhaustible creativity — comprises an amazing number of extraordinary, original compositions. But unlike objects in a museum, these you can take home and, as musician or choreographer, make your own.

Paul Ross, English country dance teacher, New York City