Annotation:Bishop of Bangor's Jig
X:1 T:Bishop of Bangor’s Jigg M:6/4 L:1/8 N:”Longways for as many as will.” B:John Walsh – Complete Country Dancing-Master, Volume the Fourth B: (London, 1740, No. 138) Z:AK/Fiddler’s Companion K:Emin B2|e2f2g2f2g2e2|^d2e2f2B4e2|d2c2B2 c2B2A2|(B6B4)|| Bc|d2B2G2 c2A2F2|B2G2E2 A2F2D2|G2A2B2 A4G2|(G6G4)B2| g2e2^c2 a2f2^d2|b2g2e2 a2f2^d2|e2f2g2 B2e2^d2|(e6 e4)||
BISHOP OF BANGOR'S JIG (Esgob Bangor). Welsh, English; Jig. England, North-West. E Minor. Standard tuning (fiddle). AABB. The tune appears in the 11th edition of Playford's Dancing Master of 1701, a publication that marked Henry Playford's taking over the series from his father John Playford. It was retained in subsequent editions through the 16th (1716). "Bishop of Bangor" was also published in John Walsh's Compleat Country Dancing Master (editions of 1718, 1731 and 1754). The word Bangor comes from the Welsh for a wattle fence; it referred to the fence that surrounded the monastic community founded there by St. Deiniol in the year 525. Deiniol was consecrated Bishop in 546 and his church became a cathedral, and the Bishopric dates continuously from that period. The most famous Bishop of Bangor (who never actually resided in Bangor) in Playford's time was Benjamin Hoadley, who was involved in a semi-political controversy known as Bangorism, really simply a plea for Protestantism and tolerance. Some suspect a popular song went to the tune. A simple dance for eight people is attached to the tune, generally used as a Sicilian circle.
