Annotation:Morning Star (2): Difference between revisions
No edit summary |
No edit summary |
||
Line 1: | Line 1: | ||
== | __NOABC__ | ||
<div class="noprint"> | |||
<p><font face="Century Gothic" size="4"> Back to [[{{BASEPAGENAME}}]] </font></p> | |||
</div> | |||
---- | ---- | ||
<p><font face=" | {{#lst:{{PAGENAME}}|abc}} | ||
---- | |||
<div style="page-break-before:always"></div> | |||
<p><font face="Century Gothic" size="2"> | |||
<div style="text-align: justify; direction: ltr; margin-bottom: 90px; margin-left: 70px; margin-right: 120px;"> | |||
<br> | |||
'''MORNING STAR [2].''' AKA and see "[[London Pride]]." English; Hornpipe, March or Morris Dance Tune (4/4 time). F Major (Bacon): G Major (Mallinson). Standard tuning (fiddle). AABB. Barry Callaghan (2007) points out "there are many variants of this lovely tune, many in modal forms, and played as hornpipes, as morris tunes , and even as airs." Versions appear in several musicians' manuscripts of the 19th century, including Joshua Jackson (Harrogate, north Yorkshire, 1798), fifer John Miller (Perth, Scotland, 1799), fifer (or violinist) John Fife (probably Perthshire, 1780), and G. Huddeswell (Leeds, west Yorkshire). John Fife identified the tune as "a quickstep" or march. William Hathaway of Lower Swell had the tune in his manuscript copybook as "[[London Pride (2)]]," although that title usually goes with another tune ([[London Pride (1)]]/[[Idbury Hill]]). Collector Cecil Sharp noted "Morning Star" from the playing of James Lock of Newent, Gloucestershire. | '''MORNING STAR [2].''' AKA and see "[[London Pride]]." English; Hornpipe, March or Morris Dance Tune (4/4 time). F Major (Bacon): G Major (Mallinson). Standard tuning (fiddle). AABB. Barry Callaghan (2007) points out "there are many variants of this lovely tune, many in modal forms, and played as hornpipes, as morris tunes , and even as airs." Versions appear in several musicians' manuscripts of the 19th century, including Joshua Jackson (Harrogate, north Yorkshire, 1798), fifer John Miller (Perth, Scotland, 1799), fifer (or violinist) John Fife (probably Perthshire, 1780), and G. Huddeswell (Leeds, west Yorkshire). John Fife identified the tune as "a quickstep" or march. William Hathaway of Lower Swell had the tune in his manuscript copybook as "[[London Pride (2)]]," although that title usually goes with another tune ([[London Pride (1)]]/[[Idbury Hill]]). Collector Cecil Sharp noted "Morning Star" from the playing of James Lock of Newent, Gloucestershire. | ||
<br> | <br> | ||
Line 10: | Line 18: | ||
Philip Health-Coleman finds a relationship between Benfield's tune and the Irish "[[Morning Star (1)]]," and references in particular the first half of the second strain of "Morning Star [2]" for the connection. | Philip Health-Coleman finds a relationship between Benfield's tune and the Irish "[[Morning Star (1)]]," and references in particular the first half of the second strain of "Morning Star [2]" for the connection. | ||
<br> | <br> | ||
< | </div> | ||
</font></p> | </font></p> | ||
<p><font face=" | <div class="noprint"> | ||
''Source for notated version'': Charles Benfield (Rollo Woods, Gloucestershire) 1925 [Bacon]. | <p><font face="Century Gothic" size="2"> '''Additional notes''' </font></p> | ||
<p><font face="Century Gothic" size="2"> | |||
<font color=red>''Source for notated version''</font>: - Charles Benfield (Rollo Woods, Gloucestershire) 1925 [Bacon]. | |||
<br> | <br> | ||
<br> | <br> | ||
</font></p> | </font></p> | ||
<p><font face=" | <p><font face="Century Gothic" size="2"> | ||
''Printed sources'': Bacon ('''The Morris Ring'''), 1974; p. 78. Callaghan ('''Hardcore English'''), 2007; p. 43. Mallinson ('''Mally's Cotswold Morris Book'''), 1988, vol. 2; No. 34, p. 17. | <font color=red>''Printed sources''</font> : - Bacon ('''The Morris Ring'''), 1974; p. 78. Callaghan ('''Hardcore English'''), 2007; p. 43. Mallinson ('''Mally's Cotswold Morris Book'''), 1988, vol. 2; No. 34, p. 17. | ||
<br> | <br> | ||
<br> | <br> | ||
</font></p> | </font></p> | ||
<p><font face=" | <p><font face="Century Gothic" size="2"> | ||
''Recorded sources'': <font color=teal></font> | <font color=red>''Recorded sources'': </font> <font color=teal> - </font> | ||
</font></p> | </font></p> | ||
<br> | <br> | ||
---- | ---- | ||
== | <p><font face="Century Gothic" size="4"> Back to [[{{BASEPAGENAME}}]] </font></p> | ||
</div> | |||
__NOEDITSECTION__ | |||
__NOTITLE__ |
Revision as of 02:54, 23 January 2019
X: 1 T:Morning Stare(!),The. JMP.071 T:Morning Star [2] M:C| L:1/8 Q:1/2=90 C:"76" S:John Miller MS. Perth, 1799.(for the fife) R:.Hornpipe O:Scotland A:Perth H:1799 Z:vmp.C. Graebe K:G major GA | BABG E2 FG | AGAF D2 GA | BABG EFGE | D2 G2 G2 :|! |:GA | B2 d2 d2 ef | gfed cBAG | B2 d2 efge | f2 d2d2 dc |! B2 e2 d3 c | BdBA GFGA | BABG EFGE | D2 G2 G2 :|
MORNING STAR [2]. AKA and see "London Pride." English; Hornpipe, March or Morris Dance Tune (4/4 time). F Major (Bacon): G Major (Mallinson). Standard tuning (fiddle). AABB. Barry Callaghan (2007) points out "there are many variants of this lovely tune, many in modal forms, and played as hornpipes, as morris tunes , and even as airs." Versions appear in several musicians' manuscripts of the 19th century, including Joshua Jackson (Harrogate, north Yorkshire, 1798), fifer John Miller (Perth, Scotland, 1799), fifer (or violinist) John Fife (probably Perthshire, 1780), and G. Huddeswell (Leeds, west Yorkshire). John Fife identified the tune as "a quickstep" or march. William Hathaway of Lower Swell had the tune in his manuscript copybook as "London Pride (2)," although that title usually goes with another tune (London Pride (1)/Idbury Hill). Collector Cecil Sharp noted "Morning Star" from the playing of James Lock of Newent, Gloucestershire.
The morris dance version was collected from the village of Bledington, in England's Cotswolds. The portrait on the cover of Kennedy's Fiddlers Tune Book/Traditional Dance Music series (by artist A van Anrooy) depicts Charles Benfield, the fiddler for the Bledington morris men in the second half of the 19th century. Benfield started out by playing the pipe and tabor, instruments he had 'inherited' from the renowned Sherbourne and Northleach musician Jim 'the laddie' Simpson, who had succumbed to an overdose of alcohol in 1856. The fiddler became a key figure in the Bledington morris tradition, eventually leading the "junior side" of dancers born in the 1860's, men who survived to pass on their tradition to larger audiences when collectors visited in the 1930's.
Philip Health-Coleman finds a relationship between Benfield's tune and the Irish "Morning Star (1)," and references in particular the first half of the second strain of "Morning Star [2]" for the connection.