Annotation:Catches and Glees: Difference between revisions
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|f_tune_annotation_title= https://tunearch.org/wiki/Annotation:Catches_and_Glees > | |||
'''CATCHES AND GLES''' (Glees). Scottish, | |f_annotation='''CATCHES AND GLES''' (Glees). Scottish, English; Jig (6/8 time). D Major (Keller/Bush, McGalshan, Wilson, Woolfe/Winter): C Major (Straight & Skillern, Thompson). Standard tuning (fiddle). AABB. A country dance to this tune appeared in Charles and Samuel Thompson's''' Twenty Four Country Dances''' (London, 1769), and the melody and dance were printed together in their '''Compleat Collection, vol. 3''' (London, 1773). It next appears in Straight and Skillern's '''Two Hundred and Four Favourite Country Dances''', vol. 1 (London, 1775), and Skillern's '''Compleat Collection of Two Hundred and Four Reels...Country Dances''' (London, 1780). A number of musicians' manuscript collections on both sides of the Atlantic contain the tune, including those of Ensign Thomas Molyneaux, 6th Regiment (Shelburne, Nova Scotia, 1788), Captain George Bush (America, 1779), and William Brown (Romford, England, 1797). "Catches and Glees" can be found in the mid-19th century music manuscript of William Winter (1774-1861), a shoemaker and violin player who lived in West Bagborough in Somerset, southwest England, and it is one of the "missing tunes" of William Vickers' 1770 Northumbrian dance tune manuscript. | ||
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'' | The title probably refers to the 'Catch', or a canon for three or more voices (where a great deal of skill was needed by the singers for each voice to 'catch' up his part at the right point) which was very popular in the 17th century. Some of the best texts of the catch at this later time, according to Pulver (1923), were constructed so that the entries of the different singers resulted in amusing and often suggestive or risqué word-combinations. | ||
|f_source_for_notated_version=the music manuscript of Captain George Bush (1753?-1797), a fiddler and officer in the Continental Army during the American Revolution [Keller]. | |||
|f_printed_sources=Keller ('''Fiddle Tunes from the American Revolution'''), 1992; p. 22. McGlashan ('''Collection of Scots Measures'''), 177?; p. 2. Straight and Skillern ('''Two Hundred and Four Favourite Country Dances, vol. 1'''), c. 1775; No. 74, p. 37. Thompson ('''Compleat Collection of 200 Favourite Country Dances''', vol. 3), 1773; No. 87. Wilson ('''Companion to the Ball Room'''), 1816; p. 110. Geoff Woolfe ('''William Winter’s Quantocks Tune Book'''), 2007; No. 11, p. 18 (ms. originally dated 1850). | |||
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Latest revision as of 23:22, 2 July 2023
X:1 T:Catches and Glees L:1/8 M:6/8 B:McGlashan - Collection of Scots Measures (c. 1780, p. 2) Z:AK/Fiddler's Companion K:D dfa afd|ged cBA|dfa afd|gec d3:| |:ged cBA|ged cBA|afd afd|gec d3:||
CATCHES AND GLES (Glees). Scottish, English; Jig (6/8 time). D Major (Keller/Bush, McGalshan, Wilson, Woolfe/Winter): C Major (Straight & Skillern, Thompson). Standard tuning (fiddle). AABB. A country dance to this tune appeared in Charles and Samuel Thompson's Twenty Four Country Dances (London, 1769), and the melody and dance were printed together in their Compleat Collection, vol. 3 (London, 1773). It next appears in Straight and Skillern's Two Hundred and Four Favourite Country Dances, vol. 1 (London, 1775), and Skillern's Compleat Collection of Two Hundred and Four Reels...Country Dances (London, 1780). A number of musicians' manuscript collections on both sides of the Atlantic contain the tune, including those of Ensign Thomas Molyneaux, 6th Regiment (Shelburne, Nova Scotia, 1788), Captain George Bush (America, 1779), and William Brown (Romford, England, 1797). "Catches and Glees" can be found in the mid-19th century music manuscript of William Winter (1774-1861), a shoemaker and violin player who lived in West Bagborough in Somerset, southwest England, and it is one of the "missing tunes" of William Vickers' 1770 Northumbrian dance tune manuscript.
The title probably refers to the 'Catch', or a canon for three or more voices (where a great deal of skill was needed by the singers for each voice to 'catch' up his part at the right point) which was very popular in the 17th century. Some of the best texts of the catch at this later time, according to Pulver (1923), were constructed so that the entries of the different singers resulted in amusing and often suggestive or risqué word-combinations.
