Another supplement to the essay English, Scotch, and Irish Dance and Song, which is primarily a documentation of rising cadence figures in dances, fiddle tunes, and songs from late eighteenth and early nineteenth century published sources. Gathered here are an additional 70 examples taken from files downloaded in May and June 2017.
Showing posts with label jig. Show all posts
Showing posts with label jig. Show all posts
Friday, September 1, 2017
New publication: a second supplement to British Dance & Song essay
English, Scotch, and Irish Dance and Song: Supplement 2 was just published on Texas Scholar Works. Here is the link: supplement 2. And here is the abstract:
Friday, June 30, 2017
New essay published: supplement to British Isles essay
I have published a new essay on Texas Scholar Works: English, Scotch, and Irish Dance and Song: Supplement. Link.
Here is the abstract:
Here is the abstract:
A supplement to the essay English, Scotch, and Irish Dance and Song, which is primarily a documentation of rising cadence figures in dances, fiddle tunes, and songs. Gathered here are another 50 examples found in files downloaded on 2 May 2017. These were the coincidental result of a search for more information on Nathaniel Gow, the son of the famous Scottish fiddler Niel Gow.
Tuesday, May 9, 2017
Essay on British Isles Dance and Song
I have published an essay titled English, Scotch, and Irish Dance and Song: On Cadence Gestures and Figures. It can be found on Texas Scholar Works: link.
Here is the abstract:
Here is the abstract:
This is a documentation of ascending cadence gestures in some 260 songs and dances from the British Isles, taken from eighteenth and nineteenth century sources, with some emphasis on collections for practical use published between about 1770 and 1820 and on the later ethnographic collections of P. W. Joyce and the anthology of Francis O’Neill.
Friday, April 7, 2017
Celtic series, part 2
Recently I began a series based on a small sampling of items from a documentary essay I am now preparing and hope to publish by end of the month.
The four categories for this series are: (1) simple examples of rising lines, with appropriate focal tones; (2) play of registers common in—and congenial to—the violin; (3) "long" cadences where the lower and upper registers are connected by a stepwise sequence; (4) modal tunes, or tunes showing a modal heritage.
Here I continue with tunes that mix categories (1) and (2).
"The Runaway Bride." A jig. This may be a good moment to note that, as with the many old English and French country dances, titles usually have little if any obvious relation to their music (unless texted, of course). At (a) a simple line creates focus on B4 (^3) but the register jumps upward at (b) in the violinistic pattern I describe in the first post. In the consequent phrase (a) is repeated but (b) is transformed at (c) into a simple rising cadence. The same registral pattern is repeated at (d) and (e).
"Donald Dow." Here I can thank the Highland Music Trust (link) for making available a number of collections transcribed via music notation programs (link to free downloads page). "Donald Dow" is a strathspey that could be nothing other than a violin tune. I have parsed the registers in this initial example (thicker rectangles with downward or upward pointing arrows).
As in "The Runaway Bride," the upper register follows and enables a rising cadence gesture. The strong "violin fifth"—though F4-C5 here, not open strings—with its repeated neighbor D5 (at (a) below) creates a focal tone C5 and so what I call a "primitive rising line" ^5-^7-^8, as C5-E5-F5 (beamed).
As in "David Grady's Reel" (see the first post in the series), every phrase ends with this cadence. Phrases 3 & 4, however, alter the earlier part of the phrase to make a space of the triad—at (b) and (c)—or A4-C5-F5, and by this means F5 becomes the focal note. An interesting moment at (d) brings a bit more emphasis to the bottom of the triad, so that one can hear—and in some variation a player might very well literally generate—a subsidiary line A4-G4-F4. See my small added notes in parentheses at (e).
The four categories for this series are: (1) simple examples of rising lines, with appropriate focal tones; (2) play of registers common in—and congenial to—the violin; (3) "long" cadences where the lower and upper registers are connected by a stepwise sequence; (4) modal tunes, or tunes showing a modal heritage.
Here I continue with tunes that mix categories (1) and (2).
"The Runaway Bride." A jig. This may be a good moment to note that, as with the many old English and French country dances, titles usually have little if any obvious relation to their music (unless texted, of course). At (a) a simple line creates focus on B4 (^3) but the register jumps upward at (b) in the violinistic pattern I describe in the first post. In the consequent phrase (a) is repeated but (b) is transformed at (c) into a simple rising cadence. The same registral pattern is repeated at (d) and (e).
"Donald Dow." Here I can thank the Highland Music Trust (link) for making available a number of collections transcribed via music notation programs (link to free downloads page). "Donald Dow" is a strathspey that could be nothing other than a violin tune. I have parsed the registers in this initial example (thicker rectangles with downward or upward pointing arrows).
As in "The Runaway Bride," the upper register follows and enables a rising cadence gesture. The strong "violin fifth"—though F4-C5 here, not open strings—with its repeated neighbor D5 (at (a) below) creates a focal tone C5 and so what I call a "primitive rising line" ^5-^7-^8, as C5-E5-F5 (beamed).
As in "David Grady's Reel" (see the first post in the series), every phrase ends with this cadence. Phrases 3 & 4, however, alter the earlier part of the phrase to make a space of the triad—at (b) and (c)—or A4-C5-F5, and by this means F5 becomes the focal note. An interesting moment at (d) brings a bit more emphasis to the bottom of the triad, so that one can hear—and in some variation a player might very well literally generate—a subsidiary line A4-G4-F4. See my small added notes in parentheses at (e).
Wednesday, February 15, 2017
From 204 Country Dances (~1775), part 3
This is the final post in the series on Straight & Skillern's collection 204 Country Dances (~1775). Today I look at three "special cases."
The two strains of "Chelsea Stage" are nearly identical, the only changes in the second being in bars 1-2 and a single note in bar 7. Although progress through the octave in the second phrase is obvious, just whether this can be resolved into a unidirectional line is not.
One possibility is shown below, in form of a "split" line where an internal ascent goes from ^1 to ^5 (beginning of the boxed notes), then a simple rising line follows to ^8. I don't find this entirely satisfying because of the sharp trajectory running toward and reaching ^9, but one can use substitution frequently found in cadences and specifically involving the dominant: ^9 substitutes for ^2 here, in the same way that, according to the traditional Schenkerian, ^7 commonly substitutes for ^2 in the descending line.
An alternative is to elevate the ^3 in the first bar of the strain, but this is decidedly less plausible. In previous posts I have observed that it is common in such small pieces as these to make an expressive "leap" above the prevailing register at the beginning of the second strain. To choose the isolated note A5 here would seriously unbalance the prevailing expressive gestures of this dance.
Finally, then, "Cave of Enchantment" is in a small ternary design with a truncated reprise and a close in the dominant for the first strain. Emphasis on ^1, ^5, and ^8 sets the frame for the first strain. The opening of the second shifts the basic idea to the dominant level, but the result is draw out the third, F#5, which is given on the first beat three times in a row before leading to G5, thus ^7-^7-^7-^8. In the reprise, then, attention is easily shifted to G5.
Thus, I would read the second strain as given below.
The two strains of "Chelsea Stage" are nearly identical, the only changes in the second being in bars 1-2 and a single note in bar 7. Although progress through the octave in the second phrase is obvious, just whether this can be resolved into a unidirectional line is not.
An alternative is to elevate the ^3 in the first bar of the strain, but this is decidedly less plausible. In previous posts I have observed that it is common in such small pieces as these to make an expressive "leap" above the prevailing register at the beginning of the second strain. To choose the isolated note A5 here would seriously unbalance the prevailing expressive gestures of this dance.
"Bevis Mount" is a collection unto itself -- four independent strains that bear no relation to each other beyond being complete eight-bar themes in the same key and all closing in the home key. The second strain is of interest. The close in the upper register is definite, but here again a unidirectional line seems implausible.
Finally, then, "Cave of Enchantment" is in a small ternary design with a truncated reprise and a close in the dominant for the first strain. Emphasis on ^1, ^5, and ^8 sets the frame for the first strain. The opening of the second shifts the basic idea to the dominant level, but the result is draw out the third, F#5, which is given on the first beat three times in a row before leading to G5, thus ^7-^7-^7-^8. In the reprise, then, attention is easily shifted to G5.
Thus, I would read the second strain as given below.
Tuesday, February 14, 2017
From 204 Country Dances (~1775), part 2 continued
The first post in this series dealt with simple ascending lines in a strain; today's is the second post about numbers with more complex lines.
By a pleasant coincidence, the first number up today is "Valantines Day in the Morning." This jig is set in a small binary form with "balanced cadences" (that is, the same figure for both), uses entirely different shapes to lead to those cadences. In the first strain, a profusion of tonic triad notes makes definition difficult, but the accented F#4s (^3) suggest a line upward at the end, F#4-G4-A4-B4-C#5-D5, with a balancing secondary line from above, G5-F#5-E5-D5-C#5. In the second strain the directions are reversed, as the new attention on A5 suggests a line A5-G5-F#5-E5-(D5-C#5)-D5, with an internal A4-B4-C#5-D5.
The 9/8 meter, by the way, is considered a variant of the standard 6/8 jig -- what it might have been called in London in the eighteenth century I don't know; now it is called a "slip jig" or a "hop jig," both of which refer to a particular style of dancing.
"Ralph's Ramble to London" is still another piece in a small ternary form, and with a complete reprise. A full triad frame at the beginning -- see at (a). The accent patterns and the lower line that follows in the cadence (circled) suggest that the extremities of the frame, A4 & A5, have priority -- in the first strain at least. In the "contrasting middle," attention turns to F#5 -- see stemmed notes starting at (b) -- but that dissolves into the initial frame again with the reprise. At the end, I have staked out a possible path -- see (c1) -- that implies a short line down from A5 to F#5, but finally I think it really is the frame itself that retains priority to the end -- at (c2), subordinating everything else, including the internal rising line in the cadence.
"Warkworth Castle"is a jig with the dotted rhythms that had become a bit old-fashioned by the 1760s, when the French-style gigue with flowing eighths predominated in the contredanse. The impression is heightened by the period forms in both strains (the period had become almost a universal requirement in the contredanse by this time).
By a pleasant coincidence, the first number up today is "Valantines Day in the Morning." This jig is set in a small binary form with "balanced cadences" (that is, the same figure for both), uses entirely different shapes to lead to those cadences. In the first strain, a profusion of tonic triad notes makes definition difficult, but the accented F#4s (^3) suggest a line upward at the end, F#4-G4-A4-B4-C#5-D5, with a balancing secondary line from above, G5-F#5-E5-D5-C#5. In the second strain the directions are reversed, as the new attention on A5 suggests a line A5-G5-F#5-E5-(D5-C#5)-D5, with an internal A4-B4-C#5-D5.
The 9/8 meter, by the way, is considered a variant of the standard 6/8 jig -- what it might have been called in London in the eighteenth century I don't know; now it is called a "slip jig" or a "hop jig," both of which refer to a particular style of dancing.
"Ralph's Ramble to London" is still another piece in a small ternary form, and with a complete reprise. A full triad frame at the beginning -- see at (a). The accent patterns and the lower line that follows in the cadence (circled) suggest that the extremities of the frame, A4 & A5, have priority -- in the first strain at least. In the "contrasting middle," attention turns to F#5 -- see stemmed notes starting at (b) -- but that dissolves into the initial frame again with the reprise. At the end, I have staked out a possible path -- see (c1) -- that implies a short line down from A5 to F#5, but finally I think it really is the frame itself that retains priority to the end -- at (c2), subordinating everything else, including the internal rising line in the cadence.
Monday, February 13, 2017
From 204 Country Dances (~1775), part 2
Of the 204 numbers in Straight & Skillern's collection, fifteen or so are of interest here. Yesterday I discussed those with simple ascending lines in a strain; today I will look at those with more complex lines.
"Miss Butt's Favorite" is a jig in a small ternary form where the reprise is exact and complete. (There are more than the usual number of such designs in this collection, suggesting more instrumental character than music for dance, where multiple, independent strains fit better with the needs of the dance, especially the English long dance.) An approach to the tonic from below (^6-^7-^8) is obvious, with all notes accented, but the balance earlier is clearly tipped toward ^5, so that the principal linear figure in the cadence comes from above to imply ^3 over ^1 in the end.
"Blind Beggar" is also in a small ternary form, but this time its first strain closes on the dominant and the reprise is truncated -- both of which traits make this a bit more amenable to the practical needs of the dance. A full triad frame (circled) puts the emphasis on ^3/^5 in the first strain but resolves to ^3 with a cover tone ^5 in the reprise, where the rising line is internal (boxed).
"Frisky" is at the opposite extreme of design from the previous two numbers: four independent strains that, however, are related to one another by their cadence figures (strains 1 & 3, 2 & 4). If we take the third strain as a kind of variation of the first, and the fourth as a variation of the second, then the ascent from ^5 up to ^8 in the cadence (boxed) is definitely an internal line, as the balance at the beginning (and throughout strain 3) is on ^3.
"Miss Butt's Favorite" is a jig in a small ternary form where the reprise is exact and complete. (There are more than the usual number of such designs in this collection, suggesting more instrumental character than music for dance, where multiple, independent strains fit better with the needs of the dance, especially the English long dance.) An approach to the tonic from below (^6-^7-^8) is obvious, with all notes accented, but the balance earlier is clearly tipped toward ^5, so that the principal linear figure in the cadence comes from above to imply ^3 over ^1 in the end.
"Blind Beggar" is also in a small ternary form, but this time its first strain closes on the dominant and the reprise is truncated -- both of which traits make this a bit more amenable to the practical needs of the dance. A full triad frame (circled) puts the emphasis on ^3/^5 in the first strain but resolves to ^3 with a cover tone ^5 in the reprise, where the rising line is internal (boxed).
"Frisky" is at the opposite extreme of design from the previous two numbers: four independent strains that, however, are related to one another by their cadence figures (strains 1 & 3, 2 & 4). If we take the third strain as a kind of variation of the first, and the fourth as a variation of the second, then the ascent from ^5 up to ^8 in the cadence (boxed) is definitely an internal line, as the balance at the beginning (and throughout strain 3) is on ^3.
Sunday, February 12, 2017
From 204 Country Dances (~1775), part 1
Straight & Skillern in London published a book of 204 Country Dances around 1775. In format (single line treble melody with succinct dance instructions below), the book resembles editions of the earlier Playford Dancing Master (multiple editions 1651-1728). The music appears to be almost all familiar songs and fiddle tunes, and the dancing instructions are simple, nor by any means ample in detail. Here is a link to the file on IMSLP: link.
Of the 204 numbers, fifteen or so are of interest here. I've divided them into three groups: (1) those with simple ascending lines in a strain; (2) those with more complex lines; (3) special cases.
"The Hot Bath" is in two strains. The first has an internal ascent in the cadence (not marked). The second consists of a rising figure from ^5, repeated. The first time it overshoots its mark, reaches ^10 and then settles to ^9 for a half cadence. The second time it reaches ^8 again in the third bar and stays there for the duration.
"The Nabob" is about as simple a rising line out of the space ^1-^5 as I have seen anywhere. Not only that the ascent to the cadence is used in both strains.
"The Shepherds Jigg" in its second strain makes three attempts (circled) at a simple stepwise ascent from ^5 to ^8, then "gets it right" at last.
"What's that to You" would require an Urlinie from ^3 with an implied ^2 under the traditional Schenkerian rubric. But, even if it is a bit a surprise, the simple ascent clearly can't be willed away as an internal line in this instance.
I'll write about more complicated examples of the rising line in the next post.
Of the 204 numbers, fifteen or so are of interest here. I've divided them into three groups: (1) those with simple ascending lines in a strain; (2) those with more complex lines; (3) special cases.
"The Hot Bath" is in two strains. The first has an internal ascent in the cadence (not marked). The second consists of a rising figure from ^5, repeated. The first time it overshoots its mark, reaches ^10 and then settles to ^9 for a half cadence. The second time it reaches ^8 again in the third bar and stays there for the duration.
"The Nabob" is about as simple a rising line out of the space ^1-^5 as I have seen anywhere. Not only that the ascent to the cadence is used in both strains.
"The Shepherds Jigg" in its second strain makes three attempts (circled) at a simple stepwise ascent from ^5 to ^8, then "gets it right" at last.
"What's that to You" would require an Urlinie from ^3 with an implied ^2 under the traditional Schenkerian rubric. But, even if it is a bit a surprise, the simple ascent clearly can't be willed away as an internal line in this instance.
I'll write about more complicated examples of the rising line in the next post.
Thursday, January 19, 2017
Finger and Bingham, Airs Anglois, part 1
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.
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 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.
Wednesday, January 11, 2017
Rory O'Moore (1839)
A version of the well-known comic/romantic ballad "Rory O'Moore" was published in Philadelphia in a setting for voice and "Spanish guitar" (1839). Link to the page on the Library of Congress site: link. Each verse has two parts, with essentially the same cadence. The first half of verse 1 is shown below, followed by the cadence to the second half. Given the strong focus on ^5 (and the interval frame ^1-^5) throughout each verse-half, a Schenkerian-style ascending Urlinie ^5-^6-^7-^8 is easily heard. The run upward to an accented high note in the cadence, then octave drop, produces an effect not unlike that of the familiar and quicker "Scotch snap" figure.
Tuesday, January 10, 2017
Button and Whitaker's Selection of Dances (1808)
Button and Whitaker's Selection of Dances, Reels and Waltzes, for the Piano Forte, Harp, Violin & German Flute. With Figures. At least 18 volumes of these were published, four of which (ns, 8, 9,11, 18) are available through IMSLP: page. These were first uploaded to the Internet Archive, incidentally, where no library or archive source is given. There, volumes 8 & 9 are marked as being published in 1808 (there is no year given in the score itself), volume 11 in 1809, and volume 18 in 1811. All these are approximate dates.
In volume 9, "Time's a Tell Tale" begins with a solid ^1-^5 interval frame, where ^1 has priority (circled in the first strain). The frame is reversed in the second strain (see "--> ^5-^8" at the beginning) and a simple ascending line moves up within it in the last phrase (boxed).
"Sir Gilbert Go Softly" refers to a comic ballad, but whether this Hornpipe tune is the one commonly associated with it, I don't know. In any case, what could be a triadic frame—boxed in bar 1—gives over to the upper fourth in bars 3-4 and dominates in the second strain. In the graph below the score I have pulled out the voice-leading that works in both cadences.
In volume 9, "Time's a Tell Tale" begins with a solid ^1-^5 interval frame, where ^1 has priority (circled in the first strain). The frame is reversed in the second strain (see "--> ^5-^8" at the beginning) and a simple ascending line moves up within it in the last phrase (boxed).
"Sir Gilbert Go Softly" refers to a comic ballad, but whether this Hornpipe tune is the one commonly associated with it, I don't know. In any case, what could be a triadic frame—boxed in bar 1—gives over to the upper fourth in bars 3-4 and dominates in the second strain. In the graph below the score I have pulled out the voice-leading that works in both cadences.
Sunday, January 8, 2017
Elegant Dances for the Year 1810
Title: Button and Whitaker's Elegant New Dances for 1810, arranged for the Harp or Piano Forte, with correct Figures as Danced at Court, Bath, Brighton & all Polite Assemblies. IMSLP page for this score: link.
The publication of music for dancing stretches back at least to Michael Praetorius's large collection Terpsichore (1612), but it was the popularity of the country dance (later as the French contredanse) that spurred the efforts of compilers, composers, and publishers. By far the most famous series is John Playford's The [English] Dancing Master, first published in 1651, with new editions and supplements through 1728. Its combination on one page of music and instructions for the dance was especially influential on all subsequent collections. By the mid-18th century it was common (especially in France) to issue dances in folios, one or a few at a time, to be bound in volumes at the end of the year, if one chose. Button and Whitaker assume the same for their Twelve New Dances: the title page has a note at the bottom reading "This elegant Selection is Printed Quarterly, on Sheets, & paged onward for the convenience of Binding. Nos. 1 to 14 are already Published."
Presuming the present item to be volume 15, we have just one piece that is of interest for ascending cadence gestures. "Kitty Kickaway," like all the dances in the volume, is a British-style fiddle tune, in this case a jig. Strong focus on ^5 in the first strain ends with a quick run down to ^1 in the final bar. In the second strain, bars 1-4 move back up to ^5 and a PAC on the dominant, but then attention shifts suddenly to the upper note of the frame ^8 (G5) and an upper-register close (circled). D5 is a persistent inner voice now (see the ***). Note that, because of the context, the same music in bars 6 and 14 (boxed) has a different balance between upper (G5) and lower (E5) voices.
The publication of music for dancing stretches back at least to Michael Praetorius's large collection Terpsichore (1612), but it was the popularity of the country dance (later as the French contredanse) that spurred the efforts of compilers, composers, and publishers. By far the most famous series is John Playford's The [English] Dancing Master, first published in 1651, with new editions and supplements through 1728. Its combination on one page of music and instructions for the dance was especially influential on all subsequent collections. By the mid-18th century it was common (especially in France) to issue dances in folios, one or a few at a time, to be bound in volumes at the end of the year, if one chose. Button and Whitaker assume the same for their Twelve New Dances: the title page has a note at the bottom reading "This elegant Selection is Printed Quarterly, on Sheets, & paged onward for the convenience of Binding. Nos. 1 to 14 are already Published."
Presuming the present item to be volume 15, we have just one piece that is of interest for ascending cadence gestures. "Kitty Kickaway," like all the dances in the volume, is a British-style fiddle tune, in this case a jig. Strong focus on ^5 in the first strain ends with a quick run down to ^1 in the final bar. In the second strain, bars 1-4 move back up to ^5 and a PAC on the dominant, but then attention shifts suddenly to the upper note of the frame ^8 (G5) and an upper-register close (circled). D5 is a persistent inner voice now (see the ***). Note that, because of the context, the same music in bars 6 and 14 (boxed) has a different balance between upper (G5) and lower (E5) voices.
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