Another excursion into my favourite time signature.
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.
From the Musick Meeting, where it’s from Kynaston. That’s Nathaniel Kynaston from Shropshire (the same neck of the woods as highwayman Wild Humphrey Kynaston), not Edward Kynaston, a contemporary actor.
When 3/2 hornpipes like this one have notes going across the beat, the dance must be going across the beat too so it’s likely that there’s only one dance that will fit this tune. I had a quick search for a demonstration, but the top result on Youtube was Carly Rae Jepsen’s “Call Me Maybe” which is, as close as I can tell, in cut time.
As early Presbyterian services wouldn’t have had music (or even, very early on, unaccompanied hymn signing), I’m not sure whether the title of this tune is taking the mickey.
It must be 3/2 time again, then.
Another 3/2! I got this one from, um, my own manuscript, and can’t remember when or why it’s there. It was probably a good few years ago and shortly after Boldwood recorded a version, so I expect it was doing the rounds in Oxford’s sessions.
How did I get this far in before including a 3/2 hornpipe? Shameful. Here’s the hornpipe from Handel’s Water Music.