More Playford, more 3/2. This is 18th century Playford (1701, in the 11th Edition) by which time John Playford was long dead. His son Henry and nephew John the Younger continued the series but eventually sold the copyright to other publishers.
Gradually increasing the number of different scales used in this project, this is in D-dorian (all the white notes, starting from D).
Sticking in France for the mo, here’s a polka in C minor. In honour of it being French I’ve ended on the Picardy Third, which keen-eared followers will recognise from the Coventry Carol.
I’m not imagining that the cat comes off particularly well in this branle.
A Scottish. Which means it’s from France (well, it could be from Sweden, but it’s not).
By the way, here’s what the dance notation looks like. It’s quite compact, and you need to know the argot to interpret it. Which of course means that there are different interpretations, and sometimes even the same caller will lead a dance differently if they’re at a social dance or a historically informed reenactment.
Another dainty dish set before me by Benjamin Rose.
From the “has been in my head forever” collection. To show how a fiddle is really part of the rhythm section in a dance band using proof by contradiction, I did a lot to smooth out the music here and you probably wouldn’t want to dance to this recording at all.
There’s definitely a dance to this, and also a song (words by a certain Robert Burns of Ayrshire).