Annotation:Horseman's Port (The): Difference between revisions
No edit summary |
m (Text replacement - "garamond, serif" to "sans-serif") |
||
| Line 1: | Line 1: | ||
=='''Back to [[{{BASEPAGENAME}}]]'''== | =='''Back to [[{{BASEPAGENAME}}]]'''== | ||
---- | ---- | ||
<p><font face=" | <p><font face="sans-serif" size="4"> | ||
'''HORSEMAN'S PORT, THE'''. AKA and see "[[Black and the Brown (2) (The)]]," "[[John Patterson's Mare]] (Goes Foremost/Forewort)." Scottish, Jig (6/4 time) {"Brisk"}. F/G Major (double tonic). Standard tuning (fiddle). ABCDE. A 'port' is the Anglicized form of the Gaelic ''peurt'', or instrumental piece. The double tonic tune style was also popular in England in the 16th and 17th centurys, however, around 1700 it fell into disfavor there but retained its fashion in Scotland. It is now identified with that country for in the 18th century fiddle literature perhaps 1/6 of the tunes composed were in that form. The tune also appeared in Bremner's '''Scots Tunes''' of 1759 with a note saying that it was "To be begun moderately & increased in quickness to the end, As the Tune represents a Battle" (see "[[Highland Battle (A)]]," and "[[Battle of Falkirk (1) (The)]]" for other quasi-programatic pieces). | '''HORSEMAN'S PORT, THE'''. AKA and see "[[Black and the Brown (2) (The)]]," "[[John Patterson's Mare]] (Goes Foremost/Forewort)." Scottish, Jig (6/4 time) {"Brisk"}. F/G Major (double tonic). Standard tuning (fiddle). ABCDE. A 'port' is the Anglicized form of the Gaelic ''peurt'', or instrumental piece. The double tonic tune style was also popular in England in the 16th and 17th centurys, however, around 1700 it fell into disfavor there but retained its fashion in Scotland. It is now identified with that country for in the 18th century fiddle literature perhaps 1/6 of the tunes composed were in that form. The tune also appeared in Bremner's '''Scots Tunes''' of 1759 with a note saying that it was "To be begun moderately & increased in quickness to the end, As the Tune represents a Battle" (see "[[Highland Battle (A)]]," and "[[Battle of Falkirk (1) (The)]]" for other quasi-programatic pieces). | ||
<br> | <br> | ||
<br> | <br> | ||
</font></p> | </font></p> | ||
<p><font face=" | <p><font face="sans-serif" size="4"> | ||
''Source for notated version'': Sinkler Manuscript, 1710 (p. 6) [Johnson]. | ''Source for notated version'': Sinkler Manuscript, 1710 (p. 6) [Johnson]. | ||
<br> | <br> | ||
<br> | <br> | ||
</font></p> | </font></p> | ||
<p><font face=" | <p><font face="sans-serif" size="4"> | ||
''Printed sources'': Johnson ('''Scottish Fiddle Music in the 18th Century'''), 1984; No. 13, pp. 28-29. | ''Printed sources'': Johnson ('''Scottish Fiddle Music in the 18th Century'''), 1984; No. 13, pp. 28-29. | ||
<br> | <br> | ||
<br> | <br> | ||
</font></p> | </font></p> | ||
<p><font face=" | <p><font face="sans-serif" size="4"> | ||
''Recorded sources'': <font color=teal></font> | ''Recorded sources'': <font color=teal></font> | ||
</font></p> | </font></p> | ||
Latest revision as of 13:25, 6 May 2019
Back to Horseman's Port (The)
HORSEMAN'S PORT, THE. AKA and see "Black and the Brown (2) (The)," "John Patterson's Mare (Goes Foremost/Forewort)." Scottish, Jig (6/4 time) {"Brisk"}. F/G Major (double tonic). Standard tuning (fiddle). ABCDE. A 'port' is the Anglicized form of the Gaelic peurt, or instrumental piece. The double tonic tune style was also popular in England in the 16th and 17th centurys, however, around 1700 it fell into disfavor there but retained its fashion in Scotland. It is now identified with that country for in the 18th century fiddle literature perhaps 1/6 of the tunes composed were in that form. The tune also appeared in Bremner's Scots Tunes of 1759 with a note saying that it was "To be begun moderately & increased in quickness to the end, As the Tune represents a Battle" (see "Highland Battle (A)," and "Battle of Falkirk (1) (The)" for other quasi-programatic pieces).
Source for notated version: Sinkler Manuscript, 1710 (p. 6) [Johnson].
Printed sources: Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 13, pp. 28-29.
Recorded sources: