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{{SheetMusic
{{SheetMusic
|f_track=Leo Rowsome - St Patrick's Day.mp3
|f_track=Rolling hornpipe.mp3
|f_pdf=St.Patricks Day.pdf
|f_pdf=The Rolling Hornpipe.pdf
|f_artwork=Irish brigade.jpg
|f_artwork=Colonial Children.jpg
|f_tune_name=St. Patrick's Day
|f_tune_name=The Rolling Hornpipe
|f_track_title=St. Patrick's Day
|f_track_title=Rolling_Hornpipe_(The)
|f_section=X11
|f_section=X1
|f_played_by=[https://open.spotify.com/artist/5ZIhbzIF7v2lYvU6Xoogn6?si=rKsfUZJNTBm2ULon6nJQOQ Leo Rowsome]
|f_played_by=[https://www.youtube.com/channel/UCREcb3llNYmclT-nIYl2ayw Les Harpies, Freddy Eichelberger, Odile Edouard]
|f_notes=The Irish Brigade attached to the French forces which helped turn the tide of battle against the English troops at the battle of Fontenoy.
|f_notes=Colonial Children (1902).
|f_caption=This is the only occasion on which country dances are performed at the Irish court. The ball on Patrick’s night is always opened by the lively dance of “Patrick’s day.” The dowagers of both sexes then come into play; and “the Irish trot” of many a veteran belle, recalls the good old times of the Rutland Court: when French quadrilles were “undreamed of in philosophy” of the dancing of that noted epoch.
|f_caption=The principle amusements of the young men were wrestling, running and jumping, or hopping three hops. Dancing was considered an important thing to know. Dancing to step-tunes, such as Old Father George, Cape Breton, High Betty Martin and the Rolling Hornpipe were favorites.
|f_source=[https://open.spotify.com/track/1sCZEFYWr8558PJQy2Y9PH?si=54e4302356dd4aa3 Spotify]  
|f_source=[https://www.youtube.com/watch?v=d-QGwle9y6k Youtube]  
|f_pix=420  
|f_pix=420  
|f_picpix=200
|f_picpix=200
|f_article=[[St. Patrick's Day | '''St. Patrick's Day''']]
|f_article=[[Rolling_Hornpipe_(The) | '''The Rolling Hornpipe''']]


The first mention of the tune is that it was one of two tunes (with "The White Cockade") played by the pipers of the Irish Brigade attached to the French forces which helped turn the tide of battle against the English troops at the battle of Fontenoy on May 11, 1745.  
"The Rolling Hornpipe" may have had 17th century Cheshire or Lancashire origins, but it received wide dissemination as a country dance and tune(s), albeit in several variations and derivatives that can be seen/heard as "[[Roaring Hornpipe (The)]]" (Wales), "[[Rowling Hornpipe]]," "[[Rowland Hornpipe]]," "[[Cheshire Rolling Hornpipe]]," "[[Oldham Rowling Hornpipe]]" and others.  


Flood (1906) and O’Neill (1913) believe was probably the last appearance in battle of the Irish Piob mor (war pipes or great pipes, which survived only in Scotland) of which there is any mention.   
There are wide differences between these melodies, yet all seem united by title, purpose and a kind of musical pattern or structure. "Cheshire Rowling Hornpipe", for example, is in a minor key in Walsh's '''Third Book''', set in 3/4 time with the seventh sharpened in a conventional way, but Wright has it in 3/2 time in a major key (and within the compass of the bagpipes).   


'''Rutherford's 200 Country Dances, volume 1''', 1756, contains the first country dance printing of the tune, which also appears in English collections as a jig by the name "[[Barbary Bell]]." 
John Offord (1985) speculates that the designation as 'rolling' hornpipes in the titles may have to do with not having syncopation in the melodies.  It was imported to the New World and the Rolling Hornpipe as a dance is named in 19th century articles and books as a favorite country dance, particularly among the young.  


Typically for popular melodies of the time, it also became the vehicle for many songs, including air 35, "A plague of these wenches," in the opera '''Love in a Village''' by T.A.
For example, '''Colonial Children''' (1902, p. 193), by Albert Bushnell Hart and Blanche Evans Hazard, in speaking of older New Hampshire pastimes records:
Arne and I. Bickerstaffe (London, 1762). As song, country dance or quickstep it remained popular for many years. In later military tradition it was played on December 31, 1811 by the 87th Regiment band as a French attack became a rout at Tarifa, and Winstock (1970) remarks it was a favourite quickstep of the Napoleonic era Peninsular War in the British army.  
<blockquote>
''The principle amusements of the young men were wrestling, running and jumping, or hopping three hops. Dancing was''
''considered an important thing to know. Dancing to step-tunes, such as Old Father George, Cape Breton, High Betty'' ''Martin and the Rolling Hornpipe were favorites.''
</blockquote>


Queen Victoria requested the melody from piper Thomas Mahon when she and the Prince Consort visited Ireland for the first time in 1849. Mahon was surprised to learn that she and the Prince were familiar “with the best gems in Irish music,” and he also played “The Royal Irish Quadrilles” and “Garryowen” at their behest.
The same tunes were earlier mentioned in the same context in the '''Historical Magazine''' of 1873 (p. 367).  Similarly, Rolling Hornpipe is mentioned by Estelle M. Hart in her article "In the Days of Old Father George and High Betty Martin" ('''Connecticut Magazine''', vols. 1-2, 1895, p. 52):
 
The Queen must have been impressed with his playing, for she directed that henceforth Mahon have the title “Professor of the Irish Union Bagpipers to Her Most Gracious Majesty, Queen Victoria” (O’Neill, 1913). English country dance versions appear several times in James Oswald’s '''Caledonian Pocket Companion''' (London, 1760), and James Aird printed it in Glasgow in his '''Selection of Scotch, English, Irish and Foreign Airs, vol. 1''' (1782). In fact, English printings of the tune by far predate Irish ones, and it may be the provenance is English, despite the Irish-sounding title.  
}}
}}

Revision as of 18:15, 22 March 2024



The principle amusements of the young men were wrestling, running and jumping, or hopping three hops. Dancing was considered an important thing to know. Dancing to step-tunes, such as Old Father George, Cape Breton, High Betty Martin and the Rolling Hornpipe were favorites.
The Rolling Hornpipe

Played by: Les Harpies, Freddy Eichelberger, Odile Edouard
Source: Youtube
Image: Colonial Children (1902).

The Rolling Hornpipe

"The Rolling Hornpipe" may have had 17th century Cheshire or Lancashire origins, but it received wide dissemination as a country dance and tune(s), albeit in several variations and derivatives that can be seen/heard as "Roaring Hornpipe (The)" (Wales), "Rowling Hornpipe," "Rowland Hornpipe," "Cheshire Rolling Hornpipe," "Oldham Rowling Hornpipe" and others.

There are wide differences between these melodies, yet all seem united by title, purpose and a kind of musical pattern or structure. "Cheshire Rowling Hornpipe", for example, is in a minor key in Walsh's Third Book, set in 3/4 time with the seventh sharpened in a conventional way, but Wright has it in 3/2 time in a major key (and within the compass of the bagpipes).

John Offord (1985) speculates that the designation as 'rolling' hornpipes in the titles may have to do with not having syncopation in the melodies. It was imported to the New World and the Rolling Hornpipe as a dance is named in 19th century articles and books as a favorite country dance, particularly among the young.

For example, Colonial Children (1902, p. 193), by Albert Bushnell Hart and Blanche Evans Hazard, in speaking of older New Hampshire pastimes records:

The principle amusements of the young men were wrestling, running and jumping, or hopping three hops. Dancing was considered an important thing to know. Dancing to step-tunes, such as Old Father George, Cape Breton, High Betty Martin and the Rolling Hornpipe were favorites.

The same tunes were earlier mentioned in the same context in the Historical Magazine of 1873 (p. 367). Similarly, Rolling Hornpipe is mentioned by Estelle M. Hart in her article "In the Days of Old Father George and High Betty Martin" (Connecticut Magazine, vols. 1-2, 1895, p. 52):

...more at: The Rolling Hornpipe - full Score(s) and Annotations


X:1 T:Cheshire rowling Hornpipe A:England;London M:6/4 L:1/4 Q:3/4=80 S:J.Walsh,Third Book of the most celebrated jiggs,etc 1731 Z:Pete Stewart, 2004 <www.hornpipemusic.co.uk> with vmp revisions K:Dmin V:1 clef=treble name="1." [V:1] FDFE^CE|D>EF/D/ECc|C2FE/F/GE|FDFE^CE|D3A>GF/E/|D2FE/F/GE|| AFDd>c=B|c3G>FE/D/ |C2FE/F/GE|D>d^c=Bed/c/|d3A>GF/E/|D2FE/F/GE|| fafege|cegcAF|C2FE/F/GE|a/g/f/e/ dg/f/e/d/^c|d3AFD|D/E/FDE/F/GE|]


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