Hornpipe (dance)

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GF Handel: "Alla Hornpipe" melody from the water music

The hornpipe is a traditional English dance piece at a lively tempo, which was originally notated in 3/2 time . Around 1760 the name was transferred to pieces of music in 2/4 or 4/4 time. It is named after the old wind instrument of the same name , which is particularly widespread in Wales and Scotland .

history

The hornpipe was well known as a dance in England as early as the 16th century. Barnabe Rich mentions its popularity in 1581. The hornpipe was particularly popular with rural Lancashire and Derbyshire populations , and long after it had disappeared in other areas, these counties were famous for the hornpipe. The oldest collection of popular hornpipes is Thomas Marsden's Collection of original Lancashire Hornpipes, Old and New , which was probably published as early as 1697.

Historically, three different basic types of hornpipe dance can be distinguished: round dance , country dance and solo dance.

Round dance ( Hornpipe Rounds )

In the 15th and 16th centuries, hornpipe was a rural round dance that was danced by couples. It is first mentioned in the Morality of Wisdom (approx. 1480/90): six women, three dressed as "gallants", three as "matrons", dance to a hornpipe. "The minstrels play a hornepype, and they all dance until they quarrel." After the 17th century, the round dance form is practically meaningless.

More detailed descriptions of these dances have not come down to us; in particular, it is unknown whether there were special hornpipe steps at the time. Written evidence from around 1600 can only give a rough idea:

" The round in a circle our sportance must be / hold hands in a hornpipe all gallant in glee. "

- George Peel : 1584

" He leads his wench a country hornpipe round / About a maypole for a holiday. "

- Richard Barnfield : 1594

Henry Spelman in his Relation of Virginia (1609) compares the dances of the indigenous people of Virginia with "our Darbysher [Derbyshire] Hornpipe, a man first and then a woman, all hanging in a round."

The oldest surviving hornpipe melodies can be found in manuscripts from the 16th century. They are notated in three-digit measures (mostly 3/2, more rarely 9/4).

Hugh Aston's Hornepipe , mid-16th century (Mss. Reg. App. 58)
Hugh Aston's Hornpipe (harpsichord)

Hornpipe in baroque music

Hornpipe pieces in high baroque music are characterized by a certain preference for syncopation and shifting accents: one voice or a group of voices plays against the rhythm of the other voice in passages. The bass part in particular usually maintains a consistent meter, not infrequently in the form of 'stubbornly' held, almost 'pounding' halves (in 3/2) or quarters (in 3/4). In addition to the syncopated shifts and / or accents, the melody is often extremely lively and happy, and punctuated by a characteristic drive. Jumps and / or chord breaks are also typical. Many melodies have a fairly large range (up to 2 octaves), as Mattheson already observed.

There are also slightly 'smoother' but lively hornpipe melodies without syncopation, e.g. B. Purcell's famous hornpipe from "First Musick" by The Fairy Queen (1692), or "Mr. Eaglefield's New Hornpipe ”in Playford's Dancing Master of 1696 (Vol. I, p. 17).

The earliest known pieces of music include a small hornpipe in John Banister's "The Musick at the Bath" (1663) and some pieces in the Melothesia harpsichord collection from 1673: A relatively simple, elegant hornpipe (3/2) by Matthew Locke , and two lively, primeval hornpipes (in 3/4) by Christopher Preston, which have all the characteristics listed above.

Henry Purcell: Hornpipe ("Third act tune") from "The Fairy Queen" (2nd part)

The baroque hornpipe found u. a. through Henry Purcell and Georg Friedrich Händel their entrance into the English high music. Purcell often used them in his theatrical and stage music, e.g. B. in King Arthur (1691), The Married Beau (1694), Abdelazer , Distressed Innocence , Bonduca and others. a. Particularly famous examples can be found in his semi-opera The Fairy Queen . Some of these pieces are also available in original versions for harpsichord or spinet.

The hornpipes in Handel's water music suite in F major and in his Concerto grosso op. 6, No. 7 are also famous - the latter, however, is much longer than a normal dance. Handel occasionally used alla hornpipe to indicate the character and tempo; such pieces of music are not actually dance, but only written in the style of the hornpipe. A famous example of this is in the Wassermusik Suite in D major: a piece with concertos trumpets and horns that, unlike a 'real' hornpipe, is not in two parts (with reprises), but in the Dacapo form (ABA). Handel even wrote arias in the style of the hornpipe, e.g. B. Ariodante's (Dacapo) aria "Dopo notte, atra e funesta" in the 3rd act of the opera Ariodante (1735).

The hornpipe was a typically English phenomenon, but there are still some rare examples from German composers such as Telemann and Gottlieb Muffat , perhaps inspired by Handel.

Country Dance

Around the middle of the 17th century it became fashionable to dance the then current English counter dances to hornpipe melodies in 3/2 time. The dances themselves were then called hornpipe. Also for the Country Dance Hornpipe there is no indication of the steps used; however, the descriptions of the counter dances indicate the figures. The earliest examples are in the third edition of Playford's Dancing Master (1657): "A Hornpipe" and "Lady Banbury's Hornpipe". Of the first, Playford only gives the melody (in 3/4), and "Lady Banbury's Hornpipe" is a dance in allabreve time that has nothing to do with the typical baroque hornpipe.

The country dance hornpipes in 3/2 time apparently did not really come into use until the last third of the 17th century. The first description of such a dance is “Mr. Eaglefield's New Hornpipe ”in Playford's Dancing Master of 1696 (Vol. I, p. 17); the corresponding melody in A major is typical, but without syncope (see below). Followed by 1726: “The Cobler's Hornpipe” in the edition of 1701 (p. 271), “Old Noll's Hornpipe” (1710, p. 6), “The Butcher's Hornpipe” and “Chalk's Hornpipe” (1718, p. 189 + P. 208), “The King's Head Hornpipe”, “Raven's Hornpipe” and “Ravenscroft Hornpipe” (1726, p. 4, p. 17 and p. 68f). The traditional melodies for these dances correspond to the description of the baroque hornpipe above. The melody of “The Scrag's Hornpipe” from 1721 (p. 148) is actually a jig in 6/8.

Many such pieces were also composed by Henry Purcell and Georg Friedrich Handel . John Playford's Apollo's Banquet II collection contains 35 Purcell hornpipes. This is how the 3/2-horn pipe found its way into art music of the Baroque period ( see below )

There are indications that the music in 3/2 time originally comes from northern England or the English-Scottish border area ( Northumberland ). In the folk music of Northumbria , individual three-digit hornpipes such as “Lads of Alnwick” have survived to this day, while elsewhere they have been completely supplanted by the even-numbered hornpipe. Other melodies have also been preserved, but are no longer classified as hornpipes, but as jig or slip jig. Typical examples are “Mad Moll” from Playford's Dancing Master (9th edition, approx. 1698) or “The Dusty Miller”.

The Dusty Miller , "Old Hornpipe"

Solo dance

Modern Lancashire clogs
Irish Hard Shoes, also Hornpipe Shoes or Jig Shoes called

This form of the hornpipe was danced by a single dancer, or by several dancers at the same time, but independently of each other. Hornpipes as a solo dance have been known in England since the 16th century, in Wales and Scotland “since ancient times”. The first evidence of the hornpipe as a solo dance can be found in England around 1598.

Typical of these dances is the stamping or tapping of the rhythm with the feet. The term clog dance or clog for a type of hornpipe comes from the clogs , shoes with wooden soles (not wooden shoes ), which were traditionally worn as work shoes, especially in Lancashire . Jig and hornpipe have this kind of dancing in common, but they differ in music. However, up to the 17th century, the terms jig and hornpipe were used interchangeably. In Irish dance , hornpipe and jig are danced as hard shoe dances to this day.

Around 1760 the musical character of the hornpipe changed completely: From now on it is more and more often in an even-numbered measure (initially 2/4, later 4/4). The type of melody that is now called the hornpipe is not new: it was already widespread in Scotland and was called the Scots Measure ( see below ) in England . In the following decades the 3/2 time, and with it the hornpipe rounds and the country dance hornpipes , was completely superseded by the 4/4 solo dance.

Stage stars of that time, such as Mrs. Baker and Nancy Dawson , introduced it as a stage dance and gave their names to hornpipes, some of which are still played today ("Miss Dawson's Hornpipe"). Such stage hornpipes were danced as entracte between the scenes or acts of the pieces until 1840 . The first evidence of such a stage hornpipe is probably a program booklet of the Drury Lane Theater from June 10, 1713, which announces a "Hornpipe by a Gentleman for his Diversion".

Sir George Grove suspects that Thomas Arne created the new, straight-cycle shape of the hornpipe. In 1767 Arne composed two dances of this kind for his version of Purcell's " King Arthur ". Shortly before, at the height of her career, Nancy Dawson moved to the Drury Lane Theater. Her successor in Covent Garden was Mrs. Vernon, who danced to a "New Hornpipe" by Thomas Arne on October 24, 1760. The occasion required something special to counterbalance the popular Nancy, and Emmerson speculates that this "New Hornpipe" may have been the first of its new type.

This form of the hornpipe has been preserved to this day as the English sailor's hornpipe , but also in Irish folk and in Scottish pipe music.

Sailor's hornpipe

Hornpipe of British cadets, 1928

The hornpipe is sometimes seen as a typical sailor dance - perhaps because it is particularly suitable for ships as a solo dance that takes up very little space.

Giovanni Gallini in particular contributed to the fact that the hornpipe is still considered the English national dance today . He wrote in 1770:

" In Britain the Hornpipe is a dance held as original to this country. ... some of the steps have been used in the English country dance, particularly by the lower class of the people ... and few English seamen are to be found that are not acquainted with the Hornpipe ... Boys at school destined for the Navy make a point of learning it. Comic dancers coming here (from abroad) apply themselves with great attention to the true study of the Hornpipe and by constant practice acquire the ability of performing it with success in foreign countries where it always meets with the highest applause. "

- GA Gallini : Critical Observations on the Art of Dancing. London 1770

The importance of the hornpipe as a typical sailor dance was reinforced by the fact that Sir Henry Wood used the Sailor's Hornpipe in his Fantasia on British Sea Songs (1905). This piece is still part of the Last Night of the Proms today . The melody of the Sailor's Hornpipe was published as “College Hornpipe” as early as 1775 and goes back to the even older sailor's song “Jack's the Lad”.

The College Hornpipe ("Jack's the Lad")

The connection between the hornpipe and seafaring dates back to 1740, when the hornpipe had been popular as a rural dance for centuries and as a stage dance for decades. In May 1740 a "Hornpipe in the Character of a Jacky Tar" was performed for the first time in Drury Lane, in August in Covent Garden a "Hornpipe by a Gentleman in the Character of a Sailor". At that time there was no talk of the “Sailor's Hornpipe”. At the same time, on August 1, 1740, “ Rule, Britannia! " Premiered. Emmerson sees the reason for this sudden British interest in the navy in the colonial war against Spain 1739–1742, the War of Jenkins' Ear .

The Sailor's Hornpipe can be found today as a character dance in Scottish Highland Dancing . She is danced there in a sailor costume to (modern) pipe hornpipes like "Crossing the Minch".

Styles of the hornpipe in the 19th century

The modern straight-bar hornpipes consist predominantly of eighth notes (4/4 or 2/2 time) or sixteenth notes (2/4 time). There are essentially two different ways of playing: a "round" ( round or even ), in which all individual notes are played for the same length, and a "dotted" ( pointed or dotted ), in which the individual notes are alternately extended ( dotted ) and shortened (see note examples).

Hornpipes of the Sailor's Hornpipe type are played round, the others are often punctured. The dotted style of play probably originated early in the north of England ( Lancashire or Northumberland ). Originally it seems to have been an accepted variant of the normal round style of play, similar to how the Strathspey was initially a rhythmic variant of the reel . William C. Honeyman distinguishes three ways of playing in his Scottish fiddle textbook from 1898:

" There are three styles of playing hornpipes. The first, which is almost identical with that of bowing reels, may be named 'The Sailor's Hornpipe' style, and is shown further in the 'College Hornpipe.' The second, which may be named the 'Newcastle Style,' is used for clog dancing or other step dancing at an easier pace. [...] The third style is rather more difficult of acquirement than the second, and may be named 'The Sand Dance Style,' as it produces a very sharp and distinct articulation of every note, and is very effective when played pianissimo, as the music is generally wanted in a sand dance, in which every touch and slide of the feet on the sanded stage must be heard. "

- William C. Honeyman : The Strathspey, Reel, and Hornpipe Tutor, 1898, p. 38

Hornpipes in Honeyman's Tutor, which are classified as "Newcastle Style", "Sand Dance Style" and "Clog Dance", are written in dotted lines, while hornpipes in "Sailor's Style" are round. This distinction between dotted “clogs” or “clog dances” and round “horpipes” can also be found in other 19th century collections, such as James Kerr's “Collection of Merry Melodies for the Violin” (Glasgow, approx. 1880) or “Ryan's” Mammoth Collection ”(Boston, Mass., 1883). On the other hand, there are pieces that are classified as "hornpipe / clog" at the same time, and in other collections you can find round and dotted hornpipes next to each other. Modern recordings of all types show a great variety in accentuation and rhythm. In Lancashire itself, in the 19th century, the “clog dances” were danced to round like dotted horn pipes, each of the two rhythms being associated with its own dance style.

Alastair Hardie also differentiates between round and dotted hornpipes in Scottish fiddle music. He specifies a tempo of 104–112 bpm for the round ones , 69–76 for the dotted notes (each based on half notes in 2/2 time). A round hornpipe hardly differs rhythmically from the reel, which is only slightly faster (120–128 bpm for Hardie).

Saratoga Hornpipe , "Hornpipe" in round notation (Ryan's Mammoth Collection, 1883, p. 137)
Bonnie Annie , "Clog" in dotted notation (Ryan's Mammoth Collection, 1883, p. 158)

Hornpipe in Ireland

Triplet feeling vs. Dotting

The hornpipe ( Irish : cornphíopa or crannciuil ) did not come to Ireland until the end of the 18th century. In the hornpipes of Irish folk , they are played continuously in 4/4 time. The melodies mainly consist of eighth notes , but are sometimes also written with dots (see note examples). The Irish hornpipes - in contrast to the notation - are practically always played with a triplet feeling: the time division between the 1st and 2nd eighth notes corresponds to about 60:40 to 66:33. Usually the hornpipe follows a melody pattern |: A, A *: |, |: B, A *: | or |: A, A *: |, |: B, B *: |.

The hornpipe in Irish dance is a pure hard shoe dance. Because of the required powerful footwork ("heavy stepping") it was initially considered unsuitable for women in Ireland and was only danced by men. Today both solo tap dances (also by women) and certain set dances are danced to hornpipes .

Boys of Bluehill , an Irish-American horn pipe, here in dotted notation
Derry Hornpipe (beginning), in the more common non-dotted notation
Whiskey, you're the devil

Hornpipe in Scotland

Scots Measure

A melody form that differs only slightly from the 2/4-horn pipe of the late 18th century was common in Scotland a century earlier. Typical examples such as “The White Cockade” and “Dumbarton's Drums” can be found around 1687 in Playford's “Apollos Banquet” , where they simply have the title “Scots tune”. Around 1700 the term Scots Measure (also Scotch or Scottish Measure ) was first used in print for these pieces . Henry Playford's Collection of Original Scots Tunes (1700/01) contains a number of pieces with titles such as “Mr. Mc. Clanklaines Scotch-measure ".

The English word "measure" (actually measure, measure) means something like dance. In the 16th century in England Pavane and Basse danse were also referred to as "the Measures". Emmerson suspects that this specifically meant couple dances and that the Scots Measure could originally have been a couple dance (“twosome”). No more is known about this dance. Country dances were also danced to Scots Measures in the 18th century . Alexander McGlashan published his Collection of Scots Measures, Hornpipes, Jigs, Allemands, Cotillions And all the fashionable Country Dances with a Bass for the Violoncello or Harpsichord in Edinburgh in 1781 , in which Scots Measures next to the new hornpipes in 2/2 time (including also the "College Hornpipe").

The characteristic feature of this melody form in 2/4 or 2/2 time is a change in the accent, which is normally on the 1st and 3rd quarter of a measure, in individual bars on the 2nd and 3rd quarter. Such measures start with three quarter notes (or eighth notes in 2/4 time), of which the second and third often have the same pitch, so that a characteristic "Di-Dam-Dam" results (see bars 2 and 8 in "McLauchlane's Scots Measure"). This pattern is also often recognizable in modern hornpipes (cf. bars 1, 3 and 8 of the "College Hornpipe", sheet music example above).

McLauchlane's Scots Measure , first published as "Mr. Mc. Clanklaines Scotch-measure ”in Henry Playford's collection of 1700

Pipe music

Great Highland Bagpipe

In the pipe music of the Gaelic-speaking Highlands , the hornpipe played no role for a long time. ( This does not apply to other bagpipes : the 3/2-hornpipes of England were often accompanied by bagpipes, and this type has also remained in the repertoire of the Northumbrian Smallpipe to this day.)

The Scots Measures of the Lowlands can be found in the music for the Highland Pipe as quickstepps or marches . Many 2/4 marches in use today, including the Competition Marches , still show the characteristic rhythmic pattern. Examples are “Highland Laddie”, “Dumbarton's Drums”, “The 79th Farewell to Gibraltar” or “The Stirlingshire Militia”.

Hornpipes in the style of the Irish hornpipe or the Sailor's hornpipe were only adopted later. 19th century pipe music collections initially contained only a few hornpipes, some of them classified as "hornpipe or march". It wasn't until 1940 that pipe hornpipes really came into fashion. Since then, their number and popularity have increased steadily.

Web links

Commons : Hornpipe (dance)  - collection of pictures, videos and audio files

Videos on YouTube ( Flash required ):

literature

  • Roderik D. Cannon: The Highland Bagpipe and its Music. New Edition . John Donald Publishers, Edinburgh 2002, ISBN 0-85976-549-0 (English).
  • Margaret Dean-Smith: Article "Hornpipe" . In: Music in the past and present . tape 6 , 1957, pp. 755-763 .
  • George S. Emmerson: Rantin 'pipe and tremblin' string. A history of Scottish dance music . Dent, London 1971, ISBN 0-460-03891-5 (English).
  • George S. Emmerson: A Social History of Scottish Dance. Ane Celestial Recreation . McGill-Queen's University Press, Montreal 1972, ISBN 0-7735-0087-1 (English).
  • JA Fuller Maitland (Ed.): Grove Dictionary of Music and Musicians . 2nd Edition. Macmillan, London 1910 (English).
  • Johann Mattheson, "The Angloise, ... this is where the country dances, ballads, hornpipes & c." (§ 109-112), in: The perfect Capellmeister 1739 , Kassel et al .: Bärenreiter, p. 229.
  • John Offord: John of the Green the Cheshire Way: The Famous Hornpipes in Triple Time of North West England with a Selection of Country Dance Tunes of the Baroque Era . 2nd Edition. Green Man Music, London 2008, ISBN 978-0-9556324-0-2 (English).
  • Fintan Vallely: The Companion to Irish Traditional Music . New York University Press, New York 1999, ISBN 0-8147-8802-5 (English).

Notes and other sources

  • MELOTHESIA or, Certain Rules for Playing upon a Continued - Bass. With a choice Collection of Lessons for the Harpsichord and Organ of all Sorts. The First Part. (1673) (harpsichord suites and individual pieces by Matthew Locke, Christopher Preston, John Roberts, William Gregorie, William Hall, Robert Smith, John Banister, J. Moss, G. Diesner, William Thatcher), New York: Performer's Facsimiles (01234), n.d.
  • John Playford, (PLAY.1-3A, 1657) The Dancing Master: or, plain and easie Rules for the Dancing of Country Dances, with the Tunes to each Dance. To which is added the Tunes of the most usual French Dances. And also other New and Pleasant English Tunes for the Treble-Violin., 1657. London: J. Playford, 1657, pp. I, 1-132; II, 33-60. (Glasgow University Library)
  • John Playford, (PLAY.1-9,1695) The Dancing-Master: or, Directions for Dancing Country Dances, with the Tunes to each Dance for the Treble-Violin. The Ninth Edition Corrected; with the addition of several new Dances and Tunes, never before printed. [London]…, 1695. [Includes 2 appendixes: The Second Part of the Dancing-Master ...,. 1696. 24 p., 24 dances; An Additional Sheet of New Dances for the Second Part of the Country Dancing Master [1697]. 12 p. 11 dances.], London: H. Playford, 1695/1696 / 1697. (Vaughan Williams Memorial Library .; British Library).
  • John Playford, (PLAY.1-11,1701) The Dancing-Master: or, Directions for Dancing Country Dances, with the Tunes to each Dance for the Treble-Violin. The Eleventh Edition Corrected ..., 1701. [Includes: New Country-Dances ...., London, 1701. 24 p., 24 dances.], London: Henry Playford, 1702, pp. 10; I, 312; II, 24. (Dundee Public Library).
  • Henry Purcell, Piano Solo Complete Edition (Urtext) , ed. By István Máriássy, Budapest: Könemann (n.d.).

Recordings

  • Four and Twenty Fiddlers - Music for the Restoration Band (instrumental suites by Matthew Locke, John Banister, Louis Grabu, Henry Purcell), The Parley of Instruments Renaissance Violin Band, dir. Peter Holman, published by Hyperion (CDA66667), 1993.
  • Henry Purcell, The Fairy Queen (2 CDs), Les Arts Florissants, William Christie, published by: harmonia mundi France, 1989.
  • Henry Purcell, King Arthur (2 CDs), Deller Consort & Choir, The King's Musick, Alfred Deller, published by: harmonia mundi France, 1978/2011.
  • Henry Purcell, music for the theater (music from "Abdelazer" , "Distressed Innocence" , "The Married Beau" , "The Gordian Knot Untied" ) (LP), Academy of Ancient Music, dir. by Christopher Hogwood, published by: Decca-Telefunken, 1976.
  • Henry Purcell, Theater Music - Vol. II (music from "Bonduca" , "Sir Anthony Love" , "Circe" ) (LP), Academy of Ancient Music, dir. by Christopher Hogwood, published by: Decca-Editions de l'Oiseau-Lyre, 1977.

Remarks

  1. In rare individual cases, a special arrangement of the syncopations can lead to the phenomenon of (apparent) clock changes : Within the individual voices, the rhythm changes, e.g. B. between 3/4 and 6/8 time (see Purcell's hornpipe from the 3rd act of The Fairy Queen in the illustration). When listening, the impression can arise that individual voices jumble and stumble; the order seems to dissolve, but in the end the voices come together again. In German such a dance piece with a changing rhythm is pictorially called a jerk dance .
  2. Handel composed this aria for the castrato Giovanni Carestini . The first performance of Ariodante took place on: January 8, 1735.

Individual evidence

  1. Archived copy ( Memento of the original dated February 7, 2008 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.hornpipemusic.co.uk
  2. a b c The music in past and present , 1957, article "Hornpipe" (Bd. 6, 755-763)
  3. Morality of Wisdom in The Digby Mysteries (Bodleian Mss.), Ed. v. FJ Furnivall, London 1882
  4. ^ George Peel: The Arrangement of Paris. London 1584
  5. Richard Barnfield: The Shepherd's Content from: The Affectionate Shepherd. London 1594
  6. ^ Henry Spelmann: A Relation of Virginia. Quoted by William Carew Hazlitt: Notes on our Antiquities. Sport and Games. In: The Antiquary. Vol. 12, 1885, ZDB -ID 211161-5 , pp. 248-254 , here p. 252 .
  7. "... There everyone can get good news about the shape of such melodies and learn that they do not consist of moving notes, but that they spread much further ..."; quoted from: Johann Mattheson, "The Angloise, ... this is where the country dances, ballads, hornpipes & c." (§ 109), in: The perfect Capellmeister , Kassel et al .: Bärenreiter, p. 229.
  8. This is a suite of 12 dances, of which only the outer parts have been preserved. A reconstruction of the middle voices comes from Peter Holman. See the CD (+ booklet text, p. 5): Four and Twenty Fiddlers - Music for the Restoration Band (instrumental suites by Matthew Locke, John Banister, Louis Grabu, Henry Purcell), The Parley of Instruments Renaissance Violin Band, dir. Peter Holman, published by Hyperion (CDA66667), 1993.
  9. MELOTHESIA or, Certain Rules for Playing upon a Continued - Bass. With a choice Collection of Lessons for the Harpsichord and Organ of all Sorts. The First Part. (1673) (harpsichord suites and individual pieces by Matthew Locke, Christopher Preston, John Roberts, William Gregorie, William Hall, Robert Smith, John Banister, J. Moss, G. Diesner, William Thatcher), New York: Performer's Facsimiles (01234), n.d., p. 42 (Locke) and p. 71f (Preston).
  10. Henry Purcell, King Arthur (2 CDs), Deller Consort & Choir, The King's Musick, Alfred Deller, published by: harmonia mundi France, 1978 / 2011. Henry Purcell, Music for the Theater (music from “Abdelazer” , “Distressed Innocence ” , “ The Married Beau ” , “ The Gordian Knot Untied ” ) (LP), Academy of Ancient Music, dir. by Christopher Hogwood, published by: Decca-Telefunken, 1976. Henry Purcell, Theater Music - Vol. II (music from “Bonduca” , “Sir Anthony Love” , “Circe” ) (LP), Academy of Ancient Music, dir. by Christopher Hogwood, published by: Decca-Editions de l'Oiseau-Lyre, 1977.
  11. ^ Henry Purcell, The Fairy Queen (2 CDs), Les Arts Florissants, William Christie, published by: harmonia mundi France, 1989.
  12. u. a. the autograph of the famous horn pipe from the "First Musick" to The Fairy Queen is preserved; see: Henry Purcell, Piano Solo Complete Edition (Urtext) , ed. by István Máriássy, Budapest: Könemann (undated), p. 32 and “Notes” (after p. 138).
  13. In Telemann orchestral suite TWV 55: d3 for 3 oboes, strings and bc; and in Muffat's Componimenti Musicali (1739), Suite No. 4 (for harpsichord).
  14. John Playford, (PLAY.1-9,1695) The Dancing-Master: or, Directions for Dancing Country Dances, with the Tunes to each Dance for the Treble-Violin. The Ninth Edition Corrected; …, 1695. [Includes 2 appendixes: The Second Part of the Dancing-Master ...,. 1696. 24 p., 24 dances; An Additional Sheet of New Dances for the Second Part of the Country Dancing Master [1697]. 12 p. 11 dances.], London: H. Playford, 1695/1696 / 1697. (Vaughan Williams Memorial Library .; British Library). see the following website on John Playford : The Dancing Master, 1651–1728: An Illustrated Compendium. By Robert M. Keller , http://www.izaak.unh.edu/nhltmd/indexes/dancingmaster/ (visited April 30, 2017)
  15. John Playford, (PLAY.1-11,1701) The Dancing-Master: or, Directions for Dancing Country Dances, with the Tunes to each Dance for the Treble-Violin. The Eleventh Edition Corrected ..., 1701. [Includes: New Country-Dances ...., London, 1701. 24 p., 24 dances.], London: Henry Playford, 1702, pp. 10; I, 312; II, 24. (Dundee Public Library). John Playford web site : The Dancing Master, 1651–1728: An Illustrated Compendium. By Robert M. Keller , http://www.izaak.unh.edu/nhltmd/indexes/dancingmaster/ (visited April 30, 2017)
  16. John Playford website: The Dancing Master, 1651-1728: An Illustrated Compendium. By Robert M. Keller , http://www.izaak.unh.edu/nhltmd/indexes/dancingmaster/ (visited April 30, 2017)
  17. ^ R. Greene: The Scottish Tragedy of James IV. London 1598, T. Creede, ed. v. AEH Swaen et al. WW Gregg, Oxford 1921
  18. GS Emmerson 1972, p. 209
  19. GS Emmerson 1972, p. 208
  20. ^ Frank Kidson : Art. "Hornpipe" in Grove's Dictionary
  21. GS Emmerson 1972, p. 214
  22. a b Pat Tracey: The Lancashire Hornpipe , 1993 [1] (visited May 2, 2009)
  23. a b Paul Roberts: The Village Music Project Lecture - Sidmouth Festival, August 10, 2000 Archive link ( Memento of the original from July 31, 2009 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. (visited on May 2, 2009) @1@ 2Template: Webachiv / IABot / www.village-music-project.org.uk
  24. ^ William Bradbury Ryan: Ryan's Mammoth Collection. 1050 Reels and Jigs, Hornpipes, Clogs, Walk-arounds, Essences, Strathspeys, Highland Flings and Contra Dances, with Figures, and How to Play Them . Boston: Elias Howe, 1883
  25. Alastair J. Hardie: The Caledonian Companion. A Collection of Scottish Fiddle Music and Guide to its Performance. Edinburgh: The Hardie Press, 1981. ISBN 0-946868-08-5
  26. ^ F. Vallely 1999
  27. GS Emmerson 1972, p. 208
  28. ^ RD Cannon 2002