Annotation:Gallopede (1): Difference between revisions
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{{TuneAnnotation | {{TuneAnnotation | ||
|f_tune_annotation_title=https://tunearch.org/wiki/Annotation:Gallopede_(1) > | |f_tune_annotation_title=https://tunearch.org/wiki/Annotation:Gallopede_(1) > | ||
|f_annotation='''GALLOPEDE [1]'''. AKA and see "[[Corn Field]]," "[[Yarmouth Reel]]," "[[Persian Dance (A)]]," "[[Persian Ricardo]]." English, New England; Country Dance Tune (2/2 time). G Major. Standard tuning (fiddle). AABC. The title of the tune is really a generic term for a type of once extremely popular early 19th century country dance, the 'galop', also spelled gallopede, galopade or gallopade, which features a simple rhythm and a hop or change of step at the end of each phrase. At one point in the dance couples 'galop' up or down the center of the lines. One of the early mentions of a tune and dance by this title is in LeClerc's '''Premier Receuil de Contre Danses''', published in Paris in 1729. There were many "Galopede" (or, in early usage, 'Galopade') tunes, often referenced by the theater work in which they appeared. Thus there are "Galopade from Zampa," "Galopade by Herz," "Gallopade from Gustave," "Gallopade from Fra Diavlo," and others. | |f_annotation='''GALLOPEDE [1]'''. AKA and see "[[Corn Field]]," "[[Yarmouth Reel]]," "[[Persian Dance (A)]]," "[[Persian Ricardo]]," "[[Ricardo]]." English, New England; Country Dance Tune (2/2 time). G Major. Standard tuning (fiddle). AABC. The title of the tune is really a generic term for a type of once extremely popular early 19th century country dance, the 'galop', also spelled gallopede, galopade or gallopade, which features a simple rhythm and a hop or change of step at the end of each phrase. At one point in the dance couples 'galop' up or down the center of the lines. One of the early mentions of a tune and dance by this title is in LeClerc's '''Premier Receuil de Contre Danses''', published in Paris in 1729. There were many "Galopede" (or, in early usage, 'Galopade') tunes, often referenced by the theater work in which they appeared. Thus there are "Galopade from Zampa," "Galopade by Herz," "Gallopade from Gustave," "Gallopade from Fra Diavlo," and others. | ||
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However, in modern usage "Gallopede" refers to a specific tune that appears in English manuscripts of the early 19th century (John Moore, John Clare) under the title "[[Persian Dance (A)]]" or "[[Persian Ricardo]]." The first published version appears in Preston's '''24 Country Dances for 1801'''. Flett & Flett (1964) state that in Scotland the Galop or Galopede received a 'lukewarm' welcome in the first few decades after its introduction, but gained steadily in popularity with the coming of the polka in 1844 and the resulting surge of interest in 'circle' dances in that country. Somewhere along the line it received the additional title "[[Corn Field]]" in Scotland. As "Gallopede," it has been routinely heard at New England contra dances during the 20th century. Under the "Persian" or "[[Persian Ricardo]]" titles it appears in numerous early 19th century English fiddlers' manuscripts. "Gallopede" has been a staple at 'revival' New England contra dances. | However, in modern usage "Gallopede" refers to a specific tune that appears in English manuscripts of the early 19th century (John Moore, John Clare) under the title "[[Persian Dance (A)]]" or "[[Persian Ricardo]]." The first published version appears in Preston's '''24 Country Dances for 1801'''. Flett & Flett (1964) state that in Scotland the Galop or Galopede received a 'lukewarm' welcome in the first few decades after its introduction, but gained steadily in popularity with the coming of the polka in 1844 and the resulting surge of interest in 'circle' dances in that country. Somewhere along the line it received the additional title "[[Corn Field]]" in Scotland. As "Gallopede," it has been routinely heard at New England contra dances during the 20th century. Under the "Persian" or "[[Persian Ricardo]]" titles it appears in numerous early 19th century English fiddlers' manuscripts. "Gallopede" has been a staple at 'revival' New England contra dances. | ||
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"Gallopede (1)" can be found in an anonymous dance collection in a section of quadrilles in a French language musician's manuscript collection of 1830 under the title "[[Quadrille 3rd Set -- Tréssice]]," where is is the fourth figure of a quadrille set<ref>The ms. can be accessed at American Vernacular Music site [https://archive.org/details/Quadrille] </ref>. | |||
|f_source_for_notated_version= | |f_source_for_notated_version= | ||
|f_printed_sources=Brody ('''Fiddler's Fakebook'''), 1983; p. 115. Karpeles & Schofield ('''100 English Folk Dance Airs'''), 1951; p. 1. Kennedy ('''Fiddler's Tune-Book, vol. 1'''), 1951; No. 63, pg 31. Miller & Perron ('''New England Fiddler's Repertoire'''), 1983; No. 68. Phillips ('''Traditional American Fiddle Tunes, vol. 1'''), 1994; p. 93. Raven ('''English Country Dance Tunes'''), 1984; p. 149 (appears as "The Yarmouth Reel"). Sharp ('''Country Dance Tunes'''), 1909; p. 1. Spadaro ('''10 Cents a Dance'''), 1980; p. 9. | |f_printed_sources=Brody ('''Fiddler's Fakebook'''), 1983; p. 115. Karpeles & Schofield ('''100 English Folk Dance Airs'''), 1951; p. 1. Kennedy ('''Fiddler's Tune-Book, vol. 1'''), 1951; No. 63, pg 31. Miller & Perron ('''New England Fiddler's Repertoire'''), 1983; No. 68. Phillips ('''Traditional American Fiddle Tunes, vol. 1'''), 1994; p. 93. Raven ('''English Country Dance Tunes'''), 1984; p. 149 (appears as "The Yarmouth Reel"). Sharp ('''Country Dance Tunes'''), 1909; p. 1. Spadaro ('''10 Cents a Dance'''), 1980; p. 9. | ||
|f_recorded_sources=F&W Records 3, "The Canterbury Country Dance Orchestra." | |f_recorded_sources=F&W Records 3, "The Canterbury Country Dance Orchestra." | ||
Free Reed Records FRR 016, Flowers and Frolics - "Bees on Horseback: English Country Dance Music and Music Hall Songs" (1977). | |||
Front Hall 05, Fennigs All Stars – "Saturday Night in the Provinces." | Front Hall 05, Fennigs All Stars – "Saturday Night in the Provinces." | ||
Pukka Records, The Oysterband – "20 Golden Tie Slackeners" (1984). | Pukka Records, The Oysterband – "20 Golden Tie Slackeners" (1984). | ||
Latest revision as of 23:20, 28 July 2024
X:1 T:Galopede [1] M:C L:1/8 K:G |:B2 Bc A2 AB|G2G2G2AB|cB cd ed cB|A2A2A2 dc| B2 Bc A2 AB| G2G2G2AB|cB AG FG AF|G2G2G2 dc:| |B2 gf e2d2|dc Bc A2 dc|B2 gf ed cB|A2A2A2 dc| B2gf e2d2|dc Bc A2 dc| Bd cB Ac BA|G2G2G2 Bc|] [|d2d2d2g2|d2d2d2g2|d2d2 ed cB|A2A2A2 Bc| d2d2d2g2|d2d2d2g2| ed cB dc BA|G2G2G2 dc|]
GALLOPEDE [1]. AKA and see "Corn Field," "Yarmouth Reel," "Persian Dance (A)," "Persian Ricardo," "Ricardo." English, New England; Country Dance Tune (2/2 time). G Major. Standard tuning (fiddle). AABC. The title of the tune is really a generic term for a type of once extremely popular early 19th century country dance, the 'galop', also spelled gallopede, galopade or gallopade, which features a simple rhythm and a hop or change of step at the end of each phrase. At one point in the dance couples 'galop' up or down the center of the lines. One of the early mentions of a tune and dance by this title is in LeClerc's Premier Receuil de Contre Danses, published in Paris in 1729. There were many "Galopede" (or, in early usage, 'Galopade') tunes, often referenced by the theater work in which they appeared. Thus there are "Galopade from Zampa," "Galopade by Herz," "Gallopade from Gustave," "Gallopade from Fra Diavlo," and others.
However, in modern usage "Gallopede" refers to a specific tune that appears in English manuscripts of the early 19th century (John Moore, John Clare) under the title "Persian Dance (A)" or "Persian Ricardo." The first published version appears in Preston's 24 Country Dances for 1801. Flett & Flett (1964) state that in Scotland the Galop or Galopede received a 'lukewarm' welcome in the first few decades after its introduction, but gained steadily in popularity with the coming of the polka in 1844 and the resulting surge of interest in 'circle' dances in that country. Somewhere along the line it received the additional title "Corn Field" in Scotland. As "Gallopede," it has been routinely heard at New England contra dances during the 20th century. Under the "Persian" or "Persian Ricardo" titles it appears in numerous early 19th century English fiddlers' manuscripts. "Gallopede" has been a staple at 'revival' New England contra dances.
"Gallopede (1)" can be found in an anonymous dance collection in a section of quadrilles in a French language musician's manuscript collection of 1830 under the title "Quadrille 3rd Set -- Tréssice," where is is the fourth figure of a quadrille set[1].
