|f_annotation='''ROMP [1], THE.''' AKA - "[[Merry Girls of Scarborough (The)]]." English, Country Dance Tune (cut time). D Major. Standard tuning (fiddle). AABB. In 1767 musician, composer, novelist, actor and songwriter Charles Dibdin (1745-1814) was the original Watty Cockney in '''Love in the City''' (1767), and although the play itself was a commercial failure, Dibdin's music for the opera received approval. A number of selections were later altered into the successful production '''The Romp''' (1791), for which he composed choruses and songs, including the popular "Dear me! how I long to be married!" "The Romp" was one of the favorite vehicles for the adored period comic actress Dorothy Jordon. [[File:dibdin.jpg|400px|thumb|right|Charles Dibdin]]
'''ROMP [1], THE.''' AKA - "[[Merry Girls of Scarborough (The)]]." English, Country Dance Tune (cut time). D Major. Standard tuning (fiddle). AABB. In 1767 musician, composer, novelist, actor and songwriter Charles Dibdin (1745-1814) was the original Watty Cockney in '''Love in the City''' (1767), and although the play itself was a commercial failure, Dibdin's music for the opera received approval. A number of selections were later altered into the successful production '''The Romp''' (1791), for which he composed choruses and songs, including the popular "Dear me! how I long to be married!" "The Romp" was one of the favorite vehicles for the adored period comic actress Dorothy Jordon. [[File:dibdin.jpg|400px|thumb|right|Charles Dibdin]]
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This tune and directions for a country dance were printed by London publishers Samuel, Ann & Peter Thompson in their '''Compleat Collection of 200 Country Dances, vol. 5''' (1788, p. 19). However, the whether Dibdin was the composer of this melody is not known, nor is the connection with his opera ascertained (it was staged a few years after the Thompson's publication). Alternatively, and perhaps more convincingly, '''The Romp''' was an afterpiece entertainment that played the Haymarket Theatre, London, for several seasons 1786-1789, and would correspond more closely with the Thompson's publication of the tune.
This tune and directions for a country dance were printed by London publishers Samuel, Ann & Peter Thompson in their '''Compleat Collection of 200 Country Dances, vol. 5''' (1788, p. 19). However, the whether Dibdin was the composer of this melody is not known, nor is the connection with his opera ascertained (it was staged a few years after the Thompson's publication).
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== Additional notes ==
<p><font face="sans-serif" size="2">
<font color=red>''Source for notated version''</font>: -
X:1
T:Romp [1], The
M:C|
L:1/8
R:Country Dance
B:Samuel, Ann & Peter Thompson -- Compleat Collection of 200 Favourite Country Dances, vol. 5 (1788, p. 19)
Z:AK/Fiddler's Companion
K:D
d4 A2 Bc|B2B2 A4|d2 fd B2 cd|efge dcBA|
d4 A2 Bc|B2B2 A4|d2 fd Bege|d2c2 d4:|
|:Adfd Bege|ceae|dgbg|gfed c2d2|edcB A4|
Adfd Bege|ceaf|dgbg|gfed A2c2|d4 D4:|]
ROMP [1], THE. AKA - "Merry Girls of Scarborough (The)." English, Country Dance Tune (cut time). D Major. Standard tuning (fiddle). AABB. In 1767 musician, composer, novelist, actor and songwriter Charles Dibdin (1745-1814) was the original Watty Cockney in Love in the City (1767), and although the play itself was a commercial failure, Dibdin's music for the opera received approval. A number of selections were later altered into the successful production The Romp (1791), for which he composed choruses and songs, including the popular "Dear me! how I long to be married!" "The Romp" was one of the favorite vehicles for the adored period comic actress Dorothy Jordon. Charles Dibdin
This tune and directions for a country dance were printed by London publishers Samuel, Ann & Peter Thompson in their Compleat Collection of 200 Country Dances, vol. 5 (1788, p. 19). However, the whether Dibdin was the composer of this melody is not known, nor is the connection with his opera ascertained (it was staged a few years after the Thompson's publication). Alternatively, and perhaps more convincingly, The Romp was an afterpiece entertainment that played the Haymarket Theatre, London, for several seasons 1786-1789, and would correspond more closely with the Thompson's publication of the tune.
