What Makes a Morris Tune Different

Morris tunes are functional, not fancy. They exist to drive feet, sticks, and handkerchiefs. Most are built from short, repeating phrases: usually eight or sixteen bars, often in two parts (A and B), sometimes three. That structure gives dancers a predictable pattern, and the musician’s job is to keep it clear and steady.

Tempos vary. A Cotswold jig might sit around 120–140 beats per minute; a processional hornpipe closer to 90–100. The tune should lift, not race. If dancers are gasping, slow down. If they are flat-footed, add bounce without losing the beat.

Many tunes have a modal flavour—Mixolydian, Dorian, or Aeolian—which gives that old English character. Common keys are G, D, A, E minor, and D minor. Melodeon players often favour D/G instruments, so those keys come naturally.

Tune Types You Will Meet

Morris has several tune families. Knowing them helps you choose the right feel.

• Jigs (6/8) – The backbone of Cotswold morris. Examples include "Bobbing Joe", "Constant Billy", "Trunkles", and "Shepherd's Hey". They skip and trip, perfect for handkerchief and stick dances.
• Hornpipes (4/4 with swung quavers) – Common in North West and Border traditions. "The Manchester Hornpipe" and "The Cliff Hornpipe" have a rolling, slightly dotted gait, good for processions and clog steps.
• Polkas (2/4) – The engine of North West morris. "The Girl I Left Behind Me" and "Sweet Jenny Jones" are often played as polkas or schottisches. Bright, bouncy, and great for garland dances.
• Reels (4/4 or 2/2) – Fast and driving. Border morris uses reels for energetic stick dances. "Speed the Plough" and "Winster Gallop" appear in many sets.
• Processional tunes – Slower and stately, often in 4/4 or 6/8. Used for entering a pub, church, or arena. "The Queen's Delight" and "The Nutting Girl" can work well.

Some tunes cross over. "Old Woman Tossed Up" appears as both a jig and a reel. The same melody may be played at different tempos by different sides.

Instruments That Lead the Side

The melody instrument leads. It sets the tempo, starts and stops the dance, and signals changes. The most common lead today is the melodeon, a diatonic button accordion. A two-row in D/G is the standard workhorse: loud, portable, and punchy. One-row melodeons in C or D are also used for older Cotswold styles.

The fiddle is the other classic lead. It can ornament, drone, and play in any key. A good fiddle player digs into the bow to be heard outdoors. Fiddles blend beautifully with melodeon, but can be drowned out by a large side.

The Anglo concertina is a fine alternative. Small, loud, and capable of chords and melody together, it gives a dry, reedy tone that cuts through crowd noise. Common keys are C/G and G/D.

The pipe and tabor is the historical morris instrument: a three-hole whistle played with one hand and a small drum beaten with the other. It was common in the nineteenth century and has been revived by sides wanting an older sound.

Other instruments appear: whistles, flutes, tenor banjos, guitars, bass, and light percussion such as tambourines. In Border morris, a bodhran or snare may join. But the core is melody plus rhythm. Too many chords can muddy the tune.

How Tunes and Dances Fit Together

Each dance has a set tune or a small repertoire. The foreman or squire calls the dance, and the musician plays the right tune. Dancers need to know the phrase length: often eight bars, repeated. Some dances begin with a once-to-yourself, a slow introduction before the main tune. Watch for signals: a nod, a raised hand, or a call of "last time".

Medleys are common in processions and pub tours. A side might play three tunes without a break, changing key for lift. A good set might move from G to D to A, with a short pause for dancers to reset. Keep the tempo steady, even when walking.

Learn tunes by ear from recordings of dancers, not just from dots. The dots give the notes, but the lift and phrasing come from the feet. Play for dancers often. Ask if the tempo feels right. If they are struggling, slow down. If they look bored, add bounce.

Regional Flavours and Repertoire

Cotswold morris (Oxfordshire, Gloucestershire, Northamptonshire) uses jigs and hornpipes. Sides from Headington Quarry, Bampton, and Adderbury have distinctive tunes. "Constant Billy", "The Black Joke", "Bean Setting", and "Getting Upstairs" are well known.

North West morris (Lancashire, Cheshire) is processional and clog-based. Polkas, hornpipes, and marches dominate. "The Nutting Girl" is used for the Bacup coconut dance. Tunes often have a strong bass and drum.

Border morris (Shropshire, Herefordshire, Worcestershire) uses reels, hornpipes, and jigs. It is wilder, with blackened faces and sticks. "The Upton Stick Dance" and Much Wenlock tunes are common.

Molly dancing (East Anglia) uses jigs, reels, and hornpipes. "The Molly Reel" and "The Sheringham Breakdown" are typical. Longsword and rapper use jigs and reels, often in 6/8 or 4/4, with tunes that vary by village.

Start with a handful of tunes: "Bobbing Joe", "Constant Billy", "The Girl I Left Behind Me", "Winster Gallop", and "Shepherd's Hey". Learn them in G and D. Practise with a metronome at 120 bpm for jigs and 100 for hornpipes. Then play with dancers. The rest will follow.