You’ll probably find me in bed when this post goes online, I was up long before the day-O to welcome in the Summer time, to welcome in the May-O.
Staying in three time for the mo.
In William Winter’s Quantocks Tune Book: Country Dance and Popular Tunes from the Manuscript of a Nineteenth Century Somerset Village Shoemaker, this appears in a section marked “Some Scottish tunes”. It’s an interesting question (well, it’s a question anyway) how anybody knows where a given tune comes from, or if they don’t, what makes them believe that it is. So what made William Winter (or the editor, I don’t know who categorised it) decide that The Queen of May is Scottish? You could write a whole DPhil on such matters, and indeed I know someone who does.
It’s been a while since I got to press the F-major button in categorising a post.
Not to be confused with Nonesuch. What similarity is there between the two? There is none such (except that both are in Playford’s dancing master, under almost the same name).
“So, Graham, why did you choose this tune?”
“Is it not obvious? I hadn’t done one beginning with E yet.”
Happy Star Wars day! I’m not counting this as the “one dance” for today because in the orchestral arrangement, the tune is played a quaver away from the beat which makes it difficult to dance to. So there’ll be another tune later today.
How did I get this far in before including a 3/2 hornpipe? Shameful. Here’s the hornpipe from Handel’s Water Music.
Technically just about an 18th century tune as it comes from the 1701 edition of Playford. Conveniently for its own narrative, this tune was recorded in F which, being outside the usual proletariat keys available to melodeons, makes it likely to remain a fiddler’s tune.
This first appears in the 1670 edition of Playford’s Dancing Master, in F as recorded here. Its rhythm fits the Morris dance Young Collins well, so Icknield Way Morris Men have been known to use this tune.