George Bingham,
40 Airs Anglois dont les 16 prémiers sont de Mr. FINGER & les 24 suivantes de Mr. George Bingham, published in Amsterdam, 1704 or 1705, by the active and successful music publisher Estienne Roger, who also brought out several other collections by Bingham between 1702 and 1706. Not much is known about Bingham. He was a probably a violinist, was certainly a "musician in Ordinary in the Private Musick" at the Royal court from 1689 to 1696, at which time he was dismissed over a financial dispute with another musician. Since his collections from Roger are dedicated to his students ("Messieurs ses Disciples"), we may assume that Bingham was active at least till 1706, perhaps still in London or possibly elsewhere. Gottfried (or Godfrey) Finger was a Moravian musician who was a viol virtuoso, a contemporary of Bingham, and also worked in London at about the same time.
This Air by Godfrey Finger is a menuet in small binary form, with three theme-sized units of 8, 9, and 10 bars, respectively. Focus on ^5 in the A section (circled notes, bar 1) cedes to ^8 in bar 9, then to a ^5-^8 frame in bar 18. The upper note remains primary and a stepwise rising line from ^5 is secondary -- see the final six bars. The notation, btw, is from a modern edition by Hans-Thomas Müller-Schmidt that is available on IMSLP:
link.
This menuet, also by Finger, defines D5-F5 at the outset, a frame that changes to C5-F5 for the expanded second phrase (seven bars!), with similar motions to the Air in G Major to end, but some confusion in distinction between voices: the lower, rising line is more prominent here, the upper line about ^8 less so; indeed the lower line seems to meet and then "subsume" the upper in the final two bars. The result is more dramatic than I have shown it: a line from C5 going up as far as G5 before settling back to the tonic note F5.
This Jig is by Bingham. The figure is a familiar one: period with identical openings in antecedent and consequent (boxed notes) and, in the latter, an ascent from ^2 ( = V: ^5) to the cadence in the dominant key. For a traditional Schenkerian, this is a common figure elaborating an interruption. My only problem with that is the effect in the consequent is of a perfect balance (not a simple hierarchical relation) between the originating ^2 and the line that follows.
