Annotation:Newcastle Hornpipe (2)
X: 1 T:Newcastle Hornpipe TS.171 T:Kirkgate Hornpipe,aka TS.171 M:C| L:1/8 Q:1/2=90 S:Thomas Sands' MS,1810,Lincolnshire R:.hornpipe N:Also in Gibbons and several other collections O:Lincolnshire Z:vmp.Ruairidh Greig, 2011 K:G (gd)|B2B2BcAB|G2G2GABc|dcdB edcB|BAcA GFED|! B2B2Bdce|d2d2d2cB|AdcB AGFE|D2D2D2:|! |:AB|c2c2c2 AB|cBAG GFED|d2d2d2(ef)|gfed cBAG|! e2e2efge|dcBcd2g2|egec BGAF|G2G2G2:|]
NEWCASTLE HORNPIPE [2]. AKA and see "Kirkgate Hornpipe (2)," "Parry's Hornpipe." English, Hornpipe. G Major. Standard tuning (fiddle). AB (Kershaw): AABB (Gibbons). The tune appears in several musicians' manuscript collections from the first half of the 19th century, from the northern counties of England. For example, it was entered into the copybook collections of Joseph Kershaw, Thomas Sands, and Joshua Gibbons. Kershaw was a fiddle player who lived in the remote area of Slackcote, Saddleworth, North West England, who compiled his manuscript from 1820 onwards, according to Jamie Knowles. William Calvert lived in Leyburn, Yorkshire and copied into his manuscript book around 1812, while Matthew Betham was from Towcett Cumbria, and made his entries around 1815. Papermaker and musician Joshua Gibbons (1778-1871) lived in the village of Tealby, near Market Rasen, Lincolnshire Wolds, and compiled his manuscript 1823-26; Thomas Sands was also from Lincolnshire and started his manuscript around 1810. The tune seems to have been in general aural circulation around northern England with the "Newcastle" title in the first part of the 19th century.
Fr. John Quinn spots the tune as "Parry's Hornpipe" in Ryan's Mammoth Collection (Boston, 1883).