himself: he notated the song "The Red Barn", set to a variant of the well-known "Dives and Lazarus" melody, from a Mr John Whitby in Norfolk in 1905. The arrangement here is particularly interesting for having a 6/8 rhythm played as a counterpoint by the upper woodwinds, against the straight 2/4 rhythm of the saxophones and brasses. This third theme is repeated, then leads straight back to the second theme. Finally, the first theme is repeated in a Da Capo al Coda. The form of this movement can be represented by A–B–C–B–A (Arch form). Intermezzo: "My Bonny Boy" "My Bonny Boy" (Roud 293) opens with a solo in F Dorian for the oboe (sometimes doubled or played by solo cornet) on the tune of the folk song of the same name, which is repeated by the low-register instruments. Midway through the movement, a Poco Allegro begins on "Green Bushes" (Roud 1040), first sounded by a piccolo, E-flat clarinet, and oboe in a minor harmonic context, then repeated by the lower brass with major harmony. The first melody is played again in fragmented form before the close of the movement. Vaughan Williams noted on his score that "My Bonny Boy" was taken from the book English County Songs while the "Green Bushes" melody seems to have been adapted from two versions collected by Cecil Sharp, one in the Dorian and one in the Mixolydian mode, the modal ambiguity being reflected in the composer's harmonization. March: "Folk Songs from Somerset" "Folk Songs from Somerset" is based on the melodies of four folk songs from the eponymous collection published in five volumes by Cecil Sharp with Charles Marson, based on fieldwork they had carried out in the county during the early 1900s. It opens with a light introduction of four measures before a jaunty major melody, "Blow Away the Morning Dew" (Roud 11, Child 112) collected from Lucy White and Lucy Hooper in Hambridge in 1903, is introduced on solo cornet (clarinet in orchestration). This melody is then dovetailed around the band/orchestra before finishing with a fortissimo reprise. A second melody in the Aeolian mode, "High Germany" (Roud 904), from Mrs Lock of Mulcheney Ham then takes over. This is played in the tenor and lower register with trombones prominent, while the remaining instruments provide an on-beat chordal accompaniment. As this second melody dies away, the original melody is heard once again with