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'''MADRIGAL, THE.''' Scottish, Country Dance Tune (6/8 time). C Major. Standard tuning (fiddle). AABB. Aird printed the word "Siciliano" with the tune, implying this was one of the 'foreign airs' in his 1788 volume. Aird's publication of the tune was predated by printings in Preston & Son's '''A New and Complete Tutor for the Violoncello''' (London, 1785, pp. 18-19) and Samuel, Ann and Peter Thompson's '''Compleat Instuctions for the Clarinet''' (London, 1785). Thomas Cahusac also printed the tune the same year as did Aird, in the former's '''The Compleat Tutor for the German Flute''' (London, 1788). It continued to be included in various tutors and collections for the next twenty years. | '''MADRIGAL, THE.''' Scottish, Country Dance Tune (6/8 time). C Major. Standard tuning (fiddle). AABB. Aird printed the word "Siciliano" with the tune, implying this was one of the 'foreign airs' in his 1788 volume. The Madrigal was originally an Italian country dance with singing; grandually, the singing took precedence and developed into a brisk part-singing form, usually with a rather simply stated melody to which ever-more intricate variations were appended. | ||
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Aird's publication of the tune was predated by printings in Preston & Son's '''A New and Complete Tutor for the Violoncello''' (London, 1785, pp. 18-19) and Samuel, Ann and Peter Thompson's '''Compleat Instuctions for the Clarinet''' (London, 1785). Thomas Cahusac also printed the tune the same year as did Aird, in the former's '''The Compleat Tutor for the German Flute''' (London, 1788). It continued to be included in various tutors and collections for the next twenty years. | |||
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Revision as of 03:54, 7 April 2013
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MADRIGAL, THE. Scottish, Country Dance Tune (6/8 time). C Major. Standard tuning (fiddle). AABB. Aird printed the word "Siciliano" with the tune, implying this was one of the 'foreign airs' in his 1788 volume. The Madrigal was originally an Italian country dance with singing; grandually, the singing took precedence and developed into a brisk part-singing form, usually with a rather simply stated melody to which ever-more intricate variations were appended.
Aird's publication of the tune was predated by printings in Preston & Son's A New and Complete Tutor for the Violoncello (London, 1785, pp. 18-19) and Samuel, Ann and Peter Thompson's Compleat Instuctions for the Clarinet (London, 1785). Thomas Cahusac also printed the tune the same year as did Aird, in the former's The Compleat Tutor for the German Flute (London, 1788). It continued to be included in various tutors and collections for the next twenty years.
The tune's popularity is also attested by its inclusion in many musicians' manuscripts of the era, including flute player Micah Hawkin's copybook (New York, 1794), keyboard player Elizabeth Van Rensselaer manuscript (Boston, 1782), George Otis manuscript (Worcester, Mass., 1793), William Adams (London & U.S., 1795), Josiah Adams (Framingham, Mass., 1808), clarinet player John Williams (Salem, New York, 1799), Betsy Perkins (Litchfield, Conn., 1800), and Ensign Thomas Molyneaux (Shelburne, Nova Scotia, 1788).
Source for notated version:
Printed sources: Aird (Selection of Scotch, English, Irish and Foreign Airs, vol. 3), 1788; No. 224, p. 163.
Recorded sources:
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