Annotation:Trip to Cottingham

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X: 1 T:Trip to Cottingham,aka. BF13.065 T:Garcon Volange,Le,aka. BF13.065 A:Lakes L:1/8 M:6/8 O:England Q:3/8=120 R:.Quadrille S:MS13,Browne family,c1825,Lake District Z:vmp.Chris Partington %%TBL:{"version":"beta","type":"tune","id":"7352"} K:F c/A/|FcA FcA|GcB GcB|Acf fef|agg gec|! FcA FcA|GcB GcB|Acf age|f3f3||! a3f3|gggg2z|g3e3|ffff2z|! a3f3|gggg2z|g3e3|fff fcA||! {d}c3BAB|{d}c3BAB|Acf fga|gfe dcA|! B3AGA|B3AGA|Bdc BAG|FFFF2|]

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TRIP TO COTTINGHAM. AKA and see “Garçon Volage Quadrille (2),” “Sally Sloane's,” “Village Boy Quadrille (The).” English, Country Dance Tune (6/8 time). England, Yorkshire. G Major. Standard tuning (fiddle). AABBCC. “Trip to Cottingham” must have been the hit tune of the 1830's, judging by the number of musicians' manuscript collections it appears in under its various titles. It can be found in the music manuscripts of Lawrence Ledley (1827-1897) of Helperby, Yorkshire, and in the c. 1800-1850 Browne Family manuscripts of the Lake District (other versions appear in the Brown mss. as “Le Garcon Volange” and “The Village Boy Quadrille”).

The tune first appears in print by John Simpson under the title “Le Nouvell Fantasie,” perhaps an English imitation of a French tune (given that the grammar of the title is wanting). It also appears under the similar title “La Fantase” in the c. 1831 music manuscript of George Spencer, a musician from Leeds, West Yorkshire. Lionel Winship (Wark, Northumberland) entered it into his 1833 music manuscript simply as “A Quadrille.” The aforementioned Simpson had a music shop at 260 (later 266) Regent Street, London, from 1826 to 1869, and claimed to have invented the term flageolet. A double boxwood/ivory/silver flageolet with Simpson’s name and address resides at the Powerhouse Museum, Sydney, Australia. Simpson also traded in concertinas and published a tutor in 1855 called Easy Method of Learning the Concertina by John Simpson, Teacher of the Flageolet. He formed a short lived partnership called Simpson and Wieppert toward the end of his life, that manufactured concertinas. The Wheatstone records indicate that he regularly bought Wheatstone instruments to sell at his shop prior to the 1850’s.

A version tune inexplicably surfaced in Australia in the 1960’s played by fiddler and melodeon player Sally Sloane, of Parkes, central New South Wales, and was called “Sally Sloane’s Jig” (also "Sally Sloane’s Set Tune" and "Sally Sloane’s Barndance") by local musicians. Sloane had a large and varied repertoire of songs and tunes, many collected by folklore collector John Meredith in the 1950s. Joe Yates from Sofala NSW played the tune for the fourth figure of the Lancers set, and a related jig was collected by Peter Ellis from Mr Semmens of Sedgwick, near Bendigo. How this North Yorkshire tune remained in tradition to survive and be collected there is a mystery. "Sally Sloane's" version has been the beneficiary of "folk-processing", with a more developed second strain.

The tune is useful for dances that require 48-bar tunes as accompaniment.

Donegal fiddler James Byrne recorded a version of the tune as "Fickle Lad (The)."

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